an original composition, symphony no. 1, pollock and an
TRANSCRIPT
Louisiana State UniversityLSU Digital Commons
LSU Doctoral Dissertations Graduate School
2004
An original composition, Symphony No. 1, Pollockand an analysis of the evolution of Frank Zappa's"Be-Bop Tango"William Morris PriceLouisiana State University and Agricultural and Mechanical College, [email protected]
Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations
Part of the Music Commons
This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion inLSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected].
Recommended CitationPrice, William Morris, "An original composition, Symphony No. 1, Pollock and an analysis of the evolution of Frank Zappa's "Be-BopTango"" (2004). LSU Doctoral Dissertations. 3644.https://digitalcommons.lsu.edu/gradschool_dissertations/3644
AN ORIGINAL COMPOSITION, SYMPHONY NO. 1, POLLOCKAND
AN ANALYSIS OF THE EVOLUTION OF FRANK ZAPPA'S BE-BOP TANGO
A Dissertation
Submitted to the Graduate Faculty of theLouisiana State University and
Agricultural and Mechanical Collegein partial fulfillment of the
requirements for the degree ofDoctor of Musical Arts
in
The School of Music
ByWilliam Morris Price
B.M.E., University of North Alabama, 1995M.M., Louisiana State University and Agricultural and Mechanical College, 1998
May 2004
ii
ACKNOWLEDGMENTS
I wish to thank my teacher and friend Dr. Dinos Constantinides, for his years of guidance
and instruction. His emphasis on craftsmanship, imagination, and musical integrity is an
inspiration for all. I would like to thank the members of my committee, Dr. Jeffrey Perry, Dr.
Stephen David Beck, Dr. Jan Herlinger, and Dr. John Lowe, for their sage advice and
encouragement in the preparation of this document.
I would also like to extend my deepest gratitude to Gail Zappa and The Zappa Family
Trust. Ms. Zappa's personal insight regarding Frank's music and her ability to get to "the crux of
the biscuit" was enlightening to say the least, and provided the analysis with a greater degree of
depth that may have otherwise been absent. Thank you Gail.
And above all, I wish to thank my wonderful wife, Robin, for her infinite patience and
unwavering support.
iii
TABLE OF CONTENTS
ACKNOWLEDGMENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ii
LIST OF TABLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v
LIST OF FIGURES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vi
LIST OF EXAMPLES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vii
PERFORMANCE NOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xi
ABSTRACT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii
PART I. AN ORIGINAL COMPOSITION, SYMPHONY NO. 1, POLLOCK. . . . . . . . . 1
PART II. AN ANALYSIS OF THE EVOLUTION OF FRANK ZAPPA'S BE-BOP TANGO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
CHAPTER 1. INTRODUCTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101
2. BE-BOP TANGO: BACKGROUND AND INTRODUCTION. . . . . . . . . . . . . . . 113 Historical Perspective. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Historical Evolution of the Be-Bop Tango. . . . . . . . . . . . . . . . . . . . . . . . . . . 116
3. BE-BOP TANGO FOR UNSPECIFIED INSTRUMENT AND PIANO: ANALYSIS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Melody. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 Harmony. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Pitch Collections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Form and Structure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Thematic Variations and Episodes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
131148
Orchestration and Historiography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
4. BE-BOP TANGO FOR CHAMBER ORCHESTRA: ANALYSIS . . . . . . . . . . . . 204 Background. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Form and Reconstruction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208
5. BE-BOP TANGO: INFLUENCES AND PHILOSOPHY. . . . . . . . . . . . . . . . . . . 242
6. CONCLUSION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 Epilogue. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
BIBLIOGRAPHY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
iv
APPENDIX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 A. FIGURES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
B. ORCHESTRATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
C. LETTER OF PERMISSION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
273
276
VITA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
v
LIST OF TABLES
Table Page
B.1. Be-Bop Tango for chamber orchestra, Orchestration. . . . . . . . . . . . . . . . . . . . . . . . 273
vi
LIST OF FIGURES
Figure Page
3.1. Be-Bop Tango, Formal Outline of Theme Group A. . . . . . . . . . . . . . . . . . . . . . . . . 135
3.2. Be-Bop Tango, Formal Outline of Variation A1. . . . . . . . . . . . . . . . . . . . . . . . . . . . 150
3.3. Be-Bop Tango, Formal Outline of Theme Group C. . . . . . . . . . . . . . . . . . . . . . . . . 172
3.4. Be-Bop Tango, Formal Outline of Theme Group D. . . . . . . . . . . . . . . . . . . . . . . . . 180
4.1. Be-Bop Tango for chamber orchestra, Interlocking Variation Structure. . . . . . . . . 241
A.1. Be-Bop Tango, Chord Quality Continuum. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
A.2. Formal outline of Be-Bop Tango for unspecified instrument and piano. . . . . . . . . . 267
A.3. "Farther O'Blivion," Beat the Boots I: Pitquantique. . . . . . . . . . . . . . . . . . . . . . . . . 268
A.4. "Be-Bop Tango (of The Old Jazzman's Church)," Roxy and Elsewhere. . . . . . . . . . 270
A.5. Formal Outline of Be-Bop Tango for chamber orchestra . . . . . . . . . . . . . . . . . . . . . 272
vii
LIST OF EXAMPLES
Example Page
2.1. Habanera Rhythm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
2.2. Marcato-sincopa Rhythm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
2.3. Marcato-sincopa Tango Rhythm Combined with Jazz Harmony. . . . . . . . . . . . . . . 119
3.1. Be-Bop Tango, Tango Introduction, Piano, Tritone Resolution, mm. B-C. . . . . . . . . 124
3.2a. Be-Bop Tango, Variation A1/c, Resolution by Similar Motion 124
3.2b. Be-Bop Tango, Variation A1/c to Tango Reprise (T1), Resolution by Similar Motion - Displaced by Register. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
3.3. Be-Bop Tango, Variation A1/a, Tritone Resolution, Parallel Motion. . . . . . . . . . . . . 125
3.4. Be-Bop Tango, Variation A1/b, Tritone Resolution, Parallel Motion, Displaced by Register. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
3.5. Be-Bop Tango, Anti-climax, Unresolved Added-Tone. . . . . . . . . . . . . . . . . . . . . . . . 125
3.6. Be-Bop Tango, Phrase A/b', Harmonic Progress. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128
3.7. Be-Bop Tango, Phrase C/c', Incomplete Cadence. . . . . . . . . . . . . . . . . . . . . . . . . . . . 129
3.8. Be-Bop Tango, Phrase C/c', Passing Progression and Prolongation. . . . . . . . . . . . . . 130
3.9. Be-Bop Tango, Tango Vamp and Introduction: T. . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
3.10a. Be-Bop Tango, Tango Vamp and Introduction, Primary Sonorities, Reduction . . . . 133
3.10b. Be-Bop Tango, Tango Vamp and Introduction, Separate Musical Line and Tetrachord Collections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134
3.11. Be-Bop Tango, Vamp and Introduction, Reduced Voice-Leading, Total Collection 134
3.12. Be-Bop Tango, Tango Vamp and Introduction, Reduced Ascending Outer Voice-Leading. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
3.13. Be-Bop Tango, Main Theme Group A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
3.14. Be-Bop Tango, Main Theme A, Motives A, B, and C. . . . . . . . . . . . . . . . . . . . . . . . 137
viii
3.15. Be-Bop Tango, Main Theme A, Phrase A/a, Motivic Reduction. . . . . . . . . . . . . . . . 137
3.16a. Be-Bop Tango, Main Theme A, Phrase A/b', G#-A#-G Trichord. . . . . . . . . . . . . . . 138
3.16b. Be-Bop Tango, Variation A1, Phrase A1/a', G-F#-G# Trichord. . . . . . . . . . . . . . . . 139
3.16c. Be-Bop Tango, Theme Group D, Phrase D/d', G#-B-G Trichord. . . . . . . . . . . . . . . 139
3.17. Be-Bop Tango, Main Theme A, Phrase A/a, Melodic Construction. . . . . . . . . . . . . . 140
3.18. Be-Bop Tango, Tango Vamp and Introduction, Unfolding Minor Third: Bass Line. 141
3.19. Be-Bop Tango, Main Theme, Transition from Phrase A/a to Phrase A/b. . . . . . . . . . 143
3.20. Be-Bop Tango, Main Theme A, Phrase A/b. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144
3.21. Be-Bop Tango, Main Theme A, Phrase A/b'. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
3.22. Be-Bop Tango, Main Theme A, Phrase Endings, Dyad Relationship. . . . . . . . . . . . . 146
3.23. Be-Bop Tango, Phrase A/b and Phrase A/b', Root and Bass Reduction. . . . . . . . . . . 147
3.24. Be-Bop Tango, Variation A1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151
3.25a. Be-Bop Tango, Variation A1, Prolongation and Permutation. . . . . . . . . . . . . . . . . . 152
3.25b. Be-Bop Tango, Main Theme A, Phrase a. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
3.26. Be-Bop Tango, Variation A1/a, Implied Root Motion. . . . . . . . . . . . . . . . . . . . . . . . 154
3.27. Be-Bop Tango, Variation A1, Implied Descent between A1/a and A1/a-b. . . . . . . . . 154
3.28. Be-Bop Tango, Variation A1, 1st Half of Phrase A1/a-b, Motivic Development . . . 155
3.29. Be-Bop Tango, Variation A1, 2nd Half of Phrase A1/a-b, Motivic Development. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156
3.30. Be-Bop Tango, Variation A1, Phrase A1/a-b to A1/c, Harmonic Progression and Transition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
3.31. Be-Bop Tango, Variation A1, Phrase A1/c. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159
3.32. Be-Bop Tango, Variation A1, Phrase Endings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
3.33. Be-Bop Tango, Variation A1/c, Voice Leading. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161
ix
3.34. Be-Bop Tango, Variation A1/a-b to A1/c, Piano Part, Reduction. . . . . . . . . . . . . . . . 163
3.35. Be-Bop Tango, First Tango Variation: T1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
3.36. Be-Bop Tango, Variation A2, Rhythmic Augmentation and Registral Displacement 166
3.37. Be-Bop Tango, Episode B, Clusters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167
3.38. Charles Mingus, Trio and Group Dances, Rhythmic Figure. . . . . . . . . . . . . . . . . . . 168
3.39. Be-Bop Tango, Variation A2 and Episode B, Voice-Leading. . . . . . . . . . . . . . . . . . . 170
3.40. Be-Bop Tango, Episode B, Timbral Modulation, Reduction. . . . . . . . . . . . . . . . . . . 170
3.41. Be-Bop Tango, Theme Group C. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
3.42. Be-Bop Tango, Theme Group C, Phrase C/c. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
3.43a. Be-Bop Tango, Main Theme A, Voice-Leading at the End of the 1st Phrase. . . . . . 173
3.43b. Be-Bop Tango, Variation A1, Voice-Leading at the End of the 1st Phrase. . . . . . . . 173
3.43c. Be-Bop Tango, Theme Group C, Voice-Leading at the End of the 1st Phrase. . . . . 174
3.44. Be-Bop Tango, Theme Group C, Phrase C/c'. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177
3.45. Be-Bop Tango, Theme Group C, Phrase C/c', Compound Melodic Descent. . . . . . . 178
3.46. Be-Bop Tango, Phrase C/c', Chord Progression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
3.47. Be-Bop Tango, Theme Group D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181
3.48. Be-Bop Tango, Theme Group D, Phrase D/d, Bb Pivot. . . . . . . . . . . . . . . . . . . . . . . 182
3.49. Be-Bop Tango, Theme Group D, Phrase D/d, Melodic Palindrome Reduction. . . . . 183
3.50. Be-Bop Tango, Theme Group D, Phrase D/d and Phrase D/d'. . . . . . . . . . . . . . . . . . 183
3.51. Be-Bop Tango, Theme Group D, Phrase D/d'. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
3.52. Be-Bop Tango, Theme Group D, Phrase D/d', Interlocking Motive A Structure. . . . 185
3.53. Be-Bop Tango, Theme Group D, Phrase D/d', Reduction. . . . . . . . . . . . . . . . . . . . . 185
3.54. Be-Bop Tango, D/d', Final Chord. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
x
4.1. Be-Bop Tango for chamber orchestra, Tango Introduction: T, Reduction. . . . . . . . . 210
4.2. Be-Bop Tango for chamber orchestra, Theme Group A, Phrase A/a, Reduction. . . . . 211
4.3a. Be-Bop Tango for chamber orchestra, Main Theme A/b and A/b', Percussion Interjection, Reduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212
4.3b. Be-Bop Tango, Variation A1, Phrase A1/a Percussion Introduction, Reduction . . . . 213
4.3c. Be-Bop Tango, Episode B, Composed Percussion Parts, Reduction. . . . . . . . . . . . . 214
4.4. Be-Bop Tango, Theme Group A, Phrases A/b and A/b', Instrumentation, Reduction. 214
4.5. Be-Bop Tango, Theme Group A, Phrase A/b', Harp Tremolo, Reduction. . . . . . . . . . 215
4.6. Be-Bop Tango, Theme Group A, Phrase A/b', Trumpet Part. . . . . . . . . . . . . . . . . . . . 216
4.7. Be-Bop Tango, Transition between Phrase A/b' and Variation A1, and Added Percussion Parts, Reduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
4.8. Be-Bop Tango, Variation A1/a-b and A1/c, Reduction. . . . . . . . . . . . . . . . . . . . . . . . 221
4.9. Be-Bop Tango, Tango Reprise: T1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
4.10. Be-Bop Tango, Tango Reprise: T1, Measure Permutation, Reduction. . . . . . . . . . . . 224
4.11. Be-Bop Tango, Variation A2, Orchestration, Reduction. . . . . . . . . . . . . . . . . . . . . . . 228
4.12. Be-Bop Tango, Episode B, Orchestration, Reduction. . . . . . . . . . . . . . . . . . . . . . . . . 230
4.13. Be-Bop Tango, Episode B, Composed Percussion Parts, Reduction. . . . . . . . . . . . . 233
4.14. Be-Bop Tango, Theme Group C, Orchestration, Reduction. . . . . . . . . . . . . . . . . . . . 236
4.15. Be-Bop Tango, Theme Group D, Orchestration, Reduction. . . . . . . . . . . . . . . . . . . . 238
4.16. Be-Bop Tango, Codetta/Second Tango Reprise: T2, Reduction. . . . . . . . . . . . . . . . . 239
xi
PERFORMANCES NOTES
Symphony No. 1, Pollock is scored for the following instrumentation:
2 Flutes (Either Flute can double on Piccolo)2 Oboes2 B-flat Clarinets (Clarinet 2 doubles on B-flat Bass Clarinet)2 Bassoons
4 F Horns3 B-flat Trumpets3 TrombonesTuba
Timpani (5 - 32", 29", 25", 23", & 20")
3 Percussion1. Triangle, Metal Wind Chimes, Tom-Toms (5), 20" Kick Bass Drum, 18" China Cymbal,
Bamboo Wind Chimes, Bass Drum, 16" Crash Cymbal, Guiro, Hi-Hat Cymbals, Snare Drum,Celesta, Xylophone, 18" Suspended Cymbal
2. Tam-Tam (large), Glockenspiel, Crotales, 18" China Cymbal, 16" Crash Cymbal, Cuica (medium), Snare Drum, Timbales, Congas, Small and Large Woodblock, Bongos, Agogo Bells
(mounted), Vibraslap, Samba Whistle
3. Vibraphone, 18" Suspended Cymbal, Marimba, Xylophone, Tambourine (mounted)
Piano
Harp
Strings
All instruments in the score, with the exception of octave transposing instruments, appear atconcert pitch (Score in C).
All accidentals remain in force throughout the measure, unless cancelled in the usual manner.
The approximate duration of the work is 22'30".
xii
ABSTRACT
Part one of this dissertation is an original composition, Symphony No. 1, Pollock. It uses
as a conceptual impetus the abstract expressionism of Jackson Pollock's paintings from the
1950's. It employs the following instrumentation: (2-2-2-2, 4-3-3-1, 3 percussion, piano, harp,
strings). The work is composed in one movement, which is divided into four major sections (A-
B-A/C-B) that are distinct from each other with respect to style and tempo.
The first major section of the composition serves as a slow introduction. The second major
section serves as a contrast to the opening movement and is based conceptually on Pollock's abstract works
and formally on the principle of interlocking variations. The third major section consists of a varied return
to the slow introduction. It is followed by a fast dance in triple meter and a slower passage that emphasizes
interrupted gestures through sudden silences, contrasting areas of textural density, and the juxtaposition of
dissimilar compositional materials. The final major section consists of a varied return to the dynamic
gestures of the second section. The dense instrumentation, the juxtaposition of dissimilar materials,
and the use of pandiatonic techniques assists in the representation of Jackson Pollock's textural
canvases.
Part two of the dissertation provides an analysis of the evolution of Frank Zappa's Be-Bop
Tango. It is divided into five chapters. The first chapter consists of an introduction and
biography of the composer. The second chapter provides historical information about the
materials used in the work. The third chapter includes a detailed analysis of the original
unspecified instrument and piano score, how it relates to Zappa's compositional aesthetic, and a
historiography of how the score was orchestrated for his amplified chamber ensembles. The
fourth chapter discusses and explores the chamber orchestra version of the work, how it differs
from the original score structurally, thematically, and harmonically, and how Zappa and his
xiii
assistant Ali N. Askin revised and arranged the work for chamber orchestra. The fifth chapter
examines Zappa's early influences and how they manifest themselves in the work, and the sixth chapter
provides a summary of the findings of the previous chapters.
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Flute1 & 2
Oboe1 & 2
Bb Clarinet1 & 2
Bassoon 1 & 2
Horn 1 & 2
Horn 3 & 4
Trumpet in C1, 2, & 3
Trombone1, 2, & 3
Tuba
Percussion 1
Percussion 2
Percussion 3
Timpani
Harp
Violin 1
Violin 2
Viola
Violoncello
Double Bass
Piano
div.pizz.
D C B E F G A
Vibraphone
q»¢•
q»¢•
Very Slow
Very Slow
A Cs D E B
Sorrowfully
Sorrowfully
pizz.
pizz.
pizz.
pizz.
F
F
F
F
F
F
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w œ
∑
∑
w
w
œ
œ
w
Œ
w
Œ
˙
Ó Œ
˙
Ó Œ
˙Ó Œ
˙ Ó Œ
˙
˙ Ó Œ
p
p
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
w
w
w
w
∑
∑
∑
∑
˙
˙ Ó
solo cello
P
arco
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ
J
œ œ
∑
P
P
l.v.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ
œ œ œ
∑
∑
∑
.˙
Œ Œ
œ
œ
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
Œ Œ
œ
Œ Œ
∑
∑
∑
.œ
J
œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙
œ
œ
˙ œ
∑
∑
∑
.˙
˙ œ œ
˙ œ
>
{e = e}∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.
.
œ
œ
.œ
∑
∑
∑
.œ
.œ
.œ
AN ORIGINAL COMPOSITION, SYMPHONY NO. 1, POLLOCKWilliam Price
1
PART I
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
√
tutti
solo
unis.arco
P
P
F
{e = e}8
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ ‰j
œ
Ó Œ œ œ œ œ
‰
∑
∑
∑
.
.
œ
œ
J
œ
œ
˙
˙
J
œ œ œ
œJ
œ
F
F
F
F
F
F
F
arco
arco
p π
p
F
F
.
.
˙
˙ Œ
∑
∑
∑
w
w
w
w
∑
∑
∑
∑
∑
∑
∑
œ
°
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
*
œ
œ
œ
œ
œ
œ
œ
œ
Œ
∑
œ
œ œ
6
œœ
œ
œœ
œ
5
œœ œ
œ œ
‰J
œ œ
Ó&
œ
Œ Ó
w
w
j
œ .œ
j
œ.œ
˙
J
œ.œ
w
F
1.
2.
F
P
P
F
p
P
Triangle (always let ring)
P
P
P
Œ
‰ .r
œ
6
œ œœ
œ
œœ
œ œœ œ.˙
∑
Œ .˙
∑
œ
œ
œ
œ
Ó
˙˙
Ó
∑
∑
∑
Œ ‰ . R
‹
Ó
∑
∑
∑
≈ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œŒ œ
œ
œ
œ
°
Œ
œ
œ
Œ Ó
‰
J
œ
œ œ œ œ œ œ
Œ
œ
œ œ œ
œ
∑
∑
œ
.˙
.œ
œ œœ
œ
œ œ œ œ œ œ
œ .œ œ .œ
œ œ
2
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
&
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
(√) √
P
P
1.dolce
P
1.dolce
P
F
1.
pizz.
div.
F
3.
π
P
{e = e}12
œ œ œ.œ œ œ œ œ œ œ œ
œ
˙
Œœ
6
œœ
œ
œœ
œ
‰
3
œœ
œ
3
œœ
œ œœ œ
∑
Œ
œ
œ œ
Œ
œ
œ œ
∑
∑
∑
∑
∑
∑
∑
œ
œ
œ
œ
*
‰ Œ Œ
∑
‰j
œ
>
Œ ‰
J
œ œ
Œ
œ
œ
Œ
Œ Œ ‰J
œ
Œ ‰
J
œ Œ
.
.
œ
œ
J
œœ œœ
œœ œ œ
œ
œœ œ œ
.œ
j
œ œ
p
p
œ œ œ œ
j
œ
‰
.œ
Œ
œ
‰ Œ
œ ‰ Œ
∑
œ
‰ Œ
œ
‰ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
J
œ
œ œ
œ
œ
œ œ
œ
∑
∑
∑
˙
j
œ.
œ
œ
J
œ
œ
œ
œ
œ
œ
j
œ œœ
1.
arcoexpressive
unis.
F
{e = e}
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
œ
Œ Œ
∑?
Œ œ
œ
Œ ‰
P
j
œ
3
œ œ œ
˙œ
.œ
‰
œ
.
.
œ
œ
J
œ
œ
œ
œ
œ
œ
.œ
j
œœ
F
F
F
F
arcoexpressive
div.
p
p
π
F
.˙Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó ≈
œ
°
œ œ œ œ œ œ œ œ œ
*
œ
∑
œ œ˙ œ œ œ œ œ œ œ
∑
3
œ
œ
œ
œ œ
˙
J
œœ
J
œ
˙
˙
œ ˙ œ œ
œ.˙
œ ˙ œ œ
œ
˙
œ
œ
3
&
&
&
?
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bs. Cl.
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
P
div.
P
16
∑
Ó Œ ‰œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙
>
œœ
œ
˙>
œ
œ œœ œ&
˙
>
œœ
œ œ œ œ œ
Ó
œ
Œ
œœ# œ
˙
œœ# œ
˙
˙
˙
˙
˙
.˙ œ..
˙
˙
œ
œ
.˙œ
less motion, slower
less motion, slower
P
P
unis.
œ œ œ œ œ œ œ
˙
œ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙
Œ Ó
œ
Œ Ó .
œ
œ
Œ Ó?
œœ
Œ Œ
œ
œ
œ ˙ ˙
˙
˙
œ
.
.
˙
˙ œ œ
œ
œ˙
˙
œ
œ
œ
œ
œ
˙ œ
œ
P
P
q»∞º Melancholy
F
q»∞º Melancholy
A
A
p
p
p
p
.˙Œ
.˙Œ
Ó ‰
3
œ œ œ
œ
3
œ œ œ
Ó Œ
3
œ
œ
œ
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
6
œ
œ
œ
œ œ œ
6
œ
œ
œ
œ œ œ
6
œ
œ
œ
œ œ œ
3
œ
œ
œ
œ
.˙
Œ
.˙Œ
w
w
w
w
p
P
P
P
P
P
P
∑
Œ˙
œ
3
œ œ œ
j
œ
‰ ‰3
œ œ œ
3
œ
œ
œ
œ
6
œ
œ
œ
œ œ œ
3
œ
œ
œ
œ
Œ Œ
6
œ
œ
œ
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
Œ Œ&
3
œ
œ
œ
‰
3
œ
œ
œ
‰
3
œ
œ
œ ‰
∑
∑
˙ œ
œ
˙
˙
œ
œ
œ
œ
˙ œ
œ
P
f
1.
2.P
Pp
Œ ‰j
œ# ˙
œ œ œ œ
3
œ œ œ˙
j
œ
‰3
œ œ œ
œ
.˙#
>
6
œ
œ
œ
œœ
œ œ
3
œ œ œ.˙#
>
‰
3
œ
œ
œ
6
œœ œ œ œ œ
3
œ œ œ œ
6
œœ
œ
œœ
œœ
Œ ‰
3
œ
œ
œ
6
œœ
œ
œœ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ j
œ
Œ Œ Œ
6
œœ
œ
œœ
œ
?
3
œ
œ
œ œ
Œ Œ ‰
3
œ
œ
œ
∑
∑
w œœ
.
.
œ
œ
J
œ
œ
#
#
.
.
˙
˙
#
#
w œ
œ
4
&
&
&
?
?
&
&
&
?
?
÷
÷
&
?
&
&
?
?
&
&
B
?
?
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bs. Cl.
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
F
f
f
F
F
PF
pizz.
P
P
P
p
21
.œ
j
œ#
6
œœ#
œœ
œ#œ
3
œ œ#
œ œ#œ œ#
œ
3
œ œ œœ œ œ
3
œ œ# œ œ
œ œ#
Œ
6
œœ#
œœ
œ œ
.˙#
>
Ó
.˙#
6
≈
œ œ œœ
œ œ
6
œ
œ
œ
œ
œ
œ
Œ
6
œœ
œ
œœ œ
3
œ œ œ œ
Œ Œ
7
œœ
œ
œœ
œ œ
Ó.
.
˙
˙
#
#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
6
œ œ œ
œœn
œ
œ
j
œn
Ó&
?
3
œœ œ œ
Ó
∑
‰
3≈ ≈ r
œ œ
‰ j
œ
Œ ‰
3≈ ≈ r
œ
w œ
.
.
œ
œ
J
œ
œ
#
#
.
.
˙
˙
#
#
w œ
F
FF
P
P
F
div.
œ
œ œ# œ
œ# œ œ œ
œ œ# œ œ
œ
3
œ œ# œ œ
œ œ# œ
œ#
œ
œ‰ j
œ
œ
3
œœ œ
3
œ œ œ œ
3
œœ
œ œ
œ
J
œ
‰ Œ ‰
3
œ
œ
œ
6
œœn œ œ œ œ
Π6
œœ œ œ œ œ
6
œœ
œ
œœ œ
j
œ‰ Œ
6
œ œ œ œ
œ
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑?
Ó Œ
3
œ œ œ
3
œœ
œ œ&
Ó ‰
3
œœ œ œ
3
œ
œ
œ
3
œœ œ œ
Œ ŒJ
œ
œ# œ
3
œ œ œ
œ œ
œ
œ
Œ
œ
‰ j
œ
w
œ
œ
#
œ œ œ œ# œ œ œ# œ
œœ œ œ# œ .œ
J
œ#
w œ
œ#
F
PP
P
P
P
L.H.
p
œ#
3
œ œn œ
6
œ œ œ œ œ œ œ œn œ
œ œ œ œn œ œ œ
J
œ
‰‰
3
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ# œ œ# œ
3
œ œ œ
3
œ œ œ œ œn œn œ œ œ œ œ
Ó.˙#
6
œ
œ
œ
œœ œ
J
œ
‰
3
œœ
œ œ
J
œ
‰
6
œœ
œ
œœ
œ
‰
3
œœ œ
6
œ œ œ
œ
œ
œ
7
œœ œ
œ œ œ œ
6
œ œ œ œ
œ
œ
3
œœ
œ
œ
Œ ‰j
œ
œ
#
#
˙
˙#
Œ
∑?
∑
∑
∑
∑
∑
∑
∑
∑
Œ Œ
œ#
Ó
œ Œ Œ
6
œ œ œ
œ
œ
œ
6
œœ
œ
œœ
œœ
?
œ
Œ Œ
˙ œ œ ˙
‰
3≈ ≈ r
œ œ
‰j
œ
Œ ‰
3≈ ≈ r
œ
w
w œ
J
œ
œ
œ
œ
J
œ
œ
#
#
.
.
˙
˙#
w œ
œ#
5
&
&
&
?
?
&
?
&
?
?
÷
÷
&
?
&
?
?
?
&
&
B
?
?
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bs. Cl.
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
P P
F
2.
P
1.
f
1.
3.
P
F# G#
pizz.
P p
24 3
œ œ œ œ œ œ œ
œ œ
œ œœ# œ œ
J
œ
‰ Œ
.œ œ œ œ œ œ
œnœ œ
6
≈
œœn
œ
œœ
J
œ‰ Œ ‰
3
œ œ œ
j
œ
˙#
Œ Œ ‰
J
œ
J
œ
‰
6
œ
œ
œœ
œ
œ
Œ Œ ‰
6
œ œ œ œ# œn œ
Ó Œ Œ ‰
3
œ œ œ
‰j
œ
.œ
J
œ œ
œ
œ
∑
∑
∑
∑
∑
∑
‰j
œ
.œ
J
œ ˙
æ
∑
∑
Œ
6
œœ
œœ
œ œ œ
Ó
‰
3
œ
œ
œ œ
Ó
Ó Œ
œ
‰j
œ
>
3
œ œ œ
‰ ‰j
œ
Œ
œ
Œ
w
œ
œ
#
j
œ œ
j
œ# œ ˙#
J
œ#œ
J
œ# œ .œ
J
œ
œ#
.˙ œ
œ#
F
F
1.
P
switch to Bb cl.
P
P
2.
Vibra.
P
P
p
arco
arco div.
div.
F
F
1.
D = Fs b E = G
p
.œ
j
œ
œœ
œœ œ œ
.œ ‰ Œ
3
≈ ≈
œ œ
œ
œœ#
œ œœ œ
6
œ œ œ œ œ œ
J
œ ‰
6
œ
œ#
œ
œœ œ
Œ Œ
œ œ œ œ
3
œ# œ# œ
œ#
6
œn œ œ œ
œ
œ
3
œœ œ œ
3
œ# œ œ œ
3
œ œ œ# œ œ œ
3
œ œ œ
J
œ .œ Ó&
Ó Œ
3
œ# œ œ
∑
∑
∑
∑
Ó
3
œ œ# œ œ œ
œ
∑
Ó ‰J
œ
œ
œ
œ
∑
Œ ‰
3
≈ ≈R
œ
6
œ œ œ
œ
œ#
œ
6
œœ
œ
œ œ œ
&
Œ ‰
3
œ#œ œ
Ó
3
œ œ# œ œ œ
.œ
3
œ œ œ# œ œ# œ
œ
œ
˙
˙..
˙˙#
œœ
.œ
j
œ ˙
.œ
J
œ œ# œ# œ
œ
.œ
J
œ
‰ J
œ œ
œ
F
F
p
a2
1. 2.
F
P
x
F P
p
p
div.
unis.
unis.
˙
˙
˙
˙
œ
œ#
œ#
œ
œ#Œ
œ
Œ
6
œ#œn œn œ#
œ
œn
7
œ#œ œ
œ œn œn œœ
∑
6
œ#œ œn œ œ œ
6
œ#œ œ
œœ
œ
3
œ#œ œ
œ#.
Œ
œ œ
3
œ#œ œn œ#
œ
Ó
˙#
œ
3
œ œ œ# œ œ ˙
∑
∑
∑
∑
J
œ
3
œ# œ œ
J
œ
J
œ
3
œ œ œ
J
œ
œ
∑
˙
˙
‰
3
œ#œ
œ
r
œ≈ ‰
∑
6
œ
œ
œ œ œ œ
Œ ‰
3
≈ ≈ r
œ
7
œ#œ œ
œ œ œ œ
œ
œ
#
‰
3
œœ œ
Œ&
J
œ#
3
œ
œ œ
J
œ œ œ
œ
J
œ
œ œ#
J
œ .œJ
œ#
œœ œœ œœ#
˙
˙n
œœ# .œ
j
œ
œ
œ
˙
˙
# œ
œ
n œœ
#
œ
œ˙œ
œ˙ œ
6
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
&
&
&
B
?
?
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
F
PF
F
P
1. Harmon & 2. Ord.2.
P
1.
P
D# C#
f
div. unis.
Ff
div.
P
unis.
p
27
œ
Œ
Œ ≈œ# œ œ œ œ œ
œ
œ œ
œ œ# œ œ
7
œœn œ
œ# œ œ œ œ œ œ œ œ œ# œ œ œ
J
œ
‰
œ œ
j
œ
‰ Œ
6
œ œ# œ# œ œ œ#
‰
J
œ œ œ œ
5
œ œ œ œ œ
6
œ#œ œ œ œ œ
6
œœ
œ
œœ œ
6
œ œ œ
œ
œ
œ
3
œœ œ
‰
œ
‰
3
œ#œ œ œn
œ
3
œ œ œ
Ó
3
œ œ# œ œ œ
?
˙
3
œ œ# œ œ œ
Ó
3
œ œ# œ œ œ
∑
∑
∑
3
œ œ œ
J
œ
‰
3
œ œ# œ œ
∑
∑
∑
7
œœ œ
œ# œ œ œ
œ œ
œ Œ
∑?
J
œ
œ
3
œ œ œ
3
œ œ# œ œ
œ œ œ œ œ#
˙˙
3
œ œ œ#
œ
œ
˙
˙
.˙# œ
.œ
j
œ ˙
.
.
œ
œ
J
œ œ# œ#œ
œ
.˙
œ
œ
F
a2
F
1.
P
4.
harmon1.
F
F
div.unis.
unis.
div.
œ
œ œ# œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ
œ
‰
œ œ# œ œ œ œ œ œ œ#
J
œ‰
œ Œ ‰
3
œ# œ# œ
6
œ œ œ
œ œ œ#
˙#
6
œ#œ œ#
œœ
œ
6
œœ
œœ
œœ
œœ#
œœ
#
œ#
Œ
6
œ#œ
œ œ œ# œ
6
œœ
œ
œœ
œ
6
œ#œ œ#
œœ
œœ#
œœ
œ
œ# œœ#
œ
œ# œœ#
œ
œ# œ œn œ#
œ# œœ#
œ
∑
∑
∑
J
œ
3
œ#
œ œ
J
œ
J
œ
3
œ# œ œ
J
œ
∑
∑
∑&
Œ ‰
3
œ#œ
œ
6
≈
œ
œ œœ
œ
Œ ‰
3
œ#œ œ#
6
œœ œ
œœ œ
œ
&
œ
œ#
3
œ
œ
œ
œœ
œ
3
œ
œ
n
#œ
œœ
œ
œ
œ
#
œ
œ#œ ˙
.œ#
J
œ ˙
˙ œ
œ œ
œ œ œ œ œ
œ
œœ
œ
#
#
.
.
œ
œ
j
œ
.˙ œ
œœ
#
œ
œœ
œ
œ œ#
less motion, slower
less motion, slower
D n Fn Gs
P
P
P
F
f
f
f
f
f
F
F
F
F
f
f
f
f
f
B
B
{e = e}œ
Π.
œ
Π.
˙
˙n
J
œ
œ
.œ# œ
.œ#
Œ
.œ Œ&
.œŒ
.œ Œ
.œ
Œ
∑
∑
j
œ
œ
œ
‰ Œ .
∑
.
.
œ
œ
œ
œ
œ ‰ Œ?
œ
‰ Œ
œ
‰ Œ?
œ
œ
‰ Œ
œj
œ œ œ
.
.
œ
œ#
œ
œ#
œ
j
œ œ
œ
œ
#
J
œ
œ œ# œn
.œ Œ
7
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
div.
P F
f
div.
F
div.unis.
P
P
sul G
{e = e}30
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙
˙Œ Ó
∑
Œ ‰j
œ
Œ Ó
∑
‰
j
œ œœ
˙
˙
œ
œ
3
œ œ œ
œ
œ
3
œ œ œ œ œœ
œ
œ˙ œ œ
œ œ
J
œ ‰ Œ
œ
.œ
j
œœ
n ˙
.œ
J
œn .˙
œ œ
œ
œ
œ
œ
œ
œ
œ œ
a little faster
a little faster
F
F
1.
p
p
unis.
F
Œ
3
œ œ œ
3
œ œ œ
Œ Œ
6
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.
.
œ
œ
J
œœ
œœ
œœ
œœ
œœ
œœ
3
œœ
œ
œ
œœ
œ ˙
.
.˙˙
.œ
j
œ œ
p
div.
J
œ
3
œ œ œ
3
œ œ œ
œ œ œ œ
Œ
6
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
œ
œ
œ œ
˙
˙
œ œ
6
œ œ œ œ œ œ
œ œ
œœ œ
˙
p
p
unis.
P
{e = e}3
œ œ œ ‰
j
œ
Œ
J
œ
6
œ œ œ œ œ œ
J
œ
œ.
3
œ œ œ
J
œ
∑
∑
∑
∑
∑
∑
∑
∑
ŒJ
œ>
∑
∑
∑
œ œ
J
œ
∑
œ
j
œ
œœ œ œ œ
J
œ
œ œ œ œ œ
œ
œ
J
œ
œ
œ
J
œ
œ
.œ
F
F
F
F
p
unis.
{e = e}
6
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
#
#
œ
œ
œ
œ
6
œœ œ# œ œ œ œ#
œ≈
3
œ œ# œ œ
Œ
Œ œ
∑
∑
∑
∑
∑
∑
Œ
œ>
∑
∑
∑
œ œ œ œ# œ œ
∑
œœ
œœ œ œ# œ œ
œ œ œ œ œ œ
j
œ ‰
œ
œ
œ
œ
œ
œ
œ
˙
8
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
(√)
less motion, slower
less motion, slower
P
3.
P
l.v.
P
P
35œ
j
œ‰ ‰
j
œ œ
œ
J
œ
3
œ œ
œ# J
œ œ
œ
Œ Ó
œ
Œ Ó
Ó
˙
œ œ œ œ œ# œ
Œ ‰ j
œ œ œ# œ
∑
∑
∑
∑
∑
œ
œ
œ
œÓ
∑
∑
∑
œ
Œ Ó
∑
œ
J
œ
3
œ œ
œ# J
œ œ
wæ
w
w#
œ
œ
œ
œ
˙# œ
œ
Ó
œ œ
2nd 1/2div.
p
P
p
p
j
J
œ
‰ Œ Œ
∑
∑
.œ
j
œ
œ
œ
Œ Œ
œ
Œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙
œ
.˙æ
.
.
˙
˙
œ ˙
˙
œ
Œ
œ
œ
1.
l.v.
P
Œ
˙
∑
∑
œ
Œ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ
˙
∑
œ
˙o
.˙æ
.
.
˙
˙
˙ œ œ.˙
œ ˙
q»∞º
q»∞º
Melancholy
Melancholy
Tam-tam
π F
w/ soft malletsl.v.
p F
p F
◊
P
C
C
p
p
˙
Ó Œ .
∑
∑
∑B
∑
∑?
∑
∑
∑
∑
Œ
.˙æ œ
æ ‰
∑
∑
∑
Œ ‰
œ
œœ
6
œ œ œ œœ#
œ
3
œœ
œœ œ
œœ
6
œ# œ œ œœ
œ
3
œœ
œ
∑
∑
w .œ
.˙æ
j
œ‰ Œ ‰
w
w
.
.
œ
œ
.
.˙˙
J
œœ
‰ Œ ‰
Œ ‰
œ œ
6
œ œ œ œœ#
œ
3
œœ œ œ
œ
6
œ# œ œ œœ
œ ‰
œ
J
œ ‰
3
œœ œ
9
&
&
&
B
&
?
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
√
p P
p
p
p
p
F
P p
pizz.
F
p
P p
p
p
p
39
∑
∑
‰
3
œ# œ œ
6
œœ#
œ
œœ œ
6
œ œ œ œ œ œ
Œ Œ œ
Œ Œ
3‰
œ œ
3≈ ≈
œ œ ˙
∑
∑
3≈ ≈
œ œ ˙
∑
∑
Œ Œ ‰
3
œ
œ# œ
∑
∑?
6
œ#œ
œœ œ# œ œ
6
œœ
œ
œœ
œœ
6
œ œ œ œ œ œ
∑
∑
.˙
Œ Œ ‰ j
œ
.˙
˙ œ
3
œ œ# œ
Œ Œ ‰ J
œ
3
œ œ œ
6
œ#œ
œ œ# œ œ
6
œœ
œ
œœ œ
3
œ œ œ
p
F
f
pizz.
div.
F
p
p
p
‰
J
œœn
œœ
J
œœ
∑
6
œ#œ
œ œ# œ œ
6
œœ
œ
œœ œ
6
œœ
œ œ œ œ
œn .œ j
œ
œ œ# ˙
j
œ‰ Œ Œ
&
∑
∑
j
œ‰ Œ Œ
∑
∑
3
œ#œ
œœ
œœn
œœ
œœ
œœ œ
œ
∑
Œ Œ
6
œ#œ
œœ œ# œ œ
6
œ#œ
œœ œ# œ œ
6
œœ
œ
œœ
œœ
Œ
∑
∑
Œ Œ ‰
J
œ
‰
J
œ Œ ‰
J
œ
œ ˙
3
œ#œ œ œ ˙
œ .œ
J
œ
œ
6
œ#œ
œ œ# œ œ
6
œœ
œ
œœ œ
6
œœ
œ œ œ œ
F
p
P
P
F P
2nd 1/2
1st 1/2
P
1.
Œœn œ œn œ œ
J
œ
‰
˙n œ œ
6
œœ#
œ
œœ
œ
Œ Œ
œ
œ
œ œ œ
3
œ œ œn œ# œ œ
∑
∑
∑
∑
∑
∑
œœ
3
œ#œ
œœ
œœ
‰
3
œ œ
œœ
∑
J
œ
‰
6
œœ#
œn
œœ
œ
Œ&
6
œœ#
œ
œœ
œœ
6
œœ#
œ
œœ
œœ
6
œ œ œ# œ œ œ
∑
∑
Œ ‰ j
œ
‰
j
œ
Œ ‰ j
œ
‰ j
œ
œ
œ
œ
œ
œ
œ
œn
œ#
œ œ œ
œ œ œ œ
6
œœ#
œ
œœ œ
6
œœ
œ
œœ
œ
6
œ œ œ# œ œ œ
F
F
P
F
P
F
f
F
div.
P
pizz. arco
unis.
unis.
P
{e = e}
‰
j
œ
œ œ œ œ œ œ œ œ œ œ
Œ Œ
œ œ œ œ
œ
3
œ œ œn
6
œ œ œ œ œ œ
J
œ
œ
œ
j
œ ‰
‰œ œ œ œ
œ œ œœ
œ
œ
3
œ œ œn
6
œ œ œ œ œ œ
j
œ
Œ
6
œ œ œ# œ œ œ
j
œn
∑
∑
∑
∑
∑
œœn œ
œ œœ
œœ
œœœœ
∑
Œ ‰
œœ œ
œ
Œ ‰œ
œ
6
œ œ œ#
œ œ œn
6
œ œ
œ œ œ œ
.œ
œ
‰
‰ J
œ œœ œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
‰
œ
œn
˙
˙
J
œ
œ
J
œ
3
œ œ œn
6
œ œ œ œ œ œ
3
œ
œ œ
œ
‰ ‰
3
œ œ œ
10
&
&
&
B
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
F
F
F
P
F P
Fs p
F
F
{e = e}43
˙# ≈
œ œ˙#
œ
‰
J
œ œ œœn
œ
˙#
Œ
6
œ#œ œ œ# œ œ
6
œœ
œ
œœ œ
6
œœ
œ œ œ œ
œ œ .œ j
œ
?
j
œ
3
œ# œ œ
j
œ# œ
œn
j
œ
‰ Œ ‰ j
œ
∑
∑
∑
∑
∑
3
œ#
.
°
œ
œœ
*
œœ
œœ
œœ
œœ œ
œ
∑
j
œœ
‰ Œ Œ
˙#Œ
&
Œ ‰
3≈ ≈ r
œ
6
œ#œ
œ
œ# œ œ?
J
œ
‰ ‰
3
œ#œ œ
˙#
œ
œ œ
3
œ œ œ œ
œ œ œ
3
œ œ œ œ
œ
œ
œ
œ
˙
˙
J
œ
‰ Œ Œ
J
œ
‰ Œ œœ
P
P
FnPCn
unis.
P
œ œ
J
œ
‰ Œ
˙ œ œ
Œ ‰
j
œ œ œ
Ó .
˙ œ
œ
6
œœ#
œ
œœ œ
6
œœ
œ
œœ
œ
6
œ œ œ œ œ œ
œ
J
œ‰ Œ
œ
j
œ
‰ Œ
∑
∑
∑
∑
∑
œœ
3
œ#œ
œœ
œœ
‰
3
œ œ
œœ
∑
Œ Œ
6
œ œ œ# œ œ œ
Œ
6
œœ#
œ
œœ
œœ Œ
?
6
œ
œ#
œ
œ
œn œ
3
œœ
œœ
&
‰
3
œ œ œ
&
œ œ œœ
œ
œ œ
J
œ
3
œœ
œ
J
œ
œ
œ
œ
œ
œ
œ
Œ Œ
6
œ œ œ# œ œ œ
∑
F
F
arco
∑
œ
Œ Œ
œ œ œŒ
6
œ œ œn œ œ œ
j
œ
‰ Œ Œ
J
œ
œ
J
œ
œ
∑
∑
∑
∑
∑
∑
∑
œœ œ
œ œœ
œœ œ
œ
œœ
∑
Œ
6
œ œ œ œn œ
œœ
>
Œ
∑
6œ œ œ
œ œ œn
6
œ œ œ
œ œ œ
>
Œ
?
œœ
œ
œ
œœ œ œ
œ
˙
˙
œ
œ
˙
6
œ œ œ œ œ œn
Œ Œ œ
f
f
f
f
f
f
F
F
f
div.
unis.
F
1.
1.
œ
œ .œ
œ œ œ œ
œ
œ .œ
‰
Œ Œ
œ
‰
j
œ œœ
œn œ
J
œ‰
œ œ œœ
∑
∑
∑
∑
∑
∑
œœ
œœ
œ
œœ
œ
œœ
∑
Œœœ
œ
œœ
œ
œœ
ΠJ
œœ
‰ Œ
‰
3
œ œ œ
Œ ‰
Œ
3
œ œ œ
‰ ‰J
œ
œ
œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ œ œ œ œ œ.
˙
˙Œ
œ œ
J
œ
‰
œ œ
J
œ
‰
11
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
Plaintenly
Plaintenly
pizz.
arcounis.
F
f
unis.
F
F
1.
47
˙.œ
.œ
˙ .œ.œ
˙ ˙œ
˙ ˙ œœ
˙ Ó .
∑
∑
∑
∑
∑
∑
œœœ Œ Ó .
∑
∑
∑
˙
˙ Ó .
∑
‰
3
œ œ œ
Œ Œ
œœ
œ œœ.
≈ Œ
Ó Œ
6
œ œ œ œ œ œ
Œ
6
œ.
œ. œ
.œ. œ
.œ.
Œ ‰ œœ
œ œœ
œœ œ
œ.
≈ Œ&
6
œ.
œ.
œ.
œ.
œ.
œ.
Œœ
œ
œœ
œœ
œœ
œœ œ
.
‰ Œ
∑
P
P
P
F
F
P
Metal Windchimes l.v.
F
P
F
F
p
pizz.
œ œ œ œ .œ.œ
œ œ œ œ .œ .œ
œ œ œ œ œ ˙
œ œ œ œ œ ˙
∑
∑
∑
∑
∑
.˙
Ó
∑&
œ œ œ œ œœ˙
˙˙
˙
∑
Ó Œ Œ ‰ 3
œ œ œ
∑&
∑
∑
Œ
6
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
6
œ
.
œ
.œ
.
œ
.
œb
.œ
.
‰J
œ.
Œ
Œ
6
œ
.
œ
.
œ
.
œ
.
œ
.
œ
.
6
œ
.œ
.œ
.œ
.œ#
.
œ
.
‰ R
œ.
≈ Œ
Ó ‰
œ
œœ
œœ œ
œœ
œ.
ŠΠB
Ó
œ
œ
œœ
œ
œ
≈ Œ Œ
ÓJ
œ
‰ Œ Œ
arco
arco
arco
arco
Glockenspiel
Vibra.
P
div.
P
div.
P
div.
P
F
p
p
p
p
P
arco
P
P
‰j
œ
j
œ‰ Ó
œ œ œ œ œ
œ œ
œ œ œ œ œ
œ œ
˙ œ
œ>
˙ œ
œ
œ
>
∑
∑
∑
∑
∑
∑
Ó Œ
6
œ œ œ œ œ œ
˙˙
Œ
6
œ
œ œ œ œ œ
∑
6
œ œ œ œ œ œ
6
œ œ œ œ œ œ
6
œ œ œ œ œ œ
6
œ œ œ œ œ œœ
Œ
6
œ œ œ œ œ œ
6
œ œ œ œ œ œ
6
œ
œ œ œ œ œ
Ó
6
œ œ œ œ œ œ
6
œ œ œ œ œ œœ
∑
Ó Œ
6
œ
œ
œœ œ
œ
œ
œ
œ
œ
œœ
œ
Œ
6
œ œœ œ
œ
œ
œ
œ
œ
œ
œ
6
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
6
œ
œ
œœ œ
œ
œ
œ
œ
œ
œœ
œ
6
œ œ œ œ œ œ
6
œ œœ œ
œ
œ
œ
œ
œ
œ
œ
6
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
6
œ
œ
œœ œ
œ
œ
œ
œ
œ
œœ
œ
6
œ œ œ œ œ œ
6
œ œœ œ
œ
œ
œ
œ
œ
œ
œ
6
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
6
œ
œ
œœ œ
œ
œ
œ
œ
œ
œœ
œ
œ
œœ
œ
f
f
f
f
f
f
f
f
a2
f
a2
fstraight mute
a3
f
Tom-Toms China Cymbal
f
f
f
f
Fs Cs Gsf
f
l.v.
{e = e}
‰
3
œ
œ
# œœ œ
œ
œ
œ#
œ
œ
œœ
œœ
Œ
‰
3
œ
œ
# œœ œ
œ
œ
œ#
œ
œ
œ
œ
œ
œŒ
‰
3
œ
œ
# œœ œ
œ
œ
œ#
œ
œ
œ
œ
œ
œ
Œ
‰
œ
œ
Œ
‰
3
œ
œ
# œœ œ
œ
œ
œ#
œ
œ
œ
œ
œ
œ
Œ
Œœ
œ#
œ
œ
œ
œ
œ
œ
Œ
‰
3
œ
œ
# œœ œ
œ
œ
œ#
œ
œ
œœ
œ
œœ
œ
Œ
∑
∑
‰
3
œ œœ œ
œ œ œ
‹
œ‰
‰ 3
œ œ œ œ œ œ# œ
Œ
‰
3
œ
œ# œ œ œ# œ œ
Œ
∑
‰
3
œ
œ
# œœ œ
œ
œ œ œœ
œœ
Œ
‰
3
œ
œ œ
œ# œ œ œŒ
?
‰
3
œ
œ
# œœ œ
œ
œ œ œ œœ
Œ
∑
‰
3
œ
œ
#≥ œ
œ œœ
œ
œ#
œ
œ
œœ
œ
œœ
œ
Œ
‰
3
œ
œ
#≥
œœ œ
œ
œ
œ#
œ
œ
œœ
œ
œœ
œŒ
‰
3
œ
œ
#≥ œ
œ œœ
œ
œ#
œ
œ
œœ
œ
œœ
œŒ
&B
‰
3
œ
œ
#
≥œœ œ
œ
œ
œ#
œ
œ
œœ
œ
œœ
œ ŒB
‰
3
ϳ
œ œ œ# œ œ œ
Œ
12
&
&
&
?
&
&
&
?
?
÷
&
&
?
&
?
&
?
&
&
B
B
?
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
~~
~~
~~
√
p
p
p
p
P
P
Suddenly Tranquil
Suddenly Tranquil
straight mute
P
P
FDs P
F
unis.
P
unis.
unis.
pizz.
P
D
D
P
P
P
P
1.
1.
p
{e = e}
1 & 2
51˙#
˙#
œw
Œ
.
.
˙
˙
#
#
˙
˙
.˙ ˙
.˙# ˙
˙
˙
# œ
œ#
œ
œ
˙
˙
˙
˙
#
#
œ
œ
# œ
œ
˙
˙
Œ
˙˙˙
#
#
œœœ
##
œœœ
œœœ
.
.
˙
˙
#
# Ó
∑
∑
∑
˙
˙
#
#
˙˙
˙˙
##
Œ
˙# Ó .
˙#
Ó .
˙
˙
#
#
Ó .
˙#
‰
3
œ# œ œœ œ œ œ
.œ#
œ
˙# Œœ# œ# œ œ#
j
œ
‰&
?
˙#
˙
˙
# œ
œ
#
w# œ
w œ
w# œ
œ#
œ# œ#
Ó
P
div.
P
P
P
1.
p
p
F
F
l.v.
.˙ .œ
.
.
˙
˙
# .
.
œ
œ
.˙# .œ
∑
œ
œ
œ
œ
# œ
œ
œ
œ#
œ
œ
œ
œ
j
œ
œ
#
#
œ
œ
œ
œ
#
#
œ
œ
œ
œ
# œ
œ
œ
œ
j
œ
œ
œœœ
##
œœœ
#
#
œœœ
œœœ
œœœ
œœœ
J
œœœ
∑
∑
∑
∑
‰
j
œ
œ
#
#
œ
œ
#
#
œ
œ
>
Π.
.˙
Π.
Œ Œ
œ
œ
œ
#
#
.
.
.
œ
œ
œ
∑
Œ Œœ#
Π.
œ œ# ˙
‰
j
œ# ˙ Œ .
˙#
œ#
j
œ œ
.˙
J
œ# œ#
.˙
j
œ# œ
.˙#
J
œ œ
.˙#
J
œ œ
.˙
J
œ œ
‰ J
œ# œ
ΠΠ.
1.
Bamboo Windchimes w/ hand
F
Cs = Cn b B = Gs
Dn
F
P
p
l.v.
p
p
p
p
œ œœ
#>
˙˙
œ
œ
œ>
˙
œ œ#
>
˙n
Œ
œ>
˙
˙
˙#
˙
˙
˙
˙
˙
˙
www
#
∑
∑
.˙
æ Œ
∑
∑
∑
Œ œ œ
3
œ# œ# œ
3
œ# œ# œ œ œ# œ#.œ
>
∑
œ œ
3
œ# œ# œ
3
œ# œ# œ
œ œ# œ# .œ
œ#>
&
?
œ
œ œ˙ œ œ#
.˙ œœ œ ˙
œ œ# ˙n
œ œn ˙
∑
P
Cn Fn Gn
.
.˙˙#
œ
œ
#
#
.˙# œ#
.˙ œ
.˙# œ#
œ
œ
# œ
œ#
˙
˙
œ
œ
#
#
œœ
# œœ
˙˙ œn
∑
Ó Œ
œ
∑
∑
∑
∑
∑
∑
∑
˙n>
œ#
Œ
∑
˙
˙
n
#
˙
˙
.˙# œ
>
.˙ œn
w#
∑
13
&
&
&
?
&
&
&
?
?
÷
&
&
?
&
?
&
?
&
&
B
B
?
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
~~
~~
~~
~~
~~
~
allargando
allargando
Suddenly Passionate
Suddenly Passionate
F
F
F
F
F
F
F
F
F
F
F
F
div.
55˙ œn .
j
œ
≈
.˙
.
J
œ
.˙ .
J
œ ≈
˙
R
œ ‰ . Œ
.˙ .
J
œ
≈
.
.˙
˙
# ..
j
œ
œ
≈
.˙ .
j
œ
≈
˙>
œœ
>..
J
œœ≈
.˙#
>
.
j
œ
≈
.˙ .
J
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙æ
œ
>
æ.
j
Ͼ
≈
.˙
æ
.
J
œ
æ
.˙
>
æ..
j
œœ
>
æ
≈.˙
æ J
œ
æ
œn ˙#>
æ
.
.
J
œœn
æ≈
.˙#
>
æ
.
J
œ
æ ≈
∑
q»¢¢
q»¢¢
tranquil, gentle, clear
tranquil, gentle, clear
p
p
p
p
p
p
p
unis.
unis.
E
E
Glock.
1.˙
œ œ œ
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
ww
>
Œ
∑ ÷
∑
∑
∑
˙
˙ œn>
∑
˙˙
˙
˙
œ
œ
w œ
w œ
w œ
∑
p
p
2.
p
Tri.
Suspended Cymbal
π P
F
div.
w>
œ
w œ
w œ
∑
˙
j
œ
‰ Ó
∑
∑
∑
∑
Ó Œ
‹
Œ
ww
Œ
w
æŒ
∑
Œ Œ ‰ J
œ
œ
œ
°
˙
˙
˙
*
∑
˙ œ
œ
œ
œ
œ
Œ
∑
˙
˙
œ
œ
œ
œ
>œ
œœ
œ
.˙ œ œ œ˙ œ œ
>
J
œ œ
J
œ
˙ œ œ>
J
œ œ
J
œ
˙ œ œ>
J
œ œ
J
œ
?
∑
π
unis.
div.
˙
˙
˙
˙
˙ ˙
˙ ˙b
∑
∑
∑
∑
∑
∑
∑
∑
w
æ
∑
∑
∑
Ó Œ
œ
∑
œ
œ œ œ˙ œ œ
.˙ œ
˙ ˙
˙ ˙b
˙ ˙
˙
∑
p
F
Crotales l.v.
p
Fs
arco
p
˙
˙ œœ
.
.
œ
œ
˙ œ .œ
˙ œ .œn
∑
∑
∑
∑
∑
∑
‹>
ΠΠΠ.
Ó Œ
.
.
œ
œ
∑&
∑
∑
∑
˙n
ΠΠ.
∑
˙ œ .œ
˙ œ .œ
.˙
.œ
.˙ .œn
w
w
J
œ
œ
Ó
œ.œ
div.
.
.
œ
œ
J
œ
œ
˙
˙
b
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ ˙
˙
b
n
˙
˙ Ó
˙
Ó
w
w
˙˙
p
p
F
P
div. unis.
p
1.
.
.
˙
˙œ
œ
wb
.˙b œ
w
∑
.˙b œ
∑
∑
∑
∑
∑
∑
∑
∑
.
.
.
˙˙
˙
b
b Œ
w
w
b
∑
Ó Œ ‰œ#
œ
˙
˙
˙˙b
wwb
w
.
.
˙
˙b œ
˙
˙
b
b
Œ œ
14
&
&
&
?
&
&
&
?
?
÷
&
&
?
&
?
&
?
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
P
P
p
Bf Ef Fn
P
62.
.
˙
˙
>
.˙b
.˙
.˙
.˙b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
3
œ
œ# œœ
r
œ
‰ . Œ
œ
3
œ œ
≈ ≈
œ œœ#
J
œ‰
.
.
.
˙
˙
˙
.
.˙˙
˙ œœb
œœ
œ ˙
œ ˙n
.˙
P
P
p
P
unis.
div a 3
unis.
2.
π
p
p
π
π
π
π
p
p
p
.
.
˙
˙
.˙
.˙
.˙
.˙b
>
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙
˙
b
b
>
œ
œ
Œ ‰
3
œb œ œ œb œn
œ œ
œb
œb œ œn œ
œ
œœ
˙˙
œ
˙
6
œœb
œœ
œœ
6
œœ
œ œ œœ
œ œ œ œ
&
˙
˙
˙
b
b
œ
œ
œ
.
.
˙
˙
b
b
F
F
unis.
L.H.
p
p
∑
.˙b .œ
.˙ .œ
∑
∑
∑
∑
∑
∑
∑
∑ ÷
∑
∑
∑
˙
˙
ΠΠ.
3
œb œ œ œb œ
j
œ
.
‰ Œ Œ .
∑
∑
∑
3
œb œ œ œb œ œ œ œ .œ
.˙ .œ
œ
œ
œ
œ
œ
œ
œ
œ
.
.
œ
œ
œ
œ
œ
œ
œ œ .œ
π
π
B.D.
P
(w/ bass drum)
P
P
pizz.div.
P
solo
unis.div.
pizz. arco pizz.div a 4
P
l.v.
π p
F
P
‰
j
œœb
˙˙
.˙
Œ
.˙Œ
∑
∑
∑
∑
∑
∑
‰ j
œ
Œ Œ ‰ j
œ
Ó Œ ‰j
œ
∑
‰j
œ œ .œ
j
œ
∑
∑
Œ
.˙
Œ..
˙˙
Œ
œœ
Ó
Ó ‰J
œ œ
˙
˙ ˙B
w
w
w
œ
œœ
œœ
œœ
œœ
.
.
.
.
œœ
œœ
J
œœ
œœ
l.v.
l.v.
l.v.
p
arco
π
π
.
.˙˙
∑
.
.˙˙b
∑
∑
∑
∑
∑
∑
.˙
>
.˙
>
∑
.˙
>
∑
∑
∑
∑
∑
œ#>
œ œ œ
.˙
.
.
.
˙
˙
˙
.
.
.
.
˙˙
˙˙
15
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
ritardando
ritardando
tutti
P
unis.
p π
F
arco
67
∑
∑
ww
j
œœ
‰
∑
∑
∑
∑
∑
∑
∑
∑&
∑
∑
∑
∑
Ó Œ ‰
j
œ
œ
œ
Ó ‰
3
œ
œ
œ
J
œ
Œ
ww
‰
j
J
œ
.œ
J
œ#˙
‰ J
œ
w œ
w
w
w
œ
œ
wŒ
.
.
.
.
˙˙
˙˙
˙
Crotales
p
p
l.v.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰
j
œ Œ Œ
∑
∑
∑
∑
œ œ>
˙
∑
œ
œ
œ
˙
˙
.˙
.˙
.
.
˙
˙
.˙
Tom-Toms
ƒ
Brusquely, abruptly
U
U
U
U
U
U
U
U
U
p
p
p
U
U
U
U
U
U
U
U
U
U
U
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰
3
œ œ
® ≈ Œ
∑ ÷
∑
∑
∑
∑
˙
∑
˙
˙
˙
∑
˙
˙
j
œ
‰ Œ
q»¡™º
q»¡™º
Fast
Fast
Af
f
f
f
f
F
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ
Œ ‰
j
œœ œ
‰
∑
∑
∑
∑
∑
∑
∑
w
w
æ
w
æ
∑
w
w
æ
wæ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ Œ ‰ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
.
.
˙
˙
æ
.˙
æ
∑
.
.
˙
˙
æ
.˙æ
16
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
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
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
Crash Cym.
f
p
p
p
p
(always let ring)
72
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ
.
.
‹
œ
‰ .
r
œœ œ œ
œ
∑
∑
∑
∑
∑
∑
∑
.
.
˙
˙
æ
.˙
æ
∑
.
.
˙
˙
æ
.˙æ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œ œ
œ œ œ œ œ œ
‹
œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó
œ œ œ œ
‰ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
f
China Cym.(always let ring)
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ
j
œ
‰ ‰
œ œ
‹ ‹ ‹ .‹
J
‹>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ
‰ ≈ œ œ œ œ œ
‰J
‹
‰J
‹
≈R
‹>
‰ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
17
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
Martial, War-like
Martial, War-like
f
martial, war-like
f
Crash Cym.
sim.
(always let ring)
77
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ
>
œ
>
œ œ œ œ œ
>
œ
>
œ
>
œ
‹ ‹ ‹ ‹
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ
>
œ œ œ œ œ œ
>
œ œ œ œ œ
œ
>
œ
‹ ‹ ‹ ‹
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
>
œ œ œ œ œ œ
>
œ œ
>
œ œ œ œ
>
œ
‹ ‹ ‹ ‹
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
a2
a2
boldly
boldly
G
G
ß
ß
p
p
f
f
∑
∑
∑
∑
w#
w#
∑
∑
∑
œ œ œ
>
œ
>
œ œ œ œ œ œ œ œ
>
œ
>
œ
>
œ œ œ
‹ ‹ ‹ ‹
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
18
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
ß
ß
p
p
f
f
81
∑
∑
∑
∑
w#
w#
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
‹ ‹ ‹ ‹
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
1. boldly
f
∑
∑
∑
∑
w
Ó .œ#
>
w
∑
Ó Œ
œ#>
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‹ .‹ ‹ ‹ ‹
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
f
f
mute off1.
pizz.unis.
pizz.
f
l.v.
l.v.
∑
∑
∑
∑
wn
>
w
w
ÓŒ œ#
>
wn
>
w
∑
œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ
‹ ‹ ‹ ‹
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ
œ#
Ó Œ
œ#
F
F
pizz.unis.
pizz.
pizz.
F
∑
∑
∑
∑
Ó
Œ
œ#
>˙
w
œŒ Ó
.˙
Œ
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‹ ‹ ‹ ‹
∑
∑
∑
∑
∑
∑
œ# œ œ œ
œ# œ œ œ
œ# œ œ œ
∑
∑
19
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
poco a poco accel.
poco a poco accel.
85
∑
∑
∑
∑
.˙ œ
w#
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‹ ‹ ‹ ‹ .‹
∑
∑
∑
∑
∑
∑
œ œ#
>
œ œn œ#
œ œ#
>
œ œn œ#
œ# œ
>
œ œn œ#
∑
∑
F
F
f
2 & 3
f
1 & 2
∑
∑
∑
∑
wÓ
˙#
w#
Ó Œ œ
œ
n
n
Ó
˙#
∑
œ œ œ œ œ œ œ œ œ œœ
œ œ œ œ œ
‹ ‹ .‹ ‹ ‹
∑
∑
∑
∑
∑
∑
œ# œ œœ
>
œ#
œ# œ œœ
>
œ#
œ# œ œ
œ
>
Œ
Ó œ# œ
Ó Œ
œ#
f
∑
∑
∑
∑
˙ ˙
w
˙# ˙#
˙
˙
˙
˙
#
œ .
.
˙
˙
#
#
Œ
.˙#
œ œ œ œ œ œ œ œ œ œ œ œœ
œ œ œ
‹ ‹ ‹ ‹
∑
∑
∑
∑
∑
∑
œ œ œœ
>œ
œ œ œœ
>œ
œ œ œœ
>œ
Ó œ ‰
J
œ
∑
F
F
f
f
a3
f
Ff
Ff
f
f
∑
∑
∑
∑
w
Ó Œœ
w
ӌ
œ#
ww
w
.
.
˙
˙
œ
œ
#
.˙ œ
œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ
‹ ‹ ‹ .‹ ‹
∑
∑
∑
∑
∑
∑
‰
j
œœ
‰
j
œb œn
œ
‰
j
œœ
‰
j
œb œn
œ
‰j
œœ
‰ J
œb œn
œ
Œ
œ
Ó
Œ œ Ó
20
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
agitated
agitated
agitated
f
f
F
F
F
F
f
f
1.89
Œ
œ
œ
œb
œŒ
œ
œ
œ
œ
Ó Œ
œœb
œ œ
Œ ‰ œb
œ
Ó
∑
w
w
w#
w
ww
w
#
w
w
w
œ œ œ œ œ œ œ œ œ œ œœ
œ œ œ œ
‹ ‹ ‹ ‹
∑
∑
∑
∑&
∑
∑&
‰ j
œ
œb œn
œ œ
Œ
‰ j
œ
œb œn
œ œ
Œ
‰
J
œ
œb œn
œ
œŒ
Ó
œ œ
Œ
∑
f
f
f
f
f
f
f
arco
arco
arco
arco
f
f
f
f
F
F
F
F
f
f
f
fF
Œ
œ
œ
œ
œœ
œn
œ
œŒ ‰ ‰
œœn
œœ
œœ
œœ
Œ ≈
œnœn
œŒ ‰ ‰
œœ
œ œ
Œ
œ œ
œn
œ
Œ ‰
œ œ#
œœ#
‰
∑
œœ œ œ .œ
w
˙# œ
œ .œ
w
œœ
œ
œœœ
#œœœ
#
œœœ
.
.
.
œœœ
œ
œ
˙
˙
œ
œ
J
œ
œ#
œ ˙ œ
j
œ#
œ œ œ œ œ œ œ œ œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
œ œ œ œ
‹
œ
‹ ‹ ‹ .‹
∑
∑
Ó . ‰ ‰ J
œ
œb
˘
Ó . ‰ ‰
J
œ
˘
?
Ó . ‰ ‰ J
œ
œb
˘
Ó . ‰ ‰
J
œ
˘
?
‰ j
œ
œb œn
œ œ œ
!
œ
!
œb>
‰ j
œ
œb œn
œ œ œ
!
œ
!
œ>
‰
J
œ
œb œn
œ œ œ
!
œ
!
œ>
‰
J
œ
œb œn
œ œ œ
‰
œ>
Œ
˙ œ
J
œ#>
q»¡£§
q»¡£§
Animated
Animated
P
P
P
1.
P
Cuica
f
Marimba
F
P
Bn En An F
arco
H
H
F
F
F
F
F
P
œœ œ
œ œœ œ
œ œœ œ
œ œœ œ
œ Œ Œ Œ.œn
œ
œ
Œ ‰
5
œb œ œb œb œb œ œb œb
‰ ≈j
œ
Ó ‰
J
œb
J
œb
‰
œb
>
œ
œ‰
Ó Ó
œb
>œ
œb
‰
œœ Œ Ó .
œ
œ#
Œ Ó .
œœœn Œ Ó .
œ
œ Œ Ó .
œ Œ Ó .
∑
Ó Œ ŒJ
Á
‰
œb œ œ œ œ œ œ œÓ ≈
œ œ#
Ó Œ Œ
œb
œ‰
∑
∑
Ó
J
œ
œ
b
b
>
‰ Œ Œ
∑&
Œ œ œb œbœ œ
≈
œb œb œ œ œ
œ
Œ
Ó
œbœ
.œ œ>
Œ
Œ
œ œb œbœ œ
≈
œ œ œ œ œ
œ
Œ
Œ
œ œb œbœ
œb ≈
œ œ œ œ œ
œ
Œ
Œ œ
œb
œb
œœ
œ œR
œ
‰ .
21
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
&
&
&
B
?
?
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
4
3ˆ
16
5
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
~~~~~~~~
~~~~~~~~
√
F
F
F
F
F
F
1.
3.
P
f
div.
arcodiv.
div.
div.
92
Ó ‰J
œœb.
‰ ‰J
œ
œ
˘
Œ ‰J
œœ
.
Œ ‰ ‰ J
œ
œ
˘
J
œ ‰ ŒJ
œœ##
.
‰ ‰ ‰
J
œ
œ
n.̆
J
œ
‰ Œ J
œœ
.
‰ ‰ ‰ J
œ
œ
˘
‰ j
œ#
˙#Œ .
Œ
˙#
Π.
∑
∑
∑
œ œ œ œ œ œ œ œ œ œŒ .
∑
œ#œ
œ
œ
J
œœ
.
‰ Œ Œ .
∑
œn
œ
œ
#
# Œ Œ ‰ ‰ J
œœœœ
˘
r
œ
œ
n
n
.
‰ . Œ Œ ‰
j
œ
œ
‰&
Ó . ‰ ‰
J
œœn˘
Ó . ‰ ‰
j
œœnn
fl
‰
œ#
œ
˙˙bn
æ
.
.œœ
æ
œ
œ#
œ
˙˙
æ
.
.œœ
æ
œ
œ#
œ
˙˙##
æ
.
.œœ
æ
œ
˙˙n
æ J
œœ
æ ‰ ‰
œ
ΠΠΠ.
unis.
unis.
unis.
unis.
F
F
F
F
sim.
sim.
sim.
sim.
F
1.
chromatic gliss.
harmon1.
F
Snare Drum
P
F
P
Ds Cs Fs Gs
pizz.
≈
œœ
œ
b
bœ
R
œ≈ ‰ Œ Œ ≈
‰
r
œ≈ Œ
j
œ
‰
œ œœ
œœb œ
J
œ
‰ Œ ≈
‰
J
œ
œ
œœ
œb œ
J
œ ‰ ‰ ≈j
œ
œ œ œb
j
œ ‰
Ó Œ
‰
J
œ
≈
Ó Œ ‰ ≈j
œ
∑
≈
œ œb œ
J
œ‰ Œ Œ ≈
∑
∑
œœ œœ
Œ ≈ œ
œœ œ œ ≈
œ
‰
≈ œ œ œ
J
œ ‰ ≈
R
œ ‰ œ ≈
‹>
œ œ
≈
œ œb œ
Ó Œ ≈
Ó Œ ‰.
j
œ
≈
œ œb œ
Ó ‰
œn œ œn
Ó Œ ‰
œn œ œn
?
∑
∑?
≈
œœb
œ
‰
œb œ œ>
œn œ œb
œ
œ œ œ
≈
œ œbœ
œœ
œ œ œ>
œn œ œb
œ
œ œ œ
≈
œ œbœ
œœ
œ œ œ>
œn œ œb
œ
œ œ œ
≈
œ œbœ.
œœ
œ œ œ>
œ œ
œ
œ œ œ
Ó Œ ‰
.
J
œ
f
f
f
f
f
f
F
F
fF
F
mute off2.
a2
F
C = Gs b F = As
div.
div.
arco
f
f
f
1.
1.
1.
a2
a2
J
œ
‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ#
œœ
œœ
œœ
œ
‰
œ ˙
œ
œŒ Œ
œœ
#
œ
‰
œ ˙ œ
œ
#
#
œŒ Œ
œ
∑
œ
œ‰
œ
œ
˙
˙ œ#
∑
∑
J
‹
œ
>
‰ Œ Ó
∑
∑
œ
Œ Ó
∑
∑
∑
∑
œ
‰
œ ˙
œ
œ
‰
œ ˙ œ
œ
‰
œ ˙
œ
œ#
œ
‰
œ ˙ œ
œ
#
Œ
˙
œ#
F
F
F
F
P
P
a2 1. P
a3
P
f
F sim.
pizz.
f
(Cymbals, always let ring)
a2 1.
1 & 2
˙˙
Ó
.
.˙
˙ œ
˙
˙
Ó
.
.
˙
˙
œ
œ
œŒ Œ
œn
.˙ Œ
˙
Ó
˙
˙˙
Ó
Ó Œ
œ
œ
∑
œ œ œ œ œ œ œ œ œ œœ œ œ œ œ
‚ ‹ ‹ ‹
∑
∑
∑
∑
∑
∑
.˙œ
.˙œ
.
.˙
˙ œ
œ
.
.
˙
˙
œ
œ
.˙
œ
22
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
P
Rim of timb.
Timbales
96
∑
.˙ œ
∑
.
.
˙
˙
œ
œ
.œ
j
œ ˙
Œ ‰ j
œ ˙
∑
w
w
∑
œ œ œ œ œ œ œ
>
œ
>
œ œ œ œ œ
>
œ
>
œ
>
œ
‹ ‹ ‹ ‹
y — —
∑
∑
∑
∑
∑
∑
w
w
.
.
œ
œ
J
œœ ˙˙
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ# œ
F
2.
F
F
pizz.
pizz.
unis.
F
Conga
∑
w
∑
w
w
Œ
.˙w
Ó Œœ
Ó Œœ
w
w
w
œ œ œ œ œ œœ
>
œ
>
œ œ œ œ œ
>
œ
>
œ
>
œ
‹ ‹ ‹
3
— — – – —
‹
∑
∑
∑
∑
∑
∑
Ó Œ
œ
Œ
˙
≤
œ
œ˙ œ
œ..
˙˙
œ œ œ œ œ
œ œ œ œ œ
f
f
ƒ
ƒ
1.
a2
1.
1.
F
a2
1.
pizz.
ƒ
unis.
f
Ó Œ
œ œ# œ# œ œ œ# œ# œ
Ó ‰ œ œ œ œ
œœ
b œœ œ
œ
œœ œ
œ
œœ œ
œ
œœ
Ó .
œ œ œ# œ œ œ# œ# œ
.
.
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
R
œ.
‰ .
.
.˙˙
œ
œ
b
.
.
˙
˙
œœ
Œ
.œ
j
œ œ
˙ œœ œ
w
w
w
œ œœ
œ œ
>
œ
>
œ
>
œ œ œœ
œ œ œ œ œ
‹
3
— — – – —
‹
6
‹
– – – – –
Œ
∑
∑
∑
∑
∑
∑
‰j
œ œ œ
‰
j
œ
j
œ ‰
‰j
œ œ œ
‰
j
œ œ œ
J
œ
‰ Œ
œ œ œ œ
.˙œ
œ
Œ Ó
f
f
f
f
f
f
f
f
f
f
f
Agitated
Agitated
1.
f
ƒ
f
˙˙#
Œ
˙˙
Œ
˙˙ Œ
˙
Œ
˙
˙Œ
˙
˙#
Œ
˙
Œ
˙˙#Œ
˙#
Œ
œ
>
œ œ œ
œ œ œ œ œ œ œ œœ
6
—
>
— — — — — — — — — — — — — —
∑
∑
∑
∑
∑
∑
œ Œ Œ
œ
Œ Œ
œ
Œ Œ
œ
Œ Œ
œ#Œ Œ
23
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
arco
arco
arco
arco
arco
p
p
p
P
1.
P
p
chromatic fall
a3
secco
p
f
p
f
f sim.
I
I
P
P
P
P
P
100œœ œ
œ œœ œ
œ# œœ œ
œ œœ# œ
œ œœ Œ
œ
Œ œ œ œ# œ œ œ# œ# œ
‰
œ œ œ# œ œ œ# œ# œ œ
œ# œ
Œ
œ œ# œ œ œ# œ# œ œ
j
œn ‰
œ
œ
>
Œ Œ
œœ
>
Œ Œ
œœœ
>
Œ Œ
œ
œ#
>
Œ Œ
∑
‹
Œ Œ
∑
∑
∑
Œ Œ
œ
œœ
#œ
∑
Œ Œ
œ
œ
.
œ#.
œ# Œ Œ
œœ œ
œ œœ œ
œ# œœ œ
œ œœ# œ
œ œœ
œ.
œ#.
Œ œ œ# œ#œ œ
≈œ
œ
Œ
œœ œ
œ œœ# œ
œ# œœ œ
œ œœ# œ
œ
j
œœ
‰
Œ
œ œ# œ#œ
œ≈
œœ
Œ
œ
.
œ#
. œ
œ#
F
F
F
F
f
F
p
sim.
f
unis.
f
1.
1.
f
Œ œ
.œ#
œ# œ œ#
‰ ≈
œ#
œn
J
œ#
‰
œ#
>
œ#
œ# ‰
Œ
œ#
>œ#
œ#
‰
∑
∑
∑
∑
∑
∑
Œ ≈
.
J
Á
Œ ≈
œ œ#
Πj
œ#
.
‰
œ
œ#
Œ
∑&
œœ
œ
#œ
œ
œ#
∑
œ# œ
œ# œ œ
.œ#
œ# œ œ œœ#
.œ#
Œ
œ# œ#
‰
œ# œ œ œœ#
.œ#
œ#
œ#
œ#˘
œ#
f
Guiro
f
As = Cs
f
‰ œ
œ# œ
œ
œn
œ
œ#
œ
œ
# œ
œ
œ≈
œ# œ œ
‰
œ#
>
œ#
œ#‰
J
œ
‰
œ#
>œ#
œ#
Œ
∑
∑
∑
∑
∑
‰
J
œ Œ
∑
‰ ≈
r
œn œ#œ
‰j
œ#
.
Œ
Œ
œ#
œ
œœ
Œ ‰
j
œ
?
œ
œ
#
#
œ
œ Œ
∑
œ# œ# œ
œ# œœ
œ# œ#œ#
œ# œœ
‰
œ#œ#
Œ
œ# œ#œ#
œ# œœ
œ#
œ#
œ#œ
p
p
p
P
P
P
P
F
F
F
F
F
F
1.
3.
harmon
P
Tom-Toms
P
Small Woodblock
P
f
Dn Bf f
pizz.
pizz.
pizz.arcodiv.
F
pizz.
1 & 2
œ
œ#
œ
œ
# œ
œ
# œ
œ#
œ
œ#
œ
œ
œ
œ
œœ œ
œœn
.
‰J
œ
œb
.
Œ
œœ
#
œœ# œœ#
œœn
J
œœ
‰ ‰ J
œ
œ
.
œ#œ œn œ œ œ œ# œ# œ
‰
œœ##
‰
J
œ
œ
n.
J
œ#
‰ Œ
œœn
‰J
œ
œ
.
‰ j
œ#
˙#
œb
Œ
˙#
Ó Œ œb
∑
∑
œ œ œ œ œ œ œ œ œ œŒ
Ó ‰ J
œ>
‰ J
œ>
œ#
œ
œ
œ
J
œœb.
‰ Ó
∑
r
œ#
‰ . Œ Œ ‰ J
œœœœ
˘
r
œ
œ
#
#
.
‰ . Œ Œj
œ
œ
n
‰
J
œœ
#
‰ Œ Œ ‰
J
œœ
˘
J
œ
œ
#
# ‰ Œ Œ ‰
j
œœb
fl
&
œ#
œ#
‰
J
œb
œœ
J
œ ‰
œ
‰
J
œb
œœ
J
œ ‰
œ# œ Œ Œ
œ
œ
b
&
J
œ#
‰
˙˙nœ
œb
J
œ#
‰ Œ Œ
j
œn
fl
‰
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~
24
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
&
&
&
&
?
?
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~
~~ ~ ~ ~ ~ ~
~ ~~ ~~ ~~
~~~~~~~~~
~~~~~~~~~
~~~~~~~~
ord.
ord.
f
f
f
f
f
f
F
arco
arco
div.
104
ŒJ
œœb.
‰J
œ
œ
.
‰
œ
œ
œ
œ
J
œ
œ
.
‰
œœ
ΠJ
œ
œ
.
‰
œ
œ
# œ
œ
J
œ
œ
.
‰
‰ J
œœbb
J
œœ
‰
J
œ
œ
n.
‰
œ
œ
n
b
œ
œ
J
œ
œ
.
‰
‰ J
œœn
J
œœ
‰ J
œ
œ
.
‰
œ
œ
‰
œ œ œ œœ œ
‰
œ œn œ ˙
œ œn œ œœ œ
‰œ œn œ œ œ
∑
∑
œ œ œ
j
œ
‰ Œ‚
œ
>
œ
‰ ‰
Œ Œ Œ‚
‰
∑
∑
ΠΠJ
œœœœ
n˘
‰
œœœ
œ
b
‰
Œ
j
œ
œ
‰ Œ Œ .
&
Œ
J
œb ‰
J
œ
˘
‰ Œ .
Ó
j
œ
fl
‰ Œ .?
œb
œ œb
œ>
Œ
œ.
œ.
J
œ.
‰
œb
œ
œb
œ>
Œ
œ#.
œ.
J
œ.
