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Title
Volume I Taking the Red Pill: An Analysis of Don Davis' Score for The Matrix Volume II
Dracula: A Ballet in Two Acts
Permalink
https://escholarship.org/uc/item/3q27h9cr
Author
Heckman, Christopher James
Publication Date
2018
Supplemental Material
https://escholarship.org/uc/item/3q27h9cr#supplemental
Peer reviewed|Thesis/dissertation
Los Angeles
Volume I
Volume II
Dracula:
in Music
by
2018
© Copyright by
2018
ABSTRACT OF THE DISSERTATION
Volume I
Volume II
Dracula:
by
Many of today’s film composers are either oblivious or indifferent to the styles and
techniques of concert music throughout much of the twentieth century. Composers throughout the
Romantic era aspired to express feelings and emotions in music, giving rise to program music and
storytelling through music, all of which translated directly into the early film scores of the 1930s.
Throughout the twentieth century, music in the concert world was moving in a vastly different
direction, away from the expression of emotion or storytelling. But those film composers who
ii
came from the concert world recognized that all music, even the most experimental and dissonant,
can have emotional effect, particularly when paired with visual imagery. Don Davis’ score for The
Matrix is, to date, the ultimate example of this - a mixture of multiple twentieth-century styles and
element that Davis uses in his score, and to briefly describe the origins of these elements including
how Davis utilizes them to accompany the film. This analysis will present an in-depth explanation
of Davis’ use of leitmotifs, harmony, tonal sets, bitonality, rhythm, orchestration, unusual
percussion, extended techniques for piano, electronic instrumentation including synthesizers and
samplers, musique concrète, “fantasy” exoticism, and textures that utilize minimalism, aleatory,
and twelve-tone technique. I hope that film composers who read this dissertation monograph will
be inspired by Davis’ example to investigate concert music of the twentieth century and beyond,
so that they too may find creative ways to utilize new styles and techniques to convey feelings and
tell stories in their own film scores, further bridging the gap between film music and concert music.
Volume II features an original ballet score somewhat in the spirit of Davis’ ideas in The
Matrix, often using techniques from twentieth-century concert music. Supplementary materials
include a video performance of the ballet, performed by the Winston Salem Festival Ballet in
iii
The dissertation of Christopher James Heckman is approved.
Travis J Cross
Ali J. Racy
2018
iv
TABLE OF CONTENTS
Committee Page iv
List of Examples xi
Vita xxi
Volume I
Taking the Red Pill: A Deconstructive Analysis of Don Davis’ Score for The Matrix 1
Introduction 1
1-1. Clusters 8
1-2. Pyramids 13
2. Minimalism 21
3. Reflection 41
v
3-1. Reflection Theme 42
3-2. Canon 43
3-3. Numerology 44
3-4. Augmentation 47
3-7. Polyrhythm 53
4. Bitonality 57
5. Harmonic Devices 64
6-2. Choir 71
6-4. D Minor 74
vi
6-5. Death Chimes 75
7. Aleatory 76
8. Twelve-tone Technique 81
9. “Fantasy” Exoticism 89
9-2. Hiridaiko 91
9-3. Da-daiko 92
9-4. Odaiko 92
vii
10-1. Pile Drivers 100
11-1. Tremolo on Lowest Strings with Soft Felt Vibraphone Mallets 112
viii
12-1. Rusty Spoke 120
Conclusion 124
Bibliography 126
Volume II
Contents 130
Instrumentation 131
Act 1
ix
1m5b “Lucy Pt.2” 270
Act 2
x
LIST OF EXAMPLES
Example 1-1a. Human cluster in 1m1 “Logos / Main Titles,” m.13-15, 0:00:26-0:00:30. 9
1:57:43-1:57:49. 11
Example 1-1g. Machine cluster in 7m3 “He’s The One Alright,” m.1-2, 2:02:42-2:02:45. 12
Example 1-2b. Human pyramid in 3m10 “Switch Works Her Boa,” m.20-24,
0:54:37-0:54:42. 14
Example 1-2c. Human pyramid in 7m3 “He’s The One Alright” m.123-127,
2:06:02-2:06:10. 14
Example 1-2e. Machine pyramid in 5m5 “Exit Mr. Hat,” m.12-18, 1:23:57-1:24:04. 16
Example 1-2g. Climbing machine pyramid in 3m3 “Nascent Nauseous Neo,” m.9-13,
0:40:57-0:41:08. 18
xi
Example 1-2h. Climbing machine pyramid in 5m4 “Threat Mix,” m.49-56,
1:19:03-1:19:16. 19
2:01:13-2:01:20. 20
Example 1-3a. Agent Smith’s arrival theme in 1m2 “Trinity Infinity,” m.53-54,
0:02:14-0:02:18. 20
Example 2-1. The primary Matrix minimalist texture in 1m1 “Logos / Main Titles,” m.1,
0:00:01-0:00:04. 24
Example 2-2a. Trace program in 1m1 “Logos / Main Titles,” m.8-9, 0:00:16-0:00:19. 26
Example 2-2c. Bass Clarinet 3 converted to numbers in 1m1 “Logos / Main Titles,”
m.8-9, 0:00:16-0:00:19. 27
1:50:47-1:50:50. 29
Example 2-3c: Bug dying in 2m3 “Bait and Switch,” m.50-52, 0:24:55-0:25:02. 32
Example 2-3d. Sentinels in 4m3 “Switch Woks Her Boar,” m.15, 0:59:20-0:59:21. 33
Example 2-4a. Human scalar ostinato (in four) in 6m8 “Fast Learning,” m.14-15,
1:47:33-1:47:36. 34
xii
Example 2-4b. Machine ostinato in 6m1 “Mix the Art,” m.5, 1:31:32-1:31:34. 35
Example 2-5a. Human minimalist pyramid in 7m1 “That’s Gotta Hurt,” m.147-150,
1:56:44-1:56:50. 37
Example 2-5b. Machine minimalist pyramid in 7m1 “That’s Gotta Hurt,” m.111-114,
1:55:51-1:55:57. 38
Example 2-5c. Machine gun pyramid in 5m4 “Threat Mix,” m.170-171, 1:22:24-1:22:27. 39
Example 2-6a. Rising machine gun clusters in 3m8 “Switch or Break Show,” m.34-37,
0:53:08-0:53:12. 40
Example 3-1. Reflection theme in 1m7 “Neo on the Edge,” m.77-79, 0:15:50-0:15:56. 42
Example 3-5c. Tragic horns in 7m3 “He’s The One Alright,” m.18-30, 2:03:11-2:03:33. 51
Example 3-6. Loading the Construct in 3m9 “Shake, Borrow, Switch,” m. 6-8,
0:53:38-0:53:42. 52
xiii
Example 3-7d. Polyrhythm in 2m4 “Switched for Life,” m.80-81, 0:32:04-0:32:07. 56
Example 3-8. The One in 7m3 “He’s The One Alright,” m.214-215, 2:15:19-2:15:23. 57
Example 4-1. “Bullet time” polychord swells in 1m1 “Logos / Main Titles” m.2-6,
0:00:05-0:00:14. 58
Example 4-2a. Minimalist polychord swells in 4m3 “Switch Woks Her Boar,” m.1-3,
0:58:57-0:59:02. 61
Example 4-2b. Minimalist polychord swells in 7m1 “That’s Gotta Hurt,” m.213-216,
1:58:11-1:58:15. 61
Example 4-3a. Accelerating polychords in 7m3 “He’s The One Alright,” m.134-140,
2:06:21-2:06:32. 63
0:14:05-0:14:11. 63
Example 5-2. Dissonant pedal notes in 1m7 “Neo on the Edge,” m.41-47,
0:14:42-0:14:56. 65
Example 5-3. Common tone chord changes in 7m1 “That’s Gotta Hurt,” m.10-23,
1:53:21-1:53:42. 66
Example 5-5. Dorian mode in 3m8 “Switch or Break Show,” m.8-11, 0:52:26-0:52:33. 68
Example 6-1a. Trinity’s love theme in 2m3 “Bait and Switch,” m.21-26,
0:23:35-0:23:53. 69
0:55:44-0:55:56. 69
xiv
Example 6-1c. Trinity’s love theme in 7m3 “He’s The One Alright,” m.61-66,
2:04:24-2:04:34. 70
Example 6-1d. Trinity’s love theme in 7m3 “He’s The One Alright” m.172-178,
2:07:26-2:07:38. 71
Example 6-2b. Choir in 7m3 “He’s the One Alright,” m.134-140, 2:06:21-2:06:32. 72
Example 6-3b. Death theme in 5m5 “Exit, Mr. Hat,” m.104-107, 1:26:22-1:26:29. 74
Example 6-5. Death chimes in 5m6 “On Your Knees, Switch,” m.42, 1:29:05-1:29:09. 76
Example 7-1. Long slow gliss in 6m3 “The Cure,” m.3-12, 1:38:15-1:38:32. 79
Example 7-2. Gliss up to highest pitch possible in 2m2 “Unable to Speak,” m.10,
0:21:25-0:21:31. 79
0:39:18-0:39:21. 80
Example 7-4. Tremolo between bridge and tailpiece in 5m6 “On Your Knees, Switch,”
m.5-8, 1:26:54-1:27:05. 80
0:05:43-0:05:49. 85
xv
0:34:10-0:34:14. 87
Example 9-1. Taiko & Daiko in 3m8 “Switch or Break Show,” m.4-5, 0:52:21-0:52:24. 91
Example 9-8. Large Tam Tam in 3m6 “Domo Showdown,” m.1, 0:49:10-0:49:12. 95
0:49:31-0:49:36. 96
0:49:29-0:49:36. 97
Example 9-13. Korean Squeeze Drum in 3m8 “Switch or Break Show,” m.1-2,
0:52:15-0:52:19. 98
Example 10-1. Pile drivers in 7m1 “That’s Gotta Hurt,” m.65-67, 1:54:44-1:54:50. 101
Example 10-2. Waterphone in 1m1 “Logos / Main Titles,” m.8-9, 0:00:16-0:00:22. 102
Example 10-3. Anvil in 3m5 “Bow Whisk Orchestra,” m.26-29, 0:48:35-0:48:42. 103
Example 10-4. Tam Tam scrape in 2m1 “Through the Surveillance Monitor,” m.4,
0:16:56-0:16:59. 104
xvi
0:09:31-0:09:34. 105
0:48:21-0:48:28. 108
Example 10-9. Styrofoam Cup in 7m3 “He’s The One Alright,” m.154-155,
2:06:54-2:06:57. 108
Example 10-10. Nipple Gong in 4m7 “See Who?,” m.4, 1:07:00-1:07:02. 109
Example 10-11a. Drum Set and Auxiliary Percussion in 4m8a “Switch Out” m.17-19,
1:08:17-1:08:24. 110
Example 10-11b. Drum Set and Auxiliary Percussion in 5m4 “Threat Mix” m.25-27,
1:18:24-1:18:29. 111
Example 10-12. Temple bell on timpani head in 4m10 “Boon Spoy,” m.23-24,
1:12:16-1:12:20. 112
0:01:35-0:01:38. 113
Example 11-2. Elbow clusters in 2m3 “Bait and Switch,” m.47, 0:24:44-0:24:47. 113
Example 11-3. Scrape along low strings with key in 1m2 “Trinity Infinity,” m.53,
0:02:15-0:02:17. 114
Example 11-4. Prepared Piano in 2m4 “Switched for Life,” m.6-7, 0:29:04-0:29:10. 115
Example 11-5. Bow on string with nylon fishing line in 3m1 “Switches Brew,” m.30-31,
0:36:39-0:36:46. 116
Example 11-6. Rub low strings with ben-wa balls in 6m1 “Mix the Art,” m.23,
xvii
1:32:29-1:32:33. 117
Example 11-7. Rub strings with superball in 6m4 “It’s the Smell,” m.24-25,
1:40:15-1:40:19. 117
Example 11-8. Mute string with palm of hand in 5m4 “Threat Mix,” m.119-120,
1:20:58-1:21:01. 118
Example 11-9. Scrape strings with Coke bottle in 7m2 “Surprise!,” m.158-159,
2:02:05-2:02:07. 118
xviii
LIST OF TABLES
Table 2a. Use of the primary Matrix minimalist texture in The Matrix. 25
Table 2b. Trace program as numbers in 1m1 “Logos / Main Titles, m.8-15,
0:00:16-0:00:30. 27
Table 2c. Countdown numbers within trace program in 1m1 “Logos / Main Titles,
m.8-15, 0:00:16-0:00:30. 28
xix
ACKNOWLEDGMENTS
My sincere thanks and gratitude to all my music composition professors at The University
of California, Los Angeles, including Paul Chihara, Ian Krouse, David Lefkowitz, Roger
Bourland, and Mark Carlson. Special thanks also to Travis Cross and A.J. Racy for their
Thank you to my colleague at The University of North Carolina School of the Arts, Bruno
Louchouarn, and to all my students who have helped me to workshop my ideas which have
Special thanks to Tim Rodier of Omni Music Publishing for his expertise, feedback, and
A very special thank you to Gary Taylor, Founder and Artistic Director of the Winston
Salem Festival Ballet, who commissioned my score for the original ballet Dracula, and for his
And lastly, thank you to my mother and father, Elsa Heckman and Ronald Heckman, for
xx
VITA
xxi
VOLUME I
Introduction
Don Davis, born February 4th, 1957, is an American composer and orchestrator, most known for
his original scores to The Matrix trilogy. Davis holds a Bachelor of Arts degree in Music Theory
from The University of California, Los Angeles, class of 1979. He studied composition with Henri
Lazarof and orchestration with Albert Harris. Davis began his career as an orchestrator on the
television series The Incredible Hulk (1978-1982). A bit later, he earned two Primetime Emmy
awards for his work as a composer on the television series Beauty and the Beast (1987-1990).
Davis has also worked since the mid-‘90s as an orchestrator to major film composers such as
Randy Newman and James Horner. He has also achieved success as a concert composer, having
When hired to compose the score for The Matrix, Davis already had a background as a
concert composer. The skillset that he brought to The Matrix score that was most unlike many
other film composers at the time was his ability to seamlessly integrate twentieth-century
compositional styles to create a modern orchestral sound that was (and still is) unique to film
music. He was asked by the Wachowski brothers to score this film because of their previous
working relationship on the film Bound (1996). In The Matrix DVD Composer Commentary,
Davis explains that he was first presented with an opportunity to demo for Bound because the
1
Lerner.
1
editor of the film (as well as each of The Matrix films), Zach Staenberg, was a friend of his. Davis
was impressed with the screenplay for Bound, enough so that he knew it was a picture he had to
score. He was even more impressed the first time he read the screenplay for The Matrix.2
I first became aware of The Matrix project about a good two and a half years before it was
released. Shortly after we finished Bound, the Wachowski brothers showed me the script
of The Matrix, which incidentally had been written before they wrote Bound. And they had
been workshopping these ideas for a good six years now, I think. But after I read the script,
I was immediately struck by the incredible layers of structure that they had put into this
unusual idea, and I was also excited about the way that they had interwoven these concepts
of reality with what I could clearly see would be very fun, thrill park ride sorts of scenes
with fights and chases and things like that. But the brothers showed me some of their
they were planning to do with some of their camera work and the special effects things
they were working on. They were really very excited about what they were going to do and
got me really excited about it too. So, actually I started thinking about the musical approach
right from that point, and I was thinking mostly about what interesting things were
Davis only had from early December 1998 to early January 1999 to create synth demos of
his score for The Matrix, which were assembled as part of the temp (temporary) mix for early test
screenings. He then spent about another month orchestrating his score before recording with a
ninety-piece orchestra, recorded by Armin Steiner at the Alfred Newman Scoring Stage on the
2
The Matrix, Composer Commentary, 0:08:08-0:08:36.
3
The Matrix, Composer Commentary, 1:05:24-1:06:53.
4
Don Davis, Liner Notes.
2
In preparing the score for The Matrix, Davis made a number of conscious decisions about
his approach. Davis blends traditional compositional devices with experimental compositional
devices throughout his score, and one of the more traditional decisions he made was to utilize
leitmotifs. Of course, leitmotifs were a concept mastered in the nineteenth century by Richard
Wagner as a method of assigning themes to characters in his extensive operas. This serves as an
associational memory device for any audience member, to instantly recall feelings and emotions
associated with characters when their theme is heard. When the first film scores were written in
the early 1930s, Max Steiner took this idea and applied it to film. He assigned a three-note leitmotif
to Kong in the 1933 movie King Kong. Davis understood the importance of this idea of character
memory association, but he does not use leitmotifs in a traditional Wagnerian way. That is to say,
he does not use melody as his primary leitmotif texture. Instead, he plays with an idea that any
particular texture can become a leitmotif, when it is applied with consistency to characters, places,
objects, or thematic concepts within the narrative story of a film. Davis employs in his score for
The Matrix a concept that any compositional device can become a leitmotif other than just melody
- including harmony, rhythm, orchestration, and even textures utilizing twentieth century styles
such as minimalism. Davis says that he does not really use any themes in the film, but rather
thematic textural ideas. These musical textures, when layered on top of each other, begin to
symbolize a multitude of realities that are going on from the onset of the film, of which the
audience is unaware, until the character Neo becomes aware. Davis felt that this concept would
communicate to the audience that there was much more going on than was shown to them visually.5
In the Varèse Sarabande Deluxe Edition soundtrack liner notes, Davis comments,
5
The Matrix, Composer Commentary, 0:07:07-0:08:05.
3
There are some things happening in concert music that I hadn’t heard explored in film.
minimalism and total atonality… There are certain minimalistic techniques which I thought
would symbolically portray the varying levels of reality which the Wachowskis were trying
to present. They were crossing genres a lot and that required kind of a ‘shape-shifter’ aspect
to the music. As a composer, I was drawing on a lot of different textures and languages
musically, which always brought me back to the postmodernists and the barriers that they’d
Davis answers the question - how can movements and styles from the world of concert
music crossover into film? Many of the compositional techniques used in The Matrix are at least
in part derived from concert music, the compositional origins of which were generally derived
purely for the intellectual advancement of musical art. But because every musical sound in a film
score is inescapably associated with story and visual imagery, Davis finds emotional purpose and
associative meaning in each of the techniques’ respective uses throughout the film. In Christian
DesJardins’ book, Inside Film Music, Davis discusses this idea in his interview with DesJardin,
I had a number of conversations with film editor Zach Staenberg before we spotted8 the
film. We talked about… the possibility of utilizing what some might call the postmodern9
style that is heard in the music of Philip Glass, John Adams, and Steve Reich, among a
number of other composers… Actually, I had become interested in exploring that kind of
6
Davis’ use of the term “postmodern” is vague at best, as he does not define this term specifically as it relates to his
score for The Matrix. It seems that Davis means “minimalism” - that is, a re-embrace of diatonicism or quasi-
tonality within an era of modernism, but not quite “neo-romanticism.”
7
Don Davis, Liner notes.
8
Spotting refers to an initial meeting with a film’s director, composer, editor, music editor, and possibly producer(s)
where each cue in the score is to be determined and discussed, including the in and out timings and purpose to
picture.
9
Again, though Davis uses the term “postmodern,” he is specifically referring to minimalism.
4
approach in film scores quite a while before I had the opportunity to work on The Matrix,
but that movie was the first film to come along in which I felt that the approach could work
way. So, I worked on developing an approach that incorporated the sound world of that
style, but all the time still enabled the music to function dramatically.10
The Matrix serves as an important example for how the study of concert music can provide
a film composer with an extensive array of tools with which to score a film, using a cultured,
This dissertation monograph will catalogue and analyze every compositional element that
Davis uses throughout his score for The Matrix, including brief descriptions of the origins of these
elements, and how Davis uses them for dramatic purposes. The first section will introduce Davis’
harmonic design for both humans and machines, including various examples of how tension is
created using clusters and pyramids. The second section will look at how Davis uses minimalism
to represent the Matrix itself, as well as to create suspense during action scenes. Davis was heavily
inspired by reflective imagery in The Matrix, and so section three will break down each way that
he musically evokes the concept of reflection. Section four will explain Davis’ use of bitonality to
represent the conflict between good and evil, which is possibly the most original and identifiable
musical sound of the film. Section five will lay out several of Davis’ harmonic tendencies
throughout The Matrix, including a modal alteration to represent the concept of awakening. The
themes of love, birth, rebirth, and death are all important to Davis’ score, and so section six will
explore the various themes and orchestrations associated with these themes. Section seven will
describe Davis’ use of aleatory to represent horror. Davis also uses twelve-tone technique for
10
DesJardins, pg.66.
5
moments of chaos and confusion, to be explored in section eight. Section nine will introduce the
concept of “fantasy” exoticism, breaking down all of the exotic percussion used throughout the
score, and explaining how Davis suggests an unreal environment using nontraditional
combinations of world instruments. Section ten will list and explain Davis’ use of various unusual
percussion instruments, with explanations as to their function. Davis also uses multiple extended
techniques for piano, which will be broken down in section eleven. Finally, in section twelve, the
twentieth-century music is unprecedented, not only for a film score, but for a concert work as well.
But because he has specific emotional intention for each of these compositional ideas, they each
have specific purposes that add up to a much larger whole. This monograph endeavors to unravel
the complexity of this score to fully understand its function within The Matrix film, and how the
The first and most important thematic idea to the structure of Davis’ score to The Matrix is tonal
in nature. The Matrix is most plainly described as a story about humans vs. machines. Humans are
the heroes of the story (with one exception - Cypher), and machines are the villains (with a few
exceptions - The Oracle, machines controlled by humans, such as Morpheus’ ship “The
Nebuchadnezzar,” and machines directly related to humans, such as the Matrix itself). Davis
carefully and consistently uses two distinctive tonal sets when composing music for each side, thus
in a sense creating contrasting harmonic leitmotifs for both humans and machines, respectively.
6
For humans, Davis uses seven-note scales - total diatonicism. Typically, he uses the natural
minor scale, or aeolian mode, however in certain places he also uses the major scale and Dorian
mode. In set theory, these can collectively be represented as [013568t].11 It is interesting to note
that in set theory, each of these scales and modes belong to the same set, as they each contain six
perfect fifth intervals when arranged according to the circle of fifths. So, Davis’ use of the various
transformations of the seven-note scale can essentially be grouped into one harmonic function -
the representation of humans, although some scales also have individual thematic meaning as well,
Throughout The Matrix, Davis fragments these seven notes into various combinations of
clusters, most commonly using the first four, five and six notes of the scale. Davis composes
variations utilizing this tonal leitmotif in several ways - including melodies, running scales,
arpeggios and clusters. Davis has a specific function in mind for each of the variations, the minor
or Aeolian tends to represent suffering or pain, Dorian for awakening or new understanding, and
For machines, Davis uses twelve-note scales - total chromaticism. Most commonly, he uses
consecutive chromatic notes, usually in groups of three, classified in set theory as [012].
[012] [0123456] [0123456789te]
n #w
& n#www nnn###w
ww
w ww
w nnnn #### w
w
ww
ww
w ww
w
w
Example 1b. Machine clusters in groups of three, seven, and twelve.
11
I have chosen to abbreviate the numbers ten and eleven as “t” and “e” when classifying sets. It is also possible to
use “A” and “B” for ten and eleven, for example [013568A] or [0123456789AB].
7
Chromaticism has been used to represent villains in films since the very first entirely
original film score, Max Steiner’s King Kong (1933). In this film, Kong’s leitmotif is three
consecutive descending chromatic notes, coincidentally similar to that of machines in The Matrix.
advanced), it is also emotionally appropriate, in that dense chromatic harmonies tend to be less
familiar to the untrained ear of the average moviegoer, and therefore can be perceived as inhuman
1-1. Clusters
Of all the compositional techniques used by Davis in The Matrix score, tonal clusters
(either representing humans or machines), make the most frequent appearances. These clusters
will often crescendo from practical silence to extreme loudness at important events in the film,
such as actions, cuts in the film, and changes of scene. This provides a very dynamic and powerful
feel to the edits of the film, providing a great deal of intensity to a viewing audience. The first
example can be heard in 1m112 “Logos / Main Titles,” which features a full human cluster in close
harmony (stacked as a Lydian scale), that crescendos through a completely black screen directly
into the first appearance of what would come to be known as “Matrix code,” which then translates
into the film’s primary title card. In example 1-1a, Davis begins a four-note cluster in the
trombones, and then adds to that cluster three extra notes in the horns to complete a seven-note
diatonic cluster.
12
“1m1” is derived from a numbering system that film composers use to approximate where a cue falls within a feature
film. The first number refers to the film reel, which usually changes every twenty minutes. The letter “m” is a
designation simply for music, and the second number is sequential from cue to cue, showing how many cues fall
within a reel. Therefore, 1m1 is the first cue of the first reel, likely falling within the early part of the first twenty
minutes. 7m3 is the third cue of the seventh reel, likely falling between two hours and two hours and twenty minutes
into the film.
8
13 q = 132 14
[024] 15
Total: [013568t]
Horn 1-6
4
&4 ∑ Ó Œ 3
œœœ
4 ˙˙˙ ™™
[0246] ppp molto
Trombone 1-4
?4 Ó Œ # œœœœ ww
ww 3 ˙˙˙˙ ™™™
4 4
ppp molto
Example 1-1a. Human cluster in 1m1 “Logos / Main Titles,” m.13-15, 0:00:26-0:00:30.
Another example from 3m1 “Switches Brew” shows a clearly heard five-note diatonic
cluster scoring a point-of-view shot of Neo opening his eyes for the first time after having been
disconnected from the Matrix. It is common for Davis to use the first four or five notes of the
human diatonic collection, not only for clusters but also for various minimal textures, to be
explored shortly.
q = 69
White
con sord., senza vib. [02357]
7 ≤ 8
4 ww
bb ww
w ww
ww
w
String
Reduction &4
ppp pp
When humans are at their very strongest and appear to have the upper hand over machines
either in chases or fights, Davis will build larger clusters, including more of the tones available
within the human set. The following excerpt from 6m8 “Fast Learning” demonstrates just that.
Example 1-1c occurs just as Trinity and Neo use a helicopter with a huge machine gun to demolish
the room where Agents are holding Morpheus captive, allowing him to escape.
9
q = 139
Helicopter 21 22 23 [013568t]
”
20 w“w
w ww
w ww
w œœœœ
4 # www ww
w ww
w œœ ‰ Œ Ó
&4 J
4 #www
w
w ww
ww
w ww
ww
w œœœœœ
Orchestral
Reduction & 4 # ww
ww ww
ww ww
ww œœœœ ‰ Œ Ó
J
? 4 ww w ww
w ww
w œœœ
{ 4 ww w
w
w
w
œ ‰ Œ
œJ
Ó
ppp cresc. poco a poco
fff
Davis uses the same concepts of clusters for villains of the film as well. Throughout The
Matrix, even from the very opening scene, police officers are considered among the villains of the
film. The justification for this does not come into focus until about midway through the story,
when Morpheus describes that anyone that is a part of the Matrix system should be treated as an
enemy. So, much of the opening scene between Trinity and a number of police officers is scored
by Davis using machine clusters. This particular early cluster crescendo in example 1-1d scores
Trinity as she appears to surrender to the police, just before hitting a quick cut to the hotel exterior.
q = 131 46
q = 129
45 [012] 47
Hotel Exterior
˙ œœœ ‰ Œ
Trumpet 1-3
4
&4 ∑ 3
4 Œ ## ˙˙ 4
4 J Ó
ppp molto fff
[012] Total: [012345]
Trombone 1-3 ?4 Ó bb ˙˙˙ 3 ˙˙˙ ™™™ 4 œœœ ‰ Œ Ó
Viola 4 4 4 J
ppp molto fff
The character Cypher betrays humans and makes a deal with Agent Smith to participate in
a plan to turn over Morpheus to the machines. From that point, Davis scores scenes with Cypher
using machine clusters, including example 1-1e from 5m4 “Threat Mix,” in which Neo notices
10
Cypher smiling at him unusually. The use of a five-note [01234] cluster in the strings at this
moment adds a creepiness to Cypher’s smile, reminding the audience that he is not to be trusted,
and that bad things are about to happen. Davis indicates for the strings to play without vibrato,
which has a much colder sound and tends to indicate the lack of feeling as opposed to playing with
vibrato.
q = 141.43
Cypher
senza vib. 19 [01234]
18 “”
4 b ww
b w ww
w
String b ww
Reduction &4 ww
pp mf
Davis will also occasionally use smaller combinations of clusters to create entirely new
ones. Example 1-1f from 7m1 “That’s Gotta Hurt” is just as Agent Smith has thrown Neo onto a
set of subway tracks, where he approaches and grabs Neo in a choke hold, intending to immobilize
Neo in place until an oncoming subway train runs over the both of them.
189
q = 164 190 191 192
[012] Choke Hold
Tuben 1-6 4 j
Trumpet 1-3 &4 #bw
ww w
ww w
ww œœœ ‰ Œ Ó
Violin I
ppp molto fff
[012]
bb ww
w ww
w ww
w œœœ
Trombone 1-3 ?4 J ‰ Œ Ó
Viola 4
ppp molto fff
Example 1-1f. Machine clusters in 7m1 “That’s Gotta Hurt,” m.189-192, 1:57:43-1:57:49.
Just after Agent Smith appears to have finally killed Neo with multiple gunshots to the
midsection, Davis scores a complete [0123456789te] cluster utilizing a full twelve-tone set. This
11
not only signifies that Smith has complete power in this moment, but it also sounds the most
emotionally devastating.
q = 140.76
Hand Reveals Wound
1 senza vib. 2 [0123456789te]
4 bb w
w
w
w
w
w
&4 ww
w ww
w
String ppp cresc poco a poco
Reduction
b ww ww
? 4 b #w w
{ 4 www w
w
w
Example 1-1g. Machine cluster in 7m3 “He’s The One Alright,” m.1-2, 2:02:42-2:02:45.
It is interesting to note that Davis uses a similar complete [0123456789te] cluster in the
strings, also played without vibrato, when Neo is “born” at the start of 2m5 “Switched at Birth.”
This marks the first time that Neo is conscious in the “real world.” Thus, Davis is drawing parallels
between Neo’s “birth” and his “death” (both of which are symbolic rather than actual), perhaps
musically signifying that his “death” is also a re-birth of sorts, since it is Trinity’s love that will
q = 122
Fade In
1 senza vib. 2 [0123456789te]
w w
#
b# www ww
&4
4 ww
w ww
ww
String pppp cresc poco a poco
Reduction
? 4 # wbw ww
{ 4 www w
w
w
12
1-2. Pyramids
In his brief, excerpted analysis of The Matrix score, Tim Rodier describes pyramids as
“building chords by stacking sustained pitches… resulting in tense, sustained, dissonance that
creates a sense of prolonged danger.”13 Like clusters, pyramids are used very frequently throughout
The Matrix score, using both the human and machine tonal sets. All pyramids in The Matrix
eventually develop into clusters, simply building one note at a time, and similarly crescendo into
Example 1-2a from 1m2 “Trinity Infinity” occurs after Trinity has narrowly escaped
Agents in a rooftop chase. She gets up and spots the phone booth where she can transmit herself
out of the Matrix. Davis scores this heroically using a melodic figure in the brass, orchestrated in
such a way that each note sounds and then holds, making way for the complete pyramid structure
q = 135
167 Trinity Moves 168 169 170 Truck
4 >j > > j
&4 ∑ Œ ‰ j ˙˙ ˙˙˙ œœœ ‰ Œ Ó
œ> œ ™ #œœ
Brass f
> > fff [02358]
Reduction
? 4 >œ™ # œ>œ œ>œœ™™™ œœœœ
>w
w
w
w ww
w w œœœœ ‰ Œ Ó
{ 4 J J J
Example 1-2a. Human pyramid in 1m2 “Trinity Infinity,” m.167-170, 0:05:26-0:05:33.
Davis also uses a descending pyramid in 3m10 “Switch Works Her Boa;” as Neo attempts
for the first time to “free his mind” by leaping a great distance from one skyscraper to another, he
ultimately fails, and plummets to the street below. This falling action is accompanied by falling
brass, building and sustaining four notes of a human diatonic set over three octaves in a downward
direction. To use common film scoring terminology, this technique is called “Mickey-Mousing,”
13
Rodier, pg.iii.
13
in this case meaning that a descending line of music mimics a descending action in the film. The
sustaining notes crescendo to a peak just as Neo finally hits the ground.
20 q = 140 Falling 21
2
&4 Œ #œ œœ 4 œœœ #œœœ œœœ œœœ ˙˙˙
4 #œ œœ ˙˙
Orchestra f
Reduction œ # œœ
?2 ∑ 4 Ó œœ œœ
{ 4 4 #œ œœ
Example 1-2b. Human pyramid in 3m10 “Switch Works Her Boa,” m.20-24, 0:54:37-0:54:42.
At the end of The Matrix, when Neo finally comes to realize his potential as “The One,”
he easily defeats Agent Smith in one final confrontation, which ends in Neo diving into Smith and
destroying him from the inside out. Clearly at this moment, Neo has realized his full potential, and
so Davis uses a new heroic melodic pyramid which evolves into a cluster containing all seven
possible notes of the human diatonic set, representing the full culmination of his power.
q = 142 124
123 125
>Running 126
˙˙>˙˙˙ ™™™™
127
Neo Dives Into Smith
4 Neo Moves Forward > >
œ œ>œ œœœ œœ>œœ 3 4 œœœœœ
&4 ∑ Ó Œ œ œ œ œ œ 4 ˙™ 4 œJ ‰ Œ Ó
Orchestra ff > fff [013568t]
Reduction > > ˙˙˙ w ˙˙˙ ™™ œœœj
?4 Ó ˙ b˙˙ ww 3 4
w w w ˙ ™™ œ ‰ Œ Ó
{ 4 w
> w w
4 ˙ ™
4 œJ
Example 1-2c. Human pyramid in 7m3 “He’s The One Alright” m.123-127, 2:06:02-2:06:10.
Another of the most frequent techniques to appear in Davis’ score for The Matrix is the
machine pyramid. These pyramids are intended to build tension, signify danger, or foreshadow
14
that something bad is about to happen. Example 1-2d is from very early in the film, just as a group
of police officers kick down Trinity’s hotel room door to attempt to detain her. This machine
pyramid emphasizes the force with which the officers take to enter Trinity’s derelict hotel room.
q = 131
41 Officer Kicks Door 42 43 Cut Trinity
4 ∑ Œ >
&4 ‰ nœ ˙ j ‰ Œ Ó
™ w b˙™ œœ
Orchestra f
J J
Reduction > pp [0123]
>
bw ww j
œœ ‰ Œ
?4 œ Ó
{ 4 Ó Œ >
J
In 5m5 “Exit Mr. Hat,” the pyramid from m.12-18 is in an extremely high and shrill range,
played by oboes, trumpets, and strings. During this section, Morpheus attempts to hold down
Agent Smith, but is very quickly overpowered and thrown with incredible force off the ground and
into the wall. Davis builds two separate pyramids in different ranges that, when added together as
one collection, amount to a [01234567] set, representing Smith’s strength at this moment, but not
nearly as strong as he will be shown to be during his fight against Neo. Because of the high range,
it is clearly heard in the final mix above the various punching sound effects and dialogue.
15
q = 153
Morpheus Hits Smith 13 14
12 “>”
3 ˙™ ˙™ b ˙>˙ ™™
&4
Orchestra
ff > >
Reduction >œ ™ œœ ™™ œœ b ˙>˙˙ ˙˙˙™™™ bœ n œœ
3
15
:“;
{
&4
16
>
[012]
17 18 Morpheus Into Wall
j
˙˙ ™™
#˙ ˙˙˙ ™™ ˙˙˙ ™™ 4 œœœ
& 4 J ‰ Œ Ó
[01234]
>
j
˙˙˙˙˙™™™ ˙˙˙˙˙™™™ ˙˙˙˙˙™™™ œœœœœ Total: [01234567]
4 J ‰ Œ Ó
{ & 4
Example 1-2e. Machine pyramid in 5m5 “Exit Mr. Hat,” m.12-18, 1:23:57-1:24:04.
Another example from later in the film is a rhythmic variation of the machine pyramid, in
which each of the four trombones and cimbasso have a short triplet motif with each entrance of a
new pitch in the pyramid. During this section of 6m7 “Dodge This,” Trinity and Neo have jointly
taken out the various soldiers on the rooftop as they make their way toward saving Morpheus, but
an Agent has morphed from the helicopter pilot, and steps toward Neo preparing to confront him.
Davis continues his “Mickey-Mousing” ways by hitting each step that the Agent takes in the shot
with the first, second, and fourth triplet figure. As with the previous example, Davis once again
builds separate pyramids in different ranges that combine to form a continuous chromatic set. Once
the pyramid unfolds completely, Davis crescendos into the action of Neo firing his weapons at the
Agent.
16
q = 149
15 Jones Steps Down 16
&4
4 ∑ ∑
? 4 Ó™ > 3
4 Œ bÓœ œ œ ˙™ œ œ œ œ
Orchestra f
Reduction > 3 > 3
?4 Ó
4 nœ œ œ ˙™ bœ œ œ œ ww
f
> 3
17
&
{
?4
4 w
mf
∑
18
Ó
Neo Turns Head
#œ
#œ
œœ
œœ
19
w
3
4
œœ
œœ
[012]
˙˙˙
˙˙˙
20
2
4
˙Total:
˙˙ [012345678]
˙˙˙
[012345] mp fff
? Ó > 3 3 2
ww nœ œ œ œ w ww 4 ˙˙˙ ™™ 4 ˙˙˙
fff
? 3 2
ww ww 4 ˙˙™™ 4 ˙˙
fff
{ ?
w w
3
4 ˙™
Davis also makes use of a climbing pyramid, where, using fewer orchestral voices, he can
lift the lower sustaining pitches up to higher pitches, presenting the illusion of a continuous rise.
In 3m3 “Nascent Nauseous Neo,” Davis uses this climbing technique, creating new chromatic
collections of [0123] in various spots along the way up. This figure accompanies the image that
Morpheus shows Neo of “the world as it exists today” - a hellish wasteland of what appears to be
17
Bleak Landscape Begin to Pan Downwards
9
>j 10 > 11 > 12 13
œ œ œw ˙ ™ ˙˙™™
q = 140
œ œw b ˙ ™ w˙™
Flute 1-2
4
&4 Ó Œ ‰ J 3
Violin I
> > 4
ff [0123]
> > New [0123]
#œ ˙w ˙ w
w ˙œ ™ # ˙
Flute 3
Eb Clarinet 1 &4
4 ∑ Ó Œ 3
Violin II > 4 >
Example 1-2g. Climbing machine pyramid in 3m3 “Nascent Nauseous Neo,” m.9-13, 0:40:57-0:41:08.
Another example is in 5m4 “Threat Mix,” just after Neo has had a moment of déjà vu,
seeing a black cat walk by a corridor twice in exactly the same manner. Trinity explains that this
signifies a glitch, and that the Agents have likely changed something in the Matrix. Davis uses a
climbing pyramid technique in the low brass and strings to signify the weight of the danger that
the crew is about to find themselves in. After building to an initial [01234] in m.52, Davis twice
lifts the lowest sustained note to become the highest, creating two new [01234] clusters over three
bars.
18
q = 140
49 Trinity Turns Head 50 [0123] 51
?4 ∑ ∑ Ó Œ bœ
4 b˙ w >
> >
Orchestra ?4 Ó
Reduction 4 #w ˙ ww ww
>
?4
52
{ 4 #w
[01234]
>
ff
53 [01234]
nw
>
54 [01234] 55
w
EOL: "..Change Something.."
56
? w j
w ww ww ww ˙˙™™ œœ ‰
J
? > j
ww ww ww ww ˙˙ ™™ œœ ‰
> J
? j
{ œ ˙™
>
w w w ˙™
Example 1-2h. Climbing machine pyramid in 5m4 “Threat Mix,” m.49-56, 1:19:03-1:19:16.
œ ‰
p
The last climbing pyramid variation involves combinations of very aggressive minor
second horn trills. Davis is careful to combine them chromatically to create [012]s and [0123]s
when combining the tones of each relative trill. The result is a wild and chaotic sound, used
specifically at the end of the film when Sentinels enter the Nebuchadnezzar, seeking to destroy all
19
q = 172
Lands on Ship
119 120 121
4 Ÿ ~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~ Ÿ> ~~~~~~~~~~~~
½ ½ ½ ½ ½ ½
&4 ˙ #˙ n˙ #˙ n˙ ˙
> fff
> > > >
Tuben 1-6
4 Ÿ ~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~~~~~~~~ Ÿ ~~~~~~~~~~ Ÿ ~~~~~~
½ ½ ½ ½ ½ ½
&4 Œ #œ œ ˙ bœ œ ˙ nœ
>˙ fff
> > > > >
122
Ÿ½ ~~~~~~~~~~~~~~~~~ Ÿ>½ ~~~~~~~~~~~~~~~~~ 123 >Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~ 124 Cut Morpheus
& #˙ ˙ w œ ‰ Œ Ó
> J
<Ÿ> ~~~~~~~~~~ Ÿ½ ~~~~~~~~~~~~~~~ ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> Ÿ j
& œ ˙ #œ w œ ‰ Œ Ó
>
Example 1-2i. Climbing machine pyramid variation in 7m2 “Surprise!,” m.119-124, 2:01:13-2:01:20.
Following the [012] design, Davis occasionally uses a very brief leitmotif specifically for
Agent Smith, the primary villain of the story. This specifically occurs when Smith arrives in
various locations, including his very first appearance in 1m2 “Trinity Infinity,” where his theme
can be heard just as he is getting out of his car. Davis always orchestrates this theme with a single
Trombone 4
?4 Œ ≈ j ‰ Œ
4 œ œ bœ œ œ œ œ œ ˙ œ
>
ff
> > > > pp
menacingly
Violoncello
?4
4 œ œ >œ œ bœ >œ œ œ œ >œ w
ff
> >
Example 1-3a. Agent Smith’s arrival theme in 1m2 “Trinity Infinity,” m.53-54, 0:02:14-0:02:18.
It is interesting to note the striking similarity of this theme to James Horner’s notorious
“danger theme.” It is well known in the film scoring world that Horner regularly used a specific
theme to signify danger in many of his scores, probably beginning with Battle Beyond the Stars
20
(1980), but perhaps more famously recognized in Star Trek II: The Wrath of Khan (1982) and
Perhaps intentionally or not, the danger theme is practically identical to the opening gesture
of Sergei Rachmaninoff’s Symphony No.1 in D minor (1897). This theme was a calling card of
sorts for Horner, as it appears in many of the films that he composed music for, and serves as a
Like Agent Smith’s arrival theme from The Matrix, James Horner’s danger theme also
follows the [012] set, and is presented in a short, melodic gesture. Since Davis had been an
orchestrator for Horner on several of his scores, Davis would be very familiar with Horner’s danger
theme. It is conceivable therefore to conclude that Davis is creating his own variation of Horner’s
calling card for his own purposes. For Davis, Agent Smith’s arrival = danger.
2. Minimalism
Minimalism is a style of music composition stemming from the concert world that focuses
primarily on the exploration of repetition of harmony and rhythm with subtle variation over long
14
The term “Spotting” in this case refers to the location that the music begins and ends, with a description of the
dramatic action(s) the score is accompanying.
21
periods of time. Davis uses minimalism as a stylistic leitmotif for the Matrix itself. The visual
representation of the Matrix, presented as columns of code, is in constant motion and appears to
be ever changing, but rather slowly over time. Davis applies this logic to his score as well. He uses
minimalist cells and patterns to represent numbers. Davis uses a number of subtle variations in his
minimalist patterns. He almost never presents the same material twice without some form of
variation, either in rhythm, pitch, texture, or orchestration. For each new environment within the
Matrix, Davis seems to come up with a new subtle variation on the minimalist texture. The
minimalist textures seem to run in endless repetition without development or progression. This is
also a commentary for the humans within the Matrix, who live hypnotic fictional lives devoid of
meaning, going about their business with total ignorance of the truth that they are living in a “dream
world.” In his article for Film Score Monthly, “The Matrix Conclusions,” author Doug Adams
writes,
Minimalism was originally designed to evolve at such a slow pace that large-scale change
was primarily perceptible at a subliminal level. It was Zen-like, hypnotic music - smaller
forms stretched to their limits to create a development more akin to the speeds of nature.
Minimalism was designed to develop through the smooth curves of repetition, not the hard
corners of change. It was the music of evolution, never revolution. Davis’ creative musical
voice drew from concert hall minimalism - specifically the work of John Adams, Philip
Glass, Steve Reich and others. But minimalism as a wholesale concept would never work
15
Adams, pg.17.
22
Zig Gron, who did the temp track,16 attempted to use some of these minimalist scores in
the temp, but it didn’t work very often because that kind of music didn’t have the dramatic
thrust that the film needed. The more minimalistic it was, the less it played into the dramatic
impetus of what any particular scene was all about. When I was scoring it, I was able to
utilize that style but still incorporate some dramatic gestures that made it work with the
picture… I could do a minimalism thing for a while, but once anything happened I had to
go into something different, whether it was more dissonant or more moving or even just
more traditional. I had to change the texture, and that’s what minimalist music typically
Adams describes in this article that true minimalism couldn’t work in a film like The Matrix
simply because of the fact that the drama changes far too often. But a film that was perfect for the
concept of true minimalism, practically edited in a minimalist style, was the experimental film
Koyaanisqatsi (1982). Philip Glass’ score to Koyaanisqatsi introduced the world of cinema to
minimalist music. A primary theme of Koyaanisqatsi, similar to that of The Matrix, is that
machines control the lives of humans to such a degree that humans are willing to ignore whatever
destruction of nature they may incur in order to advance industry. In his essay “Making Time: The
Soundtrack and Narrative Time,” Daniel Goldmark compares Davis’ use of minimalism in The
Matrix to Glass’ score, particularly the cue titled “The Grid.” Goldmark notes that,
“In the more than twenty minutes that [The Grid] lasts, the [frenetic nature of the
minimalist] music never comes to a complete cadence… perhaps this was Glass’ and
16
A temp track is “temporary” music that is edited onto a film before the score has been composed. It can serve many
purposes, such as helping an editor find rhythm and pacing while editing, serve as a point of reference between director
and composer, or provide musical support in early test screenings while the score is in progress.
17
Adams, pg.17-18.
23
Reggio’s (the film’s director) way of conveying their belief that human’s dependence on
Though Davis uses a number of varied minimalist textures that all seem to represent the
Matrix in one way or another, he continually returns to one particular variation. This particular
texture would seem to symbolize in a general sense the Matrix program running. Though the
texture is used mostly when characters are inside the Matrix, it is used in other programs, such as
the Construct, and sometimes used on the Nebuchadnezzar, though the subject of the Matrix is
usually part of the dialogue in some way. The texture is most often scored for clarinets, pianos,
and violas, but also flutes, oboes, bassoons, harp, and violins as background texture. The texture
half-speed, as well as eighth and sixteenth-note triplets. Rodier describes the friction of every first
q = 132
1 Fade In Ripple Effect
5
&4
Clarinet 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bass Clarinet 3 ppp pp
Viola
?5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
{4
ppp pp
Example 2-1. The primary Matrix minimalist texture in 1m1 “Logos / Main Titles,” m.1, 0:00:01-0:00:04.
Aside from the logos and titles, the first place that Davis begins to use this texture is in
18
Baur, pg.97.
19
Rodier, pg.ii.
24
[2m4 “Switched for Life”] is the scene that introduces Neo to the Matrix and sends him on
his fateful ride. It was really the first place I could use a minimal idea, which I felt that the
hypnotic and repetitive nature of minimal music would signify the Matrix musically the
best.20
For Fred Karlin and Rayburn Wright’s book, On the Track: A Guide to Contemporary Film
Scoring, Davis was quoted describing one use of his trace program motif,
In 1m7 ‘Neo on the Edge’… Starting in bar [26] there’s a repetitive motivic layered device
that I use quite a bit. That happens when [Neo] first sees Agent Smith approaching him. I
use that as a concept of this multilayered idea of what the Matrix was. It’s not what it
appears to be, it’s something else. The short motifs are fugal as well, and that starts in bar
[26]. It kind of gradually builds up. By bar 35 I think there are about six lines going. It kind
20
The Matrix, Composer Commentary, 0:26:39-0:27:09.
21
Karlin, pg.206-207.
25
One of the first images we see in The Matrix film is a visual depiction of a trace program
running, which is assumedly performed by the Agents, locking in on the location of a phone call
between Trinity and Cypher, one number at a time. A series of numbers are running across the
screen, with columns disappearing one by one until the program presumably has locked in on the
complete phone number from the call’s source location.22 Davis created his own way of musically
q = 132
8 VRS Logo 9
?4
Bass Clarinet 3 4 œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ
pp cresc. poco a poco
?4
4 œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Bassoon 1-2 pp cresc. poco a poco
?4 œ
4 œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
pp cresc. poco a poco
detaché
?4 œ
4 œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
pp
œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ
cresc. poco a poco
Violoncello
detaché
?4
4 œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
pp cresc. poco a poco
Example 2-2a. Trace program in 1m1 “Logos / Main Titles,” m.8-9, 0:00:16-0:00:19.
The example above shows Davis’ compositional representation of the trace program, or
more specifically to the story, Agents searching (or chasing) for “free” humans jacked in to the
Matrix from their own source. What Davis uses is essentially minimalist cells of scalar material
that he can use to depict various numbers. For example, the scalar cells would translate like this:
22
This can be seen from 0:00:53-0:01:17 in The Matrix film.
26
2 3 4 5 6
?
œ œ œ
œ #œ œ #œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ
Example 2-2b. Scalar cells converted to numbers.
According to that translation, the bass clarinet line from above would equate to the
following:
q = 132
VRS Logo
8 4 4 2 3 59 3 3 2 4 etc.
?4
Bass Clarinet 3 4 œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ
Example 2-2c. Bass Clarinet 3 converted to numbers in 1m1 “Logos / Main Titles,” m.8-9, 0:00:16-0:00:19.
If the bass clarinet, bassoons and violoncelli were all to be converted in this manner entirely
B. Clarinet 3 4423533243363333224465432224433354233
Bassoon 1 3324233442654322423342422333324224242246
Bassoon 2 42333524633334265432223333263323363322
Violoncello 1 2243326223365432222423346224654322233244
Violoncello 2 233224223324223365432224334654322223333233
Table 2b. Trace program as numbers in 1m1 “Logos / Main Titles, m.8-15, 0:00:16-0:00:30.
Now we have a basic picture of exactly how the trace program is depicted in The Matrix.
In composing each part, Davis would have had to have been careful to make sure that every part
is entirely different from one another, otherwise the effect would be quickly lost. Thus, there is a
sort of planned randomness to Davis’ compositional intent. Rodier calls this sixteenth-note passage
a “perpetuum mobile,” which is Latin for perpetual motion, which in music refers simply to a
repetitive stream of notes at a fast tempo.23 Similar to the way the machines’ code is relentlessly
running in search of the humans, so are Davis’ minimal cells among the various instruments.
23
Rodier, pg.iv.
27
There is also one other element that Davis placed into this pattern, which can best be seen
in this way,
B. Clarinet 3 4423533243363333224465432224433354233
Bassoon 1 3324233442654322423342422333324224242246
Bassoon 2 423335246333342 65432223333263323363322
Violoncello 1 2243326223365432222423346224654322233244
Violoncello 2 233224223324223365432224334654322223333233
Table 2c. Countdown numbers within trace program in 1m1 “Logos / Main Titles, m.8-15, 0:00:16-0:00:30.
Davis includes a slightly different figure in the midst of all these cells, that of a countdown.
q = 132 10 6 5 4 3 11 2 2
9
?4
Bassoon 1 4 œ #œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Again, Davis is always mindful not to have this countdown figure begin at the same time
as another instrument. The idea of a countdown in the midst of a search program makes a great
deal of sense. It can hint to the ultimate arrival of an event, or it can signal that the end is near; the
Matrix is getting one step closer to finding what it’s looking for. Davis does not have a cell of less
than two, likely because of the challenging syncopation it would force onto the performing
musician, so instead he repeats the “two” cell twice at the end of each countdown, an easier cellular
extreme, if one were to watch the trace program visual effect frame-by-frame, one would notice
that the number two is most often the number shown at the top of the column of rotating numbers
One interesting variation that Davis uses in 6m9 “Ontological Shock,” occurs as Neo
rescues Trinity from a helicopter about to crash into a building. Here Davis composes the trace
program texture all in unison among nine different groups of instruments. The effect symbolizes
28
Neo’s ability to alter the code of the Matrix toward a singular intention - saving Trinity, as he
q = 134
80 Neo Dragged 81
4
&4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ
Orchestra ff marc.
Reduction
?4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ
{ 4
Example 2-2e. Trace program variation in 6m9 “Ontological Shock,” m.80-81, 1:50:47-1:50:50.
Sentinels, more commonly referred to as “Squiddies” in The Matrix, are killing machines
designed only to search and destroy. A Bug is a tracking device that is used by Agents to track
humans within the Matrix. Davis regularly represents both Sentinels and the Bug with similar
thematic textures. Because Sentinels and the Bug are both machines, they follow the machine tonal
set, most commonly in short, chromatic [012] gestures. Through each variation of this thematic
29
texture, the starting pitch of each chromatic gesture is intentionally varied so as to achieve
maximum atonality. The first appearance of this texture is in 2m2 “Unable to Speak.”
In 2m2 “Unable to Speak,” Davis uses the Sentinels / Bug texture for two thematic
purposes, first to underscore Neo’s horror at having his mouth mysteriously sealed shut, and
second to represent the Bug that the Agents place inside his abdomen. This Bug is the first machine
presented in its true appearance in The Matrix, resembling a type of insect or worm with several
tiny tentacles and a single red eye. Davis’ quick canonic imitation mimics these tentacles flailing
around quickly and seemingly at random. Since 2m2 “Unable to Speak” is composed in an entirely
aleatoric style, this sense of randomness is increased by the notation which directs the musicians
to repeat these motives ad lib. The minimalist cells always consist of three ascending chromatic
notes forming a [012] set. Each time that Davis uses the Sentinels / Bug texture in groups of three,
Davis then uses this texture in the following cue, 2m3 “Bait and Switch.” In this scene,
Trinity uses a machine to locate and remove the Bug from Neo’s abdomen. Again, Davis uses a
30
similar thematic texture for the Bug. This is the first use of Davis’ most common notation for this
texture, which is short [012] sixteenth-note triplets in various chromatic groups of three, again
always ascending. Davis commented about the use of his Sentinel texture in this cue,
[2m3 “Bait and Switch”] had a bit of thematic writing, I mean insofar as I used themes or
really motives. I had a motive that I actually started in [2m2 “Unable to Speak”], which
was something for the tracking device (also called a Bug) and was a triplet figure that
played against itself in a complicated way. That figure became the Sentinel theme that
showed up later in the picture… It seemed to me that the two devices were related -
something that the Agents had concocted… to illuminate the people that were rebels.24
q = 80
Car Drives Off
29 al tallone
6
Violoncello
?3 6
‰ 3 4
4 #œ œ œ nœ #œ œ œ #œ œ # œ œ nœ œ #œ œ 4
> > > > >
f
30
3 6 3
?4 ‰ ‰ 6
4 #œ œ #œ œ œ bœ nœ #œ nœ #œ œ bœ # œ œ nœ n œ # œ œ
> > > > > >
Example 2-3b. Bug in 2m3 “Bait and Switch,” m.29-30, 0:23:57-0:24:03.
From m.29-52, Davis develops this texture canonically, almost fugue-like, across multiple
instruments, building in intensity as Trinity attempts to locate the Bug moving around inside Neo’s
body, until the Bug is sucked out violently into a glass jar, when Davis abruptly stops the texture.
Through m.50-52, Trinity throws the Bug out the window, and the Bug dies. Davis slows the
texture as its red eye dims, calling out one final [012] cry before failing.
24
The Matrix, Composer Commentary, 0:25:46-0:26:37.
31
Bug Thrown Out
50
q = 82.59 al tallone 51 52
3 3 3
Viola B4
4 Ó Œ 6
‰ œ‰
3 3
‰ ‰ œ#œ œ Œ ‰ œbœ Ó
œ # œ œ# œ n œ # œ œ#œ # œ œnœ œ œ#œ #œ
> > > > > > >
mf
Example 2-3c: Bug dying in 2m3 “Bait and Switch,” m.50-52, 0:24:55-0:25:02.
Though at this point in the film we are yet to be introduced to Sentinels, Davis nevertheless
chooses to compose similar thematic textures to represent Bugs and Sentinels, which are both
insect-like machines. Because Sentinels always fly in swarms, Davis always scores them using
quick canonic repetition in various instruments. Their appearance is similar to squids, hence the
nickname “Squiddies,” however they also resemble various types of insects because of their
multiple sensors that resemble eyes and multiple appendages. Davis’ theme for the Sentinels is not
Davis also associates the Sentinels texture with Neo feeling sick in 3m3 “Nascent Nauseous
Neo.” After hearing the truth about humans and machines from Morpheus, Neo breaks down in
disbelief, feeling dizzy, vomiting, and then passing out. The use of the Sentinels texture here makes
a thematic connection to when Neo was implanted with the Bug in 2m2 “Unable to Speak,” during
Davis’ use of the Sentinels theme is fully realized during their first appearance in 4m3
“Switch Woks Her Boar.” Here Davis uses another cellular approach to the composition of the
32
q = 141
Rotating Hologram
15
al tallone
Violin I
4
&4 œ b>œ œ b>œ nœ œ nœ œ
œ #œ œ œ bœ > œ #œ œ
f
>
al tallone
Violin II
4
&4
œ #œ œ œ nœ #œ œ œ #œ œ œ nœ #œ œ bœ œ
> > > >
f
al tallone
4 > œ n>œ #œ nœ bœ bœ nœ
Viola B 4 #œ œ #œ œ bœ œ nœ bœ œ
> >
f
al tallone
>œ # œ n œ œ >œ œ bœ > >œ bœ
?4 œ nœ bœ œ #œ œ #œ
Violoncello 4
f
Example 2-3d. Sentinels in 4m3 “Switch Woks Her Boar,” m.15, 0:59:20-0:59:21.
Example 2-3e illustrates the various possible cells from which Davis composes the
Sentinels theme. The cells are each four sixteenth-notes, entirely chromatic, using as many
combinations of ascending and descending motions as possible, while still representing an overall
[012] machine harmonic set. For example, four sixteenths that move up, down, up, and down
would only comprise tones from a [01] set. Davis does however make use of [01] minimalist
& œ œ #œ œ œ bœ œ bœ œ œ œ bœ œ #œ œ œ œ œ #œ nœ œ bœ œ œ
33
Cue Measures Timecode Spotting
2m2 m.2-3 0:20:28-0:20:40 Neo feels his mouth starting to seal shut
2m2 m.4-6 0:20:40-0:21:06 Neo panics as Agents hold him down
2m2 m.7-8 0:21:06-0:21:18 Probe morphs into a Bug-like machine with tentacles flailing around wildly
2m2 m.9 0:21:18-0:21:31 The probe burrows its way inside Neo’s abdomen
2m3 m.29-57 0:23:57-0:24:48 Trinity uses a machine to locate and remove the Bug from Neo’s abdomen
2m3 m.50-52 0:24:56-0:25:02 Bug dying
2m5 m.43-50 0:33:50-0:34:04 A machine disconnects Neo’s cables linking him to the Matrix
3m3 m.9-15 0:40:57-0:41:11 Morpheus shows Neo the ruins of New York City
3m3 m.78-86 0:43:54-0:44:18 Neo breaks down after hearing the dismal truth from Morpheus
4m3 m.15-17 0:59:20-0:59:25 Rotating hologram tracking sentinel movement
7m2 m.15-21 1:58:50-1:59:00 Proximity warning - Sentinels are approaching the Nebuchadnezzar
7m2 m.119-123 2:01:13-2:01:20 Sentinels land on the Nebuchadnezzar, begin to cut into ship’s hull
7m2 m.156-169 2:02:03-2:02:19 Hull breach, Sentinels are inside the Nebuchadnezzar
7m3 m.35-38 2:03:40-2:03:46 Sentinels firing laser beams inside Nebuchadnezzar
7m3 m.155-166 2:06:55-2:07:15 Sentinels nearly make it to crew before electromagnetic pulse disables them
Table 2e. Use of Sentinels / Bug texture in The Matrix.
Davis frequently makes use of scalar ostinati in The Matrix, particularly in scenes leading
up to the big action sequences of the film, as somewhat of a teaser of the excitement to come.
These ostinati, which follow the human harmonic set, appear in various groupings of four, five,
and six throughout the score. Example 2-4a shows one such scalar ostinato which gives drive and
purpose to Trinity just after she has very quickly “learned” to fly a B-212 helicopter.
q = 139
14 Neo & Trinity Moving 15
Bassoon 1-2 ?4
Piano 1-2 4 œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ œ œ œ œ œ
f
> > >
cresc. poco a poco
> > > > >
Example 2-4a. Human scalar ostinato (in four) in 6m8 “Fast Learning,” m.14-15, 1:47:33-1:47:36.
Another repeated technique that Davis uses in The Matrix to create sustained tension in
quiet moments, usually under dialogue, is a repetitive ostinato that only moves by a single step.
Davis uses variations of both minor second [01] and major second [02] intervals. As expected,
these separately represent tension concerning machines or humans. Both sets of ostinati mark the
34
Machine ostinati are usually composed in long passages of eighth-notes, eighth-triplets, or
sixteenth-triplets, orchestrated in low-register clarinets, bassoons, piano, and violas. The clearest
example can be heard in 6m1 “Mix the Art” from m.5-37, starting just as Agent Smith begins to
interrogate Morpheus, and continuing under his dialogue throughout the entire scene.
q = 75.46
5 Cut Interior
Viola
4
B4 6 6 6 6
œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
pp sub.
Example 2-4b. Machine ostinato in 6m1 “Mix the Art,” m.5, 1:31:32-1:31:34.
Human ostinati could be seen as a deconstruction of the primary Matrix minimal texture,
consisting of only the top voice. Additionally, the two are occasionally paired together at different
speeds or in different registers. Davis uses a similar orchestration, normally in clarinets, bassoons,
and violas. The human ostinato in particular seems to illustrate the passage of time, especially
when leading up to important decisions made by human characters. The most interesting example
can be heard in 3m1 “Switches Brew,” which accompanies a montage sequence lasting an
unspecified amount of time, during which Neo’s muscles are rebuilt after his initial awakening and
rescue from the machine’s “Power Plant” in the real world. Here Davis uses a boy soprano to
vibraphone.
35
q = 67.63
Diss. Monitors
21 22
slow motor, felt mallets
Vibraphone
4
&4 œ œ œ œ œ
œ œ œ
p
senza vib.
mp
Boy Soprano
4
&4 œ œ œ œ
œ œ œ œ
Ahh
Davis again utilizes the pyramid technique, but this variation includes a minimalist
approach with continuous repeating rhythms. This technique is used in scenes with great tension,
although predominantly in the film’s major fight scenes. The pyramids build from unisons to
clusters, then are interrupted by eighth-note rests occupied by percussive pile drivers (to be
discussed in 10-1), subsequently resetting back to unison every few bars. As with the sustained
pyramids discussed earlier, Davis uses variations that follow either a human or machine harmonic
set. Whether he uses one or the other depends on which character appears to have the upper hand
in the fight at any given moment. In each case, Davis largely orchestrates these driving rhythmic
pulses with brass and strings. Davis describes this technique as “essentially a distillation down to
25
The Matrix, Composer Commentary, 1:52:58-1:53:06.
36
q = 165
147 Smith Moves 148
[013]
Tuben 1-6 4 j
Trombone 1-3
Violin II (div. B) & 4 ‰ œj œ œ #œœ œœ œœ œœ #œœ œœœ œœœ œœœ œœœ œœœ œœœ ‰
Viola ff
Trumpet 1-3 4 œ œ œ # œœ œœ œœ œœ # œœ œœœ œœœ œœœ œœœ œœœ œœœ ‰
Violin I
Violin II (div. A)
&4 ‰ J J
ff
149 150
[0235]
& œ œ œ #œœ œœ œœ œœ œœœ #œœœ œœœ œœœ œœœ œœœ œœœœ œœœœ œœœœ
œ œ œ # œœ œœ œœ œœ œœœ # œœœ œœœ œœœ œœœ œœœ œœœœ œœœœ œœœœ
&
Example 2-5a. Human minimalist pyramid in 7m1 “That’s Gotta Hurt,” m.147-150, 1:56:44-1:56:50.
Example 2-5a demonstrates a use of the minimalist pyramid during the climactic fight
between Neo and Agent Smith. The human clusters signify that Neo is in control of the fight at
this moment. The pyramids build to either three [013] or four-note [0235] clusters, suggesting a
Davis of course also uses minimalist pyramids that build chromatically, following the
machine harmonic set. The machine minimalist pyramids only appear in the two fight scenes
between Morpheus and Agent Smith, and Neo and Agent Smith. Because of the dissonant quality
of either the [012] or [0123] clusters to which these pyramids build, the machine pyramid evokes
much more tension than the human pyramids. Example 2-5b also demonstrates the use of the
minimalist pyramid in the fight between Neo and Agent Smith, this time conversely signifying
37
q = 161
111 Lock Arms 112
[0123]
Tuben 1-6
Trombone 1-4
4
&4 ‰ j
Viola œ œ œ œ œœ œœ œœ # œœœ œœœ œœœ œœœ œœœ œœœ b œœœœ œœœœ
ff
Trumpet 1-3
Violin I
4
& 4 ‰ œJ œ œ œ œœ œœ œœ # œœœ œœœ œœœ œœœ œœœ œœœ b œœœœ œœœœ
Violin II
ff
113 114
[012]
& j ‰
#b œœœœ œœœœ œœœœ œ œ œ œ œ œœ œœ œœ # œœœ œœœ œœœ œœœ
& #b œœœœ œœœœ œœœœ ‰
J
œ œ œ œ œ œœ œœ œœ # œœœ œœœ œœœ œœœ
Example 2-5b. Machine minimalist pyramid in 7m1 “That’s Gotta Hurt,” m.111-114, 1:55:51-1:55:57.
Another variation that Davis uses is the “machine gun” pyramid, which is essentially the
same technique at twice the speed. This technique is the musical device used primarily for when
Neo and Agent Smith punch with superhuman speed, but also to accompany the firing of automatic
weapons. Because of the incredibly fast repetition, the technique sounds analogous to both the
firing of guns, and the rapid punches accompanied by multiple-fist visual effects. It is often scored
for flutes and trumpets, both of which can double-tongue at high speeds with great intensity.
Example 2-5c demonstrates the use of a machine gun pyramid following the machine harmonic
set, underscoring a police officer firing an automatic weapon into the wall where Morpheus, Neo,
38
q = 142
Gunfire Begins
170 molto marc.
œ œ œ œ œ b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Flute 1-3
4
&4 ≈
ff
molto marc.
Trumpet 1-3
4
&4 ≈ œ œ œ œ œ b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
ff
171 bb œ[012]
œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ
& ≈
bb œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ≈ œ œ œ
&
Example 2-5c. Machine gun pyramid in 5m4 “Threat Mix,” m.170-171, 1:22:24-1:22:27.
Example 2-6a is a slight variation on the machine gun pyramid, not a pyramid exactly like
the other examples. Instead it is a series of rising human clusters that vary in increasing intensity
as Neo moves with superhuman speed, besting Morpheus with a fist to his face. Neo’s use of super
39
q = 144 Fists accel.
Tracking Shot
34
œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ35 # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
# œsecco
Piccolo (loco)
4
&4 Ó
Flute 1-2
mp
secco
4 œœœœœœ œ œ œ œ
Trumpet 1-3 &4 Ó # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ # œœœ œœœ œœœ œœœ œœœ œœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
mp
36 œœ œœ œœ >œœ
œœ œœ # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ 37 #qœ=œœ 160
#œ œ œ œ œ œ Neo's Fist
& J ‰ Ó
ff
œœ œœœ # œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ >
# œ # œœœ œœœ œœœ œœœ œœœ ‰ Ó
& J
ff
Example 2-6a. Rising machine gun clusters in 3m8 “Switch or Break Show,” m.34-37, 0:53:08-0:53:12.
The technique of rising clusters is usually composed in the Dorian mode (to be discussed
in 5-5), signifying moments where Neo is beginning to realize his potential as The One. Its primary
function is to build to moments of important decisions or discoveries made by Neo along his
journey.
q = 146
15 Cut Neo Fighting
Horn 1-6
4
&4 œœœ œœœ ‰ œœ œœ ‰ œœ œœ ‰ œœ œœ ‰
>
ff
> >œ >œ >œ >œ >œ >œ
> > > > >œ >œ >œ >œ
4 œœœ œœœ ‰ œœœ œœœ ‰ œœ œœ ‰ œœ œœ ‰
Trumpet 1-3 &4
ff
16 17
40
3. Reflection
A recurring theme of The Matrix revolves around the idea of reflection. This is presented visually
in the film by shots containing various types of reflective surfaces, such as computer monitors,
mirrors, glass from buildings and phone booths, sunglasses, and even spoons. In The Matrix
It wasn’t really until I saw the movie that I saw how important that the concept of
reflections [was], as far as the Wachowskis were concerned. Almost every scene has some
kind of aspect of a reflective subtext. When Trinity first encounters Agent Smith, she’s
sitting on a motorcycle and she sees him in the rear-view mirror of her motorcycle. Almost
every time when Laurence Fishburne is on the screen in his dark glasses you see Neo
reflected in his glasses. The scene with the spoon moving around - [it’s] always got
somebody’s face in it. I think I was able to take that ball and run with it and use reflections
in the orchestra of one section against the other or just a contrapuntal idea placed [one] on
top of the other that would represent this reflection that we see on the screen. That was
On The Matrix DVD’s Composer Commentary, Davis suggests that these shots were
intended by the Wachowski brothers as “a symbol of the different states of reality that were going
on - that one could look into a spoon that was reflecting your face and actually see what was real
rather than the unreal world.” He goes on to describe his intention to achieve this idea of reflection
compositionally. One idea he describes is “echoing musical statements… different parts of the
orchestra will state something, and another part of the orchestra will restate it just slightly later.”27
Davis is basically attempting here to describe to the layman how a canon works in music.
26
The Matrix Revisited, 1:48:38-1:49:33.
27
The Matrix, Composer Commentary, 0:12:28-0:13:30.
41
3-1. Reflection Theme
Again, for Karlin Wright’s book On the Track, Davis is quoted describing the first
[Just before Neo] gets out on the ledge… that’s where I have this high string line that’s
basically kind of a simple fugue, but the idea I had with these two lines that are kind of
hugging each other was to represent the idea of the mirrors and the reflections which were
very strong images in the entire movie. And that starts in bar [77] and goes through [87].28
q = 120
Phone Off Ear
77 leggiero 78 79
œ # œ œ œ #œ œ œ #œ œ œ œ
4 #œ #œ #œ # œ œ œ #œ #œ œ #œ œ œ # œ
&4
Flute 1-3 p leggiero
Violin I œ # œ œ œ #œ œ # œ #œ œ œ œ # œ #œ œ
4 Œ #œ #œ #œ #œ œ #œ œ œ
&4
p
Example 3-1. Reflection theme in 1m7 “Neo on the Edge,” m.77-79, 0:15:50-0:15:56.
In example 3-1, Davis is simply repeating an idea in two voices one quarter note apart.
Again, this material is minimalistic in rhythm, and consists of fragments of motives that stutter
The reflection theme does not have a particular leitmotif function the way that many other
themes in The Matrix do, though it tends to be used in places where important realizations are
made by either Neo or Morpheus. The theme is always orchestrated for violins, though sometimes
doubled with flutes. The two parts of the canon are normally two notes apart from one another,
though occasionally three notes apart. This theme normally takes a secondary role to other textural
28
Karlin, pg. 207.
42
Cue Measures Timecode Spotting
1m7 m.77-87 0:15:50-0:16:12 Neo (Thomas Anderson) goes out onto skyscraper ledge
1m7 m.93-98 0:16:22-0:16:33 Neo gets trapped on skyscraper ledge
2m3 m.1-7 0:22:34-0:22:55 Neo Waits for a car under an arch in the rain
2m3 m.53-69 0:25:02-0:25:39 Neo travels through derelict building to meet Morpheus
4m3 m.7-14 0:59:07-0:59:20 The Nebuchadnezzar attempts to outrun Sentinels
6m9 m.7-12 1:48:45-1:48:55 Morpheus wills himself out of a drug-induced state
6m9 m.16-22 1:48:59-1:49:10 Morpheus wills himself to break free of his handcuffs
7m3 m.79-94 2:04:51-2:05:20 Neo stops bullets shot by Agents in mid-air
7m3 m.214-232 2:15:19-2:15:46 During the End Credits finale
Table 3a. Use of reflection theme in The Matrix.
3-2. Canon
As stated already, the use of close canon is Davis’ most common musical emulation of
reflection in The Matrix score. Normally, the canon is very simple, such as in example 3-2a in 6m2
“Whoa, Switch Brokers,” which scores the requiem-like moment when Neo, Trinity, and Tank are
about to pull the plug on Morpheus, which would result in Morpheus’ death.
q = 124.24
Crew Surrounds Morpheus
41 42 43 44
Horn 1-3
Trombone 2
4
& 4 bw
Viola (div. A) ˙ b˙ bw bw
mp cresc. poco a poco
Horn 4-6
Trombone 1 &4
4 ∑ ∑
Viola (div. B) bw ˙ b˙
mp cresc. poco a poco
Violin I
4 bw w w w
Violin II & 4 bw w w w
mp cresc. poco a poco
45 46 47 48
& bw ˙ b˙ bw bw
& bw bw ˙ b˙
bw
bw w bw w
& bw w bw w
43
Here the four-note descending canon is spread over two bars between various groupings of
horns, trombones, and violas. Additionally, Davis uses a similar motif in the violins that is moving
in contrary motion at half speed. The contrary motion in this case is like a mirror reflection at an
Eb tonal axis.
Other times throughout The Matrix score, Davis’ uses of canons are much more complex,
such as this six-voice canon in example 3-2b from 1m1 “Logos / Main Titles.”
q = 132
16 Matrix Code Starts 17
4
& 4 ‰™ r œ
Oboe 1 œ #œ œ œ ≈ œ œ œ ‰ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f
4
&4 Œ ‰™ r œ‰ œ
Oboe 2 œ #œ œ œ ≈ œ œ œ œ#œ œ œ œ œ œ œ œ œ œ œ
f
Clarinet 2
4
&4 Œ ≈ œ#œ œ œ ‰ œ œ œ œ ≈ ≈ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ
f
Violin I
4
& 4 œ#œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ#œ œ œ ‰ œœœœœœ
f
Violin II
4
& 4 ‰ œ#œ œ œ ‰ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ#œ œ œ œ œ œ œ ‰
f œ œ œ
Viola B4 Œ œ#œ œ œ ‰ œ œ œ ‰ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ
4
f
This canon underscores the first visual appearance of the Matrix code. Davis uses only two
groupings of four ascending notes, starting at E and G, respectively. He is careful to start each
iteration separately from any other, so that the compounding pitches will create a jumbled
assortment of tones in motion, much like the streams of text comprising the Matrix code.
3-3. Numerology
Davis explains in his Composer Commentary that he was particularly astonished by the
elements of the storytelling written by the Wachowskis that were, as he describes, “under the
44
surface.” As examples, he points to Neo’s copy of Jean Baudrillard’s Simulacra and Simulation
(1981), which he hollowed out for storing disks containing assumedly illegal software (exactly
placed at the chapter “On Nihilism”), and that the character named Choi (who is buying the
software) describes Neo shortly after as “My own personal Jesus Christ,” and then immediately
follows up with the statement “You don’t exist.” Davis similarly tried to keep many elements of
the music just under the surface enough that the audience would be aware that more was going on
than met the eye.29 There is perhaps no better example of that “under the surface” concept than
One particular scene in Davis’ score for The Matrix stands out as compelling evidence that
Davis is trying to send messages by way of his score through numerology. Just after Neo receives
a call from Morpheus for the first time, Neo agrees to meet. Especially after his nightmarish
encounter with the Agents in the scene before (which may or may not have been a dream from his
perspective), Neo feels more than ever that something is wrong with his life and with the world
around him, and he does not know what the answers are. The beginning of 2m3 “Bait and Switch,”
in which Neo is waiting to meet with Morpheus to hopefully find these answers, is probably the
29
The Matrix, Composer Commentary, 0:08:36-0:09:31.
45
q = 79.73
1 Cut Neo Under Arch 2 3
Bass Clarinet 2-3 ?4
Bassoon 1-2
Marimba
4 bœ bœ bœ œ bœ œ bœ œ bœ bœ bœ bœ œ bœ œ œ bœ bœ bœ œ bœ œ bœ œ
p
bœ bœ œ œ bœ bœ bœ bœ bœ œ bœ
Violin I
4
&4
bœ
p bœ bœ bœ œ bœ bœ bœ
4 bœ bœ
Violin II &4 Ó Œ
p
Violoncello ?4 j
Contrabass (8va) 4 b˙ ™ œ bœ ˙™ bœ ˙ œ bœ ™
p
4 5 6 7
?
bœ bœ œ bœ œ bœ bœ œ bœ bœ bœ œ bœ bœ œ œ bœ bœ œ bœ bœ œ bœ œ bœ bœ bœ bœ œ bœ œ œ
bœ bœ bœ bœ bœ bœ bœ œ bœ bœ bœ
b œ bœ bœ bœ bœ
&
bœ bœ bœ bœ bœ œ bœ bœ bœ bœ bœ œ œ
bœ bœ bœ
&
? Ϫ j
œ b˙ ™
b˙ œ bœ ™
˙ bœ ˙ J ˙
Looking at example 3-3 from 2m3 “Bait and Switch,” nearly everything about it seems to
be pointing to the number seven. First, the textures are a total of seven measures long. The primary
asymmetrical minimalist texture in the winds and marimba is seven eighth-notes in duration before
it recycles. The violoncelli and contrabasses, upon close dissection, are given the exact same
asymmetrical texture as the winds and marimba, only exactly seven times slower. Finally, the two
violin parts are given canonical patterns of exactly seven quarter notes before they too recycle. So,
if Davis has gone through these great lengths to present variations of the number seven, what is he
46
In his book, The Seventh Major Understanding, Jordan Gray describes the significance of
the number seven in numerology and his concept of the “Seventh Major Understanding,” which
he defines as “Oneness.”
In numerology, the number seven resonates with the energy of seeking answers and finding
truth. [Oneness] reveals the nature of our reality, and it answers many questions about our
existence. The vibration of seven compels introspection and internal searching for answers.
[Oneness] aligns perfectly with this vibration as it strongly asserts that the truth about the
nature of reality and who you are must come from within. Meaningful answers about who
we are and why we are here arise from the One being that dwells in all forms and permeates
This description could not be more perfectly suited for The Matrix if it had been written by
the Wachowskis themselves, specifically in regard to Neo searching for answers on his journey to
discover himself as The One. This example is of course completely arcane to anyone simply
listening to the score, but it is Davis’ way of sending messages in the music “under the surface.”
3-4. Augmentation
Another of Davis’ compositional devices for emulating reflection in The Matrix score is
that of augmentation, in other words, when a texture is reused at a reduced speed from its original
appearance. The best example of which appears once again in the opening seven bars of 2m3 “Bait
and Switch.”
30
Gray, pg.16-17.
47
q = 79.73
1 Cut Neo Under Arch 2 3
Bass Clarinet 2-3 ?4 bœ bœ bœ
Bassoon 1-2
Marimba
4 bœ bœ bœ œ bœ œ œ bœ bœ bœ bœ œ œ œ bœ bœ bœ œ œ bœ œ
p
Violoncello ?4 j
Contrabass (8va) 4 b˙ ™ œ bœ ˙ ™ bœ ˙ œ bœ ™
p
4 5 6 7
?
bœ bœ œ bœ œ bœ bœ œ bœ bœ bœ œ bœ bœ œ œ bœ bœ œ bœ bœ œ bœ œ bœ bœ bœ bœ œ bœ œ œ
? Ϫ j
˙ b˙ bœ ˙ œ b˙ ™ œ bœ ™
J ˙
Example 3-4. Augmentation in 2m3 “Bait and Switch,” m.1-7, 0:22:34-0:22:55.
Just minutes earlier, during the cue 2m1 “Through the Surveillance Monitor,” the
Wachowskis created a shot centered on the rear-view mirror of Trinity’s motorcycle, where people
in the background were moving in real-time, while the reflection of Neo, accompanied by Agents,
was moving in slow motion. In 2m3 “Bait and Switch,” Davis accomplishes an analogous
depiction in his music, where two of the same textural ideas are presented simultaneously, each at
differing speeds. The lower texture in the violoncelli and contrabasses moves exactly seven times
slower than the upper texture in the bass clarinets, bassoons, and marimba. Not so coincidentally,
throughout m.1-7, Davis also includes the reflection theme in the first and second violins.
Davis is very consistent throughout The Matrix to score moments of nobility, honor, and
heroism with brass, but especially with French horns. The horn has traditionally been used as a
heroic instrument for hundreds of years, dating back to when they were used primarily to call out
various hunting signals. The heroic horns are an orchestrational leitmotif only, as the various
melodies are never the same from one iteration to another. Each iteration consistently makes use
48
of some sort of counterpoint, however, and it is that use of counterpoint that connects the heroic
Nebuchadnezzar for the first time. As soon as Morpheus goes around the room to introduce them,
they each stand one by one. Davis scores this moment with two sets of parts in the French horns,
marked to be played “proudly.” Clearly this sound is meant to give the crew a sense of honor, that
they are to become the primary heroes in the war against the machines.
q = 89
Trinity Rises
13 14 15 16 17 18
proudly
4
œ- bœ-
Horn 1-3 &4 bœ b˙ bœ- w bw-
b œ bœ- -
- - bw- w
mp pp
proudly
Horn 4-6 &4
4 bœ
b œ- bœ- œ- - bœ- b˙- b œ- w bw- b w- w
mp
pp
Davis does not exclusively use French horns for moments of heroism. He frequently
doubles bassoons and violas with the primary melodies and/or counterpoint. Davis will also
include trumpets and trombones, especially in the moments that are much larger in scale. One
moment in 6m9 “Ontological Shock” is such an example. In this case from m.7-12, the
counterpoint to the primary melodic material is a canon, in octaves with the trumpets. This two-
bar canon is another clear use of reflection in Davis’ score. This is a hugely triumphant moment
in the film, when Morpheus wills himself from captivity and narrowly escapes with the help of
49
q = 135.76
7 8 9 Chains
Cut Morpheus
4 3 3
3
> 3 j
Tuben 1-3
&4 œ ™ j w œ œ œ bœ œ™ œ
Horn 4-6
> >œ >œ >œ >œ œ> > > > > > >
f
4 œ
3
œ
> 3
œ œ œ™ œ
j
Trumpets 1-3 &4 ∑ ∑ œ œ™
œ
> >œ >œ > >œ
f
10 11 12
3
& w ˙
3 3 b>œ œ™ j
œ œ
4
> >œ >œ >œ > > >
>
w >œ >3œ >œ b>œ >œ 3™ >œ >œ >œ
& w œ œ œ bœ œ™ œJ
3 œ œ œ
4
>œ
Example 3-5b. Heroic horns in 6m9 “Ontological Shock,” m.7-12, 1:48:45-1:48:55.
It is interesting to note that late in the score for The Matrix, Davis switches combinations
of horns to “tuben” (as in Wagner tuben or tubas), which were developed by Richard Wagner and
used in his opera Das Rheingold (1869) as the instrument of choice for the Valhalla leitmotif,31
Davis also occasionally flips the expectation on its head, and scores horns for moments of
great tragedy, however still representing the primary heroes of the story. This moment in 7m3
“He’s The One Alright” begins just as Neo flatlines. Tragic horns are accompanied in sorrowful
counterpoint with violas as Trinity and Morpheus look on with disbelief. Two Agents then confirm
31
Bryant.
50
q = 140.76
18 Flatline 19 20 21 22 23
Horn 1-4
4
&4 ˙ b˙
bw w w w w
mp
Viola B4
4 ∑ ∑ w w w w
mp
B b˙ b˙ w ˙ b˙ w w w w
Example 3-5c. Tragic horns in 7m3 “He’s The One Alright,” m.18-30, 2:03:11-2:03:33.
Davis’ use of horns as both heroic and tragic is in itself yet another way in which Davis
emulates reflection in his score, using similar instrumentation for opposite sides of the emotional
spectrum.
A very brief theme appears in association with loading the “Construct” - that is, the white
nothingness from which programs are loaded within characters’ minds when they are “jacked in.”
The theme is canonic in nature, essentially in three parts with each part stating ascending scales
following the Dorian mode in sixteenth notes, followed immediately by fragments of descending
scales presented in similar approach. It seems that Davis presents this change in direction in the
theme to follow the manner in which the visual depicts the program zoom in toward the characters
and then quickly out. The theme utilizes the reflection concept in its use of canon and short echoic
figures. The combination of a close canon with minimalist scalar rhythms makes this theme
procedurally similar to much of the music of Steve Reich. Davis describes the first appearance of
51
A lot of people ask me what my favorite scene [was] to score in The Matrix, and the scene
when Laurence Fishburne and Keanu Reeves are standing there and the buildings rise up
to them was actually my favorite moment because I could get very close to the action and
do something very interesting with dynamics as the buildings come up and the camera pulls
back just before they start the jump program. It’s really one of the most quintessentially
“Wachowski” moments in the picture, and I was able to recap that musical moment later
on when Trinity and Neo are again in the Construct and they choose all their weapons for
q = 144
Zoom In To Rooftop
6
marc. e stacc.
3 #œ #œ œ #œ
& 4 #œ #œ œ ‰ œ œ
ff marc. e stacc.
3 #œ #œ œ #œ
Orchestral
Reduction &4 Œ #œ #œ œ œ
ff
marc. e stacc.
3 ‰™ r #œ #œ
{ &4 Œ #œ
ff
#œ
7 8 #œ #œ œ œ œ œ œ œ œ œ
œ #œ œ œ œ #œ œ #œ #œ œ œ œ œ œ œ œ œ
& œ #œ #œ #œ #œ œ œ
molto marc.
œ #œ #œ œ œ œ œ œ
œ #œ œ œ
& #œ œ #œ #œ #œ œ œ œ Œ œ #œ #œ œ œ œ œ œ
molto marc.
œ #œ ≈ #œ œ œ ‰ #œ #œ œ #œ
{ & #œ #œ œ #œ Œ Œ
#œ # œ œ
Example 3-6. Loading the Construct in 3m9 “Shake, Borrow, Switch,” m. 6-8, 0:53:38-0:53:42.
#œ
32
The Matrix. Composer Commentary, 0:54:53-0:55:35.
52
Cue Measures Timecode Spotting
3m9 m.6-8 0:53:38-0:53:42 Loading the jump program
3m10 m.17-18 0:54:32-0:54:35 Neo prepares to jump from skyscraper
6m3 m.21-22 1:38:49-1:38:17 Loading an arsenal Construct
Table 3b. Use of loading the Construct theme in The Matrix.
3-7. Polyrhythm
One reflective compositional device that Davis uses in The Matrix to represent the concept
of multiple realities within the story is polyrhythm. Davis describes the first scene in his DVD
commentary,
[2m4 “Switched for Life”] is the scene where the idea of reflective imagery in the
see Neo and the puzzled look on his face. There’s also a reflection off the case in Morpheus’
hands that holds the fateful pills. In the following sequence, Neo looks into a mirror and
he sends his finger into the mirror, and the mirror then spreads up his hand and up his head
into his mouth. And that’s how he is transported into the Power Plant, which is the location
At this moment in 2m4 “Switched for Life” where Neo encounters the mirror (m.47-51),
Davis scores eighth-note triplets against sixteenth notes using two separate minimal textures. The
texture in the clarinets and piano one is the normal motif for the Matrix program, and the other in
the harp and piano two is something entirely different, a new plain of existence that Neo is just
33
The Matrix. Composer Commentary, 0:27:09-0:27:57.
53
Mirror Image Shifts
47 q = 77 48
?3 Œ b œœ œœ œœ œœ 4 b œœ œœ œœ œœœœ œœ œœ œœ œœ œœ œœ œœ œœ œœœœ œœ
Clarinet 2-3
Piano 1 4 Œ 4
pp
Harp ? 3 œ œ bœ œ œ bœ œ œ œ 4 œ œ bœ œ œ bœ œ œ œ œ œ œ
Piano 2 { 4 4
pp 3 3 3 3 3 3 3
The significant thing that’s happening is that there are a multitude of realities that are going
on, and the audience really isn’t aware of that yet; they don’t become aware until the
character Neo becomes aware of it. I was able to symbolize that by layering different
musical textures on top of each other… I felt that that would communicate to the audience
that there was much more going on than was actually shown to them visually.34
Just after Neo’s interaction with the mirror in m.52-67, Davis begins a new texture (now
in 6/8) that fluctuates between eighth-notes and 4:3 quadruplets. This texture mimics the concept
q. = 77
52 Neo's Fingers 53 54
Bassoon 1-2
Piano 2
? 6 œ. bœ. œ. œ. œ. œ. œ bœ
œ bœ . œ. œ.
œ œ. bœ.
œ.
œ œ
œ bœ
Violoncello
8
4 4
Davis’ use of polyrhythm continues to amplify as bits of liquid from the mirror continue to
absorb Neo, moving from his fingers all the way up his arm. In m.68-79, Davis now uses three
separate textures in eighth-notes, 4:3 quadruplets, and sixteenth-notes. The fluctuation also
continues, in which both sets of eighths and eighth quadruplets increase speed briefly and
sporadically. Clearly this increasing intensity mirrors Neo’s growing sense of panic. Interestingly,
34
The Matrix, Composer Commentary, 0:07:31-0:08:05.
54
the sixteenth-note texture in this section begins to resemble that of the trace program texture, which
makes sense considering that Apoc and Tank are hard at work searching for Neo’s location in the
real world. This fluctuating variation of rhythm is particularly indicative of Philip Glass, including
q. = 77
68 Silver Moves Up Arm 69
4 4 4
Violin I
6
&8 œ œ œ œ œ œ œ œ
Violin II bœ œ œ œ bœ œ œ œ œ œ
mf
Bassoon bœ bœ
Harp ?6 œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ
Piano 1 8
Violoncello (Div. A)
mf 4
Piano 2 ?6 œ œ œ bœ œ
Violoncello (Div. B) 8 œ bœ œ. œ œ
œ. œ bœ œ bœ œ œ
œ.
Contrabass œ. b œ. œ. œ. œ bœ œ. œ.
mf
It all culminates into even more intensity in m.80-85. Davis increases to one sixteenth-note
texture against three separate 8:6 octuplet textures. There are now two trace program-like textures
indicating the search for Neo’s location has intensified greatly at this moment. Most of the textures
are now in unified rhythm, with no further intermittent fluctuations, which would seem to indicate
that Neo is no longer as intensely between realities, and his consciousness is instead entering his
55
q. = 77
Cut Neo
80 œbœ œ 81
œ œœœœ œ œbœ œ œœœœ œ
6 œbœ œ œœœœ œbœ œ œ œ œœ
œ
&8
8 8 8 8
ff
6 bœ œ œ œ œ œ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ œ œ œ œ œ
&8 œ œ œ œ œ œ
Orchestra ff 8 8 8 8
Reduction
? 6 œ œbœ œ œ œ œ œ œ œ œ œ œbœ œ œ bœ œ œ œ œ œ œbœ œ œ œ œ œ œ œ œ
8
ff 8 8 8 8
{
?6
8 œ œ œ œ bœ œ œ œ œ œ
ff
œ bœ
œ œ œ œ bœ œ œ œ œ œ
œ bœ
Davis’ uses a triadic texture specifically in places where Neo comes to realize that he is
The One. The texture is in complete tonal balance, always centered around a major triad. Because
The One can see many layers of reality at once, as shown when Neo sees the Agents entirely in
Matrix code toward the end of the film, Davis uses multiple layers of polyrhythm, or simultaneous
groupings of contrasting rhythms in duple and triple meter. This texture always appears in the two
piano parts, additionally a few times in harp, and one example in 7m3 “He’s The One Alright” that
adds yet another layer of woodwinds. Among the four layers, a polyrhythm is produced of three +
56
q = 143.23
Hangs Up Phone (Overlap Song For Film Version)
3 b œœœ 3 b œœœ
214 b œœ œœ 215 b œœ œœ
Flute 1-2 4 œ b œœœ œœ œœœ œœ œ b œœœ œœ œœœ œœ
Piccolo
Oboe 1-2 &4 Œ bbœœœ œœ œ Œ bbœœœ œœ œ
Clarinet 1
bœ bœ
f 3 3
Harp
?4 bœ œ bœ & bœ bœ ? bœ bœ bœ œ bœ &
4 œ bœ œ œ bœ œ
ff 3 3 3 bœ
Piano 1
?4 3 b œ 3 œ œ 3
b œ œ bœ œ œ œ
4 b œ œ bœ œ œ œ b œ œ bœ 3 œ œ 3
œ b œ œ
ff
Piano 2
?4 b œ œ œ œ œbœ b œ œ œ œ œ bœ
4 œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ
bœbœ bœbœ
ff
Example 3-8. The One in 7m3 “He’s The One Alright,” m.214-215, 2:15:19-2:15:23.
4. Bitonality
Bitonality was used early on by Charles Ives and Modest Mussorgsky, but was perhaps more
famously noted in the music of Igor Stravinsky, particularly in his ballets for Petrushka (1911)35
and The Rite of Spring (1913).36 One notable use of bitonality in early film music is in Bernard
Herrmann’s iconic score for Vertigo (1958). During the opening rooftop chase scene of the film
(which is very similar in concept to Trinity’s opening rooftop chase scene in The Matrix),
35
Whittall.
36
Karlin, pg.233.
57
Herrmann uses a polychord consisting of one major and one minor triad whose roots are one half-
step apart to accompany the famous “Hitchcock shot” (commonly called a dolly zoom), which is
a camera trick used by Alfred Hitchcock to warp perspective, creating a dizzying effect. This
polychord has come to be referred to as “The Vertigo Chord.”37 Similarly, Davis uses bitonality
most notably for what have been come to be known as “bullet time” shots in The Matrix. His use
of bitonality can also be seen as yet another extension of his ideas of reflection.38
“Bullet Time” is the name given to the unique visual effect invented for The Matrix, in
which a camera seems to photograph action in a way that is totally detached from the physics of
time and space. Davis’ polychord swells that normally accompany this effect are easily the most
identifiable sound of Davis’ score for The Matrix. There are several ways to describe this motif,
but in the most basic terms, it is two or more triads that crescendo and diminuendo at opposite
times from one another. The effect is that separate tonalities move quickly from the foreground to
the background, all in turn with one another. The first example is at the very front of the film in
2 q = 132 3 4 5 6
Horn 1-6
4
&4 Œ ˙˙˙ ™™™ w
w œœœ ˙˙˙ ™™™ w
w œœœ ˙˙˙ ™™™
w w
ppp ff ppp ff ppp
4 ˙˙ ™™ w
w œœ ˙˙ ™™ w
w
Trumpet 1-3 &4 ∑ Œ ˙™ w œ ˙™ w
ppp ff ppp ff
Example 4-1. “Bullet time” polychord swells in 1m1 “Logos / Main Titles” m.2-6, 0:00:05-0:00:14.
37
Cooper, pg.30.
38
Karlin, pg.233.
58
In example 4-1 Davis uses two triads, E minor in the horns, followed by C major in the
trumpets. The two chords are in many ways mirror images of one another. There is perfect
symmetry among the collective intervals, meaning the entire collection is identical when inverted.
In set theory, both triads, major and minor, are classified as [037], making them indistinguishable
from one another because they both contain one major and one minor third. In his DVD Composer
Commentary, Davis had this to say about the bullet time polychords:
The “bullet time” sequence has given me a chance to experiment … [with] making time
stand still by playing two different chords at the same time in different parts of the
orchestra, and they would fight each other dynamically. And the net result was, whichever
chord was loudest at the moment was the chord that you perceived.39
Indeed, the concept of “making time stand still” was the primary experiment with the
“bullet time” effect, as well as Davis’ conceptual intention with his use of polychord swells.
Goldmark notes that the technique “uses a musical form of stasis,” mirroring the distortion of time
This technique can be perceived as a symbolization of many of the themes in The Matrix,
including good vs. evil (humans vs. machines), life and death, freedom vs. oppression, and what
is real vs. what is perceived.41 If we are to interpret E minor as “dark” and C major as “light,” the
polychord swells represent the struggle of all of these themes (to quote Davis) “under the surface.”
As one of the first musical sounds heard in The Matrix film, Davis lays out the fundamental themes
39
The Matrix. Composer Commentary, 1:46:52-1:47:12.
40
Baur, pg.96.
41
Rodier, pg.i.
59
Functionally, Davis uses this technique for a specific purpose, to represent the impossible.
Davis’ choice of chords is not totally at random. Minor triads tend to represent darker situations,
as opposed to major triads which represent situations that are more heroic. The more impressive
the feat, the more distantly the chords will be related. There is a clear influence from John Adams’
1985 concert work, Harmonielehre, which contains similar polytonal (actually tritonal) brass
Davis also uses minimalist variations of the polychord swells, particularly in the more
exciting action scenes of the film. Example 4-2a from 4m3 “Switch Woks Her Boar” underscores
the Nebuchadnezzar flying at breakneck speed to find a safe place to hide from a group of
Sentinels. Here the repetitive eighth-notes add a great sense of urgency to the swelling sets of
triads. Davis uses E minor in the French horns against Eb major in the flutes and trumpets (forming
the same polychord as the aforementioned “Vertigo chord” by Herrmann). The two triads only
60
share one common tone, creating a rather stressed sound against one another, much like the
feelings of the Nebuchadnezzar crew as they rush to safety away from the Sentinels.
q = 143
Cut Ship Flying
1 2 3
marc.
Horn 1-6
4
& 4 œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
p ff p
marc.
4 bbbœœœœ œœœœ œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ bb œœ œœ
œœ bœœ œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
œœ
Flute 1-3
Trumpet 1-3 &4 ∑
p ff
Example 4-2a. Minimalist polychord swells in 4m3 “Switch Woks Her Boar,” m.1-3, 0:58:57-0:59:02.
Davis does also use minimalist variations of the polychord swells for moments depicting
the impossible, similar to those used in “bullet time”. Example 4-2b underscores the moment from
7m1 “That’s Gotta Hurt” in which Neo, with Agent Smith gripping him in a choke hold, impossibly
leaps approximately twenty-five feet off the ground, smashing Smith into the ceiling above them.
