Kembang Suling

PROMETHEAN EDITIONS 

GARETH FARR 

Kembang Suling 

Flute & Marimba

Gareth Farr 

Kembang Suling 

Flute and Marimba 

PROMETHEAN EDITIONS 

WELLINGTON

Kembang Suling (PE001) for Flute and Marimba by Gareth Farr 

(1996). Dedicated to Alexa Still. 

© Promethean Editions Limited 1996 

First edition © 1997 Promethean Editions Limited (201506) 

Series Editor: Ross Hendy 

Editor: Ross Hendy, Thomas Liggett 

Editorial Comments: Alexa Still 

ISBN: 978-0-9583679-0-5 (print) 

ISBN: 978-1-77660-001-4 (ebook) 

ISMN: 979-0-67452-081-2 

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. 

Kembang Suling was commissioned by Alexa Still with financial 

support from Creative New Zealand, Arts Council of New Zealand Toi 

Aotearoa. 

PE001 – ii

Gareth Farr (1968) 

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

percussion performance at the University of Auckland. 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. 

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

the Arts inaugurated his career as a dedicated freelance composer. Since then, Farr’s music 

has been heard at, or especially commissioned for, high-profile events including the 50th 

anniversary of the New Zealand Symphony Orchestra ( From the Depths Sound the Great Sea 

Gongs), the opening of the Museum of New Zealand Te Papa Tongarewa ( Te Papa), and the 

2000 Olympic Games in Sydney ( Hikoi, a concerto for percussionist Evelyn Glennie and the 

NZSO). In 2003, a commission by the Auckland Festival resulted in Stone and Ice, composed 

for the combined forces of the NZSO and the Auckland Philharmonia Orchestra. In 2006 

Farr was made an Officer of the New Zealand Order of Merit, for his services to music and 

entertainment. In the same year, the Royal New Zealand Ballet toured the country with their 

brand new work The Wedding, featuring a score by Gareth Farr. At ninety minutes, it was 

among the ballet company’s most ambitious projects, and combined Farr’s talents with those 

of prominent New Zealand novelist and librettist Witi Ihimaera. 

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, Maori kapa haka, contemporary 

dance and song, with Farr’s stirring music, and toured a number of centres in New Zealand. 

In more recent years, Farr has developed a fruitful collaboration with director and librettist 

Paul Jenden, producing four comedy musicals. In 2007 Farr was appointed as Composer- 

PE001 – iii

in-Residence for the Auckland Philharmonia Orchestra. The residency culminated in 2008 

with the premiere of Ex Stasis, a symphonic song cycle for four soloists. In 2008, Farr also 

celebrated the world premiere of his work Terra Incognita, for bass solo, choir and orchestra, 

performed by Paul Whelan and the Orpheus Choir with the New Zealand Symphony 

Orchestra. Farr’s artistic excellence was acknowledged when he received the Arts Foundation 

of New Zealand’s Arts Laureate Award 2010, which aims to celebrate significant artistic 

achievement as well as nurture future creative endeavours. 

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 BBC Philharmonic included Farr’s work alongside Douglas 

Lilburn’s Symphony No.2 as a programme to mark the 100th anniversary of the ANZAC 

troops’ battle at Gallipoli during World War I. The concerto received critical acclaim, 

described by the Dominion Post’s John Button as containing “marvellously free piano 

writing surrounded by orchestral sounds that conjure up memories of Prokofiev ballets, 

Ravel’s L’Enfant et les Sortileges and even the Bartok First Piano Concerto…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.” 

Farr’s music is particularly influenced by his extensive study of percussion, both Western 

and non-Western. Rhythmic elements of his compositions can be linked to the complex and 

exciting rhythms of Rarotongan log drum ensembles, Balinese gamelan and other percussion 

music of the Pacific Rim. 

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

PE001 – iv

Kembang Suling (1996) 

Farr describes the three movements of Kembang Suling as “three musical snapshots of Asia”. 

The first movement references the magical Indonesian island of Bali, with the marimba and 

flute evoking flowing gamelan melodies intertwined with the sound of the suling (Balinese 

bamboo flute) to form rich colourful tapestries. The performers begin the movement as 

one, playing their soft semiquaver material in unison to create an idyllic stream of sound. 

