Marc Sabat

Euler Lattice Spirals

Scenery
for string quartet

PLAINSOUND MUSIC EDITION

Euler Lattice Spirals Scenery (2011/12)
for string quartet

written for and premiered by the Sonar Quartett Berlin

(Wojciech Garbowski, Cosima Gerhardt, Nikolaus Schlierf, Susanne Zapf)

composed during a one-year residency in Rome

at the Accademia Tedesca Villa Massimo

This work is the third in an ongoing cycle of string quartets

in which musical forms emerge as consequences of explicitly
notated intonation. The title refers to Leonhard Euler’s
discovery of a two-dimensional diagram representing the
harmonic space subset based on octave equivalence, pure fifths
and thirds: a tonal lattice that models triadic harmony, or in
James Tenney’s terminology: (3,5) projection space.

An extended portion of this lattice, comprising 99 distinct

microtonal pitch-classes organised as a progression of major
and minor triads tuned in Just Intonation, forms the basis of
the fourth movement, Harmonium for Ben Johnston. Each triad
occurs only once, and for the most part connects to its
neighbors by a shared common tone, until reaching the small
enharmonic seam in the middle of the movement, from which
point a retrograde inversion of the triads begins. The triads
are ordered in such a way that all possible common-tone
progressions are explored, and also that the progression of
triads which opens the piece recurs in the middle of the
movement, transposed upward by two commas.

To realize this modulation into distant regions, the open

strings of the quartet must be precisely tuned in 3:2 ratio
untempered fifths, so that the comma distinctions and partial
unisons between open strings may be optimised. Thus, the
composition is completed by four additional movements, which
explicitly compose the tuning procedure (Preludio),
investigate the Pythagorean sonorities of the lower natural
harmonics (Pythagoras Drawing I and II), and present the
unisons and commas of higher natural harmonics in the
registers they occur (Harmonium for Claude Vivier) as an
ecstatic singing melody.

Rome, 28 October 2011 / Berlin, 6 March 2012

An informal introduction to the Helmholtz-Ellis Accidentals
by Marc Sabat

Berlin, April 2009

In learning to read HE accidentals, without having to rely on an electronic

tuning device, it is important to be familiar with three things:

First, to keep in mind the natural tuning of intervals in a harmonic series,

which deviate from the tempered system.

Second, to get to know how the accidentals refer to these overtone

relationships.

Third, to observe that each written pitch may be related to many other pitches
by natural intervals, and to tune it accordingly.

In most cases, this approach will allow the player to quickly and intuitively play
just intonation (JI) pitches quite accurately. Any remaining adjustments can be
made by ear, based on the specific sound of JI intervals.

Just intervals are readily learned because they are built up from simple,
tuneable harmonic relationships. These are generally based on eliminating
beating between common partials, finding common fundamentals and audible
combination tones, and establishing a resonant, stable sonority which
maximizes clarity: both of consonance and of dissonance.

A well-focussed JI sound is completely distinct from the irregular, fuzzy beating

of tempered sounds. Just consonances, when marginally out of tune, beat
slowly and sweetly and may be corrected with the most subtle adjustments of
bowing or breath. Just dissonances produce a sharply pulsing regular rhythm
and have very clear, distinct colors.

To become familiar with the notation and sounds of JI, the fundamental
building blocks are prime number overtones 3, 5, 7, 11 and 13, each of which
is associated with a specific pair of accidentals and a basic musical interval.

3 is associated with the signs flat, natural, sharp and refers to the series of
untempered perfect fifths (Pythagorean intonation). Generally, A is taken as the
tuning reference, and the central pitches C-G-D-A-E can be imagined as the
normal tuning of the orchestral string instruments. The just C is rather lower
than tempered tuning because of the pure fifths. The further this series is
extended, the greater the deviation from tempered tuning: the flats are lower,
the sharps higher.
5 is associated with arrows attached to the flat, natural, sharp signs and refers
to the pure major third. These arrows correct the Pythagorean intervals by a
Syntonic Comma, which is approximately 1/9 of a wholetone or 22 cents. So,
for example, the note E-flat arrow-up is a just major third below G, and the note
F-sharp arrow-down is a major third above D. In most music, flats are often
raised by a comma and sharps are lowered. Because of the open string tuning,
it is common to sometimes raise F and C (to match A and E) and to sometimes
lower A and E (to match F and C). Corrections by one Syntonic Comma have
been used throughout Western music history and are relatively familiar to the
ear. However, traditionally these corrections have been hidden by players, for
example in Meantone Temperament where fifths are mistuned narrow by !
comma so that the third C-E ends up sounding pure. More recently, the
currently prevailing Equal Temperament has made us accustomed to beating
thirds, so at first the pure intervals may seem unfamiliar. To play the arrows
accurately, one must carefully learn the sound of the consonant major and
minor thirds and sixths, and learn to articulate comma differences clearly.

7 is associated with a Tartini sign resembling the numeral. It corrects the

Pythagorean intervals by a Septimal Comma, which is approximately 1/7 of a
wholetone or 27 cents. When the Pythagorean minor third is lowered by this
amount, it becomes a noticeably low third often heard in Blues music.

11 is associated with the quartertone signs (cross and backwards flat). The
accidental is used to raise the perfect fourth by 53 cents, producing the exact
tuning of the 11th partial in a harmonic series. The sound is most easily
learned by playing one octave plus one fourth and raising it by a quartertone.

13 is associated with the thirdtone signs (cross and backwards flat, each with
2 verticals). The accidental is used to lower the Pythagorean major sixth by 65
cents, producing the exact tuning of the 13th partial in a harmonic series. The
sound is most easily learned as a neutral-sounding sixth, one-third of the way
between the just minor and just major sixths (closer to minor than to major).

The following table presents the accidentals together with their associated
ratios and cents deviations. To calculate the cents deviation from Equal
Temperament of a specific written pitch (if desired) the following shortcut may
be used:

1.) Find the cents deviation of the Pythagorean pitch, by calculating how many
fifths it is away from A, multiplying by 2, and using a plus sign if it is on the
sharp side and a minus if it is on the flat side.

2.) For each microtonal accidental, add or subtract its approximate cents value
(as given above), keeping in mind whether the accidental is raising or lowering
the pitch.

The resulting value should be a cents deviation within 1 or 2 cents accuracy,

which is an acceptable starting point for fine-tuning by ear.
ACCIDENTALS EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION
for Just Intonation
designed by Marc Sabat and Wolfgang von Schweinitz

The e xa ct i ntonatio n of e ac h pit ch m ay b e writt e n o ut b y me ans o f t he fo llo wi ng

ha rmonic all y- de fi ne d si gns:

E e n v V Pythagorean series of fifths – the open strings

(…cgdae…)

dmuU Ffow lowers / raises by a syntonic comma

81 : 80 = ci rc a 21.5 ce nt s

cltT Ggpx lowers / raises by two syntonic commas

cir ca 43 ce nt s

< > lowers / raises by a septimal comma

64 : 63 = ci rc a 27.3 ce nt s

• ¶ lowers / raises by two septimal commas

cir ca 54 .5 c e nts

4 5 raises / lowers by an 11-limit undecimal quarter-tone

33 : 32 = ci rc a 53.3 ce nt s

0 9 lowers / raises by a 13-limit tridecimal third-tone

27 : 26 = ci rc a 65.3 ce nt s

: ; lowers / raises by a 17-limit schisma

256 : 255 = ci rc a 6.8 ce nt s

/ \ raises / lowerss by a 19-limit schisma

513 : 512 = ci rc a 3.4 ce nt s

! ±" raises / lowers by a 23-limit comma

736 : 729 = ci rc a 16 .5 c ents

In addition to the harmonic definition of a pitch by means of its accidentals, it is also possible to indicate its
absolute pitch-height as a cents-deviation from the respectively indicated chromatic pitch in the 12-tone system
of Equal Temperament.

The attached arrows for alteration by a syntonic comma are transcriptions of the notation that Hermann von
Helmholtz used in his book “Die Lehre von den Tonempfindungen als physiologische Grundlage für die
Theorie der Musik” (1863). The annotated English translation “On the Sensations of Tone as a Physiological
Basis for the Theory of Music” (1875/1885) is by Alexander J. Ellis, who refined the definition of pitch within
the 12-tone system of Equal Temperament by introducing a division of the octave into 1200 cents. The sign for a
septimal comma was devised by Giuseppe Tartini (1692-1770) – the composer, violinist and researcher who
first studied the production of difference tones by means of double stops.
VORZEICHEN EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION
für die natürliche Stimmung
konzipiert von Marc Sabat und Wolfgang von Schweinitz

Die Sti mmung je des Tons ist m it fol ge nde n ha rm onisc h defi ni er te n Vo rzei c he n a usnoti er t:

E e n v V Pythagoreische Quintenreihe der leeren Streicher-Saiten

(…cgdae…)

dmuU Ffow Erniedrigung / Erhöhung um ein Syntonisches Terzkomma

81 : 80 = ci rc a 21.5 ce nt s

cltT Ggpx Erniedrigung / Erhöhung um zwei Syntonische Terzkommas

cir ca 43 ce nt s

< > Erniedrigung / Erhöhung um ein Septimenkomma

64 : 63 = ci rc a 27.3 ce nt s

• ¶ Erniedrigung / Erhöhung um zwei Septimenkommas

cir ca 54 .5 c e nts

4 5 Erhöhung / Erniedrigung um den undezimalen Viertelton der 11er-Relation

33 : 32 = ci rc a 53.3 ce nt s

0 9 Erniedrigung / Erhöhung um den tridezimalen Drittelton der 13er-Relation

27 : 26 = ci rc a 65.3 ce nt s

: ; Erniedrigung / Erhöhung um ein Siebzehner-Schisma

256 : 255 = ci rc a 6.8 ce nt s

/ \ Erhöhung / Erniedrigung um ein Neunzehner-Schisma

513 : 512 = ci rc a 3.4 ce nt s

! ±" Erhöhung / Erniedrigung um ein Dreiundzwanziger-Komma

736 : 729 = ci rc a 16 .5 c ents

Zusätzlich zu der harmonischen Definition der Tonhöhe durch das Vorzeichen für jeden Ton ist auch der
Cents-Wert der Abweichung der gewünschten Stimmung von der Tonhöhe des jeweils bezeichneten
chromatischen Tons der gleichstufig temperierten Zwölfton-Skala angegeben.

Die attachierten Pfeile für die Alteration um ein Syntonisches Terzkomma sind eine bloße Transkription der
Notation, die Hermann von Helmholtz in seinem Buch “Die Lehre von den Tonempfindungen als
physiologische Grundlage für die Theorie der Musik” (1863) verwendet hat. Die kommentierte englische
Übersetzung “On the Sensations of Tone as a Physiological Basis for the Theory of Music” (1875/1885)
stammt von Alexander J. Ellis, der auch eine enorme Verfeinerung der Tonhöhendefinition innerhalb des
Zwölftonsystems der gleichstufig temperierten Stimmung durch die Unterteilung der Oktave in 1200 Cents
eingeführt hat. – Das Vorzeichen für die Alteration um ein Septimenkomma wurde von Giuseppe Tartini
(1692-1770) erfunden, der als Komponist, Geiger und Wissenschaftler die durch Doppelgriffe erzeugten
Differenztöne untersucht hat.
 Euler Lattice Spirals Scenery
Preludio : Les Quintes Justes

Marc Sabat
Tempo ad libitum, take time necessary to sound a precise, stable intonation *
≥≤
[ II ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ
Repeat and move through the patterns freely, going back if and when needed

ù 1
adjust tuning of open strings as required

41 í ™™ w w ™™î í ™™ œ w
w w ™™î
ad lib.
+2 I
Violin I &1 ∑ œ w
mezza voce, sotto

[ II ad ≤lib. ] ~ , 2˚/II ~
≥ o ‚o o
tenuto voce

ÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍ ~wo , ‚o

2˚/I I I

o‚ ~
adjust tuning of open strings as required

41 í ™™ w w ™ ™ î í ™
™œ w w ™™î í ™™ œ w ™™î í ™™ ™™î í ™™ ™™î
3˚/II II

1 ∑
+2 I
œ
&1 w w
o
Violin II

mezza voce, sotto sotto voce < > <>

[
<>
tenuto voce (s.v.), libero

œI
Viola B 11 ∑ 41 ∑
mezza voce,

≥≤
tenuto

œ ~ œ ~
o
4˚/I
o
I

? 11 w w w w w w w
even bow pressure
41
I ad lib.

û
Violoncello
o mezza voce, sotto mezza voce sotto voce m.v.
tenuto voce (m.v.) (s.v.)

] ~ , o‚ ~~
o ‚o o
~wo
2˚/I I I even, clear

ù ™ ™ ™ ™™î í ™™
, ‚o
™™î í ™™ w ™™î í ™™ w ™™î
, ‚o
& í ™ œ w ™î í ™
2˚/II bowing 2˚/II
3˚/II II
4
œ
,
˙˙ ˙
III
<

sotto voce < > <>

o <>
-33

ppp <> o
<>
(s.v.), libero molto preciso
even, clear

í ™™ w ™™î í ™™ w ™™î í ™™ w ™™î

bowing
, +16 III
˙˙ ˙ w ˙
II I II III

& o
˙ o
w o

<> o
ppp <> <> ppp mezza voce
molto preciso molto preciso (m.v.)

ÍÍÍÍÍÍÍÍÍ [
≥≤
]
adjust tuning of open strings as required

B í ™™ ™™î
w ad lib.
w w w w ˙ ˙

[
sotto voce mezza voce
(m.v.)

? w w w w í ™™ œ w
w w ™™î
w œ w
w
û s.v. m.v.
-2
ÍÍÍÍÍÍÍÍÍÍÍ

~o ~o ~o ~o ~o [
ù
beating with Vl 2
6 ,
<w w w
& œ
ppp
III
mezza voce o m.v.

[
molto preciso (m.v.)

