RNY 1198 - Julia Wolfe - Anthracite Fields by Ricordi

julia wolfe anthracite ﬁelds

fullscore CopyrightbyRicordiNewYork

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Anthracite Fields was commissioned by the Mendelssohn Club of Philadelphia through Meet the Composer’s Commissioning Music/USA program, which is made possible by generous support from the Mary Flagler Cary Charitable Trust, New York City Department of Cultural Affairs, the William and Flora Hewlett Foundation, and the Helen F. Whitaker Fund. Additional support was made possible through the Mendelssohn Club of Philadelphia Alan Harler New Ventures Fund, The Presser Foundation, The Pew Center for Arts and Heritage, the National Endowment for the Arts, The Musical Fund Society of Philadelphia, and the Aaron Copland Fund for Music. © 2014 by Universal Music Corp. (ASCAP)

Warning : Unauthorized reproduction of this publication is prohibited by Federal law, and subject to criminal prosecution

Instrumentation

SATB Choir

Ensemble: clarinet/bass clarinet electric guitar/acoustic guitar/solo tenor voice percussion vibraphone, crotales, concert bass drum, tam tam, mounted drum stick, tambourine, tin can, drum set (bass drum, snare drum, low/med tom, hi-hat, low/med/high cymbals), 6 mounted bicycle wheels piano/synthesizer violoncello/solo alto voice contrabass/electric bass

all singers and instruments amplified thealtosoloinBreakerBoysissungbythecellistAshleyBathgateandthetenorsoloinSpeechissungbyguitaristMarkStewart

forAlanHarler

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PROGRAM NOTES:

I grew up in a small town in Pennsylvania – Montgomeryville. When we first moved there the road was dirt and the woods surrounding the house offered an endless playground of natural forts and ice skating trails. At the end of the long country road you’d reach the highway – route 309. A right turn (which was the way we almost always turned) led to the city, Philadelphia. A left turn on route 309 (which we hardly ever took) lead to coal country, the anthracite field region. I remember hearing the names of the towns, and though my grandmother grew up in Scranton, everything in that direction, north of my small town, seemed like the wild west.

When the Mendelssohn Club of Philadelphia commissioned me to write a new work for choir and the Bang on a Can All-Stars, I looked to the anthracite region. Anthracite is the diamond of coal – the purest form. At the turn of the century the anthracite fields of Pennsylvania became the power source for everything from railroads to industry to heating homes. But the life of the miner was difficult and dangerous. I had been immersed in issues of the American worker - composing Steel Hammer, an evening length art-ballad on the legend of John Henry. For Anthracite Fields I went deeper into American labor history – looking at both local and national issues that arose from coal mining. I went down into the coal mines, visited patch towns and the local museums where the life of the miners has been carefully depicted and commemorated. I interviewed retired miners and children of miners who grew up in the patch. The text is culled from oral histories and interviews, local rhymes, a coal advertisement, geological descriptions, a mining accident index, contemporary daily everyday activities that make use of coal power, and an impassioned political speech by John L. Lewis, the head of the United Mine Workers Union.

My aim with Anthracite Fields is to honor the people who persevered and endured in the Pennsylvania Anthracite coal region during a time when the industry fueled the nation, and to reveal a bit about who we are as American workers.

In the first movement, Foundation, the singers chant the names of miners that appeared on a Pennsylvania Mining Accident index 1869-1916. The list is sadly long. I chose only the Johns with one-syllable last names in alphabetical order. The piece ends with a setting of the very colorful multi-syllabic names. The miners were largely from immigrant families and the diversity of ethnicity is heard in the names. At the center of Foundation is text from geological descriptions of coal formation.

Breaker Boys follows next. There were many boys working in the Pennsylvania coal mines. The younger ones worked in the breakers, which were large ominous structures. The coal would come running down shoots of the breakers. The boys had the painful job of removing debris from the rush of coal. The central rhyme of this movement, Mickey Pick-Slate, is from the anthracite region. Others were adapted from children’s street rhymes. In the center of this movement are the words of Anthony (Shorty) Slick who worked as a breaker boy. The interview is taken from the documentary film, America and Lewis Hine directed by Nina Rosenblum. Hine worked for the National Child labor Committee, and served as chief photographer for the WPA.

Speech is the third movement. The text is adapted from an excerpt of a speech by John L. Lewis who served as president of the United Mine Workers of America. Lewis was an impassioned spokesperson for the miners and fought hard-won battles for safer working conditions and for compensation.

