Lima Lagu (Preview)

PROMETHEAN EDITIONS 

GARETH FARR 

Lima Lagu 

Three Recorders

Gareth Farr 

Lima Lagu 

Three Recorders 

PROMETHEAN EDITIONS 

WELLINGTON

Lima Lagu (PE051), for Three Recorders by Gareth Farr (1992) 

© Promethean Editions Limited 1992 

Published exclusively by Promethean Editions Limited 

First edition © 2019 Promethean Editions Limited 

Series Editor: Ross Hendy 

Editor: Ben Woods 

ISBN: 978-1-877218-51-4 (print) 

ISBN: 978-1-77660-051-9 (ebook) 

ISMN: 979-0-67452-300-4 

Promethean Editions Limited 

PO Box 10-143 

Wellington 

NEW ZEALAND 

http://www.promethean-editions.com 

No part of this publication may be reproduced in any form or by 

any means without permission in writing from the Publisher.

Gareth Farr (1968) 

Gareth Farr was born in Wellington, New Zealand, and began his studies in composition 

and percussion performance at Auckland University. The experience of hearing a visiting 

gamelan orchestra prompted his return to Wellington to attend Victoria University, where the 

characteristic rhythms and textures of the Indonesian gamelan rapidly became hallmarks of 

his own composition. Farr continued with postgraduate study in composition and percussion 

at the Eastman School of Music in Rochester, NY, where his teachers included Samuel Adler 

and Christopher Rouse. 

In 1993, at the age of 25, Farr was appointed Composer-in-Residence by Chamber Music New 

Zealand, the youngest composer to ever hold that position. This resulted in the creation of 

three substantial works, his first string quartet Owhiro, Kebyar Moncar (for gamelan) and the 

chamber sextet Cadenza. At the conclusion of his residence, Farr returned to the Eastman 

School to begin a doctorate in composition, writing Kembang Suling for flute and marimba 

(his most popular work to date) and three works for orchestra during this time. 

The inclusion of his works in four events at the 1996 New Zealand International Festival 

of the Arts — the score for Douglas Wright’s ballet Buried Venus; Lilith’s Dream of Ecstasy 

for orchestra; Kembang Suling, and the piano solo Sepuluh Jari — kick-started his career 

as a dedicated freelance composer. Since then, his music has been heard at, or especially 

commissioned for, high-profile events including the 50th anniversary of the New Zealand 

Symphony Orchestra (the 25-minute From the Depths Sound the Great Sea Gongs), the 

opening of the Museum of New Zealand Te Papa Tongarewa (Te Papa for orchestra, soprano, 

tenor and kaikaranga), and the 2000 Olympic Games in Sydney (Hikoi, a concerto for 

percussionist Dame Evelyn Glennie and the NZSO). A commission by the 2003 Auckland 

Festival resulted in Stone and Ice, written for the combined forces of the NZSO and the 

Auckland Philharmonia Orchestra. Farr’s music was integral to Maui – One Man Against the 

Gods, a stage show four years in the making. First premiered in 2003, it featured aerial theatre, 

PE051 – 3

Māori kapa haka, contemporary dance and song, with Farr’s stirring music, and toured a 

number of centres in New Zealand. In 2006 Farr was awarded the Order of New Zealand Merit 

for his services to music and entertainment. That same year, the Royal New Zealand Ballet 

toured the country with their brand new work The Wedding, featuring a score by Farr. At 

ninety minutes, it was among the company’s most ambitious projects, and combined Farr’s 

talents with those of prominent New Zealand novelist and librettist Witi Ihimaera. 

In March of 2014 Farr’s Concerto for Piano and Orchestra received its world premiere 

from soloist Tony Lee and the New Zealand Symphony Orchestra, conducted by Pietari 

Inkenen. Its UK premiere followed one year later, with Lee backed by the BBC Philharmonic, 

with conductor Tecwyn Evans. The concerto received critical acclaim with the Dominion 

Post’s John Button writing “…the ear was tickled bar after bar. I have no doubt that this 

marvellously inventive piano concerto is bound to develop an international life all its own.” 

More recently, Farr’s score for the opera The Bone Feeder received critical praise for its unique 

and imaginative articulation of intersecting cultures in New Zealand. Premiering at the 2017 

Auckland Arts Festival, Farr brought together instruments from Chinese, Western and Māori 

culture to create an exotic and balanced synthesis of sounds, with David Larsen of Metro 

Magazine commenting, “Farr’s textures and moods are wonderful: timbres mingle and shift in 

ways that are at once fascinating and symbolically appropriate.” In May of 2017, Farr’s Cello 

Concerto—subtitled Chemin des Dames—was premiered by French cellist Sébastien Hurtaud 

and the New Zealand Symphony Orchestra in Wellington, New Zealand, followed by a 

performance in France, with Hurtaud joined by l’Orchestre national de Lorraine. The concerto 

is a tribute to the soldiers who fell on the First World War battlefields of France and Belgium, 

with critic William Dart stating, “In a work of impeccable atmosphere, welcoming for both 

players and audience, the weeping beauties of its central section stayed with me long into the 

evening.” 