í ™™ œ w ™™î
,
˙˙
beating with Vl 1

& o
w œ w w
ÍÍÍÍÍÍÍÍÍÍ
o w w œ w
m.v. -2

] ~ ~
o ‚o o
, œI ~wo , 3˚/II‚o
2˚/I I I

‚o ~ ™
B í ™™ ™™î í ™™ œ w ™™î í ™™ ™™î í ™™
2˚/II

™î
II
œ w w w
w œ w
w
II

-2
ÍÍÍÍÍÍÍÍÍÍ sotto voce < > <>
o
<>

]II ~ o‚ ~~
(s.v.), libero
o ‚o o
, œ ~wo , ‚o
2˚/I I I

? í ™™ œ w ™™î í ™™ ™™î í ™™ ™™î í ™™ w ™™î í ™™ w ™™î

2˚/II
3˚/II II
I ,
û s.v. < > <>
o <> <>
<>
libero
* in the course of this section, the open strings are to be tuned just; measured in cents relative to 12-tone equal temperament : E +2, A 0, D -2, G -4, C -6
before playing, it is sufficient to have the strings relatively close to a good tuning, with the cello A-string tuned exactly (preferably to 220 Hz) — the written
patterns may be interwoven dynamically and repeated freely in the manner of normal tuning procedure, to achieve the most precise tuning as swiftly as possible;
the sound of actually tuning the strings by adjusting the pegs is intentionally part of the music; accuracy may be facilitated by using fine tuners for each string
2
] 2˚/II
~o o ~o
ù í™ ™™î í ™™ ™™î í ™™œ ~w ™™î í ™™ ‚
‚o
‚ ~ ™™î
, 2˚/IIIo , 3˚/IIIo II II

& ™œ w
8 III

w w
ÍÍÍÍÍÍÍÍÍÍ
w w œ w œ w o
-2 s.v. <> <> <>

] 2˚/II
~o , ‚o o ~o
í ™ ™ î í ™ ~ ™™î í ™™ ‚
o , 3˚/III o
‚ ~ ™™î í ™™ ™™î í ™™ w ™™î
II II

™ ™ ™
2˚/III III ,
& œ w œ w
o w
s.v. <> <> <> <> <>
even, clear

í ™™ w ™™î í ™™ ™™î í ™™ w ™™î

w
bowing
, w w
<
w w
III
B
-35
<> <> <> ppp

[
molto preciso

í ™™ w ™™î
? w
+14 III
w w w
, œ
o
w o
w w w
û <> ppp m.v. o o
molto preciso

[
ù ,
í ™™ ™™î í ™™ w ™™î í ™™ ™™î
10

& w œ œ w w m w
ÍÍÍÍÍÍÍÍÍÍÍÍ
<> <> m.v. w w œ -20 w
-4 p
molto preciso

í ™™ ™™î ~o ~o ~o ~o
, o 2˚/III
O +14

& w o w w w
<> o IV
ppp m.v.

[
molto preciso

w w w
,
B w w w w w œ
m.v. o m.v.

] ~o ‚o ~o
? í ™™ œ w ™ í ™™ œ ™î í ™™œ ~wo ™™î ™ ~ ™™î
2˚/II II II
, o o
w ™î í™ ‚
even, clear

w ™
, 2˚/III 3˚/III III

w
bowing
w ‚
III II

û
m
-4 w œ w
ÍÍÍÍÍÍÍÍÍÍÍ o
-20
m.v. p s.v. <> <> <>
molto preciso

] 2˚/III
ù í™ ~o ™™î í ™™ ~o ™™î í ™™ o ‚o o ~o ™™î í ™™ ™™î í ™™ ™™î
& ™
12 , 2˚/IV , 3˚/IV III IV III ,
~o
˙˙
œ w œ w ‚ ‚ w w
III <>
s.v. <> <> <> <> ppp

[
molto preciso

~o í ™™ ™™î
,
& œ œ w w m w
ÍÍÍÍÍÍÍÍÍ
o m.v. w w œ -20 w
-4
p
molto preciso

] ~o ~ ‚o o ~
o
2˚/II II II
o , 3˚/III
B í ™™ œ w ™™î ™ ™ ™ ™™î í ™™ ‚ ‚ ~ ™™î
o
í ™ œ w ™î í ™
, 2˚/III III

w m w œ w
w w œ w
ÍÍÍÍÍÍÍÍÍ o
-20
-4
p s.v. < > <> <>
molto preciso
even, clear

í ™™ w ™™î í ™™ w ™™î í ™™ w ™™î

bowing

?
, mw ˙ m˙
û <> <> <>
-18 w
ppp
˙
molto preciso
 o o
3

ù í ™™ ™™î
o o o
~
3˚/III 2˚/IV
14 ,
& ˙ nO O
˙ ˙ w w ˙ ˙ w w
<>
o o

]
~o ™™î o III~o
& í ™™ í ™™ ™™î í ™™ ™î í ™™ ™™î í ™™ ™™î
o , 3˚/IV o ‚o
~ ‚ ~o ™
2˚/III , 2˚/IV III IV ,
œ w ‚ w
œ w <> w
s.v. <> <> <> <>

˙ ˙ ˙ [
í ™™ w ™™î í ™™ w ™™î í ™™ w ™™î
tune to A harmonic in Vl1
o
+16
,
B ˙ ˙
œ
<> <> ppp m.v. <> m.v.
molto preciso

[
í ™™ ™î
w
w ™
,
? œ
û w w œ nw w
ÍÍÍÍÍÍÍÍÍ
o w w œ w
o -6
m.v.

ù o o o o
~ ~ ~ w~ w~ w~ w~ ~
16 III

& m
o o o o
-18
s.v. ppp m.v. s.v.
molto preciso

í ™™ ™™î
,
& < w w w
w -35 w w w w
<> ppp m.v. o

]
molto preciso

~o ™ ‚o o ~o
B í ™™ œ w ™™î í ™™ í ™™œ w~ ™™î í ™™ ‚ ‚ ~o ™™î
o , 3˚/IV o
™î
2˚/III III III
, 2˚/IV IV

w w
ÍÍÍÍÍÍÍÍÍÍÍ
w w œ w œ w
-6 s.v. <> <> <>

] 2˚/III
? í ™™ ~o ™™î í ™™ ~o ™™î í ™™ o ‚o o III~o
™ í ™™ ™™î í ™™ w ™™î
‚ ~ ™î
, 2˚/IV , 3˚/IV III IV ,
û œ w
œ w ‚
o w
s.v. <> <> <> <> <>

ù o
& ~
18 , n w
I
w w
∑
o o s.v.

w w w w
I beating !
n
& ∑ ∑
o s.v. o

í ™™ ™™î í ™™ w ™™î ˙ í ™™ ™™î

o o o o
m~ ~ ~ ~
, 5˚/IV beating ! ,
B
m˙
w w
<> <>
-20
ppp <> o m.v. o
molto preciso
o
í ™™ ™™î
? w w w w
, œI
û
m

w -20
w w w w w w w o o
<> ppp attacca
molto preciso
4
Pythagoras Drawing (I)
martélé, full bow
oΩΩ
Tempo ad libitum, vary from bar to bar as desired, swinging, like a French Overture
* fijfi ΩΩj
2˚/II

ù 3 ≈ ≈
nw ™
≈ ≈ ≈
h ca. 66-99
fi
™™ œfi
I
I
n‚
˙ Ó Ó w™ ∑ n
∑
&2
o mezza voce, ff
sostenuto

Ä ^o ≈
lead

≈ ΩΩ
~™
II

Ä ≈ Ä
II

ΩΩ o
lead lead

fifij ≈
martélé, full bow I

fifij * ˙I ™ œ™ n>œ ™
IV o o
ΩΩ ΩΩ
™
nO
I

™
3˚/III
Ϫ
& 23
III

fifij
nœ nœ n
∑ ∑ jfi nO
fi O nO
nœ
ff nœ mezza voce, vo ( ff ) sempre simile
oΩΩ
sostenuto
III

* fijfi martélé, full bow

≈ Äo
lead
2˚/I n‚
≈ ≈ ≈
™™ nw ™ w™
o o
II 2˚/IV II

B 23 ∑ ∑ nO O n
Ȯ n

III
mezza voce, ff
sostenuto (m.v.) sempre simile

o ≈o ≈
Œ ™ n‚ o™ ‚ ™ *o ≈
o
≈
martélé, full bow

‚œ ™ fijfiŒ ™ ‚œ ™Ä ‚œ ™
oΩΩ
2˚/II
oo o o
≈
? 23 w ™
lead
o
™™ œ ™ œ ™ œ ™ ™ ~™ ΩΩ n~ ™ n‚ ™
III
o
2˚/III III III
oΩΩ
IV

jfi fijfi nœ ™ œ™ ™ ™
n n‚
fi
û 4˚/IV
n ‚ n‚
II
mezza voce, ff (m.v.) ( ff ) sempre simile
sostenuto

Ä ≈ Ä II j ≈ ΩΩj
oΩΩ
lead lead

ù ≈ fijfi n~o ™ ΩΩ

~w ™™ ≈ fifi
2˚/III

fifij ™ ΩΩ
Œ ™ Œ ™ ‰ ™ nœ ™
o
2˚/III I
6 II IV
Ó Ó nœ
III

nœ Œ ∑
n‚ n
n w™ ˙
& n˙ ˙ n˙O n‚ n˙ ˙ ˙ fifij
o II
Δ∆
nœ
o 3˚/IV
≈
III

oo
≈ o™
~w™
(m.v.) sempre simile

≈
2˚/II

≈ ΩΩ
fifij ≈ ≈ Ȯ
w™
n
II
w~™ n
∑ n˙ ˙
& nœ n w™
o
o
3˚/II I

oΩΩ
(A-string)
oΩΩ
fijfi ≈ ≈ Ä
3˚/I

ΩΩ
lead

fijfi
2˚/II

≈ Ä w™ w™
lead
ΩΩj fifij
oΩΩ ΩΩj
≈ ≈ ≈
I I II I

ΩΩ
n‚
fi jfi fi
3˚/III
n‚

œfi ‚fi œfi

IV

fifij
nœ n n
III

B ∑ ∑
w™ w™
n n n‚ n
nœ
n n o
3˚/III

≈ o ≈o Ä o
lead
o o o oΩΩ o
Œ ™ n‚o™ fijfi ™ ‚™ ‚™ ‚™
molto sul tasto

≈ Ä
2˚/II 3˚/I

o
w™ ≈
II lead

≈
gradually
oΩΩ oΩΩ n‚ n‚
silently press down
oo
ord. 2˚/III
‚™ ‚™
o‚ ™ ‚™ ‚™
fijfiÓ
o fijfi
~™
D-string IV IV IV shift to open G

O
Ϊ o o o
? Ó̇
nœ ™ œ™ œ™ œ™ w™
I

Ȯ
û
n‚ n‚ ‚
˙ n
o O ˙O ˙O
Δ∆ o o o
3˚/III 6˚/II
III III III
3˚/IV

≈
ù ≈ o ≈ ≈ ΩΩ ≈
™™
2˚/IV

~™ ~™ ~™ fifij
12 III

& ∑ n
∑ ∑ 48
nœ

≈ Ä 2˚/III ™ Œ ™ Ó™
lead
o
≈ ≈ ≈
Œ ™ Œ ™ ‰ ™ nJ‚ ™
ΩΩ
fifij Œ ™ ™™
o
w™
II

48
III II

w™ ‚
nœ™ œ™ ˙™ ∑ ∑
& n
nœ

molto sul tasto

o Δ∆ o

ΩΩ
silently press down

™ Œœ™™ Ó˙™™
oΩΩ o oΩΩ
≈
w™ ≈ Ä n‚o ™
lead

fifij
D- and G-strings

fijfi ≈ jfi
2˚/III I III

‚fi
Œ™ ™ ™ ™ w™ ™™
I

‚
III
nœ
n‚
nϪ 48
II
B Œ Œ ‰ J ∑ n
n ∑
n w™ o Δ∆ o
Ä
IV lead

Ä w™ ≈
w™ ≈™
lead
oΩΩ oΩΩ
≈ ≈ ≈
w™ ™™ w
I

fijfi fijfi
IV IV come prima

nw ™ nw ™
? n
48
III II

û w™ w™ w™
n‚ n‚ n

n
III o
IV attacca
* grace notes placed at beginning and end of bar are not to be deliberately synchronized between the instruments
 5
Harmonium for Claude Vivier
Joyeux
e = 288 ( q = 144 | q. = 96 )

Ϫ Ϫ
? 4 88 13 48 21 13
(This staff shows the hocketing counterpoint between parts, written at sounding pitch)
Ϫ w Ϫ
Ϫ Ϫ Ϫ
melodic
8 j 8 w 8 œ 8
particell
œ œ œ œ ˙ w w œ œ œ

ù 4 88 13 Ú
Vl I &8 ∑ ∑ ∑ 8 ∑ 48 21
8 ∑ 13
8

Vl II & 48 ∑ 88 ∑ ∑ 13
8 ∑ 48 Ú 21
8 ∑ 13
8
*
Ú Œ™
≥
B 48 ∑ 88 ∑ ∑ 13
8 ∑ 48 21
8 ΠΠj 13
8
œ œ w œ™
Vla

(harmonics are mostly written at the nodes as f p f

diamond noteheads inflected by a small circle;
the desired partial and string are indicated above: sonore e sostenuto possibile
o o
? 48 * ‚œ ™ œ ™ 13
please observe the changing nodes where possible; 2˚/IV 2˚/IV

™
88 13 48 21 j ‚ w
double-stop harmonics generally take two stems.)