The fourth movement Flowers was inspired by an interview with Barbara Powell, daughter and granddaughter of miners. She grew up in a Pennsylvania patch town and had many stories to tell about her family life. She never felt poor. She had an amazing sense of community. Barbara talked about how everyone helped each other. In one interview Barbara said, “We all had gardens” and then she began to list the names of flowers.

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The last movement Appliances ties the new to the old. I was struck by John L. Lewis’ line “those of us who benefit from that service because we live in comfort.” Our days are filled with activities that require power. Even today coal is fueling the nation, powering electricity. When we bake a cake or grind coffee beans we use coal. The closing words of Anthracite Fields are taken from an advertising campaign for the coal-powered railroad. In 1900 Ernest Elmo Calkins created a fictitious character, a New York socialite named Phoebe Snow, who rode the rails to Buffalo. It used to be a dirty business to ride a train. But with the diamond of coal her “gown stayed white from morn till night, on the road to Anthracite.”

All singing should be done in a simple manner with as little vibrato as possible - a pure sound. Intelligibility of words is important.

I Alto II

tons of reverb, strumming strings with wire kitchen whisk

Tam (with big soft non attack mallets for rolling)

creating a low rumbling effect

dig deep into the string for a rich gritty sound with overtones

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Bass Clarinet in B

Electric Guitar Percussion

Piano

Violoncello

Contrabass

B. Cl E.Gtr. Perc.

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B. Cl.

B. Cl. E. Gtr.

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Crotales

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B. Cl.

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B. Cl.

E. Gtr.

B II

B. Cl.

E. Gtr.

Perc.

Crotales Bass Drum

JohnBoydJohnBozJohnBrassJohnBrayJohnBreem

JohnBoydJohnBozJohnBrassJohnBrayJohnBreem JohnJohnJohnJohnJohnJohnJohnJohnJohnJohnJohnJohn

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B. Cl.

E. Gtr.

Perc.

Pno.

Vc. Cb.

B. Cl.

E. Gtr.

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Croatles

JohnCrookJohnCrossJohnCrowJohnCruseJohn CraneJohnCrayJohnCreechJohnCreshJohnCrollDaweJohnDayJohnDealJohn

CraneCrayCreechCreshCrollCrookCrossCrowCruseDaweDayDeal

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Bass Drum Low Tom

FaithJohnFarrJohnFaustJohnFeetsJohnFernJohnFifeJohnFinkJohnFinnJohn

JohnFairJohnFinkJohnFinnJohnFluteJohnFolkJohnForbesJohn

FitchJohnFlackJohnFleasJohnFleshJohnFlinnJohnFloatJohn

FairFitchFlackFleasFleshFlinnFloat

FordJohnFoxJohnFrankJohnFreelJohnFrenchJohn

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FritzJohnFryJohnFukeJohn

JohnFrickJohnFrillJohnFritzJohnFryJohnFuke

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JohnGrassJohnGrayJohnGreenJohnGreggJohnGrimJohnGrimes

JohnGrassJohnJohnGuyJohnGwynne

JohnGrimJohnGrimesJohnGripJohnGroomJohnGrossJohnGroveJohnGuyJohn

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HessJohnHillJohnHinesJohnHogJohnHolt

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B. Cl.

E. Gtr.

let

Crotales

theleaves theleaves

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E. Gtr.

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B. Cl.

E. Gtr.

Perc.

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B. Cl.

E. Gtr.

Perc.

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E. Gtr.

Perc.

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B. Cl.

E. Gtr.

Perc.

Pno.

RageRandRapeRayReadReapdeep

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B. Cl.

E. Gtr.

Perc.

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B. Cl.

E. Gtr.

Perc.

thebrinyseaseaseaseaseaseaseaseasea

thebrinyseaseaseaseaseaseaseaseasea thebrinyseaseaseaseaseaseaseaseasea thebrinyseaseaseaseaseaseaseaseasea

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B II

B. Cl.

E. Gtr.

Perc.

Pno.

Vc.

Cb.

sim.

legato pulse on each note

strumming, lots of reverb, unmeasured tremolo for a continuous flurry of sound

High Cymbal

S I S II

seaseaseaseaseaseaseaseaseaseaseaseaseaseaseaseaseasea

likewater,withpedal

seaseaseaseaseaseaseaseaseaseaseaseaseaseasea

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seaseaseaseaseaseaseaseaseaseaseaseaseaseasea

B I

B. Cl.

E. Gtr.

Perc.

