Veli-Matti Puumala. Rope. for Orchestra

(1)

Veli-Matti Puumala

Rope

for Orchestra

2010‒12

(2)

PROMOTIONAL COPY

FENNICA GEHRMAN OY, HELSINKI

Veli-Matti Puumala

Rope

for Orchestra

2010-12

Commissioned by the Finnish Broadcasting Company

written for the Finnish Radio Symphony Orchestra

Dedicated to Hannu Lintu

Instrumentation

3 Flutes (1

st

_{also
Bass
Flute,
2}

nd

_{also
Alto
Flute
in
G,
3}

rd

_{also
Piccolo)}

2 Oboes

Corno Inglese

2 Clarinets (2

nd

_{also
Piccolo
Clarinet
in
Eb)}

Bass Clarinet in Bb

2 Bassoons

Contrabassoon (also 3

rd

_Bassoon)

4 Horns in F

3 Trumpets in C

3 Trombones

Tuba

Timpani

3 Percussionists

Piano

Harp

14 I Violins

12 II Violins

10 Violas

8 Cellos

6 Double basses

List of percussions

Perc 1 Perc 2 Perc 3

Vibrafono Xilofono Marimba

3 Almglocken (a, g#1_{,
c}2₎ _{Tubular
Bells} _Crotales

5 Thai Gongs (Bb1, f#, g#, a#) 4 Almglocken (b, c1, eb1, bb1) 4 Almglocken (a#, g1, a1, b1)

Piatto Sospeso (large) 6 Thai Gongs (E, G, B, g, b, eb1₎ _{5
Thai
Gongs
(B}₁_{,
A,
c,
eb}_{,
a)}

Tam Tam (large) 2 Metal blocks Piatto sospeso (large)

Snare drum Piatto sospeso (small) Chinese Cymbal

Gran cassa Tam Tam (small) Tam Tam (medium)

Guiro 2 Wood blocks

2 Wood blocks 2 Bongos

Sandpaper blocks 2 flat Styrofoam discs

(3)

PROMOTIONAL COPY

ss

s

sssss

j

œM

j>œ

j¿

j¬

I II III_IV

!

P

j

¬Z

P

j

¬

Z

P

–™§

P

j¬

P

d

pizz.

Bb B µ ˜

K k

Instruction and explanation of signs and special symbols

For all instruments

Following quartertone accidentals are used in this piece:

All the accidentals (both normal and quartertone) apply throughout the whole measure in the same octave. In one section (m. 180-209) of the piece also and accidentals are used. They

flatten or raise the pitch about 1/6 of a tone.

The most important voices are marked with symbols (Hauptstimme) and (Nebenstimme) and their ending with sign .

Stemless notehead (both inside normal measures and senza misura -measures) means a non fixed lenght of a note.

Sometimes the lenght of a note is marked with a thick line after the note , which shows its lenght in relation to other instruments.

Mute symbol

Dynamics in quotation marks (at toneless passages) indicate intesity of the performance manner and not the resulting absolute volume of the action.

diminuendo al niente

For winds

Slap tongue sign for clarinets

Toneless blowing (for flutes, clarinets and trumpets with clef)

For Flutes: blow directly into the tube with narrow mouth opening. For clarinets: blow from a short distance of the mouthpiece.

For trumpets: blow without direct lip contact with the mouthpiece. (The notated tones are always to be played as indicated) Sometimes toneless sounds are to be played with reinforcing

consonants, which are marked above the notes.

Toneless blowing (for oboes, bassoons, horns and trombones without clef. The noise coloration is relative according to the placement of the note at the stave.

Sometimes toneless sounds are to be played with reinforcing consonants, which are marked above the notes.

Multiphonic (oboe, clarinet and bassoon; free choice of fingering, desired and prominent high or low pitch is marked)

Tongue ram (for flute)

Key slaps (for flute) (Reinforce the effect with tongue action)

Strike the mouthpiece with the flat of the hand (for trumpets, trombones and tuba). (If possible, prepare the mouthpiece before positioning with a thin strip of paper,

in order to prevent the mouthpiece from blocking.)

For strings

Bridge clef schematically reproduces the front of the instrument between tailpiece and the middle of the fingerboard. It does not indicate certain pitch to be performed,

but the position on the instrument where the action is to be performed. Bridge clef shows the approximate positions of the bow movement.

String clef does not indicate pitches, but the strings on which to play below bridge, between the bridge and the tailpiece.

“Tailpiece clef” shows music to be played on the tailpiece (for celli and double basses).

Pressed bowing at the frog, maximal bow pressure with extremely restrained bowing. Dry, sharply perforated rattling. Occasionally with fist grip of the bow.

