digital.library.unt.edu/67531/metadc30522/m...dissertation prepared for the degree of doctor of...
TRANSCRIPT
APPROVED: Philip Winsor, Major Professor Clay Couturiaux, Minor Professor Joseph Klein, Committee Member and Chair
of the Division of Composition Studies
James C. Scott, Dean of the College of Music
James D. Meernik, Acting Dean of the Robert B. Toulouse School of Graduate Studies
AESTHETIC AND TECHNICAL ANALYSIS ON SOAR!
Hsiao-Lan Wang, B.M., M.M.
Dissertation Prepared for the Degree of
DOCTOR OF MUSICAL ARTS
UNIVERSITY OF NORTH TEXAS
August 2010
Wang, Hsiao-Lan. Aesthetic and Technical Analysis on Soar! Doctor of Musical Arts
(Composition), August 2010, 92 pp., 11 illustrations, 1 table, references, 46 titles.
Soar! is a musical composition written for wind ensemble and computer music. The total
duration of the work is approximately 10 minutes. Flocking behavior of migratory birds serves as
the most prominent influence on the imagery and local structure of the composition. The cyclical
nature of the birds' journey inspires palindromic designs in the temporal domain.
Aesthetically, Soar! portrays the fluid shapes of the flocks with numerous grains in the
sounds. This effect is achieved by giving individual parts high degree of independence,
especially in regards to rhythm. Technically, Soar! explores various interactions among
instrumental lines in a wind ensemble, constructs overarching symmetrical structures, and
integrates a large ensemble with computer music.
The conductor acts as the leader at several improvisational moments in Soar! The use of
conductor-initiated musical events in the piece can be traced back through the historic lineage of
aleatoric compositions since the middle of the twentieth century.
ii
Copyright 2010
by
Hsiao-Lan Wang
iii
TABLE OF CONTENTS
Page LIST OF TABLES AND FIGURES.................................................................................. iv PART I: AESTHETIC AND TECHNICAL ANALYSIS ON SOAR! ..................................
Chapter 1. Introduction: Migratory Birds and Their Formation ..............................2 Chapter 2. The Birth of the Composition Soar! .......................................................6 Chapter 3. Structural Elements ..............................................................................14 Chapter 4. Special Performance Techniques and Notation ...................................25 Chapter 5. Writing for Wind Ensemble and Electronics .......................................32 Chapter 6. The Conductor, the Leader ...................................................................41 Chapter 7. After Thoughts .....................................................................................44 Bibliography ..........................................................................................................46
PART II: SOAR! FOR WIND ENSEMBLE AND COMPUTER MUSIC
Instrumentation ......................................................................................................51 Performance Notes .................................................................................................52 Program Notes .......................................................................................................53 Musical Score.........................................................................................................54
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LIST OF TABLES AND FIGURES
Page
Tables
3.1 Palindromic structure in Soar! ...............................................................................14
Figures
1.1 Dan Dzurisin, Blackbird Swarm Near Starved Rock State Park .............................3
2.1 Illustration of heterophony from Shuang Hsin Hen .................................................9
3.1 Micro-entrances among woodwinds, Soar! m. 131-132 ........................................18
3.2 Evolving sound masses, Soar! mm. 16-19.............................................................19
3.3 Intervalic preference for small intervals, Soar! mm. 80-82 ...................................21
3.4 Embellishments of notes, Soar! mm. 79-81...........................................................21
4.1 Use of whispering breaths in brass, Soar! mm. 30-33 ...........................................26
4.2 Use of spatial time signature 4/X, Soar! m. 110 ....................................................27
4.3 Use of spatial time signature X/X, Soar! m. 133 ...................................................28
4.4 Boxed notation, Soar! mm. 162-165......................................................................30
5.1 Military band during the civil war era, c. 1864 ......................................................33
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PART I
AESTHETIC AND TECHNICAL ANALYSIS ON SOAR!
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Chapter 1
Introduction: Migrating Birds and Their Formations
Massive flocks of migratory birds travel through the North American continent
and other parts of the world each year. Driven by a genetic memory so powerful and
fundamental to their being, these birds travel through different terrains and across borders
that stretch between their breeding habitat and wintering grounds. During the years I
lived in the north Texas area, the coming and passing of these flocks marked the change
of seasons for me. Their arrival can hardly be missed. Suddenly, entire trees can turn
black with thousands of birds resting on the branches. The sounds of their chirps can be
thunderous if you get close enough to them. Up in the sky, their formations converge and
diverge, with countless variations in the shape and density. For bird watchers, the area
offers a wealth of opportunities to observe hundreds of species that visit throughout
different seasons each year.
One of the most intriguing aspects of these migrating birds is their formations
during flight. The complexity in their group flight behavior has been the subject of study
for many scientists. The discoveries about bird behavior can be and has been applied to
other social creatures from ants to human, as well as patterns of traffic flow and job
allocation.1 How do the simple actions of individuals add up to the complex behavior of
a group? How can each seemingly insignificant individual affect and contribute to the
large-scale survival and prosperity of the whole?
1 Peter Miller “Swarm Theory,” National Geographic, 22.1 (2007): 127-142.
3
Figure 1.1. Blackbird Swarm Near Starved Rock State Park by Dan Dzurisin2.
It has been found that each bird is primarily guided by its own inclination due to
biological default and is only concerned with those interactions between birds that are
closest to itself in a flight formation. Based on its feather structure and how it reacts to air
currents, each bird will find the optimal location to fit within a flock to minimize the
energy spent flying. Air deflected by neighboring birds can be an aid to the flight
efficiency if aligned correctly. In other words, simple interactions between individual
birds manifest into the looming formations that we perceive from the ground. From an
2 Blackbird Swarm Near Starved Rock State Park IL DDZ_0104. Dan Dzurisin,
Uploaded on January 6, 2008 via Flickr, Creative Commons License.
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aerodynamic standpoint, flying in a flock is the most efficient way to travel for these
migrating birds.
The ever-changing current in mid-air throws variables into the mix. In order to
find the most efficient path against the wind, the birds have to constantly adjust
themselves. They do this collectively. In doing research about migrating birds, I came to
realize that the seemingly miraculous ability of these birds to navigate in large swarms of
their own kind is not as mysterious as it looks. Each individual behaves in a way that will
benefit itself the most. This system is described as self-organizing.3 As a result, their
collective behavior benefits the entire group. Minor variations in the way birds in a flock
align themselves have ripple effects on the local arrangement as well as the overall
formation. It can be said that each bird takes an insignificant role in the resultant
formation but at the same time every one of them holds a vital piece in place.
The local configuration frequently has irregularities that keep adjusting
themselves. The formations also vary greatly depending on the individual's minute
interactions as well as the flying condition of that given day. But if you look at the largest
scale of their journey – the destinations – we notice their path is very precise, year after
year. Sometimes the landing spot of their destination can be the exact pond or cliff where
their ancestors had arrived millenniums ago.
Aside from the scientific findings of aerial migration, the hovering formations of
these birds in the north Texas area have inspired composers such as Christopher Deane
3 Peter Miller “Swarm Theory,” National Geographic, 22.1 (2007): 127-142.
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for his composition Vespertine Formations4. He captured the imagery through dispersing
chords among the four marimba parts that chase one another. The four marimbas are
situated as a square, with all players facing toward the center of the square. This
configuration not only facilitates the practical coordination required to play the work as a
quartet, it also provides spatial effects for notes to bounce from one side of the stage to
the opposite side, or to pass around in a circular manner. Constant sixteenth notes that
often cascade spatially mimic the motions of the birds' flight. Riding on the perpetual
pulse, these notes swell and fade from one phrase to the next. Vespertine Formations was
written when I was formulating ideas for Soar! and I was intrigued by his composition in
many ways. To be sure, Deane's harmonic language and phrasing tendencies are
drastically different from my personal composition style. However, the work's fluid
texture and shimmering sonority gave me many ideas to ponder when I first started
approaching the materials for Soar!
4 Vespertine Formations for Marimba Quartet. Christopher Deane, 2003.
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Chapter 2
The Birth of the Composition Soar!
Having observed the migrating birds' pattern of behavior when I first arrived in
the north Texas area in Fall 2002, as a composer, I immediately realized that my
observation could be very useful in constructing a piece that potentially has numerous
entities within a larger scheme. This is how Soar! began.
This composition germinated from the images of massive flocks of migrating
birds that can be seen throughout the world, but particularly in Texas. The shape formed
by the birds provides the main inspiration for local musical gestures while the overall
structure of the work resembles a palindrome, signifying the returning pattern in the
journey of the migrating birds. The musical gestures represent organic shapes and forces
that can be found in nature, such as those created by wind and rain. The piece not only
reflects the elements of nature, but also provides a commentary that represents my poetic
interpretation of natural events.
Some have described my instrumental music as lacking melodies and rhythms.
The reason for this trait originates from my preference to minimize the importance of
individual notes in preference for texture, timbre, and dynamics as primary shapers of
gesture and local structure. This is an especially important device that I utilize frequently
in my larger ensemble works as well as tape works.
The motion in the birds' spectacular swarms has vivid musical implications to me
especially as a computer music composer. With the power of the latest computer, I can
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emulate numerous sound strands with relative ease and assemble them in precise
arrangements to project the imagery of the swarms. Granular synthesis lends itself
perfectly to creating the type of sound mass I am seeking. In particular, granulation of
sampled sounds can provide a rich foundation for such treatment. With random processes
added to small grains derived from the sample, the resulting cloud of sound grains can
compare to the birds' flocking behavior. I am particularly interested in these birds'
seemingly unpredictable sudden motions. For reasons the human eyes cannot detect, the
flock sometimes shoots through the sky with surprising force and determination, and in
the next moment it makes a slow turn to gently unite with another flock. These imageries
can equate to gestures in music. In my earlier tape works5, gesture is arguably the most
important aspect of the compositional focus. For example, in Green Potato I for tape
alone (2001), the opening segment was primarily concerned with sound fragments that
zoom from right to left, from far to near, with varying degrees and assortments of digital
signal processing techniques. These fragments all came from the same original audio
sample, thus creating a unifying sonic character for the entire first half of the piece. As I
trace back to my inclination for fractal-like structures in music, it is revealing to note the
two major factors that have affected my fundamental understanding of musical texture.
My experience in Chinese heterophonic music and in gamelan music has led to my
fascination with self-mimicking cells.
5 The term “tape works” here refers to the genre of computer music where manipulation
and assembling of digital audio culminates in two or more channels of fixed audio as the
resulting outcome. These works are designed to be performed through loudspeakers only.
At the time when my earlier “tape works” were composed, they were stored on compact
discs. However, the genre is commonly referred to as “tape music.”
8
At age nine, I started playing the yangchin, the Chinese dulcimer, in an orchestra
consisting of mostly Chinese instruments. Occasionally we would also play traditional
southern Chinese chamber music, jiang-nan-si-chu (江南絲竹)6. Prior to that point, I was
only studying western music on the piano and violin. The way traditional Chinese
chamber music was organized puzzled me at first. We often read from the same melody
but were taught to each add our own ornamentations and variations from that melody.
This technique is called jia hua (加花). Often times, the embellishment would be fully
notated for beginners to help them learn the traditional way of jia hua. As a youngster, I
enjoyed the sense of security of playing in unison with others, and I learned to appreciate
the freedom I was given to deviate from the ruling melody by way of either notation or
improvised embellishment. That was my first experience in learning about heterophonic
music. When I entered the National Taipei University of the Arts7, I studied jiang-nan-si-
chu with Professor Chen Chong-Shen. He explained that though all instruments in the
group play off the same melody, each should contribute to the liveliness of the
performance using the traditionally acceptable ways to develop and improvise. Another
essential point is to listen carefully and complement one another to create a cohesive
entity among players.
Figure 2.1 is an example of heterophony based on a melody taken from Shuang
Hsin Hen (雙星恨). The melody is stated on the top staff and can be played by various
6 Jiang-nan-si-chu (江南絲竹) is the general term for chamber music that is common
among the southeastern provinces of China. 7 Taipei National University of the Arts is the current name for the university, formerly
known as the National Institute of the Arts.
9
Figure 2.1. Illustration of heterophony from the opening of Shuang Hsin Hen (雙星恨).8
instruments beyond what is notated in this particular example. The principle is that each
player ornaments the melody in a way that is largely dependent on the instrument's
capability. On the woodwind instrument hsiao (蕭), it is easy to play trills. Thus players
commonly embellish by adding trills or turns to the melody. On yangchin (揚琴), it is
easy to play repeated notes as well as add octaves to the melody with the two hammers,
thus we see both types of ornamentation used several times in the example. On the low
lute instrument ruan (阮), to allow the tone to resonate fully, longer notes are played on a
simplified version of the melody. All three instruments play based on the same melody,
and at the same time. Each of them retains its characteristic way of embellishment as
demonstrated in Figure 2.1.
8 徐英輝. 廣東音樂及江南絲竹, 香港特別行政區政府教育局. 2009.
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During my time at the National Taipei University of the Arts, I also studied
gamelan music, the influential ensemble music from Indonesia. Each set of gamelan
instruments as an ensemble is distinct in its tuning. This practice makes instruments from
different gamelan ensembles mutually exclusive. An instrument from an outside group
cannot successfully be integrated due to the discrepancy in tuning. Each of the
instruments in an ensemble is constructed to be very slightly off in pitch so they resonate
with one another to create the shimmering effect that is so characteristic of gamelan
music.9 Instruments are often constructed in pairs. Interlocking rhythmic patterns in pairs
are a staple of gamelan figuration. Besides heterophony such as in Chinese music,
gamelan uses self-derived structure within itself to form the basis of composition.
Traditional gamelan music often has a melody that loops for long stretches of time. In
between loops, there are bridges that connect looping sections. In the loops, the melody is
placed on several layers that move at different speeds, with the speed increasing as the
instruments diminish in size and rise in pitch10
. The basic construction of gamelan music
can be reduced to two or three layers and thus it assures flexibility for each performance
situation. Most of these ensembles consist of villagers that may or may not be able to
participate each time. This tradition brings to gamelan its reputation of being a flexible
ensemble that welcomes variation on size and orchestration. Texturally, the smallest
instruments play the fast figuration which enhances the richness of the overall sound, but
they can be left out or switch to play slower moving melodies. Gongs are the lowest
9 This phenomenon is called 'beating' in acoustics.
10 Colin McPhee “The Five-Tone Gamelan Music of Bali,” The Music Quarterly 35, no.
2 (1949): 260.