In July of 2019, the Christchurch Symphony Orchestra gave the world premiere of Farr’s 

Roar of a Thousand Tigers, a 35-minute, five-movement work commissioned by the Hillary 

Centenary Steering Committee and Clive Gilson to celebrate the hundredth anniversary of 

the birth of Sir Edmund Hillary, the legendary New Zealand mountaineer who, along with 

Sherpa Tenzing Norgay, made history in 1953 by successfully reaching the summit of Mount 

Everest. 

Latest information about the composer may be found at www.garethfarr.com. 

PE051 – 4

Lima Lagu (1992) 

I. Lagu Satu — for solo recorder 

II. Lagu Dua — for solo recorder and handclaps 

III. Lagu Tiga — for two recorders 

IV. Lagu Empat — for three recorders 

V. Lagu Lima — for three recorders 

Lima Lagu is a work for one to three recorders and sees Farr exploring the use of Indonesian 

scales. Originally written for soprano (descant) recorder, it is also presented for alto (treble) 

recorder. Prior to publication this work was titled Lima Gending. 

The first movement, Lagu Satu, is a simple and sweet tune for solo recorder. The pace 

quickens in the fun second movement, Lagu Dua, with two performers providing 

accompaniment in the form of interlocking hand-clapped rhythms while the solo player’s 

melodic line traces around a mode resembling a stripped-back minor scale. A dark 

playfulness permeates Lagu Tiga — the pitches that constitute its near-constant semiquaver 

pulse shift between static and undulating, while dancing above them are the movement’s 

lively theme and blasts of unpredictable, squeaking accents that are passed between the 

two players. The idyllic Lagu Empat features a sweet cantabile melodic line, supported by an 

interlocking pair of semiquaver patterns. Rounding out the work is the mysterious Lagu Lima, 

an odd-metered canon for three players. 

The composer writes: 

Lima Lagu was written in 1992 when I was just discovering the beautiful world of 

Indonesian gamelan, the traditional percussion orchestra of Indonesia. 

I had joined the Javanese gamelan group at Victoria University of Wellington and, before 

long, its textures, sonorities and melodic patterns started influencing my compositions. 

After a trip to Java and Bali I discovered the profoundly contrasting sound of the Balinese 

PE051 – 5

gamelan, with its bold contrasts, explosive dynamics and complex interlocking rhythms. 

This work is a representation of what was fascinating to me in those early years of 

discovery, and is primarily an exploration of the scales and melodies of Java, combined 

with the rhythms and techniques of Bali. 

Lima Lagu simply means “five songs”. Four of the five movements explore a different fivenote 

subset of the full seven-note Javanese scale. The first movement, Lagu Satu, uses the 

four-note Balinese angklung scale, which I was exposed to in my first experiences with 

Balinese gamelan in the United States. 

Twenty-seven years later, I own a full set of Balinese Gamelan Gong Kebyar instruments 

with the five-note Balinese pelog tuning. It is quite fascinating to revisit this early piece of 

mine — such an honest representation of a curious mind, and a compositional style in its 

early stages of development. 

Lima Lagu received its premiere from Bernard Wells. It was commissioned by Wells and The 

Correspondence School of New Zealand, as part of Wells’ Art of the Recorder course. 

Performance notes 

• Lagu Satu is for solo recorder. 

• Lagu Dua must be performed with the handclap accompaniment. The clapping should 

start on the downbeat of m.1 and end with a single clap in the final bar of the Coda. 

• These pieces are based on scales from Indonesian gamelan. Circled numbers indicate the 

tonic or final pitch. These scales have been transposed to suit the range of the recorder, as 

detailed below. 

I. Lagu Satu — Saih Angklung from Bali, transposed down a minor 3rd 

! C C C C 

1 2 3 4 

II. Lagu Dua — Pelog Lima from Bali and Java, transposed up a major 2nd 

! C W C C C C 

1 2 3 5 6 

PE051 – 6

III. Lagu Tiga — Slendro Nem from Java, transposed up an augmented 4th 

! C C C C C 

1 2 3 5 6 

IV. Lagu Empat — Pelog Barang from Java, transposed up a major 2nd 

! W C C C C C 

2 3 5 6 7 

V. Lagu Lima — Pelog Nem from Java, original form. 

! C C C C Y C 

1 

2 3 5 6 

Circled number indicates tonic or final 

PE051 – 7

C 

h 

h 

g 

C 

C 

g 

C 

C 

h 

C 

2 

g 

C 

g 

C 

C 

h 

T 

T 

C 

C 

C 

Lima LaGu Lagu SOPRANO RECORDER 

Gareth Farr 

 

LAGU SATU 

Œ = 72 

–! 4 4 

g 

C 

mf 

C C O 

C O C C C C C C C C C C C T 

g 

C C C C B 

g 

C C C 

5 

–! C O 

C O C C C C C C C C C C C T 

g 

C C C C B 

g 

C C C 

9 

–! C O 

C C C C C 

f 

O 

C C C C C C C C C C C C O 

C O C C C C O 

C C C C C 

14 

18 

Fine 

O C C C C 

–! C C C C C C C O C O C C C C : 

f 

C 

mp 

1. 2. 