û œœœ œ™ œ ˙
j
w
8
w œ œ™ œ ™ œ œœ ™ w
w
8
œ œœ œœJ œIII w ™ 8
Vlc

III
f sonore e sostenuto possibile

™
œœ œœœ™™™ w ™™
7
? 13 88 w 13 8 j 13 52 ˙˙˙ WW 32 w w 22 ww
w
8 œ œ
˙ œ™ 8 œ™ w œ 8 ˙ œ œ™ 8 ww W 21
œ

ù 13 88 13 88 13 *
&8 ∑ ∑ 8 ∑ ∑ 8 ∑ 25 23 22 21
˙ W w™ w
f p

*
sonore e sostenuto possibile
13
&8 ∑ 88 ∑ 13
8 ∑ 88 ∑ 13
8 ∑ Œ 25 23 22 21
œ™ ˙ W w™ w
f p f p
sonore e sostenuto possibile
≥ ≥ ≤ 222˚/IV ~o
f
B 13 88 13 Œ 88 13 25 23 w™ 21
p
8 Œ Œ ∑ 8 j 8 W œ Œ Ó
œ ˙ œ™ œ™ w ˙ œ œ™ w œ œ™ ˙ W III
f p f f p f ( f) p
o o
™ w™
- o oj
˙˙ œœ ™ 88 w 23 w ™
2˚/III

- ≥
œ œ™ 2
W 22 w
2˚/IV
‚ Ȯ
? 13
™ 8 œ™ w
13 88 O ‚ ‰ Œ 13
8 w 5 21
û
8 œ œ w w œ
œ œ II p

mœ ™
˙˙ œ™ œ œ ™ w ˙™
˙™
œ™ ˙™
˙
43 m˙˙ ™™ 45 m˙˙ ™™
w
15
? 1 ˙ œœ œ™
w
œ™ œ
2 21
8 œ ww 43 & 42 m˙˙ 41 mœœ 42 m˙˙ ˙˙ 13
8
œ

ù 1 Œ Œ™
o o o o o
43 O ™ 45 O ™
2˚/IV

&2 ∑ 21
8 ∑ ∑ 43 ∑ 24 ∑ 41 ‚ 42 O O 13
8
˙ w p
p
o o o o o
34 O ™ 54 O ™
2˚/IV
1
&2 ∑ 21
8 ∑ ∑ Œ 43 ∑ 24 ∑ 41 ‚ 42 O O
13
8
˙ œ™ w p

14 ‚ 42 E 43 O ™ 54 O ™
p
o 3˚/IV
o o o Oo
8 ‚™ ‚ Œ™
o o o o 24 Oo
~
2˚/III 3˚/IV III

B 21 O 21 43 ˙™ 13
IV IV III IV
˙
III

8
œ œ™ ˙™ œ w œ œ™ œ Œ Ó O
( f) p f p f p f

o o
eo ™ œœ œ- ™ 4˚/IV O˙ ™™
2˚/II II

Ȯ
œœ ™™ w
5˚/IV
o o 24 o 41 o 42 o 43 o o o
m
? 21 O w
™
III
21 43 54 mO™ 13
5˚/IV 5˚/IV 5˚/IV 5˚/IV

8 m‚ ™ O
~
w
û œ œœ ™ œœ
w mO ‚ mO mO™ 8
I I
f
* this section is played on open strings and natural harmonics whenever possible, with the exception of occasional stopped pitches
6
w
<e
w
Ϫ
25
13 j 8 j j
œœ œœœ œœœ 8 m w 45 <eœœœ mww 13
8 œ œ œœ œ™
œ ˙ ?
48 Ϫ w 13
Ϫ
8 mœ™ w œœ
Ϫ
& 8 mw
w w w mœ mœ
<e
œ ˙ œ w & m w
J œ w œ œ J w œ
J

ù 13 j j o
48 Œ ™ Œ œ™
j
&8 ~
j œ œ ‰ ‚ ™ <eœ‚ ˙O
II IV III

‚ ‚ 88 45 œ 13
8 œ 13
8 œ™ w œ
mw w œ ˙™
œ w œ
m
J o
-37 o
( p) p p f p
f -20

8 ~
& 13 ‚ œj œ 88 w 45 œ 13 j nœ œ ™™ œj ˙ 48 Œ ™ Œ Œ ™ ˙™ 8 Œ™
13
(dissonant fourth 27/20)

˙™
III

w 8 mœ m œ œ œ ˙ œ
<e

( p) f p œ œ p -37 w œ
p
f -20

˙™
o oj o
~
III o
‚ ‚ ‚ 8 w <e w œ œ ‚o ‚o ™ ‚o Oo <e
I III

8 ~o
B 13 ‚ ‚ ‚ 8 45 œ -37 w 13
8 J J 48 Ó ‰ -37 13
8 Ó Ó Œ
IV o Jo o p œ™ œ ˙™ œ™
f p p
( f) p

~o ‚o ‚o ‚o m~o ‚o ~o o
5˚/IV 7˚/IV

‚o ‚j o o ™ oj o o o
m <e
2˚/III

‚™™ <e ‚ O ™ 8 mœ‚™™ m~

7˚/IV
? 13 J 88 B5 ? 13
48
III
13
û œ ™ œ œo œo ˙o
8 4 8 m‚ ‚ <e‚ ‚ O ‚
( f) Jo o
2˚/IV 7˚/IV
5˚/IV 5˚/IV

˙™ œ™ j
œ œœ ™
j 88 nœ ™ œ™
31
œ œ™ œ™ œœ
œ™ ™ œ™
3 42 ˙˙ 38 œ™ 48 mœœ mœœ œœ œ w 88 mœ œ œœ 58
˙™ mœ ™
m
& 4 m
m
m œJ w œ mœ m œJ œ œ™
m
œ™ œ
˙™

o o
ù 3 84 j ‰ e e ™ ‰ ~
o o o
88 j ‰ ‚o ‰ ‚j ‚
o o
3˚/IV 3˚/IV

‚™
2˚/III IV

&4 ∑ 42 ∑ 38 ∑
œ ‚ ‚™ œ
58 ‚ 88
Ϫ
mœ
œ™ -18 œ
p
o
‚o ™ 88 j ‰ e
o o o o o o
3˚/IV

‰ ~ 58 ‚ ‚ ™ 88 œ™ œ™ œ
IV
3 42 38 48 œj ‰ ‚ ‰ ‚J ‚
3˚/IV IV III 2˚/III

&4 ∑ ∑
œ ‚
˙™
eo eo ™
p

‚o ™
( p)
o o o
5˚/IV

‚o
m
38 o j ~ 88 Œ ™
o o o o o 88 ‰ oj o ‚™
IV 3˚/III sim. III

B 43 ˙™ 42 ˙ ‚™ 48 ‰ ‚j ‚ 58 m‚
4˚/IV
‚ ‚
‚™ ‚ ‚ ‚ ‚
( p)
o o
f ( f)

o o IVo IIIo o o o o o o o o o o
‚™ ‚™ ‚
II

o 38 o oj o
5˚/III

~
5˚/IV III sim.
? 43 mO™ 42 O 84 m‚ ‚ ‚™ 88 m‚ ‚ ‚ ‚ 58 ‚ ‚™ 88 m‚™ ‚
û m O™ m‚™ m‚ m‚ m‚ m‚
o o
o III
( f)

œ™ ˙™ œ™
38
j w
& 45 13 13 13
8 m œœœ ™ œ
m
œ w œ ˙ W œ œœ
www
w w œœœ
œ™™
m
œœ w 8 <e
w
ww œ™ œ 4 <e
œ w m
œ
WW w w
m m
œ w w ˙ œ W w œ œ œ™
œ ˙™

ù 5 œ o o
Ϊ
j j
~ 8 ~
13 Π13 13
IV

&4 œ 4 Œ œ œ œ W
<e
8 œ œ w œ ‰ ∑
f p œ œ œ œ W
-37
œ
f p
-
& 45 œ w
w
13
8 w
w Ϫ
13 Œ
œ 4
13
8 j mœ w œ mœ œ
∑
œ œ œ œ W œ œ w œ -20 œ œ™
p p

Ϊ
o o o o o o o
B 45 œ -20mw 13
8 w Œ 13 ‚ ¿~¿ 8 ‚J ‚ ~
13
œ œ™ m~
IV IV

w w 4 ‚ ‰
œ œ œ œ J
f p f
p

o
III
o o o o o o o œI œ IV o o o o IIIo o o IVo
? 45 m‚
~ 8 <e~
13 ‚™ ‚ 13 8 m‚j ‚ ~
13
7˚/IV IV

û ¿~¿ ‚ m ‚‚J ‚‚ ‚™
~
m
m ‚ 4 <e‚ ‚ ‚
o ( f) p f o o
IV IV
 7

œ™ 38 œœ ™ 43 m ˙˙ ™™ 45 m ˙˙ ™™ 58 œœj ˙˙˙ w
43
w w
48 mw ™ 41 m œœ 42 m ˙˙
& œ m m
˙˙
88 <
w 13
8
ww
m
mœ
œ œ™ w w w J ˙

ù Ú
o
38 ‚ ™
o o o
34 O ™
o
54 O ™
o
58 œj ˙
IV

& ∑ 48 14 ‚ 42 O O
88 w 13
8
f p f p

38 ‚o ™
o o o o o
43 O ™ 45 O ™ 58 ‚j ˙
III IV

& ∑ 48 ∑ 41 ∑ 42 O O
88
w
13
8
œ œ™ w f ( f) p f p

54 O ™ 88 œ~ Œ Ó
p p
o o o o Oo o II
B œ œ™ m~ m~
34 o 58 ‚J ˙O
III

48 w 38 ‚™ 41 ∑ 42 13
IV IV III IV

∑ O™ 8
o o
p f p f ( f) ( f) III

Oo ™ Oo o
<%
o m‚ o
? m‚o ‚™ 48 m~
o o o o o o o m
4˚/III 5˚/IV 7˚/III

& 8 <~
38 ‚™ 41 m‚ 42 mO 43 mO™ 45 58 J Ó 8 13
sim.

û ~ ~ 8
( f)

j j Ϫ j
< w
88 < œ mœ œ mœ ˙ w m<œœ œ™
œœ nuœœ w 88 œ ™ œj ˙
52
13 œ œ
& 8 œ mœœ
œœœ ww <ew nœ
45 œ w 48 J ww 58 mmœœ ˙˙ œJ ˙
98 œ œœ mœœ ˙™
˙™
15
8
J
œ œ œ œ ˙ w J m˙ œ™ mœ

ù 13 œ œ œ œ 54 ~
o
84 ‰ o o Œ ~o
o o o
88 j ‰ ‚o ‰ Ó 88 Œ ™ oj o
2˚/II

w œ 98 ‰ ‚ ‚ O ™
IV
58 15
IV III IV

‚™ ‚
III I
∑
&8 ~o
œ J ‚ O 8
( p) f ( f) ( f) ( f) p

54 ~
IV
o III IV o
88 j ‰ ‚o ‰ Ó o o œ w 88 Œ ™ ‚o Oo 98 ‰ ‚o ‚o O ™
2˚/II

& 13 48 ‰ ‚ ™ ‚ 58 15
-18 III III IV I IV

8 œ œ mœœ œ ∑
œ J œ w
∑ J 8
p p ( p) ( p)
o
f

~o
54 œ ~
‚ o o o o o o o o o o o o o o
~ 84 m‚j ‚ ™ ‚ Œ ~o 58 m‚j o
IV III IV

98 ‚ m‚ O ™
II

88 œ™ ‚J O
II III III

88 ‰ m‚j ‰ m‚j O
5˚/IV IV III IV

B 13
8 œ œ œ‚ 15
II

o O ‚ 8
III o
p f p f
p f ( f) f

~~o ‚o 4˚/IV
o I o o ‚o 5˚/III o o o o o
7˚/III
< < o o o u5˚/II
‚o ∑ o o
88 ‚o ™ ‚j O
II

o o 88 ‚ œ ‚ O 58 m‚o O
5/IV III

<‚
98 ‚ ‚ O ™
7˚/III 8˚/IV 4˚/III
<e
& 13 45 8
∑ & 4 J ‚™ ‚ 15
5˚/III

8 ‰ m‚ ‚ Œ ?
û o J mO m‚
8
7˚/IV ( f) o p
5˚/IV

œ™ œ™ œ™ œ™ œ ˙ ˙™ ˙ ˙™ ˙ w ™™ w
98 Ϫ
<e <e <e

w ™™
w uœœ w
59
mϪ
8 Ϫ
& 15 œ™ œ™ œ™ œ™ 48 ˙™ 48 45 œ 43
< u
œ m ˙ ˙ œ™ mœ œJ œ ™ m
m ˙˙ mw
œ

ù 15 o <œ ™ o o o o
84 ‚ o
o o o
& 8 ‚ ™ -35 ‚ ™ ‚ ™ ‚™ ‚™ O™ 45 œ ~
III IV III

mœ œ œ ™
IV

O
98 48 mœ œ œ œ w 43
O Ϫ
o ( p) œ œ f
p -20

54 œ w~
o o o o o o o o o o o o o o IIIo
84 ‚ o 98 o ‚ ‚ ‚ ‚™ 48 ‚ ‚ ‚ uœ‚ w
II

& 8 ‚ ™ ‚ ™ ‚ ™ -‚™ ‚ ™ O™
4˚/IV 3˚/III IV III I

15 43
- O O ‚™ -16
o
Πo
p p f II
f
o o
e™ ‚o ‚o ‚o ‚o ™
o
3˚/II <e -
‚o ‚ ‚ ~o
7˚/IV
2˚/I I

o ‚o ™ ‚o ™ -‚™ o o o o o mœ œ œ w
8 m-‚ ™
IV III III IV

B 15 48 <e‚ O 98 œ™ 48 45 œ 43
II
<e‚™ <eO™ O -18
p f p ( p) f

Oo ™ o u‚o ‚o ~o
6˚/ 5˚/

o
eo ™ o ‚o mOo Oo o
5˚/II

o < -e ™ e ™ o 5˚/IV
‚ m‚ ‚ ~ ‚o
8˚/ 7˚/ 9˚/ IV

o
5˚/III II

‚™ u
II

o o o o m‚
8 ‚ ™ <‚™ ‚ ™
& 15 ‚™ ‚ ™ ? 48 98 m‚ ‚ ‚ ‚™
48 m ‚ ‚ 45 Œ Œ Œ Œ & 43
û -
( f) o o IIIo o o
f p f IV
8

