Fertility Rites

PROMETHEAN EDITIONS
CHRISTOS HATZIS
Fertility Rites
Marimba with Digital Audio

Christos Hatzis
Fertility Rites
Marimba with Digital Audio
PROMETHEAN EDITIONS
WELLINGTON

Fertility Rites (PE101), for Marimba with Digital Audio by
Christos Hatzis (1997).
© Promethean Editions 1997
First edition © 2007 Promethean Editions Limited (202209)
Series Editor: Ross Hendy
Editor: Alison Grant
ISBN: 978-1-877218-91-0 (print)
ISBN: 978-1-77660-101-1 (ebook)
ISMN: 979-0-67452-104-8
Promethean Editions Limited
PO Box 10143
Wellington
NEW ZEALAND
http://www.prometheaneditions.com
No part of this publication may be reproduced in any form or by
any means without permission in writing from the Publisher.
Fertility Rites was commissioned by Beverley Johnston, with
financial support from the Grants To Composers Program of the
Toronto Arts Council.
PE101 – ii

Christos Hatzis (1953)
Christos Hatzis is well known in Canada and internationally for his works. Covering a
vast range of styles and genres, his works have been recorded, performed and broadcast
throughout the world.
Hatzis was born in Volos, Greece, and his early music study took place at the Hellenic
Conservatory of Greece in his home town. He continued his studies in the United States,
where he earned degrees from Eastman School of Music, Rochester, New York and SUNY at
Buffalo, New York. In 1982 he moved to Toronto, Canada, having decided that the country’s
multiculturalism was more suited to his own ethos. He became a Canadian citizen in 1985,
and joined the faculty of the University of Toronto in 1995.
Hatzis’ work has received a considerable amount of attention in recent years. With a large
number of presentations of his music in the Americas, Europe, the Middle-East and East
Asia every year, commissions by an international list of soloists and ensembles and several
recording projects by major labels, “Christos Hatzis is currently enjoying a growing international
reputation as one of the most important composers writing today” (CBC Records). The composer
is the recipient of several national and international distinctions, and a number of his works
are released on CD.
It is not unusual for a Hatzis work to become a signature piece for a soloist or an ensemble.
His Old Photographs and Dance of the Dictators have been performed by the Gryphon Trio
hundreds of times all over the world. There have also been an increasing number of all-Hatzis
programs during the past few years.
Hatzis’ music is inspired by proto-Christian spirituality, his own Byzantine music heritage,
world cultures and various non-classical music genres such as jazz, pop and world music. He
has created several works inspired by the music of the Inuit, Canada’s arctic inhabitants, and
his Inuit-inspired works, particularly the radio documentary Footprints in New Snow, have
PE101 – iii

promoted Inuit culture around the globe. His strongest inspiration is his own religious faith,
and his religious works have been hailed by critics and audiences alike as contemporary
masterpieces.
In addition to composing and teaching, Hatzis has written extensively about composition
and contemporary music. His writings have been published on Interface, Organized Sound
and Harmony, are increasingly translated into other languages and are frequently listed as
required reading for music courses in tertiary educational institutions.
Two of Hatzis’s works – String Quartet No.1: The Awakening (PE117) and Constantinople
– have earned him Juno Awards for Classical Composition of the Year (2006 and 2008,
respectively) by a Canadian composer. In 2008 Hatzis also received the Jan Matejcek Concert
Music Award, awarded to the most performed and broadcast Canadian composer of the year.
In 2010 Hatzis was commissioned by virtuoso violinist Hilary Hahn to write a new work for
violin and piano. The resulting work, Coming To (PE119), appears on Hahn’s album In 27
Pieces: The Hilary Hahn Encores, which went on to win the 2015 Grammy Award for Chamber
Music / Small Ensemble Performance. A second commission from Hahn soon followed, with
Hatzis writing the hyper-virtuosic Dystopia (PE121) for solo violin.
In 2013 the Royal Winnipeg Ballet and Winnipeg Symphony Orchestra commissioned
Hatzis to score a major new ballet work, Going Home Star: Truth and Reconciliation. Hatzis
collaborated with award-winning aboriginal throat singer Tanya Tagaq, Steve Wood and the
Northern Cree Singers in creating the score for the groundbreaking production. The ballet’s
subject matter is close to the composer’s heart as it confronts the impact of the residential
school system on Canada’s aboriginal young people.
Bolstered by critical acclaim upon premiering in October of 2014, the Royal Winnipeg Ballet
embarked on a cross-Canada tour of Going Home Star in 2016. In reviewing the production,
Paula Citron of The Globe and Mail remarked “...the music for Going Home Star may be the best
ballet composition ever created in Canada. Hatzis’ score embraces the story like hand to glove. His
musical detail evokes each scene perfectly…Hatzis has created a cascade of musical images that
bring the characters and the story to life. It is in the score that imagination lives.”
Most of Hatzis’ writings and other information about the composer can be found at
http://www.hatzis.com.
PE101 – iv

