Download - Copyright by Benjamin Marc Irom 2003
Copyright
by
Benjamin Marc Irom
2003
The Treatise Committee for Benjamin Marc Irom Certifies that this is the
approved version of the following treatise:
THREE TONE POEMS
FOR SMALL JAZZ ENSEMBLE AND STRINGS
Committee:
Jeffrey Hellmer, Supervisor
Donald Grantham
Stefan Kostka
Richard Lawn
John Mills
THREE TONE POEMS
FOR SMALL JAZZ ENSEMBLE AND STRINGS
by
Benjamin Marc Irom, B.A., M.A.
Treatise
Presented to the Faculty of the Graduate School of
The University of Texas at Austin
in Partial Fulfillment
of the Requirements
for the Degree of
Doctor of Musical Arts
The University of Texas at Austin
May, 2003
Dedication
To my parents, Kenneth and Beverly Irom, and my sisters, Melissa and Rachel.
Thanks for being such a supportive family.
To all my teachers who have inspired me in my musical pursuits.
And finally, to my patient and loving wife, Allyson. Thank you for keeping me
motivated throughout this project.
v
Acknowledgements
I would like to thank many people for their guidance over the years. Due
to the invaluable education that I received from Jeffrey Hellmer and Rick Lawn, I
have learned how to be a better musician, composer, and researcher. I would also
like to extend my appreciation to Professors John Mills, Donald Grantham, and
Stefan Kostka for their collaboration on this project.
I must also acknowledge the assistance of several colleagues and
musicians with whom I have worked: Paul White, Jack Cooper, Henry Brun,
Mike Koenning, Tomas Machalek, and Jeremy Brown. I will always appreciate
your talent and friendship.
vi
THREE TONE POEMS
FOR SMALL JAZZ ENSEMBLE AND STRINGS
Publication No._____________
Benjamin Marc Irom, D.M.A.
The University of Texas at Austin, 2003
Supervisor: Jeffrey Hellmer
This treatise includes the individual scores for Three Tone Poems for
Small Jazz Ensemble and Strings, along with an analysis explaining my
compositional process for this work. The music is my own original contribution
to the jazz idiom. Each movement of this work draws from different cultures and
theoretical practices, adapted to create my distinctive composition approach.
My project expresses an affinity for intertwining varied types of music. In
one sense, my musical material springs from a deep respect for and understanding
of Western European classical music. My focus on jazz in the last decade has
educated me in the history and performance practice of the idiom. Additionally,
performing with both Latin jazz and traditional Afro-Cuban ensembles has
provided an impetus for further education in music of the Caribbean.
vii
In order to create a jazz composition, I combined these different styles of
music by employing devices that typify jazz. At the forefront of the orchestra,
Three Tone Poems features the small group instrumentation widely used since the
bebop era of the 1940's. Another device vital to jazz is improvisation, which is an
essential element in this composition. The harmonic vocabulary of the piece is
derived from sonorities common to the genre of jazz. These elements combine to
qualify this piece as a jazz composition.
The three movements, "Combined Forces," "Longing," and
"Festival del Mundo," were conceived as jazz tone poems which relate to one
another structurally, harmonically and rhythmically. My analysis studies each of
these interrelations in the following chapters.
viii
Table of Contents
ChοΏ½apter 1: The Tone Poem in the Context of Jazz ............................................1
Chapter 2: Movement I. "Combined Forces" ......................................................8
Chapter 3: Movement II. "Longing" .................................................................19
Chapter 4: Movement III. "Festival del Mundo" ...............................................28
Chapter 5: Conclusion.......................................................................................45
Chapter 6: Three Tone Poems for Small Jazz Ensemble and Strings (Scores) ....46
Movement I. "Combined Forces"..............................................................46
Movement II. "Longing" ..........................................................................66
Movement III. "Festival del Mundo" ........................................................78
Works Cited.....................................................................................................100
Vita..................................................................................................................101
1
Chapter 1: The Tone Poem in the Context of Jazz
By the middle of the nineteenth century, European classical composers
were searching for new musical paths to express their emotions. Up to this point,
symphonic music relied heavily on standard musical forms (i.e. sonata form,
rondo, theme and variations, etc.), in addition to structural guidelines placed on
harmony and melody. That is not to say that instrumental music by Classical-era
composers such as Franz Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig
van Beethoven lacked in emotional depth. Rather, composers of the Romantic era
expressed feelings in a less abstract fashion, challenging the listeners to conjure
up their own mental images. As harmonic and structural boundaries began to
stretch, a new compositional trend began to emerge that would place more focus
on a programmatic story line or particular moods which composers intended to
convey.
The symphonic poem proved to be a popular stylistic choice
among composers of the Romantic and post-Romantic eras in Western European
classical music. This programmatic musical form is categorized into two distinct
types: descriptive and philosophical.1 The descriptive symphonic poem relies
1 Donald J. Grout and Claude V. Palisca, A History of Western Music, 4th ed., (New
York: W. W. Norton and Company, Inc., 1988) 764.
2
mainly on extra-musical events, while the philosophical draws from general
concepts and emotions which do not correspond to any specific incidents. Several
composers used the idiom to express their personal feelings about their
homelands. In addition, these one-movement pieces are purely instrumental,
devoid of any lyrical text.
In an effort to avoid any correlation to traditional structural aspects of
classical symphonies, Richard Strauss termed his symphonic poems 'tone poems.'
The functionality of the tone poem maintains that "rather than embracing balance
and repetition, symphonic ideas were confined to the development of musical
material, with a predilection for short malleable thematic elements."2
I decided to title my work Three Tone Poems for Small Jazz Ensemble and
Strings because it fulfills the requirements of the aforementioned Romantic genre.
Each movement takes on an emotional character, which is expressed
instrumentally. One can also discern my interest in interweaving music from
around the world.
According to author James Lincoln Collier, "jazz has always swung
between its European and its African side, now emphasizing one, now the other.
Whenever it began to lean too far in one direction it would be tugged back toward
2 Hugh MacDonald, "Symphonic Poem," The New Grove Dictionary of Music Online,
ed. L. Macy (Accessed 13 March 2003), <http://www.grovemusic.com>
3
the middle."3 In my composition, I sought to combine the African-influenced
musical styles from a wide range of countries while borrowing from the Western
European classical tradition. I wanted to show how these distinct genres can work
together in order to interweave variety within each movement of Three Tone
Poems for Small Jazz Ensemble and Strings.
I have incorporated a number of different rhythmic styles into the piece:
West African, Afro-Caribbean, jazz/rock fusion, and swing. My intention was to
present these approaches in a context in which they are not usually heard.
Therefore, my harmonic framework relies greatly on the Western European
classical tradition. Additionally, the instrumental juxtaposition of the traditional
jazz combo with the formal string orchestra is a further example of my concept
for this treatise.
My compositional tendencies as of late incorporate complex harmonies
and rhythmic melodies. In the analysis of each movement, I discuss these two
topics in detail, explaining my preference for unresolved dissonances, lyrical
melodies that at times seem quasi-improvisational or through-composed, and
syncopated rhythms. My goal was to present these elements in way that would be
easily accessible for the audience.
3 James Lincoln Collier, Jazz: The American Theme Song (New York: Oxford
University Press, 1993) 217.
4
My harmonic and melodic vocabulary stems from compositional styles of
some recent, well-known jazz musicians. Several of my sonorities reveal the
influences of Joe Zawinul, Chick Corea, and Vince Mendoza. However, there are
moments throughout the piece reminiscent of the classical tradition, such as
Haydn, Mozart, and Arnold Schoenberg. With respect to rhythmic grooves, I
allude to the drumming innovations of Tony Williams and Peter Erskine.
In the last few years I have taken an interest in Latin-American music. I
have had the great opportunity to perform with several musical groups directed by
Cuban, Puerto Rican, and Mexican musicians. The training that I received from
these experiences sparked my interest in learning more about the wide variety of
Latin-American cultures. My new-found enjoyment of this alternate evolution of
jazz has compelled me to reference these traditions in my piece.
Given that this is a jazz composition, my choice of instrumentation started
with the rhythm section of a small jazz combo: drums, bass, and for a chordal
instrument, the piano. I decided to use the piano rather than the guitar because of
the instrument's wider range and distinct tone color. It also offers greater
percussive possibilities than the guitar, an aspect vital to Latin jazz. Of the many
options for a lead melodic instrument, I chose the tenor saxophone because of its
humanly expressive tone, wide range, and its ability to execute rapid and often
disjunct melodic lines. The vibraphone is used mainly to highlight melodies and
5
to double piano chords, complementing the overall tone canvas. In the final
movement, "Festival del Mundo," the percussive shaker and guiro contribute to
the Latin flavor of the piece.
Once the small group was established, I elected to use an orchestra of
strings for many reasons. When one or more of the individual sections are
divided into two voices, I am able to expand the texture, providing lush
backgrounds and further expressing my complex harmonic language. I also
utilize various effects familiar to the string player, such as tremolo and pizzicato,
which help to create drama and add to the emotional content of each movement.
The strings are often featured in orchestral episodes of contrapuntal activity and
strong, rhythmic punctuation. Lastly, the string orchestra is especially appropriate
because it consistently reminds the listener of the classical tradition within which
this piece is framed.
The balance of all of the instruments used in Three Tone Poems is
particularly important. Traditionally, improvisation is vital to the performance
practice of jazz. Therefore, I set out to feature solos by all timbral members of the
small combo. "Combined Forces" spotlights the bassist during the slow
introduction, followed by the vibraphonist in the faster-paced second section.
"Longing" belongs solely to the tenor saxophonist, who displays virtuosity in both
melodic and improvised roles. Finally, the pianist improvises during the energetic
6
"Festival del Mundo." Although the drums and auxiliary percussion are not
featured soloists, their roles are vital to the aspect of groove, and extremely
integral to the theme of the entire piece. Additionally, the drummer is expected to
interact improvisationally with the soloists, as would normally occur in a typical
jazz setting.
My use of strings addresses a different level of instrumental balance.
Rather than using the string orchestra as a secondary entity, I included several
instances where the strings are featured melodically, often in conjunction with
members of the small group or by themselves. They also lend rhythmic support
to the smaller rhythm section, adding yet another texture to the collective sound.
The individual movements in Three Tone Poems unfold according to a
grand tempo scheme. While this "slow-fast-slow-fast" model dates back to
middle-Baroque period, it was commonly used for much of the symphonic
repertoire of the Classical and Romantic eras in Western art music. The first two
tempos of this traditional model, "slow-fast," occur in the first movement,
"Combined Forces." The second movement, "Longing," is entirely slow, and the
third movement, "Festival del Mundo," is entirely fast. My goal in utilizing this
tempo map was to create a global tension-and-release, providing variety from
beginning to end.
7
In the following analysis, I explain in further detail aspects of structure,
harmony, melody, and rhythmic groove for each movement of Three Tone Poems.
After a brief conclusion, I provide the scores for "Combined Forces," "Longing,"
and "Festival del Mundo."
8
Chapter 2: Movement I. "Combined Forces"
"Combined Forces" fulfills three of the overarching goals that I sought to
achieve for Three Tone Poems for Small Jazz Ensemble and Strings. With respect
to the tempo scheme for the entire piece, my original concept involved four
movements, the first and third utilizing slow tempos and the second and fourth
more fast-paced tempos. Upon realizing the vast amount of source material
available, I was able to combine ideas from the original body of Movements I and
II into a single entity. Thus, "Combined Forces" has a slow introduction that
leads into the faster main body of the movement.
In addition to tempo requirements that I set for this treatise, I also chose to
focus on instrumental balance. Considering that this movement is the opening of
the complete project, I wanted to acquaint the listeners with all of the instruments
in the ensemble. Therefore, "Combined Forces" features solos by the jazz combo
and episodes by the strings, introducing them as if they were characters in a play.
Another compositional concern of "Combined Forces" was how to present
complex melodic and harmonic sonorities in a digestible fashion. The palatable
and steady rock-fusion groove generated by the rhythm section counterbalances
the extreme harmonic dissonance and jagged melodic content.
9
Interestingly, once I completed "Combined Forces," I discerned several
commonalities between my original work and that of some icons in recent jazz
history. The jazz-fusion rhythmic concept that I employ is reminiscent of a style
developed by Tony Williams, particularly during his late 60's and early 70's stint
with groups led by Miles Davis. Another popular jazz band of that era, Weather
Report, elaborated on that style. Both groups also often incorporated blues-based
melodies combined with explorations of extremes in instrumental register and
non-traditional harmonic functions. A contemporary example of this
compositional technique can be heard in the music of John Scofield.4 These
harmonic and melodic characteristics also appear in the first movement of my
work.
The movement opens with three musical events separated by cadenzas for
the bass soloist in the small jazz ensemble. The canonic string episode in mm. 1-
7 provides an ominous lead-in to the first bass cadenza while simultaneously
foreshadowing a vibraphone passage from mm. 50-51 of the second movement,
"Longing." The preparation for the next bass cadenza features a piano
reharmonization of the last four chords of the repeated rhythm section vamp (mm.
42-45), the main harmonic framework for section A. The cellos play a
4 The John Scofield Quartet, What We Do, Blue Note, 1993.
10
countermelody underneath this piano statement. The final orchestral episode in
mm. 13-30 develops material from the first movement's interlude (mm. 67-74). In
this excerpt, instrumental roles are opposite of how they appear later: pizzicato
strings pluck the dissonant chords while the piano responds with a turbulent
melody in octaves. Finally, the strings follow the piano's lead, develop it in
canon, and eventually arrive with the vibraphone to end the interlude's melody.
While the strings and vibes suspend the final chord, the solo bass begins an
ostinato in the new faster tempo to lead us into the main vamp for section A.
The form of the rest of "Combined Forces" is delineated not by key
centers, but by distinct harmonic progressions and motivic characteristics. As
evidenced by the following structural map in Example 2.1, a quasi-sonata form
guides the piece.
11
EXAMPLE 2.1
Measures: 1-30 31-52 53-66 67-74 75-86
Lg. Sections: Introduction Exposition
Subsections: "A" Vamp A Interlude A1
87-93 94-105 106-117 118-128 129-143 144-165
Development Vibes Solo
B C A2 B1 B frag. D
166-182 183-194 195-206 207-212 213-230
Recapitulation
D1 C A2 B1 Coda
Once the opening rhythm section vamp is established in mm. 31-52, the
exposition begins to unfold. After section C has been presented, I brought back
sections A and B to better acquaint the audience with those themes in preparation
for the solo section.
The development of B material in mm. 129-143 does not function exactly
as would a typical development section from a classical sonata form, but it
provides suspense by interrupting the harmonic progression and postponing the
completion of B1, a section that began back in m. 118. In this section, the vibes
12
and strings create a sea of diatonicism, each voice repeating small three- to four-
note motives or fragments of the B melody, all in different rhythmic durations.
This provides a pastoral background for the piano obbligato, eventually serving as
a bridge to the final two bars that complete the B section (mm. 142-143). The
succeeding vibraphone solo over new chords is represented by section D.
Finally, the recapitulation begins with a restatement of the last three
sections of the exposition (C-A2-B1). The coda in mm. 213-230 alludes to the
development of B fragments and the piano obbligato of mm. 129-143.
Most of the harmonic vocabulary in "Combined Forces" consists of root
movements that suggest dominant-tonic functionality, but the chords do not
necessarily resolve in accordance with traditional Western art music. For
instance, in the opening three chords of the rhythm section vamp of section A (m.
39), where G is the tonic, E7(#9) - Fmi9 - G7(#9) demonstrates a subdominant-
dominant-tonic cadence (VI-bvii-I). Likewise, the next four chords that complete
the vamp can be analyzed treating Eb as the tonic: Gmi/Ab - Fmi - G/Eb - Bbmi11
= IV-ii-I-v.
Although several of the chords contain dissonances which cloud their
functionality, the harmony of the B sections progresses in a slightly more
13
traditional fashion, especially from section B1 through the B development (Ex.
2.2):
EXAMPLE 2.2
m. 118 m. 119 m. 120 m. 121 m. 122 m. 123
Bb: 70y _ 70e 1 _ ^ 3 _ %q ! 6 b5 _ 4 ___{___
of 2
m. 124 mm. 125-28 mm. 129-141 m. 142 m. 143 m. 144
!q _ 6 2 (%)_____________ ! _ b& 6 4___
The harmony of section C is much sparser than the previous sections, but
its chord progression follows a more traditional jazz pattern, namely the 12-bar
blues. Aside from the entire section lasting twelve measures (mm. 94-105), it
demonstrates a modified 12-bar blues form. In a standard 12-bar blues, the
progression would be as in Example 2.3.
14
EXAMPLE 2.3
F7 Bb7 F7 C7 Bb7 F7 Gmi7 C7
! $ ! % $ ! (2 _ %)
4 bars 2 bars 2 bars 1 bar 1 bar 1 bar 1 bar
The harmony I used for section C contains all the necessary harmonic
elements of the standard blues form, but in a slightly different arrangement
(Example 2.4).
EXAMPLE 2.4
F7alt. Bb7(#11) (Bmi) Db/C (Db/C - C/Db - B/D)
! $ pass. chd. % pass. chd. trans.
8 bars 1 bar 1 bar 1bar 1 bar
15
Instead of using a "turnaround" (ii-V of Example 2.3) in the last measure of
section C to return to F7alt. (tonic), the chromatic root movement of the passing
chord transition connects smoothly to an E7(#9), the first chord of section A.
The chord changes for the vibraphone solo in section D (mm. 144-165) are
not borrowed from harmonic progressions of any of the previous structural
sections. The way in which these chords resolve from one to another reveals
certain traditional tonal implications. The progression consists of short cadences,
some of which resolve directly to the tonic and others that resolve deceptively.
EXAMPLE 2.5
m. 144 m. 147 m. 148 m. 151 m. 152 m. 154 m. 156 m. 160
Ebmi11 Dalt. - Gmi11 Ab13sus F2/A - D/Bb Balt. Ealt. Bb7sus Ami11
1 % 1 b& %q ! %/% % (b@) 1 ___{___ _____{_____ ________{_________ of G mi of Bb of A mi
mm. 164-65
(G/Ab - E/F - C#/D - Bb/B) - Bb7(#9)
V ____________{__________ turnaround by descending minor 3rds, the last chord being the actual dominant of the progression
16
Instead of using the same turnaround chords at the end of the solo section
with string backgrounds (m. 166-182), I used the last four chords from the section
A chord progression to tie into the recapitulation (beginning in m. 183).
The melodies displayed in "Combined Forces" take on a different
character depending on the sections of the form. I chose to feature the tenor
saxophone in the A sections because the instrument is well-suited to perform
highly disjunct lines combined with irregular fast rhythms. I wanted also to
feature the virtuosic potential of the extreme high range of the tenor saxophone.
The saxophone melodies in these A sections are intended to sound like written-out
improvisations. Some pitches are highlighted by the vibraphonist, mainly to add
color and to reinforce certain jarring dissonances which might otherwise sound
like the saxophonist's mistake. The melodies also contain traces of blue notes,
borrowed from the blues scale, which adds to the Hard Bop/Fusion characteristic
of the movement.
Other references to the blues scale are found in section C (mm. 94-105).
The second violins begin the melody with violas harmonizing a perfect fourth
below. The nature of this melody, particularly through m. 102, is extremely
17
"bluesy" in its involvement of rhythmic syncopation and the pitch-bending
inflections implemented using grace notes.
The main rhythmic feel for "Combined Forces" is a hybrid of a straight
eighth-note jazz/rock fusion combined with a Latin cha-cha groove. The
rhythmic feel serves as a means of distinguishing the formal sections of the
composition. Sections A and B best exemplify this mixture of styles. The
interlude rhythm leans more toward the rock groove, with its heavier backbeat
accented in half-time. On the other end of the rhythmic spectrum, the C section
utilizes a Latin cha-cha, the 2-3 clavΓ© of which is reinforced by the percussive
piano chords. Section D brings back a combination of the two styles underneath
the vibraphone solo. Here, the drums provide a consistent rock/cha-cha while the
bass refers to a more traditional Latin tumbao rhythmic pattern. Various rhythmic
elements displayed in "Combined Forces" will appear again in the final tone
poem, "Festival del Mundo."
In essence, I composed "Combined Forces" with the intent to juxtapose
sophisticated melodic and harmonic content with easily familiar grooves. In
addition, the audience receives an early introduction to the key players in the
ensemble. This movement also accomplishes the first two tempos in the grand
18
tempo scheme (slow-fast). Conveniently, this leads into the slower-paced second
movement, "Longing."
19
Chapter 3: Movement II. "Longing"
The title for the second movement, "Longing," appropriately describes a
variety of aspects incorporated in this piece. The slowness in tempo combined
with the darkness in tone underscores the feeling one might experience in
searching for a peaceful resolution to a turbulent situation. Constantly shifting
key centers and frequent key transpositions of both main themes reflect the
impatience and desperation of someone in anguish. At certain times during the
movement, relief from the somber mood appears attainable. Nevertheless, this
expectation is never completely fulfilled.
I chose to feature the tenor saxophonist in this movement for several
reasons. Of the instruments employed in the jazz ensemble, the saxophone's tone
most closely resembles that of the human voice in timbre, range, and articulation.
Furthermore, the saxophonist's ability to bend the pitch and alter the tone quality
of the sound adds to the humanly expressive nature of the instrument.
As I set out to compose "Longing," I realized that my musical ideas,
specifically in terms of harmony and rhythmic feel, resembled sonorities akin to
one of my favorite contemporary jazz composers, Vince Mendoza. His
compositional style frequently tends to present intricate tonal clusters and
irregular rhythmic and melodic phrasing in an easily accessible format. I wanted
20
to acknowledge some of these more attractive aspects of Mendoza's writing, but
in my own unique fashion.
