Anthony Vine (2013)

For Agnes Martin

Flute / Piccolo

Soprano / Alto Saxophone

Percussion I

Percussion II

Piano

Violin

Cello

Anthony Vine

For Agnes Martin

Score in C
(standard octave transpositions apply)

Duration: ca. 9 10 minutes
Performance Notes

Performance Notes:

-3/4 -1/4 +1/4 +3/4



Quarter Tones: The quarter tones are not to be interpreted precisely. They
should merely resemble an out-of-tune effect.

- Slap Tongue
open slap tongue: the embouchure is opened abruptly and
completely at the moment of attack, producing a strong,
percussive, truncated, forceful sound.

Grace Notes: All grace notes should be played as fast as possible. Every grace
note figure should occur before the beat.

Multiphonics: M
BOK BOX! was written for
Casey Grev and Michael Torres.

Seattle, Washington 2011
Notation de quarts de ton/Quartertone Notation
Indications en botes
Choisir parmi le rpertoire de gestes dans la bote pour crer une texture qui se transforme lgrement au cours de la
phrase. Combiner volont et indpendamment; changer de geste toutes les 1-4 dures rythmiques. Par exemple:
poco s.p. molto s.t. signife la gamme de positions darchet entre lgrement vers le pont et trs loin sur la
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
! signife les variations dans la frquence de changements darchet. Donc pour une dure
rythmique, on peut choisir de jouer comme dhabitude, mais dans la prochaine dure, peut-tre quon choisit
de changer de direction darchet une ou deux fois plus que ncessaire.
viter les gestes extrmes qui nuisent la phrase musicale. Par exemple, dans une texture principalement sul tasto
et tranquille, ne choisissez pas un sul ponticello extrmement perant et des changements darchet trs rapides qui
atirent latention linterprte.
Systme dintonation
Le systme dintonation de quarts de tons est un peu comme un systme pseudo-Renaissance invent. Les quarts
de tons doivent donc tre bien accords dans le contexte de chaque sonorit verticale, comme on le ferait pour
une intonation juste. Lintention cest de crer une texture de chorale claire et lisse, pas de salir une progression
autrement tonale. Le public ne devrait pas tellement remarquer les quarts de tons; cest plutt question de faire
lexprience dune harmonie familire mais un peu trange, comme si elle consistait dune gamme dune autre
poque ou culture.
Instructions in Boxes
Choose between the various techniques in the boxes in order to create a texture that changes slightly from one
rhythmic duration to the next. Combine at will and independently, changing techniques every 1-4 durations. For
example:
poco s.p. molto s.t. indicates the entire range of bow positions between slightly toward the bridge and very
far up the fngerboard. Terefore, poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, and every
position in between.
! indicates making bow changes more frequently than normal. Terefore, for one rhythmic
duration, the player might choose to play with normal bowing, while in the next duration, the player might
instead decide to change bow direction one or two times more than necessary.
Avoid extreme gestures that detract from the musical phrase. For instance, in a texture that is predominantly sul tasto
and still, do not choose a piercing sul ponticello and very fast bow changes that atract atention to the player.
Intonation System
Te quartertone tuning system used in the piece is sort of like an invented, pseudo-Renaissance system. Te
quartertones must therefore be carefully tuned within the context of each vertical sonority, like what would be done
for just intonation. Te intention is to create a chorale-like texture that is transparent and smooth, as opposed to
taking a tonal progression and adding some dirt. Te audience shouldnt even really notice the quartertones; its
more about hearing a harmony that is familiar but somehow a litle strange, as it if were based on a scale from some
other period or culture.
Notation de quarts de ton/Quartertone Notation
Indications en botes
Choisir parmi le rpertoire de gestes dans la bote pour crer une texture qui se transforme lgrement au cours de la
phrase. Combiner volont et indpendamment; changer de geste toutes les 1-4 dures rythmiques. Par exemple:
poco s.p. molto s.t. signife la gamme de positions darchet entre lgrement vers le pont et trs loin sur la
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
! signife les variations dans la frquence de changements darchet. Donc pour une dure
rythmique, on peut choisir de jouer comme dhabitude, mais dans la prochaine dure, peut-tre quon choisit
de changer de direction darchet une ou deux fois plus que ncessaire.
viter les gestes extrmes qui nuisent la phrase musicale. Par exemple, dans une texture principalement sul tasto
et tranquille, ne choisissez pas un sul ponticello extrmement perant et des changements darchet trs rapides qui
atirent latention linterprte.
Systme dintonation
Le systme dintonation de quarts de tons est un peu comme un systme pseudo-Renaissance invent. Les quarts
de tons doivent donc tre bien accords dans le contexte de chaque sonorit verticale, comme on le ferait pour
une intonation juste. Lintention cest de crer une texture de chorale claire et lisse, pas de salir une progression
autrement tonale. Le public ne devrait pas tellement remarquer les quarts de tons; cest plutt question de faire
lexprience dune harmonie familire mais un peu trange, comme si elle consistait dune gamme dune autre
poque ou culture.
Instructions in Boxes
Choose between the various techniques in the boxes in order to create a texture that changes slightly from one
rhythmic duration to the next. Combine at will and independently, changing techniques every 1-4 durations. For
example:
poco s.p. molto s.t. indicates the entire range of bow positions between slightly toward the bridge and very
far up the fngerboard. Terefore, poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, and every
position in between.
! indicates making bow changes more frequently than normal. Terefore, for one rhythmic
duration, the player might choose to play with normal bowing, while in the next duration, the player might
instead decide to change bow direction one or two times more than necessary.
Avoid extreme gestures that detract from the musical phrase. For instance, in a texture that is predominantly sul tasto
and still, do not choose a piercing sul ponticello and very fast bow changes that atract atention to the player.
Intonation System
Te quartertone tuning system used in the piece is sort of like an invented, pseudo-Renaissance system. Te
quartertones must therefore be carefully tuned within the context of each vertical sonority, like what would be done
for just intonation. Te intention is to create a chorale-like texture that is transparent and smooth, as opposed to
taking a tonal progression and adding some dirt. Te audience shouldnt even really notice the quartertones; its
more about hearing a harmony that is familiar but somehow a litle strange, as it if were based on a scale from some
other period or culture.
Notation de quarts de ton/Quartertone Notation
Indications en botes
Choisir parmi le rpertoire de gestes dans la bote pour crer une texture qui se transforme lgrement au cours de la
phrase. Combiner volont et indpendamment; changer de geste toutes les 1-4 dures rythmiques. Par exemple:
poco s.p. molto s.t. signife la gamme de positions darchet entre lgrement vers le pont et trs loin sur la
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
! signife les variations dans la frquence de changements darchet. Donc pour une dure