Fertility Rites (1997)
Fertility Rites, for five-octave marimba with digital audio, is part of a series of works written
in the 1990s. The connecting thread that runs through all of these works is Inuit throat
singing. My fascination with the Inuit and their culture started in 1992 during the course
of creating a radio documentary/composition for CBC Radio called The Idea of Canada. That
was the first time I heard this strange and haunting music. A few years later I got myself
involved in a similar project, this time focussing entirely on Inuit culture, and throat singing
in particular. This latter project took CBC producer Keith Horner and me to Baffin Island in
arctic Canada where we spent two weeks recording throat singers and interviewing elders
of the Inuit communities in Iqaluit and Cape Dorset. The recorded material was eventually
used in four compositions (including this one) the other three being Footprints in New Snow,
a thirty-eight minute radio documentary/composition, Nunavut for string quartet and
tape—later retitled String Quartet No.1: The Awakening—and Hunter’s Dream, an one-minute
miniature commissioned by rock keyboardist Morgan Fisher for a CD of miniatures he was
producing at the time in Japan.
The title of the work derives from the throat songs themselves. In one of our interviews in
Iqaluit Horner and I learned that throat songs were originally a fertility ritual, a shamanistic
mating call which the women performed while the men were out hunting. The katajjaq
(vocal games) in this piece are used to evoke this primordial practice. Their sexual
suggestiveness is further enhanced by electronic processing (lowering the pitch by an octave
or more transforms the original sound into a semblance of heavy breathing), or through
juxtaposing the katajjaq against other types of amorous music stylistically more familiar to
the listener, such as the ‘French-sounding’ second movement or the tango-like music of the
third. In addition to the katajjaq samples, the tape part consists of pre-recorded marimba
sounds (normal, ‘bent’ and bowed) which both in terms of timbre and musical treatment
represent a virtual extension of the instrument’s abilities. In a programmatic sense they
represent the performer’s ‘thoughts’ or ‘instincts’ in contrast to the instrument on stage which
represents the performer’s ‘voice’. Sometimes what is being ‘felt’ and what is being ‘said’ are
PE101 – v

diametrically opposed, like in the first movement where the gentle, non-possessive music
for the marimba and the dark, longing calls on the tape contradict each other. But in the end
both inner and outer worlds merge into uninhibited abandon and celebration of sexuality
and life.
Christos Hatzis
Performance notes
Fertility Rites includes a part for digital audio, cues for which are shown on the smaller stave
in the score. Digital marimba pitch bends, to either higher or lower neighbouring pitches, are
represented in the score by a half-circle symbol above the note on the digital audio stave.
Digital Download
• The digital audio files required to perform this work are to be purchased and
downloaded from the Publisher.
• Search for Fertility Rites at https://store.prometheaneditions.com, select the Digital
Audio product option, then proceed to checkout.
• You will receive an email with a link to download a zip file containing the digital
audio.
• If you have any problems with digital audio downloads please contact the Publisher at
support@promethean-editions.com or submit a technical support case at
www.prometheaneditions.com.
• The audio file are supplied in the WAV audio format for maximum compatibility with all
devices.
• Each movement is a separate track.
• A studio recording is included for reference.
PE101 – vi

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Fertility Rites © Promethean Editions Ltd
This Edition © 2007 Promethean Editions Ltd PE101 – 1
ISMN: 979-0-67452-104-8

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PE101 – 2

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PE101 – 3

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PE101 – 6

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6
#˛
# ˛ ˛
˛˛ # ˛
mf ˛ #˛
#˛
#
# Î
p
˛
# ˛
6
6
6
˛ ˛ # ˛
˛˛˛
# ˛ ˛
˛˛˛˛ ˛˛
#˛
˛
3 3
˛ ˛ ˛
# # ˛
& æ æ
˛æ
22
˛
˛
æ
# ˇ.
# ˛
æ
®˛ ˛ # ˛
&
#˛
6
#˛
˛ ˛
˛ ˛
#˛
#˛
˛
6
# ˛ ˛ ˛
6
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
6
˛ ˛
# ˛
˛
# ˛ # ˛
#˛
6 6
#˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
6
˛
#˛
˛ ˛
6
˛ ˛
˛
˛
24 ˇæ
&
˛
æ
˛
æ
ˇ
æ
˛
æ J˛æ ‰
&
˛ ˛
˛ ˛
n˛ ˛ ˛ ˛
n˛ ˛ ˛ ˛
6 6
˛ ˛ ˛ ˛
6
˛ ˛ ˛ ˛
˛
6
n˛
˛ ˛
˛ ˛
#˛
6 6
#˛
#˛
# ˛ ˛ ˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
#˛
# ˛ ˛ ˛
6 6
˛ ˛ ˛ ˛
PE101 – 7

26
& Ó
˛
& ˛
6 6
˛ ˛
n˛ ˛ ˛ ˛
n˛ ˛ ˛
ˇæ
pp
˛
˛
˛ ˛ ˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
6 6
˛æ
˛ ˛ ˛
˛æ
6 6
˛ ˛ ˛ ˛ ˛
˛ ˛ ˛
˛
˛
æ
˛
˛ ˛ ˛
˛
æ
˛ ˛ ˛ ˛
˛
6 6
˛ ˛ ˛
28
&
b˛æ Î ˛æ ˇæ
æ
# ˛æ ˛æ ˛æ # æ
nˇ
# ˛ # ˛
æ
æ æ
&
˛ ˛
b˛
b˛
b˛
b˛
˛ ˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
#˛
#˛
6 6 6 6
˛ ˛
˛ ˛
# ˛
#˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
6 6 6 6
30 nÎ
&
&
æ
mf
b˛
n˛
˛
6
b˛
˛ ˛ ˛
b˛
6
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
6
˛ ˛ ˛ ˛
6
Î
æ
b˛
˛ ˛
6
b˛
˛ ˛ ˛
b˛
6
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
6
ppp
˛ ˛ ˛ ˛
6
ppp
32
34
&
&
&
&
Œ ‰
˛
pp
˛
3
˛
˛
p
3
˛ b˛
ˇæ
b˛
p
b˛
æ ˛ b˛
˛ ˛æ Ó
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
36 Î
& æ˛ ˛ ˛ b˛
&
()
6
b˛
˛ ˛
b˛
˛
˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
6 6
6
b˛
˛
˛ ˛ b˛
˛
6
˛
Œ ‰ ˛
p
˛
p
˛
˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
6
3
Î
æ
˛
˛ ˛ ˛
˛
˛
˛ b˛
3
b˛
6
b˛
ˇæ
b˛
˛ ˛
ˇ.
æ
Ó
˛
b˛
˛
6
b˛
˛æ ˛ ˛ ˛
p
˛
˛ ˛ ˛ ˛
6
pppp
˛ ˛ b˛
Ó
Œ
˛æ
˛ ˛ ˛
˛
6
˛
˛
U
ˇ U
æ Ó
pppp
U
˛
PE101 – 8

