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D614. 4 He FSI ASC AAS FR 5 CUP cH (2010) 9 063308 THE STUDY OF ORCHESTRATION by Samuel Adler Copyright © 2002, 1989, 1982 by W. W. Norton & Company, Inc. CHINESE SIMPLIFIED language edition published by CENTRAL CON- SERVATORY OF MUSIC PRESS, Copyright © 2010 ACMA HELA LISS LF: 01 - 2010 ~2450 & me & Ree RA (LA) ae FF RR BCT 2, PRR EB WRAL BO: eA AR: 787 x 1092 EAE 16 FF EDI, 35.5 + AER 23H ED A RS 2 20104ES ALAR = 2010 4F 5 HB 1 WED Aa) 1—2,,000 fit + ISBN 978 ~7 ~ 81096 ~347 ~3 220.00 56 (SEPM) at SREH CTR BEIM REEL AE RCT DUAR LAAT 43 BA: 100031. BAF: (O10) 66418248 66415711 (fe)PX hk mhesa 1987 FARK, RAGA, HES BS EE Be LH HE. PMB REET HA EIN, FSMD SEE AR BR + A AcE TET LAYS — AE EM AMARTH, BARR ER AE HE PABA HZ ARBOR ASEM, TRATED, FCA TTT. BL FEPT LEHR . 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BEBE Pte APF TE NARA GAG ERR TPR IR BETA AT VASP TH A SKI, SAS HH EP AEA, AAR GE EH OMT, PEMA SCRA BEA AT BER non vibraio, 2K senza vibrato, GLASS TL, AAS HEF RE Hat HA FS BEY, 18 SL IEE BS PK BASE — AUN 2 mR, AE CAB A GE Kb Sa es ae PE BE, DAM ARAD AVERITT (Hs a Te eR AI EI, BOT BR EAT A 14fe Fane A): BAA OO IG LE, 8 SRK, TB PETS Tes a SAK. HS SHS 783 ( Clissando) WE A — AGAIN ATS HR RA RATT, ME EK LR BASE, TR LN ET A, TEER “HR” (glissando HK gliss.), tA AIN. MAEM, MRTOTES AER, PL AHN eH OEE, BEAR eA SE, RATER bm baer F pea ah. DAE REPT AE BBR ARH Bic HE EES BE: BI2—14 HAR: CHIE) Bo], ‘Mouvement de valse viennoise ‘sur Sol — af espresif k. TER MH RWS AS, ORB, [Me [Feat 215 BRE: ¢ J+ 198 ue "plex py arco Spin anew 8 viet fo wes $e paises est pt a * ERS, MDE LHR. IBF ( Portamento) Gliss. CHZS) GARDE AR AUREL GET aliss. i Ay ANH BET RIE port. Bk portamento CHG). ZERORMAULT . PE ABLE RS APTI A ARIE SE TS JN 28 SAS RA EEN Dy SN, TE RRA > eA FBR MR. pore, HY BLTE SOAP AL, Pea BES AE TL Le WM TE I Hl se A TAT elise. MU Aas RSS A Ie HE AEA HEE SL LECH SOR SiR ERS LORE RES TAK EB, IBA ERA RUE MEAS, A a SK, MTA MEET IT, ARTI AERA ak be AS 15RREHA 26 BH E+E), BKK, BIST ~ 182 F: exe] ‘Tempo adagio 6h : f FHS FARR “PAR ESS” —— 26 98 FPN Ze He a PY a Ph Bae SR a Be MS. CAMBER “ASH IGIESS” (written - out glissando) , MESA BT ABE beth, FARE ACTS HE , AN 2—17, GARRET, BORE AY A BROT RE RLM — Ir, REBT SE.. W2A7 2H. (Hi xe), Boke, PH 2HF: was) Allegro moderato j_)M-2-G wth one finger va. ap 7 HERFNHA: Bartok, The Miraculous Mandarin, the first part Debussy, Ibéria, part 2, at 38] Mahler, Symphony No. 4, third movement, mm. 72 ~ 76 (glissando on more than one string) Ravel, La Valse, 3 mm, before [27] (glissando on more than one string) J.Schwanter, Aftertones of Infinity, mm. 18 ~24 R. Strauss, Till Eullenspiegel, mm. 205 ~209 (fingered glissando) eS RRA S AR DINE SARS MCTTIES oH, BRIA Seat AH SER ETS SS RS, RCNA AAS BLA 16 WLS ATTRA ERE FRA SARI, WON GET SSM ROSE, RES HIE HET FRI AOE ALE BOE BEET, SEALS AUR AEE DERE IES Eh A AY. ERS i Eb) th SRO BL «LAR (1747 ~ 1835) HOSEA, BRACES Ar a Pe: 1. St: K, WSR, MS EMT, GEAR, 2. Boe: Selma til 16Bok SaRe 3. SE: GRE. 4. SH: GI, WP RSES BITE, 5. BR: I, PES Ee SEM RIB ICE. YS EMCR RT, ALAS STL AUSTRIANS BR OH FA, SATO RS RAT A ET kc SSM RTE, EME S PRE SR, EEC REEMA DTRMEH TREE. MATE, RS an RE ASME SHR TUE ZIM, (HMA A, TOU RA, F Ra BPE SA A IE RET, AP PER SL Se 5 SPS a 3 “Qe” RAS SMR, SPR EN IS OOD, EAE, RS nite PRIS SZ ME POSE IE. HE, WAR, BADER Nie S ABTCSADAICHEM: MARES, MASKS SO; VRRES, BS Riel HGS EAB SRR ABBY TE SR BEB AT TT BW LL 4 Ab AEA I ATSB, I AT a DATUM ST STE L, SK, REE E B A — He AT RET HY Peat HEH YS fT — BB Pe BRAY BRA RU REE. SE PE, BAIN SA ie. Pe A RARE A AS LLP PEAS BRIE oe, Be AUB A 0 AEH (Non legato) TERS — AT PH EAR ES BER HY BEIM, AEA AS Oi ABI AL | NS oat SIPS, SPE AGH Be FAS FOE BOR Fe Pea D WEALRSRKALS (ASMESR, BASRESR). 7Ra H2AB Rim: (HUET) Nol, awe, Molto maestoso 1 poyay . 4 BELPER — BRE CL, TO IA RE RR ENG, Wa be CRA HODES ATT Hak — eH A LBS HORS AR, 385 (Legato) [ ce-now SES — EUR BR TERI, EAMONN Std, SORA | Sow ARES Him, MES (legato Fe “HELTER” AYE. A239 Hh: (HAR WH), HOKES, 1~ RNG: D=iART | Andante eon moto vv vin ving va De. FE MEDS PA BLN — EES A SEA: 1, BSAA S Cv) Ahi, RRR aCe bE TOPS ic Bn). 18,Boe SREB 2. ABA TL SAR EEA ES CR 2—19 Aaa HA) Rt, ER AA, OSE EE SiS. NEOUS AY EO, TiS WS REO LSA eA EO CCE POR OR BPE DIT HER) 3. ARS I TA, AE EAT PS, Ma | 2A—20 FD Ro RAG EMET—-TPSS—TESICS, Sa MAIER. FS BH FED, MEMES BAEK LAA PA BEAR HC) Nat. — BEAU IR Ie A 18, RSME RAE W220 RSH: CAERAR HY, H276~286 AH: Allegro 5 5 276 n vine 4. RAS ARE S ES Ry Ae RTA A, A FRAG RENE ABATS REA. BL, TATRA MH ALS, AGE SES 1 SO IT OE, HR, SA Se, dE BRA BRE Ski, PEM Ae A, (UREA, AA e ba FES — ROBE HN PEE bi BUT 5. REAR ER, DOPE RE EI ARR MET A AOA — 9 BY LIL AER JS RRR HAAR REAR, CRORES RES Et PBF ALB MT BD, ARETE LEE — SEH. A221 ER: (BORED, RHE, BIW ~ 388 OA: (eam) ang Allee —Bk JLTATIR, TREN — TALE. KSA hepa, Bik BH HERS 4 2-22 NBA: HORM), BORK, M461 ~ 464 AS; go — Allegro Be Spo aS tS ee te MEH Beh, RRMA, em, BRS sR ARTE. XE AE ARTY EW, BL HIS Se EA Fh SMR 28. fin, PT Fr BE AO SR Da) a Be a Sa J EY , DRAB 30 AN HAC FETREA Sh Be BE, W223 SHH: CHR ED, BI~34NH, mo ve tee (I 2—24 F225 HT OOAP ALTAR TR. AE RM, RIAA AMS, HET AEH — MELT ELS FRR OIE AR, I 2—25 BRA. 2-24 AHA: CHAM), RIO~ BIA, TAS Exe 20ae PERE W225 FH: (HRB, BIO SMAG, THM hate . ¢ Siesta ~ : Sntteee ” se RTA CME DZ, RASH S RRM, CRG RAR IE be FERH ARRAN E, URE RR STE. BOL S ROTA MTT, MT BDA TRIBE LAT HS AY A I RA RE XPT. SPAR EWES: MASI, —MERHNS Ri PRET ET BS Be, FRA TNH EE 5 BUA TT Ny EE EGP 1. BS RBA BERTIE: 2. BOMBS. EPRI ES AS IP EK 35 (Gk: Détaché) HERLTER— APF EAE Sr TAD, EAS OS WS SB AL He DTA YS RE (SNUB 18 HL). ROR akc LOTTA LER IY “SPS”, ICA IN AEE TS a PE MUIEZE MK, BRIBE BLACK ERIS. CER POR EE PR TERT , HPCSHP MEM LALA, ATR A, Bae TES RADII S | 226 BHAME: CF HRS AMT, B14 ~ 143 PH: [eam] Allegro glusto ne vet = frame Sores. of erese., te f cree 21RE HE AWE MRA BOR SET BER ADS RS, VSS SAE, Kei: FAS: (38; at the point; %; a punta d’arco; Yk; a la pointe; Mf; an der Spitze) , 2-27 BH: CRMRED, BRAK, BE~ I AA: eons 4 Allegro con tuoco punta d'arco FABR, (UN REBELS RHE BRA, Vy TRUST SARE Me a DWE ey, HWE: MSAL GH, ot the frog; HE: al tallone; #4: au talon; 78: am Frosch) , A228 HK: (PRRLERAH), "HM", BIV~ 29 dH: Andante ,, su talon tem ter. ge, ta £ 2RoE SREB A A OR, OPA JERE S aE. BASES ay tr FARA, STP S ZS A, FUL aB A aie, BI2—29 HAM: HAR HB), He KH, B 108~ 112 HH, Allegro molto vivace "oe vind ba AHES (5k: Louré; B: Portato) &. ASHE AE, DT Se ARR RA Mee, a [a] SEN TRIM, MARAT AR, MS RMA: BPEONAL PH RED RRR, FESS. FRAC 230 PONE TRAN So, WA 15 BB att Fp Ba FEAT, ES ICL FARA, 2-30 FAA: CRED, KA", HI ~ AY (AHS PRAARE): [eons Larghetto + Ayty —T vet vu. Comfort ye! vuvy [money ui bs, SSS dies tego tisess P 6 ose 6 6 gE WES (Staccato) “Staccato” HARARE “staccare”, GAIFRAPIT, MP SRIRATT A, “staccato” 32 BREE SAA AINRR, SMA: AREA Fae RA IMS FL 23BB ae FEAR, ES Ze Pe A BE RAY, BS AY Fy BT A RR, SUR, WTAE CP AE PRS. AER RA CEI EAE. RRS c-noOm ALTA DROSS ATK (231 M236). Scere Gow 2-31 Bs .D [eam] Moderato vn or e FPS PEE aa TAR, DA Se AC AF 2-32 AMS MW TM PP eas co-hOM OPES AIL 5 SAB ADIT A RUPEE GH 2—33, 2— | Sess create 34, 2-35), 2B #HS: (ernie) (EON FORRES HB, SRR RR SE SARA ANIL, (EWS Me aE PF I OE, PA SEZ Bas W234 WHE: CL RRR), BO KH [ISS]: CO1TRIS d-7 (atthe pint rete vy muvy SSeS D HMA Hab, WHER ADTEE 24Rae Bane SETS 1 Sh a aba A FTE 1 iat S Tel lL), eave, TTA gly | TE, (ESR, ZOE S ATES EF. Ue ST BR, SURE BT ESE (ELE SR WS BC Bi 285 MAH: (SHEMET HS, oR, [A]: [corr] J=0 3 2. WORT, BATRA, UA a OER, HTS RHE. KEBLE, RTE S Debotte nS Rab sent, ETL RS ho WT GAAS HIG eS We EH TT, PEM ACAT AEP AE EI LE LOR ARGU, RUAN: Le . TFS bei AH HB hn far 2-36 fh: CERALEA)D, “HF”, & Tempo; Assai moderato 2/5 % 27 NF: =A J=88 . vom vn be Ist time gf 2d time pp y 5 sim. ip 2 TERR HERTS Hr BR Re ie a), Dy — SE BR A BE AS Ta BFS PM. OA BARON ES , TIEN BES ALBHBES (spiccato uy saltando) ——3& DNASE CEES BI BERK DS A HM ABR HEP IMR: Stravinsky, Orpheus, “Pas de deus,” at {109) BBS (5k: Martele; H: Martellato &# Marcato) a BRIA el BRT”. AES RR, “EARP AEBS IN, | Se DSR, VAGUS “FREE” (sforeando) MO RCR. HTS AT FEES aE AT FBT: TES RM, PABST SH h. IES RK, REPEATS IA ABA EL — Ut Ab ABR A — AMT PE RSF 9 — mavens, fot OF, 25Rake 2-37 FORA: PAR), BARE, H52~ SK: Lively : 3 me ges al § EPEAT AE S RU TERRSK NGS te GR (H: Spiccato) ACR MRA, RAI T SHANE Sk, F251 BES ( Conscious Spiccato) TE TORT EIDE BE, BAT REREAD. TUK TERR, TR FT BE TD iP OH Le HLM ALE DE he CEREAL RE HMMA AL PER RS A I A EE TER FRE BES ( Wngi]2—38 RAR) EE ABS 2-38 HA HR. CHAR), Bw] BAe FARES (Saltando, LPRABES ) [ena He /MBSPRIS RE BED, BIE AE DFE BRE A OS HE. RHEE | Stone spn FS BIE, CES 1 — i fabs A Fe AB PR RCA BK SE GK, IRAE NESE BABAZ. 230 RABABA: (RUBE, R— KHL): (eon) 263EBES ( Slurred Spiccato) DIF REPLIBAR T th 5 eH) NES EE. W240 YH: (eORHH), B-KR, GI~II AH, HEFIAR: Beethoven, Symphony No.1, second movement, mm. 154 ~ 156 (conscious spiccato) Rossini, William Tell, Overture, mm. 336 ~ 343 (spontaneous spiccato) #5 GE: Jeté; B: Ricochet) =| HES LSS A PKL, ES TSM EK, IPF 2-H STREET. MSH SS my Fives, ek, EMPRRIAT UH Sez, EE, BRAM A -SHRARMN TSO, MIMS RMA PUK, wR RRC ARMS, FETA BUTA S AM KBR FMB. WN ee OT BE SARKES SMM, AHARSARG RES S howe, ate DEERE EA ee PF fc BH Es HA W241 SHS HRA: CORT MRG), BERR, BI9~ 22 HT (RMR Ont Sk BHAT) + (convinz) Vivo = 27RR HE A242 YRRARS. RARE, BORK, BOTW IH (eae) = 144 “7, EFA: Rimsky -Korsakov, Capriecio espagnol, fifth movement, mm.89 ~ 96 Stravinsky, The Firebird ballet, from m.30 on BBEBS (Arpeggiando) fa= | ASS AAI PO, RPS AREER NDTIS | Seaman AI. Ce TNE, ME ROUEN EET 1243 / rao" 08 {AAEM EAE Yh PPS, ERE HE RAE GK, ATT A RB ACE EBS. DOMES RR BEIT SRR ARE SR in, SB 2— 44 “EE FE I BE CIA A ARR CPA «ALBA CRITI ARE AY PRE)» 244 AAS CMR), BRE, HIB ~336 NG: ate Allegro molto S PROTA = seu LEE BRET ¥ =e se = * pace a poco dinin: 93 % Recdidechn = = 28Bie SRRB BLP AE Ah BEE RIS BE WH (Trills) = SOE ALPE, APLAR ENT PHT RR AR. EFL | Sa AOS FUE MG PARK SRAM ve ERK, el EE Hs a RAY fe AR He RC EA, PRA FEIN AL, RAE ANTE MB HERS LRT, ERA RAH AR Ee mb ae BORAGE REESE, RS BS Be EAE ee BPA AIMEE PAIN ER HRP AEE DIEM, EOE A — SA TEA, PE HKALE TRAE REL FE LER. RET Be ETE AY 1K. 245 MAH: CERSRM), KERRI): 29RaeKE (Tremolos) HAART, SORAAEHRE, 33H (Bowed Tremolo) ARETE, HE. PHENYL FSR aT Re te a ES A. CEE 2—46 Hh, BAR SEA FARE BS — ROS BU M245 RAH: (LMG), “KHER, MIW~SI DT: Allegro agitato (J = 80) ro . “ vn Z ar SUE REA LA CR). ALY CATACH) AU AR HY (G NPE DEH) BAF. FIRMA (Fingered Tremolo) AR RK ATE, AMPA. PER A EE 0 - ROM APPR (AL, SLRS Be OO RE FEN BO BEE TY MOE HE BR, UMTS EAE. W247 BRA CAH), HEE): ModéréH-e FREER Ait, FAAP PPR A He, OR, BER UT HES IAR: Berlioz, Symphonie fantastique, first movement, at [5] Bizet, Carmen, Overture, at Andante moderato Debussy, Nocturnes, “Sirénes,” at {I] Dvorak, Cello Concerto, at 1, violas Prokofiev, Scythian suite, at [40] (bowed tremolos in the violins and violas); at [43] (fin- gered tremolos in the violas) Stravinsky, The firebirds ballet, beginning of the Finale SRO RUN ERR DRS CAH Bet, EAE I LE). ANE AOR SHOE RAPE. GI 2—48 BEART eRe ELIE Wat; Gl 2—49 FUE RE Be, ERR T RP CIE. 42a -g Gee go pE-pm ga-e A249 Kish: (MBNA LAD, “HW, HII~I2 DA: ag A BARA 0 RF AN BR BK Ee A, [=row A] 2—S0 PR, 31RARE W250 #- SASS. (H-RHA), S—KR, AEM AEH [eam ‘Moderato (J. = 54) SAEEIET LFE 5 a5} 5 we SS e Mie ATRER EH, SSMS FILTER EMERY FS TRAAMMAAAERE, MASTS CHER, PEFR LIRS (HH: Sul tasto; i: sur touch; fH: Am Griffbrett) Dy T BRA AA, EAE, RRO, Pe EAT LA ER ES FRRLES, MUO. 251 BMH: CPLA), % = 49/40] SO=VIRS dase ‘Sur la touche fespressifet doucement soutenu) P a ARIE “MFR” CGlautando) BUN “FEHRLE” (sul casio) BY, BAER MY MET AE HRERRLES. WANES, SRR RARER EZ. PKFIAN: Debussy, Prélude 2 “L’aprés - midi d'un faune,” mm.96 ~ 98 #35, 1S (MH: Sul ponticello; H: Au chevalet; #: Am Steg) APSR RAREES |, MEERA SSR AREAS ER EIES , BUTEA AOR eR BSR mT LF A A a eB a , SUN A. DEAR 32M282 FHA: (MM AAD, SH, Allegro (J = 144) ul pontiotlo v Pr CED LRRNARAR SES RARER AGC PRZVAN: R. Strauss, Sinfonia domestica (throughout) FAS HRB (BH: Col legno; : Avec le bois; fi; Mit Holz) ASP S FPA BR TT 1. GAPHIZS (Col legno tatto). HARARE, MES. AAAS PRL. ASTM RRO MARS Eh, BATA LAE A. RAM RORAT LRH, ATR AAR, WB 2—53 BRR, 2" Setiapne P2538 Se- MHH TR, CM Mw eRD [2], Sehr langsam exltegno Pe 2. SEPA (Col legno batuto) , BEANS TATE, ARS iNT, TART Tome RoAEHIRIN OF, Le RAtEAMnaEA, TH | Bie RT ALAIN, EM ERUPT BP UIE PH IRIEL, A2—S4 HUH: (HME), PHAR, Basa ~as5 pH: [earns] teg_tmbpen esis toad Parcet vt = ae va appara stow oe Tes bis de fe fee aiay pa 33ve? Da, TSI OAS”. “Sir aah” ah “ARS Le” RRR, ater a ERLE RM SLM _L “normale”, “naturale” ge “in modo ordinario”, #636 FAB ALi P, ARE TABEX “natural” (PEM ARATE A His PARRA) HESENHK: Mahler, Symphony No.1, third movement, mm. 135 ~ 137 AR EE SBS BERR WX (Pizzicato) AAOURERENTRB ER MAREK, RAMA “IE” (pizzicato) , SUE FA SAE HR. RARE WEEE ANAL aL MES ET SM THe a A, PARE, AR EE OH I GAT, Te AS. (— HE RPRERRA LARA A SEE TS.) LRRD, FOB REF BF RRS SEL ZA, SPR, WET A A A — A FG ESE IE SEALERS) AA ik BS Ja fi) FES TS i HA PAOD A BGR Aa Le, LAA eS em BE HY ST SRODAAREOR ARABIA T RS MOR AT SETA, PR FRR, REHEAT TE EP PREY, STE TS TE TR SOR, TE AME ih HAR FAA BR, AMAIA “pine” QV LEAP RRHPERETAGAS REM, POMS LR NS” (arco). AT KMRE, EE AUTEN Tad PNR, Zea EET Tl a RE SS RAE IS ALR MT "PRB BF A EE AAAI A ALO HT Tad HE RT TE, (EAT EEL, 34Boe Sane Pate ARS EIR SO GEE AUREL Ae PRIS HS TTR MRE, BABS ARK PRE, RZ, MRSLERMRLARA HARE MALLS ATLA BIA SAL, UMW REAR RIS. Mot, ROHS FR RHE, LULA Tal FE te IAL A LAE Ta Pee Ee aR, WRATMHS TRISH, Mice SM. W285 HT: (HAH): BORK, MI~IT AT: Adnglo Fe : sing. poco 8 pocoREAR ZEFUB (Left - Hand Pizzicato) FUT RAE, BORAT AE ARE PE, Be (+) HE La, WRATH TFHRRK, Roo, ReRsRs, FUME, JUNG, WR — HEE. ROL, RR TNFR ARR TTR, lee, WF iia: 2-86 FRR: sceato pis. pizn par. pie AMR EE OEP, BRAS “HBS” 28th, a WEe A HT; SiR CH, SHRP, HRS EB. 2-87 KEK: (RERADUR), MERK, HSA~SO NE Alla bulgarese i ‘tempo, $jRBIF AWS (Snap or Fingernail Pizzicato) PARE TRA 20 HM ORT, SST CATE ARR HRRANCTES, LARA RS RAR, RS ERR SOMA LA. MAREN S, EK. OEP, pia, —- Da] +12 0) LA 3 FL He Se he He, NH ase A Hk RS A FETE HEALF OP, ping, HAS HY BL, Wy SE ACHE De oh wR aR Bw ae fib. 36Bit Saw 2-8 CHM (MMEAUER), RUKH, HS6~63 A, [eaare] 56, Allegretto BAN ( Pizzicato Chords) o0- ROW SPE ARRAS LAT PCI HEY CWI ARTE “non ampegg.”), | Receno cone, SUNT URES A, RSA TL NAR Se 1 FHA Ta a HI ARI EM, PO PR AOR, CEREAL, PEAR RTE “non arpegg.” . LA Fis BRAS F ABFA sk AR, (uaa a bE PUR AGK, SRA Fb eh EB PSM, DERI, RRS, SMe MS) |. Ate Le W289 Re AH; 37BRLER ANSyit LALA “quasi chitarra” a “a la chitarra” (ANPFABALAN) , BRATCAUIL Ly dn AkbRIES A260 ES: CAME), MERE, HS~O NT, [oar] accel al Prosto (J c. 134-146) punta d'arco vn = ul the bow aside pattie tow se lez -P 4 fumpre sim. Fin. ‘put the Bow aside _ Ba sempre xn. on EMC, ee AUG BE 1 Hes BEAN A TH ELAR AP A OP EB BG CARAT » — HEIR RE A BO A ESS, BH A RRAWRAHR, ATM. RW, BME, ARBs SANE RE PRES IE ZIRE EE, FT UA BN DS ae A CATR HR Bi fet — 4 “EE BE HE iH AY AC SATB, TARE HT 89 TRILTE A261 AAAS: (HOH), HERB, I~ ITA: (eam) 1 plarioato sempre. P pizricato sempre pizzlcato som Dizaieato sempre Pirzicato sempre P —— 38Bie Thee RAAHKEWAT, TS eM (A HA) MAR; RHF (Foote) ity CE APRA) AUER CR CALIE) ASB ARSP. EAT RRBAR— BRE, RMP OTS MBS. WT Rm MR RTM, ANS ke i LA ER, BTR “let vi- brate” (vib. 3 Lv.) ANAS “pize.” REBAR “MRA. “RPSEAY” IRE, A262 RKB: CMO), BORK, KING: Adagio ()= 60) | vm pee nb v2 ve 39RBea 33 PF a FARE (HB: Con sordino; i: Avec sourdine; {M; mit Dampfer) SANK RAT LAA. SREB AEAL, RAEI ERA “con sordi- no” ( “APRGEEAR”). ZERBHE Wba AUC, BEBE PH RAMDAC Hea a aE WES, PURO — seth, MARI ASEAN, OFAN, YA ANS ae ae FER BEAN RGAE, RAS) OE FP RAY Hy BLADE SE ALY, LSAT AT BE OFS RE BOTA ARE tes RB AE HS BF BE BN SB SOP OEE SH BEES — a EE RPL SECC AD TK, PH Re ARC RR BN EA. AR MIF TS BE HB BRU, AES R Ra AY a i 4 2-63 fh: (REA), He, BI~21 Aa: (eam @HBAR (EH: Senza sordino; jk: Sans sourdine; #: Ohne Dampfer) GE BAG NS EE TMS Ls, LR BE RUT Le SIT ES . PLE RAAT, ERNE EE POLY RRAEE b PAIR TR SE OHNE BEEN YS EE BLE 40Hie SRB SOE, MEMBAIE , BRAN TE AEE RRC RUE Tal REE RL SATU LMT, RRA DAE RAAT AARP RBER, RHEE AN BPR, EMU ti 2—63 MAR, 4 PREMARMOARAM, LARS WYN BEE AUR FE BSE. ASK 5E SK (Scordatura) FT ONE RA BOR, RAH PISA AAR, FAT RR BR ADS ek OT DACRE. BOREIOY “ARHEREIK”, —(MEOW “TR HEM SUE IR” WBA RIE, AEG OT LAW HA REDE, UME TNA ANP I BE AL 17 HES, ee ROUTE DBR HEAR UH BIT EMI. AMR AMG VL Be OR SRR Ar SE EB Bo EAE UAE , PE ACR A AE AT ASABE 3 GT BASH AF AE a as ARR GY SE BR «WRG BE A, EH RENAN eB HE ESE Sa FAL AF HOD i] LA Hh HR IA SET, ABELLA “accord” ak “accordatura” fF HbA. UP Sb eB A SE TK ES Bs 2-64 AB: CHEM), HGH IS~ 3 NE eR ae f BEM “0” ZORAISRR A265 SH: (HMR, MOSK, HO~ 18 HYD ie comehtenerboneeng EK ohne Hast - $e ae 4 so aS Fre = TO es >. ee : Z Pe = ——st == er UD DAT MEE HARTI SE, Se AOR RS AL a A a eH tA. 41RAE 2-66 HN KME: CHAK): ede: TESTERS IE CARL) UEATEAL, PAAR EORASERE IE A RE Ch, LUMA DL WSR ANG. URAL A ERA, kA CER. TEDBINSIAT , DRE REPEL AD, CAE SE AO FOOT LTE Ae “BRET “ARE” EPR SAR — TRE PRY SO RIK ONT, MO RUBE EDR Op AY RSME TBE, ANA R, ER, (RCE, EER RE RSL AE ERE. GIN, PREETI D> APE? —B?, TE OSP EH D CUBE. AEBEALAE CME E CUZCO BIE AN) CK. 364) RP AE AR ERB A} BA AT LORE A, ORS PRCT I Ay J A FA) AU AH EB RAE RB SP, BO RES DE SAE HR TE HAST iz OF (3: Harmonics; %&; Armoniciy %: Harmoniques; 4%: Flageolettone %. Flageolet) HES, RUKH, REPS, RAP RTL BRL, HAR RRET ERE ATR a BR RAR Wy“ BREE" I , BOM RAR NATIE RE” EE. AREA (Natural Harmonics) ESR SE EE AE HS LFA a, OR OTE Bio GREPENT RRA “ZR” BME", MOF ATR: W267 CHEHEHEA: DO WR ees (RR) AAI MP i MMT NR, SOE AE ST SULIT, (UE, PAO ARR), 42Rok FaRB ‘(01 327 RF BSE — RR EY 8 EF He 0 — tk, ROMER “A” BORE” GR SA") RA SIME CBRE RAH) WRG RATER LAE RRA, ERT RRM Ee TR, BAA SE ER PAL, PERE ERR LE aE MESA AS MK. BN, PARTE RAE A GROK HLS EZ AA EE Bex at, BEAR AELL T. EMOTE LDR AE, Ae eam SOSA (2: 1), WIL, RRS RAMAN RRR AOR TSE AME BATE, SERCH Fa] — SE ABAT LL Ben BE AEE BRIE AT A a PE; 2-68 HEE: 2-68 IM AMATHR GAC — TERT), BAC UR RE. WO (ERRORS) HMA PRE RRA EE ERR, ADE RRS ORE A te HOLS i] 2—69 B2—72 HEAR TEE ARIAT Ph ET EE 1, SBS: MOAR, ARP sae 2. BOA, SRR ZC, BU Pe — RE ABE a. A269 AEH, Boo: AMEE hie TRE MRE EGK, RHO ACR MBOR ECR, MBN AEX, RM