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Graduate Thesis Collection Graduate Scholarship

2021

Pity the Nation Pity the Nation

Kameron Zebadiah Mechling Butler University

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THESIS TITLE

PITY THE NATION

Song for alto, tenor, & chamber ensemble

COMPOSER:

Kameron ZehaiJiab Mechling

Submitted in Partial Fulfillment of the Requirements for the Degree

Master of Music in Composition in the School of Music Jordan College of Fine Arts, Butler Universily, Indianapolis, IN, USA

COMMITTEE

Dr. Michael Schelle, Chair/ Advisor

Dr. Frank B. Felice (reader)

Prof. Richard Auldon Clark (reader)

Dr. Christopher Sierra (reader)

Date (final approval): Advisor

ACKNOWLEDGEMENTS

I would like to give a big thanks to Dr. Michael Schelle, who introduced me to the brilliance of Ferlinghetti, and sparked significant, compositional growth through

encouragement and gentle prodding.

I would also like to acknowledge the generous encouragement from Dr. Frank Felice, Dr. Caroline Ahn, Dr. Jonathan Brooks, Dr. Christopher Holmes, James Bueter, Dr. Tracy

Schumann, Douglas Olsen, Maestro Richard Auldon Clark, and New Directions Publishing.

PITY THE NATIONSong for alto, tenor, & chamber ensemble

The Origin of the Work

The political poem Pity the Nation by Lawrence Ferlinghetti was introduced to me

after watching an interview by composers Samuel Andreyev and Van Dyke Parks. In the 1

video, Parks prefaces it by praising the relevance of the seasoned, Beat poet, and by sharing

how “This [poem] has to do with our hood [U.S.A.] — the very nationhood of who we are,”

before reciting the poem:

"PITY THE NATION"(After Khalil Gibran)

Pity the nation whose people are sheep   And whose shepherds mislead them Pity the nation whose leaders are liars            Whose sages are silenced  And whose bigots haunt the airwaves Pity the nation that raises not its voice          Except  to praise conquerers       And acclaim the bully as hero          And aims to rule the world              By force and by torture          Pity the nation that knows        No other language but its own      And no other culture but its own Pity the nation whose breath is money And sleeps the sleep of the too well fed      Pity the nation oh pity the people        who allow their rights to  erode   and their freedoms to be washed away               My country, tears of thee

                   Sweet land of liberty! 2

Upon first listening to this poem, I was immediately drawn in and moved by its

arresting truths. When I had first heard it back in 2018, I did not feel confident in my writing

“A discussion with Van Dyke Parks: The Vernacular & Beyond” YouTube video, 1:40:26, “Samuel 1

Andreyev,” May 18, 2018, https://www.youtube.com/watch?v=H0X55NIrlOA&t=3381s.

''Pity the Nation'' by Lawrence Ferlinghetti, from BLASTS CRIES LAUGHTER (09), copyright 2

©1988, 1998, 2002, 2014 by Lawrence Ferlinghetti. Reprinted by permission of New Directions Publishing Corp.

.1

and text setting abilities. However, my sense of musical direction and composition capacities

have grown in the years since. I was eagerly encouraged by my professor Dr. Michael Schelle,

who not only knew of Ferlinghetti, but who had also met him. With all of this in mind, I began

to realize the necessity of utilizing composition as a coping tool by which to process the

unprecedented events happening in America at that time.

The events and atrocities in 2020 and early 2021 accumulated into the shared trauma

amongst the U.S. which included, but were not limited to: a) instances of police brutality and

racism brought to light by the murder of George Floyd, and the protests and civil unrest that

followed, b) uncertainty provoked by a lame-duck president who flirted with the idea of a civil

war, disregarded his opposing U.S. citizens as his constituents, and incited a U.S. Capitol

attack, c) a general quasi-Weimar Germany situation where political extremists on either ends

of the spectrum are pulling the middle-ground, thus limiting means of banding together, and

d) the change from analog media sharing to digital platforms. Due to the advent of social

media within the last two decades, this created more accessibility for those on political

extremes to participate in a propagandic free-for-all populating our minds. All of this

happened within the span of months, and while in the midst of a global pandemic, that would

have otherwise drawn us closer together, kept us distanced from each other physically and

nationally.

I also want to preface by saying that I am not a political savant, and I cannot provide

personal experience when it comes to the extreme ramifications of the events listed above

because of my specific social privilege. I do not share this work in order to educate on social

matters, or to wag my finger at anyone, rather, I feel compelled to communicate my reception

of those months through music, and place the poem of the late, great Ferlinghetti on a

pedestal.

Layout Construction and Textures

Building a layout for the piece that best fits the narrative of the poem was a

foundational process. With the text playing the most prominent role in dictating the form of

the piece, I organized the musical events strictly in relation to the text. Since each verse of the

poem moves forward with no repeating lines, I allowed the form to be through-composed.

.2

Every musical event in the piece is tailored to each concept in the poem. Even though the

sections are distinct within themselves, the music traverses fluidly between textures. In this

way, the form of the piece is completely linear, barring the brief return and variations of

themes. The main example of this is the return of the opening string part at the end.

The textures throughout derive the layout of the narrative as well. The beginning

opens with dry, frigid strings imitating each other. I decided to start this way in order to create

a somber and despairing atmosphere. That texture evolves as the argument between the

vocalists escalates into busy eruptions (mm. 23 & 32). This leads to m. 51, where a good

portion of the piece is designated to a warm, repeating lilt between the French horn and bass

clarinet. This grows and fades into the pulsating quasi-guitarra section within the strings (m.

89), and the clarinet and flute meet with piercing, disjunct, staccato rhythms. The cello

appears below — breaking the silence — with a sustained double-stop, the other strings

cascade in with a beautiful anxious polychord, ushering in the voices as they sing the

recognizable tune. The voices disappear after a final call-and-response as the strings

unnervingly undulate and reprise the beginning section again. The final texture heard is a

thin, singular viola note supported with a faint floor tom roll. The eerie and jarring textures in

this piece are only made possible by the wonderful qualities of the chamber ensemble.

Orchestration Choices

In order to create a soundscape equal to this exemplarily poem, I carefully cast the

ensemble in Pity the Nation. Although the song is less than 8 minutes, I believe the muscle

behind the instrumentation is necessary to support such a weighty text.

.3

Exposed Violin Entrance

Imitation Intro.mm. 1-11

“Pity…sheep”- “raises not”

Voice Entrance (Spoken)mm. 12-22

“voice” - “by torture”

Voice (Singing)mm. 23-31

“no other language” - “culture”

Primary Theme intro.mm. 32-50

“no other language” - “culture” cont.

Minimalist Sectionmm. 51-88

“breath is money” - “too well fed”Quasi-Guitarra

mm. 89-117

“freedoms…washed away”

Alto & Tenor Harmonymm. 118-126

“My country…liberty!”

Musical Quote, Tuttimm. 127-137

Reprise of ThemesExposed Viola Outro

Solomm. 138-160

Figure 1. Pity the Nation Timeline

It may seem strange for a composer living in the 21st-century to orchestrate for such a typical

ensemble, however, I wanted to maintain all traditional facilities while also practicing the

effective techniques I have learned from my influences. For example, three violins matched

with viola and cello allows for powerful unisons, triadic events, and homophonic textures

within the string section alone.

