Richard Barrett urlicht 2013-14 3 percussionists with optional spatialisation performing score
Jan 23, 2016
Richard Barrett
u r l icht
2013-14 3 percussionists
with optional spatialisation
performing score
url icht
(2013-14) for 3 percussionists with optional sound spatialisation
commissioned by Speak Percussion
to Bob Gilmore
duration: approximately 13’ 30” instrumentation 1 vibraphone*
waterphone, suspended if possible to enable rapid deployment** small suspended “trash” cymbal, or stack of two or more, “prepared” with several strings of beads, creating a complex but unresonant sound guero, fixed to stand, positioned vertically so it can be scraped with the shaft of one mallet while the other (in the same hand) strikes the cymbal
2 vibraphone* mark tree seed pod chimes, as dense as possible tenor drum, tuned low and “prepared” with pine cones, seed pods or similar light objects, creating a complex but unresonant sound 3 vibraphone* Beijing opera gong - tuning: (3 different “pitches” are notated, indicating distinct sounds produced by striking at different places with a mallet) suspended sleighbells (to be struck as well as shaken) log drum “prepared” with aluminium foil, with 3 different “pitches”, placed on stand so it can be struck with one mallet while the other (in the same hand) strikes the sleighbells * The three vibraphones do not have to be in tune. Discrepancies in intonation should be seen as enhancing the music rather than compromising it. The range of motor speeds in the score is from 45 to 300 beats per minute. While precise values for motor speed in bpm are given in the score, some approximation is naturally acceptable, while preserving the sense of changing relationships and the widening difference through the course of the music between slower and faster speeds. ** A 3-line stave is used for the waterphone, within which noteheads show the position of the bow around the circle. The top and bottom lines should thus be thought of as coinciding. The angle of the instrument (and thus the position of the water inside) are indicated on another 2-line stave. The top line indicates a vertical position of the instrument and the bottom line a horizontal position, so that the “pitch-bending” effect will be in the opposite direction of the notated line. Which direction the instrument is tilted in is ad libitum; a variety of different directions might be taken, to vary the resulting sound in different ways. notation
bow = -apart from the bow, each player uses 4 different mallets. In bars 64-142 each player eventually individually uses four different mallets, which are notated using different noteheads. The symbols used for mallets and the noteheads are as follows:
for drumstick, hard, medium and soft vibraphone mallets respectively.
= “dead-stick” (mallet remains in contact with surface, producing a sound without any resonance) ] = damp all sound
= pedal, always and only to be used as notated spatial isation When urlicht is performed with the possibility of three-dimensional sound projection (with the performers in the centre of the space, surrounded by the audience which in turn is surrounded by the speaker system), it can follow the course of the music in this way: sections 1-3 treat each player as a single source for spatialisation. 1 (bar 1, 18" in duration): everything is panned to the centre of the space at floor level and remains static 2 (bars 2-25, 1'12"): an equilateral triangle formed by the three instruments begins to grow outwards from centre and to rotate slowly, still at floor level 3 (bars 26-45, 1'30"): the equilateral triangle has now reached the perimeter of the space and continues to rotate; each apex now begins a slow sinusoidal up/down motion (frequency is the same for each instrument but with phase difference of 120 degrees between each one) sections 4-6 gradually widen the distance between two sources for each player (vibraphone left/overhead left and vibraphone right/overhead right) 4 (bars 46-98, 2'42"), gradually add independent movement to and from centre (each pair of sources a small distance apart from one another) 5 (bars 99-134, 1'48"): continue the 3 aforementioned movements (to/from centre, rotation, up/down) but now each of the 3 pairs of sources moves independently, with the pairs still widening 6 (bars 135-142, 36"): sound seeming to appear at random points thoughout the space (using rapid panning) sections 7-9 have each pair of sources linked but panned to opposite sides of the space 7 (bars 143-188, 2'24"): rapid independent rotations of the pairs, at 3 different heights - floor, halfway and ceiling 8 (bars 189-216, 2'06"): start again with everything at centre, then rapid condensed "recapitulation" of sections 1-3 but now with the three players widely panned (once the movement outwards from the centre has been completed) 9 ( bars 217-225, 54") all static at the perimeter at ceiling level
218
e=70
urlicht
Richard Barrett2013-14
48
1vib.
2vib.
3vib.
4 x
(motoroff)
fff non dim.
motor on 70bpm
take 2 x
4 x
(motoroff) fff non dim.
motor on 80bpm
take 2 x
4 x
(motoroff) fff non dim.
motor on 75bpm
take 2 x
48
e=80
2
1vib.
2vib.