‰
œ œn œ œœ œ
‰œ œn œ œ œB
œ œn œ œœ œ
‰
œ œn œ œ œ
Ó ‰
J
œ
œ
n˘
Œ ‰
F
F
F
F
f
f
1.
1. chromatic gliss.
a2
1.
F
unis.
unis.arco
f
P
œ
œ Œ œ .œb
r
œ
‰ .œ œb œœ
œ .œ
Œ Œ ‰
œ
œ
b
≈
œ
œ
≈œ
œœ œb
œ
œ
R
œ
‰ . ‰
œ
œb≈
œœ
≈
œœ
œ œbœ
œ
r
œ ‰ .
j
œ
r
œ‰ .
œœ
œ œbœb .œn
r
œ ‰ .
‰R
œ
Œ
≈.
J
œ
R
œ
Ó Œ Œj
œ
∑
≈
œb œœ
R
œ‰ . Œ Œ .
∑
∑
œ œ
Œ ≈ œ
œœ œ œ
œ
‰
≈ œ œ œ œ ≈
R
œ ‰ œ
‹>
œ
J
œ
∑
Ó Œ ‰
j
œ#
j
œ
R
œœœb
>
‰ . Œ Œ ‰
œœb
J
œ
œ œb œ œ
Œ Œ ‰œb
œb
j
œ
?
∑j
œ#
∑
œœb œ
œœ
œœ œ
œbœ œ
œœ
œ
J
œ>
œb
œb œœ
œnœ
œ œœb
œ œ
œœ
œ
J
œ>
œœb œ
œœ
œœ œ
œbœ œ
œœ
œ
J
œ>
œbœb œ
œœ
œœ œ
œœ œ
œœ
œ
J
œ>
œb
œ
œ
œ
œœ
œœ
j
œ
>
mute off
Cn Bn Fn Gnf
◊
a2
Œ Œ ‰
j
J
œ
Œ Œ ‰
J
œ
j
œ#
fl
‰ Œ ‰ j
œ
∑
j
œ#
fl
‰ Œ ‰ j
œ
∑
Œ Œ ‰
J
œ
Œ Œ ‰
j
œ
∑
∑
∑
Œ
J
œ
œ
#
#
.
‰ Œ
∑
‰ J
œ
œ
#
#
.
Œ Œ
j
œ
œ
#
#
fl
‰ Œ Œ
œ#
> œ
œ
#.
Œ Œ
∑
ŒJ
œ#˘
‰ Œ
‰ J
œ#
˘
Œ Œ
‰J
œ#˘
Œ Œ&
J
œ#˘
‰ Œ Œ
j
œ#
fl
‰ Œ Œ
F
F
F
F
F
Gs = B
P
Bongos
F
F
F
2.
3œ
œ
#
#
œ
œ
#
#
œ
œ
œ
œ
.
.
œ
œ
œ#
‰
œ#œ
3
œ
œ œ
J
œ
œ# œ#˙
œ#
‰
œ#œ
3
œ
œ œ
j
œ
œ# œ# œ œ œ
J
œ
œ
œ
#
#
ΠΠΠ.
∑
œ#
‰
œ#œ
3œ
œ œ
œ
J
œ
œ
œ
œ
#
#
ΠΠΠ.
œ#
ΠΠΠ.
‹
œ
ΠΠΠ.
Œ ≈
– – – –– – –
– ––
– – –
∑
œ#
ΠΠΠ.
∑
∑
Œ
œ
œ œœ
3
œ œ
œ
j
œ
∑
œ#
‰
œ#œ
3œ
œn œ
J
œ
œ#
‰
œ#œ
3œ
œn œ
J
œ
œ
œ
#
# ‰
œ#œ
3œ
œn œ
J
œ
œ
œ
#
#
‰
œ#œ
3œ
œ
œn
œ
œ
J
œ
œ
œ#
ΠΠΠ.
~~~~~~~~
25
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
&
?
?
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
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
poco a poco rit.
poco a poco rit.
P
P
P
F
F
F
F
F
P
p
div.
div.
108 œ
œ
œ
œ
#
# œ
J
œ
3
œœ
œœ#
œ
œ
#
J
œ
œ
œ# œ#
J
œœ
j
œ
œœ# œ
j
œ
3
œœ
œœ#
œ
œ
#
j
œ
œ
.
.
œ
œ
#
#‰ Ó
∑
∑
œ
œ
œ
J
œ
3œ#
œ#œ
œ
J
œ
œ
∑
∑
Ó ‰ œ
œ
‰ œ
œ
–– – –
– – – –– – –
≈
– ––
≈
∑
∑
‰j
œ#
œ#œ
œ œ#
œ# œ
∑
J
œ ‰ ‰
j
œ
œ
‰
j
œ
∑
œ
œ
œ
œ
#
# œ
J
œ
3œœ
œœ#
œ
œ
#
J
œ
œ
œ# œ
J
œ
3œ
œb œ
J
œ
œ# œ
J
œ
3œ
œb œ
œ
J
œ
œ
œ# œ
j
œ
3
œœb œ
j
œ
œ#
J
œn œœb œ
J
œ
Œ ‰
3
Œ œbœ
j
œ
p
p
p
1.
P
P
G As Cn Ds G
unis.
div.
arco
pizz.
P
p
p
p
˙œ .œ
˙
˙œ œ œ œ
˙n
œœ# œ œ
˙˙
˙
˙
.
.˙
˙Ó
Œ ˙˙
œœ Œ
Œ
˙
Ó
∑
.œ œ œ Œ Ó
≈
œ# œ œ œ
∑
∑
‰ .
r
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
– –– – –
– – –
Œ Ó
Ó .
˙˙
.˙æ Ó
∑
∑
Ó
œ œ œ
˙˙
∑
œ
Œ
˙
œ
œn ˙
.˙
˙
˙
.
.˙
˙ ˙B
.
.
˙
˙
˙˙b
.˙
œ Œ
˙
q»¡¡º
q»¡¡º
Passionately
Passionately
1.
p
Ds Bf
F
solo
P
P
unis.arco
p
J
J
f
˙ ˙œ ˙ œ
˙ œ œœ œ œ œ
Ó ≈
œ
œœ
œ œœ
œœn œ
‰
∑
∑
∑
∑
∑
∑
œ œ
‰ Œ Ó
∑
∑
∑
∑
∑
∑
∑
3
œœ
œ œ œ
6
œ
œœ
œ
œœ
œ
˙ œ œ œ
˙
œ œ œ
˙ ˙
˙n ˙
π
π
œœ ˙
˙
Œ
œ
œ
˙
˙Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
J
œ
‰
œ
œ..
˙˙
œ.˙
˙
˙˙
˙ Ó
pizz.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
J
œ œ
J
œ.œ
J
œ
œ
œ..
˙˙
œ.˙
œ
j
œ
‰
˙
œ
J
œ
˙
Ó œ
œ
26
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
q»ª§
q»ª§
div.
a little slower
a little slower
113
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
3
œœ
œ œ œ
6
œ
œœ
œ
œœ
œ
œ œœ œ
œ
œ
œœ
œœ
œœ
˙
œœ œ œ
œ
œ
œœ ˙
∑
free, easy
free, easy
free, easy
p
p
p
1.
1.
Ó ‰ .
œ#
œ#
œ#
œ œ# œ œ œ œ œ
Œ ‰
œœ#
œ œ#
r
œ
‰ . Œ
‰ œœ#
œœ#
Œ Œ ‰ ®
œ
œ
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
6
œ
œ#œ
œ
œ#œ
œ
æ
6
œ
œ#œ#
œ
œ#œ#
œ
æ
œ
œ.˙
œ
œ
.
.
˙
˙
œ
œ œ œœ
˙ œ
∑
p
free, easy
tutti
arco
Mar.
œ# œ
œ
œ
‰
œ
≈ ®
œ œ œ œ œ
≈ ‰ Œ
Œœ
œ
œ
‰ ‰
œ
œ
œ
‰ .œ
œ
œ
œ#
‰ . Œ
œ# œn œ
≈ ® œ œ# œ
∑
∑
∑
∑
∑
∑
∑
∑
Œ
œ
œ
œ
‰ ‰
œ
œ
œ
Œ
∑
∑
∑
∑
∑
œ
æ
œ
æ
6
œ
œnœb œ
œœb œ
æ
.
.˙
˙
œ
œ
.˙ œ
œ
.
.
˙
˙
œ
œ
˙ œ
Œ
1.
p
free, easy
∑
r
œ
‰ . Œ Ó
‰j
œ#
.
Œ Ó
≈ .
œœ#
œ
≈ ® rK
œ
‰ . Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œn
æ
œ
æ
˙
æ
w
˙ ˙
˙ ˙
w
˙ ˙
w
∑
27
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
P
free, easy
p
117
œ#
œœ
‰ œ œ#
œ#
‰ ‰
œ
œn œ#
‰œ#
œ
œ#
Œ
œ
≈
œ
œ#œ# ‰
œ
œ#
œ
‰ œ œ
œ
Œ
œ
œ œ#‰
œ
œ#
œ#
‰ ‰
œb
œb œn
Óœb
œb œ
‰ œ
œœn
‰
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ ‰
œb
œb œ
Ó Œ ‰
∑
∑
˙
æ
œ
æ
œ
æ
w
w
w
w
w
w
∑
P
P
P
p
free, easy
div.unis.
œ#
œœ œ
œ#
œ
œ#
Œ ‰ .
œ
œ R
œn
‰ .
œ
œ#œ
‰œ
œ#
œ
‰
œ#œ œ#
.
‰
œ
œ
œ.
‰
‰
œ
œ
œ
‰
œ œ# œ œ œ œ
≈ ‰
œ#œ
œ#œ
‰
œ
œ œ#
≈œ
œ#
œ
‰
œ# œ# œ œ
Œ
∑
∑
∑
∑
∑
∑
∑
œ
œ#œ
‰œ
œ#
œ
‰
œn
œ
.œ
œ#œ œ#
‰
∑
Œœ
œ#
œ
‰
œ#œ œ#
‰
œ
œ#
œ
‰
‰
œ
œœb
≈œ
œ#
œ
‰
œ œb œ œŒ
&
?
∑
∑
˙
æ
œ
œ
#
æ
œ
æ
˙ ˙#
w#
˙ ˙
w
˙
˙
# ˙
˙
∑
less motion, slower
less motion, slower
f
div.
œœ#
œ
œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ
œ œ# œ œ# œ# œ œ# œ œ
‰œ
œ#
œ
‰
œ œ# œ œœ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ#
œ
œ
‰
œ œ œ œ œ œ œ œœ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œ œ#
≈œ
œ#
œ œ œ# œ œœ# œ# œ œ œ œ œ
œ œ# œn œn œ œn œ œn œ
∑
∑
∑
∑
∑
∑
∑
‰œ
œ#
œ
‰
œ œ# œ œœ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
Œ
œ œ œ#≈ ® œ#
œ
≈ œ œ#‰
œœ#
œ
œ
œ œ#
≈œ
œ# œn
≈
œ
‰J
œ
≈R
œ#
‰
∑
∑
œ
æ
œ
æ
œ
œ
#
æ
œ
œ#
œ
œ
œ
œ
# œ
œ#
œ
œ#
œ
œ
#
#
œ
œ
œ
œ
˙
˙#
œ#
œ œ# œ œ œ œ œ œ
œ
æ
œ
œœ# œ œ œ# œ œ œ# œ# œ
œ
æœ# œ œ œ# œ œ œ œ#
˙
˙
# œ
œ
æ
œ# œ œ œ# œ# œ œ# œ# œ œ œ œ#
∑
28
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
(√)
√
f
f
f
Intense
Intense
F
F
F
F
f
f
f
f
f
f
a2
3.
1 & 3
2 & 3
F
120
˙
Ó
˙
Ó
˙
Ó
˙
Ó
w
w
w
w
w
w
w
w
∑
∑
∑
∑
∑
∑
∑
∑
w
w
w
w
w
w
w
w
w
q»¡£§
q»¡£§
p
p
p
p
f
f
sim.
sim.
f
f
f
f
P
P
a2
a3
a3
f
F
p
unis.
sim.
p
unis.
K
K
P
P
P
P
P
f
f
f
F
œœ# œ
œ#
# œœ œ
œ#
# œœ# œ
œ# œœ# œ
œ# œœ# ˙
œ# œ œ œ# œ# œ# œ# œ# œ# œ
j
œ#‰
œ œ# œ# œ# œ# œ# œ œ# œ# œ# œ œ œ œ
7
œ# œ# œ# œ œ œn œ
Œ
œ# œ# œ# œ# œ œ# œ# œ# œ œ# œ# œ œ# œ# œ# œ
r
œ
‰ .
.
.œœ
#‰ Ó
.
.
œ
œ
#
#
‰ Ó
.
.
.
œœœ
#
‰ Ó
.
.
.
œ
œ
œ‰ Ó
.œ‰ Ó
∑
‚
Œ Ó
∑
∑
Ó
œ
œ
#
#
.
œ#.
Œ
∑
∑
∑
œœ# œ
œ#
# œœ œ
œ#
# œœ# œ
œ# œœ# œ
œ# œœ#
œ
œ
œ#
.
œ#.
œ.
œ
.
œ
œ œ# œ# œ#œ# œ#
. ≈ œœ#
œœ
œ œ
œ
œ
œœ# œ
œ#
# œœ œ
œ#
# œœ# œ
œ# œœ# œ
œ#
J
œœ# ‰ Œ
œ
œŒ
œ#.
œ#.
œ#.
œ#
.
œ#
.
≈
œ œ#
œŒ œ#
.
œ#.
œ#
œ
P
P
P
f
F
P
sim.
unis.
1.
f
f
Œ œ#
.œ#
œ œ# œ#
‰ ≈ œ#
œ#
J
œ#
‰
œn
>
œ#
œ#
‰
Œ œn
> œ#
œ#
‰
∑
∑
∑
∑
∑
∑
Œ ≈
.
j
–
+
Œ ≈ œ œ#
Œ
j
œn.
‰
œ#
œ
œ#
œ
œ#
œn
∑
∑
∑
œ# œ# œ
œ# œ#
.œ#
œ# œ# œ œ# œn
.œ#
œ#.
œ#.
œ.
œ#.
œn.
.œ
œ# œ# œ œ# œn
.œ
œ
œ#œn
œ#
F
F
F
F
F
sim.
Tri.
Œ
œ
.œ#
œ œ# œ#
‰ ≈œ#
œ
J
œ#
‰
œ#
>
œ#
œ#‰
Œ
œ#
>œ#
œ#
‰
∑
∑
∑
∑
∑
Œ ≈
.
J
‹
∑
Œ
œ
œ œ#
Œj
œ#
.
‰
œœ
œ
#
#
œ
œ
œ# œ
∑&
∑
∑
≈
œ# œ#
œ#œn
.œ#
œ# œ œ œ#œ#
.
.
œ
œ
#
#
œ# œ œ œ#œ#
.œ#
œ# œ œ œ#œ#
.œ#
œ#
œ#
œ#
œ#
29
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
&
&
?
&
&
B
?
?
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
f
As = B
Small W.B.
a2
a2
124
‰
œ#
œ# œœ
œ
#
n
œ
œ#
œ
œ
#
#
œ
œ
#
œ
≈ œ# œ
œ# œ
‰
œ
>
œ#
œ#
‰ œ œ
‰ œn
> œ#
œ#
Œ
∑
∑
∑
∑
∑
∑
‰J
œ
Œ
‰ .
r
œ œ# œ# œn œ œ#
‰
j
œ.
Œ
œ
œ#
œ
œ
#
#
œn
œ
œ
#
Œ ‰
J
œ
œ
#?
∑
∑&
‰ œ#
œ# œ
œ#
œ# œ#œ#
œ# œœ#
œ# œ#œ#
œ# œ#œ#
œ# œ#œ#
œ# œœ#
œ#
œ#
œ#œ#
div.
div.
p
p
p
p
F
F
F
F
F
F
P
P
P
P
1.
P
3.
harmon
P
P
F
pizz.
pizz.
1 & 2
œ
œ#
œ
œ
#
#
œ
œ
# œ
œ#
œ
œ
#
#
œ
œ#
œ
œ
œœ œ
J
œœnn
.
‰J
œ
œ
#.
‰ ‰
œœ
#
œœ##œœ#
J
œœn#
.
‰ ‰ ‰J
œ
œ
.
œ
œ# œ œ# œ# œ œ# œ# œ# œ œ
œœ##
J
œœ
‰J
œ
œ
n.
J
œn
‰ ‰
œ œ# œ# œ œ œ# œ# œ
œœnn œœ
‰
œ
œ
.
‰ j
œ#
œ# œ œ œ ‰
œ
Œœ# œ œ œ
Π.
Ó Œ ‰ œœ
∑
∑
œ œ œ œ œ œ œ œ œœ Œ .
∑
œ#œ#
œ
œ
J
œœ
‰ Œ Œ .
∑
œ#
.
œ
Œ Œ
œœœœ
#
#
˘
‰.
œ#˘
r
œ
œ
n
n
.
‰ . Œ Œ ‰
j
œ
œ
.
‰
J
œ.
‰ Œ Œ ‰
œ
œ
fl
œ#
.
œ
Œ ‰ ‰
J
œœ
˘
‰ ‰
œ#
œ#
Œ Œ
œ
œ ‰
œ
‰
J
œ
œ#
Œ ‰
œ# œ.
œ.
œ.
œ.
J
œ
œ
œ#
œ# œn.
œ.
œ.
œ.
J
œœ
œ
#
œ#
ΠΠΠ.
sul pont.
sul pont.
F
F
F
F
arco
arco
P
Ef
ŒJ
œœb
‰J
œ
œ
.
‰
œœ
ΠJ
œ
œ
.
‰
‰J
œœ## œœ œ
œ
n.
Œ
‰ J
œœ œœ œ
œ
.
Œ
œn œ œ œœ
œ œ œ œ
œ œ œ œœ
œ œ œ œ
∑
∑
œ œ œ œŒ
∑
∑
∑
Πj
œ
‰ J
œœœœ
˘
‰
Œj
œ
œ
‰ Œ
Œ œb
. œb.
J
œ
˘
‰
Œ Œ
j
œ
fl
‰
œb. œ
.œb. œ
.
J
œn.
‰
œb. œ
.œb.
œ.
J
œ.
‰
œ œ œ œœ
œ œ œ œ
œn œ œ œœ
œ œ œ œ
∑
ord.
ord.
f
f
f
f
F
F
f
f
F
Bn
arco
arco
J
œ
œ
‰J
œ
œ
‰ ‰J
œ
œ
#
#
>
J
œ
œ
#
n
‰ J
œ
œ
‰ ‰ J
œ
œn
>
J
œ
œ# ‰
J
œ
œ‰ ‰
J
œ
œ
>
J
œ
œ
‰ J
œ
œ
‰ ‰J
œ
œ#
>
œ
j
œ
‰ ‰
j
œ
>
œ
j
œ
‰ ‰ j
œ
>
œ
œ
J
œœ ‰ ‰
J
œœ
>
∑
∑
œ
>
œ
‰
œ
‰r
œ
‹ ‹
‰J
‹
∑
∑
J
œœ
#
‰
.
.
.
.
œœœœ
J
œœœœ
∑&
J
œ
‰ J
œ
‰ ‰J
œœ
>
∑?
Œ Œ ‰ J
œ#
Œ Œ ‰ J
œ
œ
œ
‰J
œœ
Œ
œ
œ
‰ J
œœ
Œ
∑
30
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
&
&
?
&
&
B
?
?
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
(√)
~~ ~~~
~~ ~~ ~
~ ~ ~ ~ ~
unis.
unis.
sim.
sim.
sim.
sim.f
f
F
1.
F
1.
F
P
f
sim.
128 œ œ
œ
œ
œ œ œn œœ
œ
œ
œ
œ
œ
#
≈
œ
œ
œœ
œ œn
œ
œ
.
.
œ
œ#
œ
œ
œœ
œ œn
œ
j
œ#
.‰
œœ
œ œ
œ
J
œ
œ
˙Œ
˙
Œ
œœ Œ Œ
∑
∑
Œœœ œœ
Œ
Œ ≈ œ ≈ œ œ
∑
∑
œœœœ
R
œœœ
##
˘
‰ . Œ
Œ
œ œ œ œ
Œ
.˙n
>
.
.
˙
˙
n
n
>
œ
≈
œ.
œn.
œn.
œnœ
œ œ
œ
≈
œ.
œn.
œ.
œnœ
œ œ
Œ
œ#.
œ.
œ.
œ.
œœ
œ œ
œ œ#.
œ.
œ.
œ.
œœ
œ œ
œœ#.
œ.
œ
œ
1.
Ds = E
Bn EnDn
p
.œ#
‰ ≈
œ œn œ œ œ œ œ œ œ œ œ œ ≈ Œ
œœ œ
J
œ
‰ Ó
œœ œ
œ
œ œ# œ œ Œœ œ# œn œ œ œn œ# œn
œ
œ
#
#
.
.
œ
œ
œ
œ œ
≈ Œ Ó
Œ Œ
œ
œ œ# œ œ Œœ œ# œn œ œ œn œ# œn
Œ Œ
œ
œ œ# œ œ Œœ œ# œn œ œ œn œ# œn
∑
∑
∑
≈ œœ
œ œ œ
œ
Œ Ó
≈
R
œ ‰ œ ≈
‹
œ œ Ó
∑
Œ ‰
J
œ#
R
œ ≈ ‰ Ó
Œ ‰
œ# œ
J
œ
‰ Ó
Œ ‰œ# œ
J
œ ‰ Ó?
Œ Œ
œ œ
œ ‰ .œ œ œ œ œ œ
œ œ œ œ
Œ Œ
œ
œ# œ œ
œ œ
œ œ>
œœ œ œ
œnœ
œ œ
œ# œ œ
œ œ
œ œ>
œœ œ œ œ œ œ
œ# œœ
œ œ
œ œ>
œœ œ œ œ œ œ
œ# œ œ
œ œ>
œ œ
J
œ
‰
œœ œ
œ# œ#
œ œ>
œ
J
œ
‰
œœn œ
P
P
P
P
P
P
P
P
P
with vigor, dash
with vigor, dash
with vigor, dash
with vigor, dash
with vigor, dash
1.
3.
mute off
1.
P
1.
p
p
p
∑
∑
œ# œn œ
‰ Œ Ó
∑
œ# œn œ
‰ Œ Œ ‰
œ œ
œ# œn œ
.
‰ Œ Œ ‰
œ œ
Ó Œ ‰œ œ
Ó Œ ‰
œ œ
Ó Œ ‰ j
œ
∑
∑
∑
∑
∑
∑
œ œ œ
‰ Œ Ó
∑
œ
Œ ‰
œ œ œ œb œ œ
œ œ œ œ œ œ œ œ
œ œ œ œb œ œ
œ œ œ œ œ œ œ œ
œ œ œ œb œ œ
œœ œ œ
œ œœ œ
œb
œ œ œ œb œ œ
œœ œ œ
œ œœ œ
œb
œ œ œ œb œ œ
div.
div.
div.
div.
f
f
f
f
with fire, intensity
with fire, intensity
with fire, intensity
with fire, intensity
f
f
f
f
f
F
Fs GsP
unis.
f
p
1 & 2
1 & 2
Ó ≈
œ œ œ œ œ œ
‰
∑
∑
∑
œ œ œ œ œ# œ œ œ œ .œ
œ œ œ œ œ# œ œ œœ .œ
œ œ œ œ œ# œ œ œ œœ
.
.œœ
œ œ œ œ œ# œ œ œ œœ
.
.œœ
œ
œ#
œ œ
œ œ
∑
∑
∑
∑
∑
∑
Œ
œ
ΠΠ.
Œœ
ΠΠ.
œ œ œ œ œ œ œ œ# œ œn œ œ œ œ œ œ œ œ œœ
œ
œ
œ
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œ
œ
œœ œn œ
œ
œ
œ
œ
œ
œ
œ
# œ
œ
œœ
n œ œ œ
œ
œ
œ
œ
œœ
œ œ œ œ œ# œ œn œ œ œ œ œ œ œ œ
œ œ œ# œ œ
‰
œœ
31
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~
F
F
F
F
F
F
F
F
F
a2
F
F
p
132
∑
‰ .
œ œ œ œ .œ œ
Œ Œ
Ó Œ Œ ≈
œ œ œ
Ó Œ Œ ≈
œ œ œ
˙
˙
.
.
˙
˙
˙ .˙
˙
˙
˙
˙
œ
œ
˙
˙
.
.
˙
˙
˙ .˙
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑ ÷
∑
∑
∑
∑
∑
.˙ œ œ
.˙ ˙
w
w
œ
œ
œ œ œ œ œ œœœ
œ
œ
œ
.
.
˙
˙
œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
f
F
f
f
f
F
w/ wood sticks
f
Cuica
l.v.
Ó Œ
3
œ
œ
œ
œ
œ
œ
œ
œ
Ó
3
œ œ œ œ œ
œ œ œ œ œ œ
3
œ œ œ œ
3
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ œ œ
3
œ œ œ œ
3
œ œ œ œ
œ œ ˙œ
Œ Ó
œŒ Ó
œ
œ
œ
œ
˙
˙
∑
∑
‚
œ œ œ
‹
œ
Œ ‰ œ œ œ œ
‹
œ œ œ œ
∑
‰
Á Á
Ó
Œ
œ
œ œ œ œ œ
œ
Œ
∑
∑
∑
∑
œ .˙
w
w
w
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
3
œ
œ
œ
œ
œ
œ
œ
œ
3
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ .˙
œ œ .˙
F
unis.
f
p
p
J
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
Ó ‰œ œ# œ œ œ œ
.
.
˙
˙Œ
.˙
Œ
.˙
Œ
∑
.˙
Œ
∑
∑
œ œ œ œ œ œ œ œ
>
œ
>
œ
>
œ
‹
œ
‹
œ
‹
œ
‹
œ œ œ
∑
Ó Œ ‰
Á Á
œ
œ œ œ œ œœ œ œ œ ‰ ‰
œœ
∑
∑
∑
∑
œ .˙
w
œ
œ
3
œ œ œ œ œ# œ œœn œ œ œ
œ œ
w
w
w
w
F
F
F
p
1.
P
P
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
Œ Ó
œ œ
3
œ œ œ œ
Ó
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ
>
œ
>
œ
>
œ
‹
œ
‹
œ
‹
œ
‹
œ œ œ
— ––
≈
––
≈
– – — — —
‰
∑
Ó
œ
œœ
œ
j
œ
‰
∑
∑
∑
∑
œ
œ
Œ Ó
œ# œ œ œ œ œ œ œ œ
>
œ
∑
w
∑
Arabesque
Arabesque
unis.
f
L
L
p
1.
w
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
∑
∑
œ
œœ
œœ
œœ
œœ
œ
œœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
œ
Œ Ó
œ œ .˙
æ
w
∑
32
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
B
?
?
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
f
137
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
œ
œœ
œœ
œœ
œœ
œ
œœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
Ó Œ ‰
œ
œ
Ó Œ ‰
œ
œ
.œ
æ
œ
œ .œ œ œ
w
∑
div.
div.
f
f
f
f
f
ß p
bold, forceful
ß p
bold, forceful
1.
ß p
bold, forceful
Bold, Forceful
div.
pizz.
f
f
f
∑
∑
∑
∑
w
w
>
∑
w
w
>
w
>
∑
‚
œ œ œ
‹
œ
Œ
‰
œ œ œ œ
‹
œ œ œ œ
∑
Œ ‰
Á Á
Ó
Œ
œ
œ œ œ œ œ
œ
Œ
∑
∑
∑
∑
wæ
w
w
æ
æ
w
w
æ
æ
w
w
æ
w
p
p
p
∑
∑
∑
∑
˙
˙
Ó
∑
˙
˙ Ó
˙Ó
∑
œ œ œ œ œ œ œ œ
>
œ
>
œ œ œ œ œ œ œ œ
Ó ‰
‹ ‹ ‹ ‹
‰
Ó Œ ‰
Á Á
œ
œ œ œ œ œœ œ œ œ ‰ ‰
œœ
∑
∑
∑
∑
œ
Œ Ó
˙ ˙
w
.
.
˙
˙ Œ
w
w
∑
F
F
unis.
f
F
∑
∑
Óœ# œ œ œ
œ
œ œ œ œœ# œ œ œ
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ
>
œ
>
œ
>
œ
‹
œ
‹
œ
‹
œ
‹
œ œ œ
— ––
≈
––
≈
–– — — — — — — — —
∑
Ó
œ
œœ
œ
j
œ
‰
∑
∑
∑
∑
∑
˙
˙
˙
˙
∑
rK
œ
˙ r
œ
.œ rK
œ
J
œ
∑
f
f
1.
F
f
unis.
f
œ œ .œ
J
œ œ œ#
∑
.œ
j
œ# ˙
œ
œ
œ#.œ
J
œ
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
∑
∑
œ
œœ
œœ
œœ
œœ
œ
œœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
Œ
.˙
3
œ œ œ.˙
œ
Œ Ó
3
œ œ œ ˙.œ
œ
w
∑
33
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
f
f
142
J
œ
œ
J
œ
œ œ œ œ œ œ œ œ œ
∑
œŒ ˙
w
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
œ
œœ
œœ
œœ
œœ
œ
œœ
œ œ œ œ œ œ œ œ
∑
∑
Ó ‰
œ
œ#
.œ
œ
.
Œ
Ó ‰
œ.
œ.
Œ
J
œ
œ
J
œ
œ œ œ œ œ œ œ œ œ
œœ œ œ
œ
.œ
œ
.œ
J
œ
.œ
œ œ œ œ
.œ
J
œ ˙
∑
F
F
F
F
F
F
F
F
1.
P
1.
P
1.
P
P
F
f
f
arco
.œ
j
œ œ œ
Ó Œ
œ
∑
.œ
J
œ œ œ
˙ ˙
.œ
j
œ œ œ
∑
.œ
J
œ œ œ
.œ#
j
œ œ œ
∑
.
.
‹
œ
j
‹
œ
Œ‹
œ
Ó
— — — – – – — —
‰
ÁÁ Á
Á
‰ Ó
‰ .
R
œ œ œœ œ œ œ œ œ
œ œ œ œ
∑
œ.
œ.
œ.
≈ Œ Ó
œ
.
œ
.
œ
.
≈ Œ Ó
w#
Ó Œ œ
.œ
J
œ œ œ
.œ
J
œ œ œ
.œ
J
œ œ
œ
.œ#
J
œ œ œ
F
Bf Ef Fn Gn Af
˙˙
∑
˙
œœ#
˙
∑
˙
œœ#
Œ
œ#
‰
j
‹
œ
‰ œ
œ
œ
œ
— – – –
Œ
Œ
Á Á
‰
œ œœ œ œ œ œ œ
‰ .
R
œ œ œ
œ
œ
œ
‰ . R
œ œ œ œ
œ
∑
∑
˙
˙
˙
œœ#
œœ#
F
f
a2
F
F
F
F
f
f
ww
˙ .œ
J
œ
w
j
œ.œ .œ
j
œ
j
œ
.
.
œ
œ
.
.
œ
œ
j
œ
œ
∑
˙ Œ ‰ j
œ
j
œ.œ .œ
j
œ
j
œ.œ .œ
j
œ
œ
‹
œ
‰
j
‹
œ
Œ ‰
j
‹
œ
Ó
— — — – – – — —
‰
ÁÁ Á
Á
‰ Ó
‰
œ œ
‰ œ œ œ œ œ œœ œ
‰
∑
œ>
œ>
œ œ>
œ>
œ Œ
œ œ>
œ>
∑
∑
˙ Ó
˙ Ó
˙
Œ ‰œ
>
œ
>
J
œ .œ.œ
J
œ
J
œ .œ.œ
J
œ
f
f
2.
pizz.
pizz.
pizz.
f
1.
2.
Œ
œ œ œ œ œ œ œ# œ
œ œ œœ œ œ œ œ
∑
.œ
j
œ
œ
.œ
j
œ
∑
œœ œ œ œ
œ œ œ
.œJ
œ
.œ j
œ
‹
œ
‰
‹
œ
œ
‹
œ
œ
— – – –
Œ
∑
œ œ
≈ œ œ œ œ œ
‰ .
R
œ œ œ
œ
œ
œ
œ
‰ . R
œ œ œ œ
œ
∑
∑
‰ .
R
œ œ œ‰
‰ .r
œ œ œ
œ
‰ .
R
œ œ œ œ
œ>
.œ
J
œ
.œ
J
œ
Lighter
Lighter
F
F
Brusquely, abruptly
Brusquely, abruptly
f
F
3.
Hi-hat
F
P
f
B = Bf b E = Ef
F
arco
arco
F
arco
unis.div.
pizz.
f
M
M
P
P
P
P
F
F
œb œb œ œb œb œ œb œb œb œ
‰
œ>
.
.
˙
˙œ
œ
b>
˙b
Œ
œb>
.
.
˙
˙
b
b
œ
œ
>
.˙b œ
>
.˙b œ
>
.
.
˙
˙
b
b
œ
œ
>
.˙b œ
>
∑
‹
+
‹ ‹ ‹ ‹ ‹ ‹ ‹
>
‹
>
‹
>
‹ ‹ ‹ ‹ ‹ ‹‹
Ó ‰
‚ ‚ ‚ ‚
‰
Ó Œ ‰
Á Á
∑
∑
∑
j
œb
‰ Œ Ó
j
œœb
‰ Œ Ó
œb œb œ œb œb œ œb œb œb œ
‰
œ>
Ó Œ
œb
Ó Œ
œ
.
.
˙
˙ œ
œ>
Œ Ó
34
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
√
F
F
div.
F
F
F
F
p
p
p
p
148œb œb œ œb œb œ œb œb œb œ œb œb
œ
Ó Œ œ
œb œb œ œb œb œ œb œb œb œ
œb œ
œ
ӌ
œb
.˙b
œ
œ
b
w
w
w
w
w
w
w
∑
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
>
‹
>
‹
>
‹ ‹ ‹ ‹ ‹ ‹‹
Ó ‰
‚ ‚ ‚ ‚
‰
Ó Œ ‰
Á Á
∑
∑
∑
j
œb
‰ Œ Ó
j
œb
‰ Œ Ó
œb œb œ œb œb œ œb œb œb œ œb œb
œ
œ
˙
Œ œ
w
w
œ>
Œ Ó
Arabesque
Arabesque
F
f
f
N
N
˙
˙bÓ
wb w
.
.
˙
˙
Œ
wb
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ
>
œ
>
œ
>
œ
‹
œ
‹
œ
‹
œ
‹
œ œ œ
— ––
≈
––
≈
–– — — — — — — — —
∑
Ó
œn
œœb
œb
j
œ
‰
œ œ.œ œ œ œ
œb œ œ œ
∑
∑
∑
œ
œ Œ Ó
œ
œ
.œ œ œ œ
œb œ œ œ
œ ˙
‰ œ œ œ œ
œ
œ
.œ œ œ œ
œb œ œ œ
∑
unis.
f
f
∑
w
w
b
b
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
∑
∑
œ
œœb
œbœ
œœ
œœ
œ
œœ
œ œ œ œ œ œ œ œ
.œ
œ .œb
œ œb .œ œ œ œ œ œ
∑
∑
∑
Ó ‰
3
œ œ œ œb
.œ
œ .œb
œ œb .œ œ œ œ œ œ
œ œ ˙
æ
.œ
æ
œb œ œ œ œ
w
∑
Lighter
F
1.œb œ œ œ œb œ œ œb œb
3
œ œ œJ
œ
‰
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ
∑
∑
œ
œœb
œbœ
œœ
œœ
œ
œœ
œ œ œ œ œ œ œ œ
˙b œb œ
œb
œ
∑
∑
∑
˙b œb œ
œb
œ
˙b œb œ
œ
œ
˙
Ó
wb
∑
div.
div.
div.
div.
P
P
P
P
f
f
f
f
f
P
a2
arco
f
f
f
f
Ó Œ ≈
œ œ œb
∑
∑
∑
w
w
b
b
wb
w
w
b
b
wb
∑
‚
œ œ œ
‹
œ
Œ
‰
œ œ œ œ
‹
œ œ œ œ
∑
Œ ‰
Á Á
Ó
Œ
œ
œ œ œ œ œ
œ
Œ
œ
Œ Ó
∑
∑
∑
.
.
œ
œ
b
b
œ
œ
œ
œ
œ
œ
˙
˙
.
.
œ
œ
b
b
œ
œ
œ
œ
œ
œ
.
.
œ
œ ‰
Œ ‰
J
œ
œ
b
b
œ
œ
.
.
œ
œ
œ
œ
Œ ‰
J
œ
œ
b
b
œ
œ
.
.
œ
œ
œ
œ
Œ ‰ J
œb œ .œ œ
35
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
f
P
P
P
unis.
153œ œ œb œ œ œ œ œ œ
Œ ‰ J
œ œœ
œ
j
œ ‰ Œ
œ œb œb œ œ
6
œ œb œb œ œ œ
.
.
˙
˙
œ
œb œb œ œ
6
œ œb œb œ œ œ
œ Œ Œ
∑
∑
∑
∑
∑
‹ ‹ ‹ ‹ ‹ ‹
>
‹œ‹
œ‹ ‹ ‹ ‹ ‹
Œ ‰
‹ ‹
‚ ‚
‰
Œ Œ ‰
Á Á
œ
œ œ œ œ œœb œ œ œ ‰
∑
∑
∑
∑
.œ œ œb œ œ œ ˙n
‰
J
œ
œ
n
n
œ
œ
.
.
œ
œ
œ
œ
œ
œ
.
.
˙
˙
.
.
˙
˙n
.˙n
F
F
F
F
Lighter
Lighter
F
P
f
F
f
Agogo Bells
G = Af b Ef = F b G = Af
F
f
unis.
pizz.
f
1.
1.
.
j
œ ≈ Œ Ó
.œb
œ
6
œb œb œ œ œ œ œb
Œ
œb œ œb œb œœb œb œ œ
3
œ œn œ
˙
˙
Ó
œb œ œb œb œœb œb œ œ
∑
∑
∑
∑
∑
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
>
‹
>
‹
>
‹
‚
‹
‚
‹
‚
‹
‚
‹ ‹ ‹
— — —
≈
—
–
≈
— —
· · · · · · · ·
∑
∑
J
œb
˘
‰ Œ Ó
Ó
œb.
œb.
œ
.
œ.
j
œ
.
‰
∑
∑
w
w
wb
wb
w
w
b
b
Ó
œb
œb
≈
œ
J
œ.
‰
F
F
f
œ
3
œ œb œ.˙b
œœb œb .œ
3
œb œ œ
∑
œœb œb
.œ
J
œb
∑
∑
∑
∑
∑
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
‹ ‹
œ œ
∑
∑
œb
œbœ
œ
j
œ
‰ Œ
œ œ œ œ œ œ œ œ
∑
Œ
œb
œbœn
œnœ
œ
œœ
Œ
∑
∑
˙b ˙b
˙b ˙b
œ œ .˙b
æ
w
w
∑
sul pont.
sul pont.
ord.
ord.
P
unis.
ƒ
Ó˙
3
œ œb œ
.˙b
3
œ œb
œ
œ
J
œ ‰ Ó
Œœb
3
œ œb œ
6
œ œ œ œb œ œ œ
3
œ œ œn
3
œ œb œ œ œ œb
Œ
∑
∑
∑
∑
∑
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
‹ ‹
œ œ
∑
∑
j
œb
‰ Œ Œ
œ œ œ œ œ œ œ œ
Ó
œbœ
œœb Œ
≈
œbœ
œœb
œœ
œ
œ
œ
œœ
Œ
Ó ‰
œ
œ
.œ
œ
.
Œ
Ó ‰
œb.
œ.
Œ
˙b œ
œ.
œ. œ
˙ œœ
œb
.
œ
œ
.
œ
˙b ˙
˙ ˙b
∑
36
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
8
2ˆ
8
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
F
F
F
1.
P
1.
P
1.
P
div.
F
F
arco
f
1.157
˙ œb
œb
3
œ œ œb
Ó Œ ‰ J
œ
.œb
J
œb
3
œ œ œ œ
J
œœ
œb.
œ.
‰ ‰
œ.
œ.
Œ
œ.
œ.
‰
.œ
j
œb œ œb
∑
∑
.œ
j
œb œ œb
.œ
j
œb œ œb
.
.
‚
‹
J
‚
‹
Œ ≈
.
.
J
‚
‹
‰ .R
·
J
·
‰
— — —— — —
— —
‰J
Á
≈R
Á
‰ Ó
‰ .R
œb œ œœ œ œ œ œ œ
œ œ œ œ
∑
œb.
œ.
œ.
≈ Œ Ó
œb
.
œ
.
œ
.
≈ Œ Ó
˙
Ó
˙ ˙bw
.œb
J
œb
J
œœ
J
œœ
.œb
J
œ
Ó
.œ
J
œb
Ó
.œ
J
œb œ œb
f
F
P
˙
J
œ
‰ Œ
œœ
œœb
.œœ
.
‰
œœ
.œœ
.
Œ
œ
œœ
∑
∑
œœ
œœ
‰
J
‚
‹
‰ œ
‹
œ
‹
—— — —
Œ
Œ
Á Á
‰
œb œœ œ œ œ œ œ
‰ .
R
œ œb œb
œ
œ
b
b
œb
‰ .R
œb œ œb œb œ
∑
∑
˙
˙˙
∑
Œ
œ
œœ
f
f
F
PF
F
F
1.
F
F
f
F
˙b ˙b
j
œ .œb.œb
j
œ
˙ .œb3
œb œ œ
j
œ .œb.œb
j
œ
‰
.œb .œb
j
œ
∑
Ó Œ ‰j
œ
j
œ .œb.œb
j
œ
j
œ .œb.œb
j
œ
.
.
‚
‹
J
‚
‹
Œ ≈
.
.
J
‚
‹
‰ .R
·
J
·
‰
— — —— — —
— —
‰J
Á
≈R
Á
‰ Ó
‰
œb œ
‰œ œ œ œ œ œ
œ œ
‰
∑
œb>
œ>
œb œ>
œ>
œŒ ‰
œ>
œ>
&
œb
.
œ
.
‰
œ
.
œ
.
‰ Œ ‰
œ
.
œ
.
∑
œb.˙bw
˙˙
Ó
œb œ œb œ œ
œ
Œ ‰ œ œ
J
œ.œb .œb
J
œ
J
œ.œb .œb
J
œ
P
P
pizz.
pizz.
˙
œ œb œ œ
6
œb œ œ œ œb œ
œœb œb œ œb
6
œ œ œ œb œ œ œ
.œ
j
œb
.œ
j
œb
∑
œœb œb œ œb
.œ
j
œb
.œ j
œ
‰
J
‚
‹
‰ œ
‹
œ
‹
—— — —
‰
„ „
Œ
Á Á
‰
œb œ
≈œ œ œ œ œ
‰ .
R
œ œb œb
œ
œ
b
b
œ
œ
b
‰ . r
œb œ œb œb
œb
∑
∑
˙
‰ .
R
œ œb œb
œb
œb
‰ .
R
œb œ œb œb
œb
.œ
J
œ
.œ
J
œ
F
F
G = F
f
arco
l.v.
{e = e}
1 & 2
6
œ
œ
b œœ œ œn œ œ
6
œœb
œœ
b œœ
œœ
b œœ
b œœ
b
3
œœ
œœ
œœ
b
6
œb œ œ œb œ œ
6
œb œœ
b œ
œb
œ
œ
œ
œ
b
n
œ
œ
3
œ
œ
œ
œ
b œ
œ
b
œœ
3
œb œœ
b œ
œ
b
b
.
.œ
œ
b
œœb
6
œ œ œb œ œ œb
3
œb œ œ
œœb
.œb
∑?
6
œb œ œ œb œ œ.
.
œ
œ
b
œœb
.œb
œ Œ .
‰ œ
‹
œ
‹
Œ ‰
‰
‚ ‚ .„
∑
œ œ œ œ
‰ ‰œ œ
œ œb
œ
œb
œ
œ
b
‰ ‰
œ
œ
œ
œb
œn œ œb
œb ‰ ‰
œ
œ?
∑
∑
œb
6
œ œb œ œb œb œb
3
œ œ œ
J
œb.
‰
6
œ œ œ œb œ œb
3
œb œb œ
œ œb ‰
6
œ œ œ œb œ œb
3
œb œb œ
œ
œ œ œb œ œ œ œb œ
œ
œ œ œb œ œ œ œb œ
37
&
&
&
?
&
?
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
B
?
?
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
f
f
f
f
F
F
F
F
f
f
f
f
f
4.
1.
f
f
Df Bn En An f
arco
l.v.
{e = e}162
œb œ ˙bœb.
˙
w
w
b
b
.
.˙
˙
b
b œœb
.
.
œ
œ
b
b
J
œ
œ
J
œ
œ
‰ Œ
.˙b œ
.˙b œ
˙
˙
b
b
Œ œb
˙b Ó
∑
‹
œ
Œ Ó
Ó Œ
„
∑&
˙b
æ
œœ œ
œbæ
.œb
œ
œb
œ
œ
b
b
‰
œ
œ
œ
œ
œ
œb œ ˙
˙b
œb .œb
œ
œ
b
œb Œ
œb .œ
œb
œb
Œ&
?
œb œ ˙b
œb .˙
.˙
Œ
.˙b
Œ
.˙b
Œ
pizz.
pizz.
div.
div.
Agile, Quickly, Easy
Agile, Quickly, Easy
Vibra.
sim.F
pizz.
P
delicate
p
p
p
p
p
p
p
p
p
O
O
l.v.
ww
∑
ww
w
w
b
b
w
w &
w
wb
wb
∑
„>
Œ Ó
œ
.
œ
.
≈œ
.
œ
.
œ
.
œ
.
œ
.
œ œ≈
œ œ œ œ œ
wæ
w
w
w
∑
∑
wb
w
œ œ
‰ ‰ J
œ
Œ ‰
œ œ
w
w
b
b
w
w
b
b
E Gs C F C
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ≈
œ œ≈ ≈
œ œ œ≈
œ
∑
∑
w
w
∑
∑
∑
∑
œ
‰J
œ
‰J
œ
Œ
∑
∑
unis.
unis.
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ≈
œ œ≈ ≈
œ
r
œ‰ . ‰
j
œ.
∑
∑
∑
∑
∑
∑
∑
œ œ
‰ ‰ J
œ
Œ ‰
œ œ
.˙
Œ
.˙
Œ
pizz.
pizz.
delicate
delicate
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
j
œ ‰ ‰
J
œ Œ ‰
j
œ
∑
∑
∑
∑
∑
Ó ‰
J
œ œ œ
Ó ‰
J
œ œ œ
œ
‰J
œ
‰J
œ
Œ
Ó Œ ‰ J
œ
Ó Œ ‰ J
œ
1.
F
P
P
‰
J
œ ˙# œn œ#>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰
J
œ Œ Ó
∑
∑
∑
∑
∑
∑
∑
œ œ
‰ ‰ J
œ
Œ ‰
œ œ
wb
wb
sul pont.
‰
J
œ# œ œ# œ
œ#
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó ‰
J
œ ‰
J
œ
∑
∑
∑
∑
∑
œ ‰
J
œ ‰
J
œ‰ J
œ
œ ‰
J
œ ‰
J
œ‰ J
œ
œ
Œ Ó
∑
∑
1.
P
P
˙ ˙
Ó ‰
J
œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
w
∑
∑
œ œ
‰ ‰ J
œ
Œ ‰
œ œ
.˙
Œ
.˙
Œ
38
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√ √
F
ord.
170
w
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ ‰
J
œ ‰
J
œ œ œ
œ ‰
J
œ ‰
J
œ œ œ
œ
Œ Œ ‰
J
œ
Ó Œ ‰ J
œ
Ó Œ ‰ J
œ
F
F
a2
P F
∑
w#
j
œ
‰ œ
œ
.
œ
œ
.
‰ œ
œ
.
œ
œ
.
‰ Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑&
∑
∑
Œ œ œ ‰ œ œ ‰ Œ
Œ
œ œ
‰
œ œ
‰ Œ
j
œ ‰ Œ Ó
J
œ
‰ Œ Ó
J
œ
‰ Œ Ó
f
F
f
F
Ó ‰
œ
œ
œ
J
œ
‰
Œ
œ
œ
.œ
œ
.
‰ Ó
j
œ
.
‰ Œ œ
œ
.
œ
œ
.
‰ Œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ# œ
3
œ œ œ
3
œ œ# œœ
œ
œ
>
∑
Ó ‰ ≈ œ
œ
J
œ
‰
Ó ‰ j
œ
Œ?
∑
∑
Œ œ œ ‰ œ œ ‰ Œ
Œ
œ œ
‰
œ œ
‰ Œ
j
œ‰ œ œ ‰ œ œ ‰ Œ
J
œ
‰ Œ Ó
J
œ
‰ Œ Ó
arco
arco
F
lighter
‰
J
œ œ# œ
3
œ œ œ
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙
Ó
˙
Ó
‰J
œ.œ#
3
œ œ œ
œ
œ œ‰ Œ Œ
œ
œ œ‰ ‰
J
œ#
Œ ‰œ œ
.˙
Œ
.˙
Œ
2.
p
1.
P
div.
P
f
œ œ
≈
3
œ œ# œ.œ
3
œ œ œ
Œ
6
œ œ# œ œ œ œ˙
œ œ
.
œ
.
.œ œ
.
œ
.
œ œ
.
œ
.
œ œ
.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ
œ œ
œ# œ# œ œ œ œ œ œ
≈
œ# œ œ
Ó
∑
∑
.œ
3
œ œ# œ .œ
3
œ œn œ
œ
6
œ œ# œ œ œ# œ˙
œ
‰ J
œ
œ
‰
J
œ
œ
œ
œ
œ
œ
œ
‰J
œ
‰J
œ œ œ
∑
1.
p
F
pizz.
arco
F
1.
.˙ œ
œ
œ œ œ œ .˙
∑
œ œ œ œ œ>
œ>
‰ ≈
œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
œ
œ
œ ‰
œ
œ
œ
œ
œ
Œ Ó
∑
∑
œ
œœ œ .œ
J
œ
‰
j
œœ œ ‰
j
œ‰
œ œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
∑
∑
p
F
1.
p
p
P
Mar.
.œ
J
œ
œ œ
Ó Œ
œ
œœ œ
œœ œ œb
œ œ œ œ œ
J
œ‰
˙
Ó
Ó Œ
œ
∑
∑
∑
∑
∑
∑
œ œ œ œ .œ œ œ œ œ œ œ œ œ
∑
J
œ ‰ Œ Ó
∑
∑
∑
w
j
œ
‰
œ œ
‰ Œ ‰
œ œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œŒ ‰
J
œ
J
œ ‰
∑
39
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√ √
P
P
F
P
P
pF
pizz.
177œ
œ
œœ œ .œ
J
œ
œ œ œ œ œ .œ
j
œ
‰ ‰ j
œ
˙
˙
œ
œ
.
œ
œ
.
‰ Œ
œ œ œ œ œ>
œ>
‰ ≈
œ œ œ œ œ œ
˙
œ
.
œ
.
‰ Œ
∑
∑
∑
∑
∑
∑
œ
Œ Ó
∑
Œ
œ
œ œ
œ
œ
œ
œ
œ
∑
∑
∑
Œ
œœ ‰
j
œ‰
œ>
œ>
œœ œ
œ ‰
j
œ‰
œ
>
œ
>
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
J
œ
‰ Œ Ó
∑
F
a2
p
Vibra.
p
œœ
œ œ œ
œ
œ
3
œ œ œ œ œ œ œ
œœ œ
œœ œ œb
œ œ œ œ œ
J
œ‰
œ
Œ Œ
œ
Ó Œ
œ
∑
∑
∑
∑
∑
∑
œ œ œ œ .œ œ œ œ œ œ œ œ œ
∑
J
œ ‰ Œ Ó
œ œ œ œ ˙Œ
∑
∑
œœ œ ‰ Ó
œœ œ
‰ Œ
œ œ œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
‰
J
œŒ ‰
J
œ
J
œ ‰
∑
F
p
P
1.
p
P
div.arco
f
unis.
P
p
1 & 2
3
œ
œœ œ# œn ˙
œ œ œ œ .œ œ.
œ.
œ œ.
œ.
œ œ.
œ
œ
œ
œ
œ
œ
œ
œ
Œ
∑
œœ
>
œ
œ
œ
œ
œ
œ
Œ
∑
Œ ‰ œ
œ
.
œ
œ
.
Ó
J
œ ‰ Œ Ó
∑
∑
∑
œ
‰
˙˙
j
œœ
∑
‰ j
œ
‰ œ
œ
.
œ
œ
.
‰
œ
œ
.œ
œ
.
Œ
Œ
J
œ ‰
œ œ œ œ œ
∑
∑
3
œ
œœ
œœ#
œ
œn
.
.
œ
œ
J
œ
œ
‰ j
œ
‰ œ œ ‰ œ œ Œ
˙
˙
œ œ œ œ œ
Œ œ
œ œ
‰
œ œ
Œ
Ӝ
œ
P f
FF
1.
f
P f
harmon1.
F
F
F
unis.
div.unis.
F
fP
arco
f F P
Bf Ef
Œ
˙ œ œ-
3
œ.
œ. œ œ
3
œœ œ# ˙
Œ
3
‰
œ
.
œ œ
Ó ‰ .
R
œ œ œ œ# œ œ œ œ œb
≈œ œ# œ œ œ# œ œ œ œ œn œ œ œ œ œ œ œ œ
∑
∑
Ó . Œ
3
‰
œœ œ
∑
∑
∑
∑
œœ
œœ
œ
ww
w
∑
œ
œ
œ
œ
‰ ‰
œœ
œ
.œœ
œ
.
Œ
œ
œ
b
b
.œ
œ
.
‰ Œ
.˙ Ó
3
œnœ
œ
˙n
Ó
J
œn.
‰ Œ Œ Ó
3
œ
œ
œ
œ
œ
œ
#
#
˙
˙ œ œn
3
œ.
œ. œ œ
œ œ
‰
j
œ‰ ‰
j
œ
œ
œ
b
b
.œ
œ
.
‰
J
œb ‰
≈
œ œ# œ œ œ# ‰ ‰
œ œ œ œ œ# œ
3
œ œ.
œ.
J
œ
‰ ≈
œ# œ œ œ œ œb.
œ.
‰
3
œ œ.
œ.
∑
F
P
F
arco
f
div.
F
pizz.
F
p
œ œ œ œ œ œ
œ œ œ œ œ œ
j
œ
‰œn œ
œœ œ
œn œ œ œ
œ œ œ œ œ œ# œ
∑
∑
œ œ œ œ œ œ
∑
∑
∑
∑
ww
w
∑
∑
∑
‰
J
œb œ œb.
Œ
œ
œ
b.
œ
œ
.
‰
Ó Œ
œ.
œ.
‰
œ œ œ œ œ œ
‰
J
œb œ œb Œ
œ
œ
‰
J
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
Ó Œ
œ œ
‰
∑
40
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
F
F
F
F
2. 1.
3.
3.
F
F
f
arco
sim.
arco
f
p
182œ
Œ Œœ œ œ# œ œ œ œ œ
œœ
.œ œ œœ œ
œ œœ œ
œ
œ
œ
œœ
˙
˙
œ
œ
œ œ œ œ œ œ
‰ Œ.œ œ œ œ œ œ
Œ ‰
œ# œ œ œ œ œ
Œ
œ œ œ œ œ œ œ#
≈ Œ
.œ œ œ œ œ œ
Œ ≈
œ œ# œ œ œ œ œ
j
œ
‰
œ Œ Ó
Ó Œ
œ œ œ
Ó Œj
œ
‰
∑
∑
∑
∑
‰
œ
œ
.œ
œ
.
Œ
œ
œ
b.
œ
œ
.
‰
œ
œ
#.
.
.
œ
œ
‰
œ#.
œ.
Œ
œ.
œ.
‰
œ
œ
œ œ
Ó Œœ .œ
Ó Œ
œb .œ
J
œ œ
J
œ .œ œ œ
œœ œ .œ œ œ
œ
œ
œœ
˙
˙
œ
œ
œ.
œ.
œ.
œ.
œ œ œ# œ œ œ œ œ.œ œ œ œ œ# œ
Ó Œ
œ
œ œ
f
f
f
f
f
f
f
f
f
f
f
f
f
Wild, Furious
Wild, Furious
a2
mute off
Dn Bn En An
unis.
Q
Q
a2
a2
a2
1 & 2
œ
œ
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
˙
˙
œ œ
≈
œ œ
≈
œ ˙
œ œ
≈
œ œ
≈
œ ˙
œ œ
≈
œ œ
≈
œ ˙
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
j
œ
œ
‰
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
j
œ
œ
‰
.
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
J
œ
œ
œ ‰
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
J
œ
œ ‰
∑
‹
œ œ œ
‹
œ œ œ
‹
œ œ
œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
œ œ
≈
œ œ
≈
œ
æ
˙
æ
œ œ
≈
œ œ
≈
œ
æ
˙
æ
.œ œ œ œ ˙
.œ œ œ œ ˙
.œ œ œ œ ˙
f
‰ .
>
r
œ œ
≈
œ ˙
.œ œ œ
≈œ ˙
.œ
>
œ œ
≈
œ .œ œ
œ œ œ
.œ
>
œ œ
≈
œ ˙
.œ
>
œ œ
≈
œ .œ œ
œ œ œ
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
j
œ
œ
‰
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
j
œ
œ
‰
.
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
J
œ
œ
œ ‰
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
J
œ
œ ‰
.˙
j
œ
‰
œ
>
œ œ
‹
œ œ œ
‹
œ œ
œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
.œ>
œ œ
≈
œ
æ
˙
æ
.œ
>
œ œ
≈
œ
æ
˙
æ
.œ>
œ œ œ
æ
˙
æ
.œ
>
œ œ œ
æ
˙
æ
.œ
>
œ œ œ
æ
˙
æ
Lighter
Lighter
F
F
with agility
with agility
F
F
F
F
pizz.delicate
P
pizz.
pizz.
R
R
sub.
1.
1.
1.
p F
‰
J
œ ˙# œn œ#
>
j
œ
.
‰ Œ Œ
œ œ#
.
.˙ œ œ#
.
J
œ.
‰ Œ Ó
∑
∑
∑
∑
∑
∑
∑
.
.
.
.
˙
˙˙
˙b
œ
œœ
œ
œ
œ
œ
œn
.
∑
∑
∑
∑
∑
∑
∑
œ œ
‰ ‰ J
œ
Œ ‰
œ œ
wb
wb
delicate
delicate
P
P
p
pizz.
pizz.
‰
J
œ# œn œ œ
œ#
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó ‰
J
œ ‰
J
œ
∑
∑
∑
∑
∑
Œ ‰
J
œ‰
J
œ
‰ J
œ
œ ‰
J
œ‰
J
œ
‰ J
œ
œ
Œ Ó
∑
∑
P
harmon1.
P
delicate
p
P
˙ ˙
Ó ‰
J
œ œ
∑
∑
∑
∑
Ó ‰
J
œ œ
∑
∑
∑
∑
w
ww
w
#
#
∑
Ó ‰J
œ œ
∑
w
w
∑
∑
œ œ
‰ ‰ J
œ
Œ ‰
œ œ
˙n
Ó
˙n
Ó
sul pont
˙ ˙
.œ
J
œ œœ œ
∑
∑
∑
∑
.œ
J
œ œœ œ
∑
∑
∑
∑
˙
˙˙
˙
Ó
∑
.œ
J
œœ œ
œ œœ
∑&
∑
∑
œ ‰
J
œ ‰
J
œ œ
œ
œ ‰
J
œ ‰
J
œ œ œ
œ
‰J
œ
‰J
œ œ œ
Ó Œ ‰ J
œ
Ó Œ ‰ J
œ
41
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
&
&
?
&
&
B
?
?
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√√
√
√
PF
F
p
a2
189œ
Œ Ó
˙
œ# œ
j
œ
‰ œ
œ
.
œ
œ
.
‰ œ
œ
.
œ
œ
.
‰ Œ
∑
∑
∑
˙
œ# œ
∑
∑
∑
∑
∑
∑
˙
œ# œ>
œ# œ œ œ œ œ Œ
∑
∑
Œ œ œ ‰ œ œ ‰ Œ
Œ œ œ ‰ œ œ ‰ Œ
Œ œ œ ‰ œ œ ‰ Œ
J
œ
‰ Œ Ó
J
œ
‰ Œ Ó
P
P
f
F
P
P
F
Ó ‰
œ
œ
œ
J
œ
‰
œ
J
œ.
‰ Ó
j
œ
‰ œ.
œ.
‰ ‰œ
œ
.
œ
œ
.
Œ
∑
∑
∑
.˙
J
œ.
‰
∑
∑
∑
∑
œ œ œ œ# œ
3
œ œ œ
3
œ œ# œœ
œ
œ
>
∑
œ
Œ ‰ ≈ œ
œ
J
œ
‰
Ó ‰j
œ
Œ
∑
∑
Œ œ œ ‰ ‰œ>
œ Œ
Œ œ œ ‰ ‰œ>
œ Œ
j
œ ‰ œ œ ‰ ‰ œ
>
œ Œ
J
œ
‰ Œ Ó
J
œ
‰ Œ Ó
p
p
delicate and splattering
p
p
P
a2
P
2. harmonP
delicate and splattering
p
p
p
tr
œ
œ
œ
œ
œ
œ
œ
œ œ
œ
œ
œ
œ
œ
œ
œ
Œ
œ
œ
œ
‰ Ó
Ó œ
œ
.
œ
œ
.
‰ Œ
∑
Ó œ
œ
+
œ
œ
+
‰ Œ
∑?
Ó œ
œ
œ
œ
‰ Œ
∑
∑
∑
∑
‰
j
œ
œ
œ
œ
œ
œœ# œ
œn
j
œ
œ
∑
≈ œ
œ
œ
≈ œ
œ
œ œ
≈ œ
œ
œ
≈œ
œ
j
œ
‰j
œ
‰ ‰ j
œ
‰ j
œ
?
œ œ œœ
j
œ
‰
∑
Ó œ œ ‰ Œ
Ó œ œ ‰ Œ
Ó œ œ ‰ Œ
∑
∑
P
P
F
f
F
2.
4.
PF
F
ord.
œ
œ
œ
œ
rK
œ œ œ
œ
œ
œ
œ œ œ œœ œ
œ œ
∑
‰
J
œ
œ
#
#
˘
Œ ‰ ≈
œ
œ J
œ ‰
Ó ‰
J
œ
.
Œ
‰j
œ#
fl
Œ Ó
‰ j
œ#
fl
Œ Ó&
∑
∑
∑
∑
∑
.
.
œ
œ#J
œ
œ#
œ
œ
œ
œ
∑
œ
≈ œ
œ
œ
≈ œ
œ
œ
‰ j
œ
œ
#
#
.
j
œ
Πj
œ
Œ&
?
œ
œœ
j
œ‰
∑
‰ J
œ#˘
Œ ŒJ
œ
‰
‰
j
œ#
fl
Œ Œ
J
œ ‰
‰j
œ#
fl
Œ Ó
‰ j
œ#
fl
Œ Ó
‰J
œ#
˘
Œ Ó
F
F
F
F
poco
poco
poco
1.
F
1.
F
1.
P
f
P
loco
{e = e}
œ
œ
œ
œ
œ œ œ œ œ œ œ œ
œ
œ
œ>
œ œ œ# œ œ œ œ
j
œ
œ œ œ œ# œ œ œ œ
r
œ
≈
‰
œ œ œ œ# œ œ œ œ
‰
œ
+œ
+
Π.
∑
‰ œ œ Œ .
‰ Œ ‰ œ œ
∑
∑
∑
œ
œ
œ
œ
‰
∑
≈œ
œ
œ
œ œ œ œ
œ
œ
œ
œ œ œ œ œ# œ œ œ œ
Œ ‰ ‰ j
œ
∑
‰ œ œ Œ .
‰ œ œ Œ .
‰ œ œŒ .
∑
∑
~ ~~ ~ ~ ~~ ~
42
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
(√) √√ √
Smooth
Smooth
F
F
F
F
w/ hands
P
Splattering
Df
arco
arco
S
S
Bongos
F
{e = e}194
J
œ
‰ Œ ‰
3
œ œ œ
œ
j
œ ‰ Œ Ó
‰ J
œ ˙
Œ
‰j
œ
>
œ ˙
∑
∑
‰ J
œ .˙
‰j
œ œ
j
œ
‰ Œ
∑
∑
– ––
j
–
+
‰ ‰ j
––
+
‰
j
œ
œ
œ
œ
.
.
œ
œ#
j
œ
œ#
∑
œ
œ
œ
œ
œ œ
≈
œ
œJ
œ
‰
‰j
œ
œ
>
œ
œ
œ
œ
œ
Œ&
œ œ œœ
j
œ
‰
∑
‰ J
œ ˙œ
œ œ
‰ Œ Œœ
œ œ ‰ ‰
J
œŒ ‰ œ œ
.˙Œ
.˙Œ
2.
π
œ œ
≈
3
œ œ# œ.œ
œ œ
Œ
6
œ œ# œ œ œ œ˙
œ œ
.
œ
.
.œ œ
.
‰ j
œ œ
.
œ œ
.
∑
œ
Œ Ó
∑
∑
.œ
‰ Ó
∑
∑
∑
Ó Œ ‰
– –
˙
˙
Ó
∑
œ
≈
œ
œ
œ œ
≈œ
œ œ
Œ
j
œ ‰ ‰
j
œŒ
?
∑
∑
œ œ
3
œ œ# œ .œœn œ
œ
6
œ œ# œ œ œ# œ.œ
J
œ
œ
‰J
œ
‰J
œ œ œ
œ
‰J
œ
‰J
œ œ œ
B
∑
p
p
sul pont.
arcodiv.
F
p
1.œ
œœ œ .œ œ œ
‰ j
œ œ# œ œ œ œ
∑
œ œ
≈
œ œ>
œ>
‰ ‰ J
œ œ œ
≈
œ
∑
∑
∑
∑
∑
∑
––
+
Œ ‰j
–
j
–
+
‰
∑
∑
Ó ‰ ≈ œ
œ
œ
œ
Ó ‰J
œ
Œ
∑
∑
œ
œœ œ œ œ œ œ œ
œ
œœ œ .œ
J
œ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
‰ J
œ œœ
‰ J
œ
‰
œ œ
?
∑
p
F
p
p
f
ord.
f
Mar.
.œ
J
œ œ œ
j
œ
‰ Œ Œ
œ
œœ œ
œœ œ œb
œ œ œ œ œ
J
œ‰
œ
Œ Ó
Ó Œ
œ
o
∑
∑
∑
∑
∑
∑
œ œ œ œ .œ œ œ œ œ œ œ œ œ
∑
J
œ ‰ Œ Ó
∑
∑
∑
.˙ œ
3
œ œ œ
w
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ
‰ ‰
J
œ œ
œ œ
∑
P
P
F
P
p
P F
pizz.
F
œœ
œœ œ .œ
J
œ
œ œ œ œ œ œ#
j
œ œ
j
œ
˙
˙
œ
œ
.
œ
œ
.
‰ Œ
≈
œ œ œ œ>
œ>
‰ ≈
œ œ œ œ
≈
œ
˙
œ
+
œ
+
‰ Œ
Ó
œ
+
œ
+
‰ Œ
∑
∑
∑
∑
∑
œ
Œ Ó
∑
j
œ
‰ Œ ‰ ≈ œ
œ
œ
œ
Œ
œ>
œ>
‰ ‰ j
œ
Œ&
?
∑
∑
˙ œ œœ
‰
j
œ œœ ‰
j
œ‰
œ œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
J
œ
‰ Œ Ó
∑
43
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
(√) √
√
F
a2
p
harmon
2 & 3
Vibra.
p
199œ
œœ œ œ
œ
œ
3
œ œ œ œ œ œ œ
œœ œ
œœ œ œb
œ œ œ œ œ
J
œ‰
œ
Œ Ó
Ó Œ
œo
∑
∑
∑
∑
∑
∑
œ œ œ œ .œ œ œ œ œ œ œ œ œ
∑
J
œ ‰ Œ Ó
œ œ
œ œŒ Ó
∑
∑
˙ ˙
j
œ
‰
œ œ
‰ Ó
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œŒ ‰
J
œ œ
œ œ
j
œ‰ Œ Ó
f
f
F
p
2.
mute off
1.
P
P
p
P
arco
unis.
gliss.
P
3
œ
œœ œ# œn ˙
œ œ ≈ œ .œ œ œ œ œ œ œ œ
œ
œ
œ
œ
œ
œ
j
œ
œ
‰ Œ
∑
œœ
œ
œ
œ
œ
j
œ
œ
‰ Œ
∑
3
‰
œœ œ# œn ˙
‰
œ
œ
œ
œ Œ Ó
J
œ ‰ Œ Ó
∑
∑
∑
œ
‰ j
œœ œœ œœ œœ
∑
‰ j
œ
‰ œ
œ
.
œ
œ
.
‰
œ
œ
.œ
œ
.
Œ
Œ
J
œ ‰
œ œ œ œ œ
∑
∑
3
œ
œœ
œ
œ .œ
J
œ
3
œ œœ œb œ .œ
J
œ
˙
˙
œ œ œ œ œ
‰ J
œ
‰
œ œ
‰
œ œ
Œ
ŒJ
œ
‰œ
œ
f
f
P
P
PF
1.
FF
1.
f
fP
1.
F
Bf Ef AsF
pizz.arco
arco
P
Œ
˙ œ œ
3
œ.
œ. œ œ
3
œœ œ# ˙
Œ
3
‰
œ
.
œ œ
Ó ‰ .
R
œ œ œ œ# œ œ œ œ œb
≈œ œ# œ œ œ# œ œ œ œ œn œ œ œ œ œ œ œ œb
∑
∑
3
œœ œ# ˙ œ œn
3
‰
œœ œ
∑
∑
∑
∑
œœ
œœ
œ
ww
w
∑
œ
œ
œ
œ
‰ ‰
œœ
œ
.œœ
œ
.
Œ
œ
œ
b
b
.œ
œ
.
‰
J
œb
˙ ‰
j
œ œ
œ
b
b
.
œ
œ
.
‰ Œ&
?
3
œœ
œ
˙
Ó
J
œ
‰ Œ Œ Ó
3
œœ œ# ˙ œn œ
3
œ.
œ. œ œ
3
œœ œ# ˙ œ œ
3
œ.
œ. œ œ
œ œ
‰J
œ
‰ ‰ .R
œ œ œ œ# œ
3
œ.
œ.
œ
≈œ œ# œ œ œ# œ œ œ œ œn œ œ œ œ œ
.œ
.œ.
œb
.
.˙
Ó
F
P
F
F
div.
div.
F
pizz.
F
œ œ œ œ œ œ
œ œ œ œ ˙
‰ j
œœ œ
œœ œ
J
œ œ œ œ œ
‰
J
œ œ œ œ œ# œ
∑
∑
œ œ œ œ œ œ
∑
∑
∑
∑
ww
w
∑
∑
Ó Œ
œ œ
‰
‰
J
œb œ œb.
Œ
œ
œ
b œ
œ
‰
∑
œ œ œ
œb œ
œn
œ
œ
œ œ œ œb œn œ
œ
j
œœ œ
œœ œ
‰
J
œ œ œ œ œ
Ó Œ
œ œ
‰
∑
F
F
f
f
2. 1.
3.
3.
1.
F
F
Bn En
unis.
arco
œ
Œ Œ
œœ
# œœ œ
œ œœ œ
œ œœ#
œ Œ Œœœ œ
œ œœ œ
œ œœ œ
œ#
œ
œ
œœ
˙
˙
.
.
œ
œ
œ œ œ œ œ œ œ#
≈
Œ Œ
œ œ œ œ
Œ ‰
œ# œ œ œ œ œ œ
‰
œ œ œ œ œ œ œ#
≈ Œ
œœ œ œ œ
Œ ‰
œ# œ œ œ œ œ œ
‰
∑
Ó Œ
œ œ œ œ œ
J
œ
‰ ‰
Ó Œj
œ
‰ ‰
∑
∑
∑
∑
‰
œ
œ
.œ
œ
.
Œ
œ
œ
b.
œ
œ
.
‰
œ
œ
#.
œ
œ
J
œ
œ‰
‰
œ#.
œ.
Œ
œ.
œ.
‰j
œ
œ œ œ œ œ
Ó .
œ œ
j
œ‰
Ó .
œ# œ
J
œ
‰
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
J
œ
œ
œ œ œ œ
œœ œ œ
J
œ œ œ œ œ
œ
œ
œœ
˙
˙
.
.
œ
œ
‰
œ#.
œ.
Œ
œ.
œ.
‰j
œ œ œ œ œ
Ó Œj
œ
‰ ‰
44
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
dance-like
dance-like
P
P
P
F
F
F
F
F
mute off1.
P
P
P
E = FP
P
AnP
div.
unis.
T
T
P
w/ medium mallets
204
.
.œœ
‰ Œ
.œ
j
œ# œ#
.œ
‰ Œ
œœ œ
œ œœ œ
œ œœ#
œœ
œœ
.œ
j
œ Œ
Œ ‰
œ# œ œ œ œ œ
.œ
‰ Œ
∑
˙Œ
˙ Œ
˙
Œ
∑
∑
∑
˙
Œ
∑
˙
Œ
J
œ
‰ Œ Œ
‰J
œ œœ
œ œœ
œ
.œ
J
œ œ
˙ œ
.˙
˙ œ
˙ œ
œ
œ œ
1.
Gs
∑
.œ
j
œ# œ#
.œ ‰ Œ
œœ œ
œ œœ œ
œ œœ#
œœ
œœ
.œ
œ# œ œ œ œ œ
.œ
‰ Œ
∑
˙ Œ
˙Œ
˙
Œ
∑
∑
∑
˙
Œ
∑
˙Œ
∑
œ
œ œ
.œ
J
œ œ
˙ œ
.˙
˙ œ
˙ œ
œ
œ œ
F = E
∑
.œ
j
œ# œ
.œ
‰ Œ
œœ
b œœb œ
œ œœ œ
œ
œœ
œœ
.œ
œ œb œ œ œb œ
.œ#
‰ Œ
∑
˙# Œ
˙#
Œ
˙#
Œ
∑
∑
∑
˙#
Œ
∑
˙#
Œ
œ#
œ#
œ
œ
œ
œ
.œ#
J
œ# œn
˙# œ#
.˙
˙œ#
˙ œ#
œ#
œ# œ
1.
Dn Cs Gn
unis.
∑
œ Œ Ó
œ œ# œ# .œ
J
œ
.
wn
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ
œ
œ
.
œ
œ
.
‰ ‰
J
œ
œ
#
#
.
Œ
∑
J
œ ‰ Œ Ó
J
œn
‰ Œ Ó&
˙n œ œ œ
˙ ˙
˙ ˙
˙
Ó
∑
2.
F
F
F
div.
F
1 & 2
1 & 2
Œ ‰ .R
œ# œ œ œ# œ œ
3
œ œ œ
Ó Œ œ œ
3
œ œ# œ
˙ œ# œ œ œ# œ
˙ œœ
œ
œ
œ
Ó ‰ j
œ#œ
>
∑
‰
J
œ
œ‰
œ
œ
œ
œ ‰
J
œ
œ œ# œ
Ó ‰ J
œ#œ>
∑
∑
∑
∑
∑
‰
J
œ
œ
.
‰
œ
œ
.œ
œ
.
‰
J
œ
œ
.
œ# œ
∑
‰ J
œ
‰
œ œ
‰J
œ
Œ
‰
j
œ‰ œ œ ‰
J
œ œ# œ ?
œ
œ œ ˙˙ œœ œ œ œ# œ
œ
œ œ œ œ#
œ œ œ# œ
œ
œ œ œœ#
œ>
œ œ œ
Ó ‰ J
œ#œ
>
œ œ œ
Ó Œ
œ
f
f
f
f
ƒ
ƒ
ƒ
ƒ
Wild, Furious
Wild, Furious
ƒ
ƒ
ƒ
ƒ
ƒ
a2
a2
a3
F
Cn Bf Ef Af
unis.
arco
f
f
U
U
a2
a2
a2
œ
œ
n
n
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
˙
˙
œ œ
≈
œ œ
≈
œ ˙
œ œ
≈
œ œ
≈
œ ˙
œ œ
≈
œ œ
≈
œ ˙
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
j
œ
œ
‰
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
j
œ
œ
‰
.
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
J
œ
œ
œ ‰
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
J
œ
œ ‰
.˙
j
œ
‰
‹
œœ œ
‹
œ œ œ
‹
œœ
œ œ œ œ œ œ œ œ œ œ
∑
∑
.˙
j
œ
‰
∑
∑
∑
∑
œ œ
≈
œ œ
≈
œ
æ
˙
æ
œ œ
≈
œ œ
≈
œ
æ
˙
æ
.œ œ œ œ
æ
˙
æ
.œ œ œ œ
æ
˙
æ
.œ œ œ œ
æ
˙
æ
45
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
ƒ
ƒ
ƒ
ƒ
ƒ
3.a2
210
.
.
œ
œ
>
œ
œ
n
n
œ
œ
≈
œ
œ
˙
˙
.œ
>
œ œ
≈
œ ˙
.œ
>
œ œ
≈
œ ˙
.œ
>
œ œ
≈
œ ˙
.
.
œ
œ
>
œ
œ
œ
œ
œ
œ
˙
˙
.
.
œ
œ
>
œ
œ
œ
œ
œ
œ
˙
˙
.
.œ
œ
>
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
˙
.œ
>
œ
œ
œ
œ
œ
œ
˙
˙
w
œ
>
œ œ
‹
œ œ œ
‹
œœ
œ œ œ œ œ œ œ œ œ œ
∑
∑
w
∑
∑
∑
∑
.œ>
œ œ
≈
œ
æ
˙
æ
.œ
>
œ œ
≈
œ
æ
˙
æ
.œ>
œ œ œ
æ
˙
æ
.œ
>
œ œ œ
æ
˙
æ
.œ
>
œ œ œ
æ
˙
æ
ƒ
ƒ
ƒ
ƒ
ƒ
f
E = Fs
{e = e}œ
œ
n
n
œ
œ
˙
˙
n
n
œn œ ˙
œn œ ˙
œn œ ˙
˙
˙
#
j
œ
œ
˙
˙
j
œ
œ
˙
˙
˙
#
#
J
œ
œ
œ
˙
˙
J
œ
œ
˙
J
œ
‹
œ œœ
‹
œ
œ œ œ œ‰
∑
∑
œ œ
j
œ œ
‰
∑
∑
∑
∑
œn œ ˙
æ
œn œ ˙
æ
œn œ ˙
æ
œn œ ˙
æ
œn œ ˙
æ
p
p
p
p
P
P
f
f
Animated
Animated
f
div.
f
sim.
div.
P
sim.
div. unis.
sim.
P
P
P
P
P
V
V
1.
1.
1.
f
{e = e}œœ œ
œ œœ œ
œ# œœ œ
œ œœ# œ
œ œœ
˙˙
œ œ œ œ# œ œ œ# œ œ œœ œ œ# œ œ œ œ# œ
œ œ œ œ# œ œ œ œ# œ œ œ œb œb œ
j
œn
.
‰
œ œ œ# œ œ œ œ# œ œ œ œ œ œ œ# œ œ œ
r
œb
‰
˙
˙
# Ó
˙
˙
Ó
˙
˙
˙
#
# Ó
˙
˙ Ó
˙
Ó
∑
∑
∑
∑
Ó
œ
œ
.
œ#.
Œ
∑
∑
∑
œœ œ
œ œœ œ
œ# œœ œ
œ œœ# œ
œ œœ
œ
œ Œ
œ
œ œ œ# œ œ œ# œ œ œ œ#
.œ#
. œ
.
œ
.
œœ
œ
œœ œ
œ œœ œ
œ# œœ œ
œ œœ# œ
œ œœ
J
œ
œ
.
‰
œ
Œ
œ.
œ#.
œ#.
œ.
œ.
œœ
œ
œ
Œ
œ
.
œ#
. œ
œ#
P
P
P
P
Vibraslap
P
F
p
sim.
unis.
f
unis.
f
Mar.
1.
Œ œ
.œ#
œ# œ œ#
‰ ≈
œ
œn
J
œ#
‰
œ#
>
œ#
œ# ‰
Œ
œ#
>
œ#
œ#
‰
∑
∑
∑
∑
∑
∑
Œ ≈
.
J
„
Œ ≈
œ œ#
Πj
œ#
.
‰
œ. œ
œ
#.
œ
œ
œ#
∑
∑
∑
Œ œ
.œ#
œ# œ œ œœ#
.œ#
Œ
œ#œ
‰
œ# œ œ œœ#
.œ#
œ#
œ#
œ#
œ#
w/ knuckles
f
Small W.B.
Œ
œ.œ
œ# œ œ
‰ ≈
œ
œn
J
œ.
‰
œ#
>
œ
œ ‰
Œ
œ#
>
œ
œ
‰
∑
∑
∑
∑
∑
∑
Œ ≈
.
J
œ
Œ ≈
œ# œ
Πj
œ#
.
‰
œœ
œ
œ
œ
œ#
∑
∑
∑
œ œ œ
œ œ
.œ
œ œ œ œœ#
.œ
Œ
œ#œ ‰
œ œ œ œœ#
.œ
œ
œ
œ#
œ
f
F
Samba Whistle
F
a2
‰ œ
œ# œ
œ
œn
œ
œ
œ
œ
œ
œ
œ ≈
œ# œ
œ
œ
œ
œ
‰
œ#
>
œ#
œ# Œ
‰
œ#
>
œ#
œ#
Œ
∑
∑
∑
∑
∑
∑
‰ J
¬
Œ
‰ .r
œ œ# œ œn œ œ
‰ j
œ#
.
Œ
Œ ‰
J
œ
œœ
>
Œ ‰J
œ>
∑
∑&
œ# œ œ
œ# œœ
œ# œœ#
œ# œœ
‰
œ# œ# œœ
œ# œœ#
œ# œœ
œ#
œ#
œ#œ
46
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
&
&
&
B
?
?
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
p
p
p
F
F
F
F
F
F
F
F
F
F
F
F
p
1.
P
3.
harmon
P
(Snare Dr. - snares off)
P
F
F
pizz.gliss.
pizz.
div.
div.
1 & 2
216
œ
œb
œ
œ
# œ
œ
œ
œ#
œ
œ
œ
œ
œ
œ
n œœ œ
J
œœnb
.
‰ J
œ
œb
.
Œ
œœ
b
œœœœ#
J
œœbn
.
‰ Œ J
œ
œ
.
œbœ œ œn œ œ œ# œ œ œ œ
œœ# œœ
‰
œ
œ
n.
J
œb
‰ ‰
œ œn œ œ œ œ œ œ
œœnb œœ
‰
œ
œ
.