III
? 4 4
Π= 124
4
‰
ï
b mf ˛
b˛
pp
Throat sounds
mf
&
j
˛
mf
j
˛
ï ï ï
˛
j
˛
b˛
˛ ˛
‰
˛ ˛ ˛.
R˛ ˛ ‰
ï ï ï ï
˛ ˛
3
&
b˛
˛ ˛ ‰ 3
˛ ˛ ˛ ˛ ˛ 3
˛ ˛ ˛ ˛ ‰ 3
˛
ï ï
Throat sounds repeat until m10
6 6
b˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛æ . ‰
‰ b˛
˛ ˛ ‰ ˛
3
?
b mf ˛
b˛
pp
&
j
˛
mf
6
&
j
˛
b˛
j
˛ ˛.
˛ ˛
‰
˛ ˛ b˛.
˛ ˛ ‰
R
˛ ˛ ˛ ˛ ˛ ˛
‰
3
˛ ˛ ˛
8
&
b˛
˛ 3
˛ ˛ ˛ ˛ ‰ 3 6 6
r
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
b˛.
æ ‰ Œ
?‰ j b˛
‰ & ˛.
‰
b˛
˛ b˛
˛
˛ ˛ ˛
ï ï ï ï ï ï
11
& ˛ ˛ 4 3 4 5
˛ ˛ ˛ b ˛ b˛.
˛ ˛ ˛ ˛ ˛ ˛ ˛ b˛
b ˛ b˛
˛ ˛ ˛ ˛ 3
˛ ˛ ˛ ˛
ï ï ï
Repeat
PE101 – 9

& 4 5 3
j 3
b˛
4
˛ ˛ b˛
b˛
˛ ˛ 3
j
˛ ˛ ˛
n˛
˛ ?
&
b˛
pp
13
‰ ‰
b˛
˛. ˛ b˛
˛ ˛ ˛
mf
˛
15
˛ ˛
˛ ˛ ˛ b ˛ b˛.
˛ ˛ ˛ ˛ ˛
˛ b˛
b˛
˛ b˛
˛ ˛ ˛ ˛ 3
˛ ˛ ˛ ˛
& 4 3 4 5 4 5
17
j
b˛
3
˛ ˛ b˛
b˛
3
˛ ˛ ˛ ˛ ˛ ˛˛ ˛ ˛ ˛ ˛
3
?
‰
bÎ
pp
&
˛
mf
6 5
˛ b˛
˛ b˛
˛ ˛ ˛ ˛ ˛
?
& 4 5 4 5 4 4 4 4
ï ï ï ï ï ï ï
ï
ï ï
ï
ï ï
19
?
Ó
‰
ï
b˛
J
pp
˛
ï ï
&
rK
˛ ˛ ˛
J
mf
5
b˛
Throat sounds repeat until m27
˛
b˛
5
b˛
˛ ˛ b˛
˛ ˛ æ
5
˛
J
4 3
& 4 3 4 2 3
˛ b ˛ b˛
˛ ˛ b˛
˛æ
4 ˛ ˛b˛
3
b˛
˛ ˛ ˛
6
mf
21
˛
5
b˛
˛ b˛
˛
b˛
˛ ˛
PE101 – 10

24
5
& ˛ b˛
b˛
˛ ˛ 4 3 4
˛ ˛ b˛
˛ ‰
˛ ˛ ˛ b˛
b˛
6
˛ rK
˛ ˛
J
5
b˛
˛ b˛
˛ ˛ ˛ b˛
5
27
&
˛
# ˛. æ ‰ # ˛ ˛
?
&
˛ # ˛ ˛ ˛
#˛
# ˛ # ˛
˛ ˛ n˛
n ˛ ‰ r
# ˛ ˛ # ˛ ˛ ˛
ï ï ï ï ï ï
ï ï ï ï ï ï
3
& #˛ ˛ ˛
# ˛#
˛ ˛ ˛ ˛ 16 2
˛ ˛ ‰ ˛#
˛ ˛ # ˛ # ˛ # ˛# ˛
b˛
b˛
˛.
˛æ
ˇæ æ æ b˛
æ ˛æ
3
æ
J˛æ
mf
3
29
3
ï ï ï ï ï ï
6
ï ï ï ï ï ï ï ï
Repeat
16 2
33
& 16 2
r
˛
mf
b˛
˛ ˛ ‰
3 3
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ‰ 3
˛
6 6
b˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛æ ˛.
˛
4 16 2 ï 4 J
ï ï ï ï ï ï ï ï
ï ï ï ï ï ï ï ï
36
b˛
˛ ˛
‰
3 3 3
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ‰
r
˛
6 6
b˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
j
˛æ ˛ ˛ ˛ ˛ b˛
5
& 8 7 8 7 4 4 4 4
ï ï ï ï ï ï ï ï
j
ï
j ï
j ï J ï j ï
j ï
J ï
PE101 – 11

38 ˛ ˛ r
.
& 4 4 4 4
5
˛
&
˛ b˛
5
˛ ˛ b˛
5
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛b˛
˛
6
˛ rK
˛ ˛
J
b˛
˛ b˛
5 5
˛ ˛ ˛ b˛
ï
ï ï
ï
ï
ï ï
ï
40
&
˛æ
b
˛
5
b˛
˛ b˛
˛ ˛ ˛ b˛
5
˛ ˛ ˛ b˛
˛ ˛ b˛
˛ ˛ ˛ ˛ ˛ ˛
5
ï
ï
Throat sounds repeat until m48
5
42 ˛ r ˛
˛ ˛
&
‰
˛ .
b
&
˛ b˛
5
˛ ˛ b˛
5
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ b˛
6
˛
J˛ rK
˛ ˛
b˛
˛ b˛
5 5
˛ ˛ ˛ b˛
44
b˛
&
b˛
b˛
˛ ˛ ˛ ˛ n˛
n˛
6 6
b˛
b˛
˛
5
˛ ˛ r ˛.
‰
˛ b˛
˛ b˛
5
˛ ˛ b˛
5
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛b˛
˛
6
46
&
˛ rK
J
˛ ˛
5
b˛
˛ b˛
˛ ˛ ˛ b˛
5
b˛
Œ
b˛
b˛
˛ ˛ ˛ ˛ n˛
n˛
6 6
b˛
b˛
˛
&
#˛ #˛
#˛ #˛ ˛ ˛ ˛ ˛
Throat singers
# ˛ï # ˛ï ˛ï ˛ï
Throat sounds
PE101 – 12