3vib.
p
p
see preface: the notated durations indicate the time for which the bow is in contact with the plate, after which the sound resonates until the next notated pedal-damping.
p
p
mp
mp
7:8
p
p
mp
mp
3:2
p
p
p
p
mp
3:2
4:5
p
p
mp
5:6
p
p
p
p
mp
mp
3:2
7:6
p
p
mp
mp
5:4 5:6
5
1vib.
2vib.
3vib.
p
p
8:7
3:2 6:7
p
p
mp
7:8
mp
3:2
pp
pp
mp
mp
7:8
4:5
p
p
mp
3:2
mp
pp
p
mp
10:7
5:4
3:2
pp
pp
mp
mp
5:4
pp
p
mp
10:7
p
p
mp
3:2
9:7 4:3
p
pp
mp
mp
4:3
6:5
8
1vib.
2vib.
3vib.
pp
pp
mp
mp
3:2
p
p
9:8
7:6
pp
pp
mp
mf
3:2
pp
pp
mp
mp
4:5
7:8 5:4
p
p
mp
7:8
p
pp
mp
mp
7:8
pp
p
mp
5:4
7:8
pp
pp
mp
5:4
mp
5:4
3:2
pp
pp
mp
mf
3:2
7:6
11
1vib.
2vib.
3vib.
p
pp
mp
mf
8:7
6:5
pp
pp
mf
mp
5:4 pp
p
9:8
mf
7:5
p
p
mp
7:8
6:7
pp
pp
mf
6:5
mf
7:6 5:6 pp
pp
mp
mf
9:8
pp
p
mp
mf
4:3
pp
p
mp
5:4
5:4
p
p
3:2
mp
7:5
2
14
1vib.
2vib.
3vib.
pp
pp
mp
mf
4:5pp
pp
mf
7:6
mp
6:7 3:2 ppp
p
mf
mp
pp
ppp
mf
mf
10:7
ppp
pp
mf
mp
4:3
p
p
mp
ppp
ppp
mf
3:2
mf
5:4
ppp
p
mf
3:2
pp
pp
mf
mf
3:2
17
1vib.
2vib.
3vib.
ppp
p
f
7:6
ppp
ppp
f
mf
5:6ppp
ppp
mf
f
3:2
ppp
ppp
mf
mf
7:6
3:2
ppp
pp
mf
3:2
mf
pp
ppp
mf
3:2
f
3:2
pp
ppp
mp
mf10:7
ppp
pp mf
mf
9:8
5:4
7:8ppp
ppp
f
mf
4:5
20
1vib.
2vib.
3vib.
ppp
ppp
mf
mf
4:5
ppp
ppp
f
7:5
f
5:6
6:5
ppp
pp
f
mf
7:5
4:5
ppp
ppp
f
3:2
f
ppp
ppp
mf
mf
4:3
ppp
ppp
f
f
9:8
ppp
ppp
f
4:3
f
9:7
ppp
ppp
f
5:4
f
pp
pp
mf
mf
7:6
3:2
3
23108
1vib.
2vib.
3vib.
ppp
ppp
mf
7:6
f
9:8
ppp
ppp
mf
3:2
f
7:6
pp
ppp
mf
mf
7:8
ppp
ppp
f
7:8
f
3:2
ppp
ppp
mf
3:2
f
4:3
ppp
pp
mf5:6
mf
ppp
ppp
f
f
pp
p
mf
3:2
mp
ppp
ppp
f
mf
108
e=90
265
16108
1vib.
2vib.
3vib.
mp
all instruments still always with bows - unbroken legato slurs indicate that the bowing of adjacent notes (played with alternating hands) overlaps slightly,while dotted slurs indicate that bowing is discontinuous (note variation in bowing durations!) although sounds are still sustained using the pedal
pp
87bpm
10:9 6:7
4:3
mp
7:8
ppp
120bpm
5:4
5:4
mp
9:8
p
70bpm
3:2
7:9
10828
1716
1vib.
2vib.
3vib.
pp
3:2
mp
3:2
3:2
3:2
mp
ppp
16:11
p
5:6 3:2
p
mf
9:10 16:11
4
171629
88
1vib.
2vib.
3vib.
p
3:2 11:12
f
pp
7:95:4 13:11
p
f
13:16
8830
1116
48
1vib.
2vib.
3vib.
f
pp
p
6:5
10:9
ppp f
mf
3:27:8
5:4
89bpm
mf
pp
4:3
8:9
4832
68
2116
1vib.
2vib.
3vib.
mf
take waterphone (retain 1x )
set vibraphone to 93bpm
3:2
ppp
p
4:3
9:8
pp
mp
3:2
6:5 11:8
5
2116
34 58
78
wp.
wp.pos.
