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Hover - a music theatre work in three acts Roark, Timothy Benton 2013

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   Hover A MUSIC THEATRE WORK IN THREE ACTS   by   TIMOTHY BENTON ROARK   B.M., Oberlin Conservatory, 2001 B.A., Oberlin College, 2001 M. Mus., The University of British Columbia, 2007    A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF  THE REQUIREMENTS FOR THE DEGREE OF  DOCTOR OF MUSICAL ARTS  in   THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES    THE UNIVERSITY OF BRITISH COLUMBIA  (Vancouver)   August 2013  ? Timothy Benton Roark, 2013          ii  Abstract  Hover is an experimental music theatre work for seven singers (mezzo-soprano, tenor, baritone, soprano, alto, tenor, bass) and a quintet consisting of Bb clarinet (doubling on bass clarinet), electric guitar (doubling on classical guitar), percussion (vibraphone, glockenspiel, suspended cymbals, high-hat, triangle, tamtam, snare, toms, and bass drum), viola (doubling on violin), and double bass.  It is approximately 90 minutes in duration. Act I is approximately 40 minutes and is comprised of four scenes; Act II is approximately 30 minutes and is comprised of two scenes; Act III is approximately 20 minutes and is comprised of three scenes.  An intermission is possible between Acts I and II.  Hover is the story of one woman ? The Dreamer ? and her attempt to come to terms with a traumatic event that happened one year ago ? an accidental waking during surgery.  In a flashback memory of the event, she dreams she meets two important men from two different centuries ? The Traveler and The Diver ? who have also experienced moments where their bodies have performed seemingly impossible feats.  All three face profound skepticism in the telling of their own stories and in trying to cope begin to dismantle cultural myths to prove that their personal stories are true and hold weight.  The music of Hover supports this action by assimilating many styles, melodic motives, harmonic devices, and textural approaches into one language that reflects the multifaceted nature of the narrative.           iii Preface  The investigation summarized in ?Concerning Interdisciplinarity in Music Theatre, Redux ? Workshopping and Staging? was carried out within the framework of the Mitacs Accelerate Internship ?Investigating the impact of alternative performance environment in the development of Hover, a new chamber opera? with faculty supervisor Dr. Dorothy Chang and industry partner Redshift Music Society.  The final draft of the musical score was completed during a second Mitacs Accelerate Internship, ?Investigating the impact of alternative performance environment in the development of Hover, a new chamber opera - II?, also with Dr. Chang as faculty supervisor and co-partners Redshift Music Society and Tapestry Opera.  The photographs presented in Appendix A and in the section entitled ?Concerning Interdisciplinarity in Music Theatre, Redux ? Workshopping and Staging? are used with permission and credited to Diane Smithers.  The libretto in Appendix B and excerpt in Chapter 1.4 of the dissertation are used with permission and credited to Lindsay Cuff.    Components of these materials have been published online [Roark TB, Cuff L, Smithers D, Kehrlein Y. www.hovertheopera.blogspot.ca. 2012; Roark TB, Cuff L, Smithers D, Kehrlein Y. www.bentonroark.com. 2012; Roark, TB. www.mitacs.ca/accelerate/research. 2013; Roark TB, Cuff L, Smithers D. www.redshiftmusic.org. 2013].       iv Table of Contents  Abstract....................................................................................................................................................ii  Preface....................................................................................................................................................iii  Table of Contents ................................................................................................................................... iv  List of Figures ..........................................................................................................................................v  List of Illustrations ..................................................................................................................................vi  List of Examples.....................................................................................................................................vii  Acknowledgements ..............................................................................................................................viii  Introduction .............................................................................................................................................1  Chapter 1:    Background ........................................................................................................................4 1.1 Defining the Music Theatre Genre............................................................................................4 1.2 Situating Hover on the Music Theatre Spectrum .....................................................................6 1.3 Some Examples of My Past Work that Give Precedent to Hover .............................................8 1.4 Personae Dramatis, Instrumentation, Concept, and Summary of Dramatic Events ...............12   Chapter 2:   Concerning Interdisciplinarity in Music Theatre ? Balance, Flexibility,         and Using Drama Towards Stylistic Fusion .??????????.??????..?16 2.1 Balance and Flexibility Between Elements .............................................................................16 2.2 Connections Between Musical Style and Drama....................................................................24  Chatper 3:   Musical Materials ? Harmonic Devices and Progressions,         and Other Considerations?????????????????????????. 30 3.1 Salient Harmonic Devices ......................................................................................................31 3.2 Sample Harmonic Progression, Analysis, and Overview of Major Key Centres....................35 3.3 Important Melodic Themes .....................................................................................................40 3.4 Some Instrumental Motives and Textural Considerations ......................................................45  Chapter 4:  The Content Dictates the Form ?  How Materials are Used to Tell the Story ..................50 4.1 The Climax of Act II: Fragmentation, Paralysis, and Musical Hyperbole...............................51 4.2 Act III: Bringing the Elements Together...................................................................................54  Concerning Interdisciplinarity in Music Theatre, Redux ? Workshopping and Staging......................59  Closing Remarks ...................................................................................................................................61  Bibliography ..........................................................................................................................................63  Appendix A: Additional Workshop Photos ..........................................................................................67  Appendix B: Libretto .............................................................................................................................70  Appendix C: Musical Score??????????????????????????????105   v List of Figures   Figure 1 Salient Dramatic Occurrences Scene by Scene .....................................................................15 Figure 2 Sample Harmonic Analysis.....................................................................................................36 Figure 3 Overview of Key Centres with Corresponding Dramatic Foci...............................................39 Figure 4 Act II Scene 2: Large-Scale Harmonic Motion and Corresponding Motivic Features...........53                                           vi List of Illustrations  Illustration 1 Staging Workshop Presentation; Dreamer and Traveler; Act I Scene 3 .........................60                                               vii List of Examples  Example 1.1 Congruency Excerpt...........................................................................................................8 Example 1.2 Songs from the Rainshadow?s Edge, or Selflessness Excerpt .............................................9 Example 1.3 Shadow Catch Excerpt .....................................................................................................10 Example 2.1 Act II Scene 1, The Diver is punched a second time ......................................................18 Example 2.2 Act II Scene 1, Water is poured down The Traveler?s throat ..........................................19 Example 2.3a Naturally spoken text .....................................................................................................21 Example 2.3b Rhythmicized speech, no contour.................................................................................21 Example 2.3c Rhythmicized speech, contour ......................................................................................21 Example 2.3d Sprechstimme.................................................................................................................21 Example 2.3e Melody and speech hybrid ............................................................................................21 Example 2.3f Traditional notation ........................................................................................................21 Example 2.4a Act III Aleatoric 1 ...........................................................................................................23 Example 2.4b Act I Aleatoric 2 .............................................................................................................23 Example 2.5 Act II Scene 1 Overlapping Strata....................................................................................24 Example 2.6 Act II Scene 1 Diegesis ....................................................................................................25 Example 2.7a Diver Transformation 1 ..................................................................................................26 Example 2.7b Diver Transformation 2..................................................................................................27 Example 2.7c Diver Transformation 3 ..................................................................................................28 Example 2.8 Act I Scene 3; Fusion 1, Credo ........................................................................................28 Example 2.9 Act II Scene 1; Fusion 2, Hammond/Leslie colour..........................................................29 Example 3.1 Act II Scene 1 Polychord 1 ..............................................................................................31 Example 3.2 Act I Scene 1 Polychord 2 ...............................................................................................31 Example 3.3a Act II Scene 1 Pedal Tone 1...........................................................................................33 Example 3.3b Act II Scene 2 Pedal Tone 2 ..........................................................................................33 Example 3.3c Act I Scene 1 Pedal Tone 3............................................................................................34 Example 3.4 Act I Scene 1 Polychord 3 ...............................................................................................35 Example 3.5 The Dreamer?s Theme .....................................................................................................40 Example 3.6a The Diver?s Theme 1......................................................................................................41 Example 3.6b The Diver?s Theme 2 .....................................................................................................41 Example 3.7a The Traveler?s Theme 1 (?Ordinary Man?)....................................................................41 Example 3.7b The Traveler?s Theme 2 .................................................................................................41 Example 3.8 Chorus writing..................................................................................................................44 Example 3.9 Water Triplet Gesture.......................................................................................................47 Example 3.10 Rising Chromatic Gesture ..............................................................................................46 Example 3.11 Water Tank Gesture .......................................................................................................48 Example 3.12 Cardiogram Gesture.......................................................................................................45 Example 3.13 Pointillistic texture .........................................................................................................49 Example 4.1 Act III Scene 1 Melody.....................................................................................................55 Example 4.2 Act III Scene 2 Melody.....................................................................................................57       viii Acknowledgements  There are many individuals and organizations without whose time, expertise, guidance and care this dissertation would not have been possible.  I wish to extend my heartfelt gratitude to:  Dr. Dorothy Chang, for presiding as teacher, supervisor, and role model over the majority of my academic life as a composer with careful guidance, keen insight, reliability, inspiring discussions, and encouragement;  The Faculty of the UBC Composition Department and members of my committee ? Dr. Stephen Chatman, Dr. Robert Pritchard, and Dr. Keith Hamel, both for the artistic mentorship from the beginning of my time at UBC onward, and for your time, effort, and wisdom in helping bring this degree to fruition;  Lindsay Cuff, for your imagination and eloquence in creating Hover?s libretto, and for your trust, patience, and continued work during the years of its composition;  The many organizations, classes, workshops, projects, and the people that run them, that contributed to my music theatre education ? Creative Arts 469, Tapestry New Opera, VISI, the Babel Theatre Project, th?atre re, Pacific Opera Victoria, and the Shadow Catch team, among many others;  Those that made Hover?s workshopping possible ? Sang Mah and Mitacs Accelerate, Redshift Music Society, UBC and the JCC, Tapestry New Opera, and all of the talented and adventurous performers so willing to jump right in;  The friends and colleagues, too numerous to list, that have supported me and my musical vision throughout my degree;  And, of course, my mother and father, Kathleen, and the rest of my family, for your unwavering support throughout the years, for your belief in me, and for your love.        1 Introduction   In the music theatre work, Hover, the principal character, The Dreamer, undergoes a journey characterized primarily by the act of validation.  Wrestling with forces beyond her control ? disparate mechanisms of fate, magic, and the laws of nature ? she emerges from a period of uncertainty with renewed confidence.  This sea change of character, and the now greatly expanded view of the world that emboldens it, owes much to her dark and incredible experience.  My own creative journey, both leading up to the point of Hover?s musical inception and throughout its composition process, has a comparative central narrative.   When Lindsay Cuff the librettist approached me in 2009 with a script, I, like The Dreamer, went in for a routine procedure (having worked with writers and collaborated on musical theatre works enough to feel, albeit prematurely, that I had a good grasp of the genre).  I too ?went under?, swimming about in the dark, going deeper and deeper trying to make sense of this strange story and its elusive needs, until I awoke, disoriented and daunted by the needs of the project.  I, too, am now a more confident composer of music theatre, having reconciled my past assertions of the genre and my own writing therein with present experience.    Beyond an abstract hunger for interdisciplinary experience and collaboration, what drew me initially to Ms. Cuff?s work was its ambition, imagination, and complexity.  When reading it I felt I was in the midst of a kindred artistic spirit, as much for its language as its longing to articulate so many ideas within the context of one piece.  At the time, I, too, felt  2 a strong desire to articulate all of my thoughts at once, so this challenge was enticing to say the least.  A number of factors helped channel this longing into something that resembled a rationally justified commitment to sign on to such a long-term endeavour:  1. The story?s confluence of historical periods suggested a polystylistic approach that appealed to my musical sensibilities.  As time would tell, these influences contributed to an adaptive approach more than an allusory or quotational approach,1 although these latter subgenres were used in some sections of the work. 2. The story?s overlapping layers of consciousness resonated with my philosophy and psychological interests.  