‰j
œ
œ# œ œ œ
œb
‰
‰j
œ
œn œ œ œ
Œ ‰
Ó Œ ‰ œœ
b
∑
∑
œ œ œ œ œ œ œ œ œ œ
Œ ‰
∑
œbœ
œn
œb
J
œœb
˘
‰ Œ Œ .
∑
r
œb
‰ .R
œ˘
‰ . Œ
œœœœ
n
˘
œ
‰
r
œ
œ
b
b
.
‰ . Ó ‰
j
œ
œ
‰
Ó Œ ‰ ‰
J
œœ
˘
Ó Œ ‰ ‰
j
œœb
fl
œb
R
œ
˘
‰ . Œ
œ
œb ‰
œ‰
j
œb
œœ
œ ‰
œ
œ
.
œ
.
œ
.
≈ œ
-
œ
.
J
œ
œ
œ
b
Œ
œb.
œ.
œ.
≈
œ-
œ.
J
œœ
œb
∑
w/ sticks
ΠJ
œœ#
‰ J
œ
œn
.
‰
œœb
ŒJ
œ
œ
b.
‰
‰
J
œœ
J
œœ‰
J
œ
œ
b
b
.
‰
‰J
œœbb
J
œœ
‰
J
œ
œ
.
‰
œb œ œ œœb
œb œ œ œ
∑
œb œ œ œœb
œb œ œ œ
∑
∑
œ œ œ œ
Œ
œ œ œ œ Œ
∑
∑
Œœ
œ
b
b
œ J
œœœœ
b
˘
‰
Œj
œ
œ
b
b
‰ Œ
Œ Œ
J
œœb
˘
‰
Œ Œ
j
œœ
fl
‰
œb
œ œbœb
J
œ.
‰
œb
œ œb
œ
J
œb ‰
œb œ œ œœb
œb œ œ œ
œœbbœ
œœœ
œœ
œ
œ
b.
œ
œ
.
∑
ord.
ord.
f
f
f
f
f
f
f
f
f
Cs Bn En Fsf
arco
arco
J
œ
œ
b
‰ J
œ
œ
>
‰ Œ
J
œ
œ
n
b‰
J
œ
œ
b>
‰ Œ
J
œ
œ ‰
J
œ
œ
b
b
>
‰ Œ
J
œ
œb ‰
J
œ
œ
b>
‰ ŒB
œ
œ
j
œœb
>
‰ Œ
∑
œ
œ
J
œœb
>
‰ Œ
∑
∑
‚
œ
>
œ
‰
‚
œ
Œ
∑
∑
∑
J
œœœœ
b>
‰
.
.
.
.
œœœœ
bn
>
‰
∑
J
œb>
‰J
œ
œ
˘
‰ Œ
∑?
Œ
œb.
œ.
‰ Œ
Œ œ.
œ.
‰ Œ
œ
œbœœ
.œœ
.
‰ Œ
≈
œ
œ
b
b
.œ
œ
-
œœ
.œœ
.
‰ Œ
∑
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
f
f
f
f
Furious, but fading
Furious, but fading
1.
P
1.
P
1.
1.
3.
mute offa3
1.
f
f
Gs = A F
unis.
unis.
f
W
W
P
P
P
P
P
w/ wood sticks
œ
œ
#
#
œ
œ
œ
œ
œ
œ
œ
œ
3
œ
œ
œ# œ
6
œ# œ œ œ œ# œ#
3
œ œ# œ#
3
œ œ œ#‰
œœ
# œœ
œœ
.
.˙˙
3
œ œ# œ
3
œ# œ# œ
3
œ œ# œ#
œ# œ œ œ œ
œ œ
j
œ
3
œ# œ œ
3
œ# œ# œ#œ# œ œ.
˙
J
œ
œ# œ œ ˙
j
œ ‰
Œœ# œ œ œ
J
œ
‰ Œ 3
œ# œ# œ?
w
w#
œ
œ
‰
w# œ‰
.
.
.
˙
˙
˙
#
ΠΠ.
.˙#
ΠΠ.
.˙#
ΠΠ.
œ œ œ œ Œ Œ œ œ ‰
œ œ œ œ œ œ œ œ
‰
‹ ‹ ‹ ‹ ‚ ‹ ‚ ‹
ΠΠΠ.
∑ ÷
œ# œ œ ˙
ΠΠ.
∑
∑
∑
∑
œ# œ œ
æ
.˙
æ
.œ
æ
œ# œ œ
æ
.˙
æ
.œ
æ
œ# œ œ
æ
.˙
æ
.œ
æ
œ# œ œ
æ
.˙
æ
.œ
æ
œ# œ œ
æ
.˙
æ
.œ
ææ
47
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
B
?
?
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
P
P
F
F
harmon1.
P
F
ƒ
220
∑
∑
6
œ œ# œ# œ œ œ#
Œ Ó
6
œ# œ# œ œ œ# œ#
6
œ œ# œ# œ œ œ#
Ó
w
w
w
w
w
∑
∑
‹
œ œ œ
‹
œ
Œ Œ
‹
œ œ œ
‹
œ
∑
Œ
ÁÁ
ÁÁ
Á ÁÁ Á
Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
straight mute2. P
p
p
P
1 & 2
∑
∑
∑
∑
w
w
w
w
˙
Ó
w
w
w
w
Œ
‹
œ œ œ
‹
œ
>
Ó
∑
∑&
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
P
P
p
∑
∑
∑
∑
w
w
w
w
w
w
w
‰
j
‹
œ
Œ Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
.
.
˙
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
heavier
heavier
heavier
heavier
4.
∑
∑
∑
∑
.˙
>
.˙
>
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
>
.˙
>
∑
∑
∑
∑
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
w
p
p
F
F
∑
∑
∑
∑
w
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
≤
w
≤
Sorrowfully
Sorrowfully
F
F
div.pizz.
F
l.v.
X
X
l.v.pizz.
F
l.v.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w œ
w
w
œ
œ
w
Œ
w
w
Œ
∑
∑
∑
w Œ
w
w
Œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
Ó .
.
.
˙
˙
Ó .
∑
∑
∑
∑
∑
∑
∑
P
arcoP
pizz. l.v.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
.
.
˙
˙
∑
∑
∑
∑
.˙
.˙
48
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
l.v.
230
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
w
w
∑
∑
∑
∑
Œ
.˙
w
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
p
arco
p
p
l.v.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙
.
.
˙
˙
∑
∑
∑
∑
Œ
˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.˙ œ Œ Œ
.˙ œ
q»∞•
q»∞•
Rather Slow
Rather Slow
solo
P
Y
Y
arco
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙ œ œ-
.œ
∑
Melancholy
Melancholy
p
with mutes
P
pizz.
p
unis.pizz.
p
P
l.v.
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ
j
œ ˙
Œ
.œ
J
œ ˙ Œ
∑
œ œ œ œ œ œ
j
œ
‰
.œ
J
œ œŒ Œ
w œ
.œ
j
œ œ
Œ Œ
pizz.
p
arco
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œ
j
œ ˙
.œ
J
œ ˙
Œ ‰ j
œ ˙
Œ ‰ j
œ œ œ œ
.œ‰ Ó
œ œ ˙ œ#-
.œ
j
œ
+
˙
arco
F
pizz. arco
p
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó .œ
J
œ œ
∑
œ œ
œ .˙
w
œ œ
˙.œ
J
œœ œ
œ
Œ
.œ
j
œ
+
œ
arco
P
mutes off
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ ˙ Ó
Œ
œ
œ œ œ œ œ œ
˙
Ó
œ ‰ ŒJ
ϲ
œœ
J
œ ‰
œ œ œ œ
œ ˙
œ œ
+
.˙
49
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
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
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
8
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
8
3ˆ
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
tutti
F
239
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ
∑
J
œ œJ
œ œ œ
Œ
œ œ œ
œ œ
∑
poco rit.
poco rit.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑?
∑
w
∑
œ œ œ œ œœ
œ œ œ œ œ œ
∑
a tempo
a tempo
p
p
{e = e}
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
‰ ‰ œ œ# œ œ
‰
œ œ#&
‰
œ œ œ œ ‰
œ œ# œ
‰
j
œ‰ ‰ ‰ ‰
‰
œb œ œ œ
.œ œ
.œ
‰ ‰
∑
P
P
poco accel.
poco accel.
FnP
F
F
P
pizz.
pizz.
{e = e}
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑&
∑
∑
∑
∑
.œ
j
œ ˙
Œ
.œ
J
œ ˙ Œ
Ó Œ
œ œ œ
œ œ œ .˙
.˙
‰ j
œ
œ œ
.œ
J
œ ˙ Œ
.œ
j
œ ˙
Œ
1.
P P
straight mute1.
P
P
div.
F
F
pizz.arco
div. arco
F
Glock.
∑
∑
∑
∑
‰ j
œ œ œ œ œœ
∑
Œœ œ œ œ
∑
∑
∑
Ó Œ œœ
œ
∑
∑
∑
∑
.œ
j
œ
œ
>
œ
œ
œn>
.œ
J
œ
>
œ Œ
œ œ
œ œ œ
œ œ
J
œ
‰ Œ
œ
œ œ œ œ
œ œ
œ œ œœ
œ
.œ
J
œ
Ó
.
.
œ
œ
j
œ
œ
+
˙
˙
F
F
Vibra.
P
P
unis.
arco
div.
{e = e}
∑
∑
∑
∑
œ œ œ
œ œ .œ‰
∑
.œ œ œ œ œ
∑
∑
∑
.
.
.
œœ
œ
œœ
œ
œ
œ
œ
œ
Œ
Œ . ‰
J
œ
œ
œ
œ
œ
œœ
>œ
œœ
∑
∑
∑
‰
œn œ
œ
œ
j
œ
œ
‰ Œ
‰œn œ œ
J
œ ‰ Œ
.œ˙
œ œ œ
˙ œ œ
.œ œ œ œ œ
œ œ œ
˙ œ
Œ . ‰J
œ œ œ
œ
‰
œ œ
œ
œ
˙
˙
P
P
Cn
P
P
P
P
{e = e}
∑
∑
∑
∑
œ œ œŒ
∑
œ œ œ œ
∑
∑
∑
œœ
œ
œ
œ
œ
œ
Œ
œ
œœ
œ
œ
˙
˙˙
∑
∑
∑
œ
œ
œ
j
œ
œ
‰ Œ
œ œ
J
œ ‰ Œ
˙ œ œ
œ œ œ œ
˙ œ
‰J
œ œ œ
œ
œ
œ
œ
œ
œ
j
œ
œ
‰
p
l.v.
F
F
unis.
F
p
∑
∑
∑
∑
∑
∑
œ
Œ Ó
∑
∑
∑
œ
œ
.
.
˙
˙
œ
œœ
Œ Ó
∑
∑
∑
Œ
œ
j
œ .œ
Œœ
J
œ.œ
œ œ œ œ œ
œ
w
œ œ œ œ œœ
œ
œ œ ˙
Œ
œ
j
œ .œ
50
&
&
&
?
&
&
&
?
?
÷
&
&
?
&
?
&
?
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
F
F
247
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑&
∑
∑
∑
∑
∑
œ
œ ˙
œ
œ ˙
.˙
œ œ ˙
œ œ œ
J
œ
‰
œ œ œ œ
œ
œ ˙
q»¡¡¢
q»¡¡¢
Dance-like, nobile
Dance-like, nobile
1.
P
1.
P
p
p
p
pizz.
P
P
P
div.
P
Z
Z
œ œ œ œ
j
œ
‰
Ó ‰ j
œœ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
∑
∑
w
w
w
˙ ˙
w
˙ ˙
œ
Œ Œœ
œ
w
w
1.
P
Celesta
P
arco
∑
œ œ œ
j
œ
‰
Œœ œ œb
∑
∑
∑
∑
∑
∑
Œ Œ
œœœœœ#
∑
Œ
˙
∑
∑
Œ ˙
Œ
˙
Œ ˙
œ ˙
‰
j
œ œ œ œb
∑
˙ œ
œ
œ
˙
˙
div.
p
∑
∑
˙ œn
∑
∑
∑
∑
∑
∑
˙˙˙˙˙
∑
.˙
∑
∑
∑
.˙
.˙
œ
Œ Œ
˙ œn
.œ
J
œ-
œ
.
.
œ
œ
j
J
œ œ
.
.
˙
˙
Bf Ef
pizz.
F
pizz.
arco
P
P
l.v.
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ
˙˙˙˙˙#
°
∑
œ
Œ Œ
∑
∑
.˙
∑
∑
.˙
.œ
J
œbœ
œ œ.œb
J
œ
œ œ .œb
j
œ.˙
.
.
˙
˙
F
arco
F
F
F
∑
Ó ‰ j
œ
∑
∑
∑
∑
∑
∑
∑
Œ ˙
˙
n
∑
∑
∑
∑
∑
.˙
∑
Œ
œb œ
˙b œ
œb œ œ œ
œb œ œ œ
.˙
.
.
˙
˙
div.
arcounis.
F
l.v.
∑
œ œb œ
3
œ œ œ
∑
∑
∑
∑
∑
∑
∑
œ
œŒ
Œ
Œ
œ
∑
∑
Œ œ
∑
∑
.œb
3
œ œ œ
.œb
3
œ œ œœb
.œ
J
œ
.œ
J
œ
œ
œ Œ
P
∑
.˙
∑
œ œ ˙
∑
∑
∑
∑
∑
œœœœ
˙˙˙˙#
∑
∑
∑
∑
.˙
∑
∑
˙ œ
3
œb œ œ
˙
˙
œ
œ
b
b
œb œ œ œ œb
œb œ œ œ œb
˙
˙
œ
œ
b
b
F
l.v.
∑
.˙
∑
œ œ ˙
∑
∑
∑
∑
∑
œœ ˙˙˙˙#
∑
∑
∑
∑
∑
∑
∑
.˙
˙
˙
œ
œ
œ
œ
b
b
œb œ œ œœb
œb œ œ œœb
˙
˙
œ
œ
b
b
51
&
&
&
?
&
&
&
?
?
&
&
&
?
&
?
&
?
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
P
P
P
P
P
poco a poco accel.
poco a poco accel.
p
p
P
unis.
256
∑
˙
Œ
∑
˙
Œ
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ
œ œ
.˙
˙
Œ
.
.
˙
˙
.˙
.˙
œ
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ
œ œ œ
.˙
˙
Œ
.
.
˙
˙b
.˙
.˙
œ
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ
œ œ
.˙
∑
.
.
˙
˙
b
.˙b
.˙b
œb
˙b
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ
œ œ œ
.˙
‰
j
œ
œ œ œ#
‰
j
J
œ œ œ œ#
.˙
.˙
œ
˙
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ˙˙˙˙
#
°
∑
∑
∑
∑
∑
Œ
œ œ
.˙
.˙
.
.
˙
˙
.˙
.˙
œ
˙
P
P
l.v.
œ
j
œb
.œ
Ó ‰J
œn
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ
œ œ
.˙
∑
.
.
˙
˙
b
.˙b
.˙b
œb
˙b
F
F
P
unis.
.œ
J
œ œœ
œ œ œ œ œ
‰
j
œ œ œ œ#
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ
œ œ œ
.˙
‰J
œ œ œ œ#
‰
j
œ œ œ œ#
.˙
.˙
œ
œ
œ
F
F
F
unis.div.
div.
F
AA
AA
p
.˙
˙ œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
œ
œ
œ
œ
œb
˙
Œ
˙ œ
.
.
œ
œ
J
œ-
œ
.œ
J
œ
-
œ
.
.
˙
˙
>
P
P
p
p
p
∑
.˙
˙ Œ
∑
∑
∑
∑
∑
∑
Œ
˙˙˙˙˙#
°
∑
.˙
∑
∑
œ Œ Œ
œ
œ
œb
œb
œ
œ˙
∑
.œ
J
œbœ
œ œ.œb
J
œ
œ œ .œb
J
œ
.
.
˙
˙
F
F
l.v.
p
Ó ‰J
œ
∑
∑
∑
∑
∑
∑
∑
∑
Œ˙˙˙˙˙
°
∑
.˙
∑
œ
œ
œ
œ
œ
œb
‰ Œ
œ
œ
Œ
œ
œb
œb œ
˙b œ
œb œ œ œ
œb œ œ œ
.
.
˙
˙
BnF
F
l.v.
œ œb œ
3
œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ
œ
∑
œb
Œ
Œ œ
˙b
œb Œ
.œb
J
œ
.œb
J
œ
.œ
J
œ
.œ
J
œ
œ
œ Œ
52
&
&
&
?
&
&
&
?
?
&
&
&
?
&
?
&
?
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
p
1.
div.
267..
˙˙nn
∑
∑
œ œ ˙
∑
∑
∑
∑
∑
œœœœ
°
˙˙˙˙#
∑
∑
∑
∑
∑
∑
∑
˙œb
˙
˙
œ
œ
b
b
œb œ œ œ œb
œb œ œ œ œb
.
.
˙
˙
poco a poco cresc.
p
˙˙
Œ
∑
∑
œ œ ˙
∑
∑
∑
∑
∑
œ ˙˙˙˙#
∑
∑
∑
∑
∑
∑
∑
˙œb
˙
˙
œ
œ
b
b
œb œ œ œ œb
œb œ œ œ œb
.
.
˙
˙
P
P
P
P
P
P
P
p
div.
unis.
P
∑
∑
∑
œ œ .œb
j
œ
Ó ‰ J
œ
œ œ.œb
j
œ
∑
∑
∑
∑
œn˙˙˙˙˙
#
∑
∑
∑
∑
∑
œœb œ œ
œ Œ Œ
˙
˙ œb
˙ œ
œ œ.œb
J
œ
œ œ .œb
J
œ
.
.
˙
˙
poco a poco cresc.
poco a poco cresc.
∑
∑
∑
œ œ .œb
j
œ
J
œ
‰ Œ ‰ J
œ
œ œ.œb
j
œ
∑
∑
∑
∑
œœœœn
˙˙˙˙˙#
∑
∑
∑
∑
∑
œœb
œ œ
œ Œ Œ
˙
œ
œ
b
b
˙ œ
œ œ.œb
J
œ
œ œ .œb
J
œ
.
.
˙
˙
P
P
1.
F
l.v.
P
poco a poco cresc.
poco a poco cresc.
unis.
l.v.
∑
œb œ ˙
Ó ‰
J
œ
∑
œb œ œ œ
J
œ
‰
Œ Œ
œb œ œ œ
∑
∑
∑
∑
œ œ œn œ˙˙˙˙˙
#
∑
.
.
˙
˙
∑
∑
∑
œ
œœ œn
œ Œ Œ
œ
œ
œ
œ
œ
œ
˙b
‰
J
œ
œ œ œ œb œ œ
œ œ œ œb œ œ
˙
˙œb
poco accel.
poco accel.
P
a2
Cf Bf Ff Gf Af
Œ ‰j
œ
˙
œ œ œ
œ œ œ
œ œ œ
˙
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
œ
œ
œ
œb œ œ œ
œb œ œ œ
œb œ œ œ
œb œ
F
œ œ œœ
œ
œ
œ
œ
˙
˙
˙b œ
œ œ ˙
˙
˙
œ
œ
œ
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙
˙
b
b
œ
œ
œb œ œ œ œ œ
œb œ œ œ œ œ
œb œ œ œ œ œ
œb œ œ
F
F
F
l.v.
F
unis.
f
div.
F
div.
div.
F
œœ
b
˙˙
n
˙Œ
˙b œ
˙ œ
˙b œ
Œ Œ œ
.
.
˙
˙
b
b
∑
∑
∑
∑
∑
∑
‰ Œ
œb
°
œ œ œ œ
∑
∑
∑
∑
∑
œ
œ
œ
œ
œ œ
œb œb ˙˙
œb œb ˙
œb œb
œ
œ
œ
œ
œb œb œ
œ
53
&
&
&
?
&
&
&
?
?
&
&
&
?
&
?
&
?
&
&
B
?
?
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
l.v.F
F
div.
P
w/ soft mallets
275
œ Œ ˙˙
b
.œb
J
œ ˙
∑
˙b œ œ
˙ œ œb
˙b œ œ
∑
.
.
˙
˙
b
b
Œ
∑
∑
∑
∑
Ó œb
°
œ œ œ œ
Œ ÷
∑ ÷
∑
Ó Œ
œ
œ
∑
∑
Œ ‰
œb œb œb œb œb
Œ
∑
w
œ œb œb
˙
.œb
J
œ ˙
œ œb œb
˙
.œb
J
œ ˙
œ œb œb
œ œ
œ.œb
J
œ œ
œ
œ
œ
œb œb œ
œ
Cn Fn Gn
P
œ œb œb
œ
.œb
J
œ œ
œ œb œb
œ
.œb
J
œ œ
œ œb œb
œ
œ
˙ œ
∑
∑
∑
∑
∑
∑
∑
∑
˙
˙ Œ
∑
∑
∑
∑
œb œ œ œ œ
˙
˙
œ
œ
˙
˙
œ
œ
˙
˙
œ
œ
˙
˙
œ
œ
poco rit.
poco rit.
P
.
.
˙
˙
.
.
˙
˙
.
.
˙
˙
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑&
.˙
.
.
˙
˙
.
.
˙
˙
.
.
˙
˙
œ
œ
œ
œ
b
b
œ
œ
q»¡¡¢
q»¡¡¢
Sweetly
Sweetly
P
P
P
p
p
pizz.unis.
π
pizz.
p
BB
BB
œ œb œb
˙
˙
.œb
J
œ ˙
∑
œ œb œb
˙
˙
˙ œ
œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙b
Ó
œ œb œb
˙
.œb
j
œ ˙
?
∑
∑
∑
Œ
œ ˙
˙
˙
Óœb
Œ
F
œ
œœœ
b œœb œœ
œ
œ
b œ
œ
∑
œ
œ..
˙˙
b
œb œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
œœb œœb
œ
J
œ
Ó ≈œb
œ œb œb œ œ
œb
&
∑
∑
∑
∑
∑
P
p
P
œ œ œ œ œb
.œb
J
œ œ œb œ œ
œ œb œb
œ œb œn
.œb
J
œ œ œb œb œ
œ œb œb
œ
œ
œœ
˙b
œb œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œb œ œ œb
œ
œ
b
œbœ œ
∑
∑
∑
∑
∑
œb
œ œb œb œ
œ
œ œ œ œ œb œ
œ
œ˙˙
b Œ
œ
œ..
˙˙
b
œbœb œ œ œb œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
œœb
œ œb
œb œ
Ó
j
œ‰
œœb œ
∑
∑
∑
∑
∑
54
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
&
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
P
1.
F
282
œ œ œ œ
.œb
J
œ œ œb
∑
œ œb œb
œ
œ
˙
œb
œ œb œb œ œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙
˙
b
bœ
˙
j
œ‰
∑
∑
∑
∑
∑
a2
œ œ œ œ œ
.œb
J
œ œ œb
∑
œ œb œb
œ
˙bœ
œb
œb ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
œ
b
b
œ œ
œœb œ œ œb
∑
∑
∑
∑
∑
l.v.
P
a2
œ
œ
œ
b
b
œœ
b
˙
˙
n
.œb
j
œœ
b
˙
˙
œ œb œb
˙
˙
˙
˙b
œ
œ
œ
.˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œb œb
œ
œ
Œ
.œb
j
œ
Œ
œ
?
∑
∑
∑
∑
∑
PF
p
p
œ œb œb œ œ.œ
J
œ œ œb œ
œ
œ˙˙
b
œ
œ
b œ
œ
œ
œ..
˙˙
b
œb œ œ œ œ
˙
Ó
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
œœb
œ
œœbœ
Œ ≈œb œ œ œb œ œ œb œb œ œ
œb
&
∑
∑
∑
∑
∑
P
p
œ œ œ œ œb
.œb
J
œ œ œb œœ
œ œb œb
œ œb œn
.œb
J
œ œ œb œb œ
œ œb œb
œ
œ
œœ
˙b
œb œ
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œb œ œ
œb œ œ
œ
œ
b
œb œ œ
œ œbœœ
∑
∑
∑
∑
∑
Vibra.dolce
P
œb œ œ œb œœ œ œ œ œ œb œ
œ
œ˙˙
b
œ
œ
b œ
œ
œ
œ..
˙˙
b
œbœ œ œ œb
∑
∑
∑
∑
∑
∑
∑
œœ
œ
b
b
œ
œœ
b œœœ
b œ
∑
∑
∑
œ
œ
œb
œ
œb
œb œ
Óœ œ œ
œb œ
∑
∑
∑
∑
∑
P
4.
poco a poco cresc.
P
œ œ œ œ œ
.œb
J
œ œ œb
œ œ œb
œn œb
.œb
J
œ œ œb
œ œb œb
œ
œ
˙b
œb
œ œb œb
‰ j
œb
Œ
œb
j
œ
‰
∑
∑
∑
∑
∑
œ
œ
œb
œ
œ
œ
œ
œœ
b
b
∑
∑
∑
œb œœ
J
œ
‰
œ
œ
bj
œb
‰ œ œœ
∑
∑
∑
∑
∑
55
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
&
&
&
B
?
?
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
p
p
rall.
rall.
a2
arco
289œ œ œ
œ œb
.œb
J
œ œ œb œ œ
œ œ œb
œn œb œ œb
.œb
J
œ œ œb œb œ
œœb œb œ
œ
œ
œœ
˙
œb œ
œ œb œb œ œ œb
œ
œ
œ
œ
Œ
œb
Ó
∑
∑
∑
∑
∑
œ œœ
b œb œ
œ
œb
œ
œ
.
.
.
œ
œœ
b
b
J
œ
∑
∑
∑
œ
œ
b
b œœ œ
œ
œ
œ
œbœ
œ j
œb
‰
j
œ‰
j
œœbb ‰
∑
∑
∑
Ó ‰
J
œ œ œ
Ó ‰
J
œ œ œ
Bn En An
unis.
unis.
div.
div.
œœb œb
œœ œ
œ
œœb œ
œb
œœ
œœ
b
œ
œ
œ
œ
b
b
œ
œ œb
œ
œ
œ
œ
œ
œ
œ
œ
∑
∑
∑
∑
∑
∑
œ
œ
œ
œ
∑
∑
∑
∑
∑
∑
œœb
œbœ
œ œb
œ œ œ œ
j
œ ‰
j
œb‰
œ œ œ œ
f
f
f
f
f
f
f
f
a2
f
f
f
œ
œ
b œœœ
œ
n œœ
œ œ œœœœ
n
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œb œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
∑
∑
∑
∑
∑
œ
œŒ
∑
∑
∑
∑
∑?
∑
œœ œn
œ
œ œ œ œ
œ œb œ œ
œ œ œ œ
œ œ œ œ
œ œ
œ
F
F
F
F
Passionately
Passionately
F
F
F
F
q»¶º
q»¶º
F
F
F
F
F
mute offa3
F
F
P
f F
F
P
unis.pizz.
CC
CC
1 & 2
œ
œ
œ
œn
˙
˙
œ
œ
˙
˙
n
œ
œ
˙
˙
œ
œ
˙
˙
œ
œ
˙
˙
.
.
˙
˙
.
.
.
˙˙
˙
œ ˙
.˙
.˙
∑
∑
Œ Œ
œœœœ
>
.˙
˙
œœœœ
>
˙
˙
Œ
Œ Œ
œ
œ
Œ œ œ œ œ œ œ œ œ
Œ
œ œ ˙
œ œ œ
œ œ
œ ˙
œ
œ
˙
˙
œ
˙
BfP
l.v.
P
P
œb ˙
œb œ œ œ
œ œ œ
œ ˙
œ
œ
˙
˙
œ
œ
b ˙
˙
.
.
˙
˙
.
.
˙
˙
b
∑
∑
∑
∑
∑
œœœœ
œœœœ
b
b
œœœœ
b
b
>
∑
œœœœ
˙˙˙
b
b
.
.
˙
˙
b
Œ
˙
˙
œ&
˙ œb
˙ œb
.˙b
.
.
˙
˙
.˙
Gf
div.
F
l.v.
œ œ œœ œb œ œ
œ œ œ œ
œ
œ
˙
˙
œ
œ
œ
œ
˙
˙
œ
œ
˙
˙
.
.
˙
˙
.
.
˙
˙
∑
∑
∑
∑
∑
Œ œœœœ
b
œœœœ
>
∑
Œ
˙˙˙b
œ
œ
œ
œb œ œ œ œ œb œ œb œ œ œ œ
&
?
Œ
œb œ œ œ
œ œb œ œb
œ œ œ œ
‰
Œ Œ?
œ ˙
œ œ
œb œ œb œ œb œ œ œb œ œb œ œb
œ
œ
˙
˙
œ
œ
˙
˙
œ
˙
56
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
f
f
f
f
f
F
F
F
F
F
F
F
f
Bn En Gn
295œ œb ˙
œœb
œ œ œ
œ
œ
œ
œ
œ
œ
˙
˙
œ
œ
b ˙
˙
.
.
˙
˙
.
.
˙
˙
b
∑
∑
∑
∑
∑
Œ œœœœ
b
b
œœœ
b
b
∑
Œ
˙
˙
b
œ œ œb
˙b œ
∑
∑
œ œb ˙
œ œ œb
œ
œ
˙
˙
œ
œ
˙
˙
œ ˙
œ œb ˙
œœb
œ œ œ
œ
œ
œ
œŒ
˙
˙
œ
œ
˙
˙
b œ
œ
.
.
˙
˙
.
.
˙
˙
b
∑
∑
∑
∑
∑
Œ œœœœ
b
b
œœœ
b
b
∑
Œ
˙
˙
b
œ œ œb
˙b œ
∑
∑
œœ œb ˙
œ œ œb
˙
˙œœ
b
˙
˙
œ
œ
˙ œ
3. C = Df
F
p
unis.
l.v.
œ
œ
œ
œn
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
˙
˙
n
œ
œ
.
.
œ
œ
œœ œ
œ
œ
œ
˙
˙
œ
˙
.˙
.
.
˙
˙
.
.
.
˙˙
˙
.
.
˙
˙
.˙
∑
∑
œœœ
Œ
œœœœ
>
.˙
œ
œ
Œ
œœœ
>
˙
˙
˙
œ
&
Œ Œ
œ
œ
Œ œ œ œ œ œ œ œ œ
Œ
œ œn ˙>
œ œn œ>
œ œ
œ ˙
œ
œ
˙
˙
œ
˙
poco decresc.
poco decresc.
F
F
P
Bf Gf
˙ œb
œb œ œ œ
œ œ œ
œ ˙
œœ œ
œ œœ œ
œ œœb œ
œ œœ œ
œ œœb œ
œ œœ
œ
œ
b ˙
˙
.
.
˙
˙
.
.
˙
˙
b
∑
∑
∑
∑
∑
œœœœ
œœœœ
b
b
œœœœ
b
b
>
∑
˙˙˙
œœœ
b
b
˙
œ
?
∑
∑&
˙ œb
˙ œb
.˙n
.
.
˙
˙
.˙
F
div.
Gn
œ œ œœ
œ œ œb
œ œ œ œ
œ
œ
˙
˙
œ ˙
œ œ œb œ œ œ œ œb œ œb œ
œ
œ
˙
˙
.
.
˙
˙
.
.
˙
˙
∑
∑
∑
∑
∑
Œ œœœœ
b
œœœœ
n
>
∑
Œ
œœœb
œœœ
œ œ œ œ
œ
œ
œ
œb œ œ œ œ œb œ œb ‰&
?
Œ
œb œ œ œ
œ œb œ œb
œ œ œ œ œn
Œ Œ?
œ ˙
œ œ
œb œ œb œ œb œ œ œb œ œb œ œb
œ
œ
˙
˙
œ
œ
˙
˙
œ
˙
57
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
P
P
F
F
F
F
F
F
F
F
F
P
Bf Ef Gf Af
DD
DD
300œ œb ˙
œœb
œ œ œ
œ
œ
œ
œ
œ
œb
œ
œ
œ
œ
œœ œ
œ œœ
œ
œ
œ
œ
œ
œ
b œ
œ
œ
œ
˙
˙
œ
œ
b ˙
˙
.
.
˙
˙
.
.
˙
˙
b
∑
∑
∑
∑
∑
Œ œœœœ
b
b
œœœ
b
b
∑
œ
˙
˙
b
œ œ œb
˙b œ
œ
Œ Œ
∑
œ œb ˙
œ œ œb
œ
œ
˙
˙
œ
œ
˙
˙
œ ˙
P
P
P
P
p
œ œb ˙
œœb
œ œ œ
œ
œœ
œ
b œ
œœ
œ
œ
œ œ œ œ œb
œœb œ
œ œœ œ
œ œœ œ
œb
œ
œ
œ
œb
˙
˙
b œ
œ
.
.
˙
˙
.
.
˙
˙
b
∑
∑
∑
∑
∑
Œ œœœœ
b
b
œœœ
b
b
∑
Œ
˙
˙
b
œ œ œb
˙ œ
∑
∑
œœ œb ˙
œ œ œb
˙
˙œœ
b
˙
˙
œ
œ
˙ œ
F
P
F
unis.
P
œb ˙
œ œ œb œ
œ œb œ œ
˙
˙
œ
œ˙˙
bb
œ
œ
b ˙
˙
.
.
˙
˙b
.
.
˙
˙
b
∑
∑
∑
∑
∑
∑
∑
œ
œ
n
b
˙
˙
œ
œb
>
˙
˙
Œ ˙b
∑
˙
Œ
œ œ œ
.
.˙˙
œ œ ˙
œ œ ˙
a2
P
poco a poco descresc.
unis.
œ ˙
œb œ œb
œ
œb ˙b
œb œ œb
œ
œ
œ
b
b
œ
œ
œb œb œ œ
.
.
˙
˙
.
.
˙
˙
.
.
˙
˙
∑
∑
∑
∑
∑
∑
∑
œ
œb
>˙
˙
œ
œb
>
˙
˙
œb ˙
∑
∑
œb œ œ
Œ Œ
œ
œ
œ œ
œ
œ œ
P
P
p
P
P
div.
˙ œb
.œb
J
œb œ œb
œb ˙b
.œb
J
œb œ
œb œ œ œb
˙
˙b
.
.
˙
˙
.
.
˙
˙b
.
.
˙
˙
b
∑
∑
∑
∑
∑
Œ ˙b
∑
œ
œb
˙
˙
œ
œb
˙
˙
œb ® œ œb œ œ œ œ œ œ œb
∑&
œ ˙
œœb œ œ
Œ Œ
œ
œ
œ œ
œ
œ œ
58
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
&
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
P
P
F
1. sorrowfully
F
1. sorrowfully
P
P
pizz.
P
pizz.
305.
.
˙
˙
b
b
œ œb œ œb œ œb œ
œb œb œn œ
œb œb œ
∑
.˙
.˙
∑
∑
∑
∑
∑
.˙b
∑
œ
œ
b
b
>˙
˙b
œ
œ
b
n
>
˙
˙
œ œb.œ œb œ
.œb
J
œ
‰
œb ˙
?
.˙b
.
.˙˙
Œ œb œ
œb
˙b
œb
œb œ
P
p
p
p
.
.
˙
˙
˙
Œ
œb œb œ
œ œ œ œ
.˙
.˙
∑
∑
∑
∑
∑
∑
∑
œ
œ
b
b
˙
˙b
œ
œ
b ˙
˙
œb ˙
∑
.˙
.˙
Œ œb œ
œb
˙b
œb
œb œ
p
.
.
˙
˙
œ œb .œ œb œ œb œ
œb œb œ œ œb
˙bœ
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
œ
b
b
˙
˙b
œ
œ
b ˙
˙
œb ˙
∑
∑
.˙
Œ œb œb
œb
˙b
œb
œb œb
to piccolo
∑
˙
˙b
œb œb
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
œ
b
b
>œ
œb
œ
œ
b œ
œ
œb œ
∑
∑
˙
œ œb
∑
œ œb
arco
p
∑
.˙
œ˙b
˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
.
.
˙
˙
.
.
˙
˙
.˙
∑
∑
.˙
∑
.˙b
.˙b
p
p
pizz.
pizz.
arcodiv.
arcodiv.
π
poco a poco cresc.
∑
w
w
w
∑
∑
∑
∑
∑
∑
∑
∑
wb
∑
˙
˙
b
b
˙
˙b
˙
˙
b ˙
˙
˙b ˙
w
wb
wb
∑
w
w
˙b
w
w
b
bæ
59
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
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
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
π
311
∑
∑
w
w
∑
∑
∑
∑
∑
∑
∑
∑
w
°
∑
œ
œ
.
.
˙
˙
b
b
œ
œ
.
.
˙
˙
b &
œ .˙b
∑
∑
∑
w
æ
∑
w
wæ
q»¶§
q»¶§
Smooth but Easy
Smooth but Easy
P
An
π
π
EE
EE
ƒ
π
Piccolo
f
Œ
3
‰
œ œbœb œ
3
œ œ œ œ œ .œ
∑
w
ΠΠ.
∑
∑
∑
∑
∑
∑
∑
∑
wb
*
ΠΠ.
∑
w
w
b
b
>
ΠΠ.
wb
>
ΠΠ.?
wb
>
ΠΠ.
∑
∑
∑
w
æ Œ Œ .
∑
wæ
ΠΠ.
∑
q»∞º
q»∞º
Interruptively
Interruptively
pizz.unis.
pizz.
p
p
œbœn œ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó
˙
Ó Œ œ
∑
soloarco
P
free, easy
pizz.unis.
π
p
to fluteœ
Œ Ó .
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Ó Œ Œ
3œ
J
œ
∑
∑
œ Œ Ó .
Œ œ .˙
F
solofree, easy
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ#
J
œ#
>
‰
œœ œ
-œ
Ó ŒJ
œ#
3
œ œ œ
J
œ#
∑
∑
∑
60
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
~~
~~
~
√
~~
~~
~~
~~
~~
~~
~
F
316
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.œnJ
œb
3
œ œ.
œ.
œ œ
3
œb œ œ
.œ
J
œb.œb
J
œ œ
-
œ
∑
∑
∑
f
f
smooth
P
p
1/2
F
pizz.tutti
pizz.solo tuttiarco
f
∑
∑
Ó
6
œ
œ
n œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
∑
∑
∑
∑
∑
∑
∑
∑
Ó
˙
˙
˙
˙
b
∑
∑
∑
∑
∑
.œn
J
œ
.œb>
J
œ
.œj
œb˙n
>
.œ
J
œb ˙>
∑
∑
∑
∑
.
.
œ
œ
.
.œœb
∑
∑
∑
∑
∑
∑
∑
∑
.
.
.
.
˙
˙
˙
˙
n
b
∑
∑
∑
∑
∑
œb œb ˙
∑
∑
∑
∑
just a little faster
just a little faster
1.
F P
delicate
p
1.
harmon1.
arcodelicate
P
p
p
FF
FF
p
P pp
Ó
6
œ#
œ
œn œ
œ
œ œ#
œ
œn.
Œ
6
œ#
œ
œn œ
œ
œ œ#
œ
œn.
∑
œ
œ
œ
œ
œ
œb
˙
˙Ó
‰ J
œ ˙
Ó
∑
∑
‰
j
œb ˙Ó
∑
∑
∑
∑
w
ww
w# Œ
∑
w
w Œ
∑
∑
∑
∑
Ó . Œ
6
œ#
œ
œn œ
œ
œ œ#
œ
œn.
∑
∑
∑
61
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
4ˆ
8
3
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
4
6
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
Agitated, but bright and clear
Agitated, but bright and clear
F
broken
F
pizz.tutti div.
f
pizz.
f
pizz.
f
arco
F f
solo
l.v.
π
1.
320
œ
œ
≈
œ œ
≈
œ œ
3
œb œ œ œ œ œnœb
6
œ œb œ œ œ œ œ œ œ œ
∑
≈
.
j
œ
>
Œ Ó Œ .
∑
∑
∑
∑
∑
∑
Ó ‰ ≈œ œ
‹
œ
Π.
∑
‰J
œ
œœ
#
#
.
.
.
˙
˙˙
.
.
.
œ
œœ
∑
∑
∑
∑
∑
‰J
œ
æ
œ
æ
.
.œœ
æ
œœ
>>
Πj
œ
‰ ‰
Ó ‰ .R
œ>
Πj
œ#
‰ ‰
Ó Œ
J
œ
œ
#
‰ j
œ#
‰ ‰
œ
œ
œ œ
œ
≈ Œ
œ#œ œ œ
œ
œ
˘
ŠΠΠ.
∑
P
P
P
P
1.
w/ mallet
p
P
suddenly passionate
P
suddenly passionate
P
suddenly passionate
arco
P P F
pizz.tutti
pizz.
˙b œœn .˙
Ó Œ
˙bœ œ
∑
∑
∑
∑
∑
∑
∑
∑
j
–
‰ Œ Œ Ó .
Œ ‰
J
œ
œ
œ
œ
b
b
b
n
œ
œ
œ
œ
J
œ
œ
œ
œ
‰ ˙b
∑
Œ ‰J
œ
œ
b
b
œb œ
˙
˙
Œ ‰
j
œ
œ
b
n
°
œ
œ
œ
œ
*
˙
˙
°
Œ ‰J
œb
œb œ
J
œ
œ .œ
Œ ‰
J
œ
œ
n
n
œ
œ
.
.
œ
œ
.œb
∑
∑
˙b œn œ .œ
.œ
.˙Ó .
.˙b
Ó .
p
F
∑
.˙
Œ .˙
∑
∑
∑
∑
∑
∑
∑
∑
3
œn
œ
œn .˙
w
∑
3
œb‰
œ
œ
> .
.
˙
˙
w
w
*
∑
w
w
∑
∑
œb œ œ œ
3
œ œ œ œ
œ
∑
∑
62
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
√
arco
arco
F
F
p
P
a2smooth
1.
Bn En
delicate
p
arco
p F
P
P
323
∑
Ó Œ
6
œn
œ
œ# œ
œ#
œ œn
œ
œ#
6
œ
œ
b œœ
œ
œ
œœ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
j
œ
œ
œ
œ
‰
∑
wb
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑&
œb
œ
œ œb œ.œ œ œ
>œ
w
w
‰ j
œb
>
œb œ œ œ œ
>
‰j
œb
>
œb œ œ œ œ
>
˙ ˙ &
œ œ
>.˙
∑
a2
a2
p
p
p
f
f
f
p
p
f
f
f
f
f
f
f
f
f
P
P
Wild, Furious
Wild, Furious
P
straight mute a3
f
f
√
f
p
p
div.
P
p
div.
arco
f
w/ medium mallets
1 & 2
1 & 2
Œ ‰œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ
‰
Œ ‰œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
≈ ‰
Œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
® Œ
Œ
j
œ
œ
3
œ
œ
œ
œ
b
b
œ
œ
3
œ
œ
œ
œ
œ
œ
n
b
>
‰
Πj
œ
œ
3
œ
œ
œ
œ
b
b
œ
œ
3
œ
œ
œ
œ
œ
œb
>
‰
Πj
œ
œ
3
œ
œ
œ
œ
b
b
œ
œ
3
œ
œ
œ
œ
œ
œb
>
Œ ‰
3
‰ ‰j
œ
œ
3
œ
œ
œ
œ
œ
œ
œb
>
‰
Ó ‰
3
œ
œ
œ
œ
œ
œb
>
‰
∑
Ó ‰
3
‰ ‰j
œ
fl
‰
∑
∑
Ó ‰
3
‰ ‰
J
œb
˘
‰
Œ ‰
3
œ
œ
œ
œ
b
b
œ
œ
3
œ œ œ
œ
>
‰
Ó ‰
3
œ œ œb>
‰?
∑
∑
Œ ‰œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‰
œ
œ
b
b
œ
œ
J
œ
œ
3
œ
œ
œ
œ
œ
œ
3
œ
œ
æ
œ
œ
æ
œ
œ
œb
>
‰
‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
ŠΠB
œ
œ
J
œ
3
œ
œ
æ
œ
œ
æ
œ
œ
>
‰
Ó ‰
3
Ͼ J
œ#>
‰
q»¢™
q»¢™
Plaintenly
Plaintenly
P
P
P
P
G As Cs E G
unis.
div.
div.
GG
GG
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ Œ
˙ œ
Œ
œ ˙ œ
œ œ
˙ œŒ
œœ
Œœ ˙
˙
∑
63
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
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
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
div. unis.
unis.
326
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
.
.
œ
œ
j
œ œ œ
j
œ
.˙
Π.
.
.˙˙
.
.œœ
œ œ œ
J
œ œ
∑
p
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ ‰
j
œ œ œ œ
œ
œ
.
.
˙
˙
>
œ œ œ œ œ
3
œ œ œ
∑
œœ
œ
œ
œ
œ
>˙
˙
œ œ .œ
J
œ
∑
F
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ ‰
j
œ
j
œ œ
œ
œ
J
œ
‰ Œ ‰
.œ
J
œ .œ
œ
J
œ ‰ Œ .
œ
œœœ
J
œœ
œ
œ
œ œ
J
œ œ
∑
delicate
p
Af
unis.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
3
œ œ œ œ>
œ œ œ œ
∑
œ
Œ Œ
j
œ‰
Œœ
œJ
œ
‰ Œ
3
œ œ œ
œ œ œ œ œ
Ó Œ œ
œ œ œœ
œœœ œ œ
œœ œ
œ
∑
F
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
3
œ œ œ
J
œ>
œ
J
œ
∑
Œ
œ
œ Œ
œ
œ Œ œœ
œ œ œ œ
œ œ œ œ œ œ
œ œ œ
&
.œ
J
œ œ
∑
64
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
&
?
?
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
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
(√)√
poco accel.
poco accel.
div.
F
div.
F
F
331
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑&
∑
∑
.œ .œ
∑
œ
œnŒ
œ
œ
Œ œ
œb
Œ
œ
Œ Œ
‰ J
œ
œ
œ
œœ
œ
œ
œœ
œ
œ œ œ œ œ œ
œ œœ
œ œœ
∑
P
delicate
P
Bf
div.
div.
Glock.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
Œ Œ
3
œ œ œ
∑
∑
Œ Œ
3
œ œ œ
Œ Œ ‰ J
œ
&
Œ
œ
œ
J
œ
‰
œ
œb
Œ Œ&
Œ ‰ J
œ
œ
œ
œœ
œ
œ
œœ
œ
˙
˙
œ œ œ œ œ œ
œ œ œ
œœ œ
œ
œ
œœ
œ
∑
little by little passionately
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>
œœ œ
∑
∑
œ>
œœ œ
‰
J
œ# Œ Œ
Œ ‰
J
œœ œ
œb
œ
Œ Œ
œ
œœ
œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œœ
œ
œ
œœ
œ
œ
œ
œ œ œ œ œœ œ
œ œ œ
œ œ œ
.œ
J
œ
œœ
œœ
œ
∑
delicate
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
3
œ œ œ œ
J
œ œ
J
œ
∑
∑
3
œ œ œ œ
J
œ œ
‰
Œ
J
œ# ‰ Ó?
Œ ‰
J
œœ œ
œ œ
œb
œ œ
Ó?
œ
œ
œ
œœ
œ
œ
œœ
œ
œ
œœ
œœ
œ
œ
œ
œ
œ..
œ
œ
J
œ
œ
œ
œœ
œ
œ œ œ œ œ œ œœ œ
œ œ œ œ
.œ
j
œ
œœ œ
œ
.œ
J
œ
.œ
J
œ
Ó
˙
a little faster
a little faster
p
l.v.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ Œ Ó
∑
∑
∑
∑
Œ
œ œ
Œ
œ œ
∑
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
3
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ œ œ œœ œ
œ œ œ œ
œ œ œ œœœ œ
œ œ œ œ œ
.œ
J
œ œ œ
65
&
&
&
?
&
&
&
?
?
÷
&
&
?
&
?
&
?
&
&
&
?
?
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
4
5ˆ
8
3
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
Ÿ~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~
Ÿ~ ~~~ ~~~ ~~
Ÿ~~~~~~~~~~
q»¢º
q»¢º
P
P
P
P
P
Passionately
Passionately
F
HH
HH
{e = e}336
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ
J
œ œ
J
œ
œ
œ
œ
j
œ œœ
J
œ œ
œ œœ œ
œ œ œ
J
œ œ
P
Bn AnP
unis.
{e = e}
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑˙
˙
∑
˙
∑
∑
∑
Œ ‰J
œœ œ
J
œ
‰ Œ ‰
∑
œ
œ
œ
œ
>.
.
˙
˙
œ
œ
>.
.
œ
œ
œ
œ
œ
œ
>w
w
.
.
œ
œ
j
œ ..
œœ
>
œœ œ œ œ œ
œ..
œœ
J
œ.
œ œ œ.
œ
J
œ.
œ
j
œ..
œœ
>
œœ œ œ
j
œ .œj
œ
J
œ .œ œ œ œ
J
œ œ
œ œ>
œ
J
œ
‰ Œ Œ ‰ ‰ J
œ
P
P
p
F
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
˙
˙
j
œ
œ
.
.
œ
œ
˙
J
œ .œ
∑
∑
∑
Ój
œn
.œ
Œœ
œ‰
j
œ œ&
˙
˙
˙
˙
>
˙
˙
˙
˙
>
˙˙
˙
˙
˙B
˙ ˙
˙ ˙
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
j
œ
œ
‰ Œ Ó ÷
J
œ
‰ Œ Ó
∑
∑
∑
˙
Ó
˙
?
˙
˙
Ó
w
w
˙
j
œ.œ
w
œ
œ
j
œ
.œ
œ
œ
j
œ
.œ
rit.
rit.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
w
w
w
œ
œ ˙
œ Œ Ó
q»¡™º
q»¡™º
Martial, War-like
Martial, War-like
f
martial, war-like
ß p
I I
I I
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
˙
˙
˙
˙
˙
˙
˙
˙
∑
ß
ß
ß
ß
ß
p
p
p
p
p
f sim.
f
Cs Fs
unis.
(Cymbals, always let ring)
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ
>
œ œ œ œœ œ
œ
>
œ
>
œ œ œ œ œ
>
œ
>
œ
>
œ
‚ ‹ ‹ ‹
∑
∑
∑
w
w
∑
∑
w
w
ww
w
w
w
unis.
unis.
ß
ß
p
p
ßp
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œœ
>
œ œ œ œ œ œ
>
œ œ
>
œ œ œ
œ
>
œ
‹ ‹ ‹ ‹
∑
∑
∑
∑
∑
∑
˙
˙˙
˙˙
˙
Ó
˙
∑
∑
66
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
~~~~~~~~~~~~~
~~~~~~~~~~~~~
~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~
ß
ß
p
p
ß p
344
∑
∑
∑
∑
∑
∑
∑
∑
∑
œœ œ œ
>
œ œ œ œ œ œ
>
œ œ
>
œ œ œ
œ
>
œ
‹ ‹ ‹ ‹
∑
∑
∑
∑
∑
∑
˙ ˙
˙ ˙
˙ ˙
∑
∑
P
P
P
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ
>
œ
‹ ‹ ‹
∑
∑
∑
∑
∑
∑
˙ œ>
˙ œ>
˙ œ>
∑
∑
div.
div.
div.
div.
f
f
f
f
∑
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ
>
œ œ
>
œ œ œ
œ
>
œ
‹
Œ Œ
∑
∑
∑
∑
∑
∑
˙ œ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œ
˙
œ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œ
˙
œ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œ
Ó
œ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œ
∑
unis.
unis.
unis.
unis.
F
F
F
F
agitated
agitated
agitated
agitated
sim.
sim.
sim.
sim.
furious
furious
sim.
pizz.
Ó Œ Œ
œn œ œ œ œ œ œ œ
Ó Œ
œ œ œ# œ œ œ œ# œ
œn œ œ œn œ œ œ œn
Œ
œ œ œ# œ œ œ œ# œ
r
œ
‰ .œ œ œ œ œ œ œ œ
Œ
œ œ œ# œ œ œ œ# œ
R
œ
‰ . œ œ œ œ œ œ œ œ
R
œ
‰ . œ œ œ# œ œ œ œ# œ
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ
>
œ
>
œ œ œ œ œ
>
œ
>
œ
>
œ œ œ œ œ
‚ ‹ ‹ ‹ ‹
∑
∑
∑?
œ
œ
œ ≈ œ
J
œ
.
‰ ‰ œ œ ≈ œ œ œ ≈œ œ œ
œ.
œ.
≈
œ.
J
œ.
‰ ‰
œ.
œ.
≈
œ œ œ
≈
œ œ œ
∑
œ.
œ.
≈
œ.
J
œ.
‰ ‰
œ.
œ.
≈
œ œ œ
≈
œ œ œ
œ.
œ.
≈œ.
J
œ.
‰ ‰œ.
œ.
≈œ œ œ
≈
œ œ œ
œ.
œ.
≈ œ.
J
œ.
‰ ‰ œ.
œ.
≈ œ œ œ≈
œ œ œ
œ
.
œ
.
≈ œ
.
J
œ
.
‰ ‰ œ
.
œ
.
≈ œ œ œ Œ
J
œ.
‰ Œ Œ Ó
67
&
&
&
?
&
&
&
?
?
÷
÷
&
?
?
?
&
?
&
&
B
?
?
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
348
œ œ œ œ œb œ œ œ
Œ Œ Ó
‰
œ œ œ œb œ œ œ œ œ œ œ œ
J
œ.
‰ Œ
œ œ# œ# œn œ œ# œ# œ
Ó Œ Œ
œ œ# œ# œ œ œ# œ# œ
œ œ œn œ œb œ œn œ Œ œ œ# œ# œn œ œ# œ# œ
œ œ œ œn œ œ œ œn
Œ
∑
∑
∑
∑
∑
œ œ œ
>
œ œ œ œ œ œ
>
œ œ
>
œ œ œ
œ
>
œ œ œ œ œ œ œ œ œ
‹ ‹ ‹ ‹ ‹
∑
∑
Œ Œ œn œ ‰ Ó&
≈œ œ œ
Œ
œn œ
‰ œ œ ≈ œ œ ≈ œ œ
≈
œ œ œ
Œ
œ# œ
‰
œ œ
≈
œ œ
≈
œ œ
∑
≈
œ œ œ
Œ
œ#>
œ>
‰
œ œ
≈
œ œ
≈
œ œ
≈
œ œ œ
Œ œ#
>
œ
>
‰œ œ
≈œ œ
≈
œ œ
≈
œ œ œ
Œ œ#
>
œ
>
‰ œ œ ≈ œ œ ≈œ œ
≈œ œ œ
Œ œ
>
œ
>
‰ œ œ ≈ œ œ ≈ œ œ
∑
1.
F
1.
F
œ œ œ œ œ œn œ œ
Œ ≈
œ œ œ œ œ œ œ œ œ
‰ Œ
œ œ œn œn œ œ œn œn
‰ . œ œ œ œ œ œ œ œ œ œ
Œ Œ
Œ
œn œn œ œ œn œn œ œ œ œ œ œ œ.
Œ ‰
œ œ œ œ
‰
œ œ œ œn œ œ œn œ
‰ Œ Ó
Ó Œ
œ
≈
œ œ œ
œ
∑
Ó Œ
œ
≈
œ œ œ
œ
∑
∑
œ œœ
>
œ œ œ œ œœ
>
œ œ
>
œ œ œ
œ
>
œ œ œ œ œ œ œ œ œ
‹ ‹ ‹ ‹ ‹
∑
∑
∑
∑
œ .œ œ œ
≈
œ .œ œ œ
≈
œ œ
Œ
∑&
œ .œ œ œ
≈
œ .œ œ œ
≈
œ œ œ
œ
œ .œ œ œ
≈
œ .œ œ œ
≈
œ œ œ
œ
œ .œ œ œ
≈
œ .œ œ œ
≈
œ œ œ
œ œ œ œ
œ .œ œ œ≈
œ .œ œ œ≈
œ œ œ
œ œ œ œ œ œ œ#
∑
ƒ
ƒ
ƒ
ƒ
f
f
f
f
a2
f
f
arco
f
f
1 & 2
≈ œ œ œ œ# œ
‰ .
œ# œ# œ œ# œ œ œ# œ# œ
‰ .
œ œ œ œ œ œ# œ
Œ œ œ# œ œ œ œ# œ
‰ .
œ œ œ# œ‰ Œ
œ œ# œ œ œ œ# œ ‰ .
Óœ œ# œ œ œ# œ# œ
‰ .
‰ .r
œ
œ
.
œ
œ
.
œ
œ
.
‰ Œ ‰r
œ
∑
‰ .
R
œ
œ
.œ
œ
.œ
œ
.
‰ Œ ‰ .
∑
∑
œ œ œ œ
>
œ œ œ œ œ œ
>
œ œ
>
œ œ œ œ
‹ ‹ ‹ .
J
‹
∑
∑
∑
.œ œ œ œ
‰ ‰ .R
œ œ
œ
œ
≈ œ œ œ œ# œn œ œ
≈ ® œ# œ œ# œ œ œœ œ
≈
œ
∑
≈ œ œ œ œ# œ œ.
œ.
≈
œ# œ# œ œ# œ œ œ# œ# œ œ.
≈
œ.
œ œ œ œ œ œ# œ œ.
œ.
‰ ‰ .R
œb.
œ.
≈
œ.
œ œ œ# œ œ.
œ.
‰ ‰ . R
œ.
œ.
≈
œ.
.œ œ œ.
œ.
‰ ‰ .R
œ.
œ
œ
œ
Œ
œ œ
‰ Œ ≈ œ
œ
68
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
&
&
&
B
?
?
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
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
(√)
√
boldly
boldly
f
f
a2
f
1. boldly
F
◊
J J
J J
351
∑
∑
∑
∑
w#
w#
∑
w#
∑
œ œ œ
>
œ
>
œ œ œ œ œ œ œ œ œ
>
œ
>œ
>
œ œ
‹ ‹ ‹ ‹
∑
∑
∑
œ
≈
œ
œ œ
œ œ œ
œ œ
.
.
œ
œ
œ œ
œ œ
œ œ œ
œ
Œ
œ
.œ
œ
≈
œ.
œ œ
œ.
≈
œ.
œ.
œ œ .
.
œ
œ
œb
≈
œ.
œ œ
œ.
≈
œ.
œ.
œ œ .
.
œ
œ
œ
≈
œ.
œ œ
œ.
≈
œ.
œ.
œ œ .œ
œ
≈
œ.
œ œ
œ.
≈
œ.
œ.
œ œ .œ
œ
‰
œ .
J
œ
≈ ‰ J
œ œ
.œ
Gs
◊
∑
∑
∑
∑
w#
w#
∑
w#
∑
œ œ œ œ œ œœ
œ œ œœ
œ œ œœ œ
‹ ‹ ‹ ‹
∑
∑
∑
œ
≈
œ
œ œ
œ
≈
œ œ
œ œ .œ
œ œ
œ œ
œ œ œ
œ
œ œ
?
œ
≈
œ
œ œ
œ
≈
œ œ
œ œ œ œ# œ œ œ# œ#
œb
≈
œ
œ œ
œ
≈
œ œ
œ œ .œ
œ
≈
œ
œ œ
œ
≈
œ œ
œ œ .œ
œ
≈
œ
œ œ
œ
≈
œ œ
œ œ .œ
‰ . R
œ .
J
œ
≈ ‰ J
œ œ
.œ
sim.
sim.
sim.
l.v.
∑
∑
∑
∑
.˙ .
j
œ
.˙ .
j
œ
Ó .
.
J
œ#
∑
˙ Œ
.
J
œ#
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‹ .‹ ‹ ‹ .
J
‹
∑
∑
∑
∑
œ
Œ Œ ‰ .
∑
œn.
œ.
≈
œ.
œ.
œ.
≈
œ.
Œ ‰ .
œ.
œ.
≈
œ.
œ.
œ.
≈
œ.
œ# œ
≈
œ
‰ .
œ.
œ.
≈
œ.
œ.
œ.
≈
œ.
œ# œ
≈
œ œn œ
≈
œ.
œ.
≈
œ.
œ.
œ.
≈
œ.
œ# œ
≈
œ œn œ
≈
∑
1.
1.
1.
P
P
P
1. boldly
P
div.
Mar.
Ó Œ ‰œ œ œ# œ#
Ó Œ ‰
œ œ# œ# œ
Ó Œ ‰
œ œ œ# œ#
∑
w
Ó . œ#
w
w
w
w#
∑
œ œ œ œ œ œ œ œœ œ œ œ
Œ
‹ ‹ ‹
Ó Œ ‰
œ œ# œ# œ
∑
∑
∑
∑
∑
œ œ
≈
œ œ œ
≈
œ
‰
œ œ# œ œ œ œ œ œ# œ œn œ œ
œ œ
≈
œ œ œ
≈
œ œ# œœ œ# œ œ œ œ œ œ# œ œn œ œ
œ œ
≈
œ œ œ
≈
œ œ# œ
≈
œ œn œ
≈
œ
œ œ ≈ œ œ ‰
œ œ# œ
≈
œ œn œ
≈
œ
Ó Œ
œ
œ
#
#
69
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
4
3ˆ
16
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
(√)
√
Furious, but not too much
Furious, but not too much
ƒ
ƒ
ƒ
F
F
F
F
ƒ
1.
f
f
Ef Fn Gn Aff
pizz.
pizz.
pizz.
pizz.
355
œ
≈
œ
œ œ
œ
≈
œ œ
œ œ .œ
œb
≈
œ
œ œ
œ
≈
œ œ
œ œ .œ
>
œ ≈ œ
œ œ
œ ≈ œ œ
œ œ .œ
>
Ó Œ ≈.
j
œ
w
Ó Œ
œ#
˙
Ó
œŒ Ó
˙
Ó
∑
œ œ œ œ œ œœ œ
œ œ œ œ œ œ œœ
>
œ œ
‹ ‹ ‹ ‹
œb
≈
œ
œ œ
œ
≈
œ œ
œ œ .œ
∑
œ
≈
œ
œ œ
œ
≈
œ œ
œ œ .
.
œ
œ
œ
œ
#
#
œ
œ
J
œ
œ
œ
œ
J
œ
œ
n
œ#
Œ Ó
œ# Œ Ó
Ó j
œ# œ
j
œn
Ó j
œ# œ
j
œn
Œ œ#
J
œ œ
J
œn
Œ œ#
j
œ œ
j
œ
w
w
œ
≈
œ
œ œ
œ
≈
œ œ
œ œ œ# œ œ œ# œ#
œb
≈
œ
œ œ
œ
≈
œ œ
œ œ œ
œ ≈ œ
œ œ
œ ≈ œ œ
œ œ œ
œ
≈
œ
œ œ
œ
≈
œ œ
œ œ œ
.˙#.
j
œ
.˙# .
j
œ
∑
∑
∑
œ œ œ œ œœ
œ œ œ œ œ œ œ œ
‹ ‹ ‹
R
‹
J
‹
œb
≈
œ
œ œ
œ
≈
œ œ
œ œ œ
∑
œn
≈
œ
œ œ
œ
≈
œ œ
œ œ œ# œ œ œ# œ#
œ
œ#
œ
œ
# œ
œ
œ
œ
œ
œ
∑
∑
œ œ# œ
>
œœ
œ œ# œ
>
œœ
œ# œ
>
œ œœ
œ# œ
>
œ œœ
∑
f
2 & 3
f
œ œ œ
œ œ œ œ# œ œ œ# œ#œ œ
œ œ œ œ#
‰
œ œ
œ œ œ œ
œ œ
œ œ œ
‰ œ œ
œ œ œ œ
œ œ
œ œ œ
‰
œ œ
œ œ œ œ
œ œ
œ œ œ
w
Ó ˙#
w
Ó Œ œ
œ
n
n
Ó
˙#
∑
œ
œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
‹ ‹ .‹ ‹ ‹
‰
œ œ
œ œ œ œ
œ œ
œ œ œ
∑
∑
∑
∑
∑
œ#
>
œ#
œœ
œn
œ#
>
œ#
œœ œ#
œ#
>
œ#
œ
œ Œ
œ#
>
œ œ œ#
Ó ‰ J
œ œ#
poco a poco accel.
poco a poco accel.
ß
ß
ß
ß
p
p
p
p
ß p
1 & 2
œ œ œ# œ#œ œ
œ œ œ œ# œ œ œ œœ œ
Œ
œ
œ œb
œ œ œ œ
œ œ
‰
œ œ
œ
œ œ
œ œ œ œ
œ œ ‰ œ œ
œ
œ œ
œ œ œ œ
œ œ
‰
œ œ
˙ ˙
w
˙ ˙#
˙
˙
˙
˙
#
œ .
.
˙
˙
#
#
Œ
.˙#
œ œ œ
>
œ œ œ œ œ œ œ œ
>
œ œ œ œ œ
‹ ‹ ‹ ‹
œ
œ œb
œ œ œ œ
œ œ
‰
œ œ
∑
∑
∑&
∑
∑
œ œ
œœ œ
œ œ
œœ œ
œ œ œ œ œ
œ œ œœ œ
Ó
œ
Œ
70
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
&
&
?
&
&
B
?
?
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
√
2.
a3
F
FF
F
F
F
F
359
œ œn œ
œ# œ œ œ# œ œ# œ# œ#œ# œ
œ œ œ œ
‰
œ œb
œ# œ œ œ
œ œ
œ œ œ
‰
r
œ≈ ‰
œ# œ œ
œ œ
œ œ œ‰ .
R
œ#œ#
œ
‰
œ œ
œ# œ œ œ
œ œ
œ œ œ
w
Ó Œœ
w
ӌ
œ#
ww
w
.
.
˙
˙
œ
œ
#
.˙ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
‹ ‹ ‹ .‹ ‹
‰
œ œb
œb œ œ œ
œ œ
œ œ œ
∑
‰ J
œœ œ
œb œn
œ
‰
j
œœ
Ó?
∑
∑
‰ J
œœ>
‰ J
œb œn
œ
‰
j
œœ
>
‰
j
œb œn
œ
‰j
œ
œ
>
‰ J
œb œn
œ
‰J
œœ
>
Ó
Œ
œ>
Ó
f
f
f
f
F
F
2.
F
F
F
F
F
F
f
6
œ œ# œ# œ#œ# œ
œ
œ
œb
œ‰
œ
œ
œ
œ
‰
œ#
œ œ
Œ
œ œ
‰
œœb
œ œ
œ#
œ œ ‰ . r
œ
œ œ ‰ Œ
œ
œ œ
Œ
œ œ
‰ Œ
w
w
w#
w
ww
w
#
w
w
w
œ œ œ œ œ œ œ œ
œ œœ œ œ œ œ œ
‹ ‹ ‹ ‹
œb
œ œ
Œ
œ œ
‰
œœb
œn œ
∑
‰J
œ
œb œn
œ œ
œ
Œ
∑&
∑
∑&
‰J
œ
œb œn
œ œ>
Œ
‰ j
œ
œb œn
œ œ>
Œ
Ó ‰
J
œŒ
Ó ‰
J
œ Œ
Ó ‰J
œ
Œ
q»¡¢º
q»¡¢º
arco
arco
f
f
f
f
ƒ
ƒ
ƒ
a2
1.
f
f
f
ƒ
Cs = Cn
ƒ
√
ƒ
div.
div.
div.
arco
div.arco
arco
f
KK
KK
div.
w/ wood sticks
Œ
œ
œ
œ
œ
n
nœ
œ
n
n
œ
œ‰
œ œœ œ
‰
œœ
œœ
œœ
œœ
œ œœ œ
Œ ‰
œ œœ œ
œœn
œ œ œ
œ œ œn œ
œ œ
œ
œ
‰ œ œ
œ œ
œ œ#
œœ# œ
œ œ
œ œ
ΠΠΠ.
œ
œ
œ
œ#
œ
œ
œœ
œœ
J
œ
œb
>
œ
œ
#
#
œ
œ
œ
œ
œ
œ
œ
œ
j
œ
œ
>
œœ
œ
œœœ
#œœœ
#
œœœ
œœœ
J
œœœ
b>
œ
œ
˙
˙
œ
œ
J
œ
œ#
>
œ ˙ œ
j
œ#
>
œ œ œ œœ œ œ œ œ
>
œ
>
œ
>
œ
>
œ
>
œ
>
œ œ œ œ œ
‹ ‹ ‹ ‹
J
‹˘
œ œœ œ
œ œ
œ
œ
‰
œ œœ œ
œœ
œ œ
œœ
œ œ
Ó . ‰ ‰
j
œ#
fl
Œ
œ
œ
œ
œ
‰
œ œœ œ
‰
œ
œ
œ
œ
Œ
œ
œ
œn
œ
Œ ‰ ‰
œ
œ
œ
œ
Ó . ‰ ‰J
œœ
b>
Ó . ‰ ‰
J
œœœ
b>
?
‰J
œ
!
œb
!
œn
!
œ
!
œ
!
œ
!
œ œ œœ
b>
‰ j
œ! œb
!œn
! œ
!
œ
!
œ
!
œ œ
œ
œb
>
‰ j
œ! œb
!œn
! œ
!
œ
!
œ
!
œ œ
œœ
>
œ
œ
#.
.
˙
˙
æ J
œ
œ#
>
œ
œ
# .
.
˙
˙
æJ
œ
œ#
>
G.P.
G.P.
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑?
∑
∑
∑
∑
∑
∑
∑
71
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
arco
arco
q»¡£º
q»¡£º
p
p
p
p
P
P
f
f
Animated
Animated
a3
F
Ds Cn Fs Gs AnF
arco
arco unis.
sim.f
unis.
P
unis.
sim.
unis.
LL
LL
(Cymbals, always let ring)
P
P
P
P
f
363 œœ# œ
œ#
# œœ œ
œ#
# œœ# œ
œ# œœ# œ
œ# œœ#
˙˙
œ# œ œ œ# œ# œ# œ# œ# œ# œ j
œ#
‰
œ œ# œ# œ# œ# œ# œ œ# œ# œ# œ œ œ œ
œ œ œ# œ œ œ œ œ
Œ
œ# œ# œ# œ# œ œ# œ# œ# œ œ# œ# œ œ# œ# œ# œ
j
œ
‰
.
.œœ
#‰ Ó
.
.
œ
œ
#
#
‰ Ó
.
.
.
œœœ
#
‰ Ó
.
.
.
œ
œ
œ# ‰ Ó
∑
‹
Œ Ó
∑
∑
∑
Ó œ#.
œ.
Œ
∑
Ó
J
œ
œ
#
#
.
‰ Œ
∑
œœ# œ
œ#
# œœ œ
œ#
# œœ# œ
œ# œœ# œ
œ# œœ#
œ
œŒ
œ
œ
œ# œ œ# œ# œ# œ# œ# œ# œ œ#
.œ#. œ#
.
œ#. ≈ œ
œ
œ
œ
œœ# œ
œ#
# œœ œ
œ#
# œœ# œ
œ# œœ# œ
œ# œœ#
J
œ ‰
œ
œŒ
œ#.
œ#.
œ#.
œ#.
œ#.
≈
œœ#
œŒ œ#
.
œ#.
œ#.
œ#.
P
P
P
P
P
F
P
sim.
unis.
f
sim.
1.
f
f
Œ œ#
.œ#
œ# œ# œ#
‰ ≈ œ
œ
J
œ#
‰
œn
>
œ#
œ#
‰
Œ œn
> œ#
œ#
‰
∑
∑
∑
∑
∑
∑
Œ ≈
.
j
–
+
Œ ≈ œ œ#
Œ
j
œn.
‰
œ#œ
œ
#
#
.
œ
œ#
œn
∑
∑
∑
Œ œ#
.œ#
œ# œ# œ œ#œ#
.œ#
Œ
œœ#
‰
œ# œ# œ œ#œ#
.œ#
œ#
œ#
œ#
œ#
F
F
F
F
Tri.
F
Œ
.œ#
œ
œ œ# œ#
‰
œn
œ#≈
J
œ#
‰ ‰œ#
>
œ#
œ#
Œ ‰
œ#>
œ#
œ#
∑
∑
∑
∑
∑
Œ
‹
∑
Œœ œ#
≈
Œ ‰ .r
œ#
œœ
œ
#
#œ# œ
œ
∑&
∑
∑
œ# œ
œ# œ#
.œ#
œ
œ# œ œ œ#
.œ#
œ#
‰
œ#
œ#
J
œ#
‰
œ# œ œ œ#
.œ#
œ#
œ#
œ#
œ#
œ#
f
C = Ds
Small W.B.
‰ œ#
œ# œ
œ
œ
#
n
œ
œ#
œ
œ
#
#
œ
œ
#
œ
≈ œ# œ
œ# œ
‰
œ
>
œ#
œ#
‰ œ œ
‰ œ
> œ#
œ#
Œ
∑
∑
∑
∑
∑
∑
‰ J
œ
Œ
‰ .
r
œ œ# œ# œn œ œ#
‰
j
œ.
Œ
Œ ‰ J
œ
œ
#
Œ ‰
J
œ
œ
#?
∑
∑
‰
œ#
œ# œœ#
œ# œ# œ
œ# œœ#
‰
œœ# œ
œ#
œ# œ# œ
œ# œœ#
œ#œ
œ#œ#
72
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
div.
div.
p
p
p
p
P
P
P
P
Quasi-scherzando, lighter
Quasi-scherzando, lighter
F
F
F
F
F
F
1.
P
3.
harmon
P
P
Bf Gn
pizz.
pizz.
1 & 2
367
œ
œ#
œ
œ
#
#
œ
œ
# œ
œ#
œ
œ
#
#
œ
œ#
œ
œ
œœ œ
J
œœnn
.
‰J
œ
œ
#.
‰ ‰
œ#
œœ##œœ#
J
œœn#
.
‰ ŒJ
œ
œ
.
œ
œ# œ œ# œ# œ œ# œ# œ# œ œ
œœ## œœ
‰
œ
œ
n.
J
œ#
‰ ‰
œ œ œ# œ œ œ# œ# œ
œœnn œœ
‰
œ
œ
.
‰ j
œ#
œ# œ.
œ.
œ
œ
‰ j
œ#
œ# œ
.
œ
.
œŒ ‰
Ó Œ ‰ œœ
∑
∑
œ œ œ œ œ œ œ œ œœœ
Π.
∑
œ#œ#
œ
œ
J
œœ
˘
‰ Œ ‰ ‰J
œœ
˘
∑
r
œ#
.
‰ . Œ Œ ‰
œn
œœœœ
#
#
˘
r
œ
œ
#
#
.
‰ . Œ Œ ‰
j
œ
œ
n
n
‰
œœ
#
œ#
˘
Œ Œ ‰ ‰
J
œ
>
∑&
œ#
œ#˘
Œ Œ
œ
œ œ
>
œ
‰
J
œ
œ#œ
œ œ
>
J
œ# ‰œ.
œ.
œ.
≈œ.
œ
J
œ
œ
œ#
J
œ#
‰
œn.
œ.
œ.
≈
œ.
œ
J
œœ
œ
#
J
œ#
‰ Œ Œ Œ .
a2
pizz.
Xylophone
ŒJ
œœb
‰J
œ
œ
.
‰
œœn
ΠJ
œ
œ
.
‰
‰J
œœ##
J
œœ
‰
J
œ
œ
n.
‰
‰ J
œœ
J
œœ
‰ J
œ
œ
.
‰
œœn œ
œœœ
œœ
œ
œ
∑
œ œ œ œœ
œ œ œ œ
∑
∑
œ œ œ
j
œ‰ Œ
∑
Œ
J
œœb‰
J
œ
œ ‰
∑
Πj
œ
‰ J
œœœœn
˘
‰
Œj
œ
œ
‰ Œ
Œ œb. œb
.
J
œ
˘
‰
Œ Œ
j
œ
fl
‰?
œb
œ
œb
œ
J
œ‰
œb
œ
œb
œ
J
œ‰
œœœ
œœœ
œœ
œ
œ
œœœ
œœœ
œœ
œ
œ
œ
œ
ΠJ
œ
‰ Œ
ord.
ord.
f
f
f
f
f
f
F
F
arco
arco
unis.
div.arco
◊
J
œ
œ
‰J
œ
œ
‰ ‰J
œ
œ
#
#
œ
œ
J
œ
œ
#
‰ J
œ
œ
‰ ‰ J
œ
œ
œ
œ
J
œ
œ# ‰
J
œ
œ‰ ‰
J
œ
œ
œ
œ
J
œ
œ
‰ J
œ
œ
‰ ‰J
œ
œ#
œ
œ
œ
œ
j
œœ
‰ ‰
j
œ
œ
œ
œ
∑
œ
œ
J
œœ ‰ ‰
J
œœ
œœ
∑
∑
‚
œ œ
‰
J
‚
œ
‰ ‰
J
‹
œ
Œ
∑
J
œ
œ ‰
J
œ
œ ‰ ‰
J
œ
œ
#
# Œ
∑
J
œœ
#
‰
œœœœ
œœœœ
œœœœ
œœœœ
∑&
J
œn
‰ J
œ
‰ ‰J
œœ
Œ
Ó Œ
œ
œ
Œ ‰
œ.
œ.
‰J
œ# œ
Œ ‰
œ.
œ.
‰ J
œ œ
œ
œ
‰
œœ
˘
œœ
˘
Ó
≈
œ
œ
œ
œ
‰
œœ
˘œœ
˘
Œ
œ
Ó Œ
œ
œ
sim.
sim.
sim.
sim.
sim.
f
f
Animated, but heavy
Animated, but heavy
F
F
F
F
1.
a2
a2
1.
F
En
unis.
unis.
f
œ
œ
œ
œn
œn œœ
œ
.œ#
‰
œ
œ
#
≈
œ
œ
œœ
œ œ œœ œ
.
.
œ
œ#
œ
œ
œœ
œ œ œœ œ
r
œ#
œœ
œ œ œ#.œ œ
œ ≈
R
œ‰ .
œ œ#
.œ œ œ
œ
œ
Œ Ó
∑
≈
œn œœ
R
œ
‰ . Ó
∑
∑
œ œ
Œ ≈ œ
œœ œ œ
œ
≈ œ ≈ œ œ ≈
R
œ ‰ œ
‹
œ
R
œ
œ#‰ . Œ Ó
Ó Œ ‰
J
œ#
R
œœœ
##
‰ . Œ Œ ‰
œ œ
œ œ œ œ
Œ Œ ‰œ# œ
∑
˙
˙Ó
≈
œ.
œ.
œ.
œœ
œ œ œ# œ œ
œ œ
œ
≈
œ.
œ.
œ.
œœ
œ œ œ# œ œ
œ œ
œ
œ#.
œ.
œ.
œ.
œœ
œ œ œ œ œ
œ œ
œ
œ#.
œ.
œ.
œ.
œœ
œ œ œ œ œ
œ
œ#.
œ.
œ
œœ œ#
œ
73
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
&
&
?
&
&
B
?
?
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
4
3ˆ
8
3
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
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~
1.
3.
As = B
Dn
p
p
p
p
f
f
f
f
371
≈
œ œn œ œ œ œ œ œ œ œ œ.œ Ó
J
œ
‰ Ó
œ
œ œ# œ œ Œœ œ# œn œ œ œn œ# œn œb œ œ
.
‰
∑
œ
œ œ# œ œ Œœ œb œ œ œb œn œb œ œb œ œ
.
‰
œ
œ œ# œ œ Œœ œb œ œ œb œn œb œ œb œ œ
.
‰
∑
∑
∑
∑
œ Œ Ó
∑
J
œ ‰ Ó
J
œ
‰ Ó
J
œ ‰ Ó?
œ# œ œ œb œ
œ#
œ Œœn
œ œb œ
‰
Ù
œ>
œœ#.
œ.
œœn. œ
. œ.
œ œ
œ>
œœ#.
œ.
œ œ œ œ œ œ œ
œ>
œœ#.
œ.
œ œ œ œ œ œ œ
œ>
œ# œ
J
œ
‰
œ. œ
.
œ-
œ. œ
.
œ
B
J
œ>
‰ J
œ
‰
œ. œ
.
œ-
œ. œ
.
œ
P
P
P
P
P
with vigor, dash
with vigor, dash
with vigor, dash
with vigor, dash
with vigor, dash
with fire
P
mute off1.
with fire
P
1. with fire
P
Cs Bn FnP
div.
div.
∑
∑
∑
∑
Œ Œ ‰
œ œ œ œ œ œ œ# œ
∑
Œ Œ ‰œ œ œ œ œ œ œ# œ
Œ Œ ‰
œ œ œ œ œ œ œ# œ
∑
∑
∑
∑
∑
∑
∑
Ó . Œj
œ
Ó . Œ
j
œ
Œ ‰
œ œ œ œb œ œ œ œ œ œn œ œ
œ œ œ œ œ
œ œ œ œb œ œ
œ œ œ œ œ œn œ
œ œ œ œ œ
œ œ œ œb œ œ œ
œ
œ
œ
œœ œn
œœ
œ
œ&
œœ œ
œ œœb
œ œ œ œb œ œ œ
œ
n œ
œ
œœ
œ œ œ
œœ œ
œ œœb
œ œ œ œb œ œ œn
J
œB
F
P
with fire
F
∑
∑
Ó
œ# œ# œ# œ# œ# œ# œ# œ#
∑
j
œ‰ Œ
œ# œ# œ# œ# œ# œ# œ# œ#
œ œ œ# œ œ œ# œ# œ
j
œ ‰ Œ
œ
œ# œ œ œ# œ# œ œ
œ# œ# œ œ œ# œ# œ#
œ œ œ# œ œ œ# œ# œ
œ œ# œ# œ œ œ# œ# œ#
∑
∑
∑
∑
∑
∑
∑
œ
‰ j
œ# œ
‰j
œ
>
œ‰
j
œ# œ ‰
J
œ
>
œ œ œ# œ œ œ# œ œ œ œ# œ# œ œ œ# œ œ
œ œ
œ œ œ œ œ œ#
œ# œ#œ œ œ# œ œ œ#
œ
œ
œ
œ
œ
œ
# œ
œ
œœ œ# œ
œ
œ
œ
œ
œ
œ
œ
#
#
œ
œ
# œ
œ
œœ# œ# œ
œ
œ
œ
œ œ œ
œ
# œ
œ
œœ
œ œ œ œ œ# œ
œ
# œ
œ#
œœ#
œ œ œ
œ œ œ# œ# œ œ# œ# œ#
74
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
&
B
B
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
f
f
f
f
f
f
f
f
f
1.
f
F
f
F
Cn Bf Fs Aff
div.
div. unis.
unis.
unis.
2 & 3
2 & 3
374
‰ ≈
œ# œ# œ# œ œ# œ
≈
œ œ
≈
œ
R
œ
≈
∑
œ# œ# œ#
j
œ
‰
œ œ# ≈
r
œ#
r
œ ≈
‰J
œ#
J
œŒ .
∑
œ# œ#
œ# œ
œn
J
œ œ
œ# œ#œ# œ .œ
œ# œœ
##
.
.œœ
œ# œœ
##
.
