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Jarkko Hartikainen
Radix
A Brass Quintet
2013 - 2014
Copyright © by the Composer All Rights Reserved No part of this publication may be copied or reproduced in any form or by any means without the prior permission of the composer Distribution: Music Finland Music Library Urho Kekkosen katu 2 C, 6t h floor FI-00100 Helsinki Finland [email protected] www.musicfinland.fi Helsinki, 2017
Jarkko Hartikainen
Radix (2013–14) a brass quintet 13 min.
Commissioned by Ensemble Schwerpunkt
with funds by the Madetoja Foundation (Madetoja-säätiö) and the Swedish Cultural Foundation in Finland (Svenska kulturfonden)
Trumpet in C practise mute, cup mute
Trumpet in Bb practise mute, cup mute
Horn in F / Bb stop mute
Tenor Trombone cup mute, harmon mute
Tuba (in F) practise mute
all extended techniques are explained in the score, upon occurrance
questions, sound samples, parts, and further commissions: [email protected]
Big thanks to brass players Miikka Saarinen, Annu Salminen, Sakari Kekola, Janne Ahonen, Max Murray and Matthew Brown for their invaluable help during the composition process. I owe you guys so many drinks (and perhaps solo pieces…)! I also like to extend my thanks to Bill Forman, Douglas Hill, Stephen Altoft, Mike Svoboda and Charlie Porter, all who, although mostly unaware, helped and inspired me a great deal in my quest with all things brass, primarily through recorded and written media. My final thank you must go to the tubist Harri Lidsle for believing in me enough to recommend me to Ensemble Schwerpunkt as a promising young Finnish composer they should commission.
Radix (lat. ‘root’, the number of unique digits in a positional numeral system, ie. ‘base’)
Quite early in the composition process of my brass quintet Radix (2013), it became clear that the brass instruments have many interesting possibilities hidden inside them. With the help of several broad-minded brass players in my geographically most immediate circle of musicians, we investigated the possibilities by starting truly from the root of the matter: air, tubes, vibrations. Later: combining, applying, repositioning.
Radix was commissioned by the remarkable Ensemble Schwerpunkt (Switzerland), with funds provided by Madetoja Foundation (Madetoja-säätiö) and Swedish Cultural Foundation in Finland (Svenska kulturfonden). It is dedicated to the members of Ensemble Schwerpunkt: Janne Jakobsson (né Ahonen), Matthew Brown, Cecilie Hoel, Mikael Rudolfsson, and Matthew Sadler.
(c) Jarkko Hartikainen
© 2013 Jarkko Hartikainen
TEOSTO
Performance history of Radix:
Fri 8 July 2016Time of Music, Viitasaari (Finland)Ensemble Schwerpunkt
Wed 4 May 2016Music 21 in NDR, Hannover (Germany)Ensemble Schwerpunkt
Sun 14 June 2015aDevantegarde.13 – the composers’ festival, Munich (Germany)Ensemble Schwerpunkt
Mon 29 November 2014Podium Worpswede, Worpswede (Germany)Ensemble Schwerpunkt
Thu 25 November 2014Unerhörte Musik, BKA-Theater, Berlin (Germany)Ensemble Schwerpunkt
Fri 8 November 2013Pirkanmaan musiikkiopisto, Tampere (Finland)Ensemble Schwerpunkt
Thu 7 November 2013Närpes (Finland)Ensemble Schwerpunkt
Wed 6 November 2013The Sibelius museum, Turku (Finland)Ensemble Schwerpunkt
Tue 5 November 2013 (world premiere)Sibelius Academy Concert Hall, Helsinki (Finland)Ensemble Schwerpunkt
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Trumpet 1 (C)
Trumpet 2 (Bb)
Horn in F
Trombone
Tuba
∑
∑
∑¬fl≤ ≈ ‰ .
hh(a)
∑
∑
e. = 90
inhale violently(as in shock)
Bell position:
œ œ œ ≈ . ‰ .
– – – – – – –
∑ &
.–
∑Δ ≈ ‰ .
"Helicopter" Air tones (mouthpiece ord., tongue attacks)
"f "
Air tones (mouthpiece reversed)
f
Hand pops
p
L (facing the audience)
Half-valved
∑
–# – – –≈ ‰ .
œb · œ · œ · œ · ≈ ≈
∑–b ≈ ‰ .
∑
R (away from audience)
Unisono tremolo between a normal and a tubular tone
p
Íremove mouthpiece, reverse it
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
∑
œb · œ · œ · œ · ≈ ≈
.–
∑
Unisono tremolo between a normal and a tubular tone
p
Bell position:
Air tones (mouthpiece reversed)
p
∑
– – – – – – –
∑
∑–b ≈ ‰ .
∑
"Helicopter" Air tones (mouthpiece ord., tongue attacks)
L (facing the audience)
"f "
Í
apply stopped mute,prepare the next tubular tone
–# – – – – – –
–# – – –≈ ‰ .
∑
∑
– ≈ – ‰ .
"f "
"Helicopter" Air tones(mouthpiece ord., tongue attacks)
L (away from audience)
R (away from audience)
Air tones (mouthpiece reversed)
F
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Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
9
РРРРŠΠ.
– – – – – – –
∑
∑
≈ – –# ‰ .
R (facing the audience)
L (facing the audience)
"f "
–# – – – – – – – – – – – –
–# – – –≈ ‰ . ‰ .
∑
≈ ¬b
∑∑–b ‰ ≈ – –# ‰ ∑∑–n
R (away from audience)
"f "
L (away from audience) R (facing the audience)
p
– – – – ≈ ‰ . ‰ .
– – – – – – – –# – – – – –∑
∑– ≈ ‰ . .∑–#
≈ ∑– ≈ ∑–b ‰ .
L (facing the audience)
"f "R (away from audience)
Í p
–# – – – – – – – – – – – –
–# – – –≈ ‰ . ‰ .
‰ . œb+
· œ+
· œ+
· œ+
· œ+
· œ+
·
.∑– ∑–n ≈ ‰ .
∑∑–b ‰ ‰ ∑∑–‰ .
"f "L (away from audience) R (facing the audience)
put mouthpiece back on
f p
pstop mute
Unisono tremolo between a normal and a tubular tone
– – – – ≈ ‰ . ‰ .
– – – – – – – –# – – – – –œb+
· œ+
· œ+
· œ+
· œ+
· œ+
· œ+
· œ+
· œ+
·
∑
∑
L (facing the audience)
"f "R (away from audience)
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Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
14
–# – – – – – – – – – – – –
–# – – –≈ ‰ . ‰ .
œb+
· œ+
· œ+
· ‰ . ‰ .
∑
.œ .∑œ.∑˜ .˜
"f "L (away from audience) R (facing the audience)
Playing and singing(aim for even 32-note beating)
π
Fput the removed slides(for tubular tones) backon
– – – ≈ ‰ . ‰ .3
– – – – – – – –# – – – – –
∑
∑
.œ .∑œ.˜ .∑˜
L (facing the audience)
"f "R (away from audience)
–# – – – – – – – – – – – –6 6 6
–# – –‰ ‰ – – – –
3 3 6
œbo
Ͼ+
Ͼo
Ͼ+
Ͼo
Ͼ+
Ͼo
œæ æ+
Œ Œ
˜ ˜# ˜ ˜d.˙
∑œ ‰ Œ Œ∑˜
f p
p
Playing and singing(half-valve with P4)
remove mute
stop mute
q = 60 (‰=‰)
singing rhythm free:as needed to find the 7th partial
"wa wa" by finger into ( + ) and out of ( o ) the bell end of the mute
L (away from audience) R (facing the audience)
L (facing the audience)
Ó ŒU ≈ .∑œ+
–# – – – – – – – –‰ ÓU6 5
∑U ?