Neo then backflips in slow motion off the subway tracks to safety, as Smith is left to be flattened
by an oncoming subway train. Here Davis scores a C minor triad in the tuben against an Ab major
triad in the trumpets. These triads are a transposition of the aforementioned C major and E minor
triads, which serve as a metaphor for the struggle of good against evil.
q = 164
Neo Jumps
213 214 215 216
marc.
3
&4 œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ œœ
Tuben 1-6 bœœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ
ff p ff p
marc.
3 bb œœœ œœœ œœœ œœœ œœœ œœœ bb œœœ œœœ œœœ œœœ œœœ œœœ bb œœœ œœœ œœœ œœœ œœœ œœœ bb œœœ œœœ œœœ œœœ œœœ œœœ
Trumpet 1-3 &4
p ff p ff
Example 4-2b. Minimalist polychord swells in 7m1 “That’s Gotta Hurt,” m.213-216, 1:58:11-1:58:15.
61
4-3. Accelerating Rhythms
During The Matrix’s most climactic moments of adventure journeying “down the rabbit
hole,” Davis uses complex syncopation in addition to bitonality to further signify the multitude of
realities in the film’s story. Each time that Davis uses this technique, the complex sets of rhythms
accelerate as they approach significant events. Similar to many other rhythmic devices in his score,
Davis is once again careful to create rhythms that do not overlap, so as to maintain the individuality
Example 4-3a from 7m3 “He’s The One Alright,” is the final climactic moment of the film
when Neo, realizing his full potential, destroys Agent Smith from the inside out. Davis begins with
Bb major triads in the horns, which begin to accelerate into faster syncopated rhythms. He then
adds Gb major triads in the trumpets, which also accelerate faster and faster, until both horns and
trumpets crescendo into the final event - Agent Smith exploding into many tiny digital pieces.
Similar instances of accelerating, highly syncopated rhythms, particularly with brass, can be found
in the works of John Adams, especially the aforementioned Harmonielehre and Short Ride in a
62
q = 144.1
134 Cut Smith 135 136
3 3
Tuben 1-6
4
& 4 œœ ™™ j j j j
b>œ ™ œœœ œœœ
>
œœœ
>
œœœ
> b>œœœ ™™™ œœœ œœœ
>
œœœ
>
œœœ
>
œ
œ ™
™
b>œ ™ >œ œ
œ œœœ
>
œœœ ™™™
> >
œœœ œœœ
>
f cresc. poco a poco
4 > >œ
Trumpet 1-3 &4 ∑ ∑ Œ bbb˙˙˙ œœ
Light Pours From Smith f
q = 144.51
137 138 139 140 Explodes
3 3 3 3 3 3 3 3
j j
& ‰ œœ œœ œœ œœ œœ ‰ œœœ œœœ œœœ œœœ œœœ ‰b œœœ œœœ œœœ œœœ œœœ œœœ ™™™ œœœ œœœ b œœœ œœœ ™™™ œœœ œœœ œœœ œœœ ∑
b>œ >œ >œ >œ >œ >>>>> >>>>>> >> > > > > fff>
> >3œ >œ >3œ >œ >œ >œ3 >œ b>œ >œ >œ >œ >œ >œ >œ >œ >œ
& œœœ bbbœœœ œœœ œœ œœ b
Œ bb œœ œœ œœ œœ œœ Œ bb œœ œœ œœ œœ œœ œœ œœ œœ œœ ∑
3
fff
Example 4-3a. Accelerating polychords in 7m3 “He’s The One Alright,” m.134-140, 2:06:21-2:06:32.
Similar to this technique, Davis also uses rhythmic accelerations elsewhere in the score to
build to the arrival of certain events. Example 4-3b from 1m7 “Neo on the Edge” builds subtle
intensity in the tam tam as Neo begins to stand to peer over his cubicle wall. Just as the acceleration
reaches its conclusion, Neo spots three Agents and several police officers who turn their attention
in Neo’s direction. This rhythmic acceleration builds tremendous anticipation for what is about to
be revealed.
Neo Stands Up
19 q = 120.85 20 3 21 3 5 22
solo
Tam tam ÷ 4 Ó Œ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 3 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ O ™—
4 mp
4 f
Example 4-3b. Accelerating rhythm in 1m7 “Neo on the Edge,” m.19-22, 0:14:05-0:14:11.
This rhythmic acceleration using the tam tam was also used commonly in the scores of
James Horner, particularly two films for which Don Davis was an orchestrator - the thrillers Clear
63
5. Harmonic Devices
Aside from the harmonic sets revealed earlier for humans and machines, there are a few key
harmonic devices that Davis uses regularly throughout The Matrix to create various emotional
Though it may be very simple and obvious to point out, the occasional use of pedal notes
is very important to Davis’ score for The Matrix. Pedals are either voiced in octaves or fifths, and
are scored during moments of anticipation, stillness, waiting, and finality. Example 5-1 shows
Davis’ pedal as Trinity, just having narrowly escaped an Agent after an exciting rooftop chase,
waits, with guns drawn, in anticipation of the Agent continuing his pursuit. The use of tremolo in
the strings especially mimics Trinity’s feelings of nervousness and anxiety at this moment.
q = 134.2
Pulls Out Guns
159
>œ œ 160 w 161
w
162
w
163
w
164
w
165
w
166
w
String
&4
4 œœ w
æJ ææ ææ
w
ææ
w
ææ
w
ææ
w
ææ
w
ææ
w
ææ
Reduction
fp pp
Davis also on many occasions uses a high pedal note sustain that moves from unison to a
minor second dissonance. Normally scored using violin artificial harmonics, it is always used in
quiet moments to create suspense, often when characters are hiding or avoiding detection. The
violin harmonics have a vulnerable and frail quality to the sound, which sits very well in these
moments, such as example 5-2 from 1m7 “Neo on the Edge,” when Neo is attempting to avoid
detection from the Agents, following Morpheus’ directions as he guides Neo’s every move.
64
q = 120.85
Agents Low POV
41 42 43 44 45 46 47
4 #~ ~w ~w ~w ~w ~w
Violin I &4 # w ##~w
p
Violin II
4 #~
&4 # w
~w ~w ~w ~w ~w ~w
p
Example 5-2. Dissonant pedal notes in 1m7 “Neo on the Edge,” m.41-47, 0:14:42-0:14:56.
Similar to the fateful E minor and C major polychords discussed earlier, much of Davis’
harmonic language can be linked by common tones. Davis’ harmonies in The Matrix are far from
what could be described as functional, with no tonic or dominant relationship anywhere in sight,
but they are still triadic. In fact, much of film music harmony over the last fifty-plus years could
be described in this manner. In example 5-3, Trinity is attempting to tell Neo that The Oracle had
told her that she would fall in love with The One, and that she did not (to that point) feel that way
about Neo. Davis uses a sustain pedal note, an artificial harmonic on Db, and moves between three
simple minor triads, Bb minor, Db minor, back to Bb minor, then finally F# minor. Each of these
triads share a common tone, in this case the pedal note of Db (Db is of course enharmonically C#
in the tonality of F# minor). Because Trinity is doubting her love for Neo at this moment, there is
no love theme (explained further in 6-1), instead Davis only oscillates between three minor triads
over a long pedal note, keeping Neo in suspense just as the two of them are about to leave the
Matrix.
65
q = 149
"Neo, I Want To Tell You Something . . ." "But I'm Afraid . . ."
10 11 12 13 14 15 16
4 bb~w ~w ~w ~w ~w ~w ~w 2
&4 4
String p
Reduction Bb Minor Db Minor
4 bbw
w w
w w
w w
w bw w w 2
{&4
bw
w
ppp
w
w
w
w
mp
w
w
bbbw
w
w
ppp
w
w
w
w
w
w
mp
4
Phone Rings ". . . Everything But This"
17 18 19 20 21 22 23
2
&4
O˙ 4 ~w ~w ~w 3 O˙ ™™ 4 ~w ~w
4 4 4
2 ˙˙ 4 bbBbww Minor w w 3 ˙˙ ™™ 4 #F#
w Minor w
{ &4 ˙˙ 4 b ww w
w w
w 4 ˙˙ ™™ 4 w w
#w
w w # w
w w
ppp mp ppp
Example 5-3. Common tone chord changes in 7m1 “That’s Gotta Hurt,” m.10-23, 1:53:21-1:53:42.
The octatonic scale (also diminished scale, whole-half, and half-whole) is well-known to
have been used extensively in the music of Igor Stravinsky. It is also the second of Olivier
Messiaen’s seven modes of limited transposition.42 Among film composers, Alan Silvestri stands
out as likely having made the most use of the octatonic scale as a common sound of his film music,
particularly in his early scores, such as Back to the Future (1985) and Predator (1987). Davis only
uses the octatonic scale on three occasions in The Matrix score, but each time is to indicate
imminent danger, such as this use in 1m2 “Trinity Infinity,” when Trinity immediately turns to run
42
Wilson.
66
q = 137
53 Cut Trinity Looking 54
>˙ 55 56
>™
#w œ™ >œ w ˙™ œ
Flute 1 6 #w ™ 4 œ™ œ ˙ w ˙™ œ
Piccolo 2-3
Trumpet 1-3 &4 #w ™ 4 œ™ œJ ˙ w ˙™ œ ‰
Trombone 1
J
ff
6 j > >œ 4 >
#w
>
#w ˙™ œ ‰
Horn 1-6 &4 #>œ ™ œ œ ™ bœJ œ™ J 4 J
ff
> > >
In moments in which Neo is “awakening,” that is, beginning to discover and believe in his
abilities as The One, Davis makes an alteration to the human diatonic set - raising the sixth scale
degree to become the Dorian mode. Some examples of its use include when Neo bests Morpheus
with superhuman rapid-fists in their sparring match, as Neo is choosing guns before executing his
daring plan to save Morpheus from the Agents’ captivity, and a literal awakening when Trinity
first kisses Neo (to be discussed in 6-1). Each “loading the Construct” theme is also composed
using Dorian, so it can be seen that Dorian is Davis’ way of representing sudden changes in scene
or in character development. Karlin describes the use of modality in film music as often evoking
of an alien being or element.43 Neo’s demonstration of superhuman abilities within the Matrix
43
Karlin, pg.227, 233.
67
q = 140
Morpheus Advances
8 9
secco
4
& 4 œœ œœ œœ œœ œœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœœ œœœœ œœœœ
Orchestra œ œ mp
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Reduction
?4
{ 4w
w
mp
w
w
10 11
& œœœœ œœœœ œœœœ #œœœœœ œœœœœ œœœœœ œœœœœ œœœœœ #œœœ #œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ œœœœ
œœ œ œ œ œ œ œ œ
œ œ œ f mp
?
{ w
w
w
w
Example 5-5. Dorian mode in 3m8 “Switch or Break Show,” m.8-11, 0:52:26-0:52:33.
The concepts of love, birth, rebirth, and death are each important to The Matrix film, as well as to
its score. As hinted at before, Davis uses several recurring devices for connecting to each of these
Trinity is the only character to whom Davis chooses to give a traditional melodic leitmotif.
As with much of the thematic material in The Matrix score, Trinity’s theme is organic and develops
throughout the film; though it mostly appears in the violas, it never quite repeats exactly from one
appearance to another. As learned in the film, The Oracle had told Trinity that she would fall in
love with The One. And so, nearly every time Davis presents Trinity’s love theme, Trinity’s
thoughts seem to dwell on this prophecy. Trinity’s theme is dreary and incomplete in the
beginning, as she is doubtful and afraid for most of the film as to whether or not this prophecy will
come true for her, especially that she is somehow destined to become romantically involved with
68
Neo. As Trinity begins to fall in love with Neo, the theme develops, and Davis gradually begins
to add harmonic support to Trinity’s theme. Trinity is of course often represented by the number
three, in direct correlation to the connotation of her name - the Christian doctrine of God as three
persons. Davis too chooses to compose Trinity’s theme often in short varying phrases of three
notes. A visual example of this reference to three would be the hotel room number (303) where
Trinity is first introduced in the beginning of the film. Neo is also killed just outside the same hotel
room, then resurrected, seemingly by Trinity’s declaration of love. Trinity is therefore connected
both visually and musically with Neo’s death, as well as his rebirth.
q = 79.73
Cut Trinity
21 espr. 22 23 24 25 3 26
3 b˙
Viola
4
B4 ˙ bw œ bœ bœ b˙ w œ bœ bœ
˙ ˙
b˙
pp mp
Example 6-1a. Trinity’s love theme in 2m3 “Bait and Switch,” m.21-26, 0:23:35-0:23:53.
Davis also on a few occasions fractures the melody, such as this very subtle hint at Trinity’s
fundamental three-note motive as she brings Neo dinner in example 6-1b from 4m1 “Bring Me
Dinner.”
3
q = 65 4 5
?4 w– w– w–
Harp { 4
pp
con sord.
Violin II
4
&4
Viola
w ww w
ww
pp
Example 6-1b. Trinity’s love theme in 4m1 “Bring Me Dinner,” m.3-5, 0:55:44-0:55:56.
A key function of any leitmotif in a film is the representation of an idea, person, or place,
which can potentially reveal what a character is thinking at any particular moment. As we know
from the climax of the film, The Oracle told Trinity that she would fall in love with The One.
69
Davis uses this love theme throughout the movie, and so (often requiring a second viewing) we
can associate that thought of Trinity falling in love with the One each time that she sees Neo, thus
adding a dimension to the film that would otherwise have been impossible.
As expected, since Trinity is of course a human character in The Matrix, Trinity’s theme
follows the human harmonic set. However, Davis’ first use of Trinity’s love theme from m.61-68
in 7m3 “He’s The One Alright” is presented with a raised sixth scale degree following the Dorian
mode, featuring harmonies expected within Dorian - i-IV, or in this case G minor to C major. As
stated earlier, Davis uses the Dorian mode to represent “awakening” in Neo. Since Neo comes
Horn 1-4
&4
4 ˙ w w
Viola
bp˙ ˙ w ˙ ˙ ˙
mp
C major C major
G minor w w G minor w
Orchestra ?4 bw
w
w
w
w
w w
w w
w bw
w
w w
w
Harmonic 4 w
w w
w w w w
w w
Reduction w w w
Example 6-1c. Trinity’s love theme in 7m3 “He’s The One Alright,” m.61-66, 2:04:24-2:04:34.
Trinity’s love theme culminates in one final statement toward the end of 7m3 “He’s The
One Alright,” when Trinity and Neo share a loving kiss after Neo is pulled from the Matrix just
before imminent destruction of the Nebuchadnezzar. It is interesting to note that Davis’ resolved
harmonization of Trinity’s love theme is to use E minor and C major, the two triads first presented
in the “bullet-time” polychord swells, representing the duality of The Matrix, both light and dark.
70
q = 145
172 con sord. 173 174 175 176 177 Hand 178
Viola
4
B4 w w w w w ˙ w
˙
ppp pp C major
E minor
w w w w w
String
Harmonic
?4 w
w w
w w
w w
w w
w
Reduction
4
Example 6-1d. Trinity’s love theme in 7m3 “He’s The One Alright” m.172-178, 2:07:26-2:07:38.
6-2. Choir
Davis occasionally scores for choir in The Matrix. Throughout the history of film music,
choir is generally given one of two associations, either with religion or humanity itself. In the case
of The Matrix, it is the latter. Davis says that he and the Wachowski brothers determined fairly late
in the game that they wanted to use a choir for cues like 2m5 “Switched at Birth” - when Neo
awakens in the real world and first glimpses the endless towers of human beings jacked in to the
Matrix. Davis intended that the choir would symbolize the fate of humanity and the desperate
nature of what had happened to human beings.44 Davis was also able to use a boy soprano for the
montage sequence when Neo’s atrophied muscles were rebuilt by Morpheus and Dozer, to
“In [3m3 “Nascent Nauseous Neo”], we were able to utilize the choir once again as
Morpheus explained to Neo what happened to humans, and I was able to signify a crying out of
44
The Matrix, Composer Commentary, 0:37:25-0:37:49.
71
the human race through the choir.”45 Here, as Morpheus describes to Neo what is known of human
and machine history, Davis composes pyramids following the chromatic machine harmonic set.
Since human voices are essentially singing the songs of the machines, it is his way of indicating
musically that humans are hopelessly and blindly under the complete control of the machines.
q = 140
Cut Morpheus
18 19 20 21 22 23
mp
4
&4 w ˙ w bw ˙ ˙
w ˙
Soprano Ahh
mp
4
&4 w ˙ œ #˙ ™ ww w˙™ œ
w ˙
Ahh
mp
4
&4 w œ w
#w w w ˙™
Alto Ahh
mp
4
&4 ww w˙ ˙ ww ww ww ww
Ahh
Davis also uses choir triumphantly, particularly when Neo realizes his full potential as The
One in 7m3 “He’s The One Alright” by destroying Agent Smith. Here he composes simple major
triads in growing intensity to support the theme of The One, representing a redeemed hope for all
4 Ó b˙ w w bw
w w
w bw
w
w œœœj ‰ Œ Ó
Choir &4
b ˙˙˙ w
w
w w
w
w bw
w
w
w
w
w
w
w bw
w
w œœœ
Ahh Ahh Ahh
Example 6-2b. Choir in 7m3 “He’s the One Alright,” m.134-140, 2:06:21-2:06:32.
45
The Matrix, Composer Commentary, 0:44:44-0:44:59.
72
Davis recorded members of the Mormon Tabernacle Choir46 at L.A. East Studio in Salt
Though only used on three occasions in the score for The Matrix, Davis uses a short tragic
motif to represent death in three of the characters - Mouse, Dozer, and Neo. As expected, this motif
falls within the human (diatonic) harmonic set, and features unison voices among the orchestra, as
though the characters are crying out in a singular unison for the last time. Similar to his fighting
motifs, Davis separates the melodic interjections with visceral “pile driver” rhythms in percussion
and bass instruments (to be discussed in 10-1). The first appearance is in 5m4 “Threat Mix,” when
q = 146
Mouse Firing
73 >œ ™ œ >œ 74 >œ >˙ ™ 75
>œ ™ 76
œ™ œ œ œ ˙™ œ™
>œ ™ ˙ œ™
4 œ™ œ ‰ œ œ
‰
& 4 œ™ ‰ ˙™ ‰ œ™ ‰ œœ ™™ ˙ œ™ ‰
œ œJ œJ ˙™ œ™ ˙ œ™
Orchestral fff
Reduction œj j œj Œ Ó œj ‰ Œ œj ‰ Œ j
?4 ‰ Œ Œ œœ ‰ ‰ Ó Œ ‰ œœ
{ 4œ
œ
>
fff
>œ
œ
>œ
œ
>œ
œ
>œ >œ
Davis again reprises this motif in 5m5 “Exit, Mr. Hat” when Tank and Dozer are killed by
Cypher in the real world. He chooses this time to center his tonality in D minor, used on several
instances in The Matrix, though not exclusively, as the key of death. Following the idea that Davis
does not like to strictly repeat material verbatim, Davis also varies the rhythm slightly from the
46
The Matrix, Composer Commentary, 0:39:42-0:39:50.
47
Don Davis, Back cover.
73
previous instance. Though Tank is later revealed to have survived the attack, Davis scores the
moment as though we are to assume he and his brother have both died.
q = 148.19
Laser Blast
104
b>œ ˙™ 105 >œ ™ >œ ™ 106
˙ œ >œ
107
œ
>œ ˙
bœ ˙™ œ™ œ™ ˙ œ œ œ ‰ œ ˙
&4
4 ‰ bœ ˙™ ‰ œ™ ‰ œ™ ˙ œJ ‰ œ œ ˙
J œ J
Orchestral ^j fff ^j ^j ^j ^j
Reduction
?4 œ ‰ Œ Ó œ ‰ Œ œ ‰ Œ Ó ‰ œ Œ Œ œ ‰ Ó
{ 4 œ
œ
œ
œ
œ
œ
œ
œ
œ
œ
sffz sffz sffz sffz sffz
Example 6-3b. Death theme in 5m5 “Exit, Mr. Hat,” m.104-107, 1:26:22-1:26:29.
6-4. D Minor
In music, the key of D minor has occasionally though certainly not exclusively been
associated with death for hundreds of years, probably most famously with Wolfgang Amadeus
Mozart’s Reqiuem mass (1791). Other examples include Mozart’s Queen of the Night aria “Der
Hölle Rache” from his opera Die Zauberflöte (The Magic Flute) (1791), and Franz Schubert’s
string quartet known as Death and the Maiden (1824). In Rick Altman’s book, Silent Film Sound,
Altman points out that one of the most significant early collections of music for silent film
accompaniment, Sam Fox Moving Picture Music (1913) by J.S. Zamecnik (who studied with
Antonín Dvořák), included an original “Death Scene” and “Funeral March,” both in D minor.48
Two famous examples from modern film scores would include much of the “Death of Titanic” cue
48
Altman, pg.260-261.
74
from Titanic (1997) by James Horner49 and “The End of All Things” from The Lord of the Rings:
Davis too favors D minor for use in several scenes in The Matrix. One example has already
been mentioned - Davis’ use of the death theme for when Dozer is killed. Davis also arrives
2m5 “Switched at Birth” (m.30) when Neo first gazes upon the endless towers of humans encased
in oval capsules at the Power Plant, and in 3m3 “Nascent Nauseous Neo” (m.50) over a shot of the
endless fields of humans being harvested by machines for sustained power. Davis also centers in
on D for three moments featuring Agents - when Agent Smith arrives before fighting Morpheus in
5m4 “Threat Mix” (m.180), when an Agent is just about to shoot Neo in 6m7 “Dodge This” (m.26),
and when Agent Smith is destroyed in 7m3 “He’s The One Alright” (m.128).
q = 116
Cut Power Plant
30
>
w
31
œ >œ >œ >3œ >œ 32
>œ >œ >œ >œ >œ >œ >œ >œ >œ >œ 33 w>
4 w
w œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b ww
&4 w
w
w œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ bw
w
w
Orchestral ff 33 33
Reduction 3
?4 w œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ bw
{ 4 www œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w
w
w
w
> œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ w>
Example 6-4. D minor in 2m5 “Switched at Birth,” m.30-33, 0:33:24-0:33:32.
Nearly every occurrence of death throughout The Matrix is orchestrated with chimes, using
one technique or another. This includes the deaths of Mouse, Apoc, Switch, and Neo. The one
exception is that of Dozer, whose death theme does not include any strike on the chimes. Davis’
49
Don Davis was an additional orchestrator for James Horner on the film Titanic (1997).
75
also uses chimes to foreshadow death, such as the steady pulse of clock-like chimes before
Cypher’s death, and an aleatoric smattering of ad-libbed pitches just as Sentinels are about to kill
everyone on board the Nebuchadnezzar, just before Morpheus is able to activate the
electromagnetic pulse. The most prominent uses of chimes occur in 5m6 “On Your Knees,
Switch,” when Davis instructs all bells of the chimes to be struck with a 2x4, underscoring the
q = 63.3
Apoc Falls
42
strike
4 >))–– all bells with 2x4
Chimes & 4 ))——
ff
Example 6-5. Death chimes in 5m6 “On Your Knees, Switch,” m.42, 1:29:05-1:29:09.
It is interesting to note that chimes also accompany the concept of birth in two places -
when Neo is “reborn,” awakening for the first time in the real world, and when Agent Smith
reappears after having been hit by a subway train, apparently having simply assumed the identity
7. Aleatory
In music, aleatory refers to a concept of randomness or chance. The most common aleatoric
notation is simply to give a musician a gesture or a suggested motion with the phrase ad lib.
Because of the chaotic nature of an aleatoric sound, these techniques often appear in horror scores
or scenes that depict chaos. Multiple aleatoric techniques appear throughout The Matrix, yet
additionally there is one cue, 2m2 “Unable to Speak,” that is composed entirely using aleatoric
gestures.
76
…the scene in which the Agents place a tracking device in Neo’s stomach [is] probably
the most overtly “horror” moment in the picture, and it gave me an opportunity to do
something that I’ve been wanting to do for quite a while… There’s a technique amongst
the Polish school of composers, Lutoslawski and Penderecki, where they would come up
with a bit of music that would repeat itself in one section, and another bit of music that
would repeat itself somewhere else. And these little… musical mobiles would sort of float
in time in and out with loudness and softness, and I was able to cue each of these things
with points in the picture that would come up… I’d like to do a whole picture that way
sometime… this clearly wasn’t the picture for that, but this certainly was the moment for
it.50
A few composers have already beaten him to the punch. John Corigliano composed a
largely aleatoric score for the film Altered States (1980). Corigliano’s use of aleatory is
into the next state of consciousness. John Williams has also composed scores heavily utilizing
aleatoric effects, especially Images (1972), but also Close Encounters of the Third Kind (1977).
Aleatoric effects have become a common technique for the horror genre in film. This is most likely
attributed to the use of Penderecki’s works in the films The Exorcist (1973) and The Shining
In 2m2 “Unable to Speak,” Davis spotted the scene with eleven separate markers for
various events, each marked by timecode. As the conductor, Davis would have watched for visual
streamers51 which would have been given to indicate where these markers fall, so that he would
50
The Matrix. Composer Commentary, 0:18:51-0:19:57.
51
Streamers are vertical lines of various colors that are added to film projection for a scoring session. The lines
move from the left to right edges over a period of a few seconds. The streamers are visual indications of important
events, such as starts, stops, tempo changes, or important downbeats, which fall immediately upon the streamer
reaching the right-side edge.
77
be able to precisely cue the timings of entrances at each of these separate events. In the score, the
various members of the orchestra are instructed to play approximate gestures, each at their
appropriate cue. The gestures are typically variations creating machine [012] sound masses, or
twelve-tone rows, that are designated to repeat ad lib until a given marker. Thus, the cue is designed
ironically with a great deal of structural predetermination despite the overall disorderly sound. The
cue is designed to be a continuous crescendo from beginning to end, with each marker adding more
and more intensity to the overall chaos of the scene. This style of “limited” aleatoric composition
is largely accredited to Witold Lutosławski, beginning with Jeux Vénetiens (Venetian Games)
(1961).52
[2m2 “Unable to Speak”] was really kind of a departure stylistically from something that I
had determined I wanted to express in this score. When the Wachowskis first approached
me about the music, the main thing they wanted was something as creatively different as
The aleatoric technique that Davis uses most often in his score for The Matrix is that of a
long, slow gliss. This texture is extremely effective at creating an increasing sense of anxiety.
Davis uses it in both directions throughout the score, either ascending or descending. In general, it
also features machine clusters, most often [012]. Example 7-1 shows two separate [012] clusters
in strings that rise by an interval of a tritone over nine measures, arriving on two entirely new [012]
clusters. This moment accompanies Agent Smith’s explanation to Morpheus of his peculiar theory
that humans should not be classified as mammals and are actually more akin to a virus.
52
Stucky, pg.133.
53
The Matrix. Composer Commentary, 0:21:32-0:21:54. Davis humorously refers to 2m2 “Unable to Speak” as
“The shrimp in the belly music.”
78
7 8
3 q = 124.72 4 5 6 9 10 11 12
#b œœœ long slow gliss. ## ww
w
4
&4
String
Reduction long slow gliss.
4 b œœœ # ww
w
{
&4
ppp pp
Example 7-1. Long slow gliss in 6m3 “The Cure,” m.3-12, 1:38:15-1:38:32.
At two places where Davis scores sharp moments of surprise, he asks for strings to gliss
up to their highest pitch possible. The first moment (Example 7-2) marks the very sudden scene
change where Neo wakes up after his early interrogation/torture scene with the Agents. The second
is at the end of the film when Neo steals a random businessman’s cell phone; the man calls for
help and as he turns around, it is Agent Smith, accompanied by a similar string gliss. Both
occurrences of this technique are accompanied by rips in the French horns, which are not aleatoric
Neo Wakes Up
gliss. up to highest pitch possible
10 Probe Inside Neo's Belly Button 1
œj
Violin
Viola & ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
sfffz
Example 7-2. Gliss up to highest pitch possible in 2m2 “Unable to Speak,” m.10, 0:21:25-0:21:31.
At a few places in The Matrix where Davis wants to create the most aggressive high
frequency cacophony he can, he will ask the upper strings to tremolo at whatever the various
musicians’ feel is their highest possible note. The result is an unpredictable microtonal mass of
sound. Example 7-3 shows Davis’ use of the technique the first time that Neo is jacked in to the
Matrix. The aleatoric effect signifies Neo’s sudden and extreme level of discomfort that is (just as
79
suddenly) taken away as Neo finds himself alone and pain-free in the Construct. This is easily one
q = 89
Neo Screams
36 highest possible note 37 38 Cut to Matrix
!™ ! 1
Violin I
Violin II &4
3 ææ 2 ææ J ‰ Œ
Viola
4
ff
Example 7-3. Highest possible note in 3m2 “Cold-Hearted Switch,” m.36-38, 0:39:18-0:39:21.
This technique, which appears a few times in the violas, asks the instrumentalists to bow
across each of their strings in the space between the bridge and the tailpiece. This is very similar
to a technique used by Penderecki in Threnody for the Victims of Hiroshima (1960). Example 7-4
shows the technique during the scene from 5m6 “On Your Knees, Switch,” in which Trinity calls
Tank to exit the Matrix, and unexpectedly, Cypher answers instead. This glassy atonal texture
supports the notion that Cypher has completely lost his humanity, having betrayed his shipmates
by making a deal to serve the machines. Davis again uses this same technique in 6m4 “It’s the
Smell” during Agent Smith’s interrogation of Morpheus. Davis uses this effect to draw a
connection between Cypher and Agent Smith, the two primary villains, who are similarly
complaining maniacally about how they can no longer tolerate being a part of their individual
surroundings.
q = 64.15
Trinity And Displays
trem. between bridge and tailpiece, ad lib.
5 6 7 8
æ ¿ ¿
Viola B4
4 ≈ æ ¿æ ¿ ¿
¿ 3
4
2
4 j ‰
¿
mp
æ æ æ æ ¿
al niente
Example 7-4. Tremolo between bridge and tailpiece in 5m6 “On Your Knees, Switch,” m.5-8, 1:26:54-1:27:05.
80
8. Twelve-Tone Technique
Twelve-tone technique has rarely been used in music for film, perhaps because of the tedious and
time-consuming nature of its use, or perhaps simply a total rejection or ignorance of the
compositional style. Yet twelve-tone technique has been used by several film composers to achieve
various emotional effects. In Leonard Rosenman’s score for The Cobweb (1955), Rosenman uses
twelve-tone technique to insight horror. Miklós Rózsa uses it for Satan’s theme in King of Kings
(1960) to represent temptation and evil. Jerry Goldsmith uses it in Freud (1962) to represent the
mysteries of the unconscious human mind. Goldsmith uses it again to a different end in Planet of
the Apes (1968) to represent the future and the unknown, as well as part of the primitive and alien
sound of the apes’ culture. David Shire uses it in The Taking of Pelham 1 2 3 (1973)54 to
accompany crime and chaos. Davis utilizes twelve-tone technique in his score for The Matrix as
well. What’s interesting here is not simply that he uses it, but rather that, like other film composers
who have used twelve-tone composition in their film scores, Davis has an emotional effect in mind
Davis first uses the technique in 1m2 “Trinity Infinity” at m.78 of both piano one and piano
two. As a side note, piano two is marked to be prepared with metal objects between strings, thus
q = 136
78 Grabs Arm 79
Piano 1-2
?4 œbœ nœ œ#œ#œ nœ œ nœ#œ œ œbœbœ œ#œ œ œ œ œbœbœ œbœ #œ nœ œ
4 œ #œ nœ bœbœ
œ
fff molto marc.
54
Karlin, pg.235-236.
81
The row is first presented as E, F#, C, Bb, F, G, C#, D#, B, A, D, and G#. From these first
I0 I2 I8 I6 I1 I3 I9 I11 I7 I5 I10 I4
P0 E F# C Bb F G C# D# B A D G# R0
P10 D E Bb G# D# F B C# A G C F# R10
P4 G# Bb E D A B F G D# C# F# C R4
P6 Bb C F# E B C# G A F D# G# D R6
P11 D# F B A E F# C D Bb G# C# G R11
P9 C# D# A G D E Bb C G# F# B F R9
P3 G A D# C# G# Bb E F# D C F B R3
P1 F G C# B F# G# D E C Bb D# A R1
P5 A B F D# Bb C F# G# E D G C# R5
P7 B C# G F C D G# Bb F# E A D# R7
P2 F# G# D C G A D# F C# B E Bb R2
P8 C D G# F# C# D# A B G F Bb E R8
RI0 RI2 RI8 RI6 RI1 RI3 RI9 RI11 RI7 RI5 RI10 RI4
Table 8a. Tone-row matrix used in The Matrix.
Of course, Davis’ use of a tone-row matrix for a movie titled The Matrix is somewhat of
an inside pun, likely known only to himself and to those who have intensely studied the full score.
Davis clearly enjoys word play, evidenced by his clever and sometimes esoteric naming of cues in
From m.78-91 of 1m2 “Trinity Infinity,” Davis utilizes four of the transformations within
the tone-row matrix. First of course is P0, followed by RI11, then I8, and finally R1. Each of these
iterations from m.78-80 contain all twelve notes in order in a continuous minimalist ostinato of
sixteenth notes, directly followed by each subsequent transformation. After completing these four
transformations, they each then repeat in the same sequential order. The only anomaly from m.78-
91 is in m.87, where only eight of the twelve notes are used, most likely to set up a complete
82
q = 136 79
Grabs Arm RI11
78 P0 I8
?4 œ #œ#œ nœ œ nœ#œ œ bœbœ œ œ œ œ œbœbœ œbœ
œ #œ bœ nœ œ n œ #œ nœ œb œ b œ
Piano 1-2 4 œ #œ
œ
fff molto marc. R1 81 P0
80
? œ bœ 3 #œ nœ œ nœ
œ œ #œ œ bœ œ n œ œ #œ #œ nœ #œ nœ nœ 4 œ #œ
œ bœ
nœ œ
#œ #œ
In the film, this example accompanies the very first fight scene in The Matrix between
Trinity and four police officers, including the very first “bullet time” shot, during which Trinity
seems to ascend in slow motion into the air before a violent and powerful kick to one of the officers,
the force of which impossibly sends him flying across the room. At this point in the film, the
audience does not know that Trinity is to become a hero in the film, nor would they know how any
of the actions from Trinity are possible. All they know is that the officers are clearly no match for
Trinity, who seems to possess God-like powers, able to bend the rules of physics by running across
walls and outrunning bullets, as well as demonstrating superhuman speed and strength. Davis’ use
of twelve-tone technique here adds a musical element of chaos and confused panic on the part of
the officers trying to detain Trinity. On a deeper level, Trinity’s fighting actions, like the twelve-
tone rows accompanying them, are precise, calculated, and perhaps even pre-determined.
Davis again uses another twelve-tone section toward the end of 1m2 “Trinity Infinity” as
Trinity attempts to outrun Agent Smith in a speeding truck to a phone booth, so that her
consciousness can be safely transmitted out of the Matrix through the phone line. Here the twelve-
tone composition creates wild tension, and only resolves when it appears at as though Trinity is
crushed to death by the head-on collision of the truck with the phone booth. However, when Agent
Smith discovers no body in the aftermath, it is clear that Trinity did in fact escape in time.
83
From m.177-182, the two piano parts are very similar to those used from m.78-91,
continuing with the transformation order of P, RI, I, and R, but this time swapping the
transpositions from zero, eleven, eight, and one to one, eight, eleven, and zero, respectively. This
would seem to fit with Davis’ ongoing implementation of reflection in his score, flipping orders
around like a mirror so as to create retrograded variations. He also presents two other rows, RI10
and RI6. RI10 begins with a Bb in m.177 of the flute and oboe parts, then continues with the second
through seventh notes of the row in the trombones, cimbasso, timpani, violoncelli, and
contrabasses. RI6 begins with a Gb (F#) in the trombones etc. and continues with the second
84
q = 135
177 Trinity Runs RI6: 2 178 3 4
Horn 1-6
3
&4 Œ ‰ 2 j 3
œ™ 4 >œ™ bœ 4
RI6: 1
> RI10: 2
>
Trombone 1-4 ff
Cimbasso
Timpani
?3 2 ˙ 3
4 b˙ ™ 4 4
Violoncello
Contrabass b˙™ >˙
ff >
P1 RI8
?3 bœ œ 2 œ nœ 3
Piano 1-2 { 4 œ œ #œ œ #œ #œ œ œ nœ bœ 4 #œ œ #œ #œ œ œ 4
œ
ff marc.
179 5 6 180 7
3 >™ #>œ 2 œ™ j 3
&4 œ 4 œ 4
œ J >
3 4 5
b>œ
? 3 >œ ˙ 2 œ bœ 3
4 œ >˙
4 œ 4
I11
?3 œ bœ #œ œ œ œ nœ nœ 2 3
bœ œ nœ #œ œ nœ œ
{ 4 #œ œ bœ œ 4 bœ 4
181 8 9 182
3 j >œ 2 ˙
&4 œ œ™ 4
> fff
6 7
>˙ >˙
œ ˙
?3 œ ˙ 2
4 4
fff
R0 P1
? 3 bœ bœ 2 bœ œ
{ 4 œ œ bœ œ #œ n œ nœ œ #œ nœ 4 #œ #œ œ œ œ b œ
Twelve-tone rows are also a technique of choice for Davis as he composes his limited
aleatoric sections for 2m2 “Unable to Speak.” Example 8d shows the first iteration of rows in the
85
I2 (10/12)
4 Neo Lifts Hands P10
bœ #œ bœ bœ œ ™™î ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
&
f molto marc.
nœ nœ œ î
î
Piano 1
î
? œ bœ bœ œ œ nœ #œ œ #œ ™™î
{ œ
R9
œ œ
I9 (10/12)
nœ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
? bœ bœ bœ nœ œ bœ ™™î
Piano 2 { œ œ bœ œ
œ œ œ b œ nœ b œ
n œ bœ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œ œ
f molto marc. nœ
Example 8d. Twelve-tone technique in 2m2 “Unable to Speak,” m.4, 0:20:40-0:20:47.
At this moment during the interrogation scene between the Agents and Neo (then Thomas
Anderson), Neo’s mouth has just mysteriously disappeared, and Neo, confused and panicked,
stumbles up from his chair and backs quickly into a corner as Agent Smith looks on with a sinister
smile. In both piano parts, Davis uses the last note of the first row as the first note of the second.
This is a technique that he will continue to use throughout the score, using the last note of a row
as a springboard to the next. Davis does not complete the second row in either piano part, instead
he only uses ten of twelve notes. Feathered beaming is also used to further randomize the rhythms
of the individual parts; as one speeds up, the other slows down, and vice-versa. This also plays
into Davis’ themes of both reflection and the manipulation of time, speeding up and slowing down.
Rows of various transformations are continued to be used throughout the cue in the violoncelli,
pianos, flutes and piccolo, xylophone, vibraphone, contrabass clarinet, bassoon and contrabassoon,
and contrabasses.
During the next twelve-tone appearance in 2m5 “Switched at Birth,” Neo, having awoken
in the Power Plant from the Matrix and determined to be disposable by a machine, violently
disconnects the various cables from Neo’s body and drains the gelatin from his tube-shaped pod,
86
sucking Neo out with it. He is dumped through a long series of pipes out through an opening down
into a sewer main. The rows here once again reflect Neo’s sense of total confusion, panic, and
differently from previous iterations. In example 8e, Davis uses two rows, P6 and I1, in close canon
q = 117
Connectors Detach P6 55 I1
54 3 3
3 3 3 3 3
4 3
nœ #œ œ œ nœ bœ bœ œ œ
&4 #œ œ œ> bœ >œ >œ nœ > b>œ b>œ b>œ n>œ n>œ #>œ
Horn 1-6
bœ > >œ > > > > > >P6>(Canon)
> > > > >
I1 (Canon) (9/12)
Trumpet 1-3 fff
Trombone 1-2 3 3 3 3 3
3
4
&4 Œ 3
nœ #œ œ œ nœ bœ bœ œ œ nœ œ nœ œ bœ bœ bœ
œ
#œ œ
b>œ >œ > > > > > > > > > > > > > > > > > > >
fff
The rows are orchestrated among each of the six horns, the three trumpets, and the first two
trombones. For brass, playing complete rows (especially with large intervallic leaps) in rapid
succession would be nearly impossible on an individual basis. To make it playable for the brass as
a whole, Davis orchestrates so that the triplets are broken up among the available players, carefully
arranging to always have three players to a part, dovetailing one into another so that no single brass
instrument is playing more than six triplets at a time without rest. This particular orchestration
makes twelve-tone mapping a bit trickier, but Davis’ intentions are still clear. Table 8b diagrams
the orchestration for each transformation of the row among each brass instrument.
87
Horn 3-4 (1-6) - - > Horn 1-2 (7-12)
P6
Trombone 1 (1-3) - - > Trumpet 1 (4-9) - - > Trumpet 3 (10-12)
Horn 5-6 (1-6) - - > Horn 3-4 (7-12)
P6 (Canon)
Trombone 2 (1-3) - - > Trumpet 2 (4-9) - - > Trumpet 1 (10-12)
Horn 5-6 (1-6) - - > Horn 3-4 (7-12)
I1
Trombone 1 (1-3) - - > Trumpet 1 (4-6) - - > Trumpet 3 (7-12)
Horn 1-2 (1-6) - - > Horn 5-6 (7-9)
I1 (Canon)
Trombone 2 (1-3) - - > Trumpet 2 (4-6) - - < Trumpet 1 (7-9)
Table 8b. Orchestration of rows in 2m5 “Switched at Birth,” m.54-55, 0:34:10-0:34:14.
Davis continues to use twelve-tone rows in 2m5 “Switched at Birth” through m.56-62. The
piano, violin I (doubled by oboes), violin II (doubled by clarinets), viola, and violoncello (doubled
by bassoons) all have separate transformations. The presentation of each of these rows is similar
to that of 2m2 “Unable to Speak,” in which the last note of each row is also the first note of the
next.55
In review, Davis seems to have used twelve-tone technique for moments of chaos,
confusion and panic among primary characters, especially Trinity and Neo. This puts The Matrix
in a very small group of film scores that have ever used twelve-tone composition as a tool to
55
There are so many mistakes in the copying among these measures that a score reduction of this section would
seem incomplete. Davis was likely either in a hurry or otherwise not concerned with following the rows with perfect
notational accuracy.
88
9. Fantasy Exoticism
One of the most essential roles that a score can play in a film is to musically indicate to an audience
as to a particular place or time in which the film is set. Exoticism in music may be characterized
as attempts to evoke the musical identity of a distant location, people, or social environment. This
is not a new concept - Mozart, Camille Saint-Saëns, Giacomo Puccini, and Gustav Mahler all
composed exotic music with the intention to evoke other cultures, just to name a few.56 But since
the dawn of cinema, a new type of exoticism has emerged. Traditional exoticism may now be
called “real” exoticism and would be for example a scene in a film set in France accompanied by
the sound of a musette, or in Italy by a mandolin. But what if a scene is set on another planet, or
perhaps a fictional earth filled with mythological creatures? What if it were set two hundred years
in the future or two thousand years in the past? Would the filmmakers of such a story find it
necessary to evoke a sense of cultural identity to an alien race using music? Many films have done
just this, particularly in the science-fiction and (to a greater extent) fantasy genres. Therefore, it
may make sense to label this style as “fantasy” exoticism. Fantasy exoticism, though perhaps never
having been so precisely named, has been a part of film music for as long as there have been
original scores, found as early as Max Steiner’s music for the tribes of Skull Island in the original
King Kong. Many of the epic fantasy franchises have and continue to make a conscious effort to
establish a fictional cultural identity using music, including Howard Shore’s The Lord of the Rings
(2001-2003) scores, Harry Gregson-Williams’ The Chronicles of Narnia (2005, 2008) scores,
James Horner’s score for Avatar (2009), as well as both Jerry Goldsmith and Michael Giacchino’s
scores for the Planet of the Apes (1968-2017) and Star Trek (1979-2016) movie franchises. In each
56
Locke.
89
of these cases the composers assembled an eclectic mix of world instruments and styles to form a
One particular scene in The Matrix utilizes this concept in great detail - the sparring match
between Neo and Morpheus. On The Matrix DVD Composer Commentary, Davis notes “…The
training sequence - there’s actually three parts to it. The first part was a setting of Asian percussion
instruments. We had five percussionists and I wrote out semi-improvisational [parts] for them…
to [underscore] Neo and Morpheus sparring.”57 The most featured use of these instruments falls
within the cue 3m6 “Domo Showdown,” however they are again utilized in 3m8 “Switch or Break
Show,” this time blended with orchestra. To fully understand how Davis creates fantasy exoticism
in these cues, it is important to list and explain each of the various instruments used.
Taiko and daiko are both Japanese words simply meaning “drum,” but more specifically
drums with double braced or nailed heads, either barrel or cylindrical, that are struck with short
sticks having leather covered handles.58 One historical use of taiko drums was as a morale booster
for troops during times of war, as well as to intimidate enemy forces. They have been used in the
practices of both of Japan’s two major religions, Shinto and Buddhism.59 Though The Matrix was
not the first film to use taiko drums, scoring for taiko drums has nevertheless been a huge sensation
in Hollywood film music since 1999, mostly because of their huge thundering sound, particularly
when scored for action films and epics. This was likely made popular by Hans Zimmer and the
57
The Matrix, Composer Commentary, 0:46:56-0:47:18.
58
Blades, pg.123-124.
59
“History of Taiko.”
90
composers he has collaborated with, possibly beginning with Zimmer’s score for The Last Samurai
(2003).
Davis composes for both taiko and daiko drums on one percussion line, with the only
assumed difference between the taiko and daiko being that the daiko should be a larger size, thus
producing a deeper tone than the taiko. The two drums are used as the primary driving force of
q = 140
Taiko &
4
÷ 4 Crew Watching
œœœœœœœœœœœœœœœœ
5
œœœœœœœœœœœœœœœœ
Daiko 4
mf
Example 9-1. Taiko & Daiko in 3m8 “Switch or Break Show,” m.4-5, 0:52:21-0:52:24.
9-2. Hiridaiko
The prefix “Hiri” is probably meant to be “Hira,” and Hiradaiko (Hira daiko) in Japanese
would translate to “Gong drum,” because both the shape and sound are similar to that of a gong.60
Davis does indeed mostly use the instrument like a gong, often as quick single hits to double the
various gongs and tam tam in both 3m6 “Domo Showdown” and 3m8 “Switch or Break Show.”
One exception is a brief rhythmic variation using the sticks on the rim during Neo’s opening
moves.
q = 126
Neo's Opening Moves
sticks on rim
13 3 3 3 3 14
Hiridaiko ÷ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w
4 mf
60
“Types of Taiko.”
91
9-3. Da-daiko
The da-daiko is Japan’s largest and most picturesque drum. It is often placed on a special
platform, draped and tasselled, with a gold railing and steps. The cylindrical body is four feet in
diameter and five feet in depth.61 Davis uses the da-daiko sparingly in 3m8 “Switch or Break
Show,” adding a very deep low-end to the most important hits in the cue.
q = 140 Mouse
2 j 3 l.v.
Da-daiko ÷ 4 Ó Œ ‰ œœœ œ w
4 mp
9-4. Odaiko
The odaiko (o-daiko) is the smallest of the taiko drums used by Davis, and therefore has
the highest pitch. Since the instrument is small, it is often carried, and has historically (most likely)
been used in processions.62 Davis only uses it for one measure in 3m8 “Switch or Break Show,”
though it can be heard very clearly in the final mix as the Nebuchadnezzar crew anxiously observe
q = 140
3
÷ 4 play on drumhead and rim, ad lib.
Odaiko 4œ œ œ œ œ œ
p
œ œ œ œ œ œ œ œ œ œ
mf
Temple bells, or camel bells, are a set of twenty-three hanging bells of various pitches from
India. The bells can be struck individually, glissed, or shaken. The largest bell includes a metal
61
Blades, pg.124.
62
Richards, pg.44.
92
knocker which can be shaken.63 In Hinduism, the playing of bells when entering a temple
announces one’s presence to the Hindu deities. The temple bells in 3m6 “Domo Showdown” are
one of the first instruments to be heard when we first see Neo in the training program’s virtual
Dojo environment, ready to show off his newly learned fighting skills to Morpheus. Perhaps the
temple bells are Davis’ way of announcing the presence of Neo as he begins to discover that he is
The One.
q = 124
2 let all ring 3
¿
¿ ¿ ¿
3
¿ ¿ O— Ó
4
mp
A nipple gong, also called a button gong, or domed gong, is a pitched bronze plate with a
raised boss in the center, where it is struck with a felt or cloth mallet. Different sizes of nipple
gongs will produce different pitches.64 Though found in various countries throughout Asia, nipple
gongs are also used for worship, particularly in Chinese and Thai Buddhist temples. Davis utilizes
a number of sizes of nipple gongs to create melodic colors in 3m6 “Domo Showdown.” Only one
is used in 3m8 “Switch or Break Show,” doubling other types of gongs at film cuts or actions.
q = 126
2nd Attack Missed Highkick 1
29 3 30 3 31
3 ¿ ¿ ¿ ¿
Nipple Gongs ÷ 4 ¿ ¿ ¿ ¿ O™—
mf
63
Richards, pg.24.
64
Adato, pg.26.
93
9-7. Opera Gong
The opera gong, or bending gong, is a Chinese gong that, when struck, bends pitch quickly
either up or down, like a glissando.65 In Chinese opera, a gong will often accompany the entrance
of an important character,66 and that is essentially how Davis uses the instrument in its first
appearance. Neo presents his opening move, showing that he does indeed now understand the art
of kung fu to Morpheus. Just as he lands into an impressive stance at the ready, the opera gong
q = 126
14
Opera Gong ÷ 4 O— Ó
4 mf
The tam tam is the name in Europe and the Americas for a flat surface gong with indefinite
pitch. They are often made in China but primarily used in the West. The layman would probably
identify the sound as that of a “gong.”67 Davis uses a large tam tam in 3m6 “Domo Showdown,”
in a somewhat cliché way, as the opening identifying sound accompanying establishing shots of
the Dojo in which Neo and Morpheus are about to fight. A small tam tam is also called upon one
time very briefly. Davis uses the tam tam once more in 3m8 “Switch or Break Show” to accent the
moment that Morpheus momentarily bests Neo. The use of tam tam in these two cues is very
65
Rodier, pg.iv.
66
Though in Chinese opera, the gong is struck repeatedly to accompany the entrance of an important character,
Davis only strikes it once.
67
Richards, pg.10.
94
different from that of the tam tam elsewhere in the score, where Davis uses percussive scrapes on
q = 124
Cut Domo
1
Large Tam Tam ÷ 4 O— Ó
4 f
Example 9-8. Large Tam Tam in 3m6 “Domo Showdown,” m.1, 0:49:10-0:49:12.
The monkey drum, rattle drum, darmu, or dameru,68 is an hour-glass shaped Indian drum
with two heads. When the drum is moved quickly back and forth using the wrist, two ends of a
connected rope will hit the center of each head, producing a quick rattling sound.69 Though it is a
sacred instrument associated with Hindu tradition (dameru), it is secularly referred to as a monkey
drum, because Indian entertainers often perform alongside a dancing bear or monkey, with the
animal fascinated and amused by the sound of the instrument.70 Davis uses the monkey drum at
the beginning of 3m6 “Domo Showdown” primarily to create atmosphere, rattling softly to loudly
and then back. Later in the cue, and again in 3m8 “Switch or Break Show,” the monkey drum is
used to add accents and rolls into various hits and actions.
q = 124
2
4 æ 3 æ
Monkey Drum ÷ 4 wæ wæ
p mf p
68
As named in Blades, pg.142.
69
Beck, pg.59.
70
Blades, pg.142-143.
95
9-10. Chinese Tom Toms
Chinese tom toms (tom-toms), or yingku,71 are small wooden shell drums of various sizes
with thick animal skin heads tacked to the shell. Small iron rings are attached to the side of the
drums, which produce a rattling sound when struck. They are painted with dragons and other
traditional Chinese designs and are a direct predecessor to the modern-day drum set tom toms.72
Davis uses the Chinese tom toms as one of the driving rhythmic instruments in both cues
underscoring Neo and Morpheus’ sparring match. In 3m6 “Domo Showdown,” the Chinese tom
toms share interlocking sixteenth-note rhythms with both the conga / tumba and Korean squeeze
drum. In 3m8 “Switch or Break Show,” as the fight grows in intensity, the Chinese tom toms
accent and support the driving rhythms of the taiko & daiko.
q = 124 q = 126
12 13 Neo's Opening Moves 14
Example 9-10. Chinese Tom Toms in 3m6 “Domo Showdown,” m.12-14, 0:49:31-0:49:36.
The conga and the tumba are both long, single-headed Afro-Cuban barrel drums. Typically,
congas are built in three sizes from smallest to largest - quinto, conga, and tumba. The tumba has
a bit more diameter than the conga, giving it a deeper tone.73 Played by a single percussionist, the
conga and tumba are two of the primary instruments Davis uses at the beginning of Neo and
71
An alternate name in Richards, pg.40.
72
Beck, pg.18.
73
Beck, pg.20.
96
q = 124 q = 126
11 12 13 Neo's Opening Moves 14
Conga ÷ 4 Ó ˙ >
œ ‰ Œ Œ ‰ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ w
Tumba 4 æ J
mp f mf
Example 9-11. Conga and Tumba in 3m6 “Domo Showdown,” m.11-14, 0:49:29-0:49:36.
Cheng cheng, or cengceng (also cheng-cheng or ceng-ceng), are a small set of Balinese
onomatopoeia for its sound. Davis only uses them a few times in 3m6 “Domo Showdown” as
q = 124
12
Cheng Cheng ÷ 4 O— Ó
4 mp
The Korean squeeze drum, also known as the chang go, janggu,75 or hour-glass drum,76 is
a double-headed hourglass-shaped drum. Laces connect both heads of the drum, so that when they
are squeezed, the pitch of the instrument will change.77 It is obvious from the name that this
instrument originated in Korea. In general, Davis uses the Korean squeeze drum as one of the
driving rhythmic instruments to heighten action in the sparring match between Neo and Morpheus
74
Tenzer, pg.172.
75
An alternate name in Rodier, pg.iv.
76
An alternate name in Richards, pg.39.
77
Beck, pg.46.
97
in 3m6 “Domo Showdown.” He once calls on the performer to tighten the drum’s laces to produce
a glissando up and then down at the beginning of 3m8 “Switch or Break Show.”
q = 140
Neo's Head Backward
1 tighten drum to gliss. 3 2 l.v.
3
Korean Squeeze Drum ÷ 4 œ
4 œ ˙
mp mf mp
Example 9-13. Korean Squeeze Drum in 3m8 “Switch or Break Show,” m.1-2, 0:52:15-0:52:19.
As with the Chinese tom toms, Davis changes the role of the Korean squeeze drum in 3m8
“Switch or Break Show” to support the rhythmic taiko & daiko parts with flourishes and accents.
After learning of the origins of each of the various exotic percussion instruments Davis
uses in The Matrix, including their various religious and cultural backgrounds and histories, it is
clear that Davis is using instruments from all over the Far East, and not specifically trying to
emulate one particular area. Just in one composition, he combines sounds from the countries of
By mixing instruments of not just one, but multiple countries, Davis is reflecting the
fakeness of the environment itself. The Dojo program appears to be Japanese, but it is most
Japanese Dojo should look like. The Matrix takes place approximately one hundred years in the
future, and an important part of the story, as explained by Morpheus, is that a detailed knowledge
therefore logical to assume that programs containing objects and locations, even including the
Matrix itself, is not necessarily authentic to human history. In the same way, Davis’ cue is merely
an approximation of Japanese cultural music, again with many creative liberties taken. This new
98
hybrid performance including instruments from all over the world suggest that the environment in
which they are fighting is not real, which also is the principal lesson that Neo is to learn in the
scene (Morpheus to Neo - “You think that’s air you’re breathing now?”). Davis is creating music
that, to re-word a quote from Morpheus in The Matrix, is everywhere, and is nowhere. That is why
it cannot fall clearly under the style of exoticism, as it does not specifically represent a real place
or a real culture. Therefore, the style is fitting to describe as fantasy exoticism, in that it evokes a
place or culture that only exists in a fictional story, reinforced musically by using creative
One of the most impressive facts about Davis’ score for The Matrix is that he orchestrated the
entire film completely on his own.78 This is practically unheard of, especially moving into film
scores of the twenty-first century, if for no other reason than simply because of the fact that on the
average project, a composer will not have enough time to convert their own scores from MIDI to
notation. High-budget films today will often use multiple orchestrators who can divide up the
workload in order to complete full scores very quickly. But because of his background and
experience as an orchestrator prior to The Matrix, Davis was certainly comfortable with the
process, and likely had very specific ideas about how his score should be notated, to the point that
One of the most interesting things about Davis’ orchestration in The Matrix is that he uses
many rare and unusual percussion instruments. Clearly, he must have spent a great deal of time in
research to discover and select the instruments that he ultimately used, many of which have rarely
78
The Matrix, Composer Commentary, 1:01:40-1:01:42.
99
if ever been used in film scores or concert music. The use of these instruments contributes to the
incredibly unique tonal palette of The Matrix, creating a distinctive sound for an astonishingly
original film.
One of the most identifiable sounds of Davis’ score for The Matrix is a short, accented
combination of various instruments that Davis simply describes as “pile drivers.”79 He likely
describes them as such in comparison to machinery of the same name used in construction, which
forcefully drives beams into soil to provide support for buildings. These machines are like
immensely large metallic hammers. Davis varies the instrumentation used for this effect
throughout the score, using combinations of the following percussive instruments and techniques
- piano (often utilizing high and low elbow clusters), anvil, bass drum, timpani, Bartok pizzicati in
violoncelli and contrabasses (producing a snapping effect, and often pitched in [012] machine
clusters), suspended cymbal, chimes, field drum, slapstick, tam tam (hits and scrapes), piatti, and
snare drum. The end result is an aggressive metallic hit, most often with the anvil being the
dominant sounding instrument because of its high frequencies. Davis uses orchestrational
variations of pile drivers on numerous occasions in The Matrix score, often to hit film cuts and
changes of scene, but in greatest concentration when underscoring scenes with the most intense
action. When using the pile driver effect to score fight scenes, Davis is careful to create rhythmic
irregularity, so as to keep each hit unexpected, making the fight scenes feel unpredictable and
continually exciting.
79
The Matrix, Composer Commentary, 1:41:22-1:41:43.
100
q = 160
65 Neo Grabs Gun 66 67
?4
Timpani 4 j‰ Œ Ó ‰ jŒ Ó Ó ‰ jŒ
œ> œ> œ
>
>j >j >j
Anvil ÷ 4 ¿œ ‰ Œ Ó ¿
‰ œ Œ Ó Ó ‰ ¿œ Œ
Bass Drum 4 J J J
>
sffz
>
sffz
>
sffz
> > >
Snare Drum ÷ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4
sffz ff sffz ff sffz ff
low elbow cluster
Piano 1-2
? 4 6j ‰ Œ Ó ‰ 66 Œ
j
Ó Ó ‰ 66 Œ
j
{ 4 666 666 666
>6 sffz
>
sffz
>
sffz
Violoncello ? 4 »j ‰ Œ Ó ‰ jŒ
»
Ó Ó ‰ jŒ
»
Contrabass 4œ œ œ
œ œ œ
sffz sffz sffz
Example 10-1. Pile drivers in 7m1 “That’s Gotta Hurt,” m.65-67, 1:54:44-1:54:50.
10-2. Waterphone
The waterphone (water-phone) was created by Richard Waters in Fairfax, CA. The
instrument’s base consists of two welded cooking or roasting pots. Welded along the
circumference of the outer rim are numerous brass braising rods of various lengths and thicknesses.
In the center of the pot is a welded cylindrical handle with an opening through which water can be
poured down into the space between the two pots. The instrument can be played with or without
water, however the movement of water can produce wild microtonal fluctuations in the harmonics
of the instrument. The braising rods along the outer rim can be struck with mallets, but most
commonly they are bowed using a bass bow.80 This, along with movement of the water inside the
pots, produces a glassy atonal undulation of pitches that is incredibly eerie and distinctive.
80
Richards, pg.68.
101
Legendary Hollywood studio percussionist Emil Richards was one of the first to bring the
waterphone to film music in Jerry Goldsmith’s score for Chinatown (1974).81 Goldsmith made use
of the waterphone in other scores including Star Trek: The Motion Picture (1979), as part of the
ominous sound of the V’Ger cloud. Davis’ notation for the waterphone is entirely improvisational,
allowing for the performer to produce aleatoric textures entirely ad lib. Though it is possible to
play a waterphone tonally, it is nearly always used for its capability of wild, unpredictable aleatoric
effects.
q = 132
VRS Logo
8 9
4 rub with bass bow
~–
Waterphone ÷ 4 ~æ æ
f
The waterphone appears regularly throughout The Matrix score and is one of several unique
instruments used primarily to emphasize moments of mystery and terror. The instrument is not
particularly loud, so most of the places that it is utilized is as background texture under dialogue
and otherwise quiet moments. At the beginning of the film, the waterphone is used in moments
that are unusual or unexplained, especially from the perspective of Neo, such as when he observes
a cracked mirror with a distorted image repair itself into a clear image before his eyes. Once Neo
is unplugged from the Matrix and learns of the real world, the waterphone is used exclusively for
villains, such as Cypher, various machines, and the Agents, particularly during the scenes in which
81
Opstad.
102
10-3. Anvil
The anvil as a musical instrument possibly refers to an actual anvil used by blacksmiths,
but in modern use usually refers to metal blocks or plates struck with a metal mallet or hammer.
A well-known example of its use is in Richard Wagner’s opera Das Rheingold (1869) to represent
the laboring of dwarf slaves.82 This possibly connects to one of the themes of The Matrix, which
frequently depicts humans as slaves to machines, especially within the Matrix itself. However,
Davis most frequently uses the anvil in a heroic function, especially in relation to Neo. The best
example can be heard throughout Neo’s programming sequence in 3m5 “Bow Whisk Orchestra,”
during which he spends ten hours learning every conceivable martial arts style, one after another.
The continuous anvil strikes not only serve to indicate the passage of time through the montage,
but also to represent Neo’s growth as though he is forged like a sword with each metallic strike.
q = 137
26 Dissolve 27 28 29
> > > > > > > >
Anvil ÷ 4 O O O O O O O O
4 mf
Davis’ use of the anvil is one of the most identifiable sounds of The Matrix score,
particularly when used as one of the instruments in his pile driver effect.
Davis makes frequent use of scrapes on the tam tam, always indicating to use a metal
mallet, and sometimes notating specifically for the scrapes to be on the edge of the tam tam.
Scrapes are usually spotted to mark specific character movements, especially the turning of the
head. It almost acts as somewhat of a sound effect, adding a swoosh sound to a character’s
82
Beck, pg.5.
103
movement. This not only draws attention to these actions, but adds purpose and weight, especially
when scored to movements of the Agents, making them feel even more formidable.
q = 71
Smith Turns Head
scrape w/ metal mallet
4
Tam Tam ÷ 4 O— Ó
4 mp
Example 10-4. Tam Tam scrape in 2m1 “Through the Surveillance Monitor,” m.4, 0:16:56-0:16:59.
Davis also uses scrapes to hit film cuts, changes of scene, or mark beginnings of cues. He
occasionally uses scrapes on the suspended cymbal to similar effect, but they are far less
pronounced.
10-5. Aluminophone
constructed by percussionist Emil Richards. The bars are cut from metal conduit pipes. The
bottom, middle, and upper octaves have thirty-nine, thirty-five, and twenty-nine tones,
respectively.83 The aluminophone was used by film composer Bill Conti in his score for The
Karate Kid (1984),84 and by James Horner in his score for Brainstorm (1983). The sound of the
aluminophone is perhaps similar to that of a bell tree, just with a deeper tone and microtonal tuning.
Davis uses aluminophone most notably in The Matrix score as the alluring sound in 1m5 “Follow
the White Rabbit” of the white rabbit tattoo which catches Neo’s attention in his pursuit of the
83
Beck, pg.4.
84
“Aluminophone, Microtonal Aluminum Tubes Rental in Los Angeles - By Emil Richards.”
104
q = 135
1 Neo Spots Something 2
2 4 ¿
Aluminophone &4 ∑ 4 O—
mp
Example 10-5. Aluminophone in 1m5 “Follow the White Rabbit,” m.1-2, 0:09:31-0:09:34.
10-6. Transceleste
Emil Richards and was used in John Williams’ score for Close Encounters of the Third Kind
(1977), and also in James Horner’s score (together with the aluminophone) for Brainstorm (1983).
glockenspiel. The bars are tuned to a twenty-two-note Indian śruti scale.85 In Indian music theory,
śruti are what in Western music theory would be called microtones, and the division of a twenty-
two-note scale has existed in ancient Hindu tradition for nearly two thousand years.86 Davis uses
the transceleste generally in ominous, mysterious moments, similar to and occasionally doubling
When Neo first visits The Oracle, he is told to wait with other “potentials” in a waiting room.
There he encounters a young boy with a shaved head, dressed in robes similar to that of a Buddhist
monk. The boy is occupying his time by bending spoons, seemingly at will with his mind. As the
spoons bend, Davis accompanies with the sound of the transceleste. At surface level, Davis uses
an unusual metallic instrument to accompany an unusual metallic visual effect. But digging a little
deeper, Davis is creating an element of fantasy exoticism within the scene. He is implying that the
young boy, like the śruti scale to which the instrument is tuned, personifies ancient knowledge and
85
“Trans Celeste Rental in Los Angeles - By Emil Richards.”
86
Widdess.
105
tradition, simultaneously reflecting a sense of religion. Though Davis is not authentic in mixing
Hindu and Buddhist religions, he is nevertheless creating his own sound within The Matrix
universe, implying fantasy exoticism as opposed to authentic exoticism, much as he did in scoring
q = 82 Spoon Snaps Up
4 5
3 Spoon Bends random notes, cont. downward. ad lib. 6 7
2 ~~~~~~~~~~~~~~~~~~~3~~~~~~~~~~~~~~~~~~~~~~~~~~
2 5
Transceleste &4 4 4 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~4~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Example 10-6. Transceleste in 4m10 “Boon Spoy,” m.3-7, 1:11:25-1:11:33.
As can be seen by this example, and as with the other unusual instruments Davis uses for
The Matrix, he is not particularly interested in precise notation for the instrument, but rather would
prefer to allow the percussionist to improvise. With such unusual instruments, gestural notation is
far more effective, allowing a player who is familiar with the instrument the freedom to maximize
its effectiveness. The unique sound of the instrument is really all that Davis is after here.
10-7. Ratchet
A ratchet is an instrument made of two wooden slats within a frame that is meshed with a
widely toothed gear. It produces a rapid violent snapping sound when the gear is rotated. It has
been used in notable orchestral works including Carl Orff’s Carmina Burana (1937), Ottorino
Respighi’s Pines of Rome (1924), and the Mussorgsky-Ravel Pictures at an Exhibition (1922).87
Davis’ use of the ratchet is perhaps the musical element that is most like sound design in his score
for The Matrix, quite literally depicting the sound of digging, specifically machines digging
through human flesh. It can be heard in three places early in the film - where the machines’ “Bug”
is digging into Neo’s belly button, when the Bug is later extracted from Neo by Trinity, and when
87
Beck, pg. 75.
106
Neo is unplugged from the Matrix, as a machine violently unscrews the probe from Neo’s headjack
that was connecting him to the Matrix. This is yet another example of “Mickey-Mousing,” due to
the fact that it directly mimics an action, producing a musical sound effect, much like the scores
A Chinese cymbal is a suspended cymbal with upturned edges, with a much lower and
darker tone than a normal suspended cymbal. Two notable uses of the instrument in concert pieces
include Edgard Varèse’s Ionisation (1931) and John Cage’s First Construction in Metal (1939).88
Of the numerous times the Chinese cymbal is used throughout The Matrix score, Davis nearly
always specifies to scrape the cymbal with a stick. Because of its dark, metallic, non-tonal timbre,
this is one of the instruments of choice for scenes heavily featuring Agents and machines. Davis
often doubles the Chinese cymbal with waterphone and various piano effects. Despite being
utilized so often in the score, it is rarely audible due to its use strictly as a secondary orchestrational
color. One of the clearest Chinese cymbal uses can be heard, however, the first time Neo receives
88
Beck, pg.18.
107
q = 135
Neo Tensed Up
18 scrape with stick 19 20 21 Eyes & Mouth Wide Open
4 æ æ 3 æ 4
Chinese Cymbal ÷ 4 ~æ ~æ 4 Oæ™ 4 O— Ó
ff
Example 10-8. Chinese Cymbal in 3m5 “Bow Whisk Orchestra,” m.18-21, 0:48:21-0:48:28.
Possibly the most unusual technique Davis calls for in The Matrix is to bow a Styrofoam
cup with a bass bow. This may seem at first a bizarre inside-joke of sorts for the percussionists,
but it is actually intended as a terrifying sound. A similar technique was called upon in James
Horner’s score for Aliens (1986). Since Davis had been an orchestrator for Horner, it is likely that
he had studied the Aliens score and borrowed the technique from Horner for The Matrix. The
technique creates a high-pitched shuddering shriek, similar perhaps to a tea kettle coming to a boil.
Davis quite literally uses this technique at four separate moments where characters are screaming,
such as in 7m3 “He’s The One Alright,” when Trinity screams at Neo, who is still jacked in to the
Matrix after destroying Agent Smith, to get his attention just before the Nebuchadnezzar is
completely overrun with Sentinels. In effect, the bowed Styrofoam cup can be considered a very
q = 145
Neo Runs
154
÷ 4 rub
ææ with bass bow 155 j ‰ Œ
Styrofoam Cup 4w f
œ Ó
Example 10-9. Styrofoam Cup in 7m3 “He’s The One Alright,” m.154-155, 2:06:54-2:06:57.
Davis twice more makes use of the nipple gong beyond its last use in 3m8 “Switch or Break
Show.” In 4m7 “See Who?,” a solo strike of the nipple gong is placed just before Tank mentions
The Oracle for the first time. As stated before, the nipple gong is used in worship in Buddhist
108
temples, and though the exact origin of the gong is uncertain, it is possible that it has been part of
Chinese culture for thousands of years.89 Davis’ use of the nipple gong here would appear to
foreshadow several things about The Oracle - that she is ancient, wise, noble, and enlightened, and
that the human characters will hold her wisdom to be absolute truth, and even appear to worship
q = 92
Cut Tank
Nipple Gong
4
÷ 4 >O Ó
4 — mf
Davis twice in the score calls for drum set along with a few auxiliary percussion
instruments. The first example is in 4m8a “Switch Out.” During this cue, Neo returns to the Matrix
after awakening in the real world and is travelling by car to visit The Oracle. 4m8 is one of the
most stagnant cues in the film, with Davis largely scoring repeated minimalist textures to represent
the Matrix program in motion. Davis juxtaposes these textures with drum set and bongos, both
playing improvisatory gestures noted to be played out of time. This juxtaposition would seem to
mimic Neo’s state of mind as he recalls his life within the Matrix, once having been part of a
89
Blades, pg.93-94.
109
q = 104
17 Cut Neo
Alto Flute 1-3 4
Clarinet 1-3 & 4 œœ œœ œœ œœ œœ œœ œœ œœ œœ
Harp œœ œœ œœ œœ œœ œœ œœ
Viola
mp
Piano 2
? 4 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
4
mp with sticks
Bongos ÷ 4
4Œ œœœ œ Ó
snare
> tom toms
Drum Set ÷ 4
4œ œ ≈ œ œ œ Œ
kick drum
f
18 19
& œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
ad lib. sparse hits sim.,
not in time
÷ ? ? ? ? ? ? ? ?
ride cymbal
> ad lib. sparse hits sim.,
¿– œ not in time
÷ Œ œœœ Œ ? ? ? ?
Example 10-11a. Drum Set and Auxiliary Percussion in 4m8a “Switch Out” m.17-19, 1:08:17-1:08:24.
Davis again uses drum set in 5m4 “Threat Mix.” Here he includes three auxiliary
instruments to augment the drum set - congas tuned in G and C, tambourine, and roto toms. The
drums are locked into tempo however, establishing a groove to start this cue that somewhat bridges
the gap stylistically between the orchestral score and the popular songs that appear elsewhere in
the film. Interestingly, this time it is the Matrix that is out of sync with the humans. This is revealed
to be because the machines have changed the Matrix parameters to trap the humans inside. Here
Davis reprises his minimal cell in seven to run against the percussion in eight just as the alteration
to the Matrix occurs. The minimal cell in seven does not return to sync before being abruptly cut
off just before Neo experiences a sense of déjà vu, a sign that according to Trinity, is a glitch in
Tambourine ÷ 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿
4 mp
> > > > > > > > > > > >
Drum Set ÷ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
4 œ œ œ œ œ œ œ œ œ œ œ œ
mf
Example 10-11b. Drum Set and Auxiliary Percussion in 5m4 “Threat Mix” m.25-27, 1:18:24-1:18:29.
On three occasions, Davis notates for the timpani player to place a temple bell on the
timpani head, then to roll using mallets on the temple bell while using the pedal to tune the timpani
downward. The resulting sound is a soft metallic resonance with a bit of an otherworldly rumble
that descends in pitch. The best example of this is found in 4m10 “Boon Spoy,” when Neo bends
a spoon at will, just as he had observed a young boy do previously. As stated before, when the boy
was bending spoons, Davis used the transceleste to accompany the visual effect. This time, Davis
adds the temple bell effect. Again, since the temple bell is of Indian origin with significance to
Hinduism, similar to the tuning system utilized by the transceleste, it is appropriate for Davis to
111
q = 82
Spoon Bends Assistant Interrupts
trem. on temple bell placed on
23 timpani head, ped. gliss. down 24
Timpani
? 3 æO ™ Œ
4 O—
p mp
Example 10-12. Temple bell on timpani head in 4m10 “Boon Spoy,” m.23-24, 1:12:16-1:12:20.
Davis makes use of a number of contemporary extended techniques in each of the two piano parts
in The Matrix. Many of these techniques are likely inspired by twentieth-century concert
composers who have composed using similar techniques, such as Henry Cowell or George Crumb.
Several of these techniques can be considered to be aleatoric because the notations are gestural in
nature, and as such the pianist is unlikely to play using the same range and dynamic precisely the
Davis calls for mallets inside the piano to create a low rumbling effect, largely associated
with the villains of the story. It is particularly useful when he is trying to create a suspenseful,
dark, and airy atmosphere, yet also staying completely out of the way of dialogue and sound
effects. He often accompanies this effect with timpani rolls and low string pedal note sustains. To
perform, the pianist would need to have soft mallets at the ready, and he/she would use the mallets
to roll lightly over the strings at the bottom range of the piano. Davis uses this technique both with
and without sustain pedal. Adding the sustain pedal generates a great deal more rumble and is
significantly higher in volume. The best example can be heard in 1m2 “Trinity Infinity,” at the
very beginning of the film, just as police officers move down a dark hallway to approach Trinity’s
hotel room.
112
q = 131
tremolo on lowest strings 32
31
with soft vibraphone mallets Police Move In
Piano 1
?4
4 ~ ~ ~ ~
ppp
Example 11-1. Tremolo with mallets in 1m2 “Trinity Infinity,” m.31-32, 0:01:35-0:01:38.
To perform these clusters, the pianist must take the entire length of their forearm, from
hand to elbow, and strike as many keys as possible. This technique was championed by Henry
Cowell for his piece The Tides of Manaunaun (1912).90 Davis usually specifies an approximate
range by using a solid block notation of about an octave in a relative staff position, or on occasion
he will also simply include the words “high” or “low.” This effect is used to highlight impactful
moments of action, often doubling anvil and bass drum as part of the pile driver sound. In 2m3
“Bait and Switch,” quick and wild improvisatory elbow clusters are used in both piano one and
two (with the second piano prepared) to emulate the chaotic motion of the Bug as it is ripped
q = 80 >66 >66
47 6 >66 66
66
4
&4 Ó 666 666
66
666 >66
Piano 1-2 ff >6 >6 >6 >66 >66 66
elbow clusters 66
?4 Ó 66 66
66
{ 4 666
>6
666
>6
>
6
Example 11-2. Elbow clusters in 2m3 “Bait and Switch,” m.47, 0:24:44-0:24:47.
90
“Cluster.”
113
11-3. Scrape Along Low Strings with Key
The pianist is frequently asked to use a key to scrape the strings inside the piano from
higher to lower strings in a random range. This is often doubled with a scrape on a tam tam to call
attention to a quick movement or action in the film. Because this technique can be potentially
harmful to a piano, a more broken-in piano may be preferable to use. To perform, the pianist would
have to have a key at the ready, and it would take a short amount of time to stand up and reach
inside the piano. For this reason, time is needed to be given between this effect and other playing
techniques. Davis regularly uses the key scrape in relation to appearances of the villains of the
Example 11-3. Scrape along low strings with key in 1m2 “Trinity Infinity,” m.53, 0:02:15-0:02:17.
To “prepare” a piano means that objects are placed in between or on top of the strings
inside a piano to alter the timbre of a certain or complete range of notes. Rodier describes this
change in tonal color as “…drastic; the timbre ranges from harsh, bright, and metallic, to dull,
mellow, and muted.”91 These objects can include screws, bolts, rubber, plastic, pieces of wood,
forks, erasers, and more. This concept was championed by John Cage, who wrote Sonatas and
Interludes (1948), a collection of twenty pieces for prepared piano, the most significant work of
its kind.92 Usually detailed instructions are necessary for how to prepare the piano. In Davis’ case,
91
Rodier, pg.v.
92
Ripin.
114
the only indication he gives is to place either metal or wooden objects between strings, and on one
occasion, to use both. A range is not given, so it is assumed that it would be necessary to place
metal/wood between all of the strings that are to be played throughout the score.
The prepared piano in The Matrix is given to the second piano performer, and mostly
doubles the first piano. Thus, it is buried in the mix and generally cannot be individually heard or
identified. Instead, it is often intended to augment the sound of the first piano, adding a darker,
grittier sound. A third entirely separate piano would be necessary for performance, prepared in
advance, as it would take a significant amount of time to carefully place metal and/or wooden
objects between the piano strings. The second piano part also jumps quickly from prepared to
normal, further necessitating a third dedicated instrument.93 The best example of the prepared
piano sound is heard in 2m4 “Switched for Life,” as Morpheus gives Neo the fateful choice
Prepared Piano 2
? 4 œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ
4
pp
Example 11-4. Prepared Piano in 2m4 “Switched for Life,” m.6-7, 0:29:04-0:29:10.
On two occasions, Davis calls for the first pianist to bow a string with nylon fishing line.
To do this, the line would have to be weaved over and under the string so that it could be bowed
within such a confined space.94 American composer Lucia Dlugoszewski was the first to
experiment with bowing strings inside the piano. In 1951, she created the “timbre piano”, which
93
This is especially likely to be true for touring performances of The Matrix Live: Film in Concert series, in which
the entire film is shown with live accompaniment by a full symphony orchestra.
94
Rodier, pg.v.
115
bowed strings using small “bows” to produce sustained sounds. 95 This technique was further
developed by the American composer C. Curtis-Smith by using flexible bows made of nylon line
In both cues that Davis uses this technique, the piano doubles an artificial harmonic in the
first violins at the unison. It is played at such a low dynamic that it is virtually indistinguishable
from the sustained violins, yet it was no doubt intended to add a bright metallic shimmer to the
q = 67.63
Fade In: Neo On Bed
bow on string with nylon fishing line 31
30
“”
w w
4 ææ ææ
Piano 1 &4
ppp p
Example 11-5. Bow on string with nylon fishing line in 3m1 “Switches Brew,” m.30-31, 0:36:39-0:36:46.
Easily one of the most bizarre orchestrations indicated by Davis in his score for The Matrix
is to rub the strings of the piano in a random low range with ben-wa balls. Ben-wa balls are Chinese
in origin and used in various ways, including for sexual stimulation. Some of The Matrix film does
feature S&M costumes and imagery, especially during a scene early in the film where Neo meets
Trinity for the first time, which was shot at a real fetish club in Sydney, Australia. It is at least
conceivable that Davis is making a connection to this theme through the use of ben-wa balls, or it
may simply be an inside joke or a matter of happenstance as to the discovery of this technique.
Since the balls are normally metallic, the sound inside the piano would be similar to that of the key
95
Davies.
96
Cope.
116
scrapes, just perhaps a little less jagged and pronounced. This technique is (perhaps without
accident), often scored during moments of pain and torture in The Matrix score.
q = 75.46
Injection Into Neck
23 rub low strings with ben-wa balls
>
?4 ¿
Piano 2 4 O ™—
ff
Example 11-6. Rub low strings with ben-wa balls in 6m1 “Mix the Art,” m.23, 1:32:29-1:32:33.
A superball is a rubber ball attached to a wooden mallet,97 which when rubbed on a metallic
surface or string creates friction that generates a howling sound. This technique is associated with
machines and Agents, often doubling high string clusters, waterphone, and Chinese cymbal.
Example 11-7. Rub strings with superball in 6m4 “It’s the Smell,” m.24-25, 1:40:15-1:40:19.
For this technique, the pianist is instructed play a repeated rhythm with one hand while
using the palm of the other hand to mute the string inside the piano. The result is a percussive
sound without any clear definition of pitch. This technique is used effectively to create a sense of
urgency as policemen are searching for the heroes through a condemned building in 5m4 “Threat
Mix.”
97
Rodier, pg.v.
117
q = 142
Policemen Break Through Door
119 mute string with palm of hand 120
Piano 2
?4
4 œ
f
> >œ >œ >œ >œ >œ >œ >œ
Example 11-8. Mute string with palm of hand in 5m4 “Threat Mix,” m.119-120, 1:20:58-1:21:01.
Davis’ penchant for curious instrumental techniques is further exemplified with his
indication to scrape strings inside the piano with a Coke bottle. Though only used twice at the end
of the film, both times are called for when Sentinels are wreaking havoc to the Nebuchadnezzar
ship. Davis does not specify whether the coke bottle is to be glass or plastic, but either would
produce quite an unpleasant, frenzied sound from the piano, which is clearly what he intends. As
curious a sound this may be, both uses are during times featuring dense orchestration, and so the
q = 172
158 scrape strings with coke bottle 159
cont. sim.
3 ¿ ¿
Piano 2 &4 ¿ ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
ff
Example 11-9. Scrape strings with Coke bottle in 7m2 “Surprise!,” m.158-159, 2:02:05-2:02:07.
In addition to the wide variety of acoustic instruments Davis uses in The Matrix, he also
occasionally makes use of various electronic sounds. Davis added these synth parts in his home
studio, which were recorded and mixed by Larry Mah, who has worked on hundreds of films since
the early 1990s.98 Since the synthesizer parts were recorded as overlays, separately from the
98
The Matrix, Composer Commentary, 0:40:10-0:40:17.
118
orchestra, they were not notated in Davis’ original score. This is typical of most synthesizer and
sample tracks used in modern film scores. However, notation was created for basic reference by
Tim Rodier for the Omni Music Publishing commercial version of the score. On The Matrix
Revisited DVD, Davis says the following about his blend of synthesizers with orchestra,
We all pretty much agreed that an organic orchestral and choral approach was the best for
the music, and then we could enhance that with some additional synthesizer and sampler
elements. And then whatever sequences had the protagonists, we could shift the emphasis
onto the orchestra; when the machines were taking over, we could shift the emphasis
While it is true that Davis often uses synthesizers under scenes that feature machines,
technology, and Agents, synths appear fairly generally throughout the score including sequences
featuring heroes. So, the way that Davis describes here, that the emphasis shifts to synthesizers
away from the orchestra, is not exclusively true. Throughout the score, the orchestra is consistently
the dominant sound, and synthesizers are merely added to augment the orchestra, never to
dominate.
attempt to depict a possible sound of the future. In Bernard Herrmann’s score for The Day the
Earth Stood Still (1951), his use of two Theremins forever created a cliché in film music for UFOs
to be accompanied by the hovering sound of the Theremin. The first entirely synthesized score,
Bebe and Louis Barron’s Forbidden Planet (1956), was several decades ahead of its time, acting
not only as score but also sound effects for the mysterious planet, “Altair IV.” Film music in the
1980s was heavily dominated by the synthesizer, and no score was more influential to the concept
99
The Matrix Revisited, 1:49:35-1:50:03.
119
of synthesizers as the sound of the future than Vangelis’ score for Blade Runner (1982). The Matrix
is a science-fiction film, perhaps blended with the action and fantasy genres, but still, Davis’
tasteful and light use of synthesizers, blended with orchestra, adds to the futuristic tone that the
The synthesizer patch called “Rusty Spoke” is by far Davis’ most used synth sound in The
Matrix. The sound of the patch is similar to that of a bowed cymbal or gong; it is a pitched metallic
sound with no attack and a very long decay. Davis often uses it in combination with other metallic
instruments, such as the waterphone, to enhance moments of suspense and terror. The sound is
most clearly heard in 1m7 “Neo on the Edge” in m.99-102, or from 0:16:33-0:16:46 into the film,
scoring a shot of Neo’s cell phone as it falls in slow-to-normal motion from high upon a skyscraper
onto the road far below. The “Rusty Spoke” is meant to be an unsettling sound that most often
In December 1998, when the score was composed, this sample was part of the
Spectrasonics library called “Distorted Reality,” ironically a very appropriate name for use in The
Matrix film (or possibly a reason why Davis used it). A very similar patch, “Bowed Oilcan,” also
was utilized from the “Distorted Reality” library, though only for one brief moment in 1m2
“Trinity Infinity,” doubled with “Rusty Spoke.” Today, the content of “Distorted Reality” still
exists in the core sample library of Spectrasonics’ “Omnisphere 2,” one of the most popular synth
12-2. Drones
Davis uses various synth drones to underscore Agents, particularly in quiet moments when
they are engaged in dialogue. The patches have several names - “Brooding Pad,” “Deep Flanging
120
Drone,” “Deep Brooding Drone,” “Deep Drone,” and “Brooding Drone.” But yet, they are all
essentially the same sound, which is a dark undulating loop that functions primarily to add a feeling
of inhumanity to dialogue scenes with Agents, in which they are often singularly plotting the
demise of the human heroes in one way or another. The drones are often low in pitch, allowing
them to sit well under dialogue since they do not interfere with any of the vocal frequency ranges
12-3. Pads
Throughout the first half of the score, Davis uses many various types of pads with
somewhat vague descriptions. These include “High Pad on C & E,” “Breath Pad,” “FX-Pad,” “Fat
Pad,” “Warm Pad Effect on A,” “Warm Pad,” and “Deep Synth Pad.” Essentially, they are very
similar in timbre, somewhat airy and string-like, and very consistent in function, which is simply
to reinforce pedal notes, mostly doubling strings, adding a synthetic atmosphere to quiet moments
In addition to real anvil, as utilized frequently in the percussion part, Davis often doubles
a synth anvil, normally with identical rhythm. This layering reinforces the anvil sound, adding a
greater intensity to each strike. In 1m2 “Trinity Infinity,” a synth anvil is used twice under chase
scenes featuring Trinity outrunning Agents, both times in a minimalist ostinato rhythm of constant
sixteenth-notes. This part is likely given to the synth because it would be impractical and raucous
In other places in the score, Davis calls for “Light Metal Percussion” (also “Metal
Percussion,” and once each with “Wood” and with “Toms”), which is utilized in much the same
way as 1m2 “Trinity Infinity,” as repeating ostinato sixteenths. The sound is essentially the same
121
as the synth anvil parts, just at a lower dynamic and a slightly lighter timbre. The “Light Metal
Percussion” tends to score action sequences and chase scenes late into The Matrix film.
Many modern action films since The Matrix have continued to be scored using minimal
ostinato rhythms. Though it is unclear if The Matrix bears any direct responsibility, it has
nevertheless become a popular trend to score action scenes with a constant sixteenth note rhythm,
A film score prior to The Matrix that also made use of a similar synthesized anvil is Brad
Fiedel’s score for The Terminator (1984). The Matrix shares many similarities with The
Terminator, the most obvious being of course that they are both stories about humans vs. machines,
and both set in dystopian futures. Both Davis and Fiedel use the synth anvil in the representation
of machines, both use synthesizers to depict a sound of the future, and both use incessant rhythms
with the synth anvil during action and chase scenes to symbolize the relentless energy of machines
in pursuit of humans.
The “Reversed Cymbal” (also “Reversed Cymbal FX” and “Layered Reversed FX”) is
possibly most recognizable synth sound from The Matrix. The sound is, in its simplest use, a
suspended cymbal roll that has been digitally reversed so that it sounds backwards. Davis uses it
for several effects throughout the score, to accentuate slow motion shots as out-of-time with the
normal world, and to draw attention to film cuts and actions, such as in the scene involving the
bending of spoons. The “Reversed Cymbal” patch also applies to Davis’ theme of reflection, as
the sound of a cymbal roll played backwards is of course a reflection of its unaltered self, much
122
With Davis’ use of the synthesizer, particularly FX patches such as the “Reversed
Cymbal,” it is arguable that Davis also uses musique concrète in his score for The Matrix. Musique
concrète is an experimental style of music composition beginning in the 1940s involving the
manipulating recorded tape, reversed sounds were often pieced together to create unusual textures.
Davis’ use of reversed cymbals is such a manipulation. The most significant moment is in 6m8
“Fast Learning,” when Trinity calls Tank to have a B-212 helicopter program uploaded into her
consciousness, giving her the skills of an expert pilot in a matter of seconds. Davis accompanies
this upload (featuring visuals of Trinity blinking in fast-motion) with “Layered Reversed FX.”
This is essentially a short collection of various metallic sounds, all sounding in reverse. This
moment is heavily featured in the film’s final mix, and blurs the line between what is music and
what is sound effect. Several films have been historically noted for blurring the line between music
and sound effects - the aforementioned Forbidden Planet (1956), Bernard Herrmann, Remi
Gassman, and Oskar Sala’s electronic sound production and composition on The Birds (1963), and
Three times in The Matrix score, Davis uses choir sounds from the synthesizer. Each patch
has a new description - “Choir Pad,” “Female Choir,” and “Flanging Choir.” The last is found in
7m1 “That’s Gotta Hurt” and accompanies Agent Smith’s dialogue as he controls Neo in a
chokehold, waiting for an oncoming subway train to crash into the both of them. As stated earlier,
Davis scores for choir to represent the crying out of humanity, and also uses the machines’
chromatic harmonic language among the choral parts, which represents humanity’s enslavement
to machines. The “Flanging Choir” in 7m1 “That’s Gotta Hurt” however is quite the opposite. This
123
time the synthesizer (a machine), is playing a cluster in the humans’ diatonic language [0135]
Davis uses a low percussive synth described simply as a “Deep Hit” (also “Big Hit”) to
add weight and significance to particular parts of the story. This often occurs in moments when
characters learn significant truths, such as when Neo (after awakening in the real world) reaches
to feel his headjack for the first time, and Apoc’s reaction to learning that Cypher has betrayed the
Nebuchadnezzar crew by killing Dozer and (seemingly) Tank. The “Deep Hit” is similar to a bass
drum or taiko drum hit, with added low-end bass frequencies. Davis also uses this patch to begin
cues and to accent cuts in the film, especially changes of scene. The sound of the “Deep Hit” has
continued to be a favorite sound in modern film scoring. It is perhaps most commonly heard in
Conclusion
As explained in this dissertation monograph, Don Davis’ score for The Matrix combines an
He uses harmonic sets to tonally distinguish humans from machines, minimalism to symbolize the
Matrix program, canon and polyrhythm to personify reflective imagery, bitonality to signify the
struggle between good and evil, modal shifts to suggest moments of clarity and awakening,
leitmotifs, tonal centers, and orchestrations denoting love and death, aleatory for horror, twelve-
tone technique for chaos and confusion, fantasy exoticism to reinforce an unreal environment,
unusual percussion and extended techniques for piano to create tension and suspense, and
124
Davis describes working on The Matrix as one of the best musical experiences he’s ever
had.100 Davis’ score is easily one of the most complex scores ever composed for a film. This score,
more than any before it, or any since, serves as the ultimate bridge between film music and concert
while serving the needs of the film to realize the unique vision of the story’s creators. Time will
tell if other film composers are able to follow in Davis’ footsteps. I hope that any film composers
that read this will be inspired to not simply dismiss twentieth-century trends in concert music as
inaccessible or uninteresting, but rather will see the merits in continuous historical and stylistic
In Volume II, my original ballet score for Dracula features many techniques that are
somewhat in the spirit of Don Davis’ score for The Matrix. These include - the use of female choir
to represent the Brides of Dracula, various aleatoric effects which depict moments of horror, the
use of shakuhachi and daiko as fantasy exoticism, various extended techniques for piano, and the
100
The Matrix, Composer Commentary, 2:16:05-2:16:08.
125
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128
VOLUME II
Chris Heckman
Dracula:
129
CONTENTS
Act 1
Act 2
130
INSTRUMENTATION
Shakuhachi
8 Horns
*4 Tenor Trombones
Bass Trombone
Tuba
Contrabass Trombone
Contrabass Tuba
Timpani
Percussion - Bass Drum (as large as possible), Bell Plate (in A), Crotales,
Daiko (as large as possible), Field Drum, Glockenspiel, Mark tree, Roto-toms, Shaker,
Snare Drum, Sus. Cymbal, Tam-tam (large), Tom-toms, Tubular Bells, Vibraphone
Celesta
Organ
Piano
**Synthesizer
Soprano Solo
Choir (SA)
Violin Solo
Cello Solo
Violin 1
Violin 2
Viola
Cello
Contrabass
**The Synthesizer includes "Big Bang Kit" from ProjectSAM True Strike 2, "Metal Bridge"
from EastWest Stormdrum 2, and "Ensemble Crashes" from CineSamples CinePerc
131
Dracula 1m1 "Prelude"
CONCERT SCORE Chris Heckman
q = 68
Shakuhachi & 4
Horn 1-4 &
?
Trombone 3-4
Bass Trombone ?
Tuba
Contrabass Trombone ?
Contrabass Tuba
Timpani
? 4 ˙
mp
˙ ˙ ˙ ˙ ˙ ˙ ˙
Bass Drum ÷
Tam-tam ÷ 4
Tubular Bells & w w w w
>
f poco a poco dim.
° *
& 4
mp
?
Organ
{
? 4 w w w w
&
Piano
?
{
› Big Bang Kit
œ œ œ œ
& Œ Ó Œ Ó Œ Ó Œ Ó
Synthesizer f poco a poco cresc.
?
{
&
&
1 2 3 4
Solo Cello
? 4
Violin 1 &
Violin 2 & 4
Viola B
legato
? ˙ #œ ˙ Œ port.
port.
Cello port. œ
œ
f
? port.
Contrabass w w w w
mp
132
1m1 "Prelude" Dracula
Shak. &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp. b˙ ˙ b˙ ˙ ˙ ˙ ˙ ˙
B. D. ÷
T.-t. ÷
Tub. B. & bw bw w w
° * ° *
&
?
Org.
{
?
&
bw w w w
Pno.
?
{
› œ œ œ œ
& Œ Ó Œ Ó Œ Ó Œ Ó
Synth.
?
{
&
&
5 6 7 8
?
S. Vlc.
Vla. B
? b˙ bœ ˙ bœ port. ˙ bœ ˙ Œ port.
Vlc. port. bœ port. bœ
bœ bœ
?
Cb. bw w w w port.
133
Dracula 1m1 "Prelude"
q = 76 (+8)
overblown rhythmic flutters and chiffs ad lib.
> bend tone - with vibrato
bw ˙ œ Œ
Shak. & ææ ææ
f
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
b˙ ˙ b˙ ˙ ˙ ˙ ˙ ˙
mp poco a poco dim.
B. D. ÷
T.-t. ÷
Tub. B. & bw w–
bw w—
mp
° * °
&
mp
?
Org.
{
?
&
bw w w w
Pno. f fff
inside - violent gliss. with fingers lift sustain pedal very gradually to slowly shift harmonic colors
? Ó Œ ‰ Œ Ó
{
› œ œ °
j liss. ¿
¿ g
“‘
>œ >œ
& Œ Ó Œ Ó Œ Ó Œ Ó
ff
Synth.
?
{
&
&
9 10 11 12
?
S. Vlc.
O¿
J ‰ Œ Ó
Vln. 1 &
mp
O¿
& J ‰ Œ Ó
Vln. 2
mp
Vla. B
? b˙ bœ ˙ b˙
Vlc. port.
bœ
?
Cb.
bw w port. w w
mp
134
1m1 "Prelude" Dracula
q = 108
>
Shak.
bw
& æ
˙
ææ
œ Œ 3
a4
?
>˙
Hn. 1-4 & ˙ Œ Œ
>
ff
a4
? 4 >˙
Hn. 5-8 & ˙ Œ Œ
>
ff
a2
? >˙
Tbn. 1-2 ˙ Œ Œ
>
ff
a2
? Œ Œ
Tbn. 3-4
>˙ >˙
ff
a2
B. Tbn. ? Œ Œ
Tba.
>˙ >˙
ff
a2
Cb. Tbn. ? Œ Œ
Cb. Tba.
>˙ >˙
ff
Timp.
?
˙ ˙ ˙
æ
˙æ
3 ˙™ >˙
™
>
p ff
æ > >
B. D. ÷ Ó ˙æ œ— Œ Œ œ— Œ Œ
p ff
T.-t. ÷ Ó
æ
Oæ
4 >
¿— Œ Œ
p ff
Tub. B. &
*
& 3 ff
Gt: Full + Reeds
? ˙ Œ ˙ Œ
Org.
{
?
w w
4 ˙ Œ ˙ Œ
&
Pno. ff
? Œ Œ
{
› >œ >œ
*
˙
>˙
˙
>˙
& Œ Ó Œ Ó
Synth.
?
{
&
&
13 14 15 16
S. Vlc.
? 3
Vln. 1 &
Vln. 2 & 4
Vla. B
? Œ Œ
Vlc.