–! C C C C C C C C 

: 

C C C 

C C C C C C C C C C B 

D.C. 

al Fine 

T 

Lima Lagu © 1992 Promethean Editions Limited 

This edition © 2019 Promethean Editions Limited PE051 – 28 

ISMN: 979-0-67452-300-4

C 

C 

B 

C 

C 

C 

h 

h 

Ċ 

h 

C 

h 

T 

B 

h 

C 

C 

C 

C 

C 

h 

C 

hT 

C 

C 

C 

h 

C 

C 

h 

T 

C 

C 

h 

C 

h 

C 

C 

C 

h 

C 

h 

C 

h 

C 

h 

C 

C 

h 

C 

h 

B 

B 

T 

C 

h 

B 

C 

h 

g 

C h 

C 

h 

T 

Ċ 

h 

T 

C 

h 

T 

T 

h 

C 

C 

T 

C 

C 

h 

h 

[ 

] 

h 

C 

C 

C 

h 

C 

h 

h 

C 

h 

g 

C 

C 

C 

B 

B 

T 

h 

B 

h 

g 

C 

g 

C 

T 

T 

T 

C C 

LAGU DUA 

Œ = 112 

a 

–! 4 C C C C C C C h 

W C C B 

C C C C C C C W C C C C B 

C C 

C C C 

C 

C C C C W C C C C B 

C C C 

mf leggiero 

5 

W C C C C C C W C C 

–! 2 T C 

C 

C 

4 

4 C C C C C C C C 2 T 

C 4 

4 

W C C 

4 

C C C C C C C 2 T 

4 

W C C 4 

4 

9 

–! 4 C W C C C C C C C 2 T 

Ċ Ċ Ċ Ċ Ċ Ċ C 4 

Ċ W C. Ċ C Ċ Ċ Ċ 4 13 

C 

–! Ċ C C Ċ W C 

2 

W . To Coda 

4 

4 

4 

C O C Ċ C T C C C W C 

B 

17 

C –! 

C C C W C C C C B T 

C B T C C C C C C C C C 

mp 

20 

–! W B C C C C W C C C 

C 

C 

C 

C 

C 

C 

C C B C O C Ċ C T C C 

C 

C W C 

C C C C 

II 

28 

32 

–! 

–! 

C 

f 

W C C C C C B 

W C C C W C C C C C C 

25 

C C C 

II 

B T g 

C. Ċ T Ċ W Ċ ĊC CC C Ċ W 

C W 

C . C T C C C 

C C C C C 

W 

–! C C C C C W 

2 4 

4 

4 

C O C Ċ C T C C C W C 

& 

Coda 

–! W C O 

rall. 

C O C Ċ C T 

C C C W C 

Suggested form is A B C B A Coda. Sections may be repeated 

or played in any order but must end with A then Coda. 

A 

& 

Ċ Ċ Ċ Ċ Ċ Ċ C Ċ W C. Ċ Ċ Ċ Ċ 

C O C Ċ C T 

C C C W C 

C C C C C C C C C 

C B O C C Ċ C T 

C C C C W C 

To Coda 

W C C C C W C C C C C C 

C. Ċ T 

C O C Ċ C T 

Coda 

–! W O 

Recorder 2 

Ċ Ċ Ċ C Ċ W C . T 

rall. 

C O C Ċ C T 

C C C W C 

Clap (palm to palm) 

C C C W C 

C C C 

$4 O 4 

C T O C T : 

Clap (fingers to palm) 

Recorder 3 $4 C C C : 

4 

Recorders 2 and 3 are to accompany 

throughout with these hand claps. 

A 

PE051 – 3 

PE051 – 9 PE051 – 3

^ 

C 

C 

^ 

C 

C 

^ 

C 

C 

^ 

C 

C 

^ 

^ 

^ 

C 

^ 

^C 

h 

^C 

h 

^ 

C 

C 

^C 

^ 

^ 

C 

C 

^ 

C 

^ 

4 

h 

^ 

T 

^ 

T 

^ 

^ 

^ 

C 

^C 

h 

h 

^ 

T 

h 

^ 

^ 

^ 

^ 

^ 

^C 

h 

^C 

h 

^ 

^C 

h 

T 

T 

T 

T 

III 

[ 

] 

LAGU TIGA 

Œ = 63 

C C C C C C C 

–!4 T C^C C C C C C C C T 

4 

: 

f 

sf sf sf 

sf 

sf 

–! 4 : 

C C C C C C C C C C C C C C C C C C C C C C C C C C C C C U 

sfp 

sfp 

sfp sfp 

sfp 

[ 

] 

[ 

] 

[ 

] 

3 

5 

7 

: C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

: 

: C C C C C C C C C C C C C C C C C : 

–! 

p sf 

–! U 

sfp sfp 

sfp sfp sfp 

: C C C C C C C T 

C C C C C C T : 

: : 

C C –! 