In some cases the contact point of the bow on the string is marked with a small notehead above the stave or directly on the stave.

Vertical shifts of the pressed bowing. No normal up or down bow. The direction of the bow movement is marked with a small arrow connected to stem

(arrow up = bow movement towards bridge, arrow down = towards fingerboard).

Legno battuto A lightly tossed stroke or "jab" of the wood of the bow. The contact point of the wood of the bow is indicated as a pitch. The pitch is to be understood as an approximate value.

Left hand covers gently all the strings. (The string to be played is indicated conventionally with a roman numeral.)

Legno saltando Dense shake of the bow after striking the string(s). The bow glides (gliss.) towards the bridge. The contact point of the wood of the bow is indicated as a pitch. The pitch is to be

understood as an approximate value. No bowing. Left hand covers gently all the strings. (The string to be played is indicated conventionally with a roman numeral.)

Above the bridge

Arco balzando a bouncing of the bow on the string. Strike the bow sharply against the string. Avoid up- or down-bow motion, only downward motion. Result should be as a dull,

dry bouncing noise. Left hand mutes all the strings.

Bartók pizzicato with completely choked strings that is plucked. Only the rebound of the string on the wood of the fingerboard should be heard.

The mute sign

P indicates when the other strings should be muted.

pizz. credit card (for cellos, basses and piano)

œ

P

f

” ”

˜

ê

–

H

N

#

–

(4)

PROMOTIONAL COPY

FENNICA GEHRMAN OY, HELSINKI

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ã

&

B

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44

85

42

46

Timp. Fl. Ob. Cl. (in Sib) Fg. Cor. (in Fa) Tr. (in Do) Perc. Vl. I Vl. II Vle Vc. Cb. 1 2 3 2 1 2 Cl. basso 1 2 Cfg. 2 3, 4 1 2, 3 2 3 C. ingl.

√

q = 60 q = 60

A

π

ƒ

without mouthpiece without mouthpiece

I a

œµ

H

_{œµ œµ œµ œb œB œ œB œB} œB œ œ# œ

œæ

œ

H

œb œb œ œµ œ œµ _{œ œ} œ#

œ

æ

œ#

H

œ# œ œµ œ# œµ œ# œ# _œ

_œ

æ

‰.

rœB

π

.˙

‰.

_rœB

π

.˙

∑

‰.

rœB

π

.˙

‰.

RœB

π

.˙

‰.

RœBπ

.˙

‰.

_rœ#

π

.˙

j

œæ

bend

B

f

‰

Œ

Ó

j

œ

æ

bend

B

3. 4.

f

‰

Œ

Ó

œ

f

œ# œµ ‰

Œ

Ó

3

œ

#

_B

2. 3.

f

œ

œB œœ#

µ

‰

Œ

Ó

3

œ

gliss.

B

poco

f

Œ

Ó

.Jœ

Guiro hard mallets

ƒ

≈⋲

Œ

Ó

.Jœ

Mar. gliss. on resonance tubeshard mallets

ƒ

≈⋲

Œ

Ó

Œ

.˙

2. sul pont.

π

Œ

4. sul pont.

µ

.˙

π

Œ

6. sul pont.

b

.˙

π

Œ

.˙

#

sul pont. 8.

π

Œ

10.sul pont.

.˙

π

Œ

12.sul pont.

µ

.˙

π

Œ

14.sul pont.

#

.˙

π

‰

div. a 6

œœ#>

ƒ

>

> œœ>

µ

p

‰

3 3 3

‰

_œœ>B

ƒ

>

> œœ#>

p

‰

3 3 3

‰

œœ>BB

ƒ

>

> œœ#>

p

‰

3 3 3

J

œœ#

™

pizz. div. 1. - 5.

Ï

‰

1.-4. without bow until measure 63

Œ

Ó

Jœ

pizz. 6. 7.

Ï

‰

Œ

Ó

jœB

8. - 10. pizz.

Ï

‰

Œ

Ó

JœB

pizz. 2.

Ï

‰

2. without bow until measure 63

Œ

Ó

JœB

pizz. 4. 6. 8.

Ï

‰

4. without bow until measure 69 6. 8. without bow until measure 67

Œ

Ó

‰.

3.

_Rœ

sul pont.

π

.˙

‰.

5.

_Rœ#

sul pont.

π

.˙

‰.

7.sul pont.

rœ

π

.˙

Jœ

pizz.

B

Ï

1. - 3.

‰

Œ

Ó

jœ#

pizz.

Ï

4. - 6.