ee 5 = 3. HSSME: Be RASS BA a, HARSH LEE > mH =e Hh. beara 2 hz aK Ka = A270 EKEF, REA AES ee KEE Gm HCH 25 Co aH: EMB 4. UU: KPA A a, Re fae th AE SZ a) oH KYU — Ab. b. Rebbe tt EES tals S PS Hh A271 PRES, BOSS: AMES Hae AE Ke eRe EGR TECH Cm a4 = | = ——— 5. RTOS: APT LAR AE, (La, bd = CRA 72 PULLS) ) Ai AAT SHE TRIP ERA, b EET ah eats AR a AA EES RAL Ah (ME GREER TAZ) b. BAe the SESS MOHAN (MEGLEMAZLARKM EZ =A), cc. RARER EE 2B HS UR AT SY: (RE DRBAZMRROEAS AM) o 6. BAMLAREF SMT Sh (MRR IZ IMTS Ab). R212 EKLA, RGAE: ANE ee Zee ree HOR ECR CCR AER ® a @ 2 © ie a — == sas ee BARA WARE TEMG) 2—69 F272 MRAM, HWA: 1. TEM RE AE TE I — A; BRE 2. AL —BEFE EE Ee as ASA AZ AE TEM, DLL, Pa ME MOE. RAR EE ARSE E SAK ERE eM. PMN, AEE, tras GE 8 TEEEBET DAte G SRL AT LE D SK EFA, A, TER SSA TE BAK WERE te G BEA, JAAR “sul G” pa; MPT AAA RET ha AO iB, UA SIV" CSRS) Ba. DATE IE ARR DIA SR 8 OE AB BF Se A SLBA: AMEE PRE KHER 1=E I=A 1=A 1=¢ =A =D n=D =D W=D MW=G W=G M=A W=G W=C WW-C IW=EPali TOPS LER EE HS BC, BA LAE AL RT PEE. FUTURURE LAIR EK TORN AUR To, yok ee oy ere 0 fe CORR LIVE. HPS. EPR DAMIR CRT SL FOUR), FREI EGIL ABT HOR BORA MET KR, AP A HORA BCHE OH, Violin 2 3 ‘ . On the Esting onthe A string onthe o sting onthe s sing Viola onthe A ing E oe id Conte D string onthe 6 string ‘onthe Cstng Cello a oven one a suing SETS ‘on theD sing 45RBRRE onthe Gating (onthe Cstelng Double Bass onthe sing open On the sting 2 er one song PEs (nthe E string ALZF SAREE —H, CET HAT KAR, WIRE, (eR WEB TA PRE 28 FPS AE PA: A, BAAR 95 ARTE Ly OE RR M,N PRRANES. CLRENTREMRAT , RRA HORA, aot EET SALARIED, ATER IND GER EZ, IADB SR ELL Fy OBE A EI. DA PEAR EAE EBSA TF EB PEN, FITS LAR El BBE OR HE TB RERVMATZE, RIVER OEN]. KERERRAF EOD, FES ARAB OT ETRE AT. PE Ree AO ae EL EH OU PINS A A AAEM HA THEE I, BUTE AE Ba TH eR RP LL RT ALZRHiB 1. TRE LE EE IE 273 ALS EHH: 46Boe BHRR 2. AMEE ESE LE IE, LAINE OO, IE AES HE. 274 ATR SHIR: ve BS = 3. EXRZA SRNL A+ A, RCRA ROPE, A SOT RS A BEE EE ARIE A AR HOS ER ET Rb VOLE RM) TE RS PORE RSE « W275 ALS HHH, naan Dog] MIBK RASS, MATRA RMAS SA. BAe IA PRA (ASR LAA TSE, IE RAM OTT, AG 2-76 Pr. Fit ATTRA TIER, KEANE ITA REY W276 TURN HATE RHR: RR va pe SRE ¥% wv BES nae BRERPRARREMHR DATE tt PE Bs A277 BRA: CPLA, #-w-a[ls): d= 160 P W278 SH. CMEEGEE), BLK, HR CRE RGR IB a), (avin) ‘Andante ate Sole SF Vint 41RE RHE Seo a e PtH Tar W279 MIT: (H-RAWEAR), BL RR, HEM, I~ WAH Moderato ( 1 ghey —, vat PP ‘consordine we vet we vn2 ve doe dolceRie SERB HRETAA: Barber, Medea, “Dance of Vengeance,” at 31) Berg, Wozzeck, Act, Scene 2, just above [230], and Act IIT, Scene 5, 1 m. before [380] Copland, Symphony No.3, second movement, mm. 100 ~ 106 (first violin) ; sce also Ex- ample 3 ~ 18 Ravel, Shéhérazade, 3 mm. after [5] Rimsky ~Korsekov, Sheherazade, second movement, Vivace scherzando Schoenberg, Violin Concerto, first movement, mun.212~ 225 (extensive use in solo part) Weber, Six Pieces for Orchestra, Op.6, No.5; see also Example 3 ~ 19 Weber, Five Pieces for Orchestra, Op. 10, second movement SACS RAIA FeLEI 40 EE, AKG RELI RATE, ARES, Wh PARSE SDRC SE RTIK 1), PEC, AACA AD RE De Se HB BE NR HA HP AE PORDAS HEAB HE Sab FUN SCN ER, EP Be Ey RT, AE ANAT + FRAG CEARINBEA AL) (David H. Cope’s New Directions in Music) , i144 - Ji (4) (2448 REEIED (Gardner Read's Contemporary Instrumental Techniques) , LL BALAN + MSH) (20 T4247 AIH) (Kurt Stone’s Music Notation in the Twentieth Century) 4. TB iB tb 9 ACB i FA A BE YB GK AS TSA OY HR 9 GE BD D RPGR CAMB HY CO IA FL ANB, TAB LTE S320, 49ESKAE 1, ERA — ON, BNCCHSK AR bMS bts. tht Sie Oy a Os DNR, tt Se tt mya tb RR AAIRDPE RT LA CERES, FISH “ASAPH: (col legno)” 2. AVS EBL SS FS FP fea Ata 2 Fe OR ae A, UA “battute” BH FAH ZR) 3. HPC CTR. EUPIA. DOR OR TE BY GT WR. WALA: . TD. Wi Tei, a, =, 5. FAS BAHIA AE BW, ASE HE ARSE EEE CD subharmonics or undertones, EFI %) o 6. FARE HE RE NIA SK tee Bax baseusenets == CIEARHE GRE); ae Fe, WRK OO HAIER FF — FSH, UA A AR RT 7. PARA MAE ES EHR RR HBL, OG (Foss) a9 CTA) SE EL) (Time Cycle) ASB (95 HTL ATT). FHA REI EU ILE AR LAE PARRA TD, BU TARRY, REIN TRS 8. HAR aR A HT EE 9. HARE RLM, RACER ERP He EER, TT HZ. APE MR RI “PERL (sul tasto)” REM EBUN ATER BE LAINIE, OR I RR AREA ASE EAT ITE RAH SHEE SE BA 10. FERRUTARIAES Gob, BN PAL CRA)” BS, AATF sey EERE A, DORMER RTE TR TA + SEFC BH lh eT a PE SEBS. MRR, HGR BOREIR ADs SE ACME E BER HE A IP 3k HO Pe Pa LA Ke. DPR MENA T TA ROS CRE) OY. PRT, RAR EEA F SETAE, RD TR HRS LOH RR GHEE TG HH BED EE fel — FPR WFP — BS RE, BI FP BB YE hk AI DMS. EAR RAL R€§ fH Ee a Ot, SR a AR, SCSI TE Ls BE ANI LLG HAY CSE AIT ka Te eg et ST BI CH SOT, RATE DOR AAT - SOMERS (20 THE RIE) PATRIA. 50B= PAHSe Rs yh He (38: Violin; + Violino; it: Violon; 4%: Violine or Geige) REA IN RG EER AS. TSI, RASA de AC OU, ZF et, AF FHRF AT HRESH, BOER TAREE BAR, SAP RAPE BI EMEA. AMER ZA Bm, Tee Ps ei: BARRE RARE RHE SiC. 631 PAR ne et a Ta FARE ARIS Oh. TER, APUMTRIE I, SLBee P32 Fat: at WES ATES) CRB OREA PSR ELT MAG? (REE EB’, (AEA FRE RABE, ALATA LDS BEE TERR, QTL, AAMT PEARS AGMELATE AY, WEE TEN A 150 EEA BEE. ASAE TW, AIRE Re new (@=I, BEART OA CE, AP, GENERA LAVACA CUMS IEA, ACP AE RZ AAR, Bb, CS Be EDMAN FH LATS Se HSH oe AMEE ATA LORE RBA 2 co GBB ait RSH aH aR ARSE ABE HRD ER, MARCA C ZMWAMB ZEWH, ARABTEC HAE HK bt. DS 4. Feet, STALK EES DO BRAMMER RAAT, REE AMT AMEE, CME RS AR, XZ RATA LLG HR Oh a CAI FF BEE 3 PEE 52RSet MN Ge RE 3S HREM: FARE CERRE b 1 RE See LL 2) FA METS} ABEL filo, DS BY esa be, TRE CARAS HELA 4 EL. AE, ear baih G HESS 3 a AEE 2 AROS UIE 1 HEE. Pk, ER Nr TLE EARL ML MEARE Se, aA a ERY, OR Pett ICR AES RR BS ATE, (He A Re Zee ee Lo a, PRMEWTE. PRT RAR, TEE eA ERT — FES EIR. SIAR ITE, Fa IRIE aR IK ANA Hak A. SSK Gee SE PUPA HE Ae RO, A AT CR SRE. MEHR, PREGA RISER AAINA, (OTM A RI BP, ATER A TA BS AAAS EB 8, ARI BP ERE he TEE, RAW RUS AAR A ASE, lal 3—4 OORT TE ARTE C HK Lae Re tek, RTBU RHE 6 HSH FAM AAA, I 3—4 aE, CHR) BRR, ROL~ ISNT: we oo eee Se eS E-RALRSOT RAB BALE, SUG AT MH Ua hy — AR A AME A oe SCR, RE Ive ee ec A NE AAS A, FECA AE J J PARE IND RTE AB ELOY ACHE ODDIE. BLL, JRA — 4+ HB AUPE, MV BEAR “sul” BGR, HELI sul B sul A, sul Ds sul Go Rik, UR A EAT BAD RCH, AO 31) RD SRA a ER ATR ATM GR GBB AP PRL, FATT EEN, ADE A A OK HRA, POR BAR BGK, BE FTA AB PG TH 53EBEeH 19-5 RAARE (RERMH), BORK, BIN~U9AT, (waa iy Andante : 5 = = sce= “ee Wie ae pe ee yp ta . He = t= » SS SSS = eS oS i — SS == tf HEF VAR: Mahler, Symphony No.3, first movement, mm.5~8 D# SADE AY AAT BE TR POR. LET A eee MSE WNBA 3—6 PA ALPE BE AE AAI IE RAS, EA ee EH, AS—6 BME AR RA CKAMM) BEAK, HISD sup! SSS A A SRE FEA A PSE hE; LAE REEL, ERIS FB WORE, TEESE A TAA, THROM ER, MANE RE, BR LE WB EK LIAR — BAR BOB. P37 HMA: GMRAAD, Bowl): (ams) Largamente saa t HEFIHA: Brahms, Symphony No.3, third movement, mm. 13 ~24 54Bek RASS Ee REM EK, PER, ELTRWT, CRSA. OI—-8 RE HHGH: CER, HO~ IAT: (Gee) aS “CANON JME, MENTE aR ERR. MOR WI-9 BEATA: CERAWH), BORK, HS~ BAF, SuEe pf sf 7% toe StS vat Cyteyabg RaNSaMR = PHU RARER BETAS ARORA ERE AUER TT. TE | Mpe stops on te ven RNLBTCMREORE, SHMRAOSMKE, PAAR 2, RAMMING RAEEAVERSANSARN DY. ERREMSEP, RARE CMHOMAFSRARRMA, KHAAEREPAM ARR RA RRR. FAH ER BA EHF 16 TSB — MLE AG 14 EE, A, EP SARUM MATAR, TRAPIADS (divisi) MATRA i) 3—10 % 3—13 Fh TARE MOMARA A, OAK, MPP baa, ee FUSK PY — Bah Re Lee A EAH I-10 Re: 55RBERE allcnomatic all dvomatic itches ao ete AS Rake: © cERARLMA RRNA RELA H TARE. 56Bee Ra SRRE I-13 Whe, fa fre x aie ia g 2 F TEES RE — eas SREP, PR ANRC SER EE Fy BP AT ES BPA EA ERMA TIZG . (UR, AIT (BILLIE EH 2, 3 4) Hastie AFR RR STE, NEI EN SE PS, HOR PS RR. LF OS TAA EY, PT PR “fede ea fk" G2 PERT, PRR SPE aS ATLAS BRL A HRA “PRE UE” AAS REBAR (3-14 PERMA) O LAREN. DONE, RAH OMA, LICR CEPA). 37Ree S14 “MH” Re: SNES ' ERT SERINE “fied BRE” 32a “MRE” ZAHRA LATE THREE BIAS “MAR BH: ~e - ee ft 4 t= — SS Sa geome fF [oP yor 1 tt “fk RS A” “AAS RE” EHNA LRT UEA— TKS BSAC “MRASR” SH atte ae SER “fsb 2” 2a “PENSE” RAE LTT) VER — THEI 58St PEW SHAE BIST “ANE He Re, Ae Se PRR VAP SEAR FE PRE AI AR IY Bt AIAG RHA CHS RHA) KS, [e]zeRI~R AH: Allegro AIAG RHE: (APPR AH) Op 6, No.5, RIO~ WAY, (KK ABH) noch langsamer (2) = ca. 60) ED LDP gg gg irc wa Soe Ineraschendt vin = lerlaschendd leerioschend rerloschendt rerlaschend | 59REAR B13—20 Hate XMa (Axe) [Ol] (RERB): ve 1 oun 5 Sa NBR KAD, AEE — ASE HE Ul RE ER AR, AE EO, ILE TASH A PEK IR AUB PEE EE SEN, PE TG — AN RAR T ANE TE BE BERRA FAIE , UA NPR 2eis E AL TESA AB RN Wh ESL, LF 60Hae FON See TARR, aM ERR ELSE ARGS Ana LL OLA RIC a | EPCS. BP BIER PEAR BE AL Ap (Ere Fe ek — PART OPEB 2s HH TE, TAA, 8s aBME AE BRL, ANBESHILEE A TEE SA DAA 1 I IS RBS, FREE eas RM, hy AES ARDS. MERE BTL SS A RAEIE , I a SS — ABR no — inh HOHE AA HE. ER AREER, RIERA D9 — RR BIE TAMER, NUM OE BAY, ZERCRITAGL PUI IRE 32 55 — RE PASE LE, WR OR AE aA a — POAT AL TEES, SILT FR ARR EE AS RELA LACH CAR PNM A PPS PEA REAR EL, Hh, TBM 2—A1, AS—21 hw. CHR) Bok, BOL ~ 1S hy 61RakAS PI3—22 BH AM: ERD, BI~R DF: aor sadane _ fe oe i 1%, ; — a tnalto espress. ‘molto expres,BWSR BRENRA: Grofé, Grand Canyon Suite, “On the Trail,” beginning (solo violin cadenza) Respighi, Feste romane, third movement, 4 mm. after [25] Rimsky -Korsakov, Sheherazade, first movement, at [C] (cadenza that recurs throughout the work; two other instances are in first movement, at |G], and second movement, beginning) R. Strauss, Till Eulenspiegel, mm. 205 ~ 209 REMSRE RPK RNS RUM RI IZ BRAUER, (EP. ERE BERS FETE IY FE. CANALES APRA A, FEIT NAR RS Ot, (ELT SPER, PRB LGR PR OE AEE EE OHHH LAE AR FES HE BE OL EPR SLED Ae PHELAN AS FEES AE, ERAT RAAT PR SEAR SR, A TR] — RKO ALA RRR ZS RT BKM, AME AE EER ALAA SE FAVES EDR, ANAC CE BIR VR AF ARK 4 RTT PE BR 1G a Be HE ADEE RS DSPR TR DEMERS. CEDAR HR SRR a EE a Be, RATES ER BLT ME A RCETS). (GER, SERVERS RR, Ry SR ARYA OU TO LR RRM, BH BO RY ABER.) 1. HR aK ATE BRR I-23 LM: (ARENERE), Feb, H33~IB NG: B=] Allegro ag f W, ke Tepiu F 2. Ba DK Td RS PEER BIS—24 LK: CH), BRE, BSO~S2 DAG: [cozwrnse] Past fe . 63BBE 3. LANARK: B1S—-25 UR: CHM, BORE, HIO~ 14 NE: [sow] Heather atowty _— eee ae = ee HEF NAA: Wide Skips on the Same String: Shostakovich, Symphony No.5, first movement, mm. 51 ~62 Wide Skips between Extreme Ranges: Copland, Symphony No.3, fourth movement, mm.2~4 after [96) Prokofiev, Classical Symphony, first movement, second theme Wide Skips Played Legato; Stravinsky, Agon, Pas de deux, mm.411 ~ 418 FRAP HA fe, BEATER TE ES OT BPH AACS, NAR EAL AE BE MAG HK I FAR EE G BURG EDC TATA AE IN, RR ah Se a FE Se A ee Os el A WEE. IMD, ROP RBI Pai A Ise PB Pte thes PP, BIS—26 FHA ae DRE BRIE Bl 3—26 Bra RE, RR a te ERE, ATT PPR AZ PREP PAT Se. RESO, RDS Ay FEAL”, BIR eA ABTA HY T48 6 PZ—27 “HL PHP SH: O12 123s gazzir2ro ‘ame tngering on a Steno 64Hak PAHS RRR RAT RGR T BORA Bk, Sy ERIN Il — Fae eh PAE ER. HOF (#: Viola; %; Viola; sk; Alto; 4: Bratsche) PST SE RIM RSL AY PH BR RE, COTE SEAL. EAI IE HRM, TBE, RT PBR REA Rh HBR He AEE AB, AMRAK ABET, ROR AA HE DN HAA AE RE, Ze PB FHA, HHRMA, PREM R SADA, TERA MEM ERIE a MEP HUTR DT EE AUER fy TT, RATT IR BB SE EAH MACATR TWH ODER A EMRE PRER Rid: RH TED INS RAED, PHA PEM ROE RATA. RE PRE AO TES Sk. 2H. BR, MA, SARA ARSE ARH, MEMENH AR, & AURA RBLYE Ze BACHE MARCA SET, HCE BEA DLE A nk 1,18 tibet 5 eat CAS > iy DO ar RO PE EE 2. HRA, SOKA SPEER A a RE DS HAE, PT AS J AS RS RUSTE MEAE » SARE . HELE ACA BUDE A BY (BA i ERE SO ERS Be a I Heh, (RAL A Se RS HE Pe EB TB PK 65KBR BR, TMM W328 KR, PERSE RAD AE ISS CIN 5 AT REIMER, RETR ANTE EAT A HS iif. A329 PRICE: S— . os W330 FAK: Scher B=e— = 8 ARLEN ARES RI ZY MEME, AM FY LA EE TERRA HH ABLE. 1. PERRYS WOMBAT oe, 2. HEBER — 2b, PRE A AAD BER, Aa Ms BEE I fai EB AGA HMAC. BEATS Ue aE ATTN, (LRM THLE 3. POLAR, PEI BPW T oe peepal RSH -B wo att ~ aS et, HOHE BO HRI A 5AM ERY SE SAR NE Ae ‘a 1 Peak ek tl PE a, EL eo aE ee ATH, RW, WKE BR PERE AY Be AY EAE BE ETS KK MRURM EW ABER OF 63 ~65 A) Hi PEs, = ASB EUBL RESEt PAG RE ERR LRA RAB Ce HEA VUGE TDN C Bk ME —— A PAT OR, ERO EUR EL eM 19 TELA Le PINT a RA Ew Be «BAR CO “BABE fh AMAL, ATRL LITT SEH PASS MAM, CAs) Op, Nod, MR, WIS ~ IGA: waa Senr brest G Fo D fe SPAR GK Tt BF Ef PH OA, “ETAT RR BE“ PRZRAE TR” | [ALY HSE ERE TEI PUG bE HE tH SE PRE TEE. (TE, ATS AYA REX OER SAAR ISTE, LEAN BALE AR: GI-B2 KH: (FRAVRH), BURR, B4Q~S1 HP: (waa) andante 2 » SESS Ff cantabite oe = PBS oye as eS Sa SS SSS A ABEASUMESE FRY E ABA EMME. HR AY BES TSK AS TT OE CSAARAWA OBIE, ARE T, CARMEN S MKS. He PIRATE, ATCA RIS AT Pde ae BL AI—33 KA: (HERM), FAR, B4A~ SINE mi eT tg 8g 7aA RESWK 3-34 BI—36 WNT PRERA GOMER, WA. MES ALT HITE EAB ARDS AST COREE, BER BEAKER. 13-34 HE: and G stings eon" RL a tale 3 4. re rey tt co omy oI G ALD EWES D A A 22 ERT ABR LABIA] Ay Hm 3-35 = Be, 68Hee PekoeeR GC. DMA RESP AM WT RS C. CMDR LAHIAL, BTR AEE BARS. i336 AH: Heme R ADR AHE DR EER Be, CALEY IE TREE RI, MAF, WRI ERR UME. Gl 337 I He BRA HET OTD HG pH PR JH; C338 APSR eth AS Belg AIF IY BoA RUN Ze; fF] 3—39 PALE T “eA PHAR TE/ UE MES; 1 3—40 MI RINE TP PAE AAC PRE. 6REE AS—37 TAH: CME), a, HAS ~49 DAT: Fast 6, aw PIS—O8 Lips: CVRD, RERM, HI2~ 19d: (wean | vin wae 10PBN REE W389 HUA: (ORAM HD, BKB, BisS~ 159 HF: [es=v7re.38 | < a = > ay ts HS—40 MEH: (HARM), BORE, BI~ IONE: (eam Andante ; “F pile Pitatce Le ie fe f P wT PRFNHA: Hindemith, Der Schwanendreher, first movement, mm.1~ IL Stravinsky, Le Sacre du printemps, Part Il, mm. 56 ~ 62 Tchaikovsky, Romeo and Juliet, mm. 114 ~ 116 hig Shes EL se HABE TAPS Se SEB a, AT RE A eR A Rt SAME T ABAD MEER. ATT, ALIS, HEB) 19 TSR IH I AH TT, BT SLA a PRE A HRA LY Seu PEN) CK. 364) AMAT COR RETR A Al PMR SS, RPMMRBO TREE. Ail, 1620 tie, PREC AI TSE SARE lal Ate, METS AY COW YR a RS i Pe ES, HED, LPG HEUER ACB PAR ae CEE CR REIS) WAAR» RHA BD CREA) EA is 4 URE RI ENTE DD DAR SBS ME GA Pf BB MRR Be AIA HREL: CELE), HIW~ WAT: fico. 17a] wp Slowly ce oy SS ee Peon para eres. in 1"RBERE P3—42 BE MESH: OREM) EH2, BRM, I~ IV AY, [eolatres] 1 Rather free See BII— 43 HHH RH: (RL), “Der” [I]: Andante con moto (J = 60) ‘molto eunt, mia nom SF 6 ‘motto eat. mu more okt eat. ma won HRETHA: Berg, Wozzeck, Act 1, Scene 1 Berlioz, Harold in Iialy, first movement, mm. 38 ~ 68 Wagner, Die Meistersinger, Act I, Scenes 3 and 7, and Act Ill, Scene 5 rRa PRY SEER SHARE (Hs Viola d'amore; i: Viole d'amour; #H#: Lichesgeige) SPEER AMOS PE AE REAM TE SLID. PW RETA AB RE SR ABO BR, ALIVE MAL Oia I PIE SS EE, ALAA BEE, AMMELARAY CLOSER) (1 ~ 5S AT) BERRY APE AH) CTAB AR 4E) (BI3—51), SAAD CEB RD , BSTERAAND COSMET), DURE HOY CT RAZED Sh, FES CRBC UR FRAC Bsc TAME 344 EMR: STEARATE 8 Se WR LARD LR TER EK Zh, FACE EE SEK, EMME EAMES, BPS By SBIR DH. TEMES tee aM Ae A SHILA HA AR JT LEME SERIA ARETE D AAS Sb AY TL ANSE OR Hi th BA, EM AE BE Wid YE SY SL ERHY FP GK BAUR PGK, IE BPR Tod IK, BII—45 dN: FO AEOR AG Ci PEE AE HE PEP IL TP AS TE 2 PIS— 46 RRA (HT aM Oe foo A HE OH aD Op. 25, No.4 Hye. BIS—47 AAA: CHAR) No.6, AHR RAR SG HE RM ALE (Op.46, No.1) WE: AR TL ARS CEL Ss th (I AS RTF HERA SE PR TA aE AI-48 HEAR: CH) WEE :RBRAE 4A, THAME BG LOR URE ST TERT. A, ERASER ERR PE Se Sie. IS—49 FR: hie B= 4 THE RAE UCMES AA, AKSBH RE RR, TUES SAW EEA. AREAS BR, OY SPR H. UPR AY D KA Wa Leh MEH. W350 FHHKA RWS: 2nd harmonic 3rd harmanic «th harmonic sth harman . 2 * j a 2 2 a ge ACHE A UAT DIR, HOARE LAT RR AE "RR RRDUTE” . SUE OPA ANA Ue, SU BOUIN AAR ESE, ADT SPAN EEL EAR Ei SE RS HB TB SA BP, OR RRS SE ARR RE cD HA S51 ISM A: CMBR AED, HOM RAT I, BIN IO be 1 Andante - -m Vola amore a bewit Ab! quel spec. tacke en-ehun - tour Vila famore a_hecit aout, vient Sof = frie & mes yeux! Flageotetione ee Be “ o Vion amore aoutBek RMS TRS 3-52 RBAS: CAGED BORE, Hl4~ 37H; ry, Sehr langsam. (#: Violoncello; %; Violoncello; %: Violoncelle; #€: Violoncell) AREER EAP REP RIM, MT, ARF Ae RH AFERZEAAD LOMAS, AEA PREAM RH, PAR AE TE AICTE UR MA, Eki ABR Ss TB YA BY BE WLS, TATE EH Ze AE RA, AeA BIS—53 ek KBE RARE. ROPER ESC (354 FRET ATS ee wh BE RE et mee: KRER Fiat - BRE 758ERRKR 354 He, ARR eG: Ce EIA OR, eS a AE BORAT ARE ICHMT, AO, BAERS}, UCAS RS HESS, RRR ASIC. P3552. ‘A cromatic pitches at dioik ar] HFERHK, ARS AA EATS Re RA. Frain Oty SHARP, BARS ANTM IE EER SSE, A A CHAE. UPB SRE OT, ARRAS Pe Th, BT DURE aR Le A SR, MIP PRR. PRR AF SOR EA HE PR, ST RR PAE. PES CALE, EA BER eS BY A, A ARTE PGATTE PSR BORIDES, DORE REISS TT LA eA BA GK ADE eH HE INISESOHE , FREE PEACE XS LAN WE 0 WS ATS RR RMA gg a a fT WHATS. BIS—58 MMH: eae 4 = = DAR FRE eR AR TAB HE Oh Eo 161h fete --*---F 2TH sie att + RRR HE 1a RBS ee > HaSaom EY, STRSTR eae Pemseee EAI ARES A BERL SHA AAAS ARR A TE BE AR IL SEIT, ROME BUR PRET REE, DAB EEE HUE — NTH BBO RE LAL BE ANB. D TEAR REREAD, ARR MIEKA Arr SPINOR A AE ERIKS CRA, CHURAB, SRNRMATHERK. ATASHER AUR, BIN Cm A THA BIRR. HT AR ARR “Ae Be, ReNTEA”. Be > PDE SAS EEE, AD ARE SIL A aT PRS a AEG, DAK SR EER BR: WIS? LBM: (HEMP RAG, HRA, KIT~3HF:Fe eae A HIB SAH, (H=RGa), BKB, Pi ~IW As: Lmao Moderato (J = 84) f f iam ote HERE VAN: Beethoven, Symphony No.3, first movement, mm. 1~8 Brahms, Symphony No.3, movement, mm.1~ 12 Brahms, Symphony No.2, third movement, mm. 194 ~ 202 KBELE HNP ONE — BSE HE BBR, ANF LBZ AI—59 FR: CR RD, Bub, I~ 10H: Andante (+ = 541 = esfiress 78Ses RB HEPTAK: Debussy, La Mer, first movement (throughout) Mahler, Das Lied von der Erde, fifth movement, mm. 1~4 at [10] R. Strauss, Also sprach Zarathustra, 18 mm. before [10] to 1m. before [10] (divided cellos and basses) RE5SMK LP RRPARE ETTORE RSG, WN ATR. BIS—60 MH: 719LR AA A361 = $He: 2S SaaS SSS 362 WHE, ze PERE LBA PRIZE I IE Ea RR SRS RZ ET FRB, ROK SM, AGRA RE. “RUE” RETR AR, TARA EA TI, RMR” CT a AEE KL) AUBYSE AR RRR RA =. BUFR SEIRL ZE i 80Bet PERSE RE W363 ARR LMEH: a Ame: SESE EE wae samme Be b BRAT: 203 3 Be 33 3 32 # =f S53, eee Feo og oe Hk FTAA: J. Corigliano, Phantasmagoria (FF ti fi4t) HAS SAROA HART RS EL Yee 2S 20 TLS A HN ACO T ACAD ABE Bi SH. Fe RRR AS fe, EAM OIEA EMOTE MEW, WM 2aeaF (SEH). AP et, (Pe HY), OER BLE, ORME (CRAY MP AESE IRD) ITB ESE + MERE REY 7 Pe CORBITD) . ARNE. EMA, RAR ATA MPA, WHA + BA 49, TELE - SPMTFIBE + MT. TERETE, RAEI EE TRE, MM EH A BE S64 SH A: CR PRD, B1O3~ 176 be hen aired Andante con moto a) a 81RERHE Bi SP arasion pe 5 cS PRE IHA: Brahms, Piano Concerto No.2, third movement, mm. 71 ~ 86 Haydn, Symphony No.95, second movement (throughout), third movement (Trio) ARSS5SECRRHAR EME SHREK PRT, ART, SES GRR DAH 4 AS SE UES AR BO EE AT BE 09 BA TA] HE SE HP DR 2E AY RE SAR HEE. AMESKD, AMS SRRSMRTARE, ARESAS, REESE PRN, UPL ESS — PENS AS—65 Fh: (RAMA), BH, BI~10D¥: [cosa] fe lt G6 Pespr We peer ei feBSR be SHER HRZTHB: Beethoven, Symphony No.5, third movement, mm. 162~ 179 Glinka, Ruslan and Lyudmila, Overture, mm. 81 ~ 100 Schubert, Symphony No.9, Introduction (cello and viola double for the whole introduction) Verdi, Falstaff, Act I, second measure after 8], for 8 mm. (cello and piccolo melody five octaves apart) IPE (3: Double Bass; #: Contrabasso; #&: Contrebasse; #%: Kontrabass) PPR EAR ALAC TE YTB AR RS, RCS EHR REE EP (a a ARE) BY (SAREE) . (HAERZE RD, SLL AAR PY OOD HT Fe th BE GES RR, RTM AWS RELA RE, WEY REL, Ha ARREARS. LP RANT RRA AMS ERATE, EE SOTA SPE ER MRIS. Rit, RMR NR SARA RIE FA EE A. 7 APRER LB BIL 83RERK ER, ReMi BIS—66 eR: PEO TR PE, OF BIS—67 KER RSE: === outs ES a= Si HIRES EA RAE APRS ih. ee = aE AINA, ELE ES: BIS—68 HK: CRE ARTE it SERIE E AR 2 DEE eR, EI TOPE, CA MeRNBC ES TATE, VAR EGR. REE A, (MRE WORE BE A, IER AT TAP, TEMES) CB — Sem) SAR TEE TOBIAS. 