Hambourger Duke 0066D 11790

Last Wave Reached
and
Register, Harmony, and Phrase Design in Webern’s Op. 24 and Op. 27
by
Timothy Robert Hambourger
Department of Music
Duke University
Date:______________________
Approved:
______________________________
John Supko, Supervisor
______________________________
Scott Lindroth
______________________________
Philip Rupprecht
______________________________
Felix Woerner
Dissertation submitted in partial fulfillment of

the requirements for the degree of Doctor
of Philosophy in the Department of
Music in the Graduate School
of Duke University
2013
ABSTRACT
Last Wave Reached
and
by
Department of Music
Duke University
Date:______________________
Approved:
______________________________
John Supko, Supervisor
______________________________
Scott Lindroth
______________________________
Philip Rupprecht
______________________________
Felix Woerner
An abstract of a dissertation submitted in partial

fulfillment of the requirements for the degree
of Doctor of Philosophy in the Department of
Music in the Graduate School
of Duke University
2013
Copyright by
2013
Abstract
Last Wave Reached
Last Wave Reached is a setting of poems by Kay Ryan , U.S. poet laureate, 2008 –
2010, for three female singers and large chamber ensemble. Ryan writes compact,
intricate miniatures full of unexpected rhymes and alliterations, odd meters, playful
word choices, and penetrating imagery. In this spirit, Last Wave Reached unfolds as a
series of distinct musical vignettes, each one evoking a single world of sound. The
language is succinct, and instrumentation varies widely from movement to movement.
Overall, the piece explores themes of repetition, return, finality and (im)permanence.
Many analyses of Webern’s mature music have considered pitch-class relations in
depth, but few authors have explored Webern’s rich use of registral pitch space.
Furthermore, little has been written about the design of individual Webernian phrases.
In “Register, Harmony, and Phrase Design in Webern’s Op. 24 and Op. 27,” I make steps
towards filling both gaps. In section 1, I focus on the first movement of the Op. 24
Concerto, show how Webern groups row forms by trichordal and hexachordal
invariance, and demonstrate that invariant harmony interacts meaningfully with
register to shape the global form of the movement. In section 2, I broaden my scope to
demonstrate that register also plays a crucial role in shaping phrases and creating
cadences throughout Opp. 24 and 27. In addition to intrinsic, pitch-based approaches, I
show that we must consider extrinsic factors like rhythm, tempo, and articulation to
arrive at a full understanding of Webern’s phrasal technique.
! iv!
Table of Contents
Abstract iv
List of Figures vii
Acknowledgements ix
Part I: Last Wave Reached xi
Instrumentation and Note on transpositions xii
Note on amplification and Program note xiii
Drum map and Percussion list xiv
Guide to tenor saxophone multiphonics xv
Guide to piano preparation xvi
Note on the electric piano xviii
Texts xix
1. Almost Without Surface I 1
2. Paired Things 5
3. The Things of The World 32
4. Interlude 50
5. Almost Without Surface II 52
6. The Self is Not Portable 56
7. Blandeur 60
8. Swept Up Whole 65
9. Almost Without Surface III 68
10. Sharks’ Teeth 71
! v!
11. Last Wave Reached 98
Part II: Register, Harmony, and Phrase Design in Webern’s Op. 24 and Op. 27 115
Register, Harmony, and Phrase Design in Webern’s Op. 24 and Op. 27 117
Figures 155
References 174
Biography 177
! vi!
List of Figures (for Part II)
Figure 1. The Op. 24 row 155
Figure 2. The Op. 24 matrix 156
Figure 3. Some trichordally related rows 156
Figure 4. Trichordal invariance relations 157
Figure 5. The -++ relation 158
Figure 6. Concerto Op. 24/i, piano, mm. 20 – 21 158
Figure 7. The six trichord areas 159
Figure 8. Some hexachordally related rows 159
Figure 9. Common ic 1 adjacencies in hexachordally related rows 160
Figure 10. Op. 24/i, row statements by trichord and hexachord areas 161
Figure 11. Odd-to-even transition, Concerto Op. 24/i, mm. 22 – 25 162
Figure 12. Ic 1 dyads in the piano, Op. 24/i, mm. 40 – 45 163
Figure 13. Other registral repetitions 163
Figure 14. Op. 24/i, fixed-note percentages by measure 164
Figure 15. Coordination of row topography, harmony, and register in Op. 24/i 165
Figure 16. Concerto Op. 24/i, mm. 63 – 69 166
Figure 17. Concerto Op. 24/i, mm. 1 – 10 167
Figure 18. Variations for Piano Op. 27/i, mm. 1 – 19 168
Figure 19. Acceleration of rhythmic ostinatos, Op. 27/i, mm. 1 – 18 169
Figure 20. Concerto Op. 24/i, mm. 63 – 69, registral constellations 169
Figure 21. Variations for Piano Op. 27/iii, mm. 56 – 66 170
! vii!
Figure 22. Variations for Piano Op. 27/i, mm. 37 – 54 171
Figure 23. Comparison of registral constellations 172
Figure 24. (014) voicings in Op. 24/iii, mm. 56 – 70 172
Figure 25. Concerto Op. 24/iii, mm. 56 – 70 173
! viii!
Acknowledgements
This dissertation would not have been possible without the generous support
offered by my advisor John Supko. So many times a few words of advice from John was
all it took to get me past the hurdles and creative blocks along my way. My dissertation
committee, Scott Lindroth, Philip Rupprecht, and Felix Woerner added invaluable
feedback. I also owe a great debt to Stephen Jaffe for scheduling the December 4, 2012
reading and March 3, 2013 premiere of Last Wave Reached, communicating with the Wet
Ink ensemble, transporting instruments, and working through the many logistical
tangles along our path. I have had the great fortune of working with an amazing group
of talented and dedicated singers and instrumentalists for the premiere. It has been an
incredible pleasure to hear the fruits of their hard work. Through it all Verena
Moesenbichler-Bryant has conducted masterfully, demonstrating her deep knowledge of
the score and easy ability managing rehearsals. I have always known that with her the
piece was in very good hands. Finally, Kay Ryan has been extremely generous with her
time and with her work. I hope my music might do justice to the joy and wisdom in her
words.
! ix!
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x
Part I: Last Wave Reached
for three female singers and large chamber ensemble
Music by Tim Hambourger

Texts by Kay Ryan
!
Full Score
!
xi!
Instrumentation
Flute/Piccolo
Clarinet/Bass Clarinet
Alto Saxophone/Soprano Saxophone (player 1)
Tenor Saxophone (player 2)
Trumpet in C (or player may use a trumpet in D at their discretion)
Percussion (1 player)
Prepared Piano/Electric Piano
Soprano (doubling Triangle)
Mezzo-soprano
Alto
Violin/Viola (1 player)
Cello
Note on transpositions
The score is NOT in C. Clarinet and soprano saxophone sound a major second
lower than written. Bass clarinet and tenor saxophone sound a major ninth lower than
written. Alto saxophone sounds a major sixth lower than written. Piccolo sounds an
octave higher than written. Glockenspiel and crotales sound two octaves higher than
written. The trumpet sounds where written.
! xii!
Note on amplification
Amplification is optional in Last Wave Reached and should be used at the
performers’ discretion. If amplification is used, it is advisable to employ an engineer to
adjust levels between movements. In the premiere, the following players were amplified
slightly: all singers, violin/viola, cello, flute (movement 10 only), and prepared piano
(movements 1, 5, 9, and 11 only). Amplified instruments were sent to a stereo output,
with additional monitors for the conductor and the pianist.
Program note
I love Kay Ryan’s poems for their compact intricacy, for their quirky sense of
rhythm and pacing, for the way her language rings with sparingly-sprinkled rhymes
and hidden assonances and alliterations. With Ryan a few simple understated sentences
somehow crystallize perfectly into a single vivid image, like stray thoughts that just
need a small nucleus to condense into a meaningful whole. Many of her poems deal
with a sense of repetition or return, of finding yourself again after a long time. In
“Chop,” Ryan pits this idea of return against images of finality, singularity, and
(im)permanence. Is “the last wave reached” final like an emperor’s guillotine is final? Or
is it like the “last” of “last week”, merely the most recent instance in a series that has no
foreseeable end? In the spirit of Ryan’s poetic miniatures, I have written Last Wave
Reached as a series of musical miniatures, each one evoking a single world of sound,
sometimes lyrical, sometimes dark, sometimes funny, but almost always strange.!
! xiii!
Drum map
for any percussion staff with the ÷ cleff
Hi-hat Hi-hat Suspended

(foot, closed) (foot, open) Kick drum Floor tom Snare tom
÷ œ œ œ œ
x xo
(+)
Ride cymbal
+x
Hi-hat (closed)
xo
Hi-hat (open) Crash cymbal
x
x
÷
Complete percussion list
Drum set: (kick drum, snare drum, 1 floor tom, 1 suspended tom, hi-hat, ride cymbal,
crash cymbal, 3 woodblocks or templeblocks)
crotales (2 octaves)
glockenspiel
additional kick drum
additional snare drum (optional, eases set changes)
additional hi-hat (optional, eases set changes)
2 additional crash cymbals (optional, eases set changes)
large tam-tam
5 melodic toms
vibraphone
1 additional woodblock
xiv
Guide to tenor saxophone multiphonics
No. 11. 'Last wave reached' calls for five distinct multiphonics, indicated as dyads with diamond
noteheads. The performer should choose each multiphonic so that 1) it contains at least one pitch of
the notated dyad (within a quarter-tone in either direction) and 2) it fits the timbral characteristics
described below. None of the mutiphonics should be too harsh/dissonant, and all should be
playable over a wide dynamic range. Although I sometimes call for these multiphonics to be of
quite short duration, the preference should be for fingerings that produce the desired timbre over
fingerings that speak easily - an indefinite, barely audible sound is perfectly acceptable for shorter
note values.
Multiphonic notation Consonance/Dissonance Other timbral characteristics
on a scale of 1 (completely
consonant) to 10 (super
dissonant)
b·
1
&· 1 gentle, soft, whispery, breathy,
tenuous
·
2
&· 1 gentle, soft, whispery, breathy,
tenuous
·
3
&· 4 clearer, sharper, more strident,
·4
but not too much
·
& 2 gentle, soft, but a little clearer
#·
5
#·
& 3 fairly clear at higher volumes,
whispery when softer
xv
Guide to piano preparation
Last Wave Reached calls for three different kinds of piano preparations: 1) Some strings need to be
muted by placing a small amount of adhesive putty at either end of the string (just under the hitch
pins at the far end for higher strings, below the capo bar at the close end for lower strings). The
product I used is DAP® BLUESTIK™ Reusable Adhesive Putty available at Home Depot (in the
paint section), but other products may work as well. Be sure not to use so much putty that you
flatten the pitch perceptibly. The resulting sound should be softer but should still resonate clearly
and possess definite pitch. 2) I call for some strings to be muted at either the 2nd or a 4th partial
node. As long as you mute precisely at the desired node, this produces a clear "multiphonic" tone
consisting of the specified partial of the original fundamental plus a lower tone flatter than the
original fundamental. This lower tone can be adjusted by altering the amount of putty placed on the
string - the more putty, the lower the tone. The same putty used to mute the strings in number 1 can
be used here, but to lower the original fundamental by more than a whole tone, I recommend using
a denser product. The one I used is Firefly™ EZ Shape™ modeling clay available at Michaels arts
and craft stores, but again other products may work equally well. The key is to find products that
lower each string the desired amount without softening the tone too severely. 3) Finally, I call for
some notes to be altered by simultaneoulsy muting those notes near the hitch pins (as in number 1)
and by inserting a penny or dime between the three strings for that note. Adjusting the positioning
of the coin along the length of the strings alters the tuning of the resulting sound: placing the coin
precisely at the second partial node produces a clear multiphonic with harmonic tone and lower
tone similar to number 2. On the other hand, as you move the coin closer to the hitch pins, the
harmonics produced become higher and less definite in pitch and the lower tone moves upward
closer to the original fundamental. Below is a complete chart with all notes to be prepared. For
clarity, I have used the same notation below as in the score and part, representing notes on two
pairs of staves. The lower pair depicts the actual keys to be played/prepared; the top pair shows the
resulting sounds.
xvi
!
˙ #˙ ˙ #˙ ˙
1. Muting at ends of string with BLUESTIK™
˙ #˙ ˙ #˙ ˙ #˙ ˙ ˙ #˙ ˙ #˙ ˙ #˙ ˙ #˙ ˙ ˙ #˙
& ˙˙
S
o
u
? #˙ ˙
n
d
i
n
˙ #˙ !
g
˙ # ˙ ˙ #˙ ˙
˙ #˙ ˙ #˙ ˙ # ˙ ˙ ˙ #˙ ˙ #˙ ˙ #˙ ˙ ˙ #˙
Piano
P & ˙˙
l
far end of string
? #˙ ˙
a
y just below hitch pins
e
d
close end of string

below capo bar
2. Muting at 2nd or 4th partial node with BLUESTIK™ or EZ Shape®
&
S
o
b˙ n˙ b˙ ˙
u
b˙ ˙
n
& b˙ b˙ b˙
d
˙ ˙
i
˙ n˙ b˙
n
g
Pno.
P &
l
a
˙
y
& ˙ n˙ b˙
e
b˙ b˙
d
b˙
2nd partial 4th partial 2nd partial 2nd partial 2nd partial 2nd partial 2nd partial
BLUESTIK™BLUESTIK™ EZ Shape® EZ Shape® EZ Shape® BLUESTIK™ BLUESTIK™
xvii
3. Muting at end of string with BLUESTIK™ and inserting dime or penny between strings
with higher with higher with higher
˙ #˙
indeterminate harmonics indeterminate harmonics indeterminate harmonics
S
& # ˙ ˙
˙
o
u
n
&
d
i
n
g
˙
Pno.
P & ˙ #˙
l
a dime at 2nd partial node dime at far end of string penny at far end of string
y mute just below hitch pins approx. 1 in. below hitch pins approx. 1.5 in. below hitch pins
&
e mute just below hitch pins mute just below hitch pins
d
Note on the electric piano

The electric piano part should be performed on an 88-key keyboard. For the premiere, a Korg M50
Music Workstation was used. All patches used were factory originals - no individual patches were
edited. However, I did reorder the patches on the M50 so as to facilitate fast patch changes in
performance. In the score and part, I have indicated patches with three identifiers:
1) A 4 digit code, such as 'E127,' that is specific to the way I ordered patches for the premiere.
2) A name, such as 'Direct E.Piano 2,' that corresponds to the factory original name and can be used
to locate the same patch on another Korg M50.
3) A short description, such as '(or any electric pno or suitcase pno),' that should be used as a guide
to finding an appropriate patch on a different brand of keyboard.
xviii
!
Last Wave Reached
Music by Tim Hambourger
Texts by Kay Ryan
1. Almost Without Surface I
“Almost Without Surface” from The Niagara River, Grove Press, © 2005
[THE PORTION BELOW IS NOT SET]
Sometimes before
going to sleep a person
senses the give
behind the last given,
almost physically,
like the strain
of plush against
a skin.
The person imagines
a fig or peach,
perhaps a woman or
a deep constellation:
some fathomless
! xix!
!
fruit.
[THE PORTION BELOW IS SET]
But we are each
that, while we live,
however much
we resist: almost
without surface, barely
contained,
but crazy
as clouds compounding
each other, refusing
to rain.
2. Paired Things
“Paired Things” from Flamingo Watching, Copper Beech Press, © 1994
Who, who had only seen wings,
could extrapolate the
skinny sticks of things
birds use for land,
the backward way they bend,
the silly way they stand?
! xx!
!
And who, only studying
birdtracks in the sand,
could think those little forks
had decamped on the wind?
So many paired things seem odd.
Who ever would have dreamed
the broad winged raven of despair
would quit the air and go
bandylegged upon the ground,
a common crow?
3. The Things of the World
"The Things of the World" from Flamingo Watching, Copper Beech Press, ©
1994
Wherever the eye lingers
it finds a hunger.
The things of the world
want us for dinner.
Inside each pebble or leaf
or puddle is a hook.
The appetites of the world
compete to catch a look.
What does this mean
! xxi!
!
and how does it work?
Why aren't rocks complete?
Why isn't green adequate
to green? We aren't gods
whose gaze could save,
but that's how the things
of the world behave.
4. Interlude (instrumental)
5. Almost Without Surface II.
See 1. Almost Without Surface I (above).
6. The Self is Not Portable
“The Self is Not Portable” from The Niagara River, Grove Press, © 2005
The self is not
portable. It
cannot be packed.
It comes sneaking
back to any place
from which it’s
been extracted,
! xxii!
!
for it is nothing alone.
It is not an entity.
The ratio of self
to home: one part
in seventy.
7. Blandeur
“Blandeur” from Say Uncle, Grove Press, © 2000
If it please God,
let less happen.
Even out Earth’s
rondure, flatten
Eiger, blanden
the Grand Canyon.
Make valleys
slightly higher,
widen fissures
to arable land,
remand your
terrible glaciers
and silence
their calving,
halving or doubling
! xxiii!
!
all geographical features
toward the mean.
Unlean against our hearts.
Withdraw your grandeur
from these parts.
8. Swept Up Whole
"Swept Up Whole" from Elephant Rocks, Grove Press, © 1996
You aren't swept up whole,
however it feels. You're
atomized. The wind passes.
You recongeal. It's
a surprise.
9. Almost Without Surface III.
See 1. Almost Without Surface I (above).
10. Sharks’ Teeth
"Sharks' Teeth" from The Niagara River, Grove Press, © 2005
Everything contains some
silence. Noise gets
its zest from the
! xxiv!
!
small shark's-tooth-
shaped fragments
of rest angled
in it. An hour
of city holds maybe
a minute of these
remnants of a time
when silence reigned,
compact and dangerous
as a shark. Sometimes
a bit of a tail
or fin can still
be sensed in parks.
11. Last Wave Reached
"Chop" from The Niagara River, Grove Press, © 2005
The bird
walks down
the beach along
the glazed edge
the last wave
reached. His
each step makes
! xxv!
!
a perfect stamp –
smallish, but as
sharp as an
emperor's chop.
Stride, stride,
goes the emperor
down his wide
mirrored promenade
the sea bows
to repolish.
All texts used with author’s permission.
! xxvi!
With quiet intensity h = 48

˙. ˙ ˙ w
#˙. #3œ
œ œ œ œ Ó Ó Œ Ó œœœ Ó œœœ Ó
3 3
Flute &2
2
œ œ œ œ œ
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Clarinet &2 " w bw " " w bw " "
2
$ p $ $ p $
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Harmon mute, stem out throughout
Trumpet &2
2 bw œ ˙. bw œ ˙. bw
$ p $ $ p $ $
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Crotales (metal mallet)
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Percussion p Crash cymbal (drum stick)
X X X X X X X X x X
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2
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y
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Alto &2 " " " " " " " " "
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w
Tpt.
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to Woodblock
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take up rubber mallet
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$ p 3 3
10 11 12 13 14 15 16 17 18
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take up metal mallet
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f Crash cymbal and kick drum (drum stick)
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loco
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P
2 J J 2
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& Œ Œ Œ 3
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e
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d
fl > fl >
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3
al-most without sur-face, bare - ly con-tained, but craz - y as clouds
&Ó œ ˙ œ œ œ œ œ œ œ 3 œ b œ b œ b œ œ Œ Ó b œ b œ œ b œ Œ Œ ‰b œj 2 b œ b œ œ b œ Œ
3 3
Mezzo
2 2
f
3 3 sist: with - out sur-face,
while we live, how-ever muchwe re - bare - ly con-tained, but craz - y as clouds
& " " 3 b œ b œ Œ Ó b œ b œ Œ Œ ‰ j 2 bœ bœ Œ

3 3
2 bœ œ œ œ bœ œ bœ 2 bœ œ
Alto
al-most without sur-face, bare - ly con-tained, but craz - y as clouds,
# œœ œ œ # œœ œ œ 3
& Ó Ó Œ Œ j‰ Ó Œ Ó j‰ Œ Œ b b œœ Œ
on the frog
2
Vln.
2 œ œ œ œ 2 œ
p
f> fl > fl >
3 3
19 20 21 22 23
3
œ̆
#˙ œ œ ˙.
Fl. & J ‰ Œ b œ. œ b œ œ Ó œ œ
œ
Œ "
P # p # p
˘
Cl. & b œJ ‰ Œ Ó Ó
#˙ ˙ ˙ ˙.
Œ "
$ p $
Tpt. & œj ‰ Œ j
œ œ.
Ó
˙ ˙ b˙ ˙. Œ "
fl fl # $
f $ p
#œ
ã " & Ó œ Œ Œ œ Ó œ Œ Œ "
Perc.
p
X X X
÷ œ Œ œ Œ Ó Ó Ó "
> >
!
+̆œ +̆œ +̇ +œ +œ œ+ # +œ
& nœ ‰ Œ œ ‰ Œ Œ Œ Ó Œ Œ "
J J
S
o
u
n
+̇
b ˘œ ˘œ
# +˙
d
bœ b˙
‰ Œ œ b œ .. Ó ˙ Ó "
i
n
& b œJ J ˙
g
˙
˘œ ˘œ ! #œ
Pno.
˙ œ œ œ
& œJ ‰ Œ œ ‰ Œ
J Œ Œ Ó Œ Œ "
F p
P
#
l
˘ ˙
a
#œ
y
& b œJ ‰ Œ œ̆ b œ . Ó Ó Œ "
e
J ˙ b˙
d
Sop. & " " " " "

P
& Ó Œ ‰ b œj n œ œ œ œ b œ Œ Ó Œ ‰ j œ œ œ bœ Œ "
œ
Mezzo
3 3
com - pound-ing each oth - er re - fus - ing to rain.
Alto & " " " " "

! œo . œ ȯ .
œo . œ J œo . œ
& j ‰ Œ bœ œ bœ œ Ó J J Œ "
bœ . p
Vln.
P #
ffl 24 25 26 27 28
4
2. Paired Things
B Small, quirky, and graceful h = 52 Úq=qÆ
Piccolo &2 ! ! ! ! ! ! ! ! 3 !
2 4
# œ. # œ. ‰ œ. # œ. # œ. œ. # œ. ‰ œ. # œ. # œ. œ # œ.
&2 Ó
2 J ‰Œ Ó ‰ Ó Œ J ‰ J ‰#˙ J ‰ Ó J J
‰ Ó #œ ‰ Ó ‰ #w 3 J ‰Œ
Clarinet
4 œ
p P p P p
Alto Sax. &2 ! ! ! ! ! ! ! ! 3 !

2 4
w
Glockenspiel (metal mallet)
w w w
&2 w w w w 3 ˙.
2 4
p " p " p " p P p
Percussion
Vibraphone (yarn mallets)
˙ œ. ‰ Œ ˙ œ. ‰ œ. ‰ ˙ œ. ‰ Œ ˙ œ. ‰ Œ ˙ œ. ‰ œ. ‰ ˙ œ œ. ‰ ˙ œ. ‰ œ # w 3 ˙.
dead stroke sim.
&2
2 ˙ J ˙ J J ˙ J ˙ J 4 ˙.
°
&2 ! ! ! ! ! ! ! ! 3 !
2 4
Electric
?2
Piano
! ! ! ! ! ! ! ! 3 !
2 4
pVery short, clear, owl-like, bell-like P P p
Ó . ‰ Œ Ó œ. ‰ œ. ‰ Ó Œ œ. ‰ œ. ‰ ˙ œ. ‰ Ó pœ. ‰ œ. ‰ Ó œ œ. ‰ Ó œ. ‰ œ w
œ œ œ. ‰ Œ
Soprano &2
2
J J J J J J
3
4 J
Hoo hoo hoo hoo hoo hoo etc.
Mezzo &2 ! ! ! ! ! ! ! ! 3 !
2 4
&2 Ó j ‰ Œ Ó ‰ ‰ Ó Œ j ‰ j ‰ ˙ j‰ Ó ‰ ‰ Ó œ j‰ Ó j‰ w 3 œ j‰ Œ
Violin
2 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ 4 œ.
p P p P p
Cello
?2 ! ! ! ! ! ! ! ! 3 !
2 4
1 2 3 4 5 6 7 8 9
5
2. Paired Things
Faster,
2+3 C lilting
Úq=qÆ Úq=qÆ Úq=qÆ Úq=qÆ
q. = 64
Picc. & ! 2 ! ! ! 3 ! 2 ! ! 5 ! 6 !
2 4 2 4 8
. j . œ. ‰Œ 5 Ó œ. . œ. # œ
& Œ Œ œJ ‰ 2 œ Œ Œ œ- ! œ. ‰ # œ Œ œJ ‰ 3 œj ‰ ˙ 2 ! Ó J 4 J ‰ œJ ‰ Œ 6 Œ J œ ‰
Cl.
2 - - 4 . 2 8
P
A. Sx. & ! 2 ! ! ! 3 ! 2 ! ! 5 ! 6 !
2 4 2 4 8
w
œ 2 ˙ œ œ w œ œœœ 3 œ ˙ 2 w œ 6 œ. Œ.
& ˙ 2 4 2
w 5
4 8
F
Perc.
& ˙˙ œ 2 ˙ œ œ w œœœ 3 #œ ˙ 2 w ˙ œ. ‰Œ 5 ˙ œ. .
‰ œJ ‰ œ 6 œ . Œ.
2 ˙ œ w œ œ œ 4 œ ˙ 2 w ˙ J 4 ˙ J œ 8
°
& ! 2 ! ! ! 3 ! 2 ! ! 5 ! 6 !
2 4 2 4 8
E. Pno.
? ! 2 ! ! ! 3 ! 2 ! ! 5 ! 6 !
2 4 2 4 8
. P
œ. j‰ œ Œ œJ ‰ 3 j‰ ˙ 2 ! œ. ‰Œ 5 Ó œ. ‰ œ. ‰ Œ 6 ‰ œ. ‰ Œ .
Sop. &ŒŒJ‰22 œ-
ŒŒœ
-
!
œ. - 4 œ. 2
Ó J 4 J J 8 J
P F
Mezzo & ! 2 ! ! ! 3 ! 2 ! ˙ Ó 5 ˙ Ó Œ 6 ‰ œ œ œœ œ
2 4 2 4 8
Who? Who, who had on-ly seen
& Œ Œ j‰ 2 Œ Œ ! œ. ‰ Œ j ‰ 3 œj ‰ 2 ! Ó j ‰Œ 5 Ó j ‰ j ‰ Œ 6 ‰ œj ‰ Œ .
pizz.
Vln.
œ. 2 œ- œ- J œ œ 4 . ˙ 2 œ. œ. œ.
- . 4 8
P
Vlc.
? ! 2 ! ! ! 3 ! 2 ! ! 5 ! 6 !
2 4 2 4 8
10 11 12 13 14 15 16 17 18
6
2. Paired Things
Picc. & ! ! 9 ! 6 ! ! ! !
8 8
œ. œ. œ. œ. œ. bœ œ.
J j #œ œ œ œ. œ. ‰ ‰ Œ .
echo
& ‰ ‰ J ‰ ‰ J ‰ ‰ 9 ‰ J ‰ ‰ Œ. 6 ‰
#œ œ‰‰ !
Cl.
J
2
8 p 8
" P
A. Sx. & ! ! 9 ! 6 ! ! ! !
8 8
œ œ . . n œ. œ. ‰ ‰ œ. ‰ ‰
& ‰ ‰ ‰# œ œ œ 9 Œ ‰ J ‰ ‰ Œ. 6 ‰ œ ‰œ ‰œ ‰œ J J !
8 8
P p
2
œ œ. œ. œ. œ.
Perc.
œ œ bœ œ œ œ œ
& ‰ œ ‰œ ‰ œ œ œ 9 bœ ‰ œ ‰ ‰ Œ. 6 ‰ nœ ‰œ ‰n œ ‰œ œ ‰ ‰ Œ. !
8 J 8 J
2
& ! ! 9 ! 6 ! ! ! !
8 8
E. Pno.
? ! ! 9 ! 6 ! ! ! !
8 8
p. P
œ œ ‰ œ œ ‰ œ œ œœ 9 Œ ‰ œJ ‰ ‰ Œ . 6 ‰ #œ œ ‰ œ œ #œ œ œ œ. j
Lyrical, light echo
‰ œ ‰ ‰ Œ. !
4
Sop. & œ8 8
Ah ah ah Hoo Ah ah ah
œ. Œ. 9 ‰ bœ œ œ œ œ œ bœ œ œ 6 #œ œ œ œ. j ‰ œj œ œ
! ˙. œ ‰ ‰ Œ.
4 4
&
2 2
Mezzo
8 8
wings, could ex-tra-po-late the skin-ny sticks of things birds use for
& ‰ œj ‰ ‰ œj‰ ‰ œj‰ œ œ 9 j ‰ ‰ j ‰ ‰ bœ. 6 ‰ j j j

œ ‰ ‰ ‰ œ ‰ ‰ œ ‰ œJ ‰ ‰ œJ ‰ ‰ !
2 arco pizz.
Vln.
8 œ œ 8 œ
p " P " P p
Vlc.
? ! ! 9 ! 6 ! ! ! !
8 8
19 20 21 22 23 24 25
7
2. Paired Things
Tempo I h = 52 D
Picc. & ! ! 2 ! ! ! ! ! !
2
# œ.
. # œ. . # œ. 2 j . . .
œ. ‰ ˙ # œJ ‰ ˙ . # œJ ‰ Œ# œJ ‰ Ó Œ œ. ‰Œ œ œ Ó J ‰Œ
& œ ‰ ‰ ‰ œJ ‰ ‰ J œ œ 2 J ..
!
. . p Pp
Cl.
2
p
A. Sx. & ! ! 2 ! ! ! ! ! !
2
œ. œ œ . . .
‰ œ œ œ 2 œJ ‰ ˙ œJ ‰ ˙ . œ ‰ Œ œ. ‰ Ó . .
Œ œJ ‰Œ œ œ
& J ‰ 2 J J ! w
P p P p p
2
.œ # œ œ
Perc.
# œ # œ. œ. bœ
& œ#œ ‰ œ ‰# œ n œ œ 2 œj ‰ œj‰ ˙ . j j
œ ‰ Œ œ. ‰ Ó Œ œj‰Œ œ œ. ! ˙ œ. ‰ Œ
J
J 2 . ˙ ˙. .
2 °̇
& ! ! 2 ! ! ! ! ! !
2
E. Pno.
? ! ! 2 ! ! ! ! ! !
2
p P p p
‰ # œ œ ‰ œ œ ‰# œ œ œ œ 2 j ‰ ˙ # œ. ‰ ˙ . # œ. ‰ Œ# œ. ‰ Ó Œ # œ. ‰Œ œ. ‰ ! Ó n œ. ‰ Œ
4
Sop. & œ 2 œ. J J J J J J
P F P
Ah ah ah ah Hoo hoo etc.
! ! ! Œ ‰ œj œ œ œ # œ j j
Mezzo & #˙. 2
2 œ Œ Œ ‰ œ œ œ œ œ ˙ #w
land, the backward waythey bend, the sil-ly way they stand?
& œ œ ‰‰ œj‰ ‰ œJ ‰ œ œ 2 j ‰ œ. ‰ œ. ‰ Œ œ. ‰ Ó Œ # œJ. ‰Œ œ œ ! Ó j‰ Œ

2 arco
Vln.
2 œ ˙ J ˙. J J .. œ.
P p Pp p
Vlc.
? ! ! 2 ! ! ! ! ! !
2
26 27 28 29 30 31 32 33
8
2. Paired Things
Úq=qÆ Úq=qÆ
Picc. & ! ! ! ! ! ! 3 ! ! 2 ! !
4 2
# œ. ‰ œ. # œ. # œ. œ. # œ. ‰ œ. # œ. œ # œ.
& Ó ‰ Ó Œ ‰J J ‰#˙ J ‰ Ó ‰ Ó J ‰ #w 3 J ‰ Œ Œ Œ œ. ‰ 2 œ Œ Œ œ- !
Cl.
4 œ J 2 -
P p P p
A. Sx. & ! ! ! ! ! ! 3 ! ! 2 ! !
4 2
w w w œ
& w w w 3 ˙. ˙ 2 ˙ œ œ w
4 2
Perc. " p " p " P p
. . .
& ˙ œ ‰ œ ‰ ˙ œJ ‰ Œ ˙ œ. ‰ Œ ˙ œ. ‰ œ. ‰ ˙ œ. ‰ œ # w 3 ˙. ˙ œ 2 ˙ œ œ w
˙ J ˙ J nw 4 ˙. ˙ 2 ˙ œ w
& ! ! ! ! ! ! 3 ! ! 2 ! !
4 2
E. Pno.
? ! ! ! ! ! ! 3 ! ! 2 ! !
4 2
P p. . P p
.
œ .
œ .
œ .
œ
&Ó ‰ ‰ Ó Œ J‰ J‰
˙ .
œ œ œ .
œ
‰ Ó ‰ ‰ Ó ‰ œ w 3 œ œ. ‰ Œ Œ Œ œJ. ‰ 2 œ Œ Œ œ !
Sop.
J J 4 J 2 - -
Mezzo & ! ! ! ! ! ! 3 ! ! 2 ! !
4 2
& Ó œ ‰ œ ‰ Ó Œ œj ‰ œj ‰ ˙ œj ‰ Ó œ ‰ œ ‰ Ó œj ‰ œ w 3 œ j‰ Œ Œ Œ j‰ 2 Œ Œ
4 œ.
!
. . . . . . . . œ. 2 œ- œ-
Vln.
P p P p
Vlc.
? ! ! ! ! ! ! 3 ! ! 2 ! !
4 2
34 35 36 37 38 39 40 41 42 43
9
2. Paired Things
Úq=qÆ Úq=qÆ E Slightly faster h = 56

Picc. & ! 3 ! 2 ! ! ! ! ! !
4 2
j . . . . œ. œ.
& œ. ‰ # œ- Œ œJ ‰ 3 j‰ ˙ 2 ! Ó œJ ‰ Œ Ó œ ‰ œ ‰ Œ œj ‰ œ. ‰ œ ‰ œ ‰ œ. ‰ ‰ . ‰ Ó J ‰Œ
Cl.
4 œ. 2 . . . #œ
P
A. Sx. & ! 3 ! 2 ! ! ! ! ! !
4 2
w w #w
œ œœœ 3 œ ˙ 2 w w w
& 4 2
Perc.
P
œœœ ˙ œ. ‰ Œ ˙ œ. ‰ œ. ‰ œ œ w
3 #œ ˙ 2 w œ œ ˙
& œ
œ œ 4 œ ˙ 2 w J ˙ œ œ œ bw
°̇
& ! 3 ! 2 ! ! ! ! ! !
4 2
E. Pno.
? ! 3 ! 2 ! ! ! ! ! !
4 2
P Lyrical
œ. . . .
Ó œJ ‰ Œ Ó œ ‰ œ ‰ œ ˙ Ó b œ. ‰ Œ
& œj‰ œ Œ J ‰ 3 œ
j‰ ˙ 2 ! ! œ J
. - .
Sop.
4 2
F
Ah Hoo
Mezzo & ! 3 ! 2 Ó œ œ ˙ Ó ˙ Ó Œ œ œ œ œ œ. œ œ œ œ œJ œ . !
4 2
œ. ‰ œ. œ. .
And who, who, on - ly stud-y-ing bird-tracks in the sand,
.
& œJ ‰ Œ j ‰ 3
j
œ. ‰ 2 ! Ó j‰ Œ Ó ‰ Œ j‰ ‰ œ. ‰ ‰ ‰ œ ‰ Ó œj ‰ Œ
œ- œ. ˙ 2 œ. œ. ‰ œ. œ. œ .
Vln.
4
P .
Vlc.
? ! 3 ! 2 ! ! ! ! ! !
4 2
44 45 46 47 48 49 50 51
10
2. Paired Things
Picc. & ! ! ! ! ! ! ! !
œ. ‰ œ. œ. # œ. # œ. ‰ œ. # œ. # œ. œ. # œ.
& Ó ‰ Ó J ‰Œ Ó J ‰Œ Ó ‰ Ó Œ ‰J J ‰#˙ ‰ Ó J ‰ Œ
J
w
Cl.
# F p
P
A. Sx. & ! ! ! ! ! ! ! !
#w #w #w #w #w
& #w #w #w
Perc.
" p P p
w w ˙ œ. ‰ Œ ˙ œ. ‰ œ. ‰ ˙ œ. ‰ Œ w ˙ œ. ‰ Œ
& bw bw J ˙ J ˙ J
° °̇
& ! ! ! ! ! ! ! !
E. Pno.
? ! ! ! ! ! ! ! !
# P
. . . . . F . p.
& Ó b œ. ‰ œ. ‰ Ó b œ. ‰ Œ b w Ó œJ ‰ Œ Ó œ ‰ œ ‰ Ó Œ œJ ‰ œJ ‰# ˙ œJ ‰ Ó œJ ‰ Œ
Sop.
J
P
hoo etc.
F p
w w
& œ œ œ bœ œ œ
‰ ! Œ œ œ bœ œ œ ! ! !
3
Mezzo
3
couldthink those lit-tle forks haddecampedon the wind?
& Ó j Ó œj ‰ Œ Ó œ ‰ œ ‰ Ó Œ œj ‰ œj ‰ # ˙ œj ‰ Ó œj ‰ Œ
Vln. œ. ‰ œ. ‰ Ó œ. ‰ Œ w . . . . . . .
# P F p
Vlc.
? ! ! ! ! ! ! ! !
52 53 54 55 56 57 58 59
11
2. Paired Things
F Same tempo q = 112

œbœ œ œ œ œ œ œ œ œ œ œ œbœ œ œ
œ œ œœœ œ œ œ
Úq=qÆ
œ œ œ œ
Picc. & " " " 3 " " " 4 Œ
4 4
F
# œ. ‰ œ. # œ. œ # œ.
Cl. & Ó ‰ Ó J ‰ #w 3 œ J ‰Œ " " 4 " "
4 4
P p
A. Sx. & " " " 3 " " " 4 " "
4 4
œ œ œ œœ
(Glockenspiel)
& #w #w 3 #˙. 4 œ œ œ œ œ Œ œ œ œ œ
#w 4 #˙. ˙. 4
# p P p F
Perc.
˙ œ. ‰ œ. ‰ ˙ œ. ‰ œ # w
to hi-hat
3 ˙. ˙. ˙. " "
take up drum stick
& ˙ J 4 ˙.
4
4
! œ
E127 Direct E.Piano 2 (or any electric pno or suitcase pno)
œnœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
" " " " " " œ Œ œ
& 3
4
4
4
E. Pno.
F
? " " " 3 " " "& 4 w "
4 bw
p
4
P
. ‰ œ.
œ .œ œ # w 3 œ. ‰ Œ
œ
Sop. & Ó ‰ Ó J‰
4 J
" " 4
4
" "
Mezzo & " " " 3 " " " 4 " "
4 4
& Ó œ ‰ œ ‰ Ó œj ‰ œ # w 3 œ j‰ Œ
œ. " " 4 " "
. . .
Vln.
4 4
P p
Vlc.
? " " " 3 " " " 4 " "
4 4
60 61 62 63 64 65 66 67
12
2. Paired Things
bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
Picc. & Œ Œ
& Ó ‰ j‰ Ó Œ ‰ b œj ˙ j‰Œ ‰ bœ.

œ. œ œ œ
Cl.
p >f p > p
f
& " " Œ ‰ # œj ˙ j

# œ ‰Œ ‰ #œ.
>f
A. Sx.
p p
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Perc. & œ œ œ œ Œ œ œ œ œ œ œ Œ œ
(!)œ
œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœœœ œ œ œ
œ
œ œŒ œ Œ
&
E. Pno.
& " " " "
Sop. & " " " "
Mezzo & " " " "
& " " " Ó ‰

œ.
Vln.
p
. b >œ b >œ .
? Ó ‰ # œœ . œ
œ bœ ‰ Ó Œ ‰ # œœ ˙˙ b œ ‰Œ ‰ # œœ .
J J J
Vlc.
p f p f p
68 69 70 71
13
2. Paired Things
2+2+3
Úe=eÆ Úe=eÆ
bœ œ œ œ œœœ œ œœ œ œ œ œ œ œ œ œ œœ œ œ
œ œ 7 ‰ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ.
J‰Œ 3
Picc. & Œ 4 Œ ‰ Œ
8 4 4
>œ
& œ. j 7 >œ 4 œ œ œ œ
j
œ œ. Ó 3
Cl.
œ œ œ 8 J #œ. œ. 4 4
cresc. f p cresc.
f p f
>
& œ.
j
#œ 7 j œ. 4 #œ #œ œ œ nœ œ
j Ó 3
A. Sx. #œ œ 8 # >œ œ. 4 œ. 4
cresc. f p cresc.
f p f
œ œ œ œ œ œ
œ œ œ œ 4 œ œ Œ
œ œ œ œ œ œJ ‰ Œ 3
Perc. & œ œ œ 7 Œ
8 4
œ œ œ
4
(!)
œ œœ œ œ œ œ œœœœ œ œ œ œ œ œ œ œ œœ œ œœœœœœœœœœ œœœ œ œ œ œ œ
& Œ 7 ‰ œ œ 4 Œ ‰ Ó 3
8 4 4
E. Pno.
& " 7 " 4 " " 3

8 4 4
Sop. & " 7 " 4 " " 3

8 4 4
Mezzo & " 7 " 4 " " 3

8 4 4
>œ
& œ. j 7 >œ 4 œ
j
œ œ. Ó 3
Vln.
#œ œ œ 8 J œ. œ. 4 œ œ œ 4
cresc. f p cresc.
f p f
. > œ. #œ. œ b >œ œœ œœ œ œœ ..
? n œœ . #œ œ
œ œ œœ 7 bb œœ œ . œ. 4 œ bœ
#œ
œ œ Ó 3
Vlc. J 8 J 4 J 4
f
f p f p
cresc. cresc.
72 73 74 75
14
2. Paired Things
G
œ œ bœ œ œ œ œ
œ œ œ œ œ œ œb œ œ œ œ 2 œ 4 œb œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ
Picc. &4
3 Œ ‰ Œ ‰ Œ ‰
4 4
> >œ >œ >œ œ œ . œ #œ œ

œ# œ œ œ
&3
bœ. œ. 2 œ. œ 4 œJ# œ . œ œ
J J J Œ
Cl.
4 p 4 J 4
cresc. fp f
# >œ >œ œ œ œ #œ. œ.
j # >œ J #œ J J j
&3 . œ. J œ.
4 # pœ #œ 4
2
4 #œ. #˙ #œ
f >
A. Sx.
4
cresc. fp
œ œ œ œ œ œ œ œ œ Ó
&3 œ œ œ 2 œœJ ‰ 4 Œ œ Ó "
4 4 4
+¿ +¿ +¿ + +¿
Perc.
Hi-hat (drum stick)
" " 4 Ó Œ ÷J ‰ Ó ‰ ¿ Ó Œ J ‰
&3 2
4 4 4 F
(!) œ œ
œœœ œ œ œ œ œœ œ
œ œ œœœ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œœ œ œœœœ œ œ œ
&4
3 2 Œ 4 ‰ Œ ‰ Œ ‰
4 4
E. Pno.
&3 " 2 " 4 " " "

4 4 4
Sop. &3 " 2 " 4 " " "

4 4 4
Mezzo &3 " 2 " 4 " " "

4 4 4
> >œ >œ >œ œ œ . œ œ . œ œœ œ œ
&3 2 j 4 œJ . œ
J J J bœ œ
Vln.
4 œ. œ. 4 #œ. œ 4 œ œ
p fp f
>œ >œ >œ œ œ.
cresc.
? 3 # œœ .. nœ. #œ. œœ 4 b >œ œœ .. #˙ œ œ œJ œ #œ œ œœ .. œ. #œ

œ. 2 œ. ˙ œ œ œ
Vlc.
4 4 J 4 b œJ J J J
p cresc.
f p f
76 77 78 79 80
15
2. Paired Things
3+2
Úe=eÆ
œ œ œ b œÚ e = e Æ œ bœ œ œ œ œ œ œ œ œ œ
œ bœ œ œ œ œ œ œ œ œ œ œ 2 œœœœœœ œ
Picc. & ‰ Œ ‰ 5 Œ 4 Œ
4 8 4
nœ œ #œ œ œ œ œ nœ œ œ. œ. # >œ >œ œ œ #œ
#œ 2 Œ œ #œ œ œ 5 ‰ 4 œ #œ œœ œ œ œœ œ
Cl. & 4 8 4
#œ. œ ˙ > > #œ. œ

A. Sx. & ˙ J 2 5 œ ‰ #œ œ 4 #˙ J
4 8 4
œ œ
& œ œ œ ‰ œ ‰ 2 " 5 " 4 œ œ œ œ Ó
4 8 4
+ +¿ +¿
Perc.
÷ " 2 ¿J ‰ ‰ J 5 " 4 Ó Œ J ‰
4 8 4
(!)œ
œœœœ œ œœœ œ œœ œ œ œœœœœœ œ œœ œœœœ œ œœœœ
œ‰ œ 2 Œ ‰ Œ œ œ œ œ
& 4
5
8
4
4
E. Pno.
#œ. #˙ œ. œ
" " ? 5 œ. Œ 4 ˙ œ. œ
& 2
4 8 4 J
Sop. & " 2 " 5 " 4 "

4 8 4
Mezzo & " 2 " 5 " 4 "

4 8 4
>œ >œ
œ œ œ . œœœ œœœ œ œœœ œ. œ. œ œ
Vln. & bœ œ œ 2 œ œ bœ 5 Œ ‰ 4 œ bœ œ.
4 8 4
˙ œ. œ ˙ #œ #˙ œ. œ
? ˙ œ. œ 2 ˙ 5 œ ‰ œ 4 ˙ œ. œ
J J
œ œ 4
Vlc.
4 8
> >
81 82 83 84
16
2. Paired Things
2+3
2+2+3
œ œ b œ œ œ Úœ e =eÆ
nœ œ œ #œ œ #œ œ œ
œ bœ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ
Picc. & Œ 2 5 Œ ‰ ‰ 7 Œ. 4
4 8 8 4
# >œ >œ # œ œ >œ >œ # >œ
œ œ œ œ # œ. œ. #œ œ
œ #œ œ œ œ œ 5 Œ
Cl. & Œ 2 7 œ #œ œ
J ‰ 4
4 8 8 4
œ œ œ #œ. œ. > > #œ. >œ >œ # >œ

& J 2 j 5 Œ #œ œ 7 ‰ 4
A. Sx.
4 #œ 8 #œ 8 4
œ œ œ œ œ #œ
& ‰ Ó 2 " 5 " 7 œ Œ. 4
4 8 8 4
+¿ +¿ +¿ +¿ +¿ +¿ +
Perc.
÷ Ó Œ 2 ‰ J Œ 5 Œ ‰ 7 Ó ‰ ¿ 4
4 8 8 4
(!)
œ œœœœœœœœœœœœœœœ œ œ œœœœ 5 œœ œ #œ œ œ œ œ œ œ
& 2 ‰ Œ ‰ ‰ 7 Œ. 4
4 8 8 4
E. Pno.
œ #œ œ œœ .. œ. #œ j
? œ œ œ 2 œ. œ 5 " 7 #œ. œ Œ. 4
J 4 J 8 8 #œ. œ 4
Sop. & " 2 " 5 " 7 " 4