.œœ
∑
∑
∑
∑
∑
∑
∑
˙
˙
Π.
˙Œ .
œ# œ# œ# œn œ œ# œ# œ# œ œ œ œ œœ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ# œ# œ# œ œ œ# œ# œœ#
œ
œ
œ
œ#
œ
œ#
œ
œ
œ
œ
œœ œ œ œ
œ
œ
#
#
œ
œ
#
#
œ
œ
#
#
œœ
n# œ œ œ
j
J
œ
‰ ‰ B
œ# œ# œ# œn œ œ# œ# œ# œ# œ œ œ œ œ œ?
œ# œ#
J
œ
‰ Œ ‰?
F
F
F
F
F
F
F
F
F
F
div.
1.
2 & 3
1.
∑
‰ .
œ œ œ œ .œ œ
Ó
Ó Œ Œ ≈
œ œ œ
Ó Œ Œ ≈
œ œ œ
˙ ˙Œ
˙# ˙ œ
˙ ˙n œ
Ó.
˙
˙
˙n
˙
˙
œ
œ
n œ
œ
˙
˙
.
.
˙
˙
n
n
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑ ÷
∑
∑
∑
∑
∑
.˙ œ œ
w œ
œ œ# œ œ.
.
˙
˙
œ
œ
œ œ œ œ œ œœœ
œ
œ
œ
.
.
˙
˙
œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ
F
F
f
f
w/ wood sticks
F
F
f
Ó Œ
3
œ
œ
œ
œ
œ
œ
œ
œ
Ó
3
œ œ œ œ œ
œ œ œ œ œ œ
3
œ œ œ œ
3
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ œ œ œ
3
œ œ œ œ
3
œ œ œ œ
∑
œ œ ˙
œ œ ˙œ
Œ Ó
œ
œ
œ
œ
œ
œ
˙
˙
∑
∑
‚
œ œ œ
‹
œ
Œ ‰ œ œ œ œ‹
œ œ œ œ
∑
Œ ‰
Á Á
Ó
Œ
œ
œ œ œ œ œ
œ
Œ
∑
∑
∑
∑
œ .˙
w
w
w
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
3
œ
œ
œ
œ
œ
œ
œ
œ
3
œ
œ
œ
œ
œ
œ
œ
œ
œ œ œ .˙
œ œ ˙
1.
F
unis.
f
P
P
2.
J
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
Ó ‰œ œ# œ œ œ œ
.
.
˙
˙Œ
.
.
˙
˙
Œ
.˙
Œ
∑
.˙
Œ
∑
∑
œ œ œ œ œ œ œ œ
>
œ
>
œ
>
œ œ œ œ œ œ œ
Ó ‰
‹ ‹ ‹ ‹
‰
Ó Œ ‰
Á Á
œ
œ œ œ œ œœ œ œ œ ‰ ‰
œœ
∑
∑
∑
∑
œ .˙
w
œ
œ
3
œ œ œ œ œ# œ œœn œ œ œ
œ œ
w
w
w
w
75
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
B
?
?
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
unis.
unis.
pizz.
1.
378
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ œ
3
œ œ œ œ
Ó
œ œ# œ œ œ œ
‰ Ó
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ
>
œ
>
œ
>
œ
‹
œ
‹
œ
‹
œ
‹
œ œ œ
— ––
≈
––
≈
–– — — —
‰
∑
Ó
œ
œœ
œ
j
œ
‰
∑
∑
∑
∑
œ
œ
Œ Ó
œ# œ œ œ œ œ œ œ œ
>
œ
Ó ‰
J
œ Œ
w
∑
Arabesque
Arabesque
ß pf
arco
ff
p
MM
MM
1.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
∑
∑
œ
œœ
œœ
œœ
œœ
œ
œœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
∑
œ
Œ Ó
œ
œ .œ
æœ
œ œ
w
∑
fß p
unis.
f
f
p
F
œ Œ Ó
∑
Œ
œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Œ
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
∑
∑
œ
œœ
œœ
œœ
œœ
œ
œœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
.œ œ œ .œ œ
œ
œ
œ
Ó Œ ‰
œ
œ
.œ œ œ .œ
œ
œ
.˙
œ
Ó Œ
œ
div.
div.
f
f
f
f
f
P ƒ
ƒ
bold, forceful
bold, forceful
2.bold, forceful
bold, forceful
Bold, Forceful
F
F
F
F
P
fp
fp
fp
fp
1 & 2
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
w
w
∑
w
w
w
w
‚
œ œ œ
‹
œ
Œ ‰ œ œ œ œ‹
œ œ œ œ
∑
Œ ‰
Á Á
Ó
Œ
œ
œ œ œ œ œ
œ
Œ
∑
∑
∑
∑
œ .œ œ .œ œ œ
w
æ
>
w
wæ
>
w
w
æ
>
w
æ
>
76
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
B
?
?
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
(√)
√
Ÿ~~~~~~~~~~~~~~~~~~~~~~
√
F
F
1.
F
div.
p
p
p
p
382
∑
∑
∑
∑
.
.
œ
œ
œ
œ
.
œ
œ
.
˙
˙
∑
.
.
œ
œ
œ
œ
.œ
œ
.˙
˙
.œ
œ.
œ.
˙
.œ‰ Ó
œ œ œ œ œ œ œ œ
>
œ
>
œ
>
œ œ œ œ œ œ œ
Ó ‰
‹ ‹ ‹ ‹
‰
Ó Œ ‰
Á Á
œ
œ œ œ œ œœ œ œ œ ‰ ‰
œœ
∑
∑&
∑
∑
˙
Ó
˙ ˙
w
.
.
˙
˙ Œ
w
w
w
unis.
unis.
P
P
F
F
P
unis.
F
f
∑
∑
Ó
œ# œ œ œ
œ
œ œ œ œœ# œ œ œ
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ
>
œ
>
œ
>
œ
‹
œ
‹
œ
‹
œ
‹
œ œ œ
— ––
≈
––
≈
–– — — — — — — — —
∑
Ó
œ
œœ
œ
j
œ
‰
R
œ‰ . Œ
œ œ
≈
œ œ
≈
œ œ
Ó
œ œ
≈
œ œ
≈
œ œ?
∑
∑
Ó
œ œ
≈
œ œ
≈
œ œ
˙
˙ œ œ≈
œ œ≈
œ œ
œ
œ œ œ œœ# œ œ œ
rK
œ
.œ
r
œ
.œ rK
œ
J
œ
∑
f
f
F
F
F
F
f
œ œ œ œ œ œ œ#
.œ
j
œ# ˙
.œ J
œ# ˙
œ
œ
œ#.œ
J
œ
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
∑
∑
œ
œœ
œœ
œœ
œœ
œ
œœ
œ œ œ œ œ œ œ œ
∑
∑
∑
∑
œ ˙ œ œ
≈
œ
œ
˙ œ œ
≈
œ
3
œ œ œ ˙.œ
œ
.˙
œ œ
∑
f
f
a2
a2
harmon2 & 3
J
œ
œ
J
œ œœœœ œ œ
œ œ œœ œ œ
œ œ œœ œ œ
œ œ œœ œ œ
J
œ
œ
J
œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ
œŒ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
w
Ó ‰
œ
+
œ
+
Œ
∑
Ó ‰
œ
œ#
œ
œŒ
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
∑
∑
œ
œœ
œœ
œœ
œœ
œ
œœ
œ œ œ œ œ œ œ œ
Ó ‰
œ
œ#
.œ
œ
.
Œ
Ó ‰
œ.
œ.
Œ
∑?
∑
œœ œ œ
œ.œ
œ
œœ œ œ
œ.œ
œ
.œ
J
œ .œœ œ œ œ
˙ .œ
œ œ œ œ
∑
77
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
?
?
?
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
P
P
P
P
P
P
P
P
P
1.
P
mute off1.
P
1.
P
P
P
P
F
sim.P
f
f
1.
386
Ó Œ
œœ
.œ
J
œ œ
Œ
.œ
J
œ œ œ
˙ ˙
.œo
j
œ œ œ
∑
.œ
J
œ œ œ
.œ#.œ œ
.œ#.œ œ
.
.
‹
œ
j
‹
œ
Œ‹
œ
Ó
— — — – – – — —
‰
Á Á Á Á
‰ Ó
‰ .
R
œ.
œ.
œ.
œ.
œ.
œ œ œ œœ œ œ œ
∑
œ.
œ.
œ.
Œ Ó
œ.
œ.
œ.
Œ Ó
w#
.œ
J
œ œ œ
.œ
J
œ œ œ
.œ
J
œ œ œ
.œ
J
œ œ
œ
.œ#
J
œ œ œ
F
˙˙
∑
˙
œœ#
˙
∑
˙
œœ#
œœ#
‰
j
‹
œ
‰ œ
œ
œ
œ
— – – –
Œ
Œ
Á Á
‰
œ œœ œ œ œ œ œ
‰ .
R
œ œ œ
œ
œ
œ
œ
‰ . R
œ œ œ œ
œ
œ
∑
∑
˙
˙
˙
œœ#
œœ#
F
F
F
F
F
a2
F
F
F
F
P
P
P
ww
J
œ .œ ˙
J
œ .œ ˙
j
œ#.œ .œ
j
œ
j
œ
.
.
œ
œ
.
.
œ
œ
j
œ
œ
∑
˙ Œ ‰ j
œ
j
œ.œ .œ
j
œ
j
œ.œ .œ
j
œ
œ
‹
œ
‰
j
‹
œ
Œ ‰
j
‹
œ
Ó
— — — – – – — —
‰
ÁÁ Á
Á
‰ Ó
‰
œ œ
‰ œ œ œ œ œ œœ œ
‰
∑
œ>
œ>
œ œ>
œ>
œ Œ
œ œ>
œ>
œ œ
‰
œ œ
‰ Œ ‰
œ œ
∑
J
œ .œ .œ
J
œ
J
œ .œ .œ
J
œ
J
œ .œ.œ
J
œ
J
œ .œ.œ
J
œ
J
œ .œ.œ
J
œ
1.
a2
pizz.
pizz.
pizz.
1.
Œ
œ œ œ œ œ œ œ# œ
œ œ œ œ
Œ
œ œ œ œ
∑
.œ
j
œ
.œ
j
œ
∑
œœ œ œ œ
œ œ œ
.œ
j
œ
.œ
j
œ
‹
œ
‰
‹
œ
œ
‹
œ
œ
— – – –
Œ
∑
œ œ
≈ œ œ œ œ œ
‰ .
R
œ œ œ
œ
œ
œ
œ
‰ . R
œ œ œ œ
œ
œ
∑
∑
‰ .
R
œ œ œ
œ
œ
‰ .
R
œ œ œ œ
œ
‰ .
R
œ œ œ œ
œ
.œ
J
œ
.œ
J
œ
F
F
F
a2
F
a2F
Œ
œ œ œ œb œ œn œ œ
œ# œ œ# œ œ#
œ# Œ
Œœ# œ# œ œ
.œ#
j
œ
œ
#
#
.œ#
j
œ#
∑
œ#
œ# œœ
# œ# œ
œ#
œ# œ œ#
.œ#
j
œ
œ
#
#
.œ# j
œ#
œ
‰
‹
œ
œ
‹
œ
œ
— – – –
Œ
∑
œ œ
≈ œ œ œ œ œ
‰ .
R
œ œ œ
œ
œ
œ
œ
‰ . R
œ œ œ œ
œ
œ
∑&
∑
‰ .
R
œ œ œ‰
‰ .
R
œ œ œ‰
‰ .
R
œ œ œ‰
œ#
œ# œ# œ
œ#
œ# œ# œ œ#
78
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
B
?
?
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
div.
div.
a2
a2f
f
f
f
f
f
f
f
f
Furious, an abrupt interruption
Furious, an abrupt interruption
f
1.
f
a3
f
f
B = Bf b E = Ef
arco
arcodiv.
arco
NN
NN
{e = e}391
∑
∑
œ œ
≈
œ
j
œ
œ œ ≈ œ
J
œ
.
.
œ
œ
œ
œ
j
œ
œ
.
.
œ
œ
œ
œ
j
œ
œ
.
.
.
œ
œ
œ
œ
œ
œ
j
œ
œ
œ
.
.
œ
œ
œ
œ
j
œ
œ
œ
‰
‹
œ œ œ
‹
œ œ œ
∑
∑
∑
∑
∑
∑
∑
œ œ
≈
œ
J
œ
œ
œ
œ
œ
≈
œ
œ
J
œ
œ
.œ œ
J
œ
.
.
œ
œ
œ
œ
J
œ
œ
.
.
œ
œ
œ
œ
J
œ
œ
f
1.
∑
œ# œ ≈ œ
J
œ.
œ# œ
≈
œ
j
œ
.
œ# œ ≈ œ
j
œ.
.
.
œ
œ#
œ
œ
j
œ
œ
.
.
œ
œ
#
#
œ
œ
j
œ
œ
.
.
.
œ
œ
œ
#
#
#
œ
œ
œ
j
œ
œ
œ
.
.
œ
œ
#
#
œ
œ
j
œ
œ
œ#
‰
‹
œ œ œ
‹
œ œ œ
∑
∑
∑
∑
∑
∑
∑
œ# œ
≈
œ
J
œ
œ
œ
#
#
œ
œ
≈
œ
œ
J
œ
œ
.œ# œ
J
œ
.
.
œ
œ
#
#
œ
œ
J
œ
œ
.
.
œ
œ
#
#
œ
œ
J
œ
œ
f
œ
œ
#
#
œ
œ ≈
œ
œ
J
œ
œ
.
œ# œ
≈
œ
J
œ.
œ# œ ≈ œ
j
œ.
œ# œ
≈
œ
J
œ.
.
.
œ
œ
#
#
œ
œ
j
œ
œ
.
.
œ
œ
#
#
œ
œ
j
œ
œ
.
.
.
œ
œ
œ
#
#
#
œ
œ
œ
J
œ
œ
œ
.
.
œ
œ
#
#
œ
œ
J
œ
œ
œ#
‰
‹
œ œ œ
‹
œ œ œ
∑
∑
∑
∑
∑
∑
∑
œ# œ
≈
œ
J
œ.
œ
œ
#
#
œ
œ ≈
œ
œ
J
œ
œ
.
.œ# œ
J
œ
.
.
œ
œ
#
#
œ
œ
J
œ
œ
.
.
œ
œ
#
#
œ
œ
J
œ
œ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
a2
a2
{e = e}œ
œ
#
#
œ
œ≈
œ
œ
œ
œ≈
œ
œ
œ# œ
≈
œ œ
≈
œ
œ# œ≈
œ œ≈
œ
œ# œ
≈
œ œ
≈
œ
.
.
œ
œ#
œ
œ
œ
œ
œ
œ
.
.
œ
œ
#
#
œ
œ
œ
œ
œ
œ
.
.
.
œ
œ
œ
#
#
#
œ
œ
œ
œ
œ
œ
œ
œ
œ
.
.
œ
œ
#
#
œ
œ
œ
œ
œ
œ
˙#
‹
œ
>
œ œ
‹
œ
>
œ œ
‹
œ
>
œ
∑
∑
∑
∑
∑
∑?
∑
œ# œ
≈
œ œ
≈
œ
œ
œ
#
#
œ
œ≈
œ
œ
œ
œ≈
œ
œ
æ
.œ# œ œ œ
æ
.
.
œ
œ
#
#
œ
œ
œ
œ
œ
œ
.
.
œ
œ
#
#
œ
œ
œ
œ
œ
œ
Lighter
Lighter
P
P
P
P
F
F
1.
f
F
F
Hi-hat
F
P
f
f
f
div.
f
F
unis.
F
2.
p
p
p
P
œn œn œ œ œ œ œ œ œ œ
œb œ œb œb œ œb œb œb œb œb œb œ
Œ
˙ Œ
œbœb œb œ œb œb œ œb œb œb œ œb ≈
œb
˙
˙
b .
.
œ
œœ
œ
b
b
œ
œ
b
w
w
#
#
w
w
#
w
w
b
w
w
#
#
w#
w#
‹
+
‹ ‹ ‹ ‹ ‹ ‹ ‹
>
‹
>
‹
>
‹ ‹ ‹ ‹ ‹ ‹ ‹
Ó ‰
‚ ‚ ‚ ‚
‰
Ó Œ ‰
Á Á
∑
∑
R
œ
œ
#
#‰ . Œ Ó
R
œb
‰ . Œ Ó&
r
œ#
‰ . Œ Ó
œb œb œ œb œb œ œb œb œb œ œb œb
œ
œ
æ
>
˙
˙
æ
Ó
˙
æÓ
w
w
n
næ
wn
æ
Arabesque
Arabesque
f
f
F
unis.
f
unis.
OO
OO
˙
˙b
w
w
b
b
.
.
˙
˙
Œ
∑
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œ
>
œ
>
œ
>
œ
‹
œ
‹
œ
‹
œ
‹
œ œ œ
— ––
≈
––
≈
–– — — — — — — — —
∑
Ó
œ
œœb
œb
j
œ
‰
œ œ.œ œ œ œ
œb œ œ œ
∑
∑
∑
œ
œ
æ
Œ Ó
œ
œ
> .œ œ œ
>
œ
œb œ œ œ
œ
œ
>
.œ œ œ
>
œœ œ œ# œ#
œ
œ
>
.œ œ œ
>
œ
œb œ œ œ
∑
79
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
Ÿ~~~~~~~~~~~~
√
P
P
F
unis.
f
P
397
∑
∑
˙b ˙
œb œb ˙
∑
˙b ˙
œb œb ˙
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
∑
∑
j
œ
‰ Œ Œ
œ œ œ œ œ œ œ œ
.œ
œ .œb
œ œb .œ œ œ œ œ œ
≈
œœb
œbœ
œœ
œ
œœb
œbœ
Œ
∑
∑
Ó
œb
3
œ œ œ œ
3
œ œ œ
.œ
œ
>
.œb
œ>
œb .œ œ œ œ œ œ
œ œ .˙
œ .˙
∑
f
1.
1.
1.
1.
p
œb œ œ œ œb œ œ œb œb
3
œ œ œ
J
œ>
‰
Œ
œb œ œ œ œb œ œ œb œb
3
œ œ œ
Ó œb œ œ œ œb œ œ œb
Ó Œ
œb œ œ œb
˙
˙ Ó
∑
∑
∑
∑
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
∑
∑
œ
œœb
œbœ
œœ
œœ
œ
œœ
œ œ œ œ œ œ œ œ
œb œ
≈
œ œ œb œ
œb
œ
≈
œœb
œbœ œ
œb
œbœn
œ
œœ
Œ
∑
∑
œb.
œ.
≈
œ.
œ œb œ
œb
œ
˙b œb œ
œ
œ
.˙
Œ
wb
∑
P
P
P
P
P
3.
1.
1.
unis.
div.
div.
div.
P
f
f
f
f
Ó Œ ≈
œ œ œb
J
œb
‰ Œ Ó
œb œb œ
j
œ
.
‰ Ó
œ œ œ œb œ œ œb
.
Ó
w
w
b
b
wb
wb
wb
∑
‚
œ œ œ
‹
œ
Œ ‰ œ œ œ œ‹
œ œ œ œ
∑
Œ ‰
Á Á
Ó
Œ
œ
œ œ œ œ œ
œ
Œ
œ
Œ Ó
∑&
∑
∑
‰
œ
œ
b
b
.œ
œ
.
≈
œ
œ
.œ
œ
.
≈
œ
œ
. .
.
œ
œ
.
.
J
œ
œ
≈
˙
˙
b
b
œ
œ
.
.
œ
œ
œ
œ
˙
˙
b
b
œ
œ
.
.
œ
œ
œ
œ
˙
˙
b
b
œ
œ
b .
.
œ
œ
œ
œ
˙b œ .œ œ
f
P
1.
P
P
Af B F Af Bf
œ œ œb œ œ œ œ œ œ
Œ ‰ J
œ œœ
œn
œb œb œ œ
6
œ œb œb œ œ œ
∑
œn
œb œb œ œ
6
œ œb œb œ œ œ
.
.
˙
˙
∑
∑
∑
∑
‹ ‹ ‹ ‹ ‹ ‹
>
‹œ‹
œ‹ ‹ ‹ ‹ ‹
Œ ‰
‹ ‹
‚ ‚
‰
Œ Œ ‰
Á Á
œ
œ œ œ œ œœb œ œ œ ‰
œ
œ
n
n
.œ
œ
.
≈
œ
œ
.œ
œ
. .
.
œ
œ
J
œ
œ ‰
œ
œ
n
n
.
œ
œ
.
≈ œ
œ
.
œ
œ
.
.
.
œ
œ
j
œ
œ
‰?
∑
∑
œ
œ
n
n
.œ
œ
.
≈
œ
œ
.œ
œ
œ
œ
œ
œ
˙
˙
œ
œ
.
.
˙
˙
n
n
.
.
˙
˙
n
n
.˙n
80
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
B
?
?
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
F
F
PF
f
F
f
P
Agogo Bells
f
unis.
pizz.
f
1.
401.
j
œ≈ Œ Ó
.œb
œ
6
œb œb œ œ œ œ œb
Œ
œb œ œb œb œœb œb œ
J
œ ‰
˙ Œ ‰
3
œb œ œ
˙
œb œ œb œb œœb œb œ œ
w
w
>
∑
w>
∑
∑
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
>
‹
>
‹
>
‹
‚
‹
‚
‹
‚
‹
‚
‹ ‹ ‹
— — —
≈
—
–
≈
— —
· · · · · · · ·
∑
∑
∑
Ó
œb
œbœ
>
œ
j
œb‰
∑?
∑
œ
œ
œ
œ
.
.
˙
˙
œ
œb
œ
œ
œ
œ
.
≈
œ
œn
.œ
œb Œ
˙b œ œ.
≈ œn.
œb
˙
˙
b
b
œ
œ
œ
œ
>.
≈
œ
œ
n
n
.œ
œ
b
b
Ó
œb
œb
≈
œ
J
œb
‰
F
F
F
F
unis.
unis.
f
unis.
arco
1.
‰
3
œ œb œ .˙b
Œ œb œb œ
3
œ œ œ œ
3
œb œ œ
.œ
3
œ œb œ œb
Œ
œœb œb
.œ
J
œb
w
w
∑
∑
∑
∑
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
‹ ‹
œ œ
∑
∑
Ó Œ
œb œ œ œ œ œ œ œ
∑
j
œb
‰
œ œœ
œœb
œ
œœb œn
œ œn
œn
&
œb
œbœn
œœ œ
œ
œœb
œ
œœb
≈ œ œn
œn
œb œ œ.
≈
œ.
œb
Œ
œb œ œ.
≈ œn.
.œb
œn œb
3
œb œb œ
œ œ .˙b
æ
˙
˙
b
b
œ
œ
œ
œ
.
≈
œn
J
œb
‰
Ó Œ
œb
æ
p
p
a2
P
1.
3.
An
P
3
œ œb œ œ œ œ
3
œ œ œb
3
œ œ œ œ
3
œ œb œ
œ
J
œ ‰ Œ
6
œb œ œb œb œ œ
Œœb
3
œ œb œ
6
œ œ œ œb œ œ œ
3
œ œ œn
.˙ œb
œb
œbœ
œœ
œœ
œœ
œ
œœ
Œ
‰
J
œ
˘
Œ Ó
‰j
œ
fl
Œ Ó
∑
∑
∑
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
‹ ‹
œ œ
∑
∑
œb
œbœ
œœ
œœ
œœ
œ
œœ
œ œ œ œ œ œ œ œ
œ
œb
Œ ‰
œ
œ
œ
œ
‰ .R
œ
œ
#
n
œ
Œ ‰ œb œ ‰
œn
œn&
œ
Œ ‰
œ
œn
.œ
œ
.
‰
J
œ
œ
.
Ó ‰
œb.
œ.
Œ
wb
w
˙b ˙
˙ ˙b
∑
F
F
F
F
1.
P
P
Ef Fn
div.
div.
F
F
PP
PP
1.
˙ œb
œb
3
œ œ œb
˙b Ó
.œb
J
œb
3
œ œ œ œ œ œœ
œb.
œ.
‰ ‰
œ
˘
œ
˘
Œ
œ.
œ.
‰
.œ
j
œb œ œb
∑
∑
.œ
j
œb œ œb
∑
.‹
j
‹
Œ ≈r
‹
œ
·
≈
·
œ
— — —— —
œ
—— —
‰ .
R
Á
J
Á
‰ Ó
œb œ œ œb œ>
œ>
œ œ œ œ œ œœ œ œ œ
∑
∑?
∑
˙
Ó
˙ œœb
œb
3
œ œ œb.˙
œ
3
œ œ œ
.œb
J
œb
J
œœ
J
œœ
˙b
œ œ œ œœ œ œ œ
˙
œ œ œ œœ œ œ œ
.œ
J
œb œ œb
81
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
F
F
sim.
405.œ
3
œ œb œ
∑
œœ
œœb
∑
œœ
∑
∑
œœ
∑
‰j
‹
‰ ‹
‹
‹
‹
——
œ
— — ‹ ‹
‰
∑
œb œœ œ œ œ œ œ
‰ .
R
œ œb œb
œ
œ
b
b
œ
œ
b
‰ .R
œb œ œb œb œ
œ
b
b
∑
∑
.œ
3
œ œb œ
˙˙
‰ .
R
œb œ œb œb œb
œb.
œ.
œ
.
œ
.
œ œ œ œ
œœ
P
P
F
F P
F
2.
√
unis.
sim.
f
F
F
1.
˙b ˙b
j
œ .œb.œb
j
œ
˙ .œb3
œb œ œ
j
œ .œb.œb
j
œ
‰
.œb .œb
j
œ
∑
∑
j
œ .œb.œb
j
œ
∑
.
.
‹
‹
j
‹o
Œ ≈r
‹o
œ
·
≈
·
œ
— — —— —
œ
—— —
‰ .
R
Á
J
Á
‰
œb œ œb œ œ œ
œ œ œ œ œ œœ œ œ œ
˙b
Ó
œb
Œ Ó
∑
∑
œb ˙b œ
3
œ œ œ.˙ œ
3
œ œ œ
œœ
œœ
3
œ œ œ
6
œ œ œ œb œ œ
6
œn œ œ œ œ œ
œb.
œ.
œb
.
œ
.
œ œ
œ œ œ œ œ œœ œ
œ
œb œ œb œ œ œ
œ œ œ œ œ œœ œ œ œ
J
œ.œb .œb
J
œ
P
P
FP
P
F
F
1.
P
Gf
unis.
div.
F
P
F
F
œ.
œ.
≈
œ.
œ.
≈
œ.
œ.
œb
œb
3
œ œ œb
œb ‰
3
œ œ œn
6
œ œ œ œb œ œn
6
œ œ œ œ œ œ
.œb
J
œb
3
œ œ œ œ
J
œœ
œb.
œb.
‰ ‰
œb.
œb.
Œ
œb.
œb.
‰
.œn.œb œb
∑
∑
.œ .œb œb
∑
.
.
‹
‹
j
‹o
Œ ≈r
‹o
œ
·
≈
·
œ
— — —— —
œ
—— —
‰ .
R
Á
J
Á
‰
œb œ œ œb œ œœ œ œ œ œ œ
œ œ œ œ
Ó
˙˙b
∑
∑
˙
Ó
œ œ.
≈
œ.
œ.
≈
œ.
œ.
œb.
œ.
≈
œ.
œ.
≈
œ.
œ.
J
œ
œb
J
œb
J
œœ
J
œœ
œb
‰
3
œ œ œ
6
œ œ œ œb œ œn
6
œ œ œ œ œ œ.
œb œ œ œb œ œb œ œb
.œ
J
œb œ œb
F
F
div.
F
P
œ
œ œ
6
œ œ œb œ œ œ
∑
œœ
œœb
œ
œ
b
b
œ
œ
œœ
∑
∑
œœ
∑
‰
J
‚
‹
‰ ‹
‹
‹
‹
—— — —
‹ ‹
‰
∑
œb œœ œ œ œ œ œ
œ œ
≈ œ œb œb
œ
œ
b
b
œ
œ
b
‰ .R
œb œ œb œb œ
œ
b
b
∑
∑
˙
˙
œœ
œb œb
œb œ
œ.
œ.
≈
œ.
œb œb œb
œ
œb
œ
œœ
82
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
B
?
?
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√√
f
P
P
P
P
P
P
unis.
F
F
1.
sul D
sul D
409˙b ˙b
j
œ .œb.œb
j
œ
˙ .œb
3
œb œ œ
j
œ .œb.œb
j
œ
‰
.œb .œb
j
œ
∑
Ó Œ ‰j
œ
j
œ .œb.œb
j
œ
Ó Œ ‰ j
œ
.
.
‹
‹
j
‹o
Œ ≈r
‹o
œ
·
≈
·
œ
— — —— —
œ
—— —
‰ .
R
Á
J
Á
‰ Ó
œb œ œb œ œ œ
œ œ œ œ œ œœ œ œ œ
Ó ‰
œb œ
≈
œ œ
Ó ‰
œb œ
≈ œb œ
&
∑
∑
œb œb œ œ œ
≈
œ œ˙ œ œb œ œ œ
œœb
‰
3
œ œ œ
6
œb œb œ œb œb œn
6
œ œ œ œ œ œ
œb œ œb œ œ œ
œ œ œ œ œ œœ œ œ œ
J
œ.œb œb
‰
J
œ
J
œ.œb .œb
J
œ
P
P
P
a2
G = F
F
unis.
F
F
div.
˙
3
œb œ œ
‰
œ œb œ œ
6
œb œ œ œ œb œ
6
œ œ œ œn œ œ
œœb œb œ œb
6
œ œ œn œb œ œ
6
œ œ œ œb œ œ œ œœ
.œ
j
œb
œœb
.œ
j
œb
œœb
∑
œœb œb œ œb
6
œ œ œn œb œ œ
.œ
j
œb
œœb
.œ
j
œb
œœb
‰j
‹
+
‰
‹ ‹
‰
‚ ‚
–– – –
‰
œ œ
‰
„ „
∑
œb œ
≈œ œ œ œ œ œ œ œ œ
‰ .
R
œ œb œb
œ
œ
b
b
œ
œ
b
œ œ
œ
œ
œ
œ
b
‰ . r
œb œ œb œb
œb
œ œ œ
œb
∑
∑
˙ œb
˙ œb
œb œœ œ œ œ œ œ œ œ
3
œœb
œœ
b œœ
.œ
J
œb
œ
œ œ
.œ
J
œb
œ
œ œ
a2
F
f
F
{e = e}
1 & 2
3
œœb
œœ
b œœ
6
œœ
b œœ
b œœ
b œœ
œœ
œœ
b
3
œb œœ
b œ
œ
b
b
6
œ
œ
œ
œ
b
n
œ
œ
b œ
œ
œ
œ
b œ
œ
b
.
.œ
œ
b
b
3
œ œ œb
6
œb œ œb œb œ œ
.œb
∑
.
.
œ
œ
b
b
.œb
.œb
∑
J
œ
‰ ‰
∑
Œœ œ
Œ
œ
œb
œ
œ
b
b
j
œn
‰
œb
œb?
‰
œ
œb
œ
œ
b
b
j
œb
‰
œb
œb
j
œb
3
œ œb œ
6
œb œb œb œ œ œb
3
œb œ œ
6
œb œ œb œb œb œ
3
œœ
bb
œœ
b œœ
b
3
œœ
œœ
œœ
b
‰
œb œ œ œ œb œ
œb œ œ œ œb œ
Wild, Furious
Wild, Furious
f
f
f
f
f
f
f
f
f
a2
F
F
F
F
unis.
{e = e}œ
œ
b
b
œ
œ
≈
œ
œœ
œ
œ
œ
b
b
œ
œ
≈
œ
œ
œ
œ
œ
œ
b
b
œ
œ ≈
œ
œ
œ
œ
œ
œ
b
b
œ
œ
≈
œ
œ
œ
œ
œ
œ
˙
˙
b
b
∑?
˙
˙
b
b
˙b
˙b
‹
œ
Œ
∑
∑
˙
˙
b
b
æ
Ó
˙
˙
b
b
œ
‰ .
R
œ
œb
œ
‰ .R
œœbb
&
œb œ
≈
œ œ
œb œ
≈
œ œ
˙
˙b
˙b
83
&
&
&
?
&
?
&
?
?
÷
÷
÷
?
&
?
&
&
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
P
P
P
P
a2
F
F
f
Ff
BnF
1.
1.
413..
œœ
b
3
œœb
œœ
b œœ
6
œœ
b œœ
b œœ
b œœ
œœ
œœ
.
.
œ
œ
3
œb œœ
b œ
œ
b
b
6
œ
œ
œ
œ
b
n
œ
œ
b œ
œ
œ
œ
b œ
œ
b
œ
œ
b
b œœb
œ
œ
œ
œ
J
œ
œ
‰
œ œ
3
œ œ œb
6
œb œ œb œb œ œ
œ Œ
œb ˙
Œ
‰
j
œb œ
˙b
Œ œb
œb œ
Œ
œn
œb œ
∑
∑
ΠJ
œ
‰ Œ
∑
œ
œ
œ œ
.
.
œ
œ
b
b
æ
>
œ œ
‰
œ
œ
œ
b
b
.œb
œ
œb
œ
œ
.
.
œ
œ
b
b
œb
.
.
œ
œ
b
b
œb
œ&
?
R
œ
œœ
b
b
‰ . Œ
œ
œb
œ
œ
‰
œb.
.
œ
œ
b
b
œ
œ
œn œ œ
œ
b
b
?
.œb
3
œ œb œ
6
œb œb œb œ œ œ
.œ
3
œb œ œ
6
œb œ œb œb œb œ
.œ
J
œb œ
œ
3
œb œ œ œb œ œ œ œb œ
œ
3
œb œ œ œb œ œ œ œb œ
f
f
f
f
f
f
f
f
f
4.
2.
F
F
Bf f F
div.
a2
Œ
œ
œ
b
b
.œ
œ
.
≈
œ
œ
.
œ
œ
˙
˙
b
b
Œ
œ
œ
b
b
.œ
œ
.
≈
œ
œ
.œ
œ
˙
˙
Œ
œ
œ
b
b
.œ
œ
.
≈
œ
œ
.˙
˙ œœb
Œ
œ
œ
b
b
.œ
œ
.
≈
œ
œ
.œ
œ
œ
œ
œ
œ
Œ
˙bŒ
œb
Œ
Œ ˙b œ
Œ
˙b
Œ Œ
˙
˙
b
b
>
Œ
j
œb ‰ Œ
˙b Œ Ó
˙b Œ Ó
‹
œ
Œ Œ Ó
Ó Œ
œ
Œ
∑
˙
˙
b
b
æ
>œ
œ
æ
œ œœ
œ
b
b
æ
>
Œ
J
œœ
b
Œ ‰
œ
œ
œb
≈ œb Œ Œ
˙
˙
b
b
œ
œ
œ
œ
œb
Œ
Œ ‰
œ
œb
œ
œ
b
b
œ Œ Œ
Œ ‰
œb œ œ
œ
b
b
Œ Œ
œb œ
.˙b
œb œ
.˙b
˙
.˙b
&B
ww
nb
œœ
wb œ
P
P
P
P
P
Brusquely, abruptly
Brusquely, abruptly
P
P
P
P
f
f
F
div.
unis.
{e = e}
3
œœb
œœ
b œœ
6
œœ
b œœ
b œœ
b œœ
œœ
œœ
b
3
œb œœ
b œ
œ
b
b
6
œ
œ
œ
œ
b
n
œ
œ
b œ
œ
œ
œ
b œ
œ
b
.
.œ
œ
b
b
3
œ œ œb
6
œb œ œb œb œ œ
j
œ
œ
b
b
œ
œ
œ
œ
b
∑
.œb>
.œb
∑
∑
œ
‰
∑
‰ ‰œ œ
Œ
œ
œb
œ
œ
b
b
Œ
œb œ
‰
œ
œb
œ
œ
b
b
‰
J
œb œb œ œ
œb
3
œ œb œ
6
œb œb œb œ œ œb
3
œb œ œ
6
œb œ œb œb œb œ
3
œœ
bb
œœ
b œœ
b
3
œœ
œœ
œœ
b
‰&
œb œ œ œ œb œ
œb œ œ œ œb œ
84
&
&
&
?
&
?
&
?
?
÷
÷
÷
?
&
?
&
?
&
&
&
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
Wild, Furious
Wild, Furious
f
f
f
f
f
f
f
f
f
Gs
div.
RR
RR
1 & 2
416œ
œ
b
b
œ
œ
≈
œ
œ
≈R
œ
œ
œ
œ
b
b
œ
œ
≈
œ
œ
≈R
œ
œ
n
n
œ
œ
b
b
œ
œ ≈
œ
œ ≈
R
œ
œ
œ
œ
b
b
œ
œ
≈
œ
œ
≈
R
œ
œ
.
.
œ
œ
b
b
>
.œb
>
.
.
œ
œ
b
b
>
.œb
>
œb
>
.
.
‹
œ
∑
∑
.
.
œ
œ
b
b
∑?
.
.
œ
œ
b
b
∑
.
.
œ
œ
œb œ
≈
œ
≈R
œ
œb œ
≈
œ
≈R
œ
‰ ‰ ≈
R
œ
œ
b
b
.
.œœb
.œb
An
{e = e}œ
œ
b
b
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
œ
œ
b
b
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
œ
œ
b
b ≈
œ
œ ≈
œ
œ
œ
œ ≈
œ
œ
œ
œ
b
b
≈
œ
œ
≈
œ
œ
b œ
œ
≈
œ
œ
.
.
œ
œ œb .
j
œ
≈
.œ œb .
j
œ
≈
.
.
œ
œ
œ
œ
b
b
.
.
J
œ
œ
≈
.œ œb .
J
œ ≈
œ .
J
œ ≈
‰ .
R
‹
œ
‹
œ
∑
∑
.
.
œ
œ
œ
œ
b
b
.
.
J
œ
œ
≈
‰ .
R
œ
œ
b
b
œ
œ &
˙ &
∑
‰ .
R
œ
œ
n
#
œ
œ
œb
≈
œ
≈
œ œ
‰
œb
≈
œ
≈
œ œ
‰
œ
œ
b
b≈
œ
œ≈
œ
œ
œ
œ‰ B
.
.œœ
œœb
.
.
J
œœ
≈
.œ œb .
J
œ
≈
P
P
P
P
P
P
P
P
P
p
p
p
unis.
2.
{e = e}
3
œœb
œœ
b œœ
6
œœ
b œœ
b œœ
b œœ
œœ
œœ
b
‰
6
œb œœ
b œ
œ
b
b
œ
œ
œ
œ
b
n
œ
œ
b
œ
œ
b
b
3
œ
œ
œ
œb
œ
œ
b
b
Œ
3
œ œ œb
.
.œ
œ
b
b
>
∑
.œb>
.œb
>
∑
∑
œ
‰
∑
Œœ œ
Œ
œ
œb
œ
œ
b
b
Œ
œb
œb?
∑
‰
œn
3
œ œb œ
6
œb œb œb œ œ œb
3
œb œ œ
6
œb œ œb œb œb œ
3
œ œ œb
6
œb œœ
b œ
œ
b œ
œ
œ
œ
b
n
œ
œ
b
‰ ‰
3
œ
≤
œ œb
‰ ‰ œb≤ œ
F
F
F
F
f
f
f
f
f
f
f
f
f
Af
div.
div.
div.
{e = e}
1 & 2
œ
œ
b
b
œ
œ
≈
œ
œ
‰
œ
œ
œ
œ
≈J
œ
œ
≈
œ
œ
b
b
œ
œ
≈
œ
œ
‰
œ
œ
œ
œ
≈J
œ
œ
≈
œ
œ
b
b
œ
œ ≈
œ
œ ‰
œ
œ
œ
œ ≈
J
œ
œ ≈
œ
œ
b
b
œ
œ
≈
œ
œ
‰
œ
œ
b œ
œ
≈
J
œ
œ
≈
.œb
j
œ
>
.
j
œ
≈
.œb
j
œ
>
.
j
œ
≈&
.
.
œ
œ
b
b
J
œ
œ
b
b
>.
.
J
œ
œ
≈
.œb
J
œb
>
.
J
œ ≈
∑
‹
˙
≈
.
.
J
‹
œ
∑
∑
.
.
œ
œ
b
b
J
œ
œ
>
R
œ
œ
‰ .
∑
.
.
œ
œ
b
b
J
œ
œ
>
J
œ
œ
‰&
∑
.œ#
J
œn>
Œ
œ
œ
b
b
.œ
œ
.
≈
œ
œ
.
‰
œ
œ
.œ
œ
.
≈
œ
œ
3
œb œb œ
œ
œ
b
b
.œ
œ
.
≈
œ
œ
.
‰
œ
œ
.œ
œ
.
≈
œ
œ
3
œ œb œb
œ
œ
b
b
.œ
œ
.
≈
œ
œ
.
‰
œ
œ
b
b
.œ
œ
.
‰
3
œœb
œœ
b œœ
œb.
œ.
≈
œ.
‰J
œœb
J
œœ
‰
œb.
œ.
≈
œ.
‰J
œb
J
œ
‰
85
&
&
&
?
&
&
&
?
?
÷
÷
÷
?
&
&
&
?
&
&
B
?
?
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
P
P
P
P
p
p
p
p
P
P
P
P
P
Brusquely, abruptly
Brusquely, abruptly
3.
p
Af = G
f
f
{e = e}420
3
œœb
œœ
b œœ
6
œœ
b œœ
b œœ
b œœ
œœ
œœ
b
3
œb œœ
b œ
œ
b
b
6
œ
œ
œ
œ
b
n
œ
œ
b œ
œ
œ
œ
b œ
œ
b
.
.œ
œ
b
b
3
œ œ œb
6
œb œ œb œb œ œ
.
.œ
œ
b
b
>
.œb
>
.œb>
.œb
>
.œb
>
∑
∑
∑
‰ ‰œ œ
Œ
œ
œb
œ
œ
b
b
Œ
œb
œb?
‰
œ
œb
œ
œ
b
b
œb
œb
œb
3
œ œb œ
6
œb œb œb œ œ œb
3
œb œ œ
6
œb œ œb œb œb œ
3
œœ
bb
œœ
b œœ
b
3
œœ
œœ
œœ
b
‰
œ
œ
b
b
œ
œ
œ
œ
œ
œ
œ
œ
b
b
œ
œ
œb œ œ œ œb œ
f
f
f
f
F
F
F
F
f
f
f
f
Wild, Furious
Wild, Furious
f
f
f
f
a2
F
E F C F G
l.v.
SS
SSdiv.
div.
{e = e}
1 & 2
œ
œ
b
b
œ
œ
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
b
b
œ
œ
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
b
b
œ
œ ≈
œ
œ ≈
œ
œ
œ
œ ≈
œ
œ
b
b
œ
œ
≈
œ
œ
≈
œ
œ
œ
œ
≈
j
œ
œ
b
b
‰ ≈
j
œ
œ
b
b
≈
j
œb
‰ ≈ j
œb
≈
œ
œ
b
b
≈J
œ
œ
b
≈
J
œb ‰ ≈
J
œ
œ
b
b
≈
J
œb ‰ Œ
‰ .
R
œœ œ
≈ œ
∑
∑
œ
Œ
Œ ≈
œ
œ
b
b
.œ
œ
.
≈
Œ ≈
œ
œ
b
b
.œ
œ
.
≈
. .
. .œœ
bb
œb
Œ
œb
Œ
œ
œ
b
b
œ
œ
≈
œ
œ
≈
œ
œ
œ
œ
≈
œb œ
≈
œ
≈
œ
œ
b
b
œ
œ
≈
Œ ≈
œ
œ
b
b
œ
œ
≈
Œ ≈
œ
œ
b
b
œ
œ
≈
∑
F
F
F
F
Molto Staccato
Molto Staccato
œ
œ
b
b
≈
œ
œ
œ
œ
≈
œ
œ
b
b
≈
œ
œ
œ
œ
b
b
≈
œ
œ
œ
œ
≈
œ
œ
≈
œ
œ
œ
œ
b
b ≈
œ
œ
œ
œ ≈
œ
œ ≈
œ
œ
œ
œ
b
b
≈
œ
œ
b œ
œ
≈
œ
œ
b
b≈
œ
œ
œ
œ
b
b
≈ œ
œ
≈ œ
œ
≈ œ
œ
œb
≈
œ
≈
œ
≈
œ
œ
œ
b
b
≈
œ
œ
≈
œ
œ
≈
œ
œ
œ
œ
b
b
≈
œ
œ
b
≈
œ
œ
b
b≈
œ
œ
∑
œ œ œ ≈ œ
œ œ œ
∑
∑
∑
œ
œ
b
b≈
œ
œ
œ
œ≈
œ
œ
b
b
≈
œ
œ
œ
œ
b
b
≈
œ
œ
b œ
œ
≈
œ
œ
b
b≈
œ
œ
∑
∑
œ
œ
b
b
≈
œ
œ
œ
œ
≈
œ
œ
b
b
≈
œ
œ
œ
œ
b
b
≈
œ
œ
œ
œ
≈
œ
œ
≈
œ
œ
œ
œ
b
b
≈
œ
œ
œ
œ
≈
œ
œ
≈
œ
œ
œ
œ
b
b
≈
œ
œ
b œ
œ
≈
œ
œ
b
b≈
œ
œ
∑
œ
œ
b
b
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
b
b
œ
œ
b
b
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
œ
œ
b
b ≈
œ
œ ≈
œ
œ
œ
œ ≈
œ
œ
œ
œ
b
b
≈
œ
œ
≈
œ
œ
b œ
œ
≈
œ
œ
b
b
œ
œ
≈ œ
œ
b
b
≈ œ
œ
≈ œ
œ
œ
≈
œb
≈
œ
≈
œ
œ
œ
≈
œ
œ
b
b
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
b
b
≈
œ
œ
b
≈
œ
œ
b
b
∑
œœ œ œ ≈ œ
œ
∑
∑&
∑
œ
œ
b
b≈
œ
œ≈
œ
œ
œ
œ≈
œ
œ
b
b
œ
œ
b
b
≈
œ
œ
≈
œ
œ
b œ
œ
≈
œ
œ
b
b
∑
∑
œ
œ
b
b
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
b
b
œ
œ
b
b
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
œ
œ
b
b
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
œ
œ
b
b
≈
œ
œ
≈
œ
œ
b œ
œ
≈
œ
œ
b
b
∑
Xylo.
≈
œ
œ
b
b
œ
œ
≈
œ
œ
b
b
≈
œ
œ
œ
œ
≈
œ
œ
b
b
œ
œ
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
b
b
œ
œ ≈
œ
œ ≈
œ
œ
œ
œ
≈
œ
œ
b
b
œ
œ
≈
œ
œ
b
b≈
œ
œ
b œ
œ
≈ œ
œ
b
b
œ
œ
≈ œ
œ
≈ œ
œ
œ
œ
≈
œb œ
≈
œ
≈
œ œ
≈
œ
œ
b
b
œ
œ
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
b
b
œ
œ
≈
œ
œ
≈
œ
œ
b œ
œ
∑
Œ
6
œ œ œ œ œ œ
œ œ œ
Œ
Œ
6
œ œ œ œ œ œ
≈
œ
œ
b
b
œ
œ≈
œ
œ≈
œ
œ
œ
œ
∑
≈
œ
œ
b
b
œ
œ≈
œ
œ≈
œ
œ
œ
œ
≈
œ
œ
b
b
œ
œ
≈
œ
œ
≈
œ
œ
b œ
œ
∑
∑&
≈
œ
œ
b
b
œ
œ
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
b
b
œ
œ
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
b
b
œ
œ
≈
œ
œ
≈
œ
œ
œ
œ
≈
œ
œ
b
b
œ
œ
≈
œ
œ
≈
œ
œ
b œ
œ
Œ ‰ .R
œb
86
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
&
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
(√)
√
√
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
f
f
ƒ
ƒ
425
≈R
œ
œ
‰
œ
œ
b
b
‰
œ
œ
Œ
≈ R
œ
œ
‰
œ
œ
‰
œ
œ
Œ
≈
R
œ
œ ‰
œ
œ‰
œ
œŒ
≈
R
œ
œ‰
œ
œ
b
b ‰
œ
œ Œ
≈
r
œ
œ
‰œ
œ
‰
œ
œ
Œ
≈r
œ
‰œ
‰ œ Œ?
≈ R
œ
œ
‰
œ
œ
‰
œ
œ
Œ
≈
R
œ
œ
b
b‰
œ
œ
n
n‰
œ
œ
b
b Œ
≈
r
œb‰
œn‰ œb Œ
6
œ œ œ œ œ œ
Œ
.
.
.
‹
œ
œ
‹
œ
œŒ
6
œ œ œ œ œ œ Œ Œ
≈R
œ
œ
b
b
‰
œ
œ
b
b
‰
œ
œ
b
Œ
∑
≈R
œ
œ
b
b
‰
œ
œ
b
b
‰
œ
œ
b
Œ?
≈
R
œ
œ
b
b‰
œ
œ
b
b ‰
œ
œ
b
b Œ
≈ R
œb
‰ œb ‰
œb
Œ
≈R
œb
‰ œb ‰
œb
Œ?
≈R
œ
œ
b
b
‰
œ
œ
b
b
‰
œ
œ
b
b
Œ
≈R
œ
œ
‰
œ
œ
‰
œ
œ
Œ
≈R
œ
œ
‰
œ
œ
‰
œ
œn
Œ
≈
R
œ
œ
b
b‰
œ
œ
b
b ‰
œ
œ
b
b Œ
≈ R
œb
‰
œb
‰
œb
Œ
q»¡¢º
q»¡¢º
Quite Fast, with fire
Quite Fast, with fire
Smooth and lighter
Smooth and lighter
3.
p
3.
p
into stand
π
staccatoHi-hat
p
P
unis.
P
P
TT
TT
∑
∑
∑
∑
∑
.œn
J
œ œ œ
∑
.œn
j
œ œ œ
∑
‹ ‹ ‹ ‹ ‹
>
‹ ‹ ‹ ‹
>
‹ ‹ ‹ ‹
>
‹ ‹ ‹
∑
∑
Œ
j
œ
œ
.
‰ Ó
.œ
J
œ œ œ
œ
.
œ
.
œ
.
œ
≈
œ
.
œ
.
œ
.
œ œn
.
œ œ
.
∑
∑
∑
∑
∑
œ
.
œ
.
œ
.
œ
.
œ œ œ œ
.œ
J
œ œ œ
p
∑
∑
∑
∑
∑
.œ
J
œb œ œb
∑
œœ œb œ œb
œ
j
œ
‰ Ó
‹
>
‹ ‹ ‹ ‹
>
‹ ‹ ‹ ‹
>
‹ ‹ ‹ ‹
>
‹ ‹ ‹
∑
∑
Œ
j
œ
œ
.
‰ Ó
.œ‰ Ó
≈
œ œ œ œ œb œ œ œb œb œœb œ
≈
œ
∑
∑
∑
∑
∑
.œ
j
œb œ œb
.œ
J
œb œ œb
2.
p
∑
∑
∑
∑
.œ
j
œ œ œ
∑
∑
.œ
j
œ œ œn
∑
‹
>
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
∑
∑
Œ
j
œ
œ
.
‰ Ó
.œ
J
œ œ œ
œ œ œ œ
≈
œ œ œ œ œn
>
œ œ
∑
∑
∑
∑
∑
œ œ œ œ œ œ œ œn
.œ
J
œ œ œn
π
∑
∑
∑
∑
.œ
j
œb œ œb
.œ
‰ Ó
∑
œœ œb œ œb
∑
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
∑
∑
Œ
j
œ
œ
.
‰ Ó
.œ‰ Ó
œ œ œ œ œ œb œ œ œ œ œœb œ
≈
œ
∑
∑
∑
∑
∑
.œ
j
œb œ œb
.œ
J
œb œ œb
87
&
&
&
?
&
?
&
?
?
÷
÷
&
?
?
?
&
?
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
p
p
Vibra.
P
π
430
∑
Œœ
∑
Œ
œ
œbœ
∑
∑
œbœ
∑
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
∑
œbœb œb
œ œ
.
œ
fl
∑
∑&
œbœb œb
œ œ œ>
∑
∑
∑
∑
∑
œb
œ
œbœ
1.
p
F
F
P P
∑
j
œ .œb.œb
j
œ
∑
j
œ .œb.œb
j
œ
j
œ.œb .œb
j
œ
∑
Ó Œ ‰j
œ
j
œ .œb.œb
j
œ
∑
‹
>
‹ ‹ ‹ ‹
>
‹ ‹ ‹ ‹
>
‹ ‹ ‹ ‹
>
‹ ‹ ‹
∑
Ó œb œ œn œb Œ
∑
Ó
œb œ œn œb
Œ
œ œ œb œ œ œ œ œ
≈
œb œn œb
‰œ œ
∑
∑
∑
∑
∑
J
œ.œb .œb
J
œ
J
œ.œb .œb
J
œ
PP
p
div.
∑
œb ‰
œb
fl
œ
fl
Œ œb Œ
Ó Œ Œ
œ
>
œb œ‰ ‰
œ
.
œ
.Œ
œ œ
‰ œ
.œ
J
œb œ œb
œ œ œ œ
.œn
j
œb œ œb
Œ
Ó Œ Œ œ
Ó Œ Œ œ
>
.œ
j
œb œ œb
œ œ œ œ
∑
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
œ
>
œ
>
œ
>
œ
>
∑
∑
∑
∑?
œ œ œ œ œ œb œ œ œ œn œ œb .œ
œ œ
œ
>
œ
œ
>
œ
œ
>
∑
∑
∑
∑
∑
.œ
J
œb œ œb
œ
>
œ
>
œ
>
œ
>
.œ
J
œb œ œb
œ
œ
P
P
p
p
P
P
unis.
UU
UU
π
∑
∑
.œ
‰ Ó
.œ
‰ Ó
∑
.œ
J
œ œ œ
.œ ‰ Ó
.œ
j
œ œ œ
∑
∑
– – – – –
>
– –
>
–
>
– – – – –
>
– – –
∑
Œ
œ
œ.
Ó
.œ
J
œ œ œ
œœ
œ œ œ
≈
œ œ œ œ œn œ œ
∑
∑
∑
∑
∑
œ
.
œ
.
œ
.
œ
.
œ œ œ œ
.
.
œ
œ
J
œ œ œ
p
∑
∑
∑
∑
.œ
j
œ œ œ
∑
∑
.œ
j
œ œ œ
∑
∑
–
>
– – – –
>
– – –
>
–
>
– – – –
>
– – –
∑
Œ
j
œ
œ
.
‰ Ó
.œ
J
œ œ œ
œ œ œ œ œ
≈
œ œ œ œ œn
>
œ œ
∑
∑
∑
∑
∑
œ
.
œ
.
œ
.
œ
.
œ œ
.
œ
.
œ
.
œ
.
œ œn
.
œ œ
.
œ œ
œ œ œ
88
&
&
&
?
&
?
&
?
?
÷
÷
&
?
?
?
&
?
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
435
∑
∑
∑
∑
.œ
j
œb œ œb
.
œ
.
œ
.
œ
.
∑
∑
œœ œb œ œb
.
œ
.
œ
.
œ
.
∑
∑
–
>
– – – – – –
>
– – – – – –
>
– –
>
–
>
∑
Œ
j
œ
œ
‰ Ó
.œ‰ Ó
≈
œ œ œ œ œb œ œ œ œ œœb œ
≈
œ
∑
∑
∑
∑
∑
œ
.
œ
.
œ
.
œ
.
œ œb œ œ œ œ œœb œ
≈
œ
.œ
j
œb œ œb
p
p
1.
p
2.
p
P
FP
F P
F
F
P
P
F
F
F
∑
Œœ
∑
Œ
œ
œbœn
∑
∑
œbœn
∑
∑
– – – – – – – –
œbœb œb
œ œ œ
>
Œ
j
œ
œ
‰
∑&
œbœb œb
œn œ œ>
∑
∑
∑
∑
∑
œbœb œb
œn œ œ
œbœ
F
F
F
F
G = Af
F
unis.pizz.
pizz.
∑
œ œb œ œ œ œ œb
.
œ
.
œn
œj
œ
‰
∑
j
œ .œb.œb
j
œ
j
œ.œb .œb
j
œ
∑
Ó Œ ‰j
œ
j
œ .œb.œb
j
œ
∑
∑
––
–
>
– – – – – – – – – – – – –
Ó œb œ
œn
œ Œ
Ó Œ ‰œ
œ
œ
Ó
œb œ
œn
œ
Œ
œ œ œb œ œ œ œ œ
≈
œb
œn
œ
‰œ œ
∑
∑
Ó ‰J
œ
Ó ‰j
œ
Œ
∑
œ œ œb œ œ œ œ œ œb œ œn>
œb
‰œ œ
j
œ .œb.œb
j
œ
F
Agile, quick, easy1.
F
F
F
F
F
E = G
F
P
VV
VV
˙b ‰
œ œb
œb œ
‰ Œ
Ó Œ œb œb œ œ œb
œ.
œb Œ ‰ œ œ Œ ‰ œ.
œ.
œb œ‰ ‰
œ œŒ
œ œ‰ ‰
œ
.
œ
.
.œ
J
œb œ ˙b
.œn
j
œb œ ˙b
∑
.œ‰ Œ Ó
.œ
j
œb œ ˙b
∑
Ó Œ Œ
œ œ œ œ
– – –
>
– – – –
>
– – –
>
–
>
–
>
–
>
– – –
Œ
‰ œb œ œn œb ‰ Œ Œ
œbœb œb œ
Œ ‰
œb>
œ>
Ó .
‰
œb œ œn œb
‰ Œ ŒJ
œ
‰?
œ œ œ œ œ œb œ œ œ œ œ œb .œ
œbœb œb œ
∑
∑
Œ ‰
œb œ
Œ Œ ‰
œb œ
Œ ‰
œb œ
Œ Œ ‰
œ œ
∑
œ œ œ œ œ œb œ œ œ œ œ œb .œ
œbœb œb œ
.œ
j
œb œ ˙b
89
&
&
&
?
&
?
&
?
?
÷
÷
&
?
?
?
&
?
&
&
B
?
?
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
P
P
P
a2
P
3.
P
P
p
P
P
P
unis.
FP
439
Ó Œ
œ
œ#
Œ
œ œ
œ# œ
œŒ Ó
œ œ œ
Œ
œŒ Ó
.œ
J
œb œ œb
∑
.œ
j
œb œ œb
∑
‹
>
‹ ‹ ‹ ‹ ‹ ‹
>
‹ ‹
>
‹ ‹ ‹ ‹
>
‹ ‹ ‹
∑
œŒ Ó
‰ j
œ
œ
œ
Œ
œ
.œ
J
œb œ œb
œ œ œ œ œb œ œ œ œ
≈
œ œb
∑
∑
∑
∑
œ œ œ œ .œ J
œ# œ
œ
œ
œ œ œ œb œ œ
œ
J
œb œ œ
P
2.
Af = G
arco
F
p
p
˙
˙Ó
˙Ó
.œ
j
œb œ œb
∑
.œ
j
œb œ œb
œŒ Ó
∑
œœ œb œ œb
œb
Œ Ó
‹ ‹ ‹ ‹ ‹ ‹ ‹
>
‹
>
‹
>
‹ ‹ ‹ ‹ ‹ ‹
>
‹
∑
Œ
œ œb œ œ œ œ œœb œ
≈
œ
‰ j
œ
œ
œ
Ó
.
.
œ
œ‰ Ó
≈
œ œ œ œ œb œ œ œ œ œœb œ
≈
œ
∑
∑
∑
Œ
œ œb œb
œb œb
œb
œ
œ œb œb
œb œb
œb œ
œ
œb
œ œ
œ œb œ œb
.œ
J
œb œ œb
F
F
F
1.
P
P
P
arco
Œœ
Œœ
œbœn
Œ
œ
œbœn
∑
∑
œbœn
∑
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
∑
œbœb œb
œn œ œ
‰ j
œ
œ
œ
∑&
œbœb œb
œn œ œ
∑
∑
Œ
œb>
œb
œb>
œ œœ
b>
œb
œ
œbœ
P
P
2.
P
F
F
˙ œb.
œ.
œn
œ
œ
j
œ .œb.œb
j
œ
j
œ .œb.œb
j
œ
j
œ .œb.œb
j
œ
j
œ.œb .œb
j
œ
∑
Ó Œ ‰j
œ
j
œ .œb.œb
j
œ
∑
‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹ ‹
∑
Ó
œ
œ
b
b
.œ
œ
.œ
œ
n
n
œ
œ Œ
Ó Œ ‰œ
œ
œ
Ó
œb.
œ.
œn œb
Œ?
œ œ œb œ œ œ œ œ
≈
œb.
œn œb
‰œ œ
∑
∑
˙ œb œ
˙
œ œ
˙˙ œ
œb œ
œ
œ œ œb œ œ œ œ œ œb œ œn œb
‰œ
.
œ
.
J
œ.œb .œb
J
œ
F
F
P
P
harmon mute off1.
3.
F
F
P
arcopizz.
P F
div.
F
Ó Œ
œb. œ
.
‰
œ
œ‰
œb.
œ.
Œ œb
œ
.œn
j
œb œ œb
œ œ œ œ
œb
.
œ
.‰ ‰
œ
.
œ
.Œ
œ
.
œ
.‰ Œ
.œ
J
œb œ œb
œ
.œn
j
œb œ œb œ
Ó Œ Œ œ
œb
.
œ
.
‰ ‰
œ
.
œ
.
Œ
œ
.
œ
.
‰ œ
.œ
j
œb œ œb
œ
∑
‹ ‹ ‹ ‹ œ
‹
‰j
œ
‹
œ
‹
∑
∑
œ œ œ œ
œ
œ
>
œ
œ œ
œ
œ
>
œ œ
≈
œ
Ó ≈
œb œn œ œb .œ
Œ
œ œ œ œ œ œb œ
R
œ
‰ . Œ œ
œ
∑
∑
˙ œb œ œn œb œb œ
Ó Œ
œb œ
‰
œb
œb œ‰ ‰
œ œŒ
œb œ
‰ Œ
.œ
J
œb œ œb œ œ œ œ
.œ
J
œb œ œb
œ
œ
90
&
&
&
?
&
?
&
?
?
÷
÷
&
?
?
?
&
?
&
&
B
?
?
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
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
a2
1.
1. G = Af P
P F
unis.
WW
WW
P
444œ
Œ
.œ
J
œ
œ#
œ œ
.œ J
œ#
œ œÓ
˙ œ œ
œ œÓ
˙ œ œb œ
œ œ Ó
˙ œ œb œ
∑
œ ≈ œ œ ≈
œ œ œœ œ œ œ œ œ œ œ œ œ œ
œ
∑
œ œÓ
Ó
j
œ
œ
‰ Œ
˙ œ œb œ
≈
œ œ œ œ œ œ
≈
œb œ œ œ
∑
∑
œ œ œ.
œ.
≈
œ ˙
œb œ œ.
œ.
≈
œ .œJ
œ
œ œ œ œ œ.
œ.
≈
œ .œJ
œ#
œ
œ
œ
.
œ
.
œ
.
œ
.≈
œ œ œb œ
˙ œ œb œ
2.
2.
P
P
1. Af = G
F
F
F
F
.
.
˙
˙#
>
Ó
˙#> œ ˙
Œ
.œ
j
œb œ œb
∑
Œ
.œ
j
œb œ œb
œb
Œ Œ Ó&
∑
˙bœ œb œ œ
œb
Œ Ó .
‹ ‹ ‹ ‹
œ œ œ œ Œ Ó
Ó œ œ
–
œ
– – – – – – ––
Ó
œ œb œ œ œ œ œœb œ
≈
œ
œb
‰ j
œ
œ
œ
Ó
œb.œ
‰ Ó
œb œ œ
≈
œ œ œ œ œb œ œ œ œ œœ œ
≈
œ
∑
∑
Œ
œ œ œ.
œ. œb
œb
- œ
œ œ
œ
œ
œ œ
˙
œ
œb-
œb
œb œb
œb
˙#
œ œb œb
œb œb
œb œ
œbœ
œb
œ
.
œ
.
œ œb œ œ
œb.œ
J
œb œ œ
f
f
F
F
1.
F
F
div.
f
Œœ
.œ œ
œ œ œ œ œ œ œ œ
Œœ œ œb œ
œbœ œ œb œ
Œ
œ œ œb œ
œbœ œ œb œ
∑
∑
œbœ œ œb œ
∑
‰
R
œ Œ Ó
œ
––
–
œ
––
–
––
–
––
––
— — —
œbœb œb
œ œ œÓ
‰ j
œJ
œ
‰ Ó
∑&
œbœb œb
œ œ œ œ œ œb œ œ œ œ œ
∑
∑&
œb œ œb ˙b œ
œb
.˙b
œb..
˙˙
b
œb
œ œ œ œb œ œ œ œ œ
œbœ œ œb œ
P
P
F
2.
F
F
F
F
pizz.
F
œb
œ
œn œ
J
œ
‰
.œbj
œœb Œ
.œbj
œ.œ
j
œb
Óœb
.
œ
.‰ ‰
œ
.
œ
.
.œb
J
œ .œ
J
œb
.œb
j
œ .œ
j
œb
∑?
Œ ‰j
œ œb
.
œ
.
‰ ‰
œ
.
œ
.
.œbj
œ.œ
j
œb
∑
Ó
‹ ‹ ‹ ‹ œ
‹
Œ
—
–
—
–
Ó
œ
œ
b
b
.œ
œ
.œ
œ
n
n
œ
œ Œ Ó
Œ ‰
j
œ
œ œ œ œ œ
œ
œ
œb.
œ.
œn œb
Œ Ó?
≈
œb.
œn œb
‰œ œ œ œ œ œ œ œb œ
Ó
œb.
œ.
‰ ‰
œb
.
œ
.
Ó
œb
.
œ
.
‰ Œ?
˙b œb œ
‰ ‰
œ œ
œb .˙
œ œ
Ó
œœ
b œœ
œb œ œn œb
‰œ œ .œ
J
œb
.œb
J
œ .œ
J
œb
4.
1.
pizz.
F
unis.pizz.
F
div.
Œ
œb œ œ œ œb œ œ œb
Œ œb
œ
œ œb
œ
Œ Œ œ œ œ œ
Œœb
.
œ
.‰ Œ
œ œb
œ
œ œb
Œ
Œ Œ œ
Œ
œb œ
‰ œ
œ œb
œ
Œ Œ
œ
‰j
œ
‹
œ
‹
∑
∑
œ
œ œ
œ
œ
>
œ œ
≈
œ
≈
œb œ œ œb.œ
Œ
R
œ
‰ . Œ œ
œ
∑
∑
Œ
œb> œ
>
‰ Œ
Œ
œb œ
‰ Œ
Œ
œb œ
‰ Œ
œ œb œ œ œb œ
œ œb
œ
œ
91
&
&
&
?
&
?
&
?
?
÷
÷
&
?
?
?
&
?
&
&
B
?
?
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
f
F
1.
2.
P
P
1. G = An P
P
div. arco
arco
div.
F
arco
div.
FP
unis.
P
XX
XX
449˙ œb œ
œ
œ
œœb
œ ‰
œ
œ
œ.œ
.œ‰ Ó
.œ œb œ œb œ
œ œœb
.œ
‰ Ó
Œ
œ œb œ œb
œ J
œ ‰ Ó
œ Œ Ó&
œ œ Ó
.œ
j
œb œ œb
.œ
‰ Ó
Ó ‰ œ œ
‹ ‹ ‹ ‹
œ œ œ œ œ œ ‰ Ó
∑
Œœ
œ œ
≈
œ
œ
œœn œ œ œ
œ‰
J
œb œ œ
œb œb œ œ œ œb œ œ œ œ œb œ œ
Œ œ
œ
œ
œ
‰ Ó?
œ œ
≈ Œ Ó
Œ
œ
œ
.œ
œ
.
‰ Œ ‰
œ
œ
.œ
œ
.
œ
.
œ
.
œ
6
œb œ œ œb œb œœ œ œ
œ.
œ.
œ.
œ.
.œ-
J
œ
œ
b
b
œ
œ
œ
.
œ
.
œ
.
œ
.
œ
-œb œ œb œ
œ œœ
œ
b œ
œœ œ
.
.
œ
œ
j
œb œ œb
f
f
P2.
1.
F
P
1.
F
1. A = G
unis.
P
Glock.
1.
œ
≈
œbœ
œbœ œ œ œb œ
J
œ
‰ ≈
œ
œ
œ
œ
Œ Œ œb
œbœ
œbœ œb œ
œ œ œb œ œb
œbœ
œ
œ
œbœb œ œ œ œ œ
œ œ œœ œ œ
∑
.œ
j
œb œ œb
∑
œœ œb œ œb
œ
Œ Ó
Œ œ œ œ œÓ
‰
– –
—
–
Œ œ œ œ œ œ œ
–
œ
œ œ œ œ
Œ Ó
Œ
j
œ
œ
‰ Ó
.œ‰ Ó
&
≈
œ
œ
œ œ œb œ œ œ œ œœb œ
≈
œ
∑œ
œ
œ
Œ Œ ‰ .
r
œb
œbœ œb
œb.œb
3
œ œ œ
œbœ œb .œ
3
œb œb œ
œ
œ œ œb œ œb
œ
œ
œb œ œ œ œb œ œ œ
œ œœ
œ
b œ
œœ œ
.œ
j
œb œ œb
P
1.
2.
P
P
f
F P
Vibra.
F
unis.
F
unis.
J
œb
‰ Œ
œb œ .œ œ
Œ
œn
œb
œnœb
œ œ œ œ
œ
Œ
œ
œb
Œ
∑
œbœn
∑
Œœ œ œ
–
—
œ
–
—
Œ
œbœb œb
œ œ œ
Œ
œ
œ œ
œ œ œ œ
Œ
œbœb œb
œn œ œ
j
œb‰ Œ
&
∑
.œ
J
œb
œ œb œb œ
œ
œb œ œb
œœb œ
œœ
bb œ œ œb
œ œ œ œ
œbœn
a2F
P
f
f
div. unis.
1.
Ó
œb.
œ.
œn œbŒ
≈
œ œ œb œ œ
J
œ
œ œb œb œ œ œœ œb œ
œ
j
œ œb
J
œb œ
œ œ
j
œ .œb œb œ œ œ
œ œœ
j
œ.œb .œb
j
œ
∑
Ó Œ ‰j
œ
j
œ .œb.œb
j
œ
∑
‰ .r
‹ œ ‹ ‹
œ œ œ œ œ œ œ œ
Œ
Ó Œ ‰
j
œ
–
Ó œb.
œ.
œn œb Œ
œ
œ
Œ Œ
œ
œ
Ó
œb.
œ.
œn œb
Œ
œ œ œb œ œ œ œ œ
≈
œb.
œn œb
‰œ œ
∑
∑
.
.
˙
˙
b
b œb
.˙ œ
œ œb œb œ œb
œ œœb œ œ œ œ œ œ
œ œ œb.
œ œ œ.
œ.
œ.
œb.
œ.
œn.
œb.
‰œ œ
j
œ .œb.œb
j
œ
92
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
4
5
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
1.
F
F
F
1. G = AnF
div. unis.
453
œ
Œ ŒJ
œb
‰ œb
œb
œb
œ
j
œ ‰ ‰
J
œb œ.
œ.
œn œ ‰
j
œb
œ .œb
J
œb œ œ œ œ
œ
.
œb
.‰ ‰
œ
.
œ
.Œ
œ
.
œ
.
œn œ
‰œb
.
œ
.
.œ
J
œb œ œb œ œ
.œn
j
œb œ ˙b
∑?
.œ‰ Œ Ó
.œ
j
œb œ ˙b
∑
Œ
œ
‹
‰j
œ
‹
Œ
∑ œ œ œ œ
Ó . Œ
œbœb œb œ
œ œ
≈
œ œ
œ
œ
œ
œ œ
œ
œ
Œ
Ó ‰
œ œb œb .œ
‰ .r
œ
œ
œ œ œ œ œb œ œ œ
‰ Œœb
œb œb œ
∑?
∑
œ
œb.
œ.
œn œb
Œ Œ
œbœb œb œ
˙
˙
œ
œ
œ
œ
œb
œb
œn œ œbœ
.œ
J
œb œ œb
œb
œ œ œ œ œ œb œ œ œ œ œ œb .œ
œbœb œb œ
.œ
j
œb œ ˙b
div.
div.
F
F
F
F
F
F
F
F
F
F
1.
2.
F
f
f
div. unis.
f
YY
YY
2.
œ œb œ œ
Œ
œ
œb œ œ œ œ
œœ
œœ œ
‰
œ
œ
œ.œb
.œ‰ Ó
.œ œb œ œb œ
œ œœ
.œ
‰ Ó
Œ
œ œb œ œ
œJ
œ ‰ Ó
œ Œ Ó&
œ
œ
Ó
.œ
j
œb œ œ
.œ
‰ Ó
Ó Œœ œ œ œ
œ œ œ œ œ Ó
∑
Œœ
œ
≈
œ
œ
œ œ œ œ
‰
J
œ
œ
œ
œ
œ
œœb œ œ
?
œb œb œ œ œ
≈
œb œ œ œ œb œ œ
Œœ œ
‰ Œ ‰
œ
œ
œ
œ
&
œ œ
≈ Œ Ó
œ
œ œ œ œ œ œ ‰ Œ
6
œb œ œ œb œb œ
œ œ œ
œ œ
œ œ œ œ
6
œb œ œ œb œb œœ œ œ
œ œ œ œ œ œ
œ
œ
b
b
œ
œ
œ œ œ œ œ œb œ œb œ
œ œœ
œœ
œœ œ
.œj
œb œ œ
f
f
1.
F
P
a2
a2
F
Gn
unis.
F
≈
œbœ
œbœ œ œ œb œ
J
œ
‰ ≈
œ
œ
œ
Ó Œ ≈œb
œœb
œ œb œ
œ œ œb œ œb œ
œ
œ
œ
œb Œ Ó
Óœb œ œ œ
r
œn‰ .
œb œ œb œ œ œ
œ œ œ œ
‰ Œ
∑
.œ
j
œb œ œb
∑
œœ œb œ œb
œb
Œ Ó
∑
Ó œ œ œ œ œ
∑
‰ j
œ
œ
œ
Œ
œ
œ œ
.œ‰ Ó
&
≈
œ œ œ œ œb œ œ œb œb œœb œ
≈
œ
∑
.œ‰ Ó
œb œ œbœ
.œb
3
œ œ œ
œbœ œb œ .œ
3
œb œb œ
œ
œ œ œb œ œb
œ
œ
œb œ œ œ œb œ œ œ
œ œœ
œ
b œ
œœ œ
.œ
j
œb œ œb
f
F
2.
2.
F
unis.
œb œ œb œb œb œ œb
Œ
œb œ.œb œ
œ
œ
b
bœ
Œ
œ
Œ
œ
œb
Œ
∑
œbœ
∑
∑
‰
J
œ Œ
œbœb œb
œ œ œ
j
œ
‰J
œ
‰
∑
œbœb œb
œ œ
œ
œ
∑
Œ
j
œ
œ
.
‰
.œ
J
œ
.œ
J
œb
œb œ œb
œœb œ
œœ
bb œ œ œb
œ œ œ œ
œbœ
93
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
Ÿ~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~
F
F
F
F
P
1. A = G
div. unis.
fF
457
‰
œ œ œb œb œ œ œ œ œ œb œ œ
J
œ.
‰
œ œ
J
œ
œb œb œ œ œœ œb œ
œ
j
œ œb
J
œb œ
œ œ
j
œ .œb œb œ œ œ
œ œœ
j
œ.œb .œb
j
œ
∑
Ó Œ ‰j
œ
j
œ .œb.œb
j
œ
∑
Œ
‚
œ œ œ œ œ œ œ œ
Œ
––
––
Œ Œ œ
Ó œb.
œ.
œn œb Œ
Ó Œ ‰
j
œ
œ
Ó
œb.
œ.
œn œb
Œ?
œ œ œb œ œ œ œ œ
≈
œb.
œn œb
‰œ œ
∑
∑
.
.
˙
˙
b
b œb
.˙ œ
œ œb œb œ œb
œ œœb œ œ œ œ œ œ
œ.
œ.
œb.
œ œ œ.
œ.
œ.
œb.
œ.
œn œb
‰œ œ
j
œ .œb.œb
j
œ
F2.
F
a2f
F
F
œ
Œ Œ
œ Œ ‰
J
œb
œ
.œb
J
œb
œ œb‰ ‰
œ œŒ
.œ
J
œb œ
.œn
j
œb œ
∑
.œ‰ Œ
.œ
j
œb œ
∑
Œ
œ
‹
‰j
œ
∑
∑
œ œ
≈
œ œ
œ
œ
œ
œ œ
Œ Œ ≈
œb œ œ
œ
œ œ œ œ œb œ
R
œ
‰ .
∑
∑
œ œb.
œ.
œn
>
œb
Œ
˙
˙œb
.œ
J
œb œ
œ œ œ œ œ œb œ œ œ œ œ
.œ
j
œb œ
F
2.
1.
1.
F
F
P
Œ
Œ œ
œb
œb
œb œ
j
œb ‰
‰
j
œb
j
œ
‰œb œ œn œ
J
œb
J
œ
œ œ œb œ œ
œ
œ œ œn œ
‰œb œ œ œb œb
.œb
J
œb œ
˙bœ
∑
∑
˙bœ
∑
‹
Œ ≈
‹ ‹ ‹
Œ œ œ œ œ œ
Œ
œbœb œb œ œ
œ œ
œ
œ
Œ
J
œ
œ
‰
œb .œ
‰ ≈r
œ œ
œ
œ
&
Œœb
œb œb œ œ
≈
œ
Ó ‰
j
œ
∑
Œ
œbœb œb œ
œbœb œb œ
œb
œb
œn œ .œbœ œb œ œ œ
œb
œb
œ
œb .œ
œbœb œb œ œ
˙bœ
f
f
F
F
F
F
F
C = Bf
F
F
˙b.œb
j
œ ‰ Œ Œ .
J
œ .œb .œb
˙ .œb
j
œ .œb.œb
j
œ.œb .œb
∑
∑
j
œ .œb.œb
∑
œ
‹
‰j
œ
.‹
‰ œ œ œ œ œ Œ .
∑
Œ Œ ≈œb œ œ
≈
r
œ
Ó ≈
œb œ œ
≈R
œ
‰ J
œb œ
‰ œb œ ≈
R
œ
∑
œ œœb œ
Œ ‰
œœb
J
œœ
‰
œb.
œ.
≈
œ.
J
œ
˙b
œb.
œ.
≈
œ.
J
œ
œ œœb œ œ œb
œ œœb œ œ œ J
œb>
œ œœb œ œ œb
œ œœb œ œ œ J
œb>
j
œ .œb.œb
94
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
4
2ˆ
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
f
f
f
1.
Ff
5. G = Bf F
461˙b œb
.œ.
œ.
œn.
J
œb>
j
œ .œb œb
.
œ
.
œ
.
œn
.
J
œb
>
˙ œb.
œ.
œ.
œn.
J
œb>
j
œ .œb.œb
j
œ.œb .œb
∑
j
œ .œb œb œ œ œn
J
œb
j
œ .œb.œb
∑
œ
‹
‰j
œ
‹
‹ ‹ ‹ ‹
j
‹
œ œ œ œ œ
.‹
∑
Œ Œ ‰œb œ
≈
r
œ
‰
j
œb œ ‰
œb.
œ.
≈R
œ
œ œ
‰ Œ ‰ œb.
œ.
≈ r
œb
∑
∑
˙b
œb.
œ.
œ.
œn.
J
œb>
œœb
J
œœ
‰
œb.
œ.
œ.
œn.
J
œ>
œ œœb œb œ œ œ œ
œb œ.
œ.
œ.
œ œ
œ œb œb œ œb œ œœb œ
.
œ.
œ
.
œ œ
j
œ .œb.œb
◊
{e = e}œb.
œ.
œ.
œn
J
œb>
œb
.
œ
.
œ
.
œn
J
œb
>
œb.
œ.
œ.
œn
J
œb>
.œb
.œb
>
∑
œb œ œ œn
J
œb
.œb
>
∑
j
œ
‹
œ œ œ œ
J
œ
∑
‰œb œ
≈
r
œ
‰
œb œ
≈R
œ
‰
œb œ
≈r
œb
∑?
‰ ‰ ≈ r
œb
œb.
œ.
œ.
œn.
J
œ>
œb.
œ.
œ.
œn.
J
œb>
œb.
œb.
œb.
œ.
œ œ
œb.
œb.
œb.
œ
.
œb œ
.œb
F
F
F
F
f
f
F
F
f
1. G = Ef
f
ZZ
ZZ
{e = e}˙b
.œb
j
œ .œb.œb
˙ .œb
j
œ .œb.œb
j
œ.œb .œb
∑
∑
j
œ .œb.œb
∑
œ
‹
‰j
œ
.‹
‰ œ œ œ œ œ Œ ‰
∑
Œ Œ ‰œb œ
≈
r
œ
Ó ‰
œb.
œ.
≈R
œ
‰
œb œ
Œ ‰ œb.
œ.
≈
R
œ
œ œœb
Ó ‰&
∑
˙b
œb.
œ.
≈
œ.
J
œ>
œœb
J
œœ
‰
œb.
œ.
≈
œ.
J
œ>
œ œœb œ œ œb
œ œœb.
œ.
œ.
œ.
J
œb>
œ œœb œ œ œb
œ œœb.
œ.
œ.
œ
.
J
œb>
j
œ .œb.œb
f
f
f
f
Ff
F
˙b œb.
œ.
œ.
œn.
J
œb
j
œ .œb œb
.
œ
.
œ
.
œn
.
J
œb
˙ œb.
œ.
œ.
œn.
J
œb
j
œ .œb.œb
j
œ.œb .œb
∑
j
œ .œb œb œ œ œn
J
œb
j
œ .œb.œb
∑
œ
‹
‰j
œ
‹
‹ ‹ ‹ ‹
j
‹
œ œ œ œ
J
œ ‰ Œ ‰
∑
Œ Œ ‰œb œ
≈
r
œ
‰.œb ≈
œb.
œ.
œ.
≈R
œ
œ
œ‰ Œ ‰
œb œ
.
≈r
œb
∑
∑
˙b
œb.
œ.
œ.
œn.
J
œ>
œœb
J
œœ
‰
œb.
œ.
œ.
œn.
J
œb>
œ œœb œb œ œ œ œ
œb.
œ.
œ.
œ.
œ œ
œ œb œb œ œb œ œœb.
œ.
œ.
œ
.
œ œ
j
œ .œb.œb
95
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
8
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
√
√
f
f
f
{e = e}465
œ.
œ.