Pno.

Vc.

Cb.

B. Cl.

E. Gtr. Perc.

Pno.

Vc.

Cb.

To Cl.

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Clarinet in B

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Cl.

E. Gtr.

Perc.

Pno.

Vc.

Cb.

Vibraphone

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E. Gtr.

Perc.

Pno. Vc. Cb.

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E. Gtr.

Perc.

Pno.

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Perc.

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E. Gtr.

Perc.

Pno.

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Cl.

E. Gtr.

Perc.

Pno. Vc. Cb.

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E. Gtr.

Perc.

layer-upon-layer-upon-layer-upon -

layer-upon-layer-upon-layer-upon-layer-upon -

buried-deeplayer-upon-layer-upon-layer-upon-rieddeep rieddeep

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Cl.

E. Gtr.

Perc.

Pno.

Vc.

Cb.

331

layer-upon-layer-upon-layer-upon-layer-upon-layer-upon-layer-upon -

layer-upon-layer-upon-layer-upon-layer-upon-layer-upon -

layer-upon-layer-upon-upon-layer-layer -upon-layer-upon -

338

layer-upon-layer-upon-layer-upon-layer-layer-upon -

layer-upon-layer-upon-layer-upon-layer-upon-layer-upon -

layer-upon-layer-upon-layer-layer-upon-layer-up-layer-u-

layer-upon-layer-upon-layer-upon-layer-upon-layu-

fullchoir,gradualcresc.tom.360

351

fullchoir,gradualcresc.tom.360

344 layer-upon-layer-upon-layer-upon-layer-upon-layer-upon-layer-upon -

fullchoir,gradualcresc.tom.360

layer-layer-upon-layer-upon-layer-upon-layer-upon -

ponlayer-upon-layer-layer-upon-layer-upon-layer-upon-layer-upon -

fullchoir,gradualcresc.tom.360

ponlayer-upon-layer-layer -upon-layer-upon-layer-layer -upon-layer-upon -

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gradualcresc.tom.360

layer-upon-layer-upon -

layer-upon-layer-upon-layer-upon-layer-upon-layer-upon-layer-upon-layer-upon -

layer-upon-layer-upon-layer-upon-layer-upon-layer-upon-layer-upon -

layer-upon-layer-upon-layer-upon-layer-upon-layer-upon-layer-upon-lay-

layer-upon-layer-upon-layer-upon-layer-upon-layer-u-

gradualcresc.tom.360

layer-upon-layer-upon-layer-upon-layer-upon-layer-upon-lay-

S I

S II

layer-upon-layer-upon-layer-upon-layer-upon-layer-upon -

layer-upon-layer-upon-layer-upon-layer-upon-layer-upon-layer-upon -

erupon-layer-upon-layer-upon-layer-upon -

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erupon-layer-upon-layer-upon-layer-upon -

layer-upon-layer-upon -

E. Gtr.

Perc.

S I S II

layer-upon-layer-upon-layer-upon-layer-upon-layer-upon -

layer

-layer-upon

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layeruponlayerupon layeruponlayerupon

E. Gtr.

Perc.

Pno.

Vc.

Cb.

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S I+II A I+II

S I S II

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B I+II

To B. Cl.

S I+II

T I+II

B I+II

B. Cl.

Bass Clarinet in B

Vibes

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S I+II

A I+II

T I+II T II

B I+II

E. Gtr.

Perc. Pno. Vc.

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emotional - emphasize rhythms, clearly enunciate names

Massi-mi-no-Santi-a-re-lli-Nicho-las-Scalgo-Edward-Scutu-lis-Alfred-Seabu-ry-Jona-than-Shoemaker -

A I+II

T I+II

B I+II

B. Cl.

S I+II

emotional - emphasize rhythms, clearly enunciate names

Ema-nu-el-Skidmore-Martin-Slado-vick-Andrew-Smalley-Thomas-Snedden -

Josi-ah-Sibley-Sylvester-Sokos-ki-Benja-min-Spade

emotional - emphasize rhythms, clearly enunciate names

JamesHenry-Sulli-van-Anton-Svane-vich-Antho-ny-Sweeny -

emotional - emphasize rhythms, clearly enunciate names

Charles-St.ClairIgnatz-Stanche-ski-Augu-stus-Swanson-Olif-Sweedbu-ry -

Charles-St.ClairIgnatz-Stanche-ski-Anton -Svane-vich-Olif-Sweedbu-ry -

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Charles-St.ClairIgnatz-Stanche-ski-Anton -Svane-vich-Olif-Sweedbu-ryLathrie -

