In Search of Ecstasy (Preview)

PROMETHEAN EDITIONS
MATTHEW HINDSON
In Search of Ecstasy
Alto Saxophone & Piano

Matthew Hindson
In Search of Ecstasy
Saxophone and Piano
PROMETHEAN EDITIONS
WELLINGTON

In Search of Ecstasy (PE007), for Saxophone and Piano by
Matthew Hindson (1996).
© Matthew Hindson 1996
Published exclusively by Promethean Editions Limited
First edition © 1997 Promethean Editions Limited (201508)
Series Editor: Ross Hendy
Editor: Ross Hendy
ISBN: 978-0-9583679-6-7 (print)
ISBN: 978-1-77660-007-6 (ebook)
ISMN: 979-0-67452-068-3
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.
PE007 – ii

Matthew Hindson (1968)
A leading figure among Australia’s composers, Matthew Hindson studied at the Universities
of Sydney and Melbourne with teachers such as Peter Sculthorpe, Eric Gross, Brenton
Broadstock and Ross Edwards.
Hindson’s music typically embodies a response to events or trends within contemporary
society, and is particularly notable for the way in which the influence of popular musical
styles appears within a ‘classical’ context. Particular among his interests are the techno and
death-metal genres, and echoes or imitations of their driving, repetitive rhythms and stock
harmonic progressions are typically found in his works, as well as an energy and a sense of
fun lacking in much contemporary music.
Hindson’s works have been performed by many Australian ensembles and orchestras,
including most of the orchestras attached to Symphony Australia, as well as chamber groups
such as the Song Company, the Sydney Alpha Ensemble, and the Goldner String Quartet with
guitarist Slava Grigoriyan. His music has also been extensively performed around the world
at events including the Gaudeamus Music Weeks in Amsterdam in 1994 and 2000, the 1996
ISCM Festival in Copenhagen and the 1997 Paris Rostrum.
In Search of Ecstasy (1996)
In Search of Ecstasy opens with the unaccompanied saxophonist repeatedly playing an
unhurried, yet somewhat unsettling motif into the open piano. This unmetered, rubato
introduction becomes increasingly disturbed by downward pitch bends that melt away the
motif’s tail. Momentum picks up with the entrance of the piano’s syncopated stabs, around
which the saxophonist also sprays accented off-beat notes. Thus far, “ecstasy” is somewhat
elusive, but begins to appear in small glimpses as the duo’s activity intensifies.
PE007 – iii

Following the section’s climax, however, we return to the relative darkness of the original
saxophone motif, again played into the piano. The players converse, developing a delicate
rubato dialogue. Before long the familiar piano chords rise up from the depths to push
the work towards another climax, the saxophone’s melody singing out in front. This time,
however, the work spills over into a peak of swaying triumph and high romance. Ever
transient, our state of ecstasy slips through our fingers, accelerating to a frenzy, which also
dissolves into a concluding statement of the opening saxophone motif.
The composer writes:
In Search of Ecstasy was written in 1996 at the request of a young saxophonist who wanted
a piece that was not phenomenally difficult for the instrument, and yet was still effective
and which fitted into the everyday conception of what the instrument can do.
The term ‘ecstasy’ in the title has two meanings. There is the sense of meditative
contemplation, perhaps on a mountain top, that can bring an ecstatic sense of peace and
tranquillity. On the other hand, ecstasy implies over-the-top joy, and this is also included
in this piece.
Large parts of In Search of Ecstasy are influenced by popular music, in particular the
aspects of the techno genre. It has proven to be an immensely popular work for young
saxophonists, being regularly performed as part of Year 12 Music Examinations in NSW.
In Search of Ecstasy received its premiere performance from Deborah Kemp (saxophone) and
Craig Woodland (piano), at the MLC School Auditorium, Sydney, Australia in 1996.
Performance Notes
The saxophone needs to be played into the piano. The piano lid may need to be on half-stick
for this effect to be most successful. The saxophone player may need to stand on a raised
platform so the bell of the instrument projects directly into the piano.
In the free time sections, the piano should follow the saxophone part. The saxophone part
should be played freely. There is no time signature in these sections, and so it is up to the
performer to play these sections with his/her own interpretation. The note values that are
notated (e.g. semibreves, minims etc.) are given only as a guide.
PE007 – iv