rythmique, on peut choisir de jouer comme dhabitude, mais dans la prochaine dure, peut-tre quon choisit
de changer de direction darchet une ou deux fois plus que ncessaire.
viter les gestes extrmes qui nuisent la phrase musicale. Par exemple, dans une texture principalement sul tasto
et tranquille, ne choisissez pas un sul ponticello extrmement perant et des changements darchet trs rapides qui
atirent latention linterprte.
Systme dintonation
Le systme dintonation de quarts de tons est un peu comme un systme pseudo-Renaissance invent. Les quarts
de tons doivent donc tre bien accords dans le contexte de chaque sonorit verticale, comme on le ferait pour
une intonation juste. Lintention cest de crer une texture de chorale claire et lisse, pas de salir une progression
autrement tonale. Le public ne devrait pas tellement remarquer les quarts de tons; cest plutt question de faire
lexprience dune harmonie familire mais un peu trange, comme si elle consistait dune gamme dune autre
poque ou culture.
Instructions in Boxes
Choose between the various techniques in the boxes in order to create a texture that changes slightly from one
rhythmic duration to the next. Combine at will and independently, changing techniques every 1-4 durations. For
example:
poco s.p. molto s.t. indicates the entire range of bow positions between slightly toward the bridge and very
far up the fngerboard. Terefore, poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, and every
position in between.
! indicates making bow changes more frequently than normal. Terefore, for one rhythmic
duration, the player might choose to play with normal bowing, while in the next duration, the player might
instead decide to change bow direction one or two times more than necessary.
Avoid extreme gestures that detract from the musical phrase. For instance, in a texture that is predominantly sul tasto
and still, do not choose a piercing sul ponticello and very fast bow changes that atract atention to the player.
Intonation System
Te quartertone tuning system used in the piece is sort of like an invented, pseudo-Renaissance system. Te
quartertones must therefore be carefully tuned within the context of each vertical sonority, like what would be done
for just intonation. Te intention is to create a chorale-like texture that is transparent and smooth, as opposed to
taking a tonal progression and adding some dirt. Te audience shouldnt even really notice the quartertones; its
more about hearing a harmony that is familiar but somehow a litle strange, as it if were based on a scale from some
other period or culture.
Notation de quarts de ton/Quartertone Notation
Indications en botes
Choisir parmi le rpertoire de gestes dans la bote pour crer une texture qui se transforme lgrement au cours de la
phrase. Combiner volont et indpendamment; changer de geste toutes les 1-4 dures rythmiques. Par exemple:
poco s.p. molto s.t. signife la gamme de positions darchet entre lgrement vers le pont et trs loin sur la
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
! signife les variations dans la frquence de changements darchet. Donc pour une dure
rythmique, on peut choisir de jouer comme dhabitude, mais dans la prochaine dure, peut-tre quon choisit
de changer de direction darchet une ou deux fois plus que ncessaire.
viter les gestes extrmes qui nuisent la phrase musicale. Par exemple, dans une texture principalement sul tasto
et tranquille, ne choisissez pas un sul ponticello extrmement perant et des changements darchet trs rapides qui
atirent latention linterprte.
Systme dintonation
Le systme dintonation de quarts de tons est un peu comme un systme pseudo-Renaissance invent. Les quarts
de tons doivent donc tre bien accords dans le contexte de chaque sonorit verticale, comme on le ferait pour
une intonation juste. Lintention cest de crer une texture de chorale claire et lisse, pas de salir une progression
autrement tonale. Le public ne devrait pas tellement remarquer les quarts de tons; cest plutt question de faire
lexprience dune harmonie familire mais un peu trange, comme si elle consistait dune gamme dune autre
poque ou culture.
Instructions in Boxes
Choose between the various techniques in the boxes in order to create a texture that changes slightly from one
rhythmic duration to the next. Combine at will and independently, changing techniques every 1-4 durations. For
example:
poco s.p. molto s.t. indicates the entire range of bow positions between slightly toward the bridge and very
far up the fngerboard. Terefore, poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, and every
position in between.
! indicates making bow changes more frequently than normal. Terefore, for one rhythmic
duration, the player might choose to play with normal bowing, while in the next duration, the player might
instead decide to change bow direction one or two times more than necessary.
Avoid extreme gestures that detract from the musical phrase. For instance, in a texture that is predominantly sul tasto
and still, do not choose a piercing sul ponticello and very fast bow changes that atract atention to the player.
Intonation System
Te quartertone tuning system used in the piece is sort of like an invented, pseudo-Renaissance system. Te
quartertones must therefore be carefully tuned within the context of each vertical sonority, like what would be done
for just intonation. Te intention is to create a chorale-like texture that is transparent and smooth, as opposed to
taking a tonal progression and adding some dirt. Te audience shouldnt even really notice the quartertones; its
more about hearing a harmony that is familiar but somehow a litle strange, as it if were based on a scale from some
other period or culture.
Notation de quarts de ton/Quartertone Notation
Indications en botes
Choisir parmi le rpertoire de gestes dans la bote pour crer une texture qui se transforme lgrement au cours de la
phrase. Combiner volont et indpendamment; changer de geste toutes les 1-4 dures rythmiques. Par exemple:
poco s.p. molto s.t. signife la gamme de positions darchet entre lgrement vers le pont et trs loin sur la
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
! signife les variations dans la frquence de changements darchet. Donc pour une dure
rythmique, on peut choisir de jouer comme dhabitude, mais dans la prochaine dure, peut-tre quon choisit
de changer de direction darchet une ou deux fois plus que ncessaire.
viter les gestes extrmes qui nuisent la phrase musicale. Par exemple, dans une texture principalement sul tasto
et tranquille, ne choisissez pas un sul ponticello extrmement perant et des changements darchet trs rapides qui
atirent latention linterprte.
Systme dintonation
Le systme dintonation de quarts de tons est un peu comme un systme pseudo-Renaissance invent. Les quarts
de tons doivent donc tre bien accords dans le contexte de chaque sonorit verticale, comme on le ferait pour
une intonation juste. Lintention cest de crer une texture de chorale claire et lisse, pas de salir une progression
autrement tonale. Le public ne devrait pas tellement remarquer les quarts de tons; cest plutt question de faire
lexprience dune harmonie familire mais un peu trange, comme si elle consistait dune gamme dune autre
poque ou culture.
Instructions in Boxes
Choose between the various techniques in the boxes in order to create a texture that changes slightly from one
rhythmic duration to the next. Combine at will and independently, changing techniques every 1-4 durations. For
example:
poco s.p. molto s.t. indicates the entire range of bow positions between slightly toward the bridge and very
