Create successful ePaper yourself
Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.
Lindsay Bronnenkant
Cover illustration from the Linestrider Tarot, by Siolo Thompson
Instrumentation
Piccolo
Flute
Oboe
Clarinet in B♭ 1
Clarinet in B♭ 2
Clarinets in B♭ 3
Bass Clarinet (low C extension preferred)
Bassoon 1
Bassoon 2 (switches to Contrabassoon in III.)
Alto Saxophone
Trumpet in B♭ 1
Trumpet in B♭ 2
Horn in F 1
Horn in F 2
Horn in F 3
Trombone
Bass Trombone
Tuba
Double Bass (C extension highly suggested)
Harp
Keyboards (Acoustic Piano & Organ [Synth])
Timpani
Percussion 1
Percussion 2
Percussion 3
[Percussion 4 (optional)]
Durations
I. The Fool (3:45)
II. The King of Cups (7:00)
III. The Tower (5:00)
Total: 15:45
Basic Percussion Set-Up (4 Players)
“Version B” Percussion Set-Up (5 Players)
The following percussion instruments are requested in the parts:
Keyboards: Marimba, Vibraphone, Xylophone, Glockenspiel, Crotales, Tubular Bells
Battery: Snare Drum, 3 Toms (low–medium–high), Bass Drum, Suspended Cymbal(s)
Auxiliary/Misc.: Timpani, Tam-tam, Rute, Tissue Paper/Newspaper
As the work was written for a restricted number of players due to the COVID-19 pandemic, the percussion parts are dense and have quick switches across
multiple instruments. In its original form, Tarot is arranged for four percussionists; if using four percussionists, it may be desirable to omit certain musical
passages and/or use duplicate instruments across different stations (e.g., if a second bass drum is available, add a bass drum to the Perc. 1 station in the set-up
diagram above). However, if five percussionists are available, a set of alternate percussion parts arranged for five players (labeled “Version B”) is included. The
Version B parts reduce the number of quick instrument changes and alleviate the need for duplicate instruments. The set-ups shown above are optional.
Performance Notes
Tempo markings are approximate. Feel free to take some liberty.
Videos with demonstrations of some of the special techniques (e.g., piano at the beginning of the second movement) are available on my YouTube channel.
Program Notes
Gustav Holst was incredibly interested in Indian culture, going so far as to teach himself Sanskrit. Some evidence suggests that he tried to incorporate Indian
rāgas into his works, and after investigating Holst’s resources and analyzing his Planets, I believe that Holst tried to reference rāgas that evoked similar characters
to those of the planets in his suite. However, whether because of his limited access to authentic performance of Indian music, his experience with modal
composition during the British folksong revival of the early 20 th century, or by suggestion from Indian music expert Maud MacCarthy, Holst used the pitches of
rāgas using western theoretical practices, treating what were once rāgas as scales or modes.
I decided to compose a suite that traces Holst’s footsteps but applies his musical experimentation to a new topic: Tarot. Like astrology, Tarot cards have been
used for divination, and as each planet in modern astrology represents specific characteristics and personality traits, so too does each Tarot card. Some elements
of the Hindustani thāṭs, Karnāṭak mēḷakarta rāgas, and pitch sets Holst references in his Planets are referenced in Tarot using a similarly western approach to
portray Tarot card analogs.
In Tarot, the Fool represents someone who dives head-first through open doors with enthusiasm (and sometimes with a blissful ignorance of any looming
danger). The card represents new beginnings, playfulness, naïveté, and optimism. The first movement contains several intentionally comedic moments as the
Fool, unaware of the luck manifesting from his will, manages to skip through a minefield unharmed. The movement references the pitches of the Kalyāṇ thāṭ
found in “Jupiter,” a benefic planet of good fortune, to represent the Fool’s beginner’s luck. The movement also uses the whole tone scale hinted at in some of
Holst’s themes for Uranus, a chaotic and unpredictable planet, to depict the unintentional mayhem that inevitably follows each of the Fool’s steps.
