seventeen : thirteen

This work is free of charge and may be reproduced and disseminated freely, provided it is disseminated in its entirety without alteration. The work remains copyright of the author Scott Petersen © 2009. This work is licensed through ASCAP.
Licensed performance venues may incur a charge for its performance. Performers of this work will incur no such charge. All text, music, layout and design by Scott Petersen.
This work is submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts from the Eastman School of Music.

seventeen : thirteen
three movements for outdoor
performance by 15 musicians
duration: 30 minutes x 3

This score is dedicated to all who have helped me achieve my goals:
my family; my friends; and the faculty of the Eastman School of Music,
whom I consider both family and friends.
Many thanks to you all.

seventeen : thirteen - contents
I.

Production Forces

Pg. ii

II.

Introduction

Pg. iii

III.

Equipment / Performance Requirements

Pg. iii

IV.

Editing and Playback / Projection Instructions

Pg. iv

V.

Notes on Realization

Pg. v

VI.

Notes on Composition

Pg. xii

Chance

Pg. 1

Canon / Variation

Pg. 10

Probability / Variance

Pg. 46

Scores

i

I. Production Forces
Musicians
Group 1

Group 2

Group 3

Group 4

Group 5

Male Voice

Guitar 1
Guitar 2

Female Voice 1
Female Voice 2
Female Voice 3

Flute
Oboe
Bass Clarinet1
Bassoon

Violin 1
Violin 2
Viola
Violoncello
Contrabass

The Male Voice part must have a working range of E2-G#4, and up to A4 in falsetto. The Female Voice parts must have a working range of C4-A5 comfortably.

Engineers
Group 1 Engineer

Group 2 Engineer

Group 3 Engineer

Group 4 Engineer

Group 5 Engineer

Locations for above musicians and engineers for each movement. (Fill out as described on pg. v)
Day 1

__________

__________

__________

__________

__________

Day 2

__________

__________

__________

__________

__________

Day 3

__________

__________

__________

__________

__________

Audio/Video Editor
The A/V editor should be well-versed in audio and video editing and compositing techniques.

1 While the classical guitar and contrabass parts use the traditional octave transposition, the bass clarinet part is written at pitch.

ii

II. Introduction
seventeen : thirteen is a three-movement piece whose movements are performed at five outdoor locations at different times by five groups of musicians. Each movement is 30 minutes long. For each of
the three performances the groups move to a different one of the five locations. The groups are individually audio and video recorded at all locations for each performance, and the recordings are
later played back at the same location with each successive performance. Because of the demands the music places on the performers, it is recommended that only one performance take place per
day. This will also allow time for the A/V editor to edit the sound and video recordings as required before the next performance.
This piece does not require a director for the actual performances, however the logistical difficulty of the piece might require one or two dedicated persons to coordinate the preparations, rehearsals,
and performances. The order in which the movements are performed, as well as the location of each group for each performance is decided by those coordinating the production2. The movements
Canon / Variation and Probability / Variance are notated conventionally, while Chance is graphically notated using text boxes. Because the notation is non-standard, everyone involved in the production
should take time to learn the notation. Additionally, location information must be added to page ii, and information specific to Chance must be added to the score for that movement. Before this
information can be filled in, certain decisions must be made about the location of the groups for each performance. Detailed instructions for realization and performance are found in the sections
below.

III. Equipment Requirements / Suggestions
Scores

15-30
Because the movement Chance requires all performers at some point to imitate the music of another player, (music either from the current movement or from previous or future movements)
all performers must have access to either two copies of the score, or have photocopies of the music with which they need to interact.

Camcorders/video recorders

5

Any camcorder is fine, but the format, frame rate, resolution, and aspect ratio3 should be the same for all, or at least the same for each location from day to day.
Audio/video projection/playback systems

5

The projection systems may be front or rear projection, but in either case should be as inconspicuous as possible, especially in the case of front-projection. Care should be taken in the
placement of the screens to avoid light interference and bleed-through from sunlight or reflection (in the case of daytime performance). A projection system may consist of a combination of
projector, screen, computer, dvd player, or television, large LCD monitor, or any other suitable methods. Preferably, the video playback should be large enough to be easily viewed by a large
number of people from a moderate distance. For the audio, the playback speakers should be capable of reproducing the sound of each ensemble accurately, so a good frequency range would be
40-20k Hz.
Audio recorders and microphones

5 (sets)

The microphones should be of at least moderately high quality – Rode NT4, or 2 Rode NT1 or NT2a microphones are good choices for general purpose condensers. Additionally, depending
on how the audio and video are recorded, one will require preamplification for the microphones either through an audio I/O unit with an attached computer or through a mixing console.

2 see pages v and vi for instructions.
3 For example, 720p 30 frames per second.

iii

Stopwatches

15

Any stopwatch is acceptable. Preferably, the model should be easily affixed to a music stand with a large, easy-to-press button as timing is crucial to the success of the performance and to the
resulting recordings.
Music stands

11-15

The singers may choose to hold their music rather than have it placed on music stands.
Music stand lights

11-15

Depending on the time and location of the performances, the performers may require lights for their stands.

IV. Editing and Playback / Projection Instructions
General
The following indications are generalized, and their relevance is dependent on the methods whereby the audio and video are recorded. For example, the audio and video may be captured
independently using separate recording apparatus and combined later in the editing process, or they may be captured simultaneously in a single system. The methods whereby the audio and
video are recorded will depend largely on a) the budget of the production, and b) the knowledge and ability of the audio/video team (both the engineers and the editor.)
Audio/Video Setup
The microphones for the stereo audio recordings should be placed as close to the performers as possible to eliminate unwanted atmospheric sound, but far enough away to capture a good
stereo image. Other considerations should include the dynamic potential of the group. For example, the microphone placement with the guitars may be much closer than for the woodwinds,
not only because of the size of the respected groups, but because of the dynamic limitations of the guitar as compared to the woodwinds. Some sound testing is obviously required prior to
recording.
To make it easier to sync-up with the live performance, two indications should be made when starting each performance and recording. The first should signal that the recording has begun, the
second should be made at a set time, say 10 seconds later, at which time the musicians begin performing. At each subsequent performance, the audio/video playback should begin when the new
recording is started. This way, both the audio/video recording and the live performance will begin with 10 seconds of silence followed by the beginning of the movement. Any method that
succeeds in easily synchronizing the live performance with the prerecorded material is acceptable.
The video recordings for each day should focus on the performers and, if the performance contains projection (if it is the second or third performance) some of the projection as well. This
way, the aggregate video recording will have several layers of each performance. Different shooting styles might involve some stationary group shots, with some hand-held or zoomed focus on
individual players, or may focus on the live group with the projected group. The videographer may also simply set the shot to encompass the players and the projection (if there is one) and
record from one stationary location. The method or style of shooting may change from performance to performance. The only stipulation is that the video must have no cuts so that the video
recording is the exact same duration for each performance and matches up with the audio recording should it be recorded separately.
Audio/Video Editing
Between performances it will be necessary to edit (trim) and normalize the audio so that each recording is at the peak dynamic level and each performance lines up with previous recordings. If
separate audio and video recordings were made, the audio will then need to be combined with the video for playback. The recordings should be edited so that the movement begins
immediately upon pressing play. This will make it easier to sync up with the live performance.

iv

The captured video for each day should be superimposed into the existing video by adding it as an additional layer or stream. All layers should have equal exposure/transparency. This means
that for the third and final performance, the video will consist of a double exposure of the first and second performances. The third performance should also be recorded so that a final
audio/video recording will contain all three.

V. Notes on Realization
Pre-performance decisions
The first important step in realizing a performance of this piece is to find a suitable performance environment. Some things to bear in mind while considering locations are:
!
!
!

What is the level of ambient noise? Will the performers be heard easily? If the location is loud (factory, city street) will the performers be able to hear the other members of their
group?
What is the amount of foot traffic in the area? If the location is remote, is it easy to find and easy to access?
What is the lighting like? If the location is covered, or outdoors and the performance is scheduled for the evening, will the performers be able to see their music?

Once a suitable environment has been chosen, the coordinator(s) must decide at which location within the environment each group is to perform for each of the three
movements/performances. The musicians do not have to be within eyesight or earshot of each other, so part of the decision is deciding whether to use a close configuration or a spread-out
one. Examples I and II show two possible configurations. In Ex. 1, the groups are in a close, circular configuration with projection and audio playback immediately next to each group. Notice
that no group should ever perform at the same location from performance to performance. The below examples assume that the movements are being performed on consecutive days.
Key for Examples 1 and 2
!"#$$%&'%(&!)$'*$#&+##',
-$#./#0$#

Ex. 1
Map showing close configuration.

!"#$%

!"#$&

!"#$'

v

In the following example, the groups are spread out in an urban location where some groups are indoors and some are outdoors.
Ex. II
Map showing dispersed configuration.

!"#$%

!"#$'

!"#$&

Once the location decisions have been made, the locations of each group for each performance should be added to page ii of each score.

General Performance Information
!
!
!
!

