Asking Ocean - Marc Sabat

Marc Sabat
Asking ocean
for solo string quartet
and 18 instruments
PLAINSOUND MUSIC EDITION

for Harry Partch
who opened a door and went outside
(1901-1974)
Asking ocean (2016)
for solo string quartet and 18 instruments
String Quartet (2 Violins, Viola, Violoncello)
Flute 1 (also Piccolo, Alto Flute, Bass Flute)

Flute 2 (also Alto Flute, Bass Flute)
Oboe (also Bass Oboe)
Clarinet 1 in Bb (also Bass Clarinet)
Clarinet 2 in Bb (also Bass Clarinet with low range to sounding B, written C#)
Alto Saxophone in Eb
Double Horn (score is written for a horn with lengthened 3rd valve and quartertone 4th valve)
Trumpet 1 in Bb (also Piccolo Trumpet in Bb)
Trumpet 2 in Bb (also 4-hole Natural Trumpet tuned to concert C+47c)
Tenorbass Trombone
5-valve F-Tuba
Percussion 1 (Glockenspiel, Vibraphone, Tuned objects — see scordatura pages)
Percussion 2 (Crotales, Marimba with 5 altered pitches — low range from Gb2, Tuned objects — see scordatura pages)
Chromatic Pedal Harp in a scordatura tuning
2 Manual Harpsichord in a scordatura tuning (5-octave range Gb1 to F6) (also Piano)
Violin in a scordatura tuning
Viola in a scordatura tuning
Violoncello in a scordatura tuning (also 7-string Bass Viola da Gamba in a scordatura tuning with double frets)
commissioned by Sonar Quartett for the musicians of the Ensemblekollektiv Berlin

made possible by a grant from the Ernst von Siemens Musikstiftung
premiere : Festival Ultraschall, Berlin, January 2017
About the music
Asking ocean (2016) is a work for solo string quartet and ensemble based on a previous work,
Euler Lattice Spirals Scenery (2011). This string quartet was composed in Rome during a one-year
residency at the Villa Massimo, and premiered by Sonar Quartett on 20 October 2011. The musical
form follows from establishing and exploring microtonal variations of intonation, based upon an
interlocking network of harmonically related pitches tuned in extended just intonation.
The work is divided in seven parts, played mostly without pause:
Prelude (intonation) — Pythagoras Drawing 1 – Harmonium for Claude Vivier – Interlude

(intonation) — Harmonium for Ben Johnston – Trill flowers fell — Pythagoras Drawing 2.
The form of the earlier composition has been extended with additional material. The initial
tuning of open strings in “Prelude”, beginning with the Kammerton “A”, interweaves passages
establishing the tuning relationships of the scordatura string instruments and natural trumpet.
In the first “Drawing”, the winds join, tuning with the Pythagorean bordun tones of the quartet
open strings and sketching melodic fragments touching the higher harmonics 5, 7, 11.
The “Vivier” sections features the quartet musicians playing solo without ensemble, exploring
natural harmonics of their open strings in a sustained ecstatic melody. The following
“Interlude” is a brief second intonation, featuring the tuning of the scordatura viola da gamba,
harp and harpsichord, which become a kind of microtonal continuo ensemble in the following
“Johnston” section. Here instruments from the larger ensemble join, support and at times reveal
the string quartet’s gradual microtonal journey through Leonhard Euler’s harmonic lattice of
major and minor triads linked by common tones. They colour and extend the quartet’s pure,
consonant world of untempered major and minor triads, including recurring echoes of dissonant
microtonal commas and higher harmonic partials tuned above and below the fundamental pitches. As
the quartet gradually and imperceptibly moves away from the conventionally tuned pitches, these
“near-tempered” tones are taken up by other instruments, suggesting distant harmonic
relationships connecting the lattice-map of harmonic space. At the same time, the scordatura
instruments with fixed pitches based upon these higher harmonics help to support and anchor the
quartet’s microtonal modulations. In the following pages, a diagram of the 99 tones and the
nearby higher partials is included.
“Flowers” adds an entirely new section in which the quartet takes the role of a sotto voce
cantus firmus, playing a quartertone chorale slowly spiralling downward over the course of five
transformations, with freely ornamentaed overlays played by changing intrumental subgroups of
the ensemble collective. Each time the uppermost chorale voice falls an octave, until finally,
the Ivesian harmony of the quartet is revealed, quiet and alone. The “Drawing 2”, backwards and
transformed, suddenly closes the music box, bringing us back to the A with which we began.
ii
About the notation
The use of extended just intonation applies both to vertical, harmonic structures and to melodic
sequences of tones, asking players to hear and play many pitches which depart from conventional
tempered tones. There is no fixed system, scale or number of tone-divisions, instead the entire
tonal continuum is imagined as a fabric connected by rational interval relationships based on
interlocking harmonic series. These relationships are are indicated in the score by attaching
small numbers to each pitch, indicating cents (1/1200 octave), measured as deviations from the
nearest tempered pitch. When the deviation from the spelling of the pitch would have exceeded
±50c, the nearest sounding pitch-class is written to facilitate work with an electronic tuner.
The ensemble chooses its Kammerton frequency based on the tuning of the fixed pitch percussion
instruments, so that each individual player may rehearse using a clip microphone and electronic
tuning device set to this chosen reference. In a performance, it is likely that the overall
tuning will deviate at times, so it is important to explore several possible alternate fingering
scenarios to be able to flexibly adapt to unexpected changes in the intonation.
More important than static, absolute pitch height is the players’ perception and musical
articulation of consonant harmonic relationships, which are dynamic and moving interactions of
tones and their harmnonics. Several complementary notations indicate the intervallic
relationships which allow pitches to be adjusted in context. The accidentals used are based on
the Extended Helmholtz-Ellis JI Pitch Notation, which uses different symbols to show the
characteristic tuning of various natural harmonic series primes:
3 (Pythagorean, fifths and fourths) is represented by using the conventional series of flats,
naturals, sharps: therefore flats are tuned lower than enharmonically similar sharps by a
Pythagorean comma, approximately 1/9 tone (23.5c);
5 (Ptolemaic, the consonant thirds and sixths) by attached arrows indicating the syntonic comma,
lowering the Pythagorean ditone by approximately 1/9 tone (21.5c) to make a major third;
7 (Septimal, the bluesy low natural seventh and minor third) by Tartini’s 7-like half-arrows
indicating the septimal comma, lowering the Pythagorean intervals by approximately 1/7 tone
(27c);
11 (Undecimal, the natural fourth-plus-quartertone) by Richard Stein’s reverse flat and cross
indicating the 32 : 33 quartertone (53c);
13 (Tridecimal, the neutral sixth) by quartertone symbols with a second vertical stroke
indicating the 26 : 27 thirdtone (65c);
T (equal tempered half- and quartertones) are given by conventional accidentals with a small
horizontonal line; sometimes also combined with cents deviations to indicate an exact microtone.
Please also see the following legend with symbols of the Helmholtz-Ellis Notation.
To help read the microtonal accidentals, or to clarify the characteristic sound or function of
certain pitches, additional numerical notations are used. Readily tunable harmonic (vertical)
pitch relations are written as frequency ratio fractions in boxes, representing simple consonant
intervals. For example, a natural major third might be written as 5/4 (the interval between
harmonics 4 and 5 of the series). In the following pages tables of tuneable intervals and of the
harmonic series in HE notation are included to provide examples of these ratios.
Another indication used in the score consists of a harmonic series number (3, 5, 7, 11, 13)
combined with either “u” or “°” to indicate the function of a tone. For example, 7° means
“sounds like a natural 7th harmonic above something” and u11 (under-11) means “tuned a
quartertone plus fourth below something, which would then sound as its 11th harmonic”.
Melodic intervals are often written as ratios and cent distances positioned between notes, using
a colon notation. For example, the diatonic semitone 15 : 16 = 112c.
In general, the composition attempts to provide consonant pitches in the instrumentation to

allow the various microtones to be realised by ear, however, the sometimes dense microtonal
counterpoint creates beatings and collisions which may disorient the ear. The style of
articulating pitches in this context is perhaps closer to that in Byzantine song or Turkish,
Arabic, Persian or Indian traditions, where the microtonal sruti-region of a complex pitch
relationship is brought into awareness, and its exact, precise tuning found in the course of a
subtle portamento into the center of pitch, rather than the Western convention of experiencing
an "in tune" / "out of tune" dichotomy based on static pitch. The intention of the intonation is
to maximise the resonance and sensation of both consonance and dissonance, the impression that
melody and harmony are interwoven in a beautiful, at times complex network of relationships
perceptible to the ear, interacting tonally at all times.
iii
About the instruments
A number of instruments are given special scordatura tunings to more reliably provide some fixed
microtonal pitches. On the following pages, charts are provided describing details of the
various scordature. Small sequences of chords and little examples combining the instruments are
included in the table and may be used freely, modified and extended as needed when tuning before
a rehearsal or performance. All of the preparatory sounding of the tuning, hearing the intervals
and their manifold relationships unfold may be considered a kind of ongoing overture-extension
to the written piece, played ad libitum, and flowing into the explicitly composed “intonations”.
For the woodwind players, the use of instruments with dedicated quartertone keys (for example,
Kingma System flutes, Howarth-Redgate oboes, etc.) is highly advised to come as close to the
required pitches as possible. Adjustments of embouchure, though absolutely necessary when
producing the pitches, are not sufficiently accurate or reliable used on their own to realise
this score with the necessary accuracy. Seeking out alternate fingerings with clear and steady
timbre (even if unusual or melodically quite varied) is recommended. Conventional fingerings
should be tested with a tuner to determine their tendencies, which will vary from instrument to
instrument.
The brass use valve tunings based on just ratios as described in the tables, and unconventional
valve combinations are used to provide a larger microtonal gamut. Suggested fingerings to get
close to desired pitches are given in the score, but players are encouraged to seek out other,
possibly better solutions which facilitate the accurate and expressive realisation of the
written pitches. Sometimes it may be more musical to use more lip adjustment or a temporary
change of valve-slide position to obtain a suitable timbre or to articulate small microtonal
variations. Mutes which allow accurate tuning may be used when their colour benefits balance and
harmonic clarity, the realisation of an appropriate dynamic, ad libitum, but they are not
specified in the score.
The tempered (fixed-pitch) percussion — Glockenspiel, Vibraphone, Crotales and Marimba — should
be chosen so that their frequencies are as close to equal-tempered tuning as possible, sharing
the same reference frequency in Hz. This frequency will determine the Kammerton shared by the
ensemble when setting tuning meters and used for tuning the scordatura fixed pitch instruments.
The percussionists are also asked to assemble a heterogenous set of tuned objects to form a
specific microtonal scale and additionally to lower 5 tones of the marimba to the pitch-height
of the natural 7th harmonic. The pedal harp and harpsichord are tuned microtonally, as are the
ensemble strings: violin, viola, cello and a 7-string bass viola da gamba with double frets.
The harpsichord and the harp are to be subtly reinforced with amplification. The impression for
the ensemble and the audience should be of a natural, acoustic balance.
The dynamic level is, for the most part, soft. The ensemble shades and colours, only rarely
envelops, the solo string quartet, which (even when very soft) should remain at the centre of
the music. Written dynamics are mere suggestions to phrasing and articulation, and may be
interpreted with freedom. Because there are many sustained tones, musicians may breathe or
change bow whenever needed. Seek timbres which maximise harmonic interaction and blend with each
other and with the other instruments.
Regarding the flow of time, the perception of intonations and modulations, swiftly but fully and
clearly revealed, should inform pacing. The music is never metronomic, with the exception of the
“Vivier” movement for solo quartet. In “Flowers”, the time should flow particularly slowly and
flexibly. Each “bar”, conducted and felt mostly in 1, is part of a larger grouping of bar-units,
which articulate an underlying harmonic chorale. Time may be plastic rather than strict,
responsive to the density of material and the particular circumstances of each performance. The
vertical coordination between instruments may at times need to be clearly, precisely realised,
and at other times may take place more freely, independently.
To provide an overview of fermatas and of the harmonic skeleton, there is a two-stave cue line
provided in the score. This is given simply as an aid to conducting the work and to pointing out
some of the tonal references or composite melodic lines, and as not intended as a full particell
of “primary” material to be highlighted. In the “Johnston” movement, each bar is based on one
central tone, above or below which a triadic harmony and various higher partials are
articulated. These central tones are indicated either with “1°” (above which harmonic intervals
form a major triad) or “u1” (below which subharmonic intervals form a minor triad).
The music is dedicated to Harry Partch, who introduced the 11-limit.
Berlin, November 2016

iv
STAGE PLAN
Harpsichord
(amplified)
Piano
(without Harp
lid) (amplified)
Perc1 Tp2 Perc2

Glock Crotales
Tp1 Tb
Vibes Marimba
Hn
Ob Sax Tuba
Fl2 Cl1
Ens Vla
Fl1 Ens Vc
Ens Vl Gamba Cl2
SQ Vl2 SQ Vla
SQ Vl1 SQ Vlc
Conductor
v
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.
vi
ACCIDENTALS EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION

for Just Intonati on
designed by Marc Sabat and W olfgang von Schweinitz
The exa c t int o nat i o n o f e ach p it ch m ay be wr it te n out by means of the fo l l o wi ng ha r m o ni c a lly-defined signs:
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 2 1 . 5 cents
cltT Ggpx lowers / raises by two syntonic commas

ci r c a 4 3 cents
< > lowers / raises by a septimal comma

64 : 63 = ci rc a 2 7 . 3 cents
• ¶ lowers / raises by two septimal commas

ci r c a 5 4 . 5 cents
4 5 raises / lowers by an 11-limit undecimal quarter-tone

33 : 32 = ci rc a 5 3 . 3 cents
0 9 lowers / raises by a 13-limit tridecimal third-tone

27 : 26 = ci rc a 6 5 . 3 cents
: ; lowers / raises by a 17-limit schisma

256 : 255 = cir c a 6 . 8 cents
/ \ raises / lowerss by a 19-limit schisma

513 : 512 = cir c a 3 . 4 cents
∞ ±# raises / lowers by a 23-limit comma

736 : 729 = cir c a 1 6 . 5 cents
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.
vii
VORZEICHEN EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION

für die natürliche Stimmung
konzipiert von Marc Sabat und W olfgang von Schweinitz
D ie S t im mung jedes Tons ist mit fo lgenden har m o nisch definie r ten Vo r z e i chen ausnot ie rt :
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 2 1 . 5 cents
cltT Ggpx Erniedrigung / Erhöhung um zwei Syntonische Terzkommas

ci r c a 4 3 cents
< > Erniedrigung / Erhöhung um ein Septimenkomma

64 : 63 = ci rc a 2 7 . 3 cents
• ¶ Erniedrigung / Erhöhung um zwei Septimenkommas

ci r c a 5 4 . 5 cents
4 5 Erhöhung / Erniedrigung um den undezimalen Viertelton der 11er-Relation 33 :

32 = cir c a 5 3 . 3 cents
0 9 Erniedrigung / Erhöhung um den tridezimalen Drittelton der 13er-Relation 27 :

26 = cir c a 6 5 . 3 cents
: ; Erniedrigung / Erhöhung um ein Siebzehner-Schisma

256 : 255 = cir c a 6 . 8 cents
/ \ Erhöhung / Erniedrigung um ein Neunzehner-Schisma

513 : 512 = cir c a 3 . 4 cents
∞ ±# Erhöhung / Erniedrigung um ein Dreiundzwanziger-Komma

736 : 729 = cir c a 1 6 . 5 cents
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.
viii
23-LIMIT TUNEABLE INTERVALS below “A4”

tested and notated in three gradations of difficulty (large open notehead = easiest ; small black notehead = most difficult)
by Marc Sabat (violin/viola) with assistance from Wolfgang von Schweinitz (cello), Beltane Ruiz (bass), Anaïs Chen (violin)—Berlin, 2005
1/8 3/23 2/15 3/22 1/7 4/27 3/20 2/13 3/19 4/25
0 +12 +31 +16 C# -41 +4 +27
? 6e % f% 5% >w ne o% 9w *v % ge
‹ jw
-26 -49 -6
1/6 4/23 3/17 5/28 2/11 3/16 4/21 5/26 1/5 5/24
+14
+17 +2 +29 +46
? nw 6e E ;u w >u E 5w nw >E 9m E ow uE
‹ -2 -28 -3 Eb +49 -16
4/19 3/14 5/23 2/9 5/22 3/13 4/17 5/21 6/25

G# -39 +29
+2 +33 +16
? *v E >v w 6m E nw 5u E 9w ;u E >u e gE ?
‹ -42 -4 G +35 -5
1/4 7/27 6/23 5/19 4/15 3/11 5/18 2/7 7/24

+12 +31
? <e e 6e e fw 5w mw >w <e
nw *u E
-37 -26 -49 -33
-11 -18
5/17 8/27 3/10 4/13 5/16 6/19 7/22 8/25 9/28

+16 C# -41 +4 +27 +35
? ;t E ne ow 9w uw *v e 5< e ge >v e
-19 -6 -14 -82
1/3 8/23 7/20 6/17 5/14 4/11 3/8 5/13 7/18

+17 +2 +46
? nw 6e E <f E ;u E >u w 5w nw 9m E <E
-2 -28 -17 -3 -51 -35
2/5 7/17 5/12 8/19 3/7 4/9 5/11 6/13 1/2

+14 +2 +33 G# -39
? ow ;<u E uw *v e >v w nw 5uE 9E nw
-36 -16 -4 G +35
12/23 8/15 7/13 6/11 5/9 4/7 7/12 3/5 8/13

+12 +28 +16 C# -41
+31
? 6e e fe 9<e E 5E mw >w <E ow 9E
-26 -49 -18 -33
5/8 7/11 9/14 2/3 11/16 9/13 7/10 5/7 8/11

D# -49 D# -37 +17
+35
uw 5< E >v e nw 4e 9e <f E >u w 5e
? -17 -51
-14 Db +18 -2
3/4 10/13 7/9 4/5 9/11 5/6 6/7 7/8 1/1

+14 +33
+2 +46
nw 9m E <w ow 5v e uw >v w <E nw
-31
? -35 -47 -16
ix
23-LIMIT TUNEABLE INTERVALS above “A3”

notated using the Extended Helmholtz-Ellis JI Pitch Notation with cents deviations from 12-tone equal temperament based on A = 0 cents
microtonal accidentals designed by Marc Sabat and Wolfgang von Schweinitz, 2004
1/1 8/7 7/6 6/5 11/9 5/4 9/7 13/10 4/3

+31 +16 +47 +35
& <w ow 4e uw >v w 0o E nw

Lw >E -33 -14 -46 -2
11/8 7/5 10/7 13/9 16/11 3/2 14/9 11/7 8/5

D# -49 +17 +2 F -18 +14
& 4e <f w >u E 0e 5e nw <e 4> E ow

-17 Eb +37 Eb +49 -35
13/8 5/3 12/7 7/4 9/5 11/6 13/7 15/8 23/12

+33 +18 +49 +26
& 0v E uw >v E <w ow 4E 0>v E ue 3v e

F +41 -31 -28 -12
-16
2/1 13/6 11/5 9/4 7/3 19/8 12/5 17/7 5/2

B -35 +16 +36
+4
& nw 0E 4f E nw <w /e ow :>o E uw

Bb +39 -33 -2 -14
18/7 13/5 8/3 11/4 14/5 17/6 20/7 23/8 3/1

+35 D# -49 +3 +17 +28 +2
>v E 0o E nw 4w <f w :f E >u E 3v E nw

&
-46 -2 -17
28/9 25/8 22/7 19/6 16/5 13/4 10/3 27/8 17/5

+14 +19
F -18 +6
<e te 4> e /e ow 0v w uw ve :g E
&
-35 -27 -4 F +41 -16
24/7 7/2 18/5 11/3 15/4 19/5 23/6 27/7 4/1

+18 +11
+33 +49 +26 +37
>v e <w ow 4w uw /f E 3v e >v e nw
& -31 -12
25/6 21/5 17/4 13/3 22/5 9/2 23/5 14/3 19/4

+5 B -35 +42
+4
te <f e :f E 0w 4f e nw 3o E <w /E
& -29 -16 Bb +39 -33 -2
24/5 5/1 26/5 21/4 16/3 11/2 28/5 17/3 23/4 6/1
+16 D# -49 +3 +28 +2
oE uw 0o e <E nw 4w <f E :f w 3v E nw
-17
& -14 -46 -29 -2
25/4 19/3 13/2 20/3 27/4 7/1 22/3 15/2 23/3 8/1
+6 +49 +26
tE /w 0v w uw ve <w 4w uw 3v w nw
-27 -4 F +41 -16 -31 -12
&
x
THE HARMONIC SERIES 1 - 64 above “A0” (overtone row)

notated using the Extended Helmholtz-Ellis JI Pitch Notation
microtonal accidentals designed by Marc Sabat and Wolfgang von Schweinitz, 2004
+2
? +2 nw <w nw
0 nw uw
nw -31
1 jw 2 nw 3 4 5 -14 6 7 8
“‘
D# -49 +2
& +4
4w nw 0vw <w uw nw
9
nw 10
uw 11 12 13 F +41 14 -31 15 -12 16
-14
+5 D# -49 +28 +2
+4
:f w nw /w uw <w 4w 3v w nw
& -29
17 18 19 -2 20 -14 21 22 23 24
+30
+6
tw 0v w vw <w 2o w uw -5 w nw
& F +41 -31 -12 Ab +45
25 -27 26 27 28 29 30 31 32
+5 B# -49
A# -47 +4
4w :f w <m w nw ä4 w /w 0v w uw
& -45 -2 C +42 -14
33 34 35 36 37 38 39 40
+29 +12 D# -49 +28 E -34 +2
{w} w <w öw 4w uw 3v w üv w nw
-29
-10
&
41 42 43 44 45 46 47 48
+7 +6 +38
Ow tw :o w 0v w åu w vw 4u w <w
-31
F +41 -26
E +38 -27
&
49 50 51 52 53 54 55 56
+30 G# -41 +17

/w 2o w øw uw øu w -5 w <w nw
-1 -27
-12 Ab +45
&
57 58 59 60 61 62 63 64
SCORDATURE xi
Brass
Valve-slide tuning for double horn with extended length 3rd valve and quartertone valve to produce a descending subharmonic series of fundamentals
in the proportion 30 : 31 : 32 : 33 : 34 : 35 : 36 : 37 : 38 : 39 : 40 : 41 : 42 : 43 : 44 : 45.
Please check white noteheads first, then verify the descending series, making compromises where necessary.
The main slide is tuned slightly high for both Bb+12 and F+14 sides of the double horn so that the untempered 5. partials D-2 and A+0 match the open strings.
The 2nd valve is tuned to produce a large diatonic semitone 16 : 15 = -112c.
The 1st valve is also made slightly longer so that in combination 1+2 produces a just minor third 6 : 5 = -316c.
The specially lengthened 3rd valve is tuned so that 2+3 produces a just fourth 4 : 3 = -498c.
The quartertone 4th valve is adjusted so that the combination of all valves lowers by a just fifth 3 : 2 = -702c.
The pitches are written sometimes (in simpler cases) as Helmholtz-Ellis accidentals, to indicate the proportional harmonic relationship.
Otherwise, the nearest tempered quartertone is given, using accidentals modified with a small horizontal line to resemble the letter “T”.
Fingerings given in the score are deduced from harmonic series of these valve-combinations to approximate the microtonal pitches.
Since actual overblown series are not always exactly harmonic, and may be adjusted by various lip and hand corrections,
the player is encouraged to find the best sounding alternate fingerings by experimentation using this table as a starting point.
B0 B0 B2 B2 B1 B1 B1 B1 B3 B3 B2 F0 B2 F0 B1 F2 B1 B1 F2 B1 F1 F1 F1 F1 F3 F3 F2 F2 F1 F1 F1 F1
8 2 42 2 42
HORN o ˙ R4œ n˙ 5œ
4
z œ >o œ
4 2
n˙ Iœ
42
zœ
4
9œ
3 43
o˙ o˙ jœ Rœ >œ n˙ jœ
4 3 43 3
5œ 5œ f˙
4 3 4 2 42 4 3 43 3 43 3 3
in F & z œ >o œ n˙ Iœ zœ 9œ o˙ jœ >v œ z œ 5v œ o ˙

+12 Bb-45 0 Ab+47 -5 +45 -4 -51 +2 F#-42 +14 +14 -29 F-43 +29 +2 -12 -51 Eb+49 +10 -3 +47 -2 -49 +4 C#-41 +16 -27 +31 -10 -49 +12
Natural trumpet with 4 venting holes, combining an A-415 Bb yard and a Bb lead-pipe with a D crook to produce the fundamental C+47c measured at modern concert pitch.
The actual pitches of the natural series are written at sounding pitch, inflected in the score with microtonal accidentals which may be ignored when playing..
In the table below they are also indicated by white noteheads with boxed numbers indicating harmonics of the quartertone-high C, 11° over Pythagorean F.
Please adjust pitches when playing to produce the harmonic series as close to its untempered tuning, indicated in cents.
Additional tones are produced by opening various combinations of the four venting holes and by lipping.
Open holes are indicated as combinations of the symbols T,1,2,3 to show the finger(s) to be lifted.
Various pitches within one bar to be produced by slight embouchure adjustment.
Ord. is written when playing ordinary harmonics with all holes covered.
harmonic # : 4 (fingering : T 5 6 7
(T)2 3 (T)234 T (T)2 (T)3 (T)234
+47
open holes) +25 +30 D+37 +39 Eb+37 +2 ord. (all holes covered) +49 +43 ord.
NATURAL eœ uœ lœ nœ Hœ pœ f˙
TRUMPET & 4 > œ 4m œ 5u œ H œ e œ kœ nœ > œ 4m ˙ h œ p œ s œ 4 ˙
˙ -12 +41
+12
+29 +34 +43 +45 G+45 -14 -12 -43
8 9 10 11 12 13 14 15 16
T 3 234 ord.
ord. ord. ord.
4m ˙ sœ
ord.
z˙ 4ord.
˙ uœ j˙ ford.
˙ 4mord.
˙ 4ord.
˙
& mœ sœ 4˙ 4˙
-27 +47 +51 +34 -1 +49 -12 +12 +36 +47
C+43 -49
Piccolo trumpet in Bb with four valves, tuned to natural intervals.

Please check cents deviations of white noteheads first, followed by unisons with the valve combination 1+4, then verify the remaining combinations, adjusting valve slides as needed.
Open trumpet should sit comfortably on the slightly high side (sounding Bb+12).
The 2nd valve is tuned to produce a large diatonic semitone 16 : 15 = -112c down to concert A.
The 1st valve is tuned to produce a Pythagorean wholetone 9 : 8 = -204c (sounding Ab+10). please check possibility of
The 3rd valve and open trumpet should match well on the written E (sounding D-2c) unison. lipping bracketed tones in tune
1 V
0 2 1 1 3 0 2 1 1 4 1
3 2
2 3 v 3 3
n˙ oœ n˙ uœ vœ f˙ nœ o˙ jœ zœ jœ n˙ uœ n˙ ˙ fœ nœ fœ
3
4m œ j œ 4m œ 4 œ 5o ˙ 5 œ 5o œ < œ hœ gœ hœ
PICCOLO
TRUMPET in Bb
& o˙ +14
+12 -2 +14 0 -14 +2 +8 -6 +10 +8 -6 +10 -4 -18 -2 +2 -11 +4 oœ +24 +10 +26 +47 -40 -53 -38 -33 +43 +29 +45
V
check unisons 1 1
2 2 2 3 2 1 1
4 1 1 1 3 1 0 2 3 3 2
4 4 4 4 4 4 4
v 4œ 4 4 3
& uœ tœ uœ 4o œ 4 œ 4o œ o˙ ˙ n˙ ˙ o˙ ˙
p œ w œ p œ +51 > œ >u œ > œ lœ sœ lœ aœ jœ aœ
4 4m œ
4m œ z œ +28
-20 -33 -18 E-37 +47 B-35 +10 -4 +12 +27 +43 +12 +36 -43 -21 -5 +12
+41 +25 -45 F+41 -7 +26
Trumpet in Bb with freely moveable slides on 1. and 3. valves.

Please check cents deviations of white noteheads first.
Open trumpet should sit comfortably on the slightly high side (sounding Bb+12).
The 2nd valve is tuned to produce a large diatonic semitone 16 : 15 = -112c down to concert A.
Lower limit of valve slides 1 and 3 may vary, in this table they cover ca. -70c, and fingerings given in the score are based approximately on this range of alteration.
Since there are often alternate fingerings and lip adjustments possible, the players are encouraged to find the best sounding alternate fingerings by experimentation using this table as a starting point
+14
7 <f œ <œ <f œ
ù oœ jœ 5< œ <œ zœ <f œ jœ jœ ,œ <œ jœ <m œ aœ
& -19 -31 -23 -19 E+12 -35 -6 -27 +4 -7 D+34 -29 +8 -51 0
6 +47
oœ vœ oœ >o œ jœ 5œ n˙ gœ fœ pœ 4m œ <œ vœ 5œ uœ pœ
&
+14 +2 +10 +10 Db+45 -2 +27 +6 +37 +26 -33 +4 B+41 -18 +33
TRUMPET
5 +31
in Bb n˙
&
uœ nœ >v œ zœ 5u œ uœ oœ nœ oœ jœ <m œ uœ 5m œ tœ oœ
-2 -14 -6 -6 Bb+29 -18 +12 -10 +22 +10 -49 G#+25
-12 -33 +18
4 0 2 1 1w 1 1w 3 3w 2 2 1 1 1w 1 1 1w
2 2 3 3w 3 3w 3w 2 2 2
{û
& o˙
+12
Tenorbass trombone in Bb and F.

n˙
0
White noteheads indicate the fundamental pitch-class in each position (8. Partial).
f˙
+8
>o œ
+45
Bracketed notes indicate enharmonically respelled (simplified) variants of the respective partials. other pitches are wriiten in Helmholtz-Ellis notation.
+8
jœ
Gb+43
5œ
The main slide is to be tuned to a slightly high Bb+12 in position Bb I and the trigger-valve-slide shortened so that it makes a true perfect fourth 4 : 3 = -498c down to F+14 in position F I.
n˙
-4 +25
gœ fœ
+4
pœ
+35
4m œ
+24
<œ
-35
vœ
+2 E+39
3
5œ
3w
uœ
-20 +31
3w
pœ
Changing the trigger while keeping more or less the same slide position to obtain microtonal pitch relationships is indicated in the score with a *.
Since actual overblown series are not always exactly harmonic, in practice notes will need slight corrections to create the true “natural” relationships.
Bb I Bb I -63c Bb II
TROMBONE ù f˙ oœ >o œ nœ
Bb-side & nœ oœ <f œ >o œ oœ >o ˙ nœ <œ n˙
+12 >v œ +49
uœ 0
F I F I -49c *F
Bb II
TROMBONE
{ & <f œ o ˙ o œ nœ 4f œ o œ ,e œ <˙ <œ <m œ fœ <œ
> ˙ >v œ >u œ 4> œ >œ
F-side û -35
nœ
+14 +29
*Bb Bb III *Bb Bb IV

ù F II F III
& 4f œ gœ 4f ˙ 4f œ fœ <fœ f˙ fœ oœ >o ˙ >o œ <œ n˙ nœ
4œ A-39 nœ +8 >œ >o œ +45 mœ nœ -4
F II *F F III *F
Bb III Bb IV
{ & n˙ vœ uœ 4œ nœ 4f ˙ 4o œ 4œ oœ 4f œ f˙ oœ nœ 4f œ fœ t œ 0o œ >u œ tœ
û <œ gœ <f œ 0v œ t˙
+2 E-37 +10
-31
Bb V Bb VI *Bb Bb VII
ù F VI
& fœ <œ f˙ fœ <f œ o˙ oœ ,e œ <˙ <œ <œ n˙ vœ
eœ -4 nœ oœ +14 <m œ <œ -35 uœ nœ +2
F IV *F F VI *F
Bb VI Bb VII
{û
& <œ n˙
-2
nœ uœ 4œ nœ
<œ
+27
g˙ gœ oœ m œ nœ
<m œ
-14
u˙ uœ t œ 4u œ uœ
fœ
+43
>o ˙ >o œ >œ u œ >o œ
5-valve F-tuba with valve-slides tuned to natural intervals.

Please check white noteheads first, then verify the descending series, making compromises where necessary.
The main slide is tuned slightly high to F +14 so that the untempered 5. partial A matches the ensemble’s Kammerton.
The 2nd valve is tuned to produce a large diatonic semitone 16 : 15 = -112c (E+2).
The 1st valve is also made slightly longer so that it produces a Pythagorean wholetone 9 : 8 = -204c (Eb+10).
The 3rd valve is tuned to a just minor third 6 : 5 = -316c (D-2).
The 4th valve is tuned to a perfect fourth 4 : 3 = -498c (C+16).
The 5th valve is tuned so that the combination 4+5 produces a perfect fifth 3 : 2 = -702c (Bb+12) and 5 on its own produces the septimal minor third 7 : 6 = -267c (D+47).
The pitches are written sometimes (in simpler cases) as Helmholtz-Ellis accidentals, to indicate the proportional harmonic relationship.
Otherwise, the nearest tempered quartertone is given, using accidentals modified with a small horizontal line to resemble the letter “T”.
Fingerings given in the score are deduced from harmonic series of these valve-combinations to approximate the microtonal pitches.
Since actual overblown series are not always exactly harmonic, and may be adjusted by various lip and air pressure corrections,
the player is encouraged to find the best sounding alternate fingerings by experimentation using this table as a starting point.
+14 +2 +10 +47 +10 -2 -49 +4 C#-29 +26 +16 -17 -27 +43 +31 -10
5-VALVE F-TUBA
? o˙ n˙ f˙ >o ˙ jœ n˙ Iœ zœ Rœ jœ o˙ jœ jœ Rœ >˙ jœ
0 2 1 5 1 3 2 2 1 1 4 1 3 3 2 2
2 5 3 5 3 2 5 5 4 3
5 5
-39 +21 +12 -17 -26 +46 +36 0 A-27 Ab+38 +4 -5 G#-30 +28 -28 +10
? Iœ aœ f˙ aœ aœ Rœ Rœ n˙ 9f œ Iœ zœ zœ Rœ Rœ Iœ zœ
1 1 4 1 3 1 2 2 1 1 1 3 1 2 2 1
4 3 5 2 4 2 4 3 4 3 2 4 2 3 3 2
5 4 3 5 4 5 4 4 5 3 4 4 3
5 5 4 5 5 4
5
xii
Percussion
Percussion: select fixed-pitch instruments (crotales, vibraphone, glockenspiel, marimba) with the same reference frequency and verify that the pitches match closely in all registers.
The common frequency of A4 will determine the choice of ensemble Kammerton.
The marimba has five specially prepared tones, lowered about -31c to match the natural harmonic sevenths of the respective tempered fundamentals, using plasticine or similar material.
Additionally, a scale of various tuned objects is to be chosen by the two players.
Any materials (metal, glass, tubes, bowls, plates, gongs, cowbells, mbira, etc.) may be included.
Seek out a variety of tone colours to create a diverse gamut of timbres identifiable as the written pitches and suitable for combination with harp and lute-stop harpsichord.
Choose mainly ringing sounds with, for the most part, somewhat longer decays, ranging in spectrum from a pure tone to somewhat complex mixtures of harmonics, but always with salient pitch.
Please measure the frequencies precisely, while playing at a generally soft dynamic; each sound should give the impression of having a primary or fundamental frequency at the pitch and in the octave written.
Fine-tune as needed by applying small amounts of plasticine or similar materials.
+47 E-37 +49 A-39 +12 B-35
& 4f ˙ 4˙ 4f ˙ f˙ 4f ˙
+14 4˙ n˙
TUNED o˙ n˙ n˙ -2
OBJECTS -4 0 +14
+12 +16 +51
+49
{ &
4˙ f˙ o˙ n˙
-2
4˙ o˙ n˙
-4
n˙
0
HARP ∑ e˙ e˙ v˙ e˙ v˙
(scordatura) {& e˙ v˙ e˙ v˙ n˙ v˙ v˙
v˙ e˙ v˙ v˙
ù ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& n˙ v˙ v˙
HARPSICHORD v˙ v˙
(scordatura)
{& n˙ n˙ e˙ n˙ e˙ n˙ e˙ n˙
û e˙ n˙ n˙ e˙ n˙ v˙ n˙ v˙
n˙
The following pitches of crotales occur.

Please choose instruments as close in tuning to the equal tempered pitches (0c) as possible.
› n˙ v˙ n˙ e˙ n˙
n˙ e˙ n˙ n˙ n˙ n˙
CROTALES & n˙ n˙ n˙ n˙
Please retune the following five marimba tones by adding a little plasticine or similar mass to the bars in such a manner to lower the fundamental without losing too much natural resonance.
The cents values indicated are the deviations of natural 7th harmonics from the open strings C-G-D-A-E tuned Pythagorean.
Because of the marimba’s tempered tuning and inharmonicity, these cent values may be slightly tempered, but should not deviate too far from -31c.
They should sound “ in tune” with each other (as fourths and fifths) and with the respective harp, harpsichord, ensemble viola/violin tones indicated below.
Lowest marimba pitch used in the score: Gb2
MARIMBA & -37<e ˙ <˙ <˙

<˙ <˙ -29
-35 -31
-33
& <e ˙ <˙ ∑ ∑ ∑

HARP
(sound)
? ∑ ∑ ∑ ∑ ∑
{
& n˙ v˙ ∑ ∑ ∑
HARP
(scordatura)
? ∑ ∑ ∑ ∑ ∑
{
& ∑ <˙ <˙ ∑
HARPSICHORD
<˙
(sound)
? ∑ ∑ ∑ ∑ ∑
{
ù ∑ ∑
& n˙ n˙
n˙
{ & ∑ ∑ ∑ ∑ ∑
HARPSICHORD
(scordatura)
? ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑
{
û
ù o < ˙o
VIOLIN ∑ ∑ ∑
(sound) & <˙
2°/IV 3°/IV
o o
VIOLIN ∑ ∑ ∑
(scordatura) { & nO nO
VIOLA B ∑ ∑
o
<˙ < ˙o ∑
(sound)
2°/IV 3°/IV
o o
VIOLA B ∑ ∑ nO ∑
(scordatura) {
û nO
xiii
Harp / Harpsichord
Chromatic pedal harp in a scordatura tuning: the cents values given are based on an “ideally adjusted” pedal mechanism producing tempered alterations of 100c.
In practice, these cents values may require subtle compromises to obtain good octaves and fifths in the various pedal settings.
Harp is notated twice in both score and parts: at sounding pitch (sound) and at playing pitch (scordatura).
Pedal indications for changing pitches are given in boxes below the scordatura staff.
Cautionary pedaling is indicated by notes in brackets.
+14 +49
& +12 +47 <˙
4˙ n˙ 4f ˙ o˙ 4˙ -37
o˙ B-37
-2
HARP Fb+12 Gb+47 Cb+14 Db+49

(sound) & 5< ˙ <m ˙ h ˙ 0o ˙ 4f ˙
5< ˙ <m ˙ h ˙ 0o ˙ :f ˙ 5<m ˙ <e ˙ E-37
-2 -37
+14 +49
{ & +12
f˙
The same tuning of the pitches
repeats in all octaves
+47
4˙ n˙
-2
4f ˙
A-37
f˙ 4˙ <e ˙
-37
& v˙ v˙
v˙ v˙ v˙ v˙ v˙
HARP
(scordatura) & n˙ n˙
n˙ n˙ n˙ n˙ n˙
{ &
e˙ e˙
The following sequence of chords moves through the main triadic consonances.
e˙
Please find a tuning which optimises the sweetness of as many of the chords as possible.
e˙ e˙ e˙ e˙
Note that the fifths between similar pedal settings (b-b, #-#) are the most pure.
4/3/2 10/6/5 6/4/3 4/3/2 10/6/5 4/3/2 10/6/5 4/3/2 8/5/4 4/3/2 6/4/3 4/3/2 8/5/4 4/3/2 4/3/2 6/4/3 21/14/12
& ™™ f ˙ n˙ n˙ 5<m ˙ 4f ˙ 4f ˙œ
444 ˙˙œ 444 ˙œœ 4œ ™™
ff ˙˙ fn ˙œ foo ˙˙œ o oo ˙œœ on ˙œ 5<5<5< ˙˙˙ 5<5<m ˙œ 444 ˙˙˙ 44f ˙œ 4f4f œ 4f4 ˙œ 4f ˙œ
4f4f ˙
<e ˙˙
<e<e ˙
<e<< ˙˙œ <en< œœœ
? ™™ ™™
{
repeat in all octaves ad lib.
& ™™ e ˙ e˙ v˙ n˙ eee ˙˙˙
e˙ nee ˙œœ evv ˙˙œ vvv ˙œœ vœ ™™
ee ˙˙ ee ˙œ evv ˙˙œ vvv ˙œœ vv ˙œ nnn ˙˙˙ nn ˙œ ee ˙œ vv ˙œ vnn ˙˙œ nee ˙˙˙ nvv ˙˙œ env œœœ
? ™™ ™™
{ E§ Fb Gb Ab
Db Bb Cb
F# C# A# F§ A§
C§
G# D# B# Eb
B§
E# Ab E§ Fb Gb (Ab)
Db Bb Cb
2-manual harpsichord in a scordatura tuning.

The two 8' registers are to be assigned to the two manuals (uncoupled) and tuned differently from each other as indicated below.
The 4' is not used, but if it resonates audibly, then it should be tuned to the manual it is linked to. A lute stop for both manuals is used in the score.
Harpsichord is notated twice in both score and parts: at sounding pitch (sound) and at playing pitch (scordatura).
The scordatura staff is written on 4 staves. The upper treble and bass staves indicate tones played on the upper manual, the lower treble and bass staves indicate tones played on the lower manual.
D#-49
+16 +47
& o˙ 4˙ <m ˙ n˙ 4˙ <m ˙ 4f ˙ m˙ <˙
-35
HARPSICHORD Db+49 -2 E-47 E-37 -20
(sound) +14 +49 A-39 0 +12 B-35
? o˙ u˙ <˙ n˙ 4˙ <m ˙ 4f ˙ n˙ f˙ 4f ˙ m˙ <˙
{ -16 -31 -4 A-49 -18 -33
Pitches repeat in all octaves of both 8' Manuals

ù
& e˙ n˙ e˙ n˙ n˙
HARPSICHORD
{ &
Spelling of played pitches in the score is always based on the note-names of the actual sounding pitches,
n˙ v˙ n˙ v˙ n˙
(scordatura) even if the resulting intervals are unusual!

? v˙ n˙ v˙ n˙ v˙ n˙ n˙
? n˙ e˙ n˙ e˙ n˙ e˙ n˙
{
û
The following sequence of chords moves through the main consonances.

Please find a tuning which optimises the sweetness of as many of the chords as possible.
9/6/4 7° 11°
& ™™ 44 ˙˙ 4 f f˙˙˙˙˙<e˙
4 ™™
o fo ˙˙˙ 4f4f ˙
nnn ˙˙˙
o˙
4fof ˙˙˙˙˙
˙ 4f ˙˙ f˙ ˙
7°
11°
nnn ˙˙˙ <<< ˙˙˙ mum ˙˙˙ <m<m<m ˙˙˙
˙ 11° ˙
mum ˙˙˙˙˙ 4< ˙˙ < 4emm ˙˙˙˙˙
? ™™ ™™
{ m˙
ù ™ ™™
& ™
repeat in all octaves ad lib.
{ & ™™ nv ˙˙ nen ˙˙˙ nen ˙˙˙ nen ˙˙˙ nnv ˙˙˙ e ˙ n˙
nennn ˙˙˙˙˙ n˙ ™™
v˙ e vn ˙˙˙ e˙ vne ˙˙˙ e˙
nvv ˙˙˙ nnn ˙˙˙ nvn ˙˙˙ nee ˙˙˙ nvv ˙˙˙ v˙
nnvnv ˙˙˙˙˙ n ˙ n ennn ˙˙˙˙˙
? ™™ e ˙ ™™
? ™™ ™™
{
û
xiv
Strings
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ n˙ ∑ ∑ ∑ 44 ˙˙ ∑
4 ff ˙˙˙
HARP
(sound) ? ∑ ∑ ∑ ∑ ∑ oo ˙˙ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ <˙
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ v˙ ∑ ∑ ∑ vv ˙˙ ∑
HARP een ˙˙˙
(scordatura) ? ∑ ∑ ∑ ∑ ∑ vv ˙˙ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ v˙
E§
E# F# G# A# Db
D# C# Bb
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
nnn ˙˙˙
∑ ∑ ∑ 444 ˙˙˙ ∑ 4f4f ˙
HARPSICHORD 4f ˙˙
(sound) ? ∑ ∑ <<< ˙˙˙ ∑ ∑ ∑ o fo ˙˙˙ ∑ ∑ ∑ ? ∑ ∑ ∑ ∑ ∑ ∑
{ &
nnn ˙˙˙
ù ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& nvv ˙˙˙
{ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
nen ˙˙˙
∑ ∑ ∑ nvv ˙˙˙ ∑
nen ˙˙˙
HARPSICHORD arpeggio ad lib.
(scordatura)
? ∑ ∑ nnn ˙˙˙ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
simile
? ∑ ∑ ∑ ∑ ∑ ∑ nen ˙˙˙ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{
û
Violin, viola, violoncello in a scordatura tuning.
The four open strings are retuned as indicated below.
String parts are notated twice in both score and parts: at sounding pitch (sound) and at playing pitch (scordatura).
Pitches in the sounding stave are indicated exactly, using Helmholtz-Ellis accidentals and cents.
Pitches in the scordatura stave are indicated using exact melodic cents, Roman numerals, harmonic numbers, and ratios, to help realise the microtonal tunings.
The occasionally occurring stopped pitches use an “approximate” accidental notation to indicate where the fingering would lie in a normal tuning of the respective string.
The players must produce the sounding pitches in these cases by ear.
+16 0 +51
VIOLIN ù ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4˙ 4˙ ∑ ∑
(sound) & n˙ n˙
<˙ <˙ o˙ o˙
-31 II II I I
III III
VIOLIN ∑ IV IV
∑ ∑ ∑ ∑ ∑ ∑ n˙ n˙ ∑ ∑
(scordatura) { &
n˙ n˙
+14
n˙ n˙ n˙ n˙
+49
4˙ 4˙
VIOLA B ∑ ∑ ∑ ∑ n˙ ∑ n˙ ∑ ∑ ∑ ∑
(sound) <˙ <˙ o˙ o˙ -2
-33 I I
II II
VIOLA
IV IV III III
n˙ n˙ n˙ n˙
B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(scordatura) { n˙ n˙
+12
n˙ n˙
+47
A-39
4f ˙
o
4f 4 ˙˙
VIOLONCELLO ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4˙ ∑ ∑ 4˙
(sound) n˙ n˙
f˙ f˙ -4 2°/II
o
VIOLONCELLO ? ∑ ∑ ∑
IV
∑ ∑
IV III
∑ ∑
III
II
n˙ ∑ ∑ n˙
II
nII˙ nn O˙
(scordatura) {
û n˙ n˙ n˙ n˙ I
7-string bass viola da gamba in a scordatura tuning with double frets at each chromatic pitch up to and including the octave.
Please adjust the position of each split fret to facilitate producing the indicated untempered cents deviations on each string as closely as possible.
The score and parts are written on two staves. The upper stave has the sounding pitches, written in Helmholtz-Ellis notation.
Tones one schisma apart are notated enharmonically, on the same fret, for example open III may be written as Eb or as D#-comma-down.
The lowers staff has the fingered pitches, written in Baroque tuning (A-D-G-c-e-a-d'). Arrows or sharp/flat spelling respectively indicate split frets (always one comma, ca. 22c, apart).
0
Fret 1a 1b 2a 2b 3a 3b 4a 4b 5a 5b 6a 6b 7 8a 8b 9a 9b 10a 10b 11a 11b
numbering t˙ u˙ l˙ m˙ t˙ l˙ m˙
l˙ m˙ s˙ t˙ l˙ m˙ s˙ t˙ l˙ m˙ s˙ t˙ l˙ m˙
ù? t ˙ B
-35 -45 -23 -53 -31 -41 -20 -49 -27 -37 -16 -47 -25 -33 -43 -22 -51 -29 -39 -18 -49 -27
BASS VIOLA
DA GAMBA I:0
n˙ v˙ e˙ m˙ o˙ m˙ o˙ v˙ e˙ m˙ o˙ v˙ e˙ n˙ v˙ e˙ m˙ o˙ m˙ o˙ v˙ e˙
I. string ? B
{ Ratios of fret
to open string 135/128 16/15 10/9 9/8 32/27 6/5 5/4 81/64 4/3 27/20 45/32 64/45 3/2 128/81 8/5 5/3 27/16 16/9 9/5 15/8 243/128
m˙ n˙ t˙ u˙ m˙ n˙ t˙ e˙ m˙ m˙ n˙ t˙ u˙ m˙ n˙ t˙ u˙
? m˙ t˙ e˙ l˙ m˙
-22 -29 -10 -39 -18 -27 -6 -35 -14 -23 -2 -31 -12 -20 -29 -8 -37 -16 -25 -4 -33 -12
II. string II:0 e˙ m˙ o˙ v˙ e˙ n˙ m˙ o˙ v˙ e˙ m˙ o˙ v˙ e˙

? n˙ v˙ e˙ m˙ o˙ m˙ o˙ v˙
{ Fret distance
in “commas” +4
(1/53 octave)
+1
+2
+3 +1 +4 +1
+6
+3 +1 +4 +1
+8
+3 +1
0
+4 +4 +1
+4
+3
m˙
+1
n˙
+4
u˙
+1
f˙
+3
m˙
+1
n˙
+4
? u˙ m˙ n˙ t˙ n˙ u˙ v˙ m˙ n˙ u˙ f˙ m˙ n˙ u˙ m˙ n˙
-22 -8 -18 -27 -6 -14 +6 -23 -2
-10 -20 -27 -8 -16 -25 -4 -12
III. string III:0 e˙ m˙ o˙ v˙ e˙
? n˙ m˙ o˙ v˙ e˙ m˙ o˙ v˙ e˙ m˙ o˙ v˙ e˙ n˙ m˙ o˙ v˙
{ +4 +16 +6 +20 +10 +2 +23 +14 +6 +18 +8
f˙
0
n˙
+22
o˙ u˙
+12
f˙
? n˙ n˙ o˙ u˙ f˙ n˙ o˙ u˙ f˙ n˙ o˙ n˙ o˙ v˙ n˙ o˙ u˙
-8
-6 -14 -2 -10 -8 -4 -12
IV. string IV:0
? n˙ e˙ m˙ o˙ m˙ o˙ v˙ e˙ n˙ v˙ e˙ m˙ o˙ v˙ e˙ m˙ o˙
{ v˙ e˙ m˙ o˙ v˙
+8 +29 0 +22 +12 +33 +4 +23 +16 +6 +27 +20 +10 +31 +2 +23
+6 +25 +18
? +14 f˙ g˙ n˙ g˙ o˙ f˙ g˙ n˙ o˙ f˙ g˙ n˙ o˙
o˙ v˙ g˙ n˙ o˙ f˙ g˙ n˙ o˙
-4 -2
V. string V:0
? m˙ o˙ v˙ e˙ n˙ v˙ e˙ m˙ o˙ m˙ o˙ v˙ e˙
{ n˙ v˙ e˙ m˙ o˙ v˙ e˙ m˙ o˙
+25 +47 +18 +39

+29 +22 +43 +12 +33 +25 +47 +16 +37
? +27 +20 +41 +10 +31 +23 +45 +14 +35
f˙ g˙ o˙ p˙ o˙ p˙
g˙ o˙ p˙ f˙ g˙ o˙ p˙ o˙ p˙ g˙ h˙ o˙ p˙ g˙ o˙ p˙
VI. string VI:0
? m˙ o˙ v˙ e˙
{ n˙ v˙ e˙ m˙ o˙ m˙ o˙ v˙ e˙ m˙ o˙ v˙ e˙ n˙ v˙ e˙ m˙ o˙
+25 +47
? +33 B-45 +25 +47 +37 C#-41 +27 +49 +41 +31 +53 +23 +45 +35 F#-43
+29 +51 +22 +43
+39
p˙ q˙ g˙ h˙ p˙ g˙ h˙ o˙ p˙ p˙ q˙ g˙ h˙
VII. string p˙ g˙ h˙ o˙ p˙ g˙ h˙ o˙ p˙
?
{
û n˙
VII:0
v˙ e˙ m˙ o˙ m˙ o˙ v˙ e˙ m˙ o˙ v˙ e˙ n˙ m˙ o˙ v˙ e˙ m˙ o˙ v˙ e˙
The following sequence of double-stops moves through the main triadic consonances.
Please find a tuning which optimises the sweetness of these dyads.
5/2 5/2 5/2
t ˙o m œo m˙ e œo u ˙o n œo
5/2 5/2 5/2
ùB m ˙ ? e˙ n˙
n˙ o œo o ˙o o
gœ o˙
o˙ g˙
2°/I II:10a 2°/III p˙
II III 2°/III IV
n ˙o 2°/II
n œo m˙ n œo n ˙o 2°/IV
n œo
IV:10a
V 2°/V
2°/V
VI 2°/VI VI:10a
B n˙ ? n˙ v˙ n œo n ˙o o VII
{
û
n˙ n˙ n˙
nœ m ˙
n˙
53-TONE 5-LIMIT EULER LATTICE (SHADED) WITH 46 ENHARMONIC BORDER TONES & 23-LIMIT HARMONICS / SUBHARMONICS FROM D
Marc Sabat (2016)
u7
>Í 11o
4Î
kÉ kÍ kÈ sÌ sÊ sÎ sË sÉ sÍ sÈ SÌ SÊ SÎ
0È >oÊ >oÎ pÈ u23
>oÍ 13o 6eÉ
wÎ lÌ lÊ lÎ lË lÉ lÍ lÈ tÌ tÊ tÎ tË tÉ tÍ tÈ
0oÌ 0oÊ qÎ
9mÍ 9mÈ 5o
pÍ pÈ dÉ dÍ dÈ mÌ mÊ mÎ mË mÉ mÍ mÈ uÌ uÊ uÎ uË uÉ uÍ
<mÌ 19 o
5Ì <Ê /Ì 3o
qÊ qÎ 7 o eÉ eÍ eÈ nÌ nÊ nÎ nË nÉ nÍ nÈ vÌ vÊ vÎ u7
kÉ kÍ
u3
*È >Í 4È
u19
>oÈ
fÊ fÎ fË fÉ fÍ fÈ oÌ oÊ oÎ oË oÉ oÍ oÈ wÌ wÊ wÎ lÌ lÊ
u5
0oÌ 0oÊ
kÉ 9mÍ 9mÈ
gÌ gÊ gÎ gË gÉ gÍ gÈ pÌ pÊ pÎ pË pÉ pÍ pÈ dÉ
3vÎ u13
<mÊ
23o lÌ <mÉ <mÍ 9Ì
HÉ HÍ HÈ hÌ hÊ hÎ hË hÉ hÍ hÈ qÌ qÊ qÎ
5É
u11
<Ê
7o
xv
Transposing Score
Asking ocean
Prelude (intonation)
Marc Sabat
Tempo ad libitum, take time necessary to sound a precise, stable intonation *
Within each bar, repeat and move through the patterns freely as required,
going back if and when needed
1 4
ù
1 1 ≈ ≈ ≈
Natural ∑ ∑ ∑ ∑
Trumpet (2) &
û tuned to 4 C +47 written
fundamental at sounding pitch
1 4 instruments
1 1 tuning: (SQ Vl2)
≈ n≈
w
(Ens Vl)
≈ ≈
(SQ Vl1)
≈ n≈
w
& ∑ ∑ nw ∑ ∑ nw +16 ∑ ∑ nw ∑
ow
Cues These staves provide some cues (fermatas, harmony).
? Please allow the respective instrument time to adjust ≈ ≈ ≈
∑ ∑ ∑
{ and check a precise, centered tuning.
Once the player cues that s/he is ready, proceed.
exact accidentals, cents adjust tuning of open strings A and E as required,

(please use clip microphone and tuner ≥≤ check A tuning with SQ Vl2, cue to proceed
with cents readout ranging +/- 50c)
≈ ≈ ≈ [ II
ad lib. ÍÍÍÍÍÍÍÍÍÍÍ +2 I ÍÍÍÍÍÍÍÍÍÍÍÍ
SQ ù ∑ ∑ ∑ ∑ í ™™ w ™™î í ™™ œ w w ™™î
Violin 1 & œ w w w
mezza voce, sotto
bracketed comma indicates tenuto voce
adjust tuning of open strings 2°/I
optional pauses between patterns I I
≥≤ A and E as required, cue to proceed o 2°/II
‚o o check SQ Vl1 2°/II
[ II
ad lib.
ÍÍÍÍÍÍÍÍÍ +2 I ÍÍÍÍÍÍÍÍÍ ] ~ <, > ~o <, > 3°/II
o o‚ ~~
II
, comma indicates
a pause in playing
A tuning , ≈ ‚o
SQ
& ∑ í ™™ w w ™™î í ™™ œ w
w w
w ™™î í ™™ œ w ™™î í ™™ œ w ™™î í ™™ ‚ ™™î í ™™ n ˙ ™™î
Violin 2 o
mezza voce, sotto mezza voce < > < > if needed, adjust E string, < > < > s.v.
tenuto voce (m.v.) sotto voce check fifth with A string
(s.v.), libero until E’s are in unison
≈ ≈ ≈
SQ B ∑ ∑ ∑ ∑
Viola
≥≤ even bow pressure 4°/I

o sempre simile
3°/I
o 4°/I poco port.
o
œ ~
ad lib.
SQ ?
I
w w ≈
w ≈
w œ ~ w ≈
w ≈
w w ≈
w ≈
w œ ~ ad lib.
Violoncello &
û o mezza voce, sotto mezza voce sotto voce mezza voce s.v. m.v.
tenuto voce (m.v.) (s.v.) (m.v.)
bracketed comma indicates

optional pauses between patterns comma indicates
sounding pitches: exact accidentals, cents a pause in playing
(please use clip microphone and tuner ≥≤ o wo œo œo œo wwo
with cents readout ranging +/- 50c) ≈ [ ad lib. ] œo ww <, > <, > ,
Violin ù ∑ í ™™ w ™™î í ™™ +16
™™î í ™™ ™™î í ™™ ™™î í ™™ ™™î
(sound) & œ w w
oœ w ow oœ w o
≥≤ 2°/II 5/1
fingered pitches: approximate accidentals,
melodic cents ≈ [ ad lib. ÍÍÍÍÍÍÍÍÍÍ 5/3 ÍÍÍÍÍÍÍÍÍ ] ‚o ~oo <, > 3°/II <, > 3°/IIo 5°/III II
,
Violin
II
í ™™ w ™™î í ™™ ™™î í ™™ m ~ ™™î
o
í ™™ ~ ™™î í ™™ ‚
o ‚o m ~~o ™™î
(scordatura) { & ∑ œ
mezza voce,
tenuto
w
sotto
voce
mezza voce
(m.v.)
III
œ w
w w 5°/III < >
sotto voce
(s.v.), libero
œ w
< >
m‚
if needed, adjust D string,
check open strings again:
optimise unison between E’s
o III
< >
adjust tuning of open strings A and D as required,

use clip microphone and electronic tuning meter,
check against SQ pitches to minimize beating, cue to proceed
≈ ≈ ≈
Viola B ∑ ∑ ∑ ∑
(sound)
≈ ≈ ≈
Viola B ∑ ∑ ∑ ∑
(scordatura) { ≈ ≈ ≈
Violoncello ? ∑ ∑ ∑ ∑
(sound)
? ≈ ≈ ≈
Violoncello ∑ ∑ ∑ ∑
(scordatura) { û
=
11/4
5 (Ens Vl) 4≈
w (SQ Vla) (Ens Vl)
& ∑ 4≈
w w ∑ ∑ nw
≈
∑ ∑ ∑
≈
∑ ∑
D#-49 <w
Cues -31
? ≈ ≈ ≈
{ ∑ ∑ ∑
bracketed comma indicates

check E tuning optional pauses between patterns
2°/I I I
,] comma indicates
≈
with SQ Vl2
I , ~o <, > 2°/II
~o <, > 3°/IIo ‚o II ~o ,
2°/II
~o , ≈
check SQ Vla
SQ ù a pause in playing
í ™™ n ˙ ™™î í ™™ œ w ™™î í ™™ w ™™î
œ í ™™ ‚ ‚o ~ ™™î A tuning
n˙
Vl1 &
o < > sotto voce < > < > if needed, adjust E string, o s.v. o < >
check fifth with A string < >
(s.v.), libero
until E’s are in unison
check E tuning even, clear bowing, match Ens Vln pitch
with SQ Vl1
~o , ≈ I , II +16 III 6/5 I , ≈
SQ
& í ™™ n ˙ ™™î í ™™ w ™™î o ˙˙ ˙ í ™™ w ™™î w
Vl2
o < > < > o
ppp < > o
molto preciso
adjust tuning of open string(s) as required, cue to proceed comma indicates check A tuning
[ ≥≤ ÍÍÍÍÍÍÍÍÍÍÍÍ a pause in playing with SQ Vl1
I ad lib. ] ,
≈ ≈ œ w w w w
SQ B ∑ ∑ í ™™ ™™î
Vla
mezza voce, sotto voce (s.v.) o o
tenuto
11°/I keep pitch as stable and even as possible
“ ≈ ≈ 3°/I 7°/I
%
4 ~o o ~ o~ ~o o <
SQ ?
I
w ≈
w w œ ~ ≈
o o [
?w
& D#-49 &
Vc û e ~o ~ ~
s.v. m.v.
“
[ 4 wo D#-49 4 wo ,] ≈ o o o wo , [ o o ,]
Vln ù
& í ™™
4w ™™î í ™™ œ w 4w
w ™™î ow ˙ 4 -œ í ™™ < w ™™î <w
(snd)
<w
come prima 2°/I wait until SQ Vla -31
11/4
[ 4°/I~o I
ÍÍÍÍÍÍÍÍÍÍÍ ~o ÍÍÍÍÍÍÍÍÍÍ ,] ≈
has tuned and cued
2°/III I 4°/III , [ 2°/IV IV
,]
& í ™™
w ™™î II
í ™™ œ w w
w ™™î ~o Oo œ- o o
í ™™ ~ ™™î
o
Vln { û
m.v. s.v. m.v.
tune E string primarily according to meter
check against SQ Vlc (come prima)
o s.v.
~
o m.v. w
ÍÍÍÍÍÍÍÍÍÍÍÍ
~
* In the course of this section, the open strings are to be tuned just: tuning in cents relative to 12-tone equal temperament; players should use clip microphones
and digital tuning meters or software with precise cents readout calibrated to the commonly agreed Kammerton (this determined by the fixed pitch percussion).
The solo string quartet is tuned in Pythagorean fifths (E +2, A 0, D -2, G -4, C -6) and the ensemble strings in scordatura tunings as indicated — 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 is facilitated by using fine tuners for each string.
2
8 (SQ Vla)
≈ ≈ ≈
& ∑ ∑ ∑ ∑ ∑
nw
-2
(Ens Vla)
Cues
(SQ Vc)
≈ ≈ n≈
w +14
? ∑ nw ∑ ∑ ∑ ∑ o≈
w ∑
{ -2
-2
even, clear bowing

match P5 below Ens Vln,
wait until SQ Vc has beating with
7/6 tuned and cued SQ Vl2
2°/II ≈
ù III I , ‚o Oo o
~ Oo ~o ~o ~o , ≈
SQ
& í ™™ w ™™î < ˙˙ ˙ í ™™ w ™™î <˙ w ˙ w
Vl1 -33 III
< > ppp < > o ppp mezza voce o
molto preciso molto preciso (m.v.)
6/5
beating with check intervals with Ens Vln:
match Ens Vln SQ Vl1 A = 8/7, 5/6, 1/1 [
II III
≈ , , ≈ ≈
SQ
& í ™™ w ™™î ˙ ow
w o˙ ˙˙ w ˙ í ™™ n ˙ ™™î ∑ ∑ œ
Vl2
< > ppp mezza voce o < > m.v.
(m.v.)
molto preciso bracketed comma indicates
3°/II 2°/I optional pauses between patterns I I
[ ~o o
] ~
2°/II
<, > œI ~wo <, > 3°/II ‚o o
o‚ ~~
II
w ≈
w w ˙ ˙ œ w w , II ‚o ,
SQ B í ™™ w w ™™î í ™™ œ w ™™î í ™™ ™™î í ™™ ™™î
Vla -2 o
s.v. mezza voce ÍÍÍÍÍÍÍÍÍÍÍ s.v. < > < > if needed, adjust D string, < >
(m.v.) libero check fifth with A string
bracketed comma indicates until A’s are in unison
optional pauses between patterns
adjust tuning of open string(s)
~o 3°/II
2°/I
o 2°/II
I
‚o o comma indicates
I
a pause in playing
as required, cue Vl1 to proceed
, ]II ~ <, > I ~o <, > 3°/IIo o‚ ~~
II
, II
≈ ≈
3°/II
o
SQ ? í ™™ œ w w w
w ™™î í ™™ œ w ™™î í ™™ œ w ™™î í ™™ ‚ ™™î w w w œ ~
Vc û -2
ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ o
m.v. s.v. < > < > if needed, adjust D string, < > m.v. s.v. m.v.
libero check fifth with A string
until A’s are in unison
7/8 6/5 1/1

ù ≈ < wo œo , o , ˙o , ≈ o o , ≈ ≈
Vln
& ow <˙ o˙ ˙ œ ∑ ∑
(snd) o˙
wait until SQ Vc <˙ w
has tuned and cued
2°/II check for P5
with Ens Vla
≈ 4°/IV
o o , 2°/III
~o
, Oo , ≈ 2°/IV
o 2°/III
Oo
II , ≈ ≈ III
check intervals
Vln { & ~
o
‚
s.v.
˙ w o < >
with SQ Vl2 A O
< > < >
˙ œ
o
∑ ∑
n˙
adjust tuning of open strings D and G as required,

