José Miguel Arellano A.

Flood Dark Space with Light

For tenor sax, piano, electric guitar and accordion
 INSTRUMENTATION

Tenor Saxophone

Piano

The following notes should be prepared by the pianist using silly putty. The pianist
should decide in which nodes to put the silly putty, trying to find different kinds of
sounds and timbres.

Guitar

Scordatura

The electric guitar will be prepared when indicated within the score. The performer
must interlace a cable tie into the strings in the fifth space.

Accordion
 NOTES FOR THE PERFORMANCE

General Instructions

The notes within the repetition bars should be played

ad lib in terms of the order. Within the score the
performer will find specific indications in regard the
velocity. It could vary form slow, medium slow, medium,
medium fast and fast.

The thick black line must be interpreted as a

prolongation of the notes within the repetition bars.

Clusters. The clusters should be played following the

indication of register. The hand symbol indicates a
cluster that should be played inside the piano with the
palm. When there is no hand, the cluster should be
played on the keyboard.

The performer will sing the notes written in the staff

above of the staff of their instruments. The rhythms will
be ad lib, following the velocity indication that will
appear in each specific case.

In the guitar, with the whammy bar, follow the written

rhythms.

In the saxophone, the square head means only air. The

diamond head indicates aeolian sound (pitch sound + air)

Breath through the saxophone. Arrow up: inhale. Arrow

down: exhale.

In the saxophone, the x head indicates slap tongue.

 Scratch the V and VI strings with the pick, from the
middle pickup to the nut.

Move the cable tie (interlaced into the strings) across the
whole extension of the strings. The percussion line
should be interpreted as the middle point of the whole
extension of the strings.

The Electric Guitar will also need a bow.

Every other instruction will appear within the score.