11
instruments in gamelan, and they mark large structural points with sparing hits at the foot
of each phrase or section. The idea of one melodic line zooming in on itself to form a
multi-layered musical texture is consistent with the heterophonic aesthetic of Chinese
chamber music. The endless loops in gamelan music remind me of the cycles of natural
events such as tides, seasons, and birds' migrations. Loop-based music has the power to
transcend the passing of time and send the performers into a meditative state of mind. In
Indonesia, it is not uncommon to play the same piece of music for hours on end during
religious ceremonies. The music forms a stasis or a constant that transports both the
performers and the audience from the material existence into a timeless plane.
These ideas from Chinese chamber music and gamelan music offered me different
perspectives on ways to organize materials in my own composition. With these Eastern
musical influences as my background, I gradually started thinking more critically about
the tension and release paradigm in western music, and it became the main focus of my
studies at National Taipei University of the Arts. How can the cyclical music model of
the East coexist with the tension and release tradition of the West? Both paradigms hold
special interest for me, but each has a very different approach to music regarding
perception of time, texture, and form. In trying to discover an answer to my own question
about this complex issue, I identified one subject that I felt could point me in the right
direction.
The fascination with golden mean in western arts has a long history from
antiquity, evidenced by Greek mathematical findings and architecture. Throughout
history, western intellectuals have found designs with the golden proportion aesthetically
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pleasing. In the first movement of Béla Bartók's Music for Strings, Percussion, and
Celesta, the timing of fugal entrances is consistent with a sequence of the golden ratio,
including the main climax aligning with the phi position.11
Essentially, the structure of
the movement is based on placement of the climax and how each section pushes toward
or pulls away from that climax. This example of emphasis on the climax strongly
contradicts the cyclical nature and coexistent strands of musical thinking in Chinese
heterophonic music and gamelan music. The idea of the golden ratio prompted me to
consider the role of climax (and climaxes) in western music. Literally every piece of
tonal music in the western tradition values the arrival of one highest point in tension,
which often happens at or near the golden mean. This model is extended to operate in
similar ways for much post-tonal music as well. Is the perception of ideal beauty in the
golden ratio indicative of traditional western music's fixation on climax, especially in the
tonal music idiom? This question about climax, viewed from a more personal perspective
leads to another interesting finding.
Composer Cindy McTee wrote about this phenomenon of climax driven musical
preference:
The traditional, "western" conventions of tonal striving, climax, and closure are at
work here. The music bristles with rhythmic energy, and once spent, quickly
diminishes to a point of complete cessation.
The example that might be thought to exhibit both "masculine and feminine"
characteristics comes from my most performed work, Circuits. Even its title,
related to the word "circle," suggests integration. "Feminine" techniques might
include the frequent use of circular patterns, or ostinatos, offering the possibility
11
Larry J. Solomon, Symmetry as a Compositional Determinant, 1973, revised 2002.
13
of suspended time without the need for continuous forward movement and
development. Also "Feminine" might be Circuits's tendency, through its steady,
quickly-moving pulse, to inspire bodily motion.12
Is it possible that my desire to integrate both the climactic structure and circular
tendency in my composition results from my desire to understand my own masculine and
feminine qualities? This is a question that warrants further investigation. As I pondered
these intricate layers of influences and curiosities, materials for the composition Soar!
eventually surfaced.
12
Cindy McTee “Gender and Music Composition: A personal Perspective,” Society for
American Music Bulletin 25, no. 2 (summer 1999): 40-41.
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Chapter 3
Structural Elements
A. Palindromes
As discussed in the previous chapter, the migratory birds' journey serves as the
main inspiration of Soar! Thus, symmetrical form is a logical choice to portray that
imagery. Musical palindromes have always exhibited interesting aural and psychological
effects for me. Studying Alban Berg's use of palindromic structures in his works, such as
his opera Lulu, the benefits of palindromes in painting a cyclical musical journey have
been confirmed. In Soar!, I have devised a similar overarching palindrome albeit in a
more relaxed manner. At the local level, strict palindromes hold the important power of
serving as pillars of the composition's structure. Prominent instances of palindromes in
my composition are outlined in the following chart.
Table 3.1. Palindromic Structure in Soar!
Measures Event Description
A1
30-41 Brass whispering, with light woodwinds
B1
89-107 Palindrome by itself, with m. 98 as center
C 62-66 Local palindromic figure in woodwinds - cluster
D 110-113 Center point of piece. Conductor cues players based on spatial notation.
E 145-147 Local palindromic figure in bassoon and piano - mirroring contours
A2
189-204 Brass whispering, with heavier woodwinds
B2
218-236 Palindrome by itself, with m. 227 as center, plus percussion palindrome
A3
246 Brass whispering, with very soft ambience
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Referring to table 3.1, the entire piece is shown to be constructed based on a
palindrome. Material D as designated in the chart stands as the center of the entire piece.
From there, corresponding material pairs can be mapped as mirrors: material C and E are
both local figures in smaller palindromic shapes; B1 and B
2 are two almost identical
sections that are symmetrical in themselves; A material features distinct whispering
sounds blown into brass instruments. The symmetrical design has one exception – the
appearance of A2 starting at measure 189. This one interjection of the A material is
accompanied by a block-like woodwind section that takes over the foreground. In other
words, this extra occurrence of material A at measure 189 serves as a sub-current of other
more prominent material, thus lessening its impact on the overall palindromic form. The
irregular appearance of material A2 also makes the overall form more complex through
the inclusion of this element to the otherwise straightforward structure.
The center of the composition, material D at measures 110-113, plays a
significant role in the temporal sphere: it is the one point where the conductor has total
control over the timing of each event. It is a highly focused moment where the conductor
and players need to be completely in tune with one another to create a musical moment
that has the potential to be quite different during each performance. It is the concentration
and communal feeling required for this central point that brings a sense of focus, more
than the fact that it sits at the mid-point in terms of measure count.
B. Texture
The single most important method for forming harmony in Soar! is the use of
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sound mass. A sound mass is a combination of many musical lines assembled in such a
way that none of the parts can be named as the main melody. There can be some lines
that are slightly more prominent than others. This differentiation is primarily achieved by
orchestration. Each instrument's sonic characteristics as well as registral strength can be
used to accentuate certain aspects of a given sound mass. Careful adjustment of dynamics
is also an indispensable tool used to shape these clouds of sounds. It is rare in Soar! to
hear a note that is played for any stretch of time without adding swells and fades or other
kinds of dynamic manipulation. I prefer to give the texture of each sound mass its unique
signature. To do that, orchestration and dynamics are indispensable tools for achieving
the goal. Wind ensemble is a great medium for producing sound masses because of its
abundance in timbres, number of players, and its large dynamic range.
Each sound mass in the piece has a different configuration within: some are dense
and narrow in register as in a cluster, while others are more spread out and span a larger
range; some are created using chance operation, while others are arranged through careful
consideration. A strong characteristic of these sound masses is that they are formed by
instruments in the same family or similar relatives. This preference originates from my
interest in self-mimicking structures as discussed in chapter 2. Sonically, it makes sense
to call for instruments with similar sonic impressions when what I aim to evoke is a
sound mass that resembles birds of the same species in a flock.
To depict the sudden shift of shapes of these birds' formations, I use micro-
entrances for a group of instruments, where each of them enters at a slightly different
time. This treatment makes the cluster sound more fluid and organic, creating a sound
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mass that has mutating colors. György Ligeti remains an important influence on me for
utilizing this technique of micro-entrances. In his compositon Atmosphères (1961), he
created sound masses by giving each instrumental line a slightly different time to enter
the chords. The resulting effect is a texture that grows organically, and is always
changing. One technique that Ligeti developed was micro-polyphony where each line in a
cluster moves rather than remaining static. Though this technique is not used extensively
in Soar! it informs the way I see musical textures and my decision to employ micro-
entrances for sound masses.
For example, in figure 3.1, each instrument has a different timing regarding its
entrance. The composite rhythm is a straightforward series of sixteenth notes strung
together. However, the sonority grows and transforms as each line enters the sound mass.
Another interesting aspect of this arrangement is the spatialization of sounds on
stage. Since each instrumentalist is located at a different spot in space, the string of notes
that they play is dispersed throughout the space in time. Spatialization has become an
indispensable element in music making, especially since the rise to prominence of
electronic music. As a computer music composer, I am particularly attuned to the power
spatialization holds. In the study of aural perception – psychoacoustics –, it has been
discovered that the human brain is able to detect minute discrepancies of the time when a
sound reaches each of our ears. The brain calculates the time difference and translates
that difference as the location of the sound source. Spatialization creates another
dimension for a music performance to include “choreography” of sounds.
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Figure 3.1. Micro-entrances among woodwinds, Soar! m. 131-132.
Since there are numerous sound grains in a sound mass, I saw this as an
opportunity to grow one sound mass out of another by dividing it into subsets. This idea
came from the birds' performance of diverging formations. Below is an example of
converging and diverging bodies of sound mass.
19
Figure 3.2. Evolving sound masses, Soar! mm. 16-19.
In figure 3.2, a frenzy of staccato notes start on the flutes and clarinets. When it
reaches the third beat of measure 17, the sudden dynamic change to p is intended to
create the effect of a contraction. Immediately, many more lines join in and bring the
music to a broadening crescendo. At the start of measure 19, most instruments stop
playing, except the oboes. They keep ascending like they are the birds that shoot out of
the flock. This is the point where one sound mass divides into two sound masses. The
20
bass clarinet fades to a lower dynamic level at measure 19 to provide a grounding
ambiance with its low pitch. This note on the bass clarinet contrasts against the oboes'
high notes, thus framing a wide spectrum that has no middle frequencies present. From a
poetic point of view, the bass clarinet note represents earth, and the oboes notes represent
the birds soaring high. The absence of any other notes in between portrays the vast space
between the earth and the sky. Coupled with the careful control of dynamics and
orchestration, these various sound masses evolve and reproduce, akin to the birds' ever-
changing formations. The close association between my work and nature is demonstrated
here using instrumental lines to correspond to birds' graceful convergence and divergence
in their flight formations.
C. Preferences for Small Intervals and Ornamentations
It is worth noting that certain small intervals are emphasized in Soar! Reflecting
my personal preference, small intervals such as minor and major seconds are used
frequently. This characteristic is most recognizable in sound masses, especially when a
cluster is called for. The preference for small intervals is a result of using sound masses
as the basic structures of harmony. When there is a prominent melody, the pitch
organization for the melody often favors minor and major seconds as well as minor
thirds. In figure 3.3, these intervals are given important roles.
If we add up a minor second, a major second, and a minor third, a tritone is
outlined – an interval that I use frequently. In the following example, all three intervals
are used. One important feature worth pointing out is that the tritone is the result of
21
compositing smaller intervals and not used as a primary interval on its own.
Figure 3.3. Intervalic preference for small intervals, Soar! mm. 80-82.
Figure 3.4. Embellishments of notes, Soar! mm. 79-81.
In both figure 3.3 and figure 3.4, quasi grace notes ornament the entrances of
important lines in the music. This technique is borrowed from the traditional Chinese
embellishment technique called jia hua (加花). In Chinese music, a note has a head, a
body, and a tail. The musician shapes the note throughout the entire duration by
ornamenting the entrance, sustaining and shaping the body, and eventually ending the
note with a punctuation. This notion of carrying the note throughout and not letting go of
the energy is similar to the discipline of Chinese calligraphy where the tension of each
22
stroke should be retained throughout. I put special emphasis on the head, or entrance, of
the notes. An ornamented note adds brilliance to the sound, and it animates the texture
without profoundly affecting the musical structure. In figure 3.4, every sustained note has
a group of ornaments to accentuate the long notes that follow. After the ornamentation,
the note stabilizes and yields a contrasting sonority from the activity that precedes it.
When the note comes to an end, I pay special attention to end it at an appropriate time
where closure can be sought. Often, this is achieved by ending the note on a beat or
eliding it with another phrase that is just beginning.
Small intervals and ornamentations are abundant in Soar! They serve the function
of giving delicate and lively sonic impressions to the sound world. These are the smallest
cells yet they give the piece its defining characteristics.
D. Juxtaposition of Musical Fragments
Multiplicity has been a prominent concept in music since the beginning of the
twentieth century. Multiple strands of musical entities coexist without the need to bridge
the difference between them. They can occupy different corners of the music
simultaneously, or they shuffle through contrasting fragments temporally. In either case,
it poses a challenge for the listener to make linear connection between each fragment,
thus this technique decreases music's directionality. This has been a significant discovery
to me in searching for ways to write music that is not driven by one climactic point.
Through repeated listening to music that exhibits a high level of multiplicity, it is evident
to me that such an aesthetic can yield meaningful results in writing non-climax-driven
23
music. To be sure, multiplicity in music does not necessarily prevent the occurrence of
climax. However, it provides a possible way to write music that is non-climactic, anti-
climatic, or multi-climactic.
One great example of vertical (simultaneous) multiplicity in music is Edgard
Varèse's Intégrales (1925) for 11 winds and 4 percussionists, in which musical materials
are presented as separate static strands. These strands are stated simultaneously as blocks
that can be swapped with one another. The way these materials are combined is carefully
planned so the total effect still conveys a sense of unity. Varèse's persistently used this
approach to construct many of his compositions. What he was most concerned with was
timbre and musical fabric. Temporal progression in his music operates in a more subtle
way: though his music often sounds colorful and rhythmic, it can also sound static. The
blocks he uses to build the piece tend not to develop. They may be extended, but rarely
develop in motivic ways.