Structurally, the musical material in "Longing" draws from melodic and
harmonic content of two main sections, A and B. Example 3.1 demonstrates the
unfolding and treatment of these two sections.
EXAMPLE 3.1
Measures: 1-11 11-16 17-33 34-48 48-54
Sections: A Interlude A1 B Transition
Subgroupings andTransposition:
3 statements of 4-bar phrase
55-69 70-81 82-94 94-98 98-102 102-106
A2 A3 B B1 B2 Coda
Simplified"A"harmony transposedup a minor 2nd from
orig. pitch level
Same progressiontransposed downa major 3rd from
orig.
Transposed downa major 3rd from
orig. B pitchlevel
Transposed up aminor 3rd from
orig.
"B" materialtransposed up aperfect 4th from
orig.
21
After a brief piano introduction, the movement opens immediately with
the A section, presented by the saxophone over a sparse and austere rhythm
section accompaniment. Strings subtly enter during this opening section and
continue into the interlude. In m. 17, the A section is stated in full in a more
richly orchestrated texture. The saxophone completes the A section with an
extension in mm. 29-33, returning after the interruption of the piano interlude.
The B section (mm. 34-48) consists of three statements of a four-measure
phrase. The structure of this phrase follows a standard two-measure antecedent
and two-measure consequent. The complete phrase is stated three times, first by
only the piano, secondly by the saxophone, and lastly with a reinforcement by the
violas and cellos. This repeated phrase will eventually serve as a "hook" near the
end of the movement.
A concise orchestral transition functions as a bridge into the saxophone
solo section, beginning in m. 55. In an effort to create a different mood, the
harmonic progression of the A section is transposed up a minor second and
altered slightly to fit a much more simplified metric treatment. The saxophone
solo continues at m. 70, but this time the progression is transposed down a major
second from the original pitch level, suggesting yet another change in mood. In
addition, strings are added as background, and the vibraphone adds
complementary color to the piano by doubling the chords. The intervallic
22
expansion of the key transpositions allude to the harmonic treatment of the
unfolding B theme later in the movement.
From m. 82 to the end, section B serves to complete the movement. The
section begins contrapuntally with the violins playing the melody at the original
pitch level. By m. 86, all strings are employed, and the cellos, piano and
vibraphone share the main theme. In m. 90, the saxophone reappears, stating the
B theme as it did earlier in the movement.
The first of a few different treatments of the B theme begins in m. 94.
First of all, the harmonic progression undergoes a transposition down a major
third from the original B pitch level, an intervallic expansion of the transposition
trend begun during the saxophone solo. The piano and vibes play the melody
while the saxophone solos sparsely over the familiar B section chords. In m. 98,
the phrase is transposed a second time, up a minor third from the original. At this
point, the piano and vibes are joined by the violas and cellos in the statement of
the theme while the saxophone continues to improvise over the chord changes.
The coda, which begins in m. 102, is a manipulation of theme B. It begins with
one last transposition up a perfect fourth, further expanding the intervallic
distance from the B theme's original pitch level. The intensity of the ending is
reinforced by a homorhythmic treatment of the melody, densely harmonized by
the entire ensemble, and energized by the extremely high register of the violins.
23
Much of the harmonic movement in "Longing" consists of brief three- or
four-chord cadences in distantly related keys. For instance, the four cadences that
comprise the harmony of the two main-body A sections are analyzed in Example
3.2. The fifth cadence is only present in A1.
EXAMPLE 3.2
2 _ %r _ 6 Nt _ % _ 6 $r _ !r _ 2 $e _ %e/6 _ $e____{____ ____{____ ____{____ _______{_______
of F# Major of G# Major of E Major of A Major (m. 3 - 4) (m. 5 - 6) (m. 7 - 9) (m. 10 - 11)
%e/6 _ $e _ % _ 6________{_________
of A Major (m. 26 - 27)
Likewise, the harmony of the four-measure B section phrases utilizes short
cadences to lend contrast to the antecedent-consequent construction of the
phrases. However, the two-bar antecedent subphrase is composed of a five-chord
24
cadence, whereas the consequential subphrase makes use of six chords, as
demonstrated in Example 3.3.
EXAMPLE 3.3
$r _ !t _ 6e _ 4e _ 6e 2e _ !e _ $q _ 2e _ %e _ !e __{__ ____{____ ____{____ ____{____
of C Major of A Major of C major of Eb Major (m. 34-36) (m. 36-38)
The harmonic significance of the two subphrases reveals a clear mediant
relationship. The antecedent shifts from C major down to its chromatic
submediant, A major. The second half of the phrase begins again in C major, but
advances to the chromatic mediant key of Eb major. Musically, the melody strives
to find solace in key areas either down or up a minor third in distance from where
it begins. While the ii-V-I cadence in Eb major attempts to bring harmonic
completion to the phrase, the final tonic chord includes a B-natural, or raised fifth,
providing an eerie unresolved dissonance which leaves the listener feeling
incomplete. Because a strong resolution is expected after so much harmonic
25
unrest, the imperfection of this chord functions appropriately in regard to the
motivation of the movement's title, "Longing."
On a more local harmonic level, many of the vertical sonorities consist of
closed-position diatonic clusters (Example 3.4).
EXAMPLE 3.4
&
?
wwwww
##
w#
ww
ww
wb
m. 36, beat 1 m. 38, beat 1
Often these clusters contain one or two foreign pitches which are unrelated
to the chord root. Providing this thread of dissonance adds to the unsettling
character and overall mood of the piece.
Essentially, the melodic content of "Longing" relies on small, lyrical
gestures rather than long, flowing lines. Sometimes these miniature components
correspond to one another in length and rhythmic treatment, yet their contour is
26
different. The opening saxophone line perhaps best exhibits the segmented nature
of this melodic construction. In mm. 2-4, the overall shape begins on Db and ends
up a perfect fourth on Gb. The pickup to the next phrase embellishes the accented
starting pitch, E, from which the melody drops to finish on C, a major third
below. Linearly, the second of these subphrase shapes is an inversion of the first,
making it a sufficient complement. Note that the overall length and rhythmic
design of both motives are almost identical. As the A section progresses, these
melodic fragments increase in length and range, intensifying the emotional
temperament of the theme.
The four-measure "hook" phrase of section B is also made up of two
smaller subphrases. Furthermore, these smaller two-bar motives are related in
length and rhythm, and their complementary function can best be labeled
antecedent and consequent respectively. The two pieces work together in a
generally stepwise fashion, ascending as if seeking an uplifting result.
The introspective nature of "Longing" is supported in essence by various
aspects of the rhythm section. The drummer's role in the A sections is quite
sparse, providing a whisper of brushwork on the snare drum while maintaining a
strong, rhythmic quarter-note pulse on the ride cymbal. The rhythmic pulse lends
continuity to the constantly shifting time signatures brought about by the
27
unevenness of the melodic content. This dirge-like groove is fortified by highly
sustained bass notes and piano chords. In contrast to other sections in the
movement, as well as to much of the first and third movements in Three Tone
Poems, the changes in harmony in section A occur on beats rather than in
syncopation.
Once the B theme is established by the piano, the drums enter with a new,
reggae-inspired groove. At this point in the piece, the movement and flow of this
new feel amplifies the rhythmic intensity in conjunction with harmonic
anticipation of beats one and three. The piano/vibraphone accompaniment
leading into and continuing through the saxophone solo (mm. 53-79) takes full
advantage of the growth in syncopation, now anticipating even the upbeats within
each measure.
"Longing" explores profound human sentiments while utilizing the
saxophone as a representation of this very personal search for understanding.
Overall, the rhythmic feel of "Longing" is kept intentionally simple and quite
accessible for most listeners, cleansing the palate in preparation for the
rhythmically intense final movement, "Festival del Mundo."
28
Chapter 4: Movement III. "Festival del Mundo"
The final movement of Three Tone Poems, "Festival del Mundo," exists
for a variety of reasons. Most evident is its completion of the grand tempo
scheme, exhibiting energetic, fast-paced rhythmic grooves. In addition, the
pianist is the featured soloist, the last timbral member of the small group to be
spotlighted. This fulfills my desire to provide a variety and balance of
improvisers to the entire composition.
Another highlight of this movement is auxiliary percussion, adding
another level of rhythmic texture to complement the drums. I felt these
instruments were necessary to authenticate the activity that is vital to the Latin-
American styles used in this music. While the improvisational focus in this
movement involves neither the drummer nor the auxiliary percussionists, their
efforts are quite noticeable in that they play such an integral and dynamic role in
Caribbean-inspired rhythms.
This movement relates to the preceding movements in several interesting
ways. With respect to the similarities between this and "Combined Forces," the
most outstanding characteristic in common is their incorporation of Afro-
Caribbean rhythmic styles. Example 4.1a illustrates some of the drum and
29
percussion styles, while Example 4.1b demonstrates a common Afro-Cuban
tumbao bass pattern, both of which are used in this piece.
EXAMPLE 4.1a
Afro-Venezuelan (m. 2) Salsa tumbao w/ backbeat (m. 56)
Traditional swing (mm. 70-71) Afro-Cuban 12/8 (m. 206)
EXAMPLE 4.1b
Bass tumbao (mm. 187-88)
30
"Festival del Mundo" also includes a repeated vamp as the foundation for
its A section, much as in "Combined Forces." In both examples, melodies are
written to fit over the revolving harmonic pattern. And although both vamps
sound quite different from one another, they are similar in their sophisticated
harmonic construction.
While the melodies written atop the first movement's A section vamp are
intended to sound virtuosic and improvisational, the melodic content over the A
section vamp of "Festival del Mundo" is simple and folk-like. By itself, this
twelve-chord vamp seems disjointed, but when the melody is brought into play
over this vamp, those same twelve chords become meaningful in how they relate
to one another.
The Caribbean-inspired grooves of "Festival del Mundo" also relate to the
Jamaican reggae rhythmic feel of the second movement. However, what is most
similar to the second movement is the third movement's melodic phrase
construction. Particularly in comparison to the second movement's B theme,
almost all of the melodic content in "Festival del Mundo" consists of clear,
concise four-bar phrases, akin to Classical era periods of the likes of Haydn and
Mozart. As one would expect to find in melodies by these composers, there is
noticeable evidence of antecedent-consequence phrasing in this piece. Also, the
lyricism of theme D is quite similar to the infectious B theme hook of the second
31
movement. Both examples churn repeatedly from their final presentation to the
end. My ultimate goal in writing theme D was to complement the movement's
exciting rhythmic intensity in the hopes that the audience is left remembering the
tune long after the performance is completed.
I had two main Latin jazz composers in mind when I began to consider
this piece. I was particularly inspired by a work composed by a lesser-known
Venezuelan musician, Pedro Eustache. In his "Strive for Higher Realities"
Eustache exploits the traditional African musical practice of call and response.5
Additionally, his Afro-Venezuelan rhythmic treatment appealed greatly to me.
Chick Corea has always remained a significant influence on my musical interests,
especially in terms of his rhythmic concept and harmonic vocabulary. Like
classically-trained Corea, I attempted to blend certain rhythmic traditions of
Latin-American with Western European classical harmonic and structural
practices. On the modern classical side, Arnold Schoenberg's developments in
serial pitch construction inspired me to employ a twelve-tone row as a basis for
the A section vamp. Thus, my influences traverse various geographical and
historical musical traditions that do not regularly come into contact with one
another.
5 Pedro Eustache, Strive for Higher Realities, MMP, 1996.
32
The global structure of "Festival del Mundo" unfolds in much the same
fashion as does "Combined Forces" (Example 4.2).
EXAMPLE 4.2
Measures: 1-13 14-17 18-21 22-26 26-29
Lg. Sections: Introduction A A1
Subsections anddetail:
12-chord A sectionvamp and str.
bkgds.
call1 response call2 response
30-42 43-46 47-50 51-54 55-69 70-127
B Vamp A C Piano Solo
Different stringvariation
call1 response String bkgds.second timethrough form
128-142 143-150 151-179 179-186 187-190 191-194
C B Development D
Foreshadowstheme D, uses B
fragments
2 statements oftheme D
Piano soloover D
harmony
Solo cont. over3rd "D"
statement.
195-198 199-205 206-215
Coda
Solo cont. overstring bkgds.
4th statement oftheme D
Based on "D",change of groove
33
Instead of a slow introduction, the third movement begins immediately
with a vivacious twelve-chord rhythm section vamp. Gradually, strings enter on a
rhythmic ostinato, blossoming from a central unison pitch into a richly expanded
sonority. Finally in m. 14, after the orchestral inauguration, the saxophone
presents the first 4-bar summons, labeled call1 (Example 4.3), over the now-
familiar harmonic vamp.
EXAMPLE 4.3
call1 (tenor saxophone), mm. 14-17
response (strings), mm. 18-21
call2 (tenor saxophone), mm. 22-26
34
The strings respond with two 2-bar folk-like statements (labeled
response), each voice at the same pitch level, but comfortably in its own range.
Although their harmonic rhythm is borrowed from the vamp, the chords
underneath the response stray from the vamp's harmonic pitch pattern. In m. 22,
the saxophone initiates another call-and-response section using a different,
slightly elongated, melody (call2). Instead of the typical even-numbered phrase
structure of calls and responses, call2 is five measures in length and overlaps the
second orchestral response, identical to the first response.
Due to the frequency of the chromatically shifting harmony in the A
sections, I felt it necessary to introduce a contrasting theme based on simpler
chords moving at a much slower pace. Therefore, only four chords govern the
much more thickly textured B section (mm. 30-42). The basses introduce pedal
point for the first time in the piece while the measured tremolo, in the other string
voices, maintains rhythmic intensity. And although the saxophone continues to
lead the ensemble melodically, pairs of string voices trade off while reinforcing
the B theme.
Following the final A section, a new theme is introduced in section C
(mm. 55-69). Again, a pedal point is used during this theme to slow down the
harmonic flow, providing a moment of relief from the harmonically active A
sections. Melodically, the structure of the C theme is that of an asymmetrical
35
period. The first four measures, introduced again by the saxophone, demonstrate
the first antecedent, whose cadence ends on an incomplete tonic chord, E major,
in m. 59. The second antecedent phrase begins exactly as the first, but it cadences
on a suspended B-dominant chord, akin to a half cadence. Aside from being six
measures in length, the third and final consequent phrase of this period is also
transposed down a perfect fifth to A major. Furthermore, its resolution to D
major in m. 69 provides the strongest cadence of the three phrases. Not only does
the penultimate chord function as a passing dominant, but the final chord settles
on the root in the bass.
As a vehicle for the pianist's improvisation at m. 70, the harmonic pattern
from section A is used for the solo changes. The sonority of these chords is
somewhat altered by the underlying pedal point in the bass. Also, the chords
unfold at a slower rate than they did in the original A sections, contributing to the
ease of the improvisation. Beginning in m. 102, the quicker harmonic rhythm of
the solo changes combined with the energy of the walking bass serve to intensify
the emotional character of the piano solo.
After a brief recapitulation of themes C and B respectively, theme D is
introduced. Up to this point, the saxophone has acted as group leader, instigating
themes A, B, and C. In m. 157, it is the second violins and violas that introduce
theme D, but in a drastically different fashion than the saxophone initiations.
36
Because theme D does not reach full potential until m. 179, the strings present a
foreshadowing development of the theme in rhythmic augmentation (Ex. 4.4). A
piano obbligato plays in counterpoint to the strings as they trade fragments of
what will eventually become the complete D theme.
EXAMPLE 4.4
37
In mm. 172-179, a developmental canon using a B theme fragment builds
excitement into the first real statement of theme D by the piano (Ex. 4.5).
38
EXAMPLE 4.5
39
From this point to the end, theme D undergoes four complete statements.
The pianist acts as the leader this time, initiating the new tempo for this theme.
Afterward, the piano improvises over the eight-chord harmony of the D section
while the original melody is played by the saxophone and supported by
contrapuntal string backgrounds.
At last, beginning in m. 206, the coda appears. The saxophone, piano and
violins share the closing theme which, not surprisingly, unfolds out of almost one
complete statement of the D theme. The character of this ultimate D statement is
further enhanced by the new Afro-Cuban 12/8 rhythmic groove. The last two
measures feature an exciting homorhythmic tutti line that branches off into
contrary motion, ending on a fiery, expansive final chord.
The harmonic vocabulary of "Festival del Mundo" varies in function and
sophistication throughout the movement. Perhaps the most harmonically complex
moments in the piece appear in the opening vamp and the A sections that utilize
the vamp. As the movement progresses, harmonic movement slows, and chord
resolutions begin to make more sense from a traditionally classical standpoint.
Although it may not be instantly evident, the opening vamp's random-
sounding chord progression is best explained in terms of the technique used to
derive the chords. My original intent for this vamp was for it to sound chaotic by
40
itself, but once the saxophone melody enters at the first A section, the harmonic
progression is given new meaning. In order to achieve my goal, I turned my
attention to the serial twelve-tone approach popularized mainly by composers
such as Arnold Schoenberg, Anton Webern, Pierre Boulez, and Milton Babbitt.
Rather than follow through with the method to the extent that Boulez and Babbitt
did, totally organizing rhythms, dynamics and other musical parameters, I used
twelve-tone pitch organization merely to create a bass line and chord melody.
The pitch material sandwiched in between these two voices is not derived from
the matrix that applies to the primary tone row.
Since I developed the bass line first when constructing the vamp, I labeled
the row P0 (Example 4.6).
EXAMPLE 4.6
P0 of Vamp and A Section Tone Row
41
From this initial set of chromatic pitches, I was able to create a matrix
which revealed all of the available variations of the primary row. It was from this
matrix that I chose RI9 to serve as the chord melody (Example 4.7).
EXAMPLE 4.7
RI9 of Vamp and A Section Tone Row
Of the 47 available row variations from which to choose, I selected RI9
because it suggested many harmonic possibilities in filling out the vertical space.
I also found it intriguing that, although it is not a forward inversion of the primary
row, RI9 works well contrapuntally, providing ample opportunity for contrary
motion when juxtaposed over the primary row.
Once the outer voices were established, I experimented with different
chords for each note in sequence, trying to avoid blatant tonal relationships from
one chord to the next, thus enabling a more randomized sound. The configuration
of these chords consists of mostly four- to five-note diatonic clusters, sonorities
42
similar to those in the two previous movements. Since I had already settled on an
Afro-Venezuelan groove, I found a rhythm in which these chords could unfold.
While the four-bar length of the vamp implies a level of regularity, the twelve
chords are not divided proportionally into four groups of three. The irregular
harmonic rhythm that I composed creates a grouping of 3-2-4-4.
At the beginning of each A section, I wanted the saxophone calls to be
simple and folk-like. Hence, the challenge was to accomplish this goal by
deriving melodies that fit over the sophisticated chord progression. I started with
lyrical rhythmic ideas, and the triadic contour of the melodies began to take form.
Similarly, I wanted the group responses to be even simpler than the
saxophone calls. I limited the harmony to three chords which suggest a cadence
on B minor (mm. 18-21). For variety in color and shape, the bass note of the
subdominant-function chords alternates between F and Eb. The superimposed
orchestral melody is derived from the E mixolydian mode, which works equally
well in B dorian over the B minor cadences.
The tumultuous B section, in mm. 30-42, utilizes moments of harmonic
tension and pedal point to create excitement and provide contrast to the much
more blissful A sections. Not only are just four chords present, but the harmonic
rhythm of these chords is drastically slower in duration.
43
Section C harmony is more traditionally tonal than the harmonic
progression of section B. The melody and chords alike are vital to the
asymmetric period construction of the section. The slight dissonance in each
sonority is achieved by the use of a foreign bass note, or a lower-voice pitch that
does not relate diatonically to the upper structure chord. As in section B,
moments of pedal point are used underneath this harmonic movement giving the
illusion that harmonic time is suspended or impeded.
The harmonic foundation for the piano solo (mm. 70-101) is a
combination of two elements from different preceding sections. The solo changes
are derived from the A section vamp chords. However, the bass maintains even
longer episodes of pedal point, the antithesis of what was played under these
chords originally. While not mathematically exact, the harmonic rhythm of these
solo changes is augmented from the rate that the chords originally unfold in the A
section vamp.
Finally, the chord progression underneath the hypnotic D theme is, by
comparison, perhaps the most classical in nature. When analyzed in the key of C
minor (Example 4.8), the chords hover around the dominant.
44
EXAMPLE 4.8
c mi: 70e _ 1 70y/% _ %w #w _ %q 70e/% _ %e
After several reiterations of this D theme, the coda (mm. 206-215) briefly
moves away from C minor as the climax intensifies. A final V - i cadence closes
out the piece with a flourish.
In short, the most outstanding characteristic of "Festival del Mundo" is the
celebration of music from distinct traditions. From my inclusion of Western
African call-and-response to neo-Classical harmonic forms and modern twelve-
tone technique to the Latin-influenced pulsating percussive rhythms, the final
movement of the Three Tone Poems uniquely blends musical elements developed
over many centuries. In keeping with my overall tempo scheme, "Festival del
Mundo" also ends the piece with an exuberant spirit.
45
Chapter 5: Conclusion
Throughout this analysis I have elaborated on four key aspects for each of
the movements in Three Tone Poems for Small Jazz Ensemble and Strings. I
discuss in detail the formal structure, harmonic tendencies, melodic style, and
rhythmic treatment for all three pieces in an effort to demonstrate how they
interrelate. I also address the issue of instrumentation, especially in terms of the
interaction between the string orchestra and the small combo, as well as the
distribution of improvised solos. The overall tempo scheme further reflects my
overarching goal to maintain proportion in this work.
In order to express the many facets of my musical training, I chose to
incorporate several varying cultural and theoretical musical styles. Despite the
geographic, temporal, and philosophical differences, I hoped to achieve a unique
sound that synthesizes disparate traditions. I anticipate that my own
compositional voice will contribute to these musical legacies.