They also bore relation to my harmonic writing, which is defined by, among other characteristics, overlapping strata and polytonality. 3. The story?s guiding elemental force ? water ? was an exciting governing entity, immediately suggestive of textures and rhythms, not to mention ripe with historical precedent, both in the major repertory and in my own writing.  Each relating to musical ideas that began to take shape in my head, these factors taken together as a whole seemed to comprise a yet unwritten work that could unify the many streams and interests that had hitherto felt separate from one another in the scope of my work.  In one corner there was my interest in music theatre, from opera to Broadway-style musicals to experimental, genre-defying works.  In another there was my compositional language, slowly coming into focus as neo-Impressionistic, undulating, and dream-like, with a strong emphasis on melody and extended harmonies with microtonal inflections.                                                  1 Alfred Schnittke, ?Polystylistic Tendencies in Modern Music? in A Schnittke Reader, ed. Alexander Ivashkin, trans. John Goodliffe (Bloomington: Indiana University Press, 2002), 87.   3 Finally, there was my work in the popular realms of songwriting, jazz, and rock music.  Long kept separate from the other two streams, this influence would turn up in Hover in electric guitar colours, vintage swing numbers, folk melodies, and hymn-like choral passages.  Thus armed with my passion for interdisciplinarity and many sound reasons all asking ?why not?, I began to unpack this box of narratives and to try to get a sense of the sound-world that would help make sense of them.  Thanks to the influences on my own musical language described above, imagining this world didn?t prove to be too gargantuan a task.  Rather, the difficulty lay in the libretto?s form, setting, and scope; more precisely, in how to delineate these elements through musical composition.    In opera and music theatre, it falls to the composer to control the pace of the drama, illuminate subtext, and in general help the audience find the way ?in? to the work through the music.  I knew that Hover had the potential to be a unique, provocative, powerful, and moving work of musical theatre, but given the ambitious nature of the story (see Chapter Two), I knew I had my work cut out for me.  This document, exploring Hover?s background and genre, the part music plays in its interdisciplinary approach, its salient musical features, and how its music helps delineate its dramatic form, is a record of this work and how it was completed.       4 Chapter 1: Background  It will no doubt provide context to Chapters 2 ? 4 to enumerate and investigate the myriad factors that exerted influence upon my work prior to my beginning: what experience and prejudice did I bring to the table, and what was already awaiting my arrival thereon?  As noted in the introduction, I had spent much time during my graduate studies investigating music?s relation to drama and identifying the vast spectra of micro-genres that this liaison has spawned over the ages.  During this time I also continued to explore many different styles of composition, both past and contemporary, slowly distinguishing those whose traces would manifest themselves in my own writing from those who I admired immensely but felt less kinship towards; still further I distinguished these existing styles from elements in my writing that felt most personal and wholly original.  Finally, and not to be underestimated, was the large amount of work ? both conceptual and specific ? that Ms. Cuff had completed on the project before seeking a composer collaborator.2    1.1 Defining the Music Theatre Genre  Experimental music theatre saw a renaissance during the twentieth century as composers, writers, and directors sought new methods of expression. Composers such as Harry Partch, Robert Ashley, Murray Schafer, Merdith Monk, and Heiner Goebbels, and theatre artists such as Bertold Brecht, Samuel Beckett, and more recently Robert Wilson have all                                                 2 In addition to the libretto, which constituted her M.F.A. thesis under UBC Professor Meryn Cadell, Ms. Cuff had made Garageband audio sketches of a few passages.  Some of these I kept as quotations or short fragments that were later incorporated and/or developed, depending on how they fit into my own scheme/conception of the work.  5 contributed works in this elusive genre.3  Works by artists such as these don?t seek to marry different, well-defined genres on stage so much the works assume their fusion at a fundamental creative level.   A musical work such as Goebbels?s I Went to the House but did Not Enter is hardly conceivable without staging, while Wilson?s theatrical CIVIL WarS would not exist if it weren?t for the scores of different contemporary composers.4    What sets works like these outside the realm of the traditional forms of opera and musical theatre varies from case to case.  In some cases it is conceptual music whose message is deepened by a visual element; in others it is a narrative that relies on rhythm, song, or perhaps the abstract counterpoint of incidental music to fulfill its potential.  Both music and theatre underwent major early twentieth century revolutions and emerged from them in similarly fragmented ways.  While one general path sought to expand the language of the respective mediums with ever increasing degrees of complexity and hybridity, another took a more detached, semiological route.  In this latter tradition, words, musical gestures, and physical things were objectified and organized to express some underlying conceptual meaning.  For example, in John Cage?s 1952 work 4?33?, the notion of ?music? becomes any sound occurring in the concert hall during performance as the musicians remain unplaying onstage, often as a theatrical still life.5  Since then, composers have continued to advance this type of work in subtle and intuitive directions, drawing text, theatre, and music from the same palette to create a vast spectrum of styles and genres.6                                                  3 Eric Salzman and Thomas Desi, The New Music Theater (Oxford: Oxford University Press, 2008), 4 ? 10. 4 Philip Glass, ?It?s a state of attention,? in Robert Wilson from Within, ed. Margery Arent Safir (Paris: The Arts Arena, 2011), 113. 5 Stephen Walsh, ?The Action Drama and the Still Life: Enescu, Stravinsky, and Oedipus? in Ancient Drama in Music for the Modern Stage, ed. Peter Brown and Suzana Ograjensek (Oxford: Oxford University Press, 2010), 315. 6 Lucy Walker, ?Essays on Music and the Spoken Word and on Surveying the Field,? Music and Letters 88, no. 2 (May 2007): 385-390.  6 1.2 Situating Hover on the Music Theatre Spectrum  In the case of a spectrum whose extremes are defined by, on the one end, clear relationships between meaning and the materials that convey it (i.e. music, text, action) and complex or ambiguous relationships on the other, Hover falls somewhere in the middle.  While not as abstract as, for example, Philip Glass?s and Robert Wilson?s Einstein on the Beach or Heiner Goebbels?s I Went to the House but did Not Enter ? pieces that contain actions inviting a good degree of conjecture as to their meaning7 ? Hover may nonetheless remain elusive on a first viewing in terms of its language and the messages it aims to convey.  This enigmatic quality is embodied most readily by the symbolic nature of the characters and their highly stylized speech patterns.  The characters? archetypical natures are demonstrated most simply by their names (?The Dreamer?, ?The Traveler?, ?The Diver?, ?The Anesthesiologist?, etc.), while the repetition, distillation, and fragmentation of text can often give the work an unnatural tenor (see Example 2.7b  for instance).  Further challenging an easy read of the show is the ambiguity of place that pervades the libretto, or what I call more constructively a ?confluence of settings?.  In the middle of Act II, for example, it may be strangely jolting how effortlessly the Chorus moves from the 16th century to the 20th century to the 21st century in the span of about 5 minutes without scene or costume change.  Fortunately there is a mechanism in place that quells the potential objection to such ludicrous time travel, and that is the mechanism of the dream.  In a dream, anything is possible, which could be either liberating or paralyzing, given the lack of limitations or                                                                                                                                              7  Salzman, New Music Theater, 93.  7 restraints.8  I owe my safe navigation of this sea of possibility to an approach that allowed for both intuition and rigor in the composition process: the former applied to stylistic choices, the latter to texture, orchestration, and structure.  The simplest and most obvious delineation of style separates the three time periods in question: the present, the turn of the 20th century, and the late-16th century.  At times sharply juxtaposed from one moment to the next, at other times overlapping in concurrent layers, these styles owe much to composers that lived during these times, at times even directly quoting or adapting existing material towards dramatic purposes.  Baroque composers of motets or guitar music, such as Tom?s Luis de Victoria and Alonso Mudarra, are manifested in the score during Spanish Inquisition scenes, while elements of Stravinsky and Weill informed the music of The Diver?s routine (based on Harry Houdini and his acts).      However disparate these styles may be, my aim is to unite them in a musical landscape that is consistent and contemporary through orchestration, rhythm, harmony, and melody, not to mention the treatment of the voice.  While certain aspects of these I dare claim as original, I readily acknowledge that the development of a personal style is a slow process, and that my musical language ? in Hover and in general ? draws on a number of composers whose work has resonated with me throughout my life.9                                                     8 Igor Stravinsky, An Autobiography (New York: W.W. Norton & Company, 1998), 131-132.   Stravinsky?s view that restraints are essential in achieving a work of art is one that I share.   9 A short list of these would include: Claude Debussy and George Crumb ? for orchestration, harmony, and colour; Kurt Weill and Stephen Sondheim ? rhythm, and vocal melody (and Weill for instrumentation); Louis Andriessen and the post-minimalists (Michael Gordon, in particular) ? for rhythm, harmony, and texture (and use of the spoken voice in the case of Andriessen); and R. Murray Schafer and Harry Partch ? for theories and concepts regarding music and drama, and performance practice (not to mention temperament in the case of Partch).   8 1.3 Some Examples of My Past Work that Give Precedent to Hover  The following three examples are drawn from works written during my doctoral studies that helped me to refine many things that would come into play during Hover?s composition process: my orchestrational approach to medium-sized chamber ensemble writing; my palette of vocal expression (including chant, rhythmicized speech, sprechstimme, spoken word, and standard prosodic text setting); and what I would call certain colouristic and textural trademarks.  These trademarks include: the occasional use of non-standard temperaments and microtonal inflections; electro-acoustic elements such as filters, samples and the orchestrated simulation of electro-acoustic effects; controlled improvisatory passages; the ?vertical? overlapping of varying strata; and the use of flowing eighth notes or tuplets to help tie together sections of complex meter.   Example 1.1 ? Congruency Excerpt To the left is an excerpt from my work Congruency for large chamber ensemble.  In this work, the main question I address is how smaller components fit (or don?t fit) into larger components without losing their proper identities, a very malleable concept which can be transmuted to notes, parts, phonemes, individuals, countries, etc. This example is important for it shows early usages of improvisatory figures (see the box in the clarinet part), multiple vocal styles within the context of one work, and thick counterpoint used to achieve a composite impression of the sum of parts.  9  This desire to intentionally blend elements, to soften the distinction of lines, and in many ways to undermine interpreting the piece any one specific way, was carried further in my song          cycle from 2012, Songs from the Rainshadow?s      Edge, or Selflessness.  The driving concept of the piece is in many ways exactly this notion of relativity in viewing one?s self and the world. I tried to convey this lack of grounding through minute discrepancies in tuning between instruments (as well as through the use of              Example 1.2 ? Songs from the Rainshadow?s Edge Mvt.5 ?mis-tuned? instruments such as gongs and a toy piano), tremolo background textures, the sustain of instruments such as the electric guitar and vibraphone, and finally through orchestrated electro-acoustic effects such as backwards tape direction, feedback swells, and echo delays.  This work also saw extensive usage of improvisation and spoken word (see Example 1.2).  The 2011 chamber opera Shadow Catch (libretto by Daphne Marlatt), for which I contributed one of four acts, was a landmark work for me both in that it was the first opera of mine to receive a full production and in that it provided me an opportunity to explore many ideas on which I had been cogitating for years prior.  Among these was the role of the running eighth note in sections of complex meter, as well as expanded use of the singer?s expressive capabilities as dramatic performer (particularly in a chamber chorus  10 role).  In the following and final example (1.3), both of these are featured, the latter demonstrated by contour-defined rhythmicized  speech (the one-line staves), freely spoken  lines, sung text, and body percussion all          Example 1.3 ? Shadow Catch, Act II Memory Song synthesized together.    Going back to a notion mentioned earlier (apart from this assortment of musical idiosyncrasies), what the last two examples share both with each other and with Hover is their association with the dream as context and motivating concept.  What?s more, each assumes as a starting point the assertion that dream and life are interchangeable,10 and from this assumption they move forward to further deconstruct the components of the real. At the end of Act II of Shadow Catch, in the wake of a ghost?s disappearance, the waki (a witness to this act) asks: ?Whose dream was that?  Was I / in his?  Or was he in mine??.  In Songs from the Rainshadow?s Edge, or Selflessness, the comparable philosophy is summed up with a stanza from Movement V: ??but what dreams in slumber/ My dreaming self does dredge/ Up still recall the other/ Side of rainshadow?s edge-/ Where thunder clouds roll off,/ And life?s film, scarce begun,/ Is skimmed to ?morrow?s trough,/ Revealing us as one-?.  In the same vein, in the opening aria from Hover, The Dreamer sings, ?when I?m awake/ it?s like I?m dreaming,/ and I dream only to wake?.                                                   10 See for example Schopenhauer?s work.  Arthur Schopenhauer, The World as Will and Idea (London: Tr?bner & Co, 1886), 9.   11 Many twentieth-century psychological theories, while perhaps eschewing this approach to life and dream as flip sides of a coin, would at least advise analyzing dreams to glean insight into one?s waking, primary life.11  Returning to the comparison of the opening remarks of this document then, if this discussion is the post-somatic investigation, the creative process must be the dream itself.  However, if in this dream (and thus in the creative process that yielded Hover) anything is possible, on what grounds can Hover?s compositional inner workings be analyzed with any degree of objectivity?   Chapters 2 ? 4  show how, far from being relieved of responsibility, it fell to the composer to convey the ephemeral quality of the setting through an organized approach to its musical materials.                                                                11 See for example the work of Jung.  C.G. Jung,  Memories, Dreams, Reflections. trans. Richard and Clara Winston. (New York: Random House, 1961) 11.   12 1.4 Personae Dramatis, Instrumentation, Concept, and Summary of Dramatic Events  As a bridge between the above discussion of Hover?s background and the subsequent discourse, the provision of a list of dramatis personae and a summary of the show?s dramatic events and their settings is provided below.     