In Witold Lutos!awski's Venetian Games (1961), the composer experimented with
the way a conductor can synchronize various instrumental subgroups of the orchestra by
cuing them at will. Each subgroup has suggested pitches and rhythms to play, but the
timing of their entrances is under the control of the conductor. These subgroups of the
orchestra act as separate strands that can be combined with one another differently each
time through temporal adjustments. The multiplicity coupled with aleatoric technique
becomes notable traits in Lutos!awski's music.
Those are but two examples of musical multiplicity that have influenced my
thinking toward the formal design in Soar! Charles Ives, Olivier Messiaen, Earle Brown,
24
and John Zorn have also offered me inspiration with their works using juxtaposition of
musical fragments. Although each of them has a different approach to organizing these
disparate musical materials, the unifying attraction for me is the ideal of inclusiveness in
music without suppression or sacrifice of the integrity of each element. In other words,
what I find intriguing about their ways of organizing multiple strands of materials is the
liberation from a history of progressional expectation in music.
My admiration for the aforementioned composers has inspired the way I
juxtapose multiple musical entities in Soar! In a wind ensemble, where an abundance of
instruments are available, it is logical to separate them into subgroups. These subgroups
are assigned self-fulfilled musical elements. When the subgroups present their individual
elements simultaneously, the result is a stasis that is complex and rich. This mode of
organization can be compared to montage technique in filmmaking. Montage is an
editing technique in film where a series of short shots are edited into a sequence to
condense space, time, and information. It is interesting to consider the effects that
montage film editing creates by manipulating our perception of time and space. In my
composition, the combination of multiple sound fragments in the instrumental writing is
an attempt to achieve musical effects similar to those of film montage.
25
Chapter 4
Special Performance Techniques and Notation
Soar! features a continuous strand of sounds that draws upon various instrumental
timbres within and outside of traditional techniques – players are required to produce
tones that are sometimes uncharacteristic of the instruments, as well as even less
conventional playing methods that will be discussed below.
A. Whispering Breaths
One special performance technique used in Soar! is whispering into the brass
instruments. This performance technique's inspiration came from Phil Winsor's Asleep in
the Deep (1970), version for five tubas, where performers are asked to produce breath
sounds into their instruments with consonants such as 's--' or 'sh--' that are often followed
by a vowel glide from 'i--' to 'oo--' or vice versa. The initial consonants give the noise-
based breath sounds more defined entrances. In Soar!, I incorporated this technique in the
brass section and asked every brass player in the ensemble to whisper into their
instruments. This creates a sea of non-pitched sounds that permeates the entire space.
Each player is instructed to change breaths as needed and to stagger their breathing
changes with one another. This is to insure that variables are introduced into the sounds
that appear random or organic. The performers should not try to align their breath
changes with the beat.
26
Figure 4.1. Use of whispering breaths in brass, Soar! mm. 30-33.
B. Time Signature Considerations
In the example shown in figure 4.1, I use the time signature 4/M. The M stands
for metronome, and it means the players should recognize where the beats are and know
the passing of exact amount of time according to beats but not trying to align musical
events to the beats. This idea came from Cindy McTee's approach to meter in the case of
27
conducted spatial music as in her Einstein's Dream (2004). She indicated the usage of
2/M, 3/M, 4/M, etc, for music that has periodic beats as in traditional meters, and players
simply “fit in” their music between the bar lines. For the purpose of my composition, the
breath sounds are not traditional musical notes but they can operate in the same fashion
and simply fit in their sounds as the conductor beats regular meter. This time signature
4/M also affords the possibility for multiple musical components to play at the same time
– some of them use meter while others do not. Since the beat pattern of 4/4 is the same as
4/M in a conductor's beating pattern, the conductor can coordinate everyone in the
ensemble using one beating pattern.
Figure 4.2. Use of spatial time signature 4/X, Soar! m. 110.
28
Figure 4.3. Use of spatial time signature X/X, Soar! m. 133.
Similarly, I have used 4/X and X/X in the score when I would like the conductor
to have total control over timing of each sound event. This idea also comes from McTee's
approach to meter. The X refers to variable time between beats. For example, when the
29
time signature is 4/X, the conductor beats four beats, but each beat can happen at any
given time according to the conductor's direction. This allows each beat to have variable
duration for each conductor and each performance. The beats are indicated with a circled
number.
When X/X is used, it is intended that there can be any number of cues from the
conductor and each cue can last variable amount of time within the range of duration
allowed. In McTee's music, she indicates duration for each beat in seconds, but I am
taking a more liberal approach by allowing the conductor even more freedom regarding
timing. I have only indicated the approximate duration for the entire measure. In Soar!,
the meter X/X is used when the conductor improvises with the orchestra.
C. Boxed Notation
Boxed notation has been used commonly by contemporary composers to
designate repetition of notes placed in the box. I have used boxed notation in Soar! as
well as in my other works to indicate a continued musical content that is to be repeated or
sustained until the end of a line and arrow that are attached to the box as shown in figure
4.4. The performer plays the notes in the box and reiterate them a few more times as the
conductor marks the passing of time. When the intended duration is reached, shown by
the line that extends out of the box, the player stops playing the boxed material. The note
events in the box are not to be synchronized with the metronome beat, as is indicated by
the time signature 4/M. While this use of boxed notation is not a standardized way to
indicate such musical activity, it comes from the modernist tradition of graphic notation.
30
Figure 4.4. Boxed notation, Soar! mm. 162-165.
A large number of modern composers have used graphic scores in various
manners. The idea is to convey information that is otherwise difficult to convey with
traditional notation. In this work, the aleatoric mechanism is built into the boxed notation
as the number of times the material is repeated depends on the tempo and rest duration
that the performers choose for that given performance.
Finally, after examining the special performance techniques and notation, it
becomes clear that the challenge of event coordination in sections with aleatoric
operation requires some interesting solutions in the notation. I have used non-traditional
time signatures such as 4/M, 4/X, and X/X to allow the conductor to manage timing
issues in an efficient way. My experience in conducting contemporary works with
graphic notation has validated the effectiveness of using this type of conducted event
coordination.
Boxed notation offers an easy way to instruct the performers to improvise based
on prescribed material in the box. It induces spontaneity in the way players interact with
one another. To encourage and facilitate such interaction between voices, I always place
31
boxed notation on multiple instruments that are in the same family. The proximity of
these players assures their ability to hear one another, and to recognize the collective web
they are forming through controlled improvisation.
Soar! has instrumental parts that blend with the computer music part to invent a
“mega instrument” as a whole. This “mega instrument” can produce sounds that neither
wind ensemble nor electronics can produce on its own. To connect the two sound worlds,
noises are utilized in the instrumental parts to mimic some of the complex sounds in the
computer music. These noises are considered extended techniques, such as breathing and
whispering consonants into brass instruments. With these sounds as the bridge to the
computer music part, the connection between the two sound worlds can be easily
achieved. Pitch materials in the wind ensemble also have an impact on the digital music.
These interactions between the wind ensemble and computer music part demonstrate my
desire to combine the two into one powerful entity The interactions between the wind
ensemble and the computer part will be discussed in more detail in the next chapter.
32
Chapter 5
Writing for Wind Ensemble and Electronics
A. Historic Background of the Wind Ensemble
Early predecessors of today's wind ensemble, or 'band' as a more general term,
came from a much different origin than that of the orchestra. Thanks to the high volume
and bright timbres of the wind and percussion instruments, wind band traditionally
played outdoors and served the function of signaling in battles or social functions as well
as entertainment. The immediate predecessor of the modern band is the military band,
dominant up until the middle of the twentieth century. Grove Music Online has the
following entry about the different traditions between the band and orchestra:
In Europe the wind and percussion band is descended from the ‘high’ or ‘loud’
groups of the medieval period and from the civic waits or the Stadtpfeifer, who
generally performed outdoors and therefore used predominantly loud brass and
percussion instruments. Bands were often mobile, had a vernacular appeal (they
usually performed lighter forms of music, often to a non-paying audience; as such
they have also served as useful propaganda tools, or at least assisted in promoting
nationalistic or patriotic fervour), and were often associated with specific military
or civic duties and were thus uniformed. The orchestra, on the other hand, is
descended from the medieval ‘low’ or ‘soft’ instruments (strings and softer wind
instruments), and usually plays indoors. It was originally associated with the
church or the nobility, and later with formal concerts of more ‘serious’ and
sophisticated music for which audiences paid.13
The band's traditional association with state and social functions has given the
literature of band music a vernacular connotation. In the tradition of the band world,
music is something that supports, inspires, and rouses. The band music of today still has
many of the traits of its early day military band incarnation.
13
Keith Polk, et al. “Band,” Grove Music Online, accessed 4/21/2010.
33
Figure 5.1. Military band during the civil war era, c. 1864.14
The modern concept of a symphonic band or concert band emerged in the middle
of the twentieth century when the popularity of the medium rose with the return of
veterans from World War II. The development of the band reached an important stage
when conservatories and schools started forming bands across the United States in the
1950s. Many new works for band were commissioned in response to the lack of
repertoire and to combat the practice of playing merely transcribed music from choral or
14
Fort Monroe Va. The Post Band, c. 1864. Olde Yankee Map and Photo. Uploaded on
July 30, 2008 via Flickr, Creative Commons License.
34
orchestral classics. Wind ensemble emerged out of that period of band development and
originally differentiated itself from other types of wind bands in that there was only one
player per part. The traditional configuration of a band is multiple players on each part.
This distinction in instrumentation refinement undoubtedly helped transform the wind
ensemble as an art form.
B. My Approach to Writing for Wind Ensemble with Electronics
Despite the effort to sophisticate the music for wind band, the prevalent trend in
band literature boasts chorale-like texture, strong rhythmic emphasis (partially because of
the expanded percussion section), and less adventurous harmonic language compared to
its orchestral counterpart. These traits are evident in the medium's history. What prompts
me to write for the wind ensemble is the potential to write a different kind of music for
the band world. The opportunities in the wind ensemble world are appealing. Wind
ensembles are more receptive to new music than orchestras and generally allow more
flexibility regarding artistic approach and practical issues since the medium does not have
the heavy burden of a long tradition. I am also attracted to the medium because of its rich
timbral content as well as its powerful acoustic force. While wind ensemble represents a
relatively new sound world, computer music is even more so with less than a few decades
of development. The lack of musical literature for the combination of wind ensemble and
computer music prompted me to compose Soar! My intention has been to create a work
that brings out the best qualities in both media and integrates them in a way that surpasses
the notion of “wind ensemble music” with “computer music”. The combination of the
35
two forces should be perceived as a whole new instrument that is capable of producing a
wide variety of sounds. In my mind, the wind ensemble has a bright future and much
room for future contributions.
Coming from an orchestral background, I have relied heavily on strings for my
instrumental compositions. The homogeneous quality of the strings has always served as
the foundation for my large ensemble works. The first challenge I had when writing
Soar! was the lack of strings and the assortment of string techniques that I had become
accustomed to using. Instead of searching for a substitute in the wind ensemble, I realized
that the lack of strings needed to be a fundamental character of the piece. I decided to
abandon the orchestral sound in my head and start from scratch, building another sound
world that is uniquely for this medium – wind ensemble and computer music.
My interest in sound mass technique and integration of multiple musical fabrics
has guided my recent compositions. Stylistic elegance and the contemplation of time are
the two most carefully considered subjects in Soar!
C. Technology as Enhancement
The use of pre-recorded computer music in conjunction with a large ensemble is
getting increasing attention. In an ensemble environment, where an abundance of timbres
is available, the use of pre-recorded sounds poses an interesting challenge for the
composer. Either using sound synthesis or musique concrète, the electronic part provides
an added layer of musical texture and meaning to the composition. Previous works in this
36
genre have exhibited very different approaches and aesthetics in the inclusion of pre-
recorded sounds. The following are two drastically different examples:
In Varèse’s Déserts (1954) for two-channel tape and large ensemble, the
composer's approach to the tape is unique: it is played as a series of interludes between
each instrumental movement. In other words, the tape and the ensemble never play
together. The contrast between the instruments and the electronic sounds is shown
through juxtaposition, and this character reaches into the psychological realm of the
abandoned city that Varèse intended to depict. With the factory sounds and percussive
hits captured on the tape, he successfully created a dream-like illusion of an urban desert.
In Kaija Saariaho’s Verblendungen (1984) for orchestra and tape, the ensemble
and the electronics work as two rivaling components. “The orchestra and the tape are
moving in opposite directions with respect to the tone-noise axis. The piece starts with a
thick orchestral tutti, which is first hidden then shaded by the noise on the tape.
Throughout this piece the orchestral coloring is transformed into instrumental noises,
which, before withering away, shade the quasi-string orchestra on the tape. The orchestra
is built to have a heterogeneous nature to contrast with the even colors on the tape.”15
In
other words, the two components transform and exchange roles gradually throughout the
work.
Psychology also plays an important role in electroacoustic music. The simple fact
that certain sounds have certain associations in the ears of the listener is a powerful tool.
This can be utilized in order to evoke extra-musical meanings through the integration of
15
From the program notes of Verblendungen by Kaija Saariaho, (1984).
37
concrète sounds with the instruments. Throughout the composition Soar!, images of
migrating birds have inspired and guided me in shaping the piece. I have also included
other psychological details imbedded in the tape part that will enrich the work through a
web of sonic associations.
D. Challenges of Combining Wind Ensemble and Computer Music
Along with the new possibilities of these combined media, there are also potential
problems. The difficulty in adding sounds that work with wind ensemble, a very timbre-
rich ensemble, lies in delicately balancing the instruments and the computer sounds. As I
started working on the computer music part, the integration of the live instrumental
sounds and the pre-recorded and pre-processed sounds became an element that required
special attention. Due to aleatoric technique used in the instrumental parts, as well as the
wish to avoid traditional wind ensemble sonority, it has been proven challenging for me
to 'hear' the exact sounds of the music I am writing, an ability that I confidently possess
in orchestral writing. When working on the computer music part, every sound is
produced clearly and definitely. I know one hundred percent of the sounds I produce on
the computer, but have a less level of assurance in regards to the sound I am trying to
create in the wind ensemble.