≥≤ check against SQ pitches to minimize beating,
≈ ≈ [ ad lib. cue to proceed
+14
Vla B ∑ œ í ™™ w w ™™î í ™™ o œ w
w ow
™™î
(snd) -2
check for P5
with Ens Vln
≥≤
≈ ≈ [ II
ad lib. ÍÍÍÍÍÍÍÍÍÍÍ 5/3 ÍÍÍÍÍÍÍÍÍÍÍ
œ í ™™ w w ™™î í ™™ œ w ™™î
Vla {
û
B ∑
mezza voce,
tenuto
sotto
voce
w
III
mezza voce
(m.v.)
w
11/4
(Ens Vla)
11 (SQ Vl2) (SQ Vl1)
≈ ≈ 4≈
w ≈
& ∑ ∑ ∑ ∑ 4w ∑ ∑ ∑ ∑
nw G+49
w nw
-2 -2
Cues
? ≈ ≈ ≈
∑ ∑ ∑
{
≈ ≈ ≈ [ come prima
SQ ù ∑ ∑ ∑ í ™™ œ w ™™î
Vl1 & œ w w
w œ w
w
m.v. -2 ÍÍÍÍÍÍÍÍÍÍÍÍÍ
check A tuning
with Vla 2°/II II II
come prima ] , ≈ II , ~o <, > 2°/III
o <, > 3°/III
o ‚o o ~o
III ,
SQ í ™™ œ ™™î í ™™ n ˙ ™™î í ™™ ™î í ™™ œ ~w ™™î í ™™ ‚ ‚ ~ ™™î
Vl2 & w
w w
w œ w
w œ w ™ o
-2 ÍÍÍÍÍÍÍÍÍÍÍÍ < > s.v. < > < > if needed, adjust D string, < >
check fifth with A string
until A’s are in unison
2°/II
check A tuning
check Vl2 with Vl2
D tuning , ‚o ~o , ≈ n ˙I , w
SQ B í ™™ n ˙ ™™î í ™™ ™™î í ™™ w ™™î í ™™ ™™î
Vla
< > s.v. o < > s.v. < > < >
poco
11°/II
6/5
4°/II
come “ 3°/II
≈ o prima
4 ~o ≈
~ ≈
~ ~ ≈ +14 III
œ ~
o
SQ ? w w w œ &~ ? ˙ w ˙ ow
w &
Vc û m.v. s.v. m.v. m.v. ppp m.v.
molto preciso
ù , ≈ , ≈ ≈
Vln
& í ™™ 4 ˙ ™™î ∑
(snd) oœ check for P5
with Ens Vla
, I ,
≈ ≈ ≈
Vln { & í ™™ n ˙ ™™î ∑
œ o < >
bracketed comma indicates comma indicates

optional pauses between patterns a pause in playing
o wo œo œo œo wwo “o
] œo w
w <, > <, > , [ 4w G+49 4 wo ] , o wo ,
Vla B í ™™ ™™î í ™™ o œ w ™™î í ™™ ™™î í ™™
4w ™™î í ™™ œ w
4w
w ™™î
≈ o wo ˙o 4 œ-
(snd) o
check for P5 wait until SQ Vl1
5/1 with Ens Vln 2°/I has tuned and cued
2°/II
] ‚o ~o
o
<, > 3°/II 5°/III II [ ~o
4°/I
come
I ~o 11/4
2°/III
<, > 3°/II
~o ‚o ‚o m ~~o ™ , prima ÍÍÍÍÍÍÍÍÍÍÍ ÍÍÍÍÍÍÍÍÍ ] , ≈ ~o Oo -œI 4°/III ,
í ™™ m ~ ™™î í ™™ œ w ™™î í ™™ m ‚o í ™™
w ™™î í ™™ œ w
w
w ™™î
o
Vla {
û
B
5°/III
sotto voce
< >
(s.v.), libero
< > if needed, adjust G string,
check open strings again:
optimise unison between A’s
III o
™î
< > m.v. s.v. m.v.
tune A string primarily according to meter
check against SQ Vlc (come prima)
II o s.v.
~
o
3
14 ≈ ≈
& ∑ ∑ ∑ ∑ ∑ ∑
Cues (Ens Vla)
(SQ Vc)
-33
? ∑ ≈ ≈
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ <w w
-4
check D tuning
with Vla, Vl2 2°/II II II
] , ≈ III , ~o <, > 2°/III <, > 3°/III ‚o III
o ~o ,
SQ ù
& w í ™™ ™™î í ™™ ™î
™ í ™™œ w ~o ™™î o
í ™™ ‚ ‚ ~ ™™î í ™™ ™™î í ™™ w ™™î
Vl1 n˙ œ w o w
o < > s.v. < > < > if needed, adjust D string, s.v. < > < >
s.v. check fifth with A string < > poco
check D tuning until A’s are in unison
with Vl1
2°/III , ,
≈ III
SQ ~o í ™™ ™™î í ™™ ™™î í ™™ w ™™î í ™™ ™™î
Vl2 & n˙ w w
s.v. o < > s.v. < > < > < >
poco even, clear
check D tuning (hold finger position)
with Vl1 7/6 bowing check intervals with Ens Vla:
, III , III ≈ D = 8/7, 5/6, 1/1
w <w w w w w
SQ B í ™™ n ˙ ™™î í ™™ w ™™î w w w w w w
Vla -35
o < > < > o m.v.
ppp
molto preciso
7°/II 5/3 even, clear
< % ≈
o o , [œ come prima -20
bowing ,
SQ ?˙ o ˙˙ w í ™™ œ w ™ m˙
Vc &
û < ~o ~ ~
w w w
-4 w w ™î
w œ ˙
m.v. o o m.v. ÍÍÍÍÍÍÍÍÍÍÍ p
molto preciso
o ˙o o , ≈
Vln ù <w í ™™ < ˙ ™™î ∑ ∑
(snd) &
<˙ check for P5
with Ens Vla
4°/IV 2°/IV ,
o o o ≈
Vln { & ~ í ™™ O ™™î ∑ ∑
O ˙
o s.v. < >
[ o ], < wo œo , , ˙o , ≈
Vla B í ™™ < w ™™î
o
<w o wo o
<˙ o ˙o n˙
(snd) <w <˙ w
-33 check for P5 allow SQ Vlc time 7/8 6/5 1/1
with Ens Vln 2°/II
to establish M6 (5/3)
[ 2°/IV
o
IV
o ], 4°/IV
o o , 2°/III
~o , Oo , ≈ 2°/IV
o
2°/III
Oo II
B Ó í ™™ ~ ™™î ~ check intervals O ˙
Vla { m.v.
w
ÍÍÍÍÍÍÍÍÍÍÍÍÍ
~
o
‚
s.v.
allow SQ Vla
time to establish
˙ w o < >
with SQ Vla D
< > < >
septimal m3 (7/6)
≈ ≈ [
Vc ? ∑ ∑
(snd) œ
≈ ≈ [ III
? ∑ ∑
Vc {
û œ
mezza voce,
tenuto
17 ≈
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Cues (Ens Vc)
? ≈ ≈
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ -4
w +12
fw
, [
SQ ù í ™™ ™™î ∑
Vl1 & w œ
< > m.v.
2°/III
5/3
, ≈ ,
Oo ~o ~o ~o ~o
+14
SQ
Vl2 & IV
o w w w ,
o ppp m.v.
molto preciso
intonation
, come prima ,
SQ B w
≈
∑ <III˙
Vla -35
o < >
2°/III 3°/III 2°/II 2°/II II II
o o
III
≈ ‚o ‚ II
≈ ~ ~o , ] ~o
III
<, > II 2°/III
o <, > 3°/III
o ‚o III
o ~o ,
SQ ?
w ˙ w œ í ™ œ w ™™î í ™™ œ ~w ™™î
™ í ™™ ‚ ‚ ~ ™™î
Vc û o
m.v. < > < > < > o s.v. < > < > < >
ù ≈
Vln ∑ w w
(snd) & ow w
≈ change bow as needed o o
II
∑
Vln { &
III
w
o
w
w
ppp
molto preciso
o
w
,
Vla B œ w w w w
(snd) ow w
, o o
B œ w w w w
Vla { o
adjust tuning of open strings G and C as required,
change bow as needed w
III
o ppp
molto preciso
w
o
≥≤ cue to proceed o
ad lib. ] o f wo n˙
Vc ? í ™™ ™™î í ™™ +12 ™™î f˙ o ˙o o
fw
o
w
(snd) w w nw w w
-4
fœ w fw f˙ 5°/IV
≥≤ o o
ad lib. ÍÍÍÍÍÍÍÍÍÍÍ 5/3 ÍÍÍÍÍÍÍÍÍÍ ]libero ~o mO 2°/IV
? í ™™ ™ í ™™ IV
™™î
o Oo o o
Vc {
û w w ™î œ w
w w ˙
O ~ w~ w
< > < > < > < > < >
ppp III o
sotto mezza voce molto preciso
voce (m.v.)
4
20 (SQ Vl1) (SQ Vla)
≈ ≈
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
w w
Cues -4 -4
? ≈ ≈
{ ∑ ∑ ∑ ∑ ∑ ∑
check G tuning
with SQ Vla
even, clear <, > <, > 2°/IV
5/3 bowing , ] 2°/III 2°/IV 3°/IV III IV III 2°/IV , ,
SQ ù
& í ™™ œ w ™™î -20 í ™™ ~o ™™î í ™™
o
™î í ™™
o ‚o o Oo ™™î o o o
í ™™ n ~ ™™î
Vl1
w w
w
m˙
œ ˙ œ w œ w ™
~ ‚ ‚ Oo ‚ ~
o
III < > if needed, adjust G string, s.v. < >
-4 ÍÍÍÍÍÍÍÍÍÍÍÍÍ p s.v. < > < >
check fifth with D string
molto preciso until D’s are in unison
, ≈
SQ
& ~o ≈
∑
Vl2
o
check G tuning
with SQ Vl1
even, clear 2°/III
≈ [ come prima 5/3 bowing , o ,
SQ B œ í ™™ œ w
w
w
w
™™î m˙
œ ˙ í ™™ n ~ ™™î
Vla
-4 -20
m.v. ÍÍÍÍÍÍÍÍÍÍÍ p < >
check SQ Vln1 molto preciso
G tuning libero o 11°/III
2°/III
o , III o 4°/III
o < Oo n Oo n Oo m Oo 4~
SQ ? í ™™ O ™™î ≈
mO n Oo
Vc û w w w œ &~
< > m.v. s.v. < > < > < > < > < > < > < >
ù , ≈ o o , ≈
Vln
& o˙ œ ∑
(snd)
2°/III
, ≈ o o , ≈
O ‚ ∑
Vln { &
s.v. o
, ≈ o ˙o
, ≈ 4œ
Vla B ∑
(snd)
2°/III I
B
, ≈ Oo , ≈
∑
œ
Vla { bracketed comma indicates
s.v. o o
optional pauses between patterns o
m ˙o w 4 ~o
o wo <, > wo <, > œo œo œo wwo , ≈ ˙o ˙ , ~o ~o < ~o
Vc ? í ™™ œ w ™™î í ™™ ™™î í ™™ ™™î &
? 4w
(snd) o œ ˙ w
fœ w
wait until SQ Vla poco
comma indicates has tuned and cued sul pont.
5/1 a pause in playing III
IV libero 3°/III 7°/III 11°/III ord.
o oo 2°/III <, > 3°/III
o <, > 3°/IIIo 5°/IV
o III
o o , ≈ 5°/IV oo , ~o o o o III
? í ™™ ‚ ~ ™™î í ™™ ~ ™™î í ™™ ‚
Vc {
û ~ m‚ ‚ m ~~o ™™î III
œ m˙Oo mm OO ~
w ~ e~ 4~ 4w
5°/III œ w
< > if needed, adjust C string, IV < > s.v. ppp < > < > < > < >
sotto voce < > check open strings again:
(s.v.), libero molto preciso
optimise unison between D’s
= Solo, libero, ad libitum, natural series:

if needed, pause on tones, adjust, repeat,
freely based on the indicated melody,
until the horn is comfortably tuned
(avoid 7°, bring out minor triad 10 : 12 : 15) (avoid 5° and 10°, bring out septimal 6 : 7 : 8 : 9)
23 [ 4m œ 4m≈ <, > ≈ <, > jœ <, > ] , ≈ take Bb
b Trumpet
N Tp ù
&
4≈
œ 4œ ˙ ≈
í ™™ ™™î í ™™ 4 œ f œ- ™™î 4 œ 4 œ J f œ 4 ˙
zœ 4w
(2) û 4m œ- 4œ 4w
4œ œ
mezza voce (m.v.), ad lib. bracketed comma indicates
optional pauses
≈ ≈ ≈
& ∑ ∑ ∑
11/4
Cues (Ens Vc) (Natural Trumpet harmonics) (Ens Vc)
? ≈ 4≈
w ≈ 4f≈
w
∑ ∑ ∑ ∑ ∑ ∑
{ 4w
C+47
w A-39
ù ≈ ≈ ≈
SQ ∑ ∑ ∑
Vl1 &
≈ ≈ ≈
SQ ∑ ∑ ∑
Vl2 &
≈ ≈ ≈
SQ B ∑ ∑ ∑
Vla
≈ ≈ ≈ ≈
~o o ~ ~o ~o ~o o
~ ~o o
~ ~o o
~ ~o ~o
SQ
Vc &
û ppp
m.v.
molto preciso
ù ≈ ≈ ≈ , ≈
Vln
& ∑ ∑ 4w w ˙
(snd)
I ,
≈ ≈ w ≈
w ˙ ≈
Vln { & ∑ ∑
o ppp o
molto preciso
≈ ≈ ≈ , ≈ 4 wo ˙
,
Vla B
4w w ˙ ˙ w w ˙
(snd) & 4œ
s.v.
(Ens Vc) 2°/I
w ≈
w ≈
˙ ˙ w ≈
w ˙ , ≈ ~o O , I
B
Vla { ppp
molto preciso
sotto voce
poss.
ppp
molto preciso
o
&
o s.v.
œ
7°
[ 4“o C+47 4 wo ] 4≈
wo o
f -˙
≈
4 wo [ 4 œo o 4 œo 4 œo wo
Vc ? í ™™ w 4w ™™î í ™™ œ w 4w ™™î í ™™
4f w
w 4f w ™™î & í ™™
o
4œ 4 w ™™î ?
(snd) A-39 o
echo 7° in
come prima 2°/II Natural Tp 2°/II
2°/II ≈ ≈ 2°/II 5°/I
[ 4°/II
o
II
ÍÍÍÍÍÍÍÍÍÍ ~o 11/4 ÍÍÍÍÍÍÍ ] ~o 4°/IV
o
o
~ [ ‚o ~wo ÍÍÍÍÍÍÍÍÍÍ
w ™î u Oo 4°/II
n Oo u ‚o n ~~o
? í ™™ ~ w ™™î í ™™ IIIœ w w ™™î í ™™ í ™™ ™™î
Vc {
û
m.v. s.v. m.v.
-O
< > s.v.
I
m.v.
™
o
< >
5
26 (SQ Vl2)
≈
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Cues
w
-4
? ≈
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{
SQ ù ∑ ∑ í ™™ ™™î í ™™ ™™î
Vl1 & w ˙˙
w ppp
s.v. < > < > molto preciso
poco
[ 5/3
SQ
& ∑ í ™™ ™™î
mw
Vl2 œ œ w
w w
w œ w
m.v.
-4 ÍÍÍÍÍÍÍÍÍÍÍÍÍÍ -20 p
molto preciso
2°/II II II
] ~o <, > o 2°/III <, > 3°/III
o ‚o III
o ~o ,
SQ B ∑ ∑ í ™™ œ w ™™î í ™™ œ ~w ™™î í ™™ ‚ ‚ ~ ™™î
Vla o
s.v. < > < > if needed, adjust G string,
check fifth with D string < >
until D’s are in unison
“
~o 4 ~o 4 ~o ,
mw
5/2
˙ m˙
SQ
& ? í ™™ w ™™î í ™™ w ™™î í ™™ w ™™î -18 w ˙
Vc û s.v. < > < > < > ppp
poco molto preciso
even, clear bowing
4 wo 4 wo , ≈
Vln ù 4w w w w ∑
(snd) & œ w
2°/I
~o ~o 11/4 I
,
II w w w w ≈
Vln { & œ w ∑
s.v. m.v. ppp o
molto preciso
4 ˙o 4 ˙o 4 wo , ≈
Vla B
4w w w w w ∑
(snd) & 4˙ œ w
3°/I s.v. m.v.
Oo 2°/I
Oo ~o I
,
II
w w w w w ≈
B B ∑
Vla { & ˙
s.v.
œ w
m.v. ppp
molto preciso
o
] 4 wo 4 wo
Vc ? 4w 4f w w o o f wo , ˙o f ˙o , ≈ o ,
?
w fw ˙ 4œ & m˙
(snd) -
2°/II
] I 3°/II
~o 2°/IV II 4°/IV , 2°/III 4°/IV
, ≈
5°/III
,
? II
w w
w w~ o o
œ-
o Oo o o
mO
Vc {
û o
< >
~
o
O
s.v.
~ o < >
O
< > < >
=
29 ≈ ≈
& ∑ ∑ ∑ ∑ ∑ ∑
Cues (SQ Vc) (SQ Vla)
? ≈ ≈
{ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ w ∑ ∑
w -6
-6
3°/III
9/2 5/4
o o , 2°/IV ≈ III
ù ≈ o o o o
SQ
& ˙˙ í ™™ ™™î nO O ~ ~ ~ ~ m w~
Vl1 ˙ w w ˙ ˙ ˙ w ˙ -18
o
ppp
< > o o o o s.v. molto preciso
] <, >
2°/III 2°/IV <, > 3°/IV III IV
o III~o , 7/4
SQ
& í ™™ ~o ™™î o
í ™™ ~ ™™î í ™™
o ‚o ™î í ™™ ™™î í ™™ ™™î í ™™ ™™î
Vl2
œ w œ w ‚ ‚ ~o ™ w w w
<w
-35w
w
w
< > if needed, adjust G string, < >
s.v. < > < > s.v. < > < > ppp
check fifth with D string
until D’s are in unison 9/5 poco molto preciso
+16 tune to A harmonic in Vl1
o˙ ˙ ˙ [
SQ B í ™™ w ™™î í ™™ w ™™î ˙ ˙ í ™™ w ™™î œ í ™™ œ w w ™™î w
Vla w w œ w
s.v. < > < > ppp m.v. < > m.v. -6 ÍÍÍÍÍÍÍÍÍÍÍÍ
poco molto preciso
, [ ] <, >
2°/III 2°/IV <, > 3°/IV III IV
o III~o ,
SQ ? mw í ™™ œ w ™™î í ™™ ~o ™î o
í ™™œ w~ ™™î
o
í ™™ ‚ ‚o ™
Vc û w w œ
nw w
w œ w
w œ w
™ ‚ ~ ™î
o if needed, adjust C string,
o< >
o m.v. ÍÍÍÍÍÍÍÍÍÍ s.v. < > < >
check fifth with G string
-6
until G’s are in unison
o
ù œ- o o , ≈ ≈
Vln
& ow w ∑
(snd)
(SQ Vc fades) 2°/II
-‚o 2°/III
, ≈
~o ~o ≈
∑
Vln { &
o s.v. o
o
œ-
≈ o wo wo
, ≈
Vla B ∑
(snd)
2°/II
-‚o 2°/III
B ∑
≈ ~o ~o , ≈
Vla {
û o s.v. o
=
32 o o , I
SQ ù m w~ w~ w~ ∑ nw w w
Vl1 & o o o ~ ~
m.v. s.v. o o s.v.
optimise
, I beating !
SQ ∑ ∑ nw w w w
Vl2 & <w
w w o s.v. o
m.v. o
] 2°/III
~o ™î
<, > 2°/IV
o <, > 3°/IVo
III
‚o
IV III
o ~o , 6/5 5°/IV
o o beating !
o o ,
SQ B í ™™ ™ í ™™œ w~ ™™î í ™™ ‚ ‚ ~o ™™î í ™™ ™™î í ™™ w ™™î í ™™ ™™î m~ ~ ~ ~
Vla œ w w < >
m ˙˙ w
s.v. < > < > if needed, adjust C string, < >
s.v. < >
-20
ppp < > o m.v. o
check fifth with G string molto preciso
until G’s are in unison poco
o , I
SQ ? í ™™ ™™î í ™™ w ™™î í ™™ ™™î mw w w w œ
Vc û -20 w
w < > w w w w w w w o o
s.v. < > < > ppp
poco molto preciso
attacca
6 Pythagoras Drawing 1
Tempo ad libitum, vary from bar to bar as desired, swinging, like a French Overture
1 2
3 h ca. 66-99 match open strings
of SQ (Pythagorean) nœ ™ œ™ ≈
-™
œ
+2 ≈
Flute ù ≈
∑ n≈
w™ ˙ -
˙ Ó
≈
∑ Œ™ Œ™
≈
Œ™ Œ™ Œ™
≈
∑
≈
∑
(1) & (Ob)
o mezza voce (m.v.) o (B Cl)
≈
- +2 ≈
≈ ≈ j˙ ˙ ≈ nœ ™ œ™ - œ™ ≈ n˙ ≈
w™ ≈
Flute
{ & ∑ Œ™ Œ™ Œ™ Œ™ Ó Ó Ó Ó Œ™ Œ™ Œ™ Œ ∑
(2) (Ob) -2
o mezza voce (m.v.) o m.v. (Ob) o
j Ω place freely at end of bar Ω

≈ *Ω Ω ≈ jœ Ω ≈ +2nœj ≈ nœΩj Ωj≈ ≈ j
Oboe & ∑ Œ™ j Œ™ Œ™ j Œ™ Ó Ó Ó Ó Ó Ó j Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ ‰ Œ™ Ó nœ Ó Ó Ó Ó ‰ ‰™ nœ ™
nœ nœ nœ -
-2 f (Sax) mezza voce
f
(m.v.)
match Ens Vc septimal intervals
consonant 5/2 above Bass Clar
below Fl 7/3 7/4 14/9 3/2
Clarinet ≈ ≈ j ™ ≈ ≈ ≈ ≈ j ™
& ∑ Œ ™ nœ ™ œ™ œ™ ‰ Ó Œ™ Œ™ Œ™ Œ™ Œ™ nœ ™ œ™ œ™ ‰
+12
36 : 35
in Bb (1) nw™ ˙ ˙- (Sax)
ow ™ = -49c <˙ ˙ œ jœ
-2 Δ
-4 o o -37
o mezza voce (m.v.) o
28 : 27
= -63c
≈ nœ ™ ≈ ≈ ≈ ≈ ≈ ≈
Bass Clarinet œ™ œ™ œ™ Œ ™ nœ ™ Œ™ Œ™ Œ™ Œ™ nœ ™
in Bb (2) { & Ó jw
o mezza voce (m.v.)
-2
Ó
place freely at end of bar

Ó Ó Ó Ó Ó
-4
o m.v.
œ™
- (Ob)
Ó Ó
-4
n˙
o
˙ -6
n˙
m.v.
-2
n˙
place after
Cl 1 changes
pitch
- Ωj
≈ ≈ * Ω ≈ ≈ Ω ≈ ≈ n˙ ≈ ≈ Œ ≈vœ ‰™
Alto
& ∑ Œ™ Œ™ Œ™ Œ™ zœ
j Ó Ó Ó Ó Ó nœ
jÓ ∑ Œ™ Œ™ Œ -2 ∑ Ó Ó
Saxophone û f -4 mezza voce (m.v.)
rinf.
place after
27 : 28 Cl 1 changes
= +63c pitch
B1 B2 B1 B0 B2 Ωj
≈ ≈ ≈ ≈ 2 ≈ 2 +14
Horn ù
& ∑ ∑ ∑ ∑ nœ ™ œ™ n œJ n œ < œ™ ˙™ o≈
˙™ n˙ ≈
Ó Ó Ó
≈
Ó Œ ≈ nœ ‰™
in F -35
35 : 36
-2 +2 = +49c
mezza voce (m.v.) (Ob) ( f )
Trumpet ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
in Bb (1)
Trumpet ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
{ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
in Bb (2)
? ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Tenorbass ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Trombone
? ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
5-valve ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
F Tuba û
Tempo ad libitum, vary from bar to bar as desired, swinging, like a French Overture
3
2 h≈ca. 66-99 ≈ ≈ ≈ ≈ ≈ ≈ ≈
& Ó Ó Ó Œ™ Œ™ Œ™ Œ™ Ó Ó Ó Ó Ó Ó Œ™ Œ™ Œ™ Œ™ Ó Ó Ó Ó Ó Ó Ó Ó Ó
Cues
? ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
{ ∑ ∑ ∑ ∑ ∑ Œ™ Œ™ Œ™ Œ™ ∑ Œ™ Œ™ Œ™ Œ™
2°/II
o 2°/III
I * Ωj I
Ωj III
oΩ II
Ωj II
≈ n‚ j o
SQ ù ˙ Ó Ó n≈
w™ ≈
w™ ≈
∑ nœ ≈
∑
≈
w™™
n ‚ nn ~ nœ Œ ™ Œ™
≈
Œ™ ‰™ j
nœ ™
Violin 1 & n˙ ˙ n ˙O n ‚o II
o mezza voce, ff martélé, full bow
o 3°/IV
sostenuto
(m.v.) sempre simile
II II
martélé, full bow
* I
Ωj 3°/III ≈ ô I
Ωj ≈
o II
III IV
Ω o o nO ~™ I ≈ ≈ Ωj
SQ
≈
∑ nœ ≈
∑
Ω
j nœ n˙ ™ œ™ œ™ n>œ ™ n w~™ ≈
∑
≈
nw ™
Violin 2 & nœ j nO O nO nœ
n œ mezza voce,
o
ff vo ( ff ) sempre simile 3°/II
sostenuto o
III (A-string)
oΩ oΩ
* j 3°/I j I
3°/III
II
n‚ II n‚ Ωj oΩ IV
≈ ≈ 2°/I ≈
2°/IV
o o o
≈ ≈ Ωj ≈ nœ ≈ j ≈
III
Ω
j
SQ B ∑ nw ™ martélé, full bow ∑ nO O n O˙ nw ™ nœ ∑ ∑ n‚
nœ
Viola III nw™
mezza voce, ff
sostenuto (m.v.) sempre simile
2°/II
o ≈o o 2°/III * ≈ III
oΩ III
o o ≈o
II
oo ≈
o o molto sul tasto ord.
≈ Œ ™ n ‚o™ ‚ ™ ‚œ ™™ ≈
o oΩ o 2°/III IV
oΩ j ™
o Œ™ n‚ ™ ‚™ ‚™ I IV
oΩ IV
oo
w™ œ™ œ™ œ™ n~ ™ n~ ™ n ‚n Œœ n≈
w™ j
SQ
Violoncello
?
n‚
j
n‚
j ™ œ ™™ ‚œ ™™
n ‚ ‚œ ™™
nœ ™ œ™ œ™ œ™
™
n wY ™
silently depress
D-string n ‚ n Ó˙ Ó
˙ n O˙
û mezza voce, 4°/IV II
ff (m.v.) ( ff ) sempre simile
sostenuto
martélé, full bow
III III III Δ
ùB ≈ o ≈o ≈ ≈ ≈ ≈ ≈ ≈
Viola ∑ Œ ™ < œ ™ -œ ™ Œ™ ∑ ∑ ∑ ∑ ∑ ∑
(sound)
2°/IV
≈ o ≈o ≈ ≈ ≈ ≈ ≈ ≈
Viola
{ B ∑ Œ™ ‚ ™ -‚ ™ Œ ™ ∑ ∑ ∑ ∑ ∑ ∑
(scordatura)
o mezza voce (m.v.)
≈ ≈ o ≈
o ≈
- ≈ ≈ - o ≈ ≈
Violoncello ? ∑ ∑ m˙ -˙ Ó ? m˙ ˙ Ó ∑ Ó Ó ∑
(sound) & nœ ™ œ™ œ nf ˙˙ ˙
o
5°/III
o ≈
o ≈ o
? ≈ ≈ -O - ≈ ≈ - ≈ ≈
Violoncello ∑ ∑ mO Ó m˙ ˙ Ó ∑ Ó Ó ∑
(scordatura) {
û o mezza voce (m.v.) o m.v.
nœ ™
o
œ™
m.v.
œ nf ˙˙
o 2°/IV
rinf.
˙
* grace notes are not to be deliberately synchronized between the instruments:

each player may place them freely at the indicated beats
7
9 ≈ ≈ ≈ ≈ ≈ ≈
ù ™
Fl
(1) & -2n w n˙
Ó j˙ w™ ˙™ Œ™ Œ™ ∑ ∑ ∑ Ó Ó Ó
o o m.v.
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Fl
{ & Ó Ó Ó Ó ∑ ∑ ∑ Œ™ Œ™ Œ™ Œ™ Ó
(2) n˙ w™ ˙
-2
n˙ ˙
o m.v. pp senza dim.
≈ ≈ Ωj ≈ Ω ≈ ≈ ≈ ≈ ≈
Ob & ˙ Ó Ó Ó Ó nœ Ó Ó Ó jÓ ∑ ∑ ∑ ∑ Ó Ó Ó
(Sax) nœ
( f ) sempre simile
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Bb Cl & ∑ ∑ ∑ ∑ ∑ Œ™ Œ™ Œ™ Œ™ Ó Ó Ó
(1) jœ™ œ™ ˙™
tune consonant 5/2 pp senza dim.
9 : 10 above Ens Vc G
= +182c 5°
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Bass Cl
{ & ∑ Œ™ Œ™ Œ™ j -œ ™ u˙ ˙ Ó ∑ Œ™ Œ™ Œ™ Œ™
nœ ™ œ™ œ™ œ™
∑ j˙ ˙ ˙
(2) -18
rinf. o m.v. -2 o pp senza dim. pp
tune with SQ Vc, Vla
Ωj≈ 7°
vœ Ωj ≈ ≈ 27 : 28 ≈ ≈ ≈ ≈ ≈ ≈
Alto
& Ó Ó nœ Ó ∑ Ó Ó z˙ = +63c <w ™ w™ œ ™ vœ ™ Œ™ Œ™ ∑ Ó Ó Ó
Sax û -37
-
sempre simile
pp un poco più f
F1
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ 2
ù ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Ó ‰ nœ ™
Hn &
p
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Bb Tp & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(1)
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Bb Tp ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(2) { &
? ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Tb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Tba ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
û
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
& Ó Ó Ó Ó Ó Ó Ó Ó Ó Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Ó Ó Ó
Cues
? ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
∑ Œ™ Œ™ Œ™ Œ™ ∑ ∑ ∑ ∑ ∑ Œ™ Œ ™ Œ™ Œ™
{
2°/III I 2°/IV
≈ IV Ωj ≈ ≈ ≈ III
ù o™ Ω ≈ nœ ≈ o o o Ω ≈
SQ
Vl1 & n ~w ™ n ˙˙
Ó
˙
Ó
˙ j ∑ ∑ n~ ™ ~™ ~™ nœ
j ∑
nœ sotto voce
III Δ
2°/II
oo ≈ II o
≈ n O˙ o™~w™ III 2°/III
o
≈ ≈ ≈ Ω ≈
‰ ™ n ‚J ™ Œ™ Ó™ ≈
SQ
Vl2 & w™ n˙ ˙ nw ™ w™ nœ
j Œ™ Œ™ Œ™ n œ™™
‚ œ™ ˙™ ∑
I o II Δ o
molto sul tasto
2°/II silently press down
oΩ I II I D- and G-strings 2°/III I III
j I oΩ o Ωj oΩ
n‚ ≈ Ωj ≈ j III ≈™ j II
≈ nw ™ nw ™ ≈
w™ ≈ o™ ‚™ Œ™ Œ Œ™ ≈
SQ B n‚ nœ Y™ n‚
Œ™ Œ™ Œ™ ‰ ™ n ‚J n œ™ œ™ ˙™ nœ
∑ n‚ n≈
w™
Vla nw™ o
3°/III
n wY ™™ o Δ o
IV
2°/II 3°/I
oΩ o o ≈
o o gradually
2°/III
IV j o shift to open G IV IV I
≈
o oΩ n‚ n‚ ™ ‚™ ‚™ ‚™ ≈ oΩ III oΩ
≈ II ≈ n≈
wY ™™ ≈
w™
? j o‚ ™ ‚™ ‚™ nO j j
SQ ~™ n‚ n‚
Œ™ n ‚n w ™ n‚ n wY ™™ ™ ™
n wY ™
Vc û o
3°/III
o
6°/II
o o nO
o
n ˙O
o
˙O
o nw™ w™ come prima
wY ™ III
IV
3°/IV
o o ≈ “o
o ≈ o o o ≈
o 4 œ™ œ™ n œo ™ œo ™ 4 ˙™
ù ≈ < œ™ œ™ < œ™ œ™ o -œ™ nœ ™ j ≈ ≈ ≈ ≈
Vln
& ∑ Œ™ ‰™ nœ ™ nœ ™ œ™ Œ™ Œ™ ∑ ∑
(snd) > oœ ™ œ™ ˙™
2°/I
o o
3°/II 4°/I
4°/IV
3°/III
o ≈
o 2°/II
n‚ ™ n‚ ™ ‚™ ≈ n Oo ™
≈
Œ™
o ≈ o o
‰ ™ n œj™ n ‚o ™ o
‚™ ≈
Œ™ Œ™
≈ III ≈ ≈
Vln { & ∑
n‚ ™
o
‚™
m.v.
n‚ ™
rinf.
‚™
n‚ ™
-
m.v.
>
nœ ™
o
œ™
m.v. o
∑
nœ ™
pp
œ™ ˙™
senza dim.
∑
o ≈
o 4 œo ™ n œo ™ ≈
o
œ™ n œo ™
≈ 4˙ ˙ ≈ ˙o ™ ≈ o ≈
o ≈
o o ≈ ≈
Vla B ∑ & Ó Ó Ó 4˙ Œ™ Œ™ B <œ ™ œ™ œ™ œ™ ∑ ∑
(snd) n˙ ˙
2°/I o ≈
o 4°/I
≈ nO O ≈ n ˙I n ‚o ™ n4°/II
‚o ™
≈
o o 3°/II
‚ ™ n‚ ™
o
O™ ≈ 2°/IV
o ≈
o ≈
o o ≈ ≈
Œ™ Œ™ n‚ ™ ‚™ ‚™ ‚™
Vla { B ∑ &
n˙
o
˙
m.v.
Ó B
o
Ó
≈
o
Ó
rinf. pp m.v. o o pp senza dim.
∑ ∑
≈
≈ ≈ 4˙ ˙ n ˙o ow™ o
œ™ n œo ™
≈
o œ™ ≈ ≈ ≈
Vc ? ∑ ∑ Œ™ ∑ ∑ ∑
(snd) n˙ ˙
o
2°/II
≈
o
3°/III 2°/III ≈
nO O ≈
? ≈ ≈ o o
~™
o
‚™ n ‚o ™ o ‚™ Œ™
≈ ≈ ≈
Vc {
û
∑ ∑ n˙
o
˙
m.v.
nO
rinf. pp
m.v.
∑ ∑ ∑
8
≈
-™
17 +2 ≈ ≈ nœ ™ œ™ œ
ù nw ™ ˙ -˙ ≈ ≈ ≈ ≈
Fl
& Ó ∑ Œ™ Œ™ Œ™ Œ™ Œ™ ∑ ∑
(1)
o mezza voce (m.v.) o
≈
- +2 ≈
≈ j˙ ˙ ≈ nœ ™ œ™ -œ™ ≈ n˙ ≈
w™ ≈
Fl Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™
(2) { &
o
Ó
mezza voce (m.v.)
Ó Ó Ó
o m.v.
Œ
-2
o
∑
≈ Ωj
≈ nœ ™ j˙ ˙ ≈ nœ ≈ ≈ Ωj≈ ≈ j
Ob & Œ™ +2 Ó ∑ ∑ ∑ Ó nœ Ó Ó Ó Ó ‰ ‰™ nœ ™
nœ ™ nœ ™ (Sax)
-
-2 p m.v.
come prima
u5 7°
≈ j ™ ≈ ≈ ≈ ≈ j ™
Bb Cl & Œ ™ nœ ™ œ™ œ™ ‰ Ó Œ™ Œ™ Œ™ Œ™ Œ™ nœ ™ œ™ œ™ ‰
+12
(1)
-2 o n˙ n˙ œ nœ ˙ ˙- (Sax)
ow ™ <˙ ˙ œ jœ
m.v. -37 Δ
-4
o o o
≈ nœ ™ ≈ ≈ ≈ ≈ ≈ ≈
nœ ™
Bass Cl
(2) { & nœ ™ œ™ œ™ -2
Ó Ó Ó Ó Ó Ó Œ™ nœ ™ œ™
-
Œ™ Œ™ Œ™ Œ™ Ó Ó
n˙ n˙
-4 n˙ ˙
m.v. o m.v. (Trp)
o -6 -2
-4 m.v.
place after
Cl 1 changes
pitch
- Ωj
Ω≈ ≈ ≈ Ω ≈ ≈ n˙ ≈ ≈ Œ ≈vœ ‰™
Alto
& Œ™ Œ™ j ™
vœ Œ Œ™ Ó Ó Ó Ó Ó jÓ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ ∑ Ó Ó
Sax û nœ
(Trp)
rinf.
8 : 7
= -231c B1 B2 B1 B0 B2
≈ 2 2 +14
ù ≈ ≈ n œ n≈ o≈ n˙ ≈ ≈
Hn & nœ ™ < œ ™ œ™ ‰ Œ ∑ ∑ n˙ ™ J œ < œ™ ˙™ ˙™ Ó Ó ∑
-2 -33 -35
m.v. dissonant match (Ob)
Tuba Tuba
Ωj 2 0
Ω
vœ ≈ Ω ≈ 3 Ω ≈ ≈nœj ≈ ≈
Bb Tp & +2 ∑ j
∑ Ó Ó Ó nœ
j ∑ Œ™ Œ™ Œ ‰ Œ™ ∑ ∑
(1) nœ
fp -2
simile
Ωj
Ω2 Ωj
v œj nœ
3
Ω ≈ ≈ ≈ vœ ≈ ≈ ≈
Bb Tp Œ™ j Œ™ Œ ™ +2 Œ ™ Œ™ Œ™ Œ™ Œ™ nw ™
(2) { &
-2
nœ
fp simile
Ó Ó Ó ∑
mezza voce (m.v.)
coordinate with
∑ ∑
15 : 14 (keep position, Tba, SQ Vl2

match Ens Vc = -119c *F play on F side) F IV
F IV ≈™ Bb IV ≈ Bb IV > ≈
nœ œ™ m˙ ˙ ≈ <e œ™ ˙™ n≈
œ™ œ ™ nœ ™ n ˙ ™ ˙™ ˙ ≈
Tb
? Œ™ Œ™ nœ ™ nœ nœ ™ ˙ Ó ‰ -37 Ó Ó ∑
J -4 -18 28 : 27
p -2 mezza voce (m.v.) = -63c
coordinate with consonant to Tb

tune with Tb Tb, SQ Vl2 dissonant to Horn
>™ ≈
? ≈
∑
≈
∑ m˙ n≈
˙ ˙ œ™ nœ ™
≈
œ™ œ ™ nœ œ™ f œ™ œ™
Œ™
≈
∑
≈
∑
Tba +12
û -20 -4
-2
mezza voce (m.v.) 1
V 3 3
1 1
4
5
≈ ≈ ≈ ≈ ≈ ≈ ≈
& Œ™ Œ™ Œ™ Œ™ Ó Ó Ó Ó Ó Ó Œ™ Œ™ Œ™ Œ™ Ó Ó Ó Ó Ó Ó Ó Ó Ó
Cues
? ≈ ≈ ≈ ≈ ≈ ≈ ≈
Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™
{ ∑ ∑ ∑ ∑ ∑
2°/II
oΩ I 2°/III
I j Ωj oΩ II
III Ωj II
n‚ j o
SQ ù n≈
w™ ≈
w™ ≈
∑ nœ ≈
∑
≈
w™™
n ‚ nn ~ nœ Œ ™ Œ™
≈
Œ™ ‰™ j
nœ ™
Vl1 & n˙ ˙ n ˙O no‚ II
o 3°/IV
II II
I
Ωj 3°/III ≈ ô I
Ωj ≈
o II
III
Ω o
IV o nO ~™ I ≈ ≈ Ωj
SQ nœ ≈
∑
Ω
j nœ n˙ ™ œ™ œ™ n>œ ™ n w~™ ≈
∑
≈
nw ™
Vl2 & nœ j nO O nO nœ
nœ
o
vo 3°/II
o
oΩ III (A-string)
j oΩ
3°/I j I
n‚ Ωj 3°/III
II 2°/IV o II
Ωj n‚ oΩ IV
III
≈ 2°/I ≈ o ≈
o ≈ ≈ nœ ≈ j ≈ Ω
SQ B w™ ∑ nO O O nw ™ nœ ∑ ∑ n‚ j
Vla n˙ nw™ nœ
III
2°/II
o ≈o o 2°/III
≈ III
oΩ III ≈
II
oo ≈
o o molto sul tasto ord.
Œ ™ n ‚o™ ‚ ™ ‚œ ™™ ≈
o oΩ o 2°/III IV
oΩ j ™
oo o o Œ™ n‚ ™ ‚™ ‚™ I oIV
Ωj
IV
oo
? œ™ œ™ œ™ n~ ™ n~ ™ n ‚ n Œœ n ‚œ ™™ ‚œ ™™ ‚œ ™™ n≈w ™™
SQ j j ™ nœ ™ œ™ œ™ œ™ n wY ™ n ‚ n Ó˙ Ó
˙ n O˙
Vc û n‚ n‚
II
4°/IV
III III III Δ
o ≈
o ≈ ≈ ≈ ≈ ≈ ≈
Vla ùB Œ ™ <œ ™ -œ ™ Œ™ ∑ ∑ ∑ ∑ ∑ ∑
(snd)
2°/IV ≈
o o-‚ ™ ≈ ≈ ≈ ≈ ≈ ≈
Œ™ ‚™ Œ™
Vla { B
o m.v.
∑ ∑ ∑ ∑ ∑ ∑
≈ o ≈
o ≈
- ≈ ≈ - o ≈ ≈
Vc ? ∑ m˙ -˙ Ó ? m˙ ˙ Ó ∑ Ó Ó ∑
(snd) & nœ ™ œ™ œ nf ˙˙ ˙
o
5°/III
o ≈
o ≈ o
? ≈ -O - ≈ ≈ - ≈ ≈
∑ mO Ó m˙ ˙ Ó ∑ Ó Ó ∑
Vc {
û o mezza voce (m.v.) o m.v.
nœ ™
o
œ™
m.v.
œ nf ˙˙
o
rinf.
2°/IV
˙
9
24 ≈ ≈ ≈ ≈ ≈ ≈ ≈
Fl ù nw ™ Ó Œ™ Œ™ ∑ ∑ ∑ ∑ ∑
(1) & -2 n˙ j˙ w™ ˙™
o o m.v.
take Bass Flute

≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Fl
(2) { & Ó Ó
n˙
o
w™ ˙
m.v.
Ó Ó ∑ ∑ ∑ ∑
-2
n˙
pp
˙
Ó
senza dim.
∑
≈ ≈ Ωj ≈ Ω ≈ ≈ ≈ ≈ ≈ ≈
Ob & ˙ Ó Ó Ó Ó nœ Ó Ó Ó jÓ ∑ ∑ ∑ ∑ ∑ ∑
nœ
(Sax)
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Bb Cl & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(1) j œ™ œ™ ˙™
pp senza dim.
5°
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Bass Cl
{ & ∑ Œ™ Œ™ Œ™ n -œ ™ u˙ ˙ Ó ∑ ∑ nœ ™ œ ™ œ ™ œ™ ∑ jw ™ ∑
(2) -18
rinf. o m.v. o pp senza dim. pp senza dim.
Ωj≈
vœ Ωj ≈ ≈ 7° ≈ ≈ ≈ ≈ ≈
Alto
Sax & Ó Ó nœ Ó ∑ Ó Ó v˙ <w ™ w™ œ ™ v œ- ™ Œ ™ Œ™ ∑ ∑ ∑
û -37
pp un poco più f
tune arrow-down pitches as consonant

3 5th partials to SQ open strings Pythagorean over SQ Vla C !
2
≈ 1 0 3 2
match Tp 2
2 2 3 3
n˙ 2 ≈ 3v 2
Bb Tp ù n˙ u˙ œ™ vœ ™ n≈
œ™ uœ ™ u œ™ n œ ™ n œ ™ u œ ™ ≈ 2 3 ≈
Œ™ Œ™
≈
∑
≈
∑
≈
∑
≈
∑
(1)
& -4 -16 +2 -2 v˙ ™ n˙
m.v.
-14 -18 nœ n˙™
tune 7° with tune 7° with
Sax, SQ Vc Sax, SQ Vc
2 3 1w 2
take Natural Trumpet
3 2 1v
≈ ≈ ≈ 2 3 ≈ 3v ≈
3
n œ ™ < œ™ œ™ < œ ™ œ™ ≈
œ™ Œ Ó ≈ ≈ ≈
Bb Tp
(2) {
û
& ∑
-2
n˙
+2
v˙
mezza voce (m.v.)
n˙ ˙ n˙ v˙ œ™ < œ ™ œ ™ n œ ™
-35
27 : 28
= +63c
27 : 28
= +63c
-37 -33
8 : 9
= +204c
∑ ∑ ∑
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
& Ó Ó Ó Ó Ó Ó Ó Ó Ó Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Ó Ó Ó ∑
Cues
? ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
∑ Œ™ Œ™ Œ™ Œ™ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{
I
2°/III
≈ IV ΩIj 2°/IV
≈ o II
≈
ù n~ ™ o Ó Ó Ω ≈ nœ ≈ o Œ ™ Œ ™ n œ™ Œ ™ n œ™ ˙™ ≈ ≈
SQ ∑ ∑ ∑ ∑
Vl1 & w™ n ˙˙ ˙ ˙ j n~ ™ ‚ ™
n œ™ œ™ n œ ™ œ™ œ™ n œ™ Ó™
nœ III o
III Δ Δ Δ
2°/II
oo ≈ II o
≈ ≈ n O˙ o™~w™ ≈ ≈ III
Ω ≈ 2°/III
o ™ ™ ≈ ≈
SQ
& w™
n˙ ˙ nw ™ w™ j Œ™ Œ™ Œ™ ‰ ™ n ‚J ™ n ‚œ™™ Œœ™ Ó˙™ ∑ ∑
Vl2 nœ
I o II Δ o
2°/II molto sul tasto
oΩ I II I 2°/III I
j ≈ I oΩ o Ωj
n‚ ≈ Ωj come prima j III ≈ II
nw ™ nw ™ ≈
w™ o™ Œ™ Œ™ Œ™
SQ B
≈
n‚ nœ Y™ n‚ ™
Œ Œ™
≈
Œ™ ‰ ™ n ‚J n ‚œ™™ œ™ ˙™ nœ ≈
∑ n≈
w™ ≈
∑
Vla nw™ o
3°/III
n wY ™™ o Δ o pp senza dim.
IV
2°/II
oΩ o 3°/I
o ≈
o o gradually
2°/III shift to open G
IV j o IV IV I
come prima
≈
o oΩ n‚ n ‚ ™ ‚™ ‚™ ‚™ ≈ oΩ III oΩ
≈ II ≈ n≈
wY ™™ ≈
w™ ≈
w™
? ~™ j o‚ ™ ‚™ ‚™ nO j j
SQ n‚ n‚ ™ n‚ n w ™ n‚ n wY ™™ ™ ™
n wY ™
Vc û o Œ
3°/III
o
6°/II
o o nO
o
n ˙O
o
˙O
o nw™ w™ wY ™ III o
IV
3°/IV
o o ≈o “o
o ≈ o o n≈
o o -œ™ œo ™ 4 œ™ œ™ n œ ™ œo ™ 4 ˙™
ù ≈ < œ™ œ™ < œ™ œ™ ≈ ≈ ≈ ≈ ≈
Vln
& ∑ Œ™ ‰ ™ n œj™ n œ ™ œ™ Œ™ Œ™ ∑ ∑ ∑
(snd) > oœ ™ œ ™ ˙ ™
2°/I
o o
4°/I
4°/IV
3°/III ≈
o 2°/II n ‚ ™ ‚ ™ 3°/II
≈ n Oo ™
≈ o ≈ o o o n‚ ™ o o ≈ ≈ III ≈ ô ≈ ≈
Vln { & ∑ Œ™ n‚ ™ ‰ ™ n œj™ n œ ™ œ™ n ‚ ™ ‚™ Œ™ Œ™ ∑ ∑ ∑
n‚ ™ ‚™ n‚ ™ ‚™ - > n œ ™ œ™ ˙™
o m.v. rinf. m.v. o m.v. o pp senza dim.
o ≈
o 4 œo ™ n œo ™ ≈
o o
≈ 4˙ ˙ ≈
œ™ nœ ™ ˙o ™ ≈ o ≈o ≈o o ≈ ≈ ≈
Vla B ∑ & Ó Ó Ó 4˙ Œ™ Œ™ B <œ ™ œ ™ œ ™ œ™ ∑ ∑ ∑
(snd) n˙ ˙
o ≈
o
2°/I 4°/I
nO O n ‚o ™ n4°/II ≈ 3°/IIo o
≈ ≈ n ˙I ‚o ™ ‚o ™ n ‚ ™ O™ ≈ 2°/IV
o ≈o ≈o o ô ≈ ≈ ≈
Vla { B ∑ n˙ ˙ Ó Ó Ó Œ™ Œ™ n‚ ™ ‚ ™ ‚ ™ ‚™ ∑ ∑ ∑
o m.v. rinf. pp m.v. o o pp senza dim.
o ≈
o ≈
≈ ≈ 4˙ ˙ n ˙o ow™ o o ≈o
œ™ n œ ™ œ™ ≈ ≈ ≈ ≈
Vc ? ∑ ∑ Œ™ ∑ ∑ ∑ ∑
(snd) n˙ ˙
o
2°/II
≈
o
≈ ≈ nO O 3°/III
o ≈
o o 2°/III
o ≈o take Gamba
≈ ≈ ≈ ≈
? ~™ ‚ ™ n ‚ ™ ‚™ Œ™
Vc {
û
∑ ∑ n˙
o m.v.
˙ nO
rinf. pp m.v.
∑ ∑ ∑ ∑
attacca
10 Harmonium for Claude Vivier
Joyeux
e = 288 ( q = 144 | q. = 96 )
1 8
4 8 13 8 21 13 8 13 8 13
8 8 4 8 8 8 8 8 j
8
? œ™ w œ™ œ ™ œ ˙ œ™ w œ™ w ˙ œ œ™
Cues { j ™
œ œ œ œ™ œ ˙ w w œ œ™ œ™ œ œ w œ œ œ œ œ
(This staff shows the hocketing counterpoint between parts, written at sounding pitch)
SQ ù ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Violin 1 &
SQ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Violin 2 &
*
≥ ≥ ≥ ≤
SQ B ∑ ∑ ∑ ∑ ∑ Œ Œ j Œ™ Œ Œ ∑ Œ j
Viola œ œ w œ™ œ ˙ œ™ œ™ w ˙ œ œ™
f p f f p f f p f
sonore e sostenuto possibile
* o 2°/IV 2°/IV
o - -
2°/IV
o oj
SQ ? j ‚ w ˙ œœ ™ w
Violoncello û nœ œ œ
j
œ™ œ ˙ w w œ œ™
™
œ ™ œ œœ ™ w
w œ œœ œœJ œ w
‚œ ™™ œ ™
œ œœ œ ˙ ™ w œ™ w
w œ O ‚ ‰ Œ
III III
f sonore e sostenuto possibile
(harmonics are mostly written at the nodes as diamond noteheads inflected by a small circle;
the desired partial and string are indicated above: please observe the changing nodes where possible;
double-stop harmonics generally take two stems.)
=
11 8
13 5 3 2 1 21 3 2 1 2 3
2 2 2 2 8 4 4 4 4 4
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ m ˙˙ m œœ m ˙˙ m ˙˙ ™™
Cues m œœ ™™
W ww ™ ww
w ˙˙ ˙˙ w œ œ ™ w ˙™
˙™
? ww œœ œœœ™™™ ˙˙˙ W w ™™ ™ ™
œ™ œ œ ˙ ww œœ œ™ w ∑ ∑ ∑ ∑
{ W
œ
œ
2°/IV
ù * o o o
SQ
& ∑ ∑ ∑ ∑ Œ Œ™ ∑ ∑ ‚ O O™
Vl1
˙ W w™ w ˙ w p
f p p
2°/IV
* o o o
SQ ∑ Œ ∑ ∑ ∑ Œ ∑ ∑
Vl2 & ‚ O O™
œ™ ˙ W w™ w ˙ œ™ w p
f p f p p
IV 2°/III 3°/IV 3°/IV
IV III IV
SQ B
2°/IV o
~œ Œ Ó
o
O ˙
o o
‚™ ‚ Œ™
o
~œ
III
˙™
o
O ‚o Eo Oo ™
Vla w œ œ™ ˙ W
W w™ œ œ™ ˙™ œ w œ œ™ Œ Ó O
III
( f ) p p f ( f ) p f p f p f
2°/II II
2°/III o 5°/IV o
o o III
O˙ m eo ™ œœ -œ ™
4°/IV O˙ ™™ 5°/IV 5°/IV 5°/IV
SQ ? ≥
w œ ‚œ ™™ O˙ W w
w™
™ w Oo œ™ w w
w
o o o o o
Vc û p f I
m ‚ ™ œ œœ ™™ œœ œ ™ w ~ I
mO ‚ mO m O™
II
24 4
5 13 8 5 13 8 <e w 13 3 2 3
8 j
8 4 8 j j 4 w 8 4 4 8
<e œœ m w œ m œœ m œœœ <e œœ ™ œ ˙ ? ™ œ™
Cues { & m ˙˙ ™™ ˙˙ mw
w œœ œœœ œœœ mw
w œ ww ™ œJ ˙ œ™ œ œ™ w w & m œ™
œ™ mw
w œœ mm ˙˙ ™ ˙
˙ mœ™
J œ w œ œJ w œ ˙™
II IV
ù o o j
(match cello harmonic)
j j o IIIj
SQ
& O™ O ~ ‚ ‚ mw œ mw œ œ œ ‰ ‚ ™ <e ‚œ O˙ Œ™ Œ œ™ w œ ∑ ∑ ∑
Vl1
œ w œ J o
-37 o
œ™ œ ˙™
( p ) f -20 p p f p
(match cello
(dissonant fourth 27/20) harmonic)
o o III
j
SQ
& O™ O ~ ‚ œj œ j
m œ mn œœ œœ ™™ œœ ˙˙ Œ™ Œ Œ™ <e ˙ ™ Œ™ ∑ ∑
Vl2 w œ w œ œ œ ˙™ w œ ˙™
( p ) f p -37
f -20 p p ( p )
(match cello harmonic)

III III o o o I III
‚ ‚j
4°/IV
Oo ™ Oo ~o ‚ w <e w œ œ ‚o ‚o ™ ‚o Oo <e ˙ ™ o
SQ B ~o œ w J J Ó ‰ -37 Ó Ó Œ ˙
Vla ‚ ‚ ‚ -37 œ™ œ ˙™ œ™ ˙™ ‚™
IV o Jo o p f p p ( p ) f
( f ) p
5°/IV 7°/IV
5°/III
5°/IV m ~o ‚o ‚o ‚o m ~o <e ‚o ~o 2°/III o 7°/IV o 5°/IV
? o
m O™
o
O J B ? ‚o ‚j o o oj o III o o o o
mm O™ O
SQ
Vc m‚ ‚ <e ‚ ™ ‚ O œ œ‚™™ <eœ‚ ˙O ™ m œ‚™™ m ~ ‚ O™ m ‚™
û ( f ) Jo œ™ o o o
2°/IV 7°/IV
o o
5°/IV 5°/IV ( f )
34 4
8 8 5 8 5 13 13 13
j 8 j 8mœ 8 nœ ™ 4 8 4 8 j
m œ œ œ™ œ w
{ & œœ m œ œ œ ™ m œ w
m œ m œœ œœ m œœ œœ ™™ œ™ m œ™
œ™ œœ
mm œœœ www ww
<e w œ™ œ <e ˙Œ ™ ˙ W m œœœ ™™ œ w œœ mm œœ œœ œ ™ m w
Cues
J œ J
œ œ™ œ™ œ™ œ œ w w ww
w œ™ œ œ œ WW
W w
w œœ œ œ™ w
œ ˙˙™ œ™ w
3°/IV 3°/IV
o o o 2°/III
o IV
o o o o IV
o o
ù j j
SQ
& j ‰ e e™ ‰ ~ j ‰ ‚ ‰ ‚j ‚ ‚ ‚™ mœ œ ~ ~ Œ™ Œ Œ <e œ œ œ W œ œ w œ ‰ ∑
Vl1 œ ‚ ‚™ œ œ™ œ™ œ œ -37
œ œ œ œ W œ
p -18
f p f p
3°/IV
o o 3°/IV
o IV III o 2°/III
o o IV
o o -
SQ j ‰ ‚ ‚™ ‰ ~ j ‰ e ‰ ‚J ‚ ‚ ‚™
œ™ œ™ œ Œ ∑
Vl2 & œ œ ‚ œ w
w w
w œ™ œ œ œ œ œ W
jmœ w
œ œ w
œ mœ
œ -20
œ
œ œ™
p
p p
5°/IV
IV 3°/III sim.
o o o o o m eo eo ™ III
IV IV
SQ B
o o o
‰ ‚j ‚ ‚™
o o
j ~ ‰ ‚j ‚ ‚ ‚ ‚ Œ™ ‚o ™ ‚o mw w Œ™ Œ
o o
‚ ¿~¿
o o o
‚ ‚ ~
o
‚ ‰
o
Vla ‚ m‚ ‚™ œ w w J J œ œ™ m ~
-20 œ œ œ œ p f
( f ) p f
II o o III
o o o o sim.
III IV III
o o o o o o o o o o o ‚™
‚™ ‚ o o 7°/IV
o o o o o o œI œ IV IV
oj o o o IIIo o o IV
o
? m ‚ m ‚ ‚ ‚™ m ‚j ~ m‚ m‚ ‚ m‚ ‚ ‚ m ‚™ ‚ ‚ ‚ m ‚‚J ‚‚ ‚™
SQ m m
Vc
‚ ‚™ m‚ ~ <e ~ ‚™ ‚ <e ‚ ‚ ‚ ¿~¿ m‚ ‚ ~ ~
û o o
III o p f o o
IV ( f ) IV
* this section is played on open strings and natural harmonics whenever possible, with the exception of occasional stopped pitches
11
8 3 1 2 3 5 5 8 13 8 5 8
43 4 8 4 4 4 4 8 j ˙
8 <w 8 œj <w
8 <œ 4 nœ w 4
mœ œ™ mw mw mw œœ ™ m œœ œœœ ww<e w mœ œ mœ ˙
Cues {& ™ m œœ m ˙˙ m ˙˙ ™™ m ˙˙ ™™ ˙˙ m œœJœ ˙˙˙ www œ œ œ œ œ œ ˙ œ w
w
œ œ™ w w w J
2°/II
ù
IV
o o o o o o j œ œ œ œ w
III o I
œ ~o
SQ
& ∑ ∑ ‚™ ‚ O O™ O™ O œ ˙ w j ‰ ‚J ‰ Ó
Vl1 œ
f p f p ( p ) f
2°/II
III
‚o ™
IV
o o o o oj ˙ III o III ~o
SQ
& ∑ ∑ ∑ O O™ O™ O ‚ mœ œ ∑ j ‰ ‚J ‰ Ó
Vl2
œ œ™ w w œ œ œ œ œ w
f p -18 p p
p p f ( f ) p
o
IV IV III IV
III II
‚ II
~o 5°/IV II III
SQ B
o o o
‚™ ∑ ∑
o Oo ™ Oo ‚o ˙O œ~ Œ Ó œ œ œ ‚ ~
o o o
‰ m ‚j ‰ m ‚j O œ ~o
Vla œ œ™ m ~ w m~ O™ J III
o o o o
p f p f ( f ) ( f ) III
p f ( f ) f
7°/III
o II
sim.
4°/III
o
5°/IV
m Oo ™ Oo m ‚o 7°/III
o o ? <e< ~~
5°/III < ‚o 4°/IV I
‚o œ ‚o Oo ‚o
SQ ? m ‚o ‚™
o o o
m~
o o o o
m O™ J ‰‰‰‰&
< %o ‰ m‚ ‚ Œ Œ Œ Œ Œ&
Vc ~ ~ ‚™ mO <~
û m‚ o
( f ) 7°/IV ( f )
8
55 4 j œ™ œ
5 8 9 15 8 9 8 5 3
m < œœ œ™ œ nu œœ w
8m œj 8 j 8 8 m œ™ < œ ™ œ™ œ™ <e œ™ 4 <e œ ˙ <e ˙™ ˙ 8 œ™ ˙ ™ 4 ˙ w ™™ 4 u œœ w 4
Cues {& J ww m œ m˙˙˙ œ ™ œœ ˙˙ œ œ m œ ˙™
mœ œ œ ˙™ œ™ œ™ œ™ œ™ œ™ œ m˙ ˙™ ˙ mm ˙˙ mu w
w
w ™™
w
J œ™ J œ™ m œœ œJ œ ™ œ
(match
III cello) IV III
IV III IV IV IV
ù o o o o o o o o o <œ™ o o o o o o o o
SQ ‰ Œ ~ ∑ Œ™ j ‰ ‚ ‚ O™ ‚ ™ -35 ‚ ™ ‚ ™ ‚™ ‚™ O™
Vl1 & ‚™ ‚ ~o ‚ O ‚ O O œ™ m œ œ œ™ mœ œ œ œ w œ ~
( f ) ( f ) ( f ) p o ( p ) œ œ f
IV p -20
II
4°/IV 3°/III IV 3°/III III I
IV I IV III IV o o o o o o o o o o o o o o o o o uœ w
SQ ‰
o o œ w ∑ Œ™ ‚o Oo o o
‰ ‚ ‚ O™
o œ w~
& ‚™ ‚ J ‚™ ‚™ ‚™ ‚™ ‚ O O™ O ‚ ‚ ‚ ‚™ ‚ ‚ ‚ ‚ Œ o
-‚ ™ - ‚™
Vl2 -16
( p ) ( p ) f
p f p
o f II
7°/IV
o 2°/I o o I
IV <e -e ™ ‚o ‚o ‚o ‚o ™ ‚o ‚ ‚ ~o
IV III IV
o o III o IIIo IVo o IV III
3°/II
o
-‚™ o IIIo IV
o o
SQ B
oj o o o
Œ ~
oj o II
œ™ ‚J O ‚
o ‚o ™ ‚o ™ œ™
mœ œ œ w II
œ
Vla m‚ ‚™ ‚ m‚ O ‚ m‚ O™ m -‚ ™ <e ‚™ <e ‚ O <e O™ O -18
p f p f p f p ( p ) f
6°/ 5°/ 5°/II
7°/III 8°/IV
5°/II 4°/III
5/IV III
o o o o
7°/ 8°/
o 9°/ IV
‚o m Oo Oo ™ Oo II
o 5°/IV
5°/III
o o u ‚o o
‚‚ ~~o u ‚o
II
< ‚o ‚™
o o u ‚o o o
5°/III
o o o o < -eo ™ e™ eo ™ o ‚™ o o o o
SQ
& J ‚ ∑ m ‚ m OO ‚ ™ ‚j O ‚ ‚ O™ ‚ ™ < ‚™ ‚™ ‚- ™ ? m ‚ ‚ ‚ ‚™ mm ‚‚ ‚‚ m ‚
Œ Œ Œ Œ&
Vc û J m‚ ‚™ o o IIIo o o
o ( f ) IV
5°/IV
p f p f
3 3 9 5 8 3 13 3 5 9 u œj œ u œj 3
64 4 œ ™ œ™ œ™ ™ œ™ 8 mœ 8 nœœ™™ <e ˙™ 4œ œ ˙™ m ˙™ ˙ <˙ ˙™ 4 mœ œ œ w™™ 8 mœ œ œ œ ˙™ œ™ 4 <e œ œ mw 8 um œœ œ œ™ œ m œ 8
n œ™ m œ™ œ™ u œœ™ m œ™ u œœ™™ œœ ™™ n œœ ™™ œ u œœ m œœ J œ œ™ œ m œ
Cues {& ˙™ mœ œ m˙™ ˙™ ˙ ˙˙ mœ
˙™ œ œ œ w™™ œ œ œ œ ˙™ œ™ œ œ w J
5°/II
Œ Œ Ó u eo
IV IV III IV III IV III 5°/IV III 5°/IV III 5°/IV III
o o o o - o o o o o o o m E™ E o 3 o o o 3 o o o o o o o o
ù j ‰ ™ ‰ ™ œ™
u‚
SQ
& ‚™ ™ ™ ‰ ™ ™ J ‰
‚ ‚™ O ™ ‚ ‚ O™ III
m œO ™ O œ œœ ˙ ™ ‚ ~ ™™ ‚ ‚ O™ ‚™ mœ w
j
m‚ ‚ ‚™ ‚ J
Vl1 - ‚ ‚ -‚ -‚ - m‚ œ m‚ œ
( f ) - - p f p o o f
œ œ
p f
5°/IV -20 5°/II
II II
II
(match
cello) * 5°/IV
u eo
I
j III I IV
‚o IVo Oo ™ < œ ˙™ n eo III III o m %o III III 5°/IV
u ‚ o o o oj
SQ œ ‚ ™™ ‰™
o o o
j ‰™ ‚ ™ ‚ ™ ∑ œ ‚ ™™ o ™ III
-33
oj o oj o o o
‰ ‚j m ~
Vl2 & ‚™ ‚™ ‚™ o O ‚ ˙™ ˙ œ œ O ‚ ~ ™™ Oœ ‚ ‚ O ™ ‚™ J ‚ ‚™ ‚ m ‚
p f p II ( p ) œ œ œ œ œ ( f )
o o o
II IV 3 * artificial 3
harmonic 5°/I
5°/III o
‚o ™ IV m Eo ™ Eo -‚o
8°/IV
-‚o
IV
7°/IV5°/III o ‚o u ‚
o o o o o o o
5°/IV
III
o IIIo IVo o
7°/IV II IV
‚o o O™o II
mO™ O <e ‚o m ~o o
m‚ I ‚ ‚™
SQ B m ‚ ™ ‚ ™ ‚ ™ m ‚ ™ ‚ ™ ‚™ ‚™ m -‚ ‚ m ‚ Œ ™ <e O™ <e ‚ ∑ & ‰ J ‰ ∑™™ ‰ J ‰ Œ Ó™ Œ™ J ‰ J œ J
Vla - 3 3
o
( f ) II
f p f p f
5/II IV
3/I
o 8/IIIo o 5/IIo 3/I o o™ o III II 5°/I
8/III5/II
o o o ‚™ ?
o 8/IVu -‚ 8/III
‚o 3/I o O m ‚o ‚ m Oo ™ o
O™ Oo
7°/II
o o o III 4°/III 5°/IV
~o u eo 5°/III
o
SQ ‚™
-
e™ e™ ‚o ‚™ ? < ‚ ‚ O™ ? ‚o ‚o ‚o ~™™
o ‚o ‚o ‚o ‚o O™
o o
‚™ o o
‚ m‚ u ‚ Œ Œ ™ Œ m ‚J
?
Vc & ‚ ™ ‚ ™ u -‚™ ‚ ™ u -‚™ -‚™ & & & J
û œ œ ˙™ 3 3
p f p f p f p f ( f )
I
3 3 uœ 6 13 8 9 15 2 5 3 3 5 2
75 8 œ™ 4 uœ ˙ 8 <e œ™ œ™ 8 uœ œ ˙™ u œj ˙ 4 œ œ™ œ™ ˙™ 8 œ™ ˙
™ 8 ˙™ œ™ 4 œ <œ 4 <˙ œ™ < œ™ 8 < œ™ œ™ 4 u˙ uœ 8 œ™ œ 4
<e œ ˙ ™ <e ˙ œ œœ œœ ™™ mœ ™œœ ™ ˙˙ ™™˙ ™ ˙™ ˙™ œ™ œ œ <e ˙ œ ™ <e œ ™
Cues { & œ™ œ ˙ œ™ mœ™ œ œJ ˙ œ ™ œ™ ˙™ œ™ œ™ ˙ œ œ™ œ
7°/ I
II
IV
< eo -‚o ™
ù
II
-14
uœ ˙ IV
o ‚o ™ III
o o o o o o o o o o o o o o o or J III
o o
SQ
& œ™ œ ˙ ‚™ ‚ O™ j ‚ Œ ‚™ ‚™ O™ Œ™ Œ™ ‚‰ ∑ ‚™ ‚
Vl1 œ œ O ‚™ O™ O™ ‚™ ‚ <‚ <O ‚™ < ‚™
p p f ( f ) p f f
7°/IV
III III IV
II
o o o < Eo eo ™ eo
o o o IIIo III
o o IV
o III
o II‚™
o u˙ œ™ œ
SQ Œ O j <e œ œ œ™ œ™ ˙™ Œ™ Oo ™ OO ™™ ‚‚ ™™ ‚‚ ‚o ‰
Vl2 & ‚™ ‚ ™ ‚™ œ ‚ O™ œ ˙ -37 œ ‚ ™ œO ™™ o o o J <O ‚™ ‚J Œ -
< ‚™ œ -14 ˙ œ™ œ
( f ) p ( p ) p ( p ) f p p
5°/I 6°/ 8°/
u ‚o 4°/II 7°/IV
IV
eo ™ E ™
o
‚™ Oo <e eo ™ 3°/II
o II
IV
o o mIII˙ ™ III I 7°/III I
˙I
SQ j ‰ ‰ <e ‚ ™ ‚™ B œ ‚o Oo ™ o
œ O ‚o o ‚‚™™ f OO ™™
o
O™
o
O™ o
‚™ ‚o o o o o o
o ‚™
B
œ œ™ œ
Vla & œ J ‚ ‚ ™ ‚ ™ -20 O ™ & <‚ <O ‚™ < ‚™ < ‚™
o *
( f ) o p
p f * double-node ( f ) ( f )
harmonics
I
5°/I I o ‚™
o o ‚o
I
III
o 5°/IV u ‚o 7°/IV
o o u ‚o IVo o o o IVo II IV
o o o
‚™ u Oo ‚o ‚™
SQ ? ∑
o
u‚ Œ Œ ?
o J <e O o o o o
Œ™ Œ™ Œ™ ‚o ‚o
Vc & ‚™ m ‚™ <e ‚ O ™ ‚ ‚ ‚ ™ m ‚™ O™ ‚™ O™ O™ <e O ‚ ™ <e ‚ ™
û ( f )
( f )
12
2 13 15 < œ™ 5 2 3 4 œ 8 15 9
87 4 <e œ œ 8 uœ œ ˙ u œj œ™ < œ™ 8 œ™ œ™ ˙™ 4 2 2 4 <e œ œœ ˙˙ 4 <e ˙˙ ™™ œœ w
w W
<e W 8 w ™™™™™™
w 8
Cues {& œ mœ <e œ ˙ <e ˙ ™ œ™ œ ™ m œœ ™ ˙˙ ™ m œœ ww mm w <e ˙˙ w
w <e œ œ ˙ <e ˙ ™ œ w <e W w ™™™
œ œJ œ™ œ™™ ˙™™ œ w ww ˙ w œ œ ˙ ˙™ œ w W w™™™
II
IV
o ‚o III
o o o 7°/IV
o o o o o III
o o o o o o
SQ ù
& ‚ ‚ O j ‚ ™ < ‚™ ∑ ∑ Oo ~o ‚ ‚ O O™ ‚ ~
o
¿~¿
o
~ ™™™
Vl1 œ œ < ‚™ ‚™ ‚™ O™
p ( p ) f f
IV III III
o o o o o 7°/IV
o II III o
SQ j ‚ ™ < ‚™ mw mw
Vl2 & ‚ ‚
- œ ‚ O œ
œ™ œ™ œ™ ˙™
œ w w ˙ w œ œ ˙ ˙™ œ w W ~ ™™™
f p f p -18 p f
I
7°/IV
‚o II 7°/III II E % 7°/IV
o ‚o Oo ‚o ™ < ‚™
o o III II o o o o o o o o
SQ B <e ‚ œ œ < ‚™ m˙™ œ w mw ˙O w~ <e ‚ ‚ O <e O™ ‚ ~ <e ¿~¿ ~™™™
Vla - J nœ ™ œ™ ˙™ o
f p f ( f ) p -20 p o f
III
I
III
o IV u ‚o IV u ‚o o II IV
5°/III
o 7°/IV 7°/III
? o o o
J <e O ™ ‚o ™ ‚o ™ o o o
~~
o o o o o o o o o o < ~o ™™™
m ‚‚ mm ~~o
SQ
Vc
‚
- m -‚ <e ‚ O m ‚™ O™ o <e O ~ <e ‚ ‚ O <e O ™ ‚ ~ <e ¿~¿
û
o
( f ) ( f )
3
9 5 13 5 13 < œ 9 œœ™™ ™ 3 8
97 8 u œ ™ m œ™ u œœ ™ 4 u ww œ 8 u œœ œj w œ 4 w œ uœ <œ œ w 8 œ uœ ˙™ œ™ 8 œ™ œ ™ œœ ™ < œœ ™™ n œœ™™
œ™ œ™ 4 ˙™
˙™ 4
u œ™ œ™ ™ œ œ w œ mw
w œœ œ mœ œ
Cues {& J œ œ œ w ˙™ œ™
3
5°/III
5°/IV III o II II o u eo II 7°/IV 5°/III
III
o II
o I
o IIo III
‚™
II
o
o o o ‚o ~o ‚o ~o~ oj o o o
SQ ù
& Œ™ Œ™ ~ ‚ ‚ J
‚‚ m‚ œ œ w ‰ m‚ O™ ‚™ ‚™ ‚‚ ™ ‚o ™ ‚™ o ™
‚ OO ™
Vl1 m‚™ o o <‚ Jo ™ ™
p ( p ) III f 3 ( f ) o
III III
8°/IV 4°/II 3°/I II
II
I
‚o ~o ‚o II u eo
5°/III
eo -eo ™ o
‚™ ‚o ™ o
O™
5°/IV III
‚o IV o 3 III II 8°/IV
o o o
J o o ‚ ~o ‚o
o‚ u ‚ ‚ Œ -o
SQ
& Œ™ m‚™ Œ™ ~ ‚ œ
u ‚J œ J Œ™ Œ™ ‚™ ‰ ™
J ‰ ™ ‚™
J
Vl2 ~ ‚
p ( p ) o p f
5°/III
oI
I 7°/III
o I
o 5°/II eo ™ II I II
o O™
5°/III
m ‚o ™
II
~o ‚o ‚o ‚o ~o ‚o ~o ‚o
5°/II
o I
‚o ~o ‚
oj o o o ‚™o o
‚™
‚™
J
O™
SQ B Œ™ Œ™ & J m‚ ‰ J <‚ œ m ‚œ O˙™™ ‚œ™™ œO ™™ ‚ ™ ‰™
Vla J J II o
f ( f ) 3 p II
p f f
5°/I 7°/
o o I 8°/
u ‚™ u ‚™ II
5°/II II o ‚o < ‚o ‚o ~o II III
oI 8°/II
7°/I
o IIo
o m ~o ‚o ‚o
o o o o 8°/Io ™ o
SQ ? m ‚™ m ‚™ m ‚™ u ‚o ‚o ~o ‚o ~o
m ~o
‚
‚
o
m‚ &‚ O™ ‚™ ‚ ™ ‚ ™ ‚J ‰ ™ < ‚™ ‚™ O™ ?
Vc û o o J
5°/II ( f ) o 3
5°/III
3
8 œ < ˙™ œ™ œ ˙ 21 n œ n œ < œ™ œ w™™ 8 ™ 21 w 8 œ w 2 < ww 5 13 3
105 4 < œœ œ ˙™ œ™ œ ˙ 8 m œ <e œ 8 œ™ œ ™ œ 8 œ <œ™ w 4 uœ ˙
2 ˙ 4 w œ 8 <w 4
œ™ œ w ™™ ‹ uœ <œ œ œ™
œ <e œ w ™™ <˙ <w
Cues {& w™™ & œ™ œ™ œ™ œ w œ œ™ w œ ˙ œ w w w œ œ™
7°/III 5°/II “I
< Eo ™ o Io
III u eo ™ o 7°/II I
u ‚o ‚o ~o
II
< ~o Oo
II
I
‚o
I
o II III
o o II
~ ™™
I
o ~o ‚o < ‚ ™ ~o ~o ‚o
SQ ù ‚o < O™
‚™
‚o Oo ‚
n‚ u ‚ ™ ‰™ ‚ ™ Œ Ó ∑ Œ Œ™
Vl1 & m ‚J ‚™ ‚ w™™ J
3 p
o III
5°/IV
5°/II 8°/III
I 7°/III
o I o
II
‚o ‚o < E ™
II
‚o ™ ‚o Oo ‚o 7°/III u eo ™ e ™ 5°/I
u ‚o 8°/II
<O™ < ‚o ™ ‚o ~o ™™ u ‚ ™ ‚™ ‚o Oo I
~o
7°/II
< Oo
I
~o ‚o III
SQ
& J ‰ Œ™ ∑ Œ Œ™ ∑ Œ ∑ ~o ‚o ‚o ™
Vl2
3
7°/II
o 7˙/II
o “ 8°/ 9°/
I
‚o < O™ ‚o Oo
I
< ‚™ ‚o o
~™™ II
I
o Oo ‚o ~o < ~o Oo
5°/III 7˙/IV
m ‚o <e ‚o
5°/I o o
u ‚o ™ ‚™ ‚ ™ ‚o ~o ‚o < ‚ ™ ~o ~o ‚o
SQ
& Œ ‰™ R Œ ∑ Œ Œ™
Vla
3 p
7°/ 7°/I
< ‚o ‚o o
O™ o ‚o Oo
‚™ o 7°/IV
I
‚o ™ ‚o ™ ‚o ™ ‚o ~o ‚o ‚o ™ ~o ‚o Oo ‚o ~o ~o
7°/II
< Oo < ~o < ‚o < ~o ‚o ‚o ™
? o
SQ Œ Œ ™ <e ‚ ~ ™™
Vc û p 3
f
3 5 13 8 œ™ œj ˙ 8 ˙™ œ w 13 ˙ n ˙ ™™ <œ 15 < œ™ w™ 8<˙ W ™™ 3 9 < œ™ 5