All performers are to perform without vibrato. If, as may occur with the singers, any performer should find this exceedingly difficult, a small amount of vibrato may occasionally be used in
moderation to alleviate any stress. If the performer cannot perform without vibrato, a replacement should be made.
While the work may be performed with or without a director, stopwatches should be used regardless. This will greatly assist the performer with timing as it may be easier to see the time on a
stopwatch on the music stand than the director who may be some distance away.
While the musicians and engineers should dress individually (no matching clothing indications need be undertaken) tasteful clothing decisions should be made.
If a player finds it easier to perform with a click track, or to use earphones to dampen the sound of the audio playback (should it be considered too distracting), he or she is encouraged to do
so.

vi

Notes for Chance
General Description
The specificity of indications in this movement varies greatly from section to section and performer to performer. The music was composed using equally probable musical choices for each
section starting with the question of whether the musician should play or rest. Thus, about 50% of the sections for the entire movement consist of rest. Some sections contain no information
other than to improvise based on the music of another player. Sometimes, pitch ratios are given, but other indications such as those for rests, rhythmic profile, or dynamics are not provided.
These are the results of the algorithms used to determine the music for each section. The performer should view sections with less specificity as those with the largest amount of expressive
freedom and responsibility; the performer is required to take an active role in the composition of this movement.
Reading the score
To read and interpret the score correctly, it is important to understand all of the elements on the page. The names of each instrument in the ensemble appear in the traditional location down
the left side of the page. The continuous string of numbers at the top of each page is the timeline which assists with locating and executing the beginning and ending of sections. The boxes in
the score contain the information for a section of music. Each box has an arrow which runs from it to the next box. The contents of the box are to be performed until a new box with new
indications is provided. To assist with timing, each box also has a time indication given in minutes and seconds which appears either directly before or above it.
Each box contains information that the performer is required to realize. The indication can be as simple and short as 'Rest', which indicates to the performer that he or she is to rest for the
duration of the section, or it can contain a large number of keywords, arrays, numbers, and elements. There are really only two different kinds of musical indications and ways of realizing them;
one kind calls for improvisation with other players or music and is indicated with the 'Improvise:' keyword, and the other kind requires the performer to use certain information such as that
found in the NArray and RatioSet arrays, to improvise original music. In both cases, it is expected that the performer will spend time with the score even before rehearsals adding notes and
marking the score so each section is clear to them.
Realizing the score (filling in the blanks)
About one half of the sections in the score will begin with the 'Improvise:' indication. This indication is followed by '@' and either the word 'present' or a blank space. There is then a comma
followed by either the word 'any' or a blank space. If either spaces are blank, it will be necessary to fill in the appropriate information using "coin flip" decisions. Because the order of days is up
to the performers and/or coordinator(s), it is necessary to make these chance decisions after 1) order of days and 2) physical location of the groups on each day have been determined. Once
these have been supplied, the process for determining the two decisions is as follows.
1)
The choice for the first space determines the time (past, present, or future) of the performance with which the musician is to improvise. This choice depends on the order in
which the movements are performed, but regardless it will be a binary decision. The choices will be one of the following:
If Chance is performed on day one, then the choices will be "day 2" and "day 3".
If Chance is performed on day two, then the choices will be "day 1" and "day 3".
If Chance is performed on day three, then the choices will be "day 1" and "day 2".
To choose, simply flip a coin for each section that requires the answer, and fill in the space with the name of the group that is playing at the players' current location that day.
2)
If the second indication is "any" then the performer need only have his/her second score (or a photocopy of the music of the group for that section) with the music of the group,
and the time marked out in the score so that they may improvise freely around the music of any members of the group. Alternately, if the musician prefers, and the music is from a past
performance, he or she may choose to simply listen and improvise around the music being played back. If the second space is empty, then the performer must pick one particular
performer's music against which to improvise. To choose, an appropriate number of pieces of paper corresponding to the players of the other group may be placed in a hat or bag, and
blindly chosen from. The performer or coordinator(s) should then fill out that player's name in the score (Chance), and mark where the music occurs in the other movement. Again, the
vii

player may choose to pick a player to improvise against from the recording should the movement be from a previous performance.
Array Elements
Arrays are indicated by square brackets [ ]. I will refer to the objects that appear in the arrays as elements. Elements can be either numbers or words, and are separated by commas. If the
elements are numbers, they fall into one of several categories listed below under "keywords." If they are words, they are representations of various vocal and instrumental processes.
Instructions on the performance of these elements follows below.
Ratios
Ratio indications appear in arrays like [1,4], or in arrays of arrays [[1,3],[3,4],[2,5]]. Ratio arrays will always be preceded by one of two indications, either RatioSets, meant to be performed on
an instrument or sung, or WRSets that are interpreted the same way, but are differentiated from the RatioSets because they are meant to be whistled only. The numbers in the array are to be
treated as intervals in half steps. If the array is [1,4], then the performer is to choose a starting note (if one is not provided by SPitch) and perform a half step and a major 3rd (which is of
course 4 half steps.) The order of the intervals does not matter. Either the major 3rd or the half step may be performed first. If there are multiple arrays [[1,4],[3,4]], the performer may
choose what ratio array to perform first, the interval to start with, and how many repetitions of each ratio they will make. In this example, the performer may choose to only perform one of
the two ratio sets given. Ratio sets may not by mixed or combined to create different ratios. For example. if two ratio sets are given [[1,4],[2,5]] the performer may not perform the intervals
2-4-1-5, because even though the 4-1 is a valid ratio, the 2 and 5 are separated, making it seem as though the ratios are [2,4] and [1,5] when heard.
Pitch Sets and Pitch Class Sets
If any array has more than two elements, it falls under either a pitch class set or pitch set category. These categories are PCS, PC, WPCS, and WPS. Instructions for performing these sets are
given below on page x.
Noise Elements
The following elements are found in NArrays throughout the movement. Some indications are specific to instrumental groups and will only be found, for example, in the guitar parts. There are
also elements that are common to all, such as "whistle".
Found in all parts
'whistle': mouth whistle. If the performer is unable to whistle, he/she may hum instead.
'breath': any non-pitched sound made by breathing in or out, sustained or not.
'bodyPerc': any sound made by tapping, slapping, or otherwise causing sound with different parts of the body.
'clap': hand clap(s).
Found in voice parts
'tthok': the sound made by placing the tongue over the front teeth, creating suction, then quickly removing the tongue.
'lipPop': any popping sound made with the mouth alone, or in conjunction with the hand (lip-smack.)
't','k','p','s','zh','sh': These indications appear in the NArray of the vocalists parts. These are all pronounced as American English consonants with the exception of the 'zh' indication, which
is pronounced like the final 'g' of 'garage.'
Found in guitar parts
'bdyTap': with one or both hands, tap or slap the front and/or the back of the guitar.
'sideBdyTap': with one or both hands, tap or slap the sides of the guitar (i.e., not the front or back.)
'fngrTap': using one to ten fingers, tap on any part of the guitar. Emphasis with this indication should be on rhythmic precision. (It is undoubtedly easier to imitate quick, precise rhythms
viii

using the finger tap technique than the hand tap or slap.)
Found in wind parts
'blow': any blowing though the instrument that does not cause a discernible pitch.
'fngrClck': finger clicks.
'qBlow': tongued, quick breath into the instrument such that it does not result in a discernible pitch.
Found in string parts
'scratchTone': this technique is achieved by applying pressure in significant amounts such that the resulting sound is a multitude of pitches; a grating, grinding sound. Reducing bow speed
with the increased pressure is helpful in achieving this effect.
'colLegno': col legno. Use the wood of the bow to tap the strings of the instrument. Pitch choices are made by the performer.
'woodBowTap': tap any part of the instrument with the tip, frog, or other part (wood) of the bow.
'bowBhndBrdg': bow behind the bridge of the instrument. While this results in a recognizable pitch, the pitch cannot be controlled.
Pronunciation of Vowels (voice parts only)
eh = ! = yet, bet
oo = u = soon, through
ah = "#= father, pocket
ih = ! = pit, film
oh = !$ = boat, tote
aw = "# = bought, thaw
ee = i = seed
Keywords
Because of the way Chance is formatted for performance, keywords are relied upon to conserve space. Keywords are used to associate both methods of performance and materials for
performance. An example of a method keyword is 'Improvise'. This keyword is followed by two indications (shown below) which assist the performer in quickly realizing the indication in
performance. An example of a material keyword is NArray. This is a noise array which holds other material keywords specific to a performer and section of music.
Affect: = general affect for the section. This indicates the overall affect the performer should aim for for the section.
Complement: = general indication for affect of improvised music. Complement implies that the improvised music should match the affect of whatever component follows the
complement indication. For example, if “all” is indicated, then the performer should match the overall affect of the music. If "rhythm" is indicated, then the notes may be chosen by the
performer, but the rhythmic profile should complement that of the other part.
Contrast: = general indication for affect of improvised music. For example, if "max" follows "Contrast:" then the performer should improvise music that is distinctly different than that of
the performer with whom they are improvising.
DType: = general indication for how dynamics are to be applied to notes and note events. “Varied” indicates that dynamics are to be changed more often.
Durs: = general indication for duration of pitches. This applies to all pitches, but should be modified/viewed in light of the overall affect for the section.
DVAmount: = general indication specifies more explicitly how often dynamic changes are to be made.
ix