Primary Setting: A public swimming pool  Principal Characters: ? The Dreamer (mezzo-soprano), female, age 34, from the present ? The Traveler (baritone), male, age 30, from the 16th century (based on the story of Gil Perez, a Spanish soldier said to have teleported from Manila to Mexico City) ? The Diver (tenor), male, age 52, from the turn of the 20th century (based on Harry Houdini) ? Soprano ? Nurse 1/Tribunal 1/Audience 1 ? Alto ? Nurse 2/Tribunal 2/Audience 2 ? Tenor ? Doctor/Tribunal 3/Audience 3 ? Bass ? Anesthesiologist/Head of Tribunal/Audience Puncher Orchestra*: ? Clarinetist, doubling on Bb   and Bass Clarinet ? Guitarist, doubling on Electric Guitar (with delay, compression, and reverb pedals) and Classical Guitar ? Percussionist; percussion list: vibraphone, glockenspiel, two suspended cymbals, high-hat, two toms, snare, bass drum, and tamtam  ? Violist, doubling on violin in higher passages  ? Double bassist  13 *A Note on the Ensemble ? I chose the above ensemble to respond to Hover?s:  ? dramatic needs (choosing instruments typical of various styles and periods, i.e. clarinet and kit percussion components for early jazz dance-band music); ? colouristic needs (choosing instruments that are capable of a wide-range of colouristic effects, i.e. electric guitar with pedal board, extended string techniques); ? orchestrational needs (choosing an ensemble that could provide a small chamber sound in additional to a full band sound, i.e. a large range, instruments from different choirs, melodic and harmonic instruments); ? future financial needs (keeping the ensemble relatively small and efficient to do my best to avoid prohibitive cost constraints of future productions). To carry this last point further, the doublings are exemplary of many typical pit orchestras that require a large battery of sounds from only a few players.  Two clarinets, two guitars, and all the percussion are necessary; a violin is optional based on performer experience (all high passages are playable, though some may fit more comfortably within a violin?s range).            14  The following synopsis/conceptual motivation is taken from Ms. Cuff?s own introduction to her libretto.  This would also serve as a programme note for Hover?s premiere.  The word hoax is said to have come from the magic incantation ?Hocus Pocus,? which is said to be a distortion of ?Hoc est Corpus? (this is the body).  What happens when our bodies do things that are not possible: great escapes from enclosed chambers, travel from one side of the world to the other in a minute, or wakefulness during surgery? What happens when we tell our stories and no one believes our experiences of truth or pain? There is sometimes a gap between what ?is? and what we personally know to be true. I am here but I am not. I hover but I sink so far.  This is the story of a woman, the Dreamer, and her struggle to come to terms with a traumatic event that took place one year ago. The opera begins with a swimming lesson that dissolves into a flashback/memory of the traumatic event, a ?waking? during surgery. Through recallin g the events, the Dreamer meets two important men from two different centuries. These men, the Traveler and the Diver, have also experienced moments where their bodies have performed seemingly impossible feats.   The characters undergo a journey in which they must confront issues related to personal narrative. They face profound skepticism in the telling of their own stories and become paralyzed and suspended in a moment where neither emotional nor physical movement is possible. All three must find a way to cope in the face of this skepticism and slowly and intentionally begin to dismantle cultural myths and prove that their personal stories are true and hold weight.?                           -Lindsay Cuff  15 Figure 1 ?  Salient dramatic occurrences and their settings, scene by scene   Act Scene Setting Events I 1 a public swimming pool, present day The Dreamer and ensemble engage in a swimming lesson; The Dreamer recalls an experience from one year ago  2 hospital, one year ago The Dreamer is anesthetized for surgery and begins her dream; The Traveler enters the dream-world.  3 Mexico City, 1593; dream The Traveler discovers himself in the Plaza Mayor of Mexico City and is accused of witchcraft by the Tribunal of the Spanish Inquisition for teleporting across the ocean; he is imprisoned; The Dreamer ?awakes? in her dream and discovers a pool where a water ballet occurs  4 a theatre in eastern North America, circa 1926 The Diver suddenly appears and performs his Chinese Water Torture Cell routine while the company acts as audience II 1 confluence of settings ? Mexico/Theatre/Dream The Traveler is tortured by the Inquisition; The Diver tries to prove his claim to be able to withstand any punch in his dressing room post-performance; he is mortally wounded by a punch; The Dreamer attends these events  2 hospital; one year ago;  The Dreamer is forced onto an operating table and awakens from her anesthesia  during her surgery; she tries to communicate but is paralyzed; The Diver and Traveler comfort her post-surgery III 1 swimming pool/confluence of settings The Dreamer slowly awakens; company tableau in the scene of the swimming lesson one year ago  2 swimming pool/Mexico/hospital The Traveler is acquitted with the testimony of The Dreamer; The Diver  converses with The Doctor about magic and reality; the company attends the death  of The Diver  3 confluence of settings The Dreamer comes back to the present day; end of swimming lesson, The Dreamer swims; company finale         16 Chapter 2: Concerning Interdisciplinarity in Music Theatre ? Balance, Flexibility and Using Drama Towards Stylistic Fusion   2.1 Balance and Flexibility Between Disciplines and Elements  ?I had reason to suggest two good ways of looking at the opera composer?s relationship to his text.  The text brings out or directs latent tendencies which the composer could not otherwise have realized ? in the libretto is the inspiration.  On the other hand, the composer brings his particular powers and ideals to the text, and can only succeed with such elements in it as really suit him?             -Joseph Kerman12  Made roughly fifty years ago, this observation, while perhaps worn down by the many experiments, collaborations, and spawns of the operatic genre that have occurred since, is still valid insomuch as it proposes a linear spectrum for the composer?s role in music theatre.  Once handed a dramatic text to set, a composer has it in his or her power to control in detail aspects of timing, psychology, character expression, place, and overall dramatic pace.  With these building blocks of theatre under their command, one might say that the composer in many ways is able to occupy, at least in part, the role that a director typically plays in standard, spoken theatre.  This type of power defined the composer?s role in opera well into the twentieth century, and in some cases continues to do so even into the late twentieth century in works such as Peter Maxwell Davies?s Eight Songs for a Mad King, where the drama is embedded in precise notational practice or given instruction in the score by the composer.13                                                    12 Joseph Kerman, Opera as Drama (Los Angeles: University of California Press, 1956), 142. 13 Peter Maxwell Davies, Eight Songs for a Mad King (New York: Boosey & Hawkes, 1969).  17 As one of many music theatre works whose primary concern is storytelling, Hover falls somewhere on the first half of this spectrum: the libretto serves as musical inspiration.  As illustrated in the previous summary of events, physicality is central to this libretto, and thus supporting the action (overall arc) and actions (specific) is paramount in bringing the story to life.  I immediately recognized the score?s obligation in offering this support, and thus wrote to ensure that the score works in harmony with the narrative.   Moreover, it was my intention to imbue the score with a balance not only between libretto and music, but with the potential for balance between the text (libretto and music combined) and artistic imprints from future directors and performers.     Hover?s score acknowledges this power and puts it to responsible use through a number of approaches to musical material and notation that seek to encourage these types of imprints.  The work aims for balance and flexibility in this regard through three main methods: 1) showcasing the visual/physical nature of the work through either silence/space for action to receive primary focus, or a direct scoring ?to? (or in some cases ?against?) picture;14 2) presenting the text clearly via a range of vocal techniques ?  including frequent spoken lines ? that encourage ample performative liberties; and 3) and aleatoric, improvisatory passages for all performers.    1a. There are many dramatic moments in Hover that are well served by pure silence.  On the one hand I made these decisions in order to best let the action speak purely for itself, unencumbered by competing musical expression; on the other, I am aware that silences of this nature ? that is to say those contrasted starkly with adjacent sonic gestures ? can                                                 14 Peter Larsen, Film Music, trans. John Irons (London: Reaktion Books, 2005), 15.  18 become imbued with a potential defined by this very contrast.  In Japanese Noh theatre, for example, this ?negative space? is given a name ? ma ?  and is considered to be as powerful, if not more so, than surrounding moments of sound. 1 5   In the following example, a Chorus member walks up to The Diver and punches him during the silence held by the fermata. ACT II Scene 1 The Diver is Punched a Second Time  1b. In comparison with traditional opera, Hover?s libretto itself contains a great many stage directions which propel the action forward and reveal the show?s inherently physical character.  In cases where the drama is best served by the counterpoint of an unspoken implication, a hidden emotion, or textbook dramatic irony, the music deliberately runs in opposition to what is occurring onstage (the above use of silence could be said to fall in                                                 15  Zeami, On the Art of N ! Drama , trans. Thomas Rimer and Yamazaki Masakazu (Princeton: Princeton University Press, 1984), 220.  19  this category: strong action ? no sound).  In many passages however, the music is meant to support the action directly. In these cases, the music aims to focus attention on specific (and often spectacular) theatricalities such as physical torture, acrobatics, and fly work by mirroring their rhythms. ACT II Scene 1 Water is poured down the Traveler?s throat    2. Across the music theatre spectrum, approaches to text setting vary drastically.  These range from the through-sung music dramas of Wagner to ?number? operas such as Weill?s Die Dreigroschenoper, where songs alternate with straight theatre,16 to ?intermediary? forms of expression,17  such as those found in Andriessen?s De Materie where text is often spoken with natural inflection and contour but embedded in a through-composed score                                                 16 Bertold Brecht, The Threepenny Opera, trans. Ralph Mannheim and John Willet Vintage (New York: Random House, 1976).  17 Jean -Jacques Nattiez, Music and Discourse (Princeton: Princeton University Press, 1990), 64.  B b 20 through careful placement or rhythmic notation.18  Hover falls into this latter category of hybrid work with regards to the treatment of its libretto.  Operating under the general assertion that semantic comprehension of text is vital, no fewer than six general notational methods were required to respond to the show?s needs: i) Naturally spoken text, beginning on an indicated beat ? used: to communicate expository passages containing important information; to contrast with sung passages; or colouristically, as a separate layer (where comprehension isn?t paramount) (Example 2.3a) ii) Rhythmicized speech (no contour indicated) ? used in sections requiring careful placement for semantic clarity or to suggest a specific means of declamation (Example 2.3b) iii) Rhythmicized speech (contour indicated) ? used where a specific or stylized (non-realistic) quality of speech is desired (Example 2.3c19) iv) Sprechstimme notation ? used in passages where the ?feel? (scansion and contour) of spoken word would benefit from a heightened emotive quality brought out through the suggestion of pitches and portamento (Example 2.3d) v) Hybrid of melody and speech ? used to encourage a degree of interpretive freedom in melodic passages through occasional spoken interjections and/or half-intoned pitches (Example 2.3e) vi) Traditional notation ? used to present important melodic material or in sections of recitative (Example 2.3f).                                                  18 Louis Andriessen, De Materie, with the ASKO Ensemble, dir. Reinbert de Leeuw, recorded February 26, June 29 and 30, 1994, Nonesuch 79367, 1996, CD. 19 This setting was transcribed in part from wax cylinder recordings of Houdini?s own introduction to his Water Torture Cell act.  Harry Houdini, ?Edison Machine Rehearsal?, 1914, Adobe Flash audio, Internet Archive, http://archive.org/details/HarryHoudini.  21        22 3. Emblematic of the aforementioned balance of elements to which Hover strives, methods i, ii, and iv of the above section encourage a greater degree of input on the part of the performer or director than one might find in traditionally notated vocal music.  This advocacy for a type of controlled artistic freedom in performing the work is also demonstrated by the many other aleatoric and improvisatory sections contained in the score.  Found in nearly all parts, these gestures are notated with boxes and arrows, notes without stems, or within meterless passages, and they address an assortment of needs and goals.  Examples 2.4a and 2.4b show a couple of these along with the corresponding logic behind their usage.                        23 Acting as a transition between Act III Scenes 1 and 2, this passage features unmetered measures and a number of fermatas to allow for flexibility in staging and timing.    To prepare for his Chinese Water Torture Cell Act, the staging of which places theatrical timing in a position of primary importance, the Diver is given repetitive material that can be interpreted in many ways and for lengths corresponding to the raising and lower of the ropes that keep him suspended.        24 2.2 Connections Between Musical Style and Drama  As mentioned in the introduction, one of my aims in composing Hover was to amalgamate different modes of expression into a cohesive language.  Once again, it is a question of situating the approaches to style along a linear spectrum whose extremes are juxtaposition/allusion on the one end, and fusion/adaptation on the other.   In the first case, musical objects retain defining characteristics of their original identity though they may be placed in contrast to one other either vertically or horizontally in the score (original identity refers to either a direct quotation or an obvious allusion to an existing style, i.e. motet, swing, etc.).     The beginning of Act II contains examples of both.  Example 2.5 shows an overlapping of several strata ? a recitative-style vocal line, a slowly-evolving layer of sustained background ?noise?, a direct quote from of a Mudarra guitar fantasia (popular in the  25  Spanish speaking world in the 16 th century20), and another vocal line l oosely echoing the guitar in a quiet hum.  Occurring simultaneously, these elements form a ?vertical?, or simultaneous composite impression (recall Chapter One?s discussion of Congruency and Songs from the Rainshadow?s Edge, or Selflessness ) that contrasts  with the section that immediately follows in a sequential juxtaposition (Example 2.6). The gestures that characterize this next passage are transparent in their allusion to early twentieth century popular music; the melodramatic ragtime chords that announce the end of The Diver?s routine have a framing function for the blues-derived number that follows.  This unapologetic borrowing of musical styles from the past ? in the first case an exact replica of a baroque work, in the second an appropriation of early jazz ? is no accident.  What these examples share beyond a historically derived simplicity is their common role as diegetic functions within the drama.  The dramatic importance of diegetic music, or music that is located within the action (a song the ch aracters themselves can hear, for                                                 20 James Sparks Tyler, The Guitar and its Music: From the Renaissance to the Classial Era (Oxford: Oxford University Press, 2002), 7.  Bb 26 example),21 can range from inconsequential (for example, removing the guitar excerpt from Example 2.5 wouldn?t jeopardize the drama) to nearly indispensable (as in the case of The Diver?s show music, de rigeur in the case of turn-of-the-century vaudeville). To avoid any incongruities with the setting, the presence of diegetic music within period dramas naturally gives rise to the compositional choice of employing historical styles, often less musically sophisticated than the non-diegetic, ?pit? music.22  Such is the case with these examples.   As one of three criteria that render the style of a given diegetic excerpt credible, Robbert van der Lek, in his study of Korngold?s Die Tote Stadt, lists as a reason: ?The harmony is extremely simple: it is entirely diatonic (without even a secondary dominant)??ein altes Lied??.23    This informative study goes on to explore how musical objects such as these interact with and even inform materials in the surrounding score, an interaction especially relevant in the case of The Diver?s aria in Act II.  