49
&
#˛
#˛
#˛
‰ # ˛˛.
˛
rK ‰˛
˛ ˛ ˛
3 3
# ˛
# ˛ ˛ # ˛
‰˛ ˛ ˛ ˛ ˛
˛ ˛ # ˛‰
3
r
˛
#˛
#˛
6 6
˛ ˛˛ # ˛
# ˛
˛ ˛ ˛ ˛æ . ‰
?
&
# ˛ï # ˛ï ˛ï ˛ï
Repeat
52
?
# ˛ #
& ˛
#˛
# #˛
# ˛ ˛
˛ # ˛ ˛
#˛
# ?
˛ # ˛
&
# ˛ # ˛
# ˛ ˛ ˛
˛ ˛ ˛ ˛ ˛ ˛˛
&
##˛
# #
#
ï ˛ï ˛ï ˛ï
##˛
# #
n
ï ˛ï ˛ï ˛ï
54
&
# ˛ ˛ # ˛
# ˛ ?
# ˛
&
#˛
3
3
3
#˛ # ˛ ˛
˛ ˛ ˛ # ˛ ‰ r
˛ ˛
#˛
#˛
6 6
˛
˛ ˛
# # ˛
# ˛
˛ ?
˛ # ˛
# ˛
˛æ ˛æ #˛
&
##˛
# #
#
ï ˛ï ˛ï ˛ï
##˛
# #
n
ï ˛ï ˛ï ˛ï
?
56
?
?
#˛
&
# ˛ ˛ # ˛
æ
‰
3
&
# ˛
# ˛ ˛ ˛
J
Ó ‰
˛
˛ ˛ 3
n˛
#
3
æ æJ˛
J˛æ
#˛
# ˛ ˛
#
ˇ n
æ
j
˛æ ˛æ
6 3
?
# ˛ ˛ ˛ ˛ ˛
˛
˛ ˛.
Œ ˛
J
&
# ˛ # ˛ # ˛ # ˛
58
&
˛
˛
3
# ˛ n˛
˛ ‰
3 3
? &
# ˛ # ˛ # ˛
˛
˛
3
# ˛ n˛
æ
˛æ ‰ ?
j #˛
?
# ˛ ˛ ˛
˛ ˛
˛ ˛
˛ ˛.
Œ
˛
J
# ˛ ˛ ˛
˛ ˛
˛ ˛
˛ ˛.
Œ ˛
J
PE101 – 13

60
?
#˛
?
&
# ˛ # ˛ n˛
æ
‰ # ˛ # ˛ n˛
& æ
3
# ˛ ˛ # ˛ ˛ ˛
˛ ˛ .
‰ # J˛
˛˛
J
3
3
# æJ˛
6
# ˛ # ˛æ ˛æ ‰ æ J # ˛ # ˛ ˛
˛ # ˛ n˛
æ
# ˛ ˛ ˛
˛ ˛
˛ ˛
˛ ˛.
Œ ˛
J
6
˛æ
62
&
# ˛æ
3
# ˛ # ˛ # ˛ ˛ # ˛ n˛
? &
3
# ˛ # ˛.
æ J
6
# ˛ # ˛ ˛ ˛ ˛ b ˛ ˛æ .
?
# ˛ ˛ ˛ ˛ ˛ ˛
˛
˛ ˛.
Œ
˛
J
# ˛ ˛ ˛ ˛ ˛ ˛
˛
˛ ˛.
Œ ˛
J
&
64
&
‰
#˛
#˛
˛ ˛ #
#
˛˛
æ
#˛ n˛
#˛ n˛
˛ ˛ ˛˛æ
6 6 3
˛
˛
æJ
˛
˛
æJ
bˇ
bˇ
æ
6
˛
˛
æJ
˛
˛
æ ˛ ˛ ˛ n˛
6
˛ ˛ ˛ ˛ ˛ n˛
6
&
# ˛ ˛
˛ ˛
#˛
˛ ˛
˛
˛ ˛
# ˛ ˛ .
‰ J˛
˛˛
J
# ˛ ˛
#˛
˛ ˛
˛ ˛.
J
˛
˛
˛
Œ
˛
˛
˛
66
&
bˇ
bˇ
æ
3
˛
˛
æ
‰ ˛ ˛ n˛
n˛
˛ ˛ ˛ ˛ ˛ ˛
6 6
ˇ
ˇ
æ
Ó
‰ ˛ ˛ ˛ ˛ b
b
˛˛
æ
‰ ˛ ˛ n˛
n˛
b
b
˛˛
æ
6 6 3
˛
˛
æJ
&
# ˛ ˛
#˛
˛ ˛
˛ ˛.
J
˛
˛
˛
Œ
˛
˛
˛
# ˛ ˛
#˛
˛ ˛
˛ ˛.
J
˛
˛
˛
Œ
˛
˛
˛
# ˛ ˛ b
#˛
˛˛
˛ ˛˛
˛˛
˛ ˛
˛ ˛ .
‰ # J˛
˛˛
J
69
&
˛
˛
æJ
# ˛
#˛
æ
3
˛
˛
æ
n˛
n˛
æ
# ˛
#˛
#˛
6
# ˛ ˛ ˛ ˛ # ˛
n˛
6
n˛
#
#
˛˛
æ
# ˛
#˛
æ
n˛
n˛
æ
# ˛
#˛
#˛
# n
n
˛˛
æ
# ˛ ˛ ˛ ˛ ˛
6 6
˛ # ˛ ˛ ˛
&
# ˛ ˛ b
#˛
˛˛
˛ ˛
˛ ˛.
J
˛˛
Œ
# ˛ ˛˛
˛
˛
# ˛ ˛ b
#˛
˛˛
˛ ˛
˛ ˛.
J
˛˛
Œ
# ˛ ˛˛
˛
˛
PE101 – 14

