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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
Long swoosh air sound, for the duration of the pitch
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Percussion 1
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Violin I
Violin II
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Viola
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ord.
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(Spoken, approx. rhythm)
∑∑∑∑
¿ ¿ ¿ ¿ J¿ Œ ‰ ¿ ¿3
Pi ty the na tion Pi ty
Œ ¿ ¿ ¿ ¿ ¿ ŒPi ty the na tion
∑∑∑∑
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**Ricochet bounce on attack
p
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pizz.L.V.
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p
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Interupting the alto
p P
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P.V.
- - -
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>
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)
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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
-
- - -
- -
> > >>
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V
&ã
&?
&
&&
B?
45
45
45
45
45
45
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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
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&ã
&?
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43
43
43
43
43
43
4343
43
43
43
43
43
43
43
45
45
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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
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V
&
ã
&?
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45
45
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44
44
44
44
44
44
44
44
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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
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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
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4242
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42
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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
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V
ãã&?
&&&B?
4242
42
42
42
42
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42
42
424242
4444
44
44
44
44
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44
44
444444
4242
42
42
42
42
4242
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8686
86
86
86
86
8686
8686
86
86
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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
&&
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ãã
&?
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44
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86
86
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86
86
86
86
86
86
86
86
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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
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5 PITY THE NATION
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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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Perc. 2
Vln. I
Vln. II
Vln. III
Vla.
Vc.
Pno.
√
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∑
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∑
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∑
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p
med. soft mallets
∑∑
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∑
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s.p.arco
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Metal Platter
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F
FF
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10PITY THE NATION
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444444
444444
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Fl.
Bb Cl.
B. Cl.
Hn.
A
T
Perc. 1
Perc. 2
Vln. I
Vln. II
Vln. III
Vla.
Vc.
Pno.
107 ∑∑∑
∑∑∑∑∑
œ œ œb œ œ œ œ œ œ3 3 3
˙ œ œb œ ˙ œ˙ œ
∑Œ œœ œœ Œ
œœ œœ Œ œœ œœœœœœ
bb œœœœœœœœ
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œœœœ∑
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pquasi-guitarra
∑∑∑
∑∑∑∑∑
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∑
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œœœœb œœœœ
œœœœœœœœ
∑
Ó ŒÓ ŒŒ Œ Œ
Ó Œ∑∑∑∑
œ œ œb œ œ œ œ œ œ3 3 3
˙ œ œb œ ˙ œ˙ œ
∑
œœ œœ Œ œœ œœŒ œœ œœ Œœœœœ
bb œœœœœœœœ
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F
p
arco
Œ œ œ œb œ œ œ œ œ
‰ jœ œ œ‰ jœ œ œ œ œ œŒ œb œ œb
∑∑∑∑
œ œ œb ˙3
œb œ ˙œ
∑Œ œœ œœ œœ œœœœ œœ Œ Œ
jœœœœb ‰ Œ ‰jœœœœ
b
jœœ ‰ Œ œ œœ#p
P f
p Pp
P
œb . œ. œ. œ. ‰ Rœ. ≈ ≈ œ. œ. œ.
.˙
˙ jœ ‰
œ œ œb œ∑∑∑∑
œ œ œb œ œ œ œ œ œ3 3 3
˙ œ œ œ ˙ œ˙ œ∑
‰ jœœ œœ œœœ ‰ jœœœœ œœ jœœ ‰ œœ œœœœœœ
bb œœœœœœœœ
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F
f
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˙b jœ ‰∑∑∑∑
œ œ œb ˙3
œ œ ˙œ∑
œœ œœœ ‰ jœœ œœ œœœjœœ ‰ œœ œœ jœœ ‰
œœœœb œœœœœœœœ
b œœœœœœœœ
œœœœ..˙̇
w∑∑
‰ Jœ# œ œ œ ‰ Jœ∑∑∑∑
œ œ œb œ œ œ œ œ œ œ œ œ3 3 3 3
˙ œ œ œ ˙ œ œ œ˙ ˙∑
‰ jœœœ ‰ jœœ ‰ jœœ ‰ jœœjœœ ‰ jœœ ‰ jœœœ ‰ jœœ ‰
∑ww
p
P**hold over
F ß
°
> > >
°
+
&
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Vãã
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Fl.
Bb Cl.
B. Cl.
Hn.
A
T
Perc. 1
Perc. 2
Vln. I
Vln. II
Vln. III
Vla.
Vc.
Pno.
114œ# œ# œ œ œb œ œ# œ# œ. œ. œ. œ. ‰ Rœ. ≈
Œ œ# œ# œ œ œb œ œb œ# œ. œ. œ. œ.
∑œ Jœ ‰ Ó
∑
∑∑∑
wwwwww
∑∑∑
∑∑
p F
p F
S
≈ œ. œ. œ. ‰ œ. œ. œ. œ. ≈ œ. œ. œ. œ. œ.
‰ Rœ. ≈ ≈ œ. œ. œ. Ó∑∑
∑
∑∑∑
wwwwww
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∑∑
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∑∑∑
∑
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wwwwww
∑∑∑
∑∑
∑
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∑
∑∑∑
Jœœœ ‰ Œ Ó
jœœœ ‰ Œ Ó
∑∑∑
∑
wwp
∑
∑∑∑
œ œb œ œ œ ‰ ‰ œPi ty the na tion, oh,
œb œ œ œ œ ‰ ‰ œPi ty the na tion, oh,
∑∑
∑∑
∑∑∑
∑
˙̇ ˙̇
P
p
Slow; somber ∑
∑∑∑
œb œ œ œ œ ‰ œ œPi ty the pe ople who al
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∑∑
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q = 72 w
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11 PITY THE NATION
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V
ãã
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4343
43
4343
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43
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43
43
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4343
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4444
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44
44
4444
44
44
44
4444
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45
4545
45
45
45
4545
45
45
45
4545
4444
44
4444
44
44
44
4444
44
44
44
4444
Fl.