Dyns: = general indication for dynamics given in a range from lower to higher amplitude, ex. p-f.
EDurs: = general indication for the duration of note events. Think of a note event as a phrase. This is usually accompanied by a "RestPeriod" indication stating how long the periods of
rest between note events should be.
Improvise: = the music to be performed. The 'at' symbol "@" that follows the improvisation indication tells the performer with what movement he/she is to improvise, whether the
music is from a past, present, or future day. This space will be blank for any other indication but "present." This is because the order of the movements is malleable; only when the order
of the movements has been determined will it be possible to fill in indications other than present. The method of filling in this space is described above in Realizing the Score. Following
the first indication is a comma, and either a second blank space or the word "any." If the space says "any", the player is free to choose any music being performed around him/her if the
first space is "present", or the music of any of the members of the group with whom it has been determined they should improvise.
IStyle: = general indication for imitation style. **[This indication tells the performer which aspects of the music with which he or she is improvising to employ.]** For example, the
player might have a “rhythm” indication. The performer should improvise music that has the same rhythmic profile as the other performer or music, but may improvise his or her own
pitches, choose phrase lengths, etc.
NArray: = indicates a noise array is to be used to create the music for the section (with or without other elements such as note arrays). The NArray consists of either a single array of
noise indications, or an array of arrays of noise indications. (See above under "Noise Elements".)
OrdText: = indicates ordered text. This array contains words that must be employed in order.
PCS: = the pitch class set or sets to be used for the section. Unlike the RatioSets, which are to be used dynamically to construct melodic lines, the PCS contains the only pitches the
performer is allowed to use. In this system, 0 = any C the performer chooses. 4 = any E, 10 = any Bb, and so on. So a PCS such as [0,1,4] could result in a melody that contains the
pitches C3, Db4, C5, F3, Db5, etc.
PLengths: = the phrase length for note, noise, or improvised events. This indication should be tempered by the "Affect" indication if it is provided.
PS: = the pitch set or sets to be used for the section. Unlike the RatioSets, which are to be used dynamically to construct melodic lines, the PC contains all of the pitches to be used by
the performer. The numbers in the set are MIDI numbers that correspond to actual pitches. In this system, 60 = middle C or C4. So if a set includes 57, 60, 62, 64, and 67, the pitches to
use would be A3, C4, D4, E4, and F4.
RatioSet: = the set of ratios used by the performer to create the music. The set will consist of an array [ ] with one or more nested arrays indicating the ratio intervals to be used. For
example, if the RatioSet: = [[1,3],[3,4]] then the player may choose either set at any time, and start with either interval such as INT3->INT1 followed by INT3->INT4. While the
intervals within sets may be used in any order, and the sets may be used as desired, both ratios must be used. So using only INT4 from the second set between sets of [1,3] is not
allowed.
RPeriod: = general indication for the length of time between note events. This indication should be tempered by the "Affect" indication.
SPitch: = the starting pitch for the performer. Usually this indication is given only when the section uses ratio sets.
Text: = indicates the text to be used by the singer. This will consist of either one indication or an array of indications with either vowels, or a combination of vowels and consonants.
WPCS: = indication for the pitch class set/sets to be used when whistling. Employ in the same manner as with "PCS:" above.
WPS: = indication for the pitch set to be used when whistling. Employ in the same manner as with "PS:" above. Please note that some people hear whistling as sounding an octave lower
than it actually does. If the player is unable to whistle in the octave indicated, a different octave may be used.

x

WSPitch: = whistle start pitch. Employ in the same manner as "SPitch:" above.
WRSet: = ratio set for whistle. Treated as RatioSet above.
A Brief Example
As discussed above, about half of the boxes in Chance will contain the "Improvise:" indication. All other boxes will have either a single array of information to realize, such as an NArray, or they
will have a combination of different arrays. If more than one array indication is present, the performer is free to move between elements in those arrays as desired. For example, looking at the
first box in the flute part on page 1, there is an "NArray:" with noise indications, and a "PCS:" with different pitch class sets. In this case, the flute player may move freely between groups of
noise events and note events using those pitch classes found in the PCS arrays. However, the performer's freedom here is limited here by the "Affect:" indication, which is "calm", and the
"PLengths:" indication, which is "long". If these indications were not present, the performer would have absolute freedom in determining the length of the groupings of notes and noises.
Regardless, the performer still has the freedom to choose what percentage of the larger phrases are notes and/or noise, and may move freely from one kind to the other. The remaining
indications "RPeriods:", "Dynamics:", "DType:", and "DVAmount:" show that the rest periods between phrases should be short, and that the dynamics employed should vary occasionally between
piano and forte.

Notes for Canon / Variation
General Description
Canon / Variation is the most traditionally composed and notated movement of the three. This does not imply that it is the easiest, but that the musician may find this movement the most
comfortable to approach. Care should be taken with regard to phrasing even where note durations and phrase indications are longer than the breath allows for.
Notes by measure
In the score, asterisks appear on or around notes and staves. These indicate that specific information about the realization of some musical element is required. These mostly occur in the form
of a note at the bottom of the page. In some cases, however, more detail is required than is practical for the score. The following notes are ordered by measure number.
Measure. 1 – Guitars: Because certain effects called for such as touch-12 harmonics result in significantly lower dynamic levels, the dynamic indications in the score may appear
incongruous from part to part. This is because the given indications are to create a desired dynamic/harmonic blend. The players should bear this in mind and focus more on blend than
adhering strictly to the dynamic indications given.
Measure. 7 – Winds: slurs in the winds indicate phrasing and not necessarily breath or tonguing. There are many instances where the number of measures in a phrase far exceed the
breath-capacity of the player. The player should breathe where necessary, doing their best to maintain the contour of the phrase.

xi

Notes for Probability / Variance
General Description
Of all the movements, Probability / Variance is the most straightforward, and most likely the hardest movement to perform. The note events are extremely long at the beginning and end of the
piece, and there are few periods of rest. Great care should be taken by all players, but especially the wind players and singers, to maintain relaxation, and monitor posture and breath support.
For the apotheosis – wind players and singers should breathe as necessary, taking time as needed, with care to avoid long periods of rest, and to avoid resting at the same time as those
immediately around them. For the singers, the dynamic indication of fff is not realistic, and care should be taken not to sing too loudly, especially given the length of the previous section.

VI. Notes on Composition
General
The building blocks of all of the music in this piece are found in the integers 1-5. When the integers 1-5 are summed against each other, and the sum of differences is represented in ratios without
repetition, the results are as follows.
17/13 = 1.307 : 1
12/5 = 2.4:1
7/3 = 2.33 : 1
6/5 = 1.2 : 1
5/4 = 1.25 : 1
5/3 = 1.66 : 1
5/2 = 2.5:1
4/3 = 1.33 : 1
3/2 = 1.5 : 1
5/1 = 5 : 1
4/1 = 4 : 1
3/1 = 3 : 1
2/1 = 2 : 1
1/1 = 1 : 1

This ratio set informs all pitch, duration, structural, textural, and dynamic materials, as well as methods of transformation found in all movements. The idea of ratio is especially important because, like
the work as a whole, even a high-level decision-making process like pitch-to-pitch choice is one of relationships; all pitches are interrelated. The extra-musical counterpart to this numerical
interrelatedness may be found in the following fanciful postulation.
Locations, such as cities, forests, and mountains, have a certain vibration or sound-spirit that is individual and unique to that place. This sound-spirit affects, to a greater or lesser degree, all of
the music composed and performed in that particular location over time. The music may be stylistically different, and composed for different forces, but there is always something that is shared
and perceptible. Now imagine that at the root of this shared material is a structure of related percentages, of ratios. These ratios, no matter how they are transposed, augmented, or employed,
remain viable and intact such that if you were able to measure the piece as a whole, they would become apparent.
This imaginary scenario helped to form the ultimate scope of the work; the use of multiple locations within a single performance environment, the use of different performance times and of stylistically
different music for each movement of the piece, etc. The use of audio and video recording equipment to simultaneously present past and present music is a way of making the time-relationship plain to
the audience.

xii

Algorithms were written in the SuperCollider programming language to assist with the generation, transformation, and realization of pitches and durations, and in some cases dynamics, section-lengths,
and methods of transition for all movements.

Chance
Chance is the only movement of the three that involves extensive improvisation. This movement, more than the other two, reaches into the past and future, allowing the musicians to directly
interact with, and create a synthesis of the music from the different days. It was composed using, not surprisingly, chance procedures. At every stage of composition, a binary, ternary, or
quaternary decision was made with equal probability. Some elements were non-negotiable such as the overall length of the movement, but everything else was the result of an equal probability
decision. Once large-scale decisions were made such as whether the groups would perform as groups or individuals, what methods they would employ (instruments, body noise, etc.), a
hierarchical tree structure was created that contained binary, ternary, and quaternary decisions for all elements including whether the part should contain only improvised or original material,
how specific that material should be, and how unique to the individual performer it should be. For example, the algorithms test whether the part being generated is a string part or not, because
the strings are capable of producing microtones. If the query returns true in the algorithm, microtonal possibilities are added to the pitch decision algorithm. Similarly, if the algorithm is being
run for a singer as opposed to a woodwind, the choice for using text is included.

Canon / Variation
Canon / Variation is comprised of a series of large sections that vary in number from group to group in which a canon subject is performed and then altered. The manner in which the subject is
altered occurs in the same order in all the parts. The number of sections for each group is as follows:
Group 1= 5 sections, Group 2 = 4 sections, Group 3 = 3 sections, Group 4 = 2 sections, Group 5 = 1 section

The group sections are then as follows:
Group 1: A, B, C, D, E
Group 2: A, B, C, D
Group 3: A, B, C
Group 4: A, B
Group 5: A

The canon subject was composed using the section time of Group 1, which has the most sections, and was composed to take up the entire first section. Each subsequent section then varies
the treatment of the canon subject both in time and pitch. The order of the treatment of variation is common to all parts. The strings which have only one section, though, play only the
subject, and do so in durational augmentation by a multiple of 5 times that of the original durations (because the section is 5 times that of the original). Thus, Group 1 and Group 2 both start
with the canon (A) and then proceed to alter the canon in the subsequent sections B, C, and D. Each part follows the following treatment for the number of sections that they have. The way
each group varies the subject is largely dependent on the instrumentation of the group. The order of treatment/variation can be seen easily in the score and is described below.
A - subject verbatim
B - entrances of notes must occur in time4, but notes may be held through other notes, effectively skipping them.
C - notes may occur anywhere in time, but order of notes must be preserved.
D - notes may occur anywhere in time, and note ratio pairs may be swapped as long as all are performed.
E - ratio sets are performed only once in the order that they appear in the subject.