2vib.
3vib.
pp
(see preface for guide to waterphone notation)
p
f p
pp
9:119:8
ppp
p
9:10
pp
68bpm
5:4
ppp
mf
mp
7:6
4:5
13:15
78
36 58
1516
wp.
wp.pos.
2vib.
3vib.
3:2
mf
5:48:7 9:8 7:5
(ppp)
mf
pp
4:3
ppp p
138bpm
mp
10:11 6:5
1516
38 28
1516
wp.
wp.pos.
2vib.
3vib.
ppp p
mf
17:15
f
p
12:11
10:7
mp
7:8
pp
f
5:4
6
1516
40 1316
68
wp.
wp.pos.
2vib.
3vib.
pp
f
3:2
f
p mf
10:11
19:15
9:7
pp
mf
ppp
13:10
f
7:9 6:5
68
42 1716
wp.
wp.pos.
2vib.
3vib.
mf
p
mp ppp
7:6 9:7
p
91bpm
p mf
ppp
3:23:2
p
7:6
6:7
mp
6:5
mf
ppp
157bpm
13:11
44 1316
28
wp.
wp.pos.
2vib.
3vib.
p
11:9
10:7
ppp
p
put down waterphoneand take second bow
mp
13:12
mp
65bpm
ppp
4:5
4:3
mf
7:8
pp p
f
p
3:2 3:2 3:2 3:2 3:2 3:2 3:2
5:4
7
28
e=80
4648
516
1116
58
1vib.
2vib.
3vib.
(93bpm)
all instruments: tenuto/legato sempre
ppp sempre
LH RH etc. sim.
9:8
6:5 15:11
LH
ppp sempre
RH etc. sim.
9:117:8
ppp sempre
LH
RH
etc. sim.
9:8 9:11
5850
38
58
38
1vib.
2vib.
3vib.
(ppp)
3:2 5:6 9:10
(ppp)
6:5
5:6
6:5 13:10
(ppp)
4:5 5:6 4:5
3853
716
48
68
1vib.
2vib.
3vib.
(ppp)
7:6 6:7 5:4
(ppp)
4:3 10:7 7:8
(ppp)
5:6
6:7 3:2 3:2
8
6856
916
1vib.
2vib.
3vib.
(ppp)
5:6
3:2 3:2 3:2
(ppp)
13:12
7:6
(ppp)
11:12
91658
516
1vib.
2vib.
3vib.
(ppp)
7:9
8:9 10:9
(ppp)
7:94:3 4:3 4:3 13:9
(ppp)
10:9 10:9 11:9
51661
1116
18
58
38
1vib.
2vib.
3vib.
(ppp)
LH: put down bow, take
motoroff
notes with downward stems are bowed (RH), notes with upward stems struck (different noteheads indicate which stick is used - see preface)
(ppp)
13:11
7:6
4:3
9:10
(ppp)
motoroff
(ppp)
10:11
9:10
(ppp)
motoroff
(ppp)
4:5
9:11
4:5
9
3865
28
716
48
1vib.
2vib.
3vib.
(ppp)
6:5
5:4
9:77:97:6
4:3
(ppp)
7:6
5:6 5:4 9:7
(ppp)
3:2 3:2 8:7
4869
68
516
1vib.
2vib.
3vib.
(ppp)
3:26:5
7:9
8:9
3:2
3:2
18:12
(ppp)
3:2
3:2
3:2 3:2 3:2
(ppp)
7:8
5:65:4
51672
1116
58
1vib.
2vib.
3vib.
(ppp)
4:5
10:7
9:1112:11
(ppp)
12:1110:11
(ppp)
9:11
7:5 16:11
10
5875
38
716
1vib.
2vib.
3vib.
(ppp)
6:5
motor on
(ppp!)
(ppp)
6:4
6:5
3:2
4:3
4:3
(ppp)
6:5
motor on
LH put down bow, take
notes with downward stems are bowed (RH), notes with upward stems struck (different noteheads indicate which stick is used - see preface)
(ppp)
5:6
(ppp)
motor on
(ppp)
71678
48
68
516
1vib.
2vib.
3vib.
(ppp)
10:7
7:5
3:2 5:6
3:2
(ppp)
6:7
9:74:5
3:23:2 4:3 4:3
5:6
(ppp)
8:7
7:65:4 7:6
51681
1116
28
48
1vib.
2vib.
3vib.
(ppp)
9:1013:11
(ppp)
16:11
7:6
4:56:7
(ppp)
6:5 9:11 5:4
11
4884
916
68
916
1vib.