‰

4. without bow until measure 47 5. 6. without bow until measure 67

Œ

Ó

Senza misura

(breve)

œæ

œ

æ

œ

æ

œ

∑

œ

∑

&

∑

&

œ

∑

œ

∑

&

∑

&

,

ƒ

p

œ œ œb œ œµ œ# œµ œ# _{œ# œ œ#} œ# œ œ œµ

J

œ# œ œ œB œ œ# œµ œ œ _{œ# œ# œ}

_J

œ œ œ œ# œµ œ _{œ# œ#}

_J

Œ

‰

≈⋲ Rœ

π

Jœ

Œ

‰

_{≈⋲ Rœ#}

π J

œ

∑

Œ

‰

≈⋲ R

œµ

π

Jœ

Œ

‰

≈⋲ R

œµ

π

J

œ

Œ

‰

_{≈⋲ Rœ}

π J

œ

Œ

‰

_{≈⋲ Rœµ}

π

Jœ

Œ

‰

rœ

>ƒ

≈⋲ ‰

Œ

‰

rœœ

>µƒ

≈⋲ ‰

Œ

‰

_Rœ

>

ƒ

≈⋲ ‰

Œ

‰

## >

_R

œœ

ƒ

≈⋲ ‰

∑

Œ

‰

≈⋲

rœœ

œb

#

Xil.

ƒ

P

‰

Œ

‰

≈⋲ R

Crot.

œ

ƒ

P

‰

Œ

‰

≈⋲ R

œ

π

J

œ

Œ

‰

≈⋲ R

œ

π

J

œ

Œ

‰

≈⋲ R

œ

π

J

œ

Œ

‰

_{≈⋲ Rœ}

π

Jœ

Œ

‰

_{≈⋲ Rœ}

π

Jœ

Œ

‰

_{≈⋲ Rœ}

π

Jœ

Œ

‰

_{≈⋲ Rœ}

π

Jœ

∑

Œ

‰

R

œœ#

P

™

1. - 5.

ƒ

≈⋲ ‰

Œ

‰

R

œœ#

P

[ 6. 7.

ƒ

≈⋲ ‰

Œ

‰

R

œœ#

P

[ 8. - 10.

ƒ

≈⋲ ‰

Œ

‰

R

œ

P

µ

ƒ

≈⋲ ‰

Œ

‰

Rœ

P

µ

ƒ

≈⋲ ‰

Œ

‰

_{≈⋲ Rœb}

π J

œ

Œ

‰

_{≈⋲ Rœb}

π J

œ

Œ

‰

_{≈⋲ Rœb}

π J

œ

Œ

‰

_rœ

P

µ

1. - 3.

ƒ

≈⋲ ‰

Œ

‰

rœ#

P

4. - 6.

ƒ

≈⋲ ‰

Senza misura

(breve)

∑

œ

∑

œ

∑

œ

∑

œ

∑

q = 46 {e = 92} q = 46 {e = 92}

∑

rKê

slap tongue

µ

without mouthpiece

ƒ

≈⋲.

≈⋲

ê# êB

‰

≈⋲ rKê

b> ®

rKê

slap tongue

µ

without mouthpiece

ƒ

≈⋲.

‰

_{® rK}

ê>µ

≈⋲ ≈⋲ rKêµ ®

∑

Œ

1.

#

Oœ#

∏

(ord.)

Œ

3.

µµ

Oœ

∏

(ord.)

Œ

5.

Oœ#

∏

(ord.)

Œ

7.

Oœ

∏

(ord.)

Œ

9.

Oœ

∏

(ord.)

Œ

11.

_Oœ

∏

(ord.)

Œ

_Oœ

µµ

13.

∏

(ord.)

∑

Senza misura

(breve)

∑

Oœ

∑

Rope

VELI-MATTI PUUMALA (2010-12)

(5)

PROMOTIONAL COPY

&

?

&

B

?

&

46

44

42

83

43

84

Tuba Timp. Fl. Ob. Cl. (in Sib) Cor. (in Fa) Tr. (in Do) Tbn. Perc. Vl. I Vle Vc. Cb. 1 2 3 1 1 2 1 2 3, 4 1 2, 3 1 2 3 2 3 Vl. II

sss

q = 60 q = 60

P

simile

7 H

œµ _{œB œµ œ œn œB œb œB} œB œ œ œB œ œB œB œB _{œb œ œ œ œ# œ# œ œ#}

œæ

œB

H

_{œ# œ œ œB œ# œn œ œµ} œµ œB œ œB œµ œ

_œµ

œ

simile œµ

H

œB œ# œB œ# œ œ œ œµ œ œb

œ

æ

∑

Ó.

Œ

1. - 5.

‰. R

#™

œœ#

Ï

Ó.

Œ

_{‰. R}

œœ

6. 7.

B

8. - 10.

Ï

∑

Ó.