Flood Dark Space with Light is the result of a collaboration between myself and the Chicago based visual
artist Cait Ní Siomón. It was written between 2014 and 2015 and it was performed by VERTIXE SONORA
ensemble at Mixtur 2015 in Barcelona, Spain.
In words of Cait Ni Siomón:
Flood Dark Space with Light is a double-channel video installation that explores subject-space relations through
the concept of light and dark space. Focusing on two areas in the South Loop of Chicago‑ McCormick Place,
the largest convention centre in North America, and a sixty two acre plot of undeveloped land, nicknamed the
“Brownlands.” Both sites were chosen because of their political, economic and historical relevance to Chicago,
and through the conceptual framework of light and dark space, operate as mirror images of one another.
Flood Dark Space with Light, takes its title from the essay Dark Space by Anthony Vidler. Vidler analyses how
“light” has been used throughout modernity to develop techniques of spatial and social control; territorial
mapping, invasion and surveillance. This philosophy of “transparency” was championed by modernists and
applied to technologies, architecture and city planning, as it was thought to “eradicate the domain of myth,
suspicion, tyranny and irrationality.” In the late eighteenth century, scientific concepts of light and the
phenomenology of darkness emerged, and with it the first “considered politics of spaces.” The ‘Burkean
sublime’ was a precept that outlined the powers of the sensation of “absolute light” and equally it’s negative of
“absolute darkness,” as the most powerful instrument to induce absolute terror‑ an instigator of the sublime.
Darkness was seen as the harbinger of the unseen, irrational and unknown; a metaphor for all the possible
erosions of bourgeois and medical well-being. Light and darkness/transparency and obscurity, and their
uncanny ability to slip from one to the other, began to be seen as an allegory for the Enlightenment, and their
pairing as essential for power to operate.
Taking this framework, Flood Dark Space with Light examines the spaces of McCormick Place convention
centre and the Brownlands in relation to Chicago’s location in the Midwest of the United States as a major
economic hub. Situated on one of the Great Lakes - Lake Michigan, Chicago is connected to New York via the
Hudson River, and to the Gulf via the Mississippi River. The railroad system was then built from the east to
west of the US connecting through Chicago, to accommodate the flow of goods and commerce.
The Brownlands is the result of the straightening of the Chicago River in the early twentieth century to make
access to the city centre more efficient. The railways were removed and the land was sold, and sold again. It is
currently contested who legally owns the land since the last two owners have been indicted for fraud, one who
is serving time in federal prison and the other not legally allowed to enter the US for indictment in France.
Stretching over sixty two acres, the Brownlands is like an oil painting; each owner paying larger and larger sums
and driving up its value. The value of the land is further inflated by nearby investment activity. One of the
major drivers of development is McCormick Place, located four blocks away and that brings millions of visitors
to the area each year. Only commercial megaprojects could conceivably recoup the investment- projects
requiring such highly coordinated public and private effort, as well as costly basic infrastructure like water and
gas lines which are absent from the site. Consequently, a wilderness has been left to sprout in the middle of the
city since the early 1900s. With no real ownership, infrastructure, electricity or surveillance, it is reminiscent of
what once lay beneath the pavement; vast prairie lands, occupied only by wild animals, grasses and flowers.
Being framed on all sides by the city, an anxiety is induced by architectures limitless ability to expand. Nature
within these limits finds itself circumcised, confined and prescribed, and so the city has become a synonym for
imprisonment; without referring back to nature, it raises the question of death. At night the Brownlands
emerges as a black void; as light dissolves at its boarders, potentials emerge, and along with it, the biggest fear
endemic of the contemporary technological landscape- the death of humanity in its final triumph over nature.
McCormick Place is an example of what Mark Auge would call a “non-Place” that has emerged within super-
modernity. With globalization’s tendency to eradicate difference; spaces like airports, shopping malls and others
that cater to a continuous flux of an international population, have become ever more homogenised, ahistorical
and highly codified. More and more, historical sites are being torn down to make way for non-places at the
expense of local communities and culture. For instance, Mayor Rahm Emanuel recently shut fifty public
schools in order secure funds to revitalize the area around McCormick Place to cater to the convention crowd.
The shutting of these public schools has had major consequences; all schools located in poor African American
neighbourhoods, children now need to be safeguarded by the police on their commute to school through gang
territory.
Flood Dark Space with Light is structured in such a way to create a tension in viewing the two screens, with
footage of the Brownlands on the right screen and McCormick Place on the left.
With six shots in total, each shot from the Brownlands, acts as a geographical node that locate the space within
the city. Each shot speaks to specific antagonisms of the Brownlands relationship to the city. For example, the
pieces left over from the construction of the Trump Tower, are quite literally the excess of capital and also
reminiscent of ruins; its eventual decay. In the final shot, a train cuts through, while dragging the image into
darkness and the piece into its final dissolve; speaks to the historical use of the Brownlands as a passage way
for expansion to the west, once shrouded in darkness; the danger of the unknown and irrational.
The screen on the right is a continuous panning shot of the McCormick Place. The footage begins from
darkness and ascends upward to trace the glass and steal façade of the building that’s filled with a blindingly
bright light. The camera moves to capture the steam plume emanating from the building and follows its
dissolution into the night sky. With the viewer’s attention continuously moving back and forth from one screen
to the other, the steam plume dissolves dramatically with each return to the right hand screen. This further
enhances the ephemerality of the plume and the impossibility of capture, and the phenomena of what Vidler
describes as the notion of an impulsion toward a loss of the subject into dark space, a desire to be engulfed into
the void of death. Ultimately, it mirrors the anxiety induced by the Brownlands, a death drive.

Chicago, 2015
Flood Dark Space with Light
 dedicate to VERTIXE SONORA ENSEMBLE

Flood Dark Space with Light

for saxophone, piano, electric guitar and accordion

q = 69
3 José Miguel Arellano A.

4 æ æ æ æ æ æ æ
7:4y

‚æ b‚æ ‚æ #‚æ #‚æ æ æ

3:2e
Tenor Saxophone & n‚ # ‚ n 6 ) 6 6 >6 >6 6™ 6
> > >
o ff mp ff fp

bœ œ œ medium fast
& ≈ ‰ Œ Œ ? í ™™ œ nœ œ bœ ™™î

{
fff
3:2y “‘
Piano pppp

?
medium fast
∑ í ™™
bœ bœ ™™î
œ bœ
° “‘
pppp

° Arco
Electric Guitar &
¢ ˙™ ˙ œ™ œ
“mp‘
ff

3
‚ ‚ ‚ #‚ ‚ ‚ ‚ n‚ ‚ #‚
b ‚ ‰
5:4x 5:4e
& ‚ #‚
¿
Tenor Sax.
6 >6 >6 6 >6 >6 6 6 æ æ æ æ æ æ æ ææ æ æ æ ææ æ 6 >6 >6 >6 >6 6
> >
f p
14:8y
ff mf mp p pp o fp

?
Pno.

{ ?