2vib.
3vib.
(ppp)
4:5
(ppp)
(ppp)
motor off
6:7
11:8 4:518:12
(ppp)
4:5
7:8
motor off
(ppp)
4:3
(ppp)
14:11
8:7
13:12
(ppp)
3:2 motor off
LH put down bow, take
(ppp)
notes with downward stems are bowed (RH), notes with upward stems struck (different noteheads indicate which stick is used - see preface)
18:12
9:10
91687
516
916
1116
1vib.
2vib.
3vib.
(ppp)
3:2
8:9
(ppp)
8:9
3:2
11:9
3:26:5
7:5
(ppp)
8:9
3:2
5:4
4:3
111690
916
516
1vib.
2vib.
3vib.
motor on
RH put down bow, take
(ppp)
7:87:511:9
8:9 6:5
motor on
(ppp)
(ppp)
4:5 11:9
9:87:5
(ppp)
10:9
motor on
(ppp)
6:5
11:9
6:5
12
931116
916
1116
1vib.
2vib.
3vib.
(ppp)
motor off
(ppp)
(ppp)
9:10
3:2 4:3
7:5
4:5
5:47:9
(ppp)
motor off
RH put down bow, take
(ppp)
7:96:5
4:5 4:3
(ppp)
motor off
(ppp)
(ppp)
4:5
5:49:8
111696
28
78
1vib.
2vib.
3vib.
(ppp)
3:2
motor on
14:11
5:4
10:9
(ppp)
motor on
3:2
7:6
(ppp)
(ppp)
4:34:5
motor on
RH put down bow, take
(ppp)
3:2
7898
1vib.
2vib.
3vib.
93 -> 193bpm
13:16
65 -> 100bpm
(ppp)
13:16
157 -> 60bpm
(ppp)
(ppp)
13:16
13
91699
e=90
1vib.
2vib.
3vib.
RH
mf
193bpm
◯
(dead stick)
f
◯p
9:8
mp mf
fff
◯
mp
◯
6:5
LH
mf
100bpm
◯(dead stick)
mp
3:2
◯
fff
mp
mf
ppp◯
3:2
4:5
RH
RH
LH
LHmf
60bpm ◯ff
(dead
stick)
5:4
◯mf
5:6
mp
mf pp
◯
10:7
101
1vib.
2vib.
3vib.
logdrum
mp
◯
f mf
f
mp
fff
ppp
4:37:6
mp
mf
◯
ff
5:6
ppp
◯
mp
mf
◯
mf
4:3
3:2
mp
◯pp
7:8
mff
mp
pp◯
6:5
mf
p
3:2
103
1vib.
guero
2vib.
3vib.
mp f
mf
5:4 f
8:7
fmp p
◯
4:5
ppp
7:5
ff
mp
4:5
f mf
◯p
5:6
mf
4:3
mp mf
mp f
mf
pp
mp
7:6
fff
◯
6:5
mf
14
105
1vib.
cym.
2vib.
seedpods
3vib.
sl.bells
p
f
6:5
mp
f mf
mp f p
mp
p
mf
◯fmp
p
3:2
ff
pp mp
f
ppp
7:53:2
4:5
ff
5:4
mp
4:3
mf mp
fff ◯
f9:8
mf
p
mf
p
7:8
ff
6:5
107
1vib.
2vib.
tenordrum
3vib.
f
3:2 mf
5:6
f
p mpp
mf
f
mf
f
p
6:5
mp p
mf
f
fff 5:4
mf
f p mp
ff
pp
11:8
mp
mp
4:5
109
1vib.
2vib.
seedpods
3vib.
ff
pp
3:2
pmf
mp p
fff
5:4
mp
ff
4:3
mf
mf ff
7:6
mf
fff
f
p
f
ff
mp f
p
3:27:8
4:3
pp
7:6
ff
p mf mpp
mf
mp
9:8 mf
15
111
1vib.
guero
2vib.
3vib.
sl.bells
logdrum
mp p
fff
mf
ff pp
5:6
f
ff
f
11:8
4:3
p ff (always scrape for wholeof notated duration!)
ff
4:3
p ffmf fff
◯
mf
p
pp
4:5
mp
f
4:3
3:2
mp
pp
5:4
ff mf ◯mp
f
7:8
mf
f
p
fff
9:8 f
7:6
9:8
mp
p
113
1vib.
cym.
2vib.
tenordrum
3vib.
mp p
pp
f
6:5
pp
mf p f mp
mp
8:7
mf f
mf p
ff
5:4
mf
3:2
mp p ff mf
p
6:7
pp
mp
ff
9:7
f mp ff
16
115
1vib.