Œ

‰. R

œB

Ï

2.

Ó.

Œ

‰. RœB

Ï

4. 6. 8.

∑

,

accel.

‰

ƒ

œb œ œb œµ œ œ œ œb œµ œB œ _œ œµ œ

J

‰

ƒ

œb œ œ œb _œ _{œB œB œ# œb œn} œ œ# œ# _{œB œµ œB œ}

J

‰

ƒ

œ œb œ œ œ _œ œB œ œ œµ œ# _{œB œb œµ œB œµ œB œ}

J

∑

j

œæ

B

ƒ

‰

Œ

Ó

j

œ

n æ

B

_ƒ

‰

Œ

Ó

œ#

ƒ

œ# œb ‰

3

Œ

Ó

œœ#µ

ƒ

œœB œœµ ‰

Œ

Ó

3

∑

‰

_Jœµ

gliss.

f

Œ

Ó

∑

?

Senza misura

(lunga)

,

p

∑

rœ

+

p

rœœ

+

Bµ

_p

rœµ

p

rœ

œB

B p

∑

Rœb

.

_P

Tub. bell

ƒ

œ

P

Crot.

f

OœB

B

1.

π

OœµB

3.

π

Oœ

5.

π

OœB

B

7.

π

Oœµµ

9.

π

Oœ#

#

11.

π

Oœ#

#

13.

π

∑

jœµ

1. - 5.

f

jœ#

6. - 10.

f

unis.

∑

jœµ

f

(unis.)

jœµ

f

(unis.)

jœ#

unis.

f

q = 46 {e = 92} q = 46 {e = 92}

B

∑

‰

emphasize dynamics possibly with plunger

‰ R–

toneless

3

≈⋲ ..

–>

”

ƒ

” toneless emphasize dynamics possibly with plunger

Œ

emphasize dynamics possibly with plunger

‰ j–

toneless

‰ .–>

”

ƒ

” toneless

∑

–≤

P

”

f

” 1. - 6.

–≥

..

≠≤

P

7. - 12.

Toneless bowing (quiet hissing sound, no squeaks) Bowing directly on the bridge while lightly covering the strings. (Eventually the bow can be drawn obliquely)P

∑

,

”

ƒ

” ”

ƒ

” III

∑

‰

N

_µ

solo

_œæ

f

œflB

≈⋲ rœ#

J

p

≈⋲

3 3

∑

≈⋲ j

_œæ

+

µ

solo

N

p

j

œæ

+

>

≈⋲

œæ

+

œ#æ

+J

f

≈⋲

3 3 3

∑

R

”

ƒ

”

≈⋲ ‰ ‰

R ≈⋲ ‰ ‰

r

”

ƒ

”

≈⋲ ‰ ‰

r ≈⋲ ‰ ‰

∑

.–≤

.

∑

P

solo

s

f

1.

ss

Pressed bowing

At the frog, maximal bow pressure with extremely restrained bowing. Dry, sharply perforated rattling. The two contact points of the bow are indicated with a small notehead in parenthesis above the stave.

Vertical movement starting from the middle of the fingerboard and moving further towards the nut. Left hand covers gently all the strings .

Sound during vertical movement should be kind of buzzing. Bridge clef schematically reproduces

the front of the instrument between tailpiece and the middle of the fingerboard. It does not indicate certain pitch to be performed, but the position on the instrument where the action is to be performed. Bridge clef shows the approximate positions of the bow movement.

Z

Z ‰

ƒ

f

r .s

II

.s .s ≈⋲

3 3 3 œ ? [ ] [?œ]

∑

êB

ƒ

®

êµ

‰ Œ Œ

êµ

ƒ

≈⋲ ê# ≈⋲ Œ Œ

∑

Œ

_{Œ ‰ ‰ rœB}

f

3

Œ

_{Œ ‰ ‰ rœœB}

B

_f

3

Œ

_{Œ ‰ ‰ rœ#}

f

3

Œ

_{Œ ‰ ‰ rœœ#}

µ

_f

3

‰.

R–

”

ƒ

”

¬

‰.

_R–

”

ƒ

”

¬

‰.

_r–

”

ƒ

”

¬

‰.

_r–

”

ƒ

”

¬

∑

(6)

PROMOTIONAL COPY

FENNICA GEHRMAN OY, HELSINKI

&

?

&

B

?

84

83

42

82

84

46

Tuba Timp. Fl. Ob. Cl. (in Sib) Cor. (in Fa) Tr. (in Do) Tbn. Perc. Vl. I Vle Vc. Cb. 1 2 3 1 1 2 1 2 3, 4 1 2 1 2 3 2 3 Vl. II

sssss

,

q = 60 q = 60

ƒ

13 ≈⋲

œ

H

_{œ œ œµ} œ œB œ# _œ#

J

‰

œ

H

œ œB _{œB œµ} œ# œ#

J

‰.