Bit by bit the flute asserts its independence, introducing chromatic departures from the 

opening material and blurring the movement’s harmonic character. An argument ensues, 

with the initial unison playing now replaced by increasingly impassioned call-and-response 

statements. The flute ventures into its upper register, alternating between jagged leaps 

and smooth ascending runs. Eventually all is resolved between our two performers, with 

some semblance of order – but not unison – restored. Farr takes inspiration for the second 

movement from the Japanese shakuhachi flute, its haunting voice floating out over the warm 

echoes of a rolling landscape. This short, sensual movement is underpinned by the marimba’s 

softly rolling chords, providing space for the flute to sing in flowing rubato lines peppered 

with grace-note detailing, resulting in an almost improvisatory feel. The second movement 

flows straight into the third, in which complex rhythms and South Indian scales set the two 

performers off in a race to see who can outplay the other. The marimba is set in a three bar 

cycle of Ed + Eh + Ep but the flute plays a different cross rhythm each time, returning to the 

marimba’s pattern at the end of every cycle. This final movement exudes a sense of dynamic, 

exploratory playfulness throughout. 

Kembang Suling was commissioned by Alexa Still, with financial support from Creative New 

Zealand. Its premiere performance was given by Alexa Still (flute) and Gareth Farr (marimba) 

at St Andrews on the Terrace, in Wellington, New Zealand on 7 March 1996. 

PE001 – v

PE001 – vi

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KEMBANG SULING TO ALEXA STILL 

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Kembang Suling © Promethean Editions Ltd 

This edition © 1997 Promethean Editions Ltd PE001 – 1 

ISMN 979-0-67452-081-2

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TU 

C TU 

Y 

C U T C C U T C 

TU 

C TU 

C TU 

Y 

U T 

C C 

U T 

C C 

U T 

C C C C C U T 

TU 

C TU 

TU 

C C 

TU 

C C 

TU 

C TU 


U T 

C 

TU 

C TU 

C U T 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 

105 

! 

Y 

U T C 

TU 

C TU 

C TU 

Y 

U T 

U T 

pp 

C C 

pp sub. 

sub. 

C C 

U T 

C C U T 

TU 

C TU 

TU 

C C 

TU 

C C 

TU 

C TU 


U T 

C U T 

C 

TU 

C TU 

Y 

Y C C TU 

C 

TU 

C TU 

C TU 

Y 

U T 

C C 

U T 

C C 

U T 

C C C C C U T 

TU 

C TU 

108 

! 

! C C 

C 

C 

C 

C 

p 

TU 

C C 

TU 

C C 

TU 

C TU 

Y C C C C C TU 

U T 

C 

C 

C U T C U T 

Y 

C 

C 

C U T C C U T C 

C 

C 

TU 

C TU 

C TU 

Y 

U T 

C 

C 

U T 

fff 

C C 

sub. 

C C 

U T 

C C U T 

C 

C 

U T C U T 

C 

C 

C 

C 

TU 

C C 

TU 

C C 

TU 

C TU 


C 

C 

U T 

C 

C 

C U T C U T 

C U T C 

fff sub. 

! C C 

C 

C 

C 

C 

C 

C 

C C 

C 

C 

C 

C 

fff 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

PE001 – 8

! 

# 

# 

! 

# 

# 

C 

C 

C 

U 

C 

C 

C 

U 

C 

C 

T U 

C 

T 

C 

C 

C 

C 

C 

C 

T U 

C 

C 

C 

C 

C 

C 

T U 

C 

C 

T 

C 

C 

U 

C 

C 

C 

C 

C 

T 

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 

C 

C 

C 

C 

C 

C 

C 

C 

B 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

jh 

C 

S 

C 

C 

T 

C 

Y T C T U C U 

T C U 

O 

! 4 

3 Q 

O 

F 

mp 

T C Y C C C C C C U 

O 

! 4 

3 Q Q Q 

111 

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 

4 

3 

pp 

Y Y 

G 

115 

! C B C C O B C C C 

! Q Q Q 

Y C C C C C C C C C C C C Y C C C C C C C C C C C C Y C C C C C C C C C C C 

118 

G 

! C C C 

I 

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 

pp legatissimo 

! Q Q Q 

Y C C C C C C C C C C C C Y C C C C C C C C C C C C Y C C C C C C C C C C C 

121 

! T U 

C C C C Y C C C C C C C C C C C C C C Y C C C C C C C C C C C C C C Y C C C 

124 

! C Y C C C C C C C C C C C C C C Y C C C C C C C C C C Y C C C C C C C 

! C C 

C 

pppp 

pppp 

O 

PE001 – 9

B 

B 

C 

g 

C 

g 

C 

g 

C 

C 

B 

B 

B 

g 

C 

h 

C 

B 

A 

A 

g 

C 

g 

C 

C 

g 

C 

C 

C 

R 

A 

A 

C 

A 

BB 

B 

B 

C 

S 

S 

g 

C 

C 

B 

B 

g 

C 

B 

BB 

B 

S 

C 

A 

A 

C 

C 

BB 

B 

B 

C 

S 

S 

C 

II 

! 4 4 

g 

C 

= 44 

B 

pp 

C C C C O 

g 

C 

C C C O 

ppp 

? 