JamesHenry-Sulli-van-Augu -stus-Swanson-Antho -ny-Sweeny-Lathrie -

tremolo between the two pitches, emphasize each chord change

456

Li verygradualcresc.tom.457 no -Tari-lla-Premo-Tone-tti-Bla

Li verygradualcresc.tom.457

-Tari-lla-Premo-Tone-tti-Bla

SymmonsJuli-us-Tama-ni-ni-Li verygradualcresc.tom.457 no -Tari-lla-Premo-Tone-tti-Bla

-Tona-tis-Rofe-llo-Tiron-ze-lli-Antho-ny-Tone-ry -

-tis-Rofe-llo-Tiron-ze-lli-Antho-ny-Tone-ry -

-Tona-tis-Rofe-llo-Tiron-ze-lli-Antho-ny-Tone-ry -

-Tona-tis-Rofe-llo-Tiron-ze-lli-Antho-ny-Tone-ryLi verygradualcresc.tom.457 no -Tari-lla-Premo-Tone-tti-Bla

-Tona-tis-Rofe-llo-Tiron-ze-lli-Antho-ny-Tone-ry -

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ChristianUlRich-Theo-dore-Valen-tine-Isaac-VanBla-ra-gan-Constan-tineVicke-rell-Edwin-Wagstaff-August-Yeager-Henry-Youngcourt

ChristianUlRich-Theo-dore-Valen-tine-IsaacVanBla-ra-gan-Constan-tineVicke-rell-Edwin-Wagstaff-August-Yeager-Henry-Youngcourt

ChristianUlRich-Theo-dore-Valen-tine-Isaac-VanBla-ra-gan-Constan-tineVicke-rell-Edwin-Wagstaff-August-Yeager-Henry-Youngcourt

ChristianUlRich-Theo-dore-Valen-tine-Isaac-VanBla-ra-gan-Constan-tineVicke-rell-Edwin-Wagstaff-August-Yeager-Henry-Youngcourt Clarinet in B

Marti-an-Yunman-Victor-Zaime-ro-vich-Eze-ki-el-Zamo-co-nie-Eze-ki-el-Ezi-ki-el -

Marti-an-Yunman-Victor-Zaime-ro-vich-Eze-ki-el-Zamo-co-nie-Eze-ki-el-Eze-ki-el -

Marti-an-Yunman-Victor-Zaime-ro-vich-Eze-ki-el-Zamo-co-nie-Eze-ki-el-Ezi-ki-el -

improvisation on Es and As with sparkly colors and overtones

improvisation on Es and As with sparkly colors and harmonics rapidly roll arpeggiated chord up and down wildly arpeggiating on Es and As (improv.) wildly arpeggiating on Es and As (improv.)

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hmhmhmhmhmhmhmhmhmhmhmhmhmhmhmhmhmhmhmhmhmhmhmhmMickey

hmhmhmhmhmhmhmhmhmhmhmhmhmhmhmhm shshshshshshshshshshshshshshshshshshshshshshshshMickey

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Mickey-PickSlateEarly-andlatethatwasthepoorlittle-breaker-boy'sfate

Mickey-Mickey -

thatwasthepoorlittle-breaker-boy'sfate thatwasthepoorlittle-breaker-boy'smicke-ty-picke-ty

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MickeyMickey-Mickey-PickSlate-Early-andlatethatwasthe

I+II

Cl.

E. Gtr.

Pno.

Perc. Vc.

Cb.

MickeyMickey-thatwasthe

Mickey -

pizz. chromatic cluster sim.

run drum stick across vibraphone resonators (like a stick across a picket fence) improvised stick rhythm