The canon subject consists of five divisions, each of which is further divided into two phrases. The lengths of the subject's divisions were derived using a logarithmic curve so that the beginning
section is the longest at 110 seconds (55 + 55 seconds), and the last section is the shortest at 10 (5 + 5). The pitch and rhythmic material within are derived from the ratio series. The
4 In multiplicative expansion of the durations of the subject.

xiii

durations used in the movement are also simple integers derived from the ratio set. They are 1, 2, 3, and 5 seconds. For the pitch material, all ratios were used as intervals, with the smallest
integer (1) taken as a half step. The ratios from division to division share elements with each other. For example, X shares int 1 with A, A shares int 1 with B, B shares int 4 with K, etc. The sets
are labeled as follows:
5/1 = A
4/1 = B
3/1 = C
5/2 = D
12/5 = E
7/3 = F
2/1 = G
5/3 = H
3/2 = I
4/3 = J
5/4 = K
6/5 = L
1/1 = X

The sets are roughly ordered to move from the most disparate interval relationships (large difference 5:1, A, and no difference 1:1, X) inward to a balance of the two (2:1, G). The following
shows the order in which the sets appear in the subject divisions:
Division 1 : X, A, B, K
Division 2 : C
Division 3 : L, D
Division 4 : J, H, I
Division 5 : E, F, G

Probability / Variance
Probability / Variance is composed of 10 sections whose lengths are common to all parts. The movement is designed so that a coalescence occurs at minute 18:00. All parts begin with disparate
durations and pitches, then over 18 minutes move toward a common series of pitches and rhythmic values. The way this is done is through the use of logarithmic curves to control the
selection of pitches from section to section. At the beginning of the piece, each part has its own pitch collection and a collection of weights that control the probability of choosing one pitch
over another in the collection. The individual pitch collections change from section to section to become more similar. Instead of abruptly changing from one collection to the next when the
section change occurs, a logarithmic curve is used to control the probability of choosing a pitch from the first collection as opposed to the second. As the process moves through the section,
the likelihood of choosing a pitch from the next pitch collection increases until right before the section change when the probability is 100%.
In Section 7, which occurs at minute 18:00, all parts have the same series of pitches and one common rhythm. The series of pitches was chosen using a set of probabilities constructed using the
total number of occurrences of pitches derived over time. The section itself is subdivided into 15 parts, the length of each of which is logarithmically derived. The section times, weights, and
pitch sets follow below.
Section times in seconds:
[ 1.25, 2.5, 3.75, 3.75, 6, 8.5, 5, 8.5, 9.75, 11, 6, 11, 13.5, 14.75, 14.75 ]
Number of notes per set in 16th notes:
[5,10, 15, 15, 24, 34, 20, 34, 39, 44, 24, 44, 54, 59, 59 ]

xiv

Pitch Sets Per Section:
Set 1 = [ 0 ]
Set 2A = [ 0, 5 ]
Set 2B = [ 0, 5, 10 ]
Set 3A = [ 0, 5, 10 ]
Set 3B = [ 0, 1, 3, 5, 10 ]
Set 3C = [ 0, 1, 3, 4, 5, 6, 10 ]
Set 4A = [ 0, 5, 6, 10 ]
Set 4B = [ 0, 3, 5, 6, 7, 9, 10 ]
Set 4C = [ 0, 3, 4, 5, 6, 7, 9, 10 ]
Set 4D = [ 0, 1, 3, 4, 5, 6, 7, 9, 10 ]
Set 5A = [ 0, 4, 5, 6, 10 ]
Set 5B = [ 0, 1, 2, 4, 5, 6, 7, 10, 11 ]
Set 5C = [ 0, 1, 2, 3, 4, 5, 6, 7, 8, 10, 11 ]
Set 5D = [ 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 ]
Set 5E = [ 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 ]

The pitch probabilities are derived from the number of times a certain pitch appears in the above arrays per section, with the total aggregate pitch weights for Set 5D as follows:
[ 0.16666666666667, 0.075, 0.066666666666667, 0.091666666666667, 0.091666666666667, 0.125, 0.1, 0.058333333333333, 0.025, 0.05, 0.11666666666667, 0.033333333333333 ]

For the last three sections, the number of pitches common to all parts decreases. Each part shares a common set of pitches, but there are multiple possibilities for each pitch choice in the last
two sections and the probability of choosing one pitch over another averages out to even odds. Thus, the piece as a whole moves from individuality to cohesion, followed by static similarity and
finally to limited randomness.

xv

Chance
TIME:
flute
oboe
b. clar
bassoon
guitar 1
guitar 2

0:00

0:10

0:20

0:30

Affect: calm - NArray: [ whistle, breath, bodyPerc, clap ]
PCS: [ [ 0, 1, 3, 4, 8, 9, 11 ], [ 0, 2, 4, 6, 8, 10 ], [ 0, 6 ], [ 0, 1, 3, 5, 6, 8, 10 ], [ 0, 1, 3, 4, 8,
9, 11 ], [ 0, 3, 9 ] ]
PLengths: long - RPeriods: short - Dynamics: p-f - DType: varied
DVAmount: a little

0:40

0:50

1:00

0:36
Improvise: @ ___________, any
Complement: all - Durs: long

REST

0:42

Affect: calm - NArray: [ [ blowing, fngrClck, qBlow ], [ whistle, breath, bodyPerc, clap ] ]
WPCS: [ [ 0, 1, 5, 6, 8, 9, 10, 11 ], [ 0, 1, 2, 3, 5, 7, 8, 9, 10 ] ]
RatioSet: [ [ 2, 5 ], [ 5, 12 ], [ 5, 6 ], [ 3, 4 ], [ 1, 1 ], [ 1, 5 ] ]
Durs: long - PLengths: long - RPeriods: short - Dynamics: ppp-fff - DType: consistent DVAmount:
none

f. voice 2

1:20

1:30

1:40

1:37
REST

REST
1:20
Improvise: @ ___________, _________
Contrast: max

REST
0:36
NArray: [ [ bdyTap, sideBdyTap, fngrTap ], [ whistle, breath, bodyPerc, clap ] ]
SPitch: 9 - Durs = med
RatioSets: [ [ 1, 1 ], [ 1, 2 ], [ 1, 3 ], [ 1, 4 ], [ 1, 5 ], [ 2, 3 ], [ 2, 5 ], [ 3, 4 ], [ 3, 5 ], [ 3, 7 ],
[ 4, 5 ], [ 5, 6 ], [ 5, 12 ] ]

REST

1:12
REST
1:30
Affect: calm - Durs: long
PCS: [ [ 0, 4, 8 ], [ 0, 2, 4, 6, 8, 10 ], [ 0, 1, 3, 4, 7, 8, 10, 11, 14, 15, 17, 18,
21 ] ]
PLengths: long - Dynamics: ppp-fff - DType: varied
DVAmount: a Lot

1:00

NArray: [ bdyTap, sideBdyTap, fngrTap ]
RatioSets: [ [ 1, 1 ], [ 1, 2 ], [ 1, 3 ], [ 1, 4 ], [ 1, 5 ], [ 2, 3 ], [ 2, 5 ], [ 3, 4 ], [ 3, 5 ], [ 3, 7 ],
[ 4, 5 ], [ 5, 6 ], [ 5, 12 ] ]
Durs: long PLengths: med - Dynamics: mp-mf - DType = consistent

REST

REST

Improvise: @ current, any
Contrast: max - IStyle: around
Durs: med - PLengths: long
RPeriods: short - Dynamics: pppfff - DType: varied
DVAmount: aLot

1:12
REST
1:39
Improvise: @ ___________, _________
Contrast: subtle
IStyle: around - RPeriods: short

REST
1:30

f. voice 3
m. voice
violin 1
violin 2
viola
cello

0:36

PCS: [ 0, 5, 7, 12, 15 ]
Durs: random - PLengths = med
Dynamics: mp-mf - DType: consistent
Affect: frenetic - SPitch: 7 - RatioSet: [ 2, 3 ] Durs:
short - EDurs: short - RestPeriods = med
Dynamics: p-f - dynType: varied
dVarAmnt = a little

Affect: frenetic
NArray: [ zh, whistle ]
WSet: [ [ 0, 3, 9 ], [ 0, 1, 3, 4, 8, 9, 11 ] ]

REST
0:33
NArray:
[ sh, tthok, lipPop, t, k, p, s ]
Durs: long
EDurs: long

1:30

0:40
REST
1:05
PS: [ 60, 64, 66, 68, 72, 74, 76, 80, 82, 84, 88, 90, 92 ]
Durs: random - RPeriods: med
DType: varied
DVAmount: a lot

REST
NArray: [ [ colLegno, woodBowTap, bowBhndBrdg ], [ whistle, breath, bodyPerc, clap ] ]
WSet: [ 0, 2, 3, 4, 5, 7, 9, 10 ]
PCS: [ [ 0, 2, 3, 4, 5, 7, 9, 10 ], [ 0, 3.75, 6, 6.75, 8.25, 9, 11.25 ], List[ 0, 1, 2, 3 ], [ 0, 4.5, 6, 7.5, 10.5, 0,
1.5 ] ]
Durs: long - DType: varied - DVAmount: a lot

Affect: calm
Pitches = [ 0, 3, 9 ]
Durs: short
Text: [ eh, oo, ah, ih, oh, aw, ee ]

1:07 NArray: [ [ colLegno, woodBowTap, bowBhndBrdg ], [ whistle, breath, bodyPerc, clap ] ]
WSPitch: 4 - WRSet: [ [ 3, 5 ] ] - PCS: [ 0, 1, 3, 4, 5, 6, 8, 9 ]
Durs: long - PLengths: long - RPeriods: long - DType: varied
DVAmount: a little

0:36
REST

REST

0:58
Improvise: @ ___________, ___________
Complement: rhythm

REST
0:59

d. bass

1:50

1:04

Improvise: @ ___________, any
Complement: pitch - PLengths: med
Dynamics: ppp-fff - DType: varied
DVAmount: a lot

0:58

f. voice 1

1:10

1:00
NArray: [ [ blowing, fngrClck, qBlow ], [ whistle,
1:16
breath, bodyPerc, clap ] ]
WPCS: [ [ 0, 4, 5.5, 6.5, 9.5, 10.5, 0 ], [ 0, 2, 4 ] ]
REST
- Durs: random - RPeriods: short Dynamics: p-f DType: varied - DVAmount: a
little
1:13 Affect: frenetic - NArray: [ blowing, fngrClck, qBlow ]
PCS: [ 0, 3, 4, 5, 7, 8, 9 ]
RPeriods: long