One of the two noteworthy oddities to my instrument choice is the lack of low-end. I

decided to omit bass instruments such as double-bass, bassoon, bass trombone, etc. in order to

enhance the uneasiness otherwise balanced by the presence of low frequencies. Another

noticeable exception to the standard ensemble's instrumentation is in the percussion. After

listening to the sonically-thrilling, percussion trio piece An Index of Possibilities by Robert

Honstein, I studied the score to see how he utilized inexpensive and easy to find percussive

materials. The way in which Honstein constructed a world of fluid textures in his piece

baffled me, and I wanted to exercise my creativity by attempting something similar, but on a

much smaller scale. In this same vein, I wanted to compose using techniques and percussion

that I would have to imagine in my head. With all of this considered, I believe this ensemble

gave me a wealth of potential that opened up the door for a lot of unique and experimental

decision making.

Major Musical Ideas, Inspiration, and Musical Borrowings

I used a number of musical works as models for my thesis. My intentions in borrowing

and reusing musical material in this piece are to not supercede my influencers, rather to create

something new in respect to them.

.4

Flute B-flat ClarinetBass Clarinet

Horn in F

Violin IViolin IIViolin IIIViolaCello

Piano Percussion 1- vibraphone, low-mid glass, metal

platter, floor tomPercussion 2- copper tubes or steel pipes (high,

mid, low), high tom, mid tom, low metal, kick drum

The quote that is the most perceptible is “America (My Country ’Tis of Thee).” At the

end of his poem, Ferlinghetti extracts the familiar text from its patriotic context and replaces

one word, modifying the entire meaning: “My country, tears of thee…” This sarcastic trope

summarizes and concludes the piece with audacious finality. It seemed obvious to underscore

these familiar words with their well-known melody, altering the narrative as Ferlinghetti did.

The purpose of this is to help propagate the voices of those who suffer as a result of the

corruption within the nation’s government. Rather than merely misconstruing historical

ideology — strongly embedded, long-held conceptions — we are pulling back the veneer to

reveal a reality of suppression. Throughout the piece, musical effects play an important role to

lay bare these ideas and emotions.

The first moments of the piece are very closely borrowed from movement II: “Polar

Night” from Robert Honstein’s Arctic (See Figure 2A, 2B).

I wanted to start my piece in a similar way to Honstein’s, with the purpose of presenting the

idea of dualism through the imitation between the first and second violins. Rather than

starting on an interval of a minor 3rd (not pictured), my piece starts with a perfect 4th,

imitating the “Taps” bugle call. This overlapping of the quasi-“Taps” theme evokes a frigid

.5

Figure 2A. Honstein’s Arctic

mm. 11-15

Figure 2B. Mechling’s Pity the Nation mm. 1-6

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eeriness. The cold atmosphere is also exploited by instructing the violins to play with

“n.v.” (no vibrato); only straight-tones. The lack of vibrato helps to welcome intended

intonation errors, as well as the desafinado (agreeably out-of-tune) that occurs from the pairing

of two instruments of infinite, approximate pitch. All of these techniques, including the

nuance of dynamic bow placement, are learned by studying Honstein’s music, and for that I

am beholden to him. 3

The second event in the piece that draws influence from another composer takes place

within mm. 22-24. This first build-up and large tutti event is inspired from a similar moment

in Arthur Honegger’s Une Cantate de Noël. In the context of his piece, Honegger sets Psalm

130: “Out of the depths, I have cried unto Thee, O Lord. Lord, hear my voice!” and in his

large fortissimo event (4 measures before Rehearsal Number 11), the orchestra wails as the

choir cries “Oh, Come” (Emmanuel)! Honegger’s captivating handling of the vertical

responsibilities in this moment of the music personified a deep desire to be rescued from

despair. That is what I wanted to interpose in my piece through an identical orchestration. In

my thesis, the text is “Pity the nation that raises not its voice, except to praise the conquers…”

This instance of exclamation portrays desperate frustration, which is a slight twist of what I

believe Honegger was after. 4

One theme that predominates throughout the piece is a distortion of a J.S. Bach’s

Musette in D. Once, when listening to someone sight-read this piece, the pianist happened to

fumble a few melody notes, therefore changing the character of the passage from a pleasant

tune to a moment of panic.

Robert Honstein. “Polar Night” Arctic New York, NY: Robert Honstein, 2013. 3

Honegger, Arthur. Une Cantate De Noël. Saint-Denis, France: Salabert, 1953.4

.6

Figure 3A. Bach’s Musette in D mm. 13-16 Figure 3B. Mechling’s Pity the Nation mm. 32-22

Quick; Aggressive ( ca. J = 130) >

As shown by Figures 3A-3B, both passages are nearly identical, except for one note.

Changing an E to an F-natural and throwing the melody into a more hectic context

transforms the playful musette into impressions of urgent despair. This theme is placed

throughout the piece, in mm. 27-28 with the clarinet, mm. 32-50 spread out through the

ensemble, mm. 34-36 in the tenor, mm. 122-124 between the flute, clarinet, alto, and tenor,

and lastly, mm. 147-148 in the piano.

The last musical idea borrowed is Stravinsky’s famous Rite of Spring polychord. In the

score, the strings are given the pitches verbatim (mm. 28-30), however they are strummed

rather than bowed. I set the chord beneath the tenor while singing lines 9 and 10, “…And

aims to rule the world, By force and by torture…” As the polychord is associated with

concepts such as exoticism and barbarism, it fits with the meaning behind the text. The Process of Text-Setting

The task of setting music to a Beat poem was a unique challenge. The process of

piecing together the musical materials for the text gave me insight to better understand

Ferlinghetti’s poem-writing style and Beat poetry in general. Unlike traditional poetry, Beat

poetry is often devoid of reliable conventions, such as meter (iambic pentameter, for example)

and rhyme scheme. This, as well as non-traditional subject matter, can make setting music to

this type of poetry especially difficult for the inexperienced or unwilling composer.

One of the first unique choices I had to make was to decide in what type of soundscape

I should place the poem. It could be argued that since Ferlinghetti is often grouped with the

Beat poets of his day, the music surrounding his work should be modern, avant-garde, and

entirely untraditional. Some could also argue that a contrast between setting traditional music

to non-traditional poetry (and vice versa) could be an effective compositional choice as well.

(Of course, there is no right or wrong choice of the matter. But, I did remember to keep in

mind Ferlinghetti’s words: "that art should be accessible to all people, not just a handful of

highly educated intellectuals.” ) I had decided to allow my setting to be free of strict 5

adherence to particular traditions, such as, key, theme, or form, but authorize my ear to make

"Lawrence Ferlinghetti". Poetry Foundation. Retrieved November 4, 2016.5

.7

final choices based on my aesthetic preferences. Once I gave myself that creative freedom, I

was able to make other unique judgements determined from my interpretation of the text.

At the start of the monastic process, I printed out the text, posted it on my wall, and

stared at it bewildered, thinking how to ameliorate the crisis in front of me. Due to the

political conflict I kept seeing all around me, I decided to create a left and right dichotomy

through my analysis of the text. By dissecting each line, I could piece together a flowing

narrative, and make sense of the seemingly disjunct crux.