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Mickey-Mickey-Mickey-Mickey-Mickey

micke

Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

kicke-ty-kicke-ty-kicke-ty-kicke-ty-kickkickkickkick

Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

Mickey-Mickey-Mickey-Mickeykicke-ty-kicke-ty-kicke-ty-kicke-ty-kickkickkickkick

Thatwasthepoorlittle-breaker-boy'sfate

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Med. Cymbal

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cresc.pocoapoco

High Cymbal

twelveyearssixyearssixyearstwelveyearssixteen-sixteen-eightteen

leven-thirteen-ele-ven-fivesixseven-fivesixseven-eightnineele-ven-fourteen-fifteen-e-

nineyearsnineyearseightteen

teenthirteen-nineyearsthirteen-fiveyears

teeneightteen

eighteen-fiveyearsfiveyearsfiveyearsfiveyearsfiveyears ele-ven-fourteen-fifteen-ele-ven-eighteen-sixteen-seven-teen-eighteen-sixteen-seven-teen -

fifteen-eightyearsfivesixseven-eightnineteneightninetenele-ven-twelveyearseightninetenele-ven-twelveyears

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Tambourine

-sixteen-seventeen-sixteen-seventeen-eighteen-sixyears

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thatwasthepoorlittle-breraker-boy'sfatemicke

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Pno.

Mickey-micke-ty-picke-ty -

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Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

micke-ty-picke-ty-ricke-ty-tickety-micke-ty-picke-ty-ricke-ty-tickety -

Mickey-Mickey-Mickey-Mickey -

micke-ty-picke-ty-ricke-ty-tickety-micke-ty-picke-ty-ricke-ty-tickety -

micke-ty-picke-ty-ricke-ty-tickety-micke-ty-picke-ty-ricke-ty-tickety-Mickey-Mickey-Mickey-Mickey -

Mickey-Mickey-Mickey-Mickey -

Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

micke-ty-picke-ty-ricke-ty-ticke-ty-micke-ty-picke-ty-ricke-ty-ticke-ty -

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micke-ty-picke-ty-ricke-ty-ticke-ty-micke-ty-picke-ty-ricke-ty-ticke-ty -

Mickey-Mickey-Mickey-Mickey-micke-ty-picke-ty-ricke-ty-ticke-ty-micke-ty-picke-ty-ricke-ty-ticke-ty -

micke-ty-picke-ty-ricke-ty-ticke-ty-micke-ty-picke-ty-ricke-ty-ticke-ty-Mickey-Mickey-Mickey-Mickey -

Mickey-Mickey-Mickey-Mickey -

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Perc.

Mi ckey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

Cb.

Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

Mickey-Mickey-Mickey-Mickey

Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

Mickey-Mickey-Mickey-Mickey -

Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

Mickey-Mickey-Mickey-Mickey -

Pno.

Vc.

Snare Drum

cresc.pocoapocotom.103

Mickey-Mickey-Mickey-Mickey-Mi

ckey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

Mickey-Mickey-Mickey-Mickey-Mi cresc.pocoapocotom.103

ckey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

Mickey-Mickey-Mickey-Mickey-Mi cresc.pocoapocotom.103

ckey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

Mickey-Mickey-Mickey-Mickey-Mi cresc.pocoapocotom.103

ckey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

cresc.pocoapocotom.103

cresc.pocoapoco

cresc.pocoapocotom.103

Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

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Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey-Mickey -

dig deep into the string for a gritty sound

smallgroup like speaking, even like speaking, even gradually move to sul tasto gradually move to sul tasto

Youhadtositonthatplainplankplainplanknomatter -

withyourfeetintheshuteonaplainplankbentover-likethis

bentover-likethisWellI'lltellyouitwasvery-scary-believe-me

believe-meIdon'tknowhowintheworldIgotthenervetogothereinthefirstplace

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Youdidn't-daresayany-thing-Youdidn't-darequit

because-itwassomething-tohaveajobateightcentsanhour -

deadstick'emupandstick'emdown

deadstick'emupandstick'emdownsnailsnailcomeouta-yourhole,or

deadstick'emupandstick'emdown crown

deadstick'emintheoldman'scrown

deadsnailsnailcomeouta-yourhole,or

stickstockstonedead

eggsbutter-cheesebreadstickstockstonedead

eggsbutter-cheesebreadstickstockstonedead elseI'llbeatyoublackascoalblackascoalblackascoalblackascoalblackascoal

elseI'llbeatyoublackascoalblackascoalblackascoaldead

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legato tongue

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twiceaboyandonceamancatchmecatchmeifyoucan

catchmecatchmecatchmecatchmecatchmecatchmecatchmecatchme

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catchmecatchmecatchmecatchmecatchmecatchmecatchmecatchme

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catchmecatchmecatchmecatchmecatchmecatchmecatchmecatchmecatchmecatchmecatchmecatchme