Studying wind literature had helped tremendously for me to gain mastery in the
live instrumental parts. Even though it is not as natural a process to me compared to
writing orchestral music or computer music, the entire process of composing Soar! has
been one of the greatest learning experiences in my career as a composer.
38
E. Techniques and Digital Signal Processing Used in the Computer Music Part
Going back to the original inspiration for composing this piece, it was the birds'
vivid formations that suggested the imagery for me. Each bird is unique just as each leaf
on a tree is unique – that is if we look at them in microscopic detail. Biologically, all the
birds in a flock are very similar. Looking from a far, they seem to be replicas of one
another. When they gather in large numbers, the viewer starts to ignore the individual
birds' existence. Rather, one focuses on the combined image, or the big picture. This
phenomenon can be simulated in computer music with granular synthesis.
Granular synthesis is a method by which sounds are broken into short fragments
and redistributed to create the resulting sound. In the granular synthesis technique, the
fundamental units that are used to weave the sound are called grains. These small
fragments of sounds can have unified or varied sizes. The temporal distribution of grains
can be regular to produce a pitch or randomized to form a cloud of sound.16
With
powerful computers today, the task of creating granular synthesis can be done with
relative ease. Programs such as Max/MSP can readily assist the composer in creating
sounds easily, for what was once an extremely time-consuming endeavor. I decided to
use recorded samples as the sound source for granulation. Next, I had a few basic
parameters to define: grain size, grain density, frequency range, and amount of
randomness allowed in these parameters. Given the similarity between the principles of
birds' formations and granular synthesis, utilizing granular synthesis for the computer
music part became a natural choice. I have used this technique extensively in creating
16
Charles Dodge and Thomas Jerse, Computer Music: Synthesis, Composition, and
Performance, 2nd ed. (New York: Schirmer, 1997), 262-276.
39
computer music for Soar!. By adjusting the randomness level, the sound can transform
from pitched to noise-like, or vice versa. That fluidity matches perfectly the imagery I
want to portray. Granular synthesis's ability to transform the quality of the sound has
been one of the most powerful tools I have in creating my electroacoustic works.
Another technique that is central to the computer generated music for the piece is
convolution. I strictly use the computer music software Bias Peak to run this type of
digital signal processing. Convolution is taking two audio signals and modifying one of
them with characteristics of the other. As a result, the spectral quality of one sound can be
applied to the other sound. With the complexity of audio samples, it is sometimes a trial
and error process to find the right sound for what I am looking for. Nonetheless,
convolution has been a staple of my digital signal processing vocabulary.
I strongly believe in technological enhancement and assistance to augment
traditional music making. The endless possibilities in computer technology today make it
possible for composers to add another dimension to instrumental playing. It has also been
my belief that computers and electronics help us achieve dreams that were not attainable
before by extending our capabilities beyond what is physically difficult or impossible to
produce. Loudspeakers play the pre-processed computer music on stage along with live
musicians, in the absence of any visual evidence of the act of sound making. This
disconnect between what the audience sees (the wind ensemble players) and what they do
not see (the computer music playing through loudspeakers) can blur the sense of reality.
The magic power of electronics often resides in our inability to see the act of sound
production, thus creating an illusion that sounds very real, yet always lures us into the
40
unknown. Hopefully this layer of computer music played with wind ensemble adds an
interesting aspect to the overall listening experience.
41
Chapter 6
The Conductor, the Leader
Being a conductor myself, I have always paid special attention to the execution of
my compositions from a conductor's point of view. The leader of a large group of
musicians is naturally given ample authority in order to shape the music played. This
authority to lead had been expected by both the conductor and the players in the
ensemble.
Non-traditional time signatures are a necessity for Soar! to be successfully
conducted. Using meters such as 4/M, 4/X, and X/X17
, the conductor is given control
over the timing of events. In essence, the conductor determines the larger structures by
defining temporal elements and the players realize controlled improvisation under the
conductor's direction. This type of composition gives conductors a new sense of
ownership over the performance. The conductor is actively creating the piece as it
unfolds in front of both the players and the audience. I have used this mechanism in some
of my earlier compositions, such as Rugged Edges for string orchestra (2003).
From my exploration of new types of conducting models, I discovered that I
would like to see more freedom of creativity for the conductor in compositions for large
ensembles. This is definitely not a new idea. Aleatoric works rely heavily on the
conductor to coordinate improvisatory operations. As mentioned earlier, Venetian Games
(1960) by Witold Lutos!awski gives the conductor (often the composer himself) a large
17
For detailed explanation of these time signatures, see p. 26-29.
42
amount of freedom to determine the order and timing of each musical segment, with
multiple strands of musical activities happening simultaneously.
My inclination for conductor-centered music also stems from John Zorn's game
pieces such as Cobra (1984). Zorn designed a system of strict rules on how musicians
should interact in their improvisations, but with no pre-defined event order. The
conductor prompts ensemble players with note cards for event changes. The result is a
highly engaging improvisation among the players and the prompter. Another musician,
Butch Morris, also takes a similar approach to music making using 'conduction' to guide
improvisations. He does not use note cards, but instead uses only hand gestures and baton
as a traditional conductor would. Both Zorn and Morris see the conductor as the true
leader of the ensemble. As such they give the conductor the power to dictate not only the
timing of events but also the way the improvisation should be done.
My musical background of playing strictly from written music has given me the
advantage of sight-reading at a competent speed. Orchestral score reading for traditional
repertoire has never been an excessively difficult task for me. As I venture into more
experimental type of compositions where improvisation is required, it is both challenging
and liberating at the same time. I have increasingly been interested in conducted
improvisation in recent years. The Electric Monster Laptop Ensemble that I founded at
Montana State University in 2009 is a group that plays mostly improvised music on
laptops. Although some laptop orchestras or ensembles have relied solely on free
improvisation, the large number of players in Electric Monster, as well as the different
musical backgrounds of the members, makes it difficult to practice free improvisation.
43
Instead, I, as the conductor, have consistently used hand gestures to direct the timing and
especially the change of musical events. It is a system of cultivated proficiency, and it
requires a group of players that have become accustomed to these gestures.
Conducting is as much a skill as a philosophy. New types of music ensembles
emerge, such as laptop orchestras, mobile phone orchestras, and even theremin
ensembles. These unorthodox musical groups challenge our very notion of music making.
With advancement in technology, more modes of coordination and performance ritual
emerge. Therefore, the art of conducting has to adapt to the type of music that is being
produced in order to be efficient. To be the true leader of a musical group, the conductor
must find the best way to guide and inspire his/her fellow musicians.
44
Chapter 7
After Thoughts
The word 'soar' brings to mind the idea of hope and a projection of humane
imagination. As I composed Soar! and probed deeper into my personal way of thinking
about music, a few recurring themes have surfaced.
I have taken particular interest in cyclical structure, sound masses, and
multiplicity in organizing musical materials and have affirmed my intention to explore
them further in my future works. Just as I am fascinated with migratory birds' yearly
journey between their wintering grounds and breeding spots, cyclical or symmetrical
form such as palindrome holds a special role in my treatment of musical form.
Experiencing different sound colors has always been a profound pleasure for me both as a
musician and listener. Using sound mass affords me the tool to blend sounds and
transform them easily. Placing multiple musical entities simultaneously helps me create a
musical texture that is multi-dimensional, both sonically and psychologically. Besides
these elements that are central to my musical creation, technology is another element that
I view as indispensable. Beyond the immediacy of hearing what I am creating, which is
fully satisfying, the capability of being able to affect sounds at a microscopic level makes
computer technology an extremely powerful tool for music making.
I have discussed my musical background, my interest in abstract formal relations,
as well as certain sonic qualities that are important to me as a composer. What I have not
touched on is the issue of identity and its relation to one's musical output. As a composer
45
who also happens to be a woman, does my gender have any impact on my musical
preference? The blood that runs through my body is unmistakably Asian. Does my
upbringing cast any predisposition on the way I understand music? Is it possible that as
an immigrant in a foreign country, I equate the birds' migration with my own personal
experience of migration? Much exploration and deliberation on these matters will
promise to intrigue me in my future work as a composer as well as a conductor.
46
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Photo:
Dzurisin, Dan. Blackbird Swarm Near Starved Rock State Park IL DDZ_0104. Uploaded
on January 6, 2008 via Flickr, Creative Commons License.
Fort Monroe Va. The Post Band, Date c. 1864. Olde Yankee Map and Photo. Uploaded
on July 30, 2008 via Flickr, Creative Commons License.
50
PART II
SOAR! FOR WIND ENSEMBLE AND COMPUTER MUSIC
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Instrumentation
Flute 1Flute 2Flute 3 (double on piccolo)Oboe 1Oboe 2Eb ClarinetBb Clarinet 1Bb Clarinet 2Bb Clarinet 3Bb Bass ClarinetBassoon 1Bassoon 2
Bb Soprano SaxophoneEb Alto SaxophoneBb Tenor SaxophoneEb Baritone Saxophone
F Horn 1F Horn 2F Horn 3F Horn 4Bb Trumpet 1Bb Trumpet 2Bb Trumpet 3Trombone 1Trombone 2Bass TromboneEuphoniumTuba
Piano
Timpani (A, D, F, G)Percussion 1 marimba sleigh bells glass wind chimes lion's roar* tubular bells* snare drum tom-toms, 3 sizes bass drum*Percussion 2 woodblocks 5 sizes large sus. cymbal medium gong crotales (e1, e2, g2) bass drum* lion's roar*Percussion 3 vibraphone tubular bells* bass drum* medium gong* tam-tam bowed sus. cymbal
Stereo Digital Audio
*shared instrument
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Performance Notes
Number in the hexagon indicates track number for audio file playback.
Repeat notes in the box until end of the extension line.
Play enclosed area for approximately 10 seconds.
number in the circle indicates the current beat count within the measure
XX free timing
X
M44
denotes 4 conductor’s beats per bar with variable time between beats
denotes 4 conductor’s beats per bar at metronome speed
53
Soar! is a musical composition written for wind ensemble and pre-recorded stereo audio. The total duration of the work is approximately 10 minutes. Flocking behavior of migratory birds serves as the most prominent influence on the imagery and local structure of the composition. The cyclical nature of the birds' journey inspires palindromic designs in the temporal domain.
Aesthetically, Soar! portrays the fluid shapes of the flocks with numerous grains in the sounds. This effect is achieved by giving individual parts high degree of independence, especially in regards to rhythm. Technically, Soar! explores various interactions among instrumental lines in a wind ensemble, constructs overarching symmetrical structures, and integrates a large ensemble with pre-recorded electronic music.
The conductor acts as the leader at several improvisational moments in Soar! The use of conductor-initiated musical events in the piece can be traced back through the historic lineage of aleatoric compositions since the middle of the twentieth century.
Program Notes
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Flute 1
Flute 2
Flute 3(double piccolo)
Oboe 1
Oboe 2
Clarinet in Eb
Clarinet in Bb 1
Clarinet in Bb 2
Clarinet in Bb 3
Bass Clarinet
Bassoon 1
Bassoon 2
Soprano Sax.
Alto Sax.
Tenor Sax.
Baritone Sax.
Horn in F 1
Horn in F 2
Horn in F 3
Horn in F 4
Trumpet in Bb 1
Trumpet in Bb 2
Trumpet in Bb 3
Trombone 1
Trombone 2
Bass Trombone
Euphonium
Tuba
Timpani
Percussion 1
Percussion 2
Percussion 3
Piano
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Soar! Hsiao-Lan WangTransposed scoreDuration: 10 min.
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Pno.
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5
3
3
rœœ œœ.frœœ. œœ œœ. œœ. œœ.ƒ
Soar!
57
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44
44
44
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44
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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F
F
F
F
F
F
F
F
F
F
F
F
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
4
4
4
4
4
4
4
4
4
4
4
4
M
M
M
M
M
M
M
M
M
M
M
M
30
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œ.ƒ
‰ Œ Ó
œ.ƒ
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31
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32
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33
Ó ˙#P
solo espress.
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solo
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wb"1 only
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34
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rœ œ# œ r
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36
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Œ œF
œ œb œ œb œ3 3
1 only
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!!
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37
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Soar!
58
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
38
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39
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3
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‰ œ œ ˙3
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3
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40
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41
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42
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Ó rrœ#˙ƒ
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Œ ‰ $ œƒ
˙
Œ ‰ œ#ƒ ˙Œ ‰ $ œ
ƒ˙
Œ ‰ œ#ƒ ˙
Ó Œ ‰ œ#ƒ!
Ó Œ œbƒ
Œ ‰ $ œƒ
˙
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Œ ‰ œ#ƒ
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rrœbƒ . .œ ˙!
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lion's roarã
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43
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wsub pwsub pwsub pwsub p
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wsub pwsub pwsub pwsub pwsub p
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44
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œ ‰ Œ Ó
œ ‰ Œ Ó &
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3
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œ œ3 3 3
œ ‰ Œ Ó!!
Soar!
59
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
45
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‰ œbPœ œ ˙ ‰ œ œ œ3 3
‰ œbPœ œ ˙ ‰ œ œ œ3 3
‰ œbPœ œ ˙ ‰ œ œ œ3 3
wƒÓ Œ ‰ œ#
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46
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Pœ- œ-3
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3
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!!!
47
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˙ ˙bf
Ó rrœœ.fœ. œ œ. rrrœ œ œ. ‰
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+ œ+ œ+ œ+3
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3
w
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$ œ>f
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$ œ>f
œ Œ œ Œ $ œb > œ3
$ œ>f œ Œ œ Œ $ œ> œ3
w
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˙ __L3 3
&
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!!!
48
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wœb œ œ .œ œ Œ œ œ œ
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w
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w
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ww
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wbœ
‰ Œ Óœ ‰ Œ Ó ?
!
!!!
49
˙ œ ‰ Œ
˙ œb ‰ Œ˙ œ ‰ Œ˙ œ ‰ Œ
˙ Ó˙ 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
˙ œb ‰ Œ
!!
œƒœ œ œ œ œ
rœ ‰ œ œb œ œ œ œ œ
3
3
˙F!!
50
!
!
!!!
!