6 XII
° ∑ Ó
E. Gtr.
¢& ‚
“‘
#œ œ œ™
mf

& ‰ ≈ ∑

{
Accord. p o
? ‰ #œ œ œ™ ≈ ≈ ¿ ‰ ‰ ≈ ‰™
/
> >¿ >¿
p pp ppp
2

5
5 8
≈
5:4x 5:4x
&
œ ˙ œ™
Tenor Sax.
6 6 >6 6 >6 >6 >6 6
>
o mf > fp o

?
Pno.

{ ?

°
leave the arco

E. Gtr.
¢& O Œ ∑
:“; o
5
> Π3:2e
#œ œ 8
& ∑ œ ˙™ ‰

{
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/ Ó ¿ ∑
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fff
=
5 3 5
7 8 # œœ 4 œœ # >œœ >œ
œ
>œ
œ 16
Tenor Sax. & Œ ‰ ‰ µœ œ µœ œ œ
o3:2e fp
3:2q

? &
Pno.

{ ? &

4 3 6
5
V VI VI XII ˘
° 5:4x
‰ Œ ≈
5:4x 3:2e
≈
E. Gtr.
¢& b‚ b‚ b‚ nœ
j
‚ ‚ œ™
f > o
5 > 3 5
mf

8 #œ
≈
4 16
& #œ ≈ Ó ∑ ##œœ
Acc.

{ /
>
fff
∑
≈ ¿ ‰
ff
Œ
3:2e
¿ ≈ ≈ ¿ ‰
ppp

3:2e
 3

5 3 4 3
A
16 q = 100/112
4 4 8
Tempo primo growl
3 # œ ˙™
n3 #3 b3 3#3#3
9

∑
3:2e
Tenor Sax. &
) 6 6 6
> > > 7:4y o
fp mf ppp ff

bœ œ œ
’ ’ ≈ ‰ Ó ? ∑
& ’ &

{
3:2y
Pno. fff
ffff

& ’ ∑ ∑
’
*
3:2q
æ æ 3:2q
æ æ æ æ æ
XII Ó œæ œæ µ œæ œæ µ œæ œæ n œæ
° ∑ OO ™™
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¢& O™
~~
~

5 3 4 3
ff p mp p

°
16 q = 100/112
j j
4 4 8
& œœ ™™ œœ ˙˙ Œ Œ ˙™

{
Acc.
o ppp
5:4x

Ó ≈ ¿ ¿ ¿ ¿ ∑
/ ∑ > > > > &o
mf

=
3 3 3 3
12 8<#> œ >œ « 4 sub tone 8 j j
4
#>6
3:2e 3:2x
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fp
> >
“” œ
œ œ #œ
& ‰ ‰ ® ∑ ∑

{
5:4y
ppp
Pno.
∑ ? Œ ≈
3:2x
& #>¿ #>¿
« ppp
4:3e
æ æ æ
œæ µ œæ ˜ œæ : Œ;
°
¢& ‚‚ ™™ ‚ ∑ ‰
‚™
E. Gtr.
sffz o
3 mf
3 3 3
8 4 8 4
& j Œ ∑
œ #œœ ˙˙

{
Accord. o
& ∑ ∑ ∑
4

3 4
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~ 3:2xŸ~~~~~~~~~~~ Ÿ~~~~~ Ÿ~~~~~~~~~~~~
4 8
Producing a lot
15 of keyclick sound 5:4x
3:2x
Tenor Sax. & ˙ n‚ µ‚ ‚ ‚ µ‚ ‚ ‚ µ‚ ‚ ˜‚ n‚ µ‚ µ‚
oo p o

& ∑ ∑
Pno.