I color-coded the text in respect to how I assigned each line to either or both political sides.

This table was particularly helpful when deciding how to distribute the vocal responsibilities

amongst each singer, and which lines of music to repeat and expand on.

I placed the alto in the role in the perspective of the Democrat and the tenor in the role

in the perspective of the Republican. The element of assigning conflicting parts creates

dynamic character roles that can be personified dramatically through music.

Text Color Key

Pity the nation whose people are sheepAnd whose shepherds mislead them

Pity the nation whose leaders are liarsWhose sages are silenced

And whose bigots haunt the airwavesPity the nation that raises not its voice

Except to praise conquerorsAnd acclaim the bully as hero

And aims to rule the worldBy force and by torture

Pity the nation that knows No other language but its own

And no other culture but its ownPity the nation whose breath is moneyAnd sleeps the sleep of the too well fed

Pity the nation oh pity the peopleWho allow their rights to erode

And their freedoms to be washed awayMy country, tears of thee Sweet land of liberty!

Democrat

Republican

Shared thoughts amongst both parties

.8

Figure 4. Political Dualism in Text

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.9

Figure 5A. Mechling’s Pity the Nation mm. 28-30

Figure 5B. Mechling’s Pity the Nation mm. 118-124

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Figure 5C. Mechling’s Pity the Nation mm.129-135

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In Figure 5A. the alto and tenor are arguing back and forth in a shouting contest. The tenor

exclaims his line and the alto offers even louder rebuttals. Figure 5B. shows both the alto and

tenor singing together in polyphony. In this moment of the piece, they are sharing an idea, not

in spite, but in company of each other — sharing hardship. The last vocal events in the piece

consist of the two distanced, yet sharing the sarcastic line, “My country tears of thee, Sweet

land of liberty!” The relationship between the two perspectives is a salient feature of the piece.

Starting with the violins imitating each other, foreshadowing the back-and-forth between the

voices, and ending again with the violins. The timely narrative I extracted from Ferlinghetti’s

poem will not always be circumstantially befitting as compared to the timeless poem.

However, my purpose in setting this poem was to rethink, debrief, and share what I witnessed

in my limited, but important perspective.

.10

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Bibliography

Andreyev, Samuel. “A discussion with Van Dyke Parks: The Vernacular & Beyond” YouTube Video, 1:40:26, May 18, 2018.

Ferlinghetti, Lawrence. “Pity the Nation.” Blasts Cries Laughter 9, New York: New Directions Publishing Corp, 2014. Reprinted by permission of New Directions Publishing Corp.

Honegger, Arthur. Une Cantate De Noël. Saint-Denis, France: Salabert, 1953.

Honstein, Robert. “Polar Night” from Arctic. New York: Robert Honstein, 2013.

Poetry Foundation. "Lawrence Ferlinghetti.” Retrieved November 4, 2016. https://www.poetryfoundation.org/poets/lawrence-ferlinghetti

.11

PITY THE NATIONSong for alto, tenor, & chamber ensemble

music byKameron Zebadiah Mechling

poem byLawrence Ferlinghetti

2021

Kameron Zebadiah Mechling

PITY THE NATION

Duration ca. 7 minutes

Instrumentation

AltoTenor

FluteClarinet in Bf

Bass Clarinet

F. Horn

PianoPercussion 1

(vibraphone, glass, metal platter, floor tom)Percussion 2

(copper tubes or steel pipes, high and mid toms, low metal, kick drum)

Violin I-IIIViola Cello

Notation Instruction Strings

percussion keypercussion 1 percussion 2

ord. ordinary bow position n.v. indicates no vibrato

s.p. sul ponticello, bow near the bridge p.v. indicates very little vibrato

m.s.p. molto sul ponticello, bow extremely close to the bridge indicates a glissando, all glissandi should be played gradually with as little interruption as

possible

m.s.t. molto sul tasto, bow over the fingerboard glissandi that extend through the bar have beats indicated with stems. They should not be

accented in anyway. The stems help indicate the duration of the glissandi.

quasi guitarra indicates to be played strummed like a guitar, without bow. Violins and viola may hold their instruments in a “guitar” position in order to strum more easily. Strum

direction is to be ad-libbed unless otherwise specified.

Glissandi always begin immediately after the first striking pitch. Pitches written between two

glissandi are merely guides for the rate of change and should not be held or emphasized.

�

�

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Vibraphone 3 Copper Tubes or Steel Pipes

Bright; clear and resonant. Galvanized Steel.

Glass Drinking glasses of any pitch so long as there is a clear Mid and Low.

High Tom Any pitch so long as it is clearly High.

Metal Platter Harsh, intense and smash. An empty metal file cabinet is good too.

Mid Tom Any pitch so long as it is clearly Mid.

Floor Tom Low Metal Any pitch so long as it is clearly Low (e.g. a large, suspended saw blade)

Kick Drum

flute performance notes

All other Notation is standard.

NoteIn efforts to process the unprecedented events of social unrest that took place in 2020, I became familiar with this

powerful poem: “Pity the Nation” by Lawrence Ferlinghetti.

Upon receiving permission from the publishers, I got to work setting these timeless words. In the midst of completing this composition, Ferlinghetti sadly passed away (February 22, 2021). Upon hearing of his passing, and with a heavy heart, I quickly completed the work under a Ferlinghetti umbrella of deep respect and appreciation. This piece is dedicated to the memory of Lawrence Ferlinghetti.

Text

"PITY THE NATION"(After Khalil Gibran)

Pity the nation whose people are sheep   And whose shepherds mislead them Pity the nation whose leaders are liars            Whose sages are silenced  And whose bigots haunt the airwaves Pity the nation that raises not its voice          Except  to praise conquerers       And acclaim the bully as hero          And aims to rule the world              By force and by torture          Pity the nation that knows        No other language but its own      And no other culture but its own Pity the nation whose breath is money And sleeps the sleep of the too well fed      Pity the nation oh pity the people        who allow their rights to  erode   and their freedoms to be washed away               My country, tears of thee

                   Sweet land of liberty!

''Pity the Nation'' by Lawrence Ferlinghetti, from BLASTS CRIES LAUGHTER (09), copyright ©1988, 1998, 2002, 2014 by Lawrence Ferlinghetti. Reprinted by permission of New Directions Publishing Corp.

Short swoosh air sound

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Violin I

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P

F

Quiet, but not timid

Interupting the alto

p P

(Spoken, approx. rhythm)

P.V.

- - -

- -

≥

≥

>

>

PITY THE NATION

Kameron Zebadiah Mechling

Copyright © Kameron Mechling 2021. All Rights Reserved.

TRANSPOSED SCORE

Song for alto, tenor, & chamber ensemble

Lawrence Ferlinghettimusic by

poem by(2021)

&&&

&

&V

&

&

&B?

Fl.

Bb Cl.

B. Cl.

Hn.

A

T

Vln. I

Vln. II

Vln. III

Vla.

Vc.