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stickstockstonedead!tenlittle-angels-dressedinwhite

blackascoalblackascoaltenlittle-angels-dressedinwhite tenlittle-angels-dressedinwhite

blackascoalblackascoal

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tryin'togettoheaven-onthetailofakitebutthekitestringbrokeand

downtheyfellinstead-ofgoin'toheaven-theyheaven -

downtheyfellinstead-ofgoin'toheaven-theywentto

downtheyfellinstead-ofgoin'toheaven-theyheaven -

downtheyfellinstead-ofgoin'toheaven-theywentto

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heaven-ninelittle-angels-eightlittle-angels280

heaven-ninelittle-angels-eightlittle-angels -

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heaven-ninelittle-angels-eightlittle-angels -

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cresc.pocoapoco

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cresc.pocoapoco

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cresc.pocoapoco

Iamkingofthecastle-IamkingIam

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castle-youareadirtyrascal -

plus static/ scratch sample

gliss - natural drop, approximate arrival blues picking note bending

Ifwemustgrinduphuman-fleshandbonesinthisindu-stri-al-ma= 60

chine -thatwecallmodern-Ame-ri-ca -

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Ifwemustgrinduphuman-fleshandbones

Tenor Solo

Tenor I+II

Bass I+II

Clarinet in B

Electric Guitar

Synthesizer

Drum Set

Violoncello

Contrabass

T. Solo

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andIwhobene-fit-andyouandIyouandIandyouandIwhofromthatserandIwhobene-fit-andyouandIyouandIandyouandIwhofromthatseryouandIwhobene-fit-bene-fit-fromthatservice-youandIwhobene-fit-fromthatseryouandIwhobene-fit-bene-fit-fromthatservice-youandIwhobene-fit-fromthatser-

Weowepro-tection-tothosemenandweowethesecu-ri-ty-totheirfamilies-iftheydie

thosementhose sim.

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menthosementhosementhosementhosemen

iftheydieif sim. theydieiftheydieiftheydietheydiethey

iftheydieif sim. theydieiftheydieiftheydie sim.

Cl.

E. Gtr.

Synth.

Dr.

Vc.

Cb.

T. Solo

T I T II

B I

B II

Cl.

E. Gtr.

Synth.

Dr.

thosementhosementhosementhosementhosemen

thosementhose

menthosementhosementhosemen

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T. Solo

ThatiswhatIbelieve-ThatiswhatIbelieve-Ibelieve-Ibelieve -

ThatiswhatIbelieve-Ibelieve-Ibelieve-Ibelieve-Ibelieve-Ibelieve-Ibelieve -

Ibelieve-Ibelieve-Ibelieve-Ibelieve -

Ibelieve-Ibelieve-Ibelieve-Ibelieve-andtheminers-believe-that

Ibelieve-Ibelieve-Ibelieve-Ibelieve -

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Ibelieve-Ibelieve-Ibelieve-Ibelieve -

E. Gtr.

Synth.

E. Gtr.

Synth.

Clarinet in B

Acoustic Guitar

Violoncello

Contrabass

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flauflauflauflauflauflauflauflauflauflauflauflauflauflauflauwerwerwer

flauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflau

flowers-flowers-flowers-flowers-flauflauflauflauflauflauflauflauwerwerwer

flauflauflauflauflauflauflauflauflauflauflauflauflauflauflauwerwerwer

Hi-hat should not be tightly closed, leave slightly open to get a beefy sound

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werwerwerwerwerwerwerwerwerwerwerwerwerwerflauflauflauflauflauflauflauflau

werwerwerwerwerwerwerwerwerwerwerwerwerwerwerwerflauflauflauflau

Cb. werwerwerwerwerwerwerwerwerwerwerwerwerwerwerwerflauflauflauflauflauflauflauflauflauflauflauflau

flowers-flowers-flowers-werwerwerwerwerwerwerwerwerwerwerwerflauflauflauflauflauflauflauflau

Pno.

Vc.

Cb.

flauflauflauflauwerwerwerwerwerwerwerwerwerwerwerwerwerwerwerwerwerwer

58 flauflauflauflauflauflauflauflauflauflauflauflauflauflauwerwerwerwerwerwerwerwerwerwerwerwerwerwer

flauflauflauflauflauflauflauflauflauflauwerwerwerwerwerwerwerwerwerwerwerwerwer

flauflauflauflauflauflauflauflauflauflauflauflauflauflauwerwerwerwerwerwerwerwerwerwerwerwer

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werwerwerwerflauflauflauflauflauflauflauflauflauflauflauflauflauflau

62 werwerwerwerwerwerwerwerwerwerflauflauflauflauflauflauflauflauflauflau

werwerwerwerwerwerwerwerwerwerflauflauWeallhad

werwerwerwerwerwerwerwerflauflauflauflauflauflauflauflauflauflauflauflau bring out this line

flauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflau

flauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflau

flauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflauflau

Cb.