REST

NArray: [ [ colLegno, woodBowTap, bowBhndBrdg ], [ whistle, breath,
bodyPerc, clap ] ]
WRSets & RatioSets: [ [ 1, 1 ], [ 1, 2 ], [ 1, 3 ], [ 1, 4 ], [ 1, 5 ], [ 2, 3 ], [ 2, 5 ],
[ 3, 4 ], [ 3, 5 ], [ 3, 7 ], [ 4, 5 ], [ 5, 6 ], [ 5, 12 ] ]
SPitch: 8 - DType: consistent - DVAmount: none

1:23
NArray: [ [ colLegno, woodBowTap, bowBhndBrdg ], [ whistle, breath, bodyPerc, clap ] ]
WRSets: [ [ 1, 1 ], [ 1, 2 ], [ 1, 3 ], [ 1, 4 ], [ 1, 5 ], [ 2, 3 ], [ 2, 5 ], [ 3, 4 ], [ 3, 5 ], [ 3, 7 ], [ 4,
5 ], [ 5, 6 ], [ 5, 12 ] ]
PCS: [ 0, 4.5, 6, 7.5, 10.5, 0, 1.5 ] - PLengths: random - RPeriods: short
1:34

REST

1

TIME:

1:50

2:00

2:10

2:20

2:30

2:40

2:50

3:00

3:10

3:20

3:30

3:40

(flt)
(ob)
(b. clar)
(bssn)

2:13
REST
3:23

(gt 1)
2:15
Affect: calm - NArray: [ bdyTap, sideBdyTap, fngrTap ]
RatioSets: [ [ 1, 1 ], [ 1, 2 ], [ 1, 3 ], [ 1, 4 ], [ 1, 5 ], [ 2, 3 ], [ 2, 5 ], [ 3, 4 ],
[ 3, 5 ], [ 3, 7 ], [ 4, 5 ], [ 5, 6 ], [ 5, 12 ] ]
Durs: short - PLengths: long - RPeriods: random
Dynamics: ppp-fff - DType: consistent - DVAmount: none
2:36

(gt 2)
(f. v. 1)

2:42

NArray: [ [ bdyTap, sideBdyTap, fngrTap ], [ whistle, breath,
bodyPerc, clap ] ]
WRSets: [ [ 1, 1 ], [ 1, 2 ], [ 1, 3 ], [ 1, 4 ], [ 1, 5 ], [ 2, 3 ], [ 2, 5 ],
[ 3, 4 ], [ 3, 5 ], [ 3, 7 ], [ 4, 5 ], [ 5, 6 ], [ 5, 12 ] ]
PCS: [ 0, 3, 4, 5, 7, 8, 9 ]
SPitch: 4 - Durs: med
Dynamics: mp-mf - DType: varied - DVAmount: aLot

Improvise: @ current, guitar I
Contrast: max - IStyle: over
Durs: short - RPeriods: long

Improvise: @ ________, ____________
Complement: all

(f. v. 2)

3:36
Improvise: @ _____, _______
Complement: all - Durs: short
Dynamics: mp-mf - DType:
consistent - DVAmount: none

2:46 Affect = frenetic - NArray: [ sh, tthok, lipPop, t, k, p, s ]
PCS: [ [ 0, 1, 2, 4, 5, 6, 7, 10, 11 ], [ 0, 2, 4, 6, 8, 10 ] ]
RPeriods: med - Dynamics: mp-mf - DType: varied
DVAmount: a little
2:24
Affect: frenetic - PCS: [ [ 0, 2, 3, 5, 6, 8, 9, 11 ] ]
Durs: med - Dynamics: ppp-fff
DType: consistent - DVAmount: none
Text: [ eh, oo, ah, ih, oh, aw, ee ][ sh, th, ch, h, k, m, n, s, t ]

(f. v. 3)
(m. v.)

2:00
REST

(vln 1)

2:04
REST

(vln 2)

2:14
REST
2:17
Affect: frenetic - PCS: [ [ 0, 2, 3, 5, 6, 8, 9, 11 ] ]
Durs: med - Dynamics: ppp-fff
DType: consistent - DVAmount: none
Text: [ eh, oo, ah, ih, oh, aw, ee ][ sh, th, ch, h, k, m, n, s, t ]

(vla)
(vc)

3:30
Improvise: @ ___________, any
Contrast: subtle
IStyle: around

2:30

3:32
Improvise: @ current, violin II
Complement: all

REST
2:50

(db.)

NArray: [ whistle, breath, bodyPerc, clap ]
WSet: [ 0, 2, 4, 6, 8, 10 ]
PS: [ 36, 38, 40, 42, 44, 56, 59, 60 ]
Durs: long - PLengths: med

2

TIME:

3:40

3:50

4:00

4:10

4:20

4:30

4:40

4:50

5:00

5:10

5:20

5:30

5:40

5:50

6:00

6:10

6:20

6:30

6:40

4:06
NArray: [ [ blowing, fngrClck, qBlow ], [ whistle, breath, bodyPerc, clap ] ]
WPCS: [ [ 0, 1, 3, 4, 8, 9, 11 ], [ 0, 2, 4, 6, 8, 10 ], [ 0, 2, 4, 6, 11 ], [ 0, 3, 4, 5, 7, 8, 9 ] ]
WPS: [ 72, 75.5, 77, 78, 80.5, 81.5, 83, 87 ] - PCS: [ 0, 1, 3, 4, 8, 9, 11 ]
Durs: med - PLengths: short

(flt)
(ob)

4:30

NArray: [ blowing, fngrClck, qBlow ]
Durs: random - PLengths: random
Dynamics: mp-mf - DType: varied
DVAmount: a little

(b. clar)

4:30

Affect: mixed - NArray: [ whistle, breath, bodyPerc, clap ]
WRSets: [[ 0, 5, 8, 13, 16, 21, 24, 29, 32 ], [ 0, 3, 4, 5, 7, 8, 9 ], [ 0, 1, 2, 3, 4, 6, 7, 8, 9, 10, 11 ], [ 0, 1, 3, 4, 8, 9,
11 ],[ 0, 5, 10, 15, 20 ], [ 0, 1, 3, 4, 8, 9, 11 ], [ 0, 2, 4, 6, 8, 10 ], [ 0, 3, 4, 5, 7, 8, 9 ] ]
Dynamics: ppp-fff - DType: varied - DVAmount: aLot

4:28
Affect: mixed - NArray: [ blowing, fngrClck, qBlow ]
RatioSets: [ 1, 4 ] - Durs: med
PLengths: med - Dynamics: p-f
DType: consistent - DVAmount: none

(bssn)
(gt 1)
(gt 2)

5:24
REST
4:20

(f. v. 1)

Improvise: @ present, f singer 2
Complement: all - Durs: long
Dynamics: p-f - DType: consistent
DVAmount: none

(f. v. 2)
(f. v. 3)

5:09
NArray: [ whistle, breath, bodyPerc, clap ]
WRSets: List[ [ 1, 5 ] ] - SPitch: 7 - RatioSets: [ 2, 5 ]
Durs: random - PLengths: long - Dynamics: p-f
DType: consistent - DVAmount = none

6:26
NArray = [ zh, whistle ] - WRSets: [ 4, 5 ]
RatioSets: [ [ 4, 5 ], [ 3, 4 ], [ 1, 1 ] ]
PLengths: long - Dynamics: ppp-fff
DType: varied - DVAmount: a lot
OrdText: [ [ oo ], [ awm ], [ iht ], [ keh ], [ oo ],
[ hah ] ]

4:49
3:51

Improvise: @ _________, any
Complement: all - PLengths: med
Dynamics: p-f - DType: varied
DVAmount: a lot

REST

(m. v.)
4:25
Affect: frenetic
NArray: [ whistle, breath, bodyPerc, clap ]
WRSets: [ [ 3, 7 ], [ 5, 6 ] ]

(vln 1)

6:15
REST

4:28
Affect: calm
NArray: [ colLegno, woodBowTap, bowBhndBrdg ]
PS: [ 57, 60, 65, 69, 72, 77, 80, 85, 89, 92, 97, 100 ]
Durs: med - PLengths = long

(vln 2)
(vla)

4:54
REST

(vc)

4:57
Improvise: @ _________, any
Complement: all

(db.)

3:58
REST

3

TIME:

6:40

6:50

7:00

7:10

7:20

7:30

7:40

7:50

8:00

8:10

8:20

8:30

8:40

8:50

9:00

9:10

9:20

9:30

9:40

9:50

6:51

(flt)

10:00

10:10

10:20

10:30

10:40

10:17

Improvise: @ _________, any
Complement: all - Durs: short

REST
9:00
Improvise: @ ________, any
Complement: all - PLengths: random
RPeriods: long - Dynamics: mp-mf
DType: varied - DVAmount: a little

(ob)
(b. clar)

9:00
REST
6:43
Improvise: @ _______, _________
Complement: rhythm - RPeriods: long
Dynamics: ppp-fff - DType: varied
DVAmount: aLot

(bssn)
(gt 1)

8:31
REST
9:00

6:45

PCS: [ 0, 1, 3, 4, 6, 7, 9, 10 ]
Dynamics: p-f
DType: varied
DVAmount: a lot
9:00

REST

(gt 2)
7:34
NArray: [ sh, tthok, lipPop, t, k, p, s ]
PCS: [ 0, 3, 4, 8, 11 ]
Durs: short
PLengths: long

(f. v. 1)
(f. v. 2)

Improvise: @ present, guitar I
Contrast: max - IStyle: around
Durs: long - RPeriods: short

9:00
REST
10:17

(f. v. 3)

Improvise: @ present, f. singer 1 - Contrast: subtle IStyle:
around - Durs: long - PLengths: long
Dynamics: mp-mf - DType: varied
DVAmount: a lot

8:00
Afect: calm - NArray: [ [ sh, tthok, lipPop, t, k, p, s ], [ whistle, breath, bodyPerc, clap ] ]
SPitch: 5 - RatioSet: [ [ 3, 5 ], [ 1, 1 ], [ 3, 5 ], [ 1, 2 ], [ 4, 5 ] ]
WSet: [[ 1, 5 ], [ 3, 4 ], [ 5, 12 ], [ 1, 1 ] ] - Durs: long
PLengths: random

(m. v.)