In Tarot, the suit of cups corresponds with emotional energy and the element of water. A deeply empathic soul, the King of Cups tempers his emotions by
balancing his heart with his head, and he leads diplomatically with compassion. The second movement references the pitches of mēḷakarta rāga Dhavaḻāmbari
from “Neptune” as a nod to a fellow intuitive and ruler of the sea, and it additionally employs the pitches of Bhairavī found in “Venus” to allude to the King’s
kind and gentle countenance.
The Tower represents surprise, upheaval, and destruction. It represents the collapse of structure; the crumbling of façades based on faulty foundations. The final
movement references “Mars, the Bringer of War” with two similar pitch sets: the one Holst uses in “Mars,” as well as a thāṭ that Holst may have meant to draw
from, Bhairav.
Thanks go out to Dr. Mark Scatterday for the opportunity to program and premiere this work, as well as to the members of the Eastman Wind Ensemble, whose
talent, commitment, and heart first brought this music to life.
Transposed Score
Tarot
I. The Fool
Lindsay Bronnenkant
Piccolo
Allegro (= c. 120)
Flute
Oboe
Clarinet in B 1
solo
3
3
3 3
3 3
3 3
3
3
Clarinet in B 2
Clarinet in B 3
Bass Clarinet
Bassoon 1
Bassoon 2
(switches to Contrabassoon in III.)
n
Alto Sax
Trumpet in B 1
Trumpet in B 2
Horn in F 1
Horn in F 2
Horn in F 3
Trombone
Bass Trombone
Tuba
Double Bass
C extension highly desired. If no extension is available, transpose any unplayable pitches up the octave.
Harp
(Organ Synth should be set to a cathedral organ sound)
(unless otherwise indicated, pedal at your discretion)
Keyboards
(Acoustic Piano, Organ [Synth])
Timpani
Glockenspiel
Xylophone
Marimba
© 2021 Lindsay Bronnenkant. All rights reserved.
Tarot
2
Picc.
Fl.
Ob.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx.
B Tpt. 1
B Tpt. 2
Hn. 1
Hn. 2
Hn. 3
Tbn.
B. Tbn.
Tuba
D.B.
Hp.
Pno.
Timp.
Glk.
Xyl.
Mrb.
10
10
10
10
solo
3
3
3
3 3
10
10
10
10
solo
3 3
3 3
3 3 3
3
3 3
3 3 3 3
3 3
3 3
3
3
3
3
13
solo
3 3
muted (straight mute), if possible
Piano
muted (straight mute), if possible
3 3 3
3 3 3
3 3
3
3
solo
Tpt. 1
3
3
3
3
3 3 3 3
3
3
3
3
3
3
3 3
3
3
3
3
3
3
Glissando
3
to Vibes
3 Tarot
Picc.
Fl.
Ob.
B Cl. 1
B Cl. 2
17
solo
17
3 3 3
3 3 3
3 3
3
solo
3 3
solo
3
3
3
3 3
3
3
3
23
B Cl. 3
B. Cl.
Bsn. 1
solo
3
3 3
3 3 3
Bsn. 2
3
3
A. Sx.
solo
solo
3 3
B Tpt. 1
17
open
B Tpt. 2
open
Hn. 1
Hn. 2
Hn. 3
Tbn.
B. Tbn.
Tuba
D.B.
17
pizz.
Hp.
17
Gliss.
3 3
3
3
E
D
17
Pno.
Timp.
Glk.
17
3 3
3
3
to Susp.
Vib.
Vibes
3
3
Mrb.
17
(opt.)
Tarot
4
Picc.
25
29
Fl.
25
Ob.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
3 3 3
3 3 3 3 3 3
3 3 3
3 3 3 3
3
Bsn. 1
3
3
3
3 3 3
3 3
3
n
Bsn. 2
A. Sx.
3 3 3
3
3
3
solo
bold and jazzy
B Tpt. 1
25
B Tpt. 2
Hn. 1
Hn. 2
Hn. 3
Tbn.