T U 

C C C C C C C B 

molto rubato 

O 

p 

! 4 Q Q B B 

pp 

# 4 Q Q 

g 

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

roll throughout 

BBA 

B 

B 

A 

A 

5 

! C C C C 

G 

O 

g 

C R C 

p 

G 

C C C C B O C C C 

G 

g 

C C C 

! BBB 

Q 

O 

AAO 

# O 

Q 

ppp 

C 

p 

G 

G 

C C C C 

G 

9 

G 

! C C C C 

G 

C C C 

C C C 

G 

C C W C C B 

pp 

g 

W C 

W 

O 

W 

W C B C C C C 

! Q Q 

W B B 

W W A 

ppp 

# Q Q B W B 

A 

B B W 

W A 

13 

G 

! W C 

C C C 

O 

W 

ppp 

W C p 

G 

W 

W C 

C C C W A 

! W B B B 

W W 

# B W B 

W A 

B B W 

W 

O 

O 

PE001 – 10

! 

A 

C 

B 

B 

C 

B 

BB 

B 

A 

C 

BB 

B B 

C 

C 

B 

B 

B B 

C 

C 

B 

B 

B B 

C 

C 

C 

A 

A 

A A 

C 

A A 

A A 

C 

B B 

B B 

C 

C 

B 

B 

B B 

C 

B 

B 

B 

C 

C 

B 

S 

g 

C 

C 

A A 

A A 

C 

g 

C 

g 

C 

h 

A 

B 

B 

g 

C 

C 

g 

C 

g 

C 

C 

T U 

C 

g 

C 

C 

C 

C 

A A 

C 

C 

C 

B B 

C 

C 

C 

16 

g 

? 

, 

molto rubato 

Y C 

! g 

W C W B 

C C C 

g 

U 

Y 

C O C C C C O 

T 

W 

C W C C W C C C C Y C - 

ppp p 

mp 

G 

! Q Q Ymp 

Y A 

# Q Q 

Y A 

A Y 

Più mosso = 54 

Y 

Y 

19 

! 

Y 

Y 

G 

Y 

Y 

Y C 

B C Y C 

Y 

Y 

Y 

O 

Y 

p 

C C Y C Y C 

G 

C B Y C 

! B Y 

# Y 

B 

Y 

Y 

Y 

Y 

Y 

Y 

Y 

Y 

p 

Y 

Y 

A 

A 

23 

! 

C C C C 

Y Y 

Y 

mp 

Y C C Y C 

Y 

mf 

Y 

Y 

g 

Y C 

Tempo I 

pp 

C C Y C 

O 

g 

C 

C C O C 

Y 

ppp 

? C 

molto rubato 

p 

Y 

Y C C C 

! Y B 

Q Q 

Ymp B Y 

Y 

# B Y B Y 

Y 

Q Q 

! 

27 

! 