The diagonal dotted lines show which parts come in after one another. Thus in the following
example, the piano should enter after the saxophone part has played.
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begin slowly, then speed up.
PE007 – v

PE007 – vi

In Search of Ecstasy
Matthew Hindson 
ALTO
SAXOPHONE
(Sounding pitch)
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Languidly, Molto Rubato
Play into the piano
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In Search of Ecstasy © 1996 Matthew Hindson
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This edition © 1997 Promethean Editions Limited PE007 – 1
ISMN: 979-0-67452-068-3
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PE007 – 2

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PE007 – 3

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PE007 – 4

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PE007 – 5

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Î >
b n ˛ .
˛ ‰
˛
j
˛ ˛ ‰
˛
˛˛ #˛
?
b˛
b˛
˛
˛
˛
˛
˛
˛
˛
˛
˛
˛
˛
˛
˛
˛
&
&
‰ j
˛ b .
b ˛ .
b ˛.
j
‰ n b ˛ - ˛ ˛-
..
b ˛ . ˛.
˛˛ ˛ b . ˛.
b ˛ . ˛.
˛˛ ˛.
b ˛ .
Î -
b n .
˛
bend
˛ ‰ J˛ ˛ ˛ ‰
. ˛ # ˛˛
˛˛ .
‰ j ˛ b .
12
b ˛ .
b ˛ ˛ . ˛ b˛
b˛
˛ ˛ ˛ ˛ ˛ # ˛ # ˛ ˛
j
‰ n b ˛ - ˛ ˛-
.. b
˛˛ ˛ . ˛.
˛˛ ˛.
b ˛ .
8
7
7
8
?
b˛
b˛
˛
˛
˛
˛
˛
˛
˛
˛
˛
˛
˛
˛
˛
˛
b˛
b˛
˛
˛
˛
˛
˛
˛
7
8
&
&
?
8
7
7
8 b n ˛.
7
8
ff
ˇ>..
˛
˛
˛ ˛ ˛ ˛
˛
˛
˛
˛.
˛ .
b
˛ .
ˇ..
.
b˛ .
˛
˛
˛ ˛ n ˛
˛
˛
˛
˛ .
˛ .
.
˛.
b .
˛
ˇ..
√
.
b˛.
˛
˛
˛ ˛ n ˛
˛
˛
˛
˛
˛.
.
˛.
b .
˛
U
ˇ ..
U
∑
U
∑
G.P.
∑
∑
G.P.
∑
PE007 – 6