B. Tbn.
3
3
3
3 3 3 3 3
3
n
Tuba
D.B.
25
arco
25
Hp.
Pno.
25
6
6
6
Timp.
Glk.
25
Susp.
Vib.
Mrb.
25
to Susp.
(if possible)
5 Tarot
Picc.
31
3 3 3
softly
3
3
3 3
Fl.
31
3
3
3
3
3
3
(if possible)
3
3 3 3 3 3
Ob.
3
3
3
3
B Cl. 1
B Cl. 2
3 3 3
3
B Cl. 3
B. Cl.
3 3 3
3
3 3 3
3
3 3
Bsn. 1
3
3
3
3
Bsn. 2
A. Sx.
3
3
3
3
3
3
B Tpt. 1
31
B Tpt. 2
Hn. 1
Hn. 2
Hn. 3
Tbn.
B. Tbn.
Tuba
D.B.
31
Hp.
31
Pno.
31
Timp.
31
do not L.V.
Glk.
Vib.
Perc.
31
Tarot
6
Picc.
36
3
37
Fl.
36
3
Ob.
3
3
3
B Cl. 1
3
3 3
3
B Cl. 2
3
3
3
3
B Cl. 3
3
3 3
B. Cl.
Bsn. 1
Bsn. 2
3
3 3
3
3
3 3
3
A. Sx.
3 3
B Tpt. 1
36
B Tpt. 2
solo
Hn. 1
Hn. 2
Hn. 3
Tbn.
3
B. Tbn.
3
3
3
3
3
3 3
3 3
Tuba
D.B.
36
Hp.
36
E A
B D
Pno.
36
cresc.
Timp.
36
Glk.
Glock.
3
3 3
3
Vib.
Perc.
3
3
3
36
(pedal at your discretion)
Susp.
Tam-tam
7 Tarot
Picc.
Fl.
41
41
45
Ob.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
Bsn. 1
(opt.)
Bsn. 2
A. Sx.
3
3 3 3 3 3
3
B Tpt. 1
41
B Tpt. 2
Hn. 1
Hn. 2
Hn. 3
sub.
Tbn.
B. Tbn.
Tuba
D.B.
41
Hp.
41
cresc.
Pno.
41
sub.
Timp.
Glk.
41
to S.D.
Vib.
no pedal
sub.
Perc.
41
B.D.
Picc.
Fl.
Ob.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx.
B Tpt. 1
B Tpt. 2
Hn. 1
Hn. 2
Hn. 3
Tbn.
B. Tbn.
Tuba
D.B.
Hp.
Pno.
Timp.
Glk.
Vib.
49
49
49
49
49
49
49
cresc.
to Xylo.
sub.
8
53
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
sub.
wild!
Susp. w/timp. mallet
cresc.
S.D.
Glissando
Tarot
Perc.
49
Susp.
B.D.
9 Tarot
Picc.
Fl.
Ob.
B Cl. 1
B Cl. 2
B Cl. 3
61
61
64
solo
3
3
3
3 3 3
3 3
3
3
3 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx.
(opt.)
B Tpt. 1
B Tpt. 2
Hn. 1
Hn. 2
Hn. 3
Tbn.
61
cresc.
opt.
opt.
B. Tbn.
Tuba
D.B.
61
pizz.
Hp.
61
Glissando
Pno.
61
Glissando
Timp.
Glk.
Vib.
61
to Glock.
Xylo.
w/shaft of mallet - choke
do not L.V.
Glock.
to Vibes
Vibes
Perc.
61
do not L.V.
Tarot
10
Picc.
71
7
75
Fl.
71
solo
3 3
3 3
3 3
Ob.
B Cl. 1
B Cl. 2
3
3 3
3
3
3
3 3
3
B Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx.
B Tpt. 1
71
B Tpt. 2
Hn. 1
Hn. 2
Hn. 3
Tbn.
B. Tbn.
Tuba
D.B.
71
solo
3
arco
sul A
Glissando
Hp.
71
Pno.