4 8 8 4
Mezzo & " 2 " 5 " 7 " 4

4 8 8 4
œœœ >œ >œ #œ n >œ b >œ >œ
œ bœ œ œ œ œ. ‰ œ 2 œ
œ œ bœ 5 Œ ‰ 7 n œ œ œ œJ ‰
Vln. & J 4 8 8
4
4
œ œ. >œ >
? œ #œ
œ
œ
œ
œ.
œ. 2 œ.
#œ
œ 5 Œ #œ ‰
œ.
7 #œ. >œ œ 4
J J ‰
œ œ
Vlc.
4 8 8 4
> >
85 86 87 88
17
2. Paired Things
2+2+3
Úe=eÆ
#œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ œ #œ œ #œ œ œ #œ
Úe=eÆ
œ œ #œ œ œ
#œ œ #œ œ
Picc. &4
4 Œ œ #œ œ 7 ‰ Œ ‰ 4
8 4
œ #œ œ œ #œ œ #œ # œ. œ. # >œ
œ #œ Œ œ #œ œ œ œ œœœœ 7 Œ # >œ ‰ 4
Cl. &4
4 8 4
#œ. #œ. >œ

j #œ. œ œ >œ 4
A. Sx. &4 ‰ #œ ˙ J 7 Œ ‰
4 8 4
#œ #œ œ
œ œ Ó œ œ ‰ œ œ "
&4 #œ œ 7 4
4 8 4
+¿ + +¿ +¿
Perc.
÷ 4 Ó Œ ‰ J " 7 ¿ Œ J ‰ ‰ 4
4 8 4
(!) œ
œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ
Œ œ 7 œ ‰ Œ ‰ 4
&44
8 4
j j j
œ ˙
E. Pno.
? 4 œ #œ. œ. #œ. œ 7 œ œ ‰ Œ ‰ 4
4 œ #œ. œ. œ ˙ #œ. œ 8 œ œ
J 4
Sop. &4 " " 7 " 4

4 8 4
Mezzo &4 " " 7 " 4

4 8 4
#œ œ œœ # >œ
nœ œ œœœ œ œ œ œ œœ œœ 7 œ œ # >œ ‰ 4
Vln. &4 œ. œ œ. œ Œ
4 8 4
#œ œ. œ. #œ ˙ œ. œ œ
? 4 œ #œ. nœ. œ
J
˙ #œ. œ
J 7 œ Œ # >œ >œ ‰ 4
Vlc.
4 J 8 4
89 90 91
18
2. Paired Things
#œ œ œ œ #œ œ œ #œ
œ œ œ œ œ #œ œ #œ #œ œ œ œ œ #œ
Úe=eÆ
#œ œ
Picc. &4 ‰ Œ 3 " 4 ‰ ‰ ‰ Œ ‰ Œ ‰
4 4 4
# >œ œ. >œ # œ œ œ #œ # >œ # >œ œ. # >œ # >œ œ œ œ œ # >œ # >œ œ. >œ

&4 # >œ 3 ‰ J # >œ ‰ ‰ J 4 ‰ # >œ ‰ >
‰ œ #œ
Cl.
4 4 J 4
>œ . >œ >œ >œ >œ >œ >œ >œ
nœ >œ n œ. >œ œ œ > ‰ œ. >
&4 3 ‰ J >œ ‰ ‰ J 4 ‰ J œ ‰ œ #œ
A. Sx.
4 #˙ 4 J 4
Ó #œ œ œ œ " 4 Ó œ œ œ ‰ "
&4
4
3
4 4
+¿ + + + +¿ +¿ + +¿
Perc.
‰ ‰ ¿ 3 ‰ ¿J Œ ‰ ¿J 4 Œ ‰ ‰ ¿
÷ 4 Ó J‰ Ó ‰JŒ
4 4 4
(!)
œ #œ œ #œ #œ œ œ œ œ œ œ #œ œ #œ œ œ
œ œ #œ œ ‰ Œ œ #œ œ œ
&4 ‰ Œ 3 " 4 ‰ ‰ ‰ Œ ‰
4 4 4
E. Pno.
j j œ
?4 Ó ˙ 3 " 4 Œ ‰œ œ Œ ‰ #œ Œ Œ ‰ œ
4 ˙ 4 4 œ œ #œ J
Sop. &4 " 3 " 4 " "

4 4 4
Mezzo &4 " 3 " 4 " "

4 4 4
# >œ ‰ >œ > # >œ >œ # >œ > >œ >œ >œ
œ œ œ œœ œœ >œ œ. > œ
&4 œ 3 ‰ J # >œ ‰ ‰ J 4 ‰ œ. ‰ ‰ ‰ ‰Jœ œ
Vln.
4 4 J 4
>œ > ˙ >œ > œ >œ > # œ
? 4 >œ # œ œ ˙ 3 ‰ # >œ >œ ‰ ‰ >œJ 4
#œ œœ œ > > œ > #œ
Vlc. J J œ ‰ # œJ # œ œ ‰ œ
4 4 4
92 93 94 95
19
2. Paired Things
H
œ#œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ œ 2
Picc. & Ó " 2 " 4 " Ó " 5
4 4 4 8
p
œ # >œ > >
œ œ # >œ # œJ œ # >œ 2 4 ‰œ œ‰ œ œ j 2 ‰ œJ œj‰ 5
Cl. & ‰ ‰ ‰ ‰Œ Œ " œ ‰ œ ‰Œ Ó
4 4 4 8
p
>œ >œ >œ
#œ. >œ J > œ ‰œ
& ‰ ‰ ‰ ‰Œ œŒ 2 " 4 ‰# œ œ ‰ œ œ ‰Œ Ó 2 ‰# œJ œ ‰ 5
A. Sx.
4 4 p J 4 J 8
œ œ Ó œ œ #œ
& œ œ " 2
4
" 4
4
" Ó #œ 2
4
" 5
8
p
+¿ +¿ +¿ +¿ +¿ +¿ +
Perc.
÷ Ó ‰ ‰ J ‰Œ Œ 2 " 4 ‰J Œ Ó " 2 ‰ ¿J Œ 5
4 4 4 8
(!)
œ#œ œ œ#œ œ œ œ #œ #œ œ œ œ œ œ
loco
œ Ó " " " Ó "

& 2
4
4
4
2
4
5
8
p
E. Pno.
j
? #œ. #œ Ó " 2 " 4 " " 2 " 5
#œ. #œ 4 4 4 8
P
" " 2 " 4 ‰œ œ bœ j 2 ‰œ
& œ ‰ œ ‰ŒÓ
5
Sop.
4 4 œœ 4 J œœ 8
P
So many
So manypairedthings seem odd.
j
" " œœ œ œ ‰œ
2 " 4 ‰œ
œ ‰ŒÓ
& 2 ‰œ 5
4 J œœ 8
Mezzo
4 4
>œ >œ >œ
So manypairedthings seem odd. So many
#œ >œ J >
Vln. &
œ œ ‰ ‰ ‰ ‰ Œ #œ Œ 2 " 4 " " 2 " 5
4 4 4 8
œ. >
>> > œ >
Vlc.
? #œ. ‰ ‰ œ œ ‰ œJ ‰ Œ œ Œ 2 " 4 " " 2 " 5
4 4 4 8
96 97 98 99 100 101
20
2. Paired Things
2+3 2+3
œ œ œ# œ œ œ œ œ œ œ# œ œ œ œ œ
Úe=eÆ Úe=eÆ
œ œ œ œ
Picc. &5 ! 5 Ó #œ œ œ œ Œ 4 ! b .
œ
2 Œ‰ J 4 # œ
8 4 4 4 4
œ .
&5
œ
œ ‰‰ J 5
j ‰Œ Ó Œ4 ‰œ œ‰ œ œ Œ2 Œ ‰ œJ 4 !
Cl.
8 4 œ 4 4 4
#œ œ ‰‰ œJ 5 œ ‰Œ Ó #œ
Œ4 ‰ œ‰
œ œ Œ2 ! !
A. Sx. &5
8 4 J 4 4
4
4
œ œ #œ œ œ #œ œ œ
&5 ! 5 Ó #œ Œ 4 ! 2 ! 4 #œ œ œ
8 4 4 4 4
+¿ + +¿
Perc.
÷ 5 Œ ‰‰ J 5 ! 4 ‰ ¿J Œ ‰ J Œ2 ! 4 !
8 4 4 4 4
œ #œ #œ œ œ œ œ œ œ# œ# œ œ œ œ œ# œ œ œ œ œ œ œ œ œ
&5 ! 5 Ó Œ4 ! 2 ! 4
8 4 4 4 4
E. Pno.
?5 ! 5 ! 4 ! 2 ! 4 !
8 4 4 4 4
œ bœ 5 j Œ 4 ‰ œJ œ œ œ
&5 œ ‰‰ J 4 œ ‰ŒÓ œ Œ4 ! !
Sop.
2 4
8 4 4
paired things seem odd. So manypaired things
&5 œ œ ‰‰ œJ 5 œj ‰ŒÓ Œ4 ‰œ œœ œ œ Œ4 !
2 4 !
4 J
Mezzo
8 4 4
paired things seem odd. So manypaired things
œo œo
b ¥. #œ #œ
Vln. &5 ! 5 ! 4 ! 2 Œ ‰ b œJ 4 Ó
8 4 4 4 4
p
Vlc.
?5 ! 5 ! 4 ! 2 ! 4 !
8 4 4 4 4
102 103 104 105 106
21
2. Paired Things
œ #œ œ œ #œ œ #œ œ
#œ œ œ œ #œ œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ U
Picc. & Ó !
#œ w U
Cl. & Ó Œ ! !
"
œ w U
& Ó Œ ! !
"
A. Sx.
œ œ #œ œ œ œ œ #œ œ œ œ œ #œ U
Perc. & #œ œ œ #œ œ œ #œ Ó !
œ #œ #œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ U
& Ó !
U
E. Pno.
? ! ! ! !
#œ w w U̇. U
Sop. & Ó Œ Œ
seem
U
Mezzo & ! ! ! !
œo œo # œ œo œo # œ œo œo # œ
#œ #œ #œ U
Vln. & Ó Ó Ó !
? U
Vlc. ! ! ! !
107 108 109 110
22
2. Paired Things
Much slower and

œ #œ œ #œ œ œ œ I
#œ œ œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ œ #w
heavier q = 84
Picc. & ! !
Cl. & ! ! ! ! w
p
A. Sx. & ! ! ! ! #w
p f
œ œ œ œ œ œ
to snare drum Snare drum (drum sticks)
œ #œ œ œ œ #œ œ œ #œ ‰ Œ Ó !
take up drum sticks
wæ
& #œ #œ J ÷
p
Perc.
œ #œ #œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œœ
œœ
& ! ! œ#œ Ó
œœ
E. Pno.
p
? nœœ
! ! ! ! Ó œ#œ œœœ
œ
Sop. & ! ! ! ! !
Mezzo & ! ! ! ! !
œo œo œo œo # œ
#œ #œ #œ œ œ œ œ #˙
Vln. & Ó ! ! # ˙@ @
p
? ! ! ! ! ˙
@ ˙@
Vlc.
p
111 112 113 114 115
23
2. Paired Things
˙ b˙
Picc. & #w !
f p f
b˙ #w ˙
Cl. & Ó Ó
f p f
˙ ˙
A. Sx. & ! !
f
Perc. ÷ wæ wæ wæ
œœœ #œ #œ #œ œ œ
œœ œ #œ #œ œ
#œ œ œ Ó #œ #œ
& #œ #œ Ó #œ #œ œ Ó
œœ nœ #œ œ #œ
E. Pno.
? Ó œ #œ œ œ œ Ó #œ #œ œœ Ó œ #œ œœ
œ #œ œ #œ œ
p F
Sop. & ! Œ #œ œ œ #œ œ ˙
p F
Who - ev - er would have dreamed
! Œ ˙
Mezzo & #œ œ œ #œ œ
Who - ev - er would have dreamed
#˙ ˙
& @˙ # ˙@ @
Vln.
˙@ @ ˙@
? @ ˙ #˙ ˙
Vlc. ˙ @ @ # ˙@ ˙@ @
116 117 118
24
2. Paired Things
#˙ ˙
Picc. & #˙ Ó Ó ˙ Ó ˙ Ó ˙
p f F p
˙ #˙
Cl. & #w Ó
˙
Ó
˙
Ó
˙
p f F p
A. Sx. & w ! Ó #˙ Ó #˙ Ó #˙
p f F p
÷ wæ wæ œ‰Œ ˙ œ‰Œ ˙ œ‰ Œ ˙
Perc.
J æ J æ J æ
F
#œ #œ #œ œ #œ
œ #œ #œœ œ #œ œ #œ œ œ œ œ
&
# œ# œ
# œ# œ Ó # œ# œ œ Ó Ó n ˙˙˙ Ó # ˙˙˙˙ Ó
˙
F p F
nœ#œ #œ #œ ˙˙
E. Pno.
? Ó # œ# œ œ œ œ Ó œ# œ # œ œ œ Ó
˙ Ó # # ˙˙ !
#œ #œ #˙
f F
#œ #˙
Sop. & Œ #œ œ œ #œ #œ œ Ó Ó Œ #œ #œ œ Œ œ
f F
the broad wing ra - ven of de - spair would quit the the
˙
Mezzo & Œ #œ œ œ #œ œ #œ #œ Ó Ó Œ œ œ œŒ œ
the broad wing ra - ven of de - spair would quit the the
#˙ ˙
& #@˙ @ Ó #˙ Ó #˙ Ó
Vln. @ ˙@ #˙
F p
? #˙ # ˙@ Ó Ó Ó
Vlc. @ # ˙@ # ˙@
˙ #˙ #˙
F p
119 120 121 122 123
25
2. Paired Things
œ. # œ. #˙ j # œ.
Picc. & J ‰Œ ˙ J ‰Œ Ó ! # œ. ‰Œ #˙ J‰Œ
F p F
. # œ.
& œJ ‰ Œ ˙ œ. ‰ Œ Ó # œ. ‰ Œ #˙ J ‰Œ # œ. ‰ Œ
Cl.
J ˙ J #˙ J
F p F
# œ. œ.
œ. ‰ Œ
A. Sx. & J ‰Œ ˙ J ‰Œ Ó ˙ J ! !
F p F
÷ œ ‰Œ ˙ ˙ œ‰Œ ˙ œ‰Œ ˙ œ ‰Œ ˙ œ‰Œ

Perc.
J æ æ J æ J æ J æ J
œ #œ œ nœ œ œ œ œ bœ nœ bœ œ œ œ œ œ bœ bœ bœ œ œ œ œ œ
& Ó ! Ó Ó bœ bœ bœ œ œ œ œ œ Ó
p F
b b ˙˙˙˙ b b b b ˙˙˙˙ b b bb ˙˙˙˙
E. Pno.
? ! ! Ó Ó Ó
˙ b˙
Sop. & Ó Ó bœ bœ b˙ Ó Œ bœ œ œ Ó
air ban - dy - legged up - on the ground,
#œ b˙ bœ bœ œ
Mezzo & œ ˙ Ó bœ bœ œ œ Œ b˙ Ó
air and go ban - dy - legged up - on up - on the ground,
.
& # œJ ‰ Œ # ˙ n œ. ‰ Œ Ó Ó Ó Ó
Vln. J ˙@ b ˙@ b ˙@
F p F
? # œ. ‰ Œ ˙ j‰ Œ Ó Ó Ó Ó
Vlc. J œ. ˙@ ˙@ ˙@
F p
F
124 125 126 127 128
26
2. Paired Things
J
Úq=qÆ
Tempo I
b˙ b œ. n œ. molto rit.*
h = 52
& b œ. ‰Œ b ˙ J ‰Œ b w 2 J ‰ Œ UÓ 3 ! 2 !
Picc.
f J 2 2 2
# œ. # œ.
& #˙
J ‰Œ # ˙ j‰Œ # w 2 j ‰ Œ UÓ 3 ! 2 Ó J ‰Œ
# œ. 2 # œ.
Cl.
2 2
f p
œ. .
& ˙ J ‰Œ ˙ j‰Œ w 2 # œJ ‰ Œ UÓ 3 ! 2 !
œ.
A. Sx.
2 2 2
f
Glockenspiel
wæ 2 œ ‰ Œ UÓ 3
(metal mallet)
÷ ˙ œ ‰Œ ˙ œ ‰Œ ! 2 w
æ J æ J 2 J &
f
2
to vib. and glk.
2 p
Perc. take up metal and Vibraphone
U ˙ œ. ‰ Œ
yarn mallets (yarn mallets)
& ! ! ! 2 ! 3 ! 2
2 2 2 ˙ J
°
b œ b œ n œb œ œ œ œ œ œ œ œ œ œ œ œ œ U
& b œb œb œb œ œ œ œ œ Ó b œb œb œb œ œ œ œ œ Ó 2
2
! 3
2
! 2
2
!
b˙ b b b ˙˙˙ b b b www
? b b ˙˙ U
E. Pno.
Ó Ó 2 ! 3 ! 2 !
2 2 2
U p
& ! ! ! 2 ! 3 ! 2 Ó œ. ‰ Œ
Sop.
2 2 2 J
F p
Hoo
U **
& ! ! ! 2 ! 3 Œœ ˙ œ œ 2
2 w
Mezzo
2 2
bw
a com - mon crow?
U
& b@˙ Ó
b ˙@
Ó 2 ! 3 ! 2 Ó j ‰Œ
œ.
f
Vln.
2 2 2
p
? U
Vlc. ˙@ Ó ˙@ Ó w
2 ! 3 ! 2 !
f 2 2 2
129 130 131 132 133 134
* To conductor:
Wait for percussionist to get set before
cuing downbeat of bar 133. Mezzo leads
tempo in bar 133. Place downbeat of bar
134 with mezzo.
** To mezzo:
Wait for conductor's cue to start bar 133.
Solo, out of time, with lots of ritard. Place
downbeat of bar 134 with conductor.
27
2. Paired Things
Úq=qÆ Úq=qÆ
Picc. & ! ! ! 3 ! 2 ! ! ! ! ! 3
4 2 4
# œ. ‰ œ. # œ. # œ. # œ. # œ. # œ. # œ. # œ.
# œ. # œ.
Cl. & Ó ‰ Ó Œ J ‰ J ‰œ œ J ‰3 ! 2 J ‰Œ Ó Ó ‰Œ Œ J ‰Ó
J Ó Œ J ‰ J ‰œ œ J ‰3
4 2 4
P p P p
A. Sx. & ! ! ! 3 ! 2 ! ! ! ! ! 3
4 2 4
w w
& w Ó 3 ! 2 #w w w Ó 3
#˙ 4 2 #˙ 4
Perc.
" p p " p
3 Œ œ. ‰ 2 Ó .
. . .
& ˙ œ ‰ œ ‰ ˙˙ œJ ‰ Œ œ. ‰ ˙ œ Œ œJ ‰ ˙ œJ. ‰ Œ ˙ . œ. ‰ ˙ œ. ‰ Œ œ. ‰ ˙ œ 3
J 4 œ J 2 ˙ J ˙ J J 4
°
& ! ! ! 3 ! 2 ! ! ! ! ! 3
4 2 4
E. Pno.
? ! ! ! 3 ! 2 ! ! ! ! ! 3
4 2 4
P p P
. .
. . .
& Ó œ ‰ œ ‰ Ó œJ ‰Œ œ. ‰ ˙ œ 3 œ Œ œJ ‰ 2 Ó Œ œJ ‰ ˙ Ó Œ œJ. ‰ Ó Œ œJ. ‰ Ó œ. ‰ ˙ œ 3
Sop.
J 4 2 J 4
hoo hoo etc.
Mezzo & w ! ! 3 ! 2 ! ! ! ! ! 3
4 2 4
o
œ.
& Ó œ ‰ œ ‰ Ó Œ œj ‰ œj ‰˙ œj ‰ 3 ! 2 J ‰Œ Ó Ó j‰ Œ Œ j‰ Ó Ó Œ j ‰ j ‰˙ j ‰ 3
Vln.
. . . . . 4 2 œ. œ. œ. œ. œ. 4
P p p P p
Vlc.
? ! ! ! 3 ! 2 ! ! ! ! ! 3
4 2 4
135 136 137 138 139 140 141 142 143
28
2. Paired Things
K
Úq=qÆ Úq=qÆ Úq=qÆ 3+2 Úq=qÆ
Picc. &3 ! 2 ! ! ! ! 3 ! 5 ! 2 !
4 2 4 4 2
# œ. # œ. # œ. # œ. # œ. # œ.
2 J‰Œ Ó # œ.
Cl. &3 ! Ó #œ ‰ Ó Œ J ‰ J ‰ œ œ J ‰ 3
J ! 5 J‰Œ Ó Œ 2 Ó J ‰Œ
4 2 4 4 2
P p F p
A. Sx. &3 ! 2 ! ! ! ! 3 ! 5 ! 2 !
4 2 4 4 2
w
&3 ! 2 #w w Ó 3 ! 5 #˙ Ó Œ 2 w
4 2 #˙ 4 4 2
Perc.
" p F p
. . 3 Œ œ. ‰ 5 Ó .
&3 œ Œ œJ ‰ 2 Ó Œ œJ ‰ ˙ . œ. ‰ ˙ œ. ‰ Œ œ. ‰ ˙ œ Œ œJ ‰ Œ 2 ˙ œ. ‰ Œ
4 2 J ˙ J J 4 œ J 4 2 ˙ J
° °
&3 ! 2 ! ! ! ! 3 ! 5 ! 2 !
4 2 4 4 2
E. Pno.
?3 ! 2 ! ! ! ! 3 ! 5 ! 2 !
4 2 4 4 2
P p
. . . .
&3 œ Œ œJ ‰ 2 Ó Œ J ‰ Ó Œ J ‰ Ó Œ œ ‰ œ ‰ ˙ œ 3 œ Œ œJ ‰ 5 Ó
œ .
œ . . Œ œJ ‰ Œ 2 ˙ œJ. ‰ Œ
Sop.
4 2 J J 4 4 2
Mezzo &3 ! 2 ! ! ! ! 3 ! 5 ! 2 !
4 2 4 4 2
o o
œ. œ.
&3 ! 2 J‰Œ Ó Ó œ j‰ Ó Œ j‰ j‰ ˙ j‰ 3 ! 5 J‰Œ Ó Œ 2 Ó j‰ Œ
Vln.
4 2 œ. œ. œ. œ. 4 4 2 œ.
p P p F p
Vlc.
?3 ! 2 ! ! ! ! 3 ! 5 ! 2 !
4 2 4 4 2
144 145 146 147 148 149 150 151
29
2. Paired Things
Úq=qÆ Úq=qÆ Úq=qÆ Úq=qÆ
Picc. & ! ! 3 ! 2 ! ! ! ! 3 ! 2 !
4 2 4 2
# œ. # œ. # œ. # œ. œ. # œ. # œ. # œ.
. .
& J ‰Ó
Œ J ‰ œ œ # œJ ‰ 3 ! 2 J‰Œ Ó J‰ J J # œ
J ‰œ œ J ‰ 3 Œ Œ J ‰ 2
Cl.
4 2 #˙ ‰ Ó Œ ‰ 4 2
!
F p P p p P p P p P
A. Sx. & ! ! 3 ! 2 ! ! ! ! 3 ! 2 !
4 2 4 2
w
& Ó 3 ! 2 #˙ Ó w w Ó 3 Œ Œ #œ 2 !
#˙ 4 2 #˙ 4 2
Perc. " p P
3 Œ œ. ‰ 2 Ó . 3 Œ œ. ‰ 2
& ˙
. œ. ‰ œ. ‰ ˙ œ Œ œJ ‰ ˙ . œ. ‰ ˙ œ. ‰ Œ œ. ‰ ˙ œ !
J J 4 œ J 2 ˙. J ˙ J J 4 œ J 2
°
& ! ! 3 ! 2 ! ! ! ! 3 ! 2 !
4 2 4 2
E. Pno.
? ! ! 3 ! 2 ! ! ! ! 3 ! 2 !
4 2 4 2
F p P P
. . . .
.
& œJ ‰ Ó
Œ œ. ‰ ˙ œ 3 œ Œ œJ ‰ 2 Ó Œ œJ ‰ œJ ‰ Œ Œ œJ. ‰ Ó Œ œ. ‰ œ. ‰ ˙ œ 3 œ Œ œJ ‰ 2 !
Sop.
J 4 2 J J 4 2
PVery clear, owl-like, bell-like
Mezzo & ! ! 3 ! 2 ! ! ! Œ ˙. 3 ˙. 2 w
4 2 4 2
o
œ.
Hoo
& Œ œj ‰ Ó j‰ ˙ j‰ 3 ! 2 J‰Œ Ó j‰ ˙ j‰ Ó Œ j‰ j‰ ˙ j‰ 3 ! 2 !
Vln.
. œ. œ. 4 2 œ. œ. œ. œ. œ. 4 2
F p P p p P p P p
Vlc.
? ! ! 3 ! 2 ! ! ! ! 3 ! 2 !
4 2 4 2
152 153 154 155 156 157 158 159 160
30
2. Paired Things
U
Picc. & ! ! ! ! ! ! ! !
U
Cl. & ! ! ! ! ! ! ! !
U
A. Sx. & ! ! ! ! ! ! ! !
U
& ! ! ! w w w w w
Perc. p
w w w w w w U
w
& !
U
& ! ! ! ! ! ! ! !
U
E. Pno.
? ! ! ! ! ! ! ! !
U
Sop. & ! ! ! ! ! ! ! !
p U
w w w ! ! ! ! !
Mezzo &
U
Vln. & ! ! ! ! ! ! ! !
? U
Vlc. ! ! ! ! ! ! ! !
161 162 163 164 165 166 167 168
31
L Quiet but biting e = 104 œ.
Piccolo &4 ! ! ! 3 ! 4 ! Œ J‰ ! 2
8 8 8 8
p
j ‰Œ j ‰Œ Œ j‰ 3 ! ! Œ j
&4 œ. ‰ !
4 2
Bass Clarinet
8 œ. œ. œ. 8 8 8
p
! ! ! ! ! Œ œ. ‰ !
Alto Sax. &4
8
3
8
4
8 J 2
8
p
! ! ! ! ! Œ j
&4 œ. ‰ !
Tenor Sax.
3 4 2
8 8 8 8
p
Œ # œJ. ‰
straight mute throughout
&4 j ‰Œ j ‰Œ ! 3 ! 4 ! ! 2
Trumpet
8 œ. œ. 8 8 8
p
Drum set (drum sticks)
Percussion ÷ 4 œJ ‰Œ œJ ‰Œ Œ œJ ‰ 3 ! 4 Ó Œ œœ ‰
J ! 2
8 8 8 8
p
E126 M50 Grand Piano (or any grand pno)

&4 j ‰Œ j ‰Œ Œ j‰ 3 ! 4 ! Œ j‰ ! 2
8 # œ. œ # œ. œ # œ. œ 8 8 # œ. œ 8
Electric
p
? 4 j ‰Œ j ‰Œ Œ j‰ 3 j‰
Piano
! 4 ! Œ ! 2
8 œœ œœ œœ 8 8 b œœ. 8
. . .
p with sharp, focused energy
K K 3
&4 ! ! ! 3 ‰‰"® œr 4 œ œ œ œ œ œ œ œ œ œ œ œ ‰‰ "® œr œ œ œ œ œ œœ œ œ œ 2
3 3 3
8 > > > > > > 8

Soprano
8 8
Wher - ev-er the eye ling - ers it finds a hunger. The things of the worldwantus for din-ner.
p with sharp,
K4 3
r K 3
‰‰ "® œr œ œ œ œ œ œœ œ # œ œ 2
focused energy
&4 ! ! ! 3 ‰‰"® œ œ œ œ œ œ œ œ œ œ œ œ œ
3 3
8 > > > > > > 8

Mezzo
8 8
p with sharp,
Wher - ev-er the eye ling - ers it finds a hunger. The things of the world want us for din-ner.
K
! 3 ‰‰"® œ 4 œ œ œ œ œ œ œ œ œ œ # œ œ ‰‰ "® œrK n œ œ œ œ œ œœ œ œ œ 2
r
focused energy
&4 ! !
3 3 3 3
8 > > > > > > 8

Alto
8 8
Wher - ev-er the eye ling - ers it finds a hunger. The things of the world wantus for din-ner.
1 2 3 4 5 6 7
32
œ. œ. œ.
Picc. &8 J‰
2 4
8
" Œ J‰ " 2 J‰
8
4
8
&2 j‰ 4 " Œ j‰ " 2 j‰ 4

B. Cl.
8 b œ. 8 œ. 8 b œ. 8
œ. ‰ " Œ œ. ‰ " 2 œJ. ‰

A. Sx. &2
8 J
4
8 J 8
4
8
&2 j‰ 4 " Œ j‰ " 2 j‰ 4

T. Sx.
8 b œ. 8 œ. 8 b œ. 8
&2 # œ. ‰ 4 " Œ # œ. ‰ " 2 # œ. ‰ 4

Tpt.
8 J 8 J 8 J 8
j j
÷ 2 œ‰ 4 Ó Œ œœ ‰
J " 2 œr œ ‰ 4
Perc.
8 x 8 8 x 8
&2 j‰ 4 " Œ j‰ " 2 j‰ 4

8 # œ. œ 8 # œ. œ 8 # œ. œ 8
E. Pno.
?2 ‰ " Œ
8 # œœj
4 j‰ " 2 j‰
8 # œœ
4
.
8 œ
b œ. .
8
Kr Kr PK
r
‰ !® bœ bœ œ œ œ œ œ œ œ œ œ bœ œ ‰‰ !® œ bœ œ œ œ œ œ œ œ œ œ ‰ !® nœ 4
3 3 3 3
&8
2 4
8 >
2
> > > > > 8
Sop.
8
Wher - ever
- the eye ling - ers it finds a hung -er. The things of the world want us for din - ner. Wher-
P
rK 4 3 Kr rK 4
‰ !® bœ bœ œ œ œ œ œ œ œ œ œ œ œ ‰‰ !® ‰ !®
3
&8
2 œ bœ œ œ œ œ œ œ œ œ œ 8
2
3 3
8 > > > > > œ

>
Mezzo
8
Wher - ever
- the eye ling - ers it finds a hung-er. The things of the world want us for din - ner. Wher-
P
&2 ‰ !® b œrK 4 b œ œ œ œ œ œ œ œ œ œ ‰‰ !® Kr 2 ‰ !® Kr 4
3 3 3 3
Alto
8 > > œœ œ œ œ œ œ œ œ œ œ bœ œ 8 bœ 8
8
Wher - ever
>
- the eye ling - ers it finds a hung-er.
> > us for din> - ner.
The things of the world want Wher-
8 9 10 11 12
33
œ. œ. b œ. œ.
M .
œ. - œ. ! ! n œ
Picc. &8 J
4 ‰ J ‰ ‰ #œ ‰ J ‰ ‰ J 2 J‰ 4 Œ
8 8
P " P
œ. j j j
&4 J ‰ ‰ ‰ ‰ ‰ ‰ 2 j‰ 4 bœ ! ! Œ
œ.
B. Cl.
8 b œ.
œ-
œ. œ. 8 # œ. 8 .
P " P
# œ. œ. # œ- # œ. œ. . # œ. ! ! # œ.
A. Sx. &4 J ‰ J ‰ ‰ ‰ J ‰ ‰ J 2 # œJ ‰ 4 Œ
8 8 8
P " P
j ‰ j ‰ ‰ j j
T. Sx. &4
8 œ. b œ. œ- ‰ n œ. ‰ ‰ œ.
2 j‰
8 # œ.
4 bœ ! ! Œ
8 . œ.
P " P
n œ. # œ. n œ- œ. œ. 2 œ. ‰ 4 # œ. ! ! # œ. Œ
&4 ‰ ‰ ‰ ‰ J ‰ ‰ J
Tpt.
8 J J 8 J 8
P " P
j
mute with hand
j
÷ 4 œœ ‰ œœ ‰ ‰ x‰ j
œœ ‰ ‰ œ 2 x‰ 4 œœ ! ! œ j ‰
J
œ
Perc.
8 J J œ 8 x 8 x
" P
P
j j
&4 œ ‰ j ‰ ‰ b œœ ‰ # œœœ ‰ ‰ j 2 j‰ 4 # # œœœ ! ! b œ Œ
8 œœ. # œ. œ - . b œ. œ 8 b œ. œ 8 . œ.
E. Pno. P " P
?4 j ‰ j ‰ ‰ ‰ j ‰ ‰ j 2 j‰ 4 Œ
8 œ # œœ b œœ- n œœ œœ. 8 #œ 8 n œ ! ! b œœ
.
b œ. . . œ. b œ.
> > > F > >

œ œ œ œ œ œ œ œ œ œ œ œ ‰‰!® œ œ œ œ œ œ œœ œ œ œ 2 ‰ !®# œ 4 # œ œ œ œ œ œ œ œ œ œ
3 3
&4
8 > RÔ R
Ô 8 3
> >
Sop.
8 3
3 3
ev-er the eye ling - ers it finds a hung-er. The things of the world want us for din-ner. Wher - ev-er the eye ling - ers it finds a
rK F > >
&4 ‰‰!® œ 2 ‰ !® œ 4 œœ œ œ œ œœ œ œ œ
8 >œ œ œ œ >œ œ œ œ œ œ >œ œ # œ œ œ œ œ œœ œ n œ œ 8
3 3 3 3
> > > RÔ 8

Mezzo
3 3
FK
ev-er the eye ling - ers it finds a hung-er. The things ofthe world want us for din-ner. Wher - ev-er the eye ling - ers it finds a
‰‰!® K
r ‰ !® r
& 8 œœ œ œ œ œ œ œ œ œ
4 2 #œ 4 #œ œ œ œ œ œ œ œ œ œ
3 3 3 3 3 3
Alto
œ œ œ œ œ œ œ œ œœ œ b œ œ > >
> > > > > >
The things ofthe world want us for din-ner.
8 8
Wher - ev-er the eye ling - ers it finds a
ev-er the eye ling - ers it finds a hung-er.
13 14 15 16 17
34
œ. œ. # œ. œ. ! ! œ. œ-
# œ- J J 2 J‰
Picc. & ‰ ‰ ‰ ‰
8
4
8
Œ ‰ ‰
" P "
& ‰ ‰ j ‰ ‰ j 2 j‰
œ. ! ! # œ. Œ ‰ ‰
4
œ. œ. 8 œ.
œ- # œ-
B. Cl.
8
" P "
# œ- b œ. n œ. . œ-
J # œ. 2 J‰
.
4 nœ ! ! œ Œ
A. Sx. & ‰ ‰ ‰ ‰ J
8 8
‰ ‰
" P "
& ‰ œ- ‰ œ. ‰ ‰ j 2 j‰ 4 #œ ! !
T. Sx. J œ. 8 œ. 8 . # œ. Œ ‰ # œ- ‰
" P "
œ- œ. b œ. 2 œ. ‰ œ. ! ! n œ. Œ # œ-
& ‰ ‰ J ‰ ‰ J 8 J
4 ‰ ‰
"
Tpt.
8
" P
mute
x ‰ j
÷ ‰ j œœ ‰ ‰ œœ 2 x œœ 4 œœ ! ! œ j ‰ ‰ x ‰
j
J
œ œ
Perc.
8 x œ 8 x
" P "
j
& ‰ b œ-œ ‰ œ œ ‰ ‰ j 2 j‰ 4 # n œœœ ! ! n œ Œ ‰ # œ-œ ‰
# œ. # n œ. œ 8 # œ. œ 8 . # œ.
E. Pno.
" P "
? ‰ j
œœ ‰ ‰ ‰ j 2 j‰ 4 Œ ‰ b b œœ ‰
- b œœ. b œœ. 8 b œœ 8 # œ ! ! n # œœ
œ. . -
.
>œ œ f
> >œ œ œ œ >œ œ œ œ >œ œ 2 > >
Sop. & # œ œ ‰‰!® œRÔ
œ
‰ ! ® ÔR 4 œ œ œ œ œ œ œ œ œ œ ‰‰!® œÔR
#
3 3
8 8 3 3
hunger. The things ofthe world want us for dinner. Wher - ev- er the eye ling - ers it finds a hunger. The
> >œ œ œ œ >œ œ œ œ > 2 > > > f

& b œ œ ‰‰!®n œRÔ nœ œ ‰ ! ® œR 4 œ œ œ œ œ œ œ œ œ œ # œ œ ‰‰!® n œ
Mezzo
8 Ô 8 3 3
RÔ
f
3 3
K
r Kr K
& n œ œ ‰‰!®b œ b œ œ œ œ œ œ œ œ œ œ 2 ‰ ! ® b œ 4 b œ œ œ œ œ œ œ œ œ œ œ œ ‰‰!® b œr
3 3 3 3
> > > > 8 8 > > >

Alto
18 19 20 21 22
35
# ˘œ n œ. >œ
œ. # œ- ! >œ bœ
Picc. & J ‰ ‰ J 2 J‰
8
4
8
" Œ ! ‰ R! 3
8
F # f
‰ ‰ j 2 j r
& j # œ. 8 n œ. ‰ " Œ ! #œ ! ‰ œ! 3
4
#œ œ
B. Cl.
8 8
#- #œ >
Ffl f>
# ˘œ œ. . # œ- # >œ ! >œ
œ
A. Sx. & J ‰ ‰ J 2 # œJ ‰ 4 " Œ ! ‰ R! 3
8 8 8
F # f
œ̆ b >œ œ
j 2 j >
T. Sx. & J ‰ ‰ # œ. 8 œ. ‰
4
8
" Œ œ- ! #œ ! ‰ R! 3
8
F # f
œ. 2 # œ. ‰ œ- >œ > œ 3
Tpt. & œ̆J ‰ ‰ J 8 J
4
8
" Œ ! œ ! ‰ R!
8
F # f
mute
÷ ! 2 xœ 4 Ó Œ x
œ x ‰
œœ œ œ œ œ 3
x œ œ 8 xœ J
F> f>
Perc.
p F
8
# > 8
# ˘œ j 2 j # >œœ > bœ
& # œœ ‰ ‰ n œ. œ 8 b œœœ. ‰
4 " Œ b œ-œ œ ! b œœ ! ‰ œR ! 3
J 8
#
8
E. Pno.
F f
? j ‰ ‰ j 2 ‰ " Œ ! ‰ r! 3
# œœ 8 # œœj
4
# œœ b œœ- # œœ ! # œœ n œœ 8
.
8
fl . > >
ƒ
# >œ œ œ œ >œ œœ œ >œ œ 2 ‰ !® pœ 4 >œ œ œ œ >œ œ œ œ œ œ >œ œ ‰‰!®# œ # >œ œ œ œ >œ œœ œ >œ œ 3
& RÔ
RÔ 8
Sop.
3 3 8 3 3 8
3 3
things of theworld want us for din-ner. Wher - ev-er the eye ling - ers it finds a hunger. The thingsof theworld want us fordin-ner.
pK ƒ >
>œ œ œ œ >œ œœ œ > 2
œ œ ‰ !® r4 3 ‰‰!® œ œ œ œ œ >œ œœ œ b >œ œ 3
& œ œ œ œ œ œ œ œ œ œ œ RÔ
3
8 > > # œ œ
>
Mezzo
3 3
8 3 3
8
p ƒ
things of theworld want us for din-ner. Wher - ev-er the eye ling - ers it finds a hunger. The thingsof theworldwant us fordin-ner.
K4 3
r > > >
& b œ œ œ œ œ œœ œ œ œ 8 2 ‰ !® ‰‰!® œ œ œ œ œ œ œœ œ b œ œ 3
3 3 3
Alto
> > > b œ 8 >œ œ œ œ >œ œ œ œ œ œ # œ œ RÔ 8
things ofthe world want us for din-ner. >
Wher - ev-er the eye ling - ers it finds a hunger.
3 3
The thingsof theworld want us fordin-ner.
23 24 25 26 27
36
>œ >œ N
>œ >œ ! bœ > >œ # >œ >œ œ > >œ # >œ >œ
Picc. &3 R !! R ‰ 4 !‰ R ! 2 " 3 # œJ ! J ! 4 J ! R R !‰ 3 # œJ ! J ! J ! J ! 2 " 4
8 8 8 8 Í Í 8 Í Í 8 Í Í Í Í 8 8
r 4 œj ! r r!‰ 3 œj ! j ! j
&3
r!! r!! 4 !‰ œ ! 2 " 3 œj ! j ! œ ! j! 2 " 4
B. Cl.
8 >œ œ ! # œ 8 > œ 8 > #œ œ 8 > œ > #œ 8
#œ >
8 8 8
> > Í Í> Í Í> Í Í> Í Í>
> #œ > b >œ >œ œ >œ b >œ >œ
# >œ !! # >œR !! 4 # œ ! # >œ !‰ R ! 2 " 3 b >œJ ! œJ ! b >œ
4 J ! R R !‰ 3 J ! J ! J! J!2 " 4
A. Sx. &8 R
3
8 Í Í 8 Í Í 8 Í Í
8 8 Í Í 8 8
œ
r!! œr!! 4 # >œ ! # >œ !‰ R ! 2 " 3 > 4 j # >œ œ 3 j
j > >
œ ! œj ! # œJ ! 2 " 4
&3 œ œ!œ ! !
J 8 >œ R R 8 >œ
!‰ !
J >
8 > > 8 >
T. Sx.
8 8 8 8
Í Í Í Í Í Í Í Í
>œ # >œ œ 2 > b >œ >
> bœ œ b >œ >œ b >œJ 2
&3 # >œ !! >œR !! 4 ! !‰ R !
>
" 3 b œJ ! J ! 4 œJ ! R R !‰ 3 b œJ ! J! J! ! " 4
Tpt.
8 R 8 8 8 Í Í 8 Í Í 8 Í Í Í Í 8 8
Take written part as a suggestion.
>o >o ++ >o+ + >+ ++ >> > >o+ + >+ ++ >o+>+ ++ + >+ + >o
x xœ x xœ x x 4 xo +xœ +x +x +x +x xœo 3
Funky, playing around the accents.
x. x. 2 xx 3 x xœ x xœ x x x xœ x x x x 2 xœ x xœ 4
÷ 3 4 œ œ ‰ œ
œx J 8 œ 8 œ œ8 œ 8 œ œ œ 8 œ 8
>
Perc.
8 8 >
bœ > b >œ œ > j b œ>œ

&3 r!!# œ>œ !! 4 n b œ>œ ! œ>œ !‰ œR ! 2 " 3 j !# # œœJ ! 4 b œjœ ! œR œR !‰ 3 j !# # œœJ ! b œœ ! J ! 2 " 4
8 # >œœ R 8 8 #
8 > # œœ 8 > #
8 > # œœ > 8 8
? 3 r!! r!! !‰ r! 2 " 3 j ! # œœj ! 4 j ! # œœr œœr!‰ 3 j ! # œj ! j j 2

E. Pno.
œœ 8 # œœ !# # œœ n œœ 8 œœ ! # >œœ ! 8 " 8
4 4
8 b œœ > 8 b œœ > 8 n >œœ > 8 b œœ >
œ
>
> > > > >
Sop. &3 " 4 " 2 " 3 " 4 " 3 " " 2 " 4
8 8 8 8 8 8 8 8
Mezzo &3 " 4 " 2 " 3 " 4 " 3 " " 2 " 4
8 8 8 8 8 8 8 8
Alto &3 " 4 " 2 " 3 " 4 " 3 " " 2 " 4
8 8 8 8 8 8 8 8
28 29 30 31 32 33 34 35
37
O
# >œ ! >œ œR !‰ # >œ >œ . ˙ œ ! # ˘œ j b œ. œ œ
&4 J ‰ ! J Œ 2 " 4 # œj ‰ œ. ‰ 2 ‰ 4
Picc.
8 Í Í Í f 8 8 . 8 8
p P
j j
&4 œ ! r!‰ œ ‰ ! œ ! ‰ jŒ ‰ ! rŒ 2 " 4 j ‰ j ‰ 2 " 4
> œ œ > > œ œ 8 8 œ œ.
B. Cl.
8 8 8
Í Í> Í Í > flf .
Í p
b >œ ! >œ œ b >œ >œ b >œ ˘

&8
4 R !‰ J ‰ ! J ! ‰J Œ ‰ !bœ Œ 2 " 4 b œ. ‰ n œ. ‰ 2 ! œJ . 4
A. Sx.
Í Í Í Í Í
R 8 8 J J 8 8
f p
>œ r œ. œ œ 4
&4 œ ! œ œ !‰ œj ‰ ! J ! ‰ œj Œ ‰ !œŒ 2 " 4 œj ‰ œ.
j ‰ 2 ‰
T. Sx.
8 > > R > > fl 8 8 . 8 8
Í Í Í Í Í f p P
> >œ >œ
b >œ ! b œ œ
R !‰ J ‰ ! J ! ‰ œj Œ
r
‰ !bœ Œ 2 " 4 b œj ‰ n œ.
j ‰ 2 ! bœ.
&4 8 . J
4
> fl 8
Tpt.
8 8 8
Í Í Í Í Í f p
>o+>+ + +x +x >xo >xo +x +x +x +x >xo +x +x >o ++>+ +>+ + + + +>o + >o >
x x x xœ x xœ x x x x xœ x xœ 2 xo xo +xœ
Back to playing part as written.
x xœ x x 2 ! x
÷ 4
œœ œœ œ œœ œ J‰ 8
4 œ œ 4
Perc.
8 œ œ œ 8 œ œ 8 œ 8
p
> # # œ>œ œœ j ‰ !b œ>œJ ! ‰ j Œ b ˘œ b œ. n œ. bœ.

&4 ! R !‰ b œœ b œœ ‰ !bœ Œ 2 " 4 bœ ‰ nœ ‰ 2 ! bœ. 4
#
8# œœ > > R 8 8 J J 8 J 8
p
r
E. Pno.
?4 ! # œœ œœ !‰ n œj ‰ ! œj ! ‰ j Œ ‰ ! rŒ 2 " 4 j ‰ j ‰ 2 ! j 4
œ
bœ > nœ œ
> > œœ ..
8 8 8 8 8
> œœ œœ œœ œœ
> fl . .
P
" " " " 2 ‰ ! b œr 4 b œ . œ n œ œ # œ œ . œ œ œ 2 œ œ b œ .
3
Sop. &4
8 8 8 8
4
8
In - side each pebble or leaf or pud-dle is a hoo -
P
" " " " 2 ‰ ! b œr 4 b œ . œ b œ œ œ n œ .# œ œ œ 2 œ œ b œ .
3
Mezzo &4
8 8 8 8
4
8
P
" " " " 2 ‰ ! b œr 4 b œ . œ b œ œ œ œ . œ œ œ 2 n œ œ œ .