˜uw
U
∑U
whistle
p
listen for the high, "whistling"combination tone created bythe trombonist
this is approximately the tone that should ring
ossia
R (away from audience)
.˙
∑
Δb Δ ‰ Œ Œ∑˜ ∑œ ‰ Œ Œ
˜ .˜#Œ Œ œœSplit tones + singing
p
Hand pops
F
q = 63 A
Radix Jarkko Hartikainen 2013
© 2013 Jarkko Hartikainen
Transposing Score
'n Blechbläserquintett
Auftragkomposition des Ensemble Schwerpunkt Finanziert aus Mitteln des Madetoja Stiftung (Madetoja-säätiö) und des Swedischen Kulturfonds in Finnland (Svenska kulturfonden)
? 43 ˜ ˜# ˜ ˜Œ Œ œpsinging and playing
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Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
19 œ∑œ ‰ Œ
∑
Δ Δ Δ Δ Δ Δ Δ Δ Δ Δ Δb Δ
o i o iŒ Œœ
˜ ∑˜˙∑œœ ‰
mouth position:
π
p
apply practise mute
ossia: tongue slaps
∑
∑
Δb Δ Δ Δb Δ Δb Δ Δ# Œ
o i o i o i o i o i o i
.˙∑
Ó Œ œb
Ó Œ ‰‡ ‡ ‡ ‡
Ó Œ ∑Δb ‰
o i o i o i o i o i o i o i o i∑œ
‰ Œ Œ Œ
∑
π
Practise mute
Tongue Slaps(sounds an octave lower)
1233VS
F
w
‡ ‡ ‡ ‡‰ Œ Ó
‰ . ∑∑Δ ≈ ∑∑Δ ‰ ‰ ∑Δ ‰ ∑
Δ∑∑
‰ . Œ Œo
w .˜= .˜
1233VS
playing and singing
p
w
– – – – – – – – – – – – – – – –≈ ∑∑Δ# ‰ ‰ . ∑∑Δ ∑Δ ‰ ‰ .
∑∑Δ
∑
∑œ ‰ Œ Ó∑˜
Air tones (mouthpiece on)
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - -- -
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Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
24
∑œ ‰ ‰ œ œ œ œ Œ
– – – – – – – – – – – –∑Δ# ‰ ‰
∑Δ# Œ
∑
Œ ‰ . ∑∑Δ#Œ
"f "
Hand pops
p
w
– –‰ Ó .
∑Δ ‰ ‰ ∑Δ Œ ∑Δb ‰
–# – – – – – – – – – – – – – – –‰ ∑Δ
Œ ≈ ∑∑Δb‰ Œ
Air tones (mouthpiece reversed)
π
ossia: tongue slaps
∑œ ‰ Œ Œ
∑
‰ ∑Δ Œ ∑Δ ‰
–# – – – – – – – –
∑Δb ‰ ‰ . ∑∑Δ Œ
‰œ# œ œ œ
Œ Œ
–# – – – – – – – – – – –
‰ . ∑∑Δ Œ ‰ ∑Δb
– – ‰ Œ Œ
≈ ∑∑Δ ‰ ‰ ∑Δ#
‰ . ∑∑Δ
Air tones (mouthpiece on)
"f "
put the mouthpiece back on,face the instrument downwards,the slide resting on the floor
w#
–# – – – – – – – – – – – –# – – –
Œ ≈ ∑∑Δ ‰ Œ ∑Δ# ‰
∑
Œ ∑Δb ‰ ≈ ∑∑Δ‰ ‰ ∑Δ
π
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Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
29 ˙∑œ ‰
–# – – – – – – – – – – –∑Δ ‰ Δ# ≈ Δ# ‰ ∑Δ#
∑
‰ . ∑∑ΔŒ ∑
Δ#‰
slide resting on the floor,pitched hand pops are produced by raising and lowering of the instrument
Œ œ
–# – – – – –‰
≈ Δ# ≈ Δ ≈ Δ ≈ Δ
‰ ∑Δb ‰ ∑Δ
∑Δ‰ ∑Δ# ‰
Hand pops
f
F
π
B
˙
∑
≈ Δ ≈ Δ# ≈ Δ# ≈ Δ
‰ ∑Δb ‰ ∑Δb
∑Δ# ‰ ∑Δ ‰
apply practise mute
ossia: tongue slaps
∑œ ‰ Œ
∑
≈ ∑∑Δb ‰ ∑Δ ‰
‰ ∑Δn ‰ . ∑∑Δ
∑Δ≈ ∑∑Δ#
‰ Δ Δ3
∑
∑
∑
≈ Δ ≈ Δ ≈ Δ ≈ Δ
∑Δb ‰ Œ
Practise mute
Œ œœb
˙
≈ Δ# ≈ Δ# ≈ Δ ≈ Δ
‰ ∑Δ ‰ ∑Δb
∑Δ#‰ ∑Δ ‰
Split tones
Split tones
p
p..œœ
..œœ
≈∑Δ ≈ ∑Δ#
‰ ∑∑Δb ‰ ∑∑Δ∑Δ ≈ ∑Δb ≈
∑œœ Œ .
∑œœ Œ .
≈ Δ ≈ Δ ≈ Δ# ≈ Δ
‰ ∑Δb ‰ ∑Δ∑Δb ‰ ∑Δ
‰
2 / 14 Jarkko Hartikainen: Radix (2013) – v191125
? ˜ ˜# ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜˙∑œ ‰
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Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
37 ‰ ∑œœ œœ
˙bb≈ Δ# ≈ Δ# ≈ Δ Δ ≈
‰ ∑Δb ‰ . ∑∑Δ
∑Δ‰ ∑Δb
‰
˙
˙
≈ Δn ≈ Δ# Œ &
‰ ∑Δ ≈ Δb ≈ Δ
∑Δ ‰ ∑Δ ‰remove mouthpiece, reverse it
˙
˙
Œ œŒ ˜
≈ Δb ≈ Δ Œ
∑
Playing and singing(aim for even 16-note beating)
p
∑œœ ‰ Œ Œ œœ∑œœ ‰ Œ Œ œœb
w˜=
∑
∑
sing 8va if necessary
resume normal playing positionremove mouthpiece, reverse it
∑œœ ‰ Œ Ó
∑œœ ‰ Œ Ó
w˜
≈ –b – – ≈ –b – – ≈ –b – – – ≈ – ≈
∑–# ‰ ∑–# ‰ ∑–n ‰ ≈ – ≈ –
Air tones (mouthpiece reversed)
Air tones (mouthpiece reversed)
change to Cup mute
change to Cup mute
∑
∑
œ ∑œ ‰ Ó˜∑˜
≈ –# – ≈ –n – – – ≈ – – – – ≈ –b –
–#≈ – Œ ∑– ‰ ≈ ∑∑–b ‰
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Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
43
˙ ∑œ ‰ Œ
Ó ˙
∑
≈ –b ≈ – –b – – ≈ ≈ – –n – ≈ –b – –
–b ≈ –b ≈ ‰ . ∑∑–n ∑∑–‰ . ∑∑– ‰ .
Í
Í
Cup mute (closed)
Cup mute (closed)
C
œfl ≈ œfl œfl‰ œb˘ œ œ
∑œ ‰3
3
œ œ# œ .œ œ ≈ œ œ
.œ ∑œ œ# ∑œ ‰
‰ –# – – – ≈ –n ≈ ∑–# ≈ –# – –
– – ‰ ‰ ∑∑–≈ – ‰ –# Œ
p f
ƒ
p
p
f F
f p
p
F
≈ .∑œd œ œ ‰ .œd
∑œ ‰ .˙d
˙∑œ ‰ Œ
≈ –b –b – ≈ –n ≈ – ≈ –b –
∑∑– ‰ . ≈ ∑∑–b ‰ –n ≈ –#≈ ‰ . ∑∑–b
p
f
pp ƒ
p
œ œfl œbfl œfl ‰ ∑œd œ œ œ. œ. œ.3
œ ≈ œ# œn œ ‰ œ+ œ œ œ œ .∑œdæ ≈
5
˙+ œ œ ≈ .∑œ
≈ –b – ≈ –# – ∑∑≈ –b ≈ ∑∑–b
∑∑– ‰ . ∑∑– ‰ . –# – ‰ ‰ ∑∑–b ≈
f
Í
Ff
Í ƒ
f
f p
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Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
47
∑∑œd˘ ≈ .œ# ∑œ ‰ Œ
œ ∑œ ‰ ‰ Œ ∑œæ
œ œ ‰ ∑œd œ œ
– .– – .– ≈ ∑∑–# –# ‰
– ‰ – Œ ∑∑– ‰ . ≈ ∑∑–# ‰
ƒ
p ƒ
p
p
ƒ
πflz. if possible (only this note)
Œ ‰ ∑œdæ æ
æ ∑œæ ‰ Œ
∑œ ‰ Ó .
≈ – ≈ – Œ ≈ ∑∑–# ‰ ≈ ∑∑–n ‰
– ≈ – ≈ ‰ . ∑∑–# ∑∑–#‰ . ∑∑–b ‰ .
F
π ∑œæ ‰ œ+
∑œ ‰ Œ
.œ ∑œ+ . Ó
Ó ˙+Ó ˜+ .˜d ˜
‰ ∑∑– ≈ ‰ . ∑∑–# ≈ ∑∑–# ‰ ∑∑– ‰ .