œ

H

œµ œB œ _œ# œ#

J

∑

‰

_{≈⋲ r}

œ

+

µ

ƒ

≈⋲

3

‰

_{≈⋲ rœ}

œ#

#

+

ƒ

≈⋲

3

‰

_{≈⋲ rœµ}

ƒ

≈⋲

3

‰

2.

_{≈⋲ rœn}

ƒ

≈⋲

3

∑

‰

_rœ

P

µ

ƒ

3

∑

&

∑

&

∑

jœ>µ

1. - 5.

ƒ

‰

_Jœµ

ƒ

jœ#

>

6. - 10.

ƒ

‰

ƒ

jœ#

∑

jœ>µ

2.

ƒ

‰

_Jœµ

ƒ

j

œ#>

4. 6. 8.

ƒ

‰

_jœµ

ƒ

jœ

>ƒ

‰

ƒ

jœb

f

∑

ã

∑

ã

∑

œµ

1. 2.

f

π

jœ

œ#

3. 4.

f

π

jœ

œµ

5. 6.

f

π

jœ

œn

7. 8.

f

π

jœ

œµ

9. 10.

f

π

jœ

jœ#

œ#

11. 12.

f

j

œ

π

jœ#

∑

œ.

H

ƒ

œ.B œ. œ.B œ. œ.µ œ#. r

œ#.

J

‰.

7

œ.

H

ƒ

œ. œ.µ œ#. œ.B œ.

œ#. rœ.µ

J

‰.

7

œ.B

H

ƒ

œ.

œ.B œ. œ#. œ.µJ ≈⋲ Œ

7

∑

Œ

_{≈⋲ rœ}

+

ƒ

≈⋲ ‰

3

Œ

a 2

_{≈⋲ rœ}

+

ƒ

≈⋲ ‰

3

Œ

_{≈⋲ rœµ}

ƒ

≈⋲ ‰

3

Œ

2. 3.

≈⋲

rœœ#µ

ƒ

≈⋲ ‰

3

∑

‰

Metal block (high)

_Rœ

f

Œ

3

‰

Wood block (high)

_Rœ

f

Œ

3

Œ

‰

1.

jOœ

∏

Œ

‰

3.

jOœµB

∏

Œ

‰

5.

jOœbn

∏

Œ

‰

7.

_BB

jOœ

∏

Œ

‰

_jOœ

BB

9.

∏

Œ

‰

IV 11.

_jO

∏

Œ

‰

13.

Jœ#

∏

∑

Œ

JœµF

‰

Œ

jœµ

F

‰

∑

Œ

_jœµ

F

‰

Œ

_Jœ#

F

‰

Œ

_b

div.

jœœn

F

‰

Senza misura

(lunga)

p

o

∑

Oœ

O

œ

∑

q = 46 {e = 92} q = 46 {e = 92}

∑

rêµ

P

≈⋲ ®

ê>

f êµ

®

rên

P

≈⋲

êµ

ê#>

_f

≈⋲

∑

–

P p

1. - 12.

∑

”

f

” ”

f

” ”

f

”

∑

?

∑

?

∑

‰ ≈⋲ J–

3

¬>

”

f

”

p

‰ ‰

–

¬>

”

f

”

p

∑

&

∑

&

∑

≠

∑

&

∑

&

∑

III

‰

≈⋲.

æ

_RÔ

œ

˜B

H

π

∑

≈⋲ j

N

solo

_œnæ

f

p

rœ

≈⋲ rœ

>µ

J

f

≈⋲ ‰

3

∑

rœ

+

µ

solo

N

p

≈⋲ r

_œ

+

_æ

f

≈⋲ rœ

+J

π

≈⋲ ‰

‰

_{® rK}

œ#>f

≈⋲

‰

_{® rK}

œ#>

a 2

f

≈⋲

‰

® RÔ

œn>

f

≈⋲

‰

_{® RÔ}

B

œœ#>

f

≈⋲

‰

≈⋲ J–

>

”

ƒ

”

‰

3

‰

_{≈⋲ J–}

>

”

ƒ

”

‰

3

‰

_{≈⋲ J–}

>

”

ƒ

”

‰

3

‰

_{≈⋲ j–>}

”

ƒ

”

‰

3

‰

≈⋲

rKœ.B

ƒ

P

®

‰

≈⋲.

_rKœ

œP

Xil.

Ï

‰

≈⋲.

_rKœ

P

Crot.