O 

g 

Y C C C T O 

Y C C Y C 

C C C C C C C Y C C 

G 

O 

Y C 

h 

30 

Y 

pp 

! Y 

B 

Y 

Y 

! R Y C 

p 

G 

Y 

Y Y B B 

Y BB 

Y 

Y C C C C B O 

C Y C C 

G 

Y 

Y 

g 

Y C 

attacca 

A A 

Y 

O 

! Y BBO 

Q Q 

! Q Q 

Y A 

A 

S 

Y O 

attacca 

PE001 – 11

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 

g 

C 

C 

C 

III 

= 108 

! 5 4 

Q 5 8 

Q 5 16 

Q 5 4 

! 4 

5 Y C C C C C C C C C 

5 8 Y C C C C 16 

5 C C Y C 4 

5 

mp 

# C C C Y C C C C C C 

C C Y C C 

4 

5 5 Y 8 16 

5 

C C Y C 

4 

5 

4 

! 5 4 

Q 5 8 

Q 5 16 

Q 5 4 

! 5 5 5 5 4 Y C C C C C C C C C 8 Y C C C C 16 C C Y C 4 

# 5 

C C C Y C C C C C C 

C C Y C C 

5 Y 5 

C C Y C 

5 4 8 16 4 

7 

! 5 5 4 O Y C C Y O C C C O Y C 5 5 8 C O 16 Y C C Y C 4 

mf 

> 


p 


C C Y C C 

4 

5 5 Y 8 16 

5 

C C Y C 

4 

5 

10 

! 4 

5 Y > O C C C O Y C C C O 5 Y O 8 C C C O C 16 

5 C C 

> Y C C C 

4 

5 

! 4 


5 8 Y C C C C 16 

5 C C Y C 4 

5 

# 4 

5 


C C Y C C 

5 Y 8 16 

5 

C C Y C 

4 

5 

PE001 – 12

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

g 

C 

C 

h 

C 

C 

C 

C 

C 

C 

h 

C 

h 

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 

g 

C 

C 

C 

13 

! 4 

5 Y O C C C C C Y O O C C Y C C 5 8 C Y O C C C Y O C > 

16 

5 

C Y C C Y C 4 

5 

! 4 

5 Y 

5 8 16 

5 4 

5 C C C C C C C C C Y C C C C C C Y C 


C C Y C C 

4 

5 5 Y 8 16 

5 

C C Y C 

4 

5 

16 

! 4 

5 Y Y C C 5 O 8 

Y O Y C C > C 

16 

5 Y C C Y C 4 

5 

p 

! 4 


5 8 Y C C C C 16 

5 C C Y C 4 

5 


C C Y C C 

4 

5 5 Y 8 16 

5 

C C Y C 

4 

5 

19 

! 5 Y 

Y C O 

5 Y O C Y C C > Y C C C 

5 Y C 5 4 8 16 4 


mp 


C C Y C C 

5 5 Y 5 

C C Y C 

5 4 8 16 4 

22 

! 5 O Y C C O Y C C C O C 5 C C Y O 5 5 4 8 16 Y C C Y C 4 

mf 

> 


p 

# C C 

4 

5 

C Y C C C C C C 

C C Y C C 

5 Y 8 16 

5 

C C Y C 

4 

5 

25 

! 4 

5 Y O C C C O Y C C C O 5 8 

Y O 

C C C O C 16 

5 C C 

> Y C C C 

4 

5 

! 4 

5 Y 

5 8 16 

5 4 


# C C 

4 

5 


C C Y C C 

5 Y C C Y C 

8 16 

5 4 

5 

PE001 – 13

C 

C 

C 

C 

C 

C 

B 

C 

C 

B 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

TU 

TU 

C 

C 

C 

C 

T 

TU 

TU 

C 

C 

C 

C 

C 

g 

C 

C 

C 

C 

C 

C 

C 

R 

C 

C 

C 

C 

C 

TU 

TU 

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 

TU 

U 

C 

jh 

C 

C 

28 

! 4 

5 Y O C C C C C Y O O C C Y C C 5 8 C Y O C C C Y O C > 

16 

5 

C Y C C Y C 4 

5 

! 4 

5 Y 

5 8 16 

5 4 5 C C C C C C C C C Y C C C C C C Y C 


C C Y C C 

4 

5 5 Y 8 16 

5 

C C Y C 

4 5 31 

! 4 

5 Y C C C C C Y C C C - C 

5 - Y C - 

> 

C C 

C 

C 

8 16 

5 Y C C Y C 4 

5 

34 

! 4 


5 8 Y C C C C 16 

5 C C Y C 4 5 # C C C Y C C C C C C 

C C Y C C 

4 

5 5 Y 8 16 

5 

C C Y C 

4 5 > 

! 5 Y C C C C Y C C Y C- C- Y C- 

C C 

C 

Y C C Y C 

C 

5 5 5 4 8 T hj 

16 4 

! 5 5 5 5 4 Y C C C C C C C C C 8 Y C C C C 16 C C Y C 4 # C C C Y C C C C C C 

C C Y C C 

5 5 Y 5 

C C Y C 

5 4 8 16 4 37 

! 5 5 4 C C 5 5 8 C C C C C 16 C C C C C 4 

molto rubato (quasi accel.) 