2vib.
3vib.
logdrum
mf
8:7
p f
ff mf
pp
ff
f
10:11
p pp
mp
f
p
11:9
pp ff
mp
f◯
mp
ff
◯
mf
p
9:8
ff
4:5
p
3:2
mf p
4:3
pp
mf
pp
mp f ff
f
4:3
pp
5:4
pp
7:8
117
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
mp p 4:3
ffpp
mp mf
p
mf
ff
3:2
mp
f
7:5
7:5
6:5
pp
p
p ff pp f
p
ff
8:7
pp
ff
p
f
pp
5:4
mf mp
7:8
p
4:5
f mp mfpp
f
3:2
ff
pp
5:6
mp
6:7
11:10 7:6
f mp
mf p
17
119
1vib.
2vib.
seedpodstenordrum
3vib.
ff mf f
mp
pp
f p
mf
f
7:6
pp
p
ff
9:7
6:7
p
ff
mp
mf
pp mp
fff
mf mp
121
1vib.
cym.
guero
2vib.
3vib.
sl.bells
logdrum
p
4:5
ff mf p
f
ff
mp
12:11
ff
ff
10:7 7:6
mf
f mp
pp
mf
5:4
fff
pp
p
3:2
mf
4:3
p fff
f
p
13:9
f
mp
ff
5:4
mp5:6
mp
18
123
1vib.
cym.
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
mf
4:3
mp
3:2
ff fff pp
mf
ff
7:8
mf
9:7
f
p
mp
p
mp
p
13:11
p
mf
f
ff
mp
4:3
7:6
6:5
mp
p
f mf
mf
mf
10:7
ff
ff
3:2
fff
mf mp
pp
ff
f
4:35:6
f
f p
9:8
125
1vib.
2vib.
3vib.
fff mp f
mf
6:7 p
13:11
mf p
f
f
13:12
p ff
pp
fff
mp
10:11
mf pp
mp f
19
127
1vib.
cym.
guero
2vib.
seedpods
3vib.
sl.bells
logdrum
pp
p
fff
4:3
ff
mf
7:8
mp
mp
9:7
p
p
mp
9:8
ff ppp
mf
6:7
fff
3:2
ppp
f
mf
6:5
p
f
mf
mf
9:6
p mf
f
mp
6:5
f
pp
mp
3:2 3:2
f mp
f
129
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
mp
3:2
mf
f
pp
mp fff
mf
mp
mf
p
4:5
3:2
11:12
mp f
f
mp
f
6:5
p ppp
f
mf
7:8
mp
4:3
ppp
f
mp
ff
p
4:3 3:2
mf
mp mf
f
ff mf
f
mf
12:11
mp
mf
f
mf
f
fff
mp
f
10:7
3:2
7:5
mp
mf
20
131
1vib.
cym.
2vib.
seedpodstenordrum
3vib.
fff
mf ppp
pp
mf p
4:3
ff
mf
f
ff
ppp mp
4:3 8:9
mp
mf
p
pp
mp
fff f
1337
161
vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
pp mp
mp
11:8
mf
mp
mf
13:10
fff
pp
mf
mf
mf
p
ppp
f
p f mf
ff
5:6 4:3 6:5
mf
mf mf
mf
f
fff mp
mp
7:9
ppp
mf
mf
10:77:65:4
mf mf
mp
mf mf
21
716135
e=70
816
916
1016
cym.
guero
seedpods
tenordrum
sl.bells
logdrum
1
switch vibraphone motor off and set to 55bpm
(edge)]
6:7
each bar between 136 and 142 should be perceived as having a single dynamic envelope, beginning and ending ppp and rising to a higher peak each time
(centre) 9:8
(nat.) 8:9
ppp
11:14
ppp
pp
(single stroke, "rit.")
ppp
(single strokes)
p
ppp
7:8 10:9
2
switch vibraphone motor off and set to 228bpm
(grasp) 9:7
(strike)
pp (strike) (take flexatone in RH)
4:3
(dead stick)ppp◯
10:7
ppp
◯
pp
11:8
pp
p pp
13:9
3
switch vibraphone motor off and set to 107bpm
(strike) sim.
ppp
5:4
ppp p 11:9
(dead stick)
ppp◯
8:7
pp
pp
pp
3:2
1016138
1116
1216
cym.
guero
2marktree
seedpodstenordrum
sl.bells
logdrum
1 (nat.) edge centre
15:11
pp mp p
11:10
pp
mf
p12:11
(glissando over entire range)
13:10
(strike) 10:11
ppp
mp ppp
p mf
ppp14:119:10
3 RH: take 2x
(strike) (shake)
(strike)
13:116:5
p mp pp
7:5 ppp mp
LH: take 2x
mp
pp
7:5
22
1216140 13
161416
cym.
guero
2marktree
seedpods
tenordrum
sl.bells
logdrum
1
(nat.)