–b – ‰ ‰ ∑∑–n ≈ – ≈ – ≈ Œ
Í f
FπP
F
œ#≈ œd .œ
∑œ ‰ œb œ œb .œ#
3 3
œ# ∑œ ‰ ‰ ∑œ+fl≈ ∑œ+fl
≈
∑œ ‰ œ# .œ ∑∑œ ≈
∑‚
≈ ∑∑– ‰ ‰ ∑∑– ≈ ≈ –b ≈ –# Œ
∑∑– ‰ . ≈ ∑∑–b ‰ –b ≈ –#≈ ‰ . ∑∑–
p
p
f f
π
F
f f
p∑œ
‰ œ œ œ ‰ Œ3
‰ . œ# œ œ# ‰ .œd3
˙∑œ ‰˜+ .˜+ ˜ ∑˜
∑∑–b ‰ . Œ ∑∑–# ‰ .
Œ ∑∑– ‰ . ≈ ∑∑–b ‰
p
f
p
π
3 / 14Jarkko Hartikainen: Radix (2013) – v191125
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Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
52 œ œ œ œ œ ˙3
œ ≈ œ œ œ ® Œ Ó
.˙∑œ ‰˜+ .˜d ˜ ∑˜
Œ ∑∑– ‰ . Œ ∑∑–b ‰ .
‰ ∑∑– ≈ ‰ . ∑∑–b Œ ∑∑– ‰ .
ƒ
f
p
pœ# œ# œ# ≈ œ# œ# œ# ≈ œ œ œ ≈ œb œb œn ‰
3 33 3
≈ œ œ œ ≈ œ œ œ œ# œ# œ# œ# œ# œn3
.˙+ ˜+ ˜ ˜d
Œ ∑∑– ‰ . Œ
≈ ∑∑– ‰ ‰ ∑∑– ≈ ‰ . ∑∑–
f
F
p
p
F
π
≈ œb œ œn œ# œ œn œ œb œ ≈ œb . œb . œb . ≈ œ. œ. œb . ≈3
3 3
œb œ œn ≈ œ# œ œn ≈ œ# œn œ ® ≈ œ. œ. œ. ≈ œ# . œ# . œ# . ‰3 3
3 3
.œd ∑œd ˙˜
∑∑– ‰ . Œ ∑∑– ‰ . Œ
Œ ∑∑–#‰ . ≈ ∑∑– ‰ ‰ ∑∑– ≈
p
f p
F
π
p
F
f
put mouthpiece back on
Œ ‰ ∑œ+ ˙
Œ ‰ ∑œ ˙
œ ∑œ ‰ Œœb œ œ œ œ œd œ œ .œ œ+˜
∑˜
∑œ
œ œ œ œ# œ
–# ≈ – Œ Ó
Í
Í
ÍFord.
Fput mouthpiece back on
a c c e l e r a n d o a lremove mute
remove mute
F
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Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
56 ∑œ ‰ ‰ ∑œd˘ ‰ Œ œd3
∑œ ‰œ œ œ œ œ ∑
œD˘ ‰ Œ œd
.œ œ œ œd>∑œ ‰
.˙∑œ
‰ &
∑
f
f
f
f
Í
Í
œ∑œ ‰ ˙d
œ∑œ ‰ ˙d
‰ ∑œd œ
∑œ ‰ œ
‰ ∑œd œ
∑œ ‰ œ
Œ ≈ ∑∑œb^ ‰ Œ œb ÿ œ+ ÿ
Í
Í
f
f
Í
Í
p
p
F
ord.
ord.
f
f
q = 72 D
∑œ ‰ ≈ .
∑œ œ œ
∑œ ‰ ≈ .
∑œ+ œ œ
œ∑œ ‰ ‰œ œ œ œ# œ ∑∑œ ≈ Œ
œ∑œ ‰ Ó
‰ . ∑∑œ+^ ‰ . ∑∑œn
^ ‰ ∑∑œd^ ≈ Œ
f
f
f
f
F
F
œ∑œ ‰ ‰ ∑œ+ ˙
œ∑œ ‰ ‰ ∑œ ˙
Œ œ+ œ∑œ ‰ ‰ ∑œ.
Œ œ+ œ∑œ ‰ ‰ ∑
œ# .œn^
œ^ ‰ Œ œ
^œ#^ ‰ ‰ . ∑∑œn Œ
p f
π
π
F
p f F
ƒ
ƒ
f
∑œ ‰ ‰ .œ
∑œ ‰ ‰ .œ+
œ+∑œ ‰ Œ
œ+∑œ ‰ Œ
‰ ∑œ+^ ≈ œ+
^œ^ Œ
ƒ
ƒ
F
F
FF
Í
Í
ƒ
F
F
˙∑∑œ ‰ . ≈ .
∑œ
˙∑∑œ ‰ . ≈ .
∑œ#
∑∑œd ‰ . œn œ∑œ ‰
∑∑œd ‰ . œ+ œ∑œ ‰
Œ ‰œ^
œ^ Œ
œÿ œb ÿ
ƒ
ƒ
π
π
f
f
f
f
F
p
p
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Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
62 .œ œ Œ ≈ .∑œ{ ¯ œ
.œ œ Œ ≈ .∑œn ¯ œ
˙∑œ ‰ ‰ ∑
œ
˙+∑œ ‰ ‰ ∑
œ+ ?
‰ ∑œb ÿ≈ ∑∑œ
‰ ∑∑œ‰ . ∑∑œ+ ‰ .
ƒ
ƒ
ƒ
ƒ
Í
Í
ß
ß
p
p
.˙∑œ ‰
.˙∑œ ‰
‰ . ∑∑œW^ Œ Œ œ+
‰ . ∑∑œ Œ Œ œ&
‰ ∑œÿŒ ≈ ∑∑œ+ ‰ ‰ .
∑∑œ
ƒ
ƒ
Í
Íf
f
Œ ≈ .∑œ{ ¯ œ œ ≈ Œ
Œ ≈ .∑œ œ œ ≈ Œ
œ∑œ ‰ ‰ .œ+
œ ∑œ ‰ ‰ .œL
∑∑œ ‰ . ≈ œ ≈ œ+ ‰ . ∑∑œ+ ‰ ∑∑
œ# ≈
f
f
Í
Í
ƒ
ƒ
p
p
≈ .∑œ+ .œ œ ≈ œ œ Œ
≈ .∑œb .œ œ ≈
œ œŒ
∑œ ‰ ≈
∑∑œn ´ ‰ ‰ .œ+
∑œ ‰ ≈ ∑∑œÿ
‰ ‰ .œ{
≈ ∑∑œ# ‰ ‰ . ∑∑
œ+ ‰ . ∑∑œ ∑∑
œ ‰ .
f
f
F
F f
f p ƒ
p ƒ
p
pf
f
≈ .∑œ+ œ ≈ œb ˙
≈ .∑œ œ ≈ œ ˙
∑œ ‰ œ ≈ ∑∑œ ‰ Œ
∑œ ‰ œ ≈ ∑∑œÿ ‰ Œ ?
‰ ∑œ# ´ ‰ . ∑∑
œ+ Œ ∑∑–#‰ .
f
f
F
F f
f
f
f
p
p
Air tones (mouthpiece reversed)
ƒ
p
p
∑œ ‰ Œ ‰ .œb
∑œ ‰ Œ ‰ .œ}
.˙# ∑œ ‰ ?
.˙+∑œ ‰
– –#‰ ‰
– –‰ . ∑∑–
‰ ∑–ÿ
f
f
p
p
f
f
p
p
4 / 14 Jarkko Hartikainen: Radix (2013) – v191125
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43
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
68 œ∑œ ‰ Œ œ
œ∑œ ‰ Œ œ+
Œ ˙∑œ ‰ &
Œ ˙} ∑œ ‰
∑∑–#‰ . ≈ ∑∑–
‰ ‰ ∑–ÿ – ‰ –
p
p
p
p
f
f
f
f
œ œ Œ ˙b
œ œ Œ ˙}
˙# ∑œ ‰ œ?