! 5 5 5 5 4 Y C C C C C C C C C 8 Y C C C C 16 C C Y C 4 # C C 

4 

5 


C C Y C C 

5 Y 8 16 

5 

C C Y C 

4 5 (in tempo) 

40 

! 4 

5 5 Q 8 16 

5 Q 

O 

4 

5 

! 4 

5 Y 

5 8 16 

5 4 


mf 

# C C 

4 

5 


C C Y C C 

5 Y C C Y C 

8 16 

5 4 

5 

PE001 – 14

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 

S 

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 

h 

C 

C 

C 

43 

46 

! 4 

5 O Y C C Y O C C C O Y 5 8 

C C Y O 

16 

5 Y > C C Y 

4 

5 

mf 

! 4 


5 8 Y C C C C 16 

5 C C Y C 4 

5 

mp 

# 4 

5 


C C Y C C 

5 Y C C Y C 

8 16 

5 4 

5 

Y O C C C O 

Y C C C O Y O 

! 4 

5 5 

C C C O C C C 

> Y C C C 

8 16 

5 4 

5 

49 

! 4 

5 Y 

5 8 16 

5 4 


# C C 

4 

5 


C C Y C C 

5 Y 8 16 

5 

C C Y C 

4 

5 

Y O C C C C C Y C O C O C C Y C C C Y O C C C Y O > 

C 

! 5 5 5 

C Y C C Y C 5 4 8 16 4 

f 


# 5 


C C Y C C 

5 Y 5 

C C Y C 

5 4 8 16 4 

52 

! 5 Y C C 5 5 5 4 C C Y C C C C C O C C C C 8 

Y C C C C Y C C C C C C Y C C C C C Y C C Y C 

16 C 4 

mf I I 

ING I 


# 4 

5 


C C Y C C 

5 Y 8 16 

5 

C C Y C 

4 

5 

55 

! 4 

5 Y C C C C Y C C C C C O C C C 5 C 8 

Y C C C C Y C C C C C C Y C C C C 

16 

5 

C Y C C Y C C 4 

5 

I I 

ING I 

! 4 

5 Y 

5 8 16 

5 4 


# 4 

5 


C C Y C C 

5 Y 8 16 

5 

C C Y C 

4 

5 

PE001 – 15

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

T 

C 

C 

C 

C 

C 

C 

C 

C 

C 

TU 

C 

C 

jh 

C 

TU 

C 

C 

C 

C 

C 

C 

TU 

C 

T 

C 

ig 

C 

C 

TU 

ig 

C 

T 

C 

C 

C 

C 

C 

S 

U 

C 

C 

C 

C 

T 

C 

C 

C 

C 

TU 

58 

60 

62 

! 4 

5 Y C U Y C C C C Y C C C C U C C C C Y C C C 5 8 16 

5 

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

I 

f 

! 4 


5 8 Y C C C C 16 

5 

mf 

# 4 

5 


C C Y C C 

5 Y 

8 16 

5 

Y C C 

! 16 

5 C Y C C C C C C C C 

C C C Y C C 4 

5 C 

5 8 

ff C Y C C C C C C 

Y C C U C C C C Y C C C 

! 16 

5 C C Y 4 

5 

Y C C C C C C C C C 

5 8 

# C C Y C Cf 

16 

5 4 

5 


5 8 

! 5 Y C C 

Y C C 

5 5 5 8 C C 

C C TU 

C C 

C C C Y C 

Faster = 120 

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

16 4 8 

! 5 5 5 5 8 Y C C C 16 C C Y C 4 Y C C C C C C C C C 8 

C C ff 

# Y C C C 

5 Y 5 

C C Y C 

5 C C C C Y C C C C C C 

5 8 16 4 C 8 

65 

! 5 Q 5 

C Y C C Y C 5 5 8 16 4 C C C C Y C C C C C C Y C C C C C C C C C C 

8 

ff 

! 5 5 5 Q 5 8 Y C C C 16 C C Y C 4 8 

# 

C C Y C C 

5 Y 8 16 

5 

C C Y C 

4 

5 Q 5 8 

68 

! 5 C C C 8 

Y C C C Y C C C C C 

16 

5 

C Y C C Y C 4 

5 T O S S S S 5 8 

p 

! 5 Q 8 16 

5 C C Y C 4 

5 

Y C C C C C C C C C 

5 8 

p 

# 5 Q 

Y 

8 16 

5 4 

5 

C C C C Y C C C C C C 

C 

C 5 8 

PE001 – 16

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

h 

T 

C 

C 

C 

C 

C 

C 

C 

C 

C 

U 

C 

C 

C 

C 

C 

U 

C 

C 

C 

C 

h 

C 

C 

C 