œ. œb œ œn
œ.
œ.
œ. œb
3
œ œb œ
œb.
œ.
œ.
œn
J
œb
.œ
.œ
∑
œ œ œ œb
J
œ
.œ
∑
j
œ
‹
œ œ œ œ
J
œ
∑ ÷
‰ œ œ ≈
r
œ
‰
œn œ
≈R
œ
?
‰œ œ
≈ r
œ
∑
∑
œ.
œ.
œ.
œ#.
J
œ
œ.
œ.
œ.
œ#.
J
œ
œ.
œb.
œb.
œ.
œ# œ
œ.
œb.
œb.
œ.
œ# œ
.œ
F
F
F
F
F
F
4.
1.
F
P
{e = e}
6
œb œ œb œ œ œ œ œ
3
œ œ œn
œ
>
œb œ
3
œ œ œn
˙
œ œœb œ œ œb œ œ
œ œ œb œ
œ œ œb œ
œ œ œb œ
œ œ œb œ
œ œ œb œ
∑
‚
‹
≈
‹
‚
œ œ œ
>
‰ .
R
Á
J
Á
‰
œb œ œb œ œ œ
œ œ
‰J
œb œb
&
œn
œ‰ Œ
˙
˙
b
b
∑
˙b
.
.œœb
‰
œ œœb œ œ œb œ œ
œ œœb œ œ œb œ œ
œ
.
œ
.
œb œ
f
f
F
F
F = G
An
f
R.S.
œb.
œ.
œn œb œ œ
.œbj
œ
6
œb œ œ œ œ œ
6
œb œ œ œb œ œ
œb œ ≈ œ
j
œ.
‰
.œb
J
œ
.œb
j
œ
.œb
j
œ
.œbj
œ
.œbj
œ
.œbj
œ
œ œ ‰ ≈R
‚
‰
œ
— —
œ
— — —— —
∑
œ œ œ œœb œ œb œ
‰
œb œ
≈
œ œ
‰ œb œ ≈
œ
œ
∑
∑
œb œ œ
œb.
œ.
≈
œ.
œ œ
œb.
œ.
≈
œ.
œ.
≈
œ
&
œb.
œ.
≈
œ.
œ.
≈œ œ
œb
.
œ
.
≈œ
.
œ
œ œ
f
f
f
f
Tambourine with mallet
F
C = Bf
div. unis.
.œ
3
œ œ œb ˙
j
œ œb
3
œ œ œ .œj
œ
6
œ œ œb œ œ œb
3
œ œ œ œb œ œ
3
œ œ œ
j
œ.œb .œ
j
œ
j
œ .œb.œ
j
œ
j
œ .œb.œ
j
œ
j
œ œb
3
œ œ œ .œj
œ
j
œ.œb .œ
j
œ
j
œ.œb .œ
j
œ
œ ‰
j
œ Œ ≈
r
œ ‰
„ ·· ·
· „ · · ·· · · · ·
Ó ‹ ‹ ‹ ‹ ‹ ≈ ‹ ‹
œ œ œb œ œ œ
œ œ œ œ œ œœ œ œ œ
Ó ‰
œn œ
≈
œ œ
Ó ‰
œ œ
≈
œ œ
∑
∑
J
œ œb
J
œ .œ œ.
œ.
œb œœ œœ œ.
œ.
‰
œ.
œ.
.
.œœ
‰ Ó
œ œb.
œ œ œ.
œ.
œ.
œ
œ
3
œb œ œ
j
œ.œb .œ
j
œ
f
f
a2
1.
3.
Bn
div.
˙
3
œ œ œ
œ œb œ œn
6
œb œ œ œn œb œ
6
œ œ œ œn œ œ
œœb œb œ œb
6
œ œ œn œb œ œ
6
œ œ œb œb œ œ œ œœ
.œ
j
œb
œ
3
œ œ œ
.œ
j
œb
œœb
.œ
j
œb
œœb
œœb œb œ œb
6
œ œ œn œb œ œ
.œ
j
œb
œœb
.œ
j
œb
œœb
‰J
‚
‰ ‹
œ
‹
œ‰
‹
œ
‹
œ
— – – –
‰
„ „
‰
‹ ‹
∑&
œb œ
≈
œ œ œ œ œ œ œ œ œ
‰ .
R
œ œb œb
œ
œ
b
b
œ
œ
b
œ
œ
œ
œ
b
œ
œb
œ
œ
b
‰ .R
œb œ œb œb œ
œ œ œb
œ
&
˙
Œ
∑
˙œn
œ œb œ œ
6
œb œ œ œ œb œ œ
˙
‰
3
œœb
œœ
b œœ
6
œ œ œb œb œ œ
6
œ œ œ œ œ œ œ
3
œn œ œ
.œJ
œ
œ
3
œ œ œ
96
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
&
&
?
&
&
&
?
?
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√
√
√
a2
a2
a2
a2
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
f
ƒ
ƒ
ƒ
ƒ
ƒ
L.H.
Enƒ
div.
div.
unis.
Mar.
1 & 2
470
6
œ œb œ œb œb œb
6
œ œ œb
œ œ œ
6
œ œ œ œb œ œ
3
œ œ œ
‰
6
œb œœ
b œ
œ
b
b
œ
œ
œ
œ
b
n
œ
œ
b
6
œ
œ
œ
œ
b œ
œ
b
œ œ œ#
6
œ# œ œ# œ œ œ
3
œ# œ# œ
‰
3
œ
œ
b
bœ# œ# œ œb œb œ
3
œ œ œ
6
œ œ œ œb œ œ
3
œ œ œ
‰
6
œ œ œb œb œ œb
6
œb œ œ
œ œ œ
6
œ œ œ œb œ œ
3
œ œ œ
‰
œ œb œn
3
œ œ œ
6
œ œ œ œb œ œ
3
œ œ œ ‰
œ œb œn
3
œ œ œ
6
œ œ œ œb œ œ
3
œ œ œ ‰
œ
œ
b
bœ
œ
3
œ œ œ
6
œ œ œ œ œ œ
3
œn œ œ
‰
œb œ
3
œ œ œ
6
œ œ œn œb œ œ
3
œ œ œ
‰
œb œ
3
œ œ œ
6
œ œ œn œb œ œ
3
œ œ œ
‰
Ó
6
œ œ œ œ œ œ
3
œ œ
‹
œ
‰
J
œ
‰ ‰
J
œ
æ
œ
æ
3
œ
æ
œ
˘
Œ
6
œ œ œ œ œ œ
6
œb œ œ œ œœ
3
œ œ œ
‰
j
œb
fl
‰ Œ Ó
Œ
œ
œb
œ
œ
b
b
‰
6
œ œ œ œ œ œ
3
œ œ œ
‰
Œ
œb
œb
3
œ œn œ
Ó?
Œ
œ œ
6
œ œ œ
œb œ œ
3
œ œ œ
‰
œn
‰
3
œœ
œn œ
Ó&
?
œ
œ œ œ
3
œ œ œ
6
œ œb œ œb œb œb
6
œ œ œb
œ œn œn
6
œn œ œ œ œ œ
3
œ œ œ>
‰
6
œb œ œ œb œ œb
6
œb œb œ
œ
œ
œ
œ
n œ
œ
n
6
œ
œ
n
n
œ
œ
œ
œ
œ
œ
b œ
œ
œ
œ
3
œ
œ
œ
œ
œ
œ
>
‰
6
œb œœ
b œ
œ
b
b
œ
œ
œ
œ
b
n
œ
œ
b
6
œ
œ
œ
œ
b œ
œ
b
œ œ œ
6
œ œ œ œb œ œ
3
œ œ œ
‰ B
œb œ œ œ œb œ
3
œ œ œ
6
œ œ œ œb œ œ
3
œ œ œ
‰
œb œ œ œ œb œ
3
œ œ œ
6
œ œ œ œb œ œ
3
œ œ œ
‰
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
a2
a2
p
p
p
p
P
P
Animated with spirt
Animated with spirt
1.
1.
1.
a3
a3
f
2. F = As b 5. Bf = C
P
div.
div.
AAA
AAA
P
P
P
P
P
P
œœ# œ
œ#
# œœ œ
œ#
# œœ# œ
œ# œœ# œ
œ# œœ#
œ# œ œ œ# œ# œ# œ# œ# œ#
œ œ# œ# œ# œ# œ# œ œ# œ# œ# œ œn œn
Œ
œ# œ# œ# œ# œ œ# œ# œ#
.
.œœ
#‰
.
.
œ
œ
#
#
‰
.
.
.
œœœ
#
‰
.
.
.
œœ
œ
#
‰
∑
‚
Œ
∑
∑
∑
∑
∑
∑
∑
œœ# œ
œ#
# œœ œ
œ#
# œœ# œ
œ# œœ# œ
œ# œœ#
œ
œ
œ# œ œ# œ# œ# œ# œ# œ#
œ
œ
œœ# œ
œ#
# œœ œ
œ#
# œœ# œ
œ# œœ# œ
œ#
˙
˙
˙
97
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
?
&
?
&
&
B
?
?
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
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
f
f
f
f
f
f
p
p
p
p
P
F
P
ß
ß
ß
ß
p
p
p
p
P
P
473 œœ
bb œ
œb
œœb œ
œb œ
œb œœb œ
œ œœ œ
œ
œb œ œb œ œb œb œ œ œb
œn œb œb œ œ œb œb œ œb œb œb œ œb
Œ
œb œ œb œb œb œ œb œb
˙
˙
n
#
˙
˙
#
#
˙˙˙
##
˙
˙
˙
#
∑
∑
–
Œ
∑
∑
∑
∑
∑
∑
œœ
bb œ
œb
œœb œ
œb œ
œb œœb œ
œ œœ
œœ
œ
œ
æ
œb œb œ œb œb œ œ œb
œ
œ
b
b
æ
œœ
bb œ
œb
œœ œ
œb œ
œb œœb œ
œ œœ&
B
˙
˙
b
b
æ
˙b
æ
unis.
unis.
f
f
f
p
p
p
p
f
f
f
f
f
f
f
f
f
P
P
F
F
unis.
f
P
f
P
P
P
P
P
f
œœ
n# œ
œn
# œœ œ
œ# œœ# œ
œ œœ# œ
œ# œœ
˙˙
œ œ œ œ# œ# œ œ# œ# œ œœ# œ# œ# œ œ œ œ œ
œ œ# œ œ# œ# œ œ œ# œ# œ œ œ œb œ œ#
œ
Œ
œ œ# œ# œ œ œ# œ# œ œ œ# œ œ œ# œ# œ œ
r
œ
fl
‰ .
˙˙
# Ó
˙
˙
Ó
˙˙˙
#
Ó
˙˙
˙
#
# Ó
˙# Ó
‹
Œ Ó
∑
∑
∑
Ó
œ
œ
.
œ#.
œ#
œ#
∑&
∑
∑
œœ# œ
œ# œœ œ
œ# œœ# œ
œ œœ# œ
œ# œœ
œ
œ Œ
œ
œ
œ œ œ# œ# œ œ# œ# œ œ œ# œ#
.œ
.
œ#
.
≈ œ.
œ.
œ
œ
œœ# œ
œ# œœ œ
œ# œœ# œ
œ œœ# œ
œ# œœ œ
œ#
.
œ
.
œ
œ
Œ
œ œ# œ#.
œ.
œ#. ≈
œ. œ#
.
œ
Œœ
œ#.
œ#.
œ#.
sim.
sim.
P
P
P
P
f
F
sim.
unis.
f
sim.
sim.
1.
f
f
Œ œ#
.œ#
œ œ# œ#>
‰ ≈ œ#
œ#
J
œ#
‰
œ
>
œ#
œ
‰
Œ œn
> œ#
œ
‰
∑
∑
∑
∑
∑
∑
Œ ≈
.
j
–
+
Œ ≈ œ œ#
Œ
j
œ ‰
œœ
##
œn
œ œn
‰ J
œ#.
J
œ#.
‰
∑
∑
Œ œ#
.œ#
œ œ# œnœ# œ
.œ#
œ œ# œnœ#
œœ
‰
œ œ# œnœ# œ
.œ#
œ
œ
œ
œ#
98
&
&
&
?
&
&
&
?
?
÷
÷
&
?
&
&
&
?
&
&
B
?
?
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
√ √
√
√
√
√
√
√
√
√
F
F
F
F
1.
P
3.
P
F
476
Œ
.œ#œ
œ œ# œ#
‰
œ
œ#≈
J
œ#
‰ ‰œ#
>
œ#
œ#
Œ ‰
œ#>
œ#
œ#
Πj
œ
+
‰
Πj
œ
+
‰
∑
∑
∑
Œ
‹
∑
Œœ œ#
Œ ‰ ≈r
œ#
œœ#
œ
œ
#
#
œ
œ
‰ J
œ#.
‰
J
œ
œ
.
∑
∑
œ# œ
œ# œ#
.œ#
œ
œ# œ œ œ#
.œ#
œ#
œ# œ œ œ#
œ#
‰
œ#
œ# œ œ œ#
.œ#
œ#
œ#
œ#
œ#
œ#
1.
1.
F
P
P
œn
œ# œ œ œn œn œ œ œ# œ œ œ œ#
œ œb œ
‰ ≈ œ
œ#
J
œ#
‰
œ
>
œ#
œ
‰
Œ œn
> œ#
œ
‰
Πj
œ
+
‰?
Πj
œ
+
‰?
Œ œœ
œ#
Œ
j
œ ‰
∑
∑
Œ ≈
.
j
–
Œ ≈
œ œ#
Œ
j
œ.
‰
œ#
œ
œ# œn
‰ J
œ#
œ
œ
#
#
œ
∑
∑&
œ œ#
œœ# œ
.œ#>
œ œ# œnœ# œn
.œ#>
œ œ# œnœ#
œ.œ#
>
œ œ# œnœ# œn
.œ#>
œ
œ
œ
œ#
2.
4.
2.
Mar.
‰
œ œ œ œœ œ œn œ œ œ œn œ
œ œ œ œ œ œ œ œ
œ
j
œ#‰
j
œ‰
œ œ
œ œ œ œn
œ
œ œ œ œ
‰
œ œ œ œnœ œ œ œ œ œ œ œn
œ œ œ œ œ œ œ œ
œ
œ
œ
œ.
œ ≈œ œ œ œ
œ ≈œ œ œ œ
œ
œ œ
œ
œ
œ
œ
œ œ
œ
œ
œ
‰
œ œ œ œœ œ œ œ œ œn œ œ
œ œ œ œ œ œ œ œ
œ œ
œ
‰ J
œ
Œ Œ œ
∑&
∑
Œ ‰
œn œ œ œ
‰
œ œ œ œ
∑
Œ
œ.
œ. œ
.
œ.
œ œ
Œ Œ
‰
œ œ œ œ œ
œ œ œ œ œ œ œ œ
Œ
œ œ œ œ œ œ œ œŒ
œ
œn œn œ œnœ œ œ œ œn œ œ œ
œ œ œ œ œ œ œ œ
œ
œ œ œ œ
œ œ œ œ œ œn œ œ
œ œ œ œ œ œ œ œ
œ
œ œn œ œœ œ œ œ œn œ œ œ
œ œ œ œ œ œ œ œ
œ
œn œn œ œœ œ œ œ œn œ œ œ
œ œ œ œ œ œ œ œ
œn
œ œ
œ
œ
œ
a2
a2
a2
a2
1.
3.
1.
Xylo.
1 & 2
œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
‰
j
œ#
œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œn œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œn œn œ
œ œ œ œ œ œ œ œ œ
J
œ
‰
œ
œ
œ
œ œ œ œ œ œ œ œ&
œ
œ
œ
œ œ œ œ œ œ œ œ&
œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œœ œ
œ ‰œ
œ œ œ œ œ œ œ
œ
œ
œ
œ
œ
œ œ œ œ ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
œ œ œ œ ‰
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
∑
œ
œœ œ
œ œ œ œ œ œ œ œ
Œ œ œ œ œ œ œ œ œ
Œ
œ œ œ œ
œ œ œ œ
œœ œ œ œ œ œ œ œ
œ œ œ œ œ œn œn œ œ
œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
œ
œ
œ œ
œ œ œ œ œ œn œ œ
99
&
&
&
?
&
&
&
?
?
&
÷
&
?
&
&
&
&
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
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
Fl. 1 & 2
Ob. 1 & 2
Bb Cl. 1 & 2
Bsn. 1 & 2
Hn 1 & 2
Hn. 3 & 4
Tpt. 1, 2, & 3
Trb. 1, 2, & 3
Tuba
Perc. 1
Perc. 2
Perc. 3
Timp.
Harp
Vln. 1
Vln. 2
Vla.
Vc.
D.B.
Piano
(√)
(√)
(√)
(√)
(√)
(√)
(√)
div.
div.
div.
div.
div.
a2
a2
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
f
ƒ
ƒ
ƒ
1 & 2
480
R
œ
œ ‰ . Œ
R
œ
œ
‰ . Œ
R
œ
œ ‰ . Œ
R
œ
œ ‰ . Œ
r
œ
œ
+
‰ . Œ
r
œ
œ
+
‰ . Œ?
R
œ
œ
‰ . Œ
R
œ
œ ‰ . Œ
R
œ
‰ . Œ
œ
Œ
œ Œ
R
œ
‰ . Œ
J
œ˘
‰ Œ
R
œ
‰ . Œ
R
œœ
‰ . Œ
∑
R
œœ
.
‰ . Œ?
R
œ
œ
‰ . Œ
R
œ
œ ‰ . Œ
R
œœ
‰ . Œ
R
œ
œ ‰ . Œ
R
œ
œ ‰ . Œ
pizz.
pizz.
pizz.
pizz.
pizz.
R.S.
R
œ
œ ‰ . Œ
R
œ
œ ‰ . Œ
r
œ
œ
‰ . Œ
r
œ
œ
‰ . Œ
r
œ
œ
‰ . Œ
R
œ
œ ‰ . Œ&
r
œ
œ
‰ . Œ
r
œ
œ
‰ . Œ
∑
∑ ÷
‹ Œ
r
œ
œ
‰ . Œ
J
œ
œ
˘
‰ . ‰
R
œœ
‰ . Œ
R
œœ ‰ . Œ
?
R
œœ
.‰ . Œ
∑
R
œ
œ
‰ . Œ
R
œ
œ ‰ . Œ
R
œœ
‰ . Œ
R
œ
œ ‰ . Œ
R
œ
œ ‰ . Œ
q»§º
q»§º
Comical, but with Sarcasm
Comical, but with Sarcasm
harmon
a3
F
Sus. Cym. w/ wood sticks
F
l.v.
F
F
BBB
BBB
l.v.
arco
arco
arco
arco
arco
w
w
b>
w
w
b>
w
w
n
>
ww
bb
>
w
wb
+
>
w
w#
+
œ
œ
>.
.
˙
˙
w
w
w
#
>
w
>
.˙
æ
>
J
œ
æ‰
œ Œ Ó
∑
w
w
ww
#
#
>
w
w
w
#
>
Ó
˙
˙
Ó
ww#
æ
>
w
w
æ
>
w
wb
æ
>
w
w
#
æ
>
wæ
>
√
F
F
F
F
F
F
F
F
F
w
w
w
w
n
w
w
ww
w
w
w
w
w
w
w
w
w
w
‹
œ
Œ Ó
∑
∑
∑
w
ww
w
w
w
Ó
˙
˙
˙
Ó
ww
æ
w
w
æ
w
w
æ
w
w
æ
w
æ
Tam-tam
F
f
f
f
f
f
f
f
p
p
p
p
p
p
p
p
p
p
p
p
w
w
w
w
w
w
ww
w
w
w
w
w
w
w
w
w
w
∑
w
∑
∑
∑
w
w
w
#
>
∑
w
w
>
ww#
æ
>
w
w
æ
>
w
w
æ
>
w
w
#
>
w
>
U
l.v.
U
l.v.
l.v.
n
n
U
U
U
U
U
U
U
U
U
U
n
U
U
U
U
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
w
U
∑
∑
∑
w
w
w
U
∑
∑
U
∑
∑
∑
w
w
U
w
U
100
101
PART IIAN ANALYSIS OF THE EVOLUTION OF FRANK ZAPPA'S BE-BOP TANGO
CHAPTER 1
INTRODUCTION
"The present-day composer refuses to die."- Edgard Varèse, July 1921
Frank Vincent Zappa was born on December 21, 1940 in Baltimore, Maryland. His
father, Frank Vincent Zappa Sr., a metallurgist and engineer, worked for various defense
contractors in Maryland and California. Zappa Sr. was born in Sicily and emigrated to the
United States as a child, and his wife, Rose, was first generation American (her father was Italian
and her mother was French and Sicilian). In the first ten years of Frank Jr.'s life, the Zappa
family moved and lived in five different cities, and eventually settled in the small town of
Lancaster, California.1
At an early age Zappa's musical interests lay in collecting African-American rhythm and
blues (R&B) and doo-wop records, which included music by such artists as Chester "Howlin'
Wolf" Burnett, Johnny "Guitar" Watson, Clarence "Gatemouth" Brown, Hank Ballard and the
1 For a detailed biography, read Frank Zappa, The Real Frank Zappa Book (New York,
Poseidon Press, 1989); Ben Watson, Frank Zappa: The Negative Dialectics of Poodle Play (NewYork: St. Martin's Griffin, 1993); and Barry Miles, Frank Zappa: In His Own Words (London:Omnibus Press, 1993).
102
Midnighters, The Velvets, and The Robins. Zappa's passion for R&B, doo-wop, and rock 'n' roll
continued unabated throughout his career.2
Zappa's formal musical training began at the age of 12 with percussion lessons. He
eventually started performing with various high school ensembles and local popular music
groups. Two years later, with the purchase of an album featuring the music of modernist
composer Edgard Varèse, Zappa discovered an aural soundscape complementary to his love of
R&B. Although completely different musical styles, Zappa did not perceive a philosophical
dichotomy existing between the two, only that they both contained a particular "attitude" or
emotional drive and "came from the same universal source."3 Varèse's works not only inspired
Zappa to investigate the subtleties of instrumental timbre, but they also suggested to the young
composer that a visual approach could be used as a model to achieve balance and dramatic
2 Developed in the 1940s and 1950s, Rhythm and blues, or R&B, is a type of African-
American dance music that combines 12-bar blues harmonic progressions, jazz instrumentation(specifically saxophone, electric guitar, piano, bass, and drums), driving eighth-note tripletrhythms, and gospel vocal styles. It is considered one of the predecessors to rock 'n' roll. BarryKernfeld, The New Harvard Dictionary, ed. Don Michael Randel. s.v. "Rhythm and blues."(Cambridge, MA: The Belknap Press of Harvard University Press, 1986), 705-706.
Doo-wop is a style of unaccompanied vocal rock 'n' roll popular in the 1950s and 1960s.Vocal ensembles consisted of four or five members singing in close harmony. John Rockwell,New Grove Dictionary of Music and Musicians 2nd ed., Vol. 7. ed. Stanley Sadie, s.v. “Doo-wop.” (New York: Macmillan Press, 2001), 501.
Rock 'n' roll, or rock, a style of American popular music developed in the 1950s, evolvedfrom the 12-bar blues form and the fast, driving rhythms of R&B. Rhythmically, the first beat ofeach measure is emphasized while the weak beats of the measure are accented; straight eighth-notes predominate. In the 1960s and 1970s, as the genre evolved, rock composers began toincorporate extended complex formal structures into their compositions. Early rock 'n' rollinstrumentation featured electric guitars, saxophone, and a rhythm section (piano, string bass,and drumset), and was eventually supplanted by amplified and electronic instruments, includingkeyboard synthesizers and electric bass guitar. Charles Hamm, The New Harvard Dictionary,ed. Don Michael Randel, s.v. "Rock 'n' roll" and "Rock." (Cambridge, MA: The Belknap Press ofHarvard University Press, 1986), 710-712.
3 Frank Zappa, "Interview with Frank Zappa in 1988," interview by Kurt Loder, BatChain Puller (New York: St. Martin's Press, 1990), 108-109.
103
timing in a musical work. The balanced materials could include abrupt changes in tempo, the
juxtaposition of dissimilar musical styles, and/or the inclusion of non-musical dramatic elements
within a live performance of a musical composition.4 Besides R&B and Varèse several other
musical recordings that had a major influence on Zappa's early musical development and
aesthetic include Igor Stravinsky's Rite of Spring and Anton Webern's Symphonie, op. 21.
A composer ripe for musical reference, Stravinsky's music appears, directly and
indirectly, on several of the early works of the Mothers of Invention; thematic fragments from
Stravinsky's ballet Petroushka and the "Royal March" from Histoire du soldat are used in the
Mothers' second album Absolutely Free (1967). In addition, Zappa included extra-musical
references to the composer and his work in the form of musical titles ("Invocation and Ritual
Dance of the Young Pumpkin" on the Mothers' debut album Freak Out! (1966) and "Igor's
Boogie" on Zappa's second solo album Burnt Weeny Sandwich (1970)).
Pedagogically, Stravinsky's compositions and recordings taught Zappa the value of
melodic cellular development (how a motive can be manipulated by slight changes in pitch and
rhythm), and according to Jonathan Bernard, that a ballet can have an episodic musical form
"parallel to its narrative functions."5 These two concepts weigh heavily in Zappa's musical
development and will be discussed in the ensuing analysis.
4 Varèse was a constant influence in Zappa's life and work. As a tribute to his spiritual
mentor, Zappa wrote an article for the June 1971 issue of Stereo Review magazine entitled"Edgard Varèse, Idol of My Youth." And in 1981, Zappa was invited by Joel Thome, conductorof the Orchestra of Our Time, to participate in a concert entitled "A Tribute to Edgard Varèse,"which was held at the Palladium in New York City.
5 In an article entitled "The Musical World(s?) of Frank Zappa," Jonathan Bernardprovides an analysis that reveals that Zappa may have appropriated the general design ofStravinsky's ballet Agon while composing his orchestral work Dupree's Paradise. Jonathan W.Bernard, "The Musical World(s?) of Frank Zappa," Expression in Pop-Rock Music, ed. WalterEverett (New York: Garland Publishing, 2000), 173-184; and Jonathan W. Bernard, "Listening
104
In addition to his early listening habits, Zappa credited two of his former music teachers
for developing his interest in music composition; his band director at Mission Bay High School
introduced him to the works of Anton Webern and twelve-tone music, and his music instructor at
Antelope Valley High permitted him to compose for and conduct the high school orchestra.
Although Zappa eventually abandoned any desire to compose using twelve-tone techniques, his
later musical style reflects his interest in Webern's approach to pointillism and Klangfarben-
melodie (tone-color melody). Webern's influence can be easily heard on the recorded orchestral
passages on "Brown Shoes Don't Make It" from the Mothers of Invention second album
Absolutely Free (1967) and is examined further in chapter five.
Zappa's early musical endeavors were influenced not only by the works and recordings of
Varèse, Stravinsky, Webern, Chester "Howlin' Wolf" Burnett and Clarence "Gatemouth" Brown,
but also by the visual aspect of the musical score. While in high school, Zappa enrolled in
several art classes. In an interview with Michael Bloom, Zappa stated that even at an early age
the visual element of the score had an impact on his work,
I'd never seen music on paper. What I had seen had been orchestra parts they give youin high school, beginner stuff. Then I saw a score. It just looked so wonderful--the veryidea that this graphic representation, when translated into sound waves through the effortsof skilled craftsmen, would result in music. I said hey, I've gotta do this! So I got a ruler,I went out and bought some music paper, and I just started drawing. I didn't know what[expletive deleted] I was doing, but I could look at it. Then I went around looking forpeople who could play it, to find out what it would sound like. That's how I started out.6
Zappa's interest in the visual score and its aural results continued throughout his career
and became a major influence on his musical philosophy, particularly form and melodic
to Zappa," Contemporary Music Review 18, Part 4 (London: Harwood Academic Publishers,2000), 90.
6 Frank Zappa, "Interview with Frank Zappa," interview by Michael Bloom, TrouserPress 47 (February 1980): 20.
105
development. When he was asked about his compositional processes and how he organized and
balanced his materials (whether the materials in questions were aural, visual, or even
professional) Zappa stated that,
Composition is a process whereby elements are organized into structure determined bythe composer. This is the broadest, most general outline I can give you. If I make a film,that is a composition; it's a matter of organizing visual elements, behavioral elements,textural elements and space and time elements, the same way as I would organize noteson a piece of paper. I think of overall structure the same way. If I'm giving a perform-ance with a band, the show itself is a composition involving sections, which are smallercompositions. An interview is also a composition.7
In addition, Zappa used analogues and terminology associated with painting and film to explain
his compositional methods. Alexander Calder's mobiles were constant models of inspiration.8
They were used to explain the dramatic timing of a musical passage, the balance between
instrumental families in the recording process, or the aesthetic or emotional content of a musical
episode or overall work. Harmonies were referred to as "climates" or "scenes." His studio tape
collage experiments from the early 1960s clearly illustrate his interest in the visual arts.
In 1958, with the realization that his talents as a percussionist were less than satisfactory,
Zappa switched to electric guitar. His previous exposure to the driving rhythms of R&B and
frenzied guitar solos of the blues quickly became a major influence, and as Zappa matured
musically, his interest in the guitar inspired him to search for new performance techniques and
experiment with electronic sounds.
7 Ibid., 22.
8 In an interview with Gail Zappa, she mentioned that the composer created graphicoverviews of his compositions, even as far back as his earliest works; they were heavilyinfluenced by Calder's sculptures, and reflect Zappa's interest in the interaction of three-dimensional shapes within a musical construct. Gail Zappa, interview by author, 9 and 11November 2003, Baton Rouge, LA/Los Angeles, CA, telephone.
106
During his senior year in high school, Zappa was permitted to enroll in a harmony course
at Antelope Valley Junior College. After high school graduation, he enrolled in a harmony
course at Chaffee Junior College in Alta Loma, California, and audited a composition course at
Pomona College in Pomona, California; these classes included basic harmony, required keyboard
practice, and composition. However, due to Zappa's displeasure and frustration with the
constricting rules of the common practice period, Zappa quit college after six months and
discontinued his formal musical studies. According to Zappa, the rest of his musical training
came from listening to recordings, performing in bands in beer joints and cocktail lounges, and
"spending a lot of time at the library."9
During these formative years, Zappa began composing quite early. When he was
15, he composed his first known work, a solo percussion work entited Mice,10 and by
1960 he wrote two movie scores, Run Home Slow and The World's Greatest Sinner. In
1963 Zappa presented a concert of his music at Mount St. Mary's College in Los Angeles,
California; the titles of the works reflect his continued interest in the visual arts. The
program consisted of Piece No. 2 of Visual Music for Jazz Ensemble and 16mm Visual
Project, Piano Pieces from Opus 5, Collage One for String Instruments, Opus 5 for
Piano, Tape Recorder and Multiple Orchestra, and Two Fragments of Prepared Tape to
be used in Opus 5.
As Jim Schaffer points out in his article "The Perspective of Frank Zappa," Zappa's
interest in contemporary classical music was not something he acquired as he got older, it was
present from the beginning. According to Zappa, "I hadn't even tried to write a rock 'n' roll thing
9 Miles, Frank Zappa: In His Own Words, 18.
10 Dominique Chevalier, Viva! Zappa (New York: St. Martin's Press, 1986), 8.
107
until I was 21 years old. All the rest of the music that I had been writing, from the time I was 14
until that time, had nothing to do with rock, jazz or anything else. I was writing strictly chamber
or orchestra music."11
In 1963, with the money he made from scoring The World's Greatest Sinner Zappa
purchased a five-track recording studio in Cucamonga, California from long-time friend Paul
Buff and renamed it Studio Z. He then immersed himself in the techniques of audio recording
and sound manipulation, "beginning a life of excessive overdubbage -- nonstop, 12 hours a
day,"12 and experimented with techniques associated with musique concrète,13 including varying
tape speeds, change of tape direction, looping and delay techniques, and various other editing
procedures (cutting and splicing). This autodidactic approach to audio recording would later
resurface on the early Mothers of Invention recordings, influence his Synclavier pieces of the
1980's, and would have a profound effect on his concepts of musical form and style.
While Zappa was working and living in Studio Z, he continued to compose contemporary
classical music and perform with various lounge bands and rock groups. Many of these groups
performed a wide variety of popular music, ranging from rock songs to jazz and Latin standards.
This exposure to various styles of music would have a significant effect, positive and negative,
on his compositional aesthetic, particularly in his use of stylistic juxtaposition and modulation.
11 Jim Schaffer, "The Perspective of Frank Zappa," Down Beat, September 1973, 15.
Contrary to the quotation provided above, it has been noted that during his adolescence Zappahad been performing with and composing for various popular music ensembles.
12 Zappa, The Real Frank Zappa Book, 43. The term overdub refers to the technique ofadding another part to a multitrack recording, doubling a preexistent track with a second track("sweetening"), or to replace one of the existing parts. Gail Zappa, interview.
13 Musique concrète is a form of electro-acoustic music that uses natural (concrete) orenvironmental sounds, which are recorded and eventually modified in order to create a newcomposition.
108
In 1964, dissatisfied with the lounge band repertoire and the tribulations of the contemporary art
music scene, Zappa joined the Soul Giants, a blues band from Pomona, California. Zappa
convinced the group to start writing original material and renamed them The Mothers of
Invention.
The following year, Zappa and the Mothers of Invention were offered a record contract
from Tom Wilson, a producer for MGM records. Their debut album Freak Out! (1966) is
regarded as the first rock 'n' roll concept album and the first double disc rock album. It satirized
not only the prevailing sociopolitical, cultural, and educational institutions of the day, but also
the hippie counterculture movement. Musically, the album makes references, directly and
indirectly, to several of Zappa's early musical influences, including Johnny "Guitar" Watson,
Edgar Varèse, and Igor Stravinsky.14
Freak Out! was followed by several more albums including: Absolutely Free (1967);
Lumpy Gravy (1967); We're Only In It for the Money (1968), which featured an album cover that
parodied the Beatles' Sergeant Pepper's Lonely Hearts Club Band album (1967) and contained
small sections of orchestral music that Zappa composed a year earlier; a doo-wop tribute album
entitled Cruising with Ruben and the Jets (1968); and the double album Uncle Meat (1969).
These albums explore different modernist compositional techniques including musique concrète,
quotation, and stylistic allusion, while continuing to experiment with musical form by creating
jarring juxtapositions of musical genre and content.
In 1969, Zappa began planning to film 200 Motels, a Dadaist movie concerned with the
organized chaos of touring and life on the road; however, due to economics and Zappa's
dissatisfaction with the limitations of the musicianship in the ensemble and the restrictions it
14 The Mothers of Invention, Freak Out!, US Verve V5005, 1966, phonograph.
109
imposed on his compositions, the Mothers of Invention were officially disbanded. Nonetheless,
Zappa persevered. Ever the entrepreneur, he established his own record company, continued to
compose the soundtrack for his film, and released the album, Hot Rats (1969). This recording
established him as a significant solo artist and guitarist employing recording and touring
musicians when the need arose. Over the next twenty-three years, Zappa recorded, produced,
and released over 55 recordings of his own music, toured non-stop performing to audiences
around the world, and continued to compose contemporary classical music.
One of his first major classical music milestones occurred in May 1970. Zubin Mehta
and the Los Angeles Philharmonic Orchestra along with the newly re-established Mothers of
Invention performed several orchestral excerpts from Zappa's film 200 Motels to a sold-out
concert at the CONTEMPO music festival in Pauley Pavilion on the campus of the University of
California, Los Angeles.
From 1971 to 1979, Zappa continued to tour and released twelve albums including The
Grand Wazoo (1972), Over-nite Sensation (1973), Apostrophe (') (1974), Roxy & Elsewhere
(1974), One Size Fits All (1975), Bongo Fury (1975), Zoot Allures (1976), and Studio Tan
(1978). In 1979 Zappa received his first Grammy nomination for the song "Dancing Fool" from
the album Sheik Yerbouti (1979), and composed an Orwellian three-act rock opera entitled Joe's
Garage (1979). In 1982, Zappa received his second Grammy nomination for the song "Valley
Girl" from Ship Arriving Too Late To Save A Drowning Witch (1982).
In January 11, 1983, conductor Kent Nagano and the London Symphony Orchestra were
hired by Zappa to perform and record several of his orchestral works including Bogus Pomp,
Envelopes, and the ballets Mo 'n Herb's Vacation, Bob in Dacron-Sad Jane, and Pedro's Dowry.
The resulting album, The London Symphony Orchestra: Zappa, Volume 1, was released in June
110
1983. Later in that same year, Zappa conducted several works by Varèse and Webern at the
Edgard Varèse Memorial Concert at the San Francisco War Memorial Opera House, and was
commissioned by Pierre Boulez to compose a work for the Ensemble Intercontemporain. The
commissioned work, The Perfect Stranger, was premiered by Boulez on January 9, 1984 at the
Theatre de la Ville in Paris and featured two other works written for the occasion, Dupree's
Paradise and Naval Aviation in Art?. These three works, along with several of Zappa's
Synclavier pieces, were included on the album Boulez Conducts Zappa: The Perfect Stranger
(1984).15 Originally released by Angel/EMI, the album reached number seven on the Billboard
Classical chart and remained on the classical sales chart for almost a year. The project brought
Zappa his third Grammy nomination for Best New Classical Composition (The Perfect
Stranger).16
In April 1984, Zappa was invited to speak at the 19th Annual Conference of the
American Society of University Composers (ASUC) at Ohio State University in Columbus;
several of his works were performed including Naval Aviation in Art?, The Black Page, and The
Perfect Stranger. And in June of that same year, Kent Nagano and the Berkeley Symphony
Orchestra presented "A Zappa Affair," a concert which featured several of Zappa's ballets
including Bob in Dacron-Sad Jane, Mo 'n Herb's Vacation, Sinister Footwear, and Pedro's
Dowry.
During this time, Zappa was commissioned to compose not only orchestral works, but
15 The New England Digital Synclavier is a computer synthesis and recording keyboard
system that includes facilities for FM-based sound synthesis, digital recording and sampling, andcomputer-based sound editing. Joe Spiegel, "Absolutely Frank," EQ, March 1994, 55-56.
16 Don Menn, ed., "Zappa!" Keyboard Magazine and Guitar Magazine, special issue,(San Francisco: Miller Freeman, 1992), 83; and Frank Zappa, The Perfect Stranger, RykodiscRCD 10542, 1984, compact disc.
111
chamber pieces as well. In 1985 the Kronos String Quartet commissioned and premiered None
of the Above at the Herbst Theater in San Francisco, and the Naumberg Foundation presented the
Aspen Wind Quintet with a monetary award to commission and premiere Zappa's Times Beach
at Alice Tully Hall in New York City.17
Two years later, Zappa won his first Grammy for Best Rock Instrumental for Jazz from
Hell (1986), an album primarily consisting of Synclavier works, and in 1988 Zappa received his
sixth and seventh Grammy nominations for his albums Guitar (1988) and the political satire
Broadway the Hard Way (1988).
One of the highlights of the composer's career took place in 1990. While returning from
Moscow on a business trip, Zappa made a stop in Prague and met the new president of
Czechoslovakia, Vaclav Havel. After a discussion with Havel and his advisors, an agreement
was made in which Zappa would serve as an overseas representative for trade, tourism, and
cultural matters, and a foreign financial agent for the new Czech administration; however, this
endeavor was short-lived due to the personal involvement of former U.S. Secretary of State
James Baker acting on behalf of the U.S. administration and its interests at that time.
In late 1990, Zappa was diagnosed with advanced prostate cancer; it was inoperable.
During his remaining years, he continued to compose with a renewed frenzy and pursued new
opportunities when they arose; one such project would be his greatest achievement.
In the summer of 1991, Andreas Molich-Zebhauser, manager of the Ensemble Modern, a
European modern music ensemble known for their performances of serious classical music,
17 During the 1980s, Zappa's interests extended beyond musical issues. In September
1985, Zappa testified before the United States Senate Commerce, Technology, and Trans-portation Committee to oppose legislation pertaining to the censorship of rock music and itslyrics. Throughout his career, he advocated freedom of speech, supported numerous voterregistration drives, and considered running for President of the United States.
112
approached Zappa with a proposed series of commissioned concerts that would feature his music
at the 1992 Frankfurt (Germany) Festival. The Ensemble Modern presented the chamber
orchestra version of the Be-Bop Tango, along with eighteen other compositions by Zappa, in a
ninety-minute celebration of the composer's work. Other venues on the subsequent tour included
Berlin and Vienna. In December 1993, a live recording of the "The Yellow Shark" concerts was
released by Barking Pumpkin Records and reached number two on Billboard's classical chart.18
In addition to instrumentation, various changes were made to the formal structure of the Be-Bop
Tango. Some of the changes included the composition of written percussion passages, the
inclusion of aleatoric devices and passages, and the expansion and contraction of thematic areas
within the work.
The purpose of this dissertation is to provide a historical and analytical summary of the
evolution of the Be-Bop Tango; it will be divided into six chapters. The first and second chapters serve
as an introduction to Frank Zappa and the Be-Bop Tango. The third chapter includes a detailed structural,
thematic, and harmonic analysis of the unspecified instrument and piano score, how it relates to Zappa's
compositional aesthetic, and how the score was orchestrated for his amplified chamber ensembles. The
fourth chapter discusses and explores the chamber orchestra version of the work, how it differs from the first
version structurally, thematically, and harmonically, and how Zappa and his assistant Ali N. Askin
orchestrated the work for the Modern Ensemble. The fifth chapter examines Zappa's early influences and
how they manifest themselves in the work, and the sixth chapter provides a brief summary of the
findings of the previous chapters.
18 Frank Zappa, Be-Bop Tango for chamber orchestra (Los Angeles: Munchkin Music,
1993); and Frank Zappa, The Yellow Shark, Barking Pumpkin Records, R2 71600, 1993,compact disc.
113
CHAPTER 2
BE-BOP TANGO: BACKGROUND AND INTRODUCTION
"This is bebop, even though you think it doesn't sound like that. . ." - Frank Zappa, Be-Bop Tango (of The Old Jazzman's Church)
Historical Perspective
An important aspect that was considered in the analysis of Frank Zappa's Be-Bop Tango
was the meaning of its title. It suggests two different styles of popular-art music, bebop jazz and
the South American tango. The term "bebop" refers to a style of jazz that flourished between
1940 and 1960 that emphasized melodic improvisation, extended harmonic exploration,
complicated rhythmic procedures, and virtuosic performances. It was developed in the New
York City neighborhood of Harlem by trumpeter Dizzy Gillespie, saxophonist Charlie Parker,
and bassist Charles Mingus in the early 1940's as a musical and philosophical reaction against
the perceived constraints of swing jazz.1 A popular style of dance music in the 1930s and 1940s,
swing was usually performed by an ensemble consisting of ten or more musicians, or "big band."
It relied heavily on arrangements and was associated with composers and performers such as
Duke Ellington, Count Basie, and Benny Goodman. Conversely, bebop was usually performed
by a small group of musicians, a "combo." In solo passages, a wind player or pianist would
1 Mark Tucker, New Grove Dictionary of Music and Musicians 2nd ed., Vol. 12. ed.
Stanley Sadie, "Jazz." (New York: Macmillan Press, 2001), 913-915; and Mark C. Gridley, JazzStyles: History and Analysis, 7th ed. (Upper Saddle River, New Jersey: Prentice Hall, Inc.,2000), 92-93.
114
create a disjunct complex melody; the rhythm section combined silence with punctuations that
reinterpret traditional harmonies (chromatically altered pitches in a diatonic context - flattened
ninths, raised elevenths, and flattened thirteenths).2
The use of the jazz idiom as a major component within a classical composition is not a
recent development. After World War I, European and American composers began
incorporating ragtime rhythms, blues scales and harmonies, and jazz instrumentation into their
compositions. Some representative composers and their works include Suite "1922" by Paul
Hindemith, Histoire du soldat (1918) and Ebony Concerto (1945) by Igor Stravinsky, Jonny
spielt auf (1927) by Ernst Krenek, Dmitri Shostakovich's Suite for Jazz Orchestra No. 1 (1934)
and Aaron Copland's Piano Concerto (1927). After World War II, the fascination with
American jazz declined, however, Gunther Schuller and other composers associated with the
"Third Stream" continued to combine jazz and classical music, but the movement never regained
its pre-War popularity.
The second style alluded to in the title of the work is the tango. Developed in Argentina
and Uruguay, the tango is an amalgamation of: western European dance forms, melodies,
harmonies, and instrumentation; African and Cuban rhythms, most notably the candomble drum
rhythms of African slaves and the Cuban habanera; and South American folk idioms, including
the Creole milongas of the Argentine prairie lands.3 The early tango was performed by small
2 Barry Kernfeld, The New Harvard Dictionary, ed. Don Michael Randel, s.v. "Bebop,
Bop." (Cambridge, MA: The Belknap Press of Harvard University Press, 1986), 86.
3 A condombe is a term used to identify the traditional African drumming associated witha type of festive Uruguayan dance. Coriun Aharonian, New Grove Dictionary of Music andMusicians 2nd ed., Vol. 4. ed. Stanley Sadie, "Candombe." (New York: Macmillan Press, 2001),930
115
ensembles that consisted of flute, violin, guitar or solo piano. Eventually, the German
bandoneon, a large button and bellows accordion-like instrument, was added to the ensemble.4
The tango was brought to Europe in the early 1900's by visiting Argentine musicians and
dancers. Favored in Paris, its exotic popularity eventually spread throughout Europe in the
1920's and 1930's and was performed by small ensembles and orchestras. Just as American jazz
enticed European composers, elements of the South American tango started appearing in the
works of such notables as: Stravinsky, Histoire du soldat; Darius Milhaud, Saudades do Brasil
(1921); William Walton, Facade (1922); Virgil Thomson, Sonata da chiesa (1926); and Alban
Berg, Der Wein (1929). After a short hiatus in the 1940's and 1950's, the tango made a
worldwide resurgence in the 1960's and 1970's.
The tango is characterized by a prevailing duple meter, syncopated rhythmic accom-
paniment, and a two-part form that emphasizes a tonic to dominant tonal relationship. The early
rhythms of the tango were influenced by the Spanish Andulusian habanera, which is a duple
meter figure that uses a dotted eighth and a sixteenth-note followed by two eighth-notes
(example 2.1).5 Eventually, as the tango evolved from a piece for small ensemble to a work for
orchestra, the habanera tango rhythm was displaced by the marcato, a steady four-beat pattern
A milonga is a dance of African origin in duple meter and syncopated rhythm. Gerard
Behague/r, New Grove Dictionary of Music and Musicians 2nd ed., Vol. 25. ed. Stanley Sadie,"Tango." (New York: Macmillan Press, 2001), 73.
4 Christine Denniston, A Brief Introduction to the History of Tango Music, Total TangoWebsite, [online], available from http://www.totaltango.com/acatalog/tango_brief_intro_91.html,13 March 2003.
5 Gerard Behague/r, New Grove Dictionary of Music and Musicians 2nd ed., Vol. 25. ed.Stanley Sadie, "Tango." (New York: Macmillan Press, 2001), 73-75.
116
with an emphasis on the last eighth-note of the measure, or sincopa (example 2.2).6 It is this
composite rhythm that Zappa explores in the Be-Bop Tango.
Example 2.1. Habanera Rhythm Example 2.2. Marcato-sincopa Rhythm
.œ œ œ œ
œ œ œ œ œ
>
Historical Evolution of the Be-Bop Tango
During the late 1950's and early 1960's, the tango was revived in the United States and
was heard on nearly every available medium including recordings, radio, television, and movies.
It is uncertain how familiar Zappa may have been with the musical characteristics of the tango,
but in the early stages of his career (circa 1960) he performed with various nightclub and lounge
bands that may have included Latin American inspired dance songs in their set-lists, including
the tango.
Moreover, Zappa's infatuation with the music of Stravinsky may have also contributed to
his burgeoning affinity for the tango. Documented as early as 1966, Zappa fondness for
Stravinsky's Histoire du soldat began with the quotation of the "Royal March" on the Mothers of
Invention's second album Absolutely Free. Later, in 1972 Zappa performed the role of the
narrator at the Hollywood Bowl; the performance was conducted by Lukas Foss.7 Zappa's
6 The term sincopa refers to any accented eighth-note performed between the beats of a
measure. However, its usage does not provide or imply a momentary change in the prevailingmeter. Pablo Aslan, The Evolution of Tango Music, Avantango website, [online], available fromhttp://www.avantango.com/Pages/Articles/musichist.html, 25 March 2003, and adapted from"Tango Stylistic Evolution and Innovation" (Masters thesis, University of California, LosAngeles, 1990).
7 Zappa, The Real Frank Zappa Book, 116.
117
admiration for the work has been noted numerous times, and since the sixth movement of the
concert suite, "Trois Dances," consists of a tango, waltz, and a ragtime piece, it can be assumed
that the work may have been an influence, direct or indirect, during the creation of the Be-Bop
Tango. And although the two composers approached the tango in different ways (Stravinsky
modified the melody while Zappa emphasized the basic rhythm) the overall musical style is still
apparent. Therefore, it is safe to assume that Zappa was musically conversant with the popular
dance form, either through actual performance or the various forms of media. Zappa's later
original compositions and recordings reflect this early exposure. They include the Be-Bop Tango
from 1973, a 1974 Helsinki performance of the Finnish tango Satumaa, and "Sheik Yerbouti
Tango" from the album Sheik Yerbouti (1979).8
According to an interview with Gail Zappa, the Be-Bop Tango was composed in 1972 and
originally named The Malcolm McNabb. It was intended to showcase the performance abilities of a
trumpet player Zappa employed during his 1972 tour.9 Later, according to performance date archives, the
work was renamed Farther O'Blivion and appeared in a larger suite of the same name; Zappa performed the
composition on tour with his amplified chamber ensemble in the fall of 1972.10 During that time, the
8 Frank Zappa, You Can't Do That On Stage Anymore, Vol 2. Rykodisc USA RCD
10563/64, 1988, compact disc; and Frank Zappa, Sheik Yerbouti. Rykodisc USA RAC 10528,1988, compact disc.
For a detail historical background on the Finnish tango, see Pekka Gronow, Once Iwaited for someone: The story of the Finnish tango, Virtual Finland, [online], available fromhttp://virtual.finland.fi/finfo/english/tangoeng.html, 13 March 2003.
9 Gail Zappa, interview. In late 1972, Malcolm McNabb was employed as a member ofZappa's twenty-piece ensemble called The Grand Wazoo Orchestra and its sucessor, the PetitGrand Wazoo Orchestra.
10 Joe Travers, Zappa studio vault archivist, interview by author, 11 November 2003,Baton Rouge, LA/Los Angeles, CA, telephone; Miles, Frank Zappa: A Visual Documentary, 58-59; and Jon Naurin, We're Only In It For The Touring, [online], available from http://ourworld.compuserve.com/homepages/ turtlestew/72f2.htm, March 13, 2003.
118
Farther O'Blivion medley consisted of "Steno Pool" from The Adventures of Greggery Peccary, followed
by "Farther O'Blivion" (the main theme from the Be-Bop Tango), and finally an instrumental version of
Zappa's song "Cucamonga," named after the small town in California where Zappa's first recording studio,
Studio Z, was located. Farther O'Blivion was scored for clarinet, saxophone, trombone, electric
guitar, electric bass guitar, drumset, percussion, keyboards, and violin.
In 1973, on the tour's final performance date in Sweden, Farther O'Blivion was recorded
live in Stockholm, on August 21, 1973 and is included on the album Beat the Boots I:
Piquantique. Later, in that same year Farther O'Blivion was renamed the Be-Bop Tango.11
The Be-Bop Tango was also included on a second live recording from that same tour
entitled Roxy & Elsewhere (1974). The title of the album refers to the location where the
recording was made, in this case the famous Hollywood nightclub The Roxy Theatre. On this
recording, the Be-Bop Tango is retitled "Be-Bop Tango (of The Old Jazzman's Church)." The
reference to the "Old Jazzman" can be interpreted as a double innuendo. It serves as a sarcastic
quip used by Zappa to assert his ironic disdain for the perceived constraints of jazz music and as
a veiled acknowledgement of his bop influences.
During the 1970's, the Be-Bop Tango existed only as a score for unspecified instrument
and piano.12 Each member of the ensemble was given a copy of the score and Zappa arranged
the work according to the instrumentation available.13 The main thematic materials and melodic
lines are performed by the violin, trombone, marimba, and guitar. They are supported
11 Travers, interview by author.
12 The composition was published by Munchkin Music in 1984. Frank Zappa, Be-BopTango for melody and piano (Los Angeles: Munchkin Music, 1984). For a detailed score contactMunchkin Music/The Zappa Family Trust at www.zappa.com.
13 Humphrey, Interview.
119
harmonically by the piano and electric bass guitar, while the percussionists are used to keep a
steady beat, and to add improvised percussion parts and interjections between melodic phrases.
Eventually, the composition was expanded to include interpretive dance segments performed by
trombonist Bruce Fowler and randomly selected members of the audience. This later addition
has implications in the orchestral arrangement of the work.
In the first four measures of the Be-Bop Tango (mm. A-D) the basic rhythm of a
marcato-sincopa inspired tango is used in conjunction with the expanded harmonic vocabulary
of bebop jazz (Example 2.3). However, as the piece continues the musical discrepancies become
less obvious. The two popular-art music styles are superimposed, juxtaposed, and completely
Example 2.3. Marcato-sincopa Tango Rhythm Combined with Jazz Harmony
&
?
4
4
4
4
marcato
sincopaA
j
œœbb
‰ j
œœ
‰ j
œœ
‰
œœb
œ
j
œ
œ
n ‰
j
œ
œ
‰
j
œ
œ
‰ œ
œ
B
j
œœbb
‰ j
œœ
‰ j
œœ
‰
œœb
œ
j
œ
œ
n ‰
j
œ
œ
‰
j
œ
œ
‰ œ
œ
C
j
œœn
‰ j
œœ
‰ j
œœ
‰
œ
œn
œ
j
œ
œ
b
b
‰
j
œ
œ
‰
j
œ
œ
‰ œ
œ
D
j
œœn
‰ j
œœ
‰ j
œœ
‰
œ
œn
œ
j
œ
œ
b
b
‰
j
œ
œ
‰
j
œ
œ
‰ œ
œ
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved, Used byPermission.
fused into one contemporary art music composition,14 and when they are combined with
twentieth-century avant-garde compositional techniques and the amplified instrumentation of
rock 'n' roll, the Be-Bop Tango transcends any one style and exemplifies Zappa's unique and
eclectic musical voice.
14 In keeping with Zappa's artistic philosophy and his claims that his oeuvre is
undifferentiated with regards to its artistic merit, regardless of style or genre, the terms art, artmusic, and serious music will be applied only to classify the works according to the generalperception of style (rock, jazz, contemporary art music, etc.). Furthermore, the term popular willbe only used to refer to commercially successful music; the term popular-art will be used toidentify any musical style that originated from popular sources and has evolved to a generallyaccepted degree of higher musical aesthetic or musical style.
120
CHAPTER 3
BE-BOP TANGO FOR UNSPECIFIED INSTRUMENT AND PIANO: ANALYSIS
"This is sort of like jazz in its own peculiar way. . . " - Frank Zappa, Be-Bop Tango (of The Old Jazzman's Church), 1974
Melody
Due to its frenetic tempo, extremely disjunct melodic lines, and rhythmic intricacy, the
Be-Bop Tango epitomizes the bebop philosophy of "an intimidatingly difficult tune that excludes
outsiders."1 The melodies are extremely angular; employ sudden shifts between stepwise motion
and leaps, although thirds and fifths are more common; frequently change from diatonic to
chromatic collections; and feature segments usually associated with whole-tone and octatonic
collections. Rhythmically, they are characterized by moments of frenetic complexity followed
by a sustained pitch that serves as a moment of repose. In an interview with Jim Schaffer in
1973, Zappa explained the importance he placed on melodic construction.
I'm interested in melodies and it's the one thing I find lacking in most of the musictoday. The construction of melody is a specialized art form. I know a lot of people whocan write and arrange but don't pay too much attention to where the melody is. It's a bigchallenge to write a melody. That's why people who can improvise well against chordchanges are so unique because that's a challenge met instantaneously. When all you're
1 Ben Watson, "Frank Zappa as Dadaist: Recording Technology and the Power to
Repeat," Contemporary Music Review 15, Part 1 (London: Harwood Academic Publishers,1996), 117.
121
presented with is the harmonic skeleton, your challenge is to create a personalizedmelody against that set of chord changes, it's a very impressive feat.2
The melodic variations that follow the main theme of the Be-Bop Tango employ continuous
melodic and rhythmic alteration, dividing the melody into separate motives, which are then
developed progressively.
Harmony
Due to his early immersion in the music of Varèse, Stravinsky, Webern, and R&B, when
Zappa eventually encountered music of the common-practice era it sounded fundamentally
strange to him, whereas "a piece of 'modern music,' after all, even if actually composed 50 years
previously, was in some sense of Zappa's own time if not of his own place."3 He eschewed the
music and compositional techniques of the common-practice period, but ironically, many of the
chord structures and harmonic progressions that appear in his works are adapted from common-
practice, jazz, and popular music styles, albeit altered.
The Be-Bop Tango is pitch centric, and its harmonic language is based on non-traditional
functional tonality. It features extended tertian harmonies that follow traditional common-
practice procedures and voice-leading, including the appropriate resolution of the tritone and
non-chord tones; extended tertian harmonies that do not follow traditional common-practice
procedures, and are left unresolved or resolve according to altered voice-leading procedures;
added note chords; enharmonic respellings of tertian chords that obfuscate the chord spelling and
root orientation; and interlocking triads that form closely spaced chromatic structures that
resemble tone clusters.
2 Schaffer, "The Perspective of Frank Zappa," 14.
3 Bernard, "Listening to Zappa," 73.
122
Zappa identified certain chord structures as "climates" rather than functionally-
determined results of a tonic to dominant relationship. Chord quality (minor, major, diminished,
etc.) was associated with a certain mood or visual scene. As Zappa explained in an interview
with Tim Schneckloth,
You have a chord that tells you where your harmonic climate is - where the event istaking place. The chord is like the establishing shot in a movie - where you see theexterior of the building, or the alley with the garbage cans. It tells you where it'shappening. Then the action takes place. So you have a chord, and you have three notesthat provide certain types of emotional activity versus the chord. And that emotionalactivity is redefined every time you change the order of the notes and the space inbetween the notes.4
For example, "an augmented chord has a mysterious climate; if it's a diminished chord it's a little
tenser; if it's minor it's serious; if it's major it's happy; if it's major seventh you're falling in
love."5
An issue related to the concept of harmonic climate and its overall quality concerns the
function of individual notes within the climate (or chord structure), how the notes interact, and
how register affects the function of a particular note. In an article from 1983, Zappa stated,
You have to say to yourself, "Is C the root?" If it's the root, you've got to play it oneway. "Is C the 3rd?" If it is, you've got to play it another way. "Is C the augmented11th?" Well, then is has to be played still another way. And you have to intone it tomake it sound like the proper interval of the scale. You have to think, "What is thefunction of the pitch that I'm playing? How does it relate to the harmonic scheme that I'moperating in?" Because if you don't play it to sound like the interval that it's supposed tobe, then it doesn't get the information across. And the melody works a lot better if you'rethinking your intervals in terms of their function in the harmonic climate.6
4 Tim Schneckloth, "Frank Zappa: Garni du jour, Lizard King, Poetry, and Slime," Down
Beat, 18 May 1978, 44.
5 Frank Zappa, "Interview," Interviewer uncredited, Frank Zappa Limited EditionInterview Picture Disc, Baktabak CBAK-4012, compact disc.
6 Frank Zappa, "Non-foods: Stretching Out with Vamps," Guitar Player, May 1983, 97.
123
This explanation may seem somewhat simplistic, but it illustrates Zappa's thoughts about note
choice and its specific function within a harmonic structure.
Designated by Zappa as "bebop chords," 7 sonorities containing an augmented eleventh
are used extensively throughout the Be-Bop Tango, hence the title. The augmented eleventh
chord (a major or minor triad with a raised eleventh) has been used extensively by late-Romantic
and early twentieth-century composers, who regarded the raised eleventh as a non-chord tone
that resolves up by half-step due to its chromatic inflection. In the modern era, contemporary
classical and jazz composers, and popular songwriters consider the raised eleventh and its simple
equivalent, the raised fourth, as an altered note used for non-functional chord coloring and as an
extension of tension that resolves according to its proximity to the root of the chord.
Throughout the Be-Bop Tango, the raised fourth (or tritone) and its compound equivalent,
the raised eleventh, are considered essential to the motivic and harmonic structure of the work.
Harmonically, this interval is resolved using a variety of methods:
1. The tritone resolves according to traditional practices (contrary resolution of both tones
by semitone) (Example 3.1),
2. The tritone resolves by a whole step and semitone in: a) similar motion (Example 3.2a) and
b) similar motion displaced by register (Example 3.2b).
3. The tritone resolves to another tritone by parallel motion, usually by the interval of a
descending minor or major second (Example 3.3),
4. The tritone resolves by parallel motion and is displaced by register (Example 3.4),
7 Zappa, Frank Zappa Limited Edition Picture Disc, compact disc; Ulrik Volgsten,
Music, Mind, and the Serious Zappa, Studies in Musicology 9 (Stockholm: StockholmUniversity, 1999), 189; and Frank Zappa, The Best Frank Zappa Interview Ever, interview byBob Marshall, Carolyn Dean and Gerald Fialka (October 22 and 23, 1988), [online], availablefrom http://www.science.uva.nl/~robbert/zappa/interviews/, 1 January 2003.
124
5. The unresolved raised note is used as an added tone that colors the sonority without resolving
(Example 3.5).8
Example 3.1. Be-Bop Tango, Tango Introduction, Piano, Tritone Resolution, mm. B-C
&
?
4
4
4
4
B
Db - CG - Ab
j
œœbb
‰ j
œœ
‰ j
œœ
‰
œœb
œ
j
œ
œ
n ‰
j
œ
œ
‰
j
œ
œ
‰ œ
œ
C
j
œœn
‰ j
œœ
‰ j
œœ
‰
œ
œn
œ
j
œ
œ
b
b
‰
j
œ
œ
‰
j
œ
œ
‰ œ
œ
Example 3.2a. Be-Bop Tango, Variation A1/c, Resolution by Similar Motion
&
&
?
Phrase A1/c
17
Eb - FA - Bb
‰
J
œœ œ#
3
œ#j
œ
. .œœn
œ#
˙
˙˙
3
Œ Œ
œœbb
˙#
3
Œ Œ œ
œ
18
3
œn
j
œb
œ
œ œ
®œb œb
œn
3
œnj
œ
. .œ# œn
œ
œœb
‰
j
œ
œœ# ˙˙
œ
œ
#
b‰
J
œ#
˙
˙
#
n
Example 3.2b. Be-Bop Tango, Variation A1/c to Tango Reprise (T1), Resolution by SimilarMotion - Displaced by Register
&
&
?
Variation A2
2423
(T1)
Ó
3
Œ
œ œ
œ
œn..˙˙œ
œ
œ
n
b
.
.
˙
˙
.˙# œ
œ
œ
œœ
b
b
œ
œœ
œ
œœ
‰
3
‰ œ
œœ
œ
œœ
3
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ œ œ ‰
3
‰ œ œ
3
œ œ œ œ
E - FBb - Ab
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
8 In the following analysis, dynamic markings have been omitted from various musical
examples for reasons of space and clarity.
125
Example 3.3. Be-Bop Tango, Variation A1/a, Tritone Resolution, Parallel Motion
&
&
?
14
2nd Half, Phrase A1/a
Bb - AE - Eb
6
œ
>
œb œ œ
œ
>
œ
6
œœb
œ
> œ
œb
œn˙n
œœb œ
œ#
3
Œ œ
œœ
b
b œœn
œ
œb
œ
œ
b
n
3
Œ œœ
œb
Example 3.4. Be-Bop Tango, Variation A1/b, Tritone Resolution, Parallel Motion, Displaced byRegister
&
&
?
Phrase A/b1
7
Eb - DA - Ab
7
œn œb œ œœb œ œ
3
œ
œb
.œnœ#
3
œ
j
œn œ
j
œœnb
‰ j
œœn
‰
œœ..œœ œœ
œœ
j
œ
œ
#‰
J
œœbn
‰
œ
œ#
.
.
œ
œnœ
œ
b
b
œ
œ
Example 3.5. Be-Bop Tango, Anti-climax, Unresolved Added-Tone
&
?
36
wwb
w
w
#
37
˙˙#˙˙n
˙
˙
#˙
˙
n
b
38 40
ww
w
w
41
∑
∑
E: Altered and Unresolved for Color
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
126
Although Zappa associated certain chords with a specific climate, he continued to
identify chord structures according to common-practice terminology and conventional methods
of harmonic analysis, even if the chord in question did not function within those parameters. In
the following analysis, for the sake of clarity, the structure and root of a sonority will be
identified using common-practice terminology. For example, a sonority containing the pitches
Ab-C-D-Eb will be classified as an Ab major triad with a raised fourth. Since Zappa identified
this type of sonority as a "bebop chord," it can be construed that the composer was thinking
about tertian harmonic structures, but within non-traditional common-practice parameters.
Conversely, when common-practice analytical methods are unable to classify a
particular sonority, either due to its structure or function, the ensuing analysis will use the
methods prescribed by Paul Hindemith to identify the root of the sonority and the relationship of
intervallic strengths within the sonority (see Example 3.23, page 147 and Example 3.26, page
154). The quality of the sonority, whether it is consonant, neutral, or dissonant, will be
determined by interval strength and the context in which the sonority appears. 9
Furthermore, the Be-Bop Tango will not be analyzed according to non-tonal chromatic
jazz or popular music theory. According to David Liebman, "Non-tonal chromaticism refers to
melodic lines and harmonies that have no discernible key or root orientation." 10 Since the Be-
Bop Tango is pitch centric, non-tonal jazz theory will be inapplicable for the ensuing analysis.11
9 Paul Hindemith, The Craft of Musical Composition, Book I, 4th ed. (London:
Associated Music Publishers, Inc., 1942), 95-106; and David Cope, Techniques of theContemporary Composer (New York: Schirmer Books, 1997), 41-43.
10 David Liebman, A Chromatic Approach to Jazz Harmony and Melody (Rottenberg,Germany: Advance Music, 2001), 30-31.
11 In bebop and free jazz it is common to find harmonic progressions that incorporateunrelated bass lines and root movement, which create an interesting intervallic and linear
127
Moreover, the sonorities within the work follow functional relationships. Although the sonorities
are constructed with bebop and/or free-jazz styles in mind, due to the ambiguous and diverse
harmonic language of the Be-Bop Tango it is ideal to analyze the quality of each sonority and
chord succession according to intervallic construction rather than by common-practice methods
or jazz theory. Therefore, set theory and interval content analysis will be used to classify and
categorize each sonority within the Be-Bop Tango; the contextual relationships that exist
between each sonority will be examined and a continuum of harmonic quality will be
constructed.
Using modified set theory procedures, each sonority was reduced to its corresponding
pitch class set in prime form.12 Then, all of the pitch sets were analyzed for similarities in
interval content, and using interval vectors, grouped accordingly. A harmonic continuum,
ranging in quality from consonant to dissonant, was constructed according to the specific number
of intervals occurring in the vector of each chord (Appendix A, Figure A.1). A sonority contain-
ing only interval classes 3, 4, or 5 (minor third, major third, and perfect fourth, respectively) in
its interval vector was classified as a consonant or neutral chord; the designation of whether a
sonority is neutral or consonant is based on its context. A sonority containing only interval
classes 1, 2, or 6 (minor second, major second, and tritone, respectively) was classified as a
dissonant chord due to the tension of the corresponding members of the chord. Sonorities that
consisted of a combination of consonant and dissonant interval classes were classified according
counterpoint, and in popular music one can find many examples of non-functional harmonicprogressions; however, in the Be-Bop Tango even though the bass line in certain passages mayseem independent from the chord progression it is still fundamental in the construction of thesonorities within the progression.
12 Joseph N. Straus, Introduction to Post-Tonal Theory (Englewood Cliffs, New Jersey:Prentice Hall, 1990).
128
to their context within a given passage. Figure A.1 provides a numbered continuum of the chord
types found in the Be-Bop Tango (from most consonant to most dissonant), their prime set order,
their interval vector, and their quality within the continuum. In the following analysis, a sonority
will be identified by its numbered continuum position, abbreviated quality, and interval vector.
For example, in m. 31, the chord D-A#-B-C# is identified as: (D-25, vector [2 1 2 1 0 0]). D-25
indicates that the chord is dissonant and is assigned the 25th position in the harmonic continuum.
The vector supplies the various intervals that the sonority contains: two minor seconds, one
major second, two minor thirds, one major third, and no perfect fourths or fifths.
Generally, chord progressions in the Be-Bop Tango follow non-traditional, functional
harmonic procedures. For example, in the final phrase of each of the major theme groups,
neutral chords (N) progress to dissonant chords (D), which are used to maximize dramatic
tension. The dissonant chords resolve to more neutral or consonant (C) sonorities (Example 3.6).
This type of progression is similar to common-practice cadential progressions.
Concerning the cadential function of the chord progression in following example, a
cadential sonority, complete or incomplete, is identified as: any chord that contains a perfect
Example 3.6. Be-Bop Tango, Phrase A/b', Harmonic Progression
&
&
?
9
Phrase A/b2
Quality: N
œ
œb
.œn œœ# œ# œ .œn .œ œ
wwn
wwb#
10
D C
P4
.œn
J
œb>˙
.
.
œ
œ
#
#
j
œœ˙˙˙
J
œn
.
.œœJ
œ ˙
11
˙Ó
˙˙
˙
Ó
˙
Ó
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
129
interval between an outer voice (either in the bass or soprano line in the piano or in the melody
and piano voices) and its adjacent inner voice; follows a dissonant chord; and appears at the end
of a major phrase group. However, context determines if the cadential sonority is complete or
incomplete. Therefore, a complete cadential progression is classified as any dissonant chord that
resolves to a consonant chord, which consists of a perfect interval between an outer voice (bass
or soprano) and its adjacent inner voice, and is located at the end of a major phrase group. In the
example above, the cadential chord that appears on the second eighth-note of beat 2 of m. 10
(and prolonged through m. 11), is classified as a complete cadential sonority because it contains
a perfect fifth between the bass and tenor voice, it follows one of the most dissonant chords in
the work, and appears at the end of the main theme group.
Incomplete cadential progressions are defined by context. For example, in m. 31
(Example 3.7), the chord D-A#-B-C# (D-25, vector [2 1 2 1 0 0]) is followed by a C-E#-F#-A#
sonority (C-5, vector [1 1 0 1 2 1] and its enharmonic equivalent, Gb-Bb-C-F. Seemingly, the
final chord of the phrase meets the proposed criteria for a complete cadential sonority, however,
due to the equivalent quality of the two chords in m. 32 and the interval of a major third, A-F,
Example 3.7. Be-Bop Tango, Phrase C/c', Incomplete Cadence
&
&
?
Phrase C/c'
Quality: D
31
5
≈
œ#
œ œœ#
5
œ#
œ#
œn
œ
œn
7
œb
® œn ® œ
œ
œb
6
œ œbœœn
œ
œ#
www##
w
N C
32
7
œnœn œœ
œb œb
œb˙
Œ
j
œœœ
#
##
‰
.
.˙
˙
n
J
œn
‰
.
.˙˙bb
M3
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
130
that is created between the melody and the top note of the piano on beat 2 of m. 32, the chord
progression is identified as an incomplete cadence. The phrase sounds as if it has reached a point
of repose but not one of finality.
Overall, dissonant sonorities are usually preceded by neutral sonorities and followed by
consonant sonorities (N-D-C-N). This creates a functional progression that relies on the
exploration of intervallic relationships rather than traditional bass line and voice-leading
procedures. One exception to the general guideline occurs in m. 37 (Example 3.8). A dissonant
Example 3.8. Be-Bop Tango, Phrase C/c', Passing Progression and Prolongation
&
&
?
36
Quality:N
w
wwb
w
w
#
37
D N(passing)
w
˙˙#˙˙n
˙
˙
#˙
˙
n
b
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
sonority, D-A#-B-C# (D-25, vector [2 1 2 1 0 0]), is preceded and followed by a neutral sonority,
A-F#-Eb-F (N-17, vector [1 1 2 1 0 1]) and Bb-D-E-F (N-13, vector [1 1 1 1 1 1]), respectively.
In this case, the dissonant chord is considered a passing chord that is used to color the harmonic
climate and prolong the neutral quality of the passage, (N-D-N).
Pitch Collections
The Be-Bop Tango uses a variety of pitch collections including diatonic scales, specifi-
cally the Lydian mode, which features a raised fourth, and the Mixolydian mode; whole tone
collections that occasionally include added notes; partial octatonic scales; and chromatic
131
collections. However, since a majority of the theme groups are constructed from diatonic
collections in a non-traditional approach, the work can be described as pandiatonic.
Concerning the relationship between the harmonies and pitch collections, generally,
diatonic collections correspond to consonant or neutral collections, diatonic-chromatic and
chromatic collections correspond to dissonant sonorities, and whole-tone collections correspond
to neutral collections. The term diatonic-chromatic collection refers to diatonic collections that
contain two or more added chromatic tones and form an altered scale.
Form and Structure
The form of the Be-Bop Tango for unspecified instrument and piano is a modified
variation-rondo, T-A-A1-T1-A2-B-C-D (Appendix A, Figure A.2). Formal divisions are derived
from phrasing, motivic coherence, and pseudo-cadential progressions used at key points within
larger passages.
Tango Vamp and Introduction: T
The first seven and half measures of the piece are introductory and employ the rhythmic
characteristics of the dance-hall tango; it is labeled T in the formal analysis (Example 3.9).13 The
tango uses a steady quarter-note rhythm and emphasizes the last eighth-note of each measure; the
actual number of measures has been abbreviated for the sake of space. They are labeled in the
score as mm. A-D and mm. 1-4.
Measures A-D serve as a repeated vamp section. On the two recorded performances of
the Be-Bop Tango (1973 and 1974), Zappa uses the vamp to introduce the composition to his
13 In Example 3.9, measures that use the same material will be identified as a single unit
(i.e., measures A and B equal measures A-B).
132
Example 3.9. Be-Bop Tango, Tango Vamp and Introduction: T
&
&
?
4
4
4
4
4
4
Measures A-BTango Vamp
∑
j
œœbb
‰ j
œœ
‰ j
œœ
‰
œœb
œ
j
œ
œ
n‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
C-D
∑
j
œœn
‰ j
œœ
‰ j
œœ
‰
œ
œn
œ
j
œ
œ
b
b
‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
1-2Tango Introduction
∑
j
œœb
‰j
œœ
‰j
œœ
‰
œœb
œ
j
œ
œ
#‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
3
∑
j
œœn
‰ j
œœ
‰ j
œœ
‰
œ
œn
œ
J
œ
œ
n
b‰
J
œ
œ‰
J
œ
œ‰œ
œ
4 Phrase A/a
Ó Œ ‰
œ
>œ
j
œœn
‰ j
œœ
‰
œœ
œj
œœ
‰
J
œ
œ
n
b‰
J
œ
œ‰
J
œ
œ‰œ
œ
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
audience and to provide a slightly skewed historical perspective of the tango and bebop.14 On
both recordings, the trombone performs the tango rhythm and adds an unwritten glissando on the
last eighth-note of each measure; it supplies a burlesque quality to the composition. The
rhythmic motive can be seen as a stylistic allusion rather than an actual parody of the Argentine
dance.
The root progression in the tango vamp and introduction ascends sequentially by a major
second from Eb-Ab to F-Bb. The harmonic progression contains both chromatic and diatonic
sonorities. The sonority in mm. A-B, and its transposition in mm. 1-2, combined with the last
eighth-note of each two measure group, can be analyzed as two segments of an octatonic
collection, Db-Eb-E-Gb-G and Eb-F-F#-Ab-A, respectively.
Conversely, in mm. C-D and 3-4, the sonorities resemble a major triad with an added
raised fourth, Ab-C-D-Eb and Bb-D-E-F, respectively. Although the added raised fourth (or
eleventh) in mm. C-D and 3-4 resolve accordingly, the resolution is a by-product of the
14 Frank Zappa, Roxy & Elsewhere, Barking Pumpkin Records D2 74241, 1974, compact
disc; Frank Zappa, Piquantique, Rhino Records R2 70544, 1991, compact disc; and Zappa, TheReal Frank Zappa Book, 139-197. Whether in print or on stage, Zappa gained a reputation foreducating his audiences on the purpose and intentions of his music. His concerts would invaria-bly include moments of audience participation and improvisation.
133
sequential progression, and can be considered a reluctant acceptance of common-practice
harmonic procedures for the sake of stylistic allusion. Both the octatonic segments in mm. A-B
and 1-2 and the diatonic sonorities in mm. C-D and 3-4 reinforce the eclectic language of the
piece.
When each measure and musical line in the piano part, including the last eighth-note of
each measure, is separated and reduced to its basic pitch collection, a chromatic tetrachord is
formed (Example 3.10a and 3.10b). In Example 3.10a, each two-measure group has been
reduced to its primary sonority.
Example 3.10a. Be-Bop Tango, Tango Vamp and Introduction, Primary Sonorities, Reduction
&
?
4
4
4
4
Measures: A-BTango Vamp
œœbb
œb
œ
œ
n
C-D
œœnn
œn
œ
œ
b
b
1-2Tamp Intro.
œœb
œb
œ
œ
#
3-4
œœn
œn
œ
œ
n
b
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
In Example 3.10b, each separate musical line (the last eighth-note of each measure, the
soprano line, the alto line, etc.) is extracted from its corresponding sonority and given a separate
staff (Last 8th, S, A, T, B). When all of the lines are extracted and analyzed individually, each
line forms a four-note chromatic collection. For example, the last eighth-note in each measure of
the tango vamp and introduction (Example 3.10b, Last 8th), forms a four-note chromatic cell,
Gb-G-Ab-A.
When all the individual musical lines are combined, they form an eleven-note chromatic
collection (Example 3.11). B-natural is the only pitch excluded from the collection, until it
appears in m. 5, where it is used as the lowest bass note of the first phrase of the main theme.
134
Example 3.10b. Be-Bop Tango, Tango Vamp and Introduction, Separate Musical Lines andTetrachord Collections
&
&
&
?
?
4
4
4
4
4
4
4
4
4
4
Last 8th
S
A
T
B
Tango VampMeasures: A-B
œb
œb
œb
œn
œ
C-D
œ
œ
œ
œb
œb
Tango Intro.1-2
œb
œ
œb
œ#
œ
3-4
œn
œn
œ
œn
œb
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Example 3.11. Be-Bop Tango, Vamp and Introduction, Reduced Voice-Leading, Total Collection
?
11-note chromatic collectionMeasures A-4:
œb œn œb œn œb œ œb œn œb œn œ
œn
Excluded
Furthermore, the primary melodic and harmonic materials of the piece can be observed
within the first eight measures. The rising chromatic tetrachords in the soprano and bass lines
provide a preliminary insight into the primary motivic cell that will be developed throughout the
work (Example 3.12). The soprano line, Ab-A-Bb-B, occurs on the last eighth-note of each
measure, while the bass line, G-Ab-A-Bb, emphasizes the regular four-beat pulse. The outer
voices follow a progression of major sevenths, an interval that is crucial to the thematic structure
of the work. When these two lines are combined they form a five-note chromatic cell, G-Ab-A-
Bb-B, which is used to compose the main Be-Bop Tango theme and its subsequent variations.
135
Example 3.12. Be-Bop Tango, Tango Vamp and Introduction, Reduced Ascending Outer Voice-Leading
&
?
A-B
M7
œb
œ
C-D
œn
œb
1-2
œb
œn
3-4
œn
œb
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Main Theme Group A
At the end of the tango introduction (m. 4), the tritone in the Bb-D-E-F chord is resolved;
the E in the piano resolves to F on the second eighth-note of beat 4 in the melody and the Bb in
the bass voice of piano resolves to Ab on the downbeat of m. 5 in the soprano voice; the voice-
leading is displaced by an octave (Example 3.13).
Starting on the last eighth-note of m. 4, the main theme group is introduced. It is labeled
A, and is comprised of seven measures (Example 3.13). It can be subdivided into three parts: a
consists of mm. 4-6; b consists of m. 7-8.3; and b' consists of mm. 8.4-11. Phrase b' is an
extended elaboration of b (Figure 3.1).
Section Subsections Measures A 4-11 a -4-6
b -7-8.3 b' -8.4-11
Figure 3.1. Be-Bop Tango, Formal Outline of Theme Group A
136
Example 3.13. Be-Bop Tango, Main Theme Group A
&
&
?
a
4f
Ó Œ ‰
œ
>œ
j
œœn
‰ j
œœ
‰
œœ
œj
œœ
‰
J
œ
œ
n
b‰
J
œ
œ‰
J
œ
œ‰œ
œ
Main Theme Group A
5
3œ# j
œ
.
≈œ
.
œ
.
œ
.
œ
.
7
œb
œ œ
œbœn
œb
œn
3
.œ-
œ#
>
œ
>
œ
œœ
b
b
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
j
œœ
‰ œœ##
œ œ œœ œœ
J
œ
œ
#
n‰
œ
œ
n
6
w
ww
w
w
b
7fƒ
f F
7
œn œb œ œœb œ œ
3
œ
œb
.œnœ#
3
œ
j
œn œ
j
œœnb
‰ j
œœn
‰
œœ..œœ œœ
œœ
j
œ
œ
#‰
J
œœbn
‰
œ
œ#
.
.
œ
œnœ
œ
b
b
œ
œ
&
&
?
b'
8Ï
Ó Œ
7
œnœb œœ œb œœ
3
‰ œœœ# œœn#Œ Œ
œœnb
3
‰œ#
œœnn
Œ Œœ
œ
#
9
œ
œb
.œn œœ# œ# œ .œn .œ œ
wwn
wwb#
10
.œn
J
œb
>
˙
.
.
œ
œ
#
#
j
œœ˙˙˙
J
œn
.
.œœJ
œ ˙
11
˙Ó
˙˙
˙
Ó
˙
Ó
* When a 32nd septuplet appears in the work, the beam is broken, however, in the subsequent orchestral arrangement this is not the case.
Resolution:E - FBb - Ab
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Main Theme A, Phrase A/a
The first phrase of the main theme, A/a, can be divided into two primary motives, Motive
A and Motive B, and one secondary motive, Motive C (Example 3.14). In the following
example, each motive is circled and labeled.
When the first phrase of the main theme is reduced to its simple intervallic content, all
three motives are easily identified (Example 3.15). In the examples below, the first statement of
Motive A contains the first occurrence of Motive C. The majority of the variations and theme
137
groups in the Be-Bop Tango (A, A1, A2, C, and D) are based on the development and manipula-
tion of these three motives.