55 — Fr, — A EE OY eA A So, aL AF CRA) BARROS ART. AFAR, RAR SRE CATA. ARTES TE SE eR BRAT, Jefe EI — IL BE, NARA EAT HN HT RARE, RISA A UE KR APE MUL. RSW, HS A EH ARERR, AOL PB: I-69 NSH: (MORAGA), PRK, H319~323 NF: fear co ig Allegro ve Me De. 84HSK RAMS REE DOR AREER Hr BAS a OT PT BES Ds [ea] AS—70 NSH: (BOK), PHKB, SIHNI~ 33H, HHRMA: woe PICEA CHEER, BLICAAERK, SUNG ARMLARRHE “PR | Stn me PAGO. i, CARL, SHR OUI Red — ke, ee Lene ACEP IEA, CLS TIRE) DF AR LHR I A, AL EM ATEE TK FSS PU CE. A, IMB, MLB WA; BARAT OROUIR =e, TOD MT Le ALI TAH T AST! ERA He, Whpos A Vipo.——Sthpm —‘Gihpos— ZIP RR RAT CBE DUE — AE GREE BAY C FEZ IAL DA BEA ES UAT BEE, RS HIE OR RE as 3 ETB AAR EE SRT AAT I EAR UR RR SDR] RK METERE REATARD ly, FE TAT 9 ARE I BEB A fe I PEE be, PINES, UCHR TE LAE UTTER C BK i, EY Be BE ae ea ae RE Fi POPPE PE BER OS (IK B SK PRABHAKAR REN CP AEST) AOU Ae BY CRAB). KARE HRS. PSPS ULE EG HE AE A Hy Se (9 SS Pit BCE EAS, TP Re Be Oe ARE PER AIT PAE ARRIBA R . ERAT. WERE. IGT ee) fe th ae BUTE SF PE AS AS HH, (EL —- RIE lt 29 El ESS, LH) 20 Uke, A EERIE FUR PRG ANE. ASAT AP IAL, ASH AOA aR Eh eS A HT PETAR IA, FANT APE CAA OL PET ih 9 AL AR A ANI (ee BE BB AK 2ST + Se ARE AP JL RPE TBR TIS A A 19 HHEZEAN 20 tb Zet ALA GE a OR A a A RSH SEL, EE FEAR ABS BLS LOA EE 0 87eke PI 74 WAAR: CHR) Mh, RERM, B1~2WAE Vivo . ry packs a er 7 FRE ape ot . ge Eg ertige ea sempre sim fER Sum EE a fray 6 S75 AH CHR AD, [a Ae ELD) HL Ae: Quite fast HRPIAK: Mahler, Symphony No.2, second movement, 1 m. before [4] to 5 mm. after [4] Mahler, Symphony No.1, third movement, mm.3~ 10 Persichetti, Symphony for Strings, first movement, mm. 16 ~ 20 Saint Sans, Le Carnaval des animaux, No.5, “Elephant” R. Strauss, Also sprach Zarathustra, mm. 8 ~ 22 after [9| Stravinsky, Le Sacre du printemps, mm. 57 ~ 66 Verdi, Falstaff, beginning of Act III (basses begin alone) 88Eo GS KR RATA RAR A, BREE ARSE UA R BA HE LR, LRAT OL EAR RR ARR EJB), RP RAE 4 PH RR IRC BE Pe A FE AD LSE EE Pe RR PRK AEM PP EIS BE. =e F (3: Harp; &: Arpa; sk; Harpe; He: Hare) BEWARE CRAB KMS, CREAR AAAI E RRS. CHAT —-RAWKR, AR-NETEMTATHAMMB RAR, IEA AER SAMAR, BAGRRESRA MEE, ERT 18 eC PETS 19 thee Ny UMAR CE EE, DMR RRP, (ER RA-ARIK. EIK BURR BCR REE TUE, GN AEI ECR EER, LA SCRE MRE AA, SBT PRE KT IL a ia AD SEK FAR OR 89RBEKE HCL PF), RRP AM ETRY RMA REE. aaa SUPA 47 RIK, BRO FEE, A SIMO, BRE LEE, AE ELBE CAM, EMV TEBUE: 41 BR: FEAT ARTA APTA hE A, IER, TUR AT, BA (HURRAH) REBT HART. RRA MEL Fonte: Ls PAT BRACE Ly ti BLM HESS HOR BR C AIRE BT s 2. RRNA CPM) RAT AE, Bo C-D—E—F—G—a—B ad 3. BRE BE ARIE TAT TT eH, AMR C!—D*—E'—Pt—c*—at—pt FS. ERIE, BAH CHK, RATAN CHK, A AMHR, GORE Pe C AY BEAR, TATA C ERK CQIEAIRIK) RRM CHO, lk, WAT BRE PSB SBC. A edi 8 A AS REC. MALE BM A Ae AT Bata, ATTA aR 5 PF ARENT as OE A EB AG. PH ARC BE a BT DEBE Ct HRB, DURA BE C AAI C AY DICE ARIA ASK ERS, ORE RERT LL eh BE AS rs ea SEER PE DCM 12 ARGK rh ALAM Se J ee dH A ae 2 HL RCKELONW, TRCKAREN. AESHTR RRMA AWIES, KOBE PE ABLE IA BABA BUS HE 25 PA] DEL RIT HE MEET RD TABU RG, AT a SAE BE eK YN NE EYE — PP EZR RE, OE KHPA BRAEEE BARAT HES BARA AL BUTT BELA FUP HE: D 6, DME RULER RHE, MF GREER ARORA RES. @ PUPLRGAEZ, D' AIC! RRA, ORFS. KATE, Hema CT IRIE BARA; BUTE Er C PARA, KET FE fAY CH, Ble, RAY D AIC, DART He PC, PEPER PAU, BARS MT RA ES TO. HEE HAZ, ELANCE TERRA BO— TE A ee RTIE a ARE. 90ROH RUSS DCB/EFGA D. CAB Binzer, EL PL G a A RO dil, 7A — ie BOER ESFHES, VA SORE BROBR IER {SAR Jk My Tk Se SB ad — Th a A RO— Lean, BORMEF IAA E PAN G PAIR. (EE, PURE AU BAAR, Got D a G PAAR, ATLA TTC. AeA Ra TRH, ARE yO NET ARR, HTT EE A AEA. 1. tse: pict yet rect at 2. FUR ARSE RR =i, SR ERT, Dae eel “SE” BAB SE CSA Ebi 1 19 FEL SR YR BK A BF SY A SE HD H) o oh > a ch «chad, 3. HTT AE, ASS PA, ARBORS. LRAT SEAS, BPE BRAG Fin — AR, BABU ZS ESS 7, SS ERT AAR RE ESD BRA AB TARE) Et rh ct at Brc' pe ESF PTA AEA ek SCE ERE ER CRE TASS) FP RB BE AS RG MACNN. HRS TAM, ROBE AME: BEB, BEF, BED fie A, B42 BMW: (AMFEMRBD, AE (enane] ‘Tres modéré 4 abel, Cha) Bor aL FF ia AE JEP Bee DUAR oA TAA, TAIRA RRR ERY, GRR ENS RR, HATE ABD HBILAE SFE LADLE, Did Columbus Bring/Enough Food Going {to] America (#04048 T BAST ERG)? 91RSeaE O43 EM KHEA: APPLET REM Fae BH, HOMO B BE F SUSE AASE FRO Bt, BORE BUR, PGR E, MAHL FG ARRE C. 4 AM HH a oe a aR EWN TRAIL “APP” (EAR SCRE BAR SLA ES BE HT PA, 14S SAE SS Wl (1 NE AS SS PE DA (1 OT A] SE FATE THe A AS AE BEATE (9 SMR OP Ey A AHS] ES TRG ER A AO — BR, DEFER AVA HEP, RRL ALTA SIH AY EE SR A ih, WA BARB ARE Ae A EE BEAR ARES RAIMN BEE is, PT LA UAE A ey EE AB EPA DS eh BAIT FEE ARNT TAR BE ASAE RD AL A OE a e& RENTS P/E TPR RUT A, BAS BEL. PURDUE AE OM EB TM, TT PE A. LE IR AB THRE ARR AT EE TESA, RT VUE EEA KR AE BRO LRT RM, ANE SRRR eS, TMS AE, 7 SHUN, H-TMANES HE HG EMRE RE bis 4, GEE LASER TRE ABLE 0 Swick SOT NTMI, RAE, MAUS ES HS LTE LARVA TERRE) 0 92He RRR P46 BILE: (KEG CEES) K.200, BRR, Maa~sa ng: [eam] BDH CMA ES FP RAE: RRR AE BR CIE) PHA MEE, i) A— Ta RAR ATE TM EAE A IIA RB | Soe ABE TABU, TO) 4 — 7b IM FE AB EE FSU SR ICES EHP CHE Pk ~ PROT: HURL PEM eae APE, HS ee 1 TIE IS BE SA SUSE A i BEE FAB HS RSS UE, ER SORT REA MA ER BBR O47 REARS: CHMAT) 2 “LEMIHT, BIO~ BAF, (con w) a. BARU A: st 1” Coadtenan et Hibivan,sim mH AURA WT LAL ES PA EY CE. BS EE A A ER ATT PUR COR ARVME), UAT RN ARREE SAR. STMT AK (ERE) TA SRC SH es aE ae HET EE YEE EE ES FN UPRA, TERRARKEN, RRA-~THRAER LOAM. Ci AE AEA EE: 94ROH REAR 4-8 BRM R: ope Maestoso Hare SESE, BATRA, BRIER ZARA eS (1), ea HARRAH, PERE, fuse AteAMR ATS — Nae C1), REST EOETWA EH, MTR. RNR MOM, EMS AT LA Film elem Bier, WRIA, SERA AIR Lam, BRAN, CHANCE LAP BERR ALEK, ELF ABT PRR LEHR. LSP PAAR, AMOR ARE I Tt BLM He MONAT AIK. 4-9 EE: CREM), BRR, HIN DS, 1 Allegro non troppo PIM (BA RMN) PHA — He RE NY HL Be EER GR (BS 152 ~ 153 ANA) DERE SCY , JR ER AD IP TER SB, Pee ANIRS A BE. 95RBERE W410 HH: (ARALAS), FAR, H1SO~ 1S AY (RHABRE MH): [=a] om diwin into ar Soprane Ato 1 bw. 96ene RRB en, ge onset pe uo sue TPE A MOREE CACHE IS Ue), TEMA REE SIRS Tok BA EAB: CHT EMRE, BI~81 DT: [esr] o7BRE o aR : RESERVE ETAL IGE OH, OT PTA SK eh, GAT SAY SA Ae EAB HT ERS ARTA (EAS A AN 1, RAAT PAY PARR RAB SE (PULL), IER IR 2. TTP BRIO ME SE Cob), SE PRK. EMM ANE PAE TELLIN TR CBR Lt MW ea MH), (RAPA S. BAS, RASMPE AAT. 2A TE LEH O Zea, WTAE ATE, Gl 4—12, 4-13 4-14 Bia. EERE AREER RAE ES, LATA, RARE S AGRE, BARTERI LUTTE SUNN. 8 TEENS FY RT RGR, ESIC: 1, RES ARBRE, A TULAM EN, WATERED HPSS, RE sets 2. ROE AIAN et a? (2S) A CBS) Ziel, aM %, 2M AH, Aik eR RCE. C42 BHA: CRED, “a, RA ~TE DE: (aa) 4 Moderato _ SAS HR: (RAL G EIR), “MET, BA~ STAT: (waa) Modéré 98ROR RERB B44 PRES: CURR), RE", PBA. ame] jaa z clair, BTR RESET LU WOR ARR PEPER AE, UR APSE HR AE, ASAT TREO Seb, SLATER AE ROR ee HEIR HH SCR Ao rage al SEAR fe SE AH aK, RA. RA LPR a — . REA ES. 4S FEW, 2H CRA REM) Hy (OHABM AED, “ME” (eae) HU2~ 116 oe ppp Pre dewabe 7 = RRA BA FRE LAE, DOR RRS RAR AR LPL, BORE Nit ALSIGR, WFC APA Boi MEK il IL AR EA Mea. TP ASR PEASE, URI DLR H RSS, B46 BE [conan] Sons étoutles a & TY REE A YE TT SS, (ONT “RE” BERET. Atl NSH, MMAR RS RMAE Th, FAME FU RARE. 99emia B47 FA: ‘rower ctptertotata olin re Bisa SHHR: us| aise Eis 4 ee mis RIB 4—2, B. MESMAMB (MW: Bisbigliando) em A= ET | setictanso 1. FA-A FSR GRICE SEM) 5 2. PRPS METAR CARE MAAS EEE 3. TEPER ANIA BSE EIDE A ES, PRT BSP Me St AAR, UE ROE B49 Re: a. b aF “Ft EORTC MNM Tee ERAN KE. HOPES ANAM Ae PSPS” | BRE MINTE, BUM MAT RMAC i420 HERA: [eas] susbigiando Ppp FHOR RERE SR, MBM CAR TRA ERR, REAR A ATU pM AY ice Ht (BSL K. Stone, Music Notation in the Twentieth Century, — [ New York; W. W. Norton, 1980], 256). StH FA: - WERE: - Ae Pm RARE PNB ARSE Ne CAR fin, MERE Ae a ms EEE , ATR, URCHIN, AMEE BL. Pe REAR aR RE A SRD AE UE AHA A A He A GR ATA RO TP BE Ay, WPF —fih el BRS HRE VAR: Dukas, L'Apprenti sorcier (harp harmonics at opening) Falla, The Three — Cornered Hat, [7] to [10] ( prominent harp) 1 2. 3. ESRF HEHE 5 4 5 L. Foss, Symphony No.3, “Elegy,” beginning (string buzzing on the harp) Ginastera, Harp Concerto Henze, Harp Concerto Hindemith, Concerto for Woodwinds, Harp, and Orchestra, [D] 10 [E] ( woodwinds and harp) Ravel, Introduction and Allegro, 10 measures after [I7, (cadenza with harmonics, glissandi, and so forth) Stravinsky, The Firebird ballet (1919 version), “Berceuse,” mm.1~ 16 (harp harmonics) Varese, Amériques, at [2] (striking the soundboard) E. Zwilich, Symbolon, [8] through [13] RMT AAA CHIT) HAY E BE, IC ASE” CHe{l4| seh) aE RET A IEE HB. wh fh CR: Guitar; %; Chitarra; i; Guitare; 4%; Guitarre) Ee ADLS IGT UCAS AIA SMB RUDE, Bt A HEAT L TEP ARM fh, AAA), DUBE wth BL th a AA De RA ee FRATAS SEAT EB ike ARH LEE, eB RA PO ts PA FABER Bp S88 — BAR ff RH SE FL 101Ra AE AA A RE BAD Po A EK, HIE LEE PE AN RGA ZI SE RE WRKA: 421 ka: 422 Hak (RIE MIRAM): SEPA RBIME AR AVG BA PESO WE FED a Ha A a AB A Se AAR PARR, APPA AEDS, ATE a UT ER TT He RAE. EE, PANE BS DRM RARR, LOT, BOT TERE EOS, ETT ALE AT. Ak, CRRA PRRRA RBA NR. KES, Ra SERBS, IE PMR Be GRAFT ELI), THe CAA), wie OPE PRY > (RMA TEER), HY CHEZ ABD, MATEY CN ED Cth) Ho . 102ROK RRRB A423 MAA: CHAI, BI~6 HH: ‘Tempo di Tango a ae VE mers um sty iter tee PRFIAA: Berg, Wozzeck, Act II, Waltz, at 481] J. Corigliano, Troubadours Variations for Guitar and Chamber Orchestra M. Gould, Pop's Serenade (guitar played throughout) P. Grainger, Willow Willow (extensive guitar part) J. Harbison, Guitar Concerto J.A. Lennon, Concerto for Guitar and Orchestra 103Rae P. Maxwell Davies, The Blind Fiddler (guitar prominent throughout) Rossini, The Barber of Seville, Act I, “Introduzione” (cavatina features guitar) Schoenberg, Serenade (guitar prominent throughout) Stravinsky, Tango (guitar prominent throughout) T. Takemitsu, To the Edge of Dream (guitar prominent throughout) Weber, Five Pieces for Orchestra, Op.10, Nos.3 and 5 & Re (38: Mandolin; %&: Mandolino; #&, #%: Mandoline) REMAREK, CATR, ALAWAR SH 424 ER: GI4—25 HR:ae Ake FAURE OT EF SMS, ESET AT a AR TRA, EO te TeLRE ie REKLAMA. RA, Lk PEBBLE. OA SR 8 AME EA A LAP CR A RT SRR ORE th BOSCH I — AARC NH RSE FR RR ERAT, ZUR PE RUS (CFER)) Tbh (SE Zemenh) BE CCN BED). BOT BEE (OR INAS LD). MRT AE (4 5E 2) FT (CGE MBA)) SOUR Ea DR. ERR aR, BE FFU, REAM GA RRR AAS. Bi4—25 ELA: CRB), BOK “Sle, BI~ IO (RRB Rie). [TTR Allegretto pina =e = ve Bb = alal-ia ve == 105RBREE ve Mardin ow onan ! 427 AH. CHA GTRM ER), BURR, BE~O AG: (eeavrne6} detente tragite (cenaa rem) ae . coe rom) maaan ‘Sau ’ Pr i [ilar ingorpe race © i (sempre) HEE VHA: Respighi, Feste romane, third movement, at 24] Schoenberg, Serenade, Op.24 (throughout) Schoenberg, Variations for Orchestra, Op.31, m.420 to end Stravinsky, The Nightingale (throughout) Weborn, Das Augenlicht, mm.8~9, 39 ~42 Webern, Five Pieces for Orchestra, Op.10, Nos.3, 4 and 5 106KOR RRS Ae SER POE, JA eR. FER + ASE SR. IRR — PRT BRI BERANE CSE AIR, BURY “BES”. ASSES A BE BIR AER SEM ERD “BEM" | SARI — TARA RAE, ECB) 1847 AE AES — Ai Wy BEM I RTT MULT, ARIES SH. TBP SORA AR, BR DB BIE, Pe a WES ERAS. COARTA, HOA, TRAE RAR, ERNE: 4-28 RH: 429 FMD; DREAMS Pe i A. 107ESeKH BAR TRA BIBL eS EH DUE; tea, AR LATE D 3K bait B* WEG GK, SUMARGK, Je ARREST OM GRA RIAL A IK EAE eH FB AAATEOR » STATE AK ABA ih, PULA SS PRE. 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SOL, STEER ATA, aE RR ACR EE 89 PAS SEL RE SE ABE BEAT AY IR A PE SE CEE AAS SEA RS BE ESE UN PE Fri A ES Bo. 112Sak AERER BS—1 HM: (RRMHAK) Op. 16, No.3, ROKK, I~ AT: Poco adagio cantabile 1 eH 1 BED OR — RAE Bm FETS WE ESE, EMABILNRSSM, MADRE MMM T AM A hme SS SHI 6 WS—2 Hi: CEKWEA) Op. 76, N03, PIKH, RAT: Var. vn 13BET ERAS, EOWA ERA. ERA EE UR PE, REE 10 -~ 1 Ay a EL TB REAR BEER SE HAE LTE FS At REE BA EE aE a SESE. STI OTE. MURTHA ST ET OB RRA, TK AE eh AN EEK 5 WIC, 3B EAE AL LSE — AE HE Ps FE HE AE BE PB SD ART SET. APRERPRERNKRAGE, ELE AR, AE ER Ta 14Bae RENE ASS HH: KR RTHR) Op.76, No3, ORR, RAM: Vor tt vet ve vt ve vat Me mez lll BRI, WERT TRS, ROE CE ae HAE IES TERE WARE UT DIRE ZANE. 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Tet, MERA RET, TE FLAME DE ABA} aS Nm I 8; AEB AN TE PAPO a JA IT 18 EH, Pa MBER Mg FBR AER BE CER: b> #—-8h FA BA AR TIT HE HD Ar 0 Ye Be LARA ED ALAA Bk EE APB CE PT HE 7 J RA OER RADU SER AE A EE A PE SAS HAE A A aH, ‘He ALAR CE SG MLS FDS PALE OM BALAN, TE 19 ~ 20 Av AL 23 ~24 AD th, BME I-A TRE Te BO TT AB AF A HOOF SD PT, UR CAB A REL SAR Wa EY DS SD WE ATR bhoREX HRERS S31 BER: CER OH), B-Sk RRZH", BIT~ IMAG: [estes] Adagio atv yi ‘con ord, F con sord divi Seansord awisias, | F600 sor pa, Seon sor vas vin. va, on. HER BRA BE AY Pm EE ROY TER. S.A PSR A PTS PR FURS OY, HAI HESIMA: Barték, Divertimento Bloch, Concerti Grossi Nos. 1 and 2 Britten, A Simple Symphony 147RBA Dvorak, Serenade in E major for Stings, Op. 22 Honegger, Symphony No. 2 for Strings and Trumpet Mahler, “Adagictto” from Symphony No. 5 W. Schuman, Symphony for Strings No. 5 BRAKE OO SRA RK) RSL TUNEL PLIERS CO SEMA BRD ROU HERA, HLA BE Hk 20 LIE SONY aR MTOR dh ERR RHE AEE TTA BBA HA (24 A HRAE. 10 SENTRA, 10 AAI ANS HEIR PEE). HE RUBE RET U4), REL RS PRA — TTS. CEL, PRESS , HS RE 7 3 A AE WPT, BRAT EMER HBR EE RTE RE A SI PE AD RI — BB, PRL eA AR CHE TRE. TERT, EMR MAKER AR team TG a EA LM AA, FCAT ik EE aE W532 HARK: CHP eRK) BA: a. SCT HILM: wee FO er el SA LBA BF FF ON GS — AE AR EWS AS = SE AERA ATE ATEN Z — BS AEA AS PER Se RE FESR AE Be ROT RE PGA A Ee) ESE SPREARZL MRE CERZ ORR BPR PEPER 90 BEES , Rm RE RRERILIC FER AES BE RE A FP ROR: FS FARE att als A AR BE MAA, RE SULLA THe ALE ON AR EE AP AED OTC Petre ee teh So ee Fea th ee FAS Fra EK Lat, J FR BES APSE AS EL PF AEA ACBLie HRM e] [@ Aha RIG Hs 149REM 150REE AKAES tutti archi 24 Vina 10 Via, 10 FE ‘ 10 Vie. 130, 10pBis wee ‘oy HEF IAA: Babbitt, Correspondences (strings with tape) H. Dutilleux, Mystére de l'instant (strings with percussion) Foote, Suite in E minor Grieg, Holberg Suite Holst, St. Paul's Suite Lutoslawaski, Funeral Music Mendelssohn, Octet for Strings R.Shchedrin, Carmen Suite (strings with percussion ) F,Sowande, Afican Suite Tehaikovsky, Serenade for Sirings Warlock, Caprio! Suite FAIR AB BPE FA PIC MATE, MRA RE SEK, TKR A TB RR BESTS RAR. TORUS T K AR HE iP A — SR BEES 5 DT EAB Yh Bt 2 RUBE TBAT SEE Fe eR HAT A BR. REE PEP FG A FT SHE {ARF SEEGER HD SR] Hs BR M4 RA COAL SED PARE AI HE — Ba AE Tr 1 02 BY SE I aR A ES 151Fe aE PS—33 iA: CAAED X RET", RI~OHT: [eae Adagio (J =65) vm tree p LE Rss, Pa SP AVI EB SBE ey A PE FR A Be HA: BIS—34 RA: CALE) ZAR, KRAA", HI~7 A: (oan Adagio (2 = 80) vt 152Sik DRRRR felt, AMAT EES MESS BR PAS—35 ARH: LUNE), “AEP, HIS NE [eons] Allegro moderato (J =126) bn i, nating Po RIN Se ONS ST NRPS eT ae a IO aa Slomters not nor seeps Dn. SAL (St ty te aL) FRE NYRR (0h TORE AS AY 1 9 LAE 153Rate (ome) PS—36 Halt: (Hw FMA, BOM, Nols, H1~13 A Allegro assai P SUSANNA cenremuneNo We, ob. vt vm. vw. SUSANNA : ‘Acpri-te presto, a - prise, acprite,é la SW-san-na; sor-ti-te, wor = tte, nor-tiste, via sor~ caren = = ve BB, 154RES ARARB ma ‘cHERUEIND ee! che gran fasta = (a! We ka Ce) FER ANY “WEEN” YER, RESELL ARERR RTE eA OE, TEMAS PRTEME RE LS AUS LARK ASO TERT A ETE RA ERAT LP SEAR HOA RES W537 kA: CEM), B-K, RHERHRHS, INRA: [aaanw) 1 Allegretto quasi Andantino ize P ag PP 2 155RS RA AEMORLFPR EoAP A ARES} fe BE RIE] ok yh BEE (thy SASAKI, PERM RRA ) MOET, WF Tk Bee AREAS AREAS IE, — Bb wh es PY OK AEE HZ, W588 AS CHD, RB, BI ~ IL AE: Andante moderato ae) Ce a ak> af PRIA, TERR aE BRP SLI EE ERR TE RAE SS HL TERE SPAR AR ASS — AEE CBS CRP LA ay De 9 i ie HAPS PRE HRI TERR Hei PE LEE, GF S| Be 156BER RARE AS—39 BA: CEMA), “MEASHBB", BIB~2S He: 1g Andante moderato J=72 dolee espressivo 2, Re - qui-em vas wer 2 St dolce espressino we > bp, P dolce espressiva = | a Org 157RERAE FEBS fe ta NC Bh WE ASAT RE EER HG RE APL REE, BEM ERAS WU, REE AY SEV ARE Em ROTA, TARE i AAT A EI. EPR, ART RT SARE HIN, LAAT ET RR PEERY RR, ROPE AT ALAN WS eH SIBGIIR -AR SD UA TARE AT VA FAS FF) a YU eA A Hee PREBAR ML, TUTE RG BEA Tay HT PRA RE eS eS a A LT PENT AIM WER. UG, LIRIAS BE Ba PAAR TS WS—40 AMME ERR TRA: a RR: b, SAS RMA ( AtKsbe RK): ) v.2 DUPE LL RT ea — eH PEE, EBERT et RR. FERRATI a Zi, BRUMEK RATS EMME, A. A, WRT HA HSI. oh, TNT, RTS HURL AR LG. 158HAR AKERS BIS— 41 sFinM: CET), I~ 2A a A Nicht 2u geschwind ~| pee De RAM (RARE IR) + 1 Not too fast Not too fast iz arco Via.t > pS pizz 3 = Wee >——Ih oa. pa vo PRP ERAS A MONEY PE A AIR, TRE SH, AE RARER. BS—42 HHH: CRF AY, BI~ 3B: a RRA (BA LR NRF) Andante sehr 2art(deticatamente) 159[ear] S—43 HM. CH, TRH MY, BI~Zb: a BURA: (id CL RA Wi aA AD SA, JARRE RMA BE A TT, 160BEG HURER AS—44 BR: (SHY, HI~3 AA: 9. BRM: ~| b. RAMAS Allegro agitato Ve, | Allegro agitato Monte, 6 eu - bo. PP ‘PEI AR OR AR RE ALY AYRE A SURREY LR BE PARA BATHE SER, PPR WRAL DR YE SABIE Bie, RR RARE PEIE CF MIAO ED ESE IAL A BA ERR EAT RE FE, ETB BE T EAS BD FRAT Tie PER AaB UH SR AEB SE BE PON, SB Bey SUR He I GO DGE. AATY AT 2A amb at RF Set EE BA RA TE, BRAT AMS HABIT, ZAR BTML BE FRE BEAR BE SB BB HE A 14. EMPAOA MIN, JFL EME— RESERPINE. RF ATHA: String Orchestra: Britten, Four Sea Interludes from Peter Grimes, “Dawn,” beginning (flute - violin combina- tion) Britten, Serenade for Tenor, Horn and Strings 161RB D. Diamond, Rounds for Strings (contrapuntal writing in last movement) Grieg, Holberg