In this case, a transformation from a simple song into a harmonically and rhythmically complex hybrid aria also reflects a journey from one end of the style-approach spectrum to the other.                                                 21 Robert Van der Lek, Diegetic Music in Opera and Film: A Similarity Between Two Genres of Drama Analysed in Works by Erich Wolfgang Korngold (1897 ? 1957) (Amsterdam: Editions Rodopi, 1991), 33.  22 I?m referring to off-stage music, or music that the characters do not hear. 23 Van der Lek, Diegetic Music in Opera and Film, 70.  27   Examples 2.6 through 2.7b provide a kind of flow chart that maps this evolution:  from show music (Ex. 2.6 note how the choice of instrumentation, a high-hat and a classical guitar, reflects the diegesis), to informal performance inciting a punching demonstration (Ex. 2.7a), to a fusion of the previous examples (Ex. 2.7b).  The point at which the music relocated from inside the action to outside is hopefully debatable, as the point of this development is to bring us away from the outer, physical struggle, and into The Diver?s interior, spiritual struggle.  This is a place that, while influenced no doubt by the music his ears hear, is more complex, psychological, and profound, and thus is best supported by a non-diegetic treatment.   Bass 28  This journey leads to the final example (2.7c), where the subtle presence of multudinous strata interpolated from the previous examples is barely discernible.  They have been fused and re-fragmented to bring The Diver?s being at odds with his environment into sharp relief.  Complementing this type of fusion, where the act of bringing disparate themes together to create something new occurs in a step-by-step, transparent process over time, is a different notion of fusion ? the adaptation of preexisting styles.  In many instances, such as the first of The Diver examples above (3.7a), and in the motet-style setting of the Tribunal material, instead of direct quotes I have adapted aspects of swing and, in example 2.8, late renaissance style simply to suggest other eras (though the chant that begins the excerpt is drawn directly from the Credo incipit24).                                                   24  Nicola A. Montani, The St. Gregory Hymnal and Catholic Choir Book (Philadelphia: St. Gregory Guild, 1920), 415, http://archive.org/details/stgregoryhymnal00montgoog. Bass 29 Yet another method of fusion is the more subtle means of recontextualization.  By embedding one well-encoded semiological object in a foreign environment, a type of fusion has occurred; that is to say, two separate elements have been brought together, if only conceptually speaking, to create something new.  One method of achieving this in Hover is through orchestration and colour.  For example, a temporal fusion is achieved through integrating sounds that signify contemporary or late 20th century popular cultural movements, such as an e-bow on an electric guitar or the vibrato of a Hammond/Leslie rotor combination,25 into the larger context of late renaissance polyphony and morality play (see Example 2.9).  This occurs through both extrageneric and congeneric means.26 The former, having to do with referencing non-motivic phenomena, begs the listener to consider two different historical movements simultaneously. The latter, having to do with referencing specific musical material within the work, unites The Traveler with The Dreamer by harkening back to the electric guitar colours, folk finger-picking style, and sustained, slightly de-tuned chords, that begin the work in the present day and accompany her opening aria.  In Chapter Four, the notion of fusion will be further explored, though on formal and conceptual levels.                                                      25  An e-bow is an electronic device that ?bows? an electric guitar string by means of a battery-produced electromagnetic field exerted on the string; a Hammond/Leslie combination is an organ/amplifier combination typical of gospel and 1960?s folk rock, among other popular styles. 26  Wilson Coker, Musical Meaning, A Theoretical Introduction (New York: Free Press, 1972), 34.   Bass Cl. 30 Chapter 3: Musical Materials ? Harmonic Devices and Progressions, Melodic Motives, and Other Considerations  The background provided in Chapter Two provides the reader with an idea of my aesthetic inclinations.  To reiterate and summarize, however, here are a few salient features of my compositional language that are manifest in Hover:  i) extended, jazz-derived harmonies made up of stacked thirds ii) frequent juxtaposition of two or more collections, either in closed position (resulting in highly extended harmonies) or separated by range into independent strata, resulting in polychords iii) occasional microtonal shifts of the composite vertical sonority iv) harmonic progressions and rhythms that draw on a combination of impressionistic, late Romantic/early modern, jazz, and folk styles v) a strong sense of modality in linear material, both melodic/foreground and background.          31 3.1 Salient Harmonic Devices          Much in the same way that material can be stylistically juxtaposed to mark a transition or show myriad influences, so can two or more harmonic collections be used simultaneously or in close proximity.  The simplest and most localized example of this is when a ?foreign? sonority ? that is to say a harmonic event that has been given little or no precedent in preceding idiomatic material27 ? is introduced in order to reflect a specific change in the action or text.  The first of these ? a quick, microtonal shift downward of the entire D major (quarter-tone flat) sonority in Act I Scene I (m. 12) ? implies not only the superficial act of The Dreamer submerging herself in water, but, given that the harmony does not ?recover? from this (i.e. shift back upward) when she reemerges, it aims to imply a permanent shift in consciousness.    Not long after this, during The Dreamer?s aria depicting her traumatic hospital experience, she sings: ?something happened in the in -between/when I was lying on the table/something horrible? (see mm. 57 ? 76 in the attached score).                                                 27  This is assuming a listenership with a knowledge base of Weste rn styles. Example 3.1 32 The peak of this phrase, as indicated by heightened dynamic, pitch, and density of texture, is embodied by a clear juxtaposition of two sonorities: a polychord of   !  G Eb major. Though the range is filled from E b 1 up to D6, the E b and G are clearly demarcated in the lower and upper registers respectively, thus implying more than a composite harmony of augmented character (in jazz terminology ? E b M7 b13); rather this demarcation is a representation of two bifurcating tendencies. Touching again on the common theme of consciousness and the question of where one is located therein, this ?in-between? state is lost between two realities.  This chord can be seen in Example 3.4.  The presence of polychords also helps to announce entrances, foreshadow material, and in general to accompany transitional passages.  The above-mentioned relation between two major triads separated by a 3rd is also used extensively in The Diver?s routine, which is explored at length in the preceding section and foreshadowed by the juxtaposed harmonies of F# and A major in bar 608 of example 3.1 .  Another common juxtaposition is that of stacking a major triad with another whose root is the major 7th scale degree of the first.  For example, in ex. 3.2, the D b  is coloured by a C major chord in first inversion high above it in the electric guitar.  In functional harmony this is reminiscent of a modified common-tone diminished relationship, or in jazz terminology it is a D b M7#9#4.  Here, however, it is best described as a   ! CDb polychord used to suggest ambiguity of The Dreamer?s perception as The Diver enters and her flashback begins.  This chord also reflects a more general motion from D b  to C major through the transition from the present  33  day backwards in time to a swimming lesson (which itself takes the form of a vintage swing number in C major with many borrowed chords).   While the harmonic phenomena and the reasons behind their implementation may be too many to enumerate in the scope of this discussion, it will be worthwhile to point out at least one more harmonic mechanism and its function: that of the pedal tone.  In Hover, the role of this age-old tool is multifold, ranging from abstract symbol representing an unrelenting force (i.e. that of religious or scientific dogma, as in Example 3.3a), to traditional harmonic device (see the instrumental segment in Example 3.3b), to dramatic implement used either to release tension by  underpinning fragmented harmonies as they slowly crystallize as one chordal sonority, or to build tension by acting as a context against which other superimposed harmonies ascend (i.e. in Example 3.3c ).    B  Cl.b 34                    Bass Cl. 35  3.2 Sample Har monic Progression, Analysis, and Overview of Major Key Centres   This last example also shows the role of triadic relationships as they are spun out into progressions that briefly tonicize key areas related by thirds (i.e. G ? B), a manifestation of one neo-Romantic influence on Hover?s harmonic writing.  In other cases these progressions  follow  simple  patterns  that  borrow  modal  tendencies  from  folk   idioms;  Example 3.4                              occasionally, however, these are used in combination with late Romantic style and with jazz harmony, a union that yields some of Hover?s more sophisticated harmonic writing.  For example, The Dreamer?s opening aria begins with a simple, recurring progression of B b m  ?  D b /A b  ?  A bsus4  ? G b M7 (a recurring version of which is featured prominently in Act III).  The simplicity, minor character, and falling bass line of these changes (not to mention the guitar that carries them) suggest a contemporary folk idiom, and are appropriate for The Dreamer?s setting and melancholy outlook at the beginning of the show.  However, the theme develops along with her exposition through harmonic territory that can be best described as a contemporary jazz/neo -Romantic -influenced mixture of extended tonality before settling again in the B b m - D b M territory.  A harmonic analysis of mm. 57 ? 76 is outlined below: as the passage is extended, please refer to the score itself for the full example. B b minor is indicated as this functions as tonic for the majority of the aria, but D b is the initial point of departure and final point of return.   B  Cl.b 36  Figure 2 ? Harmonic Analysis of mm. 57 ? 76   Bar:    57  58           59  60          61     62     63       64          65          66                          D b      B b m          D b /A b        A b sus         G b M7     G b M7#11       E b m7    G b M7#11      E b m7         BM13     D b :  I* vi I 6/4                       V 4 ? (3)            IV 7                    IV            B b m:   i           III 6/4  VII 4 ? (3)   VI 7          VI        G b : I              vi                       I                vi                      IV     67        68          69           70           71           72           73           74          75          76          EM13#4         ! G Eb     !  GB          !  G7B7      FM7 #13    D b M7 #13        ! DbA           !  AM7Ab    D b M7                            (G b): VII                       E b : bII (Fr+6)  I             (VI ? Lyd. Dom. cluster ? Tritone exchange)  VII                                 D b (alt):    III                I     VI  (VI)           I                     (cycle of dominant-functioning M3rds)                         A b: V         IV      bII     I                     D b :       V/V                       V              I               *Roman numeral analysis is oversimplified for the sake of clarity; also, its influence on the harmonic development is only marginally functional in the traditional sense of the term.  The harmonic intrigue starts in bar 62 with the tonicization of the subdominant of G b, which is achieved by means of a structural accent placing it at the beginning of a four bar phrase in addition to a registral accent in the low bass.  At first it seems another simple progression will ensue until an unexpected event ? a harmonic and hypermetric accent (and the first polychord discussed above) ? occurs in bar 68.  Due to the salient, quasi-cadential E ? E b motion in the bass it appears that the latter has been tonicized through this tritone dominant substitution (flat II) and through the durational accent of two bars that follows.  There are significant threats to this harmonic stability, however.  One is the G major component of the polychord which persists throughout four bars.  The other is the loss of low register as the bass moves upwards from E b to B, joining the other instruments in an inversion of the previous polychord.    37 With the introduction of new pitches F and A in bar 71 creating the more complex polychord    !  G7B7 , the passage has reached a place of tonal ambiguity best described as a cluster with both Lydian augmented and octatonic characteristics.  The pitches of this cluster are B ? D ? D# ?  F ? F# ? G ? A, also suggesting the Lydian dominant mode of the acoustic scale28.  At this point, it might be still possible to hear the B and E b as two poles of a submediant-as-dominant / tonic relationship,29 but this likely would not endure the following jarring, downward tritone motion in the bass (note the word painting: ?something broke between my mind and body?).  The previous collection (an octatonic tetrachord stacked with a whole tone segment, B ? C ? D ? D# - F ? G ? A) has been exchanged for a collection that is very nearly the mirror of this (that is to say a whole tone segment stacked with an octatonic tetrachord) through this tritone motion.  Because of this, I call it a ?tritone exchange? in Figure 2 above.  This continues downward through a sequence of M7#13 chords with roots related by major thirds (F ; D b ; A), a harmonic mechanism, though with Romantic precedent,30 that draws largely on mid-twentieth century developments by jazz composers (i.e. John Coltrane31).     The last of these chords, in bar 74, coincides with the structural highpoint of the phrase, which is defined by registral and dynamic accents, a textural density, and the multi-functional quality of the polychord   !  DbA.  In the wake of the preceding bars, which had (though weakly) proposed E b as a tonal center, and in light of the following A ? A b motion                                                 28 Dmitri Tymoczko, A Geometry of Music, Harmony and Counterpoint in the Extended Common Practice (New York : Oxford University Press, 2011), 365 ? 370.  29 David Kopp, Chromatic Transformations in Nineteenth-Century Music (Nyack: Cambridge University Press,  2002), 107. 30 Ibid. p. 19. 31 Jeff Bair, ?Cyclic Patterns in John Coltrane?s Melodic Vocabulary as Influence by Nicolas Slonimsky?s Thesaurus of Scales and Melodic Patters: An Analysis of Selected Improvisations? (DMA dissertation, University of North Texas, 2003), 34, http://digital.library.unt.edu/ark:/67531/metadc4348/m2/1/high_res/dissertation.pdf.  38 in the bass, which had already been established as a tritone dominant substitution-tonic relationship, it may be possible to hear this as the cadence in the key of A b despite the A major component of the polychord, which could be merely waiting to resolve downward by half-step, bringing the chord ?into focus?. The following bar, however, continues on to D b M7. Two local harmonic features help ensure that this is experienced as the true point of arrival: a traditional V ? I motion in the bass; and a I I I ?  I substitute dominant ? tonic relationship in the upper register (note ?alternate? analysis).  Moreover, besides the fact that we know this to be the key of departure, a view of the large-scale harmonic motion reveals a very traditional organization around closely-related key areas  ?  those of B b m,  G b , E b , and A b.  Though few excerpts push the envelope of this chromatic development further (see for example the transition between Acts II and III discussed in Chapter Four), this passage nonetheless helps to ?set the stage? with some key primordial harmonic traits that will be explored throughout the work on various levels.  These traits include: the presence of modal clusters; the strong modal role of VII in important themes (or, in many cases v or v6); the juxtaposition of traditional progressions with more complex harmonic events; and, harmonic motion by mediant relationships. Indeed, mediant relationships influence the work?s harmonic organization not only on the local level (as is demonstrated by the above discussion), but on the large-scale plan of the work, where evidence of them can be seen relating major key areas that define the main characters.       39   Figure 3 ? Overview of Key Centres with Corresponding Dramatic Foci  For example, as is shown in Figure 3, the entire work hinges loosely on an axis of D / D b that takes the Dreamer from her opening material to her finish with the entire company, whereas The Traveler and Diver material  often explores modes whose key centres are F# and F.  