˙+∑œ ‰ œ}
‰ . ∑∑– ∑∑–#‰ . ≈
– –≈ ‰ ∑
–ÿ
p
f
fp
p p
p
p
f
f
∑œ ‰ ˙ ∑œ ‰
∑œ ‰ ˙+ ∑œ ‰
.œ∑œ Œ ≈ .∑œ#
.œ ∑œ Œ ≈ .∑œb≈
– ≈ –#Œ ∑∑–
‰ . ≈ ∑∑–‰
f
f
f
f
p
p
f
f
π
π
˙b∑œ ‰ Œ
˙} ∑œ ‰ Œ
∑œ ‰ Œ œ# ∑œ ‰
∑œ‰ Œ
œb ∑œ‰
–# ÿ –ÿ – ‰ – ∑∑–‰ . ∑∑–
‰ .F
F
p
p
f
f
π
π F
F
˙ ∑œ ‰ Œ
˙+ ∑œ ‰ Œ
∑
Ó ‰ . ∑∑– Œ
–# –‰
–ÿ –ÿ∑∑–
‰ . ∑∑–‰ .
Air tones (mouthpiece reversed)
p
p
f
f
E
wb
w}
∑
Œ ∑∑– ‰ . ≈ ∑∑– ‰ –ÿ –ÿ
∑∑–‰ . Œ ∑∑–#
‰ . Œ
p
p
&
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?
?
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43
43
43
43
43
44
44
44
44
44
43
43
43
43
43
42
42
42
42
42
44
44
44
44
44
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
74 .˙
.˙
Œ Œ∑∑– ‰ .
– ‰ – ∑∑– ‰ . ‰ . ∑∑–
∑
F
FAir tones (mouthpiece reversed)
∑œ ‰ Œ Ó
∑œ ‰ Œ Ó
Œ ‰ .∑∑– ≈
∑∑– ‰ ≈ – – ≈
∑∑– ‰ . ∑∑– ‰ . ‰ ∑∑– ≈ Œ
.∑
œb≈ Ó .
ƒ
ƒ
ƒ
ord. (mouthpiece on)
Œ ˙d∑œ ‰
Œ ˙#∑œ ‰
– ‰ – ‰ ∑– – – ‰ – – ≈ –
Œ Œ ‰ .œ+
Œ Œ ‰ .œ#
π
π
π
π
ord.
w{
w#
‰ ∑– ≈ – ≈ – – ‰ – – –
∑œ ‰ Ó .
∑œ ‰ Œ ‰ . ∑∑œ∑
œ‰
ƒ
π
π
œ ∑œ ‰ Œ
œ ∑œ ‰ Œ
≈ ∑∑– ‰ – ≈ – – ‰ – –
‰ .œb œ œ
‰ .œ œ œπ
π
F
F
p
p
˙}
˙
≈ – ≈ ≈ – ≈ ≈ – ≈ – ≈ –6 6
Œ ‰ ∑œ{
Œ ‰ ∑œ
f
f
F
F
&
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44
44
44
44
44
46
46
46
46
46
44
44
44
44
44
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
80
∑œ ‰ ˙d
∑œ ‰
∑œ ‰ ˙n
∑œ ‰
≈ – – ≈ – ≈ ≈ – ≈ ≈ – ≈ – ≈ ≈ – – ≈ – ≈ – – ≈ ≈6 6 6 6
.œ œ Œ ˙{
.œ œ Œ ˙b
ƒ
ƒ
f
f
π
π
f
f
p
p
Œ .˙{Œ .˙– ‰ – ‰ ∑
– ‰ ∑– ‰ – – ≈ ‰
3 3 3
œ∑œ ‰ Ó
œ∑œ ‰ Ó
F
F
p
p
∑œ ‰ Œ Ó
∑œ ‰ Œ Ó
– ‰ – ∑– ‰ ∑
– ‰ – – ≈ ‰ –3 6
w
wπ
π
.wd
.wb
‰∑–# ≈ ≈
∑∑– ‰ ≈ – ≈ ≈ ≈ – ∑∑
– ‰ .∑∑– ‰ . – ≈ – ≈
3 6
∑œ ‰ Œ Ó Ó
∑œ ‰ Œ Ó Ó
π
π
∑œb ‰ Œ Ó
∑œb ‰ Œ Ó
≈ –# ≈ ≈ ≈ – ‰∑∑– ≈ ≈ – ≈ ≈ ≈ – ‰
∑∑– ≈
6 6
wd
w∏
∏
5 / 14Jarkko Hartikainen: Radix (2013) – v191125
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43
43
43
43
44
44
44
44
44
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
√
85
wG
w
∑∑– ‰ .
∑∑– ‰ .
∑∑– ‰ .
∑∑– ‰ .
∑œ ‰ Ó .
∑œ ‰ Ó .
w
w≈
∑∑– ≈ ‰ ‰
∑∑– ≈ ∑∑
–b ‰ . Œ3
∑
∑
∑œ ‰ Œ Ó
∑œ ‰ Œ Ó
∑∑–b ‰ . ‰
∑∑– ≈ ∑∑
– ‰ . Œ
w+
wb∏
∏
w
wd
≈∑∑– ≈ ‰ ∑∑
–b ‰ . Œ .∑∑– ≈
3
∑œ ‰ Ó .
∑œ ‰ Ó .
∑œ ‰ Œ ˙+
∑œ ‰ Œ ˙n
∑∑–b ‰ . Œ Ó
∑
œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑∑œ ‰ . Œpick the tempo from the previous measure(beating in the trumpets)
q = 60
∏
∑œ ‰ Œ Œ
∑œ ‰ Œ Œ
∑∑– ‰ . Œ Œ
∑
∑
q = 63 ∑
∑
∑∑– ‰ . Œ Ó
∑
∑
&
&
?
?
?
43
43
43
43
43
44
44
44
44
44
43
43
43
43
43
42
42
42
42
42
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
92 ∑
∑
∑
∑
∑
∑
∑
∑∑–# ‰ . Œ Ó
∑
∑
put mouthpiece back on
∑–#‰ Œ Ó
∑–‰ Œ Ó
≈∑∑Δ# ‰ Ó .
≈ ∑∑Δ ‰ Ó .
≈ ∑∑Δ# ‰ Ó .
Hand pops
Hand pops
Hand pops
Air tones (mouthpiece reversed)
Air tones (mouthpiece reversed)
F
Œ ‰ ∑–b Ó
Œ ‰ ∑–b Ó
∑Δ ‰ Œ Ó
Œ ∑Δ# ‰ Ó
≈ ∑Δ# ≈ Œ Œ ‰ . ∑∑Δ#
¬b ∑ ‰ Œ
¬b ∑ ‰ Œ
Ó Œ ‰ . ∑∑Δ
Ó ≈ ∑Δ ≈ Œ
∑
Œ .¬nŒ ¬n Œ
∑
∑
Ó ‰ . ∑∑Δ#Œ
∑‰ Œ Œ
∑
∑Δ ‰ Œ Œ
∑
∑
–b ∑‰ ¬
.¬b ‰ ∑–∑
∑
∑
‰ .–b ∑‰
∑‰ Œ
Œ Œ ≈ Δ# Δ
Œ Œ ‰ ∑Δ∑
&
&
?
?
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42
42
42
42
42
43
43
43
43
43
44
44
44
44
44
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
101
–n ∑‰
¬n∑
∑
∑
¬ ∑‰
∑‰ –
∑
∑
∑Δ‰ Œ Œ
¬ ∑‰
‰ ∑–
∑
∑
∑
¬ ∑‰
‰ ∑–
∑
∑
∑
‰ – ∑ ‰3
∑‰
Œ Œ ≈∑Δb ≈
Œ Œ ∑Δb ‰
∑
Œ –b ∑‰ Œ
Œ –# ∑‰ Œ
∑Δb ‰ Œ ‰ .
∑∑Δb ≈ ∑Δ ≈
∑Δb ‰ Œ ‰ . ∑∑Δn ‰ ∑Δb
∑
∑
∑
‰ ∑Δ ‰ . ∑∑Δb Œ ‰ . ∑∑Δ
‰ ∑Δb Œ ∑Δn ‰ ‰ . ∑∑Δ
∑
Œ ¬# ∑‰
¬# ∑
‰ –Ó ∑Δ# ‰ Œ
Œ ‰ . ∑∑Δb Ó
∑
¬ ∑‰ –
∑‰ – ∑‰ –b
Ó ≈ Δ Δ# Œ
Ó ‰ ∑Δ Œ
Ó ∑Δ‰ Œ
6 / 14 Jarkko Hartikainen: Radix (2013) – v191125
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43
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43
85
85
85
85
85
44
44
44
44
44
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
110
∑‰ Ó
∑‰ ‰ .–#≈ Δ ≈ Δ# Œ Δ ‰ Δn Œ
5 3
‰ ∑Δb Œ ‰ ∑Δb ‰ Œ3
∑Δ ‰ ‰ . ∑∑Δb Ó
‰ – ∑Œ
.∑
Œ
Œ Œ ∑Δ# ‰
Œ ‰ ∑Δ ‰ ∑Δb
Œ ‰ . ∑∑Δ Œ
–
Œ ∑– 3
Œ ∑Δ ‰ ‰ ∑Δb ‰3
Œ ‰ ‰ ∑Δ# Œ3
∑Δ# ‰ ‰ ∑Δ ≈ ∑Δn ≈
–. –b . –b . –b .. –. –b –# – –n .3 5
–. –. –b . –# . –b . – –# –b –.3 5
∑
∑
Δ Δ Œ .