C^C^ C^C 

f 

sf sf sf sf sf 

–! U 

sfp sfp sfp sfp sfp 

–! R 

p C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

sf 

–! C 


sf 

C 

p C C C C C C C 

C 

p C C C C C C C C C C C C C C C 

[ 

] 

10 

–! 

C C C C C C C C C C C C C C C C : C C C C C C C C C C C C C C C C C C C C C C C C C C C C C U : 


–! C C C C C C C C C : C C C C C C C 

C C T C^C^ C^ C C C C^C C C C C T : 

C 

sf f sf sf sf sf sf 

Marcato accent is to be played with hard attack and strong breath to overblow and produce a short and loud “peep” 

PE051 – 10 4

C 

^ 

B 

C 

C 

^ 

C 

^ 

^ 

C 

^ 

C 

C 

^ 

^ 

C 

h 

^ 

^ 

^ 

^ 

C 

T 

^ 

h 

h 

^ 

C 

h 

^ 

^ 

^ 

^C 

h 

T 

T 

[ 

] 

[ 

] 

13 

16 

Finger 'G' with L.H. while 

wiggling fingers of the R.H 

–! : O 

: : C C C C C C C T C^C^ C^ C C C C^C C C C C T : 

p 


–! : : : : 

p C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C U 


–! : : 


sf 

–! : C C C C C C C C C C C C C C C C C C : 

C C C C C C C C C C C U 

sfp sfp 

sfp sfp sfp 

[ 

] 

18 

–! 

f 

–! C 

f 

C C C C C C C C C C C C C C C B B B B^ 

C C C C C 

C C C 

^ 

ff 

^ 

C 

sfff 

C C C C C C C C 

^ 

C C C C 

^ 


^ 

C C C 

sf sf sf sf sf sfff 

T S R 

T S R 

PE051 – 11 5

C 

C 

C 

C 

C 

C 

C 

C 

C 

U 

S 

C 

C 

C 

C 

6 

C 

C 

S 

C 

C 

C 

C 

C 

C 

T 

IV 

[ 

] 

[ 

4 

LAGU EMPAT 

Œ = 69 

–!4 S 4 C C C C C A S C C C 

mf cantabile 

–! 4 Q C 

T C C TU 

C C TU 

C TU 

C C TU 

C C TU 

C TU 

C C TU 

C C TU 

C TU 

C C TU 

C C U 

–! 4 4 

Q 

–! 

O 

h C 

–! C TU 

C C TU 

C C TU 

C TU 

C C TU 

C C TU 

mp leggiero 

W 

U T 

C C C 

mp leggiero 

U T C C C 

U T 

C C C 

U T C 

C W C 

U T 

C C C 

U T C C C 

g 

C C C C A S C C C 

C TU 

C C TU 

C C TU 

C TU 

C C TU 

C C TU 

U T 

C C C 

U T C 

C TU 

C C TU 

C C TU 

C TU 

C C TU 

C C TU 

] 

–! C W C 

U T 

C C C 

U T C C C 

U T 

C C C 

U T 

W C C TU 

C C C 

TU 

C C C TU 

C C C 

U T C 

W C C TU 

C C C 

TU 

C C C TU 

C C C 

U T C 

[ 

7 

–! C O 

g 

W C C 

W C A 

W 

C 

C C C C 

–! C TU 

C C TU 

C C TU 

C TU 

C C TU 

C C TU 

W C C TU 

C C C 

U T C C C U T C C C 

U T C 

W C C TU 

C C C 

U T C 

C C U T C C C 

U T C 

] 

–! W C C TU 

C C C 

TU 

C C C TU 

C C C 

U T C 

U T 

C C 

U T 

U T C C 

U T 

C C 

U T 

U T C C 

U T 

C C 

U T 

U T C C 

U T 

C C 

U T 

U T C C 

[ 

10 

–! W A 

W 

C 

C C C C B S C 

–! W C C TU 

C C C 

TU 

C C C TU 

C C C 

U T C 

W C C TU 

C C C 

U T C 

C C U T C C C 

TU 

C C C TU 

C C C TU 

C C C TU 

C C C TU 

C 

] 

–! U T 

C C 

U T 

U T C C 

U T 

C C 

U T 

U T C C 

U T 

C C 

U T 

U T C C 

U T 

C C 

U T 

U T C C 

U T 

C W C 

U T 

U T C C 

U T 

C C 

U T 

U T C C 

PE051 – 12 6

T 

U 

U 

T 

B 

B 

T 

[ 

13 

–! C C W C 

C C C C C B S W C 

f 

–! C C TU 

C C C T U C C C TU 

C C C T U C C TU 

C C TU 

C C TU 

C TU 

C C TU 

C C TU 

C W C 

C C C C C C 

C TU 

C C TU 

C C TU 

C TU 

C C TU 

C C TU 

] 

–! U T 

C W C TU 

C 

T U C C 

T U 

C C U T 

C 

T U C C 

TU 

C C TU 

C T U C C TU 

C C TU 

C T U C C 

TU 

C C TU 

C T U C C TU 

C C TU 

C T U C C 

[ 

16 

–! B 

mp 

C U 

–! 