>˙ >˙
ff
? Œ Œ
Cb. æ
w wæ >˙ >˙
p ff
135
Dracula 1m1 "Prelude"
Shak. &
>™ flutter
? b˙ ˙
ææ Œ n˙ Œ
>˙
Œ
Hn. 1-4
>
flutter
? b>˙ ™ ˙ Œ ˙ Œ
>˙
Œ
Hn. 5-8 ææ >
>™ flutter
? b˙ ˙
æ Œ n˙ Œ
>˙
Œ
Tbn. 1-2
>
Tbn. 3-4
? Œ b˙ Œ Œ b>˙ Œ
b>˙ > >˙
B. Tbn. ? Œ b˙ Œ Œ Œ
b>˙
Tba. > >˙ b>˙
Cb. Tbn. ? Œ Œ Œ Œ
Cb. Tba.
b>˙ b>˙
>˙ b>˙
? bœ
Timp. b>˙ ™ æ ™
> n ˙æ ˙™ >˙
>
p ff
> > æ > >
B. D. ÷ œ— Œ Œ œ ˙æ œ— Œ Œ œ— Œ Œ
p ff
æ >
T.-t. ÷ Oæ™ ¿— Œ Œ
p ff
Tub. B. &
&
b˙™ ˙ ˙
? b ˙™ ˙ Œ n˙ Œ Œ
Org.
b˙
? b˙
{
&
Œ Œ ˙ Œ b˙ Œ
Pno.
? Œ Œ Œ Œ
{
›
b˙
b>˙
b˙
b˙
b>˙
˙
>˙
b˙
b>˙
&
Synth.
?
{
&
&
17 18 19 20
?
S. Vlc.
Vln. 1 &
Vln. 2 &
Vla. B
? Œ b˙ Œ Œ Œ
Vlc. b>˙ > >˙ b>˙
? Œ b˙ Œ Œ Œ
Cb. b>˙ > >˙ b>˙
136
1m1 "Prelude" Dracula
q = 76
Shak. &
div. >æ
7 4
> a2
˙™ b ˙æ˙™™
? ææ
Hn. 1-4
> fff
div.
> a2
Hn. 5-8
? #˙™
˙™ ˙™
˙™ 4 4
> fff
> >æ
˙™ b ˙æ˙™™
Tbn. 1-2
? ææ
> fff
? >˙ Œ ˙™
Tbn. 3-4
> fff
B. Tbn. ? Œ
Tba.
>˙ >˙™ fff
Cb. Tbn. ? Œ
Cb. Tba.
>˙ >˙
™
fff choke (beat 1)
? ˙™ æ 7 4
Timp. ˙æ™
> p fff
>æ æ >
B. D. ÷ ˙æ™ ˙æ™ œ— Œ Ó Ó™
ffp fff
æ æ choke (beat 1)
T.-t. ÷ Oæ™
p
Oæ™
fff
4 4
Tub. B. &
& 7 4
˙™ n# ˙˙˙ ™™
? #˙˙ ™™ ˙™
Org.
{
? ˙ Œ ˙™ 4 4
&
Pno.
? Œ
{ ˙
˙
› >
˙™
>˙
™
œ œ
& Ó
mf
Synth.
?
{ Soprano 1
p
bw ˙™ w
&
oo Soprano 2
p
Choir (SA) & w
oo
Alto
div.
p
& bw
w
oo
21 22 23 24
S. Vlc.
? 7 4
con sord.
w
Vln. 1 &
p
div. - con sord.
Vln. 2 &
4 4 bw
w
con sord. - legato espress. p
bw ˙™ ˙ port. œ port.
B bœ
Vla.
p mf
con sord. - legato espress.
b˙™ ˙ port. œ
? bœ port.
Vlc. Œ ˙™ ∑
>˙ > fff p mf
? Œ ˙™
Cb.
>˙ > fff
137
Dracula 1m1 "Prelude"
Shak. &
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
T.-t. ÷
Tub. B. &
&
?
Org.
{
?
&
Pno.
?
{
› œ œ œ œ
& Ó Ó
Synth.
?
{
w w w w
&
mf
Choir (SA) & w bw w nw
mf
& w
w bbw
w w
w bbw
w
25 26 27 28
?
S. Vlc.
w bw w nw
Vln. 1 &
mf
w
w bbw
w w
w bb w
w
Vln. 2 &
mf
˙ port. ˙ œ b œ≥ port. œ port. ˙ port. œ port. b˙ port. œ
bœ port.
B bœ bœ
Vla.
?
Cb.
138
1m1 "Prelude" Dracula
Shak. & 5 3
?
Hn. 1-4
Hn. 5-8
? 4 4
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 5 3
B. D. ÷
T.-t. ÷ 4 4
Tub. B. &
& 5 3
?
Org.
{
? 4 4
&
Pno.
?
{
› œ œ œ œ
& Ó Ó™
Synth.
?
{
w w w ˙ ˙™
&
& w w w ˙ ˙™
Choir (SA)
& w
w w
w w
w ˙˙ ˙˙™™
29 30 31 32
S. Vlc.
? 5 3
w w w ˙ ˙™
Vln. 1 &
Vln. 2 &
w
w w
w w
w 4 ˙˙ ˙™
˙™ 4
˙ port. ˙ œ b œ≥ port. œ port. w port. ˙ ˙™
B bœ
Vla.
b œ≥ port. œ
? ˙ w
port. ˙ œ port. ˙ ˙™
port.
Vlc.
bœ
?
Cb.
139
Dracula 1m1 "Prelude"
q = 88
Shak. & 3 4
ba4,
˙ brassy and harsh œ ˙ ˙ œ bœ œ
? bœ bœ
Hn. 1-4
ff
ba4,
˙ brassy and harsh œ bœ œ
Hn. 5-8
? 4 4 bœ
˙ ˙ œ
bœ
ff
b œœj™™ ˙˙ j
j
bb œœ ™™ ˙˙
? J ≈ Œ bœ™
œ™ ≈ ˙˙ Œ J ≈ Œ
Tbn. 1-2
J
mf ff sim.
? œ™ ≈ ˙ Œ j ≈ Œ bœ ™ ≈ ˙ Œ
Tbn. 3-4 J œ™ ˙ J
mf ff sim.
B. Tbn. ? j j
œ™ ≈ ˙ Œ j ≈ Œ bœ ™ ≈ ˙ Œ
Tba.
œ™ ˙
mf ff sim.
Cb. Tbn. ? ≈ Œ ≈ Œ ≈ Œ
Cb. Tba. j j j
œ™ ˙ bœ™ ˙
œ™ ˙
mf ff sim.
Timp.
? 3 æ
˙æ™
4 œ >˙
™
>œ >˙
™
bœ
>
˙™
>
>
p ff
æ > > > > > >
B. D. ÷ ˙æ™ œ œ— Ó œ œ— Ó œ œ— Ó
p ff
T.-t. ÷
4 æ
Oæ™
4 >
¿— Œ Ó
p ff
Tub. B. &
Gt.
3 4 b˙˙ ™™™ b˙ ™
& ˙ Œ
b˙˙ ™™
Œ bb ˙˙ ™™ Œ
˙™
ff
˙™ b˙™
? Œ ˙™ Œ Œ
Org.
{
? 4 4 ˙™ Œ
>œ >˙
& œ ˙˙ Œ ? bœœœ ˙˙˙ Œ bœ ˙˙ Œ ?
bœœœ ˙ & bbb œœœ ˙
> >˙ > >˙
Pno. ff
? Œ Œ Œ
{ œ
>œ
˙
>˙ œ
>œ
˙
>˙
bœ
b>œ
˙
>˙
° * ° * ° *
› >œ >œ >œ >œ >œ >œ
& Ó Ó Ó
ff
Synth.
?
{ ff
>
w w bw
&
ah
ff
>
bw w bw
Choir (SA) &
ah
ff
>
w w
& w w bbw
w
>
ah
33 34 35 36
S. Vlc.
? 3 4
Vln. 1 &
Vln. 2 & 4 4
Vla. B
senza
œ ™ sord. ˙ bœ™ ˙
? J j J
Vlc. ≈ Œ œ™ ≈ ˙ Œ ≈ Œ
mf ff sim.
œ™ ˙ j bœ™ ˙
? J ≈ Œ œ™ ≈ ˙ Œ J ≈ Œ
Cb.
mf ff sim.
140
1m1 "Prelude" Dracula
Shak. &
˙ œ b˙ œ ˙ ˙ œ bœ œ
? bœ bœ bœ
Hn. 1-4
˙ œ b˙ œ ˙ ˙ œ bœ œ
? bœ bœ bœ
Hn. 5-8
j
j nb œœ ™™ ˙˙ j œ™j
œ™ ˙˙
? bbϪ
œ™ ≈ ˙˙ Œ J ≈ Œ bœ™ ≈ ˙ Œ J ≈ Œ
Tbn. 1-2 J
J
j Ϫ
Tbn. 3-4
? j ≈ ˙ Œ bœ ™ ≈ ˙ Œ bœ ™ ≈ ˙ Œ J ≈ ˙ Œ
bœ ™ J
bœ ™
B. Tbn. ?
j ≈ Œ J ≈ ˙ Œ j
bœ ™ ≈ ˙ Œ j
œ™ ≈ ˙ Œ
Tba.
bœ™ ˙
Cb. Tbn. ? ≈ Œ j ≈ ˙ Œ ≈ Œ ≈ Œ
Cb. Tba. j bœ ™ j j
bœ™ ˙ œ™ ˙
bœ™ ˙
? bœ ˙™ œ ˙™
Timp. b>œ
> > >˙™ b>œ >˙™ > >
> > > > > > > >
B. D. ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ— Ó
æ >
T.-t. ÷ ~æ ¿— Œ Ó
p ff
Tub. B. &
b˙ ™ ˙˙˙ ™™™ ?
& bb˙˙ ™™ Œ bn ˙˙ ™™ Œ Œ Œ
b ˙™ bb ˙˙ ™™
™
? bb ˙˙ ™ ˙™
Org. b˙ ™ Œ Œ bb˙˙ ™™ Œ Œ
{
?
>
b˙ ™
? bbbbœœœœ
>˙
˙˙˙
Œ
Œ & œ
bbœœœ ˙˙˙ Œ ?
b˙ ™
b>œ
bbbœœœ
>˙˙
˙˙
Œ
Œ & œœ
œ
˙˙
˙
Œ ?
> >˙ >œ >˙
Pno.
? b>œ >˙
{ Œ bœ ˙ Œ bœ ˙ Œ œ ˙ Œ
bœ ˙
b>œ
b>œ >˙ >œ >˙
>˙
° * ° * ° * ° *
› >œ >œ >œ >œ >œ >œ >œ >œ
& Ó Ó Ó Ó
Synth.
?
{ bw w
w w
&
w bw w w
Choir (SA) &
& w
w bw
w w
w w
w
37 38 39 40
?
S. Vlc.
Vln. 1 &
Vln. 2 &
Vla. B
? j ≈ ˙ Œ bœ ™ ≈ ˙ Œ j ≈ ˙ Œ
Ϫ
J ≈
˙
Œ
Vlc. bœ ™ J bœ ™
? j ≈ ˙ Œ bœ ™ ≈ b˙ Œ j ≈ ˙ Œ
Ϫ
J ≈
˙
Œ
Cb. bœ ™ J bœ ™
141
Dracula 1m1 "Prelude"
q = 80 (-8)
Shak. & 7 4
w
? w ææ
Hn. 1-4
? w w
æ 4 4
Hn. 5-8
? œj™ ≈ ˙˙ Œ
w
w
Tbn. 1-2 œJ ™
mf fff
? j ≈˙ Œ w
Tbn. 3-4 Ϫ
mf fff
B. Tbn. ? j ≈ Œ
Tba. w
œ™ ˙ mf fff
Cb. Tbn. ? j ≈ Œ
Cb. Tba.
w
œ™ ˙ mf fff
Timp.
? œ
>
˙™
> >œ >œ
æ
˙æ
7 >
œ—
Œ Ó Ó™ 4
p fff
> > > >æ >
B. D. ÷ œ œ— Ó œ ˙æ™ œ— Œ Ó Ó™
ffp fff
æ 4 >j choke 4
T.-t. ÷ ~æ ¿ ‰ Œ Ó Ó™
p fff
Tub. B. &
? ˙˙˙ ™™™ Œ w 7 4
& w
w
sub. mp
? ˙™ Œ w
Org. w
Ped: Flutes 16', 8'
{
? ˙™ Œ w
4 w ˙™
4 w
> >˙˙ >œœ >˙˙ ™™
? œœœœ ˙˙ Œ œœ ˙˙ ™™
Pno.
? Œ
{ œ
>œ
˙
>˙
œ
>œ
˙™
>˙ ™
° * ° *
› >œ >œ >œ >œ œ œ
& Ó Ó Ó
f mf
Synth.
?
{ > fff
w w
&
fff
>
Choir (SA) & w w
fff
>
& w
w w
w
>
41 42 43 44
legato espress. œ
˙ port.
S. Vlc.
? 7 ∑ Œ Œ œ
mf
4 œ
unis. - senza sord.
pizz. random low pitches
Vln. 1 &
¿¿¿¿
mp
4 4 unis. - senza sord.
pizz. random low pitches
Vln. 2 &
¿¿¿¿
mp
Vla. B
? œj™ ≈˙ Œ æ
Vlc. wæ
mf fff
? œj™ ≈˙ Œ æ
Cb. wæ w ˙™ w
mf fff sub. mp
142
1m1 "Prelude" Dracula
Shak. & 6 4
?
Hn. 1-4
Hn. 5-8
? 4 4
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 6 4
B. D. ÷
T.-t. ÷ 4 4
Tub. B. &
& 6 4
?
Org.
{
?
w
4 w™
4 bw bw
Pno.
?
{
› œ œ œ œ œ œ
& Ó Ó Ó Ó
sim.
Synth.
?
{
&
&
45 46 47 48
˙ b˙ 3 b˙ œ
port.
S. Vlc.
?
& 6 Œ
œ port
. #œ œ port. œ bœ œ 4 b˙ bœ ™
‰ ?
mp
bœ
Vla. B
?
Vlc.
? bw
Cb. bw
w w™
143
Dracula 1m1 "Prelude"
Shak. &
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
T.-t. ÷
Tub. B. &
&
?
Org.
{
?
?
w w w w
Pno.
?
{
› œ œ œ œ œ œ
& Ó Ó Ó
mf mp mp p
Synth.
?
{
&
&
49 50 51 52
b œ≥ œ
? ˙ ˙
Œ bœ port.
w w
S. Vlc.
Vla. B
?
Vlc.
?
Cb. w w w w
144
1m1 "Prelude" Dracula
Shak. &
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
T.-t. ÷
Tub. B. &
&
?
Org.
{
?
Pno.
?
{
› œ
& Œ Ó
f
Synth.
?
{
&
&
53
?
S. Vlc.
¿
Vln. 1 & J ‰ Œ Ó
p
¿
Vln. 2 & J ‰ Œ Ó
p
Vla. B
?
Vlc.
?
Cb.
145
Dracula 1m2a "Mina & Jonathan Pt.1"
CONCERT SCORE Chris Heckman
q = 76
& 4 3 5 4
?
Organ
{4
?
& b˙ ™
bb ˙˙ ™™
Œ
4
bb˙˙˙ ™™™
4
™
bbb˙˙˙ ™™ Ó
4
bbw
w
w
Piano mp
?
{ &
1 2 3 4
con sord.
& b˙ ™ Œ b˙ ™ b˙ ™ Ó
Violin 1
4 bw
p
4 mp
4 4
con sord.
Violin 2 & b˙ ™ Œ b˙ ™ b˙ ™ Ó
w
p mp
con sord.
B bw b˙ ™ Œ ˙™ b˙ ™ Ó
Viola
p mp
?
Cello
?
Contrabass
& 4
?
Org.
{4
?
&
w
bb w
w bbb ˙˙˙ ™™™ Œ
w
bb w
w bbbb˙˙˙˙ ™™™™
Œ
Pno. p
™
{& w
bbw
w
™
bbb˙˙˙ ™™ Œ w
bbw
w bbbb˙˙˙˙ ™™™ Œ
5 6 7 8
con sord. - legato espress. port. b˙™
˙ bœ port. b˙ ™ ˙ bœ œ
S. Vln. & 4 mf
bœ Œ Œ
?
S. Vlc.
& bw b˙ ™ Œ bw b˙ ™ Œ
Vln. 1
4 p
div.
& Œ ˙™ Œ
Vln. 2 bw
w b ˙˙™™ bw
w bb˙™
p
div.
B Œ b˙™ Œ
Vla.
bbw
w b˙™
˙™ bbw
w ˙™
p
?
Vlc.
pizz.
? bœ Œ Ó Œ Ó bœ Œ Ó Œ Ó
Cb. bœ bœ
mp
146
1m2a "Mina & Jonathan Pt.1" Dracula
& 5 3 6 3
?
Org.
{
?
bbw
& b w
w
4
bb ˙b˙˙˙ ˙˙˙
˙ Œ
4
bb˙˙ ™™
4
bbb ˙˙˙ ™™™ ˙ Œ
4
Pno.
Œ ™ Œ ?
{
& bbbw
w
w b˙˙ ˙˙ bbb˙˙˙ ™™ bbb˙˙˙˙ ™™™™ ˙
° *
9 10 11 12
b˙ bœ port. b˙ ˙ b˙ bœ bœ port. b˙ ™ ˙
S. Vln. &
bœ 5 Œ 3 6 Œ 3
?
S. Vlc.
Œ Œ
Vln. 1 & bw 4 ˙ ˙ 4 b˙ ™ 4 ˙™ b˙ 4
Vln. 2 & bw ˙˙ Œ Œ
b˙˙ b ˙ ™™ bb ˙™
˙™ ˙˙
Vla. B bbw
w bb˙˙ ˙˙ Œ b˙™ ˙˙ ™™ ˙˙ Œ
con sord.
? bw bw Œ b˙ ™ Œ
Vlc. b˙ ™ ˙
? bœ Œ Ó bœ Œ Ó Œ bœ Œ Œ bœ Œ Œ Ó™
Cb.
q = 88
& 3
?
Org.
{4
?
&
˙™ b˙™ b˙™ œ™ bœ
J
œ œ
Pno. mp
˙ b˙ ˙ b˙
?
{ bœ bœ bœ
bœ bœ bœ bœ
bœ
° * ° * ° * ° *
13 14 15 16
3 b˙ ™ œ™ bœ œ œ ˙ Œ
S. Vln. & J bœ bœ port. b˙
mf
con
˙ ™ sord. - legato espress. b˙™ b˙™ œ™ bœ œ œ
? J
S. Vlc.
mp
Vln. 1 & 4
Vln. 2 & b˙˙ ™™ b ˙˙™™ ˙˙ ™™ b ˙˙™™
p
Vla. B b˙˙ ™™ bb˙™
˙™ b˙˙ ™™ bb˙™
˙™
p
div.
? b˙ ™ b˙ ™ b˙ ™ b˙ ™
Vlc. b˙ ™ b˙ ™ b˙ ™ b˙ ™
p
arco
?
Cb. b˙ ™ b˙ ™ b˙ ™ b˙ ™
p
147
Dracula 1m2a "Mina & Jonathan Pt.1"
&
?
Org.
{
?
&
˙™ b˙™ b˙™ œ™
‰
#œ
#œ
Pno. mf
˙ b˙ ˙ b˙
? bœ bœ bœ bœ
{ bœ
° *
bœ
° *
bœ
° *
bœ
° *
17 18 19 20
b˙ ™ œ™ bœ œ bœ port. b˙ ™
S. Vln. & œ ˙ bœ
J
˙™ b˙™ b˙™ œ™ # œ≥
? ‰
S. Vlc.
mf
#ϳ
Vln. 1 & bb˙O ™™ ˙O ™™ ˙O ™™ œO ™™ ‰
mp f
Vln. 2 & ˙˙ ™™ b ˙˙ ™™ ˙˙ ™™ b ˙˙ ™™
? b˙ ™ b˙ ™ b˙ ™ b˙ ™
Vlc. b˙ ™ b˙ ™ b˙ ™ b˙ ™
arco
?
Cb. b˙ ™ b˙ ™ b˙ ™ b˙ ™
q = 76
&
mp
4
?
Org.
{
?
&
˙™
#œ
#œ
#œ
#œ
œ
œ
#œ
#œ
#˙ ™
#œ ™
#œ ™
œ
œ
J
œ
œ
œ
œ
#˙ ™
œ
œ
#œ
#œ
œ
œ
#œ
#œ
#˙
#˙
#˙
Œ
Œ
4
Pno.
?
{
21 22 23 24
S. Vln. & 4
œ #œ œ #œ #œ ™ œ œ œ #œ
? œ œ #œ #˙
S. Vlc.
J Œ
œ #œ œ #œ #œ ™ œ œ œ #œ
œ œ #œ Œ
Vln. 1 &
unis.
J #˙ 4
Vln. 2 & #œ ˙ œ #œ #œ œ œ œ #œ #œ œ Œ
#œ
mf
#˙ ™ #˙™
Vla. B ˙™ # ˙™ #˙™
˙™ #˙ ™™
mp
? #˙ ™ #˙ ™
Vlc. ˙˙ ™ ##˙™
˙™ # ˙™
™ #˙ ™
mp
?
Cb. #˙ ™
˙™ #˙ ™ #˙ ™
mp
148
1m2a "Mina & Jonathan Pt.1" Dracula
q = 80 (+4)
& 4 3 4
?
Org.
{4
?
&
w
#œ # œ
#œ #œ
˙
˙
œ
œ
œ
œ
4
‹˙
‹˙
˙
Œ
#œ
#œ
4
## w
w
w #w
## w
w
Pno. mp
?
{ & ##w
w
w #w
## w
w
25 26 27 28
˙ #œ
4 3 4 #œ port. #˙ ™ Œ
S. Vln. &
mf
#œ #œ ˙ œ œ #œ #˙ port. #˙ ˙ #œ œ
? ‹˙
S. Vlc.
mp
#œ #œ ˙ œ w #w
Vln. 1 & 4 œ 4 ‹˙ #œ 4 p
Vln. 2 & n˙ ™ #˙ ™ #w #w
w
#œ p
B #w #˙w #˙
Vla. #w
w ‹#˙˙ ™™
p
? w #˙ ™
Vlc.
w ‹˙™
?
Cb.
w ‹˙ ™
&
mp
?
Org.
{
?
&
## w
w
w
#w
## w
w ?
w
#w
w
#w
#w
#w
Pno.
#w
& ##w
{ w
w ## w
w ?
w #w
w #w
29 30 31 32
˙ #œ œ port. #˙ ™ #˙ œ #œ ˙ #œ
S. Vln. & Œ Œ
#œ #˙ #œ n˙ port. #˙ ˙ #œ
port.
? #˙ #œ Œ Œ
S. Vlc.
#w #˙˙™ #œ Œ w #˙w #˙
Vln. 1 &
mp
Vln. 2 & #w
w #˙™
˙™ Œ #w
w ##w
w
mp
?
Cb.
w #w
mp
149
Dracula 1m2a "Mina & Jonathan Pt.1"
& 3 mp
?
Org.
{
?
? w
w
#w #w
## w
w
4 #˙ ™
#˙ ™
## ˙˙ ™™ ###˙˙˙˙ ™™™™
Pno. mf
?
{ #w
#w
#w
#w #˙ ™
#˙ ™
#˙ ™
#˙ ™
33 34 35 36
#˙ œ ˙ #˙
#œ #˙ ™ œ™ #œ œ
S. Vln. & 3 J #œ
˙ port. #˙ ˙ #˙ #˙ ™ #˙ ™
?
S. Vlc.
mf
Vln. 2 & w ## ˙˙ ™™ # ˙™
w ## w
w ˙™
mp
unis.
Vla. B #w #˙ ™ ˙™
w #w
mp
? ˙™
Vlc. #w #w
#˙ ™
mp
? ˙™
Cb. #w #w
#˙ ™
mp
&
?
Org.
{
?
#˙ ™
™
? ### ˙˙˙ ™™ ###˙˙˙˙ ™™™™
#˙ ™
#˙ ™
## ˙˙ ™™ ###˙˙˙˙ ™™™™
Pno. mp
?
{ #˙ ™
#˙ ™
#˙ ™
#˙ ™ #˙ ™
#˙ ™
#˙ ™
#˙ ™
37 38 39 40
#˙ #œ #˙ ™ œ™ #œ #œ œ
S. Vln. & #œ port. ˙ Œ J
#˙ ™ œ™ #œ #œ œ #˙ ™ #˙ ™
? J
S. Vlc.
j
Vln. 1 & #˙ ™ œ™ #œ #œ œ #˙ ™ #˙ ™
Vln. 2 & ## ˙˙ ™ # ˙™ ## ˙˙ ™™ # ˙™
™ ˙™ ˙™
Vla. B ˙™ ˙™ #˙ ™ ˙™
?
Vlc. ˙™ ˙™
#˙ ™ #˙ ™
? ˙™ ˙™
Cb.
#˙ ™ #˙ ™
150
1m2a "Mina & Jonathan Pt.1" Dracula
q = 76 (-4)
& 4
?
Org.
{
?
#˙ ™
™
? ### ˙˙˙ ™™ ###˙˙˙˙ ™™™™
4
Pno.
?
{ #˙ ™
#˙ ™
#˙ ™
#˙ ™
41 42 43 44
#œ port. ˙
S. Vln. &
#˙ #œ Œ 4
#˙ ™ ˙
? Œ
S. Vlc.
Vln. 1 & #˙ ™ ˙ Œ 4 Œ
˙ œ #œ n˙ ™
mf
unis.
Vln. 2 & ## ˙˙ ™ Œ
™ # ˙™
˙™ ˙ œ #œ n˙ ™
mf
Vla. B ˙™ ˙™ Œ
w b˙ ™
mp
div.
? Œ
Vlc. ˙™ #w
w b˙˙ ™™
#˙ ™
mp
? ˙™ b˙ ™ Œ
Cb. w
#˙ ™ mp
Attacca
&
?
Org.
{
?
Pno.
?
{
45 46
S. Vln. &
?
S. Vlc.
Vln. 1 & œ bw
˙ #œ
Vln. 2 &
˙ ˙ bw
Vla. B w
w
? #w bbw
w
Vlc. w
? #w bw
Cb.
151
Dracula 1m2b "Mina & Jonathan Pt.2"
CONCERT SCORE Chris Heckman
q = 122
Crotales & 3
Glockenspiel & bœ bœ œ bœ œ œ
4 mf
Mark Tree ÷
bb œœ b œœ œœ b œœ œœ œœ
& 3
Celesta mp
?
{4 & bbœœ bœœ œœ bœœ œœ
& bœ bœ œ bœ œ œ
mp
mf
Sw: Flutes 8', 2'
bœ bœ bœ bœ bœ bœ bœ bœ
bœ bœ bœ bœ
Organ &
{
?
&
b˙
bb œœ b œœ œœ b œœ
Œ
œœ œœ
Piano mp mp
{
& bœ
°
bœ bœ bœ bœ bœ bœ bœ bœ bœ
p
bœ bœ
p
& b˙ ™ ˙™ ˙™ b˙ ™
mm
Choir (SA)
p p
& b˙ ™ ˙™ ˙™ b˙ ™
mm
1 2 3 4
(senza sord.)
Violin 1 & 3
(senza sord.)
Violin 2 &
4
(senza sord.)
Viola B
(senza sord.)
?
Cello
?
Contrabass
152
1m2b "Mina & Jonathan Pt.2" Dracula
bowed
Crot. & Œ ˙
pp
Glock. & b˙ ™ bœ bœ bœ œ œ œ
M. Tree ÷
T.-t. ÷
bb ˙˙ ™™ bb œœ b œœ bbœœ œœ œœ œœ
&
Cel.
{
& bb˙˙ ™™ bbœœ bœœ bbœœ œœ œœ œœ
& b˙ ™ bœ bœ bœ œ œ œ
bœ bœ bœ bœ bœ bœ bœ
bœ bœ bœ bœ bœ
Org. &
{
?
&
b˙
bb ˙˙ ™™
Œ b˙ Œ b˙ Œ b˙
bb œœ b œœ bbœœ œœ
Œ
œœ œœ
Pno.
{
& bœ bœ bœ
bœ
f
bœ bœ
bœ bœ bœ
*
bœ
°
bœ bœ
*
& œ™ bœ ™ bœ ™ bœ ™ b˙ ™ b˙ ™
Choir (SA)
f
& œ™ bœ ™ bœ ™ bœ ™ b˙ ™ b˙ ™
5 6 7 8
Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
b˙ œ ˙
Vln. 1 & Œ
p f p
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
b˙ œ ˙
Vln. 2 & Œ
p f p
Vla. B
?
Vlc.
?
Cb.
153
Dracula 1m2b "Mina & Jonathan Pt.2"
q = 123 (+1)
™ œ– b˙ ˙™
Crot. & ˙ Œ Œ Œ
mp sim.
bœ bœ œ bœ œ œ
Glock. & ˙™
M. Tree ÷
T.-t. ÷
bb œœ b œœ œœ b œœ œœ œœ
˙ ™™
& ˙
Cel.
bœœ œœ
{
& ˙˙ ™™ bbœœ bœœ œœ œœ
bœ bœ œ bœ œ œ
& ˙™
œ bœ œ bœ œ bœ bœ bœ
bœ
& œ
œ œ
Org.
{
? b˙
˙ ™™
& ˙
Œ
˙
Œ
˙
Œ b˙
bb œœ b œœ œœ b œœ
Œ
œœ œœ
Pno.
{
& œ
°
œ bœ
œ œ bœ
œ œ bœ
*
bœ
°
bœ bœ
& bœ ™ bœ ™ bœ ™ bœ ™ b˙ ™ b˙ ™
Choir (SA)
& œ™ bœ ™ œ™ bœ ™ ˙™ b˙ ™
9 10 11 12
Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
b˙ œ ˙
Vln. 1 & Œ
sim.
Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
& ˙ œ ˙ Œ
Vln. 2
sim.
Vla. B
?
Vlc.
?
Cb.
154
1m2b "Mina & Jonathan Pt.2" Dracula
˙™ œ– ˙ ˙™
Crot. & Œ Œ Œ
Glock. & b˙ ™ bœ bœ bœ œ œ œ
M. Tree ÷
T.-t. ÷
bb ˙˙ ™™ bb œœ bb œœ œœ œœ œœ œœ
&
Cel.
{
& bb˙˙ ™™ bbœœ bbœœ œœ œœ œœ œœ
& b˙ ™ bœ bœ bœ œ œ œ
bœ bœ bœ bœ bœ bœ bœ bœ
bœ bœ bœ œ
Org. &
{
? b˙
&
bb ˙˙ ™™
Œ b˙ Œ b˙ Œ
˙
bb œœ bb œœ œœ œœ
Œ
œœ œœ
Pno.
{
& bœ bœ bœ
bœ bœ bœ
bœ bœ bœ
*
œ
°
bœ bœ
*
œ™ bœ ™ bœ ™ bœ ™ b˙ ™ b˙ ™
&
Choir (SA)
& œ™ bœ ™ bœ ™ bœ ™ b˙ ™ b˙ ™
13 14 15 16
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
b˙ œ ˙
Vln. 1 & Œ
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
b˙ œ ˙
Vln. 2 & Œ
Vla. B
?
Vlc.
?
Cb.
155
Dracula 1m2b "Mina & Jonathan Pt.2"
˙™ œ– Œ Œ Œ b˙
Crot. &
Glock. & b˙ ™ bœ bœ œ nœ œ œ
M. Tree ÷
T.-t. ÷
b ˙˙ ™™ bb œœ b œœ œœ n œœ œœ œœ
&
Cel.
{
& b˙˙ ™™ bbœœ bœœ œœ nœœ œœ œœ
& b˙ ™ bœ bœ œ nœ œ œ
œ bœ œ bœ œ bœ bœ bœ
bœ
& œ
œ œ
Org.
{
?
&
˙
b ˙˙ ™™
Œ
˙
Œ b˙ Œ b˙
bb œœ b œœ œœ n œœ
Œ
œœ œœ
Pno.
{
& œ
°
œ bœ
œ œ bœ
œ œ bœ
*
bœ
°
bœ bœ
& bœ ™ bœ ™ bœ ™ bœ ™ b˙ ™ b˙ ™
Choir (SA)
& bœ ™ bœ ™ bœ ™ bœ ™ ˙™ b˙ ™
17 18 19 20
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
b˙ œ ˙
Vln. 1 & Œ
Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
˙ œ ˙ Œ
Vln. 2 &
pizz.
Vla. B Œ bœ œ
mf
pizz.
? Œ bœ œ
Vlc.
mf
?
Cb.
156
1m2b "Mina & Jonathan Pt.2" Dracula
˙™ œ– Œ Œ
Crot. &
Glock. & b˙ ™ bœ bœ bœ œ œ bœ
M. Tree ÷
T.-t. ÷
bb ˙˙ ™™ bb œœ bb œœ ∫bœœ œœ œœ bb œœ
&
Cel.
{
& bb˙˙ ™™ bbœœ bbœœ ∫bœœ
+ Principal 16'
œœ œœ bbœœ
& b˙ ™ bœ bœ bœ œ œ bœ
bœ bœ bœ bœ bœ bœ bœ
bœ bœ bœ bœ ∫œ
Org. &
{
?
&
b˙
bb ˙˙ ™™
Œ b˙ Œ b˙ Œ b˙
bb œœ bb œœ ∫bœœ œœ
Œ
œœ bb œœ
Pno.
{
& bœ bœ bœ
bœ bœ bœ
bœ bœ bœ
*
bœ
°
∫œ bœ
*
& œ™ nœ ™ bœ ™ œ™ b˙ ™ ˙™
Choir (SA)
& œ™ bœ ™ bœ ™ bœ ™ b˙ ™ ˙™
21 22 23 24
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
b˙ œ ˙
Vln. 1 & Œ
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
b˙ œ ˙
Vln. 2 & Œ
Vla. B Œ bœ Œ Œ bœ Œ Œ bœ œ Œ bœ œ
? Œ bœ Œ Œ bœ Œ Œ bœ œ Œ ∫œ œ
Vlc.
?
Cb.
157
Dracula 1m2b "Mina & Jonathan Pt.2"
˙ ˙™ ˙™ œ–
Crot. & Œ Œ Œ
pp mp
bœ bœ nœ œ #œ œ œ œ
Glock. & bœ bœ œ œ
˙
Œ
mf
M. Tree ÷
ord. >
æ
T.-t. ÷ Oæ™ ¿— Œ Œ
p mf
# œœ # œœ ˙™ b œœ œœ
bb œœ bb œœ bb œœ nn œœ b œœ œœ œœ œœ
&
Cel. mp
bœ nœ œ #œ œ œ œ
& bœ bœ bœ œ œ Œ
˙
mf
bœ bœ nœ bœ œ bœ œ bœ
∫œ œ œ œ
Org. &
{
? ∫˙
&
bb œœ bb œœ bb œœ nn œœ
Œ
# œœ # œœ
˙
˙™
Œ b˙ Œ ˙
b œœ œœ œœ b œœ
Œ
œœ œœ
Pno. mp
{
& ∫œ
°
bœ bœ
œ
* °
œ bœ
œ œ bœ
œ œ
mf
& œ œ œ bœ œ œ ˙™ gliss.
la la la la la la la
Choir (SA)
gliss. down appox. one 8ve
mf
& bœ œ œ œ œ œ b˙ ™ gliss.
la la la la la la la
25 26 27 28
Vln. 1 &
Vln. 2 &
Vla. B Œ bœ Œ Œ bœ œ Œ bœ Œ Œ bœ Œ
mf
? Œ bœ Œ Œ nœ œ Œ œ Œ Œ œ Œ
Vlc.
mf
pizz.
? œ Œ Œ Œ Œ œ Œ Œ
Cb. bœ
mf
158
1m2b "Mina & Jonathan Pt.2" Dracula
Crot. & Œ #˙ ˙™ ˙™ œ– Œ Œ
Glock. & Œ Œ œ #˙ Œ
bœ œ #œ œ œ œ
œ
M. Tree ÷
T.-t. ÷
b ˙˙ ™™ # œœ œœ œœ # œœ œœ œœ
&
Cel.
™ #œœ œœ #œœ œœ œœ
& b˙˙ ™
{ œœ
& Œ Œ œ #˙ Œ
bœ œ #œ œ œ œ œ
œ bœ œ œ œ œ œ œ
Org. & œ #œ #œ #œ
{
?
&
˙
b ˙˙ ™™
Œ ˙ Œ #˙ Œ ˙
# œœ œœ œœ # œœ
Œ
œœ œœ
Pno.
{
& œ œ bœ
#œ
* °
œ œ
#œ œ œ
#œ œ œ
& ¿j ‰ Œ Œ #œ œ œ œ œ œ #˙ ™ gliss.
la la la la la la la
Choir (SA)
& j ‰ Œ Œ œ #œ œ œ œ œ ˙™ gliss.
b¿
la la la la la la la
29 30 31 32
Vln. 1 &
Vln. 2 &
Vla. B Œ bœ œ Œ œ œ Œ œ Œ Œ œ Œ
? Œ œ œ Œ œ œ Œ œ Œ Œ œ Œ
Vlc.
? Œ Œ œ Œ Œ Œ Œ œ Œ Œ
Cb. œ #œ
159
Dracula 1m2b "Mina & Jonathan Pt.2"
b˙ ˙™ œ– ˙
Crot. & Œ Œ Œ Œ
pp
œ #œ œ bœ œ
Glock. & Œ Œ bœ œ œ b˙ Œ Œ Œ bœ œ
M. Tree ÷
T.-t. ÷
# ˙˙ ™™ b œœ œœ œœ œœ œœ œœ b ˙˙ ™™
&
Cel.
˙™
{
& #˙ ™ bœœ œœ œœ œœ œœ œœ b˙˙ ™™
œ #œ œ bœ œ
& Œ Œ bœ œ œ b˙ Œ Œ Œ bœ œ
œ œ bœ œ bœ bœ œ bœ bœ œ bœ
Org. & #œ
{
?
&
˙
# ˙˙ ™™
Œ b˙ Œ
˙
b œœ œœ œœ œœ
Œ
œœ œœ
b˙
b ˙˙ ™™
Œ
Pno.
{
&
#œ œ œ bœ
* °
œ bœ
bœ œ bœ
bœ œ bœ
*
& j ‰ Œ Œ bœ œ œ œ œ œ b˙ ™ gliss.
#¿
la la la la la la la
Choir (SA)
& j ‰ Œ Œ œ œ œ œ œ œ ˙™ gliss.
¿
la la la la la la la
33 34 35 36
Vln. 1 &
Vln. 2 &
Vla. B Œ œ œ Œ bœ œ Œ bœ Œ Œ bœ Œ
? Œ œ œ Œ œ œ Œ œ Œ Œ œ Œ
Vlc.
? Œ Œ bœ Œ Œ Œ Œ bœ Œ Œ
Cb. œ œ
160
1m2b "Mina & Jonathan Pt.2" Dracula
˙™ ˙™ œ–
Crot. & Œ Œ
mp
Glock. & #œ œ #˙ Œ
œ œ œ œ œ œ œ œ œ ˙™
œ mp
M. Tree ÷
scrape >
æ
T.-t. ÷ Œ Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿— Œ Œ
p mf
œœ œœ œœ œœ œœ œœ ˙˙™™
&
Cel. mp
{
& œœ œœ œœ œœ œœ œœ ˙˙ ™™
& #œ œ #˙ Œ
œ œ œ œ
mp
œ #œ œ
nœ #œ œ
Org. &
{
? #˙
&
Œ ˙ Œ
˙
nœœ œœ œœ œœ
Œ
œœ œœ
˙
˙˙™™
Œ
Pno. mp
{
& nœ
°
œ #œ
#œ
* °
œ œ
* °
p
& j ‰ Œ Œ
b¿ ˙™ œ™ œ™
mm
Choir (SA)
p
& j ‰ Œ Œ
˙™ œ™ œ™
¿
mm
37 38 39 40
Vln. 1 &
Vln. 2 &
Vla. B Œ #œ œ Œ œ Œ
? Œ œ œ œ
Vlc. Œ Œ
? #œ œ
Cb. Œ Œ œ Œ Œ Œ Œ œ Œ Œ
mp
161
Dracula 1m2b "Mina & Jonathan Pt.2"
Crot. &
Glock. & œ œ œ œ
œ œ ˙™
M. Tree ÷
T.-t. ÷
œœ œœ œœ œœ
& œœ œœ #˙˙ ™™
Cel.
{
&
œœ œœ œœ œœ œœ œœ # ˙˙ ™™
&
Org. &
{
? ˙
&
Œ ˙ Œ ˙
œœ œœ œœ œœ
Œ
œœ œœ
˙
#˙˙ ™™
Œ
Pno.
{
&
* ° * °
& œ™ œ™ ˙™ ˙™ œ™ œ™
Choir (SA)
& œ™ œ™ ˙™ ˙™ œ™ œ™
41 42 43 44
Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 1 & ˙ œ ˙ Œ
p f p
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 2 & ˙ Œ
œ ˙
p f p
Vla. B
?
Vlc.
? œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ
Cb.
162
1m2b "Mina & Jonathan Pt.2" Dracula
Crot. &
Glock. & œ œ œ œ œ œ ˙™
M. Tree ÷
T.-t. ÷
œœ #œœ œœ œœ œœ œœ ˙˙ ™™
&
Cel.
{
& œœ # œœ œœ œœ œœ œœ ˙˙ ™™
&
Org. &
{
?
&
#˙
Œ ˙ Œ ˙
œœ #œœ œœ œœ
Œ
œœ œœ
˙
˙˙ ™™
Œ
Pno.
{
&
* °
& œ™ œ™ ˙™ ˙™ œ™ œ™
Choir (SA)
& œ™ œ™ ˙™ ˙™ œ™ œ™
45 46 47 48
Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 1 & ˙ Œ
œ ˙
sim.
Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 2 & Œ
#˙ œ ˙
sim.
Vla. B
?
Vlc.
? Œ Œ Œ Œ œ Œ Œ Œ Œ
Cb. #œ œ œ
163
Dracula 1m2b "Mina & Jonathan Pt.2"
Crot. &
Glock. & œ œ œ œ œ œ ˙™
M. Tree ÷
T.-t. ÷
œœ œœ œœ œœ œœ œœ ˙˙ ™™
&
Cel.
{
& œœ œœ œœ œœ œœ œœ ˙˙ ™™
&
Org. &
{
?
&
˙ Œ ˙ Œ ˙
œœ œœ œœ œœ
Œ
œœ œœ
#˙
˙˙ ™™
Œ
Pno.
{
&
* ° * °
& œ™ œ™ ˙™ ˙™ œ™ œ™
Choir (SA)
& œ™ œ™ ˙™ ˙™ œ™ œ™
49 50 51 52
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 1 & ˙ œ ˙ Œ
˙ œ
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 2 & ˙ Œ
œ ˙ ˙ œ
Vla. B
?
Vlc.
? Œ Œ œ Œ Œ Œ Œ Œ Œ
Cb. œ œ #œ
164
1m2b "Mina & Jonathan Pt.2" Dracula
Crot. &
Glock. & œ œ œ #œ œ œ ˙™
æ æ æ
∏∏∏∏
Oæ™ Oæ™ Oæ™
∏∏∏∏
M. Tree ÷
mp
T.-t. ÷
œœ œœ œœ #œœ œœ œœ ˙˙™™
&
Cel.
{
& œœ œœ œœ #œœ œœ œœ ˙˙ ™™
&
Org. &
{
? ˙
&
Œ
˙
œœ œœ œœ #œœ
Œ
œœ œœ
˙
˙˙™™
Œ ˙ Œ
Pno.
{
&
* ° *
& œ™ œ™ ˙™ #˙ ™ ˙™
Choir (SA)
& œ™ œ™ ˙™ #˙ ™ ˙™
53 54 55 56
<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 1 & ˙ Œ ˙ œ ˙ Œ
<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 2 & Œ Œ
˙ ˙ œ ˙
Vla. B
?
Vlc.
? œ Œ Œ œ Œ Œ Œ Œ œ Œ Œ
Cb. œ
165
Dracula 1m2b "Mina & Jonathan Pt.2"
Attacca
molto rit.
Crot. & 5
œ œ #œ #œ
Glock. & œ #œ œ œ œ œ œ
œ œ #œ œ œ
4
æ æ
M. Tree ÷ Oæ™ Oæ Œ Ó
T.-t. ÷
œœ œœ # œœ # œœ
œœ œœ
œ œœ œœ #œœ œœ œœ 5 #œœ #œœ œœ œœ
& œ
Cel.
œ
{
&
œ
°
œ œ
4 œ œ œ œ
&
Org. &
{
?
œ
& œ
˙™
œœ œœ #œœ œœ œœ
˙
#œœ #œœ œœ œœ
Œ
œœ œœ
Ó
œœ œœ # œœ # œœ
Pno.
œ
{
&
œ
°
œ œ œ œ œ œ
& #˙ ™ ˙™ #˙
Choir (SA)
pp
& #˙ ™
˙™ ˙
57 58
Vln. 1 & 5
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 2 & Ó
4 p
œ
f
œ œ
p
Vla. B
?
Vlc.
? Œ Œ
Cb. œ fffff ffff fff ffff ffff fff fff
166
Dracula 1m2c "Mina & Jonathan Pt.3"
CONCERT SCORE Chris Heckman
q = 76
Shakuhachi & 4
Horn 1-4 &
?
Trombone 3-4
Bass Trombone ?
Tuba
Contrabass Trombone ?
Contrabass Tuba
Timpani
? 4
÷ œ— Œ Ó
Bass Drum
mp
Crotales & 4 w
Glockenspiel &
pp
Shaker ÷
æ
Tam-tam ÷ Ó Oæ ¿— Œ Ó
œ p mf
& 4 Œ Ó
Celesta pp
?
{ *
& 4 mp
?
Organ
Piano pp
?
{ *
›
Big Bang Kit
œ œ œ
& & Œ Ó Œ Ó Œ Ó
Synthesizer mf mf
?
{ non-vibrato, child-like
portamento ad lib.
mf
Solo Soprano & Ó Œ #˙ œ
œ œ
ah
pp
& w
Choir (SA) (mm)
&
1 2 3 4
col legno
Violin 1 & 4 œ œ œ
Œ
œ œ œ
Œ
œ œ œ
Œ
p p
col legno
Violin 2 & Œ Œ Œ
œ œ œ œ œ œ œ œ œ
p p
sul pont.
Viola B
4 col legno
œ œ œ Œ
œ œ œ
Œ æ æ æ #œ #œ œ æ æ æ œ œ œ
œæ œ œ œ æœ æ æ æ œæ œ œ œ æœ æ æ æ
p mp
sul pont.
? æ æ æ æ #œ#œ œ æ æ æ æ œ œ œ æ æ æ æ #œ#œ œ æ æ æ æ œ œ œ æ æ æ æ #œ#œ œ æ æ æ æ œ œ œ æ æ æ æ #œ #œ œ æ æ æ æ œ œ œ
Cello œ œ œ œ æœ æ æ æ œ œ œ œ æœ æ æ æ œ œ œ œ æœ æ æ æ œ œ œ œ æœ æ æ æ œ œ œ œ æœ æ æ æ œ œ œ œ æœ æ æ æ œ œ œ œ æœ æ æ æ œ œ œ œ æœ æ æ æ
p mp
portamento ad lib.
?
Contrabass w w
p w mp
167
1m2c "Mina & Jonathan Pt.3" Dracula
Shak. & 6 4
Hn. 1-4 &
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 6 4
÷ œ— Œ Ó Ó œ— Œ Ó œ— Œ Ó
B. D.
bowed
œ– b œ– œ–
Crot. & Œ Ó 4 œ– Œ Ó Ó 4 Œ Ó Œ Ó
mf
Glock. &
Shk. ÷
T.-t. ÷
& 6 4
Cel.
?
{
& 4 4
?
Org.
{
?
&
w
w™
bw w
Pno.
?
{
› œ œ œ
& Œ Ó Ó Œ Ó Œ Ó
Synth.
?
{ #œ 3
mp
˙ #œ œ œ œ b˙ œ™ ˙
S. Sop. & ˙ Œ
œ
‰ œ
œ
&
Choir (SA)
&
5 6 7 8
Vln. 1 &
œ œ œ
Œ 6 œ œ œ
Œ Ó 4 bœ œ œ
Œ œ œ œ Œ
Vln. 2 & Œ Œ Ó Œ œ œ œ Œ
œ œ œ œ œ œ bœ œ œ
œ œ æ æ æ œ œbœ
Vla. B œæ œæ œæ œææœ#æœ#æœ æ œæ œæ œæ œææœ æœ æœ æ 4 æ æ æ æ œ#œ#œ æ æ æ æ œ œ œ æ æ æ æ œ œ œ
#œ œ œ œ æœ æ æ æ œ œ œ œ æœ æ æ æ œ œ œ œ æœ æ æ æ 4 ææ œœ œ œ
bœæbœbœbœbæœ æ æ æ œæ œæ œ œ æœ æœ æ æ œæ œæbœæbœææœ æœ æœ æ œæ œæ œæ œææœ æœ æœ æ
?
Cb. w bw
w™ w
168
Dracula 1m2c "Mina & Jonathan Pt.3"
Shak. & 5 4
Hn. 1-4 &
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 5 4
÷ œ— Œ Ó œ— Œ Ó™
B. D.
œ– Œ Ó
Crot. & 4 4
Glock. &
Shk. ÷
& 5 4
Cel.
?
{
& 4 4
?
Org.
{
?
&
w w w ˙ ˙
Œ
Pno.
?
{
› œ œ
& Œ Ó Œ Ó™
Synth.
?
{
S. Sop. & ˙ b˙ Œ œ œ w b˙ ˙™
œ
&
Choir (SA)
&
9 10 11 12
ord.
sul A - art. harm. gliss. up approx. one 8ve ad lib.
Vln. 1 & œ œ œ Œ
œ œ œ
Œ
œ œ œ
Œ 5 OY 4
ord.
sul A - art. harm. gliss. up approx. one 8ve ad lib.
Œ Œ Œ OY
Vln. 2 & œ œ œ œ œ œ œ œ œ
? Œ
Cb.
w w w ˙ ˙
169
1m2c "Mina & Jonathan Pt.3" Dracula
q = 84 (+8) overblow to produce harmonic
bend tones with vibrato ad lib. o
4 ˙o ™ ˙o ˙
Shak. & bœ œ œ Ó nœ O™ O O
> ˙ œ
sffz mf
Hn. 1-4 &
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 4 œ
mp
œ œ Œ œ œ œ Œ œ œ œ Œ œ œ œ Œ
÷ œ— Œ Ó œ— Œ Ó œ— Œ Ó œ— Œ Ó
B. D.
mp
Crot. & 4
Glock. &
æ æ
Shk. ÷ wæ wæ
f p f p
>
÷ ~~~ ¿ — Œ Ó
T.-t.
f
& 4
Cel.
?
{
& 4
?
Org.
{
?
&
Pno.
?
{
› œ œ œ œ
& Œ Ó Œ Ó Œ Ó Œ Ó
Synth. mf
?
{
S. Sop. &
&
Choir (SA)
&
13 14 15 16
O¿
Vln. 1 & 4 J
mf
‰ Œ Ó
O¿
Vln. 2 & J ‰ Œ Ó
mf
col legno
3 3
Vla. B 4 Ó Œ
bœ œ b œ œ
mf
Ó Œ
bœ œ b œ œ
mf
col legno
? Œ bœ œ bœ œ Œ bœ œ bœ œ
Vlc. œ œ œ œ œ œ œ œ œ œ œ œ
p 3 3
mf p mf
col legno
? Œ Œ Œ Œ
Cb. œ œ œ œ œ œ œ œ œ œ œ œ
p
170
Dracula 1m2c "Mina & Jonathan Pt.3"
b ˙o ™ ˙o o
œ
Shak. & œ bO ™ O ‚ ‰ Œ
J
a4 - stopped
+^ +^ +^ +
Hn. 1-4 & ‰ ‰ #w ˙ Ó
˙ ™™
˙ ™™
mf
a4 - stopped
+^ +^ +^ +
Hn. 5-8 & ‰ ˙ ™™ ‰ #w ˙ Ó
˙ ™™
mf
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
? Œ Œ Œ Œ
Timp. œ œ œ œ œ œ œ œ œ œ œ œ
÷ œ— Œ Ó œ— Œ Ó œ— Œ Ó œ— Œ Ó
B. D.
Crot. &
Glock. &
Shk. ÷
T.-t. ÷
&
Cel.
?
{
&
?
Org.
{
?
&
Pno.
?
{
› œ œ œ œ
& Œ Ó Œ Ó Œ Ó Œ Ó
Synth.
?
{
S. Sop. &
gliss. down approx. one 8ve mf
œ gliss.
& Ó Œ
ah
Choir (SA)
gliss. down approx. one 8ve mf
Ó Œ œ gliss.
&
ah
17 18 19 20
legato
Vln. 1 & œæ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
œ œ œ #œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ bœ œ œ
p poco a poco cresc.
Vln. 2 &
B Ó Œ bœ œbœ œ Ó Œ bœ œbœ œ
Vla.
3 3
mf mf
? Œ bœ œbœ œ Œ bœ œbœ œ
Vlc. œ œ œ œ œ œ œ œ œ œ œ œ
p 3 3
mf p mf
? Œ Œ Œ Œ
Cb. œ œ œ œ œ œ œ œ œ œ œ œ
171
1m2c "Mina & Jonathan Pt.3" Dracula
o o ˙o ™ œo
œ
Shak. & œ
œ œ ‚ ‚ O™ ‚
+^ +^ +^ +^
Hn. 1-4 & ‰ ‰ w ˙™ Œ
˙ ™™
˙ ™™
mf
+^ +^ +^ +
Hn. 5-8 & ‰ ‰ w ˙™ Œ
˙ ™™
˙ ™™
mf
? Ó
Tbn. 1-2 w ˙ ˙ gliss. #w ˙
p f p
? Ó
Tbn. 3-4 w ˙ ˙ gliss. #w ˙
p f p
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
? Œ Œ Œ Œ
Timp. œ œ œ œ œ œ #œ œ œ #œ œ œ
÷ œ— Œ Ó œ— Œ Ó œ— Œ Ó œ— Œ Ó
B. D.
Crot. &
Glock. &
Shk. ÷
æ
T.-t. ÷ Ó Œ ¿æ~~~~~~~~~~~~~~~~
p
&
Cel.
?
{
&
?
Org.
{
?
&
Pno.
?
{
› œ œ œ œ
& Œ Ó Œ Ó Œ Ó Œ Ó
Synth.
?
{
S. Sop. &
(beat 2) mf
21 22 23 24
Vln. 1 & œæ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
œ œ œ #œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ bœ œ œ
legato
Vln. 2 & æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
œ œ œ œ œ #œ œ œ œ œ œ œ #œ œ œ œ nœ œ œ œ œ #œ œ œ œ œ œ œ #œ œ œ œ
p poco a poco cresc.
B Ó Œ bœ œ bœ œ Ó Œ bœ œ bœ œ
Vla.
3 3
mf mf
? bœ #œ œ œ #œ œ œ
Vlc. Œ bœ œ bœ œ Œ #œ bœ nœbœ œ
œ œ œ œ œ œ
p 3 3
mf p mf
Cb.
?
œ œ œ Œ œ œ œ #œ œ#œ œ #œ œ œ Œ #œ œ œ #œ œ#œnœ
3 3
mf p mf
172
Dracula 1m2c "Mina & Jonathan Pt.3"
>œo
Shak. & ‚ ‰ Œ Ó
J
sffz
Hn. 1-4 &
? œ gliss. #œ gliss. œ
Tbn. 3-4
p
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷ w
Crot. &
œ œ œ œ œ œ œ ˙™ Œ œ œ œ œ œ œ œ ˙™ Œ
Glock. &
mp
Shk. ÷
>
÷ ~~ ¿ — Œ Ó
T.-t.
f
œ œœ œœ œœ œœ œœ œœ ˙˙™™ œœ œœ œœ œœ œ
& œ Œ œœ œœ #œ ˙˙ ™™ Œ
Cel. mp
?
{
&
?
Org.
{
?
&
inside - gliss. with fingers
Ó Œ ¿j
ss.
gli
¿
Ó Œ ¿j
ss.
gli
¿
Pno. f ff
?
{
› ° * ° *
&
Synth.
?
{
S. Sop. &
random whispering ad lib.
mf
(beat 2)
& gliss. j ‰ ¿ ¿ ¿ ¿
#¿
random whispering ad lib.
Choir (SA) mf
(beat 2)
& gliss. j ‰ ¿ ¿ ¿ ¿
¿
25 26 27 28
appox. range - ad lib. >¿
> iss.
¿j gl J
Vln. 1 & Ó Œ j gliss. ¿ ‰ Ó Œ ‰
¿ J
sfz sffz
appox. range - ad lib. >¿
> iss.
¿j gl J
Vln. 2 & Ó Œ j iss.
¿ gl
¿ ‰ Ó Œ ‰
J
sfz sffz
B Ó Œ bœ œbœ œ Ó Œ bœ œbœ œ
Vla.
3 3
mf mf
? Œ bœ œbœ œ Œ bœ œbœ œ
Vlc. œ œ œ œ œ œ œ œ œ œ œ œ
p poco a poco cresc. 3 3
mf p mf
? Œ Œ Œ Œ
Cb. œ œ œ œ œ œ œ œ œ œ œ œ
p poco a poco cresc.
173
1m2c "Mina & Jonathan Pt.3" Dracula
Shak. &
? ì
Tbn. 1-2
? ì
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Crot. &
œ œ œ œ œ œ œ ˙™ œ œ œ œ œ œ œ ˙™
Glock. & Œ Œ
Shk. ÷
T.-t. ÷
œ œ œœ œœ œœ œœ œœ ˙˙ ™™ œœ œœ œœ œœ ˙˙ ™™
& œ #œ Œ œœ œœ œœ Œ
Cel.
?
{
&
?
Org.
{
?
& Ó Œ ¿j
gliss. ¿
Pno. fff
?
{
› ° *
&
Synth.
?
{
S. Sop. &
f p
& ì
Choir (SA)
f p
& ì
29 30 31 32
“” >
j gliss. ¿
Vln. 1 & Ó Œ ¿ J ‰
sfffz
“” >¿
iss.
¿j gl J
Vln. 2 & Ó Œ ‰
sfffz
legato
B bœ œ œ œ œ œ œ œ bœ œ œ œ nœ œ œ œ
Vla. æ æ æ æ æ æ æ æ æ æ æ æ
æ æ æ æ
p poco a poco cresc.
bœ œbœ œ bœ œbœ œ
? Œ bœ œ œ Œ bœ œ œ
Vlc. œ œ œ œ œ œ 3 3
p mf p mf
Cb.
?
œ œ œ Œ œ œ œ #œ œ #œ œ #œ œ œ Œ #œ œ œ #œ œ #œnœ
p 3 3
mf p mf
174
Dracula 1m2c "Mina & Jonathan Pt.3"
Shak. &
div. a2
+. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +.
?
Hn. 1-4 & œœœœœœ œ œ œ œ œ œ œ œ œ Œ bœ œœ œœœœœœœœœœœœœœœœœœœœœœœœŒ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Œ bœ œœ œœœœœœœœœœœœœœœœœœœœœœœœŒ
œ œ œ œ œ œ œ œ œ œ
+. +. 5+. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +.
5
+. +. 5+. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +. +.
5
5 5 5 5 5 5 5 5
p f p
++++++ + + + + + + + + + + + +5 + + + + +5 + + + + +5 + + ++++++ + + + + + + + + + + + +5 + + + + +5 + + + + +5 + +
?
Hn. 5-8 & œ œ œ5 œ 5 5 Œ
bœ. œœ
Œ 5 5 5 Œ Œ
. . . . œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. œ. . . œ. œ. œ. œ. œ. bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. b œ. œ. œ. œ. œ. œ. œ. bœ. œœ
. . œ. œ. œ. œ. œ. bœ. œ. œ. œ. œ. œ. œ.
p f p
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
? œ œ Œ œ œ Œ œ œ Œ œ œ Œ
Timp.
œ œ œ œ
÷ œ œ œ— Œ œ œ œ— Œ œ œ œ— Œ œ œ œ— Œ
B. D.
p poco a poco cresc.
Crot. &
Glock. & œ #œ œ œ œ œ œ ˙™ Œ œ œ bœ œ œ Œ
œ œ ˙™
Shk. ÷
random fast tapping with tri. beater ad lib. ord.
ææ æ æ æ
T.-t. ÷ ~¿ — Ó ~æ ~æ Ó Oæ
Œ p
mf ord.
bœœ #œœ œœ nb œœ œœ œœ œœ ˙˙™™ bœœ œœ œœ œœ œœ œœ œœ ˙˙ ™™
& Œ Œ
Cel.
?
{
&
?
Org.
{
?
&
Pno.
?
{
› œ œ œ œ
& Œ Ó Œ Ó Œ Ó Œ Ó
Synth. mf
?
{
S. Sop. &
&
Choir (SA)
&
33 34 35 36
Vln. 1 &
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Vln. 2 & œ bœ œ œ #œ œ œ œ œ bœæ œ œ #œ nœ œ œæ œ bœ œ œ #œ œ œ œ œ bœæ œ œ #œ nœ œ œæ
p poco a poco cresc.
Vla. B bœ œ œ œ œ œ œ œ bœ œ œ œ nœ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ nœ œ œ œ
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
? Œ Œ Œ Œ
Vlc.
œ œ œ œ œ œ œ œ œ œ œ œ
mp
? Œ Œ Œ Œ
Cb.
œ œ œ œ œ œ œ œ œ œ œ œ
mp
175
1m2c "Mina & Jonathan Pt.3" Dracula
Shak. &
a4 - open ˙ ˙
? Œ b˙ Œ nœ ˙ Œ #œ b˙
Hn. 1-4 œ
mp mf
open ˙ ˙
? Œ œ b˙ Œ nœ ˙ Œ #œ b˙
Hn. 5-8
mp mf
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ? Œ Œ Œ ˙ ˙
Cb. Tba. b˙ nœ ˙ #œ b˙
œ ˙ #œ ˙ ˙
œ b˙ nœ b˙
mp mf
?
Timp.
÷ œ œ œ— Œ œ œ œ— Œ œ œ œ— Œ œ œ œ— Œ
B. D.
Crot. &
Glock. &
Shk. ÷
> æ
T.-t. ÷ ¿— Œ Ó Ó Oæ
f p
&
Cel.
?
{
&
p
?
Org.
{
? Œ
&
œ b˙
Œ
nœ ˙
Œ
#œ ˙ ˙
b˙
Pno. mp
? Œ Œ Œ
{
› œ
œ b˙
œ
nœ ˙
œ
#œ ˙ ˙
œ
b˙
& Œ Ó Œ Ó Œ Ó Œ Ó
Synth. mf
?
{
S. Sop. &
&
Choir (SA)
&
37 38 39 40
“” œ œ œ bœ bœ œ œ #œ œ œ œ #œ
œ #œ œ #œ nœ #œ nœ
& æœ œ œ bœ æ æ æ æ æ æ æ æ æ œ bœ bœ nœ #œ #œ æ æ æ æ æ æ æ æ œ bœ œ
Vln. 1 æ æ æ
æ æ æ æ æ æ æ æ æ æ æ
mf
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Vln. 2 & œ bœ œ œ #œ œ œ œ œ bœ œ œ #œ nœ œ œ œ bœ œ œ #œ œ œ œ œ bœ œ œ #œ nœ œ œ
mp
B #œ œ œ œ nœ bœ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ nœ bœ œ œ #œ œ œ œ œ œ œ œ
Vla. æ æ æ æ æ æ æ æ
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
mp
? Œ Œ œ œ œ Œ œ œ œ Œ
Vlc.
œ œ œ œ œ œ
mf
3 3
? Œ Œ
Cb.
#œ œ œ#œ œ œ œ œ œ œ #œ œ œbœ
œ œ œ œ œ œ
mf ff mf ff
176
Dracula 1m2c "Mina & Jonathan Pt.3"
Shak. &
div.
+ +a25+
. . . +. +. +. +. +5. +. +. +. +. +.5 +. +. +. +. +5. +. +. +. +. +.5 +. +. +. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +. +. +. +5. +. +.
b œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ b œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
? œ œ œ œ œ œœœœœœœœ œœœœœœœœœœ œœŒ
œ œ œ œ œ œœœœœœœœœœœœœœœœœœœœ
Hn. 1-4 .. . . . . . . . . . .Œ Œ .. . . . . . . . . . .Œ
+. +. +. +. +. +. +. 5+. +. +. +. +. 5+. +. +. + + +. +. +. + + 5+ + + + + 5+ + + +. +. +. +. +. +. +. 5+. +. +. +. +. 5+. +. +. + + +. +. +. + + 5+ + + + + 5+ + +
p 5 f p 5 5 5
++++ ++++
++ ++
œ. œ. œ. œ. œ+. œ+. œ+. œ+. bœ+. œ+. œ+. œ+. œ+. œ+. œ+. b œ. œ. œ. œ. œ+. œ+. œ+. œ+. b œ+. œ+. œ+. œ+. œ+. œ+. œ+. ++++
œ. œ. œ. œ. œ+. œ+. œ+. œ+. bœ+. œ+. œ+. œ+. œ+. œ+. œ+. b œ. œ. œ. œ. œ+. œ+. œ+. œ+. b œ+. œ+. œ+. œ+. œ+. œ+. œ+.
? Œ Œ Œ Œ
Hn. 5-8 5 5 5 5 5 5
5 5 5 5 5 5
p f p p
? Ó Œ æ
Tbn. 1-2 Ͼ gliss.
mf
? Ó Œ æ
Tbn. 3-4 Ͼ gliss.
mf
a2
B. Tbn. ? Œ Œ Œ ˙
Tba. b˙ nœ ˙ #œ ˙ b˙
œ
mf f
a2
Cb. Tbn. ? Œ Œ Œ
Cb. Tba.
˙ #œ ˙ ˙
œ b˙ nœ b˙
mf f
?
Timp.
÷ œ œ œ— Œ œ œ œ— Œ œ œ œ— Œ œ œ œ— Œ
B. D.
Crot. &
Glock. & œ #œ œ œ œ œ œ ˙™ Œ œ œ bœ œ œ Œ
œ œ ˙™
mf
Shk. ÷
> æ
T.-t. ÷ ¿— Œ Ó ~æ
f p f
{
? Œ
&
œ b˙
Œ
nœ ˙
Œ
#œ ˙ ˙
b˙
Pno. f
mf
inside
? Œ Œ Œ ‰
{
› œ
œ
œ
b˙
b˙
œ
nœ
nœ
˙
˙
œ
#œ
#œ
˙
˙
˙
˙
œ
bœ
bœ ¿
j
“‘
& Œ Ó Œ Ó Œ Ó Œ Ó
Synth.
?
{
S. Sop. &
gliss. from lowest to highest pitches ad lib.
p
&
_
ah
Choir (SA) gliss. from lowest to highest pitches ad lib.
p
& _
ah
41 42 43 44
art. harm. trem. gliss. up approx. two 8ves ad lib.
Vln. 1 & ~æY
mf
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Vln. 2 & œ bœ œ œ #œ œ œ œæ œ bœ œ œ #œ nœ œ œæ œ bœ œ œ #œ œ œ œæ œ bœ œ œ #œ nœ œ œæ
mf
B #œ œ œ œ nœ bœ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ nœ bœ œ œ #œ œ œ œ œ œ œ œ
Vla. æ æ æ æ æ æ æ æ
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
mf
? Œ bœ œbœœ Œ bœ œbœ œ
Vlc. œ œ œ œ œ œ œ œ œ œ œ œ
3 3
ff mf ff
? Œ Œ Œ Œ
Cb. œ œ œ œ œ œ œ œ œ œ œ œ
mf
177
1m2c "Mina & Jonathan Pt.3" Dracula
overblown rhythmic flutters and chiffs ad lib.
>
bw ˙ œ >
bw ˙ œ
Œ Œ
Shak. & æ ææ ææ ææ
f
a4
> >œ
? bœJ b>œ >œ
Hn. 1-4 ‰ Œ Œ ‰ J J ‰ Œ Œ ‰ J
f
div.
j a2 j j j
? œ ‰ Œ Œ ‰ œ œ ‰ Œ Œ ‰ œ
Hn. 5-8
>œ >œ >œ >œ
f
? bœj ‰ Œ Œ ‰ j
œ gliss. ¿j ‰ Œ Œ æ j ‰ Œ Œ ‰ j
œ gliss. ¿j ‰ Œ Œ æ
Tbn. 1-2
> œæ gliss. bœ
> Ͼ gliss.
f
> >
? j ‰ Œ Œ ‰ j ‰ Œ Œ æ j ‰ Œ Œ ‰ j ‰ Œ Œ æ
Tbn. 3-4
>œ œ gliss. ¿j œæ gliss.
>œ œ gliss. ¿j œæ gliss.
f
> >
f
B. Tbn. ? >j ‰ Œ Œ ‰
>
j ‰ Œ Œ >
j ‰ Œ Œ ‰
>
j ‰ Œ Œ
œJ gliss. ¿j æ œJ gliss. ¿j æ
Tba. œJ # œæ gliss. œJ # œæ gliss.
> > ∑ > > ∑
f
f
Cb. Tbn. ? >j ‰ Œ Œ ‰
>
j j ‰ Œ Œ >
j ‰ Œ Œ ‰
>
j j ‰ Œ Œ
Cb. Tba. ææ ææ
œJ œJ gliss. ¿ œ gliss. œJ œJ gliss. ¿ œ gliss.
> > ∑ > > ∑
f
?
Timp.
Crot. &
Glock. &
æ æ
Shk. ÷ wæ wæ
f p mf pp
choke (beat 1)
T.-t. ÷
&
Cel.
?
{
&
?
Org.
{
?
&
Pno. fff f fff
? j
{ ¿ ‰ Œ Ó Ó Œ ‰ j iss. ¿j ‰ Œ Ó
:“; > ¿ gl >
› œ œ œ œ
& Œ Ó Œ Ó Œ Ó “‘ Œ Ó
Synth. mf
?
{
S. Sop. &
f mp f
1> 1> mf
& J ‰ Œ Ó Ó Œ
-
J ‰ Œ Ó Ó Œ ‰ j
-
Choir (SA) f mp f
1> 1> mf
& J ‰ Œ Ó Ó Œ J ‰ Œ Ó Ó Œ ‰ j
- -
45 46 47 48
O¿
J ‰ Œ Ó
Vln. 1 &
f
œ œ #œ œ œ œ œ œ bœ œ œ œ œ œ œ #œ œ œ œ œ œ bœ œ œ
Vln. 2 & æ æœ æ æœ œ œ
æ æ æ
œ
æ æ æ æ æ æ æ æ æ æ
œ œ
æ æ æ
œ
æ æ æ æ æ
æ æ æ æ æ æ æ
f poco a poco dim. mf
œ bœ œ œ œ œ œ œ œ bœ œ œ #œ nœ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ #œ nœ œ œ
Vla. B æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
f poco a poco dim. mf
? Œ bœ œbœ œ œ œ œ Œ œ œ œ bœ œbœ œ
Vlc.
œ œ œ œ œ œ 3 3
f poco a poco dim. ff mf f
3 3
? Œ Œ
Cb.
#œ œ œ#œ œ œ œ œ œ œ #œ œ œ#œ
œ œ œ œ œ œ
f poco a poco dim. ff mf f
178
Dracula 1m2c "Mina & Jonathan Pt.3"
Shak. & ˙ b˙ ˙ #˙ œ Œ Ó
>
fp mf p
>
? bœJ ‰ Œ Œ ‰
œ
J
bœ
J ‰ Œ Œ ‰
œ
J
Hn. 1-4
dim. p
? œj ‰ Œ Œ ‰ œœ
j
œœ
j
‰ Œ Œ ‰ œœ
j
Hn. 5-8
>œ p
dim.
? j ‰ Œ Œ ‰ j j j
Tbn. 1-2 bœ œ gliss. ¿j ‰ Œ Ó bœ ‰ Œ Œ ‰ œ gliss. ¿j ‰ Œ Ó
>
dim. p
? j ‰ Œ Œ ‰ j ‰ Œ Ó j ‰ Œ Œ ‰ j ‰ Œ Ó
Tbn. 3-4
>œ œ gliss. ¿j œ œ gliss. ¿j
dim. p
dim.
> p
B. Tbn. ? j ‰ Œ Œ ‰ j ‰ Œ Ó j ‰ Œ Œ ‰ j ‰ Œ Ó
Tba. œJ gl
j gl
j
Jœ iss. ¿ Jœ Jœ iss. ¿
> ∑ p ∑
dim.
dim. p
Cb. Tbn. ? >j ‰ Œ Œ ‰ j j ‰ Œ Ó j ‰ Œ Œ ‰ j j ‰ Œ Ó
Cb. Tba.
œJ œJ gliss. ¿ œJ œJ gliss. ¿
> ∑ p ∑
dim.
?
Timp.
>
÷ œ œ œ— Œ œ œ œ— Œ œ œ œ— Œ œ œ œ— Œ
B. D.
p
Crot. &
Glock. &
Shk. ÷
T.-t. ÷
&
Cel.
?
{
&
?
Org.
{
?
&
Pno. mf poco a poco dim.
? bw
{
› °
w
w
œ
bw
w
w
“‘
œ
bw
w
w
œ
bw
w
w
“‘
œ
& Œ Ó Œ Ó Œ Ó Œ Ó
Synth.
?
{
S. Sop. &
random whispering ad lib.
f mf
1>
& J ‰ Œ Ó ¿ ¿ ¿ ¿
f random whispering ad lib.
Choir (SA) mf
1>
& J ‰ Œ Ó ¿ ¿ ¿ ¿
49 50 51 52
Vln. 1 &
œ œ œ œ #œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ bœ œ œ
Vln. 2 & æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
æ æ æ æ æ æ
mp p
œ bœ œ œ œ œ œ œ œ bœ œ œ #œ nœ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ #œ nœ œ œ
Vla. B æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
mp p
? Œ bœ œbœ œ Œ Œ
Vlc. œ œ œ œ œ œ œ œ œ œ œ œ
mp 3
mf p
? Œ Œ Œ Œ
Cb. œ œ œ œ œ œ œ œ œ œ œ œ
mp p
179
1m2c "Mina & Jonathan Pt.3" Dracula
Shak. &
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
÷ œ— Œ Ó
B. D.
pp
Crot. &
Glock. &
Shk. ÷
T.-t. ÷
&
Cel.
?
{
&
?
Org.
{
?
&
Pno. mp p
? bw
{
› œ
w
w
bw
w
w
“‘
bw
w
w
œ
bw
w
w
“‘
& Œ Ó Œ Ó
Synth. mf
?
{
S. Sop. &
f ppp
& ì
Choir (SA)
f ppp
& ì
53 54 55 56
Vln. 1 &
Vln. 2 &
Vla. B
?
Vlc.
?
Cb.
180
Dracula 1m2c "Mina & Jonathan Pt.3"
Shak. &
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Crot. &
Glock. &
Shk. ÷
T.-t. ÷
&
Cel.
?
{
&
?
Org.
{
?
&
Pno.
? w
{ :“;
w
w
w
w
w *
›
&
Synth.
?
{
S. Sop. &
&
Choir (SA)
&
57 58
Vln. 1 &
Vln. 2 &
Vla. B
?
Vlc.
?
Cb. fffff ffff fff ffff ffff fff ffff ffff ff
181
Dracula 1m3 "Mina & Dracula"
CONCERT SCORE Chris Heckman
q = 70
Horn 1-4 & 4
Horn 5-8 &
?
Trombone 1-2 4
?
Trombone 3-4
Bass Trombone ?
Tuba
Contrabass Trombone ?
Contrabass Tuba
>
Bass Drum ÷ 4 œ—
sffz
Œ Ó
Crotales &
Glockenspiel & 4
Mark Tree ÷
>æ
Shaker ÷ wæ
sffz p
Tam-tam ÷
& 4
Celesta
?
{
& 4
?
Organ
{
?
&
ff
Piano
inside - gliss. with fingers
? Œ Ó
{ j gliss.
¿
“‘
>¿
°
› >œ Big Bang Kit
& Œ Ó
Synthesizer sffz
?
{ random whispering ad lib.
f
& ¿¿¿ ¿ ì
Choir (SA) random whispering ad lib.
f
& ¿¿¿ ¿ ì
1 2 3 4
div.”a4 - non vib.
“
))) #œ œ # œ œ )))
Violin 1 & 4 p f p
div. a3 - non vib.
“”
)) œ #œ œ ))
Violin 2 &
p f p
Viola B 4
?
Cello
182
1m3 "Mina & Dracula" Dracula
q = 76 (+6) q = 70 (-6)
Hn. 1-4 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
> >
÷ œ— Œ Ó œ— Œ Ó
B. D.
sffz sffz
Crot. &
Glock. &
M. Tree ÷
>æ >æ
Shk. ÷ wæ wæ
sffz p sffz p
T.-t. ÷
&
Cel.
?
{
&
?
Org.
{
?
&
Pno.
? j Œ Ó
{
› “
‘
¿ glis
s.
>>¿
œ >œ
& Œ Ó Œ Ó
Synth. sffz sffz
?
{
& ¿¿¿ ¿ ì
Choir (SA)
& ¿¿¿ ¿ ì
5 6 7 8
div. a4 - play art. harm. to sound 15ma
div. a3 ◊ÿ
Vln. 1 & #b ww
w ww
w
))) # œ œ #œ œ
p f p p
div. a3 - play art. harm. to sound 15ma
div. a2 ◊ÿ
Vln. 2 & ww ww
p f p
))) # œ œ œ
p
div. a7 - play. art. harm. to sound 15ma
b ww
div. - non vib. ◊ÿ
ww
Vla. B ))))) #œ œ œ #œ œ #œ œ
p f p p
play. art. harm. to sound 15ma
◊ÿ
?
div. a7 - non vib. ))))) #œ œ œ # œ œ # œ œ
Vlc. ))))) # œ œ œ #œ œ #œ œ )))))
p f p
unis. - col legno div. a7 - ord. non vib. unis. - col legno
? Œ Ó Œ Ó
Cb. ))))) # œ œ œ #œ œ #œ œ )))))
>¿ >¿
sffz p f p sffz
183
Dracula 1m3 "Mina & Dracula"
q = 76 (+6)
Hn. 1-4 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷
Crot. &
Glock. &
M. Tree ÷
Shk. ÷
T.-t. ÷
&
Cel.
?
{
&
?
Org.
{
?
&
Pno.
? Œ Ó
{
›
¿
“‘
j gliss. >¿
*
&
Synth.
?
{
& ¿ ¿ ¿ ¿ ì
Choir (SA)
& ¿ ¿ ¿ ¿ ì
9 10 11 12
:◊;
gliss. up ))) #œ œ #œ œ 6>66 ord. - molto legato
Vln. 1 & ))) ))) #œ œ œ #œ ))) J ‰ ˙™
mp mf f ff p
:◊; gliss. up ord.
))) #œ œ œ 6>66 ‰
Vln. 2 & ))) )) œ #œ œ )) J ˙™
mp mf f ff p
:◊;
>
gliss. up
)))) œ #œ œ #œ œ œ # œ 6666
Vla. B ))))) ))))) ))))) J ‰ Œ Ó
mp mf f ff
:◊;
gliss. down >
))))) gliss. up ))))) œ œ #œ œ #œ œ œ 66666
Vlc.
? ))))) #œ œ #œ œ œ #œ œ ))))) J ‰ Œ Ó
mp mf f ff
?
Cb.
184
1m3 "Mina & Dracula" Dracula
Tbn. 1-2
? 4 4 4 4
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷ œ—
f
Œ Ó 5 4 œ— Œ Ó 5 4
Crot. &
Glock. & 4 4 4 4
M. Tree ÷
Shk. ÷
T.-t. ÷
& 5 4 5 4
Cel.
?
{
& 4 4 4 4
mp
?
Org.
{
?
&
w b˙™ œ
Œ
w b˙™ œ
Œ
Pno.
?
{
› œ œ
& Œ Ó Œ Ó
Synth. f
?
{
&
Choir (SA)
&
13 14 15 16
Vln. 1 & œ
mf
#˙ œ 5 œ ˙ bœ Œ 4 œ ˙ bœ 5 œ ˙ œ bœ 4
Vln. 2 & ˙ Œ ˙ ˙™
b˙ ˙™ œ #˙ ˙
mp
ord.
Vla. B w
mp
4 b˙ ™ œ Œ 4 w 4 b˙ ™ ˙ 4
ord. div.
? w ˙™ œ bw
w ˙™
˙™ ˙˙
Vlc. Œ
mp
?
Cb.
185
Dracula 1m3 "Mina & Dracula"
Tbn. 1-2
? 4 4 4 4 4
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷ 4 3 œ— Œ Œ 4 6 œ— Œ Ó Ó 3
Crot. &
Glock. & 4 4 4 4 4
M. Tree ÷
Shk. ÷
& 4 3 4 6 3
Cel.
?
{
& 4 4 4 4 4
?
Org.
{
?
&
Ó Œ œ b˙
Œ Ó Œ œ b˙
Ó Ó
Pno.
?
{
› œ œ
& Œ Œ Œ Ó Ó
Synth.
?
{
&
Choir (SA)
&
17 18 19 20
. bw
œ œ port
Vln. 1 & 4 bœ #˙
f
#œ œ 3 œ bœ port
. bœ 4 bœ #˙ nœ 6 bœ
p
3
j j bw
& ˙ œ ‰ œ Œ ˙ œ ‰ œ port.
Vln. 2 b˙ b˙
mp f mp p
Vla. B 4 ˙
mp
œ ‰ #œ
J 4 b˙
f
Œ 4 ˙
mp
œ ‰ #œ
J 4 b˙
f
Ó Ó 4
# ˙˙ œœj œ # ˙˙ œœj œ
Vlc.
? J ‰ œ b˙˙ Œ J ‰ œ b˙˙ Ó Ó
mp f mp f
div. - ord.
Cb.
? Ó Œ œ bb˙˙ Œ Ó Œ œ bb˙˙ Ó Ó
mp f mp f
186
1m3 "Mina & Dracula" Dracula
q = 120
a4 - legato bœ bœ™ bœ™ œ œ bœ
? 3 bœ ™ bœ ™ œ bœ
Hn. 1-4
p
a4 - legato bœ bœ™ bœ™ œ œ bœ
? bœ ™ bœ ™ œ bœ
Hn. 5-8
p
ba2
˙™ ˙™ ˙™ ˙™
Tbn. 1-2
? 4 p
Tbn. 3-4
? bb˙˙™™ ˙˙™™ ˙˙™™ ˙˙™™
p
a2
B. Tbn. ?
Tba. b˙ ™ ˙™ ˙™ ˙™
p
a2
Cb. Tbn. ?
Cb. Tba.
b˙™ ˙™ ˙™ ˙™
p
B. D. ÷ 3 œ— Œ Œ
Crot. &
Glock. & 4
M. Tree ÷
Shk. ÷
>
÷ ~~~~ ¿ — Œ Œ
T.-t.
f
& 3
Cel.
?
{
& 4
?
Org.
{
?
&
bœ
bœ bbœœ œ
œ
œœ bœ
œ œ bœ
bœ bbœœ œ
œ
œœ œ
Pno. mf
?
{
›
°
œ
*
& Œ Œ
Synth. f
?
{ p
b˙ ™ ˙™ b˙ ™ b˙ ™
&
oo
Choir (SA) p
bœ bœ ™ bœ ™ œ œ bœ
& bœ ™ bœ ™ œ bœ
oo
21 22 23 24
˙™ ˙™ b˙™ b˙™
Vln. 1 & 3 p
˙™ ˙™ b˙ ™ b˙ ™
Vln. 2 &
p
legato espress. bœ bœ™ bœ™ œ œ bœ
bœ
Vla. B 4 bœ ™
mp
bœ ™ œ
?
Vlc.
?
Cb.
187
Dracula 1m3 "Mina & Dracula"
˙™ ˙™
Hn. 1-4
? œ™ #œ ™
mf
˙™ ˙™
? œ™ #œ ™
Hn. 5-8
mf
? b˙ ™ ˙™ ˙
Œ ˙™
Tbn. 1-2
mf
Tbn. 3-4
? ˙˙ ™™ ˙˙ ™™ ˙˙ Œ ˙™
##˙™
mf
B. Tbn. ? Œ
Tba. ˙™ ˙™ ˙ #˙ ™
mf
Cb. Tbn. ? Œ
Cb. Tba.
˙™ ˙™ ˙ #˙ ™
mf
÷ œ— Œ Œ œ— Œ Œ
B. D.
Crot. &
Glock. &
M. Tree ÷
Shk. ÷
æ >
T.-t. ÷ Oæ™ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿— Œ Œ
mf ff
&
Cel.
?
{
&
?
Org.
{
?
bœ
& bœ
œœ œ
bœ
œœ bœ
œ œ bœ
bœ
œœ œ
œ
œ œ œ
#œ #œœ œ
œ œœ
#œ
œ œ
Pno.
?
{
›
°
œ
* °
œ
& Œ Œ Œ Œ
Synth.
?
{ mf
b˙ ™ ˙™ œ™ œ™ #˙ ™
&
Choir (SA) mf
& ˙™ ˙™
œ™ #œ ™
25 26 27 28
“”
b˙ ™ ˙™ œ™ œ™ #˙ ™
Vln. 1 &
mf
b˙ ™ ˙™ œ™ œ™ #˙ ™
Vln. 2 &
mf
˙™ ˙™
Vla. B œ™ #œ ™
f
?
Vlc.
?
Cb.
188
1m3 "Mina & Dracula" Dracula
? œ #œ œ œ™ #œ ™ œ #œ #œ #˙ ™
Hn. 1-4
? œ #œ œ œ™ #œ ™ œ #œ #œ #˙ ™
Hn. 5-8
? ˙™ ˙™ ˙™ #˙ ™
Tbn. 1-2
? ˙˙™™ ˙™
˙™ ˙™
˙™ ##˙˙ ™™
Tbn. 3-4
B. Tbn. ?
Tba. ˙™ ˙™ ˙™ #˙ ™
Cb. Tbn. ?
Cb. Tba.
˙™ ˙™ ˙™ #˙ ™
÷ œ— Œ Œ
B. D.
Crot. &
Glock. &
M. Tree ÷
Shk. ÷
æ æ >
T.-t. ÷ Oæ™ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Oæ™ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿— Œ Œ
mf ff
&
Cel.
?
{
&
?
Org.
{
?
Pno.
?
{
›
* °
œ
& Œ Œ
Synth.
?
{ ˙™
˙™ #˙ ™ #˙ ™
&
Choir (SA)
& œ œ œ™ #œ ™ œ #œ #œ #˙ ™
#œ
29 30 31 32
:“;
˙™ #˙ ™ ˙™ #˙ ™
Vln. 1 &
˙™ #˙ ™ ˙™ #˙ ™
Vln. 2 &
œ œ™ #œ ™ œ #œ #œ #˙ ™
B œ #œ
Vla.
?
Vlc.
?
Cb.
189
Dracula 1m3 "Mina & Dracula"
Hn. 1-4
? ˙ œ
J ‰ & #œ ™ œ™ œ™
Ϫ Ϫ Ϫ
? ˙ œ
J ‰ œ™ œ™
Hn. 5-8 &
œ™ œ™ #œ ™
Ϫ
? ˙ ˙™ #˙ ™ ˙™
Tbn. 1-2 Œ
? ˙˙ Œ ˙™ ˙™ #˙™
˙™
Tbn. 3-4 ˙™ ˙™
B. Tbn. ? Œ
Tba. ˙ ˙™ ˙™ #˙ ™
Cb. Tbn. ? Œ
Cb. Tba.
˙ ˙™ ˙™ #˙ ™
÷ œ— Œ Œ œ— Œ Œ
B. D.
Crot. &
Glock. &
M. Tree ÷
Shk. ÷
T.-t. ÷
&
Cel.
?
{
&
?
Org.
{
?
œ
& #œ ##œœ œ
œ œ œ œ
œ nœœ œ
œ œœ
œ œ
œ #œœ œ
œ
œ œ œ
œ #œœ œ
œ œœ
œ
Pno.
?
{
›
* °
œ
* °
œ
& Œ Œ Œ Œ
Synth.
?
{ œ ˙™
#˙ ™ ˙™ œ #œ
&
Choir (SA)
j
& ˙ œ ‰ œ™ #œ ™ œ™ œ™
Ϫ Ϫ
33 34 35 36
:“; œ ˙™
#˙ ™ ˙™ œ #œ
Vln. 1 &
#˙ ™ #œ œ ˙™
˙™ œ
Vln. 2 &
˙ œ #œ ™ œ™ œ™
B J ‰ œ™ œ™ œ™
Vla. &
?
Vlc.
?
Cb.
190
1m3 "Mina & Dracula" Dracula
q = 80
Hn. 1-4 & œ #œ œ b˙ ™ ˙™ 4
Hn. 5-8 & œ #œ œ b˙ ™ ˙™
? ˙™ b˙ ™ ˙
Tbn. 1-2 Œ 4
? ˙™
˙™ ˙™
˙™ ˙˙ Œ
Tbn. 3-4
B. Tbn. ? Œ
Tba. ˙™ n˙ ™ ˙
Cb. Tbn. ? Œ
Cb. Tba.
˙™ n˙ ™ ˙
B. D. ÷ œ— Œ Œ 4
Crot. &
Glock. & 4
æ
∏∏∏∏
M. Tree ÷ ~æ
mp poco a poco dim.
Shk. ÷
& 4
Cel.
?
{
& 4
?
Org.
{
?
& œœ #œœ œ
œ œ œ œ
œ
bœœ œ
œ œœ
œœ œ
œ
bœœ œ
œ
œ œ
both
“”
bœ œ œ
hands 8va
œ
œ
œ œ œ œ œbœ œœœ
Pno. 6 6 6 6
? bœ œ œ œ œœ œœ
{
› * °
œ *
&
°
œ
mp poco a poco cresc.
* °
bœ
*
& Œ Œ
Synth.
?
{ ˙™ b˙™ ˙
& Œ
Choir (SA)
& œ #œ œ b˙ ™ ˙ Œ
37 38 39 40
:“;
˙™ b˙™ ˙
Vln. 1 & Œ 4 ˙
p poco a poco cresc.
b˙
˙™ b˙™ ˙ div.
Vln. 2 & Œ
bw
w
p poco a poco cresc.
Vla. &
œ #œ œ b˙™ ˙™
B
4
˙ b˙
p poco a poco cresc.
legato espress. b œ
œ bœ port.
? Œ
Vlc.
f
div.
Cb.
? ˙™ ˙ bb˙˙
p p poco a poco cresc.
191
Dracula 1m3 "Mina & Dracula"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷
Crot. &
#œ bœ œ
Glock. & Œ bw
mp
æ æ æ æ
∏∏∏∏
∏∏∏∏
~æ ~æ ~æ ~æ
∏∏∏∏
∏∏∏∏
M. Tree ÷
Shk. ÷
?
Org.
{
?
&
:“;
bœ œ œ
œ
œ
œœœ œœœ œœœ
bœ œ œ
œ
œ
œ œ œ œ œbœ œœœ
bœ œ œ
œ œ œ œ œ œ œ#œ œœ
œ b œ œbœ
œ œœ
œœœœ
œ œœ
œ
Pno. 6 6
6 6 6 6 6 6 6 6 6 6 6 6 mf 6 6
{
& bœ œ#œ œ œ œœ œœ bœ œ œ œ œœ œœ bœ œ œ œ œœ œœ œbœ œ œ œ bœ œ œ œ
bœ œ bœ œ bœ œ #œ œ
Œ > > > Œ Ó
› ° >
*° * ° *° * ° *° * ° *° *
&
Synth.
?
{
&
Choir (SA)
&
41 42 43 44
Vln. 1 & w Œ b˙ ˙ b˙
œ ˙ #˙ mp
Vln. 2 & Œ bw
w
w b ˙™
˙™ ˙˙ ˙ w
mp
Vla. B Œ œ ˙ b˙
w b˙ ˙ ˙
mp
w œ bœ ˙ œ bœ bœ
bœ port. #˙ nœ
? Œ
Vlc.
f
? ww ˙ ˙ ˙ ˙œ b˙
Cb.
b˙ œ
˙ b˙
mp
192
1m3 "Mina & Dracula" Dracula
? b ˙˙ #n˙˙
Tbn. 3-4
mp
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷
Crot. &
œ œ
Glock. & Œ œ w
mf
æ æ æ
∏∏∏∏
~æ ~æ ~æ
∏∏∏∏
∏∏∏∏
M. Tree ÷
p
Shk. ÷
{
?
&
:“;
b œ œbœ
œ
œ
œœ œ œœœ œœœ
b œ œbœ
œ
œ
œœœ œœœ œœœ
b œ œbœ
œ œ œ œ œ#œ œ œ œœ
œ
˙
œœ
bœ œ
œbœ Œ
#˙
œ nœ
#œ œ
nœ#œ Œ
6 6
Pno. f
6 6 6 6 6 6 6 6 6 6 6 6 6
6
œ
{
& œbœ œ œ œ œ œ œ œœ œbœ œ œ œ bœ œ œ œ
œ œbœ œ œ œ #œ œ œ œ Œ œbœ œ Œ œ#œ nœ
Œ >
œ œ Œ Ó œ œbœ œ #œ nœ
> > >
› ° *° * ° *° * ° *° * ° *° *
&
Synth.
?
{
&
Choir (SA)
&
45 46 47 48
Vln. 1 & w Œ œ b˙ ˙ #˙ n˙ ˙
mf
unis.
Vln. 2 & w Œ b˙˙ ™™ ˙˙
w ˙˙ b ˙˙ n˙
mf
Vla. B w Œ œ b˙ ˙ #˙ n˙ #˙
mf
w œ bœ bœ ˙ #˙ n˙ ˙
? Œ
Vlc.
f
w ˙ b˙ ˙ ˙
? w ˙ ˙ ˙ ˙ #˙
Cb. b˙
mf
193
Dracula 1m3 "Mina & Dracula"
q = 92
Hn. 1-4 &
˙ ˙ bw
? #w
Tbn. 1-2
mf
? nb˙˙ #˙˙ nw
w w
Tbn. 3-4 w
mf
B. Tbn. ?
Tba. b˙ n˙
w w
mp mf
Cb. Tbn. ?
Cb. Tba.
b˙ n˙
mp w w
mf æ
B. D. ÷ Ó ˙æ
p
bowed
Crot. & Ó Œ ‰ œJ
mf
Glock. &
M. Tree ÷
Shk. ÷
ord. >
æ æ
T.-t. ÷ Ó Oæ ¿— Œ Ó ~æ
pp ff p
&
Cel.
?
{
&
?
Org.
{
?
&
b˙
œbœ œ
œ
n˙
nœ
œ œ #œ œ œ œœ
w
œ bœ œ œ ? bœ œœ œœ
œ
&œ
w
œ #w
w
w
w
6 6 6
Pno. 6 6 6 6 6
?
{
&
›
°
bœ œ
bœ œ
œœ
* °
#œ œ œ œ
œ
* °
bœ œ
œ bœ œ
œbœ œ œ
œ &
œœ
œ
*
#w
w
w
&
Synth.
?
{
&
Choir (SA)
&
49 50 51 52
Vln. 1 & ˙ Ó
Vln. 2 &
b˙ n˙ bw
div.
Vla. B n˙
# ˙˙ nw
w #w
w
f
˙ ˙ bw port.
? #w
Vlc.
ff
? b˙ n˙ bw
w
w
w ∑
Cb. b˙ n˙
w w
f mp
194
1m3 "Mina & Dracula" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
> æ
B. D. ÷ œ— Œ Ó Ó ˙æ
mf pp
– bœ œ– bœ œ–
& œ Œ Œ ‰ J Œ Œ ‰ œ œ– Œ Œ ‰ J Œ Œ ‰ œ
Crot. J J
Glock. &
M. Tree ÷
Shk. ÷
>
÷ ¿— Œ Ó
T.-t.
f
œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ™
&
Cel. mp poco a poco cresc.
?
{ Gt: Principals 8', 4'
& œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ bœ œ œ b œ œ œ œ œ œ œ œ œ œ ™
œ œ
mp
?
Org.
{
? w
&
œ œ œ œ œ œ œ œ œ œ œ œ œ œ™
b˙ ™ œ
œ œ œ œ bœ œ œ œ œ œ œ œ œ œ ™
w
œ œ œ œ œ œ œ œ œ œ œ œ œ œ™
b˙ ™ bœ
œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ™
{
&
°
› œ
* ° * ° * ° *
& Œ Ó
Synth. f
?
{
&
Choir (SA)
mf
& œ œ œ œ Œ
œ ˙™ œ œ ˙ bœ
œ œ
53 54 55 56
legato espress.
œ œ œ ˙™ œ œ œ œ ˙ bœ ™
Vln. 1 & œ œ ‰
mf
div.
Vln. 2 & ww w˙™ ww ˙w b˙
œ
p
unis. - legato espress.
B œ œ œ
œ ˙™ œ œ œ œ
œ ˙ bœ ™ ‰
Vla.
mf
div. b˙™
w
? w ˙™ œœ w
w bbw
w
Vlc.
p
w b˙ ™ œ w b˙ ™ bœ
? w œ w
Cb. b˙ ™ b˙ ™ bœ
p
195
Dracula 1m3 "Mina & Dracula"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
> æ
B. D. ÷ œ— Œ Ó Ó ˙æ
mp pp
– bœ œ– œ œ– œ
Crot. & œ Œ Œ ‰ J Œ Œ ‰ œ œ– Œ Œ ‰ J Œ Œ ‰ J
J
Glock. &
M. Tree ÷
Shk. ÷
æ
T.-t. ÷ ~æ
p
bœ œ œ™ œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ™ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ™
& œ œ œ œ œ œ œ œ œ œ œ œ œ
Cel.
?
{
& œ bœ œ œ œ œ œ œ œ œ œ œ ™ œ bœ œ œ b œ œ œ œ œ œ œ œ œ œ ™ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ™
œ œ œ œ
?
Org.
{
? ˙™
bœ œ
& œ œ œ œ œ œ œ œ œ œ œ
bœ
Ϫ
b˙ ™ nœ
œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ™
w
œ bœ œ œ œ œ œ œ œ œ œ œ œ œ™
w
œ œ œ œ œ œ œ œ œ œ œ œ™
œ œ
Pno.
{
&
°
› œ
* ° * ° * ° *
& Œ Ó
Synth.
?