Ó ‰ œbPœ œ œ3
Ó ‰ œbPœ œ œ3
Ó ‰ œbPœ œ œ3
Óƒ
Ó ÓÓ
ƒ!
!
!
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Ó +ƒ
Ó ˙+
ƒ!
!
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Ó ‰ .œb
Ó Œrœ œ3
Ó Œ œb
!Ó rr
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œ œ $ œ œ œ œ œ œb œ œ œ œ œ œ œæ5
6
˙
!!
Soar!
60
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
51
Ó Ó
Ó Ó
!
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!
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œ ‰ œb œ œ# œ- œ- œ-3 3
œ ‰ œb œ œ# ˙3
w
Œ ‰ œ#ƒ
˙
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PÓ œ#
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w
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.œrœ ˙
˙b œ .œ œ
Œ ‰ œ#ƒ
˙
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Œ ‰ œœ#œœ œœf
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&
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..œœ ..˙
w# æ
˙
!!
52
Œ œP
œ œ œ œb œ œ œ œ œ œ œ œ œ œ œb œ œ6
6 6
œbP
œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ5
5
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œ- œ- ˙3
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œ- œ-3
˙ œ-F r
œ- œb œ œ# œ3
3
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œ œ œb œ œ œb3 3
w
wbÓ œ-
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˙ +
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.˙ œ
ww
œ .˙œœbb œœ 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
3
wwÓ ‰
œb f œ œ œb œ œ œbƒ
3 3
&
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œƒ
‰ Œ Ó!!
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rrœœ.fœ. œ œ. rrrœ œ œ. ‰ œ œb œ œ œ œ œ. œ. œ. œ. œ.
63
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.˙b
‰.œ
F˙fw
w
w
wœ .˙#
˙ ˙bwf˙ Œ œ
fœb œ œ# œ
5
˙ Œ œfœ œ# œ œ#
5
w
w
w
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w &
$ œ#fœ .˙
‰ .œf
˙
Œ œbf
.œ ˙.˙ œ
w
˙ ˙w
wwb
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wb __L
!
!!!
rip
rip
rip
rip
54˙ ˙
.˙ œb
œ Œ Ów
œ- œ- œ- Ó3
w
˙ œ- œ- œ-3
˙ œ- œ- œ-3
œ- œ- œ- Ó3
ww
w˙ œ- œ- œ-3
˙ œ- œ- œ-3
˙ œ# - œ- œ-3
œ- œ- œ- Ó3
wo
wo
w
ww
w
ww
œ œ œ Ó3
ww
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w
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œbfœ# œ Œ rœ œ œ œ œ œ œ œ3
3
3
!!!
p
p
p
p
55˙ œ
P‰ Œ
˙ œbP
‰ Œ
!˙ œ
P‰ Œ
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!
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œ ‰ Œ Ó
œ ‰ Œ Ó
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!
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w
w
w
wœ
Fœ> œ Œ œ Œ $ œb > œ3
œFœ> œ Œ œ Œ $ œb > œ3
œFœ> œ Œ œ Œ $ œ> œ3
œ ‰ Œ Ó
!
œ ‰ Œ Ó
œ ‰ Œ Ó!
œ‰ Œ Ó
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˙bæ ‰ œP
œ œn œ3
!!!
rip
rip
rip
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56
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!!
!!
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woÍwo
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.˙p
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.˙p
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!!
wb___l
P wb __L
œp
.œ Œ Ó
!!!
57
Ó ‰.œ
pÓ ˙b
pŒ .˙
Ó Œ œ#p
Ó ˙#p
˙p
˙
˙p
˙
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p˙
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w
w
w
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w
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Soar!
61
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
58w
w
ww
ww
w
w
w
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Ó ˙p
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!
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!
!!!
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!!
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œ ˙ œp
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60
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œ œ Óœ œ Ó
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Fœ ˙ œbF
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p˙
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61
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F œF
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62
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63
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Soar!
62
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
64˙ ˙
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66
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67
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68
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69
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Soar!
63
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
Ÿ~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
71
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72
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73
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75
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76
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77
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78
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Soar!
64
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46
46
46
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46
46
46
46
46
46
46
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46
46
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46
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44
44
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44
44
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
79
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65
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
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˙bPŒ Œ Œ
.˙P
Œ Œ.˙
PŒ Œ
.˙bP
Œ Œœ ‰ Œ $ .œb
PŒ Œ
œ ‰ Œ Œ Œ Œ
!!
!œœ œœ
rœœ œœ
rœœ
pÉã
!Öã Œ Ó Œ
90
Œ Œ œ œ.œ Œ Œ
3
Œ Œ œ œ.œ Œ Œ
3
Œ Œ œ œ.œ Œ Œ3
!!
Œ Œ œ# œ.œ Œ Œ3
Œ Œ œ# œ#.œ Œ Œ3
Œ Œ œ# œ#.œ Œ Œ3
Œ Œ œ# œ#.œ Œ Œ3
Œ Œ Œ œ ˙3
Œ Œ œ Œ œ ˙3
3
Œ Œ œ Œ œ ˙3
3
!
!
Œ Œ Œ œ ˙3
Œ Œ Œ œ ˙3
!
!
!
!
Œ œ Œ Œ Œ Œ3
Œ œ Œ Œ Œ Œ3
Œ œ Œ Œ Œ Œ3
œ œ Œ Œ Œ Œ3
œ œ Œ Œ Œ Œ3
Œ œb œ Œ Œ Œ3
Œ œb Œ Œ œ ˙3
3
Œ Œ ŒœP ˙
3
!!
!
!
!!
91
˙œ .œ $ Œ œ Œ
33
˙œ .œ $ Œ œ# Œ
3
3
˙œ .œ $ Œ œ Œ
33
Œ Œ Œ Œ Œ œ3
Œ Œ Œ Œ Œ œb3
˙œ .œ# $ Œ Œ
3
˙œ# .œ# $ Œ œ Œ
3
3
˙œ# .œ# $ Œ œ Œ
3
3
˙œ# .œ# $ Œ Œ
3
˙# Œ Œ Œ Œ3
Œ Œ .œ $ Œ Œ œ3
Œ Œ .œ $ Œ Œ œ#3
Œ Œ Œ Œ Œ œ#3
Œ Œ Œ Œ Œ œ3
!
!
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ# Œ3
Œ Œ Œ Œ œ œ3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ ‰ $ œ œ Œ œ3
Œ Œ ‰ $ œ œ Œ œ3
Œ Œ .œ œb Œ Œ œ3
Œ Œ ‰ $ œb Œ Œ
!
!!
!
!
!!
92
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 .œb 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 ˙
˙b Œ ˙
˙# Œ ˙
˙# Œ ˙
˙ Œ ˙
!
!
!
!
!
!
!
!
!!
!
!
!!
93˙ Œ ˙
˙ Œ ˙#
˙ Œ ˙
˙ $ .œ Œ Œ˙b $ .œb Œ Œ˙ Œ Œ Œ˙b 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
˙ œb $ ‰ ˙
˙ œ# $ ‰ ˙
˙ œ $ ‰ ˙
˙ œ $ ‰ ˙#˙ $ .œ Œ $ œ> œ
˙b Œ Œ $ œn > œ
˙b Œ Œ $ œ> œ˙ Œ Œ $ œ> œ
˙ Œ Œ $ œ> œ
˙b Œ Œ $ œb > œ˙ $ .œb Œ Œ˙ Œ Œ Œ
!!
!
!
!!
Soar!
66
&
&
&
&&
&
&
&
&
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&
&
&
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&
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
94
Œ Œ œ œ.œ Œ Œ
3
Œ Œ œ œ.œ Œ Œ
3
Œ Œ œ œ.œ Œ Œ3
!!
Œ Œ œ# œ.œ Œ Œ3
Œ Œ œ# œ#.œ Œ Œ3
Œ Œ œ# œ#.œ Œ Œ3
Œ Œ œ# œ#.œ Œ Œ3
Œ Œ Œ œ ˙3
Œ Œ œ Œ œ ˙3
3
Œ Œ œ Œ œ ˙3
3
!
!
Œ Œ Œ œ ˙3
Œ Œ Œ œ ˙3
!
!
!
!
Œ œ Œ $ œb > œ Œ Œ3
Œ œ Œ $ œb > œ Œ Œ3
Œ œ Œ $ œN > œ Œ Œ3
œ œ Œ $ œ# > œ Œ Œ3
œ œ Œ $ œ# > œ Œ Œ3
Œ œb œ $ œ> œ Œ Œ3
Œ œb Œ Œ œ ˙3
3
Œ Œ Œœ ˙
3
!!
!
!
!!
95
˙œ .œ $ Œ œ Œ
33
˙œ .œ $ Œ œ# Œ
3
3
˙œ .œ $ Œ œ Œ
33
Œ Œ Œ Œ Œ œ3
Œ Œ Œ Œ Œ œb3
˙œ .œ# $ Œ Œ
3
˙œ# .œ# $ Œ œ Œ
3
3
˙œ# .œ# $ Œ œ Œ
3
3
˙œ# .œ# $ Œ Œ
3
˙# Œ Œ Œ Œ3
Œ Œ .œ $ Œ Œ œ3
Œ Œ .œ $ Œ Œ œ#3
Œ Œ Œ Œ Œ œ#3
Œ Œ Œ Œ Œ œ3
!
!
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ# Œ3
Œ Œ Œ Œ œ œN3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ ‰ $ œ œ Œ œ3
Œ Œ ‰ $ œ œ Œ œ3
Œ Œ .œ œb Œ Œ œ3
Œ Œ ‰ $ œb Œ Œ
!
!!
!
!
!!
96.œ $ Œ œ Œ Œ Œ
3
.œ $ Œ œ# Œ Œ Œ3
.œ $ Œ œ Œ Œ Œ3
Œ Œ Œ œ Œ Œ3
Œ Œ Œ œb Œ Œ3
.œ# $ Œ Ó $ œ> œ
.œ# $ Œ œ Œ Œ $ œ> œ3
.œ# $ Œ œ Œ Œ $ œ# > œ3
.œ# $ Œ Ó $ œ> œŒ Œ Œ œ ˙
3
.œ $ Œ Œ œ œ ˙33
.œ $ Œ Œ œ# œ ˙33
Œ Œ Œ œ# Œ Œ3
Œ Œ Œ œ Œ Œ3
Œ Œ Œ œ ˙3
Œ Œ Œ œ ˙3
Œ Œ œ Œ Œ Œ3
Œ Œ œ Œ Œ $ œ> œ3
Œ Œ œ Œ Œ Œ3
Œ Œ œ# Œ Œ $ œ# > œ3
Œ Œ œ œ Œ Œ3
Œ Œ œ Œ Œ Œ3
Œ Œ œ Œ Œ Œ3
‰ $ œ œ Œ œ Œ Œ3
‰ $ œ œ Œ œ Œ Œ3
.œ œb Œ Œ œ Œ Œ3
‰ $ œb Œ Œ œ ˙3
Œ Œ Œœ ˙
3
!!
!
!
!!
97
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 .œb 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 Œ3
œ ˙ Œ ˙#f
3
œ ˙ Œ ˙f
3
Œ ˙#f
˙
Œ ˙#f
˙
œ ˙ Œ ˙#f
3
œ ˙ Œ ˙f
3
Œ Œ Œ ˙bf
Œ Œ Œ ˙# fÓ Œ ˙# fÓ Œ
fŒ $ œ# > œ Ó Œ
Œ $ œ# > œ Ó Œ
Œ $ œ> œ Ó Œ
Œ $ œ> œ Ó Œ
Œ $ œ# > œ Ó Œ
Œ $ œ> œ Ó Œ
œ ˙ Œ Œ Œ3
œ ˙Œ Œ Œ3
!!
!
!
!!
98wf
œÏ
wf
œÏ
wf
œÏ
wf
œÏ
wbf
œÏw
fœ
Ïwbf
œÏ
w#f
œÏ
w#f
œÏw
fœ
Ïw œ
Ïw œ
Ïw# œ
Ïw œ
Ïw œ
Ïw œ
Ï
w œÏ
w œÏw œ
Ïw œÏwf
œÏ
wbf
œÏ
wb f œÏwf
œÏ
wf
œÏ
wbf
œÏw
fœ
Ïwf
œÏ
!!
!
!
!!
99
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 œb .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 Œœ .œ
F œ3
˙#F
Œ ˙ œ3
˙F
Œ ˙ œ3
w#F
Œ
w#F
Œ
˙#F
Œ ˙ œ3
˙F
Œ ˙ œ3
˙bF
Œ Œ Œ
˙#FŒ Œ Œ
˙#FŒ Œ Œ
FŒ Œ Œ
Œ $ œ> œ Œ Ó
Œ $ œ> œ Œ Ó
Œ $ œb > œ Œ Ó
Œ $ œb > œ Œ Ó
Œ $ œ> œ Œ Ó
Œ $ œ> œ Œ Ó
Œ Œ ŒF œ
3
Œ Œ ŒF œ
3
!!
!
!
!!
100
Œ Œ Œ œp
Œ $ .œ3
Œ Œ Œ œ#p
Œ $ .œ3
Œ Œ Œ œp
Œ $ .œ3
Œ Œ œp
Œ Œ Œ3
Œ Œ œbp
Œ Œ Œ3
Œ Œ Œ Œ $ .œ#p
Œ Œ Œ œ#p
Œ $ .œ3
Œ Œ Œ œp
Œ $ .œ#3
Œ Œ Œ Œ $ .œ#p
˙ œ Œ Œ Œ3
˙ œ œp
Œ Œ $ .œ33
˙ œ œ#p
Œ Œ $ .œ3 3
Œ Œ œ# pŒ Œ Œ3
Œ Œ œp
Œ Œ Œ3
˙ œ Œ Œ Œ3
˙ œ Œ Œ Œ3
Œ Œ Œ œp
Œ Œ3
Œ Œ Œ œp
Œ Œ3
Œ Œ Œ œp
Œ Œ3
Œ Œ Œ œ# pŒ Œ3
$ œ> œ Œ œp
œ Œ Œ3
$ œ# > œ Œ Œ œp
Œ Œ3
$ œ> œ Œ Œ œp
Œ Œ3
$ œ> œ Œ œp
Œ œ œ $ ‰3
$ œ> œ Œ œp
Œ œ œ $ ‰3
$ œb > œ Œ œp
Œ Œ œb .œ3
˙ œ Œ Œ œb $ ‰3
˙ œŒ Œ Œ3
!!