46
Chapter 6: Three Tone Poems for Small Jazz Ensemble andStrings (Scores)
MOVEMENT I. "COMBINED FORCES"
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47
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48
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&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
25
β
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25
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28
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&
&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
q»‘β’Β§
q»‘β’Β§
q»‘β’Β§
31
31
31
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36
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?
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&
&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
37
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&
&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
43
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&
&
B
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T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
48
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p
w
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52
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51
&
&
?
?
Γ·
&
&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
53
53
53
β
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.
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j
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.
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j
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E7(#9) Fmin G7(#9)
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j
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54
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55
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Γ·
&
&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
58
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58
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60
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?
Γ·
&
&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
62
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&
&
?
?
Γ·
&
&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
67
67
67
β
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f
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n
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68
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128
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129
129
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?
?
T Sax.
Bass
Dr.
Vibes
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Vln. II
Vla.
Vlc.
Cb.
Pno.
(β)133
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133
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.
β
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134
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134
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135
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j
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135
w
136
β
Ε
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136
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β
136
β
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P
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P
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w
136
wb
137
β
ΕbΕ Ε
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137
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ΕΕ Εb
β
137
β
Εb Ε
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137
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β
138
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138w
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?
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&
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B
?
?
4
2
4
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4
2
4
2
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2
4
2
4
2
4
2
4
2
4
2
4
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4
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.
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
(β)
139
β
Ε ΕΕ Ε
ΕΕ
Ε
139
Ε ΕΕ Ε
ΕΕ
Ε
β
139
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140
β
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140
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3
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β
140
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Εb Ε ΕΕ Ε Ε
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141
β
Ε Ε Εb Ε
3
Ε Ε Εb
3
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141Ε Ε Εb Ε
3
Ε Ε Εb
3
Ε Ε Εb
β
141p
cymbal roll
|
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Εb Ε ΕΕ Ε Ε Ε
Εb
Εb Ε. Ε
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Ε.
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141
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.
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142
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J
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142
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Γ
Λb Λb
142f
| |
w
psub.
w
psub.
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psub.
Λ Λb
psub.
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142psub.
Λb Λb
143
.ΕΕ
β°J
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β
143
β?
.Ε
J
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143
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β°J
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>
β°
j
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β
.Ε
J
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J
Ε#>
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J
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J
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143
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144
144
144
F
F
F
w
β β β β
F
Ebm11
β
.Εb J
Εb .Ε
J
Ε
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β β β β
Light Latin-rock
β β β β
Solo (vibes)Ebm11
1st X only.Λ
β°J
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β° J
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1st X only.Λ
β°J
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1st X only.Λb
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1st X only.Λb β°
J
Ε
^
59
&
&
?
?
Γ·
&
&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
145
β
β β β β
145
β
.Εj
Εb Ε
(continue similar latin style)
Εb
145
β β β β
β β β β
β
β
β
β
145
β
146
β
β β β β
146
β
β β β β
146
β β β β
β β β β
β
β
β
β
146
β
147
β
.Γ
J
Γ .Γ
J
Γ
Dalt Gm11 Ab13sus
147
β
.Γ
J
Γ .Γ
J
Γ
Dalt Gm11 Ab13sus
147
β β β β
.Ε
j
Ε .Ε
j
Ε
.Γ
J
Γ .Γ
J
Γ
Dalt Gm11 Ab13sus
β
β
β
β
147
β
148
β
β β β β
148
β
β β β β
148
β β β β
β β β β
β
β
β
β
148
β
149
β
β β β β
149
β
β β β β
149
β β β β
β β β β
β
β
β
β
149
β
150
β
β β β β
150
β
β β β β
150
β β β β
β β β β
β
β
β
β
150
β
&
&
?
?
Γ·
&
&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
151
β
| |
F2/A D/Bb
151
β
| |
F2/A D/Bb
151
β β β β
Λ Λ
| |
F2/A D/Bb
β
β
β
β
151
β
152
β
β β β β
Balt
152
β
β β β β
Balt
152
β β β β
β β β β
Balt
β
β
β
β
152
β
153
β
β β β β
153
β
β β β β
153
β β β β
β β β β
β
β
β
β
153
β
154
β
β β β β
Ealt
154
β
β β β β
Ealt
154
β β β β
β β β β
Ealt
β
β
β
β
154
β
155
β
β β β β
155
β
β β β β
155
β β β β
β β β β
β
β
β
β
155
β
156
β
β β β β
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156
β
β β β β
Bb7sus
156
β β β β
β β β β
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β
β
β
β
156
β
60
&
&
?
?
Γ·
&
&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
157
β
β β β β
157
β
β β β β
157
β β β β
β β β β
β
β
β
β
157
β
158
β
β β β β
158
β
β β β β
158
β β β β
β β β β
β
β
β
β
158
β
159
β
Ε β°
J
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159
β
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J
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159
β β β β
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j
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>
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J
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β
β
β
β
159
β
160
β
β β β β
160
β
β β β β
160
β β β β
β β β β
β
β
β
β
160
β
161
β
β β β β
161
β
β β β β
161
β β β β
β β β β
β
β
β
β
161
β
162
β
β β β β
162
β
β β β β
162
β β β β
β β β β
β
β
β
β
162
β
163
β
β β β β
163
β
β β β β
163
β β β β
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163
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T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
164
β
.Γ
J
Γ Γ Γ
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164
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164
β β β β
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164
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165
β
J
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165
β
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Bb/B Bb7(#9)
165
β β β β
j
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J
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166
166
166
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β β β β
Ebm11
β
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β β β β
cont. Latin feel
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p
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>
p
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j
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p
J
Ε
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β
β
167
β
β β β β
167
β
β β β β
167
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w
w
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j
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p
J
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167
β
168
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β β β β
168
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168
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j
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Ε
168
β
61
&
&
?
?
Γ·
&
&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
169
β
.Γ
J
Γ .Γ
J
Γ
Dalt Gm11 Ab13sus
169
β
.Γ
J
Γ .Γ
J
Γ
Dalt Gm11 Ab13sus
169
β β β β
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j
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j
Ε
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J
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J
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Dalt Gm11 Ab13sus
.Εb
>
J
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>
.Ε
J
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>
.Ε
>
j
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J
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>
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>
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>
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169
β
170
β
β β β β
170
β
β β β β
170
β β β β
β β β β
w
.Ε
j
Ε
>
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>
.Ε
J
Ε
>
Ε Εb
>
w
170
β
171
β
β β β β
171
β
β β β β
171
β β β β
β β β β
Ε Ε
>
ΕΕb
>
Ε
w
w
Ε Εb>
ΕΕ
>
Ε
171
β
172
β
β β β β
172
β
β β β β
172
β β β β
β β β β
wb
w
Λn Λb
w#
172
Γ
Λ#
173
β
| |
F2/A D/Bb
173
β
| |
F2/A D/Bb
173
β β β β
Λ Λ
| |
F2/A D/Bb
w
w
Λ Λn
Λ Λ#
173
Λn Λb
174
β
β β β β
Balt
174
β
β β β β
Balt
174
β β β β
β β β β
Balt
w
3
Ε ΕΕ Λ
3Εb Ε
Ε Λ
w
174
wb
&
&
?
?
Γ·
&
&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
175
β
β β β β
175
β
β β β β
175
β β β β
β β β β
J
Ε .Εb>
Λ
.Λβ°
j
Ε
.Λβ°
J
Εb
J
Ε .Ε>
Λ
175
J
Ε .Ε>
Λb
176
β
β β β β
Ealt
176
β
β β β β
Ealt
176
β β β β
β β β β
Ealt
Λ
3Ε Ε
Εb
w
Λ
3Ε Ε
Ε
Λ
3Λ Ε
176
Λb
3Ε
ΕΕ
177
β
β β β β
177
β
β β β β
177
β β β β
β β β β
Λb Λb
Λ Λ
Λ Λ
w#
177
w
178
β
β β β β
Bb7sus
178
β
β β β β
Bb7sus
178
β β β β
β β β β
Bb7sus
w
.Ε
j
Ε
>
Ε
Ε
>
.Λb Εn
.Ε
J
Εb>
Ε Εb>
178
wb
179
β
β β β β
179
β
β β β β
179
β β β β
β β β β
w
j
Ε
.Ε
>
Λ
Λ Λb
J
Ε.Ε
> Λb
179
w
180
β
β β β β
180
β
β β β β
180
β β β β
β β β β
w
w
w
w
180
w
62
&
&
?
?
Γ·
&
&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
181
β
.Γ
J
Γ β° Γ
J
Γ
G/AbF m9 G/EbBbm11
181
β
.Γ
J
Γ β° Γ
J
Γ
G/AbFm9 G/EbBbm11
181
.Γ
J
Γ β° Γ
J
Γ
.Γ
J
Γ β° Γ
J
Γ
G/AbF m9 G/EbBbm11
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J
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.
J
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f
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j
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J
Ε
>
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.
J
Εb
>
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.Ε
J
Εb
β°
Ε.
J
Ε
>
181f
.Εb
J
Εβ° Εb
. j
Εb
>
182
β
|
182
β
|
182
β β β β
fill
|
Ε
J
Ε
β°
Ε Εb Ε Ε Ε Ε Εb Εb
J
Ε
β°
Ε
Ε Εb Ε Ε Ε Ε Εb Εb
j
Ε
β° Ε
w
Λ
J
Εβ°
Ε Εb Ε Ε Ε Ε Εb Εb
182
w
183
183
183
β
Ε ΕΕ
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b
b
.
ΛΛ
ΛΛ
Falt
Εn
β°
j
Ε ΕΕb Ε
Εnβ° J
Ε ΕΕb Ε
1/2 Time Cha-Cha Rock
ΒΏ ΒΏ L ΒΏ ΒΏ L
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Sn. Ε
Ε
p
ΕΕ
ΕΕ
b
b
.
ΛΛ
ΛΛ
β°
pizz.
p
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Ε
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Ε
f
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^
Ε
^
Ε
f
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^
Ε
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pizz.
F
Ε
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184
β
.
.
.
.
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b
b
j
ΕΕ
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.
.
.
.
ΕΕ
ΕΕ
j
ΕΕ
ΕΕ
184
Ε
β°J
Ε Ε
Ε Ε
Ε
β°J
Ε Ε
Ε Ε
184
ΒΏ ΒΏ L ΒΏ ΒΏ L
Γ Ε β°J
Ε
Ε
.
.
.
.
ΕΕ
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b
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193
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Dr.
Vibes
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Vln. II
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211
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Ε .Ε j
Ε
214
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J
Ε
J
Ε .Ε
Λ
ΛΛ
β°
.
.
.
Ε
ΕΕ#
214
Λβ°
.Ε
Λβ°
.Ε
214
β β β β
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Ε ΕbΕ
Ε ΕΕ Ε
Λ
β°
.Ε>
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.Ε
J
Ε
J
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.Ε
J
Ε#
J
Ε .Ε
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Ε Ε# Ε Ε Ε Ε Ε
214
Λβ°
.Ε
215
.Ε
J
Εb Ε
Ε Ε Εb
.
.
.
Λ
ΛΛ
# Ε
ΕΕ
ΕΕ
ΕΕ
bb
FM7(+5)/A Ab7(#11)
215
.Λ Ε Εb
Λ .Ε
J
Εb
215
β β β β
β°
j
Ε
Ε Ε ΕΕ Ε
Ε Ε Ε
.Ε#>
J
Ε>
Ε
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.Ε#
>
j
Ε
>
Ε
Ε Ε Εn
>
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J
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Ε
Ε Ε Εb
>
.Ε
J
Ε ΕΕ Ε
Ε
Ε# Ε Ε Ε Ε Ε Εn
Ε Ε ΕΕ Ε
Ε Ε Εb
215
Λ .Ε
J
Εb
216
w
ww
ww
216
w
w
216
β β β β
fill
w
w
w
w
w
w
w
216
w
65
&
&
?
?
Γ·
&
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
β217
Ε
F
ΕΕ
.Ε
J
Ε.
ΛΛΛ
Λ
b
Λ
ΛΛ
b
Gm7 Eb/Ab
217Λ Λb
Λ Λb
217
β β β β
Ε
F
ΕΕ
.Εb
j
Ε.
Ε
F
ΕΕ .Εb
J
Ε.
Ε
F
ΕΕ .Εb
J
Ε.
Ε
F
ΕΕ
.Εb
J
Ε.
Ε
F
ΕΕ .Εb
J
Ε
.
217
F
Λ Λb
218
.ΕΕ
β°J
Ε>
.
.
.
Ε
ΕΕ#
j
ΕΕ
ΕΕ
b
bb
D/Bb Ebm11
218
.ΕbΕb
β° j
Ε
.ΕbΕb
β°
J
Εb
218
slight rit.
.ΕΕ
β°J
Ε
>
β°
j
Ε
>
.ΕΕ
β°
J
Εb
>
.ΕΕ
β°J
Εb>
.ΕΕ
β°
j
Ε
>
.Ε
Ε
β°
J
Εb
.ΕΕ
β° J
Εb>
.ΕΕ
β°j
Εb
>
.Ε
Ε
β° J
Εb
218
.ΕbΕb
β°
J
Εb
219
w
ww
ww
b
bb
219w
wb
219
β
w
dim.
wb
dim.
wwb
dim. poco a poco
wb
dim. poco a poco
Εb ΕbΕ Ε Ε
Ε
Εb ΕΕb Ε Ε
Ε
219dim. poco a poco
wb
220
Λ
Γ
ww
ww
220w
&
w
220
β
Λ Γ
w
ww
Ε
Εb Λ
Εb ΕbΕ Ε Ε
Ε
Εb ΕΕb Ε Ε
Ε
220
w
221
β
Ε
3
β°
f
Ε Εb
3
Εb Εb Ε Ε
221
Ε
3β°
Ε Εb
3
Εb Εb Ε Ε
w
221
β
β
w
ww
.ΛΕ
Εb ΕbΕ Ε Ε
Ε
Εb ΕΕb Ε Ε
Ε
221
w
222
β
Ε
Ε
Λ
222
ΕΕ
Λb
w
222
β
β
w
ww
Λ Λb
Εb ΕbΕ Ε Ε
Ε
Εb ΕΕb Ε Ε
Ε
222
w
&
&
&
?
Γ·
&
&
&
B
?
?
T Sax.
Bass
Dr.
Vibes
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
(β)223
β
Ε Ε Εb .Λ
223
Ε Ε Εb .Λ
β
223
β
β
β
β
ΕΕ Λ
Εb ΕbΕ Ε Ε
Ε
Εb ΕΕb Ε Ε
Ε
223
w
224
β
w
224
w
β
224
β
β
β
β
.Λ Εb
Εb ΕbΕ Ε Ε
Ε
Εb ΕΕb Ε Ε
Ε
224
w
225
β
.Λ
Ε
225
.Λ
Ε
β
225
β
β
β
β
ΛΛ
Εb ΕbΕ Ε Ε
Ε
Εb ΕΕb Ε Ε
Ε
225
w
226
β
β
226
β
β
226
β
β
β
β
ΕΕ Λ
Εb ΕbΕ Ε Ε
Ε
Εb ΕΕb Ε Ε
Ε
226
w
227
β
β
227
β
β
227
β
β
β
β
w
Εb ΕbΕ Ε Ε
Ε
Εb ΕΕb Λ
227
w
228
β
β
228
β
β
228
β
β
β
β
w
Εb ΕbΕ Ε Ε
Ε
w
228
w
229
β
β
229
β
β
229
β
β
β
β
w
Εb.Λb
w
229
w
230
β
β
230
β
β
230
β
β
β
β
w
U
w
U
w
u
230
w
U
66
MOVEMENT II. "LONGING"
&
&
?
?
Γ·
&
&
&
B
?
?
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
Tenor Saxophone
Acoustic Bass
Drum Set
Vibraphone
Violin I
Violin II
Viola
Violoncello
Contrabass
Piano
β
p
Ε# Ε#
β
β
β
β
β
β
β
β
β
qΒ»βΒ’
qΒ»βΒ’
qΒ»βΒ’
β
Ε# Ε Ε#
Λ#.
.
Ε
Ε
#
#
J
Ε
Ε
#
#.
Ε Ε Εn Ε
.
.
.
ΕΕ
Ε
#
#
J
Ε
Ε
ΛΛ
Λ
n
n
#
β
β
β
β
β
β
β
β
2
Γ Ε
F
Εb
Ε
Ε
Ε
Λ
Λ
w
w
2
w
w
#
Ε
Ε
Ε
#
#
Λ
Λ
Ε
p
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2
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>
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Ε
p
Ε Λ
β
β
β
β
2
β
3
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β° J
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Ε
Ε
#
#
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Λ
#
#
3
.
.
.
.
ΛΛΛΛ
#
##
ΕΕΕΕ
#
##
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Ε#
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3
Ε Ε Ε Ε
Brushes
Ε Ε Ε Ε
Ε
Ε#
Λ#
β
β
β
β
3
β
4
.Λb
β° β
Εb Ε
Γ
Λ
Λ
#
#
4
w
ww
#
##
.Λ#
Ε#
4
β
Γ Λ#
β
β
β
β
4
β
5
Λb .Ε
Ε
Ε
Λ
Λ
5
ΛΛΛ
#
#n
Ε
ΕΕ
b
bb
Λ Εb
5
β β β
Continue straight ballad style
Ε Λ
β
β
β
β
5
β
6
.Εβ°
β
6
ΛΛΛ
n
nb
Λ
6
β β
β
β°
p
j
Ε
3
Ε Εb Ε
β°
p
j
Ε
3
Ε Εb Ε
β
β
6
β
7
β° J
Ε# .ΕΕ#
3
Ε
Ε# Ε
Ε
Ε
Ε
Ε
Ε
#
#
7
Λ
ΛΛ
n
nn
ΕΕ
ΕΕ
#
#
Ε
Ε#
Ε#
7
β β β
Ε Ε
Ε#
.Ε#
j
Εn Ε Ε#
.Ε#
j
Εn Ε Ε#
β
β
7
β
&
&
?
?
Γ·
&
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
T. Sx.
Bass
D. S.
Vibes
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
8
Λ#β°
J
Ε#
Ε
Ε
Λ
Λ
#
#
8
.
.
.
ΛΛΛ
#
#
.Λ#
8
β β β
Ε
Λ#
Ε Ε# Εn
Ε Ε# Εn
β
β
8
β
9
.Ε Ε
.Ε#
Ε#
Ε
Ε
Ε
#
#
9
ΕΕ
ΕΕ
#
#
ΕΕΕ
#
#
Ε# Ε#
9
β β
ΕΕ#
Ε Ε#Ε Ε#
Ε Ε#Ε Ε#
β
β
9
β
10
Λ#
β°
J
Ε#.Ε Ε#
Λ
ΛΛ
Λ
10
Λ
ΛΛ
#
##
Ε
ΕΕ
ΕΕΕ
n
#
Λ
Ε#
Ε#
10
β ββ β
Λ
Λ
w
Λ Λ
Γ
p
Λ
β
10
β
11
.Λ#
J
Εβ°
Γ Ε
F
Ε Ε
Γ Ε
ΕΕΕbb
11
.
.
.
Λ
ΛΛ
#
##
Ε
w
11
Ε Ε Ε
Ε Ε Ε
Ε
β
w
w
Ε Εb Λ
p
Ε# Ε# Λ
11
β
12
β
Ε# Ε
3
Ε Εn ΕΛ
Λ
n
12
Λ
Λ
Ε
Ε
12
Ε
Ride bell
ΒΏ
β
Λ
Λ
Λ
Ε Ε
Ε
12
Ε
p
Ε
13
β
Ε# .Ε Ε Ε# Ε# Ε#
3
ΕΕn Ε
.
.ΛΛ
##
Εn
13
.
.
.
Λ
Λ
Λ
n Ε
Ε
b
b
Ε Λ Ε
13
Ε
ΒΏ
Ε
ΒΏ
β
β
β
β
.
.
Λ
Λ
j
Ε
Ε
β°
13
w
14
β
Λn Ε
Ε
3
ΕΕ Ε#ΛΛ
Ε
ΕΕ#
14
.
.
Λ
Λ
Ε
Ε
Ε ΕΕ
Ε Ε
14
Ε
ΒΏ
Ε
ΒΏ
β
β
β
β
β
14
Ε ΕΕ
Ε Ε
15
β
.Λ#
ΛΛ##
ΕΕn
15
Λ
Λ
#
#
Ε
Ε
Ε
Ε#
Ε
15
Ε
ΒΏ
Ε
β
β°
p
div.j
Εb Λ
β°J
Ε#
Ε# Εn
Ε
p
Ε# Ε# Ε
Ε β°
p
J
Ε#
Ε#
Γ
p
div. Ε# Ε
Γ
Ε# Ε
15
Λ# Ε
67
&
&
?
?
Γ·
&
&
&
B
?
?
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
T. Sx.
Bass
D. S.
Vibes
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
16
β
.Λ
.
.
ΛΛ##
16
.
.
Λ
Λ
#
#
.Λ#
16
Ε
ΒΏ
Ε
β
Λ
β° .
f
unis.
Ε#
β₯
ΕΛ#
Λ
Ε
Λ Ε
Λ Ε
Λ#
Ε
16
Λ#Ε
17
17
17
β
F
Ε
Ε
Ε
#
#
Λ
Λ
#
#
.
.
.
.
ΛΛΛΛ
#
##
ΕΕΕΕ
#
##
F
Λb Εb Εn
RideΕ Ε Ε Ε
Brushes
Ε Ε Ε Ε
Ε
F
Ε#
Λ#
Λ# β° J
Ε#
.Ε# Ε#
F
Ε# Ε
div.