3
Alto &4
8 8 8 8
4
8
36 37 38 39 40 41 42
38
b œ œ œn œ œ œ j b œ. œ œ b œ œ œ# œ œ œ j
&4 J‰ # œ. ‰ œ. ‰ 2 ‰ 4 J ‰ # œ. ‰ œ. ‰ 2
Picc.
8 J 8 8 J 8
F p P F p
j bœ
&4 ! j ‰ j ‰ 2 ! 4 ! œ. ‰ œ. 2
œ. œ.
B. Cl.
8 8 8 8
p
&4
œ. ‰ œ. ‰ # œ. ‰ 2 " # œJ . 4 œ. ‰ œ. ‰ # œJ. ‰ 2
A. Sx.
8 J J 8 8 J 8
F p F p
œ œ œ# œ œ œ ‰ j j œ. œ œ 4 œ œ œ# œ œ œJ ‰ j j
T. Sx. &4 J œ. ‰ œ. ‰ 2 ‰ œ. ‰ œ. ‰ 2
8 8 8 8
F p P F p
œ. ‰ j n œ. 2 " #œ. 4 œ. j œ. œ
&4 # œ. ‰ ‰ J ‰ # œ. ‰ 2
Tpt.
8 J 8 8 8
F p F p
+x +x
jœ j jœ j
r r
÷ 4 Œ œ œ 2 " x 4 Œ œ œ 2
Perc.
8 œ œ œ œ 8 œ 8 œ œ œ œ 8
F F
p p
œ. b œ. n œ. #œ. œ. b œ. n œ. œ
&4 œ. ‰ bœ ‰ nœ ‰ 2 " #œ. 4 œ. ‰ bœ ‰ nœ œ 2
8 J J 8 J 8 J 8
E. Pno. p
?4 ‰ j ‰ j ‰ 2 " j 4 ‰ j ‰ 2
œœ .. œœ ..
8 8 8 . 8
œœ œœ œœ . œœ œœ œœ
. . . .
fP f P 3
˘
œ¿" b œ b œ . œ nœ œ # œ œ . œ œ œ 2 œ œ # œ . 4 œ œ ˘¿ ‰ # œ œ œ œ . œ œ œ œ œ
3
Sop. &4 œ 2
8 8 8 8
3
k. The appetites of the world compete to catch a loo - - - - k.
f P 3
What does this mean and howdoes it wor -
fP
Mezzo &4 œ œ¿˘" b œ b œ . œ b œ œ œ n œ . # œ œ œ 2 œ œ # œ . 4 œ œ ˘¿ ‰ # œ œ œ œ . œ œ œ œ œ 2
8 8 8 8
fP f P 3
3
k. 3 catch a loo - - - - k.
The appetites ofthe worldcompete to What does this mean and how does it wor -
œ fl" b œ b œ . œ b œ œ œ œ . œ œ œ 2
¿ nœ œ œ. 4 œ œ ‰ #œ œ œ œ. œ œ œ œ #œ
¿
3
Alto &4
8 œ 8 8 fl
2
8
k. 3 catch a loo - - - - k. What does this mean and how does it wor -
The appetites of the world compete to
43 44 45 46 47
39
œ œ œ œ # œ œ̆ œ œ œ œ # œ œ̆ œ. ! œ œ œ œ # œ œ̆
&2 4 œ. ‰ # œ. ‰ 2 4 # œ. !
Picc.
8 8 J J 8 8
F p F p F
œ. b ˘œ
&8
2 4 œ.
j ‰ œ.
j ‰ 2 œ # œ œ œ œ œ̆ 4 œ ! œ. !
œ # œ œ œ œ œ̆
B. Cl.
F 8 8 8 .
p F p F
œ œ œ̆ # œ œ œ̆ . # œ. ! # œ œ œ̆
&2 œœœ 4 œ. ‰ # œ. ‰ 2 œ#œ œ 4 œ ! œ#œ œ
A. Sx.
8 8 J J 8 8
F p F p F
œ œ œ œ œ b ˘œ 4 j j œ œ œ # œ # ˘œ œ œ œ # œ # ˘œ
œ. ‰ œ. ‰ œ 4 nœ ! œ. ! œ
T. Sx. &2
8 8
2
8 8 .
F p F p F
&2 œ. œ̆ 4 œ. ‰ # œ. œ 2 œ. œ̆ 4 # œ. ! œ. ! œ. œ̆
Tpt.
J
8
F
8
p
8 F 8 p F
> o o o o o >+ >
xo xo xo xo xo +x +x +x
2 x x x x x x 4 xœ
+ +x xo xo xo xo xo +x
Perc. ÷ 2
œ
4
œ
œ
œ
œ
œ 8 œ
œ
œ œ
8 8 8
F p F p F
œ. ˘œ œ. # œ. œ œ. ˘œ . œœ. œœ .. ˘œ
œ 2 œ. œ 4 # ## œœœ œ ! œ. œœ
& 8 œ.
2 œ 4
8
œ
J ‰ #œ
8 8
!
E. Pno. F p F p F
?2 4 j ‰ 2 4 !
!
œœ ..
8 .
œœ ..
8 8 8
œœ œœ œœ œœ œœ . œœ œœ œœ œœ
fl . . fl . . fl
f f P f
œ. ˘¿ 4 Pœ œ œ b œ . œ œ œ œ n œ 2 œ. ˘¿ 4 # œ . œ œ. œ œ. ˘¿
Sop. &2
8 8 8 8
3
3 Why aren't rocks com-ple - te?
P f
k? What does this mean and how does it wor - - - - k?
f f
œ. ˘¿ 4 Pœ œ œ œ . œ b œ œ œ n œ 2 œ. ˘¿ 4 œ. œ œ. ¿
&2 .
8 #œ œ fl
Mezzo
8 8 3
8
f f
3
f
Why aren't rocks com-ple - te?
P
k?
P
What does this mean and how does it wor - - - - k?
¿ 4 œ œ œ œ. œ œ œ œ bœ 2 œ. ˘¿ 4 ¿
&2 .
8 œ fl 8 8 #œ. œ œ. œ œ. fl
Alto
3
8
k? 3 Why aren't rocks com-ple - te?
What does this mean and how does it wor - - - - k?
48 49 50 51
40
P
. b œ. b œ b œ œ œ n œ œ̆ # œ. ! n œ. ! œ œ œ œ# œ # ˘œ œ n œ œ œ œ œ œ œ œ œ œ œ œ̆ b œ œ œ. œ# œ n ˘œ
Picc. & œ ! ! œ ‰
J
2 b œ œ œ. œ# œ 3
8 8
p F p f
b œ œn œ œ œ b ˘œ œ # œ # œ œ œ n ˘œ œ# œ # œ œ œ œ œ œ œ œ œ œ # œ œ n œ œ œ. œ# œ œ # œ œ œ œ œ. œ# œ
B. Cl. & . œ ! œ. ! œ !
. . œ ! J ‰ 2 3
8 8
p F p f
œ ˘ # œ ˘
# œ. ! œ. b œ œn œ n œ b œ œ. ! # œ. #œnœ
œ# œ # œ œ œ œ œ œ œ œ œ œ # œ# œ œ œ œ. œ# œ 2 # œ# œ œ œ œ. œ# œ 3
A. Sx. & ! ! œ# œ# œ œ ‰
J 8 8
p F p f
œ b œ œ œ n œ œ̆ # œ œ # œ œ# œ # ˘œ # œ n œ # œ œ œ œ œ œ œ œ œ œ # œ œ n œ œ œ. # œ# œ œ # œ œ n œ œ œ.# œ# œ
J ‰
T. Sx. & œ. ! œ. ! œ. ! œ. ! 2
8
3
8
p F p f
œ œ œ œ . œ# œ
. b œ. b œ œ œ œ œ b ˘œ b œ. ! n œ. ! œ # œ œ œ œ n ˘œ œ# œ œ œ œ œ œ œ œ œ œ œ œ b œn œ œ. œ# œ œ ‰ bœ œ
Tpt. & œ ! ! J 2
8
3
8
p F p f
Again take written part as a suggestion.
+x +x xo xo xo xo xo >+x +x +x >
xo xo xo xo xo +x
>o o o >o o o >o o o >o o o >o + + >o +++++>o
x x x x x x x x x x x x x xœ x xœ x xx x x x 2 xo
> +x +x >xo
Grooving, with lots of offbeat hits.
Perc. ÷ œœ œœ œ œœ œœ œ œ œ œ œ œ œ œ8 œœ 3
8
p F p f
œœ. b b œœ. œœ .. ˘œ b œ. n œ. œœ .. ˘œ ˘œ ˘œ ˘œ ˘œ ˘œ œœ- œœ ˘œœ ˘œ
bœ œœ b b œœ n n œœ œœ œœ œœ œœ œ œœ œœ
& œ ! ! œ. ! ! œ. ! ! !œ ! ‰ œ œ !œ2 !
R ‰ 3
8 8
E. Pno. p F p f
? ! ! ! ! ! !
2 ! r‰ 3
! ! ‰ !
œœ .. œœ ..
8 8
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
. . fl . . fl fl fl fl fl fl - fl fl
P bœ œ. f P ƒ
œ œœ ˘¿ b œ . œ n œ . # œ œ ˙ ˘¿ ‰ Œ "
Sop. & J
2
8
3
8
3
Why isn't gree - - n a-de-quate to gree - - - - - - n?
P3 f P ƒ
˘¿ b œ . œ n œ . # œ œ ˘¿
Mezzo & œ œœ b œ œ . ˙
J
‰ Œ 2
8
" 3
8
f P ƒ
P3 ˘¿
& œ œœ b œ œ . ¿ ‰ Œ 2 " 3
fl b œ . œ n œ . # œ œ ˙ J
Alto
8 8
52 53 54 55 56
41
œœœœ œ̆ œ̆ œœœœ œ̆
Picc. &3 ‰ 4 b œ œ œ. œ # œ œJ ‰ 2 b œ œ œ. œ # œ 3 ‰ 4 b œ œ œ. œ # œ œJ ‰ 2
8 8 8 8 8 8
œ#œ#œ œ # œ œ œ œ œ. œ # œ œ # œ œ œ œ œ. œ # œ œ œœ . œ
B. Cl. &3 ‰ 4 J ‰ 2 3 #œ#œ œ ‰ 4 œ œ œ #œ œ
J ‰ 2
8 8 8 8 8 8
&3
œ#œ#œ œ ‰ 4 # œ# œ œ œ œ. œ # œ œ ‰ 2 # œ# œ œ œ œ. œ # œ 3 œ # œ # œ œ ‰ 4 # œ# œ œ œ œ. œ # œ œ ‰ 2
A. Sx.
8 8 J 8 8 8 J 8
#œ œ#œ œ # œ œ n œ œ œ. # œ # œ œ # œ œ n œ œ œ. # œ # œ #œ œ#œ œ œ œ œ œ œ. # œ # œ œ
T. Sx. &8
3 ‰ 4 J ‰ 2 3 ‰ 4 J ‰ 2
8 8 8 8 8
œ#œ nœ œ œ œ b œ œ œ. œ # œ œ œ œ b œ œ œ. œ # œ œ œ b œ œ œ. œ # œ œ
Tpt. &3 ‰ 4 J ‰ 2 3 œ#œ œ œ ‰ 4 J ‰ 2
8 8 8 8 8 8
>o
x +x +x +x +x +x +x>xo >o + + >o
x xœ x xœ +x +x +x +x +x>xo >o + + >o >o +x +x +x +x +x +x>xo >o + + >o +x +x +x +x +x>xo
÷ 3 œ œ 4 2 x xœ x x 3 x œ 4 x xœ x xœ 2
Perc.
8 œ8 œ œ œ8 œ 8 œ œ8 œ œ œ8
œœ- ˘œ œœ- œœ ˘œœ ˘œ œœ- ˘œ œœ- œœ ˘œœ

œ œ œ " œ 2 " œœ ‰ œ
&8
3 ‰ 4 œ ‰ œ
R 3 œ ‰ 4 œ ‰ œ œ "œ2
8 8 8 8 8
E. Pno.
?3 ‰ 4 2 " r ‰ 3 ‰ 4 2
8 8 ‰ " 8 8 8 ‰ " 8
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
- fl - fl fl - fl - fl
Sop. &3 ! 4 ! 2 ! 3 ! 4 ! 2
8 8 8 8 8 8
Mezzo &3 ! 4 ! 2 ! 3 ! 4 ! 2
8 8 8 8 8 8
Alto &3 ! 4 ! 2 ! 3 ! 4 ! 2
8 8 8 8 8 8
57 58 59 60 61
42
œ̆ œ œœ œ œ̆ œ̆ œœ œ œ
Picc. &2 b œ œ œ. œ # œ 3 ‰ 4 b œ œ œ. œ # œ œJ ‰ b œ œ œ. œ # œ 2 " 4
8 8 8 8 8
œœ œœ œœ
œ œ œ. œ # œ 3 œ # œ # œ œ ‰ œ œ œ. œ # œ œJ ‰ œ œ œ. œ # œ œ œ # œ œ "
B. Cl. &2
8 8
4
8
2
8
4
8
# œ# œ œ . œ # œ 3 œ # œ 4 # œ # œ œ œ œ. œ # œ œ ‰ # œ# œ œ . œ # œ œ œ
&2 œ œ #œ œ ‰ œ œ #œ œ 2 " 4
A. Sx.
8 8 8 J 8 8
œ œ œ œ œ. # œ # œ #œ œ œ œ œ œ œ œ œ. # œ # œ œ œ œ œ œ œ. # œ # œ # œ œ œ œ
T. Sx. &2 3 ‰ 4 J ‰ 2 " 4
8 8 8 8 8
œ œ œ . œ #œ œ œ œ . œ #œ œ œ œ œ . œ #œ œ œ œ œ
Tpt. &2
bœ œ 3 œ #œ œ œ ‰ 4 bœ œ J ‰ bœ œ 2 " 4
8 8 8 8 8
>o
x +x +x >xo >o +x +x +x +x +x +x >xo >o +x +x >xo +x +x +x +x +x >xo >xo +x +x >xo >o + + + +
x x x x x 2 œœ +x +x > 4
÷ œœ 3 x œ 4 x œ œœ œœ œ œ œœ œœ
2
Perc.
8 8 œ œ8 œ œ œ 8 8
˘œ œœ- ˘œ œœ- œœ ˘œ ˘œ œœ-

œœ œ œœ œœ
&2 ! R ‰ 3 œ ‰ 4 œ ‰ œ œ ! ! R ‰
œ 2 " 4
8 8 8 8 8
E. Pno.
?2 ! r ‰ 3 ‰ 4 ! r ‰ 2 " 4
8 8 8 ‰ ! 8 8
œœ œœ œœ œœ œœ œœ œœ œœ
fl - fl - fl fl -
Sop. &2 " 3 " 4 " " 2 " 4

8 8 8 8 8
Mezzo &2 " 3 " 4 " " 2 " 4

8 8 8 8 8
Alto &2 " 3 " 4 " " 2 " 4

8 8 8 8 8
62 63 64 65 66
43
Q œ̆ œ̆ œœ œ œ bœ n œ # œ # ˘œ #œ .
b œ œ œ. œ # œ œ b œ œ œ. œ # œ œ b œ. œ # œ #œ #œ
Picc. &4 J ‰ 2 ! 3 " 2 3
8 8 8 8 8
ƒ
œœ œœ bœ œ
œ œ œ. œ # œ œJ ‰ œ œ œ. œ # œ œ œ # œ œ !
. œ
3 " œ œ œ # œ œ # œ œ̆ 2 #œ.
B. Cl. &4
8
2
8 8 8
3
8
ƒ
# œ # œ œ̆ #œ nœ
# œ # œ œ œ œ. œ # œ # œ # œ œ œ œ. œ # œ œ œ # œ œ #œ œ
&4 œ ‰ 2 ! 3 " œ œ œ. # œ # œ 2 3
A. Sx.
8 J 8 8 8 8
ƒ
œ œ œ œ œ. # œ # œ œ œ œ œ œ œ. # œ # œ # œ œ œ œ œ. # œ # œ # œ # œ # ˘œ bœ œ bœ.
œ œ
T. Sx. &84 J ‰ 2 ! 3 " 2 3
8 8 8 8
ƒ
œ œ b œ œ œ. œ # œ œ œ b œ œ œ. œ # œ œ œ œ œ œ œ bœ œ
Tpt. &4
œ ‰
J 2 ! 3 " b œ œ œ. # œ œ n œ œ̆ 2 . 3
8 8 8 8 8
ƒ
>o + + >o > +x +x >xo >o + o o o >
x xœ x x xo xo xo +x +x +x xo x xœ x x x 2 œœ œo xo xo +xœ 3 xo +xœ xo +xœ œ œ œœ 2 >œ xo xo xo xo +xœ 3
÷ 4 œœ
Perc.
8 œ œ œ œ 8 xœ 8 œ œ 8 œx œ 8
ƒ
˘œ ˘œ ˘œ ˘œ ˘œ ˘œ
œœ œœ- œœ œœ œœ œœ- œœ œœ œœ
œ ‰ œœ œœ œ œ ‰ œœ 3 "œ " œ " œ 2
&4 " R 2 ! ! 3
8 8 8 8 8
E. Pno.
ƒ
?4 " r ‰ 2 ! 3 " 2 ! 3
8 ‰ 8 8 " " 8 8
œœ œœ œœ œœ œœ œœ œœ œœ œœ
fl - fl fl - fl fl fl
Sop. &4 ! ! 2 ! 3 ! 2 ! 3
8 8 8 8 8
Mezzo &4 ! ! 2 ! 3 ! 2 ! 3
8 8 8 8 8
Alto &4 ! ! 2 ! 3 ! 2 ! 3
8 8 8 8 8
67 68 69 70 71
44
œ̆ nœ bœ
b œ œ œ. œ # œ œ̆ # ˘œ #œ#œ. n œ œ. # œ # œ n ˘œ œ̆ œ̆ œ̆ œ b œ. œ # œ ˘
2 #œ 3 !
œ̆
2 œ̆ 3 ! œ̆ n œ 2
Picc. &3
8 8 8 8 8 8
œ nœ bœ œ n œ œ. # œ # œ œ n œ œ̆ œ #œ œ œ œ#œ . œ œ #œ œ
n œ œ œ. œ # œ # œ œ œ̆ 2 #œ. 3 ! n œ 3 ! œ œ œ #œ
B. Cl. &3
8 8 8
2
8 8
2
8
#œ # œ n œ œ̆ œ bœ œ œ nœ œ œ
# œ # œ n œ œ œ. œ # œ # œ œ̆ 2 # œ n œ # œ œ 3 ! n œ œ œ. # œ # œ 3 ! œ œ œ. # œ # œ
œ bœ
A. Sx. &8
3
8 8
2
8 8
2
8
n œ œ œ œ œ. # œ # œ œ n œ # ˘œ œ œ œ. œ œ œ. # œ # œ n œ # œ œ̆ bœ bœ bœ . bœ bœ œ œ bœ
nœ nœ nœ 3 œ œ œ
T. Sx. &3 2 3 ! 2 ! 2
8 8 8 8 8 8
n œ œ b œ œ œ. œ # œ # œ œ . œ œ ˘ bœ œ
Tpt. &3 œ̆ 2 # œ n œ # œ . 3 ! n œ n œ œ # œ n œ b œ 2 œ # œ œ b œ œ 3 ! b œ œ œ. # œ œ # œ œ 2
8 8 8 8 8 8
>o +x xo +x +x o o o o o + >o + o + >

x xo œœ 2 x x x xœ x xœ 3 x xœœ x xœœ œ œ œœ 2 >œ xo xo xo xo +xœ 3 xo +xœ xo +xœ x >œ 2
÷ 3 œœ œœ
Perc.
8 8 8 8 œx œ 8 œ œ œx x 8
˘œ ˘œ ˘œ ˘œ ˘œ ˘œ ˘œ ˘œ
œœ œ # ## œœœœ # # œœœ œ b œœœ n œœœ œ œœœ
&8
3 œ ! ! œœ ! 2 " 3 ! ! œœ
# ! 2 " 3 ! ! œœ ! 2
8 8 8 8 8
E. Pno.
?3 2 " 3 ! 2 " 3 ! 2
! ! ! 8 œ ! œ ! œ ! !
8
œœ œœ œœ 8 œ œ bœ
8 8
œœ œœ œœ
8
fl fl fl fl fl fl fl fl
Sop. &3 " 2 " 3 " 2 " 3 " 2

8 8 8 8 8 8
Mezzo &3 " 2 " 3 " 2 " 3 " 2

8 8 8 8 8 8
Alto &3 " 2 " 3 " 2 " 3 " 2

8 8 8 8 8 8
72 73 74 75 76
45
œ̆ œ̆ œ̆
œ̆ œ̆ œ̆ >œ œ œ >œ œ œ >œ œ . œ̆ œ̆
! !
Picc. &2
œ̆ 3 œ̆ œ̆ œ̆ 4 3 ! 2 !R‰ 3 ‰2 J‰4
8 8 8 8 8 8 8 8
Í f Í f p ƒ
œ#œ œ œ œ#œ œœ œœ œœ
# œ œ œ n >œ !# œ œ >œ >œ ˘
B. Cl. &8
2 3 4 3 ! !#œ œ 2 !R‰ 3 # œ . œ̆ ‰ 2 # œJ ‰ 4
8 8 8 8 8 8 8
Í f Í f p ƒ
>œ # œ œ >œ # œ œ >œ # ˘œ
œ bœ œ œnœ œ œœ œœœœœœœ ! ! # œ . œ̆
A. Sx. &2 3 4 3 ! 2 !R‰ 3 ‰ 2 J‰4
8 8 8 8 8 8 8 8
Í f Í f p ƒ
bœ bœbœ >œ >œ >œ
nœnœ nœ 3 œ œ œ œ œ œ œ œ œ 4 ! œ œ 3 ! ! œ œ 2 !R‰ 3 œ . œ̆ ‰ 2 œ̆J ‰ 4
T. Sx. &2
8 8 8 8 8 8 8 8
Í f Í f p ƒ
bœ bœ œ œ > > > ˘
Tpt. &2 œ # œ œ b œ œ 3 b œ œ œ œ œ œ 4 œ !# œ œ 3 ! œ !#œ œ 2 ! œR ‰ 3 # œ . œ̆ ‰ 2 # œJ ‰ 4
8 8 8 8 8 8 8 8
Í f Í f p ƒ
> + +++ > ++ > > +++>
x >œ x >œ 3 x >œ x >œ x >œ 4 œx œx œx œx x x x x xx x x xx x‰ >x

÷ 2 œ œx œx œx œx 3 œ œ œ œ œœ 2 œ œ œ œ 3 œx œx œx œ 2 œ‰4
Perc.
8 x x œx x 8 œx x xœ x xœ x 8 ®œœœœ œœœœœ 8 œœœœ œ œœ 8 œœ œ œ œ 8 œ œ œ œ. 8 œx 8
J
p f > p f > p ƒ
˘œ
œœ
˘œ
œ
˘œ ˘œ ˘œ
œœ œœ œœ b >œœ œœ œœ b œœ œ œ b œœ œ . ˘œ ˘œ
œ ! œœ œ !œ !œ 4 b œœ ! œœ œœ b œ œ œœ
œ œ bœ œ b œœœ ... œœœ b œœ
&8
2 !3 ! !æ 3 ! ! œ æœ 2 !R‰ 3 æ ‰ 2 œJ ‰ 4
8 8 8 8 8 8 8
E. Pno. p f p f p ƒ
?2 !3 !4 ! ! 3 ! 2 ! r‰ 3 ‰ 2 j‰ 4
! ! ! 8 œ œ œæ 8 œ ! œ œæ 8 8 œæ.. œ
b œœ
8 8 8 œ 8
œœ œœ œœ œœ œœ bœ œ œ bœ œ œ bœ œ bœ
fl fl fl fl fl > œ > œ > œ. œ œ
fl fl
Sop. &2 " 3 " 4 " 3 " 2 " 3 " 2 " 4

8 8 8 8 8 8 8 8
Mezzo &2 " 3 " 4 " 3 " 2 " 3 " 2 " 4

8 8 8 8 8 8 8 8
Alto &2 " 3 " 4 " 3 " 2 " 3 " 2 " 4

8 8 8 8 8 8 8 8
77 78 79 80 81 82 83
46
R Slower, with rubato e = c 72

˙ œ.
Picc. &4 ‰ ˙ ˙ ! ! ! ! ! Œ œ ˙
8
p
œ ˙
B. Cl. &4 ! ! ! ! ! ! ! ! ! Œ
8
p
œ œ.
A. Sx. &4 ! ! ! ! Œ ‰ ˙ ˙ œ Œ ! !
8
p
T. Sx. &4 ! ! ! ! ! ! ! ! ! ! !
8
Tpt. &4 ! ! ! ! ! ! ! ! ! ! !
8
let ring switch to wire brushes
÷ 4 x‰Œ ! ! ! ! ! ! ! ! ! !
J
ad lib. cymbal swells until m. 96
Perc.
8
p
&4 n˙ œœ .. ‰ # ˙˙ ˙˙ Œ # œœ n œœ .. ‰ ˙˙ ˙˙ œœ Œ Œ œ
8 # # ˙˙ œ. # ˙ ˙ # œ # œ. #˙ ˙ œ # œœ n ˙˙˙
E. Pno. p
?4 ‰ Œ ‰ Œ Œ
8 n˙ œ. ˙ ˙ œ bœ. b˙ ˙ œ bœ b˙
Sop. &4 ! ! ! ! ! ! ! ! ! ! !
8
P 3 j j
Mezzo &4
8
! ! ! ! ! ! ! œ # œ œ œ ‰ œ œ# œ œ œ ‰ # œ œ . œ !
P
Why is-n't green a - de - quate to green?
! ! ! #œ œ j
Alto &4
8 #œ #œ œ œ ‰Œ ! ! ! ! ! !
Why aren't rocks complete?
-
84 85 86 87 88 89 90 91 92 93 94
47
U Tempo Iœ. e = 104

œ. . . .
& œ Œ ‰ R ! ‰ R! ‰ œR ! Œ " " Œœ ˙ œ. !‰ œ ! # œ ! "
Picc.
R
p f p
U
œ
& ‰ b œ œ œ. ‰ œ. ! ‰ œ. ! ‰ b œ. ! Œ " " Œ r !‰ œ ! ! "
R R R bœ ˙ . # œ.
œ.
B. Cl.
f p
3
. b œ. œ.
U b œ œ b œ. œR
& Œ‰ ‰ ! ‰ R! ‰ R ! ‰ œj ˙ " Œœ ˙ " "
p
A. Sx.
3
f f
U
T. Sx. & Œ ‰ b œ b œ b œ. " Œ ‰ bœ ˙
J
" Œb œ ˙ " "
p 3 p f f
U
Tpt. & Œ Œ " Œ ‰ œj ˙ " Œœ ˙ " "
p f f
U
Wire brushes
x X x X
÷ Œ Œ " Œ ‰ æJ æ " Œæ æ " "
p
Perc.
f f
U # œœ. œœœœ. # œœ. œœ.

& œœ Œ " " " œ ! ‰ ‰ ! " " œ !‰œœ. ! œœ ! "
œ R R R œ
F p
? UŒ
E. Pno.
" " " r ! ‰ ‰ r! " " r !‰ œ. ! œ ! "

œ n œ. œ. œ. .
U P f #œ
œ. œ œ. œ œ . œ œ ‰ Œ‰! œ œ #œ œ œ œ œ
& ŒŒ " " " "
3
Sop.
J R # œ# œ œ
3 3
We aren't gods whose gaze could save,
but that's howthe things of the world behave.
U P f
j
& ŒŒ œ . œ œ ‰ Œ‰! œR œ # œ œ œ œ œ œ # œ# œ œ " " " "
3
Mezzo #œ. œ œ. œ
3 3
f
We aren't gods whose gaze could save,
P
but that's howthe things of the world behave.
U r œ œ
& ŒŒ j ‰ Œ‰! " " " "
3 3
#œ. œ œ. œ nœ. œ œ #œ œ œ œ œ œ œ œ
3
Alto
œ
We aren't gods whose gaze could save, but that's howthe things of the world behave.
95 96 97 98 99 100 101 102 103
48
This Page Left Intentionally Blank
49
4. Interlude
S Slow shu!e e = 96 œ.
Œ œ œ œ. œ œ œ. # œ œ œ. b œ œ œ. Œ œ œ œ. œ œ œ. # œ œ œ. b œ œ b œ. Œ # œ œ œ. b œ œ b œ. ‰ # œ œ œ. œ œ œ. n œ œ 2
Alto Sax. &3
4 4
P3 3 F
3 3 3
3 3 3 3 3 3
n œ œ œ.
3 3
œ œ œ. œ œ œ. # œ œ œ. b œ b œ . Œ b œ œ œ. œ œ œ. n œ œ œ. b œ b œ n œ œ œ. b œ œ.
Tenor Sax. &3 Œ œ œ. Œ œ œ. ‰ n œ œ b œ œ œ. 2
4 4
P3 3 3 3 F3 3 3 3 3 3
3
3 3
Drum set (wire brushes)

very loose and relaxed
÷ 3 ‰ xJ œœ . œ œ. œ œœ œx œœ . œ œœ . œ œœ œx œœ œ œœ œ œœ œ 2
x .. > œx .. > x> x .. > x .. > x > xo
>+ >+
Percussion
4 x x 4
p >
j b œ . b n œœ n œ . n n n œœœ œœ # # œœ œœ b bb œœœ œœ œœ # # œœ n n œœ
. nœ. b n n œœœ # n œœ .. n n # œœœ # # œœ ‰ b b œœ .. n œ # n œœ ..
&3 b œ œ n œ œ b b œœ .. n œ. #œ œ #œ œ œ œ #œ nœ 2
4 4
Electric p 3
? 3 # œœ œ b œ b œ. # œ .. #œ nœ j #œ
n œœ .. # œ œ. b b œœ b n œœ n # œœ œœ bœ œ œ #œ nœ
Piano
n œ # œ œœ .. b œ # œœ ‰ œ. bœ bœ œ n œ n œ 2
4 4
3
1 2 3
2+3
œ œ .
œ œ œ. 3 œ œ.
Úe=eÆ Úe=eÆ
#œ œ # œ œ. # œ # œ œ. n œ b œ œ. 5 œ
&2 œ #œ œ ‰ ‰ ‰ œ œ œ œ. # œ œ. b œ œ œ. Œ
3
.
A. Sx.
4 8 4
f 3 3 p P 3
3 3
œ .
3 3 3 3
n œ œ œ. n œ œ . œ . b œ œ œ. œ œ œ. œ œ œ. œ œ œ. b œ .
T. Sx. &2 œ #œ œ œ œ 5 œ œ œ. ‰ ‰ ‰ 3 bœ œ Œ
4
f
8 P 4
p
3 3 3 3 3
33 3 3 3
+ + o
÷ 2 œœ .. œ œ. œ 5 œ. œ xœ xœ xœ 3 œ. œ œ. œ œ œx
4 +x . > œx .. > œx .. > œx .. > œx .. > œx >
Perc.
8 4
œœ .. j
&2 œ. # ## œœœ b b n œœœ ... b n n œœœ 5 # n n œœœ ... n # œœœ # # œœ #n œœœ ‰ 3 b b n œœœ ... b n n œœœ # n n œœœ ..
. n n # œœœ # # œœ ‰
4 8 #œ 4 #œ
E. Pno.
!
? 2 œœ .. j
# œœ n œœ .. # # œœ 5 œœ .. b n œœ # # œœ œœ ‰ 3 n # œœ .. # # œœ œœ .. b n œœ # œœ ‰
4 8 4
4 5 6
50
4. Interlude
œ œ œ. œ œ œ. # œ œ œ. b œ œ b œ. Œ # œ œ œ. œ œ œ. # œ œ œ. # œ œ œ. b œ œ .
A. Sx. & ‰ bœ
F
3 3 3 3 f 3 3 3
3 3
b œ œ œ. œ œ œ. œ œ œ. b œ b œ # œ œ œ. b œ # œ œ œ. œ n œ œ.
œ. Œ œ # œ. ‰ # œ œ n œ.
T. Sx. &
F
3 3 3 3
f 3 3 3
3 3
÷ œœ . œ œœ . œ œœ œx œœ œ œœ œ œœ œ
x .. > x .. > > xo
>+ >+
Perc.
x x x
>
b b b œœœ ... b n n œœœ # n n œœœ ... n n n œœœ œœ # ## œœœ

œ n bn œœœ œœ œœ # ## œœœ # #n œœœ
& œ # # œœ œ œ
# # œœ
E. Pno.
? n œœ .. œœ .
. b b œœ b n œœ n # œœ
œœ b b œœ œœ œœ # # œœ n n œœ
7 8
n œ œ œ. b œ b œ b œ. œ œ œ. # œ n œ. œ b œ œ. œ œ œ. œ œ œ. # œ œ œ. b œ œ b œ U
3
& ‰ #œ œ #œ œ ‰ ‰
3
A. Sx.
. .œ ˙
3
3 3 3 3 p P3 3 3
F p
œ œ œ. # œ œ œ œ. œ bœ . b œ # œ œ. œ n œ œ. œ œ œ. b œ œ b œ. U
& ‰ œ œ. œ œ. œ œ œ œ #œ ‰ ‰
3
œ ˙
.
T. Sx.
3
3 3 3 3 p P3 3 3
3 F p
> >
÷ œœ . œœ . œœæ œæ x ‰ UŒ
œœ œ œœ œ
.
œ
x ..
œ œœ œ J
>+
x xo +x . > x x ‰
Perc.
> J
n b œœ œœ b bb œœœ œœ b b n œœœ ... b n n œœœ # n n œœœ ...

j
n n # œœœ # # œœ ‰ U
& nœ œ œ #œ # œœœ œœœ Œ Œ
E. Pno.
? b b œœ œœ j U
b b œœ b œœ
.
n # œœ . # # œœ œœ .. b n œœ # œœ ‰ Œ Œ
b b œœ œœ
9 10 11
51
5. Almost Without Surface II
T Ominous h = c 56
j j > > n >œ ‰
&2 œ‰ œ‰ bœ ‰
J
bœ ‰ Œ
J
Ó
#˙ ˙ J #œ
2 w ˙ > œ ˙ > œ ˙ œ ˙
Bass Clarinet
F
#˙. ˙. ˙ ˙ #˙.
! œ #œ ! œ #œ Ó œ #œ
Alto Sax. &2
2
œ œ
p f p f f p f p
#˙. ˙ .
œ #œ œ #œ ˙ ˙
Tenor Sax. &2 ! ! œ ! œ Ó
2
p f p f f p f
˙. ˙ ˙ ˙.
cup mute throughout
&2 #˙. œœ ! œœ Ó #˙. œœ

œ p f œp œ p
Trumpet
2
p f f p f
f 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
3 Woodblocks (hard rubber mallet)
Percussion ã 2 Ó œ Œ
2
P
S
& 2 ! ! ! ! ! ! !
o 2
u
n
bœ bœ bœ bœ bœ bœ
d
i
bœ Œ Œ bœ Œ Œ bœ Œ Œ bœ Œ Œ bœ Œ Œ Ó bœ Œ Œ bœ Œ
n
& 2 œ œ œ œ œ
g 2 œ œ œ œ œ œ nœ œ
Prepared
Piano
&2 ! ! ! ! ! ! !
P
2
P
l
a
y
&2 Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Ó Œ Œ Œ
e
2 bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ bœ
d
bœ bœ
Soprano &2 ! ! ! ! ! ! !
2
Mezzo &2 ! ! ! ! ! ! !
2
Alto &2 ! ! ! ! ! ! !
2
b >œ b >œ b >œ

?2 b >œ ‰ b >œ ‰ J ‰ ˙. J ‰ ˙. ˙ J ‰ ˙.
Cello
2 w J ˙. J ˙. ˙
F
1 2 3 4 5 6 7
52
>œ >œ >œ > >

& ˙ J ‰#œ J‰ J‰Œ œ‰ œ œ‰Œ Ó j‰ 3
˙ #œ ˙ ˙ J ˙ J œ
> #œ w
B. Cl.
p 2
˙. ˙ ˙ #w
! œ #œ Ó Ó !
A. Sx. & œ œ ˙
3
2
f p f f p " p
#˙. œ #œ ˙. #w ˙
T. Sx. & œ ! ! ! Ó 3
2
p f p f " p
˙ ˙
& ! œœ Ó #w Ó ! Ó ˙ 3
f œp p˙
Tpt.
2
f " p
œ œ œ œ œ œ
Perc. ã Œ œ Œ Œ œ Œ Œ œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Ó 3
2
bp+œ b +œ b +œ b +œ
bœ bœ bœ bœ œ
S
& ! ! ! Œ Œ Œ Œ bœ Œ bœ Œ bœ Œ Ó 3
œ œ 2
o
u
n
bœ bœ bœ bœ œ bœ œ
d
Œ bœ Œ Œ bœ Œ Œ bœ Œ bœ Œ bœ Œ Œ bœ Œ #w #w
i
?
n
& bœ # w+ # +w &
3
g
œ œ œ œ œ œ 2
bœ bœ bœ bœ
Pno.
bœ bœ bœ bœ
& ! ! ! Œ Œ Œ Œ Œ œ Œ Œ Ó 3
bœ bœ 2
P
p
l
a
Œ bœ Œ œ bœ Œ œ Œ ? #w #w
y
& Œ Œ Œ Œ Œ Œ 3
e
#w #w &
bœ bœ bœ
d
bœ bœ bœ 2
P
! ! ! Ó bœ œ bœ Ó bœ bœ Ó bœ ˙ b˙ Ó
Sop. & 3
2
3 3
But we are each that, while we live:
Mezzo & ! ! ! ! ! ! ! 3
2
Alto & ! ! ! ! ! ! ! 3
2
b >œ b >œ b >œ n >œ j
? J ‰ ˙. J ‰ ˙. J ‰n˙. bw J ‰b˙. œ ‰Œ Ó 3
Vlc.
#w > 2
p
8 9 10 11 12 13 14
53
U
œ̆ ‰Œ j ‰Œ ˙ w
&3 Œ Œ j‰Ó Œ Ó j‰Œ 2 Œ Ó J œ Ó
B. Cl.
2 œ œ œ œ 2 œ
fl "
f> fl > fl >
- ˘
œ- œ œœ œ #œ . œ
œ. œ œ œ œ œ Œ Ó œ œ œ Œ Ó Œ J ‰Œ œ œ œ ! !
A. Sx. &2
3 2
2
F 3 3
P
- ˙
œ. œ œ œ œ œ Œ Ó œ œ œ œ Œ Ó 2 œ œ œ œ- Œ œ̆J ‰Œ œ̆J ‰Œ ! Ó
3 3
T. Sx. &3
2 2
F "
j j j j 2 œjœ . # ˘œ ‰Œ œ̆
&3
2 œ. œ
. œ œ ‰Ó œ. œ . ˙ œ ‰Œ 2 . #˙ J J# œ . ! !
fl fl
Tpt.
f p f fp f fp f p
ã 3 Œ Œ Ó Œ Ó Œ 2 Œ Ó Œ Œ Ó œ Œ œŒ œŒ
2 >œ >
œ œ
>
œ
> 2 >œ >
œ
>
œ
f Drum set (drum stick) >+ >+ p
>x >x
Perc.
x x
÷ 3 œ Œ Œ œ Ó œ Œ Ó œ Œ
2 Œ Ó Œœ Œ ! !
2 > > 2 >œ œ
b +˙ . +̆œ b w+ +̆œ >

b +˙
+˙ +̆œ +̆œ b +˙ +̇ ˙ b +˙
S
& 3 b˙. œ ‰ Ó bw œ ‰Œ 2 b˙ n˙ nœ ‰ Œ œ ‰ Œ
J J
o 2 J J 2
u
n
j j b˙ b ˘œ ˘œ b œ bœ bœ Œ bœ Œ
d
i
b ˙˙ .. œœ ‰ Ó b ww œœ ‰ Œ ˙ b˙ b œ ‰ Œ œ b œ .. Ó Œ
& 3 2 b˙
n ˙˙ .. œœ ww œœ J J œ
n
2 2 n ˙˙ œ œ
> >
g
fl fl >
˘œ ˘œ ˙ ˘œ ˘œ b˙ ˙ ˙ b˙
b >˙ . b w> b ˙>
Pno.
&3 b˙. œ ‰Ó b w œ ‰Œ 2 b˙ ˙ œ ‰Œ œ ‰Œ
2 J J 2 J J
F p p
P
F p
l
˘
a
j‰Ó j‰Œ
y
& 2 b ˙˙ ..
3 2 b˙ b œ ‰Œ œ̆ b œ . Ó Œ bœ Œ Œ
e
œœ b ww œœ 2 b ˙˙ J J bœ bœ
d
> fl > fl >

f P
b œ œ Œ Ó b œ œ œ bœ Œ Œ ‰ j 2 bœ œ œ œ Œ Ó Œ ‰ #œ #œ œ œ œ nœ Œ !
Sop. &2 œ œ œ œ
3 œ 2 J
f
3 3
almost without sur-face, 3
but craz - y as clouds com - pound-ing each oth - er
b œ œ œ œ Œ Ó œ b œ œ œ Œ Œ ‰ œj 2 b œ œ œ b œ Œ
bare - ly contained,
&3 œ œ ! ! !
3
Mezzo
2 2
f
3
almost without sur-face, bare - ly contained,
b œ œ œ œ Œ Ó œ b œ œ œ Œ Œ ‰ œj 2 œ b œ œ œ Œ
but craz - y as clouds
&3 œ œ ! ! !
3 3
Alto
2 2
almost without sur-face, bare - ly contained, but craz - y as clouds,
?3 œ̆ j
Œ Œ j j J ‰Œ œ ‰Œ
œ ‰Ó œ Œ Ó œ ‰Œ Œ Ó ! !
on the frog
2
2 >œ > 2 >œ fl
Vlc.
f fl fl
15 16 17 18 19 20
54
˙
B. Cl. & Ó ! !
˙ ˙ #œ
A. Sx. & Ó Œ !
"
w ˙
T. Sx. & Ó !
Tpt. & ! ! !
œ Œ œ Œ œ Œ Ó !
Perc. ã
˙ b +˙ ˙
S
& Ó !
o
u
n
bœ
d
i
bœ Œ Œ bœ Œ Ó !
n
& œ œ
g
œ
Pno.
˙ b˙ ˙
P & Ó !
l
a
y
& bœ Œ Œ Œ Ó !
e
bœ bœ
d
j #œ œ œ
Sop. & Ó Œ ‰ œ œ Œ !
3
re - fus - ing to rain.
Mezzo & ! ! !
Alto & ! ! !
Vlc.
? ! ! !
21 22 23
55
Not in strict time.
V Conductor cues each measure.
Lightly q =
In time
90
# U U
Flute & # 4 ˙ ˙ j
4 # ˜œ
w w 4 œ
4
œ œ. ‰ "
repeat slowly ad lib., not in time with perc.
p P #
and pno., until conductor cues held chord
P
# U U U U U U œœ Œ œœ œ œœ œ œ
Percussion & # 4
4
w w w w w " 4 œ Œ œ
#
4
p
!
U U U U U U œ œ œ œ œ œ œ
# # 4 www w
ww w
ww www w
ww w
ww œœœ œœœ œœœ œ œ œ œ œ œ œ œ
4 œ œ
œœœœœœ
& 4 œœœœœœœœ
4
# #
œœ œœ œœ œœ œœ œœ œœ
Electric
Piano
# U U U U U U œ œ œJ œ œ œ œœœœœœœ
& # 4
4
" w " w " " 4 œ.
4
‰ œ
Triangle (metal mallet)

ã 4U
w U
w U
w U
w U
w 4 Ó U
" ˙ Ó ˙
4#
Soprano
4
# Flat P Lyrical
# U U U U U
and unmetered,
& #4 " " " " " 4 œ ˙ œœ œ Œ Ó

like chant
œ œ œ ˙ 4 por - -
Alto
4
ª
- ta-ble.
1 2 3 4 5 The self is not 8
6 7
Out of
Out of time In time q = 90 time
# U U U U
Fl. & # " w w œ ˙ Œ " " Ó n˙
P p P # #
U U U U̇ nU
## œ œ w " œ. j œ Œ œ œœ œ œ œ œ œ œ œ œ nœ ˙
Perc. & œ ˙
œ œ œ. J œ œ
(!) œ œ œ œ œ œ
U U U U
# # œ œ œ œœ ˙˙ w
ww www œœœ œœœ œœœ œ œ œ œ œ œ œœœœœœ œ œ œ œ œ œ œ œ ˙ n ˙U˙˙
& œœœ œ œ œœœœœœœœ œ œ œ œ œ œ œ œ ˙
E. Pno.
U U œœ œœ œœ œœ œœ œœ U̇ U
w w
## œœœ
U̇ Jœ œ œ œ œ œ œœœœœœœ œ œœ
& œ œ. œ œ œ œ œœ Ó
U U U Ó Ó Ó U̇
U
Sop. ã " w " ˙ ˙ "
U U # P U U
## " " œ œ Œ Ó " Ó Ó
& œ ˙ œ
œ ˙
Alto
It can - not be packed.