Example 3.14. Be-Bop Tango, Main Theme A, Motives A, B, and C
&
&
?
4
Motive AMotive C
Ó Œ ‰
œ
>œ
j
œœn
‰ j
œœ
‰
œœ
œj
œœ
‰
J
œ
œ
n
b‰
J
œ
œ‰
J
œ
œ‰œ
œ
5
Phrase A/aMotive B
sequences
3œ# j
œ
.
≈œ
.
œ
.
œ
.
œ
.
7
œb
œ œ
œbœn
œb
œn
3
.œ-
œ#
>
œ
>
œ
œœ
b
b
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
j
œœ
‰ œœ##
œ œ œ œ œ œ
J
œ
œ
#
n‰
œ
œ
n
6
w
ww
w
w
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Example 3.15. Be-Bop Tango, Main Theme A, Phrase A/a, Motivic Reduction
&
&
&
Phrase A/a, Reduction
Motive C
4
Ó Œ ‰
œ
>œ
Ó Œ ‰
œ
>œ
œ œ
Phrase A/a
Motive A
Motive C Motive A
Motive B, Septuplet
5 6
3œ# j
œ
.
≈œ
.
œ
.
œ
.
œ
.
7
œb
œ œ
œbœn
œb
œn
3
.œ-
œ#
>
œ
>
w
3
œ#
j
œ
.
≈œ
.
œ
.
œ
.
œ
.
7
œb
œ œ œbœn œb œn
3
.œn- œ#
>
œ
>
w
œ# œœb
œ œ œbœn œb œn œn œ#
The first half of the main theme group is constructed using a descending minor second,
an ascending major ninth, a descending major seventh, and an ascending minor second. These
five notes form a five-note cell, F-E-F#-G-Ab, and is labeled Motive A, and was foreshadowed
138
in the first eight measures of the tango vamp and introduction. The ascending leap of a major
ninth, E -F#, is an important interval. It accentuates the pointillistic and angular character of the
thematic material and reinforces the musical philosophy of the work, especially as it pertains to
bebop.
The first three notes of Motive A, F-E-F#, are used to construct an oscillating chromatic
trichord; it is labeled Motive C. Developed throughout the work, Motive C is considered to be a
sub-set of Motive A; however, when the three-note subset appears as a descending or ascending
chromatic trichord it will be analyzed as a contracted statement of the last three notes of Motive
A.
Motive C is used not only to explore the intervallic relationship between oscillating
minor and major ninths (including their simple equivalents), but also minor and major thirds,
their inversions, and compound equivalents (Examples 3.16a-c). In the following examples,
various permutations of Motive C are circled for ease of identification. This vacillating gesture is
an essential motive and permeates the entire composition.
Example 3.16a. Be-Bop Tango, Main Theme A, Phrase A/b', G#-A#-G Trichord
&
&
?
Phrase A/b'
8
Ó Œ
7
œn œb œ œœb œ œ
3
‰ œœœ# œœn#Œ Œ
œœnb
3
‰œ#
œœnn
Œ Œœ
œ
#
Motive C 9
œ
œb
.œn œœ# œ# œ .œn .œ œ
wwn
wwb#
10
.œn
J
œb>˙
.
.
œ
œ
#
#
j
œœ˙˙˙
J
œn
.
.œœJ
œ ˙
11
˙Ó
˙˙
˙
Ó
˙
Ó
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
139
Example 3.16b. Be-Bop Tango, Variation A1, Phrase A1/a', G-F#-G# Trichord
&
&
?
Phrase A1/a-b
Motive C15
≈
œn
œ œ#
6
œ#^
œ
œn^
œ
œb
œb
7
œ
^
œb œ œœ^
œ œ
.œ
œ
> œ#
œ
œœ
b
b
Œ Œ ‰ j
œœn
.
œ Œ Œ ‰
J
œ
œb
.
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Example 3.16c. Be-Bop Tango, Theme Group D, Phrase D/d', G#-B-G Trichord
&
&
?
41
Phrase D/d'Motive C
œ
7
®
œb
>
œ. œ.œ#^ œn^
œb
^
5
œ^
œb
>
œ
7
œ
œn
>
œn.œ#.
œ#
v
œn
v
œn
v
∑
∑
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
The second primary motive of the Be-Bop Tango is rhythmic and consists of a rapidly
executed septuplet followed by a dotted eighth-note triplet figure; it is labeled Motive B
(Example 3.17). It is constructed using transposed statements of Motive C and Motive A, both
of which are interrupted by either a skip of a minor third or a leap of a diminished fifth. The first
note of the septuplet, Ab, skips down a diminished fifth to D. Used as a pivot interval between
the previous chromatic pentachord (Motive A), and the following chromatic trichord (Motive C),
the tritone is followed by an ascending step of a major second and an ascending diminished
140
Example 3.17. Be-Bop Tango, Main Theme A, Phrase A/a, Melodic Construction
&
&
?
4
Motive A
Quality: N
Ó Œ ‰
œ
>œ
j
œœn
‰ j
œœ
‰
œœ
œj
œœ
‰
J
œ
œ
n
b‰
J
œ
œ‰
J
œ
œ‰œ
œ
5
Phrase A/aMotive B
Sequences
Pitch Center: Ab
C.T. voice-leading: Ab-G-F#
Motive A
Pivot Interval: Ab-D
N D N
3œ# j
œ
.
≈œ
.
œ
.
œ
.
œ
.
7
œb
œ œ
œbœn
œb
œn
3
.œ-
œ#
>
œ
>
œ
œœ
b
b
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
j
œœ
‰ œœ##
œ œ œ œ œ œ
J
œ
œ
#
n‰
œ
œ
n
6
w
ww
w
w
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
seventh, Ab-D-E-Db. This is another example of the Be-Bop Tango using Motive C in the
construction of the melodic line. The Db ascends by a skip of a major third to F, descends by a
leap of a major ninth to Eb, and then ascends by a leap of a major seventh to D (Db-F-Eb-D).
The septuplet is followed by a dotted eighth-note triplet figure. The D from the previous
septuplet ascends by step to E and then skips down a minor third to C#. When E is combined
with the previous four notes of the septuplet figure, Db-F-Eb-D, the resulting aggregate forms a
transposed statement (T = 2) of Motive A, Db-F-Eb-D-E.
The descending minor third on beat 4 of m. 5, E-C#, can be interpreted as an unfolding of
the thematically important minor third in the bass line in the tango vamp and introduction
(Example 3.18 and Example 3.12b). And although the C# at the end of A/a is accented, it does
not provide a feeling of finality due to its rhythmic position and function as a syncopation;
however, it does supply the necessary rhythmic dissonance between the regular tango pulse and
141
Example 3.18. Be-Bop Tango, Tango Vamp and Introduction, Unfolding Minor Third: Bass Line
?
4
4Measures: A-B
Tango Vamp
œ
C-D
Unfolding minor 3rd: Bass line
œb
1-2Tango Intro.
œ
3-4
œb
the syncopated melodic accent to propel the phrase forward to the next subphrase of the theme
group.
Concerning the harmonic structure of the first theme group, Ab is established in m. 5 as
the primary pitch center of the composition. The harmonic progression in mm. A-4 can be
interpreted as an unfolding of the dominant pitch center (Eb) to a perceived tonic (Ab) through a
sequential progression. Moreover, the opening vamp and introduction can be interpreted as a
harmonic anacrusis that leads to the main theme group in m. 5, where Ab is established as the
pitch center of the first theme group.
In terms of pitch centricity (or key center), Zappa stated that, "I don't like chord changes.
I like to have one tonal center that stays there, or possibly with a second chord that varies off the
main tonal center, and then I play around that." 15 This statement is essential in understanding
Zappa's harmonic procedures. In other works from this period, Zappa uses primary and
secondary tonal centers as well. According to James Grier, "the harmonic structure of Dog
Breath (1969) is actually less complex than the style it parodies, reciprocating between only two
chords in each section: tonic and dominant in the first section, and subdominant and dominant in
the second section."16 In the Be-Bop Tango, Ab is the main tonal center.
15 James Rotondi, "My Guitar Wants to Kill Your Mama: Frank Zappa's Lethal Axe,"
Guitar Player, October 1995, 75.
16 James Grier, "The Mothers of Invention and Uncle Meat: Alienation, Anachronism anda Double Variation," Acta Musicologica, 73 (2001): 87.
142
The first sonority in m. 5, Ab-C-D-Eb (or an Ab major triad with a raised fourth (N-12,
vector [1 1 1 1 1 1])), is the most important sonority in the Be-Bop Tango; it is used as the home
key area. In phrase A/a (see Example 3.17), the raised fourth (D) is located in the bass voice
while the remaining members of the Ab major triad are placed in second inversion. The raised
fourth can be analyzed as a common tone (C.T.) held over from the previous Bb major triad with
a raised fourth, Bb-D-E-F. The Ab in the top voice of the piano resolves to G on beat three of m.
5, while the C in the tenor voice resolves to B in the bass. The G on beat 3 of m. 5 resolves
down to F# on beat 4, while the Ab is held as a common tone between the two sonorities. The B
ascends by a minor second to C. Displaced by register, the motion from C to B to C can be
analyzed as a lower chromatic neighbor embellishment.
Additionally, when the Bb major triad, Ab major triad, and their respective raised fourths,
E and D, are combined they form an Ab Lydian collection, but if the Bb is analyzed as the
starting pitch, a Bb Mixolydian collection results. This double interpretation of the bi-modal
relationship can be clarified when the harmonic structure and melodic line of the passage is
examined in context. Since Ab appears usually at the beginning of major theme groups,
analyzing the collection as Ab Lydian seems to be the better of the two readings.17
Concerning the chord progression in m. 5, the root movement descends by semitone from
Ab to G to F#, while in the bass voice a G# diminished triad is arpeggiated. The root of the triad
continues to accentuate the centricity of the theme area, Ab. However, the goal of the
descending progression is F, the root of the harmony that begins the second phrase of the first
theme group, A/b. This four-note chromatic descent in m. 5 and m. 6, Ab-G-F#-F, continues to
17 All of the pitch collections mentioned in this analysis are referential and do not imply
traditional voice-leading.
143
emphasize the beginning four-cell motive used in the tango vamp and introduction and the first
four notes of the main theme, F-E-Gb-G.
When the final chord of A/a (G#-C-F#-A#) is combined with the E in the melody a whole
tone segment is formed, E-F#-G#-A#-C; however, the E can be analyzed as an escape tone that
resolves to C#. The resulting harmony propels the music forward due to the dissonance that
occurs between the C-C# semitone dyad and C-F# tritone. Resolved in m. 7, the C# in the
melody descends by semitone to C, while the F# in the piano resolves to F-natural, the secondary
pitch center of the theme group.
Main Theme A, Phrase A/b
The transition from phrase A/a in mm. 5-6 to phrase A/b in m. 7 is achieved by the use of
the descending semitone gesture described above (Example 3.19). Beginning on the downbeat
Example 3.19. Be-Bop Tango, Main Theme, Transition from Phrase A/a to Phrase A/b
&
&
?
5
Phrase A/a
3œ# j
œ
.
≈œ
.
œ
.
œ
.
œ
.
7
œb
œ œ
œbœn
œb
œn
3
.œ-
œ#
>
œ
>
œ
œœ
b
b
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ
œœ
j
œœ
‰ œœ##
œ œ œ œ œ œ
J
œ
œ
#
n‰
œ
œ
n
6
w
ww
w
w
7
Phrase A/b
7
œn œb œ œœb œ œ
3
œ
œb
.œnœ#
3
œ
j
œn œ
j
œœnb
‰ j
œœn
‰
œœ..œœ œœ
œœ
j
œ
œ
#‰
J
œœbn
‰
œ
œ#
.
.
œ
œnœ
œ
b
b
œ
œ
semitone descent
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
of m. 7, the second phrase of the main theme, A/b, continues to explore the septuplet and eighth-
note triplet figure from Motive B in m. 5 (Example 3.20).
When the first seven notes of the septuplet, C-Bb-C-Db-C-Bb-C, are analyzed in
conjunction with the accompanying piano chord, A-F#-Eb-F, they form a diatonic collection
144
Example 3.20. Be-Bop Tango, Main Theme A, Phrase A/b
&
&
?
7
Phrase A/bTritone: B-FMotive D Motive C
C-Db-Eb-F-Gb-A-Bb
7
œn œb œ œœb œ œ
3
œ
œb
.œnœ#
3
œ
j
œn œ
j
œœnb
‰ j
œœn
‰
œœ..œœ œœ
œœ
j
œ
œ
#‰
J
œœbn
‰
œ
œ#
.
.
œ
œnœ
œ
b
b
œ
œ
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
based on the Bb harmonic minor scale starting on C; the F# is respelled as G. During the course
of the analysis, any partial diatonic collection used in the construction of the theme groups will
be considered a secondary motive and labeled Motive D. In the example above, Motive C is
circled and Motive D is identified with a bracket.
Starting on beat 2 of m. 7, the final two notes of Motive D, C-Bb, are followed by a
descending leap down of an augmented octave to B-natural. The C-Bb-B trichord is followed by
the last sixteenth-note of the triplet figure, G#, which descends by a skip of a minor third and is
followed by a descending augmented second (B-G#-F).
As mentioned earlier in the analysis, the interval of a tritone plays an important part
within the motivic character of the main theme and ensuing thematic variations and episodes. In
the preceding example, the B-natural is emphasized by its dotted rhythmic value and its position
in the descent of Motive C. When B is taken in conjunction with the last note of the melodic
phrase, F (the G# is analyzed as a non-essential melodic tone), they form a tritone, B-F. In
addition, the ascending leap of a minor ninth from C to Bb and the descending leap of a
145
diminished octave (or respelled as a major ninth) on beat 2 of the measure recall the motives
used in m. 5.
Main Theme A, Phrase A/b'
The third phrase of the main theme, A/b', starts on beat four of m. 8, and is considered an
extended alteration of the previous b phrase (Example 3.21).
Example 3.21. Be-Bop Tango, Main Theme A, Phrase A/b'
&
&
?
Phrase A/b'
8
NQuality:
Ó Œ
7
œnœb œœ œb œœ
3
‰ œœœ# œœn#Œ Œ
œœnb
3
‰œ#
œœnn
Œ Œœ
œ
#
Motive C
9Motive A, Expanded, T = 3
N
œ
œb
.œn œœ#œ# œ .œn .œ œ
wwn
wwb#
10
Cadential Ext.CD
P4
.œn
J
œb
>
˙
.
.
œ
œ
#
#
j
œœ˙˙˙
J
œn
.
.œœJ
œ ˙
11
˙Ó
˙˙
˙
Ó
˙
Ó
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Extended by rhythmic augmentation, the rhythm of the phrase has been changed from a
septuplet followed by two consecutive eighth-note triplet figure in phrase A/b to a septuplet
followed by eighth-note and sixteenth-note figures in A/b'. Moreover, the septuplet on beat 4 of
m. 8 is an exact replication of the septuplet used on beat 1 of m. 7.
The septuplet in m. 8 is followed by a quick thirty-second grace-note figure, C-Bb-B,
which emphasizes the importance of B-natural in the voice-leading. The septuplet and grace-
note figures are followed by a statement of Motive C, G#-A#-G. When the trichord is combined
with the preceding thirty-second note figure, all six notes are transformed into an extended
statement of Motive A, transposed up a minor third, C-B-Bb-G#-A#-G. The G is prolonged and
146
ascends by a leap of a minor seventh to F, which is followed by a skip of a descending major
third to Db. At this point in the thematic analysis, it will be necessary to respell Db as C#. This
will assist in the clarification of the thematic and intervallic relationship that exists between the
antecedent ending of phrase A/a and the consequent ending of phrase A/b'.18
When the final note of each of the three phrases of the main theme, A/a, A/b, and A/b' are
analyzed, they form a Db-F-Db cell (the C# at the end of A/b' is respelled as Db). The Db-F dyad
emphasizes a major third (or respelled as a diminished fourth, C#-F) structure (Example 3.22).
Example 3.22. Be-Bop Tango, Main Theme A, Phrase Endings, Dyad Relationship
&
&
&
4
4
4
4
4
4
Phrase A/a
m. 5
C#-F Dyad
minor third
Phrase A/bm. 7
minor third
Phrase A/b'm. 8
Db-F Dyad
3œ# j
œ
.
≈œ
.
œ
.
œ
.
œ
.
7
œb
œ œ
œbœn
œb
œn
3
.œ-
œ#
>
œ
>
7
œn œb œ œœb œ œ
3
œ
œb
.œnœ#
3
œ
j
œn œ
œ
œb
.œn œœ# œ# œ .œn .œ œ
major third
w
.œn
J
œb
>
˙
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
The use of a major third at the end of the A/b' not only emphasizes the importance of the quality
of the third, but also the significance of the intervallic relationship between the last two notes in
A/a and A/b; a minor third is used as the final interval in phrases A/a and A/b (E to C# and G#/Ab
to F, respectively), and a major third is used at the end of phrase A/b' (Db-F). In addition, the
interval of a third is emphasized within two levels of the thematic structure; on the micro-level,
18 The terms antecedent and consequent will be used to define phrases that when
combined they form a related musical unit, thematic group, or musical period.
147
between the final two notes of each phrase, and on the macro-level, between the separate phrases
of the main theme group. As seen in the previous example, when the final note of all three
phrases are combined they form the interval of a major third, Db-F (C# is respelled as Db).
Further addressing issues of harmony and pitch centricity, F serves as the new pitch
center in A/b and A/b' (Example 3.23). Starting in m. 7, F is embellished and prolonged by a
Example 3.23. Be-Bop Tango, Phrase A/b and Phrase A/b', Root and Bass Reduction
&
?
&
?
7
Bass Line Reduction
Root Movement Reduction
( )
j
œœnb
‰ j
œœn
‰
œœ..œœ œœ
œœ
j
œ
œ
#‰
J
œœbn‰
œ
œ#
.
.
œ
œœ
œ
b
b
œ
œn
˙ œ#
œ
œ
œ œ#œb
8
( )
3
‰ œœœ# œœn#
Œ Œ
œœnb
3
‰œ#
œœnn
Œ Œœ
œ
#
œ
œn ˙
œ# œn
œ
9
wwn
wwb#
œb
œ#
10
( )
.
.
œ
œ
#
#
j
œœ˙˙˙
J
œn
.
.œœJ
œ ˙
œœœ
œ
œ
11
˙˙
˙
Ó
˙
Ó
œ
∑
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
move from F#-C-B. The B descends on beat 1 of m. 8 to F. During the prolongation of the pitch
center, the bass voice embellishes F by its upper chromatic neighbor F#. The root and bass voice
unite on the last eighth-note triplet of beat 1 of m. 8 and re-establish F as the goal of the
progression.
In the third phrase of the main theme group, A/b', the root progresses from a minor third
to an augmented fifth (or minor sixth) to a major second, F-Ab-E-D, is unusual due to its
unpredictable movement. Moreover, if the root of the chord, Ab, in m. 9 is respelled as G#, the
natural voice-leading of the line is emphasized.
148
The bass voice in mm. 7-10 can be interpreted as an interrupted line that conforms to
traditional tonal voice-leading procedures. Starting in m. 7, the bass line moves from A-F#-F
and is interrupted by a return to A on beat 4 of m. 8; the F# is a type of appoggiatura embellish-
ment. In mm. 8-11, the bass line is repeated, but during this occurrence, instead of F# returning
to F, the F# progresses to E then to A, thus completing the interruption. If the E is considered
the dominant of the bass line, this motion described above can be interpreted as an adjusted tonic
to dominant relationship.
Concerning issues of chord quality, the sonority F#-Ab-D-E (N-9, interval vector [0 3 0 2
0 1]) in m. 9 progresses to D#-E-F#-G (D-26, vector [2 1 2 1 0 0]) in m. 10 (see Example 3.21).
The second sonority is categorized as one of the most dissonant in the piece. Identified as two
interlocking minor thirds, the sonority resolves on beat 2 of m. 10 to a G major triad with a major
second (C-2, vector [0 2 1 1 2 0]), which according to the harmonic continuum is identified as
one of the most consonant chords in the work. Because of its position in the phrase and the
perfect fourth in the bottom voices, this chord is classified as a cadential chord. Although it is
embellished by an upper neighbor (E) in the tenor voice on beat 3, the two chord structures are
consonant in context. The final two measures of the phrase (mm. 10-11) serve as a cadential
extension.
Thematic Variations and Episodes
The variations and episodes that follow theme group A comprise mm. 12-44 and are
improvisational in character. As one can infer from the title of the work, a reference towards a
specific type of jazz is alluded to, one that focuses on virtuosic improvisation and modernist
compositional methods. However, the combination of precisely written musical notation and
149
interviews conducted with Zappa's touring musicians attest to the authenticity of an actual
written out, non-improvised score.19
The Be-Bop variations and episodes are subjected to various methods of cellular
manipulation and motivic development including:
1. Rotation/Permutation procedures
2. Registral displacement
3. Transposition
4. Extension of motivic materials by rhythmic augmentation and diminution
5. And the combination of each of the previous methods.
These five methods will be examined during the course of the analysis.
Concerning issues of thematic construction, the variations and episodes follow some
general guidelines.
1. Generally, Motive A is used as the primary source for motivic development. Registral
displacement is used to vary the contour of the melodic line and does not hinder the perceived
unity of the thematic material.
2. Statements of Motive A and Motive C are usually followed by ascending or
descending skips and leaps of a major or minor third, diminished fourth, tritone, augmented fifth,
minor sixth, or their compound equivalents.
3. Rotational procedures are used frequently in the Be-Bop Tango variations, specifically
the use of cellular permutation, and will be discussed in the following analysis.
4. The minor second, minor third, major third, and their corresponding compound
intervals, predominate as the intervals used between the final two notes at the end of phrases.
19 Humphrey, Interview
150
Variation A1
In the original published score, theme group A is followed by five and one-half beats of
silence before the entrance of the first variation, A1. However, on all three recordings of the Be-
Bop Tango percussion fills are inserted into the written rests, either improvised by the
percussionist or written out by Zappa;20 the written rests in the score assist in the identification of
structural divisions within the work.
Starting on the last eighth-note of m. 12, the first variation of the main theme is presented
(Example 3.24), and is labeled A1. It is subdivided into three separate phrases: a consists of mm.
12-14; a-b consists of mm. 15-16; and c consists of 17-19. Measures 15-16, or subsection a-b,
can be further divided into two smaller subsections, a equals mm. 15-15.2; and b equals mm.
15.3-16 (Figure 3.2).
Section Subsections MeasuresA1 12-19
a 12-14a-b ------ 15-16
a - 15-15.2b - 15.3-16
c 17-19
Figure 3.2. Formal Outline of Variation A1
20 A fill is a jazz or popular music term used to describe improvised drum patterns
between musical phrases. Don Michael Randel, The New Harvard Dictionary, ed. Don MichaelRandel, s.v. "Fill" (Cambridge, MA: The Belknap Press of Harvard University Press, 1986), 305.
151
Example 3.24. Be-Bop Tango, Variation A1
&
&
?
Variation A1a
12f
Ó Œ ‰
œ
>œ
∑
∑
13
Tango - Rhythmic Inversion
fp p Ï
. .œ# œ>
. .œ œ
>
. .œ œ>
œ œ œ
.
œ
.
œ
.
‰
j
œ
œœ
b
b
‰ j
œœn
‰
j
œ
œœb
‰ j
œœn
‰
J
œ ‰
J
œ
œb‰
J
œ ‰
J
œ
œn
14
6
œ
>
œb œ œ
œ
>
œ
6
œœb
œ
> œ
œb
œn˙n
œœb œ
œ#
3
Œ œ
œœ
b
b œœn
œ
œb
œ
œ
b
n
3
Œ œœ
œb
&
&
?
a-b
15Ï
a b
≈
œn
œ œ#
6
œ#^
œ
œnœ
œb
œb
7
œ
^
œb œ œœ^
œ œ
.œ
œ
œ#
œ
œœ
b
b
Œ Œ ‰ j
œœn
.
œ Œ Œ ‰
J
œ
œb
.
166
œ
œn
œ#>
œ#œn>
œb
6
œ
œb
œ>
œ#
œ
œn>
˙b
Ó
3
Œœ
œœ
œœbb
Ó
3
Œ œ#œ
œ
n
&
&
?
c
17F ƒ
‰
J
œœ œ#
3
œ#j
œ
. .œœn
œ
˙
˙˙
3
Œ Œ
œœbb
˙#
3
Œ Œ œ
œ
18F ƒ
3
œn
j
œb
œ
œ œ
®œb œb
œn
3
œnj
œ
. .œ# œn
œ
œœb
‰
j
œ
œœ# ˙
˙
œ
œ
#
b‰
J
œ#
˙
˙
#
n
19
wb
wwn
w
w
#
#
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
152
The first phrase of variation A1 is non-transposed and uses rhythmic augmentation to
vary Motive A (Example 3.25a and 3.25b). The third and fourth notes of the motive, F# and G,
are prolonged by rhythmic augmentation and melodic embellishment. The rhythms have been
changed from sixteenth-notes to double dotted eighth-notes plus thirty-second quasi-grace notes.
Example 3.25a. Be-Bop Tango, Variation A1, Prolongation and Permutation
&
&
?
12
Variation A1/a
Ó Œ ‰
œ
>œ
∑
∑
13 Motive A
F#/G Prolongation
Pitch Center: Ab
. .œ# œ>
. .œ œ
>
. .œ œ>
œ œ œ
.
œ
.
œ
.
‰
j
œ
œœ
b
b
‰j
œœn
‰
j
œ
œœb
‰j
œœn
‰
J
œ ‰
J
œ
œb‰
J
œ ‰
J
œ
œn
14
G Ext.
E/Eb Rot.F Ext. D/Eb Rot.F/Db Rot.
E Ext.
B Dim. Triad6
œ
>
œb œœ
œ
>
œ
6
œœb
œ
> œ
œb
œn˙n
œœb
œœ#
3
Œ œ
œœ
b
b œœn
œ
œb
œ
œ
b
n
3
Œ œœ
œb
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Example 3.25b. Be-Bop Tango, Main Theme A, Phrase A/a
4.2 5 6
& 4
4Œ ‰
œ
>
œ
3œ# j
œ
.
≈œ
.
œ
.
œ
.
œ
.
7
œb
œ œ
œbœn
œb
œn
3
.œ-
œ#
>
œ
>
w
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
The melody in the first complete measure of variation A1 is accompanied by a rhythmic
inversion of the opening tango, which has been inverted so that the chords attack on the upbeat
rather than the downbeat.
The second half of the first phrase of A1 illustrates the use of developmental pitch
procedures. Beginning on the downbeat of m. 14, the first note of Motive B (G) is prolonged by
153
Ab. In the original theme, Ab is used as the beginning pitch of Motive B, but in variation A1 it
acts as an upper neighbor to G; the prolonged G descends by a leap of a perfect fourth to D and
ascends to E.
Concerning the development of the motivic material, the use of rotational procedures in
variation A1 begin on beat 2 of m. 14. When the second sextuplet of m. 14 is compared to m. 5
of the main theme, the Db and F have reversed their positions and are followed by an interrupted
prolongation of the previous E on the last sextuplet on beat 1. The E ascends by a leap of a
minor ninth to F, which is prolonged by the interruption of Db and E on the second and third
sextuplets of beat 2. This is another example of an interrupted prolongation; however, F and the
intervening Db are rotated out of their original position and when F returns it appears in its
original position in the main theme.
As can be seen in the example above, F is followed by Eb and D, but instead of ascending
by step to E and then skipping down a minor third to C#, as in the main theme, the D descends
by a leap of a minor third to B. If the Eb on the fifth sextuplet of beat 2 is treated as a non-
essential melodic tone, the successive skips of a minor third in the upper voice, F-D-B, form a
descending B diminished triad, which further emphasizes the interval of the tritone.
Additionally, the arpeggiation of a diminished triad fills in the tritone used at the end of the
second phrase in the original theme, A/b. Throughout the Be-Bop Tango, the melodies in the
main theme groups are subject to transposition and pitch permutation procedures.
Concerning issues of harmony in variation A1, Ab is re-established as the main pitch
center. The direct root modulation by a tritone in mm. 11-13 (D to Ab) is softened by the
intervening rests in m. 12. In the first phrase of A1, the root oscillates between Ab and Bb. The
harmonic goal of the phrase is Eb which occurs on beat 2 of m. 14; it is embellished by the E-
154
natural (Example 3.26). The example below illustrates the implied root motion of the harmony in
the first phrase of variation A1. Interpreted as the dominant of Ab, or the subdominant of Bb
Example 3.26. Be-Bop Tango, Variation A1/a, Implied Root Motion
&
?
?
13
Pitch Center: Ab
Implied Root Motion
‰
j
œ
œœ
b
b
‰ j
œœn
‰
j
œ
œœb
‰ j
œœn
‰
J
œ ‰
J
œ
œb‰
J
œ ‰
J
œ
œn
œb œb
14
œœb œ
œ#
3
Œ œ
œœ
b
b œœn
œ
œb
œ
œ
b
n
3
Œ œœ
œb
œ œb
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
(depending on the listener's perspective and the location of the tonal center), Eb is analyzed as
the dominant and the incomplete cadential counterpart of Ab.
The transition from the first phrase to the second phrase in variation A1 involves an
implied melodic descent from the last note of the first phrase, B, to the first two notes of the
second phrase, A and G (Example 3.27). The first two notes of the implied descent (B and A)
Example 3.27. Be-Bop Tango, Variation A1, Implied Descent between A1/a and A1/a-b
&
&
?
14
2nd Half, Phrase A1/aImplied Descent
6
œ
>
œb œ œ
œ
>
œ
6
œœb
œ
> œ
œb
œn˙n
œœb œ
œ#
3
Œœ
œœ
b
b œœn
œ
œb
œ
œ
b
n
3
Œ œœ
œb
15
Variation A1/a-b
( )≈
œ
œ
n
œœ#
6
œ#^
œ
œn^
œ
œb
œb
7
œ
^
œb œœ œ^
œœ
.œ
œ
> œ#
œ
œœ
b
b
Œ Œ ‰ j
œœn
.
œ Œ Œ ‰
J
œ
œb
.
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
155
are separated by a sixteenth-note rest and the interval of a minor seventh. The next event, a
descending leap of a major ninth from A to G in the second phrase, creates an important melodic
link between the three notes, B-A-G, and forms a cohesive melodic transition between the two
phrases. The transition emphasizes the importance of the interval of a ninth.
Variation A1, Phrase A1/a-b
The second phrase of variation A1, A1/a-b, begins with an altered statement of Motive A,
transposed up a major second (Example 3.28).21 It is subjected to registral displacement
procedures and is followed by a descending skip of a minor third from F to D. When the G# on
beat 2 of m. 15 is respelled as Ab and combined with F and D, all three notes form a D
diminished triad (indicated with a bracket).
Example 3.28. Be-Bop Tango, Variation A1, 1st Half of Phrase A1/a-b, Motivic Development
&
&
?
15
Variation A1/a-b
Motive A, T = 2 D Diminished Triad Motive C Motive D
≈
œn
œ œ#
6
œ#^
œ
œn^
œ
œb
œb
7
œ
^
œb œ œœ^
œ œ
.œ
œ
> œ#
œ
œœ
b
b
Œ Œ ‰ j
œœn
.
œ Œ Œ ‰
J
œ
œb
.
166
œ
>
œn
œ# œ#œn>
œb
6
œ
œb
œ>
œ#
œ
œn
˙b
Ó
3
Œœ
œœ
œœbb
Ó
3
Œ œ#œ
œ
n
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
The triad is followed by Motive C and an exact replication of Motive D; however, on last
septuplet of beat 3 the Bb leaps up a major seventh to A, instead of stepping up to C, as it did in
21 A dash between subsection letters indicates a passage that uses a combination of earlier
thematic material. The abbreviation T = 2 is used to indicate the material is transposed up twosemitones or a major second.
156
the main theme. The registral displacement of A on beat 4 interrupts the implied melodic
descent, from Bb to A to G.
The implied melodic descent from Bb to A in m. 15 continues into the second half of
A1/a-b (Example 3.29). Starting on the first thirty-second note on beat 4 of m. 15, the next three
notes (G, F, and F#) form a condensed statement of Motive A, thus completing the chromatic
descent, Bb-A-G-F-F#. The remainder of the phrase is constructed using four three-note
permutated statements of Motive A; the trichords are separated by leaps of a tritone and a major
third. Starting on the second sixteenth-note septuplet of beat 1, the B-A#-G# trichord can be
interpreted as a transposition of the implied descent from beat 4 of m. 15.
Due to its chromatic descent and displacement by register, the final three notes of A1/a-b,
C-B-Bb, lend the passage the impression of a definite ending. Although the last note of the
melodic phrase occurs on a strong metrical accent (beat 3 of the measure), any feeling of melodic
repose is negated due to the intervening harmonic progression in the piano part at the end of m.
16.
Example 3.29. Be-Bop Tango, Variation A1, 2nd Half of Phrase A1/a-b, Motivic Development
&
&
?
15
Variation A1/a-b 2nd Half
≈
œn
œ œ#
6
œ#^
œ
œn^
œ
œb
œb
7
œ
^
œb œ œœ^
œ œ
.œ
œ
> œ#
œ
œœ
b
b
Œ Œ ‰ j
œœn
.
œ Œ Œ ‰
J
œ
œb
.
16
3-note Motive A
6
œn
>
œn
œ#>
œ#œn
œb
6
œ
œb
œ>
œ#
œ
œn>
˙b
Ó
3
Œœ
œœn
œœbb
Ó
3
Œ œ#œ
œ
n
Implied Descent, T = 1
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
157
The accompanying harmonic progression in mm. 16-17 vacillates between two added-
note chords, a G major triad plus a raised fourth and an A major triad (Db respelled as C#) plus a
raised fourth (Eb respelled as D#) (Example 3.30). The A major triad with a raised fourth is an
upper neighbor chord and is label N.
Example 3.30. Be-Bop Tango, Variation A1, Phrase A1/a-b to A1/c, Harmonic Progressionand Transition
&
&
?
16
2nd Half, A1/a-b
Semitone descent
N6
œn
>
œn
œ#>
œ#œn
œb
6
œ
œb
œ>
œ#
œ
œn>
˙b
Ó
3
Œœ
œœn
œœbb
Ó
3
Œ œ#œ
œ
n
A1/c
17C.T.Transition
Chromatic Tetrachord
‰
J
œœ œ#
3
œ#j
œ
. .œœn
œ#
˙
˙˙
3
Œ Œ
œœbb
˙#
3
Œ Œ œ
œ
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
The progression is a transposed reiteration of the previous accompanying material in mm. 14 and
15, Ab-Bb-Ab (see Example 3.27).
As illustrated in the example above, the temporal position of the progression creates an
elided transition between phrases A1/a-b and A1/c. The final melodic note of A1/a-b (Bb)
ascends by a semitone to B-natural, the first note of A1/c. Although interrupted by an eighth-note
rest, the ascent is achieved due to the prolongation of B in the accompanying elided harmonic
progression, and is displaced by register. The first note of A1/c shares a common tone with the
third chord of the progression, a G major chord with a raised fourth. Furthermore, the
dissonance that is created in m. 16 by the placement of the Bb in the melody and B-natural in the
158
piano accompaniment provides a feeling of continuation and forward momentum, and leads to
phrase A1/c. 22
The extended elision of the accompanying figures at the end of mm. 14 and 16 renews
the drive and interest of the two preceding phrases in the variation. The melodic disparities that
exist between the two phrases, A1/a-b and A1/c, are counterbalanced by the elided harmonic
progression in the piano, thus creating a more seamless structure.
The bass line in mm. 13-15 and mm. 16-17 oscillates between a major third 15, D-Bb and
C#-A, respectively, and is a common occurrence in many of Zappa's works. In his analysis of
Zappa's The Black Page, James Borders states that, "the progression involves metrically
predictable alternations between two chords a minor third a part (G2 to Bb2)."23 In variation A1
of the Be-Bop Tango, we see the continued exploration of this type of harmonic motion.
Variation A1, Phrase A1/c
At first listening, phrase A1/c appears to be a new theme independent from the two
previous phrases, but upon further analysis it is shown to be a third development of the main
theme's motives. Due to its obvious difference in rhythm and contour, it is labeled A1/c.
The thematic construction of A1/c follows the same motivic design as the previous A1
themes (Example 3.31). It begins with a skip of minor third from B to D, which is the first note
of a condensed development of Motive A, transposed up a major sixth, D-C#-D#-E. The
22 The dotted lines serve to illustrate the interrupted melodic voice-leading between
melodic phrases and prolongation of the harmonic progression.
23 James Borders, "Frank Zappa's The Black Page: A Case of Musical ConceptualContinuity," Expression in Pop-Rock Music. Edited by Walter Everett (New York: GarlandPublishing, 2000), 146.
159
remainder of the phrase continues to develop Motive A and Motive C; each motive is separated
by a skip of a minor third.
Example 3.31. Be-Bop Tango, Variation A1, Phrase A1/c
&
&
?
Phrase A1/c
17Motive A, T = 9 Motive A, condensed
‰
J
œœ œ#
3
œ#j
œ
. .œœn
œ#
˙
˙˙
3
Œ Œ
œœbb
˙#
3
Œ Œ œ
œ
Motive C
18
3
œn
j
œb
œ
œ œ
®œb œb
œn
3
œnj
œ
. .œ# œn
œ
œœb
‰
j
œ
œœ# ˙˙
œ
œ
#
b‰
J
œ#
˙
˙
#
n
wb
wwn
w
w
#
#
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
The first altered statement of Motive A is followed by two condensed and transposed
statements of the motive, each separated by the skip of a minor third, E to C, and the leap of a
minor tenth, D to F, respectively. The third statement of Motive A is followed by a descending
skip of a minor third from G to E, which is the first note of a statement of Motive C, E-F#-F.
The last note of the trichord (F) leaps down a diminished fifth from F to B.
The main goal of the melodic descent in variation A1 is the Bb on the downbeat of m. 19.
If the last two thirty-second notes of m. 18, F and B, are analyzed as escape tones, the
descending leap from F# to Bb (or respelled as Gb to Bb), can be viewed as an elaboration on the
interval of a major third, however in this case, its inversion, a minor sixth is used. The last two
notes of all three phrases in variation A1 illustrate the unique voice-leading used in the Be-Bop
Tango (Example 3.32).
Structurally, variation A1 employs three phrases just like the main theme, and themati-
cally, the final two notes in each phrase of A1, and their corresponding intervals, perform a
160
Example 3.32. Be-Bop Tango, Variation A1, Phrase Endings
&
&
&
Phrase A1/a
Phrase A1/c
m. 12
Phrase A1/a-bm. 15
m. 17
Ó Œ ‰
œ
>œ
≈
œn
œ œ#
6
œ#^
œ
œn^
œ
œb
œb
7
œ
^
œb œœ œ^
œœ
.œ
œ
> œ#
‰
J
œœ œ#
3
œ#j
œ
. .œœn
œ#
minor second
F#/Gb - - - - - - - - - - - - - - BbDiminished Fourth/Major Third
Implied Step
m. 13
m. 16
m. 18
. .œ# œ>
. .œ œ
>
. .œ œ>
œ œ œ
.
œ
.
œ
.
6
œn
>
œn
œ#>
œ#œn
œb
6
œ
œb
œ>
œ#
œ
œ
œ
n>
˙b
3
œn
j
œb
œ
œ œ
®œb œb
œn
3
œnj
œ
. .œ# œn
œ
minor thirdm. 14
m. 19
6
œ
>
œb œ œ
œ
>
œ
6
œœb
œ
> œ
œb
œn˙n
wb
( )
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
similar function to the final two notes of the main theme. Starting on the last sextuplet in m. 14,
D skips down a minor third to B. This descent can be considered an incomplete cadence due
various factors including: the use of a minor third as the final interval of the phrase; the
continued rhythmic drive in the melody; and the intervening harmonic progression in the piano.
At the end of the second phrase of variation A1, B-natural resolves by leap, or an implied
half-step, to Bb. When compared to phrase A1/a, the stepwise resolution of B-natural to Bb at
the end of A1/a-b sounds like a point of repose, but as the music progresses the B acts as a pivot
note and chromatic lower neighbor between two adjoining phrases, A1/a-b and A1/c (see
Example 3.30).
The final phrase of variation A1 uses a composite of the voice-leading procedures that
were used at the end of A1/a and A1/a-b (Example 3.33). The second thirty-second note at the
end of m. 18 (B-natural) functions as a grace-note embellishment that revolves to Bb; the final
two phrases of variation A1, A1/a-b and A1/c, end on the same note, Bb. However, if F and B
are interpreted as escape tones, the descent from F# to Bb can be understood as an elaboration on
the interval of a major third which was used at the end of A1/a (for the sake of analytical clarity,
161
Example 3.33. Be-Bop Tango, Variation A1/c, Voice Leading
&
&
?
17
Variation A1/c
Pitch Center: C#NQuality:
‰
J
œœ œ#
3
œ#j
œ
. .œœn
œ
˙
˙˙
3
Œ Œ
œœbb
˙#
3
Œ Œ œ
œ
18Escape Tones
Altered Note: BbDN D
3
œn
j
œb
œ
œ œ
®œb œb
œn
3
œnj
œ
. .œ# œn
œ
œœb
‰
j
œ
œœ# ˙
˙
œ
œ
#
b‰
J
œ#
˙
˙
#
n
19
P4
C
wb
wwn
w
w
#
#
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
the F# is respelled as Gb). This use of the interval of a major third completes the intervallic
structure that was erected in the first two phrases of variation A1.
When the preceding example is analyzed in conjunction with Example 3.34 (page 163),
the first phrase of variation A1 uses a minor third, the second phrase uses a minor second, and the
third phrase uses a major third. The use of a major third as a melodic cadential interval negates
any sense of incongruity between the third phrase and the previous two.
Thematically, when the third phrase of A1 is combined with the two previous phrases and
their dissimilar thematic functions (A1/a acting as an antecedent and A1/a-b acting as a deceptive
consequent), A1/c can be considered the true consequent phrase of the theme group, thus
emitting a sense of completion. The Be-Bop Tango surprises the listener with the anticipatory
resolution of an antecedent phrase to a deceptive-consequent phrase, which eventually resolves
to the true-consequent phrase.
Additionally, the chord that accompanies the final note of A1/c, C#-F#-G-B (C-4, vector
[1 1 0 1 2 1]), is classified as a cadential sonority. It is constructed using a perfect fourth and a
162
major third, which are separated by a minor second. The perfect fourth in the piano and the
strong metrical placement of the last note of the melody reinforces the analysis of m.19 as a point
of repose.
When the root movement in A1/c, G-A-Bb-A-F#, is combined with the bass line, C#-A-
Bb-D#/Eb-D-C#, C# is established as the pitch center of the phrase, and is prolonged by
harmonic progression in mm. 17-19. Starting on the last quarter-note triplet in m. 17, the
sonority A-E-Db-Eb can be respelled as an A major triad with a raised fourth, A-C#-D#-E. It
completes the G-A progression begun in m. 16. The sonority ascends by parallel motion to the
next chord, Bb-F#-Eb-F, which is also similar in construction to the sonority used in m. 1 (A-F#-
Eb-F); however, the bass note has been changed from A to Bb. It can be construed that the
change was made so that the previous bass note (A) would not be repeated, thus creating a more
interesting bass line, albeit non-functional. Additionally, the altered bass line is symmetrical.
When the Bb is respelled as A#, it contains by minor seconds separated by a perfect fourth. (The
chord can be respelled as an Eb minor in second inversion with an added second, Eb-F-Gb-Bb.)
The third chord of the progression, D#-C#-Eb-A, can be respelled as A-C#-D#, and is
similar in construction to the first chord of the progression, minus the fifth of the chord. It
moves to a sonority consisting of D-G#-A-C#; due to its close spacing, interval content [2 0 0 1 2
1], and position in the phrase, this sonority is considered dissonant in quality. Respelled as an A
major seventh chord plus a perfect fourth (A-C#-D-G#), the chord descends by parallel motion to
C#-F#-G-B (C-4, vector [1 1 0 1 2 1]) in m. 19, and resolves the harmonic tension created in the
previous measure. Although the final sonority is closely spaced, the use of the perfect fourth in
the bass and tenor voice, the position of the chord at the end of the phrase, and the parallel voice-
163
leading from the previous chord provide the necessary criteria for classifying it as a complete
cadential sonority.
Concerning the bass line in mm. 16-19, it is similar to the implied root movement used in
mm. 13 and 14, and resembles a double neighbor embellishment (Example 3.34).
Example 3.34. Be-Bop Tango, Variation A1/a-b to A1/c, Piano Part, Reduction
&
?
?
16(Variation A1/a-b)
Ó
3
Œœ
œœ
œœbb
Ó
3
Œ œ#œ
œ
n
œ#œ
17A1/c
Pitch Center: C#
˙
˙˙
3
Œ Œ
œœbb
˙#
3
Œ Œ œ
œ
˙#œ
18
Double Neighbor
œœb
‰
j
œ
œœ# ˙
˙
œ
œ
#
b‰
J
œ#
˙
˙
#
n
œbœ# œn
19
wwn
w
w
#
#
˙#
Tango Variation: T120
j
œœb
‰ j
œœ
‰ j
œœ
‰
œœb
œ
j
œ
œ
#‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
œ
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
The parallel semitone modulation used in the root and bass lines in mm. 18 and 19, D-G#
to C#-F#, resembles a common jazz harmonic procedure called side-slipping. Side-slipping
involves a half-step movement either up or down from the established key center, and is intended
to sound like a grace note effect or passing chord.24 Although the chord progression in the
example above is not a literal replication of this process it resembles the procedure in effect.
Moreover, the chord progression in mm. 18-20 serves a dual function; it resolves the
harmonic tension in m. 18, and functions as a transition to the first tango variation, T1.
Concerning the transitory function of the progression, although C# is considered the primary
pitch center of the passage, the embellished extension of the root progression in mm. 17-19 (A to
24 David Liebman, A Chromatic Approach to Jazz Harmony and Melody (Rottenberg,Germany: Advance Music, 2001), 51.
164
C#) emphasizes the bass note (A) as a secondary pitch center. In the reduction above, the motion
from A to C# is repeated and elided from phrase group to phrase group. Thus, when the root of
the final sonority at the end of variation A1 (C#) progresses to the bass note of the first
sonority in the first tango variation in m. 20 (A), the movement sounds natural. Therefore, the
entire progression can be interpreted as an elaborate extension of the oscillating G-A progression
in mm. 16 and 17. This is reinforced further by the use of F# as a common tone between
variation A1/c and T1.
The harmonic progression in mm. 17-19 illustrates the Be-Bop Tango's use of functional
note substitution within an previously established sonority, and reinforces the argument that the
sonorities in the Be-Bop Tango are used as both functional harmonies and as predetermined pitch
cells that can be altered within any given musical situation.
First Tango Variation: T1
At the end of the A1/c, an altered version of the tango introduction is presented, however,
only mm. 1 and 3 from the opening tango (corresponding to mm. 20 and 21 in T1) are performed
and then repeated (mm. 22 and 23). Due to its structural contraction and oscillating harmonic
scheme, the altered tango reprise is labeled as T1 (Example 3.35).
Example 3.35. Be-Bop Tango, First Tango Variation: T1
&
&
?
Tango Variation: T1
20
∑
j
œœb
‰ j
œœ
‰ j
œœ
‰
œœb
œ
j
œ
œ
#‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
21
∑
j
œœn
‰ j
œœ
‰
œœ
œj
œœ
‰
J
œ
œ
n
b‰
J
œ
œ‰
J
œ
œ‰
J
œ
œ‰
22
∑
j
œœb
‰ j
œœ
‰ j
œœ
‰
œœb
œ
j
œ
œ
#‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
Variation A2
23
Ó
3
Œ
œ œ
œ
œn..˙˙œ
œ
œ
n
b
.
.
˙
˙
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
165
The return to the tango introduction assists in the determination that mm. 1-4 are truly an
introduction and not just an extension of the opening vamp in mm. A-D. In the opening tango,
the harmonic structure was interpreted as the unfolding of the dominant of the main pitch center
Ab (Eb to Ab). But since the tango vamp and the unfolding of Eb dominant are deleted in
variation T1, the subsequent root progression from F to B in mm. 20-23 makes the arrival on Ab
in m. 24 sound incomplete and lacking a forward goal. Although T1 begins on Ab, as did A/a
and A1/a, the parallel modulation from A1/c sounds somewhat haphazard and forced, as if the
progression still requires completion. This is further reinforced by the sudden juxtaposition of
the chaotic melodic material in variation A1 and the strict tango rhythms of T1. Both styles
provide the transition with a feeling of temporal and stylistic discontinuity.
Variation A2
Following the tango reprise, the second variation of the main theme group begins on beat
3 of m. 23 and is labeled A2. It is similar to the first variation; it is non-transposed and uses
rhythmic augmentation and rotational processes to develop and extend the phrase (Example
3.36).
In the example below, when the rhythmic structure of variation A2 is compared to the
rhythmic structure of the main theme (see Example 3.13), the rhythmic proportions of the first
two notes have been increased by two-thirds; the sixteenth-notes, F and E, have been changed to
quarter-note triplets. The intervals of an ascending leap of a major seventh (mm. 23-25, G to
F#), ascending minor seventh (mm. 26-27, D to F), and descending major ninth (F to Eb)
continue to be emphasized. Besides the exploration of compound intervals and the drastic
change in dynamics, the intervening eighth-note rest on beat 1 of m. 25, the repeated leap of a
major seventh, and the temporal disjunction it creates is reminiscent of the music of Edgar
166
Varèse. As was noted in chapter two Zappa was heavily influenced by the music of Varèse and
this variation is a clear example of this.
Example 3.36. Be-Bop Tango, Variation A2, Rhythmic Augmentation and RegistralDisplacement
&
&
?
Variation A2Motive A
23
Rhythmic Augmentation
f
Ó
3
Œ
œ œ
œ
œn..˙˙œ
œ
œ
n
b
.
.
˙
˙
24
Pitch Center: Ab
M7.˙# œ
œ
œ
œœ
b
b
œ
œœ
œ
œœ
‰
3
‰ œ
œœ
œ
œœ
3
œ
œœ
œ
œœ
œ
œœ
œ
œœ
œ œ œ ‰
3
‰ œ œ
3
œ œ œ œ
25
Episode B - elision
π
‰
œ# .œ
œ
œ
∑
∑
Motive B
26
Registral Displacement
m7
f
.˙
5
œ#
œ œ œ#
œ
Œ ≈ œ
œœ
b
b
œ
œœ
œ
œœ
Ó
Œ ≈ œ œ œ Ó
Low Cluster
27
M9
Anticipation
pfß pfß
3
œb
j
œ
.
7
‰
œ
>
‰
œ
>
œ
>
3
œ
j
œ
.
?
∑
Œ
Œ
*(The notation of the septuplet in m. 27 is incorrect. It should be notated as either a ratio of 7:8 or as 7 eighth-notes in the space of 4.)
C
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Just as Motive A led to Motive B in the first phrase of variation A1, the altered version of
Motive A in mm. 23-26 leads directly to Motive B, which is now reduced rhythmically to a
quintuplet followed by two eighth-note triplets and a septuplet in m. 26. The rhythmic
augmentation at the end of A2 lends the phrase an impression of a written ritenuto.
Concerning the motivic development of the variation, when variation A2 is compared to
the first phrase of the main theme group, the first three notes of the quintuplet (G#-D-E) are
transposed up an octave; C# (or its enharmonic equivalent Db) retains its original position. The
final note of the quintuplet (F) is transposed down an octave. The last two notes of Motive B (Eb
and D) are prolonged for four counts in m. 27. A sixteenth-note quintuplet and two eighth-note
triplet figures are used to extend the phrase and explore the implied voice-leading of the
descending melodic line. The distance of the minor ninth between Eb and D further accentuates
the pointillistic and angular character of the thematic material and leads directly to episode B.
167
Addressing issues of harmony, Ab is re-established as the main pitch center of A2. The
initial Ab major triad with a raised fourth is prolonged for three measures, however, the expected
harmonic progression that was established in the main theme group (m. 5: Ab-C-D-Eb to B-G#-
F-G), and variation A1 (m. 13: Ab-C-D-Eb to Bb-D-E-F), is supplanted by the overriding voice-
leading in the melody. Accompanying the last two notes of the phrase, the bass line in mm. 26
and 27 descends by step from D to C and is mirrored in the melodic line, Eb to D in m. 27.
The tone cluster in m. 27 foreshadows its use episode B, where it is explored further. 25
Although the bottom note and the inner sonorities of the tone cluster are indeterminate in pitch,
the top note of the cluster is indicated as C, and can be interpreted as the superimposed,
anticipatory goal of the voice leading in mm. 27-28, Eb to D to C; the actual cadence occurs on
the downbeat of m. 28 (Example 3.37).
Example 3.37. Be-Bop Tango, Episode B, Clusters
&
&
?
Low Cluster
Variation A2Episode B
Pitch Level: C
27
pfß
pfß
3
œb
j
œ
.
7
‰
œ
>
‰
œ
>
œ
>
3
œ
j
œ
.
∑
Œ
Œ
28
∑
∑
7
––––
≈ ––––
≈ ––––
––––
≈
3
Œ ––––
––––
29
∑
∑
7
––––
≈ ––––
≈ ––––
––––
≈
3
Œ ––––
––––
Drum Fill
30
∑
∑
j˚
––––
‰ . Œ Ó
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
25 A tone cluster is any closely spaced collection of three or more pitches that are related
by an interval of a second and are sounded simultaneously. David Cope, New Directions inMusic, 7th ed. (Prospect Heights, IL: Waveland Press, 2001), 50-51.
168
Measures 28-30 continue to explore the sonic brutality of the indeterminate tone clusters.
Yet, because of the passage's obvious function as a contrasting section and its use of twentieth-
century avant-garde piano techniques it is labeled episode B. The clusters were foreshadowed
not only in m. 27, but also in the triplet interjection between A/a and A/b1 in m. 12 and in the
extreme chromaticism in m. 14. The septuplet rhythms are derived from the septuplet figure in
m. 5.
Although not specifically identified by Zappa as a musical quotation, the rhythmic figure
in mm. 28-29 sounds similar to a recurring brass figure that appears in the composition "Trio and
Group Dances" from Charles Mingus's album The Black Saint and the Sinner Lady (1963)
(Example 3.38).26
Example 3.38. Charles Mingus, Trio and Group Dances, Rhythmic Figure
?
÷
4
4
4
4
4
3
4
3
Floor TomDrumset
CD Track Timing: 4:25
∑
wæ
String Bass
4:29 + 11:27
œb œ œ œ &
œ
>
Œ Ó
Brass + SaxophonesAb7ÿ ÿ ÿ ÿ ‰ Œ
U
?
ÿ ÿ ÿ ÿ ‰ Œ
U
Mingus's gesture in "Trio and Group Dances" appears unobstructed in its formal
positioning. Its importance as a structural signpost within the seemingly open-ended
improvisations and composed episodes makes the gesture a strong musical anchor that the
surrounding passages can adhere to.
26 Charles Mingus, The Black Saint and the Sinner Lady, Impulse AS-35, 1963,
phonograph; and Román García Albertos, The Hook, 1999, [online], available from http://globalia.net/donlope/fz/songs/The Hook.html, 1 January 2003.
169
It is uncertain if Zappa had access to The Black Saint and the Sinner Lady before or
during the composition of the Be-Bop Tango, but it is well documented in his personal writings
and compositions that he was quite familiar with the creative endeavors of certain bebop and
avant-garde jazz composers, including Charles Mingus, Thelonious Monk, and especially
Ornette Coleman and Eric Dolphy. In addition, Zappa employed jazz musicians in his touring
ensembles and recording projects, and several of his compositions use titles that make references
to jazz music and specific jazz composers.27 Therefore, it may be construed that Zappa knew of
the Charles Mingus recording and may have consciously or unconsciously used this material as a
quotation (or as a subconscious allusion) in his own work.
After further analysis of episode B, formally, it serves a triple purpose. First, it is used as
a contrasting section between variation A1 and theme group C. It explores musical concepts
associated with the post-World-War II avant-garde including indeterminate cluster notation and
quotation.
Secondly, the top note of the tone clusters acts as the goal of the descending voice-
leading line that started in variation A2 (Examples 3.39). Starting in m. 27, the musical line
descends from Eb to D in the melody. Displaced by register, the line then descends to C, the top
note of the cluster. Each pitch in the implied descent is displaced by an octave.
The third and final function of episode B involves a modulation of timbre (Example
3.40). In mm. 27-30, as the melodic line descends in pitch, the overall timbre changes as well.
27 Zappa's ensembles featured many jazz musicians such as keyboardist George Duke,
violinist Jean Luc Ponty, trumpeter Tom Fowler, trombonists Bruce Fowler and Tom Malone,vibra-phonist David Samuels, and saxophonists Mike Brecker and Lou Marini; Frank Zappa andThe Mothers of Invention, "Eric Dolphy Memorial Barbecue," Weasels Ripped My Flesh, USBizarre RSLP 2028, 1970, phonograph; Frank Zappa, Jazz From Hell, US Barking Pumpkin SJ74207, 1987, compact disc; and Frank Zappa, Make a Jazz Noise Here, Zappa RecordsCDDZAP 41, 1991, compact disc.
170
Example 3.39. Be-Bop Tango, Variation A2 and Episode B, Voice-Leading
&
&
&
melody27
Implied voice-leading
Reduced voice-leading
a)
c)
b)
3
œb
j
œ.
7
‰
œ
>
‰
œ
>
œ
>
3
œ
j
œ.
?
œb
œ
?
œb œ
piano28
7
––––
≈ ––––
≈ ––––
––––
≈
3
Œ ––––
––––
œ
œ
Example 3.40. Be-Bop Tango, Episode B, Timbral Modulation, Reduction
27 28 29 30
&
Melody
3
œb
j
œ.
7
‰
œ
>
‰
œ
>
œ
>
3
œ
j
œ.
?
Piano7
––––
≈ ––––
≈ ––––
––––
≈
3
Œ ––––
––––
7
––––
≈ ––––
≈ ––––
––––
≈
3
Œ ––––
––––
Percussion Fill
j˚
––––
‰ . Œ Ó
The descending modulation in Example 3.40 progresses from: the use a pitched melody (the Eb
and D in the melody); to indeterminate masses of pitch (the tone clusters); and to non-pitched
improvised percussion in m. 30. The descent from pitch to non-pitched timbres in the passage
illustrates Be-Bop Tango's convincing use of timbral modulation, and assists in the division and
identification of major phrase groups.
Addressing issues of instrumentation, the addition of improvised non-pitched percussion
material at the end of episode B in m. 30 acts as a transition to theme group C. On both record-
ings from the 1970's ad libitum percussion parts were used to provide rhythmic interest and add
to the overall excitement of the work; however, in the chamber orchestra score the percussion
parts are notated exactly. This issue will be addressed in chapter four.
171
Theme Group C
Measures 31-37 can be seen as the continued development of the main theme. Due to the
contrasting melodic contour and rhythmic character between this theme group and earlier varia-
tions it is labeled as theme group C (Example 3.41).
Example 3.41. Be-Bop Tango, Theme Group C
&
&
?
31
Theme Group Cc
5
≈
œ#
œœœ#
5
œ#
œ#
œn
œ
œn
7
œb
® œn ®œ
œ
œb
6
œ œb œ œn
œ
œ#
www##
w
32
Deceptive cadence
7
œnœn œœ
œb œb
œb ˙ Œ
j
œœœ
#
##
‰
.
.˙
˙
n
J
œn
‰
.
.˙˙bb
33
c'
5
≈
œ#
œ œ#
œ
5
œ#
œœ#
œ
œn
3
‰ œn œn
5œb
œ
œ#
‰
.
.œ
œ
j˚
œ
œ
‰ . ≈
œ
œ
œ
œ
œ
œ
‰
.
.œœbb
J
œœ
‰ . ≈
œœœœœœ
&
&
?
347
œnœœœ œ œ œb
6
œb
œ œ œ
œ
œ œ
. .œ œ
w
w
ww
35
Extended suspension
ƒ
œb
. .œn
>
œ
≈
œ
>
œ
>
œ.œ
>
œ
w
w
ww
36
anti-climax
p
w
wwb
w
w
#
37
ResolutionCommon-tone
Ï
w
˙˙#˙˙n
˙
˙
#˙
˙
n
b
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
It is the longest theme group in the composition and is subdivided into two separate
phrases: c consists of mm. 31-32; and c' consists of mm. 33-37 (Figure 3.3).
172
Section Subsections Measures C 31-37
c -31-32 c' -33-37
Figure 3.3. Be-Bop Tango, Formal Outline of Theme Group C
The melody in the first phrase of theme group C begins on G#, the enharmonic equivalent
of the first note of Motive B in the main theme, Ab (Example 3.42). Descending by an
augmented fourth to D, the resulting tritone is followed by four altered statements of Motive A
and Motive C. Each statement is separated by either a leap of a minor third, its compound
equivalent, or a tritone, and is expanded or contracted for developmental purposes; the individual
pitches of the cell are displaced by register. The addition of skips of compound intervals between
members of the four-note cells and the increase in rhythmic complexity further alters the
thematic material from the previous variations. Conversely, as the rhythmic complexity of the
Example 3.42. Be-Bop Tango, Theme Group C, Phrase C/c
&
&
?
Motive B
Motive A
Motive CMotive C
M6 M7/m2
B Dim.
Phrase C/c
Motive A
Quality: D
31
Voice-leading: D-C-Bb
5
≈
œ#
œœœ#
5
œ#
œ#
œn
œ
œn
7
œb
®œn® œ
œ
œb
6
œ œb œ œn
œ
œ#
www##
w
Motive D
M6 m2
P4, Inner Voices
N C
32
7
œn œn œ œ
œb œb
œb ˙ Œ
j
œœœ
#
##
‰
.
.˙
˙
n
J
œn
‰
.
.˙˙bb
DeceptiveCadential Figure
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
melody increases, the harmonic and rhythmic complexity of the piano decreases, which further
enhances the frenetic activity of the melodic line.
173
Starting on beat 4 of the m. 31, a diminished B triad is arpeggiated and continues to
emphasize the importance of the interval of a tritone. The last note of the triad (B) ascends by a
leap of a major seventh to A#, which descends by a leap of an augmented fifth to D, the first note
of m. 32. The septuplet in m. 32 can be analyzed as an altered version of Motive D; it is
transposed up a major second and the fifth and sixth notes of the septuplet, Eb and Db, are
transposed down an octave. The sixth note of figure (Db) leaps up a major sixth to Bb and then
descends by half-step to A. This type of voice-leading occurs twice in the phrase, on the last
three sixteenth-note sextuplets in m. 31 (D-B-A#), and on the last three notes of the phrase. This
is contrary to how Motive D was constructed in the second phrase of the theme group A, A/b (see
Example 3.27).
Moreover, the use of a minor second at the end of C/c exemplifies a reversal of the voice-
leading procedures used in each of the first phrases in the main theme (Example 3.43a), and
variation A1 (Example 3.43b).
Example 3.43. Be-Bop Tango, Voice-Leading at the End of the 1st Phrase in: (a) Main Theme A;(b) Variation A1; (c) Theme Group C
Example 3.43a. Be-Bop Tango, Main Theme A
&
Phrase A/a
m. 5 minor third3
œ# j
œ
.
≈œ
.
œ
.
œ
.
œ
.
7
œb
œ œ
œbœn
œb
œn
3
.œ-
œ#
>
œ
>
w
Example 3.43b. Be-Bop Tango, Variation A1
&
2nd Half, Phrase A1/aminor thirdm. 14
6
œ
>
œb œ œ
œ
>
œ
6
œœb
œ
> œ
œb
œn˙n
174
Example 3.43c. Be-Bop Tango, Theme Group C
&
Phrase C/c
m. 31
5
≈
œ#
œ œ œ#
5
œ#
œ#
œn
œ
œn
7
œb
® œn ® œ
œ
œb
6
œ œb œ œn
œ
œ#
minor second7
œn œn œ œ
œb œb
œb ˙ Œ
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
In the examples above, a minor third is used to complete the first phrase of theme group A and
variation A1, while a minor second is used to complete the first phrase of theme group C. All
three examples function as either an antecedent or deceptive consequent phrase within their
respective theme groups; however, due to its binary phrase structure theme group C can be
considered a truncation of the normal ternary phrasing established at the beginning of the work.
Earlier in the analysis, the interval of a minor second was used to end the second phrase
of variation A1, while a major and minor third were used at the end of the first and third phrases,
respectively. Since the second phrase of A1 used a different interval for cadential purposes, it
was identified as deceptive consequent phrase. An important interval in determining comple-
mentary period structures in the Be-Bop Tango, the minor second can be used to determine the
phrase structures in theme group C; the first phrase of theme group C and the second phrase of
variation A1 use the same semitone descent. Since both passages employ this descent, begin
with a manipulated statement of Motive A, and serve as a antecedent phrase, it must be construed
that theme group C can be analyzed as a truncated three-phrase period structure that omits the
first phrase of the main theme and begins on the second phrase of the theme group. This
interpretation explains the similarities in thematic density between the second phrase of A1 and
the first phrase of theme group C.
175
Concerning the harmonic progression in theme group C, the beginning sonority consists
of D-A#-B-C# (D-25, vector [2 1 2 1 0 0]), which is a pair of interlocking minor thirds separated
by a semitone, albeit re-voiced. Resembling the tone clusters used in episode B, it serves as a
harmonic transition between the two sections. Furthermore, when the root of the sonority is
respelled (A# to Bb), it can be considered a further continuation of the voice-leading that began
in m. 28, Eb-D-C-Bb.
The next two chords in progression, C-E#-F#-A# and F-Gb-Bb-C, are similar in
construction, and therefore they contain the same interval vector [1 1 0 1 2 1]; however, the
quality of each sonority depends on its voicing and context. The first sonority (C-E#-F#-A#) is
considered neutral (N-11). Although it is preceded by a highly dissonant sonority, it is voiced in
close position, more so than the chord that follows. When the sonority is re-voiced (and
respelled) on beat 3 of the measure, its quality becomes more consonant due to the unhindered
perfect fourth in the soprano and alto voices and its strong metrical placement (C-5).
Furthermore, the A# is held as a common tone between the all three chords (the Bb on beat 2 of
m. 32 is respelled as A# and is transposed down an octave) and assists in the diminishing quality
of the chord succession.
Earlier in the analysis, when a perfect fourth was found between an inner and outer voice
and appeared at the end of a major theme group, it was classified as a cadential interval. In m.
32, although a perfect fourth can be observed in the top two voices of the piano, when the final
note in the melody (A) is combined with the accompanying harmony, the perfect fourth is found
between the inner voices of the complete sonority, thus negating any feeling of cadential
completion. However, due to the pseudo-cadential structure of the sonority, its rhythmic position
(on a semi-weak beat at the end of the first phrase) and its use as a static harmony in the
176
subsequent phrase(C/c') the sonority and the progression can be classified as a quasi-deceptive
cadential progression. Overall, the chord movement is regressive and decreases in dissonance
strength, D-N-C; the second chord is neutral due to its close spacing.
Since the roots in C/c progress from A# to F# to Bb, and Bb is identified as the root of
the chord in m. 32, it is ascertained that Bb is the main goal of the passage. Moreover, when the
bass line in the first two chords (D and C) is combined with the root on beat two of m. 32 (Bb)
the interconnected lines create an important voice-leading segment, which reinforces the
importance of the relationship that exists between the voice leading from A2 to episode B and
from episode B to C/c. The descending voice-leading creates a smoother harmonic progression.
Concerning issues of pitch center, starting in m. 32, Bb and F can be interpreted as the
primary and secondary pitch centers of C/c and C/c', and D/d, respectively. The Bb-F dyad
heightens the dramatic tension within theme group C and the first phrase of D, and reinforces the
harmonic relationship between the two theme groups; both of the sustained sonorities in C and
D/d' (Gb-Bb-C-F and Bb-F-D-E, respectively) contain the Bb-F dyad. Although the dyad
provides the needed cadential stability in m. 37, the close proximity of D and E between the alto
and soprano line destabilizes any feeling of finality.
Theme Group C, Phrase C/c'
Starting in m. 33, the second phrase of theme group C begins on G# (or respelled as Ab),
but instead of leaping down a tritone as it did in the first phrase of C, the G# skips down an
augmented fifth to C (Example 3.44). In the example below, phrase C/c' is constructed using
five developed statements of Motive A, C, and D. They are separated by skips of an augmented
fifth, tritone, minor third, and a major sixth. The cells are expanded and contracted for develop-
mental purposes while the individual pitches of the cell are displaced by register.
177
Example 3.44. Be-Bop Tango, Theme Group C, Phrase C/c'
&
&
?
Motive C 3-note Motive A4-note Motive A
4-note Motive A
Phrase C/c'
33
N
5
≈
œ#
œ œ#
œ
5
œ#
œ œ#
œ
œn
3
‰ œn œn
5œb
œ
œ#
‰
.
.œ
œ
j˚
œ
œ
‰ . ≈
œ
œ
œ
œ
œ
œ
‰
.
.œœbb
J
œœ
‰ . ≈
œœœœœœ
m3 skip
M6M7/m2
Motive CAltered Motive D
34
7
œnœœœ œ œ œb
6
œb
œ œ œ
œ
œ œ
. .œ œ
w
w
ww
Extension
35
œb
. .œn
>
œ
≈
œ
>
œ
>
œ œ œ
w
w
wwbb
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Two important aspects concerning C/c' require further discussion. First, the repeated skip
of a minor third (G and E) in m. 34 is the first and only occurrence of the use of this type of
melodic interval in the piece; it can be attributed to the continued development of the minor third
motive, which was initiated in the bass line of the tango vamp and introduction.
The second aspect concerns the intervals used at the end of C/c and C/c'. At the end of
the first phrase, Bb descends by a half-step to A, but at the end of the second phrase, C ascends
by a leap of a major sixth to A. The major sixth can be regarded as the intervallic inversion of a
minor third, thus completing the melodic phrase (see Example 3.43c). Explained earlier in the
analysis, these two intervals correspond to a perceived antecedent and consequent phrase unit.
The use of a descending half-step at the end of the first phrase (Bb-A) and a major sixth (or
minor third) at the end of the second phrase (C-A) adheres to the thematic design constructed
earlier in the work, and can be analyzed as the continuation and development of the final interval
found at the end of major phrase groups, especially in the final phrases of theme group A,
variation A1, and variation A2.
178
Starting in m. 35, the second phrase of theme group C is extended by the addition of a
repeated quasi-grace note figure (Example 3.45). The figure is constructed using a Bb-E dyad,
which is separated by register. It continues the implied compound melodic descent that began on
beat 3 of m. 34. In the example below, the bottom line of the compound melody begins on the
second note of the sextuplet (D), descends from D to C to Bb, which is displaced by register.
Beginning on the fifth note of the sextuplet, the top line of the compound melody (B) descends to
A. It then descends by a leap of a perfect fourth to E in m.34. Although the final interval in the
melody outlines a tritone (Bb-E), the interval of a perfect fourth in the top line of the implied
descent complements the step-wise descent in the bottom line. The final chord in C/c' (Gb-Bb-
C-F) is sustained and leads to a progression of three chords, which were included in the tango
introduction.
Example 3.45. Be-Bop Tango, Theme Group C, Phrase C/c', Compound Melodic Descent
&
&
m. 33
2nd Half - Phrase C/c'
Compound Reduction
7
œnœœœ œ œ œb
6
œb
œ œ œ
œ
œ œ
œ .œ œ
œ œ
œœ
m. 34
Implied Descent
( )
œb
œn
>
.œ œ
≈
œ
>
œ
>
œ œ œ
œ
œ
œ
b
b
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Concerning the quality of the sonorities in mm. 36-38 (Example 3.46), the first and third
chords in the above-mentioned progression are neutral in quality and are used extensively
throughout the Be-Bop Tango, specifically as the beginning sonority of each of the major theme
groups. The third chord, a Bb major triad with a raised fourth, is sustained for two measures and
is used as suitable climate for the melody in theme group D.
179
Example 3.46. Be-Bop Tango, Phrase C/c', Chord Progression
&
&
?
36
Quality:N
(Phrase C/c')Anti-climaxw
wwb
w
w
#
37
D N(passing)
Resolutionw
˙˙#˙˙n
˙
˙
#˙
˙
n
b
38
Phrase D/d
Pivot Note: Bb
Ó ‰
.œb
ww
w
w
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
The second chord in the progression, D-A#-B-C#, is dissonant in quality (D-25). It is
used sparingly and ordinarily only in cadential progressions; however, in this passage it is used
for color and variety. The neutral-dissonant-neutral chord progression (N-D-N) in mm. 36-37
reinforces the tension that is created in the anti-climax, and will be discussed later in the analysis.
Considered an example of an extended suspension, the prolongation of E in the melody in
mm. 35-37 is resolved by the use of a common-tone in the piano part on beat three of m. 37. The
deceptive and anticipatory cadential figure that was constructed in m. 32 of phrase C/c is now
fulfilled.
The lack of melodic and rhythmic activity in mm. 36-38 suggests a moment of repose,
but on further analysis this is not the case. The musical inactivity within this passage deceives
the listener and creates a type of anti-climax. Just as earlier composers inserted rests before a
climactic chord, which delayed and added power to any subsequent significant musical event,28
28 Vincent Persichetti, Twentieth-Century Harmony: Creative Aspects and Practice (New
York: W.W. Norton and Company, Inc., 1961), 227.
180
the thematic complexity of the previous theme groups in the Be-Bop Tango (theme group A, its
subsequent variants, and developments), and the building anxiety that is created during the
perceived stasis in mm. 36-38 is only resolved by the introduction of phrase group D in m. 39,
thus creating an anti-climax. Furthermore, the inactivity of mm. 36-38 increases the musical
tension through the expectation of thematic activity, thus manipulating the listener.
Generally, the focal point of a melody or passage is reached through the use of dynamics,
rhythmic prolongation, the exploration of a particular interval, or the approach of the focal point
from a succession of lesser points.29 But in the Be-Bop Tango we have an example of the
extreme opposite, an important point of structural stasis surrounded by frenetic thematic
material. This passage provides the listener with time to relax before the commencement of the
final dramatic theme group, which leads to the actual climax of the work.
Theme Group D
The fourth and final theme group begins on the second eighth-note of beat 3 in m. 38. It
is similar to C, but due to the differences in the beginning melodic contour it is labeled D
(Example 3.47). Theme group D can be divided into two parts. The first part, D/d consists of
mm. 38.3-40, and the second part, D/d' consists of mm. 41-44 (Figure 3.4).
Section Subsections MeasuresD 38.3-44
d -38.3-40d' -41-44
Figure 3.4. Be-Bop Tango, Formal Outline of Theme Group D
29 Leon Dallin, Techniques of Twentieth-Century Composition, 3d ed. (Dubuque, Iowa:
Wm. C. Brown Company Publishers, 1974), 15-18.
181
Expanding on the concept of anti-climax and musical inactivity, the absence of harmonic
support in theme group D and the increasing rhythmic activity in the melodic line lend the
passage an increasingly neurotic sound.
Example 3.47. Be-Bop Tango, Theme Group D
&
&
?
38
Theme Group Dd
Ï
Ó ‰
.œb
wwnn
w
w
n
b
397
œœb
>
œ. œ.œ#^ œn^
œb
^
7
œ^
®
œ>
®
œ^œn
œb
œ^
œ# œ^œn
œb
^
œn^
œ
^
œ
6
œ
œœ
œ#œ
œb
ww
w
w
40
fp
˙
Œ ‰ .
œ>
œb
>
ww
w
w
&
&
?
41
d'
œ
7
®
œb
>
œ. œ.œ#^ œn^
œb
^
5
œ^
œb
>
œ
7
œ
œn
>
œn.œ#.
œ#
v
œn
v
œn
v
∑
∑
42
œ^
œ#^œ^œn^
œb
^œn^
œ
^
œ
^
3
‰
œb^
œb
^
5
œn^
œ^ œ^
œb
^œn^
Ó
5
Œ Œ
j
œœ
œœ
bb
Ó
5
Œ Œ
J
œ
œ
n
#
43
ƒπ
w
ww
ww
w
w
44
ç
J
œ
^
‰Œ Ó
j
œœ
œœ
‰Œ Ó
J
œ
œ ‰Œ Ó
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
The first note of D/d (Bb) and the accompanying harmony can be interpreted as a
transitory or pivot structure. It creates a slight elision between the last sonority in the anti-climax
and the first note of the melody in theme group D in m. 39 (Example 3.48). The first phrase of
theme group D follows the same thematic development as theme group C. It begins with a
pattern of five consecutive skips alternating between minor thirds and augmented fifths (or
182
respelled as minor sixths). Analyzed as the inversion and extension of the minor/major third
relationship that pervades the work, the first phrase of D continues the motivic development that
began in the tango vamp and introduction.
Example 3.48. Be-Bop Tango, Theme Group D, Phrase D/d, Bb Pivot
&
&
?
Phrase C/c' - Ending
37
w
˙˙#˙˙n
˙
˙
#˙
˙
n
b
38
Phrase D/d
Pivot Note: Bb
Ó ‰
.œb
ww
w
w
Motive A
39
3-note Motive A
7
œœb
>
œ. œ.œ#^ œn^
œb
^
7
œ^
®
œ>
®
œ^œn
œb
œ^œ# œ^œn
œb
^œn^
œ
^
œ
6
œ
œœ
œ#œ
œb
ww
w
wb
40
˙
Œ ‰ .
œ>
œb
>
ww
w
w
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
At the end of the initial minor third-augmented fifth arpeggio, B-natural begins an
extended statement of Motive A, B-Bb-A-G#-G, which is followed by three contracted
statements of Motive A. The aural relationship between theme groups C and D is further
reinforced by the use of the note A; it appears as the last note at the end of phrases C/c and C/c'
and as the last note in the first phrase of D/d.
An interesting structural device that occurs within D/d is the use of a double melodic
palindrome (Example 3.49). Starting on the fourth thirty-second note of beat 3 of m.39, the
main palindrome consists of a ten-note series , Bb-B-C-A-B-A-C-(G#)-B-Bb, centered around B-
natural, the central pivot note. Contained within the larger palindrome is a second, smaller five-
note palindrome C-A-B-C-A; it is indicated with a bracket.
183
Example 3.49. Be-Bop Tango, Theme Group D, Phrase D/d, Melodic Palindrome Reduction
&
&
Pivot Pitch: B
+5 m3
Melodic Palindrome
Motive A, condensed Phrase D/d
397
œœb
>
œ. œ.œ#^ œn^
œb
^
7
œ^
®
œ>
®
œ^œn
œb
œ^œ# œ^œn
œb
^
œn^
œ
^
œ
6
œ
œœ
œ#œ
œb
œb
œ
œœ
œ
œœ
œ#œ
œb
40
˙
Œ ‰ .
œ>
œb
>
œ( )
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Serving as a non-essential melodic extension, G# can be interpreted as an arpeggiation
and development of the augmented fifth and minor third interval structure, C-G#-B, and is used
to extend the phrase. The final four notes of the ten-note palindrome, including the G#, create
another permutation of Motive A.
At the end of D/d, the theme group is interrupted by one and three-quarters beats of
silence, but before the second phrase can commence, a second statement of the last three notes of
the first phrase occurs, B-Bb-A (Example 3.50). The temporal position of this chromatic trichord
Example 3.50. Be-Bop Tango, Theme Group D, Phrase D/d and Phrase D/d'
&
3-note Motive APhrase D/d
m. 39
Arpeggiation
7
œœb
>
œ. œ.œ#^ œn^
œb
^
7
œ^
®
œ>
®
œ^œn
œb
œ^œ# œ^œn
œb
^œn^
œ
^
œ
6
œ
œœ
œ#œ
œb
˙
Œ ‰ .
œ>
œb
>
Phrase D/d'
Arpeggiation Repeated
œ
7
®
œb
>
œ. œ.œ#^ œn^
œb
^
5
œ^
œb
>
œ
7
œ
œn
>
œn.œ#.
œ#
v
œn
v
œn
v
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
reinforces its importance as a structurally significant motive. It is used to prolong the phrase and
serves as a transition to the second phrase of D.
184
Starting in m. 41, the second phrase of theme group D is similar in construction to D/d;
however, it is extended by the addition of a septuplet at the end of m. 41 (Example 3.51). As
seen in example below, D/d' is divided into two parts, which are separated by a pivot note, F.
The gesture that begins on the second eighth-note quintuplet of beat 2 (Ab-F-B) emphasizes the
two of the most important intervals in the Be-Bop Tango, the minor third and the tritone, Ab-F
Example 3.51. Be-Bop Tango, Theme Group D, Phrase D/d'
&
&
?
Phrase D/d'Motive C
41
œ
7
®
œb
>
œ. œ.œ#^ œn^
œb
^
5
œ^
œb
>
œ
7
œ
œn
>
œn.œ#.
œ#
v
œn
v
œn
v
∑
∑
3-note Motive A
42
œ^œ#^œ^œn^
œb
^œn^
œ
^
œ
^
3
‰
œb^
œb
^
5
œn^
œ^ œ^
œb
^œn^
Ó
5
Œ Œ
j
œœ
œœ
bb
Ó
5
Œ Œ
J
œ
œ
n
#
43
w
ww
ww
w
w
44
J
œ
^
‰ Œ Ó
j
œœ
œœ
‰ Œ Ó
J
œ
œ‰ Œ Ó
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
and F-B, respectively. Additionally, the rhythms of the melody have decreased in value so that
the maximum dramatic tension can be created.
When the melody in mm. 41-42 is to its simple intervallic structure, an interlocking
pattern of extended and contracted statements of Motive A appears (Example 3.52). In the
example below, the reduction of D/d' illustrates the interlocking motivic relationships found in
the passage. The top line of the reduction is comprised of a six-note extended statement of
Motive A, and is followed by a condensed three-note statement of Motive A. The bottom line of
the reduction is comprised of four condensed statements of Motive A.
Continuing with the thematic analysis of the second half of D/d', the sixth thirty-second
note of the septuplet on beat 4 of m. 41 (B-natural) descends by a skip of a major third to G,
185
Example 3.52. Be-Bop Tango, Theme Group D, Phrase D/d', Interlocking Motive A Structure
&
&
Phrase D/d'
Phrase D/d' ReductionInterlocking Motive A Phrase Structures
m. 41 m. 42/beat 1-2
Pivot Pitch
6-note Motive A
3-note Motive A3-note Motive A
3-note Motive A
m3 tritone
œ
7
®
œb
>
œ. œ.œ#^ œn^
œb
^
5
œ^
œb
>
œ
7
œ
œn
>
œn.œ#.