Ε# Ε# Λ#Ε# Λ
Ε
F
Εb
Εb Λn
Ε β°
F
j
Ε# Λ
Ε β°
J
Ε#
Λ#
F
Λb Εb Ε
18
β
Γ
Λ
Λ
#
#
18
w
ww
#
##
Λb ΕbΕb
18
β
Γ Λ#
.Λ# .Ε
Ε# Ε#
.Λb Εb
.Λn Εb
Ε Λb Ε
w#
Λ# Λ#
18
Λb ΕbΕb
19
β
Ε
Λ
Λ
19
ΛΛΛ
#
#n
Ε
ΕΕ
b
bb
Εn
Εb Εb
19
β β β
Continue straight ballad style
Ε Λ
Λ .Εb
Εb
Εn Ε
unis.
.Ε Ε# Ε ΕΕ# Ε .
J
Ε
Εb Εb ΕΕ Ε
Ε Ε Ε#
Ε Ε# ΕnΕ# Ε#
19
Ε
Εb Εb
20
β
β
20
ΛΛΛ
n
nb
Ε Ε
3
ΕΕb Εn
20
β β
β
Λn
Λ
Ε.Ε Ε Ε
.Εn
j
ΕbΕ# Ε#
20
Ε Ε
3
ΕΕb Ε
21
β
Ε
Ε
Ε
Ε
Ε
#
#
21
Λ
ΛΛ
n
nn
ΕΕ
ΕΕ
#
#
Λb
Εb
21
β β β
Ε Ε
Ε#
β° J
Ε#β€
.ΕΕn
3
Ε
Εn Ε
β°
J
Ε .ΕΕ#
3
Ε
Ε# Ε
Λ Ε#
Ε Λn
Λ#.Ε Ε#
21
Λ#
Ε#
&
&
?
?
Γ·
&
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
T. Sx.
Bass
D. S.
Vibes
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
22
β
Ε
Ε
Λ
Λ
#
#
22
.
.
.
ΛΛΛ
#
#
.Λb
22
β β β
Ε
Λ#
Λ# β°J
Εβ₯
Ε Ε Ε Ε Ε#
.Λ#
.Λ
.Λ#
22
.Λ#
23
β
Ε
Ε
Ε
#
#
23
ΕΕ
ΕΕ
#
#
ΕΕΕ
#
#
Εb
Εb
23
β β
ΕΕ#
.Ε Ε
.Ε#
Ε#
.Ε Ε.Ε# Ε
Ε# Ε#
ΕΕ
.Ε
Ε Εb
23
Ε#
Ε#
24
β
Λ
ΛΛ
Λ
24
Λ
ΛΛ
#
##
Ε
ΕΕ
ΕΕΕ
n
#
Λ
Ε#
Ε#
24
β β β β
Λ
Λ
Λ
β°
J
Ε
β€.Ε
β₯Εβ€
Λ# ΕΕn
Ε ΕΕ Ε#
Ε#Ε Λ
Ε
Ε Ε# Εn
24
Λn
Ε#
Ε#
25
β
β
25
.
.
.
Λ
ΛΛ
#
##
.Λ
25
β β β
β
.Λ#
β₯
Ε Εb Εb Εn
3
Ε Εb Ε
.Λ
Ε# Ε Ε Ε#
3
Ε Ε Ε
.Λ
25
.Λ
26
β
Ε
Ε#
Ε
Ε
# Ε
Ε
#
26
ΕΕΕ#
Ε
ΕΕ
#
##Ε
ΕΕ#
Ε# Ε Ε
26
β β β
Ε
Ε#
Ε
Ε
# Ε
Ε
#
.Ε Ε.Ε# Ε
3
Ε Ε Ε
Ε Ε Εb Εb
.Ε Ε .Ε Ε
3
Ε Ε Ε#
Ε ΛΕ#
Λ
26
Ε# Ε Ε
27
β
Ε
Ε#
.
.
.
ΛΛ
Λ
#
#
27
.
.
.
ΛΛΛ##
Ε
ΕΕ#
Λ# Ε Ε .Ε# Ε#
27
β β β β
Ε
Ε#
.
.
.
ΛΛ
Λ
#
#
w
.Ε Ε# Ε# ΕΕ .Ε Ε
Ε Ε#Ε Ε#
Ε# Ε Ε
Ε# Ε#
.Ε Ε#
ΕΕ# Ε Ε#
27
Λ# Ε Ε .Ε# Ε#
28
β
Ε
ΛΛ
Λ
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Vibes
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75
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T. Sx.
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D. S.
Vibes
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ΕΕ
b
b
.
.
.
.
ΕΕΕΕ
b
b
ΕΕΕ
Ε
n
n&
Λ Εn Εb
94
β β β β
Ε
F
Ε Ε Εb Εb Ε Εb Ε
Ε ΕΕn Ε Ε Εb Ε Ε
Λ Ε Εb
β
β
94
β
76
&
&
&
?
Γ·
&
&
&
B
?
?
T. Sx.
Bass
D. S.
Vibes
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
95
β β β β
Em11 Cm9
.Ε Εn Εb Εn. Ε .Ε
Ε Ε Ε
95
ΛΛΛ
Λ
.
.
.
Ε
ΕΕ
b
bb
j
ΕΕΕΕ
n
ΛΕb Εb
Ε
95
β β β β
.Ε Εb Εb Εn
.
Εn .Ε
Ε Ε Ε
Λn Εb Ε ΕΕn
ΛΕb Ε
Ε
β
β
95
β
96
β β β β
Em11 Cm7 BbM7
j
Εβ°
Ε Ε Εb Εb Ε Εb Εb
96
ΛΛΛΛ
Ε
ΕΕ
b
bb
.
.
.
.
ΕΕΕΕ
nn
Ε
ΕΕ
b
b
Λ
Εb Εb
96
β β β β
j
Ε
β°
Ε Ε Εb Εb Ε Εb Εb
Λ Ε# Ε
Λ
Εb Εb
β
β
96
β
97
β β β β
Eb(add2) Ab7sus
.Ε
Εb
j
Ε β°
.Εb
Εb Ε Εb
97
Λ
ΛΛ
.
.
.
Ε
ΕΕ# ΕΕ
Ε
# ΕΕ
Ε
ΕΕ
ΕΕ
b
b
nb
Λ
.Ε#
Ε# Ε
Εn
97
β β β β
.Ε
Εb
j
Ε
β°
.Εb
Εb Ε Εb
ΕΕ Ε
Εb Ε Ε Ε Εb Εb Ε ΕbΕ
Λ.Ε#
β₯
Ε#
β€
Ε
Ε
β₯
β
β
97
β
98
β β β β
DbM7 Dm7 C7
Ε
f
Ε Ε Εb Ε Ε Ε Ε
Ε Εn Εb Ε Ε Ε Ε
98
ΕΕ
ΕΕ
Ε Γ
Λ Εn Εb
98
β β β β
Ε
f
Ε Εn Εb Ε Ε Ε Ε
Ε
Ε Γ
Ε
F
Ε Ε Ε Εb Εb Ε Εn
Ε
F
Ε Ε Εb Ε Ε Ε Ε
Ε
F
Ε Ε Εb Ε Ε Ε Ε
98
Γ
F
Ε Εb
&
&
&
?
Γ·
&
&
&
B
?
?
T. Sx.
Bass
D. S.
Vibes
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
99
β β β β
Bm7 Gm9
.Ε Εb Ε Ε
.
Εn .Ε
Ε Ε Ε
.Ε Εb Ε Εn
. Εn.
Ε
Ε Ε Ε
99
β
ΛΕn Ε
Ε
99
β β β β
.Ε Εb Ε Εn. Εn .Ε
Ε Ε Ε
β°
F
j
Ε Ε Ε
div.
Εb .Ε
j
Εn
J
Ε .Ε
J
Ε
Ε Ε ΕΕ# .Ε
j
Εn
.ΕΕ Ε
. Ε .Ε
Ε Ε Ε
.ΕΕ Ε
. Ε .Ε
Ε Ε Ε
99
ΛΕ Ε
Ε
100
β β β β
Bm11 Gm7 FM7
j
Ε
β°Ε Ε Εb Ε Ε Εb Εb
J
Ε β° Ε Ε Εb Ε Ε Εb Εb
100
β
Λ
Ε Εb
100
β β β β
J
Εβ° Ε Ε Εb Ε Ε Εb Εb
Λ
cresc.
Ε Ε
Λ Ε Ε
Λ
cresc.
Ε#Ε
Ε Ε Ε
cresc.
Εb Ε Ε Εb Εb
Ε Ε Ε
cresc.
Εb Ε Ε Εb Εb
100
Λ
cresc.
Ε Εb
101
β β β β
Bb(add2) E b7sus
.Ε
Εb
j
Ε
β°
.Εb
Εb Ε Ε
.Ε
Εb
J
Εβ°
.Εb
Εb Ε Ε
101
β?
Λ
.Εb
Εb Ε
Εb
101
β β β β
.Ε
Εb
J
Ε
β°
.Εb
Εb Ε Ε
Ε Ε Εb Εb Ε Λb
Λb
.Εb Εb Ε Εb
div.
Ε Εn
.Εb
j
Ε
Εb Εb
.ΕbΕb Ε Ε
.Ε
Εb
J
Εβ°
.Εb
Ε Ε Ε
.Ε
Εb
J
Ε β°
.Εb
Ε Ε Ε
101
Λ
.Εb
Εb Ε
Εb
102
Ε
f
Ε Ε# Ε Ε Ε ΕAbM7
Ε
Ε
Ε
Ε
Ε
Ε
Ε
n
b
bΕ
102
Ε
f
Ε
ΕΕΕ
Ε
bΕ
Ε
Ε
f
Εn Εn Ε
102
β β β β
Ε
f
Ε Εn Ε Ε Εn Ε
Ε
f
Εn Εn Εn Ε Ε Ε
ΕΕ# Ε Εn Εb Ε Ε
Ε
f
Ε Ε Ε Ε Ε Ε
Ε Ε Ε Ε Ε ΕΕ#
Ε
f
Ε Εn Ε Ε Ε Ε
Ε
div.
f
Ε Ε Ε Ε Εb
Ε ΕΛb
102
Ε
f
Ε Ε Ε
77
&
&
?
?
Γ·
&
&
&
B
?
?
T. Sx.
Bass
D. S.
Vibes
Vln. I
Vln. II
Vla.
Vc.
Cb.
Pno.
103
β
.
J
ΕΕ#
.Ε
Ε
β°J
Ε
β.
.
.
j
Ε
ΕΕ#
Ε
ΕΕ
.
.
.
ΕΕ
Εn
ΕΕ
Ε
β°
j
Ε
ΕΕ#
103
β
.
.
J
Ε
Ε
#
n
Ε
Ε
.
.
.
Ε
Ε
Ε
b Ε
Ε
Ε
b
β°
J
Ε
Ε
#
n
β.
j
Ε Ε.Εn Ε
β°
j
Ε
103
β β β β
β.
j
Ε Ε Ε β°
j
Ε
β .
j
ΕΕ#
.Ε
Ε
β°
j
Ε
β
.
j
Ε
β€
Ε#
β₯
.Ε
β€
Ε
β₯
β°
j
Ε
β€
β
.
J
Ε# Ε.
Εn Εb
β°
J
Ε#
β .
j
Ε
β€
Ε#
β₯
.Εn
β€
Ε
β₯
β°
j
Ε#
β€
β
.
J
ΕnΕ#
.Εb
Ε
β°
J
Ε
β
.
J
Εβ€
Ε#β₯ .Ε
β€
Ε
β₯
β° J
Εβ€
β
.
j
Εn
β€
Ε
β₯
.Ε
β€
Εb
β₯
β°
j
Ε
β€
β
.
J
Ε# Ε.Ε Εn
β°
J
Ε#
103
β
.
J
Εβ€
Ε.Ε
β₯Εβ€
β° J
Εβ₯
104
.ΕΕ# Ε
Ε.
β
Ε Ε
Λ
ΛΛ
ΕΕ
Εn
.
β Ε
Ε
ΕΕ
Ε
Ε
ΕΕ
104
Λ
Λ
Ε
Ε
Ε
b
.
βΕ
Ε
b
b
Ε
Ε
Λ
Ε.
β Εb Ε
104
β β
ΕΕ
ΕΕ
.Ε Ε Ε
.ΕΕ# Ε
Ε. β Ε
β₯
Ε
.ΕΕ#
β₯
ΕΕ
.
β€
β
Εn Ε
.Ε Ε Ε
Εn
.
β
Ε Ε
.Ε Ε#
β₯
ΕΕ
.β€
β Εb Ε
.Ε Ε# Ε Εn
.
βΕ Ε
.ΕΕ#β₯
Ε
Ε
.
β€
β Ε Ε
.Ε Ε
β₯
ΕΕb
.β€
βΕ Ε
Λ Εn
.
β Ε Ε
104
ΛΕ.β€
β Εb
β₯
Ε
105
w
w
w
ww
105
w
w
w
105
β
w
ww
w
w
w
ww
105
w
106Ο
w
U
w
w
ww
U
106
w
w
u
w
U
106
β
w
U
Ο
wU
w
Ο
w
U
w
Ο
w
U
Ο
w
U
w
106Ο
w
U
78
MOVEMENT III. "FESTIVAL DEL MUNDO"
&
&
?
?
Γ·
Γ·
&
&
B
?
?
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
Tenor Sax
Bass
Drums
Aux. Percussion
Violin I
Violin II
Viola
Violincello
Contrabass
Piano
q»‘β’Β§
q»‘β’Β§
q»‘β’Β§
β
β
β
β
Sn..
Ε Ε
β
Ε
B.D.
Ε.
Ε Ε
Ε
Cr.j
Ε
β
β
β
β
β
β
2
β
ΕΕΕΕ
#
#
# ΕΕΕΕΕ
n
n
.
.
.
..
ΕΕΕΕΕ
b
bb
j
Ε
ΕΕΕ
n
#
2
β
Ε# Ε.Ε
J
Ε#
2
.Ε Ε
β°J
Ε
β°
Ε
J
Ε
HHL ΒΏ ΒΏ L ΒΏ ΒΏ L ΒΏ ΒΏ L ΒΏ ΒΏ
ShakerΕ
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε
Guiro L L ΒΏ ΒΏ L L ΒΏ ΒΏ L L ΒΏ ΒΏ L L ΒΏ ΒΏ
β
β
β
β
2
β
3
β
Ε
ΕΕΕ
Ε
ΕΕΕ
b
b.
.
.
.
Ε
ΕΕΕ
#
##
Ε
ΕΕΕ
Ε
3
β
Ε
Ε#.Ε# Ε Ε
3
β
β
β
β
β
β
3
β
4
β
Ε
Ε
Ε
b
.
β Ε
ΕΕΕb
.
.
.
.
Λ
ΛΛΛ
4
β
Ε
.
β Ε .Λ
4
β β β β
cont. Afro-Venezuelan groove
β β β β
cont. Afro-Venezuelan groove
β
β
β
β
4
β
5
β
Ε
ΕΕΕ
ΕΕΕ
#β°
J
ΕΕΕΕ
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.
.
.
.
ΕΕΕΕ
n
5
β
Ε
Ε#
β° J
Ε Ε.Ε
5
β β β β
β β β β
β
β
β
β
5
β
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
6
β
ΕΕΕΕ
#
#
# ΕΕΕΕΕ
n
n
.
.
.
..
ΕΕΕΕΕ
b
bb
j
Ε
ΕΕΕ
n
#
6
β
Ε# Ε.Ε
J
Ε#
6
β β β β
β β β β
β
p
Εb
β₯
Ε Ε
fl
Ε
β₯
Ε Ε
fl
Ε
β€
Ε Ε Ε
fl
β₯
β°
Ε
β₯
Ε
β€
p
Εb
β₯
Ε Ε
Λ
Ε
β₯
Ε Ε
Λ
Ε
β€
Ε Ε Ε
β₯Μ
β° Ε
β₯
Ε
β€
β
6
β
7
β
Ε
ΕΕΕ
Ε
ΕΕΕ
b
b.
.
.
.
Ε
ΕΕΕ
#
##
Ε
ΕΕΕ
Ε
7
β
Ε
Ε#.Ε# Ε Ε
7
β β β β
β β β β
β
Εb
β₯
Ε Ε
fl
Ε
β€
Ε Ε Ε
fl
β₯
β°
Ε
β₯
Ε
β€
Ε
fl
β₯
Ε
β₯
Ε
β€
Εb
β₯
Ε Ε
Λ
Ε
β€
Ε Ε Ε
β₯Μ
β° Ε
β₯
Ε
β€
Ε
β₯Μ
Ε
β₯
Ε
β€
β
7
β
8
β
Ε
Ε
Ε
b
.
β Ε
ΕΕΕb
.
.
.
.
Λ
ΛΛΛ
8
β
Ε
.
β Ε .Λ
8
β β β β
β β β β
β
simileΕ Ε Ε
fl
Ε Ε Ε
fl
Ε Ε Ε Ε
fl
β°
Ε Ε
simile
Ε Ε Ε
Λ
Ε Ε Ε
Λ
Ε Ε Ε Ε
Λ
β° Ε Ε
p
Εβ₯
Ε ΕΛ
Εβ₯
Ε ΕΛ
Εβ€
Ε Ε Εβ₯Μ
β°
Εβ₯
Εβ€
8
β
9
β
Ε
ΕΕΕ
ΕΕΕ
#β°
J
ΕΕΕΕ
#ΕΕΕΕ
.
.
.
.
ΕΕΕΕ
n
9
β
Ε
Ε#
β° J
Ε Ε.Ε
9
β β β β
β β β β
β
Ε Ε Ε
fl
Ε Ε Ε Ε
fl
β°
Ε Ε Ε
fl
Ε Ε
Ε Ε Ε
Λ
Ε Ε Ε Ε
Λ
β° Εb Ε Ε
Λ
Ε Ε
Εβ₯
Ε ΕΛ
Εβ€
Ε Ε Εβ₯Μ
β°
Εβ₯
Εβ€
Εβ₯Μ
Εβ₯
Εβ€
9
β
79
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
10
β
ΕΕΕΕ
#
#
# ΕΕΕΕΕ
n
n
.
.
.
..
ΕΕΕΕΕ
b
bb
j
Ε
ΕΕΕ
n
#
10
β
Ε# Ε.Ε
J
Ε#
10
β β β β
β β β β
non div.
p
Ε
Ε
b
b
β₯Ε
Ε
Ε
Ε
ΛΕ
Ε
β₯Ε
Ε
Ε
Ε
ΛΕ
Ε
β€Ε
Ε
Ε
Ε
Ε
Ε
β₯Μ
β°
Ε
Ε
β₯Ε
Ε
β€
Ε# Ε Ε
fl
Ε Ε Ε
fl
Ε Ε Ε Ε
fl
β°Ε Ε
Εb Ε Ε
Λ
Ε Ε Ε
Λ
Ε Ε Ε Ε
Λ
β° Ε Ε
simile
Ε# Ε ΕΛ
Ε Ε ΕΛ
Ε Ε Ε ΕΛ
β°
Ε Ε
10
β
11
β
Ε
ΕΕΕ
Ε
ΕΕΕ
b
b.
.
.
.
Ε
ΕΕΕ
#
##
Ε
ΕΕΕ
Ε
11
β
Ε
Ε#.Ε# Ε Ε
11
β β β β
β β β β
Ε
Ε
b
b
β₯Ε
Ε
Ε
Ε
ΛΕ
Ε
β€Ε
Ε
Ε
Ε
Ε
Ε
β₯Μ
β°
Ε
Ε
β₯Ε
Ε
β€Ε
Ε
β₯ΜΕ
Ε
β₯Ε
Ε
β€
Ε# Ε Ε
fl
Ε Ε Ε Ε
fl
β°Ε Ε Ε
fl
Ε Ε
Εb Ε Ε
Λ
Ε Ε Ε Ε
Λ
β° Ε Ε Ε
Λ
Ε Ε
Ε# Ε ΕΛ
Ε Ε Ε ΕΛ
β°
Ε Ε ΕΛ
Ε Ε
11
β
12
β
Ε
Ε
Ε
b
.
β Ε
ΕΕΕb
.
.
.
.
Λ
ΛΛΛ
12
β
Ε
.
β Ε .Λ
12
β β β β
β β β β
simile
Ε
Ε
Ε
Ε
Ε
Ε
ΛΕ
Ε
Ε
Ε
Ε
Ε
ΛΕ
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Λ
β°
Ε
Ε
Ε
Ε
Ε Ε Ε
fl
Ε Ε Ε
fl
Ε Ε Ε Ε
fl
β° Ε Ε
Ε Ε Ε
Λ
Ε Ε Ε
Λ
Ε Ε Ε Ε
Λ
β° Ε Ε
Ε Ε ΕΛ
Ε Ε ΕΛ
Ε Ε Ε ΕΛ
β°
Ε Ε
12
β
13
β
Ε
ΕΕΕ
ΕΕΕ
#β°
J
ΕΕΕΕ
#ΕΕΕΕ
.
.
.
.
ΕΕΕΕ
n
13
β
Ε
Ε#
β° J
Ε Ε.Ε
13
β β β β
β β β β
Ε
Ε
Ε
Ε
Ε
Ε
ΛΕ
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Λ
β°
Ε
Ε#
Ε
Ε
Ε
Ε
Λ
Ε Ε Ε
fl
Ε Ε Ε Ε
fl
β° Ε Ε Ε
fl
Ε Ε Ε
Λ
Ε Ε Ε Ε
Λ
β°Ε Ε Ε
Λ
Ε Ε ΕΛ
Ε Ε Ε ΕΛ
β°
Ε Ε ΕΛ
13
β
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
14
14
14
f
Ε#
Ε# Ε# Ε
.Ε# Ε
β°
J
Ε#
ΕΕΕΕ
#
#
# ΕΕΕΕΕ
n
n
.
.
.
..