W C C 

T U 

C C U T 

S C C C C C C C B S W C 

C U T C C U T 

C C U T 

C U T 

W C C 

T U 

C C U T 

C U T C C U T 

C C U T 

W C TU 

C C 

T U 

C C U T 

f 

C TU 

C C U 

C 

C C U T 

] 

–! C C U T C C C U T C C C U T C C C U T C 

C C U T C C C U T C C C U T C C C U T C 

TU 

C C TU 

C T U C C TU 

C C TU 

C T U C C 

[ 

19 

–! 

–! 

CC 

(ossia) 

C 

C 

C 

C 

W C T C C U 

CC 

C C U T 

W C C C C B S W C 

C U T C C U T 

C C U T 

mf 

C TU 

C C TU 

C C TU 

C TU 

C C TU 

C C TU 

C 

C C C W C 

C C C C 

C TU 

C C TU 

C C TU 

C TU 

C C TU 

C C TU 

] 

–! TU 

C C TU 

C T U C C TU 

C C TU 

C T U C C 

TU 

C C TU 

C T U C C T U C C TU 

C T U C C 

TU 

C C TU 

C T U C C T U C C TU 

C T U C C 

[ 

22 

–! CO 

: 

h C C W C C CO 

W h C C S C C W O 

–! C TU 

C C TU 

C C TU 

C TU 

C C TU 

C C TU 

C C C C W C C C C C C O : 

] 

–! : 

CW 

C T C C C T U C C C TU 

C C C T U C C W C C C C C C C A 

Can be repeated many times with players swapping parts 

PE051 – 13 7

C 

C 

C 

B 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

8 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

V 

[ 

] 

LAGU LIMA 

Œ = 44 (‰ = 88) 

–!5 4 C 

p C C Y C C C C C C C 

–! 4 

5 Q 

C 

p C C C 

–! 4 

5 Q Q 

Y C C C O C C C B S C C 

mp 

Y C C C C C Y C C C C O C C C 

C 

p C C Y C C C C C 

[ 

] 

[ 

] 

[ 

] 

4 

7 

10 

–! 

–! 

Y h C 

p 

mp 

g 

pp 

S C C 

–! C Y C C C O 

S 

C 

p 

Y h C 

p 

C C C C B 

mp 

C C Y C O 

g 

C 

S 

C 

pp 

S C C 

C O C C C C O 

C 

p 

Y h C 

p 

g 

C C 

C C Y C O 

g 

C C 

pp 

g g O 

–! Q Q 

O 

g 

–! O 

g g O 

C 

Q 

C C C O O O 

–! C C C Y C O C O C C C 

g 

g g 

C O C C C C C O O O 

p 

–! 

mp 

Y C C C C C C Y C C C C C O C C C B 

–! Q C 

mp 

S 

C C C O 

C C 

O 

O 

C C C 

Y C C C C C Y C C C C C O C C C 

–! Q Q C 

mp 

Y C C C C C C 

S 

O 

PE051 – 14 8

B 

S 

B 

B 

S 

B 

S 

[ 

] 

13 

–! 

–! B 

g 

C C 

Y h C C C C C CY C C C C C C C C C C C CO 

C C C Y O C C 

mf 

f 

g 

C C C C Y h C C C C C CY C C C C C C C C C C C CO 

C C C 

mf 

g 

C C C C Y h C C C C C CY C C C C C C C 

mf 

–! Y C C C C CO 

C C C 

[ 

] 

17 

–! h C C 

h C CY C C C C 

mf 

mp 

Y O C C 

–! 

h C 

f 

mf 

–! 

C C C C CO 

C C C Y O 

f 

C 

Y 

C 

C CO 

CO 

C C C 

O C 

h C C Y C C C C 

mp 

C C 

h C 

mf 

C 

Y 

C 

g 

Y C 

C C C CO 

C CO 

O C 

CO 

C C C 

h C C Y C C C 

C 

20 

[ g 

–! C Y C 

Q 

h C CO 

C C C C C O 

C C C Y C C C C C 

p 

CO 

–! Y 

Q 

h C 

g 

C C C CO 

CO 

C C Y C 

h C C O C C C C C O 

Y C C CO 

CO 

C C C CO 

g 

C C C CO 

CO 

C C Y C CO 

C C C 

] 

–! C 

mp 

Y 

h C 

h C 

C 

C O 

[ 

] 

23 

–! C Y C C C CO 

C C C B S C C 

–! C 

p 

C C 

–! Q 

Y 

h C 

C 

poco rall. 

g 

C C C C C A 

Y C C C C C C Y C C C CO 

C C C B S C C A S 

C 

p C C 

Y C C C C C C Y C C C CO 

C C C A S 

PE051 – 15 9

C 

C 

C 

C 

h 

C 

h 

C 

h 

C 

C 

C 

C 

h 

C 

C 

C 

h 

C 

C 

C 

10 

C 

h 

C 

h 

C 

C 

h 

h 

C 

C 

C 

C 

C 

h 

C 

T 

T 

B 

C 

h 

h 

C 

T 

C 

Lima LaGu Lagu (Alto ALTO Recorder RECORDER version) 

Gareth Farr 

5 

9 

14 

18 

LAGU SATU 

Œ = 72 

! 4 Y C 

h 

mf 

! 