9 10 11 12 13 14 15
56
W In time q = 90
# U j j
Fl. & # w bœ. nœ œ ‰ Œ Ó œ. ‰ Ó nœ. ‰ Ó œ. ‰
P # p
# U bœ œ Œ œ bœ Ó bœ œ Œ œ bœ Œ œ œ
Perc. & # " œ œ Œ œ œ œ Œ œ
(!) œ œ œ œ œ œ œœ ˙ œ œ œ œ œ œ œœ œ œ œ
U
# # www bœ œ œ œ œ bœ œ œ ˙ bœ œ œ œ œœ bœ œ œ œ œ œ
& $ $
p
œœ œœ œœ œ œ œ œ œœ œœ œœ œ œ
œœœœœ œœœœœ œœœœœ
E. Pno.
## U œ œ œ œ œ œ
& " $ ˙ n˙ ˙
Sop. ã U
" ˙ ‰ œ. ‰ œ. Ó ˙ ‰ œ. ‰ œ. Ó
# # P
& # j Œ Œ ‰n œJ b œ b œ . Œ ‰ œJ
Alto
bœ. nœ œ bœ œ œ J
Œ ‰ j
œ ˙
œ ˙ sneak - - - ing back to an - y place from
It comes
16 17 18 19 20
ª
œ ˙ œ
## Ó œ. ‰ ˙ œ Ó ˙. 2 ˙
Fl. & 4
3
4
P p P
# nœ œ Œ œ #œ. œ œ #œ œ #œ. œ 2 œ.
& # œ œ œ œ. J œ‰ œ Œ œ œ. J œ 3
Perc. J J 4 J 4
(!) œ œ œ œ œ
œ œ œ œ œ
## n œ œ œ œ œ œ # œœœ œ œœœ œ œœœ # œ œœ œ œœ œ ˙ # œœ œ œœ œ # œœœ œ œœœ œ œœœ œ œœ œ œœ œ 2 n œœœ œœœ œœœ œ 3
& $ œ œ
4 4
œœ œœ œœ œœœœœ
œœœœœ ˙ œœœœœ
E. Pno.
## nœ œ œ
˙ ˙ ˙ 2 ˙
& 4
3
4
Sop. ã ˙ ‰ œ. Ó ‰ œ. Ó ˙ Ó ‰ œ. 2 " 3
4 4
# ‰ œJ œ
Alto & # n œJ n œ . Œ J œ. œ. j
œ œ Œ Ó " 2
4
" 3
4
which it's been ex - tract - - - ed,
21 22 23 24 25
57
X Out of time
In time q = 90
# U U
& # 3 ˙. 4 ˙ ˙ ˜œ
j w w œ œ œ. ‰
#
Fl.
4 4
P p #
# œ bœ nœ bœ U U U U U œœ Œ œ œ
Perc. & # 3
4 #œ nœ
4
4
nw w w w " œ
#
(!)œ œ b œ
U U U U U œ œ œ œ
œ œ
# # 3 œ œ b œ n œ b œ b œ œ œ b œ 4 n n n www w
ww w
ww w
ww w
ww œœœ œœœ œœœ œ œ œ œ œ œ œ œ
œ œ
& 4 4
# #
E. Pno.
œœ œœ œœ œœ
# bœ bœbœ bœnœ œ œ U U U U U œ œ œ œ
bœ
& # 3
4 #œ
4
4
" w " w w œ.
3 ˙. U U U U U Ó
Sop. ã 4
4
4
w w w w " ˙
# U U U # P
& #3 " 4 " " " " œ ˙ œ œ
œ œ˙
Alto
4 4
for it is noth - ing a lone.
ª
26 27 28 29 30 31 32
Out of time In time q = 90 Out of time

## U U U U
Fl. & " w w œ ˙ Œ " w w
P p # P
U
# œ œ U U œ. œ Œ œ œ œ nœ w U
Perc. & # Œ œ œ œ w " œ œ.
J J œ "
(!)œ œ œ œ œ
œ U
w U
w œœœ œœœ œœœ œ œ œ œ œ œ œœœ U U
## œ œ œ ww ww n œœœ www www
& œ œœœœœœœ œ œ œ œ#œ œ œ œœ œ
œœ œœ U U œœ œœ œœ œœ œœ U U
w w
E. Pno.
## œ œœœœœœœ w w
Jœ œ œ œ œ œ # œ œ œ œ œ œ
& œ œ œ. œ
Ó U U Ó ‰ œ. Ó U U
Sop. ã ˙ w " ˙ w "
U # P U #
## œ #œ œ
& œ Œ Ó " œ ˙ Œ Ó "
œœ œ ˙
Alto
en - - - ti - ty.
nœ œ œ ˙
It is not an The ra-tio of
33 34 35 36 37 38 39
58
Y
Out of
time In time
In time q = 90 U̇ U
w q = 90
## j j œ. ‰ Ó œ. ‰ ˙ ˙ ˙
œ œ ‰ Œ Ó ˙ Œ
j j
Fl. & nœ. ˜œ œ
œ
# p F n P
U̇
## nœ œ Œ œ n œ Œœœ Œ nœ Œ œ Œ œ œœ œ U
Perc. & œ œ Œ œ œ œ œŒ Œ $ $
p F
(!)œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ U U
nœ œ œ œ œ œ nœ œ œ œ. œ nœ œ œ œ œœ œ œ œ œ œ œ œ œ œ n b ˙˙ w
w
## " J " " " " " J ‰ b˙ w $
&
p F
E. Pno. œœ œœ œœ œœ œœ œœ œœ
## œ œ œ œ œ œ œ œ œ . œ n œ œ. œœ œ . ˙
U
˙ U
w
& " œ J nœ. J J œ. J œ ˙ w $
J
‰ œ. ‰ œ. Ó U̇ U
Sop. ã ˙ ˙ ˙ ˙ ˙ ˙ $ $
## P j U j
& nœ. œ œ nœ œ Œ Ó $ $ Ó Ó œ œ œ œ ‰Ó
3
Alto
œ œ œ ˙
self to home one part in sev-en-ty.
ª
40 41 42 43 44 45 46
# œ b˙ b˙.
œ‰ œ‰ œ œ
Fl. & # ˙. J ˙. J œ œ œ b œ œ œ œ b œ œ œJ ‰ Œ Œ bw w
# P # P # P p n
# œœ Œ œ œ œœ Œ œ œ œ œ Œ ˙.
Perc. & # œ œ œ œ œ œ w nw $
# P # P # P p
(!) œ œ œ œ œ œœ
# # œœœ œ œœœ œ œœœ œ œ œ œ œ œ œJ ‰ œœœ œ œœœ œ œœœ œ œ œ œ œ œ J ‰ n ˙˙ n ˙˙ .. g ww www
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œJ ‰ b ˙˙ Œ b ˙˙ .. Œ gggg n ww w
# P # P # P p
E. Pno.
œœ œœ œœ œ œœ œœ œœ œ
# œ œ œœ œ œ œ œ œœœœœœœ ˙.
& # œ. J ‰ œ. J‰ œ œ œ œ œ œ œ œ œ œJ ‰ ˙ Œ ˙. Œ ggg b bb www ww
w
g
Sop. ã Ó ˙ Ó ˙ ˙ Ó Œ ˙. w w $
#
Alto & # $ $ $ $ $ $ $
47 48 49 50 51 52 53
59
7. Blandeur
Z Straight-faced and proper, like a warped Anglican hymn q = 68

>œ >
œ œ œ œ œœ
# . . . j j‰ 2 J ‰ œ. œ. 4 œ œ. . œ.
& 4 j œ œ œ œ œ ‰ œ œ œ œ œ œ.
J œ œ œ. œ œj‰ ‰œ
Clarinet
4 œ. . 4 p 4
F f >œ f p
# 4 œj œ œ œ œ œ ‰ œj œ. œ. œ œ œ. œ œ. œ ‰ œ œ 2 J ‰ œ œ. 4 œ œ
œ . . .œ œ œ œ # œ >œ ‰ œ. œ.
& # . œ œ œ œ . J J J œ ‰
p p
Alto Sax.
4 4 4
F f f
. .
&
# 4 œ. œ œ œ œ # œ ‰ œJ # œ. œ œ œ n œ œ œ œ œ œ. œj ‰ œ œ œ 2 œj‰ Œ 4 ! œ œ J‰Œ
œ
Tenor Sax.
4 J 4 > 4
F f f
>œ >œ
Œ œ œ œ 2 J‰Œ œ œ J‰Œ
senza sord.
Trumpet &b 4 ‰
4
! !
4
4
4
!
f f
œ. œ. œ. œ œ . œ œœ > œ œ
. . œ œ œœ œœ œ œ ‰ œ œœ >œœœ œœ. œœ.
E125 Pipe Full Organ (or any church organ)
&b 4 j œ œ œ œ ‰ œœ œœ œœ œœœ œœœ œœ œ œ œ œ œœœ œœœ ‰ œœœ n œœ œ 2 œœœ ‰ œœ œœ 4 œœ œœ œ œ œœ œœ n œ ‰ œ œ

œ œ
4 œ. œœ œœ œ œœ œœ J œ œ
J 4 J 4 . .
F f p f p
>œ .
Electric
j j œ j
?b 4 œj œ œ nn œœ ‰ œ n œ œ œ b œ œ œ œ œ œ œ ‰ œ œ œ 2 œ ‰ œ. œ. 4 œ œ œ œ œ œ
Piano
œ. œ œ ‰ œ œ œ ‰ œ.
4 . œ œ œ. œ œ
n œ. . œ œ b œ œ. œ œ
œ 4 œ
> 4 .
F
2 ‰œœ œ 4 œ œ œ œ
Mezzo &b 4
4
‰ ! ! !
4 J 4 œ Ó Œ œœ
F
If it please God, let less hap - pen. Ev - en
&b 4 ‰ ! ! ! 2 ‰ œjœ œ 4 œ œ
Alto
4 4 4 œ œœœ Ó Œ œœ
If it please God, let less hap - pen. Ev - en
1 2 3 4 5 6
60
7. Blandeur
>
œœœœœœœ œ œ œ ..
# œ. œ. œœ œ‰ j J ‰ œ œ œ œ ‰ œ. œ. œ œ . œj 3 œ œ ‰ œ. 4 # œ œ œ œ œ Œ
Cl. & œ œ. J J 4
>œ p
4
f
œ œ # œ # œ. œ.
# œ. œ. œ œ œ. œ œ œ ‰œ œ œ ‰ œ œ œ œJ ‰ œ. œ. # œ œ œ œ œ œ 3 # œ œ
.
‰ œJ 4 œ n œ
A. Sx. & # J J 4 4
Œ
f >œ p
# œ
& ! Œ œ J‰ ! ! 3 Œ Œ ‰ œj 4 œ œ œ # œ œ. œ. Œ
. 4
T. Sx.
4
f >œ p
Œ œ œ J‰ ‰ j 4 œ œ œ # œ œ. œ. Œ
Tpt. &b ! ! ! 3 Œ Œ
4 œ. 4
. . . f p
œœ œœ œ œ >œœ .
œ œœ œœœ œ œ œœ œ ‰ œœ œœ œœ œœ ‰ œœ. œœœ œ œ . œœ 3 # œœœ œœœ
& b œ œ œœ œœ œ
œ œ œ ‰ œ nœ J œœ œ œ œ œ œ. œ œ œ Œ 4 Ó Œ ‰ j
J J J 4 4 œ.
f p
> œ . . œ
E. Pno.
?b œ . œ œ œJ ‰ œ œ ‰ œ œ œ œ ‰ œ œ œ œœœ 3 œ œ Œ ‰ œj
. œ. œ œ œ œ œ œ
J J
Œ 4 Ó
4 4 œ.
j P
j œœ Œ 4 Ó Œ ‰ œj
Mezzo &b œ œ œ œ œœ œ Œ Ó œ œ œ œ ‰ œ œ œ œ. œ 3
4 4
P
out Earth's ron-dure, flat - ten Ei-ger, blan-den the Grand Can - - - yon. Make
Alto & b œ œ œ œ œj œ œj œ Œ Ó j‰
œ œ œ œ œ œ # œ œœœœœ 4 # œ œ
3 Œ 4 Ó
4
Œ ‰ j
œ
ª
out Earth's ron-dure, flat ten Ei-ger, blan-den Make
the Grand Can - - - yon.
7 8 9
10 11 12
A1 œ #œ
# . . . . . œ ‰ 4 œ. œ. œ. # œ. œ œ. œ.
œ œ. # œ. œ œ. ‰ 2
& œ œ œ œ œ œ œ œ œ œ. œ. œ. œ. œ. œ j‰ 3
œ 4 J J
.
Cl.
4 4
fœ F
# . . œ. œ. œ œ. # œ œ œ œ œ œ œ œœ . œ. œ. œ œ œ œ œ œ œ n œ # œ. # œ. œ œ. 2
& # œ œ
j 3 J ‰ 4 œ. œ
A. Sx. . . œ œ œ #œ œ ‰ 4 4
œ J ‰4
f F œ
# œ. œ œ. œ œ œ œœ œœœ œ œ œ œ
& œ. J œ œ. œ# œ œ œ œ œJ ‰ 3 J ‰ œ. œ. # œ œ. # œ. œ œj ‰ 2
4 œ. œ.
4
. 4
T. Sx.
4
f F
&b j œn œ œ œ œ j‰ 3 œ œ j‰ 4 œ. œ. œ. # œ. œ œ. œ. œ œ. # œ. œ œ. ‰ 2
œ. œ. œ œ œ œ œ œ. œ 4 œ J 4
.
Tpt.
4
f P
œœœ œœ œ œ. œœ. œœ. # œœ. œ œ. œœ. n œœ n œœ. # œ. n œœ œœ.
œ œ n œ œj‰ 3 œ# œœ œœœ 4 œœ œ œ # œ œœ œœ œ œ œ # # œœ œ œ ‰ 2
& b œœ œœœ b œœœ œœ. œœ œœœ n œœœ œœœ œœ œœ œœ œ œ œ 4 J
‰ J 4
œ. . . œ . . f
4
F
E. Pno. œœœ œœ œ j
? b œ œ bœ œ œ œ œ œ œ œ j œ# œœ œœœ# œ 4 œ œ œ œœ
œn œ œ œ œ œ‰3 œ nœ #œ œ nœ œ œ ‰ 2
œ
œ. œ. b œ. œ. œ œ. œ œ œ . 4 # œ. 4 œ œ. œ. œ. œ œ. n œ. # œ œ n œ œ œ. 4
. . .
f
& b œ œ œ œ œ œ œ œ œ œ œ œ œœ œ 3 Œ Œ ‰ œj 4 œ œ œ œ # œ œ œ œ œ œ #œ œ œ ‰ 2
J 4
œ 4
Mezzo
4
f
val-leys slightly higher, wi - den fissures to ar-a-ble land, re - mand yourter-ri-ble gla - ciers and si-lence their cal-ving,
Œ Œ ‰ œj 4 œ œ œ œ œ œ j 2
Alto & b œ œ œ œ œ œ nœ œ œ œ œ œ œœ œ œ œ 3
nœ 4 4 œ œ nœnœ # œ œ œ ‰ 4
val-leys slightly higher, wi - den fissures to ar-a-ble land, re - mand yourter-ri-ble gla - ciers and si-lence their cal-ving,
13 14 15 16 17
61
œ
7. Blandeur
œ œ œ œ
#
& 2 nœ œ 4 ‰ œ. œ. œ. œ œ. 2 j ‰ 3 # œ œJ ‰ 4 œ .
‰ œJ
Cl.
4 4 . œ. œ. 4 œ. œ. œ 4 4
p fœ p F
œ œ .
## 2
& 4 œ œ 4 ‰ œ. œ. œ. œ. œ. œ. œ 2 œ.
j‰ 3
# œ. œ 4 J‰ 4 œ œ œ œ œ ‰ œJ
A. Sx.
4 . 4 4
p f p F
œ œ œ .
# 4 ‰ œ œ. œ. # œ. œ. œ. œ. œj ‰ 3 4 œ œ œ œ # œ ‰ œJ
& 2 4 œ œ œ. J‰
2
T. Sx.
4 œ. . 4 4 4
p f p F
&b 2 ! 4 ‰ œ. œ. ‰ 3 œ œ œj ‰ !
œ. œ. œ. œj 4
2 4
Tpt.
4 4 p œ. œ. œ. 4 œ. 4
f
œ. œœœ œœ œ œœœ.
4 ‰ œœ œœ. œœ. œœ. œœ. . .
œœ œœ œœ œ œ
j œ # œœ œœœ œœ œœœ œœœ œœœ
œœœ
&b 2
4
!
4
œ œ œ œ œ œ
2
4 œ.
n œ œœ ‰
œ. œ 4
3
J‰
4
4
œœ œ œ œœ ‰ œJ
f F
p
n œ. œ. œ. œœ œ p. œ j
œ œ. œ j ‰ 3 œœ # œœœ œœœ œ œ n œ
E. Pno.
? œ œ 4 ‰œ œ œ œ œ 4 œ œ œ œ nœ ‰ œ
b 2 nœ œ. œœ 4 œœ
2
4 œ œ 4 œ œ. œ. œ 4 œ. 4 œ œ œ.
.
P F f
Mezzo & 4 nœ œ 4
b 2 ‰œ œ œ œ œ œ œ œ
4 J
2
œ œ œ 4 œ œ œ 4
3 Œ Œ ‰ j4 œ œ œ œ ‰ œ
œ 4 œ J
P F fj
halv -ing or dou-bling all ge-o-graph-i-calfea - tures toward the mean. Un - lean a-gainst our hearts. With-
&b 2 œ œ 4 ‰ œj œ œ œ 2 3 Œ Œ ‰ j4 ‰ œ
œ œ œ œ œ œ œ 4 œ nœ œ 4 œ 4 œ œ œ œ œ
Alto
4 4
halv -ing or dou-bling all ge-o-graph-i-calfea - tures toward the mean. Un - lean a-gainst our hearts. With-
18 19 21 22
ª
20
B1 >œ . . .
œ . . . .
œ œ œ. œ œ œ œ œ ‰œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ. œ .œ œ œ œ œ œ œJ
Cl. &
# œ. œ. J J‰ J ‰ 3 œ J‰4 ‰
4 4
f F f F p
œ . . . # œ >œ ‰ œ. œ. œ. œ. œ
# œ. œ. œ. œ. œ. œ œ œ‰ œ # œ œ ‰ œ œ œ œ œ. œ œ œ œ .
3 œ œ œœ ‰ 4 œ œ œ œJ ‰
A. Sx. & # J J J ‰ œ
4 J JJ 4
f F f F p
# . œ. œ œ n œ œ œ œ œ œ. j œ œ. . œ œ. . œ œ œ. . .
‰ œ œ ‰ œ œ œ. œ œ 3 œ. œ œ œJ ‰ 4 œ
T. Sx. & #œ œ ‰œ œ œ ‰ œ œ œœ 4 4
œ œ œj ‰
f F f F p
œ >œ j
&b ! Œ œ œ œ ‰ œ. œ. œ œ. œ. . . .
œ œj ‰ œ œ ‰ œ œ œ œ. œ 3 œ œ j‰ 4 œ œ œ œ‰
Tpt.
4 œ. œ 4
f F f F p
œœ. .
œœœ œœœ œœ œœ. œœœ
. . . .
œœ œœ œœ œœœ œj œœœ œœœ œœœ œœœ œœ .œ œœ. œ œ œœ >œœœ œœ. œœ. œœ. œœ. œ. œœ. . œ. . . œ œœ œœ
&b
œœ œ œ œœ œœ œ œœœ ‰
œœ œ n œ œœ ‰ œ œ œ ‰ œœ n œ ‰ œ œ œ œ œ
œœœ œœ 3 œœ œœ œœœ œœœ œ ‰ 4 œœœ œœ œ œ ‰
J œ œ œ œ 4 J
J J 4 J
f F f F p
j œœ j . >œ .
E. Pno.
? b nœ œ œ bœ œœœœ œ œ ‰ œ œ œ ‰ œ œ. œ œ œ 3 œ. œ œ œ ‰ 4 œ œ œ œ‰
œ œ œ œ œ . œ. œ œ œ ‰ œœ œ œ ‰ œ œ. œ. œ. œ œ J 4
n œ. œ. œ œ b œ œ. 4 J
&b œ œ œ œ œ. j
œ œ Œ Ó ! ! ! ! !
Mezzo
3 4
4 4
draw yourgrandeur from these parts.
Alto &b œ œ œ œ œj œ œj œ Œ Ó ! ! ! 3
4
! 4
4
!
draw yourgrandeur from these parts. 25 26 27 28 29
23 24
62
7. Blandeur
C1
. . œ. œ. œ. œ. # œ. œ œ. œ. œ œ. # œ. œ œ.
# œ œ œ œ. œ
J 3
œ œ
‰ œ. 4 # œ œ œ œ œ. œ. ‰ J ‰ 2
Cl. & 4 J 4 4
" f . .
.
# . . œ .œ 4 œ n œ œ # œ # œ. œ. ‰ œ. œ. œ. œ. œ. œ œ œ œ œ œ œ œ œ œ
œ #œ œ œ
A. Sx. & # œ œ #œ œ œ œ œ 3
4
#œ œ ‰J
4
œ œ J ‰ 2
4
" f œ
# œ œœ œœœ œ œ
œ
œ
& œ. œ. œ œ œ œ œ 3 œ œ ‰ œj 4 œ œ œ # œ œ œ ‰ œ. œ œ œ. œ. œ
. . œ. # œ. œ œj ‰ 2
". . . . 4
T. Sx.
4 4
f
& b œ. œ. # œ œ .
j
nœ 3 œ œ Œ 4 Ó
. . .
Œ ‰ œ. œ œ œ # œ. œ œ. œ. œ œ. # œ. œ œ. ‰ 2
J 4
Tpt.
4 4 J
f . . .
œœ. œœ. œ œ . œœ 3 # œœœ œœ œ. œœ œœ œœ # œœ. œœ œ. œœ. n œœ
. .
n œœœ # # œœ. n œœœ œœœ
œœ Œ ‰ œ œ œ œ #œ œ œœ œ œ #œ
& œ œ œ œ.
b œ 4 œ Œ 4 Ó
J J ‰ 2
J 4 4
f
œ. œ. œ œ œ œ œ œ. j
E. Pno.
?
b 3 œ œ Œ 4 Ó Œ ‰ œ œ œ œœ œ œ
œ
œ nœ n œ œ œ ‰ 2
# œ œ # œ œ n œ œ œ. 4
3
4 4 œ
J œ. . . . œ œ. n œ.
# œ œ # œ œ. .
Mezzo &b ! 3
4
! 4
4
! ! ! 2
4
Alto &b ! 3
4
! 4
4
! ! ! 2
4
ª
30 31 32 33 34
œ. œ. œ. œ. œ. . . œ #œ œ.
# nœ œ 4 ‰ œ œ 2 œ. œ. œ ‰ œ œ. 4 œ œ œ œ œ ‰ J 5
Cl. & 2 4 4 4 J
3
4 4 4
p fœ
œ œ .
## 2
& 4 œ œ 4 ‰ œ. œ. œ. œ œ œ. œ 2 œ # œ œj ‰ 3 J ‰ 4 œ œ œ œ œ ‰ œJ 5
A. Sx.
4 . . . 4 . . 4 4 4
p f
bœ .œ
#
& 2 4 ‰ œ œ œ. # œ. œ. œ. 2 œ œ b œj ‰ œ œ ‰ 4 œ œ œ œ #œ ‰ J 5
4 œ œ
3
T. Sx.
4 œ. . . 4 . . 4 J 4 4
p f
œ.
4 ‰ œ. 3 œ œ j œ œ œ œ œ ‰ J 5
Tpt. &b 24
!
4 p
œ. œ œ œ œ œ 2 œ œ j ‰
. . . . . 4 . . œ 4 œ ‰ 4
4 4
f
œ. œœœ œ
œœ œœ 4 ‰ œœ œœ.
œœ. œ. œœ. œ. œ. 2 œ œ j
3 œ # œœœ œœœœ œ
4 œœ œœ œœ œœ œœœ œ.
&b 2 œ œœ œ œœ œœ 4 œœ n œœ
œ œœ ‰
œœ J ‰ 4 œ œ œ ‰ œœ 5
J 4
4 4 . . 4
f
p œœœ
. . œ. . œ . œ j
4 ‰ œ œ œ œ nn œœ œ œ 2 œ œ # œœœ œœœœ œœ 4 œ œœ œ œ nn œœ
E. Pno.
?b 2 œ œ j 3 œ ‰ œ 5
œ ‰
4 œ œ 4 œ œ. œ. œ œ 4 œ œ.
. œ 4 4 œ œ œ. 4
.
Mezzo &b 2
4
! 4
4
! 2
4
! 3
4
! 4
4
! 5
4
Alto &b 2
4
! 4
4
! 2
4
! 3
4
! 4
4
! 5
4
35 36 37 38 39
63
7. Blandeur
2 +. 3 approx. 5 - 10"
œ œ. œ œ œ. œ. U œ. U
w
# 5
Hit the given G, then noodle
Œ ‰ J
in G lydian. Fade to nothing.
Cl. & 4 4
4
p n
n œ. œ. œ.
Hit the givensC , then noodle
# bœ U U
& # 5 œ œ œ œ. Œ ‰ w
in D lydian. Fade to nothing.
4
A. Sx.
4 J 4
p n
# 5 # œ. œ. œ n œ œ œ œ. UŒ œ. U
Hit the given D, then noodle
œ ‰ w
in G lydian. Fade to nothing.
T. Sx. & 4 J
4
4
p
œ. œ.
n
œ œ œ. œ. U œ. U
w
Hit the given F, then noodle
b Œ ‰ J
in F lydian. Fade to nothing.
Tpt. & 45 4
4
p n
œœ. œœ. b œœ œœ œ œ œ œ. U U
Hit the given chord, then noodle
&b 5 œ œ œ œ œ Œ ‰ œ. 4 gg n www
in F lydian. Fade to nothing.
4 J g
4g w
E. Pno.
p n
? b 5 nœ œ U j 4 gg U
w
œ b œ œ œ œ. Œ ‰ œ.
4 nœ œ. œ œ
bœ 4 ggg w
. œ
U
Mezzo &b 5
4
! 4
4
!
U
Alto &b 5
4
! 4
4
!
40 41
64
8. Swept Up Whole
D1 Ghostly q. = 76
œ ‰ œ œ œJ œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œJ œ ‰ œ œ œJ œ ‰ œ œ œ œ œ œ œ œ ‰œflz. œ . œo
As thin and pale as possible
œ ‰œ œ . J ‰‰
Flute &8
6 ‰ ‰ ‰ ‰ ‰ ‰ æ æ æ æ Œ.
p
Percussion &6 ! ! ! ! ! ! ! !
8
Mezzo &6 ! ! ! ! ! ! ! !
8
œo œ œ œœ œ œ œ œ œ œ œ œ ‰œ œ œ œ œ œ œ œ ‰ œ œ
As thin and pale as possible
! ! Œ. J ‰‰ Œ. œ ‰œ œ . ‰ ‰œ Œ.
&6 æ æ
p
Violin
8
Cello &6 ! ! ! ! ! ! ! !
8
1 2 3 4 5 6 7 8
œ ‰ œflz. œ . œ ‰ œ œ œJ œ œ œ œ œ œ œ œ ‰ œ œ œJ œ œœ œ œ œ œ œ œ œ œ ‰ œ œ œJ œ .
Fl. & æ æ ‰ ‰ ‰œ ‰ ‰ ‰ œ J ‰ ‰ ‰œ ‰ ‰ ‰æœ æœ
Perc. & ! ! ! ! ! ! ! !
Mezzo & ! ! ! ! ! ! ! !
œ œo œo œœœ œ
œ‰œœ œ œ œœ œ ‰ œœ œ ‰œ œ. œ ‰ œ œ. œœ œ œ œ œœ
Vln. & Œ. æ æ æ æ Œ. J ‰ ‰ Œ. J ‰ ‰ Œ. ‰ ‰œ
Vlc. & ! ! ! ! ! ! ! !
9 10 11 12 13 14 15 16
65
8. Swept Up Whole
E1 œo
œ ‰ œ œ. œ ‰œ œ . œ ‰ œ œ œJ œ œ œ œ œ œœ œ œ œ ‰ œ œ œJ
Fl. & æ æ æ æ ‰ ‰ ‰œ J ‰ ‰ Œ. J ‰‰ Œ . ‰ ‰ Œ. J ‰‰
Glockenspiel (metal mallets)

& Œ. œ . # œ . # œ .œ . œ . ! ! ! ! ‰.œ. œ. #œ. #œ. œ. œ.
Perc.
J
p
p Narrow incisive sound
. . . œ. ˙. ‰ . œJ . œ . œ. œ. ˙.
Mezzo &œ œ œ ! ! ! Œ.
œœœ œ œo œo œ œœœ œœœ

œ œ œ œœ
You aren't swept up whole, how - ev - er it feels.
œ œœ œ J ‰‰ Œ. œ œ œ
J ‰ ‰ ‰ œ J ‰ ‰ ‰œ œ œ œ
œ ‰ œ œ œ œ œ ‰œ œ Œ.
Vln. & ‰ ‰ ‰‰ Œ.
! Œ. œo . ȯ . ȯ . ȯ .
! ! Œ. œo .
&
"
Vlc.
n n n
17 18 19 20 21 22 23 24
œ œ œo œœœ
F1 œ œ
œ ‰ œ œ J œ ‰œ œ œ œ œ œ œ J œ . œ ‰œ œ œœ œ ‰ œ J œ ‰œ œ . œ ‰œ œ œ œ œ œ
Fl. & ‰‰ J ‰‰ ‰ ‰ ‰œæ æœ ‰‰ æ æ
Perc. & ! ! ! ! ! Œ. œ.#œ. #œ. œ. œ. !
Mezzo & ! ! ! ! ! œ . œ . œ . œ. ˙ . !
œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰œ œ . œ œ œ œ œœ œ
You aren't swept up whole,
‚œ ‚œ œ ‰ œ œ.
Vln. & Œ. J ‰‰ Œ . J ‰ ‰ æ æ æ æ ‰ ‰œ J ‰‰ Œ .
ȯ . ȯ . ȯ . ȯ . b‚ . ·˙ ..
& ! ! Œ. ? b œ.
" "
Vlc.
n n
25 26 27 28 29 30 31 32
66
8. Swept Up Whole
o œo œ œ œ œ œ œ œ flz.
œ ‰œ œ œ œ œ œ œ œ œJ œ ‰ œ œ œJ œ . œ ‰œ œ . œ ‰œ œ .
Fl. & J ‰‰ ‰ ‰ ‰ ‰ ‰ æœ æœ æ æ Œ. J ‰‰ ‰œ æ æ
œ.
& ! ! Œ. œ . b œ .# œ . # œ . # œ . ! ! ‰ .œ . œ . # œ .
J
#œ.
Perc.
œ. œ. œ. j
Mezzo & ! ! J "‰ œ . b œJ .# œ . # œ . # ˙ . ! Œ . ‰ . œJ . œ . œ . œ .
œ ‰œ œ œ œ œ œ œ œ œ œœ œœ œ œœ œœ œ œ œœ
You're a - tom - ized. The wind pas - ses.
‚œ œ ‰ ‰œ œ ‰‰ œ œ œ œ œ œ ‰ œ œ J ‰‰ œ ‰œ œ J ‰ ‰ œ ‰œ œ œ œ œ
Vln. & Œ. J ‰ ‰ Œ.
? ·˙ .. ·˙ .. .
Œ . b b ‚œ . ·˙ .. ·˙ .. ·˙ .. ·˙ .. !
#
Vlc.
n n n
33 34 35 36 37 38 39 40
œ
œ ‰œ œ œ œ œ œ
œ œ œ œ
œ ‰ œœ œ œ œ œ œ ‰ œ œ J œ ‰œ œ œ œ œ œ œ ‰ œ œ J # >œ
Fl. & ‰‰ ‰‰ J ‰ ‰ Œ. ! ! ! !
F
to woodblock
& # œ .œ . œ . œ. bœ.#œ. #œ. #œ. >œ ‰ ‰ Œ .

Œ. ! !
take up rubber mallet
Perc. ã J ! ! ! !
F
œ. ‰. œ. j # Whispered
Mezzo & J œ . b œJ .# œ . # œ . # ˙ . ! ! ! ! ‰ .¿ . ¿ . ¿ . X.
J !
œo œo >œ
You re - con - geal. It's a sur - prise.
J ‰ ‰ œ ‰ œ œ. œ ‰œ œ. J ‰ ‰ œ ‰œæ œ .
Vln. & Œ. æ æ æ æ Œ. æ J ‰ ‰ Œ. ! ! ! !
F
? # # ·˙ .. ·˙ .. ·˙ .. ‚œ .. ‚œ ‰ & j
! œ ‰ ‰ Œ. ! ! ! !
>
Vlc.
n # F
41 42 43 44 45 46 47 48 49 50
67
9. Almost Without Surface III
Distant q = 72
G1 !w.t.
b‚ · ‚ ‚ ‚ ‚ ‚ ‚ ‚ ·.
· ·. · ·. ·.
Flute &2
2 Œ Œ Œ 3
2
p
œ œ œ œ œ œ . . .
œœœ œœœ œ. œ œ œ œ œ œ
Clarinet &2 Œ " Ó Ó Ó Ó Ó 3
2 2
P
3
$ P $ P
3
$ P $ p 3
f
Percussion ã 2
2 " " " " " " " " 3
2
! +œ +œ +œ +œ +œ +œ
+œ +
b +œ +œ œ +œ +œ +œ +œ +œ
S
& 2 Œ Œ Œ Ó Œ Œ Ó Ó Œ Ó 3
o 2 2
u
œ+ +œ œ+ +œ œ+ +œ
n
+̇ ˙+˙ b +œœ +̇ +̇ ˙+˙ b +œœ +̇ +̇ ˙+˙ +̇ b +œ +œ +œ

d
Œ Ó
i
n
g
& 2
2
3
2
3 3 3
Prepared
! œ œ œ œ œ œ œ œ
Piano
bœ œ œ œ œ œ œ
&2 Œ Œ Œ Ó Œ Œ Ó Ó Œ Ó 3
P
2 2
p
l
˙ ˙˙ b œœ ˙ ˙ œ œ ˙˙ b œœ ˙ ˙ œ œ ˙˙ œ œ ˙ bœ œ œ
a
y
&2 Œ Ó 3
e
d
2 3 3 3
2
Triangle (metal mallet)

Soprano ã 2 œ " " " œ Œ Ó " " " 3
2 2
P
Alto &2 Œ
2 " " " " " " " 3
2
&2 b b ‚œ w· w· w· w· w· w· Ó 3
#˙
Violin
2 2
# p # p f
1 2 3 4 5 6 7
68
œ #œ #œ œ- # œ. œ.
loco
-
# œ. œ œ œ # œ œ Œ #œ œ œ #œ Œ Ó J‰Œ Œ J‰Ó
ord.
Fl. &3 Ó 2 Œ 3
2 3
2 3
2
˙. œ. w œ. w œ. œ.
Cl. &3 J ‰Ó J ‰Œ 2 3 J‰Œ Œ J‰Ó
2 2 2
p

Perc. ã 3 œ Œ Œ œ Ó œ Œ Ó œ Œ 2 œ Œ Ó 3 œ Œ Œ œ Ó
2 2 2
p
+ +.
b +˙ .
+.
b w+
+.
b +˙ # +˙˙ # # œœ. œœ
loco
œ œ
& 3 b˙. œ ‰ Ó bw œ ‰ Œ 2 b˙ 3 J ‰ Œ Œ J ‰ Ó
J J
S
o 2 2 2
u
n
j j b˙ b œ. œ.
d
i
b ˙˙ .. œœ ‰ Ó b ww œœ ‰ Œ ˙ b˙ bœ ‰ Œ Œ œ ‰ Ó
& 3 2 3
n ˙˙ ..
n
g 2 œ.œ ww œ.œ 2 n ˙˙ ˙ 2 J J
. œœ.
b˙. œ. bw œ. b˙ # ˙˙ # # œœ
Pno. loco
&3 b˙. œ ‰Ó bw œ ‰Œ 2 b˙ 3 J‰Œ Œ J‰Ó

2 J J 2 2
" p
P
l
a
j‰ Ó j‰ Œ 3 b œ. ‰ Œ Œ œ. ‰ Ó
y
&3
2 b ˙˙ ..
2
e
œ.œ b ww œ.œ 2 b ˙˙ 2 J J
d
b˙
Sop. ã 3
2 ! ! 2
2 ! 3
2 !
P
&2 Œ Ó Œ Œ ‰ j 2 œ #œ #œ œ Œ 3 !
3
3
#œ œ œ œ #œ œ #œ œ œ #œ
3
œ 2
Alto
2
...al - most without surface, bare-ly con - tained, but craz - y as clouds...
&3 j ‰ Œ Œ j‰ Ó j‰ Œ Ó j‰ Œ 2 j‰ Œ Ó 3 # œ. ‰ Œ Œ œ. ‰ Ó
Vln.
2 # œ. œ. # œ. œ. 2 # œ. 2 J J
p
8 9 10 11
69
approx. 5 - 10"
Not in time. Ad lib. no. of "waves."
o o œo œo œo œo œo o o œo œo œo œo œo
o
œo œ œo
œo œ b œ œo œ œ
Fade out ascending indefinitely.
o o o œo
œo œ œo œ œo œ
w.t.
Fl. & œ
"
( )
n
#U
w
Cl. &
" n
Perc. ã !
U +
# # ww
S
o
&
u
n
d
U
w
i
n
g
&
U
# # ww
Pno.
&
"
P
l
a
U
& w
y
e
d
U
Ó
Sop. ã œ
P
U
Alto & !
U·
w
&
"
Vln.
n
12
70
10. Sharks' Teeth
A noisy mess q = 112
H1 b œ 3 >œ b >œ œ b œ œ n >œ nœ
>œ œ b >œ > >bœ >œ b œ # >œ
œ œ ‰ bœ œ nœ bœ œ
3
œ Œ ‰ " bœ ‰ ‰ œ
Piccolo &24
ƒ
3 3
3 3 3
œ >œ œ œ
. b >
œ n œ3.
œ œ ‰ # œ b œ >œ ‰ b œ œ œ # >œ ‰ n œ # œ # œ
3 3
& 4 ‰ # œJ ‰ #œ
3 3
2 ‰ J ‰ bœ ‰ nœ ‰ œ œ œ œ #œ
> >
Bass Clarinet
ƒ
3
3 3
3 3
>œ œ œ >œ b œ œ œ. b œ œ œ
b >œ
3
‰ œœœœ œœ Œ ‰ b œ ‰ œ ‰ J‰ œ "
5
&2 œ
3
Soprano Sax.
4 œ > œ > bœ œ
>
ƒ
3
b >œ
3
> # >œ ‰
3
>
3
œ > œ œ b œ n œ
3
‰ j œ œ ‰ ‰ bœ bœ ‰ œ nœ nœ bœ ‰ #œ œ nœ bœ ‰ bœ œ ‰ ‰ #œ œ
3 3
3 3 3
&24 ƒ œ. œ
> > > > >
Tenor Sax.
3
3 3
>œ
3
senza sord.
bœ ‰ ‰ œ ‰ œ
3
œ ‰ œ b œ
3
œ ‰ b œj b œ
3
œ nœ ‰ ‰ " œ ‰
3 3 3
3
& 4 #œ
2
n œ >œ >œ b >œ bœ œ
> . >
Trumpet
> > > >
ƒ
3
5 Melodic toms (drum sticks)

>œ >œ >œ > œ >
œ œ œ œ ‰ ‰ œ œ
3
j
3 3 3
œ œ ‰ ‰ œ ‰ œ œ œ ‰ œ œ œ ‰ Œ œ œ ‰
3 3
ã 4 œ
2
œ > œ
> > > > >
Percussion
ƒ
3
3
!œ œ
bœ
œ œ œ œ >œ œ >œ > > >
œœ
3 3 3 3 3
&2 bœ bœ bœ bœ nœ Œ bœ bœ nœ Œ
4 > nœ œ > œ > œ > œ > œ œœœ
ƒ
>œ
Electric
?2 œ œ bœ bœ
Piano 3
bœ Œ bœ bœ œ " " Œ
4 bœ
Soprano &2 " " " " " "

4
Mezzo &2 " " " " " "

4
Alto &2 " " " " " "

4
b >œ >œ >

>œ œ b œ >œ b œ > > >
‰ œ œ bœ œ nœ œ ‰ œ œ ‰ œ œ bœ œ bœ bœ ‰ Œ
> # >œ œ # >œ
Violin &2 nœ nœ ‰ œ œ #œ #œ #œ ‰ #œ #œ œ
4
ƒ
3
5 5
b >œ
3 3 3 3
>œ œ œ >œ
3
> >œ
Cello
? 2 b >œ œ œ b >œ b œ > n >œ
‰ œ œ #œ œ œ ‰ " œ œ ‰ œ œ #œ #œ œ ‰ bœ œ œ œ #œ ‰ œ œ
4
ƒ
3
3 3 5
3
3
1 2 3 4 5 6
71
10. Sharks' Teeth
œ # >œ b >œ
# œ # œ # œ >œ b >œ b œ >b œ œ œ œ b >œ #œ nœ œ
3
Picc. & Œ " ‰ nœ œ œbœ œ ‰ Œ œ ‰ J

F
3
b >œ
3 3
b >œ b œ œ #œ > .
>
bœ ‰ œ bœ œ ‰ bœ œ œ œ # œ œ
3
& ‰ Œ bœ œ Œ " ‰ J ‰ œ œ
3
B. Cl.
3
œ 3
3
3
b >œ b œ œ #œ > 3. >œ #œ

>
‰ œ œ #œ ‰ œ # œ # œ # œ ‰ # œJ ‰ n œ œ œ œ ‰ œ œ œ œ Œ J
3
& bœ œ œ Œ ‰
5
S. Sx.
> 3 œ >
F
3
3
b >œ b >œ
3
3 3
& bœ œ bœ bœ bœ ‰ bœ œ bœbœbœ ‰ nœ ‰ " # œ # >œ ‰ œ œn œ œ >œ œ œ œ >œ œ >œ ‰

5 3
T. Sx.
> > œ n œ œ n >œ œ >
3 3
>œ
bœ ‰ Œ ‰ # œJ
3
& ‰ bœ œ ‰ nœ œ bœ bœ ‰ ‰ œ œ
3
Œ ‰ "
3 3 3
> > nœ > œ œ bœ

>
Tpt.
3
> > > F
>œ > >
‰ œ œ œ œ œ œ œ œ œ ‰ œ œœ Œ
3
œ œ œ œ
3 3 3 3 3
œ ‰ œ œ ‰ œ >œ œ ‰ œ >
3
ã œ œ œ œ œ
> >œ > > >
Perc.
5 3
!
bœ !b œ bœ
5
œ œ
3
bœ bœ
& œ bœ bœ œ œ œ nœ bœ bœ bœ nœ Œ
œ
bœ œ œ
#œ œ nœ bœ Œ
œ bœ > b œ b œ n >œ
> > >
E. Pno. 3
? " Œ bœ Œ œ Œ "
> œ
bœ œ â
>
Sop. & " " " " " "
Mezzo & " " " " " "
Alto & " " " " " "
œ # >œ # œ >œ ‰ # œ # >œ ‰ # œ # œ œ œ # >œ n œ >œ > >œ œ >œ

b œ b œ ‰ b œ b œ œ œ n œ ‰ œ œb œ b œ b œ œ œ ‰ # œJ
Vln. & #œ#œ ‰ Œ
3 3
5 3 3 3 5
F
> > > >
? b œ n œ œ b >œ b œ b œ ‰ >
b œ œ œ b œ b œ b œ ‰ n œ n œ ‰ œ œ # œ # œ œ œ ‰ œ œb œ œ >œ œ œ b œ >œ œ œ ‰
3
"
>
Vlc.
3 3
5
3 3
7 8 9 10 11 12
72
10. Sharks' Teeth
I1
˙ œ n >œ # œ # œ >œ nœ # >œ >b œ b >œ
b >œ b œ >œ b œ
3 3
Picc. & ‰ n œ #œ Œ " ‰ œ œ œbœ œ ‰

ƒ
3
# >œ
3 3
>œ b >œ b œ œ #œ >

bœ œ œ #œ ‰ œ #œ #œ ‰ œ >
& b œ ‰ œ #œ Œ bœ œ œ Œ ‰ œ bœ œ ‰ bœ œœ
B. Cl.
3 3
bœ
3 3 3
3 3
˙ b >œ b œ œ œ > 3.
>
S. Sx. & " bœ œ œ Œ ‰ œ œ #œ ‰ œ # œ # œ # œ ‰ n œJ ‰ b œ n œ œ n œ
ƒ
3
# >œ
3
> b >œ
3
œ œ #œ œ #œ ‰ b œ
3
& œ œ ‰ ‰ œ b œ b >œ b œ ‰ b œ œ b œ b >œ b œ œ œ n œ b >œ œ n >œ ‰ # œ # >œ ‰ Œ

3
‰
3
#œ b œ
>
T. Sx.
3
3 3 3
>œ
3
˙ bœ ‰ œ bœ
3
jb œ ‰ ‰ œ œ
3 3
‰ ‰ ‰ Œ ‰ "
3 3
& b œ. œ bœ > œ bœ bœ >

ƒ > >
Tpt.
> 3
>œ >œ > >

‰ œ œ œ œœ œ œ œ œ ‰
3
ã œ œ œ œœ‰ œ œ ‰ ‰ œ œ
3 3
œ ‰ œ œ ‰ œ >œ
3 3 3 3
> œ œ œ œœ
>œ >
> > > >
Perc.
3
5 3
! ! !
bœ œ>œ bœ bœ
5
œ
3
> bœ bœ
& bœ bœ nœ# œ " ‰ œ
bœ œ œ œ nœ bœ
œ bœ
bœ nœ Œ
nœ
bœ œ
> œ
>
b >œ œ >œ œ >œ b œ
E. Pno. 3
? " bœ œœ " bœ Œ bœ Œ œ
> > œ
ƒ
œ œ3 œ ˙ ˙ ˙
Sop. & " "
ƒ
Ev - 'ry - thing!
" #œ œ
3
œ ˙ ˙ ˙ "
Mezzo &
ƒ
Ev - 'ry - thing!
Alto & " #œ œ3 œ ˙ ˙ ˙ "

Ev - 'ry - thing!
>
& ˙ ‰ ‰ # œ ‰ # œ # œ œ œ # >œ œ ‰ Œ bœ bœ ‰ bœbœ œ œ
3
# œ # œ # œ œ œ # >œ # œ # œ œ # œ œ
5 3 5
3 3
#œ > ># œ > # œ > nœ >

Vln.
ƒ F 3
> >œ œœ > > > > >

Vlc.
? œ œ ‰ bœœœ œ #œ ‰ œ œ œ bœ œ œ bœ bœbœ ‰ "
>
bœ œ œ bœ bœ bœ ‰ nœ nœ ‰ œ œ#œ#œ
3 3 5
3
3 3
13 14 15 16 17 18
73
10. Sharks' Teeth
# œ n œ b œ >œ > # >œ #œ nœ

n œ œ œ b >œ œ b >œ #œ #œ #œ nœ #œ œ #œ nœ œ
& Œ ‰ " nœ ‰ Œ ‰ J
F
Picc.
3 3
5
n >œ
3
>
3
#3œ. nœ œ >
#œ œ œ ‰ œ œ bœ bœ ‰ bœ bœ œ œ . œ
‰ J ‰ œ #œ #œ ‰ b œJ ‰
3
& " #œ ‰ œ œ
>
B. Cl.
3 3
3
# >œ
3 3 3
> n >œ # œ œ # >œ œ #œ

& #œ œ ‰ œ # œ œ œ >œ " œ œ‰ œ œ œ œ #œ ‰ #œ #œ Œ Œ
#œ
‰ J
3 5
>
S. Sx.
F
5
n >œ
3 3
>œ œ œ œ # >œ ‰ œ ‰ ‰ # œ # œ # œ # œ # >œ ‰ ‰ # œj # œ œ ‰

3
œ # œ œ œ >œ œ # œ œ >œ œ
3 3
& #œ œ ‰ ‰
5
#œ œ œ .
> > >
T. Sx.
3
3 3 3
>œ
3 3
> œ > œ ‰ #œ
3
‰ b œb œ ‰ œ œ œ nœ‰ ‰ œ ‰ œj œ œ ‰ œ
3
& œ œ bœ ‰ "
3 3 3
. #œ J
> > > > >
Tpt.
3
3
F
> œ >
œ œ œ œ œ œ ‰ ‰ œ œ œ
3 3 3
œ œ ‰ Œ œ œ ‰ ‰ œ œ > ‰
œ œ œ œ > œ >œ ‰
3 3 3 3
ã œ œ œ œ
> > > > >
Perc.
3
3
œ bœ bœ !œ
> b œ b >œ œ #œ
#œ œ nœ bœ œ Œ œ b œ n >œ b >œ Œ >œ > œœ
3
& œ > œ œ œœ œ œ œœ Œ > nœ œ

E. Pno. >œ
#œ œ œ #œ
3
? Œ " " " Œ bœ Œ

#œ
>
Sop. & " " " " " "
Mezzo & " " " " " "
Alto & " " " " " "
>œ
>œ œ œ >œ b œ n œ œ >œ b œ > > b >œ b œ œ b œ œ b >œ œ œ œ >œ # œJ
& œ ‰ b œ n œ ‰ b œ œ ‰b œ œ œ œ n œ # œ ‰ Œ ‰ nœ ‰
F
Vln.
3
5 5
3
>
3 3 3
> > > > bœ

>
? #œ #œ ‰ œ #œ #œ œ bœ bœ œ bœ œ œ n œ # œ # œ œ >œ œ œ # œ # œ œ œ # œ œ œ # œ œ n œ œ b >œ œ
Vlc. #œ ‰ Œ #œ ‰ œ ‰ ‰
5 5 3
3 3 3 3
19 20 21 22 23 24
74
10. Sharks' Teeth
˙ b >œ nœ # >œ œ œ b >œ b œ 3 >œ # œ n œ b œ b >œ

>b œ > >œ œ
œ œb œ œ
3
Picc. & ‰ bœ bœ ‰ n œ œ Œ ‰ bœ nœ ‰ "

ƒ
3 3
>œ
3 3 3
# .
œ >
œ œ œ 3 #œ > >œ j #œ
œ # œ ‰ œ# œ # œ# œ ‰ # œJ. ‰ b œ #œ nœ œ œ nœ œ ‰ #œ
3 3 3
& ‰ J ‰ nœ ‰ œ ‰ œ # œ# œ >œ ‰ œ
3
#œ œ œ
> >
B. Cl.
3
3
3
n >œ > #œ >

˙ œ #œ œ œ #œ
Œ ‰ bœ œ " œ ‰ œ œ œb œ œ ‰ b œ œ ‰b œ œ œ œ
5
& #œ
3
> œ > œœœ > J

S. Sx.
ƒ 3 3
b >œ >œ >œ œ # œ # >œ >

‰ # œ œn œb œ œ ‰
3
j œ œ ‰ ‰ #œ ‰ œ
3
& ‰ nœ ‰ œ œ œ bœ ‰ œ œ ‰ ‰
3 3 3 3 3
œ. #œ > œ > nœ œ œ œ œ
> > > >œ >
T. Sx.
3 3
>œ
3 3
bœ ‰
3
˙ j bœ ‰ œ œ œ ‰ ‰ bœ
3 3
Œ ‰ œ ‰ ‰ œ "
3 3
3
& bœ > b œ. œ
> #œ n œ > >œ >œ b >œ nœ
Tpt.
ƒ > 3
>œ > œ
ã œ œ œ ‰ œ œ ‰ œj œ œ ‰ œ œ œ œ œ œ œ
3 3 3 3
3 3 3
œ œ ‰‰ œ œ œ œ > œ >œ ‰ œ ‰ œ > œ ‰ œ œ œ œ ‰

3 3
> > > > >

Perc.
3
!
3
! 3
!> !œ
œœ œœ œ
3
œœ bœ
&œ #œ
3
œ œ œ œ
3 3
" Œ b œ b œ n >œ bœ
œ œ nœ > œ > nœ œ œ œ œ œ œ bœ
3
>
>
b >œ b œ b œ n >œ œn œœ œ b œ
E. Pno.
? bœ
3
bœ bœ bœ Œ bœ " "
bœ bœ
>
ƒ
œ œ3 œ ˙ ˙ ˙
Sop. & " " "
ƒ 3
Ev - 'ry - thing!
" #œ œ œ ˙ ˙ ˙ " "

Mezzo &
ƒ
Ev - 'ry - thing!
Alto & " # œ œ3 œ ˙ ˙ ˙ " "

Ev - 'ry - thing!
˙ œ b >œ
œ # œ œ œbœ >
‰ b œb œ ‰ b œb œ œ œ
3
# œ
3
œ‰ œœ Œ # œ. œ# œ # œ œ œ ‰ # œ ‰ # œ n œ
3
&
5
œ > œ œb œ > œ >œ > œ >

Vln.
>
3
ƒ
3
>
? œ # œ # œ >œ œ n œ ‰ > > > #œ œ bœ œ # œ # >œ
" Œ # œ. œ œ # œ œ œ œ ‰ œ # œ ‰ œ n œ œ œ œ # œ # œ Œ n œ # œ# œ
œ
Vlc.
œ
> 5
3 3 3
25 26 27 28 29 30 31
75
10. Sharks' Teeth
œ b œ œ >œ œ ˙ # >œ b >œ n œ œ b >œ # œ n œ b œ b >œ

bœ œ #œ b œ >
œ b œ œ Œ œ
Picc. & ‰ Œ ‰ J Œ œœ ‰ ‰
F ƒ Ï
3 3 3
3 3
>œ b œ œ œ n œ 3 # œ >œ n œ œ b >œ b œ œ #œ3.