ΕΕΕΕΕ
b
bb
j
Ε
ΕΕΕ
n
#
β
Ε# Ε.Ε
J
Ε#
β β β β
β β β β
β
β
β
β
β
15
Ε
.Ε#
Ε#Ε# .Ε#
Ε β° Εn
Ε
ΕΕΕ
Ε
ΕΕΕ
b
b.
.
.
.
Ε
ΕΕΕ
#
##
Ε
ΕΕΕ
Ε
15
β
Ε
Ε#.Ε# Ε Ε
15
β β β β
β β β β
β
β
β
β
15
β
16
.Ε
Ε
β
Ε.
Ε.Εb
Ε Ε ΕΕ
Ε
Ε
Ε
b
.
β Ε
ΕΕΕb
.
.
.
.
Λ
ΛΛΛ
16
β
Ε
.
β Ε .Λ
16
β β β β
β β β β
β
β
β
β
16
β
17
Ε Ε# Ε# Εn Ε ΕbΕ#
Εn
Ε
Ε
Ε
ΕΕΕ
ΕΕΕ
#β°
J
ΕΕΕΕ
#ΕΕΕΕ
.
.
.
.
ΕΕΕΕ
n
17
β
Ε
Ε#
β° J
Ε Ε.Ε
17
β β β β
β β β β
β
β
β
β
17
β
80
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
18
β
Ε
ΕΕ
.
Ε
ΕΕ
#
#
.
.
.
.
ΕΕ
Ε
j
Ε
ΕΕn
18
β
Ε. Εb
..Εn
J
Εb
18
β β β β
β β β β
F
Ε#β€ Ε Ε
Ε# .Εβ₯
Εβ€
β°
J
Ε
β₯
F
Ε#β€ Ε Ε
Ε# .Εβ₯
Εβ€
β°
J
Ε
β₯
F
Ε#β€ Ε Ε
Ε#.Ε
β₯
Ε
β€
β°
j
Ε
β₯
F
Ε#β€ Ε Ε
Ε# .Εβ₯
Ε
β€
β°
j
Ε
β₯
18
β
19
β
Ε
ΕΕ
Ε
ΕΕ
#
#
.
.
.
.
ΕΕ
Ε
ΕΕ
Ε
Ε
19
β
Ε
Εb.
.Εn Ε
Ε
19
β β β β
β β β β
ΕΕ
Ε#Ε .Ε
β€Εβ₯
Ε
ΕΕ
Ε#Ε .Ε
β€Εβ₯
Ε
ΕΕ
Ε#Ε
.Ε
β€
Ε
β₯
Ε
ΕΕ
Ε#Ε .Ε
β€
Ε
β₯
Ε
19
β
20
β
Ε
ΕΕ
.
Ε
ΕΕ
#
#
.
.
.
.
ΕΕ
Ε
j
Ε
ΕΕn
20
β
Ε. Εb
..Εn
J
Εb
20
β β β β
β β β β
Ε#β€ Ε Ε
Ε# .Εβ₯
Εβ€
β°
J
Ε
β₯
Ε#β€ Ε Ε
Ε# .Εβ₯
Εβ€
β°
J
Ε
β₯
Ε#β€ Ε Ε
Ε#.Ε
β₯
Ε
β€
β°
j
Ε
β₯
Ε#β€ Ε Ε
Ε# .Εβ₯
Ε
β€
β°
j
Ε
β₯
20
β
21
β
Ε
ΕΕ
Ε
ΕΕ
#
#
.
.
.
.
ΕΕ
Ε
ΕΕ
Ε
Ε
21
β
Ε
Εb.
.Εn Ε
Ε
21
β β β β
β β β β
ΕΕ
Ε#Ε .Ε
β€Εβ₯
Ε
ΕΕ
Ε#Ε .Ε
β€Εβ₯
Ε
ΕΕ
Ε#Ε
.Ε
β€
Ε
β₯
Ε
ΕΕ
Ε#Ε .Ε
β€
Ε
β₯
Ε
21
β
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
22
3
β°
Ε#Ε#
3
Ε# Ε#Ε# .Ε Ε#
3
ΕΕ Ε
ΕΕΕΕ
#
#
# ΕΕΕΕΕ
n
n
.
.
.
..
ΕΕΕΕΕ
b
bb
j
Ε
ΕΕΕ
n
#
22
β
Ε# Ε.Ε
J
Ε#
22
β β β β
β β β β
β
β
β
β
22
β
23
Ε#Ε#
Ε Ε.Ε#
Ε#Ε#
Ε
ΕΕΕ
Ε
ΕΕΕ
b
b.
.
.
.
Ε
ΕΕΕ
#
##
Ε
ΕΕΕ
Ε
23
β
Ε
Ε#.Ε# Ε Ε
23
β β β β
β β β β
β
β
β
β
23
β
24
.Ε
Ε
βΕ Ε .Ε
Ε Ε
Ε
Ε
Ε
b
.
β Ε
ΕΕΕb
.
.
.
.
Λ
ΛΛΛ
24
β
Ε
.
β Ε .Λ
24
β β β β
β β β β
β
β
β
β
24
β
25
β°J
Ε
3
Ε
Ε Ε Ε#
Ε#Ε Ε
Ε
ΕΕΕ
ΕΕΕ
#β°
J
ΕΕΕΕ
#ΕΕΕΕ
.
.
.
.
ΕΕΕΕ
n
25
β
Ε
Ε#
β° J
Ε Ε.Ε
25
β β β β
β β β β
β
β
β
β
25
β
81
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
26
.Λ#
Ε
Ε
ΕΕ
.
Ε
ΕΕ
#
#
.
.
.
.
ΕΕ
Ε
j
Ε
ΕΕn
26
β
Ε. Εb
..Εn
J
Εb
26
β β β β
β β β β
f
Ε#β€ Ε Ε
Ε# .Εβ₯
Εβ€
β°
J
Ε
β₯
f
Ε#β€ Ε Ε
Ε# .Εβ₯
Εβ€
β°
J
Ε
β₯
f
Ε#β€ Ε Ε
Ε#.Ε
β₯
Ε
β€
β°
j
Ε
β₯
f
Ε#β€ Ε Ε
Ε# .Εβ₯
Ε
β€
β°
j
Ε
β₯
26
β
27
β
Ε
ΕΕ
Ε
ΕΕ
#
#
.
.
.
.
ΕΕ
Ε
ΕΕ
Ε
Ε
27
β
Ε
Εb.
.Εn Ε
Ε
27
β β β β
β β β β
ΕΕ
Ε#Ε .Ε
β€Εβ₯
Ε
ΕΕ
Ε#Ε .Ε
β€Εβ₯
Ε
ΕΕ
Ε#Ε
.Ε
β€
Ε
β₯
Ε
ΕΕ
Ε#Ε .Ε
β€
Ε
β₯
Ε
27
β
28
β
Ε
ΕΕ
.
Ε
ΕΕ
#
#
.
.
.
.
ΕΕ
Ε
j
Ε
ΕΕn
28
β
Ε. Εb
..Εn
J
Εb
28
β β β β
β β β β
Ε#β€ Ε Ε
Ε# .Εβ₯
Εβ€
β°
J
Ε
β₯
Ε#β€ Ε Ε
Ε# .Εβ₯
Εβ€
β°
J
Ε
β₯
Ε#β€ Ε Ε
Ε#.Ε
β₯
Ε
β€
β°
j
Ε
β₯
Ε#β€ Ε Ε
Ε# .Εβ₯
Ε
β€
β°
j
Ε
β₯
28
β
29
β
Ε
ΕΕ
Ε
ΕΕ
#
#
.
.
.
.
ΕΕ
Ε
ΕΕ
Ε
Ε
29
β
Ε
Εb.
.Εn Ε
Ε
29
β β β β
β β β β
ΕΕ
Ε#Ε .Ε
β€Εβ₯
Ε
ΕΕ
Ε#Ε .Ε
β€Εβ₯
Ε
ΕΕ
Ε#Ε
.Ε
β€
Ε
β₯
Ε
ΕΕ
Ε#Ε .Ε
β€
Ε
β₯
Ε
29
β
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
30
30
30
β° .
f
R
Ε>
.Ε ΕΕ.
βΕ>
.Ε Ε
Ε
ΕΕΕb
.
β
Ε
ΕΕΕ
>
.
.
.
.
Λ
ΛΛΛ
β
Ε.
β Ε
>
.Λ
β β β β.Ε Ε
β° .
r
Ε Ε β° .
r
Ε Ε
β β β β
p
trem. non div.w
w
@
p
trem. non div.wb
@
β° .
f
R
Ε
>
β₯
.Ε ΕbΕ.
β€
β Ε
>
β₯
.Ε Ε
β° .
f
R
Ε>
β₯
.Ε ΕbΕ.
β€
β Ε>
β₯
.Ε Ε
F
Ε.
β Ε
>
.Λ
31
Ε.
β Ε
>
.Ε Ε.Ε Ε Ε Εb
.
.
.
.
.
Λ
ΛΛΛ
ΕΕΕΕb
.
β
ΕΕΕΕ
>
31
β
.Λ Ε.
β Ε
>
31
β β β β.Ε Ε
β° .
r
Ε Ε
β β β β
.
.
Λ
Λ
@
Ε
Ε
@
wb
@
Εb.
β€
β Ε
>
β₯
.Ε Ε
β€
.Ε
β₯
Ε Ε Ε.
β€
Ε.β€
βΕ>β₯
.Ε Εβ€
.Εb
β₯
Ε Ε Ε.
β€
31
.Λ Ε.
β Ε
>
32
β° . R
Ε#>
β
.
J
Ε.Ε Ε# Εn Ε
wwww
32
β
w
32
β β β β
β β β β
w
w
@
wb
@
p
w
p
div.wwb
32
w
33
.ΕΕ>
β
ΕΕ
Ε Εb
ΕbΕ
Ε
wwww
33
β
w
33
β β β β
β β β β
w
w
@
wb
@
.Λ Ε
.
.ΛΛ Ε
33
w
82
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
34
β° . R
Ε> .Ε Εb
Ε.
β Ε>
.Ε Ε
Ε
Ε
Ε
b
b
.
β
Ε
Ε
Ε
>
.
.
.
Λ
Λ
Λ
34
β
Εb
.
βΕ
>
.Λ
34
β β β β.Ε Ε
β° .
r
Ε Ε β° .
r
Ε Ε
β β β β
β° .
f
R
Ε>
β₯
.Ε ΕbΕ.β€
βΕ>
β₯
.Ε Ε
β° .
f
R
Ε>β₯
.Ε ΕbΕ.β€
β Ε
>β₯
.Ε Ε
F
trem.w
@
F
trem.w
w
b
b
@
34
Εb
.
βΕ
>
.Λ
35
Ε.
βΕ>
3
Ε
j
Εb Εn Ε.Ε
ΕΕb Εn Ε
.
.
.
.
Λ
Λ
Λ
Ε
Ε
Ε
b
b
.
β
Ε
Ε
Ε
>
35
β
.Λ Εb
.
βΕ
>
35
β β β β.Ε Ε
β° .
r
Ε Ε
β β β β
Εb.β€
β Ε>
β₯
3
ΕΕ Ε
.ΕΕ
Εb Εn Εb.
Εb.β€
β Ε
>β₯
3
ΕΕ Ε
.Εb Ε Ε Εb Εn.
w
@
w
w
b
b
@
35
.Λ Εb
.
βΕ
>
36
β° . R
Ε>
β
Εb Ε Ε Ε Ε Ε ΕΕ
j
Εb Εn
Ε
β°
.
.
.
Λ
Λ
Λ
β° j
Ε
Ε
Ε
n
b
>
36
β
.Λβ°
j
Εn
>
36
β β β β
β°J
Ε
β°
j
Ε
β β β β
Γ Ε
F
Ε
β₯
Ε Ε
>
Γ Ε
F
Ε
β₯
Ε Ε
>
.Λ
@
Ε
β₯
Ε Ε
>
.
.
Λ
Λ
b
b
@
Ε
Ε
β₯Ε
Ε
Ε
Ε
n>
36
.Λβ°
j
Εn
>
β₯
37
β
.
.
.
Λ
Λ
Λ
Ε
37
β
.ΛΕ
37
.Ε Ε
β
Ε
Ε.
Ε Ε
Ε
Ε
Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
L L ΒΏ ΒΏ L L ΒΏ ΒΏ L L ΒΏ ΒΏ ΒΏ
Ε Ε
β₯
Ε Ε Ε
fl
β€
β°
Ε Ε Ε
fl
β₯
Ε Ε
Ε Ε
β₯
Ε Ε Ε
fl
β€
β°
Ε Ε Ε
fl
β₯
Ε Ε
.Λ Ε
w
wb
37
w
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
38
β
β
38
β
β
38
β
β
Ε
β₯
Ε Ε
fl
Ε
β₯
Ε Ε
fl
Ε
β₯
Ε Ε Ε
fl
β€
β°
Ε Ε
Ε
β₯
Ε Ε
fl
Ε
β₯
Ε Ε
fl
Ε
β₯
Ε Ε Εb
fl
β€
β°
Ε Ε
Ε
β₯
Ε Ε
Λ
Ε
β₯
Ε Ε
Λ
Ε
β₯
Ε Ε Ε
β€Μ
β° Ε Ε
w
w
38
w
39
β
β
39
β
β
39
β
β
Ε
β₯
Ε Ε
fl
Ε
β₯
Ε Ε Ε
fl
β€
β°Ε Ε Ε
fl
β₯
Ε Ε
Εb
β₯
Ε Ε
fl
Ε
β₯
Ε Ε Ε
fl
β€
β°
Ε Ε Ε
fl
β₯
Ε Ε
Ε
β₯
Ε Ε
Λ
Ε
β₯
Ε Ε Ε
β€Μ
β° Ε Ε Ε
β₯Μ
Ε Ε
w
w
39
w
40
β
β
40
β
β
40
β
β
div.
Ε Ε Ε Ε
Λ
β°
Ε Ε
Ε Ε Ε
Λ
Ε Ε Ε
Λ
Ε Ε Ε Ε
fl
β°
Ε Ε
simile
Εb Ε Ε
fl
Ε Ε Ε
fl
Ε Ε Ε Ε
fl
β°
Ε Ε
simile
Ε Ε Ε
Λ
Ε Ε Ε
Λ
Ε Ε Ε Ε
Λ
β° Ε Ε
w
w
40
w
41
β
β
41
β
β
41
β
β
Ε Ε Ε
Λ
Ε Ε Ε Ε
Λ
β°
Ε Ε Ε
Λ
Ε Ε
Ε Ε Ε
fl
Ε Ε Ε Ε
fl
β°
Ε Ε Ε
fl
Ε Ε
Εb Ε Ε
fl
Ε Ε Ε Ε
fl
β°
Ε Ε Ε
fl
Ε Ε
Ε Ε Ε
Λ
Ε Ε Ε Ε
Λ
β° Ε Ε Ε
Λ
Ε Ε
w
w
41
w
42
β
β
42
β
β
42Γ β° .
R
Ε
Ε
Γ Ε Ε
β
Ε Ε Ε
Λ
Ε Ε Ε Ε
Λ
Γ
Ε Ε Ε
fl
Ε Ε Ε Ε
fl
Γ
Εb Ε Ε
fl
Ε Ε Ε Ε
fl
Γ
Ε Ε Ε
Λ
Ε Ε Ε Ε
Λ
Γ
w
w
42
w
83
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
43
43
43
β
ΕΕΕΕ
#
#
# ΕΕΕΕΕ
n
n
.
.
.
..
ΕΕΕΕΕ
b
bb
j
Ε
ΕΕΕ
n
#
β
Ε# Ε.Ε
J
Ε#
.Ε Ε
β°J
Ε
β°
Ε
J
Ε
L ΒΏ ΒΏ L ΒΏ ΒΏ L ΒΏ ΒΏ L ΒΏ ΒΏ
Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε ΕL L ΒΏ ΒΏ L L ΒΏ ΒΏ L L ΒΏ ΒΏ L L ΒΏ ΒΏ
Γ β°
non div.
J
Ε
Ε
b
b
Λ
Ε
Γ β°
non div.
J
Ε
Ε
b
b
Λ
Ε
β
β
β
44
β
Ε
ΕΕΕ
Ε
ΕΕΕ
b
b.
.
.
.
Ε
ΕΕΕ
#
##
Ε
ΕΕΕ
Ε
44
β
Ε
Ε#.Ε# Ε Ε
44
β
β
Γ Ε
Ε> Εb
Εb
Γ Ε
Ε
>
Εb
Εb
β
β
44
β
45
β
Ε
Ε
Ε
b
.
β Ε
ΕΕΕb
.
.
.
.
Λ
ΛΛΛ
45
β
Ε
.
β Ε .Λ
45
β β β β
cont. Afro-Venezuelan groove
β β β β
cont. Afro-Venezuelan groove
Λ Ε Ε Εb Ε
Λ Ε Ε Εb Ε
β
β
45
β
46
β
Ε
ΕΕΕ
ΕΕΕ
#β°
J
ΕΕΕΕ
#ΕΕΕΕ
.
.
.
.
ΕΕΕΕ
n
46
β
Ε
Ε#
β° J
Ε Ε.Ε
46
β β β β
β β β β
.Ε
J
Εb3
ΕΕ
Ε
.Ε
J
Εb
3
ΕΕ
Ε
β
β
46
β
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
47f
Ε#
Ε# Ε# Ε
.Ε# Ε
β°
J
Ε#
ΕΕΕΕ
#
#
# ΕΕΕΕΕ
n
n
.
.
.
..
ΕΕΕΕΕ
b
bb
j
Ε
ΕΕΕ
n
#
47
β
Ε# Ε.Ε
J
Ε#
47
β β β β
β β β β
Λ Γ
Λ
Γ
β
β
47
β
48
Ε
.Ε#
Ε#Ε# .Ε#
Ε β° Εn
Ε
ΕΕΕ
Ε
ΕΕΕ
b
b.
.
.
.
Ε
ΕΕΕ
#
##
Ε
ΕΕΕ
Ε
48
β
Ε
Ε#.Ε# Ε Ε
48
β β β β
β β β β
β
β
β
β
48
β
49
.Ε
Ε
β
Ε.
Ε.Εb
Ε Ε ΕΕ
Ε
Ε
Ε
b
.
β Ε
ΕΕΕb
.
.
.
.
Λ
ΛΛΛ
49
β
Ε
.
β Ε .Λ
49
β β β β
β β β β
β
β
β
β
49
β
50
Ε Ε# Ε# Εn Ε ΕbΕ#
Εn
Ε
Ε
Ε
ΕΕΕ
ΕΕΕ
#β°
J
ΕΕΕΕ
#ΕΕΕΕ
.
.
.
.
ΕΕΕΕ
n
50
β
Ε
Ε#
β° J
Ε Ε.Ε
50
β β β β
β β β β
β
β
β
β
50
β
84
&
&
?
?
Γ·
Γ·
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
51
β
Ε
ΕΕ
.
Ε
ΕΕ
#
#
.
.
.
.
ΕΕ
Ε
j
Ε
ΕΕn
51
β
Ε. Εb
..Εn
J
Εb
51
β β β β
β β β β
f
Ε#Ε Ε
Ε# .ΕΕ
β°
J
Ε
f
Ε#Ε Ε
Ε# .ΕΕ
β°
J
Ε
f
Ε#Ε Ε
Ε#.Ε
Εβ°
j
Ε
f
unis.Ε#
Ε ΕΕ# .Ε
Ε β°
j
Ε
51
β
52
β
Ε
ΕΕ
Ε
ΕΕ
#
#
.
.
.
.
ΕΕ
Ε
ΕΕ
Ε
Ε
52
β
Ε
Εb.
.Εn Ε
Ε
52
β β β β
β β β β
ΕΕ
Ε#Ε .Ε Ε
Ε
ΕΕ
Ε#Ε .Ε Ε
Ε
ΕΕ
Ε#Ε
.Ε ΕΕ
ΕΕ
Ε#Ε .Ε Ε Ε
52
β
53
β
Ε
ΕΕ
.
Ε
ΕΕ
#
#
.
.
.
.
ΕΕ
Ε
j
Ε
ΕΕn
53
β
Ε. Εb
..Εn
J
Εb
53
β β β β
β β β β
Ε#Ε Ε
Ε# .ΕΕ
β°
J
Ε
Ε#Ε Ε
Ε# .ΕΕ
β°
J
Ε
Ε#Ε Ε
Ε#.Ε
Εβ°
j
Ε
Ε#Ε Ε
Ε# .ΕΕ β°
j
Ε
53
β
54
β
Ε
ΕΕ
Ε
ΕΕ
#
#
.
.
.
.
ΕΕ
Ε
ΕΕ
Ε
Ε
54
β
Ε
Εb.
.Εn Ε
Ε
54
β β β β
β β β β
ΕΕ
Ε#Ε .Ε Ε
Ε
ΕΕ
Ε#Ε .Ε Ε
Ε
ΕΕ
Ε#Ε
.Ε ΕΕ
ΕΕ
Ε#Ε .Ε Ε Ε
54
β
55
Ε β°
f
J
Ε#
β
55
β
β
55
Ε ΕΕ
Ε
L ΒΏ ΒΏ L
β β
β
β
β
β
55
β
&
&
?
?
Γ·
Γ·
&
&
B
?
?
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
56
56
56
Ε# Ε Ε Ε#
Ε# Ε#
β° J
Ε
Γ
ΛΛ
Λ
#
Γ
Λ#
β
β° .
R
Ε Ε Ε.