71
Glissando
Glissando
sub.
Timp.
Glk.
Vib.
Perc.
71
71
white key gliss.: mimic a harp
gliss. on white keys
Glissando
to Mba.
to Timp.
to Xylo.
11 Tarot
Picc.
78
83
3 3
3 3
3 3 3 3
Fl.
78
3 3 3 3
3 3 3
3 3 3
3 3 3
3
Ob.
B Cl. 1
B Cl. 2
3
3 3
B Cl. 3
3 3 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx.
solo
3 3 3
3 3 3
3 3 3
3
B Tpt. 1
78
muted
(straight mute), if possible
B Tpt. 2
muted (straight mute), if possible
Hn. 1
Hn. 2
Hn. 3
Tbn.
B. Tbn.
Tuba
D.B.
78
Hp.
78
3
3
A
B C
Pno.
78
Timp.
Xyl.
78
Timp.
to Susp.
Xylo.
(down stroke choke)
78
Mrb.
Perc.
78
Tam-tam
Tarot
12
Picc.
86
Fl.
Ob.
B Cl. 1
86
n
n
B Cl. 2
B Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
3 3
3 3
3
3
3 3 3 3
3 3
3
3
A. Sx.
3
3
3 3 3
3
3 3
B Tpt. 1
B Tpt. 2
86
3 3
3
3 3
Tpt. 1
3
3
3 3
3 3
3
3
Hn. 1
Hn. 2
Hn. 3
Tbn.
B. Tbn.
Tuba
n
D.B.
86
pizz.
arco
n
Hp.
86
(block chords)
Pno.
86
3
3
3 3 3 3 3 3
Timp.
Xyl.
86
to Vibes
Susp. w/timp. mallet
Glock.
Mrb.
86
Mba.
(if time)
to Glock.
Perc.
86
B.D.
do not L.V.
13 Tarot
Picc.
92
3 3 3 3 3
Fl.
Ob.
B Cl. 1
92
3 3 3
3
3
B Cl. 2
3
B Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx.
B Tpt. 1
92
B Tpt. 2
Hn. 1
Hn. 2
play very softly, as though muted
play very softly, as though muted
3 3
3 3
3 3 3
3 3 3
Hn. 3
play very softly, as though muted
3 3 3
Tbn.
3 3
3
3
3 3 3
B. Tbn.
3 3
3 3
3
3 3
Tuba
D.B.
92
Tuba
92
Hp.
Pno.
92
3 3 3 3
3
3
3 3
3 3 3
3
LH
RH
3 3
3 3
3
3 3
3
RH
Timp.
Glk.
92
to Mba.
articulate on rim using shaft of mallet
Vib.
Vibes
to Xylo.
Perc.
92
B.D.
sub.
Picc.
Fl.
Ob.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx.
98
3
98
3 3 3 3
3 3 3
3
3
3
3
3 3 3
3 3 3 3 3 3
3 3
3 3 3
3 3 3
3 3 3
3 3 3 3 3
3
3
99
3 3 3 3 3 3
3
3 3
3 3 3 3 3 3
Tarot
3 3 3
3
3 3
3
3
3
3 3 3 3 3
3
3
3 3 3
3
3 3 3
3
3
3 3
3
3 3
3
3
3 3 3
3 3 3
3 3 3
3 3 3
3 3 3 3 3 3
3 3 3
3
3
3 3 3
3
3 3 3
14
B Tpt. 1
B Tpt. 2
Hn. 1
98
open
3
3
open
3
3 3 3
3 3 3
3 3
3
3 3
3 3 3
3
Hn. 2
Hn. 3
Tbn.
B. Tbn.
3 3
3 3 3
3
3 3 3
3 3 3
3 3 3 3
3 3 3 3
3 3
3 3 3
3 3
3 3 3
3
3
3
3
Tuba
3 3 3
3
3
3
3 3 3
3
D.B.
98
3 3
3
Hp.
98
LH
RH
Glissando
Glissando
A
B C
Pno.
