THREE PORTRAITS OF PIPA
FOR PIPA AND ORCHESTRA
A DISSERTATION IN
Music Composition
Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of
the requirements for the degree
DOCTOR OF MUSICAL ARTS
by HONG HONG GIANAKON
B.A. in Music, Hong Kong Baptist University, 2010 M.M. in Composition, Northern Illinois University, 2014
Kansas City, Missouri 2018
ii
© 2018
HONG HONG GIANAKON
ALL RIGHTS RESERVED
iii
THREE PORTRAITS OF PIPA
FOR PIPA AND ORCHESTRA
Hong Hong Gianakon, Candidate for the Doctor of Musical Arts Degree
University of Missouri-Kansas City, 2018
ABSTRACT
Three Portraits of Pipa is a three movement concerto for pipa, a traditional
Chinese plucked-string instrument that has a history of more than 2000 years in China.
The large variety of timbres of the pipa gives the instrument unlimited musical
possibilities. Each movement of the work demonstrates one of the many timbral
characteristics of the pipa. The first movement, “Sparkling Crystal,” features the crystal-
like timbre of natural harmonics on the instrument. Together with multiple string
plucking techniques, the movement gives listeners a composite picture of sparkling
crystals.
The second movement, “Continuous Stream,” showcases various right-hand tremolo
techniques on the pipa, such as two-finger tremolo (gun), and five-finger tremolo (lun).
These techniques generate lyrical and expressive melodic lines, decorated by traditional
Chinese musical gestures such as pitch bending and pitch sliding.
The third movement, “Rattling Metal,” demonstrates the metallic, percussive sound
of the pipa. Traditional percussive techniques such as multiple string-strumming (sao
iv
xian), string twisting (jiao xian), and sound board snapping (tan mian ban) are featured.
This movement also incorporates timbral and rhythmic elements from the Beijing
Operatic tradition.
The modified, non-standard tuning of the open strings (A-sharp, D-sharp, E, A) of
the pipa gives the work a unifying melodic motive that consists of the intervals of perfect
fourth (perfect fifth with inversion), minor second (major seventh with inversion), and
tritone. The motive is heard, with variations, throughout the entire work.
v
APPROVAL PAGE
The faculty listed below, appointed by the Dean of the Conservatory of Music and
Dance, have examined a dissertation titled “Three Portraits of Pipa – for pipa and
orchestra,” presented by Hong Hong Gianakon, candidate for the Doctor of Musical Arts
degree, and certify that in their opinion it is worthy of acceptance.
Supervisory Committee
Chen Yi, D.M.A., Committee Chair Conservatory of Music and Dance
Paul Rudy, Ph.D.
Conservatory of Music and Dance
Zhou Long, D.M.A. Conservatory of Music and Dance
James Mobberley, D.M.A.
Conservatory of Music and Dance
Hali Fieldman, Ph.D. Conservatory of Music and Dance
vi
CONTENTS
ABSTRACT ...................................................................................................................... iii
INSTRUMENTATION .................................................................................................... vii
STANDARD PIPA NOTATION .................................................................................... viii
MOVEMENT
I. SPARKLING CRYSTAL ........................................................................................... 1
II. CONTINUOUS STREAM ....................................................................................... 53
III. RATTLING METAL ............................................................................................... 75
VITA .............................................................................................................................. 101
vii
INSTRUMENTATION
2 Flutes (2nd flute doubling piccolo) 2 Oboes (2nd oboe doubling English horn) 2 Clarinets in B-flat (2nd clarinet doubling bass clarinet) 2 Bassoons (2nd bassoon doubling contrabassoon) 2 French Horns in F 2 Trumpets in C 2 Tenor Trombones 1 Tuba Timpani Percussion 1: Suspended cymbals, vibraslap, wood blocks, tambourine, tam-tam. Percussion 2: Marimba, small Chinese cymbals, bass drum. Solo Pipa (tuned in A-sharp, D-sharp, E, A) Violin I Violin II Viola Cello Double Bass Duration: ca. 22 minutes
viii
STANDARD PIPA NOTATION
Tan (Chinese: 彈, symbol: ) – plucking the string outward with the index finger of right hand.