>
& b œ ‰ œ #œ ‰ œ œ ‰ œ bœ ‰ bœ œ bœ œ ‰ bœ œ œ œ " ‰ J ‰ œ œ bœ
>
B. Cl.
Ï
3 3
3 3
>
#œ#œ b >œ
3 3 3 3
œ ˙ œ
b œ >œ Œ J ‰# œj ‰ œ œ œ
œ
3
& Œ ‰ Œ œ‰ œ œœ Œ ‰
3 3 5
œ . > # œ > œ# œ >

ƒ
S. Sx.
F 3
Ï
# >
œ n >œ
>œ # œ # œ# œ # >œ
3
œ œ œ # >
œ ‰ œ œ‰ ‰# œ
3
& nœ œ ‰ ‰
3
‰ " œ‰ œœ ‰
5
œ œ
#œ # œ > œ# œ œ > œ# œ œ ># œ n >œ
3
>
T. Sx.
Ï
3 3
3 3
3 3 3
œ œ ‰‰ # œJ ˙ ‰ œj œ œ ‰ b >œ œ
3
" " œ œ œ œ ‰ ‰ bœ ‰ œ >

3 3 3 3
& .
> > > > >
Tpt.
F ƒ Ï
Crash cymbal
‰ >œ
(drum stick)
ã " " " " " " Œ

mute with hand
J
Ï
> œ > > œ
Perc.
œ œ œ œ Œ ‰ œ œ œ œ œ œ ‰ œ œ j ‰
3 3 3 3
œ œ> ‰ œ œ œ ‰
œ Œ ‰
3 3
ã œ œ œ œ œ œ œ
> > 3
> > > >
3 3
! !
bœ œ b œ !> œ >b œ b >œ
3
œ
> >
& b œ b œn œ Œ œ œ b œ b >œ œn >œ# œœ " " Œ œ bœ
œœ œ œb œ œ œ
>
> Ï
b >œb œ œn >œ œ n œœ œ b œ #œ œ nœbœ œ
E. Pno.
? Œ bœœœ œ " " œ œ "

> œ #œ >
>
ƒ
œ œ3 œ ˙ ˙ ˙ Ï
Sop. & " " "
ƒ Ï
Ev - 'ry - thing!
œ œ3 œ ˙ ˙ ˙
Mezzo & " " "
ƒ Ï
Ev - 'ry - thing!
Alto & " " " #œ œ3 œ ˙ ˙ ˙

Ev - 'ry - thing!
> #œ ˙
n >œ b œ œ ‰‰ J
> >
b œ ‰b œ œb œ œ b œ b œb œ ‰ b œb œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ b œ b œ ‰
& nœ ‰ Œ
3 5 5
3
nœ > > œ> > > 3

Vln.
3 3
F ƒ 3
Ï
> >œ # œ œ œ # >œ > >œ
>
? œ œ ‰ b œ œ œb œ Œ n œ # œ# œ œ œ n œ œ# œ # œ œ n œ nœ œ #œ #œ # >
œ œ # œ# œ œ b œb œ œ b >œ
b
Vlc. #œ ‰ œ ‰ ‰ œ #œ ‰ #œ ‰
Ï
5
3 3 3 3 3
3
32 33 34 35 36 37 38
76
10. Sharks' Teeth
J1 Half tempo q = 56 K1 Tempo I q = 112
2 b ˘œ >
#œ nœ œ ˙
Picc. & J‰Œ " " " " " " " " " œ ‰ J
f ƒ3 F
2 3. >
‰ # œJ ‰ œ œ œ b œ œ ‰ b œ œ œ
3
B. Cl. & ˙ ˙ ˙ ˙ ˙ ˙ œ. ‰ " " "

# ƒ 3
3
2 b˙ œ b 3œ œ œ . #œ ˙
˙ ˙ ˙ ˙ ˙ ˙ œ. ‰ ‰ Œ ‰ J
S. Sx. &
# F ƒ
2 # >œ
" " " " " " " " " " ‰ œ œ ‰ ‰œ
3 3
& œ œ œ >œ œ >œ >

T. Sx.
ƒ
3
2 + o +
Harmon mute, stem in
o + #œ ˙
senza sord.
Tpt. & " " ˙ ˙ ˙ ˙ œ. ‰ " " " Œ ‰ J

# F
2
˙ œ. ‰ " Œ ‰ >œ
Large tam-tam (soft mallet) Crash cymbal (drum stick)
" æ˙ æ˙ ˙
to tam-tam to crash cymbal
ã " æ æ æ " J " "
# P # P # to toms ƒ Melodic toms (drum sticks)
2
to vibraphone
take up drum sticks >
Perc.
œ œ œ œ œ
3 3 3
take up yarn mallet Vibraphone (yarn mallet)
" "& ˙ ‰ " " Œ ‰ ‰ œ ‰
œ
3
ã ˙ ˙ ˙ œ. ã J œ œ œ œ
p > >
b˙ ˙ ˙ ˙ ˙ ˙ œ. !
2 bœ bœ >œ
& ‰ " " " Œ n œ b
>
œ n œ # œœ
bœ bœ > bœ
# ƒ>
2
E. Pno.
? " " " " " " " " " " " "
2
Sop. & " " " " " " " " " " " "
2
Mezzo & " " " " " " " " " " " "
2 PWhispered
& " " " ‰¿ ¿ ‰ ¿ ¿ ¿ " " " " " " "
Alto
J J
con-tains some si-lence
b ˘œ
pizz.
2 #œ ˙
J‰Œ " " " " " " b œ
‰ bœ œ ‰ Jœ # œ ˙
arco
&
b˙ ˙ œ.
Vln.
f # ƒ F ƒ
2 b >œ # œ # >œ >œ
Vlc.
? " " " " " " " " " " œ ‰# œ # œ œ œ ‰ bœœœœ
ƒ 3 51
5
39 41 42 43 44 45 46 47 48 49 50 3
52
77
10. Sharks' Teeth
!> œ b >œ
œ # œ # œ # œ >œ # >œ >b œ n œ œ n œ b >œ œ b œ œ >œ
b >œ b œ
3
Picc. & J ‰ Œ Œ " ‰ nœ œœbœ œ ‰

ƒ Ï
3
3
b >œ b œ œ #œ >
>œ œ
& œ ‰ #œ #œ #œ ‰ œ #œ Œ œ >
‰ œ œ bœ œ œ
# œ # >œ ‰ œ # œ # œ # œ Œ
3
bœ œ Œ
>
B. Cl.
Ï
3
3 3
3
# œ3. b œ œ >
‰ œ #œ œ #œ œ bœ œ œ
& œj ‰ Œ bœ bœ œ œ Œ ‰ # œ ‰ J ‰ œ œ ‰
3 3
œ # >œ œ œ
3
bœ œ > > #œ >

S. Sx.
> 3 Ï
œ œ # >œ ‰ b >œ > # >œ ‰ n œ b œ œ œ
>
œ ‰ bœ œ ‰ Œ
3 3
& #œ œ n œ œ b œ œ‰ b œ b œ bœ ‰ œ œ b œ # œ
T. Sx. nœ > œ > bœ œ > 3 œ > œ>
Ï
3 3
n >œ
3 3
# >œ œ ‰ œ bœ œ ‰ bœ œ
> œ
3
& J ‰ Œ ‰ bœ ‰ ‰ 3 Œ " ‰
3 3 3
œ > œ œ œ bœ
> > >
Tpt.
ƒ >
Ï
3
Œ ‰ >œ
mute
ã " " " " " J

Ï
> >œ œ œ >œ > œ
Perc.
œ œ‰ ‰ œ œ
3
œ ‰ œ œ œ œj ‰
3 3
œ ‰ œ œ ‰ œ >œ ‰ œ œ
3 33
ã œ œ œ œœ
> 3
> >œ > œ œ œ
> > >
5 3
! !
bœ bœ bœ
5
œ
3
j bœ œ bœ œ #œ œ nœ œ
& # œœœ ‰ Œ ‰ bœ nœ œ œœ nœ bœ bœ nœ Œ bœ œ œ bœ >
> > œ
> Ï
E. Pno.
>œ 3
? Œ œ œ bœ bœ " bœ Œ bœ Œ œ Œ
> > #œ
œ >
ƒœ ˙ ˙ ˙
œ #œ
Sop. & ‰ J " "
ƒ
Noise gets its zest
‰ #œ œ œ #˙ ˙ ˙ " "
Mezzo & J
ƒ (sung)
Noise gets its zest
Alto & ‰ # œJ # œ # œ #˙ ˙ ˙ " "

Noise gets its zest
j > >œ >œ

& ## œœ ‰ # œ œ œ # œ # œ # œ # œ œ # œ œ ‰ # œ ‰ # œ # œ œ œ # œ ‰ Œ bœ bœ ‰ bœ bœ œ œ œ ‰ œ bœ bœ
5 3 5
3
œ
3
> ># œ > # œ > > nœ >

Vln.
> 3 3
Ï
œ >œ >
>œ
? #œ ‰ œ œ œ > > > > > # >œ n œ b œ b œ œ
Vlc.
bœ œ œ bœ bœbœ ‰ " bœ œ œ bœ bœ bœ ‰ nœ nœ ‰ œ œ #œ#œ #œ ‰
Ï
3 5 3
3
3 3
53 54 55 56 57 58
78
10. Sharks' Teeth
2
L1 Half tempo q = 56 b œ b3œ œ
b˙ ˙ ˙ ˙ œ. ‰ b˙ ˙ ˙
Picc. &
"
2
B. Cl. & ˙ ˙ ˙ ˙ œ. ‰ b˙ ˙ ! !
"
2 œ b3œ œ ˙
S. Sx. & ! ! ! ! ! ! !
"
2
T. Sx. & ! ! ! ! ! ! ! ! !
2 + o + o +
Harmon mute, stem in
& ! Œ ‰ !
œ ˙ #˙ ˙ ˙ œ #œ œ.
Tpt.
"
2
to tam-tam
œ. ‰
Large tam-tam (soft mallet)
Œ œ ˙ ˙ ˙ ˙ ˙
to crash cymbal
ã ! æ æ æ æ æ æ æ to toms !
to vibraphone
" P " P " take up
2
Perc. take up yarn mallet
Vibraphone (yarn mallet)
! Œ& œ ˙ #˙ œ. ‰ #˙ ˙ œ. ‰ !
drum sticks
ã
p
2 b˙ ˙ ˙ ˙ œ. b˙ ˙ œ.
& ‰ ‰ !
"
2
E. Pno.
? ! ! ! ! ! ! ! ! !
2 " Whispered
Sop. & ! ! ! ! ¿ ¿ ¿ ¿ ¿ ¿ Œ ! ! !
3
2 P
small shark's-tooth-shaped frag-ments
# œ # œ œ œ œ#œ œ. ‰ #œ œ Œ
3
& ! ! ‰œ œ œ ‰œ œ œ œ œ ˙
Mezzo
J
" Whispered
Noise gets its zest from the smallshark's-tooth-shaped an - gled
2
3
frag - - - ments of rest
Alto & ! ! ! ! ! ¿ ¿ ¿ ¿ ¿ ! ! !
3
b ˘œ
pizz. shark's-tooth-shaped frag-ments
2
J ‰Œ ! ! ! ! ! !
arco
&
b˙ ˙
Vln.
f "
2
Vlc.
? ! ! ! ! ! ! ! ! !
59 61 62 63 64 65 66 67 68 69
79
10. Sharks' Teeth
M1 Tempo I q = 112
b >œ œ b œ >œ > # >œ bœ 3 >
˙ œ. b >œ # œ# œ nœ # œ œ #œ œ œ œ b >œ >œ œ b œ œ
Picc. & ‰ nœ ‰ " œ ‰ #œ Œ Œ ‰
ƒ
3
3 5
3
3
#3œ. > œ œ ‰ # œ œ >œ ‰ # œ n œ # œ # >œ ‰ b œ œ n œ ‰ j œ ‰ ‰ 3 # œ ‰ œ

‰ J ‰ œ #œ #œ
3
" "
3 3
& #œ œ œ b œ œ. œ # œ œ
> >
B. Cl.
ƒ 3 3
>
#œ
3
œ
3 3
˙ œ. >œ œ œ n >œ # œ # œ # œ œ # >œ œ #œ œ œ 3# >œ

> > >
‰ " œ ‰ œ œ #œ ‰ Œ œ ‰ œ œ œ b œ ‰
S. Sx. &
ƒ
5 3
n >œ
3 3
3
œ œ # >œ
œ ‰ œ œ‰ ‰ # œ # œ n œ # œ # >œ ‰ ‰ œj œ œ ‰ ‰ # œ ‰ œ
3
" " ‰
3 3 3
œ œ
3
& # œ œ
œ ># œ > # œ œ
> . > #œ > œ >
T. Sx.
ƒ
3
3 3
>œ
3 3
> 3
senza sord.
bœ ‰
3
‰ œ#œ ‰ œ œ œ œ‰ ‰ œ ‰ œj œ œ ‰ œ œ ‰ œ
3 3 3
" " "

3 3
& . œ œ > œ œ bœ
> > 3 >
Tpt.
ƒ > > >
Crash cymbal (drum stick)
Œ ‰ >œ
let ring
ã " J " " " " " "

ƒ Melodic toms (drum sticks)
>œ > œ >œ
Perc.
œ œ œ œ ‰ œ œ œ‰ œ
3 3 3
3
" Œ ‰ ãJ œ œ œ œ œ ‰ œ œ œ ‰ œœ‰ ‰ œ œ œ ‰
3 3 3 3
& œ œ
œ >œ > œ œ>
> >
ƒ > > >
3
> 3
bœ œ >b œ > bœ !œ œ
>b œ > # œ œ > > œ œ œ
3 3 3
& " " nœ œ œ n œ œ œ œ œ bœ œnœ Œ b œ œn œ Œ

> > nœ œ œ œ
ƒ
E. Pno. >œ
? œ œ œ bœ
3
" " bœ " " " Œ bœ Œ bœ

> bœ
Sop. & " " " " " " " "
Mezzo & Œ# œ œ ‰ " " " " " " "

in it
Alto & " " " " " " " "
>œ bœ
>œ b œ > > b >œ b œ œ b >œ œ œ >œ
œ œ œ b œ # œ b œ œ œ ‰ œ >œ >œ b >œ ‰
3
& ‰ œ ‰ bœ ‰ œ œ œ nœ ‰ Œ nœ ‰
˙ œ.
Vln.
ƒ
3
5 3
3 3 3 3
b >œ b œ œ b œ œ >œ >

n œ # œ # œ œ >œ œ œ # œ # œ œ œ # œ œ œ # œ
>
> >œ 3 >œ
? " " œ ‰ Œ ‰ œ ‰ ‰ œ. œ œ ‰ ‰# œ ‰ œ
3
Vlc. #œ J
ƒ
5 5
3 3 3
70 71 72
73 74 75 76 3 77
80
10. Sharks' Teeth
N1
b >œ bœ 3 >
b œ >
œ b œ >œ œ b œ œ
& œœ ‰ " œ. œ ˙
J
œ œ bœ œ̆
J #œ. œ Œ ‰
3
Picc.
# P F ƒ3
3
œ > œ. j
> œ # œ n œ >œ # œ # œ. b >œ
œ œ œ # œ ‰ œ # œ # œ # œ ‰ # œJ. Œ
3 3
# œ œ
3
& œ œ bœ ‰ œ bœ ‰ œ ‰ œ > ‰ J ‰3 ‰ ‰ ‰
3
œ
3
#œ#œ . #œ > œ >

> >
B. Cl.
3
# P 3 ƒ
œ
3
3
# >œ 3> œ œ > >œ >œ b >œ
b œ ‰ œ nœ ‰ Œ œ. œ ˙ œ œ œ̆
&‰ J bœ J #œ. œ Œ ‰
3
S. Sx.
# P F ƒ
3 3
> œ >œ œ ˙ œ œ œ̆
& œ œ bœ ‰ #œ œnœ bœ ‰ œ. œ
3
Œ ‰ #œ ‰ œ
3
J #œ.
3
J œ
3
T. Sx.
> > #œ > œ >
3
3
# P F ƒ
bœ ‰
3
& ‰bœ œ ‰ œ œ œ nœ ‰ Œ " " " " "

3 3 3
Tpt.
> > œ œ bœ
> > > >
ƒ
>œ œ œ œ
3
ã ‰ œj œ œ ‰ œ œ œ ‰
3 3
" " " " " œ ‰œ

> > >
Perc.
3
ƒ
! 3 !
œ œ.œ !œ !œ
œœ. œœ
3 3
.
&œ œœ œ œ œ œ œ œ
3 3 3 3 3 3
bœ œ "
œ > œ œ œ œ bœ œ œ œ nœ œ nœ œ œ œ > œ> œ
3
# P ƒ
.
b œ. b œ b œ n >œ œ n œ œ b œ
E. Pno.
? bœ
3 3
œ " bœ œ bœ Œ œ bœ Œ bœ bœ
bœ bœ
P F
& " " Œ ‰ œ ˙ œ œ bœ œ̆ Œ "
(sung)
J J #œ. œ
3
Sop.
P F
An hour of ci - ty
Mezzo & " " Œ ‰ œJ ˙ œ 3

œ bœ œ̆
J #œ. œ Œ "
An hour of ci - ty
Alto & " " " " " " " "
>œ >œ œ bœ
& ‰bœ ‰ œ n >œ ‰ Œ >œ >œ b >œ
3 3
Vln. " " " " " ‰

3
ƒ 3
b œ # œ n œ b œ >œ œ ˙ œ œ œ b ˘œ
? >œ >œ b >œ ‰ J J #œ.
3
œ ‰ œ.
Vlc.
#˙ #˙
# P F ƒ
3
3 3
78 79 80 81 82 83 84 85
81
10. Sharks' Teeth
b >œ
œ b œ >œ b œ œ œ3 œ b˙ b ˘œ # œ # œ # œ >œ
Picc. &œ ‰ " œ. œ
J J#œ. œ Œ Œ
# F ƒ
3
> œ # œ n œ >œ # œ œ .#œ

#œ œ #œ œ œ bœ œ œ œ œ .
b œ
3
œ j
3 3
# œ œ
3 3
& œ œ b œ ‰ œ b œ ‰ # œ œœ œ œ ‰ œ . ‰ J‰ # œ # œ ‰ œ. ‰ œ ‰ œ œ ‰
3
> > . >

B. Cl.
3
# P
3
ƒ
b >œ œ
3
>œ
3 3 3
# >œ 3> œ œ >

3
œ ˙ œ̆ œ œ
3
b œ œ n œ œ . œ œ œ
&‰ ‰ ‰Œ Œ ‰
3
S. Sx. J J#œ. œ
# F ƒ
3 3
œ. œ œ œ bœ b˙ ˘
bœ
3
> œ # œ n œ >œ J J j
3 3
& œ œ bœ ‰ b œ ‰ œ . œ Œ ‰ œ. œ œ ‰
œ >
> >
T. Sx.
3
3
# F ƒ
#œ œ ‰ nœ
3 3
& ‰b œ œ ‰ œ œ œ n œ ‰ Œ " " " " "

3 3 3
> > >#œ œ >

Tpt.
> ƒ
>œ œ
ã ‰ œj œ œ ‰ œ œ œ ‰
3 3
" " " " " œ œ œ > œ >œ ‰

> >
Perc.
3
ƒ
!
œ œ bœ œ bœ !
#œ #œ
bœ
& œ œ œœ œ œ œ œ œ #œ
3 3 3
bœ Œ bœ Œ n œ b œ b œ œnœŒ
> > œ œ œ bœ bœ bœ nœ œ œ œ bœ œ œ œœœ > #œ #œ
# ƒ
E. Pno. P
? bœ
3
œ " " " " " " œ Œ
F
" " Œ ‰ œJ
œ œ3 œ b˙ b ˘œ Œ "
Sop. & J# œ . œ
holds may-be a mi - - - (i) - nute
F
" " Œ ‰ œJ œ œ3 œ b˙ b ˘œ Œ "
Mezzo & J# œ . œ
F (sung) 3
holds may-be a mi - - - (i) - nute
" " Œ ‰ œJ b œ œ b œ j Œ "

& b˙ bœ
fl œ .
Alto
holds may-be a
œ
>œ # >œ n >œ
mi - - - (i) - nute
> œ œ n >œ œ
3
& ‰b œ ‰ œ #œ ‰ œ
3
‰Œ " " " " "

3
Vln.
3
ƒ 3
? j b˙ b ˘œ
œ. œ bœ œ bœ J œ.
3
Vlc.
˙ ˙ ˙ ˙
# F ƒ
86 87 88 89 90 91 92 93
82
10. Sharks' Teeth
bœ 3 œ b >œ ˙ ˙
> >œ b œ
n
& nœ ‰ œ b œ œ œ b œ ‰ #˙ b˙ n œ œ3 œ ˙ œ Œ
#
Picc.
p F
3
3
#3œ. >
& ‰ b œb œ ‰ œ œ b œ œ b œ ‰
>œ
"
>
‰ J‰ œ #œ #œ #œ œ œ b œb œ ‰ b œb œ œ œ " "
3 3
˙
3
> > > >

B. Cl.
F 3
œ b >œ
3 3
œ œ > #˙ ˙
n >œ >œ b >œ ‰ ‰ b œ >
3
‰ œ œ ‰ Œ ˙ # œ œ3 œ
3
& ˙ œ Œ
#
S. Sx.
F
3 3
> œ #˙ #˙ # œ œ3 œ ˙ # œ # œ # œ # >œ ‰
& bœ œ œ bœ œ bœ ‰
‰ b œ ‰ " "
33
œ
> > > >
T. Sx.
3
p F 3
3
bœ
3
& n œ œ b œ ‰ ‰b œb œ ‰ œ œ # œ # œ ‰ Œ " " " " #˙ ˙

3 3 3
> > #
Tpt.
> > > >
>œ >œ >œ

ã œ œ œ ‰ œ œ ‰ œj œ œ ‰ œ œ œ ‰ œ œ œ ‰ œ œ œ œœ‰ œ œ ‰ ‰ œ
3 3 3 3
‰ Œ œ " "
3 3 3
> œ >
> > > > > >
Perc.
3
F 3
3
! œ bœ bœ
#œ
>b œ > œ œ b œ b >œ n >œ Œ > > ˙
# ˙˙ ˙˙˙
& œ œ œ œ œ œ œœ œ # œ # œ œ œ œ Œ
3 3 3 3
œ œ n œ œ b œ œn œ Œ
> > > > #œ œœœ
F #
E. Pno. >œ
? bœ bœ œ " " " " Œ œ œ œ bœ " "
bœ
f
" " Œ ‰ # œj # ˙ œ n œ3 œ ˙ ˙ " "
Sop. &
f
a mi - - - (i)-nute of these
" " Œ ‰ # œj # ˙ œ n œ3 œ ˙ ˙ " "

Mezzo &
f
Alto & " " Œ ‰ # œj ˙ œ œ3 n œ ˙ ˙ " "

bœ >œ >œ b œ œ # >œ

>œ >œ b >œ b >œ 3> œ # œ > >
œ b œ b œ œ n œ b >œ b œ œ b œ œ b >œ # ˙
œœœ ‰ œ
3
Vln. & ‰ ‰ b œ ‰ œ #œ ‰ Œ ‰ ‰ Œ nœ ‰ ˙
F #
3 3 3
3 5
3 3
? ˙ œ œ œ
3
Vlc. ˙ ˙ ˙ ˙ ˙ ˙ ˙
F #
94 95 96 97 98 99 100
101 102
83
10. Sharks' Teeth
O1
>˙ 3 >œ œ >œ >œ >œ
b˙ nœ bœ bœ
3
Picc. & œ ˙ ˙ 3 œ Œ Œ 2 " " " "

4 4
ƒ # ƒ p P
3 œ Œ Œ 2 " " " " œ #œ œ œ œ bœ
& œ ˙ ˙
3
#œ
3
˙ œ œ ƒ >œ >œ >œ

B. Cl.
4 4
>3> # p 3 P
# >˙ œ œ # >œ >œ >œ
2 Œœ ˙ ˙ œ Œ ˙ œ œ
3
œ
S. Sx. & Œ " " 3 "
4 4
ƒ # p P 3
œ ˙ ˙ œ œ ˙ ˙ œ #˙ œ nœ bœ
& 3 Œ Œ 2 Œ Œ
3
˙ œ œ œ œ œ 4 #
T. Sx.
4
> # ƒ> > > p P
>˙ >œ œ
3
>œ >œ >œ
Tpt. & Œ " " 3 " 2 " " " " " "
4 4
ƒ
>˙ 3 >œ >œ >œ >œ œ
" " " " œ œ œ 4 " " " " Œ œ œ ‰ œ œ œ ‰
3
Perc. ã ˙ œ
3
4
2
ƒ p 3
!
>˙ 3œ>œ ˙ œ
˙ ˙ ˙ œ œ>œ œ>œ œ>œ bœ bœ
& # ˙˙ œœ 3
4
Œ Œ # œœ œœ œœ 2 Œ œ
4
˙ ˙ œ Œ œ œ œ n œ bœ
œbœ œ bœ
ƒ # p
E. Pno. P
? " " " " b œœ œœ œœ 4 " " " " " "
3 2
b ˙˙ œœ
3
4
˙ œ œ œ œ
> > > > >
P F
‰ b œJ œ b œ3 b œ
Sop. & " " " ˙3 œ 3 œŒ Œ
4
" 2 "
4
œœ ˙ œŒ Œ
P F
rem-nants of a time when si - lence reigned,
‰ b œJ œ b œ3 b œ
& " " " ˙œ 3 œŒ Œ " 2 " œœ ˙ œŒ Œ
3
Mezzo
4 4
P 3 F
& " " " b˙ œ 3 Œ Œ " 2 " œ bœ bœ

œŒ Œ ‰ œ
3
4 œ bœ œ b˙ J
Alto
4
. .
# >˙ # >œ œ # >œ # >œ # >œ . bœ œ œ #œ œ #œ#œ #œ
3
#˙ #œ œ #œ ˙ ˙ 3 œ Œ Œ #œ #œ #œ 2 " œ œ œ œ
& n˙ nœ œ " " " ‰ ‰
Vln.
˙ 4 n œœ n œ n œ 4
ƒ # p P
3 3
ƒ
? ˙˙ >œœ œœ Œ œœ >œœ >œœ
3
" " " 2 " " " " œ bœ bœ

3
˙ œ œ
3
œ œ œ ˙
˙ œ
Vlc.
4 4
> > p P
ƒ 105 106 107 108 109 110 111 112 113 114
103 104
84
10. Sharks' Teeth
œ b œ b œ. œ n œ œ œ n œ3 œ̆
Picc. & ˙ œ ‰ œ. œ. œ J #œ. ˙ ˙ 3
4
3 cresc.
b œ œ œ. œ œ b œ b œ œ ‰ # œ b œ >œ ‰ œ >œ ‰ 3
3
3
& ˙ œ ‰ œ œ œ #œ j
3
. . œ œ œ. nœ œ
>
B. Cl.
4
3 cresc. fl 3 3
œ œ œ. œ # œ œ œ . . œ # œ3 œ œ̆
S. Sx. & ˙ ‰ œœ J #œ. ˙ ˙ 3
4
3 cresc.
b œ œ œ. œ œ b œ
˙ œ œ. œ. œ # œ3 œ œ̆ œ .
T. Sx. & ‰ J ˙ ˙ 3
3 4
cresc.
œ b œ b œ. œ n œ œ œ n œ3 œ̆
Tpt. & " œ ‰ œ. œ. œ J #œ. ˙ ˙ 3
4
P3 cresc.
œ œ œ‰ œ œ œ œ ‰ œ ‰ jœ ‰ œ >œ > >

‰ œ œ œ œœ œ 3
3 3
3 3
‰ ‰ œ œ œ œ ‰ œ œ œ
3 3
Perc. ã œ œ œ œ œ œ œ 4
3 cresc.
3 3 3 3
(!) ! !
œ œ œ œ œœ œ œ bœ œ
3 3 3
> >> >3

& œ #œ œŒ œ œ bœ œ
3
œ #œ œ Œ bœ
œ œ œ bœ œ œ œ b œ b œ b œn œb œ œn œ 4
cresc.
E. Pno.
#œ
? " Œ # œ # œ # œn œ #œœ œ #œ œ œ " " " 3
#œ #œ 4
f
œ bœ bœ œ nœ œ œ œ n œ3 œ œ̆
Sop. &œ Œ ‰ œœ J #œ. ˙ ˙ 3
4
f
3 as a shar - - - (ar)(ar)
- - - - - - - - -
com-pact anddanger
- - ous
œ bœ bœ œ nœ œ œ ‰ œ œ œ nœ œ œ̆
&œ Œ J #œ. ˙ ˙ 3
3
Mezzo
4
f
3 as a shar - - - (ar)(ar)
- - - - - - - - -
com-pact anddanger
- - ous
Œ bœ œ bœ œ bœ ‰ œœ œ
&œ bœ œ j 3
3
Alto
œ bœ bœ œ. ˙ ˙ 4
fl -
œ.
3
œ. œ. œ. . b >œ
com-pact anddanger
- - ous
. bœ bœ
as a shar - - - (ar)(ar) - - - - - - - -
œ #œ
œ # œ œ œ œ. œ œ b œ œ. n œ œ b œ œ œ b œ b œ b œ œ œ n >œ >
Vln. & ‰ Œ ‰ ‰ ‰ œœ ‰Œ ‰ nœ ‰ œœ ‰ 3
3 3
5 3
3
3 3 4
cresc. 5 3 3
? œ bœ bœ œ . . j œ # œ# œ
bœ œ bœ ‰ œ œ œ œ3 b œ Œ
3
˙ . bœ œ. œ ˙
3
fl
Vlc.
4
cresc.
115 116 117 118 119 120 121
85
10. Sharks' Teeth
P1
bœ >œ b >œ œ b œ œ >œ nœ
# ˘œ 2 >œ œ œb >œ >œb œ #œ
3
>œ œ b œ œ b œ bœ >œ b œ œ
3
&3 . JŒ Œ ‰ œ ‰ " ‰ ‰
Picc.
4 œ ƒ 4 ƒ
3 3
>œ
3 3 3
3. > > >

Œ 2 ‰ # œJ. ‰ b œ ‰ n œJ ‰ b œ œ ‰ œ œ œ ‰ œ # œ œ œ œ ‰ œ # œ b œ œ ‰ b œ œ œ œ # œ ‰ n œ # œ # œ # œ
3 3 3 3
&3 ‰ Œ
4 b œ >œ
3
> >
B. Cl.
4
ƒ ƒ
3
3 3
3 3
# ˘œ >œ œ œ œ >œ 3.
œ
> >
œ. JŒ2 œ ‰ œ bœ Œ ‰ bœ b œ ‰b œ œ œ œ ‰ J ‰ b œ œ œ "
œ œ œ œ >œ œ
5
&3
3
ƒ 4ƒ >œ >
S. Sx.
4 3
b >œ
3
œ̆ n œ # œ œ # >œ ‰
3
>
3
œ > œ
œ œ ‰ ‰ # œ ‰ b œ œ œ b œ ‰ # œ œ n œ b œ œ ‰ b œ œ ‰ ‰b œ
3
JŒ2 ‰ j
3
œ.
3 3 3 3
&3 œ. #œ œ
> > >
T. Sx.
4 4
ƒ ƒ 3
3
3
>œ
# ˘œ 2 œ œ
3
b œ
3
‰ ‰ œ ‰ œ œ ‰ ‰bœ
3
‰ b œj b œ œ ‰
3
JŒ ‰ œ "
3 3
.
3 3
&3
4 œ ƒ 4 ># œ n œ > >œ >œ b >œ bœ > œ nœ . >
Tpt.
> >
ƒ
3
(crash cymbal)
Œ ‰ >œ Œ 2
mute
ã 3
4 J 4 " " " " " "
ƒ
>œ >œ >œ >œ
Perc. (toms)
œ œ œ œ
3
j j
3 3 3
œ ‰ Œ 4 œ œ œ > œ >œ ‰ œ ‰ œ ‰ œ œ œ ‰ œ œ œ ‰ Œ œœ ‰ œœ ‰ ‰ œ
3 3
ã 3 2
> >
ƒ > > > > >
4
3
3
!
bœ !œ œ 3 œ bœ
> > j 2 œ œ œ œ >œ > > >
œœ œ
3 3 3 3
b œ ‰ Œ b œb œ b œ n œŒ b œ b œn œ Œ
&4 b œ n œ n b flœœ
3
4 > nœ œ > œ> œ> œ> œ œœœ bœ
ƒ ƒ
E. Pno.
˘ >œ
?3 Œ ‰ œœ Œ
# œ œbœ bœ
3
2 bœ Œ bœ bœ œ " " Œ
4 J 4 bœ
ƒ
˘¿ Œ 2 " " " " " "
&3 .
4 œ J 4
Sop.
ƒ
- - - k.
. ˘¿ Œ 2 " " " " " "

Mezzo &3
4 œ J 4
ƒ
- - - k.
˘¿ Œ 2 " " " " " "

&3 J 4
œ.
Alto
4
>
- - - k.
œ œ œœ bœ
b œ >œb œ ‰ œ œ b œ >œn œ >œ ‰ œ >œ ‰ œ œb œ œ>œ b œb >œ ‰ Œ n >œ ‰ œ # œ # œ # >œ ‰ # œ # œ œ œ # >œ
3
&4 ‰ ‰ Œ œ œ n œ œ #œ
Vln.
3 2
4
ƒ ƒ
3
5 3 3 3 5
3
bœ >œ œ œ >œ
3
>œ œ # œ >œ b œ œ
?3 j Œ 2 b œ œ œb >œb œ ‰ œ œ# œ >œ n >œ ‰ " œ ‰ œ #œ œ ‰ œ œ # œ ‰ œ œ
Vlc.
4 œ. œ
fl 4 ƒ
œ
ƒ
3
3 3 5
3
3
122 123 124 125 126 127 128
86
10. Sharks' Teeth
œ # >œ >
# œ # œ # œ >œ b >œ b œ >œ b œ b œ œ œ œ b >œ b >œ b œ
nœ # >œ
3 3
Œ " ‰ nœ œ œ b œ ‰ Œ ‰ nœ
Picc. & 3
b >œ
3 3
b >œ b œ œ #œ > #œ
>
B. Cl. & ‰
bœ Œ bœ œ œ Œ ‰ œ bœ œ ‰ bœ œ œ œ " Œ ‰ œ
3 3 3
3
3
b >œ b œ œ #œ > 3. >

>
‰ œ œ #œ ‰ œ # œ # œ # œ ‰ # œJ ‰ œ œ œ œ ‰ œ œ œ œ œ # œ ‰ œ # œ # œ # œ
3
& bœ œ œ Œ
3 5
œ > >œ >

S. Sx.
3
3 3
b >œ
3
bœbœ
3
‰ b œ œ b œb œb œ ‰ œ ‰
3
& bœ œ bœbœ " œ‰ œœ œ ‰

5 3
T. Sx.
> > 3 œ n œ œ n >œ œ > œ
œ > >œ œ œ > œ œ œ > œ >
3
>œ
bœ ‰ Œ
3
& ‰ bœ œ ‰nœ œ bœ bœ ‰ ‰ œ ‰ bœ œ ‰ bœ œ
3 3
Œ "
3 3 3
Tpt.
> > > > œ œ bœ >
3 > > >
>œ œ œ >œ > œ > >

‰ œ œ œ œJ ‰ œ œ œ œœ
3 3
œ
3
ã œ œ œ ‰œ œ œ œ œ œ ‰ œ ‰ œœ ‰ œ
3 3
> > œ > œ œ œ œ

> > > >
Perc.
5 3 3 5
! !
bœ bœ œ bœ bœ
5 5
œ
3
bœ
& œ œ
bœbœœ œ nœ bœ bœ bœ nœ Œ œ
bœ œ œ
#œ œ
œ
nœ bœ bœ bœ
bœ nœ
Œ
> > >
E. Pno. 3
? " Œ bœ Œ œ Œ œ bœ Œ
bœ > œ â
>
Sop. & " " " " " "
Mezzo & " " " " " "
Alto & " " " " " "
œ # >œ # œ >œ ‰ # œ # >œ ‰ # œ # œ œ œ # >œ n œ >œ > >œ > œ >œ >œ
b œ b œ ‰ b œ b œ œ œ n œ ‰ œ œb œ
Vln. & # œ# œ ‰ Œ œ ‰ Œ
5 3 3 3 5 3
3 3
> > > b >œ n >œ >œ > > b >œ

Vlc.
? bœ œ œ bœ bœbœ ‰ " bœ œ œ bœ bœ ‰ n œ ‰ œ œ# œ# œ œ ‰ œ œ # œ # œ b œ œ œ b œ b œ ‰
3 3
3 3 3
129 130 131 132 133 134
87
10. Sharks' Teeth
Q1 œ >
b œ b œ >œ >bœ œ œ # œ >œ # œ # œ œ >œ > œ > n œ œ. >œ œ b œ b œ œ b œ b œ # œ # œ œ # >œ # >œ œ
œœœ œ
3
Picc. & Œ ‰ Œ # œ ‰ # œ ‰ ‰‰ J ‰ ‰
3 5
3
œ >œ
3
>œ
3 3
œ ‰ œ œ bœ œ œ œ # œ >œ .
3 3 3
œ # œ # œ œ >œ # œ œ ‰ # œ n œ ‰ ‰‰ œJ # œ # œ ‰# œ # œ # œ œ >œ # œ # œ œ # >œ # œ œ ‰

3 5
& ‰ œ œ ‰Œ
3
>
B. Cl.
3
5
3 > > >
b >œ
3
bœ bœ 3 . >
> œ œ # œ >œ # œ # œ œ >œ > œ > n œ œ >œ œ b œ b œ œ b œ b œ # œ # œ œ # >œ > œ
j œ
‰#œ ‰ #œ #œ # œ ‰ # œ ‰ ‰‰ J #œ ‰
& Œ œ‰ ‰
3 3
S. Sx.
. #œ > 3
5
3
b œ œ >œ
3 3
>œ 3 .
>œ
œ ‰œ œ œ # >œ
3
> >
œ ‰ œ œ # œ œ # œ # œ œ œ œ ‰ œ œ ‰ ‰‰ J œ ‰ ‰ b œ
3 3
# œ œ
3
& " #œ#œ œ #œ ‰

T. Sx.
3
5 #œ > > # >œ > >
3 3
3
>œ œ >œ œ 3 œ. >œ # œ >œ œ

& œnœ ‰ Œ " œ ‰b œ œ œ œ Œ ‰ ‰ ‰‰ J ‰Œ Œ ‰
3 3
nœ
> >
Tpt.
3 3 3 3
> œ œ >œ > œ 3 œ œ œ œ > œ

3
œ œ‰ Œ ‰ œ œ‰ Œ œ œ ‰ œ ‰ ‰‰ œ ‰ œœœ > œ ‰
3 3 3
ã œ œ œ œœ > J >œ œ
> > > >
Perc.
3 3 3
3
!
#œ
3
>œ œ >œ œ 3 œ. >œ œ b >œ b œ ‰

& " œœ œ " œ # œ œ n >œ ‰ ‰ ‰‰ J ‰Œ b œ œ b œ b >œ
œ
>
# >œ # œ œ œ # >œ >œ b œ œ
3
œ b >œ œ
3 3 3
b > > >œ œ

? # œ ‰# œ b œ ‰ b œ œ œ œ œ >œ b œ ‰ . >
E. Pno.
œ ‰ ‰‰ œJ b œ œ ‰ Œ #œ#œ œ #œ ‰
3
3
5 > #œ 3
3 3
3
3
Sop. & " " " " " " "
Mezzo & " " " " " " "
Alto & " " " " " " "
bœ œ œ 3 . >
œ
>œ b œ œ b œ >œ œ > b œ œJ # >œ n œ œ # œ # œ œ œ bœ
b >œ ‰
5
b œ ‰ œ b œ ‰ ‰ ‰ œ ‰ ‰‰ ‰ b œ
3
œ bœ œ œ œ b œ
3
& nœ œ œ #œ > œ # œ œ œ œ
> > 3 > 3 > 3
Vln.
5
# >œ # œ # œ œ œ # >œ # >œ œ

3 3
bœ bœ >œ 3 . > > bœ

Vlc.
? # œ ‰ # œ ‰ # œ # œ # œ b œ ‰ b œ œ œ œ œ œ >œ b œ ‰ n >œ b œ ‰ ‰‰ œJ # >œ n œ ‰ œ # œ # œ œ œ b œ œ b œ b >œ b œ ‰
5 3 3
3 3 3
5
3 3
135 136 137 138 139 140 141
88
10. Sharks' Teeth
>œ nœ nœ
œ œ n œ b œ œ œ b œ >œ
œ bœ bœ bœ œ bœ œ
Ú h = h. Æ (q = 168)
bœ œ nœ
>œ >œ # >œ >
Picc. & ‰ ‰Œ ‰ 3 Œ# œ ‰ 2 Œ Œ Œ 3 "
3 4 5 4 3 3 4
#œ #œ #œ
3 3 3
> œ #œ ‰ œ nœ #œ ‰ œ 3 nœ #œ Œ œ
3 3 3
Œ œ b œ ‰b œ b œ œ b œ œ 2 œ ‰
3
& # œn œ ‰ œ œ ‰ Œ# œ œ ‰ 3
3 3 3
B. Cl.
> > > 4 > 4 # œ > # œ œ # >œ œ 3 œ 3 4 œ
>
> bœ bœbœ nœ#œ bœ œ#œ bœ
5
nœ œ # œ n œ œ œ bœ œ
# >œ ‰ >œ ‰ Œ # >œ ‰ 3 Œ# >œ ‰b œ 2 Œ Œ Œ 3 œ
bœ
"
S. Sx. & 4 5 4 3 3 4 # œ
3 3
3 3
>
# >œ œ ‰ >œ œ ‰ Œ # >œ œ ‰ 3 Œ >œ œ ‰ ‰ b >œ œ 2 œ œ ‰ œ # œ # œ n œ # œ # œ# œ ‰ 3 n œ # œ # œ # œ Œ
3 3
& #œ ‰
T. Sx.
4 4 3 # œ # œ # >œ œ œ 4 œ
3 3 3 3 3
>œ œ >œ œ >œ b œ 3 b >œ b œ

3 3
& ‰ ‰Œ ‰ Œ ‰Œ 2 ‰ œj œ # œ >œ œ œ Œ œ œ Œ 3 œ œ "

Tpt.
4 3 4 . #œ #œ 4 #œ
3 3 3
3 3
> œ >œ > œ >

Œ œ œ‰ œ œ ‰ 2 œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ
3 3
ã œ ‰œ ‰Œ œ ‰ 3 œ œœ œ 4
3 3 3 3
Perc.
4 > 4 > > œ
3 3 3 3
œ b œ b œ!>œ !œ # œ !œ # œ !œ
#œ
>b œ >œ > b œ >b œ > > # œœ # œ # œœ # œ 3 # œœ Œ
3 3
& bœ ‰ œ ‰ Œbœ ‰ 3 Œb œ ‰ Œ 2 œ œ# œ
œ œ #œ œ
3 3 3
4 3
4 > > 4
œ œ œ
? >œ ‰ >œ ‰ Œ >œ ‰ 3 Œ ># œ ‰ Œ
E. Pno. 3 3
2 Œ œ œ
œ œ n >œ Œ Œ 3 Œ œ Œ "
3 3 3 4 œ 4 4 œ
3
Sop. & " " 3 " 2 " " " 3 " "
4 4 4
Mezzo & " " 3 " 2 " " " 3 " "
4 4 4
Alto & " " 3 " 2 " " " 3 " "
4 4 4
>œ >
>
>œ œ >œ œ # >œ œ 3 n >œ œ œ œ œ b œ œ 2 n œ œ#œ œ œ#œ œ œ
#œ
œ œ
#œ
œ
Vln. & ‰ ‰Œ ‰ Œ ‰ ‰ Œ Œ 3 "
4 3 5
4 3 3 3
4
3 3 3
> œ 3 > œ œ œ œ b œ >œ 2 >œ bœ bœ

? >œ œ ‰ >œ b œ œ bœB œ ‰? 3 œ bœ œ bœ Œ
3 3
œ ‰Œœ ‰ Œœ ‰ œ ‰ œ œœ œ B ‰ ? œ
> œ œ œ
Vlc.
4 5
4 3 3 4
3 3
3 3 3
142 143 144 145 146 147 148 149
89
10. Sharks' Teeth
R1
n œÚ h. = h Æ (q = 112) bœ œ #œ œ
œ œ bœ #œ œ œ #œ #œ .
œ U 2 œ #œ œ #œ #œ œ œ
& Œ œ œ #œ Œ œ #œ Œ œ #œ #œ Œ
Picc.
4 #œ
p poco cresc.
U 2 #œ #œ
#œ b œ.
n œ # œ #œ #œ #œ
& Œ Œ Œ
4 #œ
œ œ œ # œ# œ œ # œ " œ # œ # œ œ # œ # œ # œ œ œ. b œ œ
œ #œ #œ
B. Cl.
p poco cresc.
œ bœ #œ #œ #œ
#œ # œ U 2 œ # œ# œ œ # œ œ œ œ # œ# œ œ # œ œ œ. b œ.
S. Sx. & œ Œ #œ Œ
œ
œ #œ Œ #œ #œ #œ#œ bœœ
4
p poco cresc.
#Uœ #œ #œ #œ
Œ Œ n œ # œ #œ #œ œ œ #œ #œ #œ œ œ #œ Œ #œ #œ œ œ #œ
& 4 #œ œ # œ# œ œ #œ # œ # œ œ œ. Œ
2
œ #œ
T. Sx.
p poco cresc.
U 2 œ. # œ. b œ. b œ.
& " Ó Œ œ. œ. # œ. œ. œ. œ. Œ bœœ
Tpt.
4 # œ. œ. # œ. œ. œ. # œ. œ.
p poco cresc.
U
ã œ œ œ œ œ œ 2 œœœœ œœ œ œœ œœ œ œ œ
œ œ œ œœ
œ œ œœœ œ œ œ œ œ
3
Perc.
4 œ œ œ œ œ œ
p cresc.
!œ œ !
#œ U bœ œ œ b œ b œ œ.
œ
#œ 2 Œ nœ œ œbœ œ œbœ œ œ bœ
& Œ #œ œ œ œ œ œ œœ œ œ# œ œ # œ œ n œ. bœ
4 œ
p poco cresc.
œ œ. Œ
E. Pno.
?œ Œ Œ U 2
œ
Ó Œ
4
" " " Œ œ œ œ. œ œ
U 2
Sop. & " Ó Œ " " " " "
4
U 2
Mezzo & " Ó Œ " " " " "
4
U 2
Alto & " Ó Œ " " " " "
4
œ bœ œ œ #œ œ œ œ
bUœ œ œœ bœ
œ œ bœ œ 2 #œ œ bœ œ œ Œ œ Œ bœ Œ
Vln. & #œ 4 œ œ # œ œ œ. Œ
p
Uœ
poco cresc.
b œ œ œ .
Vlc.
? Œ Œ bœ œ 2 # œ œ œ œ# œ # œ # œ Œ œ # œ# œ
#œ Œ œ # œ# œ # œ œ
œ
œŒ œ œœ œ Œ
4
p poco cresc.
150 151 152 153 154 155 156
90
10. Sharks' Teeth
S1
# œ # œ # œ œ. œ œ # œ œ. œ œ # œ >œ œ œ œ >œ œ œ # œ >œ œ œ œ >œ œ œ # œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ
Picc. & Œ Œ
P
5 5 5 5
œ. #œ#œ œ#œ œ œ œ œ œ œ #œ#œ œ#œ œ œ œ œ œ œ