71
˛ ˛ #˛
# ˛
&
6
n˛
n˛
#
#
˛˛
æ
˛
˛
æ
Œ
Π= 126
6
˛ ˛ # ˛ ˛ ˛ n˛
˛ b˛
˛ ˛ ˛ ˛
6
&
# ˛ ˛ b
#˛
˛˛
˛ ˛
˛ ˛.
J
˛˛
Œ
# ˛ ˛˛
˛
˛
j
˛
˛
˛.
˛.
Ó
Processed sounds
Throat singers
ï ï ï ï ï ï ï ï ï ï ï ï
74
&
˛
˛ ˛ ˛
˛ ˛ ˛ ˛ b˛
6
˛ ˛ ˛
˛ n˛
b˛
˛
˛
˛
˛
˛ ˛ ˛ b˛
6
˛ ˛ ˛
b˛
˛
ï ï ï ï ï ï ï ï ï ï ï ï ï
ï ï ï ï ï ï ï ï ï ï ï ï ï
76
&
# ˇ Ó æ
ï ï ï ï ï ï ï ï ï ï ï ï
6
#˛ ˛ b˛
˛ ˛ 6
˛ ˛ b˛
# ˛ ˛ ˛ ˛
mf
˛
#˛
˛
˛
˛ ˛ ˛ ˛ b˛
7
# ˛ ˛ ˛ ˛
b ˛ b˛
79
&
˛
#˛
˛
˛
˛ ˛ ˛ ˛ b˛
7
# ˛ ˛ ˛ ˛
n ˛ b˛
ˇæ
Ó
mf
6
˛ ˛ # ˛ ˛ ˛ 6
n˛
˛ b˛
˛ ˛ ˛ ˛
ï ï ï ï ï ï ï ï ï ï ï ï
82
&
˛
˛
˛
˛
˛ ˛ ˛ ˛ b˛
6
˛ ˛ ˛ ˛ # ˛
˛
˛
˛
˛
b˛
#˛
˛
˛
˛
˛ ˛ b˛
˛
˛ ˛ ˛
bˇ
æ
Ó
PE101 – 15

85
&
˛
mf
ï.
Ó
3
# ˛˛
n b
˛
Œ
ï
ˇæ
ˇ
æ
Ó
Œ
ï ï ï
˛
3
˛˛
# ˛ n
˛
ˇæ
ˇˇæ
Œ Ó
ï.
ï ï ï ï ï ï ï ï ï ï ï ï ï
b
b˛˛
˛ ˛ ˛ #
˛˛
˛ ˛
6
Œ
ï.
ï ï ï ï ï ï ï.
ï ï ï ï ï ï
?
88
ˇæ
?
ˇ
æ
ï ï ï ï ï ï ï ï ï ï ï ï
Ó
j
ï ‰
Œ
&
#
˛
mf
˛
Throat clusters
˛
# n #
˛
˛˛
˛˛
6
˛
˛ # n æ
˛ n
æ
6
b
n
˛˛
æ
÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷
90
˛ # ˛ ˛# ˛ n˛
&
# ˛ ˛ # ˛ n˛
# ˛ # ˛ ˛ ˛ b˛
6
˛ # ˛ ˛# ˛ n˛
# ˛ ˛ # ˛ n˛
# ˛ # ˛ ˛ ˛ b˛
6
Π= 120
ˇ.
æ
mf
˛
J ‰
&
Marimba
# ÎÓ æ Œ
#˛
Throat singers
93 ˛˛
&
&
Π= 126
b
mf
b˛
˛
˛
˛
Throat clusters
˛
˛
˛
˛
12
˛
˛
æ
˛
˛
æ
˛
˛ b
æ
÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷
˛ ˛ ˛ ˛ ˛ Œ
# ˛
˛
æ
b n ˛
b˛
æ
3
# ˛
˛
æ
‰
˛ ˛ ˛ b˛
6
÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷
Repeat
˛
˛
˛ b
æ
b˛
˛
æ
˛
˛ b
æ
# ˛ bn˛
˛ b˛
æ æ
6
˛
˛
æ
# ˛ ˛# ˛n˛
&
# ˛ ˛ # ˛n˛
# ˛n˛
#˛
mf
96 ˛
æ
-
˛ # ˛ ˛ # ˛
&
mf
˛
Œ
˛ # ˛ ˛ ˛ 6
# ˛ # ˛ n˛
Marimba
6
˛
# ÎÓ æ Œ
# ˛ ˛
#˛
˛
#˛ ˛
#˛ ˛ ˛ ˛ # ˛
˛ # ˛ ˛
# Î æ˛ ˛ ˛ ˛ ˛ Œ
# ˛ # ˛ # ˛
6
PE101 – 16