far up the fngerboard. Terefore, poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, and every
position in between.
! indicates making bow changes more frequently than normal. Terefore, for one rhythmic
duration, the player might choose to play with normal bowing, while in the next duration, the player might
instead decide to change bow direction one or two times more than necessary.
Avoid extreme gestures that detract from the musical phrase. For instance, in a texture that is predominantly sul tasto
and still, do not choose a piercing sul ponticello and very fast bow changes that atract atention to the player.
Intonation System
Te quartertone tuning system used in the piece is sort of like an invented, pseudo-Renaissance system. Te
quartertones must therefore be carefully tuned within the context of each vertical sonority, like what would be done
for just intonation. Te intention is to create a chorale-like texture that is transparent and smooth, as opposed to
taking a tonal progression and adding some dirt. Te audience shouldnt even really notice the quartertones; its
more about hearing a harmony that is familiar but somehow a litle strange, as it if were based on a scale from some
other period or culture.
Notation de quarts de ton/Quartertone Notation
Indications en botes
Choisir parmi le rpertoire de gestes dans la bote pour crer une texture qui se transforme lgrement au cours de la
phrase. Combiner volont et indpendamment; changer de geste toutes les 1-4 dures rythmiques. Par exemple:
poco s.p. molto s.t. signife la gamme de positions darchet entre lgrement vers le pont et trs loin sur la
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
! signife les variations dans la frquence de changements darchet. Donc pour une dure
rythmique, on peut choisir de jouer comme dhabitude, mais dans la prochaine dure, peut-tre quon choisit
de changer de direction darchet une ou deux fois plus que ncessaire.
viter les gestes extrmes qui nuisent la phrase musicale. Par exemple, dans une texture principalement sul tasto
et tranquille, ne choisissez pas un sul ponticello extrmement perant et des changements darchet trs rapides qui
atirent latention linterprte.
Systme dintonation
Le systme dintonation de quarts de tons est un peu comme un systme pseudo-Renaissance invent. Les quarts
de tons doivent donc tre bien accords dans le contexte de chaque sonorit verticale, comme on le ferait pour
une intonation juste. Lintention cest de crer une texture de chorale claire et lisse, pas de salir une progression
autrement tonale. Le public ne devrait pas tellement remarquer les quarts de tons; cest plutt question de faire
lexprience dune harmonie familire mais un peu trange, comme si elle consistait dune gamme dune autre
poque ou culture.
Instructions in Boxes
Choose between the various techniques in the boxes in order to create a texture that changes slightly from one
rhythmic duration to the next. Combine at will and independently, changing techniques every 1-4 durations. For
example:
poco s.p. molto s.t. indicates the entire range of bow positions between slightly toward the bridge and very
far up the fngerboard. Terefore, poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, and every
position in between.
! indicates making bow changes more frequently than normal. Terefore, for one rhythmic
duration, the player might choose to play with normal bowing, while in the next duration, the player might
instead decide to change bow direction one or two times more than necessary.
Avoid extreme gestures that detract from the musical phrase. For instance, in a texture that is predominantly sul tasto
and still, do not choose a piercing sul ponticello and very fast bow changes that atract atention to the player.
Intonation System
Te quartertone tuning system used in the piece is sort of like an invented, pseudo-Renaissance system. Te
quartertones must therefore be carefully tuned within the context of each vertical sonority, like what would be done
for just intonation. Te intention is to create a chorale-like texture that is transparent and smooth, as opposed to
taking a tonal progression and adding some dirt. Te audience shouldnt even really notice the quartertones; its
more about hearing a harmony that is familiar but somehow a litle strange, as it if were based on a scale from some
other period or culture.
Notation de quarts de ton/Quartertone Notation
Indications en botes
Choisir parmi le rpertoire de gestes dans la bote pour crer une texture qui se transforme lgrement au cours de la
phrase. Combiner volont et indpendamment; changer de geste toutes les 1-4 dures rythmiques. Par exemple:
poco s.p. molto s.t. signife la gamme de positions darchet entre lgrement vers le pont et trs loin sur la
touche. Donc poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, et toutes les positions entre.
! signife les variations dans la frquence de changements darchet. Donc pour une dure
rythmique, on peut choisir de jouer comme dhabitude, mais dans la prochaine dure, peut-tre quon choisit
de changer de direction darchet une ou deux fois plus que ncessaire.
viter les gestes extrmes qui nuisent la phrase musicale. Par exemple, dans une texture principalement sul tasto
et tranquille, ne choisissez pas un sul ponticello extrmement perant et des changements darchet trs rapides qui
atirent latention linterprte.
Systme dintonation
Le systme dintonation de quarts de tons est un peu comme un systme pseudo-Renaissance invent. Les quarts
de tons doivent donc tre bien accords dans le contexte de chaque sonorit verticale, comme on le ferait pour
une intonation juste. Lintention cest de crer une texture de chorale claire et lisse, pas de salir une progression
autrement tonale. Le public ne devrait pas tellement remarquer les quarts de tons; cest plutt question de faire
lexprience dune harmonie familire mais un peu trange, comme si elle consistait dune gamme dune autre
poque ou culture.
Instructions in Boxes
Choose between the various techniques in the boxes in order to create a texture that changes slightly from one
rhythmic duration to the next. Combine at will and independently, changing techniques every 1-4 durations. For
example:
poco s.p. molto s.t. indicates the entire range of bow positions between slightly toward the bridge and very
far up the fngerboard. Terefore, poco sul ponticello, ordinario, poco sul tasto, sul tasto, molto sul tasto, and every
position in between.
! indicates making bow changes more frequently than normal. Terefore, for one rhythmic
duration, the player might choose to play with normal bowing, while in the next duration, the player might
instead decide to change bow direction one or two times more than necessary.
Avoid extreme gestures that detract from the musical phrase. For instance, in a texture that is predominantly sul tasto
and still, do not choose a piercing sul ponticello and very fast bow changes that atract atention to the player.
Intonation System
Te quartertone tuning system used in the piece is sort of like an invented, pseudo-Renaissance system. Te
quartertones must therefore be carefully tuned within the context of each vertical sonority, like what would be done
for just intonation. Te intention is to create a chorale-like texture that is transparent and smooth, as opposed to
taking a tonal progression and adding some dirt. Te audience shouldnt even really notice the quartertones; its
more about hearing a harmony that is familiar but somehow a litle strange, as it if were based on a scale from some
other period or culture.
Program Notes:

The material of BOK BOX! is derived from a series of Messiaen-like transcriptions
of domesticated chickens. I present these transcriptions in their literal forms, as
well as many boks and clucks that are stretched, compressed, reversed, etc.
The form of the work attempts to parallel the life of these animals from organic
existence to eventual agricultural processing.
Quarter Tones:

Niente:

The niente dynamic markings are of extreme importance in this work. There should be as little initial
articulation as possible.

Part of my musical thinking is to have the sound sourceless My pieces fail if one can say: 'Ah, there's a trombone,
there's a horn'. I like the instruments to become anonymous

- Morton Feldman, Morton Feldman talks to Paul Griffiths (1972)



The piece requires two sets of diatonic harmonicas in all 12 keys. Label the key of each harmonica with
masking tape for ease of play.




Harmonicas

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5otano
5axohone
Petcusson l
Petcusson ll
Pano
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Ceo
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q - 54 - 60
sente essbe
# tage, yei setene
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o o
Detess ihe susian eda
wih a heavy objeci.
#
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PLD sente
{uness noiaied oihetwse)
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toduce ois o
ano tesonance
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o
2
4
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4
4
2
4
5
4
4
4
2
4
4
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&
{C)
{A)
L Hatnonca
C Hatnonca
o
{F)
F Hatnonca

ot agnes natin
Anihony Vne {2012)
&
{ctcuat bteaihe)
at
ione

&
whsie

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bow
Ctoiaes

bow
Pan Ld

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B Hatnonca

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bow
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2
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whsie

D Hatnonca
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sente
su iasio
sente
su oni.
sente
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Fuie
5otano
5axohone
Petcusson l
Petcusson ll
Pano
Von
Ceo
!"
o o
!#
o
!"
o o
q - 54 - 60
sente essbe
# tage, yei setene
o
o o
# aty
o
o
!#
o
!#
o
#
###
o
!#
o
"
!"
o o
Detess ihe susian eda
wih a heavy objeci.
#
ed
##
"
o
###
PLD sente
{uness noiaied oihetwse)
%"
!"#
toduce ois o
ano tesonance
!# ##
#
# aty
o
o
!" # !#
o
!#
o
# !#
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o
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!"
o o
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o o
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o
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
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4
2
4
5
4
4
4
2
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4
4
2
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4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
&
{C)
{A)
L Hatnonca
C Hatnonca
o
{F)
F Hatnonca

ot agnes natin
Anihony Vne {2012)
&
{ctcuat bteaihe)
at
ione

&
whsie

&
bow
Ctoiaes

bow
Pan Ld

>

&
B Hatnonca

A
Vbes
bow
Ctoiaes

A
Vbes
>

2
&
|nuied

2
&
whsie

D Hatnonca
{D)
o
>
&
!!
sente
su iasio
sente
su oni.
sente
su iasio
sente
su oni.
su oni.
!!!
&
Lb Hatnonca
C Hatnonca
?
su oni.
!
Ceo

s
s
# ,
,
,
,
,
,

,
,
,
,

s s , ,

s
s

B
,
,
,
,
,
,

,
,
,
,

,
,
,
,
,
,

s s , ,

s s

) )

) ) 6

s
s #
,
,
,
,
,
,

s

s

s s

s

X
,

, s s
J
,
,
,
s s , ,

, s s s , ,

s , , ,

, ,

,
s
# b
,
#

,
#

s b , , ,

,
,

,
,

#
s
#
,

#
,

Key of harmonica




Upward arrow = blow air out




Downward arrow = draw air in




Darkened squares mark holes to be blown through.

Blurring technique:










Move gradually from one mouth position to another. Rhythmic precision is not required, but the general rate of
change should be retained.

F.
Aio 5ax.
Petc. l
Petc. ll
Pno.
Vn.
Vc.
!"
o
87
#
o
"
o
!$
$
$
!"#$
$
#
o
!"
o o
#
!" $ %%%
"
%&'
#
%&'
# !$ "
o
5
4
2
4
4
4
2
4
5
4
2
4
4
4
2
4
5
4
2
4
4
4
2
4
5
4
2
4
4
4
2
4
5
4
2
4
4
4
2
4
5
4
2
4
4
4
2
4
5
4
2
4
4
4
2
4
5
4
2
4
4
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4
2
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2
4
5
4
2
4
4
4
2
4
5
4
2
4
4
4
2
4
5
4
2
4
4
4
2
4
&

Bb Hatnonca
&
Ab Hatnonca

Aio 5ax.
&

{sio)
&

& &

&

&
F Hatnonca

!$
Tan-Tan
&
bow
Vbes

&

{sio)
&
F# Hatnonca

/
Bass Dtun
&
&

?

seniy
detess

&

?

&
A Hatnonca
, # ,

, ,

s
s
s
n
b
b
s
s
s
s
s
s
s
s
s

, #

,
,
,
b

,
,
,

s
s
B
s
s

s
s #

s
s
s
s
s
s
s
s
s
s
s
s
)
,

, #
6


s s s s s s s s s s s s s s s s s s s s s s s s s s s

s b
j
,

,
,
, n
#
,

,

,

s
s n
# #
#
#
#
b
#
#
#
#

s s ,
,
15
Harmonica distribution:

Flute: E, C, F, F-sharp
Sax: E-flat, A-flat, D
Perc. I: B-flat, D-flat, C
Perc II: B, E, A
Cello: E-flat, G, A

Cassette Tape Players

Seven small, portable cassette tape players are required. The tapes will be distributed by the composer. Each
cassette tape player should be at maximum volume to produce as much tape hiss as possible. The tapes will
be recorded at a very low level to compensate for the tape players volume.





Bass Drum

Crotales

Glock.

Portable Tape
Players

C / G / J

D / K

M

Vibes

A / E

B / F

Tam-Tam

Piano

I / N

Portable Tape
Players

Portable Tape
Player

H

Portable Tape
Player
Flute

Sax

Vln.

Vc.