œ#
v
œn
v
œn
v
œ^œ#^œ^œn^
œb
^œn^
œ
^
œ
^
œb œ œ œb œ œbœ
œn œ# œ œn œœb œ œœ#
œnœ# œn
œnœ# œn
œb œn œ
( )
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
which is the first note of a four-note chromatic segment, G-A-G#-G. The segment is a trans-
position of the first three notes on beat 3 of m. 39. The entire septuplet in m. 42 is an exact
replication of the septuplet used on beat 3 of m. 39.
Overall, theme group D is more rhythmically active than theme group C. However, at the
end of D/d', the rhythm values increase, from the thirty-second notes in mm. 41 and 42 to a
marcato eighth-note triplet and an eighth-note quintuplet figure on the last three beats of m. 42
(Example 3.53), thus creating a written-out ritenuto.
Example 3.53. Be-Bop Tango, Theme Group D, Phrase D/d', Reduction
&
&
m3m3
tritone
m3
F# Diminished Triad
m. 42
2nd Half - Phrase D/d'
Phrase D/d' Reduction
œ^œ#^œ^œn^
œb
^œn^
œ
^
œ
^
3
‰
œb^
œb
^
5
œn^
œ^ œ^
œb
^œn^
œbœb œn
œ œ œb œnœb
œ
m. 43
w
œ
J
œ
^
‰ Œ Ó
Moreover, when the eighth-note tuplet figures are reduced to their simple intervallic
structure, a minor third separates a descending trichord from an ascending tetrachord, Bb-Ab-G
186
and E-F-Gb-A, respectively. The last two notes of the tetrachord (Gb-A) employ an augmented
ninth to accentuate the final descending leap of a major sixth (A to C). The final three notes of
the piece (Gb-A-C) emphasize yet again the primary intervals of the work, the tritone (Gb-C) and
the minor third (A-C). Although the major sixth is an inversion of one of the primary melodic
cadential intervals, and was used to end the previous variations and theme groups, the interval
does not function as a true ending. Due to the weak metrical position of the final sonority and
the retardation of the last note of the melody (C), the ending of the Be-Bop Tango provides the
opportunity for further embellishment and elaboration.
Concerning the final sonority of the Be-Bop Tango, it is comprised of two interlocking
diminished fifths, D-Ab/E-Bb, which are supported by a minor seventh built on C#, C#-B (A-29)
(Example 3.54). When the final note of the melody (C) is combined with the accompanying
Example 3.54. Be-Bop Tango, D/d', Final Chord
&
&
?
&
4
4
4
4
4
4
4
4
42
œ^œ#^œ^œn^
œb
^
œn^
œ
^
œ
^
3
‰
œb^
œb
^
5
œn^
œ^ œ^
œb
^œn^
Ó
5
Œ Œ
j
œœ
œœ
bb
Ó
5
Œ Œ
J
œ
œ
n
#
43
Reduced Pitch Structure: Final Chord
M2M2
5-Note Cluster
w
ww
ww
w
w
œb œb œnœ œb œn
œ
44
J
œ
^
‰ Œ Ó
j
œœ
œœ
‰ Œ Ó
J
œ
œ ‰ Œ Ó
1984 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
187
harmony and reduced to its basic set structure, a symmetrical chromatic cluster, Ab-Bb-B-C-Db-
D-E, emerges. Starting the central note of the set (C), the cluster expands by two semitones and
a whole step, C-B-Bb-Ab and C-Db-D-E respectively.
In addition, when the root of the final sonority (E) is analyzed in conjunction with the
root of the first chord in the Be-Bop Tango (Eb) and the primary pitch center and root of theme
groups C and D (Bb), all three roots form a three-note cell that emphasizes the intervals of a
semitone and a tritone, Bb-Eb-E. These three roots can be interpreted as the subsequent
elaboration of the raised fourth-semitone motive that appears in the melody and harmonic
progressions. Furthermore, when the final bass note of the work (C#) is analyzed in conjunction
with the last note of the melody, it reinforces the semitone relationship that permeates the Be-
Bop Tango. The C#-C dyad creates a conflict in the harmony that is left unresolved. These two
factors, the C#-C dyad and the larger semitone Eb to E root relationship, can be construed as just
two of the reasons why formally the Be-Bop Tango sounds open-ended in the original score.
Perhaps the final sonority represents the stylistic ambiguity inherent in the work, and maybe it
serves as a final question mark as it pertains to the next step in Zappa's growth as a composer,
but functionally the sonority serves a dual purpose. First, it provides a microcosm of the
harmonic character of the work and emphasizes the intervallic construction of the melodies and
harmonies used throughout the piece. Secondly, the sonority functions as a structural pivot
chord. On the two recorded performances, the final chord functions as a transition between the
written score and the following extended improvisations of the Farther O'Blivion and Be-Bop
Tango medleys. The ambiguous quality of the final sonority assists with this formal transition
and will be discussed in chapter four.
188
After careful consideration of the previous analytical analysis, the following conclusions
can be made concerning the Be-Bop Tango:
1. The thematic structure of the theme groups including the main theme, its variations,
episodes, and developments, are based upon: the permutation and transposition of a three-note,
four-note or five-note chromatic cell; and the separation of the cells by the use of a skip of a
minor/major third, a leap of a diminished/augmented fourth/fifth, a leap of a minor/major
seventh or minor/major ninth (including their inversions and simple equivalents).
2. Compound intervals and registral displacement procedures are used for melodic
variance. When a phrase is reduced to its simple interval structure the music usually follows a
melodic contour comprised of a series of half-steps and whole step, followed by a skip or a leap.
3. Minor and major thirds (or their inversions) are used to end phrase groups. When a
minor or major third is used in conjunction with a cadential sonority it assists in the feeling of
cadential completion, but when the compound equivalent is used, it tends to obfuscate the point
of repose. The Be-Bop Tango only uses the interval of a major sixth as a phrase ending twice
within the piece (phrase C/c', m. 34, and phrase D/d', m. 42). Furthermore, when a minor second
is used at the end of a phrase, the music tends to emit a feeling of anticipation.
In m. 34, any feeling of rest is counteracted by the following ascending augmented
eleventh in the melodic line in m. 35. This section does not function as a cadential passage, it
only increases the tension, and is analyzed as an anti-climax (an area where musical activity
decreases in such a drastic way that the passage can be considered a point of climax). The
listener's awareness of space and the level of musical anticipation increase as the melodic and
rhythmic activity decrease.
189
4. Generally, the final phrase of each theme group has a tendency to decrease in
rhythmic activity while increasing in rhythmic duration; this increase in duration anticipates the
final cadence of each theme group.
5. Overall, the harmonic structures and progressions in the Be-Bop Tango are variegated
and serve a multitude of purposes. The work uses: harmonic cells that substitute individual
members according to context, either for functional purposes or for harmonic coloration;
regressive chord schemes that do not correspond to either classical or jazz progressions; and
unpredictable bass lines that seem to function with a dual purpose, to reinforce the sonorities
they accompany and to serve as a quasi counterpoint.
6. The chord progressions in the Be-Bop Tango follow a non-traditional functional
harmonic structure and are based on interval strengths and context. In the final phrase of each of
the major theme groups, neutral sonorities (N) progress to dissonant sonorities (D), which are
used to maximize dramatic tension. The dissonant sonorities usually resolve to more neutral or
consonant (C) sonorities.
7. Concerning the use pitch collections and how they relate to the accompanying
harmonies, diatonic-chromatic and chromatic collections correspond to dissonant sonorities,
diatonic collections correspond to consonant or neutral collections, and whole-tone collections
correspond to neutral collections. If the interval structure of a particular sonority is ambiguous
and can be interpreted as either consonant or dissonant, musical context and the accompanying
pitch collection will assist in the classification of the quality of the sonority.
8. In general, the evolving thematic structure, starting from theme group A to theme
group D, resembles a written-out improvisation. Several analysts have postulated that Zappa's
style of melodic angularity can be attributed to his use of the guitar as his primary instrument.
190
However, during an analysis of guitarist Steve Vai's transcriptions of Zappa's guitar
improvisations, Zappa's melodies do not show any predisposition towards the use of extreme
registral displacement or involved motivic development.30 This comparison reinforces the
concept that the Be-Bop Tango originated as a written composition and not as an improvised
piece; it does not reflect a transcription of any of his recorded improvisations. Furthermore, in
an interview conducted with Gail Zappa, she stated that the composer wrote most of his works at
the piano and not on the guitar.31
Orchestration and Historiography
Munchkin Music, Frank Zappa's publishing company, first released the Be-Bop Tango in
1984. The title page of the composition indicates that it is scored for piano and melody,
however, since any instrument or voice can perform the melodic line, the designation unspecified
instrument and piano will be used to differentiate the original score from later arrangements of
the work. Furthermore, since the treble clef and the term melody are the only written indications
used to denote the range of the performance medium desired, the two official recorded
performances of the Be-Bop Tango will serve as the major representations concerning how the
work was orchestrated for its early performance by Zappa's amplified chamber ensembles.
Mentioned earlier in the analysis, the Be-Bop Tango was originally entitled The Malcolm McNabb
Later, according to performance date archives, the work was renamed Farther O'Blivion and appeared in a
larger suite of the same name. It was recorded live in Stockholm, Sweden on August 21, 1973 and
30 Steve Vai, The Frank Zappa Guitar Book (Milwaukee, Wisconsin: Hal Leonard Music,
1982).
31 Gail Zappa, interview.
191
is included on the official bootleg album Beat The Boots I: Piquantique (1991).32 The work was
arranged for clarinet, tenor saxophone, trombone, electric guitar, electric bass guitar, drumset,
percussion, keyboards, and violin.
In late 1973, while on Zappa was on tour, Farther O'Blivion was renamed the Be-Bop
Tango. The composition was included on a live recording from that same tour entitled Roxy &
Elsewhere (1974) and renamed "Be-Bop Tango (of The Old Jazzman's Church)." The title of the
album refers to the various locations where the recording was made, in this case The Roxy
Theatre in Hollywood, the Auditorium Theater in Chicago, and Edinboro State College in
Edinboro, Pennsylvania. The "Be-Bop Tango (of The Old Jazzman's Church)" is arranged for
tenor saxophone, trumpet, trombone, electric guitar, electric bass guitar, drumset, percussion, and
keyboards.
Throughout the 1970's, the Be-Bop Tango only existed as a score for unspecified
instrument and piano and not as a fully orchestrated score. Each member of the ensemble was
given a copy of the score and Zappa arranged the work according to the instrumentation
available.33 The main thematic materials were performed either by the violin, trombone,
marimba, or guitar. They were supported harmonically by the piano and electric bass guitar,
while the percussionists were used to keep a steady beat, and to add improvised percussion parts
between melodic phrases. The two recorded performances by Zappa's touring ensembles will be
32 The term bootleg refers to any illegal production and distribution of an unauthorized
recording of an artist; it may be recorded and edited by someone in the audience or on stage anddoes not reflect the intentions of the artist and is a copyright infringement. To thwart thebootlegers, Zappa decided to license a series of bootleg recordings, including Piquantique toRhino Records for legitimate release, thereby circumventing and supplanting the bootleger andhis/her unauthorized product. These official bootleg releases comprise the Beat the Boots series.Gail Zappa, interview.
33 Humphrey, Interview; and Miles, Frank Zappa: In His Own Words, 54.
192
used to explore the early orchestration of the Be-Bop Tango and its evolution, from a
composition for unspecified instrument and piano to an arranged work for amplified chamber
ensemble.
Concerning the overall form of the Be-Bop Tango, when the recorded arrangements of
the composition are compared to one another, the performance of the original written score does
not vary in form or length. The only significant differences include the material that precedes
and follows the written score, the orchestration of the melody, the inclusion of studio edited
materials in the Roxy & Elsewhere recording, and the tempos. The following analyses will
provide insight into the differences in instrumentation that exist between "Farther O'Blivion" (as
known as Be-Bop Tango) and the "Be-Bop Tango (of The Old Jazzman's Church)."34
Piquantique, "Farther O'Blivion: Steno Pool/Farther O'Blivion (as known as Be-BopTango)/Cucamonga"
On the recorded version of the "Farther O'Blivion" medley from Beat The Boots I:
Piquantique, the written Be-Bop Tango score does not commence until CD track timing 4:21. It
is preceded by an instrumental arrangement of "Steno Pool," an instrumental selection from one
of Zappa's larger works The Adventures of Greggery Peccary, which consists of musical
episodes that vary immensely in style (rock 'n' roll, jazz-rock, jazz, and classical avant-garde
music), and is followed by the song "Cucamonga."35 "Steno Pool" is followed by an extended
34 Although the written portion of the Farther O'Blivion medley is known in the
performance archives as Farther O'Blivion, in the discussion that follows, for the sake ofanalytical clarity, it will be identified as the Be-Bop Tango.
35 Fusion, jazz-funk, or jazz-rock is a style of jazz that emerged during the 1960s thatmixed jazz improvisation with the electronic instrumentation, simpler harmonic progressions,and complex, syncopated, eighth and sixteenth-note rhythm accompaniments of rhythm andblues and rock 'n' roll. Mark Gridley, Jazz Styles, 335; and Barry Kernfeld, The New HarvardDictionary, Edited by Don Michael Randel, s.v. "Funk(y)." (Cambridge, MA: The Belknap Pressof Harvard University Press, 1986), 330.
193
trombone improvisation that uses the introductory tango rhythm and fragments of the main
theme of the Be-Bop Tango as the basis for its improvisatory excursions. The fragments of the
main theme and tango rhythm return periodically and serve as formal cues for the ensemble.
Figure A.3 in Appendix A summarizes the musical events that occur during the performance of
the "Farther O'Blivion" medley.
The instrumentation used in the performance of "Farther O'Blivion," and especially the
Be-Bop Tango is relatively conservative. "Steno Pool" is performed by the entire ensemble and
the following trombone improvisation is accompanied by keyboard, electric guitar, electric bass
guitar, drumset and percussion. The tango vamp and introduction of the Be-Bop Tango are
performed by the woodwinds, trombone, drumset, marimba, and keyboard. The melodic lines in
theme group A and its subsequent variations, A1 and A2, are performed by the violin, the only
exception is theme group C which is performed by the clarinet; the natural timbre of the violin is
altered by the use of an electronic chorus device.36 The melody is doubled by the marimba in
theme group A, variation A1, and theme group C, and is doubled in variation A2 by the clarinet
and electric bass guitar. Episode B is performed by keyboard, electric bass guitar, trombone, and
percussion. The variations and theme groups (A, A1, A2, C, and D) are accompanied by
trombone, keyboard, drumset, mallet and non-pitched percussion, and electric bass guitar. In
theme groups C and D the melodic line is performed by the violin and clarinet respectively and is
doubled by non-pitch percussion instruments, including roto-toms, cowbells, and cymbals.
36 Chorus is a term used in electro-acoustic music to describe the mixing of several
slightly delayed signals with the original source signal. The effect is used to create a fuller,stronger, and more ambient sound, and makes one sound source sound like several. Alten, Audioin Media, 229.
194
In Arved Ashby's study, "Frank Zappa and the Anti-Fetishist Orchestra," Ashby explains
that Zappa's interest in prevalent marimba doublings of melodic lines, especially in the
composition Uncle Meat, intensified over the years due to his work with mallet percussionist
Ruth Underwood (1972-1974). 37 However, Zappa's interest in mallet percussion, specifically
marimba and vibraphone, extends as far back as the Mothers of Invention's first album Freak
Out! (1966).
Roxy & Elsewhere, "Be-Bop Tango (of The Old Jazzman's Church)"
In late 1973, Farther O'Blivion was officially renamed the Be-Bop Tango and in early
September 1974, it was renamed Be-Bop Tango (of The Old Jazzman's Church). This later
version differs in its instrumentation from the previous performances and recording.
Concerning the official live album released in that same year, Zappa recorded his
ensemble on five separate concert dates: December 10, 11, 12, 1973 at the Roxy Theater in
Hollywood; May 8, 1974 at Edinboro State College, Edinboro, Pennsylvania; and May 11, 1974
at the Auditorium Theater in Chicago. He compiled his final recording master tape from these
five concert records, which were eventually overdubbed at Bolic Studios Inglewood, California
and Paramount Studios in Hollywood, California.38
37 Arved Ashby, "Frank Zappa and the Anti-Fetishist Orchestra," The Musical Quarterly
83, no. 4 (Winter 1999): 587; and Frank Zappa and The Mothers of Invention, Freak Out!,Rykodisc RCD-10501, 1966/1995, compact disc.
38 The term overdub (or overdubbing) is used to describe the technique of adding anotherpart to a multitrack recording, doubling a preexistent track ("sweetening"), or to replace one ofthe existing parts. The term track refers to the path on a magnetic tape along which a signal (orsignals) is recorded; on a multi-track recording session one instrument is usually assigned to aspecific track. Gail Zappa, interview; Alten, Audio in Media, 606; and Miles, Frank Zappa: AVisual Documentary, 63.
195
The live recording begins with spoken dialogue by Zappa. He informs his ensemble to
prepare for the performance of the composition, instructs the sound recording technician to focus
on certain aspects of the performance, and entertains his audience with a humorous pseudo-
history of the tango and its subsequent demise in post-war America. During the vocal preface,
the dance-hall tango rhythm motive is quietly introduced by the drumset percussionist and
keyboardist. At CD track timing 1:25, the written score begins and is performed without
alteration to form or style from the previous tour recording; however, the tempo is much faster.
Figure A.4 in Appendix A summarizes the musical events that take place on the "Be-Bop Tango
(of The Old Jazzman's Church)" recording.
When compared to the previous recorded arrangement of the work, the instrumentation
of "Be-Bop Tango (of The Old Jazzman's Church)" is relatively conservative and with a few
notable exceptions follows the same instrumentation as the "Farther O'Blivion" medley. Due to
Jon-Luc Ponty's dismissal (or resignation) from the ensemble at this point in the tour, the violin
is excluded from the ensemble arrangement, therefore the melodies in the main theme groups are
performed either by the trumpet, trombone, or keyboard.
Although the "Be-Bop Tango (of The Old Jazzman's Church)" is categorized as a live
recording, Zappa used the recording studio not only to edit the recorded document, but he also
used it as a compositional tool to add and manipulate his musical materials in the final recording
processes. The trumpet, trombone, and keyboard are presented in two recorded forms, one
recorded at the live performances and the other recorded, manipulated, and overdubbed in the
recording studio; each form will be differentiated in the following analysis. The term studio will
be used to indicate the overdubbed instrumental track. For example, the designation studio
196
keyboard synthesizer refers to a studio overdubbed keyboard synthesizer track inserted later
during the final stages of the recording process.
Concerning the specific orchestration employed for the written Be-Bop Tango score,
starting at CD track timing 1:41, the tango vamp and introduction are performed by the drumset,
non-pitched percussion, keyboard, and electric string bass. The melodic lines in theme group A
and variation A1 are performed by the trumpet and studio trombone, and live trombone respec-
tively, and are doubled by vibraphone and marimba.
The musical material in T1 consists of a tenor saxophone improvisation accompanied by
the tango reprise, which is performed by electric guitar, drumset, percussion, electric bass guitar,
and keyboard. The melody in variation A2 is performed by trumpet, trombone, studio trombone,
and electric bass guitar. In episode B, the tone clusters are performed by the trumpet, trombone,
keyboard, electric bass guitar, drumset, and percussion. Two types of keyboards are used in the
presentation of the melody in theme groups C and D, the live keyboard track and a studio
overdubbed keyboard synthesizer part. The main theme group A, variations A1 and A2, and
theme group C are accompanied by the keyboard, percussion, and electric bass guitar, while
theme group D is accompanied by trombone, keyboard, percussion, and studio keyboard
synthesizer.
Concerning the instrumentation of theme group A, an instrument that sounds somewhat
like a combination of trumpet and trombone performs the melody. Although a trumpeter and
trombonist are listed among the musicians employed during several of the Roxy & Elsewhere
concerts, there is evidence to suggest that the trumpet heard on the Roxy recording was added
later as a studio overdub, or quite possibly the trumpet is actually a studio alteration of the
197
original trombone track. In the discussion that follows, several factors involving the possible
overdubs will be addressed.
The first factor concerns the sound quality of the recorded instrumental track. The
overdubbed hybrid trumpet/trombone track in the main theme group has a cleaner sound than the
noisy live tracks and seems to fill the acoustic space. This cleaner sound is most likely due to the
use of microphone isolation techniques in the recording process and the inherently higher signal-
to-noise ratio that is provided by the recording studio.
Although the volume level of an individual track can be manipulated during the recording
of a live performance and the final mastering process, any increase in the volume level of one the
live tracks during the final mastering process would invariably increase the volume of other
instrumental tracks, thus affecting the final recording. Due to the inherent problems of micro-
phone isolation and placement problems during a live concert, especially in the 1970s, audio
leakage can be a major concern for audio engineers.
A second factor concerning the possible overdubbed tracks of the Be-Bop Tango involves
Zappa's history of using the recording studio to: accentuate individual tracks on previously
recorded material by duplicating the track with another instrument; "closely intercut live
recordings of the same song made on different occasions in an attempt to conflate the best
elements of performances that individually are deficient in one way or another;"39 and to add
new musical material to a pre-existing recording. This last method provided Zappa with the
opportunity to experiment and create new arrangements of a given work.
Related to this last recording technique, Zappa employed the recording studio to create
new works from combining instrumental tracks from unrelated recording sessions. This
39 Bernard, "Listening to Zappa," 77.
198
technique called xenochrony, a term coined by Zappa, involves extracting one track from a pre-
existing multi-track recording and combining it with material from an entirely independent
recording session.40 The differences between recording session tracks might include not only
disparities in melody, harmony, and rhythm, but also meter, tempo, and the inherent ambience of
the different recording locations.41 As Zappa explains,
A classic xenochrony piece would be "Rubber Shirt," which is a song on the SheikYerbouti album. It takes a drum set part that was added to a song at one tempo. Thedrummer was instructed to play along with this one particular thing in a certain timesignature, eleven-four, and that drum set part was extracted like a little piece of DNAfrom that master tape and put over here into this little cubicle. And then the [electric]bass part, which was designed to play along with another song at another speed, anotherrate in another time signature, four-four, that was removed from that master tape and putover here, and then the two were sandwiched together. And so the musical result is theresult of two musicians, who were never in the same room at the same time, playing attwo different rates in two different moods for two different purposes, when blendedtogether, yielding a third result which is musical and synchronizes in a strange way.That's xenochrony.42
Starting in the early 1960s, with his acquisition of Studio Z, Zappa's knowledge of
recording techniques evolved from the simple method of transferring sound to tape to its
eventual application as a powerful compositional tool that allowed Zappa to experiment with
disparate musical styles, timbres, rhythms, and non-traditional forms in a creative and
unrestricted atmosphere. Zappa's endeavors in the recording studio greatly influenced his
acoustic works. Not only did it affect the kinds of musical materials and methods he composed
40 Watson, Frank Zappa: The Negative Dialetic of Poodle Play, 303-304. The terms
xenochronicity, xenochrony, and resynchoronization are interchangable. Zappa first used thistechnique during the recording of his album Zoot Allures in the summer of 1976. The concept ofexploring simultaneous musical sources, either related and/or unrelated, within a compositionhave their impetus in the works of Charles Ives and John Cage.
41 Watson, "Frank Zappa as Dadaist: Recording Technology and the Power to Repeat,"132.
42 Marshall, "The Best Frank Zappa Interview Ever," 17.
199
with, but also changed his overall philosophy concerning musical time, style, and organization.
The instrumentation and musical materials that Zappa would eventually use in the chamber
orchestra version of the Be-Bop Tango are a direct result of his experiences in the recording
studio.43
The third factor concerning the possible overdubs involves a 1993 interview conducted
by Don Menn with Ali N. Askin, Zappa's music copyist and arranger for the 1992 Ensemble
Modern concerts. Menn states that, "In particular, he [Ali Askin] cites a Bruce Fowler trombone
line doubling a Zappa guitar solo where one layer is recorded at half-speed and then speeded up
to sound like a trumpet."44 Although this quote may in fact refer to an entirely different
composition, the type of recording processes mentioned during the interview may account for the
flawless doubling procedures that occur between the studio overdubbed trumpet and trombone
on the Roxy recording. Furthermore, since Zappa and Askin used the unspecified instrument and
piano score to create the chamber orchestra arrangement, and the second live recording of the
Be-Bop Tango contains an overdubbed trumpet and trombone track, it can be inferred from the
preceding quote that the arrangement that Askin is referring to may be in fact be the "Be-Bop
Tango (of The Old Jazzman's Church)" from the Roxy & Elsewhere. However, in an interview
conducted by the analyst with Askin, he mentions that he did not use any of the prior recordings,
only the unspecified instrument and piano score.
And finally, the fourth factor concerns the personnel line-up listed in the Roxy &
Elsewhere CD program information; the instrumentation includes tenor saxophone, trumpet,
43 Many of the acoustic works of certain twentieth-century composers have been
influenced by their experiments in the recording studio, including such notables as KarlheinzStockhausen, Luciano Berio, Iannis Xenakis, Steve Reich, and John Zorn.
44 Don Menn, "Zappa!," 83.
200
trombone, electric guitar, electric string bass, percussion, keyboards. However, on the live
recording, when Zappa introduces the individual members of his ensemble to the audience, he
lists among the musicians: trombonist, Bruce Fowler; tenor saxophonist and vocalist, Napoleon
Brock Murphy; percussionist Ruth Underwood; drumset percussionists Ralph Humphrey and
Chester Thompson; electric bassist Tom Fowler; and keyboardist George Duke. The omission of
a trumpet player in the introduction suggests that either Zappa failed to mention the musician, or
a trumpet part (or a manipulated overdub of the trombone) was inserted later during the final
recording process; the trumpet part may have quite possibly been performed by Walt Fowler.
The latter explanation is most likely the correct assumption. Zappa had a long history of giving
his musicians and ensembles the credit they deserve, especially at the end of live concerts; any
omission of a particular performer would be unheard of.
From the four factors mentioned above, the analyst has three possible scenarios
concerning the trumpet overdub on the second recording of the Be-Bop Tango to contend with.
The overdub was either added later as: an unaltered studio overdub; as a synchronic track taken
from a early or later performance; or as an altered version of the trombone part. Unfortunately,
Zappa never mentioned any specific recording procedures used on the Be-Bop Tango sessions.
Further addressing the recorded Roxy performance, the "Be-Bop Tango (of The Old
Jazzman's Church)" ends with an obligatory fermata and crescendo, which leads to an extended
trombone improvisation in a 12/8 rock-fusion style. The trombone solo is frequently interrupted
by tutti episodes that consist of straight eighth-note "flurries,"45 and is followed by a series of
45 A flurry is a term coined by Jonathan Bernard to describe a musical figure that consists
of "a single 4/4 measure of very rapid figuration." Usually, this rapid figuration is consistent inthe rhythmic values it employs (i.e. all sixteenth-notes) and is inserted between two melodicphrases or leads into a major theme area. This musical figure is a prominent musicalcharacteristic of Zappa's oeuvre. Bernard, "The Musical World(s?) of Frank Zappa," 173.
201
ascending sequential chord progressions in the keyboard (CD track timing 4:54). This sequence
signals a return to the quarter-note tango vamp and introduction, which is performed by the
electric bass guitar and percussion. The tango reprise is followed by a climactic tutti chord and a
return to the beginning marcato quarter-note pulse.
However, what follows in the next section of the work can only be described as the
continuation of Zappa's Dadaist quest for an active and participatory audience.46 At CD track
timing 5:20, Zappa explains to his patrons what kind of musical processes have just occurred on
stage. Then, he announces that keyboardist George Duke will perform the main theme of the Be-
Bop Tango as a scat improvisation, and trombonist, Bruce Fowler, will interpret Duke's
vocalization through dance.47 At the beginning of the improvisation, Duke sings "This is Be-
Bop, even if you don't think it sounds like it . . .," while Fowler dances to the rhythm of the vocal
line. Duke sets the words to the melody of the main theme of the Be-Bop Tango, and eventually
extends the improvisation to include scat syllables doubled by the keyboard. After a brief expla-
nation to his audience concerning the various musical events, Zappa extends the improvisation to
include randomly selected members of the audience.
In an interview with Ralph Humphrey, one of Zappa's three percussionists during the
1973-1974 tour, Humphrey states that,
46 Developed in western Europe during the first world war, Dada was an artistic
movement that focused on the concepts of the absurd, irrational and the irreverent. Itemphasized the independence of individual artists to explore his or her own methods ofexpression and embraced a variety of compositional techniques and styles including found-objectcollage and futurist technical innovations. Matthew Gale, Dada and Surrealism (London:Phaidon Press Limited, 1997) 11; and Watson, "Frank Zappa as Dadaist: Recording Technologyand the Power to Repeat," 110.
47 Scat singing or scatting is a term used to describe "a jazz solo of vocal nonsensesyllables." Barry Kernfeld, The New Harvard Dictionary, ed. Don Michael Randel. s.v. "ScatSinging." (Cambridge, MA: The Belknap Press of Harvard University Press, 1986), 730.
202
Bebop, which involves improvisation, is something this piece is not. It is all com-posed, written out, and meant to be played with no improvisations. Again, it evolved to apoint where Frank asked George [Duke] to begin improvising little licks, distorted quotesof sections of the piece while Frank commented on it. He eventually thought it would begood to get the audience to participate by dancing to these little improvisations. Ofcourse, in bebop music, there is no dancing. Once again, Frank is mocking the music andits style.48
According to Ben Watson, having audience members participate and "attempt to dance to
Duke's bebop perversions of the tune underlines the distance between jazz specialism and
everyday life."49 Throughout his career, Zappa included moments of absurdity and passages of
audience participation within the live performances of his compositions, from individual
audience members singing with the ensemble to Zappa conducting a mass-audience, free-style
poetry recitation. This can be interpreted as one of Zappa's many attempts to demystify the
musical process, explore his Dadaist philosophies, entertain his audience, and diminish the
perceived distinction between the "high" and "low" art.
During the improvisational interpretation of Duke's scat singing (track timing 10:48), the
electric bass guitar leads the ensemble into an episode that combines swing-jazz with Duke's
scatting. At 12:22, the percussion, keyboard, electric bass guitar, and marimba perform
independent ad-lib improvisations. The complete chaos and textural density of the section
increases the dramatic tension within the work.
At track timing 13:26, the ad-lib solo passage decreases in activity, while the electric bass
guitar and keyboard return to the basic quarter-note tango rhythm; the tango rhythm resolves the
tension created by the ad-lib tutti improvisation. At this point in the recording, Zappa invites the
48 Humphrey, Interview
49 Watson, "Frank Zappa as Dadaist: Recording Technology and the Power to Repeat,"117.
203
entire audience to participate in the improvisational dance. Duke's scatting and Zappa's dialogue
continue and lead directly into an R&B song that uses the words "Anything you want to do. . ."
as the refrain; it is followed by an extended electric guitar solo performed by Zappa. After his
solo, the composer introduces the individual members of performing ensemble to the audience
and is followed by a continuation of the R&B refrain and the recording fades out.
Philosophically, the message contained in the blues refrain resonates throughout the live
arrangement of the Be-Bop Tango, not only as it pertains to its overall aesthetic of the work, but
also the written composition and its juxtaposition of dissimilar popular-art music styles, the
extended trombone improvisation, the scat vocalizations, and the improvised dance segments by
Bruce Fowler and the audience.
204
CHAPTER 4
BE-BOP TANGO FOR CHAMBER ORCHESTRA: ANALYSIS
"Jazz is not dead, it just smells funny. . ." - Frank Zappa, Be-Bop Tango (of The Old Jazzman's Church), 1974
Background
In the summer of 1991, Andreas Molich-Zebhauser, manager of the Ensemble Modern
approached Frank Zappa with a proposed series of commissioned concerts that would feature his
music at the 1992 Frankfurt (Germany) Festival. At the time of the collaboration, Ali N. Askin
served as Zappa's technical assistant and music copyist, and arranged the Be-Bop Tango for
chamber orchestra.1 His responsibilities included typesetting newly composed music and
1 Born in Munich, Germany in 1962, Askin studied composition with Dieter Acker and
Wilhelm Killmayer at the Munich Academy of Music from 1982-1986 and attended theAcademy of Film and Television in 1987.
Parallel to his academic studies, he began to work with a number of ensembles andprojects as a pianist, keyboardist, and composer; he also worked as a radio moderator, copyist,editor, and music teacher. In the late 1980s and early 1990s, Askin worked intensively withseveral theaters as a composer, musician and musical director.
From 1991-1993, Askin was Frank Zappa's assistant on the "The Yellow Shark" project,which featured the Ensemble Modern. His duties included arranging and transcribing Zappa'scompositions and recordings to create an evening-length concert program for the EnsembleModern entitled "The Adventures of Greggery Peccary and Other Persuasions." For the HollandFestival in 2000, he reconstructed the original scores of the orchestral pieces in Zappa'slegendary film "200 Motels." Askin continues to work with the Zappa Family Trust in LosAngeles, California. Ali N. Askin, Askin biography, www.askin.info/bio engl l.html, April 23,2003.
205
creating new arrangements of Zappa's early amplified chamber ensemble works and Synclavier
compositions.2
According to Askin, his duties were clearly defined. In an interview with the author, he
states that at the beginning of the process Zappa made numerous additions to the original
unspecified instrument and piano score of the Be-Bop Tango, including ornaments, glissandos,
and extra notes. Then, Zappa indicated to Askin which instruments should perform which parts.
During the preparation of the final score and parts, Askin completed all of the detail work, which
included checking for performance playability and making certain that instrumental ranges were
not exceeded. Near the end of the process, Zappa checked the arrangement for errors and made
the necessary corrections to the draft score.3
David Ocker, an arranger and copyist for Zappa during the late 1970s and early 1980s,
elaborates further on the process:
My job as copyist for six of my seven years with Frank [June 1977-Autumn 1984]involved technical musical matters - mostly notational, sometimes orchestrational. I wasthe guy who had to remember what the bottom note on the piccolo or English horn is, forexample. However, when it came to the actual music he made all the decisions. He mightplay tapes for people and measure their reactions - but the music wasn't finished till HEliked it.4
2 Several of Zappa's Synclavier compositions are included on the1984 album The Perfect
Stranger, a recording that includes digitally composed works performed by The BarkingPumpkin Digital Gratification Consort (Zappa's name for his Synclavier) and acoustic workscommissioned for, and performed by, Pierre Boulez and the Ensemble Intercontemporain. In1988, Zappa released Jazz from Hell, an album primarily consisting of Synclavier works, andwon a Grammy for Best Rock Instrumental. Joe Spiegel, "Absolutely Frank, " 55-56; Menn,Zappa!, 83; Watson, Frank Zappa: The Negative Dialetic of Poodle Play, 427-433; and Miles,Frank Zappa: A Visual Documentary, 94.
3 Askin, Interview.
4 David Ocker, David Ocker Interview, e-interview performed 1994 and 1995 via emailby Bill Lantz and the FZ online newsgroup (alt.fan.frank-zappa), www.cableaz.com/users/lantz/pages/ocker.html, April 24, 2003.
206
The Ensemble Modern presented the chamber orchestra version of the Be-Bop Tango, along
with eighteen other compositions by the composer, in a ninety-minute concert in Frankfurt. The
instrumentation included flute (doubling piccolo and alto flute), oboe, clarinet, tenor saxophone,
bassoon, two horns, two trumpets, two trombones, tuba, three percussion, piano, harp, mandolin,
guitar, and strings. The woodwinds and strings also double on non-pitched percussion
instruments, including maracas, triangle, cymbals, jingle bells, agogo bells, vibraslap, metal
guiro, and large wood guiro. Although Askin is credited with the official arrangement, Zappa
constantly supervised the process.5
In addition to the instrumentation, various changes were made to the formal, thematic,
and harmonic structure of the work including the expansion and contraction of thematic areas,
the addition of written percussion passages instead of improvised parts, the inclusion of aleatoric
devices and passages, and the substitution of new harmonies. The following analysis will
provide an overview of the orchestration, and compare the various alterations made to the Be-
Bop Tango and how they differ from the original score.
In general, the orchestral arrangement of the Be-Bop Tango follows the same
instrumentation used in the amplified chamber ensemble arrangements from the 1970s. The
woodwind and brass sections perform a majority of the thematic material while the percussion,
piano, and strings (including harp, mandolin, and guitar) perform the accompaniment. The brass,
percussion, and string sections perform the various interjections that occur between melodic
phrases of the main theme, its variations and developments, and episode B. The melody is
usually doubled at the unison or octave with one exception, the first phrase of variation A1,
5 Frank Zappa, Be-Bop Tango for chamber orchestra (Los Angeles: Munchkin Music,
1993); and Askin, Interview. For a detailed score contact Munchkin Music at www.zappa.com.
207
which is doubled at a major third. The issue of orchestral doubling will be addressed later in the
analysis.
Table B.1 in Appendix B summarizes the orchestration of each of the main theme groups
and their subphrases. Each measure of the composition is listed at the top of the table. The
theme groups and their phrase subdivisions are listed underneath the measure numbers. The
instrumentation is listed on the left of the table. Abbreviations and dashes are used in each
measure to indicate the length of the event (melody, harmony, etc.) and to denote the function of
the musical material: T = Tango rhythm; M = Melody; D = Doubling of the melodic line; H =
Harmony, accompaniment usually; C = Timbral color, usually associated with the percussion
section; S = solo; and I = interjection, generally a single note or chord.
Generally, the orchestration of the harmonic materials is homogeneous and shifts
between instrumental families. For example, in the first eight measures of the orchestral
arrangement the brass section performs the opening tango section exclusively. In the second
phrase of the main theme (A/b) the harmony is placed in the guitar and strings and supports the
melody, which is featured in the woodwinds and mandolin. In the following phrase (A/b') the
harmonic progression is distributed among the woodwinds while the trumpets and harp perform
the melodic line.
Conversely, interlocking orchestration is used, but it is infrequent. In m. 18 of variation
A1, the harmonic progression is distributed among the bassoon, horns, and tuba; the bassoon
timbre provides the quarter-note triplet rhythmic interjection with a more exotic sound. A
second example of interlocking orchestration can be located in m. 23 of A1. The interlocking
thirds of the final sonority of the theme group, F#-G-Bb-B, are divided among the instrumental
families, F#-Bb in the woodwinds and B-G in the brass. The division of the orchestral forces
208
softens the harsh dissonance that permeates the recorded ensemble performances of the original
score.
In the analysis of the original score and its subsequent arrangements for amplified
chamber ensembles, it was explained that Zappa used various studio techniques, including
xenochronic methods, to alter and manipulate recordings of the live performances of the Be-Bop
Tango. On the Roxy & Elsewhere recording of the "Be-Bop Tango (of The Old Jazzman's
Church)" Zappa recorded the ensemble live and later inserted overdubbed, studio manipulated
instrumental tracks; however, Zappa never mentions any specific studio tracks that may have
been altered for the Roxy & Elsewhere recording. Through careful listening of the two
recordings and examining materials from other sources, including recording location information
and interviews with performers and arrangers, it was ascertained that the overdubs were added
later in the final mastering sessions. As it pertains to the orchestral arrangement, it can be
construed that since Zappa and Askin utilized the original score to create the arrangement, and
the live recording of the Be-Bop Tango contains a overdubbed trumpet/trombone track, the solo
trumpet passages in the orchestral version of the work, specifically in theme group D, are in fact
a direct transcription of the earlier recording sessions.
The above mentioned recording processes are not unique within the recording industry,
but, Zappa is considered by many to be a pioneer in the development of xenochronic techniques.
These methods have later implications with regards to the instrumentation used in Zappa's
orchestral and non-orchestral works.
Form and Reconstruction
Although a few notable changes have been made to the formal, thematic, and harmonic
structure of the orchestral arrangement of the Be-Bop Tango; it is an almost exact reproduction
209
of the unspecified instrument and piano score. Formally, the arrangement preserves the modified
variation-rondo (T-A-A1-T1-A2-B-C-D-T2/codetta) as its structure, but a short codetta/tango
reprise (T2) is added at the end of the composition (Appendix A, Figure A.5).6 The addition of
T2 will be addressed later in the analysis.
One of the basic changes made to the arrangement concerns the tempo of the work. It is
written as a quarter-note equals ninety beats per minute, which is considerably slower than the
rapid tempos taken by Zappa's earlier amplified chamber ensembles. This decrease in tempo
lends the work a sarcastic undertone, and alters the underlying philosophy of the original score.
Earlier in the analysis, it was explained that bebop jazz generally featured complex melodies that
were performed at fast tempos as to exclude non-bop musicians, or "outsiders." This concept
unquestionably coincided with the earlier performances by Zappa's amplified ensembles.
However, with the reduction of the tempo in the orchestral arrangement of the Be-Bop Tango,
the tenets of bebop are cast aside for the florid, sensual pace of the tango and the attractive
timbres of the orchestra. Nonetheless, the melodies in the orchestral arrangement maintain a
sense of urgency and continue to search for resolution.
A second change to the Be-Bop Tango is located at the beginning of the piece. In chapter
three it was explained that the first four measures (mm. A-D) serve as a vamp for spoken intro-
ductions and instructions. These four measures are numbered and identified as the official
beginning of the chamber orchestra arrangement, mm. A-D now equal mm. 1-4. The opening
marcato-sincopia tango introduction (mm. 1-8) is scored for horns, trombones, and percussion
(Example 4.1). In the recorded performances of the amplified chamber ensemble arrangements,
6 The musical examples that follow are reduced versions of the orchestral score and were
created by the analyst. Dynamic marking were omitted for reasons of space and clarity. For adetailed score contact Munchkin Music/The Zappa Family Trust at www.zappa.com.
210
the trombone was scored in the same location and served the same function. The tango
introduction is accompanied by three percussionists using sandpaper blocks, two snare drums,
and bass drum, and simulates the function of a drumset in a dancehall setting.
Example 4.1. Be-Bop Tango for chamber orchestra, Tango Introduction: T, Reduction
&
?
÷
÷
4
4
4
4
4
4
4
4
SANDPAPER BLOCKS
2 SNARE DRS.
BASS DRUM
Horns 1 & 2
Trumpets 1 & 2
1 Ú ca. 90
j
œœbb
‰ j
œœ
‰ j
œœ
‰
œœb
œ
j
œ
œ
n‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
œ.œ.œ.œ.œ.œ.œ.œ.
Πj
œ œŒ
j
œ œ
w
j
œœbb
‰ j
œœ
‰ j
œœ
‰
œœb
œ
j
œ
œ
n‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
œ.œ.œ.œ.œ.œ.œ.œ.
Πj
œ œŒ
j
œ œ
w
j
œœn
‰ j
œœ
‰ j
œœ
‰
œ
œn
œ
j
œ
œ
b
b
‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
œ.œ.œ.œ.œ.œ.œ.œ.
Πj
œ œŒ
j
œ œ
w
gliss.
j
œœn
‰ j
œœ
‰ j
œœ
‰
œ
œn
œ
j
œ
œ
b
b
‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
œ.œ.œ.œ.œ.œ.œ.œ.
Πj
œ œŒ
j
œ œ
w
&
?
÷
÷
5
j
œœb
‰j
œœ
‰j
œœ
‰
œœb
œ
j
œ
œ
#‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
œ.œ.œ.œ.œ.œ.œ.œ.
Πj
œ œŒ
j
œ œ
w
j
œœb
‰j
œœ
‰j
œœ
‰
œœb
œ
j
œ
œ
#‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
œ.œ.œ.œ.œ.œ.œ.œ.
Πj
œ œŒ
j
œ œ
w
j
œœn
‰ j
œœ
‰ j
œœ
‰
œ
œn
œ
J
œ
œ
n
b‰
J
œ
œ‰
J
œ
œ‰œ
œ
œ.œ.œ.œ.œ.œ.œ.œ.
Πj
œ œŒ
j
œ œ
w
j
œœn
‰ j
œœ
‰
œœ
œj
œœ
‰
J
œ
œ
n
b‰
J
œ
œ‰
J
œ
œ‰œ
œ
œ.œ.œ.œ.œ.œ.
J
œ.‰.
Œ
œ œ œ
j
œ@
‰
˙ œ œ œ
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
211
Starting on the last eighth-note of m. 8, the first phrase of the main theme is performed by
the trumpets, while the staccato sixteenth-note accompaniment figure is performed by horns,
trombones, tuba, timpani and sandpaper blocks (Example 4.2).
Example 4.2. Be-Bop Tango for chamber orchestra, Theme Group A, Phrase A/a, Reduction
&
÷
&
?
Trombones
Ó Œ ‰
œ
>œ
?
j
œœn
‰ j
œœ
‰
œœ
œj
œœ
‰
J
œ
œ
n
b‰
J
œ
œ‰
J
œ
œ‰œ
œ
Trumpets
Timpani
Horns
Tuba
9
3œ# j
œ
.
Œ
7
œb
œ œ
œbœn
œb
œn
3
.œ-
œ
>
œ#
>
Œ ≈ œ œ œ œ
j˚
œ‰ .
3
.œ œ œ
÷
œ
œ
b
b
œ
œ
œ
œ
fl
œ
œ
fl
œ
œ
fl
œ
œ
fl
j˚
œœ
‰ . œœ##
œ
œ
œ
œ
œ
œ
˘œ
œ
˘œ
œ
˘œ
œ
˘
J
œ
œ
#
n‰ .
œ
œ
n
5 Tom-Toms
w
3
œœœ
3
œœœ
6
œ œœ œœ œ
6
œ œœ œœ œ
w
ww
w
w
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
The first change in the harmonic structure of the arrangement occurs in m. 9. The bass
line outlines a descending G major trichord, which leads to A in m. 10. Absent in the unspeci-
fied instrument and piano score, the lowest note of the arpeggiation (G) is placed in the timpani
and emphasizes its importance as the root of the second chord in m. 9.
A second change to this passage is orchestrational and concerns the inclusion of written
percussion parts. Since the percussion parts were improvised in the original score, new material
was added during the revision process. These new parts were added before the entrance of A/b in
m. 10 (m. 6 in the original score), between phrase A/b and A/b' in m. 11 (Example 4.3a), before
212
the first thematic variation, A1 (Example 4.3b), and between episode B and theme group C
(Example 4.3c).
In addition, the added percussion parts function in a variety of ways. First, they are used
for rhythmic motion and a contrast in timbre. In Example 4.2, the percussion is used as a
rhythmic transition between the two subphrases of the main theme group. Second, the added
parts are used for rhythmic and metric contrast. For example, in m. 12 (Example 4.3a) the triplet
eighth-note figure in the piano and strings, and the quarter-note triplets in the snare drum
Example 4.3a. Be-Bop Tango for chamber orchestra, Main Theme A/b and A/b', PercussionInterjection, Reduction
&
÷
&
?
Woodwinds (- Bassoon) + Mandolin
11A/b
Strings
Pizz. arco TrombonesHorns +
7œn œb œ œ
œb œ œ
3
œ
œb
.œnœ#
3
œ
j
œn œ
Ó Œ .œ œ œ
j
œœnb
‰j
œœn
‰
œœ..œœœœ
œœ
j
œ
œ
#‰
J
œœbn
‰
œ
œ#
.
.
œ
œnœ
œ
b
b
œ
œ
Trumpets + Harp
Snare Drum
Woodwinds (+ Bassooon / - Flute)Piano + Harp + Strings
A/b'
Ó Œ
7œn œb œ œ
œb
>
œ œ
Œ
j
œ
3œj
œ
J
œ
3
‰
j
œ œ Œ
3
‰œœœ# œœn#Œ Œ
œœnb
3
‰œ#
œœnn
Œ Œœ
œ
#
Woodblocks
œ
œb
.œn œœ# œ# œ .œn .œ œ
œœ.œ
@
œœ œ
@
œ
@.œ
@
.œ œ
wwn
wwb#
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
increase the perceived pulse by one-third. This metric alteration obscures the natural pulse of the
phrase and establishes a new tempo, which is quickly abandoned in the following phrase, A1/b'.
Third, the added percussion parts serve as a thematic anacrusis to the major phrase
groups (Example 4.3b). In m. 16, the bongos explore the sixteenth-note septuplets from the
previous theme group and lead directly to the first phrase of variation A1.
213
Example 4.3b. Be-Bop Tango, Variation A1, Phrase A1/a Percussion Introduction, Reduction
&
÷
&
?
Violins 1 & 2
Marimba + Glockenspiel
m. 16
Bongos
Ó Œ ‰
œ
>œ
7
œ œ œ œ œœ œ
7œ œœ œ
6
œ œœœ œœ
‰
œ
>œ
&
∑
∑
Variations A1/a
Trumpets
Trombones
17
. .
. .œœ# œ
œ
>
. .
. .œœbœœ
>
. .
. .œœœœ
>
œœœœœœ
.
œœ
.
œœ
.
. .œ# œ>
. .œ œ
>
. .œ œ>
œ œ œ
.
œ
.
œ
.
‰
j
œ
œ
b
b
‰ j
œœn
‰
j
œ
œb
‰ j
œœn
‰
J
œ
œ ‰
J
œ
œb‰
J
œ
œ ‰
J
œ
œn
6
œœb
>
œœbbœœ œœœœb
>
œœn
6
œœb œ
œn
œœ
>
œœn
œœbb
œœb ˙˙nb
6
œ
>
œb œ œ
œ
>
œ
6
œœb
œ
> œ
œb
œn˙n
œœb
œœ#
3
Œœ
œœ
b
b œœn
œ
œb
œ
œ
b
n
3
Œ œœ
œb
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
And fourth, the percussion serves as a hybrid of the previous three functions (Example
4.3c). At the end of episode B in the original score, a written indication apprises the percussion-
ist that he or she should perform an improvised drum fill; however, in the orchestral arrangement
three measures (eight beats) of composed percussion material are inserted into the score. The
new material at the end of episode B (mm. 31-33) functions as a solo passage and acts as a pick-
up into the next major phrase group, C/c.
Continuing with the analysis of the orchestration of the main theme group, the second
and third phrase, A/b and A/b', are performed by the woodwind section and the mandolin, and
trumpets and harp respectively (Example 4.4). The castanets, bongos, snare drum, and piano
perform the interjections that occur between the phrases. Assisting the percussion in the
temporal reinforcement of the ensemble, the staccato attack of the plucked string instruments not
only strengthens the basic pulse of the passage but also accentuates the melodic line. The
pizzicatos can be interpreted as the adaptation of not only the strong piano articulation notated in
214
Example 4.3c. Be-Bop Tango, Episode B, Composed Percussion Parts, Reduction
?
?
?
÷
÷
?
4
3
4
3
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
Horn 1
Piano
Percussion 2: 5 Tom-Toms
Horn 2 + Trombone 2
Percussion 3: 5 Tom-Toms
Low Strings
(Episode B)
j˚
œ#
‰ . Œ Œ
j˚
œœn
‰ . Œ Œ
j˚
––––
>
‰ . Œ Œ
7:6
œ
œ œ
3œ
œ œ
œ
‰ ‰
7:6
œ
‰ ‰ œœ œ
3
œœ œ
œœœœ
j˚
œœœ
‰ . Œ Œ
∑
∑
5:4
¿
œ
œ œ
3œ
œ œ
5œ œ
œ œ œ
5:4
œ
œ œ
3œœ œ
5œœœœœ
∑
35
∑&
&
∑
œ
j˚
œ
11:8œ œ œ œ
œ œ œ œ
j˚
œ œ
œ œ
œ
j˚
œ
11:8œ œœ œ
œœœœ
j˚
œ
œ
œ œ
∑
Clarinet + Guitar
Woodwinds ( - Flute)
Theme Group C
5
≈
œ#
œ œ œ#
5
œ#
œ#
œn
.
œ.
œn
.
7œb
≈ œn ≈ œ
œ
œb
6
œ
>
œbœœn
>
œ
œ#
www
w
##
∑
w
æ
ww
∑
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Example 4.4. Be-Bop Tango, Theme Group A, Phrases A/b and A/b', Instrumentation, Reduction
&
?
&
?
Woodwinds (- Bassoon) + Mandolin
Pizz.
+ Bass Drum
gliss.
Timpani
molto vib.
11
Horns + Trombones
Strings
7œn œb œ œ
œb œ œ
3
œ
œb
.œnœ#
3
œ
j
œn œ
j
œ
‰ Œ Œ .œ œ œ÷
j˚
œœnb
≈ ‰ j
œœn
‰
œœ..œœ œœ
œœ
j˚
œ
œ
#≈ ‰
J
œœbn
‰
œ
œ#
.
.
œ
œnœ
œb
œ
œ
Trumpets + Harp
Snare Drum
Woodwinds (+ Bassooon / - Flute)Piano + Harp + Strings
Snare Drum only
Ó Œ
7œn œb œœ
œb>
œœ
Œ
j
œ
3œj
œ
J
œ
3
‰
j
œ œŒ
3
‰ œœœ# œœn#Œ Œ
œœnb
3
‰œ#
œœnn
Œ Œœ
œ
#
Woodblocks
13
œ
œb
.œn œœ# œ# œ .œn .œ œ
œœ.œ
@
œœ œ
@
œ
@.œ
@
.œ œ
wwn
wwb#
Woodwinds+ Brass
.œn
J
œb>˙
.
.
œ
œ
#
#
j
œœ˙˙˙
J
œn
.
.œœJ
œ ˙
˙Ó
˙˙
˙
Ó
˙
Ó
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
215
the original written score, but also the combined sound of the marimba and picked electric guitar
from the earlier amplified ensemble arrangements.
At the end of the main theme (mm. 13-15), the trumpets and harp perform the final two
notes of the melody, and the woodwinds and remaining members of the brass section perform the
accompanying chords in m. 14 (Example 4.5). Using tremolo to sustain the notes of the chord,
the harp part can be interpreted as a transcription of the violin tremolo performed by Jean Luc
Ponty on the "Farther O'Blivion" medley recording on Beat the Boots I: Piquantique (1973).
Example 4.5. Be-Bop Tango, Theme Group A, Phrase A/b', Harp Tremolo, Reduction
&
&
&
?
4
4
4
4
4
4
4
4
13Trumpets
Harp
Woodwinds
wah wah gliss.
œ
œb
.œn œœ# œ# œ .œn
+
.œ œ
œ
œb
.œn œœ# œ# œ .œn .œ œ
wwn
wwb#
Woodwinds+ Brass
.œn
o
J
œb>
+
˙
o
.œ# œ
œ
œ
b
b
œ
œ
œ
#
˙
˙
˙
˙
˙
˙
.
.
œ
œ
#
#
j
œœœœœ
# ˙˙˙˙˙‰
J
œn
.
.
.
œœ
œ
n
#
j
œœ
œ
˙˙
˙
m. 15
˙
+
Ó
˙
˙
˙
b
b
˙
˙
˙
#
Ó ÷
˙˙˙˙˙
Ó
˙˙
˙
Ó
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
At this point in the analysis, it is important to elucidate on the specific orchestration and
function of the brass section, not only as it pertains to the performance of the main thematic
material, but also the supplied accompaniments. For example, starting in m. 13, the trumpets
perform the final phrase of the main theme group. They are instructed to use a wah-wah type of
sound (Example 4.6). Since a specific mute is not indicated in the score it must be inferred that
216
the trumpet players should use the fingers of their left hand to slowly change the timbre from a
closed, muted sound to an more open and brighter tone; it is used in tandem with a quick
glissando that ascends by an interval of a minor seventh from G to F (m. 14).
Example 4.6. Be-Bop Tango, Theme Group A, Phrase A/b', Trumpet Part
&
13
wah wah gliss.
Trumpets
œ.
œb.
.œn œœ# œ# œ .œn
+
.œ œ
.œn
o
J
œb>
+
˙
o
˙
+
Ó
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Moreover, on the second eighth-note of beat 2, the trombones perform the same gesture with
plunger mutes. The altered trumpet and trombone timbres contain jazz-like connotations that
reinforce the overall musical philosophy of the piece. The woodwind and low brass sections are
used to articulate and reinforce the last chord of the phrase.
A second example of the orchestration and function of the brass parts involves the
transcription and notation of improvised trombone glissandos, which were used in the live
performances of the tango introduction. On the first recording of the Be-Bop Tango
(Piquantique: "Farther O'Blivion") the trombone and rhythm section performed the primary
tango rhythm. The trombonist added a glissando between the last eighth-note of one measure to
the first note of the next measure. Even though the glissando is absent in the original score, it
does add a burlesque quality to the composition. Due to its unique melodic character and
humorous overtones, the trombone glissando is transcribed and inserted into the orchestral
arrangement and occurs on the last eighth-note of every two-measure group (see Example 4.1).
The transcription and notation of unwritten melodic ornaments (glissandos, pitch bends, grace
notes, and tremolos), and their subsequent appearance in the orchestral arrangement provides
217
sufficient evidence that the original score and live recordings were both used to create the
orchestral arrangement of the Be-Bop Tango.
A second example of this type of orchestration can be found in the harp part at the end of
theme group A (mm. 14-15). As noted earlier in the analysis, the harp performs a tremolo, which
is constructed using a Db-G dyad in the right hand and a C-F#-B trichord in the left hand. When
combined, these two cells form a set of three dyads, C-Db/F#-G/B-Db. The various dyads
explore the motivic relationship between the intervals of a minor second and a diminished third;
the dyads are separated by an augmented third and major third respectively. However, the
tremolo is absent in the original score, but its origin can be found on the live recording of the
"Farther O'Blivion" medley. During the section that featured the Be-Bop Tango, violinist Jean
Luc Ponty performed a tremolo on the last note of phrase A/b', but subsequently, due to Ponty's
dismissal before the Roxy recording tour dates the tremolo was omitted. Just as the violin
tremolo was used to create dramatic tension during the live performances, the combined harp
tremolo and flute fluttertongue in the orchestral arrangement heightens the dramatic effect of the
phrase, acts as a transition to variation A1, and can be interpreted as the transcription and
adaptation of the violin tremolo.
The division of the orchestral forces among the three phrases of theme group A and the
resulting contrast in timbres supplies the piece with musical drive, which was lacking in the
performances of the amplified chamber ensemble arrangements. Due to the new orchestration
and its quasi-pastiche quality, it is the contention of the analyst that the presence of timbral
momentum provides the work with greater depth, and supplants the need for allegro and vivace
tempos to create musical interest.
218
The next important change to the arrangement concerns the structure of the final sonority
in theme group A (m. 14). In Example 3.6 of the previous chapter, the chord progression is
classified as a complete cadence, however, in the orchestral arrangement the final chord of the
progression, a G major triad plus a major second, has been changed to a dissonant sonority, C#-
C- E-F#-G-A# (D-28, vector [2 2 4 2 2 3]) (see Example 4.5). The construction and context of
the new sonority cancels its previous cadential classification, and continues to drive the music
forward. Consequently, the resolution of the main phrase is delayed until the final phrase of
variation A1 in m. 23.
The next change to the arrangement is thematic. In the original score, five and one-half
beats of silence are inserted between the end of theme group A and the beginning of variation A1.
Nevertheless, the notated rests were abandoned during the live performances by Zappa's
ensembles. Usually, one of his three percussionists would maintain a steady pulse to provide
rhythmic drive and temporal unity, while the other two percussionists would improvise
percussion fills; the improvisations added to the rhythmic interest of the work.7 In an interview
with percussionist Ralph Humphrey, he stated that, "At some point, Frank felt it necessary to
keep a pulse running through his difficult pieces, not only for the band's sake, but for the
audience's as well. I don't think the pieces were composed with this in mind. I feel that the
pieces work much better with no pulse. Then, the rhythmic pushing and tugging would be much
more effective and create a tempo that would seem to change constantly."8 In the subsequent
orchestral arrangement of the Be-Bop Tango, the steady pulse is abandoned. At the end of
7 During the 1973 and 1974 performance tours, Zappa employed two drumset percussion-
ists, Chester Thompson and Ralph Humphrey, and one classically trained percussionist, RuthUnderwood.
8 Humphrey, Interview
219
m. 15 two written beats of silence are followed by three beats of written percussion music
(Example 4.7).
Starting on the last eighth-note of m. 16 in the example below, the melody in the first
phrase of A1 is scored for marimba and first violin, and is doubled two octaves higher by the
Example 4.7. Be-Bop Tango, Transition between Phrase A/b' and Variation A1,and Added Percussion Parts, Reduction
&
÷
&
?
Violins 1 & 2
Marimba + Glockenspiel
m. 16
2 Bongos
Ó Œ ‰
œ
>œ
7
œ œ œ œ œœ œ
7œ œœ œ
6
œ œœœ œœ
‰
œ
>œ
&
∑
∑
Variations A1/a
Trumpets
Trombones
17
. .
. .œœ# œ
œ
>
. .
. .œœbœœ
>
. .
. .œœœœ
>
œœœœœœ.
œœ.
œœ.
. .œ# œ>
. .œ œ
>
. .œ œ>
œ œ œ
.
œ
.
œ
.
‰
j
œ
œ
b
b
‰ j
œœn
‰
j
œ
œb
‰ j
œœn
‰
J
œ
œ ‰
J
œ
œb‰
J
œ
œ ‰
J
œ
œn
6
œœb
>
œœbbœœ œœ œœb
>
œœn
6
œœb œ
œn
œœ
>
œœn
œœbb
œœb ˙˙nb
6
œ
>
œb œ œ
œ
>
œ
6
œœb
œ
> œ
œb
œn˙n
œœb œ
œ#
3
Œ œ
œœ
b
b œœn
œ
œb
œ
œ
b
n
3
Œ œœ
œb
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
glockenspiel and a major third lower in the second violin. The phrase is accompanied by the
trumpets and trombones performing a rhythmic inversion of the introductory tango, which
supplies formal depth to the passage.
The second phrase of the variation, A1/a-b, is scored marimba and violin (Example 4.8).
Tom-toms double the rhythm and contour of the phrase and add an additional color to the overall
timbre of the passage. The melody in the third and final phrase of variation A1 is score for flute
and doubled by the tenor saxophone, marimba, and cello.
When doubling the melody, Zappa had a proclivity for using mallet percussion. In A1/a,
the glockenspiel supplies the phrase with a lighter sound as opposed to the dark, mellow brass
220
sound of the main theme group (see Example 4.7). The doubling of the melodic line at a major
third in the second violins is the only instance of a non-octave or unison doubling within the
work. It can be inferred that this doubling procedure may have been used to provide harmonic
variety and/or to intensify the string sound.
The timbral weight of the orchestral sound drops dramatically between A1/a and A1/a-b;
the bright orchestration of A1/a modulates to a darker, yet thinner sound, which arises from the
use of marimba, tom-toms, and a fortissimo violin part in A1/a-b. Timbral modulation is not a
new concept, but in Zappa's music it is essential, not only for the contrast and variety it provides,
but also how it reinforces his general philosophical aesthetic concerning orchestration and its
affect on musical form.
Interrupting the melodic flow of variation A1, several quarter-note triplet counterfigures
are inserted and are scored for bassoon, horns, and tuba, and harp, mandolin, guitar, and
pizzicato strings respectively (Example 4.7 and Example 4.8). Providing a linear rhythmic
counterpoint, these figures reinforce not only the harmonic shift in the passage, but also the
timbral modulation that began in A1/a. The dark sound of the low brass counterfigure that ends
A1/a shifts to a lighter, quicker plucked string sound at the end of A1/a-b. Additionally, when
the two melodic phrases and their accompanying counterfigures are analyzed, a timbral voice-
exchange takes place. The melodic line shifts from a bright sound to a darker sound, while the
counterfigures shift from a dark sound to a lighter sound.
The harmonic progression that accompanies A1/c is scored for bassoon, horns, and tuba,
and is reminiscent of the quarter-note triplets used at the end of A1/a and A1/a-b. Lending the
phrase a fuller, more intense sound, the combination of instruments in A1/c continues the timbral
modulation initiated in the first two phrases. The passage progresses from the lighter thinner
221
Example 4.8. Be-Bop Tango, Variation A1/a-b and A1/c, Reduction
&
&
&
?
÷
&
Trumpets
Trombones
Violin 1
5 Tom-Toms
Marimba
Variation A1/a-b19
≈
œn
œ œ#
6
œ#^
œ
œn^
œ
œb
œb
7
œ
^
œb œ œœ^
œ œ
.œ
œ
> œ#
œ
œœ
b
b
Œ Œ ‰ j
œœn
.
œ Œ Œ ‰
J
œ
œb
.
≈
œ
œœ
6
œ^
œ
œ^
œ
œ
œ
7
œ
^
œ œ œœ^
œœ
.œ
œ
> œ
≈
œn
œ œ#
6
œ#^
œ
œn^
œ
œb
œb
7
œ
^
œb œ œœ^
œ œ
.œ
œ
> œ#
Harp + Mandolin + Guitar+ Pizz Upper Strings
Pizz Lower Strings
6
œ
>
œn
œ# œ#œn>
œb
6
œ
œb
œ>
œ#
œ
œn ˙
˙
b
b
?
Ó
3
Œœ
œ œœbb
Ó
3
Œ
œ
œ#œ
œ
n
6
œ
>
œ
œœœ
>
œ
6
œ
œ
œ>
œ
œœ
˙
6
œ
>
œn
œ# œ#œn>
œb
6
œ
œb
œ>
œ#
œ
œn
·
˙
b
b
B
Flute + Marimba
Cello
Horns
Bassoon + Tuba
Tenor Saxophone
Variation A1/c25
‰
J
œœ œ#
3
œ#j
œ
. .œœn
œ
‰ J
œœ œ#
3
œ#j
œ
. .œœn
œ
˙
˙˙
3
Œ Œ
œœbb
˙#
3
Œ Œ œ
œ
∑
‰
J
œœ œ#
3
œ#
. .œœn
œ
&
?
&
?
÷
B
m. 21 3
œn
j
œb
œ
œ œ
®œb œb
œn
3
œn
. .œ# œn
œ
3
œn
j
œb
œ
œ œ
®œb œb
œn˘
3
œn
. .œ# œn.
œ
.
œœb
‰
j
œ
œœ# ˙
˙
œ
œ
#
b‰
J
œ#
˙
˙
#
n
∑
3
œn
j
œb
œ
œ œ
®œb œb
œn˘
3
œn
. .œ# œn
. œ
.
Snare Drum
23
wb
wb
÷
wwn
w
w
#
#
w
æ
wb
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
222
timbre of the second phrase to a richer, more blended sound in the final phrase. The thematic,
harmonic, and formal functions of these figures were explained in the chapter three.
An additional change in the orchestral arrangement can be observed in the various
doubling procedures and how they affect the perceived timbre of certain passages. In mm. 21-23
of the previous example, the melody is performed by the flute and is doubled an octave lower by
the tenor saxophone. Absent in the original score, this type of melodic doubling emphasizes the
importance of the thematic material, but it does obscure the function of the harmonic progression
at the end of the phrase. At the end of A1/c in the original score, the C#-F#-G-B sonority
functions as a point of repose and transition, but in the orchestral arrangement the Bb and B-
natural are voiced in the same register in the tenor saxophone and the horn parts; the resulting
harmonic conflict annuls the original cadential effect.
The next change made to the Be-Bop Tango concerns the first tango reprise (T1) in mm.
24-27 (Example 4.9). It is two-fold and involves the addition of ad-lib solos and indeterminate
vocal "noises," and the permutation of mm. 25-26. In the original score (mm. 20-23), the
passage oscillate between two sonorities, Eb-F-F#-A (N-17) and a Bb major triad with a raised
eleventh (N-13), but in the orchestral arrangement, the second and third measures are rotated out
of their original positions, thus creating an ascending harmonic progression (Examples 4.9 and
4.10). For the sake of clarity and space, the piano part has been omitted from Example 4.10.
The measure permutation of mm. 25 and 26 supplies the passage harmonic direction. It
provides a bass line that ascends from A to Bb as opposed to the wandering harmonic scheme
associated with the A-Bb-A-Bb root progression in the original score; the new measure order
increases the dramatic tension of the passage.
223
Example 4.9. Be-Bop Tango, Tango Reprise: T1
&
&
?
÷
&
?
√
√
ad-lib Saxophone Solo
T1: First Tango Variation
Laugh, mumble, etc.(Woodwinds + Brass)
Pizz. Upper Strings
Pizz. Lower Strings
Œ ‰
œ œ œ
œbœ œ œ œ œb œb
œ
œ
œ
œ
n
œ
œ
b
b
œ
œ
œ
œ œ œ œb œbœ œ œ œ œb œb
œ
œ œ œ œ
.
.
.
˙˙
˙
b œ
œ
œ
#
œœœœ
nb
j
œœb
‰ j
œœ
‰ j
œœ
‰
œœb
œ
j
œ
œ
#‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
(Brass + Strings)
Woodwinds ( - Flute)
25
(Left Hand loco)
.˙
Œ
œ
œ
b
b
œ
œ
œ
œ
œ
œ#œ œœœ#œ# œœ œnœœ#œn œœbœ#œn œœnœ#œ#
œ
œ
œ
#
œœœœ
nb
œ
œ
œ
œœœœ
n
œ
œ
œ
œœœœ
n
œ
œ
œ
n
b
œœœn
j
œœb
‰ j
œœ
‰ j
œœ
‰
œœb
œ
j
œ
œ
#‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
&
&
?
÷
&
?
(√)
(Woodwinds + Brass)
Pizz. Strings
Œ ‰
œ œ# œ
œœnœ#œ#
œ
œ
œn
œ
œ
œ
n
n
n
.
.
.
œ
œ
œ
3
œ
œ
œ
œ
œ
œ
n
œ
œ
œ
b
œ
œ
œ
œœ
œ
œ
œ
œb
œœœ
œ
œ
œ
œœœ
œ
œ
œ
œœœ
œ
œ
œ
œœœ
j
œœn
‰ j
œœ
‰
œœ
œj
œœ
‰
J
œ
œ
n
b‰
J
œ
œ‰
J
œ
œ‰
J
œ
œ‰
Flute + Piano + Strings
˙
3
Œ
œ œ
œœ
œ
œ
œ
œ
œ
œ
œ
3
Œ
œ
œ
n
n
œ
œ
œ
œ
œb
œœ
œ
œ
œ
œœœ
3
Œ
œn œ&
œ
œn..˙˙œ
œ
œ
n
b
.
.
˙
˙
Right hand: ad lib. solo a la Monk (Shown solo as played by Herrmann Kretschmar of Ensemble Modern). Left hand: play as written.
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
224
Example 4.10. Be-Bop Tango, Tango Reprise: T1, Measure Permutation, Reduction
&
÷
&
?
ad-lib Saxophone Solo
T1: First Tango Variation
Laugh, mumble, etc.(Woodwinds + Brass)
Pizz. Upper Strings
Pizz. Lower Strings
Œ ‰
œ œ œ
j
œœb
‰ j
œœ
‰ j
œœ
‰
œœb
œ
j
œ
œ
#‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
(Brass + Strings)
Woodwinds ( - Flute)
25
.˙
Œ
j
œœb
‰ j
œœ
‰ j
œœ
‰
œœb
œ
j
œ
œ
#‰
j
œ
œ
‰
j
œ
œ
‰œ
œ
(Woodwinds + Brass)
Pizz. Strings
Œ ‰
œ œ# œ
j
œœn
‰ j
œœ
‰
œœ
œj
œœ
‰
J
œ
œ
n
b‰
J
œ
œ‰
J
œ
œ‰
J
œ
œ‰
Flute + Piano + Strings
˙
3
Œ
œ œ
Œ Œ
œ
œn..˙˙œ
œ
œ
n
b
.
.
˙
˙
Measure Permutation
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Concerning the orchestration of T1, the percussion and string sections perform the
introductory tango marcato-sincopa rhythm while the tenor saxophone and piano perform rubato
ad-lib solos. The woodwinds (excluding the tenor saxophone), brass, harp, mandolin, and guitar
are instructed to "laugh," "mumble," and make noises that usually associated with the
atmosphere of a crowded nightclub. The woodwinds and strings exchange parts in mm. 25 and
26, and on beat 3 of m. 27.
The ad-lib saxophone solo is based on the manipulation of a minor trichord, D-E-D-F. In
m. 26, the gesture is repeated and transposed up a major second, E-F#-E-G. The trichord and its
subsequent transpositions reinforce the structural importance of the minor third, which is used
throughout the Be-Bop Tango. The saxophone ad-lib solo reappears in the final tango
variation/reprise (T2) in mm. 49-50.
225
In Example 4.9, the ad-lib piano part clearly illustrates Zappa's knowledge of the
compositional and improvisation practices of the jazz composer and pianist Thelonious Monk.9
The right hand performs a series of Db whole-tone scales, while the left hand performs eighth-
notes that alternate between an F# diminished triad and an F dominant seventh chord. The bi-
tonal clash these two chords create further reinforces the minor second and the tritone as
structurally significant intervals. Since the whole-tone collection has been used previous in the
piece, most notably at the end of m. 5 and as an added-note whole tone collection in m. 9, the
purpose of this collection in T1 becomes increasingly clear. The inclusion of a stylistic homage,
or allusion, to Monk's style of composition and performance (unorthodox melodic construction,
unexpected phrase endings, whole tone collections, unusual chord progressions, tone clusters,
irregular accents, and asymmetrical rhythmic structures) within the nightclub atmosphere of T1,
reflects not only Zappa's knowledge of prior popular-art music styles, but his depth as an artist.10
As the passage continues the allusion is broken by the minor third arpeggios in m. 25 that ascend
chromatically from D# to Eb. The Eb resolves to D natural on the second eighth-note of m. 26.
The first tango variation (T1) is important for several reasons. First, the aleatoric vocal
parts provide a temporal connection between the earlier live recordings of the original score and
the orchestral arrangement. Both contain noises associated with a live musical event. The two
9 The indication ala' Monk refers to bebop jazz composer and pianist Thelonious Monk
(1917-1982). Zappa's fascination with bebop and free jazz composers included other suchnotables as saxophonist Ornette Coleman, woodwind specialist Eric Dolphy and bassist CharlesMingus. Besides the obvious homage to Theolonius Monk in the tango reprise of the chamberorchestra arrangement, the theme to Monk's composition Straight, No Chaser is quoted bykeyboardist George Duke in the improvised section following the performance of the writtenscore of the "Be-Bop Tango (of the Old Jazzman's Church)" on the recording Roxy & Elsewhere.
10 Gridley, Jazz Styles, 155-156; and James Kurzdorfer, "Outrageous Clusters: DissonantSemitonal Cells in the Music of Thelonious Monk," Annual Review of Jazz Studies 8 (1997),181-202.
226
live recordings of the Be-Bop Tango contain stage noise (performers tuning, practicing, chatting,
etc.), audience banter (laughing, talking, drinks being served, etc), and other extraneous sounds,
which are inserted into the orchestral arrangement. However, the origins of the transcribed
nightclub noises in the arrangement can be found five years prior to the Piquantique and Roxy &
Elsewhere recordings. On the Mothers of Invention second album Absolutely Free (1967), two
songs, specifically "America Drinks" and "America Drinks and Goes Home," are set in a cocktail
bar and contain sounds associated with this environment: the cash register, customers engaged in
senseless conversations, clinking drinking glasses, and "an insipid lounge band and vocalist."11
This type of environment is a recurring theme in Zappa's work. Furthermore, this is not the first
time an aleatoric passage was included in the performance of the Be-Bop Tango. Documented
on Roxy & Elsewhere, Zappa inserted an interpretive dance passage to accompany keyboardist
George Duke's scat vocalization of the main Be-Bop theme.12
When asked about the orchestration and notation of the tango reprise in the orchestral
arrangement, Ali Askin stated that during the arranging and rehearsal process, "Mr. Zappa
decided to put this [the aleatoric jazz section] in when they [the Ensemble Modern] were
rehearsing the piece in 1992. He did it on the spot. He told Herrmann Kretschmar [the pianist] to
play a jazz fill in that bar [the pianist's instructions in the orchestral score consist of the right
hand performing an ad-lib solo ala Monk while the left hand plays a series of chord reminiscent
11 Frank Zappa, "Frank Zappa: The Mothers of Invention," interview by Frank Kofsky,
The Rock Giants, eds. Pauline Rivelli and Robert Levin (New York: The World Publishing Co.,1970), pp. 31-32.
12 Frank Zappa, Roxy & Elsewhere, Barking Pumpkin Records D2 74241, 1974, compactdisc. Scatting or scat is a jazz term used to describe the performance of a vocal solo consisting ofnon- sense syllables. Barry Kernfeld, The New Harvard Dictionary, ed. Don Michael Randel,s.v. "Scat Singing." (Cambridge, MA: The Belknap Press of Harvard University Press, 1986),730.
227
of the opening tango harmonies]. He didn't tell us why he wanted to do that, but he liked that
loose kind of jazz club ambience."13
Since T1 employs general stage directions to imitate the sounds of a nightclub or lounge,
it can be construed that the addition of the indeterminate nightclub ambience in the orchestral
arrangement was heavily influenced by Zappa's previous experiences with various lounge bands
in his youth, his experimentation in the recording studio with recorded environments on the early
Mothers albums, and the types of venues he performed in during his later years. T1 is the direct
transcription and arrangement of the audience noise and concert hall ambience Zappa
experienced as a live performer. For a discussion concerning the concepts of allusive and
referential environments and temporal transference in Zappa's music please see chapter five.
The second reason why T1 is important is because structurally it provides a clearly
defined formal separation between variation A1 and T1. In the early recordings of the original
score, T1 sounds slightly banal and subdued when compared to the active thematic material that
precedes and follows it. The inclusion of the ad-lib tenor saxophone solo and the extraneous
nightclub noise clearly delineate the passage from its surroundings, and provides the necessary
boundaries that enable the section to reach a greater formal distinction that was otherwise lost in
the unspecified instrument and piano score.
Continuing with the instrumentation of the orchestral score, the next change to the Be-
Bop Tango is located in variation A2. Starting on beat 3 of m. 27, A2 is scored for flute, tenor
saxophone, piano, and strings (Example 4.11). Due to the soft dynamics and registers employed,
its overall timbre is lighter in sound; the piano doubles the melody two octaves higher.
13 Askin, Interview
228
Example 4.11. Be-Bop Tango, Variation A2, Orchestration, Reduction
&
&
?
&
&
?
√
+ Tenor Saxophone
Piano
Woodwinds
Upper Strings
Lower Strings
27
Piccolo (trans.)
˙
3
Œ
œ œ
œ
œ
œn..˙˙œ
œ
œ
n
b
.
.
˙
˙
Ó
3
Œ
œ
œ
œ
œ
œ
œ
Ó
3
Œ
œ œ
Ó
3
Œ
œ
œ
œ
œ
&
Variation A2
Tuba
Trumpets
Trombones
Horns
.
.
˙
˙
#
#
œ
œ œ
œ
œ
b
b
œ
œ
œ
œ
‰
3
‰
œœnœœ
3
œœœœœœœœ
œ
œ
œ
œ
œ
œ ‰
3
‰ œ œ
3
œ œ œ œ
.
.
.
˙
˙
˙
#
#
#
œ
œ
œ
œ
œ
œ
.˙# œ
œ
.
.
˙
˙
#
#
J
œ
œ
‰
Flute + Oboe
29
‰
.œ# .œ
œ
œ
∑
∑
‰
.
.
.
œ
œ
œ
#
#
#
.
.
.
œ
œ
œ
œ
œ
œ
œ
œ
œ
‰ .œ# .œ
œ
œ
‰
.
.
·
œ#
.
.
·
œ
·
œ
·
œ
∑
+ Clarinet
Trumpets + Horn 1
Horn 2
.˙
5
œ#
œ œ œ#
œ
Œ ≈ œ
œœ
b
b
œ
œœ
œ
œœ
Ó?
Œ ≈ œ œ œ Ó
.
.
.
˙
˙
˙
Œ?
.
.
.
˙
·
˙
5œ#
œ œ œ#
œ
∑?
Chromatic cluster(with arms)
Tuba
Horns + Trombones
31
col leg. battuto
3
œb
j
œ.
7:4Πj
œ
>
Œ
œ
>
œ
>
3
œ
j
œ.
?
Œ
œœœœ
bb
œœœœ
Œ
Œ
œ œ
Œ
Œ
Œ
3
œb
j
œ.
7:4Πj
œ
>
Œ
œ œ
>
3
œ
j
œ.
?
Œ ˙
˙
Œ&
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
The rhythms in the accompanying brass parts are derived from the rhythms in m. 9, and are used
as rhythmic interjections.
The orchestration of the woodwinds in variation A2 provides another example of timbral
modulatory methods and Zappa's unique orchestral doubling procedures. In the first two
measures of A2, the flute performs the first four notes of the main theme (F-E-F#-G), and is
doubled an octave lower by the tenor saxophone. When the F# and G are repeated in m. 29, the
flute is doubled by the oboe at unison, and leads directly to a quintuplet on the last beat of the
measure. It is performed by the flute, and doubled by the oboe and clarinet at unison.
229
Considering that the flute is the only instrument used consistently throughout variation, it serves
as the primary timbre for the passage. The oboe, clarinet, and tenor saxophone are used to color
the sound and provide weight to the melodic line.
The perceived modulation in instrumental color in variation A2 corresponds directly to
Zappa's philosophy on timbre and how its weight affected his musical compositions. Zappa has
stated in several interviews that timbre is more important than note-choice in determining the
genre or style of his works,
I've developed a 'formula' for what these timbres mean (to me, at least), so that when Icreate an arrangement -- if I have access to the right instrumental resources -- I can putsound together that tell more than the story in the lyrics, especially American listeners,raised on these subliminal cliches, shaping their audio reality from the cradle to theelevator.14
This philosophical stance can be observed in the orchestral arrangement of the Be-Bop Tango,
through its use of muted brass instruments, specifically the trumpets, the addition of ad-lib solos
in the tango variations, and the orchestration of the percussion section as a drumset; all of which
are reminiscent of jazz and popular music. This issue will be further explored in chapter five.
The next major change to the score concerns the orchestration of episode B. Starting in
m. 31, the descending Eb-D dyad at the end of A2 leads directly to the first note of episode B (C)
in m. 32 (Example 4.12). In the original score, it is written as the top note of an indeterminate
tone cluster in the piano part, however, in the orchestral arrangement it is written as the lowest
note and is scored for horns, low brass, non-pitched percussion, piano, harp, and low strings
performing col legno battuto.
14 Zappa, The Real Frank Zappa Book, 171; and Watson, "Frank Zappa as Dadaist:
Recording Technology and the Power to Repeat," 117.
230
Example 4.12. Be-Bop Tango, Episode B, Orchestration, Reduction
&
?
?
?
?
?
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
High Woodwinds + Mandolin + Guitar + Violins Variation A2
Horn 1
Horn 2 + Trombones
Chromatic cluster(with arms)
Piano
31
col legno battuto
3
œb
j
œ.