Suite Stravinsky, Concerto in D Vaughan Wi jams, Fantasy on a Theme of Thomas Tallis (large string combination) Pizzicato in Foreground and Background ; Bartok, Music for Strings, Percussion and Celesta, second movement Bruckner, Symphony No.3, third movement (cello ~bass pizz. ) Casella, Paganiniana, second movement, at [65] (left - hand pizz Grieg, Peer Gynt, Suite No.1, “Anitra’s Dance” Holst, St. Paul's Suite, second movement Shostakovich, Symphony No.9, first movement (violas, cellos, basses) Tehaikovsky, Romeo and Juliet, mm. 38 ~ 51 Wagner, Tannhiduser, Act Ul, Scene 2, “Wolfram's address,” mm. 38{f. (strings and harp) Seoring for One or a Combination of String Instruments Effectively Negotiating and Important Melodic Idea; Chausson, Symphony in B?, third movement, at [B] (high violins) Rimsky —Korsakor, Le Coq d'or Suite, opening of third movement (long viola solo) Sibelius, Symphony No.1, third movement, 14mm. before [K] (double ~ bass solo) R. Strauss, Also sprach Zarathustra, beginning at the fugue (divisi double basses) R. Strauss, Death and Transfiguration, mm. 428 ~ 475 (high violins) Verdi, Otello, Act IV, at Wagner, Der fliegende Hollander, Overture, mm. 353 ~ 361 (violin and viola) after “Ave Maria” ‘Additional Works Featuring Contrapuntal Writing for Strings Francaix, Symphony d'archets, first movement Lantoslawski, Funeral Music, beginning Rieger, Symphony No.3, fourth movement, 10mm. after N. Rorem, String Symphony (throughout) (Allegro feroce, mm. 1 ~ 46) Additional Works Using Divisi Passages: Debussy, Nocturnes, “Sirtnes,” at [1] 162HER ARAEB Wagner, Lohengrin, Prelude, beginning and end Weber, Euryanthe, Overture, mm. 129 ~ 143 (violins and viola) Works Incorporating More Contemporary String Writing : S. Adler, Symphony No.5, third movement, “Future” M. Borkowski, Limits for Orchestra (many string effects) M. Colgrass, As Quiet As, second movement (col legno, col legno battuto, Harmonics, jeté) A.Goehr, Romanza for Cello and Orchestra, mm. 52 ~55 and 363 ~ 366 Messiaen, Chant des désportés (extra ~ large string on) The following two works are typical of postwar Polish string writing: Lutostawski, Paroles tissées Penderecki, Dies irae 163SERA S HOTT ESAT, RAMI, MTS ta PUR. RAAT TSE AAS TRA ERO, TEAR A RIL EA FF BEB FR BB SHAR AE ALT PAR BR A DEAT AR AT HR WH. SAVER ARS MARMARA A HH Of EB TAT IS FB RAKENFASRNE ORES. RGR “ACER” — ia) ta 78 EME TARE SH FR ER I BO BE EER AB, ROE AL, ERA, REBAR, SRK SU, AR. A A, BON RETNA A, BR Re od are RRMA (19 tHE), HAR, ERO ee RUMI “AE, EA CRE MOE RE TARA. ABA, TERK - RAR RAMS He CR Th), ARE WNT Re wm TERA TRIEA BR AT RT AE ZB, RATA th Se — FEA TEE. FEA a SEL SA EF TA ATT AD BR, “RE AC aS Ae eds St, Fa PE SE, CHAAR. RANK RR TR BA. YT Bah BH. YRPOMAN RAAT A. AERA ERR A, SE Bz eB RELL PE A FT A SE TSB AAT TAC a A BURA BY, ROE CEI a AL APS A 1 $3 RA LT sR aR Yr TH, TREE, RM, RIAU RAMMORE. ELA LIE ROBO CE BOR IM, SA TAT Se HY IEEE I] 1 TAT AE LL BREE BME). Ril, PLAZA MERLASIRE RARE. AAP FARIA TX — OR, (LB) 19 HEE, AER A TE. PBA OS - (1794 ~ 1881) S283 — Phe aE AUPE E AT DLR BE, TT PSR HE, ATES D BM Paul Bekker, The Orchestra (New York; W.W. Norton, 1963), p. 15. 164BNE AAD RACES RT 1H TAA. RRA, IK ILE BAT BR, BEE, EP ABRY DATE ARE RRB ERE UH TER SAS BLA FA ZED ERA AE AR REAL TR 1. AERO: 2 3 4. 5. HATE ASRS ABER BERLE) 5 HARTER, HAE AEE AER BS ES PAB RIRET A 1. 2. 3. I MSOKRO: KM, 1A, EHC, RHC HE TRIE: A, THM, RE, TN, A, AE MTR: CH, Di, Me EW, BE BUA A RE, Pa AEE (ME Wi), WCET GNA ORE BB, AAT NRE EU), PRA SEAT (EB TERRE EH), ELSES (F ia) 4. PWT SCK: BA GAR RE BI, Bh), Ree TE (BEB), PMSA (PEE I), UPR RT (Me BR), LAR EE (BEE WH), (RTE (ie B i) PBR R BTA TERE AICI PER AE AS tHe, SLATE EY Jd a, BO LR AR KS, AURA sh (MRA) SRE AA CREST ARSE) Pia, a sy PEK: BRERA SEH RAR: BRE ROR: AE SAS OER A) — PRA, 165REERE PEE $a ERS EA, IS El. PY AAT RR A KANE SALE ORB OR ARN A. PN CRA ERs) A TARE, UIGRE ACE, HOSCHEME RI TT TT ae, Ll. AAG: SARA (EE) 2, AUST: Pee A ETE 3. WT: SRT, HRT, RE, MN, AE, AE HR TERT 1, BBR (SR LAAT): Kara eHE © a RK AVES), (en PORLRE—e, BUFF, b, ARRAS, Ane aM ee — AT. 2 REE (FRAT AMR): RE, RT, AR OE PRB TA BRAT eT LM, RO. RE RA EATER, ATTIRE AYER SP BUTE 1. BFA ONDA AEE ER BEAL A AD E/E RO 2. BPA AE ABE +R, FAB BET DE 1, BARR: KA, MRE MAE 2. BAR RR a BAEC ARR + RT + + KER + ATED (18 A ASE — A) + FARA (8 F SAB) + Cia REP RRR (OE PREP) + EB RT + Ee + EB RESET (HRM B STR) + MEE Pee see DO RRO 1 Ae ES EE A RE, INFRA EE. PRL, RARER, TPR, MUUCH Late T . 166BRE ARM + EB REET CRM B IR Ae — RE Ha) + REE EAGER ORME E ARI eT AE) + EB RE ESET bh. BBE PENI + AE + ST DRX DP IR RRB AT APE SK PE A EY BRP BR BURT, BCR Fra RIC. Baty A PGi FR YEE aS HET TANT] TLE OR BE AS I IE REY, BOREAS AEDE ADM REBT DL He BESS Hs, CEFR LA AR a ARR ADA Ee TB HR EH. Ak, KHHAAAKRAARATRL ES, WAM LANES RRA RATS, RARE) (RD RE EAR AIM) PTL FARR T EB BA A PA SEE CLANS FG AT wd OY I A641 Les am ERS HH: atl ERATE eS (ames) & ATRL IERT TRS eS ea CEES) Zep 6—2 MBEAN BIA A OR SCE'S TATE, TERT ANE REESE ESL 63), WRU REE A OR. TE (MRAP R AREA —MEKOPIE, UGE BUR A W6—2 ee: “Tate A cian Ba. E38 RM: Bo, ac. 167Bea ok a AR ROE NAAR ESE EIA LIN BATS TR], MU LGB O—4 TBH, 64 Gee: me TERETE OLD FEMS A, WALRUS AS TW SR AB a eS ESR E. BUNS, FER ASE TLE — SBR BO TE A ELE. BLEDEL TE “PUMA” EE BRA A LMR ERS DEAT TER FA RAL, RAR SAME: LEE C ATR RUN ER NE (EG) BER eam xem feninaee SSS = tute Me Be re ee A 3 Heian —Be ARETE —— Leica = ae BB Aaa pe 7 - ERASE = —S ice B= > mans SSS cotwaxce wae ————————— FREE Hiei a OU TL CmTaKE & 2 PEE ap amet , 7 BE BE Hie REAABE iB im ESE . SD ERED Hi Rec Une Be LACIE SOE = Leigh AIC Se D MRKTPR RETR, WK ICA ALE. RAAT HR! AO CTARS, UES ict, SARI TE, MRS Cie, SRE DEE, 168BRE KEE Ae BIR he SS Hea AD SB RE TET Te TKI att ice eT AE RAE HE AT RRA CA, TS MBI ET ie BE B ARAMAIC DA, A TARA MARIE ME AT. BEE PIR RIO A A, D Win aac Me B ACA. PM RAPE CAA. SUF SAT ASAE BES AR ABET BASIL, POY D AME E BORE Le EE AF METERS, PILZ, WEE ee, AMM LAR EULA AY AAR TE Re TT AB A BIN — AE, A, UF AGH, Fe BD, D FARM E AERATOR EE aA AUT. BS AUPE AA a aE ‘TeRE Me B ALR ANE EEE, FSA eR RAT eH A LAN D ea RE. PROPEL Ae P , RA ET , k tLe THEA ES a Ho BEY CA THAN DR) Se Ee 6, ARNIS. OVHE, PRBE RE 19 THEE FR EEE ES Pe MOIR, TPT ES HEV Ao DE BSE AIRES AS EE ANI A EH I dO Bis. WHERE ‘SR SE AE HRS a EAC EB A A, WC AB tH HE SE SE PAAR ABR, BE. TURE, VAR TERIA Fe ME RA EE RRNA KSARRAEMFPAGK, Mit, ANTM RIX. I, 1K ‘SS 7 ERATE ABE ALTE HE SAY, REE ATK RAS I A WHEE RE". HTH, METAR ANA TR PA EH ER LR 8, MAMAS K ze WZRBTROKER SEH, AB, RSE RE, EER, Re FERRET DUAR AB TL AY Do RA RN TAT (HA HE 169RREKA CHR ERE APSE, BODE EMAG) ; (2) ARRAN RATE CARtE 4A); (3) SRAM ARIE GATE RPA) 5 ak (4) REREAD AI RRL SIERO CORA). HA TTARES SL, WN SHTALAIR RE, PULLS OT peste FOWL TT. ‘Pe AR SOP RE A A GH a Oe RT 5 GOR (PR A Se BR PAB VAY nag DP A Fy LE BH A BL OR BEATIN. MOR — ACH Ml AR LEA EO BLY ARE, DOU RA ER WH”, “AMAA ARTE” . URES RICHER, “OR”. Eee A BAA GHATRETIN) , MMU “ARR ERAN” aR EWN” BEBE. RAWAL (MARES) PHAM “TORN” BE. C5 HEM: (MNAREZA), HI~a de: San t ‘Very slowly (J = 66) ha. aK, BHAMD GR AER REY PO SESE R.A SL Beh LIE 7 Za ALY EAC ER BRB We, EMER A" RP (HART, BR. PRA, Ft 2H A” RACE) o BRR PR AR PY LAR He Sk HO SE 3 Se 0 AE EB Be A TITRE, MTR RAR TEM, BR MARA, Bet, BAPE — 1 OR SEE BE A 9} — GIR RS HF — 5 Rb (RA UR RRA — 5 EAE, RL PES ACER BRR). AA AEF PI GE EISLER AE TB —- DARE. BPVEMBR TAPIA BOR, HRI 6—6b "PIERS, WAR 170HRT KE HSS et. RSE RK (Hl6—6a) BES. BE—6 NSA: RAR, HORE, HIN ae EIEN OLE Pe, CATA ASC, me SKLAR ATLA, BIER SE IEEE, CE FEZ BPRS. AST BRS: [ep=arnas] mer Kee EKAFY, SETA RACE AR RNES EL, NE wot Fo HERR FARO PTET RR TEA “BE” ee, BOR ATAPI FLAS WE, MERAH S Be SEER LMA ORI, WO-8 Kes: 0. Rook AMBUSH, DRE ARAMIL, MERA SEREE PD, SO Sub. wee SULA SURAT “RE AL “oe” PEALE. HE-9 Rie: Presto tee tek, ee 171Bea aaa oo-2th a8 G0 REAL (ROURKE, RAE, BI ~O DH: [sme] Allegro vivace tereke or tokete TRE “8B” ASAE BET A PF fa ALA SR EB A RR 3K RAGGA ROTA, RERRAG RB RAN, HAMA EM. Ea rh Pe SPS AM, MLZ, APRA AS MP aI A ADT, PRT RE PE SK. W611 MSH. (H— RB), BRE, BI~4 AH: Adagio molto (J) = 88) we—12 Am “ae: zea.es FEE (4B: Flatterzunge; ®: Frullatwo) NES ERAT RR A RAM RE BARN, FG MOE, ATLAS LAMAR ERM RAS, Aa SEARO SURE “1” PEMRU PTR ACH, AEDTAT ANCES. YCR-PR Am eT eb OTE ART TD, (ATER BUA PEP at ESE, ISR TS RA Ze 20 HH ATE, ZEAL TERETE, FA RET BER CORR IND) -ABFLE BS. BORD Shand TO AT EEL AUER IBERIA, VRE P ESR BE bv) = SSR ae, a Te a A Te TER” FRE AE Fl.) AR PTT RAGE. OAS AA RA: CARA, BMAD, Moh de ame aE, [103] se eD=27 5 (i “ a3 FF ASE TREAT BS BE AE, ATT PE RATT APE FR. EE RS RAT eI (OFFAL RGR FO, RAT ME Oe PR — BOR, RWB, BEI RENT RE SRMERAKHSRBR SHAE TE 20 HEC EO, ARERR RENE CUPRA RAVER TS, GUM a TR eA ER RDA SEE AY BBP AS RR SE EE, A NE” RA HE 173TR LG AVR AS LA ES IRR ee AE RY RR HE PB mee, (Ue A AR PE EAS a ARR PB, ROR eR a FR RT AS BRE Fi APRESS A LA Br BAT A, AER A A AL AL URE AGL PE, PET AUTRE EE A MED, ENA MUI — PERG OP, PRCT LAH AS Hh ST REAR AF EL A ER SR Ald ik EA we F Te TEE A eb OD, AE TOs FARR EH LTR ECP. MEAS, APPA Ti BA i AH A A TE I Fy ROT RRR TRAN, (AMER EMT EZ. 64 Bi: (RETAH) Fk atts Scomticonsn a pews P PRP IAB: Crumb, Echoes of Time and the River, second movement, mm.12 ~ 13 eS BG, ERP ARR, FS AN eT HR RRA, MERA ET BE. HURT REAR, A, aie. WES HH. CHEEK) Sl~Gl: (eam) ig Sub alegre mao = 48) Pe E step tomguey | t Sole men 174BR A a BRAS SLT AEE IZ a CTL A ae ae A aA AY. ASTER, de ARES ELLER ABB ADEN WY a AT LO AEE. OT SRE UR ARIAS, IL RR, TCR KML, PRE RRR ARS TR PAARL ET AUPE 6 AA PHAR AEAU PEI BS AE, GR aE Te A a a a BR-G, BENG RH: (EFHLSHAH), HOKE, H~I! HF: ' oy Ignanaenntenne fa leks ——d ANTRAL RAVES. HEM BORE RR ER ARAL, THAN Be HE fara A, AMS EAE a POA A ATTIRE RITE. OE AR RE A IE, AECL FLT A EEA Ok, (BIN PH EF 4 i HE — AE, BEART + Rae REE (SEED AUN + HAR AT CE CONSIST AR WE RTT PEAY SHH) BER ABA, PE BA BFA SX ERR OF ARI — BS A RR FRR IR, PR RE A PLAS HA CARA, ROVER AE ENO, SEHR RBA A AC FPS SCO FRA RAE RA, DA ib MN BLASS NF : D ARR Mic, BM Kurt Stone, Music Notation in the Twentieth Century, 175ERRAE 1. SU SIS ES RTT DUE BK OR BAD 2K 2 RE 2 SCARE EE CATR PEA AS BI a PURE BYR) 2 KE 2. MAAEZ a 19 WENO: a 22K 2 RT RE 2 CE AGES EE 2 ERE (EKG 3. 19 EZ WIE AN 20 tLe AY AR BA KU CARR RL ME PE KA) 3 HT 3 RR RA Cia, D Wake E ee 2 Sak 3 CBE B ia A iLL ANE RE AE (— EOLA SER SS GE Pe ENE) 3 KE WAG BAS TM, CUTAN URE: ET. PR, Ne, EA, Ra. E TEL RATE AREA AE ZI, AE AC ea OAC RGAE LOBE LAR TY, CARPE AN ANAL Ls Ae 9 BEAR AS HA PAL AE (LAs PATE EAE BSE AE AE AY BR at, SER OE ee at CR ate DS CD EBERT e CHOI 22-71), MT SEEM: veoh, EDL IF RU AFT FAN. RE, HER eT A Sk A Ao eH ER 176RAR ARE FE!) HERE FE APB BRERA BLK. UCOh, BAR RR UO SARA Il FR BEAT RR USL] tS — iy two tt Fp t ate & = oo “ <> HEF AR Debussy, [éria, first movement, 4 mm. Before 33] ; second movement, mm.5 ~9 after [46] TEP AF, AUT A, FRA KIER (BP7—S) Pe SETAE “LSS” ETT SS, WEE RS HERE BL, PMN AE OSA ROA ER EOE, DOTA eR EK, CEH 7—6b, PERI FAA BUS AAR EAC FA BS PI7—5 MAM: (M-RERES), BORG, BS~ ID: (sauna) Andante semplice aah Pp doteisstino 76 eR, CEE” HD, BDA DH CHB): 181REL AE RANA PRRA TT RE, FRM, PARR T KON RHE. SASH Te, WARMER (UN), A7—7 FHA: CR HAD, a, 8 209~224 AH: [co=27m se] Slowly B78 kt, CRD, BERMAR, BING AP: amy Andantino quasi allegretio > pespatarpieoetts 182KtR PBHAR AR oes HREIHA: Beethoven, Leonore Overture No.3, mm. 328 ~ 352 Hindemith, Symphonic Metamorphoses, third movement, mm.31 ~ 48 ISAT DA A Cth i ENG AIK AE BPE BEA 5 BUCS CAS Ae A Bt ad a HY, PE Be SEEM BZ IG. aT REGRESS 2. 4, 6 TRIS ORI, PLAT LL — KE PRASAB EF 0 FA PE ERIS, BORE — CA RT AE RR A BRK HH A EF, CBI7—9) . AEE, BE RBZ ty Fea EAB AT REE i BRA — SHR A HS FR ELH. 79 HALA: CHR), BORA, BIB ~ 46 NE: Pia andante a tf deat # da; | o = 5 * <> = 710 MB: (eRe) (Else: (co=2ms] Lento (= 44) oes a mt es aie tt pie = SSS =a apt =ee PEFIAA Shostakovich, Symphony No.5, first movement, Im. after [39] to [41] RREMBRE Fig A/T ERR] LOS Nab AE, LT LE Sek de ( SCR 172 KE ML ALAN SME AT IE) & ATA Sibi, CHR), BRI, BO~ 19 PA ( 5 Presto ee p lequier PLFIAN Debussy, La Mer, second movement, 24|-~[28] (triple tonguing) Mozart, Le Nozze di Figaro, Overture, mm. 276 ~ 282 (double tonguing) R. Strauss, Don Juan, mm. 179 ~ 183. (triple tonguing) snRe ARATE KR TE OL. FATT FAFA ERY, BORE RE ALAR SE Ah | tei ak: 184BER Ba ES AAS THRAMEORE, a wi: . gt $l eS) He: BE ADA — SA IIAU TE C* EDS ROR. IRI, RATES HC” DLA EAMES. BR DICE EIR B’ ALBIN EHEIR BP aa BER, AN, (RL, 9 TRE AER, IEA ABE He TRE ER Ss FERPESET R , AUIS REE HTD BE, ze RASTER) C4 DL TAT REIS AL AAR A ALLER a 4 TEER ER, TE ER AE, PM RT A ER HO RHAWRLRMEY. DSTI ICS RA: ET. TA TKS TCH, BE AK PICK-UP ES BSP) Ae, AUER is OTT. LSPA, BM, RH" BSH UNA: ‘rae 0, 0 ——ooo AT4 tease: ¢ v 7 co G75 ists: GHAR SR PRD, BBR AOE: Lm: | a HEF THA: Stravinsky, Le Sacre du printemps, Part Ul, Introduction, mm, 38 ~ 51 185BL AB AE BERR TAA RR CER, SAK, A, PRU RE OBR, GeMeTE 20 tt Sea EM RD FR ETT CLS FT PAE PR LETT AS TF TAT ke ERE OF: HAMLTAR. TANG a AEM. CHIRK, a delAist [o=eme] Alla breve ‘aceelerando (tutte tongue) re (huey tongue) wg mune WIA CuK: CHPRENLRD, SHPRMTA mukiphonie fingerings; 2 ~G# A tr key PRENHA: Berio, Sequenza for Flute (multiphonics, key clicks with tremolo, key clicks without sound , key pops) A. Gilbert, The Incredible Flute Music (muhiphonies, quarter tones, and key clicks) B. Jolas, Fusain (an excellent quarter —tone guide precedes the score; multiphonies) ‘T. Musgrave, Narcissus (flute and digital delay; also available for clarinet and digital delay) H.Sollberger, Riding the Wind (buzz tones, whistle tones, ke clicks, multiphonics) 186Bk PRMAT AR SARA He BILE SLES Hie eT AE A A PTE POT CA EI IT PH FARHNY CONE) VRE BEILSTEIN Ae Hh 20 HUPHRAE, AE TL BSE ZIG, PERLE NETS SCS REE AER AR 8 HE SM OLR OVE NIE HH), TINUE F, CULM II— RE. BY 19 HH, SARA RSD PEER RAO PR MERC ME, EAT HC PRA A 9 A ERS TAR AMA, AIG AG IN PE BT RAE (1) HACIA UE RAZ, (2) TAT OAL STE: (3) Geese RF WR; (4) TRC, DORE RRR, (5) ASEAN EB. WL PRT SPH BF: BIS KAAS, (MATE) X “HET, BIS OH CRE): 2 Moderato assat LaF 187aur HEE VHA: J-8. Bach, Cantata No. 106, Sonatina (2 flutes) Chabrier, Espatia, mm.78 ~ 82 (2 flutes) Debussy, Nocturnes, “Fetes,” mm.48 ~ 50 (3 flutes) Mendelssohn, A Midsummer Night's Dream, Scherzo, mm.1~8 (2 flutes) Stravinsky, Fireworks, mm.1~12 (flutes, piccolo) Stravinsky, Petrushka, Third Tableau, “The Moor’s Room,” m.5 alter 62) to [63] (2 flutes) iia SLR RR I RES IRE ASB RE, PAR PRT ORE TE RUMTITE. Rio id (%: piccolo; #1 Ottavino, Flauto, piccolo; + petite flate; i: Kleine flote) KAN. BURR. PUREE SR OE EA ER ARP AE A — Bh, BBR AT AEWA RS, RAT FO, FEAL PETE AUP PE ak 9 — ee a OR EE RR FE BUCS P , BMOIR BRP AR A TIL Fy SE BER EER BR HHT, A TR Jt {FA HES RI REI EIR, “ET RT OR A J, ULETUETE 20 HECRC RR TAS hSE CH. ROTA SIC AEE BB EA, eT APM RES RS. T—-20 HH: 188Ete RKO RB SOLAEAR C VOR RE, ACODER Dy MR ERAT — Ab BU ST 1 DS PR HO, A721 FRE Se ZUR A SUSAN, 89 OF SRT RATE SHEA He BE eR A Se AE IRA JIE TICS, VL SEMI) ALES. Hl ti ALAM FS Bh EE AE SERA Y DRA FU, A IETS: PU7—22 Ratt: CMH), BER HTH HM SHSHEE”, BI~O AE, [eo-amee Allegro be peers W723 EPRHMA: CRANE), BRE, BO~IT NG, [co-27a | Alla marcla son FAR t e vane 4 oO Oe lal eT el sl ell, ? va mm |} TF pe, ie Pee a eu DSR GALOLAR CATA HFC HOB D AGE, LR ESR ARC ee LE, 189BRR A724 EH: (FRENTE, HK, SH, H1~S NG, Sa =SRs, Allegro 1 + 2Pee 1 . te aed HEF TAR: Debussy, Théria, 33], mm.1~6 Kodaly, Mary Janos Suite, second movement, mm, 5 ~ 15 Prokofiev, Scythian Suite, third movement, mm.2~6, 4 mm. after [51] to end Shostakovich, Symphony No.6, second movement, [51] to [53] Shostakovich, Symphony No. 15, end of first movement Smetana, The Bartered Bride, Overture, mm. 427 ~ 448 Stravinsky, Petrushka, First Tableau, “The Shrovetide Fair,” mm.9 ~4 before (17] Stravinsky, Petrushka, First Tableau, “Russian Dance” mm. 11 ~ 17 after (42) TERS, RUA RRA BE, (QOH, TES PEN AB RTE OF He AG Be, (REAR LE RGR, Rh ae TS EE ES A, Ti RR TSE. PR (%: Alto Flute; %: Flauto comtrako; is; Fldte en sol ; 4%: Aliflote) 3 HRCA, KNBR hit F ORE th, 46 19 tHe RG 10 ABE ea, TO TEMAS TSO EAN BLBRT AORC RET PERN. CET RAR SO ER PR “MACAR” , (ARAM. AUER By EA TARE AY QA, SERSWMAAEE I. CORK KAEP EK, PARTON, Ot (RIES FR, HAT LAIR Pe a 180 JE 7-25 Hk: PRR AIR, COATES CMA, (PRA C ed, TAU Hy ska a HE Te ER PE. 190BER Rama RE W726 HRA: "cag SS t pais TR PRD. TAIN OTE FETA AK ES ABT DG EP SL, COPA RNR Ee, IA ARRRAERT EEK, HERA. EMME SMM, RRM SER, ARK ARMM, HAAS. MUR ARS BS, NAT Ae I Be E (GER. BA EA AUT ABE FE a a eK F it 2b) FFE PAE POR ER BB IEE KS EE HS FA 727 BAH: EMH), LEN, HSI~ ORG: tre 70" 08 Andante «3 ‘ = a un GE fet SS SS ey Z f ws — eS 7-28 MAH XHR: (ALM), Mme “ARE” Golst: Iron 201 20 ‘Tranquillo () = 108) .REAR HRS NHA: S. Albert, fn Concordiam (throughout) Ravel, Daphnis et Choé, Suite No.1, 5 mm. after 2) (piccolo, two flutes, alto Mute), and Suites No.1 and 2 (alto flute throughout) Sessions, The Black Maskers (throughout ) Varese, Amériques, beginning (solo alto flute) MEK (38: Bass flue; %: Flawo basso; +: Flite bass; #8; Bassflore) FL 19 HRS PORE RE, PCAN RS RAIS a HEE GR RED FF AR BE TE 0H URE «(Let A, A ME, Ee) 1930 4, AH ARASH EERE RA = PES ICS 11 MO Pa Te eR A A AB FB LEAN SSP 27 25H 180 BE, ROPE RTE ES SHR AY LeU BERL PT US IAS CI AAA HEE AEF I RET BBE 4a PS, TI PTE i729 eH SEAT REO IR LEAR — BE RRR CPE KORA, A TRAE RRA, RADE RRO E, FERDARS MCAR OT EVE PRT, ATT LA PE tae oR 98 LA MAU PB | BRO ARRAYS CAA RTE ER, AER — FT A SEW AP EE HBG RFC AT re ABLES PREG KH BF. BA7—3O SMP: CHARA APMED, 8 186 ~ 190 sh Slowly 6s mn $e Swine] — sounae cply HRFAKA: P.Chihara, Willow, Willow (bass flute throughout) 192Ste RMA ER Moe a (SE: Oboes + Oboe; Hk: Hautbois; 48: Oboe 3, Hoboe) _ DRC HEATER RE, BY AR AE TAT ACER RH AT YE HE. PPAR TLE AR AE ACHR AB BE A. RAN IA Ee AL, TR ARE AEH AEN 0 | BR TH Rae f ae WEA TRE RR RRERRR BR BRAK RAEN TE EMT, BHRTE TIN DM. AE AAS MT FT I AY DH, TAIT AT Ce AAS Be HAE A YE REPS 0 SHY NT A A A BA HB, ALAS BE SESE PR PEPE HL ALE ER, “EE JE A MBAR SESE RE Ae MY EES DEE TE AL), RINT TD SES AP aR — RRB GEES) FPR) HEA PRT, PT RAE, BE RAE AS BERL AS SG RO J), ESC AV Sk HR AP BE ORs ATA IE Wik. 193Raa SS 5aRBA B7—31 Bs: S EA BD DIE A FYB) Co, TAR RA CR, EL RR C ALLAN FLESH. RE A REE, RPE EMME AREA KD W732 FRA, sranteitiy MOH ARCR PART, WISKEM- THR, KRAMER REAR, EE NR ARAT CATE. HRI, KATATE RE, TOA HK. FROG G, FACT RM ERE OWNAGE. APR ER BRM