n˛
& #˛ ˛
#˛ ˛ ˛ ˛ # ˛
˛ # ˛ n˛
# ˛ # ˛ # ˛ ˛
6
& #
# Î
æ
99
Î æ Î
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛#
˛
3
101
˛ ˛ # ˛ ˛ ˛ # ˛ # ˛ n˛
& Œ ˛ # ˛ ˛
&
# Î æ #˛.
6
˛ ˛
J .
6
˛
J
˛ #˛ ˛
#˛ ˛
# Î æ #˛.
˛ ˛ # ˛
˛ ˛
J .
˛ # ˛ # ˛˛ # ˛ # ˛
6
˛
J
#˛
#˛
#˛
#˛
˛˛ ˛ # ˛
# ˇ æ # # æ
ˇ
#˛.
˛ ˛
J .
# ˛ # ˛n˛
n˛n˛#
˛
6
˛
J
104
.
&
# ˇ # æ J˛
‰
˛
mf
˛ # ˛ ˛ n˛
˛ 6
b˛
˛ b˛
˛ ˛b˛
˛ ˛ ˛ ˛
6
# ˛ ˛
6
# ˇ
æ ˛ # ˛ # ˛ # ˛ n ˇ æ ˛ # ˛ n˛
# ˛
&
æ
## β
˛ ˛ ˛ ˛
3
Ó
˛
# ˛ n˛
3
# ˇ
æ
# ˛ # ˛ # ˛
3
#
#
æ
˛.
˛
# ˛ ˛
ï ï ï ï ï ï ï ï
# # ˛ n˛
# ˛ n˛
# ˛
107
&
&
12
# ˛ ˛ ˛ ˛˛ ˛ ˛ ˛ ˛ # ˛ ˛ ˛ ˛ ˛
# ˛ # ˛ ˛
12
˛ ˛ ˛ # ˛ ˛ ˛ ˛
ï ï ï ï ï ï ï ï ï ï ï ï
˛ ˛ ˛ # ˛
# ˛ ˛˛ ˛ ˛ ˛ ˛ ˛ # ˛
˛˛ ˛ ˛˛ ˛ # ˛ ˛ ˛ ˛˛ ˛ ˛ ˛˛
12 12
# ï˛
ï ï ï ï ï ï ï ï ï ï ï
# ˛ ˛ ˛ # ˛ ˛
3
3
6
109 ˛ ˛ ˛ ˛ ˛ ˛ # ˛ # ˛
&
˛ ˛ ˛ ˛
6
6
˛ ˛ ˛ ˛ ˛ 6
˛ # ˛ # ˛
˛ ˛ ˛ ˛
&
j
˛b
‰ Œ Ó
Ó
˛ ˛ ˛
j
˛b
‰ Œ
Œ ‰
˛
ï
˛ ˛
ï
3
3
PE101 – 17

#˛
& #˛
˛ #˛
112
&
˛ ˛ ˛ # ˛
˛ ˛ # ˛ ˛ ˛ # ˛
ï ï ï ï ï ï ï ï ï ï ï ï
˛ ˛
#ˇ
6
n˛
#˛
#˛
#˛
˛
˛ # ˛#
˛
#˛
6
˛ ˛ ˛ ˛ ˛
# ˇ æ ï ï ï ï ï ï ï ï ï # ˛˛
æ
#ˇ.
#
Œ
# ˇ
æ j
˛ ‰
. ˛æ
# ˇ.
æ
b˛
æ
115
&
&
3
˛ ˛ # ˛ ˛ ˛ ˛ # ˛ # ˛ n˛
# ˛ ˛
# ˇæ
ˇ.
˛˛
æ æ
æ
˛ # ˇ˛
.æ
# ˛
æ
6
# ˛
117
&
f
&
Marimba
˛
#˛
æ
High-pitched tremolo sounds
˛ ˛
# ˛ # ˛ n˛
12
# ˇ
ˇ
n˛
# ˛ ˛
÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ff
# ˛ ˛ n˛
b˛
˛ ˛# ˛ ˛ ˛ b˛
˛ ˛ ˛ # ˛
# ˇ
# ˇ
÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
6
119
&
# ˛ ˛ n˛
‰
3
b˛
˛ ˛ # ˛ ˛ n˛
b˛
˛ ˛ b˛
˛
˛ # ˛ # ˛ ˛
3
# ˛
æ ‰
˛
3
˛
# ˛ # ˛ n˛
n˛
# ˛ ˛
&
# ˇ
# ˇ
÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
# ˇ
# ˇ
÷ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
121
&
&
#˛
Repeating 5-note marimba pattern in quarter-tones
pp
# ˛ # ˛ n˛
n ˛
5
5
5
5
5
.
b˛æ
˛æ
PE101 – 18

# ˛
124
& æ
˛
æ
#˛
æ
#˛
æ
˛ ˛ ˛ ˛ n˛
6
n˛
# ˛ ˛ # ˛ # ˛ n˛
n˛
# ˛ ˛ ˛ ˛ # ˛ # ˛ n˛
n˛
˛ ˛ n˛
6 6
b˛
# ˛ ˛
&
# ˇ
ˇ
÷ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
# ˇ
ˇ
÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
˛
126 ˛ ˛ # ˛ b˛
n˛
&
˛ ˛ b˛
b˛
˛ ˛ n˛
# ˛ b˛
n˛
Ó
Ó
&
6
˛ ˛ ˛ # ˛ b˛
n˛
˛ ˛ b˛
b˛
˛
b˛
˛
˛ n˛
# ˛ b˛
˛ ˛ n˛
n˛
˛
÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ó
6
˛ # œ
&
Ó
128
&
˛
˛
# ˛ ˛ n˛
6
b ˛
6
˛
# œ
.
˛æ
˛æ
# ˛
129
#˛
&
˛ n˛
˛
b˛
n˛
12
b˛
˛
˛ ˛
˛ Ó
&
Œ ‰
˛
˛
˛
˛
Ó
˛
˛ ˛ œ
6
12
ppp
12
# ˛
131
&
&
#˛
˛
˛
˛
˛
˛
˛
n˛
n˛
b˛
b˛
12 12
# ˇ
ˇ
÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
˛
˛
˛
˛
˛
˛
b˛
b˛
b˛
b˛
˛
˛
PE101 – 19