&
&
?
G
Play into the piano
b ˛
∫˛
>
f
Î
p
U
∑
b ˛ >
f
∫˛
. ˛-
p
j
˛
U
ˇ
Œ
b > ˛
f
∫˛
ˇ
p
b ˛
∫˛
>
f
ˇ
p
Like an echo
Œ
Œ
b > ˛
∫˛
f
˛
b ˛
∫˛
>
f
3
˛ j ˛ ˛
3
ˇ.
p
˛ ˛ j ˛ ˛
bend
ˇ.
p
U
Ó
Ó U
°
&
&
?
b >
˛
∫˛
f
f
ˇ
p
b ˛
∫˛
>
ˇ
p
˛ # ˛
p
ˇ
Œ
Œ
b˛
˛ b˛
∫˛
˛
b˛
∫˛
˛ ˛
5
˛ ˛ ˛ ˛ n ˛ ˛<
b˛
#
°
˛ ˇ-
5
˛ ˛ ˛ n˛
˛ ˛¯
3
˛ ˛ ˛
b˛
U
# Î >
6
˛ ˛ ˛ ˛ ‰ n ˛
˛ ˛ b˛b˛
˛ ˛ ˛ ˛ n˛
3
6
&
&
?
b˛
b˛
˛ ˛ ˛ ˛ n˛
b˛
n˛
b˛
b˛
b˛
∑
˛ n˛
˛ b˛
b˛
˛
j ˛ ‰
b˛
˛ ˛ b˛
U
˛
p ˛ Î
n˛
˛
p
ÎU
b˛
b˛
f
U
Î
p
U
Ó
U
Ó
U
Ó
*
&
&
?
˛ .
mf>
p
b˛
∫˛
°
b˛
∫˛
p
bend
Î
ΠU
b˛
Î U
Œ
U
˛ # ˛
p Î Œ
∫˛
˛ .
p˛
b˛
∫˛
˛.
p˛
,
˛ ˛ #
˛- . ˛-
j
˛
bˇ
j ˛
bˇ
bˇ
,
j
˛
bˇ .
j
˛
bˇ .
j
˛-
(slow)
bˇ
,
PE007 – 7

&
b˛
˛ ˛
3
U
b˛
- ˛- ˛- ˇ Î
H
Π= 160
∑
∑
&
?
U
#
#
g ˛
U
n˛
˛˛
g
mf dim…
Ó
U
# ˛ ˛
g# U ˇ
*
b˛ -
. ˛ ‰ j ˛- ˛ ˛ ‰ ˛<
p crescendo sempre…
∑
b˛ -
. ˛ ‰ j ˛- ˛ ˛ ‰ ˛<
∑
&
∑
∑
∑
∑
&
?
b˛.
- ˛ ‰ j ˛- ˛ ˛˛
crescendo sempre…
∑
‰ ˛˛<
b ˛˛ - .
˛˛
‰ j ˛
˛-
∑
˛˛ ˛˛
‰ ˛˛<
b b .
˛. - ˛
‰ j
˛-
∑
˛ ˛
‰
˛<
b b
˛ - . ˛
‰ j
˛-
∑
˛ ˛
‰
˛<
&
∑
Face the audience
Ó
Œ
b f˛
Î
espressivo
&
?
bb
˛ - .
˛
‰ j
˛- ˛ ˛
crescendo sempre…
∑
‰
˛.
n n # ˛ .
. b n˛. b -
˛
‰ j
˛-
˛ ˛
∑
‰
˛.
n n # ˛ .
b > sempre
.
bb
n- ˛.
f
^
˛
˛
‰ j
˛-
˛ ˛
‰
˛.
n n # ˛ .
b˛
˛ ˛
˛ ˛
˛ ˛ ˛
˛
&
bend
Î
Œ
b > ˇ
&
bb n˛ - . ˛
‰ j
˛-
˛ ˛
‰
˛.
n n # ˛ .
bb . n˛. - ˛
‰ j
˛-
˛ ˛
‰
˛.
n n # ˛ .
bb
n˛ - . ˛
‰ j
˛-
˛ ˛
‰
˛.
n n # ˛ .
?
˛
˛˛ ˛
b ˛
˛ ˛
˛ ˛
˛
˛ ˛ ˛
˛
˛˛ ˛
b ˛
˛ ˛
˛ ˛
˛
˛ ˛ ˛ sim.
˛
˛˛ ˛
b ˛
˛ ˛
˛ ˛
˛
˛ ˛ ˛
PE007 – 8