& Œ œ # œ# œ # œ# œ Œ
# œ # œ œ >œ œ œ œ
œ #œ # œ œ # œ œ œ œ œ
#œ > > >
B. Cl.
P
5 5 5 5
b œ. œ. œ. # œ # œ # œ >œ œ œ >œ # œ # œ >œ œ œ >œ # œ # œ œ œ œ œ œ œ # œ # œ œ œ œ œ œ œ

œ #œ œ #œ œ #œ œ
S. Sx. & bœ œ Œ # œ# œ œœ
P
5 5 5 5
> # >œ >œ #œ œ œ œ œ œ œ #œ#œ#œ#œ œ œ œ œ œ œ

#œ #œ œ # œ# œ œ œ # œ # œ # œ œ œ œ # œ # œ # œ
T. Sx. & bœ œ bœ bœ #œ œ œ œ
# œ# œ œ . œ œ œ . # œ # œ œ >
P
5 5 5 5
>œ >œ >œ >œ

œ. # œ. # œ # œ >œ œ œ >œ # œ # œ >œ œ œ >œ # œ # œ œœ #œ #œ œœ
Tpt. & Œ !
P
œ œ œ œ œ œ >œ œ œ >œ œ >œ œ œ >œ œ >œ œ œ >œ

ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ
3
œ œœ œœ
> >
Perc.
3 3
P
5 5 5 5
œ bœ . œ #œ #œ œ œ #œ #œ œ œ
#œ#œ œ#œ œ œ œ œ œ œ
b œ œ. # . œ bœ . œ œ .
œ # >œ >œ # >œ >œ
œ # œ œ œ œ œ
& œ bœ œ #œ#œ œœ
P
5 5
. .
? œ œ œ œ. Œ
5 5
œ œ b œb œ œ œ œ œ
E. Pno.
œ œ œ œœœœœ
5 5 5 5
œ œ œ œ
#œ#œ œ > œ œ œ > #œ#œ œ > œ œ œ > #œ#œ œ œ œ
œ œ œ #œ#œ œ œ
Sop. & ! ! ! ! ! !
Mezzo & ! ! ! ! ! !
Alto & ! ! ! ! ! !
œ >œ >œ œ bœ œ œ œ œ œ œ œ bœ œ bœ œ œ œ œ œ
œ # œ. # œ œ œ œ # œ œ œ. œ œ œ œ. n œ œ b œ b >œ œ œ œ >œ n œ œ b œ œ œ œ œ œ b œ
Vln. & # œ# œ
P
5 5 5 5
. œ . . > > > > bœ œ bœ œ

Vlc.
? b œ œ œ b œ# œ œ n œ # œ# œ # œ œ œ œ œ œ n œ n œ œ œ œ œ œ œ n œ n œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
P
5 5 5 5
157 158 159 160 161 162
91
10. Sharks' Teeth
œ œ œ œ œ œ
accel.
œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ # œ >œ œ œ œ >œ œ œ œ bœ œ œ œ œ œ œ
Picc. & 6 6 6 6 6 6
molto cresc.
œ œ œ œ œ œ
#œ #œ #œ œ #œ œ œ œ œ œ #œ #œ #œ œ #œ œ œ œ œ œ #œ #œ #œ œ #œ œ œ œ œ œ
& #œ #œ œ #œ œ œ œ œ
> >
B. Cl.
6 6 6 6 6 6
molto cresc.
œ
#œ #œ œ #œ œ œ œ œ œ œ
œ œ
œ # œ # œ # œ >œ œ œ œ >œ œ
œ
S. Sx. & 6 6 6 6 6 6
> >
molto cresc.
œ œœœœœ œ œœœœœ œ œœœœœ

#œ #œ #œ #œ #œ œ #œ #œ #œ #œ #œ œ #œ #œ #œ #œ œ œ œ œ #œ #œ #œ #œ #œ œ
T. Sx. & 6 6 6 6 6 6
molto cresc.
>œ >œ
œ œ bœ bœ nœ œ œ œ bœ nœ œ œ bœ bœ nœ œ œ œ bœ nœ #œ #œ œœ œ œ bœ bœ nœ œ œ œ bœ nœ
Tpt. &
5 5 5 5 5 5
molto cresc.
œ >œ œ >œ œ >œ œ >œ œ >œ œ œ >œ œ >œ œ >œ

Perc. ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
5 5 5 5 5 5
molto cresc.
# # œ>œ œ>œ œ>œ œ>œ

#œ œ œ œ # # œ>œ œ>œ œ>œ œ>œ # # œ>œ œ>œ œ>œ œ>œ # # œ>œ œ>œ œ>œ œ>œ
& #œ œ œ œ #œ œ œ œ #œ œ œ œ
molto cresc.
E. Pno.
?
# # œœœœ œœœœ œœœœ œœœœ # œ # œ œ >œ œ œ œ >œ # œ # œ œ >œ œ œ œ >œ # # œœœœ œœœœ œœœœ œœœœ
> > > > > > > >
Sop. & ! ! ! !
Mezzo & ! ! ! !
Alto & ! ! ! !
bœ œ bœ œ > > bœ œ
œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ nœ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ
Vln. & 6 6 6 6 6 6
molto cresc.
bœ œ bœ œ > > bœ œ
? œ œ œ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ nœ nœ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ
Vlc.
6 6 6 6 6 6
molto cresc.
163 164 165 166
92
10. Sharks' Teeth
œ œ œ œ œœœœ œ œ bœ œ œ œ œ œ œ œ œ œ
œ œ#œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ bœ œ œœ œ œ œ œ
Picc. & 6 6 7 7
5 5
# œ # œ œ # œ œ œ œ œ œ œ œ# œ # œ # œ œ # œ œ œ œ œ œ œ œ œ œ# œ # œ# œ œ # œ œ œ œ œ œ œ œ œ > # >œ
& #œ #œ œ
> >
B. Cl.
5 5
7 7 7 7
# œ # œ # œ œ œ œ œ œ œ œ # >œ # >œ >œ # >œ # >œ >œ # >œ # >œ >œ

# >œ # >œ # >œ
S. Sx. &
5 5
œ œ œ œ œ œ œ œ
# œ # œ # œ # œ œ œ œ œ # œ# œ # œ # œ # œ # œ œ œ œ œ œ œ # œ # œ # œ # œ # œ œ œ œ œ œ #œ #œ #œ #œ œ œ œ œ
T. Sx. & 5 5 6 6 5 5
7 7
>œ >œ
#œ œœ œ œ bœ bœ nœ œ œbœ bœ nœ œ œ bœ bœ nœ œ œ œ bœ nœ œ œ bœ bœ nœ œ œ œ bœ nœ
Tpt. & #œ
5 5 5 5 5 5
>œ >œ >œ >œ >œ >œ œ >œ œ >œ

Perc. ã œ œ œ œœœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
5 5 5 5
5 5
# # œ>œ œ>œ
#œ œ # # œ>œ œ>œ œ>œ œ>œ
& #œ#œ œ#œ œ œ œ œ œ œ #œ #œ œ #œ œ œ œ œ œ œ #œ #œ œ #œ œ #œ œ œ œ
5 5 5 5 5
E. Pno.
?
# œ # œ œ œ œ œ œ œ œ œ # œ # œ œ œ œ œ œ œ œ œ # œ # œ œ œ œ œœœœ
5 5 5 5 5
œœœœ # œ # œ œ >œ œ œ œ >œ

> >
Sop. & ! ! ! !
Mezzo & ! ! ! !
Alto & ! ! ! !
œ œ bœ œbœ œ œ œ œ œ œ œ œ bœ œ bœ œ œ œ œ œ œ œ œ œ œ bœ œ bœ œ œ œ œ œ œ œ #œ œ œ œ œ bœ œ nœ#œ œ œ œ œ œ œ nœ
Vln. & 5 5 6 6 7 7
bœ œ bœ bœ nœ œœ œ œ bœ bœ nœ œ œ œ œ bœ bœ nœ œ œ œ œ œ bœ nœ
? œ œ œ œ œœœœ œ œ œ œ
Vlc.
# œœ œœ œœ œœ
5 5 7 7 7 7
> > > >
167 168 169 170
93
10. Sharks' Teeth
T1
> >œ > > >
# >œ # œ # >œ >œ
q = c 120
>œ >œ > >œ >œ > >œ >œ >œ > >œ # >œ # œ # >œ >œ # >œ # œ # >œ >œ
# >œ œ # >œ œ J ‰ #œ #œ >œ b >œ > b >œ
Picc. & œ
Î
> >
> # >œ > # >œ >œ > # >œ >œ # >œ > b >œ >œ # >œ > >œ >œ # >œ > >œ # >œ œ # >œ >œ # >œ œ # >œ >œ
& #œ #œ œ œ ‰ œ œ œ
B. Cl.
> > J # >œ # >œ œ
Î
> > # >œ > > > >
# >œ # œ # >œ >œ > >
# >œ œ œJ # œ # >œ œ # >œ # œ # >œ >œ # >œ # œ # >œ >œ # >œ # œ # >œ >œ > >œ b >œ > b >œ
S. Sx. & ‰ # >œ # œ # >œ >œ œ
Î
>
# >œ # >œ # >œ # œ # >œ # >œ >œ # >œ # >œ # >œ # >œ b >œ >œ >œ n >œ >œ >œ > # >œ >œ # >œ > # >œ
J‰ >œ >œ > # >œ >œ >œ > # >œ #œ
T. Sx. & œ œ #œ
Î
>œ >œ >œ >œ n >˙ ˙ ˙ ˙ ˙
& #œ#œ œœ #œ#œ J ‰ "
Î
Tpt.
> > > > > >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ
ã œœ œ œœœ œ œ œ œJ ‰ œ œ
œœ œœ œœ œ œ œ œ
>>>>
Perc.
Î
!
5 5 5
# # œ>œ œ>œ œ>œ # # œ>œ œ>œ œ>œ œ>œ # # œ>œ œ>œ œ>œ œ>œ # # œ>œ œ>œ œ>œ œ>œ # # œ>œ œ>œ œ>œ œ>œ # # œ>œ œ>œ œ>œ œ>œ # # œ>œ œ>œ œ>œ œ>œ
# # œ>œ œ>œ œ>œ œ>œ # œ œ œJ ‰ # œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œ œ # œ œ œ œ
& #œ œ œ œ
E. Pno.
Î
? j
# œ # œ œ >œ œœœœ œœœœ # # œœœœ œœœœ œœœœ ‰ # # œœœœ œœœœ œœœœ œœœœ # # œœœœ œœœœ œœœœ œœœœ # # œœœœ œœœœ œœœœ œœœœ # # œœœœ œœœœ œœœœ œœœœ # # œœœœ œœœœ œœœœ œœœœ # # œœœœ œœœœ œœœœ œœœœ
> > > > > >>>> >>>> >>>> >>>> >>>> >>>>
Sop. & " " " " " " " "
Mezzo & " " " " " " " "
Alto & " " " " " " " "
œ œ bœ œ bœ œ œ œ œ œ b >œ >œ >œ >œ >œ b >œ >œ >œ >œ b >œ >œ >œ >œ b >œ >œ >œ >œ b >œ >œ >œ >œ b >œ >œ >œ >œ b >œ >œ
J‰
Vln. &
Î
5 5
>
? nœ nœ œ œ œ œ j‰
Vlc.
#œ œ # œœ œœ œœ # œœ œœ œœ œœ # œœ œœ œœ œœ # œœ œœ œœ œœ # œœ œœ œœ œœ # œœ œœ œœ œœ # œœ œœ œœ œœ
> > > > > >>>> >>>> >>>> >>>> >>>> >>>>
Î
171 172 173 174 175 176 177 178
94
10. Sharks' Teeth
U U1 Half tempo q = 56
>œ b >œ >œ >œ >œ b >œ # ˘œ
molto rit.
>œ b >œ U J‰Œ
#˙ ˙ œ. #˙ ˙
Picc. & # # # # ‰
f %
> > U
# >œ œ >œ # >œ œ >
# >œ œ
& # >œ U
# ˙ ˙ ˙ ˙ # # # # #
%
B. Cl.
U
>œ b >œ >œ >œ >œ b >œ
>œ b >œ U
S. Sx. & # # # # # # # # # #
U
n >œ # >œ > >œ # >œ >
# >œ # œ # >œ # œ U
# # # # # ˙ ˙ œ. ‰ ˙ ˙
&
%
T. Sx.
U + o
Harmon mute till end
+ o + + o
Tpt. & # # # # # # # b˙ ˙ ˙ ˙ œ. ‰ ˙ b˙
%
Crash cymbal
Large tam-tam (soft mallet) (drum stick)
˙ œ >œ U >œmute
‰Œ ˙ ˙ ˙ ˙ œ. ‰ ˙ ˙
to tam-tam Large tam-tam (soft mallet)
ã # # æ æ # J # æ æ æ æ æ æ æ
$ Î f % P % P % P
Perc. to vibraphone
U take up yarn malletVibraphone (yarn mallet)
ã # # # # # # #& b˙ ˙ ˙ ˙ œ. ‰ ˙ ˙
p
(") U
# # œ>œ œ>œ # # œ>œ œ>œ # # œ>œ œ>œ # # œ>œ œ>œ #˙ ˙ ˙ ˙
#œ œ #œ œ #œ œ #œ œ U
& # # # # # #
%
U
E. Pno.
? U
# # # # # # # # # #&
# # œœœœ œœœœ # # œœœœ œœœœ # # œœœœ œœœœ # # œœœœ œœœœ
> > > > > > > >
!
P p
U
& # # # # # # # # # # # Œ ‰ œj œ
3
Sop.
nœ œ b˙
p P
a bit of a tail
U
Mezzo & # # # # # # # # Œ ‰ b œj ˙ ˙ # # #
Some - times
U
Alto & # # # # # # # # # # # # # #
U
>œ >œ b >œ >œ >œ >œ b >œ >œ
U
Vln. & # # # ·˙ ·˙ ·˙ ·˙ # # # # #
%
U U
? # # # # # # # # # #
Vlc.
# œœ œœ # œœ œœ # œœ œœ # œœ œœ
> >
179
> >
180
> >
181
> >
182
183 184 185 186 187 188 189 190 191 192
95
10. Sharks' Teeth
˙ œ. œ œ #œ œ œ œ œ œ œ œ œ œ #œ œ œ œ #˙
Picc. & ‰ " " J‰
# $ #
5 5 5
œ bœ
bœ œ bœ œ
& œ œ #œ œ œ œ œ œ œ œ #œ œ J ‰ ˙ ˙ ˙ ˙ Œ œ œ#œ
#
B. Cl.
# 5 5 5 $ # 5
#œ nœ œ
S. Sx. & " " " " " " Œ œ œ
# 5
T. Sx. & ˙ ˙ " " " " ˙
+ + o + +
& ˙ œ. ‰ ˙ ‰ ˙
Tpt.
˙ ˙ œ.
ã æ˙ œ. ‰ ˙ ˙ ˙ œ. ‰ ˙
æ æ æ æ æ æ
Perc.
# P #
& ˙ œ. ‰ ˙ ˙ ˙ œ. ‰ ˙
!
œ œ œœ œœœœœœ œ œ œœ œ œ œ œ œ bœ œ œ nœ œ bœ œ œ nœ œ bœ œ œ œ #œ œ
loco
& J‰ " " J ‰ Œ#œ #œ

# $ # $ #
5 5 5 5 5 5 5
# œ œ œ œ œ œ #œ œ œ œ # œ œ œ œ œ œ #œ œ œ œ œ œœ
J ‰ Œ#œ #œ
E. Pno.
#œ œ œ œ #œ œ J‰ " " #œ œ œ œ #œ œ
&
5 5 5 5 5 5 5
Sop. & " " " " " " "
P p
& " Œ ‰ œj œ n œ " " "
3
œ ˙
Mezzo
p
or fin can still
& " " " " " Œ ‰ j ˙

Alto
œ
be sensed
œ œ bœ œ bœ œ œ œ œ œ œ œ bœ œ bœ œ
Vln. & J ‰ # # ·˙ ·˙ ·˙ ·˙ "
# $ #
5 5 5
œ œœ
Vlc.
? " " " "B œ œ œ œ b œ œ œ œ œ œ œ œ œ œ b œ œJ ‰ Œ # œ # œ
# 5 $ #
5
5 5
193 194 195 196 197 198 199
96
10. Sharks' Teeth
˙ ˙ œ ˙ ˙ # œ œ3 œ ˙ ˙ ˙
Picc. & Œ "
n
œ #œ œ bœ œ œ œ œ œ œ
B. Cl. & œ Œ " " " " " " " "
5 5
#
œ #œ œ nœ œ œ #œ œ nœ œ œ
Œ " " " " " " " "
S. Sx. &
5 5
#
T. Sx. & ˙ ˙ œ Œ b˙ ˙ ˙ ˙ ˙ ˙ "

n
o + + o
& ˙ œ œ œ Œ ˙ ˙ #œ œ bœ
"
3
˙ ˙ ˙
Tpt.
ã æ˙ ˙
æ
œ Œ
æ
˙
æ
˙
æ
˙
æ
˙
æ
˙
æ
˙
æ "
Perc.
P $ $ n
& ˙ œ œ œ Œ "
˙ ˙ ˙ ˙ ˙ ˙
p
(!)
#œ #œ œ #œ œ œ œ œ œ œ œ
& Œ " " " " " " " "
#
5 5
œ œ œ
#œ #œ œ œ œ œ œ œ
E. Pno.
& Œ " " " " " " " "

5 5
Sop. & " " " " " " " " " "
Mezzo & " " " " " " " " " "
P p P $
Alto & œ Œ Œ œ œ Œ "
in ˙ ˙ ˙ ˙ ˙ ˙
parks.
Vln. & " " " " " " " " " "
œ œ œ œ œ œ œ œ œ
B #œ #œ Œ " " " " " " " "
#
Vlc.
5 5
200 201 202 203 204 205 206 207 208 209
97
V1 Meditative, calm, warm h = 54

b·. · ‚. b ‚. b‚ ‚. b ‚. b‚ · · b ‚ ‚ œ. œ .
1
· . · ‚ . .
b œ ‚J ‰ Œ Ó Œ ‚ ‚ .b œ. ‚‰Œ Ó Œ ‰ ‚J · · Œ ‰ ‚ ‚ œ. ‰
Tenor Sax. &2 Œ
2
J J J J
" F" " F" " F" "
F
+ b +œ + b +œ + +
b +˙ . ˙ +. b +œ .
œ œ b +˙ . œ b œ +œ b +œ ˙ œ b +˙ . ˙ b +˙ ˙. œ ˙ b œ. +œ b œ +œ
Œ J J
S
o
& 2
2
u
n
j
b˙. ˙ j
œ bœ. œ b˙. œ œ bœ ˙ œ b˙. ˙ b˙ ˙. bœ ˙ b œ n œ- b œ œ
d
# œ bœ
i
n
& 2 Œ b˙. ˙ bœ. œ b˙. œ # bœ ˙ œ b˙. ˙ b˙ ˙. ˙ œ œ
2 b œ. bœ bœ n œ.
g
œ bœ œ bœ ˙ ˙. bœ œ bœ b œ. œ- b œ œ
Prepared
Piano
b˙. ˙ œ. b œ . œ b˙. œ b˙. ˙ b˙ ˙
&2 Œ J J
2
" p " p " P "
P
l
a
r
˙ œj b œ .
y
&2 Œ b˙. œ b˙. œ # œ bœ ˙ œ b˙. ˙ b˙ ˙. # œ bœ ˙ jn œ- # œ

e
.
d
2 b œ.
Soprano &2 ! ! ! ! ! ! ! !
2
tremolo sim.
b œ. b œ. b œ .b œ.
light uneven tremolo
b˙. bw b˙. b˙ ˙
flautando sempre
B 2 Œ b˙. bw bœ ‰ Œ Ó Œ b˙. bœ ‰ Œ Ó ! b˙ ˙ bœ. œÓ

J J J
Viola
2
" P " P " P
1 2 3 4 5 6 7 8
98
œ.. œ. . b ‚. ‚ · œ. œ. œ. .
jœ ‰ ‰ œ jœ ‰‰ . b·.
Œ ·. ‰. ‚ ‰ ‚ · j jœ
T. Sx. & œ. œ. œ œ. Œ ‰ œ- œ
F# F# # F # F # F#
!+ +. +œ + !+ +
œ +œ
+
b œ. +œ . œ +œ +œ b œ b +œ- œ œ +œ +œ + b +œ + b +œ . +œ +
+œ œ œ b +œ b +œ +œ . +. +
œ œ.
!+ + +
œ œ œ b œ. b +œ- +œ +œ
S & J J J J J J œ Œ œ J J
o
u
r
n
j r bœ. j
bœ œ. bœ b˙. œ œ bœ nœ. œ œ. bœ
d
œ œ ˙ œ œ ˙ œ
$ œ bœ. ‰ œ œ
i
n
& œ œ œ. ˙ ‰ $ œ œ b˙. œ $ œ. œ. ˙ ‰ $ œ
œ. œ- R bœ œ nœ œ. œ- R
g
! !
œ œ b œ. œ . œ œ œ b œ. b œ- œ œ œœ œœ bœ bœ. œ œ œ b œ b œ œ . œ. œ . !œ œ œ b œ. b œ- œ œ
Pno.
J J J J J J Œ œ œ J J
&
p P # P#
P
l
b ˙.
a
r r
$ œr b œ .
y
& œ œ jœ . ˙ ‰ $ œ œ b b ˙˙ .. ‰œœ œ $ r œ. jœ. ˙ ‰ $œ

e
d
b œ. b œ- bœ œ. b œ-
# F #
Sop. & " " " ‰ bœ. ˙ bw "
the bird
b˙.
Vla. B ˙ Œ ‰ œj w Œ b˙. " Ó ‰ œ. œ. ‰ Ó
# # F #
9 10 11 12 13 14
99
W1
œ. . œ ˙ œ. œ. œ ˙
j œJ ‰ b‚. · Úq=qÆ
j ‰
T. Sx. & œ. œ. ‰ ‰ ‚. · Œ ˙. 2 ˙ 2
4 2
F# F# F f #
!+ + +œ + ! + b +œ + + + !+. +. +. b +œ !+. +. +. b +œ +
+œ œ +œ b œ. b +œ- œ +œ œ b œ +̇ b œ. b œ +œ ˙
+-
œ œ œ œ +œ b +œ œ œ œ œ +œ b œ ˙ ˙
S & J J Œ 2 2
o 4 2
u
r
n
bœ œ. bœ ˙ bœ œ- b˙ œ œ œ bœ ˙ ˙
d
˙ œ œ ˙
‰ œ œ ‰ œ bœ
i
n
& ˙ ‰ " œ œ. " ˙ " œ ˙ œ b˙ œ œ ˙ 2 ˙ 2
œ- R œ œ. bœ bœ 4 2
g
! œ b œ. b œ- œ ! !œ. œ. œ. b œ !. . . b œ
œ œ œ bœ bœ ˙ b œ. b œ œ ˙ œ- œ bœ œ œ œ œ œ bœ ˙ ˙
Pno.
œ œ J
& J Œ 2 2
4 2
p P f #
P
l
b˙
a
r
y
& ˙ ‰ " œ œ. " r ˙ "œ ˙ œ- b b ˙˙ ‰œ œ œ œ ‰ œ bœ ˙ 2 ˙

e
d 2
b œ- bœ b œ. 4 2
P F # F
˙ œ ˙.
Sop. &Ó b˙ ˙ bw $ 2 Œ bœ 2
4 2
walks down the beach a-
œ. œ.
bœ. ˙
ord. with more intensity
B ˙ j j ‰bœ. ˙ Ó Œ bœ 2 ˙
Vla. œ w œ ˙ 4
2
2
F# F # f #
15 16 17 18 19 20
100
Úq=qÆ
b· w w ‚
2
&2 · $ $ Œ ‰ œj Œ ‚
#.
T. Sx.
2
F #
!+. +. +. +. +. + !+. +. + !+. +. + + !

œ œ œ œ œ b œ. " b +œ. œ œ b œ. b +˙ .
!+.
b œ " b +œ œ œ œ b œ. b œ +
œ . b œ. n +˙
+
b œ. +̇
+œ +
œ ˙
+œ +
œ
& 2 ‰ J ‰‰ ‰ J ‰ J bœ œ ˙ ‰ bœ œ
J
S
o 2
u
n
j j j
˙ œ bœ bœ œ œ bœ b˙. œ bœ bœ œ œœœ œ. bœ n˙ bœ ˙ œ œ bœ œ
d
i ˙
n
& 2 ˙ Œ bœ œ b˙. bœ œ Œ œ œ. ˙ ‰ ˙ œ ˙ ‰ œ
2 b œ. œ bœ œ b œ. œ œœ n œ. n œ. œ œ
g
!œ. œ. œ. œ. œ. . . !œ. œ. . !. b œ œ !œ. œ. . b œ !

bœ bœ b˙. œ . b œ. n ˙ b œ. ˙ œœ œœ
Pno.
&2
2 ‰ J ‰‰ bœ " bœ "
‰
bœ J ‰J bœ œ
˙
˙ ‰bœ œ
P
l
J
a
y
&2 ˙ Œ œ. b œ b œ œ œ bœ b˙. œ. b œ b œ œ Œ œœœ œ. j ˙ ‰ j˙ œ ˙ ‰ jœ

e
d
2 b œ. b œ. œ bœ
# F F F p
bw $ $ Ó ‰b œ . b œ . œ ˙ ˙ Ó
Sop. &2
2 J
long the glazed edge
bw w flautando
Vla. B2 w w $ $ ‰bœ. ˙ œŒ Ó
2 F # # F
21 22 23 24 25 26
101
Ú. q = q Æ
‚ ‚ ‚ ‚. · Úq=qÆ
œ
& ‚ ‰ œj Œ ‰ ‚J ‚ ‰ œj ‰ ‚ . · j
œ. Œ
j2
œ. 4 Œ ‰ J 2 w w 2
. .
T. Sx.
2 4
F" F " F " F "
(!) +. +
œ œ
+œ +œ + +œ . +̇ + + œ+ b +œ + œ+ œ+ +
b œ. ‰ ‰ œ.
loco
œ œ œ. œ œ w
& œ ‰ bœ œ ‰ bœ œ ‰ œ. 2 # 2 2
J J
S
o 4 2 4
u
n
j j
bœ ˙ bœ œ œ. ˙ n œ. œ. bœ œ. œ œ
d
i œ œ w
& œ ‰ ‰ œ ‰ œ ‰ ‰ œ
2 # 2 2
œ+ œ œ . œ œ+ œ œ w
n
œ. ˙ œ œ. ˙ 4 2 4
g
(!) œ bœ œœ
œ. œ œ œ œ œ. ˙
b œ. ‰ ‰ œ. œ.
Pno.
œ œ œ w
loco
& œ ‰ b œJ œ ‰ bœ œ ‰ œ. 2 # 2 2
P
l
J 4 2 4
a
y
& œ ‰ j ‰ jœ ‰ n œ. ‰ ‰ œ. 2 # œ. œ œ œ w
e
2 2
2 œ bœ
d
b œ. ˙ bœ œ. ˙ 4 œ 4
P F f P p
œ. œ ˙ 2 Œ ‰ b œJ 2 w
Sop. & ‰ bœ. J Ó Ó b˙
4 2
# 2
4
the last wave reached his
œ. œ œ.
B Ó Œ ‰ b œœ ˙
˙ ‰ J Ó 2 # 2 Ó Œ bœ w 2
J "
Vla.
" F " F
4 2
"
4
27 28 29 30 31 32
102
X1 Energetic and precise q = 120

œ. >œ œ. ˙
Úq=qÆ
bœ j > . . . œ. ‰ œ.
&2 Ó 4 œ. . ‰ ‰ n œ 2 b œj‰ œJ ‰ 4 œ. . ‰n œ Œ ‰ œJ Œ œJ ‰ 2 ‰ b œj ‰n œj 4 b œ. Œ b˙.
T. Sx.
4 4 #œ . 4 . 4 #œ 4 . . 4 J
F F ! F !
F ! F!
+ + + + +. +
b œ. œ. œ. b œ. œ. œ b œ. œ. b œ.
˙ œ œ. Ó b œ œ. 2
& 2 4 ‰ bœ ‰ œ Œ ‰b œ 2 " 4 ‰ bœ ‰ œ Œ Œ Œ ‰ bœ 4 bœ bœ.
J ˙ Œ b b b ˙˙˙ ...
J 4 œ œ 4 J
S
o 4 4 4 4
u
n
+ œ. œ. œ. œ. b œ.
d
˙ ?œ
‰ œ bœ ‰ œ J 2
j ‰ œ bœ œ #œ ‰ Ó ‰ œœ œ ‰ J J œ. ˙ Œ b˙.
i
& 2 ˙
4 œ ‰ Œ 4 ?‰
œ. # œ. ‰ 2 4
bœ. ˙
n
&
g 4 4 œ. b œ. œ. 4 œ. 4 œ. b œ. œ. . #œ 4 4
# œ.
Pno.
˙ b œ. œ. b œ. œ. œ. b œ. b œ.
&2 4 ‰b œ ‰ œ Œ ‰œ. 2 " 4 ‰ b œ ‰ œ Œ œ b œ. Ó Œ b œ b œ. 2 Œ ‰ œJ. 4 b œ œœ ..
J ˙˙ Œb n ˙˙ ..
4 4 J 4 4 4 4
F! F
P
F F! F ! !
l
œ. œ. œ. œ. b œ.
a
œ
4 ‰ b œ ‰? œ J 2 œ ‰ Œ & 4 ‰ b œ ? ‰ œ # œ ‰ Ó
j ‰ œœ ‰ 2 œ ‰ J J œ. ˙ Œ b˙.
y
&2 ˙
e
4
4 œ œ. b œ 4 œ œ. b œ œ. # œ. . #œ 4 bœ. ˙
d
4 4 œ 4
. . . . . # œ.
f
F bœ œ.
b >œ Œ ‰b œJ 2 œ >¿ ‰ 4 Ó > 2 ‰ b œj ‰ j 4 b œjb œ . ˙ Œ >¿
Sop. & 4 Œ‰ J 4
2
4
Ó
4 J 4 b˙ œ ¿J ‰ Ó 4 . œ. 4 J
his his ea - ch ste - p makes a per - fect stam - p
.
b œord. œ. > b œ. b >œ
J J . b œJ 4
œ J b œ j b .
œ b œ
bœ
. . J 4 J
œ b˙.
B 2 ˙ 4 Œ ‰ ‰ œ 2 J ‰ ‰ Œ ‰ ‰ . ‰ Œ œ. ‰ ‰ . 2 œ ‰ œ. ˙ Œ &
Vla.
4 4 ! 4 4 ! n œ. bœ 4 4
P F F F !
33 34 35 36 37 ! 38 39 40
103
œ^
Stopping suddenly h = 54
˙ ˙.
slap tongue
˙ ˙
‰ œj
ord.
& Œ ‰ JÓ " 2 w ˙ Œ ˙. Œ 4
senza vib.
T. Sx.
2 ˙ œ
#
4
f
+ +̇ + + +̇ + +
+˙ j j
!^ w+ +˙ ˙ œ #˙. œ #œ w
œœ w ˙ ˙ ˙ œœ œ. ‰ œ ˙ œœ œ. ‰ œ w
& Œ ‰ J Ó " 2 J.
+ +
J
+ J. +
J
+
4
+
S
o 2 4
u
n
d
? Œ ‰ ^j Ó ww ˙˙
i
n
bœ " &
2 ˙ ˙ œ œ+ . œ œ œ+ ˙ œ œ+ . œ œ œ+ w 4
g 2 w ˙ # ˙+ # œ+ # œ+ # œ+ œ+
4
œ
j j
!^ w ˙ ˙ ˙ ˙ œ #˙. ˙ œ #œ w
œœ ˙ œœ œ . œœ œ . ‰
Pno.
˙ ‰ œ ˙ œ w
& Œ ‰ JÓ " 2 w ˙ J. J J. J 4
2 4
f #
P
l
a
? Œ ‰ ^j Ó 2 w ˙ ˙ œ œ. œ œ ˙ œ œ. œ œ œ
y
" ˙ œ w
e
4
bœ &
2 w ˙
d
4
œ #˙ #œ #œ #œ œ
p
Sop. & " " 2 Ó n˙ ˙ ˙ ˙ Y Y " " 4
2 4
small - i - sh
œ^
arco
˙
pizz.
senza vib.
J ˙ ˙
& Œ ‰ Ó " 2 " B
˙ w " " 4
f #
Vla.
2 4
41 42 43 44 45 46 47 48
104
Energetic again q = 120 œ^ Slowing again h = 54

˙ œ œ. œ^
slap tongue
œ œ . œ. œ.
slap tongue
j J J b œ œJ. b œJ ‰ bw Ó ‰ JŒ
˙ J ‰Œ Ó
ord.
# Œ
ord. vib.
2 w ˙
senza vib.
& 4 œ #œ
4
>"
T. Sx.
2
f F " f " f
+ +˙
b +œ +œ
œ b œ. !^
œœ w+ +˙ !^
œœ
w ˙ ˙
& 4 ‰ bœ ‰ ‰ œ bœ bœ bœ.
J œ . ‰ b b b www Ó ‰ J Œ # 2 #˙ œ œ
# ˙˙˙ œœœ œœœ Œ
J ‰Œ Ó
J
S
4 2
+ +.
o
u
n
+ œ. b œ.
d
‰ œ b œ œj ?œ J œ. œ. ‰ ^ ww ˙˙ ^j
œ J
i
& 4 bw Ó ‰ jŒ # 2 ˙ Œ ? ‰Œ Ó
bœ. œ. œ
n
œ &
œ b œ. œ œ w ˙ # ˙˙+ œœ œœ
4 2
# ˙+
g
> œ +. #œ
bœ œ b œ. !^ w ˙ ˙ !^
œœ œœ
Pno.
b œ 2 w ˙ ˙
&4 ‰ ‰ ‰ œ œ. b œJ œœ .. œœ .. ‰ nw
bw Ó ‰ JŒ # # ˙˙˙ œœœ œœœ Œ J ‰Œ Ó
4 J 2 .
f" F " f " f
P
l
.
œ b .
œ
a
j œ ^ ^
‰ b œ œ ? J J b œœ .. œœ .. ‰ 2 w ˙
y
&4 bw Ó ‰ jŒ # Œ ? œj ‰ Œ Ó
4 œ œ. b œ œ œ ˙ ˙
e
œ &
2 w ˙ œ œ
d
> œ #˙ # ˙ œ œ. #œ
f
p b˙ œ. p
Ó ‰ bœ ‰ ‰ bœ. Ó >¿ # # 2 Ó ˙ Œœ œ œ œ ¿Œ #
3
Sop. &4
4 J 2 ˙ œ>
but as shar - p as an em-per-or's
œ^
cho - p.
œ^ ˙
arco pizz.
bœ œ œ œ
pizz.
bw
ord. vib. senza vib.
B4 Œ ‰ J J œJ J œ. œ. ‰ Ó ‰ JŒ # # ˙ J ‰Œ Ó
# ˙ œ œ. Œ &
&
2 B
" f " f
Vla.
4
" F 2
49 50 51 52 53 54 55 56 57
105
Opening mood h = 54
œ^ Y1
‚. ‚. ‚ ‚. œ.
3
Úq=qÆ Úq=qÆ
& J ‰Œ Ó " ‚‰ Œ Ó 3 Œ ‰ ‚. 2 ‚ Œ 2 ‚ .
‰ b œ. ‰œ
ord. vib.
T. Sx. w J 4 4 2
# P # # F#
F
+ +̇ + + +. + +̇
!^ j
œœ œ. ˙ w ˙ œ ‰ œ n˙. b b œœ ˙ œ
& J b n œœ .. ˙˙ ww † ˙ œ œ. bœ œ ˙ 3 b +˙ . 2 bœ
J b +œ . 2 ˙ œ œ.
J ‰ J J
S
o
u +. + + + 4 4 2
+. +
n
bœ œ œ ˙ b˙. œ bœ.
d
i
? ^j #œ. ˙ w #œ #œ
&# œ. ˙ w ˙ œ+ . bœ bœ œ œ ˙ 3 b˙. 2 bœ bœ œ. 2 ˙ œ+ .
œ
n
# œ+ œ 4 4 œ 2
# œ+
g
#œ
!^ j .
œœ ˙ ˙œ ‰ œ n˙. b b œœ ˙œ
Pno.
. ˙
& J œœ . ˙˙ ww † ˙ œ œ.
J
bœ
‰ J
œ ˙ 3 b˙. 2 bœ bœ.
4 J
2 ˙ œ œ.
J.
# .
4 2
p P p
P
l
a
^
? j& ˙ # œ œ . b b œœ œ œ ˙ ˙
y
3 b˙. œ bœ. #œ œ.
e
2 2
œ #œ. ˙ w
d
#œ #œ bœ 4 4 bœ 2
#œ
p F
Sop. & " " " " 3 Œ ‰ bœ. 2 ˙ 2 bw
4 4 2
Stride, stride,
œ^
bœ. œ bœ. ˙
arco
J ‰Œ Ó " " Œ B b˙. œ. œ Œ 2 ‰ œ. ˙

ord. vib.
& 3
4 œ.
2
#
Vla.
4 2
F # F #
58 59 60 61 62 63 64
106
œ. ˙. ‚. ‚. œ. œ
& ˙
.
‰œ ‰ Œ nw ‚‰ Œ
J Œ‰ b œj ˙ ‰ ‚. Ó ‰ b œ. ‰ ‰b œ. j Œ Œ
F "F
T. Sx.
F " P " P
"
+ + +̇ + +̇ + + + +̇ + +
j j + + j
‰ œ n˙. œ . ˙ œ ‰ œ n˙. b bb œœœ ... b œœ b˙ bœ ‰ œ n˙.
† bœ œ ˙ œ b˙. ˙ œ œ. bœ œ ˙ b œ+ œ œJ œ+ . b˙ œ
J bœ. bœ œ ˙
‰ J J ‰ J ‰ J
S
+ + + +. + + + +. + + +
o
u
n
bœ œ œ ˙ œ b˙. bœ œ œ ˙ œ bœ œ œ. ˙ bœ. bœ œ œ ˙
d
˙ #œ bœ bœ œ œ œ œ œ. œ bœ œ.
i
n
& bœ bœ œœ ˙ œ b˙. œ+ . bœ bœ œ œ ˙ b˙ bœ bœ œ œ ˙
g
œ # +œ œ œ nœ œ œ œ œ
j j j
‰ œ n˙. œ ˙. ˙ ˙œ ‰ œ n˙. b bb œœœ ... b œœ b ˙ b ˙œ ‰ œ n˙.
Pno.
† b œ ‰ œJ ˙ œ b˙. ˙ œJ œ . b œ œ ˙ b œ œ œJ œ . b ˙ œJ b œ . bœ œ ˙
‰ J . ‰ J
P p . P p
P
F
l
a
˙ # œ œ . b b œœ œ œ ˙
y
& b b œœ œ œ ˙ œ b˙. œ bœ œ œ. ˙ bœ. b b œœ œ œ ˙

e
œœ œ bœ
d
bœ #œ bœ bœ bœ
p p F
Sop. & bw ! ! ! Œ b˙. bw bw
stride, stride, stride, stride
bœ ˙ œ œ
B ! Œ b˙. ! Œ b˙ ‰œ ˙ Ó Œ J ‰Œ Ó Œb œ
Vla.
J
" F " F P
65 66 67 68 69 70 71
107
w ‚. ‚ · ‚ ‚ œ. œ . œ. œ. ·. ‚. ‚ ·
& ‚ ‰Œ Œ ‰‚
J J
· Œ .
‰ ‚J ‚ œ ‰ .œ J Œ œ. Œ ·. ‰. ‚ ‰ ‚ ·
T. Sx.
J J
!F ! ! F ! ! !
F F! F ! F
+ +̇ + + + + + + + + + + + +̇
+ j j j j j
b bb œœœ + +̇ b˙ bœ ‰ œ # n ˙œ . œ œ œ . j +- + + œ œ œ œ Œ b˙ bœ
b +œ . ˙ b œœ ‰ . b˙ œ bœ. œ bœ ˙ n˙ œ œ œ œ œ ˙. b˙ œ bœ.
S † J J J J
o
u +. + + + + + +. +
n
bœ. ˙ œ. ˙ . ˙ bœ. œ œ bœ ˙ + œ œ ˙. ˙ bœ.

d
œ bœ œ. bœ ‰ ˙. œ bœ œ. j œ b˙. œ bœ œ.
i
& ˙ b˙ œ bœ bœ œ ˙ bœ b˙
œ. œ œ
n
œ œ J œ œ +̇ œ œ
œ + +-
g
j j j j j
b bb œœœ b ˙ b ˙œ ‰ œ# n œ˙ . œ œ œ .j - œ œ œ œ Œ b˙ b ˙œ
Pno.
b œœ. ‰ ˙ . b ˙ œJ b œ . œ œ œ œ œ ˙. œ bœ.
† J bœ. ˙ J
œ bœ ˙ n˙ b˙ J.
.
! p P
P
F !
l
a
œ. ‰ ˙ .
y
& œ bœ. ˙ ˙ bœ. œ œ bœ ˙ ˙ j œ œ ˙. ˙ bœ.

e
J œ bœ œ. œ œ œ bœ
d
bœ bœ -
p P F F p F p
Sop. & ˙ Ó Œ b˙. œŒÓ Œ ‰ œJ ˙ ˙ Ó Ó ‰b œ . œ Œ Ó
goes the the
b œ. œ ˙ b˙ bœ. œ. œ. b˙.
B w œ‰Œ Œ ‰œ ˙ ˙ œ. œ Ó Ó ‰ Œ ˙. "
Vla.
J J J ! F !
! F ! P F
72 73 74 75 76 77 78
108
Z1
Úq=qÆ Úq=qÆ
œ. œ. œ. œ. œ. œ. # œ ˙ œ. œ. œ. ˙
.
& œ Œ ‰ œ- œ .œ J ‰ œ. -œ œ 2 2 !
T. Sx.
J J J J J J 4 2
" " F" F" F" F" " F
+ + + + + +. + + + + + + + + + + +. + +̇
j . ++ j +
‰ œ # n œ˙ . œ œ œ j + +. œ œ œ œj +- œ œ œ œ + œ œ œ j + +-
œ bœ ˙ n˙ œ œ- œj ˙ œ œ œ. œ ˙ ˙ œ œ- œj ˙
˙
˙
œ
œ œ.
S † 2 2
J.
o
u
+ + + + + 4 2
+ +
n
œ œ bœ ˙ œ.
œ bœ bœ.
d
j j j j j ˙
i
n
& œ bœ bœ œ ˙ œ. œ œ. œ. œ œ+ œ+ œ. œ+ œ +̇ œ. œ œ- 2 ˙ 2
+̇ + +̇ +̇ + ˙ œ
œ + +- + +- + + +- 4 2
g
j . . j .
‰ œ# n œ˙ . œ œ œ œj - . j œ œ œ œj - œ œ œ œ œ œ œ œj - -j ˙ ˙œ
Pno.
† œ bœ ˙ n˙ œœ ˙ œ œ œ. œ ˙ ˙ œœ 2 ˙ 2 ˙ œ œ.
J
4 2 .
f "
P
F f
l
a
j j j 2 œ œ.
y
& œ œ bœ ˙ ˙ j
œ. œ œ. ˙
j
œ. œ œ œ œ . œ œ ˙ ˙ œ. œ œ- 4 ˙
e
2
2 ˙
d
bœ - - - bœ
p F p F p p
œœœ ˙. w 2 ! 2 ‰ œ. ˙
Sop. & b˙ Œ ! !
4 2
3
em - - peror down his
œ.
j
œ.
j œ. œ ˙
B ! œ. ‰ Ó ˙ œ w œ ˙ 2 ! 2 ‰. œ ‰ œ ˙
" F
Vla.
4 2
" F" F" " F
79 80 81 82 83 84 85
109
·.
4
œ. œ. #œ ˙. # œ. œ œ ‚.
3
‚. ‚.
·. ‰
T. Sx. & Œ. Ó ‰b œ. ‰ ‰ bœ ‰ J Œ ‰. Œ ‚‰Œ
J Œ J ‰ Ó ‚J ‰ Œ
‚
! F ! F ! F f
+ +̇ +̇ + + + + +̇ +̇ + +̇
j j
˙ œ œ ‰ œ b # œœ ˙ ‰ œ b # œœ œ ˙ œ +.
œœ
+-
˙
+.
œœ
+.
œœ
† ˙ œ œ. œ œ. œ nœ ˙ œ nœ œ œ. ˙ ˙ œ œ. œ ‰ ˙˙ œ ‰ Ó œ ‰Œ
J. J. + + + + J. J.
J J J
S
o
u + + + + + + + + + +
n
œ. œ. œ œ œ ˙ œ bœ œ œ. ˙ œ. œ. ˙- œ. œ.
œ bœ bœ. œ bœ bœ. œ œ bœ bœ. œ bœ bœ.
d
& ˙ œ œ œ œ ˙
i
n ˙ bœ ˙ bœ ‰ ˙ œ ‰ Ó bœ ‰ Œ
g
˙ œ œ œ œ œ œ œ ˙ œ J J J
j j
˙ ˙œ ˙œ ‰ œ b # œœ ˙ ‰ œ b # œœ n ˙œ ˙ ˙ ˙œ œ. ˙- œ. œ.
Pno.
† ˙ œJ œ . œ œ. œ
J. nœ ˙ œ n œ œJ œ . ˙ ˙ œ œ.
J. œœ ‰ ˙˙ œœ ‰ Ó œœ ‰ Œ
. . J J J
f ! p P F f !
P
f ! f
l
a
œ œ. œ œ. œ œ œ œ. ˙ œ œ. œ. ‰ -̇ œ. ‰ Ó œ. ‰ Œ
y
& ˙ œ ˙ œ
e
œœ œ bœ ˙ J J J
d
bœ bœ bœ bœ
F p p F p
w ˙ œ œ œ ˙
Sop. & Œ ˙.
w Ó Ó œ œ Ó Œ œ
3
wide wide wide mir - rored prom-e-nade the
˙. ˙. ˙ ˙. œ. œ ˙ b œ. œ. b ˙ œ.
B Œ ˙. bœ b˙ Œ ‰. œ ‰ œ ˙ œ‰Œ Œ œ‰ ˙ œ‰Œ
Vla.
J J J
! F ! F ! F ! F ! f ! f
86 87 88 89 90 91 92
110
Slowing again h = b54