13 ∑∑∑

∑

¿ ¿ ¿ Ó3

the na tion¿ ¿ ¿ ¿ ¿ ‰ ‰ J¿ ¿ ¿ ¿3

Pi ty the na tion whose peo ple are

˙ jœ ‰ Œ

.˙ jœ ‰

∑

œ jœ ‰ Ó

ww

π

π

p

∑∑∑

∑

Ó ‰ ¿ ¿ ¿ ¿ ≈ ¿And whose shep herds mis

J¿ ‰ Œ Ósheep

‰ jœ œ œ jœ œ3

Œ ‰ jœ ˙∑

Ó œ# œ œ#Ó Œ œ

p

p

P

P p

∑∑∑

∑

¿ ¿ ‰ Œ Ó3

lead them.

∑

˙ Ó

jœ œ ˙ Œ3

∑

œ jœ ‰ Ó

w

π

π

∑∑

wb

w#∑∑

Œ œ œ œœ# œœ

Ó ˙Œ ‰ jœ jœ ‰ ŒŒ ‰ jœ ˙Ó Œ ‰ jœ

p

p

p

p

P

P

p

arco

≈ œ œ œ œ. Œ ≈ œ œ œ œ œ. œb∑

w

Œ œ- œ- œ- œ- Œ œ- œ- œ-3

∑∑

œœ ˙̇n jœœ ‰

œ œœ# ..œœ jœœn œœ

œ œ# .˙œ œ# œ Ó

˙ jœ ‰ Œ

F

S

n.

n.

n.

P

f

F

** full stop

Swoosh air sound

f

-

- - -

- -

> > >>

&&&&

&

V

&ã

&?

&

&&

B?

45

45

45

45

45

45

4545

45

45

45

45

45

45

45

Fl.

Bb Cl.

B. Cl.

Hn.

A

T

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

√

18 jœb . ‰ Œ Ó∑∑

œ. .œ- Œ Ó

¿ .¿ ¿ ¿ .¿ ‰ J¿ ¿ .¿ ¿3 3

Pi ty the na tion whose lead ers are

∑

∑∑

∑

∑

∑

jœœ ‰ Œ jœ ‰ ŒÓ ‰ jœ# œ

∑

Œ Jœœ## ..˙̇3

Sord.

P

πP.V.m.s.t.

∑∑∑∑

¿ ¿ Œ J¿ ¿ .¿ ¿ J¿3

li ars Whose sa ges are si

‰ ‰ . R¿ ¿ ¿ Ó3

are li ars

∑∑

∑

∑

‰ .œ œ jœ jœ ‰3

Œ ‰ jœ œ jœ ‰

˙ œ jœ ‰

∑ &

˙̇ œœ Jœœ ‰

pord.

pord.

**play just slightly out of tune

s.p.

S

Ss.p.

∑∑∑∑

J¿ ‰ ‰ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ¿ ¿3

lenced And whose bi gots haunt the air

Ó ¿ ¿ ≈ ¿ ¿ ¿ ¿bi gots haunt the air

∑∑

∑ ?

∑

∑

∑∑

Œ ‰ Jœb ˙

∑π

P.V.m.s.t.

con sord. (wood mute)

fragile

Ó œb œ

∑

wb

w#J¿ ‰ Œ Ó

ways.

J¿ ‰ Œ Óways.

∑∑

‰ jœœœœbb - œœœœœœb

œœbœœ

œœœœ

œœœœ

œœ&

‰ jœœbb - œœ∑

Ó Œ œ

∑

w

∑

∏

p

p

p

π∏

- - - - - -

-

- -

- -

>

≥

2PITY THE NATION

&

&&&

&

V

&ã

&?

&

&

&

&?

45

45

45

45

45

45

4545

45

45

45

45

45

45

45

43

43

43

43

43

43

4343

43

43

43

43

43

43

43

45

45

45

45

45

45

4545

45

45

45

45

45

45

45

Fl.

Bb Cl.

B. Cl.

Hn.

A

T

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

√accel.

accel.

accel.

accel.

[

[

22 w Œ

‰ jœ# ˙ œ jœ ‰

w Œ

wŒ

‰ ‰ Œ ¿ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ¿3

Pi ty the na tion that rai ses

∑

∑∑

œœbœœb

œœœœœb

œœœb

œœœœœœ

œœœœœœ

œœœœœœ

œœœœœœ

œœœœœœ

œœœœœœ

œœœœœ

œœ

‰ Jœ# œ œb œ œ œ œ œn œn œ# œ œ œ# œ œb œ œ œn œ œn œ œ œ œ# œ3 3

3 3 3 3 3 3

˙ œ œ œ# œ œ œ# œ œb œ œ œn œ œn œ œ œ œ# œ3 3 3 3 3 3

‰ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œn œ œ œ œ# œ3 3

3 3

.œœ œ œ œ œ œ# œ œ œ# œ œb œ œ œn œ œn œ œ œ œ# œ

3

3 3

3 3 3 3

B

‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰n.

πp p

π

π

π

π P

P

ord.

m.s.t.

m.s.t.

s.p.

P.V.

FWith urgency and concern

p

p

p

pord.

Œ Œœb

Œ Œœ

Œ Œ œ#

Œ Œ œb

Jœ ‰ Œ œ#not its

Œ Œ œ#its

∑∑

∑

∑œb Jœ ‰ Œœb Jœ ‰ Œœb Jœ ‰ œ#œb Jœ ‰

∑

Sing; full voicef

f

F

F

F

F

Largo

f

ff

fSing; full voice

catch with ped.

œ ˙

œb ˙

œ# ˙

œb ˙

.˙#voice

˙ Œvoice

∑∑

....˙̇˙˙#

...˙̇̇# ≈ ..JœœNN-

˙̇

œœœ# Œ Œ

œœœ# Œ Œ

œœ ˙̇

œœ Œ Œ

Œ Œ Œ

ƒ

ƒ

ƒ

f

ff

f

ƒ

ƒ

ƒ

- - -

U

U

U

U

U

U

U

U

U

U

U

U

U

&&&&

&

V

&

ã

&?

&&&B?

45

45

45

45

45

45

45

45

4545

454545

45

45

44

44

44

44

44

44

44

44

4444

444444

44

44

Fl.

Bb Cl.

B. Cl.

Hn.

A

T

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

25 ˙Jœ

‰ Ó.œ

‰ Ó ‰ jœbœ œb .˙ Œ

Jœ ‰˙# jœ

‰ ≈ .jœ

Jœ ‰ Œ Ó Œ

Œ ≈ œN œ# œ# œ œ œ œ œ œ Œex cept to praise the con quer ers

∑

∑

œœœ#œœœœ#

œœœœœœœ œœœ

œœœœ œœœœœœœ œœœ

œœœœ œœœœœœœ œœœb

œœœœbœœœ

œœœœ œœœœœœœ œœœ

œœœœ

∑∑

jœœ ‰ Œ Ó ŒŒ .˙ œ

∑

p

p

πsenza sord. ord.