Ï

∑

&

∑

‰

Rœ

P

f

≈⋲

‰

Rœ#

P

f

≈⋲

N

_J

P

solo 1.

f

‰

Rœµ

J

F

≈⋲ ‰

3 œ ? [ ] _?

‰

_r

œ# P

f

(unis.)

≈⋲

‰

_r

œ# P

f

(unis.)

≈⋲

‰

_rœ

P

B

unis.

f

≈⋲

3

(7)

PROMOTIONAL COPY

&

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&

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&

ã

&

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&

46

46 44ˆ81

44ˆ81

44

85

Tuba Timp. Fl. Ob. Cl. (in Sib) Fg. Cor. (in Fa) Tr. (in Do) Perc. Vl. II Vle Vc. Cb. 1 2 3 2 C. ingl. Cl. basso 1 2 Cfg. 2 3, 4 1 2, 3 2 3 Vl. I Tbn. 1, 2 3 1 1 2 1

,

¡

q = 60 q = 60

20 .œ

æ

˜

_œ

æ

˜B œ

æ

˜ œ

æ

˜ .œ

æ

˜ œ

æ

˜ œ

æ

˜

_.œ

æ

˜ œ

æ

˜ œ

æ

˜ œ

æ

˜

Œ

‰

æ

œn

˜

H

π

œ

æ

˜ .œ

æ

˜B

‰

æ

œn

˜ œ

æ

˜ œ

æ

˜B

æ

J

œ

˜

Œ

3 3 3 3

Œ

æ

˙n

˜

H

π

Œ

∑

&

∑

&

∑

Œ

‰ ≈⋲ ¬

poco

f

¬ ¬ ¬ ¬ ‰

3 3

"Shell attacks" of the timpano. Try to find different "pitches"

Œ

Guiro

_œ

ƒ

Œ

≈⋲

Mar. gliss. on resonance tubes

_œ

_.j

ƒ

∑

?

,

C

ƒ

œ œ# œ œ œ œ œ œ# œµ œ# œn _{œ œ œ# œn œ# œ# œµ œ# œµ} œ# œ œ œ# œµ œ# œ œ œµ œ œ œ# _{œµ œ# œn œµ œ# œµ œ#} œ œ œµ œ œ œ# œn œµ œ œ# œn œ œB œ# œ _{œ# œn œµ œ# œµ œµ}

∑

r

œ#>æ

bend

ƒ

‰.

Œ

‰

r

œœ

>

æ

µ

bend

ƒ

‰.

Œ

‰

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µ

ƒ

3

œµ œn ‰

Œ

‰

œ

œ#

n

>ƒ

œœµ œœ# ‰

Œ

‰

3

∑

Œ

_Jœ

>µ

ƒp

1. 2.

J

>

J

>

J

œ>µ

f

J

œ

≈⋲

3 3 3 3 3

Œ

_Jœ

>µ

ƒp

3. 4.

J

>

J

>

J

œ>

f

J

œ

≈⋲

3 3 3 3 3

Œ

_Jœn

>

ƒp

5. 6.

J

>

J

>

J

œ>

f

J

œ

≈⋲

3 3 3 3 3

Œ

jœ

>µƒp

7. 8.

J

>

J

>

J

œ>µ

f

J

œ

≈⋲

3 3 3 3 3

Œ

_jœ#

>ƒp

9. 10.

J

>

J

>

Jœ

>

f

Jœ ≈⋲

3 3 3 3 3

Œ

_jœ

>ƒp

11. 12.

j

>

j

>

Jœ

>µ

f

Jœ ≈⋲

3 3 3 3 3

Jœµ

1. - 5.

Ï

‰

Œ

≈⋲ R

œµ

Ï

Jœµ

6. - 10.

Ï

‰

Œ

≈⋲ Rœµ

Ï

J

œµ

2.

Ï

‰

Œ

≈⋲ R

œœ#

#

[ (unis.)

Ï

Jœ

4. 6. 8.

Ï

‰

Œ

≈⋲ R

œœ#

#

[ (unis.)

Ï

jœœ#

[ div.

Ï

1. - 3.

‰

Œ

_{≈⋲ rœœ}

[

_#n

Ï

jœœ#

[

Ï

4. - 6.