–b ∑‰ –b ∑‰ –b ∑‰3 3
–b ∑‰ –b ∑‰ –b ∑‰3 3
‰ Δ Δ Δ# Δ# Δ Δn Δ#
∑
Δ# ΔÓ .
1
1
–b ∑‰ –n ≈ – ≈ –3
–b ∑‰ – ≈ – ≈ –3
Δ Δ Δ Δ# Δ# ≈ Δn ≈ Δ# ≈ Δ ≈ Δ5
∑
ŒΔb Δb
∑Δ ‰ Œ
&
&
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?
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43
43
43
43
43
44
44
44
44
44
43
43
43
43
43
44
44
44
44
44
41
41
41
41
41
44
44
44
44
44
..
..
..
..
..
..
..
..
..
..
45
45
45
45
45
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
116
≈ – ≈ – ≈ ∑– ≈ ≈ ∑∑– ‰
≈ – ≈ – ≈ ∑– ≈ ≈ ∑∑– ‰
≈ Δ# ≈ Δ ≈ ∑∑Δ ‰ Ó
Ó ≈ ∑∑œÿ‰ Œ
‰ Δ# Δ# Δ Δ ΔbŒ
ƒ
ord.
∑
∑
∑
∑
Δ# Δ Δ Δ Δ Δp
G
¬# ∑
‰ Œ
¬ ∑‰ Œ
Ó ¬#
Ó ¬
Δ# Δ Δ Δ Δ Δ Δ Δ
Air tones (mouthpiece reversed)
Air tones (mouthpiece reversed)
¬
¬∑‰ ‰ . ∑∑
– Œ ‰ .∑∑–
∑‰ ‰ . ∑∑–b Œ ‰ . ∑∑–b
Δ# Δ# Δ Δ Δ Δ Δ Δf
∑‰ Œ Œ
∑‰ Œ Œ
Œ ¬
Œ ¬n
Δ# Δn Δ Δ Δ Δ
.¬ ∑‰
.¬b ∑‰
∑‰ Œ –b
∑‰
∑‰ Œ –b ∑‰
Δ Δ Δ Δ Δ Δb ‰ ∑Δbp F
∑
∑
∑
∑
∑apply practise mute
.¬ ∑‰
‰–
∑
‰3
‰ ‰ ∑–n
∑‰
3
Œ –b ∑‰
∑
repeat as many times asneeded for the tubist toput the sordino on (min 3x)
&
&
?
?
?
45
45
45
45
45
42
42
42
42
42
43
43
43
43
43
44
44
44
44
44
43
43
43
43
43
..
..
..
..
..
42
42
42
42
42
..
..
..
..
..
44
44
44
44
44
43
43
43
43
43
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
124
¬ ∑‰ Œ Œ
Œ .¬# –n –¬
∑‰ Œ Œ
¬ ∑‰ Œ Œ
Œ ≈ .∑œ œ œ œ# ≈ Œ Œ3
Air tones (without mouthpiece)
Practise mute
∏
¬b
¬#
∑– .–b
∑–n .–
Œ ≈ .∑œ
∑‰ Œ Œ
∑
‰ Œ Œ
∑‰ Œ Œ
∑‰ Œ Œ
.˙
Ó Œ –Ó ¬#Œ –
∑‰
¬# ∑‰ Œ
∑œ ‰ Ó .
∑‰ Œ –
∑‰ Œ ¬¬
∑ ‰ Œ
¬b ∑‰ Œ
˙b ∑œ ‰ Œ
∑‰ Œ
∑‰ Œ Œ
∑
∑
∑
¬ ∑‰
∑
¬∑ ‰
¬ ∑‰
˙b ∑œ‰
Air tones (mouthpiece reversed)
Practise mute
∏
Air tones (mouthpiece reversed)
q = 78
Air tones (mouthpiece reversed)
H
∑
∑‡b . ‰ Œ
∑
∑
∑
Tongue slap(sounds 8vb)
4x
–# ∑‰ ¬
Œ ‰ ∑œb . Ó
–∑
‰ ¬
– ∑‰ ¬
œb ∑œ ‰˙
ord.
∑‰ Œ Ó
∑
∑‰ Ó .
∑‰ Œ Ó
∑œ‰ Œ Ó
7 / 14Jarkko Hartikainen: Radix (2013) – v191125
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43
43
43
43
44
44
44
44
44
43
43
43
43
43
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
134
¬ ∑‰
∑
·
‰
¬ ∑‰
˙ ∑œ‰
Air tones (without mouthpiece) ∑
∑
∑
∑
∑
¬ ∑‰
∑
·
‰
¬ ∑‰
˙ ∑œ‰
Air tones (mouthpiece on) ∑
∑
∑
∑
∑
∑
.¬∑œ#
+‰ Œ Œ
∑
œ# ∑œ ‰ Œ
p
Air tones (mouthpiece on)
∏
ord.
stop mute
I
.¬∑‰ Œ Œ
∑
Œ Œ œ
∑
Cup Mute (closed)
Air tones (mouthpiece on)
p
∑‰ Œ–#
¬# ∑‰
Œ ‰ .∑∑œo
∑∑œ+ ‰ .
∑œ ‰ Œ Œ
∑F
F p
.·
∑
∑
∑
∑‰ Œ Œ
Œ Œ –œ#+ œ+ ≈ ‰ Œ Œ
3
Œ Œ ∑œfl ‰
.∏
ƒord.
.¬b
¬ ∑‰
∑
∑
œ ∑œ ‰ Œ
&
&
?
?
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42
42
42
42
42
43
43
43
43
43
44
44
44
44
44
42
42
42
42
42
44
44
44
44
44
43
43
43
43
43
44
44
44
44
44
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
144 ∑‰ Œ –b
.¬
∑
∑
∑
¬
∑‰ Œ
∑
∑
∑
∑‰ Œ Œ
.¬
∑
∑
θ
Œ .¬n
∑‰ Œ Ó
æ+ Ó
∑
∑∑œ ‰ . ‰ ∑œ. Ó
π
p π
∑‰ ‰ ∑–
∑
∑
Œ œ.
œ ∑œ ‰∏ f
∏
Harmon mute (w/stem)
∑‰ Ó
∑
Ó +
∑œ ‰ Ó .
wb∏
f
∏
∑
.¬œ
∑œ ‰ Œ
∑
∑œ ‰ Œ Œmute off
.¬
∑‰ Œ Œ
Œ Œ ‰ . ∑∑œo
∑
∑
F
∑‰ Œ Ó
∑
∑∑œ+ ‰ . Œ Ó
∑
∑
&
&
?
?
?
46
46
46
46
46
43
43
43
43
43
46
46
46
46
46
..
..
..
..
..
43
43
43
43
43
..
..
..
..
..
46
46
46
46
46
43
43
43
43
43
44
44
44
44
44
43
43
43
43
43
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
153
–b .– –n –b –b – –n ‰ ∑∑–#≈5
–# .–n – – –b – –b ‰ ∑∑– ≈5
∑
∑
∑
Œ Œ Œ .¬
.¬ ∑‰ Ó
∑∑œo ‰ . Œ Œ Œ Œ Œ
.wb+
∑
F
∏Harmon mute (w/stem)
∑‰ Œ Œ
.¬∑∑œ
+ ‰ . Œ Œ
œo ∑œ ‰ Œ
∑
p
¬ ∑‰ Œ ¬
∑‰ Œ ¬ ∑‰ Œ
∑
∑
∑
∑‰ Œ Œ
.·
∑
∑
¬ ∑‰ Œ ¬
∑‰ Œ ¬ ∑‰ Œ
∑
∑
∑
∑‰ Œ Œ
.·
∑
Œ Œ ‰ . ∑∑œord.
p
.¬ ∑‰
∑‰ Œ ‰ .–∑ &
∑
∑∑œ ‰ . Œ Ó
f
8 / 14 Jarkko Hartikainen: Radix (2013) – v191125
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&
&
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43
43
43
43
43
44
44
44
44
44
43
43
43
43
43
42
42
42
42
42
44
44
44
44
44
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
161 ‰ – ∑∑≈ ≈ .∑–b≈ ‰ ∑– ≈
‰ . ∑∑œb+ ‰ . ∑∑œ
+ ‰ . ∑∑œn+
.œ œ# .œ œb .œ# œ
∑
Cup Mute (closed)
π
p
∑‰¬#
¬# ∑‰ Œ
Ó ˙#+
˙∑∑œb ‰ . Œ
∑
π
∑‰ ¬ ∑‰
Œ .˙#∑œ ‰ Ó . ?
w
œ∑œ ‰ Ó
ord.