π

P

Tempo primo

fF

P

F

F

∑jœ ‰ Œ Ó

∑jœ ‰ Œ Ó

≈ œ# œ œ œ œ œ# œ œ œ# œ .œAnd who a claims the bul ly as her o

≈ œ œ œ# œ œ# œ œ œ œn œ# .œAnd who a claims the bul ly as her o

∑ ã

∑

œœœ#œœœœ#

œœœœœœœ œœœ

œœœœ œœœœœœœ œœœ

œœœœb œœœœ œœœbœœœœ œœœ

œœœœ œœœ

∑∑∑

Ó ˙#∑

Floor Tom

π p P

P

P F

F

Kick Drum

π

.œ œ Œ ÓÓ ‰ œ# œ# ‰Œ ‰ ≈ rœb ˙Œ ‰ ≈ rœ# ˙Rœ ≈ ‰ Œ Ó

Rœ ≈ ‰ Œ Ó

.œ œ Œ Ó

Œ ...˙˙æ̇.œ œ

...œœœ#œœœœ#

œœœbœœœœb

œœœœ

œ œ œ œ œ œ œ œ

Œ .˙Œ Œ ˙

∑Ó ˙Œ ‰ jœ# æ æ

Mid Metal

Low Metal

Low, Mid, High Pipes

Fp sub.

F**maintain constant roll, approximately at the speed of thirty-second notes

p

fSwoosh air sound

p

p

PP

P

p

s.p.

p

- - -

- - -

- --

>

>+

fl

>

>

>o

3 PITY THE NATION

&&&&

&Vãã&?

&

&

&

B?

4242

42

42

42

42

42

42

4242

42

42

42

42

42

Fl.

Bb Cl.

B. Cl.

Hn.

A

T

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

28 ∑œN œb œ jœ ‰ Œ

˙ jœ ‰ Œ

˙ jœ‰ Œ

∑Œ ‰ œ# œ# œ# œ œ œ œ œ#

And aims to rule the world

∑wwwæ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Jœ ‰ Œ œœ## œœ œœ œœJœ ‰ Œ œ œ œ œ œ œ

œ# œ œ œ œ œ œ œ œ œ

œ Œ œœ# œœ œœ œœ æ æ æ æ

F

quasi-guitarra

quasi-guitarra

quasi-guitarra

quasi-guitarra

P

P

P

f

∑∑∑∑

Ó ‰ jœb œb œ œ3

By force and by∑∑

wwwæ∑

œ œ 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

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 œœ œœ œœ œœ œœ œœ œœ œœ æ æ æ æ

f

RH

∑∑∑∑

œ œ Jœ ‰ Ótor ture ∑

∑wwwæ

∑œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œw

œœ## @ œœ@ œœ@ œœ@ œœ@ œœ@ œœ@ œœ@

œ@ œ@ œ@ œ@ œ@ œ@ œ@ œ@

œ# @ œ@ œ@ œ@ œ@ œ@ œ@ œ@

œœ# @ œœ@ œœ@ œœ@ œœ@ œœ@ œœ@ œœ@

æ æ œ# Œ3 3

**rapid; not articulated

**rapid; not articulated

**rapid; not articulated

**rapid; not articulated

ƒ

F

F

F

F

F

˙ ˙˙ ˙˙b ˙

∑

∑∑

˙ ˙̇ Ó˙ ˙˙ Ó

∑∑

Ó ˙̇#

Ó ˙̇##Ó ˙̇

Ó ˙̇̇

Ó ˙̇#

ord.

ord.

ord.

ord.

ord.

FF

Glasses

-

U UU U

U U

U UU U

U U

U U

U U

U U

U U

&&&&

&

V

ãã

&?

&&&

B?

42

42

42

42

42

42

4242

4242

42

42

42

42

42

43

43

43

43

43

43

4343

4343

43

43

43

43

43

42

42

42

42

42

42

4242

4242

42

42

42

42

42

Fl.

Bb Cl.

B. Cl.

Hn.

A

T

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

32 œb - œ-

∑∑

œ œ œb œ

œ œ# œ œnPi ty the na

∑

∑∑

œ œ# œ œn

œ. œ. œ. œ.

˙ ˙æ̇

æ̇

œ œ œ œ

œ# œ œ# . œ#

Quick; Aggressive (ca. q = 130)

P

fF

F

FF

F

F

F

‰œb œ œ œ#

∑∑

‰ jœb œn œb

œ œ# Œtion

Œ œ œ#that knows

∑∑

œ œ# œ œ#

œ. œ. œ. œ.

˙ ˙æ̇

æ̇

œ œ œ œ

œ# œ œ# œ# .

f

fœb - œ-

∑∑

œ œ œb œ

œ œ# œ œnno o ther lang

∑

∑∑

œ œ# œ œn

œ. œ. œ. œ.

˙ ˙æ̇

œæ œ œ

œ œ œ œœ# œ œ# . œ

P ‰œb œ œ œ#

‰ œ œ œ œ œ œ∑

‰ jœb œn œb

œ œ# Œuage

Œ œ œ#but its

∑∑

œ œ# œ 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

p

∑

œ œ œ œ

œ# œ# œ œ# œœ œ œb œ

∑˙own

∑∑

˙̇˙˙bb

‰ jœœ- œœŒ œ

˙#˙#˙

œ# œ œ#

P

p

ppp

p

p

P

∑

œ œ œ œ

œ œ# œ# œ‰ jœb œn

∑˙

∑∑

∑˙˙˙̇bb-˙̇˙#

˙N˙N

˙#

œ œ# œ œ. œ# .

πππ

π

Œ Œ œb -

œ# œb œ œ œ œ

œ# œ# œ œ# œ jœ‰

œ œb œb œ œ œ

Œ Œ ‰ JœAnd

∑

∑∑

∑....˙˙˙̇ ..˙̇

˙ Œ˙ Œ˙ Œ˙ Œ

œ# œ œ# œ œ

P

F

molto rit.

p sub.

- - - -

> > >

> >

> >

> > >

> >

> >

>

> > >

>

> >

4PITY THE NATION

&&

&&

&

V

ãã&?

&&&B?

4242

42

42

42

42

4242

4242

42

42

424242

4444

44

44

44

44

4444

4444

44

44

444444

4242

42

42

42

42

4242

4242

42

42

424242

8686

86

86

86

86

8686

8686

86

86

868686

4444

44

44

44

44

4444

4444

44

44

444444

Fl.

Bb Cl.

B. Cl.

Hn.

A

T

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

39 œ- œ-‰ Jœ œ# œ

œ œ# œ# œ˙#œ œ# œ œno o ther cul

∑

∑∑∑

˙˙˙̇̇˙

∑

æ̇∑∑

˙

f

A bit slower (ca. q = 100)

p sub.

p sub.

p sub.

p sub.

s.p.

˙∑

‰ jœ œ-˙

œ œ œture

∑

∑∑∑

˙˙˙̇̇˙

∑æ̇ æ æ

∑∑

œ Jœ ‰

Í

ord.

F

w

w-w

∑

˙ Ó

Ó Œ œ œbut its

∑∑∑∑

∑wæ æ æ æ æ

∑∑∑

F

Fpoco a poco

˙jœ ‰ Œ

˙‰ jœ œ

∑

˙own.

∑∑∑

œ œ œ œ

∑æ̇ æ æ

∑∑∑

accel.