&
Î
bend
bˇ
˛
3
˛
˛
. ˇ
Œ
&
?
b > . .
b
‰ j ‰
b n
n˛
- ˛ ˛- ˛ ˛ ˛.
n# ˛ .
^
b˛
˛ ˛
˛ ˛
˛
˛ ˛ ˛
˛
. b n˛ . b -
˛
˛˛ ˛
˛
‰ j
˛-
˛ ˛
‰
˛.
n n# ˛ .
b ˛
˛ ˛
˛ ˛
˛
˛ ˛ ˛
. b n˛. b -
˛
˛˛ ˛
˛
‰ j
˛-
˛ ˛
‰
˛.
n n# ˛ .
b ˛
˛ ˛
˛ ˛
˛
˛ ˛ ˛
&
ˇ-
3
ˇ- ˇ-
˛ .
b˛
J
bˇ
ˇ.
,
b˛
p echo
&
bb
n˛ - .
˛
‰ j
˛-
˛ ˛
‰
˛.
n n # ˛ .
b
n˛ - .
˛
‰ j
˛-
˛ ˛
‰
˛.
b ˛ .
b ˛ - .
˛
‰ j
˛-
˛ ˛
‰
˛.
b ˛ .
?
b˛
b˛ ˛
˛
b˛˛
˛ ˛
˛ ˛
˛
˛ ˛ ˛
b˛ ˛
˛ b˛
˛ ˛ ˛
˛ ˛ ˛
b˛ ˛
˛ b˛
˛ ˛ ˛
˛ ˛ ˛
&
˛
3
b˛
˛ ˛ ˛
j
˛
‰
b˛
f
b˛
˛
Î
&
b .
˛. -
˛
‰ j
˛-
˛ ˛
‰
˛.
b ˛ .
b .
˛. -
˛
‰ j
˛-
˛ ˛
‰
˛.
b ˛ .
b
b˛ -
. ˛ ‰ j
˛-
˛ ˛ ‰
˛.
˛.
?
b˛ ˛
˛
b˛
˛ ˛ ˛
˛ ˛ ˛
˛ ˛
˛
b˛
˛ ˛ ˛ ˛ ˛
˛ ˛ ˛
b ˛
˛˛ ˛ ˛ ˛
b˛
˛ ˛
˛
b˛
˛
˛
&
3
bˇ
ˇ bˇ
7
8
nˇ ..
ˇ ‰
j
p
˛.
j
˛ # .
&
b
b˛ - . ˛ ‰ j
˛-
˛ ˛ ‰
˛.
˛.
7
8
#
#
˛.
˛ ˛ ˛ ˛
˛ .
n
˛ .
#
#
˛.
˛ ˛
˛
˛
˛.
˛.
?
b ˛
˛˛ ˛ b
˛
˛
˛ ˛ ˛
˛
b˛
˛
˛
7
8
˛
˛
˛ n˛
˛˛ ˛˛ J˛
˛
˛
˛
˛˛ ˛ ˛˛ J˛
PE007 – 9