Perc II

Perc I

Ensemble Setup

Pan Lid (small)

Pan Lids (medium
and large)

Fuie
5otano
5axohone
Petcusson l
Petcusson ll
Pano
Von
Ceo
!"
o o
!#
o
!"
o o
q - 54 - 60
sente essbe
# tage, yei setene
o
o o
# aty
o o
!#
o !#
o
#
#
o
!#
o
"
!"
o o
Detess ihe susian eda
wih a heavy objeci.
!#
ed
#
"
o
#
ed sente
{uness noiaied oihetwse)
%"
!"#
toduce ois o
ano tesonance
!# ## !#
# aty
o o
!" # !#
o
!#
o
# !#
!"
o
!"#
!"
o o
!#
o o
!"
o
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
2
4
5
4
4
4
2
4
4
4
&
{C)
{A)
L Hatnonca
C Hatnonca
o
{F)
F Hatnonca

ot agnes natin
Anihony Vne {2012)
&
{ctcuat bteaihe)

&
whsie

&
bow
Ctoiaes

bow
Pan Ld

>
&
B Hatnonca

A
Vbes
bow
Ctoiaes

A
Vbes
>

2
&
|nuied

2
&
whsie

D Hatnonca
{D)
o
>
&
!!
sente
su iasio
sente
su oni.
sente
su iasio
sente
su oni.
su oni.
!!!
&
Lb Hatnonca
C Hatnonca
?
su oni.
!
Ceo

s
s
# ,
,
,
,
,
,

,
,
,
,

s s , ,

s
s

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,
,
,

,
,
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s #
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s

s s

s

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,

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#

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,

,
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s
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,

5o. 5ax.
Ctoi.
Petc. ll
Pno.
Vn.
Vc.
!#
o
" !"#$" %%
o
# "
o !# o
!#
#
o
!#
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o
#
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o o
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%" ke n. 1
!# !"
o
!# !"
o
4
4
2
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2
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2
4
4
4
4
4
2
4
2
4
4
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2
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4
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4
4
4
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4
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4
4
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4
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4
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4
4
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4
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4
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2
4
2
4
4
4
2
4
4
4
4
4
2
4
2
4
4
4
2
4
4
4
4
4
2
4
2
4
4
4
2
4
4
4
&

{C)
{A)
F Hatnonca
,
oo

&
,
o
{C)
Lb Hatnonca
&

V
V
V
!
ced sanes
o sne iones

&

&
bow
Cockense

&

{D)
{C)
{B)
F# Hatnonca
,
o o

&

A
Vbes

&

&
{A)
{D)
D Hatnonca
Pano
|nuied

& &
sub. ##
&
?
{ettaic, tagnenied its)
it'
Lghiy detess ihe sioed noie so ihai boih
ihe iouch-out and ihe oen hatnonc sound.
{ )
~~
!
{ )
~~~~~ ~~ ~~~~ ~~ ~~ ~~~~~~~~~~~~~~~ ~~it
{ ) { )
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
sub. ##
,
,
,
,
,
,
,
,
,
,
<>
,
,
,

,
,
,

,
,
,

s , ,
s
s Bb
b

s
s
s
s

,
,
,
#
#
,
,
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#

,
,
,
,
,
,
s b

,
,

,
,
X
,
,
n
b
,
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,
#
,
#

,
#

,
# b

,
#
#
, ,
# #
,
# #
,
#

#
,
# #

#
,

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,
2

F.
5o. 5ax.
Petc. l
Petc. ll
Pno.
Vn.
Vc.
!#
o o
!"
o
#
o
12
o
!#
o # !" # " #
o
!#
!"
o
"
o
#
o
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!#
o o
!#
o
!#
o o
% #
!#
o
sub. " # !"
o
4
4
2
4
4
4
2
4
4
4
4
4
2
4
4
4
2
4
4
4
4
4
2
4
4
4
2
4
4
4
4
4
2
4
4
4
4
4
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4
4
4
2
4
4
4
4
4
2
4
4
4
4
4
2
4
4
4
4
4
2
4
4
4
2
4
4
4
4
4
2
4
2
4
4
4
&

vety ute ione,
ke a sne ione

Pccoo

>
2
&
Lb Hatnonca
{L)

&

&

!
ced sanes
o sne iones

&

bow
Cockense
Bb Hatnonca

&

A
Vbes
Vbes
2
&

2
&

vety ute ione,
ke a sne ione

sente
su oni.
!"
!!!
>
?
add aet cs
{see etotnance noies)

&
A Hatnonca
{A)
?
, , , s
j
s ,

,

s b , , , s s s s ,

s
s
#

s b s

,
,
,
,
s
s
s
s
,
,
s
s

s b

s
s
n

s n s

, b s
J
s n
,

,
#

,
#

,
O
,
O

s
O
s b ,
s s ,
, #
s
s
s
s
s s , ,
2

F.
5o. 5ax.
Petc. l
Petc. ll
Pno.
Vn.
Vc.
!" " # !"
o
20
"
o o
##
o
o
" ## !"
o
### # o o
"
o o
!#
"
o
!#
o
!" " !# #
!"
o
!#
o
% !#
# " !#
!#
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
2
4
&
>
oo
>
o
o

&

&

&

&
Bb Hatnonca
o o

atge, soi naei

Tan-Tan
vety ghi to
bow
&
!
ced sanes
o sne iones

&
Vbes

Bass Dtun

&
&

&
add aet cs
{see etotnance noies)

otd.
Bow tghi
beow ihe nui. '
?

otd.
Bow tghi
beow ihe nui.
' lncteased tessute shoud
add conexiy and dsiotion
io ihe sound, bui noi tesui n
a ich-ess ctaich.
'
%

s s
s b s s s , , b , ,

,
,
,
,
#

,
,
,
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,
,
,
,
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s b s s s s , , b , ,
)

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j


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s
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, b

)
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s
s s
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, s s ,

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6
6
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6
6
)
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)
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)
4

F.
5o. 5ax.
Petc. l
Petc. ll
Pno.
Vn.
Vc.
" #
o o
" #
o
27
o o
!#
o
"
o
o
###
##
###
!"
o
!"
o
!#
o o
!"
" # !" # "
#
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#
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2
4
4
4
2
4
4
4
2
4
4
4
5
4
4
4
2
4
4
4
2
4
4
4
5
4
4
4
2
4
4
4
2
4
4
4
5
4
4
4
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4
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2
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4
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4
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4
4
4
2
4
4
4
2
4
4
4
2
4
4
4
5
4
4
4
2
4
4
4
2
4
4
4
5
4
4
4
2
4
4
4
&

Fuie
>
>
&

&
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

vety ghi to
bow vety ghi to
&
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&
bow
Vbes
>
>

"
o
> A
2
&


2
&
oco
aui.
?
oco
aui.
s b s ,

s s ,

s s ,
, <> ,
, Bb ,

s s , s s

s
s
s
s n

s
s
s
s

6



6 6

6



s s s

s s s

s
s b
,
,
s
s

, n ,

s
j
s

s b s
,
, b
b s
s b
s b
s
s
j
s
s
s
s
)
)
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)
)
)
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)

F.
5o. 5ax.
Petc. l
Petc. ll
Pno.
Vn.
Vc.
!"
o
o
!"
o
#
" #
24
"
o
!"
o o
!# !#
o o
"
o
%
o
!#
o
!# !# !# "
"
!# #
!"$
%
!"$
!#
o o
" #
&'
" #
o
o
!#
o
# "
o
4
4
2
4
2
4
4
4
4
4
2
4
4
4
4
4
2
4
2
4
4
4
4
4
2
4
2
4
4
4
4
4
2
4
2
4
4
4
4
4
2
4
2
4
4
4
4
4
2
4
2
4
4
4
4
4
2
4
4
4
4
4
2
4
4
4
4
4
2
4
2
4
4
4
4
4
2
4
2
4
4
4
&

&

&
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Tan-Tan Bass Dtun

&
Bb Hatnonca
,
Bb Hatnonca
o o
&
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&
bow
oo oo oo o o
A
2

&
2

s
s
n
b
?

o o
2
o o
s

&

{ )
b
b
>
{ )