]
]
]
]
7:6
RH: take 2x (single-handed tremoli with one stick above and one below the cymbal)
16:13
ppp
4:3
f
4:3
p
LH: take 2x
4:3
p
(rapid scratching)
ff
ppp
pp f pp
(rapid and brief shakes)
17:13
11:12
pp ff LH: take 2x
pp
15:13
3
(strike)
5:4
(rapid shakes)
]
]
]
]
12:13
5:4
pp f ppp ppp
ff
p
14:1313:12
1416142
916
cym.
guero
seedpods
tenordrum
sl.bells
logdrum
1 (centre)
(nat.)
(edge)
13:14
ppp
fff
p
17:14
2 RH: take 2x (strike)
8:7
8:7
ppp
(rimshots)fff
ppp
9:79:7
3
(strike)
ppp
fff pp
15:14
23
916143
e=90
1vib.
2vib.
3vib.
motor off (55bpm)
ppp fff
motor on
ppp
motor off (228bpm)
fff
ppp
motor off (107bpm)
fff
14558
1vib.
2vib.
3vib.
pp
12:9
p mf
mp
f
pp
10:9
p
mf mp
f
motor on
pp
8:9
p
mf
mp f
58147
916
58
1vib.
2vib.
3vib.
ff non dim.
4:5
6:5 7:5
motor off
ff non dim.
6:5 7:5
4:5
ff non dim.
(no Ped.)
6:5
7:5
4:5
motor on
24
58149
48
916
1vib.
2vib.
3vib.
pp
fff
pp
fff
pp
fff
motor off
916151
48
58
1vib.
2vib.
3vib.
pp
6:7
mf
mf
pp
6:5
fff
ff
p
mp
6:5
f
6:7
fff
mf
f
p
5:6
mp
ppp
motor off
9:8
10:7
ff
f
6:5
mp
6:7
p
ff
58153
48
1vib.
2vib.
3vib.
p non cresc. p/mp
<> <><> <> <><> <> <><><> <> <><> <> <>
motor on
<>
11:10
p non cresc. p/mp
<> <><> <> <><> <> <><> <> <><> <> <>
motor on
<>
9:10
p non cresc. p/mp
<> <> <> <> <><> <> <><> <> <><> <> <>
motor on
<>
13:10
25
48155
58
1vib.
2vib.
3vib.
pp
ff non dim.
motor off
4:3
6:513:10
pp
ff non dim.
4:3
6:511:10
pp
ff non dim.
4:3 6:5
9:10
58157
1116
1vib.
2vib.
3vib.
mp
mf
mp
mf
mp
p f
6:5 6:5 6:5 6:5
7:5
mp
mf
mp
mf
p f
motor off
7:6
mf
mp
mf
mp
mf
mp
p f
7:5 7:5 7:5 7:5
7:8
1116159
716
68
1vib.
2vib.
3vib.
mf
p
motor on
14:11
mf
p
12:11
mf
p
3:2
f
motor off
16:11
26
68161
716
38
1vib.
2vib.
3vib.
p ff non dim.
p ff non dim.
p ff non dim.
motor on
38163
916
1vib.
2vib.
3vib.
f
4:5
mp
mf
p
4:3
f
3:2
6:5
mp
mf
p
motor on
f
5:4
mp
mf
p
165316
916
1vib.
2vib.
3vib.
ff
mp
6:4
mf
3:2
p
f
ff
motor off
9:6
ff
mp
6:4
mf
3:2
p
f
ff
motor off
9:6
ff
mp
6:4
mf
3:2
p
f
ff
9:6
27
916167
68
48
1vib.
2vib.
3vib.
p
7:6
8:6
f
9:6
ppp
(mf)
p
8:6
9:6
7:6
f
(senza Ped.!)
ppp
7:96:5
9:7
motor off
p
9:6
7:6
9:6
f
ppp
6:5
9:7 7:9
48169
916
1vib.
2vib.
3vib.
mf sempre
p
motor on
7:5 6:7
4:3
mf sempre
p
6:7 4:3 7:5
mf sempre
p
4:3 7:5 6:7
1715
16316
2316
1vib.
2vib.