& ‰
Ossia
j
j # ˛ ˛
r
# ˛ ˛
#^
#^
j
˛
˛ #^
# ˛ >
˛ ˛ # ˛ ˛ ˛
&
j ‰
# ˛ .
# mp˛ .
# ˛ .
˛.
# ˛ .
˛.
# ˛ .
# ˛ ‰ j . # ˛.
˛.
˛.
# ˛ .
≈
# ˛ # ˛ ˛ n˛
# ˛ # ˛ ˛
# ˛ ˛ ˛ # ˛ ˛ ˛
4
&
#
#
˛ - . ˛ ˛ ˛-
˛
˛.
˛.
#
#
˛. - ˛ ˛ ˛-
˛
˛ .
˛.
#
#
˛. - ˛ ˛
˛-
˛
˛.
˛.
4
?
˛
˛
˛
˛˛ ˛ ˛˛
J˛
˛
˛
˛
˛˛ ˛ ˛˛
J˛
˛
˛
˛
˛˛ ˛ ˛˛ J˛
4
&
I
4
nÎ
f
bend
. ˛
ˇ.
Œ
&
?
4
4
b
b˛. - ˛ ‰ j
˛- ˛ ˛ ‰ ˛.
˛˛ ˛ b .
b b
b ˛ ˛ b˛
˛
˛ ˛ ˛
˛ ˛ ˛
˛
>
bnÎ
b ˛.
-
˛ ‰ J˛
-
˛ ˛ ‰ ˛.
˛˛ b
.
b b˛
b˛ ˛ ˛ b˛
˛
˛ ˛ ˛
˛ ˛ ˛
˛
bÎ
>˛. b
-
˛ ‰ J˛-
˛ ˛ ‰ ˛
.
b˛˛
.
b b˛
b˛ ˛ ˛ b˛
˛
˛ ˛ ˛
˛ ˛ ˛
˛
&
˛
b˛
3
b˛
˛¯
b ˛ <
˛.
b˛
J
ˇ
Œ
b˛
b˛
˛ b˛
3
4
3
&
?
>
bb
ˇ
b ˛ .
-
˛ ‰
˛
J
-
>
ˇ
˛
˛ ‰ ˛. b ˛˛
.
b b
b ˛ ˛ b˛
˛
˛
˛ ˛
˛ ˛ ˛
˛
b˛.
- ˛ ‰ j
˛- ˛ ˛ ‰ ˛.
b
˛ .
b b
b ˛ ˛ b˛
˛ ˛
˛ ˛
˛
˛ ˛ ˛
b˛
-
b b
b ˛
3
b
˛ - ˛-
˛ b˛
˛
b
˛ -
3
b
b ˛ -
˛˛ ˛-
˛ ˛
˛ ˛
˛
˛ ˛
4
3
4
3
PE007 – 10

&
3
4
b ˛. ˛ .
4
j
b ˛ ˇ .
‰ j ˛
b˛
b˛
3
˛
b˛
b˛
b˛
3
&
3
4
b ˛. b b ˛˛ . ˛
. b . ˛
4
b˛ .
b˛˛
˛˛
˛ ˛
˛˛ .
˛
fl ˛fl
b˛˛. b
˛ ˛ ‰ # j
#
# ˛ ˛ ˛ ‰ ˛<
?
3
4
b b˛
b˛
˛
˛ b˛
˛
˛ ˛
˛
˛
4
b b˛
b˛
˛
˛ b˛
˛
˛ ˛
˛ ˛
˛ ˛
˛
# ˛
˛˛ ˛ # ˛
˛
˛
˛ ˛
˛ ˛ ˛
˛
&
b˛
3
b˛
b˛
˛
3
b˛
b˛
˛
b˛
3
b˛
˛ ˛ b˛
3
& # n
#
˛ . ˛
‰
j
#˛
˛
# ˛˛. ˛ n ˛ .
# ˛ .
#˛
#˛ #
˛ ˛
˛
˛
# ˛˛
˛
˛ ˛
˛
˛ ˛
?
# ˛
˛˛ ˛ # ˛
˛
˛ ˛ ˛
˛ ˛ ˛
˛
n˛
b˛
b˛
˛ ˛ ˛ ˛
&
b˛
b˛
5
b˛
b˛
˛
4
3
b ˛ .
3
b ˛ . b˛
˛ ˛
b˛
3
b˛
b˛
b ˛ .
b ˛ .
4
&
?
˛ # ˛ # # ˛˛
˛ ˛
b˛
# ˛ ˛
#˛
˛ ˛
˛
˛
b˛
˛ ˛ ˛ ˛ ˛ ˛
3
4
4
3
##˛
# ˛ ˛ ˛
b˛
# ˛
˛ ˛ ˛ ˛
b˛
˛ ˛ ˛ ˛
# ˛ # #
˛ ˛ ˛ ˛ ˛^
b˛
˛˛ ˛
^
b˛
˛ ˛ ˛ ˛
4
4
&
J
4
Î>
ff
Î
Î
&
?
4
4
Œ
sfz
Œ
bÎ
?
b ˛ >
b˛
˛.
˛
> ˛.
b˛
˛ ˛
˛.
b ˛ .
˛.
b ˛ > ˛ ˛.
˛
> ˛ ˛
b˛
˛ ˛ ˛
Î
‰ n#˛˛
-
mp sempre poco a poco cresc.
˛ ˛-
play into each note
j
# ˛˛˛
˛˛ - ˛-
b˛ ˛
˛ b˛
˛
˛ ˛ ˛ ˛ ˛
˛ ˛
f
PE007 – 11