ES ARG", OM RT EA TES TRPRRREM AE OB TADS i Bh SAE SEN I AT ERTL IR A TOA RL RG th ROB 783 Bik: (HERR H) BIH, MIRH, HO~ BAP: Andante 10, o = Sa etre “4 « = $6 SS Se D AIS) RASH AY, AOE TARDE, Dem ee HRM, HOB Se BURA WTA AAS. PRT, 8 20 Ub fet ROR TE: OR ARH + LEARY COCR ITD AVG RI AE - HP BA RT ERA ITE COED, CER TTR EY EK, EEC HACHHSEME, MF, KENRTMSA SMELT, 194SL RAM ARR W734 RA AM: (MORE), BIRTH, 1 Andantino in mode di canzone yh ee St 2 uae P “ = = « Sees P7385 HRA: CHR), BLK [wears] vent o» Peep Se ee nS vt ~—t ¥ SS See HRFABA: Barbbitt, Relata H (extends obve range to high A) Bartok, Concerto for Orchestra, fourth movement, mm.4~ 12 Beethoven, Symphony No.3, second movement, mm.8 ~ 12 Beethoven, Symphony No.6, third movement, mm. 91 ~98 Bizet, Symphony in C, second movement, mm. 8 ~ 19 Rossini, La Seala di seta, Overture, mm, 37 ~ 53 Schubert, Symphony No.8, (“Unfinished”), second movement, mm, 207 ~ 221 Schubert, Symphony No.9, second movement, mm. 8 ~ 24 Schumann, Symphony No.2, third movement, mm, 8 ~ 19 RERMBRE HL RL A EH AER A EL th, ee A a a eT WS i SI AD, {AAD AG DA = BR HE EEE AR SD, IS a fe lh Be OR HH EE; TEETEGIO—10 *h, SRE NAT ERS He FURRY SAL, (LAL RUT Bo RE AEE EA RA RAE RG. HI, TE AE TSE, ET AUR TRE EAP DR Ee CEE. 195RSEKE 7T~O6 HM: CRE) K.297, MSH, 192~200 0%; (wane) 102 | sim 737 EMER HR: Not too fast pf Ee Hanes DET RAW Ae EA BE SE RAE LORE RAMUS, DBS RARE. RRM RAL, ACR MT a BT ROY, BRT RAY Pie B? SUR BBs MA C4 SFE C4 NE AE ATTRA. wh, BRAT RAL ERE ARM , ANAC PRET A FH BE A EE BERR TE MEBUARAC RED, RI A OR A HR PARMAR. TE FEW E, HERA RRS PR AR PE TK (7380), RA, MURA AU MAG , HMR SORE OT ELE OK ( Hi] 7—38b) . A788 AEA RT PR: (aA) REM IS, JOYS, ASKART PIL HET ROR SH RES. RE SR SKC He ORR DE BAS 196Hee MeO AER A739 KEM ORS, Bend tones ton REEMA EMRE ET RS, LAUR Ti LIPASE TAT HL RRMA A MT RTT. PEM LES ES A, EY TE aE RT A AUB ETI HIM ED FRR Se AS (WL 8—43 AB] 8—45) SENAF WER HL RRM TALS HN 2X, SHI SORE, A at aE AC 3 MMAR, SP RTE ERIE IA ITA, 2 SRI, IE La RAAT AAR AAT (AMS SME), RAUB. OR, EMT UES TORIC, FMS BoP HG RR BE st O7—40 Ale: CRE), PERE, H460~407 AS; (warm Allegro Plein A741 HP: CSR ESH MY), ROKR, HAT~ SAT: [eo=er | “a Allegro 200 = a ve 7 =— 742 EH: ERR WD, BEAR, HU9~I254 VA: coer. | Allegro =~ = by EWR AR ARM, EMR TE EONAR ESAS TEE ME. Ae TE KF, UE SP PERE RAR A, LPB AEH REREAD HEP PRR CAT ARATE BRET RTH 197RBLAE PTF IAA: Stravinsky, Petrushka, First Tableau, “Russian Dance,” [37|~B9] (three obves and English hom), and fourth Tableau, “Dance of the Nursemaids,” m.9 after and at 90|~[95] and at [96] Erin Hom (3: English Horn; + Corno Ingiese; i: Cor anglais; 4: Englisches Horn) ERE RALT REN, RSA SRE AD Ra, SEA, ESO PAP RAR, MUTT IF SE Ae], A DIRE . WR AYA, HE ABE ABER AS FETE. BOE OU CFR) be NTE WE BY LEE EE, RE A SET AB TS A AS Aa 7 RY REE ROA PAS AR. RIMMER ARI, We RAY SURE FRR ARE LAE Fo BELA fA $ BB SSL —£§$ Bik — 2% BR “Col angle” (FAIS), AAR TDR AAS NOIR, ESCM) “angle” Jae MEE “anglais” WAIL “English” . X—GRUEAI MY PIE MTT KEG UR RRCAR TS PRED “BERRA” 3X — A PALA TA: FREE} — aie 1 th Ps PP REE —§ CLAS 203 GL) PEL TEL AH, (UGS RINE ARHY, CRRA, Bee. ee ORE OT DATEL EAA UN AO PRB, WA 19 HP TRA, SER PE OH ‘mest. FAMERS A743 ah: ica a RE Le KA ALTAR AS, SCPE WARE LL ICE W744 FEHR: ae es FEATS 4 EL OT ARG a oe 198HR PAAR RR KATO RAE SRG: TAA TORIES, CTR, RRP REMBE—H, BH ACINE. ATRRHRERAR LERNER AA RAY BR, AR KANAER. TEAR REN A PERETTI RM FL PAGAN FICS Pi HE BS SB TEE A PEE, AE HEM AA 745 MT: CP REKE RH), BI~37 AT 21. Andante [eae] Eng. Ha colo nf espressino c> W746 Re: CASHES PRR), BHR, BH, ASH~UAT, S0=2/TR 60 5 = x ng Hn. he 5 Pat tim 7 Sf dim TAT NH: CHR RRA AB, RIS ~32 DA: (eas) jg Andante molto sostenuto Eg, Hr. so Se a 199REEKA HEPNAR: Berlioz, Symphonie fantastique, opening of the third movement (duet between oboe nd Eng- lish hom) Copland, Quiet City, mm.22 ~ 27 Debussy, Nocturnes, “Nuages,” mm.5~8 Dvorak, Symphony No.9 (“From the New World”), second movement, mm.7 ~ 18 Franck, Symphony in D minor, second movement, mm, 16~32 Rossini, William Tell, Overture, mm. 176 ~ 180 Suavinsky, Le Sacre du printemps, Part 1, “L’Adoration de la terre,” mm. 14 ~20 Tehaikovsky, Romeo and Juliet, mm. 183 ~ 189 MB5SRa PR TS RPE, ROR A ER, IE Fie HUME EBA bs HR. BERR RATAAARET AHWR, TASRERT RE RB RATA A HE, GFL ROA OAR. HAM RAMEN « BAA OME IER TF SEAS MEU RR HEE, KBB ZELE Hh WE BOP HL Ee a TE RAT EA USE HL MKB, RE EMS ER, FE Hee sea BRUM RETR TH — MEAS KE ATT FB ATA EB LR FHAMBEA (GE: Mawbois d'amour) SHALL Ah A RAE, ROR Re MN ASAT, Ae PROPKROME RT RELA, EMRE, PREM PEE eM 20 HiRes PENN ARAN RRO, LTR ce ER Ra PEI PI7—48 Hak: ica 2 RTS te & —— FPA RTT AGAR AS, SCR ERMA EER hy SB eh OE HF Te AD ARRAS BRA RICH (OMIT LARS BEA). AR PE RN ae a ee 200_8t# PRAEGER RIL. PHAR IE OT EE, (EA AR RIAN, “EAA Pi. VRB A. FEMA LOT EAP, ULSAN, TA ESy MATE MM eITERY (ARBESCOH HR) “PRR MC Fo SE. IRE + RRP TE, ATE PPE RTM — bse, FLSA AR HB Ek AB PILES FARE I EE Pa BR BEI RELA DATE BR IE YY I: (co-aamee | W749 Et: (SMM EM), Rw, BONN (KB, MAHER ARS), 9 Andante (6 sumac? Ob da eneca Ob denen mt Va.2 A750 Be KE. CREWE), H1S6~ 164 NT CRRA RH) [Oeme] 209 ~ 25 AB 156 select vin 2 patsRERRE 0 amore REFABA: Bach, Cantata No.37 (“Gottes Zeit”), “Der Claube Schafit Der Seele Flagel” mm. 1 ~6 Debussy, Images, “Gigues” [10] to [I1} Mahler, Sieben Lieder aus letzten Zeit, “Mitternacht” Ravel, Bolero, mm. 77 ~ 84 G. Schuller, Concerto for Orchestra No.2, second movement, mm. 76 ~77 R. Strauss, Der Rosenkavalier (throughout) FEMS RASH ARMM, AER RIE. “ERS ah, TRACT, BARES IC CHL I-49), inl stoN TARICRRAM RAL PAS. WIEST EBB UIN ADR AR OME BR, SR Ce TY 1, BARRE RIAA, Ay EA Ao eA A A. PERE RSNERMANA AR HRT, SIRES YE Ce 16 TH SE AE A) SHERRIE BR POE SEA EAH fe SP. GRE a 9 SA HA «MEA EH AF 1904 FEAT TE TACO AE LE EE HY SSR AE I He Bw HER A FARM RURM SM TEER, AS BI7—51 Hk: iis Sea PR IE RPSRKGMRS KPERES, AMARA, ERAT SREY, A PURE STAMUL, SECEDE LA DDR BSE We AEE AR aT, HAR RAE: TU EE ee EA PE, SO, BS AEKRA-LAKMHKEE, 202Hie Rem RS VE EAR ES UE LEE Jy HEE RR HE TRE EE PAB, LTE A HE HU —AE, SOR ARR, MURATA, EAR OA TE RR GH ye RE EST CHE GREE) CRI) th) BD AN TARE FA TE SAE AP ae TAT PAB AB TT LE IE SR AT DA Ba GFE. 782 ROH: CABEKH), I~ IONE (OS, ARREARS), [oeime) 1 B.08, be. Oras aves om P7539 RH HTM. CHRR) G2W]se: Andi ante. rntabile — Heckel fim =p 203He AE PRFAAA: Chavez, Sinfonia de Antigona (throughout) a oF en (3: Clarinet; &: Clarinetto; +; Clarinette; #%; Klarinette ) BRERRR BAK Lilt SCE hi AR ETE PAN UR, FP ERK BBS AT SO ARO AB RE RA Ah ROM ARE FA ERE MBAS HE HT RE, AL ER HAT AT DBS AT SRB, RAEIER APRA, SURGE ae T CHE A AL: BEB Be BUA O; MUR —SKMK BM AREER C PNCHROURERE, MIME MOTEL Fos B wl. in BGXBoneat sh A SURES, MIOTARIRIE AG, AME, LASER Tze YE Heil REECE LAG EAE AER AR PERSE OLA RF ARS BH BI Pp ATVHT fear 22 IES 164 SLA ALE 6 D CHAREESRILE RTA 2044% Paw ERR | fen BEB Bee wae teBil 3 me ARTE t uma CPD fetanse acne HEM RIK SRMBRBA RARE EEA MA OTR R754 HR: sche = ro son mee shes eg FRSA (UHR OUR SUR RROD) CHERAB’ = ti ZSRTEMN, AWA ARM TERT ERM CEB 169 AE AY ie). TRE LA MPRA: CHEN “HO”, IR CERE BY LEER BS Ta), BESS BTA, ARE TL Ce EARTH) , (AROSE BE BE me SAT REAL COREA TAL 9) ORT HCPL BE ti Ze FIRS Pe a FT FENG BRT He AAI AGE, AER LMR TE] HI ERT TS SA AS MDEE,, RPPAUIRL AOL BLE AE Ra, (RPA LET EC BERK, THREE a, REA aR A, SF NT eK BF tT KT. 205BI7—55 SKA. HRI, 28 wee", HA . rm, == —SSS == Etrocn DEREK, AK. HE USE, Aa, de REATARD RON ROSTER, RCL AD ATCA. OEE HO WAR VA EE He, MR “IJ” BRT ey SR, WR PERL AED RGR PAB TE A — Ok TP OE SO AI TR Br & 5 RMI TF BRL HHL aR REDD % (chalumeau) 4%, CARAMEL SA, RRR. BaF ARTERY ORR SEALE” Colarino) , LA RE ACAY ELS? BIN WAS Be A BB AY IS KOH. ARG VEN SEAL MMR RS; “YAR He 18 HAS UE SOUR BAB Et Be, CUR “SERIE” (clarinet, AVM), AW ER BINA MEER Re AVS RTPA TT TE, PRR ARLE 19 HATE eh Rh — BE a a PLE 19 HEC FEM Ry EEE RR AT BLE BE BORAT A HAS SEAT ABP BAC SORBATE; PLR OI FRA ST He His EER RSA RAE BE, CEI SR, A SET, MME, MARAT 20 Lee NOPE ANE PET, AAA AE, OR Ey TE ATEOES, Se ABLE B a RE OH EH Ae RAEMBRE FTAA FEL RA PE ~h W RT e , BT AS BR eR CORE BL ROR LAE BO). ARES PRM, AMAT MRM, fH ATRE LAC AY SOE, HA Ae, {1 ee mee ae HY LAE Mat ALSak TEAR REN HE JX BCA RTE AE Be, UE ROR TE W756 RAAHE: (HARM), BRE, I~ 1 HA: Oo =e Tne,He Ram KER W757 ERR AR AA: (Oma), f)X33~36 AH: Act sie HRFIHK: Beethoven, Symphony No.6, second movement, mm, 72 ~77 Copland, El Salén México, mm. 294 ~ 308 Kodaly, Dances of Galanta, mm.43 ~ 57 Mendelssohn, Symphony No.3, second movement, mm.8 ~ 16 Mussorgsky, Night on the Bare Mountain, mm. 432 ~440 Prokofiev, Symphony No.5, second movement, mm. 82 ~ 88 ‘Tchaikovsky, Symphony No.6, first movement, mm, 325 ~ 335 ‘Thomas, Mignon, Overture, mm.1~11 Weber, Oberon, Overture, mm. 64~72 ABBR SAES ARR BEL ROR Le Te SLE FE A A A A, BO ae ET 207Raa BETA, I-00 RATAN, AWLP EIA, RE, Me BRERA, AEM. AEE, ERR NT OURAN Tie. W760 AK BAR) = SS] Se PIO) FELL EV SAE HE PH EAA AE. BEAT BB IA MBA AULT, MAHTE “sotto voce”, E FUAB ER th. A781 we, FERRIS BX A, OE LIN ROU SLIM RE A762 EVER HAH MBS eo-wimre | Slowly PPP SRE. er FEL MY Be ps9, GSNRS FREES LARA ME AS PR RE AA LN MEBE, (ABBOT PASC. TF LSE — 265 5 OE AE HH Bs A763 HAF: (HFNAB), DW AG2~TAT [oo-2rrn73] 2a0. FeRR ALAR ET UGG RRG TZN REREBA ET AINEK. iM, FUR PRWRAG AMEN: MACKTKS LOTR AKZS FR EAS. AICHE 208Bie BAER PARE LATINA. MRT FO", EU URES ERA, EB OR RRA SINR. EE A, SEES eA wi7—6s FH: [soar (eon nen patton) nis . a ee ee Sp ee = RE, GUPRH kT, LADUE Rk, SR TK -RE IA JAP iS ARO MRO PEL, A RBS E BL ICI, REALE AL. PAE TEM AAS fe BOR FILER BA a PE AS AA EM HT EE THT. TD ELE MN ARR YT EN ICE S Sh, ERITH CEG EA BCR St S88 QUST HF, A ALP Le BL, (Le RN FOE WIRE, PNT So ae aE, NRT RT A TALS. aE SPC ART DRT. SP PRE MT LAE TIE SE. SGI Ae a LE ASD 0 BE OA aE THA. aS P7685 RAE: CSBAUARED RCRA E RAGED, BI2~I4 AH, Leow) ‘Allegro moderato 1 1 1a i es 4 JT 4 Ww ys ey 20: ie Pact = Trang. ase? 766 HA (BE TARHB), BEKE, SHR, RIT SHA: 1 _~ anc = 209Rema A767 FH. (HL AMM), HRB, PQ]>2B6~9 Ae, (geez Quasi andante z22 Bice g £ P a acs HEF TAK: Mozart, Cost fan tutte, Act 1, “Come scoglio immoto resta,” mm. 15 ~ 19; and Act IT, Scene 4, mm.1~24 Stravinsky, Peirushka, Second Tableau, “Petrushka’s Room,” at [49] mm. 1~ 4 Wagner, Siegfried, Act I, Scene 3, mm.93~ 100 GPRS: D DBE EDL SET RPV REE RR EL ED PA Ae, RE BRA A TAR APE, ta MBI, WARN RMS MASE TY. AT, D SE CARAMEL YM AR ATR BFA Oe SE HS A a BEE EPR ZS. DH SOR SME E RE AA SE ARSE, 3k ARERR Ee LS AA D PEE IPEDS IE GE ITT ERE A TNS TA RE TRS, A768 FH: 4 EPR ALAS I, PEERY LEB SEA A SRE, A NASER JL Dy AL 1. Pie B iB aN A SETTER PRAT E AT, HGRA Cb) A REAG HVE (RAG IT LR ARETE 5 210Rie RMA 2. TPR EMMA RE A, HP CREE ae, A HI EES SANT 3. RPA a, RAT RAC MAK RS . RTIE RE PRICE Co, MEE LI A ATTA BY. CANE LEE 4. EE ASE Ey AES Bak Ss RPE, FRAT OE Se Br, ERO METEOR fica APS Tel EY ADSI RE GE AE, BOR ARATE AY, NRE EAE TAA SHAS TES 5. CI OWS MEE, EITM, RU RE Re BFEPRCR REE PAUSE TT LATE DR TREE HR AK SIE IME fol — a KE BRADALE LHe ERAT HOOF ta 769 HHL: (OMAHA), HERR, B4O~45 NF, index" 80 ao Allegro (J. = 104) eee oer F acer poof cen] A770 BA RH: CH RLM, BRAT A: inse20s 1 Freely, but quite fast | ee oe Fain ca [sanz] W771 SH. (BERNE), B-AE(DA: ve Heavy ‘aufgehobener Sehalltrichter * be . bg: i = = = = = sempre —P A Ae AT ERE ILA COMIC) SLED BS AR Pa BA Bh SEA A LB 9D 211BRE (ee AS ($8: Bass clarinet; +: Clarinetto basso; 3+ Clarinete basse; 4%: Bassklarinette) RAS EME BARRE, MCE MR ORG Ey A ERE. ZRII, Re BA AS REE, (ni aS ooo Pe FR, SRPCR ARI CREE Bo FE 20 WAS DUAR, St HER He AR THR BROT TR, FB A RT RR CANE. tO TATA BOR EMCEE Pe ASHER S5 MEE; ohh FATAL YR OAD FE CP aR, PAU AES MAR A ACY KN EES HES RAC W772 Fak: pee Seer a at J zee aM EE BIBT, PPR RN LER De EE RS: Ze 19 Hhkea PSH 20 NESE aH AYR IR CE 8 AY ——$ FR ASE LB 774 177), SALAS A AEST BSB LCC RAE. E19 HR, PSD REHEA 20 tH SQWOK, TAIT RG FAS Ei Soe B AGE EE Ty (FE Sm ek KA), RAOTEREC BOE RA, RUMANIA AL ARE AS EAA Ss BRB TAA EE Ta PEA OK ee. 773 RHA: sone RETA BERT JX ELA — Bee a PE SS HIM ie BE BCE OT 1. PRE PRA, RARER PAL, LIRR TBS NEMA RARE SAAR ARM 6. EMRE MARIN, BORER APBD, ALPE REMT LAT AAR RAO 2. PK APEREM At BIG, 3. FREE GS Bl C6 SE Fe B6 AVG eR It ASS, HEE OR BHR, UHR TE SUCHE. 212Kot samt TA TENE RR ABA OWS, HERA, CORR AMG Ise VBR BE AR, REA HEA AE, SEAT REAR MRA RK, RSE We: W774 ih, CEAAKE), BB, BEM, I~ 13H: co-277a. 79 | , Im Zeitmass noch mehr zurtickhattend = aia) p= ase. ama ATS Rie: (PEM PR), BORMRH, H1I~20H [e2m] Moderato 19 tunsct pli P PA7—76 HA KM: CALM), HM, “A, HW~ 31 AT: ieee et Sola = iia mosso (J= 64) a —s—_ —_+ - aa Em CS ee ee 5 Siac rrFe ok AE AT—77 Ba MH wH: CHAK) [20|Ab- (eae) Ziemlich langsam — » P Sehrgedehnt ee tt cone FE Oe otto dim S— PRS IAA: Barber, Medea, “Dance of Vengeance” (both E ~ flat and bass clarinets) Berg, Wozzeck, Act IIT, Scene 1 (two E = flat clarinets in unison) Carter, Concerto for Orchestra (1969) (both E ~ flat and bass clarinets) Chavez, Sinfonta India (both E —flat and bass clarinets) J. Covigliano, Pied Piper Fantasy; Altered States (both E ~ flat and bass clarinets) P. Glass, Symphony No.2 (both E — flat and bass clarinets) J. Harbison, Symphony No.2; Ulysses (both E - flat and bass clarinets) Ravel, Daphnis et Chloé ballet, Smm. before [202] to [202] (F — flat clarinet) R. Strauss, Ein Heldenleben, mm. 124 ~ 129 (E -flat clarinet) R. Strauss, Don Quixote, Variation 1, mm.2~4 (bass clarinet) ARASH ERA MEWPR REE (GB: Clarineito alto ; (: Clarinette alto; Aliklarineste) BEE PRED ROR IAP OU, ALE Be ae Swi HL HY ER APRRAMEARA, CSM BARE A FHA A LRA, LR RTP RANT AE EAR 778 Hk: way SRR ES a 214BER RAKES FUP ee eS ERR ER, Pade SS a eB SERCH TT. AOE BET DBRT RE SEA PT BL, LPT LEZEN Bes AHR. PPA AUB AS VUE DAR RODE FAT FE EES © W779 Lis (HRHH), HOKE, SI~S AA: (ams) Andante con moto (J. = 63-60) ee x ee ono SES SSeS pp dole, ear ar RE (RM: Corno di bassetto; Hz Cor de basset; $8: Bassetthorn) ELPA RE PRA AE, RIP, EE PT SEseCTeSTN, AUR, CIP S", (BORE Ae TAL EMR I AGIEAR. Basset iF] REVAL ABIL bass ON BUFR. GX ARLE TA RABIN F 1770 EO, TE 20 THLE SURAT PAM MIA, ARE EES RGR, Aaah ds RAS ye EB HER AT PAB a RET 7-80 Hak: st = ee BRR ED a A HME BE, PE AS AA UO DUPER RRR" ADSEOD PAN RTE Pk HE A781 Ba RTH: CH), BH, HD~ WA: (eosin) Allegro moderato Herato ‘aaesc He Tin on PP PRETHA: Mozart, Clarinet Concerto, K.622 (originally written for “basset clarinet” ) Mozart, Die Zauberflate, Act Il, “O Isis und Osiris” 215EERE Mozart, Requiem, Agnus Dei, “Dona cis requiem,” mm. 14 ~ 17 R. Strauss, Der Rosenkavalier, Act 1, Introduction Stravinsky, Threni (calls for alto clarinet or basset hom) PRERES eT B RE EATER, AL RTE, SOCAL SEACH RL RE SG EA fe PE EAM LSS) ASE API AR a ee OY, ATER, WIR Py RARE AED, A782 FIR, RRA ABR EO, JCI RK, CPR IE EE RE. oh TAR ARE REE EE — EE PE ESAS, EE RR AS BE ELE ey OME RE BP BAL TF TR EDT eB LAE a HB HIBS HH: (HO AAR), RAK, K13~1W Hs, =a] Moderato tong thet c. R= Pp Sp Bim pee PI (H: Saxophone; %: Sassofono; 4%: Saxophon; ix: Saxophon) FRA FA Se J i LIE IE EE, EL Re ak — C1) CATR TREE REE BCR; (2) EAT RT MR, SA EEE aE (3) KABA RE RH ABR DFE, IN FET HT RI STS AB SE PAPAL; (4) I$—AR ARBOR UAE AEA, AS AHL OD MERA T MRP RARE, ee KE a M.. 216RLF RAT RE PPPS EM RR We HD BRE wa Got feBi ASOe HTPSO ON | LEO | AEE PS ER BSCR Hei MLS + PREM 1840 EAM. MSORBAHSAM AAR SEIT AE ZEA RTE LTE A BEA BA AH HB, ALP ES OG wh FL ORB ‘ile PERRI RE — A EE A SEES, RTT 19, 20 HATA PE aR JHA T BENE, TRSCALTE SS Beh. TAB BE TE De AE a, CEE WAC SR ES, RE EINES RIA ERA, ATR RE TERRA AUR EG BD A Fe. KTR B 20 thea 20 4240 AAT RAGA, ASAT AAT TY eH He A 8 a A, NS, FR Pe BEATS BP EG EAH TAS PR BRA RRR KERR AEE RTT AL HSER IS Ba A HEE NY, TUPLE ET RI AER ELE PE SR BR YS — A DBE EBT VA SE 217EBRA 784 AE AE ty Et wae fe 2 8 = Bi ARO = = = Shae “ oo mem bea CALEB) senimae CATE BE) seh e Ca EAABE) seni CAFU) Eat HEAL 0G ay gn CAF T SBE) = ee a Sith 5 a eownneie (RUKH ay o_ie_e_te 2, AEM—TASIE) —— = HRA T ERM SOMA RE: BLO, Aw. BAR FOR TR ORE SE AS LAY; ACMA ME, AAT RE, BS Oy HEAR. RAE 20 Ube ME See ARSE EO RL ET AR, TED KAVA MT RAT VME F BRAS AEA HC YB 5 IO TE BATH EY AP SAS GE Bh, SEND AR BA BADE Sea ZENE TEA TPE CRE), RE. UPA LT BE AE PRE N,N, BESET AE AS LLP aS eS, IFES ER 1 PE, RPT, I (eI) 2. HAS, ke, KP, EA (eT) FUR Aes BE ETAT HEA, (PRA TT PEI BE, RAR AE CHEE BD) PR CHE, DRA ES AER 218Roe Pea [co=e7mes] BI7—85 WHA: (HEF), B2~ WALLS (FRRHESE BBRTERHE): Solo, Sopranine ‘Ses imp espressivo, nabrato Sa Sb ig: Behe PSoprasino ‘Sax => —s cf BIRR: 1840 FE LLG, Ba MEIBE SEIT EE AS RR EA ABI; POM ER A ATR SHAW. PIR. A786 kt: CARMA IRD Rod, RIK, KIT ~20 HH; ‘Moderato 1 an sax ao P 787 H+ HHH: CRA), 8 950~951 HAM 964 ~ 984 NH: 59 Allegro gr ws acs oer: 219BREA at Sa F HRENHA: Berg, Der Wein; Violin Concerto; Litlu (alto saxophone) J.A. Carpenter, Skyscrapers (alto, tenor, baritone saxophones) Copland, Piano Concerto, mm. 254~256 (soprano saxophone) Gershwin, An American in Paris, mm.1~9 after (63), with upbeat (also saxophone) J. Harbison, Remembering Gatsby (soprano saxophone) Harris, Symphony No.5. (tenor saxophone) Khachaturian, Gayne ballet, “Saber Dance,” one measure before {5] (alto saxophone) Musorgsky —Ravel, Pictures at an Exhibition, “The Old Castle,” mm.7~ 14 (alto saxophone) Penderecki, St. Luke Passion (two alto saxophones) Prokofiev, Lieutenant Kijé, second movement, mm. 1~4 after [18] (tenor saxophone) Rachmaninoff, Symphonic Dances, first movement, mm. 105 ~ 120 (also saxophone) Vaughan Williams, Symphony No.6, first movement, mm.5~ 10 (tenor saxophone) Walton, Belshazzar’s Feast (alto saxophone) F. Waxman, Joshua, Rehab's aria (with alto saxophone) 3] k a | (%: Bassoon; ®: Fagotto; i; Basson; %; Fagou) KREMER, WRIA, RAMANA. EAB RAF 8 tht SIME, FOROS. MA AR HEC ARIE. SEA FHA SEALS REE IRA, LEA AR AUPE (REE FE, KBE AT ise Sei eS A HEAR, HOT Ls aE He TE SMABRGAR KRECRES Fi, (AR CRA PS CBR C Ere G HAG) 220HER PRAABER BI7—88 EK: ARR KAD BPR BI7—89 FRA Sana EE —n BR, Oe ERT AOR == a, ATR sO Aaa + FTO, UE ACT ALES, FESRALOSAONED EY PTOI. ACEH RE ce RAIA BOAT ARG REP AFUE, KEERANE REE EM, SAR, ESA Pee ALES PAD, LEER. RE RAR A EE PAE RETR MEE, LAVELLE TERA NKGREOREER. CG —AMA, KS HE AES, AVATERM— XMM AT LS sete. PED PEAR RT RAR, ACE EL SE I ASR BAR TSO A A 221BBE OARS RAR. WATT TELE. HA APE A CR BR Ge SD FER BAE EP ITT RE CAR ZED TPA TB SE (Bl 7—94) 5 ROPE PE ih BE BE, AUTEM, TUE EEE “PRAT”. ee SA UB AS) Fr LU Le ARTE, FRE SW TEE is BEE, PETRA ESS” A DEY; AAR, EPL BAG