113‹ 4 <e< œœ œ œ 4 u ww œ 8 8 4 8 8 2 4 <œ u˙ 8 ˙ œ 8
œ Œ™ ˙˙ <e W
Cues {& uœ œ ∑ Œ & œ™ œ ˙
J ˙™ œ w m ˙˙ ˙˙ ™™ œœ m œœ ™™ w™ W ™™™™™™
W œ m ˙˙ œœ ™™ ˙ œ
œ™ ˙
“
7°/III 5°/II I 7°/ 7°/ 8°/
o o
< ‚o ‚ u ~o ‚o IV
o II IV
o II -O™™ III
-o < Oo ¿~o¿ ™™
II5°/III 7°/IV
SQ ù
& Œ ∑ Œ Œ™ ‚™ ‚o Oo O™ ‚o ~o Oo o
<‚
o
< ‚™ ~™ œ mO
o o o o
Vl1 J < ‚™ O ‚
f p f
I
‚o II
~o ‚o
o
e- ™ II IV IV 8°/III
II o o II
SQ
& Ó ∑ Œ Œ™ Oœ ™™ j
œ ˙ ˙O ™™ œ w ˙ ˙™™ œ ‚™ ~™ Oo ¿~¿ ™™
œ ˙ œ™ ˙ œ
Vl2
f p f p ( p ) f p f p
4°/I I
7°/IV ‚o Oo ‚o ~o 7°/II II II 5°/II
<e ‚o 3°/II
o 5°/I
u ~o ‚o
8°/III III < ‚o IV < Oo ¿¿~~o¿¿ ™™ I o 7°/III
o
SQ Œ ‚ ∑ Œ Œ™
o
‚™ J o
O™ B Ó Ó™™ Œ™
o ™™ œ mO < ‚™ Oo ‚o
Vla & ~- ™ o
f III p f
I I 7°/I
6°/I
III ‚o Oo III ‚o ~o 5°/
7°/IV < ‚o III
o o
?
5°/II
o 6°/IIo o ~o ‚o o o III
o o
-O™™ o o o o o 5°/IV
o ‚™ O
SQ Œ u‚ o‚ ∑ Œ Œ™ ‚™ J O™ mO ‚ m ‚™ ~™ O <e ¿~¿ ™™ mO ‚™ Ó Œ
Vc û p f o
13
5 13 ™ 5 3 3 5 8 5 3 13
123 8 œ 8 <œ œ œ™ œ œ™ 4 m ˙™ ˙ 4 <e œ ˙ u˙™ 8 8 8 <w
4 œ w 2 w™ 8
œ™ œ™ œ™ œ
Cues {& œ œ™ œ œœ ™ m˙˙ ™™ ˙˙ œœ ˙ ˙™ œ™ œ™ œ w mœ w mw™
œ™ œœ ™™ œœ œ™ œ ™
II
I
II <œ™ œ œ™ œ œ™ 5°/IV
o o III
IV
o II IV
o o ~o ™
SQ ù -33 œ™ œ™ œ ∑
Vl1 & œ œ™ œ™ œ mO™ O œ O ˙™ œ™
‚ ~
p p f p
III IV
o III o II I
œ™ œ™ œ
III o
SQ
& ‚- Œ™ Œ O ˙™ mw w™
Vl2
œ™ œ™ œ œ™ ˙™ ˙ œ w ‚ ~o
f p ( p ) -20
I
II
o
-‚™ 7°/IV II
5°/III o o I o
SQ B ‚o III
Œ™ Œ Œ™ m Oo ™ Oo ˙™ œ™ II
œ™ œ w
6°/IV
~™
Vla œ™ œ <e ‚ O f‚ ~
p ( p ) f p p f
I I
7°/II 5°/I o
‚o III
o o o o o III
o
u O™ ‚‚ ™
II
o ‚o
7°/III
5°/IV
SQ ?
o
‚™ < ‚œ ™™ ‚œ ‚œ ™™ ‚œ ‚œ ™™ IV
o o o o
™ ‚™ <e~o o
m‚
o
~
o
m ~™
Vc m O™ O ‚ O
û I
o
( f ) II
13 5 5 15 5 9 3 2 5
133 8 4 8 8 4 8 4 2 4
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ nw
Hp
(snd)
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ vw
mezza voce
Hp (m.v.)
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ E# F# G§ A#
D§ C# Bb
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Œ Œ Œ
nœ
Hpsd
(snd)
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ &
(upper manual)
ù ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Œ Œ Œ
& nœ
(lower manual)
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Hpsd
{ &
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{
û
13 5 5 15 5 9 3 2 5
8 œ™ œ u œœœ ™™ œœ œœ ™™ 4 u œœ w 8 m< œœ œœœ œœ™
8 œ™ 4 œ ˙™ uœ
8 ˙™ 4 2 4
w œ™™ <em œœ™
œ ™™ ˙˙™
˙˙ ™™™ œœ™
œœ ™™™ Œ™ œ ˙ m œ m œœ w œœ w
Cues {& m œœ ™™
m œœ œ ™™ œœ œœ ™
™ œ œ™ mœ ˙™ œ mœ™ ˙™ œ ˙
mw
w œ w w
œ™ ˙˙™™ œ
o o II
III
II
ù ‚o ™ ‚ ‚™ III ~o o ‚o ™ o III II
SQ
& mœ œ™ œ œ™ ‰ j œ™ œ™ ˙™ œ™
m˙O ™™ œ mœ ™ ˙™ œ Œ Œ ∑ ∑ Œ nw
Vl1 œ ‚ ‚™ ‚ ˙™ œ
III
IV o IV -20 o
o
p p f p
III III
I IV o o o IV o
SQ œ w~ ‰
o o
j Œ™ OO ™™ ‚‚ ™™ ‚‚ ™™
o o
Œ Œ™ O™ ∑ ∑ ∑ Œ Œ Œ
III
& œ™ œ œ™ œ œ™
Vl2 o ‚ ‚™ ‚ O™ n˙
II IV o o o
f ( f ) p f
o
I
o ‚o o u œ‚ œ‚ ™™ II
~o 5°/IV III IV
IV
o IIIo o II
SQ B
‚™ ‚™ œ
o o o o o o ‚o ™ o
‚
o
O™ Œ
o o II
w œ ~ ‚ w
,
Vla
-16
o o m‚ ‚ ‚™ m‚™ O™ ‚™ ‚ O ‚
p p f ( f )
œ™ ˙™
5°/II
5°/III
o o
o u ‚™ o o I 7°/III 8°/ 7°/ 5°/
I
o
‚‚ ‚™ o
<e ‚o IV‚o ‚o ™
III
o 5°/IV
5°/II
m ‚o o o IV III o IVo IIIo o ~ ,
SQ ? m ‚™
m ‚™ ‚‚ m ‚™ ‚™ ‚ ‚o Œ Œ Œ ?
o
<e ‚™
o
O™
o
‚™ ‚™
o o ‚™ O™ o o o
m~ m‚ m‚ ~ ‚
Vc & u‚ m‚ O™ m‚ O
û o o IIIo o o
o ( f )
IV
II
Vln ù ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ nw
(snd) &
con sord.
II
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ nw
Vln { &
o
Vla B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Œ Œ n˙
(snd)
con sord. II
B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Œ Œ n˙
Vla {
û o
attacca
14 Interlude (intonation)
Libero, tempo ad libitum come prima:

take time necessary to sound a precise, stable intonation
1 1
1
≈ ≈ ≈ ≈ ≈
& ∑ ∑ nœ oœ ∑ ∑ ∑
Harp
≈ 0o≈
∏∏∏∏∏
∏∏∏∏
(sound)
0onoo˙˙˙˙ ≈ oœ ˙
? ∑ ∑ o≈
˙ ≈
∑
{ oœ o˙
≈ ≈ ≈ ≈ ≈
& ∑ ∑ vœ vœ ∑ ∑ ∑
Harp
≈ n≈
∏∏∏∏∏
(scordatura)
∏∏∏∏
≈ ˙
? ∑ ∑ vnvv ˙˙˙˙ v≈
˙ vœ ≈
∑
{ (E# F# G§ A#)
(D§ C# Bb)
vœ v˙
≈ ≈ ≈ ≈ ≈
∑ ∑ ∑ ∑ ∑
∏∏∏∏∏∏
nnn ˙˙˙
∏∏∏∏∏
& 0onn ˙˙˙ n˙
Harpsichord
(sound) ≈
∏∏∏∏∏∏
? nn oo˙˙˙˙ f˙ ≈ ≈ ≈ ≈
∏∏∏∏∏∏
{ ∑ ∑ ∑ ∑ ∑
& nnn ˙˙˙ f˙
ù ≈ ≈ ≈ ≈ ≈
∑ ∑ ∑ ∑ ∑
∏∏∏∏∏∏
nvv ˙˙˙
∏∏∏∏∏
& evv ˙˙˙n ˙
≈ ≈ ≈ ≈ ≈
∏∏∏∏∏∏
∑ ∑ ∑ ∑ ∑ ∑
Harpsichord
(scordatura)
{ & nen ˙˙˙
? ≈ ≈ ≈ ≈ ≈
∑ ∑ ∑ ∑ ∑ ∑ ∑
≈
∏∏∏∏∏∏
? e n ˙˙ e˙ ≈ ≈ ≈ ≈
{ ∑ ∑ enn ˙˙˙ ∑ ∑ ∑ ∑
û
Libero, tempo ad libitum come prima:

take time necessary to sound a precise, stable intonation
1 (Gamba)
1 ≈ ≈ ≈ ≈
o +4
≈
o
-10
& ∑ ∑ ∑ ∑ ∑ e˙ n˙
Cues (Gamba)
≈ ≈ ≈ ≈ ≈
? ∑ ∑ +14 +27 ∑ ∑
{ o˙ g ˙-
+39
p ˙-
ù ≈ ≈ ≈ ≈ ≈
SQ ˙ ˙ ˙ ∑ ∑ ∑ ∑
Violin 1 &
pp o
≈
≈ II ≈ , ≈ n˙
I
SQ nœ ˙ ˙ ˙ ˙ œ ∑
Violin 2 & ˙ ˙ o pp
pp o o o o o
I ≈
III ≈ ≈ nœ ˙ ˙ ˙ ˙ œ ≈ ≈
SQ B ∑ ∑ ∑
Viola n˙
o pp o o o o o
≈ ≈
2°/III I I ≈
n Oo n˙ œ , ≈ ≈ nœ ˙ ˙
SQ ? ∑
Violoncello û o pp o o pp o o sotto voce (s.v.)
ù ≈ ≈ ≈ ≈ ≈
Violin ˙ ˙ ∑ ∑ ∑ ∑
(sound) & oœ ˙
III ≈ ≈ ≈ ≈ ≈
Violin ∑ ∑ ∑ ∑
(scordatura) { & ˙
pp
˙ nœ ˙ o
≈ ≈ ≈ ≈ < œo
Viola B ˙
(sound) oœ ˙ ˙ ˙ ˙ ˙
≈ ≈ 4°/IV
III ≈ ≈ o
Viola B ˙
(scordatura) { pp
nœ ˙ ˙ ˙ ˙ ˙
o
n‚
o
o o ≈
[ n œ- o œo o -œ o œo o
≈
e ˙o n ˙o
≈ ≈ ≈
Bass Gamba ? ∑ ∑ í ™™ +14 ™™î í ™™ +27 ™™î í ™™ +39 ™™î o -œ í ™™ -10 ™™î n u œœ- B í ™™ +4 ™™î ?
(sound) o˙ g œ- g ˙- o -œ
p œ- p ˙-
tune open strings
as needed, cue to proceed 7°
V:0 u5
ÍÍÍÍÍÍÍÍÍÍÍ
≈
4°/IV
ÍÍÍÍÍÍÍÍÍÍ
4°/V 5°/VI u7 2°/V III:0
[ ÍÍÍÍÍÍ
≈
5°/V
o VI:0
o
ÍÍÍÍÍÍÍÍÍÍ
≈
5°/VI
o VII:0
o ÍÍÍÍÍÍÍÍÍÍÍÍÍ
≈ -‚o V n Oo 2°/III IV:0 ≈o
? í ™™ ™ m-‚ í ™™ ™™î í ™™ ™™î n í ™™ ™™î -
í ™™ n O ™™î
Bass Gamba
(scordatura) {
û
∑ ∑
n ˙ ™î
mezza voce (m.v.)
tenuto
n‚
n œ- n ˙-
m-‚ m‚
n œ- n ˙-
n -œ nn œœ
15
∏∏∏∏∏∏∏∏∏∏∏∏
4˙
∏∏∏∏∏∏∏∏
[ …
8 4f4f ˙˙ 4f œo
∏∏∏∏
≈ 444 ˙˙˙ 4fnff˙˙˙˙ – …
f œo …o
∏∏∏∏∏
& ∑ ∑ ∑ <m œ <m ˙ ∑ ∑ 4˙ 4f ˙ < 4eemm˙˙˙˙˙ – <e œ
Hp
(snd) ≈
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ <˙
∏∏∏∏∏∏∏∏∏∏∏∏
e˙
∏∏∏∏∏∏∏
[ e˙ en ˙˙ …
∏∏∏∏
≈ ee ˙˙ o eeee ˙˙˙˙ – …o …o
∏∏∏∏∏
& ∑ ∑ ∑ nœ n˙ ∑ ∑ e˙ e˙ eœ eœ nnve n˙˙˙˙˙ –
m.v. Fb l.v.
nœ
Hp damp others sim.
? ≈
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ v˙
E§ Fb Gb Ab
Db Cb (Bb)
E# G§
D§
A§
B§ C§
∏∏∏∏∏∏
7°
444 ˙˙˙ 4 œ
∏∏∏∏∏∏
4 f f˙˙˙˙ <e ˙ fœ
∏∏∏∏∏
∏∏∏∏∏
<m œ <m œ ≈ 4f œ o n ˙˙ < mm ˙˙˙ < œ
& ∑ ∑
<m œ
∑ ∑ f˙ 4f fn˙˙˙ mœ
Hpsd
(snd)
∏∏∏∏∏∏ ≈
mum ˙˙˙
∏∏∏∏∏∏
{ ? ∑ ∑ <<< ˙˙˙ &

<˙ ? ∑ ∑ ∑ ∑ ∑
lute stop
∏∏∏∏∏
≈
ù
& ∑ ∑ e œ nœ ∑ ∑ ∑ ∑ ∑ ennn ˙˙˙œ n œ
eœ
∏∏∏∏∏∏
7°
nvv ˙˙˙ v œ
∏∏∏∏∏∏
lute stop
nneev ˙˙˙˙˙ n ˙ eœ
∏∏∏∏∏
≈ eœ e ˙
{ & ∑ ∑ ∑ ∑ ∑ ∑ enne ˙˙˙˙ ∑
Hpsd
∏∏∏∏∏∏
r.h.
nvn ˙˙˙ ≈
∏∏∏∏∏∏
? ∑ ∑ nnn ˙˙˙ & n˙

? ∑ ∑ ∑ ∑ ∑ ∑
? ≈
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{
û
≈
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(Gamba)
Cues
-˙ t≈
m≈ ˙-
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ -22 -35
2°/III
II IV
SQ ù
& n˙ ˙ ∑
≈
∑ ∑ ∑ ∑ n Oo ∑
Vl1
o pp o n ˙o o o s.v. o
s.v.
, 4°/IV
III o
˙ ≈
SQ ∑ ∑ ∑ ∑ ∑ ∑
Vl2 & n˙ œ n Oo
o s.v. o
o s.v. o
5°/IV
o o o
≈ mœ ˙ œ n˙
I
˙ , 2°/IV
o
SQ B ∑ ∑ ∑ ∑ nO ∑
Vla
o pp o o s.v. o o s.v. o
5°/IV
, ≈ IV m œo ˙o 2°/III
o 7°/III
o
SQ ? ˙ ˙ œ ∑ ∑ ∑ nO <O
Vc û o n ˙o o o s.v.
pp
o o , ≈
4 ˙o
Vln ù ∑ ∑ ∑ ∑ ∑ ∑
(snd) & <œ ˙
<˙
2°/I
2°/IV IV , n Oo
o o ≈
∑ ∑ ∑ ∑ ∑ ∑
Vln { & n‚
o
O
pp n˙ o o pp o
o o o
Vla
<˙ o o ≈ 4 œo ˙ ˙ o ˙o
B <˙ <˙ ∑ ∑ & B ∑
(snd) <œ ˙
2°/I
o o
o 2°/IV
o IV 2°/IV
o ≈ n ‚o O O 4°/III
o
B O nO nO ∑ ∑ B nO ∑
Vla { pp
nœ ˙ o
&
o pp sotto voce (s.v.)
] [ o - t≈-˙ t≈ - o o ]
n œ- , mœ ˙ ™ m≈ m ˙˙ ™î m ˙o t˙ ˙
Gamba ? ∑ ∑ í™ ˙ ™ & ? ∑ ∑ ∑ ∑
(snd) -22 -35
I:0 I 3°/I
ÍÍÍÍÍ II:0
II o o
2°/IV 3°/II
[ o II:2b ÍÍÍÍÍÍ ≈-˙ n≈ - n Oo nO O
?
] n-‚ , oœ ≈
-
˙ ™ n˙ n n ˙˙ ™î ]
í™
Gamba {
û
∑ ∑ ™ ∑ ∑ ∑ ∑
16
∏∏∏∏∏
18 n œo 4 5 ff˙˙˙˙˙ ]
∏∏∏
…o o o <m œo <mfn˙˙˙ ≈
∏∏∏∏∏
∏∏∏∏
& 5< 4em ˙˙˙˙— < eemm ˙˙˙˙
∏∏∏
5< œ ∑ :g:f ˙˙ :f œ … ∑
∏∏∏∏
4 f4f˙˙˙˙— 4œ … …
Hp
(snd) …
∏∏∏∏
4f œo n œo 4 f ˙˙˙ –
∏∏∏∏
? 4fo o˙˙˙˙ – … ≈
{ ∑ … ∑ ∑ ∑ ∑ ∑
∏∏∏∏
n ˙
eeee ˙˙˙˙ ]
∏∏∏∏
o o nee ˙˙˙ …o ≈
∏∏∏∏∏
∏∏∏∏
… n˙
nnnn ˙˙˙˙— … …
∏∏∏
& ∏∏∏∏∏ ∑ ∑ nn ˙˙ enn ˙˙˙ eœ ∑
vvvn ˙˙˙˙ — … nœ nœ
Hp
∏∏∏∏
–
∏∏∏∏
vvv ˙˙˙
…o …o
? n œo o vvvv ˙˙˙˙ – ≈
{ F§ G#
D#
A#
B# C#
vœ
F#
vœ
F§
vœ
A§ Eb G§
B§
∑
D§ Fb
∑
Ab E§ Gb
Bb
∑
Db
∑ ∑
∏∏∏∏∏∏∏∏∏∏
˙
∏∏∏
∏∏∏∏∏∏∏
< ˙ f˙ nœ 4 <e ˙˙˙ ≈
∏∏∏∏∏
& ∑ 4 ff ˙˙˙˙ ∑ ∑ ∑ fn ˙˙ ∑
m˙
Hpsd
(snd)
∏∏∏∏∏∏∏
∏∏∏∏∏
4f œ n oo0on ˙˙˙˙˙ n ˙ nœ 4 œ 4 ˙˙ ≈
∏∏∏∏
?
{ ∑ n œ 4f ˙ 4˙ ∑ ∑ ∑ ∑
∏∏∏∏∏∏∏∏∏∏
n˙ ord. (lute off)
ù n˙ ≈
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
e˙
ord. (lute off)
∏∏∏
∏∏∏∏∏∏∏
e˙ eœ nev ˙˙˙ ≈
∏∏∏∏∏
{ & ∑ n˙ ∑ ∑ ∑ ∑ ee ˙˙ ∑
vnn ˙˙˙
Hpsd
ne ˙˙
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
? ≈
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∏∏∏∏∏∏∏
nœ vœ n ˙˙
nœ nnnn ˙˙˙˙ ≈
∏∏∏∏
? ∑ v˙ ∑ ∑ ∑ ∑
{
û nœ n˙
≈
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Cues
? ≈
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{
ù ≈
SQ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vl1 &
≈
SQ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vl2 &
≈
SQ B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vla
7°/IV ,
? o ≈
SQ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vc <e O
û o
o 4 œo ˙o
≈
Vln ù ∑ 4˙ o˙ ∑ ∑ ∑ ∑ ∑
(snd) & nœ œ
o
2°/I
I
2°/III
II
n ‚o Oo
n˙ n Oo ≈
Vln { & ∑
o s.v.
nœ œ
o o
∑ ∑ ∑ ∑ ∑
o o ,
4œ ˙
4˙ ≈
Vla B ∑ n˙ nœ ∑ ∑ ∑ ∑ ∑
(snd)
2°/I
o o
I II
n‚ O ,
n˙ ≈
n˙ nœ
Vla { B ∑
o s.v. o
∑ ∑ ∑ ∑ ∑
, ≈
Gamba ? ∑ ∑ ∑ ∑ ∑ ∑ ∑
(snd) oœ ˙
V:0 , ≈
?
Gamba {
û
∑ nœ
o
˙
pp o
∑ ∑ ∑ ∑ ∑ ∑
attacca
Cantabile Harmonium for Ben Johnston 17
1 2
3 h = 72 4 5 3 2 4 coordinate with Nat Tp
3
ù
2 4 F0 2 2 F2 2 +4
2 5:3
Horn
& ∑ ∑ ∑ o ˙™ Ó ∑ Ó n˙ vw ™ Ó n -˙ Ó Ó Ó Ó
in F +14 +2
coordinate, tune fp p p
(written at with SQ Vl2 (T)234 match Horn T 11 : 8 T (T)234
sounding pitch) ord. (holes covered, played as 7° harmonic) 5:3h = -551c u11
^ 5:3
+12
Natural Ó Ó f˙ œ Œ ∑ ∑ ∑ ∑ ∑ +2 Ó Ó Ó u˙ Ó Ó
Trumpet (2) û
& n˙ - 5u w n˙ Ó
coordinate rhythm p 4 : 5 -12
3 with SQ Vla, Gamba D
fp = +386c
+37
10 : 11
› l.v. sempre except when indicated = +165c
Glockenspiel {& ∑ ∑ ∑ ∑ ∑ ∑ ∑ nw ™
p
n˙ ˙ w™ nœ w 3 n˙™ n˙ ™
Vibraphone {& Ó Ó Œ Œ Œ n˙ w™ ∑ nœ w ∑
3
nœ w nœ
play durations and rests p
p as written p poco f
° °
› l.v. sempre except when indicated come prima
Crotales & Ó Ó n˙ ˙ ∑ ∑ ∑ Œ ‰ n œJ w ∑ ∑ ∑
3 pp
pp n˙
& ∑ ∑ ∑ Ó ∑ ∑ Œ ‰ n œj œ Œ nn œœ Œ Œ <˙™ Ó ∑
º n˙™
Marimba sf p sf p
n˙ Ω 5 bars are retuned as natural 7°
{ ? Ó Ó n˙ Ó Ó Ó Ó nw nw nw ∑ ∑ nœ Œ Ó using putty or similar mass ∑
(C4, F4, G4, Bb4, D5)
3 5
p 13°
13° u7
0v œ
n ˙o 11° u13
ô 3
7°
11°
n œo 0o œ >u ˙
Ó Ó Ó Ó Ó
5:3
Œ
3
Œ ‰ n œj ˙
<œ o˙ ™ 4f œ Œ ‰ J Ó Ó n ˙o ™ Œ Ó ∑ Ó Ó Ó Ó
& n˙
3 f œ 4f œ n w 9e ˙™ oœ 5:3
Harp
(sound)
n˙ n wo ™ u11 o wo oœ
? Ó Ó Ó Ó Ó fw Œ ‰ 5œ ˙ ∑ Œ Œ ∑ ∑ ∑
{ 3
Harmonics: in sounding staff as they sound
in playing staff on the string plucked
5:3
*
J 3
“ “
o * 3
ô o 3
o o eœ eœ e˙
Ó Ó ee O˙ Ó Ó Ó
5:3
Œ Œ ‰ j vœ v˙ ™ vœ Œ ‰ vv Oœ Ó Ó Œ Ó ∑ Ó Ó Ó Ó
& e˙ v O ™
eœ eœ e w v˙™ eœ ˙ J v ˙™ 5:3
Harp 3 sf f vœ p p
sf sf p
(scordatura)
? e˙ o 5:3 ew … o vœ
{ Ó Ó Ó Ó Ó ee w~ ™™ Œ ‰ nœ ˙ ∑ vw Œ Œ ∑ ∑ ∑
3
J 3
B# notes marked with a star are dissonant higher partials; F# A# Bb Db Cb
E# (Fb Gb Ab) damp these by the end of bars if they disturb the
D§ (Cb Bb) C#
following harmony, otherwise l.v. ... ad lib. nw
∑ ∑ ∑ ∑ ∑ ∑ nw ™ Ó ∑
&
5:3
Piano p nw™
{ ? ∑ ∑ ∑ ∑ ∑ n -˙ Ó Ó ∑
°
n˙ n˙
& Ó Ó f˙ ˙ ∑ Ó Ó n˙ ™ n˙ ‰ o œ™ ˙ Ó Ó ∑ ∑ ∑
Harpsichord 3
Œ
(sound) nœ ˙ ˙
? w ™™
nn w Ó Œ ‰ J Ó Ó Œ n˙ n œœ Œ Œ Ó
n o˙
Ó Ó ∑ ∑ ∑
{
ù ∑ ∑ ∑
3
Œ v˙ Ó ∑ ∑ ∑ ∑
&
n˙ to Piano
e˙
Ó Ó e˙ ˙ ∑ Ó Ó n˙ ™ ‰ nœ ™ Ó Ó ∑ ∑ ∑
Harpsichord
(scordatura)
{ &
?
3
˙
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
nœ ˙ ˙ Ω
w ™™
? ne w Ó Œ ‰ J Ó Ó Œ n˙ en œœ Œ Œ Ó n˙
Ó Ó ∑ ∑ ∑
{
û
Cantabile Fundamentals of major triads: 1°
Common partial of minor triads: u1
3
3 Higher partials indicated by numbers (7, 11, 13) 4 5 3 2 4 3

2 h = 72 u1 n˙ nœ nw 5:3
2 u1
n˙ ™ n˙ 4 u1 n˙™ 2 nœ w 2 2 n˙ ™
1° 2 n˙ uu1
w
& Ó Ó f˙ Œ Œ Œ ‰ n œj n˙ n œ ™™ J ™ j Œ nœ w
fn ˙˙ nw oœ oo œœ ™ n œ œ
3 1° u11
Cues n˙ 1°
o˙™ 1° o ˙ uw u˙ u ˙ 5u w n˙
? Ó Ó n˙ Ó Œ ™ fœ™ Œ Ó f n œœ Œ Ó nœ ™ ‰ Ó n˙ ™ Ó Ó Ó nœ Œ Ó Ó Ó Ó Ó
{ 3
3 ≤ o3 o
5°/I
5:3 5:3
≥o o ∏∏∏∏∏∏∏∏∏∏∏∏∏ ≥ f o Œ
ù o o III
n˙ ˙™ ˙™ +14 Ω
n œ u ‚œ ‚Œ –Ó u w≤
SQ
& Œ ‰ n ‚j O ™ jŒ Ó n œ
o ˙™
j
Óœ o œ™
Ó Œ ∑ Ó
Violin 1
III
n ‚ n O ™™ nœ œ ˙ poco vib. o nœ o ˙˙ ˙˙ ˙ oœ ˙™ II
m.v. o
-12
IV (narrow) +16
mezza voce poco f sfp martélé 3
(arco) c.l.b. ord.
o 6:5 o f ≤ ≤ 5:3
martélé III II o o
≤ III
+12
3 Ω 5:3 o o n ~^ II n ~ ™ nœ ™ ˙™ œ ‰ ≤j Œ Ω Œ Ó 5°/II Ω o o
SQ
& Ó Ó f˙ ˙ w +12 nO O n ~ III Œ™ n œ ∑ uO Ó uO O Ó
Violin 2 nn œœœ fn œ˙ Œ o nœ œ nn w
w n ˙ Ó Ó n˙ ˙
nw w n˙ œ f sostenuto
I
III p
J l.h. o f o sfp sfz
+ pizz. sfz p
o o 5:3 o
sfz poco f +14
I I
III
- n˙ n˙ nO Ó nO Ó Ó uœ n ~o O
SQ B
≤ Œ nœ w ˙ n œœ Œ Œ Œ oœ ˙˙ w
w ow≤ w u w™ Œ w ˙
Viola nœ œ w w n ˙˙ nœ œ -12
mezza voce f m.v. poco f p
o 3°/I≤ 5°/I
≥ I
≤
II +10 3
‰ Œ
3 I
n ~o ~o n ‚o ™ u ‚o ™ u˙
o o
SQ ? nœ œ w n œ ™ fœ™ ˙™ fw
Ó n ˙O ‚œ™™ n ‚ ‚ n ˙O ˙™ ˙ ∑ nœ Œ Ó Œ Œ & Œ ™™ u ‚œ ™™
n ‚
Violoncello û mezza voce Ó III o o Jv o o II
º martélé m.v. -12
espr. o f 11° ≤o ≥o poco f
poco f
o 4 ˙o u -˙ uw-
≥
n ˙o œo
o
n -˙ n ˙o
ù n˙™ - o œo o 7°
Violin
& ∑ ∑ Ó Ó Ó n˙ n ˙™ Œ Œ <˙™ Ó Ó Ó
(sound) o˙™ o ˙™ 5:3
2°/II ≥ o o 10/3 5/3 3°/I
(con sord.) n Oo ‚o II
n-O nO ™ - 3°/II
n Oo
o3°/III
n Oo 3°/IV
o ≤o 5°/II ≥o
Violin ∑ ∑ Ó Ó Ó Œ n‚ Œ Ó u-O Ó u ~- Ó
(scordatura) { & n˙
poco f
o
n˙ ™
III
o
n ˙™
n ˙™
o o
nO ™
o p coordinate
with SQ Vl2
5:3
n ˙o wo nœ ˙™
o wo o œo
Viola B Ó Ó nw ™ ∑ Œ Ó Ó Œ ∑ ∑
(sound)
5:3
oœ ˙™
2°/II ≤ 5/1 o o 3°/III
(con sord.) n Oo ~o II
2°/III ≤
n ~o 3°/II n ‚ O™ ≥o
Viola B Ó Ó nw ™ ∑ Œ Ó Ó Œ n‚ ∑ ∑
(scordatura) { sounding pitches
at A440
o
-˙
5:3
poco f
-
o
nœ
poco f
˙™ o
e˙™ n ˙o Ó
5:3
Ó n wo
Bass Gamba ? nn ˙˙ ™™ n
Œn ˙ nn ˙™
œ ™ fœ™ Œ fn ˙˙ fn ˙˙ ˙˙ Ó Ó n˙ n˙ Œ e˙ ™ e˙ ™ B Œ Œ n˙ u˙ w Ó ∑ ?
(sound) o ˙- o˙ o ˙™ o ˙- ™ Ó Ó
3 blend in the then reveal it! 4°/III 4°/IV III:5a
12/5
III:4b natural 7th ... o
4/3 5/4 5/3 IV:3a 7/4 5:3
IV:3a
? vw ˙˙ ™™ - - V:0
n O ™ IV:5a n ÓO Ó m˙ w
Bass Gamba Œ vw ˙˙ vw ˙™
œ ™ oœ ™ Œ ow ˙˙ ow ˙˙ ˙˙ Ó Ó v˙ nv ˙˙- Œ n˙ m˙™ m˙™ Œ Œ m˙ Ó Ó ~o Ó ∑
(scordatura) {
û
o 3
n ˙™
o
n ˙- ™
o o
coordinate
with SQ Vla
18 Lento e libero, sostenuto, senza tempo :
allow the sonorities to emerge and recede
5 10a
9
ù
9 2 ≈
1
Bb Cl & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(1)
n˙ ˙
-2o pp sost.
≈
Bass Cl ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ nw w
(2) {
û
&
≈
o pp sost.
F1
2
ù ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó
Hn & <˙
-33
Bb II
? ≈ n˙ ˙
Tb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
û mezza voce
(m.v.)
› ≈
Glock {& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
nw
pp
coordinate with
Hpsd, Mar beating
≈
nw with SQ Vc
Vib {& ∑ ∑ n˙ ∑ ∑ ∑ ∑ Ó n˙ Ó
n˙ n˙ n w-
pp
(if needed)
› … ° °
≈
Crot & ∑ ∑ ∑
coordinate with Hpsd, Vibr
≈
nw
& ∑ ∑ n˙ ∑ ∑ < ˙- < w- ∑ ∑ ∑
n˙ < ˙-
Mar pp n˙ n˙
? ≈ n˙
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó nw
{ beating slow
with Strings
coordinate with Hpsd …
≈
& ∑ Ó Ó Ó Sw ∑ nw ∑ ∑ Ó <w S˙ ∑ ∑ ∑
Hp o
(snd) ≈ n˙ n˙
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Ó ∑
{ beating slow
with Strings
≈ …
& ∑ Ó Ó Ó ew ∑ vw ∑ ∑ Ó vw e˙ ∑ ∑ ∑
Hp pp o
? ≈ v˙
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó v O Ó ∑
{ nw™
v˙
to Hpsd
≈
& ∑ ∑
Pf ≈
? ∑ ∑ ∑
{
≈
nw
& ∑ ∑ ∑ <˙ < ˙˙ w
w <m< w
w ∑ ∑
ww ww
<˙ < ˙˙ <w w
Hpsd
≈ n ˙˙ w
(snd) ? ∑ ∑ ∑ ∑ ∑ ∑ Ó ? nw nw
w
{ & n˙ n ˙˙ w
w
≈
nw
ù n˙
& ∑ ∑ ∑ n ˙˙ w
w n˙ n ˙˙ ww
nw nn w
w
ww
w ∑ ∑
beating
with SQ Vlc
≈
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Hpsd
{ &
? ≈
n˙ n ˙˙ w
w
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
≈ nw n ˙˙ w
{? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó nw
w
û
Lento e libero, sostenuto, senza tempo :
allow the sonorities to emerge and recede
“ 5 9
nw™ 2 ≈
1 nw <˙ ˙˙
& ∑ n˙ <˙ <˙ ∑ <˙ <˙ St ˙˙ <m< ˙˙ w ˙
n˙ <˙ nw ˙ < ˙˙
w ™™ ™
1°
Cues
u uw ttS w
w
w™™1° ≈ tt w w w ˙˙ n ˙˙
? t w™ Ó Ó
w w w ˙
∑ ∑ Ó nw nw
w
{ u ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
w u˙ keep the pitch!
≈
beating slow
with Strings
no beating
(slightly lower pitch)
SQ ù t˙ w Ó Ó Ó ∑ ∑ ∑ ∑ ∑ Ó t˙ <w w ˙ ˙
Vl1 & -33
-25 -25
p m.v. o pp sostenuto o
o -o 5:3
change bow slight beating no beating
225 : 224
= -8c
nI O O Ó Ó Ó ≈
≥ ad lib. with Ens Vla (slightly lower pitch)
-35
SQ
&
u˙ ˙ -27 Ó Ó
Vl2 Ó -10 uw ˙ tW w w w ˙ < ˙- w w nw w
pp sostenuto
o 225 : 224 pp sostenuto
= -8c
o slight beating
change bow
ad lib. with Ens Vla , no beating
(slightly lower pitch)
SQ B t ˙˙
u ∑
w tw Œ tœ w w w w w <w- w w ˙ n -˙
Vla -33 n˙ ˙
-25 m.v. p poco pp sostenuto 225 : 224 o
beating fast = -8c beating slow no beating
with Vibraphone, with Strings (slightly lower pitch)
≤ ≈ Ens Vl -49
SQ Œ Ó Ó Ó Ó ∑ ∑ ∑ Ó <m˙ ? n˙ w w
Vc & uw œ S˙ ˙ w ˙ S˙ -
û p pp sostenuto o keep the pitch! pp sostenuto
-41 -41
225 : 224
beating = -8c
with SQ Vlc
Vln ù 4˙ port. u˙ ™ ≈ o o o o < wo ˙o
& Œ ∑ ∑ n˙ w <˙ w w < w- Ó ∑
(snd)
44 : 45 bend slightly upward
= +39c starting from nut, 2°/IV 4°/IV
n˙
I
5 ˙ ™ tune with SQ Vl2Œ ≈ II o o o o o o
port.
Vln { & ∑ ∑ n˙ w nO ~ ~ n ~- Ó ∑
o n~ O o
pp sostenuto
o o o o ≈
n ˙o wo < wo wo wo wo ˙o ˙o o o
Vla B t˙ ˙™ tœ ˙ Ó Ó Ó Ó & B n˙ ∑ <˙ ˙
(snd) -25
4°/II 2°/IV
≤o 4°/IV
B
2°/IV
nO
o
O™
o
n‚
o
O Ó Ó Ó
≈
Ó n Oo ~o II
n˙
o o o o o o
∑
o
nO
o
O
Vla { p o pp sostenuto
n~ ~ ~ ~ O O
o o pp sost.
t ˙™ t -œ ˙
? ≈
Gamba u˙ ˙™ uœ ˙ Ó Ó Ó Ó ∑
(snd)
II:9a
III:0
v˙™ 7/3 v -œ ˙ ≈
? n˙ ˙™ nœ ˙ Ó Ó Ó Ó ∑
Gamba {
û p
Tempo primo
19
5 3
ù
10b 2 h = 72 2
Fl ∑ ∑ ∑ Ó ∑ ∑ ∑ ∑
(1) & nw w™ w
-2 o pp sostenuto o
Bass Fl ∑ ∑ nw w™ w Ó ∑ ∑ ∑ ∑ ∑
(2) { &
‹
-2
o pp sostenuto o
Bb Cl & Ó Ó ∑ ∑ ∑ Ó Ó
(1) nw w™ w n˙
˙ o pp o nw w -4
o o pp o coordinate o
u7 with Hpsd, SQ Vla
3
Bass Cl n˙ j
(2) {
û
& w w w
o
∑
nw
o
w
pp sostenuto
w w w o
Ó Ó Ó Ó
-2
o pp
Ó u˙
-16
œ nœ ™
-4 -2
nœ
B1 F1 B1
3 2 7° 2
ù >˙ ∑ ∑ Ó Ó Œ
Hn & <w w n˙ n˙ >v w™ n˙ n˙ <w ™ ˙ nœ
mezza voce poco f -4
(m.v.) pp
3 2
Bb Tp & ∑ Ó Ó ∑ Ó Ó ∑ ∑ ∑
(1) n˙ ˙ ˙ n˙ ˙ ˙ v˙ ˙
-2 mezza voce poco f +2 m.v.
(m.v.)
tune P4 with Trombone,
(T)234 (4) dissonant to Tuba (4) (T)234
N Tp +29
∑ Ó Ó ∑ Ó ∑ ∑ ∑ ∑
(2) { & n˙
+2
˙
mezza voce
(m.v.)
63 : 64
= +27c
>˙ ˙
(switch to F-side, pitch should be possible
> ˙-
poco f
n ˙- ˙
*F with minimal or no slide adjustment)

Bb II
+29
œ nœ n˙
˙
+31
>˙ ˙™ >œ w >œ n ˙ Bb II F IV
Tb
? Ó nœ Ó ∑ ∑ ∑
+2 -2
n˙ ™ ˙™ n˙
poco f
3 dissonant to Trp, Trb
? n˙ w ˙ ˙ <˙
Tba Ó ∑ n˙ ˙ -2
n˙ ˙ ∑ ∑ ∑
û -33 nw ˙
mezza voce (m.v.) poco f
Vib {& ∑ Ó Ó Ó Ó ∑
nn ˙˙
pp
7°
& ∑ Ó Ó Ó Ó <e< ˙˙ Ó Ó Œ ‰ <e œ
J
Mar pp f
? ∑ ∑ Ó Ó Œ ‰ n œJ
{
7°
& ∑ <w Œ Œ <e œ ∑ Ó Ó Œ ‰ <e œ
Hp
J
3
(snd)
{ ? ∑ ∑ Ó Ó Œ ‰ œJ
n
& ∑ vw Œ Œ nœ ∑ Ó Ó Œ ‰ nœ
J
Hp 3 f
pp ppp
? ∑ ∑ Ó Ó Œ ‰ e œJ
{ Ab
B§
∑ ∑
uw Ó
&
Hpsd
(snd)
? ∑ ∑ Ó u˙ œ nœ ™ nœ
{ J
3
ù ∑ ∑
vw Ó
&
∑ ∑ ∑
Hpsd
{ &
coordinate
with SQ Vla
? ∑ ∑ Ó v˙ œ vœ ™ nœ
J
3
? ∑ ∑ ∑
{
û
Tempo primo
5 3
2 h = 72 3
2 7°
& <w tœ w w Œ ‰ <e œ
w n ww > ˙˙ ww ™™™
>w ww
w ww n ˙˙ ˙ nw
w w
tw
u1
˙ J
Cues
? w w w ∑
<w w ˙
˙˙
˙
˙˙ w nn ˙˙ u7 uu w
w 1° n˙
{ n˙ w nw
w ˙
u˙ W
≥
ù Ó ≤ j
SQ ∑ Ó Ó t˙ t œ ˙˙ ˙ w œ™ œ
Vl1 & -25 Œ Œ
3
nœ
27 : 28 24 : 25 ppp -29 Jo
= +63c = +71c ≤ u7
SQ ∑ ∑ ∑ ∑ ∑ Ó ∑
Vl2 & w n˙ ˙ < ˙™ n˙ ™ tW ˙‰
o o pp -35 nœ ™
-27 o
ppp
SQ B ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó uw ‰
Vla n˙ w u˙ W nœ ™ nœ
o Œ Œ
pp
-14
≥o
5°/I j
ô 3
p
? w w n˙ ˙ ˙ u‚ O
uO u˙™
SQ ∑ ∑ ∑ ∑ ∑ Ó Ó Ó Ó Ó Œ ‰ Œ
Vc û o 5°/II
o o pp o o
u œo ˙o
Vln ù ∑ Ó Ó Ó Ó Œ ‰ J Ó Ó
(snd) &
5°/II
o o
∑ Ó Ó Ó Ó Œ ‰ u œJ ˙ Ó Ó
Vln { &
u ˙o
o o o o o o
Vla B <w w ∑ ∑ Ó <˙ w w ˙ Ó ∑ ∑ & B Œ n˙ Œ
(snd)
2°/IV 5°/II
o o o o o o m Oo II
B ~ ~ ∑ ∑ Ó nO ~ ~ O Ó ∑ ∑ Œ n˙ Œ
Vla {
û o o poco f o o
20
4 7 coordinate with 5 3 5
ù
13 2 4 Hp, Gamba 2 2 2
Fl ∑ ∑ ∑ Œ Œ ∑ ∑
(1) & -4
n˙ w™ n œ-
o pp -6 pp
nw
Bass Fl ∑ ∑ -6 nw w Œ Œ œ Œ Ó Ó ∑ ∑
(2) { &
‹
∑ ∑
p
-6
pp
∑ ∑
nœ
-8p
Ó
o
Ó
+6
match
SQ Vlc
j +4
Ob & f ˙™™ nœ œ fœ f œ ™ f ˙™ f œ™
36 : 35 end with Hn -8
= -49c 7° pp
3 5 +6
Bb Cl & ‰ ‰ ‰ Ó Ó ∑ ∑ Ó Ó Œ fœ ˙ +4
(1) -2
nw œ n˙ <m œ- ˙ f w- ™
-51 (SQ Vl1) o pp
p poco f
Bass Cl Ó ∑ ∑ ∑ ∑ ∑
(2)
Alto
{ & w
∑ ∑ ∑ ∑ ∑ ∑
+8
o -œ ™ ‰
Sax &
û B1
p tune with
B2 2 end with Cl SQ, Ob
ù 5
-18
j
Hn & j ‰ ‰ ‰ Ó Ó ∑ ∑ ∑ ∑
œ nœ ™ œ ™ uœ ˙ œ-
( SQ Vl1)
11° senza cresc.
ord. +49
N Tp ‰ 4œ ‰ Ó Ó ∑ ∑ ∑ ∑ ∑
(2) &
fp
coordinate with
F IV Ens Vla, Tp, Hn
Tb
? ‰ nœ ‰ Ó Ó ∑ ∑ ∑ ∑ ∑
-2 V V 1
fp 1 match 1 2
2 SQ Vc 2 3 3
? 5 4 4
Tba ∑ ∑ ∑ Ó Ó Œ 5 Œ
û +4
n˙ œ e˙™ ˙ ˙ ew œ™ f œ™ ˙
-6 -10
pp
∑ ∑ nw ∑ Ó Ó
Vib {& nw ew œ eœ
poco f p
ew™
p pp
° °
Mar {
? ∑ ∑ Ó Ó Ó ‰ nœ ™ ∑ ∑ ∑
7° 13° p coordinate
3 7° with Harp, SQ Vl1
… 7° …
& <e œJ ‰ Œ Ó Ó 0u œ <m œ Ó Ó n<e w ∑ Ó™ Ó Œ <e œ
Hp <m œ w
- œ Œ Ó Ó Ó Ó ∑
(snd) ? … ∑ ∑ Ó Ó Ó ‰ nœ ™ ∑ ∑ ∑
{ …
continue triplets
of SQ Vl2
*3 coordinate
with Gamba …
œ ‰ Œ Ó Ó v œ nœ Ó Ó en ww ∑ Ó™ Ó Œ
& J nœ eœ œ Œ Ó Ó Ó Ó ∑
p o
Hp … f sf p coordinate
with Marimba, SQ Vl1
™
? ∑ ∑ Ó Ó Ó ‰ eœ ∑ ∑ ∑
{ ∑
D§ C#
∑ ∑
Eb
∑ ∑
& eœ ™ ˙™ eœ ™
Pf pp
p
? ∑ ∑ ∑ ∑ ∑ ew ™
{ 11° 3
<m w ™™
°
∏∏∏∏∏
‰ Œ mœ um m w nn W ∑ ∑ ∑
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
& 4˙ nœ œ ww ™™ W
Hpsd 4 œ™ ˙
(snd)
∏∏∏
? u œœ n œœœ unn ˙˙˙˙

< œ
Ó
mœ
‰ ‰ mœ ‰ ‰ Ó Ó ∑ mW ∑ ∑ ∑
{
ù
3
™
J
5
3
to Piano
∏∏∏∏∏
& Ó Ó Œ nœ nnev w
w ™
ww ™™ vn W
W ∑ ∑ ∑
nœ œ
11°
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
‰ Ó ∑ ∑ ∑ ∑ ∑
Hpsd
{ &
nœ ™
n˙
˙
coordinate with SQ Vl1
n œΩ
∏∏∏∏
? v œœ vn œœœœ vvnn ˙˙˙˙ Ó ‰ ‰ nœ ‰ ‰ Ó Ó ∑ nW ∑ ∑ ∑