™ œœ™™ œœ™™ œœ ™™ ™ ˙™ ˙™
œœ ™™
˙™ œ ˙™ ˙ ˙
3 nœœ™ 98 nœœ™ œ <
œ™ œ™ œ™ œœ œœ
<e m
64
œ™ œ™ œ™ 38 mœœ ˙™ 45 mœ 48
m u m u n u m
& 4 œ ˙™
m ˙™ ˙ ˙˙ ˙™

ù 3
o IVo o o o 9 o o o IVo IIIo E ™ Œ Œ ÓE
& 4 -‚™ ‚ ™ ‚ ™ ‰ ™ j ‰™ ‰™ J 8 ‰
o -Ϫ 3 m

‚ ‚ 8 - O™
IV III IV III

54 ‚ ‚ O™ 48
™ mœO ™
‚™ O œ œœ ˙ ™
-‚
III

( f) - - p f - p o o

œ ˙™
5˚/IV

j o IVo o ™
œ ‚ ™™ 98 œ ‚ ™™ O ™
(match

j ‰ ™ ‚ ™ ‚ ™ 38
II

o
‰™ 54 ‚ ‚ O
o o o <
II II cello)
III IV
3 48
I I

‚™
∑
‚™ ‚™
III
&4 o ˙™ ˙ œ œ
-33

p
o o o f p II ( p)

‚o ™ 5˚/IV Eo ™ Eo
II IV

mO ™
5˚/III
m
o o IIIo o o o o o o IVo IIO™
o
8 m-‚ ‚ m‚ 98 Œ ™
o o o O
IV III IV 7˚/IV II
‚
B 43 m‚ ™ ‚ ™ ‚ ™ m‚ ™ ‚ ™ ‚™ ‚™ 3 <eO™ 54 <e‚ ∑ 8
&4
-
( f)
f p f p f

o™
-o 8/III ‚o ‚ mOo ™
o 8/IIIo o 5/IIo o o
e™ e™ o O o Oo
5/II

o o o ‚™ ? 3 8/IV‚o u‚ ‚o 9 3/I‚™ o o o
IV

O™
3/I 3/I III
m
8/III 5/II 7˚/II

3 ‚™
& 4 - ‚ ™ ‚ ™ u-‚™ ‚ ™ u-‚™ -‚™
?
45 ‚ ‚ O™ ?8
û
<
8 &8 4
œ œ ˙™
&
p f p f p p f ( f)
f
œj œj
I
u u

œ œ œ w™™ œ œ œ œ ˙™ œ™ œœ œ™
œ™ œœ œ™
3 3

œ w um œœ mœ
71 m m <e œ m

& 48 13
8 45 m œ w
98 J œ mœ
J
38 Ϫ 43
œ œ œ w™™ œ œ œ œ ˙™ œ™ œ œ
eo
5˚/II
u

ù 8 o 3 o o o 3 o o o o o o o o u‚
‚ ~ ™™ O™ ‚™ ‚™
5˚/IV III 5˚/IV III 5˚/IV III

13 45 98 3 43
II

&4 8 ‚ ‚
-20
j ‚ ‚ J 8 œ™
œ m‚
œ œ w
m
m‚ m‚
œ œ
eo
f p f p

e o o
*o III u
n oj o o o oj m %o o o o o 3 o
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Oœ ‚ ~ ™™ O™ ‚™
98 u‚J ‚ j 8 ‚™
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III
j
III
8
&4
13
8 ‚ ‚ 45 ‰ ‚ m~ ‚™ ‚ 43
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harmonic o ( f)
u‚
5˚/I

-‚o -‚o ‚o ~o
o
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& 4 ‰ ‰ ∑ o o
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( f)

u e
II

~o
o
? 48 ‚ ‚ ‚ ~™™
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Ϊ
II 5˚/I
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54 ‚o o m‚
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O™ ‚™
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13 9 ‚
& 8 uJ Œ Œ ? J 38 ∑ 3
û
8 m‚ &4
3 3

˙™ œ™
œ
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u
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u u

<eœ ˙ ™
98 Ϫ
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76
& 43 œ ˙ 68 œ™ mœ ™
13
8 œ <e˙
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15
8 ˙ 42

ù 3 -14
œ ˙ o ‚o ™ o o o
IV

o o o o
98 o Œ ™ Œ ™ 15 o o o
u
II

‚™ 8 œ ‚ O™
IV III
68 13 48 42
‚™
&4 œ ˙ j O ‚ Œ ‚™ ‚™ O™ 8
œ O™ O™ ‚™
p f ( f) p
o o
Oo ™ OO ™™ ‚‚ ™™ 2
o o o o o
48 -37<eœœ œ œ ™ œ ™ ˙™ 98 o Œ ™ Œ ™ 15
II

™ 8 œ ‚ O™
III IV III III

& 43 68 13
IV III

‚™
Œ O ‚ ‚™ j 8 4
p
œ ˙ o o
( p) p
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o
u‚ 4˚/II
5˚/I

Oo eo ™ 3˚/II
IV

o ‚o Oo ™ o ‚o o o o ˙™
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68 <e‚ ™ ‚™ B 13
7˚/IV
<e o o o
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œ O
II
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I

‚ ‚™ ‚™
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& 43 48 98 15 42
IV III
œ 8 O™
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8 J &
-20
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p f
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I

o 5˚/IV
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o o o o o o IVo
Ϊ Ϊ Ϊ
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III

& 43 ?6 J <eO 48 15 42
I
‚ Ó
û
u
8 O™ ‚™ O™ 8 O™
( f)
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u
j Ϫ < Ϫ
Ϫ Ϫ
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82
2
& 4
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45 <e ˙ <e
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13
8 œ <e œ ˙ <e
15
8
mœ œ
J

eo -‚o ™
7˚/ I

ù 2 o o ‚o
<
o o o o o o o o
38 or ‰ J 43 o
II

58 ‚ ™ j ‚™
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& 4 ‚ <‚ 45 <O ‚™ <‚™ ‚ ∑ ‚ 24 ‚ 13

8 œ ‚ O œ < ‚™
15
8
f f p ( p) f

< E eo ™ eo
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o ˙ œ™ œ o IIIo o o o o
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j ‚™
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II
2 43 œ 58 œ™ 2 13 15
&4
o J
4 <O ‚™ ‚J Œ <‚™
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p p f p f
( p) f

‚o
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I

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3 ˙ œ 5 œ™ œ 2 o ‚o Oo o o
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2 45 <O 13 15
7˚/III I I

&4 B4 8 4 <e-‚ 8 œ <

8
<‚ ‚™ <‚™ <‚™ J
( f) p f p f

o o o ‚o
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u‚ IV
I

o o o o o u o IVo o o u

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III

? 42 ‚ ‚
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45 <eO 38 43 58 42 -‚ m-‚ 13 15
û ( f)
8 <e‚ O <e 8

<œ™ œ™ œ™ ˙™ œœ œœ ˙˙ ˙˙ ™™ œœ w
w W
W w ™™™™™™
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45 mœœ œ 22 32 ˙˙ w 44 48 15 98
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8 œ™ ww m ww <e w <e œ œ ˙ <e œ w W
<e
8 w
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Ϫ

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& 8 <‚™ ‚™ ‚™ O™ 45 ∑ 22 ∑ 44 ‚ ‚ O 15 98
f

o
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15 98
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& 8 œ™ œ™ œ™ ˙™ w w w œ œ ˙ œ w W
E %
p p f

m˙ ™
o o o o o o
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B 15
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o
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3

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8 œ 98
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u e II
3

o o
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13
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9 13 J 45 ~ ‚ 13
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3

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p ( p)
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45 13
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m‚ ‰ ‚
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J
f ( f) 3
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I
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‚
II
13 O™ ‚™ 98
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5˚/II ( f) 5˚/III
o 3
10
œœ™™ œ™ œ™ œ™ œ ˙
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˙™ œ™ œ w™™
uœ ™
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œ œ
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n
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< œ m œ <e œ œ™ œ w ™™ ‹
œ
w ™™
103
9 43 48 21 œ 88 21
Ϫ Ϫ Ϫ
<eœ
& 8 8 w™™ & œ 8

Eo ™ o eo ™
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< o u
o ~II ™™ o™
88 u‚J ™ ‰™ ‚
I

o o o ‚™ o IIo III II o
‚o o II
ù 9 ™ ‚™ 34 OO ™
III

‚™ n‚ o
I I

‚™ o 84 ‚o ‚o Oo
II
I I

& 8 ‚™ ‚™ ‚™
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™
II
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8 m‚‚ ‚™ ‚ Œ 21
8
J w™™
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III

o- ™ 4˚/II o o
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e
o ‚o
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o
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-o ‚o 21
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9
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8 J ‰ 88 8
J
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f

™
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e
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u‚ ™ ‚™
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o O™ < <
‚o
artificial I I

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m‚
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II

‚o ™ ‚o ™ ‚o ™
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‚o ‚o O™
o o ‚o Oo
‚o
8˚/ 7˚/

o o o™ o o o < ‚™ o o
™ Œ ™ <e‚ ~ ™™
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& 8 ‚™ ‚™ J ‚™ 4 O™
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9 ‚ ‰ <‚™ 3 ?8 21
8 Π88 21
û
4 8
p

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‹
uœ ˙ <w
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w œ < ˙ w œ œœ œ œ uw œ
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21 84 22 ˙ 45 <w 43
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<
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“I
~o ‚o <‚ ™ ~o
o ‚o ‚o ~o ~o Oo ~o ‚o ~o
o
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‚o ‚ ‚o
u <

ù 21
7˚/III 5˚/II

Œ Œ™ Œ Œ ™ 88
< u

&8 48 Ó 22 45 13
8 ∑ 43 Œ 45 13
8 ∑
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3 p f

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I

u‚ o
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o
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I 7˚/II I
<O
21
& 8 ∑ 48 Œ ∑ 22 8 45 13
8 ∑
“I
3

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<e
3˚/II

& 21
8 48 Π22 45 13
8 ∑ 43 Œ ‚ 45 u 8

<~ ‚o ‚o ™
p f

‚o ‚o ™ ~o
3

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Oo o ‚o
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5˚/II 6˚/II
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8 ∑
û
8 8
3
f

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<Ϫ
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u˙ ˙ œ œ
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116
& 88 œ ™ œ
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˙ 48 ˙ ™ œ w 13
8 m˙˙ œœ 15 w™ 82 ˙˙ <e
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W 43 œ ˙
m˙ œ™ ˙ œ 58 œ œ™ 13
8
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o
¿~o¿ ™™
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ù 8 o ‚o Oo ‚o ~o
I

o o -o
<‚ 15 <‚™ ~™
Oo
7˚/ 7˚/ 8˚/

o o 34 œ mOo 98 o o o 5 II
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IV II IV II III II 5˚/III 7˚/IV
13
8 O 28
<
13
8 <‚™ O ‚ 8 œ œ™ 8
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-e ™ harmonic
p f p

o o ¿~¿ ™™ o
& 88 Oœ ™™ œ ˙ 48 Ȯ ™™ œ 8 ‚™ ~™ 82 Oo
j
IV IV 8˚/III III
13 15 43 œ ˙ 98 œ™ ˙ 5 13
II II II

œ w 8 ˙ ˙™™ œ 8‚
- Ϫ 8
f p f p ( p) f p f p f

‚o Oo ‚o ~o o ™™ -o
¿¿~~¿¿ ™™
4˚/I I

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I
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Ó™™ 8 Œ™ ~™
7˚/II II II
o o
8 o o o 34 œ O
5˚/II
< < m
I

98 <‚™ O
7˚/III

& 8 ‚™ J 48 O™ B 13 15 28 58 13
8˚/III III IV

8 Ó 8
- o
p f

‚o ~o
III

o o ‚o
o ‚ O ‚o o
I I I
7˚/I

o o o <
III
o o o o o o o o
5˚/
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98 ‚™ O ‚™
5˚/IV III
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III

8 mO
û mO ‚™ 8
p f o
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32 w
< u
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Ϫ
w
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45 mœ 13
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& 8 ˙ 8
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œ™ œ œ™ œ œ™ o™
ù 13 -33 32 ~
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<
o o o I
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4 mO ™ 38 œ™ œ™ œ 8
IV II
5 34 œ™ 58 45 ‚ ~ 13
5˚/IV III IV

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O œ O
p f p

o
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23 w ™
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& 13 5 34 45 ‚ m~w 13
III II I III

8 Œ ˙™
œ™ œ œ™ 4 ˙™ ˙ œ O w o
8
( p) -20
p

54 mOo ™ 32 ~™
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7˚/IV II
5˚/III

B 13 34 <e‚ O 45 f‚ ~ 13
III I II 6˚/IV

8
p ( p) f p p f
o
‚‚ ™
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o
I

88 <e~
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O™
38 ™ 58
5˚/I

o u
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54 m‚o ~o 23 m~™
II
‚ o 34 o O o
7˚/III
<
III 5˚/IV
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û
8 4 mO™ O ‚ o 8
I ( f) II

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133
w œœ™ ˙˙™ œœ™
& 13 45 œ 58 15 œ™ 45
u m<

™ ™ ™
m
8 m œœ œœ 8 <e
m

o o
ù 13 ‚ ™ ‚™ ~o ‚o ™
o
Ϫ
‚ 58 ‰ oj œ™
II II

Ϫ
III

mœ œ 45 œ 15 œ™ ˙™ œ™ 45
III

&8 ‚ ‚™
8
III
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w~
p IV

o o o
58 ‰ oj o Œ™ OO ™™ ‚‚ ™™ ‚‚ ™™
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& 8 Ϫ Ϫ Ϫ
13 45 15 45
IV

‚ ‚™
I

œ œ o 8
IV o o o
Ϫ
II

‚™ ~o ‚o ™
f ( f)
œ
I

o
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u
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58 m‚ ‚ ‚ ™ 8 m‚ ™ O™ ‚™
II III