Hh (HS A EC eT TP, I en A HE A BAER BART RABE RE, WUE LL R AS ES, R RE AUF BENE ABE, WADA ae IE METS. RRM KEE AREA Mae, CAML TATE EE. SPER SO SR BA), (AAT EBC ATA, AT ALE SSA LA APR RO ES, AL BD, UREN. ATT, BPR ARR AE, EF RAE AS MERE S RanRS KATE ART RAR, ALE AB EE RE, AE ESA : A790 RRA E: a y = Sa 2a ae! Se SS a ee = SW Te HS. PRE, CBE) vr b tiv ora RMR TL eee (ise a L3 plat, CAMA NEBR HL, (ERR IS TR ATER a — a IR AT BH, RAPED, WRAAR RTT, WER OS Tea PBR AER A BE BA Oe A PR RAE BF IT—91 A, CH AL), a, BIST: (eons) 1 PrestoRte REWACRS 7-92 let: CHD, B“wAMMMAL, BI1~W HF: Allegretto moderato (, = 96) 7-93 KHANH: (HARWH), BRE, BI~ IAF: 1 Adagio n.eab> p< pe OP =e z BI7—04 WR: R20), RMA, AWA, BI~ Is As, aR) Lento = C By x aligs Be Boer Shee a BoP Kp lee ey = poor pla f HF AKA: Beethoven, Symphony No.4, fourth movement, mm. 184 ~ 187 Haydn, Symphony No, 103 (“Drum Roll”), second movement, mm. 74 ~ 84 223ESuKE Haydn, Symphony No. 104 (“London”), second movement, mm. 17 ~ 25 Mahler, Symphony No.9, second movement, mm.8~ 15 Mozart, Symphony No. 38, first movement, mm. 111 ~/115 Prokofiev, Peter and the Wolf, at [15], mm.1~6 Ravel, Bolero, mm. 41 ~ 48 Rimsky —Korsakov, Sheherazade, second movement, at [I], mm.2~7 Tchaikovsky, Symphony No.5, third movement, mm. 197 ~ 205 BRAKE BA. TUT AREA, MRAM ARE. HOR PH RUA K, hese KE, MG- LHP RROEAE, RAGTIME SORAR, AFF IS BREE AT AF RAN Hr BR SE AR ET KA eS AE OIF, WA AIAS BI7—95 HR: CMOAIFA AS), BI2~O A: ioe 8 vit met . DEE f rete E 8 3 = yee ps Pps o te 15» . ts SEs + = ca BI7—96 LEH: CRAKE), BIH, BlOs~ IM dT: Allegretto scherzando a pstaccate 224Foe BAP AS HRETKA: Berlioz, Symphonie fantastique, fifth movement, mm. 255 ~ 277 Bizet, L’Arlésienne Suite No.2, fourth movement, mm. 10 ~ 16 Debussy, Nocturnes, “Fetes,” mm,33 ~35 Mozart, Symphony No.40, second movement, mm. 68 ~71 R. Strauss, Don Juan, mm. 1~3 Tehaikovsky, Symphony No.6, fourth movement, mm, 21~ 36 Wagner, Tristan and Isolde, Act I, “Mild und leise” mm.9 ~ 12 MERE (Bz Contrabasson; ©: Contrafagotto; = 5%: Contrabasson ; Kontrafagott) Bovimonasoon FAERIE A ET LD AAD ER He, (LETT ARABI FE. A BRE, HATA PHI RA, ARAM ET TUE. Sein EM ie EAE FRMSRRA R797 Bak: wi be Fe Seber A KEABBA MEDS AR AI NTS, ARR NAA, TR Be, OA IE, AEE IME. ARIE RT IE SA HE A HALA, BSC, BULA CER EBS ALR AAS. 225RB RAL SHAMIM, REAR RET 32 RROMSE, HERB, LGA i “mag” ACTA PAR BEET ERE, TH UR Ae. KR PREMATM, BURR R MATER EM ARATE, Ah, fem acoA TERE TR BED SE BURA HENI PIE FREY Be HEM RRR A PEA EI AB EH PR CHEE EK) AE, RANG TRERRRAN EMER, RER AAA E, RAR EWAE BAA » RAKNBRE (REI LESS AUT EAB IE Tt He CEO, PST, PME SESE AS TARE, Db A A WEN THEA, RMBBS, TRUER AAC lh, Rae ea RTE TF (Ei PAR ERLE PAT ETT MRT A PINE BE. RR + BE RMIMEZOh, MK WORE, REL, MRT PRES HERS, oF AH BER BIH BUT SUN : 798 BH MGA: (HHK), BEM, [Ize 6~27 AF: (ean 226ER SHAE A7—99 HM: CH MEMK AY), B1L~1O AF: ([Eerarras | 1 Andante geen A700 RAR, CM) 2 RAG Mate, Md ~ 123 H cco-ams] Andante —_—-< ee PP 7 227een PRETAR: Beethoven, Fidelio, Act II, Duet between Lenore and Rocco, starting in m.28 (in unison with muted cellos and basses) Beethoven, Symphony No.9, fourth movement, Alla marcia, mm.1~28 (see Bloch, Schelomo, last 5 mm. Brahms, Symphony No.1, fourth movement, mm. 47 ~51 H. Gorecki, Beatus vir (two contrabassoons) Mahler, Symphony No.9, second movement, mm. 35 ~ 28 before the end G. Schuller, Concerto for G R. Strauss, Elektra, at 186, mm. 1~ 18 R. Strauss, Till Fulenspiegel, mm. 381 ~ 558 ntrabassoon and Orchestra 228B\B AKRBSRASSERHN ASiee SRTROZ ARH IES, EMS Mie, SHORD RAIA EC, RARUE RAISE HD . eee ted TE ROLE HOR MN ALA BE , ELIA + He EMAC H, TREK 299 200, BARA AR RS Hh LE RAW BARE EHR SRP, ARP LA LYS FE EAB OS RAR HEE A BP tH XZ 1H BT ACE BS TEER EH FRM RSET 6 BRB, LEK BSCR HE hi ILE HH FRM, ART Bs e875} — TE AO TRE BEB PJ TELA PE SUD Ly RE EE BE EA) ACES LH AE TA 1, WHA —— BEA AE . REITER, AT ERR 2. AUR AOS a AL TEE 3. PBT, HMM ZG RB, A AR SERIA — Bue, 4. MRA HER RATERS RBI AP HEN, FAP RRA RY BRAS Kk — El ROTEL AP FAYE eM, FALE EEN AE Th ER RY PR A AAPA EIT BR Bk — ME ERS EC 1. SHEE LEAIY C8 76 ml eu HD, aH TD SE A Se OE Ud Bee Be 5 — EG? 2. Fath ZB LE CAE) FAAP EG A EF Td BE ee J — PY KK +8? 3. Ah RTCA AMA CIAL mA) FP AE a ta te 9 4. WAP ASUS ALE CARE) OFFA AC A ELK 2 229ESEKE ARV E AR. REY 6 A Oh DA HE 9 OT A FC 9 AO FB SLO aR ATT FE Ae Hy Sea SAG Bh, eA I A A aE TH A BS OR a RE, EET. EMMA RE SHRM RAE, SLUT EBAY A BE: “RCS RUE, RICE HE MY.” ER A RL A aE FAVA FE PB BB Be 2 HS FAs A a, A A EELS SL FAIRE EAU AR RE i eT tPA), AT RP REE PUM AGAIERTEE Cb AASB A Ze mB) (CARTER) ASHER OK IFRAE SS , IEBA FEE Me AEP TES POPSET UY EAS AI, BES, AE KDE RP A op Re UAB AO AT Dy EMR PIR A SEZ AT, RAE de ES ES AY ee Me GAUAITAS PED. clei, PRUE ESE MEA RAR LT ON Be TS. PR ER SE WAAR A AE APA RES MES te RIES HE SHARE Cb NINA /Senadh) Te 2 Aa, aT AER 2S — A SEE REAR, SAS — E.R ERD BS RR EA, Ek SKIES “PP” BA. PO eat: CbYMBAR HL, B-HE, S1I2A~36 HF: C0 = 9°78. 18 ie Allegro Moderato pp. 230BAT AAPRAT SER WH ORE om Ac. its on. Act bite 231REAR 232RAS AAPRAPE RAHA O RR HSMN ABS EWE RAR, IME: | REAR EH, Sak ei, 2. HARM AAT BR RUB ET OR EAE TCA, TTA SF RR SE; 3. UCR AOR LEE FEE Bute, FHA ARR ET SEE! DLAI RRR, SHARC T — Be AMBER AER. TEEUGE —- BEN HL BIH TAB ABT BOE 3; RARE, EARL IR TEAST GBR RHE. LETC SEP APE FCA A RP OF LL ERA RABE, LEE PES Hh TS A S| A SER ae PREY SR RRA AS, ME ARATE AG EL A RABE, MRE HRA AAIOT RK, LSB, KAHUNA SR, MAMA PH ATT. U5 OA, AS—2 Hitt: Ch bMHARHH), BHR, KG MHA ta, index 1705 00 1p Allegro moderato << AURA SARE LA, RE RSL AY aR Lee, (EL rN HOMAGE: AKER, RTM EZ, ie ART SAT APE. co-aTn WSS ahi: Cb MARA Rd), H-AS, KSPR WER aw, tna 270; 17 e Allegro moderato FREH SISA. ER HA RE EE A, LUT DAPPER AS FEE RR HETIL EME. PAT MC AAR AFT. fH] 8—4 BRL SE PAAR IRA, BI S—S RC AIR AES EAI, RRL 233BRE BRKT ENED, cowie BIO—4 Hist: Cb OARARHA), TRS, REPRAG HAREM, [Moonee] Allegro moderato co-a/7m 19 | ABS a(t: Ch NMA see), Bo, Ka RS AHR amt, | insecaos oe 1p Allegro moderato (ELEM RAE 8—4 AI B—S HAVER, RRS, Bb eHe TE SR 20 ~ 21 ANAT MR RASS 28 ~ 29 | AE RSM 8 EARS; Ak, eee RRC UOUE PEE MART AAR BIR AL. CERRITO AEE, AT AESS 26 AW AOE A SLSR tt ARR OY, ERY 7 APR TT EL SEE, ELEC 28 ~ 29 HE IAI RR A EE BI MYR RRR SKE AAEM RRA ERT, Mts AEA — ARE, BUTE. £01 8—6 1), FERRARA ES MMU HRA, BAS Steal 5 AEE STE PrP TEAUEA EE, DO ALTE HPA PAL Gy, BRN (CC ACER Sed) K. 503 35 —5§ BOIS 76 ~ 82 AT, SAAN 83 ~ OL AN, TERE CRGMY AUMEAL) AE =H — MANE 67 ~ 73 Tt At, AM A REE CPP AL) AOA SAO Oem) ssrA E> (RE BAKE), BSBA SER CEE (RRENAE) ARERR MHS CRRMAA, WE) (RAKE) PORE. 234HAR AAPRAPS EROS HB—6 FE: Cb DHEA RHE), B-KH, H3IO~ RONG: ame) Allegro moderato an zac. 2m 2D¥n 2 eT we 8. bp. zag. ve. Da. 235RBA aac 2ac. 2 Ban Alt, Tom Tb Be Ti ne ve, DB. 236RAR BRERATHRAHMENB eg oo os aru — F DPD) AAA) mm aac zs BRR) RAD Bien, = PRL PPS) 20H, PIF, PDA) PB eT 0, Tee eT aac. 204m,ERE RMT, ALGER EM ARABIA APE. AME TE BR RFA RRIORR , ATTA T AR A HN Tie a 9 2 Bh Ah IF Pde BRA SLE RSM 209 I HACE A ES aE eH ANSE AREA ERT ROTEL fy AER REE EL ERAT BRR A TE SH BS FET PPAR, LVEF PR AER MERI, BRIE AS LA Wh BE FP RATA LA AR BRU T 7 RAL, PAIN ON TAR I? SRA, MSR TSC PRE CE — 3 he ESS A] — I, GK? BATES iH HEPES IS RO A EE HL, RATA LO SAS ARH AA ET UTS A ARH BY, LT — CE A A SS A ES ERR: GIN, FRA ERR BRIN SBE RAE E.R, FP — ACE Aaa PET EI I ZF RT EME, FE ETN BE HES BRET APR, HT EER, ERR, AER, Te aA SRO TE ti Aes EAE RE WN AL AOL AR AL EE — TR a), EL PE SR AR BLE AL = TENT BE A I A, A ET HE AE Be ALAM. (UAT RUE BLN AER OE Ah PAE aR SB, TARE ABR. ESATA F, BESMWTH, MAS RRR RPE CREAM To) AT ETH LAL, LDR A PIS Pe CSeaetOKae Fed IP DUA AER EES A TEAL, EL ALLE 6 MOT PWR: CRRA), Fa, 1 ~ 181 DH, RARER ERE: (eo=winzs | 17 Allegro a ~ 2k Kei PRR 17% Allegro sate ified 7 7 3 7 17 Allegro. ARS leiad ry Allegro Ket PRMD 238BAR AAPRAG SHRM RE ARE PEP HERAITIO TRA I Be THE SR BO FAS, ER 2 AL SR PE EASA — TATE A. EE AR (8 RAE) im EO TAB HE (4 ERAGE) ALPEN TEE (2 RATE), RM BUMAAWHS. LOMA Y A (8 RRA) MENS, TE, FEARS AOL , ARRAY OES eA Bi OR a, B88 PRL: CREA), Ho, PIB~ WI AT, MHARS RM RwA, [EO-sARR] 178 Allegro Acie DAB SEB DUE RT a BR Te SITE ZS HO ROE, HIE 8 DEIN RAT 4 ERR BY DO ah FUGARH FER. G-9 FRR: (HSRKE), Fe, BITI~192 04: 17 Allegro: Ban. be. 239Rake bie. Ls vin ve OB. Ft sele 0 te ac. atin ne 240BAR AAGRABSREWEEER PL tale 0, 1010 vin A RRA AIR — AR RAM Boia VE a Ck a EMH SMARTER, ARR MER RR CBU — TIME BE) AIRE, ARTA, RMS, TLR BSE SAL. MIEN EPR TE, MIA TRL CAME EAD HH BUI. Bi CRN) EHR eee, BIST. OMAR TE AD PRIMES, SMR MReE CRS) FNAL M A. RN B19 Hey, AISA EAS RAR A CS FeV ALTE BO AER BB BE HES AR — A A AE KAT BAT SH fo, CERRY CAL) SRR “2” th, AERA HE FRAME AT ALEK, 4 FT PEAT HE, RTI MEA HEB, MG 810 AAT. HOA0 Mie: (RAD, A", BIA~2W AB: [w@iaa) Modéré 4 = z= Fg Hn, 6 = LE A BLE TER AUS EAD AB SY AE PT ARIA, (GES ST AES AE BS 239 SR J) PEI, CAP AAI USE FT ANG 5 Wh ah ERT SE. PEAR ANE PTAT ABS}, SE ERD PE MU Se eB A FL PRA ste n) DRE BA ESL RS} A—B—A =A LA — PRR 241RAAT CM) RUSE RE "PPR TREE ee, ATA TREK AAR RR Bre BEVBLARE 27 ~ 29 ANT CHA S11) ABER AUT EE BF AL B81 RBA: Ck), Pa", B27~ 29 -b: [co=s7A 2s] Un peu plus animé ar gH oun ne DUN LUG, TARA FED HR, HESS 208 5 FESR — BRP OE AS HOLES, BIRO TA RAL, TELE AT SLING PELE DAE OS a FOF ASR ETH PRAT AL SEN AE HH RIE LE Ia TEA TE HE AT EE RG IR AUR AR UR HH LA BRR, ACE Cm LUM) SRL ae Be OR BA PS, MiP RAL, FERRITES. FRSA COB PILE ma HH K. 201 AMAA BIAS, CARA HL TA he PA AI A BA 2 lo BAZ HAN: (WoT AR WH) KI, BKK, BI~S DH: [eo=arte.26 | 1 Allegro moderato on vie be 242BAL AARKAW SH ROOM BS —13 PAHO A ae, BLT ORE AS He A Lok seo EAST ASTES 0 A IANA em | TS A Mt SS IS Hs ROHR, CMA BM AAR ADIL, SRT, BIS BETAB EBT US LIF), ik MPILR—- AES, WG-13 Kilt: (Ro+ARWH) KO, F-KR, H1Z~23 AH: shrcntone P 2 Mg vie DB, OD AERO, HSER, EE, FER. BAe aA MEARE HHH, 243RBS HE Fa TAA HAR, RATE AAS ETP ROL FBT BLE. 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FPG RPS BEA DT EAB TAR A EO, AC SE PRE HSE AIR PHAR Bo B16 Kaltes CR mF, Fa, B43 ~ SB NT: aS Allegro vivace an ve DB. 247RBRRE DR S17 GAG AN = BRIE IN AY CART) FRE A, GS Spe AP AB PL BRA A GEN, RMT WTAE S IE PARED AMEE, East ete LSA MALE» (ERLE MTLE DS 83 NT PWT TREE, HEA RS 248BAK AGRA BRAS ER SS RARER GP TP VLA R AR AT PS Ui He A A BA OT A HA, PHBL ER AE DP AREAS], THA TERE, CESS 99 FERRE REE RISC CME. OT NH RTM: CME). FE, RIC~1OL AT (ETO HART — ow) AERIAL): 76 AllegroBa 250BAR AKPAAP SRAM EORE Fini vat vin aco rit | DRA AAS TT AE TE AEA, ATLL S| FIR 18 AL 19 HEC SAUCE RAE. BREA, DEFER, eR EER ae BARRIER, CLE EA ICE IT. 4B — BB Pe A ER CAE ARIMA. AT BEANE RL 4 ACRE TK PUTER (AR SERIA ALIN SE) ALATA, AREER PT TRELERER, CAT LL OLAS. AB EAS fe SIRS BR AS RLS 04 ACE APS LB 19 A IT BE I, AIBA i, PHM TRERSRERS ORF, RMIT, KURT RTH. TEAGUE, FATALE AAEB 8—11, 8—29 A 8—40 SH REN, STA AY HR REAR ATA HE , LAB ATS MEAT AT AUTRE ATF CRE a A ‘Heiss PE ARO OY, FERS LE, BEART A EB BR OR (RR A 251RB AE BOI), AADC ATES. MORAL BETT ASR BEE RUN HL, IBA RBI A UA He, HORE He APY AS aE OE OR Ae ASI ES A, BR DE FY BE PL BR ABR LA FASE. TER ATOR. HEPAT AZ BY, LRAT FOR — FTE PRE KR RAS PHAM, REAR, SPARE ESE. RRO ARRAYS, ARTA] PEM RATT Se ATT A RARE AARP ML, (ELAR ATG He LAT BO Be Ae AE LMM SHLAL RH AOA AEE i 19 AA A UM FEIT SAB AP RAE A RH: (eer) 1 2 seis 3 tik 4 eR gon nce Ate. $= —— SSeS GR ec BR ony 1. EBRD RS APACER CEA PS be, OMT ESE AIT ER, AEs BOLE RA AA BBE Ta BRS BE ih eH. 2. TERRE FEB Se A AE, A RA TOR ARAN Es aa RUE, ye RE AN et Fe ah Ta SHES RE SAD APR MANA: af a 8 a H, Kikde est art pent 3. MUR AE LE A Th AUR ART WT FE SE SL Ee A EE I, Yi. He20 KOH RRARE: (cosas 252HAR AAPRAPTE RAMOS $F) 8—20 PHYS = EA Awe, FE LE eae ar OS RRP Hd, ARLE Pea, WHA ARE D FEB KORE, CA ATUMRAS. 4. 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WPT, TAUB fs 19 THe fe eA He AB BIER Tk — ak B22 WS Ki RAL HEA ve 253Rae W293 HRS RIS HHA A: (eam | SLA TFL REA BR ASE fA BE > BP BR AE S25 Ha Learne] 8 i Brn Beran, tng = 2 HG. ? = o f an Sho P PIERRE YA LAE BE ASK ES — FE LT EA, OHMS CEES) FE BURA RRS SX MIEIN SEAR SS AK TEE BB—26 HH kta Mh aeL SRRRMRRERE RALRMRED AA RMR PHT ERE RT. 254HAR AKRPAAG GRR OES HK CREM TI) “HK” B27 HE: GREMAAAD, “RANK RB", H 1~ 140 HF: Presto e logglore J= 148 forbs * DT Acor ‘at = 255RBEKE 256BAR AAPRAP SRAM SRE OCR “BEA” RUG —BL, RRS AO KN, ASE APSR AA GA HESS OO EFT AOL 9 SS HE (HL kA) BORE PSEA CRS eM) PAR A Nt OR TRAE SEER EA BH PSE AEH RT HEA th EES HB KHER 288 NR OR a OE ATE TOPE. TES 291 AE C LL, MAAR RM UGE TILA A828 HR: (HORAK), RAH, RI~DW1 dH: ere Allegro molto 257RRERA 22 Aolee. BUR HR CHRBASMH), RSRK (“WHR”) AREER — PE ROR AE EE Ba, FH AE SE Oy TO BOE] BEB TF SE BPS ABET A As A LT TEA SE, A BREE, FEM 13 AN, RRO AAT P,P RR TEA, FELT RIF SEE, MUR AF SEs AEE AHR EE, BRA 18 AT MRR PU RAMA TTT (FEE) 0 258BAR AKCAKESRRMA ORE PE—29 KR: CHR BS RED, BERS (MMH), BI~IT AE, Religioso (=. t DO mas Tegato, dole obs mf legato, dotce Bre. Hn af legato, doice won = teyato, dolor ots: © legato, fm. wf legato, dotce af legato, dotce mune ob ne wos mae ben 259RBH AR EM A'S fe EF AR A SOE BP eT BA TR OT 9 RA PE PEAR op ES Bb A, IT LA PERE FA ARERR BAR eT a AST PEE WA BR AI LE TEE HAR, AE RS KORRES KEARSE AF. RAT GK, CIBAES TERT ALE RR WARS A BUR BATE 1 — M4 TOW EAR Ba SO, RPA Be, SET RL St, SPEER RR, BRA SST BR MH a ACE a Ra CHE TAR WI) K.504 B= AE FET BE POT ALI AE ABR AT EEO, Ay PEE EAE T Hb AE, FASS ATER HOS RNA (ME TARR) KS, BER, 8 120~ 138 A (eas)BAR AKPAAGH ARMOR we.2 Ve Pin em MintBA AER CED ER RR) IR BALD BLA EE EHR EN AC ET EPA A AS BBR — TEE AR BE Hf ABUSE MALL T RAB ALT AE PER RECT ORE AR PANIIT 1 Sah I BE IF A831 HER: CAPE CRRID, Ri, HL ~ SSA: [pecan] Allegro molto 1 be rune mune * 262BAS AKPRAC SRAM HORE Bone ma mwn.2 mone 263oone mare an Ma HA CR ZI) “ALIA” TRE eH DRIES, A RR. #8—32 RREKME: (RZ), BBR KARA, B4O~ OO AG: GO -a/TA 8 lente ay he Whe 01 Le Beat Ve. soloRAR APLAR SR RH OSE DR eae 265BERS AMAL ACL Zehange to HCL ace ae pews noe 266BAR AAPRAPS EMSRS ri ave Eng tn pa aqui mae con. comm. 2 Mee solo 267eK aas | moe ops, SS > == = SSS SEER LTA RAE 9 BAERS GTR, BORN ATTE A A BURR RE NT Be FR ZT; FRETS 57 ACE ERD ANIE EE, AOR RR TA MARES PHP AMATI, RSENS SIC. 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RARE RR-ARRM—TAR, MURR RASE RISER, Bue — Ae ay aR eo HRB. 8-34 HH: CR-R), BSRE, Bas~ 9 NH, (waa) Motto pit vivace (J = 108) Cn eet we Die, Tm, ba, 270BAK AAMRARSURAMERS “ wo. fs. bie Top, Viet ba. 2PRN BA — THAT LAS ERAS, AN Aly CR=ZEAARRD BR Ho WATE ERA AAMAS AER DS ESL, Ba AS AR JER DRAB AER. ER S35 >, RUHR EMS, ROSH Fr, 272RAK LAPRAR SERRE ORE PRGA TER 45 AVAL “ILS” SER ME MM, BNL Tit AH, RAR AREER MTL BSE PEE 49 EER, TE 53 AL, (ERS Tee, apa A EAA TASES, ITA RR EA ESA CSA) SRE EMIT). REAR, (BUR OISD) , REHM TEMES = OC IA, PARAS, Ae, OME AUR RO ER BON A HEM FL EET BET A BL MOB ASH: (HERHHY, BRE, HIT~ST IN, 273EBeae Bei Bia e Bina aT 2 on, Bot Btn Bp. vet vane va,BAR HAPRAP HEANOR FARA SRB SE eR aS ACE ELE WHEL RA, PPAR TE SEMEL. HE 18 AL 19 He, AER HATE EMR. SK, WAAR SL, A RUC T TLE — EE Ae BAR FE, AER te eR, IE RAR LTE PARI, AUTRE PRE OR ES RAR SL BSR TS BRETT ERAN ARR RE RAE, (RUNES ABRAM WAKA—KE . UAT FIRTH AE CATACH) BEA RT BR ARSC TY AVN BE BY TE OTE EAE. DAR BEALL HE PY FA WATE, ARETE ME ATES, MEF] 8—36 BAR. We—s6 Hue. (HRAMED, HERR, BW~ 37 He: 2 1.Solo PP Soli 215# — S\<7 — poe = =< PRT CB — ema) BIR ROOFER — BREAD, ALA I. AT CLS CROP MEAL) JPME ERA ERR. it TERETE, RRA ES — ETERS AY ERE (i) 8—37) . BN HEA FE SEE, Ft EE PS A ET A837 HIE, CR -R), MORK, BI~ OP; 1 Apdantesostenuto PAS Ee BI IT Ze 19 THEE A 20 TEE BS, ERR SHAT, FDS HRA AAA MNE ES; PRE LMT AEE, SFE T EAT / EUSA, AEE AER A/S 276RAT BAR RAMS RRA ORE B38 HEEL: (HRY), BIB~SL AF, Prete Pree ta FLL on actie en 1.2 Btn ne Bima Bmw.Le Teh mp. come. Tan. 277RBEKE PUTT — IF SEL — PR FE ih, SUE ESE LE TRL Ae A 2 ER. GER, BECO AEE, HITLER ACES HH 2 BP AOR HA BE FPWR Se SiN, ELI MAR AAR AE, PR A RRR ZR. 8-39 HAMA: (MARE), H- KM, HB7I~ 244 NE: gaz Allegro vivo aaa aag 20s, Pua 12 Pina.t Tp ee .2| pa 278BAK AAPAAPS HAMM OEE 0b. 1,2 acu acu 2b, Pia 1.2| iin 3.4 Bet mee ms bs. 279RERKR DEPAFEABEL TAT AOR, PAT TT eR A i, WPA RARR, BG RAAE. EA8—40 PF, EIA, IER OR ABH HS SE. ERT ACARI, PRAM NT PRM. PHS 280BAR AAPRARS KHMER AMEE TE POA, PRET RSE — ee AS PS A ETE RA fa) BEE LS SH ABR, RIPE TAR SS TL A TS — RE, PDEA AT BS TE AR I TESA FE WU AE EY EE A Le A AG A FRRARIL) ARNE SRS TOA IMS, ASR, AMT RMIT BUN CASAS ERMA (GC) NEES CaP R sen Hh> BAR — PAK eR, eS BG SARL MAE HE hs PAB HO PE A RE A EG, SAE et PAM a He—40 RHE: (Hees #> PO|~—]: _ Moving forward ‘tempo 7 Bo waa ve 1.2 281EERE ARTE RBS BB Be PSE AERA A He ASAE METAMORA. IEE UA in, Mk, ER Sok, ME RTS, RATE SUM ADAYA, RELA EM ERR TTT EEK PUTATEE PAI mime “utah” PEMELDE CRMED WONG TR RH, A BRP AH SS A AH BE 2 FZ, EGRET RERITE “REN”: MAIC RI REM SAS ORS, PARTE AU KW NMA ERE EE. S—41 RH: (AB), PSLH, H1S7~ 170 HF: (CO -a7Th.28 | a ~| wait a oer = ae Sa =z ah / Pir rrr rit rere Tor £ Te = a = =a |BAR AAP RABE ae RE a va 3.4 via. 283RRR 284RAR AKERAP SERA ORS RARER IR THK MRE RES. SM RAMS A AOR Esp, RSET Be a EA He A PTB AB A HE EH B-RenRA ae EMER Cpa CM) RE — A BAB AT MSP, SL ARSENE — EMD, WARY AB A, HERES =. CORB A SERB. oe Re EEO LAE AS HB HOR. = Be EP HE SE — PS BE A RR TB PE AH OR 8 BE PARE ALLF sy BE AS BRO, BS — lH FS DZS, TAT oS LH GR BS aa. 285RES HO 42 HH RAHA: GIMRAED, R- RH, K2~ 36 Jase ng. Hn Bea. 2.3 P Bag. a. 5 = Sow de So frau 286BAX AKPRAPA RRM SRE FPRBR Het ELLE Hy ATO FRR TART EY AH ET TK, TCU. BLES RTH AERA TOME MUR IME A PEON, RETR RU IEA BE ON. at PRA HBR AE TEE PIT TC, TE NR PF A SRA THE. BRL, TBR ET it Os FF ee BE a fal OP RRO A, LAE EAP PETERS KAM le AERA AE CHES, WA DLT AE REACTS, REMRRARAREIAF. RL + ATE CRE - BAAD oR MD PR MA AO EOS ERA HLS MSE, A hh tT — me aR de PORTS SEE TR ARERR BIG TAR ART PERE MER, BORLA REE a BAER AG TCHR EBS, S43 AH: CRE EMA ERT), MAE", HOO~ TDG (HR, BRPREDARR, Ram): Allegro (J= ca. 136) 69 lunge) ons rm bres de la table _S Mia solo {auch bow) = OU 287RR AE Ma ole gan Ge m+ mm2—w ‘om the Oba, igri fe po Sg wee $ ott PARAL MURAL T AMAR ORR, BOK A eH A Se TAGS - TR ET IE AY CARAT), AEA ENTRADA, RAR ERR, BUFO As HR OG LIE A Ho—44 SAM KE: (MBM OT), “BRE, BI~4 DG: (coawimer] 2 change to FL 1.2 = —————————— vce - nse 3 == - = SSS 63 288BAR AAPRADH RRO TYE 3E - HARTER RT IEEE CRIAMUML RE) SER RET eA kA, EE BUBB PIR 45 HRM. CRAM), BERR, HIO~ BH: (eosarin.2i] 7 pon ESE. a Th, + ABIL, ACE BS ALE WS Se TG EEE AR HOR PAT BEG UA PEE POET TG: VTE