98
LH
RH
LH: gliss. on black keys
RH: gliss. on white keys
Glissando
Glissando
Timp.
98
to Timp.
Xyl.
gliss. on white keys
Glissando
3 3 3 3
3 3 3
Mrb.
98
Mba.
gliss. on white keys
Glissando
3 3 3
3 3 3
3 3 3
3 3 3
3 3 3
3 3 3
Perc.
98
15 Tarot
Picc.
102
3 3
3 3
3
3
Fl.
102
3 3 3 3 3 3
3 3
3
3
3
Ob.
B Cl. 1
3
3 3 3
3 3
3 3
3
3
3 3
3 3
3
B Cl. 2
3
3 3
3
3
3
3
3
B Cl. 3
3
3 3
3 3
B. Cl.
3
3 3
3
3
3
Bsn. 1
3 3 3
3
3
3 3
Bsn. 2
3 3 3
3 3 3 3
3
3
A. Sx.
3
3 3
3
3
3 3
3
3
3
3
B Tpt. 1
102
3
3
3
B Tpt. 2
3
3
Hn. 1
Hn. 2
Hn. 3
Tbn.
Glissando
3
3
B. Tbn.
Glissando
3 3
Tuba
String Bass
D.B.
102
Hp.
102
Pno.
102
gliss. on white keys
Glissando
3 3 3 3
Timp.
102
Xyl.
3
3
Mrb.
102
3 3 3
3 3 3
to Susp.
Perc.
102
Tarot
16
Picc.
Fl.
Ob.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
Bsn. 1
106
106
3
3
3
3
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3 3
3
3 3
3 3
3
3
3
3
3
3
3
Cl. 1
3
3
3
Cl. 1
3
3
3
3
3
3
3
3
3 3 3
3 3 3
3 3
3
3
3
3 3
3 3
3
3 3
3
3
3
3
3
3
3
Bsn. 2
A. Sx.
3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
B Tpt. 1
106
3
3 3
3
B Tpt. 2
3 3
3
3
Hn. 1
3
3
3
sub.
3
Hn. 2
3
3
3
sub.
3
Hn. 3
Tbn.
B. Tbn.
(Dis correct)
3
3
3
sub.
3
3 3
3
3
3
Tuba
3
D.B.
106
3
Hp.
Pno.
106
106
F G
C D
3
RH: gliss. on black keys
LH: gliss. on white keys
RH
LH
RH
3 3
3
Glissando
Timp.
Xyl.
106
Timp.
3
3
3
3
Perc.
106
B.D.
if requested, play on shell with shaft of mallet
3
Perc.
106
Susp.
L.V.
choke
S.D.
3
(if time)
17 Tarot
II. The King of Cups
Picc.
2
Alto Sax
3
(Begin conducting)
rall.
6
Gently ( = c. 48)
make shhh! noise, like waves rolling on the shore,
by blowing air through your teeth
Fl.
Alto Sax
Ob.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
Bsn. 1
Alto Sax
Alto Sax
Alto Sax
Alto Sax
Alto Sax
Alto Sax
make shhh! noise, like waves rolling on the shore,
by blowing air through your teeth
Bsn. 2
Alto Sax
make shhh! noise, like waves rolling on the shore,
by blowing air through your teeth
A. Sx.
(= c. 60)
solo
(echo)
freely
(bend)
(bend)
B Tpt. 1
Alto Sax
make shhh! noise, like waves rolling on the shore,
by blowing air through your teeth
B Tpt. 2
Alto Sax
make shhh! noise, like waves rolling on the shore,
by blowing air through your teeth
Hn. 1
Hn. 2
Hn. 3
Tbn.
B. Tbn.
Alto Sax
Alto Sax
Alto Sax
Alto Sax
Alto Sax
Tuba
Alto Sax
D.B.
(= c. 60)
(Alto Sax)
Hp.
Pno.
Timp.
Glk.
Vib.
Perc.
(= c. 60)
p.d.l.t.
3
(= c. 60)
pizz.