Ε
Ε Ε Ε
ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ
Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε ΕL L ΒΏ ΒΏ L L ΒΏ ΒΏ L L ΒΏ ΒΏ L L ΒΏ ΒΏ
β
β
β
β
β
57
.Ε# Ε#
β
Ε
Ε Ε#
β° J
Ε
Λ
ΛΛ
#
##
Λ
ΛΛ#
57
ΛΛ
# ΛΛ
β
57
β
β
Γ
P
Ε# Ε#
3
Ε ΕΕ
Γ
P
Ε# Ε#
3
Ε ΕΕ
β
β
57
β
58
Ε# Ε Ε Ε
Ε Ε Ε Ε Ε
ΛΛΛΛ
ΛΛΛ
Λ
bb
58
Λ Λ
w
58
β β β β
cont. tumbao/backbeat groove
β β β β
.Ε Ε Ε Ε Λ
.Ε Ε Ε Ε Λ
Γ
P
.Εb Ε Ε Εb
Γ
P
.Εb Ε Ε Εb
58
β
59
Ε# Ε Ε Ε Ε# β° J
Ε#
Λ
ΛΛΛ
# ΛΛ
ΛΛ
#
59
Λ Λ
Λ Λ
59
β β β β
β β β β
ΛΕ Ε
3
ΕΕ
Ε#
w
w
.Ε Ε Ε Ε Λ
59
Ε
P
Ε Λ
60
Ε# Ε Ε Ε#
Ε# Ε#
β° J
Ε
ΛΛ
Λ
# ΛΛ
Λ
#
60
Λ Λb
β° .r
Εβ°
j
Ε .Ε Εβ°
j
Ε
60
β β β β
β β β β
w
Ε#
>
β₯
Εβ° β°
j
Ε
β€
Ε#
>
β₯
Ε
β°
Ε
>
β₯
Ε
β°
Ε>β₯
Εβ° β°
J
Ε
β€
Ε
>β₯
Ε β° Ε
>β₯
Ε β°
div.Ε
Ε
>β₯Ε
Ε
Ε
ΕΕ
Ε
Ε#
>β₯Ε
Ε
Ε
Ε
J
Ε
Ε
>β₯
β°
60
w
85
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
61
.Ε# Ε#
β
Ε
Ε Ε#
β° J
Ε
Λ
ΛΛ
#
##
Λ
ΛΛ#
61
ΛΛ
# ΛΛ
.Ε Εβ°
j
Ε .Ε Εβ°
j
Ε
61
β β β β
β β β β
w
simile
Ε#
>
Ε β° β°
j
Ε Ε#
>
Εβ°
Ε
>
Εβ°
simile
Ε#
>
Ε β° β°
J
Ε Ε
>
Ε β° Ε
>
Ε β°
simile
ΕΕ
#>
ΕΕ
ΕΕ Ε Ε
Ε
>
ΕΕ
ΕΕ
J
ΕΕ
>
β°
61
w
62
Ε# Ε Ε Ε
Ε ΕΕ
Ε#Ε
ΛΛΛΛ
ΛΛΛ
Λ
bb
62
Λ Λ
.Ε Εβ°
j
Ε .Ε Εβ°
j
Ε
62
β β β β
β β β β
w
Ε Ε Ε Ε
Ε ΕΕ
Ε#Ε
Ε
>
Ε β° Ε
>
Ε β° Εb
>
Ε β° Ε
>
Ε β°
ΕΕ
>ΕΕ
β°
ΕΕ
>ΕΕ
β°
ΕΕ
b>
ΕΕ
β°
ΕΕ
>ΕΕ
β°
62
w
63
.Ε# Ε Ε .Λ
Ε
ΕΕΕ
#
β Ε
ΕΕΕ
.
.
.
.
Λ
ΛΛΛ
63
Εβ
Ε .Λ
.Ε Εβ°
j
Ε .Ε Ε Ε
63
β β β β
β β β β
Λ
Ε Ε
>
Ε Ε Ε# Ε# Ε Ε Ε
.Ε Ε Ε Ε
J
Εβ°
Ε#
>
Ε Ε Ε Ε Ε Ε# Ε#
Ε .Λ
Ε
Ε#
.
.
Λ
Λ
63
w
64
Ε# Ε Ε Ε#
Ε Ε# β°
J
Ε
ΛΛ
Λ
# ΛΛ
Λ
64
Λb Λb
β° .
R
Ε β°
J
Ε .Ε Ε β°
J
Ε
64
β β β β
β β β β
Ε# Ε Εβ€ Ε
β₯
Εβ€ Ε
β₯
β°J
Εβ€
Ε Ε Εβ€ Ε#
β₯
Εβ€
Εβ₯
β° J
Εβ€
Εβ₯
Ε Ε Εβ€
β°
Εβ₯
Ε Εβ₯
Ε Ε Εβ€
β°
Εβ₯
Ε
Ε
Ε
#
#
β₯Ε
Ε
Ε
Ε
Ε
Ε
β€
β°
Ε
Ε
β₯Ε
Ε
Ε
Ε
#β₯
Ε
Ε
Ε
Ε
Ε
Ε
β€
β°
Ε
Ε
β₯Ε
Ε
64
Ε
β€
Ε Ε Ε
β₯
Ε Ε Ε
β€
Ε Ε
β₯
Ε Ε Ε
65
Ε# Ε Ε# Ε
Ε Ε β°
J
Ε
Λ
ΛΛ
##
Λ
ΛΛ#
65
ΛΛ Λ
Λ
.Ε Ε β°
J
Ε .Ε Ε β°J
Ε
65
β β β β
β β β β
Εβ₯
Ε Ε# Ε
Ε Ε
β° J
Ε
Εβ₯
Ε Ε ΕΕ Ε
β° J
Ε
Ε# Ε Ε Ε
β°
Ε Ε Ε Ε Ε Ε
β°
Ε Ε
Ε
Ε
n Ε
Ε
Ε
Ε
Ε
Ε
β°
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
β°
Ε
Ε
Ε
Ε
65
Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε
Ε Ε
&
&
?
?
Γ·
Γ·
&
&
B
?
?
C
C
C
C
C
C
C
C
C
C
C
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
66
Ε Ε Ε Ε
Ε Λ
ΛΛ
Λ
.
.
.
ΕΕ
Ε
b
b
ΕΕ
Ε
β°
j
ΕΕΕ
Εn
66
Λ
Λ
b .
.
Ε
Ε
b
b
Ε
Ε β°
J
Ε
Ε
Λ .Εb Ε
β° J
Ε
66
β β β β
β β β β
Ε Ε Εb Ε
Ε Λ
Ε Ε Ε ΕΕ Λb
div.Ε
Ε
b Ε
Ε
Ε
Ε
Ε
Ε β°
Ε
Ε
Ε
Ε
Ε
Ε
b
b
Ε
Ε
Ε
Ε
Ε
Ε β°
J
Ε
Ε
n
#
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Εβ°
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Εβ°
J
Ε
Ε
b
66
Ε Ε Ε Ε
β°
Ε Ε Εb Ε Ε Ε
β° J
Ε
67
Λ β° Ε#
Ε Ε
ΛΛΛ
Λ
ΕΕ
Ε
b ΕΕ
Ε
b
67
Λ
ΛΕ Εb
Ε Ε Ε Εb
67
β β β β
β β β β
Λ
β°
Ε
Εb Ε
Λ
β° Ε
Εb Ε
.
.
Λ
Λ
unis.Ε
Λ
Λ
Ε Ε
Λb
67
Ε Ε Ε Εb
68
.Ε Ε Ε# Εn ΕΕ Ε
.Ε
ΕΕ
Ε
b
ΕΕ
ΕΕ
b
b
β°.
.
.
.
Ε
Ε
ΕΕn
68
Ε
Ε
bΕ
Ε
β°.
.
Ε
Ε
Ε Εβ° .Ε
68
β β β β
β β β β
.Ε Ε Ε Εb ΕΕ Ε
.Ε
.Ε Ε Ε Εb ΕΕ Ε .Ε
Ε Ε
β° .Ε
Εb Εbβ°
.Εn
Λ
β°
.Ε
68
Ε Εβ° .Ε
69
.Λ#Ε
w
ww
w
69
w
w
.Ε
Ε
Ε
Ε Ε Ε# Ε Ε Ε Εb
69
β β β β
swingΕ Ε Ε Ε
>
Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
L L ΒΏ ΒΏ L L ΒΏ ΒΏ L L ΒΏ ΒΏ ΒΏ
.Λ#
Ε
.Λ#
Ε
.Λ Ε
.ΛΕ
.Λ
Ε
69
.Λ Ε
86
&
&
?
?
Γ·
Γ·
&
&
B
?
?
C
C
C
C
C
C
C
C
C
C
C
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
70
70
70
qΒ»h
qΒ»h
qΒ»h
Swing
Swing
Swing
β
Piano Solo
Γ β°
J
Γ|
BM7/Bb
β
P
Εβ°
j
Εb Λ
ΒΏ ΒΏΕ
β°j
Ε
Ε Ε Ε Ε Ε
β
β
β
β
β
β
71
β
β β
71
β
.Λβ° j
Ε
71ΒΏ ΒΏ
Ε Ε Ε Ε Ε Ε
β
2nd X only
Εb
Εb
Γ
2nd X only
Εb
Εb
Γ
2nd X only
Εb
ΕbΓ
2nd X onlyunis.
Εb
Εb
Γ
71
β
72
β
β β
G/Bb
72
β
Εbβ°
j
Ε Λ
72
β βΕ
β°J
Ε
β
Γ Εb
Εb
Γ Εb
Εb
Γ Εb
Εb
Γ
Εb
Εb
72
β
73
β
β β
73
β
Λ Λb
73
β β
β
.ΛbΕ
.ΛbΕ
.ΛbΕ
.ΛbΕ
73
β
74
β
β β
AbM7/Bb
74
β
Εbβ°
j
Ε Λ
74
β βΕ
β°J
Ε
β
w
w
w
w
74
β
75
β
β β
75
β
w
75
β β
β
Λ
3Ε
ΕbΕ
Λ
3Ε
ΕbΕ
Λ
3Ε
ΕbΕ
Λ
3Ε
ΕbΕ
75
β
76
β
β β
76
β
w
76
β β
β
wb
wb
wb
wb
76
β
77
β
β β
77
β
Λ
.Ε
j
Ε
77
β β
β
Ε Ε Γ
Ε Ε Γ
Ε Ε Γ
Ε
Ε Γ
77
β
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~
78
β
β β
A/Bb
78
β
Εbβ°
j
Ε Λ
78
β βΕ
β°J
Ε
β
Γ
Ε#Ε
Γ
Ε#Ε
β
β
78
β
79
β
β β
79
β
.Λβ° j
Ε
79
β β
β
.Λ Ε
.Λ Ε
Γ
Ε
Ε
Γ Ε
Ε
79
β
80
β
β β
Bb7(#9)
80
β
Εbβ°
j
Ε Λ
80
β βΕ
β°J
Ε
β
.Εb Ε Ε Λb
.Εb Ε Ε Λb
.ΛΕ
wb
80
β
81
β
β β
81
β
Λ Λb
81
β β
β
Λ
3Ε Ε Ε
Λ
3Ε Ε Ε
w
w
81
β
82
β
β β
B/Bb
82
β
Εbβ°
j
Ε Λ
82
β βΕ
β°J
Ε
β
wb
wb
Γ
ΕΛ
ΕΛ
Γ
div.ΕΕb
ΛΕΕ
Λ
82
β
83
β
β β
83
β
w
83
β β
β
Ε
Ε
ΕΕb Λ
Ε
ΕΕb
Εb Λ
β
β
83
β
84
β
β β
84
β
w
84
β β
β
w
w
ΕΛ
ΕΛ
Γ
ΕΕb
ΛΕΕ
Λ
Γ
84
β
85
β
β β
85
β
ΕbΕb
ΕΕ
85
β β
β
Λ
Γ
ΛΓ
β
β
85
β
87
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
86
β
β β
Bb/Eb
86
β
Εb β°
J
Ε Λ
86
β βΕ
β°J
Ε
β
β
β
β
β
86
β
87
β
β β
87
β
Λ
.Εb
J
Εb
87
β β
β
β
β
β
β
87
β
88
β
β β
Eb13
88
β
Εb β°
J
Ε Λ
88
β βΕ
β°J
Ε
β
Γ Λ
Γ Λ
ΓΛ
Γ
unis.Λ
88
β
89
β
β β
89
β
Λ
.Εb
J
Εb
89
β β
β
Λ .Ε Εb Ε
Λ .Ε Εb Ε
Λ .Ε Εb Ε
Λ .Ε Εb Ε
89
β
90
β
β β
G(add2)/Eb
90
β
Εb β°
J
Ε Λ
90
β βΕ
β°J
Ε
β
w
w
w
w
90
β
91
β
β β
91
β
w
91
β β
β
Ε
Ε Ε Ε
Ε
Ε Ε Ε
Ε
Ε Ε Ε
Ε
Ε Ε Ε
91
β
92
β
β β
92
β
w
92
β β
β
.Ε-
J
Ε>
Γ
.Ε
-
J
Ε>
Γ
.Ε-
J
Ε>
Γ
.Ε-
J
Ε>
Γ
92
β
93
β
β β
93
β
.Εj
Εb.Εb
j
Ε
93
β β
β
β
β
β
β
93
β
&
&
?
?
Γ·
Γ·
&
&
B
?
?
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
94
β
β β
EM7(+5)/Eb
94
β
Εb β°
J
Ε Λ
94
β βΕ
β°J
Ε
β
Γ
Λ
Γ
Λ
β
β
94
β
95
β
β β
95
β
w
95
β β
β
ΕΕb 3
Ε
Ε Εb
ΕΕb 3
Ε
Ε Εb
β
β
95
β
96
β
β β
AM7/Eb
96
β
Εb β°
J
Ε Λ
96
β βΕ
β°J
Ε
β
Λb
Λ
Λb
Λ
ΓΛ
Γ Λ
96
β
97
β
β β
97
β
w
97
β β
β
Λ
3
ΕΕb Εb
Λ
3
ΕΕb Εb
Ε
Ε
3Ε
Ε Ε
Ε
Ε
3
Ε
Ε Ε
97
β
98
β
β β
F (add2)/Eb
98
β
Εb β°
J
Ε Λ
98
β βΕ
β°J
Ε
β
w
w
w
w
98
β
99
β
β β
99
β
w
99
β β
β
ΕΕ w
ΕΕ w
ΕΛ
ΕΛ
Γ
div.ΕΕ
ΛΕΕ
Λ
Γ
99
β
100
β
β β
100
β
.Λ
Εb
100
β β
β
w
w
Γ
ΕΛ
ΕΛ
Γ
ΕΕ
ΛΕΕ
Λ
100
β
101
β
β β
101
β
Ε ΕbΕ
Ε
101
β β
β
Λ
Γ
Λ
Γ
β
β
101
β
88
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
102
102
102
β
β β
BM7/Bb
β
β β
walk btwn. pedal and changesBM7/Bb
β β
cont. freer swing
β
ΓΛb
-
Γ
Λb-
Γ Λ-
Γ
ΛΛ
bb
-
β
103
β
β β
G/Bb
103
β
β β
G/Bb
103
β β
β
Ε
Ε-
Λ
Ε
Ε-
Λ
Ε Ε
-
Λ
ΕΕ
ΕΕ
-ΛΛ
103
β
104
β
β β
AbM7/Bb
104
β
β β
AbM7/Bb
104
β β
β
wb-
w-
wb
-
ww
b-
104
β
105
β
β β
105
β
β β
105
β β
Ε Ε
β
Ε Εb
Λ
Γ
ΕΕ
fl
Γ
ΕΕb
Λ
Γ
Ε
ΕΕ
Λ
Γ
105
β
106
β
β β
106
β
β β
106
β β
β
β
β
β
β
106
β
107
β
β β
107
β
β β
107
β β
β
β
β
β
β
107
β
108
β
β β
A/Bb
108
β
β β
A/Bb
108
β β
β
Γ
div.
Λ
Λ-
Γ
div.
Λ
Λ
b
b-
Γ Λ-
Γ
Λ
Λ
-
108
β
109
β
β β
Bb7(#9)
109
β
β β
Bb7(#9)
109
β β
β
Ε
Ε
Ε
Ε
b
b
-
Λ
Λ
Ε
Ε
Ε
Ε
b
-
Λ
Λ
ΕΕ-
Λ
Ε
Ε
ΕΕb
-ΛΛ
109
β
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
110
β
β β
B/Bb
110
β
β β
B/Bb
110
β β
β
wwb
-
w
w
b
b-
wb-
wwb
-
110
β
111
β
β β
111
β
β β
111
β β
β
ww
w
w
w
ww
111
β
112
β
β β
112
β
β β
112
β β
Γ Ε Ε
β
Γ
Ε
Ε
Λ
Ε
Γ
Ε
Ε
b
b
Λ
Ε
Γ
ΕbΛ
Ε
Γ
Ε
Ε
Λ
Ε
112
β
113
β
β β
113
β
β β
113
β β
β
β
β
β
β
113
β
114
β
β β
Bb/Eb
114
β
β β
Bb/Eb
114
β β
β
Γ
unis.
Εb
Ε
Γ
unis.Εb
Ε
β
β
114
β
115
β
β β
Eb13
115
β
β β
Eb13
115
β β
β
Εb Ε Λ
Εb ΕΕb Εb
Γ
Εb Εb
β
115
β
116
β
β β
G(add2)/Eb
116
β
β β
G(add2)/Eb
116
β β
β
w
w
Ε Ε Ε Ε
β
116
β
117
β
β β
117
β
β β
117
β β
β
w
w
w
unis.Ε
Ε Λ
117
β
89
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
118
β
β β
118
β
β β
118
β β
β
w
w
w
w
118
β
119
β
β β
119
β
β β
119
β β
β
β
β
β
β
119
β
120
β
β β
EM7(+5)/Eb
120
β
β β
EM7(+5)/Eb
120
β β
β
β
β
β
β
120
β
121
β
β β
AM7/Eb
121
β
β β
AM7/Eb
121
β β
β
β
β
Γ
Straight 8ths
ΕbΕ Εb Εn
Straight 8ths
Ε Ε Ε# Ε Λ
121
β
122
β
β β
F (add2)/Eb
122
β
β β
F (add2)/Eb
122
β β
β
Γ
Straight 8thsΕ Ε Εb Εn
Straight 8ths
Ε Ε Ε Ε Λ
w
w
122
β
123
β
β β
123
β
β β
123
β β
β
w
Ε Ε Ε Ε Λ
Λ Ε Ε Εb Ε
w
123
β
&
&
?
?
Γ·
Γ·
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
124
β
Γ Ε Γ
124
β
wb
124
Γ Ε Γ
Straight 8thsΕ
>
Ε Ε Ε Ε
>
Ε Ε Ε
w
w
Λ Ε Ε Εb Ε
Ε Ε Ε# Ε Λ
124
β
125
β
β
125
β
w
125
β
β
Λ Ε Ε Ε Ε
Ε Ε Ε Ε Λ
w
w
125
β
126
β
β
126
β
β
126
β
β β
w
Ε Ε Ε Ε Λ
Λ Ε Ε Εb Ε
w
126
β
127
β
β
127
β
β
127
β
β β
w
w
w
Ε Ε Ε# Ε Λ
127
β
128
128
128
hΒ»q
hΒ»q
hΒ»q
Latin
Latin
Latin
Ε β° J
Ε#
β
β
β
Ε ΕΕ
Ε
L ΒΏ ΒΏ L
β β
Ε
Ε
Ε Ε
Ε
Ε
Ε
Ε
β
90
&
&
?
?
Γ·
Γ·
&
&
B
?
?
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
129
Ε# Ε Ε Ε#
Ε# Ε#
β° J
Ε
Γ
ΛΛ
Λ
#
129
Γ
Λ#
β
129β° .
R
Ε Ε Ε.
Ε
Ε Ε Ε
ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ ΒΏ
Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε ΕL L ΒΏ ΒΏ L L ΒΏ ΒΏ L L ΒΏ ΒΏ L L ΒΏ ΒΏ
β
β
β
β
129
β
130
.Ε# Ε#
β
Ε
Ε Ε#
β° J
Ε
Λ
ΛΛ
#
##
Λ
ΛΛ#
130
ΛΛ
# ΛΛ
β
130
β
β
Γ
P
Ε# Ε#
3
Ε ΕΕ
Γ
P
Ε# Ε#
3
Ε ΕΕ
β
β
130
β
131
Ε# Ε Ε Ε
Ε Ε Ε Ε Ε
ΛΛΛΛ
ΛΛΛ
Λ
bb
131
Λ Λ
w
131
β β β β
cont. tumbao/backbeat groove
β β β β
.Ε Ε Ε Ε Λ
.Ε Ε Ε Ε Λ
Γ
P
.Εb Ε Ε Εb
Γ
P
.Εb Ε Ε Εb
131
β
132
Ε# Ε Ε Ε Ε# β° J
Ε#
Λ
ΛΛΛ
# ΛΛ
ΛΛ
#
132
Λ Λ
Λ Λ
132
β β β β
β β β β
ΛΕ Ε
3
ΕΕ
Ε#
w
w
.Ε Ε Ε Ε Λ
132
Ε
P
Ε Λ
133
Ε# Ε Ε Ε#
Ε# Ε#
β° J
Ε
ΛΛ
Λ
# ΛΛ
Λ
#
133
Λ Λb
β° .r
Εβ°
j
Ε .Ε Εβ°
j
Ε
133
β β β β
β β β β
w
Ε#
>
β₯
Εβ° β°
j
Ε
β€
Ε#
>
β₯
Ε
β°
Ε
>
β₯
Ε
β°
Ε>β₯
Εβ° β°
J
Ε
β€
Ε
>β₯
Ε β° Ε
>β₯
Ε β°
div.Ε
Ε
>
β₯
Ε
Ε
Ε
ΕΕ
Ε
Ε#
>
β€
Ε
Ε
Ε
Ε
J
Ε
Ε
>
β₯
β°
133
w
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
134
.Ε# Ε#
β
Ε
Ε Ε#
β° J
Ε
Λ
ΛΛ
#
##
Λ
ΛΛ#
134
ΛΛ
# ΛΛ
.Ε Εβ°
j
Ε .Ε Εβ°
j
Ε
134
β β β β
β β β β
w
Ε#
>
Ε β° β°
j
Ε Ε#
>
Εβ°
Ε
>
Εβ°
Ε#
>
Ε β° β°
J
Ε Ε
>
Ε β° Ε
>
Ε β°
ΕΕ
#>
ΕΕ
ΕΕ Ε Ε
Ε
>
ΕΕ
ΕΕ
J
ΕΕ
>
β°
134
w
135
Ε# Ε Ε Ε
Ε ΕΕ
Ε#Ε
ΛΛΛΛ
ΛΛΛ
Λ
bb
135
Λ Λ
.Ε Εβ°
j
Ε .Ε Εβ°
j
Ε
135
β β β β
β β β β
w
Ε Ε Ε Ε
Ε ΕΕ
Ε#Ε
Ε
>
Ε β° Ε
>
Ε β° Εb
>
Ε β° Ε
>
Ε β°
ΕΕ
>ΕΕ
β°
ΕΕ
>ΕΕ
β°
ΕΕ
b>
ΕΕ
β°
ΕΕ
>ΕΕ
β°
135
w
136
.Ε# Ε Ε .Λ
Ε
ΕΕΕ
#
β Ε
ΕΕΕ
.