CPE AER AB EA, ATE LN EE RIT i ER BP ARR. Wh, HR RA ABP TE BENE CR OEE 7 TTR EE) TEES FE, — MOTE NR RN ERR OE, GST, EMAL RR SRE SCHR OH BB A — RK, MMAR AAR MRR EAL POTS AE, IP EL tle oS Pe WABRWSER, WAT ATEN. SAE {th Bi BAR AOR AEB A Ha FA PE AED FE ah CRT, ABR CE) A SP EE, (UHR A UB ARE ws, BRE AR BB OH ea EAA, DE CE a FERRO. ERR AIAOR AE ALDI, RRA aR? HEM AGE FE A ER REI Fe LS Ty AL RAHA i] ME HE 7 HES ER PETRA A Tf MEH RARE D HERB. LEGA) CATER REREAD (10H: FHEAGENL, 1967) 9 289RAR BIB—~AG LALA. (WHALE) KI, RAKE, MI ~8 AA, a. AR: tn rorcn Alegre, x ? b. RBA i (ow } an RAED AS FS A, EH a. PRUNE RAY eM GORA, PRE, KE) AVERSA, ARE, MW SA RAM RT — AAD FAS, SSAC A TEM, AREA, Bk, Re Shed DUB 847 HB: Cie, BI~ SAG: a. ARIE: 5 ModeratoBAR ARPRAE SRAM MER ROBEY LAB? HERAT EL, RR AGEBE EEA NL, FANE AT Co iT Ba Be ET P06), TPR AACA Beak, ORWLOT RACE US AUER PB LARA eh . TERR ANTE + SAPO, DAAARARCR OI + RE, A AMR ItE REINA: Ri, EM Bizet, Carmen, Entr’acte before Act IV. (flute and cello) Debussy, Ibéria, first movement, mm. 309 ~ 329 (two piccolos) Debussy, Pelléas et Mélisande, Act 11, 3~7 mm. 40] (flute) 291REE Lutoslawski, Little Suite, beginning (piccolo) Ravel, L'enfant et les sortiléges, 1 m. alter [50]~f51) (flute flutter tongue) Ravel, Piano Concerto in G, first movement, beginning (piccolo) ; third movement, 4 mm, after {10|~[i1| (low flute with bassoon) Schoenberg, Pierrot Lunaire, “Der Mondfleck” (piccolo) Shostakovich, Symphony No. 15, first movement, beginning (long flute solo with strings) Wagner, Tristan und Isok e, Act II, beginning (flute solo) RT. RAE: Bach, St. Matthew Passion, beginning (oboe doubled by flutes) Barber, The School for Scandal, Overture (oboe melody at [C], English horn at [Hf]) Chou Wen ~ chung, Landscapes, [4]~{7] (oboe and English hora) Honegger, Symphony No. 1, flute ) econd movement, beginning (oboe, then English hom and Mozart, Piano Concerto, K.467, third movement, mm, 78 ~ 118 (typical Classical use of oboe) Piston, Symphony No.2, first movement, 60] (1st oboe melody, 2nd oboe accompa niment) Schoenberg, Kammersymphonie, Op. 9b, mm. 285 ~ 330 Shostakovich, Symphony No.1, third movement, beginning to [1] and {9]~(10] (oboe) Stravinsky, Capriccio, second movement, beginning (typical Stravinsky scoring for double reeds ) Tchaikovsky, Symphony No.2, third movement, Trio (oboes in combination with clarinets, bassoons, horns, then violins) TORE IEE. BEE a DEE Bartsk, Concerto for Orchestra, fourth movement, (84)~ [120] (trills, tremolos for three clarinets) Copland, Symphony No.3, fourth movement, from [112] to end (effectives E ~ flat clarinet writing); study second and fourth movements for most effective all - around woodwind writing Dvorak, Symphony No.9 (“From the New World”), fourth movement, 2 mm. before 3] (long melody) 292BAR AKPRAPH RAN M ORE Mendelssohn, Violin Concerto, third movement, mm. 687 ~-688 (clarinet echoes solo violin) Sibelius, Symphony No. 1, first movement, beginning (long clarinet solo) R. Strauss, Ein Heldenleben, 2 mm. before [34] to [35] (two clarinets, tremolo) Stravinsky, Oedipus Rex, [100|~[107] (interesting three ~ clarinet passages) ‘Tchaikovsky , Nutcracker Suite, “Dance of the Sugarplum Fairy” (bass clarinet in low register) Toch, Chinese Flute, “Confucius” (E —flat clarinet used like a trumpet) KE. MEK: Beethoven, Symphony No.9, last movement at Andante maestoso (two bassoons and contra- bassoon ) Bizet, L’Arlésienne Suite No.1, first movement, mm. 120 ~ 137 (A=) Brahms, Symphony No.1, first movement, mm. 9 ~ 15; last movement, mm. 274 ~ 280 (large skips in bassoon ) Ravel, Piano Concerto for the Left Hand, first 8 mm. (contrabassoon solo) Sibelius, Symphony No.5, first movement, 2 mm. after [K] to upper register) R. Strauss, Ein Heldenleben, at [37] (three bassoons) (long bassoon solo in the Tchaikovsky, Symphony No.4, second movement, m.275 (high register) Bem: Gershwin, An American in Paris, 9 mm. after [45] to (64) (alto, tenor, and baritone saxo- phones) Milhaud, La eréation du monde, throughout (alto saxophone) Petrassi, Partita, throughout (alto saxophone) A. Read Thomas, Sinfonia, throughout (soprano saxophone) AA KMA ES aa OPE ah: D. Asia, Gateways (winds in flours, including alto flute) 1. Barzelan, Symphony No.6 (includes tenor recorder) H. Brian, Symphony No.2 (includes four piccolos, two English homs, and two bass clarinets) Ravel, Daphnis et Chloé (Suites 1 and 2) G. Schuller, Farbenspiel ( =Concerto for Orchestra No.3: two piccolos, two English horns, contrabass clarinet) Stravinsky, Le Sacre du printemps (throughout) 293BS HSA FRAT AYA ABA SRY BE, BRT ATA POE. HI Be eM, ORM), 37~40 DE, 37 Allegro = PATROLS ORR RE, MP EA, US RICE MY BIO. CATA LARTER OT A, HR 16 he, RAE BES eA ABE (1, eA AAR LP) E109 EAE A AS HE A, AE EO, XP AR LL RZ 19 thee, BRAC ZZ Si BA" FT HT GE RS SM AA A, SE ae Fe. Hew, 1955 FRA + BAPE HED) D NEE OUP “AR He" D, (ELIS LUE, ARES RR PB BREE, BTL SUE LE RRA D_ BM Waker Piston, Orchestration (New York: W.W. Norton), p.207. 294EAS BERR BAGS AE EL fl 99 LS PY, — EE FOIE ERNIE MIE, HS, BRE MT FER GI eR RRS, BR ALLEY REAR RE —$ 4 BIA 1650 “FLATTS FA] —§ tf FTL AY AE, RT RB ARERR UAE RIVE AGA T 0 RATER), ALMA HEE RAR Sel AN BRIE BE ALAS RS EH TS a ME DT A Ig A tA. 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Stet 31610-13 H-RHb), B-ER, B35 ~356 HH: HES VHA: Brahms, Symphony No.4, first movement, mm.1~4 Dvorak, Symphony No.5, fourth movement, mm. 132 ~ 136 Mahler, Symphony No.3, first movement, beginning (all eight homs in unison) STHASRRAE BI1O—14 FMA: CA Thnk), “KAMRAKA”, HO~16 2 (co=3 6 ] s oa M1015 i: CRM), Re, BlO~ IW HF: ty, Andante can 317RREKE HWANG RHTK: CHRASE RH, Kh, RI~ Bat: (coer Ruhige, nicht zu langsame Bewegung ( |= 69) ser etch 1 aS a ere set ee ff fu wf a HEP IAB: Franck, Symphony in D minor, second movement, mm.62~ 70 Liset, Les Préludes, mm. 69 ~ 73 Mahler, Symphony No.1, first movement, mm, 32 ~ 36 Mendelssohn, A Midsummer Night's Dream, Noctume, mm.72~80 Wagner, Trannhiuser, Act 1, scene 3, mm. 1 ~38 Re5Ke BREA RRA, IER OTA EO A A Peak LA: 318Be Bho 1. FR $e" SMO TE, ROE ANAT RBA: CABRER), HR, Bow, H1~ 14 HH: Lebhatt ’ Sam] i pees x aaa: 2. BEE AG" BAB Ane secke HAS KAAWHK: CHL RHH), BLK, BE~ 16 AG: Andante Solo “oie com ato espn BUSHEL Mat. FAA ALE, FT RAL: 10-19 EMHANE A: (HAFMM MD, HERS, H19~131 AH, — [So=aTAR] 1g Allegro AF tn 319JRA Sk TE BOSS BE — HP EE BB I H10-20 BE HH: ORR, SOL ~505 AF: Rate Allogro wy a ABH =v gle 6 i —_ BNO 21 HET. CAE ARIED, M182 ~ 183 AN ASmsSe5ASaes Wh} eH A (GE. muted; ¥; Con sordino) 4 “con sordino” MASUR EM, RRL ABE — Mai ACES OA. INFRTCEM — RTE, MAR SATE RAE | Shen 6, RSA. KR RS aR HT Be. 022 HT: CAFE MSD, B106~109-AF [eo=a7n-35] 10g (sourdines) ee PPP (sourdines) PP 7 FER RB ARH, AD AE ARTERY “senza sordino” 320Ste PRM P AS FBR (3: stopped; ¥; Chiuso; sk: bouché; *: gestopft) HETH1S ANIA FB, Chiuso, bouche Al gestopit MIAN AER “BA BBR. RR FS REI AS RB, NE” BAS | OOo cscs tom FOR, ATER RT. SRT AES OPA, (HAE FD WTS OL EA PA ic MY JL a BT A OE he PR COREA BEAR) UBL, He Bed BAS Be eB A BBD OO HS FL JAG + BNO—23 EMEA A: CUR TAM SD, Boa, B45 ~ aR AT [eo=a7n se “6 * oS (ouvert) tower) ASMREARR Sp NRA HR, RRA T EB BIDS MR A, AT Aaa eR, IS FETE RT oA AST] (ELSE SE BIL PE a SB eI 3, Wi] 10—24 FFA. HN0—24 BH. (MORHH), ROKS, HIE~T9 Vs: ar Wieder lebhatt 7 Ye BRE LETT, WEI EARBL “open (4TFF)” 6 321REERE TR RiSRE SARTRE ZS, CATE MO A A ALR BR, BE (HE PEAR REORDER by ak PO RAN, PEDIATR 10-25 Be EH, CRE, Bon ~GH Mt, [ ssorms | Sehr lebhat oy 10-26 BA. HAM: (GRR) B60]: Fast eG kD = BUTEA TAS REE, TASER, SLATE MEAS he FI APE TGA REF IAK: Chabrier, Espafia, mm. 464 ~ 468 Falla, El Amor brujo, “Ritual Fire Dance,” mm, 249 ~ 254 Mahler, Symphony No.9, second movement, mm. 13 ~ 15 mo TRUS AR DES, (ELE EA AC Bw AE ST, SEAR, ALAA, LP RUER, PO a, (ELE HWA; BOTAF, ERNPER TA, HUM ARP RF, AIL ARO fe BK, CHART F PZ ALLOITT, FEA ARTE IS RET O27 HMM: CAME, BF, MIO~BL DH: [avs] Ia joBre ReMMEES 10-28 tts: CH — MH), M135 ~ 136 DH: [axe oo NBD gS yitos, gl Fel 7 — HRFTAK: Stravinsky, Le Sacre du printemps, Part Il, “Danse sacrale,” mm. 152 ~ 156 BBR (HR: Brassy; te; Cuivré) SARA ARTO, FORA BOR SERA TAG ER FTE Ae Fw Ht BHR BPP NS 5 TAAL kT a HY imei. INO 29 eA: CM MARIE, HoH, “HN, RIA HA: (co-aTa se] Allegretto 1 Cutoré 5 seta Lr Sky (Bs Bells Up; 2 : Pavillons en lair; #%: Schallirichter auf) Se Pen BERR BLAS SLE”. Oy TOR, BUG Wee SEH BPS, MAE SO aL ES OY FF Te A OAR HS JT Fie RA RB 10-30 Ht. CHT >, KE, KII~ 326 DH: Pesante yng Sohulitrleter wat gr Schultrichter aut a 323EBLE my 8 (%: Trumpet; ®%+: Tromba; i: Trompetie; 4%: Trompete) ASRER BER: HH AVS RAMEE ELA, EER EP RRR. BRT, CRT SEM RMUREL, SRAM LILA ok, DEAS AE RO See ME TR RE ARBEIT BS PGEEOE, AIOE EES, EON aR a RATE AAT BT PE Eo ub ap i 2 a 3 Atk BRS iB, SAU SRE SSR. MUIRIBMSABRE, HAVE BEATA, AUMRISRAMAVKAS, CHRPRHHSSRREN, Ia Tae. EP WENA FL BM Ay ASC A AL AL of) Wt RHO J SB Colarino) , “i Riv AUS ABER AE Lg ERT EP HE EY BOR ATI KA 324te PeMMEES + TELSTAR - LAB BY A OLS BL BA10—31 Bah: (B+ NER), “GLE, Ae, “DAE, BSS Ie be, = [Ow Waa 18 HEC ET AUS, SEA Ra ea RS Li ee BU SSR AY BT EPR CEBU PEP BR TT RHA, TE Sa Re APART, HPAL ATH TLE TR REE, KR RR, RATER BAAS RB SE HBS AGE BIS 10-92 HH: CHAT ORE) (IRE), BURR, 249 ~208 AA: | f rt P1033 HH. CMS) (CRB), BRE, BID~AS HH: [Se-ammee} Allegro ae a . o 325RA ROA AGE— BEES) 19 WONG HR, (EU, Ze REE, eos SE DUALS AO fRSb BL, AME BIE AUR — EAE Bd. ew LARA) BPE USS Sj PE A HSS AOL, ESE TE AN Ze PSII VRS 16 Es SEEGER Te ZI, TRE SEF A A RE 12 PEAY. STARA READE, BR PUES, BRAT TE AS AB AERO AE A BO BT (BNL FAO) Be), ANGE FS, RRA, Blk, AR FELL JL RES PRE TT HEE: O35 FR TA ea ON BT AEE EARN, STE EAT IRS. EM EEE C PS bBo FG FE Zhi, CRRA PRR AN AR RAT RE ESO” MRI eS bE BAKE) 5 BW CHS BARB Rae, SEER SITAR. 42 8 A Sb Rao A U RUE RECEP AIRE FR a HAR. TEE MTS UE, EL, SE Bia: OT] TERE F hae E EBKEE (ESTAS EP EAE /D= BE D BKB c SiC Be B FRE eae BP FATE A FEANSE PATA, BARBS a U ET. eT RE HH a Se BOR HUY BRATS, WR IUMIA MS, (LN Le Ae U A, A ee Biko 326Ste PRE fA 1O—32, 10—33 #1 10—34 (HLA 325 HL) Sha Tay RUN I SER RB PTT AR. SUAVE A]. 45 APRA HEE ih FRAP RET, Ua, FS NPBA LEE “ARES” ASC BRS Sn Oe, Ny3 221 ~ 222 iH C RV AER ZE a AE ED ANG AA 6 A136 NSH CMARHH), HERB, F2I9~203.04; (@carines 20 Se TEAR AS, WA IELE Ns SPSL AT AO RO RAR, ECA) CBE ASR) PARAS) OMB, UR GRIRUHID SSF ne ee Spe P1037 HH: (HERA, SIRS, ST ~ 158 FH: inden 1/0: 0 Andante 188 one an 10-38 ASH (HERVE), ROKK, HI~OAF: 1 Allegro ome a 10-39 ASF: (RABI), PEFR, F295~300 14, Index 30. 58 yz Freely 5 ne. ARATE, PRBS SE ION ATR A ER ER BE OR BA PE ABE AA) CMR, MATERA A SMR A ARTE, RAE at Ml. SERPENTS, EMRNSERRAAMBH. AABR TR, See FAHRBMES. PILLAR AS RENE MTR S ALTE IY CATE SD PAPAL Ty SO ABSA EIR, TT PIA SS PER AE A, DORR ARSE TES IE RSE ATR RED HI SR SR BS A I 327RERHR 1040 HAM RANMA H), BI~T DH: 1 Andante un poco rubato = 182 2a tp. fear 170) 80 gw ied 7 BIIO—41 LAA CMM ZBD, BALE”, RI~S A: exms| Allegro vivace as sem g BES RRM BS Keo Te 19 HERE. Ee FAA) Se, bok T = ASE. FUSCA 3 ES 2A, AE. 1042 #44, a \ SOR RAY DRE TT ES MEAP. AT PET RBA. Fath, AeA BE + BE MA — PERS eae AE (BULB 10—43 1 10—44) ZEEE Le OT BKERS ATRIA G . (ABA EME AMS BH eH ER AE, BELL ARSE TE 19 HEEOAR, 20 tHEC IAA SHE MH SOR SE. AAT REE ELIE. BESS AY C HA BRERA. W143 HREM: (BER), B-HKE, H233~241 DH: [eo-s77n-e7] art A AAA Pape v a Pipes 328Ste SAME 10-44 SH CH= RA) (* ), R-ARH, H192~197 M4: (Saw) HA) 19 tierra, feat a ae U AMS N AA) Sica. 19 He, AL REAR FAR) SWRA, Hee MTT ey CALA BIT PRL, SEAS iT e REDAe C RIC, IFLA AC te FANS SWAIN Rae EH TE BRAS. CP ETE 19 ULAR a 20 LA A ed — AHAB. RNS Tore] PRATT Pa RAR HG DBR AL HEA BF Be AY BEE TG BY AL AB | Fee WEEE, BATH BULA C ITE RE ANS EE ML SER A HER Ke, RATA A ARES TU CORE DLA BEI), EA MDI SOE ANS SEL PE BOR CASS ETI, (UE BOWS (ELBE ELSIAY D ia BOURGES SF) DART APD. RCI T BOR NUR, AST A ABET AE At KR ERA, SRS SALA DDS, PEEK LEASE EE TRON SORA, (UI, KERR CER AT BPS. FeSARRA P1045 HK; ca = = i + REASTATRUR TATE, PRESET COOTER. 329RERKA aa RS Bis = i SURES BAL C HN ARRAS ER. CVE PRR, yee ed RR, NEA —AUEALE EAE, ALARA MOR a. BEL AN BA RE”, (EE RNR ATR; CMTE, BAA, DL BERWRBL RAT BPW SSE eA — MEE En A RAR, TELSTRA Ma A ARATE, FRA Mee. PAH ME FTES AT SUR HH A IEE FOB IRD “FERC” EERE Ve KORE PRS TERE, WR eS TE A, MBA MERE SHE AE BUR C iS Ade - be tet md este Bera Sms pe ° ‘2h F eS be erm Gee i vexecrem aerate REE ees HAG CHP RSH EKA, ead HEL aD Z SEE a e CEASE EAR, TROBE a Fe A AR 2S SORES EME PR, Pra MEeS tl, PAL, BARRA EE, BEE BE eRe AP TEU OP eS ANGERS. Mee C ABM AR, MPT AVAL FIN; Ze AP RDS, “EMP TE HA MELAS HK EI EE. EE, Eh AER SELEY AE {0D MBL Ar BARRE i 3 OSS Ay IE TR ADHERE AL AM ASE A, FELT RCA SR ARTE 20 ILA at PEER 330Ste MMT RS 10-47 ES CARH, BIO~S AS: , Moderato BeTpL ote RF DAA: Bartok, Concerto for Orchestra, fifth movement, mm, 201 ~211 Schoenberg, Five Pieces for Orchestra, No.2 (“Vergangenes”) , mm, 129 ~ 131 Shostakovich, Symphony No.1, second movement, mm. 113 ~ 116 Shostakovich, Symphony No.5, last movement, mm.2~ 11 Stravinsky, Renard, 4mm, before 7) to 39 Suavinsky, Le Rossignol (throughout) 2e5u8 AVS RADE PAR RRR. OAT ATE ABE — PP PE, PAT ABAD OL. CARH , SERA ABAENK, mk, MAb A Sab EER AS LAR TS. FT BF ERT BUM: AS ot A TEE 1048 ERR: CREDA, MOM, HH (RETKA EMER MeL), — | mares @ 1 Papi. P1049 AAS CMR), HOR, MM, BL I lw (Se), Leer sBBR BREDHA: Bruckner, Symphony No.7, third movement, mm.77 ~ 88 Dukas, L’ Apprenti sorcier, mm. 606 ~ 615 Ravel, Daphnis et Chloé, Suite No.2, mm. 10 ~ 15 Rimsky - Korsakov, Capriccio espagnol, third movement, mm.37~41 Rossini, William Tell, Overture, mm. 226 ~ 241 Shostakovich, Symphony No.1, first movement, mm.1~8 R. Strauss, Till Eulenspiegel, mm. 544 ~ 564 Wagner, Tannhduser, Act Il, scenes 3 and 4, mm.72~75, mm, 204 ~210 ["eo-now DBSBHNS ed Tempe CERRO ERT, SUG AE PAP TL ARM RF aR ASH AR HAE con sordino, $5 PATFEAEIN IH senza sordino ZEA 19 tH See WN HY TEE HH FA ges topft (“BAe”) Al offen (“FFE ) RUE, GH AAI. TEMES PEAR, HEX MGA open 45 senza sordino —-RE% Th, SER MTB RNS, RBA SASS Se FA ALTG e BS, BRS IA ba EMANBE. AATASHAMBES, NSH ABH RB I, RUNS BAF SPSS a ATE ES; EEDA) BS SE, NS AR LE BERT MFR, FRM AA AE SE RI. HARE, HR RE See Ae, BLN BABAR (Plunger), RAMS HS; LMT IS aR FHKE A ah Fat, MAR AAD “RERE” FPS. BALMER TREN BAO, WARS AR Se aE. PRLS AR AUTH SS BEG. BLP, TEASE BEE Se A BB A A), EU PE RE APRATUASM. RENTER LA TNA SR. RTE FARR ROU ERAT “HCE” BOSCH “HEA” BO, eRe TTA 332Re Re RE ATLA BERT — TUE Ee a BF OR ET BE, AER MRE JTL AT — PEAR AERA JS I AER ES A ERR, STAT TERE. FI LO—S0 SP LPARAM IRSA ET A Be aE, JETT PE RE BREE AIO—50 Ae: (H- RHE), RH KH, HO23~ 62S AP MH 592~ 504 pHi, [Co-vTAT] ny Alen m2. 2 Allogro 442 mit Dampfor — a wi = vet 7 mit Dampter " y 3 BIOS fH. Caw), “HE, MIM ~ 131 NH: [az] Moderato ey con sord. 2 = a ve i ae ¥ on sora, yo Mee — — BI 10—52 HR: (LAKH HD, FlO~ IAT Jazzy ‘Wawa, urmon) mute tp 7 = 333RR PEFIAN: Bartok, Concerto for Orchestra, second movement, mm. 90 ~ 101 Stravinsky, Petrushka, Second Tableau, mm, 33 ~ 39 TRO Ke AEB SHOR ARAL OE TG TTT A HH As AEE OL, AT DLR a I EEE AEM, FUG RON SE SE; BLT EA Be; Tp RERALVASWM EY, SRO POOR CLI Wd) Roe R MEL s FY, WSR AT ABET RE P1053 RMR a oF ASAT EM hs BEDE, LAAT UD DRT Be AU HS BI IE RH Feo WRAL FOS EI, ROO A REMY HE ae. HO—S4 Lew PASE: woe Le, bes. t > e< ARB ANS D WAN AAA SHLE ZC RUN, ELLA NTS. BEE AEMIY RA, FRB TIE. RAN ASL ESS CUA BS PSAP. SRE CRF C) RASS Es LAATAESEIBAE , D GAN EBA Oy EP] EAR I Kite AK, ABSA TE RUE ANS FAB D A EN SRE, ATLL BPE AD SPRUCE. AURA MLASTI-EHE, SCARCE BY a a? 10-85 DW, EP NB to Bh ANS Hh Bae HS eRe D Wns = € 334Atk RARE aE = BS jeahiers co-aiR 7s, “TR SX Meo RE PA1O—56 MARAT E: CRA), MAb, “RRR”, BIB ADT: fe —— F ™ ss oe 10-57 ik: (EMEA), HORT (N64, “ZHK"): Bwans Ge & Allegro ‘ Fp Pe Pe Pepe —L | RR, H336~ 343 fraoesve. 