B 13 45 œ 15 45
5˚/IV

8 -16
o o
p p f ( f)

o o o
o o
5˚/II

‚™ ‚‚ ‚™ o
‚o ‚o ‚o ™
5˚/III

o
I
u
7˚/III 8˚/ 7˚/

m‚™ ‚ ‚™ ‚™ ‚o o o o
III
m
‚ <e
IV
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8 m ‚™ ‚ 5 Œ Œ Œ ? 58 15 ‚™ O™ ‚™ ‚™ 45
û
<e
& 4 u‚ 8
o o o o o
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II

137
5 œ ˙™ œ 98 Œ ™ ˙™
43 œœ 22 mw 45 mœœ mœœ w œ 13
u
˙
& 4 mœ ˙™ mœ ™ ˙™ w œ w 4 ∑
˙˙™™
œ ˙ w w
œ
Ϫ

ù 5 o
O˙ ™™ mœ ™ ˙™
98 43 œ Œ 22 45 13
III

&4 ‚ m œ Œ ∑ ∑ ∑ 4 ∑
˙™ œ
IV -20
o
p

o
o o 98 Œ ™
III

5 43 22 45 13
IV

O™
&4 ‚ Œ O™ ∑ ∑ ∑ ∑ 4 ∑
p f

o IIIo
O™ ~
o o o o o
IV
II

B 45 ‚ 98 43 ‚ O 22 w 54 œ 13
IV
‚ w
II
Œ ‚ 4 ∑
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~o
I

o o o o IVo IIIo o
5˚/

? 45 o o m‚
98 ‚™ O™ o o 22 m~o ~
5˚/II III

43 m‚ 54 m‚ 13
5˚/IV IV

‚ ∑
û m‚ O™ O m‚ 4
attacca
12
Harmonium for Ben Johnston

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ ˙™
Cantabile

ù 3 Œ 54 nœΩΩ
≥o o ≥
h = 72 martélé
o o ˙ 42 ˙™
‰ n‚j O ™
3
n
j Πj 23
f

nO ™™
III
Ó
+14
Vl I &2 n‚ nœ œ ˙
o ˙™ Óœ oœ™
III poco vib.
(narrow)
o nœ
IV
mezza voce poco f
sfp
o 6:5
≤
ΩΩ Œ ~^ II
(arco) c.l.b. ord.
martélé
o
III
o
n~
n
3
&2 Ó Ó +12 f ˙ w 42 45 O 23
3 5

nO
n œ̇œ œ̇ o III
+12
n
Œ
Vl II
n œ w w ˙ œ
f
n n
J l.h. f sostenuto
+ pizz. sfz p

-
sfz poco f I +14

≤ 54 nœœ n˙ ˙
III

B 23 nœ 42 Œ nœ w ˙ o œ 3
œ w w ˙ Œ Œ Œ 2
n˙ nœ œ
Vla

o
mezza voce f

œ™ 45 ˙ ™
‰ Œ
? 23 nœ≤ ‚™
II +10 3

42 fw 23
3

œ w œ™ ˙™ nȮ
œ™ n‚ ‚ n˙O ˙
û
n f
Ó J o o
Ó III o
Vlc

mezza voce o vo
espr.
poco f

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
o3 o ≤
Œ u‚ ‚ –
5˚/I

ù 3
o w≤ w u˙
Œ 42 nœ œ Œ Ó
+16
u
5
Ó 22 23 Ó 25
˙™
&2 ˙ ˙˙ ∑ t ˙
o˙ ˙ oœ o
-12 -25
II
m.v. p m.v.
o 3
≤ ≤ 5:3 o -o 5:3
f

5˚/II ΩΩ
n~ ™ ΩΩ
o o o o
nœ ™
O Ȯ Ó̇ Ó Ó
42 nœ Œ Ó
II

& 2 Œ™ 22 œ ‰ ≤ j
III

˙™
I

3 Œ ∑ 23 nuȮ ÓÓ uO Ȯ Ó̇ u
25
nœ œ n w Ó n Ó -10 uw
nw
o o
I
III
f sfp sfz p

o o o
~o o
5:3

nO O Ó Ó Ȯ
w™
Ó
I
n n
˙ w ≤
B 23 ˙ w 22 ow 42 w u
Œ
uœ
3
2
w
t
u ˙
˙
∑
w 25
-12
m.v. poco f p -25 m.v.

‚o ™ u‚o ™
≤ 5˚/I
~o ~o
≥ o o
‚™ ‚ ™
3˚/I I
n
˙
I
u

Œ ™ uœ ™
? 23 ∑ 22 n œ 42 Œ 23 Œ n 5
œ Œ 2
û Œ Ó w
martélé II º
& u
-12
m.v. poco f p
f

≤
ù 5 w
≥
Ϊ
10
Ó ≤ j j
23 w ‰
5

&2 Ó Ó Ó Ó Ó t t œ ˙˙ ˙ œ™ œ Ó Ó œ
m
-18

Œ̇ Œ nœ œ
o -25
nœ
ppp
3
-29 Jo
p
≥3
≥ ≤ Œ
& 25 ˙ tW 23 ∑ Ó Ó Œ mœ
-18

‰̇ nœ ™
W nœ œ
o
-27
pp
mp

nœ ™
B 25 tw 23 uw ‰ j‰ Œ Ó Ó
ppp
Œ tœ w Ó
™
œw
p poco
u W Œ Œ nœ
pp
≥o ^o
-14 3
p
j
≤ u‚ O ˙™ ™
5˚/I
p

& 25 Ó 23 uO ~o ™
Ó Ó ? Ó Ó Ó Ó Œ ‰ u
Πu w
û
S˙ ˙ m

pp
o o o
5˚/II -16
-41
5˚/III
 ∏∏∏∏∏∏∏
13
≥
nœ ™
m.v. espr.

œ ΩΩj ‰ ‰ Ó
-
poco vibr., come prima

ù
˙ nœ w
5

t ≤
œ tmœœ ™
14

& -33
w Ó 42 ∑ Ó ‰
-6
47 25 Ó Ó Ó Ó 23
nœ
e˙
-10 o
-8
f sfp J
o + I ≥

47 Ó™ ˙ ™™
Ϫ o
œ™ ~™ ‰ nœJ 25
w
t
IV

œ w 42 nO Ó Œ ˙ ‰ 3
& -33
J
e
œ e˙˙ Œ 2
n

poco f o p
-8
m.v. espr. 3
-10
J
≤ ≤ 3
3

^o
~ o
~ 47 ~o
mw ˙™
IV
42 n
25 Ó ˙ 23
n~
III
B ∑ n Ó Ó Ó e˙
IV
o -22 -10
o pp
sfz p
o
‰≤ nœ ™
+6
fw œ fœ w
? m^ ™
~
42 o o
47 Ó 52 n w œ 23
III
Œ Ó
3

û m ~™ m~
o O nœ œ™
-8

-6 J
p
5˚/IV sfz

ù 3 -
Œ ‰ fœj œ œj ‰ 25 ≥
18 m.v.
Ó ˙ Ó 42 Ó 23 42
+8

gw ™ œ™ ˙- ™ œ™
3

&2 Œ f˙™ ˙ f
+23 +23

w œ Œ Ó̇ g˙ ˙ g

o
(m.v.)
pp

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
pp poco f
≤
espr.

≥
poco vib. (narrow)

& 23 w ˙ 25 Ó 42 Œ Ó 23 ∑ 42
fœ w ™
3

˙ œ
+8
n
+8

-8
ppp œ fw
poco f

≥ j +39 ≤
+23

B 23 +4feœw™ Œ Ó Ó 25 Ó Ó œœ œ ‰ 42 Œ 23 Ó Ó 42
+8

- f w g
fw™™ H˙
m.v.
‰ -
+23

œ™ f-˙™ ≤o Œ gIIœ œ

42 ‰ n-‚ ™
+6
œ™ w œ f˙™
III
f
Hœ œ
+37

? 23 25 w œ 23 42
III
n
Ó Ó ∑ Œ Ó
û espr.
-8
p
Œ
poco f

ù 4 +8 ^ ≤‰ ‰ +j pizz. ≤o

23 Œ ™
22 l.h.
42 Π23
œ g˙ ™
Ó Ó nœ Œ Ó
III

& 2 gfw œ +12 n‚

+23 +41

w w Hœ œ fœ w™
- J ≤
∏∏∏∏∏∏∏∏∏∏∏∏ 3
p
≤ ≥j ≤
4 +27 ≥
Ó +14onœœ+27oœ™ 23 42 Ó
fast vibr.

&2 Ó +8 ∑ ∑
g œ™ w™ g˙™ g˙™
2
f ˙- nœ

º
J
p
p

Ú
≤ sfz
B 42 Ó ∑ 23 Ó 42 Œ Ó ∑ 23
+39
+27

H˙ w œ
- p
g
p

+14 - j+27
-˙≤ -œ™ 42 onœœ oœ gœœ œj Œ ∑
+25

W Ϫ
+22

? 42 Ó g
∑ g
23
g
Œ Ó 23
û nœ ‰ ‰
-
‰
sfz º
p p J p

ù 3 ≥
26 +41

45 Œ Œ Œ Œ 23 ˙˙
+25

w™ ˙™
&2 œ w H
+12
g g
nœ œœ
+29

g f œ fœ œ
f p poco

3∏∏∏∏∏∏∏∏∏∏∏∏∏∏
o
j j
+25

45 ˙˙ ™™ 23
+14
slow bow +39
Œ
6
& 2 œ™ g˙™ œ ggœœ ˙˙ œœ
+27

- g Ϫ g
o
g ˙ ˙ H
g
H œ w
espr. sost. J
≤ +12
œ gfœœ ™™ œœ ™™ œœ ™™ œœ ™™ ˙˙ ™™
+41

fœ
+25
f H
B 23 45 23
g g
nœ œ œ™
Ϫ
Ó +27
‰ Ó Œ g
g w Œ
p 3
+43 poco f

‰ gœ ™
Œ hœ œ
3 +27
? 23 Ó œ œ Œ Ó 45 ∑ ∑ 23 Ó Ó
û
g

poco f m.v.
14

ù Ú
30

& w Ó ∑ 23 ∑ 42 23

≤
+43

& Œ Ó 23 Ó ∑ 42 +31 Ó Ó Ó Ó 23
+27 +27 3 3

g ˙™ g
h ˙™
˙™ ˙™ Ó Ó g˙ gg˙˙ g˙
rinf.
3
diminuendo

+41 ≥ +33 - -
œœ œœ œœ gœœ Óœ Hœ
+43
œœ
+14
H H
3
n
23 w 42 ‰̇ gœ™ Ó̇ ‰ Ó 23
+45 +29

B h h
g œ o
g
o
H h ˙˙ h ˙˙ ˙ ˙
+18
g Ϫ
w
J ‰ g g o

Ϊ Ϊ Ϊ
m.v. diminuendo

œœ ™™ œ™ ˙˙™™
+43 +43 +31

Œ™ 23 g˙™ gœ ™ ˙™
? 42 23
+45 +31
˙™
+33
h
Œ Ó hœ™
h
hœ™ ˙™ Œ Ó ‰ Œ Ó
û
g

≤
diminuendo

ΩΩ ΩΩ
ù 3 ΩΩ
Ú
3 5

+4 nœ œ
34

&2 ∑ 42 23 ∑ nœ +6 nœ nœ
n
nœ
3
25
vœ vœ vœ vœ vœ
+20

v œ o œ oœ ˙ o œ
+8

R
≥o o f
o
n‚ –
3
I
≤
™
5
n‚ ‚ +6 j nœ
≤
IV +4

& 23 ˙ ™ 42 Ó 23 Œ Œ nœ vnœœ vo˙˙™ ‰voœœ œ oœ oœ oœ

25
3

Œ Ó Œ+20 ‰ Œ Ó Œ vœ vœ œ vœ
oϪ
- œ œ
+22
J o
f sost. R
- +47
B 23 gœ™ 42 ˙™ 23 w 25
+20
˙™
Œ™ p˙ ™ ˙™
+35
Ó ∑
+33

œ™ hg˙™ gœ™
o
˙™ p Ó̇

? 23 gw Ó̇ 42 w ™ Ó 23 ∑ ∑ 25
û
g w

ù 5
38
≤ o
Ó 42 23 œœ ˙˙ Œ Ó 45 ˙ ∑ 5
+49

Ó Œ pœ w
+35 +49 +35

& 2 ˙˙ Œ 2
3

˙˙ œ pœ ˙ ˙˙ Ó
Œ Œ h˙ ˙ ˙ hœ
p
o h

o
≤
& 25 œ ˙ 42+37 ‰ 23 Œ pœ w 45 Œ 25
pœ ™
œ Œ Ó p w™
Œ Ó
+35 +51

˙™ pw™
˙™
p
Œ o˙ o
m.v.
- hœ œ w h œ-
+20 ≤ +35

Œ™ Œ™ Ú
+47
5
B 2 oœ™ pœ™ Œ 42 23 Ó 45 ˙™ Œ Œ 25
Œ™ œ™ Œ™ pœ ™
Ó
+33
œ™ œ™ ˙˙ w
5:3
g g
œ œ Œ Ó Ó Ó h

p sfp poco f
≤ +35 -
? 25 Ó Ó Ó Œ gœ pœœ Œ 42 opœœ™™
Œ
‰ Ó ∑ 23 ∑ 45 g˙ ™ 25
+33 +22 +33

û
˙
p m.v.
≥
+‰ 3 ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ molto
ù 5 Ó +16 j +31 Ó Ó sul tasto ≤
(slow) sul tasto
nœ
Ϫ
42
o œ œ 3 42 23
Ó Ó ˙ ™ gœ 2 W
&2 ‰ Ó ∑
5:3

gœ g˙ ˙ gw
sfz pp
≤
sul tasto

≥
œœ ™™
5
&2 Ó Ó
3
∑ 23 ∑
+31
‰
5
42 +20 23
˙˙ W
+51
g g +18 g oW
+29

h œ g ˙- g g o W o W

ppp poco pp

B 25 h˙™ 23 h˙ 42 23
+29 +20

Œ Ó Ó œ Œ Ó Ó ∑ w
+47
o
w ˙
3

˙ w
+18
h g o
- o
+ l.h. + +
m.v. espr.
j pizz. œj ‰ Œ 4 œj ‰ +33 Œ
32 œ Œ Ó +16onœœ™ ‰ ‰ ‰ œ gœ w ™
+45

? 25 g˙ hw3 w™ Ó Ó
n
œ
n
23
û
o 2 o

espr. - -
 15
o o o
-‚™
ù 3 nœ≥ œ™
I

≤ nO n‚
46 ord.