! 

O 

C C 

O 

O 

OY C C 

Y C C C C C C C C T 

Y C C C Y C C C C C C C C T 

O Y C C C C O 

f 

Y C C C C C C C C C C C O 

C C 

Y C C Y B 

C C Y C C Y B 

OY C C 

O Y C C Fine 

C 

! 

C C C C C C O 

OY C C Y C : Y 

f 

mp 

O Y 

1. 2. 

! C C C C C C C C 

C Y C C C C C C C C C C Y C : 

Y 

C C C 

C C C 

C C C C 

D.C. 

al Fine 

Lima Lagu © 1992 Promethean Editions Limited 

This edition © 2019 Promethean Editions Limited PE051 – 10 16 

ISMN: 979-0-67452-300-4

C 

C 

C 

C 

B 

C 

h 

h 

Ċ 

h 

C 

h 

T 

h 

C 

C 

C 

h 

C 

B 

C 

C 

h 

T 

C 

h 

h 

g 

C 

h 

h 

h 

h 

T 

Ċ 

h 

C 

h 

h 

C 

C 

h 

C 

C 

C 

h 

h 

Ċ 

h 

C 

h 

h 

C 

C 

C 

Ċ 

h 

[ 

] 

h 

C 

C 

h 

h 

h 

h 

g 

C 

C 

h 

C 

h 

g 

C 

C 

C C 

LAGU DUA 

Œ = 112 

! 4 4 h 

C 

a 

C C C C C C C X C C B T 

mf leggiero 

C C C C C C C C C C C B T 

C5 

C C 

C CC C 

C C 

C C C C C 

C CC C C B T C C C 

C C 

C C 

! 2 4 

4 C C C C C C C 2 T 4 

C C C 4 C C C 

9 C C C C C C 

4 

2 T C C C 

4 

! 4 C C C C C C C C 2 T C 4 

4 

4 Ċ Ċ Ċ Ċ Ċ Ċ C Ċ Ċ Ċ Ċ Ċ Ċ 

Ċ Ċ Ċ Ċ Ċ Ċ C Ċ Ċ Ċ Ċ Ċ Ċ 

13 

4 C Ċ C C Ċ C 

! 2 4 

4 C O C Ċ C T C C C C C B T 

To Coda 

C O C Ċ C T C C C C 

4 

C B T 

B 17 

C C C 

! 

C C C C B T C C C C C C C C C 

C C B mp T C C C C C C C C C 

C C C C 

C C B 

II 

20 

28 

II 

! B T C C C C C C C C C C C 

C B C O C Ċ C T C C C C C B T 

C 25 

C C C C C C C C B 

! h C C C 

fT C C C C C C C C 

h 

! C C C C C C C C C C C C 

C C C C C 

Ċ Ċ T Ċ Ċ Ċ C Ċ Ċ C C C 

T h 

32 

C C C C C 

! 2 4 

4 C O C Ċ C T C C C C 4 

C B T 

& 

Coda 

! C O 

rall. 

C O C Ċ C T 

C C C C C A 

& 

C B C O C Ċ C T 

C C C 

To Coda 

C C C C C B T 

C C C 

T C C C C C C C C 

h 

Ċ T 

C O C Ċ C T 

Coda 

! O 

Suggested form is A B C B A Coda. Sections may be repeated 

or played in any order but must end with A then Coda. 

Recorder 2 

Ċ Ċ Ċ C Ċ Ċ 

rall. 

C O C Ċ C T 

C C 

T h 

C C C C C B T 

Clap (palm to palm) 

C C C O 

C 

C T 

C A 

$4 O 4 

C T 

: 

Clap (fingers to palm) 

Recorder 3 $4 C C C : 

4 

Recorders 2 and 3 are to accompany 

throughout with these hand claps. 

PE051 – 11 

PE051 – 17 PE051 – 11

[ 

] 

[ 

] 

[ 

] 

[ 

] 

[ 

] 

^ 

C 

C 

^ 

^ 

C 

C 

C 

C 

^ 

C 

^ 

T 

^ 

^ 

T 

^ 

h 

C 

^C 

^ 

C 

^ 

^ 

C 

C 

^ 

12 

^ 

T 

^ 

T 

^ 

^ 

C ^ 

h 

h 

^ 

C 

T 

^ 

^ 

T 

^ 

^ 

^C 

h 

^C 

h 

^ 

^C 

T 

T 

T 

T 

III 

LAGU TIGA 

Œ = 63 

C C C C C C C C^C^ C^ C C C C^C C C C C 

! 4 : 

f 


! 4 C C C C C C C C C C C C C C C C C C C C C C C C C C C C C U : 

sfp 

sfp 

sfp sfp 

sfp 

3 

5 

7 

! : C C C C C C C C C C C C C C C C C C C C C C C C C C C C C : 

p 

sf 

! : C C C C C C C C C C C C C C C C C C C C C C C C C C C C C U : 

sfp sfp 

sfp sfp sfp 

C C C C C C C C^C^ ! : C C C C^C C C C C 

: 

f 



sfp 

sfp 

sfp sfp 

sfp 

C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

^ 

sf 

! R C 

p 

! C C C C C C C C C C C C C C C C C C C C C C C C C C C C C C 

p 

sf 

C 

p 

C C C C C C C 

p 

C C C C C C C C C C C C C C C 

10 


! 