~~~~~~~~~
2
?
&
C Hatnonca
,
o
s s ,

s ,
, s s
s B s

,
,
,
,
<>

s
s
s
s
,
,
,
,

,

,

6

s b , ,
, b

,

, b s , s s s n b s s n b s b s s s n b , , n b s s n b
s b
,

s
J
s b , , b
s n s
, s

s
, , b , , , , , ,
s b s s s
#
s s s
)
)
) s n s , , , ,

,

6

F.
5o. 5ax.
Petc. l
Petc. ll
Pno.
Vn.
Vc.
!"#
% "
o
!"#
%
o
# sub. %" # !"
o
40
"
o o %
o
% #
o
!"
o
###
!"
o
#
o
f
!"#
o
%
o
!"
o
#
o
!"
o
!"#
%" "
!#
%"
!"#
o
% !#
o
%" #
"
o
#
o
!" ##
o
"
o
#
o
#
o
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&
F Hatnonca
>
C Hatnonca
o
F Hatnonca
o o
&
Ab Hatnonca
o o
C Hatnonca

& @
{o)

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&

Ctoiaes
bow

bow
Tan-Tan
oco
&
bow
Cock.
& @
{o)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

&
B Hatnonca
{B) bow
2
&

%&'()
{A)
&'(
>

2
?

Pano
&
D Hatnonca

&
>
>
2
o o o
&

{ )
!!
{ ) { )
o
{ )
tenove aet cs
,
,
,
,
, n
s
s
s
s
,
,
,
,

, , ,
,
,
,
,
,
,
,

,
,
b s
s
,
,

, b

,

s s ,

, s
j
) ) 6

s b s
s s

s s
s s
s b

, , ,

s s

s b s

s s
J

s
s s b n s s

s s
s
s
s s
,
, b
b
, n
,

, , , ,
#
s
#
s
#
s
#
s
J
s s
#
, b
b #
,
, b s s ,

#
,
s

#
#
#
#
#
#
#
#
7

F.
5o. 5ax.
Petc. l
Petc. l
Pno.
Vn.
Vc.
!"
o
!"#
*+,
!#
*+,
"
o
46
!"#
*+,
!#
*+,
!#
!"
o
"
o
!"
o o
!"
o
"
!"
o
"
!"
o o
!"
!"
"
o o
!"
o
#
o
#
o
!" o !#
o
##
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
&
F Hatnonca
o
F# Hatnonca
A Hatnonca
&

Lb Hatnonca
Lb Hatnonca
& @
{o)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

& @
{o)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

&
Ctoiaes
bow bow
Cock.
bow
Db Hatnonca

ueiy change ihe iaes.
A io L
B io F
&

&

{sne iones)
&
bow

&

2

&

C Hatnonca
2
o

&
vety nechanca and siaic
behnd ihe btdge
&

?
su oni.
o

, , ,

, #

, b

s s
j
s s
j
s s

, b

s s ,

s
s
s
s
#

s s

s s

s s s s ,

,

s # s
, #

s s s
j
s s , s s ,

#
,
#
,

,

s s ,
, # s s s
s
8

F.
5o. 5ax.
Petc. l

Pno.
Vn.
Vc.
#
o
*+,
# "
o
52
% !#
" !#
" !#
*+,
!"
o
# "
o
o
-,
o
#
%&'()
"
o
" !# "
o
!#
o
!#
o
% !#
o
"
5
4
4
4
4
4
5
4
4
4
4
4
5
4
4
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
4
4
5
4
4
4
4
4
5
4
4
4
5
4
4
4
4
4
5
4
4
4
4
4
5
4
4
4
4
4
&
oco
A Hatnonca

&

D Hatnonca
>
&

&
?
?

?
{D)
{B)
{ced sne iones)

&

&
?
?
?

{ced sne iones)

&

Db Hatnonca
C Hatnonca
&
&
L Hatnonca
!"
o
# "
o
"
o o
A Hatnonca
&

bow
&

C Hatnonca
o
2
&
?
{A)
&
A Hatnonca
oco
Bb Hatnonca
o

, #

s
s

s
s
s

,
,
,

,
,
,

,
,

s s s ,
,
, ,
s
s
s
B
s
s
s
s

s b

,

,

,
,
,

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,

,
,
,
#

s #
j
, #

, n , s s , s s
j
s ,

,
,

,
,

,
,

,
,

,
,
, , ,

, ,

,
,
,

s
s
s
9

F.
5o. 5ax.
Petc. l
Petc. ll
Pno.
Vn.
Vc.
"
58
%
*+,
!# !"
o o
%
o
% !# o
"
*+,
o
%
o
"
o
"
o
!"
o
*+,
o
"
o
"
o
*+,
!"
*+,
o
" !#
"
o o
!"
o
!"
o o
*+,
o
o
*+,
o
f
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
&

?
?
?
?

&
C Hatnonca
o


Fuie
&
> {D)
D Hatnonca
o

&
&
&
C Hatnonca
o
C Hatnonca

>
&
&
A Hatnonca
o o
!"
o o
&
?
?
?