&
?
?
ˇ .
j
˛˛ ˛- ˛ bb˛˛ ˛˛- ˛
Œ
˛- ˛ ˛˛
J
˛-
˛.
b˛ b
˛
˛ b˛
˛ ˛ ˛ ˛ ˛
˛ ˛ ˛
‰
sim.
b˛˛.
tense
j
b ˛ ' ˛' b ˛ '
p
˛ ˛
˛ ˛
˛ ˛
j
˛'
˛ ˛ ˛˛ .
‰ ‰ j ˛'
# ˛˛. ˛ ˛
&
^
‰ ‰ b˛
b˛
˛ ˛ ˛ ˛
b˛
˛ ˛
b˛
&
n ˛ '
‰
b ˛ ' ˛' b ˛ '
j
˛ b '
n ˛ '
b ˛ '
n ˛ '
b ˛ '
˛'
n ˛ '
b ˛ '
˛'
j
˛'
‰
&
bn˛.
˛ ˛ bn
˛ ˛n n˛. n
#
> ˛
?
b˛ b ˛
˛ b˛
˛ ˛ ˛ ˛ ˛
˛ ˛ ˛
b˛. b b > ˛.
‰ # j
n ˛ > ˛ ˛.
‰
#
.
> ˛. ˛.
crescendo sempre
b˛ b
˛
˛ b˛
˛ ˛ ˛ ˛ ˛
˛ ˛ ˛
&
‰ j ˛' ˛' ˛ b '
n ˛ '
b ˛ '
n ˛'
b ˛'
w
Î
Slow
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
&
?
‰
j
˛ b>
˛ ˛.
‰
n # b ˛-
.
nn #˛. -
b˛ b
˛
˛ b˛
˛ ˛ ˛ ˛ ˛
˛ ˛ ˛
˛.
≈
j
##
˛ . ˛.
# ˛ ˛
˛
˛
. n˛ .
^
‰ ‰ b˛
b˛
˛ ˛ ˛ ˛
b˛
˛ ˛
b˛
&
&
increase trill speed
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Î
crescendo
b˛.
˛
˛
#
b ˛
˛
˛.
#
˛
. #
˛
.
Î
b #˛.
#
˛ ˛
#
˛ ˛
˛.
.
#˛ .
##˛
?
b˛ b ˛
˛ b˛
˛ ˛ ˛ ˛ ˛
˛ ˛ ˛
b˛ b ˛
˛ b˛
˛ ˛ ˛ ˛ ˛
˛ ˛ ˛
PE007 – 12