‰

Œ

_{≈⋲ rœœ}

[

_##

Ï

muta in Fagotto q = 56 q = 56

ƒ

,

œ# œn œ œµ œ# œn œn œ# œ œ œ _{œµ œB œµ}

_œ

æ

p

œµ œB œ# œn œ# œ œB œn œ œb œb _œ

_œ

æ

p

œ œ œ# œn œ# œ œB _œB œ œ# œ œ œ# œB

œ

æ

p

∑

w

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∏

w

#

∏

∑

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w

B

∏

w

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w

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∑

r

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bend

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r

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>

µ

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bend

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3

œµ œn ‰

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µ

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n œœ ‰

3

Œ

∑

‰

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ƒp

J

>

J

> .œ>

B

f

‰

3 3 3 3

‰

œ>

ƒp

J

>

J

> .œ>

B

f

‰

3 3 3 3

‰

œ>µ

ƒp

J

>

_J

> .œ>

µ

f

‰

3 3 3 3

‰

œ>

ƒp

J

>

_J

> .œ

n>

f

‰

3 3 3 3

‰

_œ#>

ƒp

J

>

> .œ>

J

f

‰

3 3 3 3

‰

œ#>

ƒp

j >

>

> .œ>µ

_J

f

‰

3 3 3 3

∑

(8)

PROMOTIONAL COPY

FENNICA GEHRMAN OY, HELSINKI

&

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ã

&

?

85

43

85

42

87

Tuba Timp. Fl. Ob. Cl. (in Sib) Fg. Cor. (in Fa) Tr. (in Do) Perc. Vl. II Vle Vc. Cb. 1 2 3 2 C. ingl. Cl. basso 1 2 3 2 3 1 2 2 3 Vl. I Tbn. 1, 2 3 1 1 2 1 q = 46 {e = 92} q = 46 {e = 92}

23 œ>µ

poco

Í

œ œ. œ. œ.

œ>

f

œµ

p

œ œ œ œ œµ

_œ#

ƒ

.œ

æ

µ

π

J

œ

æ

5 3

œ#f œ# œ œ

œ

f

œµ

œ

œµ

f

œ œ œ œµ œ

µ

_æ

π

3 5

œ>

p

œ.

œ.µ

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f

.œ

# . œ

.

œ.µ

œ

p

œn. œ

>f

œ.µ œ

> œ#. œ>

œ. œæ

_π

3 5 3 3

∑

˙

æ

Œ

˙

æ

Œ

˙

æ

Œ

∑

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µ

1. 2.

f

>

_J

> . >

p

œ>

B

f

3 3

œ>µ

3. 4.

f

>

> . >

_J

p

œ>

B

f

3 3

œn>

5. 6.

f

>

> . >

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p

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f

3 3

œ#>

7. 8.

f

>

> . >

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p

œ>µ

f

3 3

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9. 10.

f

>

j

>

. >

p

œ>µ

f

3 3

œ>

11. 12.

f

>

j

> .

>

p

œn>

f

3 3

∑

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p

œ.µ œn œ. œB œn œ.µ œ.B œ.µ

œ>µ œµ

œn

œµ

f

œn

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µ

_æ

_J

œ

fπ

5 3 3

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#

ƒ

#

.œ

rœ

®

œµ

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œµ œn

p

®

.œ

f

.œ

B

_{œ œµ}

œ

_œæ

ƒp

5 5 5

œ

π

œ

œµ

œ œ œ œ>

f

œ

® œ#

f

œ œµ

œµ œn œ œ>

ƒ

® œ#

ƒ

œµ

p

œ

3 5 5

∑

‰

≈⋲

Jœ

>µ

f

3

‰

≈⋲

_Jœ

>µ

f

3

‰

≈⋲

_Jœ

>µ

f

3

‰

≈⋲

_Jœn

>

f

3

‰

≈⋲

_jœ

>f

3

‰

≈⋲

_j

œ>

f

3

∑

.œ

æ

‰

.œæ

‰

.œ

æ

fπ

‰

∑

J

>

p

>

3

J

>

p

>

3

J

>

p

>

3

J

>

p

>

3

J

>

_p

>

3

j > >

_p

>

3

∑

5

(9)

PROMOTIONAL COPY

&

?

&

ã

&

?

87

42

46

Tuba Timp. Fl. Ob. Cor. (in Fa) Tr. (in Do) Tbn. Perc. Vl. I Vl. II Vle Vc. Cb. 1 2 3 1 1 2 3, 4 1 2, 3 1 2 3 2 3 Cl. (in Sib) 1 Cl. basso Fg. 1

Ÿ~~~

ssssss

sssssssssssss

_ssssssssss

ssssssss

_sssssss

π

f

27 œµ

p

œ

˜ œ. œµ œ œµ œ

˜ œµ œn œ.B

≈⋲ œ>µ

œµ œ

œ#

f

œµ œµ

œ ≈⋲

œµ

π

œ

æ

5 5 3 3 3

œ

æ

>ƒ

œæ

œ

æ œæµ

œ

æ œæµ ® œn

f

œµ

œ ® ® œ

>

µ

ƒ

œµ œn .œ

# æ

π

3

œ>

f

œ.µ

p

œ.µ

œ>

f

œ.µ

p

œ.µ œ œ œ œ œ œ>

f

≈⋲

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f

œ.µ œn. œ.µ

œ.µ œµ œ œB œ œ

>

ƒ

œ œ> œµ

® .R

µ

æ

œ

π

7 5:3 5 5

∑

R

œ>µ

f

(1. 2.)