{
? Œ ‰
3:2e

#¿ ~~~~~~~~~~~~~~~
o
~~~ ~~~~~~~~~~
ff
¿
‰
bbb œœœœ ™™
“‘ ppp ™
Medium fast
XII 5
° í™ Legato 5 4
‚
XII
™™î
bœ
VI
E. Gtr.
¢& ™ ‚ b‚
‚
ppp/mp

3 4
4 8
& Œ ˙ ˙

{
ppp
Accord.
3:2e
& Ó ‰ #œ ˙
ppp

=
3
17 B 5:4y 5:4y

j
4
& j ® #‚ ‚ ‚ ‚ 6™
Tenor Sax.
) œ™ œ™ #‚ #‚
fp mf o mf fp

#¿ #œ
∑ ∑ #¿ ≈ ‰ Œ Œ™ #œ ≈
&
Pno.

{
?
˙˙˙˙ ˙˙˙˙
f
3:2x

˙˙˙˙
*
í ™™#œ œ œ œ œ œ ™™î
o
°
p o
p 3:2x

°
E. Gtr.
¢&

3
j 3:2e
4
& ˙ œ nœ œ ˙ ˙

{ p o
j
Accord.
3:2e
?
& ˙ ˙ œ œ #œ ˙
 5

3
21 4
Tenor Sax. & ˙™ ˙ Œ Œ ≈ µ‚ ™ ‚ O ‚™ ≈
mf o o p o

& ∑ ∑ ∑ ∑
Pno.

{
?
: ‰; œ œ
í ™™œ œ œ œ œ™™î
o
medium fast

p o

°
E. Gtr.
¢&

3
4
& Ó
œ ˙™ ˙™ œ b˙

{
ppp
#œœ œœ œœœ ˙˙˙™™™
Accord.
? ∑ ∑ Œ ≈ #œ J
5:4x 3:2e
ppp

4 3
=
25 5:4x
ææ
4 5:4y 4
& Œ ≈ ≈ ææ æ ® ®‰ ‰ µ6
3:2x sub tone
æ æ æ
>¿ >6 6 6
æ 6æ 1 - 1 - 1 - ‚æ Oæ ‚ 1 -1
Tenor Sax.
-1 -1
ff fp ff fp o ff o

& ∑ ∑ ∑ ∑ &
Pno.

{
?
o
∑
*
‰
5:4e

b¿ ¿
‰ j ~~~~~~~~~~~
¿ ~~~~~
o
~
¿ ?

°
mf fff

°
E. Gtr.
¢&
o
4 3
4 4
& ˙ ‰ ∑
œœ ˙˙ ™™ ˙˙ œœ

{
o
? ˙˙˙™™™ ˙˙˙™™™ ˙˙˙ œ
Accord.
œœ ‰ Ó™
3:2x
≈‰
’ ’
ff p
6

3 4
29 4C µœ 4
Tenor Sax. & µ˙ ™ ˙
p mp

& ∑ ∑
Pno.

{
? ‰
’
ff
’ ’
5:4e

’ ’ ’ ’ ’
o
Œ ∑

° ~ ~~ ~~ ~~~~
~ ~
~~~¿~¿
3:2x
Ó ~~ ~~ ≈ ‰ ∑
5:4e