Tiao (Chinese: 挑, symbol: ) – plucking the string inward with the thumb of right hand.
Gun (Chinese: 滾, symbol: ) – tremolo produced by continuous and rapid alternation between tan and tiao.
Lun (Chinese: 輪) – tremolo produced by continuous outward plucking of all fingers on right hand, in the order of
index finger, middle finger, ring finger, pinky, and thumb.
ban lun (Chinese: 半輪, symbol: ) – one cycle of lun.
chang lun (Chinese: 長輪, symbol: ) – multiple cycles of lun.
Xu an (Chinese: 虛按, symbol: or ) – the non-solid pressing of string, accompanied by regular string plucking
techniques on the right hand.
Yin (Chinese: 吟, symbol: ) – raise the tension of the string by over-pressing the string downward on a fret.
Tui (Chinese: 推, symbol: ) – any finger on the left hand presses down the string on a fret, then pushes the
string inward along the same fret to raise the original pitch after the initial plucking of the pitch.
La (Chinese: 拉, symbol: ) – any finger on the left hand presses down the string on a fret, then pulls the
string outward along the same fret to raise the original pitch after the initial plucking of the pitch.
Zhuang (Chinese: 撞, symbol: ) – raise a pitch by using either tui or la before plucking the string, then pluck
the string and release the tension of the string back to normal to get the lower note.
Chuo (Chinese: 綽, symbol: ) – the process of a left hand finger sliding vertically from the original pitch to a
higher pitch on the string after the initial pluck by the right hand.
Shuang tan (Chinese: 雙彈, symbol: ) – plucking 2 adjacent strings simultaneously using the index finger on
right hand.
Fen (Chinese: 分, symbol: ) – plucking any 2 strings, usually non-adjacent, simultaneously with both the thumb
and the index finger on right hand.
Xiao sao (Chinese: 小掃, symbol: ) – strumming three strings outward from right to left simultaneously as one,
fast gesture.
Xiao fu (Chinese: 小拂, symbol: ) - strumming three strings inward from left to right simultaneously as one,
fast gesture.
Sao (Chinese: 掃, symbol: ) – strumming four strings outward from right to left simultaneously as one, fast
gesture with the index finger on the right hand.
Fu (Chinese: 拂, symbol: ) – strumming four strings inward from left to right simultaneously as one, fast
gesture with the thumb on the right hand.
Jiao xian (Chinese: 絞弦) – twisting two (symbol: ), three (symbol: ), or four (symbol: ) strings together by
pushing the outer string under the inner one(s) using the left hand finger while pulling the inner one(s) outward. Together with one of the right hand plucking techniques, it creates a rattling, metallic sound.
Tan mian ban (Chinese: 彈面板, symbol: ) – snap the right hand middle finger on the surface of the sound board
in order to create a loud, “pop” sound.
Zhai (Chinese: 摘, symbol: ) – A high-pitched, woodblock-like sound produced by plucking of the string near
the tailpiece with the index finger of the right hand while the thumb presses the string just above the index finger.
Flute 1
Flute 2
Oboe 1
Oboe 2
Clarinet in B 1
Clarinet in B 2
Bassoon 1
Bassoon 2
Horn in F 1, 2
Trumpet in C 1
Trumpet in C 2
Trombone 1,2
Tuba
Timpani
Percussion 1
Percussion 2
Violin I
Violin II
Viola
Cello
Double Bass
Solo Pipa
3
3
3
3
Sparkling
(Pipa tuning A#, D#, E, A)
1.
Sparkling
To piccolo
To English horn
3
3
3
3
3
2.
3 3 3
3
3
3 3 3
3
3
pizz.
pizz.
Three Portraits of PipaHong Hong Gianakon
Transposed Score
for pipa and orchestra I. Sparkling Crystal
1Copyright©2018 by Hong Hong Gianakon
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
8
3
3
3
3
8
1.
1.
3 3 3
3 3
3 3 3
3
3
3
3 3 3
Picc.