&2 J Œ ‰ Ó Ó ∑ 45
o
ΩΩj
sfz pp
≥o ≥o
ΩΩ ≤
o œ oœ ™ ˙™
I n‚ n‚ +20
3
&2 Ó Œ ‰ J Ó œ o
Π45
J ‰ Œ ˙™ w œ
+6
Πv v
+22
v
sfz sfz pp o œ
p
≥ 5:3

B 23 w 45
5:3
w w
+20
o o
w ˙ w ˙ w
+22
w o ˙ o o o o
vw
pp

ΩΩ o o o
OРϪ
-
˙˙™™ œœ™™
9˚/I

˙ œ
+20

nœ
? 23 n œ œ n œœ n
œ n‚œ n‚œ o
œ œ ˙ œ œ 45
+18
œœ o
Πo v
Πv v
Πv v
+6
vϪ
û
n
n œ Œ Œ Œ Œ v

3 3 3 3 3 3
f sonore

>≤
strike the string!

ù 5 nœ nœœ œ ≤ +8
œ 2 ˙™
49

&4 vœ œ œ œ™
‰Œ 45 u w 4 23 Œ uŒœ vœœ Œ Ó
uœ ™ uœ ™ ˙™
vœ œ
œ w
u
f J ‰ u w œ -6 -6
-8 p

>≥
strike the string!
≤ ≤ ™
5
&4 Œ Œ nœ œ
nœ œ
45 ∑ 42 Ú 23 +8vŒœ œœ ™™ Œ Ó
™
3

vœ vœ œ
+23

vœ ˙
o
u œ
-8
- f
p
o
fifi
^
B 45 45 42 23 W Ó
fast ricochet

˙™
5:3

vw
+8 +10

œ œ. œ. œ. œ. œ. œ. œ. œ. w w v w W ˙
+8
v v œ. œ. œ. œ œ
v v v

p poco f m.v.

? 45 ˙ ™ ˙ 45 42 ∑ Ó +10vŒœ ˙ 23 vow ˙
3 +23(senza dim.)
∑
û
u o
˙ w
-6
Ó
o
crescendo
m.v.

∏∏∏∏∏∏∏∏∏∏∏∏∏
ù Ó
flautando ord.

42 o˙ ™ Ú
3 +23
˙™ ˙
53
˙ œ 45
o
oœ ∑
+25
v
& oœ
nœ-
+
m.v. poco f

j‰
fifi
+55 ≥
3

nœ
slow bow

˙™
42 Ó Œ 45
fast ricochet
∑
+23

&
+25 +37

oœ
o
o œ oœ œ œ œ œ œ œ œ œ œ œ œ
. . . . . . . . . . . œ ˙ ˙™ hw p œ
o sfz poco f f sonore

Ϊ
≤
wœ ™
+39
42 45 Ó̇ 6:5
+10 +57

B o˙ W Œ ∑ Ó
+22 5:3 5:3
v˙
- - - w-
˙ ˙ ˙ ˙˙
+27

q p
˙ -
p
espr.
+41

w œ pw
+25 +27

o œ™ 42 w o w ˙ p
? ˙™ œ™ œ™ w˙ w ˙ w 45
û
o

f
16

ù Ú ow™
57 +23

& ∑ 23 ∑ 42 23
o
^
23 w 42 23 ÓW Ó Ó Ó
+23

& w
+37

œ p˙ w w o˙˙
5:3

Ú
p

B pŒœ ow Œ
23 hœœ Œ Œ 42 23
+23

Œ Ó ∑
+53

w pœ
˙
- ≥
≤
42 pœ ™
6:5
p +35

23 Œ h œ™ 23 ŒÓ Œ pœ oœœ
? Œ Ó
3

∑ Œ Ó ‰ Ó Ó Ó
+51 +22

û h˙-
p
- ˙™

ù w w™
+41

˙
61
o p 42 Ó 23
w™ w™ ˙™ ˙™
&
+43

p p p
o
m.v.

+ ≤ ≤
p m.v.

j ‰ Œ Ó 42 23 œ ™ wœ ™ ˙ ™
˙ w˙ w ™
& Ó Ó
5:3 5:3 +41

oœ
+29

˙ œ pœ w
+25

ÆÆ
o œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ w o w
. . . . . . . . . . . o m.v.
+43

˙ ˙
+25
o p ˙ 42 p˙ ˙
B ∑ ∑ 23 ∑ Ó Ó+41
w™
5:3

p
o m.v. o o
+39

? oœ œ Œ Ó 42 23 ww™
+23 3

œ Œ oœ
+39

û pp
3
+27

Œ pœ œ w ˙˙
+23
p
˙ W w w ˙
poco f p crescendo

+≥ fast ricochet

ù ^ +43 j
66 +39
42 5 ‰ Œ Œ Ó 42
œ‚ ™™ ppœO œO ™™
Ó Ó j ‰ 4 nœ
œ ™ hœ™ ˙™
&
+55 3

w™ p Ȯ
œ ™ pœ ™
Æ
pœ œ œ œ œ œ œ œ œ œ œ œ

poco f .Æ . . . . . . . . . .
p œ
espr. o

˙≤ ™
˙ ™™
+41 +37

j Œ pp Ȯ 42 œO Œ Ó ˙ ˙ 45 42
+39

& Ó ∑
p p
p œ p
pœ œ ˙
m.v. +39 o o
o
3
poco f
^j
Ó p Ȯ O ™
+39

˙ œœ™™
42 Ó 45 42
3

w™ œ ™ hœ™ ˙™
3
B Oœ œO Ȯ
+53 +59
p
hw
p p
p
‰ Œ p˙ ˙ ˙ q œ
m.v. espr.
II III +57

w™
(artificial harmonic cents =
?+39 42 45 œ œ Ó 42
+41 6:5
œ Œ
III

û pm.v.
sounding pitch deviation)
p p
w p
˙Ȯ
p p p
p
˙Ȯ w
pw
p ˙ œ Œ qœ ˙
+37 diminuendo
poco f
≤
ù 4
70

23 42 47 23 25
5:3

&2 j
+61 +31 +43 +61

p ˙- ˙- ˙- w- q ˙ ˙™ q ˙™ ˙™ w ˙™ ˙ ˙™ port. p w p w œ qœ™
port.

Ú Ú
diminuendo
4
&2 23 ∑ 42 47 ∑ 23 ∑ 25
+47

B 42 23 Ó Ó œ 42 œ Œ Ó ∑ 47 ∑ 23 ∑ 25
3
+59
p
q W q˙ q œ œ
pp sotto voce

42+47pœ ™ pœj w ™ j
+45

? 42 ‰ qœ™ 23 w™ 47 wœ™ pwœœ ˙˙ 23 q˙ Ó 25

+59 +29 +59
+45

˙ ˙
û pw ™
Œ ™ p œJ w ™ Œ™ J
+45

w™ Ó pœ
Ó p ˙ ˙
(dim.)
 Un poco largo 17

ù 5 = G# -39 √™
h = 57.6
75
62 Œ Ó ∑
˙™
&2
qw w™ d

o
+4.2 ¢
(dim.) -35

U j
* ˙™ ˙ œ œ ≈ œ ≈
libero
k k k
I

lœ œ lœ œ œ
5
&2 ∑ 62 Ó Œ -65
í ™™ í ™™ J ™™î
-49
í ™™ ™™î ™™î
o p ppp II

√ ™
B 25 62 w~ w~ ™
change bow as needed
∑
-49
l œ
Œ
d
l
œOœ w w™
-51
poco f e sempre sostenuto

√
œ pœ ™ w™
? 25+47p j 62
+4.2 ¢
w™ w™
û ‰ p œ™ w™
l
Ó̇ l w™ w™ o
+4.2 ¢
-49 (diminuendo on F only)
-51
(dim.) sotto voce

*
ù Œ ≈ j ≈
í ™™ í ™™ -49 lœ ™™î œ í ™™ lœ œ ™™î ™™î ≈
77 libero in tempo
IV III

& Œ
3
œ w
kœ ˙ kœ œ kœ
J
o
-63
p ppp ppp

≈
œ™ ≈
in tempo
j
œ œ œ œ ≈ lœ ˙ œ w ˙
í ™™ í ™™ œ ™™î í ™™ ™™î ™™î
l l l l l
J k œ kœ œ ˙ k œ d w d˙
& J
o
-63
III 3 -33 3
p ppp rinf.

≈ U ≈
libero in tempo

Πl
œœO œœO l Ȯ
í ™™ í ™™ll ˙ ™™î
l
œœO ™î l Ȯ l
œO Ȯ
™ ˙
l l l l
B lœ l l ˙ Œ d
Π-33

? √
W™
û

j ≈ ≈
II

ù w í ™™ í ™™ lœ œ ™™î
œ œ
í ™™ -35
œ
lœ ™ î ™ î
œ œ w
libero

J™ ™
d d
78

&
92
Œ ∑
o
-49 ppp

j œj ≈
libero

, lk œœ ldœœ d œ œ
d
œ œ œ œ œ œ ≈ œ œ
í ™™ ™™î í ™™ J ™™î í ™™ dœ ™™î dœ ˙
, l l l l l
˙ d œ J dœ œ 92
& J -65 -35
-49
-33 5
ppp rinf.

√
- - - -
≈
Πd
d
œœO ~
w dO
d œ œœO œœO œœO ~
w
B dœ w dœ w 92
-35 - - - -

? √
W™ 92
û
* l.h.: establish, maintain, fine tune hand positions — hold fingers as long as possible
r.h.: molto flautando, change bows and vary speed often and irregularly — emerging into sharp focus and receding again
repeats as many times as needed to set an accurate intonation of the written pattern, sempre un poco ad libitum
 ≈j
≈j ≈
- -
simile (tempo libero)
18
œ œ lœ œ -œ -œ - -œ - - -œ
I

ù 9
l l l
œ œ lœ ˙ œ l œœ œ l œœ
í ™™ ™™î í ™™ ™™î lœ í ™™ œ œ ™™î 62
79
˙ dœ œ œ œ œ œ
l d œ œ d œ dœ d d
, k
, dœ kœ œ œ dœ kœ œ
l

&2 l œ J J lœ

o -35 o o m.v.
-51 -49 -35 -65
poco f
rinf.
5
o

- j- j dœ
≈
œ í ™ í ™ dœ œ ™î ≈ ™î j œ ™™î ™™î œ lœ -35 œ ≈ í ™™ lœ kœœ ™™î œ™
œ œœ œ lœ œ - -
í ™™ í ™™ œ llœœ l œ ™™î í ™™ œJ œ
l
simile (tempo libero)

9 ™ ™ Œ lœ ™ œ ™ œ lœ™ 62
3

&2 J lœ œ œ œ lœ kw ˙
-33
- IV -65
ppp
o mp
-51
7
pp poco f

dO Ȯ ≈
Ȯ ≈
O ≈
~ ȮΩΩ
í ™™ í ™™ ™™î í ™™ ™™î ™™î
d œ œ w
l l l l l
d d d d d
B 92 62
-35 -49
sfz

? 92 ≈
w™
≈
w™
≈
w™ 62
û

≈ - -
œj œj
ù 6
œœ œ ˙ œœ -
í ™™ ™™î
80
k œ l l
k œ k œ l l
k k œ j Ó̇
&2 J l œ lœ l œ œ
‰ ‰ ‰ kœ
o
Δ∆
-49
rinf.
-63

6 ∑ ≈ l œ ∑ l œ ≈
&2 k ˙ œ l œ lœ œ
k
lœ l œ k œ ˙ œ k ww
-49
o
3 -61
5 5 -65
p

d
l ~w™™ Ȯ ≈ d
l Oœ lȮ
B 62 -35
l
Œ
-47

? 62 ≈
w™ ˙ ∑
û
o
≈
ù Ó™ œj l˙
>
˙˙ ™ í ™™ kœœ ™™î œ™
l œ l œ
81 molto tasto ord.

& ˙™ k
k
™ k
-47 œ k˙
J
œ
J
o ppp
≈
ppp

œj™ ≈
-61
-63

kœ ™™ î ™™ î
œœ ™
í ™™ í ™™ kœ -47 œ ™î í ™™ í ™™ ™î
, l œ œ
l œ , œ
l œ l œ ˙
& œ œ œ l
k
-61 J J Œ Œ
o ppp -45

√
~ ™™
l Ȯ ™™ ‰ l O ™™
B w
l
œ l œœ™
Œ
û
l
J
-45 -47

≈j ≈j ≈ ≈
≈ ≈
lower E (3 commas down) is dissonant (27/20) with Vln II A !