# ˛
132
#˛
&
&
˛
˛
n˛
æ ‰
6 3
3
˛ b˛
˛ ˛ # ˛ ˛ n˛
˛ b˛
˛ b˛
˛
# ˛ nˇ
ˇ
÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
6
#˛
#˛
˛
˛
n˛
b˛ ˛ ˛
n˛ b˛ ˛ ˛ Ó
12
Œ ‰
˛
˛ ˛
˛
6
12
134
&
#˛
˛
3
˛
æ ‰
˛
3
˛ ˛ n˛
b˛
6
˛ ˛ b˛
&
Ó
˛
ppp
˛
˛
œ
12
# ˇ
ˇ
÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
# ˛
136
&
˛ ˛ n˛
b˛
˛ ˛ b˛
b˛
˛ ˛ ˛ # ˛ ˛
6
‰
#˛
3
˛ ˛ n˛
b˛
˛ ˛ b˛
b˛
˛ ˛ b˛
b˛
˛
&
# ˇ
# ˇ
÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
nˇ
ˇ
÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
˛
138 ˛# ˛
˛ ˛
& ‰
3
˛ ˛ ˛ n˛
3
b˛
˛ ˛ # ˛
˛ ˛ Œ.
5
Ó
&
ˇ
#ˇ
÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
˛
˛ # ˛ ˛ n ˛
5
5
5
5
141
&
#˛
#˛
˛
˛ ˛
˛
˛ n˛
˛
b˛
n˛ b˛
˛
˛
˛ ˛ b˛
˛ ˛ b˛
12 12
b˛
b˛
˛
˛
&
5
.
˛æ
˛æ
# ˇ
ˇ
÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
PE101 – 20

# ˛
143
#˛
&
&
˛
˛
n˛
æ ‰
6 3
3
˛ b˛
˛ ˛ # ˛ ˛ n˛
˛ b˛
˛ b˛
˛
# ˛ nˇ
ˇ
÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
6
˛
mf
ï
˛ n˛
n˛
Throat singers
mf
˛ ˛
˛ ˛
ï ï ï
r
˛ ˛ ˛ ˛ ˛ ˛ ˛ ‰ ˛ ˛.
‰ ˛
ï ï ï ï
146 ˛ # ˛ ˛
&
‰
˛
˛ ˛ ˛
˛ ˛ ˛ ˛
˛ ‰
˛
˛ ˛ ˛ ˛ # ˛
˛ ˛ ˛ ˛ ˛ ˇˇæ
3 3 3
12
ï ï ï ï
ï ï ï ï &
# ˛
148
#˛
&
f
&
˛
˛ ˛
˛
12
˛ n˛
b˛
˛ n˛
b˛
˛ ˛ # ˛ n˛
n˛
˛ b˛
6
˛ b˛
# ˇ
ˇ
÷~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
˛
˛
mf
˛ b˛
3
˛ ˛ ˛ ˛ ˛ b˛
˛ ˛ ˛ b˛
Marimba
˛
b˛
˛ ˛ ˛ ˛ ˛ ˛
3
High-pitched tremolo sounds
150
&
b˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ b˛
˛
˛ ˛ b˛
b˛
˛ ˛ ˛ b˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
3 3
&
˛
b˛
˛ ˛ ˛ ˛ ˛ ˛
˛
b˛
b˛
˛ ˛ ˛ ˛ ˛ ˛
˛
b˛
˛
152
&
Π= 120
˛ ˛ b˛
˛ ˛æ ˛ ˛ ˛ b˛
‰
3
3
3
˛
b˛
b˛
˛
3 3
˛
b˛
˛ ˛ ˛ n˛
b˛
n˛
b˛
˛
&
Throat singers
b˛
˛ ˛ ˛ ˛
b˛
˛ ˛ ˛ ˛
PE101 – 21

154
&
˛ ˛ b˛
3
b˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
3
b˛
˛ ˛ ˛ b˛
˛ ˛ ˛ n˛
˛ ˛ ˛ ˛ ˛ b˛
6 6
˛ n˛
˛ b˛
6
˛ n˛
˛
&
b˛
˛ ˛ ˛ ˛
b˛
˛ ˛ ˛ ˛
()
156 ˛ ˛ b˛
˛ b˛
b˛
&
6
n˛
b˛
n˛
6
b˛
˛ b˛
n˛
b˛
˛ ˛
# ˛ ˛b˛n˛
˛˛ b˛b˛
6 6
˛b˛
˛ b˛
b˛
˛ ˛ n˛
b˛
˛ ˛ ˛ ˛ b˛
3
n˛
&
3 3
bˇ˛
˛ ˛ ˛ ˛ ˛ b ˛
˛ ˛ # ˛ ˛ ˛
3 3
3 3 3 3
n˛Î
˛ ˛ b˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
158
&
Π= 114
?
Π= 120
˛ b˛
˛ ˛ ˛ ˛ b˛
˛ ˛ ˛ ˛ ˛.
f
ï ï ï ï ï Ó
ï ï ï ï ï
&
Marimba
˛ ˛ ˛ ˛ ˛ ˛
˛.
˛ ˛ ˛ ˛ ˛.
˛
˛
161
?
‰ ˛
˛
˛ b
æ
‰ ˛
˛
˛
˛
˛
˛
˛
˛ b˛
˛
˛ n˛
˛ ˛ ˛ ˛ b˛
˛
˛
mf
3 3 3
3 3
&
Throat singers
b˛
˛ ˛ ˛ ˛
b˛
˛ ˛ ˛ ˛
163
b˛
?
˛ n˛
˛ ˛ ˛ ˛ ˛ ˛ b˛
˛
˛ ˛ ˛ ˛ ˛
&
6
6 6
# ˛ ˛ ˛ ˛ ˛ b˛
˛ ˛ ˛ ˛ n˛
˛ ˛ ˛ b˛
˛ n˛
˛b˛
˛ n˛
˛
&
b˛
˛ ˛ ˛ ˛
b˛
˛ ˛ ˛ ˛
PE101 – 22