3
(= c. 60)
bowed
(pluck strings between hammers and agraffe)
Alto Sax
Alto Sax
Alto Sax
Alto Sax
Tam-tam - play as if warming up the tam-tam, so there is a soft hum
continue three-note ostinato at this approximate note duration, give or take; do not coordinate with piano
continue three-note ostinato at this approximate note duration, give or take; do not coordinate with harp
continue ostinato at this approximate note duration, give or take
(Alto Sax)
(Alto Sax)
(pluck normally, without nails)
(play normally)
G
play single pitches or dyads at random using these pitches, with rhythms ranging from eighth notes to dotted half notes
(play normally - with mallets)
play single pitches or dyads at random using these pitches,
with rhythms ranging from eighth notes to dotted half notes
Susp.
Tarot
18
Picc.
10
14 With a little more motion ( = c. 54)
(play)
Fl.
10
Ob.
B Cl. 1
(play)
n
B Cl. 2
sub.
B Cl. 3
n
B. Cl.
Bsn. 1
make shhh! noise, like waves rolling on the shore,
by blowing air through your teeth
n
(play)
Bsn. 2
(play)
A. Sx.
B Tpt. 1
10
(play)
B Tpt. 2
(play)
Hn. 1
Hn. 2
n
n
Hn. 3
n
Tbn.
n
B. Tbn.
n
Tuba
n
D.B.
10
n
pizz.
arco
10
Hp.
10
Pno.
Timp.
10
Glk.
Vib.
play normally
turn motor on; medium-slow speed
Perc.
10
19 Tarot
Picc.
18
22
rubato
3
poco rall.
Fl.
18
no vibrato
Ob.
TREMOLO: change pitches at the approximate speed, with some fluctuation at your discretion, as the initial notated rhythm.
If you end a measure on the written pitch E, stay on the E in rhythm before shifting to the next pitch
(rather than playing the non-E immediately on every downbeat).
B Cl. 1
breathe when needed
TREMOLO: change pitches at the approximate speed as the initial notated rhythm, with some fluctuation at your discretion.
Maintain this approximate rhythm across measures if tempo fluctuates with rubato (rather than shifting immediately on the downbeat for every measure)
B Cl. 2
breathe when needed
TREMOLO: change pitches at the approximate speed as the initial notated rhythm, with some fluctuation at your discretion.
Maintain this approximate rhythm across measures if tempo fluctuates with rubato (rather than shifting immediately on the downbeat for every measure)
B Cl. 3
breathe when needed
3 3
B. Cl.
breathe when needed
Bsn. 1
Bsn. 2
B. Tbn.
A. Sx.
B Tpt. 1
18
B Tpt. 2
Hn. 1
Hn. 2
soft, as though muted
Hn. 3
Tbn.
soft, as though muted
B. Tbn.
muted (straight mute), if possible
Tuba
solo
(take a little extra time at ends of phrases)
3 3
sweetly; noble but gentle
move forward (accel.)
hold back
3
D.B.
18
Hp.
18
bisbigliando
18
RH: play single pitches or dyads at random, with rhythms ranging from eighth notes to dotted half notes. More punctuated than LH: aim for "twinkle."
Pno.
Timp.
Glk.
Vib.
18
LH: play ostinato at this approximate speed. Maintain tempo despite rubato in the rest of the ensemble. Aim for texture and "shimmer" more than articulation.
Change ostinato pitches according to measure indicated.
6 6
motor on
bowed
6 6
with super ball mallet: drag mallet while changing pitch with pedal.
Strive to create a whale call sound. Pitches are approximate.
Glissando
6 6
Gong (or tam-tam) with small super ball mallet:
strive to create a whale call, or a distant, deep wail
6 6
Glissando
3
6 6
Perc.
18
B.D., with soft mallets
Tarot
20
Picc.
29
molto rall.
31
Rubato; flowing, but thoughtful ( = c. 58)
poco rit.
Fl.
29
solo
Ob.
solo
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx.
solo
B Tpt. 1
29
B Tpt. 2
Hn. 1
Hn. 2
Hn. 3
Tbn.