{
&
Choir (SA)
& bœ œ bœ œ œ ˙ œ Œ
œ
œ ˙™ œ œ
57 58 59 60
bœ œ œ œ bœ œ œ œ ˙ œ™
Vln. 1 & œ ˙™ ‰
mf
j ‰
Vln. 2 & w
w ˙˙ ™ ˙ bw
w ˙™
˙™ œœ
œ J
œ ˙ œ™
Vla. B bœ œ œ
œ ˙™ œ bœ œ œ ‰
mf
? bw
w bb˙˙™™ œœ bw
w ˙˙ ™™ œœj ‰
Vlc. J
™
? ˙˙™
w
bœ
bœ
b˙ ™ nœ
nœ w ˙™ œj ‰
Cb. b˙ ™ ˙™ œJ
196
1m3 "Mina & Dracula" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
> æ
B. D. ÷ œ— Œ Ó Ó ˙æ
mp pp
œ– bœ œ– œ œ– bœ œ– œ
Crot. & Œ Œ ‰ J Œ Œ ‰ J Œ Œ ‰ J Œ Œ ‰ J
Glock. &
M. Tree ÷
Shk. ÷
> æ
T.-t. ÷ ¿— Œ Ó ~æ
f p
œ b œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ b œ œ œ bœ œ œ œ œ œ bœ œ œ œ™ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ b œ œ œ bœ œ œ œ œ œ œ œ œ œ ™
&
Cel.
?
{
& œ bœ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ bœ œ œ bœ œ œ œ œ œ bœ œ œ œ ™ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ™
?
Org.
{
?
&
w
œ b œ œ œ œ œ œ œ œ œ œ œ œ œ™
b˙™ œ
œ b œ œ œ bœ œ œ œ œ œ bœ œ œ œ™
w
œ b œ œ œ œ œ œ œ œ œ œ œ œ œ™
b˙™ bœ
œ b œ œ œ bœ œ œ œ œ œ œ œ œ œ ™
Pno.
{
&
°
› œ
* ° * ° * ° *
& Œ Ó
Synth.
?
{
&
Choir (SA)
& bœ œ œ
œ ˙™ œ bœ œ œ
œ ˙ bœ Œ
61 62 63 64
bœ œ œ
œ ˙™ œ bœ œ œ
œ ˙ bœ™
Vln. 1 & ‰
mf
Vln. 2 & w ˙™
b˙™ œœ bb˙w
bw bw
w b˙
bœ œ œ ˙™ œ bœ œ œ ˙ bœ ™
Vla. B œ œ ‰
mf
? ww w˙™ œ ww b˙˙ b˙
Vlc.
? w b˙ ™ œ w b˙ ™ bœ
Cb. w w
b˙™ œ b˙™ bœ
197
Dracula 1m3 "Mina & Dracula"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
>
÷ œ— Œ Ó
B. D.
mp
œ– œ– bœ œ–
Œ Œ ‰ bœ œ– Œ Œ ‰
œ
J Œ Œ ‰ J Œ Ó
Crot. & J
Glock. &
M. Tree ÷
Shk. ÷
>
÷ ¿— Œ Ó
T.-t.
f
œbœ œ œ œ œ œ œ œ œ œ œ ™ œ b œ œ œ bœ œ œ œ œ œ œ œ œ œ ™ œbœ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ b œ œ œ œ œ œ œ œ œ™
œ œ œ œ œ œ
&
Cel.
?
{
œ œ œ bœ œ œ œ œ œ œ œ™
& œ bœ œ œ œ œ œ œ œ œ œ œ™
œ œ
œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ™ œ bœ œ œ œ œ œ œ œ œ œ œ™
œ œ œ œ œ
?
Org.
{
?
&
˙™ bœ
œbœ œ œ œ œ œ œ œ œ œ œ œ œ ™
b˙™ nœ
œ b œ œ œ bœ œ œ œ œ œ œ œ œ œ ™
w
œbœ œ œ œ œ œ œ œ œ œ œ œ œ ™
bw
œ œ œ b œ œ œ œ œ œ œ œ œ œ œ™
Pno.
{
&
›
°
œ
* ° * ° * ° *
& Œ Ó
Synth.
?
{
&
Choir (SA)
& bœ œ œ œ bœ œ œ œ ˙ b˙
œ ˙™
65 66 67 68
bœ œ bœ œ œ ˙ b˙
œ œ ˙™ œ œ
Vln. 1 &
mf
& j ‰
Vln. 2 w
w b˙™
˙™ œœ w
w ˙™
˙™ œœJ
bœ œ œ œ bœ œ œ œ ˙ b˙
B œ ˙™
Vla.
mf
unis.
? b ww ˙˙ bœ œ bw b˙ ™ œ
Vlc. J ‰
? ˙™ w b˙ ™ œj
Cb.
bœ b˙ ™ nœ b˙ ™ œJ ‰
˙™ bœ b˙™ nœ w
198
1m3 "Mina & Dracula" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
æ > æ >
B. D. ÷ Ó ˙æ œ— Œ Ó Ó ˙æ œ— Œ Ó
pp mp pp mp
bœ œ– bœ œ– bœ œ–
Crot. & Ó Œ ‰ J Œ Œ ‰ J Œ Œ ‰ J Œ Ó
Glock. &
M. Tree ÷
Shk. ÷
æ > æ >
T.-t. ÷ ~æ ¿— Œ Ó ~æ ¿— Œ Ó
p f p f
œ b œ œ b œ œ œ œ œ œ œ œ œ œ œ™ b œ œ œ b œ œ œ œ œ œ œ œ œ™ œ b œ œ b œ œ œ œ œ œ œ œ œ œ œ™ b œ œ œ b œ œ œ œ œ œ œ œ œ™
œ œ œ œ
&
Cel.
?
{ + Principal 16'
™ bœ œ œ bœ œ œ œ œ œ œ œ œ ™ œ bœ œ bœ œ œ œ œ œ œ œ œ œ œ ™ bœ œ œ bœ œ œ œ œ œ œ œ œ ™
& œ bœ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?
Org.
{
?
&
bw
œ b œ œ b œ œ œ œ œ œ œ œ œ œ œ™
bw
b œ œ œ b œ œ œ œ œ œ œ œ œ™
œ œ
bw
œ b œ œ b œ œ œ œ œ œ œ œ œ œ œ™
b˙™
Œ
b œ œ œ b œ œ œ œ œ œ œ œ œ™
œ œ
Pno.
{
&
›
° * °
œ
* ° * °
œ
*
& Œ Ó Œ Ó
Synth.
?
{
&
Choir (SA)
& ˙ ˙ b˙ œ ˙
b˙ œ bœ œ œ b˙
69 70 71 72
˙ ˙ b˙ œ ˙
b˙ œ bœ œ œ b˙
Vln. 1 &
f
? bw bdiv.
w
w bw
w b˙™
˙™
Vlc. Œ
mp mf
? bbw
w bw
bw
bw b˙ ™ Œ
Cb.
bw b˙™
mp mf
199
Dracula 1m3 "Mina & Dracula"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷
Crot. &
Glock. &
M. Tree ÷
Shk. ÷
T.-t. ÷
œ œ œbœbœ œ œ œ œ œ œ œ œ œ™ #œ œ œ #œ œ œ œ œ œ œ œ œ œ œ ™ #œ œ œ œ œ œ œ œ œ œ # œ œ # œ n œ œ #œ œ œ #œ œ
&
#œ
Œ #œ œ #œ #œ
Cel. mf
?
{
&
?
Org.
{
?
&
œ œ œbœbœ œ œ œ œ œ œ œ œ œ™ #œ œ œ #œ œ œ œ œ œ œ œ œ œ œ ™ #œ œ œ œ œ œ œ œ
#œ
Œ #œ œ #œ
œ œ # œ œ # œ n œ œ #œ œ œ #œ œ
#œ
Pno. mf
{
&
›
° * ° * ° * °
&
Synth.
?
{ p
& #˙ ˙ #˙ #˙ ˙ ˙
Choir (SA) mm
p
& ˙™ Œ ˙ #˙ #˙ ˙ ˙
#˙
mm
73 74 75 76
˙™ #w
Vln. 1 & Œ Ó
#w #˙
p
Vln. 2 & Ó
w ˙
p
Vla. B ˙™ Œ #˙ Ó
w
p
unis. - legato espress. b ˙ bœ #˙ n˙ #˙ port. #˙ w
port.
? b˙
Vlc.
mp f
? w #˙
Cb. w Ó
#˙
p
200
1m3 "Mina & Dracula" Dracula
q = 118
Hn. 1-4 & 3
Hn. 5-8 &
Tbn. 1-2
? 4
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷ 3
Crot. &
Glock. & 4 #œ
p
#œ œ œ œ œ #˙ ™
M. Tree ÷
Shk. ÷
& 4
mp
?
Org.
{
?
&
œ # œ œ # œ n œ œ #œ
œ #œ œ #œ œ
œ # œ œ # œ n œ œ #œ
œ #œ œ #œ œ œ #œ
#˙
“”
#œœ ##œœ œœ œœ
Œ
œœ œœ
˙
#˙˙ ™™
Œ
Pno. mp
#œœ ##œœ œœ œœ œœ œœ #˙˙ ™™
{
&
›
*
&
°
&
Synth.
?
{ p
& #˙ ˙ ˙ ˙ #˙ ™ œ™ œ™
Choir (SA)
p
& #˙ ˙ ˙ ˙ ˙™ œ™ #œ ™
77 78 79 80
w w
Vln. 1 &
pp
3
Vln. 2 &
pizz.
Vla. B 4 Œ Œ
œ
mf
Œ Œ
œ
w w pizz.
? Œ Œ Œ Œ
Vlc. #œ #œ
pp mf
unis. - pizz.
? #œ Œ Œ Œ Œ
Cb.
mf
œ
201
Dracula 1m3 "Mina & Dracula"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷
Crot. &
Glock. & ˙™ ˙™ #œ #œ œ œ œ œ #˙ ™
M. Tree ÷
Shk. ÷
T.-t. ÷
:“;
˙˙™™ ˙˙™™ #œœ ##œœ œœ œœ
& #œœ œœ ##˙˙ ™™
Cel.
˙˙™™ ˙˙™™ #œœ ##œœ œœ œœ
{
& #œœ œœ ##˙˙ ™™
&
?
Org.
{
?
&
:“;
#˙
˙˙™™
Œ #˙
˙˙™™
Œ ˙
œœ œœ
#˙
##˙˙ ™™
Œ
Pno.
˙˙™™ ˙˙™™ #œœ ##œœ œœ œœ
{
& #œœ œœ ##˙˙ ™™
* ° * °
›
&
Synth.
?
{
& #œ ™ œ™ #˙ ™ #˙ ™ #œ ™ #œ ™
Choir (SA)
& œ™ #œ ™ ˙™ ˙™ #œ ™ œ™
81 82 83 84
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 1 & ˙ Œ
œ ˙
p f p
Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 2 & Œ
#˙ œ ˙
p f p
Vla. B Œ Œ Œ Œ Œ Œ Œ Œ
œ œ #œ #œ
? Œ Œ Œ Œ Œ Œ Œ Œ
Vlc. #œ #œ #œ
œ
? Œ Œ #œ Œ Œ Œ Œ Œ Œ
Cb. #œ œ #œ
202
1m3 "Mina & Dracula" Dracula
q = 119 (+1)
Hn. 1-4 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷
Crot. &
Glock. & ˙™ œ #œ œ œ œ œ ˙™
˙™
M. Tree ÷
Shk. ÷
T.-t. ÷
:“;
˙™ ˙˙ ™™ #œœ ##œœ œœ œœ œœ œœ #˙˙ ™™
& ˙™
Cel.
™ ˙˙ ™™ #œœ ##œœ œœ œœ œœ œœ #˙˙ ™™
& ˙˙ ™
{
&
?
Org.
:;
?“
{ #˙
™
& ˙˙ ™
Œ
#˙
˙˙ ™™
Œ
#˙
#œœ ##œœ œœ œœ
Œ
œœ œœ
˙
#˙˙ ™™
Œ
Pno.
™ ˙˙ ™™ #œœ ##œœ œœ œœ œœ œœ #˙˙ ™™
& ˙˙ ™
{ * °
›
&
Synth.
?
{
& #œ ™ #œ ™ #˙ ™ ˙™ œ™ œ™
Choir (SA)
& #œ ™ œ™ #˙ ™ #˙ ™ œ™ #œ ™
85 86 87 88
Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
½
Vln. 1 & Œ
#˙ œ ˙
p f p
Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 2 & Œ
#˙ œ ˙
p f p
Vla. B Œ Œ Œ Œ Œ Œ œ Œ Œ œ
#œ #œ
? Œ Œ Œ Œ Œ #œ Œ Œ #œ Œ
Vlc. #œ #œ
? Œ Œ Œ Œ Œ Œ Œ Œ
Cb. œ
#œ #œ
#œ
203
Dracula 1m3 "Mina & Dracula"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷
Crot. &
Glock. & ˙™ ˙™ œ #œ #œ œ œ œ #˙ ™
M. Tree ÷
Shk. ÷
T.-t. ÷
:“;
˙˙ ™™ ˙˙ ™™ #œœ ##œœ œœ œœ ™
#œœ œœ ##˙˙ ™
&
Cel.
˙˙ ™™ ˙˙ ™™ #œœ ##œœ œœ œœ ™
#œœ œœ ##˙˙ ™
{
&
&
?
Org.
{
? #˙
&
:“;
˙˙ ™™
Œ
#˙
˙˙ ™™
Œ
#˙
#œœ ##œœ #œœ œœ
Œ
œœ œœ
#˙
™
##˙˙ ™
Œ
Pno.
˙˙ ™™ ˙˙ ™™ #œœ ##œœ œœ œœ ™
#œœ œœ ##˙˙ ™
{
&
›
* ° * °
&
Synth.
?
{
& œ™ œ™ ˙™ ˙™ #œ ™ œ™
Choir (SA)
& #œ ™ #œ ™ #˙ ™ #˙ ™ œ™ #œ ™
89 90 91 92
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 1 & #˙ œ ˙ Œ #˙ œ
p f p p f
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 2 & Œ
˙ œ ˙ #˙ œ
p f
p f p
Vla. B Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ #œ
? Œ #œ Œ Œ #œ Œ Œ #œ Œ Œ Œ
Vlc. #œ
? #œ Œ Œ Œ Œ Œ Œ Œ Œ
Cb. #œ
#œ #œ
204
1m3 "Mina & Dracula" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷
Crot. &
Glock. & ˙™ #œ #œ œ #œ œ œ #˙ ™ ˙™
æ æ æ
∏∏∏∏
Shk. ÷
T.-t. ÷
:“;
˙™ #œœ ##œœ œœ # œœ œœ œœ #˙˙ ™™ ˙˙™™
& ˙™
Cel.
˙™ #œœ œœ # œœ œœ œœ #˙˙ ™™ ˙˙™™
##œœ
& ˙™
{
&
?
Org.
{
? ˙
:“;
& ˙™
˙™
Œ #˙
#œœ ##œœ œœ # œœ
Œ
œœ œœ
˙
#˙˙ ™™
Œ
#˙
˙˙™™
Œ
Pno.
˙™ #œœ œœ # œœ œœ œœ #˙˙ ™™ ˙˙™™
##œœ
& ˙™
{ * ° *
›
&
Synth.
?
{
& #œ ™ œ™ #˙ ™ #˙ ™ #˙ ™
Choir (SA)
& œ™ #œ ™ #˙ ™ #˙ ™ #˙ ™
93 94 95 96
<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 1 & ˙ Œ Œ
p
#˙ œ ˙
<Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ p f p
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 2 & ˙ Œ Œ
p #˙ œ ˙
p f p
Vla. B Œ Œ #œ Œ #œ œ Œ #œ Œ Œ #œ œ
? Œ Œ Œ œ œ Œ œ Œ Œ œ œ
Vlc. #œ
? œ Œ Œ #œ Œ Œ Œ Œ Œ Œ
Cb. #œ
œ
205
Dracula 1m3 "Mina & Dracula"
q = 72
rit.
Hn. 1-4 & 4
Hn. 5-8 &
Tbn. 1-2
? 4
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷ 4
Crot. &
œ œ œ 4 w
Glock. & #œ #œ œ œ œ œ #œ œ œ
pp
æ æ
Oæ™ Oæ™
∏∏∏∏
÷ ¿— Œ Ó
M. Tree
pp
Shk. ÷
T.-t. ÷
:“; w
œœ œœ œœ
#œœ #œœ #œœ #œœ #œœ #œœ #œœ # œœ bw
w
&
œœ 4 pp
Cel. w
œœ œœ œœ bw
#œœ #œœ œœ #œœ #œœ #œœ #œœ #œœ # œœ w
w
{
&
4
&
?
Org.
{
?
&
:“;
#œœ
˙
#œœ œœ #œœ
Œ
#œœ #œœ
˙
#œœ #œœ # œœ œœ
Œ
œœ œœ w
bw
w
pp
Pno. w
œœ œœ œœ bw
#œœ #œœ œœ #œœ #œœ #œœ #œœ #œœ # œœ w
w
{
&
›
&
Synth.
?
{ pp
& n˙ ™ ˙™ b˙ Ó
Choir (SA)
pp
& ˙™ Ó
˙™ ˙
97 98 99 100
legato espress.
4 w ˙™ œ
Vln. 1 &
pp mf
pizz. div. - arco
Vln. 2 & Œ Œ Œ Œ Ó b˙™
˙™ Œ
œ œ œ œ
p mf
mf p
arco
Vla. B Œ
œ
Œ Œ
œ œ
4 bœ
p
Œ Ó ˙™
p mf
Œ
arco
? Œ œ Œ Œ œ œ œ Œ Ó Œ
Vlc.
˙™
p p mf
arco
? Œ Œ Œ Œ Œ Ó Œ
Cb. œ œ œ ˙™
p p mf
206
1m3 "Mina & Dracula" Dracula
Tbn. 1-2
? 4
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷ 3
Crot. &
Glock. & 4
M. Tree ÷
Shk. ÷
T.-t. ÷
& 3
Cel.
{
&
& 4
?
Org.
{
?
&
Pno.
{
&
›
&
Synth.
?
{
&
Choir (SA)
&
œ™ bœ
&
˙™ œ b˙ bœ ™ œ ˙™ Œ b˙ J 3
Vln. 1 J
mf
Vla. B ˙™
sim.
Œ w ˙™ Œ bw 4
? Œ ˙™ Œ
Vlc. ˙™ bw
sim.
bw
? Œ Œ
Cb. ˙™ bw ˙™
sim.
bw
207
Dracula 1m3 "Mina & Dracula"
q = 80 (+8)
poco rit.
Hn. 1-4 & 3
Hn. 5-8 &
Tbn. 1-2
? 4
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷ 3
Crot. &
Glock. & 4
M. Tree ÷
Shk. ÷
T.-t. ÷
& 3
Cel.
{
&
& 4
?
Org.
{
?
&
Pno.
{
&
›
&
Synth.
?
{
&
Choir (SA)
&
Vln. 2 & ˙˙ Œ Œ
bb ˙™
˙™ ˙˙ bb ˙™
˙™
p
Vla. B
4 ˙ Œ
div.
b ˙˙ ™™ ˙
Œ
b ˙˙ ™™
p
div.
? Œ Œ
Vlc.
˙ bb˙™
˙™ ˙˙ bb˙™
˙™ port.
p
? Œ Œ
Cb.
˙ b˙™ ˙ b˙™ port.
p
208
1m3 "Mina & Dracula" Dracula
q = 40
Hn. 1-4 & 4
Hn. 5-8 &
Tbn. 1-2
? 4
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷ 4
Crot. &
Glock. & 4
M. Tree ÷
Shk. ÷
ord.
÷ ¿— Œ Ó
T.-t.
mf
& 4
Cel.
{
&
& 4
?
Org.
{
?
&
Pno.
{
&
› œ
& Œ Ó
Synth. f
?
{
&
Choir (SA)
&
109 110
n˙ ™ w
n˙ ™ w
Vln. 1 &
f
4 n
Vln. 2 & ˙˙ Œ
w
w
f mp n
Vla. B ˙
˙
Œ 4 w
w
f mp n
? Œ w
Vlc. ˙ w
˙
f mp n
? Œ w
Cb. w
˙
f mp n
209
Dracula 1m4a "Masquerade Pt.1"
CONCERT SCORE Chris Heckman
q = 88
Horn 1-4 & 3
Horn 5-8 &
Trombone 1-2
? 4
?
Trombone 3-4
Bass Trombone ?
Tuba
Contrabass Trombone ?
Contrabass Tuba
Timpani
? 3
Bass Drum ÷
Crotales &
4
Glockenspiel &
Mark Tree ÷
Field Drum ÷
Snare Drum
Tam-tam ÷
Vibraphone {&
& 3
Celesta
?
{
&
4
?
Organ
{
?
&
Piano mp
bœ œ b˙ bœ œ b˙
? œ œ ˙ œ œ ˙
{ œ
°
œ
* °
œ
* °
œ
* ° *
1 2 3 4
Violin 1 & 3
Violin 2 &
Viola B 4
?
Cello
?
Contrabass
210
1m4a "Masquerade Pt.1" Dracula
q = 87 (-1)
Hn. 1-4 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Crot. &
Glock. &
M. Tree ÷
F. D. ÷
S. D.
T.-t. ÷
Vib. {&
&
Cel.
?
{
&
?
Org.
{
?
&
œ #œ œ bœ œ œ ˙ œ #˙ ™ ˙™
Pno.
bœ œ b˙ #œ œ #˙
? œ œ œ ˙ œ œ œ œ ˙
{ ° *
œ
° * ° * ° *
5 6 7 8
Vln. 1 &
Vln. 2 &
Vla. B
?
Vlc.
?
Cb.
211
Dracula 1m4a "Masquerade Pt.1"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Crot. &
Glock. &
M. Tree ÷
F. D. ÷
S. D.
T.-t. ÷
Vib. {&
&
Cel.
?
{
&
?
Org.
{
?
&
nœ œ œ œ œ œ ˙ œ b˙ ™
Œ
bœœ œœ ˙™
Œ #˙˙
Pno. bœ œ b˙
œ œ ˙ bœ b œœ œœ ˙˙
? œ œ #œ
{ ° * ° * ° * ° *
9 10 11 12
Vln. 1 &
Vln. 2 &
Vla. B
?
Vlc.
?
Cb.
212
1m4a "Masquerade Pt.1" Dracula
q = 88 (+1)
Hn. 1-4 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Crot. &
Glock. &
M. Tree ÷
F. D. ÷
S. D.
T.-t. ÷
Vib. {&
&
Cel.
?
{
&
?
Org.
{
?
&
œ #œ œ bœ œ œ ˙ œ b˙™ ˙™
Pno.
? œ
bœ
œ
œ
œ
b˙
˙ bbb œœœ œœœ bbb ˙˙˙
bœ bœ
{ ° *
œ
° * ° * ° *
13 14 15 16
Vln. 1 &
Vln. 2 &
Vla. B
?
Vlc.
?
Cb.
213
Dracula 1m4a "Masquerade Pt.1"
q = 86 (-2) q = 88 (+2)
Hn. 1-4 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
bowed
bœ
Crot. & Œ Œ ‰ J
mf
Glock. &
M. Tree ÷
F. D. ÷
S. D.
æ
T.-t. ÷ Oæ™
p
Vib. {&
&
Cel.
?
{
&
?
Org. &
{
?
&
œ œ œ bœ œ œ ˙ œ œ .
bœœœ .
œœœ ˙™
b˙˙ ™™
Pno.
b œœ œœ ˙˙
? bœ œ Œ œ bœ
{ ° * ° *
œ. b œ.
˙™
˙™
17 18 19 20
Vln. 1 &
Vln. 2 &
Vla. B
pizz.
? Œ Œ Œ
Vlc. œ
mf
bœ œ
pizz.
? Œ œ bœ Œ
Cb. œ bœ
mf
214
1m4a "Masquerade Pt.1" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
œ– #œ œ– bœ
Crot. & Œ Œ Œ Œ ‰ J Œ Œ Œ Œ ‰ J
Glock. &
M. Tree ÷
F. D. ÷
S. D.
>
÷ ¿— Œ Œ
T.-t.
mf
motor on - fast
broll
˙ ™ into beat #˙˙˙ ™™™
∏∏∏∏
∏∏∏∏
#˙˙ ™™
∏∏∏∏
∏∏∏∏
b ˙˙ ™™
Vib. {& bb˙˙˙ ™™™ ˙™
mf
° * ° *
‰ j bœ bœ œ œ œ nœ œ
& œ bœ œ œ #œ œ œ œ #œ œ
œ œ œ œ œ #œ
Cel. mf
?
{
&
mf
Sw: Principals 16', 8'
‰ j bœ bœ œ œ œ œ œ
Org. & œ bœ œ œ #œ œ œ œ #œ œ
œ œ œ œ œ #œ
Ped: Principals 16', 8'
b˙
{
?
& ‰ œ
J
œ œ
Œ
œ bœ
b˙
œ œ bœ bœ
Œ
œ œ
#˙
œ nœ #œ œ
Œ
œ œ
#˙
œ œ
#œ œ
Œ
œ #œ
Pno. mf
? bœ bœ bœ bœ œ œ
œ œ
{ bœ
° *
bœ
° *
#œ
°
#œ
*
21 22 23 24
pizz.
Vln. 1 & Œ Œ Œ Œ #œ œ Œ #œ Œ
bœ œ bœ
mf
pizz.
Vln. 2 & Œ Œ Œ Œ Œ Œ
œ œ œ œ œ œ
mf
pizz.
Vla. B Œ bœ œ Œ bœ Œ Œ œ œ Œ œ Œ
mf
? Œ Œ Œ Œ
Vlc. bœ #œ
mf
? bœ #œ
Cb. Œ Œ bœ Œ Œ Œ Œ Œ Œ
#œ
mf
215
Dracula 1m4a "Masquerade Pt.1"
q = 87 (-1)
Hn. 1-4 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
œ– œ œ–
& Œ Œ Œ Œ ‰ J Œ Œ Œ Œ ‰ bœ
Crot. J
Glock. &
M. Tree ÷
F. D. ÷
S. D.
æ
T.-t. ÷ Oæ™
p
∏∏∏∏
∏∏∏∏
#˙˙ ™™™
∏∏∏∏
‰ bœ œ œ œ nœ œ
Org. & j bœ œ œ bœ #œ œ œ œ #œ œ
œ œ œ œ œ œ #œ
b˙
{
?
& ‰ œ
J
œ œ
Œ
œ bœ
b˙
œ œ bœ bœ
Œ
œ œ
˙
œ nœ #œ œ
Œ
œ œ
˙
œ œ
#œ œ
Œ
œ #œ
Pno.
? bœ bœ bœ bœ #œ #œ
{ bœ
° *
bœ
° *
œ
°
œ œ œ
*
25 26 27 28
Vln. 1 & Œ bœ œ Œ bœ Œ Œ #œ œ Œ #œ Œ
Vln. 2 & Œ Œ Œ Œ Œ Œ
bœ œ bœ nœ œ œ
Vla. B Œ œ œ Œ œ Œ Œ œ œ Œ œ Œ
? Œ Œ Œ Œ
Vlc. bœ œ
? bœ œ
Cb. Œ Œ bœ Œ Œ Œ Œ Œ Œ
œ
216
1m4a "Masquerade Pt.1" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
œ– œ œ– bœ
Crot. & Œ Œ Œ Œ ‰ J Œ Œ Œ Œ ‰ J
Glock. &
æ æ æ æ
∏∏∏∏∏
Oæ™ Oæ™ Oæ™ Oæ™
∏∏∏∏
M. Tree ÷
mf
F. D. ÷
S. D.
> æ
T.-t. ÷ ¿— Œ Œ Oæ™
mf p
∏∏∏∏∏
∏∏∏∏∏
bbb˙˙˙˙ ™™™™ ˙˙˙ ™™™
∏∏∏∏∏
™ ˙˙ ™™™
∏∏∏∏∏
bbb˙˙˙˙ ™™™ ˙˙ ™ ˙™
Vib. {&
° * ° *
œ bœ œ œ Œ œ œ
& bœ œ œ œ bœ œ œ
bœ bœ œ œ œ œ œ œ
Cel.
?
{
&
œ bœ œ œ œ
Org. & bœ œ œ œ bœ œ œ œ Œ
bœ bœ œ œ œ œ œ œ
{
?
&
b˙
œ bœ bœ œ
Œ
œ œ
b˙
œ bœ
bœ œ
Œ
bœ œ
˙
œ œ
œ œ
Œ
œ œ
˙
˙
Œ
œ œ
Pno.
? œ œ œ ˙
{ bœ bœ œ œ œ ˙
bœ bœ
° * ° * ° *
29 30 31 32
arco
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 1 & Œ Œ Œ Œ
b˙ œ œ
˙ œ œ
p f p
p f p
div.
Vln. 2 & Œ bœœ œœ Œ bœœ Œ Œ œœ œœ Œ œœ Œ
Vla. B Œ bœ œ Œ bœ Œ Œ nœ œ Œ œ Œ
div.
. - arco . . . . .
bbœœ
œœ
Vlc.
? Œ Œ bbœœ Œ Œ nœœ œœ Œ œœ Œ
. . . . . .
div. - 1/2 pizz. 1/2 staccato
? bœ Œ Œ Œ Œ œ Œ Œ Œ Œ
Cb. œ
. bœ .
. .
217
Dracula 1m4a "Masquerade Pt.1"
q = 88 (+1)
Hn. 1-4 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
œ– œ œ–
Crot. & Œ Œ Œ Œ ‰ J Œ Œ
Glock. &
æ æ æ æ
∏∏∏∏∏
Oæ™ Oæ™ Oæ™ Oæ™
∏∏∏∏
M. Tree ÷
F. D. ÷
S. D.
∏∏∏∏∏
bbb˙˙˙˙ ™™™™ ™ ˙˙˙ ™™™
∏∏∏∏∏
bbb˙˙˙˙ ™™™
∏∏∏∏∏
˙˙ ™™™ ˙™
Vib. {& ˙˙ ™
° * ° *
œ bœ œ œ Œ Œ
& bœ œ œ œ bœ bœ œ œ œ œ œ
œ œ œ œ
Cel.
?
{
&
œ bœ œ œ Œ Œ
Org. & bœ œ œ œ bœ bœ œ œ œ œ œ
œ œ œ œ
{
?
&
b˙
œ bœ bœ œ
Œ
œ œ
b˙
œ bœ bœ œ
Œ
œ œ
˙
œ œ œ œ
Œ
œ œ
˙
˙™
Œ
Pno.
? œ œ ˙ œœ œœ ˙
{ bœ œ b˙ ˙
bœ bœ œ œ
° * ° * ° *
33 34 35 36
Ÿw t ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Vln. 1 & Œ Œ Œ Œ
b˙ œ œ ˙ œ œ
p f p p f p
B Œ œ œ Œ œ Œ Œ œ œ Œ œ Œ
Vla.
. . . . . .
? bœœ œœ bœœ œœ œœ œœ
Vlc. Œ Œ Œ Œ Œ Œ
. . . . . .
? bœ Œ Œ Œ Œ œ Œ Œ Œ Œ
Cb. œ
. bœ .
. .
218
1m4a "Masquerade Pt.1" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Crot. &
bœ
& œ #œ œ œ œ ˙ #˙ ™ ˙™
Glock. œ
f
M. Tree ÷
F. D. ÷
S. D.
>
÷ ~~ ¿ — Œ Œ
T.-t.
f
Vib. {&
&
Cel.
?
{ Gt: Solo Reed 8'
bœ
& œ #œ œ œ œ œ Œ #˙ ™ œ Œ Œ
œ
f
Org. & bœ nœ œ œ œ œ œ œ œ
œ bœ œ œ œ bœ #œ œ œ #œ œ œ
œ
{
?
&
˙
œ #œ œ bœ
Œ
œ œ
œ
˙
Œ Œ
œ
˙
#˙ ™
Œ œ
˙™
Œ Œ
Pno. f
b œœœ œœœ b ˙˙˙ # œœœ œœ
œ # ˙˙˙
?
{ œ
° *
œ
° *
œ
° *
œ
° *
37 38 39 40
div.
œ #œ œ bœ œ œ œ port. #˙ ™ œ
bœ œ
& œ #œ œ œ œ œ Œ port. #˙ ™ œ Œ Œ
Vln. 1 œ
f
unis. - arco
Vln. 2 & Œ Œ Œ Œ Œ Œ
b œ. œ. b œ. œ. œ. œ.
f
arco port. œ
œ bœ œ œ nœ œ œ œ œ œ œ œ
Vla. B œ œ bœ œ œ œ bœ #œ #œ
f
unis. - arco
Vlc.
? Œ œ. œ. Œ œ. Œ Œ #œ. œ. Œ #œ. Œ
f
unis. - arco
? Œ Œ Œ Œ Œ Œ Œ Œ
Cb. œ. œ. œ. œ.
f
219
Dracula 1m4a "Masquerade Pt.1"
q = 87 (-1)
Hn. 1-4 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Crot. &
œ b˙ ™
Glock. & œ œ œ œ œ ˙ œ ˙™
M. Tree ÷
F. D. ÷
S. D.
ord.
æ
T.-t. ÷ Oæ™
p
Vib. {&
&
Cel.
?
{
& œ œ œ œ œ œ œ Œ œ b˙ ™ œ Œ Œ
œ œ œ bœ œ œ œ bœ
Org. & œ œ bœ œ œ bœ #œ œ œ œ #œ œ œ œ œ œ
{
? ˙
&
œ œ œ œ
Œ
œ œ
œ
˙
Œ Œ
œ
b˙
b˙™
Œ
#œ
˙™
Œ Œ
Pno.
b œœœ œœ
œ b ˙˙˙
? œ bbœœœ œœœ #˙˙
{ ° *
œ
° *
bœ
° *
#œ
° *
41 42 43 44
œ œ œ œ œ œ œ port. b˙™ œ
œ œ
Vln. 1 & œ œ œ œ œ œ Œ œ port. b˙ ™ œ Œ Œ
Vln. 2 & Œ Œ Œ Œ Œ Œ
œ. œ. œ. œ. œ. œ.
bœ œ œ œ bœ œ œ œ bœ œ œ
œ œ #œ œ œ #œ œ œ port.
B œ œ bœ œ œ
Vla.
div.
. . . . . .
? Œ bœœ œœ Œ bœœ Œ Œ bbœœ bœœ Œ #œœ Œ
Vlc.
. . . . . .
Cb.
? œ Œ Œ œ. Œ Œ bœ. Œ Œ Œ Œ
. #œ.
220
1m4a "Masquerade Pt.1" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Crot. &
bœ œ b˙™ ˙™
œ #œ œ œ œ ˙
Glock. &
M. Tree ÷
F. D. ÷
S. D.
> æ
T.-t. ÷ ¿— Œ Œ Oæ™
mf p
Vib. {&
&
Cel.
?
{ b˙™ œ
bœ œ
& œ #œ œ œ œ œ Œ Œ Œ
œ bœ œ bœ bœ œ bœ œ bœ
Org. & œ œ bœ œ œ œ bœ #œ bœ bœ bœ œ bœ
{
?
&
˙
œ #œ œ bœ
Œ
œ œ
œ
˙
Œ Œ
œ
b œœœ
b˙
b ˙ ™™
bbb ˙˙˙ ™™
Œ bœ
˙˙ ™™
˙˙™™
Œ Œ
Pno. bœ œœ b˙
? b œœœ œœœ b ˙˙˙ bœ bb œœ œ bœ bb ˙˙
{ œ
° *
œ
° *
bœ
° *
bœ
° *
45 46 47 48
œ port. b˙™ œ
œ #œ œ bœ œ œ œ port. b˙™ œ
œ #œ œ bœ œ œ œ œ
Vln. 1 & Œ Œ Œ
Vln. 2 & Œ Œ Œ Œ Œ Œ
b œ. œ. b œ. b œ. œ. b œ.
œ bœ œ bœ bœ œ bœ œ bœ port.
œ bœ œ œ œ bœ #œ port.
bœ bœ œ bœ
Vla. B œ bœ
. . . . . .
Vlc.
? Œ œ œ Œ œ Œ Œ bbœœ œœ Œ bbœœ Œ
. . . . . .
? Œ Œ Œ Œ bœ. Œ Œ bœ. Œ Œ
Cb. œ. œ.
221
Dracula 1m4a "Masquerade Pt.1"
?
Tbn. 1-2
?
Tbn. 3-4
f
B. Tbn. ? Œ Œ gliss.
Tba. œ
Œ
f
Cb. Tbn. ? Œ Œ
Cb. Tba.
œ gliss.
Œ
?
Timp. æ
˙æ™
p
æ
B. D. ÷ ˙æ™
p
Crot. &
œ œ œ bœ œ œ #˙ œ ˙™ œ
Glock. & J ‰ Œ Œ
M. Tree ÷
a2
æ
F. D. ÷ ˙æ™
S. D.
p
> æ
T.-t. ÷ ¿— Œ Œ Oæ™
mf p
Vib. {&
&
Cel.
?
{ bœ
œ œ œ œ œ #˙ œ ˙™ œ
& J ‰ Œ Œ
œ bœ œ™ œ œ #œ œ
Org. & œ œ
J
bœ œ œ œ œ bœ œ J ‰ Œ Œ
{
? ˙
&
b œœœ œœ
œ
œœ
œ
b œœ
bœ
Œ
œœ
œ
œœ
œ
œ
# ˙˙
#˙˙
Œ Œ
œ
œ
œ
J
˙™
b ˙˙˙ ™™™
‰ œ
J
‰ bœ
j ‰
œ
j
œœ
œœ
J
‰
‰
Œ
Œ
Œ
Œ ?
Pno.
˙ ˙
? œ b˙˙ œ #˙˙
{ œ
° *
œ
° * ° *
49 50 51 52
œ œ œ bœ œ œ #˙ œ ˙™ œj
œ œ œ bœ œ œ #˙ œ ˙™ œ
Vln. 1 & J ‰ Œ Œ
Vln. 2 & Œ Œ Œ Œ Œ Œ
b œ. œ. œ. œ. œ. œ.
œ bœ œ™ œ œ #œ œ
œ œ bœ œ œ œ œ bœ œ
B J J ‰ Œ Œ
Vla.
. . . . . .
Vlc.
? Œ bnœœ œœ Œ #œœ Œ Œ bœœ œœ bœœ Œ Œ
. . . . . .
div.
f
? œ Œ Œ œ. Œ Œ œ. œ.
. Œ
Cb. . bœ. œ gliss.
œÓ
Œ
222
1m4a "Masquerade Pt.1" Dracula
q = 89 (+2)
a4
Hn. 1-4 & œ œ bœ œ œ Œ Œ Œ
#œ œ œ œ#œ œ œ #˙ ™ œ
ff
a4
Hn. 5-8 & œ œ bœ œ œ Œ Œ Œ
#œ œ œ œ#œ œ œ #˙ ™ œ
ff
a2
.
bœ œ. b œ. œ. œ. œ.
? Œ Œ Œ Œ Œ Œ
Tbn. 1-2
ff
a2
.
? Œ œ œ. Œ œ. Œ Œ #œ. œ. Œ #œ. Œ
Tbn. 3-4
ff
ff
>. f
B. Tbn. ? œ Œ Œ . Œ Œ . Œ Œ . Œ
Tba. œ œ œ gliss.
œ œ
. . Œ
>. .
ff
ff f
Cb. Tbn. ? >. Œ Œ . Œ Œ . Œ Œ . Œ
Cb. Tba.
œ
œ œ œ gliss.
œ œ
. . Œ
>. .
ff
?
Timp.
˙™ ˙™ ˙™ ˙™
>
ff
>
÷ œ— Œ Œ œ— Œ Œ œ— Œ Œ œ— Œ Œ
B. D.
ff
Crot. &
Glock. &
M. Tree ÷
>
F. D. ÷ œ œœœ œ œ Œ œœœ œ Œ Œ œœœ œ œ Œ œœœ œ Œ
S. D.
ff
>
÷ ¿— Œ Œ
T.-t.
ff
Vib. {&
&
Cel.
?
{
&
Org. &
{
?
? Œ .
bœœœ œœœ. Œ
.
bœœœ Œ Œ
.
#œœœ œœœ.
Œ
.
#œœœ Œ
Pno. ff
? Œ Œ Œ Œ Œ Œ Œ Œ
{ œ
œ
>.
œ
œ.
œ
œ.
œ
œ.
53 54 55 56
œ #œ œ bœ œ œ œ port. #˙ ™ œ
Vln. 1 & œ œ bœ œ œ Œ œ Œ Œ
#œ œ œ port. #˙ ™ œ
ff
Vla. B Œ œ. œ. Œ œ. Œ Œ Œ Œ
#œ. œ. #œ.
ff
unis.
? œ #œ œ bœ œ œ œ port. #˙ ™ œ
Vlc. Œ œ Œ Œ
ff
ff f
. . . .
? œ Œ Œ œ Œ Œ œ Œ Œ œ Œ œ gliss.
Cb.
œ œ œ œ Œ
. . . .
ff
223
Dracula 1m4a "Masquerade Pt.1"
q = 87 (-2)
Hn. 1-4 & nœ œ œ œ œ œ œ Œ b˙ ™ Œ Œ
œ œ
œ. œ. œ. œ. œ. œ.
? Œ Œ Œ Œ Œ Œ
Tbn. 1-2
. . . . . .
? Œ bœœ œœ bœœ bbœœ œœ #œœ
Tbn. 3-4 Œ Œ Œ Œ Œ
. . . . . .
ff f
? >. . . .
B. Tbn. Œ Œ Œ Œ Œ Œ Œ gliss.
Tba. œ œ bœ #œ œ
. Œ
>. . .
ff f
Cb. Tbn. ? >. Œ Œ . Œ Œ . Œ Œ . Œ
Cb. Tba.
bœ œ gliss.
œ œ #œ
. Œ
>. . .
?
Timp. b˙ ™
>˙™ ˙™ #˙ ™
>
÷ œ— Œ Œ œ— Œ Œ œ— Œ Œ œ— Œ Œ
B. D.
Crot. &
Glock. &
M. Tree ÷
T.-t. ÷
Vib. {&
&
Cel.
?
{
&
Org. &
{
?
? Œ
.
b œœœ
.
œœœ
Œ
.
b œœœ
Œ Œ
.
bbbœœœœ
.
œœœ
œ Œ
œ.
#œœœ Œ
Pno.
? Œ Œ Œ Œ Œ Œ Œ Œ
{ œ
œ
>.
œ
œ.
bœ
b œ.
#œ
# œ.
57 58 59 60
nœ œ œ œ œ œ œ port. b˙ ™ œ
Vln. 1 & nœ œ Œ œ Œ Œ
œ œ œ œ œ œ port. b˙ ™ œ
Vln. 2 & Œ Œ Œ Œ Œ
œ.
Œ
œ. œ. œ. œ. œ.
div.
. . . . . .
B Œ bœœ œœ Œ bœœ Œ Œ Œ Œ
Vla.
bbœœ œœ #nœœ
. . . . . .
? nœ œ œ œ œ œ œ Œ port. b˙ ™ œ Œ Œ
Vlc. œ
ff .
. . . f
? œ œ bœ #œ
Cb. Œ Œ Œ Œ bœ Œ Œ Œ œ gliss.
œ œ #œ Œ
. . . .
224
1m4a "Masquerade Pt.1" Dracula
bœ Œ œ b˙ œ œ bœ œ bœ Œ Œ
Hn. 1-4 & œ #œ œ œ œ œ
bœ Œ œ b˙ œ œ bœ œ bœ Œ Œ
Hn. 5-8 & œ #œ œ œ œ œ
b œ. œ. b œ. b œ. œ. b œ.
? Œ Œ Œ Œ Œ Œ
Tbn. 1-2
. . .
a2
? Œ .
œ œ. Œ œ. Œ Œ bb œœ bœœ Œ bb œœ Œ
Tbn. 3-4
. . .
ff
>. f
B. Tbn. ? œ Œ Œ . Œ Œ . Œ Œ . Œ
Tba. œ gliss.
œ œ bœ bœ
. . Œ
>. .
ff f
Cb. Tbn. ? >. Œ Œ . Œ Œ . Œ Œ . Œ
Cb. Tba.
œ œ gliss.
œ œ bœ bœ
. . . . Œ
?
>
Timp.
˙> ™ ˙™ b˙™ b˙™
>
÷ œ— Œ Œ œ— Œ Œ œ— Œ Œ œ— Œ Œ
B. D.
Crot. &
Glock. &
M. Tree ÷
T.-t. ÷
Vib. {&
&
Cel.
?
{
&
Org. &
{
?
? Œ
b œœ.
bœœ
œœ.
œœ Œ
b œœ.
bœœ Œ Œ
b œ.
bbbœœœ
œœ.
œœ Œ
b œ.
bbbœœœ Œ
Pno.
? Œ Œ Œ Œ Œ Œ Œ Œ
{ œ
œ
>.
œ
œ.
bœ
b œ.
bœ
b œ.
61 62 63 64
œ port. b˙™ œ
œ #œ œ bœ œ œ œ port. b˙ ™ œ
Vln. 1 & œ œ bœ œ œ Œ œ Œ Œ
#œ œ
. . . . . .
Vla. B Œ œ œ Œ nœ Œ Œ bbœœ œœ Œ bbœœ Œ
. . . . . .
3
œ port. b˙ œ œbœ œ bœ
? œ #œ œ bœ œ œ œ
Vlc. Œ Œ Œ
ff f
. . . .
? œ œ gliss.
Cb. Œ Œ œ Œ Œ bœ Œ Œ bœ Œ
bœ bœ Œ
œ œ
. . . .
225
Dracula 1m4a "Masquerade Pt.1"
Crot. &
4
Glock. &
M. Tree ÷
>æ
F. D. ÷ Œ œœœ œ œ Œ œœœ œ Œ Œ œœœ œ œœœ œ ˙æ™
S. D.
ffp
æ
T.-t. ÷ Oæ™
p
Vib. {&
& 4
Cel.
?
{
&
4
Org. &
{
?
? Œ
.
bbbœœœœ
.
œœœ
œ Œ
.
œœœ
œ Œ & Œ œ
bœœœ
œœ
œœ.
˙™
b˙˙˙ ™™™
. >
Pno.
? Œ Œ Œ Œ
{ bœ
b œ.
>
œ
œ.
œ
œ. œ
œ.
bœ
b œ.
˙™
>˙ ™
65 66 67 68
œ œ œ bœ œ œ ˙ œ ˙™ ˙™
Vln. 1 & œ œ œ bœ œ œ ˙ œ ˙™
mp
˙™ 4
Vln. 2 & Œ bœ. œ. Œ
œ.
Œ Œ Œ Œ
œ. œ. œ.
. . . . . 4
Vla. B Œ bœœ œœ Œ œœ Œ Œ Œ Œ
bœœ œœ bœœ
. . . .
™ ˙ bœ port. ˙™ ˙™
? ˙
Vlc.
mp
ff .
. . . . .
œ
? bœ Œ Œ œ Œ Œ œ
œ bœ œ Œ Œ
Cb. bœ œ œ
. . bœ œ
. . . .
226
1m4a "Masquerade Pt.1" Dracula
Attacca
Hn. 1-4 & 4 œ ‰
J
ff
Œ Ó
Tbn. 1-2
? 4 œ
J ‰ Œ Ó
ff
j
Tbn. 3-4
? œœ ‰ Œ Ó
J
ff
B. Tbn. ? j ‰ Œ Ó
Tba.
œ
ff
Cb. Tbn. ? j ‰ Œ Ó
Cb. Tba.
œ
ff
Timp.
? 4 œ
Œ Ó
>—
ff
>
÷ œ— Œ Ó
B. D.
ff
Crot. &
4
Glock. &
M. Tree ÷
>
F. D. ÷ œ Œ Ó
S. D.
ff
>j choke
T.-t. ÷ ¿ ‰ Œ Ó
ff
Vib. {&
& 4
Cel.
?
{
&
4
Org. &
{
?
&
Pno.
?
{
69
œj
Vln. 1 & 4 œ ‰
J
ff
Œ Ó
Vln. 2 &
Vla. B
4
? œ
Vlc.
J ‰ Œ Ó
ff
?
Cb.
227
Dracula 1m4b "Masquerade Pt.2"
CONCERT SCORE Chris Heckman
q = 73
Horn 1-4 & 3
Horn 5-8 &
Trombone 1-2
? 4
?
Trombone 3-4
Bass Trombone ?
Tuba
Contrabass Trombone ?
Contrabass Tuba
Timpani
? 3
Bass Drum ÷
Snare Drum ÷ 4
Tam-tam ÷
Vibraphone {&
Gt: Principles 4', 2', Solo
. Reed 8'
3 . œ. œ œ. bœ- . œ. œ. œ. bœ- . bœ. bœ. œ. nœ- . bœ. bœ. œ. nœ-
& œ. œ. œ. œ J ‰ œ. œ. œ. œ J ‰ bœ. bœ. bœ. bœ J ‰ bœ. bœ. bœ. bœ J ‰
mf
Sw: Principles .8', 4'
œœ b œœ. œœ. b œœ. .
bb œœ . .
bb œœ .
? œ- -œ œ œ- -œ œ bœ- -
œ nœœœ bœ- -
œ nœœœ
Organ
{
?
&
œ- Œ
œ-
j ‰ œ- Œ
œ-
j ‰ bœ- Œ
-œ
j ‰ bœ- Œ
-œ
j ‰
Piano
?
{
&
Choir (SA)
&
1 2 3 4
& 4
pizz.
& Œ ‰ j Œ ‰ j Œ ‰ j Œ ‰ j
œ œ œ œ bœ œ bœ œ
mf
Violin 2 unis.
&
pizz.
B Œ ‰ j Œ ‰ j Œ ‰ j Œ ‰ j
œ œ œ œ bœ œ bœ œ
mf
Viola div.
pizz.
B Œ œ ‰ j Œ œ ‰ j Œ bœ ‰ j Œ bœ ‰ j
œ œ œ œ
mf
pizz.
? Œ Œ Œ Œ
Cello œ œ bœ bœ
œ œ œ œ
mf
?
Contrabass
228
1m4b "Masquerade Pt.2" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
S. D. ÷
T.-t. ÷
Vib. {&
{
?
&
œ- Œ
œ-
j ‰ œ- Œ
œ-
j ‰ bœ- Œ
-œ
j ‰ bœ- Œ
-œ
j ‰
Pno.
?
{
&
Choir (SA)
&
5 6 7 8
& Œ ‰ j Œ ‰ j Œ ‰ j Œ ‰ j
œ œ œ œ bœ œ bœ œ
mf
Vln. 1
&
& Œ ‰ j Œ ‰ j Œ ‰ j Œ ‰ j
œ œ œ œ bœ œ bœ œ
mf
Vln. 2
&
B Œ ‰ j Œ ‰ j Œ ‰ j Œ ‰ j
œ œ œ œ bœ œ bœ œ
mf
Vla.
B Œ œ ‰ j Œ œ ‰ j Œ bœ ‰ j Œ bœ ‰ j
œ œ œ œ
mf
? Œ Œ Œ Œ
Vlc. œ œ bœ bœ
œ œ œ œ
mf
?
Cb.
229
Dracula 1m4b "Masquerade Pt.2"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Œ ‰ j Œ ‰ j Œ ‰ j Œ ‰ j
S. D. ÷ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ
mp
scrape with tri. beater
æ
T.-t. ÷ Œ Œ ¿æ~~~~~~~~~~~~~~~~~~~~~
mp
Vib. {&
&
mp
?
Org.
{
?
&
#œ-
Œ #œ-
j ‰
#œ-
Œ #œ-
j ‰ œ- Œ
-œ
j ‰ œ- Œ
-œ
j ‰
Pno.
?
{
&
Choir (SA)
&
9 10 11 12
æ æj æ port. #œ
S. Vln. & # ˙ææ port.
æj
#œ
‰ #˙æ port. #œ ‰ ˙æ port. #œ
æJ ‰ ˙
ææ ææ
mf
& Œ ‰ j Œ ‰ j Œ ‰ j Œ ‰ j
#œ #œ #œ #œ œ œ œ œ
Vln. 1 mf
div.
(pizz.)
& Œ œ ‰ j Œ œ ‰ j
#œ #œ
& Œ ‰ j Œ ‰ j Œ
œ
‰ j Œ
œ
‰ j
œ #œ œ #œ œ œ
Vln. 2 mf
&
B Œ ‰ j Œ ‰ j Œ œ ‰ j Œ œ ‰ j
#œ #œ #œ #œ #œ #œ
mf
Vla. unis.
B
? Œ Œ Œ œ Œ œ
Vlc. #œ #œ œ œ
#œ #œ
mf
pizz.
? Œ Œ Œ œ Œ œ
Cb. #œ #œ œ œ
#œ #œ
mf
230
1m4b "Masquerade Pt.2" Dracula
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
S. D. ÷
> æ
T.-t. ÷ ~~~ ¿ Œ Œ Œ Œ ¿æ~~~~~~~~~~~~~~~~~~~~
mf mp
motor on - fast
roll into beat
∏∏∏∏
∏∏∏∏
∏∏∏∏
∏∏∏∏
∏∏∏∏∏
∏∏∏∏∏
∏∏∏∏
∏∏∏∏
Vib. {& ˙ œ œ nœœœ nœœœ
mf
° * ° * ° * ° * ° * ° * ° * ° *
. . . œ. œ. œ. b-œ . . œ. œ. b-œ . . bœ. œ. n-œ . . bœ. œ. n-œ
& œ. œ œ œ J ‰ œ. œ. œ. œ œ J ‰ bœ. bœ. bœ. bœ bœ J ‰ bœ. bœ. bœ. bœ bœ J ‰
mf
œœ. b œœœ. œœ. b œœœ. .
bb œœ . .
bb œœ .
? œ- -œ œ- -œ bœ- - nœœœ bœ- - nœœœ
Org. œ œ
{
?
&
œ- Œ
-œ
j ‰ œ- Œ
-œ
j ‰ bœ- Œ
œ-
j ‰ bœ- Œ
œ-
j ‰
Pno.
?
{
&
Choir (SA)
&
13 14 15 16
>j œ port. b˙ œ
#˙ œ œ ˙ port.
b˙
& œ port.
S. Vln.
f
port. b˙ œ
#arco
˙ œ ˙ œ port.
b˙ œ port.
&
mf
Vln. 1
(pizz.)
& œ œ bœ œ œ bœ bœ œ nœ bœ œ nœ
œ œ œ œ œ œ œ œ œ œ œ œ b œ b œ b œ bœ bœ b œ b œ b œ bœ bœ
mf
& œ œ œ bœ œ œ œ bœ bœ bœ œ nœ bœ bœ œ nœ
œ œ œ œ œ œ œ œ œ œ b œ b œ b œ bœ nœ b œ b œ b œ bœ nœ
Vln. 2 mf
&
mf
Vla. div. (pizz.)
B œ œ œ œ œ œ œ bœ œ œ bœ bœ œ nœ bœ œ nœ
œ œ œ œ œ œ œ bœ bœ bœ bœ bœ œ bœ bœ bœ bœ bœ
mf
? œ bœ œ bœ bœ œ bœ œ
Vlc. œ œ bœ bœ
œ œ œ œ
mf
?
Cb.
231
Dracula 1m4b "Masquerade Pt.2"
q = 74 (+1)
Hn. 1-4 &
?
Hn. 5-8 &
. . . . . . . .j
œœ b œœj n œœ b œœj bb œœ œœj bb œœ œœ
? Œ ‰ J Œ ‰ J Œ ‰ J Œ ‰ J
Tbn. 1-2 . . . . . .
. .
. . . . . . . .
? Œ œ œœj œ œœj bœ œj bœ œj
Tbn. 3-4 ‰ J. Œ ‰ J. Œ ‰ J. Œ ‰ J.
. . . .
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
S. D. ÷
>
÷ ~~~~ ¿ Œ Œ
T.-t.
mf
∏∏∏∏
∏∏∏∏
∏∏∏∏
∏∏∏∏∏
∏∏∏∏∏
bœœ ˙˙ bœœ b˙ b˙
∏∏∏∏
∏∏∏∏
œœ ˙ œœ bb ˙˙ n œœœ bb ˙˙ n œœœ
° * ° * ° * ° * ° * ° * ° * ° *
. . . œ. œ. œ. b-œ . . œ. œ. b-œ . . bœ. œ. n-œ . . bœ. œ. n-œ
& œ. œ œ œ J ‰ œ. œ. œ. œ œ J ‰ bœ. bœ. bœ. bœ bœ J ‰ bœ. bœ. bœ. bœ bœ J ‰
.
œœ b œœœ. .
œœ b œœœ. .
bb œœ . .
bb œœ .
? -œ œ- -œ œ- b-œ - nœœœ b-œ - nœœœ
Org. œ œ
{?
&
œ- Œ
œ-
j ‰ œ- Œ
œ-
j ‰ bœ- Œ
-œ
j ‰ bœ- Œ
-œ
j ‰
Pno.
?
{
&
Choir (SA)
&
17 18 19 20
> port. b˙
& #˙ œ œ
j ˙ œ œ port.
S. Vln. b˙ œ
œ ˙ œ port. b˙ œ port.
& #˙ b˙ œ
Vln. 1
& œ œ œ bœ œ œ œ bœ bœ bœ œ nœ bœ bœ œ nœ
œ œ œ œ œ œ œ œ œ œ b œ b œ b œ bœ b œ b œ b œ bœ
& œ œ œ bœ œ œ œ bœ bœ bœ œ nœ bœ bœ œ nœ
œ œ œ œ œ œ œ œ œ œ b œ b œ b œ bœ nœ b œ b œ b œ bœ nœ
Vln. 2
&
B #˙ œ ˙ œ port. b˙ œ port.
b˙ œ
Vla.
B œ œ œ œ œ œ œ bœ œ œ œ bœ bœ bœ œ nœ bœ bœ œ nœ
œ œ œ œ œ œ bœ bœ bœ bœ œ bœ bœ bœ bœ
? œ bœ œ bœ bœ œ bœ œ
Vlc. œ œ bœ bœ
œ œ œ œ
?
Cb.
232
1m4b "Masquerade Pt.2" Dracula
q = 73 (-1)
div.
+ a2 +. + +. + +. + +.
Hn. 1-4 & #˙
## œœ ##˙˙ ##œœ n ˙˙ ##œœ ˙˙ #œœ
˙ + +.
+ +. + +. + +.
mp p p p
+ + +
5-6
+
? #˙
+
#œ. ˙+ #œ. ˙+ œ. ˙+ # œ.
Hn. 5-8
mp p p p
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Œ ‰ j Œ ‰ j Œ ‰ j Œ ‰ j
S. D. ÷ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ
mf
ord.
æ
T.-t. ÷ Oæ™
p
Vib. {&
&
mp
?
Org.
j j
{
?
&
#-œ
Œ #œ-
j ‰
#-œ
Œ #œ-
j ‰ œ- Œ œ- ‰ œ- Œ œ- ‰
Pno.
?
{
&
Choir (SA)
&
21 22 23 24
æ #œ port. œ
æ ˙æ port. #œ ˙ port. ˙ æ
S. Vln. & #˙æ port. #œ
æJ
‰ æJ ‰ ææ æJ ‰
ææ
mf
æ j æ æj æ
& # ˙ææ æj ‰ #˙æ port. #œæ ‰
˙æ #œ ‰ ˙æ port. œ
#œ æ
mp
Vln. 1
div.
& Œ ‰ j Œ ‰ j Œ ‰ j Œ ‰ j
#œ #œ #œ #œ œ #œJœ œ #œJœ
mf
arco
æ æj æ æj æ æ
& æ j ‰
# ˙æ
‰
˙æ
‰ ˙æ port. #œæ
˙æ # œæ port. #œ #œ
mp
Vln. 2 div.
pizz.
& Œ ‰ j Œ ‰ j Œ ‰ j Œ ‰ j
œ #œ œ #œ œ œ œ œ
mf
B #˙ææ æj æ æj æ æj port.
‰ ˙æ port. #œ ‰ ˙æ œ ‰ ˙ #œ
#œ æ ææ
mp
Vla.
B Œ ‰ j Œ ‰ j Œ œ ‰ j Œ œ ‰ j
#œ #œ #œ #œ #œ #œ
mf
? Œ Œ Œ œ Œ œ
Vlc. #œ #œ œ œ
#œ #œ
mf
? Œ Œ Œ œ Œ œ
Cb. #œ #œ œ œ
#œ #œ
mf
233
Dracula 1m4b "Masquerade Pt.2"
q = 74 (+1)
+ +. + +. + +. + +.
Hn. 1-4 & b˙˙ bœœ bn˙˙ bœœ #˙˙ nœœ #˙˙ nœœ 4
+ +. + +. + +. + +.
mp mp mp mp
+7-8
+ - div. a2 +. + +. + +. + +.
˙ b œœ ˙ b œœ ˙ bœœ ˙ bœœ
?
Hn. 5-8
+ +. + +. + +. + +.
mp
b œœ
.
b œœj
. mp
bn œœ
.
b œœj
. mp
# œœ
. .
n œœj
mp
# œœ
. .
n œœj
4
? Œ . ‰ J. Œ . ‰ J. Œ . ‰ J Œ . ‰ J
Tbn. 1-2 . .
mf
. .j . .j . . . .
? Œ
œ
‰ b œœ Œ
œ
‰ b œœ Œ
œ
‰ bœj Œ
œ
‰ bœj
Tbn. 3-4 . J . J . J . J
. . . .
mf
B. Tbn. ?
Tba.
a2
Cb. Tbn. ? Œ Œ Œ Œ
Cb. Tba.
œ. b œ. œ. b œ. œ. œ. œ. œ.
mf
Timp.
? 4
B. D. ÷
S. D. ÷ 4
>
÷ ¿— Œ Œ
T.-t.
mf
∏∏∏∏
∏∏∏∏
∏∏∏∏∏
∏∏∏∏∏
∏∏∏∏∏
∏∏∏∏∏
∏∏∏∏∏
#˙˙˙ nœ #˙˙˙ nœ
Vib. {& bœ bœ #˙ bnœœœ #˙ bnœœœ
° * ° * ° * ° * ° * ° * ° * ° *
. . . b œ. œ. bœ- . . . b œ. œ. bœ- . . . œ. œ. n-œ . . . œ. œ. n-œ
& œ. œ. bœ œ œ J ‰ œ. œ. bœ œ œ J ‰ œ. #œ. œ œ #œ J ‰ œ. #œ. œ œ #œ J ‰ 4
mf . b œœœ. . b œœœ.
œ- b œœ œ- b œœ -œ # œœ. n œ. -œ # œœ. n œ.
? b-œ b-œ œ- b œœ œ- b œœ
Org.
{
? œ
-
Œ bœ-
j ‰ œ
-
Œ bœ-
j ‰ œ- Œ
œ-
j ‰ œ- Œ
œ-
j ‰ 4
& bœ. œ bœ bœ. œ bœ
œ. œ. bœ. œ. œ. œ. œ. bœ. œ. œ.
œ. œ. nœ- œ. œ. nœ-
. - œ
bb œœ.œ . - œ
bb œœ.œ œ. # œ. œ. œ. #œ. bn œœœ œ. # œ. œ. œ. #œ. bn œœœ
Pno. mp . .
? œ. œ. #œ. #œ.
{ œ. b œ. œ. b œ. œ. œ. œ. œ.
&
Choir (SA)
&
25 26 27 28
˙ œ ˙ bœ #˙ œ
#˙ #œ 4
S. Vln. &
f
bœ port. #˙ nœ
˙ œ ˙ port.
#˙ nœ
&
mf
Vln. 1
&
œ œ bœ œ
œ bœ œ bœ œ œ œ bœ œ
œ bœ œ bœ œ œ # œ œ œ #œ
œ œ nœ
œ # œ œ œ #œ
œ œ nœ 4
mf
bœ port. #˙ nœ
˙ œ ˙ port.
#˙ nœ
&
mf
Vln. 2
& bœ œ bœ bœ œ bœ
œ œ bœ œ œ œ œ œ bœ œ œ œ œ # œ œ œ #œ
œ œ nœ nœ œ # œ œ œ #œ
œ œ nœ nœ
mf
arco œ ˙ bœ port. b˙ œ port.
˙ b˙ œ
B
mf
Vla. div.
(pizz.) bœ œ bœ bœ œ bœ
B œ œ bœ œ œ bœ œ œ bœ œ œ bœ œ #œ œ œ #œ
œ œ nœ
bœ œ #œ œ œ #œ
œ œ nœ
bœ
mf
? Œ œ ‰ bœ Œ nœ ‰ bœ Œ #œ ‰ nœ Œ #œ ‰ nœ
Vlc. J J J J
mf
? œ Œ œ Œ œ Œ œ Œ
Cb. bœ bœ œ œ
mf
234
1m4b "Masquerade Pt.2" Dracula
q = 73 (-1)
Hn. 1-4 & 4 3
?
Hn. 5-8 &
Tbn. 1-2
? 4 4
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 4 3
B. D. ÷
S. D. ÷ 4 4
scrape
æ
T.-t. ÷ Ó Œ ¿æ~~~~~~~~~~~~~~~
mf
∏∏∏∏
∏∏∏∏
∏∏∏∏
∏∏∏∏
∏∏∏∏
∏∏∏∏
∏∏∏∏
∏∏∏∏
Vib. {& ##˙˙˙ n˙˙
˙ ##˙˙˙ n˙˙
˙ ##˙˙˙ n˙˙
˙ ##˙˙˙ n˙˙
˙
p
° *
& 4 3
?
Org.
{
? 4 4
&
Pno.
?
{
&
Choir (SA)
&
29 30 31 32
˙ #œ #˙ n˙ œ œ #œ #˙ nœ ™
S. Vln. & 4 mp
œ œ ‰ 3
&
Vln. 1
&
4 4
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
& #œæ #œæ œæ œæ #œæ #œæ œæ œæ #œæ œæ œæ œæ #œæ œæ œæ™ ‰
p
Vln. 2
&
B #œ #œ œ œ #œ #œ œ œ #œ #œ œ œ #œ #œ œ™ ‰
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
p
Vla.
?
Vlc.
?
Cb.
235
Dracula 1m4b "Masquerade Pt.2"
a4 gliss. ad lib.
3
Hn. 1-4 & 3 ˙ œ ˙ bœ ™ nœ œ #˙ nœ ™ ¿ ¿ ¿
#˙ nœ
j ‰
mf
a4 gliss. ad lib.
3
Hn. 5-8 & j ‰
˙ œ ˙ bœ ™ nœ œ #˙ nœ ™ ¿ ¿ ¿
mf . . . . . . #˙ . nœ .
b œœ b œœj bn œœ b œœj # œœ n œœj # œœ n œœj
Tbn. 1-2
? 4 Œ . ‰ J. Œ . ‰ J. Œ . ‰ J
. Œ . ‰ J
.
mf
. .j . .j . . . .
? œ b œœ œ b œœ œ bœj œ bœj
Tbn. 3-4 Œ . ‰ J Œ . ‰ J Œ . ‰ J Œ . ‰ J
. . . .
mf
B. Tbn. ?
Tba.
Cb. Tbn. ? Œ Œ Œ Œ
Cb. Tba.
œ. b œ. œ. b œ. œ. œ.
mf
œ. œ.
Timp.
? 3
B. D. ÷
S. D. ÷ 4
>
÷ ~~~~~ ¿ Œ Œ
T.-t.
f
∏∏∏∏
∏∏∏∏
∏∏∏∏∏
∏∏∏∏∏
∏∏∏∏∏
∏∏∏∏∏
∏∏∏∏∏
#˙˙˙ nœ #˙˙˙ nœ
Vib. {& bœ bœ #˙ bnœœœ #˙ bnœœœ
mf
° * ° * ° * ° * ° * ° * ° * ° *
Gt: - Solo Reed 8', + Solo Reed 16', Tremulant
. . . b œ. œ. bœ- . . . b œ. œ. bœ- . . . œ. œ. n-œ . . . œ. œ. n-œ
& 3 œ. œ. bœ œ œ J ‰ œ. œ. bœ œ œ J ‰ œ. #œ. œ œ #œ J ‰ œ. #œ. œ œ #œ J ‰
mf .
-œ b œœ b œœœ. -œ
.
b œœ b œœœ. # œœ. n œ. # œœ. n œ.
? bœ- bœ- œ- n-œ b œœ œ- n-œ b œœ
Org.
{
? 4 œ
-
Œ bœ-
j ‰ œ
-
Œ bœ-
j ‰ œ- Œ
-œ
j ‰ œ- Œ
-œ
j ‰
&
Pno.
?
{ mf
œ ˙ bœ port. #˙ nœ port. j
& ˙ #˙ nœ ‰
oo
Choir (SA)
&
33 34 35 36
>j >j
3 œ
˙ œ œ ˙ bœ port. #˙ nœ port.
S. Vln. & #˙ nœ
f
˙ œ ˙ bœ port. #˙ nœ port.
& #˙ nœ
mf
Vln. 1
&
4 œ œ bœ œ
œ bœ œ bœ œ œ œ bœ œ
œ bœ œ bœ œ œ # œ œ œ #œ
œ œ nœ
œ # œ œ œ #œ
œ œ nœ
mf
œ ˙ bœ port. #˙ nœ port.
& ˙ #˙ nœ
mf
Vln. 2
& bœ œ bœ bœ œ bœ
œ œ bœ œ œ œ œ œ bœ œ œ œ œ # œ œ œ #œ
œ œ nœ nœ œ # œ œ œ #œ
œ œ nœ nœ
mf
bœ port. #˙ nœ
B ˙ œ ˙ port.
#˙ nœ
mf
Vla.
bœ œ bœ bœ œ bœ
B œ œ bœ œ œ bœ œ œ bœ œ œ bœ œ #œ œ œ #œ
œ œ nœ
bœ œ #œ œ œ #œ
œ œ nœ
bœ
mf
? œ œ bœ œ œ bœ #œ nœ #œ nœ
Vlc. bœ bœ œ nœ œ nœ
mf
?
Cb.
236
1m4b "Masquerade Pt.2" Dracula
div. + +. +. + +.
+ a2 +. +
˙˙ œœ
Hn. 1-4 & ˙˙ ##œœ ˙˙ #œœ b˙˙ #œœ
+ +. + +. + +. + +.
mf mf mf mf
5-6
+ + + + + + + +
Hn. 5-8 & #œ. nœ. b˙ #œ.
˙ œ. ˙ ˙
mf mf mf mf
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Œ j Œ j Œ j Œ j
S. D. ÷ œœ œ ‰ œœ œ œœ œ ‰ œœ œ œœ œ ‰ œœ œ œœ œ ‰ œœ œ
f
T.-t. ÷
Vib. {&
&
mp
?
Org.
j j - -
{
?
&
œ- Œ
-œ
‰ œ- Œ
-œ
‰ œ
-
Œ œ
J
‰ œ
-
Œ œ
J
‰
Pno.
?
{ mf
j ‰ j ‰ j ‰ j ‰
& ˙ #œ ˙ #œ ˙ #œ ˙ œ
Choir (SA)
mf
‰ j ‰ j ‰ j ‰
& ˙ j ˙ #œ b˙ œ b˙ #œ
œ
oo
37 38 39 40
œ port. œ
æ port. #œ b˙ port. ˙ æJ
& ˙æ æJ
#œ
S. Vln.
port.
æJ ‰ ˙
ææ
æJ ‰ æ ‰ ææ ‰
f
æj æ æ æj
& ˙æ #œ ‰ ˙æ port. œ
æJ
‰ ˙æ œ ‰ ˙
æ
port. œ
æJ ‰
mf
Vln. 1
&
æ æj æ æj æ æj
& ˙æ æj ‰ ˙æ port. #œ ‰ b˙æ #œ ‰ ˙æ port. œæ ‰
#œ
mf
Vln. 2
&
B ˙æ æj ‰ ˙ port. #œ ‰ ˙ œ ‰ b˙ port. #œ ‰
œ ææ æJ
mf
ææ æJ ææ æJ
Vla.
?
Vlc.
?
Cb.
237
Dracula 1m4b "Masquerade Pt.2"
q = 173
. . . . .
Hn. 1-4 & Œ œœ œœ Œ œœ Œ Œ œœ œœ
. . . . .
ff
? Œ œ. œ. Œ œ. Œ Œ œ. œ.
Hn. 5-8 &
ff
senza
. sord. . . . .
œœ œœ œœ œœ œœ
? Œ Œ Œ Œ
Tbn. 1-2 . . . . .
ff
3,. senza sord.
? Œ œ œ. Œ œ. Œ Œ œ. œ.
Tbn. 3-4
ff
a2
B. Tbn. ? Œ Œ Œ Œ Œ Œ
Tba. œ. œ. œ.
ff
Cb. Tbn. ? Œ Œ Œ Œ Œ Œ
Cb. Tba.
œ. œ. œ.
ff
? ææ
Timp. ˙™ ˙™ ˙™
> ˙™
pp ff
æ >
B. D. ÷ ˙æ™ œ— Œ Œ œ— Œ Œ œ— Œ Œ
pp ff
æ >
S. D. ÷ ˙æ™ œ œœ œ œ Œ œ Œ Œ œœ œ œ
pp ff
ord. >
æ
T.-t. ÷ Oæ™ ¿— Œ Œ
pp ff
Vib. {&
Gt: Full + Reeds
-œ œ. #˙ œ.
& #˙ œ. Œ ‰ J
ff
?
Org.
{
?
& ?
œ.
Œ
Œ
œœœ.
Œ
œœœ.
œ.
Œ
Œ
œœœ.
Œ
Œ
œ.
Œ
Œ
œœœ.
Œ
œœœ.
Pno. ff
? Œ Œ Œ Œ Œ Œ
{ œ
œ.
div.
œ
œ.
œ
œ.
f
˙™
˙™ ˙™
˙™ ˙™
˙™
&
ah
Choir (SA)
f
& ˙™ ˙™ ˙™
ah
41 42 43 44
13 -œ œ. #˙ œ.
S. Vln. & œ œ #œ œ #˙ œ. Œ ‰ J
œ # œ œ # œ œ œ # œ œ #œ
> ff
-œ œ. #˙ œ.
& #˙ œ. Œ ‰ J
ff
Vln. 1
arco
& Œ Œ Œ Œ
œ. œ. œ. œ. œ.
ff
-œ œ. #˙ œ.
& #˙ œ. Œ ‰ J
ff
Vln. 2
arco
& Œ Œ Œ Œ
œ. œ. œ. œ. œ.
ff
- œ. #˙ œ.
B #˙ œ. Œ œ ‰ J
ff
Vla.
arco
B Œ œ. œ. Œ œ. Œ Œ œ. œ.
ff
arco
? Œ Œ Œ Œ Œ Œ
Vlc. œ. œ.
œ.
ff
arco
? Œ Œ Œ Œ Œ Œ
Cb. œ. œ.
œ.
ff
238
1m4b "Masquerade Pt.2" Dracula
. . . . . .
Hn. 1-4 & Œ œœ Œ Œ bœœ œœ Œ bœœ Œ Œ
bbœœ œœ
. . . . . .
? Œ œ. bœ. œ. bœ. bœ. œ.
Hn. 5-8 Œ Œ Œ Œ Œ
. . . . . .
œœ b œœ œœ b œœ bb œœ œœ
? Œ Œ Œ Œ Œ Œ
Tbn. 1-2 . . . . . .
B. Tbn. ? Œ Œ Œ Œ Œ Œ Œ Œ
Tba. œ. bœ. b œ. bœ.
Cb. Tbn. ? Œ Œ Œ Œ Œ Œ Œ Œ
Cb. Tba.
œ. b œ. b œ. b œ.
?
Timp. b˙ ™ b˙ ™
˙™ b˙™
÷ œ— Œ Œ œ— Œ Œ œ— Œ Œ œ— Œ Œ
B. D.
÷ Œ œ Œ Œ œœ œ œ Œ œ Œ Œ œœ œ œ
S. D.
T.-t. ÷
Vib. {&
-œ œ. ˙ b œ. b -œ
J bœ. b˙ ™
& Œ ‰ Œ ‰ J
?
Org.
{
?
? Œ
œ.
Œ
œœœ.
Œ
Œ
bœ.
Œ
Œ
.
bb œœœ
Œ
œœœ.
b œ.
Œ
Œ
.
bb œœœ
Œ
Œ
bœ.
Œ
Œ
.
bbb œœœ
Œ
œœœ.
Pno.
? Œ Œ Œ Œ Œ Œ Œ Œ
{ œ
œ.
bœ
b œ.
ff
bœ
b œ.
bœ
b œ.
>
b˙™
˙™ ˙™
˙™ b˙™
˙™
&
>
Choir (SA) ff
>
& b˙ ™ ˙™ ˙™
45 46 47 48
œ- œ. ˙ b œ. b -œ
J bœ. b˙ ™
S. Vln. & Œ ‰ Œ ‰ J
œ- œ. ˙ b œ. b œ-
J bœ. b˙ ™
& Œ ‰ Œ ‰ J
Vln. 1
œ- œ. ˙ b œ. b œ-
J bœ. b˙ ™
& Œ ‰ Œ ‰ J
Vln. 2
& Œ Œ Œ Œ Œ Œ
œ. œ. œ. œ. b œ. œ.
-œ œ. ˙ b œ. b-œ
B Œ ‰ J Œ ‰ bœ. b˙ ™
J
Vla.
? Œ Œ Œ Œ Œ Œ Œ Œ
Vlc. bœ. bœ.
œ. b œ.
? Œ Œ Œ Œ Œ Œ Œ Œ
Cb. bœ. bœ.
œ. b œ.
239
Dracula 1m4b "Masquerade Pt.2"
. . . . . .
Hn. 1-4 & Œ Œ Œ Œ Œ Œ
œœ b œœ œœ b œœ b œœ œœ
. . . . . .
? Œ œ. Œ Œ œ. œ. Œ œ. Œ Œ œ. œ.
Hn. 5-8
. . . . . .
œœ b œœ œœ b œœ b œœ œœ
? Œ Œ Œ Œ Œ Œ
Tbn. 1-2
. . . . . .
? Œ œ. Œ Œ œ. œ. Œ œ. Œ Œ œ. œ.
Tbn. 3-4
B. Tbn. ? Œ Œ Œ Œ œ. Œ Œ Œ Œ
Tba. œ. œ. œ.
Cb. Tbn. ? Œ Œ Œ Œ Œ Œ Œ Œ
Cb. Tba.
œ. œ. œ.
œ.
? ˙™
Timp.
˙™ ˙™ ˙™
æ >
B. D. ÷ ˙æ™ œ— Œ Œ œ— Œ Œ œ— Œ Œ
pp ff
æ >
S. D. ÷ ˙æ™ œ œœ œ œ Œ œ Œ Œ œœ œ œ
pp ff
ord. >
æ
T.-t. ÷ Oæ™ ¿— Œ Œ
pp ff
Vib. {&
-œ œ. ˙ b œ.
& œ Œ Œ ˙ œ. Œ ‰ J
?
Org.
{
?
? Œ
œ.
Œ
œœ.
œ
Œ
Œ
œ.
Œ
Œ
.
b œœœ
Œ
.
œœœ
œ.
Œ
Œ
.
b œœœ
Œ
Œ
œ.
Œ
Œ
.
b œœœ
Œ
.
œœœ
Pno.
? Œ Œ Œ Œ Œ Œ Œ Œ
{ œ
œ.
œ
œ.
œ
œ. œ
œ.
˙˙™™ ˙˙™™ ˙˙™™
&
Choir (SA)
& b˙ ™ ˙™ ˙™
49 50 51 52
œ- œ. ˙ b œ.
S. Vln. & œ Œ Œ ˙ œ. Œ ‰ J
-œ œ. ˙ b œ.
& œ Œ Œ ˙ œ. Œ ‰ J
Vln. 1
& Œ œ.
Œ Œ Œ Œ Œ
œ. œ. œ. œ. œ.
-œ œ. ˙ b œ.
& œ Œ Œ ˙ œ. Œ ‰ J
Vln. 2
& Œ Œ Œ Œ Œ Œ
œ. b œ. œ. b œ. b œ. œ.
œ- œ. ˙ bœ.
B œ Œ Œ ˙ œ. Œ ‰ J
Vla.
B Œ œ. Œ Œ œ. œ. Œ œ. Œ Œ œ. œ.
? Œ Œ Œ Œ œ. Œ Œ Œ Œ
Vlc.
œ. œ. œ.
? Œ Œ Œ Œ œ. Œ Œ Œ Œ
Cb.
œ. œ. œ.
240
1m4b "Masquerade Pt.2" Dracula
. . . . . .
Hn. 1-4 & Œ Œ Œ Œ Œ Œ
b œœ bb œœ œœ bb œœ n œœ œœ
. . . . . .
? Œ œ. Œ Œ bœ. œ. Œ bœ. Œ Œ nœ. œ.
Hn. 5-8
. . . . . .
? Œ b œœ bb œœ œœ bb œœ nœœ œœ
Tbn. 1-2 Œ Œ Œ Œ Œ
. . . . . .
B. Tbn. ? œ Œ Œ Œ Œ Œ Œ Œ Œ
Tba. . bœ. œ.
b œ.
Cb. Tbn. ? Œ Œ Œ Œ Œ Œ Œ Œ
Cb. Tba.
œ. b œ. œ.
b œ.
? ˙™
Timp. b˙ ™
b˙™ ˙™
÷ œ— Œ Œ œ— Œ Œ œ— Œ Œ œ— Œ Œ
B. D.
÷ Œ œ Œ Œ œœ œ œ Œ œ Œ Œ œœ œ œ
S. D.
T.-t. ÷
Vib. {&
œ- œ. b˙ b œ. b -œ ˙ œ.
J bœ.
& Œ ‰ Œ ‰ J
?
Org.
{
? œ
.
? Œ
Œ
.
b œœœ
Œ
Œ
b œ.
Œ
b œ.
bb œœ
Œ Œ
œœ.
œ
bœ.
Œ
Œ
b œ.
bb œœ
Œ
Œ
œ.
Œ
.
nnœœœ
Œ Œ
œœœ.
Pno.
? œ Œ Œ Œ Œ Œ Œ Œ Œ
{ œ. bœ
b œ.
bœ
b œ.
œ
œ.
> >
bb˙˙ ™™ ˙˙ ™™ n˙˙™™
&
> >
Choir (SA)
> >
& b˙ ™ ˙™ n˙ ™
53 54 55 56
œ- œ. b˙ b œ. b -œ ˙ œ.
J bœ.
S. Vln. & Œ ‰ Œ ‰ J
œ- œ. b˙ b œ. b œ- ˙ œ.
J bœ.
& Œ ‰ Œ ‰ J
Vln. 1
& Œ œ.
Œ Œ
bœ. œ.
Œ
bœ.
Œ Œ
œ. œ.
-œ œ. b˙ b œ. b œ- ˙ œ.
J bœ.
& Œ ‰ Œ ‰ J
Vln. 2
& Œ Œ Œ Œ Œ Œ
b œ. b œ. œ. b œ. n œ. œ.
-œ œ. b˙ b œ. b-œ ˙ œ.
B Œ ‰ J Œ ‰ bœ.
J
Vla.
? œ Œ Œ Œ Œ Œ Œ Œ Œ
Vlc. . bœ.
b œ. œ.
? œ Œ Œ Œ Œ Œ Œ Œ Œ
Cb. . bœ.
b œ. œ.
241
Dracula 1m4b "Masquerade Pt.2"
. . . . . .
Hn. 1-4 & Œ Œ Œ Œ Œ Œ
œœ # œœ œœ œœ # œœ œœ
. . . . . .
? Œ œ. Œ Œ #œ. œ. Œ œ. Œ Œ #œ. œ.
Hn. 5-8
. . . . . .
œœ œœ # œœ œœ
? Œ Œ Œ #œœ œœ
Œ Œ Œ
Tbn. 1-2 . .
. . . .
? Œ œ. Œ Œ #œ. œ. Œ œ. Œ Œ #œ. œ.
Tbn. 3-4
B. Tbn. ? œ Œ Œ Œ Œ Œ Œ Œ Œ
Tba. . #œ. œ. #œ.
Cb. Tbn. ? Œ Œ Œ Œ Œ Œ Œ Œ
Cb. Tba.
œ. # œ. # œ.
œ.
? ˙™
Timp. #˙ ™ #˙ ™
˙™
÷ œ— Œ Œ œ— Œ Œ œ— Œ Œ œ— Œ Œ
B. D.
÷ Œ œ Œ Œ œœ œ œ Œ œ Œ Œ œœ œ œ
S. D.
ord. >
æ
T.-t. ÷ Oæ™ ¿— Œ Œ
pp ff
Vib. {&
œ- œ. -
& Œ ‰ J ˙ Œ
?
Org.
{
? œ
.
? Œ
Œ
œœ.
œ
Œ
Œ
#œ.
Œ
œ.
##œœ
Œ Œ
.
œœœ
œ.
Œ
Œ
œœ.
œ
Œ
Œ
#œ.
Œ
# œ.
# œœ
Œ Œ
œœ.
œ
Pno.
? œ Œ Œ Œ Œ Œ Œ Œ Œ
{ œ.
#œ
# œ. œ
œ.
#œ
# œ.
& œ Œ Œ #˙ ™ œ Œ Œ #˙ ™
57 58 59 60
& Œ œ.
Œ Œ Œ
œ.
Œ Œ
#œ. œ.
œ. œ.
-œ -
& Œ ‰ œ. ˙ Œ
J
Vln. 2
& Œ Œ Œ Œ Œ Œ
œ. # œ. œ. œ. œ. œ.
-œ
B Œ ‰ œ. ˙ Œ
J -
Vla.
B Œ œ. Œ Œ Œ œ. Œ Œ #œ. œ.
# œ. œ.
? œ Œ Œ Œ Œ Œ Œ Œ Œ
Vlc. . #œ. #œ.
œ.
? œ Œ Œ Œ Œ Œ Œ Œ Œ
Cb. . #œ. #œ.
œ.
242
1m4b "Masquerade Pt.2" Dracula
q = 174 (+1) (beat 3)
. . . . . .
Hn. 1-4 & Œ n œœ
Œ Œ
# œœ
Œ Œ Œ
œœ n œœ # œœ œœ
. . . . . .
? Œ œ. Œ Œ #œ. œ. Œ œ. Œ Œ #œ. œ.
Hn. 5-8
. . . . . .
n œœ # œœ œœ n œœ # œœ œœ
? Œ Œ Œ Œ Œ Œ
Tbn. 1-2 . . . .
. .
? Œ œ. Œ Œ #œ. œ. Œ œ. Œ Œ #œ. œ.
Tbn. 3-4
B. Tbn. ? Œ Œ Œ Œ Œ Œ Œ Œ
Tba. œ. #œ. œ. #œ.
Cb. Tbn. ? Œ Œ Œ Œ Œ Œ Œ Œ
Cb. Tba.
œ. # œ. œ. # œ.
?
Timp. #˙ ™ #˙ ™
˙™ ˙™
÷ œ— Œ Œ œ— Œ Œ œ— Œ Œ œ— Œ Œ
B. D.
÷ Œ œ Œ Œ œœ œ œ Œ œ Œ Œ œœ œ œ
S. D.
T.-t. ÷
Vib. {&
&
?
Org.
{
?
? Œ
œ.
Œ
œœ.
œ
Œ
Œ
#œ.
Œ
Œ
.
## œœœ
Œ
.
œœœ
œ.
Œ
Œ
œœ.
œ
Œ
Œ
#œ.
Œ
Œ
.
## œœœ
Œ
.
œœœ
Pno.
? Œ Œ Œ Œ Œ Œ Œ Œ
{ œ
œ.
#œ
# œ. œ
œ.
#œ
# œ.
œ
& nœ Œ Œ ##˙™
˙™ nœœ Œ Œ ##˙™
˙™
Choir (SA)
& œ Œ Œ ˙™ œ Œ Œ ˙™
61 62 63 64
&
Vln. 1
& Œ nœ.
Œ Œ
#œ. œ.
Œ
nœ.
Œ Œ
#œ. œ.
&
Vln. 2
& Œ Œ Œ Œ Œ Œ
œ. œ. œ. œ. œ. œ.
B
Vla.
B Œ œ. Œ Œ #œ. œ. Œ œ. Œ Œ #œ. œ.
? Œ Œ Œ Œ Œ Œ Œ Œ
Vlc. #œ. #œ.
œ. œ.
? Œ Œ Œ Œ Œ Œ Œ Œ
Cb. #œ. #œ.
œ. œ.
243
Dracula 1m4b "Masquerade Pt.2"
Attacca
.
Hn. 1-4 & Œ n œœ
Œ
.
? Œ œ. Œ
Hn. 5-8
.
n œœ
? Œ Œ
Tbn. 1-2
.
? Œ œ. Œ
Tbn. 3-4
B. Tbn. ? Œ Œ
Tba. œ.
Cb. Tbn. ? Œ Œ
Cb. Tba.
œ.
? æ æ
Timp.
˙™æ ˙™æ
>
ffpp (fff)
>æ æ
B. D. ÷ ˙æ™ ˙æ™
ffpp (fff)
÷ Œ œ Œ
S. D.
æ æ
T.-t. ÷ Oæ™ Oæ™
pp fff
Vib. {&
&
?
Org.
{
?
? Œ
œ.
Œ
œœ.
œ
Œ
Œ
Pno.
? Œ Œ
{ œ
œ.
fff
˙˙ ™™ ˙˙ ™™
&
Choir (SA) fff
™ ˙™
& ˙
65 66
sul D - tremolo gliss. up to highest possible note
>˙ ™ gliss.
˙™
S. Vln. & æ æ
(fff)
&
Vln. 1
& Œ nœ.
Œ
&
Vln. 2
& Œ Œ
œ.
B
Vla.
B Œ Œ
œ.
? Œ Œ
Vlc.
œ.
? Œ Œ
Cb.
œ. fffff ffff fff ffff ffff
244
Dracula 1m4c "Masquerade Pt.3"
CONCERT SCORE Chris Heckman
q = 96
Shakuhachi & 4
Horn 1-4 &
?
Trombone 3-4
a2
Bass Trombone ? Œ Œ Œ Œ
Tuba
˙™ ˙™ ˙™ ˙™
p mf p mf
a2
Contrabass Trombone ? Œ Œ Œ Œ
Contrabass Tuba
˙™ ˙™ ˙™ ˙™
p mf p mf
Timpani
? 4 >œ œ ˙™ œ œ ˙™
œ œ ˙™ œ œ ˙™
fff sub. mf poco a poco cresc.
>
Bass Drum ÷ œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó
fff sub. mf poco a poco cresc.
Daiko ÷ 4 œ œ— Œ
mf poco a poco cresc.
Ó œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó
Snare Drum ÷
scrape with tri. beater
choke (beat 1) æ
Tam-tam ÷ Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
mf
& 4
mp
?
Organ
{4
?
&
˙™
Œ
˙™
Œ ˙™ Œ ˙™ Œ
1 2 3 4
1>
Solo Violin & 4 J
fff
‰ Œ Ó
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Violin 1 & bœ œ œ œ œæ œæ œæ œæ bœ œ œ œ #œ œ œ œ æ æ æ æ æ æ æ æ
#œ œ œ œ nœ œ œ œ #œ œ œ œ #œ œ œ œ port.
mf poco a poco cresc.
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Violin 2 & 4 bœ œ œ œ œæ œæ œæ œæ bœ œ œ œ #œ œ œ œ æ æ æ æ æ æ æ æ
#œ œ œ œ nœ œ œ œ #œ œ œ œ #œ œ œ œ port.
mf poco a poco cresc.
B bœ œ œ œ œ œ œ œ bœ œ œ œ #œ œ œ œ #œ œ œ œ nœ œ œ œ #œ œ œ œ #œ œ œ œ
Viola
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
mf poco a poco cresc.
col legno
? Œ Ó Œ Ó Œ Ó Œ Ó
Cello œ œ œ œ
œ œ œ œ
mf poco a poco cresc.
? æ æ
Contrabass æ Œ æ Œ ˙æ™ Œ ˙æ™ Œ
˙æ™ ˙æ™
p mf p mf
245
1m4c "Masquerade Pt.3" Dracula
q = 95 (-1)
Shak. &
? bbrassy
˙ and harsh n˙ #œ œ
Hn. 1-4 & Ó
f
? bbrassy
˙ and harsh n˙ #œ œ
Hn. 5-8 & Ó
f
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ? Œ Œ Œ Œ
Tba.
#˙ ™ #˙ ™ n˙ ™ n˙ ™
p mf mp f
Cb. Tbn. ? Œ Œ Œ Œ
Cb. Tba.
#˙ ™ #˙ ™ n˙ ™ n˙ ™
p mf mp f
?
Timp. #œ œ ˙™ #œ œ ˙™ nœ œ ˙™ œ œ œ æ
˙æ
f p
B. D. ÷ œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó
f
Daiko ÷ œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó
f
S. D. ÷
> ord.
æ
æ
÷ ~~~~ ¿ — Œ Ó ~
T.-t.
f p
&
? &
Org.
{
?
&
#˙ ™
Œ
#˙ ™
Œ
n˙ ™
Œ
˙™
Œ
Pno. f
? Œ Œ Œ Œ
{ #˙ ™
#˙ ™
› œ
#˙ ™
#˙ ™
n˙ ™
n˙ ™
œ
˙™
˙™
& Œ Ó Œ Ó
Synth.
?
{ p f
& w w <n>w ˙™ Œ
p f
Choir (SA) & w w bw ˙™ Œ
p f
& ##w w ˙˙™™ Œ
w w nnw
w
5 6 7 8
S. Vln. &
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Vln. 1 & œ #œ œ œ bœ nœ œ œ nœ #œ œ œ port. æœ bæœ œ
æ
œ
æ
nœ œ œ œ bœ œ œ œ œ œ œ œ port. ææœ Œ
f
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Vln. 2 & œ #œ œ œ bœ nœ œ œ nœ #œ œ œ port. æœ bœ œ œ nœ œ œ œ bœ œ œ œ œ œ œ œ port. æœ Œ
æ æ æ
f
æ æ æ æ æ æ æ æ æ æ æ æ œ œ æ æ æ æ æ æ æ æ æ æ æ æ œ
Vla. B œ #œ œ œ bœ nœ œ œ nœ #œ œ œ port. æ bæœ æ
œ
æ
nœ œ œ œ bœ œ œ œ œ œ œ œ port. ææ Œ
f
? barco
˙ n˙ #œ œ
Vlc. Œ Ó Œ Ó Œ
#œ œ #œ œ nœ œ
f
? æ Œ æ Œ æ Œ æ Œ
Cb. #˙æ™ #˙æ™ n˙æ™ ˙æ™
p mf mp mf
246
Dracula 1m4c "Masquerade Pt.3"
Shak. &
b˙ œ ˙ b˙ œ bœ œ ˙ œ bœ
? bœ bœ
Hn. 1-4
ff
b˙ œ ˙ b˙ œ bœ œ ˙ œ
? bœ bœ bœ
Hn. 5-8
ff
?
Tbn. 1-2
a2
? Œ Œ Œ Œ
Tbn. 3-4 b>˙ ™ ˙™
™ b>˙ ™ >
ff >˙
B. Tbn. ? Œ Œ Œ Œ
b>˙ ™ ˙™
Tba. ™ b>˙ ™ >
ff >˙
Cb. Tbn. ? Œ Œ Œ Œ
Cb. Tba.
b>˙ ™ b>˙ ™ >˙™
ff >˙™
? œ œ ˙™
Timp. b>œ œ ˙™
œ œ ˙™ b>œ œ ˙™ >
ff
>
B. D. ÷ œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó
ff
Daiko ÷
S. D. ÷
> æ
T.-t. ÷ ¿— Œ Ó ~æ
ff p
Gt: Full + Reeds
b˙˙ ™™ bbb˙˙˙ ™™™ bb ˙˙˙ ™™™ ˙˙ ™™™
& ˙™ Œ Œ Œ ˙ Œ
ff
Gt.
& b˙˙˙ ™™™ Œ ™ Œ Œ Œ
Org.
bbb˙˙˙ ™™ bb˙˙˙ ™™™ ˙˙ ™™
˙™
Ped: Full + Reeds
{
?
>™
˙™
? b˙˙˙ ™™
Œ
Œ
b˙™
b>˙ ™
bb ˙˙ ™™
Œ
Œ
b˙ ™
n>˙ ™
bb ˙˙ ™™
Œ
Œ
˙™
>˙˙ ™™
˙˙ ™™
Œ
Œ
Pno. ff
? Œ Œ Œ Œ
{ ˙™
˙™
b˙™
b>˙ ™
b˙ ™
b>˙ ™
˙™
>˙ ™
› >>œ >œ
& Œ Ó Œ Ó
Synth. ff
?
{ ff
>˙™ b>˙ ™
b>˙ ™ >˙™
& Œ Œ Œ Œ
ff
>˙™ b>˙ ™ b>˙ ™ >˙™
Choir (SA) & Œ Œ Œ Œ
ff
b>˙ ™ bb>˙˙ ™™ b>˙˙ ™™ >˙ ™™
& ˙™ Œ Œ Œ ˙ Œ
9 10 11 12
S. Vln. &
Vln. 1 &
Vln. 2 &
Vla. B
b˙ œ ˙ port. b˙ œ bœ œ ˙ œ port.
? bœ port.
bœ port. bœ
Vlc.
ff
b>˙ ™ >˙™
? ˙™ææ b>˙ ™
Cb. Œ ææ Œ ææ Œ ææ Œ
>
ff
247
1m4c "Masquerade Pt.3" Dracula
q = 96 (+1)
Shak. &
b˙ œ ˙ ˙ œ bœ œ ˙ ˙
? bœ bœ
Hn. 1-4
b˙ œ ˙ ˙ œ bœ œ ˙ ˙
? bœ bœ
Hn. 5-8
?
Tbn. 1-2
? Œ Œ Œ ˙™ Œ
Tbn. 3-4 b>˙ ™
>˙™ >˙™ >
B. Tbn. ? Œ Œ Œ ˙™ Œ
Tba. b>˙ ™
>˙™ >˙™ >
Cb. Tbn. ? Œ Œ Œ Œ
Cb. Tba.
™ b>˙ ™ >˙™
>˙ >˙
™
?
Timp. b>œ œ ˙™ œ œ œ æ
>œ œ ˙™
>œ œ ˙™ > ˙æ
p
æ
B. D. ÷ œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ ˙æ
p
Daiko ÷
S. D. ÷
> scrape
æ
T.-t. ÷ ¿— Œ Ó Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ff f
{
?
>™
˙™
? b ˙˙˙ ™™
Œ
Œ
˙™
>˙ ™
˙˙ ™™
Œ
Œ
>™
b˙ ™
bbb ˙˙˙ ™™
Œ
Œ
˙™
>˙˙ ™™
˙˙ ™™
Œ
Œ &
Pno.