Furthermore, mediant motion can be seen in Figure 3 in local arias and transitional passages, as well as in The Chorus (as Tribunal) material which often mimics that of the main characters.  Though it would be possible to continue exploring further on purely harmonic grounds, it might be more enlightening to take note of mediant motion and other attributes discussed above while inspecting some examples of Hover?s important melodic motives in the following chapter.            40  3.3 Important Melodic Themes   The following section is not an attempt to reduce melodic signifiers to cellular, immodifiable units, but rather to introduce salient linear motives in their simplest genetic state.  As Chapter Four?s discussion is about Hover?s form and how it is delineated by the development of these motives, my goal here is to provide enough information to make them traceable when said discussion occurs.  The examples provided are organized by major character.  Even though the individual chorus members are unique characters in their own right, it is the traits they exhibit as a whole that are most recognizable in continued iterations throughout the majority of the work; as such, they will be treated as a unit in this section.    The Dreamer?s theme/Fragment of Hover?s main theme       bB  Cl. 41 Two primary Diver themes   Two primary Traveler themes     Bass Cl. 42 At first glance, these themes32 may appear to possess certain similarities: they are in common time; they are mostly defined by stepwise motion or small intervalic leaps; they unfold at similar tempi (though this is not evident in the examples); they are accompanied by similar rhythmic structures; the harmonic motion is regular; and the harmonic progressions are reminiscent of the examples explored in the previous section.  A detailed look, however, rewards further analysis of the score by revealing subtle, constitutional features that propagate and morph as the show goes on.  Important features of The Dreamer theme:  ? repetition of scale degree 5 from anacrusis into downbeat before moving to scale degree 1  ? motion to v and to VII7 respectively in bars two and four33 ? triplet motive exploring upper extensions of a IV M9 chord ? presence of flat sixth scale degree at key structural point of phrase This material is later revealed as a component of the show?s final, and thus principal theme, though it is extended in length and explored with different harmonic treatments in later iterations.  Important features of the ?Diver? theme (Examples 3.6?a? and ?b?): ? (a) modal mixture, including Lydian and Mixolydian elements, as well as borrowed notes from the blues scale and parallel keys  ? (a) swung rhythm ? (b) notable presence of borrowed harmonies v7 and VII in a major key                                                 32  When I refer to ?themes?, I am speaking generally of  ?incarnations? or versions of motivic ideas. 33  These four bars develop later into an eight-measure, sentence-like phrase.  43 ?  (b) Scale degree 5 is used as an axis around which the melody turns  (which is not the case in material with the other characters), implying a stasis representative of the containment, or ?box?, in which his routine places him.  Important features of the ?Traveler? theme: ?  (a) use of all degrees of Lydian mode except 1 over I  ? iv harmonic motion; This theme ? the ?Ordinary Man? theme ? is featured prominently in Act III. ?  (b) rising and falling stepwise motion of the melody ?  (b) importance of  b VI, both directly from I  and from vi, coinciding with peak of stepwise melodic motion ?  (b) alternance of Mixolydian and Lydian modes ?  (b) harmonic importance of VII4/3 and anticipation of resolution to I  through syncopation and harmonic displacement  Far from functioning as a traditional opera chorus, the four singers given the titles of soprano, alto, tenor, and bass occupy a plethora of roles within the drama and are required to negotiate some the work?s thornier vocal writing.  Throughout most of the drama, they play the ?other? to the Dreamer-Diver-Traveler triumvirate, embodying abstract ideas such as homogeny, dogma, rigidity, and group mentality.  In most instances, they function as an ensemble, this in and of itself reflecting the nature of these ideas. Compositionally, these characteristics are showcased in many different ways, some of the primary ones being: ?  homophony ?  repetition ?  imitation  44 ? angular rhythms (i.e. ones that do not always scan naturally).34  Example 3.8 shows but one example of my writing for the chorus.  In this short excerpt ? which they sing as the Tribunal of the 16th century Spanish Inquisition ? homophony, repetition, and to some degree unnatural scansion are all at play.                                                             34  This trait may not necessarily betray the underlying characteristics in obvious ways, but I see it as machine-like, industrial, and thus mass-produced; incidentally, see the description of the ?water tank? below for further insights into my thinking along these lines.  45  3.4 Some Instrumental Motives and Textural Cons iderations   Some of the compositional techniques employed in Hover do draw on traditional operatic conventions,35  and in efforts to elucidate some significant dramatic concepts ? both concrete and abstract ? I found the use of musical signifiers necessary.  These take the form of encoded musical references such as rising and descending lines36  and heartbeat rhythms (see Example 3.12),37 as well as some more obscure or originally ?coined? musical metaphors concerning rhythms and textures.  For example, I have already pointed out the significance of the composite harmony descending by a quarter-tone or semitone in the review of harmonic devices above; similarly, the rising chromatic line has a role to play, if not more than one, in telling the tale.  In fact, these two devices set up a spectrum of directionality that is intended to embody various transitions between levels of consciousness, especially for The Dreamer.                                                    35 I?m speaking of the leitmotif, though this term may oversimplify the goals at hand. 36 Nattiez, Music and Discourse, 119.  37 The idea of attributing a leitmotif to a heartbeat is hardly original (see for example the tuplet motive in Strauss?s Tod und Verkl?rung); its potential use in this show, dramatically as stressor and relaxor, and musically as rhythmic propellent was, however, too great to pass up. Bass Cl. 46 The first time we encounter the rising chromatic line is during The Dreamer?s descent into her anesthetized state in Act I, taking the form of an extended upwards gliss in the viola and slower chromatic rise in the vibraphone and guitar while the double bass moves downward by half-step, all of this set against a pedal D syncopated pulse (see Example 3.10).  The decision to use a rising line to depict someone ?going under?  was made in part to show that she has detached from any sense of groundedness she may have possessed.  Still in another way, it reflects rising to an out-of-body experience.  Finally, it foreshadows her being lifted by her feet, prostrate, upwards to the ceiling at the end of Act II.  It may come as no surprise that the notion of directionality bears a great deal of weight in a piece entitled Hover.  While the upwards leading chromatic line is perhaps a common symbol of movement in physical or conceptual vertical space,38 there are other rhythmic features that denote extra-musical ideas, though they may not be as direct in their abilities to reference a common or concrete idea to the average listener.  It may be only the composer?s own motivations that formulate the shape and function of musical motives, but through multiple iterations, mutation, and self-referencing, the hope is that they aid in carrying ideas forth and supporting the dramatic form.  Much in the same way that they constitute a sort of rhythmic DNA in pieces like Shadow Catch, the tuplet, winding its way                                                 38  Nattiez, Music and Discourse, 123.  47 across various metrical structures with contour and pulsation, has come to signify change and fluidity in my music.  Given Hover?s aquatic setting, what better subject for a motivic rhythm defined by fluidity than water?  In the show, water is used as both a prop (a medium in which a synchronized swimming ballet can take place) and a metaphor (a medium through which to transcend time, space, and consciousness), and the compositional treatment of the tuplet motive reflects this.  Example 3.9 occurs during The Dreamer?s dream after The Traveler is accused.  It is intended as an orchestrated ripple, a soothing force for her in this strange world, and as an announcement for the water ballet that will follow.   During the climactic tableau of the piece, which happens in Act III Scene 2, the words ?Room 401, Corridor D / Can?t contain you? are sung, referring both to The Dreamer?s hospital room, and to the hospital room where The Diver finally expires.39  The idea of containment ? physical, spiritual, and how the two are related ? is fundamental to the work, and it is no coincidence that water?s ephemeral quality is in direct contrast to this.  The tension created by the opposing forces of containment and release is embodied                                                 39 The model for the latter ? Harry Houdini ? actually died in room 401 in Detroit?s Grace Hospital having done so from repeated blows to the abdomen. Wikipedia, ?Harry Houdini,? last modified August 15, 2013, http://en.wikipedia.org/wiki/Harry_Houdini Bass Cl. 48 onstage by the show?s central prop: a human-sized water tank.  This indispensable object?s salient musical theme was composed to act in direct opposition to the horizontal, flowing quality of water?s tuplets. A ?vertical?, hypermetrical superimposition of different themes results in a texture so thick that nearly each beat has an accent of some sort.  The horizontal and vertical sonic crowding in the passage reflects the bonds that contain the various characters40 (note that this material surfaces again after The Diver?s punching routine in Act II Scene 2).    Texture is also used in dynamic ways to support transitions of both setting and mentality.  More often than not, it is a pointillistic breaking apart of strata that proliferate separately from one main, loud sonic event.41  In Example 3.13, however, it is a simple thinning of attack density that is meant to ?dissolve? the scene of the swimming lesson into a change of setting, namely, that of the hospital.                                                  40  One specific passage from the repertory that influenced my writing this part (particularly with regards to rhythm and grouping) was the mechanical nightingale theme in Stravinsky?s Rossignol .   41  Stefan Kostka, Materials and Techniques of Twentieth Century Music  (New Jersey: Upper Saddle River, 1990), 238. Bass Cl. 49  Music theorist Stefan Kostka defines texture as ?the relationships between the parts?at any moment in a composition?.42 Taking the idea of ?breaking apart? and stretching it out across an over-arching form, texture can also take on a larger, dramatic meaning.  Hover, like many works, is guided by the statement, deconstruction, exploration, and reconstruction of musical material. As the next chapter will demonstrate, however, it is also guided by dramatic forces that work along a similar trajectory of fragmentation and coming back together.                                                            42  Ibid. p. 222.   50  Chapter 4: The Content Dictates the Form43  ? How Materials are Used to Tell the Story  This chapter re-introduces two concepts previously discussed in this document and incorporates them into the larger context of Hover?s form. The first ? more of a reassertion of what Hover conveys in a meta-textual way (here I am speaking of the sum of its parts ? concept, text, music, stanging, performance, and interpretation44) ? concerns having one?s experience validated in the face of skepticism and how this is reflected in the work.  The second concerns the notion of fusion that only began to be abstracted from the typical, musical definition at the end of Chapter Two into something more broad-reaching.  In this case, fusion is defined not as the act of bringing two styles together so much as the act of bringing two perspectives together into the same viewpoint.  The two concepts ? validation of experience and merging of styles/perspectives ? are in fact directly related insomuch as the first is effectuated by means of the second.    Musically speaking, perspective can be communicated through melody, rhythm, harmonic motion, and texture, in other words the principal materials enumerated in the previous section. As composer of this work, I saw a unique opportunity to ?validate? the characters? experiences both: by reflecting one?s material in the voices of others to demonstrate acceptance and understanding; and by developing the various motivic strands into something new over the course of the work to reflect their new, expanded views of the world.   [Note: In the following sections, only a few examples are embedded directly in the discussion. As the passages in question are l onger, please refer instead to the indicated measures in the score attached to this document.]                                                  43  Stephen Sondheim, Finishing the Hat (New York: Knopf, 2010), xv.  4 4  Salzman, New Music Theater, 322   51 4.1 The Climax of Act II: Fragmentation, Paralysis, and Musical Hyperbole ?For nothing can be sole or whole That has not been rent? -W.B. Yeats45  If Act I is about presenting the characters, their struggles, and their principal themes, Act II is about bringing them all to their own points of paralysis, or as The Diver puts it, ?down to the ground?.  This is the epitasis or middle action of the work46 for all three central characters, though in many ways their struggles remain separate from one another during this part. With The Traveler, the point of desperation is reached through his plaintive, pleading motives that go unheard, not to mention the physical act of torturing him which is very real in the onstage drama.  We have already explored at length in Chapter II how The Diver?s material is fused and then fragmented during the punching that occurs backstage after his act, lending musical voice to his symbiotic-antagonistic relationship with his show persona ? specifically with the water tank.  As for The Dreamer, by this point she has been wandering about in a dream for some time trying to gain the attention of these two men to no avail, vaguely aware of the ordeal that awaits her.  Her own fragmentation, both psychologically and motivically speaking, is a much more sudden, violent process, leaving her bloody and paralyzed on an operating table.    How does the music lead up to and accentuate this moment, which is in many ways the climax of the piece?  Out of the final fragments of The Diver?s routine (at this point little                                                 45  William Butler Yeats, ?Crazy Jane Talks with the Bishop? in Collected Poems and Four Plays, ed. M.L. Rosenthal (New York: Scribner, 1996), 148. 46  Aristotle,  Poetics,  trans. Malcom Heath (New York: Penguin, 1996), 13.   52 more than pulsed, offbeat remnants of his show music), a new pulse begins, complemented by an electrocardiogram sample (see mm. 790 ? 800 and Example 3.12).  A variant of the triplet-duple heartbeat motive that has occurred previously (see for example mm. 680 ? 686), this serves as an ostinato through a fractured ?reprise? of Act I Scene 2?s banal hospital banter (mm. 171 ? 183), eventually becoming a sort of funeral march towards the appendectomy.  Multiple musical devices are used through this section to accentuate her struggle and support the necessary dramatic build toward the climax (mm. 860 ? 900): ? an unyielding pedal tone pulse, reflecting the unrelentingly rigid perspective of science and progress ? pronounced homophony in marcato phrases in the chorus, contrasting the horizontal, rising motion ? banality of banter between nurses, doctor, and anesthesiologist,  creating a dramatic tension between them and The Dreamer?s panicked reality ? a prolonged increase in overall attack density ? importance of the chromatic rising line, both: in The Dreamer?s part, beginning with a low, controlled arioso melody and ending in an undefined high wail; and in the accompaniment triplet motive, now imbued with a terrible connotation.  Furthermore, the large-scale harmonic motion bears a striking resemblance to that which is outlined in the harmonic analysis of The Dreamer?s opening aria in the previous chapter.  In fact, it is very nearly a direct transposition, upwards by one half-step of the second part of this phrase, informed by mediant and tritone motion and augmented Lydian modality (the former made up of E b B  F  D b and A tonal centers, the latter of D  F#  C, E and G#  53 ones).  In ot her words, all the musical elements in this passage become exaggerated versions of themselves.  Figure 3 shows the large scale harmonic motion and coinciding motivic features of this passage.  