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  • Fountain in The Rain William Glock

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    Omar Sandoval
    91 views4 pages
    The document is a musical score titled "Fountain in the Rain" composed by William Gillock. It contains musical notation using symbols to indicate elements like tempo, dynamics, and the interplay between the right and left hands. The piece starts calmly but builds in complexity, speed, and volume, depicting the sounds of a fountain and rain through a cadenza-like section before returning to a calm ending.

    Original Description:

    Piano piece

    Original Title

    Fountain_in_the_rain__William_Glock

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    © © All Rights Reserved

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    The document is a musical score titled "Fountain in the Rain" composed by William Gillock. It contains musical notation using symbols to indicate elements like tempo, dynamics, and the interplay between the right and left hands. The piece starts calmly but builds in complexity, speed, and volume, depicting the sounds of a fountain and rain through a cadenza-like section before returning to a calm ending.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    91 views4 pages

    Fountain in The Rain William Glock

    Uploaded by

    Omar Sandoval
    The document is a musical score titled "Fountain in the Rain" composed by William Gillock. It contains musical notation using symbols to indicate elements like tempo, dynamics, and the interplay between the right and left hands. The piece starts calmly but builds in complexity, speed, and volume, depicting the sounds of a fountain and rain through a cadenza-like section before returning to a calm ending.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    of 4

    Fountain

    in the Rain
    ⾬中的喷泉
    William Gillock

                                      
    = 88

     
       
         
     


     
    portamento

                                    
    3
    soft pedal


        
     
       

                          
       
    5


      
      
        
      
      

        
               
               
       
    7

       
     
       
       

                                    
    9

     
      
            
     

                                


    11

      
          
      
      
                                  
    2

    
    13

     
       
        
      
            
                    
    15

      
       
        
     

     
     
     

              
                  

       
    Allegretto

     
    17

       
           
    R.H.


    L.H.
    L.H. accellerating and



    cadenza - like

      
                           
     

                
       
    19

         downward
      
    growing louder splashing

      
       
           
               

        
     
    21

        
            
            
    downward

       

    = 88

        
       
         
    in time

    
     

      
    24

          
      
    

    
     R.H.  

       
        
    
      
    L.H.
    L.H.  
    3

                     


      

               
    26

          
        

        
    

         
    calmly

    
     
    

      
    
    as at first

              
       
                            
       
    29

     
            
                   
     

    

       
                      
                   
    32

     
       
    L.H.

          
    


       
    a little louder

      
    L.H. very softly
    sweetly

     
      
       
                          


    35

     
    
     
          
    L.H.

     
     
    L.H.

        
     
     
                    
                 
      

      
    37

      
    L.H. L.H.

          
    L.H.

           
    L.H.


    holding back
                      
                      
    4 Allegro = 88

     

      
    40

     

    accellerating R.H.

             
    L.H.

       
    

     
    

        

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