Vc. Cb. violets-andasters-andlilacs-andtulips-anddahlias-anddaisies-and 72 violets-andasters-andlilacs-andtulips-anddahlias-anddaisies-and

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poppies-andpansies-andbluebells-andfoxglove-andheather-andlarkspur-and

78 poppies-andpansies-andbluebells-andfoxglove-andheather-andlarkspur-and

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-leas-petu-nias-nastur-tium-narci-ssus-mari-golds-snapdra-gons -

aza-leas-petu-nias-nastur-tium-narci-ssus-mari-golds-snapdra-gons -

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sweetwilliams-bleeding-heartsmagno-lias-chrysan-the-mums-wiste 102 sweetwilliams-bleeding-heartsmagno-lias-chrysan-the-mumsdaisies dahliaspo-spin two bicycle wheels, freely re-spinning each to create a continuous overlap of sound

Slightemphasisoneachword,cleanrests

Slightemphasisoneachnote,cleanrests

V. APPLIANCES

Soprano I+II

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Vibes

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with intensity (don't let up)

grindgrindgrindgrindshave

with intensity (don't let up)

grindgrindgrindgrindshave

with intensity (don't let up)

grindgrindgrindgrindshave

with intensity (don't let up)

grindgrindgrindgrindshave

with intensity (don't let up)

grindgrindgrindgrindshave

with intensity (don't let up)

grindgrindgrindgrindshave

with intensity (don't let up)

grindgrindgrindgrindshave

with intensity (don't let up)

grindgrindgrindgrindshave

shaveshaveshave

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glissing wildly across the range of the piano, hand over hand

Drums wildly switch off rolling on different drums, can follow shape of voices but should be fluid and making swells. Gradually add in cymbal rolls as well

wildly bowing, catching doublestops in rolling across the strings, noisy and violent

shaveshaveshave

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blastblastblastblastturnturnturnturn

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Cl.

E. Gtr. Pno. Perc.

Vc.

Cb.

ringringringringblendblendblendblend

ringringringringblendblendblendblend ringringringringblendblendblendblend ringringringringblendblendblendblend

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drydrygrindgrindgrindgrind

CopyrightbyRicordiNewYork

drilldrilldrilldrillblastblastblastblast

drilldrilldrilldrill blastblastblastblast

drilldrilldrilldrillblastblastblastblast

drilldrilldrilldrillblastblastblastblast drilldrilldrilldrillblastblastblastblast drilldrilldrilldrillblastblastblastblast

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turnturnturnturnringringringring

turnturnturnturnringringringring turnturnturnturnringringringring

turnturnturnturnringringringring

turnturnturnturnringringringring turnturnturnturnringringringring

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drydrydrydrygrindgrind

drydrydrydrygrindgrind drydrydrydrygrindgrind

drydrydrydrygrindgrind

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grindgrindshaveshaveshaveshaverunrun

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heatheatdrilldrilldrilldrillblastblast

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blastblastturnturnturnturnringring

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Cl.

E. Gtr. Pno. Perc.

Vc.

Cb.

ringringblendblendblendblendlocklock

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grindgrindgrindgrindshaveshaveshaveshave

grindgrindgrindgrindshaveshaveshaveshave grindgrindgrindgrindshaveshaveshaveshave

grindgrindgrindgrindshaveshaveshaveshave

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grindgrindgrindgrindshaveshaveshaveshave grindgrindgrindgrindshaveshaveshaveshave grindgrindgrindgrindshaveshaveshaveshave grindgrindgrindgrindshaveshaveshaveshave wildly improvised noise across the range of the instrument, gradually narrowing in to higher register

E. Gtr. Pno.

Vc. Cb.

wilder still

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blastblastblastblastturnturnturnturn

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Cl.

Vc. Cb.

ringringringringblendblendblendblend

ringringringringblendblendblendblend ringringringringblendblendblendblend ringringringringblendblendblendblend

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Cl. E. Gtr.

Pno.

Phoebe

Vibes