English horn
Marimba (hard mallets)
3
3
3
3
arco
arco
2
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
15
15
Slow
Slow
Vivace
Vivace
Suspended cymbals(soft mallets)
non-div.
pizz.
3
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
21
21
Tempo free
rit.
rit.
accel.
accel.
a tempo
a tempo
4
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
28
28
Pluck near the tailpiece
Normal
medium mallets
5
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
33
33
non-div.
12th fret
pizz.
19th fret
pizz.
pizz.
div.
div.
div.
28th fret
6
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
37
37
Random pitches within the approximate register notated
I
unis. arco
arco
arco
unis.
sul E
sul E
L.H. randomly presses the stringbetween the 30th fret and the tailpiece
unis.
Suspended cymbals(soft mallets)
7
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
41
41
To tambourine
3
3
3
3
pluck near the tailpiece
III II IIV
pizz.
pizz.div.
div.
Marimba (hard mallets)
8
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
46
3
3
3
46
3
9
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
51
3 3 3 3
3 3 3 3
3 3 3 3
3 3 3 3
51
3 3 3 3
3 3 3 3
3 3 3 3
arco
arco
unis.
unis.
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
10
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
55
55
I IVIII II I
div.
div.
I II III IV
I IV III II I I II III IV
I IV III II I
11
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
59
59
I II III IV
IV III II I
12
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
63
63
unis.
unis.
pizz.
Tambourine
2.
To bass clarinet
To contrabassoon
13
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
68
3
3
68
3
3
3 3
3
3
3
14
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
73
73
3
3 3
3
III II I
3
II III
IV
B.Cl.
C.Bn.
To suspended cymbals
15
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
78
78
I & II
III
1.
16
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
82
82
17
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
86
86
arco
II & III
IV
Suspended cymbals (soft mallets)
I
18
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
90
3 3 3 3
3 3 3 3
90
3 3 3 3
3 3 3 3
3 3 3 3
To wood blocks
Marimba (hard mallets)
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
Wood blocks(hard mallets)
19
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
96
96
To tambourine
IV III II I I II III IV simile
Random pitches within the approximate register notated
To clarinet
To bassoon
20
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
100
100
I & II
21
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
105
105
6 6
6
6 6 6
6 6 6
6 6 66
22
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
109
109
66 6 6
dim.
dim.
6 6 6 6 6
6
6 66
23
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
112
112
pizz.
Tambourine
2.
3
3
3
3
33
3
3
24
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
118
3
118
3
33
3
33
clarinet
bassoon
To suspended cymbals
pizz.
pizz.
Marimba (hard mallets)
25
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
122
122
arco
a2
a2
arco
arco
simile
IV
II & III
3
3
26
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
126
126
3
3
3
3
27
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
129
3
3
129
28
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
133
133
I
29
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
137
137
cresc.
cresc.
30
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
141
141
Suspended cymbals(soft mallets)
Marimba (hard mallets)
Andante
Wide vib.
Andante dim.
3
31
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
147
147
3
rit.
rit.
a tempo
a tempo
3
6
32
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
153
153
3
I
IV
accel.
accel.
5
33
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
158
158
rit.
rit.
Slow
Slow
3
Marimba (hard mallets)
3
3
3
3
3
3
3
34
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
165
3
165
3
3
3
accel.
accel.
35
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
170
170
IV
III II I
Vivace
Vivace
19th fret
pizz.
pizz.
div.
div.
div.
36
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
175
175
28th fret
Random pitches within the approximate register notated
I
unis. arco
arco
37
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
178
178
arco
unis.
sul E
sul E
L.H. randomly presses the stringbetween the 30th fret and the tailpiece
unis.
Suspended cymbals(soft mallets)
To tambourine
3
3
3
3
pluck near the tailpiece
III II IIV
38
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
183
183
pizz.
pizz.div.
div.
Marimba (hard mallets)
3
3
3
3
39
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
188
188
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
arco
arco
unis.
unis.
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
40
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
193
3 3 3
3 3 3
3 3 3
3 3 3
193
3 3 3
3
3
div.
I IVIII II I
div.