J 3
5
? ∑ ∑ ∑ ∑ ∑ ∑
{
û 4
2
7
4 1°
5
2 u1
3
2
5
2
1° nœ w w u1
& mw ™ w ™™
tw nw m˙ e˙ f œ ™ f ˙™
‰ 4œ ‰ Ó Ó nw ˙ fw œ fœ f œ™
1° ™ 3
Cues n w ™ 11°/u5 mw mn W
W ew ™
? u w ™u1 ∑ ∑
{ ≤ -33 - 5 ≥ poco vibr., come prima
∏∏∏∏∏∏∏
m.v.
5 Ωj nœ ™ ˙ nœ w +8 -
SQ ù
& Ó Ó Œ™ ‰ -18m œj tœ
œ tm œœ ™ ‰ ‰ Ów Ó ∑ Ó
-6
‰ Ó Ó Ó Ó
≤ Ó Œ ‰ f œj œ j
œ ‰
Vl1 nœ œ n œ m.v. espr. -8 e˙ w œ Œ
J -10 o pp
f sfp
≥3 p -33 IV
+
I poco vib. (narrow)
-18 t œ™ o o ≥ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
SQ
& Ó Ó Œ Œ mœ œ™ œ w nO ~™ Ó™ Ó Œ ‰ n œJ w e ˙ e ˙ ™™ ‰
n œ e ˙˙ Œ w ˙
Vl2 nœ œ J -8 -10
J
o m.v. espr. 3
poco f p 3
mp ≤o 3
IV ≥
III
n ~^ o mw ˙™ ≤ +4
SQ B j ‰ Œ Ó Ó ∑ n~ ~ Ó Ó Ó Ó e˙ ˙ Œ Ó Ó
Vla œw ™ n ~o o -10
fe œw™
-
IV -22 o
+6
pp +6
sfz p
-
ô
p III fw œ fœ w œ™ f ˙™ f œ™
-16
SQ ? mu w ™
~o ™ m ~ ™
3
Ó™ Ó ‰≤ n œ ™ nw œ
Vc -8
û o m ~o ™ ~ m~ ~ nœ œ ™ espr.
5°/III 5°/IV sfz p -6 J
o13°
0u -œ ™ ˙
Vln ù ∑ ‰‰ Ó ∑ ∑ ∑ ∑
(snd) &
5
coordinate with SQ Vl1
5
o 4°/III
∑ ‰ ‰ n‚ ™ Ó ∑ ∑ ∑ ∑
Vln
Vla
{ &
-
n œ n4 œœ ‰ n4 w
w
+49
port. tw
-
sfp
O
o
d7°œ œ d˙ ˙ -
œ™ f ˙™
+8
B J Ó ∑ ∑ Œ J ‰ Ó Ó Ó Ó ‰ Œ
(snd) -33 -35 3
bend very slightly upward match SQ Vlns, dissonant to P5 above
11/8 99 : 100 sempre sul I +43c SQ Vlc
from the nut Gamba
-
n œ nn œœ ‰ nn w
w
port.
= +17c
ow keep the pitch oœ œ oSQ Vlc
˙ ˙ œ™ 4 -˙™ keep the pitch
B Ó ∑ ∑ Œ J ‰ Ó Ó Ó Ó ‰ Œ
Vla { J
sf o f o p
e wo
o 3
o
f -˙ ™
mezza voce (m.v.)
o
f -˙ ™
? t wo B n -œ ?
Gamba ∑ & mw Ó ∑ Ó™ Ó Œ e˙ ™ Œ e˙
‰ f œ™
˙ ™ e˙ ™
(snd)
3°/I 5/2 8/5 12/5
II:7 II:3b 3°/III III:7 IV:0
o o -œ III:0
? B nn ~w ?
n wo n˙ ™ n˙ n ˙™
O™ nn ˙O™™
∑ Ó ∑ Ó™ Ó Œ Œ
Gamba {
û f o p o p
‰ nœ ™ -o
3°/IV
-o
21
5
19 2
4 +10
3 4 3
ù +10 3
2 fw
2 2 2
Fl Ó Ó Ó Œ Ó ∑ ∑ ∑
(1) & fw ˙ fœ
o pp p match Ens Vl
≤ u13 +8
Bass Fl ∑ ‰ nœ ™ Œ 9f œ œ ™ f œ™ Œ ∑ ∑ ∑
(2) { &
‹ -4
-
p
65 : 64 G
= -27c -31 o
-
poco f
12 : 13
Ob & Œ Ó ∑ = +139c ∑ ∑ ∑
f ˙™
coordinate +6
7° with SQ Vc, Pf
Bass Cl
+6 j7°œ ˙
& ∑ ∑ Œ j˙ Œ Ó Ó Ó Œ ∑
(2) -
pp o pp
Alto ow ™ Œ ∑ ∑ ∑ ∑
Sax & o ˙™
û o o F0
ù ∑ ∑ ∑ ∑ Ó Ó Ó o œ™ ‰
Hn &
+14
fp
2
Ω
Bb Tp & ∑ ∑ ∑ ∑ Ó Ó Ó nœ ‰ Œ
(1) J coordinate
coordinate, tune sf with Tb
T with SQ Vla
+39
N Tp ∑ ∑ ∑ ∑ Ó Ó Ó
(2) { & H ˙-
p
Bb IV
coordinate
with Tp 1
? ∑ ∑ ∑ ∑ Ó Ó Ó n œΩ ‰ Œ
Tb J
sf match
SQ Vc
+25
Tba
? ∑ ∑ ∑ ∑ Ó Ó Ó
û v g˙
2
4 fp
7°
∑ ∑ ∑ Ó Ó Œ Ó ∑
Vib {& n˙ ™ ˙
coordinate pp
with SQ Vlc
? ∑
-
‰ nœ ™ Ó ∑ ∑ ∑ Ó Ó Ó n œΩ ‰ Œ
Mar { J
p sf
n˙
& ∑ ∑ ∑ ∑ Ó Ó Ó
Hp u7 o˙
(snd) …
? ∑ f w™ ‰ >o œJ n œ ∑ ∑ Ó Ó Ó
{ v˙
& ∑ ∑ ∑ ∑ Ó Ó Ó
sf
Hp mezza voce (m.v.) v˙
…
? ∑ ew ™ ‰ e œJ e œ ∑ ∑ Ó Ó Ó
{ Fb F# A#
& Œ Ó ∑ ∑ ∑ ∑ ∑
e˙ ™
pp
Pf 7° to Hpsd
? ∑ ∑ Œ n˙ Œ Ó ∑ ∑
{ ∑ ∑ ∑ ∑ Ó Ó Ó
& nœ oœ
Hpsd n œj
(snd)
? ∑ ∑ ∑ ∑ Ó Ó Ó nœ ‰ Œ
{
ù
f˙
j
& ∑ ∑ ∑ ∑ Ó Ó Ó vœ ‰ Œ
º
{ & ∑ ∑ ∑ ∑ Ó Ó Ó nœ nœ
Hpsd
? ∑ ∑ ∑ ∑ ∑
Ω
? ∑ ∑ ∑ ∑ Ó Ó Ó e œj ‰ Œ
{
û
5 4 3 4
e˙
3
2 1°
2 2 2 j
2
∑ Ó Œ Ó Ó
& f œ f ˙™ ˙
w ™™
fg w w ™™1°
fw
gw g˙™ ˙
n œ go œœ ™™
HH w
w™ nœ
Cues
u1 7° 1° j 7°œ H œ
? nw ™ ∑ f w™™ Œ Œ j˙ Œ Ó Ó g˙ Œ
Hœ Hg ˙˙ u1 Ó ∑
{ 3 +8
SQ ù +23 Ó ≥
+23
^ +23
& Œ f ˙™ ˙ f˙ ˙ Ó fw œ Ó Ó
Vl1 Ó g˙ ˙ gw™ œ™ g ˙- ™ gœ™ gw œ g˙™ w
(m.v.)
≤ o pp poco f espr.
3 ≥ ≤ ≥j
SQ +8
+14 +27 ≤
Ó Œ +8 Ó ∑ Ó +8 ∑ Ó Ó Ó
& n˙ œ on œœ go œ™
n œ œ™
Vl2 -8
ppp fœ w™ œ w
fpoco f f ˙-
+23
p
sfz º
J
SQ
+8 j +39 ≤ +39 ≤
B Ó Ó fw g œœ œ ‰ Œ Ó Ó ∑ Ó Ó Ó
Vla ‰ f w™™ H ˙- H ˙-
m.v. p
III
+37 Œ +23 II +25
w œ f ˙™ III
-≤o H œ g œœ œ +22
≤
g -˙
SQ ?
-8
nw œ Ó ‰ n‚ ™ Ó ∑ Œ Œ Ó Ó ∑ gW
Vc û p poco f p p
u13 match tune consonant
≤ SQ Vl2 to Gamba, SQ Vla +
Vln ù ∑ Ó Œ +37 Ó Ó Ó Ó Œ +37 +41
Ó Ó j ‰ Œ
(snd) & +8 nœ
9f œ œ™ f œ- ™ nœ H˙ H˙ Hœ ˙ oœ
II
G-31 -4 match Gamba, tune 4/5 III
≤ IV 12 : 13 16 : 15 125 : 128 consonant with SQ Vl1 below SQ Vl1 8 : 9 + 5/3
∑ Ó Œ = +139c = -112c = +41c
Ó Ó Ó Ó Œ = +204c
Ó Ó j ‰ Œ
Vln { &
n œ œ™ 0 œ- ™
+8 o
2
poco f
>œ
1
<e ˙
1
keep the pitch <e ˙
mezza voce
(m.v).
<e œ ˙
n
nœœ
sf
≤
Vla B ∑ Ó Œ
f œ™ œ™
Ó ∑ ∑ ∑ Ó o ˙o
(snd)
tune with 2°/III
Gamba, SQ Vl2 ≤
B ∑ Ó Œ
4 œ™ œ™
Ó ∑ ∑ ∑ Ó n Oo
Vla { (dissonant
to SQ Vl1)
-
(consonant)
^
o poco f p
^
Gamba ? Œ e˙ Œ e˙ f -˙™ Œ ‰ nœ ™ Œ Œ Ó ‰ ‰ Œ f˙ fœ œ
(snd) f˙ ff ˙˙- gf ˙˙- g˙ ™ gf ˙˙ ™™ Hœ™ œ™ gœ ˙ g œ-
80 : 81 H˙ H ˙- ™
III:0 = +22c V:2a V:3a 5/3 5/4 5/3
^ 4/3 5/4 VII:0 VI:3a VI:2b VI:0 V:5a ^
? - n -˙ ™
Œ n˙ Œ n˙ Œ ‰ mœ™ Œ Œ Ó ‰ ‰ Œ
Gamba {
û p
d˙ m d ˙˙-
VI:2a
vm ˙˙-
VII:4a
n˙
poco f
m ˙ ™™
˙-
m d ˙˙ ™™ eœ™ œ™
m˙
nœ ˙
mœ
sfp
œ
n œ-
22
3 4 3 tune with 5 3
+43 SQ Vlc 16 : 15
24 2 2 2 +2 +14
4 o ˙™ +12 = -112c 2
7° - 7°
Bb Cl ù ∑ ∑
v˙ ™ 125 : 128
= +41c
h ˙™ 24 : 25
= +71c Œ Œ
oœ œ™ oœ oœ nœ ™ ‰
& J
(1) û o pp 6:5
p pp
ù ∑ ‰ Ó ∑ ∑ ∑ ∑
Hn & oœ ™
fp 2
Ω
Bb Tp & Ó ‰ nœ Œ Ó ∑ ∑ ∑ Ó Œ nœ ™ ‰
(1) J
sf fp
ord.
(T)3 +12
match Tp 1
N Tp
{ & ∑ ∑ ∑ ∑ Ó Œ ‰ j œ™ fœ ™
(2)
3 p
? j n -œ ™ nœ ™ 15 : 16
= +112c
Tba
û gœ ‰ gœ ™ ‰ ‰ Œ ‰ Ó ∑ ∑ ∑ ∑
pp p fp
›
∑ ∑ ∑ ∑ nœ ∑
Glock {&
p
n˙ œ 7° … …
Ó J ‰ ∑ n˙ ™ Œ Ó ∑ Œ Œ Ó
Vib {& nw œ nn œœ œœ
pp p
°
› nœ ˙™
Crot & Ó ‰ J ∑ ∑ ∑ ∑
pp 7°
æ
& Ó ‰ n œj Œ Ó ∑ ∑ ∑ Ó Œ n œæ™ ‰
º poco f p
Mar sf sf
u11
? ∑ n œΩ ‰ Œ Œ
<œ
∑ ∑ ∑ ∑
{ nœ
n œJ
f œ™
& Ó ‰ J Œ Ó ∑ ∑ ow Œ Ó fœ ™
Hp
(snd)
nœ
f˙ oœ w … o wo fw
? Ó nœ Œ Ó oœ ∑ Œ Œ
{ vœ
eœ™
& Ó ‰ J Œ Ó ∑ ∑ vw Œ Ó eœ ™
sfz
f f p
Hp vœ p
e˙ vœ w … ew
? Ó vœ Œ Ó vœ ∑ v wo Œ Œ
{ G#
Cb nœ
o˙ ™
j
∏∏∏∏
& oœ ‰ Œ nœ ˙ ™ Œ Œ Ó ∑ ∑ onn œœœ œœœ Œ Œ Ó
Hpsd nœ œ ˙™
u11
(snd)
? j nœ ™ 5o œ œ ™ oœ ™ fœ ˙
fœ ‰ Œ Ó Ó J Œ Ó ∑ ∑ Ó
{
ù ∑
nœ ™
∑ ∑ ∑
f˙
∑
&
nœ to Piano
j n˙ ™
∏∏∏∏
{ & œ ‰ Œ nœ ˙ ™ Œ Œ Ó ∑ ∑
nnn œœœ œœœ Œ Œ Ó
nœ œ ˙™ u11
Hpsd
? vœ ™ nœ œ ™
∑ J ‰ ∑ ∑ ∑ ∑
vœ ™
? j nœ œ eœ ˙
œ ‰ Œ Ó Ó Ó Œ ‰ J Œ Ó ∑ ∑ Ó
{
û
3 4 3 5
e˙
3
diesis
2 128 : 125 2 jœ 2 7° 4 7° 2
u1 = -41c 3
nœ ™ j Ó Ó
& gœ™ j gœ œ go ˙˙ ™™ 1° g˙ gf œœ 1° n˙
Hœ nw œ fœ w™ h˙
Cues nœ
? g˙ ‰ J Œ Ó ? n œ ‰ ou1œ g œ ‰ Œ ∑
g u1
w™ ˙™ Ó ∑
{ l.h.
pizz.
n œJ J
≤o
&
ù +41
≤‰ ‰ +j III ≥ Œ Œ
+25
SQ
& Œ™ nœ Œ Ó Œ +12 n‚ +29 Œ +12 Œ gœ
Vl1 Hœ œ fœ w™ gw™ ˙™ nœ f œœ œ fœ œ
- J poco f f
p
p
≤ slow bow +25
o
fast vibr. +14 6:5
+27 ≥ ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ +27 j
SQ Ó Œ j
Vl2 & gw™ g ˙™ g ˙™ œ™ g ˙™ g œ™ go ˙˙ ™™ g˙ ˙ œ gg œœ ˙˙
p - espr. sost. J
≤ +12 +25
+27 +27
fœ œ gf œœ ™™ g gf œœœ™™™
SQ B Ó Œ Ó ∑ Ó ‰ Ó Œ nœ œ
Vla gw œ gw œ™ Œ
p p 3
+43 poco f
+14 - 3
j+27
SQ ? œ™ g -œ ‰ Œ Ó on œœ o œ g œœ œj Œ ∑ Ó
Œ
g œ h œœ œ Ó ∑ ∑
Vc û nœ ‰ ‰ ‰ Œ
J - poco f
sfz º p
“
≤ uo ™
j ˙
u wo œ
Vln ù +41 +16 +27
Œ
& nœ -14 nœ œ gn ˙˙
(snd) H œ™ o œ-œ oœ u˙ ™ o œ- ™ u œ- ™ g ˙™ ˙™ g˙
º -14 -14 dissonant
martelé beating with 24 : 25 125 : 128 aug. 5th
II (from the string) SQ Vl2 III = +71c = +41c 0 125 : 128
III o o o 0 1 2 II
≤ j u O™ u~ ‚
1 2
= +41c
Vln { &
<e œ™
o
n œœ
-
nn œœ
º 5°/II
sfz o
oΩ o
t ˙™
-
same sounding pitch,
n œ- ™
f
t œ™
-
f˙™
match
SQ Vl2
˙™ Œ nœ
p
œ f˙ fn ˙˙
o
n œj n ˙ ™ -o
three octaves lower
≤ 6/5
Vla B Ó ‰ oœ o˙ Ó ‰ j ˙ o Œ Ó ∑ o wo no œœ ˙˙ Œ n˙
(snd)
J ™ 5o œ ˙ o o -2
5/1 o º
Ω o 11/4 o
martelé 3°/II j - 2°/III ≤ 6/5 125 : 128
(from the string) n‚ nO ™
‰ j O n n ~o 2°/III nn œ‚ ˙O
sempre sul II
n˙
= +41c
Vla { B Ó ‰ nœ n˙ ™
J o
oº
sfz o
Ó
o
nœ ˙
poco f
o
Œ Ó ∑
o
o
6:5
o p
o o
Œ
-2 o
o o˙ œ
Gamba ? j
fœ ‰ j nœ Œ o -œ o˙ œj ‰ ∑ Ó Ó Œ o˙ f˙ f˙
(snd) gœ Hœ g œœ o œ oœ™
- g˙ œJ gœ w o˙ g ˙-
- 4°/V
IV:3a 5/3 2°/V o 5/2 o o 6:5 support
o 2°/V o V:5a 5/3
‚j ‰ ∑
VII:2b V:0 VI:0 SQ Vla Solo
? j n-‚ nO nO
Gamba { œ ‰ j dœ n œ- ™ Œ Ó Ó Œ nO ‚ m˙ m˙
û œ oœ n œœ n œ n˙ œJ nœ w n˙ n ˙-
- o mezza voce (m.v.)
transition gradually
VI:0
match 23
Ens Vln, Vla,
3
29 2
3 4 then bend down 3 13°
11°
4
2 2 +16
2 2
Fl ù
& ∑ ∑ ∑ ∑ Ó Ó Ó o˙ port. m œ™ j -œ™ Œ Ó
(1) -28 -2
p
40 : 39 65 : 66
= -44c = +26c 7°
+2
Bass Fl ∑ ∑ ∑ ∑ ∑ ∑
(2) { &
‹ Blues third!
match Sax
tune consonant
with SQ Vla
a˙
pp
+6
7° 11° 11° 5°
j œ™ ˙™ +14
Bass Cl
& Œ ‰ ∑ Œ™ j ˙™ Œ™ Œ j˙ o ˙- Œ ∑ ∑
(2) -6
-4
pp
pp p
Blues third!
+6 7° +6 7°
Alto
& Œ jœ ˙ j˙ œ Œ Ó Ó ∑ ∑ Ó aw w œ™ ‰ Ó Ó
Sax û o 3
pp ppp
B3 match match
4 SQ Vla, Vc F3 F2 SQ Vla, Vc B1
4 3 42
+41
ù ∑ Ó Ó Œ Œ™ +18 +47
Hn & hœ œ ‰ h˙ ™ ∑ Ó Ó Ó
o˙ œ™ h ˙™
‰ Œ
p +43
tune 5/4 25 : 24
0 below N Tp = -71c
+14
Bb Tp & ∑ Ó o œ- ™ ‰ Ó ∑ ∑ ∑ ∑
(1)
fp
(T)234 (T)234
T (4) (T)3 (T)234
+41 +39 +41
+43
N Tp Hœ™ Hœ™ ‰ H -œ ™
(2) { &
25 : 24
= -71c
œ ˙ H˙
8 : 9
= +204c
h œ H œJ ‰ j œ™
128 : 125
= -41c
-
poco f
‰ ∑ ∑ ∑
match Pf,
Alto Sax
7°
2
3
u11
∑
Tba
? ∑ ∑ ∑ ∑ Ó Ó Ó a˙ œ™ Œ Ó
û a œ™
-4 -
pp
7° 7° 11° 7°
æ æ æ æ æ nœ
Vib {& Œ j œæ wæ œæ Œ Ó Ó ∑ ∑ ∑
e wæ œ™æ nœ ™
o pp
e˙
pp p
° ø
^ 11° 7°
& ∑ Œ ‰ nœ ™ Œ Ó ∑ ∑ ∑ Œ™ nœ ™ Œ
- e˙
pp p pp
Mar
? e11°
˙™ 11°
∑ ∑ Œ™ ææ Œ™ Œ næ˙ Œ Ó ∑ ∑
{ coordinate
æ
with Trp
^
& ∑ Œ ‰ o œ™ Œ Ó ∑ ∑ ∑ ∑
Hp
-
(snd)
? ∑ ∑ ∑ ∑ ∑ Œ™ h ˙™ Œ™
{
^
& ∑ Œ ‰ vœ ™ Œ Ó ∑ ∑ ∑ ∑
-
coordinate
Hp poco f with SQ Vla
poco f
? ∑ ∑ ∑ ∑ ∑ Œ™ n˙ ™ Œ™
{ 7°
G§
11°
3
& ∑ ∑ ∑ ∑ Ó Ó Œ™ nœ ™ œ Ó
pp
ew ˙
Pf ppp
pp
? e11°
˙™ 11° u11
∑ ∑ Œ™ Œ™ Œ n˙ Œ Ó Ó Ó Ó e˙ œ™ Œ Ó
{ °
e œ- ™
3 3 4 3 4
2 7° 3 11° 2 11° 5° 2 3
7° 2 11° 7° 2
& Œ jœ w œ ‰ o n œœ Œ Œ ‰ Ó Œ™ Œ™ Œ Œ Ó jœ
a ˙™ j˙ o˙
aw w œ™ jœ ™ e˙
Cues
1° 1°
™ ™ 1° ? h œ gw ˙™ œ g˙ ow h ˙™ g œ™
{ & gHHw
w ™™
w h gH w
w ™™
w h œ™ J hg ˙˙™™ u1 gœ™ gœ ˙
J g g œœ ™™ u1
1°
+41
SQ ù
Vl1 & gw gH ˙˙ w Ó ∑ ∑ ∑ ∑
poco
+43
+39 ≤ +31 3 3
+27 +27
SQ Œ Ó Ó ∑ Ó Ó Ó Ó Œ Ó
Vl2 & Hg œœ Hœ w g ˙™ g h ˙™
˙™ ˙™ Ó Ó g˙ g g ˙˙ g˙ ˙™
rinf.
diminuendo 3
+41 +43 +14 3
+41 ≥ +45
SQ B
gH œœ ™™ œœ ™™ ˙˙ ™™ hH œœ hgH œœœ on œœ go œœ Hg œœ Óœ H œ h ˙˙
+29 +33 -
‰˙ g œ™ Ó˙ +18
-
‰ Ó
- +47 +33
Vla J ‰ gh ˙˙ ˙ w g˙ o g œ™
w g œ™
œ™ h g ˙™
˙™ g œ™™
Œ
(ossia: upper m.v.
+43 2 notes only) diminuendo
+43 +31
+27 +45 +31
? h œœ ™™ œ™ Œ™ h ˙˙™™ Œ™ +33
Œ™ Ó˙
SQ Ó Ó ‰ gœ™ Œ™ Œ Ó h œ™ h œ™ g ˙™
˙™ Œ Ó gœ™ g ˙™
˙™ ‰ Œ Ó gg w
w
Vc û m.v.
diminuendo
7° o
+41 o
o ˙™ ≤ 3
o ˙-
ù
Vln
(snd) & Hgœœ ™™ Hœ ™ ˙™ Hœ
oœ
œ n˙
oœ
H˙ Œ Ó ∑ Ó
o˙ w
∑
- Œ Œ
8/5 -
dissonant
- 3°/III
+41 1 5/3 3°/III
2
°7th o III≤ 3 o
Vln { & Hf œœ ™™ Hœ ™ ˙™ Hœ œ
nœ n ˙œ H˙ nO ™ Œ Ó ∑ Ó
n˙ w nO ∑
-
m.v. tune to Œ Œ sotto voce o
- - p
SQ Vla, Gamba
poco f
+39 +43 -˙
+14 o˙
Vla Hœ ™ Hœ ™ œ™ h œ™ œ™ ^ oœ ™
B oœ ™ œ™ ‰ Œ ∑ ∑ Ó Ó Ó ∑
(snd) 8 : 9 3
tune to = +204c tune to tune 8ve with
SQ Vl2, Gamba SQ Vc 2/1 open string 3°/III
+39 III
Hœ ™ Hœ ™ œ™ h œ™ œ™ ^ o œ™ o
nO -Oo
B ‰ Œ ∑ ∑ Ó Ó Ó ∑
Vla { p
+43
m.v.
nœ ™ œ™
3
o p
Gamba ? ™ h ˙™ Œ Ó Œ™ g ˙™ ‰ Œ Ó g w- Ó
(snd) Hg ˙˙- ™™ HH ˙˙- ™ hH ˙˙- go ˙˙- gh ˙˙- h w™
5/4 3/2 4/3 5/4 6/5
VI:5a VI:8b VI:8b V:0 VII:9b
VII:7 VII:7 VII:9b VI:0 VI:0 VII:9b VI:8b V:10b
? - Œ™ o˙ ™ o w-
Gamba {
û nm ˙˙- ™™
™
ne ˙˙- ™ ee ˙˙- nn ˙˙- en ˙˙
-
ew ™ e˙ ™ Œ Ó
p
‰ Œ Ó Ó
24
35 2
4 3 5 5°
4 3
ù
2 2 of u11 11°
+2
7°
j
2 2
Fl ∑ ∑ ∑ Ó Ó Ó ‰ Œ ∑
(1) & j
mœ jœ œ™ aœ ˙™
-16
pp
7° 7°
+2
Bass Fl
{ & a œ™ a ˙ ™ ‰ Œ Ó ∑ ∑ ∑ Ó a˙ ∑
(2)
‹ -
ppp pp
+6
+4
Ó Ó Ó +6
n˙ Ó nœ vœ ˙ œ ‰ Œ ∑ ∑
Ob & v˙ ˙ J
p m.v. poco f
(tune as 5/2 5° of u11, slightly bend up, balance with
above Pf, Tuba) then match SQ 7° SQ Vl2
Bb Cl +37
& ∑ ∑ ∑ Ó Ó Ó ‰ j Œ j œ™ ˙™ Ó
(1) û m œ- port. j œ p œ- +4
-16 -2 jœ ™
p 44 : 45
120 : 121 = +39c p m.v.
= +14c
F2 B1
3
+20 +49 42
ù ∑ ∑ Ó Œ Œ Ó Œ ∑
Hn & o ˙™ ˙™ h ˙™
p 25 : 24
2 2 = -71c
coordinate 3
3 tune with Oboe, Horn
Bb Tp ∑ ∑
with SQ Vl1
v œΩ Œ Œ +6
∑ ∑
(1)
& vœ v˙ ™
+2
poco f +8
º p u11
match Pf 3
4
Tba
? ∑ ∑ ∑ Ó Ó Ó 5 Œ ∑
û a˙ ™
-2 pp
› nw
Glock { & ∑ ∑ Œ Œ ∑ ∑
poco f
nw ˙ œ 7° 7°
‰ Œ Ó Ó ‰ Œ Ó Ó Ó Ó Ó Œ ‰ e œj œ™ e œ ™ Ó
Vib {& eœ ™ e˙ ™
vw ˙ œJ ˙™
poco f
ppp m.v. p
°
› n˙ w œ …
Crot & ∑ Œ nw Œ ∑ ∑
3
poco f
7° 11°
n˙
& ∑ ∑ ∑ ∑™ Ó Œ ‰ e œj ˙™ Œ Ó Ó ææ
3 o
Mar 7° pp
? ∑ ∑ ∑ ∑™ Ó Œ Œ e˙ e˙ ∑
{
… …
& ∑ ∑ Ó Ó Ó Ó ∑
5v w hw
Hp u11 7°
(snd) 5v wo … u11
aœ w … h ˙o
? ∑ Ó Ó Ó Œ Ó Ó Ó Ó Ó
{ 5v œ
a˙™™ J
3
… …
& ∑ ∑ Ó Ó Ó Ó ∑
ew nw
m.v.
Hp coordinate f p
with SQ Vl2
? o … nœ w … o
∑ Ó ew ∑ Œ Ó Ó Ó Ó Ó n˙
{ Db
n˙ w œ
eœ
A§
n ˙ ™™
D§
J
3
n˙ w œ n11°
˙™
& ∑ Œ Œ Ó Ó Ó Ó Ó Œ ∑
3
poco f pp
Pf 7°
7° ppp u11 to Hpsd
? ew ™ Ó ∑ ∑ Ó Ó Ó e˙ w ∑
{ e˙
°
4 3 5 5°
4 3
2 7° 5° 2 u1 1° 2 of u11 11° 7° 2 3
2
& ‰ Œ v˙ o˙™
vn œœ ˙ ™ nœ o œ v ˙ Ó œ™ aœ
j
w Ó Ó p˙
eœ ™ e˙ ™
˙ oœ ˙ ˙ o˙ hp œœ1° m œ j œ pw h˙
Cues
o˙™ vœ p˙ ™ 7° eœ™ ˙™
? pg ˙˙ ™™ p ˙™ Ó ∑ nœ nœ ?Œ Œ
oœ Ó Ó Œ
o ˙™ u1 pe œœ u1 Œ e op œœœ ™™™1° Ó
{ &
≤
vœ
3 3
eœ
u11
gœ
Ω 3Ω 5
+49
ù +4 n œ Ω 3 +35 +49 ≤
+35 3
SQ
& ∑ ∑ n œ +6vn œœ +8 v œ +20v œ n œ n œ n œ v œ Ó Ó Œ
Vl1 vœ o œ oœ ˙ ov œœ ˙˙ op ˙˙ œ p œ h ˙˙
Œ Œ ˙ pœ w h ˙˙
f R o
3
I
≥o o 5
IV +4
o ≤
+20 ≤ n ‚ ‚ +6 j n‚ – 3 nœ +35 +37 ≤
SQ
& Ó Œ ‰ Œ Ó Œ Œ n œ vn œœ vo ˙˙™™ ‰ vo œœ œ Œ oœ
vœ +22 vœ œ
oœ oœ
vœ œ ˙ p ˙™ œ Œ Ó ‰
Vl2 o œ™
- J oœ œ Œ o˙ o ˙™ pp w™
w™ p -œ ™
f sost. R m.v.
(dim.)
+35 +20 +20 ≤ +35 +33
SQ B o ˙™ ˙ w Ó ∑ o œ™ œ™ Œ™ Œ™ Œ ∑
Vla pg ˙™
˙™ p ˙™ Ó Œ™ pœ™
g œ™™
Œ p œ™
œ™ œ œ Œ Ó Ó Ó
(dim.) p
≤ +35 -
+33 +22
SQ ? Ó ∑ ∑ Ó Ó Ó Œ Œ p œœ Œ pœ™ ‰ Ó ∑
Vc w™ gœ o œ™
û (dim.) p
-o
n œo œo n˙
Vln ù ∑ Œ Ó Ó Ó Ó ∑ ∑
(snd) & oœ Œ Œ
3
º 3
3°/II 5/1 -
o
o o
Œ n‚ ‚ nO
Vln { & ∑
3
f
Ó Ó
III
f º
nœ Œ
3
Œ
o
Ó Ó ∑ ∑
n ˙o ˙o v˙
Gamba ? Œ ™ o˙ ™ ‰ Œ Ó B Œ ?
no ˙˙ œœ Œ vœ Œ v˙ ™ Œ™ gw gw
(snd) o ˙™ o œ™
- ow
3
6/5 5/3
IV:0 3°/IV IV:7 IV:7
V:9b o 4°/IV V:9b o V:4b V:5b
? Œ ™ o˙ ™ ‰ Œ Ó ? Œ nO Oo on ˙˙ œœ Œ n˙ nœ Œ n˙ ™ Œ™
Gamba {
û o 3 o
f p
o ˙™ o œ- ™ ow
o
ow
m.v.
ow
25
3
40 2
5 5 3 4 3
ù
4 2 2 5:3
7° 7° 2 2
Bb Cl & ∑ ∑ ∑ Ó Ó Ó Ó Œ a˙ Ó ∑
(1) -2 a˙ œ
7° pp 7°
-
Bass Cl
{ & ∑ ∑ ∑ Ó Ó ∑ Ó Ó Ó a˙ Ó
(2)
-4
a ˙- 3
11° pp
11°
-2
Alto jw j w™ ˙ Œ Ó ∑ ∑ ∑ ∑
Sax &
û 5:3
o
p
B1 B2 F1 B3 F2
42 4 (help to articulate small 2 4 16 : 15 3
comma step in SQ Vl2) 3
+49 +31 = -112c 3
ù +51 +51 +29 ^ +20
Hn & Ó Ó Ó Ó hœ hœ Œ Ó h œ- Œ Ó g œ- ™ ‰ Ó ∑ Ó Ó Œ gœ Œ o ˙™ ˙ Ó Ó
p
- ppp 81 : 80 p pp
match A in
= -22c SQ Vc, Harp tune to Horn
+20
F IV +22
dissonant! -
? ∑ ∑ ∑ ∑ ∑
n œΩ ‰ Œ n -œ o œ o w Ó
Tb J
û pp 3
80 : 81
= +22c
(clear previous G)
11° 11°
5:3
Ó Ó Ó Ó nw ∑ ∑ ∑
Vib {& jw jw ™ ˙™
p
7°
w 11°
nw ™ ∑ Ó Ó Ó n œΩ ‰ Œ Ó Ó Ó
5:3
Ó Ó
& æ æ J ææ ææ Œ Ó Ó ∑
5:3 sf e˙ œ
pp o pp
Mar
æ
7°
n˙ e7°˙
{ ? ∑ ∑ ∑ Ó e ˙æ Ó ∑ Ó Ó Ó
3
& Ó Ó Œ ∑ ∑ ∑ ∑ ∑
hœ
Hp
(snd) h wo h w™ h ˙o n˙ n˙ n wo
? ∑ Ó Ó Ó Ó Ó Ó Ó Ó ∑
{ 5:3
o˙ o˙
& Ó Ó Œ ∑ ∑ ∑ ∑ ∑
nœ
coordinate
Hp m.v. with SQ Vc
? o nw ™ o v˙ v˙ o
w ∑ Ó Ó Ó Ó Ó Ó Ó Ó ∑
{ 5
n˙
A#
C#
v˙ v˙ vw
3
& Ó Ó Œ Œ Ó Ó Ó Œ ow ∑ ∑ ∑
hœ ˙ o˙ w
Hpsd u13
u13 3
(snd)
? hw ™ hœ Œ Œ Ó ∑ ∑ Œ 9f ˙ Œ n˙ Ó 9o ˙ ∑
{ no ˙˙˙
ù Ó Ó Œ Œ Ó ∑ ∑ ∑ ∑
& eœ ˙
coordinate
with SQ Vlns
3
∑ ∑ Ó Ó Œ nw ∑ ∑ ∑
Hpsd
{ &
? nw ™ nœ Œ Œ
n˙ w
v˙
3
v˙
Ó ∑ ∑ Œ n˙ Œ v˙ Ó ∑
3
? ∑ ∑ ∑ ∑ ∑ Ó Ó ∑
{
û nn ˙˙
3 5 5 3 4 3
2 11°
5:3
11° 4 2 3 3
2 5:3
7° 7° 2 2
& Ó Ó Ó on œœ Œ ? oœ Œ
ww1°
hpj w j ww ™™ ˙˙ œ hœ g˙ gœ ˙™ gœ W
a˙ œ
a˙ &
oo W
W u1 3
Cues
hw hg w
w ˙ 1°
˙™
1°
3
h˙
7° ™
gg œœ ™1° g˙
oW
u1 a7°˙
? Ó ‰ Œ Ó
{ 5:3
o
g˙™ ˙ g˙ hw w
≥
+ ‰ 3
a˙ o œ™
(slow)
5:3
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏molto sul tasto

gœ ˙ ˙
+16 j +31 Ó Ó sul tasto

SQ ù Œ Ó ∑ on œœ œ
5:3 ≤
& Ó Ó Ó œ™ ‰ Ó ∑
Vl1 hp œœ ˙˙ ˙ hœ ˙ Ó Œ gœ ˙™ gœ W g˙ ˙ gw
81 : 80 sfz pp
= -22c ord.
sul tasto ≤ 3 ≥ 5:3
+51 +31 +20
SQ
& Œ Œ Ó Œ Ó Ó +51 +29 ∑ Ó Ó ‰
pœ w œ ™
Vl2
hœ œ w h œ- h œ g ˙- g
g œ- ™ gg ˙˙ og W
W oo W
W
pp
ppp poco +18
+47 +29 +20
5:3 +47 3
+18
oo w
SQ B Ó Ó hg ˙˙ Œ Œ Œ Ó Ó Œ Ó Ó ∑
Vla w ˙™ h ˙™
- h˙ h˙ gw ˙ œ w
m.v. espr. o
sfp poco f l.h.
pizz.
+45
+ + + +33
SQ ? ∑
+33 3 +16 n œj ‰ ‰ ‰ n œj ‰ Œ n œj ‰ Œ
Vc g˙™ ˙ g˙ hw w™ œ Œ Ó o œ™ Ó Ó oœ o œ gœ w™
û - -
m.v. espr.
ù + 5:3
Vln
& ∑ ∑ Ó Ó Œ Œ 4œ ∑ Ó Ó Ó Ó Œ Ó ‰ Ó ∑
(snd)
3
o˙ œ o˙ œ™
coordinate
I with SQ Vl1 sul tasto molto sul tasto
+ 5:3
∑ ∑ Ó Ó Œ Œ nœ ∑ Ó Ó Ó Ó Œ Ó ‰ Ó ∑
Vln { &
11° +20
o
3
poco f
n˙
pp
œ n˙ œ™
n -œ o -œ ™ o
o -œ™
Vla B ∑ ∑ Ó Ó -2 ‰ ∑ Ó Ó ‰ ∑ ∑
(snd)
3
80 : 81
= +22c coordinate with SQ Vl2 to obtain pitch,
-o -
2°/II n ‚ o œ ™
it is enough to change the finger
from harmonic pressure to stopped 3°/III
o
n -œ ™
Vla { B ∑ ∑ Ó Ó
ppp
3
3
poco
‰ ∑
3
Ó Ó
pp
o œo
o
œ
‰
o
œ
∑ ∑
Gamba ? ∑ gw Œ Ó Œ Œ Ó Œ Ó Ó ∑ B
(snd) gœ œ
hh œO œO gg ˙O gw gœ ˙ -
5/2
VII:1b
3
VII:1a
3
3°/V
o o o
?
Gamba {
û
∑ ow
o
Œ Ó Œ
ee œO œO vv ˙O
ppp
vw
Œ
vœ ˙
Ó n ‚ n ‚œ
VI:7 -
pp
‚œ Œ Ó Ó ∑
26
46 2 +2
3 +4
5 5
ù nw -+6 4 +8
vœ ™ nœ vœ 4
Fl
&
jw Œ nœ Ó Ó Œ v˙ œ ‰ Œ
J Œ vœ
J
œ
(1)
3
sfp m.v. (m.v.)
+8 nœ vœ™ uœ
+6 +4
Bass Fl ∑ ∑ Ó Ó Œ ‰ v œj vœ ™ nœ +6 -6 J
(2) { &
‹ +2
jw nœ
+4
nw
+8
v -˙ m.v.
J
poco f
Ob & Œ Ó Ó Œ Ó ∑
3
pp (senza cresc.) mezza voce
(m.v.) u˙
3 3 +4
Bb Cl &
+2 +4 ‰ Ó Ó +6
v˙ +8 Œ +8 vœ vœ -8
(1) v˙ vœ ˙ œ™ v ˙- v œ ˙™ vœ
pp p
rinf. pp rinf. pp
3
+2
Bass Cl v -˙ Ó Ó
+4
v˙ +6
Ó Ó Ó
+8
v -œ ™ ‰ Œ Ó
(2)
Alto
{ &
∑
rinf.
vœ
pp
˙
∑
v ˙-
Ó Ó Œ ‰
+6
j
+8
vœ
j +6
vœ ™ ‰
+8
vœ
J
œ
J ‰ Œ
Sax & vœ
û p
pp 2
2 3
Bb Tp ù 3 v œΩ 2
3 v œΩ
(1)
& vœ Œ Œ Ó Ó ∑ ∑
+2 vœ
Œ J ‰ Ó
º
+2 pp coordinate +8 -
with SQ Vl1 poco f fp poco f
ord. (lip 9. partial
13° slightly down) +6
N Tp 0v -œ v -œ
(2) { &
keep position
(F IV raised by a comma)
∑
+6
match
SQ Vc
∑
+20
oœ
∑ Œ
D+46
+6
3
Œ
fp coordinate with
Tp, SQ Vl2
‰
keep position
fp
‰ Œ
Tb
? ∑ Ó v˙ Œ ∑ Œ v -œ Œ Œ Ó
û 3
› fp
Glock & Ó nw ∑ ∑ ∑
{
p
n˙ œ 3 nw™
∑ ∑
Vib {& n˙ ˙
f p
› ° ø
Crot & ∑ nw ™ ∑ ∑
p Ω coordinate
v œ with Harp
vœ n>œ n œ
Mar {&
Ó
n˙
Ó ∑ Ó <œ Œ Ó vœ ™ v œ nœ ™ Ó
u13
poco f
>
p
Ó Ó 0o13°
˙ ∑ ∑ Ó Ó
13°
& 0ß œ
Hp u13
(snd) ? …
∑ ∑ Ó 9˙ Ó ∑
{ * coordinate
with Ens Vln
9˙
coordinate with
SQ Vla
Ó Ó n˙ ∑ ∑ Ó Ó
& vœ
Hp p poco f poco f
? …
∑ ∑ Ó v˙ Ó ∑
{ E§ E#
v˙
coordinate
with Marimba
D#
Ωj ‰
∑ ∑ ∑ n œΩ Œ Œ nn œœ Ó
&
3 -
Pf poco f
? ∑ ∑ ∑ ∑
{ 3
13°
Hpsd Ó Œ 0o ˙ ∑ ∑ ∑
(snd) {& ˙
to Piano
ù ∑ ∑ ∑ ∑
&
Hpsd 13°
3
Ó Œ n˙ ∑ ∑ ∑
{
û
&
3
˙
5 5
2 5:3 Ω 4 0v13°
˙™ 4
nw nœ nœ nw
o˙™
1°
˙ vv œœ Œ Ó Ó
& v ˙ ™™ ˙
ow
o w 1° oœ ˙ ˙ ˙ u˙™
Cues n˙ n œœ ˙™ œ n˙ v œœ 3 u1
v œœ u œœ n œœœ v œœœ œ
u œœ
{ ? J ‰ ˙ Ó & v˙ ‰ j v œœ n œœ v œœœ œ
3 3
v œœ ˙ ™ vœ vœ v œœ 1° œ n œœ
I
ord. o
nO n ‚o
o
-‚™ >≤
ù ≤
n œ≥ œ™ n œ n œœ œ
SQ
& J Œ ‰ Ó Ó ∑ ‰ Œ
Vl1 v œ v œœ œœ œ™
sfz pp o f J ‰ uœ™ uœ™
≥o ≥o strike the string!
-8
strike the string!
Ω >≤
n ‚Ω
I n ‚j +20 ≤ 3
≥
SQ
& Ó Œ ‰ J Ó o œ oœ™ œ o˙™ +6
+22 Œ Œ Œ n œ n œœ œ
Vl2 J ‰ Œ Œ v ˙™ vw vœ vœ v œ v œœ ˙
sfz sfz pp oœ u œ- f
-8
≥ p
5:3 5:3 fast ricochet
+20
+22 +8
oo w ow oo w
SQ B
Vla w o˙ w o˙ w o˙ ow
pp
vw œ v˙™ v œ. œ. œ. œ. œ. œ. œ. œ.
9°/I +20
Ω +18
o o o - p poco f
– +6 o˙ œ
SQ ? nn œœ nn œœ o œœ n œœ n O Œ o œ n ‚œ vœ n ‚œ
Œ v œŒ v ˙ œ Œ vœ v œœ™™ vv ˙˙™™ vv œœ™™ ˙™ ˙
Vc û Œ Œ Œ
3 3 3 3 3 3
f sonore
o ≥ D+46 -o
0v œ™
Vln ù oœ œo v˙ 0v ˙ ort. 0v œ ™ œ ™™
Œ Œ Œ on ˙˙ ∑ Ó Ó n œ p
(snd) & o œ- J
3 3
ord. II > (unison
3°/III III coordinate II arco 1/1 with open) o
3 o o 3 pizz. with Harp pizz. ≥ n-‚ ™
Œ Œ n‚ Œ nn ˙˙ ∑ Ó v˙ Ó nn ˙œ port. 0v œ ™ œœ ™™
Vln { &
pp
‚ nœ
0o ˙o 13°
-
f
f
>
J
sfp
D+46
13°
o
0v ˙™
Vla B Ó Ó ∑ Ó v˙ Ó Ó B
(snd) &
5°/IV
o II
pizz. arco n Oo ™ 3°/I
B Ó Ó ∑ Ó v˙ Ó Ó
Vla { mO
o p f
o
sfp
o o
o
3
n wo o o n ˙o ™ v˙™ u˙ œ u˙
Gamba B Œ ‰ nœ ™ œ ? v˙ ™ nœ v˙
(snd) n ˙- ow Œ Œ
3°/III o o o
IV:0 4°/IV 2°/IV 15/4 5/2
3°/IV IV:7 IV:0
?
3
5/1
n ~o
V:2b n ‚o ™ ‚o 4°/IV
n Oo ™
o
nO ™ n˙ ™ nO ‚ nn O˙
Œ n˙ ‰
Gamba {
û -
f
ow
pp pp m.v.
nœ Œ Œ IV:7
m.v.
27
5
50 4
4 3 4 5
ù
2 2 2 4
Fl
& v˙ Œ Ó ∑ ∑ ∑ ∑ ∑
(1)
o
coordinate wih Pf +6
uw œ W ˙™ j7°˙ w™ 175 : 176
= +10c j11°
˙
-4
Bass Fl
(2) { &
‹
uœ
o
Œ Ó ∑ Ó Ó Ó Ó
3
sotto voce
Bb Cl & J uœ ™ œ™ ‰ Œ ∑ ∑ ∑ ∑ ∑
(1)
o
coordinate
with SQ Vlc
3
+10
Alto ∑ ∑ Ó vœ ˙ vw v˙ ˙™ vœ ™ ‰ Œ ∑ Œ ∑
Sax & - - v˙ ™
û +8
m.v. sotto voce
7°
Bb Tp ù ∑ ∑ ∑ ∑ ∑ Ó Œ z˙ Œ Ó
&
(1) -
-4 p
match raise slide position slightly match
SQ Vla +41
by one more comma-size step, SQ Vc
+22
o ˙ ™™ end with Sax as before 80 : 81=+22c +27 p -œ
Tb
? ∑ ∑ ∑ ‰ Ó ∑ Œ ww Ó
û sotto voce pp
coordinate wih Pf
7°
∑ ∑ ∑ Ó Ó Ó Ó Ó Ó n˙ W
Vib {& 3
n˙
m.v. °
…
& ∑ ∑ ∑ ∑ ∑ ∑
Hp
(snd) ? ∑ ∑ ∑ ∑ ∑ ∑
{
…
& ∑ ∑ ∑ ∑ ∑ ∑
Hp
? ∑ ∑ ∑ ∑ ∑ ∑
{
coordinate wih SQ Vl2 pizz.
7° to Hpsd
∑ ∑ ∑ ∑ Ó Ó Ó Ó n˙ w™ Ó
&
3
Pf m.v.
? ∑ ∑ ∑ ∑ Ó Ó Ó Ó Ó ∑™ Ó
{ 3
°
5 4 3 4 5
4 2 2 2 1°
oœ w n˙ W
7° 4
& ∑ Ó Œ uœ w Œ Ó Ó v˙ Œ oœ o˙™
v˙™ 3
Cues (SQ Vl2 ricochet)
u vu œœœ u1 1° u1 pw
w™™ wo ˙˙
ow 1°
{ & J u œœœ™™™ œœ™™ œ™ ? vw vv w
w ow
v wu1
o˙ v w ™™ Œ w˙
flautando
3 +23 +25 ord.
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
ù ≤ +8 o ˙™ œ
SQ
& ˙˙ ™ Œ u Œœ v œœ Œ Ó Ó v˙ œ
oœ oœ o˙™ Œ ∑
Vl1
uu w
w œœ
™ -6
uœ w
-6 n œ-
p m.v. poco f
7°
+
3
≤ fast ricochet
SQ
& ∑ ∑ +8
Œ ™ +23 Œ Ó ∑ Ó ∑ n˙ +25
Œ
Vl2 v œ ™ o œœ ™™ ow ™ oo ˙˙ o œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ œ ˙ ˙™
p
o sfz poco f
o +10
^ 5:3 +22 5:3 5:3 ≤
+10 Ó +27
SQ B Œ Œ ‰ Œ ∑
Vla v w W +8 o˙ W v ˙- v ˙- v ˙- v w- œ w œ- ™
v œ. œ. œ. œ œ w vw vw W v˙ ˙ p
espr.
m.v.
+27 +41
+25
3 +23 (senza dim.) pw
SQ ? +10 Œ u˙ ow o˙ ˙™ o œ™ o œ™
œ™ w ow wo ˙˙ w˙ w
∑ ∑ Ó v œ -6 ˙ vw
Vc û oÓ
m.v.
crescendo
o
n ˙o wo w
ù o o +8 ^
Vln
& Œ T œ™ œ™ Œ Œ Ó ∑ Ó Ó Ó Œ
(snd) vw vw v˙™ 3
tune with tune with

SQ Vl1 (major triad) SQ Vl1 (minor triad) gradually stopped
3°/IV
match SQ Vla 3°/II
o o
o III ^
Œ nO ~o ~
Vln { & Œ
n‚ ™
o
‚™
o
Œ
uw
m.v.
uw u ˙™
Œ Ó ∑ Ó Ó Ó
3
pp
o 7° +29
n wo nw <o ˙ w w™
Vla B ∑ ∑ ∑ ∑ -2 -7
(snd)
tune with :
2°/II o +29 SQ Vc, Gamba
n ~o nw <o ˙ 28 : 27
= -63c w w™
B ∑ ∑ ∑ ∑
Vla { o
-2
pp
gradually stopped
and slightly lower
-7
u œo - 3
n -œœ ™™
o
Œ T˙ vœ ˙ n˙ w w ˙o ™ w˙
Gamba ? nœ ˙ nœ œ Œ Œ nœ v w v ˙˙- ™™ Œ vv œO ™™ œO ™™ Œ o˙ n˙ ˙ ‰ nœ ™ Ó Ó Œ
(snd) - h˙
- III:11a III:10b 3 II:5b
7/3 9/4 14/3
IV:2b
‚o Œ v˙ oœ ˙ V:4b III:4b
e˙ ˙ ™ o -œœ ™™ o˙ w 4°/VI
o o
? d ˙˙- ™™ d d œO ™™ œO ™™ ‰ eœ
Gamba {
û IV:0
nœ ˙ nœ œ Œ Œ nœ ow
m.v. V:3a
Œ Œ o˙
- o m.v. o pp
Ó Ó nO ™ Œ nO
o˙
VII:3b
poco f
28
56 4
5 œ +10
adjust to
Gamba
3 4 3 4
ù j œ™
7°
˙ port. f w
2 2 ≈
2 2
Bass Fl
& ‰ Œ aœ ∑ ∑ ∑ ∑ ∑
(2) +4
‹ 6:5
≈ 5°
Bb Cl ∑ ∑ ∑ ∑ ∑ ∑ v˙ w
(1)
& +12
ossia 8va if extended bass range o ppp 100 : 99
not available = -17c
u13 ≈
Bass Cl ∑ ∑ ∑ Ó Œ Ó ∑ ∑ ∑
(2) {
û
&
-2
z œ™ œ™
ppp
7°
(T)2 6:5 ≈
N Tp ù ∑
(2) & aœ œ Œ Ó Ó ∑ ∑ ∑ ∑ ∑
+4
p œ™ ≈
Tb
? Œ ‰Ó ∑ ∑ ∑ ∑ ∑ ∑
u13 ≈ ≈
Tba
? ∑ ∑ ∑ Ó Œ -4 ‰ ∑ ∑ ∑
û jœ ™
2 j œ™ œ™
ppp
11° 7°
œ ≈
‰ Œ eœ ∑ ∑ ∑ ∑
Vib {& nœ ™ w œ
nw™
? nœ nœ nœ Œ ‰ nœ ™ ≈
Mar { ∑ ∑ ∑ ∑ ∑ ∑
11° ≈
& ∑ ∑ Œ ∑ ∑ ∑ ∑
Hp nœ w
(snd) ≈
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
{
≈
& ∑ ∑ Œ ∑ ∑ ∑ ∑
eœ w
Hp p
? ≈
∑ ∑ ∑ ∑ ∑ ∑ ∑
{ Ab
11° ≈
& ∑ ∑ ∑ ∑ ∑ ∑
Hpsd nw™
(snd) ≈
? nw
{ ∑ ∑ f œ- n œœ hh œœ Œ ‰ n œ ™ h œ™
-
‰ Ó Ó ∑ ∑ ∑
ù ≈
& ∑ ∑ ∑ ∑ ∑ ∑ ∑
≈
∑ ∑ ∑ ∑ ∑ ∑ ∑
Hpsd
{ &
11° to Piano
? ∑ ∑ v w ™ nœ e œ
Œ n œ Œ ‰ nœ ™ n œ- ™ ‰ Ó ∑ ∑ ∑ ∑
-
? ew ≈
∑ ∑ ∑ ∑ ∑ ∑
{
û
e ˙-
5 3 4 3 4
4 11° 7° 2 pœ ˙ p˙ 2 ™ 2 ow ™ u1 5° 2
œ ‰ Œ aœ
6:5
? h œ h ˙˙ Œ p œœ ™ u1 ≈ w™ v˙ w
& nœ ™ p œ ˙˙ fw 1° h œ™ ‰ Ó Ó Œ ‰‰ &
pw ™
Cues 1° p˙
hp w
w u1 ow 11° 11° 11° u13 ≈ 3
u1 1°
? p˙ pœ Œ jœ jœ Ó ‰j œ ™ Ó Œ ‰ Ó Œ p˙ p˙ ?
{ 6:5 6:5 nn œœ ™™ n œœ ™™ œ™
ow &
ow ˙ op ˙˙
+41
+23
ù ≈ o w™ w o˙ pw ™
SQ ∑ ∑ ∑ ∑
Vl1 &
o m.v.
slow bow ≤
+23 +
+55≥ +37 +37 ^ ≈ Ó Ó Ó Ó ‰ Œ Ó 5:3
SQ
& Ó j Ó
Vl2 hw pœ w œ w p˙ w™ ˙ W po ˙˙ o
oœœœ œ œ œ œ œ œ œ œ œ œ œ ˙ w ow
f sonore 5:3
ÆÆ o
p +25 . . . . . . . . . . .
+43
+39 +25
+57 +23
6:5 6:5 +53 ≈ o˙ ˙ p˙
SQ B Ó Ó Œ ow Œ Œ Œ Œ Ó ∑ ∑ ∑
Vla q˙ p ˙œ Œ pœ w pœ h œœ h ˙ dissonant to
- o m.v. SQ Vlc
f p
+35
≥ +39 dissonant to
pœ pw +51
≤ ≈
3 +23 3
3
+39 SQ Vla, Vl.1
SQ ? ∑ Œ h˙ Œ Ó pœ™ Œ Œ p œ+22œ Œ Ó oœ œ Œ +23 Ó
Vc û - h œ- ™ ‰ Ó Ó Ó
Ó o œ ˙™ Œ pœ œ w œ Œ o œ p ˙˙ ˙
p pp
(cresc.) f poco f
11° +24
ù n˙ œ ‰ Œ oœ w œ ≈
Vln ∑ ∑ ∑ ∑ ∑
(snd) & J
80 : 81
tune with
= +22c +24 SQ Vl2
n˙ œ ‰ Œ oœ w œ ≈
∑ ∑ ∑ ∑ ∑
Vln { & J
+37
m.v.
+53
w œ q ˙™ pœ w œ h wo ≈
Vla B Ó ∑ ∑ ∑ ∑
(snd) C#
-41
25 : 24 tune with SQ Vl2 5 : 6
= -71c Gamba, SQ Vla +37 = +316c
81 : 80 5°/IV
w œ q ˙™ = -22c
pœ w œ o ≈
Vla { B
o
C#
-41 m.v.
-. 6:5
-. -.
m~
p
7°
Ó ∑
≥
∑ ∑ ∑
≤
wœ ≤ ≈ 3
Œ 5:3
Gamba ? p˙ f˙ p˙ f œ- Œ pœ Œ Ó p œ™ ‰ Ó Ó Ó Œ Œ p œ œ ˙™ p˙ œ o˙ w Ó ow
(snd)
h œ h ˙™ - -
pœ ˙ p˙ p˙ p˙ pw
VI:11b VI:9a coordinate
-. 6:5
-. -. ≥ 8/3 VI:10a 5/2 with SQ Vl2 ≤
o VII:3b ≤ ≈ 3
Œ 5:3
?
Gamba {
û ‚œ o ˙ ™
VII:0 nœ
f
w˙
˙
8/3 7/3
m ˙ w˙
n˙ n˙
m œ- Œ
p
wœ Œ Ó
-
wœ ™ ‰ Ó
-
Ó Ó Œ Œ w œ œ ˙™ w˙
pp
œ
n˙
m˙ w
nw
Ó mw
o
29
63 2
4 3 4 11°
5
ù
2 2 +4 jw 4
Fl ∑ ∑ ∑ ∑ ∑ jw
(1) &
o sotto voce
7° 7°
Bass Fl
{ & ∑ ∑ ‰ j œ™ w™ œ Œ Œ +8j ˙™ œ Œ Ó Ó ∑
(2) +10
‹ o ppp p
11°
Bb Cl zw ˙ ∑ ∑ ∑ ∑ ∑
(1)
& -6 z˙
o
11° match Cl 1 11° 11°
5:3
Bass Cl Ó Ó z w^ ˙™ Œ Ó Ó Ó ∑ Œ™
+4
jœ ™ ˙™ w ∑
(2) {
û
& -6
ppp
Bb IV
coordinate
with Pf, Hp
-8
z˙ w
o sotto voce
u23 match SQ Vlc

ù? ∑ Œ™ +27
Œ Ó Ó ∑ ∑ ∑
Tb
nœ ™ ˙™ w œ-
ppp V
7°
1° (fundamental pitch) 1 3
5 tune with SQ, Gamba 3 4 +8
? +39 p˙ -
Tba ∑ ∑ +41
p˙ p œ- Œ Ó Ó Ó Ó Œ o˙
v
û p w™ w 3 0
use change of fingering to
ppp p articulate very small
pitch difference
æ æ æ nw
Vib {&
∑ ∑ ∑ ∑ Œ™ n œæ™ ˙™æ wæ
ppp
°
& ∑ ∑ ∑ ∑ ∑ ∑
Hp
u23
(snd) ?
{ ∑ Œ™ ∑ ∑ ∑ ∑
nœ ™ ˙™
& ∑ ∑ ∑ ∑ ∑ ∑
Hp ppp
? ∑ Œ™ ∑ ∑ ∑ ∑
{ eœ™ ˙™
coordinate
with Pf
& ∑ ∑ ∑ ∑ ∑ ∑
coordinate
Pf with Hp
u23 to Hpsd
? ∑ Œ™ ∑ ∑ ∑ ∑
{ nœ ™
ppp
˙™
j
& ∑ ∑ ∑ ∑ ∑ Ó Ó Œ ‰ hh œœ ˙˙
Hpsd
(snd) ? ∑ ∑ ∑ ∑ Œ™ h œ™ ˙™ hw ∑
{
ù j to Piano
& ∑ ∑ ∑ ∑ ∑ Ó Ó Œ ‰ ee œœ ˙˙
∑ ∑ ∑ ∑ ∑ ∑
Hpsd
{ &
coordinate with SQ Vla
? ∑ ∑ ∑ ∑ Œ™ eœ ™ ˙™ ew ∑
? ∑ ∑ ∑ ∑ ∑ ∑
{
û
4 3 4 5
2 11° 11° 2 2 11° 4
z˙ 5:3 7° 1° jw
& Œ ‰ Œ™ ∑
w˙ ww™ z˙ ˙™ jœ ™ œ pœ w h œ™ j ˙˙ ™™ œœ ˙ ˙™
Cues p w 1° u1 7°
? pœ ™ w œ ™ pw 11°
vw ™ ™u1
11°
hj œœ™™ ˙˙™™ h˙
{ pw wœ™ ww pp w
w™ œ™ 1° p˙ pw
Ó
5:3 u1
j œ ™ ˙™
u23
(artificial harmonic cents =
+39 sounding pitch deviation)
SQ ù +43 +55 3 ^
& Ó Ó Ó j ‰
œ‚ ™™ pp œO œO ™™
Vl1
pw ™ w™ p˙™ p˙™ œ™ h œ™ h ˙™ w™ p p ˙O
o p m.v. espr. o
sounding pitch deviation)
+41 +39 +37
+29 ≤
5:3 ≤ +41
p˙™
SQ
& Ó pœ p ˙ ™™ j Œ pO œO Œ Ó p˙ ˙
Vl2 o˙ w˙ ww ™ w˙ œ wœ™ w˙™
™ œ pœ w p œ œ p ˙˙ o o
+39
m.v. 3 (artificial harmonic cents =
m.v. poco f sounding pitch deviation)
+39 o
p˙ ˙ 5:3 +53
3 ^j 3
+41 Ó Ó
SQ B ∑ ∑ Ó Ó p p ˙˙O O ™™
œœ™ pp œO œO p ˙˙O
Vla
o pw ™ w™ pœ™ h œ™ ˙™ hw ‰ Œ
o m.v. espr.
80 : 81 ^ III sounding pitch deviation)
? +27 +39
SQ = +22c +45
Vc û ow pw w w™ w w˙ pw ™ w pp ˙O˙ p pp ˙O˙ pw
w
p˙
p crescendo m.v.
+37
poco f
+55 o o
ù h ˙o wo h ˙o o
œ™ h œ^ œ™
Vln
& ∑ ∑ ∑ ∑ Ó Ó Œ J ‰
(snd)
3 3
5°/IV
o 3 o 3 o o ôj o
∑ ∑ ∑ ∑ Ó Ó Œ mO ‰
Vln { & ~ mO ‚™ m‚ ‚ ™
o o
h ˙o o
œ™ h œ^ œ™
Vla B ∑ ∑ ∑ ∑ ∑ Ó Ó J ‰
(snd)
3
5°/IV
3
o o ôj o
Vla { B ∑ ∑ ∑ ∑ ∑ Ó Ó mO ‚™ m‚ ‚ ™ ‰
m.v.
5:3 3
Gamba ? o ˙ p ˙ p w™ Œ
(snd) p˙ œ™ p œ™ p ˙™ œ pœ w p˙
p w™ ˙™ ˙™ w™
VI:8b change bow ad lib. VI:1b
5:3 VII:0 3
? Œ
Gamba {
û
m˙ e˙ ew ™
m.v.
e˙ œ ™ eœ ™ e˙ ™ œ eœ w
nw™ ˙™ ˙™ w™ e˙
30
5
69 4 13°
4 3 4 7 3 5 6
ù
2 2 take Piccolo 2 4 2 2 ‹
2
Fl
& -2
nw œ w w ∑ ∑ ∑ ∑ ∑ &
(1)
o
13°
Bass Cl ∑ ∑ nw ˙ w ∑ ∑ ∑ ∑
(2) &
û 0
o sotto voce o
coordinate with Gamba
tune with SQ Vc, Tuba
(4)
N Tp ù ∑ ∑ ∑ Ó +45
Ó Œ Ó Ó ∑
(2) & pw ™ pw pw w
sotto voce sostenuto
set position between

FI and FII
Tb
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
u5 to Ens Vln 1° tune with

6:5
+14
SQ Vc, Trp
+45 +4c
+57 3
Tba
? oœ + 43c ∑ Ó Ó Œ Œ Œ Ó Ó Œ Œ Ó Œ Ó Ó Ó ‰ ∑
û 4
5
o˙ 1
4
q ˙™ w 2
pœ œ p˙ œ p˙ œ pœ ™ ˙
4 sotto voce very slight
5 pitch change
take bow
nw Œ ∑ ∑ ∑ ∑ ∑ ∑
Vib {&
› take bow
Crot & ∑ ∑ ∑ ∑ ∑ ∑ ∑
13°
æ æ ∑ ∑ ∑ ∑ ∑ ∑
Mar {& n wæ œæ
pp o
& nw Œ ∑ ∑ ∑ ∑ ∑ ∑
Hp
(snd)
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
{
coordinate
with SQ Vl1 ricochet
& vw Œ ∑ ∑ ∑ ∑ ∑ ∑
poco f
Hp
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ A#
5 4 3 4 7 3 5 6
4 13° 2 2 2 4 u1 2 2 2
&
jw œ w w Ó Œ ∑ Ó
jw w™ w ˙™ w˙ ˙™ pw qw w™
Cues 13°
™ 6:5 u1 u1
pp ˙˙ ™ u1 pw ™ 1°
w ™™1°
? q ˙˙ w Œ Ó j
{ q ˙™ w ™™
qw
1° pw™ p œ ™ p œj w ™ w œ™ j
pœ ˙
q˙
pw p˙ œ pœ™ w ™
+≥ fast ricochet ≤ 5:3

SQ ù +43 j ‰ Œ Œ Ó +61 +31 +43 +61 = G# -39
Vl1 & nœ j
pœ œœœ œ œ œœ œ œ œ œ œ œ™ pœ™ p ˙- p ˙- p ˙- p w- port. pw pw œ q œ™
q˙ ˙™ q ˙™ ˙™ w ˙™ w˙ ˙™ qw w™
ÆÆ . . . . . . . . port.
(dim.)
. . .
diminuendo
+4c
poco f
SQ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vl2 &
+47
3
+59 +59
SQ B Ó Ó pœ œ Œ Ó ∑ ∑ ∑ ∑
Vla p˙ ˙ qœ qW q˙ qœ œ
pp sotto voce
II III +57
6:5 +45
+41 - +59 +45 +47 +29
j
+59
+45 +47
+4c
SQ ? p œœ Œ pœ œ Ó ‰ q œ™ j ™ Ó j
Vc Œ qœ ˙ w™ w™
pw™ p œ ™ pp œœ w w œ™ w œ ˙ ˙ q˙ ˙ p˙ œ pp œœ ™ w ™
û Œ™ J w™ Œ™ J ˙
p œ Ó pœ Ó p˙ ˙ Ó ‰ ™ w™
(dim.)
diminuendo
+43
Vln ù ∑ ∑ ∑ ∑ ∑ ∑
& nœ œœœ œ œ œœœ œ œ œ œ œ™ p œ™ w
(snd) . . . . . . . . . . .
fast ricochet, tune to
II
raise pitch gradually from nut SQ Vl1
+43
Vln { & nœ
.
m.v.
œœœ œ œ œœœ œ œ œ œ
. . . . . . . . . .
œ™ p œ™ w
o
∑ ∑ ∑ ∑ ∑ ∑
coordinate
with SQ Vla
? 6:5 lw
Gamba Œ Œ Ó Œ ∑ Ó Ó ÓB
(snd)
pp œœ- p ˙™ qœ qW q w™ œ p w™ ww
3/2 VII:7 VII:5b I:4a
VII:4b VI:0
? 6:5 vw
ÓB
Gamba {
û n œœ-
VII:0
Œ
n˙™ oœ oW
diminuendo
ow™ œ
Œ
ew™
Ó
nw o
Œ ∑ Ó Ó
o
Un poco largo 31
6
76‹ 2 h = 57.6 tune with Clar
11°
Picc ù √ j˙ ˙ U
& ∑ Ó Ó ∑
(1) +2 sotto
tune with Pf, Ens Vl o voce
o
match Ob
11° begin freely u7
√ a ˙™ during fermata aœ œ™ U jw
Bass Fl Ó Ó Ó Ó ‰ Ó Ó Ó
(2) { &
‹
√
o sotto
voce
o U match Sax
3
-2
o
u7
∑ Ó Ó Ó Œ aœ j
Ob & jœ œ ‰ Œ Ó
sotto -2
match Bass Fl
voce
11°
√ jœ œ œ ˙ U
Bb Cl & Ó Ó Ó ∑ Œ Ó Ó ∑
(1)
o sotto o
voce 11° fade out
Alto
√ j ˙- tune with Picc freely U
& ∑ Ó Œ Œ Œ Œ ∑
Sax û sotto
(Hn) voce
o
tune to Tb,
Tuba, SQ Vc B1
ù √ 42 U
Hn & ∑ Ó Œ ∑
lœ ˙ ˙
-47
tune to sotto voce
SQ Vc, Tuba U
? -51
√ lœ w
Tb Ó l˙ w l˙ œ
lœ
F I - lw ˙™ -49
sotto voce
tune to SQ Vc, Tb
? -51
√ U
Tba Ó V
û 1
lw w œ lœ 1
2 lw ™ lw l˙
2 sotto voce 3
3
5 -49
› √ 11° U
∑ Ó Ó Ó Ó Ó
Glock {& n˙
ord. sotto voce
arco 11°
eU
w
place freely
after Piano
nord.
˙ ™ 11° arco
≈ nœ ˙ U
Ó Ó eœ ˙ Œ Ó Ó Ó
Vib {&
o sotto voce sotto voce
°
11° ord.
› √ arco
≈ nU
˙
Crot & ∑ nœ ˙ Œ Ó Ó Ó
o sotto voce
u7
? √ U nw
Mar { ∑ Ó Ó Ó Ó æ
o sotto
l ˙™ voce
√ U dw
& ∑ Œ Ó Ó
Hp
(snd) ? √ U
∑ ∑
{ n ˙ ™ coordinate with
SQ Vla harmonic
coordinate with
SQ Vl2
√ U ew
& ∑ Œ Ó Ó
Hp pp
? √ U
{ ∑ ∑
play after SQ Vl1 Eb
has emerged dal niente
11° n w 11°
√ U u7
& ∑ Ó ew <Œ> eœ < Ó> Ó nw
sotto o sotto voce o sotto voce
Pf voce
gentle pedal lift
? √ U
Ó Ó Ó ∑ Ó Œ Œ Ó Ó Ó ∑
{ Un poco largo °
6 h = 57.6 kœ j 11°
w ˙ U
˙ w
2 11° √ dw
& Ó Œ a˙ w ˙ w jw
colla parte: allow for the free repetitions and u7
lœ 3
Cues independent flowing of parts in the SQ (SQ Vl2) 1° (SQ Vl2)
? √™ J U ?
Ó Ó Ó Ó Ó
{ w ™™1°
ll w lœ l˙ œ & kœ ˙
* libero in tempo
IV III
ù √ 3 ≈ j ≈ ≈
SQ
& Œ Ó ∑ Ó Œ Œ kœ ˙ í ™™ í ™™ k œ -49 l œœ ™™î œ í ™™ l œ k œœ ™™î ™™î œ w
Vl1
d˙™ o -63 J
-35 o p ppp ppp
* libero in tempo
k ˙™ I U
˙ kœ œ ≈ k œj ≈
lœ œ lœ œ ≈
œ œ lœ™ ≈
œ lœ œ ≈ l œj ˙ lœ lw l˙
SQ
& Ó Œ í ™™ í ™™ -49 J ™™î í ™™ ™™î ™™î J í ™™ í ™™ k œJ ™™î œ í ™™ k œ œ ™™î ™™î ˙ k œ dw d˙
Vl2 -65 -63
II III 3 -33 3
o p ppp o p ppp rinf.
libero in tempo
≈ U ≈
change bow as needed
√ ™ Œ ll œœO œœO l ˙O l ll œœO ™î l ll ˙˙O ll œO O
SQ B lœ l
í ™™ í ™™ l ˙ ™™î d ˙˙
Vla -49
Œ l d œOœ w~w w~w ™
™
lœ
-47
™ Œ Œ -33
-51
poco f e sempre sostenuto
SQ ? √ U
Vc û ll w™
w™
w™
w™ o
W™
-49 (diminuendo on F only)
-51
(dim.) sotto voce
11°
Vln ù √ U
& Ó Ó ae w w w Ó Ó Ó Ó
(snd) æ æ æ
II molto sul tasto poco sul pont.
√ U
Ó Ó ae w w w Ó Ó Ó Ó
Vln { & æo æ
sotto voce poss.
æ
11°
o
Uo
o
+2 j w w w
Vla
√ æ ææ æ
B ∑ & B
(snd)
poco sul tasto poco sul pont.
II U
B
√
∑ ja ~w ~w ~w
Vla { √
+2 æ
æ
o
æ
sotto voce poss.
U
ææ
B w™ ll ~w Oœ lœ lw™ ll ~w Oœ l œ
Gamba
(snd)
change bow as needed
√ I:6a U
B w™ vn ~w Oœ vœ vw™ vv ~w Oœ v œ
Gamba {
û sotto voce sempre
32
9
ù
78
w U 2
Bass Fl Ó Ó Ó Ó
(2) &
‹ sotto o
voce
match Bass Fl
u7
Alto
& Œ j -˙ Œ Ó Ó
U
Ó Ó
Sax -2
û sotto voce
tune to Tuba, tune to Tb, SQ Vc, sustain past Tp,

tempo libero end freely or sustain ad lib.
F3 B3
ù 4 3 nœ lU
˙™
Hn & Ó dw dœ aœ
-33
aœ +2
-14 -49
match SQ Vl2 u11
tune to Trb, SQ, end freely

tempo libero 1w ≈ during fermata
Bb Tp & Ó Ó Œ dœ ™ lœ ™ Œ
(1) d œ™ m œ™ -49
-35 -33
(Hn) (Tb) sotto voce
continue in tune with SQ
(Tuba dissonant)
U end freely
?
l˙ lw ˙ during fermata
Tb Ó Ó
match Pf U
? v
Tba 1
2
û 3
4
5
aW aw
u11
U U d˙
& dw Ó Ó Ó
Hp
(snd) U
? ∑
{
U e˙
& ew Ó Ó Ó
Hp
? U
{ ∑
U
& ∑
Pf u11
? U
{ e W™
°
d1°œ 9
l˙ U 2
& œ Ó
lw ˙
Cues
dw U
?
{ aw
u11
w ˙ ˙
libero
II ≈
ù d œj ≈
œ dœ œ œ w
SQ
& lw í ™™ í ™™ l œ œ ™™î í ™™ l œ ™™î ™™î
J Œ ∑
Vl1 -35
-49 ppp
o
libero
-65 -35
, , k œj dœ d œj ≈
œ dœ
lœ œ lœ lœ lœ œ lœ œ ≈ lœ lœ
SQ d˙ dœ J í ™™ ™™î í ™™ d œ ™™î œ í ™™ d œ ™™î d œ ˙
Vl2 & J J
-49
-33 5
ppp rinf.
- - - -
U ≈
Œ d d œœO ~
w ddd œœO œœO œœO œœO ~
w
SQ B dœ w w
Vla -35 - - - -
place freely
SQ ? U
Vc
l W™
û
u7
Vla ùB jw U
ææ Ó Ó Ó Ó
(snd) -2
molto sul tasto
jw U
Vla { B æ
-2 o
Ó Ó Ó Ó
Uo
d w™ dw œ dœ
Gamba B B
(snd) &
3°/I
I:7 Uo I:7
nw™ nw œ nœ
B B
Gamba {
û
&
33
9
79‹ 2
tune with Sax 6
ù ≈
11°
U 2
Picc Ó Ó Ó Ó Ó Ó aw ˙
(1) &
o sotto
voce
120 : 121 tune 5/2
match Clar = +14c below Oboe
≈ +14 U
Bass Fl Ó Ó Ó Ó Ó Œ Ó
(2) { &
‹
a˙ ™
o
f ˙-
match Sax
11°
≈ U
Ob & Ó Ó Ó Ó Ó Ó Œ a˙ a -˙ Œ
sotto
voce
match Pf, Bass Cl
u11
≈ U
Bb Cl & Ó Ó Ó j ∑ Ó
(1) a˙ œ™ aœ ˙
o sotto voce o
(s.v.)
match Pf 5° of u11 begin as 5/4 above Cl 1,
u11
≈ 3
j
nœ ™ bend up slightly to tempered U
Bass Cl aœ
(2) { &
aw
o
˙
sotto voce
≈
œ
aœ
aœ
aœ œ -14 ∑
match Bass Cl,
tune with Picc
11°
j˙ j -˙
Ó
U
Alto Ó Ó Ó Ó Ó Ó Ó
Sax &
û o
F3 vF
4 B3 echo Tp pitches
4 vF
4
≈ B3
ù lœ lœ aœ nœ l˙ U
Hn & dœ lœ nœ l˙ aœ Ó Ó Ó
tempo libero,
aœ +2 3
-14 -49
Note: cents for transposing
-49 -14 -49
proceed freely -35 instruments are given in
relation to the nearest
1w SOUNDING pitch, as
tune to Bass Cl 1w 3v 1w
tempo libero, 1w
1w ≈ 3v read on a tuning meter
2 1w 3 1w 3v
proceed freely 3 tune to Tb
0
Bb Tp &
lw œ™ aœ nœ í ™™ l œ n œ ™™î l œ m œJ l œ lœ l˙ k˙ lU
œ™
(1) -49
aœ -14 l œ™
+2 3 repeat ad lib., gradually extend -49
-49 -51 Ab+35
3. valve slide to match pitch
? ≈ U
Tb Ó Ó Ó Ó Ó Ó
lw ˙
-51
≈ tune to Tb U
Tba
? Ó Ó Ó Ó Ó V
û 1
aw 2
3
l˙
l˙
-49
› ≈ U
Glock { & Ó Ó Ó Ó Ó Ó ∑ Œ
eœ
sotto voce
(arco)
≈ eœ ˙™ U
Vib {& Ó Ó Ó Ó Ó Ó Ó
sotto voce
°
› ≈ U
Crot & Ó Ó Ó Ó Ó Ó eœ Œ Ó Ó
sotto voce
11° fade ad lib.