Figure 4 ? Act II Scene 2: Large -Scale Harmonic Motion and Cor responding Motivic Features  The culmination of this passage, taking place in bar 898, has a function very similar to the late-Romantic Durchbruch47: this singular (often dense and loud) sonic event symbolizes the unavoidable mechanisms of fate come to full fruition.  Here, it is the result of the increasing tension between horizontal upwards motion and punctuated verticality, highlighting the rending of The Dreamer?s mind and body which she foretold in Act I.  As the ensuing wave subsides (itself an exaggerated iteration of the pointillistic textural approach illustrated in Example 3.13), a soft pedal F#, coloured by high overtones and quiet, past motivic material, materializes.  This functions as a textural background over which The Traveler and The Diver, finally seeing The Dreamer, sing a short segment of her material as a sotto voce duet while they pick up the broken pieces of her psyche, begin to bathe her, and initiate the healing process.                                                      47  Stephen Downes, ?Hans Werner Henze as Post -Mahlerian: Anachronism, Freedom, and the Erotics of Intertextuality,? Twentieth-Century Music 1, no. 2 (September 2004), 179 ? 207.   54 4.2  Act III: Bringing the Elements Together  What follows is a purely instrumental transition between Acts II and III (mm. 930 ? 960).  This transition has a practical function ? it allows for a possible set change without breaking the flow of the work ? as well as formal functions: it offers a respite from the heightened drama of the previous passage; it supports a film made up of symbolic images such as The Dreamer holding her breath underwater and random childhood memories; and it depicts the beginning of a healing process that will lead to her reawakening.  It does this in compound meter over a winding middle ground of largely diatonic eighth notes spelling out various modes by fusing segments of The Diver?s theme (3.6b) and The Traveler?s theme (3.7b) together in an extended, neo-Romantic harmonic progression that links the major key areas of D b and F major.  The arrival point is marked by a very clear presentation of The Dreamer theme (see Examples 3.3b and 3.5).  This weaving together of disparate threads is an exceptional aspect of this pivotal passage, and it creates a precedent that the rest of the work will follow.  However, it is not the first time traits of two motivic ideas are fused.  Looking back across the events of Act II, the seeds of this tendency are first sewn in The Traveler?s melody that begins in bar 731 (also see Example 2.3f), recasting elements of The Dreamer?s theme as an old Spanish lullaby to symbolize a modicum of hope for him in his dark place.  Eventually the three are drawn into the tune as a trio, and though they do not see each other,  their counterpoint and harmony compels the belief that they are nonetheless there, together, functioning as one unit for the first time.     55 Returning to the pr?lude to Act III, then, as The Diver and The Traveler wash the blood from The Dreamer?s hospital gown in a pool of water, now seeing her struggle in clear light while previous motivic material is spun into something new by the orchestra, the process clearly becomes one of renewal. The characters have each overcome their own demons by acknowledging the struggles of others, and by having their own struggles acknowledged.  As the show moves towards its d?nouement, this acknowledgement is reflected by the transference of motivic material from one character to another, by the clarification of said motivic material, and by its change through variation, intermotivic combination, and development.     The first scene of Act III doesn?t involve a strong forward propulsion of the drama.  Instead, it functions as a slowly morphing tableau vivant48 during which The Dreamer reawakens in a quasi-metaphorical setting ? the pool on the day she ?went under? (though her dream characters are now present).  At first it feels like a recapitulation.  Simple, major diatonic harmonies give way to a syncopated pulse in the guitar that eventually spells out the same progression that underpinned The Dreamer?s opening aria.  However, this time it is The Diver that sings; his material, more than just a simple variation, brings various segments of                                                 48  Stephen Walsh, ?The Action Drama and the Still Life: Enescu, Stravinsky, and Oedipus? in Ancient Drama in Music for the Modern Stage, ed. Peter Brown and Suzana Ograjensek (Oxford: Oxford University Press, 2010), 315.  56 The Dreamer?s previous material (the t riplet motive; the 5-1-2-3-2-7 motion)  together into one cohesive melody that The Traveler eventually joins him in singing (see Example 4.1).   My intention is that, despite it being a hybrid of various themes and their variations, given all that has previously transpired, this melody will be heard as both familiar and new.   The choice of harmonic language ? overtly tonal and repetitive ? is meant to contrast the relative complexity of Act II by heralding the beginning of easier times.  Finally, for the f irst time the chorus sings from the perspective of the main characters alongside them in homophony, exhibiting a unified front from the whole company.    At this point in the show, due to the particular dramatic occurences, the transitions between drastically different settings, and the dream quality of the music, it is the creators? intention that an overlapping of time and space won?t seem at all contestable from the audience perspective.  For when The Dreamer awakes, she does so to assist the d?nouement of her dream companions in this ?in -between? space where all times and places run together, ultimately setting them free to go where they belong.  Once again, it is by means of a transference of material between characters that their struggles are mutually acknowledged and their freedom secured.  Her testimony, proving The Traveler?s innocence, unfolds with obvious allusions to both of his main themes (see Example 4.2).  A stepwise rising and falling contour in the Lydian mode over a flowing texture in 11/8 time (3+2+3+3 / 3+3+3+2) leads to a clear iteration of the ?Ordinary Man? theme over the similar harmonic motion descending first to vi then to b VI.  This feel flows through a half -step step downwards modulation achieved through a pivot polychord of   !  GAb directly into The Diver?s final moments, which are scored with a similar meter and a hybrid harmonic progression of the Traveler and Diver themes (mm. 1090 ? 1137).    57  The Diver?s death is prolonged by a second tableau vivant (mm. 1142 ? 1177), during which all elements fit together in thick counterpoint over an instrumental texture defined by both march-like rigidity and the undulating qualities of water.  Here, and throughout this Act, the chorus takes on a decidedly more humanistic and accepting approach towards what is going on, proving that they too can transform along with the others.  We have already seen this once at the end of Act III Scene 1, but it continues on by means of the following artistic decisions: ?  Individual characters are explored in greater emotional depth; for example, the soprano shows hints of delight at The Dreamer?s testimony. ?  The Doctor also displays great sympathy at The Diver?s bedside, absorbing  and reflecting his melodic material (i.e. Traveler ? Diver hybrid).  58  ? Their text acknowledges and affirms the characters? lived experience. ? Their homophony takes on a more positive quality; this is shown in the text being sung in these moments, as well as by the inclusion of the three main characters in the homophony, showing again a cohesion of material and perspective.  Finally, The Diver, proven mortal after all, is released from his body, unable to be contained any longer by the world; The Traveler boards his boat and sets sail for the Philippines; and The Dreamer returns to the present day.  Her flashback is over, and she speaks with confidence into her field recorder, journaling observations on her recovery: ?What I know is this/?.This is my body/?.That is what happened/ I am alive/ I am awake.?  The music, fittingly, is an impressionistic wash of fragments of previous material (mm. 1191 ? 1245) ? the ?Ordinary Man? theme, The Diver?s themes (?Just me just a man? and his swimming lesson/show music material), and the water ripples theme, all glued together by a sustained, tremolo diatonic cluster in the vibraphone and a new, syncopated ?vamp? ostinato softly strummed by the violist.  As The Dreamer swims confidently to show her renewed mental and physical health, her main theme ? now the show?s main theme ? is sung by all.  Here, the four bar phrase from Example 3.5 has been completed and even extended by a short coda, reflecting in its hymn-like simplicity and hushed reverence the new-found clarity the characters possess, as well as their collective willingness to believe in what they now know to be true.        59  Concerning Interdisciplinarity in Music Theatre, Redux ? Workshopping and Staging   For many reasons, the workshopping phase has become a crucial step in bringing a work of music theatre from page to stage (often including additional steps of back to page, back to stage, and so on).  This is as much to demonstrate a work?s development history to possible financial backers as it is to glean insight into necessary revisions on the creative level.  With the assistance  of an academic grant, Ms. Cuff and I had the opportunity both to hear Hover?s music in a piano-vocal read through and explore the challenges (and advantages) inherent to staging Hover in its originally intended performance venue ? that of an indoor swimming pool ? during a staging workshop.  Taking place at the Jewish Community Centre of Greater Vancouver Aquatic Centre with full cast and ensemble, this staging workshop had the following main objectives: ? to gauge vocal (semantic) and musical (harmonic/rhyt hmic/melodic) audibility for performers and audience within reverberatory and other noise-related, acoustic constraints of the space from various distances and spatialized formats  ? to determine the degree and possible effect of other location-related performance constraints: vocal performance while half-submerged; theatrical blocking logistics of a partially aquatic stage area; and the effect of humidity and water contact on instrumental factors such as temperament and electronics ? to explore how orchestrational methods function acoustically in the space ? to attempt to gauge the experiential benefits of witnessing a production in a venue so closely related to Hover?s concept and primary setting. The final component of this workshop was a partially-staged presentation of twenty minutes-worth of material from Act I to a ?test? audience of approximately forty individuals.   The data collected during this process confirmed and revealed many  60 challenges, including: the disorientation of performers due to acoustics, room noise, humidity, and temperature; obstacles to both blocking and visuals, such as slides, posts, and windows; and venue constraints, such as circuit capacity, facility hours, and other regulations.  Through feedback and observation, Ms. Cuff and I gained insight into the work that, in addition to a better understanding of the vicissitudes listed above, also resulted in many constructive changes to its libretto and score.  Among other revisions these included the incorporation of synchronized swimmers into the action to add a choreographed layer of expression and facilitate aquatic movement for singers, as well as  score-related edits, such as the addition of a water ballet and the enhanced role of sustained background texture to reflect the impressionistic ?wash? of pool acoustics.  Finally, it was determined that staging the work in an indoor pool was not mandatory in communicating its underlying concepts.  Presenting the work in a traditional theatre (though with a pool constructed inside) might offer many advantages in terms of acoustic control, humidity, lighting and projection capability, staff, and venue access, among others.  Taking these findings into consideration, H over will continue to be workshopped at least once more before the creative team seeks ways of bringing it to full production.  Illustration 1 ? Hover Staging Workshop Presentation, July 2012. Below, Megan Morrison is seen in the role of The Dreamer, and Joshua McFaul in that of The Traveler (from Act I Scene 3).  For more photos of this workshop, please see Appendix A. phot o by Diane Smithers  ? 2012, Diane Smithers   61 Closing Remarks   In no other medium do so many artistic elements come into simultaneous collaboration as in music theatre and opera (with the exception of perhaps film, and here the potential for future collaboration ceases to exist once the product is manufactured).  With music theatre, the creation of the fixed form of the product ? that is to say the score ? is only the beginning of the work?s life.  As the contemporary musicologist Bj?rn Heile points out: ?The insight that the musical work cannot be equated with a score and that performance is more than the execution of an ideally self-sufficient text?is nowhere as seemingly self -evident as in opera. For a serious engagement with opera as a dramatic spectacle, performance must be seen as primary and the score principally as the incarnation of potential performances.?49 Far from content to leave the work in this idealized ?score? state, I have sought ways to hear and see Hover through workshopping during the creative process, and I intend to see it to full production at some point in the future.  Despite this notion of the work not truly existing until it is in the hands of performers and in the ears of the audience, however, I cannot consider the process of its musical composition as anything less than central.  No longer in the dark,  I can now see the compositional effort such a piece requires to be daunting, 50 and the responsibility of its composer immense on many levels.  To me, this responsibility meant honouring Ms. Cuff?s concept, staying true to my own musical temperament, and bringing my particular experience within the music theatre genre to the table.   I believe I have upheld these                                                 49  Bj?rn Heile, ?Recent Approaches to Experimental Music Theatre and Contemporary Opera,? Music and Letters 87, no. 1 (January 2006), 72. 50  Hover?s composition was begun in the spring of 2009 and completed in the spring of 2013.  62 goals, and in doing so completed a written work whose many elements ? libretto, stage directions, and musical materials ? are now, with my contribution, fused inextricably into one object: the score.  My hope and estimation is that it will not only withstand imprints of (hopefully) many future interpreters, but inspire them to fresh perspectives, innovative approaches, and new methods of bringing it to life.                                          63 Bibliography  Abbate, Carolyn. In Search of Opera.  Princeton University Press, 2003.  Allen, Mary Jean, Melissa Malde, and Kurt-Alexander Zeller. What Every Singer Needs to  Know About the Body. 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Diegetic Music in Opera and Film: A Similarity Between Two Genres  of Drama Analysed in Works by Erich Wolfgang Korngold (1897 ? 1957).  Amsterdam: Editions Rodopi, 1991.   Walker, Lucy, ?Essays on Music and the Spoken Word and on Surveying the Field.? Music  and Letters 88, no. 2 (May 2007): 385-390.  Wikipedia. ?Harry Houdini.? Last modified August 15, 2013.  http://en.wikipedia.org/wiki/Harry_Houdini.   66 Yeats, William Butler. Collected Poems and Four Plays . Edited by M.L. Rosenthal.  New  York: Scribner, 1996.  Zeami, On the Art of N ! Drama . Translated by Thomas Rimer and Yamazaki Masakazu.  Princeton: Princeton University Press, 1984.  67 Appendix A: Additional Workshop Photos  All photos by Diane Smithers, ? 2012, Diane Smithers  These photos were taken from a presentation workshop of scenes from Act I of Hover.  The workshop took place on July 5, 2012 at the Jack Belzberg Pool at the Jewish Community Centre of Greater Vancouver.   The workshop participants were as follows:  Music Director: Marguerite Witvoet Stage Director: Richard Wolfe Videography: Yana Kehrlein Sound recording and diffusion: Jon Bitze The Dreamer: Megan Morrison The Traveler: Joshua McFaul The Diver: Alex McMorran Nurse/Inquisitor 1: Lucy Smith Nurse/Inquisitor 2: Melanie Adams Doctor/Inquisitor: Shane Raman Anesthesiologist/Head Inquisitor: Steven B?langer Violin: Molly MacKinnon Clarinet/Bass Clarinet: Caroline Gauthier Electric Guitar: Adrian Verdejo Double-bass: Mark Haney Percussion: Brian Nesselroad Swimmer 1/choreography: Courtenay Grant Swimmer 2: Aly Plecash                            from Act I Scene 1    68                    from Act I Scene 3                         from Act I Scene 2  69            from Act I Scene 1                              from Act I Scene 3                    from Act I Scene 3   70 Appendix B: Libretto  HOVER: A Music Theatre Work in Three Acts libretto by Lindsay Cuff    Introduction to Characters and Setting    Principal Characters:  The Dreamer, female, age 34, from the present  The Traveler, male, age 30, from the 16th century   The Diver, male, age 52, from the turn of the 20th century   Chorus:  2 women (Nurse 1, Nurse 2, Members of Tribunal) 2 men (Doctor, Anesthesiologist, Head of Tribunal, Member of Tribunal, Puncher)    Setting: A public swimming pool  71  Synopsis  The word hoax is said to have come from the magic incantation ?Hocus Pocus,? which is said to be a distortion of ?Hoc est Corpus? (this is the body).   