I II III IV
I IV III II I I II III IV
41
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
197
197
I IV III II I
I II III IV
IV III II I
42
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
201
201
unis.
unis.
pizz.
Tambourine
2.
To bass clarinet
To contrabassoon
43
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
206
206
3
3
3
3
3 3
3
3
3
3
44
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
212
33
212
3
33
clarinet
bassoon
To suspended cymbals
pizz.
pizz.
Marimba (hard mallets)
arco
a2
a2
arco
arco
45
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
216
216
simile
IV
II & III
3
3
46
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
219
219
3
3
3
3
47
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
222
3
3
222
48
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
225
225
I
49
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
229
229
cresc.
cresc.
50
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
233
233
Wood blocks(hard mallets)
Suspended cymbals (soft mallets)
Slow
Slow dim.
3
51
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1,2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
237
237
33
Vivace
Vivace
52
Flute 1
Flute 2
Oboe 1
Oboe 2
Clarinet in B 1
Clarinet in B 2
Bassoon 1
Bassoon 2
Horn in F 1, 2
Trumpet in C 1
Trumpet in C 2
Trombone 1, 2
Tuba
Timpani
Percussion 1
Percussion 2
Violin I
Violin II
Viola
Cello
Double Bass
Pipa
Mysteriously
Mysteriously
To bass clarinet
To oboe
To piccolo
medium mallets
Contrabassoon
II. Continuous Stream
53
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
8
8
Bass clarinet
2.
2.
54
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
17
17
2.
1.
Oboe
a2
Picc.
55
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
24
24
3 3 3 3
3
56
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
32
32
sul G
sul G
57
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
37
37
1.
pizz.
2.
6
pizz.
pizz.
pizz.
pizz.
To clarinet
To bassoon
6
58
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
43
43
6
Elegant
Elegant
59
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
49
49
II
arco
arco
2.
arco
pizz.
pizz.
60
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
55
55
Bassoon
Clarinet
dim.
2.
6
arco
61
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
59
59
1.
pizz.
pizz.
3
3
3
3
3
3
arco
62
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
65
65
arco
To bass clarinet
To contrabassoon
6
6
63
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
71
71
Contrabassoon
Bass clarinet
arco
64
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
77
77
3
3
arco
arco
II
Calm
Calm
65
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
82
82
pizz.
pizz.
arco
pizz.
3
3
1.
66
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
87
87
pizz.
pizz.
arco
3
3
3
1.
arco
5
2.
67
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
93
93
3
3
3
arco
L.V.
Bass drum
tam-tam
1.
dim.
L.V.
2.
L.V.
L.V.
arco
pizz.
pizz.
pizz.
Anxious
Anxious
68
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
99
99
L.V.
arco
69
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
106
106
2.
1.
3 3 3 3
70
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
112
112
arco
arco
71
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
118
118
3
3
a2
72
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
124
124
Bass drum
tam-tam
L.V.
L.V.
L.V.
L.V.
II
poco più mosso
poco più mosso
73
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
131
131
Slower
rit.
Slower
3
IV
attacca
74
Flute 1
Flute 2
Oboe 1
Oboe 2
Clarinet in B 1
Clarinet in B 2
Bassoon 1
Bassoon 2
Horn in F 1, 2
Trumpet in C 1
Trumpet in C 2
Trombone 1, 2
Tuba
Timpani
Percussion 1
Percussion 2
Violin I
Violin II
Viola
Cello
Double Bass
Pipa
Vivace
Vivace
Marimba (hard mallets)
pizz.
medium mallets
To piccolo
Wood blocks
Bassoon
Clarinet
IV
pizz.
pizz.
arco
arco
III. Rattling Metal
75
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
5
5
IV
pizz.
Picc.
arco
Wood blocks(hard mallets)
Oboe
76
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
9
9
77
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
13
13
To vibraslap
arco
78
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
17
17
pizz.
Vibraslap
To small Chinese cymbals
To wood blocks
3
3
3
3
3
3
3
Wood blocks(hard mallets)
3 3
3 3
79
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
22
3
3
22
3
3
3
cresc.