≈⋲

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R

œ>µ

f

(3. 4.)

≈⋲

Ó.

R

œ>

B

f

(5. 6.)

≈⋲

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R

œ>

f

(7. 8.)

≈⋲

Ó.

R

œ>µ

f

(9. 10.)

≈⋲

Ó.

Rœ

>µ

f

(11. 12.)

≈⋲

Ó.

∑

.œ

æ

#

‰

ƒ

,

.œæ

#

_‰

ƒ

,

.œ

æ

#

‰

ƒ

,

∑

?

∑

œ>

µ

f

J

> >

p

> > œ

B

>

3 3

œ>µ

f

J

> >

p

> > œ

>µ

3 3

œ>µ

f

J

> >

p

> > œ

B

>

3 3

œ>µ

f

J

> >

p

> > œ

>µ

3 3

œ#>

f

J

> >

p

> > œ

>µ

3 3

œ>

f

j >

>

p

> > œ

>µ

3 3

∑

D

q = 60 q = 60

ƒ

∑

Œ

rœ

poco

f

‰.

Œ

rœ

œ

b

poco

f

‰.

Œ

Rœb

poco

f

con sord. (harmon)

‰.

Œ

µµ

_R

œœ

poco

f

(straight) (cup) con sord. con sord. 2. 3.

‰.

∑

Œ

jœ

f

(normal)

Œ

P

3

‰ œ

Guiro

ƒ

Rœ

Metal block

ƒ

‰.

3

.j

œ

Mar.

gliss. on resonance tubes

ƒ

≈⋲ Rœ

Wood block

Ï

‰.

O˙#

#

1.

π

O˙nn

3.

π

O˙

µµ

5.

π

O˙

BB

7.

π

O˙

µµ

9.

π

O˙

µµ

11.

π

O˙

µµ

13.

π

jœ jœ jœ jœ jœ jœ

∑

B

∑

B

∑

Senza misura

(lunga)

Ï

π

f

p

f

∑

Oœ

f

Oœ

∑

rœ

ƒ

(unis.) 1. - 5.

rœ

ƒ

(unis.) 6. - 10.

∑

rœB

ƒ

2. 4. 6. 8.

rœ#

unis.

ƒ

IV IIIII

accel.

q = 46 {e = 92} q = 46 {e = 92}

P

∑

≈⋲

œæ

solo

N

f

‰ œ ‰

f œf

rœb

œ

J

p

‰

7 3 œb

( )

∑

œæ

solo

N

f

‰

_œ.p

œ.

‰

œ

+

π

œ

+

≈⋲ œ

_f

+J

≈⋲

7 3

∑

‰

P

II III

.

Z

p

2. 4. 6. 8. 10. 12. 14.

ss

Pressed bowing

At the frog, maximal bow pressure with extremely restrained bowing. Vertical movement starting from the edge of the fingerboard and ending in to the middle of the fingerboard. No normal bowing. Left hand covers gently all the strings . Sound should be kind of buzzing. P

Z

∑

‰.

.

P

tasto solo

N

ƒ

1.

ss ‰

ƒ

s

s ≈⋲

7 3 œ œ # ? [ ] œ

Œ

_Z

p

3. 5. 7. III _?

∑

Œ

‰.

R–

>

”

ƒ

” (Plunger)

Œ

‰.

R–

>

”

ƒ

” (Plunger)

Œ

‰.

_R–

>

”

ƒ

” (Plunger)

Œ

‰.

_r–

>

”

ƒ

”

∑

&

∑

œb

fπ

Jœ

œµ

ƒ

≈⋲

3

œµ

fπ

Jœ

œµ

ƒ

≈⋲

3

œµ

fπ

Jœ

œB

ƒ

≈⋲

3

œ#

fπ

jœ

œB

ƒ

≈⋲

3

œn

fπ

jœ

œ#

ƒ

≈⋲

3

œ

fπ

j

œ

_ƒ

œµ

≈⋲

3

Œ

‰

rœ

P

f

≈⋲

Œ

‰

rœ

P

f

≈⋲

∑

?

Œ

‰

rœ

œ P

B

div. 4. 6. 8. 2.

f

≈⋲

Œ

‰

_rœ

P

B

f

≈⋲

Veli-Matti Puumala. Rope. for Orchestra