≈ U
& Ó Ó Ó Ó Ó Ó Œ æ æ
e ˙æ™ ˙æ
sotto o
Mar voce
u11 fade ad lib.
? æ æ ≈
æ U
æ Ó ∑ Ó
{ e wæ
o
˙æ
sotto voce
w
o
U
& ∑ ∑ Ó Œ eœ w ˙
Pf
? ew œ œ U
Ó Ó Ó
{ ew ™
9 l˙ 11°
6
2 d˙ lu1˙ ≈ aw U
˙ 2
& Ó Ó Ó
Cues u11 u5 (of 11°) (SQ Vl1)
? a≈
w ˙ œ f ˙™ U
Ó
{ aw
w
˙ w &
simile (tempo libero)

≈ I ≈j - -
l œj l œ lœ lœ ≈
, , - - - -
ù d˙ d œ œ œ d œ l œœ œ dœdœ dœ dœ dœ lœ ˙ dœ l œœ k œ l œœ dl œœ kl œœ k -œ kl œœ d -œ k -œ kl œœ
SQ
& í ™™ ™™î í ™™ ™™î l œ lœ J J í ™™ lœ lœ lœ ™™î
Vl1 -51 -49 -35 -65
-35
5
o poco f rinf. o o o m.v.
upbeat
simile (tempo libero)
- lœ j - j dœ
- - ≈ in tempo
œ lœ œ lœ lœ 3
d≈
œ í ™™ í ™™ d œŒ œ ≈ j lœ lœ ≈
l œ ™™î œ ™™î í ™™ í ™™ œ ll œœ l œ ™™î í ™™ œJ l œ œ ™™î ™™î l œœ œ œ ™ l œœ kl œœ ™™î
SQ l -35 í ™ l œ™ kw k˙
Vl2 & œ l œ™ J œ
-33 -65
-51
- IV
o mp pp 7 poco f ppp
upbeat
≈ ≈ ≈ Ω in tempo,
d d Oœ dl O˙ dl O˙ ™ dl Oœ dl ~w dl O˙ after fermata
SQ B í ™™ í ™™ ™î í ™™ ™™î ™™î
Vla -35 -49
sfz
? ≈ U
SQ l w™ w™ w™
Vc û
≈
ll ~w™™
U
Gamba ùB l w™ l w™
(snd)
I:4a ≈ U
B vw ™ vn ~w ™™ vw ™
Gamba {
û (remain sotto voce)
34
80‹ 2
6 11°
fade freely +4
ù ≈ ≈ ≈
Picc
& aw ™ Ó Ó Ó Ó Ó Ó Ó ∑ j˙
(1)
o 3
match Pf, Ens Vl sotto voce
11° +4 11°
a≈
w w ≈ ≈ jw
Bass Fl
(2) {&
û‹ o o
Ó Ó Ó Ó
match, continue Tb
B1
Ó Ó
sotto voce
42
ù U
∑ Ó Œ
≈ s˙ ™ ∑
Hn & l˙ Bb+39 (Harp)
-47 sotto voce tune 4/3
with N Trp (keep pitch,
sustain ad lib. 1w ignore SQ Vla D)
≈ ≈ ≈ 3v Ab+35
Bb Tp &
lœ ‰ Œ
J Ó Ó Ó Ó Ó Ó Ó Ó ‰ k -œ ‰ Ó Ó
(1)
sotto voce
tune to
Tb, SQ Vl1
3 3
≈ ≈ Eb+37 ≈ Eb+37
N Tp
(2) { & Ó Ó Ó Ó Ó k ˙-
pp
Œ k˙™
sotto voce
Ó k œ-
tune P5
with Horn
Œ Ó Ó
tune to Tuba ≈ lw
≈ k˙ lw ≈
Tb
? l˙ l˙ Ó Ó Ó Ó
l˙ -47
-49 Ab+35
-51
? ≈ 1
≈ ≈
Tba 2
3
lw Œ ∑
û l˙ ™ 5
lw
-49
-51
11°
(arco)
≈ ≈ ≈
Vib {& Ó Œ eœ w Ó Ó ∑
sotto voce
11°
› U arco
≈
Crot & ∑ nœ ˙™ Ó Ó Ó Ó
o sotto voce
lw
U l≈
w l˙
& ∑
l˙
Hp
(snd) U ≈
? ∑ ∑
{ nw
U n≈
w n˙
& ∑
n˙
pp
Hp
? U ≈
{ ∑ ∑
D§
11° ≈
nw ˙™
≈ ≈ nœ n˙
& w Ó Ó Ó Ó nœ ˙
sotto voce 3
Pf
? U ≈
{ ∑ ∑
°
6 j 11°
w ≈
˙™
2 a˙ ≈
w (SQ Vla) nœ n˙
≈
& a˙ w ˙ Ó Ó jœ ˙
11° 3
Cues l ™ ≈
j œ ?
≈
l˙ k˙ lœ u1 lœ ™ u1 l˙
{ & kœ l˙ & k˙™ l ˙˙ kœ kk ˙˙ ™ Ó Ó
≈ - -
k œ l œœ lœ kœ kœ l˙ l œj k œœ k œj œ j - molto tasto > ord.
l œj l ˙ œ lœ
SQ ù J í ™™ lœ ™™î lœ lœ œ Ó Ó™ ™ í ™™ kk œœ ™™î œ™
Vl1 & -49 ‰ ‰ ‰ kœ ˙ ˙™ kk ˙˙ ™ -47 œ k˙
J
œ
J o
-63 ppp
rinf. o Δ ppp
-61
-63
≈
∑ ≈ lœ ∑ lœ ≈ , l œj ≈œ lœ œ , lœ œ lœ l œœ ™™î ˙
SQ
& k˙ œ lœ lœ kœ lœ lœ kœ ˙ œ k ww œ í ™™ í ™™ k œ œ ™™î í ™™ k œ ™™î ™™î œ kœ Œ í ™™ Œ
Vl2 J J -45
-49 3 -61 -47
5 5 -61
-65
o p o ppp
≈ ≈ ‰ lO™
SQ
dl ~w™™ O˙ ≈ dl Oœ ll O˙ ll ~w ™™ O˙ ™™
l œ l œœ™™
B -35
Œ Œ J
Vla -47
-45 -47
? ≈ ≈ ≈
SQ l w™ ˙ ∑ ∑
Vc û
o
+4 11° ≈
o
j wo ˙™
+4
U 11°
Vln ù
& ∑ j œ. œ. . . . . . . . . .
œ œ œ œ œ œ œ œ œ œ œ œ Œ jœ
(snd) ÆÆ æ
ord. fast ricochet
II ≈ +4 sul tasto, flaut.
U jj ~w O˙™™ j œ. œ. . . . . . . . . .
œ œ œ œ œ œ œ œ œ œ œ œ jœ
Vln { & ∑
+4
o
ÆÆ
poco f
Œ
æ
o
≈ ≈
Gamba B ll ~w™™ O˙ ≈ lw™ ll ~w Oœ lœ
∑
(snd)
I:6a
≈ ≈
B vv ~w ™™ O˙ ≈ vw™ vv ~w Oœ vœ
Gamba {
û
∑
35
82‹ j ˙ œ
ù J ≈ ≈
Picc ‰ Œ Ó Ó Ó Ó
(1) &
take Alto Fl
œ ≈ ≈
Bass Fl Œ Ó Ó Ó Ó Ó
(2) { &
‹
11°
o
5°
+22 fade freely
j˙ œ port. oœ ≈
˙ ≈
Bb Cl & +4 Ó Ó Ó
(1) û o bend up to consonance with Brass, o
beating with Vibes
B1
42
≈ l˙
ù Ó Œ
s˙ ™ ≈
Ó Ó
Hn & -45
Bb+39
1w take Piccolo Tp
3v ≈ ≈
Bb Tp & Ó kœ ™ œ ‰ Œ Ó Ó Ó
(1)
Ab+35 tune P4 with Horn, sustain longer
tune to Horn, Tp (one comma higher than previous Tp 1 A)
3 (T)2
≈ ≈
N Tp Ó Œ ‰ Œ Œ Œ Ó
(2) {
û
&
Eb
+37
k œ- ™
sotto voce
l˙
-43
coordinate
› with Harp
≈ ≈
Ó n˙ Ó Ó Ó Ó
Glock {&
sotto voce
(arco)
≈ ≈
nœ ˙™ w Ó Ó
Vib {&
o sotto voce
°
l ˙o ≈ ≈
& Ó Ó Ó Ó Ó
Hp
(snd) l ˙o ≈ ≈ <m œ
? Ó Ó Ó Ó Œ
{ coordinate
with Glockenspiel
o ≈ ≈
& Ó n˙ Ó Ó Ó Ó
Hp
? o ≈ ≈ nœ
{ n˙ Ó Ó Ó Ó Œ
˙ to Hpsd
≈ ≈
& Ó Ó Ó Ó Ó
Pf
? ≈ ≈
Ó Ó Ó Ó Ó Ó
{
œj
∏∏∏∏∏∏∏
Ó Ó
≈
Ó Ó
≈
Ó Œ ‰ 4f4f
4f œœ
& J
Hpsd
(snd) ≈ ≈
∏∏∏∏∏∏
Ó Ó Ó Ó Ó Œ <m<m œ
{ & <m œœ
ù ≈ ≈
∏∏∏∏∏∏
& Ó Ó Ó Ó Ó Œ nee œœœ
beating intonation !
j
∏∏∏∏∏∏∏
Ó Ó
≈
Ó Ó
≈
Ó Œ ‰ nen œœœ
Hpsd
{ &
? U
J
? U
∑
{
û
j˙
beating
≈ ≈
& j˙ œ oœ ˙ Ó Ó Ó
11°
Cues
l1°œ ˙ ≈ ≈
{ & lœ kœ Ó Ó Ó Ó &
lower E (3 commas down) is dissonant (27/20) with Vln II A !

≈j ≈j ≈ ≈ 5
≈
≈
ù l˙ lœ lœ l œœ œ l -œ -
ll œœ ™™î l≈
œ lœ l œœ lœ l œœ lœ œ lœ lœ lœ lœ l œœj
SQ
& kœ œ œ í ™™ k œ kœ J J kœ kœ kœ
Vl1 -45 -41
-61 -47 J
poco f -63 sfz rinf.
lœ
, l œj™ ≈
œ lœ l œœ ™™î ≈
˙
≈ lœ lœ
SQ
& í ™™ í ™™ k œ œ ™î í ™™ J
™™î í ™™ l œŒ l œœ ™™î ˙™ lœ lœ lœ
Vl2
-47 -45
-61 -43
o o orinf. 5
‰ O ™™
lk œœ™ lw k≈
~ ≈
lk ~w
≈
lk O˙ sk Oœ
SQ B l œJ
Vla
3
-59
SQ ? U
∑
Vc û
ù ≈ ≈
Vln
& ˙ œ ‰ Œ Ó Ó Ó Ó
(snd) æ J
end with Picc
≈ ≈
˙ œ ‰ Œ Ó Ó Ó Ó
Vln { & æ J
sotto voce
≈ -
≈
l ™
B w
ll ~w Oœ ll Oœ
Gamba
(snd)
≈ I:8a
-
≈
B vw
™ vv ~w Oœ vv Oœ
Gamba {
û
36
coordinate with Glock 3
13° 11°
83‹ match Cl 2
Picc ù j˙ ™ U
˙™ ˙™ j≈
w ≈
w fade freely
& Ó -2
Œ Ó +6 Ó
(1)
o sotto voce o o o
13° j -œ™
Ó
j - match Cl, Sax‰
‰ œ Ó
U jœ ™
Œ aœ ™ ‰
U
∑
Ob & -2
-4
pp p
tune with
j˙ Picc, Sax
13°
j -˙ tune with Sax
jœ U U
Bb Cl & -2 Ó Ó Ó Ó ∑
(1) 3
p pp coordinate, tune
13° tune with Cl with Ens Vln ricochet
tune with Ob
jœ œ ˙ 13° u13
Alto -2 U j ˙™ œ ˙ ≈ ≈ z -˙
& Œ Œ Ó Ó ∑ Œ Œ
Sax û -4 +5
o s.v. o o pp o p o
4 : 5
tune to SQ = +386c
(T)2
ù
(T)2 U ord. ≈ ≈
N Tp
& Ó lœ Œ Ó l˙ sw œ Œ Ó Ó Ó Ó Ó
(2) û - C+43
-43 -43 (lip 8. partial
slightly down)
› U ≈ ≈
Glock { & ∑ Ó nœ Œ Ó Ó Ó Ó
sotto voce
(arco)
U ≈ ≈
Vib {& ∑ Ó Ó Ó Ó nœ ˙™
o sotto voce
13° °
› (arco)
nœ ˙™ U U
Crot & Ó Ó Ó Ó ∑
o sotto voce
∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏
s˙ sw sœ
l˙ sœ l ˙o U s≈
˙ l≈
˙™ t œœ
sll ˙˙˙
lœ l ˙o Ó Ó Œ lœ
t
s l œœ
&
Hp
(snd) U o ≈ ≈
? Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó
{ & lw
∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏∏
e˙ eœ
n˙ eœ ew e≈
˙ ≈
en ˙˙˙ eœ o Uo e˙™ e ee œœœ
& e e˙ n˙ Ó Ó Œ eœ eœ
poco f pp poco f
Hp
? U o ≈ ≈
Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó
{ E§
Db Bb
&
ew
Gb
4f4f w ≈ ≈
∏∏∏∏∏
w U 4f4 œœ
& 4f œ Œ Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Œ ‰ 4f œJ
Hpsd
(snd) Ó U U
<m ˙
{ & <m œ l œ s œœ ˙˙ Ó Ó Ó Ó ∑
3
ù ˙œ U U
& Œ Œ Ó Ó Ó Ó Ó ∑
3
w ≈ ≈
∏∏∏∏∏
w Ó U
Ó Ó Ó vn œœ
{ & œ e œ v œœ ˙˙
∑ ∑ Ó Ó Ó Ó Ó Œ ‰ n œJ
3
Hpsd
? U U
∑ ∑ &
? U U
∑ ∑
{
û
u1
j13°
˙™ U
˙™ ˙™ s œ s œ™ j11°
˙ ≈
˙ ˙ ≈
˙ 3
2
(SQ Vl2) l œ
& ll œœ sœ Œ J Ó
1°
Cues
j13°
w ˙ U
˙
13°
aw w
≈
Ó Ó
≈
Œ
u13
j˙ ™
{ &
≈ - -
lœ™ l˙ ≈
lœ™ ˙ l œ s œœ
, l s≈œœ lœsœlœ l œ s œ œJ
≈ ,
l s œœ l œœ s s œœ
s ≈j
SQ ù l œ œ™ Ó l œ s œ l œœ œ Œ s œ œ™ J sœ sœ í ™™ ™™î s s œœ
Vl1 & J J J J -43 -57 J
-41 -57
5
ppp o ppp o rinf. o poco f
sœ ≈
˙ sœ s≈
˙
Œ l œj ≈ œ lœ œ ≈
˙™ l˙ ˙ lœ œ lœ lœ lœ
SQ
& l œ s ˙˙ í ™™ í ™™ s œ œ ™™î í ™™ s œJ ™™î ™™î -59
í ™™ sœ ™™î s≈
w
Vl2
3
-43 3 -57 -43 -57
ppp rinf.
3
ss O˙ s O™ U
~w™™ ‰ s O™ œœj ‰ s Oj U
~
SQ
ls œœ ls ˙˙™™ l œ l œœ™™ ll ˙˙ l œ l œœ w
w
B J Ó Ó J ‰ J J
Vla -57 -45
û -43 -43
ord. u13
ù U ≈ ≈
Vln
& ∑ Ó Ó Ó Ó Œ j œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. k œ œ œ
(snd) +5
ÆÆ
fast ricochet, -61
bend down to match SQ pitches
ord.
U ≈ ≈ 27 : 26 = -65c
Vln { & ∑ Ó Ó Ó Ó Œ j œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. k œ œ œ
+5
ÆÆ
II
poco f -61
13° U -61
j wo j ˙o ord. u13
-2
13°
≈ ≈ j œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. k œ œ
Vla Ó aw w Ó Ó Ó B
(snd) & æ æ ÆÆ
-4 +5
sul tasto, flaut. fast ricochet, bend down to match SQ pitches, then continue
U ord. 27 : 26 = -65c
ja ~w ja O˙ aw w ≈ ≈ II j œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. k œ œ
ææ ææ
Vla { B Ó
-2
o
U
-4
oo o
Ó Ó
≈
Ó
+5
ÆÆ
poco f
-61
≈
l w™ ll ~w Oœ lœ w™ ll ~w Oœ
lœ
Gamba B
(snd)
U ≈
≈
vw™ vv ~w Oœ vœ w™ vv ~w Oœ I:1a
vœ
B
Gamba {
û
37
3 13° 11° 4 5
85‹ 2 a≈
˙ ˙ u7 j≈
w 2 4
Picc ù Ó -4 ∑ Œ jœ +4 ∑
(1) &
o o sotto o match Ens Vln
voce
5° of u13
≈ ≈ n -œ
Alto Fl ∑ ∑ ∑ Ó Ó Ó Œ
(2) { &
11°
jœ œ take Bass Cl
pp
≈ ≈
Bb Cl & ∑ ∑ Ó Ó +4 ∑
(1)
13° u5 o
j˙ ≈
˙ au11
œ œ a œ e -œ ™ u7 ≈ fade freely
Bass Cl -4 Ó Œ +4 ‰ ‰ j œJ œ lœ jœ lœ j˙ Ó ∑
(2) {
û
&
o sotto
voce
o 3 -14
p
-49 o
dissonant
to SQ
B2
u13
ù ≈ ≈ 3
Hn & ∑ ∑ ∑ Ó Ó Ó Œ ‰ j
û +14
oœ
fp
› ≈
Glock & ∑ ∑ Ó n≈
˙ Ó ∑
{
sotto voce 5° of u13
(arco) ord.
≈ ≈
eœ ˙™ Ó ∑ ∑ Ó Ó Ó Œ nœ
Vib {&
o sotto voce pp
13°
› ord.
e≈
œ ≈
Crot & Ó Œ Ó ∑ ∑ ∑
sotto voce
5° of u13
≈ ≈
Mar {& ∑ ∑ Œ ‰ dœ ˙ w ˙™ Œ Ó Œ nœ
æJ æ æ æ o -
o pp pp
“ ≈
o
s“˙ lœ ˙™ œ™ l œ™ lw l˙
s˙ ≈
& Ó Œ Œ ∑
Hp 3
d ˙™ d˙
(snd) ≈ ≈ j d˙
∑ lœ Ó dœ ‰ j Ó Œ ? ≈ <m œ™
{ &
“ “
l œ œ™ lœ d˙ J
e˙ coordinate
with SQ Vla nœ ˙™ œ™ nœ ™ ≈ n˙
e˙ ≈ n wo
& Ó Œ Œ ∑
3
cantabile
Hp n˙™ e˙
≈ ≈
∑ nœ Ó nœ ‰ j j e˙ Ó Œ ? ≈ n œJ ™
{ &
≈ ™ <m œr™ <m≈

D§ B§ Eb G§
n œ œ™ nœ e˙
‰™ œœ ™™ ˙˙ ™™ ≈
& 44f4f œœœ ∑ ∑ ∑
4f œ ‰
Hpsd
(snd) ≈ ≈ j
≈ ™ <m œ™ œ ™
∏∏∏∏
œœ ™™ ˙˙ ™™ ∑ ∑ ∑ Ó Œ ‰ œ
{ & <m œ ™
≈
<m<m œ
ù n œ ™ e œœ ™™ ˙˙ ™™ ≈
& ‰™ ≈ ™ R ∑ ∑ ∑
≈ ≈
{ & e œœœœ Œ Ó Ó ∑ ∑ ∑
Hpsd beating intonation ! ≈ ≈ j
≈ ™ nœ ™ œ ™
∏∏∏∏
œœ ™™ ˙˙ ™™ ∑ ∑ ∑ Ó Œ ‰
& eœ ™ en œœ
? ≈ ≈
∑ ∑ ∑ ∑
{
û
3 a≈
˙
13°
˙
11°
“ 4 5
2 lœ l1°œ l u1œ d ˙ l˙™
d1°œ
l˙ j≈
˙ ˙ 2 lœ l œ
u1 4
sœ dœ +4 Œ Ó Ó l˙
& m ˙™ dœ
(in tempo) 3
11°
Cues u11 u5
13° ≈ 3 u7 ≈ jœ œ 5° of u13
{ & a˙ ˙ Ó Œ aœ œ ‰ aœ eœ ™ ‰ j +4 ∑ Ó Œ on œœ
- jœ œ lœ jœ lœ j˙
u13
≈ in tempo
-
s œ≥ ≥ 4:5 , -j
∏∏∏∏∏∏∏∏
sœ œ Œ ≤ j , , >
ù l œœ ll ˙˙ l˙ ≈
w l œ l œœ œ l œ d œœ œ l œ l œœ œ l œ l œœ œ œ™ l œl œl œ l œ l œ
í ™™ k œœ
SQ s sœ œ ™î s œ l œœ l˙ lœ dœ ˙ ‰
& J ™ Œ Œ J J-
Vl1 -59 -47 -31 -47
-49 -33 -
-45 -45
rinf.
-61 o m.v. 3 5
5
o orinf.
≈ ≈ ≥ -
Œ™
lœ™ l œ™
œ™ ˙™ l œ d ˙˙ œ Œ d˙ -≥ -
dl œœ d d œœ œ d œj œ j - dœ
lœ ˙ ™™î -33
lœ lœ œ ≥ lœ lœ l˙ ˙ d œ dl ˙˙ l œ ll ˙˙
SQ
& Œ -31 í ™™ Œ ‰ -47 ‰ -31 œ
d dœ œ dœ œ ˙ Ó
Vl2 -43 -45 J -33
-45 3 3 -45 3
5 3
o poco f o o
≈
O™ O˙ ™™ ‚œ ™™ ^ 3
ls Oœ ll Oœ ˙™ ll Oœ ll Oœ ™™
≈
ll O˙ ™™™™ l O ∑ l l ˙˙O Oœ ™™ ll Oœ O˙
SQ B -45
l œ œ l ˙˙ dw J
Vla -47 J -33
cantabile, -45 3 -47
come prima III
-47
≈ ≈ ~w™™
SQ
Vc
? ∑ ∑ Ó Ó Œ ‰ l l Oœ ll O˙
û J
11° -45
cantabile, come prima
o o ≈
-
d -œ ™ d -˙ j˙ 5° of u13
ù 13° ≈ ≤
Vln
& k˙ a -œ Ó Œ dœ ˙™ œ™ +4 Ó ∑ Ó Œ nœ
(snd) o œJ
3
-4 -31 ‰
senza gliss.
(beating with Ens. Vla)
40 : 39 ≈ tune with SQ, Gamba
-o -o ≈ - ≤
II
a -œ Ó ˙™ œ™ d d Oœ ™™ d d O˙ jj O˙
Vln { & ˙ = -44c
3
-4
Œ dœ
-31
o poco f
+4
sotto voce
Ó ∑ Ó Œ nœ
‰
o
u13
n œJ
III
13°
≈ +14
kœ port. a -œ ≈ dœ w™ w™ ˙™ ≤
o œo
Vla B Ó Œ Œ Ó Œ
-31
(snd) -4 tune with
40 : 39 = -44c SQ, Gamba ≤
a -œ w™ ≈
w™ ˙™ 2°/III
B
œ port. ≈
Ó Œ
dœ
Œ Ó Œ n ‚o
Vla { -4
≈
-31 o p sostenuto o o
B l˙ l s O˙ l l O˙ l ˙™ m ˙™ d≈
˙™ l ˙™ d˙ ™ ?
Gamba Œ ∑
(snd)
I:5°/1a
I:6a I:4b I:2b I:1a I:2b
≈
B ˙ v‹ O˙ vv O˙ v˙™ w˙ ™ o≈
˙™ v˙ ™ o˙ ™ Œ ∑ ?
Gamba {
û m.v. o
38
89 4
5 u13 match Ens Vla
3 u7 u5
4 3
ù +14 u5
2 +8
2 2
Alto Fl
& ‰ fœ ™ e -œ dœ ™ ‰ Œ™ j œ™ œ Œ eœ œ Œ Ó Ó ∑
(2) û o -8
-29 o - o -12 o -
consonant
to SQ
ù B2
l˙ ˙
lœ œ
43
Hn & ‰ Œ Œ m˙ Ó Ó Œ -41
Œ Ó ∑
oœ ™ mœ -43
-27 m.v. fp
-29
match Horn match SQ
intonation intonation 5 : 6 match SQ
(T)3 (T)2 = +316c T and Horn ord. (lip 6. partial
slightly down)
G+45
N Tp
& Œ jœ Œ l œ™ ‰ ∑ m ˙™ Œ Ó s˙ Ó ∑
(2) û - -27
p -43 m.v. fp
…
˙ Œ Ó ∑ ∑ ∑
Vib {&
æ æ æ
Mar {&
Ó m œæ œæ œæ ∑ ∑ ∑
o pp o
lœ l˙
lœ l ˙o ™ l˙ s˙
& Œ Ó Œ ‰ l œ™ Ó Œ ‰™ lœ
R Ó Ó Œ
3
Hp
(snd) l œo l˙
? s œ™ sœ
Œ ‰ l œj Œ Ó Œ Ó Ó Ó Œ Œ Œ™ ∑
{ lœ
eœ n >˙
eœ o v˙ v˙
& Œ Ó e˙ ™ Œ ‰ nœ ™ Ó Œ ‰ ≈ n œR Ó Ó Œ
3
poco f m.v.
Hp
e œo n˙
vœ ™ eœ
? Œ ‰ e œj Œ Ó Œ Ó Ó ∑ Œ™ ∑
{ Bb
eœ
E§ Db G#
B#
∏∏∏∏∏
4f ˙
& 4f ˙ Œ Ó ∑ ∑ ∑
Hpsd
(snd)
Œ Ó ? ∑ ∑ ∑
{ & ˙
<m<m ˙
ù ∑ ∑ ∑ ∑
&
∏∏∏∏∏
e˙
Œ Ó ∑ ∑ ∑
Hpsd
{ & e˙
beating intonation !
Œ Ó ? ∑ ∑ ∑
& ˙˙
? ∑ ∑ ∑ ∑
{
û
5 u1
3 4 3
4 3
m˙™
2 1°
mœ l œœ lœ
2 ll œœ™™ œ œ sœ l œ 2
&
lœ l˙ lœ m˙ ˙ mœ mœ mœ Œ Ó Œ Œ
1° 3 1° s œ™ 3
3
Cues
u13 u5 u7 u5
‰ o œ™ ‰ Œ™ Œ Œ ∑
{ & nœ m œ™ n œ- ™ œ eœ œ
mw
III
≤ II 3 > ≈≤ II ≥ ≤
Ó l ˙˙ ˙™ lœ œ s œœ l œœ
SQ ù
&
l ˙≥ mw
w œ mœ m ˙˙ ˙ mœ l œœ mœ œ lœ
mœ m œ
lœ œ œ œ œ œ œ œ œ œ œ œ
Vl1
-45 -29
Ó -41
Œ -39 Ó Ó Œ -55 -41
6:5 -27 3 -25
3 III 3
o o o poco f
III II I
3
Ó™ Œ™ ≤ j
>j j ≥ 6 ≤ l œΩ ≤
l œ™ w
SQ
&
lœ l ˙˙ ˙™ l œ™ m œ™
œ™ ˙™
˙™ m œ™ œ œ mm œœ ml œœ l œ œœ œ œœœœ œ œœœ œ lœ œ
ÆJÆ Œ ‰
Vl2 Œ Ó ‰ J J ‰ ≈ III -39
-45 o -27 o -41 o o
-43 -25 f
SQ B
ll Oœ l l O˙ ‰ lO
l œ l œœ ‰ ∑ ∑ ∑
IV
Vla J sw
-43
-45 o
-55
-41 3
™ ™ O ™
SQ ? ll Oœ ™™ ‰ Œ lO l l œO ll O˙ ™™ Oœ ™™ ll Oœ ™ ll ˙O œO O
m œœ ˙™ ll œO ™ s œœ™™ œ w
Vc û l œ œ l ˙˙ Œ Ó -25 Œ™ -55
J
-43 3
1/1 n
3
ù - Œ -43 -≥ Œ ≤ > C 3
Vln
& t. n ˙œ œ port. l œ œ l˙ Œ Œ™ l œ™ œ™ l œ- ™ l ˙™ ll œO ™™ ll œO ™™ ll œO ™™ ‰ Œ +43 Œ Œ
(snd) por s ˙- s˙
3 -41 m ˙™ m œ™
n beating match SQ Vl2, Vc just above
1/1 the nut
3 5/3 > match SQ Vlns
- Œ ≥ Œ ≤ III 3
œ port. 5 œœ œ 5 ˙- Œ™ 5œ ™ œ™ 5v5 œO ™™ 5v5 œO ™™ 5v5 œO ™™
Vln { & por
t. m ˙œ
pp m.v. 3
Œ
o
5v œ™
- 5v ˙ ™
n˙™ n œ™ f
‰ Œ
> ˙-
m.v.
Œ Œ
>˙
3
o o ≥
Vla B oœ œ Œ 3 -29
mœ ˙™ -41
l˙ ™ œ <d w
D+39
Œ
s œ+ ™ s œ™ œ ˙ œ Œ Œ
(snd) Œ mœ œ œ m ˙- mœ ˙™ m˙™ œ mw -53 3
16 : 15 15 : 14 slightly higher (+8c) than

3 -43c = -112c = -119c the previous septimal sounding Eb,
o o ≥ 8/3 5/2 7/3 I P4 below pizz. note !, tune with SQ Vlc
‚ ‚ Œ 3 4e œ ˙™ >˙ ™ œ ow n œ+ ™ s œ™ œ ˙ œ Œ
Vla {
û
B Œ
pp
nœ œ
m.v.
œ n ˙- nœ ˙™
tune consonant with open C-string
n˙™ œ nw
Œ
f -53
o
III
m.v.
3
Œ
L’istesso tempo ma giusto, scorrevole 39
3
93 2
5 2 3
ù
u11 4 2 2
Alto Fl Ó ‰ Ó ∑ ∑ ∑ ∑
(2) & j œ- ™
-6
p 350 : 351 36 : 35
= +5c = -49c
u7 tune to SQ +1
u13 +6
u7 5° tune to SQ
3
+4
Ob & ∑ Œ Œ Ó Œ Œ Œ j˙ jœ l˙ Œ ∑
j œ- l œ-
-43
p -45
u7
Bass Cl ∑ ∑ ∑ ∑ Œ
(1) & +2
j ˙™
echo Alto Fl, Mar
u11 o
Alto
& Ó Ó j -˙ ∑ ∑ ∑ ∑
Sax û -6
p
match SQ Vlns
C+43
N Tp ù
& s -œ Œ Ó Œ sœ œ Œ Œ Œ Ó ∑ ∑ ∑
(2) û p (lip 8. partial pp 3
slightly down)
(ord.) … …
Ó Ó Œ Œ Œ n˙ œ Œ Ó ∑
Vib {& nw ˙™
pp p
3
æj æ
Mar {&
Ó
n œ- ™
‰ Ó ∑ ∑ Œ d˙
æ
œ
æ
œ m œæ ˙æ æ
m ˙æ
pp 3
m.v.
s -œ l œo d˙
& sœ Ó Ó Œ Œ Œ ∑ ‰ l œJ œ Ó ∑
o 3
l˙ 3
Hp
(snd) l˙
s˙ l wo
? Ó Ó Ó ∑ ∑ ∑
{ eœ
3
n œo n˙
& eœ Ó Ó Œ Œ Œ ∑ ‰ n œJ œ Ó ∑
3
n˙ 3
Hp 3
o
? Ó Ó nv ˙˙ Ó ∑ ∑ nw ∑
{ o
D§ B§
∑ ∑ l œœ ™™ ‰
m˙ Œ
& l œ™ l œœ ™™ œ™ m˙ m˙ ˙™
Hpsd
(snd) lœ mœ mœ mœ
? ∑ Ó Œ Œ
lœ w ∑ ? mœ
{ &
ù ∑ ∑ e œœ ™™ ‰ n˙ Œ
& eœ ™ n œœ ™™ œ™ n˙ n˙ ˙™
overlap tones ad lib.
{ & ∑ ∑ ∑ ∑ ∑
Hpsd eœ nœ
? nœ w ?
nœ nœ nœ
∑ Ó Œ Œ & ∑
overlap tones ad lib.
? ∑ ∑ ∑ ∑ ∑
{
û
L’istesso tempo ma giusto, scorrevole
3 lœ
5 2 3
2 u1
lœ
4 u1 u1 2 d1°˙ 3
2
& sœ ‰ s œ™ sœ Œ lœ mœ l˙ Ó Œ Œ ‰ l œJ œ Œ ‰ ‰ m œj Œ Œ ‰ ‰ e œJ
l s ˙˙ mœ
3
œ
em œœ u1 3
Cues u11 u7 u13 u7 5° u7
3
Ó ‰ Œ Œ Œ Œ Œ ? Œ
{ & j œ™ j˙ jœ l˙ kœ œ
j˙ œ l˙
j ˙™
lœ ≥ , , 3
, j
II 3 ≤ dœ œ œ œ
SQ ù Œ s˙ ˙ ˙ ‰ m œj œ Œ Œ j lœ™ l œj œ œ lœ ‰ j ‰ m œj ‰œ me œœ
Vl1 & Ó l˙ Ó Œ -27 l œ œ llœœ œ s œœ œ™ sk œœ œ™ mœ -31 Œ -45
mœ œ mœ œ m œ
-57 o -41 m.v. -45 Œ™ J -45 ‰ -29 eœ œ œ
-41 -59 -61 3 -14 -27
-29
o o o
,Œ lœ œ 3 ,
lœ -41 6:5
sœ ‰ s œ™ lœ Œ sœ œ sœ mœ œ m œ≤ œ œ Œ ‰ ‰ e œj
SQ
Vl2 & s œœ œ ss œœ l œœ w lœ ‰ l œJ œ Œ port. J ‰ Œ Œ -14e œ œ eœ
mœ
œ eœ
J
-57
- -43
kœ œ -59
-45 -29
-55 -43 -27 3
m.v. dolce -61
SQ B Ó Œ Œ
3
‰ Œ Œ Œ Œ ‰ l s OœJ O˙™™ Oœ ll Oœ™™ ll Oœ™™ ‰ Ó mw m˙
Vla sœ œ™ J
-45 3
-55
m.v. m.v. o
6°/ = 3
-57 E -41 lœ ll œœ œj
SQ ? Œ
ls Oœ Œ Œ s œ ls œOœ™™™ ‰
ls Oœ lm Oœ Œ ‰
mœ œ
J Œ
œ
sœ
œ œ
Ó -45
l œ™
mœ œ™ ‰ Œ m˙ Œ
-43
Vc û 3 3 -27
-45 Œ Œ ‰ J
-55 -59 -29
G# tacet
ad lib.
Vln ù C
+43 ‰ Œ Œ Ó ∑ ∑ ∑
(snd) & s œ- sœ™ ˙ sœ œ
match SQ Vl2
‰ Œ Œ Ó ∑ ∑ ∑
Vln { & > œ-
o
> œ™
dolce
˙ >œ œ
s -œ o
s œ™ s ˙o
sœ o o
Vla B Œ Œ Œ ‰ Œ m˙ Œ ∑ ∑ m˙
(snd) m˙
3 3
o o
2°/I n-‚ coordinate
with SQ Vlc I n‚ ™ n Oo 2°/IV 2°/IV
nœ o o
B Œ Œ Œ ‰ Œ nO Œ ∑ ∑ nO
Vla { 3 3
o
n˙
Gamba ? ∑ ∑ ∑ ∑ e˙ ™ e œo
(snd) &
III:5a 4°/III
? ∑ ∑ ∑ ∑ m˙™ n ‚o
Gamba {
û m.v.
40
98 2
3 4 5 2 3
ù
2 4 +4
+2
n -œ ™
2
+2
e˙ œ
2
Ob & ∑ ∑ Ó nœ ‰ fw Œ Œ eœ
-12
3
m.v. poco f
match Gamba, SQ Slightly large semitone
+114c (Apotome)
Bass Cl +2 +4 ∑
(1) & Wholetone
nw™ w™ n ˙- œ v ˙- ™ +202c fœ w
-12 -12
f
ossia 8va if extended bass range is not available
Bass Cl
(2) { & Ó Œ
-12
n˙™
m.v.
œ nw
Œ
+2
f˙
f
œ
+4
v ˙- ™
enharmonically the same pitch !
+2
fœ w
+4
21 : 20
∑
u7
Alto ∑ ∑ j ‰ fœ f ˙™ ‰ n œj = -84c
Sax & v˙ ™ œ ˙ ˙ z˙
û +4 +2 -10 +6
enharmonically 3
m.v. the same pitch !
match SQ intonation
T change of spelling, tune 5/3 above
T enharmonically the same pitch ! T Alto Sax
N Tp ù Ó mœ Œ Ó ∑ j ‰ Œ ∑ ∑
(2) & e˙ ™ œ u˙ ™ œ
û -27
m.v.
-14
-12
5 : 4
= -386c
∑ ∑ Ó Œ n˙ ∑ ∑
Vib {&
f
›
Crot & ∑ ∑ Ó Ó nœ ∑ ∑
p
^ æ
Mar {& <œ mœ m œæ™ æ
m œæ™
æ
˙æ
æ
œæ
æ
wæ
Œ Ó ∑ ∑ ∑
nœ o
13° 0f œ
n œo 0f ˙ ™
& ∑ ∑ Ó Ó ∑
Hp
(snd) <e7°œ
? ∑ ∑ ∑ ∑ Ó Œ
{ * vœ
o v˙ ™
& ∑ ∑ Ó Ó v O ∑
vœ sf
Hp f p eœ
? ∑ ∑ ∑ ∑ Ó Œ
{ m˙ 13°
Db
3 5
& ‰ mœ mœ ™ mœ mœ œ Ó ∑ ∑ Œ 0f w ∑
J mœ ™ mœ
Hpsd 3
(snd) œ
? nœ mœ Ó Ó ∑ ∑ ∑ Ó Œ ‰ m œJ
{ establish rhythm of SQ Vl2
quintuplet that follows!
3
n˙
ù ‰ nœ nœ nœ œ Ó ∑ ∑ ∑ ∑
& J nœ ™ nœ ™ nœ 3 13°
5
{ & ∑ ∑ ∑ Œ nw ∑
Hpsd
? vœ nœ Ó Ó ∑ ∑ ∑ Ó Œ ‰ n œJ
? ∑ ∑ ∑ ∑ ∑
{
û
3 4 5 2 3
2 eœ
u1 2 e1°œ m ˙ e˙
4 3
e˙ nœ +2
2 3
eœ u1
eœ
2
& mœ mœ Ó m˙ ∑ nœ f˙ ™ fœ
3 nœ fœ ˙ eœ ˙
Cues +4 enharmonic exchange by a schisma (-2c)
u1
? Œ Œ
{ ew™ w™ fe ˙˙ œœ
-14
nn ˙˙ ™™
*
ff œœ w
w 1°
&
n˙
, -14 3
ù Œ Ó eœ œ œ ≤ +2
eœ œ œj ‰ +2n -œ≤ +2 ≥ +4 +4
SQ
& mœ
‰
mœ
eœ œ ‰ e˙
mœ
œ
mœ œ
Œ
mœ
J eœ œ Œ Œ Œ eœ fœ
eœ
œ
Œ Œ +4n œ Œ f˙
Ó f ˙˙ Ó˙ e ˙Ó f œœ Œ
Vl1 Œ
-12 J J -27 3 -12 eœ œ -12
3
-10 -
-27
o o 3 o poco f sostenuto
, 3≥ +2
≤
-12
, ≤ -14 -12 mœ œ ˙ ‰fœ œ + 5
fœ -10
n œj ‰ ‰ ne œœ œ
3 e
SQ
&
eœ eœ
mœ Œ Œ Œ
œ m œ œ Œ m œ e œœ
e œœ e œ Ó e œ≤ e œ eœ eœ œ
-12 J eœ
+2
œ +2 Œ Œ f œ≤ fe œœ e œ
+4
-8 n œ -6 Œ Œ -12e œ œ
Vl2 Œ ‰ J -27
Œ -14 mœ ‰ ‰-14 fœ œ™ f˙ f œ ‰
-25 nœ
5 5 -12 -4 J
5 5
strike the string! -27 (Hpsd) sfz º
> nœ e œ e œ œ w e˙ m œœ ˙™ > nœ e œ e œ ˙
SQ B Ó -12
Œ Œ -27
Œ ∑ ∑ ‰ n œJ
Vla nœ nœ -8
f 3
-6 -12 f -12
-8 -10 -6 -8 -10
-12
≤ +2
>j +4 5
-12
+4
een œœœ œ eœ™ fe œœ ˙™ ˙ fœ ‰ eneœœœ
SQ ? -10 ∑ ∑ Ó -12 J f ˙˙ ˙ f œ e œ™œ™ ˙
-10
Vc -8 Œ ‰ J -10 Ó -8
û sfz n œ 3 nœ
-6 15 : 16 o -6 J sfz
º
o = +112c n œ- u7
º
Vln ù
& Œ m˙
3
Œ ∑ ‰ ‰ ‰ Œ < ˙o œo ‰ < wo œo Œ ‰+16 j
(snd) J o œ-
mœ m˙ eœ ˙™ 5 3 mœ
-14
3°/II 3°/IV
2°/IV
o 3 -o 3 o o o o III
{ & Œ nO Œ ∑ ‰ ‰ ‰ n‚ Œ j ‰ Œ ‰
Vln
nœ n˙ fœ ˙™ 5
nO ‚ n~ ‚ n œ- n œj
poco f o m.v. f
m.v. 13°
Vla
0f w+ û7
B j Œ ∑ ∑ -6 j +16 j
(snd) n œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. m œ œ œ m œ™ œ mœ ˙™ n œ m œ™ o œ™ mœ
º
fast ricochet, begin pitched slightly above nut I match C match C
and bend down to open string ! n w+ of SQ Vla open ! ôf Ens Vlnopen !
Vla { B
o œ. œ.
sf
œ. œ. œ. œ. œ. œ. œ. œ. œ. n œ
j
œ œ nœ ™ œ nœ ˙™
Œ ∑
o
∑
m.v. º
j
oœ n œ ™
sfz
4 œ™
f
nœ
j
o d˙™ o
e -˙ œ dw e œo ˙ o 3 Eœ w m˙ ew
Gamba œo ? e˙ ™ œ ew f˙
e˙
f˙ e -œ Œ ? fœ
œ w
(snd) & & &
3
7/3 o III:5a 2°/III
2°/III II:9a 2°/III III:11a III:11a o
o IV:0 7/3
‚o n-O III:0 v˙™ œ vw n ‚o O 5/2 m˙
5/3 4°/III
o
n-‚ dœ w same sounding pitch v˙ n~
? n˙ ™ œ nw
Gamba {
û
n˙
IV:0
n˙
* B natural is one schisma (circa 2¢) higher than
C flat one comma raised (almost the same pitch)
Œ
3
nœ œ w
3
f
Tempo primo, cantabile 41
103
3 h = 72 4 3 5
‹ 2 nœ œ ™ n -˙
2 2 2
Picc ù Ó -12
eœ n ˙ ™™ ‰ Ó Ó ∑ ∑ ∑
(1) & e˙ ™ -8J
-10 -6
m.v.
match Picc
n˙™ w
eœ e˙ ™ Ó Ó Œ -6 Ó ∑ ∑ ∑
Ob &
-10
13°
j œ™ œ™
Bass Cl ∑ ∑ ∑ ∑ ∑ Ó +5 Œ
(1) &
match Ob
o p o
Alto
& j vœ ™ nw œ n œ œ™
J ‰ ‰ Œ
nœ œ
Œ nœ ˙ ˙ Œ ∑ ∑ ∑
zœ -10
Sax û -8
3 3
13°
∏∏∏∏∏∏∏∏
∑ ∑ ∑ ∑ ∑ ‰ nœ ™ œ …Œ n˙ ™ Œ
Vib {& n œœ ™™
n …˙
f
°
›
∑ ∑ ∑ ∑ Ó Ó ‰ nœ ™ ∑
Crot &
p
æ æ æ m˙ Ω Ω mw n œΩ
& m ˙æ wæ ˙æ Ó æ Œ <e œ Œ Ó Œ Œ nœ æ Œ Ó ∑ ∑
3 3 m.v. f
Mar o rinf. o o f
Ω Ω n œΩ
{ ? ∑ ∑ Œ nœ Œ Ó Œ Œ nœ ∑ Œ Ó ∑ ∑
3 3
<e ˙ n˙ 13° 7°
‰ <e œ ™ Ó ∑ Ó
n˙
f˙ Ó Œ
fœ o13°
œ w <m ˙™ oœ Ó ∑
& nœ
5
Hp
(snd) :f œ n˙
? ∑ ∑ Œ nœ Œ Ó Ó ∑ nw ™ <m œ ∑
{ 3 5
e˙ e˙
e˙ eœ vœ w n˙ ™ v˙ ™
& ‰ eœ ™ Ó ∑ Ó e˙ Ó Œ eœ ∑
5
f p
Hp f coordinate sf
with SQ Vl1 ew ™
? ∑ ∑ Œ eœ Œ Ó Ó ∑ nœ nœ v˙ ∑
{ Ab
Cb
3
F# G§
5
A§ A#
3
& mw ™ m˙ Ó Ó ∑ ∑ ‰ m œ™ œ™ ‰ Ó Ó m˙
m˙ ∑
Hpsd
(snd) nœ
? m w™ ∑ ∑ ∑ n˙ Ó Œ nœ Ó Ó ∑
{
ù 3 to Piano
& nw ™ n˙ Ó Ó ∑ ∑ ‰ nœ ™ œ™ ‰ Ó Ó n˙
n˙ ∑
∑ ∑ ∑ ∑ ∑ ∑
Hpsd
{ &
coordinate
with SQ Vl1 vœ
? w™ ∑ ∑ ∑ v˙ Ó Œ vœ Ó Ó ∑
? ∑ ∑ ∑ ∑ ∑ ∑
{
û
Tempo primo, cantabile
3 4 3 5
2 e œh = 72
1°
e ˙˙ ™™™ eœ n˙ œ n œ n œœ œœ ™™ œ n ˙˙ œ u1 2 t˙™ 5 2 3 13° 2
& mœ e œœ ˙ mm ˙˙
J
mm ˙˙ ™™ m ˙˙ Œ Ó Ó m œ m ˙™ œ nœ nœ m˙ j ˙™ Œ
u1 1°
tœ nn œœ œ
Cues 1°
u7 3 3 3 5:3
ew œ ‰ eœ œ ™ ‰ Œ eœ œ Œ nœ ˙ Œ ∑ Ó Ó sœ
{ & j nœ ™ J ˙ tt œœ
u1
w œ
œ m˙ W n˙
≥ ‰ Œ 3 Ω
Ω -8 >3
Ω 3 ≤ t œ œj t œ -.
ù -10 Œ Ó -6
nn œœ m ˙˙ ‰ m œ™ œ™ ‰ Œ m œ ˙Ó œj— n œ –
™ Œ n œ œ œJ ‰ Œ
m œ s œ sœ
SQ
Vl1 & me ˙˙ ™™ ˙™ m˙ Ó Ó Œ n œ Œ Œ nœ ∑
-20 Ó ‰
-25
f -25 n œ -22 nœ n œ œ™ nœ + n œ -35 -49 sfz p espr.
-4 -4 J
^ sfz f sonore ≤
j Œ e œO ≤ ≥ 3 ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
-22
SQ e œœ ‰ ee ˙™
˙ Œ ee œœ -œ ‰ e ˙ Œ eœ œ Ó Œ Ó Ó
J- -10 ™ ˙™ w ˙™ œ™
& J m˙
m
m ˙™ w
mw t ˙. ˙ s œ™
Vl2
-23
-10 - -.
rinf. rinf. -23
o m.v. -33
-51
sfp espr. poco f
Ω ^
e œœj œ Ó t˙ œ Œ
3 -22
SQ B
ew ˙
m˙
Ó
œ™ Œ n˙ n œj ‰ Œ ‰ m œ™ m˙ ˙ mw ™
t t œœ ™ t-
‰ t œœ
J ‰ ‰ ‰-10 -8
Ó -37 Ó5 Ó Ó tw Œ Ó Ó
Vla
-23 nœ œ ˙ nœ n œ-22œ™ -35 m.v. p
-6 J J -6 J
sfz f sonore I
rinf. 5:3
o 3 + ‰ j
œ III
m˙ ÓW– Ó Ó Ó n˙ — m œ t œœ œ w
SQ ? Œ Ó Ó ∑ nn w
~ Ó ∑ Ó n˙ ˙
Vc û Ó Œ ‰ nœ ˙ ˙ Ó -22 -35
Œ Ó Ó
IV m.v. -22 m.v.
-6 J
f sonore 5
o o +
Vln ù
& ‰ mw Ó Ó m -˙ ∑ m wo ∑ Ó Ó Ó Œ n˙ ™ ∑
(snd)
m œ™ II
5
2°/IV
o 3°/IV
o 3°/IV
o +
‰ n~ Ó Ó ∑ ∑ Ó Ó Ó Œ n˙ ™ ∑
Vln { &
œ™ n-O n~
match SQ Vla,
f
Vla B ‰ Ó Ó
m ˙o Œ Ó Ó
3
Ó
Gamba
Œ
+
nœ ∑
-6
(snd) m œ™ n˙™ nw n˙ ˙ n ˙- tw
raise slightly -6 24 : 25 -35
at nut ! match = +71c match SQ Vla, II
3°/IV tune with Gamba Gamba
o SQ Vla 3 +
B ‰ Ó Ó Œ Ó Ó Ó Œ nœ ∑
Vla { œ™ nO o ˙™
o w
om.v. o˙ ˙ o ˙- uw
-
f
+
o o
? mœ n ˙˙ ™™
m˙
n˙
˙
˙
m œ m˙ ™ t˙
m˙
˙
˙ tm ˙˙ ™™ nm œœ t œœœ mt ˙˙
o
t ˙™
Gamba
& ew ™ Ó Œ m ˙™ &
(snd)
6/5
5/3 I:0
5/4
2°/II 5/3 II:0
+
3°/III n Oo ™ II:0 5/4 II:5a II:0
I:5a
m˙ ˙ II:7 III:6b I:0
nII:0˙˙
3°/I
n Oo ™
? n ~o ™ ? nœ w ˙˙ ™™
m˙
w ˙
˙
˙
m œ n˙ ™ n˙ ˙ nn ˙˙ ™ en œœ n œœœ
B
Gamba {
û
Ó Œ
o m.v. III:2b
-
sfp pp
42
109‹ 2
5 13°
5 3 4 5 3
ù j˙ ˙ ˙ take Bass Fl 4 2 2 2 2
Picc Œ Œ Ó ∑ ∑ ∑ ∑
(1) &
+5 o o
pp
u11 u11
Alto Fl ∑ Ó Œ Ó ∑ ∑
(2) {
û
& j˙ ™
pp
jœ
-4
w ˙
u7
ù? ∑ ∑ ∑ Œ Œ Ó ∑
Tba
û nœ ˙™
2
3 pp
4
u11 u11
∑ Ó Œ Ó ∑ ∑
Vib {& n˙™ nœ w ˙
…
› 13°
nœ
Crot & Œ Ó Ó ∑ ∑ ∑ ∑ ∑
p
u11 u11
& ∑ Ó æ Œ Œ æ Œ Ó ∑ ∑
n ˙-æ n ˙-æ
Mar p o p o
u7
? æ æ
{ ∑ ∑ ∑ n ˙æ™ ˙™æ Ó ∑
o p o
3 o
3 o
& Ó Ó Ó Ó Ó s˙ ∑ lœ s˙ Ó Œ lœ Ó Ó lœ l˙
™ Ó Ó l˙ ∑
lœ
Hp
(snd) sw s wo
? ∑ Œ Œ Œ ∑ ∑ s˙ Ó Ó ∑
{ coordinate with
SQ Vla
3 3 o o
& Ó Ó Ó Ó Ó v˙ ∑ vœ Ó Œ nœ ∑ nœ v ˙
™ Ó Ó ∑
rinf.
vœ v˙ p
v˙
Hp p m.v.
vw o
? ∑ Œ vw Ó ∑ v˙ Ó Ó ∑
{ G#
D# B#
& ∑ ∑ ∑ ∑ ∑
Pf pp
u7
? ∑ ∑ ∑ Œ Œ Ó ∑
{ nœ ˙™
“
5 j13°
˙ ˙ ˙ 5 3 4 5 3
2 4 u11 2 u11 2 u1
lœ lœ mœ Œ
2 1°
™ 2
& Œ Œ Ó Ó Œ Œ Œ ∑ l œ t œœ ™ Ó l˙™ m ˙˙ ™™
j ˙- jœ ˙ œ J
Cues
u1 tw u1 3 u7 m˙
{ & s s ˙˙ œ ˙™ w sw
w
u1 Œ s˙ ˙™ Œ ? Œ Œ Ó s˙ Ó Ó Ó Ó
t˙ l s œœ jœ ˙™ 3
-≤
-25
ù ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ t w-. t˙ ˙ mœ 3 3
SQ sW Œ ∑ ∑ Ó lœ Œ l ˙Ó Ó
Vl1 & -37
t ˙˙ ˙ l ˙Ó ˙
m˙
˙Ó ˙Ó
6 -39 p -37 -23
poco f
III - -25
-≤
≤ ™ m œ™
œ l œœ ™
SQ Œ ∑ ∑ Œ l˙™
t Ó l œ™ ‰∑
Vl2 & s ˙™ ˙™ w w J
-39 p
-41
one comma lower ! 3 lœ ˙ Ó l˙ ˙
SQ B Ó Ó Ó
t -˙ Ó
s˙ w œ Œ -55 s ˙ ˙™ sœ m˙ Ó Ó Ó Œ
m˙™
Vla -33
3
Ó™ Œ lœ lœ ˙ Ó Œ Ó Ó -41
Ó -25 -25
-55 -39 p
pp rinf. m.v. p
?
t˙ t w- œ sw œ s œ™ l œ™
œ™ ˙™ W lœ œ Œ lœ
SQ Œ Ó Œ™ Ó™™ J sœ œ Ó Ó Ó Œ ‰ J
Vc -35 -53
û o o
-39
3 -39
p
rinf. m.v. p -53
s ˙o ˙o o
ù ≤ l œ- o o
Vln
& Ó Ó Œ Œ sw sœ ˙™ Œ Ó - n ˙ no œœ œ o˙ port. lœ
(snd)
mw ˙ mœ œ m˙ œ
o œ m m œ port. o œ mœ m ˙™ -39
-
3°/I
overshoot 5/2
n Oo Oo nw
I
nœ ˙™ ≤
5°/IV
o - 3/2 P5 o o
nn œ‚ ‚ n˙ port. 5v œ
Vln { & Ó Ó Œ
o pp o
Œ
o m.v. o
Œ Ó
nw
o
˙
p
m-‚ œ œ n
n˙œ lœ n ˙
l œ port. n œ
- nœ n˙™
m.v.
s ˙o ˙o o
m -œ™
Vla B Ó Ó Ó Ó Ó
s˙ w œ Œ
s˙ w ∑ Ó ‰∑ B
(snd) &
3 3 3
3°/I
n˙
I
w œ n˙ w n ˙o ˙o 6°/IV
o
Vla { B Ó Ó Ó Ó Ó Œ ∑ Ó n -‚ ™™
n ‚ ‰∑ B
3 o 3 o 3 double-node harmonic:
m.v. pp p fingering, with light
pressure, at both 2. and 3.
nodes on the C-string
to produce 6. partial
Gamba
t wo ˙o ˙o ?
ossia: at minor third
& Ó Ó ∑ ∑ ∑ ∑
(snd)
3
~o Oo Oo
B Ó Ó ? ∑ ∑ ∑ ∑
Gamba {
û 3
43
3 4 3 65 : 64 4 3
= -27c 5 : 4 15 : 14
114 2 2 2 13° 2 u7 u5 2
ù j œ™ mu5œ œ = -386c e œ z -˙
= -119c
Alto Fl
& ∑ ∑ ∑ Ó Œ ‰ +3 -24
J ‰ Œ Ó ‰ m œJ
(2) û tune consonant -10 -2 -22
p with SQ
224 : 225
= +8c
coordinate
with Ens Vla
m ˙™ ^
Ó Œ Ó Œ mæ˙ ™ ˙ Œ ∑ ∑ ∑
Mar {& æ æ m
mœœ
o o poco f
13°
0m ˙
∏∏∏∏∏
lœ … lœ
& Ó Œ lœ ∑ Ó ‰ ‰ ‰ lw ∑ ∑
5
Hp
(snd)
? ∑ ∑ ∑ ∑ ∑
{
e˙
∏∏∏∏∏
vœ … vœ
& Ó Œ vœ ∑ Ó ‰ ‰ ‰ vw ∑ ∑
5
f p poco f
Hp
? ∑ ∑ ∑ ∑ ∑
{ Fb
coordinate
with Alto Fl
& ∑ ∑ ∑ ∑ ∑ Œ v˙ Œ
-
sotto voce
Pf
? ∑ ∑ ∑ ∑ ∑
{
3 4 3 4 3
2 3
2tœ™u1 2 13° u5 2 u7 u5 2
& ml œœ ™™ ‰ Ó Œ lœ™ Œ ∑ jw œ mœ m ˙˙ Ó eœ z˙ ‰ m œj
1°
m˙ w™ œ™
Cues
? nœ e1°œ 1°
tt œœ™™ j tw
u1 tw
w w
{ ∑ Ó Ó ∑ & s œ œ™ ‰ Ó
3
II
≤
≥
w™™
ù 3 tW
SQ
& l˙ Ó Œ Ó tt w tw tw
w w
Vl1 m˙ w -37
-35 3
-23
o o pp espr. -37
≤ ≥ Œ ‰ j ≤ Œ ‰
SQ
& Ó Œ l˙™ Ó Œ Œ™ lœ™ œ l ˙Ó t ˙˙ t œ™ s œœ œ™
œ™ ‰ ‰ t œ™ œ™ ‰ t œ™ m œœj ˙˙ ‰ mm œ™
‚™
Vl2 m ˙™ œ™ m œ™ œ J J
-39
o -23 o pp espr. -39
-37 -51 -22 o 5°/IV
5 5 5
5
5 3 3
-23lœ œ Ω l œ œ ‰ tœ œ
-23
tœ œ Œ tœ œ Œ
mœ m œ mœ ‰ mœ m œ mœ œ 5°/III
mœ™ nœ n œ nœ n œ e œœ œ ne œœ nœ ˙™ ‰ n œ n œ sœ œ ˙™ mœ œ o
‰ m‚™
SQ
Vla
B ‰ -8 -39 Œ -8 J -10 ‰ ‰ Œ Œ -8 -39 ‰ ‰ J -37 Ó Œ -37
Œ -51 Œ -22
Ó Ó
nœ œ nœ º nœ Œ Ó nœ œ œ
-6 -6
poco f p pp pp
Ω Ω - 5
lœ e œ em œœ m˙ ˙
SQ ? sœ œ Œ Ó Ó n œ -10e œœ e œ -23 n œ n œ e œJ Ó ∑ ∑ ∑
Œ -8
Vc û -53 3
nœ œ nœ 5
-6 poco f
o
s ˙™
o o
+ l ˙™ o l -˙™
Vln ù
& lœ ‰ sœ ™ Ó Œ m˙ ™ ˙o Œ s˙ œ Ó ∑
(snd)
mœ
3°/I
I 5°/IV 3°/IV 5°/IV I o
œ
+
‰ nœ ™
o
Ó Œ
o o
Œ
o n˙ œ nO ™ Ó ∑
Vln { &
œ poco f
mO ™
o
nO ™ O
o
m-O ™
pp
o
o 13° +3
+ -o u11 m ˙- u11
o
n˙ j˙™ m -œ ˙
Vla B Œ
s œ ™ o œj ‰ oœ Œ Œ Œ Œ
s˙ ™ Ó ∑
(snd) m œ œJ o œ- mm œœ- mm ˙˙ ˙˙ mm œœ- oo œœ- -24
2°/III 2°/II +3 consonant with SQ Vl2, Vla

I
+ -o 4/3 3/2 3/2 3/2 4/3
o
n˙™
65 : 64
= -27c m -œ
n ‚j nO ˙
6°/IV I
nœ ™ ^ ^ o ^ ^ n˙ ™
Vla { B Œ
n œ œJ
poco f
‰ nœ
4 œ-
<œ
n œ-
tune P4 below III
then P5 above IV
Œ Œ
f-O
Œ <˙
n˙
˙
˙
Œ <œ n œ
n œ- 4 œ- pp
-24
Ó ∑
? o o
Gamba ∑ ∑ ∑ &
t w™ mW
(snd)
2°/I
n ~o ™ 2°/II
n ¿~o¿
? ∑ ∑ ∑ B
Gamba {
û pp
44
119 2
3 7 5 3 4
ù u11 u11 4 u7 4 2 2
Bass Fl
& ∑ Œ jœ ™ œ™ Ó Œ z˙ ˙ Œ Œ j˙ ˙ Ó Œ Œ nœ œ ˙ ∑ ∑
(1) +4 +2 -2
‹ o pp o o pp o o pp o 3 o pp o
64 : 65
= +27c 13°
Alto Fl m œ ™ jœ ™ ˙™
(2) {
û
& +5
∑ ∑ ∑ ∑ ∑ ∑
æ æ
Mar {& ∑ ∑ ∑ Œ t ˙æ ˙æ Ó ∑ ∑ ∑
o pp o
& ∑ ∑ Ó ∑ ∑ ∑ Ó
tw tw
Hp
(snd)
t œo
? ‰ J Ó
{ ∑ ∑ ∑ ∑ Ó ∑ ∑
coordinate
with SQ Vl1
& ∑ ∑ Ó ∑ ∑ ∑ Ó
ew ew
pp coordinate with p
Hp SQ Vc
? o
{ ∑ ∑ ∑ ∑ Ó ‰ e œJ Ó ∑ ∑
Eb
to Hpsd
& ∑ Œ Ó ∑ ∑ ∑ ∑ ∑
n ˙- ™
Pf sotto voce
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
{
mœ œ m˙ ˙
Œ Œ œ w
∑ ∑ ∑ ∑ Œ
u mœ ˙™ Œ Ó
&
3 3
Hpsd
(snd)
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
{
coordinate with SQ Vla, Vl2
ù nœ œ n˙ ˙
& ∑ ∑ ∑ ∑ Œ Œ Œ vœ w nœ ˙™ Œ Ó
3 3
{ & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Hpsd
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
{
û
3 7 5 3 4
2 13° u11 u11 4 u7 4 3 3 m˙™ 2 1° 3
2
& m œ™ j œ™ ˙™ Œ Ó Œ Œ Œ Ó Œ Œ Œ s˙ Ó
j œ™ œ™ z˙ ˙ j˙ ˙ nœ œ ˙ t˙ ˙™ ˙ œ
Cues
1° u1
u1
j tœ™ œ ˙ u ˙˙ 3 u1
{ & s tt ˙˙˙ ™™™ Œ Ó s t ˙˙ t sSœœœ ™™™