10:00
NArray: [ [ colLegno, woodBowTap, bowBhndBrdg ], [ whistle, breath, bodyPerc, clap ] ] WRSets: [ [ 1, 2 ], [ 4, 5 ] ]
SPitch:9 - RatioSets: [ [ 1, 3 ], [ 3, 4 ] ]
Durs: long - DType: varied - DVAmount: a little

(vln 1)
(vln 2)

7:09
REST
9:49

(vla)
(vc)

7:01
REST
7:08

(db.)

Improvise: @ _________, __________
Complement: rhythm

4

Improvise: @ __________, __________
Complement: rhythm
Durs: random
9:49
Affect: frenetic
PCSet: [ 0, 3.5, 5, 6, 8.5, 9.5, 11 ]
PLengths: random
RPeriods: random

TIME:

10:40-10:50-11:00-11:10-11:20-11:30-11:40-11:50-12:00-12:10-12:20-12:30-12:40-12:50-13:00-13:10-13:20-13:30-13:40-13:50-14:00-14:10-14:20-14:30-14:40-14:50-15:00-15:10-15:20-15:30-15:40

(flt)
(ob)
(b. clar)
(bssn)
13:30

(gt 1)

Improvise: @ _______, ___________
Contrast: subtle - IStyle: around
12:00

(gt 2)
(f. v. 1)
(f. v. 2)

Improvise: @ present, guitar I
Complement: all - RPeriods: short
10:48
Improvise: @ _________, __________
Complement: pitch - Durs: long
PLengths: long - Dynamics: p-f
RPeriods: med - DType: consistent
DVAmount: none

(f. v. 3)
(m. v.)

15:20

12:00
Affect: frenetic - NArray: [ whistle, breath, bodyPerc, clap ]
WRSets: List[ [ 5, 6 ], [ 1, 5 ], [ 4, 5 ] ]
RatioSets: List[ [ 1, 1 ], [ 5, 6 ], [ 2, 3 ] ]
RPeriods: short

Improvise: @ _________, _________
Contrast: max - IStyle: around
Durs: random
RPeriods: med

(vln 1)
(vln 2)
(vla)
(vc)
(db.)

12:51
REST

5

TIME:

15:40-15:50-16:00-16:10-16:20-16:30-16:40-16:50-17:00-17:10-17:20-17:30-17:40-17:50-18:00-18:10-18:20-18:30-18:40-18:50-19:00-19:10-19:20-19:30-19:40-19:50-20:00-20:10-20:20-20:30-20:40

(flt)

18:00

REST

(ob)

18:00

NArray: [blowing, fngrClck, qBlow]

(b. clar)

18:00

NArray: [ w, r, y ]
Durs: med
PLengths: long
RPeriods: random

18:00

REST

(gt 1)

18:00

REST

(gt 2)

18:00

NArray:[ breath, bodyPerc, clap ]
PLengths: short - RPeriods: med
Dynamics: p-f - DType: varied
DVAmount: a little

(f. v. 1)

18:00

NArray: [ breath, bodyPerc, clap ]
PLengths: long - Dynamics: mp-mf
DType: varied
DVAmount: a lot

(f. v. 2)

18:00

NArray: [ 'sh','tthok','lipPop','t','k', 'p', 's' ]
Durs: long

(bssn)

(f. v. 3)

18:00

(m. v.)

20:00

Affect: calm - PCS: [ 0, 2, 3, 5, 6, 7, 8, 10 ]
Durs: short - PLengths: long
RPeriods: long - Dynamics: ppp-fff
DType: consistent

20:00

Improvise: @ ________, ________
Contrast: max - IStyle: over
Durs: med - PLengths: med
Dynamics: ppp-fff - DType: varied
DVAmount: a lot

20:00

Affect: mixed
NArray: [ bdyTap, sideBdyTap, fngrTap ]
PCS: [ 0, 2, 3, 4, 5, 7, 9, 10 ], [ 0, 5, 7, 9 ], [ 0, 4,
8, 9, 14, 18 ] ]
Durs: random - RPeriods: med

20:00

NArray: [ [ sh, tthok, lipPop, t, k, p, s ], [ whistle, breath,
bodyPerc, clap ] ] - WPS: [ 72, 74, 75, 76, 77, 78, 79, 80, 81, 82,
83 ] - RatioSets: [ [ 2, 5 ], [ 2, 5 ], [ 3, 4 ], [ 3, 5 ], [ 1, 3 ] ] Durs: med - PLengths: short - RPeriods: med
Dynamics: mp-mf - DType: varied - DVAmount: a lot

20:00
REST

REST

18:00 NArray: [ sh, th, ch, h, k, m, n, s, t ]
RPeriods = random

(vln 1)

18:00

REST

(vln 2)

18:00

NArray: [ breath, bodyPerc, clap ]

20:00

Improvise: @ _________, any
Complement: all

20:00
Improvise: @ _________, _______
Contrast: max - IStyle: over

(vla)

18:00

NArray: [ sh, th, ch, h, k, m, n, s, t ]
PLengths: random
RPeriods: long

(vc)

18:00

REST

(db.)

18:00

NArray: [ breath, bodyPerc, clap ]
Durs: short - PLengths: med
Dynamics: mp-mf - DType: varied
DVAmount: a little

6

20:00

20:00

PCS: [ [ 0, 4.5, 6, 7.5, 10.5, 0, 1.5 ], [ 0, 6 ], List[ 0, 2, 7, 11 ], [ 0,
2, 3, 5, 6, 8, 9, 11 ] ]
PLengths: med - RPeriods: long

Improvise: @ present, viola
IStyle: around - PLengths: random - Dynamics: p-f
DType: varied - DVAmount: a little

TIME:

(flt)

20:40-20:50-21:00-21:10-21:20-21:30-21:40-21:50-22:00-22:10-22:20-22:30-22:40-22:50-23:00-23:10-23:20-23:30-23:40-23:50-24:00-24:10-24:20-24:30-24:40-24:50-25:00-25:10-25:20-25:30
22:06
Affect: calm
NArray: [ [ blowing, fngrClck, qBlow ], [ whistle, breath, bodyPerc, clap ] ]
WPCS: [ [ 0, 1, 3, 4, 8, 9, 11 ], [ 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11 ], [ 0, 2, 4, 6, 8 ], [ 0, 1.5, 4.5, 6, 7.5, 10.5 ] ]
Durs: short

23:42
REST
24:26

(ob)

Improvise: @ _________, any
Complement: pitch - Durs: random - RPeriods: long
Dynamics: ppp-fff - DType: consistent - DVAmount: none

(b. clar)
(bssn)

24:17
REST
22:06
Affect: frenetic - SPitch:0
RatioSets: [ [ 3, 4 ], [ 2, 5 ], [ 1, 3 ], [ 5, 6 ], [ 3, 5 ] ]
Durs: long - RPeriods: med - Dynamics: mp-mf
DType: varied - DVAmount: a little

24:04
Improvise: @ present, oboe
Contrast: subtle - IStyle: around
Durs: med - PLengths: long
25:00

(gt 1)
(gt 2)
(f. v. 1)

25:00
REST

22:19
REST
23:20
Affect: mixed - NArray: [ whistle, breath, bodyPerc, clap ]
WRSets: [ [ 1, 3 ], [ 2, 3 ], [ 1, 1 ], [ 3, 5 ], [ 3, 4 ] ]
RatioSets: [ [ 1, 3 ], [ 2, 3 ], [ 1, 1 ], [ 3, 5 ], [ 3, 4 ], [ 2, 5 ] ]
Dynamics: ppp-fff - DType: varied
DVAmount: a lot

(f. v. 2)
(f. v. 3)

NArray: [ [ bdyTap, sideBdyTap, fngrTap ], [ whistle, breath,
bodyPerc, clap ] ]
WRSets: [ [ 1, 1 ], [ 1, 2 ], [ 1, 3 ], [ 1, 4 ], [ 1, 5 ], [ 2, 3 ], [ 2, 5 ], [ 3,
4 ], [ 3, 5 ], [ 3, 7 ], [ 4, 5 ], [ 5, 6 ], [ 5, 12 ] ]
RatioSets: [ [ 1, 1 ], [ 1, 2 ], [ 1, 3 ], [ 1, 4 ], [ 1, 5 ], [ 2, 3 ], [ 2, 5 ],
[ 3, 4 ], [ 3, 5 ], [ 3, 7 ], [ 4, 5 ], [ 5, 6 ], [ 5, 12 ] ]
SPitch: 9 - Durs: random - RPeriods: random

22:30
NArray = [ zh, whistle ] - WSPitch: 5
WRSets: [ [ 1, 1 ], [ 1, 2 ], [ 2, 3 ], [ 3, 7 ] ]
SPitch: 5 - RatioSets: [ [ 1, 1 ], [ 1, 2 ], [ 2, 3 ], [ 3, 7 ], [ 3, 4 ], [ 1, 2 ], [ 1,
3 ] ] - RPeriods: med

25:00
REST

23:20
Affect: frenetic
NArray: [ whistle, breath, bodyPerc, clap ]
WSet: [ 0, 3, 5, 6, 10, 13, 15, 16, 20 ] ]

(m. v.)