!
!
!!
Soar!
67
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
101
Œ œ Œ $ .œ œ˙
33
Œ œ# Œ $ .œ œ˙3
3
Œ œ Œ $ .œ œ˙
33
œ Œ Œ Œ Œ Œ3
œb Œ Œ Œ Œ Œ3
Œ Œ $ .œ# œ˙
3
Œ œ# Œ $ .œ œ#˙
3
3
Œ œ Œ $ .œ# œ#˙
3
3
Ó $ .œ# œ#˙
3
Œ Œ Œ Œ ˙#3
œ Œ Œ $ .œ Œ Œ3
œ# Œ Œ $ .œ Œ Œ3
œ# Œ Œ Œ Œ Œ3
œ Œ Œ Œ Œ Œ3
!
!
Œ œ Œ Œ Œ Œ3
Œ œ Œ Œ Œ Œ3
Œ œ Œ Œ Œ Œ3
Œ œ# Œ Œ Œ Œ3
œ œ Œ Œ Œ Œ3
Œ œ Œ Œ Œ Œ3
Œ œ Œ Œ Œ Œ3
œ Œ œ œ $ ‰ Œ Œ3
œ Œ œ œ $ ‰ Œ Œ3
œ Œ Œ œb .œ Œ Œ3
Œ Œ œb $ ‰ Œ Œ
!
!!
!
!
!!
102
Œ Œ .œœ œ Œ Œ
3
Œ Œ .œœ œ Œ Œ
3
Œ Œ .œœ œ Œ Œ3
!!
Œ Œ .œœ œ# Œ Œ3
Œ Œ .œœ# œ# Œ Œ3
Œ Œ .œœ# œ# Œ Œ3
Œ Œ .œœ# œ# Œ Œ3
˙ œ œ Œ Œ œ3 3
˙ œ œ œ Œ œ33
˙ œ œ œ Œ œ3 3
Œ $ œN >f œ Œ Ó
Œ $ œ# >f œ Œ Ó
˙ œ œ Œ Œ œ3 3
˙ œ œ Œ Œ œ3 3
Œ $ œb >f
œ Œ Ó
Œ $ œb >f
œ Œ Ó
Œ $ œ>f œ Œ Ó
Œ $ œ# >f œ Œ Ó
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ œ3
Œ Œ Œ Œ œ œ3
Œ Œ Œ œ œb Œ3
˙ œ œ Œ œb œ3
3
˙ œ œŒ Œ
œ3 3
!!
!
!
!!
103˙ Œ ˙
f˙# Œ ˙
f˙ Œ ˙
fŒ Œ .œ $ ˙
fŒ Œ .œb $ ˙b
fŒ Œ Œ ˙
f˙ Œ ˙b
f˙ Œ ˙#
fŒ Œ Œ ˙#
f˙ œ œ
˙f
3
˙ œ .œ œ# ˙f
3
˙ œ .œb œn ˙f
3
Œ Œ .œ# œ# Œ ‰ œ
Œ Œ .œ œ# Œ ‰ œ
˙ œ .œ œ# Œ ‰ œ3
˙ œ .œ œ Œ ‰ œ3
˙ ‰ $ œb ˙
˙ ‰ $ œ# Œ ‰ œ
˙ ‰ $ œ ˙
˙# ‰ $ œ Œ ‰ œ
Ó .œ $ ˙f
Ó Œ ˙bf
Ó Œ ˙b fœ .œ $ .˙
œ .œ $ .˙
œb .œ $ .˙
˙ œ .œb $ Œ ‰ œf
3
˙ œŒ Œ ‰ œ
f3
!!
!
!
!!
104
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 œb .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 ŒŒ Œ
œ .œŒ Œ
˙# Œ ˙
˙ Œ ˙
˙ Œ ˙#
˙ Œ ˙#
˙ Œ ˙#
˙ Œ ˙
˙b Œ ˙
˙ Œ ˙#
˙# Œ ˙
˙ Œ ˙
!
!
!
!
!
!
!
!
!!
!
!
!!
105
Œ œF
Œ $ .œ œ˙
33
Œ œ#F
Œ $ .œ œ˙3
3
Œ œF
Œ $ .œ œ˙
33
œ Œ Œ Œ Œ Œ3
œbF
Œ Œ Œ Œ Œ3
Œ Œ $ .œ#F
œ˙
3
Œ œ# Œ $ .œF
œ#˙
3
3
Œ œ Œ $ .œ#F
œ#˙
3
3
Œ Œ $ .œ#F
œ#˙
3
Œ Œ Œ Œ ˙#F3
œF
Œ Œ $ .œ Œ Œ3
œ#F
Œ Œ $ .œ Œ Œ3
œ# pŒ Œ Œ Œ Œ3
œp
Œ Œ Œ Œ Œ3
!
!
Œ œF
Œ Œ Œ Œ3
Œ œF
Œ Œ Œ Œ3
Œ œF
Œ Œ Œ Œ3
Œ œ#FŒ Œ Œ Œ3
œF
œ Œ Œ Œ Œ3
Œ œF
Œ Œ Œ Œ3
Œ œF
Œ Œ Œ Œ3
œF
Œ œ œ $ ‰ Œ Œ3
œF
Œ œ œ $ ‰ Œ Œ3
œF
Œ Œ œb .œ Œ Œ3
Ó œb $ ‰ Ó
!
!!
!
!
!!
106
Œ Œ .œœ œ Œ Œ
3
Œ Œ .œœ œ Œ Œ
3
Œ Œ .œœ œ Œ Œ3
!!
Œ Œ .œœ œ# Œ Œ3
Œ Œ .œœ# œ# Œ Œ3
Œ Œ .œœ# œ# Œ Œ3
Œ Œ .œœ# œ# Œ Œ3
p œ Œ Œ Œ3
˙p
œ Œ œ Œ Œ3
3
˙p
œ Œ œ Œ Œ33
!
!
p œ Œ Œ Œ3
˙p
œ Œ Œ Œ3
!
!
!
!
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ œ œb Œ3
p œ Œ Œ œbF
Œ33
p œŒ Œ Œ3
!!
!
!
!!
Soar!
68
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
107˙ Œ ˙
"˙# Œ ˙
"˙ Œ ˙
"Œ Œ œ ˙
"Œ Œ œb ˙b
"Œ Œ Œ ˙
"˙ Œ ˙b
"˙ Œ ˙#
"Œ Œ Œ ˙#
"Œ Œ Œ
˙"
Œ Œ .œ œ#"
˙
Œ Œ .œb œn"
˙
Œ Œ .œ# œ#"
˙
Œ Œ .œ œ#"
˙
Œ Œ ‰ $ œ#"
˙
Œ Œ ‰ $ œ"
˙
˙ ‰ $ œb"
˙
˙ ‰ $ œ#" ˙
˙ ‰ $ œ"˙
˙# ‰ $ œ" ˙
Œ Œ œ ˙"
Œ Œ Œ ˙b"
Œ Œ Œ ˙b"Œ ˙ ˙
"Œ ˙ ˙
"Œ ˙b ˙
"Œ Œ œb ˙
"!
!!
!
!
!!
108
Œ Œ ˙ œ œ3
Œ Œ ˙ œ œ3
Œ Œ ˙ œ œ3
Œ Œ ˙ œ œ3
Œ Œ ˙b œ œ3
Œ Œ ˙ œ œ3
Œ Œ ˙b œ œ3
Œ Œ ˙# œ œ3
Œ Œ ˙# œ œ3
Œ Œ˙ œ œ3
˙# Œ ˙
˙ Œ ˙
˙# Œ ˙
˙# Œ ˙
˙# Œ ˙
˙ Œ ˙
˙b Œ ˙
˙# Œ ˙
˙# Œ ˙
˙ Œ ˙
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109
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
w œ ‰U
w œ ‰U
w œ ‰U
w œ ‰U
w œ ‰U
w œ ‰U
w œ ‰U
w œ ‰U
w œ ‰U
w œ ‰U
Œ Œ Œ Œ ŒUHarmon mute
Œ Œ Œ Œ ŒUHarmon mute
Œ Œ Œ Œ ŒUHarmon mute
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU
Œ Œ Œ Œ ŒU &
Œ Œ Œ Œ ŒU
1
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
XX
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
4
4
4
4
4
4
4
4
44
44
4
4
4
444
4
4
4
4
4
4
4
4
4
4
4
44
4
444
110
w#p change breaths as needed
slightly and slowly bending pitches up and down
w#p change breaths as needed
slightly and slowly bending pitches up and down
w#p change breaths as needed
slightly and slowly bending pitches up and down
crotales
vibraphone
2
F
F
F
w# +p
slightly and slowly bending pitches up and down
change breaths as needed
w# +p
slightly and slowly bending pitches up and down
change breaths as needed
wP
l.v.
3
F
F
p
p
p
p
p
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4
f
f
f
p
p
p
w##w
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#
w#w
w
w
w
Xb ptongue flaps
Xb ptongue flaps
Xb ptongue flaps
w#
w#
wP
Soar!
69
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Fl. 1Fl. 1
Fl. 2Fl. 2
Fl. 3Fl. 3
Ob. 1Ob. 1
Ob. 2Ob. 2
Eb Cl.Eb Cl.
Bb Cl. 1Bb Cl. 1
Bb Cl. 2Bb Cl. 2
Bb Cl. 3Bb Cl. 3
B. Cl.B. Cl.
Bsn. 1Bsn. 1
Bsn. 2Bsn. 2
S. Sx.S. Sx.
A. Sx.A. Sx.
T. Sx.T. Sx.
B. Sx.B. Sx.
Hn. 1Hn. 1
Hn. 2Hn. 2
Hn. 3Hn. 3
Hn. 4Hn. 4
Bb Tpt. 1Bb Tpt. 1
Bb Tpt. 2Bb Tpt. 2
Bb Tpt. 3Bb Tpt. 3
Tbn. 1Tbn. 1
Tbn. 2Tbn. 2
B. Tbn.B. Tbn.
Euph.Euph.
TubaTuba
Timp.Timp.
Perc. 1Perc. 1
Perc. 2Perc. 2
Perc. 3Perc. 3
Pno.
3
U
U
U
U
U
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U
U
U
U
U
U
U
U
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U
U
U
U
U
U
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U
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111
1
112
w# +p
slightly and slowly bending pitches up and down
change breaths as needed
w# +p
slightly and slowly bending pitches up and down
change breaths as needed
w#p change breaths as needed
slightly and slowly bending pitches up and down
w#p change breaths as needed
slightly and slowly bending pitches up and down
w#p change breaths as needed
slightly and slowly bending pitches up and down
wP
l.v.
F
F
p
p
p
p
p
2
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F
F
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f
f
f
3
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w#w
w
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w
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Xb ptongue flaps
Xb ptongue flaps
w#
w#
w
4
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w#"w
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P
P
P
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1
113
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wæpsnare drum with snare off
2
w>fw>fw>fw>fw# >fw>fw>f
wb >fw>fwb >fw# >f
bass drum
3
wb >f
wb >fw>fw# >fwb >fwb f
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4
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marimba
Soar!
70
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
q»¡™º
114
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115
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116
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117
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118
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71
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
119
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120
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121
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122—
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p.˙
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p.˙
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Œ Œ Œ œ œrœ
Pœ œ œ œ œ
3woodblocks
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Soar!
72
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
q»ªº
125—
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127
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change breaths rapidly
change breaths rapidly
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change breaths rapidly
change breaths rapidly
change breaths rapidly
change breaths rapidly
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change breaths rapidly
128
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change breaths rapidly
change breaths rapidly
130.w
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73
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44ˆ41
44ˆ41
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
131
‰ $ œb >F
.˙ ‰
$ .œ>F
.˙ ‰
w>F‰
Œ $ .œ>F
˙ ‰
Œ ‰ $ œb >F˙ ‰
‰ œ>F
.˙ ‰
Ó ˙b >F
‰
Ó $ .œ>Fœ ‰
Œ .>F‰
Ó ‰ .œ>F
‰
Œ ‰ œ# >F
˙ ‰Ó ‰ $œ>
Fœ ‰
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!œpœ œ œb œ œ œ# œb œb œ œn œ œ œ# œœ rœ
œ œ œ œb œ œ œ# œb œb œ œn œ œ œ# œœ rœ!
!!!
132
Ó $ .œ# > œ Œ
‰ œ> .˙ Œ
$ .œ> .˙ Œ
Œ .> Œ
Ó ˙# > Œ
Ó ‰ œ# > œ Œ
Ó ‰ $ œ# > œ Œ
‰ $ œb > .˙ Œ
Œ ‰ $ œ> ˙ ŒŒ ‰ œ> ˙ Œ
Œ $ .œn > ˙ Œw> Œ
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!œœ œ œb œ œ œ œb œ# œ# œ œ œ œ œb œn œn œ œ#
œœ œ œb œ œ œ œb œ# œ# œ œ œ œ œb œn œn œ œ#&
!
!!!
X
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X
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
Conductor cues instrumental families to mimic sounds on tape.
5
133
ca. 41"
œ
œ
Soar!
74
Conductor dictates texture, dynamics, and timing.
&
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BB
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&&?
ã&ã
44
44
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4444
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
q»¡ºº
134
Ó $ .œ#"
œf
Œ ‰ $ œ#"
˙f
Œ ‰ œ"
˙f
Ó ‰ .œ" f
Ó ˙#" f
œF
œ# œ# .˙
!
Œ œ#F
˙
!!
!!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!!
!
!!!
135
Ó Œ œ#"
Ó Œ ‰ œ"
Ó Œ ‰ œ"
Ó Œ $ .œ#"
Ó Œ ‰ $ œ"
w
œ#F
œ# œ ˙ œn
w
Œ œF
œ œ
!