¢& j ~~ ~
~~~~~ ~~~~ ~ ~~
¿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
E. Gtr.

o¿ ~~
3 4
mf

4 4
& ∑ ∑
Accord.

{
? ∑ ‰
3:2e
œ
o
œ œ
fff

=
4 3
31 4<µ> ˙ œ æ æ
7:4y
ææ ææ ææ ææ ææ
14:8y
æ æ æ æ æ æ æ æ æ æ æ æ æ 4
& n‚æb‚æ ‚ #‚ ‚ ‚æb‚æ n‚æ#‚æ#‚æ æ æ ‚æ æ n‚æ æ ‚æ#‚æ
Tenor Sax.
‚ #‚ n‚ ‚ ‚ b ‚ #‚
omf f o

n œ #œ #œ œ # œ
& ≈ ≈ Œ Œ Œ
Pno.

{
? Ó
mf
7:4x

≈ bœ ™ œ nœ
*

° Œ ‰ œ
3:2e
E. Gtr.
¢& nœ ˙˙
#œ ˙
4 3
mf

4 4
& ∑
Accord.

{
? ˙™
o
Œ
 7

3 4
32 4 µ>œ n œœ
3:2q
œ œœ 4 ˙˙ ™™
Tenor Sax. & µœ œ ˙™ Œ ∑
fp f o

& ∑ ∑ ∑
Pno.

{
? ∑ bœ œ œ œ
mf p
œ œ
J
ppp
>œ
J
sfz
Ó ‰
#¿ #¿
p
5:4e

Tambura: hit with the hand or with the legno

° fo the bow. Sul pont.
Œ
E. Gtr.
¢& ˙˙ ™™ nw
w ˙˙ ™™
˙™ #w ˙™
o
3 4
mf

4 - -
4
Œ ‰ #œ œ œ #œ
7:4e
& J #œœ œ b œ # œ œ ˙ ˙™ #œœ

{
5:4e p
ppp
œ ˙™
‰ #œ ˙ ™
Accord.
? ∑ ∑
3:2e
ppp

depress without

#~
making a sound
~ ~
##~~~~ ~~~~ ~~~~
35
?
&
Pno.

{
? Œ ≈
bœ ™ œ

mf
bœ œ bœ
J
3:2e
œ œ œ bœ œ œ
5:4x
œ
’ ™ ’ ’
# ¿3:2q

sfz
‰
’
j

° *°
p

& <#>˙˙ ™™ œœ ‰ ∑ ∑

{
o
? <#>˙˙ ™™ œ
Accord.
œ ‰ ∑ ∑
8

3
38 D 4
í ™™ µœ #œ ™™î
slow
Tenor Sax. & ∑ Œ
ppp/p

> b‚ ‚ ‚ ‚ ‚
? Œ ≈‚ ‚‚ n‚ ‚ ‚ #‚ ‚ ‚ ‚ b‚ b ‚J Ó Œ
J J

{
3:2e 5:4e
p
Pno.
? ≈ 5:4x Œ Ó ≈ ® Œ ≈¿ ‰ Œ Ó ˙ ˙ Œ
œ
œ œ œ ˙ ˙
ppp o

3
3:2e 4
& ‰ #œœ ˙˙ ™™ w
w w
w ˙˙ Œ

{
o p o
# œ ˙™ ww ww ˙˙
? ‰# œ ˙ ™
Accord.

Œ
3:2e

4 3 4
4 4 4
q = 50
42

Tenor Sax. & í ™™ µœ #œ Bœ ™™î

: Œ ™; b‚
?
medium fast
í ™™ ™
bœ ™ î ‰
bœ œ

{
Pno. ppp/mp o sfffz

? ∑
medium fast
í ™™ ™™î
œ bœ œ n œ
* ppp/mp

#œ œ
3:2e
3:2e
œfij ˘ Cable tie
° ∑ ææ ææJ œ ˙ Œ
on!

E. Gtr.
¢& œ œ œ J
nœ œ œ sffz o
o
4 3 4
ff

4 q = 50 4 4
& ∑ Ó™ ≈ ’ ’ ’ ’ ’ ’ ’ ®≈ Œ Œ

{
°
Accord. 5:4x 5:4x
o
? ∑ ∑ ∑
mf
 9

4
45 4
Tenor Sax. &

b‚
? í ™™ ‚ ™™î

{
ppp

: Ó™;
Pno.
? Œ

4
4
& ∑ ∑
Accord.

{ ? í ™™
œ
ppp/mf
bœ nœ
™™î
*

3 4 3
E
4: ‰ ; U 4 ˙™ 4
œ b˙
47 3:2e