3vib.
f
mp
mf
p
f
4:3
p
mf
mp
p
mf
motor off
mp
(f)
4:34:34:3
f
mp
mf
p
f
4:3
p
mf
mp
p
mf
motor on
mp
(f)
4:34:34:3
f
mp
mf
p
f
4:3
p
mf
mp
p
mf
motor on
mp
(f)
4:34:3 4:3
28
2316174
48
2116
1vib.
2vib.
3vib.
f
mf
f
5:4 3:2 3:2
f
mf
f
5:4 3:2 3:2
f
motor off
mf
f
3:2 5:4 3:2
2116176
316
28
1316
1vib.
2vib.
3vib.
mp non dim.
mf
7:6
f
motor on
4:3
mp non dim.
motor off
mf
9:6
f
motor on
4:3
mp non dim.
mf
8:6
f
motor on
4:3
1316179
316
916
1vib.
2vib.
3vib.
mp
6:5
6:7
6:4
mf non dim.
motor off
mp
6:7
6:4
6:5
mf non dim.
mp
6:7
6:4
6:5
mf non dim.
29
916181
116
48
88
1vib.
2vib.
3vib.
mf mp
mf
(ppp)
8:9
mf mp
motor off
mf
(ppp)
5:4
mf mp
mf
(ppp)
6:410:9
88184
28
516
1vib.
2vib.
3vib.
ppp
mp
motor on
21:16
mf sempre
10:8
ppp
mp
18:16
mf sempre
11:8
ppp
motor off
mp
15:16
mf sempre
9:8
516186
1716
168
38
1vib.
2vib.
3vib.
(mf)
ppp
remain with 4x
motor on 113bpm
14:10
(mf)
ppp
take 4x
motor on 50bpm
13:10
(mf)
ppp
take 4x
motor on 264bpm
15:10
30
38189
e=80
716
916
68
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
ppp
Throughout this section, the notated dynamics apply only to the accented (normal-sized) notes. All unaccented small notes, whether grace-notes or not, are to be played , as a kind of colouration around the accented notes.Use pedal only where marked!
pp
pp
ppp
3:2
ppp
ppp
9:7
ppp
p(+ ppp)
mp
5:6
10:9
9:7
4x
(guero: single rapid scrape)
fff
ff
f
ppp
pp
(+ ppp)
p
p
16:15
10:9
7:513:12
4x
ppp
ppp
fff
ff
f
ppp
7:8
5:6
pp
ppp
8:7
p
mp
4x
(sleighbells: strike with mallet) ppp
(+ ppp)
fff
ff
f
68192
1516
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
mp
mf
5:4 5:4 5:4
(+ ppp)
mf
mp
(+ ppp)
mf
(ppp)
5:46:5
5:4
3:2
mf
mp
mf
7:6
7:6
(+ ppp)
mf
31
1516193
1716
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
ppp
4:5
p
4:5
4:5
(+ ppp)
mp
ppp
pp
(ppp) p
(ppp)
4:311:10
4:3
mp
ppp
(+ ppp)
p
4:34:3 4:3
4:3 4:3
mp
1716194
98
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
pp
mp
16:17
(+ ppp)
p
pp
6:5
mp
14:17
(+ ppp)
p
pp
(ppp)
9:11
14:1714:11
(ppp)
p
32
98195
38
716
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
p
mf
mp
(+ ppp)
f
4:34:3
pp
fff
p
(+ ppp)
mf
mp
f
7:6
(+ ppp)
pp
fff
p
mf
(ppp)
mp
f(ppp)
7:63:2
16:1117:18
8:9
(+ ppp)
pp
fff
716197
916
68
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
ppp
(+ ppp)
mppp
(ppp)
(ppp)
6:7
4:54:5
ff
f
ppp
9:76:5
pp
7:9
mf
7:9
(+ ppp)
ff
f
ppp
(+ ppp)
mp
9:7
pp
mf
(ppp)
7:9
(+ ppp)
ff
f
33
68199
1516
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
p
f
3:2
3:27:6
3:2
3:2
7:6
(+ ppp)
(ppp)
mf
p
(+ ppp)
f
5:6 5:6
mf
p
6:5
f
11:12
(+ ppp)
mf
1516200
1716
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
mp
ff
(ppp)
4:3 4:3
4:34:3
mp
mp
(+ ppp)
6:5
ff
6:5
6:5
mp
mp
ff
mp
34
1716201
98
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
ppp
mf
(ppp)
14:17
(+ ppp)
p
ppp
4:3
(ppp)
14:17
8:94:3
4:3
p
ppp
(+ ppp)
mf
21:17
p
98202
38
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
pp(+ ppp)
f
fff
pp
(+ ppp)
f
(ppp)
13:1017:13
fff
pp
f
5:6 5:6 5:6
fff
35
38203
716
916
68
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
p
(ppp)
7:6
mp fff pp
(ppp)
7:9
10:99:7
7:9
ff
f
mf
p ff
mp
fff
pp
mf
7:6
6:7
(+ ppp)
(+ ppp)
(+ ppp)
ff
f
mf
p
(ppp) p
mp
8:7
9:8
pp
mf
3:2
7:9
(ppp)
ff
f
mf
68206
1516
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
p
mp
f
5:6
5:66:7
(ppp)
(ppp)
mp
p (ppp)
13:126:5
mp
p
(+ ppp)
7:6
f
7:64:3
mp
36
1516207
1716
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
mp
ff
14:15
(+ ppp)
fff
mp(+ ppp)
7:6
ff
10:1119:15
fff
mp
ff
22:155:6 5:4
(+ ppp)
fff
1716208
98
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
gong
sl.bells
logdrum
mf(+ ppp)
fff
19:17
ff
mf
(+ ppp)
fff
13:11
13:17
ff
14:17
(gong: the three different "pitches" indicate three distinct sounds produced at different striking points with the mallets)
fff
mf
(+ ppp)
ff
37
98209
38
716
1vib.