23:45
PCS: [ [ 0, 2, 4, 6, 8, 10 ], [ 0, 4.5, 6, 7.5, 10.5, 0, 1.5 ], [ 0, 4.5, 6, 7.5, 10.5, 0, 1.5 ],
[ 0, 3.75, 6, 6.75, 8.25, 9, 11.25 ], List[ 0, 4, 6, 11, 13 ] ]
RPeriods: random

(vln 1)
22:51

(vln 2)

Improvise: @ present, any
Contrast: max - IStyle: around
23:45

(vla)
(vc)
(db.)

Improvise: @ __________, any
Contrast: max - IStyle: around
22:51
Affect: mixed
RatioSets: [ [ 1, 1 ], [ 1, 2 ], [ 1, 3 ], [ 1, 4 ], [ 1, 5 ], [ 2, 3 ], [ 2, 5 ],
[ 3, 4 ], [ 3, 5 ], [ 3, 7 ], [ 4, 5 ], [ 5, 6 ], [ 5, 12 ] ]
Durs: long - DType: consistent - DVAmount: none

24:02
Improvise: @ present, violin I
Complement: pitch - Durs: long - RPeriods: med
DType: consistent - DVAmount: none

25:02
Improvise: @ present, violin II
Complement: all

22:56
Improvise: @ __________, __________
Contrast: subtle - IStyle: around

7

TIME:

25:30-25:40-25:50-26:00-26:10-26:20-26:30-26:40-26:50-27:00-27:10-27:20-27:30-27:40-27:50-28:00-28:10-28:20-28:30-28:40-28:50-29:00-29:10-29:20-29:30-29:40-29:50-30:00

(flt)

26:13

29:15

NArray: [ whistle, breath, bodyPerc, clap ]
WRSet: [ 0, 3 ]

(ob)

REST

26:21
REST
29:37

(b. clar)
(bssn)

Improvise: @ present,
basson
Contrast: subtle
IStyle: around
Durs: random
PLengths: short

26:30
REST

(gt 1)

26:15
REST
27:30

(gt 2)
26:42

(f. v. 1)

29:23

Improvise: @ _________, _________
Complement: pitch
PLengths: long
RPeriods: long

REST
28:45
Affect: frenetic
PCS: [ 0, 1, 3, 4, 8, 9, 11 ]
Durs: random
RPeriods: long
Text: [ eh, oo, ah, ih, oh, aw, ee ]+[ sh, th, ch, h, k, m, n, s, t ]

Improvise: @ _________, __________
Complement: all - Durs: short - PLengths: long
Dynamics: ppp-fff - DType: consistent - DVAmount: none

(f. v. 2)

27:46
REST

(f. v. 3)
25:33
NArray = [ [ sh, tthok, lipPop, t, k, p, s ], [ whistle, breath, bodyPerc, clap ] ]
WSet: [ 0, 1, 2, 4, 7, 8, 9, 10, 11 ]
PS = [ 48, 51, 52, 53, 55, 56, 57 ]
Durs: long - PLengths: med - Dynamics: mp-mf
DType: consistent - DVAmount: none

(m. v.)
(vln 1)
(vln 2)

Improvise: @ __________, any
Contrast: subtle - IStyle: around

Improvise: @ _________, ________
Complement: all

27:48

28:37

Improvise: @ _________, any
Contrast: subtle - IStyle: over

Improvise: @ _________, any
Contrast: subtle - IStyle: over
28:35

26:54
REST

8

29:18 Affect: frenetic
NArray: [ zh, whistle ]
WRSets: [ [ 5, 6 ] ]
RatioSets: [ [ 5, 6 ], [ 2, 5 ], [ 5, 12 ], [ 4, 5 ], [ 3, 5 ] ]
RPeriods: long

Improvise: @ present, cello
Complement: pitch

26:49

25:35
Affect: mixed - NArray: [ scratchTone, whistle ]
WRSets: [[1,4], [2,3]]
RPeriods: short - Dynamics: mp-mf
DType: consistent - DVAmount: none

Improvise: @ _________, any
Contrast: subtle - IStyle: around
PLengths: med - RPeriods: random
Dynamics: mp-mf DType: consistent

Improvise: @ _________, any
Contrast: max - IStyle: over

25:32

(db.)

Improvise: @ _________, any
Contrast: subtle - IStyle: around - Durs: random
PLengths: med - RPeriods: random

29:06

26:02

(vc)

29:27

26:52

REST

(vla)

27:51

26:53
REST

Affect: calm
NArray: [ whistle, breath, bodyPerc, clap ]
WRSets: [ [ 3, 5 ], [ 3, 4 ], [ 1, 5 ], [ 3, 7 ], [ 1, 4 ] ]
RatioSets: [ [ 3, 5 ], [ 3, 4 ], [ 1, 5 ], [ 3, 7 ], [ 1, 4 ], [ 5, 12 ], [ 1, 2 ] ]
RPeriods: long

this page intentionally left blank

9

Flute

Oboe

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Bsn.

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! +#
!

(ff)+++

F.v.2

F.v.3

M.v.

Vln. I

! +#
#
"! +

(ff)+++

(ff)+++

- '((( ((
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!
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Vln. II

( (((
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Gtr. "!
F.v.1

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** From mm. 271-300, all players should rest as needed, avoiding long periods of rest (longer than 2-3 beats) and resting at the same time as others in their group.

!
Fl. ! #( 1( ( ( ,( ,( ( 1( (

1 ( , ( ( ( ,( ( 1(

#( ( (

! #( 1( ( ( ,( ,( ( 1( (

1 ( , ( ( ( ,( ( 1(

#( ( (

276

(fff)

Ob.

(fff)

B. Cl.

1(

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(fff)

Bsn.

- #( 1( ( ( ,( ,( ( 1( ( 1( ,( ( ( ,( ( 1( #( ( ( 1( ( ( ( ( ( ,( ( 1( ,( 1( ( ( #( ( ( 1( ,( ( ( 1( ( ( ( ( ( ( ( ( ( 1( ( ( ( #( ( ( ( ( ( ( ( ( ,( ( 1( ,( ( 1( ,( 1( ( ( ,( 1( ,( ( ( 1( #( #( ( ( 1( #( ( ( #( ( ( ( ,( ,( ( ( ( (
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!
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(fff)

Gtr.

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#( 1( ( ( ,( ,( ( 1( ( 1( ,( ( ( ,( ( 1(

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(fff)

F.v.2

! #( 1( ( ( ,( ,( ( 1( (
(fff)

F.v.3

1 ( , ( ( ( ,( ( 1(

#( ( (

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(fff)

M.v.

- #( 1( ( ( ,( ,( ( 1( ( 1( ,( ( ( ,( ( 1( #( ( ( 1( ( ( ( ( ( ,( ( 1( ,( 1( ( ( #( ( ( 1( ,( ( ( 1( ( ( ( ( ( ( ( ( ( 1( ( ( ( #( ( ( ( ( ( ( ( ( ,( ( 1( ,( ( 1( ,( 1( ( ( ,( 1( ,( ( ( 1( #( #( ( ( 1( #( ( ( #( ( ( ( ,( ,( ( ( ( (
(fff)

Vln. I

!
! #( 1( ( ( ,( ,( ( 1( ( 1 ( , ( ( ( ,( ( 1( #( ( ( 1 ( ( ( ( ( ( , ( ( 1( ,( 1( ( ( #( ( ( 1( ,( ( ( 1( ( ( ( ( ( ( ( ( ( 1( ( ( ( #( ( ( ( ( ( ( ( ( ,( ( 1( ,( ( 1( ,( 1( ( ( ,( 1( ,( ( ( 1( #( #( ( ( 1( #( ( ( #( ( ( ( ,( ,( ( ( ( (
(fff)

Vln. II

! #( 1( ( ( ,( ,( ( 1( (
(fff)

Vla.

Vc.

1 ( , ( ( ( ,( ( 1(

#( ( (

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! #( 1( ( ( ,( ,( ( 1( (
-

(fff)

Db.

- #( 1( ( ( ,( ,( ( 1( ( 1( ,( ( ( ,( ( 1( #( ( ( 1( ( ( ( ( ( ,( ( 1( ,( 1( ( ( #( ( ( 1( ,( ( ( 1( ( ( ( ( ( ( ( ( ( 1( ( ( ( #( ( ( ( ( ( ( ( ( ,( ( 1( ,( ( 1( ,( 1( ( ( ,( 1( ,( ( ( 1( #( #( ( ( 1( #( ( ( #( ( ( ( ,( ,( ( ( ( (
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(fff)

73

!
Fl. !
282

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#(

(fff)
Ob.

(((

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(fff)

B. Cl.

- ( ( 1( #( ( ( ( ( ( ( #( ( ( ,( ( 1( #( 1( ,( ( #( ( ,( ( ( ( ( ( 1( ( ( ( ( ( 1( ,( 1( ,( 1( ( ( #( ( ( ,( 1( ( 1( ( #( ( ,( ( ( ( 1( #( 1( ( ( ( ( #( ,( ( ( ( ( ( ( ( 1( ( #( ( ( ( ,( ( ( 1( ,( ( #( ( 1( ,( ( ,( ( ( 1( ( ( ( (
(fff)

Bsn.

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"
!
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(fff)

Gtr.

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(fff)

F.v.1

(fff)

F.v.2

!

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#(

(fff)
F.v.3

(((

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(fff)

M.v.

- ( ( 1( #( ( ( ( ( ( ( #( ( ( ,( ( 1( #( 1( ,( ( #( ( ,( ( ( ( ( ( 1( ( ( ( ( ( 1( ,( 1( ,( 1( ( ( #( ( ( ,( 1( ( 1( ( #( ( ,( ( ( ( 1( #( 1( ( ( ( ( #( ,( ( ( ( ( ( ( ( 1( ( #( ( ( ( ,( ( ( 1( ,( ( #( ( 1( ,( ( ,( ( ( 1( ( ( ( (

!
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(fff)

Vln. I

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Vln. II

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Vla.

Vc.

74

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Db.

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!
Fl. ! #( ( ( ( ( ( ( ( 1(

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! #( ( ( ( ( ( ( ( 1(

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288

(fff)

Ob.