ù ˙ œ œœ œ ™ l-œ ll-œœ ™ l≈

í ™ k œ ™î œœ lœJ œ
lœ
œœj
5
l l
œœ œ œ lœ lœ lœ lœ
82
lœ œ l l
kœ œ œ l l
& k J kœ kœ kœ
-61 -47 -45 -63
-41
J
poco f sfz rinf.

j ≈ ≈
œ lœœ ™ ≈
í ™™ í ™™ kœ œ ™™î í ™™ J ™î
˙ ™™î í ™™ lœ œœ ™™î
lœ œ œ lœ
, l l
& œ Œ l ˙™ l œ lœ l œ
o o orinf.
-47 -45 -43
-61

O ™™ ~w k~
≈
5

‰ U U Ȯ Oœ
B lœ
l
k
œœ™ l
k
l w l
k
s
k

û J 3
-59
 ≈
Ϫ
19

Ϫ
˙
ù
l l
l
œ œ™ œ œœ
83

&
l
J Ó l
œ
s
l
œ Œ sœ œ™
J J J
-41 ppp o ppp -57
-43

j ≈ ˙™
í ™™ í ™™ sœ œ ™™î í ™™ œ ™™î ™™î
Œ l œ œ l œ œ l ˙ ˙ l œ
& lœ s ˙˙ s
J 3
-43 3 -57
ppp

Ȯ ™ ~w™™
˙™™
s Ȯ s
U
s
l
s œœ l
s
B
û -57 -43

≈ ≈ - -
, ≈j
ù œœ œœ œ sœ lœ œ sœ œJ œœ sœ sœ

í ™™ s ™™î
˙ œ s
, s s
l œ
l l l l l
œ œœ
84

23
s
& J s œ sœ s
J
o
-57
rinf.
o
poco f

≈ ≈
5

œ ˙ œ ˙
≈
s s s

í ™™ ™™î
œ l œ œ
l l œ
& -59 s œ sw 23
rinf. -43 -57

‰ O ™™
œœ™ ˙˙ œœj ‰
j ~
œœO Uw
3
s s
l l l
l œ l l œ w
B J Ó Ó J ‰ J J 23
û -43 -45

≈
œ≥ ≥
œ œ ≈
ù 3 í ™ skœœ
s s
Œ
J ™™î Œ
œœ ˙˙ ˙ w
&2 ™
sœ œ sœ œœ
4:5
∏∏∏∏∏∏∏∏

l l l
85
l l ˙ œ
l l
dœ ˙ 42
Œ
-59
o -45
-47 -31 -47 o
≈
-61rinf.

≈
m.v. 3

Ϊ
≥ -
lœ ™ œ™
œ™ ˙™ œ ˙ -œ≥ d-œ œj œ
œ - œ
œ Œ d˙ œj œ
d d
d˙ œd œ
™™î -33 lœ
l l l

í ™™
d
l ≥ lœ lœ
& 23 -43 -45 Π-31
lœ ˙
Œ ‰ -47 ‰ -31dœ d œ œ
J
d œ 42
o -45 3
poco f o 5

≈
Ȯ ™ Ȯ ™™ ‚œ ™™
™
^
Oœ Oœ
Oœ ™™ ≈
Ȯ ™™ ™™
l
s Oœ l
l
l
l
l l Ȯ l
B 23 l l
42
l
lœ œ ˙
-45
-47 J
cantabile, come prima -45 3
III

? 23 O 42
-47
l
∑ ∑ Ó Ó Œ ‰ œ
û
l
J
- , l-œj
cantabile, come prima

≤ lœj , > ≤
in tempo

ù 4 lœ œ œ lœ dœœ œ lœ lœœ œ lœ œ œ œ™ lœlœ lœ lœ ‰ 5 l˙≥

lœ
,
88
w œ mœ ˙˙ Ó̇
w 23 Ó
m
&2 J J- 4 m m œ
-49 -33 - -29
-45 -45 -27
o5rinf. o o
6:5 3
5

l˙ ˙ œ dl˙˙ œ ll˙˙ Ó™ Œ™
& 42 45 lœŒ l˙˙ 23 lœ™
3

œ ˙ d l
˙™ m œ™
œ™ ˙™
˙™
Ó -33

o o o
3 -45 3 -45 -27
3 -43

∑ Ȯ Oœ ™™ Oœ Ȯ lO Ȯ ‰ ll O
3
l
œ œœ
l l
B 42 dw
l
˙ l
J 54 l œ l
l ‰ 23 ∑
-33 -43
J
-47 -45

Ȯ ™™ Oœ ™™ Oœ ™™
~w™™ lO ™
-41

œO
45 l œ ™
l l l
? 42 Ȯ ‰ Œ ll Ȯ
23
l l l l

û
l
lœ œ ˙ Œ
-45 J
-43 3
20
≤
≈≤ II ≥
L’istesso tempo ma giusto, scorrevole
≥
III
> œ sœœ lœœ œ
ù lœœ mœ œ lœ ˙˙ ˙™ lœ
II
l
3
lœ œ œ œ œ œ œ œ œ œ œ œ 4
91
32 45
3
˙
II

& 2 Πs

-41
Œ mœ m œ -39 Ó Ó Œ -55 -41 Ó̇ l˙ Ó̇
o o
-25 III 3 -57 -41
3
poco f

ΩΩ
m.v.

≤ >j j ≥ III II
≤ lœ ≤
I

j Ϫ
l w œ
œ œmmœœ mlœœ lœ œ œ œ œ œ œ œ œ œ œ œ œ 42 lÆœÆJ œ Œ œ
6

mϪ
23 sœ ‰ sœ™ œœ œœ 45
l
& Ó ‰ œ s
‰ J J ‰ ≈ -39 -
s s

o o
-41 III
-25 -57
-41
f m.v. dolce -55

42 23 Ó 45
IV
B ∑ ∑ Œ Œ sœ œ™
3

s w
o m.v.

O™ O ™ sO ™
-55 -55

œ ™ sœœ™™ l œ ™
l Ȯ O O
3

œ mœœ
l
Oœ
-57
s
˙™ œ w Œ Œ sœ œ™
Œ ™ -55
?l 42 l
23 Œ
l
‰ 45
û Ó -25
3 -55
G# tacet
ad lib.

j
ù 5 ‰ mœj œ
≤
j lœ ™ dœ œ œ œ
, ,j ,
‰ j ‰ mœj ‰œ m œœ
3
e
94
Œ Œ kœ
l œ 22 œ œ lœ
23
Ϊ
& 4 Œ lœ œ ll œœ œ s œœ œ™ s œ œ™ mœ -31 Œ mœ œ mœ œ m œ
-27
-45
J-45 ‰ -29 -45
eœ œe œ
-41 -59 -61 -14 -27
o o o
3
-29

œ œ
‰ ‰ eœj 3
l
œ≤
Œ
,Π,
œ œ œ mœ œ ‰ Œ œ œ Œ
3

& 45 lœœ port. 2

s s m
6:5

w l œ ‰ lœJ œ Œ 2 J Œ -14eœ œ e œ œ eœ 2
-43 k œ œ -45 -29 m œ J
-43 -59 -27 3
-61

B 45 Œ ‰ lsOœ Ȯ ™™ Oœ llOœ™™ 22 llOœ™™ ˙

23
m
Œ Œ Œ ‰ Ó m w
J J
m.v. -45
o 3

œ œœ œ œ œ œj ™
6˚/ = 3
l l
lϪ
? 45 l œO l Oœ Œ mœ œ
E -41
s m l
J
‰ -43 Œ sœ
Ó 22-45 œ œ
m
‰ Œ m˙ Œ 23
û 3 -27
-45 Œ
-59
Œ ‰ J
-29

*
ù 3 ≤ œj ‰+2n-œ≤
,
42 œœ œ œ 54 fœ eœœ œ
3
e
98
Œ Ó Œ 22
+2

&2 œ m œ mœ m œ mœ Œ Œ œ Œ
‰ e œ œ ‰ e˙ œ Œ Œ J eœ œ
eœ
eœ œ
œ -12e -14
ΠΠ+4n
J J o
-14

o o
-12 -27 3 -12
-27

, 3≥ 3

≤ +
+2
, mœ œ ˙
‰ fœ œ j
œ œ eœ e œ
≤
eœ eœ œ nœ ‰ ‰ 2
& 23 œ Œ Œ Œ -14eœ 42 œ 5
-12 -12
e
Ó
3

eœ eœ 4 -12 J eœ œ
Ϫ
œ 2
+2

Πm
‰ mœJ œ Œ mœ œ -27
Œ -14 mœ ‰ ‰ -14 fœ
-25
5 5
-27 5
strike the string!

> eœ œ w e ˙ œœ ˙™
œeœ
m
B 23 n 42 Ó -12
Œ Œ Œ 45 ∑ 22
œ
-27
n
3
-6 -12
f -8 -10

≤ >j
œ œ œ™ œœ ˙™
-12
e e e
˙ œ 2
+2

? 23 -10 œœ e
n
∑ 42 ∑ Ó
f
J 45
f

û
2
-12
Œ ‰
nœ
-8

º
3
-6
* B natural is one schisma (circa 2¢) higher than
sfz C flat one comma raised (almost the same pitch)
 Tempo primo, cantabile 21

ù 2
≥
h = 72

˙˙ ™™ Œ Ó
˙™
101
Ó̇ 23
+2
˙˙
+4 +4

&2 f œœ Œ ˙ Ó Ó
-10
e e
Ó̇ f
Ó̇ f m m

3
-10 - -25
f -25
poco f sostenuto

≤ ^
≤ eœ efœœ œœ œœ œ j Œ œO
-10
e e e
˙™
5

2 +2 Œ
& 2 f˙
Œ
fœ f œ
+4 n
-8 n œ -6 Œ Œ -12 e 32 eœœ ‰ ee˙™ Œ e
e œœ -œ ‰ e˙ Œ eœ œ
f œ
‰ J- -10 J m˙
nœ
-10

º
-4 J
rinf. rinf.
-12 -23
5

sfz

> eœ ˙ j
œ eœ ‰ œJ
e œœ œ ew ˙ Ó
Œ n˙
3

B 22 ∑ n n
23 J ‰ ‰ ‰ -10 m ˙ œ™
œ nœ œ ˙
-8
n -8
-6
-8 -10
-12
rinf. -23
-6 J
f
-12
‰ eœ™ œœœ
? 22 f˙˙
e
+4
˙ œ
5
+4
˙ fœ œ™ e
n
23 Œ Ó Ó ∑
û
J -10 Ó
-10

nœ
-8

º
-6 J

sfz

≥ ΩΩ
ΩΩ -8 > ΩΩ œ œj
œj—nœ –
≤ ‰ Œ
ù ™
tœ -
3
t
.
3
nœ ˙
3

‰ mœ™ œ™ ‰ 23 Œ mœ ˙ Œ nmœœ œ œJ ‰ Œ s œ sœ 25
105

& Œ nœ n œ m˙ Œ Œ nœ 42 ∑
-6

Ó Ó ‰ +
nœ nœ nœ œ™ nœ nœ
-20 -35
-49 sfz p espr.
-4 J
-22
-4

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
sfz
≤
f sonore
≤
≥
& Ó Œ -22m˙™ 42 w mw 23 Ó Ó t˙ ˙ ˙™ œ ™ sœ™ 25
3

m ˙™ w -.
o -.
m.v. -33
-23 -51
sfp espr. poco f

ΩΩ ^
œœ ™™
Ó̇ t ˙ œ Œ
œj ‰ Œ ‰ mœ™ ˙ mw -œ
-22

B Ó n 42 m Ó Ó 23 t w t
t
‰ t
t
œ Œ Ó Ó 25
nœ nœ œ™
-22 -37 Ó5
J -6 J
-35 m.v. p
sfz f sonore
+
I

III o ÓW–Ó Ó Ó ˙—
‰ tj
5:3

œ œœ œ w
~
˙
3

? nnw Ó 42 ∑ Ó ˙
m
˙ 23
n m
25
û IV m.v.
n
Ó Œ ‰ nœ ˙ ˙
Ó -22 -35
Œ Ó Ó
-6 J
-22 m.v.

f sonore

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ -. -≤
ù 5 W tw t˙ ˙ mœ
109 -25

&2 -37
45 Œ 23 ∑ 42 ∑ Ó l œ Œ 25
6 -39 p
poco f

˙™
III

5 ≤
& 2 s˙™ ˙™ w 45 w Œ 23 ∑ 42 ∑ Œ l
25
-39 p

˙™
-˙ œ l ˙ Ó l ˙ ˙
˙ w œ 3 Œ s˙ œ 4 ˙
one comma lower ! 3

B 25 Ó 45 Ó™ 25
t s s m
Ó Ó Ó lœ 2 lœ ˙
-33
3
Œ Ó Œ -41 2 Ó Ó -41
Ó -25
-55 -39 -55
pp rinf. m.v. p

w- sw œ sœ™ œ™
Ó™™
˙ œ lœ™ ˙™
? 25 Œ
t
Ó 45-53 23 Œ ‰ -39 42 W l œ 5
J 2
û -35
o o 3
rinf. m.v. p
22

ù 5l
113
Ó̇ 23 ˙ 42
3 3

˙ ˙ Ó Œ Ó
3
& 2 Ó̇ t˙
l
Ó̇ m˙ Ó̇ Ó̇ m ˙ w
-37 -23
-23
o o

- -≤
tœ ™
˙™
mœ™ ≤ ≥
& 2 œJ l œ ™ l œ™
-25
5 Ó ‰ ∑ 23 Ó Œ l Ó Œ 42
m˙™
-39 o
-23

ΩΩ
5

œ œ
5
l

™ œ™
5 3

mœ œ mœ ‰ eœ œ eœ
-23
m

B 25 Ó Ó Ó Œ m˙ 23 ‰ -8nœ n œ -39 Œ nœ nœ œ n œ nœ ˙™ 42
º
-8 J -10 ‰ ‰ Œ
-25p nœ œ nœ nœ Œ Ó
-6
poco f

ΩΩ ΩΩ - 5
eœ mœ m˙
? 25 sœœ Œ lœ œ eœ e œ e œ eœ
œ Ó Ó Ó Œ ‰ J 23 sœ œ Œ Ó Ó nœ œ nœ nœ
J 42
û Œ
-10

œ œ nœ
-8 -23
n
-39
5
-53 -53 3
p -6 poco f

≤
ù 4 tW w™™
≥
w w
116 II

23 42 23
t t
& 2 -37 t t w w w
pp espr. -35 3
-37

4 Ϊ Ϫ 23
Œ ‰ j ≤ 42 Œ ‰
‰ tœ™ mœœj ˙˙ 23
m ‚™
& 2 œ™ l œ l
Ó̇ ˙
t˙ tœ™
sœ œ™
œ œ™ ‰ ‰ tœ™ œ™ ‰ mœ™
m œ™ œ J J
o pp espr. -39
-37 -51 -22 o
5˚/IV