B. Tbn.
Tuba
D.B.
29
Hp.
29
E F
B C
Gliss.
Gliss.
F A
29
Pno.
6 6
6 6
6 6
6 6
6 6
Timp.
Glk.
Vib.
29
play normally, with timpani mallets
slowly release pedal
to Mba.
Perc.
29
21 Tarot
Picc.
38
Flowing faster ( = c. 66)
Fl.
38
Ob.
solo
5 5
sounding sad and distant
B Cl. 1
very soft!
B Cl. 2
n
B Cl. 3
very soft!
B. Cl.
Bsn. 1
n
3
3 3
Bsn. 2
A. Sx.
solo
5 5
sounding sad and distant
B Tpt. 1
38
B Tpt. 2
Hn. 1
Hn. 2
Hn. 3
Tbn.
muted (straight mute), if possible
Glissando Glissando
n
B. Tbn.
muted (straight mute), if possible
GlissandoGlissando
n
Tuba
3
3 3
D.B.
38
3
3
3
38
F A
Hp.
Glissando
Glissando
Pno.
38
in time
7 7 7 7
7 7 7 7
6 6 6 6
6 6 6 6
6 6 6 6
Timp.
Vib.
38
Tubular Bells
3
keep pedal depressed and let ring
3
3
3
3
Mrb.
38
Mba.
resonant, not brittle (soft mallets)
sempre
Perc.
38
Tarot
22
Picc.
solo
43
sounding sad and distant
45
Fl.
solo
43
sounding sad and distant
Ob.
B Cl. 1
n
n
B Cl. 2
very soft!
n
B Cl. 3
n
n
B. Cl.
Bsn. 1
3
Bsn. 2
A. Sx.
solo
5 5
sounding sad and distant
B Tpt. 1
43
B Tpt. 2
Hn. 1
solo
(open - Horn 2 and 3 are muted)
5 5
sounding sad and distant
Hn. 2
muted, if possible
very soft!
n
Hn. 3
Tbn.
very soft!
muted, if possible
very soft!
very soft!
n
n
B. Tbn.
very soft!
n
very soft!
n
Tuba
3
D.B.
43
3
43
Hp.
Glissando
Glissando
43
Pno.
7 7 7 7
6 6 6 6
6 6 6 6
7 7 7 7
6 6 6 6
Timp.
43
3
(if time)
3
3
Vib.
(harmonic)
43
Mrb.
Perc.
43
23 Tarot
Picc.
48
49
Fl.
48
Ob.
B Cl. 1
breathe when needed
3 3
3
B Cl. 2
breathe when needed
3
B Cl. 3
breathe when needed
3
3
breathe when needed
B. Cl.
3 3
3
3
Bsn. 1
Bsn. 2
3
A. Sx.
B Tpt. 1
48
muted (straight mute), if possible
B Tpt. 2
muted (straight mute), if possible
Hn. 1
3
Hn. 2
Hn. 3
3
Tbn.
B. Tbn.
Tuba
D.B.
48
all harmonics sul D
(as loud as possible on the harmonics)
harmonic gliss.
Glissando
(approximately an octave in range)
Glissando
Hp.
48
glissando ad lib.
F A
48
6 6 6 6
Pno.
6 6 6 6
Timp.
48
Timp.
Vib.
48
7 7 7 7
7 7 7 7
6 6 6 6
Mrb.
Perc.
48
Tarot
24
Picc.
Fl.
Ob.
52
52
3 3
(tongued)
(tongued)
B Cl. 1
3
3 3 3
B Cl. 2
3 3
3
B Cl. 3
3
3 3 3 3
B. Cl.
3
3
3
Bsn. 1
Bsn. 2
A. Sx.
B Tpt. 1
52
B Tpt. 2
Hn. 1
Hn. 2
Hn. 3
Tbn.
open
(grace notes occur before beat and gliss. to each E)
B. Tbn.
open
(grace notes occur before beat subdivision and gliss. to each E)
Tuba
D.B.