‰ Ó Ó SSt ˙˙˙ œ ‰ Œ j ‰
sw
w u1
t˙ œ w œ w œ™
u1
≥
III ≤ 3
ù -35
Ó
tœ™ œ ˙ w œ -18
Ó Œ s Ó
SQ t w™ ∑ mœ
Vl1 & s w™ s˙ sw
w
-31
st w
w t˙ t œœ œ™™
Œ
t œ™ Œ Ó t œ- Œ t œ œ ˙˙ œ™ ‰
-29
p -47
-49 -31
-47
5°/III
t œ™ œ™ t ˙™ Sœ™ œ™ o o Ó o Ó
SQ
Vl2 & mt ‚œ ™™ œ™ œ™ t˙™ S œ™™ œ™ S œ™ Sw
w œœ Ó ∑ u ‚ ‚‚ O ∑
o Œ™ Œ™ -33
Œ Œ™ m‚ m O™
-33 -45 -43 5°/IV o o o
3
5°/II 5°/III
o o o 5°/III
SQ B m ‚o ™ ‰ Ó Ó ∑ ∑ ∑ Œ Œ Œ u‚ ~o Ó -33
Vla
m‚ Œ t˙ m O˙™™ w œ Œ
3
3
5°/II j 5°/IIo j
SQ ? ∑ ∑ ∑ ∑ u ‚o t ˙O œ m ‚ t ˙O œ w œ ˙™
Œ Ó
Vc û o ‰ o ‰
3 3
-29 -31
u œo ˙o œo u œo ˙o œo
Vla ùB ∑ ∑ ∑ ∑ Œ Œ Œ Œ Œ Œ Ó ∑
(snd) &
3 coordinate 3
with SQ Vlc
5°/II
m ‚o Oo ‚o m ‚o Oo ‚o
B ∑ ∑ ∑ ∑ Œ Œ Œ Œ Œ Œ Ó ∑
Vla { 3 o pp
3
o
Gamba
t ˙™ ?
& t˙™ ∑ ∑ ∑ ∑ ∑
(snd) tw™
I:7 3°/I
I:0
o
nw ™ n˙™ nO ™
B ? ∑ ∑ ∑ ∑ ∑
Gamba {
û
45
4
126 2
3 9 4 3 4
ù u7
2 -˙™™
4 u7 j ˙™ 2 2 2
Bass Fl
& Œ j˙ w™ ‰ Ó Œ ‰ jœ ‰ Ó™ ∑ ∑
(1) +2
‹ 3 o
pp (SQ Vc, Harp)
+4
coordinate with
Hpsd, Harp, Mar
u7 u7
3
Alto Fl j j Ó™
(2) {
û
& ∑ Œ j˙
+2 o
œ™ œ ˙
sotto voce
(SQ Vc, Harp)
˙ œ œ™
o
Œ Œ Ó Ó Ó
-2
n˙
pp
œ Œ Ó Ó
∑ ∑ ∑ ∑ ∑ Œ
Vib {& nœ
coordinate coordinate
with Hpsd, Harp with SQ Vc, Hp
∑ ∑ ∑ ∑ Ó ‰ ‰ <œ
Mar {& < ˙- œ < ˙™
- -
p
nœ
nœ …
& Œ Œ Ó ∑ ∑ ∑ ∑ ∑
3
Hp
(snd)
t œo tœ œ n˙ œ
? ‰ J Ó J ‰ S ˙™
{ Œ ∑ Ó Œ ‰ Œ ∑ Ó Ó Ó ‰ Œ
v œ^
vœ …
& Œ Œ Ó ∑ ∑ ∑ ∑ ∑
3 coordinate with
sf Hpsd, Mar coordinate with
Hp p SQ Vc, Mar
eœ œ p
? o v˙ œ e˙ ™
{ Œ ‰ e œJ Ó ∑ Ó Œ ‰ J Œ ∑ Ó Ó Ó ‰ ‰ Œ
Bb
um ˙˙ Ó ∑ ∑ ∑ Ó Ó Ó Œ Ó Œ
& n˙ œ nn œœ
Hpsd
(snd) n˙ œ nœ
? ∑ ∑ ∑ Ó Ó Ó Œ Ó Œ nœ
{
lute stop on
ù vn ˙˙ Ó ∑ ∑ ∑ ∑ ∑
&
coordinate
with Hp, Mar
lute stop
∑ ∑ ∑ Ó Ó Ó Œ Ó Œ
Hpsd
{ & n˙ œ nn œœ
u7
lute stop n˙ œ nœ
? ∑ ∑ ∑ Ó Ó Ó Œ Ó Œ vœ
? ∑ ∑ ∑ ∑ ∑
{
û
4 1° 3 9 4 u“w 3 4
2 um œœ 3 2 3 1° 4 1°
3:2w
2 2 2
Œ ∑ Œ Ó tt w
w u1 w™
œ ˙ œ œ tœ œ
& t˙ w™
t tw w
tw
Sœ œ Sw 3
Cues u7
u7 u7
3 nn ˙˙ œœ S˙™ nœ
Œ ‰ Ó™ ? Ó Ó Ó ‰ S ˙™ u1 ‰n œ
{ & j˙ w™ w™ œ™ jœ
j˙ ™
≤ 3
5°/I
o o
u‚ O 3
SQ ù ∑ ∑ ∑ t˙ ˙ ˙ tt w
w w™
Vl1 & Œ -27
-25
II
III 5°/I
oj 5°/IV
SQ n ‚ ‰ Œ Ó ∑ o u ‚o o
O™™ o
O™™
& n ‚ ‰ ∑ Ó Ó ∑ J ‰ ∑
Vl2 m O ‚™ mO
5°/IV sfz p
vo o
sfp
3 3:2w
3 Œ oÓ
SQ B Œ
m ‚ t ˙O Ó‚™ u ‚ t ˙O w w t w™
w™ ˙
Vla ‰ ∑ 5°/II
o o ∑ -27 o
Œ ∑ ∑
5°/III o
-31 o o -29
-
5°/II
o t ‚œj ~w™™ ˙™ t œj œ -43
™ œ™ SS ˙˙™™
SQ ? m ‚™
J ‰ S œJ œ Œ SS œœ ™ ˙
Œ Ó™ ∑ Œ™ Œ™
Vc û -31 o o ‰ Œ Ó
-45 -41
o
n -œ
Vln ù J ‰ Œ Ó ∑ ∑ ∑ ∑ ∑
(snd) &
whole bow
4°/II
o
n-‚ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑
Vln { &
p
J
o u ˙o
n -œ
Vla
& J ‰ Œ Ó ∑ & Ó Ó B ∑ ∑ ∑
(snd)
whole bow
3°/II 5°/II
o m Oo
n-‚
B J ‰ Œ Ó ∑ Ó Ó ∑ ∑ ∑
Vla {
û p
46
131 2
4 5 3 5 +4
7 4
2 match SQ Vl2 2 uw 2 œ ™ u˙ ™ nœ 4 w œ™ 2
Bass Fl ù
& ∑ Ó u -˙ Œ uœ w œ™ ‰ -8 ‰ Œ Ó Œ ‰ Œ
(1) -10
‹ pp
+6 +2
+4
∑ Ó Ó Ó Ó Œ nœ vw ™ w™ w ˙ nœ nw
Ob &
û pp
Vib {& ∑ ∑ ∑ ∑
W
Ó ∑ ∑ ∑ ∑ ∑
Mar {& <˙
0v13°
w™ 0vwo
& ∑ ∑ ∑ ∑
Hp
(snd)
? ∑ ∑ ∑ ∑ ∑
{
vw ™ o
& ∑ ∑ ∑ vw ∑
pp
Hp
? ∑ ∑ ∑ ∑ ∑
{
& Ó ∑ ∑ ∑ ∑ ∑
˙˙
Hpsd
(snd) ˙˙
? Ó ∑ ∑ ∑ ∑ ∑
{
ù ∑ ∑ ∑ ∑ ∑
&
lute stop off
{ & Ó ∑ ∑ ∑ ∑ ∑
˙˙
Hpsd lute stop off
˙˙
? Ó ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑
{
û
4 u“œ 5 3 5 7 4
2 u 1°˙ 2 u ˙™ 2 vw ™
2 ™ 4 œ™
2
&
t˙ ˙ Œ n˙ ˙™ nœ Œ Œ nœ nw
w™ w
w oœ
j nœ nw
3 1°
3
Cues
u1
?
˙˙ u1 0v13°
˙™ u1
Ó ∑ Ó Œ ‰ uw ‰ Œ nœ w œ™ ‰ Œ
{ & u˙ uœ w œ™ œ™ u ˙™
≤ 3 I
Io o
+4
o o3 o ≤ ≥
u‚ O n‚ O O ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
ù u ˙™ u ˙™ u -˙ -˙ -w
w™™
SQ t˙ ˙ ˙ u ˙™ uu w ˙
Vl1 & Œ -27 Ó Œ n˙ ˙ œ nœ ˙ ™
-10 -10
∑
-12 -8
≤
o5°/I I o o3 Io 3o o o 3o
I o
u -O ™ u‚ O u‚ O O n‚ O O +6 +6
™ I
SQ
& Œ Œ Œ
t˙ œ u˙
Œ -10
˙ œ
Œ n˙ ˙ œ nv œœ œ
Œ
w nv w
w™ w
w nn w
w ˙˙ ™™
Vl2 +4
-27
I o o
n ‚o ‚™ +18‚ ™
SQ B ∑ ∑ ∑ Ó Ó Ó Ó Œ ‰ J
oœ™ w
Vla Œ™
5°/I
o
?
u ‚Ω ‚o ™ ‚o ™ +2
SQ ∑ J ‰ ∑ ∑ ∑ Ó™ Ó Œ ‰ n œJ
Vc û sfz p
13° G+44
o +18
0v w™ 0v w port. o ˙™
Vla ùB ∑ ∑ ∑ ∑
(snd)
65 : 64
2°/I = -27c
o match SQ Vla
n~™ nw port. <˙™
Vla { B ∑ ∑
o o o
∑ ∑
o
n wo n w- n˙ uœ ˙ -
Gamba ? ∑ ∑ B uw ? uv ˙˙ ™ ˙˙ ™ w ™™
nu w Œ Œ ™ on w ‰ Œ
(snd) Ó Ó Ó Œ v˙ w
6/5
12/5 3°/III 5/2 III:0 5/4 5/4
o o
III:5a -IV:7 III:0 IV:0
? ? n Ó~ Ó nm w
~- n ÓO n ‚ n O˙ ? nn ˙˙™™ ˙˙™™
IV:0
nn w™
V:2b
Œ ™ on w
Gamba {
û
∑ ∑
4°/IV o
o o
p
o Œ
IV:7
w™ Œ w ‰ Œ
coordinate 47
4
136 2
with Gamba
^ 3 5
ù n œ n -œ ™ n œ n -œ^ ™ take Flute 2 2
Bass Fl Œ ‰ ‰ Œ ∑ ∑ ∑ ∑
(1) & -2
‹ sf sf
225 : 224
= -8c
7° 7°
Alto Fl
nw 3 6:5h
(2) { & ∑ ∑ -2
p
n˙ n˙ Ó Œ Œ
nœ œ j ˙™
-8
jw
-10
w
w n˙
Ob & n˙ ∑ ∑ ∑ ∑
û
∑ ∑ nw Ó ∑ ∑
Vib {&
p
nœ ™ 4œ ow 4œ 4f w fw
& Ó Ó oœ œ oœ Ó ∑ Ó Ó Ó
J
Hp
(snd) f˙
nw ™ 4œ™ fw
{ ? ∑ ‰ ‰ oœ ™ Ó Ó ∑ ‰ nœ Œ Œ nœ Ó f˙ Ó Ó Ó
5 3 3
vœ™ vœ vw vœ nw ew
& Ó Ó vœ œ vœ Ó ∑ Ó Ó Ó
J
sf p f p
Hp sf
™ eœ™ ew e˙
? vw ∑ ‰ ‰ vœ ™ Ó Ó ∑ ‰ vœ Œ Œ vœ Ó e˙ Ó Ó Ó
{ E§ F# A#
C#
5
Fb
Db Cb
3 3
nw nœ ™ œ™ œ
& ow Œ ‰ o œJ w Œ Ó Ó Ó Ó ∑
nœ ™ œ œ n˙ ˙
Hpsd
(snd) nœ u11 n˙ ˙
? Œ Ó n˙ Œ
n œ o œœ ˙ 5o ˙ 4œ nœ Œ Ó Œ Œ
nœ ˙
Ó Ó ∑
{ f˙ ™
3 3
ù ∑ ∑ ∑ ∑ ∑
&
nw nœ ™ œ™ œ
nw Œ ‰ n œJ w Œ Ó Ó Ó Ó ∑
Hpsd
{ &
u11
nœ ™ œ œ
n˙
n˙
˙
n˙
? ∑ Ó n˙ Ó Ó™ Œ Ó Œ Œ vœ ˙ Ó Ó ∑
3
n œ^ nœ
? Œ Ó e˙ Œ n œœ ˙ Ó vœ nœ e˙ ™ Œ Ó ∑ ∑
{
û 3
4 3 5 3
2 u1 n˙ 2 11° u1 2 fœ
& ow
w n˙ oo w
w Ó 4f fn ww
w Ó fœ ‰ Œ Œ Ó Ó Ó ‰ g œ™
u1
f˙™ g œœ 1°
1° g œ™
Cues 7°
u11 n˙ n˙ 7° nw w
Œ nœ nœ ™ ‰ nœ ‰ Œ ? 5o ˙ Ó Ó Ó Ó Œ Œ nœ œ n˙ ™
{ & nœ ™ g˙
3 6:5h
≥Ω +14
III 3
+10
+10 +23
+16 +16- +12
ù oo w œœ o œ. j -
SQ
&
n
o wœ œ ‰ oœ ˙
J
w fw œ f œ. ™ f Ów Ó f ˙˙ œ™
œ™ ‰ f œ™
Œ™
g œ™
œ™ ˙™ Ó ‰ g œ™
Vl1 nœ n ~o ‚
sfp IV Jo
II III
I
o IV ≤
n˙ ™ nO o ≤ Œ +10 +10 3 3
SQ
& n~ ∑ Œ™ fœ ˙ Ó Ó f ˙- ˙- ˙- w- Ó
Vl2
5 nœ Œ nœ ™ œ™ n œ™
œ™ nœ œ
Ó III III
I
º 5
+14 II 3
+23 ^
sfz 3
+29 5
n œ o œœ œ Ωj n œœ œ
g -˙
SQ
Vla
B ∑ Ó Œ™ ‰ J g œ og œœ ™ ‰ ‰ Œœ Œ Ó ∑ Ó Ó Œ Œ gœ Œ Œ Ó Ó Ó
sfz
p f sfp
+14 +
+ 3 +25 j ‰ ‰ +25 +25 +22
SQ ? n œ˙j Ó Ó Œ n œ o œœ +29
œ™ ‰ Ó Ó ∑ n
‰ g œ™œ œ ‰ Œ Ó ‰ g œ™ ˙ Ó Ó Ó Ó gœ g œœ
Vc Œ g w™ J Œ
û mp poco f o 6:5
7°
o u wo œ™
n wo ˙ 3 -o ≥
Vln ù 4 œ˙ nœ o˙ ‰ j ˙™o Ó Ó ‰ n œj œ ‰ ∑
∏∏∏∏
(snd) & ∑ Œ ‰ o œ on œœ nœ
oœ Œ n˙
3
J 5o œ ˙™
3/2 (F major !)
o 15 : 16 2/III
3°/II 3 o 5°/II
n ~o O n œ˙ 5v œ
= +112c
5o ˙
‰ j O™
n
≥
‰ n œj œ
u ~o ‚™
{
∏∏∏∏
Œ ‰ n œ nn œœ Ó Ó ‰ ∑
Vln & ∑
J
11 : 12
= +151c
nn œœ Œ
n œ ˙™ o p
n˙
3 o
p fp
m.v.
o -o - -
n œΩ n wo œo
o o
n -œ^ ™ n -˙^ nœ <f œ™ <f œ™ œ™ < -œ^ o -œ^ 4 -˙^ u7°˙ œ™
-17 J ‰
Vla B Œ ‰ n œJ on œœ ™™ oœ oœ™ ‰ Œ™ oœ™ Ó -14 ‰ ∑
(snd) - 3
35 : 36
10/3 -
o 20 : 21
= +84c - - 2°/II
= +49c
I 7°
3°/II II 7/2 4°/IV 3°/III match Ens Vl
o
n ‚Ω n -œ^ ™ n -˙^
5/3
II
III
n ‚ <f œ™ <f œ™ œ™ n ~o ‚o ô ^
o n -˙^ 44 : 45
= +39c p˙ œ™
-17 J ‰
‰ n œJ on œœ ™™ n‚
Vla { B
sf
Œ
p
-
m.v.
oœ oœ™ ‰ Œ™ oœ™ n-‚ -
54 : 55
= +32c
3
Ó
o p
o
o
‰
6:5
∑
^ ^ g œ™
Gamba ? Œ ‰ n œ n œœ ™™ ‰ oœ Ó Ó Ó Ó ‰
(snd) o œ n œ- ™ -
˙ go ˙˙- ™™ oœ
-.
n˙ gw w- ™™
gg w g˙
coordinate 5/4 4/3
with Bass Fl 4/3
IV:1a IV:1b IV:1b IV:1b IV:1a VI:5a V:6b
V:2b V:2a V:3b 4°/VI 6:5
^ ^ - o
Gamba {? Œ o œ m œ- ™ ‰ m œ v œœ ™™ ‰ eœ ˙ ee ˙˙- ™™ e œ. v˙ Ó Ó Ó Ó ‰ n‚ ™ mw me w
™
w- ™ e˙
û -
sf sf p m.v.
48
224 : 225
3 4 2 3
ù
141 = +8c 2 2 2 2
Alto Fl Œ ∑ ∑ ∑ ∑ Ó Œ nœ
(2) & ˙™ port. n˙
-2
-2 p
n˙™ nw œ take Clarinet

Bass Cl
& ∑ ∑ ‰ nœ ™ ˙™ œ œ Œ Ó
(1) û -6
o p
… 3
Ó Œ Œ ∑ ∑ ∑ nw
Vib {& n˙ ew n˙
p °
u13
3
Mar {& ∑ Ó Œ Ó ∑ ∑ Ó Œ <e œ
<˙™ n œ-
p
sf
7° 7°
∑ ∑ <e œ f˙ Œ ∑ ∑
& f˙ <e ˙
Hp
n˙
(snd) 7° 7°
? ∑ Ó™ <e œ fw n œo nw ∑ ∑
{ <e ˙ ™
∑ ∑ eœ e ˙^ Œ ∑ ∑
& e˙ e˙
e˙
Hp
? e w^ o ew
∑ Ó™ eœ ∑ ∑
{ Eb Fb Ab
e˙™ eœ
u13
3
& ∑ Œ ∑ Ó Œ Ó ∑ ∑ Ó Œ
nœ 9f ˙ ™ nœ
Hpsd
(snd) n˙ nœ ™ nœ n œœ
? Ó Œ Œ ∑ ∑ ‰ Ó Œ Œ Ó ∑ Ó Œ
{ & nœ
u13
3
ù ∑ Ó Œ Ó ∑ ∑ Ó Œ
& n˙™ nœ
∑ Œ ∑ ∑ ∑ ∑ ∑
Hpsd
{ &
n˙
nœ
? Ó Œ Œ ∑ ∑ Ó Ó Œ vœ œ Œ Ó ∑ ∑ &
? ∑ ∑ eœ ™ ‰ Ó Ó eœ Œ Ó ∑ Ó Œ
{
û
& nœ
º
3 4 2 3
Hœ™ G1°œ 2 3
1° 2 nœ u1 2 3
2
& g g œœ™™ u1 ‰ Ó ‰ n œ o œœ œ Œ g˙ ˙ Ó Ó Ó j n˙ ™ nw w
gœ ff ˙˙ u1 fœ nœ ™ w mw n˙
u1
Cues
˙™ n˙ aw fœ fw fw m˙ ˙ nœ
? Œ ∑ Œ Ó Œ
{
+37 lower Db by one comma c.l.b. ord.
+8 Ω
Hœ ˙™ ≤ +14 tune 5/3 above SQ Vc
Ó™ 5:3 ≤ fœ™ œ™ fœ 3
SQ ù
& g œ ‰ n œ o œœ +27œ +6 Œ +6∑ ∑
ne ˙˙O nœ ™ n œ™ ‰ nœ w ™™
nn w Ó nw ˙
Vl1 Ó™ ≈ R g œ f ˙™ fW -6 -6 n˙
nœ ‰ ‰ Œ™ nœ ‰ nœ
sfz -4 J J sfz º
+ + +8
3
≤ 3
+22 ≥ ∑ +8 ≥ fœ ˙ Œ Ó
SQ
& g ˙™ Œ Ó Ó g˙ ˙ +8 ‰ Œ nœ œ Œ Ó nw œ
Vl2 Ó Œ f œ n œœ œ
Œ fœ™ ˙™ -6 mœ ˙™
nœ œ -20
3 -8 -4 ‰
o
II
+10
3 +10 5°/IV come prima IV
o +8 3 +8 o o
SQ B g w- -
W Œ Œ n‚ f œ‚ ˙ ˙ Ó fœ f œ nf ˙O ˙
Ó
f˙ Ó Œ nœ
Vla
3:2w nœ œ mO ~ n œ-
o -6 IV
sfz
3 +8
+8 3
+8
o fw m˙ ˙
SQ ? gœ Œ Œ Ó Ó g˙™ œ Œ Ó Ó Œ Œ n‚ ~ Ó n˙ Ó
Vc û Ó Œ fœ ˙™ O fw
~o o
3 IV
-22
o
+20
ù n œo œo n œo G ˙^
Vln Ó Ó Œ ∑ ∑ ∑ ∑
(snd) &
+20
2°/II
1°
n ‚o ‚o n ‚o G ˙^
Ó Ó Œ ∑ ∑ ∑ ∑
Vln { &
o
-o
press down and slightly raise
to make major triad with SQ
u13
nœ o3 ≤
Vla B Ó Ó ‰oœ ‰ ∑ 9f ˙ ™ Œ Ó ∑ ∑ Ó Œ nœ
(snd) o 9f ˙
-o u13 2°/IV
n ‚ IIIII o3 II ≤
Vla { B Ó Ó ‰n ‚ ‰ ∑ nO ™ Œ Ó ∑ ∑ Ó Œ nœ
o n ˙o
pp o p
o
o
m ˙™ m ˙™
? ^ n˙™ n˙ œ n˙™
Gamba gœ Œ Ó ‰ g œ™ fw f˙ ™ Œ Ó Œ J ‰ BŒ mn w
w
(snd)
5/2 6/5
III:9b
3°/II o III:9b
V:8a
e˙™ e˙ œ n Oo ™ en O˙™™
II:0
ne w
? ‰ eœ ™ d w^ d˙ ™ J w
Gamba {
û
œ Œ Ó Œ Ó Œ
o
‰ Œ
49
3
146 2
5 4 3
ù
4 ^ 2 2 nœ ™ œ take Flute
Alto Fl
& w™ ˙™ nœ nœ W w™ ‰ Œ Ó
(2) û -2
› …
∑ ∑ ∑ Ó Ó nw ™ Ó Œ Œ Ó
Glock {& 5
pp
nw j
Vib {& nw œ
∑ nw ™ œ nœ ™ œ Œ Ó
˙
°
n˙ ™ 7° ^ 7°
5:3
& Ó <e ˙ ™ nœ Œ Ó Ó Œ < œ nœ <w ™ Œ Ó Ó
<œ < œ nœ <w < œ-
n˙™
Mar sotto voce
™
? ∑ ∑ ∑ Ó Œ nœ Ó Œ n -œ ™ ‰ Œ ‰ nœ œ Œ Ó
{ 13°
7°
o 0v ˙™ n wo ™
Ó
n˙ ™ <7°˙ ˙ n˙™
Ó Ó Ó Œ
…
Œ Ó
& <œ n˙ ™
5:3
Hp
(snd) n ˙o ™ n wo ™
? …
∑ Ó ∑ Ó Œ Œ Ó
{ e˙™
e˙™ o o …
& Ó vœ e˙ ™ v˙ ˙ v˙ ™ Ó Ó vv ~w ™™ Ó Œ Œ Ó ?
… 5:3
Hp o mute the
? ∑ e ˙^ ™ …
Ó
2 Abs
∑ v wo ™ Ó Œ
…
Œ Ó
{ E# Gb A#
< 7°w
∏∏∏∏∏∏
n˙ <7°œ™
∏∏∏∏∏∏
w
& m˙ n ˙˙ mum ˙˙˙ < < ˙˙ Œ Œ ‰ Ó Ó ‰ nw
u˙ ‰ nœ ™ œ Œ Ó
˙ ˙ nn œœ œ™ 5:3
Hpsd
(snd) nœ ™ nœ n œœ Œ Ó
44 œœ m œ n ˙˙ ? ‰ nœ ™ œ™ nw ∑ nœ ™
{ & n œœ
J
Œ Œ ∑ Ó Œ
7°
‰ Œ ∑
∏∏∏∏∏∏
n˙ Ω n7°œ ™ w nw
∏∏∏∏∏∏
ù n˙ n ˙˙ nvn ˙˙˙ nn ˙˙ Œ Œ ‰ Ó Ó ‰ v˙ ‰ nœ ™ œ Œ Ó
& ˙ ˙ n œ vw
vœ œ™ 5:3
∑ ∑ ∑ ∑ ∑
Hpsd
{ &
vœ™
Ω
Œ n œ v ˙˙ ?‰ vœ ™ œ™ nœ Œ Ó ∑ Ó Œ n -œ ™ ‰ Œ ∑
& J Ω
nœ n œœ Œ Ó
nœ ? Ω ew
{& vœ Œ Ó Ó Œ ‰ nœ
J
Œ Œ ∑ ∑ ∑
û
3 5 4 3 u1 uw
2 u1 nw 4 2 n˙ j
2 uw j
1°
& mm ˙˙˙ nm œœ Œ Œ
nœ nœ ˙ u œœ™™ œ w w Ó nœ nœ ™ œ Œ Ó
1° 5:3
1°
Cues
w ˙ w œ
? ∑ ∑ ∑
{ &
change gradually
III II ≥ II o III IV
ù to harmonic o o - o o o ô
SQ
& Ó Ó Ó n~ ‚ n œ‚ Œ n u œ™
‚™ ÓO™™ œ™
‚™ u~ nO ‰ Œ Ó
Vl1 n ~o -14 o
n-‚ ™ ‚
o o o
III
3
Ω II
I
o
Ó n œœ n˙ ˙ ≥ ≤ ô
SQ
& mw œ Œ mœ œ Œ Ó n˙
Ó
˙ ˙™ ‰ n œJ n ˙˙ w ˙™ Œ Ó
Vl2
n˙ w -18 ‰
nœ ˙ n œ
-4 3
-18 J sfz p
III II
o o o o oI 5:3
IV
IV
o
n ~^ nO ‚o n ~o I ô
SQ B ∑ ‰ Œ n‚ ™ ‚™ ‚ O
Œ Ó u ~ II Ó ∑
Vla Ó Œ n‚ ™ n œ‚ ™™ n ~o nœ œ™ ‰ Ó ∑ o
o o sfz
II
oΩ
oj o
SQ ? o o
‰ m n ‚œ m O Œ n ‚j ∑ Ó Œ n -œ ™ ‰ Œ
ô
∑
Vc m ~ ™ ‚ nw
û m ~o ™ nœ - III
J
º p o o ≥ -. -.
sfz ≤ ≤ ≥
5:3
4œ ˙ 4˙ nœ <œ uw™ <w œ™ ‰ Œ
Vln ù ∑ ∑ -29 -14 -33 Œ Ó
(snd) & nœ œ w™ nw ™ ˙™
33 : 32 64 : 63
= -53c = -27c
11/4
-. -. 21 : 20 15 : 14
o o ≥ = -84c ≤ = -119c
≤ 5:3
≥ via sord.
n‚ O n˙ 5œ fœ > w™ vw œ™ ‰ Œ i
Vln { &
o -≥.
4œ tœ n ˙
∑
-.
u˙ -35
<w
∑
nœ
nœ
p
˙™
œ w™
8/3
nw ™
5/2
7/3
n ˙o
˙™
o
< -œ
Œ Ó
Vla w™ -33 -16 nw nœ œ

B Œ Œ Œ ∑ Ó Ó Œ Ó Ó
(snd)
8/3 5/2
11/4
o -≥. -. 9/4
7/3 2°/II
n‚ o œ 5 ˙ 5u ˙ 15 : 14 ww 28 : 27 5v œ ˙™ 9 : 8
n Oo 8 : 7
4/IV
via sord.
= -119c = -63c = -204c = -231c o i
Vla { B w™
99 : 100
= +17c
25 : 24
= -71c
16 : 15
= -112c
nw
^
nœ œ
Œ Œ Œ ∑ Ó
n ˙˙ ™™
Ó
n -œ ™
Œ
™
n‚ Ó
sotto voce
Ó
Gamba B mw Ó ? m œ™ ‰ Œ m œ n -œ œ ‰ Œ nw Œ nœ ‰ Œ ‰ nœ œ Œ Ó
(snd) J
III:1b same sounding pitch III:6b
II:7
nw III:1a ^ IV:5a
e ˙˙ ™™ e -œ ™ eœ ™ take Cello
? Ó ? mœ™ ‰ Œ m œ o -œ œ ‰ Œ mw Œ mœ ‰ Œ ‰
œ
Œ Ó
Gamba {
û J
50 Trill flowers fell
1
2 w ca. 18-28 +12
fw
4˙ +14
2 +12
Flute ù ∑ Ó
o˙ w w
∑ Œ f˙ ™ w
(1) &
p 3 o o p
+14
fw ow
Flute ∑ ∑ nw w ˙ ˙ ˙ Ó
(2) { & +12
p
+16 match Cl, N Tp
-2
o p
0
+12
fœ
+14
o
3 +12 œ oœ
Oboe & o˙ œ ‰ Œ Ó fw ˙ Ó Ó Ó n˙ n˙ Œ Ó
nw w J -2
-2 mezza voce 3
p poco f
+12 (m.v.)
oœ +14
Clarinet o ˙™ ˙ 0
& ∑ Ó ∑ ∑ ∑ nw ˙ ˙
in Bb (1)
p match Ob, N Tp o p
+12
Clarinet ∑ ∑ ∑ ow w w w ∑
in Bb (2) { &
0 +14
o
n -˙
p o
Alto Ó n˙ ∑ ∑ -2 Ó j
nœ n w
vw ∑
Saxophone & v ˙- o˙ -4
û p
-2
mezza voce +14
+14 (m.v.)
+16 +12 12 : 11
B0 (sempre) oœ ow o˙™ = -151c
Horn ù Ó Œ ∑ ∑ ∑ ∑
oœ
in F & nw
-2
f f
7° 0 0 +14
4 ow
Piccolo Trumpet 4
& Œ o˙ ˙ Ó ∑ ∑ ∑ ∑ Ó oœ ˙
in Bb (1) <œ +12 <œ +12
-33 f -33 3
f
+49 match Ob, Cl
+12 -236c +31
ord. +47 +12
3
+47 +47 3 +30 f œ > œ
Natural Ó Œ Œ 4 œ 4 œ3 f œ ˙ Ó Œ 4œ fw ∑ ∑ Ó Œ Œ 4œ œ 4 œ >œ
Trumpet (2) { & 4œ
Bb IV
f
32 : 33
= +53c
*Bb
F III
f 3
4œ
+49
f
+12 3
Tenorbass ? ∑ +49
‰ ∑ ∑ ∑ ∑ ∑ ∑
Trombone n˙ port. 4œ ™
-4
f
0
3
5-valve ? ∑ oœ ™ ‰ ∑ ∑ ∑ ∑ ∑ ∑
F Tuba û n˙ +14
-2 f
3
o˙ 3
o 3 ow o 3 3
& <˙ Ó Œ oœ f˙ ∑ ∑ ∑ <˙ Œ Œ Œ oœ f˙
Harp 4œ 4œ 3 nœ 4œ 4œ
3 o 3
(sound)
? Œ 4œ 4œ fœ Œ Ó Ó Ó <˙ ? ∑ ∑ ∑ 4œ 4œ fœ Œ Ó
{ n˙
n˙
o
4œ 3
3
&
3
v˙ o
n˙
n œ 4œ 3
3
&
3 3
? vv O˙ Ó Œ vœ e˙ vw ∑ ∑ ∑ ? vv O˙ vœ Œ Œ Œ vœ e˙
& eœ vœ 3 3
& eœ vœ
Harp
3 o 3
(scordatura)
?
f
Œ eœ vœ e œ Œ Ó Ó Ó vv O˙ ∑ ∑ ∑ eœ vœ e œ Œ Ó
{
(E#) F# G# (A#)
(Db Cb Bb)
v˙
v˙ eœ 3 3
v˙
vœ eœ 3
&
3 3
oœ ™ fœ ™ f˙ oœ ™ fœ ™ fœ
∏∏∏∏∏ ∏∏∏∏∏∏∏
∏∏∏∏∏ ∏∏∏∏∏∏∏
oœ
∏∏∏∏∏
∏∏∏∏∏
& nn œœ ™™ < œ™ 4 f4 œœœ ˙˙˙ 4œ ∑ ∑ ∑ ∑ nn œœ ™™ < œ™ 4 f4 œœœ ˙˙˙ 4œ
Harpsichord
(sound)
?
< œœ ™™ œ™ < œœ ™™ œ™ 4 ˙™
œ™ Œ ∑ ∑ ∑ ∑ œ™ Œ Œ
{
∏∏∏∏∏∏
nnn w
w
w
ù ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
3 3
nœ ™ eœ™ e˙ nœ ™ eœ™ eœ
∏∏∏∏∏∏∏
∏∏∏∏∏∏∏
nœ
∏∏∏∏∏
∏∏∏∏∏
nn œœ ™™ nve œœœ ˙˙ vœ ∑ ∑ ∑ ∑ nn œœ ™™ nve œœœ ˙˙ vœ
Harpsichord
{ &
Œ™ n œœ ™™
˙
Œ™ n œœ ™™
˙
∏∏∏∏∏
∏∏∏∏∏
(scordatura)
? vnn œœœ ™™ Œ ∑ ∑ ∑ ∑ vnn œœœ ™™ Œ ∑
™ ™
∏∏∏∏∏∏
Œ™ nvv w
w Œ™
w
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ n˙ ™
{ û
w ca. 18-28
2 4ow w n ww w
w
2 w ∑ ow
w
& ∑ ∑
Cues
∑ ∑ ∑ fw w w nww ww
{ &
+14 o˙ ˙
n œJ n w
2°/IV
con sord. II o
ù ow oœ o˙ ˙
∏∏∏∏∏∏∏∏
SQ
& ∑ ∑ Œ n‚ nœ Œ Ó Œ ‰ j nœ Œ
oœ w
nn œœ- n œ œ-
Violin 1
o 3
pp sotto voce
3 o - -2
con sord. nw ˙ poco f 2°/II
SQ
& ∑ ∑ ∑ ∑ -2 n˙ n Oo Oo ™
Violin 2 n˙ ˙™™ J nœ
3
o pp sotto voce
con sord. bow changes ad lib.
+12
SQ B ∑ ∑ ∑ fw w w w w
Viola
o pp sotto voce 2°/I
con sord.
n Oo 4°/I
Oo
bow changes ad lib.
~o
SQ ? ∑ ∑ ∑ ∑ ∑ ∑
Violoncello û o pp sotto voce
ù -≤ r
Violin n ˙ ort. n œ ™ Ó ∑ ∑ ∑ ∑ ∑ n ˙ ™™™ nœ nw
(sound) & o œJ p w
senza sord.
II
≤o o
III -≤ 3/2 II
r
p 3/2
Violin
(scordatura) { & n ˙œJ port. m œ ™
n
o
f
Ó ∑
3
o ˙o
∑
wo
∑
wo
∑
wo
∑ n ˙ ™™™
œo
o
nœ m w
w
o
< -˙ o
˙ - n˙ wo
Viola B Ó ∑ nœ
(sound) < œ- ˙ oœ œ Œ
senza sord.
o p II
III
o
4/IV
o IV
3 o
4/III o o
bow changes ad lib.
o o o - O ~o
Viola ~ ~ ~ ‚ nn œœ œ
(scordatura)
Violoncello
{ B
?
n-O
f
Ó
4 ˙o
o 3
œ Œ Œ
∑
Ó
n œ- ˙
f
nO
o
O
Œ
f ˙o port.
o
Ó Ó nœ nœ f œ œ™ ‰ ∑ ∑ ∑ ∑ ∑ f˙
(sound)
3 -4 +12
- -
2/II ≤ o 3 2/IV
n Oo ‚ Œ Œ Ó
4/IV
o o
Violoncello ?
(scordatura) { û
Ó Ó
3 -4
n œ n œ +12f œ
III -
-
f
œ™ ‰ ∑ ∑ ∑ ∑ ∑
nO port.
nO
3 2 2 consonant w Fl 2, Ob 2 51
9 coordinate +49
with Ob +47 0
Fl ù fw œ™ ‰ Ó ∑ ∑ j ‰ Œ j 4w œ Œ Ó
(1) & nœ n˙ nœ 4 w nw
-2 -4 12 : 11 pp
f = -151c p
match Horn, Tp consonant with
E-37 match E-37 11 : 8
11° D#-49
Fl 1, Ob >+12 match Sax
Fl ‰ n œJ 4fœ n œ 4fœ œ ˙ n œ 4f˙ w 4 -˙ Brass
Œ 4f˙™ ˙™ = -551c
4f œj f ˙
(2) { &
f 10 : 11
= +165c
3 3
+16
match Ens Vl
dissonant w Fl
∑ Ó
coordinate ´
with Fl 1, Gamba
f 15 : 16
= +112c
+47
match, coordinate
o
Œ Ó
match Horn
+14
pp
˙ ˙
E-37
+12 with N Tp
Ob & o˙™ nw ∑ j ‰ Œ Ó ∑ 4 -œ Œ Œ Ó 4fœ o ˙ ˙ ˙ Œ 4fœ
fw œ n œ- 3 12 : 11
-2 match Brass 3 mezza voce
f fp coordinate with Hn, Tp fp = -151c
8 : 11 (m.v.) 8 : 11
E-37
= +551c D#-49 = +551c
Bb Cl œ Œ Ó ∑ Ó Ó n˙ 4 ˙™™ ‰ Ó 4 -œ Œ Œ 4o -
Œ œ Œ Œ Œ ∑ Ó Œ nœ ˙ 4 ˙™ nœ
(1)
&
D#-49 3 3
o 3 15 : 16 3
f fp = +112c fp
pp poco f
+16
+12
Bb Cl o˙ ˙™ ‰ 0n œ ˙™ œ Œ ‰ nœ o œ
(2) { & ∑ Ó
+12
0
Ó
3
+12
f p
J
w œ œ ‰ Œ
Jo
Ó ∑
match
Tuba, Tb
-4
+12
nw
mezza voce
(m.v.)
J
poco f
Alto ∑
vœ oœ ˙ ∑ ∑ ∑ ∑ Ó Œ nœj
vœ ow œ
Œ Ó
& o œ- 15 : 16
Sax û -2 = +112c
poco f 15 : 16 poco f
= +112c
match N Tp, +14
11° tune 5/3 below E-37 D#-49
coordinate with Cl B0 coordinate E-37
ù 4f w Natural Trumpet 4f œ 4œ B2
4 -œ 4f œ- with N Tp, Ob 4f ˙ ow
Hn & E-37 ∑ Ó Œ Œ Œ Ó Œ Œ Œ Œ Œ ∑ Œ Œ Ó ∑
3 3 3 3 3
f p sempre (N Tp)
2 2 2 coordinate
4 3 4 16 : 15 4
match Hn v with Cl
v v = -112c
+49 E-37 E-37 3
Picc Tp Œ 4 œ n œ 4o˙ Ó ∑ ∑ ∑ Œ 4o œ Œ Œ Œ ∑ ∑ ∑
(1) & ˙ -
-2 fp
12 : 11 coordinate
+47 tune 5/3 10 : 11 with Hn, Ob
match Hn (T)3 = -151c
4 ˙above Horn = +165c
-D#-49 3 ord. +12 +47
N Tp Œ 4 œ Œ Œ nœ ‰ Œ Œ f œ. 4 -œ Œ Œ Ó
(2) { &
Bb I
f
Ó ∑ ∑ ∑ Œ
3
fp
.
11 : 8
= -551c
+49
4 œ- ™
fp
3
fp
3
Bb IV
0
9 : 8
= -204c
∑
n œ-
∑
? +12
Ó ∑ ∑ ∑ ∑ ∑ B Ó Œ nœ n œ œ nœ œ
Œ ∑
Tb f˙ -4
f coordinate -2 poco f p
with Tuba 3
n 3˙ nœ ˙ n -œ
Tba
? Ó ∑ ∑ ∑ ∑ ∑ Ó Œ Œ ∑
-2
û f
-2
coordinate poco f p
with Tb
4˙ 4f“œ
& 4 œ 4f œ 4 œ 4f œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Hp 3 3
(snd) 4f œ ?
Ó Œ Œ 4œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ &
3
e˙ n“œ
& e œ nœ v œ nœ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3 3
Hp eœ
{ & Ó Œ Œeœ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3
E§
3
4f ˙ n˙ 4f4 ˙˙ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& n˙
Hpsd
(snd) ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∏∏∏∏∏
{ o ff w
w
w
ù ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
3
n˙ n˙ vn ˙˙ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Hpsd
{ &
?
n˙
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
∏∏∏∏∏
{
û nee w
w
w
3 2 2 2 3
4f ww ww ww ww w w 4 ww 4fœ o ˙ ˙ w
& n œJ n ˙ ™™ nœ 4 ˙
J Œ Œ œ
f nw œ Œ ‰ n œJ o œ
Cues 3
{ & ww fo ww n ww n4 w
w w
w w
w w
Ó Œ nœ f ∑w n ww
n œJ
11/6 11/5
3
+47 match Ens Vc match SQ Vl2
SQ ù 4 œ n œ 4f œ ˙ w w w w ˙ E-37
Œ ∑ ∑
Vl1 & n˙ E-37 Ó 4f ˙ ˙™
10 : 11 pp sotto voce o
11 : 12 = +165c
- o pp sotto voce
E-37
= +151c +47 D#-49 match SQ Vl1
SQ Ó 4 œ™ ‰ 4w ˙ ˙ w 4f ˙™ Œ ∑ ∑
Vl2 & w w ˙ ˙ nw ˙ Ó
bow changes ad lib. poco f o o n ‚o ~
2°/I
SQ B fw w ˙ Ó ∑ ∑ ∑ ∑ Ó Œ Œ
Vla
o 3 o
2°/I
~o ~o n ~o Oo n ‚o +12
2°/I
SQ ? J nœ fw œ
Ó ∑ ∑ Ó Œ Œ Ó
Vc û poco f o o o o3 poco f
o 4 œ- 4 ˙™
Vln ù
&
3
ow nw 4 w- Œ ‰ J Œ ‰ n œj œ 4œ œ Œ Ó ∑ ∑
(snd) nw n˙ - - Œ Œ
2/I
o o transition gradually
2/III
o II I
n-‚ II
nO ™ I
3
n~ n w- Œ ‰ J Œ ‰ n œj nœ œ Œ Ó ∑ ∑
Vln { & mw
f
˙o ™
m˙
sostenuto
o
nw
nw
-
wo œo ™
-
œ Œ Œ
o
o œo wo
Vla B nœ -
‰ Œ ‰ n œJ œ ‰ Œ Ó
4 ˙- ˙ œ ‰ Œ Ó Ó Œ
(snd) o œ- J J
II o
Oo ™ III n~ ~o ‚o ™ II
- n -˙
I
˙ œ 4/III
o o
Vla { B nn œœ- ‰ Œ ‰ n œJ œ ‰ Œ
J Ó J ‰ Œ Ó Ó Œ n‚ ~
poco f p o f sostenuto p
Vc ? 4f wo wo wo o o
4 -˙™ ?
f wo wo
‰ & n w- ∑ Œ
(snd) j
f ˙™™ 3/I
coordinate
fœ
n ~o ~o ~o 4/III
o with Ob 4/II
o 4/IV
o o
? ‰ ∑ n-O ™ Œ
Vc {
û n ˙ ™™
f
o p
n~
o f-
p
j
n œ n~
poco f
~
pp sotto voce
52 3 16 : 15 4 3
= -112c
18 +12
Fl ù
(1) & œ f œJ n œ ™ œ w œ Œ Ó ∑ Ó n˙ w ˙™ Œ ∑ ∑ ∑
poco f p poco f o
+16 16 : 15
= -112c
0
-
Fl
{ & f œ f œ o œ™ f œ œ ‰ Œ Œ ‰ n œj w w w œ Œ Ó ∑ ∑ ∑ ∑
(2) J J
f o p
+47
4fœ -2n ˙ ˙ 4 -˙ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob &
3
11 : 10 12 : 11
= -165c = -151c
D#-49 consonant with
match +14
N Tp 4 ˙ nœ n˙™ D#-49 support Brass harmonies N Tp, Horn, Cl 2
oœ œ 4 œ- +12 4o ˙
Bb Cl & œ Œ Ó ∑ ∑ nœ -4 nœ J ‰Ó Ó E-37
(1) ow w w o
poco f
p sostenuto
+14 match Tb, Picc Tp support Brass harmonies,

E-37
o -œ 4o ˙ ™™ match Tuba
Bb Cl
{ &
oœ Œ Œ nœ ˙ ˙ ∑ ∑ ∑ Œ Œ n œ- j ∑ +49
(2) -2
p poco f oœ œ 4w w
p sostenuto
+12
Alto Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Sax & o˙
û
54 : 55
E-37 B1 B0 = +32c B1
2 2
4f ˙ n w tune with Tuba
ù
-2 ∑ ∑ ∑ ∑ ∑ ∑ n œj o ˙ ™ oœ
Œ œ
o o˙ 4w
Hn & -4
+47
3 +12 +16
poco f 8 : 9 f
= +204c
11 : 10
= -165c 2
4
3 v
3 E-37 3
Picc Tp ∑ ∑ ∑ ∑ ∑ Ó Ó Ó ∑ ∑ ∑
(1) & n˙ 4o w
-2
poco f 10 : 11
8 : 9 = +165c tune to Horn 7° tune with Tuba, Horn
(T)3 T
ord. = +204c +12 234
+34
3 +51
+47 +47 f œ n œ <f ˙ +14o œ ord. +47 3 3
N Tp 4 œ. Œ Œ ‰ n œj < -œ Œ (T)3
nœ 4 ˙ œ Œ Ó Ó 4˙ 4˙ ˙ ‰™ 4 œ 4m œ 4 œ E-37
(2) { & ∑
p
-33
6 : 7
= +267c
Ó
poco f 3
*B
F III
Ó
3
F III
Ó ∑ Œ -19
3
15 : 14
= -119c
f
match
f˙
3
Ó R 4m œ 4f œ
+49
25 : 24
= -71c
F III +14 +49 +14
Tuba
-œ
nœ n˙ o œ o -œ 4 œ- n œJ o œ œ *B o œ™ 4 œ 4 œJ o œ™
Tb
B ∑ Ó Œ ‰ J Œ Ó ∑ Ó J Œ Ó Ó ÓF III J Ó ∑
-4 10 : 9
33 : 32 3
p poco f = -182c = -53c +51
+49
+14 1
n -œ o 0˙™™ 2
4 tune with Horn
? ∑ ∑ Œ Ó ∑ ∑ ∑ ∑ 4œ w w
Tba J
û p poco f +49
3 3
4 3
4fo ˙w nw 4 wœ < wœ n wœ 4 ˙ ˙ w nw 4 ˙ 4f ww j w w 4 ww
& Œ Ó Œ Ó Ó Ó
4˙
Ó nœ f ˙ ™ oœ
Œ
fœ o˙
3 3
Cues
fw w Ó Œ ‰ 4 œj
{ & w w
Ó nœ nœ 4 ˙
3
ww nww o ww w
w w
w w
w w
7/4 tune consonant

7°/III with SQ Vl2
III 3°/III 3 2°/III
o o +47
SQ ù
&
≤
nO <f~
-33
<˙ œ n ‚o ~o ~o Oo ™™ j ‰ 4˙
Vl1 n˙ n ˙- n˙ ™ w ˙™ nœ ˙ ˙ œ™
o poco f o pp sotto voce
o o
11/6 11/5
3 tune consonant
2°/IV
o III 3 +47 with SQ Vl1
SQ n˙ ™ œ œ™ ‰ n ‚r ∑ ∑
+14 oœ w ‰ j nœ Œ 4œ n œ 4f œ œ™ j
Vl2 & nw ˙™ œ œ™ n œ ™™ ow ˙™ o˙ œ n œ œ- n˙ E-37 4f œ
o o 10 : 11
pp sotto voce f o o = +165c pp
pp sotto voce poco f 11 : 12 sotto voce
= +151c
~ O 3°/II
SQ
n˙ ˙™ 5
nœ ˙ n ~o ~ ~ ~ O™ nœ œ™
B n˙ ˙ ™™ J ‰ Ó
Vla
3 o
pp sotto voce
11/4
2°/I o 3
+49
2°/III 4°/III
o n ‚o O Ó 4˙ w 33 : 32
= -53c nw 10 : 9
= -182c
+14
ow w w w ˙
o o -4
SQ ? Œ ‰ n ‚J O port.
n‚ Œ Œ n˙ ˙ n˙ Ó
Vc û - o
o f poco f o sostenuto
ù o nw nw 4 w w˙ ™ Œ ˙ ˙ œ -
Vln
& o˙ no ˙˙ ˙™™ ‰ Œ n˙ œ ˙ œ ˙ Ó Ó Œ ‰ 4 œJ
(snd) o
o poco f
≤ 2/III II
-I
n Oo nn˙O nw
II
n wI w w˙™ Œ ˙ ˙ œ ‰ n œJ
Vln { &
p
II o
˙™™ ‰
o pp sotto voce ( pp )
o
3
Œ n˙
o o
œ ˙
pp sotto voce
œ ˙
o
Ó Ó Œ
o
< ˙o n -˙ n˙ ≤
Vla B ∑ Ó ∑ ∑ Ó ow nw ∑ ∑ ∑ ∑
(snd) j o o˙ ˙™ Œ
<œ
2°/II
o
o 3
o 4/IV n-O nn O~ ≤
nw ∑
Vla { B ∑ Ó j nO
nœ
fp
∑ ∑ Ó 2°/III
f
o n˙ ˙™ Œ ∑ ∑ ∑
o œo
Vc ? f ˙™ œ
Œ Ó ∑ ∑ ∑ ∑ 4f wo wo wo wo ?
(snd) &
3°/I
o o o n ~o ~o ~o ~o
? Œ Ó ∑ ∑ ∑ ∑
Vc {
û O™ ‚ ‚
o o p o
3 2 3 2 53
28 +14
Fl ù ∑ ∑ ∑ ∑ ∑ ∑ ∑
(1) & o˙ ˙ w w
o p
+16
Fl
{ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó ow w
(2)
3 o
p
+12 +16
match Hn
f -˙ nœ o -˙ ™ take Bass Oboe
Ob & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ J nœ Œ ∑
poco f
Bb Cl
4o ˙ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó nw
(1)
& -2
o 3 o
p
tune to Picc Tp, Tb

4o w ˙ ˙
Bb Cl
(2) { &
4˙ ˙ o
∑
tune with
Horn, Picc Tp
10 : 11
∑ ∑
11 : 12
= +151c
∑
16 : 15
= -112c
B-35
o p
+14
o
∑ ∑ ∑
= +165c A-39 A-39 A-39

+49
Alto ∑ Œ n œ n œ œ™™
4o œ œ‰Œ Ó Ó
4o ˙ o˙ œ 4o ˙ 4œ œ Œ Ó 4o œ ™ oœ ˙ ˙ Ó ∑ ∑
Sax & R J +12 J
û -2
3
-4 3
f poco f
f poco f tune to Picc Tp, Tb
tune with
Sax, Picc Tp B1 B1
F1 B2 2
B1 F0 2 2 F0 match Ob
2
ù nœ n œ 4 œ œ o œ- ™ n œ 4 œ 4 œ 4œ ˙ oœ 4œ oœ
Hn & ∑ Ó J‰Œ ‰ R J J ∑ ∑ ∑ Ó Œ Œ Ó ∑
-2 +47 +51 +47 +16 +47
-4 +16 +49
3 tune to Picc Tp 3
poco f f mezza voce
(m.v.)
2 V 2 1
4 1 match SQ Vl1 15 : 16 4 3
v 3 2D#-49 tune to Tb v
= +112c 4o ˙ w v
Picc Tp
& ∑ 4˙ ™ œ ‰ Œ n -œ 4 œ ˙ 4o w Œ +14 Ó ∑ ∑ ∑
E-37 J 2
(1) +47 V E-37 4 B-35
1 v o œ.
4o œ. poco f f 2
4 -
-
fp fp
(T)2 (T)3 ord.
ord. 34
A-39
N Tp Œ ‰ n œj 4˙ nœ Ó
(2) { & 4f œ 4 ˙
-
Œ ∑ ∑ ∑
+14
(Tb plays A-39)
A-39
∑
8 : 9
= +204c F I
∑ 4f œ™
-
fp
‰ Ó ∑ Ó
D#
-49
mezza voce
(m.v.)
3
33 : 32
= -53c
-2
F III o œ 4f ˙ œ™ 4f œ w
Tb
B ∑ ∑ ∑ ∑ B-35 J ∑ ∑ ∑ ∑
3 tune to
f Picc Tp, Sax
+14 0
o ˙-
Tba
? ∑ ∑ ∑ ∑ ∑ ∑ Ó ∑ ∑ ∑
û p
3 3 j
2 3 2 3
j Ó Œ ‰ j
& 4 ww w
nœ nœ 4 œ œw‰ Œ o œ ‰ ™ n œr 4œj w 4 œ 4œ ˙ ww ww ww f ww ow nœ 4 ˙w n œ ˙
Ó
Cues 3
4 œ4 ˙ ˙ f ww 4f ww 4f œ™w o œj ˙
{ & w nœ ˙ 4f ww o w œ 4f ˙ ˙ ww ww ww
∑ Œ nœ
3
3
tune consonant with

SQ Vla, Vl2, Picc Tp match SQ Vl2
11/4 3°/IV
o 3
j4œ™
II
w w w w œ 4f ˙ ™ ˙
SQ ù 4˙ 4˙ 4œ œ E-37
Ó ∑ ∑
Vl1 & n-O
n ˙- nœ œ o
poco f pp sotto voce
SQ 4f œ w w w w ˙ Ó ∑ ∑
Vl2 & 4f w w ˙™
o
tune consonant 5/4
II with SQ Vl1, Vl2
III - +14
+49
o n ˙˙ œœ
4 œOœ ˙O ™™
SQ
Vla
B Ó 44 ˙O 4 w~ w~ w~ ˙O ˙O œO Œ Ó Ó Ó o˙ ™ w
o 3 o
o poco f pp sotto voce pp sotto voce
32 : 33
= +53c
+12 B-35
f ˙™™ f -œ 4f -œ 4f ˙ 4f4f O˙ ~w ~w ~w O˙™™
SQ ? ∑ ∑ ∑ ‰ Ó ‰ J Œ
Vc û coordinate,
o f match Ens Vl
o pp sotto voce o
3 B-35 +12 B-35

-
ù - -
Œ ‰ f -œ 4f -œ 4f -œ
∏∏∏∏∏∏∏
Vln 4˙ n˙ nœ f ˙ ˙ ˙ ˙ ˙ ™™ f4 œœ œœ 4f4 w
w 4f ˙ ™ œ f˙ Œ 4f ˙ ™ 4 ˙ nœ
(snd) & - J J o ˙- ™ on œœ- on œœJ ‰ œ Œ o œ
+14 <œ
15 : 16 5/4
= +112c 32 : 33
I = +53c I II
sul II 3 II II II
33 : 32
+12 B-35
11/6 5/4 - III
+12 - B-35 - = -53c
˙ f œœ œœ Œ ‰ f -œ 4f -œ 4f w 4f -œ n˙
˙ ™™ 4f ˙ ™ 4f ˙ ™ nn œœJ‰ œ Œ nn œœ
∏∏∏∏∏∏
Vln { &
f
n˙
o
nœ f ˙
-
poco f o
˙
pp sotto voce
˙ ˙
f
J J
w
mezza voce
œ f˙ Œ
f
n ˙- ™ nn œ-œ
nœ
A-39 B-35 3
+14
≥ - 4f ˙≤ - o wo
∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏∏
4 ˙ ™™ ˙™ 4œj 4f œ j œ o4f œœ o4f ˙œ o4f œœ w

Œ ˙ ˙ w
Vla B
4 œ
J
4w w Œ j oœ
(snd)
3
oœ o œ œ <o œœ Œ oœ ˙
3
15 : 16
= +112c 2/1 11/8 3
≥ - 3°/III
I
o ˙≤ o- o
∏∏∏∏∏∏∏∏
I
n œj f œ
∏∏∏∏∏∏∏∏∏
III
n˙ ˙ œ n ˙ ™™ w nw w ˙™ j oœ œ o œœ o ˙œ oo œœ o 3 o
˙ n~ ~
J
Vla { B Œ
3
f o f poco f
Œ
f
n œ n œJ
II
III
œ nn œœ Œ nœ
f mezza voce
n ˙o n ˙o ™™ o
4f w- fw
Vc ? j B
Ó nœ ∑ ∑ ∑ ∑ ∑ ∑
(snd)
f œ- 4w
2°/I 11 : 12 = 7/2
3°/III
o
4°/III
j o n ~o +151c 5w (keep pitch)
? Ó nO n œ n O ™™ B ∑ ∑ ∑ ∑ ∑ ∑
Vc {
û
o
n œ-
poco f
nw
II
f
54 3 2 2
tune with Fl 2
38 +47
3
+12
Fl ù ∑ Ó Œ ‰ 4 œJ
(1) & ow nœ f ˙ ˙ w w ˙ ˙
o poco f p
o
tune with
Fl 1 3
+47 +12
Fl ow ∑ Ó Œ ‰ 4 œJ nœ f ˙ ˙ w w ˙ ˙
(2) { &
tune with
o poco f p
o
Cl 2 take Bass Cl
Bb Cl
4o ˙ Ó ∑ ∑ ∑ ∑ ∑ ∑
(1)
& E-37
poco f
match Cl 1 take Bass Cl
Bb Cl
4o w w w ˙™ Œ ∑ ∑ ∑
(2) {
û
& E-37
o p o 12 : 11
= -151c
F1
B0
ù 4f ˙ nœ ˙
‰ œJ
∑ ∑ ∑ ∑ Ó Œ
o 4f œ Ó
Hn & E
A -37 -2
+12 -39
5 : 6
= +316c take Bb Trumpet
3 0
Picc Tp ∑ ∑ ∑ j ‰ Œ Ó ∑ ∑
(1) & oœ œ
n˙™ +12
-4
p
(T)2
+47
ord. A-39
take Bb Trumpet
-
N Tp
{ & ∑ ∑ Ó Œ ‰ 4 œJ œ ‰
J Œ Ó ∑ ∑ Œ 4f œ Ó
(2) -
F III fp fp
+12
12 : 11
fw = -151c 4f w
Tb
B ∑ ∑ ∑ ∑ ∑ ?
û mezza voce
A-39
3
& ∑ ∑ ∑ ∑ ∑ Ó Œ ‰ f œj œ 4f œ f œ 4f œ f œ 4f œ 4 œ f œ 4f œ f œ 4 œ 4f œ f œ 4 œ
Hp
(snd)
∏∏∏∏
ffn ˙˙˙
∏∏∏∏
?
{ ∑ ∑ ∑ ∑ ∑ ∑ 4f4f4œœœ
4f œ
3
& ∑ ∑ ∑ ∑ ∑ Ó Œ ‰ e œj œ nœ e œ nœ e œ nœ e œ e œ e œ e œ e œ nœ e œ e œ
Hp libero e sonore
∏∏∏∏
? e˙
ee ˙˙
∏∏∏
{ ∑ ∑ ∑ ∑ ∑ ∑ ee œœœ
(E§) Fb Gb Ab
eœ
(Db Cb Bb)
∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ 4f œ fœ j
& nœ <m œ 4f œ
Hpsd J
(snd) ?
{ ∑ ∑ ∑ ∑ ∑ ∑ ∑
ù ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
overlap tones ad lib., tempo rubato a piacere !
∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ eœ eœ j
{ & nœ eœ
Hpsd libero e sonore
? ∑ ∑ ∑ ∑ ∑ ∑ Ó ‰ j ?
& vœ nœ
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
{
û
3 2 2
4fo w Ó™™ j
& w w
w w
Ó™™
4œ
J nw
w fw fœ 4f œw 4f ˙ nœ w
w
Cues
{ & o4fww f ww 4f œw o œj 4f ˙ oœ
j
ww ww ww 4f ww
E-37 4f ˙ ˙ w
SQ ù ∑ 4f w ∑ ∑ ∑ ∑
Vl1 & nw
3 3
o o
5/4
SQ ∑ ∑ ∑ ∑
&
Vl2 fn w
w w
w ˙˙ ˙˙
+12 o pp sotto voce
3 3
ow w ˙
SQ B o˙ w ˙ oœ ˙ ow ˙ ˙
Vla ow o˙ 3
3
SQ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vc û
o3
≤ o -œ ™
Vln ù œj ‰ j E-37 j Ó ∑ ∑ Ó nœ œ ™
j
(snd) & oœ o ˙™ w œ o œ 4f ˙ oœ ˙ - o œœJ
transition
tune with 12 : 11 ≤ to stopped 5/4
= -151c II
Ens Vla -3
œœj ‰ n ˙ ™ j j j
Vln { & w
mezza voce
œ nœ 4 ˙
poco f
nœ ˙ Ó ∑ ∑ Ó nœ n œ‚ ™™
o4°/III
rinf.
n œœJ
ow w o
Vla B ∑ o wo wo o
˙™ Œ Œ oœ nœ 4œ nœ o œo
(snd)
5
2°/III II I II 2°/III
2°/III o
B
o
~
o
~ ∑ n ~o ~o Oo ™ Œ Œ n‚ nœ nœ nœ n ‚o
Vla { p o rinf.
5
o
fw 4f wo wo wo o
˙™ o 4f œ™
Vc B ∑ Œ Œ ‰ 4œ
(snd)
tune with 2°/I
Ens Vla
2°/I
2°/II o
o n‚ ™
5 Iw n ~o ~o ~o o
O™ n‚
B ∑ Œ ? Œ ‰
Vc {
û mezza voce p o rinf. pp
4 2 55
45 take Alto Fl +12
Alto Fl ù ∑ ∑ ∑ ∑ Ó Œ fœ ˙™ Œ
(1) &
o sempre m.v., dolce
take Alto Fl 3 0
Alto Fl ∑ ∑ ∑ Ó nœ n˙ nw w
(2) {
û
&
-2 -4
sempre mezza voce, dolce
4f œ -
ff œœ 444 w
w 4f w
f œ nœ nœ 4 œ 4 œ 4œ w
∏∏∏∏∏∏
3 3 4f œ 4f œ
& n œ 4f œ n œ 4f œ™ f œ f œ 4f œ 4f œ fn œœ 4 œ f œ f œ f44œœœ fœ J Ó
o˙ 4f w
ow
o J 3 3
Hp 3
(snd) 4f ˙ ™ n˙ o n ˙o
∏∏∏
? Œ Ó ‰ n ˙ ™™ ∑ fw ? of w
w
{ &
∏∏∏∏
nw 3
fw
-
ee œœ eee w
w
eœ eœ e œ e œ eœ nœ eœ w nw
∏∏∏∏∏∏
3 3 eœ - -
eœ eœ eœ eœ ™ eœ eœ ee œœ nœ e œ e œ e œ eee œœœ eœ J v˙ nw
& nœ e œ J Ó
3
vw
3 3
Hp o
∏∏∏∏
o
? Œ n˙ ™
o
ee O˙ ? ve w
w
{ eew~ & ‰ e ˙ ™™ ∑ ew
∏∏∏∏
ew
ew 3
F# A#
3
3
j j Œ nœ ™
3
n œj ˙ ™™
<m œ
& o 4fœœ ™™ f ˙˙ fœ nœ j 4f œ œ™ on ˙˙ Œ f œ nœ J
nœ œ o œ œ™ oœ << ˙˙ nœ ˙ œJ ‰ n œ 4 œ n˙ n˙ n˙
3
Hpsd
∏∏∏∏∏
˙
∏∏∏∏
fo w fo ˙˙ <œ
(snd)
∏∏∏∏∏
? Œ <m œ < œœ œœ 4œ nno ˙˙˙ w

Œ o˙ 4˙ ‰ 4f œJ <m œ n œ
<m œ
{ J œ j ‰ Œ nœ Œ
3
nœ œ 3 3
3
ù Œ Œ nœ
& ∑ Ó vœ ∑ ∑ ∑ Ó Œ ‰ J
nn ˙˙
3
n œj
3
j j e ˙˙ Œ eœ Œ j nœ ™ Œ e œ nœ ˙ ™™ ‰
{ & n œœ ™™ nœ œ n œ œ™ nœ nœ ˙ eœ œ™
œJ nœ nœ e˙ n˙ e˙ nn ˙˙
3 ‰ 3
Hpsd
nœ
? Œ e œ n œœ
J
œœ œ j ‰ Œ Ó ∑ ∑ Œ e œ n˙ Ó Œ nœ
3
nœ œ
∏∏∏∏∏
n˙
∏∏∏∏
en w en ˙˙
∏∏∏∏∏
? ∑ Œ nœ nnn ˙˙˙ w
Œ n˙ n˙ Œ ‰ nœ ™ Œ nœ Œ Œ
{
û 3 3
4 2
& ∑ fw nw
w w
w w
w w
w
Cues
∑ ∑ ∑
{ & ow w w nœ
j n ww nw
w
fœ
w o ˙™
2°/III
2°/III 4°/III 3
o 3
SQ ù
& ∑ ∑ Ó Œ n ‚o Oo ™ n‚
o
~ n Oo Oo
Vl1
o nw
pp sotto voce
2°/II
n ~o ~o Oo
SQ Ó ∑ ∑ ∑
&
Vl2 f ˙˙ o 3
o pp sotto voce
+14 oœ ˙ w œ™
SQ B o˙ Ó ∑ Ó Ó o˙ œ™ J oœ ˙
Vla J
o 3 o pp sotto voce
8/5
+12
‰ f œ™ 5/4
SQ ? fw w ˙ œ
∑ ∑ nœ œ n œ f œ ˙˙
Vc û ‰ J
o pp sotto voce -2 o
o o
o -œ oœ [
3
]
Vln ù j ‰ ‰ - j A-39
‰ Œ Œ ‰ Ó Œ
& oœ <m œ ™ nœ o œ™ on œœ- f œ o ˙˙ 4f f ˙˙
4o ˙œ ™ port. n ˙ no œœ ™ 4f œ n œ 4f œ
(snd)
< ˙ -47 <o œœJ ‰ n œJ œ‰ o œ nœ f ˙™ ‰ +14
-31 - +12
- -4 - +18 - +49
3 3
3/2 11/8
5/3 63 : 64 4/3 6/5 II
4°/III
o o o 3/2
4°/III
5/4 [ 3
]
j ‰ - = +27c j ‰ Œ Œ n‚ nœ ™
Vln { & œ
pp
‰
n˙
mœ ™
più f
nn œœJ ‰ > œJ
- -
3
80 : 81
= +22c
œ 4œ
‰
-
3
un ˙™
œ port. > ˙
54 : 55
= +32c
11 : 12
= +151c
nœ n-‚
>n œ™
œ 7œ
45 : 44 = -39c
>œ 7œ >œ
- 15 : 16
= +112c
4e ˙™ ‰
‰ Ó nn œ-œ Œ n˙
4e œ ˙
mezza voce
4e4 ˙˙
-o -o -o -o o
o o3 -o < œ. o œ. < œ. o œo œo nœ o <m œ n œo œo <m œo
Vla B oœ ‰ Œ oœ ™ nœ o œœ Œ J j Ó ∑ oœ Œ Œ Œ
(snd) J J oœ œ
< œ œ- ™
3 -o
o -o 2°/III II - 2°/III 4°/IV
o 3°/III
o o o n ‚ 2°/II 2°/III 5°/IV
2°/II
n ‚o ‚o 5°/IV
‚ n ‚ ™ n œj n œ‚ o j n ‚o o o
Vla { B J
pp
‰ Œ
n œ œ™ ‰ o
Œ n ‚.
-
più f
n ‚. n ‚
- -.
n‚ ‚
J nœ œ
3
Ó
o
∑ m‚ Œ
o
Œ Œ m‚
o
o 4f œo o 4œ ‰ o 4 -œo o
n -œ 4f ˙o 4f ˙™ 4f œ
nœ ™ n œ 4f o
- n œ o
Vc B ∑ ∑ ? ‰ ‰ J œ™ ‰ nœ ‰ ‰
J ‰ ‰ J B Œ ? oœ
nœ
B
Œ Ó
?
j
- nœ 4œ
(snd)
fœ ‰ 3
fœ transition
- - to stopped
3 o 3°/I o
3°/III
5/1 o
n ‚o 2°/I 3°/III
I
2°/III
3°/II
3°/III o 4°/III
3°/I
n Oo 3°/IV n O ™II
3°/I
o o ™ ‰ o o
n-‚ ‰ ‰ n ‚o n-‚ ‰ ‰ n ‚j o III n‚
? n‚ ™ ‰ n ‚ n ‚œ- ‰ ?
Vc {
û
∑ ∑
nœ
-
pp
‰
‰
J 3°/II J
più f
-
Œ
3
pp
n‚ nœ nœ
nœ
j nœ
-
Œ Ó
56 3 2
+16 11°
51 0 8 : 11 D#-49 4w
ù f ˙™ 8 : 9 o˙ oœ = +551c
Alto Fl
& Œ = +204c Œ ‰ J nw ∑
(1)
o come prima o
fw œ +16
Alto Fl ˙ n˙
(2) {
û
&
o
Ó
come prima
3
15 : 16
= +112c
+12
Œ Œ oœ nw o
∑
4˙ gl.
oœ 4œ n œ 4f œ n œ f ˙™ 4 ˙o 3
& n œ 4f œ n œ 4f œ 4 œ f œ 4 œ 4f œ nœ 4 œ ∑ 4˙ j
<œ oœ <œ oœ ‰
3
Hp
(snd) 4f œ ˙ o˙ 4œ
∏∏∏∏
? of4 œœœ nœ <e œ f œ<e œ f œ j n˙

{ Ó ∑ Ó Œ
3
J
3
& 44 œ
œ <˙
v˙ gl.
- vœ vœ vœ eœ vœ e˙™ 3
& v œ e œ v œ e œ v œ e œ v œ nœ vœ v œ ∑ Ó v˙ j
vœ vœ vœ vœ ‰
3
Hp
nœ ˙ v˙ v ˙o vœ
∏∏∏∏∏
? Ó vev œœœ ∑ Œ vœ nœ e œ nœ e œ
J j v˙
{ G#
D#
E#
B§
3 3
œ
& vv œv˙
5 9
5
Œ o˙ ˙ 4œ
∏∏∏∏∏∏
nœ nœ ™ <m œ m œ <m œ < œ o œ 4f œ 4œ n˙
w™
∏∏∏
& nœ nœ nœ fœ o˙ o˙ < œw 4œ 4œ ˙ Œ n˙ 4œ
J Œ 4f œ 4œ œ ˙
Hpsd
(snd) nœ ™
∏∏∏∏∏∏∏
<m œ 4œ f œ 4f œ 3 n œ <m œ <m œ < œ m œ <m œ n œ f œ <w
? <m œ oœ ? j< œ ™ ‰nœj o œœ 4f œ n œ nn w
{ 3
& n˙
n˙
f ww
9
n œ œ™ w
3
‰
ù e œ nœ e œ nœ ‰ ‰
w™
∏∏∏
& Œ vœ Ó ∑ vn n œw ∑ ∑
5
5
Œ n˙ ˙ vœ
∏∏∏∏∏∏
nœ j nœ ™ nœ n˙
J eœ n˙ n˙ Œ™ Œ™ ‰ nœ nœ vœ vœ ˙ Œ vœ
Hpsd
{ & nœ nœ J Œ
9
nœ vœ œ ˙ e˙
vœ™
∏∏∏∏∏∏∏
e œœ n œ e œ e œ n œ nœ nœ v œ nw
? Œ Ó ∑ ‰ ‰ j nœ ™
vœ œ ™ ‰ Œ ‰ v œJ nv w
w ‰
9 3
eœ eœ nœ 3
eœ
? Œ nœ e ww ? Œ™ Œ™ ‰ Ó j nœ nœ ∑
{
û 3
& n˙
n˙ 9
nœ œ
3 2
f ww o ww n ww 4 w nw jw
& n œ n ˙ ™™
Cues
3
{ & 4f ww n ˙w fw w
w nw
w w
w
2°/II 11/4
o 3
o o 2°/IV
o n ‚ por+49
t. 4 ˙
SQ ù 3°/IV
∑
Vl1 & w w~o ~ n-O n˙
o o poco f
3°/III 2°/II 3°/III gradually to stopped