π

F

Jœ ‰ Œ∑

∑

˙∑

˙

∑∑∑

œ œ œ œ

∑æ̇ æ œ

3 3

∑∑∑

flz.

ƒ

ƒs.p.

∑œ# œn ‰ œ jœbŒ jœ .œ

jœ ‰ ‰ Œ .

∑

∑

∑∑∑

œ œ œ œ œ œ

∑∑∑

.æ̇∑

As before (ca. q. = 80)

Í

F

p

∑∑

œa œn ‰ œ jœb∑

∑

∑

∑∑∑

œ œ œ œ œ œ

∑∑∑

. æ . æŒ jœ .œ

F

- -

o

>

+

o

&&

&&&V

ãã

&?

&&&B?

4444

44

44

4444

44

44

44

44

44

44

44

44

44

8686

86

86

8686

86

86

86

86

86

86

86

86

86

4444

44

44

4444

44

44

44

44

44

44

44

44

44

Fl.

Bb Cl.

B. Cl.

Hn.

A

T

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

46 Œ ‰ Jœ œb œ œŒ ‰ jœb ˙

∑Œ ‰ Jœ œb œ# œ

∑∑

∑∑

∑

œ œ œ œ œ œ œ œ

∑∑

Œ ‰ jœ- œ œ- æ æ æ æŒ ‰ Jœ œ œ#π

π

P

F

F

ord.

œb . œ œb œ œ Œ

œ ‰ œb œ ˙∑

œb . œ œb œb œ Œ∑∑

∑∑

∑

œ œ œ œ œ œ œ œ

∑∑

œ- œ- œ œ- œ œ- æ æ æ æœ œn œ œ# æ æ æ

∑jœ ‰ ‰ Œ .

œ œ œ# œ œb œœ œ œb œ œb œ#

∑∑

∑∑

∑

œ œ œ œ œ œ

∑∑

jœ ‰ ‰ Œ .. æ . æ

œæ ‰ Œ .

F pFp

Œ . œ œb œœ œ œ# Œ .

œb œ œ jœb ‰ ‰∑∑∑

∑∑

∑

œ œ œ œ œ œ

∑∑∑

. æ . æŒ . œb œ œ

FF

jœb ‰ ‰ Œ .œ œ œ# Œ .

Œ . œ# œ. œ-Œ . œ œ œb

∑∑

∑∑

Œ . jœœ œb

œ œ œjœœœ### œœœ

∑.æ̇

∑. æ . æ

œb œ œb œ œb œ

p sub.

s.p.

f

PP

F

∑∑

œ- œ< ‰ œ- œ œ-œb - œ̄ ‰ œ- œ œ-

∑∑

∑∑

œ. œœ ..˙̇œœœ. œœœbbb ...˙̇̇

˙# ˙n

wæ æ æ æ æ˙# ˙n æ æ æ œ#

3 3

∑

ord.

p sub.

p sub.

P

P

∑∑

jœ œ< ‰ œ- œ-Jœb œ̄ ‰ œ- œ-

∑∑

∑∑

wwwwwbbb

œ œb ˙wæ æ æ æ æ

w

œ# œ Ó

œ# œœ# œ œœ

p

P

+ + +

o

>>

5 PITY THE NATION

&&&&

ãã&?

&

&&B?

Fl.

Bb Cl.

B. Cl.

Hn.

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

53 Ó Œ ‰ Jœb .

∑œ< ‰ jœ- jœ œ- jœ<œb ¯ ‰ jœ- jœ œ- Jœ̄

∑∑

..˙̇ œœ œb .www

wwæ æ æ æ œ

3 3

∑∑

œ œœ# œ œœ#

ord.

ƒ

P

P

Ó Œ Jœb .‰

∑jœ ‰ œ- œ- œ<

Jœ ‰ œ- œb - œ̄

∑∑

Ó Œ jœb . ‰∑∑

Ó ˙∑

œ œœ œ œœwN

π

Jœ. ‰ Œ Œ Jœb . ‰∑

‰ œ- jœ- jœ œ< ‰‰ œ- Jœb - Jœ œ̄ ‰

∑ &∑

jœ. ‰ Œ Œ jœb .‰

∑∑

.˙ ‰ jœ∑

œ œœ œ œœw

Vibraphone

Jœ. ‰ Œ Œ Jœb .‰

∑œ- œ- œ< ‰ jœ-œ- œb - œ̄ ‰ jœ-

œ- œ- œ- œ- rœ- ‰ . ‰ œ- œ- œ- œ- œ- ≈∑

Œ Œ Œ jœb . ‰Jœ. ‰ Œ Ó

∑

w∑∑

œ# œœ# œ œœ

πvery soft mallets

quiet; muddy roll

Jœ. ‰ Œ Œ Jœ. ‰∑

jœ œ- jœ<jœ ‰ œ-

jœ œb - Jœ̄ Jœ ‰ œ-≈ œ- œ- œ- œ- œ- œ- ≈ ≈ œ- œ- œ- œ- œ- œ- œ-

∑jœ. ‰ Œ Ó

Œ Œ Œ Jœ. ‰∑

.˙ œ∑∑

œ œœ# œ œœ#

Jœ. ‰ Œ Œ Jœb .‰

∑œ- œ< ‰ œ- œ œ-œb - œ̄ ‰ œ- œ œ-‰ œ- œ- œ œ œ- œ- œ- œ- œ- œ- œ-

∑Ó Œ jœb . ‰Jœ. ‰ Œ Ó

∑

w∑

œ œœ œ œœwN

JœN .‰ Œ Œ JœN . ‰

∑jœ œ< ‰ œ- œ-

Jœ œb ¯ ‰ œ- œ-

‰ œ- œ- œ œ œ- œ- œ- œ- œ- œ- œ-∑

jœN . ‰ Œ Œ jœN .‰

∑∑

˙ œ œ œ∑

œ œœ œ œœœ œ œœ œœ# ˙̇ œ

>

&&&&

&

ã

&?

&

&&

B?

Fl.

Bb Cl.

B. Cl.

Hn.

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

60 ‰ Jœb . Œ Œ Jœ. ‰∑

œ< ‰ jœ- jœ œ- jœ<œb ¯ ‰ jœ- jœ œ- Jœ̄

‰ œ- œ- œ œ œ- œ- œ- œ- œ- œ- œ-∑

Ó Œ jœ. ‰‰ Jœb . Œ Ó

∑

w∑

∑

œ# œœ# œ œœ

‰ Jœ. Œ Œ Jœb . ‰∑

jœ ‰ œ- œ- œ<Jœ ‰ œ- œb - œ̄

rœ- ≈ ‰ Œ Ó ã

∑

‰ jœ. Œ Œ jœb . ‰∑

∑

˙ ˙∑

∑

œ œœ# œ œœ#

Pipes/Tubes

Floor Tom

Jœb . ‰ Œ Œ Jœb .‰

∑‰ œ- jœ- jœ œ< ‰‰ œ- Jœb - Jœ œ̄ ‰

œ œ Ó

‰ œ œ ‰ œ ‰ œ œ

jœb .‰ Œ Œ jœb . ‰

∑

∑

w∑

œ œœ œ œœwN

∏

∏

very soft mallets

very soft mallets

Jœ. ‰ Œ Œ Jœb . ‰∑

œ- œ- œ< ‰ jœ-œ- œb - œ̄ ‰ jœ-

œ œ Ó

‰ œ œ ‰ Ó

jœ. ‰ Œ Œ jœb .‰

∑

∑

œ œ œ ˙∑

œ œœ œ œœw

6PITY THE NATION

&&&&

&

ãã

&?