cym.
guero
2vib.
seedpodstenordrum
gong
sl.bells
logdrum
p
mf
mp
f
f
mf
p
mf
mp
f
8:9 8:9
(ppp)
f
mf
p
mf mp
f
7:6
(+ ppp)
f
mf
716211
916
68
1vib.
cym.
guero
2vib.
seedpodstenordrum
gong
sl.bells
logdrum
mf (ppp)
8:7
f
(+ ppp)
fff
fff
ff
mf(+ ppp)
ff f
(+ ppp)
fff
8:7 4:3 4:3 4:3
fff
ff
mf ff
f
9:7 7:9 7:9
(ppp)
(ppp)
fff
ff
38
68213
1516
1vib.
cym.
guero
2vib.
seedpodstenordrum
gong
sl.bells
logdrum
mp
(+ ppp)
mf
7:6 7:6
f
mp (ppp)
(ppp)
f
mp
(+ ppp)
mf
5:6
f
1516214
1716
1vib.
cym.
guero
2vib.
seedpodstenordrum
gong
sl.bells
logdrum
mf
4:5
4:3
f
4:3 4:34:3
4:3
(+ ppp)
fff
mf
(+ ppp)
f
14:15
fff
mf
f
4:3 4:3 4:3 4:3
14:15
(+ ppp)
fff
39
1716215
98
1vib.
cym.
guero
2vib.
seedpodstenordrum
gong
sl.bells
logdrum
f
ff
15:17
(+ ppp)
ff
f
(+ ppp)
ff
4:5
19:17
ff
f
ff
19:17
(+ ppp)
ff
98216
78
1vib.
cym.
guero
2vib.
seedpodstenordrum
3vib.
sl.bells
logdrum
fff
(113bpm)
300bpm
take 2 x
fff
fff
(50bpm)
120 bpm
take 2 x
fff
fff
(264bpm)
45 bpm
take 2 x
fff
40
78
e=70
1vib.
2vib.
3vib.
2x
f
mp
mp
pp
pp
mp
pp
9:7
pp
f
f
f
9:7
2x
mp
pp
f
f
mp
mp
9:7
pp
f
f
mp
9:7
2xmp
pp
pp
f
f
9:7
mp
f
f
mp
mp
mp
9:7
219
1vib.
2vib.
3vib.
pp
mp
f
mp
f
f
9:7
pp
f
mp
pp
f
9:7
pp
mp
f
f
pp
f
mp
9:7
pp
pp
f
mp
9:7
pp
mp
mp
f
f
9:7
pp
pp
f
mp
pp
9:7
221
1vib.
2vib.
3vib.
pp
f
f
mp
mp
9:7
pp
mp
mp
pp
mp
9:7
f
pp
f
f
mp
mp
f
pp
pp
mp
f
9:79:7
mp
pp
f
mp
f
mp
pp
9:7
f
pp
f
f
9:7
41
223
1vib.
2vib.
3vib.
mp
mp
pp
f
mp
pp
9:7
f
pp
f
pp
9:7
pp
mp
pp
mp
f
f
mp
9:7
pp
f
f
mp
9:7
f
mp
pp
pp
9:7
pp
mp
f
mp
f
mp
9:7
225
1vib.
2vib.
3vib.
pp
f
pp
pp
mp
mp
9:7
pp
f
pp
pp
mp
9:7
pp
pp
mp
pp
mp
Beograd4 July 2014
9:7
42