C C C C C C C C : C^ 

C C C C C C C C C C C C C C C C C C C C C C C C C C C C C U : 


! 

C C C C C C C C C C 

C C C C C C C C^C^ C^ C C C C^C C C C C 

C C C : T h 

T h T h : 

sf f 


Marcato accent is to be played with hard attack and strong breath to overblow and produce a short and loud “peep” 

PE051 – 12 18

[ 

] 

[ 

] 

[ 

] 

C 

^ 

B 

C 

C 

C 

^ 

^ 

C ^ 

^ 

C ^ 

^ 

^ 

^ 

C 

^ 

^ 

^C 

h 

^C 

h 

^ 

^ 

^ 

^C 

T 

T 

13 

Finger 'C' with L.H. while 

wiggling fingers of the R.H C C C C C C C C C^C^ C^ C C C C^C C C C C 

! : O 

Ċ^ : : T h T h T h : 

p 


! : C C C C C C C C C C C C C C : : C C C C C C C C C C C C C C C C C C C C C C C C C C C C C U : 

p 


16 

18 

! : C C C C C C C C C C C C C C C C C C C C C C C C C C C C C : 

p 

sf 


sfp sfp 

sfp sfp sfp 

C C C C C C C C C C C C C C C B B B B^ 

! 

T S R 

f 

ff sfff 

! C C C C C C C C C ^ C C C C C C C C ^ C C C C ^ C C C C C C C C ^ C C C T S R 

sf sf sf sf sf sf sfff 

PE051 – 19 PE051 – 13

[ 

] 

[ 

] 

[ 

] 

[ 

] 

C 

C 

C 

h 

h 

C 

T 

14 

T 

C 

IV 

LAGU EMPAT 

Œ = 69 

C C C C A S C C C 

! 4 S C 

mf cantabile 

! 4 Q C TU 

C C U 

mp leggiero 

C C U T 

C U T C C U T 

C C U T 

! 4 Q C C TU 

C C C TU 

C C C TU 

C C C TU 

C 

mp leggiero 

C U T C C U T 

C C U T 

C U T C C U T 

C C U T 


4 

! 

O 

g 

C C C C A S 

C C C 

! 

C U T C C U T 

C C U T 

C U T C C U T 

C C U T 

C U T C C U T 

C C U T 

C U T C C U T 

C C U T 

C U T C C U T 

C C U T 

C U T C C U T 

C C U T 

! C C U T C C C U T C C C U T C C C U T C 



7 

! 

! 

O 

C U T C C U T 

C C C C C A S C 

C 

C C U T 

C U T C C U T 

C C U T 


C 

C C C C 


! W C C TU 

C C C TU 

C C C TU 

C C C TU 

C 

TU 

C C TU 

C 

U T C C 

TU 

C C TU 

C 

U T C C 

TU 

C C TU 

C 

U T C C 

TU 

C C TU 

C 

U T C C 

10 

! A S C 

C 

C 

C C C C B S C 

! C C U T C C C U T C C C U T C C C U T C 

C C U T C C C U T C 

C C TU 

C C C U 


! U T C C U T C 

U T C C 

TU 

C C TU 

C 

U T C C 

TU 

C C TU 

C 

U T C C 

TU 

C C TU 

C 

U T C C 

TU 

C C TU 

C TU 

C C TU 

C C TU 

C TU 

C C 

PE051 – 14 20

[ 

] 

[ 

] 

[ 

] 

[ 

] 

C 

T 

h 

T 

T 

C 

C 

C 

h 

T 

C 

C 

B 

B 

C 

C 

13 

C C C C C C C C B C C C C 

! 

S 

C C C C C 

f 

! C C TU 

C C C TU 

C C C TU 

C C C TU 

C C TU 

C C 

TU 

C C 

TU 

C TU 

C C 

TU 

C C 

TU 

C TU 

C C 

TU 

C C 

TU 

C TU 

C C 

TU 

C C 

TU 

! TU 

C C TU 

C TU 

C C TU 

C C TU 

C U T C C 

TU 

C C 

TU 

C TU 

C C TU 

C C 

TU 

C TU 

C C 

TU 

C C 

TU 

C TU 

C C TU 

C C 

TU 

C TU 

C C 

16 

! B 

mp 

C TU 

C C 

! 

! 

U T 

C C 

U T 

S C C C C C C C B S 

C U T C C 

U T 

C C 


U T 

C U T C C 

U T 

C C 

U T 

C U T C C 

U T 

C C 


U T 

U T 

C U T C C 

C C 

U T 

U T 

C C 

U T 

C U T C C U T 

C U T C C 

C C 

U T 

f 

U T 

C C 

U T 

C U T C C 

19 

! 