&

&&B

?

Fl.

Bb Cl.

B. Cl.

Hn.

A

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

64 Jœ. ‰ Œ Œ Jœb .‰

∑jœ œ- jœ<

jœ ‰ œ-jœ œb - Jœ̄ Jœ ‰ œ-

∑

œ œ Ó‰ œ œ œ œ œ ≈ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Ó Œ jœb . ‰Jœ. ‰ Œ Ó

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

w∑

∑

œ# œœ# œ œœ

π cresc. until m. 70, gradually

N.V.

Jœ. ‰ Œ Œ Jœ. ‰∑

œ- œ< ‰ œ- œ œ-œb - œ̄ ‰ œ- œ œ-

∑

œ œ Óœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

jœ. ‰ Œ ÓŒ Œ Œ Jœ. ‰

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

œ .˙∑

œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

œ œœ# œ œœ#p cresc. until m. 71, gradually

N.V.

Jœ. ‰ Œ Œ Jœb .‰

∑jœ œ< ‰ œ- œ-

Jœ œb ¯ ‰ œ- œ-

∑

œ œ Ó

œ œ œ œ œœ œ œ œ œ

Ó Œ jœb . ‰Jœ. ‰ Œ Ó

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

w∑

œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

œ œœ œ œœ

œ. œ. œ. œ. œ. œ. Œ∑

œ< ‰ jœ- jœ œ- jœ<œb ¯ ‰ jœ- jœ œ- Jœ̄

Ó Œ ‰ JœAnd

œ œ Ó &

‰ œ œ œ jœ ‰ Œ

∑ww##œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

6 6 6 6

œ œ .˙∑

œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

œ œœ œ œœ

p

P

(p)

&&&&&

V

&ã&?

&

&

&

B

?

Fl.

Bb Cl.

B. Cl.

Hn.

A

T

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

68 ∑∑

jœ ‰ œ- œ- œ<Jœ ‰ œ- œb - œ̄˙ œb œ œ œ

knows no o ther lang

∑

œb œ œ œ# œ œ œ œœ

∑

wwœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

6 6 6 6

w

∑

œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

œ# œœ# œ œœ

(P)

PVibraphone med. soft mallets

∑∑

‰ œ- jœ- jœ œ< ‰‰ œ- Jœb - Jœ œ̄ ‰

Jœ œb Jœ œ œ œuage but its own

∑

œb œ œ œ# œ œ œ œ∑∑∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

w

∑

œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

œ œœ# œ œœ#

f

(F)

∑∑

œ̄ ‰ jœ# - jœ œ- Jœœ# ¯ ‰ jœ- jœ œ- Jœ

˙N Ó

∑

œ œ œ œ# œ œ œœ œ∑∑∑

∑

w

œœ œœ œœ œœ œœ œœœœœœ

œœœœœœœœ

œœœœœœœœ

# œœœœœœœœ

œœœœœœœœ

œœœœœ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

6 6 6 6

œ œœ œ œœ(P)

quasi-guitarra

π etc.

∑∑

Jœ ‰ œ# - œ œ

Jœ ‰ œ- œ# œn

Ó Œ œAndœb œb . œ. œ. œ. œ. Œ

Pi ty, Pi ty, Pi ty

œ œ œ œ# œ œ œœ œ∑∑∑

∑

w

œœ œœœœœœ

œœœœœœœœ

œœœœœœœœ

# œœœœœœœœ

œœœœœœœœ

œœœœœœœœ

œœœœœœœœ

œœœœœ# œ œ œ œ œ œ œ œ œ œ œ

Ó6 6

œ œœ œ œœ

FP

(F)

P π

-

- - -

-

7 PITY THE NATION

&&&&

&

V

&

ã&?

&

&

&

B?

Fl.

Bb Cl.

B. Cl.

Hn.

A

T

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

72 ∑∑

œ- œ< ‰ œ- jœ-œb - œ̄ ‰ œ- Jœ-˙ œb œb œ œ

knows no o ther cul

∑

œb œ œ œ# œ œ œ œ∑

˙˙˙# œœœ## œœœbbwwwb

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

w∑

Óœ# œ œ œ œ œ œ œ œ œ œ œ

6 6

œ# œœ# œ œœ

π

π

cresc. until m. 78, gradually

cresc. until m. 79, gradually

P

p

∑∑

jœ œ< ‰ œ- œ-Jœ œb ¯ ‰ œ- œ-

Jœ œb jœ œ œ œture but its own

∑

œb œ œ œ# œ œ œ œ∑

˙̇̇# œœœ## œœœbbbwwwb

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

w∑

œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

œ œœ# œ œœ#

(p)

∑∑

œ< ‰ jœ- jœ œ- jœ<œb ¯ ‰ jœ- jœ œ- Jœ̄

w∑

œ œ œ œ# œœ œ œ œ œœ œ∑

www# œb - œ-œœœN..˙̇

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

w

œœ œœ œœ œœ œœ œœœœœœ

œœœœœœœœ

œœœœœœœœ

# œœœœœœœœ

œœœœœœœœ

œœœœœ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

6 6 6 6

œ œœ œ œœ

π etc.

∑∑

jœ ‰ œ- œ- œ<Jœ ‰ œ- œb - œ̄

Ó Œ œoh

Ó œb . œ. œ. œ.Pi ty, Pi ty,

œ œ œ œ# œœ œ œ œ œœ œ∑

www# œb - œ-œœœN..˙̇

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

w

œœ œœœœœœ

œœœœœœœœ

œœœœœœœœ

# œœœœœœœœ

œœœœœœœœ

œœœœœœœœ

œœœœœœœœ

œœœœœ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

6 6 6 6

œ œœ œ œœ

p

P

(P)

(p)P π

- -

- -

&&&&

&

V

&ã&?

&

&&

B

?

Fl.

Bb Cl.

B. Cl.

Hn.

A

T

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

76 ∑∑

‰ œ- jœ- jœ œ< ‰‰ œ- Jœb - Jœ œ̄ ‰

wown

œb . œ. œ. œ. œ. œ. œ. œ.Pi ty, Pi ty, Pi ty, Pi ty,

œb œ œ œ# œb œ œ œ œœ∑∑∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

w∑

œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

œ# œœ# œ œœ

FRH

∑∑

œ- œ- œ< ‰ jœ-œ- œb - œ̄ ‰ jœ-

wœb . œ. œ. œ. œ. œ. œ. œ.Pi ty, Pi ty, Pi ty Pi ty

œb œ œ œ# œ œ œœb œ œ œ∑∑∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

wœœ œœ œœ œœ œœ œœ

œœœœœœœœ

œœœœœœœœ

œœœœ# œœœœ

œœœœœœœœ

œœœœœœœœ

œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

œ œœ# œ œœ#

(F)

(P)

π

∑∑

jœ œ- jœ<jœ ‰ œ-

jœ œb - Jœ̄ Jœ ‰ œ-∑

œb . œ. œ. œ. ÓPi ty Pi ty

œ œ œ œ# œ œ œœ œœ œœ∑∑∑∑

wœœœœ

œœœœœœœœ

œœœœ Œ Ó

œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6

œ œœ œ œœ

f

∑∑

Œ ‰ jœ- jœ œ- jœ<Œ ‰ jœ- jœ œb - Jœ̄

∑

Ó œb . œ. œ. œ.Pi ty Pi ty

œ œ œ œ# œ œ œœ œ∑∑∑∑

wœœ œœ œœœ# œ œ œ œ œ

Œ Ó6

œ œœ œ œœ

pp

(F)

P

- - - - - - - - - - - -

8PITY THE NATION

&&&

&

&V

&ã

&?