˙ ˙.
· ‚. ‚ ‚ œ. œ . ˙. œ ˙,
4
b˙ b˙
· ‚ ‚ ‚ . ˙ w ‰ b œj
N. B.
#œ b˙. Œ b˙
senza vib.
T. Sx. & J‰ ‰
! f ! F ! ! f !
+ +. + + + + +̇ + + +̇ + + + + +
j + + +̇ j
j ‰ œ b # œœ
˙
˙ œœ ‰ œœ œ n œ ˙˙˙
œ œ œ œ œ œ œ w b w+ b +˙ b +˙ b˙ b œ ‰ œ n˙.
† œ n˙. œ ˙ ˙ w bw b˙ b˙ b˙ b œ œ. œ bœ ˙
+ J ‰ J
S
o
u
+ + + + +. + +
n
œ. œ œ bœ œ ˙ ˙ œ bœ. œ œ bœ ˙
d
˙ bœ ‰ œ œ bw b˙
i
œ bœ ˙ b˙ b˙ œ bœ œ. œ bœ bœ œ ˙
& +̇ . œ+ ˙ w
n
g
˙ J œ œ +̇ w ˙ ˙ œ œ
- .j - j j
˙ œœ ‰ œœ ‰ œb # œœ ˙ œœ˙ œœ ˙ œœœ w b ˙ b ˙œ ‰ œ n˙.
Pno.
bw b˙ b˙
† ˙ œ œ n œ ˙˙ n˙. œ ˙ ˙ w bw b˙ b˙ b˙ b œ œ.
J.
œ bœ ˙
‰ J
! f !
P
P F f !
l
a
œ. ‰ œ-
y
œ œ˙ ˙ œ bœ. œ œ bœ ˙
& ˙. œ ˙ ˙ w b ˙˙ b ˙
e
-̇ J œ bœ b ww
d
b˙ bœ bœ
F f
œ ˙ w w p
˙ ˙
Sop. & Œ " Ó b˙ ˙ b˙ ˙ b˙ ˙ Y
sea bows to re - pol - i - - - - - sh.
œ. b˙
œ. œ
senza vib.
b˙ œ. b˙ b˙
B ˙ œ ‰œ œ. œÓ ˙. œ ˙ ˙ w " b˙ ˙. ‰ b œj
J J
!
Vla.
! f ! P ! f
93 94 95 96 97 98 99 100 101
111
A2 Opening mood h = 54
# ‚. #‚
5
U U
G. P.
Œ bœ Œ ! ˙ # ‚J ‰ Œ Ó Œ #‚
ord. vib.
T. Sx. & ˙ ˙. bw w nw
" P "
+ + + + +̇ + +
j j + j
b b ˙œ ‰ œ nœ ˙. ‰ œ w+ U
+ U
G. P.
˙ œ ˙ ‰ bœ b œœ w
† b œJ œ. œ œ w bœ. ˙ bw ! ˙ œ œ. ˙ œ œ w
‰ J ‰ J.
S
o
u +. + + + + + + + +
n
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w
d
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g
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j j j
b b ˙œ ‰ œ nœ ˙. ‰œ w ˙ ˙œ ˙ ‰ b œ b œœ w
Pno.
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P
l
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e
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depress silently
U U
G. P. and hold till end
! ! ! ! ! !
with sost. pedal
Sop. & Y Y
bw U
w U
G. P.
B ˙ Œ bœ Œ ! ! ! #w
ord. vib.
Vla. ˙.
P "
102 103 104 105 106 107 108 109
112
· #· #· ·
T. Sx. & · ! ! #· ! #· · Ó 3
P P " P " P
4
+ + +̇ + + +̇ +̇
j j
‰ b œ b œ˙ . w+ œ ‰ b œ b œœ w w+œ œ w+œ
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J. J. J. J.
S
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n
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i
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g
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4
j j
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4
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4
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110 111 112 113 114 115 116
113
#·.
Úq=qÆ
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T. Sx. &3 #· Œ #· Œ #·. 2 w w ˙ Ó ! !
4 2
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w
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J. J.
S
o
u
4 2
+ + + +
n
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d
ww U
bœ #œ bœ œ. bœ #œ bœ œ. bœ #œ bœ œ. # œœœ # œœœ
i
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n
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Pno.
b œ œœ b œ n œœ b œ n œœ wœ ˙ ˙œ w U
w
œ w
† 4 œ J bœ.
3 nœ œ bœ. nœ œ bœ. 2 w œ œ. ˙ ˙ œ œ. w w
J J J J
P F f
2
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l
a
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y
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e
2 w œ
d
4 bœ bœ bœ #œ #œ
U
Sop. &3 ! ! ! 2 ! ! ! ! !
4 2
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B 3 #˙ Œ #˙ Œ #˙. ! ! Ó
flautando
2
Vla.
4 2 ˙ w w
" P " F " f " F
117 118 119 120 121 122 123 124
114
Part II: Register, Harmony, and Phrase
Design in Webern’s Op. 24 and Op. 27
!
115!
Part II Contents
Register, Harmony, and Phrase Design in Webern’s Op. 24 and Op. 27 117
Figures 155
References 174
116!
!
To this day the reception of Webern’s music is still widely influenced by the
generation of serialist composers, both European and American, who succeeded him.
They are the ones whom we have most to thank for the standard description of his music:
organized, symmetrical, crystalline.1 “There is indeed only Debussy whom one can
compare with Webern – in their common tendency to destroy all formal organisation pre-
existing the work itself, in their common recourse to the beauty of sound for its own sake,
in their common elliptical pulverization of the language…. Webern was obsessed with
formal purity to the point of silence.”2 Frequently, as in this quote from Boulez, this
emphasis on formal purity says as much about the author’s own aesthetic goals as it does
about the substance of Webern’s music.
The Op. 24 Concerto, especially its first movement, has often been the focus of
this line of analysis. This is understandable: Webern himself acknowledged that the tone
row for the piece developed out of an attempt to realize in music the symmetries
contained in the Latin acrostic
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
1
See for example Boulez 1958, Pousseur 1958, and Stockhausen 1958. These essays are
from the Webern issue of Die Reihe, published originally in German (Vienna: Universal
Edition, 1955) and republished in English by Theodore Presser Co.
2
Boulez 1958, 40 – 41.
! 117!
!
SATOR
AREPO
TENET
OPERA
ROTAS.3
The outcome of Webern’s efforts can be seen in figure 1.4 He constructs his row
out of four (014) trichords such that each successive trichord is related5 to the initial one
via the same “classical” operations normally used to relate entire rows in twelve-tone
music and theory. As a consequence, when the row is inverted, retrograded, and
retrograde-inverted at the proper transposition levels, rows will result that contain the
same four trichords as the original row, but in some permuted order. We can even arrange
these rows in a square very much like the Latin acrostic above (see figure 1b).
Ironically, many of the same commentators who write so extensively about
Webern’s row take comparatively little interest in his musical realization of that row.
George Perle writes that, “The opening bars of the Concerto give us the earliest instance
we have of music that is totally organized in terms of serial relations.” But of the entire
piece he writes, “On the whole, however, there is a discrepancy, as with the Trio,
between the powerful integrative potentialities of the row and the composer’s ability to
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
3
Many analyses discuss the magic square. See Perle 1971, Smalley 1975, and Bailey
1991, 21 – 22.
4
In the figure, as throughout this essay, I follow George Perle in using a fixed Do system
for naming rows. For instance P0 is the prime form beginning on pc 0, and likewise I0 the
inverse form beginning on pc 0. Retrograded forms are named in relation to the
corresponding prime or inverse forms, so that R0 and RI0 both end, rather than begin, on
pc 0. See Perle 1971, 5 fn 4.
5
Or as Milton Babbitt would have it, “derived” from. See Babbitt 2003.
! 118!
!
exploit these potentialities.” 6 Likewise, Milton Babbitt deeply admires the symmetrical
construction of the Op. 24 row – it clearly bears a close relation to his own use of
trichords – but seems disappointed by the piece itself: “Webern does not exploit the
combinatorial properties of this set; he does not create progression through secondary sets
or aggregates, nor does he determine his transpositions in terms of such properties.”7
Since the time of these serialism-influenced analyses,many more recent scholars
have begun to wrestle seriously with the substance of Webern’s music. Christopher
Hasty, Andrew Mead, Christopher Wintle, and most of all Kathryn Bailey have all made
major contributions in this vein.8 In Bailey’s work in particular one finds a tremendous
urge to embrace the full gamut of Webern’s twelve-tone output in all of its multivalent
formal and contrapuntal detail. The present article is in many ways an effort to synthesize
and reinterpret aspects of her analyses.
The present essay arises out of two related underlying goals. The first is to argue
strongly for the role of register as a key organizing principle in Webern’s mature style.
The second is to wrestle with still unresolved questions concerning phrase design in
Webern’s music. Basic questions still await full answers, questions such as “what musical
processes drive phrases forward in Webern’s music?” and “what processes conspire to
create moments of closure, dare we even say cadences, in Webern’s music?” These are
not easy questions, and they will certainly not be put to rest anytime soon. My aim here is
to explore two possible approaches, one intrinsic and one extrinsic, and to suggest that
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
6
Perle 1971, 22. Emphasis in original.
7
Babbitt 2003, 47 fn 25.
8
See Hasty 1988, Mead 1993, Wintle 1982, Bailey 1991, Bailey 1995, and Bailey 1996.
! 119!
!
any successful answer to the questions above will have to be flexible enough to embrace
both approaches. In all, I hope to show that register and harmony interact meaningfully in
Webern’s music and that both have a role to play in the structuring of phrases.
Consequently, two rather contrasting sections follow. The first is an analysis of
the entirety of Op. 24/i focusing on the close relationship between harmony and register.
We will see evidence not only that Webern's control of register in this work is conscious,
but even more that register and harmony interact in meaningful ways with each other and
with the phrase structure of the movement. We will see that, in this movement, important
harmonic events and pronounced changes in register generally coincide with one another.
All of this will provide strong evidence for register’s organizing role at a global level.
In the second section I will tackle the issue of phrase design more directly. Here, I
will turn my attention to the local level of individual phrases. In addition to Op. 24, I will
consider examples from the Op. 27 Variations for Piano. Key questions will include,
“how can we describe the anatomy of a single Webernian phrase?” and “what role does
register play in that description?” We will begin with intrinsic approaches that focus on
pitch relations. Where these prove insufficient, we will consider possible extrinsic
approaches that focus more on ‘surface’ features such as articulation, the placement of
rests, and tempo indications like rit. or a tempo. Sometimes, the extrinsic and intrinsic
will reinforce each other nicely. We will see other examples in which it seems almost as
if tempo indications and the like have been imposed on a pitch domain that is indifferent
to them. Row structure will play an ambivalent role here. Phrase boundaries often do
align with the boundaries between rows, but they just as often do not. Parallel with the
! 120!
!
row structure we will find an almost overwhelmingly rich world of microscopic pitch
details, and often these seem to be the true determinants of phrase structure.
In both sections symmetry will make a frequent appearance. While Webern’s
music was not apparently as symmetrical or as systematic as Perle and Babbitt may have
wished, symmetries, both horizontal and vertical, still abound.9 For horizontal symmetry,
one needs to look no further than Op. 27/i, a movement in which every row statement
constitutes a palindrome. Meanwhile, both outer movements of Op. 24 begin and end
with vertically symmetrical pitch constellations, and Op. 27/ii is vertically symmetrical in
its entirety about A4. We will see other more local examples. There will even be cases in
which symmetry seems to act as an organizing principle, at least over the course of
several measures. In this way, my use of vertical symmetry will recall in certain ways the
work of Jonathan Bernard on Bartók and Varèse.10 But whereas Bernard has
demonstrated the role of vertical symmetry as an organizing principle at the level of
entire movements, I am aware of no example in Webern’s music of vertical symmetry
playing such a global role (Op. 27/ii not withstanding).
Finally, in what follows I will rely heavily on the concept of a registral
constellation. I mean by this, more or less, an assignment of all twelve pitch classes to a
stable position in pitch space. In other words, a registral constellation is a fully voiced
twelve-note chord. For instance, in the first five bars of Op. 24/i, all twelve pitch classes
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
9
When I speak of vertical symmetry, I do not just mean sonorities that are symmetrical
as a collection of pitch-classes (such as the Op. 24 row). Many writers of all stripes have
noted these at great length already. I mean more specifically structures that are vertically
symmetrical in their registral placement in pitch space.
10
See for instance Bernard 1981, Bernard 2003, and Bernard 2008.
! 121!
!
make two appearances, and in each case the second appearance is in the same registral
position as the first. We can summarize this by saying that the first five bars of the
movement occupy a single registral constellation (see figure 17 below). It will become
clearer as we proceed just what functions registral constellations serve. In some ways,
they act like another layer of harmony operating in parallel with a piece’s row structure.
In the analysis of Op. 24/i that follows I will take a parametric approach. I will
show that row topography,11 harmony, and register each play an independent role in
shaping the flow of the music.12 Yet these three parameters also conspire to create a
single unified sense of motion over the course of the movement. In this approach I am
indebted to Christopher Hasty: “Rather than regarding any domain as privileged, we may
instead focus our attention on the result of the interaction of all domains, that is, on the
more general issue of musical articulation or rhythm in the broadest sense of the term.”13
First we must spend a little more time with Webern’s row. The row exhibits no
inversional or retrogressive symmetry, and thus each of the 48 rows shown in the matrix
in figure 2 is unique, with no repetitions of entire row forms. Nonetheless the row does
exhibit a great deal of internal symmetry. As I said above, each of the row’s four discrete
trichords belongs to set-class (014), and each of its discrete hexachords presents a
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
11
The phrase is Kathryn Bailey’s. See Bailey 1991.
12
Bailey refers to this kind of independence as the “nonalignment of constituent
elements.” She sees Op. 24 as the first of Webern’s works in which nonalignment plays a
prominent role. Bailey 1991, 183.
13
Hasty 1988, 285.
! 122!
!
complete hexatonic collection (014589). As a result many forms of the row bear a strong
resemblance to one another in terms of pitch-class content at the trichordal and
hexachordal levels.
Because Webern’s surface writing so strongly emphasizes trichordal units, the
most audible row invariance relations are those concerning the division of the row into
discrete trichords or discrete hexachords. Two rows are trichordally related if their four
discrete trichords share the same pitch-class content (figure 3). Two trichordally related
rows may present the same four trichords with the internal order of pitches within
trichords unchanged but with the order of the trichords within the row altered in some
fashion (figure 3a). Or the four trichords may appear in the same order, but with their
internal pitch orders reversed (figure 3b). Figure 4 lists all of the various possibilities and
shows in each case a convenient code describing the relation’s effect upon (in order) the
row’s hexachords, trichords within hexachords, and individual notes within trichords. I
have also provided formulas to show which pairs of row forms exhibit each relation.14
Two of these seven trichordal relations deserve special mention here. Figure 5a
shows two -++ related rows, R6 and I1. These rows are identical apart from a reversal of
their two discrete hexachords. The first hexachord of R6 is identical to the second
hexachord of I1 and vice versa. This creates the possibility of eliding the two rows such
that they share an entire hexachord, something that Webern exploits on multiple
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
14
It is important to emphasize that the seven trichordal invariance relations listed in
figure 4 are specific to the Op. 24 row. A different row might admit more or fewer
trichordal relations between its various forms. Many rows do not admit any beyond the
trivial ---.
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!
occasions, for instance in mm. 13 – 17 (figure 5b). Notice that in addition to eliding R6
and I1 in the winds and strings in the example Webern also elides two other -++ related
rows, I6 and R11, in the piano. The result is not an exact palindrome of pitches but rather
two palindromes of hexachords, stacked the one on top of the other. Notice that Webern
repeats the first hexachord of each palindrome in register. This decision helps clarify the
palindromes and strengthens the sense that the entire excerpt forms a single unit.
A second relation that deserves mention is ++-. Two ++- related rows have the
same corresponding trichords; the only difference is the order of individual pitches within
trichords. This is precisely the relation that so many commentators have pointed out
between P11 and RI0 at the opening of the movement (see figure 3b above and figure 17
below). The same relation recurs between R10 and I11 just before the end of the movement
in bars 63 – 67 (see figure 16 below). Another result is that two ++- related rows are
indistinguishable if one verticalizes each of the rows’ four discrete trichords. So for
instance it is impossible to decide whether the row in the piano in measures 20 – 21 is R1
or I2 (figure 6). This same ambiguity recurs a few more times in the piano part. It is most
prominent in the final measure of the piece, where the entire ensemble joins in a
verticalized statement of P5/RI6 (see figure 16 below).
As there are seven different trichordal invariance relations in total, each of
Webern’s 48 different rows is trichordally related to seven others. Consequently we can
divide the 48 rows into six families of eight rows each (seven variants plus the original),
with all of the rows in each family trichordally related to one another. Figure 7 shows all
six of these trichord areas. I have assigned each area a number based on one of the two P
! 124!
!
forms that it contains. For instance trichord area 0 (henceforth TA0) contains P0, TA1
contains P1, etc.
These trichord areas are quite analogous to the harmonic “areas” that David
Lewin posits in his work on Schoenberg.15 In both cases small families of rows are held
together by similarities in internal segmental pitch class content. We will see whether
Webern uses these trichord areas in a way reminiscent of tonality, as Lewin suggests in
the case of Schoenberg. If we turn our attention back to figure 1b we can see that the four
rows shown, together with their retrogrades, in fact form a trichord area (TA5). The
concept of trichord area is thus intimately bound up with the question of row symmetry,
and given this it is reasonable to suppose that Webern may even have been aware of these
trichord areas as harmonic units.
If each trichord area is like a large nuclear family of closely related rows, rows
that are hexachordally related are like distant cousins, for these rows do not share
common trichords but only common hexachords. That is, two rows are hexachordally
related if their two discrete hexachords share the same pitch-class content.16 As with the
trichordal invariance relation, two hexachordally related rows may present their
hexachords in the same order or in reverse order (figure 8).
Recall that each discrete hexachord of Webern’s row presents a complete
hexatonic (014589) collection. Because of the transpositional and inversional symmetries
of that collection there are only four distinct hexatonic scales: HEX0,1 [0, 1, 4, 5, 8, 9],
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
15
For the clearest exposition see Lewin 1968, 1 – 15. Also see Lewin 1967a and Lewin
1967b.
16
This is of course just another way of saying that the rows are hexachordally invariant.
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!
HEX1,2 [1, 2, 5, 6, 9, 10], HEX2,3 [2, 3, 6, 7, 10, 11], and HEX3,4 [3, 4, 7, 8, 11, 0]. Note
that these four pc collections fall into two pairs of complementary sets: HEX0,1
complements HEX2,3 and HEX1,2 complements HEX3,4. There are thus only two different
hexachord areas for the Op. 24 row. Members of TA0, TA2, and TA4 all juxtapose HEX1,2
and HEX3,4, whereas members of TA1, TA3, and TA5 juxtapose HEX0,1 and HEX2,3. We
can easily find the members of each hexachord area if we return to figure 7. The first,
even hexachord area is on the left whereas the second, odd area is on the right.17 We can
quickly determine the hexachord area of a given row form from its name/transposition
number. For prime and retrograde forms an even transposition number indicates that the
row form itself is even and an odd transposition number indicates that the row form is
odd. For inverse and retrograde inverse forms this relationship is reversed. So for
example P0 and RI1 are both even whereas R5 and I2 are both odd.
Figure 9a presents three different hexachordally related rows (one from each of
the three odd trichord areas). Besides containing the same discrete hexachords, these
rows also share a number of adjacent ic 1 dyads. In fact, each row contains five of the six
dyads marked “Collection A” in figure 9b.18 Odd rows always contain dyads from
collection A and even rows dyads from collection B. This is simply because of the
hexatonic scales involved (figure 9c). We will see below that Webern often treats these ic
1 adjacencies motivically. This provides a strong audible connection between rows of the
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
17
The terms even and odd refer merely to the index number for the included trichord
areas. The even hexachord area includes all those trichord area with an even index
number (TA0, TA2, and TA4) and likewise for the odd hexachord area.
18
In each case the sixth dyad is present as well, but not as an adjacency. Compare for
instance the seventh and twelfth pitches of P11.
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!
same hexachord area and an equally audible disconnect between rows from different
hexachord areas.
Figure 10 depicts every row statement in the movement and labels each by its
trichord and hexachord areas.19 Overlapping “stair-step” boxes indicate elided rows (see
for instance bars 13 – 17, which were discussed above). Even from a cursory glance at
the figure we can see that Webern uses a clear row-topographical opposition to structure
the movement: in bars 1 – 10, 24 – 25, 45 – 49, and 63 – 69, the piano and the rest of the
ensemble either alternate complete row statements or work together to express a single
complete statement of the row. These moments represent periods of topographical
stability in as much as only one row unfolds at a time throughout the entire instrumental
texture. The bars in between these represent moments of topographical instability as the
ensemble presents multiple overlapping rows at once. In these sections the piano acts as
an independent player separate from the rest of the ensemble. Tellingly, it is in these
unstable concertante passages that Webern most frequently elides rows. In bar 26 for
instance the piano begins a chain of elisions that stretches uninterrupted all the way into
measure 45. This is accompanied by long (though broken) chains of elisions in the rest of
the ensemble.
Figure 10 reveals several important properties of the movement. To begin with,
Webern is clearly selective in his choice of trichord area. TA4 is the most common with
TA0, TA1, and TA5 following close behind. TA3 and TA2 are in distant fifth and sixth
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
19
The number in the top right corner of each row box represents its trichord area. The
shading of each box represents its hexachord area.
! 127!
!
places.20 By favoring certain trichord areas, Webern in effect favors certain (014)
trichords over others. This lends a uniformity and consistency to the movement above
and beyond the consistency intrinsic in Webern’s single-minded reliance on (014) as the
base harmony. Furthermore, we can see that in several instances an entire passage of
music will be dominated overwhelmingly by just one or two trichord areas. In bars 1 – 17
it is TA5, which appears six separate times. TA0 and TA4, the only other trichord areas
present in the passage, combine for only five appearances. In bars 18 – 23 and 55 – 62
TA1 dominates and TA3 follows in second. On the other hand from measure 42 until
measure 50 the only trichord areas to appear are TA0 and TA4. Again this lends a strong
consistency and stability to these passages, which becomes quite audible in relation to
passages that combine different trichord (and hexachord) areas more freely.
Stepping back, we can divide the movement loosely into three sections according
to Webern’s reliance on specific hexachord areas. In bars 1 – 23 the emphasis falls
overwhelmingly on odd rows, which outnumber even rows two to one. In bars 24 – 49
the emphasis falls even more overwhelmingly in the other direction. Here even rows
outnumber odd almost three to one. Finally, from the entrance of TA5 in measure 50 until
the end of the movement odd rows again receive more attention, but even rows also make
a strong showing, particularly during the uninterrupted stretch of TA4 in bars 63 – 68.
Again, there may be some question as to whether all of these harmonic shifts are
audible. Indeed, are the hexachord areas themselves audible harmonic units? Of course,
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
20
The exact number of instances are: TA0 – 11, TA1 – 11, TA2 – 3, TA3 – 5, TA4 – 13,
and TA5 – 11.
! 128!
!
this depends largely on who exactly is listening and on how familiar the listener is with
the movement. For most listeners, including myself, what will be more readily audible
than the hexachord areas themselves is the formal contrast between moments of (relative)
hexachord-area stability and moments of instability. Bars 1 – 5, 17 – 23, 24 – 29, 42 – 49,
55 – 62, and 63 – 68 all represent passages of hexachord-area stability. In these passages
a single hexachord area dominates for a stretch of several measures with at most one or
two row statements from the rival hexachord area. We can see that all of these passages
of stability come either towards the beginning or towards the end of one of the large
harmonic sections I outlined above. That is, Webern tends to mark his harmonic
transitions by intensifying the harmonic cohesion on each side of the transition. This
makes those transitions, from odd to even rows at bar 24 for instance, all the more
audible. Understandably it is towards the middle of each large harmonic section that
Webern allows his row choices to become more haphazard, cluttered, and ambiguous.
On the surface, Webern’s motivic treatment of ic 1 adjacencies provides a strong
audible marker for shifts in hexachord area. Consider the shift at bar 24 from a
predominance of odd rows to a predominance of even ones (figure 11a). Locally, R7 and
P3 in bars 22 – 23 are both odd whereas RI3 in bars 23 – 25 is even. Figure 11b reduces
these four bars to a number of prominent ic 1 dyads that populate the musical texture.
Webern voices these dyads alternately as major sevenths or as minor ninths. The shift at
the end of measure 25 from dyads belonging to collection A to those from collection B21
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
21
Refer again to figure 9b.
! 129!
!
is quite audible, especially when Webern holds the affected pitches in register across the
harmonic boundary. This is true of A3, C4, D4, and C#5.22
Just the opposite happens in measures 40 – 45 of the piano (figure 12). This
passage occupies the second half of a chain of four elided even row statements in the
piano that stretches from measure 35 through measure 45.23 Webern strengthens the sense
of harmonic continuity in the excerpt by foregrounding a sequence of ten ic 1 dyads that
forms a near palindrome. As these are even rows all of the dyads come from collection
B.24 Webern articulates each dyad as a grace-note pick-up figure, and he holds each dyad
fixed in register throughout the passage. It is interesting that Webern creates a near
palindrome in the audible musical surface where none exists in the underlying row
design. The result is a subtle interplay of register, harmony, rhythm, and gesture. I have
already discussed another similar use of registral repetition to reinforce harmonic
continuity in the case of the hexachordal elisions of measures 13 – 17 (figure 5b).
At other times Webern singles out short dyadic motives in a way that seems more
idiosyncratic or even whimsical. In bars 31 – 32 (figure 13a) the repetition of pc 3 and pc
11 in register creates a sense of musical continuity (and a short five-note palindrome)
when in fact the harmony is shifting down a transposition level from P1 to P0.25 He
repeats this same trick when the harmony shifts down a further transposition level to P11,
in measures 34 – 35 (figure 13b).
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
22
I have marked these registral relations in figure 11b.
23
The rows rise by two transposition levels each time: R6, then R8, R10, and R0.
24
Lower case letters in figure 15 correspond to those in figure 12b.
25
And thus also shifting from the odd hexachord area to the even.
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The above examples all demonstrate Webern’s local use of registral repetitions to
create musical continuities that may either reinforce or complicate prevailing harmonic
continuities. But register also plays a more global role in the shaping of the movement.
Figure 14 outlines the entire movement and shows the percentage of notes that are
“fixed” in each bar. By a fixed note, I mean a note that appears in the same register as the
most recent previous appearance of that pitch class anywhere in the instrumental texture.
A note that has changed register since its last appearance is not fixed.26 Thus, as a first
approximation, the higher the percentage of fixed notes in a given bar, the higher the
registral stability. Four passages stand out from the figure: bars 1 – 5, 42 – 48, and 63 –
68 are all highly stable, with fixed-note percentages at or near 100% (and always above
70%). In contrast bars 19 – 23 represent the most extended passage of registral instability.
Here the fixed-note percentage drops below 35% for five consecutive measures. In
between these four passages the music is more or less mixed registrally, and fixed-note
percentages fluctuate rapidly between numbers above and below 50%.!
Figure 15 coordinates this registral information with my previous discussion of
row topography and harmony. By and large, these three parameters are independent, in
that they do not align precisely with one another. But it is clear nonetheless that they do
reinforce each other and contribute in tandem to a unified discourse of stability and
instability that organizes the entire movement.

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26
By this definition the notes of the first row statement, in bars 1 – 3, are strictly-
speaking neither fixed nor unfixed, since there can be no prior point of comparison for
any of those pitch classes. I have chosen to consider these notes fixed, since I would
argue that we hear the beginning of the movement as intrinsically stable until Webern
gives us conflicting information to suggest otherwise.
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!
And on occasion two of the three parameters will change in unison. The harmonic
shift at measure 6 (from the odd RI0 to the even RI11) is accompanied by a clear increase
in registral instability. This relationship is repeated at the end of the movement. Webern
keeps the register fixed for three successive statements of TA4 in measures 63 – 68, and
then changes register suddenly for the final shift back to the odd TA5. By coordinating
registral and harmonic activity in these last seven measures, Webern is able to bring the
movement to a strong close.27 Of course, rhythm and articulation also play a role.
Following the rhythmic palindrome of mm. 63 – 67, Webern increases the level of
rhythmic activity with three consecutive beats of sixteenth notes in mm. 67 – 68. There is
then a dramatic pause before the delivery of the final three chords, all marked sff with
staccato accents and all delivered at a sharply slower tempo (figure 16).28
Row topography, harmony, and register are thus independent, yet reinforcing.
Together they mark three passages as particularly stable: the beginning, mm. 1 – 5, the
end, mm. 63 – 68, and also the passage in mm. 45 – 49. To these three we may add
measures 24 – 25. Here topographical and harmonic stability align, but without the added
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
27
We will see Webern use a similar technique elsewhere. See my discussion of registral
punctuations below.
28
How one interprets the final measure of the movement also has a bearing on the
question of whether trichord areas operate in a way reminiscent of tonal key areas. The
astute reader may have noticed from figure 10 that TA5 is both the first and the last
trichord area of the movement. For some, this could constitute evidence that TA5 is the
“tonic” or “home” trichord area of the movement. Those interested in this line of analysis
may be encouraged to learn that TA5 also ends Op. 24/iii. Despite this, I have my doubts
about the tonal analogy here. For one, TA5 occurs elsewhere in the interior of Op. 24/i
without, I would argue, the importance normally associated with a return to the tonic.
Furthermore, I would argue that in its local context the final measure of the movement
sounds much more like a departure away from TA4 than a return to TA5. We will have
space to consider this question again below.
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!
support of registral stability. This segmentation of the movement fits nicely with Kathryn
Bailey’s formal and thematic analysis.29 By and large passages that I have marked as
unstable correspond with Bailey’s second theme, and stable passages correspond with the
music that Bailey calls alternately the opening theme or the ritornello. So Bailey
identifies mm. 45 – 49 as the recapitulation of the opening theme. For Bailey the final
presentation of this theme begins precisely in m. 63. The moment of stability in mm. 24 –
25 also takes on significance in Bailey’s sonata-form analysis: she locates measure 26 as
the beginning of the development, and treats measures 24 – 25 as an extended cadence to
the movement’s exposition.
We have thus seen that an analysis based only on the three parameters of row
topography, invariant harmony, and register arrives at much the same segmentation of
Op. 24/i as an analysis based on melodic theme types, texture, and articulation. The fit,
however, is not perfect. We have identified measures 1 – 5 as stable, but Bailey’s opening
theme occupies measures 1 – 10. Likewise we have identified mm. 63 – 68 as stable, but
Bailey naturally sees the final statement of theme 1 extending from m. 63 right to the end
of the movement in m. 69. I agree with Bailey’s segmentation in both cases. I analyze
mm. 1 – 10 and mm. 63 – 69 as phrases below. Measures 45 – 49 are also slightly
problematic. In terms of row topography, these measures are a natural unit, but in terms
of harmony we should begin the phrase not in m. 45 but with the statement of the even
rows R4 and R0 two and half bars earlier. This is where register would have us begin the
phrase as well: measures 45 – 48 continue the registral constellation of mm. 42 – 44

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
29
Bailey 1991, 179 – 89 and 349.
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!
(beginning with the clarinet D5 in m. 42). But register would also have us end the phrase
in m. 48, since by the downbeat of m. 49 Webern is starting to shift registers again.
To be more precise about the boundaries of our musical segments, or perhaps it is
safe to begin calling them phrases now, we are going to have to adopt other analytical
tools. Our technique so far suffers from a nagging imprecision: while we have said a
great deal about when Webern chooses to shift from one registral constellation to another,
we have said almost nothing about what registral constellations Webern prefers and even
less about why he should choose to use one registral constellation in place of another. We
will start to unpack these questions below. First, we must introduce some theory
regarding phrases.
In Phrase Rhythm in Tonal Music, William Rothstein never presents a single concise
definition of “phrase,” but he is quite explicit that for him a phrase must have a clear
direction and goal: “If there is no tonal motion, there is no phrase.”30 Or, as he quotes
Peter Westergaard: “A phrase,”
1. establishes one set of pitches and then

2. moves to a second set of pitches in such a way that
a. we expect those pitches
b. we have some sense of when they are about to occur, and
c. once they have occurred we know the phrase has gotten where it’s going
and that no further pitches are needed to complete that phrase.31
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30
Rothstein 1989, 5. Emphasis in original.
31
Westergaard 1975, 311. Quoted in Rothstein 1989, 4.
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!
A passage that merely prolongs a single harmony may be a subset of a phrase, but for
Rothstein and Westergaard it cannot count as a complete phrase unto itself. Another way
to put this is that a phrase must lead to some kind of a cadence.
Rothstein is talking strictly about tonal music; nonetheless, his and Westergaard’s
formulations are both useful for us here. Of course, to apply their ideas to Webern we
have to decide what, in Webern’s post-tonal idiom, could possibly fulfill the role of
"tonal motion" in Rothstein’s maxim. More simply, how does Webern create cadences? I
would argue that there is no single answer to this question. Webern does not employ any
one cadential technique to the exclusion of all others. Rather, his technique changes from
context to context. This is not to say that one cannot extrapolate certain trends or
tendencies from movement to movement and piece to piece, only that these trends seldom
apply universally to all (or even the vast majority of) phrases. Regardless, even as
cadential details change, I will take Rothstein’s lead and reserve the term “phrase” for
those musical units that present a complete progression (whether harmonic, registral, row
structural, or otherwise).
Consider for instance the first ten bars of Op. 24/i (figure 17). Bars 1 – 5 present a
single twelve-tone chord that is symmetrical in pitch space around F5/F#5. In bars 6 – 8
this symmetry is unsettled by a new succession of pitch structures, each of which is
vertically symmetrical in its own right. In bar 6 and the first two notes of bar 7, Webern
contracts the tessitura inward to give us another symmetrical row statement. But
beginning with the third note of m. 7 through the end of m. 8, it is hexachords, and not
full row statements, that are symmetrical. The register expands outward in these bars, but
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!
unevenly so: the highest note G6 of bar 8 is also the highest note of mm. 1 – 5, where as
the lowest note D4 of m. 8 is one tone lower than the lowest note E4 of mm. 1 – 5. After
this fragmentation a sense of order is restored when the registral space contracts inward
again and the opening sonority returns in the piano in bars 9 – 10.
Does this mean bars 1 – 10 (excluding the trumpet entrance in the last eighth note
of m. 10) do indeed constitute a phrase? I would argue yes. Webern clearly establishes an
opening sonority in mm. 1 – 5. Bars 6 – 8 disrupt this sonority, and bars 9 – 10 restore it.
Significantly, the piano part of mm. 9 – 10 presents an exact retrograde, by trichord, of
the opening row statement of the movement, mm. 1 – 3. The final piano chord of m. 10
literally completes a return to the beginning of the movement.32
My analysis of this phrase deliberately recalls the beginning-continuing-end
paradigm that informs, in various ways, the work of many recent theorists of classical and
romantic form, among them William Caplin, Kofi Agawu, and Janet Schmalfeldt.33
Indeed, one can easily assign Caplinesque formal functions to the segments of the phrase.
In Caplin’s terminology, mm. 1 – 5 carry presentation function. These measures
introduce the basic idea (understood melodically and harmonically/registrally) of the
phrase (mm. 1 – 3) and then repeat this basic idea (mm. 4 – 5). The repetition is key for
Caplin since it helps to establish the basic idea in the listener’s ear. Bars 6 – 8 carry
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
32
In classifying mm. 1 – 10 as a single phrase, my analysis differs slightly from that of
Kathryn Bailey, who discerns a phrase boundary between mm. 5 and 6. On my reading,
mm. 1 – 5 would properly be considered a subphrase rather than a phrase since these
measures contain no harmonic or registral motion whatsoever. Likewise, mm. 6 – 10
would fail to qualify as a complete phrase since the cadence in mm. 9 – 10 only makes
sense as a return in relation to the music of mm. 1 – 5. See Bailey 1991, 179 – 89.
33
See Caplin 1998, Agawu 1991, and Schmalfeldt 2010.
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!
continuation function and clearly exemplify both of Caplin’s defining characteristics for
this function: “fragmentation, a reduction in the size of the [melodic] units; and harmonic
acceleration, an increase in the rate of harmonic [and, for us, registral] change.”34 Finally
bars 9 – 10 exhibit cadential function. This is actually the biggest stretch of the three
functions, since for Caplin cadential function depends crucially on the presence of a tonal
cadence. Nonetheless, the sense of return described above would seem to suffice.35
It should be said that this phrase is uncommonly elegant and that most phrases in
this repertoire could not be adapted to Rothstein’s and Caplin’s criteria quite so easily.
We will consider various counterexamples shortly. Still, lest we think that the phrase
above is entirely an outlier, we should examine another relatively straightforward
example.
Measures 1 – 18 of Op. 27/i form the first of the movement’s three large-scale
sections in an overall ABA’ form. These three sections are clearly separated from one
another by long pauses. The end of each section is marked with a rit. and the beginning
of each subsequent section with a tempo. The B section is also clearly distinguished from
the A and A’ sections by a sharp increase in rhythmic activity and dynamic range.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
34
Caplin 1998, 10.
35
Caplin introduces presentation, continuation, and cadential functions in his discussion
of sentence structure. As he proceeds, each new formal type receives its own
characteristic set of formal functions. Nonetheless, these sentential functions are in many
ways the most basic. They will mostly suffice for us here. See Caplin 1998, 9 – 12.
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!
This A section, mm. 1 – 18, forms as a single large phrase composed of four
constituent subphrases (figure 18).36 Each of these subphrases consists of a single
palindrome, and each one occupies a complete statement of two rows, with the elision of
at most a single note between row statements. The first subphrase, mm. 1 – 7, is the only
one of the four in which all pitches remain fixed in register for the duration of the
subphrase. Henceforth I will call any such palindrome registrally stable and any
palindrome in which any pitches change register as they retrogress registrally unstable.
From its outset, the second subphrase, mm. 8 – 10, occupies a different registral
constellation from the first. Indeed, not one of the pitches sounding in m. 8 was heard in
mm. 1 – 7. Further, during the second subphrase one pitch, G#4, changes register to G#3
in the retrogression. There is thus a perceptible increase in the rate of registral change as
the music progresses from the first to the second subphrase.
This trend accelerates dramatically in the third subphrase, mm. 11 – 15, in which
only four pitches retrogress in the same register in which they progress. This creates a
small registrally stable palindrome in the midst of a larger registrally unstable one. In
terms of pitch-class content, this subphrase is identical to the first. And yet in terms of
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
36
Once again, my analysis emphasizes larger units than that of Kathryn Bailey. She
identifies each of these four segments as a complete phrase. This analysis accords well
with musical intuition, since each of the segments is set off by rests, and with row
structure. Nonetheless, in the spirit of Rothstein I prefer to reserve the term phrase for the
entire passage, mm. 1 – 18, since it is only in the full passage that a complete registral
progression is stated. Bailey is further compelled to identify each of my subphrases as a
phrase since on her reading mm. 1 – 7 constitute the first theme of the movement and
mm. 8 – 10 the second theme. Without necessarily contradicting her analysis, my reading
emphasizes the harmonic unity of the entire passage. See Bailey 1991, 189 – 94.
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!
pitch content the two could not contrast more.37 While not vertically symmetrical, the
first subphrase is staid and registrally contained. The third subphrase, on the other hand,
executes a dramatic downward sweep from B5 in m. 11 to G2 in m. 14. This alone should
offer a lesson in the importance of register as an independent parameter.
The fourth subphrase, mm. 15 – 18, is nearly identical, note for note, to the
second. Unlike the third subphrase, which only repeats subphrase one in pitch class
content, the fourth subphrase repeats subphrase two in register. The only alterations are a
slight rhythmic compression in m. 16 and the indication of a ritardando and diminuendo
in mm. 17 – 18. After the registral instability of subphrase three, these measures represent
a return to relative registral calm.
There is thus a progression from registral stability to registral instability and back
again over the course of the entire passage. This motion parallels the overall contour of
the phrase. Subphrase 1 sits the lowest of the four, spanning 31 semitones from A2 to E5.
Subphrase 2 moves upward and spans 33 semitones from C3 up to A5. Subphrase 3 is the
clear climax of the entire phrase. It spans a full 40 semitones, and the B5 and G2 that
frame the beginning and end of the subphrase are respectively the highest and lowest
pitches of the entire phrase. Subphrase 4 contracts the registral space inward again.
The passage thus executes an expanding-then-contracting registral shape, and the
registral constellations of the individual subphrases change according to an abcb plan. I
would argue that these shapes together consitute a strong enough musical progression to
qualify the entire passage as a phrase.