Small Chinese cymbals
arco
80
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
26
26
3 3
3
3
3
3
3
3
3
3
3
81
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
30
3
3
30
3
3
3
3
cresc.
82
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
34
34
3 3
3
3
3
3
Recitation
Recitation
83
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
39
39
Vivace
Vivace
1.
1.
2.
84
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
45
45
Recitation
Recitation
3
L.V.
3 3
accel.
accel.
3 3 3 3 3 3 3 3
Vivace
Vivace
85
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
50
50
1.
1.
2.
2.
Recitation
Recitation
3
accel.
accel.
L.V.
86
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
55
55
rit.
rit.
3
a tempo
a tempo
Vivace
Vivace
87
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
60
60
cresc.
dim.
pizz.
88
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
64
3
3
3
3
64
cresc.
dim.
dim.
89
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
68
3
3
68
cresc.
dim.
90
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
73
73
91
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
79
79
92
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
86
86
pizz.
To marimba
arco
Marimba (hard mallets)
93
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
91
91
To vibraslap
arco
94
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
95
95
pizz.
Vibraslap
To small Chinese cymbals
To wood blocks
3
3
3
3
3
3
3
Wood blocks(hard mallets)
3 3
3 3
95
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
100
3
3
100
3
3
3
cresc.
Small Chinese cymbals
arco
96
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
104
104
3 3
3
3
3
3
3
3
3
3
3
97
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
108
3
3
108
3
3
3
3
3
3
3
3
3
3
3
98
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
114
114
Small Chinese cymbals
To marimba
99
Fl. 1
Fl. 2
Ob. 1
Ob. 2
B Cl. 1
B Cl. 2
Bsn. 1
Bsn. 2
Hn. 1, 2
C Tpt. 1
C Tpt. 2
Tbn. 1, 2
Tuba
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
D.B.
Pipa
118
118
III
Slow
Slow
Marimba(hard mallets)
100
101
VITA
Hong Hong (Hui) Gianakon was born on June 3, 1987, in Hong Kong. She started her piano lessons
with her mother, Mrs. Fung Mui Hui Hong, when she was 3. She also learned to play the violin and pipa at a
very young age. In 2004-2012, she worked part-time as an instructor in music theory, violin, and pipa at C.J.
Music & Arts Institute, Hong Kong. She earned her Bachelor of Arts in Music with first class honor from
Hong Kong Baptist University in 2010, majoring in traditional Chinese music study. Upon graduation, she
worked full-time as a project assistant for both the Department of Music and the Communication and Public
Relations Office at Hong Kong Baptist University for one year.
In 2012, Ms. Gianakon moved to the United States and began her master’s degree in Music
Composition at Northern Illinois University (NIU) in DeKalb, Illinois. During her two years at NIU, she
worked part-time as a graduate assistant in music theory and aural skills. She also worked part-time as a
violinist in Kishwaukee Symphony Orchestra. She served as a violinist and pipa player in the worship team
at Evangelical Free Church of Sycamore-DeKalb, Illinois.
Ms. Gianakon moved to Kansas City, Missouri in 2014, began working toward her Doctor of Musical
Arts degree in Music Composition and Master of Music degree in Music Theory at the University of
Missouri-Kansas City (UMKC). Since she moved to the U.S. in 2012, Ms. Gianakon has been actively
introducing traditional Chinese music and culture to Americans. She was one of the presenters at
TEDxWyandotte in 2015. In 2015-2016, she served as an International Student Ambassador at UMKC. In
March 2018, she was invited to host an educational seminar on ancient Chinese music at the Nelson-Atkins
Museum of Art in Kansas City, Missouri. As a composer and pipa performer, Ms. Gianakon has been
actively collaborating with professional music organizations including the Kansas City Electronic Music and
Arts Alliance, Electronic Music Midwest Festival, newEar Contemporary Chamber Ensemble, and Society
for Electro-Acoustic Music in the United States.
Upon completion of her degree requirements, Ms. Gianakon plans to pursue teaching positions in the
fields of music theory, composition, and world music at the college level.