52
Gliss.
Glissando
(approximately an octave in range)
Glissando
Hp.
52
A
Glissando
Glissando
Glissando
Glissando
Glissando
52
6 6 6 6
7 7 7 7
7 7 7 7
Pno.
Timp.
52
Vib.
play normally, with medium hard mallets
Mrb.
52
Perc.
52
B.D.
25 Tarot
Picc.
55
rall.
Fl.
55
3
Ob.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
Bsn. 1
Bsn. 2
A. Sx.
B Tpt. 1
B Tpt. 2
Hn. 1
Hn. 2
Hn. 3
Tbn.
B. Tbn.
Tuba
D.B.
Hp.
Pno.
Timp.
Vib.
Mrb.
Perc.
55
55
55
55
F A
D
3 3
3 3
3 3
3
3 3
3 3
3
3
55
55
55
Gliss.
6 6 6 6
Tam-tam
Glissando
Glissando
Glissando
3
3
Glissando
6 6 3
6 6 3
6 6 6 6
let ring, but dampen so there is no sound left at the end of the measure
to Tub. Bells
n
bisbigliando
Susp.
open
open
motor off
solo
Tarot
26
Picc.
61 Stately ( = c. 60)
Fl.
Ob.
B Cl. 1
B Cl. 2
B Cl. 3
B. Cl.
61
n
n
n
n
n
3
Bsn. 1
n
3
Bsn. 2
n
3
A. Sx.
n
B Tpt. 1
B Tpt. 2
Hn. 1
Hn. 2
Hn. 3
Tbn.
B. Tbn.
61
open
open
opt.
3
3
Tuba
D.B.
61
61
Hp.
Pno.
61
7 7 7 7
6 6
7 7 7 7
to Organ
Timp.
Vib.
61
hard mallets
7 7 7 7
7 7
Tub. Bells
61
Tubular Bells
Perc.
61
Susp. w/(B.D.?) mallet
B.D.
Susp. w/mallet
Picc.
Fl.
Ob.
B Cl. 1
B Cl. 2
27 Tarot
67
67
6 6
6 6 6
6 6 6
6 6 6 6
6 6 6 6
sub.
rall.
6
6
6
6
6
6
6
6
6
6
6
6
6
B Cl. 3
3 6
6 6
3
6
B. Cl.
3
6
6 6
Bsn. 1
Bsn. 2
A. Sx.
3
B Tpt. 1
67
B Tpt. 2
Hn. 1
Hn. 2
Hn. 3
Tbn.
B. Tbn.
Tuba
D.B.
67
67
Hp.
Glissando
67
Org.
Timp.
Vib.
Tub. Bells
Perc.
67
67
67
no pedal
to Glock.
B.D.
3
Susp. w/mallet
Glock.
6
Picc.
Fl.
Ob.
B Cl. 1
A Touch More Majestic ( = c. 52)
3 3
3
74
74
6 6 6 3
6 6 6
6
6 6
6 6
6
6
Tarot
6 6
6
6 6
6
6
6
6
3 6 6
3 6 6
6
6
6
28
6
B Cl. 2
6 6 6
6
6 6
6
6
3 6 6
B Cl. 3
3
6
6
6
6
6
6
6
6
6
B. Cl.
Bsn. 1
3 3
6
3 3
6
3
3
3
6
6
6
6
6
6
Bsn. 2
3
3 3 3
6
6
6
A. Sx.
B Tpt. 1
B Tpt. 2
Hn. 1
Hn. 2
Hn. 3
Tbn.
B. Tbn.
Tuba
D.B.
Hp.
Org.
Timp.
Glk.
Tub. Bells
Perc.
if necessary, opt.
74
74
74
74
74
74
74
Gliss.
B.D.
Glissando
Glissando
29 Tarot
Picc.
Fl.
79
79
7 7
3 3 6
3 6
6
3
rall.
Ob.
B Cl. 1
6
6
B Cl. 2
6
6