(fff)

B. Cl.

( ( ( ( ( #( ( ( ( (
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(fff)

Bsn.

- #( ( ( ( ( ( ( ( 1( 1( ( ,( ( ( ( ( ( ( ( ( ( ( ( ( #( ( 1( ( ( ( ,( ( ( ( #( ( ( 1( 1( ( ( ( ( ,( ,( #( 1( 1( 1( ( ( #( ( ,( ( ( ( ,( ( 1( ,( ( #( ( #( ( ( ( ( ( ( 1( ( ( ( ( ( ,( ( #( 1( 1( #( ,( ( ,( ( ( #( ( ( ( ( ( ,( (
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(fff)

Gtr.

(fff)

Gtr.

F.v.1

"!

# ( ( ( ( ( ( ( ( 1(

1( ( ,( ( ( (

( ( ( ( ( #( ( ( ( (
#( ( ( (
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!
! #( ( ( ( ( ( ( ( 1( 1 ( ( , ( ( ( ( ( ( ( ( ( ( ( ( ( #( ( 1 ( ( ( ( , ( ( ( ( #( ( ( 1( 1 ( ( ( ( ( ,( , ( #( 1( 1 ( 1( ( ( #( ( ,( ( ( ( ,( ( 1 ( , ( ( #( ( #( ( ( ( ( ( ( 1 ( ( ( ( ( ( , ( ( #( 1 ( 1( #( , ( ( ,( ( ( #( ( ( ( ( ( ,( (
(fff)

(fff)

F.v.2

! #( ( ( ( ( ( ( ( 1( 1 ( ( , ( ( ( ( ( ( ( ( ( ( ( ( ( #( ( 1 ( ( ( ( , ( ( ( ( #( ( ( 1( 1 ( ( ( ( ( ,( , ( #( 1( 1 ( 1( ( ( #( ( ,( ( ( ( ,( ( 1 ( , ( ( #( ( #( ( ( ( ( ( ( 1 ( ( ( ( ( ( , ( ( #( 1 ( 1( #( , ( ( ,( ( ( #( ( ( ( ( ( ,( (
(fff)

F.v.3

"! #( ( ( ( ( ( ( ( 1( 1 ( ( , ( ( ( ( ( ( ( ( ( ( ( ( ( #( ( 1 ( ( ( ( , ( ( ( ( #( ( ( 1( 1 ( ( ( ( ( ,( , ( #( 1( 1 ( 1( ( ( #( ( ,( ( ( ( ,( ( 1 ( , ( ( #( ( #( ( ( ( ( ( ( 1 ( ( ( ( ( ( , ( ( #( 1 ( 1( #( , ( ( ,( ( ( #( ( ( ( ( ( ,( (
(fff)

M.v.

- #( ( ( ( ( ( ( ( 1( 1( ( ,( ( ( ( ( ( ( ( ( ( ( ( ( #( ( 1( ( ( ( ,( ( ( ( #( ( ( 1( 1( ( ( ( ( ,( ,( #( 1( 1( 1( ( ( #( ( ,( ( ( ( ,( ( 1( ,( ( #( ( #( ( ( ( ( ( ( 1( ( ( ( ( ( ,( ( #( 1( 1( #( ,( ( ,( ( ( #( ( ( ( ( ( ,( (

!
! #( ( ( ( ( ( ( ( 1( 1 ( ( , ( ( ( ( ( ( ( ( ( ( ( ( ( #( ( 1 ( ( ( ( , ( ( ( ( #( ( ( 1( 1 ( ( ( ( ( ,( , ( #( 1( 1 ( 1( ( ( #( ( ,( ( ( ( ,( ( 1 ( , ( ( #( ( #( ( ( ( ( ( ( 1 ( ( ( ( ( ( , ( ( #( 1 ( 1( #( , ( ( ,( ( ( #( ( ( ( ( ( ,( (
(fff)

Vln. I

(fff)

Vln. II

! #( ( ( ( ( ( ( ( 1(

1( ( ,( ( ( (

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1( ( ,( ( ( (

(fff)

Vla.

Vc.

-

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(fff)

Db.

- #( ( ( ( ( ( ( ( 1( 1( ( ,( ( ( ( ( ( ( ( ( ( ( ( ( #( ( 1( ( ( ( ,( ( ( ( #( ( ( 1( 1( ( ( ( ( ,( ,( #( 1( 1( 1( ( ( #( ( ,( ( ( ( ,( ( 1( ,( ( #( ( #( ( ( ( ( ( ( 1( ( ( ( ( ( ,( ( #( 1( 1( #( ,( ( ,( ( ( #( ( ( ( ( ( ,( (
"
(fff)

75

!
Fl. !
294

( ( ( 1( 1 ( , ( ( ( #(

(fff)
Ob.

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(
1( ( ,( ( ( #( 1( #( ( 1( ( ,( ,( #( ( (
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(fff)

B. Cl.

- ( ( ( 1( 1( ,( ( ( #( 1( ( ,( ( ( #( 1( #( 1( ( ,( 1( ( ,( ,( ( #( ( ( ( 1( ,( ( #( #( ( ( ( ( ( 1( ( ( ( 1( ( ,( ( ( ( #( ( ( ( ( #( ( ( ( ( 1( ( ( ( ( ( ( ( 1( #( ( ,( #( 1( ( 1( ,( ( ,( ( ( ( #( ( ( ( ( ( ( ( #( ( ,( 1( ( ( 1(
(fff)

Bsn.

- ( ( ( 1( 1( ,( ( ( #( 1( ( ,( ( ( #( 1( #( 1( ( ,( 1( ( ,( ,( ( #( ( ( ( 1( ,( ( #( #( ( ( ( ( ( 1( ( ( ( 1( ( ,( ( ( ( #( ( ( ( ( #( ( ( ( ( 1( ( ( ( ( ( ( ( 1( #( ( ,( #( 1( ( 1( ,( ( ,( ( ( ( #( ( ( ( ( ( ( ( #( ( ,( 1( ( ( 1(
"
!
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(fff)

Gtr.

(fff)

( ( ( 1( 1( ,( ( ( #(
Gtr. "!

( ( ( 1( (
#(
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1( ( ,( ( ( # ( 1( #( ( 1( ( ,( ,( # ( ( (
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!
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(fff)

F.v.1

(fff)

F.v.2

! ( ( ( 1( 1 ( , ( ( ( #( 1( ( ,( ( ( #( 1( #( 1 ( ( , ( 1( ( ,( ,( ( #( ( ( ( 1 ( , ( ( #( #( ( ( ( ( ( 1 ( ( ( ( 1( ( ,( ( ( ( #( ( ( ( ( #( ( ( ( ( 1 ( ( ( ( ( ( ( ( 1 ( #( ( , ( #( 1( ( 1 ( ,( ( ,( ( ( ( #( ( ( ( ( ( ( ( #( ( ,( 1( ( ( 1(
(fff)

F.v.3

"! ( ( ( 1( 1 ( , ( ( ( #( 1( ( ,( ( (
(fff)

M.v.

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#( 1 ( ( , ( 1( ( ,( ,( (

#( ( (
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( 1( ,(
( ( 1(

- ( ( ( 1( 1( ,( ( ( #( 1( ( ,( ( ( #( 1( #( 1( ( ,( 1( ( ,( ,( ( #( ( ( ( 1( ,( ( #( #( ( ( ( ( ( 1( ( ( ( 1( ( ,( ( ( ( #( ( ( ( ( #( ( ( ( ( 1( ( ( ( ( ( ( ( 1( #( ( ,( #( 1( ( 1( ,( ( ,( ( ( ( #( ( ( ( ( ( ( ( #( ( ,( 1( ( ( 1(

!
! ( ( ( 1( 1 ( , ( ( ( #( 1( ( ,( ( ( #( 1( #( 1 ( ( , ( 1( ( ,( ,( ( #( ( ( ( 1 ( , ( ( #( #( ( ( ( ( ( 1 ( ( ( ( 1( ( ,( ( ( ( #( ( ( ( ( #( ( ( ( ( 1 ( ( ( ( ( ( ( ( 1 ( #( ( , ( #( 1( ( 1 ( ,( ( ,( ( ( ( #( ( ( ( ( ( ( ( #( ( ,( 1( ( ( 1(
(fff)

Vln. I

(fff)

Vln. II

!

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(fff)
Vla.

Vc.

! ( ( ( 1( 1 ( , ( ( ( #( 1( ( ,( ( ( #( 1( #( 1 ( ( , ( 1( ( ,( ,( ( #( ( ( ( 1 ( , ( ( #( #( ( ( ( ( ( 1 ( ( ( ( 1( ( ,( ( ( ( #( ( ( ( ( #( ( ( ( ( 1 ( ( ( ( ( ( ( ( 1 ( #( ( , ( #( 1( ( 1 ( ,( ( ,( ( ( ( #( ( ( ( ( ( ( ( #( ( ,( 1( ( ( 1(
(fff)
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(fff)

Db.

76

( ( ( 1( (
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"
(fff)

!
Fl. !
300

( 1 ( ( ( 1( , (

(fff)
Ob.

1(

1( ,( (

,( ( #(

1( ( ,(

! ( 1 ( ( ( 1( , ( 1( 1 ( , ( ( ,( ( #( 1 ( ( , (

2
2

2
2

2
2

1( # %
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B. Cl.

2

2

2

2

!

(fff)

- ( 1( ( ( 1( ,( 1( 1( ,( ( ,( ( #( 1( ( ,(
Bsn. "
!
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2

2

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2

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2

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1( # %
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F.v.1

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2

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2

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2

ppp

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2

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(fff)

F.v.3

2

2

2

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ppp

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M.v.

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2

2

2

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2

!
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2

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2

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2

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2

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2

Vln. II

(fff)

Vla.

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2

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F.v.2

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2

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2

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2

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