œ ‰ tœ œ
5
lœ
œ œ Œ œ œ Œ
3

‰ m‚ ™
mœ m œ mœ œ t
-23
t

‰ nœ n œ -39 32 -37 sœ œ ˙™ m œ œ o
B 42 ΠJ Π42 23
5˚/III

‰ ‰ -37 Ó Ó Ó
nœ œ œ
-8 Π-51 Π-22
p pp pp
-6

˙
? 42 Ó ∑ 23 ∑ 42 Ú 23
û

≥
ù 3
119 III
œ™ œ ˙ t w œ
w™
w™
Ó 47 tœœ Œœ™™ t œ™ Œ Ó 45
-35
t
&2 s s ˙ w -31
w t˙
s w s
t
w
-49 -29

Ϫ Ϫ
-47

œ™ œ™ ˙™ o
œ‚ ™™ œ ™ ˙™
t t
& 23 œ™ 47 Sw 45 ∑
S
5˚/III

œœ Ó
Ϊ Ϊ Ϊ Ϊ
t t Sœ™ œ™ Sœ™ u‚
m
w m ‚
-33 o -33
-45 o
-43
5˚/IV

‚o ™ Œ Œ Œ u‚ 45 ~
o o
5˚/II
o
5˚/III

B 23 m
‰ Ó Ó ∑ ∑ 47 ∑ m‚
3

j 5˚/IIo j
œ
? 23 47 54 u‚o tȮ œ m‚ tȮ
5˚/II

∑ ∑ ∑ ∑
û o ‰ o
3
‰
3
-29 -31
 23

ù ∑
≤
Ú
124

23 ÓŒ tœ Œœ s˙˙ Óœ™ ‰ 42 23 49 42
3
œ ∑ ∑
-18

& t
m
œ-
p -47
-31

o
II

o Ó o Ó ‚‚j o 32 o
III
5˚/IV

& ‚ 23 ∑ 42 n
n
‰ Ó Ó 49 ∑ 42
‚ mO O™ mO ‚™ mO
o o 5˚/IV
vo
3
sfp o
o Œ t w w w™
w™ Ó̇
3

B Ó t ˙ mO˙™™ Œ t
5˚/III
u‚ Ȯ
3:2w

23 w 42 Ó‚™ ∑ 23 o -29 o 49 ∑ Œ 42
3
t
Œ œ m ‚ Ȯ ‰
o -31 o o -27 o
5˚/II
3 5˚/III
-33

Sœ ™ œ ™
j j
w œ ˙™ o œ‚ ~w™™ ˙™ œ œ
S Ϫ
Œ Ó™
‚™ t t ˙
5˚/II -43
m
? 23 Œ Ó 42 J 23 œ
‰ J
S œ 9
Π4 42
û -31 o o -45
‰ Œ Ó

≤ ≤
o 3o o 3o o o3
I
o ≤
ù 4 t
u‚ Ȯ u‚ Ȯ
I
n‚ O O
˙™
5˚/I

˙™ ˙™
œ nœ ˙ ™
+4

˙ ˙ ttw w™ ˙ ˙ u u
129

23 42 t 25 ˙ 23
3

&2 Œ w n˙
u

-27
Œ -27 Ó Œ -10
-25 -12

≤
I o o3 o 3o o o 3o o
uO ™
-o
5˚/I
o o o u‚ Ȯ u‚ Ȯ Ȯ
I I
n‚ O O
u‚ O™™ O™™
5˚/I

4 ‰ 23 42 œ
&2 J ∑ Œ Œ Œ t 25 Œ u œ
Œ n˙ ˙ œ 23
-27 -10
sfz p

B 42 Ú 23 ∑ 42 Ú 25 ∑ 23

‚ΩΩ ‚o ™
-
S˙ ™ ‚o ™
o
5˚/I

Ú 23 Œ ™ Œ™
u
? 42 S ˙™ 42 ∑ J ‰ 25 ∑ 23
û -41 sfz p

∏∏∏∏∏∏∏∏∏∏∏∏∏∏
≥ ≥ΩΩ
ù 3 uw ™ œœ+16oœ-.
III
- - - ow
+14

42 onœw
133

25 ˙ u˙ ˙ w 47 œ ‰ oœ ˙ 23 o w
+16

& 2 u w™ ∑
-10 nœ J
-8
sfp

o III
˙˙ ™™ 42 n˙ ™
II

O IVo
n~
3 œ œ w W ˙˙ nw
n
+6

25 W 47 n w 23
+6
v v
I I

&2 œ Œ n n ∑
nœ Œ Ó
º
+4 5

o o
‚™+18‚ ™
sfz

‚o œ oœœ 3+29 œ ΩΩj ‰ ‰ Œ

+14

Ó Ó Ó Œ ‰ J 47 Œ ™ ™
I 5
n

Ϊ
oœ w n
5

B 23 ∑ 25 Ó 42 ∑ Ó
‰ J 2 gœ ogœœ ™ œ Œ Ó
p f sfp

+
™
j
+14

47 Ó™
nœ̇
Œ nŒœ oœœ
3

? 23 25 4
Ó Œ ‰ nœJ 2 23 gœw™ ‰ Ó Ó
+29
∑ ∑ Ó Ó
+2

û mp poco f o
24

ù œ ˙™ ™
+37

≤ +14
lower Db by one

œ fœ. ™
+10

j -
˙ œ™ ‰ nœ œ +27 +6 Ó
+23
Ó Ó f˙ œ™ H
+10

‰ 25 fœ™™ œ™
3

Ó™
138 comma—match cello
œ™ ˙™ ‰gœ™ œ Œ 23
~o
+12

& f w f w g Ó
n ‚ Œ ‰ ≈ oœ gœœ f˙™
IV Jo R
sfz

≤
Ϊ
≤ ≥
nœ ™ œ™
Œ +10 Ó 25 Ó Ó Œ Ó Ó 23
+22

&
+10 3 3
˙™ ˙
nœ ™
œ™ fœ ˙ f˙- ˙- ˙- w- g g
nœ œ
III III
I

^ 3 II

nœœ œ o
3 +23

-˙ w- -
25 gœ Œ Œ Ó Œ Œ n‚ 23
3

B ∑ Ó Ó Œ Œ Ó Ó g g W
3
sfz

+
j Œ
™
+25 +25 +25
œ
+22
œ™ œ‰Œ Ó ‰ œ™ ˙ œ gœœ
? 25 œ Œ ŒÓ œ 23
gn g g
∑ ‰ Ó Ó Ó Ó Ó g
+8

û
J Œ Ó̇ Œ fœ
6:5 3

ΩΩ
fœ ™ œ™
ù 3 +6 ∑ w ™™
c.l.b.
ord.
≤
nœ ™
fœ
+8

42 nnw
142
∑ 22 nw 23
3
n œ™ ‰ nœ ˙
5:3

& 2 fW e Ȯ Ó
Ϊ
n
˙ -6
nœ ‰ ‰ nœ ‰ nœ
-6 n˙
-4 J
+
J
+ º
sfz

≤ 3 +8

≥ fœ ˙
3 ∑ 42 œ œ w 22 œ Œ Ó 23
˙™
‰ Œ Œ Ó
+8 3
n n

œ™ ˙™
&2 ˙ Ó Œ +8
œ œ
n mœ
fœ œ Œ f nœ œ
-6

3 -8
o -4 ‰ -20

II

o o
+10 +10 IV

B 23 fœ‚ ˙ œ 42 f˙ 22 Ó œ 23
5˚/IV come prima

~
Ó f f
Ȯ Œ
+8 3 +8
n
˙ f œ n
Ó̇ mO
n œ œ nœ-
o -6 IV
sfz

o
Œ Œ n‚ 2 ~
+8
fw ˙
? 23 Ó 4 22 ˙ 23
3
m

~o
Œ Ó Ó ˙ Ó
3

û
+8
˙™ O f w o
n

o
IV
-22

ù 3 toÓ harmonic
‚ ™ ÓO™™
o - ≥ o
54 n~o 32 u~o o o
change gradually

‚™
146 III II II III
Ó Ó 42 nœ‚ Œ
IV
Ϫ Ϫ
n‚ ™ ‚
‰ Œ Ó
n~
u
&2 ‚ n nO
o o -14 o o o -
III

Ó ΩΩ o
≥ ≤
II

œœ ˙ ˙ ‰ œJ 23 n˙˙
& 23 ˙™
œ Œ 45 mœ œ n 4 Ó̇
I
n
w Œ Œ Ó
3
m
2 Ó n˙
w ˙™
n œ
n˙ w -18 ‰ nœ ˙
-4
-18 J sfz p
3

oI
~o III
o o o o
‚o
Π4 n⠪
o
54 n~^
III II

Œ Ó ~
O
5:3
n n
‚™ ‚ O
IV

Œ n‚ ™ nœ‚ ™™ n~
B 23 ∑ ‰ 23
u
IV

nœ 2 œ™ Ó ∑
Ó o ‰ Ó ∑ o
o o sfz

oΩΩII

o oj o j
? 23 m~o ™
m ~™
45 ‚ ‰ m n‚œ mO Œ 42 n‚ ∑ 23 Ó™ œ- ™ ‰ Œ ∑
û
n
nw
o nœ
-
º
J p III
attacca

sfz
 25
Pythagoras Drawing (II)
Tempo ad libitum, vary from bar to bar as desired, swinging

≈ Ä ≈ ≈ ≈
ù 3 ≈ ≈
h ca. 66-99 lead
ΩΩ
™™
o o o
IV

fifij ~™ ~™ ~™
III

&2 ∑ ∑ n
∑
nœ
Vl I

martélé, ff mezza voce,

full bow sostenuto

Œ ™ Œ ™ Œ ™ Ä n‚ ™
lead
o
≈ ≈ -‚o ™ ≈ ≈ ≈
martélé, full bow

ΩΩ
™™ n˙ ™ w™
2˚/III
III II
3 ∑ ∑ fifij
&2 œ™ œ™ J ≈ Œ Ó Ó
nœ
n w™
Δ∆
Vl II
II o ff (m.v.)
mezza voce, sempre simile

ΩΩ
Œ™ Œ™ Œ ™ Än‚o ™
sostenuto
oΩΩ oΩΩ
-‚o ™ Ä ≈
nw ™
lead lead III

fifij
come prima

≈ ≈ fijfi ≈ fijfi
III I

™™ nw ™ n˙ ™
III I
nœ
II

B 23
n‚ n‚
∑ ∑ œ™ œ™ J ≈ Œ Ó Ó
Δ∆ w™
Vla
n
o
II
mezza voce, ff
(m.v.) IV
sostenuto

Ä
lead

Ä
sempre simile

≈
w™ ≈
w™ w™
lead

≈ ≈ ≈
oΩΩ oΩΩ
™™ nw ™
IV IV

fijfi fijfi
I come prima

nw ™ w™
? 23 n
II III

û w™ w™ w™
n‚ n‚
n
Vlc
o III
n
ff (m.v.)
mezza voce, IV
sempre simile
sostenuto

Ä Ä
lead lead

ΩΩ ≈ ≈
oΩΩ
ù fifij ≈ n~ ™
≈ ΩΩ
n~ ™
fijfi
III

ΩΩ o o
I III III

fifij
w™
j
7 IV II

Ó Ó
II
nœ
∑ ˙˙ œ™ ≈ Œ Ó Ó n w™
n‚
& fifij
n nœ
n˙ ˙ - n‚o
Δ∆
nœ II II
IV
III

≈
o™
o
~w™
o
≈ ≈ ≈
II

Ȯ Ó˙ Ó̇ ΩΩ
fifij
w™
n
II
n n
& n w™ œ ∑
Δ∆
n

oΩΩ
≈ ΩΩj ≈ Ä ΩΩj
lead

fijfi IV
II

w™ fi nw ™
fi
oΩΩ
≈ ≈ ≈ œfi
I II I

ΩΩ fijfi
III
n‚
fi
fifij
n
III
n
B nœ n‚ ∑
o nw ™ w™
n‚
nœ
n
III

o ≈o o Ä o oΩΩ
lead

n‚ ™ ‚™ ‚ ™ ‚ ™ ‚fijfi Ä
II lead

oΩΩ ≈
I
o
≈ w™
≈
gradually

o o oΩΩ
o ‚™ ‚™ ‚™ o
shift to harmonic

fijfi fijfi
I

n‚ ~™
IV IV

O n

o Œ ™ III o
? Ó̇ Ó̇ n
III

û
Ȯ w™
‚ n‚
n ˙O ˙O O o o
n
n n
o o o Δ∆
6˚/II
III
III
IV

oΩΩ
ΩΩ jfi
II

ù ≈ ≈ ‚fi ≈ ≈ ≈ ≈
fifij w™ ™™
I
I

w™
12
n
nœ n
III

& ∑ ∑ ∑
n ˙O
o Ó̇ Ó̇
IV

≈ Äo
lead

≈ ΩΩ o ΩΩ
≈ ≈ ~™ fifij nO^ fifij
I

≈ ≈
II

œ™ n>œ ™ œ™
I
o
III

ΩΩ ΩΩ
™™
II

w~™ ˙™
I IV III

fifij
n nœ œ
O O O ∑ n
∑
& fifij
n
o o nœ
nœ
II
o III

oΩΩ
(A-string)
oΩΩ
jfi
II

fijfi ≈ ‚fi
I I

ΩΩj
≈ ≈ ≈ ≈ ≈
n‚ o o o n

œfi
fi
w™ w™ ™™
II IV

B ∑ n n
n
nȮ OÓ OÓ ∑ n ∑
III

≈ ≈
Äo ≈ Ä Äo Œ ™
lead lead lead
oo o oo o
‚ ™ ‚™ ‚™ Œ ™ Äo Œ™ jfi IVoΩΩ ≈ ≈ ‚œ ™ ‚œ ™ ‚œ ™ œ
lead
oΩΩ
II
oo o
II

n‚ ™ ‚œ ™™ ‚œ ™™ n~ ™
o
~™ ™ ™ ™ ™ ≈™
III
o
III

fi oΩΩ
III

™™ w
III
n n
n Ϫ Ϫ
? jfifi fijfi
n
nœ ™ œ™ œ™ œ™
n‚

û n‚ n‚
o
Villa Massimo, Roma
5.7.2011 / 29.11.2011