&
C Hatnonca
o
&
&

Bb Hatnonca
!"
o o
o
s
s
s

s
J

,
,

s
s
s

,
,
,

,
,
,

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s
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,
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s #

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,

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,

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,
,

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,
,

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,
,
,

s
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,
,
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,
,
,

s
s
s
s
s
s
,
,
,
,
,
,

s
s
s

,
,

,
,

,
,

,
,

,
,

,
,

,
,
,
,
,

,
,
,
s
s
s

s
s
s

,
,
,

s
s
s
s
s
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s
s
s
s
s
s
10

F.
5o. 5ax.
Petc. l
Petc.
Pno.
Vn.
Vc.
64
!"
o o
*+,
%
o !#
o
!"
!"
o
*+,
o
"
o
*+,
%
o o
*+,
o
"
o
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"
o
%
o
!#
*+,
oo " !"
o
"
o
!"
o
"
*+,
!"
o o
%
o
4
4
4
4
2
4
4
4
4
4
4
4
2
4
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4
4
4
4
4
4
4
2
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4
4
4
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4
2
4
4
4
4
4
4
4
4
4
2
4
4
4
&
&

&
&
&
C Hatnonca

>
o
o
&
&

> >
o
&

.v.

&
.v.
&
o o
{C)
{D)
{B)
o o
2
&
&

>
o

,

,

s
s
s
J

,
,
,

s
s
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,
,
,
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,
,
,
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,
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,
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,

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s #

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,
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,
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,
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,
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,
,
,

,
,
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, # ,

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s
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s
s
s

,
,
,

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s
s
s

s
s
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s
s
s
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s
s
,
,
,

s
s
s

s
s
s

s
s
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s
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s
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s
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,
,
,
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,
,
,
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,

11

F.
Aio 5ax.
Petc. l
Petc. ll
Pno.
Vn.
Vc.
70
"
o
"" "
o
%"
o
*+,
" "
o
"
o
" %"
o
#
o
" " " %"
.'(
#
#
o
%
o
"
*+,
"
4
4
5
4
5
4
10
4
5
4
4
4
5
4
5
4
5
4
4
4
5
4
5
4
10
4
5
4
4
4
5
4
5
4
10
4
5
4
4
4
5
4
5
4
5
4
4
4
5
4
5
4
10
4
5
4
4
4
5
4
5
4
5
4
4
4
5
4
5
4
10
4
15
4
5
4
4
4
5
4
10
4
15
4
5
4
4
4
5
4
5
4
5
4
4
4
5
4
5
4
4
4
5
4
5
4
15
4
5
4
4
4
5
4
5
4
5
4
?
@
{o)

&
&
Aio 5axohone
vety shat
cui o

& @
{o)

& @
{o)

&

C Hatnonca
vety shat
cui o

& @
{o)

&
o o o o
vety shat
cui o
o

2
& @
{o)
&
bow
Vbes
susianed and seaness
&

Png noduaion o ihe

C. B-ai, D, and A hatnoncas
ton ihe tevous secion.
&
{C)
{D)
{B)
C Hatnonca
o o
>
o o
>
o o o

&
Lei F# ghiy beed
ovet nio n. 72

&

sente
su iasio.
sente
su oni.
&
Bb Hatnonca
o
>
o
>
o
2
o

?

,
,
,
,
,
,
#
#
#

#
#

,
,
,
,
,
,

,
,
,
,
,
,

,
,
,

s
s
s

s
s
s

,
,
,

,
,
,

,
,
, <#>

s
s
s #

s
s
s

s
s
s

s
s
s #

s
s
s

s
s
s

s
s
s

s
s
s

s
s
s

s
s
s

, # , #
,
,
,

s
s
s

s
s
s

s
s
s

s
s
s

s
s
s

, #

,
,

,
,

,
,

, #
,
,
,

s
s
s
s
s
s

s
s
s

s
s
s
J

s
s
s

s
s
s
12

F.
Aio 5ax.
Petc. l
Petc. ll
Pno.
Vn.
Vc.
" #
o
# "
75
#
o o
#
/0"#
!"
o
%
o
!#
# "
!# # !" # ## "
# !" # "
#
o
"
o
5
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
4
4
5
4
4
4
4
4
&

Fuie
Fuie
>
&

Ab Hatnonca
&

{sne iones w,
whie nose)
&

&

bow
Ctoiaes

F Hatnonca
&

A
2 2
&
&
>
>

2
&

?
sente
su iasio.
sente
su oni.

s s s

s s

s
J
,

, B , ,

s b s
s b
s
s
s
s
s
s n
s
s
s
b
s
s
s
b
s
s
s
s
s
s
b
b
s
s

s # s

,
,
,
s
s
s
s
s
s
s
s
s
s
s
s
b s
s
s
s
s
s
s
s
s
b
b
, # , , , , # s
s
j
s
s
j
s b s
s n

,
, # , , # , s # s s
j
, s s #
j
,
,
, # s
s n
, # , , ,
, # , , , , ,
12

F.
Aio 5ax.
Petc. l
Petc. ll
Pno.
Vn.
Vc.
"
o
"
81
#
o o
!"
#
"
#
!"
#
!"
#
!" #
&'(
"
o
#
o o
!" !#
o
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
4
4
5
4
4
4
5
4
4
4
5
4
4
4
5
4
&


Bb Hatnonca


Fuie
at ihtough ihe nsituneni
vety nattow and niense
bands o at
&

vety siaic
&&

{sne iones w,
whie nose)
&
{sio)

&

5tay Can
stay onio bass
dtun head
&
&

&
{sne iones w,
whie nose)

&
D Hatnonca
2
Vbes
A

/
2 2 2 2 2
&
{sio)

&
2
2 2
?

&

atco
su oni.

?
otd.
!!!
su oni.
2
,

6 6 )

s B s ,

s
s
s
s #
n

s
s
s
s
,
,
,
,
s
s
B

6 6 )

s
s

b

s
s
,
,

s

s s # n s s s s
J
s s s s
J
s s s s
J
s s s s
J
s s s s
J
6


,
, #
s
s
s s s
J
s s s
J
s s
,
,
b

s
s
s
s

,
,
s
s
s
s
b s
s
s
s
s
s

s
s
b ,
,
,
,
b

s
s
s
s

, s
J
,, n #

ss ss n #

,, n # ss ss # n ss ss ss n #

ss ,, ,, n #

ss ss n #

,
#

, B ,

#
J
#
,
,
b ,
,
,
,
,
,
14

F.
Aio 5ax.
Petc. l
Petc. ll

Vn.
Vc.
!"
o
87
%
o
"
o
!#
#
#
/0"#
#
%
o
!"
o o
%
!" # (((
"
&'(
%
&'(
% !# "
o
5
4
2
4
2
4
5
4
2
4
4
4
2
4
5
4
2
4
2
4
5
4
2
4
4
4
2
4
5
4
2
4
4
4
2
4
5
4
2
4
4
4
2
4
5
4
2
4
4
4
2
4
5
4
2
4
4
4
2
4
5
4
2
4
2
4
5
4
2
4
4
4
2
4
5
4
2
4
5
4
2
4
2
4
&

Bb Hatnonca
&
Ab Hatnonca

Aio 5ax.
&

{sio)

&

&

&

&

&
F Hatnonca

!#
Tan-Tan
&
bow
Vbes

&

{sio)
&
F# Hatnonca

/
Bass Dtun
&
&

Pano
?

seniy
detess

Pano
&

Von
?