-o
‚o -o n ‚. -o o o o o
SQ
Vl2 & n ‚. n ‚. O OÓ n O˙ ww w w
più f o o
11 : 12
= +151c
E-37 pizz.
3
SQ B œ 4f œ oœ 4f œ Œ ∑ ∑ Ó Œ Œ
Vla +14 o˙ ˙™ nœ
3 f
mezza voce o
pizz.
2°/II
n Oo
SQ ? Œ f˙ ™ ˙ ˙ œ Œ Ó ∑ Ó Ó
Vc û o o 3
pp sotto voce f
n œo 4 œo
o
Vln ù
& ‰ J 4 -œ ∑ ∑ 4œ ™ < œ. Ó Œ
(snd) 4f f ˙˙ -
< œ™
2°/I
4°/II
o I
11/8
pizz.,
sempre l.v. I
arco
o n ‚o
n‚ n -œ nœ ™ 2°/IV
Vln { & ‰ J
pp
4e4 ˙˙
∑ ∑
nœ ™
f
o
n ‚.
-
Ó Œ
o
< ˙o œo œo œo
4 ˙™
Vla B <m œ Œ Ó ∑ J ‰ ∑
(snd) < œ-
pizz., l.v.
5/2 2°/I
4°/IV
o o o o n Oo ™
B 5u œ j
Vla { n œ-
Œ Ó ∑ nO
o
‚
pp
‚ ‚
o
‰ &
f
∑
o
4f œ ˙ o o
< -œ 4 -œ o
Vc ? 4˙ Œ ∑ ∑ & Ó Œ ‰ n œj 4 -œ B ‰ 4f œ B
(snd) Œ J
-
12/5 (poco pont.) ord. pizz.
4°/III 7°/III 11°/III 4°/II
nœ ˙ o o o o n œI
? ‰ n ‚j e -‚ n-‚
Vc {
û Œ n˙
-
Œ ∑ ∑ Ó Œ 4‚
-
‰
f
J
2 2 3 8 : 11
57
16 : 15 20 : 21 7° = +551c
56 3
15 : 16 = +84c
= +112c +12 = -112c 3 +49
Alto Fl ù ∑ Ó nœ ™ ‰ Œ f ˙™ w ∑ Œ ‰ nœ nœ mœ <œ 4˙
(1) & nœ -4 J n˙
-2 -16 -31 tune 2/3
come prima below Fl 2
+16 +47 7° D#-49
3
11°
+14
oœ œ™ oœ 54 : 55 4œ <œ 4œ ™ œ n œ <e œ f œ n œ œ n œ 4 œ
Alto Fl
{& ∑ ∑ Ó n˙ ™ Œ Œ Œ ‰ n œJ ‰Œ = +32c -33
nœ
J
(2) û -4 -35
8 : 11
22 : 21 5 = +551c
35 : 36
= -81c = +49c
gl.
n œ 4œ 4œ 4˙ gl. f œ <e œ n œ 4 œ œ f˙ o
& 4 œ 4 œ n œ <e œ f œ ‰ n œj < œ nœ < œ nœ ˙ Ó o˙ 4˙ 4˙ ‰ < œj o œ 4œ
n œ-
Hp o o
(snd)
4f ˙o o˙ œo o
< œ™ o œ™
? ?
{ & <eo œœ 4f ˙˙ ™™ ∑ ∑ & Œ < ˙™ nw
gl.
v œ vœ vœ v ˙ gl.
e œ nœ v œ vœ œ e˙ o
& v œ v œ v œ nœ e œ ‰ v œj v œ. v œ-. v œ. v œ ˙ Ó v˙ e˙ ‰ v œj v œ vœ
-. - - e˙ v œ-
Hp
o o o o
? v˙ œo o vœ ™ vv O˙ ™™
{ & vn œœ ve ˙˙ ™™ ∑ v˙ vœ ™ ∑ Œ vw
B# Db C#
4œ ™ fœ < œ o œ 4 œ 4f œœ
∏∏∏∏∏
fœ ™ 5 3
4œ ™ 4 œ 4 œœ 4œ 444 œœœ ™™™ 4f œ jf ‰ Œ3
∏∏∏∏∏
‰ Œ Ó œ oœ œ™ nnn4˙˙˙˙ mœ fœ
& 4f œ œ nn œ™
œ m œ < œ™ n œ o œ™ 4f ˙ n˙ n˙ n œ 4f œ n œ < œ nœ 4 œœ ˙˙
Hpsd
(snd) 4w 3
˙™ <nœ-œœ
∏∏∏∏∏∏∏
? n œ 4 ˙™ n œ n < œ™ j mœ <œ nœ 5 n˙
∏∏∏∏∏
f œ ™™ ?
∏∏∏∏∏
{ &
44f œœœ ™™ J n ˙˙ mœ 4fn4f˙œ˙ f ˙ n œœ o ˙˙˙ Œ nn œ˙ ™ f œ‰
f ˙™™o ˙™
f œ 4f œ n œ < œ n œ nu ˙˙
nœ 3 3
ù ∑ Ó ‰ Œ ∑ ‰ ‰ ‰ Œ Ó Œ ∑ nœ Ó Ó
& nv œ™
œ nœ nœ ™ n˙ nœ
5
œ™ nœ v œ n œœ
∏∏∏∏∏
eœ™ eœ 3
œ™ v œ n œœ vœ vvn œœœ ™™™ nœ ‰ n œj e œ n œ ™ n œ ‰
∏∏∏∏∏
œ™ envn ˙˙˙˙
Hpsd
{ & nœ œ ‰ Œ Ó Œ
‰ n˙ n˙ nœ
e œ e œ nœ Œ
nœ n œœ ˙˙
-
vnn œœœ
∏∏∏∏∏∏∏
j 5
? ‰ n œJ vn œ™ nœ nœ Œ ‰ ‰ ‰ n œ v œ n v ˙˙
∏∏∏∏∏
∑ Œ nœ ∑ ? Œ ˙™
& n ˙˙ vn œ˙ ™ ∑
v˙
nw 3
nœ n˙ ™ 5 œ
? ? eœ
ne œœ ™™
∏∏∏∏∏
{ & ‰ Ó n œ e ˙ e œœ n ˙˙˙ Ó Œ e œ n˙ ™ e œ e œ nœ ‰ ‰ Ó Œ Ó
û e v œœ ™™ nn ˙˙ ‰ e ˙ ™™
2 2 3
j Ó ∑w
& n œ 44ww 4 ww nw n œw Œ Œ oœ w
w 4 ˙w
∑
Cues
3
Ó™ Ó
{ & 4f ww w nœ
j nœ 4ff w
˙ o˙ w
w 4f w˙ n˙ n ˙w n œw nœ 4œ ˙
tune consonant
with SQ Vla
II
SQ ù 4w w
& ∑ nw w w ∑
Vl1
pp sotto voce o o pp sotto voce o
2°/IV 5/3 7/4

o -
SQ -35
& ∑ ∑ Œ n-O Œ mœ ˙
< Œ ∑ ∑ ∑
nn œœ -20 ˙
Vl2
più f
-4
tune consonant
with SQ Vl1
arco II
SQ B Œ 4f ˙ œ ˙ Ó 4f ˙ o˙ ˙ Ó o˙ 4f ˙ ™ nœ ˙ ˙ ˙ ˙
Vla
E-37 o o 3
pp sotto voce mezza voce pp sotto voce
arco
2°/II 2°/I
o
o n-‚ 2°/I 4°/I 2°/I
nœ Œ o o o oj n œI
SQ ? Ó B Ó n‚ ‰ ∑ nO ™ ‚ nO ‚ ‰ Œ Ó ? Ó Œ
J & port. port.
Vc û nO o
mezza voce pp sotto voce o
o
4 ˙o ˙o œo o -o -o -o -o
< œ. o œ. < œ. o œ.
o
n -œ ™ œj ‰ 4 œ™ o
< -œ
ù o -œ
o -o
Vln
& J ‰ Œ Œ œ ‰ Œ
J Œ ‰ n œj Œ Œ oœ Œ nœ ‰ ‰ ‰ Œ nœ Œ Ó
(snd) oœ 3
J- -.
- o
arco 2°/I
Oo Oo ‚o 2°/III 4°/IV 3°/III
2°/II
o j 2°/III n‚ ™ II
o
n-‚ ‚o ‰ Œ
pizz. o o o o n -œ ™ œ ‰ -o 4°/IV
o
J Œ ‰ n œj Œ Œ n‚ Œ
Vln { &
pp sotto voce
o
‰ Œ Œ
più f
J
f
n‚
n ‚. -.
p
-
n‚
n ‚. -.
-
nœ
-
più f
3
nœ ‰
J- ‰ ‰ Œ nœ
-.
o
n-‚
Œ Ó
o
< -œ™ o o u -œ o
o œ- o œ- o -o o -œ
Vla B ∑ Ó ‰ Ó Œ Ó Œ ∑ & Œ < -œ™ ‰ ‰ J ‰ <œ B ‰ nœ
(snd)
arco 2°/III 2°/III
5°/II
o
4°/IV
o -o o
n-‚
4°/IV
o m -‚ 4°/IV
o 4°/III
o II
∑ B Ó ‰ Ó Œ n‚ Ó Œ ∑ Œ ‰ ‰ J ‰ n‚ n-‚ ‰ nœ
Vla { & n-‚ ™
più f
n-‚ ™ - o
4 ˙o œo -o
4 wo 4 œ™ o o
< -œ
Vc B J ‰ Œ ‰Ó ? Ó Œ ‰ n œj Œ Ó & Ó 4 -œ™ ‰ Œ Ó ?
(snd)
arco
fœ
3°/II 4°/II 4°/II
n ~o o III IV o 7°/III
? n Oo ‚o ‰ Œ n-‚ ™ ‰Ó Ó Œ ‰ n œj Œ Ó Ó n-‚ ™ ‰ Œ
o
e -‚ Ó
Vc {
û mezza voce
J
più f nœ
58 4 3
11 : 12 8 : 9
63 = +151c = +204c match Ens Vc
+49 7° +14 +47
Alto Fl ù ˙™ 4œ nœ ™ <e œ f œ n œ ˙™ Œ ∑ Ó +12 +16
Œ +12
& j
(1) -35 J nœ fœ ™ œ fœ o˙ fœ 4 ˙™
35 : 36 +236c
tune 3/2 = +49c D# E m.v.
above Fl 1 -49 -37
Alto Fl
w 3 n œ 4 œ 4f œ w
(2) {
û
& ∑ Ó nw Ó -2
32 : 33
3
15 : 16
= +53c = +112c
∑ ∑
fœ “
4f œ æ gl.
f˙
gl.
4f œ f œ 44 ˙˙ 4f4f ˙˙ 44 ˙œ f œ
Ó Œ œ™ j ∑ ‰ f œ 4fo ˙˙ f˙ ‰ f˙
& 4œ < œ o œ nœ æ f˙
gl.
3 3
Hp
(snd) oœ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~
n wo
∏∏∏
? nw of œœ ‰ Œ ‰ f œj Ó
4˙
4f w f œ
{ n˙
f˙
4˙
J w & 4˙
3
gl.
eœ “
with Fl 1 vœ e˙ v œ e œ ve ˙˙ ev ˙œ e œ
Ó Œ j ∑ ‰ e œ vve ˙˙æ˙ ‰ e˙
gl.
nv ˙˙
& vœ œ™ vœ vœ vœ e˙
gl.
3 3
Hp Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~
vœ
∏∏∏∏
3
? o vw ve œœ ‰ Œ ‰ e œj Ó
v˙
v w eœ
{ v˙
Cb
e˙
e˙ vw J w & v˙
E§
4f
sustain all tones simile sustain “A” only Ÿ~~~~~~~~~~~~~~~~~~~~
5 5 3 3 Ÿ~~~~~~~~~~~~~~~~~
4 œj n œ
3 3
f œœ 4œœœ 4˙˙˙˙ j fon œ˙˙™™™™ 4 œ 4f œ 4 œ œ ™ j 4 œ o œ 4 œ o œ 4f œ f œ n œ 4f œ 4 œ n œ o œ
∏∏∏
& j
nœ 4 œ 4œ nœ < œ nœ n˙ 4 œœ n œœ o ˙˙ 4f œ œJ ‰ 4f œ œ 4 œ 4f œ 4 œ œ™ j
4 œ 444˙˙˙ 4f w
w
5 3
Hpsd
(snd) 3
Œ™ o œj
∏∏∏∏
? oœ ™ f œœ ™™ n˙ o œ nf ˙˙ foo ˙w
w nw f œ 4f œ f œ 4f œ f œ o œ
∏∏∏∏∏∏
∏∏∏∏
{ j n˙ fnn œœœ ™™™
∏∏∏∏∏
∏∏∏∏∏
n˙ 4f4 ˙˙˙ nœ
nw nf ˙˙ ofn ˙˙˙ onn ˙˙˙ f œœ J
3 3
n˙
simile
5
ù ∑ ∑ ∑ ∑ ∑ ∑
& nœ nœ v œ v ˙
sustain all tones sustain “A” only Ÿ~~~~~~~~~~~~~~~~~~~~
5 5 3 3 Ÿ~~~~~~~~~~~~~~~~~
v œj n œ
3 3
e œœ v œœœ v ˙˙˙˙ j nœ v œ nœ v œ œ ™ j v œ nœ v œ nœ nœ e œ nœ e œ nœ e œ nœ
∏∏∏
{ & j Œ Œ Œ Ó n œœ e œœ n ˙˙ ne ˙˙™™™™ j
nœ n œ nœ nœ œJ ‰ nœ œ v œ n œ v œ œ™ v œ nvv ˙˙˙ nw
w
5 3
Hpsd
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
Œ™ 3
n œj
∏∏∏∏
? nœ ™ e œœ ™™ n˙ n œ ee ˙˙ enn˙w
w nw e œ nœ e œ nœ e œ n œ
∏∏∏∏∏∏
∏∏∏∏
j n˙ ene œœœ ™™™

{
∏∏∏∏∏
∏∏∏∏∏
û n˙ nve ˙˙˙ nœ
nw ee ˙˙ nen ˙˙˙ nnn ˙˙˙
e œœ J
3 3
n˙
4 3
Ów 4˙ ∑w 4 œw Œ Ó 4f w
w
w
w
w
w
w
& ∑
Cues
{ & w
w nw
w ow
w w
w
n œJ f w˙™™ o œJ f w˙™™ 4 œJ w
w
3°/III
o o
II
SQ ù ∑ Ó Ó ∑ ∑ ∑
Vl1 & nO n w~ ˙
o pp o
7/4 5/4
SQ ∑ n˙ Ó ∑ ∑ ∑ ∑
Vl2 & <˙ - o ˙˙-
n ˙- +14
SQ B ˙ Ó ∑ ∑ ∑ ∑ ∑ ∑
Vla
o
2°/II
n w2°/II
O II
rt.
n Oo port.
4°/II
n ‚o ~o
SQ ?
Ó n˙ œ po ∑ ∑ ∑ ∑
Vc û o o
3
o
pp sotto voce
Vln ù ∑ ∑ ∑ ∑ ∑ ∑ ∑
(snd) &
∑ ∑ ∑ ∑ ∑ ∑ ∑
Vln { &
o
4˙
Vla B ˙™ 4˙ œ Œ o ˙o wo ˙o Ó ∑ ∑ ∑
(snd) Œ
2°/I
o
nO o
I 2°/III
B ˙™ n˙ œ
Œ n Oo ~o Oo Ó ∑ ∑ ∑
Vla { pp
Œ
o
4 ˙o
Vc ? Ó n4 ˙œ 4 -˙ ∑ ∑ ∑ ∑ Ó Œ ‰ 4 œj ˙
(snd)
3 2°/II
4/3 II n Oo
? Ó
Vc {
û nn ˙œ 4 -˙ ∑ ∑ ∑ ∑ Ó Œ ‰ nœ
Jo
˙
III pp
3
3 2 3 59
12 : 11 8 : 9
70 = -151c +47 consonant with Fl 2 +47 +12 = +204c +16
Alto Fl ù ∑ ∑ ∑ -2 j j
(1) & n œ n˙ 4œ ˙ ˙ œ ‰Œ Ó ∑ Œ 4œ fœ ™ oœ
-4
tune consonant -236c
with Fl 1
10 : 11 +12 B-35
= +165c A-39 +49
j 11 : 12 f˙
Alto Fl
nœ nœ ™ œ 4f ˙ ‰ f œJ œ 4 œ 4f œ 4f ˙ œ ‰Œ Ó
(2) {
û
& ∑ Ó
-2 -4
J ‰ Œ = +151c Œ
3
15 : 16 8 : 9
= +112c = +204c
J ∑ ∑
4 œj
f œ o œ 4f œ4f œ n œ 4 œ 4 œf œj œ˙j 4f œ™ n˙ 3 3 3
44 w
oœ
œ 4 œ 4f œ n œ f œ œ 4 ˙
Œ f œ 4f œ 4f 4f œ 4f œ 4 œ o œ 4f œ ? œ o˙ ™ Ó Œ 4œ 4f œ 4œ oœ
& 4œ 4œ 4œ 4 œ 4œ &
3
Hp
(snd) 4f œ 4 œ f œ 4f œ n ˙
? 4œ 4 wo 4 œ™ nœ ™
∏∏∏∏∏
{ & 4f œ fœ 4 œ nœ 4œ oœ Œ ‰ J 4f44 ˙˙˙ ∑ ∑ Œ
4˙ 4w
œœj v œ n œ e œ e œj j vœ
v œ v œ vœ v œ˙ v œ ™ v˙
Œ
3
eœ eœ œ v œ e œ v œ e œ nœ e ˙ nœ 3 3 ew
e œ v œ v œ nœ ? v œ v ˙ ™ Ó Œ vœ eœ e -œ v -œ
& vœ eœ vœ eœ v œ &
3
Hp
nœ e œ e œ vœ v˙ o eœ ™
vœ vœ ™
∏∏∏∏∏
v œe œ eœ ? Œ ‰ e˙ ∑ ∑ Œ
{ & vœ vœ vœ
Bb
J
evn ˙˙˙ vw
vw
Ab
C#
3 3 4f œ ˙™ Œ 3
Œ j ‰ ‰ ‰ Œ 4f4f œœ fw
w 4f ˙ ™™™™ j
4f œ 4f4f ˙˙ ™™ 4f w 4ff ˙œ™ o ˙˙™™™™ œ 4f œ f œ
∏∏∏∏
& 4˙ 4 œ 4 w
w˙ o f4f˙œœ nn ˙˙ n œœ n fn œœœ œœ 4˙
f4 ˙˙ œ n œœ ™ J
Hpsd
(snd) sustain all j 4f ˙™
oœ n œ n œ 4 œJ œ ™™ 4 œ o œœ ˙ ™ 3 4 œ oœ 4 œ oœ 4 œ oœ
∏∏∏∏
? n< œ˙ u œ < œ n œ n œ 4 œ 4f œ 4f4f44˙˙˙˙ ≈ R n œJ R J ?

∏∏∏∏∏∏
{ oœ 4˙ f44 ˙˙˙
4˙
‰&
44w
w
4f œ 4 œ o w Œ
ù ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
&
3 3 nœ ˙™ Œ 3
Œ j ‰ ‰ ‰ Œ en œœ ew
w n ˙ ™™ j nn ˙˙ ™™ nw ee ˙œ™ n ˙˙ ™™™™ œ nœ e œ
{ n ˙ ™™ eœ
∏∏∏∏
& v ˙ v œ nw
w˙ nn e˙œœ nn ˙˙ e œœ ene œœœ œœ
ev ˙˙ œ œ
n œ™ J
Hpsd
? ∑ Ó nn œœ ™ v œ n œ v œ‰ ∑ ∑ ∑ ∑ ∑ ∑
sustain all
j e ˙™
œ n œ v œ œ ™™ v œ n œœ ˙ ™ 3 v œ nœ v œ nœ v œ nœ
∏∏∏∏
? e œ n œ e œ nne v˙˙˙˙ ≈ n œR e œJ J R J ?
∏∏∏∏∏∏
{
û
nœ v˙ nevv ˙˙˙˙ Ó ‰&
vn w
w
e œ nœ nw Œ
3 2 3
4f4 w ˙ w w w w w
4f wœ 4 œ o w fw
& 4w w w w w w w
3
3
Cues
∑ Ó fw j 4f w w w
{ & 4w w nn ˙˙ œœ 4 œ 4 ˙˙ 4f œ
‰™ n œ n œ n œ 4 œJ ˙
R J
o œw 4f ˙™™ w w œ™ o œJ ˙
2°/III
SQ ù
& ∑ Œ n ‚o ‚o ‚o ‚o ‰ Œ Ó ∑ ∑ ∑ ∑ ∑
Vl1 J
o pp o
35 : 36
= +49c
SQ ∑ Ó j j ‰ Œ Ó ∑ ∑ ∑ ∑ ∑
Vl2 & <œ ™ on œœ- œœ
n œ- ™
2°/III
SQ B ∑ Œ n ‚o ‚o ™ ‰ ∑ ∑ ∑ ∑ ∑ ∑
Vla
o pp o
SQ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vc û
Vln ù 4˙ ™ œ ˙™ Œ ∑ ∑ ∑ ∑ ∑ Œ ‰ j ‰ j ‰ j
(snd) & o œ. o œ. o œ.
- - -
hocket with Ens Vc
I III
n˙ ™ œ ˙™
Vln { &
o o
Œ ∑ ∑ ∑ ∑ ∑ Œ ‰ j ‰ j ‰ j
n œ. n œ.
-
pp
-
n œ.
-
4˙ ™ Œ
Vla B Œ n ˙˙ ™ ˙ œ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑
(snd) J
o o
n ˙I ™ n ˙™
˙ ˙
Œ
œ
B Œ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑
Vla { II o
J
o
-o -o -o -o -o
n œ. 4 œ. n œ. 4 œ. 4f œ™ -o o -o
n œ. 4 -œ. n œ. 4 -œo ™ -o -o -o
?
4 œo 4 œ. 4 œ. 4 œ.
Vc J ‰ Œ œœ ™™ ‰ ‰ ∑ ∑ ∑ Œ J ‰ J ‰ J ‰
(snd) n4 ˙œ 4 ˙ nœ œ ™ 3
fœ œ 2°/I
hocket with Ens Vl
3 o
3°/II
o 4°/III 3°/II
-o n-‚ ™
2°/II
-o. -o 2°/II -o -o -o
‚o 4/3
4°/III
-o. n-‚. -o. n ‚.
3°/III
-o. n ‚ -o. n ‚ ™ n ‚. n ‚. n ‚.
? J ‰ Œ œœ ™™ J ‰ J ‰ J ‰
Vc {
û nn ˙œ 4 ˙ n œ n œœ œ
™ n‚ n‚ ‰ n‚ n‚ ‰ ∑ ∑ ∑ Œ
III 3 pp
3
più f
60 2 8 : 11 3 2 2
= +551c
78 D#-49 E-37 tune 2/3 below A Fl 11 : 10 take Bass Fl
3 = -165c
Alto Fl ù Œ ‰ j ‰ ∑ ∑ ∑ Ó Œ Œ 4f œ j
(1) & o˙ nœ œ 4˙
4f œ ˙™™ ˙ n˙ œ ‰ Œ Ó &
15 : 16 E-37 -2 ‹
= +112c o
tune 3/2 +12
+16 A-39
above Fl 1 take Bass Fl
Alto Fl 4f ˙™™ oœ ˙ fw ˙ 4f ˙
(2) {
û
& ∑ ∑
B-35
11 : 12
= +151c
J
9 : 8
= -204c
3
12 : 11
= -151c
∑ ∑ ∑ ∑ &
‹
3
& j ow ∑ ∑ ∑ ∑ ∑ ∑
o œ™ 4œ ˙ ˙™ 4f œ œ 4œ
Hp
(snd)
o œo
? ∑ ∑ ∑ ∑ ∑ ∑
{ 4œ n˙ oœ ˙
4f ˙ ˙™
3
& j vw ∑ ∑ ∑ ∑ ∑ ∑
vœ ™ eœ ˙ ˙™ nœ œ vœ
Hp
? v œo ∑ ∑ ∑ ∑ ∑ ∑
{ vœ e˙ vœ
B#
˙ v˙ ˙™
3 3 3
& 4f œ f œ 4f œ f œ 4f œ f œ o œ 4f ˙˙ Ó ‰ ™ o œr 4f œ o œ f ˙ ™™ fœ 4f ˙™ 4œ n œ o œ n œ 4f œ n œ 4f œ f œ 4f œ o ˙ 4f ˙
4w J n ˙ 4f ˙ nw
3 3 3
Hpsd
(snd)
4 œ oœ 4 œ o œ o ˙˙ œ
n œœ
w
w
w 4f ˙ 4f w
w
o ˙ 4f œ ˙ 4 œ n œ <m œ 4f œ < œ fœ w w
∏∏∏∏
? Œ oo ˙˙ Œ ? Œ Ó
{
ù ∑
3 3
∑ ∑
&
∑
3
∑
3
∑ ∑ ∑ ∑
(lute stop)
&
3 3 (lute stop)
3
n œ e œ n œ e œ n œ e œ n œ n ˙˙ Ó ‰ ™ n œr n œ n œ e ˙ ™™ eœ e˙ ™ vœ e œ nœ e œ nœ e œ e œ e œ e œ n˙
Hpsd
{ &
3 3 3
vw J
eœ nœ
n˙ n˙ n˙ nw
? ∑ ∑ ∑ ∑ ∑ Œ Œ Ó Ó Œ ∑ ∑
3
v œ n œ v œ n œ n ˙˙ œ
n œœ
w
w
w n˙ nw
w n˙ nœ ˙ v œ nœ nœ eœ w w
∏∏∏∏
? Œ nn ˙˙ Œ ? Œ Œ Ó Œ
{
û 3 3
&
3 3
2 o˙ w
3 w w Ó Œ 4œ
2 2
& of ˙w w w w ˙ 4f œ ˙ o n ww fw
w w
w w
∑
Cues 3
& 4fo w˙ w w fw 4f w ∑
{ ˙
3
nœ 4 ˙™ 4f œ w w w w
w w
Ó Œ fœ 4f w˙ n ˙ 4f ˙
3
nw
-o. -o 4 œo ˙o ˙o œo 3
Vln ù
& ‰ o œJ ‰ o œ. œ ‰ J Œ Ó ∑ ∑ ∑ ∑ ∑ Ó Œ Œ
(snd) J
< ˙ o œœ
2°/III 2°/I
-o. -o n ‚o Oo Oo ‚o ≥ 3 III
‰ n ‚J n ‚. ‚ ‰ J Œ Œ
Vln { & ‰ J
o pp o
Œ Ó ∑ ∑ ∑ ∑ ∑ Ó
n ˙ n œœ
IV
3 3 3
3 Œ Ó
Vla B ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ Œ Œ n œ n œ 4 ˙œ n œ o ˙w o Ó˙
(snd) <˙ o œœ œ œ Œ Œ o o
≥ III
II ≤ I 3 ≥ 2°/III
3
3 3
Œ Œ Œ n œ n Œœ n ˙œ n œ n ˙~ Ó n ÓO
Vla { B
-o
4 œ.
-o
4 œ.
∑ ∑
4 ˙o ˙o
∑ ∑ ∑ ∑ Ó
n˙
IV
n œœ œ œ Œ Œ
poco f
o o
Vc ? J ‰ J ‰ Ó Ó Ó ∑ ∑ ∑ ∑ ∑ ∑
(snd)
-o -o
n ‚. n ‚. 3°/II
n Oo Oo
? J ‰ J ‰ Ó Ó Ó ∑ ∑ ∑ ∑ ∑ ∑
Vc {
û o pp o
= 32 : 33
6 : 7
8 : 11
= +53c 8 : 9 = +551c
2 2 2 2 = +267c 2 F1 F2 B0
B0 B1 B0 = +204c 42 3
tune with Tb 4 3 +14
87 5 F0 +12 +49
ù ∑ ∑ ∑ ∑ ∑ ∑
+12
Œ o œ nœ 4 œ nœ
+51
<f œ o œ j 4f œ o œ 4 ˙ o œ
Hn & o œ o ˙- ˙™™ oœ
-2 -17
E-37 3
p +16
tune to Ens Str 16 : 15 *F

= -112c 32 : 33 Bb III *Bb *Bb *Bb F III
+14 Bb II Bb IV F III = +53c *Bb *Bb +47 F III 33 : 32 F III F III F III F III
+49 +14 +10
Bb I 3 3 F III
4 -œ
F II
4˙ 4f ˙ 4f ˙ 4œ™ 4 -œ ™ = -53c n -œ ™ 4œ™ nœ œ o œ™ o œ™ +51
f ™
Tb
? Œ +12
fœ oœf ˙
n˙ n˙ +10
n œ ™ f œj
nœ Œ 4f œ 4f œ Ó E-37 Ó B ‰ ‰ ‰ J Œ 4œ œ ‰ ? ∑
+49 -4
û -2
-4 3 3 tune with 10 : 9
mezza voce A-39 Horn p = -182c
2 3 3 3
Ó Ó
2o +47
2 o +12 B-35
2Œ 2 ≤
ù Œ 4 3 port. port.
Vln
(snd) & o Œœ n œœ n œ ˙œ n œ o ˙wo o˙ ˙ 4˙ ˙ œ Ó nœ o œ nœ œ n4 œ˙ ™ f œ 4f œ m ˙ 4 ˙ f ˙ 4f œ n w n œ <f œ 4f ˙-
+10
f ˙- 4fn ˙œ o ˙™ 4 ˙
Œ Œ o o ˙- -18 Œ o œ -17 .
3 -. -. -. E-37
-. -. - 33 : 32
15 : 16 32 : 33 99 : 100 = -53c
3
≤ I 3 ≥
II 2°/III
3
sul III 54 : 55
= +32c match Vlc
II 2°/III = +112c = +53c = +17c
11/8
3/2 10/7
tune
to Vla
match
Brass
5/4
≤
Œ n œ n Œœ n ˙œ n œ n ˙~ Ó n ÓO Oo œ3 o +12 B-35 Œ +12
m ˙ n˙ f ˙ o œ port. port.
Vln { & œ œ
>˙ ˙
n ˙-
Ó nœ n‚ nœ œ nn ˙™
œ f œ 4f œ nw nœ m œ < œ 4 ˙- n ˙- 4 œ n˙ ™ 4 ˙
n ˙
Œ Œ o o -18 Œ
3 -. -. -. -. -. -.
21 : 22 sostenuto
= +81c
più f f
tune to Ens Vla
poco f
- ≥j
o
B o ˙™
o
nœ o œ n˙ +49 Œ Œ nœ ˙ Œ n œ m ˙˙ 4 œœj œj ‰ Œ n ˙™ +16
4 ˙œ n 4 ˙œ 4 œ ˙˙ 44 ˙˙ port.
n ˙™ œ™ fn œœ ˙™™
˙ o ˙ n˙ nœ
Vla n
(snd) oœ œ Œ oœ œ 4œ 4f ˙ œ 4f œ f ˙ Ó n œ™ J 4 ˙ n ˙™ J ‰Œ
3 A-39 .
-. +12 - -18 +12 - -
-. -. -. - - +49 - - 3
2°/III II 3/2 32 : 33 15 : 16
match 5/4 6/5 -tune to Ens Vc 3/2 5/4 I 4/3 55 : 56
œœj œj ‰ Œ n ˙™
II
Oo ™ III
n ‚o n ˙ ≤ = +53c = +112c
Ens Vlc ≤ 1/1 ≥j n ˙œ nn ˙œ 4 œ ˙˙ = +31c
œ m ˙™
Œ Œ n œ n ˙˙ Œ n œ t ˙˙ œ™ n
nn œœ ˙˙™™n ˙ m ˙ n œ 4n ˙˙ port.
Vla { B nœ
più f
œ n
3
Œ nœ
-.
sul III
œ
-.
4m œ
-.
4e ˙
-.
œ 4e œ
-. -
Ó
-
f
n
œ ™ J 4m ˙
-
m ˙™
sostenuto
- - -
3
J ‰ Œ +51
33 : 32
= -53c
3 Ó3 - ≥ o 3o
? Œ Œ
3 3
Œ 4 œ 4 Œœ 4f ˙œ 4f œ 4 ˙w
4 Ó˙ 4f ˙w Ó wo 4œ œ Œ o o 3
- 3
-
Vc ∑ Ó 4 w n ˙ 44 ˙˙
(snd) nœ œ œ Œ Œ o o Œ n œ n œ f ˙œ Œ w Ó ˙ 4˙
f˙ œ - f˙ œ Œ
2°/II
≤ I 3
II o 3o 4/3
≥ 3 III 3 Ó3 n ÓO -~ Ó ≥
~o n ‚ ‚ Œ 2°/IV o ≤o - 3 3
55 : 56
? Œ Œ Œ n œ n Œœ n ˙œ nœ ˙ ˙ - = +31c
Vc {
û
∑ Ó
n ˙ n œœ
IV
œ œ Œ Œ nw
poco f
o
I
o Œ n œ n œ n Oœ Œ
-
f
~ n w n ˙ 4n ˙˙
Ó
sostenuto
+49
˙ n ˙ 4 ˙œ
Œ
4 3 4 61
match
97 [ Hn
3
Bass ù ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ ‰ n œJ ˙ nw
Ob & -2
‹ mezza voce
match Tb 11° (of Tp+Hn harmony)
[ +14 ow œ ] v0˙ oœ
Alto
& ∑ ∑ ∑ ∑ ∑ ∑ Ó Œ ‰ o œJ œ o˙ œ Œ nœ J ‰
Sax û -2 +12 15 : 16
3 3 p = +112c
mezza voce
B0
F1 coordinate 8 : 7 +14
2 = -231c tune with Tp 1 3
with Tp 2 +2 3
ù <f w w ∑ ∑ ∑ ∑ ∑ ‰ Ó Œ n œ < œ n œ œj n -œ n œj o œ
Hn & nœ ™ <˙ ˙
-19 -2 - -33
mezza voce p p mezza voce
tune to Tp 2 (7/6 then 6/5) 1 36 : 35 1v
= -49c 1v match
1 1v 3 3 2 3 0
3
36 : 35 3 3 tune with Hn 3 Hn, B Ob
+14 = -49c +14 -35 +2 +14
Bb Tp & ∑ o˙ ˙ port. <w ∑ ∑ ∑ ∑ Ó o˙ port. <˙ ˙™ Œ Ó <œ o ˙-
(1) vœ
-35 match Sax p
p p -35
9 : 10 1v 27 : 28
match Horn line before a pitch indicates the direction coordinate = +182c 3v = +63c
in which a previous fingering may need with Hn 16 : 15
0 1 1v slight correction (poco port. ad lib.) match Tb = -112c tune with Hn ord. (slides) 1
3 3 2 1v 3v 3 3
Bb Tp
{ & Ó Ó +12 +16 <f ˙ ˙ Ó ∑ ∑ ∑ ∑ n -œ ™ ‰ <f ˙ œ <œ <m ˙ Œ ‰ +16 j
(2) o˙ œ oœ -17 15 : 14 -19 -31 -49 <œ ˙ oœ
p p = -119c -33
10 : 11
= +165c *Bb *Bb *Bb 35 : 36
*Bb F III F I F I -
F III +14 - = +49c Bb I
4œ f œ ™ n˙ 4f ˙ ˙ ow o œ n œ n œ +16o œ <f œ f œ f œ. fœ -49
port.
F I
nœ ™ n œ f+12˙
Tb
? ∑ ∑ ∑ ∑ Œ D# +10 ‰ B -4 A-39 ‰ oœ +12 < œ < œ ? < œ <m œ ˙
-2
J
-49 -19
J
3 -2 -33 -35 3
p p
tune to Hn support Sax 11. partial of slightly low
36 : 35 tune with Tuba
3 +14 1 1 1 F I position = 8. partial of Bb I
5 0 = -49c 5 5 3
? Ó <˙ o˙ <˙ ∑ ∑ <˙ n˙ n˙ œ +12 +10 Ó ∑ ∑ ∑
Tba -35 -35 -4
fœ f˙ ˙
û -33
p
-2
3
mezza voce
4 3 4 cues in this section are a reduction
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ to the main harmony tones
fw w
Cues 3
∑ ∑ ∑ ∑ ∑ ∑ ∑
{ & ow <w n ww
2°/II
o˙
n ~o
SQ ùB ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vla û
≥ -o o o ≥
o
Vln ù Œ o ˙™ ∑ ∑ ∑ ∑ ∑
(snd) & no ˙™
˙™ <œ ˙™ nœ w nw
<œ œ Œ Œ -31 -4
63 : 64
≥ -o sul IV
o o = +27c Ens Vc
tune to
≥
Œ nO ™ ∑ ∑ ∑ ∑ ∑
Vln { & n ˙˙ ™™
o
nœ œ Œ
o
Œ
n‚ O™ >œ
ff
w >w
-19 -≤ o˙ ˙ o -
Vla B
<fn œœ Œ ≤ o
<w < ˙- n w n w≥ ∑ o wo wo o
<˙ ™
o
œ
o
˙™ Œ
(snd) <œ ˙ ˙ < ˙- 3
7/5
-≤ 4°/III
o o 2°/IV 2°/III
>œ ≤ o o II- n ~o ~o
2°/IV
o o o
B nœ Œ nO O n~ n-O n w n w≥ ∑ nO ™ ‚ O™ Œ
Vla { nœ ˙ ˙ n ˙-
3
-
ff
-35
3 o pp sotto voce o
Vc ? - ≥ - Ó Ó n˙ < w≤ <w 3
<f ˙ ˙ <f ˙ ˙ <f ˙ n ˙ ˙ n w- n w- nw ∑ ∑ ∑
(snd)
f˙ Ó f˙ Ó f˙ w
3 3/2 7/4
7/4 - III IV
? - ≥ - Ó Ó 2v w≤ 2v w 3
Vc {
û -19<fn ˙˙ ˙ <f ˙ ˙ <f ˙ n ˙ 5 ˙˙ n w- n w- nw ∑ ∑ ∑
Ó n˙ Ó n˙ w
tune with Hn ff
= 8 : 7
2 32 : 33 3 2 = -231c
tune with Tp, Tb 36 : 35 tune with Tp, Sax 12 : 11
107 ] +14 = -49c
= +53c tune with
Hn, Tuba E-37
11 : 12 +12 32 : 33
11°
[ 3
7° = -151c
+51 = +151c = +53c +51
Bass ù œ nœ œ oœ <œ ‰ œ
o nœ 4˙ œ port. n œ 4f ˙ Œ Œ
oœ n˙ ˙ Ó Œ 4œ n œ n ˙ j ‰ n œj
Ob & -4
n˙ J -35 -2
<œ œ ‰ Œ Œ
-2 -31
‹ p p 3 mezza
tune 3/2 10 : 11 tune with Tp, Hn match voce
tune 2/3 above Bass Ob support Tp 4 : 7
below Tp, 35 : 36 +12
= +165c [ +16
] +12 = +969c [ Tp +51 11° ]
vœ <˙ match Hn = +49c o˙ œ œ port.A#-47
4v -œ ‰ ‰ j
3
o˙ o˙ oœ <w œ vœ n˙ port. 4 -˙ œ™ 4˙
Alto
& Œ Œ Ó Ó J oœ ˙ Ó 8 : 9
Œ ‰ J v œ n œ -33 -2 ‰
Sax û -37 = +204c -2
3 3 +12 3
3 32 : 33
27 : 28 m.v. p m.v. = +53c
p
= +63c tune with 12 : 11 B1 F1
B0 42 12 : 11 11 : 10
4 Tp 2, Sax B0 B1 = -151c 4 tune with 3 B2 cut off
+12 2 B2 Tuba, Bass Ob = -151c = -165c with Sax
ù Ó Ó
<˙ œ™ o ™
‰ œ <œ nœ +49 3
4f ˙ o˙ 4f ˙ ™ Œ Ó Œ +2
‰ Ó
Hn & -37
J nœ 4˙ nœ o ˙ n˙ n œ- ™ œ™
3
p 35 : 36 -35
E-37
3
nœ ™
= +49c p
support Sax 1v
[ match 5 : 7 0 3
0 1 2 2 11°
] 2 2 1 1 [ 1 ]
3 2 3 3v Tuba 3v -. 3 +16 3 +47
3v 3w
3 = +583c
Bb Tp j ‰ n˙ Ó Ó
+12
o˙ port. 4œ ™ ‰ Œ m œ port. n œ o œ Œ oœ 4œ port. oœ nw <o ˙ nœ 4 œ nœ 4 œ nœ 4œ œ Œ ∑
(1)
& nœ n˙ nœ
54 : 55 3
-17
3
-2 -4 3 = +32c -2 +51
0 p A#-47
mezza voce +12 +14 [ mezza voce 32 : 33 = +53c
3 7° oœ ]
3 2 0
Bb Tp
j < ˙™ œ
J ‰ Œ Œ ‰ J
o˙
Ó ∑
-
n ˙. Ó o -˙ Ó n˙ ˙™ Œ ∑
(2) { & n œ -4n œ -35
-2
match,
Bb II
n -œ
*F
Bb II +29
[
F III *F
Bb III E-37
mezza voce
*F tune to Tuba
3
F III *Bb *F *Bb

21 : 22
= +81c
*Bb match
continue Tp nœ ™ > -œ +12
fœ oœ ˙
4œ 4f ˙ ] Bb III +49
F III- 7° [ F III Sax
? ∑ -2 ‰ J +49
Ó Ó Œ 4f ˙ 4 œ. 4f œ port.f œ Œ 4 œ nœ < œ
port. gœ <w ˙ < ˙ port. 4 ˙
Tb +14
B +12
-31 +49
-35 +25
3 3 33 : 32 3 3
mezza voce 3 p -4 -31 mezza voce
tune with = -53c 64 : 63
Hn, Bass Ob 1 = -27c 1
1 5 tune with
+14 4 1 4 2 3 match Tb
1 5 3 v 4 4 3 5 3 SQ Vc 4
+51 5 11 : 10 3 5 3 3 2
? +12 oœ v 5 4 5
∑ ∑ 4˙ = -165c 16 : 15
Tba f˙ 4f ˙
+47 +16 +12 = -112c
û p
nœ 4w 55 : 54 oœ 4 œ oœ n œ < ˙ fœ nw +2
E-37 -2 = -32c 35 : 32 8 : 7 <˙ n˙
-33 = -155c = -231c -31
mezza voce 12 : 11 p
= -151c 8 : 7
= -231c
2 3 Œ 2
& nœfn ww nww ww ww f w o ˙™ nw n4 w
w w
w
Cues J 3
∑
∑ j
{ & o ww w
tune 7/4
below SQ Vla 20 : 21
f œw o œ ˙
4œ 4f ww ww ww ww
<w
w
4˙
= +84c 3
7/4 49 : 48 12/7 5/4 5/4
SQ ù Œ = -36c -
& < ˙™ ˙ +29
>˙ w
on w ∑ ∑ ∑
Vl1
nw -35 ˙ n˙ +14 pp sotto voce
fn w
w w o
+12
o pp 3°/III
o o
o o
SQ ∑ nw ˙™ n‚ ~ ~ O n˙ w
Vl2 &
o pp sotto voce n˙ ˙ o
o
~o oO nO ‚o 10 : 11
= +165c 11°
SQ B n˙ Œ 4f w ˙ ˙ ˙ Ó ∑ Ó 4f ˙
Vla E-37
pp sotto voce o o pp sotto voce o o o
2°/II o Ó
n ~o ~o ~o Oo Oo n Ow 4/3
SQ ? ∑ ∑ nw
w
Vc û o pp sotto voce o pp sotto voce
62 4 2 4
tune to Sax 54 : 55
115 +47
] [ 5
+16
= +32c
11°
11 : 12
= +151c
3 +47
ù +49 4˙ œ ‰ Œ nw
Bass
Ob & 4 ˙- Ó J Ó ∑ ∑ Ó n˙ œ 4f œ n œ n œ o œ œ 4 ˙™ œ mœ 4˙
-2
‹ -4 A-39 -18
support mezza voce 10 : 11
+12
10 : 11
Tp = +165c = +165c
4w œ 7°
Alto J ‰ Œ v˙ o˙ v˙ o ˙™ +14
& Ó ∑ ∑ 15 : 16 Œ Ó
Sax û 3 = +112c oœ w 36 : 35
<w œ
-35 7 : 8
mezza voce p = -49c = -231c
tune to B1 B1 F1
match 32 : 33 Tuba 2 42 42 B1
B1 = +53c B1 3 3 21 : 22 42
Tb match B0 = +81c 3 B2
2 4 F0 +14 tune with Tp, Tb
ù 3 +49 3 3 - Tb <f œ 4f ˙ n˙ w
Hn & ∑ Ó
nw 4˙ n˙ 4˙ ˙
+16 o˙ œ n œ f œ 4f œ- o œ™ Ó o˙
-19
44 : 45 ∑
+10 = +39c
o˙ E-37 coordinate 3 A-39
with Tp 2 meno f
p mezza voce 1w
2
[ 0 3v 3 tune with Hn, Tb
3 +14
tune to Tuba, Str 3
Bb Tp E-37
& ∑ ∑ ∑ ∑ n ˙- ™ Œ Ó Œ j
nœ o œ 4o w 11 : 10
n˙ w œ Œ Ó
(1) = -165c
p 12 : 11 -2
mezza
voce = -151c
[ 33 : 32
3
2
- +12
0 ] 3v = -53c 0 3 tune with Hn, Tp, Tb
Bb Tp
{ & ∑ ∑ ∑ Ó nœ nœ œ ‰ o˙ Œ Ó n˙ œ 4o ˙ œ oœ nw nw
(2) J coordinate -4
mezza voce 3 +12
*Bb with Hn B-35 meno f
*F tune to [ *Bb
F III match Hn tune with
*Bb *F Bb III 11° Tuba, Str 11° ] Bass Ob, Hn
11° F III ]
fœ 4f -˙ 4f ˙- f œ <f œ ™port. o ˙ ˙ *Bb
F III
*F tune with Hn, Tp Bb II
? 4˙ n˙ ˙ Œ nœ 4œ n œ port. 4 œ Ó E-37
+10 J
-23
+14
Ó Œ 4 œ™ nœ ™ w œ Œ n˙
Tb +12 B-35 +49 -4
-4 32 : 33 3
meno f 33 : 32 p 33 : 32
tune with = +53c = -53c
SQ Vc 0 28 : 27 = -53c
3 3 3 +12 1
? +14
= -63c
Tba f w- ∑ ∑ ∑ ∑
û nw ˙ ˙ o œ- w
-2
nw
44 w
2∑ Ów
4
& ∑ ∑ ∑ ∑ fw n˙ ww nww w
Cues ∑
3 3
{ & 4f w
4˙ n˙
w
w
w w 4fw
Ó n˙
o˙ w
˙™ n œ oœ 4f w
œ 4˙ ™ n˙ ww w
∑
5 II
SQ ù ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vl2 & nw w
11°
o pp sotto voce
SQ B 4f ˙ ˙ w w w w ∑ ∑ ∑ ∑
Vla
pp sotto voce o
5/4 4/3 match Ens Vc
SQ ? nw w
fw Ó ∑
Vc û ow
w ˙ f˙ ˙ ˙ w ˙ ˙ ˙
o
+12 pp sotto voce
+14
ù æ æ
Vln
(snd) & ∑ ∑ ∑ ∑ ∑ ∑ ∑ n wæ wæ
II
æ æ
Vln { & ∑ ∑ ∑ ∑ ∑ ∑ ∑ nw wæ
o pp sotto voce
Vc ? ∑ ∑ ∑ Ó ∑
(snd)
fw w w ˙ ˙ ˙
? ∑ ∑ ∑ Ó ∑
Vc {
û nw
o
w
pp sotto voce
w ˙ ˙ ˙
o
=
124 ]
4 match Hn
+14
3
+2 nw ˙
ù ™ n˙ <˙ œ o˙ ™ ow
Bass
Ob & ˙ Œ ∑ Ó Œ nœ
-2
˙ -35
35 : 36 3
‹ tune with p 3
27 : 28 = +49c
Tb, Tuba = +63c [ +12
3 +16
Alto v˙ ™ 3
j
Sax & Ó nœ vœ ˙ ˙ ˙ ˙ nœ ˙ w nœ o ˙ ˙ o ˙™™ nœ
û -4
-2
match Tuba -4 8 : 9 -4
8 : 9 F1 = +204c
= +204c 4 mezza voce
F1 match +49 B1 B0
2 Bass Ob [j continue Tp 1 11° ] 2
Hn
ù
& -2 n ˙ ™™ nœ 4˙ +51
4˙ ˙ n˙ Ó Œ ‰ < œJ œ o -œ Œ nœ ˙ Ó ∑
-35 +14 tune to
p m.v. 33 : 32 p 35 : 36
= -53c B Ob, Str 2 1w
1w match Bass Ob = +49c 2 3v
3
+49
] 2 +51
Bb Tp & Ó nœ nœ 4 œ œ Œ Ó ∑ ∑ n -œ ™ ‰ Ó Ó Œ ‰ v œJ œ 4o œ Œ 4œ
(1) +2 E-37
1w p 16 : 15
0 2 45 : 44 = -112c
[ +14 3v 3
] = -39c
Bb Tp Œ Ó ∑ Ó Œ ‰ n œj Œ ‰ Ó ∑ ∑
(2) { & œ
u11
tune with
Tuba
<˙ >v w
*F
+33 Bb II mezza voce
œ oœ
12 : 11
= -151c
E-37
4o œ
11 : 10
-2
n œ- ™
p
Bb II- Bb II -
3 -31 = -165c
Tb
?
5w n˙ œ ‰ n œJ Œ 49 : 48
∑ ∑ ∑ ∑
3 = -36c
-53 più f p 1
match Sax
+47 4 3
tune with Tb 2
? Ó
3 4
3
4 œ 5v nw œ
Tba n˙ nw +31
>w n˙ ™ Œ Ó ∑
û -2
p
11 : 12
= +151c
4 3 4œ
& w nœ nœ 4 œ wœ Œ Œ <˙ >v w˙™ ‰ n œJ wœ o ˙™ w
w w ˙™ ow
Ó ∑ Ó
Cues 3 3 3
3
{ & w
∑
w
Œ ‰ n œJ
4˙ w˙ Ó wÓ Œ
4f œ ww w
n œ f˙ ˙ o ww
SQ ù III ∑ ∑
Vl1 & nw w w w w
o o
pp sotto voce
SQ
Vl2 & w w w w w w w
E-37
o
SQ B ∑ ∑ ∑ Ó 4f ˙ ˙ ˙ w w
Vla
o pp sotto voce 9/5
8/5
3 -
10 : 11 +14 +49 A-39 0 +12 54 : 55
II E-37 = +32c
? = +165c
oœ n œ. 4 -œ 4f œ n˙ f˙ ˙ ˙ port. o˙
SQ ∑ ∑ Œ n˙ ™ ˙™ 4f œ nœ ˙ w +16
Vc û -4
o pp 3 8 : 9
11 : 12 9 : 10 32 : 33 15 : 16 44 : 45 = +204c
= +151c = +182c = +53c = +112c = +39c
ù æ æ æ æ æ æ æ
Vln
(snd) & w wæ wæ wæ wæ wæ wæ
æ æ æ æ æ æ æ
Vln {& wæ wæ wæ wæ wæ wæ wæ
o
Vla B n wæ w w w w ∑ ∑
(snd) æ æ æ æ æ
II
B n wæ w w w w ∑ ∑
Vla {
û æo ææ
pp sotto voce
ææ ææ ææ
o
3 2 4 63
+12
[ +14
131 f w œ 4f œ ™ ] take Ob
Bass ù Œ Ó ∑ ∑ ∑ ∑ ∑ Œ
oœ ™ œ™ ‰ Ó ∑
Ob &
A-39
‹ mezza voce
tune
to Tb
5°
Bass Cl
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ n˙ ™
(1)
o
match Tuba
Bass Cl
(2) { &
8 : 11
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ +14
ow
o
w
pp sotto voce
= +551c match [
+47 Str, Tuba consonant ] +47
]
Alto Ó Ó Œ ‰ v œj
Sax û
& œ 4 ˙™ w ˙ n œ -2n ˙ 4œ œ Œ Ó ∑ ∑ ∑ ∑
-4
12 : 11
= -151c
F0 F0
B1 B2 B0 B1 4v
[ 42 [ 423
3 ] +29 ]
ù ∑ ∑ ∑ Ó Ó 4f ˙ n˙ o˙ Ó Ó Œ 4f œ œ g œ™ 4o ˙ ˙
Ó ∑ ∑
Hn & A +12 A
J B-35
0
-39 -39
3 3
m.v. tune 3/2
tune to 44 : 45 15 : 16 with Tb
2 Sax, Tp 2 consonant = +39c = +112c
3w +49
1w
Bb Tp 4 ˙ 4 ˙ ™™ j ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(1)
& +47 4œ œ 4 ˙™
3
1w [
consonant ]
3
+49 4˙
Bb Tp
(2) { & Ó Ó 4˙
tune to
Sax, Tp 1
+51
4˙
mezza voce
˙ Ó ∑
*Bb
∑
tune to *F
∑
*F
play 7. partial
∑
in the same position

*Bb
∑
tune
F II to B Ob *Bb
F I- tune
∑
F I- F I
∑
F III
+49
Tuba 32 : 33 Bb III
= +53c 7° +47
[ +12 to Tuba ]
? 4˙
+51
+12
3 gw œ 4 œ port. o œ port. 4 œ port. g w -161c < ˙port. o ˙ o˙
Tb ∑ ∑ ∑ ∑ Ó 4œ f˙ ˙ port. 4f -˙ +27 55 : 54 -33
-80c 3
3 B-35 = -32c
mezza voce
1
4 4 35 : 36
5 5 1 1
match 2 1 11 : 12 = +49c
+47 v 10 : 11 4 2
?
4 w- Str, Sax 4œ 4f ˙ +49
4 -˙
4 1
5 11 : 12 3 = +165c 5
v
= +151c 0
+14
3
4
0
Ó Œ E-37 Ó Ó v = +151c v
Tba +49
û +47
4w n ˙- 4f ˙ ˙ o -˙ 4w ow w
p tune with Tb E-37
3
3 2 4
4˙ Ó Ó 4˙ nw ˙ f ˙ 4f ww 4f ˙w w w
& ∑
∑
4˙ n wœ n ˙ ™ wœ Œ 4f œ n œ Ó ow ˙ 4f ˙ ow w w
3
3
Cues
Ó Œ ‰ Œ Ó ∑ ∑ ∑ ∑
{ & 4 4f w j Œ o˙™
w ww ww w
n œ n œ w n˙ 4œ œw
match Ens Vla, 11/4 B-35

consonant 3 4f œ w ˙ ˙ ˙ [
+49 4w ˙™™
SQ ù Ó Œ J Ó Œ
+16
Vl1 & n -œ 4˙ ˙ w w n˙ w o˙™

pp sotto voce
o mezza voce
15 : 16 44 : 45 10 : 11
32 : 33 = +112c = +39c
with = +53c 12 : 11 = +165c
[ o 2°/IV Ens Vc ] A = -151c [3 +49 A
-39
B-35 ] +49 B-35
+49 -39 +49
SQ
& ∑ ∑ ‰ n œj œ 4 œ. 4f -œ n œ œ 4˙ ‰ 4 œj œ o œ 4 œ 4f ˙ n œ 4f ˙ ™ Œ 4 -œ 4f ˙ w w
Vl2 n-œ n O -
+14 pp sotto voce
mezza voce
5/3 33 : 32 35 : 36 32 : 33
11/6 +14 E D# [
consonant +47 +47 A-39
-49
= -53c = +49c = +53c
with SQ Vc +14 E-37 -37 +12
4˙ ˙ 4˙ 4w 4˙ 4˙ ˙ +49 B-35
SQ B 4f w ˙ 4f ˙ ˙ n˙ 4f w n˙ 4f ˙ ˙ o œ 4f œ o ˙™™ 4 œ 4f ˙
J
ow œ 4f œ 4 œ n œ-. < œ o œ f œ 4f œ
Vla E-37 -33 +16
12 : 11 15 : 16 3
m.v.
= -151c = +112c 16 : 15 8 : 7 9 : 8 11 : 12
= -112c = -231c = -204c = +151c
11/6 11/4 8/3 2°/I
match Ens Vc consonant +14 +49 o
+47 D#-49
4˙
E-37
œ 4f œ ™ o œ™ n -œ ™ 4˙ œ n œ- ™ 4 -œ ™ ˙ n-O ™ +49
4œ ˙ n Oo +14
o˙ w w
?
4˙ ˙ w w -4
SQ ˙
Ó
nœ ˙ œ nœ ™ nœ ™
Vc û 3
J 3 3
pp sotto voce 8 : 9 pp sotto voce
11 : 12
= +204c 15 : 16 11 : 12 9 : 10 = +151c
= +112c = +151c = +182c
Vln ù ∑ ∑ ∑ Ó Ó ∑ ∑ +16 +47

Œ ∑
& nœ œ œ œ
-œ port. 4 -œ rt. o ˙ ™
(snd) o˙ po
54 : 55
II sul II = +32c
Vln { & ∑ ∑ ∑ Ó nœ œ œ
o pp sotto voce
œ
o
Ó ∑ ∑
n˙
o
œ- port. > -œ port. n ˙ ™
Œ ∑
o
4 œ™ 4 ˙o ˙o ˙o
o o
Vla B ∑
4w n-˙ Ó ∑ Œ
4œ 4œ
J
œ Œ 4œ 4œ ˙
Ó Ó Ó <˙ ˙ Ó
(snd)
3 3
3
sul I
n ‚o ™ n Oo Oo Oo 2°/IV
n wI n-˙
II
nœ nœ œ nœ nœ ˙ o o
Vla { B ∑
o
Ó ∑ Œ
pp sotto voce
J Œ
3 3
o
Ó Ó Ó
3
nO
o
O
o
Ó
-o o 4f ˙o
4 ~o n ˙o œo 4 œ. 4f -œ™ n ˙o 4 œo
+47 +16
o
~o ‚o 4 -œ port. o -œ port. 4 -œ
Vc ? +49 A
-39
‰ 4w ∑ ∑ ∑
(snd) nœ
32 : 33 15 : 16
with = +53c = +112c 55 : 54
SQ Vl2 2°/I 2°/I = -32c
2°/II -o
3°/II 2°/II
n Oo sul II
o
n ~o ~o ‚o o 4°/III
o n-‚o. n ‚ ™ II n Oo n ‚o n -œ port. < -œ port. n-‚
?
Vc {
û o pp sotto voce
nœ n O ‚
o
‰ nw
pp
∑
o
∑ ∑
64
2 11°
3 +14 E-37 A-39
2 3
141 D#-49 B-35 E-37
ù 4 œ 4o œ 4o ˙ +12
nœ o œ ˙ o˙ œ 4o ˙ 4f œ ˙ n˙ w ˙ 4f ˙ ˙
Bass Cl
& ˙ o˙ ˙ Ó Ó ∑
(1) 44 : 45 A-39
11 : 8 -2 3 12 : 11 = +39c o
mezza voce
= -551c = -151c
8 : 11
= +551c 15 : 16 7° +10
A-39 = +112c +14 E-37
Bass Cl
3 3 +12 o ˙™ <œ w 4o ˙ ˙ ow œ
(2) { &
o˙ ˙ ˙ 4w
+236c
+49
˙ 4f ˙ n ˙
15 : 16
= +112c
44 : 45
= +39c
ow
∑
36 : 35
= -49c
11 : 8
-35
3 3
33 : 32
= -53c
o
Œ Ó ∑
= -551c +12
+47
Alto ∑ ∑ ∑ ∑ Ó 4˙ œ n˙ ™ ∑ ∑
Sax & ˙ o˙ w
û -4 o
7°
<f w
ù? -17
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tb
Tba
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
û ow
sempre l.v. unless indicated
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4f w ∑
p, delicate
Tuned
Objects
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ &
4f œ nœ fœ œ <œ port.
∑ ∑ ∑ ∑ ∑ ∑ ∑
nœ™ <œ ˙ <e œ™ 5<11°
œ œ ™ 4f 4f œ
œ œ
& ∑ J J
Hp
(snd)
? f œ < œ <m œ <e œ œ ™ 5< œ 5<m œj 5< œ™
{ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & fœ ™ J J 4f4 ˙˙
eœ eœ eœ œ vœ port.
nœ ™ 11°
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
eœ™ vœ ˙ nœ œ ™ v œ v œœ
& J J
libero, a piacere
Hp
? e œ v œ nœ nœ œ ™ nœ j ?
{ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
E# Fb (G# Ab)
D§ C§ Bb
& eœ ™ J
B§ A§
J nœ nœ ™
F§ D#
vv ˙˙
B#
<˙
∏∏∏∏∏
4f ˙ nœ nœ n œœ œ 4f4 œœ
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ n f ˙œ 4f œ n œ <m ˙ Œ 4f œ
3
Hpsd
<mn ˙œ™™ < œ ˙ nn œœ ™™
(snd)
?
-
n f œœ J m œ <m œ 4 œ n œ < œ 4f4 ˙˙
{ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ‰ 3
&
lute stop n˙
ù
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó n˙ nœ v œ ™ Ó
J
lute stop
∏∏∏∏∏
e˙ eœ œ nn œœ
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ee ˙œ e œ e œ Ó Œ
Hpsd
{ &
libero
3
eœ
3
ve ˙œ™ ™ n œ ˙ nv œœ ™™ nœ nœ
? J nœ e œ
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ ‰ Ó
- vœ nv ˙˙
? ee œœ
{
û
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Ó Ó &
2 3 2 3
& o4fww f ww ‰ j ∑w ∑˙ ∑˙ ∑
ww ww 4f œw4f ˙ oœ w˙ n˙ 4f ˙ Ó
Cues
∑ Ó Ó3 3
Œ Ó ∑
{ & ow 4 œw 4 ˙ 4 œ 4f w
w w
w w
Ó 4˙ w
œ n˙™ ˙ f ˙ 4f ˙ ˙w f w œ
3 +47 +51
E ]
SQ ù -37
∑ ∑ ∑ ∑
Vl1 & o˙ nw 4œ 4˙ 4 œ 4f w w w w
- pp sotto voce o
8 : 9
= +204c
33 : 32 A
= -53c +12 -39
SQ
Vl2 & 4f w w ˙ Ó Ó fw 4f w w ∑ ∑ ∑ ∑
12 : 11 o
3 = -151c
]
SQ B ow w w w ∑ nw w ∑ ∑ ∑
Vla
pp sotto voce o o o
ow w w w w w
SQ ? ∑ ∑ ∑ ∑
Vc û o
65
151
5 coordinate with Perc.
ù n˙ œ ‰ n˙ œ nœ
Bass Fl
& ∑ ∑ ∑ Œ J ‰ n œJ
(1) -2 -4
‹ o pp sotto voce
coordinate with Perc. 36 : 35

+14 = -49c 7°
Bass Fl ‰ o œj ˙
(2) { &
‹
coordinate with Perc
∑ ∑ Œ
o
œ
pp sotto voce
˙
o
Œ <˙
-35 o
œ™ ‰
+14
o˙ ˙ 3
Bass Cl ∑ ∑ ∑ n˙
(1) & nw
o o -4
-2 o
pp s.v. coordinate pp s.v.
with Perc.
+12
Bass Cl
(2) {
û
& ∑ ∑
o˙
o
˙
pp sotto voce
o
∑ ∑
3
& ∑ ∑ ∑ ∑ ‰ Œ j ‰ Œ
nœ ™ n œ.
Tuned - …
Objects sempre l.v. unless indicated
j æ j j
{ & ow ∑ oœ ˙ Œ
n˙ ™
Œ n ˙æ œ nœ
p, delicate
f œ™
11°
:f œ 4 œ o œ 4f œ 4 œ f œ 4f œ
13° j 5
0o ˙ oœ
& o œ f œ n œ 4f œ 4fo n˙˙˙ oœ 0< ˙ Œ Ó Œ ‰ j
<m œ œ
j
4 œ™ < œ o œ 4 œ n œ 4f œ f œ 4 œ
3
Hp
(snd) o 4f œ 4 œ f œ 4f œ :f œ <e œ 4 œ f œ 4f œ 4 œ f œ4f œ n œ 4 œ œ 5
4œ 4œ ? œ nœ œ nœ 4œ oœ <œ 4œ 3
<œ
{ & Œ o ˙™ Ó fœ ™ o œ™ J J f œ 4 œ f œ 4f œ n œ 4 œ n œ J
5 5 5
5
nœ v œ v œ nœ v œ e œ vœ 5
v œj
& vœ eœ vœ v œ vvvn ˙˙˙˙ vœ n˙ Œ Ó Œ ‰ j j vœ vœ vœ eœ vœ
eœ eœ
3
nœ œ eœ ™
Hp
o™ n œ v œ e œ v œ nœ œ e œ v œ e œ vœ eœ œ v œ e œ vœ eœ vœ œ
5
? Œ vv O˙ ™ Ó
vœ vœ eœ ™ ? eœ v œ v œ v œe œ e œe œ e œ 3
vœ
{ F#
Cb
A# D§
&
A§ D# E§
vœ ™
5
J
Eb
5
Ab
J
E§
5
E# D§ Db
5
vœ eœ vœ eœ J
13 ° 3 3
4f œ™ j Œ 4 œ n œ 4 œ 4f œ ‰ 3
u˙ 4˙
∏∏∏∏∏∏
∏∏∏∏∏
o ˙ <m ˙ 3 3 Œ Œ
& 4f œ f œ o œ 0o œ ˙
Œ o œ 4f ˙ n œ <m œœ œœ mum ˙˙˙
3
3 n œ < œ n œ <m œ n œ < œ n ˙‰ <œ™ m˙ 4 ˙ n˙
Hpsd
(snd) 3
œ nœ o œ n œ 4 œ n œ o œ -.
∏∏∏∏∏∏
oof˙˙˙˙ fœ o œ fœ o œ fœ o œ
∏∏∏∏∏∏
‰ ∏∏∏∏∏
& oon œœœ n œ 4 œ ˙n œ 4f œ no ˙˙ ? < œ < œ <m œœœ n< œœ n œœœ
j J nœ j <<m œœœ œœ nnn ˙˙˙ n œn œ
{ ™
nœ
3 3 3 3 3
<œ <m œ œœ n œm œ
3
3
∏∏∏∏∏∏
ù v˙ 3 3
& Œ ‰ eœ
J
˙ Œ e˙ Ó ‰ vœ œ œ
eœ œ nvn ˙˙˙
3 v œ nœ v œ nœ v œ n œ n ˙‰ nœ ™ n˙ n˙
nœ ™ ‰ n˙ nœ nœ v œ nœ 3
∏∏∏∏∏
n˙
{ & œ e œ nœ Ó Œ nœ Ó ∑ Œ Œ Ó
3 3
v˙
Hpsd
3
∏∏∏∏∏∏
∏∏∏∏∏
‰ nn œœœ œœ nvv ˙˙˙

? ∑ n œn œ e œœœ vn œœ n œœœ ∑ Ó Œ nœ
j
nœ œœ v œn œ
v œn œ
en ˙œ n œ e œ n œ e œ n œ œ nœ n œ n œ v œ n œ n œ -.
∏∏∏∏∏∏
& nnn œœœ e œn œ ˙n œ n œ nn ˙˙ ? ∑ nœ

j nen ˙˙˙˙ J nœ Œ ∑
{
û ™ 3 3 3 3 3
5
SQ ù ∑ ∑ ∑ ∑ ∑
Vl1 &
SQ ∑ ∑ ∑ ∑ ∑
Vl2 &
SQ B ∑ ∑ ∑ ∑ ∑
Vla
SQ ? ∑ Ó n˙ ˙ Ó ∑ ∑
Vc û o o
pp sotto voce
Vla ùB ∑ ∑ ∑ ∑
(snd) <˙ ˙
B ∑ ∑ ∑ ∑
Vla { n˙
o
˙
pp sotto voce
o
Vc ? ∑ ∑ ∑ ∑
(snd)
f˙ ˙
? ∑ ∑ ∑ ∑
Vc {
û n˙
o
˙
o
pp sotto voce
66 3 4 +12
156 œ nœ œ œ f˙
Bass Fl ù Œ Œ ‰ n œJ w ∑ Ó Œ Œ ∑ ∑
& 15 : 16
(1) -2 = +112c
‹ o 3 o o
pp sotto voce
+12
n˙ f˙ œ n˙ œ™
Bass Fl ∑ ∑ ∑ ∑ Œ ‰
(2) { &
‹
<˙
pp s.v.
˙
o
+12
3 o
15 : 16
= +112c
pp sotto voce
3 o
3
Bass Cl
& ˙ ∑ ‰™ oœ
R
œ ˙ w ˙ ˙ ∑ Œ n˙ œ™ ‰
(1)
nw o o pp sotto voce o 3 o
+14 E-37
12 : 11 +16 +14 u11
Bass Cl
o˙ w = -151c 4o ˙ œ o˙ ™ w 3
(2) {
û
& ∑ Ó
o pp sotto voce
3
o
Œ Ó Œ
o pp sotto voce
ow
11 : 10
= -165c
5v ˙
-51
12 : 11
= -151c
3
-… 3
j ‰Œ Œ ‰ j æ Œ ‰ f œ. Œ 4f ˙ ∑ ∑ Ó f˙ œ Ó
&
n œ. … n œæ wæ J æ æ n˙
Tuned -
Objects 3
æ æ 3 …
{ & œ Œ Ó ∑ ‰™ r oœ n œæ ˙æ Ó Œ nœ Ó Œ n œj ‰
fœ œ fœ ˙ ˙ oœ ˙ -.
3
<e œ œ f œ™
o œ < œ o œ < œ o œj nœ 4œ oœ <œ 3
nœ
<f œœ
t.
nœ 4 œ 4 œ fœ oœ nœ
por
& 4œ f œ™ <e œ < œ J

o˙
oœ fœ
o œ 4f œ <œ
? Ó ˙ 4f œ ˙ 4˙ oœ ˙ Œ&
3 3 3
Hp
(snd) 5< œ < œ o ˙o ‰ j 3
< œ n œ 44 œœ n œ 4 œ <en œœ 4 œ n œ <e œ fœ 4f œ Œ 4f ˙ ™
∏∏∏∏∏
? Œ foo ˙˙˙ ™™ o œ o œ™ ?
{ J
3 3
oœ 4˙
3
3
nœ nw
nw
f˙
f˙
4˙
4˙
o˙
o˙
& J
nœ œ eœ™ v œ v œ v œ v œ v œj eœ eœ vœ vœ vœ 3
vœ
eœe œ eœ eœ
t.
eœ ™ vœ
por
œ nœ v œ J vœ eœ vœ ? Ó vœ ˙ nœ ˙ v˙ Œ&
& v˙ vœ nœ vœ vœ ˙
3 3 3
Hp 3
nœ vœ ‰ j
? œ e œ ev œœ e œ v œ en œœ v ˙o v œ e œ nœ e œ vœ Œ v˙
∏∏∏∏∏ evv ˙˙˙ ™™™ ?
{ J vœ v˙ eœ Œ ew e˙ v˙ v˙ & vœ
J vœ ™
3 3
ew e˙ v˙ v˙
Fb F§ F# 3 E§ E# E§
B§ B# D# C# A#
∏∏∏∏∏∏
444 œœœ™™™ f œœ
Œ œ œ œ œ 4f œ
o < o < Ó ∑ ∑ ∑ ∑
& < œ n œœ n œœœ ˙ ™
< ˙˙˙ ™™™
Hpsd 3 3 3
œ 3 œœ n œœ œœ n n œœjœœ <m ‰œœ
∏∏∏∏∏
nœ
fœ o ˙ o˙ œ
(snd)
∏∏∏∏∏∏∏∏∏∏
∏∏∏∏∏∏∏∏
4f œ n f4fn œœœœ œœœœ n œ œ nœ n ˙˙ < œ o œ 4fnof ˙˙œœ˙˙ oœ 4f œ œ