! 

! U T 

C C C C C C C C B S 

mf 

C TU 

C C C C C U 

TU 

TU 

T C C C C 

TU 

TU 

C TU 

C C 

TU 

C C 

TU 

C TU 

C C U 

C C 

U T 

C U T C C U T 

C C 

U T 

C U T C C 

C C C C C C C C C 

C C U T 

TU 

C C 

TU 

C TU 

C C TU 

C C 

TU 

C TU 

C C 

C U T C C U T 

C C U T 

C U T C C U T 

C C U T 

TU 

C C 

TU 

C TU 

C C TU 

C C 

TU 

C TU 

C C 

22 

O C C C C O 

! S C C O 

: 

C 

! TU 

C C U C C U C TU 

C C U C C TU 

C C C C C C C C C C O 

: 

! C C TU 

C C C TU 

C C C TU 

C C C TU 

C C C C C C C C A 

: 

Can be repeated many times with players swapping parts 

PE051 – 21 PE051 – 15

[ 

] 

[ 

] 

[ 

] 

[ 

] 

g 

C 

C 

C 

C 

B 

C 

C 

C 

C 

C 

C 

C 

h 

C 

h 

h 

C 

S 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

h 

C 

C 

C 

g 

C 

C 

C 

h 

C 

h 

C 

h 

S 

C 

C 

16 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

h 

C 

C 

C 

C 

g 

C 

C 

C 

C 

h 

h 

C 

h 

S 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

V 

LAGU LIMA 

Œ = 44 (‰ = 88) 

! 4 

5 C Y C Y C C C C C C Y C C C C O C C C Y B 

p 

mp 

! 4 

5 Q C Y C C Y C C C C C C Y C C C C O C C C 

p 

! 5 4 

Q Q C 

p 

Y C C Y C C C C C 

4 

Y 

! h 

p 

Y 

! 

mp 

! 

C C Y C S C 

pp p 

Y 

Y C C C O 

p 

C C C C Y B 

mp 

Y C Y O 

C C 

pp 

C O C C C C O 

Y C C S C 

p 

Y 

p 

Y C C C O 

Y C Y O 

C C 

pp 

O 

Y C C S 

O 

C C C 

7 

! Y O 

O 

Q Q 

O 

! Y C C C O O Y O 

O 

Q 

! C 

p 

Y C Y O 

C O C C C C O 

Y C C C O 

O 

Y 

O 

O 

10 

! 

mp 

Y C C C C C C Y C C Y C C C O C C C B S C Y C 

! Q 

mp 

! Q Q 

Y C C C C C C Y C C Y C C C O C C C 

mp 

Y C C C C C C 

PE051 – 16 22

[ 

] 

[ 

] 

[ 

] 

[ 

] 

C 

C 

h 

C 

C 

C 

B 

C 

C 

C 

C 

h 

C 

h 

C 

h 

h 

C 

C 

C 

C 

C 

C 

C 

C 

C 

h 

C 

C 

C 

C 

h 

C 

C 

C 

h 

B 

C 

h 

C 

C 

C 

S 

h 

C 

h 

C 

h 

C 

C 

h 

C 

C 

C 

C 

C 

C 

C 

h 

C 

C 

C 

h 

C 

C 

C 

C 

C 

C 

h 

h 

C 

h 

C 

C 

S 

C 

C 

B 

C 

h 

h 

C 

h 

C 

C 

C 

C 

C 

C 

C 

C 

C 

S 

C 

C 

C 

13 

! h 

C Y C 

Y C C C C C 

! B S C Y C 

! 

Y 

C C Y C 

Y C C C C C C C C C Y C C C O 

mf 

C Y C 

C O C C C B S C Y C 

C C C 

f 

Y C C C C C Y C C C C C C C C Y C C O C C C 

mf 

C Y C 

Y C C C C C 

Y 

mf 

O 

Y C C C C C C C 

Y 

17 

Y 

! h 

mf 

Y O 

! 

! 

C C Y C C C Y C 

mp 

Y Y 

f 

C C Y C C O 

C C C 

mf 

Y O 

f 

Y C C C O 

C C 

C O C C C C O 

Y C C C Y C 

mp 

Y Y 

mf 

Y C Y C 

Y C C C O 

C C 

C O C 

O 

Y C C C 

O 

C C C 

20 

Y O 

Y O 

! Q Y C Y C C C C C 

p 

O Y 

! 

C Y C C O O Y O 

Y O 

Q 

! Y C 

mp 

Y C C O 

C O C C C O 

Y C C C O 

O 

Y 

O 

O 

23 

! 

Y C C C C O C C C Y B 

Y 

poco rall. 

C C Y C C C A S 

! C Y C Y C C C C C C Y C C C C O C C C Y B C C A 

p 

! Q C Y C Y C C C C C C Y C C C C O C C C A 

p 

S 

PE051 – 23 17

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