Tenor Sax. & ‰ ‰ œ œ Œ

o o p o
U
bbb œœœœœ œœœœ œœ “” >¿
? & ∑ ‰ ∑ Ó™ ≈ ‰

{
sffz
bœ b‚ ‚ ‚ ‚ ‚ ‚ ‚
Pno. 3:2q sffz

? Œ ‰ Œ í ™™ ™™î
¿ #¿
° ° *

° U pizz
E. Gtr.
¢& ∑ ‰ ‰ Ó ∑ ≈‰ Œ Ó /
œ

3 4 3
ppp

4 4 4
Keep moving the figure
within the box
U
& ∑ ‰ ‰ Ó ∑ ∑
Accord.

{ ? í ™™ œ#œ bœ ™™î
ppp/mp
10

3 4
51 4 bœ
4 ˙™ œ™
Tenor Sax. & ˙ gliss. Bœ ˙ ≈
ppp p o

“>” > >¿ >¿

¿ ¿
& ∑ Ó ≈ ≈ Œ Ó

{
5:4x
ppp o
5:4x
Pno.
:Œ;
? Ó ? í™ ™î
‹ ™ #œœ ™
bb œœœ
* °
pppp

E. Gtr.
°
¢/
p
ff

3 4
4 4
& ∑ ∑ ∑
Accord.

{
?
: Ó ™;
o
Œ

œ ˙ b >œ >œ œ œ >œ >œ

œ gliss. µœ ˙ ≈ Bœœ œœ œœ œœ œœ œœ
54

Tenor Sax. & ≈

o mp 5:4x
3:2x
mf sfz sfz

& ∑ ∑
Pno.

{
?
‹
?

E. Gtr.
°
¢/
p ff
 3
56 ˙
˙ Ÿ~~~~~> Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~ Ÿ~~~~~~~ Ÿ~~~~~~~~~~~~~~~~ 4
& ˙ Œ ≈ #œ ˜œ œ #œ œ #œ œ œ œ œ œ œ
11

œ > µœ œ
> >
Tenor Sax.
o p > >

& ∑ ∑
Pno.

{ ? #œ œ œ œ ® ‰

5:4y o
Œ Ó ≈
b¿
p
‰ Œ ‰ œ
n¿
5:4e
œ bœ

°
p

E. Gtr.
°
¢/ &
ppp ff mf

3 Ÿ~~~~~~~ Ÿ~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 4

58 4 5:4x 4
& ≈ nœ #œ œ #œ œ œ œ™ ≈ ∑ ∑
> b >œ >
Tenor Sax.

mf o

& ∑ ∑ ∑

{
medium fast
?
Pno.
∑ ∑ í ™™ bœ
™
bœ ™ î
bœ
* “œ‘
° pppp

°
dolce
‰ Ó ∑
3:2e
E. Gtr.
¢& œ ˙ œ
ppp o
 4F 3 4
61 4 4 4
‰
12
&
b) ˙ ˙ œ b) œ w
Tenor Sax.

o mp o o mp o

∑ ∑ ∑ Ó ‰ #œ œ œ œ
&

{
5:4e
Pno. ppp
?
o

4 3 4
4 4 ˙ ˙
4
∑ Œ r≈
5:4e
& #>œœ >œœ >œœ >œœ >œœ >œœ >œœ >œœ ˙˙ ˙˙ œœ
Accord.

{ ? b˙
o mp
˙
o
œ Ó
o
ff

∑
ppp fff

3 4
65 G 4 4
Tenor Sax. & Œ ˜) œ w B) œ ˙™
o mp o o mp o
#œ œ œ œ
œ œ nœbœ œ
& Œ Ó ∑ ∑ ® ‰ Œ Œ

{ o
7:4e 5:4y
? ≈ œ ‰ Œ
Pno.
∑ ∑ Œ Œ Œ
p 3:2q

#¿
“‘ #¿
*°
sfffz mf

&
˙™
Left Hand

scratch with a pic

mf
in the VI string
° æ æ æ æ æ æ æ æ
E.Gtr / ˙æ™ œæ ˙æ œ>æ >œæ ˙æ™ ˙æ œ>æ
¢ > >
p f p f

3 4
4 4
& ∑ Ó™ #œœ œœ Ó ∑

{ o o
?
Accord. mp
∑ ∑ Ó í ™™ bœ ™î
#œ ™
ppp
 4
69 4 13

Tenor Sax. & Œ b) œ w ∑ ∑

o mp o

& ∑ Ó™ œ ∑ ∑