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37
Their rhythms are also quite different; see below.
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!
There is also a rhythmic sense of acceleration and deceleration over the course of
the phrase, though the peak of rhythmic activity does not align with the registral peak in
m. 11. Subphrase 1 consists of four statements of an underlying rhythmic ostinato lasting
five sixteenth notes (figure 19a). In this ostinato the two hands each make two attacks in
a legato gesture, and the two hands never attack simultaneously. The result is a stately
succession of gestures that closely matches the registral constraint of these measures. In
subphrase 2 the rhythmic intensity increases. There is once again a rhythmic ostinato, but
this time it lasts only three sixteenths (figure 19b). Whereas the ostinato in subphrase 1
begins with a sixteenth note of rest, there is an attack on every sixteenth note of
subphrase 2. Further, in each repetition of the ostinato there is one simultaneous attack by
both hands. Subphrase 3 uses the same ostinato as subphrase 2. It shifts the ostinato
relative to the barline and presents four, rather than three, statements, but otherwise the
two subphrases are rhythmically identical.
At the beginning of the fourth subphrase, in mm. 15 – 17, the rhythmic activity
increases again (figure 19c). Now successive statements of the ostinato overlap by a
sixteenth note so that the rhythm repeats every two sixteenths. Measure 16 consists of
three successive simultaneous attacks by both hands. Instead of a stately succession of
gestures we hear a three- or four-note chord on every sixteenth note. Then, in m. 17,
things suddenly decelerate. The second sixteenth of m. 17 is silent, the first moment of
rest in the middle of a subphrase since subphrase one. The remainder of mm. 17 – 18
present one isolated statement of the ostinato with another rest following. Furthermore,
there is a rit…. marking over all of mm. 17 – 18 before a tempo marking in m. 19 to start
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!
the B section. Measure 16 is thus the rhythmic climax of the entire phrase. The
deceleration in mm. 17 – 18 mitigates, but hardly balances, the long acceleration that has
come before. This is actually a very typical rhythmic profile for Webern. Many phrases
execute a long acceleration before ending with a pause and a short decelerating gesture.
In this case, I would argue that even though this rhythmic profile does not align perfectly
with the registral profile described above, the two still reinforce each other and mutually
contribute to the sense that by m. 18 a cadence has been completed.
As above, we can easily assign Caplinesque formal functions to the segments of
this phrase. The most straightforward function is continuation. We have already seen that
mm. 8 – 17 execute an increase in the rate of registral change, an increase in the rate of
rhythmic activity, and a shortening of the melodic units involved. All match Caplin’s
definition of continuation function perfectly. Naturally mm. 1 – 7 should carry
presentation function. These measures provide the registral starting point for the phrase to
come and introduce the basic melodic and rhythmic ideas that will dominate that phrase.
Furthermore, mm. 4 – 7 (beginning with the third sixteenth of m. 4) offer an exact repeat
of mm. 1 – 4 (ending with the first sixteenth of m. 4), so long as we tolerate repeats in
retrograde. This repetition is important registrally; mm. 1 – 4 contain every pitch class,
but it is only after m. 7, when we have heard each of these pitches repeated in register,
that we can say we have heard a stable registral constellation. Of course, this stability is
immediately undermined in m. 8.
This leaves cadential function for mm. 17 – 18 (beginning properly with the third
sixteenth of m. 17). In one way, this is natural since we have already seen that these
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!
measures execute the deceleration that brings the phrase to a close. But is there a way to
understand the cadential function of mm. 17 – 18 in terms of pitch content? After all, all
of mm. 15 – 18 represent a return to registral stability after the instability of mm. 11 – 15.
What distinguishes mm. 17 – 18?
I have two thoughts about this: first, mm. 17 – 18 echo m. 10 exactly. Mm. 15 –
17 do echo mm. 8 – 9, but with the difference that the C3 of m. 8 and the D4-G#4-C#5
chord of m. 9 have been condensed into a single chord in the second sixteenth note of m.
16. This gives subphrase 2 and subphrase 4 different shapes. Subphrase 2 is balanced.
Measure 9 does not necessarily sound like an exact palindrome, both because G# changes
registers and because, as Bailey puts it, “notes… are handled in such a way that the
coincidence of parts is not the same going into and out of the centre” of the palindrome.38
But measure 10 does sound like an exact retrograde of m. 8. This balance is missing in
subphrase 4. The subphrase is front heavy, and measures 17 – 18 may recall m. 10 more
than they do mm. 15 – 16. All of this means that mm. 17 – 18 create a stronger sense of
return than mm. 15 – 17 do. Another way to think of this is to ask how the entire phrase
would sound if one were to end at the C# of m. 17, without the concluding three attacks. I
would suggest incomplete.
My second thought has to do with vertical symmetry. This phrase and mm. 1 – 10
of Op. 24/i differ markedly in their treatment of vertical symmetry. The Op. 24 example
proceeds from and to a vertically symmetrical registral constellation. In the Op. 27
example, not one row statement occupies a vertically symmetrical registral constellation.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
38
Bailey 1991, 109 – 10.
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!
And yet, the music of mm. 8, 10, and 17 – 18 is vertically symmetrical, even if these bars
state only a hexachord and not a complete row. If we accept that vertical symmetries can
act as harmonic goals in Webern’s music, then it seems plausible to conclude that the
vertical symmetry of mm. 17 – 18 (again excluding the C#5 on the downbeat of m. 17)
contributes to those measures’ cadential function. This symmetry is absent from mm. 15
– 17 precisely because of the same change in chord construction described above.39
We have now seen two phrases in which a progression to and from registral
stability seems to be a main driving force. These phrases end more or less where they
begin. The Op. 27 example is more complex in this regard than the example from Op. 24,
but even here there is a strong sense of return. It may not be a coincidence that both of
these phrases stand at the beginnings of their respective works. We will see presently that
not all of Webern’s phrases follow such a balanced arc; strangely, it will be phrases from
the ends of movements that make this clear.
We have already observed how, at the end of Op. 24/i, Webern holds all pitches
fixed in register and harmony throughout mm. 63 – 68 before shifting suddenly to a new
registral constellation and harmony in the final bar of the movement, m. 69 (figure 20).40
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
39
Of course, as an exact echo of m. 10, mm. 17 – 18 are also an exact retrograde of m. 8.
This suggests the possibility of a different analysis of these eighteen measures that posits
not one but two phrases, the first occupying mm. 1 – 7 and the second occupying mm. 8 –
18. I find this reading a plausible alternative to the one I have advanced above.
Ultimately, which reading one prefers may depend on which registral processes one finds
more convincing: progressions from stability to instability and back again, or
progressions to and from vertically symmetrical pitch constellations specifically.
40
Both of the relevant registral constellations are vertically symmetrical. The two are also
related motivically. Webern voices the constellation of m. 69 as two symmetrical
hexachords 8-3-5-3-8. These hexachords extend sonorities 8-3-5-3 and 3-5-3-8 that are
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!
Measure 69 also sits significantly lower than mm. 63 – 68: the entire measure spans a full
33 semitones, from G3 to E6; the final chord alone spans 27 semitones, from G3 up to
Bb5. This is the archetype of what we will call registral punctuation: a prolonged
passage of pronounced registral stability is followed suddenly by a short burst of registral
instability, usually but not always describing a downward shift in register, marking the
end of a piece or movement. We will see more examples shortly.
Now, there is every reason to consider measures 63 – 69 a complete phrase. As
already noted, these measures strongly recall the opening of the movement. They stand
apart registrally, texturally, timbrally, and harmonically from the preceding measures.
And Webern marks m. 63 wieder etwas lebhaft, ending a poco string. section that began
in m. 57.
Still, in light of the theory of phrase that we have only just begun to flesh out,
these measures are problematic. In the previous two examples, we more or less equated
“cadence” with “return to the starting harmony/registral constellation.” This seems
defensible in light of the analogy with tonality. But in our new example Webern departs
from his starting harmony without ever returning. If we are to accept the cadential
function of m. 69, as it seems we must, then we must accept that sometimes a cadence in
Webern is not a return to the starting harmony but just the opposite, a sudden and final
departure.41
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embedded in the constellation of mm. 63 – 68. Traces of these sonorities and the related
sonorities 3-5-3 and 3-5-3-5-3 can be found in every movement of Op. 24.
41
There is one other possibility in this case. As we saw above, it is possible to analyze
TA5 as the “tonic” harmony of the movement. So maybe it is mm. 63 – 68 that are the
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!
The other formal functions also become problematic in this phrase. If we
temporarily ignore harmony and register and focus instead only on rhythm and melodic
segmentation, then there is no difficulty. Measures 63 – 64 restate the opening melodic
and rhythmic theme of the movement in retrograde; measures 65 – 67 (only up to the
downbeat of m. 67) repeat this material, this time in its original orientation. We can thus
easily assign mm. 63 – 67 presentation function. Measures 67 – 68 (excluding the
downbeat of m. 67) obviously introduce shorter melodic fragments; these measures carry
continuation function. Finally, m. 69 with its heavily accented chords carries cadential
function. But with harmony and register reintroduced this analysis loses much of its
credibility. Measures 67 – 68, which we assigned continuation function, offer no new
harmonic/registral material whatsoever. In light of this it seems more reasonable to assign
all of mm. 63 – 68 presentation function. But then we are left with a phrase with no
continuation function. Or maybe m. 69 performs a hybrid of continuation and cadential
function. Such hybrids are at home in Caplin’s work; still, is this a valid use for them?
Perhaps the most practical solution, especially in light of the other examples to follow, is
to introduce a new registral punctuation function as a subspecies of cadential function.
On this reading, mm. 63 – 68 would all express some version of presentation function
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
departure and m. 69 that is the final return. I am skeptical of this analysis for three
reasons: 1) it presupposes that we somehow “remember” TA5 as a quasi-tonic harmony
and hear it as such when it finally returns. I find this doubtful. 2) It postulates a phrase
that starts in media res. The analogy would be of a final phrase in a tonal work starting on
the dominant. This is not impossible, but it does seem to suggest that one might not be
analyzing the phrase correctly. 3) Perhaps most damningly, the analysis fails to explain
the other examples of the same registral punctuation technique discussed below.
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!
and m. 69 would perform registral punctuation function. This may seem ad hoc, but it
does do justice to the frequency of the technique.
Figure 21 provides a registral reduction of the sixth and final variation of Op.
27/iii.42 In m. 56 four new pitches help to distinguish the beginning of Variation 6 from
the preceding Variation 5. The most notable is the low Eb2, which not only begins the
variation but is the lowest note heard since the C#2 of m. 14. Most of the variation, mm.
56 – 63, is structured as four successive row statements arranged in palindromic pairs,
first P3 and R3, then I4 and RI4. Both palindromes are of the registrally stable variety, but
they do not occupy the same registral constellations as one another. In mm. 56 – 59 the
total sounding ambitus spans 45 semitones, from Eb2 up to C6. In mm. 60 – 61, Webern
introduces four new pitches, and the overall ambitus of mm. 60 – 63 (up to the downbeat
of m. 63) is lower than that of mm. 56 – 59, spanning only 34 semitones from C2 up to
Bb4. The C2 of m. 61 is the lowest note of the entire piece so far. Beginning with the last
chord of m. 62, Webern elides another statement of R3, and we return to the registral
constellation of mm. 56 – 59. Up to this point, we have thus had a very balanced
progression away from and back towards the registral constellation of mm. 56 – 59.
The registral punctuation begins in m. 65. In mm. 65 – 66 Webern suddenly
introduces nine new pitches, and the ambitus shifts downward dramatically. Tellingly, the
low B1 that sounds in the last chord is the lowest pitch of the entire piece. In all, mm. 65
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
42
I am following Bailey’s naming convention here. Since the first section of the
movement, mm. 1 – 12, in no way acts as the harmonic or melodic basis for any of the
“variations” that follow, Bailey chooses to call this section not the theme but rather the
first variation. The next section becomes the second variation, etc. This contradicts the
numbering in the 1979 Universal Edition print of the score. See Bailey 1991, 207 – 15.
! 146!
!
– 66 span 34 semitones, from B1 up to A4. The downward movement of mm. 65 – 66 can
be seen as both a continuation and an acceleration/intensification of the downward
movement we have already seen from m. 56 to m. 61.43 As in the Op. 24 example,
harmony also plays a key role here. The first five row statements of the variation, mm. 56
– 64, present rows that are all hexachordally invariant from one another. The final row,
I3, mm. 64 – 66, does not share this invariance. This shift is quite analogous to the
harmonic shift in the last bar of Op. 24/i.44 As with the Op. 24 example, in this case the
harmonic shift aligns perfectly with the shift in register.
Op. 27/i provides another, subtler example (figure 22). We have already
considered mm. 1 – 18 in detail. The closing A’ section of the movement, mm. 37 – 54,
repeats the rhythm of mm. 1 – 18 nearly exactly.45 Yet this section does not repeat mm. 1
– 18 in pitch or pitch class content. Like mm. 1 – 18, mm. 37 – 54 consist of four
subphrases, each a palindrome. But unlike mm. 1 – 18, in mm. 37 – 54 each subphrase
states a unique pair of rows, and each occupies its own unique registral constellation.
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
43
In fact, the constellation of mm. 64 – 66 is almost an exact transposition down one
semitone of the constellation of mm. 60 – 62. The only discrepancy is the Eb2 of m. 64,
which arise from the elision of R3 and I3.
44
Using hexachordal invariance as a guide, one can group all transformations of the Op.
27 row into six hexachord areas. Within each hexachord area, all rows are hexachordally
invariant. These areas function much as trichord and hexachord areas do in Op. 24. In the
language of hexachord areas, mm. 56 – 64 all occupy one hexachord area and mm. 65 –
66 shift to another. An analysis of Op. 27 by hexachord areas reveals several interesting
interrelations between harmony and register, much as in Op. 24. There is no space for a
full exploration of these ideas here.
45
The hands swap roles, and the closing section has a stronger final chord than the
opening section.
! 147!
!
This results in the two sections having very different registral outlines. Things
start out similarly. Like mm. 1 – 10, mm. 37 – 46 present a registrally stable palindrome
in a restrained registral constellation. These measures span 25 semitones from F3 up to
F#5. Next, measures 44 – 46, like measures 8 – 10 and measures 15 – 18, are stable
except for the shifting of one pitch class. In this case, C moves from C5 to C4 in m. 45.
These measures span 21 semitones from G#3 up to F5. Starting with the third subphrase
of mm. 37 – 54, however, things start to change. Like mm. 11 – 15, this subphrase is the
most registrally active of the entire closing section. Unlike mm. 11 – 15, its overall
registral contour is not from high to low but from the middle register outwards. This
subphrase achieves both its lowest pitch, A2, and its highest pitch, C#6, in the same
measure, m. 50. This C#6 ties for the highest pitch yet heard in the movement; this is its
first appearance since m. 34. The final subphrase, mm. 51 – 54, like measures 8 – 10,
measures 15 – 18, and measures 44 – 46, is again registrally stable except for the shifting
of F from F5 to F4 in measure 52. But unlike the fourth subphrase of mm. 1 – 18, this
subphrase does not return to the middle register of the instrument but stays in the
sopranino register achieved at the end of m. 50. It spans 21 semitones from F#4 up to
Eb6. This Eb6, heard in measures 52 and 54, is the highest pitch of the movement.
Thus, while mm. 1 – 18 reach their high point at roughly the halfway mark before
descending back to center, mm. 37 – 54 reach their high point just three bars from the end
of the movement. Considered as a unit unto themselves, mm. 51 – 54 are fairly stable
registrally; again, only one pitch class changes register over the course of these bars. But
considered in relation to the preceding subphrases, these measures are extremely
! 148!
!
unstable. They represent an unprepared move into the highest register of the movement
with no compensating return down. Thus I would analyze the entirety of mm. 50 – 54 as
a registral punctuation (beginning with the third sixteenth of m. 50). This punctuation
differs from those considered above in that 1) the final punctuation event occupies four
and a half bars and contains ten distinct attacks, making it the longest example yet, 2) the
preceding measures, while stable in relation to the closing punctuation, are still fairly
active registrally, and 3) this is an ascending rather than a descending example.
We find ourselves in a strange position. We can say with some confidence that
sometimes, especially at the beginnings of movements, Webern creates goal-directed
harmonic motion by introducing a stable registral constellation, increasing the rate of
registral and rhythmic change dramatically, and then moving back towards registral
stability. We can say with equal confidence that at other times, especially at the ends of
movements, Webern creates goal-directed harmonic motion using precisely the opposite
means. Namely, he introduces a stable or gradually shifting registral constellation and
then jumps suddenly to a contrasting constellation in a strong final gesture. How can the
second technique make semiotic sense in the presence of the first? One features departure
and return, the other a seemingly incomplete progression of departure alone. The fact that
the registral punctuation technique seems to mark endings in particular only makes it
more of a puzzle, since endings are where one would most expect to find strong
cadences. To make all of this messier still, Webern does not mark all of his endings with
registral punctuation. A single prominent example will suffice here.
! 149!
!
The final section of Op. 24/iii, mm. 56 – 70, occupies a single vertically
symmetrical registral constellation spanning 25 semitones.46 Significantly, this
constellation is an exact transposition, down 17 semitones, of the constellation that
occupies mm. 63 – 68 of Op. 24/i (figure 23). No punctuating harmonic or registral shift
ends the section, nor is there any developed sense of departure and return. The fifteen
bars prolong a single harmony. Webern does not even alter the grouping of pitches over
the course of the passage; the entire section reiterates just four chords, each a voicing of a
(014) trichord (figure 24).
Webern constructs the entire passage as one long palindrome of trichords.
Adopting the labels of figure 24, the ordering is
d c b a d c d a b a d c d a b a d c d a b a d c d a b c d (figure 25).
It is important to emphasize that this is a palindrome of trichords, not of pitches. For
instance the viola line F# – G – Eb of mm. 61 – 62 returns in the violin in mm. 67 – 68 in
the same order, not retrograded as in a true palindrome of pitches. This large-scale
palindrome also contains several instances of the shorter palindromes d c d and a b a,
each one lasting approximately one to two bars. These palindromes cut across
instrumental groupings. Kathryn Bailey has also pointed out the palindromes
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
46
Bailey analyzes this section as the final variation in a theme and variations form.
Bailey 1991, 202 – 6.
! 150!
!
b a d c d a b, c d a b a d c, and b a d c d a b in mm. 58 – 60, 63 – 65, and 68 – 70
respectively. These palindromes preserve instrumentation; each consists of a central
trichord in the non-piano group flanked on each side by three piano chords.47
With the same four chords repeating in a complex pattern of nested palindromes,
the overall impression of the passage is very much one of harmonic stasis. And yet
Webern does provide a kind of textural punctuation to end the piece. In mm. 56 – 68,
Webern partitions the piano and the non-piano group by material type: the piano presents
only block chords whereas the non-piano group presents only overlapping three note
lines. But in m. 69 we get a block chord in the winds, followed by another in m. 70.
These chords are the first time since m. 27 that more than two non-piano instruments
have sounded simultaneously. Marked sff, they provide a strong conclusion to the piece.
I would argue that these chords play a function very much like that of registral
punctuation above, namely, articulating the close of the movement. Indeed, the final bars
of Op. 24/i and of Op. 24/iii are almost identical texturally. The only difference between
the two is that m. 69 of Op. 24/i represents a registral and harmonic shift relative to the
preceding measures while m. 70 of Op. 24/iii does not. Maybe this difference is not
actually as significant as it might seem.
We have mainly been pursuing intrinsic, pitch-oriented approaches to phrase
analysis. But the Op. 24/iii example strongly suggests that sometimes in Webern’s music
textural cues can give rise to phrase structure in the absence of any sort of harmonic
motion whatsoever. We have seen something similar at least twice already. In our
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
47
Bailey 1991, 206.
! 151!
!
analysis of Op. 27/i, mm. 1 – 18, our decision about where precisely to locate cadential
function had more to do with the placement of rests and tempo markings than with pitch
relations. And in our analysis of the final phrase of Op. 24/i, we offered two readings, one
based primarily on pitch and register and one based primarily on rhythmic information.
These readings probably have about equal relevance to the passage. I do not want to
throw away our pitch-based analyses; they clearly show that registral progressions are
one tool in Webern’s cadential arsenal. But without various forms of extrinsic analysis,
certain phrases, such as mm. 56 – 70 of Op. 24/iii, will remain inexplicable to us.
Does this mean that there is no hope for anything like a theory of Webernian
phrase design? If one requires such a theory to possess a single all-encompassing
definition of cadence based exclusively on pitch structure, then probably yes. But this is
probably an unrealistic standard to begin with. There is no one tonal cadence, but rather a
proliferation of types – perfect authentic, imperfect authentic, half, deceptive, etc.
Identification of these types depends not just on pitch structure but on rhythm, harmonic
rhythm, melodic fragmentation, and a host of other contextual cues. Caplin’s and
Rothstein’s theories are full of detailed descriptions of specific phrase types,
classifications of exceptions, and analysis that is highly context- and style-dependent.
Viewing the problem in this light, we are actually well on our way. We have
identified three coherent paradigms for Webernian phrases: there is the balanced
departure-and-return paradigm, the imbalanced registral punctuation paradigm, and the
lacking-in-harmonic-motion/extrinsically-driven paradigm. We are now in a position to
go looking for other phrases matching these paradigms. We can also ask new questions
! 152!
!
like “does the departure-and-return paradigm only happen at movement openings?” and
“does registral punctuation ever mark the ends of units other than whole movements?”
And of course, we can still propose new paradigms where these three prove insufficient.
We are also equipped with a number of extrinsic features than often mark
Webern’s phrase endings. To risk stating the obvious, many of Webern’s phrases end
with ritardandos. This is true of the opening and closing phrases of Op. 24/i and Op. 27/i
and the closing phrase of Op. 27/iii. We have seen that many of Webern’s phrases end
with a falling contour. This is true of all of the phrases we have analyzed with the partial
exception of the closing phrase of Op. 27/i.48 We have seen that many of Webern’s
phrases end with punctuating chords. This is true of the opening and closing phrases of
Op. 24/i, the closing phrase of Op. 24/iii, and to a lesser extent the closing phrases of Op.
27/i and Op. 27/iii. Last but not least we have seen that many of Webern’s phrases end
with a pause preceding a short final gesture. This is true of all of the phrases we have
analyzed with the partial exception of the closing phrase of Op. 27/iii.49 These extrinsic
features can be enormously helpful in identifying phrase boundaries even when other
harmonic determiners of phrase structure are present. And, as we have seen in Op. 24/iii,
when harmonic determiners are absent these extrinsic features are crucial.
It is thus essential that we consider extrinsic and intrinsic approaches to phrase
structure side by side. Only by considering the two together can we begin to capture the
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
48
This phrase does end with a falling contour in its final measure, but the final four and a
half measures of the phrase represent a pronounced rise relative to the preceding
measures.
49
This phrase does end with a pause before its final chord, but the pause is only a quarter
note long, and pauses of equal length occur regularly throughout the phrase.
! 153!
!
full range of Webern’s phrasal technique. Registral analysis is vital to this undertaking.
At the level of individual phrases, registral constellations shape the progression towards
cadence and often provide the strongest audible marker that a cadence has in fact
occurred. At a global level, register and harmony are coordinated with row topography,
thematic material, and texture to articulate the phrase structures of entire movements.
Indeed, no study of harmony in Webern’s mature style is complete without a study of
register. It is only by understanding the way both parameters interact with one another
and with extrinsic factors like articulation, tempo, and timing that we can understand how
Webern builds phrases and, out of them, movements.
! 154!
a. The row
P RI R I
œ bœ œ #œ
&œ bœ bœ œ œ #œ nœ
œ
b. In a square
œ #œ
1 2 3 4
œ bœ œ #œ
&œ bœ bœ nœ
P11
œ œ
œ #œ
2 1 4 3
bœ œ bœ œ œ #œ œ bœ
&
R5
œ œ
œ #œ
3 4 1 2
œ #œ œ bœ œ bœ
& bœ œ nœ
RI6
œ
œ #œ
4 3 2 1
bœ œ
&œ #œ œ bœ œ œ bœ
I0
œ
Figure 1. The Op. 24 row
155
e t 2 3 7 6 8 4 5 0 1 9
0 e 3 4 8 7 9 5 6 1 2 t
8 7 e 0 4 3 5 1 2 9 t 6
7 6 t e 3 2 4 0 1 8 9 5
3 2 6 7 e t 0 8 9 4 5 1
4 3 7 8 0 e 1 9 t 5 6 2
2 1 5 6 t 9 e 7 8 3 4 0
6 5 9 t 2 1 3 e 0 7 8 4
5 4 8 9 1 0 2 t e 6 7 3
t 9 1 2 6 5 7 3 4 e 0 8
9 8 0 1 5 4 6 2 3 t e 7
1 0 4 5 9 8 t 6 7 2 3 e
Prime forms are read left to right, retrograde forms right to left, inverse forms top to bottom, and
retrograde inverse forms bottom to top.
Figure 2. The Op. 24 matrix
bœ œ #œ bœ œ #œ œ bœ œ œ #œ
a. & œ bœ œ bœ œ œ œ #œ nœ œ bœ œ œ
P11 R5
œ bœ œ #œ bœ œ #œ nœ œ bœ nœ #œ œ bœ
b. & œ bœ œ œ œ œ bœ nœ #œ nœ
P11 RI0
Figure 3. Some trichordally related rows
156
- + +! reverses hexachords, preserves order within each hexachord! "#!$%&!'(#)*!
! ! ! ! ! ! ! ! ! ! (#!$%&!'#+*!
!
+ - +! maintains hexachords, reverses trichords within each hexachord! "#!$%&!'#+,!
! preserves order within trichords! ! ! ! ! (#!$%&!'(#+,!
!
+ + -! preserves hexachords and trichords, reverses order within each! "#!$%&!'(#+-!
! trichord! ! ! ! ! ! ! ! (#!$%&!'#)-!
!
- - +! reverses trichord order, preserves order within trichords! ! "#!$%&!(#+-!
! ! ! ! ! ! ! ! ! ! '#!$%&!'(#+-!
!
- + -! reverses hexachords, maintains trichords within hexachords!! "#!$%&!"#+,!
! reverses order within trichords! ! ! ! ! '#!$%&!'#+,!
! ! ! ! ! ! ! ! ! ! (#!$%&!(#+,!
! ! ! ! ! ! ! ! ! ! '(#!$%&!'(#+,!
!
+ - -! maintains hexachords, reverses order within hexachords! ! "#!$%&!(#)*!
! ! ! ! ! ! ! ! ! ! '#!$%&!'(#)*!
!
- - -!! reverses everything! ! ! ! ! ! ! "#!$%&!'#!
! ! ! ! ! ! ! ! ! ! (#!$%&!'(#!
!
“Codes” on the left represent each relation’s effect upon a row’s discrete hexachords,
discrete trichords within hexachords, and notes within trichords, in that order. So for
instance the relation -+- reverses a row’s discrete hexachords (the first minus), preserves
the order of trichords within hexachords (the plus in the middle), and reverses the order
of notes within trichords (the final minus). The formulae on the right include a variable n
that represents any possible row form index number (0 – 11). Addition and substraction
are performed mod 12. So for instance P0 is -++ related to RI7 and +-+ related to R6. The
relation --- is trivial in that it merely relates a given row form to its retrograde, but I have
included it for the sake of completeness.
Figure 4. Trichordal invariance relations
! 157!
a. Two -++ related rows
bœ #œ œ bœ œ #œ œ bœ œ œ œ bœ
H h h H
& œ bœ œ œ œ œ #œ œ #œ œ bœ œ
R6 I1
b. Concerto Op. 24/i, mm. 13 – 17

I1
R6
-j
- -
‰ ‰ #œ
sehr mäßig q = ca. 50
2 # œ. n œ # œ.
&4 Œ nn œœ ‰ nœ nœ n n œœ ‰ ‰ nœ
13 3
nœ nœ bœ b œ ‰ #n œœ bœ bœ
Non-
nœ
-
piano
- - - -
- nœ nœ bœ nœ nœ - bœ -
? 42 bn œœ # œ & #n œœ ? n œ ‰ n œ ‰ & n œ ? bn œœ ‰& n œ # œ n œ # œ ‰ ? n œ & n œ? bn œœ
Piano #œ # œ-
-
I6
R11
Figure 5. The –++ relation
R1/I2
2 # >œ >
3
! ‰ b n œœ ‰ ‰ n n œœ
20 3
&4 #œ
nœ
3
2 ‰ # œj ‰ ‰ ‰ ?n b œœ Œ
Piano 3
&4 & n b œœ
n œ- > nœ
>
Figure 6. Concerto Op. 24/i, piano, mm. 20 – 21
158
TA0: P 0 P 6 I1 I7 TA1: P 1 P 7 I2 I8
R0 R6 RI1 RI7 R1 R7 RI2 RI8
TA2: P 2 P 8 I3 I9 TA3: P 3 P 9 I4 I10
TA4: P4 P10 I5 I11 TA5: P5 P11 I6 I0
Figure 7. The six trichord areas
H h H h
bœ bœ #œ œ œ bœ nœ #œ nœ
& œ bœ œ œ #œ bœ œ œ œ #œ nœ œ œ œ bœ
P11 RI8
H h h H
bœ nœ bœ nœ œ #œ œ bœ
& œ bœ œ œ #œ bœ œ œ œ #œ nœ #œ œ
œ œ bœ
P11 R3
Figure 8. Some hexachordally related rows
159
f b d c a c e f d b
œ bœ bœ œ œ œ #œ nœ #œ nœ bœ nœ œ œ bœ
a. & œ bœ œ #œ œ œ œ bœ #œ
P11 (TA5) R3 (TA3)
d b a c e
bœ
& bœ #œ œ œ nœ #œ nœ œ œ œ bœ
RI8 (TA1)
Collection A
a b c d e f
& œ œ bœ nœ bœ nœ œ
b.
#œ œ bœ nœ œ #œ
g h i j k l
Collection B
Collection A Collection B
HEX0,1 HEX2,3 HEX1,2 HEX3,4
& bœ nœ bœ nœ œ bœ bœ nœ œ bœ œ œ
c.
œ #œ œ œ œ bœ #œ œ #œ œ œ #œ
a c e b d f g i k h j l
Figure 9. Common ic1 adjacencies in hexachordally related rows
160
!"#$ % $& $% '& '% (&
% ) & & ) ' )

+,-.
/01-, ) & ( $ $
% % % % $ $ ( &
201-,
% $ &
($ (% )& )% %& %% *&
& % $ ) & ) ) & ( ) $

+,-.
/-," $ ) $ &
!"!
( ' & % % $ $ (
2-,"
& & ) % $
*$ *%
$ ) ) ) % 3#454-#647186,9:#1941
+,-.
/-,"
3#,::#647186,9:#1941
( 3#4F0:4:#9,A#BC1C!4-CB
2-,"
'
;0<=94#$&"#>/"#')?0@#9,A#BC1C4!4-CB#DE#C9086,9:#1-:#647186,9:#1941B
a. Concerto Op. 24/i, mm. 22 – 25
ODD EVEN
pesante (q = ca. 50) R7 (cont.)
. RI3
bœ nœ n >œ
n œæ Œ
3
2 æ # nœ
# œ ! œn œ n œ ! b œ # œn œ ‰ ! R Œ ! # œr ‰ ‰ ! .bœ
22
Non-
&4 nœ
pno.
Œ . >
.
n >œ
? 42 ‰b b œœ ‰n bn œœœ ‰ & # œ >
3
‰# nn œœœ ‰ Œ
3
‰# œ b œ
3
‰? nœ ‰ Œ ?
3
J > bœ &
n n œœ J n n œœ n œn œ
Pno.
3
> 3
P3/RI4
b. Concerto Op. 24/i, mm. 22 – 25, reduction

ODD EVEN
bœ nœ
nœ nœ #œ bœ
#œ
22
& #œ nœ #œ nœ
nœ
Non-
pno.
nœ
? bœ bœ nœ #œ bœ ? nœ nœ
nœ & #œ nœ nœ nœ bœ &
nœ nœ
Pno.
Figure 11. Odd-to-even transition, Concerto Op. 24/i, mm. 22 – 25
162
:\
b œ.
j l h i g k g i j h l
nœ j
n œ- nœ
& 42 nœ! ‰
j
j ! nœ ‰ # œ. ‰ # œj Œn œ ‰ # œj J Œ Œ
j nœ
40
j nœ j j
nœ nœ
˘
#œ . #œ
˘
Piano
& 42 Œ # œ. ! n œ Œ ‰n œj # œ
j
j Œ Œ nœ " ‰n œ
nœ # œ.
R8 (cont.) R0 RI1
R10
Figure 12. Ic1 dyads in the piano, Op. 24/i, mm. 40 – 45
a. Op. 24/i, clarinet and violin, b. Op. 24/i, clarinet and trombone,
mm. 31 – 32 mm. 34 – 35
P1 (cont.) P0 (cont.)
P0
bœ. ‰.
‰ & n œj. bœ œ ‰ Œ
31 34
j
Cl. & J nœ
nœ œ
Cl.
" ‰ ! n œ # œJ . " Œ bœ
31 34
& R & n œ-
nœ
Vln. Tbn.
P11
Figure 13. Other registral repetitions
163
!))*
%)*
+)*
$)*
()*
#)*
')*
!"#
F-1B-?A.4-5@;5?@A-/5G-H=5;3<-=
")*
&)*
!)*
)*
! " # $ % !! !" !# !$ !% &! &" &# &$ &% "! "" "# "$ "% '! '" '# '$ '% #! #" ## #$ #% (! (" (# ($ (%
,-./01-
23401-5!'657865&'93:5;3<-=>?@A-58-1B-?A.4-/5CD5E-./01-
!"#$ % $& $% '& '% (&
C7>
D747;504?9
E05!7-9
C3;8./35
($ (% )& )% %& %% *&
C7>
D747;504?9
!"#
E05!7-9
C3;8./35
*$ *% C7> +#./0123 +#,-./0123

D747;504?9
C7>
D747;504?9 +#!8G36B
E05!7-9 +#45367!8-0-/29 +#45367!8-0-/29
###3F3- ###766 ###,-./0123
E05!7-9
C3;8./35 +#./0123 +#,-./0123 +#3G/53!329
###,-./0123
C3;8./35
:8;,53#$%"#<77568-0/87-#7=#57>#/747;504?9@#?05!7-9@#0-6#53;8./35#8-#A4"#')B8
wieder etwas
lebhaft (q = ca. 80) R10 I11
˘j ˘ ˘ ˘
˘j Œ
3
nœ n œ n œ n œ-
3
˘
‰ j ‰ nœ ‰ nœ "
2 bœ nœ bœ # œ # œ n œ ‰ ‰ n œ n œ b œ b ‰œ Œ # œ b œ-
bœ
63
Non-
piano
&4 Œ ‰ nœ nœ ‰ ‰ " Œ nœ nœ
fl fl fl
3
3
3
Piano & 42 ! ! ! !
string. pesante (q = ca. 50)
nœ j
I11 (cont.)
nœ nœ #œ bœ
3
- ‰ U
& #œ Œ Œ " bœ #œ Œ ‰ b bn n œœœœ ‰
67
Œ
Non-
pno.
n œ
˘ fl
3
nœ bœ b nn œœœ ˘
& Œ " nœ bœ nœ nœ ‰ Œ ‰ n n œœ Œ
Pno.
u #œ
3
RI5 P5/RI6
Figure 16. Concerto Op. 24/i, mm. 63 – 69
166
a. mm. 1 – 10
Etwas lebhaft q = ca. 80 P11
˘ ˘ ˘ rit.
nœ -
Œ nœ bœ Œ - # œ n œ-
3
# œ n n œœ
tempo rit.
2 nœ
& 4 ‰ bœ ! ‰ Œ Œ " "
1
Non-
piano
#œ nœ Œ
3
nœ
3 3
bœ ‰ ‰ nœ #œ !
3
Œ ‰ # n œœ nœ
& 42 " " " nœ ‰ bœ
J ‰ nœ #œ ‰
nœ
‰
Piano
fl 3 fl fl3 . . .
RI0
RI11 P0
. . .
rit.
! nœ nœ
! #œ nœ #œ nœ b œ nœ nœ nœ #œ ‰
tempo tempo rit.
b œ n œ ‰ Œ # œ bœ " Œ ‰
6
& ‰ !n œ bœ
! Œ nœ
Non-
. . .
pno.
- -3 -
n œ -
‰ n œ n œ #œ ‰ ‰ n# œœ n ‰œ ‰ b #n œœœ n œ-
3
3
& " Œ nœ bœ " nœ # œ ‰ n b œœ

Pno.
! Œ n œ ‰ 3
3
3
I0
b. Registral constellations c. Reduction,

showing spanned
mm. 1 – 5 mm. 6 – 7 mm. 7 – 8 m. 8 mm. 9 – 10 register
# 4 4
b nn ˙˙˙˙˙ n n n œœœ n˙ ˙ œ œ œ ˙
3
nœ
# n n n # #n œœœœœœ n # #b n ˙˙˙˙˙
2
n
2 2
Non-
pno.
& # ˙ 2
2
2
2 3 8 n # œœ
2
2 †
3 1 5 3 3
n˙ b n b œœœ b n n #n ˙˙˙˙˙
3 5 1
b n b n bn œœœœœœ
1
& b n nn # ˙˙˙˙˙
3
b # œœ œ
5 3 3
˙ œ œ ˙
3 1
nœ n ˙
Pno. 2 2 3 8 2
2 2 2
2 2 2
4 3 4
* Open noteheads = stable harmony/point of return; closed noteheads = active/forward-moving harmony
Figure 17. Concerto Op. 24/i, mm. 1 – 10
167
Subphrase 1 R11 + P11
Sehr mäßig e. = ca. 40
3 ! nœ ! #œ ! ! nœ " nœ !
1
& 16 nœ bœ nœ nœ bœ
nœ
nœ bœ bœ
Piano
? 16
3 !! #œ ! ! ! #œ ! #œ œ !?n œ
nœ &
Subphrase 2 RI11 + I11

nœ nœ nœ nœ
& ! #œ ! nn œœ ! ! # #n œœœ bœ ! !
6
#œ #œ
nœ bœ bœ
nœ
Pno. elided note
?! ! #œ !! ! nœ nœ ! #œ ? nœ nœ !
& n bn œœœ
Subphrase 3 P11 + R11

nœ nœ nœ
&! ! bœ ! nœ ! #œ
11
#œ #œ nœ bœ nœ
nœ
elided noten œ
#œ
Pno.
?! ! nœ ! nœ ! nœ ! ? #œ
& bœ
nœ #œ nœ
bœ
Next
Subphrase 4 RI11 + I11 Phrase
nœ nœ nœ K
rit. tempo
& ! ! #n œœ # #n œœœ bœ " ! ® n œr

15
?
#œ
bœ bœ
elided note
? nœ
Pno. elided note
! ! nœ nœ & n n œœ
#œ ! ? nœ nœ ! !
bœ
Figure 18. Variations for Piano Op. 27/i, mm. 1 – 19
168
a. mm. 1 – 7 b. mm. 8 – 15 c. mm. 15 – 17
! œ ! œ œ œ ! œ œ œ œ !
Pno. Pno. Pno.
! ! œ œ ! ! œ œ ! œ œ œ œ
Figure 19. Acceleration of rhythmic ostinatos, Op. 27/i, mm. 1 – 18
a. Registral constellations b. Reduction,

showing spanned
mm. 63 – 68 m. 69 register
" 3 6
n˙ nœ ˙ œ
& n n # n # ˙˙˙˙˙
3
b b n œœœ
2
n n œœ †
2 3
1 3
2 2
3
b˙
1
& b n n b n ˙˙˙˙˙ b b n #n œœœœœ

2 2
1 3 ˙
2
3
3 n œ œ
2
3 6
c. Embedded motivic sonorities

mm. 63 – 68 m. 69
† # b n ˙˙˙ 3 # n ˙˙ b nn ˙˙˙ n # n ˙˙˙ 3 n n ˙˙ # bn ˙˙˙ n n n ˙˙˙ n n ˙˙ n n ˙˙ b nn œœœ bœ

8
3 3
#˙ 8 8 n n œœ 8
3 8 3 3 3
5 5 5 5 3
3
b b # ˙˙˙ # bn ˙˙˙ b b ˙˙
5 3 5 +
= + =
b n b ˙˙˙ b #n ˙˙˙ n b ˙˙
= + 3 3 5 5
b˙
3 3 5
& n n n ˙˙˙ n n ˙˙ n n ˙˙ n n œœ
3 5 3 5 3 3
b b œœ
5 5 5 8 3
3 8 3
#œ
8 3 3 8 8
nœ
3
Figure 20. Concerto Op. 24/i, mm. 63 – 69, registral constellations
169
a. mm. 56 – 66 rit. U
wieder ruhig P3 R3 I4
3
& 2 Ó Œ n b ˙˙ .. Œ ŒÓ Œ n # ˙˙ Œ bœ œŒÓ Œ Œ Œ #˙ Œ
56
n˙. n ˙- n˙ n œ
. n n œœ œœ nœ œ # n ˙˙
-
n œ. n œ.
# œ Œ& # œœ Ó
#
Piano
?3 Œ
2 b˙. Œ & #œ Ó Ó Œ Ó Œ? Œ & n # œœ Ó Ó ?
?
nœ ˙ b˙. n œ.
tempo rit. molto

I3
. n œœ.
I4 (cont.) R3
RI4 n œ n
& Ó Œ n b œœ Ó Œ # ˙ ŒÓ Œ ? . Œ&# # œœ Ó Œ ? Ó Œ # œ Ó Ó Œ& nœ Ó
61
n œ. # n ˙˙ n˙ b˙. b b œœ
Pno. - .
?Œ Œ Ó Œ& n # œœ œœ Ó Ó Œ b˙. Ó Œ n˙ Œ Ó Œ ? Ó
b˙ nœ bœ ˙
. n œ œ n œ. n n ˙˙ .. n ˙
# ˙- n˙ n œ.
b. Registral constellations c. Reduction,

showing spanned
register
n ˙˙ n ˙˙ ˙ ˙
mm. 56 – 59 mm. 60 – 62 mm. 63 – 64 mm. 64 – 66
# #
& # b n # ˙˙˙˙ n b n b n b œœœœœœ # b n # ˙˙˙˙ n n b n n n œœœœœœ bœ œ
n n ˙˙ n n n # œœœœ n n n n ˙˙˙˙
? n n ˙˙ # # b œœœ
Pno.
n b ˙˙ b n œœ n b ˙˙ n b n œœœ b˙ œ b˙ œ
Figure 21. Variations for Piano Op. 27/iii, mm. 56 – 66
170
Subphrase 1 P3 + R3
3 ! ! bœ #œ nœ ! nœ œ ! #œ
tempo
nœ ! ! !
37
& 16 nœ nœ
bœ
#œ
3 ! nœ #œ #œ
Piano
? 16 ! nœ ! ! nœ nœ " !?
& nœ nœ
Subphrase 2 I3 + RI3
! # n œœ n œ
elided note
bœ ! ! #œ
&! ! nœ ! nœ nœ !
42
nœ
bœ #œ nœ bœ
#œ
! nœ ! & nœ #œ ! n #n œœœ n œ
Pno.
?! nœ ! nœ ! ?
bœ nœ
#œ
Subphrase 3 RI8 + I8
#œ
rit.
nœ nœ bœ
&! ! #œ ! ! ! & nœ
47
?
bœ nœ nœ nœ
nœ nœ
nœ nœ nœ
elided note
nœ
! bn œœ
Pno.
?! #œ #œ ! nœ ! #œ bœ
Subphrase 4 P8 + R8
bœ -
# #n œœœ
elided note
#œ nœ
rit.
nœ
tempo
! ! n nn œœœ ! ! ! J
51
& #œ
#œ bœ nœ nœ b bn œœœ
n #n œœœ
Pno.
? ! ! & nœ ! ! ! !
Figure 22. Variations for Piano Op. 27/i, mm. 37 – 54
171
a. Op. 24/i, mm. 63 – 68 b. Op. 24/iii, mm. 56 – 70
T-17
! 3 3
n˙
& n n # n # ˙˙˙˙˙ & n # # n #n ˙˙˙˙˙˙
3 3
2 2
1 1
2 2
3 3
b˙
& b n n b n ˙˙˙˙˙ ? n n n b b ˙˙˙˙˙
2 2
n˙
1 1
2 2
3 3
3 3
Figure 23. Comparison of registral constellations
bœ
a b c d
n n œœ & n n œœ
?
& b # œœ nœ
8
nœ #œ # n œœ
3 3
3 8 8
8 3
Figure 24. (014) voicings in Op. 24/iii, mm. 56 – 70
172
. .
c
. c
. Œ n œ. Ó
tempo I. sehr flott
& C Œ . Œ nœ Œ nœ Œ #œ Œ nœ Ó Œ n œ. Œ
56
# œ.
Non-
piano
nœ #œ
.
b . b #n œœœ # n œœ
œ n œ. b # œœ b œ
Œ n œœ ‰ n œJ n n œœ
#
d
?C ! ! Ó n n œœ ‰ J n œ Œ Ó
Piano
b a d d a b
b œ.
b
.
a
& Œ # œ. Œ Œ Œ Œ Ó Œ ? n œ. Œ Œ nœ Ó
61
bœ nœ . &
Non-
pno.
n œ. n œ . # œ.
. d n œ b # œœ b # œœ. n œ
? ! ! Ó & n n œœ ‰ ? n œœJ n œ Œ Ó
# Œ n œ ‰ # n œœJ & n n œœ
Pno.
# œ. #œ
cd a a d c
.
a c
n œ
d
Œ Œ Œ Œ . Œ Ó Œ Ó Ó Œ
66
& n œ. # œ b œ. n œ nœ
# œ.
Non-
pno.
n œ. #œ nœ # n œ. œ
.
b œ. b #n œœœ # nn œœœ n œ b # œœ b œ
d
& ! ! ? Œ n n œœ ‰ J Ó ‰ n œœJ n œ ‰ n n œœ & n n œœ Ó
#
J #œ
Pno.
b a d d a b c
Figure 25. Concerto Op. 24/iii, mm. 56 – 70
173
!
References
Part I:
Ryan, Kay. 1994. “Paired Things.” Flamingo Watching. Providence, RI: Copper Beech
Press, 61.
––––––. 1994. “The Things of The World.” Flamingo Watching. Providence, RI: Copper
Beech Press, 21.
––––––. 1996. “Swept Up Whole.” Elephant Rocks. New York: Grove Press, 63.
––––––. 2000. “Blandeur.” Say Uncle. New York: Grove Press, 10.
––––––. 2005. “Almost Without Surface.” The Niagara River. New York: Grove Press,
36 – 7.
––––––. 2005. “Chop.” The Niagara River. New York: Grove Press, 17.
––––––. 2005. “The Self is Not Portable.” The Niagara River. New York: Grove Press,
56.
––––––. 2005. “Sharks’ Teeth.” The Niagara River. New York: Grove Press, 4.
Part II:
!
Agawu, Kofi. 1991. Playing with Signs: a Semiotic Interpretation of Classic Music.
Princeton: Princeton University Press.!
Babbitt, Milton. 2003. “Some Aspects of Twelve-Tone Composition.” The Collected

Essays of Milton Babbitt. Edited by Stephen Peles et al. Princeton: Princeton
University Press, 38 – 47.
Bailey, Kathryn. 1991. The Twelve-note Music of Anton Webern: Old Forms in a New
Language. Cambridge: Cambridge University Press.
––––––. 1995. “Rhythm and Metre in Webern’s Late Works.” Journal of the Royal
Musical Association 120, no. 2: 251 – 80.
––––––. 1996. “Symmetry as Nemesis: Webern and the First Movement of the Concerto,
opus 24.” Journal of Music Theory 40, no. 2: 245 – 310.
! 174!
!
Bernard, Jonathan. 1981. “Pitch/Register in the Music of Edgard Varèse.” Music Theory
Spectrum 3: 1 – 25.
––––––. 2003. “Zones of Impingement: Two Movements from Bartok’s Music for
Strings, Percussion, and Celesta.” Music Theory Spectrum 25, no. 1: 3 – 34.
––––––. 2008. “Four Analytical Sites in Bartók’s Third String Quartet.” Twentieth-
century Music 5, no. 1: 3 – 23.
Boulez, Pierre. 1958. “The Threshold.” Die Reihe 2. Bryn Mawr, Pennsylvania:
Theodore Presser Co., 40 – 1.
Caplin, William E. 1998. Classical Form: a Theory of Formal Functions for the
Instrumental Music of Haydn, Mozart, and Beethoven. New York: Oxford
University Press.
Hasty, Christopher. 1988. “Composition and Context in Twelve-note Music of Anton

Webern.” Music Analysis 7, no. 3: 281 – 312.
Lewin, David. 1967a. “Moses und Aron: Some General Remarks, and Analytic Notes for
Act I, Scene 1.” Perspectives of New Music 6, no. 1: 1 – 17.
––––––. 1967b. “A Study of Hexachord Levels in Schoenberg’s Violin Fantasy.”

Perspectives of New Music 6, no. 1: 18 – 32.
––––––. 1968. “Inversional Balance as an Organizing Force in Schoenberg’s Music and

Thought.” Perspectives of New Music 6, no. 2: 1 – 21.
Mead, Andrew. 1993. “Webern, Tradition, and ‘Composing with Twelve Tones…’”
Music Theory Spectrum 15, no. 2: 173 – 204.
Perle, George. 1971. “Webern’s Twelve-tone Sketches.” The Musical Quarterly 57, no.
1: 1 – 25.
Pousseur, Henri. 1958. “Anton Webern’s Organic Chromaticism,” Die Reihe 2. Bryn
Mawr, Pennsylvania: Theodore Presser Co., 51 – 60.
Rothstein, William. 1989. Phrase Rhythm in Tonal Music. New York: Schirmer Books.
Schmalfeldt, Janet. 2010. In the Process of Becoming: Analytic and Philosophical

Perspectives on Form in Early Nineteenth-Century Music. New York: Oxford
University Press.
Smalley, Roger. 1975. “Webern’s Sketches (I).” Tempo 112: 2 – 12.
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!
Stockhausen, Karlheinz. 1958. “For the 15th of September, 1955.” Die Reihe 2. Bryn
Mawr, Pennsylvania: Theodore Presser Co., 37 – 39.
Webern, Anton. 1948. Konzert. Vienna: Universal Edition.
––––––. 1979. Variationen. Vienna: Universal Edition.
Westergaard, Peter. 1975. An Introduction to Tonal Theory. New York: Norton.
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Music Analysis 1, no. 1: 73 – 99.!
! 176!
Biography
Tim Hambourger earned his PhD in composition at Duke University in 2013. He
received his bachelor's in music from Princeton University in 2007. He has written
acoustic and electro-acoustic works for chamber ensemble, for solo piano (his primary
instrument), and for solo voice and choir. His dissertation, Last Wave Reached, is an
extended setting of poems by Kay Ryan, U.S. poet laureate 2008 – 2010, for three female
singers and large chamber ensemble. It was premiered with Jacqueline Horner-Kwiatek,
the Wet Ink Ensemble, and friends in March 2013. The work continues Tim’s interests in
the voice and traditional vocal styles and in place-based, real-world environmental
sound. Other works in this vein include Maples by the West Street Cemetery, which Tim
composed for Yale’s Norfolk New Music Festival in summer 2011, and Crossing a Bridge
Slowly, which was premiered by So Percussion in 2010. Tim’s 2009 I am Untranslatable, a
setting of fragments from Whitman’s ‘Song of Myself,’ received Duke’s William Klenz
Prize for Composition.
! 177!

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Last Wave Reached

Register, Harmony, and Phrase Design in Webern’s Op. 24 and Op. 27

Timothy Robert Hambourger

Dissertation submitted in partial fulfillment of

Last Wave Reached

Register, Harmony, and Phrase Design in Webern’s Op. 24 and Op. 27

Timothy Robert Hambourger

An abstract of a dissertation submitted in partial

language is succinct, and instrumentation varies widely from movement to movement.

Register, Harmony, and Phrase Design in Webern’s Op. 24 and Op. 27

Many analyses of Webern’s mature music have considered pitch-class relations in

invariance, and demonstrate that invariant harmony interacts meaningfully with

cadences throughout Opp. 24 and 27. In addition to intrinsic, pitch-based approaches, I

arrive at a full understanding of Webern’s phrasal technique.

List of Figures vii

Part I: Last Wave Reached xi

Instrumentation and Note on transpositions xii

Note on amplification and Program note xiii

Drum map and Percussion list xiv

Guide to tenor saxophone multiphonics xv

Guide to piano preparation xvi

Note on the electric piano xviii

1. Almost Without Surface I 1

3. The Things of The World 32

5. Almost Without Surface II 52

6. The Self is Not Portable 56

9. Almost Without Surface III 68

10. Sharks’ Teeth 71

Figure 1. The Op. 24 row 155

Figure 2. The Op. 24 matrix 156

Figure 3. Some trichordally related rows 156

Figure 4. Trichordal invariance relations 157

Figure 5. The -++ relation 158

Figure 6. Concerto Op. 24/i, piano, mm. 20 – 21 158

Figure 7. The six trichord areas 159

Figure 8. Some hexachordally related rows 159

Figure 9. Common ic 1 adjacencies in hexachordally related rows 160

Figure 11. Odd-to-even transition, Concerto Op. 24/i, mm. 22 – 25 162

Figure 12. Ic 1 dyads in the piano, Op. 24/i, mm. 40 – 45 163

Figure 13. Other registral repetitions 163

Figure 14. Op. 24/i, fixed-note percentages by measure 164

Figure 16. Concerto Op. 24/i, mm. 63 – 69 166

Figure 17. Concerto Op. 24/i, mm. 1 – 10 167

Figure 18. Variations for Piano Op. 27/i, mm. 1 – 19 168

Figure 19. Acceleration of rhythmic ostinatos, Op. 27/i, mm. 1 – 18 169

Figure 21. Variations for Piano Op. 27/iii, mm. 56 – 66 170

Figure 23. Comparison of registral constellations 172

Figure 24. (014) voicings in Op. 24/iii, mm. 56 – 70 172

Figure 25. Concerto Op. 24/iii, mm. 56 – 70 173

Moesenbichler-Bryant has conducted masterfully, demonstrating her deep knowledge of

Music by Tim Hambourger

Alto Saxophone/Soprano Saxophone (player 1)

Tenor Saxophone (player 2)

Trumpet in C (or player may use a trumpet in D at their discretion)

Prepared Piano/Electric Piano

Soprano (doubling Triangle)

written. The trumpet sounds where written.

performers’ discretion. If amplification is used, it is advisable to employ an engineer to

(movements 1, 5, 9, and 11 only). Amplified instruments were sent to a stereo output,

with additional monitors for the conductor and the pianist.

for any percussion staff with the ÷ cleff

Hi-hat Hi-hat Suspended

Complete percussion list