.
.
.
Λ
ΛΛΛ
136
Εβ
Ε .Λ
.Ε Εβ°
j
Ε .Ε Ε Ε
136
β β β β
β β β β
Λ
Ε Ε
>
Ε Ε Ε# Ε# Ε Ε Ε
.Ε Ε Ε Ε
J
Εβ°
Ε# Ε Ε Ε Ε Ε Ε# Ε#
Ε .Λ
Ε
Ε#
.
.
Λ
Λ
136
w
137
Ε# Ε Ε Ε#
Ε Ε# β°
J
Ε
ΛΛ
Λ
# ΛΛ
Λ
137
Λb Λb
β° .
R
Ε β°
J
Ε .Ε Ε β°
J
Ε
137
β β β β
β β β β
Ε# Ε Ε Ε
Ε Ε
β°J
Ε
Ε Ε Ε Ε#Ε Ε
β° J
Ε
Ε Ε Ε Ε
β°
Ε Ε Ε Ε Ε Ε
β°
Ε Ε
Ε
Ε
#
#
Ε
Ε
Ε
Ε
Ε
Ε
β°
Ε
Ε
Ε
Ε
Ε
Ε
# Ε
Ε
Ε
Ε
Ε
Ε
β°
Ε
Ε
Ε
Ε
137
Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε
138
Ε# Ε Ε# Ε
Ε Ε β°
J
Ε
Λ
ΛΛ
##
Λ
ΛΛ#
138
ΛΛ Λ
Λ
.Ε Ε β°
J
Ε .Ε Ε β°J
Ε
138
β β β β
β β β β
Ε Ε Ε# Ε
Ε Ε
β° J
Ε
Ε Ε Ε ΕΕ Ε
β° J
Ε
Ε# Ε Ε Ε
β°
Ε Ε Ε Ε Ε Ε
β°
Ε Ε
Ε
Ε
n Ε
Ε
Ε
Ε
Ε
Ε
β°
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
β°
Ε
Ε
Ε
Ε
138
Ε Ε Ε Ε Ε Ε Ε Ε Ε Ε
Ε Ε
91
&
&
?
?
Γ·
Γ·
&
&
B
?
?
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
2
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
139
Ε Ε Ε Ε
Ε Λ
ΛΛ
Λ
.
.
.
ΕΕ
Ε
b
b
ΕΕ
Ε
β°
j
ΕΕΕ
Εn
139
Λ
Λ
b .
.
Ε
Ε
b
b
Ε
Ε β°
J
Ε
Ε
Λ .Εb Ε
β° J
Ε
139
β β β β
β β β β
Ε Ε Εb Ε
Ε Λ
Ε Ε Ε ΕΕ Λb
div.Ε
Ε
b Ε
Ε
Ε
Ε
Ε
Ε β°
Ε
Ε
Ε
Ε
Ε
Ε
b
b
Ε
Ε
Ε
Ε
Ε
Ε β°
J
Ε
Ε
n
#
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Εβ°
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Εβ°
J
Ε
Ε
b
139
Ε Ε Ε Ε
β°
Ε Ε Εb Ε Ε Ε
β° J
Ε
140
Λ β° Ε#
Ε Ε
ΛΛΛ
Λ
ΕΕ
Ε
b ΕΕ
Ε
b
140
Λ
ΛΕ Εb
Ε Ε Ε Εb
140
β β β β
β β β β
Λ
β°
Ε
Εb Ε
Λ
β° Ε
Εb Ε
.
.
Λ
Λ
unis.Ε
Λ
Λ
Ε Ε
Λb
140
Ε Ε Ε Εb
141
Ε
β Ε Ε β°
j
Ε Ε.Ε
ΕΕ
Ε
b
ΕΕ
ΕΕ
b
b
β°.
.
.
.
Ε
Ε
ΕΕn
141
Ε
Ε
bΕ
Ε
β°.
.
Ε
Ε
Ε Εβ° .Ε
141
β β β β
β β β β
.Ε Ε Ε Εb ΕΕ Ε
.Ε
.Ε Ε Ε Εb ΕΕ Ε .Ε
Ε Ε
β° .Ε
Εb Εbβ°
.Εn
Λ
β°
.Ε
141
Ε Εβ° .Ε
142
Λ#
Λ
ΛΛ
Λ
142
Λ
.Ε
Ε
Ε
142
β β
fill
β β
Λ#
Λ#
Λ
Λ
Λ
142
Λ
&
&
?
?
Γ·
Γ·
&
&
B
?
?
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
143
143
143
β° .
f
R
Ε>
.Ε ΕΕ.
βΕ>
.Ε Ε
Ε
ΕΕΕb
.
β
Ε
ΕΕΕ
>
.
.
.
.
Λ
ΛΛΛ
β
Ε.
β Ε
>
.Λ
β β β β.Ε Ε
β° .
r
Ε Ε β° .
r
Ε Ε
β β β β
p
trem.non div.
w
w
@
p
trem.wb
@
β° .
f
R
Ε
>
.Ε ΕbΕ.
β Ε
>
.Ε Ε
β° .
f
unis.
R
Ε> .Ε Εb
Ε.
β Ε>
.Ε Ε
F
Ε.
β Ε
>
.Λ
144
Ε.
β Ε
>
.Ε Ε.Ε Ε Ε Εb
.
.
.
.
.
Λ
ΛΛΛ
ΕΕΕΕb
.
β
ΕΕΕΕ
>
144
β
.Λ Ε.
β Ε
>
144
β β β β.Ε Ε
β° .
r
Ε Ε
β β β β
.
.
Λ
Λ
@
Ε
Ε
@
wb
@
Εb.
β Ε
>
.Ε Ε.Ε Ε Ε Ε
.
Ε.
βΕ>
.Ε Ε.Εb Ε Ε Ε
.
144
.Λ Ε.
β Ε
>
145
β° . R
Ε#>
β
.
J
Ε.Ε Ε# Εn Ε
wwww
145
β
w
145
β β β β
β β β β
w
w
@
wb
@
p
w
p
div.wwb
145
w
146
.ΕΕ>
β
ΕΕ
Ε Εb
ΕbΕ
Ε
wwww
146
β
w
146
β β β β
β β β β
w
w
@
wb
@
.Λ Ε
.
.ΛΛ Ε
146
w
92
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
147
β° . R
Ε> .Ε Εb
Ε.
β Ε>
.Ε Ε
Ε
Ε
Ε
b
b
.
β
Ε
Ε
Ε
>
.
.
.
Λ
Λ
Λ
147
β
Εb
.
βΕ
>
.Λ
147
β β β β.Ε Ε
β° .
r
Ε Ε β° .
r
Ε Ε
β β β β
β° .
f
R
Ε>
.Ε ΕbΕ.
βΕ> .Ε Ε
β° .
f
R
Ε>
.Ε ΕbΕ.
β Ε
>
.Ε Ε
F
trem.w
@
F
trem.w
w
b
b
@
147
Εb
.
βΕ
>
.Λ
148
Ε.
βΕ>
3
Ε
j
Εb Εn Ε.Ε
ΕΕb Εn Ε
.
.
.
.
Λ
Λ
Λ
Ε
Ε
Ε
b
b
.
β
Ε
Ε
Ε
>
148
β
.Λ Εb
.
βΕ
>
148
β β β β.Ε Ε
β° .
r
Ε Ε
β β β β
Εb.
β Ε>
3
ΕΕ Ε
.ΕΕ
Εb Εn Εb.
Εb.
β Ε
>
3
ΕΕ Ε
.Εb Ε Ε Εb Εn.
w
@
w
w
b
b
@
148
.Λ Εb
.
βΕ
>
149
β° . R
Ε>
β
Εb Ε ΕΕΕΕΕΕ
j
Εb Εn
Ε
β°
.
.
.
Λ
Λ
Λ
β° j
Ε
Ε
Ε
n
b
>
149
β
.Λβ°
j
Εn
>
149
β β β β
β°J
Ε
β°
j
Ε
β β β β
Ε
div.
Εb Λ
Ε
Εb Λ
Γ Ε Εb Ε
>
.Λ
@
Ε Ε Ε
>
.
.
Λ
Λ
b
b
@
Ε
Ε
Ε
Ε
Ε
Ε
n>
149
.Λβ°
j
Εn
>
150
β
.
.
.
Λ
Λ
Λ
Ε
150
β
.ΛΕ
150
.Ε Ε
β
Ε
Ε.
Ε Ε
Ε
Ε
Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
L L ΒΏ ΒΏ L L ΒΏ ΒΏ L L ΒΏ ΒΏ ΒΏ
ww
div.
Ε Ε ΛΕΕ# Λ
.Λ Ε
.
.
Λ
Λ Ε
150
w
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
151
β
β
151
β
β
151
β
β
ww
wΛ .Ε Ε Ε# Εn
β
β
151
w
152
β
β
152
β
β
152
β
β
ww
.Λ .Ε Εb Εwn
β
β
152
w
153
β
β
153
β
β
153
β
β
Λ Λw
wbw
β
β
153
.ΛΕ
154
β
β
154
β
β
154
β
β
Λ Λ#w
ww
β
β
154
β
155
β
β
155
β
β
155
β
β
Λ Ε ΕΕ
Ε Εb.
ΛΕ
ΕΕ Εb
Λ ΛΛ Λ
β
β
155
β
156
β
β
156
β
β
156
β
β
unis.
w
unis.
.ΛΕ
β
β
156
Ε β° .
Ε Ε# Λ
93
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
157
157
157
β
β
β
β
β
β
w
Ε
Ε#
ΕΕ
Ε
Ε#
ΕΕ
β
w
158
β
Γ Ε
f
Ε
Ε
Ε
Ε
158
β
β
158
β
β
.ΛΕ
.Εb
j
Ε Λ
.Εb
J
Ε Λ
β
158
Ε Ε Ε Ε
159
β
.
.
Λ
Λ
Ε
159
β
β
159
β
β
β
ΕΕ
3
ΕΕ
Ε
ΕΕ
3
ΕΕ
Ε
Γ
unis.Λ
159
wb
160
β
Γ Ε
Ε
Ε
Ε
Ε
160
β
β
160
β
β
β
.Ε
j
Ε Λ
.Ε
J
Ε Λ
w
160
Ε Ε Ε Ε
161
β
.
.
Λ
Λ
Ε
161
β
β
161
β
β
β
Ε Εb
.Ε
j
Ε
Ε Εb
.Ε
J
Ε
w
161
wb
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
162
β
Ε
Ε
Εb
Εb
Ε
Ε
Εb
Εb
Ε
Ε
Ε
Ε
Εb
Εb
Ε
Ε
162
Λ Λ
w
β
162
β
β
β
Ε
Ε Ε Ε
Ε
Ε Ε Ε
Λ Λ
162
w
163
β
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Εb
Εb
Εn
Εn
163
w
w
#
#
β
163
β
β
Γ Λb
Λb
3
Ε Ε Ε
Λb
3Ε Ε Ε
3Ε Ε Ε Λ
163
w#
164
β
Ε
Ε
Ε
Ε
Ε ΕΕ
Ε
Ε
ΕΕ
ΕΕ
164
.
.
Λ
Λ
Ε
β
164
β
β
ΛΕ Ε Ε Ε
3
Ε ΕΕ
3
Ε Ε Ε
wb
.Λ Ε
164
.Λ Ε
165
β
Ε
ΕΕ Ε Ε
ΕΕ
Ε Εb Ε
Εb
165
ΛΛb
ΛΛΛ
b
β
165
β
β
Ε Ε Ε ΕΕ Ε Ε Ε
3
Εb ΕΕ
3
Ε Ε Ε# Ε
w
.Εb
J
Ε Λ
165
.Εb
J
Ε Λ
166
β
Ε Ε Ε# Ε
Ε Ε Ε Ε
Ε# ΕΕ#
ΕΕ
166
w
ww
b
β
166
β
β
Εb Ε Ε ΕΕ Ε Ε Ε
3
Ε Ε Ε
3
Ε Ε#Ε
w
ΕΕ
3
ΕΕ
Ε
166
ΕΕ
3
ΕΕ
Ε
94
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
167
β
Ε
ΕΕ Ε
ΕΕ
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
167
wwww
β
167
β
β
Ε Ε Ε ΕΕ Ε Ε Ε
3
Ε Ε Ε
3
Ε Εb Ε Ε
.Ε
j
Ε .Ε
J
Ε
.Ε
j
Ε Λ
167
.Ε
j
Ε Λ
168
β
Ε
Ε
Ε
Ε
Ε
Ε
Ε Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
168
wwww
β
168
β
β
Εb Ε Ε Ε Εb Ε Ε Ε
3
Εb Ε Ε
3
Εb Ε Ε
.Λ Ε
Ε ΕbΕ
Ε
168
Ε ΕbΕ
Ε
169
β
Ε
Ε
Ε Ε
ΕΕ
Ε
ΕΕ
Ε
Ε
Ε
ΕΕ
Ε
169
Ε
Ε
Ε Ε
ΕΕ
Ε
ΕΕ
Ε
Ε
Ε
ΕΕ
Ε
β
169
β
β
Ε Ε Εb Ε
Ε Ε Ε Ε
3
Λ Ε
3
Ε Ε Ε
Εb .Ε Ε ΕΛ
Ε
Ε Ε Ε
169
Ε
Ε Ε Ε
170
β
Λb
>
3
Ε Ε
>
Ε
>
3
Ε
>
Εb
>
Ε
>
170Λb
>
3
Ε Ε
>
Ε
>
3
Ε
>
Εb
>
Ε
>
β
170
β
β
Ε# Ε# Ε Ε Λ
ΕΕ Ε Ε Λ
ΛΕ Ε Εb Ε
Λb
>
3
Ε Ε
>
Ε
>
3
Ε
>
Εb
>
Ε
>
170
Λb
>
3
Ε Ε
>
Ε
>
3
Ε
>
Εb
>
Ε
>
171
β
w#
>
171w#
>
β
171
β
β
Λ Λb
Λ Λ
.Ε Ε Εb Λ
.Λ#
>
div.Ε
Ε
# Ε
Ε
Ε
Ε
.
171.Λ#
>
Ε Ε Ε
.
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
172
Ε.Ε Εb Ε
j
Ε
.
β°.Ε Ε Ε
β
172
β
β
172
β
Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε
Ε
Ε Γ
Ε Ε Γ
Ε
.Ε Εb Ε
J
Ε.
β°
.Ε Ε Ε
Ε
Ε
#.
β₯
Ε
Ε
Ε
Ε
Ε
Ε
β€Ε
Ε
Ε
Ε
.Ε
Ε
.
β₯
Ε
Ε
Ε
Ε
Ε
Ε
β€Ε
Ε
Ε
Ε
.
172Ε
.
β₯
Ε Ε Ε
β€
Ε Ε
.
Ε
.
β₯
Ε Ε Ε
β€
Ε Ε
.
173
j
Ε
.
β°
.Ε Ε Ε .Ε Ε Ε
j
Ε#
.
β°
β
173
β
β
173
β
β
β
Ε.Ε Εb Ε
j
Ε
.
β°
.Ε Ε Ε
J
Εb.
β°
.Ε Ε Ε.Ε Ε Ε
j
Ε.
β°
Ε
Ε
#.
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
.Ε
Ε
.Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
.
173Ε
.
Ε Ε Ε Ε Ε
.
Ε
.
Ε Ε Ε Ε Ε
.
174
β
Ε
.Ε Εb Ε
J
Ε.
β°
.Ε Ε Ε
174
Ε
.Ε Εb Ε
J
Ε.
β°
.Ε Ε Ε
β
174
β
β β β β
Ε
.Ε Εb Ε
J
Ε.
β°
.Ε Ε Ε
j
Εb
.
β°
.Ε Ε Ε.Ε Ε Ε
j
Ε
.
β°
Ε
.Εb Εb Ε
J
Ε.
β°
.Ε Ε Ε
Ε
Ε
#.
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
.Ε
Ε
.Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
.
174Ε
.
Ε Ε Ε Ε Ε
.
Ε
.
Ε Ε Ε Ε Ε
.
175
β
J
Εb.
β°
.Ε Ε Ε .Ε Ε Ε
J
Ε.
β°
175J
Εb.
β° .Ε Ε Ε .Ε Ε Ε
j
Ε
.
β°
β
175
β
β β β β
J
Εb.
β°
.Ε Ε Ε .Ε Ε Ε
J
Ε
.
β°
Ε.Εb Εb Ε
j
Ε
.
β°.Ε Ε Ε
J
Ε.
β°
.Ε Ε Ε .Εb Ε Ε Ε Ε Ε.
Ε
Ε
#.
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
.Ε
Ε
.Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
.
175Ε
.
Ε Ε Ε Ε Ε
.
Ε
.
Ε Ε Ε Ε Ε
.
95
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
176
Ε .Εb Ε Ε
j
Ε.
β°.Ε Ε Ε
β
176
β
β
176
β
β β β β
Ε
.Εb Εb Ε
J
Ε.
β°
.Ε Ε Ε
j
Ε
.
β°
.Ε Ε Ε .Εb Ε Ε.Ε Ε Ε
Ε.
Ε Ε Ε Ε Ε.
Ε.
Ε Ε Ε Ε Ε.
Ε
Ε
#.
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
.Ε
Ε
.Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
.
176Ε
.
Ε Ε Ε Ε Ε
.
Ε
.
Ε Ε Ε Ε Ε
.
177
j
Ε
.
β°.Ε Ε Ε
.Ε Ε Ε .Ε Ε Ε
β
177
β
β
177
β
β β β β
J
Ε.
β°
.Ε Ε Ε.Εb Ε Ε .Ε Ε Ε
Ε
.
Ε Ε Ε Ε Ε
.
j
Ε
.
β°
.Ε Εb Ε
Ε.
Ε Ε Ε Ε Ε.
Ε.
Ε Ε .Ε Εb Ε
Ε
Ε
#.
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
.Ε
Ε
.Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
.
177Ε
.
Ε Ε Ε Ε Ε
.
Ε
.
Ε Ε Ε Ε Ε
.
178
Ε.
Ε Ε Ε Ε Ε.
Ε.
Ε Ε Ε Ε Ε Ε
β
178
β
β
178
β
β β β β
Ε.
Ε Ε Ε Ε Ε.
Ε.
Εβ₯
Ε Ε Ε Ε Ε
Ε.
Ε Ε Ε Ε Ε.
Ε.
Ε
β₯
Ε Ε Ε Ε Ε
Εb.
Ε Ε Ε Ε Ε.
Ε.
Εβ₯
Ε Ε Ε Ε Ε
Ε
Ε#
.Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
.Ε
Ε
.Ε
Ε
β₯Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
178Ε
.
Ε Ε Ε Ε Ε
.
Ε
.
Ε
β₯
Ε Ε Ε Ε Ε
179
179
179
j
Ε.
β° Ε Γ
β° . R
Εb
β
ΕΕ .Εb Ε Ε
β° .R
Εb
β
ΕΕ .Εb Ε Ε
β
β
Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε Ε Ε
>
Ε Ε ΕL L ΒΏ ΒΏ L L ΒΏ ΒΏ L L ΒΏ ΒΏ L L ΒΏ ΒΏ
J
Ε.β₯
β° Ε Γ
J
Ε.
β₯
β° Ε Γ
J
Εb.β₯
β° Ε Ε β°
J
Ε
J
Ε
Ε#
.β₯
β° Ε Ε β°
unis.
J
Ε
j
Ε
.
β₯
β° Ε Γ
180
β
β° . R
Ε
β
ΕΕ .Ε Ε Ε
180
β° .R
Ε
β
ΕΕ .Ε Ε Ε
Γ Ε β° J
Εb
180
β
β
β
β
Λb Ε Ε Ε
Λb Ε Ε Ε
180
β
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
181
β
β° . R
Εb
β
ΕΕ Ε
3
Ε Ε Εb Ε
181
β° . R
Εb
β
ΕΕ Ε
3
Ε Ε Εb Ε
Ε .Εb Ε
Ε
Ε
181
β
β β β β
β
β
Λb Ε Εn
Λb Λ
181
β
182
β
.Εb Ε
β
Ε Ε .Ε Ε Ε Ε
182
.Εb Ε
β
Ε Ε .Ε Ε Ε Ε
Ε
.Ε# ΕΕ
Ε
182
β
β β β β
β
β
Λ Ε Ε
Λ#
div.
ΛΛ
182
Γ
Ε
Ε
183
β° .