!!
!
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!
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!
!
!
!
!
!
!!
!
!!!
136
œf
Œ œPœ œb œ œb
œf
Œ œPœb œ œ œb œ
œf
Œ ˙P
˙œ
fŒ Ó
œf
Œ Ó
˙ œ Œ˙ œ Œ
!˙ œ Œ
!
!!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!!
!
!!!
M4
4M
4M
137
Ó Œ ‰ œ#Fœ œ3
!
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!
!!
!!
!
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!!
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!!!
138
w
Œ œbFœ œ œb œ ˙#
5
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!!
!!
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!!
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!!!
139
˙ œ ‰ Œ
˙ œ# ‰ Œ
!
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!
!Ó Œ ‰ œbF
! ?
! ?
!
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‰cup mute œF
˙ œ œ œ
!
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!
!
!
!
!!
!
!!!
140
!
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œ ˙ œ#
Œ $ œFœb œ .œ œb œ
Ó $ œFœ œb œ
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.œ rœ ˙!
!
Ó Œ œbf
!
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!!
!
!!!
Soar!
75
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44
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44
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~
141
!!
!
!
!
!
œ .˙œ Œ Ó
œ Œ Ó
!
!
!
!
!
!
!
!
!take off mute
!
!
w
wf
Œ .f
!
Ó ˙ ¬
f!!
!
!!!
142
!!
!
!
!
!
œ Œ Ó
!!
!
!
>f ˙# > Òƒ
.œf œ# œ œ ˙#ƒ
3
!
!
!
!
!
!
!
˙ œ#ƒ
‰ Œ
˙ œƒ
‰ Œ
˙ œ#ƒ ‰ Œ.œ
fœ# œ œ# ˙ Ò--
ƒ3
˙ƒ
!! ?
!
!Ó æ
sus. cymbal
F!
143
œ œb œ œ œ œœb œ œ.
F‰ Ó
6 3
œ œb œ œ œ œœb œ œ.
F‰ Ó
6 3
œ œb œ œ œ œœb œ œ.
F‰ Ó
6 3
!!
!
!
!
!!
!!
!
!
w
w
Ó ˙Í
Œ ‰ œ#Í ˙
‰ .œÍ
œ œÍ
ŒÍ œ œb
Í!
!
!
!
!
!w
w‰ œ-
fœ# - œ- œ- œ- œb -
‰ œ- œ# - œ- œœ-œ- œb -
!
!
æ!
144
!
!
!!!
!
Ó ‰ œPœ# œ œ# œ œ œ œ œ
œ#6
6
Ó ˙#PÓ œP œÓ Ó
!!
!
!
œ Œ Ó
œ Œ Ó
rœ .œb
Íœ œ œ œn œ œ#
3 3
˙bÍ
œ œ œ œn œ œ#3
3
˙ œ œ œb œ œ# œn3
3
˙ œ œb œ œ# œn œ3
3
!
!
!
!
!
!œ ‰ Œ Ó
œ ‰ Œ Ó
rœb - .œb - œ œœ œœ œœnn œœb œœn#
3 3
rœb - ..œœbb -
œœn œœ!
!
æ!
145
!
!
!!!
!œ
f‰ ˙ .œ# œ
œf‰ ˙ .œ# œn
œf‰ œ œ œ œ œ
Œ .œ# f œ œ œ œ œ œ
Œ ˙f
.œ# œ
Œ ˙f
.œ œb
!
!
!
!
œ.f
‰ .˙ .˙œ.f
‰ .˙ .˙#
œ.f‰ .˙ .˙
œ# .f‰ .˙b .˙
!
!
!
!
!
!
!
!œœ ˙ ..œœ## œœœœ ˙ ..œœ œœbbwæf
!
æ!
146
!
!
!!!
!
˙# œ# œ œ#3
˙ œb œ œb3
œ œ œ œ œ œ.œ# œ œ œ œ œ œ .œ œ
˙# œ œ œ#3
˙ œb œ œb3
!
!
!
!
œ. ‰ Œ Ó
œ. ‰ Œ Ó
œ. ‰ Œ Ó
œb . ‰ Œ Ó
!
!
!
!
!
!
!
!
˙## œœ œœ œœ##3
˙ œœbb œœ œœbb3wæ
!
!!
147
!
!
!!!
!
œ .œ# œ rœ ˙3
œ .œ# œnrœ ˙
3
œ œ œ ˙œ# œ œ œ œ ˙œ .œ# œ r
œb ˙3
œ .œ œb rœ ˙3
!
!
!
!
!
!
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Ó ˙f œ#3
Ó Œ Œ œf3
!
!
!
!
!
!œœ ..œœ## œœ r
œœbb > éè3
œœ ..œœ œœbbrœœ>éè
3wæ!
!!
Soar!
76
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ã&ã
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
148
Œ œ# >F
œ .œ# œ
>F.œ r
œb
$ .œb >F
.œ œ œ œ .œN
Œ $ .œ>Frœ .œ
‰ œb >F
rœb ˙
Œ ‰ œ>F
œ .œ œb
œ $ œ>F
.˙
œ‰ $ .œb >
F˙
Œ ‰ $ œ>F
.œ œ# œ
Œ .˙b >F
‰ .œ>F
œ œ.œ
Ó .œ>F
rœ!
!
!
!
‰ $ œ#F ˙ œ Ò
Œ ‰ œF œ .œ œ Ò-Œ ˙#F œ .œ Ò
Ó ˙F
.œ œb œ œb œ œ#3
.œ œ# œ œb œb
Ó Œ œf
œ œb3
$ .œF
œrœ .œ __¬
‰ œ#F
œ .œ œ Ò- œ
Œ $ .œF
.œrœ Ò
˙F
œ .œ œ Ò--
Œ ‰ $ œF
˙
!!
ó
˙æPbass drum
!!
149œ œN > œ .œN œ#
˙# >.œ# r
œ
œ .œ> .œ œ# œ œ .œ#
œ œ .œ# > rœ .œ#
rœ œn >rœ ˙
.œrœ# > œ .œ œ
.œ œ# > .˙
œ œ .œ> ˙
œ .œ œb > .œ œN œœ .>
rœ.œ> œ œ
.œ#
˙.œ# >
rœ#!
!
!
!
w
w
wœ .œ Ò .˙œ .œ œ# ˙
ƒœ œ# ˙# œ
ƒœ œ ˙
ƒw
w
ww
w Ò
!!
!
˙æ˙
Plion's roar
!
f
f
f
f
f
f
M4
M4
M4
M4
150w
w
w
w
ww
w
.˙ ‰ œbF
ww
w
w!wildly and urgently
!wildly and urgently
!wildly and urgently
!wildly and urgently
w#
˙ ˙
œ .˙#.˙ œ˙ ˙
˙ ˙
˙ ˙
œ ‰ Œ Óœ ‰ Œ Ó
œ ‰ Œ Óœ ‰ Œ Ó
œ ‰ Œ Ó
!!
!
œf
œ ‰ Œ Ó˙
!
ƒ
ƒ
ƒ
ƒ
151
$ œ>F
œb œ œ œ> œ .œ œN5
˙N >F.œN
rœ#
$ .œ# >F.œ œN œ œ .œN
œ#F
œ œb $ .œN >rœ .œ
3
œf
$ œ# >Fœ œ# ˙
œfœ œ œ œ# ‰ œN
Fœ .œ œb
5
‰ $ œN >F
.˙
œ œb œb $ .œn > ˙3
œb f œ œb œ ‰ . œ>F.œ œn œ
œf
$ ‰ Œ Ó
œfœ
Fœ# œ œ œ# œ œ3 3
œf
œF
œ# œ ˙b3
œ#ƒœ $ rœ ‰
rœƒ .œ ‰
œƒrrœ .œ ‰
œƒ œ œ $ rœ ‰
w
w
ww
Ó .œharmon mute
frœ
Ó ˙harmon mute
fÓ r
œharmon mute
fœ r
œ
!
!
!
wbf
wf !!
!
!œf
‰ Œ Ó!
152.œ
rœ> .œ œ œ œ#
rœ .œ# >
rœ.œ
.œ œ> œ œ .œ# .œ œ#
œ œ .œ# > rœ .œ#
rœ œ>rœN ˙
.œrœ# œ .œ œN
.œ œ# > .˙
œ œ .œ> ˙
œ .œ œb > .œ œ œ
!˙ Óœ œ œ# œ œb
3
.œ#+
Pœ+œ œ
+œ .œ
+.œ
+œ+
.œ+
Prœ
+œ œ
+
œb +P œ
+ œ+ œ+ œ+ œ
+ œ+ œ+
+P
+
œ œrœ .œ
˙b ˙
rœ œ# r
œrœ œn r
œ
!
!
!
.˙ œbF
.œrœF ˙
!!
!
!!!
"
153œ ‰ œ# > .œ œ# œ
œ $ .œ# >rœ
.œb
œ $ œ> œ œ .œ# .œ œa
œ $ .œ>rœ .œ
‰ œ>rœb ˙
Œ ‰ œ> œ .œ œ
œ $ œ> .˙
œ $ .œb > ˙
œ $ œ œ œ œ# œ Œ
!
‰ œ œb œ œ œb œ œb œ5
˙b ˙b
œ œ#+
œ"$ ‰ Ó
rœ .œ+
.œ+ rœ
+
œb+
œ+
œ+
"‰ Ó
+ Ó˙
"Ó
˙n"
Ó˙
"Ó
!
!
!
w
.˙ œ!!
!
!!!
P
154.œ#
rœN > œ œN
.œœ> œ œ
œ
.œ œ> œ .œ œ œ
œ .œ œ# > œ œ .œ#
.œ œn > œ œ .œ œ
.œrœ# > ˙
.œ œ# > .˙
œ .œ œ> ˙
!
!
˙ ÓP
w
!
œ"Œ Ó
!
!
!
!
!
!
!
!
˙ ˙bP
w!!
!
!!!
Soar!
77
&
&
&&
&
&
&
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ã&ã
44
44
44
44
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
155œ .˙
w
œ .œn .˙
w
w
œ œ .˙
w
w
!!
!!
!
!
!
!
!
!
!
!
!
!
wrœ .œP ˙
!!
!
!!!
156œ œ# œ œ œ œb
œ œ œ .œ .œb œ œb
.œrœ ˙b
œP
‰ Œ Ó
œP
‰ Œ Ó.˙ œ
P‰
œP
‰ Œ Ó
œP
‰ Œ Ó
!!
!!
gradually grow more sparse
gradually grow more sparse
gradually grow more sparse
gradually grow more sparse
!
!
!
!
!
!
!
!
!
!
œ .˙bp
˙ p!!
!
!!!
157˙
P Óœ .˙N
Pœ œ# œ œ œ# œN ˙
!
!
!
!
!
!!
!!
!
!
!
!
!
!
!
!
!
!
w
˙ .œrœ"
!!
!
!!!
158
!
!œ
PŒ Ó
!
!
!
!
!
!!
!!
!
!
!
!
!
!
!
!
!
!
wb"w
!!
!
!!!
159
!
!
!!
!
!
!
!
!!
!!
!
!
!
!
!
!
!
!
!
!
.˙ Œ
œŒ Œ Œ
!!
!
!!!
160
Œ .˙Í
Œ .˙#Í
Œ .˙#Í
!
!
!
!
!
!!
!!
!
!
!
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78
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44
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.S. Sx.
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Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
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Pno.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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4
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162
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164
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Ob. 1
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Eb Cl.
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Bb Cl. 2
Bb Cl. 3
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Bsn. 2
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Hn. 2
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Bb Tpt. 2
Bb Tpt. 3
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Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
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Perc. 2
Perc. 3
Pno.
7
169
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80
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
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Bsn. 1
Bsn. 2
S. Sx.
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Hn. 2
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Bb Tpt. 2
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Tbn. 1
Tbn. 2
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Euph.
Tuba
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Perc. 2
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Ÿ~~~~~~~~~~~~Ÿ~~~~~~~~~~~
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81
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44
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
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Hn. 2
Hn. 3
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Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
44M
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182
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184
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44
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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F
F
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exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
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83
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44
44
44
44
44
44
44
44
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
196
!
!
!
!
!
!
!
!
!!
!!
!
!
!
!
w#
˙ ˙
!
w
w
!!
!
!!!
197
Ó˙b
PÓ ˙
PŒ .œP œ œb .œ r
œbF
picc.
Œ .œP
œ œ .œ rœb
FÓ œ
Pœb œ œb
!
!
!
!!
.œP
soloespress.cup mute œ œ# ˙
5
œ œ œ# œ œb
Ó œP
œb œ œb
!
!
!
!
w
w
.œP
soloespress.cup mute œ# œ# ˙
5
œ œ œ œ# œ
w
w
!!
!
!!!
198œ œ œb œ œ œ# œ# œ œ .œ œ.
3 3 3œ œ œb œ œb œ œ œb œ .œb œ.3 3
3
˙ œp
‰ Œ˙ œ
p‰ Œ
˙ œp
‰ Œ
!
!
!
!!
˙ œp
‰ Œ
˙ œp
‰ Œ
!
!
!
!
w#P˙ ˙#
w
wPwæfl. tongue
w# æfl. tongue
wæfl. tongue
w
w
w
w
w
!!
!
!!!
P
P
P
10
199
- œ ‰ Œ
˙b - œ ‰ Œ
!
!
!
!
!
!
!!
!!
!
!
!
!
˙F
œ .œ#f
œ
˙F
œ .œ#f
œ
˙F
œ .œf
œ
˙F
œ .œf
œ
wæF
take off mute
w# æFwæFw
Fw
FwFw
Fw
F!!
!
!!!
200
!
!
!
!
!
!
!
!
!!
!!
!
!
!
!
w
w
w
w
3
œbf
œn œ œ .œb ˙all play
3
œf œ œ# œ .œ ˙
3
œbf œn œ œ .œb ˙
œP f
œb œ œ .œn ˙3
œP f
œb œ œ .œn ˙3
œP f œb œ œ .œn ˙3
w ¬Pw ¬
P!!
!
!!!
201
!
!
!
!
!
!