C 

C 

C 

C 

C 

TU 

T 

C 

C 

h 

C 

C 

C 

C 

C 

C 

C 

jh 

U 

C 

h 

U 

C 

C 

C 

C 

C 

C 

C 

h 

T 

C 

C 

C 

> 

C 

C 

TU 

TU 

C 

g 

C 

C 

h 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

T 

g 

C 

jh 

C 

TU 

TU 

C 

g 

C 

, 

71 

! 5 C C C 8 

Y C C Y C C C C 

16 

5 C Y C C Y C C C C C C Y C C C C C C Y C C C C C C C C C C 

4 

5 5 8 

ff 

! 5 8 16 

5 Q Y C C C 

4 

5 S S S 

C C C C C C C 

5 8 

C C 

ff 

# Y C C 

5 Y 5 Q 8 16 4 

5 S S S C 

5 8 

74 

Y C C Y C 

! 5 Q 8 16 

5 4 

5 T T S T Y C C C C C C C C C C 5 S T Y C C C C 

8 16 

5 

ff 

p sub. 

ppp 

! 5 8 Y 16 

5 4 

5 5 8 16 

5 C C C 

C C C C Y C C C C C C T S S C C C Y C C C S 

p 

C C 

# Y C C 

5 Y C Y C C Y C 

8 16 

5 4 

5 Q 5 Q 8 16 

5 

78 

83 

88 

! 5 Y C Y C 5 5 5 5 5 16 4 OY C C Y O C C C OY C C Y O Y C C Y C C Y O C C C O 

Y C C C O 

8 16 4 8 

f sub. 

! 5 Q 5 Q 5 Q 5 Q 5 5 16 4 8 16 4 OY T g 

OY 

O 8 

# f Y 

sub. 

5 

C C OY 

Y C 5 5 5 5 Q 5 16 4 OY T C O OY 

C T C Y C C Y 

8 16 4 8 

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

! 5 8 

5 5 5 5 5 16 4 8 h 16 4 

fff 

! 5 5 5 5 5 5 8 Y O 

Y C O C 16 T C C Y C C Y O C T C C Y C 4 O C O C C Y 8 Y O 16 4 

fff 

C C C O C Y C C C Y C 

# 5 Q 5 Q 8 16 4 

5 Q 5 Q 8 16 

5 Q 4 

5 

> 

Y C 

! 4 

5 

C C 

C C C C C 

T C C 

C C C C > 

C Y C C T C > C Y C C Y C C 5 Y C C 

Y C 

C 

C C TU 

C C 

C C 

8 C C 

16 

5 

! 4 

5 Y 

C C Y C 

C C C 5 Y C C 

8 

Y C 16 

5 

# 5 4 

Q 5 8 

Q 5 16 

PE001 – 17

C 

C 

C 

C 

C 

jh 

C 

C 

TU 

C 

C 

C 

C 

C 

> 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

# 

C 

^ 

jh 

C 

C 

90 

C C Y C C Y C C 

! 16 

5 

C Y C C Y C 4 

5 C Y C C C Y C C C C C C C C C C Y C C C C C Y C C Y C 

5 8 16 

5 4 

5 

! 16 

5 Y 

C 4 

5 C C C C C C C C 

5 8 Y C C C C 16 

5 C C Y C 4 

5 

mp 

C C 

# 16 

5 4 

5 S S C 

Y C C 

5 Y 8 16 

5 

C C Y C 

4 

5 

94 

Y C 

! 4 

5 Y 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 5 

C C Y C C C Y C C 8 

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

16 

5 

! 4 


5 8 Y C C C C 16 

5 


C C Y C C C 

4 

5 5 Y 

8 16 

5 

96 

! 5 

C C Y C C Y C C Y C 

16 C C 5 5 4 Y C C Y C C C C C C C C Y C C C C C C C C C C C C C C C Y C C C C C C Y C C C C C C C 8 

p cresc. 

! 5 5 16 C C 5 

Y C 4 Y C C C C C C C C C 8 

cresc. 

# 5 

C C Y C 

5 


5 16 4 8 

98 

! 5 Y 

5 8 Y C C Y C C Y C C 

TU 

C C C C C Y C 

16 

C 

jh 

U T 

Y C C C Y C C Y C 

! 5 8 16 

5 Q 

Y C C C C C Y C 

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TU 

T TU 

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C 

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ossia: for 4.5 or 5 

octave marimba 

U T 

PE001 – 18

Kembang Suling

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