&
&
?
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ˇ ..
˛
##
˛ ˛
# # . .
˛ . nn ˛ b#˛˛
# n˛˛ ˛. ˛˛. ˛
b˛ b
˛
˛ b˛
˛ ˛ ˛ ˛ ˛
˛ ˛ ˛
‰
K
f ˛ .
>
b˛
.
bb ˛˛
>
.
f
^
b˛
b˛
˛ ˛ ˛ b ˛ .
.
˛˛˛
˛˛>
˛
‰ J
.
˛˛˛
˛˛˛
b ˛ .
‰
˛
-
˛˛˛
b˛
b˛
˛ ˛ ˛ ˛
b˛
˛ ˛
˛
&
&
˛>.
˛˛. b˛ b >
b˛
˛ ˛ ˛ b ˛ .
˛.
˛˛ ˛.
‰
j
˛˛ ˛>
˛˛ ˛ ˛˛ ˛.
^
˛
‰ ˛˛ ˛-
˛> .
.
bb
b
˛˛
> ˛
.
b˛
˛ ˛ ˛ ˛. b ˛ . ˛ ˛
.
˛˛ ˛
˛˛>
˛
‰ J
.
˛˛ ˛ ˛˛ ˛
‰
-
˛˛ ˛
?
b˛ b ˛
˛ b˛
˛ ˛ ˛ ˛ ˛
˛ ˛ ˛
^
b˛
b˛
b˛
˛ ˛ ˛ ˛
b˛
˛ ˛
&
&
˛>.
˛˛. b˛ b >
b˛
˛ ˛ ˛ b ˛ .
˛.
˛˛ ˛.
‰
j
˛˛ ˛>
˛˛ ˛ ˛˛ ˛.
^
˛
‰ ˛˛ ˛-
‰
b .
bb ˛˛ ˛
>
.
˛. b˛
J -
.
˛˛ ˛
˛˛>
˛
‰ J
b˛
˛- ≈ ˛ ˛ ˛ ˛.
.
˛˛ ˛ ˛˛ ˛
‰
-
˛˛ ˛
?
b˛ b ˛
˛ b˛
˛ ˛ ˛ ˛ ˛
˛ ˛ ˛
^
b˛
b˛
b˛
˛ ˛ ˛ ˛
b˛
˛ ˛
&
&
‰ j ˛. ˛ b -
˛˛. b˛ b >
˛˛ ˛.
‰
b˛
˛-
j
˛˛ ˛>
≈
˛ ˛ ˛ ˛.
˛˛ ˛ ˛˛ ‰ ˛˛ ˛. ˛-
‰
b˛
.
bb ˛˛
>
.
b˛
b˛
˛ ˛
.
˛˛˛
‰
˛.
j
b b˛
˛˛ >
‰ ˛ ˛ ˛ ˛ ˛.
˛˛ ˛ ˛˛ ˛.
‰
.
˛˛>
˛
.
.
˛˛˛
?
b˛ b ˛
˛ b˛
˛ ˛ ˛ ˛ ˛
˛ ˛ ˛
^
b˛
b˛
˛ ˛
j
˛ ˛
b˛
˛ ˛
PE007 – 13

&
&
?
rit.
b w ˛
>
‰
rit.
b˛
j
b b˛
˛˛
>
b w >
˛
˛˛ ˛ ˛˛ ˛.
‰
b w >
˛
b b˛˛ ˛>
>
bb˛˛˛
n˛>
w
>
b˛
b˛
˛>
˛
b˛
˛ ˛
˛˛
>
˛
b ˛
> >
˛ ˛
"
"
L
Triumphant
b> Î
ff
Ó
fff
Ó^
bÎ
bÎ
b > ˇ
b bˇ
Π= 144
˛
ˇˇ b >
Î
Î
Œ
˛
b
> ˇ
b˛˛
3
˛˛
b b
Ossia: G F EÏ
bˇ
-
Ó
Ó^
bÎ
bÎ
bˇ
-
3
b bb > ˇ
bbˇ
bˇ
-
&
&
?
bˇ
-
Ó
^
Ó
bÎ
bÎ
bˇ
- ˇ-
3
Ossia: CÏ EÏ F
bb bˇˇ
> ˇ
b bˇ
nˇ.
Ó
^
Ó
bÎ
bÎ
bˇ n >
b bˇ
Œ
3
3
^
ˇ bˇ
bˇ bˇ
b
Ó
>
ˇ
Î Ó^
ÎÎ
ˇˇ b >
b^
ˇ
bÎ
bÎ
b b b> ˇ
b bˇ
b^ ˇ
rall.
^
bˇ
Ó
rall.
^
Ó
bÎ
bÎ
3
b^ ˇ
^
bˇ
?
b bb
ˇˇ > ˇ
b bˇ
&
?
?
&
M
Π= 120
molto accel.
w ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ chromatic gliss. w~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
‰ ‰
bÎ
bÎ
˛ .
n˛ .
f
b ˛ .
˛˛.
p
subito
pesante
b ˛ -
˛˛.
˛
˛.
˛
˛-
˛
˛.
b > ˛ ˛> ˛> ˛>
◊
˛ .
‰ ‰
˛˛.
chromatic gliss.
n˛.
molto accel.
b ˛ .
˛˛.
b ˛ -
˛˛.
molto crescendo
˛
˛.
˛
˛-
˛
˛.
b˛
˛ ˛ ˛
timbre trill
b> Î
˛
˛.
b ˛ .
˛˛.
b ˛ -
˛˛.
˛
˛.
˛
˛-
˛
˛.
b˛
˛ ˛ ˛
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Î
˛˛.
?
b
˛
˛
n
n
˛
b
˛
n
n
˛
n˛
b
˛
b
˛˛
n
n
˛
#
˛ # ˛
˛ #
#
˛
˛ n
n
˛˛ #
# ˛
˛#
#
˛
˛
˛
b˛
#
n ˛
˛
b
b ˛
n
b
˛˛
?
b˛
˛ ˛ ˛
◊
molto crescendo
b˛
˛ ˛ ˛
PE007 – 14
b˛
˛ ˛ ˛