? Œ Œ Œ Œ
{ ˙™
˙™
› >>œ
˙™
>˙
™
b˙ ™
b>˙ ™
>œ
˙™
>˙ ™
&
& Œ Ó Œ Ó
Synth.
‹
?
{ b>˙ ™ >˙™ b>˙ ™ >
&
w
& Œ Œ Œ
>˙ ™ >˙˙ ™™
& ˙™ Œ Œ bb>˙˙ ™™ Œ
>
w
w
13 14 15 16
Vln. 1 &
Vln. 2 &
Vla. B
b˙ œ ˙ ˙ œ bœ œ ˙ ˙
? port. port.
Vlc.
bœ bœ
b>˙ ™ >˙™
? >˙ ™ >™
Cb. æ Œ ˙ Œ ææ Œ ææ Œ
ææ
248
Dracula 1m4c "Masquerade Pt.3"
Shak. &
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp. œ œ ˙™ œ œ ˙™
œ œ ˙™ œ œ ˙™
>
mf
>
B. D. ÷ œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó
mf poco a poco cresc.
strike side and center
Daiko ÷ ¿œ ¿œ— Œ Ó ¿œ ¿œ— Œ Ó ¿œ ¿œ— Œ Ó ¿œ ¿œ— Œ Ó
mf poco a poco cresc.
snares
> off > > > > > > > > > > > > > > >
S. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mf
>
÷ ~~~ ¿— Œ Ó
T.-t.
ff
&
mp
Org. &
Ped: Principals 16', 8'
? œ
œ œ œ
{
&
“.”
œ
Œ œ
. . b œ. . . . . -œ ™
œ. bœ œ œ œ œ. œ œ
Œ Œ œ Œ
œ. b œ. œ. bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. -œ ™
Œ œ Œ
#œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ™
-
Œ œ Œ
#œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ™
-
Pno. mf
œ. b œ. œ. bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. -œ ™ œ. b œ. œ. bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. -œ ™ #œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. -œ™ #œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. -œ™
{
&
› >œ >œ
& Œ Ó Œ Ó
Synth. ff mf ff mf sim.
‹ >
œ bœ œ bœ œ #œ nœ #œ n>œ bœ nœ bœ nœ #œ nœ #œ >œ bœ œ bœ œ #œ nœ #œ n>œ bœ nœ bœ nœ #œ nœ #œ >œ bœ œ bœ œ #œ nœ #œ n>œ bœ nœ bœ nœ #œ nœ #œ >œ bœ œ bœ œ #œ nœ #œ n>œ bœ nœ bœ nœ #œ nœ #œ
{
&
&
&
17 18 19 20
.
Vln. 1
bœ
& æ œ œ œ œ œ œ œ bœ œ œ œ #œ œ œ œ #œ œ œ œ nœ œ œ œ #œ œ œ œ #œ œ œ œ port
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
mf
bœ
& æ œ œ œ œ œ œ œ bœ œ œ œ #œ œ œ œ #œ œ œ œ nœ œ œ œ #œ œ œ œ #œ œ œ œ
Vln. 2
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
mf
Vla. B bœ œ œ œ œ œ œ œ bœ œ œ œ #œ œ œ œ #œ œ œ œ nœ œ œ œ #œ œ œ œ #œ œ œ œ
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
mf
?
Vlc.
œ æ œ æ œ æ œ æ
Cb.
? æ Œ œæ Œ ææ Œ œæ Œ ææ Œ œæ Œ ææ Œ œæ Œ
mf
249
1m4c "Masquerade Pt.3" Dracula
q = 95 (-1)
Shak. & 6
?
Hn. 1-4
Hn. 5-8
? 4
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
?
#œ œ ˙™ #œ œ ˙™ nœ œ ˙™ œ œ œ
æ
˙æ
6
f
æ
B. D. ÷ œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ ˙æ
f
T.-t. ÷
& 6
Org. &
? #œ
{ Œ
#œ
Œ #œ Œ
#œ
Œ nœ Œ
œ
Œ œ Œ
œ
Œ 4
:“; . œ. . . . . œ. . . . . -œ™
# œ œ #œ #œ. œ œ œ œ œ. œ œ # œ. œ. œ. #œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ™
- b œ. n œ. b œ. nœ. . œ. b œ. n œ. b œ. œ. . œ. b œ. n œ- ™ b œ. n œ. b œ. œ. . œ. b œ. n œ. b œ. œ. . œ. b œ. n œ- ™
nœ œ œ œ
&
Pno. f
# œ. œ. œ. #œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. -œ™ # œ. œ. œ. #œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. -œ™ b œ. n œ. b œ. nœ. . œ. b œ. n œ. b œ. œ. . œ. b œ. n -œ ™ b œ. n œ. b œ. œ. . œ. b œ. n œ. b œ. œ. . œ. b œ. n -œ ™
nœ œ œ œ
{
&
› >œ >œ
& Œ Ó Œ Ó
Synth.
‹ >
œ bœ œ bœ œ #œ nœ #œ n>œ bœ nœ bœ nœ #œ nœ #œ >œ bœ œ bœ œ #œ nœ #œ n>œ bœ nœ bœ nœ #œ nœ #œ >œ bœ œ bœ œ #œ nœ #œ n>œ bœ nœ bœ nœ #œ nœ #œ >œ bœ œ bœ œ #œ nœ #œ n>œ bœ nœ bœ nœ #œ nœ #œ
{
&
&
&
21 22 23 24
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ 4
Vln. 2 & œ #œ œ œ bœ nœ œ œ nœ #œ œ œ æœ bœ œ œ nœ œ œ œ bœ œ œ œ œ œ œ œ port. ææ˙
æ æ æ
f ff
Vla. B œæ #œæ æ
œ
æ æ æ
œ bœ nœ
æ
œ
æ
œ
æ æ
nœ #œ
æ
œ
æ œ
œ æ bæœ
œ œ
æ
nœ
æ
œ
æ
œ
æ æ
œ bœ
æ
œ
æ
œ
æ
œ
æ
œ
æ
œ
æ
œ
æ ˙
œ port. ææ
æ æ
f ff
?
Vlc.
? #æœ Œ æ Œ #œ Œ æ Œ nœ Œ æ Œ œ Œ æ Œ
Cb. æ #œæ ææ #œæ ææ œæ ææ œæ
f ff
250
Dracula 1m4c "Masquerade Pt.3"
solo - overblown rhythmic flutters and chiffs ad lib.
>™ bend tone - with vibrato >
Shak. & 6 bw
f
ææ
4 w œ ‰
J Œ Ó bw
ææ
?
Hn. 1-4
Hn. 5-8
? 4 4
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 6 w™
>
4
ff
>
÷ œ— Œ Ó Ó
B. D.
ff
center only
Daiko ÷
4 >
œ— Œ Ó Ó
4
ff
>
÷ œ Œ Ó Ó
S. D.
ff
T.-t. ÷
& 6 4
Org. &
{
? 4 4
&
Pno.
{
&
› >œ
& Œ Ó Ó
Synth. ff
‹ >œ
{
& Œ Ó Ó
&
&
25 26 27 28
S. Vln. & 6 4
div. slow tremolo gliss. back to unis.
w™ a7 - slow tremolo gliss. to cluster )))) œ #œ œ #œ œ # œ œ
Vln. 1 & æ ææ
sub. p fff
div. a7 - slow tremolo gliss. to cluster slow tremolo gliss. back to unis.
æ ææ
Vln. 2 & 4 wæ ™
sub. p
4 )))) œ #œ œ #œ œ #œ œ
fff
Vla. B
?
Vlc.
? æ æ æ æ
Cb. wæ ™ wæ wæ wæ
sub. p
251
1m4c "Masquerade Pt.3" Dracula
q = 96 (+1)
Shak. &
w 2 œ
J ‰ Œ 4
?
Hn. 1-4
Hn. 5-8
? 4 4
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 2 4
B. D. ÷
Daiko ÷ 4 4
S. D. ÷
T.-t. ÷
& 2 4
Org. &
{
? 4 4
&
Pno.
{
&
›
&
Synth.
‹
{
&
&
&
29 30 31 32
S. Vln. & 2 4
œ div. a3 - slow tremolo gliss. to cluster
æ
Vln. 1 & æJ ‰ Œ wæ
p
div. a3 - slow tremolo gliss. to cluster
Vln. 2 & 4 æ
˙æ
p
4 æ
wæ
Vla. B
?
Vlc.
Cb.
? ææ æj ‰ Œ
w œ
252
Dracula 1m4c "Masquerade Pt.3"
q = 92 (-4)
Shak. &
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp. œ œ ˙™
p poco a poco cresc.
B. D. ÷ œ œ— Œ Ó
p poco a poco cresc.
Daiko ÷ œ œ— Œ Ó
p poco a poco cresc.
S. D. ÷
ord.
ææ >
÷ ~ ¿— Œ Ó
T.-t.
p mf
&
mp
Org. &
&
Œ œ- Œ Œ œ- Œ
Pno. p
? œ Œ Œ œ Œ Œ
{
&
›
œ-
œ
œ
œ-
œ- œ
œ-
& Œ Ó
Synth. p poco a poco cresc.
‹
{
&
p
& bw w
p
Choir (SA) & w w
p
& ww ww
33 34 35 36
S. Vln. &
æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Vla. B bœæ œ œ œ œ #œ œ œ bœæ œ œ œ #œ œ œ œ
p
? œ- Œ Œ œ- Œ Œ
Vlc. œ- œ-
p
? œ- Œ Œ œ- Œ Œ
Cb. œ- œ-
p
253
1m4c "Masquerade Pt.3" Dracula
q = 88 (-4) q = 86 (-2)
Shak. &
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
#œ œ ˙™ bœ œ ˙™ bœ œ ˙™
mp
B. D. ÷ œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó
mp
side
> and center >
Daiko ÷ œ œ— Œ Ó ¿œ ¿ ¿œ—¿ Œ Ó ¿œ ¿ ¿œ—¿ Œ Ó
>
mp
>
S. D. ÷
scrape >
æ
T.-t. ÷ Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿— Œ Ó
mf f
&
Org. &
&
Œ
#œ-
Œ Œ
#œ-
Œ Œ
b œ-
Œ Œ
b œ-
Œ
Pno. mp
? #œ Œ Œ #œ Œ Œ bœ Œ Œ bœ Œ Œ
{
›
#œ-
œ
œ
# œ-
#œ- œ
# œ-
b œ-
œ
œ
b œ-
b œ- œ
b œ-
& Œ Ó Œ Ó
Synth. f mp f mp sim.
‹ >œ bœ œ bœ œ #œ nœ #œ n>œ bœ nœ bœ nœ #œ nœ #œ >œ bœ œ bœ œ #œ nœ #œ n>œ bœ nœ bœ nœ #œ nœ #œ
{
&
mf p
bw w
& bœ #w ˙™ Œ
mf p
bw w
Choir (SA) & #w ˙™ Œ
mf p
& Œ bbw
w w
w
# ww ˙˙ ™™
37 38 39 40
S. Vln. &
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ rt. #œ bœ bœ œ œ nœ œ œ œ bœ bœ œ œ œ œ œ œ
Vln. 1 & #œ #œ œ œ nœ œ œ œ #œ #œ œ œ #œ œ œ œ po æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
mp
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Vln. 2 & #œ #œ œ œ nœ œ œ œ #œ #œ œ œ #œ œ œ œ #œ bœ bœ œ œ nœ œ œ œ bœ bœ œ œ œ œ œ œ
mp
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ rt. #œ bœ bœ œ œ nœ œ œ œ bœ bœ œ œ œ œ œ œ
B #œ #œ œ œ nœ œ #œ #œ œ œ #œ œ œ po æ æ æ æ
Vla. œ œ œ æ æ æ æ æ æ æ æ æ æ æ æ
mp
254
Dracula 1m4c "Masquerade Pt.3"
q = 84 (-2)
accel.
Shak. &
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
œ œ ˙™ œ œ ˙™ #œ œ ˙™ #œ œ ˙™
mf
B. D. ÷ œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó
mf
&
Org. &
- - #-œ #-œ
{
?
&
œ Œ
œ-
Œ œ Œ
œ-
Œ Œ
#œ-
Œ Œ
#œ-
Œ
Pno. mf
? œ Œ Œ œ Œ Œ #œ Œ Œ #œ Œ Œ
{
›
œ-
œ
œ
œ-
œ- œ
œ-
#œ-
>œ
œ
# œ-
#œ- œ
# œ-
& Œ Ó Œ Ó
Synth. ff mf ff mf sim.
‹ >œ bœ œ bœ œ #œ nœ #œ n>œ bœ nœ bœ nœ #œ nœ #œ >œ bœ œ bœ œ #œ nœ #œ n>œ bœ nœ bœ nœ #œ nœ #œ >œ bœ œ bœ œ #œ nœ #œ n>œ bœ nœ bœ nœ #œ nœ #œ >œ bœ œ bœ œ #œ nœ #œ n>œ bœ nœ bœ nœ #œ nœ #œ
{
&
f p
˙
f p
˙
f
bœ #w ˙™ Œ
#œ
J ‰ Œ
#œ
J ‰ Œ
&
f p f p f
<n>w ˙™ ˙ #œ ˙ #œ
Choir (SA) & Œ J ‰ Œ J ‰ Œ
f p f p f
w ˙˙™™ Œ ##˙˙ œœj ‰ Œ ##˙˙ œœj ‰ Œ
& w J J
41 42 43 44
S. Vln. &
#œ œ œ œ nœ œ œ œ #œ œ œ œ #œ œ œ œ port. œ #œ œ œ #œ #œ œ œ œ #œ œ œ # œ #œ œ œ
Vln. 1 & æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
mf
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Vln. 2 & #œ œ œ œ nœ œ œ œ #œ œ œ œ #œ œ œ œ port. œ #œ œ œ #œ #œ œ œ œ #œ œ œ #œ #œ œ œ
mf
B #œ œ œ œ nœ œ œ œ #œ œ œ œ #œ œ œ œ port. œ #œ œ œ #œ #œ œ œ œ #œ œ œ # œ #œ œ œ
Vla. æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
mf
? - - #-œ #-œ
Vlc. œ Œ Œ œ Œ Œ Œ Œ Œ Œ
œ- œ- #œ- #œ-
mf
? - - #-œ #-œ
Cb. œ Œ Œ œ Œ Œ Œ Œ Œ Œ
œ- œ- #œ- #œ-
mf
255
1m4c "Masquerade Pt.3" Dracula
q = 96
Shak. & 6 4
?
Hn. 1-4
Hn. 5-8
? 4 4
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
?
nœ œ ˙™ œ œ œ
æ
˙æ
6 w™
>
4
f ff
>æ >
B. D. ÷ œ œ— Œ Ó œ œ— Œ ˙æ œ Œ Ó Ó œ œ— Œ Ó
f ff f
> > center only
Daiko ÷ ¿œ¿ ¿œ—¿ Œ
>
Ó ¿œ¿ ¿œ—¿ Œ
>
Ó 4 4 œ œ— Œ
f
Ó
f
> > > > > > >æ >
S. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙æ œ Œ Ó Ó
f ff
ord.
ææ >
÷ ~ ¿— Œ Ó Ó
T.-t.
p ff
& 6 4
Org. &
? n-œ œ- 4 4
{
&
Œ
œ-
Œ Œ
œ-
Œ
& J ‰ Œ
p f p ff
˙ bœ bw
Choir (SA) & J ‰ Œ
p f p ff
n˙ j
& n˙ œœ ‰ Œ w
w
J
45 46 47 48
S. Vln. & 6 4
œ nœ œ œ b œ œ œ œ nœ œ œ œ œ œ œ œ
Vln. 1 & æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
f
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ 4 4
Vln. 2 & œ nœ œ œ bœ œ œ œ nœ œ œ œ œ œ œ œ
f
œ œ bœ œ nœ œ œ œ œ œ œ œ
Vla. B æ næœ æ æœ æ æœ æ æœ æ æ æ æ æ æ æ æ
f
? n-œ Œ Œ
-œ
Œ Œ
Vlc.
œ- œ-
f
? n-œ Œ Œ œ- Œ Œ
Cb.
œ- œ-
f
256
Dracula 1m4c "Masquerade Pt.3"
Shak. &
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷ œ œ— Œ Ó
Daiko ÷ œ œ— Œ Ó
S. D. ÷
T.-t. ÷
&
Org. &
{
?
&
Pno.
?
{
› œ
& Œ Ó
Synth.
‹
{
&
&
&
49 50 51 52
S. Vln. &
div. a4 - play art. harm. to sound 15ma
◊ÿ
) œ ))) ))) )))
Vln. 1 & )) œ œ #œ
p f p
div. a3 - play art. harm. to sound 15ma
◊ÿ
Vln. 2 & )) #œ œ #œ )) )) ))
p f p
Vla. B
?
Vlc.
?
Cb.
257
1m4c "Masquerade Pt.3" Dracula
Shak. &
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
>
÷ œ— Œ Ó
B. D.
sfffz
>
÷ œ— Œ Ó
Daiko
sfffz
S. D. ÷
T.-t. ÷
&
Org. &
{
?
&
Pno.
(beat 1)
?
{
›
*
>œ
& Œ Ó
Synth. sfffz
‹
{
&
&
&
53
S. Vln. &
approx. range - ad lib.
“” >
s. ¿
j glis J
Vln. 1 & ¿ ‰ Œ Ó
sfffz
approx. range - ad lib.
“” >¿
s.
j glis J
¿ ‰ Œ Ó
Vln. 2 &
sfffz
Vla. B
?
Vlc.
?
Cb.
258
Dracula 1m5a "Lucy Pt.1"
CONCERT SCORE Chris Heckman
q = 60
Trombone 1-2
? 4 3
?
Trombone 3-4
Bass Trombone ?
4 4
Tuba
Contrabass Trombone ?
Contrabass Tuba
?
Timpani
Bass Drum ÷
Tam-tam ÷
& 4 3
?
Organ
4 4
{
?
&
Piano
?
{
&
Synthesizer
?
{
1 2 3 4
con sord.
& ˙™ b˙ ™
p
Violin 2 unis.
&
con sord.
B b˙ ™ ˙™
Viola
p
con
˙ ™ sord. b˙™
?
Cello
p
?
Contrabass
259
1m5a "Lucy Pt.1" Dracula
Tbn. 1-2
?
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
T.-t. ÷
&
?
Org.
{
?
&
Pno.
?
{
&
Synth.
?
{
5 6 7 8
S. Vln. &
port.
b˙™ port. b˙™ ˙™ ˙™
&
Vln. 1
˙™ port. b˙™ ˙™ port.
&
& b˙ ™ ˙™ ˙™
Vln. 2 div.
& b˙ ™
B b˙ ™ ˙™ ˙™
Vla.
™ ˙™ ˙™
? n˙
Vlc.
?
Cb.
260
Dracula 1m5a "Lucy Pt.1"
Tbn. 1-2
?
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
T.-t. ÷
&
?
Org.
{
?
&
Pno.
?
{
&
Synth.
?
{
9 10 11 12
S. Vln. &
port.
˙™ b˙™ port. w
&
Vln. 1
˙™ ˙™ ˙™ port. bw port.
&
& ˙™ ˙™ w
Vln. 2 unis.
& ˙™
b˙ ™ w
Vla. B ˙™
˙™ b˙™ w
?
Vlc.
?
Cb.
261
1m5a "Lucy Pt.1" Dracula
q = 68 (+8)
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
æ >
T.-t. ÷ Ó Oæ ¿— Œ Ó
p mf
&
?
Org.
{
?
&
˙
˙
œ
œ œ
œ
œ bœ
œ bœ
˙
˙
˙
˙
˙
˙
œ
œ
bœ
bœ
Pno. mf
?
{
Big Bang Kit
› œ
& & Œ Ó
Synth. mf
?
{
13 14 15 16
w w w
molto port. to end ad lib.
& Ó
p
˙
Vln. 1
w w w
& Ó
p
˙
& bw w
p
w
Vln. 2 div.
&
w bw bw
p
Vla. B w w w
p
? w
Vlc. bw bw
p
262
Dracula 1m5a "Lucy Pt.1"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
T.-t. ÷
&
?
Org.
{
?
&
˙
˙
Œ
bœ
bœ
˙
˙
‰
œ
œ
J
œ bœ
œ bœ
˙
˙
˙
˙
˙
˙
b˙
b˙
Pno.
?
{
› œ
& Œ Ó
Synth.
?
{
17 18 19 20
˙ port. ˙ œ bœ port. ˙ b˙
& Œ bœ ‰ œ ˙ ˙
S. Vln. J
& b˙ Œ bw w w
œ
Vln. 1
& ˙™ Œ
bw w w
& Œ
b˙™ w bw bw
Vln. 2 unis.
& Œ
b˙™
Vla. B ˙™ Œ w w w
? b˙ ™ Œ w bw
Vlc.
w
? bœ˙ ™ Œ wœ bwœ
Cb. Œ Ó Œ Ó Œ Ó Œ Ó
wœ
263
1m5a "Lucy Pt.1" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
T.-t. ÷
&
mp
?
Org.
{
?
&
˙
˙
œ
œ
Œ
w
˙™
˙™
œ bœ
œ bœ
˙™
˙
˙
b˙
b˙
Œ
w
˙™
˙™
œ bœ
œ bœ
mf
Pno.
?
{
› œ œ
& Œ Ó Œ Ó
Synth. mf
?
{
21 22 23 24
˙ ˙™ œ bœ ˙ b˙ ˙™ œ bœ
œ
S. Vln. & Œ
mf
& ˙ Œ w ˙™ œ bw
œ
p
Vln. 1
& b˙ Œ Œ bw
œ w ˙™
p
& Œ Œ w
b˙™ bw ˙ bœ
p
Vln. 2
&
div.
Vla. B ˙™ Œ w ˙™ Œ ww
p
? b˙ ™ Œ Œ
Vlc.
w ˙™ w
p
unis. - arco
? bœ˙ ™ Œ Œ
Cb. Œ Ó w ˙™ w
p
264
Dracula 1m5a "Lucy Pt.1"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
T.-t. ÷
&
?
Org.
{
? b˙ ™
&
˙
˙ Œ
Œ
œ
œ
w
bœ
bœ
œ
œ œ
œ
bœ
bœ
bw
Ϫ
Ϫ
bœ
bœ
J
œ
œ
œ
œ
bw
œ
œ
œ b˙™
œ b˙ ™
Pno.
?
{
› œ œ
& Œ Ó Œ Ó
Synth.
?
{
25 26 27 28
bœ œ
˙ œ port.
œ bœ œ™ bœ œ œ œ œ b˙™
& Œ J
S. Vln.
& ˙™ Œ w ˙ b˙ ˙ b˙
Vln. 1
& b˙ ™ Œ w bw ˙ b˙
& ˙™ Œ w w w
Vln. 2
&
B ˙˙ ™™ Œ bw w w
Vla.
? b˙ ™ Œ w
Vlc. bw bw
? b˙ ™ Œ w bw
Cb. bw
265
1m5a "Lucy Pt.1" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
æ >
T.-t. ÷ Ó Oæ ¿— Œ Ó
p mf
&
mp
?
Org.
{
? b˙ ™
&
˙
˙
Ó
Œ w
˙
˙
œ
œ œ
œ
œ bœ
œ bœ
bw
˙
˙
˙
˙
bw
˙
˙
b˙
b˙
mf
Pno.
?
{
› œ œ
& Œ Ó Œ Ó
Synth. mf
?
{
29 30 31 32
˙ “˙”
œ œ bœ port. ˙ b˙
& Ó œ ˙ ˙
S. Vln.
mf
bw w w
& b˙ ™ Œ
mp
Vln. 1
w
& b˙ ™ Œ w w
mp
& ˙™ Œ w bw bw
mp
Vln. 2 div.
& w
mp
Vla. B b˙ œ Œ w bw w
mp
div.
? b˙ ™ w bw
Vlc. Œ w bw
w bw
mp
? b˙ ™ Œ w
Cb. bw bw
mp
266
Dracula 1m5a "Lucy Pt.1"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
T.-t. ÷
&
?
Org.
{
? b˙ ™
&
˙
˙
˙
˙
Œ w
w
w
bw
w
w
w
Pno.
?
{
› œ œ
& Œ Ó Œ Ó
Synth.
?
{
33 34 35 36
:“;
˙ ˙ port. w w
S. Vln. &
˙™ Œ w ˙ ˙ ˙ b˙
&
mf
Vln. 1
™
& ˙ Œ w w bw
& b˙ ™ Œ
bw ˙ ˙ w
Vln. 2
& ˙™ w w
bw
bœ œ bœ œ œ bœ œ œ bœ
Vla. B ˙™ Œ œ œ œ
mf
? b˙˙ ™ Œ w
Vlc. ™ bw w
? b˙ ™ Œ w bw
Cb.
w
267
1m5a "Lucy Pt.1" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
T.-t. ÷
&
?
Org.
{
? b˙ ™
&
Œ
Pno.
?
{
› œ
& Œ Ó
Synth. mf
?
{
37 38 39 40
S. Vln. &
˙ ˙ w w bw
&
p
Vln. 1
& ˙™ Œ w w w
p
& b˙˙ ™™ Œ
w w w
p
Vln. 2
& ˙˙ ™
™ w w bw
p
œ bœ bœ port. w w w
Vla. B œ
p
? b˙ ™ Œ &
Vlc.
div.
? b˙ ™ Œ w w w
Cb.
w w w
p
268
Dracula 1m5a "Lucy Pt.1"
Attacca
a2
? Ó Œ gliss.
Tbn. 1-2 œ
mf
a2
? Ó Œ
Tbn. 3-4
#œ gliss.
mf
B. Tbn. mf
B. Tbn. ? Ó Œ
Tba.
#œ gliss.
Œ
Cb. Tbn. mf
Cb. Tbn. ? Ó Œ
Cb. Tba.
#œ gliss.
Œ
? æ
Timp. wæ
p (f)
æ
B. D. ÷ wæ
p (f)
æ
T.-t. ÷ ~æ
p f
&
?
Org.
{
?
&
Pno.
?
{
›
&
Synth.
?
{
41 42
S. Vln. &
bw nw
&
f
Vln. 1
& w w
f
&
w w
f
Vln. 2
&
bw nw
f
B w
w
Vla.
f
Vlc. & ææ
Y Y
∑
p ææ (fff)
? w w
Cb.
w w
(f) fff
269
Dracula 1m5b "Lucy Pt.2"
CONCERT SCORE Chris Heckman
q = 84
a4
2 ? ˙ ˙
Horn 1-4 &
p
a4
?
+˙ ˙+
Horn 5-8 &
p
Trombone 1-2
? 4 bœ. Œ bœ. Œ bœ. Œ bœ. Œ
f
? Œ Œ Œ Œ
Trombone 3-4
œ. œ. œ. œ.
f
f +Tba.
Bass Trombone ? . Œ . Œ . Œ . Œ
Tuba
œ œ œ œ
. . . .
f
f +Cb. Tba.
Contrabass Trombone ? . Œ . Œ . Œ . Œ
Contrabass Tuba
œ œ œ œ
. . . .
f
?
Timpani
>˙ ˙ ˙ ˙
f
>
÷ œ— Œ œ— Œ œ— Œ œ— Œ
Bass Drum
f
choke (beat 1)
Tam-tam ÷
& 2
?
Organ
{
? 4
&
Piano f
? Œ Œ Œ Œ
{
›
bœœ
œ.
Big Bang Kit
bœœ
œ.
bœœ
œ.
bœœ
œ.
œ œ œ œ
& Œ Œ Œ Œ
Synthesizer f
?
{
&
Choir (SA)
&
1 2 3 4
Violin 1 &
4
Violin 2 &
Viola B
(div.)
.
œ
Cello & œ Œ
.
fff
? œœ Œ œœ Œ œœ Œ œœ Œ
Contrabass
. . . .
f
270
1m5b "Lucy Pt.2" Dracula
pitch bend
? ˙ #˙+ ˙+ ˙+
Hn. 1-4
f
+
? œ Œ #˙ ˙ ˙
Hn. 5-8
f mf
? Œ
Tbn. 1-2 bœ. œ gliss. bœ.
mf f
? Œ
Tbn. 3-4
œ. #œ gliss. œ.
mf f
mf f
B. Tbn. ? . . Œ
Tba.
œ # Œœ gliss. œ
. .
mf f
Cb. Tbn. ? . . Œ
Cb. Tba.
œ #œ gliss. œ
. Œ .
? ææ
Timp. ˙ ˙
>
fp f
æ >
B. D. ÷ ˙æ œ— Œ œ— Œ œ— Œ
fp f
scrape with tri. beater >
æ
T.-t. ÷ Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿— Œ
mf f
&
?
Org.
{
?
& ?
œ. b œ. œ. b œ. œ. b œ.
b œ. œ. b œ. œ. b œ. œ.
Pno. f
? Œ
{ bœœ
› œ
œ. œ.
“‘
b œ. b œ. n œ. œ. b œ.
œ œ œ
& Œ Œ Œ Œ
Synth. f
?
{
&
Choir (SA)
&
5 6 7 8
aggresively
S. Vln. & œ. n œ # œ #œ. œ. œ. œ œ bœ b œ œ. n œ # œ #œ. œ.
œ. # œ. #œ. . . œ. # œ. #œ. œ. # œ. #œ. . .
f
?
S. Vlc.
Vla. B
?
. . . . . . . . . . . . . . . . . . . . . . . .
Vlc. & bœœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ
. . . . . . . . . . . . . . . . . . . . . . . .
f
? œ
Cb. œ. Œ œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
f
271
Dracula 1m5b "Lucy Pt.2"
Hn. 1-4
?
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
÷ œ— Œ œ— Œ œ— Œ œ— Œ
B. D.
T.-t. ÷
&
?
Org.
{
?
?
œ. b œ. œ. b œ. œ. b œ. œ. b œ.
b œ. œ. b œ. œ. b œ. œ. b œ. œ.
Pno.
?
{ bœ
:“; .
› œ
n œ.
œ. b œ. b œ. n œ.
œ. b œ.
œ œ œ
& Œ Œ Œ Œ
Synth.
?
{
&
Choir (SA)
&
9 10 11 12
j . œ. . œ. . œ. œ œ bœ bœ . œ. . œ.
S. Vln. & œ. œ- ‰ œ. #œ. #œ nœ. #œ. #œ œ. #œ. #œ œ. #œ. #œ nœ. #œ. #œ
œ. # œ. #œ.
?
S. Vlc.
gliss.
Vln. 1 &
Vla. B
? bœ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Vlc.
œ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
? œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Cb. œ. . . . . . . . . . . . . . . .
272
1m5b "Lucy Pt.2" Dracula
?
Hn. 1-4
?
Hn. 5-8
? Œ gliss.
Tbn. 1-2 œ
mf
? Œ
Tbn. 3-4
#œ gliss.
mf
mf
B. Tbn. ? Œ
Tba. gliss.
#œ
Œ
mf
Cb. Tbn. ? Œ
Cb. Tba.
#œ gliss.
Œ
? æ
Timp. ˙æ
p
æ
B. D. ÷ œ— Œ ˙æ
f p
scrape outside edge
æ
T.-t. ÷ Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
mf
&
?
Org.
{
?
?
œ.
Œ
Pno. f
? Œ
{ bœ
:“; .
› œ
& Œ
Synth. f
?
{
&
Choir (SA)
&
13 14 15 16
>œ
S. Vln. & J ‰ Œ
f
?
S. Vlc.
gliss.
Vln. 1 &
mp
gliss.
Vln. 2 &
mp
Vla. B
? bœj
.
Vlc. ‰ Œ
œJ
.
f
? œj ‰ Œ
Cb. œ.
f
273
Dracula 1m5b "Lucy Pt.2"
+. +
bœ.
+
bœ.
+
bœ.
? bœ Œ Œ Œ Œ 4
Hn. 1-4
f
+
? œ.
+ + +
Hn. 5-8 Œ œ. Œ œ. Œ œ. Œ
f
Tbn. 1-2
?
bœ. Œ bœ gliss. ¿ Œ bœ. Œ bœ gliss. ¿ Œ
4
> >
f
? Œ Œ Œ Œ
Tbn. 3-4
œ. œ gliss. #¿ œ. œ gliss. #¿
> >
f
f > >
B. Tbn. ? . Œ Œ . Œ Œ
Tba. œ œ gliss. œ œ gliss.
œ œ #¿ œ œ #¿
. . . .
f
f > >
Cb. Tbn. ? . Œ Œ . Œ Œ
Cb. Tba.
œ œ gliss. #¿ œ œ gliss. #¿
. . . .
f
? æ
Timp. ˙ ˙æ
> p
f
> æ
B. D. ÷ œ— Œ œ— Œ œ— Œ ˙æ
f fp
>
÷ ~~~ ¿ — Œ
T.-t.
f
& 4
?
Org.
{
?
4
? œ. bœ. œ. bœ. bœ œ. bœ. œ. bœ. bœ
œ. b œ. œ. bœ. . œ. œ. b œ. b œ œ. b œ. œ. bœ. . œ. œ. b œ. b œ
œ. b œ. . œ. œ. b œ. . œ.
Pno. f
?
{ œ.
“‘
› œ
b œ. b œ. n œ. œ.
œ
b œ. b œ. œ. œ.
œ
b œ. b œ. n œ. œ.
œ
b œ. b œ. œ.
& Œ Œ Œ Œ
Synth. f
?
{
&
Choir (SA)
&
17 18 19 20
b œœ. .
œœ œœ. œœ.
.
œœ
.
œœ n œœ. .
œœ bœœ. œœ.
.
œœ
.
œœ b œœ. .
œœ œœ. œœ.
.
œœ
.
œœ n œœ. .
œœ bœœ. œœ.
.
œœ
.
œœ
S. Vln. & ‰ ‰ ‰ ‰ 4
ff
?
S. Vlc.
gliss.
Vln. 1 &
bslightly
˙ faster ascent
4
mf
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Vla. B bœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ
œ
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
f
? bœ. œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
bœœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
bœœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
bœœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
œœ
.
Vlc.
œ
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
f
? œ
Cb. œ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ. œœ.
f
274
1m5b "Lucy Pt.2" Dracula
q += 60
b>œ.
Hn. 1-4
? 4 f
Œ Ó
? >œ+.
Hn. 5-8 Œ Ó
f
Tbn. 1-2
?
4 bœ. Œ Ó
>
f
? Œ Ó
Tbn. 3-4
œ
>.
f
? >.
B. Tbn. Œ Ó
Tba.
œ
.
f>
? >.
Cb. Tbn. Œ Ó
Cb. Tba.
œ
.
f>
?
Timp. w
>
f
>
÷ œ— Œ Ó
B. D.
f
ord. >
æ
T.-t. ÷ Ó Oæ ¿— Œ Ó
p mf
& 4
mp
?
Org.
{
?
4 Ped: Flutes 16', 8'
w w w
w
w ww
w w
w
? Œ Ó w w w
w
b œ.
Pno. f p
? Œ Ó
{
›
œ
:“; œ.
>œ
w
w
œ
w
w
w
w
& Œ Ó Œ Ó
Synth. ff f
?
{
&
Choir (SA)
&
21 22 23 24
b>œœ.
S. Vln. & 4 œ Œ Ó
sffz
?
S. Vlc.
œ
Vln. 1 &
4 J ‰ Œ Ó
div. - flautando
f
ww ww ww
p
bœ flautando
& J ‰ Œ Ó
Vln. 2
f w w w
p
>.j unis. - flautando
Vla. B bœ ‰ Œ Ó
œJ w w w
p
>.
ff
unis. - flautando
?
Vlc. w w w
œJ ‰ Œ Ó w
>.
ff p
>.j flautando
? œ ‰ Œ Ó
Cb. w w w w
ff p
275
Dracula 1m5b "Lucy Pt.2"
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
T.-t. ÷
&
mp
?
Org.
{
?
˙™
˙™
? ˙˙˙ ™™™
Œ
Œ &
w
˙
˙
œ
œ œ
œ
œ
œ
œ
œ
w
˙
˙
˙
˙
w
˙
˙
œ
œ
œ
œ
Pno. mp
? Œ
{
›
˙™
˙™ °
œ œ
& Œ Ó Œ Ó
Synth. mf
?
{
&
Choir (SA)
mp
& ˙ œ œ œ œ
œ ˙ ˙ ˙ œ
oo
25 26 27 28
S. Vln. &
˙ œ œ port. œ œ ˙ ˙ ˙ œ œ
?
S. Vlc.
mf
Vln. 1 & ˙ Œ
˙™ œ ww ww ww
p
Vln. 2 & Œ
˙™ w w w
p
div.
Vla. B Œ w
˙™ ww ww w
p
? Œ
Vlc. ˙™ w w
p
w
? Œ
Cb. ˙™ w w
p
w
276
1m5b "Lucy Pt.2" Dracula
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
T.-t. ÷
&
?
Org.
{
?
˙
& ˙
˙™
Œ
Œ
œ
œ
w
˙
˙
œ
œ œ
œ
œ
œ
œ
œ
w
˙
˙
˙
˙
w
˙
˙
˙
˙
Pno.
?
{
› œ œ
& Œ Ó Œ Ó
Synth.
?
{
&
Choir (SA)
mp
& ˙ Œ ˙
˙ œ œ œ œ ˙ ˙ ˙
œ
29 30 31 32
S. Vln. &
˙ port.
˙ œ port. œ œ ˙ port. ˙ ˙
? Œ œ œ ˙
S. Vlc.
mf
Vln. 1 & ˙ Œ
˙™ œ ww ww ww
Vln. 2 & Œ
˙™ w w w
Vla. B Œ
˙ ™™ ww ww w
w
? Œ
Vlc. ˙™ w w w
? Œ
Cb. ˙™ w w w
277
Dracula 1m5b "Lucy Pt.2"
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
T.-t. ÷
&
?
Org.
{
?
&
˙™
˙
˙
˙
˙
Œ
w
w
Pno.
(beat 1)
?
{
›
*
&
Synth.
?
{
&
Choir (SA)
p n
& ˙ w w ˙™ Œ
˙
33 34 35 36
S. Vln. &
˙ port. w w ˙™
˙
? Œ
S. Vlc.
mp n
div. a4 - ord. non vib.
Vln. 1 & w )) œ #œ œ #œ )) ™™ Œ
w p f p
Vla. B
ww
?
Vlc. w
278
Dracula 1m6a "Love Eternal Pt.1"
CONCERT SCORE Chris Heckman
q = 90 3
q = 92 (+2)
a4 - legato bœ bœ œ œ œ w
4 ? bœ bœ œ bœ3 bœ
Horn 1-4 &
mp mf
3
a4 - legato bœ bœ œ œ œ w
? bœ bœ œ bœ3 bœ
Horn 5-8 &
mp mf
a2
bw w bw
Trombone 1-2
? 4 p mf
Trombone 3-4
? bbw
w w
w w
w
p mf
a2
Bass Trombone ?
Tuba bw w w
p mf
a2
Contrabass Trombone ?
Contrabass Tuba
bw w w
p mf
æ >
Bass Drum ÷ 4 Ó ˙æ
p
œ—
mf
Œ Ó
Daiko ÷ œ œ— Œ Ó œ œ— Œ Ó
mf
Glockenspiel & 4
Mark Tree ÷
æ >
Tam-tam ÷ Ó Oæ ¿— Œ Ó
p mf
& 4
Celesta
?
{
& 4
mp
?
Organ
{
?
&
bw
bœ œ b œ œ œ
b œbbœœ œ œœ œ œ œ œœ œ œœ œ Œ
w
bœ œ b œ œ œ
b œbbœœ œ œœ œ œ œ œœ œ œœ œ Œ
w
bœ œ b œ œ œ
b œ œœ œ œœ œ œ œ œœ œ œ œ Œ
Piano mf
?
{ °
Big Bang Kit
* °
› œ œ
& & Œ Ó Œ Ó
Synthesizer mf
?
{ p mf
bœ bœ œ œ bœ bœ œ œ bœ œ œ œ
&
oo
Choir (SA)
p mf
& bœ bœ œ œ bœ bœ œ œ bœ œ œ œ
oo
1 2 3 4
con sord. - legato espress. 3
3 bœ
Violin 1 & 4 bœ
mp
bœ œ bœ bœ bœ œ œ œ w
279
1m6a "Love Eternal Pt.1" Dracula
q = 94 (+2)
3
3
œ œ #œ œ #œ œ #w
? œ #œ œ #œ
Hn. 1-4
3
3
œ œ #œ œ #œ œ #w
? œ #œ œ #œ
Hn. 5-8
? w w #w
Tbn. 1-2
? ##w
w w
w ##w
w
Tbn. 3-4
B. Tbn. ?
Tba. #w w #w
Cb. Tbn. ?
Cb. Tba.
#w w #w
B. D. ÷
Daiko ÷ œ œ— Œ Ó œ œ— Œ Ó
Glock. &
M. Tree ÷
æ > æ >
T.-t. ÷ Ó Oæ ¿— Œ Ó Ó Oæ ¿— Œ Ó
p mf p mf
&
Cel.
?
{
&
?
Org.
{
?
w
bœ œ œ œ b œ œ œ œ œ œ
& bœ œ œ œ œ œ œ œ œ Œ
#w
œ #œ œ œ #œ œ œ œ œ œ
#œ œ œ œ œ œ œ œ œ Œ
w
œ #œ œ œ #œ œ œ œ œ œ
#œ œ œ œ œ œ œ œ œ Œ
#w
œ œ #œ œ œ
#œ##œœ œ œœ œ œ œ œœ œ œ œ Œ
Pno.
?
{
›
* °
œ
* °
œ
& Œ Ó Œ Ó
Synth.
?
{ œ bœ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ
&
Choir (SA)
& œ bœ œ œ œ
œ œ #œ œ œ œ #œ œ œ #œ œ
5 6 7 8
3 3
& œ œ #œ œ #œ œ #w
Vln. 1 #œ
œ #œ œ
3 3
& œ œ #œ œ #œ œ #w
Vln. 2 #œ
œ #œ œ
Vla. B #w w
w w ##w
w
?
Vlc.
##w
w w
w #w
#w
?
Cb.
w #w w #w
280
Dracula 1m6a "Love Eternal Pt.1"
3 3
? œ œ œ #œ œ b˙ ™ Œ
Hn. 1-4 & œ #œ
œ œ œ
mf
3 3
? & #œ œ œ œ #œ œ b˙ ™ Œ
Hn. 5-8 œ
œ œ œ
mf
? w #w nw
Tbn. 1-2
? w w
Tbn. 3-4 w w bw
w
B. Tbn. ?
Tba. nw #w nw
Cb. Tbn. ?
Cb. Tba.
nw #w nw
B. D. ÷
Daiko ÷ œ œ— Œ Ó œ œ— Œ Ó œ— Œ Ó
Glock. &
M. Tree ÷
&
Cel.
?
{
&
?
Org.
{
?
w
œ œ #œ œ œ
& #œ##œœ œ œœ œ œ œ œœ œ œ œ Œ
w
œ œœ œ œœ œœ œ œ œœ œ œ œ
œ œ œ œ
Œ
#w
œ #œœ œ œœ œœ œ œ œœ œ œ œ
œ œ œ œ
Œ
nw
œ bœœ œ œ œœ œ œ œœ œ œ œ
œ œ œ œ
Œ
Pno.
?
{
›
* °
œ
* °
œ
* °
œ
*
&
& Œ Ó Œ Ó Œ Ó
Synth.
?
{
œ œ #œ
& #œ œ œ œ œ œ œ œ œ œ b˙ ™ Œ
Choir (SA)
& œ Œ
œ #œ #œ œ œ œ œ œ œ œ œ œ b˙™
9 10 11 12
3
3 #œ œ œ œ #œ œ b˙™
œ œ œ œ Œ
Vln. 1 &
mf
3
3 #œ œ œ œ #œ œ b˙™
œ œ œ œ Œ
Vln. 2 &
mf
Vla. B w #w
w bw
w
w
?
Vlc. w
w #w
w nw
w
?
Cb. #w nw
w w
281
1m6a "Love Eternal Pt.1" Dracula
q = 92 (-2)
Hn. 1-4 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷
Daiko ÷
#œ bœ œ
Glock. & Œ bw
mf
æ æ æ æ
∏∏∏∏
~æ ~æ ~æ ~æ
∏∏∏∏
M. Tree ÷
mf poco a poco dim.
> ord. > scrape front
æ æ
T.-t. ÷ ~~~~~ ¿ — Œ Ó Ó Oæ ¿— Œ Ó Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f p f mf
#œ bœ œ bw
#œj œ bœj œ œ
j
œ j
& Œ bœ w
Cel. mf
?
{
&
mp
?
Org.
{
?
“
bœ œ œ
˙
both
” hands 8va
œ
b˙
œ
œ œ œ œ œbœ
w
œœ œ bœ œ œœ
œ
œœ œ œ œœ œœ œ
bœ œ œ
˙
œ
b˙
œ
œ œ œ œ œbœ
˙
œœ œ bœ œ œœ
˙
œ œ œ œ œ œ#œ œœ
œ
&
Pno.
mf 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
› °
œ
*° *
Œ
°
>
bœ
*°
>
œ
>
*
bœ
>
°
œ
Œ Ó
*° * °
œ
*°
œœ œœ
#œ
*
&
Synth.
?
{
&
Choir (SA)
f f
& Œ bœ Œ bœ
œ bœ w œ bœ ˙ #˙
(oo)
13 14 15 16
div.
˙w b˙ ˙˙ #˙˙
Vln. 1 & b ww ww
p mf
div.
Vln. 2 & w
˙ b˙ w
w w
˙ b˙ ˙˙ ˙˙
p mf
legato espress.
B Œ œ bœ bœ w Œ œ bœ bœ ˙ #˙
Vla.
f f
legato espress.
œ bœ bœ w œ bœ bœ ˙ #˙
? Œ Œ
Vlc.
f f
div.
? ˙ b˙ w ˙ b˙ ˙ ˙
Cb. ˙ w ˙ ˙ ˙
b˙ b˙
p mf
282
Dracula 1m6a "Love Eternal Pt.1"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷
Daiko ÷
& Œ œ œ œ w
Glock.
f
æ æ æ æ
∏∏∏∏
~æ ~æ ~æ ~æ
∏∏∏∏
M. Tree ÷
p
?
Org.
{
? ˙
&
:“;
b œ œbœ
œ œœ
b˙
œœœœ
œ œœ
w
œ b œ œbœ
œ œœ
œœœœ
œ œœ
œ b œ œbœ
˙
œ œœ
b˙
œœœœ
œ œœ
˙
œ b œ œbœ
œ œœ
˙
œ œ#œ œ
œ œœ
œ
Pno. 6 6 6 6 6 6 6 6 6 6 6 6 6 6
6 6
{
&
› °
œbœ œ œ œ
*°
bœ œ œ œ
œ
*
Œ
œbœ œ œ œ
>
œ
>
*°
œœ œœ
œ
>
*
œ
>
œbœ œ œ œ
Œ Ó
*°
bœ œ œ œ
œ
*
œbœ œ œ œ
*°
#œ œ œ œ
œ
*
° ° °
&
Synth.
?
{ f f
& Œ œ bœ bœ w Œ œ bœ bœ ˙ #˙
(oo)
Choir (SA)
f
& nœ œ bœ w Œ œ bœ ˙ #˙
bœ bœ
17 18 19 20
bw ˙˙ ˙˙
Vln. 1 & ww ww w
œ bœ bœ w œ bœ bœ ˙ #˙
Vla. B nœ Œ
f
œ bœ bœ w œ bœ bœ ˙ #˙
? nœ Œ
Vlc.
f
˙
? ˙˙ b˙ w
w
˙
˙
b˙ ˙
˙ ˙
Cb. b˙ b˙
283
1m6a "Love Eternal Pt.1" Dracula
q = 94 (+2)
Hn. 1-4 &
˙ ˙ ˙
? ˙ #w #˙ ™ Œ
Tbn. 1-2
mp mf
mp mf
B. Tbn. ? ˙ #˙ Œ
Tba. b˙ n˙ ˙™
w
mp mf
Cb. Tbn. ? Œ
Cb. Tba. ˙ #˙
b˙ n˙ ˙™
w
mp mf
B. D. ÷
Daiko ÷
Glock. &
∏∏∏∏
M. Tree ÷ Ó Oæ
mf
> ord. >
æ
T.-t. ÷ ~~~ ¿ — Œ Ó Ó Oæ ¿— Œ Ó
f p f
&
Cel.
?
{
&
?
Org.
{
? ˙
&
mp
œœ
bœ œ
œbœ Œ
#˙
œ nœ
#œœ
nœ#œ Œ
b˙
œbœ œ
œ
n˙
nœ
œœ #œœ œ œœ
w
œ b œ œœ ? bœœœ
œœ
œ
˙™
œ #˙˙ ™™
&œ ˙™
Œ
Œ
6 6 6 6 6
Pno. poco a poco cresc. mf
6 6 6 6 6
6 6
& Œ œ œ ?
{ œbœ Œ œ#œnœ bœœ œœ #œœ œœ bœœ bœœ œ &
œœ
œ #˙˙ ™™™ Œ
œbœ œ #œ nœ bœ œ œ œ œbœ œ œ ˙
° *° * ° *° * ° *
›
&
Synth.
?
{
&
Choir (SA)
mf
& ˙ Œ
˙ ˙ ˙ bw #˙ ™
21 22 23 24
unis.
Vln. 1 & ˙ ˙ b˙ #˙ w ˙™
Œ
mp
unis.
Vln. 2 & b˙ #˙ ˙ Œ
˙ w ˙™
mp
Vla. B n˙ ˙ ˙ ˙ bw #˙ ™ Œ
mf
n˙ ˙ ˙
? ˙ bw #˙ ™ Œ
Vlc.
mf
? ˙ #˙ b˙ n˙ w
Cb. b˙ n˙ w ˙™ Œ
˙ #˙ ˙™
mp
284
Dracula 1m6a "Love Eternal Pt.1"
q = 92 (-2)
Hn. 1-4 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷
Daiko ÷
Glock. &
æ
M. Tree ÷ ~æ
&
Cel.
?
{
&
?
Org.
{
?
œ
& bœœ bœœ œœ œœ œ œ œœ œœ œœ œ œ Œ bœ bœœ œ œœ œœ œ œ œœ œ œ œ
œ œ œ œ Œ bœ bœœ œ œœ œœ œ œ œœ œ œ œ
œ œ œ œ Œ bœ œœ œ œœ œœ œ œ œœ œ œ œ
œ œ œ œ Œ
Pno. mf poco a poco dim.
{
&
›
°
œ
* °
œ
& Œ Ó Œ Ó
Synth. mp
?
{ mp
3
3
& bœ bœ œ Œ œ œ w
bœ œ œ œ
Choir (SA) mp
3
3
& bœ bœ œ Œ œ œ w
bœ œ œ œ
25 26 27 28
3 port.
legato espress. 3 bœ bœ œ œ œ œ w
bœ œ œ œ
Vln. 1 &
mp
Vln. 2 & w w w
p
Vla. B bw w w
p
? w w w
Vlc.
p
?
Cb. w
w w
p
285
1m6a "Love Eternal Pt.1" Dracula
Attacca
Hn. 1-4 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷
Daiko ÷
Glock. &
M. Tree ÷
T.-t. ÷
&
Cel.
?
{
&
?
Org.
{
?
bœ œ œ œ œ
& œ œœ œ œœ œ œ œ œœ œ œ œœ œ
Pno. mp
{
&
›
*
&
Synth.
?
{
w
&
Choir (SA)
&
29
w
Vln. 1 &
(p)
Vln. 2 &
w
Vla. B w
(p)
? w
Vlc.
?
Cb. w
286
Dracula 1m6b "Love Eternal Pt.2"
CONCERT SCORE Chris Heckman
q = 60
Horn 1-4 & 4 3
Horn 5-8 &
Trombone 3-4
? 4 4
Bass Trombone ?
Tuba
Contrabass Trombone ?
Contrabass Tuba
Timpani
? 4 3
÷ œ— Œ Ó
Bass Drum
mp
Crotales & 4 4
Mark Tree ÷
(ord.)
÷ ¿— Œ Ó
Tam-tam
p
& 4 3
Celesta
?
{
& 4 4
?
Organ
{
?
& w
˙™
bw œ #˙ ™
w œ
Piano (mp) mp
w
w w
w
?
{
› Big Bang Kit
œ
°
œ
* ° *
& Œ Ó Œ Ó
Synthesizer p mp
?
{
Solo Soprano &
&
Choir (SA)
&
1 2 3 4
(con sord.)
w
Violin 1 & 4 p
3
Violin 2 &
?
Contrabass
287
1m6b "Love Eternal Pt.2" Dracula
Tbn. 3-4
? 4 4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 3 4
÷ œ— Œ Œ
B. D.
Crot. &
4 4
M. Tree ÷
T.-t. ÷
& 3 4
Cel.
?
{
&
4 4
?
Org.
{
?
Pno.
? bb ˙˙ ™™ # ˙˙ ™™ bbb˙˙˙ ™™™ # ˙˙˙ ™™™
{
›
°
œ
* ° * ° * ° *
&
& Œ Œ
Synth.
?
{
S. Sop. &
&
Choir (SA)
&
5 6 7 8
Vln. 1 & 3 4
Vln. 2 &
Vla. B 4 ˙™ ˙™ b˙ ™ n˙
Œ 4
mp
(con sord.)
? ˙ port.
Vlc. œ
p mp
?
Cb.
288
Dracula 1m6b "Love Eternal Pt.2"
Tbn. 3-4
? 4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 4
÷ œ— Œ Ó
B. D.
mp
Crot. &
4
M. Tree ÷
æ >
T.-t. ÷ Ó Oæ ¿— Œ Ó
pp mp
& 4
Cel.
?
{
&
4
p
?
Org.
{
?
&
˙™
˙™
w
w
Œ
œ
˙™
#˙™
w
Œ
œ
˙™
n˙w œ™
Œ
œj
#˙ ™
#˙˙ ™™
Œ
Œ
Pno. mp ° *
j Œ
{
&
›
w
w
w
°
œ
#w
* °
w
w ˙w
* °
w œ™ œ
*
##˙˙˙ ™™™
° *
& Œ Ó
Synth. mp
?
{
S. Sop. &
&
Choir (SA)
&
9 10 11 12
legato espress.
Vln. 1 & 4 ˙™ œ port. #˙ ™ œ port. n˙ œ™ œ
j
#˙ ™
Œ
p
(con sord.) - legato espress.
Vln. 2 & ˙™ port. #˙ ™ port. n˙ œ™ j Œ
œ œ œ #˙ ™
p
div.
Vla. B
4 -
œœ
-
œœ
-
œœ Œ
-
œœ
-
œœ
-
œœ Œ
-
œœ
-
œœ
-
œœ Œ
-
#œœ
-
œœ
-
œœ Œ
p
- - - - - - - - - - - -
? Œ ˙™ Œ ˙™ Œ #˙ ™ Œ
Vlc. ˙™
p
?
Cb.
289
1m6b "Love Eternal Pt.2" Dracula
q = 80
Hn. 1-4 &
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
÷ œ— Œ Œ
B. D.
Crot. &
M. Tree ÷
T.-t. ÷
&
Cel.
?
{
&
?
Org.
{
?
&
w
˙ œœ ™™ œ
J
#˙
˙™
## ˙˙ ™™
Œ
˙™
œ˙ ™
˙™
˙
#˙
##˙˙˙ ™™™
Œ
Pno.
w ˙™
{
& w
›
w
w
° *
##˙˙ ™™
°
˙˙ ™™™
* °
˙
œ
*
##˙˙ ™™
° *
& Œ Œ
Synth.
?
{
S. Sop. &
&
Choir (SA)
&
13 14 15 16
port.
œ œ ˙ port. #˙
Vln. 1 & ˙ œ™ port. œ ˙ Œ
J
div. unis.
Vln. 2 & ˙ œ™ port. œ #˙˙ Œ ˙ Œ ˙ Œ
J
- - - ˙˙
Vla. B œœ œœ œœ Œ #˙˙ Œ Œ ##˙˙ Œ
- - -
legato espress.
? port.
œ œ ˙ port. #˙
Vlc. port. #˙ Œ
w
?
Cb.
290
Dracula 1m6b "Love Eternal Pt.2"
a4
Hn. 1-4 & ?
#˙ ™ ˙™
4
mp f
a4
?
Hn. 5-8 &
#˙ ™ ˙™
Tbn. 3-4
?
mp f
4
Tba.
B. Tbn. ?
Tba.
#˙ ™ ˙™
mp f
Cb. Tba.
Cb. Tbn. ?
Cb. Tba.
#˙ ™ ˙™
mp f
Timp.
? 4
æ >
B. D. ÷ œ— Œ Œ œ— Œ œæ œ Œ Œ
pp mp
Crot. & 4
M. Tree ÷
æ
T.-t. ÷ Œ Oæ
p
& 4
Cel.
?
{
& 4
?
Org.
˙™
{
?
˙™
œ˙ ™
& ˙™
˙ ˙™
˙™
˙
˙™
## ˙˙ ™™
Œ
#˙ ™
˙˙ ™™
˙™
Pno.
?
{
& ˙˙ ™™™
˙ ˙˙˙ ™™™
*
#˙ ™
“‘
˙™
*
&
› °
œ °
œ œ œ œ œ œ
& Œ Œ Œ Œ Œ
Synth. pp mp
?
{
S. Sop. &
&
Choir (SA)
&
17 18 19 20
œ ˙ port. ˙™ port. ˙™ œ
Vln. 1 & Œ Œ 4
˙™ ˙™ œ
Vln. 2 & ˙™ Œ Œ
˙™ #˙ ™ œ 4
Vla. B ˙™ Œ Œ
˙ port. ˙™ port. ˙™ œ
? œ Œ Œ
Vlc.
?
Cb.
#˙ ™
p
291
1m6b "Love Eternal Pt.2" Dracula
q = 72
poco accel.
Hn. 1-4
? 4
?
Hn. 5-8
Tbn. 3-4
? 4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 4
÷ œ— Œ Ó œ— Œ Ó
B. D.
mp poco a poco cresc.
Crot. &
4
M. Tree ÷
> æ
T.-t. ÷ ¿— Œ Ó Ó Oæ
mf p
& 4
Cel.
?
{ Gt: Principals 16', 8', 4'
&
4 #œ ™ # œ #œ œ œ œ œ™ œœœœœ œ™ # œ #œ œ œ œ œ ™ œœœœœ #œ ™ # œ #œ œ œ œ œ™ œœœœœ nœ ™ œ # œ œ œ œ œ™ œœœœœ
mp
?
Org.
{
?
&
w
œ
## œœœ ## œœœ
#œ
œœ
œœ œœ
##œœ
˙™
# w˙
#ww ˙
œ #w
œ
## œœœ ## œœœ
#œ
œœ
œœ œœ
##œœ
˙™
# ˙˙˙
˙
˙˙˙
˙
œ
Pno. mf
{
& ##œœœ #œ
# œœ œœœ œ w
w ##œœœ #œ
# œœ œœœ œ ˙
# ˙˙˙ ˙˙˙
## œœ #w ## œœ
› pedal harmonically
œ œ
& Œ Ó Œ Ó
Synth. mp poco a poco cresc.
?
{
S. Sop. &
&
Choir (SA)
mf
& œ œ j ‰ œ œ ‰
#œ #œ #˙ œ #œ #œ #œ #˙ nœ ™
oo
21 22 23 24
Vln. 1 & 4
Vln. 2 &
legato espress.
Vla. B 4 œ #œ œ
#œ #˙ ™ #œ œ #œ œ
#œ #˙ nœ ™ ‰
mf
? œ #w
Cb. ˙™ ˙™ œ
w
mp
292
Dracula 1m6b "Love Eternal Pt.2"
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
÷ œ— Œ Ó œ— Œ Ó
B. D.
bowed
#œ
Crot. & Ó Œ ‰ J
mp
M. Tree ÷
> æ > æ
T.-t. ÷ ¿— Œ Ó Ó Oæ ¿— Œ Ó Ó Oæ
mf p mf p
&
Cel.
?
{
& #œ œ œ œ œ œ œ œ
#œ ™ œ #œ œ œ œ œ ™ œ œ œ œ œ œ™ œ # œ œ œ œ œ™ œ œ œ œ œ #œ ™ œ #œ œ œ œ œ ™ œ œ œ œ œ œ #œ œ™
Ϫ
?
Org.
{
? w
œ
#œœ
& œ
## œœœ
#œ
œœ
œœ œœ
#œœ
˙™
˙˙˙ ™
˙ ™™
œ
œ
#œ
#œ
w
œ
#œœœ ## œœœ
#œ
œœ
œœ
# œœœ
œ
w
# ˙˙
# ˙˙
˙˙
˙˙
Pno.
œœ ˙
& #œœœ
{ #œ
# œœ œœœ œ ˙˙ ™™ #œ #œœœ #œ
# œœ œœœ œ #˙˙ ˙˙˙
# œœ ˙™
› œ œ
& Œ Ó Œ Ó
Synth.
?
{
S. Sop. &
&
Choir (SA)
mf
& œ j ‰ #œ #˙ œ™ ‰
#œ œ ˙ œ #œ œ #œ œ
#œ
25 26 27 28
Vln. 1 &
Vln. 2 &
#œ #˙ œ™
Vla. B œ #œ œ ˙™ #œ œ #œ œ ‰
#œ
mf
? #œ œ œ ™ œ œ œ œ œ
Vlc.
#œ ™ œ #œ œ œ œ œ™ œ œ œ œ œ œ™ œ #œ œ œ œ œ ™ œ œ œ œ œ #œ ™ œ #œ œ œ œ œ™ œ œ œ œ œ œ #œ œ
Ϫ
? w
Cb. ˙™ œ w
w
293
1m6b "Love Eternal Pt.2" Dracula
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
÷ œ— Œ Ó œ— Œ Ó
B. D.
mf poco a poco cresc.
œ– œ œ– #œ œ– œ œ– œ
Crot. & Œ Œ ‰ J Œ Œ ‰ J Œ Œ ‰ J Œ Œ ‰ J
mf mp mf mp mf mp mf mp
M. Tree ÷
>
÷ ¿— Œ Ó
T.-t.
f
&
Cel.
?
{
& #œ ™ #œ #œ œ œ œ œ ™ œ œ œ œ œ œ™ #œ #œ œ œ œ œ™ œ œ œ œ œ #œ ™ #œ #œ œ œ œ œ ™ œ œ œ œ œ nœ ™ œ #œ œ œ œ œ ™ œ œ œ œ œ
mp
?
Org.
{
?
&
#w
œ
## œœœ ## œœœ
#œ
œœ
œœ œœ
##œœ
˙™
# ˙˙ ™
# ˙˙ ™™
œ
œ
#œ
#œ
#w
œ
## œœœ ## œœœ
#œ
œœ
œœ œœ
##œœ
˙™
# ˙˙˙
#˙
˙˙
˙˙
œ
Pno. mf
#œ #œ œœ ˙™ ##œœœ #œ œœ ˙ ˙˙
& # œœ
{ # œœ œ œ
##œœ #˙˙ ™™ #œ # œœ œ œ
##œœ #˙˙˙ ˙
› œ œ
& Œ Ó Œ Ó
Synth. mf poco a poco cresc.
?
{
S. Sop. &
mf
& œ #œ œ j ‰ #œ œ #œ œ œ™ ‰
#œ #˙ œ #œ #˙
(oo)
Choir (SA)
mf
& #œ #œ œ ˙ ‰ #œ #œ œ j ‰
#œ œ™ #œ n˙ ™ œ
(oo)
29 30 31 32
Vln. 1 & œ #œ œ #˙ ™ #œ œ #œ œ #˙ œ™ ‰
#œ #œ
mf
Vln. 2 & œ #œ œ #˙ ™ #œ œ #œ œ #˙ œ™ ‰
#œ #œ
mf
Vla. B #œ #œ œ #œ ˙ ˙ #œ #œ œ #œ n˙ ™ œ ‰
J
mf
? #œ ™ #œ #œ œ œ œ œ™ œ œ œ œ œ œ™ #œ #œ œ œ œ œ ™ œ œ œ œ œ #œ ™ #œ #œ œ œ œ œ™ œ œ œ œ œ nœ ™ œ #œ œ œ œ œ™ œ œ œ œ œ
Vlc.
mp
? ˙™
Cb.
#w ˙™ œ #w œ
mp
294
Dracula 1m6b "Love Eternal Pt.2"
Hn. 1-4
? 3
?
Hn. 5-8
Tbn. 3-4
? 4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 3
÷ œ— Œ Ó œ— Œ Ó
B. D.
Crot. &
œ– Œ Œ ‰ œ
J
œ– Œ Œ ‰ œ
J
œ– Œ Œ ‰ œ
J
4 œ– Œ ‰ #œ
J
mf mp mf mp mf mp mf mp
M. Tree ÷
æ >
T.-t. ÷ Ó Oæ ¿— Œ Œ
p f
& 3
Cel.
?
{
&
œ™ œ #œ œ œ œ œ™ œ œ œ œ œ œ™ œ #œ œ œ œ œ ™ œ œ œ œ œ œ™ œ #œ œ œ œ œ™ œ œ œ œ œ
4 œ™ œ œ œ œ œ
?
Org.
{
?
&
w
œœ
œœ ## œœœ
#œ
œœ
œœ œœœ
œ
˙™
˙˙˙ ™™
˙™
œ
#œ
#œ
#œ
w
œœ
œœ ## œœœ
#œ
œœ
œœ
œœœ
œ
˙™
˙˙
˙˙ œœœ
œ
Pno.
œ #œ œœ ˙˙ ™™™ œœ #œ œœ œœ ˙˙˙ œœ
& œœ
{ # œœ œ œœœ ˙ #œ œ # œœ œ œ œ
› œ œ
& Œ Ó Œ Ó
Synth.
?
{
S. Sop. &
mf
& œ #œ œ j ‰ #œ œ #œ œ œ ˙ œ
œ ˙ œ
Choir (SA)
mf
& œ j ‰ œ
#œ œ œ ˙ œ #œ œ #œ ˙ ˙
33 34 35 36
Vln. 1 & œ #œ œ
œ ˙™ #œ œ #œ œ œ 3 ˙ œ
mf
Vln. 2 & œ œ œ œ œ ˙ œ
#œ
œ ˙™ #œ #œ
mf
Vla. B œ #œ œ œ ˙ œ #œ œ #œ ˙ 4 ˙ œ
mf
? œ™ œ #œ œ œ œ œ ™ œ œ œ œ œ œ™ œ #œ œ œ œ œ™ œ œ œ œ œ œ #œ œ œ œ œ ™ œ œ œ œ œ œ™ œ œ œ œ
Vlc. œ™ œ
? ˙™
Cb.
w ˙™ #œ w
295
1m6b "Love Eternal Pt.2" Dracula
q = 84 q = 72
Hn. 1-4
? 4 5 3
?
Hn. 5-8
Tbn. 3-4
? 4 4 8
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 4 5 3
÷ œ— Œ Ó œ— Œ Ó œ— Œ Œ Ó
B. D.
f mp
œ– Œ ‰ œ 4 œ– Œ Œ ‰ bœJ œ– Œ Ó 4 8
Crot. & J
mf mp mf mp mf
M. Tree ÷
æ >
T.-t. ÷ Ó Œ Ó Oæ ¿— Œ Ó
p f
& 4 5 3
Cel.
?
{
& #œ ™ #œ#œ#œ œ œ œ
4 nœ ™ œ#œ œ œ œ ˙ b˙ ™ Œ 4 8
?
Org.
{
?
&
#˙
#˙
### ˙˙˙
œ
œ
œ
w
˙˙
˙˙
œœ
œœ
œ
œ
œ
œ
œ
œ
b
b˙™
b˙™
b b ˙˙˙ ™™™ bœ
Œ
#œ œ ˙ b˙
“”
Pno. b˙™ mp
#˙ ˙˙˙ œœœ œ œ œ bb ˙˙ ™™ ˙˙ ™™™
& ## ˙˙
{ œ Œ ˙˙ ™ bbb˙˙˙
› œ œ œ
& Œ Ó Œ Ó Œ Œ Ó
Synth. f mp
?
{ port. ad lib.
mp
bœ #œ œ ˙ b˙
S. Sop. & Ó Œ
ah
œ œ œ b˙ ™
& #œ ™ ‰ œ ˙ œ Œ
Choir (SA)
j b˙ ™
& #˙ œ ‰ ˙ œ œ œ œ Œ
37 38 39 40
œ b˙ ™
Vln. 1 & #œ ™ ‰ œ 4 ˙ œ œ œ Œ 5 3
œ œ œ b˙ ™
Vln. 2 & #œ ™ ‰ œ ˙ œ Œ
#˙ 4 œ œ b˙™ 4 8
Vla. B Œ ˙ œ œ Œ
? #œ ™ #œ#œ#œ œ œ œ nœ ™ œ#œ œ œ œ ˙ b˙ Ó
Vlc.
? Œ
Cb.
#˙ œ w b˙™
296
Dracula 1m6b "Love Eternal Pt.2"
*if playable
Hn. 1-4
? 3 6 4 bw ˙™
Œ
mp f
*if playable
? Œ
Hn. 5-8
bw ˙™
Tbn. 3-4
?
8 4 4 mp f
a2
B. Tbn. ? Œ
Tba.
bw ˙™
mp f
a2
Cb. Tbn. ? Œ
Cb. Tba.
bw ˙™
mp f
Timp.
? 3 6 4
÷ œ— Œ Ó Ó
B. D.
Crot. &
8 4 4
M. Tree ÷
æ >
T.-t. ÷ Ó Ó Oæ ¿— Œ Ó
p mf
b˙™
& 3 6 4 bœ
j
˙™ bœ
j
bœ
œ
Cel. mp
?
{ Gt: - Principals 16', 4'
&
8 4 4 b˙ ™ bœ
mp
bw bGt.
w
?
Org.
{
?
&
#œ ˙ bb ˙˙ Œ
bw w
Pno.
˙˙ ™™™ b˙ Œ
{
&
› œ
˙˙ ™ bbb ˙˙˙
& Œ Ó Ó
Synth.
?
{ b˙ mf
#œ ˙
S. Sop. & Œ b˙ ™ bœ
&
Choir (SA)
&
41 42 43 44
Vln. 1 & 3 6 4
Vln. 2 &
Vla. B 8 4 4
?
Vlc.
?
Cb.
297
1m6b "Love Eternal Pt.2" Dracula
Hn. 1-4
? 3
?
Hn. 5-8
Tbn. 3-4
? 4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 3
B. D. ÷
Crot. &
4
M. Tree ÷
T.-t. ÷
œ
j
˙
Œ bœ j
b˙
j
bœ ™ bœj ˙™ Œ j
#˙ j
#œ ™
œ
j
œ 3
& œ ˙ bœ
j
œ bœ ˙ bœ œ™ bœ
j
œ œ
j
˙™ #œ ˙ #œ œ™ J
Cel.
?
{
& ˙™ bœ b˙ bœ ™ bœ
j
˙™
Œ #˙ #œ ™ œ
J
4
bw ˙˙
? bw bb w
w b˙˙ ™™™ #˙˙
Org. ˙ Œ
{
? bw
&
bw ˙™ Œ
w
Pno.
{
&
›
&
Synth.
?
{
j
S. Sop. & ˙ Œ b˙ j Œ #œ ™ œ
bœ bœ ™ bœ ˙™ #˙
&
Choir (SA)
&
45 46 47 48
Vln. 1 & 3
Vln. 2 &
Vla. B 4
?
Vlc.
?
Cb.
298
Dracula 1m6b "Love Eternal Pt.2"
Hn. 1-4
? 3
?
Hn. 5-8
Tbn. 3-4
? 4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 3
B. D. ÷
Crot. &
4
M. Tree ÷
T.-t. ÷
bœ #œ #˙ n˙ #œ ˙
b˙ œj œ # œj œ #œj ˙ nœj ˙ # œj œ œj ˙
& 3 bœ
j
˙ Œ
Cel.
?
{
&
4 b˙ bœ #œ œ #˙ n˙ Œ #œ ˙
˙™ ˙™ ˙™
? b ˙˙ ™™ ˙™ b ˙˙ ˙™
Org. Œ
{
?
&
˙™
˙™
˙ Œ ˙™
Pno.
{
&
›
&
Synth.
?
{ bœ #œ œ #œ ˙
port. #˙ n˙ œ
S. Sop. & b˙ J ‰
&
Choir (SA)
&
49 50 51 52
Vln. 1 & 3
Vln. 2 &
Vla. B 4
?
Vlc.
?
Cb.
299
1m6b "Love Eternal Pt.2" Dracula
q = 68
Hn. 1-4
? 4 p
Ϫ Ϫ
mp
Œ œ™
p
Ϫ
mf
Œ 6
? Œ œ™ œ™ Œ
Hn. 5-8 Ϫ Ϫ
p mp p mf
Tbn. 3-4
? 4 4
B. Tbn. ? Œ Œ
Tba. bϪ Ϫ Ϫ Ϫ
p mp p mf
Cb. Tbn. ? Œ Œ
Cb. Tba.
bϪ Ϫ Ϫ Ϫ
p mp p mf
Timp.
? 4 6
B. D. ÷
Crot. &
4 4
M. Tree ÷
T.-t. ÷
˙ œ
œj ˙ œ
&
J ‰ 4 6
Cel.
?
{
& ˙ œ
J
‰ 4 4
p
b ˙˙˙ œœœ
? J ‰
Org.
{
?
&
b˙ œ
J ‰ w b˙ ™ Œ ˙™ Œ
Pno. mf f
inside - gliss. down with fingers ad lib.
?j
{
&
›
Ó ‰ ¿
“‘
°
gliss.
>¿
j ‰ Œ Ó
&
Synth.
?
{ ˙ œ
& J ‰
S. Sop.
&
Choir (SA)
&
53 54 55 56
Vln. 1 & 4 6
Vln. 2 &
Vla. B 4 4
?
Vlc.
? bœ ™ œ™ Œ œ™ œ™ Œ
Cb.
p mp p mf
300
Dracula 1m6b "Love Eternal Pt.2"
w™ œ
Hn. 1-4
? 6 p
2 J
ff
‰ Œ 4
? bw ™ œ ‰ Œ
Hn. 5-8 J
p ff
Tbn. 3-4
? 4 4 4
B. Tbn. ? j ‰ Œ
Tba.
˙™ ˙™ œ
p ff
Cb. Tbn. ? j ‰ Œ
Cb. Tba.
p
˙™ ˙™ œ
ff
Timp.
? 6 2 4
B. D. ÷ œ œ— Ó œ œ— Ó
p poco a poco cresc.
(bowed)
Crot. &
4 4 4 w bw
mp
æ æ
∏∏∏∏
M. Tree ÷ ~æ ~æ
mp
T.-t. ÷
3 3
bœ œ
& 6 2 4 3
œ bœ œ œ
J
bœ bœ bœ ˙
œ bœ œ 3 b œ bœ bœ
3
Cel. mf
?
{ ° * ° *
&
4 4 4
?
Org.
{
?
&
˙™ ˙™
Pno.
(beat 1)
?
{
›
*
œ œ œ œ
& Ó Ó
Synth. p poco a poco cresc.
?
{ mf
b˙ ˙ œ ˙ ˙
S. Sop. & bœ
&
Choir (SA)
&
57 58 59 60
w bw
Vln. 1 & 6 2 4 p
bw w
Vln. 2 &
p
w bw
Vla. B 4 4 4
p
?
Vlc.
? j
Cb. ˙™ ˙™ œ ‰ Œ
p ff
301
1m6b "Love Eternal Pt.2" Dracula
? ˙™ Œ
Hn. 1-4
p
? ˙™ Œ
Hn. 5-8
p
? Œ
Tbn. 3-4 ˙™
p
B. Tbn. ?
Tba.
˙™
p
Cb. Tbn. ? Œ
Cb. Tba.
˙™
p
? Œ
Timp. æ
˙æ™
p
B. D. ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ— Ó
mp mf
bw w w w
Crot. &
æ æ æ æ
∏∏∏∏
~æ ~æ ~æ ~æ
∏∏∏∏
M. Tree ÷
T.-t. ÷
3
3 3
3
bœ bœ
3 œ œ œ ˙ 3 bœ œ bœ bœ œ ˙
bœ œ bœ J œ œ œ œ œ œ J bœ œ
&
œ bœ 3 œ œ œ œ bœ œ œ
3 3 3
Cel.
?
{ ° * ° * ° * ° *
&
?
Org.
{
?
&
Pno.
?
{
› œ œ œ œ œ œ œ œ
& Ó Ó Ó Ó
Synth. mp mf
?
{
j bœ œ j b˙ œ
S. Sop. & œ ‰ ˙ œ ‰ bœ ˙ ˙
bœ bœ
&
Choir (SA)
&
61 62 63 64
bw w bw w
Vln. 1 &
w w w w
Vln. 2 &
w w w w
Vla. B
? Œ
Vlc. æ
˙æ™
p
? Œ
Cb. æ
˙æ™
p
302
Dracula 1m6b "Love Eternal Pt.2"
Hn. 1-4
? ˙™ Œ ˙™ Œ ˙™ Œ bw^
mp mf f ff
? ˙™ ^
Hn. 5-8 Œ ˙™ Œ ˙™ Œ w
mp mf f ff
? ^
Tbn. 3-4 Œ Œ Œ
˙™ ˙™ ˙™ #w
mp mf f ff
? ^
B. Tbn.
Tba.
˙™ ˙™ ˙™ w
mp mf f ff
? ^
Cb. Tbn. Œ Œ Œ
Cb. Tba.
˙™ ˙™ ˙™ w
mp mf f ff
? æ
Timp. æ Œ æ Œ æ Œ wæ
˙æ™ ˙æ™ ˙æ™ >
mp mf f ff
> >
B. D. ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ— Ó
f ff
bw w ˙™–
Crot. & Œ
æ æ
~æ ~æ
∏∏∏∏
M. Tree ÷
T.-t. ÷
3
3
3 bœ œ b œ œ bœ nœ ˙
& b œ bœ bœ bœ J œ œ œ
3 œ œ 3
Cel.
?
{ ° * ° *
&
?
Org.
{
?
&
Pno.
?
{
› œ œ œ œ œ œ >œ >œ
& Ó Ó Ó Ó
Synth. f ff
?
{
j bœ œ
S. Sop. & œ ‰ w ˙™ Œ
bœ
&
Choir (SA)
&
65 66 67 68
w w ˙™
Vln. 1 & Œ
&
bw w ˙™ Œ
Vln. 2
bw w ˙™
Vla. B Œ
? æ
Vlc. æ Œ æ Œ æ Œ wæ
˙æ™ ˙æ™ ˙æ™ >
mp mf f ff
? æ
Cb. æ Œ æ Œ æ Œ wæ
˙æ™ ˙æ™ ˙æ™ >
mp mf f ff
303
1m6b "Love Eternal Pt.2" Dracula
? w
Hn. 1-4
pp
? w
Hn. 5-8
pp
?
Tbn. 3-4
w
pp
B. Tbn. ?
Tba.
w
pp
Cb. Tbn. ?
Cb. Tba.
w
pp
? wæ
Timp.
pp
÷ œ œ— Ó œ— Œ Ó
B. D.
f mf
Crot. &
M. Tree ÷
T.-t. ÷
&
Cel.
?
{
&
?
Org.
{
?
&
Pno.
?
{
› œ œ œ
& Ó Œ Ó
Synth. f mf
?
{
S. Sop. &
&
Choir (SA)
&
69 70
Vln. 1 &
Vln. 2 &
Vla. B
? wæ
Vlc.
pp
? wææ
Cb.
pp
304
Dracula 1m7 "Abduction"
CONCERT SCORE Chris Heckman
q = 72
bend tone - with vibrato
Shakuhachi & 9 Ϫ
>
bœ ™ œ™
12
sffz div. a2
Horn 1-4 & æ Ó™ æ Ó™ æ Ó™
˙˙™æ™ ˙˙™æ™ ˙˙™æ™
ææ ææ ææ
p ff p ff p ff
>˙™ p
>˙™ p
>˙™ p
ff ff ff
?
Timpani j j j
œ œ œ™ ˙™ œ œ œ™ ˙™ œ œ œ™ ˙™
f
j Ϊ j Ϊ j Ϊ
Bass Drum ÷ œ œ— Ó™ œ œ— Ó™ œ œ— Ó™
f
Chimes & w™ w™ w™
w ™ w ™ w ™
> > >
f
Daiko ÷ °
scrape with metal > ord. >
Œ™ Œ™ æ Œ™ æ Œ™
Tam-tam ÷ ¿æ™ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿—™ Ó™ Ó™ Oæ™ ¿ ™— Ó™
mf f p f
Piano mf
? Ó™ Ó™ Ó™
{ j
œ œ
œ. œ
Ϫ
Ϫ
j
œ œ
œ. œ
Ϫ
Ϫ
j
œ œ
œ. œ
Ϫ
Ϫ
Big Bang Kit
› œ™ œ™ œ™
& & Œ™ Ó™ Œ™ Ó™ Œ™ Ó™
Synthesizer f
?
{ with vibrato
f
˙™ ˙™ b˙ ™ œ™ œ ˙™ ˙™
Solo Soprano & ‰
ah mf
& bœ œ œ œ œ œ œ œ œ œ œ œ
oo
Choir (SA)
mf
& bœ œ œ œ œ œ œ œ œ œ œ œ
oo
1 2 3 4
& 9 12 bœ œ œ œ œ œ œ œ œ œ œ œ
Violin 1 mf
unis.
&
& bœ œ œ œ œ œ œ œ œ œ œ œ
Violin 2
8 8 mf
unis.
&
B
Viola
B
?
Cello
?
?
˙™ œ™ ˙™ ˙™ ˙™ ˙™ ˙™ ˙™
Contrabass p mf
unis.
?
305
1m7 "Abduction" Dracula
Shak. &
? Ó™
Tbn. 3-4 æ
˙æ™
p ff
B. Tbn. ? Ó™ ‰ ‰ ‰ œ™ œ ‰ ‰ ‰
Tba. ™ bœ™ œ bœ ™ œ œ™ œ
>˙ œ™ œ > > > > œ™
>
œ
>
ff p ff p ff p ff p ff p ff p ff p
Cb. Tbn. ? Ó™ ‰ ‰ ‰ ‰ ‰ ‰
Cb. Tba.
bœ™ bœ™ œ œ™ œ œ™ œ
œ > > œ™ œ
>˙™ œ™
>
œ > > >
ff p ff p ff p ff p ff p ff p ff p
? j j j j
Timp.
œ œ œ™ ˙™ œ œ œ™ ˙™ œ œ œ™ ˙™ œ œ œ™ ˙™
j Ϊ j Ϊ j Ϊ j Ϊ
B. D. ÷ œ œ— Ó™ œ œ— Ó™ œ œ— Ó™ œ œ— Ó™
Chim. & w ™ w™ w™ w™
w ™ w ™ w ™ w ™
> > > >
Daiko ÷
æ > æ >
÷ Oæ™ ¿ ™— Œ™ Ó™ Oæ™ ¿ ™— Œ™ Ó™
T.-t.
p f p f
& bœ œ œ œ œ œ œ œ œ
œ œ œ bœœ #œœ œœ bœœ nbœœ œœ nœœ œœ œœ œœ œœ œœ bœœ #œœ œœ bœœ nbœœ œœ nœœ œœ œœ œœ œœ œœ bœœ #œœ œœ bœœ nbœœ œœ nœœ œœ œœ œœ œœ œœ
?
Org.
?
{
&
w™ ˙™ b˙™ b˙ ™ ˙™ ˙™ ˙™
Pno.
? Ó™ ‰ j œ™ ‰ j ‰
{ j
œ œ
› œ™ œ
œ
.
Ϫ
Ϫ
j
œ œ
œ. œ
Ϫ
Ϫ
bϪ
bϪ
œ
œ
bœ œ
b œ. œ
Ϫ
Ϫ Ϫ
œ
œ œ œ
œ. œ
Ϫ
Ϫ
Ϫ
Ϫ
œ
œ
Ϫ Ϫ Ϫ
& Œ™ Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Ó™
Synth.
?
{ b˙ ™ œ™ œ ˙™ bœ™ œ™ b˙ ™ ˙™ bœ™ œ™
‰ œ™ œ ‰
S. Sop. &
& bœ œ œ œ œ œ œ œ œ œ #œ œ bœ bœ œ nœ œ œ œ œ œ œ #œ œ bœ bœ œ nœ œ œ œ œ œ œ #œ œ bœ bœ œ nœ œ œ œ œ œ
œ œ œ
Choir (SA)
& bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
5 6 7 8
& bœ œ œ œ œ œ œ œ œ œ #œ œ bœ bœ œ nœ œ œ œ œ œ œ #œ œ bœ bœ œ nœ œ œ œ œ œ œ #œ œ bœ bœ œ nœ œ œ œ œ œ
œ œ œ
Vln. 1
&
& bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ
œ œ œ
Vln. 2
&
col legno
B j j j ‰ ‰
j ‰ ‰ bœ œ œ œ œj ‰ ‰ bœ œ œ œ œ ‰ ‰ œ œ œ œ œ ‰ ‰ œœœ œ œ œœœ œ œ
j ‰ ‰
œœœ œ œ
f
Vla.
unis.
B
col legno
? j j
j ‰ ‰ b œ œ œ œ œj ‰ ‰ bœ œ œ œ œ ‰ ‰ œ œ œ œ œ ‰ ‰ œœœ œ œ
j ‰ ‰ j ‰ ‰
œœœ œ œ œœœ œ œ
Vlc. f
unis.
?
?
b˙™ b˙ ™ ˙™ ˙™
˙™ ˙™ ˙™ ˙™
Cb.
?
306
Dracula 1m7 "Abduction"
Shak. &
? Ϊ
Tbn. 3-4 æ æ
˙æ™ œæ™
p ff
B. Tbn. ? Ϊ
Tba.
˙™ œ™
>
ff p
Cb. Tbn. ? Ϊ
Cb. Tba.
˙™ œ™
>
ff p
?
Timp. j
œ œ œ™ ˙™
j Ϊ
B. D. ÷ œ œ— Ó™
Chim. & w ™
w ™
> *
Daiko ÷
æ >
÷ Ó™ Oæ™ ¿ ™— Œ™ Ó™
T.-t.
p f
&
mf
?
Org.
œ
œ
bœ œ
bœ œ
J
Ϫ
œj œ™
˙™
œ
œ
bœ
bœ
˙™
bϪ
bœ ™
œ
œ
˙™
Ϫ
œj œ™ œ™
Ϫ
bœ bœ J bœ
f bœ œ œ œ bœ œ œ œ
Pno. bœ œ œ œ œ œ œ œ
? - œb œ œ œ œ - œ œ œ œ œb-œ œ œ œ -œ œ œ œ b-œb œ œ œ -œ œ œ œ -œ œ œ œ -œ œ œ œ -œ œ œ œ -œ œ œ œ -bœ œ œ œ œ - œ œ œ œ œ
Œ™ œ œ
{ j
œ œ
› œœ. ™ œ
Ϫ
Ϫ
Ϫ
Ϫ
œ
°
œ
*° * ° *° * ° *° *
&
& Œ™ Ó™
Synth.
?
{ b˙ ™ œ™ œ ‰
S. Sop. &
&
Choir (SA)
&
9 10 11 12
legato espress.
bœ ™ j
& œ j t. œ™
bœ por
œ™ œ bœ œ
J j t. Ϫ
bœpor
œ bœ port. bœ ™ œ j t. œ™
bœpor
Ϫ
f
Vln. 1
&
& ˙™ b˙ ™ b˙ ™ ˙™ b˙ ™ ˙™
mf
Vln. 2
div.
& b˙ ™ ˙™ ˙™ ˙™ ˙™ ˙™
mf
B ‰ Œ™ Ó™
Vla. >œ >œ
B
bord.
œ ™ - legatoœespress. rt. œ ™ œ™ œ bœ œ œ™ œ bœ port. b œ
™ œ œ™ œ™
? ‰ Œ™ Ó™ bœ po J bœport. J bœport.
J J J
>œ >œ f
Vlc. div.
ord.
™ - legato espress. ™
bœ œ œ™ œ™ œ bœ œ œ™ œ bœ port. b œ œ œ™ œ™
? bœ port. J bœport. J bœport.
J J J
f
? b˙ ™ b˙ ™ ˙™ ˙™
˙™ ˙™
Cb. mf
?
307
1m7 "Abduction" Dracula
Shak. &
?
Hn. 5-8
?
Tbn. 1-2
(a2)
? Ϊ gliss.
Tbn. 3-4 œ™ ˙™
mf
B. Tbn.
B. Tbn. ? Ϊ
Tba.
œ™ gliss. ˙™
mf
Cb. Tbn.
Cb. Tbn. ? Ϊ
Cb. Tba.
œ™ gliss. ˙™
mf
?
Timp.
æ >j æ
B. D. ÷ Ó™ ˙æ™ œ— ‰ ‰ Œ™ ˙æ™
p f p
Chim. &
Daiko ÷
&
?
Org.
?
{ œ
& œ
b˙ ™
bœ œ
bœ œ
J
œj
˙™
Ϫ
Ϫ
œ
œ
œ
œ
J
b˙ ™
Ϫ
Ϫ
Ϫ
Ϫ
˙™
Ϫ
Ϫ
œ
œ
œ
œ
J
b˙ ™
Ϫ
Ϫ
bϪ
bϪ
Ϫ
Ϫ
Ϫ
Ϫ
œ
œ
œ
œ
J
˙™
Ϫ
Ϫ
Ϫ
Ϫ
˙™
Ϫ
Ϫ
œ
œ
œ
œ
J
bœ
Pno.
- œ - œ - œ œ - œ - œ - œ - œ œ œ œ -bœ œ b œ œ œ - œ œ œ œ œ - œ œ œ œ œ - œ œ œ
bœ œ œ œ œ œ œ œ ? bœbœbœ œœ œ œœ œœ œ œœ œœ œ œœ œ œ bœbœbœ œœ œ œœ œœ œ œœ œ œ œ œ œ œœ œ
{
&
b œ-
b œ œ œ
œ-
œ œ œ
*°
-œ
œ œ œ
œ-
œ œ œ
* ° *° * ° *°
œ
* °
œ
*° *
› ° œ™
& Œ™ Ó™
f
Synth.
?
{ œ
f
œ™ œ™ bœ™ œœ œ™
œ™ œ ‰ œJ œ™ œ™ œ ‰ œJ œ™ œ™ œ ‰ œJ
S. Sop. & Ó™ Œ™ ‰ ‰ J J J J
(ah)
mf
b˙ ™ ˙™ b˙ ™ œ™ œ b˙ ™ ˙™
& ‰
ah
Choir (SA) mf
& ˙™ ˙™ ˙™ œ™ œ ‰ ˙™ ˙™
ah
13 14 15 16
˙™ ˙™ b˙ ™ œ™ œ™ ˙™ ˙™
& ˙™ ˙™
Vln. 2
& b˙ ™ b˙ ™ ˙™ ˙™ ˙™ b˙ ™ ˙™
˙™
(col legno)
j j j
B bœ œ œ œ œ ‰ ‰ œ œœ œ œj ‰ ‰ bœ œ œ œ œ ‰ ‰ œ œœ œ œ ‰ ‰ j ‰ ‰ œ œ œ œ œj ‰ ‰
f
œ œœ œ œ
Vla.
B
bœ œ . œ œ™ œ™ port. œ œ™ bœ™ œ™ port. œ œ œ™ œ™ port.
? œ J .
bœ port
œ™ œ port J œ™ œ
J J
œ™ œ j
J &œ
Vlc. bœ œ œ™ col legno
? œ J .
bœ port œ j j j
J ‰ bœ œ œ œ œ ‰ ‰ œ œœ œ œj ‰ ‰ bœ œ œ œ œ ‰ ‰ œ œœ œ œ ‰ ‰ j ‰ ‰ j ‰ ‰
œ œœ œ œ œœœ œ œ
? b˙ ™ ˙™ b˙ ™ ˙™ b˙ ™ œ™ œ™ ˙™ ˙™
Cb.
?
308
Dracula 1m7 "Abduction"
?
8 8 ff
Tbn. 1-2
? Ϊ gliss.
Tbn. 3-4 bœ ™ ˙™
mf a2
B. Tbn. ? Œ™ ‰ ‰
˙™ b>˙ ™ œ™ œ
Tba.
bœ™ gliss. > bœ™ œ >
˙™ f
>
mf a2
Cb. Tbn. ? Œ™ ‰ ‰
Cb. Tba. ™
bœ™ gliss. ˙™ >˙ bœ™ œ b>˙ ™ œ™
>
œ
mf f
>
? Ó™ j Ó™
Timp. æ j b>œ œ œ™
˙æ™ œ œ œ™ >
p > >
ff
>j æ >j > >j >
B. D. ÷ œ— ‰ ‰ Œ ™ Ó™ ˙æ™ œ œ— Œ™ Ó™ œ œ— Œ™ Ó™
f p ff
Chim. &
>j > >j >
÷ œ œ— Œ™ Ó™ œ œ— Œ™ Ó™
Daiko
ff
> æ >
÷ ¿ ™— Œ™ Ó™ Oæ™ ¿ ™— Œ™ Ó™
T.-t.
f p ff
Gt: Full + Reeds
& 6 12 œœ ™™ b˙˙ ™™ œœ ™™ œœ ™™ b˙˙ ™™ œœ ™™
ff
?
Org.
Ped: Full + Reeds
?
{ &
b˙ ™
Ϫ
Ϫ
bϪ
bϪ
˙™
Ϫ
Ϫ
Ϊ
8 8 œ™ œ
‰
bœ™ œ
‰ bœ ™ œ ‰ œ™ œ ‰
Pno. ff
? -bœbœ œ œ œ - œ œ œ œ œ - œ œ œ œ œ Œ ™ ‰ j ‰
{ bœ œ œ j bœ œ œ™ œ™ œ
œ œ œ™ bœ™ œ œ™
° *° * œ. >œ œ™ b>œ ™ œ b œ. >œ
> >œ ™ œ
› œ™ >œ ™ >œ ™ œ™
& Œ™ Ó™ Œ™ Œ™ Ó™ Œ™ Ó™
Synth. sfffz f poco a poco cresc.
?
{ bœ™ nœ ™
molto vibrato
ff
œ™ ˙™ b˙ ™ œ™ œ
S. Sop. & Œ™ ˙™ ‰
gliss. down approx.
(ah)
one 8ve ad lib.
p
b˙ ™ œ™ œ™ gliss. j
& ¿ ‰ ‰ Œ™
gliss. down approx.
Choir (SA) one 8ve ad lib.
p
œ™ œ™ j ‰ ‰ Œ™
& ˙™ gliss.
¿
gliss. down approx.
17 one 8ve ad lib. 18 19 20
Ϫ bϪ port. Ϫ Ϫ gliss.
& 6 ¿ ‰ ‰ Œ™
J
p
12 Ϫ
f
port. bœ ™ œ™ port. œ™ œ™ port. bœ ™ œ™ port. œ™
Vln. 1 div.
&
gliss. down approx. Ϫ port. Ϫ Ϫ port. Ϫ Ϫ port. Ϫ Ϫ port. Ϫ
one 8ve ad lib. f
&
b˙ ™ œ™ œ™ gliss.8 j
b¿ ‰ ‰ Œ
p
™ 8 œ™ port. bœ ™ œ™ port. œ™ œ™ port. bœ ™ œ™ port. œ™
f
Vln. 2 gliss. down approx.
one 8ve ad lib.
& ˙™ œ™ œ™ gliss. j ‰ ‰ Œ™
¿
p
Ϫ port. Ϫ Ϫ port. Ϫ Ϫ port. Ϫ Ϫ port. Ϫ
f
ord.
B bœ œ œ œ œj ‰ ‰ œ œ œ œ œj ‰ ‰ ˙™ port. b˙ ™ port. b˙ ™ port. ˙™ port.
f
Vla. div.
ord.
B
b˙ ™ ˙™ ˙™ port. ˙™ port.
309
1m7 "Abduction" Dracula
Shak. &
bœ™ œ™ ˙™
? œ™ bœ ™
œ™ œ
‰& ‰ ‰
Hn. 1-4 b˙ ™ œ™ œ
˙™ œ™ œ
bϪ ff
? Ϫ
œ™ ˙™ œ™ œ
Hn. 5-8
bœ ™ ‰& ‰ ‰
˙™ œ™ œ b˙ ™ œ™ œ
ff
> > > >
? ˙˙™™ ™
bb œœ™ œœ bn ˙˙ ™™ œ™
œ™ œœ
Tbn. 1-2 ‰ ‰
> > > >
f
> > > >
Tbn. 3-4
? b˙™
˙™ bœ™ œ ‰ b ˙˙™™
b œ™ œ ‰
> > > >
f
B. Tbn. ? ‰ œ™ œ ‰ ‰ œ™ œ ‰
Tba. b>˙ ™ bœ™ b>˙ ™
>˙™ œ™
>
œ >
>˙
™
>
œ >
Cb. Tbn. ? ‰ ‰ ‰ ‰
Cb. Tba.
™ b>˙ ™ œ™ œ b>˙ ™ œ™ œ
>˙ œ™
>
œ >
>˙™
bϪ
>
œ >
? j Ó™ j j j
Timp. b>œ œ œ™ æ j j
œ™ b>œ œ œ™ œ œ œ™
>œ >œ œ™ > ˙æ™ œ œ œ™ b>œ œ
> > > >
> >
p ff
>j > >j > >j > >j > >j > >j >
÷ œ œ— Œ™ Ó™ œ œ— Œ™ Ó™ œ œ— Œ™ œ œ— Œ™ œ œ— Œ™ œ œ— Œ™
B. D.
Chim. &
>j > >j > >j > >j > >j > >j >
÷ œ œ— Œ™ Ó™ œ œ— Œ™ Ó™ œ œ— Œ™ œ œ— Œ™ œ œ— Œ™ œ œ— Œ™
Daiko
æ > æ
÷ Ó™ Oæ™ ¿ ™— Œ™ Ó™ Ó™ Oæ™
T.-t.
p ff p
œ ™™ b˙˙ ™™ œœ ™™ bœœ˙˙ ™™™™
b˙˙ ™™ œœ ™™
& Ϫ
œ™ b˙˙ ™™ œœ ™™ œœ ™™ b˙˙ ™™ œœ ™™ bœ˙˙ ™™ b˙˙ ™™ ˙˙™™
Gt.
œ™ b ˙˙ ™™ œœ ™™ b œœ˙˙™™™™ b ˙˙ ™™ œœ ™™
Org.