∏
π
Œ ¬ ∑‰
∑œ#‰ .˙
∑∑œ ‰ .
∑∑œ ‰ . ‰ .
∑∑œb Œ &
∑œ ‰ .˙
œ∑œ ‰ Ó
Fp
¬b ∑‰
∑œ ‰ Œ –
˙bo ∑∑œb
+>
‰ .
∑œ ‰ Œ Œ
.˙b
F
∏
Bb23 (Gb)
Air tones (mouthpiece on)
Keep the given fingering during the gliss., which occurs as notated via gradual hand muting
the performer is welcometo find her/his own fingerings for the glissandi
J
Œ ‰ ∑–
∑‰
.œbo ∑∑œn
+>
≈
Œ ≈ .∑œ
˙
F123 (B)
∏
¬ ∑‰ Œ
Ó Œ –b
.˙bo ∑∑œ
+>
‰ .
.œ ∑œ ‰ . ∑∑œ œ
∑œ ‰ Œ Ó
Bb1 (Ab)
&
&
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?
86
86
86
86
86
87
87
87
87
87
83
83
83
83
83
87
87
87
87
87
42
42
42
42
42
44
44
44
44
44
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
168 Ó Œ ≈ .∑œ
¬ ∑‰ Œ
. .˙b+ ∑∑œ
o> ≈
œ ∑œ ‰ Ó
˙b∑œ ‰ Œ
fp
∏
Bb12 (G)
∏
ord.
œ ∑œ Œ .
Œ . ‰ . .∑œ∑
‰ . .∑œ œ
∑œ
∑∏
∏
ord.
.–#‰
.œ œ ‰ –
œo ∑∑œ
+>
≈ œo ∑∑œ
+>
≈
∑
Œ . .œ
p
∏
F13 (C) F1 (Eb)
Air tones (mouthpiece on)
Air tones (mouthpiece on) ‰ . ∑∑œ# œ œ ∑œ
∑‰ ‰ . ∑∑œ# ∑œ
.˙bo ∑∑œb
+> ≈
∑
œ∑œ Ó
F
∏
∏Bb23 (Gb)
ord.
ord.
.œ
∑∑œ ≈ ‰ ‰
œo ∑∑œb
+>
≈
‰ ≈ .∑œb
∑
p
F0 (F)
∏
∑œ ‰ Œ Œ ∑–Ó Œ ∑œ
.˙#o ∑∑œ#
+> ≈
.œ ∑œ ‰ Œ
˙b∑œ Œ
F
∏
Bb2 (A)
Air tones (mouthpiece on)
∑‰
œ ∑œ ‰
˙bo
∑
˙b∏
F23 (Db)
&
&
&
?
?
44
44
44
44
44
89
89
89
89
89
42
42
42
42
42
44
44
44
44
44
89
89
89
89
89
44
44
44
44
44
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
√ √ √ √ √ √
175 Œ .˙+
∑
œd+
œ œ œ Œ
∑
.œ œ Œ Ó
π
p
ord.
LIPDOWN
.˙ .œ
Œ ∑œ+ œ œ ≈ ‰ ‰ –
œo ∑∑œb
+fl
≈˙+ ∑∑œ
o>
≈ ‰
Œ ≈ ∑∑œb .œ
∑œ ‰ ‰
Œ . ‰œb œ ∑∑œ
≈p
π
∏
f p F
Pedal tones
Bb12 (G) F13 (C)
Air tones (mouthpiece on)
˙
∑‰ Œ
∑
∑
Œ ≈ .∑œbp
.œ œ Œ Ó
.˙= œ
œdo ∑∑œ
+ ‰ . œ+ ∑∑œn
o ‰ .
∑
∑œ ‰ Œ Œœ
p
p
πF12 (D) Bb1 (Ab)
ord.
Œ . Œ ∑œ+ œ ∑œ
.˙ œ ∑œ+
œ# o∑∑œn+ ≈ œ# o
∑∑œ++ ≈ œb o
∑∑œd+ ≈ ?
∑
∑∑œ≈ ‰ ‰ ‰ œb œ ≈ Œ ∑œ
f f fp p p
∏
∏
p
F2 (E) F123 (B) Bb23 (Gb)
ossia: half-stopped
œ ∑œ ‰ Ó
œ ∑œ ‰ Ó
Œ .˙b o
. .˙# ∑∑œ ≈
∑∑œ ‰ .Œ .œn ∑∑œ ≈
F
F
p
pBb23 (Gb)
∑
∑
œ+∑œ ‰ Ó
Œ .˙b
‰ ∑œ# œ ∑œ ‰‰ ∑œ
p
p f p
9 / 14Jarkko Hartikainen: Radix (2013) – v191125
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&
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?
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43
43
43
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43
44
44
44
44
44
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
√
182
˙ œb ∑œ ‰
Ó ˙#Œ .o
∑œ ‰ Ó .
œ ∑œ ‰ Ó
p
p
pBb0 (Bb)
f
˙ œb ∑œ ‰
œ ∑œ ‰ Ó
˙b+ ∑œ ‰ Œ &
Œ .˙b
Ó ≈ ∑œ ≈ Œß
p
p
Ó ˙#
˙ œb ∑œ ‰
Ó Œ œb+
œ∑œ ‰ Ó &
≈ ∑œ#
≈ Ó .
Í
F0 (F)
ß
p
p œ ∑œ ‰ Ó
˙ œ ∑œ ‰
˙ ˙
Œ .˙
Œ ≈ ∑œ≈ Ó
ß
p
Œ œ+ ∑œ ‰
Ó œ+
∑œDo ‰ Œ Œ
˙+ ∑œ ‰
Ó ≈ ∑œ
≈
f
Í
Í
ß
K
œ+ œ œ œ œ œ œ œ ∑œÿ ‰ ‰ œÿ œÿ œ œ œ œ œ3 5
∑œ ‰ œ+ œ œ œ œ ∑œÿ ‰ Œ5
œ+æ æ Œ
Œ .˙+æ
Ó ‰ .œ
p f
p f
f
p
p
p
Í
&
&
&
&
?
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
(√) √√
188 ∑œ+ ÿ ‰ œ+ œ œ œ œ œ œ œ ˙
œ+> œ œ œ> œ œ œ ∑œ ‰ œ# œ# œ# œ# œ# œ œ œ3 3
˙+æ .œ#æ ‰
œb æ Œ ˙+æ‰ œ œ œ œ# Ó∑œ ‰
Í
F
f
f
Í f
p
f
p f
p
p Í ∑œ ‰ œ œb œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰
œ# œ# œ# œ# œ# œ œ œ œ œ œ œ ‰ ˙dæ.˙dæ ∑
œæ ‰
œ+æ Œ Œ œd æ
∑œ ‰ Œ ˙#f
p
f
f
p
p f
p
p
p
f
ß p
‰ œ# œ# œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
œæ Œ ˙d
.˙d∑œ ‰
œb æ œæ Œ œd
∑œ ‰ Ó .
f
f
p f
p f p
p
Í
f
&
&
&
&
?
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
191 ‰ œ# œ# œ œ# œ# œ œ œ œ# œ œ œ œ# œ œ œ œ# œ œ œ Œ
∑œ ‰ ‰ ∑
œ+ œ œ œ œ œ œ œ œ œ
Œ .˙d
œæ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ ?