&
chromatic gliss.
Î
Play as high as possible, teeth on reed.
ç
fff
ossia: multiphonic
?
?
#
n ˛
˛
b ˛
n
n ˛
b ˛
n
n
b˛
˛ ˛ ˛
˛ ˛ ˛˛ ˛ nb b ˛˛
˛
˛ # n#
n
˛˛ ˛
&
Chromatic cluster-like chords
(exact notes unimportant)
b
b˛˛
˛ #n ˛ b ˛
> ˛ n #
˛˛ > ˛ b ˛
˛˛ # n ˛ ˛
˛˛ > # > ˛ b ˛
˛˛ >
nbn
b˛˛
> ˛
Ó ‰ n
J˛
fff
bn n n˛
˛˛ # n ˛˛˛
>
#˛ >
# ˛ n
# > ˛˛
ç
ç
&
&
?
n b ˛ n ˛ b ˛˛
˛ n # #
˛˛
˛
b
n > ˛ b > ˛
b ˛ n ˛
b ˛˛ > ˛ n # # ˛
˛˛ b
n˛˛
˛
˛
> >
b> ˛˛ ˛˛>
b #˛˛
>
b
nn
b n n
˛ ˛˛
> ˛
˛
> ˛
# b n ˛˛˛
b ˛
> ˛ n#
˛˛
> ˛
#˛˛ b >
n n
b
˛
˛
>
˛ ˛˛ ˛>
˛˛ b >
b b b˛˛˛
n ˛˛˛
> n n˛ >
˛˛ #˛ b >
b nn˛
˛˛ >
bbb˛˛˛
nnn ff
> > f
n nf
ff >
ff f>
fff
f ff > f ff >
>
fff
f
> f fff
f> f fff
f>
&
&
ç
f ff >
ff > f
fff > f
f ff >
fff > f
ff > f
ff > f
fff > f
U
∑
U
∑
Very Slowly Π= 52
Play into the piano
˛
˛
>
p
# ˛. -
˛
J
∑
ˇ
8
7
7
8
?
&
8
7
ff
>
f
ˇ ..
ff f>
˛f ff f>
ff f>
f ff f>
ff f>
ff f>
. ˇ ‰
f ff f>
2
4
U
∑
∑
°
∑
4
∑
U
Ÿ~~~~~~~~~~~~~~
Air noise or flutter tongue
mp
≤
7
8
&
?
7
8
7
8
p
ˇ
. ˇ>
◊
∑
‰
ˇ
. ˇ>
∑ ?
‰
2
4
2
4
Œ ‰.
PE007 – 15
∑
r
b˛
pp
bˇ
∑
4
4
U
Î
b
U Î
bÎ
ppp

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