? bœ˙˙™™™ b˙˙ ™™ ˙˙ ™™
{
?
&
œ™ œ
‰
œ™ œ
‰ bœ ™ œ ‰ œ™ œ ‰
œ™ œ
‰
bœ™ œ
‰ bœ ™ œ ‰ nœ ™ œ ‰
Pno.
? j ‰ j ‰ ‰ j ‰
{ œ œ œ™ bœ œ œ™ œ™ œ j bœ™ œ bœ œ œ™ œ™ œ
œ™ œ œ™ œ œ œ™
œ. >œ œ™ ™ b œ. >œ >œ ™ œ
b>œ ™ œ b œ. >œ œ™ >œ ™ œ
> >œ œ > œ œ
>>. >
Ϫ >
› œ™ œ™ œ™ >œ ™
& Œ™ Ó™ Œ™ Ó™ Œ™ Ó™ Œ™ Ó™
Synth. ff
?
{ ˙™ bœ™ œ™ b˙ ™ ˙™ ˙™ Ó™
S. Sop. &
f
div.˙™
b˙™ b˙™
˙™ ˙™
bb ˙™ ˙™
˙™
&
(ah)
Choir (SA) f
& ˙™ ˙™ ˙™ ˙™
(ah)
21 22 23 24
Ϫ port. bϪ Ϫ port. Ϫ Ϫ port. bϪ Ϫ port. Ϫ
s.
& Ϫ glis
port. bœ ™ œ™ port. œ™ œ™ port. bœ ™ œ™ port. œ™
Vln. 1
Ϫ port. Ϫ Ϫ port. Ϫ Ϫ port. Ϫ Ϫ port. Ϫ
s.
& glis
Ϫ port. Ϫ Ϫ port. Ϫ Ϫ port. Ϫ Ϫ port. Ϫ
& Ϫ gliss.
œ™ port. bœ ™ œ™ port. œ™ œ™ port. bœ ™ œ™ port. œ™
port. bœ ™ œ™ port. œ™ œ™ port. bœ ™ œ™ port. œ™
Vln. 2 f
& gliss.
Ϫ port. Ϫ Ϫ port. Ϫ Ϫ port. Ϫ Ϫ port. Ϫ
Ϫ port. Ϫ Ϫ port. Ϫ Ϫ port. Ϫ Ϫ port. Ϫ
f
B bw ™ ˙™ port. ˙™ ˙™ port. b˙ ™ port. b˙ ™ port. ˙™ port.
Vla.
B ˙™ ˙™ port. b˙ ™ port. ˙™ b˙ ™ ˙™ ˙™ port. ˙™ port.
? ˙™ ˙™
˙™ b˙ ™ b˙™ b˙ ™
˙™ ˙™
Vlc.
?
? ˙™ ˙™
˙™ b˙ ™ b˙™ b˙ ™
˙™ ˙™
Cb.
?
310
Dracula 1m7 "Abduction"
wild ascending runs to highest
possible note ad lib.
> >
8 > >
fff
>
˙˙ ™™
8
œ™ œœ
™
? b ˙˙ ™
œœ ™™ œœ bb ˙˙ ™™ œ™
Tbn. 1-2 ‰ ‰
> > > > > fff
> > > >
> ˙™
? ˙ ™™ bœœ ™ œœ b˙ ™™ œ™ œ
Tbn. 3-4 ™ ‰ ‰ ˙™
> > > > > fff
B. Tbn. ? ‰ ‰
b>˙ ™ œ™ œ ™
Tba.
>˙™ œ™
>
œ > >˙
fff
Cb. Tbn. ? ‰ ‰
Cb. Tba.
™ b>˙ ™ œ™ œ
>˙ >
œ™ œ > >˙™
fff
? j j j j
Timp. j b>œ œ œ™ œ œ œ™ ™ j æ
>œ œ
>
Ϫ
>œ œ
>
œ™ > > > >œ >œ œ >œ œ œ™ ˙™ œ œ œ œ™
>> ˙æ™
fff
> > p
>j > >j > >j > >j > >j > >j > >>> æ
÷ œ œ— Œ™ œ œ— Œ™ œ œ— Œ™ œ œ— Œ ™ œ œ— Œ ™ œ œ— Œ ™ Ó™ œ œ œ— Œ ™ ˙æ™
B. D.
fff p
Chim. &
>j > >j > >j > >j > >j > >j > >>> æ
Daiko ÷ œ œ— Œ ™ œ œ— Œ ™ œ œ— Œ™ œ œ— Œ ™ œ œ— Œ ™ œ œ— Œ ™ Ó™ œ œ œ— Œ ™ ˙æ™
fff p
> æ choke (beat 1) æ
÷ ¿ ™— Œ™ Ó™ Ó™ Ó™ Oæ™ Ó™ Oæ™
T.-t.
ff p fff p fff
œ ˙ ™™™ b ˙˙ ™™ œœ ™™ 18 œ ™™ bœœ ™™ ˙˙ ™™ œœœ ™™ œœœ 12
& bœ˙™ ˙˙™™ bbœ˙˙ ™™ ˙˙™™ œ™™ œ
‰
œ ™ b ˙˙ ™™ œœ ™™ œ ™ b œœ ™™ ˙˙˙ ™™™ œœœ ™™™ œœœ
? b œ˙˙ ™™™ ˙˙ ™™ bb œ˙˙™™™ ˙™ œ™ œ ‰
Org.
Pno.
{ &
œ™ œ
‰
œ™ œ
‰
8 bœ ™ œ ‰ œ™ œ ‰ œ™ œ ‰
8
? j ‰ j œ™ œ™ j
{ œ œ
œ. œ
Ϫ
Ϫ
Ϫ
™
œ
bœ œ
b œ. >œ
Ϫ
œ™ >œ ™ œ™
œ œ
œ. >œ
Ϫ
Ϫ
› >>œ ™ > >œ œ >>
Ϫ
>™
œ >œ ™ >œ ™
& Œ™ Ó™ Œ™ Ó™ Œ™ Œ™ Ó™ Œ™ Ó™
Synth. fff
?
{
S. Sop. &
(beat 7)
fff fff gliss. from lowest
random whispering ad lib. to highest pitches
b ˙˙ ™™ ˙˙ ™™ bb ˙˙™™ ˙™ ˙™ ad lib.
˙™ ˙™ ¿ ¿ ¿ ¿¿¿ ì
& _™
ah
(beat 7)
Choir (SA) gliss. from lowest
fff fff random whispering ad lib. to highest pitches
˙™ ˙™ ˙™ ˙™ ad lib.
& ˙™ ¿ ¿ ¿ ¿¿¿ ì
_™
25 26 27 28 ah(beat 7)
œ™ port. bœ™ œ™ port. œ™ œ™ port. bœ™ œ™ port. œ™ ˙™ trem. gliss. up to highest note !> ™
ææ
& 18 12 with maximum intensity ad lib.
ææ
Y™
fff sub. p ff
Vln. 1 unis.
œ™ port. œ™ œ™ port. œ™ œ™ port. œ™ œ™ port. œ™ ˙™
&
trem. gliss. up to highest note
fff
with maximum intensity ad lib. !>(beat
™ 7)
& œ
™ port. bœ ™ œ™ port. œ™ 8 œ™ port. bœ ™ œ™ port. œ™ ˙™ 8 ææ
Y™
ææ
fff sub. p ff
Vln. 2 unis.
B
˙™ ˙™ port. b˙ ™ port. ˙™ ˙™ trem. gliss. up to highest note (beat 7)
fff with maximum intensity ad lib. !> ™
? æ
b˙ ™ ˙™ ˙™ æ
˙™ ˙™ Yæ ™
fff sub. p ff
Vlc. div.
col legno
? ‰ Œ™ Ó™ ‰ Œ™ Ó™
>œ >œ œœœ
>>>
fff
trem. gliss. up to highest note (beat 7)
with maximum intensity ad lib. !> ™
? æ
b˙ ™ ˙™ ˙™ æ
˙™ ˙™ Yæ ™
fff sub. p ff
Cb. div.
col legno
? ‰ Œ™ Ó™ ‰ Œ™ Ó™
>œ >œ œœœ
>>>
fff
311
1m7 "Abduction" Dracula
1>
& J ‰ ‰ Œ™ Ó™
Shak.
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
w™
>
fff
>
÷ œ—™ Œ™ Ó™
B. D.
fff
Chim. &
>
÷ œ—™ Œ™ Ó™
Daiko
fff
choke (beat 1)
T.-t. ÷
&
?
Org.
?
{
&
Pno.
?
{
› # œ>œ ™™
& Œ™ Ó™
Synth.
?
{
S. Sop. &
1>
& J ‰ ‰ Œ™ Ó™
Choir (SA)
1>
& J ‰ ‰ Œ™ Ó™
29
1>
& J ‰ ‰ Œ™ Ó™
fff
Vln. 1
&
1>
J ‰ ‰ Œ™ Ó™
&
fff
Vln. 2
&
1>
B J ‰ ‰ Œ™ Ó™
fff
Vla.
B
1>
? J ‰ ‰ Œ™ Ó™
fff
Vlc.
? j ‰ ‰ Œ™ Ó™
>œ
>
1
? J ‰ ‰ Œ™ Ó™
fff
Cb.
? j ‰ ‰ Œ™ Ó™
>œ
312
Dracula 2m8 "Requiem"
CONCERT SCORE Chris Heckman
q = 56
Horns 1-4 & 4
Horns 5-8 &
Trombones 1-2
? 4
?
Trombones 3-4
Bass Trombone ?
Tuba
Contrabass Trombone ?
Contrabass Tuba
soft mallets
Timpani
? 4 #œ
mp
œ #˙ #œ œ #˙ œ #œ #˙ œ #œ #˙
Bass Drum ÷
& 4
mp
?
Organ
{
? 4 #œ œ #œ #œ #œ œ #œ #œ œ #œ #œ #œ œ #œ #œ #œ
&
Synthesizer
?
{
&
Choir (SA)
&
1 2 3 4
& 4
Violin 1
&
&
4
Violin 2
&
B
Viola
Cello
?
sempre legato
?
Contrabass œ #œ œ #œ #œ #œ
#œ #œ #œ #œ œ #œ #œ œ #œ #œ
mp mf
313
2m8 "Requiem" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp. œ #˙ œ #˙ #˙ #˙
#œ #œ œ #œ œ #œ
B. D. ÷
T.-t. ÷
&
?
Org.
{
?
&
#œ œ #œ #œ #œ œ #œ #œ œ #œ #œ #œ œ #œ #œ
#œ
Synth.
?
{
&
Choir (SA)
&
5 6 7 8
&
Vln. 1
&
&
Vln. 2
&
sempre legato
B #w #˙ ˙ port. #˙ ˙ port. ˙
˙
p mf f mf f
Vla. unis.
sempre legato
? #w w ˙ port. #˙ #˙ œ port. #œ
p mp mf
Vlc. unis.
?
Cb. œ #œ œ #œ #œ #œ
#œ #œ #œ #œ œ #œ #œ œ #œ #œ
314
Dracula 2m8 "Requiem"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
? ˙
Timp. œ #˙ œ #˙ #˙
#œ #œ œ #œ œ #œ
mf
B. D. ÷
T.-t. ÷
&
?
Org.
{
?
&
#œ œ #œ #œ #œ œ œ #œ œ #œ #œ #œ œ #œ #œ #œ
Synth.
?
{
&
Choir (SA)
&
9 10 11 12
&
Vln. 1
&
sempre legato
& #˙ port. #˙ port. ˙ #˙ port. #˙ port. ˙
#˙ #˙
mf f
Vln. 2 unis.
&
B ˙ #˙ port. #˙
#˙ #˙ port. #˙
mf f
? œ
Cb. œ #œ œ #œ #œ #œ
#œ #œ #œ œ #œ #œ œ #œ #œ
mf f
315
2m8 "Requiem" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp. œ #˙ œ #˙ #˙ #˙
#œ #œ œ #œ œ #œ
B. D. ÷
T.-t. ÷
&
?
Org.
{
?
&
#œ œ #œ #œ #œ œ #œ #œ œ #œ #œ
nœ œ #œ #œ
#œ
Synth.
?
{ div.
mp
‰ ‰ ‰
& #œ œ #n œœ ™™ #œ œ #n œœ ™™ #œ #œ ##˙˙ #œ #œ #œ™
Ϫ
oo
Choir (SA) div.
mp
& ‰ ‰ ‰
˙˙
# œ˙ nœ ˙˙ # œœ ™™
# ˙˙ ## œ™
œ™ # ˙˙ ## œ™
Ϫ
oo
13 14 15 16
sempre legato
& #œ ˙ ˙ #œ #œ #˙ #œ #œ ˙
œ #œ œ
f ff
Vln. 1 unis.
&
& #œ œ ˙ ˙ ˙ ˙ œ nœ ˙ ˙
Vln. 2
&
B ˙ ˙ ˙ ˙ #˙ ˙ #˙
#˙
mf f
Vla. unis.
B ˙ #˙ ˙ #˙
? #˙ #˙ #˙ #˙ œ #œ #˙ #œ #œ ˙
Vlc.
?
?
Cb. œ #œ œ #œ #œ #œ
#œ #œ #œ #œ œ #œ nœ œ #œ #œ
316
Dracula 2m8 "Requiem"
Tbn. 1-2
? 4 4
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? œ
œ #˙ œ #œ #˙ #œ œ ˙ 2 #˙
4
B. D. ÷
& 2 4
?
Org.
{
? œ
#œ #œ #œ #œ #œ œ œ
4 #œ
4
œ #œ œ œ #œ
&
Synth.
?
{
j j j j j j
& #œ˙ #œ #œ #œ ™™ ‰ #œ˙ #œ œ #œ ™™ ‰ #œw #œ œ œ œ #œœ™™ #Jœ ™ ≈
Choir (SA)
& ˙ ‰ ‰ ≈
## œœ™™ ## œœ™™ # œ ™™™™
˙ ˙˙ ˙w #œ nœ
17 18 19 20
j j j j j j 2 4
& œ #œ #œ #˙ œ #œ #œ #˙ œ #œ œ œ œ #˙
f ff
Vln. 1
&
& ˙ #˙ #˙ #˙ #w
4 œ #œ
4
mf f
Vln. 2 div.
& ˙ ˙ #œ nœ
#˙ #˙
mf f
B ˙ #˙ ˙ #˙ w #˙
mf f
Vla.
? œ #œ #˙ #œ œ #˙ #œ œ #œ
˙ #œ
mf f
Vlc.
?
div. œ
? œ œ #œ œ #œ #œ #œ #œ œ œ #œ
Cb. #œ #œ œ œ #œ
œ #œ #œ œ #œ #œ #œ œ #œ #œ
mf ff
317
2m8 "Requiem" Dracula
Tbn. 1-2
? 4 4
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 4 #œ
f
œ b˙ #œ nœ b˙ œ
#œ #˙ œ
#œ #˙
2
B. D. ÷
Tub. B. &
4 #w–
#w
4
>—
f
T.-t. ÷
& 4 2
?
Org.
{
? 4 #œ œ bœ #œ nœ bœ œ
#œ nœ œ
#œ œ
4
œ œ #œ #œ
&
Synth.
?
{ mf
Choir (SA) mf
& ‰ œœ œ˙ #œ œ˙
# ˙˙ n œœ ™™ # ˙˙ ™ nœ #n˙˙ #œ #n˙˙
21 22 23 24
& 4 ˙
mf
port. n˙
f
#˙ port. nœ port. œ œ #˙ ™ œ #œ ˙™ #œ #œ 2
Vln. 1
&
&
4 ˙ ˙ ˙™ œ œ #œ n˙ #˙ #˙
4
mf f fff mf
Vln. 2 unis.
&
œ ˙ œ #œ n˙
B #˙ port. n˙ #˙ port. nœ #˙
mf f fff
Vla.
port. port. œ œ #˙ ™ œ #œ ˙™ #œ #œ
? #˙ n˙ #˙ nœ
mf f
Vlc.
?
? #œ œ bœ #œ nœ bœ œ nœ œ œ
Cb. œ œ œ #œ #œ œ #œ #œ
#œ œ bœ #œ nœ bœ #œ nœ #œ œ
œ œ #œ #œ
f ff f
318
Dracula 2m8 "Requiem"
Tbn. 1-2
? 4 4
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 2 #˙
4 #œ œ #˙ #œ œ b˙
œ #œ #˙
B. D. ÷
Tub. B. &
4 4 #w—
>
ff
T.-t. ÷
& 2 4
?
Org.
{
? 4 #œ #œ
4 #œ œ #œ #œ #œ œ bœ nœ œ #œ #œ nœ
&
Synth.
?
{
œ ‰ ‰ j j
& œ #œ ˙ #œœ ™™ ˙ bnœ™ ˙œ #œ #œ #˙˙
Choir (SA)
& ‰ ‰
##œœ ## œœ ##˙˙ œ™
## œ™ ##˙˙ nnœœ™™ ˙™
˙ #˙ œ
25 26 27 28
œ œ #œ #œ ˙
& 2 f
œ œ #œ 4 ˙
mf f
˙ #œ
f
J
œ œ
J
nœ port.
J
ff
J
Vln. 1 div.
œ port. œ œ #œ #œ ˙
& #œ œ nœ J J
J J
f ff
&
4 #œ
4 ˙ #˙ w ˙ #˙
#œ
f mf f
Vln. 2
&
b˙ n˙ œ œ
B #œ #œ #˙ #˙ #˙
f mf f mf fff
Vla.
œ œ #œ #œ œ œ #˙ #œ œ œ n˙ j
? J J J J j
& œ #œ #œ ˙
f fff ff fff
Vlc. div.
#œ œ œ n˙ ˙ ˙
? J J
ff mf f
? #œ #œ #œ œ #œ #œ #œ œ bœ nœ œ #œ #œ
Cb. #œ #œ œ #œ #œ œ bœ nœ #œ #œ nœ
#œ #œ œ nœ
ff f ff
319
2m8 "Requiem" Dracula
a4 poco rall.
Hn. 1-4 & ≈ ≈ #˙ #œ ™™ ≈
#˙ # œ ™™ #˙ œ™™
mf f f ff
a4
Hn. 5-8 & ≈ ≈ #˙ #œ ™™ ≈
#˙ # œ ™™ #˙ œ™™
mf f f ff
a2 #˙ # œ ™™
#˙ œ ™™ #˙ œ ™™
? ≈ ≈ ≈
Tbn. 1-2
mf f f ff
? #˙˙ ##œ™™
œ™™ ≈ #n˙˙ ##œ™™
œ™™
#˙
≈ n˙ #œœ™™™™ ≈
Tbn. 3-4
mf f f ff
a2
B. Tbn. ? #œ j ≈ #œ j ≈ #œ j ≈
Tba. œ #œ #œ ™ œ #œ #œ ™ œ #œ #œ ™
mf f
a2
Cb. Tbn. ? ≈ ≈ ≈
Cb. Tba. j j j
#œ œ #œ #œ œ #œ #œ œ #œ
#œ ™ #œ ™ #œ ™
mf f
? #œ #œ #œ
Timp. #˙ œ #œ œ #œ œ #œ
œ #œ #œ #œ #œ
mf f
B. D. ÷
Tub. B. & #w #w #w
f
T.-t. ÷
&
mf
?
Org.
{
?
&
œ #œ #œ #œ
#œ œ #œ #œ
#œ œ #œ #œ
#œ œ #œ #œ
Synth.
?
{ f
j œœ™™ #˙ ##œ™
Ϫ
& #œj˙ #œ œ ##œœ ™™ ‰ #˙ #œœ ™™ ‰ #˙ ‰ ‰
Choir (SA) f
‰ ‰ ‰ #˙˙ #œœ™™ ‰
& ˙
˙ # œœ ™™ #˙˙ ##œœ ™™ #˙˙ ##œœ ™™
29 30 31 32
port. ˙ #˙ port. #˙
#œ #œ œ œ port. #œ ˙ ˙ ˙
& J J
f mf f f ff
Vln. 1 #˙ port. #˙
#œ #œ œ #˙ port. #˙ port. #˙ #˙ ˙
& J J
f mf f f ff
#œ #˙ ˙ port. #˙ ˙ ˙ #˙ ˙
™
& nœ J
mf f f ff
Vln. 2 div.
#˙ port. #˙ #˙ port. #˙ ˙ ˙
&
mf f f ff
œ™ œ #˙ ˙ ˙ ˙ ˙ #˙ port. #˙
B J
mf f f ff
Vla. div.
˙ port. #˙ ˙ port. #˙ ˙ ˙
B
mf f f ff
j
& #œj #œ œ ˙ #˙ port. #˙ #˙ port. #˙ #˙ port. #˙
ff mf f f ff
Vlc.
˙ #˙ #˙ port. #˙ #˙ port. #˙ #˙ port. #˙
?
f ff
? œ #œ #œ #œ œ #œ #œ œ #œ #œ œ #œ
Cb. #œ #œ #œ #œ #œ #œ #œ
œ #œ #œ œ #œ #œ œ #œ #œ œ #œ #œ
#œ
f ff
320
Dracula 2m8 "Requiem"
q = 48
Hn. 1-4 & œ™™ #œ œ#˙
f fff
? n# w
˙ #˙
Tbn. 3-4
f fff
B. Tbn. ? #œ
Tba. - œ- #-œ # œ-
fff
Cb. Tbn. ?
Cb. Tba.
# œ- œ- # œ- # œ-
fff choke (beat 1)
? #œ
Timp.
> >œ #>œ #>œ #˙ ˙ #˙ #˙
fff p
÷ œ— Œ Ó œ— Œ Ó œ— Œ Ó
B. D.
f mp
choke (beat 1)
Tub. B. & #w #w—
> mp
fff
æ >* °
T.-t. ÷ Ó Oæ ¿— Œ Ó
f fff
&
sub. p
?
Org.
{
? #œ
&
œ #œ #œ
›
&
#w
Big Bang Kit
>œ
Œ Ó
˙
œ
Œ
˙
Ó
#˙
œ
Œ
#˙
Synth. fff mf
?
{ div. a3
fff
˙ # ˙˙˙
&
Choir (SA) fff
#˙
& #˙ ##˙˙
33 34 35 36
˙ port. #˙
&
f fff
Vln. 1 div.
w˙ a3 port. #˙
&
f fff
#˙ port. #˙
&
f fff
Vln. 2
#˙ port. #˙
&
f fff
#˙ port. #˙
B
#w port. #˙ port. ˙
f fff mp mf
Vla. unis.
w
B
f fff
?
& #˙ port. #˙ #˙ port. ˙ port. #˙ port. port.
#˙
f fff p
Vlc. unis.
? #˙
port. #˙
mf fff
- - - - unis.
? ##œœ œ #œ #œ
Cb. œ #œ port. ˙ port. #˙ port. port.
#œ #w ˙ #˙
- - - - fff sub. p
321
2m8 "Requiem" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
#w w
mp
÷ œ— Œ Ó œ— Œ Ó œ— Œ Ó
B. D.
f
Tub. B. & #w
*
T.-t. ÷
&
?
Org.
{
?
›
&
#w
œ
Œ Ó
w
œ
Œ Ó
œ
Œ Ó
Synth. f
?
{
&
Choir (SA)
&
37 38 39
#O ™ Oœ ~w
& # æ˙ ™
æ ææ
ppp mf ppp
Vln. 1
™ ~w
& nnæO˙ ™ Oœ
æ ææ
ppp mf ppp
ææ ææ
& #˙O ™™ œO w~
ppp mf ppp
Vln. 2
æ ææ
& ##˙Oæ™™ œO w~
ppp mf ppp
B
˙™ port. #œ w
Vla. mf ppp
?
#w w
Vlc. mp ppp
?
Cb.
#w w
mp ppp
322
Dracula 2m9 "Transformation"
CONCERT SCORE Chris Heckman
q = 124
Shakuhachi & 4
Horn 1-4 &
?
Trombone 3-4
Bass Trombone ?
Tuba
Contrabass Trombone ?
Contrabass Tuba
> >
Bass Drum ÷ 4 œ œ—
p poco a poco cresc.
Ó œ
mp
œ— Ó
Daiko ÷
4 >
œ œ— Ó
>
œ œ— Ó
p poco a poco cresc. mp
Shaker ÷
& 4
Piano
?
{4
&
p poco a poco cresc. mp
Synthesizer
Metal Bridge
?
{ œ
Œ Ó
œ
Œ Ó
&
Choir (SA)
&
1 2 3 4
Violin 1 & 4
Violin 2 &
Viola B
4
?
Cello
?
?
Contrabass
323
2m9 "Transformation" Dracula
Shak. &
?
Hn. 1-4 &
?
Hn. 5-8 &
a2
? Ó æ
Tbn. 1-2 ˙æ gliss.
mf
a2
? Ó
Tbn. 3-4 æ
# ˙æ gliss.
mf
B. Tbn. mf
B. Tbn. ? Ó
Tba. æ
# ˙æ gliss.
Ó
Cb. Tbn. mf
Cb. Tbn. ? Ó
Cb. Tba. ææ
#˙ gliss.
Ó
> > > > æ
B. D. ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ ˙æ
mf fff p
Bell P. &
Shk. ÷
Tub. B. &
?
&
Pno.
?
{
&
Synth. f fff
?
{ >œ
Œ Ó
& ¿ ¿ ¿ ¿ ì
& ¿ ¿ ¿ ¿ ì
5 6 7 8
Vln. 1 &
Vln. 2 &
Vla. B
Vlc.
?
Cb.
324
Dracula 2m9 "Transformation"
Shak. &
3-4
? bœj ‰ Œ Œ ‰ œ
j
bœ.
j ‰ Œ Œ ‰ œ
j
&
Hn. 1-4
>. >. > >.
ff
div. a2
? j ‰ Œ Œ ‰ j j ‰ Œ Œ ‰ j &
Hn. 5-8
œœ œœ œœ œœ
>. >. >. >.
ff
? bœj ‰ Œ Œ ‰ j
œ gliss. ¿j ‰ Œ Ó bœ.
j ‰ Œ Œ ‰ j
œ gliss. ¿j ‰ Œ Ó
Tbn. 1-2
>. > > >
ff
? j ‰ Œ Œ ‰ j j ‰ Œ Ó j ‰ Œ Œ ‰ j j ‰ Œ Ó
Tbn. 3-4
œ œ gliss. # ¿ œ œ gliss. # ¿
>. > >. >
ff
ff + Tba.
? > .j > ‰ Œ Ó >. > ‰ Œ Ó
B. Tbn. ‰ Œ Œ ‰ j j ‰ Œ Œ ‰ j
Tba. œœ œœ gliss. # ¿j œœ œœ gliss. # ¿j
J. J ∑ J. J ∑
> >. > >.
ff
ff + Cb. Tba.
? > .j > ‰ Œ Ó >. > ‰ Œ Ó
Cb. Tbn. ‰ Œ Œ ‰ j j j ‰ Œ Œ ‰ j j
Cb. Tba.
œJ œJ gliss. # ¿ œJ œJ gliss. # ¿
.> .> ∑ .> .> ∑
ff
> >j > >j
B. D. ÷ œ œ œ— ‰ œ— Œ œ œ œ œ œ œ— ‰ œ— Œ œ œ œ
ff f fff f sim.
Bell P. &
>æ æ
Shk. ÷ wæ ˙æ Ó
sffz p
Tub. B. &
? bœj ‰ Œ Œ ‰ œœ
j
bœ
j ‰ Œ Œ ‰ œœ
j
b œœ. œ. b œœ. œ.
Pno.
> > > >
ff
? j j j j
{ œœœ
>
“‘
.
‰ Œ Œ ‰
œœœ
>.
œœœ
>.
‰ Œ Œ ‰
œœœ
>.
&
Synth.
?
{ gliss. from lowest to highest pitches ad lib.
pp
& _
ah
Choir (SA) gliss. from lowest to highest pitches ad lib.
pp
& _
ah
9 10 11 12
bsul
w E - slow trem. gliss. up gliss.
Vln. 1 & æ
Vla. B
? bœj ‰ Œ Œ ‰ j j ‰ Œ Œ ‰ j
œ bœ. œ
>. >. > >.
ff
Vlc. unis.
?
? œj ‰ Œ Œ ‰ œœ
j
œœ
j
‰ Œ Œ ‰ œœ
j
Cb. œ
>. >. >. >.
ff
325
2m9 "Transformation" Dracula
q = 123
Shak. &
a4
æ æ æ
Hn. 1-4 & ææ Œ
˙æ™
Œ bwæ ˙™æ Œ
˙™
p ff p ff p ff
a4
Œ æ Œ æ æ Œ
Hn. 5-8 & ææ
˙™ ˙æ™ wæ ˙æ™
p ff p ff p ff
a2
? ææ Œ ˙™ Œ w ˙™ Œ
Tbn. 1-2 ˙™ ææ ææ ææ
p ff p ff p ff
a2
? ææ Œ ˙™ Œ w ˙™ Œ
Tbn. 3-4 ˙™ ææ ææ ææ
p ff p ff p ff
a2
B. Tbn. ? Œ æ Œ æ æ Œ
Tba. ææ ˙æ™ wæ ˙™æ
˙™
p ff p ff p ff
a2
Cb. Tbn. ? Œ æ Œ æ æ Œ
Cb. Tba. ææ ˙æ™ wæ ˙™æ
˙™
p ff p ff p ff
> >j > >j
÷ œ œ œ— ‰ œ— Œ œ œ œ œ œ œ— ‰ œ— Œ œ œ œ
B. D.
ff
Bell P. &
>æ æ
Shk. ÷ wæ ˙æ Ó
sffz p
Tub. B. &
Pno.
?
{
&
Synth.
?
{ ff
1>
& J ‰ Œ Ó
Choir (SA) ff
1>
& J ‰ Œ Ó
13 14 15 16
“>”
œ
J ‰ Œ Ó
Vln. 1 &
ff
“>”
œ
Vln. 2 & J ‰ Œ Ó
ff
Vla. B
Vlc.
?
Cb.
326
Dracula 2m9 "Transformation"
Shak. &
div.
æ a2
Œ æ Œ ˙™ Œ wæw
Hn. 1-4 & ææ ˙æ™ ææ ææ
n˙ ™
p ff p ff p ff p
div. a2
æ æ æ
Hn. 5-8 & ææ Œ ˙æ™ Œ #˙æ™ Œ wæ
##w
˙™ ææ
p ff p ff p ff p
? ˙™ Œ ˙™ Œ #˙ ™ Œ #w
Tbn. 1-2 ææ ææ æ
p ff p ff p ff p
ææ
æ æ æ
Tbn. 3-4
?
˙™æ Œ ˙™æ Œ ˙æ™ Œ æ
#wæ
p ff p ff p ff p
B. Tbn. ? æ Œ Œ Œ
Tba. ˙æ™ æ æ ææ
˙æ™ ˙™æ #w
p ff p ff p ff p
Cb. Tbn. ? æ Œ Œ Œ
Cb. Tba. ˙æ™ æ æ ææ
˙æ™ ˙™æ #w
p ff p ff p ff p
> >j > >j
÷ œ œ œ— ‰ œ— Œ œ œ œ œ œ œ— ‰ œ— Œ œ œ œ
B. D.
Bell P. &
>æ æ
Shk. ÷ wæ ˙æ Ó
sffz p
Tub. B. &
Pno. f
inside - violent gliss. with fingers
?
{ Ó Œ ‰
¿
j
“‘
&
Synth.
?
{
pp
&
_
Choir (SA)
pp
& _
17 18 19 20
trem. random high pitches
¿ ¿ ¿ ¿ (beat 4)
Vln. 1 & æ æ æ æ ìŒ
f
trem. random high pitches
¿ ¿ ¿ ¿ (beat 4)
Vln. 2 & æ æ æ æ ìŒ
f
trem. random high pitches
¿ ¿ ¿ ¿ (beat 4)
Vla. B æ æ æ æ ìŒ
f
Vlc.
?
Cb.
327
2m9 "Transformation" Dracula
overblown rhythmic flutters ad lib.
˙™ œ œ œ œ œ w œ œ
Shak. & æ æ J ‰ Ó
ff mf ff ff
>j
Hn. 1-4 & œœJ ‰ Œ Ó
>
fff
>j
Hn. 5-8 & œœ ‰ Œ Ó
J
>
fff
? >œ ‰ Œ Ó
Tbn. 1-2
J
fff
? j ‰ Œ Ó
Tbn. 3-4 œ
>
fff
B. Tbn. ? j ‰ Œ Ó
Tba.
œ
>
fff
Cb. Tbn. ?
Cb. Tba. j ‰ Œ Ó
œ
>
fff
> >j > >j
÷ œ œ œ— ‰ œ— Œ œ œ œ œ œ œ— ‰ œ— Œ œ œ œ
B. D.
ff
Bell P. &
>æ æ
Shk. ÷ wæ ˙æ Ó
sffz p
Tub. B. &
Pno. ff sim.
? j j ss. ¿j
{ :“;
>¿
‰ Œ Ó Ó Œ ‰
¿ gli >
‰ Œ Ó Ó Œ ‰ j ss.
¿ gli
&
Synth.
?
{ ff
1>
& J ‰ Œ Ó
Choir (SA) ff
1>
& J ‰ Œ Ó
21 22 23 24
≥ ≤ ≥ ≤ sim.
Vln. 1 & œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. nœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ.
. œ. œ.
ff
≥ ≤ ≥ ≤ sim.
Vln. 2 & #œ œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. #œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. n œ.
. œ. b œ.
ff
≥ ≤ ≥ ≤ sim.
Vla. B #œ œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ. #œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. nœ. bœ.
. œ.
ff
≤ ≤ œ. bœ. sim.
? nœ. œ. œ. œ. œ≥. œ. œ. œ≥. œ. œ. œ. œ. œ. #œ. nœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. œ.
Vlc. ff
?
Cb.
328
Dracula 2m9 "Transformation"
q with
= 124
˙vibrato slow 1/2 trill ad lib. ÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍÍ
œj ˙ œj #˙ w w
#˙
Shak. &
ff
? Ó æ
Tbn. 1-2 ˙æ gliss.
mf
? Ó
Tbn. 3-4 æ
# ˙æ gliss.
mf
mf
B. Tbn. ? Ó
Tba. æ
# ˙æ gliss.
Ó
mf
Cb. Tbn. ? Ó
Cb. Tba. ææ
#˙ gliss.
Ó
> >j > >j
÷ œ œ œ— ‰ œ— Œ œ œ œ œ œ œ— ‰ œ— Œ œ œ œ
B. D.
Bell P. &
>æ æ
Shk. ÷ wæ ˙æ Ó
sffz p
Tub. B. &
Pno.
? j
{ ‰ Œ Ó Ó Œ ‰ j iss. ¿j ‰ Œ Ó Ó Œ ‰ j ss.
:“;
>¿ ¿ gl > ¿ gli
&
Synth.
?
{
pp
& _
Choir (SA)
pp
& _
25 26 27 28
Vlc.
?
Cb.
329
2m9 "Transformation" Dracula
Shak. &
a4
Hn. 1-4 & ˙ #œ #˙ n˙ Œ œ #œ #˙ nœ
œ œ œ
ff
a4
Hn. 5-8 & ˙ #œ #˙ n˙ Œ œ #œ #˙ nœ
œ œ œ
ff
? bœj ‰ Œ Œ ‰ j
œ gliss. ¿j ‰ Œ Ó j ‰ Œ Œ ‰ j
œ gliss. ¿j ‰ Œ æ
Tbn. 1-2
>.
bœ.
> ˙æ gliss.
> > mf
ff
? j ‰ Œ Œ ‰ j ‰ Œ Ó j ‰ Œ Œ ‰ j ‰ Œ
Tbn. 3-4
œ gliss. # ¿j œ gliss. # ¿j æ
œ
>. >
œ
>. > ˙æ gliss.
ff mf
ff mf
B. Tbn. ? >.j ‰ Œ Œ ‰
>
j ‰ Œ Ó >.
j ‰ Œ Œ ‰
>
j ‰ Œ
œœ gliss. # ¿j œœ gliss. # ¿j æ
Tba. œœ œœ ˙æ gliss.
J J ∑ J J ∑
>. >. >. >.
ff
ff mf
Cb. Tbn. ? >.j ‰ Œ Œ ‰
>
j j ‰ Œ Ó >.
j ‰ Œ Œ ‰
>
j j ‰ Œ
Cb. Tba. ææ
œJ œJ gliss. # ¿ œJ œJ gliss. # ¿ ˙ gliss.
>. .> ∑ .> .> ∑
ff
> >j > >j
÷ œ œ œ— ‰ œ— Œ œ œ œ œ œ œ— ‰ œ— Œ œ œ œ
B. D.
ff
Bell P. &
>æ æ
Shk. ÷ wæ ˙æ Ó
sffz p
Tub. B. &
Pno.
? j j ss. ¿j
{ :“;
>¿
‰ Œ Ó Ó Œ ‰
¿ gli >
‰ Œ Ó Ó Œ ‰ j ss.
¿ gli
&
Synth.
?
{ ff
1>
& J ‰ Œ Ó
Choir (SA) ff
1>
& J ‰ Œ Ó
29 30 31 32
. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. bœ.
? œ
ff
Vlc. div.
? bœj ‰ Œ Œ ‰ œ
j
bœ.
j ‰ Œ Œ ‰ œ
j
>. >. > >.
? œj ‰ Œ Œ ‰ œœ
j
œœ
j
‰ Œ Œ ‰ œœ
j
Cb. œ
>. >. >. >.
ff
330
Dracula 2m9 "Transformation"
q = 123
Shak. &
? bœj ‰ Œ Œ ‰ j
œ gliss. ¿j ‰ Œ Ó bœ.
j ‰ Œ Œ ‰ j
œ gliss. ¿j ‰ Œ Ó
Tbn. 1-2
>. > > >
ff
? j ‰ Œ Œ ‰ j ‰ Œ Ó j ‰ Œ Œ ‰ j ‰ Œ Ó
Tbn. 3-4
œ œ gliss. # ¿j œ œ gliss. # ¿j
>. > >. >
ff
ff
B. Tbn. ? >.j ‰ Œ Œ ‰
>
j ‰ Œ Ó >.
j ‰ Œ Œ ‰
>
j ‰ Œ Ó
Tba. œœ œœ gliss. # ¿j œœ œœ gliss. # ¿j
J J. ∑ J. J. ∑
>. > > >
ff
ff
Cb. Tbn. ? >.j ‰ Œ Œ ‰
>
j j ‰ Œ Ó >.
j ‰ Œ Œ ‰
>
j j ‰ Œ Ó
Cb. Tba.
œJ œJ gliss. # ¿ œJ œJ gliss. # ¿
>. >. ∑ >. >. ∑
ff
> >j > >j
÷ œ œ œ— ‰ œ— Œ œ œ œ œ œ œ— ‰ œ— Œ œ œ œ
B. D.
Bell P. &
>æ æ
Shk. ÷ wæ ˙æ Ó
sffz p
Tub. B. &
Pno.
? j j ss. ¿j
{ :“;
>¿
‰ Œ Ó Ó Œ ‰
¿ gli >
‰ Œ Ó
&
Synth.
?
{
&
Choir (SA)
&
33 34 35 36
. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. # œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. bœ.
? œ
Vlc.
? bœj ‰ Œ Œ ‰ j j ‰ Œ Œ ‰ j
œ bœ. œ
>. >. > >.
? œj j j j
Cb. œ ‰ Œ Œ ‰ œœ œœ ‰ Œ Œ ‰ œœ
>. >. >. >.
331
2m9 "Transformation" Dracula
Shak. &
æ
Hn. 1-4 & n˙æ™ Œ
æ
Hn. 5-8 & n˙æ™ Œ
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Bell P. &
Shk. ÷
Tub. B. &
Pno.
?
{ Ensemble Crashes
& œ Œ Ó œ Œ Ó #œ Œ Ó
?
{ °
&
Choir (SA)
&
37 38 39 40
Vlc.
?
Cb.
332
Dracula 2m9 "Transformation"
Shak. &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Bell P. &
Shk. ÷
Tub. B. &
Pno.
?
{
œ #œ œ
& œ Œ Ó Œ Ó Œ Ó Œ Ó
Synth.
?
{
&
Choir (SA)
&
41 42 43 44
(beat 3)
æ Y
Vln. 1 & Yæ Yæ æ
æ
(beat 3)
æ æ
Vln. 2 & Yæ æ Yæ
Yæ
(beat 3)
æ
B Yæ æ Y
Vla.
Yæ ææ
Vlc.
?
Cb.
333
2m9 "Transformation" Dracula
pitch bend non vibrato overblow to produce harmonic
b ˙o wo
Shak. & ˙ bO ~
p f
? æ j æ
Hn. 1-4 & wæ port. bœ ‰ Œ Ó wæ port.
? æ j æ
Hn. 5-8 & wæ port. bœ ‰ Œ Ó wæ port.
? æ j æ
Tbn. 1-2 wæ port. bœ ‰ Œ Ó wæ port.
? æ j æ
Tbn. 3-4 wæ port. bœ ‰ Œ Ó wæ port.
dampen
Bell P. & Œ Ó Œ Ó
œ œ
mf
> > > > > > > >
Daiko ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
poco a poco cresc.
Shk. ÷
Tub. B. &
Pno.
?
{
bœ Œ Ó Œ Ó Œ Ó Œ Ó
& œ œ #œ
Synth. mf
?
{
&
Choir (SA)
&
45 46 47 48
sul
Y E (beat 3)
æ ¿ ææ Y
Vln. 1 & Y™æ J ‰ æ
mf
sul A (beat 3)
Y æ
Vln. 2 & Y™æ ¿
J ‰ ææ Yæ
mf
sul
Y D (beat 3)
B Y™æ ¿ ‰ ææ Y
Vla. J ææ
mf
Vlc.
?
Cb.
334
Dracula 2m9 "Transformation"
œo wo
‰ Œ Ó ˙o
Shak. & OJ ˙ O ~
p p f
? bœj æ j æ
Hn. 1-4 ‰ Œ Ó wæ port. bœ ‰ Œ Ó wæ port.
mp
? bœj æ j æ
Hn. 5-8 ‰ Œ Ó wæ port. bœ ‰ Œ Ó wæ port.
mp
? bœj æ j æ
Tbn. 1-2 ‰ Œ Ó wæ port. bœ ‰ Œ Ó wæ port.
mp
? bœj æ j æ
Tbn. 3-4 ‰ Œ Ó wæ port. bœ ‰ Œ Ó wæ port.
mp
B. Tbn. ? j ‰ Œ Ó j ‰ Œ Ó
Tba. œ w œ w
mp
Cb. Tbn. ? j ‰ Œ Ó j ‰ Œ Ó
Cb. Tba.
œ w œ w
mp
> >j > >j
÷ Œ œ œ œ œ œ œ— ‰ œ— Œ œ œ œ œ œ œ— ‰ œ—
B. D.
Bell P. & Œ Ó Œ Ó
œ œ
> > > > > > > >
Daiko ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Shk. ÷
Tub. B. &
Pno.
?
{
œ #œ œ
& œ Œ Ó Œ Ó Œ Ó Œ Ó
Synth.
?
{
&
Choir (SA)
&
49 50 51 52
Y Y
Y Y
æ æ ææ
Vln. 1 & ææ
Y Y Y
Vln. 2 & æ Y ææ ææ
ææ
Y Y Y
B æ Y ææ ææ
Vla. ææ
Vlc.
?
Cb.
335
2m9 "Transformation" Dracula
o
œ
Shak. & O ‰ Œ Ó
J
p
? bœj æ æ
Hn. 1-4 ‰ Œ Ó wæ port. bœ ‰ Œ Ó wæ port.
J
mf
? bœj æ j æ
Hn. 5-8 ‰ Œ Ó wæ port. bœ ‰ Œ Ó wæ port.
mf
? bœj æ j æ
Tbn. 3-4 ‰ Œ Ó wæ port. bœ ‰ Œ Ó wæ port.
mf
+ Cb. Tba.
B. Tbn. ? j ‰ Œ Ó j
Tba. œ w port. bœœ ‰ Œ Ó w port.
J
mf
+ Cb. Tba.
Cb. Tbn. ? j ‰ Œ Ó j ‰ Œ Ó
Cb. Tba.
œ w port. b œœ w port.
J
mf
> >j > >j
÷ Œ œ œ œ œ œ œ— ‰ œ— Œ œ œ œ œ œ œ— ‰ œ—
B. D.
mf mp f mp sim.
l.v.
Bell P. &
w— w—
f
> > > > > > > >
Daiko ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mf mp f mp sim.
Shk. ÷
Pno.
?
{
bœ Œ Ó Œ Ó œ Œ Ó #œ Œ Ó
& œ
Synth. f
?
{
&
Choir (SA)
&
53 54 55 56
(beat
¿ 4)
gliss. up m3 approx. range ad lib. (beat 3)
& J ‰ j ‰ Œ
Vln. 1
b>¿ b>Y
>Y
mfp mf sim.
(beat
¿ 4) gliss. up m3 approx. range ad lib. (beat 3)
J ‰ ‰ Œ
Vln. 2 & j
b>¿
>Y >Y
(beat mfp mf sim.
¿ 4) gliss. up m3 approx. range ad lib. (beat 3)
B J ‰ j ‰ Œ
Vla.
b>¿
>Y #>Y
mfp mf sim.
Vlc.
?
Cb.
336
Dracula 2m9 "Transformation"
Shak. &
? bœ ‰ Œ Ó æ j ‰ Œ Ó æ
Hn. 1-4 &
J wæ port. bœ wæ port.
w port. bœ w port.
? bœj ‰ Œ Ó ææ J ‰ Œ Ó ææ
Hn. 5-8
f
? œ ‰ Œ Ó #w port. œ ‰ Œ Ó #w port.
Tbn. 1-2 J ææ J ææ
f
? bœj æ j æ
Tbn. 3-4 ‰ Œ Ó wæ port. bœ ‰ Œ Ó wæ port.
Cb. Tbn. ? j ‰ Œ Ó j ‰ Œ Ó
Cb. Tba.
b œœ w port. b œœ w port.
J f J
> >j > >j
÷ Œ œ œ œ œ œ œ— ‰ œ— Œ œ œ œ œ œ œ— ‰ œ—
B. D.
Bell P. &
w— w—
> > > > > > > >
Daiko ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Shk. ÷
Tub. B. &
w— w—
Pno.
?
{
œ #œ œ
& œ Œ Ó Œ Ó Œ Ó Œ Ó
Synth.
?
{
&
Choir (SA)
&
57 58 59 60
Vlc.
?
Cb.
337
2m9 "Transformation" Dracula
Shak. &
Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Hn. 1-4 & bœj ‰ Œ Œ ‰ j ~~~ w œ ‰ Œ Œ ‰ j ~~~ w
¿ ~~~~~~~~ J ¿ ~~~~~~~~
f ff sim.
Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? bœJ ‰ Œ Œ ‰ & j ~~~ w œ
j
‰ Œ Œ ‰
Hn. 5-8 j ~~~ w
¿ ~~~~~~~~ ¿ ~~~~~~~~
f ff sim.
#w port. œ #w port.
? œ ‰ Œ Ó æ J ‰ Œ Ó æ
Tbn. 1-2 J
ff
w port. bœ w port.
? bœj ‰ Œ Ó æ J ‰ Œ Ó æ
Tbn. 3-4
ff
? > >
Cb. Tbn. j ‰ Œ Ó j ‰ Œ Ó
Cb. Tba.
b œœ w port. b œœ w port.
J > J >
ff
> >j > >j
÷ Œ œ œ œ œ œ œ— ‰ œ— Œ œ œ œ œ œ œ— ‰ œ—
B. D.
Bell P. &
w
>— w
>—
ff
> > > > > > > >
Daiko ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Shk. ÷
Tub. B. &
w
>— w
>—
ff
Pno.
?
{
bœ Œ Ó Œ Ó Œ Ó Œ Ó
& œ œ #œ
> > >
Synth. ff
?
{
&
Choir (SA)
&
61 62 63 64
(beat 3) (beat 3)
j >Y b>¿ >Y
Vln. 2 & ¿ ‰ Œ J ‰ Œ
> ffp ff sim.
(beat 3)
(beat 3)
> >¿ #>Y
B b¿ ‰ Œ #>Y J ‰ Œ
Vla. J
ffp ff sim.
Vlc.
?
Cb.
338
Dracula 2m9 "Transformation"
Shak. &
j
Hn. 5-8 & œ ‰ Œ Ó
œ
? J ‰ Œ Ó
Tbn. 1-2
? bœJ ‰ Œ Ó
Tbn. 3-4
B. Tbn. ? bœj ‰ Œ Ó
Tba. œJ
Cb. Tbn. ?
Cb. Tba. j ‰ Œ Ó
b œœ
J
÷ Œ œ œ œ
B. D.
choke (beat 1)
Bell P. &
> >
Daiko ÷ œ œ œ œ œ
Shk. ÷
(beat 1)
Tub. B. &
*
Pno.
?
{ >œ
>
& œ Œ Ó Œ Ó
Synth. fff
(beat 1)
?
{ *
&
Choir (SA)
&
65 66 67 68
sul E - gliss. down approx. two 8ves ad lib.
(beat 3) “Y”
>¿
& J ‰ Œ
Vln. 1
pp
(beat 3) sul A - gliss. down approx. two 8ves ad lib.
b>¿ “Y”
& J ‰ Œ
Vln. 2
pp
(beat 3) sul D - gliss. down approx. two 8ves ad lib.
>¿ “Y”
B J ‰ Œ
Vla.
pp
339
2m9 "Transformation" Dracula
Shak. &
> >
& Ó Œ ~~~~~~ œ ‰ Œ Ó Ó Œ ~~~~~~ bœJ ‰ Œ Ó
Hn. 1-4 ¿ ~~~~~~~~~~~~ J b¿ ~~~~~~~~~~~~~~
f ff sim.
> >
& Ó Œ ~~~~~~ œ ‰ Œ Ó Ó Œ ~~~~~~ bœJ ‰ Œ Ó
Hn. 5-8 ¿ ~~~~~~~~~~~~ J b¿ ~~~~~~~~~~~~~~
f ff sim.
?
Tbn. 1-2
?
Tbn. 3-4
a2
B. Tbn. ? j ‰ bœj ‰ j ‰ ‰ Œ j j
Tba. œ. . œ. œ
j j ‰ j ‰ j ‰ bœ. ‰ œ. ‰ œ.
j ‰ ‰
b œ.
j
f >. # œ. œ. # œ. >
a2
Cb. Tbn. ? j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j
Cb. Tba.
œ. b œ. œ. œ œ. # œ. b œ. œ. œ. b œ.
f >. # œ. >
æ > >j > >j
B. D. ÷ Ó ˙æ œ œ œ— ‰ œ— Œ œ œ œ œ œ œ— ‰ œ—
p ff f fff f sim.
Bell P. &
>æ >æ
Shk. ÷ ˙æ Ó wæ
sffz p sffz
Tub. B. &
Pno. f
? j ‰ bœj ‰ j j
{ œ
œ. b œ.
œ
œ.
j ‰ ‰
œ
œ
>.
j Œ
#œ
# œ.
j ‰
œ
œ.
j ‰
#œ
# œ.
j ‰ bœ
b œ.
‰ œ ‰
œ.
œ
œ.
j ‰ ‰
bœ
b œ.
>
j
&
Synth.
?
{
&
Choir (SA)
&
69 70 71 72
340
Dracula 2m9 "Transformation"
Shak. &
> >
~~~~~ #œ ~~~~~ œ
Hn. 1-4 & Ó Œ #¿ ~~~~~~~~~~~~~~ J ‰ Œ Ó Ó Œ ¿ ~~~~~~~~~~~~~~ J ‰ Œ Ó
> >
~~~~~ #œ ~~~~~ œ
Hn. 5-8 & Ó Œ #¿ ~~~~~~~~~~~~~~ J ‰ Œ Ó Ó Œ ¿ ~~~~~~~~~~~~~~ J ‰ Œ Ó
?
Tbn. 1-2
?
Tbn. 3-4
Cb. Tbn. ? Œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j
Cb. Tba. œ. b œ.
# œ. œ œ. œ. œ
œ. # œ. œ. # œ. œ. >. œ. # œ. >.
> >j > >j
÷ Œ œ œ œ œ œ œ— ‰ œ— Œ œ œ œ œ œ œ— ‰ œ—
B. D.
Bell P. &
æ >æ æ >æ
Shk. ÷ ˙æ Ó wæ ˙æ Ó wæ
p sim.
Tub. B. &
Pno.
? Œ j j j j j j j j j
‰ # œj ‰
{ œ
œ.
j ‰ j
#œ
# œ.
‰
œ
œ.
j ‰
#œ
# œ.
j ‰ œ ‰ #œ
œ. # œ.
‰ ‰ œ
œ.
>
Œ œ ‰ bœ
œ. b œ.
‰ œ
œ.
‰ œ
œ. # œ.
œ
œ.
‰ ‰ œ
œ
>.
&
Synth.
?
{
&
Choir (SA)
&
73 74 75 76
>
> œ . #>œ œ #œ. > œ #>œ œ #œ. œ > œ > œ #œ #œ. > >
& #œ œ #œ. œ #œ. #œ œ. œ. œ . #œ. œ
œ #œ . œ. nœ œ œ œ. œ œ œ.
Vln. 1
#œ. #>œ nœ œ. #>œ œ. . > œ. œ. œ .
> œ . #>œ œ #œ. > œ #>œ œ #œ. œ > œ > > > nœ > œ .
œ #œ #œ. œ
Vln. 2 & #œ œ #œ.
#œ. #>œ nœ œ. #>œ
œ
œ.
#œ. #œ œ.
. > œ. œ œ. . #œ. œ œ.
œ #œ .
œ . nœ.
œ œ. œ œ
div.
>
> œ #>œ œ # œ. . > > œ #>œ œ # œ. œ. > œ > œœ ## œœ #unis.
œ. œ. nœ.
> nœ > œ .
#œ œ. #œ. . #>œ nœ . #>œ œ . #œ #œ. œ. œ. œ œ. #œ. œ œ.
œ #œ .
œ
œ œ. œ œ
Vla. B #œ œ œ
? Œ j j j œ. ‰ bœ. j j ‰ #œj ‰ j j
j ‰ j ‰ j ‰ j ‰
œ. ‰ #œ.
‰ ‰ œ Œ ‰ œ. ‰ œ. ‰ ‰ œ
œ. # œ. œ. #œ. >. J J œ. . >.
Vlc.
j j j j
? Œ j ‰ j ‰ ‰ j ‰ j j œ. ‰ bœ. j ‰ #œj ‰
œ. ‰ #œ.
Cb. j ‰ ‰ œ Œ ‰ œ. ‰ œ. ‰ ‰ œ
œ. # œ. œ. #œ. >. J J œ. . >.
341
2m9 "Transformation" Dracula
Shak. &
>.j >. >. >.j >.j >.j >.j >.j >.j >.j >.j >.j
bbœœ œj œj
Tbn. 1-2
? J. ‰ œJ ‰ œJ ‰ œœJ ‰ œœ
J. ‰ bbœœJ ‰ bœœJ ‰ #œœ ‰ #nœœ
J. ‰ œœJ ‰ œœJ ‰ nbœœJ ‰
>. >. >. >. J. >. >. >.
>
ff
> >. > >
Tbn. 3-4
? b>œ. >
‰ œJ.
>
‰ œJ.
>
‰ œ. ‰
>.
œ
>
‰ bœ. ‰ œ.j ‰ œj ‰
>
nœ.
>
‰ œ.
>
‰ œ.
>
‰ bœ. ‰
J J J J > >. J J J J
ff
Cb. Tbn. ? Œ j ‰ j ‰ j ‰
Cb. Tba. b œ. œ. b œ.
Bell P. &
æ
Shk. ÷ ˙æ Ó
Tub. B. &
Pno. ff
? Œ j j j j j j j j j j j j j j j
bœ bœ ‰ œ ‰ œ ‰
{ b œ.
‰ œ
œ.
‰ bœ
b œ.
‰ ‰
b œ.
“>‘
œ.
>
œ.
>
œ
œ.
>
‰ œ ‰
œ.
>
bœ ‰
b œ.
>
œ ‰
œ
>.
œ
œ
>.
‰ nœ ‰
n œ.
>
œ ‰
œ.
>
œ ‰
œ.
>
bœ
b œ.
>
&
Synth.
?
{
&
Choir (SA)
&
77 78 79 80
> > > > > bœ > bœ > > bœ > œ > bœ >œ œ >œ œ >
nœ #œ #œ. > œ . >œ œ nœ. bœ nœ bœ nœ bœ nœ œ œ bœ nœ œ œ bœ nœ
Vln. 1 & œ. nœ. œ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ #œ ‰ ‰ ‰ ‰ ‰
ff
342
Dracula 2m9 "Transformation"
Shak. &
? œj ‰ j ‰ bœj ‰ j ‰
Tbn. 3-4 œ œ
>. >. >. >.
B. Tbn. ? ‰ j ‰ j ‰ j ‰ j
Tba.
œ œ b œ. œ
>. >. > >.
Cb. Tbn. ?
Cb. Tba.
÷ Œ œ œ œ
B. D.
Bell P. &
> >
Daiko ÷ œ œ œ œ œ
Shk. ÷
Tub. B. &
Pno.
? ‰ j j j j
{ :“;
œ ‰
œ.
>
œ ‰
œ.
>
bœ ‰
b œ.
>
œ
œ
>.
&
Synth.
?
{ random whispering ad lib.
mf
& ¿ ¿ ¿ ¿
random whispering ad lib.
Choir (SA) mf
& ¿ ¿ ¿ ¿
81 82 83 84
> bœ > sul tasto - sul E - trem. gliss. approx. range ad lib.
œ > œ >œ nœ Y (beat 3)
Vln. 1 & ‰ #œ ‰ nœ #œ ‰ ‰ ææ Y
ææ
mp
>œ œ > sul tasto - sul A - trem. gliss. approx. range ad lib. (beat 3)
> > Y æ
‰ #œ œ ‰ bœ nœ ‰ #œ œ ‰ Yæ
Vln. 2 & ææ
mp
> bœ >œ œ > > bœ sul tasto - sul D - trem. gliss. approx. range ad lib. (beat 3)
œ bœ nœ œ Y
Vla. B ‰ ‰ ‰ ‰ ææ Y
ææ
mp
? ‰ j j j j
œ ‰ œ ‰ bœ. ‰ œ
>. >. > >.
Vlc.
? ‰ j j j j
Cb. œ ‰ œ ‰ bœ. ‰ œ
>. >. > >.
343
2m9 "Transformation" Dracula
Shak. &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷
Bell P. &
Daiko ÷
Shk. ÷
Tub. B. &
Pno.
?
{
&
Synth.
?
{
& ì
Choir (SA)
& ì
85 86 87 88
Y Y
Y Y
æ æ ææ
Vln. 1 & ææ
Y Y Y
Vln. 2 & æ Y ææ ææ
ææ
Y Y Y
B æ Y ææ ææ
Vla. ææ
Vlc.
?
Cb.
344
Dracula 2m9 "Transformation"
Shak. &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
B. D. ÷
Bell P. &
Daiko ÷
Shk. ÷
Tub. B. &
Pno.
?
{
&
Synth.
?
{
&
Choir (SA)
&
89
¿
Vln. 1 & J ‰ Œ Ó
p
¿
J ‰ Œ Ó
Vln. 2 &
p
¿
Vla. B J ‰ Œ Ó
p
Vlc.
?
Cb. fffff ffff fff ffff ffff fff ffff fff
345
Dracula 2m10 "Mina's Bedroom"
CONCERT SCORE Chris Heckman
q = 48 q = 72 rall.
Sus. Cymbal ÷ 4 3
Mark Tree ÷
&
Celesta
4 4
?
{
&
?
Organ
?
{&
#˙ #œ #œ #˙ ™ #˙ #œ œ
Piano mp
#˙ ™ #˙ ™
{& #˙ ˙ ## ˙˙ ™™ ###˙˙˙ ™™™ ## ˙˙ ™™
°
&
Choir (SA)
&
1 2 3 4
Violin 1 & 4 3
Violin 2 &
Viola B
4 4
?
Cello
?
Contrabass
q = 72
rit.
S. Cym. ÷
M. Tree ÷
&
Cel.
?
{
&
?
Org.
?
{&
#˙ ™ #˙ #œ #œ #œ ™ #œ ™ #˙ #œ #œ
Pno.
5 6 7 8
Vln. 1 &
Vln. 2 &
Vla. B
?
Vlc.
?
Cb.
346
2m10 "Mina's Bedroom" Dracula
q = 72 rall.
S. Cym. ÷
M. Tree ÷
&
Cel.
?
{
&
mp
?
Org.
#˙ ™
#˙ ™
˙ #œ #œ œ
#˙ ™
#˙ #œ #œ
mp 3
Pno.
? #˙ #˙ #˙
#œ #œ #œ
{
& ### ˙œ˙ ™™
# ˙™™
#œ ™
*
#œ
° *
#œ
° *
#œ
° *
&
Choir (SA)
&
9 10 11 12
Vln. 1 &
Vln. 2 &
Vla. B #˙ ™ #˙ ™ #˙ ™
mp
div.
? ##˙™
˙™ ##˙˙ ™™ ##˙™
˙™
Vlc.
p
?
Cb. #˙ ™ #˙ ™
#˙ ™
p
q = 72 molto rit.
S. Cym. ÷
M. Tree ÷
&
Cel.
?
{
&
?
Org.
?
{ #˙ ™
& #˙ ™
#˙ ™
#˙ ™
#˙ ™
˙ #œ #œ œ
#˙ ™
#˙ #œ #œ
3
Pno.
#˙ #˙ #˙ #˙
? #œ #œ #œ #œ
{ #œ
° *
#œ
° *
#œ
° *
#œ
° *
&
Choir (SA)
&
13 14 15 16
Vln. 1 &
Vln. 2 &
3
Vla. B ˙ #œ #œ œ #˙ ™ #˙ ™ #˙ ™
? ##˙˙ ™™ ##˙™
˙™ ##˙˙ ™™ ##˙™
˙™
Vlc.
?
Cb. #˙ ™ #˙ ™
#˙ ™ #˙ ™
347
Dracula 2m10 "Mina's Bedroom"
q = 80
S. Cym. ÷ 4
M. Tree ÷
&
Cel.
4
?
{ Gt: Flutes 16', 8', 4'
# œ. œ. œ. œ.
#œ #œ. œ œ. œ œ. œ œ. #œ #œ œ œ œ œ œ œ #œ #œ. œ œ. œ œ. œ œ.
& œ œ œ œ œ œ œ œ
mp
?
Org.
?
{
&
#˙ ™
#˙ ™
w
œ #œ
#œ.
œ œ
œ.
œ œ
œ.
œ œ
œ.
#w
#œ
#œ # œ.
œ
œ œ.
œ
œ œ.
œ
œ œ.
#w
œ #œ
#œ.
œ œ
œ.
œ œ
œ.
œ œ
œ.
Pno. mp
#˙
? #œ
{ #œ
° *
& #œ
œ #œ .
°
œ
œ œ .
œ
œ œ .
œ
œ œ .
* °
#œ
# œ #œ .
œ
œ œ .
œ
œ œ .
œ
œ œ .
*
#œ
œ #œ .
°
œ
œ œ .
œ
œ œ .
œ
œ œ .
*
&
Choir (SA)
&
17 18 19 20
Vln. 1 & 4
Vln. 2 &
legato espress.
B œ™ ‰ #œ œ #œ ˙ #œ #˙ ™ #œ œ #œ ˙ #œ
Vla.
mf 4
? ##˙˙ ™™ #w
w
#w
#w
w
w
Vlc.
p
div.
? w #w #w
Cb. #w
#˙ ™ w #w
p
S. Cym. ÷
M. Tree ÷
&
Cel.
?
{ #œ # œ. œ œ. œ œ. œ œ. œ. œ. œ. œ. # œ. œ. œ. œ. # œ # œ. œ œ. œ œ. œ œ.
#œ # œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ #œ œ œ œ
& #œ œ œ œ
?
Org.
?
{
& #œ
#w
#œ # œ.
œ œ
œ.
œ œ
œ.
œ œ
œ.
˙
#œ # œ
œ.
œ œ
œ.
#˙
œ œ
œ.
œ œ
œ.
#w
#œ œ
# œ.
œ œ
œ.
œ œ
œ.
œ œ
œ.
w
#œ # œ
# œ.
œ œ
œ.
œ œ
œ.
œ œ
œ.
Pno.
#œ œ œ œ #œ. œ. œ. œ.
{
& # œ #œ #œ. œ
œ œ .
œ
œ œ .
œ
œ œ .
#œ œ
#œ . œ
œ œ.
œ
œ œ.
œ
œ œ. #œ œ . œ œ . œ œ . œ œ . #œ #œ œ œ œ œ œ œ
° * ° * ° * ° *
&
Choir (SA)
&
21 22 23 24
Vln. 1 &
Vln. 2 &
Vla. B #˙ ™ œ œ œ #œ ˙ #œ #˙ ™ Œ #˙ œ #œ
? ## w
w ## ˙˙ ˙
#˙ ## w
˙ #˙ #w
Vlc. w
? #w ˙ #˙
Cb. ˙ #w w
#w #˙ w
#w
348
2m10 "Mina's Bedroom" Dracula
scrape with tri. beater
æj
S. Cym. ÷ 3 Œ Œ ‰ ¿ ~~~~~~~
mf
M. Tree ÷
&
Cel.
4
?
{ #œ # œ
# œ.
œ œ
œ.
œ œ
œ.
œ œ
œ. # œ. œ. œ. œ. #œ # œ
# œ.
œ œ
œ. œ # œ. œ œ. # œ # œ. œ œ.
#œ # œ œ œ œ œ œ œ œ œ #œ œ œ
&
?
Org.
?
{ #w
#œ # œ # œ. œ œ
œ.
œ œ
œ.
œ œ
œ.
#œ
w
# œ # œ. œ œ
œ.
œ œ
œ.
œ œ
œ.
#w
#œ # œ
# œ.
œ œ
œ.
œ
œ # œ.
œ
œ œ.
#˙ ™
#œ
# œ # œ.
œ
œ œ.
œ
&
Pno.
#œ. œ. œ. œ. #œ. œ. œ. œ. #œ. œ. œ #œ. œ œ. #œ #œ. œ œ.
& #œ #œ
{ œ œ œ œ œ œ #œ #œ œ œ œ œ œ œ #œ #œ œ œ œ œ #œ œ œ
° * ° * ° *
&
Choir (SA)
&
25 26 27 28
Vln. 1 & 3
Vln. 2 &
Vla. B ˙ #˙ #˙ œ ˙ #˙
#œ #˙ ™
4
? ##w
w
#w
w
#w
#w
#˙ ™
Vlc. #˙ ™
? #w w #w #˙ ™
Cb.
#w w #w #˙ ™
q = 160
>
÷ ~~~ ¿ — Œ Œ
S. Cym.
f
æ æ æ æ
∏∏∏∏
?
{
& œ
˙™
“”
#œ #œ œ
œ œ œ #œ
#œ
œ #œ œ
œ œ œ #œ ##œœ #œ œœ œ œ #œ ##œœ #œ
œœ
œ
œœ
œ
Pno. mf
#œ œ #>œ #>œ >œ
& #œ œ œ œ #œ œ œ œ #œ œ #œ œ œ
{ °
#œ #œ #œ #œ
* °
#œ #œ
*
&
Choir (SA)
&
29 30 31 32
Vln. 1 &
Vln. 2 &
Vla. B ˙™
p
? ˙™
Vlc. ˙™
p
? ˙™
Cb.
˙™
p
349
Dracula 2m10 "Mina's Bedroom"
ord.
æ
S. Cym. ÷ Oæ™
p
æ æ æ æ
Oæ™ Oæ™ Oæ™ Oæ™
∏∏∏∏
M. Tree ÷
#œ #œ œ œ #œ #œ œ œ ##œœ #œ œœ œ œ ##œœ œœ œœ
& œ œ œ #œ œ œ œ #œ #œ #œ œ œ
Cel. #œ œ #œ œ #œ #œ œ œ #>œ #œ #>œ œ
>œ
œ
? œ œ #œ œ œ #œ #œ #œ
{ #œ #œ
° * ° *
&
?
Org.
?
{:“;
& œ
#œ #œ œ
œ œ œ #œ
#œ
œ #œ œ
œ œ œ #œ ##œœ #œ œœ œ œ #œ ##œœ #œ
œœ
œ
œœ
œ
Pno.
#œ œ #>œ #>œ >œ
& #œ
{ œ œ œ #œ #œ
#œ œ œ œ #œ #œ
#œ œ #œ #œ
#œ œ œ
° * ° *
&
Choir (SA)
&
33 34 35 36
Vln. 1 &
Vln. 2 &
Vla. B
?
Vlc.
?
Cb.
>
÷ ¿— Œ Œ
S. Cym.
mf
M. Tree ÷
#œ #œ œ œ #œ #œ œ œ #œ #œ œ œ #œ œ œ
& œ œ œ #œ œ œ œ #œ #œ œ œ #œ #œ #œ œ œ œ œ
mf
Cel.
#œ œ œ œ #œ œ œ œ #œ #œ œ œ #>œ #œ #>œ œ
>œ
œ
? #œ #œ #œ #œ #œ #œ
{ ° * ° *
&
mf
?
Org.
#œ #œ œ œ
˙™
#œ #œ œ œ
#˙ ™
##œœ #œ œœ œ œ
#˙ ™
##œœ œœ œœ
& œ œ œ #œ œ œ œ #œ #œ #œ œ œ
Pno. mf
#œ œ #>œ #>œ >œ
& #œ œ œ œ #œ œ œ œ #œ œ #œ œ œ
{ °
#œ #œ #œ #œ
* °
#œ #œ
*
&
Choir (SA)
&
37 38 39 40
Vln. 1 &
Vln. 2 &
Vla. B
legato espress.
? ˙™ #˙ #œ #˙ ™ ˙ Œ
Vlc.
mf
?
Cb.
350
2m10 "Mina's Bedroom" Dracula
S. Cym. ÷
M. Tree ÷
#œ #œ œ œ #œ #œ œ œ #œ #œ œ œ #œ œ œ
& œ œ œ #œ œ œ œ #œ #œ œ œ #œ #œ #œ œ œ œ œ
Cel. #œ œ #œ œ #œ #œ œ œ #>œ #œ #>œ œ
>œ
œ
? œ œ #œ œ œ #œ #œ #œ
{ #œ #œ
° * ° *
&
?
Org.
?
{:“;
& œ
#˙ ™
#œ #œ œ
œ œ œ #œ
˙™
#œ
œ #œ œ
œ œ œ #œ
#˙ ™
##œœ #œ œœ œ œ #œ
#˙ ™
##œœ #œ
œœ
œ
œœ
œ
Pno.
#œ œ #œ œ #œ #œ œ œ #>œ #œ #>œ œ
>œ
œ
œ œ œ œ
{
&
°
#œ #œ #œ #œ
* °
#œ #œ
*
&
Choir (SA)
&
41 42 43 44
Vln. 1 &
Vln. 2 &
Vla. B
? ˙™ #˙ œ #˙ ™ ˙
Vlc. Œ
?
Cb.
S. Cym. ÷
M. Tree ÷
#œ œ œ œ #œ œ œ œ œ œ #œ #œ œ œ #œ #œ œ œ œ œ
& œ œ œ #œ œ œ œ #œ œ œ #œ #œ œ œ
>œ > >œ
Cel. nœ œ œ œ #œ œ #œ œ œ #œ #œ œ œ #>œ #œ #>œ œ
>œ
œ
? œ #œ
{ ° * °
#œ
*
&
?
Org.
?
{:“;
& œ
n˙ ™
#œ œ œ
œ œ œ #œ
#˙ ™
#œ
œ œ œ
œ œ œ
œ œ
#˙ ™
#œ
#œ #œ œ
œ œ œ #œ
#˙ ™
#œ
#œ #œ œ
œ œ œ
œ œ
Pno.
nœ œ œ œ
>œ
œ #>œ œ
>œ
œ #œ œ #>œ #>œ >œ
{
&
°
#œ œ
* °
#œ œ #œ #œ
#œ œ œ
*
&
Choir (SA)
&
45 46 47 48
Vln. 1 &
Vln. 2 &
Vla. B
#˙ ™ ˙ ˙™ #˙
? #œ Œ
Vlc.
?
Cb.
351
Dracula 2m10 "Mina's Bedroom"
S. Cym. ÷
M. Tree ÷
#œ œ œ œ #œ œ œ œ œ œ #œ #œ œ œ #œ #œ œ œ œ œ
& œ œ œ #œ œ œ œ #œ œ œ #œ #œ œ œ
Cel. >œ #>œ >œ #œ œ #>œ
>
#œ >œ
œ œ œ œ œ œ œ #œ œ #œ #œ œ œ
? #œ œ #œ
{ ° * ° *
&
?
Org.
?
{:“;
& œ
#˙ ™
#œ œ œ
œ œ œ #œ
˙™
#œ
œ œ œ
œ œ œ
œ œ
#˙ ™
#œ
#œ #œ œ
œ œ œ #œ
#˙ ™
#œ
#œ #œ œ
œ œ œ
œ œ
Pno.
œ œ >œ #>œ >œ #œ #œ œ œ #>œ #œ #>œ œ
>œ
œ
{
& œ œ #œ œ œ œ œ #œ #œ
° * ° *
&
Choir (SA)
&
49 50 51 52
Vln. 1 &
Vln. 2 &
Vla. B
#˙ ™ ˙ #œ ˙™ #˙ ™
?
Vlc.
?
Cb.
S. Cym. ÷
æ æ æ æ
∏∏∏∏
?
Org.
? #˙ ™ ˙™ #˙ ™
{:“;
& œ
#˙ ™
#œ #œ œ
œ œ œ #œ
#œ
œ
˙™
#œ œ
œ œ œ #œ
#˙ ™
##œœ #œ œœ œ œ #œ
#˙ ™
#˙ ™
##œœ #œ
œœ
œ
œœ
œ
Pno.
#œ œ #>œ #>œ >œ
& #œ œ œ œ #œ œ œ œ #œ œ #œ œ œ
{ °
#œ #œ #œ #œ
* °
#œ #œ
*
&
Choir (SA)
&
53 54 55 56
div.
æ ææ æ æ
#˙™æ ˙˙™™ ˙™æ
#˙™ ˙™æ
#˙™
Vln. 1 & # æ˙ ™ æ ææ ææ
p mf
Vln. 2 & æ˙ ™ ˙™ #˙ ™
ææ
˙™
ææ
æ ææ
p mf
Vla. B
? #˙ ™ ˙™ ˙ #œ #˙ #œ
Vlc.
?
Cb.
352
2m10 "Mina's Bedroom" Dracula
scrape
Œ Œ ‰ æj
S. Cym. ÷ ¿ ~~~~~~~~~~
mf
æ æ æ æ
Oæ™ Oæ™ Oæ™ Oæ™
∏∏∏∏
M. Tree ÷
#œ #œ œ œ #œ #œ œ œ ##œœ #œ œœ œ œ ##œœ œœ œœ
& œ œ œ #œ œ œ œ #œ #œ #œ œ œ
Cel. #œ œ œ œ #œ œ œ œ #œ #œ œ œ #>œ #œ #>œ œ
>œ
œ
? #œ #œ #œ #œ #œ #œ
{ ° * ° *
&
&
?
Org.
? #˙ ™ ˙™ #˙ ™
{:“;
& œ
#˙ ™
#œ #œ œ
œ œ œ #œ
˙™
#œ
œ #œ œ
œ œ œ #œ
#˙ ™
#œ
#œ #œ œ
œ œ œ #œ
#˙ ™
#˙ ™
#œ
#œ #œ
œ
œ œ
œ
œ œ
Pno.
#œ œ #>œ #>œ >œ
& #œ
{ œ œ œ #œ #œ
#œ œ œ œ #œ #œ
#œ œ #œ #œ
#œ œ œ
° * ° *
&
Choir (SA)
&
57 58 59 60
æ ææ ææ ææ
˙™æ #˙™ #˙™
˙™ #˙˙
Vln. 1 & #ææ˙ ™ ˙™
ææ ææ ææ
Œ
p mf
Vln. 2 & æ˙ ™ ˙™
ææ
#˙ ™
æ
˙
æ
Œ
æ
p mf
Vla. B
? #˙ ™ #˙ #˙ ™ ˙ Œ
Vlc. œ
?
Cb.
> æj
÷ ~~~ ¿ — Œ Œ Œ Œ ‰ ¿ ~~~~~~~~~~
S. Cym.
f mf
æ æ æ æ
∏∏∏∏
&
mf
?
Org.
˙™ #˙ ™
? #˙ ™
{ #˙ ™
:“;
#œ #œ œ œ #œ
˙™
#œ œ œ
#˙ ™
##œœ #œ œœ œ œ
#˙ ™
#˙ ™
##œœ œœ œœ
& œ œ œ #œ œ œ œ #œ #œ #œ œ œ
Pno.
#œ œ #>œ #>œ >œ
& #œ œ œ œ #œ œ œ œ #œ œ #œ œ œ
{ °
#œ #œ #œ #œ
* °
#œ #œ
*
mf
™ ˙™ #˙ ™ œ #œ #œ
& #˙
oo
Choir (SA) mf
#œ
& ˙™ ˙™ #˙ ™ œ #œ
oo
61 62 63 64
unis. #œ
3
œ #œ #œ # œ œ # œ #œ #œ #œ #œ #œ # œ œ œ # œ #œ #œ
Vln. 1 & #œ #œ œ #œ #œ #œ #œ œ #œ #œ œ #œ #œ #œ #œ #œ #œ œ
3 3 3 3 3
mf 3 3 3 3 3 3
3
œ #œ #œ # œ œ # œ #œ #œ #œ #œ #œ # œ œ #œ œ # œ #œ #œ
Vln. 2 & #œ #œ œ #œ #œ #œ #œ œ #œ #œ œ #œ #œ #œ #œ #œ #œ œ
3 3 3 3 3
mf 3 3 3 3 3 3
Vla. B
?
Vlc.
?
Cb.
353
Dracula 2m10 "Mina's Bedroom"
> ord.
æ
S. Cym. ÷ ~~~ ¿ — Œ Œ Oæ™
f p
æ æ æ æ
Oæ™ Oæ™ Oæ™ Oæ™
∏∏∏∏
M. Tree ÷
œ #œ #œ #œ œ # œ #œ œ #œ #œ #œ #œ #œ œ #œ
#œ # œ #œ
& 3 3 3 3
3 3
Cel. 3 3 3 3
3 3
#œ #œ #œ #œ #œ
#œ #œ #œ #œ #œ #œ #œ #œ #œ #œ
& œ #œ #œ
{
&
?
Org.
? #˙ ™ ˙™ #˙ ™
{:“;
& œ
#˙ ™
#œ #œ œ
œ œ œ #œ
˙™
#œ
œ #œ œ
œ œ œ #œ
#˙ ™
##œœ #œ œœ œ œ #œ ##œœ #œ
œœ
œ
œœ
œ
Pno.
#œ œ #>œ #>œ >œ
& #œ
{ œ œ œ #œ #œ
#œ œ œ œ #œ #œ
#œ œ #œ #œ
#œ œ œ
° * ° *
™
& #˙ ˙™ #˙ ™
Choir (SA)
& ˙™ #˙ ™ #˙ ™
65 66 67 68
œ #œ #œ #œ œ # œ #œ œ #œ #œ #œ #œ #œ œ #œ
#œ #œ #œ # œ #œ #œ #œ #œ #œ #œ #œ #œ #œ
#œ #œ #œ #œ #œ
Vln. 1 & œ #œ #œ 3 3 3 3 3
3 3 3 3 3 3
3
œ #œ #œ #œ œ # œ #œ œ #œ #œ #œ #œ #œ œ #œ
#œ #œ #œ #œ # œ #œ #œ #œ #œ #œ #œ #œ #œ #œ
#œ #œ #œ #œ #œ
Vln. 2 & œ #œ 3 3 3 3 3
3 3 3 3 3 3
3
Vla. B
?
Vlc.
?
Cb.
>
÷ ¿— Œ Œ
S. Cym.
f
M. Tree ÷
#œ #œ œ œ #œ #œ œ œ ##œœ #œ œœ œ œ ##œœ œœ œœ
& œ œ œ #œ œ œ œ #œ #œ #œ œ œ
Cel. f
?
{
& #œ
°
œ œ œ #œ #œ
#œ œ œ œ #œ #œ *
#œ
°
#œ œ œ #œ #œ
#œ
> #œ #œ
> œ œ
> œ
*
&
mf
?
Org.
?
{:“;
#˙ ™
#œ #œ œ œ
˙™
#œ #œ œ œ
#˙ ™
##œœ #œ œœ œ œ
#˙ ™
##œœ œœ œœ
& œ œ œ #œ œ œ œ #œ #œ #œ œ œ
Pno. f
#œ œ #>œ #>œ >œ
& #œ
{ œ œ œ #œ #œ
#œ œ œ œ #œ #œ
#œ œ #œ #œ
#œ œ œ
° * ° *
mf
#˙ ™ ˙™ #˙ ™ œ #œ #œ
&
(oo)
Choir (SA) mf
& ˙™ ˙™ #˙ ™ œ #œ #œ
(oo)
69 70 71 72
legato espress.
˙™ #˙ #˙ ™ ˙
& #œ Œ
Vln. 1
mf
legato espress.
˙™ #˙ #˙ ™ ˙
& #œ Œ
Vln. 2
mf
legato espress.
˙™ #˙
B #œ #˙ ™ ˙ Œ
Vla.
mf
legato espress.
? ˙™ #˙ #œ #˙ ™ ˙ Œ
Vlc.
mf
? ˙™ #˙ ™
Cb. #˙ ™ #˙ ™
mf
354
2m10 "Mina's Bedroom" Dracula
æ
S. Cym. ÷ Oæ™
p
M. Tree ÷
#œ œ #œ œ
##œœ
œœ
##œœ
#œ œ #œ œ #œ œ œœ œœ
& œ œ œ #œ œ œ œ #œ œ #œ #œ œ œ
Cel. #œ œ #>œ >
#œ >œ
#œ œ œ œ #œ œ œ œ #œ œ #œ œ œ
? #œ #œ #œ #œ #œ #œ
{ ° * ° *
&
?
Org.
?
{:“;
& œ
#˙ ™
#œ #œ œ
œ œ œ #œ
˙™
#œ
œ #œ œ
œ œ œ #œ
#˙ ™
##œœ #œ œœ œ œ #œ
#˙ ™
##œœ #œ
œœ
œ
œœ
œ
Pno.
#œ œ #>œ #>œ >œ
& #œ œ œ œ #œ œ œ œ #œ œ #œ œ œ
{ °
#œ #œ #œ #œ
* °
#œ #œ
*
#˙ ™ ˙™ #˙ ™ Œ
& #˙
Choir (SA)
& ˙™ #˙ ™ #˙ ™ ˙ Œ
73 74 75 76
˙™ #˙ œ #˙ ™ ˙
Vln. 1 & Œ
˙™ #˙ œ #˙ ™ ˙
Vln. 2 & Œ
˙™ #˙ œ #˙ ™ ˙
Vla. B Œ
? ˙™ #˙ œ #˙ ™ ˙
Vlc. Œ
? ˙™ #˙ ™
Cb. #˙ ™ #˙ ™
>
÷ ¿— Œ Œ
S. Cym.
f
M. Tree ÷
#œ œ œ œ #œ œ œ œ œ œ #œ #œ œ œ #œ #œ œ œ œ œ
& œ œ œ #œ œ œ œ #œ œ œ #œ #œ œ œ
Cel. nœ œ œ œ
>œ
œ #>œ œ
>œ
œ #œ œ #>œ
>
#œ >œ
? #œ œ #œ œ #œ #œ œ œ
{ ° * °
#œ
*
&
?
Org.
?
{:“;
& œ
n˙ ™
#œ œ œ
œ œ œ #œ
#˙ ™
#œ
œ œ œ
œ œ œ
œ œ
#˙ ™
#œ
#œ #œ œ
œ œ œ #œ
#˙ ™
#œ
#œ #œ œ
œ œ œ
œ œ
Pno.
nœ œ >œ #>œ >œ
#œ œ #>œ #>œ >œ
{
& œ œ #œ œ œ œ œ #œ œ #œ #œ œ œ
#œ
° * ° *
#˙ ™ ˙ ˙™ #˙ Œ
& #œ
Choir (SA)
™
& #˙ ˙ #œ ˙™ #˙ Œ
77 78 79 80
#˙ ™ ˙ #œ ˙™ #˙
Vln. 1 & Œ
#˙ ™ ˙ #œ ˙™ #˙
Vln. 2 & Œ
#˙ ™ ˙ #œ ˙™ #˙
Vla. B Œ
#˙ ™ ˙ #œ ˙™ #˙
? Œ
Vlc.
?
Cb. #˙ ™ #˙ ™
n˙ ™ #˙ ™
355
Dracula 2m10 "Mina's Bedroom"
æ
S. Cym. ÷ Oæ™
p
M. Tree ÷
#œ œ œ œ #œ œ œ œ œ œ #œ #œ œ œ #œ #œ œ œ œ œ
& œ œ œ #œ œ œ œ #œ œ œ #œ #œ œ œ
Cel. >œ >
#œ >œ #œ œ #>œ
>
#œ >œ
œ œ œ œ œ œ œ #œ œ #œ œ œ
? #œ œ #œ #œ
{ ° * ° *
&
?
Org.
?
{:“;
& œ
#˙ ™
#œ œ œ
œ œ œ #œ
˙™
#œ
œ œ œ
œ œ œ
œ œ
#˙ ™
#œ
#œ #œ œ
œ œ œ #œ
#˙ ™
#œ
#œ #œ œ
œ œ œ
œ œ
Pno.
œ œ >œ #>œ >œ #œ #œ œ œ #>œ #œ #>œ œ
>œ
œ
œ œ œ œ œ
{
&
°
#œ œ
* °
#œ #œ
*
#˙ ™ ˙ ˙™ #˙ ™
& #œ
Choir (SA)
™
& #˙ ˙ #œ ˙™ #˙ ™
81 82 83 84
#˙ ™ ˙ #œ ˙™ #˙ ™
Vln. 1 &
#˙ ™ ˙ #œ ˙™ #˙ ™
Vln. 2 &
#˙ ™ ˙ #œ ˙™ #˙ ™
Vla. B
#˙ ™ ˙ #œ ˙™ #˙ ™
?
Vlc.
? ˙™ #˙ ™
Cb. #˙ ™ #˙ ™
>
÷ ¿— Œ Œ
S. Cym.
f
M. Tree ÷
#œ #œ œ œ #œ #œ œ œ #œ #œ œ œ #œ œ œ
& œ œ œ #œ œ œ œ #œ #œ œ œ #œ #œ #œ œ œ œ œ
Cel. #œ œ œ œ #œ œ œ œ #œ #œ œ œ #>œ #œ #>œ œ
>œ
œ
? #œ #œ #œ #œ #œ #œ
{ ° * ° *
&
?
Org.
? #˙ ™ ˙™ #˙ ™
{:“;
& œ
#˙ ™
#œ #œ œ
œ œ œ #œ
˙™
#œ
œ #œ œ
œ œ œ #œ
#˙ ™
#œ
#œ #œ œ
œ œ œ #œ
#˙ ™
#˙ ™
#œ
#œ #œ
œ
œ œ
œ
œ œ
Pno.
#œ œ #>œ #>œ >œ
& #œ
{ œ œ œ #œ #œ
#œ œ œ œ #œ #œ
#œ œ #œ #œ
#œ œ œ
° * ° *
™ ˙™ #˙ ™ œ #œ #œ
& #˙
Choir (SA)
˙™ ˙™ #˙ ™ œ #œ #œ
&
85 86 87 88
div.
æ ææ æ æ
#˙™æ ˙˙™™ ˙™æ
#˙™ ˙™æ
#˙™
Vln. 1 & # ææ˙ ™ ææ ææ ææ
mp f
Vln. 2 & æ˙ ™ ˙™
ææ
#˙ ™
ææ
˙™
ææ
æ
mp f
™ ˙™
Vla. B #˙ ˙ #œ #˙ #œ
? #˙ ™ ˙™ ˙ #œ #˙ #œ
Vlc.
?
Cb. #˙ ™ ˙™ #˙ ™
#˙ ™
356
2m10 "Mina's Bedroom" Dracula
scrape
Œ Œ ‰ æj
S. Cym. ÷ ¿ ~~~~~~~~~~
mf
M. Tree ÷
#œ #œ œ œ #œ #œ œ œ ##œœ #œ œœ œ œ ##œœ œœ œœ
& œ œ œ #œ œ œ œ #œ #œ #œ œ œ
Cel. #œ œ œ œ #œ œ œ œ #œ #œ œ œ #>œ #œ #>œ œ
>œ
œ
? #œ #œ #œ #œ #œ #œ
{ ° * ° *
&
?
Org.
? #˙ ™ ˙™ #˙ ™
{:“;
& œ
#˙ ™
#œ #œ œ
œ œ œ #œ
˙™
#œ
œ #œ œ
œ œ œ #œ
#˙ ™
#œ
#œ #œ œ
œ œ œ #œ
#˙ ™
#˙ ™
#œ
#œ #œ
œ
œ œ
œ
œ œ
Pno.
#œ œ #>œ #>œ >œ
& #œ
{ œ œ œ #œ #œ
#œ œ œ œ #œ #œ
#œ œ #œ #œ
#œ œ œ
° * ° *
™
& #˙ ˙™ #˙ ™
Choir (SA)
& ˙™ #˙ ™ #˙ ™
89 90 91 92
æ ææ æ æ
˙™æ #˙™ ˙™æ
#˙™ ˙™æ
#˙™
Vln. 1 & #ææ˙ ™ ˙
ææ ™ ææ ææ
mp f
Vln. 2 & æ˙ ™ ˙™ #˙ ™ ˙™
æ ææ ææ
mp f
Vla. B #˙ ™ #˙ œ #˙ ™ ˙™
? #˙ ™ #˙ œ #˙ ™ ˙™
Vlc.
? ˙™ #˙ ™
Cb. #˙ ™ #˙ ™
>
poco rit.
÷ ~~~ ¿ — Œ Œ
S. Cym.
f
æ æ æ æ
∏∏∏∏
?
Org.
?
{:“;
& œ
#œ #œ œ
œ œ œ #œ
#œ
œ #œ œ
œ œ œ #œ ##œœ #œ œœ œ œ #œ ##œœ #œ
œœ
œ
œœ
œ
Pno. mf
#œ œ œ œ #œ œ œ œ #œ #œ œ œ #>œ #œ #>œ œ
>œ
œ
{
&
°
#œ #œ #œ #œ
* °
#œ #œ
*
&
Choir (SA)
&
93 94 95 96
Vln. 1 &
Vln. 2 &
Vla. B
?
Vlc.
?
Cb.
357
Dracula 2m10 "Mina's Bedroom"
S. Cym. ÷
æ æ æ æ
Oæ™ Oæ™ Oæ™ Oæ™
∏∏∏∏
M. Tree ÷
#œ #œ œ œ #œ #œ œ œ ##œœ #œ œœ œ œ ##œœ œœ œœ
& œ œ œ #œ œ œ œ #œ #œ #œ œ
Cel. #œ œ œ œ #œ œ œ œ #œ #œ œ œ #>œ #œ #>œ œ
>œ
? #œ #œ #œ #œ #œ #œ
{ ° * °
&
?
Org.
?
{:“;
& œ
#œ #œ œ
œ œ œ #œ
#œ
œ #œ œ
œ œ œ #œ ##œœ #œ œœ œ œ #œ ##œœ #œ
œœ
œ
œœ
Pno.
#œ œ #>œ #>œ >œ
& #œ
{ œ œ œ #œ #œ
#œ œ œ œ #œ #œ
#œ œ #œ #œ
#œ œ
° * °
&
Choir (SA)
&
97 98 99 100
Vln. 1 &
Vln. 2 &
Vla. B
?
Vlc.
?
Cb.
q = 120
S. Cym. ÷ U
Ó™
M. Tree ÷ U
Ó™
U™
& Ó
Cel.
? U™
{ Ó
*
U
& Ó™
? U™
Org. Ó
? U™
{
&
Ó
U™
Ó
Pno.
U™
{
& Ó
*
U™
& Ó
Choir (SA)
U™
& Ó
101
U™
Vln. 1 & Ó
U™
Vln. 2 & Ó
U
Vla. B Ó™
? U™
Vlc. Ó
? U™
Cb. Ó
358
Dracula 2m11 "Lucy's Attack"
CONCERT SCORE Chris Heckman
q = 68
a4 - rip into beat 1 approx. range ad lib.
>¿
Horn 1-4 & 1 ¿
f
4
port.
fff
J ‰ Œ Ó
?
Trombone 3-4
Bass Trombone ?
Tuba
Cimbasso ?
Contrabass Tuba
Timpani
? 1 4
>
÷ œ— Œ Ó
Bass Drum
fff
>
÷ œ— Œ Ó
Daiko
4 4 fff
Mark Tree ÷
Roto-toms ÷
Tom-toms
>æ
Shaker ÷ wæ
ff pp
Snare Drum ÷
scrape with tri. beater >
æ
Tam-tam ÷ Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿— Œ Ó
p mf
œ œ œ œ
& 1 p
4 œ œ
Celesta mf
?
{ °
&
4 4 p
?
Organ
Piano fff mf
inside - gliss. with fingers lift pedal over 4 beats
? Œ Ó w
{ ¿
“‘
j gliss. >¿
°
w
& w
* °
Big Bang Kit
› >œ
& & Œ Ó
Synthesizer fff
?
{ p
& ˙ ˙
Choir (SA) oo
p
& ˙ ˙
oo
1 2 3 4
rip into beat 1 approx. range ad lib.
>¿
port. con sord.
¿
Violin 1 & 1 f
4 fff
J ‰ Œ Ó
p
˙ ˙
rip into beat 1 approx. range ad lib.
>¿
port. div. - con sord.
¿ J
Violin 2 & ‰ Œ Ó
f fff
w
w
p
con sord.
Viola B 4 4 w w
p
con sord.
?
Cello w w w
p
?
Contrabass w w w
p
359
2m11 "Lucy's Attack" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Daiko ÷
M. Tree ÷
Roto-t. ÷
Tom-t.
Shk. ÷
S. D. ÷
ord. > scrape
æ æ
T.-t. ÷ Ó Oæ ¿— Œ Ó Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
p mf p
œ œ œ œ œ œ ˙™ œ #œ ˙™
œ
& ‰ J
Cel.
?
{ * ° * ° *
&
&
?
Org.
{
?
& ‰
w
œ
J
œ œ œ œ
w
œ œ ˙™
w
œ #œ ˙™
w
Pno.
& w
{ w
w
w
w #w
w &
w w
› * ° * ° *
&
Synth.
?
{
& ˙ ˙ ˙ ˙ #˙ ™ œ w
Choir (SA)
& ˙ ˙ ˙ ˙ #˙ ™ œ w
5 6 7 8
Vln. 1 & ˙ ˙ ˙ #˙ ™ œ w
˙
Vln. 2 & w w˙ ww ww
w ˙
div.
Vla. B w #w
w w
w w
w w
p
?
Vlc. w w w w
?
Cb. w w w w
360
Dracula 2m11 "Lucy's Attack"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Daiko ÷
æ æ æ æ
∏∏∏∏
∏∏∏∏
~æ ~æ ~æ ~æ
∏∏∏∏
∏∏∏∏
M. Tree ÷
mp
Roto-t. ÷
Tom-t.
Shk. ÷
S. D. ÷
>
÷ ~~~~ ¿ — Œ Ó
T.-t.
f
œ #œ œ œ #œ œ #œ #œ #œ #œ œ œ œ #œ
& #œ #œ #œ œ #œ
œ
œ #œ œ œ œ œ œ œ œ #œ #œ œ #œ œ œ #œ
Cel.
mf œ œ œ œ œ œ œ œ œ œ œ œ
? œ #œ
{
& #œ œ #œ œ #œ œ œ #œ œ œ #œ œ
#œ #œ
&
p
?
Org.
{
?
#w
œ #œ œ œ #œ œ #œ #œ
& #œ #œ #œ œ
w
#œ #œ œ œ œ #œ
#w
œ
œ #œ œ œ œ œ œ œ œ #œ
w
œ #œ œ œ #œ
#œ #œ
Pno.
mf œ œ œ œ œ œ œ œ œ œ œ œ
? œ #œ
{
&
› °
>œ
#œ œ #œ œ #œ œ œ #œ œ œ #œ œ
#œ #œ
* °
œ
*
& Œ Ó Œ Ó
Synth. ff f
?
{ Soprano 1 only
mp
˙
#˙ #˙ ˙ #˙ #œ nœ
& #˙ œ #œ
Choir (SA)
&
9 10 11 12
˙ ˙ #˙ #œ nœ
#legato
˙ #˙ #˙ œ #œ
Vln. 1 &
mp
unis.
Vln. 2 & Œ Œ ˙™ Œ #˙ ™ Œ
#˙ ™ #˙ ™ #˙ ™ #˙ ™ #˙ ™ #˙ ™
p f p p f p p f p p f p
361
2m11 "Lucy's Attack" Dracula
q = 120
Hn. 1-4 & 5 Ó™
f
Y port. 4
Hn. 5-8 & Ó™ Y port.
?
Tbn. 1-2 4 4
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 5 Ó™ æ
b˙æ
p
4
æ > >
B. D. ÷ Ó ˙æ œ œ Œ Ó œ œ Œ Ó
p ff f ff f
> >
÷ œ œ Œ Ó œ œ Œ Ó
Daiko 4 ff f ff f
4
æ æ
∏∏∏∏
~æ ~æ—
∏∏∏∏
M. Tree ÷
Roto-t. ÷
Tom-t.
Shk. ÷
S. D. ÷
ord. >
æ
T.-t. ÷ Ó Oæ ¿— Œ Œ Ó
p ff
bœ
& #œ œ#œbœ œ œbœ œbœ œ#œ #œ œ#œbœ œ#œ 5 4
Cel. b œ œ bœ
œ œ bœ b œ œ b œ b œ œbœ
? œ #œ
{
& 4 4
?
Org.
{
?
#w
bœ
& #œ œ#œbœ œ œbœ œbœ œ#œ
w
#œ œ#œbœ œ#œ
Pno. b œ œ bœ
œ œ bœ b œ œ b œ b œ œbœ
? œ #œ
{
› °
œ
* >œ >œ
& Œ Ó Œ Œ Ó Œ Œ Ó
Synth. mf ff
?