R
Εb β
ΕΕ .Ε Ε Ε
β° . R
Εb
β
ΕΕ .Εb Ε Ε
183
β° .R
Εb
β
ΕΕ .Εb Ε Ε
Ε.Ε Ε
Ε Ε
183
β
β β β β
P
Ε
Ε Ε.
β° Ε Ε
Ε
Ε Ε.
β° Ε Ε
β°
P
Ε
Ε
Ε
Ε
Ε.
β° Ε
Ε
Ε
Ε
Ε.
w
Λb Ε Ε
Λ Λb
183
Λ Λ
184
β° .
R
Ε βΕ
Ε .Ε# Ε Ε
β° . R
Ε
β
ΕΕ .Ε Ε Ε
184
β° .R
Ε
β
ΕΕ .Ε Ε Ε
Ε .Εb Ε Ε Ε
184
β
β β β β
Ε
Ε Ε.
β° Ε Ε
Ε
Ε Ε.
β° Ε Ε
β° Ε
Ε
Ε
Ε
Ε.
β° Ε
Ε
Ε
Ε
Ε.
ΛΛ
ΕΕ Ε Ε
Λb Λ
184
Λb Λ
185
β° .R
Ε
β
ΕΕ Ε
3
Ε Ε Εb Ε
β° . R
Εb
β
ΕΕ Ε
3
Ε Ε Εb Ε
185
β° . R
Εb
β
ΕΕ Ε
3
Ε Ε Εb Ε
Ε.Εb Ε
Ε
Ε
185
β
β β β β
Ε
Ε Ε.
β° Ε Ε
Ε
Ε Ε.
β° Ε Ε
β° Ε
Ε
Ε
Ε
Ε.
β° Ε
Ε
Ε
Ε
Ε.
w
Ε Ε Λ
Λ Ε Ε
185
Λb Λ
186
.Ε Ε
βΕ Ε .Ε Ε Ε Ε#
.Εb Ε
β
Ε Ε .Ε Ε Ε Ε
186
.Εb Ε
β
Ε Ε .Ε Ε Ε Ε
Ε
.Ε# Ε
β° .
R
Ε
Ε Ε
Ε
186
Γ β° .
R
Γ Γ Γ Γ
β β β β
Ε
Ε Ε.
β° Ε Ε
Ε
Ε Ε.
β° Ε Ε
β° Ε
Ε
Ε
Ε
Ε.
β° Ε
Ε
Ε
Ε
Ε.
Λ# Λ
Λ Ε Ε
Λb Λ
186
Λ# Λ
96
&
&
?
?
Γ·
Γ·
&
&
B
?
?
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
Piano Solo
Piano Solo
Piano Solo
187
β
β β β β
G7(b9) Cm9
187
β
.ΕΕ Ε
Ε .Ε Ε Ε Εb
G7(b9) Cm9
187
.Ε Ε
β°J
Ε
β°
Ε
J
Ε
L ΒΏ ΒΏ L ΒΏ ΒΏ L ΒΏ ΒΏ L ΒΏ ΒΏ
β β β β
w
w
w
unis.
w
187
w
188
β
β β β β
F #o7 G
188
β
.ΕΕ Ε
Ε .ΕΕ Ε Εb
F #o7 G
188
β
β β β β
w
w
.Λ
Ε
.Λ
Ε
188
.Λ
Ε
189
β
β β β β
Eb F(add2)
189
β
.ΕΕ Ε Ε .Ε
Ε ΕΕb
Eb F(add2)
189
β β β β
cont. Afro-Venezuelan groove
β β β β
w
w
β
β
189
β
190
β
β β β β
F #o7 AbM7(b5)
190
β
.ΕΕ# Ε Ε .Ε
Ε
Ε
F #o7 AbM7(b5)
190
β β β β
β β β β
.Λ
Ε
.ΛΕ
β
β
190
β
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
191
191
191
β° .
R
Εb β
ΕΕ .Ε Ε Ε
β β β β
G7(b9) Cm9
β
β β β β
G7(b9) Cm9
β β β β
β β β β
p
Εβ₯
Ε Ε ΕΛ
β°
Εβ₯
Ε Εβ₯
Ε Ε ΕΛ
β°
Εβ₯
Ε
p
Ε
β₯
Ε Ε Ε
fl
β°Ε
β₯
Ε Ε
β₯
Ε Ε Ε
fl
β°Ε
β₯
Ε
β
β
β
192
β° .
R
Ε βΕ
Ε .Ε# Ε Ε
β β β β
F#o7 G
192
β
β β β β
F#o7 G
192
β β β β
β β β β
Ε Ε Ε ΕΛ
β°
Ε Ε Ε Ε Ε ΕΛ
β°
Ε Ε
Ε Ε Ε Ε
fl
β°Ε Ε Ε Ε Ε Ε
fl
β°Ε Ε
β
β
192
β
193
β° .R
Ε
β
ΕΕ Ε
3
Ε Ε Εb Ε
β β β β
Eb F(add2)
193
β
β β β β
Eb F(add2)
193
β β β β
β β β β
Ε Ε Ε ΕΛ
β°
Ε Ε Ε Ε Ε ΕΛ
β°
Ε Ε
Ε Ε Ε Ε
fl
β°Ε Ε Ε Ε Ε Ε
fl
β°Ε Ε
β
β
193
β
194
.Ε Ε
βΕ Ε .Ε Ε Ε Ε#
β β β β
F#o7 AbM7(b5)
194
β
β β β β
F#o7 AbM7(b5)
194
β β β β
β β β β
Ε Ε Ε ΕΛ
β°
Ε Ε Ε Ε Ε ΕΛ
β°
Ε Ε
Ε Ε Ε Ε
fl
β°Ε Ε Ε Ε Ε Ε
fl
β°Ε Ε
β
β
194
β
97
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
195
β
β β β β
G7(b9) Cm9
195
β
β β β β
G7(b9) Cm9
195
β β β β
β β β β
p
Ε Ε Ε ΕΛ
β°
Ε Ε Ε Ε Ε ΕΛ
β°
Ε Ε
p
Ε Ε Ε Ε
fl
β°Ε Ε Ε Ε Ε Ε
fl
β°Ε Ε
F
Λ Λb
F
div.ΛΛ
b ΛΛn
195F
Λ Ε Ε Ε
196
β
β β β β
F#o7 G
196
β
β β β β
F#o7 G
196
β β β β
β β β β
Ε Ε Ε ΕΛ
β°
Ε Ε Ε Ε Ε ΕΛ
β°
Ε Ε
Ε Ε Ε Ε
fl
β°Ε Ε Ε Ε Ε Ε
fl
β°Ε Ε
Λ Λ
ΛΛ# ΛΛn
196
Λb Λ
197
β
β β β β
Eb F (add2)
197
β
β β β β
Eb F (add2)
197
β β β β
β β β β
Ε Ε Ε ΕΛ
β°
Ε Ε Ε Ε Ε ΕΛ
β°
Ε Ε
Ε Ε Ε Ε
fl
β°Ε Ε Ε Ε Ε Ε
fl
β°Ε Ε
Ε Ε Ε Ε Ε Ε
ΛΛb
ΛΛ
197
Λb Λ
198
β
β β β β
F#o7 AbM7(b5)
198
β
β β β β
F#o7 AbM7(b5)
198
β β β β
β β β β
Ε Ε Ε ΕΛ
β°
Ε Ε Ε Ε Ε ΕΛ
β°
Ε Ε
Ε Ε Ε Ε
fl
β°Ε Ε Ε Ε Ε Ε
fl
β°Ε Ε
Λ Λ
Λ
Λb
ΛΛ
b
198
Λ# Λ
&
&
?
?
Γ·
Γ·
&
&
B
?
?
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
199
β° .
R
Εb β
ΕΕ .Ε Ε Ε
β β β β
G7(b9) Cm9
199
β
β β β β
G7(b9) Cm9
199
β β β β
β β β β
F
Ε Ε Ε ΕΛ
β°
Ε Ε Εb Ε Ε Ε
Λ
β°
Ε Ε
F
Ε Ε Ε Εβ°
Ε Ε Ε Ε Ε Ε β° Ε Ε
F
Εbβ₯
Ε Ε Ε
Λ
β°
Εβ₯
Ε Εβ₯
Ε Ε ΕΛ
β°
Εβ₯
Ε
Ε
F
Ε
Εb
β₯Ε
Ε
Ε
Ε
Λ
Ε
Ε
Ε
bβ₯
Ε
Ε
Ε
Ε
Λ
199Ζ
Ε. Ε
. Ε.
Ε. Ε
. Εb. Ε
.
Ε.
200
β° .
R
Ε βΕ
Ε .Ε# Ε Ε
β β β β
F#o7 G
200
β
β β β β
F#o7 G
200
β β β β
β β β β
Εb Ε Ε Ε
Λ
β°
Ε Ε Ε Ε Ε Ε
Λ
β°
Ε Ε
Ε Ε Ε Ε β° Ε Ε Ε Ε Ε Ε β°
Εb Ε
Εb Ε Ε ΕΛ
β°
Ε Ε Ε Ε Ε ΕΛ
β°
Εb Ε
Ε
Ε
Εb
Ε
Ε
Ε
Ε
Λ
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Λ
200
Εb.
Ε.
Ε.
Ε.
Ε.
Ε.
Ε. Ε
.
201
β° .R
Ε
β
ΕΕ Ε
3
Ε Ε Εb Ε
β β β β
Eb F(add2)
201
β
β β β β
Eb F(add2)
201
β β β β
β β β β
Εb Ε Ε ΕΛ
β°
Ε Ε Ε Ε Ε ΕΛ
β°
Ε Ε
Εb Ε Ε Ε
β°
Ε Ε Ε Ε Ε Ε
β°
Ε Ε
Ε Ε Ε Ε
Λ
β°
Ε Ε Ε Ε Ε ΕΛ
β°
Ε Ε
Ε
Ε
Ε
b Ε
Ε
Ε
Ε
Λ
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Λ
201
Εb. Εb
. Ε.
Ε.
Ε. Ε
.
Ε.
Ε
.
202
.Ε Ε
βΕ Ε .Ε Ε Ε Ε#
β β β β
F#o7 AbM7(b5)
202
β
β β β β
F#o7 AbM7(b5)
202
β β β β
β β β β
Εb Ε Ε ΕΛ
β°
Ε Ε Ε Ε Ε ΕΛ
β° J
Ε
Ε Ε Ε Εβ°
Ε Ε Ε Ε Ε Εβ°
J
Ε
Ε Ε Ε ΕΛ
β°
Ε Ε Ε Ε Ε ΕΛ
β°J
Ε
Ε
ΕΕ
ΕΕ
ΕΕ
Λ
β°
Ε
Ε
Ε
Ε
Ε
Ε
>Ε
Ε
Ε
Ε
Ε
Ε
202
Εb. Ε
. Ε.
Ε.
Εn.
Ε. Ε
.
β°
98
&
&
?
?
Γ·
Γ·
&
&
B
?
?
8
12
8
12
8
12
8
12
8
12
8
12
8
12
8
12
8
12
8
12
8
12
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
203
β
β β β β
203
β
w
203
β β β β
β β β β
div.w
wb
w
wb
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
ΛΕ
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
ΛΕ
Ε
Ε
Ε
Ε
Ε
Ε
Ε
203
Ε Ε Ε Ε Ε
Λ
Ε Ε Ε Ε Ε
Λ
Ε Ε Ε Ε
204
β
β β β β
204
β
.Λ Ε Ε Ε
204
β β β β
β β β β
.
.Λ
Λ
Ε
Εb
ΛΕ
Ε
Ε
Ε
.Λ Ε
Λ
Ε Ε
.Λ Εb
Λ
Ε Ε
Ε
Ε
ΛΕ
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
ΛΕ
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε
ΛΕ
Ε
Ε
Ε
204
Ε
Λ
Ε Ε Ε Ε Ε
Λ
Ε Ε Ε Ε Ε
Λ
Ε Ε
205
β
β
205
β
J
Ε
β° Ε Γ
205
Γ
Ε
3
Ε
β° Ε
3
β°
Ε Ε
Ε
>
Ε
>
3
Ε
>
Ε Ε
3
Ε
>
Ε ΕΕ
Ε Γ
J
Ε
Εb
Λ
β° Ε Γ
J
Ε
Λ
β° Ε Γ
J
Εb
Λ
β° Ε Γ
J
Ε
Ε
Λ
β° Ε Γ
205
J
Ε
Λ
β° Ε Γ
&
&
?
?
Γ·
Γ·
&
&
B
?
?
8
12
8
12
8
12
8
12
8
12
8
12
8
12
8
12
8
12
8
12
8
12
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
qΒ»q.
qΒ»q.
qΒ»q.
Afro-Cuban
Afro-Cuban
Afro-Cuban
206
206
206
Ε
J
Εb Ε
ΕΕ Ε
J
Ε .Ε
Ε
j
Εb Ε
ΕΕ Εb
J
Ε .Ε
Εj
Εb Ε
ΕΕ Εb
J
Ε.Ε
.Λ .Λ
ΕJ
Ε
ΕΕ Ε
J
Ε
ΕΕ
Ε
J
Ε
Ε Ε Ε Εβ°
Ε Ε
j
Ε
Ε>
Ε Ε>
Ε Ε>
Ε Ε Ε>
Ε Ε>
Ε Ε>
Ε
unis.
j
Εb Ε
legato
ΕΕ Εb
j
Ε .Ε
Εj
Εb Ε
legato
ΕΕ Εb
j
Ε .Ε
.Λ .Λb
.
.
Λ
Λ
b.
.
Λ
Λ
.Λ .Λ
207
Ε
J
Ε ΕΕ
Ε Ε#
J
Ε .Ε
Ε
j
Ε ΕΕ
Ε Ε
J
Ε.Ε
207
Ε
j
Ε ΕΕ
Ε Ε
j
Ε.Ε
.Λb .Λ
207
β
β
Ε
j
Ε ΕΕ
Ε Ε
j
Ε .Ε
Ε
j
Ε ΕΕ
Ε Ε
j
Ε .Ε
.Λ#.Λ
.
.
Λ
Λ
.
.
Λ
Λ
207
.Λb .Λ
208
Ε
J
Ε ΕΕ
Ε Ε
3
Ε Ε Εb .Ε
Ε
J
Εb ΕΕ
Ε Ε
3
Ε Ε Εb .Ε
208
Ε
J
Εb ΕΕ
Ε Ε
3
Ε Ε Εb.Ε
.Λb .Λ
208
β β β β
β β β β
Ε
j
Εb ΕΕ
Ε Ε
3
Ε Ε Εb .Ε
Ε
j
Εb ΕΕ
Ε Ε
3
Ε Ε Εb .Ε
.Λ .Ε .Ε
.
.
Λ
Λ
b
b
.
.
Λ
Λ
208
.Λb .Λ
209
.Ε Ε Ε Ε Ε Ε# Ε Ε
ΕΕ
.Εb Ε Ε Ε Ε Ε Ε Ε
ΕΕ
209
.Εb Ε Ε Ε Ε Ε Ε Ε
ΕΕ
.Λ# .Ε .Εn
209
β β β β
β β β β
.Εb Ε Ε Ε Ε Ε Ε Ε
ΕΕ
.Εb Ε Ε Ε Ε Ε Ε Ε
ΕΕ
.Λb.Λ
.
.ΛΛb
.
.
Ε
Ε..
ΕΕ
209
.Λ# .Ε .Εn
210
Ε Ε Ε Ε
Ε
ΕbΕ Εb Ε Ε
Ε#
Ε
Ε Εb Ε ΕΕ
ΕbΕ Εb Ε Εb
Εn
Ε
210
Ε Εb Ε ΕΕ
ΕbΕ Εb Ε Εb
Εn
Ε
.Εb .Εb.Εb
.Εb
210
β β β β
β β β β
Ε Εb Ε ΕΕ
ΕbΕ Εb Ε Εb
Εn
Ε
Ε Εb Ε ΕΕ
ΕbΕ Εb Ε Εb
Εn
Ε
.Ε .Ε
.Εb .Εn
.
.ΕΕ
.
.ΕΕ
.
.Ε
Ε
b
b
.
.
Ε
Ε
210
.Εb .Εb.Εb
.Εb
99
&
&
?
?
Γ·
Γ·
&
&
B
?
?
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
8
6
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
T Sax.
Aux. Perc.
Vln. I
Vln. II
Vla.
Vlc.
Cb.
Pno.
211
Ε
ΕΕ# Εn
ΕbΕb
Ε
ΕΕ Ε#
Ε#Ε
211
Ε
ΕΕ Ε#
Ε#Ε
.Ε.Εb
211
Γ Γ Γ Γ Γ Γ
Ε>
Ε Ε Ε>
Ε Ε Ε
Ε
ΕΕ Ε#
Ε#Ε
Ε
ΕΕ Ε#
Ε#Ε
.Λ
.
.ΕΕb
.
.
Ε
Ε
b
211
.Ε .Εb
q.Β»q
q.Β»q
q.Β»q
212w
w
ww
b
b
212
www
w
b
bb
wb
212
|
Ε>
Ε Ε Ε Ε>
Ε Ε Ε Ε>
Ε Ε Ε Ε>
Ε Ε Ε
Εb Ε
3
Εn
ΕbΕ
Λb
Εb Ε
3
Εn
ΕbΕ
Λb
w
w
w
b
212
wb
213.Λ
Ε
w
ww
213
www
w
.Ε
Εb Εb Εb Ε Ε Εb Ε Ε
213
.Γ Γ Γ Γ Γ Γ Γ Γ Γ
β
.Λ
Ε
.Λ
Ε
.Λ
Ε
.
.
Λ
Λ
Ε
213
.ΛΕ
214
β° .
r
Ε β Ε#Ε
Ε Ε Ε Ε ΕΕ
ΕΕb
β° .r
Εβ Ε
ΕΕ Εb Ε Ε Ε
ΕΕ
Εb
214
β° .r
Εβ Ε
ΕΕb Ε Ε Εb Ε Ε Ε Εb
.ΕΕ
β
ΕΕ
Εb Ε Ε Εb Ε Ε Ε Εb
214
.Ε
Ε β Ε
Ε .Ε
Ε Ε Ε Ε Ε
J
Ε> β° Ε Γ
β° .
r
Ε
β€
β Ε
β₯
Ε
β€ Εβ₯
Εb Ε Ε ΕΕ
ΕΕb
β° .r
Ε
β€
β Ε
β₯
Ε
β€ Εβ₯
Εb Ε Ε ΕΕ
ΕΕb
β° .r
Ε
β€
β Ε
β₯
Ε
β€Εβ₯
Εb Ε Ε ΕΕ
ΕΕb
Ε Εb ΕΕb
β° .
unis.r
Ε
β€
β Ε
β₯
Ε
β€ Εbβ₯
Ε Ε Εb
div.
Ε Ε Ε Εb
214
β° .R
Εβ€
β
Εβ₯ Ε
β€ Εbβ₯
Ε Ε Εb Ε Ε Ε Εb
215
Ε Εb Ε
βR
Ε#
β°
3
β°
Ε Ε
Ε
Ε
Ε
Ε
Ε
b
b
Ε
Ε
b
b β
R
Ε
Ε
n
n β°
3
β°
Ε
ΕΕ
Ε
Ε
ΕΕ
Ε Ε
215
Ε
Ε
Ε
Ε
Ε
Ε
b
b
β
r
Ε
Ε
β°
3
β° Ε
Ε
Ε
Ε
Ε
Ε
Ε
Ε Ε Εb β
R
Ε β°
3
β° Ε Ε Ε
215
ΕΕ Ε
β
ΕΕ
3
Ε
Ε Ε
Ε
ΓCr.
3
β°Ε Ε
β
Ε Εb Εb
βR
Εn
β°
3
β°
div.Ε
Ε
β₯
Ε
Ε
β€
Ε
Ε Ε Εb
β
R
Εβ°
3
β°
div.Ε
Ε
β₯
Ε
Ε
β€
Ε
Ε Εb Εb
β R
Εn
β°
3
β°
Ε
β₯
Ε
β€
Ε
Ε Ε Εb
β r
Ε
β°
3
β°
Ε
Ε
β₯
Ε
Ε
β€
Ε
Ε Ε Εb β
R
Ε β° 3β°Ε Ε
Ε
215
Ε Ε Εb β
R
Ε β°
3
β° Ε
β₯
Ε
β€
Ε
100
Works Cited
Collier, James Lincoln. Jazz: The American Theme Song. New York: OxfordUniversity Press, 1993.
Eustache, Pedro. Strive for Higher Realities. MMP, 1996.
Grout, Donald J. and Claude V. Palisca. A History of Western Art Music, 4th ed.New York: W. W. Norton and Company, 1988.
MacDonald, Hugh. "Symphonic Poem." The New Grove Dictionary of MusicOnline. Ed. L. Macy. 13 March 2003 <http://grovemusic.com>
Scofield, John, Dennis Irwin, Joe Lovano, and Bill Stewart. What We Do. BlueNote, 1993.
101
Vita
Benjamin Marc Irom was born in Redlands, California on May 2, 1970.
He is the son of Kenneth and Beverly Irom. In 1988, he graduated from Redlands
High School in Redlands, California. He received a Bachelor of Arts degree in
music from The University of California at Santa Cruz in 1992, and a Master of
Arts degree in music from The University of California at Los Angeles in 1995.
In the fall of 1995, he enrolled in the doctoral program in music at The University
of Texas at Austin. He currently has three compositions for big band published
by The University of Northern Colorado Jazz Press. During the 1994-95
academic year, he taught music theory at Riverside Community College in
Riverside, California. From 1998-2000, he taught on faculty at Baylor University
in Waco, Texas as Lecturer in Jazz Studies. Since the fall of 2001, he has been
Director of Jazz Studies at Temple College in Temple, Texas.
Permanent address: 201 Rabern Ct., Apt. 116, Belton, TX 76513-1957
This dissertation was typed by the author.