!
!
!!
!!
!
!
!
!
.œƒ
œ# œ $ .œ ˙.œ
ƒœ# œ $ .œ ˙
.œƒ
œ œ $ .œ ˙.œ
ƒœ œ $ .œ ˙
.œƒ
œb œ $ .œb ˙
.œƒ
œ œ $ .œ ˙
.œƒ
œb œ $ .œb ˙
.œƒ
œ œ $ .œb ˙
.œƒ
œ œ $ .œ ˙
.œƒ œ œ $ .œb ˙
œƒ
$ .œ ˙
œƒ
$ .œb ˙
!!
!
!!!
202
!
!
!
!
!
!
!
!
!!
!!
!
!
!
!
.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 œb œ $ .œ ˙
.œ œ œ $ .œb ˙
.œ œ œ $ .œb ˙
.œ œn œ $ .œ ˙œ $ .œ# ˙
œ $ .œ ˙
!!
!
!!!
Soar!
84
&
&
&
&
&
&
&
&
&&
??
&
&
&
&
&
&
&
&
&
&
&
?
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?
?
?
&?
?
ã&ã
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
4444
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
203
!
!
!
!
!
!
!
!
!!
!!
!
!
!
!
wæ
wæ
wæ
wæwæwæ
wæ
wæ
wæ
wæwæwæ
!!
wæp!
wæp
! medium gong
tam-tam
bass drum
U
U
U
U
U
U
U
U
UU
UU
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
UU
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
XX
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
204
ca. 10"rœ
ƒrœƒrœƒrœƒ
rœƒ
rœƒ
rœƒrœ
ƒrœƒrœƒ
rœƒrœƒ
wwwƒwwwƒwwwwwƒwwwƒ
205
!
!
!
!
!
!
!
!
!!
!!
!
!
!
!
!
‰ œb+
ƒrœ
+.œ rœb
+
!
‰ œb+
ƒrœ
+.œ rœb
+
!
!
!
œb flß œfl $ œfl œfl œfl $ œfl œ# fl œfl œfl œfl œfl œfl $ œflœb flß œfl
$ œfl œfl œfl$ œfl œfl œfl œb fl œfl œfl œfl
$ œfl
œflßœfl
$ œfl œfl œfl$ œfl œb fl œfl œfl œfl œfl œfl
$ œflœb flß œfl
$ œfl œfl œfl$ œfl œfl œfl œb fl œfl œfl œfl
$ œfl
œflßœfl
$ œfl œfl œfl$ œfl œb fl œfl œfl œfl œfl œfl
$ œfl!!
!
!!!
206
!
!
!
!
!
!
!
!
!!
!!
!
!
!
!
‰ œ+ƒ r
œ+ ˙
w‰ œ+
ƒ rœ+ ˙
w!
!
!
œb fl œfl $ œfl œfl œfl $ œfl œ# fl œfl œfl œfl œfl œfl $ œflœb fl œfl
$ œfl œfl œfl$ œfl œfl œfl œb fl œfl œfl œfl
$ œfl
œfl œfl$ œfl œfl œfl
$ œfl œb fl œfl œfl œfl œfl œfl$ œfl
œb fl œfl$ œfl œfl œfl
$ œfl œfl œfl œb fl œfl œfl œfl$ œfl
œfl œfl$ œfl œfl œfl
$ œfl œb fl œfl œfl œfl œfl œfl$ œfl
!!
!
wæf
!
œf œ œ œ œ œ œ œ
Soar!
85
&
&
&
&
&
&
&
&
&&
??
&
&
&
&
&
&
&
&
&
&
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1Hn. 1
Hn. 2Hn. 2
Hn. 3Hn. 3
Hn. 4Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.Timp.
Perc. 1Perc. 1
Perc. 2Perc. 2
Perc. 3Perc. 3
Pno.
U
U
U
U
U
U
U
U
UU
UU
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
U
UU
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
XX
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
207
ca. 8"
rœƒ
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208
!
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!
!
!
!
!
!
!
!
!
!!
!
æ æ
œ .œl.v. Œ Ó
209
!
!
!
!
!
!
!
!
!!
!!
!
!
!
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!
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!!
!
œP‰ Œ Ó
œF
œ œ æ œæ3
œ .œl.v. Œ Ó
11
210
!
!
!
!
!
!
!
!
!!
!!
!
!
!
!
!
!
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!œP
‰ Œ Ó
œ œ œ œ œ œ œ œPl.v.
211
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!!
!
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!
!!
!
!!!
Soar!
86
&
&
&
&
&
&
&
&
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&
&
&
&
&
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45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
4545
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
212
!
!
!
!
!
!
!
!
!!
!!
!
!
!
!
!
Ó Œ œ-F!
Œ ‰ œ-F ˙!
!
Ó Œ ‰ œ# -FÓ Œ œ-
FŒ ‰ œ-F
˙
w# -FÓ Œ ‰ œ-
Fw# -F
!!
!
!!!
213
!
!
!
!
!
!
!
!
!!
!!
!
!
!
!
Ó Œ œ-f
rœ-3
wŒ œ#
Fœ œ- ˙
.˙ œ ‰
œ#F
œ œ- .˙
Œ œ#F
œ œ- ˙
ww
.˙ œ ‰
˙ œ# ‰ Œw
˙ œ# ‰ Œ
!!
!
!!!
214
Ó Œ ‰ œf
solo
Œ .˙F
Œ rœ œF
Ó
!
!
!
!
!
!!
!!
!
!
!
!
œ .-
˙ œ ‰ Œ˙ œ ‰ Œ
!
œ ‰ Œ Ó
˙ œ ‰ Œ
˙ œ ‰ Œ
˙ œ ‰ Œ
!
!˙ œ ‰ Œ
!
!!
!
!!!
215.œ
rœ# œ œ
.˙ œ ‰rœ# œ- rœ œ- rœ œ- Œ Ó
3
!
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!!
!!
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!
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!!
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!!!
216.æ
ƒ
fl. tongue œ# œ œ œ# œ œ6
!
!switch to flute
!
!
!
!
!
!!
!!
œÍ
œ œ .˙3
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œ#Í
œ œ .˙3
œÍ
œ œ .˙3
œÍ
œ œ .˙3
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œ#Í
œ œ .˙3
œ#Í
œ œ .˙3
œ#Í œ œ .˙3
œÍ
œ œ .˙3
œÍ
œ œ .˙3
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œ œ .˙3
œ#Í œ œ .˙3
!!
!
!!!
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217
œ#PŒ Œ Œ Œ
!
!
!
!
!
!
!
!!
!!
œƒ
‰ Œ Ó Œ
œƒ‰ Œ Ó Œ
œƒ
‰ Œ Ó Œ
œƒ
‰ Œ Ó Œ
œƒ
‰ Œ Ó Œ
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œƒ
‰ Œ Ó Œ
œƒ‰ Œ Ó Œ
œƒ
‰ Œ Ó Œ
œƒ
‰ Œ Ó Œ
œƒ‰ Œ Ó Œ
œƒ
‰ Œ Ó Œ
œƒ
‰ Œ Ó Œ
œƒ‰ Œ Ó Œ
œƒ
‰ Œ Ó Œ
œƒ‰ Œ Ó Œ
!!
!
!!!
Soar!
87
&
&
&
&
&
&
&
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&
&
&
&
&
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
F
218˙
PŒ ˙
˙P
Œ ˙#
˙P
Œ ˙
˙P
$ .œ Œ Œ
˙bP
$ .œb Œ Œ˙
PŒ Œ Œ
˙bP
Œ ˙
˙#P
Œ ˙
˙#P
Œ Œ Œ˙
PŒ Œ Œ
˙P
œ# .œ Œ Œ˙
Pœ .œb Œ Œ
œ#P
‰ Œ œ .œ# Œ Œ
œ#P
‰ Œ œ .œ Œ Œ
œ#P
‰ Œ œ $ ‰ Œ Œ
œP
‰ Œ œ $ ‰ Œ Œ
˙P
œb $ ‰ ˙
œP
‰ Œ œ# $ ‰ ˙
˙#P œ $ ‰ ˙
œP‰ Œ œ $ ‰ ˙#
˙P
$ .œ Œ Œ
˙bP
Œ Œ Œ
˙bPŒ Œ Œ
.˙P
Œ Œ.˙
PŒ Œ
.˙bP
Œ Œœ ‰ Œ $ .œb
PŒ Œ
œ ‰ Œ Œ Œ Œ
!!
Œ wPŒ Œ .˙
P!
P .æ F
219
Œ Œ œ œ.œ Œ Œ
3
Œ Œ œ œ.œ Œ Œ
3
Œ Œ œ œ.œ Œ Œ3
!
!
Œ Œ œ# œ.œ Œ Œ3
Œ Œ œ# œ#.œ Œ Œ3
Œ Œ œ# œ#.œ Œ Œ3
Œ Œ œ# œ#.œ Œ Œ3
Œ Œ Œ œ ˙3
Œ Œ œ Œ œ ˙3
3
Œ Œ œ Œ œ ˙3
3
!
!
Œ Œ Œ œ ˙3
Œ Œ Œ œ ˙3
!
!
!
!
Œ œ Œ Œ Œ Œ3
Œ œ Œ Œ Œ Œ3
Œ œ Œ Œ Œ Œ3
œ œ Œ Œ Œ Œ3
œ œ Œ Œ Œ Œ3
Œ œb œ Œ Œ Œ3
Œ œb Œ Œ œ ˙3
3
Œ Œ ŒœP ˙
3
!!
Œ w
Œ Œ .˙!
P .æ F
220
˙œ .œ $ Œ œ Œ
3 3
˙œ .œ $ Œ œ# Œ
3
3
˙œ .œ $ Œ œ Œ
33
Œ Œ Œ Œ Œ œ3
Œ Œ Œ Œ Œ œb3
˙œ .œ# $ Œ Œ
3
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3
3
˙œ# .œ# $ Œ œ Œ
3
3
˙œ# .œ# $ Œ Œ
3
˙# Œ Œ Œ Œ3
Œ Œ .œ $ Œ Œ œ3
Œ Œ .œ $ Œ Œ œ#3
Œ Œ Œ Œ Œ œ#3
Œ Œ Œ Œ Œ œ3
!
!
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ# Œ3
Œ Œ Œ Œ œ œ3
Œ Œ Œ Œ œ Œ3
Œ Œ Œ Œ œ Œ3
Œ Œ ‰ $ œ œ Œ œ3
Œ Œ ‰ $ œ œ Œ œ3
Œ Œ .œ œb Œ Œ œ3
Œ Œ ‰ $ œb Œ Œ
!
!!
Œ w
Œ Œ .˙!
P .æ F
221
Œ Œ .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 .œb œ Œ Œ
Œ Œ .œ# œ Œ Œ
Œ Œ .œ# œ Œ ŒŒ Œ
.œ œŒ Œ
˙# Œ ˙
˙ Œ ˙
˙# Œ ˙
˙# Œ ˙
˙# Œ ˙
˙ Œ ˙
˙b Œ ˙
˙# Œ ˙
˙# Œ ˙
˙ Œ ˙
!
!
!
!
!
!
!
!
!!
Œ w
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P .æ F
f
222˙ Œ ˙
˙ Œ ˙#
˙ Œ ˙
˙ $ .œ Œ Œ
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˙ œ# .œ# Œ Œ
˙ œ# .œ Œ Œ
˙ œ# $ ‰ Œ Œ
˙ œ $ ‰ Œ Œ
˙ œb $ ‰ ˙
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˙ œ $ ‰ ˙
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˙b Œ Œ $ œn > œ
˙b Œ Œ $ œ> œ˙ Œ Œ $ œ> œ
˙ Œ Œ $ œ> œ
˙b Œ Œ $ œb > œ˙ $ .œb Œ Œ˙ Œ Œ Œ
!!
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
F
223
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3
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3
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3
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3
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
230
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3
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3
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
237
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Ó Œ ˙P
!
!
!
!
!
!!
!
!!!
244
!
!
!
!
!
!
!
!
!!
! œ#F! œF!
!
!
!
!
!
!
!
.˙ Ó
.˙ Ó
.˙ Ó
Ó .˙P
Ó ‰ œ#P
˙
! œF
Ó ‰ œ#P
˙
! œ#F!!
!
!!!
Soar!
91
&
&
&
&
&
&
&
&
&&
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&
&
&
&
&
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&
&
&
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Fl. 1
Fl. 2
Fl. 3
Ob. 1
Ob. 2
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
S. Sx.
A. Sx.
T. Sx.
B. Sx.
Hn. 1
Hn. 2
Hn. 3
Hn. 4
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Timp.
Perc. 1
Perc. 2
Perc. 3
Pno.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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rit.
"
"
"
"
"
"
"
245
!
!
!
!
!
!
!
!
!!
˙ .f˙ .f
!
!
!
!
!
!
!
!
!
!
!
˙ .˙f
˙ .˙f
˙ .˙f˙ .˙
f˙ .f
!!
!
! with wire brushes?
œf œ œ œ œ œ œ œ œ œ œ œ œæ"
3
3 3
3
!
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
XX
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
play reeds only on cue
play reeds only on cue
play reeds only on cue
play reeds only on cue
P
P
P
P
P
P
P
P
P
P
P
P
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
exhale through the instrument with consonant "s", change breaths as needed, stagger breaths
play key clicks on cue
play key clicks on cue
play key clicks on cue
play key clicks on cue
play key clicks on cue
play key clicks on cue
play key clicks on cue
play key clicks on cue
play key clicks on cue
play key clicks on cue
play key clicks on cue
play key clicks on cue
13
P
p
p
p
p
p
p
p
p
pp
pp
p
p
p
p
F p F
246
Conductor cues woodwind groups sparsely.
wwb æP
marimba
wp
l.v.
bow suspended cymbal gently 3 times, allow enough space between each time
drop out gradually
drop out gradually
drop out gradually
drop out gradually
drop out gradually
drop out gradually
drop out gradually
drop out gradually
drop out gradually
drop out gradually
drop out gradually
drop out gradually
p P p P " p "
ca. 30"
"P
Soar!
92