{ mf
˙ b˙ b˙ ˙
&
&
Choir (SA)
&
13 14 15 16
senza sord. - gliss up approx. range ad lib.
“” b˙ b˙ ˙
˙ Y™
Vln. 1 &
mf
5 f
4
senza sord. - gliss up approx. range ad lib.
Y™
Vln. 2 & #˙ ™ ˙™ Œ #˙ ™ ˙™ Œ
p f p p f p f
Vla. B #ww
ww 4 4
w w
? bw w
Vlc.
? #w w
Cb.
#w w
362
Dracula 2m11 "Lucy's Attack"
>¿
Hn. 1-4 & 4 J
fff
‰ Œ Ó
>¿
Hn. 5-8 & J ‰ Œ Ó
fff
?
Tbn. 1-2 4
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 4 w
>
Ó
p
æ
b˙æ
f
> > > > æ
B. D. ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ ˙æ
f p
strike
> side and center > > >
Daiko ÷ 4 ¿œ ¿œ— ¿
f
Œ
¿ Ó ¿œ ¿ ¿œ— ¿
Œ
¿ Ó ¿œ ¿œ— ¿
Œ
¿ Ó ¿œ ¿ ¿œ— ¿
Œ
¿ Ó
M. Tree ÷
a2
> >œ >œ >œ > > >œ >œ >œ >œ > >
œ œ œ
Roto-t. ÷ œ œ œ Œ œ œ œ œ œ œœ œ œ œ œ Œ œ œ œ œ œ œ œœ
Tom-t.
f
>æ æ
Shk. ÷ wæ wæ
ff pp
snares
> off > > >
S. D. ÷ œ œ œ œ Ó œ œ œ œ œ Ó œ œ œ œ Ó œ œ œ œ œ Ó
f
scrape
æ
T.-t. ÷ Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
p
& 4
Cel.
?
{
& 4
?
Org.
{
?
&
Pno.
?
{
› >œ
& Œ Ó
ff mf sim.
Synth. >œ b œ >œ b œ >œ b œ >œ b œ
œ bœ œ #œ nœ #œ œ #œ nœ #œ œ œ œ #œ nœ #œ œ œ œ #œ nœ #œ œ œ
{
&
unis. - gliss. from lowest to highest pitches ad lib.
pp
& _
ah
Choir (SA) gliss. from lowest to highest pitches ad lib.
pp
& _
ah
17 18 19 20
>¿
Vln. 1 & 4 J
fff
‰ Œ Ó
>¿
& J ‰ Œ Ó
Vln. 2
fff
Vla. B 4
?
Vlc.
?
Cb.
363
2m11 "Lucy's Attack" Dracula
a2
? j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰
Tbn. 3-4 bœ. œ œ bœ.
> >. œ b œ. œ # œ. œ >. b œ. œ œ # œ.
f >. > >. > >. > > >. œ
>. >. >
a2
B. Tbn. ? j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰
Tba. bœ. œ œ b œ. œ bœ. b œ.
> >. >. > œ
>.
# œ. œ
>. >. > > œ
>. œ œ
>.
# œ.
f > >. >
a2
Cb. Tbn. ? j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰
Cb. Tba.
b œ. œ œ b œ. œ b œ. b œ.
> >. >. > œ
>.
# œ. œ
>. >. > > œ
>. œ œ
>.
# œ.
f > >. >
?
Timp. w
>
f
÷ œ— Œ Ó
B. D.
f
ord.
Daiko ÷ œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó
f
M. Tree ÷
>œ
Roto-t. ÷ J ‰ Œ Ó
Tom-t. ff
>æ
Shk. ÷ wæ
ff pp
S. D. ÷
>
÷ ~~~ ¿— Œ Ó
T.-t.
ff
&
Cel.
?
{
&
?
Org.
?
{
&
Pno. f
? j ‰ j ‰ ‰ ‰ Œ ‰ ‰ ‰ j ‰ j ‰ ‰ ‰ Œ ‰ ‰ ‰
{ bœ
b œ.
>
› >œ
œ
œ.
>
œ
œ
>.
j
bœ
b œ.
>
j
œ
œ.
j
#œ
# œ.
j
œ
œ
>.
j œ
œ.
>
bœ
b œ.
>
bœ
b œ.
>
j
œ
œ
>.
j
œ
œ.
j
œ
œ.
j
#œ
# œ.
j
& J ‰ Œ Ó
Choir (SA) ff
1>
& J ‰ Œ Ó
21 22 23 24
sul E - trem. gliss. approx. range ad lib. Y
Y Y Y ææ
Vln. 1 & ææ ææ æ
f
sul A - trem. gliss. approx. range ad lib.
æ Y Y
Vln. 2 & Yæ ææ
Y
æ
ææ
f
unis. - senza sord.
sul D - trem. gliss. approx. range ad lib. Y
Y Y æ
Vla. B Yæ ææ æ
æ
f
unis. - senza sord.
? j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j Ó j ‰ j ‰
Vlc. bœ. œ œ bœ.
> >. œ b œ. œ # œ. œ >. b œ. œ œ # œ.
f >. > >. > >. > > >. >. >
unis.
? j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j Ó j ‰ j ‰
Cb. bœ. œ œ bœ.
> >. œ b œ. œ # œ. œ >. b œ. œ œ # œ.
f >. > >. > >. > > >. >. >
364
Dracula 2m11 "Lucy's Attack"
?
Tbn. 1-2
? j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰
Tbn. 3-4 bœ. œ œ bœ.
> >. œ b œ. œ # œ. œ >. b œ. œ œ # œ.
>. > >. > >. > > >. œ
>. >. >
B. Tbn. ? j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰
Tba. bœ. œ œ b œ. œ bœ. b œ.
> >. >. > œ
>.
# œ. œ
>. >. > > œ
>. œ œ
>.
# œ.
> >. >
Cb. Tbn. ? j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰
Cb. Tba.
b œ. œ œ b œ. œ b œ. b œ.
> >. >. > œ
>.
# œ. œ
>. >. > > œ
>. œ œ
>.
# œ.
?
> >. >
Timp.
B. D. ÷
Daiko ÷ œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó œ œ— Œ Ó
M. Tree ÷
Roto-t. ÷
Tom-t.
Shk. ÷
S. D. ÷
T.-t. ÷
&
Cel.
?
{
&
?
Org.
{
?
&
Pno.
? j ‰ j ‰ ‰ ‰ Œ ‰ ‰ ‰ j ‰ j ‰ ‰ ‰ Œ ‰ ‰ ‰
{ bœ
b œ.
>
œ
œ
>.
œ
œ.
>
j
bœ
b œ.
>
j
œ
œ
>.
j
#œ
# œ.
j
œ
œ
>.
j œ
œ
>.
bœ
b œ.
>
bœ
b œ.
>
j
œ
œ
>.
j
œ
œ
j
œ
œ
>.
j
#œ
# œ.
j
&
Choir (SA)
&
25 26 27 28
Y Y Y™ ¿
bY Y
Vln. 1 & æ ææ ææ ææ ææ J ‰
Y Y bY ™ ¿
Y ææ Y æ ææ J
Vln. 2 & æ ææ ‰
Y Y Y™ ¿
Y Y
B æ æ ææ æ æ J ‰
Vla.
? j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j Ó j ‰ j ‰
Vlc. bœ. œ œ bœ.
> >. œ b œ. œ # œ. œ >. b œ. œ œ # œ.
>. > >. > >. > > >. >. >
? j ‰ j ‰ j ‰ ‰ j Œ j ‰ j ‰ j ‰ j ‰ j ‰ j ‰ ‰ j Ó j ‰ j ‰
Cb. bœ. œ œ bœ.
> >. œ b œ. œ # œ. œ >. b œ. œ œ # œ.
>. > >. > >. > > >. >. >
365
2m11 "Lucy's Attack" Dracula
>
Ó Œ ~~~~~~ œ ‰ Œ Ó
Hn. 1-4 & ¿ ~~~~~~~~~~~~~~~~~~ J
f ff
>
Ó Œ ~~~~~~ œ ‰ Œ Ó
Hn. 5-8 & ¿ ~~~~~~~~~~~~~~~~~~ J
f ff
? . . . .j . . .
Tbn. 1-2 & œœ œœ ‰ œœ Œ œœ œœ œœ
œœ
. . . J. . . .
f
. . . . . . .
? # œœ œœ œœ œœj # œœ œœ œœ
Tbn. 3-4 ‰ J Œ
. . . . . . .
f
> a2
B. Tbn. ? ˙ææ æ
˙˙æ
æ
˙wæ™
æ
œæ gliss. ˙™ Œ Œ
Tba. ˙ ˙™
˙™
ææ> ææ ææ
sfz p f
a2
Cb. Tbn. ? > Œ Œ
Cb. Tba. æ æ ææ æ
˙˙æ ˙˙æ ˙™
w œæ gliss. ˙™ ˙™
˙™
æ
> ææ ææ
sfz p f
? æ
Timp.
wæ w
>
p f
æ >
B. D. ÷ wæ œ œ— Ó œ œ— Ó
p f
Daiko ÷ œ œ— Ó œ œ— Ó
f
M. Tree ÷
Roto-t. ÷
Tom-t.
Shk. ÷
S. D. ÷
ord.
æ
æ >
÷ ~ ¿— Œ Ó
T.-t.
p ff
&
Cel.
?
{
&
f
?
Org.
Pno. f
? Œ Œ
{
› >œ
˙™
˙™
˙™
˙™
& Œ Ó
ff ff mf sim.
Synth. >œ >œ
bœ œ #œ nœ #œ œ œ bœ œ #œ nœ #œ œ œ
{
&
&
Choir (SA)
&
29
sul A - art. harm. gliss. up approx. one 8ve ad lib. 30 31 32
‚¿(beat 4) gliss. each half-step slur
>~ J ‰
Vln. 1 & Y œ bœ œ
. œ. œ œ œ œ #œ œ œ bœ œ
. œ. œ œ œ œ #œ œ
> œ. > . > . > œ. > . > .
sfz ff f
sul D - art. harm. gliss. up approx. one 8ve ad lib. (beat 4)
b ‚¿ gliss. each half-step slur
Vln. 2 & b~Y J ‰ œ bœ œ
. œ. œ œ œ œ #œ œ œ bœ œ
. œ. œ œ œ œ #œ œ
> > œ. > . > . > œ. > . > .
sfz ff f
sul G - art. harm. gliss. up approx. one 8ve ad lib. (beat 4) gliss. each half-step slur
‚¿ > bœ >œ œ > > bœ >œ œ >
> œ œ. œ #œ . œ œ. œ #œ .
Vla. B ~Y J ‰ œ. œ. œ. œ œ. œ. œ. œ
sfz ff f
? Œ Œ
Vlc. ˙™
˙™
f
? Œ Œ
Cb. ˙™
˙™
f
366
Dracula 2m11 "Lucy's Attack"
? ˙ ˙ ˙ ˙
Hn. 1-4 &
mf
? ˙ ˙ ˙ ˙
Hn. 5-8 &
mf
. . . .j . . . . . . .j . . .
Tbn. 1-2 & bœœ œœ œœ ‰ œœJ Œ bœœ bœœ œœ œœ œœ ‰ œœ Œ œœ œœ œœ
œœ
.. .. .. .. .. .. .. .. .. J.
.. . .. .. ..
œ œœ œœ œœj œœ œœ œœ œœj
? œ ‰ J Œ
# œœ œœ œœ
‰ J Œ
# œœ œœ œœ
Tbn. 3-4 . . . . . . . . . . . . . .
B. Tbn. ? Œ ˙™ Œ Œ Œ
Tba. ˙™
>˙™ >˙™
ff
Cb. Tbn. ? Œ Œ Œ Œ
Cb. Tba.
˙™ ™
˙™
>˙
™ >˙
ff
? æ
Timp.
wæ w
>
p ff
> >
B. D. ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ— Ó
ff
> >
Daiko ÷ œ œ— Ó œ œ— Ó ¿œ ¿ ¿œ— ¿ Ó ¿œ ¿ ¿œ— ¿ Ó
> >
ff
M. Tree ÷
Roto-t. ÷
Tom-t.
Shk. ÷
S. D. ÷
æ >
T.-t. ÷ ~æ ¿— Œ Ó
p ff
&
Cel.
?
{ Gt: Full + Reeds
˙˙ ™ œ ˙˙ ™ œ
& ˙™ Œ ˙™ Œ
ff
Gt.
? & Œ œ Œ
Org. ˙˙ ™ œ ˙˙ ™
˙™ ˙™
{
?
&
˙™
Œ ˙™ Œ
˙™
Œ ˙™ Œ
Pno. ff
? Œ ˙™ Œ Œ Œ
{ ˙™
˙™ ˙™ ˙™
>>˙
™
˙™
>˙
™
› œ
& Œ Ó
ff mf sim.
Synth. >œ >œ >œ >œ
bœ œ #œ nœ #œ œ œ bœ œ #œ nœ #œ œ œ bœ œ #œ nœ #œ œ œ bœ œ #œ nœ #œ œ œ
{
&
f
˙
ff
œ
sim.
˙ œ
& Œ Œ
ah
Choir (SA) div.
f ff sim.
& ˙˙ œœ Œ ˙˙ œœ Œ
ah
33 34 35 36
> bœ > > bœ >
> > bœ œ .œ œ. > œ œ #œ . œ .œ œ. > œ œ #œ .
Vln. 1 & œ bœ bœ. œ. œ œ œ œ œ nœ œ œ bœ. œ œ œ œ œ nœ œ œ. œ œ. œ œ. œ œ. œ
. > . > . . œ. > . > . ff
> > bœ
Vln. 2 & œ bœ bœ. œ. œ œ œ œ œ nœ œ œ bœ. œ
. œ. œ œ œ œ nœ œ œ bœ œ œ
. . œ œ œ œ #œ œ bœ œ œ
. . œ œ œ œ #œ
. > . > . > . > . > . > œ. > œ. > . > œ. > œ.
ff
> bœ > > bœ > > bœ > > bœ >
œ bœ. œ. >œ œ œ bœ. œ. >œ œ >œ œ >œ œ
B œ. œ.
œ nœ .
œ œ. œ.
œ nœ .
œ
œ œ. œ .œ œ #œ œ. œ œ. œ .œ œ #œ œ.
Vla. . œ. . œ.
ff
? Œ ˙™ Œ Œ Œ
Vlc.
˙™
>˙™ >˙™
ff
? Œ ˙™ Œ Œ Œ
Cb.
˙™
>˙™ >˙™
ff
367
2m11 "Lucy's Attack" Dracula
q = 124 (+4) q = 126 (+2)
˙ ˙
? b˙ b˙ æ j æ
Hn. 1-4 & b˙æ œ. ‰ Œ b˙æ bœ. ‰ Œ
J
ff mf ff mf ff
˙ ˙
? b˙ b˙ æ j æ
Hn. 5-8 & b˙æ œ. ‰ Œ b˙æ bœ. ‰ Œ
J
ff mf ff mf ff
. . . .j . . . . . . . . . .
Tbn. 1-2 & bœœ œœ œœ ‰ œœ Œ bœœ bœœ œœ bœœ œœ œœ ‰ œœj Œ bœœ bœœ œœ
. . . J. . . . . . . J. . . .
ff
. . . . . . . . . . . . . .
œ œœ œœ œœj œœ œœ œœ œœ œœ œœ œœj œœ œœ œœ
? œ ‰ J Œ ‰ J. Œ
Tbn. 3-4 . . . . . . . . . . . . .
ff
B. Tbn. ? Œ ˙™ Œ Œ Ó œ Œ Ó
Tba.
>˙™ > œ
>. >.
Cb. Tbn. ? Œ Œ Œ Ó Œ Ó
Cb. Tba. ™
>˙
™ >˙ œ œ
>.
>.
? æ
Timp.
#w w
>
p ff
> > > >
B. D. ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ— Ó
Roto-t. ÷
Tom-t.
>æ æ
Shk. ÷ wæ wæ
ff pp
S. D. ÷
T.-t. ÷
&
Cel.
?
{ b ˙˙ ™ œ b ˙˙ ™ bœ
& ˙™ Œ ˙™ Œ
{
?
&
˙™
Œ ˙™ Œ
Pno.
? Œ ˙™ Œ Œ Ó Œ Ó
{ ˙™
› >˙
™ >˙
™ œ
œ
>.
œ
œ
>.
&
ff
Synth. >œ >œ >œ >œ
bœ œ #œ nœ #œ œ œ bœ œ #œ nœ #œ œ œ
{
& Œ Ó Œ Ó
b˙ œ b˙ bœ
& Œ Œ
Choir (SA)
˙ œœ ˙˙ œœ
& ˙ Œ Œ
37 38 div. 39 40
> bœ > bœ > > > > > > >
œ b œ. . > > œ b œ. . > > œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ b œœœœ œœ
œ œ. œ œ œ. œ n œ œ. œ œ. œ œ œ. œ n œ œ. ‰ ‰ ‰ ‰ Œ ‰ ‰ ‰
Vln. 1 &
> > > > > > >
div.
> > > > > > >
> > bœ œœ b œœ œœ œœ œœ œœ œœ b œœ
Vln. 2 & œ bœ bœ. œ. œ œ œ œ œ nœ œ œ bœ. œ œ œ œ œ nœ œ ‰ ‰ œœ œœ ‰ ‰ Œ ‰ œœ œœ ‰ œœ œœ ‰
. > . > . . œ. > . > . > > > >
> > >
div.
> bœ > > bœ > > > >
œ bœ. œ. >œ œ œ nœ . œ bœ. œ. >œ œ œ nœ . œœ bœœ ‰ Œ œœ bœœ ‰ œœ œœ
Vla. B œ. œ. œ œ. œ. œ Ó Ó ‰
> > >
? Œ ˙™ Œ Œ Ó œ Œ Ó
Vlc.
>˙™ > œ
>. >.
? Œ ˙™ Œ Œ Ó œ Œ Ó
Cb.
>˙™ > œ
>. >.
368
Dracula 2m11 "Lucy's Attack"
&
Cel.
?
{
&
Org. &
?
{
&
Pno. ff
? Œ Ó bœ Œ Œ ‰ j ‰ Œ Ó Ó Œ ‰
{ bœ
bœ
› >.
b œ.
> ¿
j
“‘
gliss. >¿
j ss.
¿ gli
&
ff mf sim.
Synth. >œ >œ >œ >œ
bœ œ #œ nœ #œ œ œ bœ œ #œ nœ #œ œ œ
Œ Ó Œ Ó
{
&
&
Choir (SA)
&
369
2m11 "Lucy's Attack" Dracula
? b>œ. ‰ Œ Œ ‰
>œ gliss.
¿
j ‰ Œ Ó b>œ. ‰ Œ Œ ‰
>œ gliss.
¿
j ‰ Œ Ó
Tbn. 3-4 J J J J
?
>.j >j ‰ Œ
>.j >j ‰ Œ Ó
B. Tbn. ‰ Œ Œ ‰ j æ ‰ Œ Œ ‰ j
Tba. bœJ œJ gliss. ¿ ˙æ gliss. bœJ œJ gliss. ¿
>. >. ∑ >. >. ∑
Cb. Tbn. ? >.j ‰ Œ Œ ‰
>
j j ‰ Œ >.
j ‰ Œ Œ ‰
>
j j ‰ Œ Ó
Cb. Tba. ææ
b œJ œJ gliss. ¿ ˙ gliss. b œJ œJ gliss. ¿
?
>. .> ∑ .> .> ∑
Timp.
B. D. ÷
Daiko ÷
M. Tree ÷
>œ >œ >œ > > >œ >œ >œ > >
Roto-t. ÷ œ œ œ œ ‰ J œ œ œ œ œj ‰ œ œ œ œ œ œ œ œ ‰ J œ œ œ œ œ œ œ œ œ œ
Tom-t.
Shk. ÷
T.-t. ÷
&
Cel.
?
{
&
Org. &
{
?
&
Pno.
? j ‰ Œ Ó Ó Œ ‰ j ‰ Œ Ó Ó Œ ‰
{
›
:“;
>¿ ¿
j
gliss
.
>¿
j ss.
¿ gli
&
Synth. >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ
{
&
&
Choir (SA)
&
45 46 47 48
Vln. 1 & ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ œ ‰ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰
œ œ œ #œ œ œ œ #œ #œ œ œ #œ œ œ #œ œ > > > > >
> > > > > > > > > > >
unis.
Vln. 2 & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ ‰
œ œ œ œ #œ œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ
#œ œ œ #œ
> > > > > > > > > > > >
> > > >
ff unis.
Vla. B œ #œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰
> > > >
ff
? j ‰ Œ Œ ‰ j j ‰ Œ Œ ‰ j
Vlc.
b œœ. œœ b œœ. œœ
> >. > >.
? j ‰ Œ Œ ‰ j j ‰ Œ Œ ‰ j
Cb. bœ. œ bœ. œ
> >. > >.
370
Dracula 2m11 "Lucy's Attack"
div. a2 (3-4 flutter) a4
& wæ ˙ Ó æ ~~~~~
Hn. 1-4
æ ææ bwæ ˙™ œ ~~~~~~~~~~~~~~
mf
? b>œ. ‰ Œ Œ ‰
>œ gliss.
¿
j
‰ Œ Ó b>œ. ‰ Œ Œ ‰
>œ gliss.
¿
j
‰ Œ Ó
Tbn. 3-4 J J J J
?
>.j >j ‰ Œ
>.j >j ‰ Œ Ó
B. Tbn. ‰ Œ Œ ‰ j æ ‰ Œ Œ ‰ j
Tba. bœJ œJ gliss. ¿ ˙æ gliss. bœJ œJ gliss. ¿
.> >. ∑ .> >. ∑
Cb. Tbn. ? >.j ‰ Œ Œ ‰
>
j j ‰ Œ >.
j ‰ Œ Œ ‰
>
j j ‰ Œ Ó
Cb. Tba. ææ
b œJ œJ gliss. ¿ ˙ gliss. b œJ œJ gliss. ¿
?
>. >. ∑ >. >. ∑
Timp. æ
wæ
p
æ
B. D. ÷ wæ
p
Daiko ÷
M. Tree ÷
>œ >œ >œ > >œ >œ >œ > > >
Roto-t. ÷ œ œ œ œ ‰ J œ œ œ œ œ œ œ œ œ œ œ œ ‰ J œ œ œ œ œj ‰ œ œ œ œ
Tom-t.
Shk. ÷
æ
T.-t. ÷ ~æ
p fff
&
Cel.
?
{
&
Org. &
{
?
&
Pno.
? j ‰ Œ Ó Ó Œ ‰ j iss. ¿j ‰ Œ Ó Ó Œ ‰
{
›
:“;
>¿ ¿ gl >
j ss.
¿ gli
&
Synth. >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ
{
&
&
Choir (SA)
&
49 50 51 52
> > > > > > >œ œ > >œ œ
> > > #>œ œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰
œ #œ
Vln. 1 & œ #œ ‰ œ œ ‰ œ œ ‰ œ #œ ‰ #>œ œ ‰ œ #œ ‰ œ œ ‰ œ œ ‰ œ #œ
‰ ‰ ‰ ‰
> >
> > > > >œ œ > > œ >
> > œ #œ ‰ >œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ
Vln. 2 & #œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ ‰ #œ œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ ‰ œ #œ ‰ œ ‰ ‰
> > > > >
> > > >
>
B œ #œ ‰ œ œ ‰ œ œ ‰ œ #œ ‰
> > > >
#œ œ ‰ œ #œ ‰ œ œ ‰ œ œ ‰
> >
#>œ œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ ‰ >œ œ ‰ œ #œ ‰ œ œ ‰
Vla.
> > >
? j ‰ Œ Œ ‰ j j ‰ Œ Œ ‰ j
Vlc.
b œœ. œœ b œœ. œœ
> >. > >.
? j ‰ Œ Œ ‰ j j ‰ Œ Œ ‰ j
Cb. bœ. œ bœ. œ
> >. > >.
371
2m11 "Lucy's Attack" Dracula
b>œ
Hn. 1-4 & ~~ J ‰ Œ Ó
fff
b>œ
Hn. 5-8 & ~~ J ‰ Œ Ó
fff
>.
? œJ ‰ Œ Ó
Tbn. 1-2
fff
? b>œ. ‰ Œ Ó
Tbn. 3-4 J
fff
?
>.j
B. Tbn. ‰ Œ Ó
Tba. bœJ
.>
fff
Cb. Tbn. ? >.j ‰ Œ Ó
Cb. Tba.
b œJ
>.
fff
?
Timp.
w—
>
fff
>
÷ œ— Œ Ó
B. D.
fff
Daiko ÷
M. Tree ÷
>œ
Roto-t. ÷ J ‰ Œ Ó
Tom-t. fff
Shk. ÷
>j
÷ œ ‰ Œ Ó
S. D.
fff
choke (beat 1)
T.-t. ÷
&
Cel.
?
{
&
Org. &
{
?
&
Pno. fff
? j ‰ Œ Ó
{ >¿
› >œ
:“;
& Œ Ó
fff
Synth. >œ
Œ Ó
{
&
&
Choir (SA)
&
53
Vln. 1 &
Vln. 2 &
Vla. B
? j ‰ Œ Ó
Vlc.
b œœ.
>
fff
? j ‰ Œ Ó
Cb. bœ.
>
fff
372
Dracula 2m12 "Retaliation"
CONCERT SCORE Chris Heckman
q = 112
Horn 1-4 & 3
Horn 5-8 &
4
?
Trombone 1-2
?
Trombone 3-4
Bass Trombone ?
Tuba
Contrabass Trombone ?
Contrabass Tuba
Timpani
? 3
Bass Drum ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
p poco a poco cresc.
4
Daiko ÷
Snare Drum ÷
Tam-tam ÷
& 3
p
?
Organ
{
?
#˙ ™
1
˙™
2
˙™
3
˙™
Violin 1 & 3
Violin 2 &
4
?
Viola
div.
?
Cello
# ˙ ™™ ˙ ™™ ˙ ™™ ˙ ™™
pp mp
?
Contrabass
#˙ ™ ˙™ ˙™ ˙™
pp mp
373
2m12 "Retaliation" Dracula
1 only
Hn. 1-4 & #˙ ™ ˙™ b˙ Œ
#˙ ™
mp mf
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Daiko ÷
S. D. ÷
T.-t. ÷
Tub. B. &
&
?
Org.
{
?
˙™
5
˙™
6
n˙ ™
7
˙
8
œ
j ‰
Vln. 1 &
Vln. 2 &
div. j
? #˙™
˙™ ˙™
˙™ n˙™
˙™ ˙˙ œœ ‰
Vla.
J
pp mp
? j ‰
Vlc. # ˙˙ ™ ˙˙ ™ ™
™ ™ nn ˙˙ ™ ˙˙ œœ
J
? ‰
Cb. j
˙™ ˙™ n˙ ™ ˙ œ
374
Dracula 2m12 "Retaliation"
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Daiko ÷
S. D. ÷
T.-t. ÷
Tub. B. &
&
?
Org.
{
?
#˙ ™
9
˙™
10
n˙ ™
11
˙
12
œ
j ‰
Vln. 1 &
Vln. 2 &
? #˙™ j
Vla. ˙™ ˙™
˙™ n˙™
˙™ ˙˙ œœ ‰
J
? j ‰
Vlc. ™ ˙˙ ™ ™
## ˙˙ ™ ™ nn ˙˙ ™ ˙˙ œœ
J
? j ‰
Cb.
#˙ ™ ˙™ n˙ ™ ˙ œ
375
2m12 "Retaliation" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Daiko ÷
S. D. ÷
T.-t. ÷
Tub. B. &
&
?
Org.
{
?
˙™
13
˙™
14
b˙™
15
˙
16
œ
j ‰
Vln. 1 &
Vln. 2 &
j
? ˙™
˙™ ˙™
˙™ b˙™
˙™ b˙˙ œœ ‰
Vla. J
? ˙™ j ‰
Vlc.
˙™ ˙˙ ™ ™
bb˙˙ ™ ˙˙ œœ
™ J
? j ‰
Cb.
˙™ ˙™ b˙™ ˙ œ
376
Dracula 2m12 "Retaliation"
+2-3
Hn. 1-4 & ˙™ ˙™ b˙ ™ œ™ ‰ bœ œ
f mp
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Daiko ÷
snares off
æ
S. D. ÷ Ó œæ
pp
T.-t. ÷
Tub. B. &
&
?
Org.
{
?
˙™
17
˙™
18
b˙™
19
˙
20
œ
j ‰
Vln. 1 &
Vln. 2 &
j
? nn˙™
˙™ ˙™
˙™ b˙™
˙™ b˙˙ œœ ‰
Vla. J
? ˙™ j ‰
Vlc.
˙™ ˙˙ ™ ™
bb˙˙ ™ ˙˙ œœ
™ J
? j ‰
Cb.
˙™ ˙™ b˙™ ˙ œ
377
2m12 "Retaliation" Dracula
˙™ œ bœ Œ bœ
Hn. 1-4 & œ ˙™ œ
mf
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mp
Daiko ÷
>
S. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mp
T.-t. ÷
Tub. B. &
&
?
Org.
{
?
˙™
21
˙™
22
#˙ ™
23
˙
24
Œ
Vln. 1 &
div.
Vln. 2 & Œ
b ˙™ ˙™ ˙˙ ™™ ˙˙
pp mp
Vla.
? n˙™
˙™ ˙™
˙™ ##˙˙™™ ˙˙ Œ
pp mp
unis.
? Œ
Vlc. ˙™ ˙™ #˙ ™ ˙
pp mp
? Œ
Cb. ˙™ ˙™ #˙ ™ ˙
pp mp
378
Dracula 2m12 "Retaliation"
™
& ˙
œ bœ Œ bœ
Hn. 1-4 œ ˙™ œ
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Daiko ÷
S. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T.-t. ÷
Tub. B. &
&
?
Org.
{
?
˙™
25
˙™
26
#˙ ™
27
˙
28
Œ
Vln. 1 &
Vln. 2 & Œ
b ˙™ ˙™ ˙˙ ™™ ˙˙
Vla.
? ˙™
˙™ ˙™
˙™ ##˙˙™™ ˙˙ Œ
? Œ
Vlc. ˙™ ˙™ #˙ ™ ˙
? Œ
Cb. ˙™ ˙™ #˙ ™ ˙
379
2m12 "Retaliation" Dracula
™ ˙ œ ˙ œ
& ˙
œ J ‰ œ œ
Hn. 1-4 ˙
f mp
2 only
? ˙™ ˙™
Tbn. 1-2
pp
Tbn. 3-4
? ˙˙ ™™ ˙˙ ™™
pp
Tba.
B. Tbn. ?
Tba. ˙™ ˙™
pp
Cb. Tba.
Cb. Tbn. ?
Cb. Tba.
˙™ ˙™
pp
Timp.
? ˙™ œ– Œ Œ
ææ
p mf
B. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mp poco a poco cresc.
æ >
Daiko ÷ Œ Œ œæ œ œ œ œ œ œ œ œ
pp mp poco a poco cresc.
S. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mp poco a poco cresc.
æ >
T.-t. ÷ Oæ™ ¿— Œ Œ
p mf
Tub. B. &
&
?
Org.
{
?
˙™
29
˙™
30
˙™
31
˙™
32
Vln. 1 &
unis.
Vln. 2 &
b˙™ ˙™ ˙™ ˙™
mp p
? ˙™
˙™ ˙™
˙™ ˙˙ ™™ ˙˙ ™™
Vla.
mp p
?
Vlc. ˙™ ˙™ ˙™ ˙™
mp p
?
Cb. ˙™ ˙™ ˙™ ˙™
mp p
380
Dracula 2m12 "Retaliation"
˙™ b˙ n˙ œ œ
Hn. 1-4 & Œ J ‰ ˙ œ
f mf
7-8
Hn. 5-8 & ˙™
˙™ ˙™
˙™
pp
? b˙ ™ ˙ œ
J ‰
n˙ ™ ˙™
Tbn. 1-2
mp
? b˙˙ ™™ ˙˙ j ˙ ™™ ˙ ™™
Tbn. 3-4 œœ ‰
J
mp
B. Tbn. ? ‰
Tba. j ˙™ ˙™
b˙™ ˙ œ
mp
Cb. Tbn. ? ‰
Cb. Tba. j
b˙™ ˙ œ ˙™ ˙™
mp
? b˙ ™
Timp. ææ
p
B. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Daiko ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
S. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
æ
T.-t. ÷ Oæ™
p
Tub. B. &
&
?
Org.
{
?
#˙ ™
33
˙
34
œ
j ‰ ˙™
35
˙™
36
div.
Vln. 1 & ˙™
˙™ ˙™
˙™
p
Vln. 2 & j ‰
b˙™ ˙ œ n˙ ™ ˙™
mf
? b˙˙ ™™ ˙˙ œœj ‰ ˙ ™™ ˙ ™™
Vla.
J
mf
? ‰
Vlc. j ˙™ ˙™
b˙™ ˙ œ
mf
? ‰
Cb. j ˙™ ˙™
b˙™ ˙ œ
mf
381
2m12 "Retaliation" Dracula
a4
˙™ b˙ Œ ˙™ ˙™
Hn. 1-4 &
f mf
7-8 a2
j ‰
Hn. 5-8 & bb˙™
˙™ ˙˙ œœJ n˙ ™ ˙™
mp p
+1
? b˙˙ ™™ ˙˙ œœ
j ba2
˙™ ˙™
Tbn. 1-2 J ‰
p
j
Tbn. 3-4
? b˙ ™
b ˙™ ˙˙ œœ ‰ n˙™
˙™ ˙™
˙™
J
p
B. Tbn. ? ‰
Tba. j ˙™ ˙™
b˙™ ˙ œ
p
Cb. Tbn. ? ‰
Cb. Tba. j
b˙™ ˙ œ ˙™ ˙™
p
? >™
Timp. ˙
mf
B. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mf
Daiko ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mf
S. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
mf
>
÷ ¿— Œ Œ
T.-t.
mf
Tub. B. &
&
?
Org.
{
?
b˙™
37
˙
38
œ
j ‰
˙™
39
˙™
40
& bb˙™ j ‰
Vln. 1 ˙˙ œœ
˙™ J n˙ ™ ˙™
mf
Vln. 2 & j ‰
b˙™ ˙ œ b˙™ ˙™
j
? b˙˙ ™™ ˙˙ œœ ‰ n˙™
˙™ ˙™
˙™
Vla.
J
div. unis.
? j ‰
Vlc. b˙™ ˙ œ ˙™ ˙™
b ˙™ ˙ œJ
? j ‰
Cb. ˙™ ˙™
b˙™ ˙ œ
382
Dracula 2m12 "Retaliation"
? ˙™ ˙ œ
J ‰ ˙™ ˙™
Tbn. 1-2
mf
? #˙™ j
Tbn. 3-4 ˙™ ˙˙ œœ
J
‰ b˙˙ ™™ ˙˙ ™™
mf
B. Tbn. ? j ‰
Tba. ˙™ ˙ œ
˙™ ˙™
mf
Cb. Tbn. ? j ‰
Cb. Tba.
˙™ ˙ œ
˙™ ˙™
mf
?
Timp.
B. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Daiko ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
S. D. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T.-t. ÷
Tub. B. &
&
?
Org.
{
?
˙™
41
˙
42
œ
j ‰
˙™
43
˙™
44
Vln. 1 & #˙ ™ j ‰
˙ œ b˙™ ˙™
Vln. 2 & j ‰
˙™ ˙ œ ˙™ ˙™
? #˙™ j
Vla. ˙™ ˙˙ œœ ‰ ˙ ™™ ˙ ™™
J
div.
? j ‰ b˙ ™ ˙™
Vlc. ˙™ ˙ œ ˙™ ˙™
? j ‰
Cb. ˙™ ˙ œ ˙™ ˙™
383
2m12 "Retaliation" Dracula
q = 134
Hn. 1-4 & ˙™ ˙™
? ˙™ ˙™
Tbn. 1-2
? #˙™ ˙™
Tbn. 3-4 ˙™ ˙™
B. Tbn. ?
Tba.
#˙ ™ ˙™
Cb. Tbn. ?
Cb. Tba.
#˙ ™ ˙™
? >™
Timp. ˙™ ˙
ææ
p f
æ > >
B. D. ÷ œ œ œ œ ˙æ™ œ œ œ œ œ œ œ œ
ppp f mf sim.
æ > >
Daiko ÷ œ œ œ œ ˙æ™ œ œ œ œ œ œ œ œ
ppp f mf sim.
S. D. ÷ œ œ œ œ
&
?
Org.
{
?
#˙ ™
45
˙™
46 47 48
Vln. 1 &
˙™ ˙™
Vln. 2 &
˙™ ˙™
? #˙™
˙™ ˙™
˙™
Vla.
?
Vlc. ˙™ ˙™
#˙ ™ ˙™
?
Cb.
#˙ ™ ˙™
384
Dracula 2m12 "Retaliation"
?
Hn. 1-4 &
?
Hn. 5-8 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
snares on
æ
S. D. ÷ Œ ˙æ
mp poco a poco cresc.
ord.
æ
T.-t. ÷ Oæ™
p
Tub. B. &
&
?
Org.
{
?
49 50 51 52
Vln. 1 &
Vln. 2 &
?
Vla.
?
Vlc.
?
Cb.
385
2m12 "Retaliation" Dracula
Hn. 1-4
? Œ Œ
˙™ ˙ ˙™ ˙
f
a4
? Œ Œ
Hn. 5-8
˙™ ˙ ˙™ ˙
f
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
> æ
S. D. ÷ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ ˙æ
>
÷ ¿— Œ Œ
T.-t.
mf
Tub. B. & ˙™
—
&
?
Org.
{
?
53 54 55 56
Vln. 1 &
Vln. 2 &
?
Vla.
?
Vlc.
?
Cb.
386
Dracula 2m12 "Retaliation"
q = 133
Hn. 1-4
? Œ Œ
˙™ ˙ ˙™ ˙
ff
? Œ Œ
Hn. 5-8
b˙™ ˙ b˙™ ˙
ff
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
? ˙™
Timp. ææ
p
> æ
S. D. ÷ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ ˙æ
T.-t. ÷
Tub. B. &
&
?
Org.
{
?
57 58 59 60
Vln. 1 &
Vln. 2 &
?
Vla.
?
Vlc.
?
Cb.
387
2m12 "Retaliation" Dracula
Hn. 1-4
? & Œ
˙™ ˙
mf poco cresc.
? & Œ
Hn. 5-8
˙™ ˙
mf poco cresc.
a2
? ˙™ ˙ Œ
Tbn. 1-2
mf poco cresc.
a2
? ˙™ ˙ Œ
Tbn. 3-4
mf poco cresc.
a2
B. Tbn. ? ˙™ ˙ Œ
Tba.
mf poco cresc.
a2
Cb. Tbn. ? ˙™ ˙ Œ
Cb. Tba.
mf poco cresc.
? >œ œ
>
œ
>
œ œ
>
œ æ Œ Œ
Timp.
>œ œæ œ
ff >
ffp
>—
ff
> æ >
S. D. ÷ œ œ œ œ œ Œ œ œ œ œ ˙æ œ œ œ œ œ Œ œ œ œ œ œ œ Œ
mf
æ >
T.-t. ÷ Oæ™ ¿— Œ Œ
p mf
&
?
Org.
{
?
61 62 63 64
Vln. 1 &
Vln. 2 &
?
Vla.
?
Vlc.
?
Cb.
388
Dracula 2m12 "Retaliation"
? ˙™ ˙ Œ ˙™ ˙ Œ
Tbn. 1-2
? ˙™ ˙ Œ ˙™
Tbn. 3-4 bb˙™ ˙˙ Œ
B. Tbn. ? Œ b˙ ™ ˙ Œ
Tba. ˙™ ˙
Cb. Tbn. ? Œ Œ
Cb. Tba. ˙™ ˙ b˙™ ˙
?
Timp.
æ >
S. D. ÷ œ œ œ œ œ œ œ œ œ œ œ ˙æ œ œ œ œ œ Œ œ œ œ œ œ œ Œ
T.-t. ÷
Tub. B. &
&
?
Org.
{
?
65 66 67 68
Vln. 1 &
Vln. 2 &
?
Vla.
?
Vlc.
?
Cb.
389
2m12 "Retaliation" Dracula
^
Hn. 1-4 & ˙™ ˙ Œ b˙ ™ ˙ Œ
ff f
^
Hn. 5-8 & ˙™ ˙ Œ ˙™ ˙ Œ
ff f
? ˙™ ˙ Œ ˙^ ™ ˙ Œ
Tbn. 1-2
ff f
a2
^
? b˙ ™ ˙˙ Œ ˙™ ˙ Œ
Tbn. 3-4 b ˙™
ff f
B. Tbn. ? Œ ˙^ ™ ˙ Œ
Tba. b˙ ™ ˙
ff f
? ^
Cb. Tbn. Œ Œ
Cb. Tba. ˙™ ˙
b˙™ ˙
ff f
? æ Œ Œ
Timp.
˙™æ œ
>—
p f
æ >
S. D. ÷ œ œ œ œ œ œ œ œ œ œ œ ˙æ œ œ œ œ œ Œ œ œ œ œ œ œ Œ
f
æ >
T.-t. ÷ Oæ™ ¿— Œ Œ
p f
&
?
Org.
{
?
69 70 71 72
Vln. 1 &
Vln. 2 &
?
Vla.
?
Vlc.
?
Cb.
390
Dracula 2m12 "Retaliation"
^ ^
Hn. 1-4 & b˙ ™ ˙ Œ n˙ ™ ˙ Œ
div.
^ a2
^
& ˙™ Œ #˙˙ ™™ Œ
Hn. 5-8 ˙ ˙˙
^
? ˙™ ˙ #˙^ ™ ˙
Tbn. 1-2 Œ Œ
^
? ˙^ ™ ˙ Œ ˙™ ˙˙ Œ
Tbn. 3-4 ˙™
v
B. Tbn. ? ^ Œ
^
Œ
Tba. ˙™ ˙ ˙™ ˙
Cb. Tbn. ? ^ Œ
^
Œ
Cb. Tba.
˙™ ˙ ˙™ ˙
? æ Œ Œ
Timp.
˙æ™ œ
>—
p f
æ >
S. D. ÷ œ œ œ œ œ œ œ œ œ œ œ ˙æ œ œ œ œ œ Œ œ œ œ œ œ œ Œ
æ >
T.-t. ÷ Oæ™ ¿— Œ Œ
p f
Tub. B. &
&
?
Org.
{
?
73 74 75 76
Vln. 1 &
Vln. 2 &
?
Vla.
?
Vlc.
?
Cb.
391
2m12 "Retaliation" Dracula
q = 136
n ˙^
poco accel. ^
^ ?
Hn. 1-4 & #˙ ™ ˙ Œ Œ ˙ Œ
ff
a4
^
^ ˙ ^
Œ ? Œ Œ
Hn. 5-8 & #˙˙ ™™ ˙˙ ˙
ff
^ ^ ^
? #˙ ™ ˙
Œ ˙ Œ ˙ Œ
Tbn. 1-2
ff
^ a2
^ ^
? ˙™ ˙˙ Œ Œ Œ
Tbn. 3-4 ˙™ ˙ ˙
v ff
^
B. Tbn. ? ^ Œ n˙ Œ
^
Œ
Tba.
#˙ ™ ˙ ff ˙
Cb. Tbn. ? ^ Œ
^
Œ
^
Œ
Cb. Tba.
n˙
#˙ ™ ˙ ff ˙
? œ œ œ œ œ œ
Timp.
> > > >
ff >œ >œ
æ >
S. D. ÷ œ œ œ œ œ œ œ œ œ œ œ ˙æ œ œ œ œ œ Œ œ œ œ œ œ œ Œ
ff
æ >
T.-t. ÷ Oæ™ ¿— Œ Œ
p ff
Tub. B. & ™
>˙ —
ff
&
?
Org.
{
?
77 78 79 80
Vln. 1 &
Vln. 2 &
?
Vla.
?
Vlc.
?
Cb.
392
Dracula 2m12 "Retaliation"
aggressively!
b ˙^ ^ Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? Œ b˙ Œ ˙ Œ ~˙ Œ
Hn. 1-4 &
¿ ~~~
~~~~~ ¿ ~~~~~~
~
fff
aggressively!
b ˙^ ^ Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
? Œ b˙ Œ ~˙ Œ ~˙ Œ
Hn. 5-8 &
¿ ~~~
~~~~ ¿ ~~~~~~
~
fff
^ ^ ^æ ^æ
Tbn. 1-2
? ˙ Œ ˙ Œ ˙æ Œ ˙æ Œ
f
? ^ ^ ^æ ^æ
Tbn. 3-4 ˙ Œ ˙ Œ ˙æ Œ ˙æ Œ
f
^ ^ ^æ ^
B. Tbn.
Tba.
? ˙ Œ Œ ˙æ Œ æ Œ
˙ f
˙æ
^æ
Cb. Tbn. ? ^ Œ
^
Œ ˙æ Œ
^
Œ
Cb. Tba. æ
˙ f
˙æ
˙
? b>œ œ
>
œ
>
bœ œ
>
œ œ œ œ œ œ œ
Timp.
> > > >
>œ >œ >œ >œ
æ >
S. D. ÷ œ œ œ œ œ œ œ œ œ œ œ ˙æ œ œ œ œ œ Œ œ œ œ œ œ œ Œ
T.-t. ÷
Tub. B. & ™
>˙ —
ff
&
?
Org.
{
?
81 82 83 84
Vln. 1 &
Vln. 2 &
?
Vla.
?
Vlc.
?
Cb.
393
2m12 "Retaliation" Dracula
q = 152 (beat 2)
Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
& b¿ ~~~~~~~
b˙ Œ ~~ b˙ ™
Hn. 1-4 b¿ ~~~~~
Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ½ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
& ~ ~˙ Œ ~ ~ ˙™
Hn. 5-8
¿ ~~~~~~ ¿ ~~~~~~
aggressively!
? ^ ^
Tbn. 1-2 b˙ Œ b˙ ™
ææ ææ
fff
aggressively!
? ^æ ^æ
Œ
Tbn. 3-4 ˙æ ˙æ™
fff
^æ aggressively!
^
B. Tbn.
Tba.
? ˙æ Œ æ
˙æ™
fff
^æ aggressively!
^
Cb. Tbn.
Cb. Tba.
? ˙æ Œ æ
˙æ™
fff
æ >
S. D. ÷ œ œ œ œ œ œ œ œ œ œ œ ˙æ œ Œ Œ
fff
æ choke (beat 1)
T.-t. ÷ Oæ™
p fff
Tub. B. &
&
?
Org.
{
?
85 86 87
Vln. 1 &
Vln. 2 &
?
Vla.
?
Vlc.
?
Cb.
394
Dracula 2m13a "Confrontation Pt.1"
CONCERT SCORE Chris Heckman
q = 80
Shakuhachi & 3 4
Horn 1-4 &
?
Trombone 3-4
Bass Trombone ?
Tuba
Contrabass Trombone ?
Contrabass Tuba
Timpani
? 3 æ
˙æ™
4 w
>
pp ff
æ >
Bass Drum ÷ ˙æ™ œ— Œ Ó
pp ff
Crotales & 4 4
Daiko ÷
Glockenspiel &
Mark Tree ÷
æ >
Tam-tam ÷ Oæ™ ¿— Œ Ó
pp ff
& 3 4
Celesta
?
{ Gt: Full + Reeds
˙
b˙˙
œœ
œ ‰ œ #˙˙
˙
œœ
œ ‰ œ bn˙˙˙ bœ™
œœ œj
& Œ
4 4 fff
J J
Gt.
˙
b ˙˙
œœ
œ œ # ˙˙
˙
œœ
œ œ bn ˙˙˙ b œœ ™ œj
? J ‰ J ‰ œ
Organ Œ
Ped: Full + Reeds
{
?
&
˙ œ
j ‰ Œ ˙ œ
j ‰ Œ b˙ ™ Œ
Piano
?
{ ›
Big Bang Kit
>œ
& & Œ Ó
Synthesizer ff
?
{
&
Choir (SA)
&
1 2 3 4
Violin 2 &
4 4
Viola B
?
Cello
? j ‰ Œ j ‰ Œ b˙ ™ Œ
Contrabass ˙ œ ˙ œ
f
395
2m13a "Confrontation Pt.1" Dracula
Shak. &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
? Œ æ Œ æ
Timp. ˙æ™ w ˙æ™
> pp
pp ff
æ > æ
B. D. ÷ Œ ˙æ™ œ— Œ Ó Œ ˙æ™
pp ff pp
Crot. &
Daiko ÷
Glock. &
M. Tree ÷
æ > æ
T.-t. ÷ Œ Oæ™ ¿— Œ Ó Œ Oæ™
pp ff pp
&
Cel.
?
{ b œj n˙ ™ nœ
& #˙˙˙ ™™™ Œ b˙˙˙ bœ™
œœ œ bœ ###˙˙˙ ™™™ Œ bb ˙˙ ™™
˙
Œ
Œ
#˙ ™ b ˙˙˙ b œœœ ™ n˙ ™
###˙˙˙ ™™™
nœ
bb ˙˙™™
˙
? ˙˙ ™™ Œ œ ‰ Œ Œ
Org. Œ
{
? #˙ ™
&
Œ
b˙™
Œ
#˙ ™
Œ
b˙™
Œ
Pno.
?
{
› >œ
& Œ Ó
Synth.
?
{
&
Choir (SA)
&
5 6 7 8
S. Vln. &
Vln. 1 &
Vln. 2 &
Vla. B
?
Vlc.
? #˙ ™ Œ Œ Œ Œ
Cb.
b˙™ #˙ ™ b˙™
396
Dracula 2m13a "Confrontation Pt.1"
q random
= 112tremolos ad lib. - overblow into louder dynamics to reveal harmonics
o o
˙™ b˙ ™ Ó
Shak. & œ bœ O™ bO ™ ˙ b˙
mf fff mf pp
Hn. 1-4 &
Crot. &
Daiko ÷
Glock. &
M. Tree ÷
> scrape with tri. beater >
æ
T.-t. ÷ ¿— Œ Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿— Œ Ó
ff f ff
&
Cel.
?
{ #w
& n## www
# # w
w
? n# w w
Org.
?
{
&
#w
?
#œœ.
j ‰ Œ Œ ‰ ##œœj œœ
>.
j
‰ Œ Œ
>.
‰ ##œœ
J
> >.
Pno. ff
j >œ.
? j ‰ Œ Œ ‰ ##œœj ‰ Œ Œ #
‰ #œ
{
› >œ
#œœ.
“>‘
>.
œœ
>. J
& Œ Ó
Synth.
?
{
&
Choir (SA)
&
9 10 11 12
S. Vln. &
sul E - trem. gliss. approx. range ad lib.
Y Y
Y ææ
Vln. 1 & æ ææ
f
Vln. 2 &
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Vla. B œ #œ œ œ #œ #œ œ œ œ œ œ œ nœ #œ œ
œ #œ #œ œ œ #œ œ œ œ
mf poco a poco cresc.
div. - col legno
>.j >. >.j >.j
Vlc.
? ‰ Œ Œ ‰ ##œœj œœ ‰ Œ Œ ‰ ##œœ
#œœJ J. J. J.
>. > > >
ff
div.
> >. >.j >.j
.j
Cb.
? ‰ Œ Œ ‰ ##œœj œœ ‰ Œ Œ ‰ ##œœ
#w #œœJ J. J. J.
>. > > >
ff
397
2m13a "Confrontation Pt.1" Dracula
Shak. &
a4
Hn. 1-4 & ææ Œ æ Œ æ
#˙ ™ ˙æ™ wæ
mf f mf ff mf
a4
Hn. 5-8 & ææ Œ æ Œ æ
˙æ™ wæ
#˙ ™
mf f mf ff mf
? j ‰ Œ j ‰ ‰ j Œ j ‰ Ó j ‰ Œ j ‰ ‰ j
Tbn. 1-2 œ œ #œ. œ œ œ
>. #œ.
> >. > >. >. >.
? j ‰ Œ j ‰ ‰ j Œ j ‰ Ó j ‰ Œ j ‰ ‰ j
Tbn. 3-4 #œ. œ #œ. œ
#œ. # œ. œ >. >.
> > >. > >
? >. >. >. >. >. >. >.
B. Tbn. j ‰ Œ j ‰ ‰ j Œ j ‰ Ó j ‰ Œ j ‰ ‰ j
Tba. #œ #œ œ
œJ # œJ œJ # œJ œJ œJ œJ
.> >. .> .> >. .> >.
Cb. Tbn. ? j ‰ Œ j ‰ ‰ j Œ j ‰ Ó j ‰ Œ j ‰ ‰ j
Cb. Tba.
# œ. œ # œ. œ # œ. œ
> # œ.
> >. > >. > >.
?
Timp.
Œ j Œ Œ j
B. D. ÷ œ— œ— ‰ œ— œ— Ó œ— œ— ‰ œ—
Crot. &
Daiko ÷
Glock. &
M. Tree ÷
T.-t. ÷
&
Cel.
?
{
&
?
Org.
{
?
?
#œœ.
j ‰ Œ
## œœ.
j ‰ ‰
œœ
j Œ
##œœ.
j ‰ Ó œœ
>.
j ‰ Œ
#œœ.
j ‰ ‰ œœ
>.
j
Pno.
> > >. > >
? j ‰ Œ j ‰ ‰ j Œ j ‰ Ó j ‰ Œ j ‰ ‰ j
{ :;
›“
#œœ.
>
œ
## œœ.
>
œœ
>.
##œœ.
>
œœ
>. #œœ.
>
œœ
>.
& Œ Ó
Synth. f
?
{
&
Choir (SA)
&
13 14 15 16
S. Vln. &
Y Y
Y bY Y
ææ ææ ææ ææ
Vln. 1 & ææ
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ œ œ æ æ æ æ
Vln. 2 & œ #œ œ œ #œ #œ œ œ œ #œ #œ #œ œ œ œ œ œ œ nœ #œ œ œ
æ æ æ æ
f
#œ #œ œ œ œ œ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Vla. B œ œ æ æ æ æ œ #œ œ œ #œ #œ œ œ #œ #œ #œ œ œ œ œ œ œ œ œ nœ #œ œ œ
æ æ æ æ œ
f
>.j >. >.j >.j >.j >.j >.j
? ‰ Œ j ‰ ‰ Œ ‰ Ó ‰ Œ ‰ ‰
Vlc.
#œœJ ## œœJ œœJ ##œœJ œœJ #œœJ œœJ
>. .> >. .>
>. >.> >. >.j >.j >.j >.j
?
>.j .j >.j
Cb. ‰ Œ ‰ ‰ Œ ##œœJ ‰ Ó œœ ‰ Œ #œœJ ‰ ‰ œœJ
#œœJ ## œœJ œœ
J. J.
>. >. .>
>. >. > >
398
Dracula 2m13a "Confrontation Pt.1"
o o o o
œ bœ œ œo o
˙ b˙
Shak. & Ó O bO O O ˙ b˙ O bO
>. f fff mf f fff
j j j j
Hn. 1-4 & æ ~~~~~~~~~~~ #œJ ‰ Ó ?
œ
j ‰ Œ j ‰ ‰ œ
j Œ #œ. ‰ Ó œ ‰ Œ œ ‰ ‰ œ
œ ~~~~ >. #œ.
> >. > >. >. >.
sfffz ff
>.
& æ ~~~~~~~~~~~ #œJ ‰ Ó ? j ‰ Œ j ‰ ‰ j Œ j ‰ Ó j ‰ Œ j ‰ ‰ j
Hn. 5-8 #œ. œ #œ. œ
œ ~~~~ #œ. # œ. œ >. >.
> > >. > >
sfffz ff
? Œ #>œ. ‰ Ó j ‰ Œ j ‰ ‰ j Œ j ‰ Ó œ
j
‰ Œ j ‰ ‰ œ
j
Tbn. 1-2 J œ œ #œ. œ
>. #œ.
> >. > >. >. >.
>
Tbn. 3-4
? Œ #œ. ‰ Ó j ‰ Œ j ‰ ‰ j Œ j ‰ Ó œ
j ‰ Œ j ‰ ‰ œ
j
J #œ. # œ. œ #œ. >. #œ. >.
> > >. > >
>. >. >. >. >. a2
B. Tbn. ? Œ j ‰ Ó j ‰ Œ j ‰ ‰ j Œ ‰ Ó ‰ Œ ‰ ‰
Tba. #œJ #œ #œ œ j j j j
œJ œJ # œJ œ œ œ
.>
.>
# œJ
.> .> >. >. >.
.>
Cb. Tbn. ? Œ ‰ Ó ‰ Œ ‰ ‰ Œ ‰ Ó ‰ Œ ‰ ‰
Cb. Tba. j j j j j j j j
# œ. œ œ
> # œ. # œ. œ # œ. >. # œ. >.
> > >. >
3
>
? Œ ‰
Timp.
#œ œ œ >œ œ œ œ
> > > >j > f ff > > >j
÷ Œ œ— Ó œ— Œ œ— ‰ œ— Œ œ— Ó œ— Œ œ— ‰ œ—
B. D.
sfffz ff
Crot. &
> > >j > > > >j
÷ œ— Œ œ— ‰ œ— Œ œ— Ó œ— Œ œ— ‰ œ—
Daiko
ff
Glock. &
M. Tree ÷
æ >
T.-t. ÷ Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿— Œ Ó
f ff
&
Cel.
?
{
&
?
Org.
?
{
? Œ >.
##œœ
J
‰ Ó
#œœ.
j ‰ Œ
## œœ.
j ‰ ‰
œœ
j Œ
##œœ.
j ‰ Ó œœ
>.
j
‰ Œ
#œœ.
j ‰ ‰ œœ
>.
j
Pno.
> > >. > >
? Œ >. j j j j
{ ##œœ ‰ Ó j ‰ Œ j ‰ ‰ j Œ ‰ Ó œœ ‰ Œ ‰ ‰ œœ
J #œœ. ## œœ. œœ ##œœ. >. #œœ. >.
:; > > >. > >
›“ œ
& Œ Ó
Synth.
?
{
&
Choir (SA)
&
17 18 19 20
S. Vln. &
¿
Y
æ J ‰ Œ Ó
Vln. 1 &
ff
#œ #œ œ œ œ œ
Vln. 2 & œ œ æ æ æ æ
æ æ æ æ
ff
B œ #œ #œ œ œ œ œ
Vla. œ æ æ æ æ
æ æ æ æ
ff
>.j ord.
>.j >.j >.j >.j >.j >.j
? Œ >.
Vlc. ##œœ ‰ Ó ‰ Œ j ‰ ‰ Œ ##œœJ ‰ Ó œœ ‰ Œ #œœJ ‰ ‰ œœ
J. #œœJ ## œœJ œœJ J. J.
> >. >. .> > .> >
sfffz ff
>.
col legno
>.j ord.
>.j >.j >.j >.j >.j >.j
? Œ >.
##œœ ‰ Ó ‰ Œ j ‰ ‰ Œ ‰ Ó œœ ‰ Œ ‰ ‰ œœ
Cb.
J. #œœJ ## œœJ œœJ ##œœJ J. #œœJ J.
> >. >. .> > .> >
sfffz ff
>.
399
2m13a "Confrontation Pt.1" Dracula
bend tones - non vibrato
˙o b wo œo overblown accent ad lib.
>˙
Shak. & #˙ O b~ ‚ ‰ Œ Ó Ó
J
mf f fff f sfffz
>-œ > >.
? Œ #>œ. ‰ Ó b>œ. ‰ Œ
>œ.
‰ ‰ b>œ. Œ b>œ. ‰
>œ.
‰ b-œ œ ~~~~~~~~ œ Ó
Hn. 1-4 J J J J J J
fff
> >-œ > >.
b>œ.
>. b>œ. b>œ.
>. b-œ œ ~~~~~~~~ œ
Hn. 5-8
? Œ #œ. ‰ Ó J ‰ Œ œ ‰ ‰ J Œ J ‰ œ ‰ Ó
J J J
fff
>œ- >œ.
? Œ #>œ. ‰ Ó b>œ. ‰ Œ
>œ.
‰ ‰ b>œ. Œ b>œ. ‰
>œ.
‰ b>-œ ™ J Ó
Tbn. 1-2 J J J J J J
> >-œ > >œ.
Tbn. 3-4
? Œ #œ. ‰ Ó b>œ. ‰ Œ
>.
œ ‰ ‰ b>œ. Œ b>œ. ‰
>.
œ ‰ b-œ ™ J Ó
J J J J J J
B. Tbn. ? Œ j j j j
j ‰ Ó ‰ Œ j ‰ ‰ Œ ‰ j ‰ œ Ó
Tba. #œ. bœ. œ bœ. œ
>- bœ. œ bœ- ™ >.
> > >. > > >. >
Cb. Tbn. ? Œ ‰ Ó j ‰ Œ ‰ ‰ j Œ j ‰ ‰ j Ó
j j j œ
Cb. Tba. # œ. b œ. œ b œ. œ
>- b œ. œ b œ- ™ >.
> > >. > > >. >
3
? Œ ‰ œœœœ œ œ œ
Timp.
>
> > > >j > > > > >j
÷ Œ œ— Ó œ— Œ œ— ‰ œ— Œ œ œ œ œ— ‰ œ— Ó
B. D.
Crot. &
> > > >j > > > > >j
÷ Œ œ— Ó œ— Œ œ— ‰ œ— Œ œ œ œ œ— ‰ œ— Ó
Daiko
Glock. &
M. Tree ÷
T.-t. ÷
&
Cel.
?
{
&
?
Org.
{
?
? Œ >.
##œœ
J
‰ Ó
>.
bbœœ
J
‰ Œ
>œ.
œ
J
‰
>.
‰ bbœœ
J
Œ
>-œ
œ
>.
bbœœ
J
‰
>œ.
œ
J
‰
>
bbœœ- ™™
>œ.
œ
J Ó
Pno. >œ.
>. >. >œ. >. >-œ >. >œ. >
? Œ ##œœ ‰ Ó bbœœ ‰ Œ œ ‰ ‰ bbœœ Œ œ bbœœ ‰ œ ‰ bb-œœ ™™ œ Ó
{:;
›“
J J
œ
J J J J
J
& Œ Ó
Synth.
?
{
&
Choir (SA)
&
21 22 23 24
S. Vln. &
sul E - trem. gliss. up to highest note ad lib.
Y
Vln. 1 & ææ
mf
sul E - trem. gliss. up to highest note ad lib.
Y
Vln. 2 & ææ
mf
æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ
Vla. B bœ bœ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ bœæ œ gliss. >œ. Ó
ff fff
>.j unis. - sul A - trem. gliss. up to highest note ad lib.
? Œ Y
Vlc. ##œœ ‰ Ó ææ
J.
> mf
>.j >.j >.j >.j >- >.j >.j >- >.j
bbœœ œœ œœ
Cb.
? Œ ##œœ ‰ Ó J. ‰ Œ œœ ‰ ‰ bbœœJ Œ bbœœ
J. ‰ œœ ‰ bbœ™
œ™ J Ó
J. J. >- J. >.
> > > >. > > >-
400
Dracula 2m13a "Confrontation Pt.1"
Shak. & ˙ Ó 3
> >˙ b>˙ ™
? ˙ Œ Œ
Hn. 1-4
ff
? > >˙ >˙ ™
Hn. 5-8 ˙ Œ Œ
4 ff
> >
? ˙ Œ Œ b˙ ™
Tbn. 1-2
>˙
ff
? Œ Œ b˙ ™
Tbn. 3-4
>˙ >˙ >
ff
B. Tbn. ? Œ Œ b˙ Œ
Tba.
>˙ >˙ >
ff
Cb. Tbn. ? Œ Œ Œ
Cb. Tba.
b>˙
>˙ >˙
ff
Timp.
? æ
wæ
3 ˙™
>
>˙™
b˙ ™
>
pp ff
æ > > >
B. D. ÷ wæ œ— Œ Œ œ— Œ Œ œ— Œ Œ
pp ff
Crot. & 4
> > >
÷ œ— Œ Œ œ— Œ Œ œ— Œ Œ
Daiko
ff
Glock. &
M. Tree ÷
ord.
ææ >
÷ ~ ¿— Œ Œ
T.-t.
pp ff
& 3
Cel.
?
{
&
4 ff
?
Org.
?
{
?
˙
Œ ˙ Œ b˙ Œ
Pno. ff
? Œ Œ Œ
{ ˙
>>˙
˙
>˙
b˙
b>˙
› œ
& Œ Œ Ó Œ
Synth. ff
?
{
&
Choir (SA)
&
25 26 27 28
S. Vln. &
(beat 4)
3 violent trem. random high pitches
1> ¿ ¿ ¿ ¿
& J ‰ æ æ æ æ
Vln. 1
f ff
(beat 4) violent trem. random high pitches
1> ¿ ¿ ¿ ¿
Vln. 2 & J ‰ 4 æ æ æ æ
f ff
violent trem. random high pitches
¿ ¿ ¿ ¿
Vla. B æ æ æ æ
(beat 4) ff
1>
? J ææ æ
Vlc. ‰ ææ Œ Œ b˙æ Œ
>˙ >˙ >
f ff
unis.
? ææ æ
Cb. ææ Œ Œ b˙æ Œ
>˙ >˙ >
ff
401
2m13a "Confrontation Pt.1" Dracula
Shak. & 4
˙ >˙ >˙ ™
>
Hn. 1-4
? ææ Œ ˙ Œ Œ ææ
fff
div.
> a2
æ
? ˙ > >˙ ˙æ™
## ˙™ 4
Hn. 5-8 ææ Œ ˙ Œ Œ
> fff
? ˙ > >˙™
Tbn. 1-2 Œ ˙ Œ Œ ææ
ææ >˙ fff
>æ
? ˙ææ Œ Œ Œ æ
Tbn. 3-4
>˙ ##˙˙™™
>˙ > fff
B. Tbn. ? b>˙ Œ Œ Œ
Tba. >˙ >˙ >˙
™
fff
Cb. Tbn. ? Œ Œ Œ
Cb. Tba. b>˙
>˙ >˙ >˙™ fff
? b>œ æ 4
Timp. ˙æ ˙™ æ
> >˙™ >œ # ˙æ
p ff
>æ > > >æ p
B. D. ÷ ˙æ™ œ— Œ Œ œ— Œ Œ ˙æ™
ffp ff ffp
bowed
Crot. & Œ Œ ‰ #œ 4
J
mf
> > > >
÷ œ— Œ Œ œ— Œ Œ œ— Œ Œ œ— Œ Œ
Daiko
Glock. &
M. Tree ÷
æ > æ
T.-t. ÷ Oæ™ ¿— Œ Œ Oæ™
p ff p
& 4
Cel.
?
{
& 4
?
Org.
{
? b˙
?
Œ ˙ Œ
˙
Œ
˙™
&
Pno.
? b˙ Œ Œ Œ
{
›
b>˙
˙
>˙
˙
>˙
˙™
>˙ ™
&
Synth.
?
{
&
Choir (SA)
&
29 30 31 32
S. Vln. & 4
(beat 3)
Vln. 1 & ì Œ
(beat 3)
& ì Œ
Vln. 2
(beat 3)
4
Vla. B ì Œ
? b>˙ Œ ææ Œ ææ Œ ææ
Vlc.
ææ >˙ >˙ >˙
™
fff
? b>˙ Œ ææ Œ ææ Œ ææ
Cb.
ææ >˙ >˙ >˙
™
fff
402
Dracula 2m13a "Confrontation Pt.1"
Shak. & 4
?
Hn. 1-4
?
Hn. 5-8
4
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 4 w
æ
wæ
> pp
ff
> æ
B. D. ÷ œ— Œ Ó wæ
ff pp
4 œ œ– œ œ–
Crot. & œ– Œ Œ ‰ J Œ Œ ‰ #œJ œ– Œ Œ ‰ J Œ Ó
>
÷ œ— Œ Ó
Daiko
ff
Glock. &
M. Tree ÷
> scrape
æ
T.-t. ÷ ¿— Œ Ó Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ff mf
& 4 #œ œ œ #œ
#œ œ
œ œ œ œ œ œ œ™
œ
#œ œ œ #œ œ œ œ œ œ œ œ œ œ œ™ #œ œ œ #œ
#œ œ
œ œ œ œ œ œ œ™
œ #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ™
Cel. mf
?
{ Gt: Principals 8', 4'
& 4 #œ œ œ# œ # œ œ œ œ œ œ œ œ œ œ ™ #œ œ œ# œ œ œ œ œ œ œ œ œ œ œ ™ #œ œ œ# œ # œ œ œ œ œ œ œ œ œ œ ™ # œ nœ œ œ œ œ œ œ œ œ œ œ œ œ™
mf
?
Org.
{
?
&
#w
#œ œ œ #œ œ œ œ œ œ œ œ œ™
#œ œ
˙™ œ
#œ œ œ #œ œ œ œ œ œ œ œ œ œ œ™
#w
#œ œ œ #œ œ œ œ œ œ œ œ œ™
#œ œ
w
#œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ™ ?
Pno. mf
?
{
› °
œ
* ° * ° * ° *
& Œ Ó
Synth. f
?
{ mp
div.
& #w
w #ww #w
w #˙w ˙
Choir (SA) ah
mp
& #w w #w nw
ah
33 34 35 36
legato appassionato
S. Vln. & 4 œ
f
#œ œ
#œ port. #˙ ™ #œ œ #œ œ
#œ port. #˙ n˙
Vln. 1 & ˙
#w w w ˙
mp
div.
Vln. 2 & 4 #w ˙™ œ #w w
w
mp
div. unis.
Vla. B
w ˙™ ## œœ w w
mp
? #w #w
Vlc. ˙™ œ w
mp
? #w œ #w
Cb. ˙™ w
mp
403
2m13a "Confrontation Pt.1" Dracula
>
w
Shak. &
sfffz >.
>. >œ. >œ. #>œ- b>œ. >œ. >
bœ- œ ~~~~~~~~~ œ
? bœJ ‰ Œ J ‰ ‰ J Œ J ‰ J ‰ Ó
Hn. 1-4
ff fff
a4
> >œ. >-œ >œ. >-œ >.
? œJ. #>œ. >. œ ~~~ ~~~~ # œ
Hn. 5-8 ‰ Œ J ‰ ‰ J Œ J ‰ #œJ ‰ Ó
ff fff
? bœj j j j j >œ.
Tbn. 1-2 ‰ Œ œ ‰ ‰ œ Œ #œ bœ. ‰ œ ‰ bœ- ™ J Ó
>. >. >. >- > >. >
ff
a2
? j ‰ Œ j ‰ ‰ j Œ j ‰ j ‰ j Ó
Tbn. 3-4 œ #œ. œ œ œ #œ. œ™ #œ.
>. > >. >- >. > >- >
ff
? >.j >. >. >- >. > >- >.
B. Tbn. ‰ Œ j ‰ ‰ j Œ j ‰ .j ‰ j Ó
Tba. #œ #œ œJ
b œJ œJ œJ #œ b œJ œJ b œ™
>. .> .> >- .> >. >- >.
ff
Cb. Tbn. ? j ‰ Œ j ‰ ‰ j Œ j ‰ j ‰ j Ó
Cb. Tba.
œ œ œ œ œ™ # œ.
>. # œ. >. >- >. # œ. >- >
ff
> >
? æ
Timp. w
> #wæ w
ff
>
p ff
> > >j > > > > >j æ >
æ
B. D. ÷ œ— Œ œ— ‰ œ— Œ œ œ œ œ— ‰ œ ˙æ œ— Œ Ó
ff ffp ff
#œ œ– œ
Crot. & Ó Œ ‰ J Œ Œ ‰ J
mf poco a poco cresc.
> > >j > > > > >j >
÷ œ— Œ œ— ‰ œ— Œ œ œ œ œ— ‰ œ— Ó œ— Œ Ó
Daiko
ff ff
Glock. &
M. Tree ÷
> ord.
æ
æ >
÷ ~~~ ¿— Œ Ó ~ ¿— Œ Ó
T.-t.
ff p ff
#œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ ™
&
Cel. mf poco a poco cresc.
?
{
& #œ œ œ #œ# œ œ œ œ œ œ œ œ œ œ™
mf
?
Org.
?
{
?
bœœ
j ‰ Œ
#œœ.
j ‰ ‰ œœ
j Œ #œœ
>-
bœœ
j ‰
#œœ.
j ‰ bœœ ™™
>
#œœ.
J
Ó &
#w
#œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ ™
>. > >. >. > >-
mf poco a poco cresc.
Pno. ff
? bœj j j j j >œ.
{ ‰ Œ ‰ ‰ œœ Œ #œœ bœœ ‰ ‰ bœœ ™™ #œ Ó
œ
>. #œœ. >. >- >. #œœ. >- J
> >
› “œ‘ °
œ *
& Œ Ó Œ Ó
Synth. f f
?
{ f
#w
w
&
Choir (SA) mf
& #w
37 38 39 40
œ #œ œ port.
S. Vln. & #œ
ff
Vln. 1 &
#w
mf
unis.
Vln. 2 &
w
>œ. mf
æ æ æ æ æ
Vla. B bœæ æ
œ
æ
œ
æ
œ
æ
œ
æ æ
œ
æ bœ œ #œ œ
æ
œ
æ
œ
æ æ
œ #œ bœæ œ gliss. Ó
#œ œ æ #w
ff
fff mf
div.
> . >.j >.j >- >.j >. >- >.j unis.
? bœj ‰ Œ ‰ ‰ œœ Œ #œœ bœœ ‰ œj ‰ bœœ ™™ #œœ Ó
Vlc. œJ #œœJ J. J. #œJ J. #w
>. >. > >- > >. >- > mf
ff
div.
>. >.j >.j >- >.j >. >- >.j unis.
? bœj ‰ Œ ‰ ‰ œœ Œ #œœ bœœ ‰ œj ‰ bœœ ™™ #œœ Ó #w
Cb. œJ #œœJ J. J. #œJ J
>. >. > >- > >. >- >. mf
ff
404
Dracula 2m13a "Confrontation Pt.1"
Shak. &
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
– #œ œ– œ– œ œ–
Crot. & œ Œ Œ ‰ J Œ Œ ‰ œ
J Œ Œ ‰ J Œ Œ ‰ œ
J
Daiko ÷
Glock. &
M. Tree ÷
T.-t. ÷
#œ œ œ #œ œ œ œ œ œ œ œ œ œ œ ™ #œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ ™ #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ™ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ™
&
Cel.
?
{
& #œ œ œ #œ œ œ œ œ œ œ œ œ œ œ™ #œ œ œ #œ # œ œ œ œ œ œ œ œ œ œ™ #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ™ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™
?
Org.
{
?
&
˙™ œ
#œ œ œ #œ œ œ œ œ œ œ œ œ œ œ ™
#w
#œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ ™
˙™ œ
#œ nœ œ œ œ œ œ œ œ œ œ œ œ œ™
w
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ™
Pno.
?
{
› ° * ° * ° * ° *
&
Synth.
?
{ #˙w #˙ #w
w #˙˙™ œ w
w
& Œ
Choir (SA)
w #w n˙ ™ Œ w
&
41 42 43 44
#˙ ™ #œ œ #œ œ port. #˙ n˙ œ #œ œ port.
S. Vln. & #œ œ
Vln. 1 & ˙™ œ ˙ w
#w n˙
div. unis.
Vln. 2 & w
˙™ # œœ w w
div.
Vla. B w
w #w˙ ˙ w
?
Vlc.
˙™ œ #w ˙™ œ w
? ˙™ œ #w ˙™ œ w
Cb.
405
2m13a "Confrontation Pt.1" Dracula
Shak. &
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
? æ
Timp. wæ
p
æ
B. D. ÷ wæ
p
– œ– œ œ–
Crot. & œ Œ Œ ‰ œ
J Œ Œ ‰ J Œ Œ ‰ œ œ– Œ Ó
J
f
Daiko ÷
Glock. &
M. Tree ÷
> scrape
æ æ
T.-t. ÷ ~æ ¿— Œ Ó Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
p f mf
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ™
&
Cel. f
?
{
& #œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ ™ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ™ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ™
?
Org.
{
?
&
˙™ #œ
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ™
w
#œ œ œ œ œ œ œ œ œ œ œ œ œ œ™
w
œ #œ œ œ œ œ œ œ œ œ œ œ œ œ ™
w
œ nœ œ œ œ œ œ œ œ œ œ œ œ œ ™
?
Pno. f
?
{
› °
œ
* ° * ° * ° *
& Œ Ó
Synth.
?
{ w w w
#˙˙™ œ Œ w w w
&
Choir (SA)
div.
& ˙™ Œ w #w nw
w
45 46 47 48
œ œ œ #w w
˙™ #œ #œ
S. Vln. &
Vln. 1 & ˙™ #œ w w w
Vln. 2 &
˙™ œ w #w nw
unis.
Vla. B #˙˙™ œ #œ w w w
?
Vlc. w
˙™ #œ w w
? ˙™ #œ w w
Cb. w
406
Dracula 2m13a "Confrontation Pt.1"
>
Shak. &
bw
sfffz
6 œ ‰
J Œ Ó Ó 4
>. >œ. >œ. #>œ- >œ. >. >œ- ~~~~~~~~~~ #>œ.
? œJ ‰ Œ J ‰ ‰ J Œ J ‰ œJ ‰ J ‰
Hn. 1-4
ff fff
>. #>œ. ‰
>œ. >œ- >œ. >. >-œ ~~~~~~~~~~ #>œ.
? œJ ‰ J ‰ #œJ ‰ J ‰
Hn. 5-8
ff
Œ J ‰ J 4 Œ
fff
4
? œj ‰ >- #>œ. ‰
Tbn. 1-2 Œ j
œ ‰ ‰ œ.j Œ #œ j
œ ‰ j
œ ‰ œ- J
>. >. > >. >. >
ff
>
Tbn. 3-4
? j
œ ‰ Œ j
#œ. ‰ ‰ œ
j Œ œ j
œ ‰ #œ.j ‰ œ- #œ. ‰
>. > >. >- >. > > J
ff
a2
B. Tbn. ? j ‰ Œ j ‰ ‰ j Œ j ‰ j ‰ j ‰
Tba. # œ- #œ.
œ œ œ œ œ œ >
>. >. >. > >. >. >-
ff
Cb. Tbn. ? j ‰ Œ j ‰ ‰ j Œ j ‰ j ‰ j ‰
Cb. Tba. # œ.
œ # œ. œ œ œ # œ. œ
>. > >. >- >. > >- >
ff
Timp.
?
w
>
6 Ó æ
wæ
4 w
>
ff p ff
> > > > > > > >æ >
B. D. ÷ œ— Œ œ— ‰ œj Œ œ œ œ œ œæ œ— Œ Ó
—
ff ff
Crot. &
> > >j
4 > > > > >
4 >
÷ œ— Œ œ— ‰ œ— Œ œ œ œ œ œ œ— Œ Ó
Daiko
ff ff
Œ #œ bœ œ
Glock. &
mf
æ æ
∏∏∏∏
M. Tree ÷ wæ wæ
mf
> ord.
æ
æ >
÷ ~~~ ¿— Œ Ó Ó ~ ¿— Œ Ó
T.-t.
ff p ff #œ bœ œ
#œj œ bœj j
& 6 4 Œ œ œ œ
Cel. mf
?
{
&
4 4 mp
?
Org.
b œœœ
œ
b˙
b œœ
bœœ œœ
bœœ
w
bw
w
w
w
œ
>. #œœ. ‰ ‰ œœ
>.
Œ #œœ
>-
œœ ‰ #œœ. ‰ œœ-
>. > J & Œ
ff
> > ff
Pno.
? œj ‰ >.
{ œ Œ j
#œœ. ‰ ‰ œœj Œ #œœ œœ
j ‰ j ‰
#œœ. œœ ##œœ ‰ & Œ bœœ bœœœ œ bw
w
>.‘ > >. >- >. > >- J œ b œœ w
› “œ œ pedal harmonically
& Œ Ó Œ Ó
Synth. f f
?
{
&
Choir (SA)
&
49 50 51 52
S. Vln. & 6 4
Vln. 1 & Œ Œ
œ b˙ ˙™
mf
div.
Vln. 2 & Œ
4 >.
4 bw
w
mf
˙™
˙™
æ æ æ æ æ æ æ æ
Vla. B œ œ œæ œ œæ #œæ œæ œæ œ œæ #œ œæ œ œæ œ #œ œ gliss. #œJ ‰ Œ
ff ææ ˙ b˙ ˙™
fff mf unis. - legato appassionata
div.
>
. >.j >.j >- >.j >. >- >.j œ bœ port. w
? œj ‰ bœ
Vlc. œJ Œ
#œœJ ‰
‰ œœJ Œ #œœ œœ ‰ #œœj ‰ œœ gliss. ##œœJ ‰ Œ
J J
.> >. .> >- >. >. >- >. ff
ff
div.
>
. >.j >.j >- >.j >. >- >.j
? œj ‰ Œ œœ ‰ #œœj ‰ œœ gliss. ##œœJ ‰ ˙ bb˙˙ ww
#œœJ ‰ ‰ œœJ
Cb. œJ Œ #œœ
J. J. .
>. >. >. >- > > >- > mf
ff
407
2m13a "Confrontation Pt.1" Dracula
Shak. &
?
Hn. 1-4
?
Hn. 5-8
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Crot. &
Daiko ÷
& bw Œ œ œ œ
Glock.
f
æ æ æ æ
∏∏∏∏
wæ wæ wæ wæ
∏∏∏∏
M. Tree ÷
scrape >
æ
T.-t. ÷ Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿— Œ Ó
mf ff
bw œ œ œ
j j j j
& bœ w Œ œ œ œ œ œ œ
Cel. f
?
{
&
?
Org.
{
?
&
˙
œœœ
œ
b œœœ
œ
b˙
b œœ
bœœ œœ
bœœ
˙
b œœœ ™™™™
œ bœ œn#˙˙
˙
b œ œ # ˙˙ œ
bœœœ
˙
b œœœ
œ
b˙
b œœ
b œœ œœœ
œ
w
bw
w
w
w
Pno.
bœœ ™™ bœœ œ bw
{
& œœœ bœœ œ
bœœ œ bœ œ#n ˙˙˙ bœœœ œ bœœ œœœ w
w
œ b œœ œ™
›
&
Synth.
?
{
&
Choir (SA)
&
53 54 55 56
S. Vln. &
Vln. 1 & Œ b˙ Œ œ b˙ ˙™ Œ
œ ˙ #˙
Vln. 2 & Œ
bw
w ˙˙ ˙
bw
w ˙˙ ™™
Vla. B ˙ b˙ ˙™ Œ
˙ b˙ ˙ n˙
œ bœ œ™ bœ œ #˙ œ bœ bœ port. w
bœ port. nœ
? Œ
Vlc.
ff
? ˙ ˙ ˙ ˙œ b˙ w
Cb.
b˙ œ b˙ w
˙
408
Dracula 2m13a "Confrontation Pt.1"
rit.
Shak. &
?
Hn. 1-4
?
Hn. 5-8
˙ ˙ ˙
? ˙
Tbn. 1-2
mp
B. Tbn. ?
Tba. ˙ #˙ b˙ n˙
mp
Cb. Tbn. ?
Cb. Tba.
˙ #˙ b˙ n˙
mp
?
Timp.
B. D. ÷
Crot. &
Daiko ÷
Glock. & w
æ æ æ æ
∏∏∏∏
wæ wæ wæ wæ
∏∏∏∏
M. Tree ÷
æ >
T.-t. ÷ Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿— Œ Ó
mf ff
w
& œj w
Cel.
?
{
&
?
Org.
{
?
&
˙
œœœ
œ
b œœœ
œ
b˙
b œœ
b œœ
œœ
bœœ
˙
b œœœ ™™™
Ϫ
˙
b œ œ # ˙˙
b œ œ n#˙˙
n˙
bn˙˙˙
˙ #˙
˙
#n ˙˙˙
b˙
nb ˙˙˙˙
n˙
#n ˙˙˙
˙
Pno.
œœ bœœ bœœ ™™™
{
& œ œ bœœœ œ
bœœ œ bœ œ #n˙˙˙ ? n˙ #˙
b˙ n˙
n˙ #˙
b˙ n˙
› œ
& Œ Ó
Synth.
?
{
&
Choir (SA)
&
57 58 59 60
S. Vln. &
Vln. 1 & Œ œ b˙ ˙ #˙ n˙ Ó
˙ ˙
unis.
Vln. 2 & bw ˙˙ ˙˙
w b ˙˙ n˙ b˙ n˙
div.
Vla. B ˙ b˙ ˙ #˙ n˙ #˙ n˙ # ˙˙
œ bœ bœ port. œ™ bœ œ #˙ n˙ ˙ ˙
? ˙
Vlc. Œ
ff
˙ b˙ ˙ ˙ b˙ n˙
? ˙ ˙ ˙ ˙ #˙
Cb. b˙ b˙ n˙
409
2m13a "Confrontation Pt.1" Dracula
q = 80 Attacca
Shak. &
?
Hn. 1-4
?
Hn. 5-8
? bw #˙ ™ œ ‰
Tbn. 1-2 J
mf
? nw j
Tbn. 3-4 w ˙™
˙™ œœ ‰
J
mf
B. Tbn. ? w ‰
Tba. j
˙™ œ
mf
Cb. Tbn. ? ‰
Cb. Tba. j
w
˙™ œ
mf
? æ
Timp.
wæ
pp (ff)
æ
B. D. ÷ wæ
pp (ff)
Crot. &
Daiko ÷
Glock. &
æ
wæ—
∏∏∏∏
M. Tree ÷
ord.
æ æ >
÷ ~ ¿— Œ Ó
T.-t.
pp ff
&
Cel.
?
{
&
?
Org.
{
?
nb w
& bw
w
w
w
˙™
#˙ ™
n#˙˙˙ ™™™
œ
j
œœ
œœ
J
‰
‰
Pno. ff
? ‰
{
›
w
w ˙™
˙™
œ
œ
œ
j
& Œ Ó
Synth.
?
{
&
Choir (SA)
&
61 62
S. Vln. &
Vln. 1 &
Vln. 2 &
bw
Vla. B j ‰
nw
w # ˙˙ ™™ œœ
J
f
? bw port. #˙ ™ œ ‰
Vlc. J
ff
? bw ˙ ™™ œj
Cb. w ˙ œ ‰
˙™ œJ
f
410
Dracula 2m13b "Confrontation Pt.2"
CONCERT SCORE Chris Heckman
q = 133
Shakuhachi & 4
Horn 1-4 &
?
Trombone 3-4
a2
Bass Trombone ? Œ Œ
Tuba ˙™ ˙™
mp poco a poco cresc.
a2
Contrabass Trombone ? Œ Œ
Contrabass Tuba
˙™ ˙™
mp poco a poco cresc.
Timpani
? 4 w œ œ—
Ó
mp poco a poco cresc.
œ œ—
Ó
>
ff
>
÷ œ— Œ Ó œ œ— Ó œ œ— Ó
Bass Drum
ff mp poco a poco cresc.
Daiko ÷ 4 œ œ— Ó œ œ— Ó
mp poco a poco cresc.
Field Drum ÷
Snare Drum
Roto-toms ÷
Tom-toms
Tam-tam ÷
& 4
mp
?
Organ
&
˙™ Œ
˙™
Œ Œ
˙™
Œ
&
1 2 3 4
div.
. . . . .j . . . . .j
Violin 1 & 4 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
mp poco a poco cresc.
j ‰ j
œ. œ. œ. œ. œ. ‰
j
œ. œ. œ. œ. œ. ‰
j
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ œœ œœœœ œœœœ ‰
. . . . J.
œœœœœœ œœœœ ‰
. . . . J.
Violin 2 & j ‰ j ‰ j ‰ j ‰ j ‰ j ‰
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. bœ. œ. œ. œ. œ. bœ. œ. œ. œ. œ.
mp poco a poco cresc.
B
Viola
4
B
? w ˙ nw bw
Cello port.
˙
ff
? ˙™ Œ Œ ˙™ Œ Œ
Contrabass
˙™ ˙™
mp poco a poco cresc.
411
2m13b "Confrontation Pt.2" Dracula
Shak. &
a4
b ˙^ ™
? æ Œ
Hn. 1-4 &
mf ff
a4
^
? b˙ ™ Œ
Hn. 5-8 &
ææ
mf ff
?
Tbn. 1-2
a2
^
? æ Œ
Tbn. 3-4
b ˙æ™
mf ff
mf ff
? b˙ ™ ^
B. Tbn. Œ b˙ ™ Œ æ Œ
Tba. b ˙™æ
+Cb. Tbn.
Cb. Tba. mf ff
? ∑ ^
Cb. Tbn. Œ Œ
Cb. Tba. Œ ææ
b˙™ b˙™
b ˙ ™™
? bœ ˙™ æ
Timp.
b wæ œ ˙™
pp >
ff mp
æ >
B. D. ÷ œ œ— Ó wæ œ œ— Ó
pp ff mp
Daiko ÷ œ œ— Ó œ œ— Ó
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
T.-t. ÷
Tub. B. &
&
?
Org.
? b˙ ™
{
&
Œ b˙ ™ Œ b˙ ™ Œ
b˙™
Œ
Pno.
? bb˙˙ ™™ Œ Œ b˙ ™ Œ Œ
{
›
b˙ ™
b˙™
œ œ
b˙™ b˙™
b˙™
œ œ
& Ó Ó
Synth.
?
{
&
Choir (SA)
&
5 6 7 8
unis. div.
. . . . .j . . . . .j
& œ œ œ œ œ œ œ œ œ œ œ œ œj ‰ j ‰ j ‰ j ‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰
Vln. 1 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
. . . . . . . . . . . . . . . . . J. . . . . J.
Vln. 2 & nœ œ œ œ œ œ œ œ œ œ œ œ œj ‰
œ. œ. œ. œ. œ.
j ‰
œ. œ. œ. œ. œ.
j ‰
bœ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
j ‰
bœ. œ. œ. œ. œ.
j ‰
œ. œ. œ. œ. œ.
j ‰
. . . . . . . . . . . . .
B
Vla.
B
? ˙ ˙ ˙ nw b˙ ™ Œ
Vlc. port.
˙
? b˙ ™ Œ b˙ ™ Œ b˙ ™ Œ Œ
Cb.
b˙™
412
Dracula 2m13b "Confrontation Pt.2"
Shak. &
w ˙ nw bw
? ˙
Hn. 1-4
mf
w ˙ nw bw
? ˙
Hn. 5-8
mf
?
Tbn. 1-2
? ˙^ ™ Œ
^
æ Œ
Tbn. 3-4 ææ ˙™æ
mf ff
mf ff
a2
^æ
? n˙ ™ ˙æ™™ ^
B. Tbn. Œ Œ Œ æ Œ
Tba. n˙ ™ ˙™æ
mf
mf ff
? ∑ ^ ^
Cb. Tbn. Œ æ Œ Œ
Cb. Tba. n˙ ™ Œ ˙™æ ææ
n ˙ ™™ ˙ ™™
mf
?
Timp.
œ ˙™ œ ˙™
mf
> > >
B. D. ÷ œ œ— Ó œ œ— Ó œ œ— Ó
mf ff
Daiko ÷ œ œ— Ó œ œ— Ó
mf
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
T.-t. ÷
Tub. B. & w
—
&
?
Org.
˙™
{
? n˙ ™
&
Œ
˙™
Œ Œ
˙™
Œ
Pno. mf
? n˙ ™ Œ Œ ˙™ Œ Œ
{
›
n˙ ™ ˙™
˙™
œ œ
˙™ ˙™
˙™
œ œ
& Ó Ó
Synth. mf
?
{
&
Choir (SA)
&
9 10 11 12
div.
. . . . . . . . . .
unis.
œ œ œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
. . œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œœ œœ œœ œœ œjœ œœ œœ œœ œœ œjœ
Vln. 1 & J ‰ J ‰ J ‰ J ‰ J ‰ J ‰
. . . . . . . . . .
mf
B œ. œ. œ. œ. œ. œ. œ.
J ‰ œ. œ. œ.
J ‰ œ. œ. œ.
J ‰ bœ. œ. œ. œ. œ. œ. œ.
J ‰ bœ. œ. œ.
J ‰ œ. œ. œ.
J ‰
mf
w ˙ port. nw bw
? ˙
Vlc.
? n˙ ™ Œ Œ ˙™ Œ Œ
Cb.
˙™ ˙™
mf
413
2m13b "Confrontation Pt.2" Dracula
Shak. &
˙ ˙ ˙ nw b˙™
? ˙ Œ &
Hn. 1-4
˙ ˙ ˙ nw b˙™
? ˙ Œ
Hn. 5-8 &
?
Tbn. 1-2
? ^ ^
Tbn. 3-4 b˙ ™ Œ æ Œ
æ b ˙æ™
mf ff
mf ff
a2 ^æ
B. Tbn. ? b˙ ™ Œ Œ b˙æ™™ Œ
^
Œ
b˙ ™ æ
Tba. b ˙™æ
mf ff
? b∑˙ ^ ^
Cb. Tbn. Œ æ Œ Œ
™ ææ
Cb. Tba. Œ
b ˙™ b ˙™æ
b ˙ ™™
? æ æ
Timp. bœ œ
b ˙æ w bœ œ ˙æ
pp
> mf pp
ff
æ > > > > æ
B. D. ÷ œ œ ˙æ œ œ— Ó œ œ ˙æ
pp ff pp
Daiko ÷ œ œ— Ó œ œ— Ó
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
æ
T.-t. ÷ ~æ
p
Tub. B. &
&
?
Org.
? b˙ ™
{
&
Œ b˙ ™ Œ b˙ ™ Œ
b˙™
Œ
Pno.
? bb˙˙ ™™ Œ Œ b˙ ™ Œ Œ
{
›
b˙ ™
b˙™
œ œ
b˙™ b˙™
b˙™
œ œ
& Ó Ó
Synth.
?
{
&
Choir (SA)
&
13 14 15 16
. . . . . . . . . . . . .j . . . . . . . . . . . . . . . . . . . . . . .j . . . . .j . . . . .
œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œjœ œœ œœ œœ œœ œjœ bb œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ œœ œœ œœ œœ œjœ
& . . . . . . . . . . . . J. ‰ ‰ ‰ ‰ ‰ ‰
Vln. 1
. . . . J. . . . . J. . . . . . . . . . . . . J. . . . . J. . . . . J.
? b˙ ™ Œ b˙ ™ Œ b˙ ™ Œ Œ
Cb.
b˙™
414
Dracula 2m13b "Confrontation Pt.2"
Shak. &
?
Tbn. 3-4
B. Tbn. ? ˙™ Œ Œ #˙ ™ Œ Œ
Tba. ˙™ #˙ ™
f
Cb. Tbn. ? ∑ Œ ∑ Œ
Cb. Tba. ˙™ Œ #˙ ™ Œ
f
˙ ™™ # ˙™
?
Timp. #œ ˙™
w œ ˙™
> f
ff
>
÷ œ— Œ Ó œ œ— Ó œ œ— Ó
B. D.
ff f
Daiko ÷ œ œ— Ó œ œ— Ó
f
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
>
÷ ¿— Œ Ó
T.-t.
f
w–
Tub. B. & w—
&
mf
?
Org.
Pno. f
? ˙™ Œ Œ #˙ ™ Œ Œ
{
›
˙™ ˙™
˙™
œ œ
#˙ ™ #˙ ™
#˙ ™
œ œ
& Ó Ó
Synth. f
?
{ f
bw ˙ w w
& b˙
ah
Choir (SA)
&
17 18 19 20
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .j . . . . .
œ œ œ œ œ œ œ œ œ œ œ œ œj œœ œœ œœ œœ œjœ œ œ œ œ œj
œ œ œ œ œ ‰ #œ œ œ œ œ œ œ œ œ œ œ œ œj ## œœ œœ œœ œœ œœ œœ œœ œœ œœ œjœ
& . . . . . . . . . . . . J. ‰ ‰ . . . . . . . . . . . . J. ‰ . . . . J. ‰ . . . . J. ‰
Vln. 1
. . . . J. . . . . J.
f
. . . . . . . . . . . . .j . . . . .j . . . . .j
Vln. 2
. . . . . . . . . . . . .
& œ œ œ œ œ œ œ œ œ œ œ œ œJ ‰ œ. œ. œ. œ. œ. ‰
J
œ. œ. œ. œ. œ. ‰
J œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰
f
. . . . . . . . . . . . J. . . . . J. . . . . J.
. . . . . . .j . . .j . . .j . . . . . . . . . . . . .
œœ œœ œœ ‰ œœ œœ œœ ‰ #œ œ œ œ œ œ œj ##œœ œœ œjœ œœ œœ œjœ
B œ œ œ œ œ œ œJ ‰ J ‰ J ‰ J ‰
. . . . . . . . . J. . . J. . . . . . . . . . . . . .
f
Vla. div.
. a4 . . . . . .j . . .j . . .j
B œ. œ. œ. œ. œ. œ. œ. ‰ œ. œ. œ. ‰ œ. œ. œ. ‰ œœ œœ œœ œœ œœ œœ œœ ‰ œœ œœ œœ ‰ œœ œœ œœ ‰
J J J . . . . . . J. . . J. . . J.
f
bw ˙ port. w w
? b˙
Vlc.
? ˙™ Œ Œ #˙ ™ Œ Œ
Cb. #˙ ™
˙™
f
415
2m13b "Confrontation Pt.2" Dracula
Shak. &
3
Hn. 1-4 & Ó #˙ #˙ #œ œ ˙™ Œ #œ
˙ œ #œ
ff
3
Hn. 5-8 & Ó #˙ #˙ #œ œ ˙™ Œ #œ
˙ œ #œ
ff
> ˙˙™™
## w
w
? Œ
Tbn. 1-2
>
mf ff
>
w ˙™
? #w ˙™ Œ
Tbn. 3-4
>
mf ff
B. Tbn. ? ˙™ Œ Œ #>˙ ™ Œ Œ
Tba. ˙™ #>˙ ™
ff
? ∑ ∑ >
Cb. Tbn. Œ Œ
Cb. Tba. ˙™ Œ #˙ ™ Œ
˙™ > # ˙™
ff >
?
Timp. #>œ ˙™
œ ˙™ >
ff
æ > >
B. D. ÷ œ œ ˙æ >
w œ œ— Ó
pp ff
> >
Daiko ÷ œ œ— Ó œ œ— Ó
ff
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
æ >
T.-t. ÷ ~æ ¿— Œ Ó
pp ff
&
?
Org.