19 te rie 10-58 PH: CHEB AMR) i a7 ae Z Bm 40 ¥ ==] —~wvw ao (BE: Cornet SSA 19 ROMO OE A TRE, EET RN SARS Ca BATE RT SOME TE RIB AULA ES TR AEP HEAP BE IA Ay SEOUL I BS AL, 335aa AE Hab S ARMA 6, RS KARR. HR, PEC RAE GAH A BIR, RA FS 4 A AP TE YE EEE EE ABT AA PE RL RAE), DE LAE 19 He ek AML 0 HAE Se BAER Be Ph — Se 2 LP) as 8 ASBURY, TRS. EMA Bh, 5 Bhi Sy Be Be (SUL 337 TL). JAAR PRA, PRE, HPN Se RIE, Soh EIA, EEE TANI, OTR REIS Ah) SER eT. CCS Sadie ESR th OA PS ON BS P1059 AAR A: CRAAM MH, 232~240 SD=377A 7) Allegro 933 1060 AMEE: CHAE), Bow, SRAM, BI~29Ay, Koma 1 Allegro (J =1185) Rico 1 tary De Bow nary De cont Miiaey Be cor ary DeSte PAWS 20, —————_— Beant sian: | —*p ‘s _————___ woes fee ey wing oe [§ —tp tp REFAKA: Berlioz, Symphonie fantastique, fourth movement, mm. 62 ~ 69 Prokofiev, Liewenant Kijé, first movement, mm. 1~ 5 7 RITE EEA KES RAVE IER LRA TERS, AA AA Oe ATS BR ke, BA CAA, BR, DAW, METH, C TUR ART ARO Ek HACER, BRIE A CCTM MEACTLIEs D BILGE RMR DIE; BPN AEE. B06! CHB MAD MREAS HR, Sea TIRE Cane zee BEANS = p_ = RRS BP AGF Ne 2 —— ia D BHR SS Sea 337RBA LEP AMR ASS RIF. 0-371 7a 10-62 Rib: CARA), HEH, I~ HT Insect 08 | Allegro bw. TH t co-atne 10-63 Lie: CRM), MEM, RM MRM CRA 1, ERE | iomeer PMR), RI~4 nt: Andante I DBs. Tp = kas AAG (Plugelhom) LAS SOO MINA. EEA PN, (eH ee FRA, AP ASABE OAH. SRSA F “Flugelman” (“BRA”), Bee EERE RADA TATA A LASERS A $8 —-fR Fe BASE 1820 I) 1830 E305 fa) He PF Be Al, CARE TSG “RLS SAK EE RAP SANS JK READ TAR, RES SAB SSM 2 RRS OK, SRBEHORE Se BRN, BURA EN, FW, CMAAS. SERRA SARA LS BE, EEE RE PS SG. Je BS A DSSS PR, KSC IRA 1064 Ha: AAS, SRA RAS, PRPS. (620 ER, SMR SES ALR wR Cb AYE) HL MAREE” PEL SINE. BRA GES RAIMA PAMELA, (ELTA TE CRE) FOIE DET ESEBEZ OBR PANGS HEX RR: (HSAD, HW~ RINE: [co-ara7e] ao, Quite slowly anf avcomp 338Rte HR Fes 5 a Ee aa SS Beng k (38: Trombone; 4%; Posaune) KERTH AH SHOE RR, CAPSS, ATR BEA ATS AY Ett BES HABA BAT AR DASE Ee FB Rs A RES k,n SHC WA EG AEECRAM RENEE. KEL RARMM RY, WIRE, BC RABE. Here ree te KS ——==— APE AIRE ROARS KS EMEA Sa, KERR EER ARDS, HZ — ARERR AS, SEAR HOPE BE MRE AR EHF —BBS} J AREER CS HRT: HOS A RSS UIE, HAM EP ORI Se P Sa LI i de BR 9 TD SEAS, BD AREER” MSR, MPR BOCA. KRESTRKWEPL REE, FSO. Be ER eS BABE KS LES, IHS EMSA, RENE. 339RSERH RP A. PREM AMM KS, CRAMPS RROD, EM ee I Bho EMSA ARN HET RCIA RE HEE TA PPE. AT RRS LE il ESTE IU AAS, Ft He 05 8 HEAR BE EELS EI AG EE A PK RMA EAS AS IIS 0 TERA — BEA TE, SCR A BE a SR A: A RK SA MRA S. #6 20 Ie, 19 Ieee POP KS ES KPa SAGE; ASLEEP EAS AT BE AS, BRERA He TS A Pe FRR IMAT RPBKS FREAKS, UPR (Tenor Trombone) ZE RU REMI RH AY. UO RE RIES A (LOPE TIO) AE, FI SiC BE PCE AIC, MXM EMA MTC P HES cis, LuBett AMER. Sei SERRA 10-66 HH: UP EES ATE HBL BA E? 3) BS, GA] 20—66 Hf BY RR LAE Sk AeA AE RA PALME, Ae MAES FS HER FEAT TT 0 10-67 HRA: ARPSKS NIE Dope SARA ERI OEE, BME BPI CARA BS, eA ABR EME. CARL, We ERE eH. P1068 KS HAE:Ste See Re FEEL AEE A “ARRUEE” (pedal tone). ETT IRAE AR OME SH, Ae SoH sm FECES HOARE HET © RATA S MELAS EAE AY «HAE A AE FUCHS LES, MELO TE ERIS AE Ia, IBLE, Pee BIT AS YA ARES eH FRE ABT DAZE ARIA 7 3—$§ He, D* BY Ae SS DU Sts de 8 4H pe FEF AP ORR Mec — MEALS. TEBLINNE, FTA) BEAN DEBE, A FAC MA LOEB AL ME, Py EAR He AS ALR HE PTE BI10—69 sy ARE, Fast F SHEL (‘The F Trigger) De CHAT ETT SAL OH Pau a “FORTHE” CF rigger), ER “FER” CP attachment) APE EOR I) FRE, JBM HOME OO RE, ARO I EO PEI BOK SERRE F IPSUM AR. F RRC PC RA EE Cy ae, DFABBON TD BT BPR CLK BL), BDU RIAN Fe FANT ATR, JL D A CER MURARES Pee Ae Oe, (108 RP EAN AP AR, RRR AAS, REKS TKS CANA DARA SBE RE. CHS PREPRYARINRE, RLF CARA ARIS, ILAMOET ROKMY SHG FHS ARMA BURCH, THe Saya BOI, CAUSITIETMRAE, B10—70 Fi: 10-71 FH:RE HE Fea NICE AEN + FERRE, DURCH TE LOUIE, aR MLR MER S nee a S151 FREI C {eBI10—70 4, RINE SANT BY, REACTS LOR REMUS, Bee GERI CPR (AAT SENG AR PERE). EB ah EC AT GPF BRNEH RE HEIR KBE — SR RE. GRIST ie Bb 4 Dt RE EERE E DURKEE ANN ETE AIR], LSI RAK S HIB AAS AS ARROAEES OMA HL L 10—72,, 5 SELATAN LA PAB EBM, MEAN La mM 10 aR 12 ey, WW 72 KEKE HEN, = us tes ls Ws) 0 wow wow TERR AR DIY, Be BPH S AOE EATON, TAME HLFAVCE TACTIC SL RAMEE IS PD TE RK A RR EN A HE ie & HL — BORDER. (COPA K SAGE ZIERA A 3 23.9 RK; Te FRA KS EUURARPH 4 BIS 365h.) Falk, PSEA, ART, QA JEG: FB. BA PS I, SANSA HELL. ide BP’ MP RRAATE F a epeREAT , ARC SA TS HOC EAS S ABE AE TS IEA NF th EBB, HALA —-HA MRAM, COAGEM ROA ATU REAR A, EUR ALTE EAS EE ETS HER IE AR BETS, Aa EA eR TAG, PE KEKE EARS : WW 73 KTKE HRS: FEKS "PES (Alto Trombone) AEE 19 [2 BEI UE LA, A SA BA A EAE 18 THEN RR FEIN ER RE. BUR ES SRR UE 19 tthe A a BE SE, EL OD AURA LT E ALN, BORAT bee F IFES E eR 342BREE A SBS ABS LAS LP AR BE SA eR FCT ERY FS, AL LFS TB FRSA RN A PHS ATE EF, RNS ART BM Scie, 0-74 ek; TREN AMCE MAMAN ES, FEA ARTA, SEO ETT LIBRE SABA RB JOE FE FAR, UTR, eRe rea BEF WI, Alt, EMER PM th HBT ERE HNN — BS (SLB 10—75) . io fir PE SAE MELLIN 1O—75 BRAS. RENAE LAB A SE ALE eB AS Ae a EMC LAB Te Fed LEAR ES 10 SRE 12 WwW—7S SRK E HIER: ya SSS oo ow yw Re5uU8 BR Bok WU Sub eke SLAB RSS, Ra deh EE He, PR ORBEA. HED, Te RE BREKU A AS RAT ER ee EH AT TERE ATLA F ll EU PG ZL AY CH (EH HE SRDS UL EE EA, AE AYLI eR RRP IP TIE PUBS, RUS ATULT , fie APSE UBACAR 1076 HLH. CEM), “ER, ML ~ 18 ha: cow eo, Andante SS = 6 343REA FRA TAR TRAPS, BRB. BAS, UE eS TORE He AT O77 WS: CHARGE), HOR, KAM", HL~K AT (—PKS): (eae) % - ate. a BI10—-79 HRI. CH — KH), BOKER, BAT~ SIH (=NKS): [cers } , Pitallegro paolce pao HEF IAA: Bach, Cantata No. 118, “O Jesu Christ, moins Leben Licht,” “Sinfonia,” mm. 1 ~ 8 (three trombones) Schumann, Symphony No.3, fourth movement, mm.1~8 (three trombones) R. Strauss, Till Eulenspiegel, mm. $46 ~ 53. (three trombones) Wagner, Tannhduser, Overture, mm.37 ~ 53. (three trombones) 344mEBEKS “a BRAVES JUMP T SUA KS HEE 1 AA te apap, | KIA HES OCTET REI EEO, OE SE A NT MR LAR Bie 8 20 HEL TERY BERRA AR. CET ACHE ITP, ORES AIT RSW CHHRRRRKS (HERAT). A080 FAH CH RHE, ROK, RO~ AH: Allegro 6 ‘con sordini Tr, pin. pain ” 10-81 AH: CME REE), BORE, HAS ~ SLAG: inoox20" 18 Slowly = 4 gt U2 rea = ? veo mdpt] oy vores (FB 4 Piao fe mt ARAYA HEE (slide glissando) WAR APR, OR SAT DAR Ae AZ fa RT EE, BRR IS BA ARK STM ERR SES, ABER EGER ORAB ET. BRT HE UE ZHb, HORTA, DAR eS eA EL FSMAIT RATERS RAE, BOF ae ee SR, (ELA SOY PREF BR AOR UO, BCE BI RAR TARPS. Be RILMER ARE, AME IAIN, SADT T TAB 345RERRE 10-83 FEM: CHER RAD, mH, []m. Allegro molto 20, by s— -o RATA OME, PIO 84 EE: CROAK), HES, 593 ~ 600 A: d=56 ties pos senza so eT. teat. Ten tre Ten. TH? reo. 01 0. Teh 2 346te PETES KER PH ER PEEKS DUA EN ii he 7 SOT AOD AE Ht AB 2 IL BE OR FA AIR PS SOE a APA SRW Bh, HCP RHA A DE. BUURSBZERLNY CREARMAIE SED Pu WER RES MR; LTE AA, RT SIE AT RAE. RS GDA, RANA BERS PER URGE 0 Pe A A HE AB Be. aEKS SAR Be FELT FE TE hE He EAS De A 5 EAE EE A RO FP (LEMON TR RAR, FBKELRLE BARS, (ETE MRT ED RRIKD; COPEA MLA OMA, RBA E HARES EER, YARD AT RAB ATTA SEAR A K KERTH, ASRS IATA AR. ERB DYER ONS, HFRS. OSES EP Se A WS, VEER. Ee SS ABSA AGRAR WE + KettReta SRR ASU RSF. ME, ARR COA ITER IRAE. DAES FU BST) PRGA S OER. eB T ee) A SAB POMBE, FABIO THERA TR SS EEF. RAEI TB, A URARTR BBS BAS AAI MAAS LB 1875 EAA A WEA ZORA, GET BREE + ARAL Ta PER HASES T OR WOR RES, 78 TROD, RAR RR, Ate CRANE AS SHEE FARE RE. PIR SRMAE TA 19 HR AAR IT RG CI A BS ESE TE KE (WER) TURN ARIES C4828) Ae Cie EO: BEM EAS, FALE B WAS Cit BUCA SET). RORARSUR EN SRO, SAA ALS BAI» BRT ARAL MUESTRA EEN, BAAR TMA + NEI, AB PATHE RNAS BRIE, UAT FIER A SMM PPR A UI SRO AT GAH. ABAD, Hobe OM BC PEASE FB, EPIC VIRGAKS, HBC AMEE BILE ASO, HSPLRMASA, PATRAS BARTS: BRS Poh 09% OUR BR ARATE, BEG (fundamentals) #1] FEAL Cpedal tones). C i MDM BAB REZ ARIAS MRR, RO FR AR tS: FR eR RE AR, HT LA HA FP BAT 9B IN A AE BEDE ASH TRAE ARATE S OPS ERIE, (Ee ALFAMEGA. TERR ANE SBS AL AUT A, (A TERA ETT RRA UE, HA ANTE, (LUCA SEL, OEE FATE RAS PKS, ATA PR AREA SASSER SUR'S BE AICS Sica G10—85 HK: SURE mE A EAS SS REAR PT RA TA Te. 1. SE, PEAS PHAR IE (RR, WS “Slt ARB ARE STS, BATT QR. OD RARAP, ABRAHAMS OM BRAS (Sousaphone) HARA, AAA TERS TREAD (ATA. ARTE EERE He ATR AE HEE 348Ste Pe Re B10—86 FRA E: ABA RKB sere ee MTR ABAD we su HFRS ILIEK, EAE TR BE, he ba ABP HA-HHRHZE, CMMRARMRAAMP HREM; PARA KOS AT, ALE EE, CEMA LP PP A AT RAB AOR PAR, KENT PRR, BURBS CARE, Ree SO BUTE Ae ARKH SEM. CHIME RMR, WT A RIK, Aes or FAR HYG RE 0 TRS RBUSEAAS HR BE AIR EB IE S RE Pe EX OY eT ABR 10-87 HRAHR—tim: CAMS LHS. AG", RI~10 HF: ‘Sempre moderate pesante Sola et r WE REP RAM RAI Ts Alte, aE ES PH BY AULA EIR BAER AUN ES BEE TS A PIE E55 FE WT LAA To a0 7 REO TA EAR A thE RE, ER AN AT PEASE 1 OR DSS FU EEE HW aE EY, BL EI EK AUS KT I F088 4H, (HRW), HH KR, ISW~BAG: {o-ame 15 Andante 349Ba ARNE, DUALS TE AS bE, BUR Lah Alot MR Se a LR ed KSEE FESS TAS ORE I EF PRR, W10—89 AEH AWRR: Adagio —— Parl > R WF FY SRR BF FRM EP, BLAKE SPM, (EGE, LAMAR BRR. E AP AT EA a (I BETS 10-95 BI: CHEM ARE), MRR, BH 1SE~ 165 4H: roy Meer om SS SSS as toe, es EARHO EMRE ARR, IIB GHEE) TAR EAA ZE A 351RBEKA BI1O—96 ih: CB), 426 NY: co-winbe) 20 K SRE OE ER ARTS (Euphonium) SRPRAS FREMOT, HUVEC, LATOR T RAAT EAS, JB Pe TEP SD. (LS HERR NA SLT, SE SORRY ENR CL oe TE Ke FMA CB ZEMI TT). BECO MARAE ELLA ACS IRAE, JR RRR URES, FAIA IC, BUI, RA a a Sicittmt, eR RE LF AR IUIE IE. BI10—97 SH, TOS SAAT SIRES PETER, (Ee eh ETE PE SS OL BAAS, ATM IE. JLRS A AE DA PE, AAR LE TK SAB “MENA, RLATEMAITA RAT S OER. HE, BLAS He AE LAE ER AE ROBERT, DKRERER ERAS LEX), MHA TRBE ACMA, A FRE) PSASR BAT, RTS BE AIR ES SE 10-98 MH AM: CRAM), HM0~ 2G [eo=serR er) wo —~, a= > ~ SS ae HRS VHB: Euphonium; Grainger, Sir Bglamore and To a Nordic Princess (throughout) Harris, When Jonny Comes Marching Home Again (throughout) Kupferman, Symphony of the Yin - Yang (throughout) Ruders, Symphony No.2. (throughout) 352Ste tenstae Wogner (Tenor) Tuba; Bruckner, Symphonies Nos.7 and 8 (throughout) €. Rouse, Symphony No. 1 (throughout) Schoenberg, Gurrelieder (throughout) R. Strauss, Elekira and Alpine Symphony (throughout) Stravinsky, Le Saere du printemps (throughout) Wagner, ‘The Ring Cycle, especially Siegfried, Act Ill, Prelude, and Getterdammerung, Act I, scene 1 (directly after the Prelude) HIRGS (Baritone) SUR ROD, IES ARIE, ERTS, FORE TLE RE. EKA SWERSAP ERS ERP, HORSE REE P1099 FH: SS EAR SAP RA, AL HEA th SR A IA AA BRAT HT EL EB 17-190 ANF —20a ARSE HE AF o SAAESESEBS ( Ophicleide) RRS HEART SE A, FEATS OSS AY EIE S E, S OMNES RS. SACK, BMRA, Ba, os WP RRA RAMA 6 BPS 0 ERS 00S OEE, PLE Be A aE a MAES, RUPRAT SHAR. CPA PUR, AGS Sic. TERED 19 Ue, STE DEO — HAE Ba a IT UA 9 $d SL I FS BY SE Sr BE EDA SEE RA THUR To MINN. KR, APR. MPIBIL A, BUS AIR e FERPA SER. EMT SLATE TAY CRD) Ps MS, SESE RAS HOTEL AD DOS, LAL ATE A ESTAR: ‘Trumpet: Debussy, La Mer, third movement, [44)~[45) (muted trumpet) Franck, Symphony in D minor, first movement, mm. 127 ~ 145 (doubles English horn and other woodwinds) Hovhaness, Saint Vartan Symphony, second movement, “Tapor” (three trumpets and per- cussion) 353Reka Piston, Symphony No.2, first movement, second theme, at [205] Rimsky ~Korsakov, Le Cog d’or Suite, first movement, opening Seriabin, Poem of Ecstacy, mm.95~ 101, at Allegro non troppo, principal theme R. Strauss, Also sprach Zarathustra, opening Hom: Brahms, Piano Concerto No.2, first movement, mm. 1~5 Brahms, Symphony No.2, first movement, mm,2~5 (two homs) Dvaak, Symphony No.8, fourth movement, mm. 63 ~ 64, 95 ~96 (hom trills) Mahler, Symphony No.3, first movement, mm.1~23 (eight homs in unison, then divisi in extremely low register) R. Strauss, Sinfonia domestica, [71|~[77| (hom in extremely high register) Stravinsky, Symphony in Three Movements, third movement, at [163] (hom Wagner, Der fliegende Hollander, Overture, mm.2~ 15 Wagner, Das Rheingold, Prelude, mm. 17{f. (eight horns) Wagner, Siegfried Idyll, mm. 259 ~274 (hom till at “Lebhaft” in m.274) Trumpet and Hom; Respighi, Pines of Rome, first movement, beginning R. Shchedrin, Symphony No.2, first movement and second movements ‘Trombone; Berlioz, Requiem, “Hostias” movement, at [74] (pedal tones) Hindemith, Mathis der Maier, first movement, opening Ravel, Bolero, 3 mm. after [10] to [iI] Rimsky -Korsakov, Russian Easter Overture, solo at [M) Wagner, Rienzi, Overture, mm. 110 ~ 155 (three trombones and tuba) Tuba; Berlioz, Benvenuto Cellini, Overture, [18|~[19| (very high tuba part) Chavez, Symphony No.6, third movement, beginning Gershwin, An American in Paris, 4 mm. after (67) to [68] Respighi, Fountains of Rome, fourth movement, [11|~|14] 354RtE AAW Respighi, Pines of Rome, last movement, 4 mm. before [21] (trombones, homs tuba) Shostakovich, Symphony No.1, third movement, [3] to 4 mm. after [6] + trumpets, Stravinsky, Petrushka, Fourth Tableau, “Dance of the Peasant and the Bear” Large Brass Ensembles in Symphonic Works: Berlioz, Requiem, “Dies irae,” at [I8} (four brass “orchestras” ) Jandéek, Sinfonietta, first movement S. Ran, Symphony No.1, first movement, from [E) to [I] Stravinsky, Le Sacre du printemps (throughout) Wagner, Siegfried, opening of Act II (hos, tenor tubas, bass tubas, and contrabass tuba) 355StS NWSRRASZRE, AE RBS SHS Kesiees JE RA ST RCE PH SAR, (LEA) 19 WEI, RAEN RA TE Re ee APE eR. AUR ROA. MUL PAS 19 thee SUPE et AS DEE 1 AS PAL bE, WL J PA AAT ak Be OE; UR, BUR AR RT REE TR Se He i PAB I 7B A lS AS — RO AU TAB REE fk) FAT TE ee A PEAR. ELE 20 te, PR A ST BME BAT ABET CA RAPHE RAT AR. AG, ATER IM, AGE SEROUS PR AR A 9 ee A BS Be a Gs SOS PAR a I A SE 5 LE (ERE PaaS aE Mie I AS AA SY 20 wD, HEAR IS mee Nn FORD PRATT SEE SB 2H 14 VA EB | RETR RIC (AUS TRAUB TD Bay RAR 2. RAR (PA. STWR RAE, SAE oct DARI 8A) 3. FRR 4. HER EMAAR CNSR RE. RHEIN, BOR AL AER Ay EF MATELI) 0 PETES MHD, PATS TEPER eM AE RE, TFT AR BE RS 8 A, ARE DRAM RST ee AL hi PEAT HEE SOMA BT, SSCL LE 4A FF OR a A SA A Se RE EA. HR Aaah, EES, HAE RE, RE ST, RST Ra ET Ay VAR MES AR FA. He, FRPLIE + ANAT eA] (1557 ~ 1612) 3 Sb — AS a 2 9 9 TFA PAE, EET RAS. BEAU BA rR ba HES. EET, VE, BE INA, SERRE, SABLE He aN BAR SEB AEA, RECA Ht Pe ee a PP AY Wai RA, WR MMe e ATR. HEH CHER ERS CRE) RUE VMEM RMR, PAT PK WSR. AKL ARR A ER AR AT ESP, PAR HR. TER, E191 ~ 198 NS, id EE A BY Pe BS 2 Bk OR A BE ee —— BRAT MER, REAR —ARPe TAA BARRE HBR. KEW BEAT EER Ar BFP LAI PB aE SE AES 210 RC, EN) SL, PARE SRA RA, BLT 211 AN ER TPE EF SOE He eB %%, ERITREA SREMMKA TSH, AMAA PAR: MB A KEW MR ICHRA ILE, FARE ARS RAP, CC REARS FR RE. 364Bt-k ANPRERSERB, APRANSO HATES ANT GEKA: HERD, AAR, F191 ~ 2124: Allegro ma no troppo (goheer) r ‘aeneer) neue = Batt == Fins = Pie Papi ‘tea, - Te ater, mats Foe Te P_ penser vat sree mare] va oer ennens me uae “have Soote nara 365RB AE 3 Breit und woekig . sone IP nm Gi ‘echoes “eek (gonwers ‘oer ‘arher) 366S+-t AWPRERGEEBR, ARLENE OME RED one Pina. Pope Le emma = rea ha “3 | ar 367RARE one aaa acu Baa, 1.2 Pin 2 Fin. a4 Tpit erp! ba 1, Bote, teal? FB Te? com Toe ve. ve. bB. 368Ban 1.2 ba. BS AMPABAERAB APRRRH OM MEARE R 369RRA IRR Aa CRIB RB th) SRR CRAZE) PAY SW. MLB” ENE A, KGAA E TT. Ae AEP, SATA UDR FES. FANE E,W AE A ERE EERE SR BEATA TOL 9 FF RAE OAS HE FD ANB RAw: (CUBRBH), MORK, HIS~ 32H: [eo-a7tmsa |B+ -k AWERBR TREE, ATKENN CH REREER BERR MS CAMS LG) Hy “SAAT” CRS EMM) GEAR EEIE AS BUTERA EB, RRR AL TE HM, HATA RAMA AS, AARC SAE AMOI, BR PRS ALE GAG BAB SEE DC SO EAU A a hE eB PE PARR, RETR RT, RAT KSAKEAE, BART RIAS Fie EAE FATE SC AGRA, ACE EE BETH, ZEB 3 AN AEE It, RMR LAG Tete, RIM EAE EEE ANS BRAME—HMT: CRBS LAWHA), “EMA, PII HOF: a. Bk RG RIA Ate 1 Maestose be aa He 1 Allegro alla breve. Maestoso. Con grandezza Ban. 2 oan, Pin 2 Fina. 371EBERE Ben 5.2 cone, aa. Pun.ad CM 128 Tee Ts ‘The Timp. FLL23 ones wots Bsc. on 1.2 372Bt-# AGPREASRES, APRA OWE RARE JA 2S 2 So et BA, CHAT RSET MER PAT LS, BASEN SES, BE CRACK TA S.-H EIFS AT ETT RO he, EB, RWS T HS ONS, AS. KSUT MMT. ERR PRATER PT ET AE RAR A for Pe Ay Pa ET, AT HR Ee, tH AE CBR RAMS, A, RCE LAA PATH. tA ThA CER LED FRAP EAS CRAY WLIE) OBR RET, (AL TE a RE A, AE ERR ARR FAA RR. A RE MEE, PATOL RRS, PARK CA) eH ERR, BASKKSAAS BET URS. EA a AE, A) SRA EAS BS BORER, A HEI RE YK, IAIN TE mY AS AR A AS Ai 48 5 — A A EB RR, fT A GS BE SR OA, AVS ADS PEE AT RE, ARNT, RE AR TB OR Ae Ok 8 FB KEI ANNO RRA: (SRNL, BOAR (WREEE), B1I~6AT: BS, 1, Felerlich bewegt (J bis 80) FRAO — EAT ACS, EB 34 NT AE eh pI CHEE A Pl), TERR, ASV T/T Sh, HEEL TA IE. TERE 373REE REIN REY, MORTAR IEE RAB OES EE, ReRES| AT AEN Hf. PO BS Hel BES SE BSC, i, SUE MSS CHL 10-12, BEA CREED) FPA, VALS get THE OR] ES oe, WLI — AALS FP Se A RUBE. i, MTEL, ERA MESES, SRR GSE flo FM RASINT EMR, BCR R WAL SRK APSE + SERN, fhteak — Fal Bib a Lab A-AALMHDSRAA RGA RA-RGERH, AARRAHASH, REGIME AREA, GMRSEM- PPE DR, —LP RHEE ZFRRT HFRS RAFLGRE, ONL ORBAHT PE, 2A EM ADS HRAERLMAERMACKAMEH. RMARAPASHSE HFRATARRA, AMSHHRS HAH PAH RB, Ao, AME BAREHRE , WR, RAB—PRSOS, AFLARM-ED F, PARRA SHR. FELLA FRERG ORAL, DFO HPAP ARR LAMA, HE HERG PAA S IRR HB Fe t08 BRB Hy Ew FE —§ se RAT FRU, toRIERKH MLSE SMM IOKR, AikeNRKRA—-A RRR HRA, HP MMRAATO, MRERRNAS PEA ERAS BY BIE. MER ARAL A HT LLL PE th BOR a AR Fo ELA IMS EAA EB CE 5 PETE, BET A Fee — SH AROS WOE ARTY IM, BOPP RE EE RE BEL} oY RE — eh EAS. RAL) EAN AE 1 — 15 fe — SAT. AY A AE. A 18 He OR, NE te, He - Bee CREA) US A EE ee ES TT FESR EAE. ZED L—11 A, TRASH ACHE EER A WOOL STH, RORAS HEARS, RRA T OA. HER, ERNE, DRT IWC, BABE AEE, KR HSE PO BE D Gunther Schuller, Hom Technique (Oxford University Press, 1962), pp. 82~ 83 374M+R ARTRED GRRE APRS OME ERR ANA Pe HSH: CREME), F189~193 04: on ng tn Pte.) Pt.3.4 Fits Dap Dmiad Bien Dp, om co Yi. a0 0 3 ve ‘soREEMA ANZ BMG: CAFR TAD, RAK AM, B85 ~ 191 Ae, 3 fn on aa = + BWSR ARR 376StS ARFRARSEER, APL RDE OES RE Gt 7 AREKA FEL ATT LOEB (6) 1112), C A) SRN, LA a SET. BARR RABAT Ee ABE He IR FE A BIA OE SEEN EA A SS JEP TAR RE ME RR Ae ET, SPREE CHAR) PRT A CT em) AS SR RATES, HAIRS SE at OE et, RZAAT RI EORM, REAR, BM. AN-13 SFREMA: CHERHL, PERK, RI~S AA: C0 -477F 48) 1 Adagio (J = 60) TBA CREED ARATE TEL AR TAR EAA: MANOA SO Ae, ET AR FPRAAKANERATES . 378Ste AGHRBAGRAR, APKEHEOHMERERS Pd EBA, CREASE), REREE, BINT DD: DR Lebhatt, doch gewichtig, mmc san 42 ead a. Pan (sehr gehalien, aber nicht gebunden) toe pene tae To inp (stace) vat B eve. istace) vn B Frese. taco P crese. (este gealtom) ve = Po erese. = . t Pres. nf 379Rate weec fon. Pen 215 Te The Bot, Tat tue Tee? 6 Th Timp we bn, P cores. Hit CFS RE) LI —15 "PET PR AT AE FRAC SEA PRE, DERE AIK PRES —€§$ TRA 14 FP. FESR, SSRI TA LNG AS TE A SE SE BO. in, SMA ARAL ICS, RET RAK KS, RAPS SARA 5 380BL-E HARKS PIRAS, APLAR SHAPERS BIAS AGA, (FPR), B-RRMA, 106 ~ 123-4: (eames) 19g Allegro motto moderato act me ve 381on.2| | “| Em ms ‘Timp. pp. 382Bt—-k AMERED GRRE APRBAN SHERRIE Swe CHAD) PALMAE, ASME. KE, AREAL RSM IA DWAAS—. ANG FH: CHARA), B 405~410 DF: (eo=arne) Andante maestona 383cna.2 cia Ten Th 12 Tate Tn HAMAR C1812 Fh) BI TMHA ANAAZ——KE. AS CMEKERT RAMEE (LEMUR), SRAM ABA. THB) 116 fn 1117 HP ARTS 384Rt ARSRB ESR EE APABAGS MME ERE IRA AB RB HBO WNT RAMA: C812 FA), % 386~ 398 h4, say Mlegea gtasta Fare (ame) + TR RPO AR Baa 385REARE Biba CF BH) TE CBR) MERA RE, PUAN EAS eS BAN. AMET KRAES, RanKGMES. ARR RNS, RFT PAR SB VS EK. BERT RH PE OT, CRT AE 386Bt-# HRSLEPSERB, APESHESHATE BRE AMER, SAARI EWA BRS —. ESRI, ETRE RR TCHAME, BEBE PR MBSE SE EE ABR RE, RE a Dy HT Ob JRag a AUR HS. P18 Re: CFR), BORA, H5O0~SE NG: x” > a co at a, i ?— = |r “pean | Fete orhaten SF vchroohatton YG seroratn 387Tea ok 388Bt WMERSP SREB APREMR ON ETERS HRS THA: Copland, Appalachian Spring, [59|~[61 Prokofiev, Lieuenant Kijé, “Troika,” at [51] Stravinsky, Puleinella, [85|~[>4 SA LB Mt AS FE BATE BAA — HEE Be, EATBLBE TF BW Re Et A A RF el SL BA, APRA BSH BY AEH, HAT FT BE A A AR. ERERAT, AERA, ARR T In A MTT. LE CP ZEK EA) TEP MOY, RRR A FRM, MEM, TR RT He, PERT ELA AR ALAS ERT TTR ER Fe ee BAAS HE EE BET BPRESRKS, FETC ADE AER (ER, KA AREA UZ, AA A ES EET BL, AE RA Tbe “PALI ERAN). N19 HLH, CVSAK TH), 298 ~344 dH: ‘egg Allegro vivace 389REBAR ua re vat vin pero crete ? poco eres 390Fu Bo. Be, Te on. ARB EB HS AER SARS MME ESS =—~_ = ‘resend pore a poee ‘orescendto poco a poco = ‘rescendlo poco 0 poro ‘erescenato poco a poeo °° crescendo poco a poco ‘erescendo poco a poco ? crescendo pod a poco 301RBkAE 0, ct an cn ree Tap vin DB 392Rt -8 ARPREDERAB, APR BHR OME RERS or we ore Tiap Freee. mato vm 393BL AL MH CA B CRARKRERR SM) COUR RMT ABUT ERT, MRP SOM ALOT ACMA AREAS RB Cds BAGG, MAIR AE), BUNEELY SUN CV EDR EME FS ar eM eR, en BBR AHEOT A, AHR HAE, ART AAU ATES OWES... RA BRA HER TEC, (LC RICE SET RTI PTR, REEF ERR ME CLEMO I 2 ANAT EAE EAB EORE) FURR TOM AGI. DER, TPES RAR eg i a He, GENRE 7 OEMS A EEN AOR, AN—20 HA: CAE CRALRERR RB), “HALL”, FRA, HI~B DE J=80 394Bt-8 ABPEBHSEAR, ATREHE SOP RB RS EEE ECE RRR come Ore Ke FRA CR Rh) SFE BF ET SB HR BE, KNEE 192 AE AIR Ale ELT A, Gk eR AY SE CE 195 A] Be OR BE TT ai F5 (punctuation) . FMS FAS PPLE Be POA OY Ha SCE HER AS A SAR HH AE HEROES. 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