What happens when our bodies do things that are not possible: great escapes from enclosed chambers, travel from one side of the world to the other in a minute, or wakefulness during surgery? What happens when we tell our stories and no one believes our experiences of truth or pain? There is sometimes a gap between what ?is? and what we personally know to be true. I am here but I am not. I hover but I sink so far.   This is the story of a woman, the Dreamer, and her struggle to come to terms with a traumatic event that took place one year ago. The opera begins with a swimming lesson that dissolves into a flashback/memory of the traumatic event, a ?waking? during surgery. Through recalling the events, the Dreamer meets two important men from two different centuries. These men, the Traveler and the Diver, have also experienced moments where their bodies have performed seemingly impossible feats.   The characters undergo a journey in which they must confront issues related to personal narrative. They face profound skepticism in the telling of their own stories and become paralyzed and suspended in a moment where neither emotional nor physical movement is possible. All three must find a way to cope in the face of this skepticism and slowly and intentionally begin to dismantle cultural myths and prove that their personal stories are true and hold weight.  72  ACT I, Scene 1 The DREAMER walks onto the stage. She is wearing a bathing suit and holding a field recorder. Ambient sound is heard from a swimming pool. People splashing and talking, whistles blowing. She puts down her recorder and jumps into the water. A video image is projected of her underwater and all that is heard is the hum of being underwater. As she sinks to the bottom, she opens her mouth and bubbles stream out. She flails her arms and comes splashing to the surface. The video ends as she surfaces. She pulls herself out of the water and sits on the stage and tries to catch her breath. She picks up the field recorder and records her breathing. She records the ambient sound of the room. She speaks into the recorder.  DREAMER  October, 2006.  I?m 34. I live alone.    I used to work but now I stay at home.  A year ago something happened,  something I can?t explain,  something that I cannot prove  something that no one will believe  but I know it?s true.  It started in this very pool.  I collapsed in pain,  was rushed to the hospital,  for a routine procedure?  they do them everyday.    The Hospital says nothing happened.   The surgery went exactly as planned?  I went under, I came up?    but I know that?s not true.  Something happened in the in-between,  when I was lying on the table.  Something horrible.  Something broke between my mind and body  that left me dead inside  I can?t sleep at night but I dream    when I?m awake  it?s like I?m dreaming,  and I dream only to wake  in other times, other lives.  I don?t know what?s real anymore.  I keep going back to that day  that started in this pool  I came for a swimming lesson.  73   The instructor entered and then...  and then...    The swimming instructor (the DIVER) enters. MEMBERS of the CHORUS enter, also dressed in bathing suits. The DREAMER clicks off the tape recorder and puts it down.  DIVER   How are you this week?  DREAMER   Not bad.   DIVER    Have you been practicing your strokes?  DREAMER   A little.  DIVER   Well...shall we?  The Diver blows the lifeguard whistle. Members of the CHORUS enter, also dressed in bathing suits. Two CHORUS MEMBERS dive into the water. The DREAMER stays on the stage, watching.   DIVER  When you?re moving your arms  and you?re kicking your feet  Don?t let yourself sink  When you?re a swimmin?  and a glidin?  Feelin? so free  Don?t you sink down under  CHORUS  Enter, exit shallow water  jump into deeper water  exit and return  submerge, hold breath  open eyes underwater  exhale through mouth and nose ten times   ALL  1 one thousand  74   2 one thousand  3 one thousand  4 one thousand   The stage becomes the meeting place of two worlds. The swimming pool and the hospital. All text in the rest of the scene overlaps.      CHORUS  Enter, exit shallow water  jump into deeper water  exit and return  submerge, hold breath  open eyes underwater  exhale through mouth   and nose ten times  ALL  1 one thousand  2 one thousand  3 one thousand  4 one thousand          DREAMER   You go under, you come up  DIVER  When your face is in the water  and you don?t know how to breathe  Just try not to drown.  Cause swimming can be lonesome  and blue as can be  So try not to sink.  CHORUS MEMBER   What to pack  for your hospital stay:   1. Pack a bag with your  essentials. In addition to comfortable pajamas, pack  comfortable clothing and shoes to wear home, toiletries and anything else you may  need, such as a book or music.      CHORUS  submerge, hold breath  open eyes underwater  exhale through mouth   75   and nose ten times  ALL  1 one thousand  2 one thousand  3 one thousand  4 one thousand         DREAMER  You go under, you come up.  CHORUS MEMBER  2. Be sure to leave your jewelry, credit cards, cash and any other valuables at home.  The staff will not be able to protect your belongings while you are in surgery and they  will be vulnerable to theft or loss.          DREAMER  You go under  CHORUS MEMBER  3. Don?t forget to take your insurance card, personal identification and a list of any  medications you are currently taking with the dosage you are taking.      CHORUS  enter exit  exit return  submerge hold  DREAMER  You come up  CHORUS  open   exhale  recover  DREAMER  But something happened.  Something happened.  ALL  1 one thousand  2 one thousand  3  76   ACT I, Scene 2  A pulse from an electrocardiogram begins. The DREAMER appears as if in pain, clutching her abdomen. She looks to the DIVER for help but he doesn?t seem to see her. She continues to double over in pain.  The chorus becomes the SURGICAL TEAM. They are engaged in banal conversation.   DOCTOR  What time is it?  NURSE 2  13:56.  DOCTOR  Last shift before I go on vacation.   NURSE 1  Nice. Where are you going?  DOCTOR  Mexico. All-inclusive.  ANESTHESIOLOGIST  The wife and I did that last year. Non-stop booze, tacos and bikinis.  NURSE 2  You?re disgusting.  ANESTHESIOLOGIST  And you don?t know how to have?  DREAMER (still doubled over in pain)  So? What?s wrong?  DOCTOR  It?s your appendix. There?s been a rupture.   An operating table is wheeled in and the DREAMER is placed on it. The surgical team hook the DREAMER up to electrodes and cords attached to the ceiling. The ANESTHESIOLOGIST puts a breathing mask over her face. The rest of the team continues to prepare the DREAMER for surgery.    77 ANESTHESIOLOGIST  Now count down from ten for me, sweetheart.  NURSE 2  She?s not your sweetheart.  DREAMER  10-9-8-7  ANESTHESIOLOGIST  What?s wrong with you? Why do you have to be like that?   DOCTOR  Ok guys, cool it.   NURSE 1   Oh hey, where?d you say you?re going in Mexico?  DOCTOR  Puerto Vallarta.  ANESTHESIOLOGIST  How do the Mexicans pronounce it? Poo-eeeehrrrr-to Vah-yarrr-ta?  NURSE 2  Can you just stop opening your mouth?  DOCTOR  Ok seriously, that?s enough. For the next few minutes, no one speaks.  The TRAVELER comes from the pool and onto the stage. He is wearing a military uniform. He looks out over the water, examines his hands, his feet, trying to figure out what has just happened to him. He walks around the operating table until the ANESTHESIOLOGIST notices him.  ANESTHESIOLOGIST  YOU!         78  ACT I, Scene 3  The TRAVELER freezes. The surgical team walks away from the operating table and the DREAMER. They are transformed into the TRIBUNAL of the Inquisition.  CHORUS Approach the bench   of the most holy  the most worthy  the truth, the only  Tribunal of the Inquisition  MEMBER of TRIBUNAL (NURSE 1) Your supremacy, this man claims he does not know where he is. He says he was in Las Islas Filipinas  yesterday morning, which you know, which I know, which God knows cannot be. For we are now in Mexico City, the next evening, October 25, 1593. He?s been brought before us under charges of heresy, which you know, which I know, which God knows must be. He claims that he is innocent.   HEAD of TRIBUNAL (ANESTHESIOLOGIST)  Approach this most righteous bench  El Tribunal del Santo Oficio     de la Inquisicion en Mexico   ALL   We have been chosen by God.  Approach.    Walk forward.  Come forth, confess your faith.  Approach the Most Holy  Proclaim your auto da f?.  HEAD     I?ve heard the evidence against you  There are Christians who saw you  ALL     Lying in the centre of the Plaza Mayor  attired in a uniform from across the sea  HEAD     from the Spanish Army   in service of the country on the trade route   of the people of the   79  ALL     Philippines!  The TRIBUNAL shuffles around. They whisper to each other. They point at him. The TRAVELER walks over to the DREAMER. She sits up and listens to him. He is confused and desperate and begins to plead his case.     TRAVELER    I drink coffee every morning with sleep still in my eyes  Go to work each day, make sure my boots are shined.  Before I leave I kiss my wife on the neck  I tell you for certain, I?m an ordinary man  ALL     Approach the bench  of the most holy  the most worthy  the truth, the only  Tribunal of the Inquisition   HEAD     We?ve heard the evidence against you  There are Christians who saw you  ALL     You proclaim you are not from this place,  You state you don?t know how it happened  You insist you traveled across the sea  instantly, in the time a cock takes to crow.  HEAD    Approach the bench this is not possible.  With no boat you cannot travel   ALL     What have you done?  Where are you from?  Who sent you to speak these words?  Who whispered them in your ear?  Traveler of so many lies!     80  TRAVELER    Rain falls in my collar, with sleep still in my eyes  I jump over each puddle, my boots don?t lose their shine.  Stand guard at the palace, my collar wet against my neck  I tell you for certain, I?m an ordinary man.  ALL     Approach this most righteous bench.  El tribunal del Santo Oficio  de la Inquisicion en Mexico.  We have been chosen by God.  TRAVELER    I get into bed, the sleep in my eyes  See my wife?s body, each drop of sweat shines  Her hands anchor me, hold the back of my neck  You must believe it, I?m an ordinary man.  ALL     What have you done?  Where are you from?  Who sent you to speak these words?  Who whispered them in your ear?  Traveler of so many lies!  The TRAVELER turns and faces the TRIBUNAL, addressing them directly.  TRAVELER    Listen. Listen! Escuchame!  The TRIBUNAL does not listen to him but flank the TRAVELER on each side and begin to drag him away. The Traveler keeps pleading as they prepare his bonds.  TRAVELER  I do not know where I am.  I do not know how I got here.  Last night, in a country called the Philippines  I stood guard at the palace.  This morning I arrived in a place far from home,   you say it?s Mexico.  (pause)  You must believe me.  I am not who you say I am  I am an ordinary, ordinary man.  81   ALL     You are not.   You are not.  You are not.  HEAD  You are evil.  You?re a witch.  You do not truly see.  You must not be   allowed among us.  Servant of Satan,  have you no fear?  Vessel of darkness  You must be contained.  Put him in the cell.  LOCK HIM AWAY.  The TRAVELER is bound and dragged to the side of the stage. The TRIBUNAL exit. The DREAMER gets up. The TRAVELER yells to her.  TRAVELER  I?m telling the truth!    The DREAMER doesn?t hear the TRAVELER. Instead, She walks over to the edge of the pool where a dream-like water ballet is taking place.    ACT I, Scene 4 The DIVER suddenly interrupts the reverie. He is dressed as a showman and begins addressing his audience with gusto.  DIVER  Ladies and Gentlemen  Ladies and Gentlemen   Boys and Girls  Boys and Girls  What you are about to see  is me.   If you do not truly see  you will not see me.   82  Magic  Magic  Magic  requires iron nerve  perfect movement  strong muscle  rejection of fear  rejection of pain.    Magic  Magic  Magic  requires iron nerve  precise movement   Perfect fear,  Perfect pain.   I present to you  my own invention  my perfect descention  into what I call  ?The Chinese   Water  Torture  Cell!?  The DIVER ceremoniously readies himself for the feat, stripping down into a bathing suit. The SWIMMERS enter and walk over  to the tank with hoses, adding more water. The DIVER confidently raises his arms, signaling applause. The SWIMMERS and the DREAMER cheer. He dramatically drops his hands to his side, signaling an end to the applause.   Ladies and Gentlemen  Boys and Girls  What you?re about to see  contains no trickery.  If you do not truly see  you will not see me.   He lies down on the stage with his feet in the air. The SWIMMERS lock his feet into a harness that is attached to a rope suspended from the ceiling. The rope is pulled and the DIVER is dragged upwards by his feet. Everything fades to silence as the SWIMMERS and the DREAMER cheer in silence and slow motion.     83   DIVER  No magical way to escape,  no secret trick.  I?ve trained my lungs to hold breath   for as long as I need,  I?ve taught my body to move in ways  thought impossible.  But they are possible  because I do them every night.  DIVER, TRAVELER, DREAMER  (Spotlight on Traveler, alone in chains at the far end of the stage)  Breathe in, Breathe out, Breathe slow.  DIVER  The thing that no one knows  that is hard to truly know  is that every time I go in  I wonder if I?ll emerge.   Tonight I?m in pain,  my right ankle is sore.  Maybe tonight will be the time.  The time I don?t come out.   When people realize   it?s always been me.  Nothing supernatural,     Just me, just a man, just a routine  Just an ordinary human  Breathe in, breathe out, breathe slow  Just me, just a man, just a routine.  Feel the water. Sink down deep.   The rope is released gradually, lowering the DIVER head-first toward the water cell.   DIVER, TRAVELER, DREAMER  Breathe in, Breathe out, Breathe slow.  DIVER  Concentrate, must concentrate.  Feel each muscle, each tiny vein  until they all float away.  84   Breathe slow.    Enter the chains. Enter the pain.  Empty my mind. Empty it all.   Enter the chains. Enter the pain.  Empty my mind. Empty it all.  The DIVER is plunged into the cell. The theatre goes black except for a light that shines on the SURGICAL TEAM gathered around the operating table and the DREAMER standing by the water tank. The DIVER?S heartbeat pulses.  DIVER, TRAVELER, DREAMER  Breathe  DIVER  I?m bound. I?m here. I?m nowhere.  DIVER, TRAVELER, DREAMER   Breathe in, Breathe out, Breathe.  The Divers heartbeat turns into the EKG machine, getting faster and louder. The DREAMER begins banging on the water tank.  DREAMER  Stop. Don?t. Don?t go under.  Stop! Don?t! Don?t go under! Stop!                   85 ACT II, Scene 1   The TRAVELER is pulled out of the water cell. He is gasping for breath. The TRIBUNAL pushes him onto his knees, places a silk scarf in his mouth and ties it around his head. The DREAMER remains in front of the water tank. The tribunal slowly pours water down the Traveler?s throat.  TRIBUNAL  You say you traveled a distance  that takes a ship 80 days  in only a single instant.  Confess how you did it.   Renounce the Devil  Come toward God  Step away from darkness  and into the light   Confess  Confess  The pouring stops and the scarf is removed from the TRAVELER?S mouth. The TRAVELER sputters and spits water, leaning forward to catch his breath. He sways his head around in circles, clearly confused. The Tribunal ring out the scarf, scarcely listening to him.  TRAVELER  Please! I am not who you think I am.  I have no idea how I got here.  I don?t know what I?ve done.  Maybe something happened in my sleep,  maybe something took control?  But no. No! It?s not possible, it?s not. No.   Please, please.  Everything I told you before is true.  I beg you.  Please!  Please!  The scarf is placed back in the TRAVELER?S mouth. The cycle of pouring begins again. Spotlight on the DIVER behind a scrim, dripping wet, standing on top of the ?Chinese Water Torture Cell.? He is facing away from the audience towards an ?imaginary? audience, situating the house backstage. He raises his hands in triumph. Applause is heard offstage. The DIVER swings down on a rope. He does not see the DREAMER. He walks to a ?dressing room? on the side of the stage. The DREAMER follows but keeps her distance. The CHORUS stop torturing the TRAVELER, suddenly interested by the DIVER.  86   The CHORUS whisper among themselves as they walk over to the DIVER.  CHORUS There he is! Ask him! Ask him!  One CHORUS MEMBER is pushed forward.  CHORUS MEMBER  We want to know how. How is it possible? How did you do it?  CHORUS Was it magic?   The DIVER interrupts.   DIVER  Ladies and Gentlemen  I have one thing to say  One thing I want to   speak about today.   You must be careful,  there are those in each town  who profess to possess special powers,  would have you believe in their ability  to channel the supernatural,   a land beyond the grave.    