œ# œ# œ# œ# ‰ Œ Œ . œ# œ# œ œ
f
F
p
p f
Í F
‰ œ# œ# œ œ# œ œ œ œ œ# œ œ œ œ# œ œ œ œ# œ œ œ Œ
œ+ œ œ œ ‰ œ+ œæ œ œ œ œ œ œ œ œ
∑œ ‰ ‰ ∑
œd œ œæ
≈ .∑œ+ œæ ˙
.œn∑
œŒ
œ
f
Í
Í
Í
Í
F
p f
π
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
œ+ œ œ œ ‰ œ+ œæ œ œ œ œ œ œ œ œ
∑œ ‰ ‰ ∑
œd ˙
∑œ ‰ œ# ∑œ ‰ œd
˙ ∑œ‰ Œ
f
p f p
p f
Í
Í F
10 / 14 Jarkko Hartikainen: Radix (2013) – v191125
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44
44
44
44
43
43
43
43
43
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
194 ‰ œ œ œ œ œ œœb œ œ œ œ œ œb œ œ œ œ œ ≈ Œ
œ+ œ œ œ ‰ œd œ œ œ œ œ œ œ œ œ œ œ œ œ
œ ≈ œ+ œ œ∑œ ‰
∑œ ‰ œd æ ∑œæ ‰ œæ
.œb ∑œ Œ ‰ ∑œb
F
p f
Í
p pf
Í
Í F
π
œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Œ ˙+æ.˙dæ
∑œ#æ ‰ .œb œ ‰ ∑
œ+
.˙
f
p f
Í
Í
p f p
œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
æ ∑œæ ‰ Œ
∑∑œ ≈ .œdæ œæ ∑
œæ ‰
∑œ ‰ œ+ æ æ
∑œ‰ ‰ ∑œn ˙
f
f
f
f
p
p f
p
π
f
&
&
&
?
?
43
43
43
43
43
86
86
86
86
86
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
197 œb œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
.˙+æ
‰ ∑œæ æ
∑œæ ‰ ˙bæ
∑œ‰ ‰ ∑œ œ
f
f
Í
p
f f
p
p
Fœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ
∑œæ ‰ œ+æ ∑
œ ‰
∑œæ ‰ ‰ œ+æ œæ3
∑œbæ ‰ ‰ ‰ ∑
œdæ œæ3
∑œ ‰ Œ œ#
f
f
f
f
F f
Í f
Í
Í
p
œ# œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ Œ
˙+æ ∑œæ ‰
∑∑œ#æ ≈ ∑
œ+æ æ
∑œæ ‰ ˙dæ
∑œ ‰ ‰ ∑œ œ
f
f
f
F f
Í
Í
f
Í
p
≈ .∑œæ œæ ∑
œæ ‰
≈ .∑œæ œæ ∑
œæ ‰
∑œæ ‰ ˙#æ
∑œæ ‰ ˙dæ
∑œ ‰ Œ Œ
f
f
f
Í
Í
f
f
Í
Í
L
˙# æ ∑œæ ‰
˙d æ ∑œæ ‰
∑œæ ‰ æ
∑œæ ‰ ˙Wæ
∑
f
f
Í
Í
f
f
Í
Í
&
&
&
?
?
86
86
86
86
86
44
44
44
44
44
43
43
43
43
43
44
44
44
44
44
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
202 .œ .œæ.œ# .œæ
∑œæ Œ Œ .
∑œæ Œ Œ .
Œ . Œ œ œb œ œ
Í
Í
f
f
π
∑œæ ‰ Œ ‰ ∑œ{ œ œ œ œ œ
∑œæ ‰ Œ ‰ œ+ œ œ œ œ
.æ ∑œæ ‰
.æ ∑œæ ‰
∑∑œ ‰ . Œ Ó
ƒ
ƒ
f
f
p
p
Í
Í F Í
F
œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ7 7
œ œ Œ œG œ œ œ œ œ œ œ œ œ œ œ œ œ7 7
.˙+æ ∑œæ ‰ ?
.æ ∑œæ ‰
Œ ‰ œ œ ˙ ˙
p
p
f
f
F
f
ff
fœ œ œ œ œ œ œ Œ Œ
7
œG œ œ œ œ œ œ Œ Œ7
.˙
.˙b
Œ ‰∑œ œ
∑˜ ˜+
Í
Í
ƒ
ƒ
Œ œ+ œ œ œ œ œ œ œ œ œ œ œ œ œ7 7
Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ7 7
∑œ ‰ Œ Œ
∑œ ‰ Œ Œ
˙∑œ ‰˜ ∑˜
f
f
F
F
11 / 14Jarkko Hartikainen: Radix (2013) – v191125
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43
43
43
43
84
84
84
84
84
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
√
207œ+ œ œ œ œ œ œ Œ ‰ ∑
œ} œ7
œ œ œ œ œ œ œ Œ ‰ ∑œ œ7
wb æ
w{ æ
∑
Í
Í
Í
Í
w
w
∑œ ‰ Œ Œ .
∑œ
∑œ ‰ Œ Œ . ∑œb
Ó ‰ œ œ# œ œ œ œ œ œ œ3 6
f
f
π
p
p
∑œ ‰ Œ ‰ œ œb œ œ
∑œ ‰ Œ œ œ# œn œ# ‰
˙∑œ ‰ &
˙ ∑œ ‰ &
∑
f
f
ƒ
ƒ
F
F‰ œ œb œ# œb ‰ œn œ œ œn
œ œ œb œ ‰ œ œb œ œn ‰
∑œ .œ
≈ .∑œb œ .œb
∑p
p da lontano
da lontano
M
&
&
&
&
?
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
211 ‰ œ œ œ œb ‰ œn œ œ œ
œ# œ# œ# œn ‰ œb œn œ œn ‰
˙#
∑œ .œ
∑
‰ œ# œb œ œ ‰ œn œn œ œb
œ œn œ œ# ‰ œ œ œ œn ‰
∑œ .œ#
.œ ∑œ
∑
‰ œb œ œn œ ‰ œb œb œn œ#
œ œ œb œ ‰ œ œ# œ# œn∑∑œ ≈
.œb ∑œ
œ œn
∑
∑∑œ ≈ œ œ œb ‰ œ œ œb
3 3
œ# œ œn∑∑œ ≈ œ# œ œn ‰
3 3
.œ œ œ œ
œ .œ œ œ œ#3
?
∑Δ#
‰ ∑Δ
‰Hand pops
‰ œ œ œb ‰ œ œb œ#3
3
œ# œ œn ‰ œ œ œ#∑œ3
3
œ œb œ œn œ3
œ œ# œ œ œ# œ
Δ# Δ≈ ‰ ‰
Δ Δb3 3
&
&
&
?
?
44
44
44
44
44
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
216
.œ œb œ œ
≈ .∑œ# œ œ œ
œ œ> œ œb∑∑œ ≈ œ œb œn
3
.∑œb ≈ œ œ# œn ‰
3
Δ Δ# Δ ‰ Δ3
F
p
p
F
f
œ œb œn ∑œ œ#3
œ œ œb ∑œ3
‰ œ œ œ# ‰ œ> œb> œ> œn>3
œ œb œb ‰ œb œ# œ ‰3 3
Δ# ‰ ≈ Δ ∑Δ# ‰3
q q q∑∑∑∑3= q q∑∑
Ó ‰ ∑œ#Œ
≈ .∑œ œ .œ œ# œŒ Œ œb œ ≈ œn œ œb ‰
≈ œb œ œn œ ≈ œb ≈ Ó
∑Δ ‰ ≈ Δ Δ ‰ ∑Δ ‰ Δ Δ
q = 117 N
œ œ œb œ Œ ‰ œ# œn ≈ œn ≈ œb
∑œ‰ ‰ œb œn ∑∑œ ‰ . Œ
Œ ‰ œ œ ∑∑œb ‰ . Œ
œ œ œ œb Œ ‰ œn œ ≈ œb ≈ œ
Œ Δb Δ ‰ ≈ ∑Δ ≈ Δ Δ
Œ œ œ# œb œ ≈œ ≈ œ ∑∑œ ‰ .
œ œ# œb ≈ Œ Œ ‰ œ œ
œ# œb œ ≈ Œ Œ ‰ œ œ
Œ œ# œb œ œ ≈ œ ≈ œ ∑∑œ ‰ .