Bb Cl.
B. Cl.
Hn.
A
T
Perc. 1
Perc. 2
Vln. I
Vln. II
Vln. III
Vla.
Vc.
Pno.
122 ∑∑∑
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And their
.˙ Œrode.
∑∑
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f
f
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free doms
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wway.
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∑∑
∑∑∑
π
∑∑
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∑
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p
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jœb ‰ œ# œ# œ# œ# œ# œ# ˙∑∑
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arco
arco
arco
π
ππ
ππ
P.V.
P.V.
m.s.t.
m.s.t.
m.s.t.
arco
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∑
∑∑
∑∑
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w
www
p
p
pp
p
∑∑∑
∑∑
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∑∑
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ww
w
www
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∑∑∑
∑∑
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∑∑
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www
w
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arco
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-
-
-
U
U
&
&&
&
&Vãã
&?
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43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
44
44
44
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.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
IŸ
~~~~~~~~~~~
ÈŸ133w
œ œb ˙∑
.œb jœn œ∑∑
Ó Œ œÓ Œ œ
∑ ?
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Jœœ ‰ Œ Ójœœ ‰ Œ Ójœ ‰ Œ Ójœ ‰ Œ Ójœ ‰ Œ Ó
S
SS
Jœ# ‰ Œ œ œ œn œ œ œ œ7
œ œb œn œ œb œ œ# œb œn œb œn œ
œ œ œ œ# œ
œ œ# œ∑∑∑∑
...œœœ œ œ œ ..œœ œ œ œ œœœ3 3
&
œ œ œb œb œn œn
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3 3
∑∑
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pp
marc.
marc.
PP
F
œb Jœ ‰ Œ.œ œb œ œb œb
œb œ œbœb œ œ
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∑∑∑
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f
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w
ww
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w w
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3 3 3 3
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12PITY THE NATION
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4343
43
434343
4343
4343
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43
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Fl.
Bb Cl.
B. Cl.
Hn.
A
T
Perc. 1
Perc. 2
Vln. I
Vln. II
Vln. III
Vla.
Vc.
Pno.
139Jœ ‰ Œ Ójœ ‰ Œ Ó
Jœ ‰ Œ Ójœ ‰ Œ Ó
∑∑
w∑
∑∑
∑
œ œb œ œ œ œ œ œ
œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
∑ &∑
πππ
π
con sord. (wood mute)
∑∑∑∑∑∑
∑∑
∑∑
∑
∑
∑
Œ ‰ Jœ# ˙∑
πP.V.m.s.t.
fragile
∑∑∑∑∑∑
∑∑
∑∑
∑
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œ œ œ œ œ œ œ œ œ œ œ œ3 3 3 3
w∑
∑∑∑∑∑∑
∑∑
∑∑
Œ œ œ œœ# œœjœ ‰ Œ ˙
∑
w∑
FF
∑∑∑∑∑∑
∑∑
∑∑
œœ ˙̇n jœœ ‰
œ œœ# ..œœ jœœn œœ∑
w∑
S
∑∑∑∑∑∑
∑∑
∑∑
∑jœœ ‰ Œ Œ Œ
∑
w∑
S
∑∑∑∑∑∑
∑∑
∑∑
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∑
w∑
FF
∑∑∑∑∑∑
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∑
w
œ œ œœ ..˙̇
F
SS
P
∑∑∑∑∑∑
∑∑
w
∑
∑
∑
∑
www
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∑∑
œ ‰ ‰ œ œb œ œ œ#ww-
∑
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ãã
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&
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&
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43
43
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43
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4343
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44
44
4444
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44
44
4444
Fl.
Bb Cl.
B. Cl.
Hn.
A
T
Perc. 1
Perc. 2
Vln. I
Vln. II
Vln. III
Vla.
Vc.
Pno.
149 ∑∑∑∑∑∑
∑∑
.˙
..˙̇
∑
∑
∑
∑∑
L.V.
∑∑∑∑∑∑
∑∑
∑∑
‰ jœ ˙ jœ œ3
Œ ‰ jœ ˙∑
w#
∑
p
p
π
∑∑∑∑∑∑
∑∑
∑∑
˙ Ó
jœ œ ˙ Œ3
∑
w
∑
π
π
∑∑∑∑∑∑
∑∑
∑∑
Œ .˙Ó Œ œ#
∑
w
∑
p
p
∑∑∑∑∑∑
∑∑
∑∑
˙̇ jœ ‰ Œ
.˙ Œ
∑
w
∑
π
πs.p. m.s.p.
m.s.p.s.p.
∑∑∑∑∑∑
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∑
p
pN.V.
ps.p.
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w
∑
π
πs.p. m.s.p.
πm.s.p.
s.p. m.s.p.
13 PITY THE NATION
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Bb Cl.
B. Cl.
Hn.
A
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Perc. 1
Perc. 2
Vln. I
Vln. II
Vln. III
Vla.
Vc.
Pno.
156 ∑∑∑∑∑∑
∑∑
∑∑
∑
∑
∑
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∑P
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∑
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w
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14PITY THE NATION
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