&
A Hatnonca
, # ,

, ,

s
s
s
n
b
b
s
s
s
s
s
s
s
s
s

, #

,
,
,
b

,
,
,

s
s
B
s
s

s
s #

s
s
s
s
s
s
s
s
s
s
s
s
)
,

, #
6


s s s s s s s s s s s s s s s s s s s s s s s s s s s

s b
j
,

,
,
, n
#
,

,

,

s
s n
# #
#
#
#
b
#
#
#
#

s s ,
,
15

F.
Aio 5ax.
Petc. l
Petc. ll
Pno.
Vn.
Vc.
!#
o
%
o
92
o
%
o
o
%
o #
!# #
# " # !#
!#
o
%
o o
o
"
o o
!#
o
% # "
o
2
4
2
4
4
4
2
4
2
4
2
4
4
4
5
4
2
4
2
4
2
4
4
4
5
4
2
4
2
4
2
4
4
4
5
4
2
4
2
4
2
4
4
4
5
4
2
4
2
4
2
4
4
4
5
4
2
4
2
4
2
4
4
4
5
4
2
4
2
4
2
4
4
4
5
4
2
4
2
4
2
4
4
4
5
4
2
4
2
4
4
4
5
4
2
4
2
4
2
4
4
4
5
4
2
4
&
Bb Hatnonca
o

&
o

L Hatnonca
&

{sio)
&

{sio)

&
#
Tan-Tan
&

B Hatnonca
o
bow
Ctoiaes
&
&

2
&
C Hatnonca

C Hatnonca
&

sente
su iasio
&
A Hatnonca
o

, s s
s
s
s
s b
s
s
s
s
s
s
s
s
s
,
,
,
,
,
,
<b>
<>
<b> ,
,
,
b

,
,
,

,
,
,

,
)

s
s
s
#
#
s
s
s
#
s
s
s #
s
s
s #
s
s
s
,
,
,
#
, , , ,
, , s
s s
s
j
s
s b s
s

s #
,
,
, b ,

, s ,
,
,
,
,
s
s
s
,
,
,
,
,
,

,
#
,
#
,
#
, ,

, ,

s
s
s
#
s
s
s
s
s
s
#
s
s
s
s
s
s
s
s
s , , ,
16

F.
Aio 5ax.
Petc. l
Petc. ll
Pno.
Vn.
Vc.
!#
o o
!# o %
o
100
#
o o
!# %
o
!#
o o
!"
o
##
#
o o
# cketng n and oui o ocus
o
# ## !# ## # %
o o
!"
o
%
o o
2
4
5
4
4
4
4
4
2
4
5
4
4
4
4
4
2
4
5
4
4
4
4
4
2
4
5
4
4
4
4
4
2
4
4
4
2
4
5
4
4
4
4
4
2
4
5
4
4
4
4
4
2
4
5
4
4
4
4
4
2
4
5
4
4
4
4
4
&
C Hatnonca

Fuie
at ihtough ihe nsituneni
vety nattow and niense
bands o at
o
o

&
5otano 5axohone
at ihtough ihe nsituneni
vety nattow and niense
bands o at
o o

&


&
&

{sio)

-
sctae sowy n a
ctcuat noion
wih nget na
Bass Dtun

&

Ctoiaes
bow

Db Hatnonca

&
bow wih shng ne
{see etotnance noies)
Pano
&
sente
su oni.
sente
su iasio
sente
su oni.
sente
su iasio
sente
su oni.
sente
su iasio

bow ihe body o

ihe nsituneni
io cteaie bteaihy
whie nose
o
&

A Hatnonca

bow ihe body o

ihe nsituneni
io cteaie bteaihy
whie nose
o
,

,

,

6 ) ) )
) )
, , , , ,

) ) )
, , ,
, b

,
,
,
,
,
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,
#

,
,
s
s
, b ,
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, b , , ,
,

,

,

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17

F.





Vc.
%
o
%
o o
108
#
o o
%
o o
!"
o
# !#
#
o o o
#
o
##
o
#
o o
/0 "#
##
&'(
###
o o
%
o o
%
o o
%
o o
4
4
4
4
5
4
2
4
4
4
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5
4
2
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2
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5
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5
4
2
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4
2
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5
4
2
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4
4
4
5
4
2
4

o

&

&

at ihtough ihe nsituneni

vety nattow and niense
bands o at
&

-
sctae sowy n a
ctcuat noion
wih nget na
Bass Dtun
&
&

F Hatnonca

F Hatnonca
&

&
Vbes
bow
Poi Ld
bow
&

Bb Hatnonca

&

wih e-bow

&

bow ihe body o
ihe nsituneni
io cteaie bteaihy
whie nose

bow ihe body o

ihe nsituneni
io cteaie bteaihy
whie nose

) ) ) ) )

,
,
,
,
,
,
,
,
) )

) ) ) ) )

) )

s
,
,
,
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,
,
, ,


s
, , , s

) ) 6

, s
s
s
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,
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,
s
s
s b
s
s
s b
,
,
,

, , , ,

, ,

, , , ,
) )

) ) ) ) ) )

18

F.
5o. 5ax.
Petc. l
Petc. ll
Pno.
Vn.
Vc.
o
!#
o
115
!#
o o
# !#
o
# ## #
o
!" ## # ## !#
o
##
"
o o
"
o o
2
4
5
4
2
4
5
4
2
4
4
4
5
4
2
4
4
4
5
4
2
4
4
4
5
4
2
4
4
4
5
4
2
4
4
4
5
4
2
4
5
4
2
4
5
4

U
20 - 45

U

U
&

U

U
&

U

U
&

U

U
&

U

U
&

sne ione
w, shing whie nose
U

U
{sio)
@

U

U

U

U
) )

) )

) )

) )

) ) )

, s ,
6 6 6 6 ) )

,

,
s
) )

) )

) )

) )

19