? mnn ˙˙˙ n œ 4 œ 4f œn œ 4 œ 4f o œœ ∏∏∏∏∏∏ 4fnofoœœœœœ ™™™™ n œ œ ‰ f œ œ œ n
∏∏∏∏∏∏∏∏
∏∏∏∏
< œ o œ œ œ œ <m œ œ
∏∏∏∏∏∏
Ó Œ Œ ‰ 4˙ 4œ
{ n˙ 3
4œ
3
nn œœ Œ oo œœ œœ
fœ
œ n
f n ˙˙ œ nœ n œJ 44 ˙˙ 3
ù Ó ‰ n œ v œœ œœ Ó ≈ nœ nœ Œ Ó ∑ ∑ ∑ ∑
& ˙
nœ n ˙˙˙
∏∏∏∏∏∏
nvv œœœ ™™™ e œœ

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
nn œœ nenn œœœœ œœœœ

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
‰ Œ ∑ nœ nœ nœ ? Œ Ó ∑ ∑ ∑
Hpsd
{ & &
nœ œ
l.h.
? nv ˙˙˙ Ó ∑ Ó Œ nœ ∑ Œ nœ Œ Ó ∑ Ó Œ ev œœ n œœ
v˙ nv œœ 3
3 3 3 3
∏∏∏∏∏
nœ œ
eœ n˙ e œ n œ n œn œ v œ nœ nnn ˙˙˙
Œ n œ en ˙œœ˙
œ
™ n œ n œœ ‰˙ e œ n œœ n œœœ n œœœ n œœœ œœœ nn œœ
∏∏∏∏∏∏
n ˙˙
∏∏∏∏∏∏∏∏
∏∏∏∏
? nœ nen œœœ œœœ en œœœœ ™™™

n œ
∏∏∏∏∏∏
n
{
û
∑ Œ Œ
3
‰
3
nœ Œ Œ
eœ
œ n
e e ˙˙ œ nœ n v
n œJ nv ˙˙
vœ
3
J ‰
163 3 2 ≈ U
Bass Cl ù Ó ∑ ∑ ∑ ∑
(2) & n˙
û o
-2
≈ U
& ∑ ∑ ‰ Ó ‰ j Œ Œ ∑
Tuned nœ ™ nœ 44f œœ
Objects
∑ Ó Ó j … ≈ U
{ & 4˙ n œ. ‰ Œ Ó ‰ j Œ ∑
- 4œ
4œ
n œo 4œ 4œ oœ <œ ≈ U
& Œ Œ ∑ ‰ oœ < œ n œ 5< œ <e œ < œ <m œ™ < œ o œ 4f44 œœœ 5< œ 5< œ
3 4œ 5< œ 5< ˙
Hp
(snd) 4˙ n˙ ≈ 5<m œ U
? Ó Œ Œ ‰ j <œ Œ Ó Œ
{ nœ
vœ
<œ
<œ <e œ nœ
n˙ &
vœ v œ vœ vœ ≈ U
& Ó Œ ∑ ‰ vœ v œ e œ n œ nœ v œ nœ ™ v œ v œ ev œœ Œ nœ
3 vœ nœ n˙
Hp o
? Œ vv Oœ Œ
v˙
Œ ‰ vœ e˙ ≈
Œ Ó nœ U
Œ
{ vœ
E#
B§
vœ
vœ
j
nœ eœ
e˙
D§ E§
Db
F§ A§
&
Ab
3 C§
nœ n œœ œ œœ ≈ U
∑ Œ n œœ ‰ j ‰ ∑
∏∏∏∏
& œJ <œ œ n œœœ < œœœ j n 44œœœ 4 ˙˙œ 4f œ

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
nœ ™ nœ nœ
Hpsd
(snd) ˙ 3 ≈
∏∏∏∏∏
j j
∏∏∏
? <m<m ˙˙ ‰ <m œ <<<m<m œœœœœ ™™™™™ ‰ <m œj <m œœ < <n˙˙˙n˙ 44f œœœ œ
œœ U
{ nn ˙˙ Œ <m œœ œœ œœ j ‰ ‰ ∑
∏∏∏∏
<m œJ œ < œ <m œ™ <m œ œ J
ù vœ n œœ œ œœ ≈ U
& ∑ Œ v œœ œJ ‰ j ∑ ∑
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
nœ œ n œœœ n œœœ
vœ™ vœ
≈ U
∑ ∑ ∑ ‰ ∑
∏∏∏∏
Hpsd
{ &
3
nœ
j n vn œœœ v ˙˙œ nœ
˙˙ j j ≈ U
∏∏∏
? ˙ ‰ eœ nenn œœœœœ ™™™™™ j eœ n n v ˙˙˙v˙

Ó Œ n œœ œœ œœ j ‰ ‰ Œ Œ ∑
∏∏∏∏
e œJ œ n œ e œ™ en œœ œœ
r.h. ≈
∏∏∏∏∏
? Ó nev œœœ œ
œœ U
{
û nn ˙˙ ∑ ∑ Ó ‰
J
∑
4 Libero 3 A Tempo 67
168 +16
ù ≈ nw w
Bass Fl
(1) & ∑ ∑ ∑ ∑ nœ o ˙ ˙
-2
‹ o pp sotto voce 3
≈ n˙ ˙ ˙ œ
Bass Fl ∑ ∑ ∑ ∑ Œ J nœ ™
(2) { &
‹ 3 o pp sotto voce
11 : 12 = +151c
w
E-37 E-37
≈ 4o œ œ o˙ ˙ ˙™ 4o œ
Bass Cl ∑ ∑ ∑ ∑ Ó Œ ‰ J
(1) & +14
dissonant note 3
to Bass Fl 2 o pp sotto voce
≈ +12 o˙™ w
Bass Cl oœ
(2) {
û
& ∑ ∑ ∑ ∑
≈
nw
-4 o
3
pp sotto voce
∑ ∑ ∑ ∑ æj æ fœ ™ Ó Œ æ
& 4f œ œæ 4f œæ
Tuned
nn œw n ˙ œ™ nœ ™
Objects
≈ 3 3
∑ ∑ ∑ ∑ ∑ Ó Ó
{ &
4f œ 4 œ 4 œ 4œ
<e œ
4œ œ
fœ o˙ nœ
o˙
<e ˙ ≈
4œ 4œ 4˙ 3
4f œ ˙™ Œ Ó Œ ‰ 4f œj Ó Œ 4f œ ™ j
& 4f œ 4 œ œ o˙ o œ 4f œ
Hp
(snd) ≈ ? ‰ nœ
™ n ˙o
{ & Œ ‰ 5<m œ <e œ 5< œ :f œ 5< œ 4 œ <e œ :f œ 5< œ nœ œ Œ ∑ Ó Ó
5< œ 4 œ 4f œ 5< œ 4f œ 5< œ 4 œ 4f œ 4 œ 5< œ 5< œ 5< œ 4 œ 4f œ 4 œ
coordinate
nœ e œ v œ nœ
with Hpsd eœ eœ œ
n˙ ≈
& nœ v œ eœ vœ v˙ nœ ˙™ Œ Ó Œ ‰ n œj
3
Ó Œ nœ ™ j
œ v˙ v œ nœ
Hp o
≈ ™
Œ ‰ nœ v œ nœ e œ n œ nœ nœ nœ nœ nœ nœ
e œ nœ nœ Œ ? ∑ Ó ‰ vœ Ó
{ &
n œ e œ nœ n œ nœ nœ n œ e œ nœ v œ v œ œ v˙
A# F#
4f œ 4f œ 4 œ 4f œ 4 ˙ <m œ 4 œ œ 3 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Œ 4f œ <œ ™ ‰ Œ Œ Œ 4f œ o œœ
≈
j
3
& 4 œ 4 œ 4f œ œ œ n˙ œ™ 4f œ œ n œ 4f œ o œ 4f œ ˙ ˙ œ o œ 4f œ
3
Hpsd
(snd) 4œ ˙ ™4f œ ˙ ≈
∏∏∏∏∏
4f œ 4 œ m n ˙˙ n˙ 4f œ 4f ˙˙ œ 3
oœ o œœ ˙˙
? nn ˙˙ J Œ j nœ ™ n œ œ n œ n œœ œœ œ fœ œ o œœ nw
{
ù
coordinate with Harp
‰
eœ
nœ œ ™
nœ ™
3
≈
J nœ œ œ œ
J
fœ
3
œ ˙
& ∑ Ó Œ J ‰ Œ ‰ Œ ∑ ∑ ∑ ∑
nœ nœ v œ e œ n˙ vœ œ 3
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
nœ J ≈ 3
Œ ‰ Œ Ó Œ Œ n œ n œœ j
Hpsd
{ & nœ v œ e œ
3
œ œ n˙ œ™ nœ œ nœ nœ nœ nœ ˙ ˙ œ nœ nœ
∏∏∏∏∏
? Œ vnnn ˙˙˙˙ Œ ∑ ∑
≈
∑ ∑ ∑ ∑
nœ ˙™ nœ ˙ ≈ 3
nœ nœ n˙ n œ e ˙˙ œ nœ n œœ ˙˙
? Œ Œ J Œ j nœ ™ e œ œ n œ n œœ œœ œ eœ œ n œœ nw
{
û ‰ eœ œ ™ 3
J eœ œ œ œ
J
eœ
3
œ ˙
=
175
6
3
ù
Bass Fl
(1) & o ˙™ nœ w w ˙ Ó n˙ ˙ ˙ ∑
‹ o
+47 22 : 21 consonant minor triad
7° +47 with Bass Clarinets
6 : 7 = -81c
Bass Fl = +267c <w w 4œ œ™ <œ 4œ <œ 4œ <œ 4œ ˙™ Œ
(2) { &
‹
w
-33
n˙ ™
-33
J
3
E-37
o
4o ˙ 11 : 10 4o ˙ ™
Bass Cl = -165c n˙ w œ™ ‰ Œ nœ w w nœ
(1) & 8 : 11 -2
-2 -2
27 : 28 = +551c
consonant minor triad
= +63c 7° +49 with Bass Fl and Bass Cl
ow +2
v˙ <w w nœ 4œ ˙ ˙™
Bass Cl Ó Ó nœ ‰ nœ
(2) {
û
&
o 3 o
-35
pp sotto voce
-4
-2
3
3
o
J
pp sotto voce
& 4f ˙ææ Ó ∑ Ó Œ
nœ
Ó Œ
4œ j ‰ Œ 4œ Ó Ó Œ ‰ j
n œ. … nœ
Tuned -
Objects 3
… 3
Ó ∑ ∑ Ó Ó Ó ∑
{ & n˙
3
n˙ nœ n˙
3 3
& 4f œ 5< œ 4 œ 4f œ o œ 4 ˙ ∑ ∑ Ó Œ j
Hp
4œ œ™ 5< œ 4 œ ˙ 4œ 4f ˙ 4˙
3
(snd)
? Ó Œ n œ 5< œJ œ
J nœ Œ Ó Ó
5< ˙
∑ ∑ Ó Ó n˙
{ 5< ˙
3 3 3
3 3 3
& œ n œ e œ nœ v œ v ˙ ∑ ∑ Ó Œ j
3
eœ œ™ nœ vœ ˙ eœ n˙ v˙
Hp
? Ó Œ v œ n œJ œ
J vœ Œ Ó Ó
n˙
∑ ∑ Ó Ó v˙
{ n˙
3 3 3
3 3 3
& 4f œ 4f œ < ˙™ Ó Ó Œ 4f œ 4 œ 4f œ 4 œ n œ 4 œ 4f œ 4 œ n œ n œ
nœ n˙ <˙ nw nœ ˙ 4 œ nœ
Hpsd
(snd)
?
oœ o œœ œ nœ w n˙ ™ 4œ ˙ j
{ f ˙˙ ∑ Œ 4œ œ œ 4œ 4 œ ™™ Œ
4œ œ œ 4 œœ ™
ù 3
& ∑ n˙ ™ Ó ∑ ∑
n˙ nw nœ ˙
3 3
∑ ∑ ∑ Ó Œ
Hpsd
{ & œ nœ nœ n˙ v œ nœ nœ v œ nœ v œ nœ v œ nœ v œ nœ n œ
? ∑ ∑ ∑ ∑ ∑ ∑
? nœ n œœ œ nœ w n˙ ™ vœ ˙ j
{ e ˙˙ ∑ Œ vœ œ œ nœ v œ ™™ Œ
û vœ œ œ v œœ ™
68 54 : 55 10 : 9
4 2 4 64 : 63 = +32c = -182c
33 : 32 tune with +18
= -53c 16 : 15 15 : 14 = -27c
181 11° Bass Clar = -119c +14 -16 +49
Bass Fl ù 4œ œ n˙ ™ ˙ = -112c
uw œ <˙ ™ o ˙™ u˙ nœ < œ o œ 4 œ nœ
(1) & Ó Œ
+49 -4
Ó Œ Ó Œ
-35 35 : 36 24 : 25 15 : 16 -31 -4
-16
‹ o o o = +49c = +71c = +112c 5
pp s.v. 35 : 36 33 : 32
= +49c = -53c
6 : 7 tune with
= +267c Bass Cl 10 : 9
Bass Fl nœ <˙ ™ mw = -182c
nw ˙™
(2) { & Ó
‹
Œ
nœ
o
œ ˙
36 : 35
Œ
-35
pp sotto voce
7 : 8
o
∑
-20
o -2
o
Œ ∑
= -49c = +231c
Bass Cl Œ ∑ ∑ ∑
(1) & u˙
n˙ œ œ œ <m ˙ ˙ w w
o pp s.v. o -49
o -18
11° 33 : 32 36 : 35 7°
Bass Cl 4w = -53c n˙ ™ = -49c <m œ œ nœ <m œ n œ <m œ n œ <m œ n œ <m œ <m w
(2) {&
û +51 -2 -51
J -2 J
3
∑
-51
∑ ∑
nw
o
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tuned
Objects
{ & 4w Œ n ˙ææ™ æ
˙æ Ó ∑ ∑ ∑ ∑ ∑
nw 3
& ∑ ∑ Œ < ˙™ ∑ ∑ ow Ó
4w
Hp
<m wo < ˙o
(snd)
? ∑ ∑ Ó ‰
<e œ <m œ
J ∑ Œ n œo Ó Œ nœ
{ n˙
4˙
vw 3
& ∑ ∑ Œ v˙ ™ ∑ ∑ vw Ó
vw
Hp nœ
? nœ J o o o vœ
∑ ∑ Ó ‰ ∑ nw Œ v˙ Ó Œ
{ E#
D§
vœ
v˙
v˙
D#
3 3
Œ j ∑
n œ˙™ n ˙ ™
∏∏∏
∏∏∏
& 4˙ 4œ n ˙ n < œœ ™™ n <mu w u ˙˙ ™™ n œw < ˙™ o˙ u œ™ < œ ™ n œœ

∏∏∏
o œ f 4 ˙˙ Œ ‰
<m w Ó wœ m œ <mœ m œ <mœ mœ ‰
Hpsd 5
Œ <m œ
∏∏∏
(snd) 3 ˙˙ <m ˙ m<m ˙˙™™™™ n˙ n ˙™
∏∏∏∏
œ œJ œ
4
∏∏∏∏
wwmw
<m<mm w m œ nœ œ m˙
∏∏∏∏∏
{ ? o˙
nœ ˙ nnn œœœ œœ Œ ˙
<m
Œ
<m œ ‰ nœ <œ
n œ n œœ n œ
4˙
5
ù 3
∑ ∑ Ó j ∑
∏∏∏
∏∏∏
& v ˙ nn œœ ™™ ew env w
wœ n œ e œ n œ e œ nœ v ˙˙ ™™ n œw n ˙ ™ vœ ™ nœ ™ n œœ
‰ Ó ‰
5
3
Œ ∑ ∑ ∑ ∑ Ó ∑
{ & v˙ nœ n œ˙™ e ˙ ™ n˙
∏∏∏
n œ ev ˙˙ Œ
Hpsd Œ
∏∏∏
n˙ e œ ˙˙ e˙ ne œœ n˙ n ˙™
∏∏∏∏
wwn w nœ v œ œ n˙ nœ j
∏∏∏∏∏
? ∑ Ó nœ enn w ‰ ‰ Ó vœ
v œ n œœ ‰ Ó
Œ
3
œ v œJ œ
∏∏∏∏
{? n˙ nen œœœ œœ Œ Ó ∑ ∑ ∑ ∑ ∑ Œ ‰ nœ n˙
û nœ ˙ 5
J
189
4
Bass Fl ù o˙ ™ œ ˙ Ó ∑ ∑ ∑ ∑
(1) & +14
‹
15 : 16
= +112c
Bass Fl nœ ˙ Ó ∑ ∑ ∑ ∑
(2) { &
‹ u˙
-14
nœ
-2
Bass Cl ∑ ∑ ∑ ∑ ∑
(2) &
û w o
& ∑ ∑ ∑ ∑ ∑ Ó 4f ˙
Tuned
Objects
æ æ æ
{ & o ˙™æ œæ ˙æ Ó ∑ ∑ ∑ ∑
5 3
5 5 3 3 3
Œ 4 œ 5< œ <e œ n œ 4 œ
& <œ oœ o œ < œ 4 œ 5< œ <e œ < œ 5< œ 4 œ o ˙ < œ n œ <e œ < œ n œ f œ o œ 4f œ oœ 4f œ oœ 4f œ oœ 4f œ o œ 4f œ o œ 4f œ o œ 4f ˙
n œ <e œ 5< œ 4 œ 5
nœ
Hp
(snd) o wo o
f œ™
? Ó o˙ <œ 4˙ Ó o˙ ∑ Ó ‰
{ 5< œ™ J
3
5
5 5 3 3 3
Œ v œ nœ nœ v œ v œ eœ vœ
&
v œ nœ nœ vœ vœ
vœ vœ vœ vœ nœ nœ vœ nœ vœ v˙ v œ v œ nœ v œ v œ nœ vœ
nœ nœ vœ nœ vœ nœ v œ nœ v œ nœ v œ n˙
5
Hp
o
? v wo Ó v˙ vœ v˙ Ó v˙ ∑ Ó ‰ eœ ™
{ nœ ™ J
Cb E§
∑ ∑ Ó f œ 4 œ n œ 4f œ n œ o œ 4f œ n œ 4 œ o œ 4f œ ™ j
& o˙ n˙ <œ <m ˙œ n œ <m œ n œ 4f œ o œ 4 œ n œ n œ 4f œ
∏∏∏∏∏∏∏∏∏∏∏∏∏
Œ nœ
Hpsd 7
3
(snd) 4œ n œ 4œ n œ <m œ nœ 4˙™
? on ˙˙ fw 4œ
∑ ∑ Ó
{ 3 3
ù ∑ ∑ ∑ ∑ ∑
& v˙ nœ e ˙œ n œ e œ
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
Œ
3 3
∑ ∑ Ó ∑ e œ v œ nœ nœ nœ nœ nœ nœ j
Hpsd
{ & n˙
eœ
nœ nœ nœ nœ nœ e œ e œ nœ nœ nœ ™
7
nœ
? ∑ ∑ ∑ Œ Œ Ó ∑ ∑
3
?
v œ nœ v œ nœ nœ
nn ˙˙ ew v˙™ nœ
∑ ∑ Ó Œ
{
û 3 3
3 4 69
12 : 11 33 : 32 32 : 33
195 +14 = -151c E-37 = -53c +10 +10 = +53c E-37
Bass Fl ù Ó j Œ
oœ ™ 4f œ ˙ port. f˙ ˙ f˙ port. 4f ˙™ Œ ∑ ∑
(1) & nœ ™ œ œ J
‹ -4 o o o o
+47 +16 D#-49 E-37
32 : 33
Bass Fl = +53c +49 +49
4 ˙ port. o ˙ port. 4˙ 4œ 4˙ 4f ˙ œ nœ n˙
{ & Ó n˙ port. 4˙ Œ 4œ ∑ ∑
(2) -2 -4
‹ -4 o o 5
3 15 : 16 11 : 10
55 : 54
coordinate = -32c = +112c = -165c
+12
32 : 35 +16 54 : 55 +49
with Bass Cl 2 +51
= +155c = +32c +47
Bass Cl
& Ó nœ o ˙ < œ port. o œ ™ ˙ 4œ w 4œ 4 ˙™ ˙™ Œ ∑ ∑
(1) -33
J
-4 o
o3 35 : 36
= +49c
3
coordinate +47 +16

with Bass Cl 1 +12 +16
Bass Cl nœ o ˙ œ nœ ™ oœ oœ 4œ oœ 4œ oœ 4œ w ˙™
(2) {
û
& Ó
-4
o3
-2 10 : 9
= -182c
J
54 : 55
= +32c
3
5
3
o
Œ ∑ ∑
& Ó æ ‰ ∑ Ó Ó ∑ Œ ∑ ∑
Tuned
n œæ™ 4˙ n˙ n˙
Objects … 3 3
‰ n œj Œ æ
{ & Œ ∑ Ó Ó
4œ
Œ
nœ n ˙æ ∑ ∑
-. f˙ o˙ 4 ˙™
∏∏∏∏∏
4 œ o œ 4f œ n œ 4 ˙ 4f4 œœ ™™
∏∏∏∏∏
4œ fœ nœ
n f4f˙˙˙ ™™™
∏∏∏
3 3 5 3 4˙ 4 œ™ J
& 4f œj 4 œ ‰ o œ <m œ o œ 4f œ œ f œ <m œ o œ <m œ o œ 4f œ 4˙ o˙ 4œ
oœ œ 4 œ o œ 4 œ 4 œ 4f œ œ
Hp nœ f˙ 3
(snd) n ˙o ™ 4f wo nœ ™ 4 œ 4f ˙
? nœ ™ nœ 4 œ f œ 4f w <m ˙ o œ <m œ 4f œ <m œ o œ
∑ Œ ‰ J
{ &
3
<m ˙
5
∏∏∏∏∏
eœ vœ eœ eœ
nv œœ ™™ eœ
∏∏∏∏∏
eœ v˙ eœ
∏∏∏
j ‰
3 3 5 3
vœ œ eœ vœ eœ vœ eœ œ
v˙ vœ™ J eee ˙˙˙ ™™™
& œ vœ v œ nœ v œ nœ œ e œ nœ v œ nœ v œ nœ e˙ eœ
eœ e˙ v˙ 3
Hp eœ™
o o eœ n˙ e œ vœ eœ
? eœ ™ ‰ J nw n˙ v œ nœ nœ nœ v œ
{ ∑ Œ e ˙ ™™
e O nw & n˙
3 5
Ab G§ Db C# G# Fb D§
Bb
3
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
5 4f4n4 ˙˙˙˙
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
n œœ n œœœ n œœœœ <m œ <m œ n œ 4f nf˙˙˙
∏∏∏
∑ Ó ∑ umm œœœ
& œ 4 œ nœ œ 4œ n œ˙™™ 4f œ ™ o œ™ 4˙ 4˙ 4œ o ˙
Hpsd
(snd)
? n œœ n ˙ ™
3
o˙™ oœ œ o˙ o˙ mnn˙< ˙˙˙˙ m<mmœœœœ ™
oo ˙˙ ™
∑ Œ Œ uœ Ó Œ Œ uœ
{ 5 3 3
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
ù ∑ ∑ ∑ ∑ ∑ ∑ nnev œœœœ eœ vœ Ó
&
3
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ vnnn ˙˙˙˙

5
nœ œ
∏∏∏
œ™ ∑ Ó ∑ Œ Œ neee ˙˙˙˙
Hpsd
{ & œ v œ n œ e œœ œœ n œœœ
3
œ nœ n ˙™ nœ ™ nœ ™ v˙ v˙ vœ
n˙
? vœ n˙ ™ ∑ ∑ ∑ Œ Œ vœ vnn˙˙˙˙ Ó Œ Œ vœ
eœ
nn œœœ Œ Ó
3 3
? nœ n˙™ nœ œ n˙ n˙ ™
nn ˙˙ ™
Œ Ó ∑ ∑ ∑ Œ
{
û 5
=
202
2 5 E-37
tune consonant
with Bass Clar, Bass Fl
Bass Fl ù ∑ ∑ ∑ ∑ ∑ ∑ 4f ˙ ˙ Œ
(1) &
‹ o 5
tune consonant with A-39

Bass Cl, Bass Fl 1 4f ˙ ˙
Bass Fl
(2) { &
‹
∑ ∑ ∑ ∑ ∑
3
+49
∑
tune 2/3
below Bass Cl 2
Ó
o 3
3
Bass Cl ∑ ∑ ∑ ∑ ∑ Ó 4w ˙ Ó Ó
(1) &
o
tune with
+47 Bass Cl 1
Bass Cl ∑ ∑ ∑ ∑ ∑ 4w w
(2) {
û
&
o
æ
3
& ∑ ∑ ∑ ∑ ∑ ∑ Ó 4f ˙æ Ó
Tuned
Objects
{ & ∑ ∑ ∑ ∑ ∑ ∑ ∑
<m œ 4 œ :f œ 4 œ :f œ port
fœ 4f ˙ <m ˙ <e œ f œ 4f œ <m œ™ .
4œ 3 3 3
& Ó Œ æ æ æ æ æ æ
w 4f w
44f4 w
∏∏∏
Hp 3 on4 ˙˙˙ 4 œ on4 ˙˙˙ <m ˙˙˙ :f ˙˙˙ 4 ˙w

w 4w
w n ˙˙ w
3 æ Ó æ
(snd) 3
<m œ ™ 4 œo 4œ 4˙
æ 3
Ó <e ˙ Ó J port. ∑ ∑ ∑
{ & 4f4œœ fn ˙˙ 44f ˙˙ :f ˙
nœ v œ nœ v œ
4 œ 4f œ
n œ port
eœ n˙ n˙ nœ e œ nœ nœ ™ .
vœ 3 3 3
& Ó Œ æ æ æ æ æ æ
evn w w ew
∏∏∏
3 vvv ˙˙˙ v œ vvv ˙˙˙ n ˙˙˙ n ˙˙˙ e ˙w

w vw
w e ˙˙ w æ
Hp 3 æ æ Ó
3 oj 3 3 3
Ó ve ˙˙ n˙ Ó nœ ™ vœ port.
vœ vœ Ó Ó Ó Ó Ó Ó ∑
{ & nv œœ ee ˙˙
B§
n˙
A§
vœ vœ
D#
nœ
A#
D§ A§ Db Ab
3
4˙ ™
n œ <m œ ™ n œ 4 œ 4 œœ ˙˙™™
∏∏∏∏
5
<m<m<m<<˙˙˙˙˙
∏∏∏
∏∏∏∏
& 4f44f4fœœœœ o œ n œ 4œ 4f œ 4f œ Œ Œ ‰ <m œ™ ‰ ∑

44f4 ˙˙˙ ™™™
∏∏∏∏
‰ 4˙ 4œ n ˙ 4œ f œ 4f œ
Hpsd 5 Œ
4 œœj
∏∏∏∏
(snd) 3
œ f 444 ww
w 3 3
? ∑ ∑ Ó n
‰ ‰ n œ w ‰ n œ n œœ n œœœ ˙˙˙ Œ 4˙ Ó
{ v œ e œ ™ nœ
J
5
4 œ 4 œœ ˙˙
4f ˙
4f œ 4f œœ ˙˙
∏∏∏∏
ù n˙
∏∏∏
& ∑ Œ nnee ˙˙˙˙ Œ Œ ‰ n œ™ ‰ ∑ ∑ ∑ ∑

‰
3
v˙™
v œ n œœ ˙˙ ™™
5
∏∏∏∏
{ & nnen œœœœ n œ n œ n œ eœ nœ Œ Ó ∑ ∑ n˙™

∏∏∏∏
5
v˙ vœ e ˙ v œ
Œ nv ˙˙ ™™ e œ nœ
Hpsd
3
? ∑ ∑ ∑ ∑ ∑ ∑ ∑
v œj
∏∏∏∏
? ∑ ∑ Ó ‰ n œ‰ e œ œ nevv ww
w
w ‰ n œ n œœ e œœœ ˙˙˙ Œ
3
v˙ Ó
3
{
û J
5
v œ n œœ ˙˙
n˙
e œ n œœ ˙˙
70
209
2 5
5 +14
Bass Fl ù ‰n œ n œ nœ œ ‰ Œ ∑ ∑
o˙ ˙ ∑ ∑ ∑
(1) & -2
-4
‹ o o
+12 A-39 B-35

+14 11°
f œ™ œ™ o œ 4f œ 4f œJ w w w
Bass Fl
(2) { &
‹
Œ Œ
o 5
o
∑ ∑ J
8 : 9
= +204c
3 o
∑
8 : 9
= +204c
+12
3
Bass Cl
& +49 Ó Ó ∑ ∑ ow
(1)
n wo 4w n˙ 4w o o
-4
32 : 33
= +53c
44 : 45
= +39c +14
A-39
4˙ 4œ w
Bass Cl
(2) {
û
&
5
Œ Œ ∑ ∑ Ó Œ 4f œ nœ o˙ ™ w
5 3
& ‰ j f˙ ∑ ∑ ‰ 4f œ™ 4˙ Ó Ó 4f œ 4f œ œ ∑
nœ nœ 4œ o˙ ™
Tuned
Objects 5
… … æ …
{ & nœ
-.
‰
n œ.
-
‰ Œ Œ ∑ ∑ o ˙æ
4˙
∑ Ó Œ o œ.
- fw
5 3 3
æ æ æ æ æ æ æ æ æ æ æ æ :f ˙æ æ æ æ
& 44 ˙˙ o ˙ 4n œ˙˙<m œ 4f 4f ˙˙˙œ no4f œœœ Œ Œ no4f œœœ ww
4f4f4 œœœ œ
n œœ f œœœ f œœ 4 œœ
œ œ
w
4 ˙˙ f ww
w
4f ˙ ffn ˙˙œ <e ˙˙ 4f œœ 5< ˙œ˙ 4f œ o ˙w
w œ æ æ 5< œœ
æ
w
4f0o w
w
æ æ æ æ æ æ æ æ æ
Hp 5
(snd)
3 <m œ 4f œ o œ
? o œ n œ 4f œ o œ
{ & ∑ ∑ ∑ ∑ ∑
o œ nœ o œ 3 3
∑
5 3
æ æ æ æ æ æ 3 æ æ æ æ æ æ æ
& œœœ e œœœ e œœœ e œœ e œœ w n ˙ eee ˙˙œ n ˙˙ n œœ n ˙œæ˙ v œ v ˙w ev ˙˙ vn ˙˙ vv ˙œ˙ n œ nv ˙˙˙œ n œœ vvv œœœ Œ Œ vvv œœœ w
vn w
w
œ œ v ˙ e ww
˙ w æ æ æ æ
w
æ
œ
æ æ
æ æ
w
w
æ
æ æ 5
Hp
vœ
5 5 3
? vœ
3
vœ vœ v œ nœ nœ
{ & Œ Œ Œ
Cb
Œ Œ ∑ Œ Œ
B§
Œ Œ
F§
Œ
B# F#
Ó Ó
A§
Ó Œ
A#
Œ
D§
Œ Œ
C§
vœ vœ vœ
C#
3 3
∑
5 5 3
3 3
˙ ™ o4fo ˙˙˙˙ ™™™™
∏∏∏∏∏
∏∏∏∏∏
n4ff˙˙˙ 4f œ 4f œ n œ 4f œ n œ
∏∏∏∏∏
444 ˙˙˙ ™™™

∏∏∏∏
& o˙ 4n ˙˙˙
∏∏∏∏
∏∏∏
∏∏∏
4f œ n œ n œ n f ˙˙ 4œ f 444 w
ww
w n œ <m œ fn ˙œ 4f ˙ 4f4 œœ 4f4f ˙ f œw n œ f œ 4f œ o œ 0o œ
<˙ oœ 13°
Hpsd
(snd)
∏∏∏∏∏
5 3 <m œ™ n œ < œœ <m œ nœ

? J <œ
∏∏∏∏∏∏
∏∏∏∏∏∏
{ ∑ 4˙
o 44 ˙˙˙ f ˙˙˙˙
˙ n˙™
n˙™
Œ Œ 4f w
4f4f w
w
Ó Œ Œ
3
o fo ˙˙˙
∑
5 3
ù ∑ ∑ Œ Œ Œ ∑ ∑ ∑ Ó Ó Œ
& nœ eœ eœ
n˙
5 3
3 5 3
˙ ™™ nnn ˙˙˙˙ ™™™™
∏∏∏∏∏
∏∏∏∏∏
eee ˙˙˙ Œ Œ nœ nœ nœ e œ nœ Œ
∏∏∏∏∏
{
∏∏∏∏
& vvn ˙˙˙ ™™ n˙ nnnn ˙˙˙˙

∏∏∏∏
∏∏
∏∏∏
e œ n œ e œ en ˙˙ vœ nevv w
ww
w en œ˙ n ˙ nv œœ nœ e œ˙ ™ n œ e œ n œ n œ
Œ
Hpsd
∏∏∏∏∏
eœ™ n œ n œœ eœ
? ∑ ∑ ∑ ∑ Œ J nœ Œ Œ Ó ∑
3
5 3 nœ
?
∏∏∏∏∏∏
∏∏∏∏∏∏
∑ v˙ e ˙˙˙˙ Œ Œ Ó ∑ Œ Œ ∑
{ nen ˙˙˙
∏∏∏∏∏∏
û nnv ˙˙˙ ˙ e˙ ™ nen w

w
w 3
e˙™
2 5
SQ ù ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vl1 &
SQ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vl2 &
SQ B ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vla
SQ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vc û
71
216
2 4 take Flute
2 2
Bass Fl ù Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(1) & n˙ ˙ ˙
‹ o o
+51 11° take Flute

Bass Fl 4w w w
(2) { &
‹
∑
o o
∑ ∑ ∑ ∑ ∑ ∑
+16
Bass Cl
&
ow ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(1)
o
take Bb Clarinet
Bass Cl
(2) {
û
& ow
o
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
ù? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tba
û
3 3 3
∑ Œ Ó æ Ó f˙ ™ Œ 4f ˙ 4f œ ™ Œ æ Œ Ó Ó Ó Œ Œ 4f œ ∑
&
nœ 4f wæ 4œ ˙ n˙
Tuned oœ n˙ o˙
Objects … … 3
Ó ∑ ∑ ∑ o œ. n œ. Ó ∑ Ó ∑
{ & ow 4˙ - - fw ˙ n˙
5 3 13°
æ 3
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
w Ó j
& 0ooo4fww
w
w 4 œ 4f œ o œ 4 œ n œ 4f4f4 w
ww 4f4f ˙˙ f w n œ 4f ˙ 4f œ Ó
f œ™ 4f œ ˙ 4f ˙ o ˙ 0o w ∑ ∑
Hp
æ
(snd) 4f œo ˙o n ˙o
∏∏∏∏∏
f4fo œœœ o
∏∏∏∏∏∏∏
n4 œœ
∏∏∏∏∏
ooo œœœ 4f œ 3
∏∏∏∏∏
? 4 ˙ 44 ˙˙ ™™ o œ nw 4 œ n˙ 4œ nw
{ ∑ nœ oœ
∑ 4˙ fw
w fœ f˙ ∑
3 3
oœ
5 3 3 13°
æ ew j
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
& ww
w
v ww
Ó
v œ nœ v œ v œ v œ
vw
vn ww nv ˙˙ v œ e ˙ nœ Ó
e œ ™ nœ ˙ e˙ v˙ nw ∑ ∑
æ
Hp
o
∏∏∏∏∏
env œœœ o
∏∏∏∏∏∏∏
vv œœ
∏∏∏∏∏
vvv œœœ 3 o o
∏∏∏∏
? v ˙ vv ˙˙ ™™ v œ vw vœ e˙ vœ ew
{ ∑ vœ vœ vœ
∑ v˙ ev w
w e˙ nœ ˙ e
e˙O ∑
vœ 3 eœ 3
D# Cb Bb Ab G§
5 6 j
∏∏∏∏∏∏
& j nœ 4f w
4f4f w ∑ ow 4f w ∑
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
o œ0o œ o œ 0o œ o œ 0o œ o œ 0o œ o œ n œ 4 œ™ oœ œ ™ w w
4f w nw w
Hpsd
(snd)
nw
∏∏∏∏∏
n˙ f œ 4f œ nœ o œ f ˙˙ ™™
∏∏∏∏
? ‰ n œj oo œœ w
4o4 w foo w
{ n˙ w ww ∑ ∑ ∑ Ó
3
∑
5 6
ù ‰ ‰ ‰ ‰ ‰ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
& eœ eœ eœ eœ
5 6 to Piano
j
∏∏∏∏∏∏
‰ ‰ ‰ ‰ nen w ∑ ∑
{ & vœ ™ j
nœ œ ™
nœ w nw nw
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏
nœ nœ nœ nœ n œ nœ w ne w
w nw w
Hpsd
nw
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó ∑
3
∏∏∏∏∏
n˙ eœ nœ nœ n œ e ˙˙ ™™
∏∏∏∏
? ‰ n œj nn œœ vnn w
{ n˙ w
w enn w
ww ∑ ∑ ∑ ∑ ∑
û
2 4 2 2 match Ens Vc
SQ ù ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vl1 & 4f w
A-39
pp
Quasi Chorale, tempo libero: with an even, sustained tone,
supporting and seeking out the consonance and dissonance of the changing harmonies.
SQ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vl2 &
SQ B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vla
SQ ? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vc û
4f wo wo wo wo wo wo
Vc ù? ∑ ∑ ∑ ∑
(snd)
2°/I
n ~o ~o ~o ~o ~o ~o
?
Vc {
û
∑ ∑ ∑ ∑
o pp sotto voce o
72
226
4 tune with
2 3
SQ Vla
Bass Cl ù ∑ ∑ ∑ +12 ∑ ∑
(1) & ow
û w w w o
o pp sotto voce
tune with
4 B Cl, SQ Vla 16 : 15
ù? ∑ ∑ ∑ ∑ ∑ ∑ 5 = -112c
Tba
û fw w w
+12
“o
pp sotto voce
4
match Ens Vla
2 12 : 11
3 11°
SQ ù +14 Ó +12
= -151c E-37
Vl1 & ow w w w ˙ j ow 4f w w ˙™ œ
o fœ
come prima

SQ ∑ ∑
Vl2 & nw w w w w w w
pp
Quasi Chorale, tempo libero: with an even, sustained tone, 8 : 9 8 : 11

supporting and seeking out the consonance and dissonance of the changing harmonies. = +204c = +551c
+12 +16
SQ B ∑ fw w w w w w ow
Vla nw
pp
+12 match
SQ Vla
SQ ? j nw nw w ˙ n˙ fw ˙ nœ
∑ ∑ ∑ nœ Ó Œ ‰ J
Vc û -2 -4
o 3 o
pp 15 : 16 come
= +112c prima
n wo w
Vla ùB o wo wo nw ∑ ∑ ∑
(snd) o˙ ˙ ˙ Ó Ó o˙ <o w
˙ port. n˙
2°/II
o 2°/III
~o o n ~o ~o 6/5
B ~ n w III
Vla { o pp sotto voce
n˙ ˙ ˙
o
Ó Ó n˙
o nn w
˙ port. >˙
o
∑ ∑ ∑
o o n ˙o œo
f ˙™ o o n˙ ™
Vc ? ∑ fœ n˙ ™ ∑ ∑ ∑
(snd) ˙ f˙ ™ nœ ˙
f˙ œ
4°/IV 2°/IV
o o 2°/III
oo sul III
? o n˙ ™ nO ™ o o
Vc { ∑ n‚ O nœ ˙ nO ‚ n˙ ™ ∑ ∑ ∑
û n Oo ™ n˙ œ
pp sotto voce o simile o
235
2 2 2 3 tune with
SQ Vla, Cl
Bass Cl ù ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(1) &
nw
o
tune with
SQ Vla
Bb Cl ∑ ∑ ∑ ∑ ∑ ∑ ∑
(2) {
û
&
tune with
nw
o
w
pp sotto voce
o
2 SQ Vc
ù? 3
4 ∑ ∑ ∑ ∑ ∑ ∑
Tba
û nw w w o
2 2 consonant with SQ Vl2

2
E-37 +14
3 11 : 10
= -165c
3 11° 3
SQ ù
Vl1 & 4f œ ˙™ w œ ˙ œ w 4f ˙ ow w 4f w n˙ w ˙ ˙
sotto voce E-37
tune 2/3 tune 5/6

below SQ Vla below SQ Vl1 54 : 55 11°
+16 = +32c +47
SQ Ó +49 +47 Ó Ó
Vl2 & ˙ j 4w j o˙
nw nœ 4w 11 : 8 nw ˙ nœ ˙ o 4w ˙ o
o come prima = -551c
12 : 11
= -151c
11°
+51
SQ B 4w w w ˙ Ó ∑ nw w w w
Vla
o come prima
+12
11°
w w ˙ fw w w
SQ ? Ó Œ ‰ nœ n˙ nw nœ nœ 4 w
Vc û o J -4 +49
3
4 œo wo
Vla ùB ∑ ∑
4˙ ™ Ó o ˙o œo nw ∑
(snd) o˙ ™ w
2°/I
I
n œo wo sul III
n˙ ™ n Oo ‚o II
nw
Vla { B ∑ ∑
o o
Ó
o
n˙ ™
simile
w
o
∑
4 ˙o n ˙o
Vc ? ∑ ∑ 4˙ ∑ ∑ o wo wo Ó n˙ w
(snd)
3
match SQ Vl2
sul II o 3°/IV
o o sul III
o
? ∑ ∑ n˙ nO ∑ ∑ Ó nO n˙ w
Vc {
û o o
n~
o
~
o 3
o o
73
244
4 3 3 2
Bass Cl ù nœ ˙ Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(1) &
˙™ o
simile
tune with
B Cl
Bb Cl
(2) {
û
& ∑ nw
o simile
w
o
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
4 3 tune 5/6
3 slightly
higher
2 tune to
SQ Vl2, Vla
8 : 9 54 : 55 below Vl2 than Vc
ù = +204c = +32c 5
SQ +12
& +47 Œ ‰ j +47
˙ ˙ w w w j
Vl1
sotto voce nœ f w ow 4w w w ˙ o n œ- n œ n ˙ 4˙ w
tune with SQ Vc
tune 3/2 55 : 56 21 : 22 consonant with

above SQ Vc = +31c 7° = +81c 11° SQ Vl1
SQ +51 Ó
Vl2 & j 4 ˙™ œ œ œ ˙ port. <f ˙ 4f w w w w w w ˙ ˙ ˙ ˙ w
nœ -17 o E-37 sotto voce
dissonant
to SQ Vla
consonant with
SQ Vl1&2
SQ B w w ˙ ˙ w œ ˙ œ ˙ Ó ∑ 4˙ 3 4w w œ ˙ œ œ ˙ œ w
Vla +51
sotto voce o +49 s.v.
consonant with SQ consonant with SQ

+12
+14 +14
4w nw j 4f w f˙ ˙ oœj 4f ˙ ˙
SQ ? ow w w w ˙ Ó ∑ nœ n w
Vc û A-39
33 : 32 10 : 9 o 10 : 11 11 : 12 8 : 9
= -53c = -182c = +165c = +151c = +204c
Vln ù ∑ ∑ ∑ Ó ∑ ∑ ∑ ∑ ∑ 4w
(snd) & n˙ ˙ ˙ w
II I
nw
Vln { & ∑ ∑ ∑ Ó n˙
o
˙ ˙
pp sotto voce
w
o
∑ ∑ ∑ ∑ ∑
o
? o
4f4 w o o o o ?
Vc ∑ ∑ ∑ ∑ ∑ ∑ & w w w w w ∑
(snd) o 4f w
3°/I 6/5 5/3
4°/II
o
n~ nw o
? n~ ~ ~o ~o ~o
Vc {
û
∑ ∑ ∑ ∑ ∑ ∑
oo o o
∑
256
3 2 3 2 2
ù? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tb
Tba
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
û
3 2 3 2 2
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Cues {&
55 : 54 8 : 11 8 : 11
= -32c 15 : 16
= +551c = +112c 11° = +551c
ù 3 3
SQ
& Ó 4f w w w ˙ Ó Ó Œ ‰ +12 j 4f w
Vl1 4w œ ˙ œ ˙ ˙ 4˙ o˙ j 4w fœ n˙ w
nœ E-37 o o
sotto voce o +51
54 : 55 tune with
tune with SQ Vla = +32c SQ Vla
+47
SQ +12
& 4f w w
+12 +16 Ó Œ ‰ j
Vl2 fw ow w w w 4œ nw fw w w
11 : 8 8 : 9 o
= -551c = +204c o
+14 12 : 11 tune with
15 : 16 SQ Vl1
= +112c 3 = -151c +14
SQ B j
Vla 4w 4f ˙ ow w w w w w oœ 4f w o˙ ˙ w w w
A-39 o
E-37
tune with tune 2/3 P5
tune with SQ Vla tune with below SQ Vl1
SQ Vl1 33 : 32 +12 SQ Vl1 senza sord.
I
? 4f w ˙ ˙ w w œ ˙ œ ˙ = -53c fw 4f w ˙ ˙ ˙ ˙ ˙ i n˙
SQ Ó Ó Ó
B-35 A-39
Vc û 12 : 11
sotto voce o = -151c sotto voce o o
beating
with Ens Vc
5/4
Vln ù 4f 4 w
w w ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(snd) &
5/4
w
Vln { & 4f w w ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
simile o
Vla B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
(snd) ow w
III
B ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Vla { nw
o
w
o
o 4f w w w w
Vc ? ∑ ∑ o˙ ∑ ∑ ∑ ∑
(snd) o˙ w
beating
sul IV with SQ Vc
? ∑ ∑ n Oo ∑ ∑ ∑ ∑ n wI w w w
Vc {
û n˙ w
o o
attacca
74 Pythagoras Drawing 2
Tempo ad libitum, vary from bar to bar as desired, swinging
1 2
3 h ca. 66-99
1. time only from this point on
ù ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ n˙
Flute
& ∑ ™™ Œ ™ Œ™ Œ™ Œ™ ∑ ∑ ∑ ∑ Ó Ó
(1) n œ ™ œ™ œ™ œ™ -2
-2 pp ( 2. time fine )
≈ ≈ ≈ -œ ™ ™ ™ ≈™ ≈ ≈ ≈ ≈
Flute ∑ ™™ ∑ Œ™ Œ™ Œ™ nœ ™
J ‰ Œ Œ Œ™ ∑ Œ™ Œ™ Œ™ Œ n œj
(2) { &
≈
play 1. time only
≈ ≈
-2
pp
≈ ≈ ≈
˙ ˙
pp
≈
˙ ˙
n˙
-2
≈
˙
Oboe & ∑ ™™ ∑ ∑ ∑ ∑ ∑ ∑ ∑
play 1. time only
Bass Clarinet ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
& ∑ ™™ ∑ ∑ ∑ ∑
in Bb (1) nœ ™ œ™ œ™ œ™
nœ ™ œ™ œ™ œ™ n œ ™ œ™ œ™ œ™
-2 -6 pp
-4 pp
play 1. time only 27 : 28
Clarinet ≈ = +63c ≈ j ™ ™ ≈™ j ≈ ≈ ≈ ≈
∑ ™™
in Bb (2) { &
n˙™ œ™ < œ ™ œ™ œ™ œ ™ nœ ™ œ- ™ ‰ Œ Œ nœ ™
-4
œ™ ≈ Œ Ó
-
Ó ∑ ∑ ∑
-37 -2
o pp 6 : 7 27 : 28
play 1. time only = +267c = +63c
≈ 7° 7° 7°
Alto
&
≈
∑ ™™ v œ ™ œ™ < œ ™ œ™ œ™ Œ™
≈
Œ™ Œ™
≈
∑ n˙
≈
˙ <˙ œ ™ n œ ™ <≈
œ™ Œ ™ ≈
∑
≈
∑
Saxophone û -37 -35 -39
-2
pp 27 : 28
= +63c B1
2
play 1. time only F2
ù ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Horn
& ∑ ™™ ∑ ∑ ∑ ∑ ∑ Œ ™ nœ ™ -4 ∑
in F
+2
nœ ™ œ™
fp pp
play 1. time only
2
Trumpet ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
& ∑ ™™ ∑ ∑ ∑ ∑ ∑ Œ ™ nœ ™ Œ™ Œ™ ∑
in Bb (1) coordinate
play 1. time only with Hn fp
Trumpet ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
∑ ™™ ∑ ∑ ∑ ∑ ∑ ∑ ∑
in Bb (2) { &
play 1. time only
27 : 26
= -65c
≈
n œ ™ 0 œ™13° 13 : 12
= -139c
Bb IV
nœ ™ ≈
œ™ nœ ™
8 : 7
= -231c
<≈˙
7°
˙ nœ ≈
? ≈ Bb IV
≈ n>œ Ab -4
nœ
J ≈ Œ -35 ≈ m5°˙ ˙ ≈
Tenorbass ∑ ™™ Œ ™
nœ ™ œ ™ œ™ œ J +35 Œ™ Œ™ Œ J Œ™ Œ™ Œ™ Œ J -18 Ó ∑
Trombone -2
-4 pp pp
V 2 V
1 4 1
play 1. time only 2 5
? ≈ ≈ 5 ≈ v ≈u7 2
5 ≈ ≈ ≈ ≈
5-valve ∑ ™™ ∑ n˙ ™ Œ™ Œ™ +27 Ó ∑ ∑ ∑
F Tuba û -6 n˙™ n˙ ˙
pp >˙ ™ -4
play 1. time only

“ 17°
› j
≈ ≈ j ≈ ≈ eœ ≈ ≈ ≈ ≈
∑ ™™ ∑ j ∑ ∑ ∑ ∑ ∑ j ∑
Glockenspiel { & nœ nœ nœ
play 1. time only pp
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
∑ ™™ ∑ ∑ ∑ ∑ ∑ ∑ n˙
Vibraphone {& n˙ ˙
pp
play 1. time only 17°
› j °
≈ ≈ eœ ≈ ≈ ≈ j ≈ ≈ ≈
∑ ™™ ∑ j ∑ ∑ j ∑ ∑ ∑ ∑
Crotales & nœ nœ
nœ
pp
11° 11°
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ 4 œ™
& ∑ ™™ ∑ ∑ ∑ ∑ ∑ ∑ ‰ 4œ œ ™ œ™
Harp
(sound) ? ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
∑ ™™ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ play 1. time only
11°
11°
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ vœ ™
& ∑ ™™ ∑ ∑ ∑ ∑ ∑ ∑ ‰ vœ œ ™ œ™
Harp pp
(scordatura) ? ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
∑ ™™ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ play 1. time only
E# (F#) G# A§
D# B§ (Cb) 17°
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ eœ
& ∑ ™™ ∑ ∑ ∑ ∑ ∑ ∑ J
nœ ™ nœ ™ nœ ™ œ
Piano
pp
? ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
∑ ™™ ∑ ∑ ∑ ∑ ∑ ∑ ∑
{ Tempo ad libitum, vary from bar to bar as desired, swinging
3
°
2 h ca. 66-99
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
& ∑ ™™ Œ ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Ó Ó Ó Œ™ Œ™ Œ™ Œ™ Ó Ó Ó Ó Ó Ó
Cues ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
? ∑ ™™ ∑ ∑ ∑ ∑ ∑ ∑ Œ™ Œ™ Œ™ Œ™
{ martélé, IV
full bow I
Ωj
i ≈ senza sord.
≈ III ≈
o ≈
o ≈
o ≈ ≈ IV II
SQ ù ∑ ™™ ∑ ∑ nœ ∑ Ó Ó
& j n~ ™ ~™ ~™ j n ˙˙
Violin 1 nœ
º nœ
n˙ ˙
mezza voce, sempre simile
ff sostenuto II
º III Δ
2°/III martélé, full bow o
senza sord. o III II o ≈ Ó Ó
SQ
i ≈
∑ ™™ ≈
∑ Œ™ Œ™ Œ ™ n‚ ™ -‚o ™ ™ ™ ≈™ Ω
Œ™ j
≈ ≈ nn ~w™™ O˙ n˙ ˙
Violin 2 & n˙ ™ œ™ œ™ J ‰ Œ Œ nœ
nw ™ w™
II
Δ ff (m.v.)
I oΔ
senza sord. III
o mezza voce, I sempre simile come prima I II
oΩ sostenuto Ω III
o oΩ III I
II
j j
Œ™ Œ™ Œ ™ n‚ ™ -‚o ™ j ≈ Ωj ≈
SQ
i ≈ ≈
™™ n w ™ n‚ ≈ nœ
n˙ ™ œ™ œ™ n‚ n≈wY ™™ nw ™ nœ
nw ™
B ∑ ∑ J ≈Œ Ó Ó
Viola
mezza voce,
II
Δ n wY ™™
sostenuto ff o (m.v.) IV gradually
shift to harmonic
I
o ≈
o o o IIoΩ
come prima sempre simile IV
oΩ III IV III
o n‚ ™ ‚™ ‚™ ‚ ™ n ‚j
≈
w™ ≈™ ≈
w™ II≈ ≈ oj ≈
SQ ? ™™ w ™ Y ™™ n wY ™™ j nO o ‚™ ‚™ ‚™
Violoncello û n Yw ™ n wY ™ w™ w™
n‚ n w ™ n‚
º n ˙O ˙O O 6°/II o o o Œ ™ n‚o
III mezza voce, ff (m.v.) III
sostenuto IV
o o o
sempre simile IV
ù ≈ ≈ ≈ ≈ ≈ ≈ ≈ j - ≈ - u œ- ™ œ™
Violin
(sound) & ∑ ™™ ∑ ∑ ∑ ∑ ∑ ∑ n œ 4 œœ nn œœ ™™ n œ™ œ™
play 1. time only 11/8 3/2 5/3
≈ ≈ ≈ ≈ ≈ ≈ ≈ j -I 5v≈-œ ™ 5u œ- ™ œ™
Violin
(scordatura) { & ∑ ™™ ∑ ∑ ∑ ∑ ∑ ∑ n œ n œœ n œ ™ n œ™ œ™
II
o
4 -œ ™
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Viola B ∑ ™™ ∑ ∑ ∑ ∑ ∑ ∑ Œ™ Œ™ Œ n œJ œ™
(sound)
-o
play 1. time only
‰ n ‚ ™ 2°/I
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Viola ™™ Œ™ Œ™ Œ n œJ œ™
(scordatura)
Violoncello
{ B
? 4f w
∑
≈
Ó ™™ ≈
∑
∑
∑
≈
∑
∑
≈
∑
∑
≈
∑
≈
∑
∑
≈
∑
∑ Œ™
≈
Œ™
o
n -œ ™
II
Œ™
(sound)
play 1. time only 2°/III
o
Violoncello ? w ≈
Ó ™™ ≈
∑
≈
∑
≈
∑
≈
∑
≈
∑
≈
∑ Œ™
≈
Œ™ n-‚ ™ Œ™
(scordatura) {
û o
17° 13°
75
9 ≈ -œ ™ ≈
:f ˙ port. 0 ˙ n˙ nœ ™
J ≈ Œ ≈
ù ≈ +2 ≈ ≈ ˙ ˙ ˙ ≈ ≈ ≈
Fl
& +1 +35 Ab Ó Ó Œ™ Œ™ Œ ™ ‰™ j Œ™ Œ™ Œ™ ∑ ∑ ™™ ∑
(1) nœ ™ œ™ n>œ ™ œ ™ n œ ™ œ™ -4
pp 26 : 27 -2
= +65c tune to
51 : 52 SQ Vla C
= +34c 7°
1. time only from this point on tune to Hn ≈ 5°
≈ ≈ ≈ +2 ≈ 7° <œ ™ ˙™ ˙ ≈
˙ m˙ ≈ ≈ ≈
Fl Œ™ Œ™ Œ ™ ‰™ j ™™
(2) { &
( 2. time fine )
∑ ∑
nœ ™
-2
œ™ n>œ ™ œ ™ œ™ < œ™
-35
27 : 28
= +63c
œ™
tune to Cl 21 : 20
= -84c
-20
senza dim.
+2
≈
∑ ∑ ∑
Œ™ Œ™
≈
Œ ™ nœ ™ œ™
≈
Œ™ Œ ™ nœ ™ nw ™ ≈
Œ™ nœ ™ ≈
œ™ Œ™ Œ™
≈
∑ n˙ n ˙ Ó
≈
∑ ™™
≈
∑
Ob & nœ ™ œ™ œ™
-2
pp -2 p p
28 : 27
= -63c 6 : 7
≈ = +267c ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
+31
Bass Cl
& Ó Ó Ó n˙ ˙ ∑ ∑ ∑ ∑ ™™ ∑
(1) n˙ ˙ >v ˙ n˙ n˙ n˙ ˙
-6 -2
o pp u7 27 : 28
-4 = +63c 21 : 20
+3 17° ≈ = -84c 5°
≈ ≈ ≈ :o œ 7° ≈ match Fl ≈ ≈ ≈ ≈
Bb Cl
{ & ∑ ∑ ∑ Œ™ J v˙ ˙ œ™ < œ ™ œ ™ ˙™ ˙ u˙ Ó ∑ ∑ ™™ ∑
(2) >
+2
-35 -20
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Alto
& ∑ ∑ Ó v˙ ˙ ˙ ˙ Ó ∑ ∑ ∑ nœ ™ œ™ Œ™ Œ™ ™™ ∑
Sax û -2 pp
B1
7° 2
F1
≈ ≈ 2 ≈ ≈ ≈5° ≈ ≈ ≈ ≈
ù ∑ ∑ Œ™ Œ™ Œ™ ∑ ∑ ∑ ™™ ∑
Hn & j <œ œ ™ œ ™ w™ œ™ u œ™
27 : 28 2
n œ -33 pp
21 : 20 -18
= +63c 3v -2 = -84c
2
≈ ≈7° ≈ ≈ ≈ ≈ ≈ ≈ ≈
Bb Tp & ∑ ‰™ nœ œ < ˙ Ó ∑ ∑ ∑ ∑ ∑ ∑ ™™ ∑
(2) R -37
fp
n˙ ≈
˙
? ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Tb ∑ Ó ∑ Ó ∑ ∑ ∑ ∑ ™™ ∑
û n˙ ˙
pp
› j
≈ ≈ ≈ j ≈ ≈ ≈ ≈ nœ ≈ ≈
∑ ∑ ∑ nœ ∑ ∑ ∑ ∑ ∑ ™™ ∑
Glock {& j
nœ
17°
eœ™ ≈ nœ ™ œ™ ≈ ≈ ≈ ≈ ≈ ≈ ≈
nœ ™ œ™ J ≈ Œ Ó Ó ∑ ∑ ∑ ∑ ∑ ∑ ™™ ∑
Vib {&
› j
≈ ≈ ≈ ≈ ≈ nœ ≈ ≈ j ≈ ≈
∑ ∑ ∑ ∑ ∑ ∑ ∑ j nœ ∑ ™™ ∑
Crot & nœ
17°
:f ˙ ≈
˙ n˙ œ™ n œ œ <e≈
˙ ˙ ≈ ≈ <≈™ ˙™ ≈ n≈
˙ ˙ ≈ ≈
& ∑ ∑ ‰ ™ < œ™j œ ∑ n˙ ∑ ™™ ∑
Hp
(snd) ? ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ™™ ∑
{ 17°
n˙ ≈
˙ v˙ œ™ vœ œ n≈
˙ ˙ ≈ ≈ ≈ ≈ v≈
˙ ˙ ≈ ≈
& ∑ ∑ ‰ ™ v œj™ v œ ™ ˙™ ∑ v˙ ∑ ™™ ∑
p p
Hp
? ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
Ó Ó Ó ∑ ∑ ∑ ∑ ∑ ∑ ∑ ™™ ∑
{ A#
˙ ˙ j ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
& n˙ œ™ ≈ Œ Ó Ó ∑ ∑ ∑ ∑ ™™ ∑
- nw ™ w™
Pf
? ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
∑ ∑ ∑ ∑ ∑ ™™ ∑
{ nw ™ w™ w™
≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
& Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Ó Œ™ Œ™ Œ™ Œ™ ™™ ∑
Cues ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈
? Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ Œ™ ∑ ∑ ∑ ™™ ∑
{ III III III
oΩ I
II
oΩ
Ωj j I
≈ II ≈
Ωj j III n‚
SQ ù o
n ~w ™™ j ≈
œ™ ≈ Œ Ó Ó nœ
o
nn ~w™™ n‚ ≈ ≈
∑ nœ ≈
∑ n≈
w™ ≈
w™ ™™ ≈
∑
Vl1 & - n ‚o n ˙O ˙ ˙
II II
IV o Ó Ó
II I II
IV III I
II ≈ Ωj ô ≈ Ωj
Ωj I ≈ ≈ ~™ o o IV III
SQ
≈ ≈ ≈
∑ n w~™ œ™ n>œ ™ œ™ ˙™ nœ n O Ω Ω ≈
∑ nœ ™™ ≈
∑
& nw ™ w™ nœ n O nO O j j
Vl2 o II nœ
o o nœ
II
II oΩ
(A-string only) III oΩ
oΩ I
j j
j III Ωj II n‚
n‚ IV III oΩ n‚ Ωj o IV ≈
o o I
≈ ≈ j ≈ ≈
SQ B n‚
Ω
nœ
j n‚ ∑
nœ
∑ nœ n≈
w™ n
n˙O OÓ OÓ
≈
∑ n≈
w™ ™™ ≈
∑
Vla o nw™ nw™
III III
II ≈ II
oo o o III ≈ III
o III III o o ≈o o
IV
oΩ ≈ o IV
oΩ I
n‚ ™ Œ™
oo o o
Œ ™ n‚Ωj IV
oΩ ≈ oΩ ≈ Œ™
SQ ? j o Ó Ó j n≈
w™ ‚™ ‚™
n œ ™™
n ‚ ‚œ ™™ ‚œ ™™ œ™ n ~o ™ o
n~ ™ n œ ™™ ‚œ ™™
n ‚ ‚œ ™™ œ™ ™™
≈
w™
n‚ n ~ ™ O n‚ j j
Vc û n˙ ˙ ˙ nw ™ nœ ™ œ™ œ™ œ™ n‚ n‚
o III
o
III Δ
ù ≈ ≈ ≈ ≈ >o ≈o ≈ ≈ ≈ ≈
Vln
& ∑ ∑ ∑ ∑ ‰ ™ o œ™
J
œ™ Œ Ó ∑ n˙ ˙ Ó ∑ ™™ ∑
(snd)
2°/III
≈ ≈ ≈ ≈ >o ≈o ≈ II ≈ ≈ ≈
∑ ∑ ∑ ∑ ‰ ™ n ‚J ™ ‚ ™ Œ Ó ∑ Ó ∑ ™™ ∑
Vln { &
≈
o
n˙
pp
˙
o <˙ ˙o
Vla B
≈
∑
≈
∑
≈
∑ Ó
≈
Ó <˙ -œo ™ ≈ Œ ≈
∑
≈
∑ nœ ™ ≈
œ™ Œ™ Œ™ ™™ ≈
∑
(snd) J
4°/IV
2°/IV ≈
o II
≈ ≈ ≈ ≈ -‚o ™ ≈ Œ o o ≈ ≈
nœ ™ ≈
œ™ Œ™ Œ™ ™™ ≈
Vla { B ∑ ∑ ∑ Ó Ó nO
J
pp
nO O ∑ ∑
pp
≈
∑
≈ ≈ ≈ ≈ ≈ o o ≈
o ≈ n œo ™ o
œ™ o
œ™ ≈
Vc ? ∑ ∑ ∑ ∑ & Œ™ Œ™ mœ ™ œ™ w™ ∑ ? Œ™ ™™ ∑
(snd)
5°/III ≈ 3°/III
? ≈ ≈ ≈ ≈ ≈ o o o ≈ o ≈o o ≈
∑ ∑ ∑ ∑ Œ™ Œ™ m ‚™ ‚™ ~™ ∑ n‚ ™ ‚ ™ ‚™ Œ™ ™™ ∑
Vc {
û pp pp
String Quartet: Villa Massimo, Roma 5.7.2011 / 29.11.2011 Ensemble: Berlin, 30.10.2016

Asking Ocean - Marc Sabat

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Asking Ocean - Marc Sabat

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Marc Sabat

PLAINSOUND MUSIC EDITION

String Quartet (2 Violins, Viola, Violoncello)

Flute 1 (also Piccolo, Alto Flute, Bass Flute)

commissioned by Sonar Quartett for the musicians of the Ensemblekollektiv Berlin

About the music

The work is divided in seven parts, played mostly without pause:

Prelude (intonation) — Pythagoras Drawing 1 – Harmonium for Claude Vivier – Interlude

About the notation

In general, the composition attempts to provide consonant pitches in the instrumentation to

About the instruments

The music is dedicated to Harry Partch, who introduced the 11-limit.

Berlin, November 2016

Perc1 Tp2 Perc2

An informal introduction to the Helmholtz-Ellis Accidentals

Berlin, April 2009

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

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

ACCIDENTALS EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION

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

dmuU Ffow lowers / raises by a syntonic comma

cltT Ggpx lowers / raises by two syntonic commas

< > lowers / raises by a septimal comma

• ¶ lowers / raises by two septimal commas

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

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

: ; lowers / raises by a 17-limit schisma

/ \ raises / lowerss by a 19-limit schisma

∞ ±# raises / lowers by a 23-limit comma

VORZEICHEN EXTENDED HELMHOLTZ-ELLIS JI PITCH NOTATION

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

dmuU Ffow Erniedrigung / Erhöhung um ein Syntonisches Terzkomma

cltT Ggpx Erniedrigung / Erhöhung um zwei Syntonische Terzkommas

< > Erniedrigung / Erhöhung um ein Septimenkomma

• ¶ Erniedrigung / Erhöhung um zwei Septimenkommas

4 5 Erhöhung / Erniedrigung um den undezimalen Viertelton der 11er-Relation 33 :

0 9 Erniedrigung / Erhöhung um den tridezimalen Drittelton der 13er-Relation 27 :

: ; Erniedrigung / Erhöhung um ein Siebzehner-Schisma

/ \ Erhöhung / Erniedrigung um ein Neunzehner-Schisma

∞ ±# Erhöhung / Erniedrigung um ein Dreiundzwanziger-Komma

23-LIMIT TUNEABLE INTERVALS below “A4”

4/19 3/14 5/23 2/9 5/22 3/13 4/17 5/21 6/25

1/4 7/27 6/23 5/19 4/15 3/11 5/18 2/7 7/24

5/17 8/27 3/10 4/13 5/16 6/19 7/22 8/25 9/28

1/3 8/23 7/20 6/17 5/14 4/11 3/8 5/13 7/18

2/5 7/17 5/12 8/19 3/7 4/9 5/11 6/13 1/2

12/23 8/15 7/13 6/11 5/9 4/7 7/12 3/5 8/13

5/8 7/11 9/14 2/3 11/16 9/13 7/10 5/7 8/11

3/4 10/13 7/9 4/5 9/11 5/6 6/7 7/8 1/1

23-LIMIT TUNEABLE INTERVALS above “A3”

1/1 8/7 7/6 6/5 11/9 5/4 9/7 13/10 4/3

& <w ow 4e uw >v w 0o E nw

11/8 7/5 10/7 13/9 16/11 3/2 14/9 11/7 8/5

& 4e <f w >u E 0e 5e nw <e 4> E ow

13/8 5/3 12/7 7/4 9/5 11/6 13/7 15/8 23/12

& 0v E uw >v E <w ow 4E 0>v E ue 3v e

2/1 13/6 11/5 9/4 7/3 19/8 12/5 17/7 5/2

& nw 0E 4f E nw <w /e ow :>o E uw

18/7 13/5 8/3 11/4 14/5 17/6 20/7 23/8 3/1

>v E 0o E nw 4w <f w :f E >u E 3v E nw

28/9 25/8 22/7 19/6 16/5 13/4 10/3 27/8 17/5

24/7 7/2 18/5 11/3 15/4 19/5 23/6 27/7 4/1

25/6 21/5 17/4 13/3 22/5 9/2 23/5 14/3 19/4

Bb Bb III Bb Bb IV