‰ . ∑∑Δn Œ Δ Δ ≈ ∑Δ ≈
12 / 14 Jarkko Hartikainen: Radix (2013) – v191125
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44
44
44
44
44
43
43
43
43
43
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
221 ‰ . ∑∑œ œ œb œn ≈ Ó
∑∑œb ‰ . Œ ≈ œn œ# œn ≈ œ# œ ≈
∑∑œ ‰ . Œ ≈ œ œ œ# ≈ œn œ# ≈
‰ . ∑∑œb œ œn œ ≈ Ó
≈ Δb Δ ≈ ‰ . ∑∑Δ ∑Δ ‰ Δ ≈ Δ
‰ œ œb œ œn
∑∑œ ≈ ‰ ‰
∑∑œ ≈ ‰ ‰
‰ œb œ œ œb
≈ ∑∑Δn ‰ ‰
∑
≈ œ œ œb œ ≈ œn œ ≈ œb ≈ œ œn . œb .≈ œ# œ œn œ ≈ œ# œ ≈ œn ≈ œ œ# . œn .
∑
∑Δ‰ ≈ ∑Δ
≈Δ Δ
≈Δ ≈ Δ
∑
≈ œ œ œb ≈ œ œn œb ‰ œ œ# ≈ œn ≈ œ
≈ œb œ œn ≈ œb œ œn ‰ œb œ ≈ œn ≈ œb
∑
Δ ‰ Δ ‰ Δ Δ ‰ Δ Δ
∑
≈ œ# œn ≈ ≈ œ œ# œb ≈ œ œ œ ‰ œ œ
≈ œ œ ≈ ≈ œ œb œ# ≈ œ œ œ ‰ œ œ
‰ . ∑∑Δ Œ ∑Δ ‰ ≈ ∑∑Δ ‰
∑Δ ‰ ∑Δ ‰ Œ ∑Δ ‰
Hand pops
&
&
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43
43
43
43
43
44
44
44
44
44
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
226
– – – – – – –# – – – –5 5 5
≈ œb ≈ œ# ≈ œ œ ≈ ≈ œb œn œn
≈ œ# ≈ œb ≈ œ œ ≈ ≈ œ œb œn
‰ ∑Δb ‰ . ∑∑Δ Œ
∑Δb ‰ ∑Δ ‰ ∑∑Δ ‰ .
"Helicopter" Air tones(mouthpiece ord., tongue attacks)
–# – – – – – – – – – – –5 5 5 5
≈ œb œ ≈ œn ‰ œ œ# ‰ œ# ≈ œn œ ≈
≈ œ œb ≈ œ ‰ œ œ# ‰ œn ≈ œ œ# ≈
Δ ≈ Δ ‰ ∑Δ ≈ ∑Δ ≈ ∑Δ ‰
∑Δ‰ ≈ ∑Δ
≈ ‰ ∑Δ‰ . ∑∑Δ
–# – – – – – – – – – – –5 5 5 5
œ# œ# ≈ œn ‰ œ œ# ‰ ∑∑œn ≈ œ œ# ≈ œn
œ œ ≈ œ# ‰ œn œ ‰ ∑∑œ# ≈ œn œ ≈ œ#
‰ ∑Δ# ≈ ∑Δ ≈ Δ ≈ Δ Œ
Œ ∑Δ#
‰ ≈ ∑Δ
≈ ‰ ∑Δ
–# – – – – – – – – – – –5 5 5 5
œ# ≈ œ# ≈ œn œ ‰ œ# ≈ œn œ œ# ≈ œn œ#
œ ≈ œ ≈ œ œ# ‰ œn ≈ œ œ# œn ≈ œ# œ
≈ ∑Δ# ≈ Δ ≈ Δ ‰ ∑Δ Œ
‰ . ∑∑Δ#Œ ∑Δ
‰ ≈ ∑Δ≈
&
&
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43
43
43
43
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
230
–# – – – – – – – – – – –5 5 5 5
∑
≈ ∑∑œn ‰ œ œ# ‰ œn ≈ œ œ# ≈ œn œ ≈
Δ ≈ Δ ‰ ∑Δ ≈ ∑∑Δ ‰ ‰ . ∑∑Δ
‰ ∑Δ‰ . ∑∑Δ
Œ ∑Δ‰
Ó Œ – – – – –5
–# – – – – – – – – – – Œ5 5 5
œ ‰ œ# œ ‰ œ ≈ œ œ ≈ œ œ ≈ œ
‰ ∑Δ# ≈ ∑Δ ≈ ∑Δ ‰ ‰ ∑Δ
≈ ∑Δ ≈ ‰ ∑Δ ‰ . ∑∑Δ Œ
"Helicopter" Air tones (mouthpiece ord., tongue attacks)
O
– –# – – – –Ó5 5
Ó–# – – – – –
5 5
‰ œb œn ≈ œ ≈ œ ‰ œ œb ≈ œn œ ≈
‰ . ∑∑Δb ‰ ∑Δ ≈ ∑Δ ≈ Δ ≈ Δ
∑Δb ‰ ∑Δ ‰ ∑Δ ‰ Œ
ΠРРРРРР5 5
– – – – – Œ Œ5
≈ œb ≈ œ ‰ œn œb ≈ œ œn ≈
‰ ∑Δb ≈ ∑Δ ≈ Δ ≈ Δ
∑Δb ‰ ∑Δ ‰ ∑Δ ‰
13 / 14Jarkko Hartikainen: Radix (2013) – v191125
&
&
&
?
?
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
234
–# – – – –Œ Œ5
Œ–# – – – – –
5 5
≈ ∑∑œb ‰ ‰ ∑∑œ ≈ ‰ ∑∑œn ≈
‰ ∑Δb ≈ ∑Δ ≈ Δ ≈ Δ
∑Δb ‰ ∑Δ ‰ ∑Δ ‰
ΠРРРРРР5 5
– – – – – Œ Œ5
∑
‰ ∑Δb ≈ ∑Δ ≈ Δ ≈ Δ
∑Δb ‰ ∑Δ ‰ ∑Δ ‰
–# – – – –Œ Œ5
Œ–# – – – – –
5 5
∑
∑
∑Δb ‰ ∑Δ ‰ ∑Δ ‰
ΠРРРРРР5 5
– – – – – Œ Œ5
∑
‰ ∑Δb ≈ ∑Δ ≈ Δ ≈ Δ
∑Δb ‰ ∑Δ ‰ ∑Δ ‰
–# – – – –Œ Œ5
Œ–# – – – – –
5 5
∑
‰ ∑Δb ≈ ∑Δ ≈ Δ ≈ Δ
∑
&
&
&
?
?
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
239 ΠРРРРРР5 5
– – – – – Œ Œ5
∑
∑
∑Δb ‰ ∑Δ ‰ ∑Δ ‰
–# – – – –Œ Œ5
Œ–# – – – – –
5 5
∑
‰ ∑Δb ≈ ∑Δ ≈ Δ ≈ Δ
∑Δb ‰ Œ Œ
∑
– – – – – Œ Œ5
Œ ∑Δ#
‰ Œ
‰ ∑Δb ≈ ∑Δ ≈ Δ ≈ Δ
∑
Hand pops
∑Δ ‰ Œ Œ
∑
≈.
∑Δ#
Œ Œ
‰ ∑Δb ≈ ∑Δ ≈ Δ ≈ Δ
∑
Hand pops
P
≈ .∑Δ Œ Œ
∑Δ ‰ Œ Œ
‰ ∑Δ#
Œ Œ
‰ ∑Δb ≈ ∑Δ ≈ Δ ≈ Δ
∑
Hand pops
‰ ∑Δ Œ Œ
≈ ∑Δ# ≈ Œ Œ
‰ . ∑∑Δ#
Œ Œ
‰ ∑Δb ≈ ∑Δ ≈ Δ# ≈ Δ
∑Δ#‰ Œ Œ
&
&
&
?
?
Tpt. 1 (C)
Tpt. 2 (Bb)
Hn.
Tbn.
Tuba
245 ‰ ≈ ≈ ∑∑Δ Œ Œ3
‰ ≈ ∑Δ# Œ Œ3
Œ ∑Δn
‰ Œ
∑
‰ ∑ΔŒ Œ
Œ ≈ ∑∑Δ#‰ Œ
Œ ∑Δ ‰ Œ
Œ ≈ ∑∑Δ‰ Œ
Œ ∑Δ ‰ Œ
Œ ∑Δn‰ Œ
Œ ‰ ∑Δb Œ
Œ ‰ ∑Δb Œ
Œ ‰ ∑ΔbŒ
Œ ‰ ∑Δb Œ
Œ ‰ ∑ΔbŒ
Œ Œ ∑Δ ‰
Œ Œ ∑Δb ‰
Œ Œ ∑Δb
‰
Œ Œ ∑Δb ‰
Œ Œ ∑Δb‰
∑
∑
∑
∑
∑Helsinki 23.03.2013
14 / 14 Jarkko Hartikainen: Radix (2013) – v191125
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