165
&
˛ b˛
6 6 6 6
b˛
˛ ˛
b ˛ ˛ # ˛
˛ n˛
˛ b˛
˛
n˛
˛ ˛ b ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛
˛ ˛ ˛ ˛ b˛
b˛
˛ ˛ ˛ ˛ b˛
˛ ˛
3
n˛
˛
&
nb Î ÷ ÷ ÷ ÷ ÷ ÷ b ÷ ÷ ÷ ÷ ÷ ÷
3 3 3 3
Throat clusters
Synthesizers
Î ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷
3 3 3 3
167
&
Ó
˛
mf
˛ ˛ ˛ ˛ ˛
˛ ˛.
b˛
˛ ˛ ˛ ˛ b˛
˛ ˛
b˛
˛ ˛
b˛
˛ b˛
˛
b˛æ Œ ˛ ˛ ˛
8 5 8 5
&
b
Î÷ ÷ ÷ Œ ÷ ÷ ÷ Œ
Î÷ ÷ ÷ Œ ï ï ï ï ï
b
Î÷ ÷ ÷ Œ ÷ ÷ ÷ Œ
Throat singers
170
&
&
5
8
˛ ˛ b˛
b
ˇ ÷ ÷
b˛
5:3
˛ ˛ ˛
˛
j
˛
4 8 3 4 8 5 ˇ
˛ 4 ˛.
˛
8 3 ˛.
4 ÷ Œ
J
˛ï
J
b˛
æ
b˛
æ
3 3
n˛
æ
.
j
b
˛.
ï ï ï ï ˛÷ ÷
˛æ
˛æ
b˛
æ
ˇˇ ÷ ‰ ‰ ÷ ÷
J
˛æ.
.
˛.
÷ ‰ ‰
J
173
&
4
Ó
Œ
˛ ˛ ˛æ
‰
b˛
b˛
6
n˛
˛ b˛
˛ ˛ ˛ ˛ ˛ ˛ b˛
b˛
&
4
b
Î÷ ÷ ÷ Œ ï ï ï ï ï
b
b
Î
÷ ÷ ÷ Œ ÷ ÷ ÷ Œ
175
&
&
˛ b˛
˛
6 6
˛ ˛
˛ ˛ ˛
b˛
˛ b˛
˛ ˛ ˛ ˛ ˛ ˛ ˛
˛ ˛ ˛ ˛
Î
÷ ÷ ÷ Œ ï ï ï ï ï
6
b˛
f
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛æ
.
6 3 3
˛
@
b
b
Î
÷ ÷ ÷ Œ ÷ ÷ ÷ Œ
J˛æ
‰
PE101 – 23

177
&
‰ ˛ ˛ b˛
˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛ ˛æ
˛
æ
˛æ
‰ ˛˛ b˛
b˛
˛
˛ ˛ ˛
3
6 6
3
6
&
Î
÷ ÷ ÷ Œ ï ï ï ï ï
Î ÷ ÷ ÷ Œ ÷ ÷ ÷ Œ
179
&
b˛
˛˛ ˛˛ ˛ ˛æ
˛
æ
b˛
æ
˛
æ
˛
æ
˛
æ
b˛
æ
˛
æ
˛ b
æ
ˇæ
&
3 3
Î ÷ ÷ ÷ Œ ï ï ï ï ï
Î ÷ ÷ ÷ Œ ÷ ÷ ÷ Œ
b
Î÷ ÷ ÷ Œ ï ï ï ï ï
Marimba (pitch bends)
bˇ
˛ ˛ ˛
183
&
&
b ˛ ˛.
˛ ˛
J
t~~~~~~~~~~~~~~~
ˇ ˛ ( b ˛ )˛ ˛ ˛ ˛ ˛ ˛
6
pp
mp
˛ ˛ ˛ ˛
˛
b˛
7
7
˛ ˛ ˛ b˛
˛ ˛ ˛
b˛
˛ n˛
b˛
bˇ
˛ b˛
b˛
˛
˛ ˛ b˛˛ ˛
Ó
7
186
&
&
t ~~~~~~~~~~~~~~~~
bÎ
pp
7
b ˛
Ó
b
mf
( b ˛ ) ˛
Œ
b˛˛˛ ˛ ˛ ˛ ˛ b˛
6
b˛
˛
b˛
6
˛ ˛
˛ ˛ ˛
˛ ˛
˛
Ó
b˛
˛
?
Ó ˇæ
ppp
ˇ ˇ
189
&
?
ˇæ
ˇ
&
6
˛æ ˛æ ˛ ˛ ˛ ˛
b˛
˛
7
4 3 6
˛ 4 4 2 ˛ b˛
˛ ˛ ˛ 7
b˛
˛
˛ ˛ ˛ b˛
˛ b˛
˛ ˛ ˛ b˛
ˇ
˛ b˛
ˇ
mf
æ
pp
7
7
b˛
4 3 4 ˛
b˛˛
˛ n b ˛
4 2
b˛
b˛
˛
b ˛ b ˛
PE101 – 24

192
&
4
2
bˇ
æ
Œ
ˇæ
ppp
ˇæ
6
˛æ ˛æ ˛ ˛ ˛ ˛
6
˛ ˛ b˛
˛ ˛ ˛ ˛æ
mf
j
˛æ ‰ Œ
&
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PE101 – 25

Download Contents
The download files contains the following:
[1] Digital Audio – Movement I [4:07]
[2] Digital Audio – Movement II [2:37]
[3] Digital Audio – Movement III [6:47]
[4] Studio Recording – Movement I [4:01]
[5] Studio Recording – Movement II [2:33]
[6] Studio Recording – Movement III [6:43]
Christos hatzis
Fertility Rites
Marimba with Digital Audio
Download file size: 224 MB
DIGITAL FILE DOWNLOAD
www.promethean-editions.com
PE101DC
PE101DC
The Download File contains the following:
[1] Digital Audio – Movement I [4:07]
[2] Digital Audio – Movement II [2:37]
[3] Digital Audio – Movement III [6:47]
[4] Studio Recording – Movement I [4:01]
[5] Studio Recording – Movement II [2:33]
[6] Studio Recording – Movement III [6:43]
Total Duration [26:48]
Download file size
228 MB
© 2007 Promethean Editions Limited
PE101 – 26

PROMETHEAN EDITIONS