#˙ ™
{
? ˙™
&
Œ
˙™
Œ Œ #˙ ™ Œ
Pno. ff
? ˙™ Œ Œ #˙ ™ Œ Œ
{
›
˙™ ˙™
˙™
œ œ
#>˙ ™ #˙ ™
#>˙ ™
>œ >œ
& Ó Ó
Synth. ff
?
{ mf ff
& Ó #˙ #˙ #œ œ #w ˙™ Œ
unis. div.
Choir (SA) mf ff
f
& Ó #˙ #˙ #œ œ #w
w ˙˙ ™™ Œ
ah
21 22 23 24
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
# œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œj
œ œ œ œ œ œ ## œœ œœ œœ œœ œœj œœ œœ œœ œœ œœj # œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œj
œ œ œ œ œ œ . . . . .j . . . . .j
Vln. 1 & . . . . . . . . . . . . J. ‰ . . . . J. ‰ . . . . J. ‰ . . . . . . . . . . . . J. ‰ #œœ œœ œœ œœ œœ
J.
‰ œœ œœ œœ œœ œœ
J.
‰
ff . . . . . . . .
. . . . . . . . . . . . . . . . . .j . . . . .j . . . . . . . . . . . . .
œ œ œ œ œ œ œ œ œ œ œ œ œj ##œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœj . . . . .j . . . . .j
& ‰ #œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰ ‰ ‰ ‰
Vln. 2
. . . . . . . . . . . . J. . . . . J. . . . . J. . . . . . . . . . . . . J. ##œœ œœ œœ œœ œœ
J. œœ œœ œœ œœ œœJ
. . . . . . . . . .j . . . . . . . . . . . . . . . . . . .
#œœ œœ œœ œœ œœ œœ œœj # œ œœ œœ
# œ œœ œœ œœj # œœ œœ œœ œœ œœ œœ œœj . . .j . . .j
B ‰ ‰ ‰ J ‰ #œœ œœ œœ ‰ œœ œœ œœ ‰
. . . . . . J. . . J. . . J. . . . . . . .
. . J. . . J.
ff
Vla. . . . . . . . . . .j . . . . . . . . . .
B œ œ œ œ œ œ œj ‰ #œœ œœ œœ ‰ œœ œœ œœj ‰ ##œœ œœ œœ œœ œœ œœ œœj ‰
. . .j
‰
. . .j
‰
. . . . . . J. . . J. . . J. . . . . . . J. ##œœ œœ œœ
J.
œœ œœ œœ
. . . . J.
˙ w 3
? #˙ #˙ #œ œ #œ #œ
Vlc. ˙ œ
? ˙™ Œ Œ #>˙ ™ Œ Œ
Cb. #>˙ ™
˙™ ff
416
Dracula 2m13b "Confrontation Pt.2"
Shak. &
3
Hn. 1-4 & ˙™ Œ nœ w ˙™ œ œ
˙ œ œ
3
Hn. 5-8 & ˙™ Œ nœ w ˙™ œ œ
˙ œ œ
> >
? nw
w ˙™
˙™ Œ bw
w ˙™
˙™ Œ
Tbn. 1-2 &
> >
>
w ˙™
> w ˙™
? ˙˙ ™
nw
Tbn. 3-4 Œ Œ
w
> ™ >
B. Tbn. ? n>˙ ™ Œ Œ
>˙ ™
Œ Œ
™
Tba.
>˙ >˙™
? ∑ > ∑ >
Cb. Tbn. Œ Œ
Cb. Tba. n˙ ™ Œ ˙™ Œ
> ˙™ > ˙ ™™
> >
?
Timp. ˙™
>œ > >œ ˙™
>
> > > >
B. D. ÷ œ œ— Ó œ œ— Ó
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
æ >
T.-t. ÷ ~æ ¿— Œ Ó
pp ff
Tub. B. & w—
>
&
?
Org.
? n˙ ™ ˙™
{
&
Œ ˙™ Œ Œ
˙™
Œ
Pno.
? n˙ ™ Œ Œ ˙™ Œ Œ
{
›
n>˙ ™ ˙™
>˙ ™
œ œ
>˙ ™ ˙™
>˙œ
™
œ
& Ó Ó
Synth.
?
{ div.
bww ˙˙ ™™ Œ w ˙ ™™ Œ
&
Choir (SA)
& nw
w ˙˙ ™™ Œ bw
w ˙™
˙™ Œ
25 26 27 28
div. div.
. .a2 . . . . . . . . . . .
. .a3 . . . . . . . . . . .
#œ œ œ œ œ œ œ œ œ œ œ œ œj . . . . . . . . . . œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œj
œ œ œ œ œ œ . . . . .j . . . . .j
# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
œœœj œœœj
##œœœ
J. ‰ œœœ œœœ œœœ ‰ œœœ œœœ œœœ œœœ ‰ . . . . . . . . . . . . J. ‰ bœœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰
Vln. 1 & . . . . . . . . . . . . J. J.
. . . . J. . . . . J. . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . .j
nœ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœj . . . . .j . . . . .j b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ . . . . .j . . . . .j
Vln. 2 & n œ. œ. œ. . . . . . . . . . J. ‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰
.. . .. . .. . .. . .. . .. . ..
J ‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰
. . . . . . . J. J. . . . . J. . . . . J.
. . . . . . . . œœ œœ œœj
# œœ œœ œœœ œœœ œœœ œœœ œœœj . . .j . . .j œœ œœ œœ œœ . . .j . . .j
B #œ œ J ‰ ##œœœ œœœ œœœ ‰ œœœ œœœ œœœ ‰ . . . . . . J. ‰ bœœ œœ œœ ‰ œœ œœ œœ ‰
. . . . . . . J. J. . . J. . . J.
div.
. . . . div.
. a4 . . . . . .
Vla. . a5 . . . . . .
œœj . . .j . . .j bœœ œœ œœ œœ œœ œœ œœj . . .j . . .j
B n œ œœ
n œ œœ œœ œœ œœ ‰ ‰ ‰ J. ‰ ‰ ‰
. . . . . . J. œœ œœ œœ
J. œœ œœ œœ
J.
. . . . . . œœ œœ œœJ œœ œœ œœJ
. . . . . . . . . .
w 3
nœ w ˙™ œ œ
? œ
Vlc. ˙ œ
? n>˙ ™ Œ Œ
>˙ ™
Œ Œ
Cb. ™
>˙ >˙™
417
2m13b "Confrontation Pt.2" Dracula
Shak. & 6 4
?
Hn. 1-4 & #w ˙ Ó
fff
?
Hn. 5-8 & #w ˙ Ó 4 4
fff
>
Tbn. 1-2 & ##w
w ˙™
˙™ Œ
> fff
>
? #w
w ˙˙ ™™
Tbn. 3-4 Œ
> fff
B. Tbn. ? #˙ ™ Œ Œ
Tba. > #>˙ ™
fff
? ∑ >
Cb. Tbn. Œ
Cb. Tba.
#˙ ™ Œ
> # ˙™
> fff choke choke
Timp.
?
#>œ ˙™
Ó Œ ‰
#>œ
j 6 Ó æ
# œæ™ œ
j Ó 4
fff
> >
ppp fff
> > > choke > choke
B. D. ÷ œ œ— Ó Ó Œ ‰ œj Ó Œ ‰ œj Ó
fff
> >
Daiko ÷ œ
fff
œ— Ó 4 4
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
æ choke
T.-t. ÷ ~æ Ó
ppp fff
Tub. B. &
# w—
>
& 6 4
?
Org.
{
? #˙ ™
&
Œ
#˙ ™
Œ 4 4
Pno. ff
? #˙ ™ Œ Œ
{ #>˙ ™ #˙ ™
#>˙ ™
› >œ >œ
& Ó
Synth. fff
?
{ mf
#˙™
˙™
ff
#˙™
˙™
f
˙™
fff
Œ Œ Œ ˙™ Œ Ó
& #˙˙ ™™
Choir (SA) mf ff
& ##˙™
˙™ Œ Œ n#˙˙™™ Œ ##˙˙™™ Œ Ó
n# ˙˙™™
29 30 31 32
“.” . . . . . . . . . . . . . . . . .j . . . . .j “.” . . . . . . . . . . . . . . . . .j . . . . .j
#œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœj œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰ #œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœj œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰ Ó
Vln. 1 & . . . . . . . . . . . . J.
‰
. . . J. . . . . J. . . . . . . . . . . . . J.
fff
‰ 6 . . . . . J . . . . J.
4
. . . . . . . . . . . . . . . . . . . . . . . . . .j . . . . .j . . . . .
# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœj . . . . .j . . . . .j n# œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ## œœ œœ œœ œœ œœ œœ œœ œœ œœ œœj
Vln. 2 & . . . . . . . . . . . . J. ‰ ##œœ œœ œœ œœ œœJ ‰ œœ œœ œœ œœ œœJ ‰ . . . . . . . . . . . . J. ‰ . . . . . J ‰ . . . . J. ‰ Ó
. . . . . . . . . . fff
“.” . . . . . . . . .j . . .j “.” . . . . . . . . . . . .
#œœ œœ œœ œœ œœ œœ œœj œœ œœ œœ ‰ œœ œœ œœ ‰ #œœ œœ œœ œœ œœ œœ œœj 4 œœ œœ œœj œœ œœ œœj 4
B ‰ ‰ J. ‰ . . J. ‰ Ó
. . . . . . J. . . . J . . J. . . . . . . J. . .
fff
Vla. . . . . . . . . . . . . . .j . . . . . .
# œœ œœ œœ œœ œœ œœ œœj . . .j . . .j n# œœ œœ œœ œœ œœ œœ œœ ## œœ œœ œœj œœ œœ œœj
B J ‰ ##œœ œœ œœJ ‰ œœ œœ œœJ ‰ J ‰ J ‰ J ‰ Ó
. . . . . . . . . . . . . . . . . . . .
. . . . . . fff
? #w ˙
Ó
Vlc.
fff
? #˙ ™ Œ Œ
Cb.
> #>˙ ™
fff
418
Dracula 2m13b "Confrontation Pt.2"
random tremolos ad lib.
overblow into louder dynamics to oreveal harmonics
o o
o o o œ bœ o o
Shak. & 4 ˙ b˙
˙
O
b˙
O œ bœ
œ bœ
O O O O
œ
O
œ
O
mf ff mf fff
? ^ ^ ^ ^
Hn. 1-4 Œ Œ Œ ˙™ Œ
˙™ ˙™ ˙™
f poco a poco cresc.
? 4 ^ ^ ^ ^
Hn. 5-8 Œ Œ Œ Œ
˙™ ˙™ b˙™ b˙™
f poco a poco cresc.
?
Tbn. 3-4
B. Tbn. ?
Tba.
a2
Cb. Tbn. ? Œ Œ Œ Œ
Cb. Tba. ˙™ b˙™
mf poco a poco cresc. ˙™ b˙™
Timp.
? 4
B. D. ÷ œ œ— Ó œ œ— Ó
mf poco a poco cresc.
Daiko ÷ 4 œ œ—
mf poco a poco cresc.
Ó œ œ— Ó
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
T.-t. ÷
Tub. B. &
& 4
?
Org.
{4
?
&
Pno. mf poco a poco cresc.
? Œ Œ Œ Œ
{
›
˙™
˙™
b˙™
b˙™
&
ff
Synth.
Metal Bridge
? Œ Ó Œ Ó
{ >œ >œ
&
Choir (SA)
&
33 34 35 36
Vln. 1 & 4
Vln. 2 &
B 4
Vla.
B
div.
. . . . . . . . . . . . .j . . . . .j . . . . .j . . . . . . . . . . . . .j . . . . .j . . . . .j
Vlc.
? œ œœ œ œœ œœ œ œœ œ œ ‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰ bœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ bœœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰
. . . . . . . . . . . . J. . . . . J. . . . . J. . . . . . . . . . . . . J. . . . . J. . . . . J.
mf poco a poco cresc.
div.
. . . . . . . . . . . . .j . . . . .j . . . . .j . . . . . . . . . . . . .j . . . . . . . . . .
? œ œœ œ œœ œœ œ œœ œ œ ‰ œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰ bœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ bœœ œœ œœ œœ œœj ‰ œœ œœ œœ œœ œœj ‰
Cb.
. . . . . . . . . . . . J. . . . . J. . . . . J. . . . . . . . . . . . . J. . . . . J. . . . . J.
mf poco a poco cresc.
419
2m13b "Confrontation Pt.2" Dracula
o o
o o œ bœ o o o o
Shak. & œ bœ œ bœ œ œ ˙ b˙
O O O O O O ˙ b˙ O O
mf ff
^ ^ ^
? ^ Œ Œ Œ Œ
Hn. 1-4 b˙ ™ b˙ ™ n˙ ™ #˙ ™
? ^ Œ
^
Œ
^
Œ
^
Œ
Hn. 5-8
˙™ ˙™ ˙™ ˙™
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ? Œ Œ Œ Œ
Cb. Tba. ˙™ ˙™
˙™ ˙™
?
Timp.
B. D. ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ— Ó
Daiko ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ— Ó
Tub. B. &
&
?
Org.
{
?
&
Pno.
? Œ Œ Œ Œ
{ ˙™
˙™
˙™
>œ b œ
˙™
>œ b œ
› œ bœ œ #œ nœ #œ œ bœ œ #œ nœ #œ
& &
&
37 38 39 40
Vln. 1 &
Vln. 2 &
B
Vla.
B
. . .j . . . . .j . . . . .j . . . . . . . . . . . . .j . . . . . . . . . .
bœœ œœ œœ œœ œœ bœœ œœ œœ œœ œœ nœœ #œ œ œ œ œj œ œ œ œ œj
Vlc.
? bœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
J ‰ J. ‰ J. ‰ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J. . . . . J. . . . . J.
. . .j . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
? bœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ bœœ œœ œœ œœ œœj bœœ œœ œœ œœ œœj nœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœj #œ œ œ œ œj œ œ œ œ œj
Cb. ‰ ‰ ‰ ‰ œ œ œ œ œ ‰ œ œ œ œ œ ‰
. . . . . . . . . . . . J. . . . . J. . . . . J.
. . . . . . . . . . . . J. . . . . J. . . . . J.
420
Dracula 2m13b "Confrontation Pt.2"
œo œo œo œo œo œo œo œo œo œo œo œo ˙o
Shak. & OOOOOOOOOOOO
ì
O
Ó 2 4
ff f fff
? #˙^ ™ Œ
^
˙™ Œ n˙^ ™ Œ #˙^
Hn. 1-4
ff
Hn. 5-8
? ^
#˙ ™ Œ
^
#˙ ™ Œ
^
#˙ ™ Œ 4 ^
#˙
4
ff
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ? Œ Œ Œ
Cb. Tba. #˙ ™ #˙ ™
f #˙ ™ #˙
Timp.
? 2 4
B. D. ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ
f
Daiko ÷
f
œ œ— Ó œ œ— Ó œ œ— Ó 4 œ œ 4
> > æ > > > > > > æ
S. D. ÷ œ œ œ œ œ ˙æ œ œ œ œ œ Œ œœœœ œ œ Œ œ œ œ œ œœ œ œæ
F. D.
>œ >œ > >œ >œ > >œ >œ > >
Roto-t. ÷ œ œ œ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ
Tom-t.
T.-t. ÷
Tub. B. &
& 2 4
?
Org.
{
?
&
4 4
Pno. f
? Œ Œ Œ
{ #˙ ™
>œ bœ œ bœ œ #œ nœ #œ
#˙ ™
>œ b œ œ bœ œ #œ nœ #œ
#˙ ™
>œ b œ œ bœ œ #œ nœ #œ
#˙
>œ bœ œ bœ
&
Synth. fff mf
? Œ Ó Œ Ó Œ Ó Œ
{ >œ >œ
unis.
>œ >œ
gliss. from lowest to highest pitches ad lib.
pp
&
_
unis.
Choir (SA) gliss. from lowest to highest pitches ad lib.
pp
& _
41 42 43 44
Vln. 1 & 2 4
Vln. 2 &
Vla.
B 4 4
B
. . . . . . . . . . . . .j . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
#œ œ œ œ œ œj œ œ œ œ œj nœ œ œ œ œ œ œ œ œ œ œ œ œj #œ œ œ œ œ œ œ œ
? #œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ‰ #œ œ œ œ œ ‰ œ œ œ œ œ ‰ #œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ #œ œ œ œ œ œ œ œ
Vlc.
. . . . . . . . . . . . J. . . . . J. . . . . J. . . . . . . . . . . . . J. . . . . . . . .
f . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . .
# œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœj œ œ œ œ œj œ œ œ œ œj nœ œ œ œ œ œ œ œ œ œ œ œ œj . . . . . . . .
? #œ J. ‰ #œ œ œ œ œ
J. ‰ œ œ œ œ œ
J. ‰ #œ œ œ œ œ œ œ œ œ œ œ œ œ
J. ‰ #œ œ œ œ œ œ œ œ
Cb.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
f
421
2m13b "Confrontation Pt.2" Dracula
Shak. & 4
?
Hn. 1-4
?
Hn. 5-8
4 œœ
.
œœ
. .
œœ œœ
.j
œœ
.
œœ
.
œœ
.
& ?
. . . ‰ J. Œ . . .
Tbn. 1-2
f
. . . . . . .
^æ # œœ œœ œœ œœj # œœ œœ œœ
? æ æ Œ ‰ Œ
Tbn. 3-4 #˙æ ˙æ ˙æ™ . . .
J
. . . .
f p ff f
B.
^ Tbn. a2
B. Tbn. ? æ æ æ Œ Œ Œ
Tba. ˙æ ˙æ ˙™æ ˙™ ˙™
f p ff f
Cb.
^ Tbn. a2
Cb. Tbn. ? Œ Œ Œ
Cb. Tba. ææ ææ ææ
#˙ ˙ ˙™ ˙™ ˙™
f p ff f
Timp.
? 4 æ
wæ w
pp >
ff
> æ >
B. D. ÷ œ— Œ Ó wæ œ— Œ Ó
ff pp ff
>
Daiko ÷ 4 œ—
ff
Œ Ó
>
S. D. ÷ œ Œ Ó
F. D.
ff
>œ
Roto-t. ÷ J ‰ Œ Ó
Tom-t.
ff
æ >
T.-t. ÷ ~æ ¿— Œ Ó
p f
Tub. B. &
& 4
f
?
Org.
{4
?
&
˙™
Œ ˙™ Œ
Pno. f
? Œ Œ
{ ˙™
˙™
>œ b œ
˙™
˙™
>œ b œ
>œ œ bœ œ #œ nœ #œ œ bœ œ #œ nœ #œ
& Œ Ó
Synth. fff fff mf sim.
?
{ ff
1>
& J ‰ Œ Ó
Choir (SA) ff
1>
& J ‰ Œ Ó
45 46 47 48
unis.
sul D - art. harm. gliss. up approx. 1 8ve ad lib. (beat 3) gliss. each half-step slur
O¿
Vln. 1 & 4 f
O¿
ff
J ‰ Œ
f
œ bœ
> œ. œ. œ. œ œ œ #œ
> œ. > œ.
œ bœ
> œ. œ. œ. œ œ œ #œ
> œ. > œ.
unis.
sul D - art. harm. gliss. up approx. 1 8ve ad lib. (beat 3) gliss. each half-step slur
O¿
Vln. 2 & O¿ J ‰ Œ œ bœ
> œ. œ. œ œ œ #œ œ bœ
> œ. œ. œ œ œ #œ
f ff f . œ > œ. > œ. œ. > œ. > œ.
4 gliss. each half-step slur
>
œ b œ œ.
œ.
>œ œ >
œ #œ .
>
œ b œ œ.
œ.
>œ œ >
œ #œ .
B œ. œ. œ œ. œ. œ
f
Vla. unis.
B
.
# œj . . . . . . . . .j . . . . . . . . .
? #œ ‰ Œ Ó œ œ œ œ œ œ œ œ œ ‰ Œ œ œ œ œ œ œ œ œ œj ‰ Œ
Vlc. J. œ œ œ œ œ œ œ œ œJ
ff
œ œ œ œ œ œ œ œ œJ . . . . . . . . .
. . . . . . . . .
f
. unis.
? #œj ‰ Œ Ó œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ Œ
œ. œ. œ. œ. œ. œ. œ. œ. œ.
‰ Œ
Cb. J. J
J
ff f
422
Dracula 2m13b "Confrontation Pt.2"
Shak. &
? ˙ ˙ ˙ ˙
Hn. 1-4
mf
? ˙ ˙ ˙ ˙
Hn. 5-8
. . . . . . mf
. . . . . . . .
b œœ œœ œœ œœj b œœ b œœ œœ œœj
œœ œœ œœ œœ œœ œœ
? . . . ‰ J. Œ . . . . . . ‰ J. Œ . . .
Tbn. 1-2
. . . . . . . . . . . . . .
œ œœ œœ œœj œœ œœ œœ œœj
? œ ‰ J Œ
# œœ œœ œœ
‰ J Œ
# œœ œœ œœ
Tbn. 3-4 . . . . . . . . . . . . . .
f ff a2
æ
B. Tbn. ? Œ ˙™æ Œ Œ Œ
Tba. ˙™
>˙™ >˙™
ff
f ff a2
Cb. Tbn. ? Œ Œ Œ Œ
Cb. Tba. æ
˙æ™™ ™
˙™
>˙
™ >˙
ff
? æ
Timp.
wæ w
pp >
ff
æ >
B. D. ÷ wæ œ— Œ Ó
pp ff
Daiko ÷
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
æ > æ
T.-t. ÷ ~æ ¿— Œ Ó ~æ
p f
Tub. B. &
Gt: Full + Reeds
˙˙ ™ œ ˙˙ ™ œ
& ˙™ Œ ˙™ Œ
ff
Gt.
? Œ Œ
Org. & ˙˙ ™ œ ˙˙ ™ œ
˙™ ˙™
{
?
&
˙™
Œ ˙™ Œ
˙™
Œ ˙™ Œ
Pno. ff
? Œ ˙™ Œ Œ Œ
{ ˙™
˙™
˙™ ˙™
˙™
˙™
>˙
™
>œ b œ œ bœ œ #œ nœ #œ >œ bœ œ bœ œ #œ nœ #œ >>œ b œ œ bœ œ #œ nœ #œ >œ b œ œ bœ œ #œ nœ #œ
&
Synth.
?
{ mf f
œ
˙ œ ˙
& Œ Œ
div.
Choir (SA) mf f
˙˙ œœ Œ ˙˙ œœ Œ
&
49 50 51 52
> > > >
> > bœ œ b œ œ. >œ œ œ b œ œ. >œ œ
& œ bœ bœ. œ œ œ nœ œ bœ. œ œ œ nœ œ. œ. œ.
œ #œ .
œ œ. œ. œ.
œ #œ .
œ
Vln. 1 œ. œ.
œ. > œ. > œ. œ. > œ. > œ.
> > > >
> > bœ œ b œ œ. >œ œ œ b œ œ. >œ œ
œ. œ #œ . œ. œ #œ .
Vln. 2 & œ bœ bœ. œ. œ. œ œ œ nœ œ bœ.
œ. œ œ œ nœ œ. œ. œ œ. œ. œ
> œ. > œ. œ. > œ. > œ. “>”
> > > > >
œ b œ bœ. >œ œ œ b œ bœ. >œ œ œ b œ œ. >œ œ > œ b œ œ. >œ œ >
œ. œ. œ.
œ nœ . œ. œ. œ.
œ nœ .
œ. œ #œ . œ. œ #œ .
B œ œ œ. œ. œ œ. œ. œ
Vla.
B
. . . . . . . . . . . . . . . . . .
. . . . . . . . . œj . . . . . . . . .j œj
œj
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
? œ œ œ œ œ œ œ œ ‰ Œ œ œ œ œ œ œ œ œ œ ‰ Œ œ œ œ œ œ œ œ œ œ ‰ Œ ‰ Œ
Vlc. œ œ œ œ œ œ œ œ œJ
œ œ œ œ œ œ œ œ œJ . . . . . . . . J. œ œ œ œ œ œ œ œ œJ
. . . . . . . . . . . . . . . . . . . . . . . . . . .
œ. œ. œ. œ. œ. œ. œ. œ. œ. ff
œ. œ. œ. œ. œ. œ. œ. œ. œ.
? œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ Œ J ‰ Œ œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ Œ J ‰ Œ
Cb. J J
ff
423
2m13b "Confrontation Pt.2" Dracula
Shak. &
b˙ ˙ ˙
3
? b˙ & b˙ ™ Œ bœ
Hn. 1-4 bœ
f
b˙ œ
b˙ ˙ ˙
3
? b˙ & b˙ ™ Œ bœ
Hn. 5-8 bœ
f
b˙ œ
. . . . . . . ^
b œœ œœ œœ œœj b œœ b œœ œœ bb ˙™
˙™ >
? . J. bb ˙˙™™
Tbn. 1-2 . . ‰ Œ . . . Œ Œ
v >
f mp ff mf
. . . . . . . ^
œ œœ œœ œœj œœ œœ œœ b˙™ >
? œ ‰ J Œ Œ ˙™
˙™ Œ
Tbn. 3-4 . . . . . . . ∑
>
f mp ff mf
B. Tbn. ? Œ ˙™ Œ Œ
™
Tba.
>˙™ > >˙
ff mf
Cb. Tbn. ? Œ Œ Œ
Cb. Tba. ™
>˙
™ >˙ >˙™
ff mf
? æ æ
Timp. bwæ w bwæ
pp > pp
ff
B. D. ÷
Daiko ÷
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
> æ >
T.-t. ÷ ¿— Œ Ó ~æ ¿— Œ Ó
pp ff
Tub. B. &
b˙™
bbb˙˙˙ ™™™
b ˙˙ ™ œ b ˙˙ ™ bœ
& ˙™ Œ ˙™ Œ Œ
ff
{
?
&
˙™
Œ ˙™ Œ
˙™
Œ
Pno.
? Œ ˙™ Œ Œ
{ ˙™
˙™
>>œ b œ
>˙
™
>œ b œ >œ
˙™
>˙ ™
œ bœ œ #œ nœ #œ œ bœ œ #œ nœ #œ
& Œ Ó
Synth. fff
?
{ div.
f ff
b˙ œ b˙ bœ bb ˙˙ ™™
& Œ Œ Œ
Choir (SA) f ff
˙ œœ ˙˙ œœ bb˙™
& ˙ Œ Œ ˙™ Œ
53 54 55 56
> > > > > >œ œ >œ œ
œ b œ b œ. >œ œ œ b œ b œ. >œ œ œ bœ
œ. œ. œ.
œ nœ .
œ œ. œ. œ.
œ nœ .
œ
Vln. 1 & ‰ ‰ ‰ Œ
ff
> > > > > >œ œ >œ œ
œ b œ b œ. >œ œ œ b œ b œ. >œ œ bœ bœ
œ. œ. œ.
œ nœ .
œ œ. œ. œ.
œ nœ .
œ
Vln. 2 & ‰ ‰ ‰ Œ
ff
:“; > > > >
œ b œ bœ. >œ œ œ b œ bœ. >œ œ >
B œ. œ. œ.
œ nœ .
œ œ. œ. œ.
œ nœ .
œ œ bœ ‰ >œ œ ‰ >œ œ ‰ Œ
ff
Vla.
B
. . . . . . . . .
. . . . . . . . . œj
œj
œ œ œ œ œ œ œ œ
? œ œ œ œ œ œ œ œ ‰ Œ œ œ œ œ œ œ œ œ œ ‰ Œ
Vlc.
œ œ œ œ œ œ œ œ œJ . . . . . . . . J.
. . . . . . . . .
œ. œ. œ. œ. œ. œ. œ. œ. œ.
? œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ Œ J ‰ Œ
Cb. J
424
Dracula 2m13b "Confrontation Pt.2"
Shak. &
3 3
Hn. 1-4 & b˙ ™ Œ œ b˙ ™ Œ bœ
b˙ œ œ b˙ œ bœ
3 3
Hn. 5-8 & b˙ ™ Œ œ b˙ ™ Œ bœ
b˙ œ œ b˙ œ bœ
^ ^
b ˙™
b ˙™ > b ˙˙ ™™ >
? bb ˙˙™™ bb˙™
˙™
Tbn. 1-2 Œ Œ Œ Œ
v > v >
f mp ff mf f mp ff mf
^ ^
b˙™ > ˙™ >
? Œ ˙™
˙™ Œ Œ b˙™ Œ
Tbn. 3-4 ∑ ∑
> >
f mp ff mf f mp ff mf
B. Tbn. ? Œ Œ
™ b>˙ ™
Tba.
>˙
ff mf ff mf
Cb. Tbn. ? Œ Œ
Cb. Tba.
>˙™ b>˙ ™
ff mf ff mf
? æ æ
Timp. w wæ w wæ
> >
ff sim.
B. D. ÷
Daiko ÷
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
æ >
T.-t. ÷ ~æ ¿— Œ Ó
pp ff
Tub. B. &
b˙™
bbb˙˙˙ ™™™
b ˙˙ ™™™
& Œ b˙˙ ™ Œ
{
?
&
˙™ Œ b˙ ™ Œ
Pno.
? Œ Œ
{ ˙™
>˙ ™
b˙ ™
b>˙ ™
&
Synth.
?
{ bb ˙˙ ™™ b ˙™
˙™
& Œ Œ
Choir (SA)
b˙™
& b ˙™ Œ b˙˙ ™™ Œ
57 58 59 60
> >œ œ >œ œ >œ œ >œ œ
œ bœ #>œ œ
Vln. 1 & ‰ ‰ ‰ Œ ‰ ‰ ‰ Œ
> >œ œ >œ œ > >œ œ >œ œ
bœ bœ œ bœ
Vln. 2 & ‰ ‰ ‰ Œ ‰ ‰ ‰ Œ
:“; > >œ œ >œ œ >œ œ >œ œ
B
œ bœ
‰ ‰ ‰ Œ #>œ œ ‰ ‰ ‰ Œ
Vla.
B
?
Vlc.
?
Cb.
425
2m13b "Confrontation Pt.2" Dracula
Shak. &
& b˙ n˙ ˙™ œ #œ œ b˙ ˙ ˙™ Œ
Hn. 1-4
ff pp ff
˙™ œ #œ œ b˙ ˙ ˙™
Hn. 5-8 & b˙ n˙ Œ
ff pp ff
^
nb ˙˙ ™™ > bb>˙˙ ˙˙ w
w
? b˙™
˙™
Tbn. 1-2 Œ Œ
v >
f mp ff mf ff pp ff
^
?
˙™
Œ
> b>˙˙ ˙˙ w
w
Tbn. 3-4 ˙ ™™ Œ
∑
>
f mp ff mf ff pp ff
B. Tbn. ? Œ
Tba. n>˙ ™ b˙ ˙ w
>
ff mf ff pp ff
Cb. Tbn. ? Œ
Cb. Tba.
n>˙ ™ b˙ ˙ w
ff mf ff
> pp ff
? æ
Timp. w
> b wæ
pp
æ
B. D. ÷ wæ
pp
Daiko ÷
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
scrape with tri. beater
æ
T.-t. ÷ Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
f
Tub. B. &
&
mf f
Org. &
Ped: Principals & Flutes 16', 8'
{
?
&
nw bw w
Pno.
?
{ nw
nw
>
bw
bw
>
w
w
>
&
Synth.
?
{ unis.
pp
&
_
Choir (SA) unis.
pp
& _
61 62 63 64
sul G - art. harm. gliss. up approx. 1 1/2 8ves ad lib.
Vln. 1 &
O¿
f
Vln. 2 &
B
Vla.
B
?
Vlc.
?
Cb.
426
Dracula 2m13b "Confrontation Pt.2"
Shak. & 2
Hn. 1-4 &
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
?
w
>
2
ff
> æ
B. D. ÷ œ— Œ Ó œ œ— Ó œ œ ˙æ
ff f p
Daiko ÷ œ
f
œ— Ó œ œ— Ó 4
S. D. ÷
F. D.
Tub. B. &
& 2
Org. &
{
?
&
4
Pno.
?
{ >œ bœ œ bœ œ #œ nœ #œ >œ bœ œ bœ œ #œ nœ #œ >œ
& Œ Ó
Synth. fff mf sim. fff
?
{ 1>
ff
& J ‰ Œ Ó
Choir (SA) ff
1>
& J ‰ Œ Ó
65 66 67 68
O¿
Vln. 1 &
J
ff
‰ Œ Ó
œ œ
‰
œ #œ
‰
œ œ
>
‰
œ #œ
>
‰
#œ œ
>
‰
œ #œ
>
‰
œ œ
>
‰
œ œ
>
‰ 2
> >
Vln. 2 & ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
œ #œ œ œ œ #œ œ œ œ #œ œ œ œ œ
œ #œ #œ œ œ #œ œ œ œ œ #œ œ œ œ œ #œ œ œ
> > > > > > > > > > > > > > >
>
f > > >
> > > œ > >œ œ 4
B œ #œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ ‰ œ ‰ œ #œ ‰ #œ œ ‰ œ #œ ‰ ‰ œ œ ‰
> > > > > > > >
Vla. f div.
> >
B #œ œ ‰ œ #œ ‰ œ œ ‰ >œ œ ‰ #œ œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰
> > > > >
?
Vlc.
?
Cb.
427
2m13b "Confrontation Pt.2" Dracula
Shak. & 2 3 5 4
Hn. 1-4 &
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 2 3 5 4
æ > æ æ
B. D. ÷ ˙æ œ— Œ Œ œ— Œ Œ ˙æ™ ˙æ
f fp
÷ 4 œ œ 4 œ— Œ Œ œ œ— Œ 4 œ œ— Œ Ó 4
Daiko
f f
T.-t. ÷
Tub. B. &
& 2 3 5 4
Org. &
{4
?
&
4 4 4
Pno.
?
{
&
Synth.
?
{
&
Choir (SA)
&
69 70 71 72
Vln. 1 & 2 œ #œ ‰
>
œ œ ‰
>
3 5 4
f
Vln. 2 & ‰ ‰
œ #œ œ œ
> >
f
>
B 4 œ #œ ‰ >œ œ
‰ 4 4 4
f
Vla.
> >œ œ
B œ #œ ‰ ‰
f
?
Vlc.
?
Cb.
428
Dracula 2m13b "Confrontation Pt.2"
Shak. & 4 2 3
Hn. 1-4 &
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 4 2 3
> æ æ >
B. D. ÷ œ— Œ Ó wæ ˙æ œ— Œ Œ
f fp f
Daiko ÷ 4 œ œ— Ó œ œ— Ó 4 œ œ 4 œ— Œ Œ
æ > >
S. D. ÷ ˙æ œ œ œ œ œ Œ
F. D.
T.-t. ÷
Tub. B. &
& 4 2 3
Org. &
{4
?
&
4 4
Pno.
?
{
&
Synth.
?
{
&
Choir (SA)
&
73 74 75 76
Vln. 1 & 4 2 3
Vln. 2 &
B 4 4 4
Vla.
B
?
Vlc.
?
Cb.
429
2m13b "Confrontation Pt.2" Dracula
Shak. & 4
Hn. 1-4 & bw
mf poco a poco cresc.
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ? ˙™ Œ
Tba.
mf
Cb. Tbn. ? ∑
Cb. Tba. ˙™ Œ
mf
Timp.
? 4 æ
wæ
pp
œ
>
˙™
ff mf poco a poco cresc.
æ >
B. D. ÷ œ— Œ Œ w wæ œ œ— Ó
fpp ff mf poco a poco cresc.
Daiko ÷ œ œ— Œ 4 œ œ—
mf poco a poco cresc.
Ó
ord.
ææ >
÷ ~ ¿— Œ Ó
T.-t.
p mf
Tub. B. &
& 4 bw
f
Org. &
Ped: Full + Reeds
˙™
{
?
&
4 Œ
&
77 78 79 80
4 œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰
Vln. 1 & J
mf poco a poco cresc.
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
Vln. 2 & J ‰
mf poco a poco cresc.
œ. œ. œ. œ. œ. œ. œ.
B 4 mf poco a poco cresc.
J ‰
Vla.
B œ. œ. œ. œ. œ. œ. œ. ‰
J
mf poco a poco cresc.
unis.
? bw
Vlc. &
ff
div.
. . . . . . . . . . . . .
? œ œ œ œ œ œ œ œ œ œ œ œ œj ‰
Cb. J.
. . . . . . . . . . . .
mf poco a poco cresc.
430
Dracula 2m13b "Confrontation Pt.2"
Shak. &
?
Tbn. 3-4
? #˙ ™ #˙ ™
B. Tbn. Œ Œ Œ Œ
Tba. ˙™ #˙ ™
B. D. ÷ œ œ— Ó œ œ— Ó
Daiko ÷ œ œ— Ó œ œ— Ó
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
æ >
T.-t. ÷ ~æ ¿— Œ Ó
p mf
Tub. B. &
& ˙ w w ˙ #˙
b˙
Org. &
#˙ ™ #˙ ™
{
?
&
˙™
Œ Œ #˙ ™ Œ Œ
Pno.
#˙ ™ #˙ ™
? Œ Œ Œ Œ
{ ˙™
˙™
>œ b œ œ bœ œ #œ nœ #œ
#˙ ™
>œ b œ œ bœ œ #œ nœ #œ
#˙ ™
#˙ ™
>œ b œ œ bœ œ #œ nœ #œ
#˙ ™
>œ b œ œ bœ œ #œ nœ #œ
&
Synth.
?
{ ˙ #˙
w w ˙
& b˙
Choir (SA)
&
81 82 83 84
div.
. . . . .j . . . . . . . . . . . . . . . . . .j
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ## œœ œœ œœ œœ œœ œœ œœ œœ œœ œjœ #œ œ œ œ œ œ œ œ œ œ œ œ œ
Vln. 1 & J ‰ J ‰ J ‰ . . . . J. ‰ . . . . J. ‰ . . . . . . . . . . . . J. ‰
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
Vln. 2 & J ‰ J ‰ J ‰ J ‰ J ‰ J ‰
. . .j . . . . . . . . . .
œ. œ. œ. œ. œ. œ. #œ. œ. œ. œ. œ. œ. œ. ##œœ œœ œœ œœ œœ œjœ #œ œ œ œ œ œ œj
B J ‰ J ‰ J ‰ J ‰ J ‰ J ‰
. . . . . . . . . . . . .
Vla. div. a3
. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. nœ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
B œ J ‰ J ‰ J ‰ J ‰ J ‰ J ‰
431
2m13b "Confrontation Pt.2" Dracula
Shak. &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ? #˙ ™ Œ ˙™ Œ Œ #˙ ™ Œ
Tba. ˙™ f
Cb. Tbn. ? Œ Œ Œ ∑
Cb. Tba. ˙ ™™ #˙ ™ Œ
# ˙ ™™
˙™ f
? æ
Timp.
œ ˙™ #wæ œ #˙ ™
pp >
ff f
æ >
B. D. ÷ œ œ— Ó wæ œ œ— Ó
pp ff f
Daiko ÷ œ œ— Ó œ œ— Ó
f
S. D. ÷
F. D.
Tub. B. &
& n˙ w ˙™ Œ w
#˙
Org. &
#˙ ™
{
? #˙ ™
&
Œ ˙™ Œ
˙™
Œ Œ
Pno. f
? #˙ ™ Œ ˙™ Œ Œ #˙ ™ Œ
{ #˙ ™
>œ b œ œ bœ
˙™
>œ b œ
˙™
˙™
>œ b œ
#˙ ™
>œ b œ
œ #œ nœ #œ œ bœ œ #œ nœ #œ œ bœ œ #œ nœ #œ œ bœ œ #œ nœ #œ
&
Synth.
?
{ n˙ 1>
w œ™ ‰ J ‰ Œ Ó
& #˙
_
Choir (SA)
1>
& Ó J ‰ Œ Ó
_
85 86 87 88
. . . . .j . . . . . . . . . . . . . . . . . .j . . . . . . . . . . . . . . . . . . . . . . .j
## œœ œœ œœ œœ œœ œœ œœ œœ œœ œjœ n œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œjœ œœ œœ œœ œœ œjœ #œ œ œ œ œ œ œ œ œ œ œ œ œ
Vln. 1 & . . . . J. ‰ . . . . J. ‰ . . . . . . . . . . . . J. ‰ . . . . J. ‰ . . . . J. ‰ . . . . . . . . . . . . J. ‰
f
œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ #œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ. œ.
Vln. 2 & J ‰ J ‰ J ‰ J J J ‰
f
. . . . . . . . . . . . . . . . . . . . . . . . . .
#œ œ œj œœ œœ œjœ n œœ œœ œœ œœ œœ œœ œœj #œœ œœ œœj œœ œœ œœj #œ œ œ œ œ œ œj
B # œ œ œJ ‰ J ‰ J ‰ J ‰ J ‰ J ‰
. . . . . . . . . . . . . . . . . . . . . . . . . .
f
Vla.
B œ. œ. œ. ‰ œ. œ. œ. ‰ œ. œ. œ. œ. œ. œ. œ. ‰ œ. œ. œ. ‰ œ. œ. œ. ‰ #œ. œ. œ. œ. œ. œ. œ. ‰
J J J J J J
f
432
Dracula 2m13b "Confrontation Pt.2"
Shak. &
? ˙™ ˙™
B. Tbn. Œ Œ ˙™ Œ Œ
Tba. #˙ ™
Cb. Tbn. ? Œ ∑ Œ ∑
Cb. Tba. ˙™ Œ ˙™ Œ
# ˙™ ˙™
?
Timp. œ ˙™ œ ˙™
B. D. ÷ œ œ— Ó œ œ— Ó
Daiko ÷ œ œ— Ó œ œ— Ó
S. D. ÷
F. D.
>œ >œ > >œ >œ > >œ >œ > > >œ >
Roto-t.
Tom-t.
÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
T.-t. ÷
Tub. B. &
& #˙ #w nw ˙ ˙
˙
Org. & Ó
˙
˙™ ˙™
{
?
&
#˙ ™ Œ Œ ˙™ Œ Œ
Pno.
? ˙™ ˙™
Œ Œ Œ Œ
{ #˙ ™
#˙ ™
>œ b œ œ bœ œ #œ nœ #œ
˙™
>œ b œ œ bœ œ #œ nœ #œ
˙™
˙™
>œ b œ œ bœ œ #œ nœ #œ
˙™
>œ b œ œ bœ œ #œ nœ #œ
&
Synth.
?
{
&
Choir (SA)
&
89 90 91 92
. . . . .j . . . . . . . . . . . . . . . . . .j . . . . . . . . . . . . . . . . . . . . . . .j
## œœ œœ œœ œœ œœ œœ œœ œœ œœ œjœ œ œ œ œ œ œ œ œ œ œ œ œ œ # œœ œœ œœ œœ œjœ œœ œœ œœ œœ œjœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
Vln. 1 & . . . . J. ‰ . . . . J. ‰ . . . . . . . . . . . . J. ‰ . . . . J. ‰ . . . . J. ‰ . . . . . . . . . . . . J. ‰
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
#œ. œ. œ. œ. œ. ‰ œ. œ. œ. œ. œ. ‰ nœœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœj œœ œœ œœ œœ œœj œœ œœ œœ œœ œœj œ œ œ œ œ œ œ œ œ œ œ œ œj
Vln. 2 & J J J. ‰ J. ‰ J. ‰ . . . . . . . . . . . . J. ‰
. . . . . . . . . . . . . . . . . . . .
. . .j . . . . . . . . . . . . . . . . . . . . . . .j
#œ œ œ œœ œœ œjœ œ œ œ œ œ œ œj # œœ œœ œjœ œœ œœ œjœ œœ œœ œœ œœ œœ œœ œœ
B # œ œ œJ ‰ ‰ J ‰ J ‰ J ‰
. . J. ‰
. . . . . J. . . . . . . . . . . . . . . . . .
Vla. div.
. a4 . . . . . . . . .j . . .j . . . . . . .
B #œ. œ. œ. ‰ œ. œ. œ. ‰ nœœ œœ œœ œœ œœ œœ œœj ‰ œœ œœ œœ ‰ œœ œœ œœ ‰ œ œ œ œ œ œ œj ‰
J J . . . . . . J. . . J. . . J. . . . . . . J.
?˙
Vlc. & #˙ port. #w nw ˙
˙
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
? #œ œ œ œ œj œ œ œ œ œj œ œ œ œ œ œ œ œ œ œ œ œ œj œ œ œ œ œj œ œ œ œ œj œ œ œ œ œ œ œ œ œ œ œ œ œj
‰ ‰ . . . . . . . . . . . . J. ‰ œ œ œ œ œJ ‰ œ œ œ œ œJ ‰ ‰
Cb. #œ œ œ œ œJ œ œ œ œ œJ
. . . . . . . . . . . . . . . . . . . . . . J.
. . . . . . . . . .
433
2m13b "Confrontation Pt.2" Dracula
Shak. &
˙™ 3 ˙™
Hn. 1-4 & #˙ œ œ Œ
˙ œ #œ œ Œ
ff
& #˙ œ œ ˙™ Œ 3
œ ˙™ Œ
Hn. 5-8 #œ
˙ œ
ff
˙™ ˙™
? #˙ œ œ
Œ ˙ œ #œ3 œ
Œ
Tbn. 1-2
ff
˙™ ˙™
? #˙ œ œ
Œ ˙ œ #œ3 œ
Œ
Tbn. 3-4
ff
>˙™ b>˙ ™
B. Tbn. ? Œ Œ Œ Œ
Tba. ˙™ ˙™
ff
>
? ∑˙ >
Cb. Tbn.
Cb. Tba.
Œ ™ Œ Œ b∑˙ ™ Œ
˙™ > ˙™ >
ff >
? wæ œ ˙™ bœ b˙ ™
Timp.
pp > > > >
ff
æ > > > >
B. D. ÷ wæ œ œ— Ó œ œ— Ó
pp ff
> > > >
Daiko ÷ œ œ— Ó œ œ— Ó
ff
S. D. ÷
F. D.
>œ >œ > >œ >œ > >œ >œ > >œ >œ >
Roto-t. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Tom-t.
ff
æ >
T.-t. ÷ ~æ ¿— Œ Ó
p ff
Tub. B. &
#w
w ˙˙ ™™™ b ww
& #˙ œ œ w ˙ Œ b w w
Org. & #˙ Œ
œ œ #w
w
w ˙˙˙ ™™™ w
w
bw
˙™ b˙ ™
{
?
&
˙™ Œ Œ ˙™ Œ Œ
Pno. ff
>˙ ™ b>˙ ™
? Œ Œ Œ Œ
{ ˙™
˙™
>œ b œ œ bœ œ #œ nœ #œ
˙™
>œ b œ œ bœ œ #œ nœ #œ
˙™
>>˙ ™
œ bœ œ bœ œ #œ nœ #œ
b˙ ™
>œ b œ œ bœ œ #œ nœ #œ
&
Synth. fff f sim.
?
{ div.
f ff
#w
w ˙˙ ™™ bww
& Œ
div.
Choir (SA) f ff
& w ˙ ™™ Œ bw
w
93 94 95 96
. . . . .j . . . . .j . . . . . . . . . . . . . div.. .a3 . . . . .. . . . . .
œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œj
œ œ œ œ œ œ . . . . . . . . . . n# œœœ œœœ œœœ œœœ œœœ œœœ œœœ œ œ œ œ œ œj
œœ œœ œœ œœ œœ œœ
J. J. #œœ œœ œœ œœ œœj œœ œœ œœ œœ œœj
Vln. 1 & . . . . ‰ . . . . ‰ . . . . . . . . . . . . J. ‰ J. ‰ J. ‰ . . . . . . . . . . . . J. ‰
ff
. . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . .j . . . . . . . . . . . . .j
œœ œœ œœ œœ œœj œœ œœ œœ œœ œœj #œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ . . . . .j . . . . .j nb œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
‰ ‰ ‰ #œœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰ ‰
Vln. 2 & . . . . J. . . . . J. .. . .. . .. . .. . .. . .. . J.. J. J. .. . .. . .. . .. . .. . .. . J..
. . . . . . . . . . . . . .
œœ œœ œœj œœ œœ œœj # œœ œœ œœ œœ œœ œœ œœj . . . . . . n œœ œœœ œœœ œœœ œœœ œœœ œœœ
# œ j
#œœ œœ œœj œœ œœ œœj
B . .
J
. ‰ . .
J
. ‰ . . . . . . J. ‰ J. ‰ J. ‰ . . . . . . J. ‰
ff . . . .
Vla. . . . . . . . div.
. a5 . . . . . .j
. . .j . . .j
#œœ œœ œœ œœ œœ œœ œœj . . .j . . .j nb œœ œœ œœ œœ œœ œœ œœ
B œœ œœ œœ ‰ œœ œœ œœ ‰ J. ‰ #œœ œœ œœ ‰ œœ œœ œœ ‰ ‰
. . J. . . J. . . . . . . J. J. . . . . . . J.
. . . .
w w
? #˙ œ œ
˙ œ #œ3 œ
Vlc.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
? œ œ œ œ œj œ œ œ œ œj œ œ œ œ œ œ œ œ œ œ œ œ œj œ œ œ œ œj œ œ œ œ œj bœ œ œ œ œ œ œ œ œ œ œ œ œj
Cb. ‰ ‰ . . . . . . . . . . . . J. ‰ œ œ œ œ œJ ‰ œ œ œ œ œJ ‰ . . . . . . . . . . . . J. ‰
œ œ œ œ œJ œ œ œ œ œJ
. . . . . . . . . . . . . . . . . . . .
434
Dracula 2m13b "Confrontation Pt.2"
Shak. &
3
bœ bw ˙™ œ #œ nw
Hn. 1-4 & ˙ œ nœ
3
bœ bw ˙™ œ #œ nw
Hn. 5-8 & ˙ œ nœ
bw ˙™ œ #œ nw
? ˙ œ n3œ bœ
Tbn. 1-2
bw ˙™ œ #œ nw
? ˙ œ n3œ bœ
Tbn. 3-4
S. D. ÷
F. D.
>œ >œ > >œ >œ > >œ >œ > >œ >œ >
Roto-t. ÷ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Tom-t. œ œ
æ >
T.-t. ÷ ~æ ¿— Œ Ó
p ff
Tub. B. &
˙˙ ™™ bw ˙˙ ™™ ˙˙˙ ™™™
& ˙˙ ™™ Œ bb w
w ˙™ Œ ˙™ Œ
Œ Œ Œ ?
Org. & ˙˙ ™™
˙™
bw
bb w
w ˙˙˙ ™™™ ˙˙˙ ™™™
b˙ ™
{
? b˙ ™
&
Œ Œ b˙ ™ Œ ˙™ Œ
Pno.
? b˙ ™ b>˙ ™ ˙™
{ Œ b˙ ™ Œ b˙ ™ Œ Œ
™
b>˙ ™ b>˙ ™ >˙
>œ b œ œ bœ œ #œ nœ #œ
>œ b œ œ bœ œ #œ nœ #œ
>œ b œ œ bœ œ #œ nœ #œ
>œ b œ œ bœ œ #œ nœ #œ
&
Synth.
?
{ ˙˙ ™™ #w ˙™
f
n ˙™
˙™
ff
& Œ Œ Œ
Choir (SA) f ff
™ ˙™
& ˙˙ ™ Œ nw ˙ ™™ Œ ˙™ Œ
97 98 99 100
. . . . . . . . . . “div. a2
.” . . . . . . . . . . . .j “.” . . . . . . . . . . . .
#œœ œœ œœ œœ œœj œœ œœ œœ œœ œœj bb œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ
. . . .
œœj
. . . . .
œœj
.
œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œj
œ œ œ œ œ
Vln. 1 & œ œ œ œ œ ‰ œ œ œ œ œ ‰ J. ‰ bbœœ œœ œœ œœ ‰ bœœ œœ œœ œœ ‰ J. ‰
J. J. . . . . . . . . . . . . . . . . J. . . . . J. . . . . . . . . . . . .
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . .j . . . . .j bb œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœj . . . . .j . . . . .j b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœj
& bœœ œœ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰ J ‰ n œ œœ
b œ œœ œœ œœ ‰ œœ œœ œœ œœ œœ ‰ . . . . . . . . . . . . J. ‰
Vln. 2 . . . . . . . . . . . . .
J. J. . . . . J. . . . . J.
.
.
. .
.
. .
.
. .
.
. “.” . . . . . . “.” . . . . . .
. . . . .j . . .j œœj
#œœ œœj œœj b œ œœ
b œ œœ œœ œœ œœ œœj œœ œœ œœ œœ œœ œœ
B œ œœœ œ ‰ œœœ œœœ œ ‰ J. ‰ bbœœ œœ œœ ‰ œœ œœ œœ ‰ J ‰
. . J. . . J. . . . . . . . . J. . . J. . . . . . . .
div.
. a4 . . . . . . . . . . . . .
Vla.
. . .j . . .j œœj . . .j . . .j œ œœ œœ œœ œœ œœ œœj
bb œœ œœ œœ œœ œœ œœ bœ
J
B bœœ œœ œœ ‰ œœ œœ œœ ‰ . . . . . . J. ‰ nbœœ œœ œœJ ‰ œœ œœ œœJ ‰ . . . . . . . ‰
. . J. . . J. . . . . . .
bw ˙™ œ #œ nw
? ˙ œ n3œ bœ
Vlc.
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .j
? bœ œ œ œ œj œ œ œ œ œj bœ œ œ œ œ œ œ œ œ œ œ œ œj bœ œ œ œ œj œ œ œ œ œj
‰ ‰ ‰ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰
Cb. bœ œ œ œ œJ œ œ œ œ œJ . . . . . . . . . . . . J. bœ œ œ œ œJ œ œ œ œ œJ
. . . . . . . . . . . . J.
. . . . . . . . . . . . . . . . . . . .
435
2m13b "Confrontation Pt.2" Dracula
q = 100
Shak. &
˙ Ó ?
Hn. 1-4 &
fff
˙ Ó ?
Hn. 5-8 &
fff
˙
? Ó
Tbn. 1-2
fff
˙
? Ó
Tbn. 3-4
fff
B. Tbn. ? Œ
Tba. ™
>˙
fff
? >
Cb. Tbn. Œ
Cb. Tba.
˙™
> fff
? æ Œ Ó
Timp.
wæ æ
œ
>— # wæ
ppp fff ppp
> æ >
B. D. ÷ œ— Œ Ó wæ œ— Œ Ó
ppp fff
> > >
÷ œ œ— Ó œ— Œ Ó
Daiko
fff
S. D. ÷
F. D.
Tub. B. &
n ˙˙ ™™ ˙˙ ™™
& n˙˙˙ ™™™ Œ n˙˙ ™™ Œ ˙˙™™ Œ
n˙ ™
? bb˙˙˙˙ ™™™™ Œ & b˙˙ ™™ Œ n˙˙ ™™ Œ
Org.
b ˙˙ ™™ n ˙˙ ™™
{
?
&
˙™
Œ
Pno.
? Œ
{ ˙™
˙™
>>œ b œ >œ
œ bœ œ #œ nœ #œ ›
& Œ Ó &
Synth. fff
?
{ n ˙™
ff
˙˙™™
fff
˙™
& ˙˙ ™™ Œ Œ Œ
Choir (SA) ff fff
& ˙™ Œ b˙™
˙™ Œ n˙™
˙™ Œ
b ˙™
436
Dracula 2m13b "Confrontation Pt.2"
Shak. &
w #˙ #w nw
? ˙
Hn. 1-4
ff
w #˙ #w nw
? ˙
Hn. 5-8
ff
#>˙ ˙ ˙™ n>˙ ˙ ˙™
? Œ Œ
Tbn. 1-2
ff pp ff
> >
? #˙˙ ˙˙ ˙™
˙™ Œ n˙˙ ˙˙ ˙™
˙™ Œ
Tbn. 3-4
> >
ff pp ff
B. Tbn. ? Œ Œ
Tba.
#˙ ˙ ˙™ ˙ ˙ ˙™
> >
ff pp ff
a2
Cb. Tbn. ? Œ Œ
Cb. Tba.
#˙ ˙ ˙™ ˙ ˙ ˙™
> >
ff pp ff
?
Timp.
œ #˙ ™ >œ ˙™
> > >
fff ff
> > > >
B. D. ÷ œ œ— Ó œ œ— Ó
ff
> > > >
Daiko ÷ œ œ— Ó œ œ— Ó
ff
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
> æ
T.-t. ÷ ¿— Œ Ó ~æ
ff pp
Tub. B. &
& ##˙˙˙ ™ Œ ™ Œ
Org.
˙˙˙ ˙˙˙ ™™ nn˙˙˙ ˙˙˙ ˙˙˙ ™™
{
?
&
#˙ ˙ ˙™
Œ
˙ ˙ ˙™
Œ
Pno. ff
? Œ Œ
{ #w
#w
˙™
˙™
w
w
>
˙™
˙™
› >œ> >œ
& Œ Ó Œ Ó
Synth. ff
?
{ > ff pp ff
>
#˙˙ ˙˙ ˙™
˙™ n˙˙ ˙˙ ˙™
˙™
& Œ Œ
> >
unis.
Choir (SA) ff pp ff
> n>˙
& #˙ ˙ ˙™ Œ ˙ ˙™ Œ
Vln. 1 &
Vln. 2 &
B
Vla.
B
w #˙ #w nw
? ˙
Vlc.
ff
unis.
? Œ Œ
Cb.
#˙ ˙ ˙™ ˙ ˙ ˙™
> >
ff pp ff
437
2m13b "Confrontation Pt.2" Dracula
Shak. & 6 4
˙ #˙ #w™
? ˙ ˙ #w ™
Hn. 1-4
fff
˙ #˙ #w™
? ˙ ˙ 4 #w ™
4
Hn. 5-8
fff
> ˙™ #>˙
? #˙ ˙
Œ
˙™
Œ #w ™
Tbn. 1-2
ff pp ff pp fff
> >
? ˙˙ ˙˙ ˙˙™™ Œ ##˙˙ ˙™
˙™ Œ
#w™
# w™
Tbn. 3-4
> >
ff pp ff pp fff
B. Tbn. ? Œ Œ
Tba. ˙ ˙ ˙™ #˙ ˙™ #w ™
> >
ff pp ff pp fff
Cb. Tbn. ? Œ Œ
Cb. Tba.
˙ ˙ ˙™ #˙
>
˙™ #w™
> ff pp ff pp fff
Timp.
?
>œ ˙™
>
6 #>œ œ w
#>œ >œ
æ
wæ
4
> ppp
—
> > > > > > æ
B. D. ÷ œ œ— Ó œ œ— ∑ œ œ wæ
ppp
> > > > > >
Daiko ÷ œ œ— Ó 4 œ œ— ∑ œ œ— ∑
4
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
> æ
T.-t. ÷ ¿ Œ Ó ~æ ™
ff ppp fff
Tub. B. &
˙˙ ˙˙ ˙˙ ™™ #˙ ˙˙ ™™™ #w ™™™
& #˙ ˙ ˙™ Œ 6 ## ˙˙ ˙ Œ ## w
w 4
˙˙˙ ™™™ Œ Œ
Org. & # ˙˙˙ ˙˙˙ #˙
## ˙˙ ˙˙˙ ™™™ #w ™™
### w
w ™™
w
{
?
&
˙ ˙ ˙™ Œ 4 #˙ ˙™
Œ #w ™ 4
Pno.
? Œ Œ
{ w
w
w
˙™
˙™
˙™
#˙
#˙
#>˙
˙™
˙™
˙™
#w™
>™
#w
› >œ> >œ >œ
& Œ Ó Œ ∑ Œ ∑
Synth.
?
{ >
˙˙ ˙˙ ˙˙™™
>
ff pp fff
& Œ ##˙˙ w
w w™
w™
> >
Choir (SA) ff pp fff
> >
& #˙ ˙ ˙™ Œ #˙ w w™
Vln. 1 & 6 4
Vln. 2 &
B 4 4
Vla.
B
˙ #˙ #w™
? ˙ ˙ #w ™
Vlc.
fff
? Œ #˙ ˙™ Œ
Cb. ˙ ˙ ˙™ #w ™
> >
ff pp ff pp fff
438
Dracula 2m13b "Confrontation Pt.2"
q = 72 Attacca
Shak. & 4
?
Hn. 1-4
Hn. 5-8
? 4
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
Timp.
? 4 w
>
fff
>
÷ œ— Œ Ó
B. D.
fff
>
Daiko ÷ 4 œ—
fff
Œ Ó
S. D. ÷
F. D.
Roto-t. ÷
Tom-t.
choke (beat 1)
T.-t. ÷
Tub. B. &
& 4
Org. &
{4
?
&
Pno.
?
{
› >œ
& Œ Ó
Synth. fff
?
{
&
Choir (SA)
&
113
Vln. 1 & 4
Vln. 2 &
B 4
Vla.
B
?
Vlc.
?
Cb. fffff ffff fff ffff ffff fff ffff ff
439
Dracula 2m13c "Confrontation Pt.3"
CONCERT SCORE Chris Heckman
q = 72
Bass Drum ÷ 4
Daiko ÷
4
Shaker ÷
Tam-tam ÷
& 4
?
Organ
4
{
?
&
˙ bœ bœ bw ˙ bœ œ bw
Piano mp
w w
{
& bbw
w
° *
bbbw
w
w
° *
bbw
w
° *
bbbw
w
w
° *
&
Synthesizer
?
{
&
Choir (SA)
&
1 2 3 4
& 4
Violin 1
&
4
&
Violin 2
&
Viola B
?
Cello
?
Contrabass
440
2m13c "Confrontation Pt.3" Dracula
>
÷ œ— Œ Ó
B. D.
fff
>
÷ œ— Œ Ó
Daiko
fff
>æ
Shk. ÷ wæ
fff ppp
æ
T.-t. ÷ ~æ
p
&
mp
?
Org.
{
?
&
b˙ bœ bœ b˙ ˙ b˙ bœ bœ
#w
*
› >œ
& & Œ Ó
Synth. fff
?
{
&
Choir (SA)
&
5 6 7 8
&
Vln. 1
&
&
Vln. 2
&
Vla. B
?
Vlc.
?
Cb.
#w
p
441
Dracula 2m13c "Confrontation Pt.3"
÷ œ— Œ Ó œ— Œ Ó
B. D.
mf poco a poco cresc.
Daiko ÷
Shk. ÷
> æ
T.-t. ÷ ¿— Œ Ó ~æ
mf p
?
Org.
{
?
&
w
œ
## œœœ ## œœœ
#œ
œœ
œœ œœ
##œœ
˙™
# w˙
#ww ˙
œ #w
œ
## œœœ ## œœœ
#œ
œœ
œœ œœ
##œœ
˙™
# ˙˙˙
˙
˙˙˙
˙
œ
Pno. mf
& ##œœœ
{ #œ
# œœ
œœ
œ œ w ##œœœ #œ
# œœ
œœ ˙˙ ˙˙˙
## œœ #w
w œ œ
## œœ # ˙˙
pedal harmonically
› œ œ
& Œ Ó Œ Ó
?
{
&
Choir (SA)
mf
& œ œ j ‰ œ œ ‰
#œ #œ #˙ œ #œ #œ #œ #˙ nœ ™
oo
9 10 11 12
&
Vln. 1
&
&
Vln. 2
&
legato espress.
B œ #œ œ #˙ ™ #œ œ #œ œ #˙ nœ ™ ‰
Vla. #œ #œ
f
? #œ #œ œ œ œ œ ™ œ œ œ œ œ #œ #œ œ œ œ œ™ œ œ œ œ œ #œ #œ œ œ œ œ ™ œ œ œ œ œ œ #œ œ œ œ œ ™ œ œ œ œ œ
Vlc. #œ ™ œ™ #œ ™ nœ ™
mf poco a poco cresc.
? #w
Cb. ˙™ œ ˙™ œ
w
mf poco a poco cresc.
442
2m13c "Confrontation Pt.3" Dracula
rit.
÷ œ— Œ Ó œ— Œ Ó
B. D.
Daiko ÷
Shk. ÷
& #œ œ œ œ œ œ œ œ
#œ ™ œ #œ œ œ œ œ ™ œ œ œ œ œ œ™ œ # œ œ œ œ œ™ œ œ œ œ œ #œ ™ œ #œ œ œ œ œ ™ œ œ œ œ œ œ #œ œ™
Ϫ
?
Org.
{
? w
œ
#œœ
& œ
## œœœ
#œ
œœ
œœ œœ
#œœ
˙™
˙˙™™
˙˙ ™
œ
œ
#œ
#œ
w
œ
#œœœ ## œœœ
#œ
œœ
œœ
# œœœ
œ
w
# ˙˙
# ˙˙
˙˙
˙˙
Pno.
œœ ˙
{
& #œœœ #œ
# œœ œœœ œ
# œœ
˙˙ ™™
˙™ #œ #œœœ #œ
# œœ œœœ œ #˙˙ ˙˙˙
› œ œ
& Œ Ó Œ Ó
Synth.
?
{
&
Choir (SA)
mf
& œ j ‰ #œ #˙
#œ œ ˙ œ #œ œ #œ œ ˙
#œ
13 14 15 16
&
Vln. 1
&
&
Vln. 2
&
#œ #˙ ˙
Vla. B œ #œ œ ˙™ #œ œ #œ œ
#œ
f
? #œ œ œ ™ œ œ œ œ œ
Vlc.
#œ ™ œ #œ œ œ œ œ™ œ œ œ œ œ œ™ œ #œ œ œ œ œ ™ œ œ œ œ œ #œ ™ œ #œ œ œ œ œ™ œ œ œ œ œ œ #œ œ
Ϫ
? w
Cb. ˙™ œ w
w
443
Dracula 2m13c "Confrontation Pt.3"
q = 54 q = 60
poco accel.
÷ œ— Œ Ó œ— Œ Ó
B. D.
f
Daiko ÷
Shk. ÷
T.-t. ÷
&
mp
?
Org.
{
?
&
#w
###w
w
w
w
w
w
w
w
w
Pno. mf
& ##w
{ w
w w
w
w
› œ œ
& Œ Ó Œ Ó
Synth. f
?
{
&
Choir (SA)
mf ppp
& #w w
17 18 19
~
& ##w ~w
ææ ææ
p f ppp
Vln. 1 div.
& n~wæ ~w
ææ
æ
p f ppp
ææ ææ
& #w~ w~
p f ppp
Vln. 2 div.
æ ææ
& ##w~æ w~
p f ppp
Vla. B
? #w w
Vlc.
f ppp
?
Cb.
#w w
f ppp
ffff
444
Dracula 2m14 "Bows & Exit Music"
CONCERT SCORE Chris Heckman
q = 120
Horn 1-4 & 5 4
Horn 5-8 &
. . . .j . . . . . . .j
œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ
? . . . ‰ J. Œ . . . . . . ‰ J.
Trombone 1-2
4 4 f
. . . . . . . . . . .j
? # œœ œœ œœ œœj # œœ œœ œœ œœ œœ œœ œœ
Trombone 3-4 ‰ J Œ ‰ J
. . . . . . . . . . .
f
B. Tbn.
mf f + Tba. a2
? Ó™ æ ˙™
Bass Trombone
Tuba ˙æ gliss. Œ ˙™ Œ
˙™
Œ
Ó ˙™
f
Cb. Tbn.
mf f + Cb. Tba. a2
Contrabass Trombone ? Ó™ Œ Œ Œ
Contrabass Tuba æ
˙æ gliss. ˙™ ˙™ ˙™
Ó ˙™
f
Timpani
? 5 æ
˙™æ
æ
˙æ
4 w
>
pp f
æ æ >
Bass Drum ÷ ˙æ™ ˙æ œ œ— Ó œ œ— Ó œ œ— Ó
pp f
Daiko ÷ 4 4 f
œ œ— Ó œ œ— Ó œ œ— Ó
Glockenspiel &
Mark Tree ÷
Roto-toms ÷
Tom-toms
Shaker ÷
Snare Drum ÷
æ æ >
Tam-tam ÷ Oæ™ Oæ ¿— Œ Ó
pp ff
& 5 4
Celesta
?
{
&
Organ
?
4 4 f
Piano f
? Œ Œ Œ
{ ˙™
˙™
˙™
˙™
˙™
˙™
Big Bang Kit
&
ff mf sim.
Synthesizer >œ >œ >œ
bœ œ #œ nœ #œ œ œ bœ œ #œ nœ #œ œ œ bœ œ #œ nœ #œ œ œ
?
{
&
&
Choir (SA)
&
1 2 3 4
gliss. each half-step slur > bœ
Violin 1 & 5 4 œ bœ
> œ. œ. œ. >œ œ œ. >œ #œ œ.
f
œ bœ
> œ. œ. œ. >œ œ œ. >œ #œ œ.
œ bœ. œ œ œ nœ
. œ. >œ œ. > œ.
gliss. each half-step slur > bœ
& œ bœ œ bœ œ bœ. œ œ œ nœ
Violin 2
> œ. œ. œ. >œ œ œ #œ
œ. > œ. > œ. œ. œ. œ œ œ #œ
> œ. > œ. . œ. >œ œ. > œ.
f
gliss. each half-step slur >
Viola B
4 4 >
œ b œ œ. œ
. œ. œ
> œ
œ.
>
œ #œ .
œ
>
œ b œ œ. œ
. œ.
>œ œ
œ.
>
œ #œ .
œ
œ b œ bœ. œ. > œ
œ. œ œ.
>
œ nœ .
œ
f
? Œ Œ Œ
Cello ˙™
˙™ ˙™
f
? Œ Œ Œ
Contrabass ˙™
˙™ ˙™
f
445
2m14 "Bows & Exit Music" Dracula
B. Tbn. ? ˙™ Œ Œ Œ Œ
Tba. ˙™ ˙™
˙™
Cb. Tbn. ? Œ Œ Œ Œ
Cb. Tba.
˙™ ˙™
˙™ ˙™
? æ
Timp.
wæ w
>
p
B. D. ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ— Ó
Daiko ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ— Ó
Glock. &
M. Tree ÷
Roto-t. ÷
Tom-t.
Shk. ÷
S. D. ÷
æ >
T.-t. ÷ ~æ ¿— Œ Ó
p ff
&
Cel.
?
{
&
?
Org.
{
? ˙™
&
Œ
˙™
Œ ˙™ Œ
˙™
Œ
Pno.
? ˙™ Œ Œ Œ Œ
{ ˙™ ˙™
˙™
˙™
˙™
˙™
˙™
&
Synth. >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ
{
&
&
Choir (SA)
&
5 6 7 8
> > bœ
Vln. 1 & œ bœ bœ. œ. œ œ œ œ œ nœ œ bœ œ œ
. . œ >œ œ œ œ #œ œ
œ bœ œ œ
. . œ >œ œ œ œ #œ œ
œ bœ. œ
. œ. >œ
œ œ nœ
. > . > œ. > > œ. > œ.
. . > . . . > .
> bœ > bœ
& œ b .
œ œ œ nœ œ bœ œ œ œ bœ œ œ œ bœ. œ œ œ nœ
Vln. 2 œ. œ œ œ. > œ. > . . œ >œ œ œ œ #œ œ > . . œ >œ œ œ œ #œ œ . œ. >œ œ. > œ.
> bœ . > . . > . . . > . > bœ
œ bœ. œ. > > > bœ > > > bœ > > œ bœ. œ. > >
œ. œ
œ . œ nœ œ œ. œ œ œ. œ œ. œ
œ . œ nœ
Vla. B œ œ. . œ. œ œ œ. œ #œ œ. . œ. œ œ œ. œ #œ œ. œ œ.
? ˙™ Œ Œ Œ Œ
Vlc. ˙™
˙™ ˙™
? ˙™ Œ Œ Œ Œ
Cb. ˙™
˙™ ˙™
446
Dracula 2m14 "Bows & Exit Music"
B. Tbn. ? ˙™ Œ Œ Œ Œ
Tba.
>˙™ >˙™ >˙™
ff
Cb. Tbn. ? Œ Œ Œ Œ
Cb. Tba.
˙™ ™
>˙
™ >˙ >˙
™
ff
? æ
Timp.
wæ w
>
p ff
> > >
B. D. ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ— Ó
ff
> > >
Daiko ÷ œ œ— Ó ¿œ ¿ ¿œ— ¿ Ó ¿œ ¿ ¿œ— ¿ Ó ¿œ ¿ ¿œ— ¿ Ó
> > >
ff
Glock. &
M. Tree ÷
Roto-t. ÷
Tom-t.
Shk. ÷
S. D. ÷
æ >
T.-t. ÷ ~æ ¿— Œ Ó
p ff
&
Cel.
?
{ Gt: Full + Reeds
b ˙˙ ™
˙˙ ™ œ ˙˙ ™ œ ˙™ œ
& ˙™ Œ ˙™ Œ Œ
ff
Gt.
? & Œ œ Œ b˙˙ ™ œ Œ
Org. ˙˙ ™ œ ˙˙ ™
˙™ ˙™ ˙™
{
? ˙™
&
Œ
˙™
Œ ˙™ Œ
˙™
Œ
Pno. ff
? ˙™ Œ Œ Œ Œ
{ ˙™ ˙™
>>˙
™
˙™
>˙
™ ˙™
>˙
™
› œ
& & Œ Ó
ff mf sim.
Synth. >œ >œ >œ >œ
bœ œ #œ nœ #œ œ œ bœ œ #œ nœ #œ œ œ bœ œ #œ nœ #œ œ œ bœ œ #œ nœ #œ œ œ
{
&
&
Choir (SA)
&
9 10 11 12
> bœ > > bœ > > bœ >
œ .œ œ. > œ œ .œ œ. > œ œ b œ. . >
> œ #œ . œ #œ . œ œ. œ œ œ. œ n œ œ.
Vln. 1 & œ bœ bœ. œ. œ œ œ œ œ nœ œ œ. œ œ. œ œ. œ œ. œ
. > . > . ff
> bœ > bœ
& œ b .
œ œ œ œ œ nœ œ bœ œ œ œ bœ œ œ œ bœ. œ œ œ nœ
Vln. 2 œ. œ
. > . > œ. > . . œ >
œ œ œ œ #œ œ > . . œ >
œ œ œ œ #œ œ . œ. >œ œ. > œ.
ff . . > . . . > .
> bœ > > bœ > > bœ > > bœ >
œ bœ. œ. >œ œ >œ œ >œ œ œ bœ. œ. > œ
B œ. œ.
œ nœ
œ.
œ œ. œ .œ œ #œ œ. œ œ. œ .œ œ #œ œ. œ. œ œ.
œ nœ
œ.
Vla. . œ. . œ.
ff
? ˙™ Œ Œ Œ Œ
Vlc.
>˙™ >˙™ >˙™
ff
? ˙™ Œ Œ Œ Œ
Cb.
>˙™ >˙™ >˙™
ff
447
2m14 "Bows & Exit Music" Dracula
? ˙ ˙ ˙ ˙ b˙ b˙
Hn. 1-4 &
mf
? ˙ ˙ ˙ ˙ b˙ b˙
Hn. 5-8 &
. . . mf . . .
. . . .j . . . .
b œœ b œœ œœ
œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœj
? Œ . . . . . . ‰ J. Œ . . . . . . ‰ J.
Tbn. 1-2
. . . . . . . . . . . . . .j
? Œ œœ œœ œœ # œœ œœ œœ œœj # œœ œœ œœ œœ œœ œœ œœ
Tbn. 3-4 ‰ J Œ ‰ J
. . . . . . . . . . . . . .
B. Tbn. ? ˙™ Œ Œ Œ Œ
Tba. > >˙™ >˙™ >˙™
Cb. Tbn. ? Œ Œ Œ Œ
Cb. Tba. ™
>˙ ™ >˙
™
>˙
™
? æ
>˙
Timp.
wæ w
>
p ff
> > > >
B. D. ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ— Ó
> > > >
Daiko ÷ ¿œ ¿ ¿œ— ¿ Ó ¿œ ¿ ¿œ— ¿ Ó ¿œ ¿ ¿œ— ¿ Ó ¿œ ¿ ¿œ— ¿ Ó
> > > >
Glock. &
M. Tree ÷
Roto-t. ÷
Tom-t.
Shk. ÷
S. D. ÷
T.-t. ÷
&
Cel.
?
{ b ˙˙ ™ bœ ˙˙ ™ ˙˙ ™ œ b ˙˙ ™ œ
œ
& ˙™ Œ ˙™ Œ ˙™ Œ ˙™ Œ
Pno.
? ˙™ Œ Œ Œ Œ
{ >˙
™ ˙™
˙™
˙™
>˙
™
˙™
>˙
™
› >>œ
& Œ Ó
Synth. >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ
{
&
f ff sim.
œ b˙ œ
˙ œ Œ ˙ Œ Œ
&
ah
Choir (SA) div.
f ff sim.
˙˙ œœ ˙˙ œœ ˙˙ œœ
& Œ Œ Œ
ah
13 14 15 16
> bœ > > bœ > > bœ > > bœ >
œ b œ. œ. > œ œ nœ . œ .œ œ. > œ œ .œ œ. > œ œ b œ. œ. > œ œ nœ .
Vln. 1 & œ. œ œ. œ œ. œ œ.
œ #œ .
œ œ. œ œ.
œ #œ .
œ œ. œ œ. œ
> > bœ
Vln. 2 & œ bœ bœ. œ. œ œ œ œ œ nœ œ bœ œ œ
. . œ >œ œ œ œ #œ œ
œ bœ œ œ
. . œ >œ œ œ œ #œ œ
œ bœ. œ
. œ. >œ
œ œ nœ
. > . > œ. > > œ. > œ.
> bœ > > bœ . . > . > bœ . . > . > bœ >
œ bœ. œ. >œ œ > > > > œ bœ. œ. >œ œ
œ nœ œ œ. œ œ œ. œ œ nœ .
Vla. B œ. œ. œ. . œ. œ œ œ. œ #œ œ. . œ. œ œ œ. œ #œ œ. .œ œ. œ
? ˙™ Œ Œ Œ Œ
Vlc.
> >˙™ >˙™ >˙™
? ˙™ Œ Œ Œ Œ
Cb.
> >˙™ >˙™ >˙™
448
Dracula 2m14 "Bows & Exit Music"
˙
? ˙ æ
b˙æ j ‰ Œ
æ
b˙æ bœ. ‰ Œ b˙ bœ. ‰ Œ
Hn. 1-4 & œ. J ææ J
ff mf ff mf ff mf ff
˙
? ˙ &
æ
b˙æ œ.
j ‰ Œ
æ
b˙æ bœ. ‰ Œ
æ
b˙æ œ.
j ‰ Œ
Hn. 5-8
J
ff mf ff mf ff mf ff
. . . . . . . . . . . . . .
b œœ b œœ œœ b œœ œœ œœ œœj b œœ b œœ œœ bb œœ œœ b œœ œœj
? Œ . . . . . . ‰ .J Œ . . . . . . ‰ J.
Tbn. 1-2
ff . . . .j
. . . . . . . . . .
œœ œœ œœ œœ œœ œœ œœj œœ œœ œœ b œœ œœ œœ œœ
? Œ ‰ J. Œ . . . ‰ J.
Tbn. 3-4 . . . . . . . . .
ff
B. Tbn. ? ˙™ Œ Œ Ó œ Œ Ó Œ Ó
Tba. > œ >. bœ.
>. >
Cb. Tbn. ? Œ Œ Ó Œ Ó Œ Ó
Cb. Tba. ™
>˙ œ
œ
>. b œ.
? æ
>. >
Timp.
#wæ w
>
p ff
> > > >
B. D. ÷ œ œ— Ó œ œ— Ó œ œ— Ó œ œ— Ó
> > > >
Daiko ÷ ¿œ ¿ ¿œ— ¿ Ó ¿œ ¿ ¿œ— ¿ Ó ¿œ ¿ ¿œ— ¿ Ó ¿œ ¿ ¿œ— ¿ Ó
> > > >
Glock. &
M. Tree ÷
Roto-t. ÷
Tom-t.
>æ æ >æ
Shk. ÷ wæ wæ wæ
ff pp sim.
S. D. ÷
T.-t. ÷
&
Cel.
?
{ b ˙˙ ™ bœ
& ˙™ Œ
Pno.
? ˙™ Œ Œ Ó Œ Ó Œ Ó
{ ˙™
› >
œ
œ
>.
œ
œ
>.
bœ
b œ.
>
&
ff
Synth. >œ >œ >œ >œ
bœ œ #œ nœ #œ œ œ
{
& Œ Ó Œ Ó Œ Ó
b˙ bœ
& Œ
Choir (SA)
˙ œœ
& ˙ Œ
17 div.
> >
18 > >
19 20
> bœ > > > > > > >
œ b œ. œ. >œ œ >
œ nœ . œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ b œœ
œœ œœ b œœ bb œœ œœ œœ b œœ bb œœ œœ œœ
Vln. 1 & œ. œ. œ ‰ ‰ ‰ ‰ Œ ‰ ‰ ‰ ‰ ‰ ‰ ‰
> > > > > > > > > > >
div.
> > > > > > > > > > >
> œœ b œœ œœ œœ œœ œœ œœ b œœ œœ bb œœ œœ œœ œœ œœ
Vln. 2 & œ bœ bœ. œ. œ œ œ œ œ nœ œ ‰ ‰ œœ œœ ‰ ‰ Œ ‰ œœ œœ ‰ œœ œœ ‰ ‰ ‰ bœœ bbœœ ‰ ‰
. > . > . > > > > > > > > > > >
div.
> bœ > > > > >
œ bœ. œ. >œ œ œ nœ . œœ bœœ ‰ Œ b œ
œœ œ ‰ œœ œœ œœ bbœœ ‰ Œ
Vla. B œ. œ. œ Ó Ó ‰ Ó
> > > >
? ˙™ Œ Œ Ó œ Œ Ó Œ Ó
Vlc. bœ.
> œ
>. >. >
? ˙™ Œ Œ Ó œ Œ Ó Œ Ó
Cb. bœ.
> œ
>. >. >
449
2m14 "Bows & Exit Music" Dracula
M. Tree ÷
> >œ >œ >œ > > >œ >œ >œ
Roto-t.
Tom-t.
÷ Ó Œ œ œ œ œ œ œ œ œ ‰ J œ œ œ œ œj ‰ œ œ œ œ œ œ œ œ ‰ J
ff
æ
Shk. ÷ wæ
> > > >
S. D. ÷ œ œ œ œ Œ ‰ œ œ œ œ œ œ Ó œ œ œ œ Œ ‰ œ œ
ff
æ >
T.-t. ÷ ~æ ¿— Œ Ó
p ff
&
Cel.
?
{
&
Org. &
?
{
&
Pno. ff
? bœ Œ Œ ‰ j ‰ Œ Ó Ó Œ ‰ j liss. ¿j ‰ Œ Ó
{ b œ.
› > ¿
j
“‘
gliss. >¿ ¿ g >
&
ff mf sim.
Synth. >œ >œ bœ œ œ >œ bœ œ œ >œ bœ œ œ
#œ nœ #œ œ #œ nœ #œ œ #œ nœ #œ œ
Œ Ó
{
&
&
Choir (SA)
&
> 21 22 23 24
> >
b œœ bb œœ b œœ bb œœ
œœ œœ unis.
Vln. 1 & Œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
> > > œ #œ œ œ œ #œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ #œ
> > > > > > > > > > >
> > > >
œœ bb œœ ff unis.
Vln. 2 & Œ ‰ bœœ bbœœ ‰ œœ œœ ‰ ‰ ‰ ‰ ‰
> #œ œ œ #œ œ œ œ œ
> > > > > >
> > ff
B Ó œœ bbœœ ‰ œœ œœ ‰
Vla.
> >
? b>œ. Œ Ó j ‰ Œ Œ ‰ j j ‰ Œ Œ ‰ j
Vlc.
bnœœ. œœ b œœ. œœ
> >. > >.
ff
? b>œ. Œ Ó j ‰ Œ Œ ‰ j j ‰ Œ Œ ‰ j
Cb. bœ. œ bœ. œ
> >. > >.
ff
450
Dracula 2m14 "Bows & Exit Music"
q = 126 (+6)
div. a2 (3-4 flutter)
Hn. 1-4 & ˙ Ó Œ Œ w
b>˙ ™ ææ
b>˙ ™
ff
æ
Hn. 5-8 & ˙æ Ó Œ b>˙ ™ Œ w
b>˙ ™ ææ
ff
>œ. >œ gliss. >œ. >œ
? #¿ ‰ Œ Ó J ‰ Œ Œ ‰ J #¿ ‰ Œ Ó J ‰ Œ Œ ‰ J
Tbn. 1-2 J J
b>œ.
? ¿j >œ gliss. j b>œ.
>œ
Tbn. 3-4 ‰ Œ Ó ‰ Œ Œ ‰ ¿ ‰ Œ Ó ‰ Œ Œ ‰
J J J J
? ‰ Œ
>.j >j ‰ Œ Ó
>.j >j
B. Tbn. j æ ‰ Œ Œ ‰ j ‰ Œ Œ ‰
Tba. ¿ ˙æ gliss. bœJ œJ gliss. ¿ bœJ œJ
∑ >. >. ∑ >. >.
? ‰ Œ >. > ‰ Œ Ó >. >
Cb. Tbn. j j ‰ Œ Œ ‰ j j j ‰ Œ Œ ‰ j
Cb. Tba. ææ
¿ ˙ gliss. b œJ œJ gliss. ¿ b œJ œJ
?
∑ >. >. ∑ >. >.
Timp.
B. D. ÷
Daiko ÷
Glock. &
M. Tree ÷
> > >œ >œ >œ > > >œ >œ >œ
Roto-t.
Tom-t.
÷ œ œ œ œ œj ‰ œ œ œ œ œ œ œ œ ‰ J œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ J
Shk. ÷
T.-t. ÷
&
Cel.
?
{
&
Org. &
{
?
&
Pno.
? Ó Œ ‰ j ‰ Œ Ó Ó Œ ‰ j ‰ Œ Ó
{:;
›“
¿
j
gliss
.
>¿ ¿
j
gliss
.
>¿
&
Synth. >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ >œ bœ œ #œ nœ #œ œ œ
{
&
&
Choir (SA)
&
25 26 27 28
> >
Vln. 1 & # œ œ ‰ œ #œ ‰ œ œ ‰ œ œ ‰ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ œ ‰ œ #œ ‰
#œ œ > > > > > > >
> > > > > > >
‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰
Vln. 2 &
œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ ‰ #œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ ‰
#œ œ > > > > > > > > > > > >
> > > > unis. >
Vla. B œ #œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ œ ‰ œ #œ ‰
> > > > > > >
ff
? j ‰ Œ Œ ‰ j j ‰ Œ Œ ‰ j
Vlc.
b œœ. œœ b œœ. œœ
> >. > >.
? j ‰ Œ Œ ‰ j j ‰ Œ Œ ‰ j
Cb. bœ. œ bœ. œ
> >. > >.
451
2m14 "Bows & Exit Music" Dracula
q = 94
a4 >
& æ˙ Ó æ ~~~~ ~~~~~ bœJ ‰ Œ Ó
Hn. 1-4
æ bwæ ˙™ œ ~~~~~~~~~~~~~~
mf fff
b>œ
& ˙ Ó æ ~~~~~~~~~~~ J ‰ Œ Ó
Hn. 5-8
wæ ˙™ œ ~~~~~~~~~~~~
mf fff
>œ. >œ gliss. >œ.
? #¿ ‰ Œ Ó J ‰ Œ Œ ‰ J #¿ ‰ Œ Ó J ‰ Œ Ó
Tbn. 1-2 J J
fff
Tbn. 3-4
? ¿j ‰ Œ Ó b>œ. ‰ Œ Œ ‰
>œ gliss.
¿
j
‰ Œ Ó b>œ. ‰ Œ Ó
J J J
fff
? ‰ Œ
>.j >j ‰ Œ Ó
>.j
B. Tbn. j æ ‰ Œ Œ ‰ j ‰ Œ Ó
Tba. ¿ ˙æ gliss. bœJ œJ gliss. ¿ bœJ
∑ .> >. ∑ .>
fff
? ‰ Œ >. > ‰ Œ Ó >.
Cb. Tbn. j j ‰ Œ Œ ‰ j j j ‰ Œ Ó
Cb. Tba. ææ
¿ ˙ gliss. b œJ œJ gliss. ¿ b œJ
∑ .> .> ∑ .>
fff
? æ
Timp.
wæ w—
>
p fff
æ >
B. D. ÷ wæ œ— Œ Ó
p fff
Daiko ÷
Glock. &
M. Tree ÷
Shk. ÷
> > > >j
S. D. ÷ œ œ œ œ Ó œ œ œ œ Œ ‰ œ œ œ œ œ œ Œ œ œ œ œ œ ‰ Œ Ó
fff
æ choke (beat 1)
T.-t. ÷ ~æ
p fff
&
Cel.
?
{
&
Org. &
?
{
&
Pno. fff
? Ó Œ ‰ j iss. ¿j ‰ Œ Ó Ó Œ ‰ j ‰ Œ Ó
{:;
›“
¿ gl > ¿
j
gliss
.
>¿
>œ
& Œ Ó
fff
Synth. >œ >œ >œ >œ
bœ œ #œ nœ #œ œ œ bœ œ #œ nœ #œ œ œ bœ œ #œ nœ #œ œ œ
Œ Ó
{
&
&
Choir (SA)
&
29 30 31 32
> > > > > > >œ œ > >œ œ
> > œ #>œ œ ‰ œ œ ‰ œ #œ ‰ œ œ ‰ œ #œ œ #œ
Vln. 1 & #œ œ ‰ œ #œ ‰ œ ‰ œ œ ‰ ‰ ‰ ‰ ‰
? j ‰ Œ Œ ‰ j j ‰ Œ Ó
Vlc.
b œœ. œœ b œœ.
> >. >
fff
? j ‰ Œ Œ ‰ j j ‰ Œ Ó
Cb. bœ. œ bœ.
> >. >
fff
452
Dracula 2m14 "Bows & Exit Music"
q = 92 (-2)
Hn. 1-4 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Daiko ÷
#œ bœ œ
Glock. & Œ bw
mf
æ æ æ
∏∏∏∏
~æ ~æ ~æ
∏∏∏∏
M. Tree ÷
mf poco a poco dim.
Roto-t. ÷
Tom-t.
Shk. ÷
S. D. ÷
scrape front with tri. beater > ord. >
æ æ
T.-t. ÷ Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿— Œ Ó Ó Oæ ¿— Œ Ó
mf f p f
#œ bœ œ
#œj œ bœj œ j
bw
j
Œ œ œ bœ w
&
Cel. mf
?
{
&
mp
Org. &
Ped: Flutes 16', 8'
?
{
&
˙
“both
” hands 8va
bœ œ œ
œ œ œ œ
b˙
œ œ œbœ
w
œœ œ bœ œ œœ
œ
œœ œ œ œœ œœ œ
bœ œ œ
˙
œ
b˙
œ
œ œ œ œ œbœ œœ œ
Pno.
mf 6 6 6 6 6 6 6 6 6 6 6 6
? bœ œ œ œ œ œbœ œ œ bœ œ#œ œ œ œ œ œœ bœ œ œ œ œ œbœ œ œ
{
›
&
°
œ
*° *
Œ
°
>
bœ
*°
>
œ
>
*
bœ
>
°
œ
Œ Ó
*° *
&
Synth.
{
&
&
Choir (SA)
f f
& Œ bœ Œ bœ
œ bœ w œ bœ
oo
33 34 35 36
div.
b ww ww ˙w b˙
Vln. 1 &
p mf
div.
Vln. 2 & w
˙ b˙ w
w w
˙ b˙
p mf
legato espress.
B Œ œ bœ bœ w Œ œ bœ bœ
Vla.
f f
legato espress.
œ bœ bœ w œ bœ bœ
? Œ Œ
Vlc.
f f
div.
? ˙ b˙ w ˙ b˙
Cb. ˙ w ˙
b˙ b˙
p mf
453
2m14 "Bows & Exit Music" Dracula
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Daiko ÷
Œ œ œ œ
Glock. & w
f
æ æ æ æ
∏∏∏∏
~æ ~æ ~æ ~æ
∏∏∏∏
M. Tree ÷
Roto-t. ÷
Tom-t.
Shk. ÷
S. D. ÷
scrape front > ord. >
æ æ
T.-t. ÷ Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿— Œ Ó Ó Oæ ¿— Œ Ó
mf f p f
œ œ œ
j
œ œ j
œ œ j j
w
& Œ œ œ œ w
Cel. f
?
{
&
Org. &
{
?
&
:“;
˙
bœ œ œ
œ
˙
œ œ œ œ œ œ#œ œœ
œ b œ œbœ
œ
˙ b˙
œ
œœœ œœœ œœœ
w
b œ œbœ
œ
œ
œœœ œœœ œœœ
b œ œbœ
œ
˙ b˙
œ
œœœ œœœ œœœ
Pno. 6 6 6 6
6 6 6 6 6 6 6 6 6 6 6 6
{
& bœ œ œ œ œœ œœ œbœ œ œ œ bœ œ œ œ œbœ œ œ œ œœ œœ œbœ œ œ œ bœ œ œ œ
œ #œ œ œ œ œ
Œ œ Œ Ó
> > > >
› ° *° * ° *° * ° *° * ° *° *
&
Synth.
{
&
f f
& Œ œ bœ w Œ œ bœ
bœ bœ
Choir (SA) (oo)
f
& ˙ œ bœ w Œ œ bœ
#˙ nœ bœ bœ
37 38 39 40
bw
Vln. 1 & ˙˙ #˙˙ ww ww w
œ bœ bœ w œ bœ bœ
Vla. B ˙ #˙ nœ Œ
f
œ bœ bœ w œ bœ bœ
˙ #˙ nœ
? Œ
Vlc.
f
˙ ˙ b˙ w ˙ b˙
? ˙ ˙ w ˙
Cb. ˙ ˙ b˙ b˙
454
Dracula 2m14 "Bows & Exit Music"
q = 94 (+2)
Hn. 1-4 &
B. D. ÷
Daiko ÷
Glock. &
æ
M. Tree ÷ ~æ
p
Roto-t. ÷
Tom-t.
Shk. ÷
S. D. ÷
scrape front > ord.
æ æ
T.-t. ÷ Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿— Œ Ó Ó Oæ
mf f p
&
Cel.
?
{
&
Org. &
{
? ˙
&
:“;
b œ œbœ
œ
˙
œœœ œ#œœœ œœ
œ
˙
mp
œœ
bœœ
œbœŒ
#˙
œnœ
#œœ Œ
nœ#œ
b˙
œbœ œ
œ
n˙
nœ
œœ #œœ œ œœ
w
œ b œ œœ ? bœœœ
œœ
œ œ
&œ
6 6 6
6 6
Pno. poco a poco cresc.
6 6 6 6 6 6 6 6 6 6 6
œ ?
{
& œbœ œœ #œœ œœ Œ œ bœ œ Œ œ #œ nœ bœœ œœ #œœ œœ bœœ bœœ œ &
œœ
œ
œ œ œb œ œ # œn œ bœ œ œ œ œbœ œ œ
› ° *° * ° *° * ° *° * ° *
&
Synth.
{
&
& ˙ #˙
Choir (SA)
mf
& ˙ #˙ ˙ ˙ ˙ ˙ bw
41 42 43 44
unis.
˙ ˙˙
Vln. 1 & ˙ ˙ ˙ b˙ #˙ w
mp
unis.
Vln. 2 & ˙˙ #˙˙ b˙ #˙ ˙ ˙ w
mp
Vla. B ˙ #˙ n˙ ˙ ˙ ˙ bw
mf
˙ #˙ n˙ ˙
? ˙ ˙ bw
Vlc.
mf
˙ ˙ b˙ n˙ w
? ˙ ˙ ˙ #˙ w
Cb. b˙ n˙
˙ #˙
mp
455
2m14 "Bows & Exit Music" Dracula
q = 92 (-2)
Hn. 1-4 &
? #˙ ™ Œ
Tbn. 1-2
mf
? ˙™ Œ
Tbn. 3-4 ˙™
mf
B. Tbn. ? Œ
Tba. ˙™
mf
Cb. Tbn. ? Œ
Cb. Tba.
˙™
mf
?
Timp.
B. D. ÷
Daiko ÷
Glock. &
æ æ
∏∏∏∏
M. Tree ÷ Ó Oæ ~æ
mf
Roto-t. ÷
Tom-t.
Shk. ÷
S. D. ÷
> scrape side >
æ
T.-t. ÷ ¿— Œ Ó Ó Oæ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ¿— Œ Ó
f mp mf
&
Cel.
?
{
&
Org. &
{
?
& ˙™
˙™
#˙˙ ™™
Œ
Œ bœ bœœ œ œœ œœ œ œ œœ œ œ œ
œ œ œ œ Œ bœ bœœ œ œœ œœ œ œ œœ œ œ œ
œ œ œ œ Œ bœ bœœ œ œœ œœ œ œ œœ œ œ œ
œ œ œ œ Œ
Pno. mf mf poco a poco dim.
{
& #˙˙ ™™ Œ
˙™
› ° *
œ
& Œ Ó
Synth. mp
{
&
mp
3
3
& bœ bœ œ Œ œ œ
bœ œ œ œ
Choir (SA) mp
3
3
Œ bœ bœ œ Œ œ œ
& bœ œ œ œ
#˙ ™
45 46 47 48
3
legato espress. 3 bœ bœ œ œ œ œ
Œ bœ œ œ œ
Vln. 1 & ˙™
mp
Vln. 2 & Œ
˙™ w w
p
Vla. B #˙ ™ Œ bw w
p
? #˙ ™ Œ w w
Vlc.
p
? ˙™ Œ
Cb.
˙™ w w
p
456
Dracula 2m14 "Bows & Exit Music"
q = 60
Hn. 1-4 &
?
Tbn. 1-2
?
Tbn. 3-4
B. Tbn. ?
Tba.
Cb. Tbn. ?
Cb. Tba.
?
Timp.
B. D. ÷
Daiko ÷
Glock. &
M. Tree ÷
Roto-t. ÷
Tom-t.
Shk. ÷
S. D. ÷
ord.
÷ ¿— Œ Ó
T.-t.
p
&
Cel.
?
{
&
Org. &
{
?
bœ œ œ œ œ
& œ œœ œ œœ œ œ œ œœ œ œ œ Œ bœ œœ œ œœ œœ œ œ œœ œ œ œ
œ œ œ œ œ œ w
Pno. mp
{
&
› °
œ
*
œ
& Œ Ó Œ Ó
Synth. p
{
&
w
& w
Choir (SA)
& w
49 50 51
port. w w
w
Vln. 1 &
p
Vln. 2 &
w w
Vla. B w w
? w w
Vlc.
?
Cb. w w
fffff ffff fff f
457