7‰ j
œ
>
Œ ‰
œ
>
œ
>
3
œ
j
œ.
?
Œ
œ# œ
Œ
Œ
œœœbœœœ
Œ
Œ
œ œ
Œ
Œ
Œ œ
œ
œ
œ
Œ
Horn 1Episode B
Horn 2
Trombones as high as possible
Tuba
as high as possible
Viola + Cello + Double Bass very high + squeaky
7
œ#
‰
œ
‰
œ œ
‰
3
Œ
œ œ
7
œn
‰
œ
‰
œ œ
‰
3
Œ œ œ
&
?
7
œœb
‰
œœ
‰
œœ œœ
‰
3
Œ
¨ ¨
&
?
7
œ
‰
œ
‰
œ œ
‰
3
Œ
¨ ¨
&
?
7
––––
‰ ––––
‰ ––––
––––
‰
3
Œ ––––
––––
7
œ
œ
‰ œ
œ
‰ œ
œ
œ
œ
‰
3
Œ
— —
7
œ#
‰
œ
‰
œ œ
‰
3
Œ
œ œ
7
œn
‰
œ
‰
œ œ
‰
3
Œ œ œ
&
?
7
œœb
‰
œœ
‰
œœ œœ
‰
3
Œ
¨ ¨
&
?
7
œ
‰
œ
‰
œ œ
‰
3
Œ
¨ ¨
&
?
7
––––
‰ ––––
‰ ––––
––––
‰
3
Œ ––––
––––
7
œ
œ
‰ œ
œ
‰ œ
œ
œ
œ
‰
3
Œ
— —
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
Although the last measure of A2 and the first measure of episode B overlap in m. 31 (due to the
anticipatory tone cluster), episode B does not formally begin until m. 32. As was noted in
chapter three, the inner harmonies and bottom note of the tone cluster are indeterminate;
however, in the orchestral arrangement, specific pitches are used in the construction of the
chromatic tone clusters. In both instances, the tone clusters are invariable in density and are used
for percussive effect.
The tone clusters in episode B are created using a variety of methods. The pianist uses
his or her arms to create a chromatic cluster, and although notated as a hand slap, the harpist is
231
instructed to create an ad-lib tone cluster.15 The horns and low brass play a five note chromatic
cluster, A-Bb-B-C-C#, and the low strings play their lowest notes col legno battuto. This
specificity of notation reinforces the importance of the prior voice-leading in the previous
passage, Eb-D-C. Since the woodwinds and high strings are excluded in this passage, the overall
sound of the episode can be described as dark and percussive.
The next notable change in episode B is related to the ad-lib saxophone solo in T1 and
involves the use of indeterminate notation, and how it affects the contour of the perceived
melodic line. In the second half of the cluster measures, specifically the quarter-note triplets on
beat 3, two different indeterminate notation symbols are used in the low brass and low string
parts to indicate the highest note possible; specific expression markings are used to denote the
quality of the sound. Since both instrumental families use different markings and timbres,
different note-heads are used. The trombones and tuba use an inverted V-shaped note-head, and
are instructed to play as high as possible, while the low strings use a black triangular note-head
and use the written indication very high and squeaky. Because the highest pitch possible differs
from instrument to instrument and performer to performer, the use of two different triangular
note-heads is possibly the best indication to achieve the desired musical results.16 The
15 Since the pitch selection of the harp is limited due to the mechanisms of the pedals, the
harpist must find a sonority that closely resembles a chromatic tone cluster. For example, onesuch sonority would consist of A#, B, C, Db, E#, F, and Gb, and comprise two tone clustersseparated by double augmented second, A#-B-C-Db and E#-F-Gb. However, the sonority in theBe-Bop Tango harp part is notated as a hand slap cluster. Either method is suitable because atthe lower register of the harp, "pedal settings become immaterial because the pitches can nolonger be heard clearly." Kurt Stone, Music Notation in the Twentieth-Century (New York:W.W. Norton & Company, 1980), 231.
16 Ibid., 65.
232
indeterminate notation used in episode B has its inception in the works of Krzysztof
Penderecki.17
Rhythmically, even though the orchestral arrangement of episode B is written almost
exactly like the unspecified instrument and piano score, the use of indeterminate pitch notation
and written registral indications (very high and very high and squeaky) has an effect on the
melodic contour of the passage. In the original score, the two quarter-note triplets in m. 28 are
written as low indeterminate clusters, however, on the two recordings of Zappa's amplified
ensembles from 1973 and 1974, the clarinet and violin play extremely high pitched, dissonant
notes on the quarter-note triplet figures. Since these instrumental parts are not indicated in the
score, it can be ascertained from the thematic and timbral analysis of the orchestral arrangement
that the notation in the original score and its recorded performances were combined to create
many of the written indications used in the orchestral arrangement. Additionally, the indeter-
minate tone cluster notation connects episode B with the indeterminate vocal notation and ad-lib
solos of the first tango variation (T1). This relationship in notation reinforces the hypothesis that
episode B is a separate passage and not an extension of variation A2. (The musical influence of
Charles Mingus' "Trio and Group Dances" and its similarities to this episode was discussed in
chapter three.)
Another notable thematic change made to the Be-Bop Tango concerns the transition
between the ending of episode B and theme group C. As mentioned earlier, new percussion
17 Krzysztof Penderecki (b. 1933) uses triangular notation in his composition Anaklasis
for Strings and Percussion Groups (1960). In the performance notes, a black or white triangularnote-head indicates the "highest note of instrument (no definite pitch)." Krzysztof Penderecki,Anaklasis (Germany: Hermann Moeck Verlag, 1960); and Cindy Bylander, “KrzysztofPenderecki.” Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook, Edited byLarry Sitsky (Westport, Connecticut: Greenwood Press, 2002), 375.
233
material is added in mm 34-37 (Example 4.13). This is not only a thematic change (due to the
addition of new material that is based on the rhythmic complexity of earlier variations), but since
the length of the episode has been altered, the change is formal as well.
Example 4.13. Be-Bop Tango, Episode B, Composed Percussion Parts, Reduction
?
?
?
÷
÷
?
4
3
4
3
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
Horn 1
Piano
Percussion 2: 5 Tom-Toms
Horn 2 + Trombone 2
Percussion 3: 5 Tom-Toms
Low Strings
(Episode B)
j˚
œ#
‰ . Œ Œ
j˚
œœn
‰ . Œ Œ
j˚
––––
>
‰ . Œ Œ
7:6
œ
œ œ
3œ
œ œ
œ
‰ ‰
7:6
œ
‰ ‰ œœ œ
3
œœ œ
œœœœ
j˚
œœœ
‰ . Œ Œ
∑
∑
5:4
¿
œ
œ œ
3œ
œ œ
5œ œ
œ œ œ
5:4
œ
œ œ
3œœ œ
5œœœœœ
∑
35
∑&
&
∑
œ
j˚
œ
11:8œ œ œ œ
œ œ œ œ
j˚
œ œ
œ œ
œ
j˚
œ
11:8œ œœ œ
œœœœ
j˚
œ
œ
œ œ
∑
Clarinet + Guitar
Woodwinds ( - Flute)
Theme Group C
5
≈
œ#
œ œ œ#
5
œ#
œ#
œn
.
œ.
œn
.
7œb
≈ œn ≈ œ
œ
œb
6
œ
>
œbœœn
>
œ
œ#
www
w
##
∑
w
æ
ww
∑
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
In the original score a single line staff appears between the piano staves (m. 30). Four slanted
beat-slashes divide the measure into four equal time intervals, while the written direction "Drum
Fill" is used to indicate to the percussionist that an improvised fill should be inserted in the
measure. However, in the orchestral arrangement four extra beats are added at the end of
episode B, and the new percussion materials are inserted. The passage is divided into three
measures of alternating triple and duple meter. Starting on the downbeat of m. 34, percussion 2
234
and 3, using five tom-toms each, perform an interlocking rhythmic figure that features a series of
sixteenth-notes and sixteenth-note tuplets within a rhythmic ratio of 7:6, or a metrical division of
seven eighth-notes within the space of six eighth-notes. The two percussion parts converge in m.
35 to perform the same rhythmic figure. The metrical unit is divided into a 5:4 ratio, five eighth-
notes within the space of four eighth-notes, while on beat 2 of m. 36 the metrical unit is divided
into 11:8, eleven sixteenth-notes within the space of eight sixteenth-notes.18 Within these three
measures and their corresponding metrical divisions, the sixteenth-note and sixteenth-note triplet
figures are used to create a quasi-melodic contour, negate the preceding metric pulse in episode
B, and give the impression of a slight increase in tempo.
The percussion soli at the end of B performs a triple function. First, it sustains the
timbral indeterminacy of the previous cluster episode. Second, the rhythmic complexity of the
soli provides a solid transition from the septuplets in episode B to the rhythmic intricacy of
theme group C. And third, it increases the dramatic tension caused by the extension of the
phrase. Since the orchestral version of the Be-Bop Tango was an attempt to revise and arrange a
work that originally contained improvised musical materials for a standardized ensemble, the
inclusion of written percussion parts must be construed as Zappa's attempt to create a uniform
score that would not deviate from performance to performance.
Continuing with the analysis of the orchestration of the work, starting in m. 37, the
melody in theme group C is scored for clarinet and doubled by the guitar an octave lower in the
18 In his study of Zappa's The Black Page, James Borders arranges Zappa's rhythmic
procedures into two levels of complexity. "Level-one" involves the placement of triplets,quintuplets and larger tuplet divisions on the regular recurring pulse. "Level-two" involves thecombination of "level-one" complexity with the division of the basic quarter-note pulse of ameasure by a tuplet (three quarter-notes in the space of two quarter-notes). Borders, "FrankZappa's The Black Page: A Case of Musical Conceptual Continuity," 143-144.
235
first phrase and by the marimba at unison in the second phrase (Example 4.14). Both
instruments are used to accentuate the attack of the individual notes of the melody. The melody
is accompanied by sustained sonorities in the woodwinds and brass, while the strings are
instructed to play directly on the bridge of the instrument.19 Described in the score as a "sand-
sound," this extended technique can be characterized as a non-pitched noise and recalls the
sandblocks from the previous tango variations.
Near the end of the second phrase of C (m. 41), the orchestration changes from the warm
timbre of the clarinet, marimba and guitar to the thin, reedy sound of the oboe, marimba, and
piano (Appendix B, Table B.1). When compared to episode B and C/c, the orchestration of C/c'
is lighter and further illustrates Zappa's timbral modulatory techniques. The modulation encom-
passes: the combination of the marimba and guitar in m. 40; shifting to the combination of
marimba and piano in m. 41; to the use of sustained sonorities in the woodwinds and brass
sections, and the ad-lib glissandos in the harp in m. 42. The combination of the crescendo in the
woodwind and brass sections and the addition of harp glissandos in mm. 42-44 provide a direct
contrast to the dry, staccato orchestration of the preceding theme groups. In addition, the harp
glissandos are constructed using a synthetic scale, Bb-C#-D#-E-F-Gb-A, that accentuates the
chord progression in mm. 42 and 43.
As mentioned in chapter three, mm. 42-44 have been identified as one of the most
important moments in the work. Due to the absence of melodic and rhythmic activity, this
19 This technique has its inception in the early works of Krzysztof Penderecki from the
1960s. In the performance notes to Penderecki's Threnody for the Victims of Hiroshima forstring orchestra (1960), a black half circle intersecting the stem of a note indicates that theperformer should "play on the bridge." Krzysztof Penderecki, Threnody for the Victims ofHiroshima (London: Eulenber, 1960); Cope, Techniques of the Contemporary Composer, 141;and Bylander, “Krzysztof Penderecki,” 375-376.
236
Example 4.14. Be-Bop Tango, Theme Group C, Orchestration, Reduction
&
&
&
?
÷
&
?
Clarinet + Guitar37
OboeBassoon
Tenor SaxophoneFlute
Percussion 1: Toms
Percussion 2: Toms
'Sand Sound': play directly on bridge, no pitch
Theme Group C: C/c
5
≈
œ#
œ œœ#
5
œ#
œ#
œn
.
œ.
œn
.
7œb
≈ œn ≈ œ
œ
œb
6
œ
>
œbœœn
>
œ
œ#
ww
ww
#
#
∑
∑
w
ww
æ
≠
≠
≠
Trumpets
Trombones
Bassoon
Horns
Tuba
+ Marimba7
œnœn œœ
œb œb
œb ˙ Œ
Œ
.˙
j
œœ##
‰j
œœ..˙˙b
J
œœ#n
‰
.˙b
∑
≠
≠
≠
ord.
C/c'39
5
≈
œ#
œ œ#
œ
5
œ#
œ œ#
œ
œn
3
‰ œn œn
5œb
œ
œ#
‰
.œ
j˚
œ
‰ . Œ
‰
.
.œœb
j˚
œœ
‰ . Œ
‰
.œb
J
œ
‰ . Œ
∑?
≠ ≠ ≈
œ
œ
œ
œ
œ
œ
≠
≠
≠
≠ ≈
œœbbœœœœ
&
&
&
?
?
&
?
Timpani
7
œnœœ.
œ.œœœb
6
œb
^œ œ^
œ
œ
œ œ
. .œ œ
∑
∑
wbæ
˙
˙
˙
˙
˙˙bb
˙˙
Oboe + Marimba + Piano (8va)41
œb
. .œn
>
œ
≈
œ
>
œ
>
œ œ œ
∑?
∑
wb
w
w
wwbb
- Marimba
Clarinet
Bassoon
Horns
HarpAD LIB. GLISSANDOS
Anti-Climax
w
ww
w
w
#
∑
w
œb œ#œ# œœ œbœ
œ# œn
Trombones
w
˙˙#
Ó
˙
˙
#
˙˙n&
Ó˙
˙
n
b
˙˙b
œ œ#
Trumpet 1
Pizz Full Strings
Theme Group D
Ó ‰
.œb
ww
w
w
˙‰œb
Ó ‰
.œb
Ó
(
)( )
( )
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
passage is described as an anti-climax. The abrupt, lush orchestration in the orchestral
arrangement combined with the sustained sonorities further emphasizes the perceived feeling of
237
stasis, and counteracts the seemingly chaotic and unsettling anxiety the preceding melodic
material produces in the listener. This section serves in a triple capacity: first, it provides a goal
for the resolution of theme group C; second, it acts as an anticipatory transition between theme
groups C and D; and third, it serves as an anti-climax. Furthermore, the anti-climax provides
another example of a modulation of timbre. The harmony and overall timbre shifts from: the
woodwinds, timpani, and horns; to woodwinds, timpani, horns, and trombones; and finally to
only the brass and timpani. In general, the passage modulates from a bright sound to a dark
mellow sound.
The sustained sonorities of the anti-climax lead directly to theme group D (Example
4.15). Starting on the last eighth-note of m. 44, the Bb in the first trumpet is doubled by the
timpani, and the string section. As mentioned in chapter three, Bb functions as a common-tone
pivot-note between the sustained sonorities of the previous passage and theme group D. The first
phrase of the melody is divided between the trumpets. Due to the rhythmic complexity of the
thematic material, it can be construed that the division of labor was necessary for practical
performance purposes and possibly to increase the perceived anxiety of the melodic line. The
horns and low brass perform and sustain the final chord from C/c' (Bb-F-D-E). The orchestra-
tion shifts from the previous lush tutti sound to the stark and exposed timbre of the ensuing
trumpet solo; the marimba doubles the final sextuplet of the phrase.
At the end of D/d, on beat 4 of m. 46, the woodwinds and strings perform a rhythmic
interruption using non-pitched percussion instrument (claves, maracas, triangle, cymbal, jingle
bells, and agogo bells, vibraslap, metal guiro, big guiro, small cymbal, respectively). This
percussive accent can be interpreted as an extension of the clusters used in episode B and serves
as a timbral half-cadence, which emphasizes the phrasing between D/d and D/d'.
238
Example 4.15. Be-Bop Tango, Theme Group D, Orchestration, Reduction
&
&
&
?
?
&
?
Trumpet 1
Pizz Full Strings
Theme Group D/d
Horns
Trombones
Timpani
Ó ‰
.œb
ww
w
w
n
b
˙‰œb
Ó ‰
.œb
Ó
Trumpet 2 + Marimba
45
7
œœb
>
œ. œ.œ#^ œn^
œb
^
7
œ^
≈
œ>
≈
œ^œn
œb
œ^œ# œ^œn
œb
^
œn^
œ
^
œ
6
œ
œœ
œ#œ
œb
ww
w
w
wb÷
∑
∑
Trumpet 1- Marimba
Woodwinds(Non-Pitched Percussion)
(Non-Pitched Percussion)Full Strings
Snare Drum
47
˙
Œ ‰ .
œ>
œb
>
Ó Œ ‹
ww
w
wb
w
æ
Ó Œ ‹
∑
D/d' Trumpet 2
Cymbal
Bass Drum
œ
7
®
œb
>
œ. œ.œ#^ œn^
œb
^
5
œ^
œb
>
œ
7
œ
œn
>
œn.œ#.
œ#
v
œn
v
œn
v
∑
∑
O
w
∑
∑
&
&
&
?
÷
&
?
PiattiSnare Drum
Upper Strings
Lower Strings
Piccolo + Oboe + Clarinet + Trumpets + Mandolin
Low Brass
Horns
Piano
œ^œ#^œ^œn^
œb
^
œn^
œ
^
œ
^
3
‰
œb^
œb
^
5:4
œn^
œ^ œ^
œb
^œn^
∑
Ó
5:4
ΠΠj
œœ
Ó
5:4
Œ Œ
j
œ
œ
œ
n
#
#
Œ
‹
œ
5:4
Œ Œ
j
œœ
œœœ
œ
b
n
#
b
œ
&
Ó
5:4
Œ Œ
j
œœ
œœ
bb
Ó Œ Œ
j
œ
œ
œ
n
#
#
Flute + ClarinetT2: Tango Reprise
Solo, rubato ad lib.Tenor Saxophone
"growl"
HarpAD LIB. GLISSANDOS
49
w
U
‰
U
j
œ œ œ˙b@
U
ww
U
w
w
w
U
œn œ#œ œœ# œ#œ#
ww
ww
w
w
w
Piano
j
œ
‰ Œ Ó
J
œ
j
œb
v
‰ Œ Ó
j
œœ
v
‰ Œ Ó
j
œ
œ
œ
‰ Œ Ó
j
œœ
œœœ
œ
b
n
#
b‰ Œ Ó
j
œœ
œœ
‰ Œ Ó
j
œ
œ
œ
‰ Œ Ó
(
)
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
239
The second phrase of theme group D is again divided between trumpet 1 and 2, but is
unaccompanied. A second interruption occurs at the end of the second trumpet's statement (beat
2 of m. 48), however, only the percussion section (piatti, snare drum, and bass drum) is used.
This accent reinforces the division between solo statement and the final tutti ending.20
At the end of D/d', the final sonority is performed by the entire ensemble and provides
the piece with a strong dramatic climax; this is the only moment in the score where the entire
ensemble is used (Example 4.16). The tenor saxophone performs one last reprise of the ad-lib
Example 4.16. Be-Bop Tango, Codetta/Second Tango Reprise: T2, Reduction
&
&
&
?
Trumpet 2 Flute, Oboe, Clarinet + TrumpetsUpper Woodwinds + Trumpets + Mandolin
Theme Group D, D/d'
Horns + Piano + Violins 1 and 2
Low Brass + Low Strings
œ^œ#^œ^œn^
œb
^
œn^
œ
^
œ
^
3
‰
œb^
œb
^
5
œn^
œ^ œ^
œb
^œn^
∑
Ó
5
Œ Œ
j
œœ
œœ
bb
Ó
5
Œ Œ
j
œ
œ
œ
n
#
#
Flute + Clarinet
T2: Tango Reprise
Solo, rubato ad lib.Tenor Saxophone
"growl"
50
w
U
‰
U
j
œœœ˙b@
U
ww
ww
U
w
w
w
U
J
œ
œ
^
‰ Œ Ó
j
œb
v
‰ Œ Ó
j
œœ
œœ
v
‰ Œ Ó
j
œ
œ
œ
‰ Œ Ó
1993 The Zappa Family Trust dba Munchkin Music (ASCAP), All Rights Reserved,Used by Permission.
minor trichord motive used in T1, F-G-F-Ab. Although transposed up a minor third, the motive
functions as a codetta and is labeled T2. Motivically, it connects the tango introduction and the
first tango variation with the final tango reprise. Harmonically, the first two notes of the
saxophone gesture (F and G) are excluded in the construction of the final sonority, C#-B-D-E-
20 The Italian term piatti (cymbals) is most likely used to indicate to the percussionist that
hand cymbals are desired, as opposed to a suspended cymbal.
240
Ab-Bb-B-E-C. These two notes are non-chord tones, however, when the gesture unfolds from F
to Ab, the harmonic conflict that is constructed in the beginning of the measure (between the G
in the saxophone and the sonority in the orchestra) is resolved in the penultimate measure; the G
resolves to Ab, a chord tone. The doubling of Ab in the saxophone and piano emphasizes the
importance of the intervallic relationship of Ab and its tritone (D), and more importantly, it
restores Ab as the tonal center of the work.
Concerning the orchestration of the final three measures, the harp glissandos that
accompany the final sonority not only accentuate the lush orchestration of the penultimate
measure, but they also provide a timbral counterpart to the anti-climax in mm. 42-44. In
addition, when the glissando at the end of the work is respelled, it resembles a Bb harmonic
minor collection.
At the end of T2, the entire ensemble performs one last percussive accent, which
furnishes a musical exclamation point to the seemingly pervasive melodic dialogue. Formally,
the inclusion of T2 closes a musical door left open by the ambiguous ending in the unspecified
instrument and piano score. Since the orchestral arrangement was intended to be performed as
an independent composition and not included in a larger medley, the inclusion of the tenor
saxophone codetta (T2) provides a feeling of finality and completes the structural ambiguity that
pervades the original score. Simply stated, the work begins with a tango and ends with a
variation of the first tango reprise; the conflict that was noted in the score is now resolved in the
arrangement. Additionally, with the inclusion of T2 the form of the Be-Bop Tango changes from
an open-ended modified variation-rondo to a closed form, modified variation-rondo that consists
of two interlocking sets of variations, T-A-A1-T1-A2-B-C-D-T2/codetta (Figure 4.1).
241
Variation Set 1: T T1 T2/Codetta
Variation Set 2: A A1 A2 (B) C D
Figure 4.1. Be-Bop Tango for chamber orchestra, Interlocking Variation Structure
The first set of variations is comprised of the tango motive (T, T1 and T2/codetta). The second
set of variations is comprised of the Be-Bop theme group (A), its variations (A1 and A2), and the
main theme's subsequent episodes and developments (B, C, D).
The variation principle is a favorite of Zappa's and is used in many of his works from the
early 1970's. The studio recordings Lumpy Gravy, Part I (A-B1-C-B2-D-B3+Coda) and Burnt
Weeny Sandwich, Side I (A1-B1-C1-A2-B2-C2) reveal the use of modified variation and
variation-rondo forms in a larger context.21 James Grier's analysis of Zappa's Uncle Meat reveals
a double or alternating variation structure.22 Zappa abandoned this type of formal organization
after the release of Burnt Weeny Sandwich and no longer used it to design and organize his
lengthy studio albums and large formal works. His unique use of this complex form and its
obvious relationship to his earlier immersion into multi-track studio methods left an indelible
mark on his later compositions. The influence of the recording studio on the Be-Bop Tango will
be addressed in chapter five.
21 James Borders, "Form and the Concept Album: Aspects of Modernism in Frank
Zappa's Early Releases," Perspectives of New Music 39, no. 1 (Winter 2001): 145-146.
22 Grier, "The Mothers of Invention and Uncle Meat: Alienation, Anachronism and aDouble Variation," 91; and Frank Zappa, "The Gumbo Variations," Hot Rats. Rykodisc RCD10066, 1970/1987, compact disc.
242
CHAPTER 5
BE-BOP TANGO: INFLUENCES AND PHILOSOPHY
"Information is not knowledge,Knowledge is not wisdom,
Wisdom is not truth,Truth is not beauty,Beauty is not love,Love is not music,
Music is The Best."- Frank Zappa, Joe's Garage, 1979
Due to its extremely angular melodies and rhythmic complexity, the Be-Bop Tango
explores the divergent roles of popular music as entertainment and as art, and investigates the
assimilation of various popular-art music styles within a contemporary classical construct. The
focus of this chapter is to discuss Zappa's musical philosophy and early influences and how they
manifest themselves, directly and indirectly, in the Be-Bop Tango.
Readily observed in the work, the extensive use of cellular melodic development;
registral displacement procedures, specifically the exploitation of the intervals of a minor and
major seventh, minor and major ninth and augmented eleventh; and the combined use
pandiatonicism and suspended tonality illustrates Zappa's prior knowledge of both Stravinsky
and Webern. As mentioned in chapter one, from his study of Stravinsky's recordings and
compositions, Zappa discerned the importance of melodic development and the methods in
which a motive can be manipulated through slight, but noticeable changes in rhythm and/or
243
pitch. And from his early studies of Webern's recordings and works, Zappa recognized the
expressive nature of pointillism and how it could be adapted to create interesting and dramatic
melodic lines, not only from one note to the next, but as in the case of the Be-Bop Tango, from
melodic fragment to melodic fragment.
Not only does the development of the thematic material in the Be-Bop Tango represent
Zappa's understanding of Stravinsky's methods, but it also personifies the musical philosophy of
bebop jazz. As mentioned in chapter two, bebop emphasized melodic improvisation, angular
melodies, extended harmonic exploration, and virtuosic performances. Just as the modernist
musical works of the early twentieth-century were a natural outgrowth of the evolving post-
Romantic era, bebop evolved from earlier jazz styles, and was developed as a musical and
philosophical reaction against the constraints of swing jazz. Generally, bebop was performed by
a "combo," a small group of musicians numbering from five to seven performers. In solo
passages, a wind player or pianist would create a jagged, fast-moving melody which was
sometimes based on the development of a small motive or melodic cell. The soloist was
accompanied by the rhythm section (piano, string bass, and drumset) which combined moments
of silence with punctuations that explored extended tertian harmonies (chromatically altered
pitches in a diatonic context - flattened ninths, raised elevenths, and flattened thirteenths).
Consequently, the instrumentation and general musical characteristics of the Be-Bop Tango
epitomizes the bebop style and its principal philosophy of "an intimidatingly difficult tune that
will exclude outsiders."1 In the early arrangements of the work, the melody was performed by
either the violinist or a brass player and was usually doubled by mallet percussion or keyboard.
1 Watson, "Frank Zappa as Dadaist: Recording Technology and the Power to Repeat,"
117.
244
In the later orchestral arrangement, the melody is performed by a solo instrument and is usually
doubled at the unison and/or octave. Accompanying the melody, the ensemble performs various
alterations and interpretations of extended pseudo-bebop harmonies.
As was stated in chapter one, Varèse's works inspired Zappa to investigate the subtleties
of timbre and impressed upon the young composer the importance of musical balance and
timing. Zappa made a connection between Varèse's so-called "blocks of sound" and how the
aesthetics and techniques of certain visual art forms could transfer into the musical arts
(specifically Calder's mobiles, pastiche methods, and tape collage construction). Zappa
interpreted Varèse's blocks of sound as "any material" a composer chooses to balance and
manipulate, whether it is visual, musical or dramatic. The balanced materials could include such
elements as abrupt changes in tempo between musical passages, the juxtaposition of disparate
musical materials, and/or the inclusion of non-musical dramatic elements within a live perfor-
mance, written or improvised. Therefore, musical style can be incorporated into this broad
definition; therefore, different styles of music can be balanced and developed to create tension
and release.
Expanding upon the concept above, in an article entitled "Non-foods: Stretching Out with
Vamps," Zappa provided insight into his musical processes and explained his personal ideas
concerning tension and release. The composer stated, "My idea of a good time is a really simple-
minded song followed by something that is out to lunch [something complex, absurd or both],
and then back to simplicity again, and then out to lunch again. That's the way the world really is:
It's not totally complex, and it's not totally simple. It's a combination of both."2 Furthermore,
2 Zappa, "Non-foods: Stretching Out with Vamps," 97.
245
Zappa explained that, "The shock should be the idea of one type of music juxtaposed on another
type of music." 3
As it pertains to the Be-Bop Tango and its use of dissimilar musical styles, the dichotomy
that is created between the tango sections and the unrelenting complexity of the main "bebop"
theme and its variations can be understood as Zappa's attempt at creating dramatic, stylistic
expectations and the eventual release of the constructed tension. Related to Zappa's remarks
stated above, the tango sections (T, T1, and T2) serve as the simple passages, while the main
theme group (A), its variations (A1 and A2), and episodes (B, C and D) serve as the contrasting
complexity, which produces the necessary conflict. Due to the absence of the second tango
variation (T2) in the original score, the conflict of stylistic complexity that is created in theme
group D is sustained and never fully resolved; however, in the orchestral arrangement when the
ad-lib saxophone motive from the first tango variation (T1) is inserted at the end of the work, the
initial (or simple) style returns and the conflict is resolved. The previously constructed
expectations are satisfied.
Concerning the issues of balance and depth of musical construction, the use of dissimilar
musical styles in the composition of the Be-Bop Tango can be observed on three different levels.
The first level consists of the juxtaposition of different styles and their development during the
formal, or temporal, presentation of the work (from section to section). The second level
consists of the superimposition of style, whereby the angular complexity of the pseudo-bebop
melody is counterbalanced by the simplistic, beat-oriented accompaniment of the tango. And the
third level consists of different musical materials from one style combined with another. For
3 Frank Zappa, "Modern Music is a Sick Puppy (Part 1): A Conversation with Frank
Zappa," interviewed by Steve Birchall, Digital Audio, (October 1984): 49.
246
example, in the introduction, the basic rhythm of the tango is combined with the extended
harmonies of bebop jazz. The direct juxtaposition and assimilation of dissimilar styles in the Be-
Bop Tango can be seen as the direct result of Zappa's exposure to visual collage methods, his
appropriation of Varèse's ideas concerning balance and timing, and his immersion into
experimental recording techniques.
Another important aspect of musical style and how it pertains to the Be-Bop Tango
concerns the cultural relationship that exists among the various styles of popular-art music. All
three styles (tango, bebop, and art-rock) evolved from popular dance forms that were trans-
formed by the repressed segments of a particular culture.4 As mentioned in chapter two, the
tango was created by the immigrants and indigenous populations of Uruguay and Argentina and
bebop evolved from the restrictions of swing jazz. During its inception in the 1950s, rock 'n' roll
was accepted enthusiastically by the youth subculture and dismissed by the establishment as a
passing fad. However, as the style evolved in the 1960s rock music was not only created for
entertainment purposes, but used to spread the message of the youth counterculture. In the late
1960s and 1970s, rock music began to incorporate elements of jazz and classical music into its
overall style.
Although the use of avant-garde twentieth-century compositional techniques in the Be-
Bop Tango may seem antithetical (when analyzed in conjunction with the above mentioned
popular-art styles), the underlying tenets of the techniques were created due to the dissatisfaction
by modernist composers with the stagnate nature of their musical surroundings. Therefore, since
all four styles used in the Be-Bop Tango evolved from similar social surroundings and for similar
4 Art-rock is a term usually associated with a subgenre of rock music that is characterized
by complex harmonies, rhythms, and melodies, large musical forms, and orchestral arrange-ments.
247
purposes, and to a certain extent, maintain some degree of individuality, the various styles are
assimilated into a cohesive and unified composition. This unification of dissimilar styles reflects
quite emphatically Zappa's philosophy concerning non-value categorization.5 The composer
claimed his oeuvre was undifferentiated with regards to its artistic merit, regardless of style,
genre, or function, and his music could function as both art and entertainment.
Exploring the connection between timbre, style, and musical allusion, Zappa created in
his compositions stylistic references and subliminal cliches that invoke personal associations and
could manipulate the expectations of the listener. As Christopher Smith stated in his article
"Broadway the Hard Way," "What results is a participatory, interactive process between
composer, performers, and audience, in which reference, quotation, allusion, and parody become
the signposts, and the semiotic tools, of a shared perceptual experience."6 This is not unlike the
shared musical experiences of American listeners when they encounter the works of Charles
Ives. This philosophical perspective can readily observed in the orchestral arrangement of the
Be-Bop Tango. The pervasive use of brass instruments, specifically their muting techniques, and
the ad-lib solos in the tango variations are all reminiscent of jazz. Furthermore, the percussion
section is orchestrated in such a way as to emulate the sound of a drumset. For example, in the
tango introduction, the sandblocks imitate the sound that wire brushes create when used on the
5 Zappa did not see a distinction between different styles of music or in their specific
function; "serious" or classical music, and "non-serious" or popular-art music were perceived asequals in terms of aesthetics and value. For an in-depth discussion concerning Zappa, Adornotheory, and Marxism, read Arved Ashby's "Frank Zappa and the Anti-Fetishist Orchestra, " TheMusical Quarterly 83, no. 4 (Winter 1999): 557-606.
6 Christopher Smith, "Broadway the Hard Way: Techniques of Allusion in Music byFrank Zappa," College Music Symposium 35 (1995): 52.
248
head of a snare drum. All of the popular-art music styles found in Be-Bop Tango use a drumset
in their primary instrumentation.
Addressing issues of style and indeterminacy, in the first tango variation (T1), the
woodwinds (excluding the tenor saxophone), brass, harp, mandolin, and guitar are instructed to
"laugh," "mumble," and make noises usually associated with the atmosphere of a nightclub.
While the tenor saxophone and piano perform rubato ad-lib solos, the percussion and string
sections perform the introductory tango marcato-sincopa rhythm. The pianist is instructed to
perform an ad-lib solo a la Monk while the left hand performs a series of sonorities reminiscent
of the opening tango harmonies. As previously mentioned in chapter four, the addition of
notated indeterminate nightclub ambience in the orchestral arrangement of the Be-Bop Tango
could be construed as the transcription and arrangement of the stage and audience noises heard
on the previous live recordings from the 1970s.7
Earlier in his career, when Zappa was on tour with his ensemble, portable tape recorders
were always operational, on the tour bus, backstage at the concert venue, at the hotel, even in
restaurants. Eventually, fragments from these recordings would surface on Zappa's final record
projects, and as according to Ben Watson would "become a documentary collage of the process
of making music." 8 In a conversation with Rolling Stone interviewer Jerry Hopkins in early
7 Some professionals in the recording industry consider live noise essential to a live
recording of popular music. The ambience of the location (crowd noise, the size of theperformance space, etc.) adds another layer of excitement to the recording, illustrates thedynamism of the performance, and documents the virtuosity of the individual performers as wellas the entire ensemble.
8 Watson, "Frank Zappa as Dadaist: Recording Technology and the Power to Repeat,"115.
249
1968, Zappa explained the relationship that existed between his use of the recording studio and
musical form,
All the material in the albums [MOI, from 1966-1968] is organically related andif I had all the master tapes and I could take a razor blade and cut them apart and put ittogether again in a different order it would make one piece of music you can listen to.Then I could take that razor blade and cut it apart and reassemble it a different way, andit still would make sense. I could do this twenty ways.9
This statement is an excellent example of Zappa's philosophical perspective concerning
technology and its influence on musical organization.
As his personal style evolved in conjunction with the advances made in music technology
in the following decades, his live compositions and performances reflected his experiences in the
recording studio. Throughout his career, Zappa used the studio as a tool for composition and
analysis, and his experience in the recording studio, where materials could be manipulated
without the imposition of the barline, transferred to his written compositions. Consequently, his
touring ensembles would have to learn how to accurately perform his recorded studio edits and
jumpcuts in real time.
During the recording and final mastering process, Zappa employed xenchronic tech-
niques to extract an instrumental track from one recording session, either a live concert or in the
studio, and would later insert it into another multi-track recording session. Although the
unrelated superimposed track and the main session tracks might contain different studio room
ambience and noise, Zappa's time domain and pragmatic compositional approach, "AAAFNRA,"
outweighed the inherent differences in musical materials.10 Essentially, the notation and addition
9 Frank Zappa, "An Interview with Frank Zappa," interview by Jerry Hopkins in
1968, The Rolling Stone Interviews (New York: Straight Arrow Publishers, 1971), 73-74.
10 AAAFNRA stands for "Anything, Anytime, Anywhere - for No Reason at All."Zappa, The Real Frank Zappa Book, 163.
250
of a secondary performance environment (i.e. the nightclub atmosphere in the Be-Bop Tango for
chamber orchestra) is another example of Zappa extracting seemingly non-essential material
from a recording, in this instance the extraneous noise of the two live Be-Bop Tango recordings,
and placing it within a written musical score.
This later addition provides an important temporal connection between the ambience of
the recorded crowd noise from the previous live recordings and the inevitable crowd noise,
which will inevitably occur before, during, and after the performance of the orchestral
arrangement. This dual concept of temporal dislocation and unification can be interpreted as
Zappa's incorporation of collage tape techniques, xenochronic methods, and John Cage's musical
philosophy of indeterminacy within a written composition. As Ben Watson points out, "the
ability of technology [in this case the notated crowd noise] to preserve a tract of time makes us
look more closely at the reality of American life."11 The Be-Bop Tango preserves a "tract of
time" and transcends the recorded document.
Additionally, the recorded atmosphere of a particular live event documents the musical,
historical, and cultural origins of the written score and its interpretation. Not only does the
orchestral arrangement chronicle the Be-Bop Tango's musical construction and evolution, but it
also documents the historical context of the performance of the composition (i.e. the recorded
crowd noise on "America Drinks" and "America Drinks and Goes Home" on Absolutely Free
(1967), the 1973-1974 Frank Zappa and the Mother of Invention performance tour; the Roxy
Theater in Hollywood, California; and the various recording techniques used by sound engineers
in the 1970s).
11 Watson, "Frank Zappa as Dadaist: Recording Technology and the Power to Repeat,"
119.
251
Of all the privileges the recording process affords, perhaps the most significant is the its
capacity to allow the listener to reflect and meditate on things that would have otherwise have
disappeared. By making the past present, by inviting the audience to contemplate a representa-
tion of what previously existed in a different location, the notated environment in the orchestral
arrangement enables the audience to penetrate the past in the present performance, thus creating
a unification of temporal dislocation. The revised arrangement of the Be-Bop Tango is where
history and current performance collide.
252
CHAPTER 6
CONCLUSION
"I think that if you write music, you should write for your own taste, whateveryou like to hear and whatever style you want to write it in for whatever reason. Itis a matter of expression, rather than a matter of living and dying by a certainpopular style, whatever that style is."
- Zappa, The Mother of All Interviews, 126.
Composed during the early 1970s, the Be-Bop Tango was originally entitled The
Malcolm McNabb and was used to feature the trumpet player on Zappa's Grand Wazoo Tour in
1972; it was later renamed Farther O'Blivion. While on tour with his amplified chamber
ensembles in the 1970s Zappa would assign different theme groups to various members of his
ensemble. Eventually, the written composition was renamed the Be-Bop Tango. On the two
official concert recordings of the work, as "Farther O'Blivion" on Piquantique and as "Be-Bop
Tango (Of the Old Jazzman's Church)" on Roxy & Elsewhere, the composition was usually
featured within a larger medley. Eventually, the Be-Bop Tango was published in 1984 by
Munchkin Music for unspecified instrument and piano.
An analysis of the score reveals that the form of the work is a modified variation-rondo
(T-A-A1-T1-A2-B-C-D). The tango sections (T and T1) are based on the combination of bebop
harmonies and the marcato-sincopa tango rhythm. The main Be-Bop theme (A), its variations
(A1 and A2), and subsequent episodes (B, C and D) are constructed using the development of a
253
three-note, four-note or five-note chromatic cell, which are separated by a skip of a minor or
major third, a leap of a diminished or augmented fourth or fifth, a leap of a minor or major
seventh or minor or major ninth (including their inversions and simple equivalents). Compound
intervals and registral displacement procedures are used for melodic variance.
The Be-Bop Tango's harmonic structures are variegated and serve a multitude of
purposes. The work uses harmonic cells that substitute individual members according to context,
either for functional purposes or for harmonic coloration; regressive chord schemes that do not
correspond to either classical or jazz progressions; and unpredictable and nonfunctional bass
lines that function with a dual purpose, to reinforce the sonorities they accompany and to serve
as a simple counterpoint.
The chord progressions in the Be-Bop Tango follow a non-traditional functional
harmonic structure and are analyzed according to interval strengths and context. Generally, in
the final phrase of each of the major theme groups, neutral sonorities (N) progress to dissonant
sonorities (D), which are used to maximize dramatic tension. The dissonant sonorities usually
resolve to a neutral or consonant (C) sonority.
Classified as a revised arrangement, the orchestral version of the Be-Bop Tango was
arranged by Zappa and Ali N. Askin and premiered in September of 1992 by the Ensemble
Modern. The formal, thematic, and harmonic structure of the arrangement is an approximate
reproduction of the original score. However, a few notable changes were made to the music,
therefore it considered a revised arrangement.
In addition to instrumentation, various changes were made to the score including:
alterations to the formal structure of the work, specifically the addition of the second tango
variation (T2) at the end of the work; the addition of written percussion parts; minor changes in
254
harmony; and the inclusion of ad-lib solos and aleatoric passages that feature indeterminate
vocal sounds, which were possibly derived from transcriptions of early recordings by the
composer.
The Be-Bop Tango is an excellent example of Zappa's process of revision, as the
composer matured, so did his compositions. Like Duke Elllington, another American composer
who at various times crossed the line between popular and classical music, Zappa composed for
the strengths and abilities of individual members of his touring ensembles. Through years of
experience as a bandleader he learned how to alter, adjust, and re-orchestrate his compositions
for the proficiencies of his musicians and whatever performing forces were available at the time.
For example, the solo percussion piece The Black Page went through several changes during the
1970s and 1980s, and was adjusted according to the proficiency of his musicians.1 To complete
the Modern Ensemble's 1992 "Yellow Shark" concert program, several of Zappa's older acoustic
compositions were revised and arranged, and his Synclavier pieces compositions were tran-
scribed and orchestrated including The Dog Breath Variations, Uncle Meat, and G-Spot Tornado
and The Girl in the Magnesium Dress, respectively.
Although Zappa detested labels and categories, in an attempt to classify the Be-Bop
Tango, terminology usually associated with the composer and musicologist Gunther Schuller
will be used, albeit modified. Generally, Zappa could be classified as an example of a “fourth
stream" composer. Just as the term "third stream" is associated with any composer or
composition that blends classical music with jazz elements, a composer working in the "fourth
stream" could be defined as one who combines contemporary classical music with post-World
1 Borders, “Frank Zappa's The Black Page: A Case of Musical Conceptual Continuity,”
140-152.
255
War II/pre-postmodern popular culture. Zappa drew his musical inspiration not only from the
music of Varèse, Stravinsky, and Webern, but also from Dadaist humor, African-American
dance music, jazz, doo-wop, rock 'n' roll music, the visual arts, and his socio-political surround-
ings, all of which eventually coalesced into a unique and individual personal musical style. As it
pertains to the Be-Bop Tango, Zappa fused elements from bebop, tango, rock 'n' roll, and con-
temporary avant-garde classical music into a unified and convincing composition. The Be-Bop
Tango is significant because it provides insight into Zappa's artistic processes, summarizes his
musical and extra-musical philosophies concerning organization, style, technology, and revision,
and is an archetype of post-World War II American eclecticism.
Since its publication in 1992, the orchestral arrangement of the Be-Bop Tango has been
performed by various orchestras throughout the world, most recently by the Norrlands Opera
Symphony in Umea, Sweden; at the Prague Spring International Music Festival in
Czechoslovakia; the Birmingham Symphony Orchestra in England; the Colorado Symphony
Orchestra in Denver; the New England Conservatory Orchestra in Boston; and the Orquesta
Ciudad de Granada in Seville, Spain.
Epilogue
In late 1990 Zappa was diagnosed with advanced prostate cancer; it was inoperable.
During the next three years, he continued to compose and supervise his entrepreneurial
endeavors. The composer died on December 4, 1993 at the age of 52. After Zappa's death, Ali
N. Askin continued to work for Zappa's wife, Gail, and The Zappa Family Trust. He compiled
the composer's written scores and transcribed several of his completed Synclavier pieces. And
in the summer of 2000, Askin and the Ensemble Modern successfully presented a second Zappa
256
concert program entitled "Greggery Peccary & Other Persuasions." It was performed in
Amsterdam and Bologna, Italy.
The Zappa Family Trust continues to release posthumous recordings and supervise the
live performances of the composer's compositions. To date, Zappa's catalogue consists of over
70 CD recordings and numerous scores for a variety of ensembles, and his family's business
holdings include several record labels, publishing companies, a merchandizing franchise, and a
video production company.
Since 1992 Zappa's contemporary classical music has been performed and recorded by
ensembles throughout the world including the orchestra at the Tanglewood Festival of
Contemporary Music, the Boston Modern Orchestra, the Sacramento Philharmonic Orchestra,
the American Composers Orchestra, the San Francisco Symphony, the Meridian Arts Ensemble,
the Omnibus Wind Ensemble, the Cincinnati College Conservatory of Music Wind Symphony,
the Netherlands Philharmonisch Orkest, the Royal Concertgebouw Orchestra in Amsterdam, the
Adelaide Symphony Orchestra in Australia, the Minnesota Contemporary Ensemble, and the
Radio Telefis Eirann Concert Orchestra in Dublin, Ireland
In 1994, two years after the composer's death, Pierre Boulez stated that, "As a musician
he [Zappa] was an exceptional figure because he was of two worlds: the pop world and the
classical world. That's not a very easy position because you are regarded by both camps as a
traitor. His musicianship is very extensive. I think his pop work will survive because it is very
characteristic of a period. And I think the serious work will survive because it is serious, without
a doubt."2
2 Pierre Boulez, "Interview with Pierre Boulez," interviewer uncredited, Musician,
February 1994, 21.
257
Eclectic and pragmatic, witty and ironic, Frank Zappa resisted any commitment to any
one compositional method, style, or medium, and for him, high art and low art, serious and non-
serious music existed without distinction. An experimentalist in the tradition of Charles Ives,
Conlon Nancarrow, and John Cage, Zappa's unique polystylistic approach to music transcends
genre or expressive medium. Musical quotation and stylistic allusion were compositional
techniques that provided a greater depth of association and musical meaning to his music.3 And
like John Cage, he was willing to experiment with new ways of thinking to further his own
artistic goals. An icon of unrelenting individualism, Zappa's highly personal musical voice is
indicative of late twentieth-century modernist composition.
3 For an in-depth study concerning Zappa's use of quotation, collage, and allusion, read
Ben Watson, "Frank Zappa as Dadaist: Recording Technology and the Power to Repeat,"Contemporary Music Review 15, Part 1 (London: Harwood Academic Publishers, 1996); andChristopher Smith, "Broadway the Hard Way: Techniques of Allusion in Music by FrankZappa," College Music Symposium 35 (1995): 35-59.
258
BIBLIOGRAPHY
Aharonian, Coriun. "Candombe." New Grove Dictionary of Music and Musicians 2nd ed.,Vol. 4. Edited by Stanley Sadie. New York: Macmillan Press, 2001.
Aiken Jim, ed. "A Definitive Tribute to Frank Zappa." Guitar Magazine. Special Issue,San Francisco: Miller Freeman, 1992.
Albertos, Román García. The Hook. 1999. [Online]. Available from http://globalia.net/donlope/fz/songs/The Hook.html, 1 January 2003.
Alten, Stanely R. Audio in Media 3rd Ed., Belmont, CA: Wadsworth PublishingCompany, 1990.
Ashby, Arved. "Frank Zappa and the Anti-Fetishist Orchestra." The Musical Quarterly83, no. 4 (Winter 1999): 557-606.
Askin, Ali N. Interview by author, 26 November 2002, Baton Rouge, LA/Los Angeles,CA. Electronic letter.
Askin, Ali N. Biographical Information. [Online]. Available from http://www.askin.info/bio engl l.html. 23 April 2003.
Aslan, Pablo. The Evolution of Tango Music. Avantango website. 2002. [Online].Available from http://www.avantango.com/Pages/Articles/musichist.html. 25March 2003.
________. "Tango Stylistic Evolution and Innovation." Masters thesis, University ofCalifornia, Los Angeles, 1990.
Bernard, Jonathan W. "Listening to Zappa." Contemporary Music Review. 18, Part 4,(London: Harwood Academic Publishers, 2000): 63-103.
________. "The Musical World(s?) of Frank Zappa." Expression in Pop-Rock Music.Edited by Walter Everett, 157-210. New York: Garland Publishing, 2000.
Birchall, Steve. "Modern Music is a Sick Puppy: A Conversation with Frank Zappa"Digital Audio Magazine, 1/2 October 1984, 43-49; 1/3 November 1984, 44-47.
Borders, James. "Form and the Concept Album: Aspects of Modernism in Frank Zappa'sEarly Releases." Perspectives of New Music 39, no. 1 (Winter 2001): 118-151.
________. "Frank Zappa's The Black Page: A Case of Musical Conceptual Continuity,"Expression in Pop-Rock Music. Edited by Walter Everett, 137-155. New York:Garland Publishing, 2000.
259
Burkholder, J. Peter. “Allusion.” New Grove Dictionary of Music and Musicians 2nd ed.,Vol. 1. Edited by Stanley Sadie. New York: Macmillan Press, 2001.
________. “Collage.” New Grove Dictionary of Music and Musicians 2nd ed., Vol. 6.Edited by Stanley Sadie. New York: Macmillan Press, 2001.
Bylander, Cindy. “Krzysztof Penderecki.” Music of the Twentieth-Century Avant-Garde:A Biocritical Sourcebook. Edited by Larry Sitsky. Westport, Connecticut:Greenwood Press, 2002.
Chevalier, Dominique. Viva! Zappa. New York: St. Martin's Press, 1986.
Clarke, Eric F. "Subject-Position and the Specification of Invariants in Music by FrankZappa and P.J. Harvey." Music Analysis 18, no. 3 (1999): 347-374.
Cope, David. New Directions in Music 7th ed. Prospect Heights, IL: Waveland Press,2001.
________. Techniques of the Contemporary Composer. New York: Schirmer Books,1997.
Cotter, Jim. “Frank Zappa.” Music of the Twentieth-Century Avant-Garde: A BiocriticalSourcebook. Edited by Larry Sitsky. Westport, Connecticut: Greenwood Press,2002.
Dallin, Leon. Techniques of Twentieth Century Composition, 3d ed. Dubuque, Iowa:Wm. C. Brown Company Publishers, 1974.
Denniston, Christine. A Brief Introduction to the History of Tango Music. Total TangoWebsite, [Online]. Available from http:// www.totaltango.com/acatalog/tangobrief intro 91.html. 13 March 2003.
Dilberto, John and Kimberly Hass. "Frank Zappa on Edgar Varese." Down Beat 48, no.11, November 1981, 21-84.
Fitterling, Thomas. Thelonious Monk: His Life and Music. Berkeley, California: BerkeleyHills Books, 1997.
Flanagan, Bill, ed. "Frank Zappa 1940-1993." Musician Magazine, February 1994, 18-32.
Gale, Matthew. Dada and Surrealism. London: Phaidon Press Limited, 1997.
Gridley, Mark C. Jazz Styles: History and Analysis, 7th ed. Upper Saddle River, NewJersey: Prentice Hall, Inc., 2000.
260
Grier, James. "The Mothers of Invention and Uncle Meat: Alienation, Anachronism and aDouble Variation." Acta Musicologica, 73 (2001): 77-95.
Griffiths, Paul. “Aleatory.” New Grove Dictionary of Music and Musicians 2nd ed., Vol. 1.Edited by Stanley Sadie. New York: Macmillan Press, 2001.
Gronow, Pekka. Once I waited for someone: The story of the Finnish tango. VirtualFinland. [Online]. Available from http://virtual.finland.fi/finfo/english/tangoeng.html. March 13, 2003.
Hamm, Charles. "Rock." The New Harvard Dictionary. Edited by Don Michael Randel.Cambridge, MA: The Belknap Press of Harvard University Press, 1986.
________. "Rock 'n' roll." The New Harvard Dictionary. Edited by Don Michael Randel.Cambridge, MA: The Belknap Press of Harvard University Press, 1986.
Hindemith, Paul. The Craft of Musical Composition, Book I, 4th ed. London: AssociatedMusic Publishers, Inc., 1942.
Humphrey, Ralph. Interview by author, 13 September 2002, Baton Rouge/Los Angeles.Electronic letter.
Jaffe, Andrew. Jazz Theory. Dubuque, Iowa: Wm. C. Brown Company Publishers,1983.
James, Billy. Necessity Is: The Early Years of Frank Zappa and the Mothers ofInvention. London: SAF Publishing, 2000.
Kernfeld, Barry. "BeBop, Bop." The New Harvard Dictionary. Edited by Don MichaelRandel. Cambridge, MA: The Belknap Press of Harvard University Press, 1986.
________. "Funk(y)." The New Harvard Dictionary. Edited by Don Michael Randel.Cambridge, MA: The Belknap Press of Harvard University Press, 1986.
________. "Rhythm and blues." The New Harvard Dictionary. Edited by Don MichaelRandel. Cambridge, MA: The Belknap Press of Harvard University Press, 1986.
________. "Scat Singing." The New Harvard Dictionary. Edited by Don Michael Randel.Cambridge, MA: The Belknap Press of Harvard University Press, 1986.
Koch, Lawrence O. "Harmonic Approaches to the Twelve-Bar Blues Form." AnnualReview of Jazz Studies 1, (1982): 59-71.
________. "Thelonious Monk: Compositional Techniques." Annual Review of JazzStudies 2, (1983): 67-80.
261
Kountz, Peter. "Frank Zappa and the Enterprise of Serious Contemporary Music."Popular Music and Society 4, no. 1 (1975): 36-51.
Kramer, Jonathan D. "Moment Form in Twentieth-Century Music." The MusicalQuarterly 64, no. 2 (April 1978): 177-194.
______. "Postmodern Concepts of Music Time." Indiana Theory Review 17, no. 2 (Fall1996): 21-61.
Kurzdorfer, James. "Outrageous Clusters: Dissonant Semitonal Cells in the Music ofThelonius Monk." AnnualReview of Jazz Studies 8, (1997): 181-202.
Liebman, David. A Chromatic Approach to Jazz Harmony and Melody. Rottenberg,Germany: Advance Music, 2001.
Lindeman, Steve. "Fix it in the Mix," Popular Music and Society, 22, no. 4 (1998): 91100.
Manuel, Peter. "Music as Symbol, Music as Simulacrum: Postmodern, Pre-modern, andModern Aesthetics in Subcultural Popular Musics." Popular Music 14, no. 2(1995): 227-235.
Martin, Henry. "Jazz Harmony: A Syntactic Background." Annual Review of JazzStudies 4, (1988): 9-30.
Menn, Don. ed., "Zappa!" Keyboard Magazine and Guitar Magazine, Special Issue, SanFrancisco: Miller Freeman, 1992.
Michie, Chris. "Frank Zappa's Extraordinary Recording Techniques: A SelectiveHistory," Mix, January 2003, 30-42.
________. "You Call That Music?" Mix, February 2003, 30-40.
Miles, Barry. Frank Zappa: A Visual Documentary. London: Omnibus Press, 1993.
________. Frank Zappa: In His Own Words. London: Omnibus Press, 1993.
Mingus, Charles. The Black Saint and the Sinner Lady. Impulse AS-35, 1963.Phonograph.
The Mothers of Invention. Absolutely Free. Rykodisc RCD-10501, 1966/1995. CompactDisc.
________. Freak Out!. Rykodisc RCD-10501, 1966/1995. Compact Disc.
262
________. We're Only In It for the Money. Rykodisc RCD-10501, 1966/1995. CompactDisc.
Naurin, Jon .We're Only In It For The Touring. [Online]. Available from http://ourworld.compuserve.com/homepages/turtlestew/72f2.htm. 13 March 2003.
Nicholson, Stuart. Jazz Rock: A History. New York: Schirmer Books, 1998.
Ocker, David. David Ocker biography. [Online]. Available fromhttp://www.leisureplanetmusic.com/composer/ocker/bio.html. 23 April 2003.
Ottman, W. Robert. Advanced Harmony: Theory and Practice, 5th ed. Upper SaddleRiver, New Jersey: Prentice-Hall, Inc., 2000.
Owens, Thomas. Bebop: The Music and Its Players. Oxford: Oxford University Press,1995.
Paddison, Max. “Frank Zappa.” New Grove Dictionary of Music and Musicians 2nd ed.,Vol. 14. Edited by Stanley Sadie. New York: Macmillan Press, 2001.
Parisi, Deborah. "Frank Zappa." Rhythm, July 1989, 38-45.
Pascall, Robert. “Style.” New Grove Dictionary of Music and Musicians 2nd ed., Vol. 24.Edited by Stanley Sadie. New York: Macmillan Press, 2001.
Penderecki, Krzysztof. Anaklasis. Germany: Hermann Moeck Verlag, 1960.
Persichetti, Vincent. Twentieth-Century Harmony: Creative Aspects and Practice.New York: W.W. Norton and Company, Inc., 1961.
Randel, Don Michael. ed., The New Harvard Dictionary, Cambridge, MA: The BelknapPress of Harvard University Press, 1986.
Rensch, Roslyn. The Harp. New York: Praeger Publishers, 1969.
Rockwell, John. “Doo-wop.” New Grove Dictionary of Music and Musicians 2nd ed.,Vol. 7. Edited by Stanley Sadie. New York: Macmillan Press, 2001.
Rotondi, James. "My Guitar Wants to Kill Your Mama: Frank Zappa's Lethal Axe."Guitar Player, October 1995, 70-78.
Saydlowski Jr., Bob. "The Rhythms of Frank Zappa." Modern Drummer, December1984, 102-103.
Scheff, David. "Playboy Interview: Frank Zappa." Playboy, April 1993, 55-72.
263
Schneckloth, Tim. "Frank Zappa: Garni du jour, Lizard King, Poetry, and Slime." DownBeat 18, May 1978, 15-17, 44-46.
Schaffer, Jim. "The Perspective of Frank Zappa," Down Beat, 13 September 1973,14-15, 36.
Simels, Steve. "A Little Visit with Frank Zappa." Stereo Review, April 1979, 80-82.
Slonimsky, Nicolas. Perfect Pitch. Oxford: Oxford University Press, 1988.
Smith, Christopher. "Broadway the Hard Way: Techniques of Allusion in Music byFrank Zappa," College Music Symposium. 35 (1995): 35-59.
Smolen, Michael. "Zappa." Stereo Review, June 1987, 93-95.
Spiegel, Joe. "Absolutely Frank." EQ, March 1994, 48-56.
Starr, Larry. A Union of Diversities: Style in the Music of Charles Ives. New York:Schirmer Books, 1992.
Stone, Kurt. Music Notation in the Twentieth Century. New York: W.W. Norton &Company, 1980.
Straus, Joseph N. Introduction to Post-Tonal Theory. Englewood Cliffs, New Jersey:Prentice Hall, 1990.
Strunk, Steven. "The Harmony of Early Bop: A Layered Approach." Journal ofJazz Studies 6, No. 1 (Fall/Winter 1979): 4-53.
________. "Bebop Melodic Lines: Tonal Characteristics." Annual Review of JazzStudies 3, (1985): 97-120.
Travers, Joe. Zappa recording studio vault archivist. Interview by author, 11 November2003, Baton Rouge, LA/Los Angeles. Telephone.
Watkins, Glenn. Soundings: Music in the Twentieth Century. New York: Schirmer Books, 1988.
Watson, Ben. "Frank Zappa as Dadaist: Recording Technology and the Power to Repeat,"Contemporary Music Review 15, Part 1 (London: Harwood Academic Publishers,1996): 109-137.
________. Frank Zappa: The Negative Dialectics of Poodle Play. New York: St. Martin'sPress, 1995.
Woodward, Joseph. "George Duke's Beautiful Mess," Jazz Times 31, Jan-Feb 2001, 70-73, 159.
264
Wragg, David. "Or any art at all?: Frank Zappa meets Critical Theory." Popular Music,20, no. 2 (2001): 205-222.
Vai, Steve. The Frank Zappa Guitar Book, Milwaukee, Wisconsin: Hal Leonard Music,1982.
Volgsten, Ulrik. Music, Mind, and the Serious Zappa. Studies in Musicology 9.Stockholm: Stockholm University, 1999.
Zappa, Frank. Be-Bop Tango for chamber orchestra. Los Angeles: Munchkin Music,1993.
________. Be-Bop Tango for melody and piano. Los Angeles: Munchkin Music, 1984.
________. Bob and Dacron/Sad Jane. Los Angeles: Munchkin Music, 1979.
________. "Conversation with Peter Rundel." In the liner notes to The Yellow Shark.Rykodisc RCD-10560, 1992. Compact Disc.
________. "Edgard Varese, Idol of My Youth." Stereo Review, June 1971: 62-63.
________. "Frank Zappa: The Mothers of Invention." interview by Frank Kofsky. TheRock Giants. ed. Pauline Rivelli and Robert Levin. New York: The WorldPublishing Co., 1970.
________. G-Spot Tornado. Los Angeles: Munchkin Music, 1993.
________. The Best Frank Zappa Interview Ever. Interview by Bob Marshall, Dr.Carolyn Dean, and Gerald Fialka. October 22 and 23, 1988. [Online]. Availablefrom http://www.science.uva.nl/~robbert/zappa/interviews/. 1 January 2003.
________. "Interview with Frank Zappa in 1988." Interview by Kurt Loder, Bat ChainPuller, New York: St. Martin's Press, 1990.
________. "An Interview with Frank Zappa." Interview by Jerry Hopkins, (1968),The Rolling Stone Interviews, New York: Straight Arrow Publishers, 1971.
________. "Interview." Interviewer uncredited. Frank Zappa Limited Edition InterviewPicture Disc, Baktabak CBAK-4012, compact disc.
________. "The Mother of All Interviews: Zappa on Music and Society." Interview byVolpacchio, Florindo. Telos, no. 87 (Spring 1991): 124-136.
________. "Non-foods: Stretching Out with Vamps." Guitar Player, May 1983, 97.
________. Outrage at Valdez. Los Angeles: Munchkin Music, 1993.
265
________. Beat the Boots I: Piquantique. Rhino Records R2 70544, 1991. Compact Disc.
________. Roxy & Elsewhere. Barking Pumpkin Records D2 74241, 1974/1992.Compact Disc.
________. The Yellow Shark. Barking Pumpkin Records R2 71600, 1993. Compact Disc.
________. You Can't Do That On Stage Anymore Vol. 1. Rykodisc RCD 10087/88, 1988.Compact Disc.
________. You Can't Do That On Stage Anymore Vol. 4. Rykodisc RCD 10087/88, 1991.Compact Disc.
Zappa, Frank. The Real Frank Zappa Book. New York: Poseidon Press, 1989.
Zappa, Gail. Interview by author, 9 and 11 November 2003, Baton Rouge, LA/LosAngeles. Telephone.
266
APPENDIX A: FIGURES
Figure A.1. Be-Bop Tango, Chord Quality Continuum
Basic Chord Structure Pitch Set/Prime Form Interval Vector Quality/Context1. E-G-A-B (0, 2, 4, 7) [0 2 1 1 2 0] Consonant2. G-A-B-D3. D-E-G-A (0, 2, 5, 7) [0 2 1 0 3 0] Consonant4. F#-G-B-C# (0, 1, 5, 7) [1 1 0 1 2 1] Consonant5. F-Gb-Bb-C/ C-E#-F#-A#6. A-C#-D# (0, 2, 6) [0 1 0 1 0 1] Neutral7. F#-G#-A#-C (0, 2, 4, 6) [0 3 0 2 0 1] Neutral8. C-D-E-F#9. D-E-F#-Ab10. Eb-F-F#-Bb (0, 2, 3, 7) [1 1 1 1 2 0] Neutral11. E#-F#-A#-C (0, 1, 5, 7) [1 1 0 1 2 1] Neutral12. Ab-C-D-Eb* (0, 1, 3, 7) [1 1 1 1 1 1] Neutral13. Bb-D-E-F*14. G-B-C#-D15. A-Db-Eb-E16. Db-Eb-E-G (0, 2, 3, 6) [1 1 2 1 0 1] Neutral17. Eb-F-F#-A18. A-B-C-Eb19. E-G-Ab-Bb20. Eb-F#-G-A21. D-E-F-Ab22. F-G-G#-B23. F#-A#-B-C (0, 1, 2, 6) [2 1 0 1 1 1] Neutral/Diss.24. G#-A-C#-D (0, 1, 5, 6) [2 0 0 1 2 1] Diss./Neutral25. A#-B-C#-D (0, 1, 3, 4) [2 1 2 1 0 0] Dissonant26. D#-E-F#-G27. F-G-G#-A (0, 1, 2, 4) [2 2 1 1 0 0] Dissonant28. C-C#-E-F#-G-A# (0, 1, 3, 6, 7, 9) [2 2 4 2 2 3] Dissonant
29. Ab-Bb-B-(C)-C#-D-E (0, 2, 3, 4, 5, 6, 8) [4 5 4 4 2 2] Ambiguous/Diss.
30. Indeterminate Clusters Diss./Percussive
*Most frequently appearing chords.
267
Figure A.2. Formal outline of Be-Bop Tango for unspecified instrument and piano
Figure A.2 provides the formal outline for the Be-Bop Tango for unspecified instrument andpiano version. The measure numbers are listed on the left, the sections and subsections arecentered, while the primary event that occurs within these sections is listed on the right. Forexample, mm. 5-11 is listed as section A and consists of theme group A. It can be divided intothree subsections, A/a (mm. 5-6), A/b (mm. 7-8) and A/b' (mm. 8-11), and consists of the firstphrase, second phrase, and an extended version of the second phrase respectively.______________________________________________________________________________Measures Sections Subsections Event______________________________________________________________________________
A-D T Tango Vamp1-4 Tango Introduction
5-11 A Main Theme Group 5-6 A/a - 1st phrase 7-8 A/b - 2nd phrase 8-11 A/b' - extended version of 2nd phrase
13-19 A1 First Theme Variation 13-14 A1/a - 1st phrase 15-16 A1/a-b - hybrid of 1st & 2nd phrases of A 17-19 A1/c - 3rd phrase
20-23 T2 Tango Variation
24-27 A2 Second Theme Variation 24-27 A2/a - extended 1st phrase
27-30 B Cluster Episode/Quotation - indeterminate clusters
- improvised perc. solo
31-37 C Theme Group 31-32 C/c - 1st phrase 33-37 C/c' - altered 1st phrase/extended ending
38-44 D Theme Group 38-41 D/d - 1st phrase 41-44 D/d' - extended 1st phrase
268
Figure A.3. "Farther O'Blivion," Beat the Boots I: Pitquantique
Figure A.3 summarizes the musical events that occur during the recorded performance of"Farther O'Blivion." The CD track timing is listed on the left, the main musical event is centered,while the primary instrumentation that performs the main thematic material is listed on the right.For example, CD track timing 0:00-0:36 consists of a jazz-fusion passage that features thetrombone, marimba, guitar and violin. The Be-Bop Tango, its phrase divisions, and primaryinstrumentation are illustrated accordingly.____________________________________________________________________________CD Track Timing Event Featured Instrumentation______________________________________________________________________________
The "Steno Pool" section from The Adventures of Greggery Peccary0:00 Jazz-Fusion episode Trombone (trb.), marimba (mar.), guitar
(git.), violin (vln.)0:37 Jazz-Fusion episode Git, trb, keyboard (kybd.)
interrupted by straighteighth-note avant-garde"flurries" tutti
1:17 Swing-Jazz episode; Git solo with tutti accompanimentinterrupted by straighteighth-note episodes perc and marimba
2:20 Rock Style Episode Tutti fanfare2:26 Rock Style cont'd Vln.3:58 Rock Style cont'd Non-Pitched Perc.4:16 Transition to: Mar.
"Farther O'Blivion" (as known as Be-Bop Tango)4:21 Tango Vamp and Intro Trb, woodwinds (ww.), perc, kybd.4:44 Theme Group A
A/a Vln, mar.A/bA/b'
5:07 Variation A1A1/a Vln, mar, git.A1/a-b Vln, mar.A1/c
5:29 Tango Variation Trb, ww, perc, git, kybd,5:39 Variation A2
A2/ a (1/2) Vln, electric bass guitar (elec. bs git.)A2/a Clr, vln, elec. bs git.
5:51 Episode B Trb., ww, non-pitched perc, kybd6:01 Theme Group C
C/c Clarinet (clr.) or sax, non-pitched perc.C/c'
269
(table 3.3 continued)
6:23 Theme Group D D/d Vln (altered electronically), non-pitched
perc.D/d'
6:41 Extended Trb Improvisation- Tutti accomp., section fluctuates between rock and jazz styles
8:29 Trb improvisation cont'd; addition of basic tango rhythm8:58 Spoken instructions to audience by Zappa; tango rhythm cont'd9:17 Tenor saxophone (sax.) improvisation based on main theme of Be-Bop
Tango; tutti accompaniment- using various electronic effects including chorus
10:17 Vln improvisation added to solo sax. improvisation, using wah-pedals andreverberation effects; tutti accompaniment
10:51 Kybd chords, sustained and arpeggiated11:16 Rock style episode
- vln improvisation cont'd- tango rhythm cont'd in perc., kybd, elec. bs git.- kybd used as accompaniment.
11:53 Git. added to the improvisation as counterpoint- call and response with vln.- building in tension and density
12:27 Git. solo with perc backbeat on beats "2" and "4" of each measure13:09 Basic tango rhythm - tutti
13:14 Be-Bop Tango performed by the marimba with specific omissionsto the written score: - measure 11, beats 3 and 4.
- measure 12, beats 1, 2, 3. - measure 19, beats 3 and 4 to measure 39.
14:23 Non-pitched percussion fill cues the ensemble and leads to:14:25 Be-Bop Tango, starting on measure 39 - end of the score,
Tutti performance15:05 Percussion soli17:24 Tutti passage, builds in density and altered by electronic alteration/effects
"Cucamonga"17:39 Tutti fortissimo attacks and accelerando17:49 3/4 swing-jazz style interrupted by brief straight eighth-note "flurries"18:24 Rock style, builds in density and dynamics18:44 Spoken dialogue by Zappa: "Thanks" and apologies for wrong notes.19:02 Repeat of tutti fortissimo attacks, accelerando, and 3/4 swing-jazz20:00 Fermata, cliche' rock and roll crescendo/improvisation20:20 Ending
270
Figure A.4. "Be-Bop Tango (of The Old Jazzmen's Church)," Roxy & Elsewhere
Figure A.4 summarizes the musical events that occur during the recorded performance of the"Be-Bop Tango (of The Old Jazzmen's Church)." The CD track timing is listed on the left, themain musical event is centered, while the primary instrumentation that performs the mainthematic material is listed on the right. The written Be-Bop Tango score, its phrase divisions, andprimary instrumentation are listed accordingly.______________________________________________________________________________CD Track Timing Event Featured Instrumentation______________________________________________________________________________
0:00 Spoken dialogue:Introduction to Audience
0:07 Tango rhythm Drumset0:18 " Drumset and kybd
Be-Bop Tango1:25 Tango Vamp and Intro Drumset, perc, kybd, elec. bs git,1:43 Theme Group A
A/a Tpt/Trb (studio), vibes, kybdA/bA/b'
2:01 Variation A1A1/a Trb, mar.A1/a-bA1/c
2:18 Tango Variation w/ saxophone solo Tenor sax, perc, elec. bs git,kybd
2:26 Variation A2A2/a (1/2) Tpt, trb, elec. bs gitA2/a Tpt/Trb (studio), elec. bs git
2:36 Episode B Trb, perc, kybd, elec. bs git2:43 Theme Group C
C/c Kybd (live), kybd synthesizer (studio)C/c'
3:02 Theme Group D D/d Kybd (live), kybd synth. (studio), malletsD/d'
3:11 Transition to:
3:16 12/8 Fusion episode, Trb, Tutti accomp.Trb improvisation
3:40 4/4 straight eight-noteepisode; Trb solo cont'd
3:49 12/8 Fusion, Trb solo cont'd4:11 4/4 straight eight-note episode,
271
(table 3.4 continued)
Trb improvisation cont'd4:19 12/8 Fusion episode, Trb solo
cont'd4:54 Sequential Chord Progression5:03 Quarter note pulse, Trb solo Perc and elec. bs git.5:12 Tutti Fortissimo Attack; Tutti followed by a simple
quarter-note pulse5:20 Spoken dialogue, quarter-note
pulse cont'd.6:16 - T. Monk quote: Kybd; accomp by perc and bs git.
"Straight, no chaser" 6:39 Text Setting/Vocal
- "This is Be-Bop..." George Duke vocal, kybd, perc.Spoken dialogue, explanation ofevents to follow
7:19 Scat/Kybd/Dance improvisation7:42 Audience participation and improvisation,
dancing and scat singing9:35 Accelerando of improvisation9:57 Quarter-note pulse, eighth-note
triplet emphasized by perc.10:48 Transition to:10:49 Swing jazz, scat cont'd Vocal cont'd, Tutti11:01 Quarter-note pulse11:45 Scat/Keyboard/Dance
improvisation cont'd12:22 Tutti independent improvisations13:26 Quarter-note pulse, spoken dialogue14:10 Scat Improvisation, dialogue cont'd14:19 Blues-rock song: Tutti
-"Anything You Want to Do..."- Guitar Solo
15:42 Spoken dialogue; Blues cont'd- Introduction of ensemble members
16:19 Blues cont'd, fade until end16:36 Ending
272
Figure A.5. Formal Outline of Be-Bop Tango for chamber orchestra
Figure A.5 provides the formal outline for the chamber orchestra arrangement of the Be-BopTango. The measure numbers are listed on the left, the sections and subsections are centered,while the primary event that occurs within these sections is listed on the right. For example, mm.9-15 is listed as section A. It can be divided into three subsections, A/a (mm. 9-10), A/b (mm.11-12) and A/b' (mm. 12-15), and consists of the first phrase, second phrase, and an extendedversion of the second phrase respectively.____________________________________________________________________________Measures Sections Subsections Event______________________________________________________________________________
1-8 T Tango Introduction
9-15 A Main Theme Group 9-10 A/a - 1st phrase 11-12 A/b - 2nd phrase 12-15 A/b' - extended version of 2nd
16-23 A1 First Theme Variation 16-18 A1/a - 1st phrase 19-20 A1/a-b - hybrid of 1st and 2nd phrase 21-23 A1/c - 3rd phrase
24-27 T1 Tango Variation- ad-lib solo ala' Monk- ad-lib tenor saxophone
27-31 A2 Second Theme Variation 27-31 A2/a - extended 1st phrase
31-36 B Cluster Episode/Quotation - indeterminate clusters - written percussion solo
37-44 C Theme Group 37-38 C/c - 1st phrase 39-44 C/c' - altered 1st phrase
- extended ending
44-49 D Theme Group 44-47 D/d - 1st phrase 47-49 D/d' - extended 2nd phrase
49-50 T2 Second Tango Variation - tenor saxophone solo
Measure: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17Theme Group: Tango Vamp and Introduction-----------------Main Theme Group A------------------------------------Var. A1
A/a----------------A/b-------A/b'---------------------------A1/a--Flute M-- H- --Oboe M-- H- ----- ----- --
Clarinet M-- H- ----- ----- --Tenor Saxophone M H- ----- ----- --Bassoon H- ----- ----- --
Horn 1 T ---- ---- ---- ----- ---- ----- ---H ----- ----- I H--- --Horn 2 T ---- ---- ---- ----- ---- ----- ---H ----- ----- I H--- --
Trumpet 1 M ----- ----- M- ----- ----- H T--Trumpet 2 M ----- ----- M- ----- ----- H T--Trombone 1 T ---- ---- ---- ----- ---- ----- ---H ----- ----- I H-- -- T--
Trombone 2 T ---- ---- ---- ----- ---- ----- ---H ----- ----- I H-- -- T--Tuba ---H ----- -----
Percussion 1 T ---- ---- ---- ----- ---- ----- --- M ----Percussion 2 T ---- ---- ---- ----- ---- ----- --- C--- I C- SD ----Percussion 3 T ---- ---- ---- ----- ---- ----- --- IPiano IMandolin M--Guitar IHarp IViolin 1 H-- I M ----- ----- H M ----Violin 2 H-- I D ----Viola H-- ICello H-- IString Bass
APPENDIX B: ORCHESTRATIONTable B.1. Be-Bop Tango for chamber orchestra, Orchestration
273
Measure: 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34Theme Group: (Variation A1 cont'd)----------------Tango Variation: T1----Variation A2-------------------Episode B---------
------A1/a-b-----A1/c---------------- A2/a-----------------------------Flute M-- ---- ---- A--- ----- ----- M ----- ----- ----- -----Oboe A--- T--- A--- T M ----- -----
Clarinet A--- T--- A--- T M -----Tenor Saxophone M-- ---- ---- S--- ----- ----- --M -----Bassoon H- ---- ---- A--- T--- A--- T
Horn 1 H-- - H- ---- ---- A--- ----- ----- -- I I C-- ---- ---- -Horn 2 H-- - H- ---- ---- A--- ----- ----- -- I I C-- ---- ---- -
Trumpet 1 -- H-- A--- ----- ----- -- ITrumpet 2 -- H-- A--- ----- ----- -- ITrombone 1 -- H-- A--- ----- ----- -- I C-- ---- ----
Trombone 2 -- H-- A--- ----- ----- -- I C-- ---- ---- -Tuba H-- H- ---- ---- A--- ----- ----- -- C-- ---- ----
Percussion 1 ---- ---- ---- ---- ---- ---- T--- ----- ----- -- C-- C-- ----Percussion 2 ---- ---- ---- C-- T--- ----- ----- -- I I I C-- ---- ---- S--Percussion 3 T--- ----- ----- -- I I I C-- ---- ---- S--Piano T--- ----- ----- --M ----- ----- ----- C-- ---- ---- -Mandolin H-- -- A--- ----- ----- -- M--Guitar H-- -- A--- ----- ----- -- M--Harp H-- -- A--- ----- ----- --M ---- C-- ---- ---- -Violin 1 ---- ---- ---- T--- A--- T--- AM ----- ----- ----- -----Violin 2 ---- H-- -- T--- A--- T--- AM ----- ----- ----- -----Viola H-- -- T--- A--- T--- AM ----- C- C-- ---- -Cello H-- M-- ---- ---- T--- A--- T--- AM ----- C- C-- ---- -String Bass H-- -- T--- A--- T--- AM ----- C- C-- ---- -
(table B.1 continued)
274
Measure: 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50Theme Group: Episode B-Theme Group C-------------------------------------Theme Group D----------------T1 Reprise
C/c---------C/c'-----------(Extension)--------------D/d---------------D/d'-----------Flute H--- I M- ----- -Oboe H--- M-- ----- ----- I M- ----- -Clarinet M-- --- M-- ---- H--- ----- I M- ----- -Tenor Saxophone H--- I S--- -Bassoon H--- H- H- H--- ----- I M ----- -Horn 1 H- H- H--- ----- ----- M H-- -Horn 2 H- H- H--- ----- ----- M H-- -Trumpet 1 I M ----- M ----- M- ----- -Trumpet 2 I M- --- M ---- ----- -Trombone 1 I H- ----- ----- ----- M H-- -
Trombone 2 I H- ----- ----- ----- M H-- -Tuba H- H- M H-- -Percussion 1 M-- ---- ----- M- --- I C--- -Percussion 2 S-- --- ----- C-- C--- I C--- -Percussion 3 S-- --- ----- H- H-- ---- ----- ----- ----- ----- ----- ----- I C--- -Piano M-- ----- ----- H ----- -Mandolin M- ----- -Guitar M-- --- M-- ---- H ----- -Harp GH- ----- --M GH -Violin 1 H-- ---- --H ---- ----- M I M H-- -Violin 2 H-- ---- --H ---- ----- M I M H-- -Viola H-- ---- --H ---- ----- M I M H-- -Cello H-- ---- --H ---- ----- M I M H-- -String Bass H-- H-- M I M H-- -
(table B.1 continued)
275
276
APPENDIX C: LETTER OF PERMISSION
From: "Gail Zappa" <[email protected]>Subject: Dissertation/FZ's Be-Bop TangoTo: "William Price" <[email protected]>
Re: "An Analysis of the Evolution of Frank Zappa's Be-Bop Tango" by WilliamMorris Price.
Dear Persons in charge of requiring this information:
We are the rights holders and publishers for the works of Frank Zappa. This isto inform you that William Morris Price has permission to quote excerpts ofFrank Zappa's Be-Bop Tango, as included in his above-reference dissertation.And although it is inappropriate for me to say so in this context, I neverthelessfeel compelled to tell you that reading it is an extremely satisfying andrewarding experience.
Sincerely,
Gail ZappaMunchkin Music, a dba of The Zappa Family Trust
(letter by standard mail to follow)
CONFIDENTIALITY NOTICE: This e-mail transmission, e-mail address and anydocuments, files or previous e-mail messages attached to it may containconfidential information that is legally privileged. If you are not the intendedrecipient, or a person responsible for delivering it to the intended recipient, youare hereby notified that any disclosure, copying, distribution or use of any ofthe information contained in or attached to this transmission is STRICTLYPROHIBITED. If you have received this transmission in error, please immediatelynotify the sender. Please destroy the original transmission and its attachmentswithout reading or saving in any manner. Thank you.
277
VITA
William Price was born in Nobnoster, Missouri, on November 1, 1971. He received his
Bachelor of Music Education from the University of North Alabama in 1995 and his Master of
Music degree in composition from Louisiana State University in 1998. His principal
composition teachers include Dinos Constantinides and Stephen David Beck. Price's music has
been performed at many international and regional events, including the American Composers
Forum Sonic Circuits Festival, the 2002 National SEAMUS Conference, the 11th Annual Florida
Electroacoustic Music Festival, the 2000 World Saxophone Congress, the LSU Festival of
Contemporary Music, several Society of Composers, Inc. regional conferences, the Southeastern
Composers League Forum, and the North American Saxophone Alliance New Millennium
Conference. He has received awards and commissions from numerous organizations including
five consecutive Standard ASCAP awards, the 2001 Louisiana Music Teachers Association
Commission, and first prize in the 1998 Philips Slates Composition Competition. Price's music
has been premiered by Gail Levinsky, John Perrine, the Louisiana Sinfonietta, the Red Stick
Saxophone Quartet, the LSU New Music Ensemble, and has been broadcast on public radio
stations throughout the country. He is currently the president of the Mid-South Chapter of the
National Association of Composers, USA (NACUSA), and his music is published by Conners
Publications and Dorn Publications. Price will receive the degree of Doctor of Musical Arts with
a major in composition and a minor in music theory in May 2004.