{ bœ
p
b œ œ œ œ
Pno.
? ‰ j
¿ Ó ∑ Ó ‰ ≈ ∑
5:4e

#¿
:“; ¿ 3:2x
p o
3:2x
«
j œ ˙ œ œ œ ˙
3:2e
Left Hand & œ
œ œ œ
p sffz
æ æ æ æ f
æ æ
°
¢/ ˙æ™ œæ œæ wæ wæ wæ
o
E. Gtr.
sfz sfz
fff

4
4
p
Voice í ™™ bœ œ œ
™
œ ™î
m o i z

& ∑ ∑ ∑ ∑
Accord.

{ ?
: Ó™;
Œ

3
73 4 #œ œ ?
& ∑ ∑ ∑ Ó ≈

{
5:4x
Pno.
? Aª 3:2e
∑ Ó™ ‰ ‰ Ó ∑
3:2e p

* p’ ’ ’ ’ o
°
« 3:2x
«
≈ œ ‰ Œ
3:2x
°& œ ≈ ‰ Ó™ Ó™ ‰ ≈ œ ≈ œ ≈ ‰ Œ Œ Œ
œ
Left Hand

æ æ æ æ æ ææ ææ
sffz
ææ æ æ sfffz

œæ œæ œæ œæ œæ œ œæ ˙æ
Gtr.

˙
¢/ ™ œæ ˙æ™ ∑ &
o fff o

3
4
∑ ∑ Ó ‰ œ ˙ œœœ œœœ‰ ≈
3:2e 5:4x
& b œœ ˙˙
Accord.

{ ? ∑ ∑ ∑
o
∑
fff
 H
bœ œ
#œ ≈ œ
77
14
? ∑ ∑ Ó ≈ Œ Œ

{
5:4x
Pno. mp
? í ™™ ™î
bbb ˙˙˙˙ ™™™ #œ œ b œ ™
“‘ * °
ppp pppp/mp

Cable tie
sul tasto off!
°
¢& ≈ ∑ ∑ &
˙™ ˙ œ™
E. Gtr.

“‘ o
mf

H
3:2e

& ∑ ∑ Œ ‰ #œœ œœ ˙˙ ™™

{
o o
Œ
p
Accord.
? ∑ Œ ˙ ˙™ #˙ ˙™
˙™

#œ ˙™
81

Tenor Sax. & ∑ µ˙ œ ˙™ œ Œ ‰

p o 3:2e
p o

œ œ œ œ œ œbœ
3:2y

? ∑ ∑ ∑ Ó ≈ Œ Œ

{
Pno. : Œ;
5:4x
p
5:4x
o
? í ™™ œ ™™î
#œ #œ
o ppp/mp b œ œ
* °
SP
° arco Ó
™ ™ í ™™ ™™î
E. Gtr.
¢& ™ œ ™
í î
œ
-
pp œ
mf

& ∑ ∑ ∑ ∑ ∑
Accord.

{? Ó í ™™
œ #œ

ppp/mp
™™î
 µœ ˙ ˙ œ
86 I
∑ Œ ‰ ‰
15
&
bo) ™ bO
Tenor Sax.

p o o mf o

œ œ œ œ™ œ
(echo)
? ∑ ≈œ‰ Ó ‰ ‰ Œ Œ ∑ Œ ‰ œ œ œ™ œJ

{ : Œ;
7:4e o
Pno.
: Ó;p 3:2e p
?
fast
í ™™ ™™î Ó
bb œœ œœ o
“‘
fp

°
¢& í ™™ ™™î
œ
ff œ
E. Gtr.

œ o

& ∑ ∑ Œ œ˙ ˙™ ˙ Œ
R

{
Accord.
5:4x o p o
? Ó ≈
5:4x 5:4x
≈Ó ∑ ∑ &
’ ’ ’ ’ o
‹
ff

4
91 J 4
Sax. & ˙™ ˙ œ™ ≈ ‰ µœ ˙ ˙™ Œ
mf o p o

? ∑ ∑ ∑ ∑
Pno.

{ ? ∑ Ó
‘
≈
b ¿ #¿
“ ppp
5:4x

¿ #¿ ≈Ó
5:4x
Ó bœ œ nœ
ppp 3:2q

Slow * °
6 5 4 XII
° ∑ ™î
í ™™ b‚ ™™î í ™™
VI V VI
E. Gtr.
¢& b‚ ‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ™
p ‚‚‚‚‚‚
4
mf

4
& ∑ ∑ ∑ ∑
Accord.

{ &
‹
∑ Œ ‰ bœ œ
o
˙™
p
œ
o
Ó Œ
 3
16 95 4
Sax. & Ó #) #˙™ ˙ œ
‰ ∑
o mp o
? ∑ Ó™ ‰ ∑ ∑

{
# œœ 3:2x 3:2x

? œ œ >œ Ó ¿
Pno. 3:2q

Ó™ ‰ Œ ‰ ‰ Œ ≈Œ
p 3:2e

#¿