&&&

B?

Fl.

Bb Cl.

B. Cl.

Hn.

A

T

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

80 ∑∑

jœ ‰ Œ Ó

Jœ ‰ Œ Ó

∑∑

œ œb œ œ œ# 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 œ6 6 6 6∑

Œ œœ œœ œœ∑

ww

∑∑

Ó Œ ‰ jœ-Ó Œ ‰ jœ-

∑∑

œ œ œ# œœ œN œ œ

∑

∑∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ6 6 6 6∑

∑œ

œ œ œ œœ œ

œ œ œ œœ œ

œ œ œ œœ œ

œ œ œ œœ

6 6 6 6

w

π

π

∑∑

jœ œ- ‰ Ójœ œb - ‰ Ó

∑∑

œ# œœ œN œ œ œ œ

∑

∑∑∑∑∑

œœ œ œ œ

œ œœ œ œ œ

œ œœ œ œ œ

œ œœ œ œ œ

œ

6 6 6 6∑

∑∑∑

∑

∑∑

œ œb œ œ œ# œœ œ

∑

∑∑∑∑

œœ œœ œœ Œ

Ó œœ œœ œœ œœ∑

&&&&

&V

&ã&?

&&&

B?

4242

42

42

42

42

4242

42

42

424242

42

42

4343

43

43

43

43

4343

43

43

434343

43

43

Fl.

Bb Cl.

B. Cl.

Hn.

A

T

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

84 ∑∑∑∑

∑˙b œ œPi ty the

œ œ œ# œœ œN œ œ

∑∑∑

∑∑

œœ.Œ œœ.

Œ

œœbb œœ œœ œœ œœ œœœœ œœ

∑

marc.

arco

∑∑∑∑

∑˙ ˙na tion

œ# œœ œN œ œ œ œ

∑∑∑

∑∑

œœ.Œ œœ.

Œ

œœ œœ œœ œœœœbb œœ œœ œœ

∑

∑∑∑∑

∑.˙ Œ

œ œ œ œ œœ

œ œœ

œ

∑Ó œb - œ-Œ ..˙̇

∑∑

œœ.Œ œœ.

Œ

œœœœbb Œ œœœœ Œ

∑

quasi-guitarra

quasi-guitarra

Ó Œ œÓ Œ œÓ Œ œbÓ Œ œb

∑‰ œb . œ. ‰ œ. œ. œ. œ.

Pi ty Pi ty Pi ty

œœ

œ œœ

œ œœ

œ œœ

œ

∑∑

˙˙̇̇# œb œœœœ ..˙̇∑∑

œœ. œœ. œœ. œœ.œœœœb œœœœ

œœœœœœœœ

œœœœœœœœ

œœœœœœœœ

∑

pp

pp

˙˙˙˙

∑œb . œ. œ. œ.Pi ty Pi ty

œœ

œ œœ

∑∑

˙̇∑∑

œœ. œœ.œœœœb œœœœ

œœœœœœœœ

∑

PPPP

jœ ‰ Œ Œjœ ‰ Œ Œ

Jœ ‰ Œ Œjœ ‰ Œ Œ

Ó Œœb œ œ œ œ œpi ty, pi ty, pi ty,

˙˙˙ J

œœœ ‰

∑∑

œœjœœ

‰ Œ

∑∑

œœ œœ œœ œœ œœ œœœœœœ

bb œœœœœœœœ

œœœœœœœœ

œœœœ∑

p

F

p

SSSS

∑∑∑∑

‰ Jœb œ .œ œ œ œWhose breath is mo ney

œb œ œ œ œ œpi ty, pi ty, pi ty,

∑∑∑∑ &

∑∑

œœ œœ œœ œœ œœ œœœœœœb œœœœ

œœœœb œœœœ

œœœœœœœœ

∑

P

- - - - - - - -

-

- - -- -

9 PITY THE NATION

&&&

&

&

V&ã

&

&

&&&

B?

Fl.

Bb Cl.

B. Cl.

Hn.

A

T

Perc. 1

Perc. 2

Vln. I

Vln. II

Vln. III

Vla.

Vc.

Pno.

91 ∑∑∑

∑

œ jœ ‰ Œ

œb œ œ œ œ œpi ty, pi ty, pi ty,

∑∑

œ œ œb œ œ œ œ œ œ3 3 3

˙ œ œb œ ˙ œ˙ œ∑

Œ œœ œœ Œœœ œœ Œ œœ œœœœœœ

bb œœœœœœœœ

œœœœœœœœ

œœœœ∑

π

pquasi-guitarra

∑∑∑

∑

‰ Jœb œ œ œ œAnd sle eps the sleep,

œb œ œ œ œ œpi ty, pi ty, pi ty,

∑∑

œ œ œb ˙3

œb œ ˙œ∑

œœ œœ Œ ŒŒ œœ œœ œœ œœœœœœb œœœœ

œœœœb œœœœ

œœœœœœœœ

∑

Ó ŒÓ ŒŒ Œ Œ

Ó Œ

œ Jœ ‰ Œ

œb œ œ œ Œpi ty, pi ty,

∑ ã

∑œ œ œb œ œ œ œ œ œ

3 3 3

˙ œ œb œ ˙ œ˙ œ∑

œœ œœ Œ œœ œœŒ œœ œœ Œœœœœ

bb œœœœœœœœ

œœœœœœœœ

œœœœ‰ jœœ# ˙̇

F

p

arco

Floor Tom

Metal Platter

Œ œ œ œb œ œ œ œ œ‰ .œ œ‰ jœ œ œ œ .œŒ œb œ œb

‰ Jœb œ œ œ œAnd sle eps the sleep

‰ Jœb œ œ œ œAnd sle eps the sle

Œ œ œæŒ œ œ œ

œ œ œb ˙3

œb œ ˙œ∑

Œ œœ œœ œœ œœœœ œœ Œ Œ

jœœœœb ‰ Œ ‰jœœœœ

b

jœœ# ‰ Œ œ œœp

P

F

P

P f

p Pp

Ç

Ç

P

med. hard mallets

med. hard mallets

œb . œ. œ. œ. ‰ Rœ. ≈ ≈ œ. œ. œ.

.˙˙ jœ ‰

œ œ œb œœ œ œ œb œ œ

of the too well

œ jœ ‰ Œ

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B. Cl.

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