~~~
#œ

~~~~~
“‘ o fff
’ ’ ’ ’ ’ o
mf

° : Œ ™; Cable tie

‰ Œ
Let it ring! on!

E. Gtr.
¢&

3
4
& Œ ˙ ™
## ˙˙ ™™
w
ww
∑ ∑
Accord.

{ &
‹
o
∑
ppp
∑
o
‰
o
œ ˙
p
˙ œ
‰
o

4 3
99 K 4 4
∑ ∑ ‰ æ æ
3:2e 5:4x
& æ æ æ ææ ææ æ æ ææ ææ æ ææ
b 6æ 6æ 6æ 6 6æ 6 b6 6æ 6æ
Sax.
6 6 >6 6
> > > > > >
Silence for 3" mp
Let the piano
bœ œ œ
ringing very subtle

? ∑ ∑ Œ í ™™#œ ™™î
Pno.

{ ? ∑
: Œ;

* °
í ™™ bœ nœ œ ™™î
ppp/mp
*
ppp/mp

103

& í ™™ b‚ ‚ #‚ ‚ #‚ ‚ ‚ #‚ ™™î
b‚ b‚
Sax.

o p o
? í ™™ œ bœ nœ ™™î

{
oppp/mp
?
Pno.
í ™™ bœ ™™î
b œ #œ œ
o ppp/mp
 17

107 L
&
b1 ™
Sax.
- - 1 1 >-™
o ff> > >

? Œ
A
ª
≈ ’ ’ ’ ’ ’ ’ ’ ’ ®

{ o o
5:4x 5:4x
Pno. mf
?
°

> > > > > > > >

° Œ > > > >
> 3:2e
E. Gtr.
¢/ >

ppp/fff

3 4
4 4
b‚ ‚ ‚
110

Œ Œ
5:4y
& n‚ #‚ ‚
b1 1 ¿ ¿ ¿ ¿ ‚ b‚ b) bœ
Sax.

> ppp

nœ bœ
? Ó ≈ ‰ Ó ≈ #œ œ œ nœ Œ
& bbœ
œœœ

{
depress without 5:4x
Pno. sfz sfz p sfffz
making a sound

? Œ #œœ
#### OOOOO OOOO ™™™
O™
OOOO
O
* ° *

> > > : Ó;

Cable tie

> > >

off!
°
¢/ & Ó ≈
3:2x
‰ Œ
œ
E. Gtr.

5:4e mp œ o
3 4
4 °
4
& Œ ˙ ˙™ ˙ œ ‰

{
Accord.
o ppp o
3:2e
& Ó ‰ #œ ˙™ ˙ œ ‰?
>
18

4M 3
4 4
9:8y

œ œ æ æ ææ ææ ææ ææ æ ææ ææ
#6æ #6æ
113

œ #œ bœ nœ 6 b6 n6 b6 #6
5:4x
& #œ
<b> œ bœ b) #6 n6 6 6 6 6 Bo3 b3
Sax.

3:2e

& Ó ‰ bnnœœœ œœœ Ó bnnœœœ

{
ppp p
œ œ ##œœœ
‰##œœ œœ
Pno.
? Ó Ó
3:2e

4 3
4 3:2e 4
& Ó™ ‰ bœ ˙ œ

{
ppp
bœ
Accord.
? Ó™ ‰ #œ ˙
3:2e

4
115 5:4e 4
Sax. & µ3 3 Bb3 B3 3™ ≈ ∑
p o

bnœœœ
& Ó ∑ ?

Pno.

{ ? Ó
ppp

œ
#### œœœœ
Œ ‰™
5:4x

“’ ‘ ’ ’
3:2x

’
≈
o
‰

°
ff

4
4
& ˙ nœ ˙™
Accord.

{ ? ˙
*
#œ ˙™
 19

4 3
N
117 4 q = 50 5:4x 4 7:4e nœ
Ó™ ≈ Bœ œ œ Œ
Sax. &
boœ µœ #œ µœ œ œ bœ
p o

bœ œ bœ b œœœ
? Ó ‰ œ Œ Œ J ∑

{
sffz p 3 3
Pno. depress without

? Ó
making a sound

#### OOOOO OOOO ™™™

O™
OOOO
O #### œœœœœ
“‘ “‘
* ° 6
mf
5:4x
° Œ ‰ ‚
3:2q
‚
E. Gtr.
¢& ‚ ‚ b‚ ‚™
‚ ‚ ‚
‚ O #‚
mp VI
> sffz

4 3
4 q = 50 4
& ˙ Ó ∑ ∑

{
o
?
Accord.
˙ Ó ∑ ∑ ?

=
4 rit.
120 ˙ œ 4˙ ˙ œ œœ ˙˙
3:2e

U
& J œ ˙ ‰
3:2e

b6 b˙
Sax.

o p

œ o
? #œ
∑ ∑ Ó Ó ≈ Œ Ó

{ b ˙U
5:4x
nœ œœœ œœœ ˙˙ ™™™
‰bn œœ
p
?
Pno.
‰ Ó
5:4e
˙˙˙ ™™™ œœœœ #¿
˙˙ ™ œ bœ n¿ o
“‘
5:4e
mp ppp *

U
«
XII
° ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚ ‚‚
Arco

¢& ‚ ‚ Œ
-‚ -‚ -‚ -‚ -‚ -‚ -‚ -‚ -‚ -‚ -‚
E. Gtr.
‚ ‚™ sfffz “‘

4 rit.
4 U
& ∑ bww ww ˙˙ ™™ œœ

{
o o
U
Accord. ppp
? ∑ & Œ ‰
b œœ ˙˙ ww ˙˙ ™™ œœ
o ppp o