But I tell you this for certain,  there?s nothing real about them  It is all tricks and lies,  manipulation and deceit.   The only thing that is real  is the living human body   and all it is capable of.  It is the sum of all we know,   DIVER AND DREAMER  All we can experience   This is all there is.   87   This is all there is.  DIVER  So step right up.  Show me what you got.  Show the strength  of my body  my arms  legs  gut  A punch to connect,  a punch to take me out.   Step right up.  Show me what you got  You heard me,  who will throw a punch?  CHORUS  Punch him! You!   A MEMBER of the CHORUS is selected by the others and thrust forward.   CHORUS  Punch him!  He swaggers up to the DIVER and punches him in the gut. Everything is still while everyone waits to see if the DIVER is harmed. There is a collective exhale as the DIVER stands up tall. Everyone applauds.  DIVER  So step right up.  Show me what you got.  Show the strength  of my body  my arms  legs  gut  A punch to connect,  a punch to take me out.   Step right up.  Show me what you got  You heard me,  88  who will throw a punch?  CHORUS  PUNCH!  A different MEMBER of the CHORUS is thrust forward. He walks over to the DIVER and, after a moment?s hesitation, punches him in the gut. There is a pause?the DIVER takes longer to recover this time.   DIVER?S VOICE (Phonograph recording)  You see, I have been underground  tried to speak with the dead  my mother, my father, my friends.  What I know is this:   DIVER AND DREAMER  Look around, feel your pulse,  the rise and the fall  This is all there is.   The DIVER stands up, the CHORUS applauds and then, bored, they go back to torturing the TRAVELER. The DIVER lets down his guard. He is tired and slumped over.  Spotlight on the TRAVELER.  TRIBUNAL  Only you can make it stop.  Only you can request the grace of God.    Admit your lies,  turn your face to the Lord.  Be gone Satan,   in Jesus Christ?s name.  CONFESS.  CONFESS.  CONFESS.  The pouring stops and the scarf is again removed from the TRAVELER?S mouth. The TRAVELER falls on his face and crawls toward edge of the stage, desperate. He is sputtering and crying. The TRIBUNAL laughs.  TRAVELER  ?Soy malvado?  89   ?Un disc?pulo de Satan?  Are my hands,   the hands that bathe my daughter,   servants of the Devil?  Has she been harmed?   Have I harmed her without knowing?    What have I done?!    ?Cont?steme!  Answer me, God!  ?Cont?steme!   Have you abandoned me?  How did this happen?  ?Como?  ??Como?!  The TRAVELER sees the DREAMER and goes over to her.    Oh my child, my child, my baby.  Estoy tu papa.   Desculpame. Desculpame.  Por favor, mi ni?a  Por favor.  The DREAMER turns her attention from the DIVER and speaks to the TRAVELER for the first time.  DREAMER  You shouldn?t be here.  TRAVELER  Duermete, mi ni?a  Duermete solita  que cuando despiertes  estar? alla.  DREAMER  Don?t let them do this to you.  TRAVELER  Duermete, mi ni?a  Duermete, mi sol  90   que cuando despiertes  estar? alla.  DREAMER  You shouldn?t be here  Don?t fall asleep  Try to escape  I?ll be here to help you.   Don?t let them do this to you.   DIVER  Just bring me down to the ground  I?m so very tired.  Tired of the in between  in between life  in between  Connect me to life   or connect me to death   DIVER AND DREAMER  I?ve held my breath   underwater far too long.  A member of the CHORUS begins to walk toward the DIVER. The DIVER, showing signs of injury but with bravado all the same, sings to himself or to no one in particular. He is in his won world and does not notice the man walking toward him.   DIVER  So step right up.  Show me what you got.  Show the strength  of my body  my arms  legs  gut  A punch to connect,  a punch to take me out.  The DREAMER realizes that the man is about to punch the DIVER and tries to warn him. He doesn?t hear her and keeps singing to himself.    91  DIVER  Step right up.  Show me what you got  You heard me,  who will throw a punch?  DREAMER  PUNCH!  The DIVER turns his head at the DREAMER?S warning and notices the man near him on stage. He addresses him directly.    Take me down.   The CHORUS also sees the DREAMER and goes to her. There is a struggle as they take hold of her, drag her over to the operating table and pin her down.    Take me down.  The man punches the DIVER.   ACT II, Scene 2  The sound of a cardiogram beat starts. The DIVER falls on the floor, the DREAMER goes limp and the surgical team begins surgery. The point of view (POV) of the DREAMER is projected (i.e. the heads of the surgical team bent over her, operating). The dialogue is fragmented. The movements of the surgical team on stage mirror that of the video.  DOCTOR  Time.  NURSE 1  13:56.  DOCTOR   Last shift   NURSE 1   Where are you ?  DOCTOR   Mexico.     92  ANESTHESIOLOGIST  the wife and   NURSE 2   You  ANESTHESIOLOGIST  you don?t know  DOCTOR  I?m afraid we?ll     ANESTHESIOLOGIST  count down from ten   DOCTOR  appendix   ANESTHESIOLOGIST  non- stop  NURSE 2   She?s not your  DOCTOR  rupture   NURSE 2   sweetheart  DOCTOR  We?ll have to take   ANESTHESIOLOGIST  What?s wrong with you?   DOCTOR  cool it.   NURSE 1    Mexico?  DOCTOR  Puerto Vallarta.   93   ANESTHESIOLOGIST   Poo- eeeehrrrr- to Vah- yarrr- ta  NURSE 2   just stop  DOCTOR   that?s enough. Ten blade.   DREAMER   Wait. Something?s wrong.  The NURSE hands the DOCTOR the knife.  Everything on stage gets gradually darker except for a dramatic spot on the DREAMER. The rest of the performers can?t be seen.    NURSE 1    Ten blade.   DREAMER  No, really. Something ?s wrong.  I can see that knife.  (Pause)   Did you hear me?    The surgical team does not hear or see the DREAMER.  ANESTHESIOLOGIST   Countdown.  DOCTOR   Cool it.  DREAMER  Don?t you hear what I?m saying?     NURSE 2   Can you just stop opening your mouth?   DOCTOR   All right, I?m going in.  The DOCTOR brings the knife closer and closer to her abdomen.  94   DREAMER  No. What are you doing?  I?m awake.  I can hear you.  No. Stop. STOP!  DON?T!  The DOCTOR makes the incision. The DREAMER sits right up. Blood starts t o spread on her hospital gown. The stage is completely dark except for the spot on the DREAMER and the video projection. The video of the DREAMER?s POV  looking up at the surgical team keeps playing as if the surgery is going on normally.  DREAMER  STOP!  I?m burning!    ANESTHESIOLOGIST  Why do you have to be like that?  NURSE 2  What?s wrong with you?  DREAMER  STOP!  STOP!  I?M BURNING!  NURSE 1  Shall we have a drink after work?  NURSE 2  Can?t. I have a date.  DREAMER  STOP!  ANESTHESIOLOGIST  Oh, too bad.  NURSE 2  Shut up.    95  DREAMER  NO! NO! STOP! STOP!  DOCTOR  I?m up for it. Let?s just finish this off.  The DREAMER begins to rise to the ceiling.  ALL     DREAMER  10-9-8-7-6-5-4-3-2-1   I AM AWAKE! I AM?  The DREAMER?S hands are released from the cords holding them. The DREAMER hangs from the ceiling by her feet as if executed. The surgical team exit.  The DIVER and the TRAVELER enter. The DIVER pulls her down and releases her feet. The DIVER and the TRAVELER carry her to the edge of the pool. The DIVER and the TRAVELER bathe the DREAMER with the pool water. They wash off the blood.  TRAVELER  Duermete, mi ni?a  Duermete solita  que cuando despiertes  estar? alla.  They comfort her. They stroke her hair.  DIVER  I hear you. I see you.   Something?s wrong.   I hear you.  DIVER and TRAVELER  We can see you.   Something?s wrong.   I know something?s wrong.  I know something?s wrong.   I know.   The contrast in the POV video projection of the surgery increases until all that can be seen is the surgical light. The surgical light becomes a light at the surface of the water. The video is still the DREAMER?s POV but this time she is under water. The light gets bigger and bigger as she moves up towards the light, towards the surface. Towards the bottom of a boat.    96   ACT III, Scene 1 The video ends as the TRAVELER and the DIVER place the DREAMER onto a boat/raft in the water. The swimmers start a slow water ballet.  CHORUS MEMBER 1 (repeated throughout)  Head, Shoulders, Knees, Toes  Eyes, Ears, Mouth, Nose  Head, Shoulders, Knees, Toes  Eyes, Ears, Mouth, Nose   DREAMER?S VOICE (from the tape recorder)  I?m 34. I live alone.    I used to work but now I stay at home.  A year ago something happened,  something I can?t explain,  something that I cannot prove  something that no one will believe  but I know it?s true.  It started in this very pool.    DIVER  When the water?s cold  when the nights are long  when my body?s dying  will you sing a song   Will you stay with me   all through the night  and hold me through the winter  through the failing light   Hold me.  Hold me.  CHORUS MEMBER 2    In all strokes there comes a point where your hand stops moving forward and starts  pulling back past your body and against the water. This stage of the stroke is known  as the catch and it's at this point that getting a good hold of the water is most crucial.  In an ideal world you would be able to anchor your hand stationary in the water, so  that as you exert a force your hand doesn't move relative to the poolside, but instead  stays still as your body moves past this point. Of course this being the real world it's  not as easy as it sounds. It can seem easier just to let the water go, particularly at the  end of a stroke, but you need to make as much out of each movement as you can.   97   DIVER and TRAVELER  When the water?s cold  when the nights are long  when my body?s dying  will you sing a song   Will you stay with me   all through the night  and hold me through the winter  through the failing light   Hold me.  Hold me.  ALL  Hold it all in your hands  Hold it at the back of your lungs  Hold it as you swim and try to get it right  Try to hold it long enough  The chorus members get out of the pool. The DIVER walks towards the operating table and lies down. The TRAVELER goes back behind the water cell.    ACT III, Scene II  The TRIBUNAL enters, whispering and talking among themselves. The HEAD of the TRIBUNAL enters majestically.  MEMBER 3   Your excellency  Most holy,  Oh righteous Head  HEAD    Speak.  MEMBER 3   Have you heard?  HEAD    What is it?    98  MEMBER 2   A boat.  HEAD    A boat?  MEMBER 1   A boat.  HEAD    That is all?  MEMBER 3   A boat has arrived.    ALL    From the Philippines!  The DREAMER steps off the raft onto the stage.  MEMBER 3   Someone has arrived  ALL    On the boat from the Philippines!  MEMBER 2   He heard talk of the prisoner,  Claims he knows who he is.  HEAD    Bring the prisoner in!  The TRAVELER is brought out from behind the water cell. He looks at the DREAMER, confused.   DREAMER  I know this man.  The TRIBUNAL stand together, stern and skeptical.   HEAD    But tell me, when did you last see him, this prisoner, this heretic?    99  DREAMER    The morning before we set sail from Manila, Philippines   is the last time I saw him.  How he came to be here, I am sure I do not know  But I tell you for certain, I know from where he comes.  He is not a heretic.   He is an ordinary man.  The TRIBUNAL begin loudly whispering and talking amongst themselves.     TRAVELER   I am an ordinary man.    The TRIBUNAL fades, scurrying  to the back of the stage.   HOSPITAL PA  Room 401, corridor D.  Room 401, Corridor D.  The DOCTOR enters and sits down beside the DIVER.  DOCTOR  I am sorry.  DIVER  For what?  DOCTOR  I am sorry.  DREAMER  You are?  DIVER  There was nothing you could do.  DOCTOR  I know it?s not enough.  DREAMER  Couldn?t you have stopped it?    100  DIVER   Everyone has a final fight.   DOCTOR   Even you?   DIVER   Especially me.  DOCTOR   But you?re the great magician.   DIVER   I?d rather be someone else. Someone like you.   DOCTOR  But everyone loves you.   DIVER  Don?t you see?  There?s nothing magic about what I do.  Just me, alone night after night,   suspended between death and life.  DOCTOR   That?s not true.  DREAMER  You just don?t see.   DIVER   Look, look at me.   I?m the greatest performer of all time but I?m a man who has cheated death too long.  Today is not defeat,   I will finally be released.  Will you stay with me?   DREAMER  As long as I can.  The sound of a pulse through a hospital machine is heard. The TRAVELER and DREAMER are on a separate part of the stage.    101  HOSPITAL PA   Room 401, Corridor D.   DREAMER, DIVER and TRAVELER   I am here.  I am here.  I am nowhere.  CHORUS   Room 401, Corridor D   DOCTOR   Cannot hold you.  HOSPITAL PA   Room 401, Corridor D   CHORUS   Can?t enclose you  TRAVELER   These are my eyes.  This is my neck.  This is my body.  Ordinary.   TRAVELER and DREAMER    This. This. This.  TRAVELER   This is my uniform.  This is my mouth.  These are my words.  DREAMER     You are. You are. You are.  CHORUS   Room 401, Corridor D  DIVER, TRAVELER, and DREAMER   Now can you see me?     102  HOSPITAL PA   Room 401, Corridor D   DOCTOR   Cannot keep you.   TRAVELER   That is the sea.  Those are my boots.  This is the morning.  Ordinary.  I am. I am. I am.  TRAVELER and DREAMER    This is. This is. This is.  HOSPITAL PA   Room 401, Corridor D   CHORUS   Can?t contain you.   DREAMER   When the water?s cold  when the nights are long  when my body?s dying  will you sing a song   Will you stay with me   all through the night  and hold me through the winter  through the failing light   Hold me.  Hold me.  ALL  Room 401, Corridor D   Room 401, Corridor D   Room 401, Corridor D   The pulse flatlines.    103 ACT III, Scene III (Finale) The DREAMER slowly walks over and picks up her tape recorder. She presses stop and the flatline stops. She sits on the side of the pool. She presses record.  DREAMER  The hospital review board maintains that nothing happened. That it?s impossible, that  someone would have noticed if it were true. It feels like that game: two truths and a lie.  You tell two stories that are true and one that is a lie. The goal of the game is to make the  truths sound so impossible that the other person thinks they?re lies.  Like this: Once, I met  a man who teleported from the Philippines to Mexico. Once, I saw someone escape from   a cell of water. Once, I woke up during surgery and no one knew.     How to decide what is false and what is true?   She holds her tape recorder out to record the pool: people talking and laughing, splashing, whistle blowing, feet running on the deck.   What I know is this:   This is my hand.  This is the pool.  This is my body.  This is what I hear.  This is what I see.  That is what happened.    I am alive.    I am awake.   She presses stop as the swimming instructor (the DIVER) enters.  DIVER    How are you?  DREAMER   Much better. Thank you.  DIVER    Have you been practicing your strokes?  DREAMER   Every day.   104  DIVER    Shall we?  DREAMER   Yes, please.  The DREAMER puts on a pair of goggles, straps the tape recorder to her body and dives into the water. We hear the HUM. She emerges and starts swimming. Everyone else joins the DIVER on stage.  ALL    Hold it all in your hands  hold it at the back of your lungs  hold it as you swim and try to get it right  try to hold it long enough   To speak loud enough  to hold your weight  to keep from sinking  To say This happened  believe me, it?s true.     FIN     105 Appendix C: Musical Score    Hover   A Music Theatre Work in Three Acts  Music: T. Benton Roark Text: Lindsay Cuff                                    ? 2013, T. Benton Roark    106    Duration: approximately 90 minutes   Roles:  The Dreamer ? mezzo -soprano The Traveler ? baritone The Diver ? tenor Chorus 1 ? soprano Chorus 2 ? alto Chorus 3 ? tenor Chorus 4 ? bass  Instrumentation:  clarinet in B-flat; doubling bass clarinet electric guitar; doubling classical guitar percussion: vibraphone, glockenspiel, two suspended cymbals, high-hat, snare drum, two toms,  bass drum, tamtam, and triangle viola; doubling violin (see note)  double bass    Premise:  The word hoax is said to have come from the magic incantation ?Hocus Pocus,? which is said to be a distortion of ?Hoc est Corpus? (this is the body).  What happens when our bodies do things that are not possible: great escapes from enclosed chambers, travel from one side of the world to the other in a minute, or wakefulness during surgery? What happens when we tell our stories and no one believes our experiences of truth or pain? There is sometimes a gap between what ?is? and what we personally know to be true. I am here but I am not. I hover but I sink so far.  This is the story of a woman, the Dreamer, and her struggle to come to terms with a traumatic event that took place one year ago. The opera begins with a swimming lesson that dissolves into a flashback/memory of the traumatic event, a ?waking? during surgery. Through recalling the events, the Dreamer meets two important men from two different centuries. These men, the Traveler and the Diver, have also experienced moments where their bodies have performed seemingly impossible feats.   The characters undergo a journey in which they must confront issues related to personal narrative. They face profound skepticism in the telling of their own stories and become paralyzed and suspended in a moment where neither emotional nor physical movement is possible. All three must find a way to cope in the face of this skepticism and slowly and intentionally begin to dismantle cultural myths and prove that their personal stories are true and hold weight.?                            -Lindsay Cuff  107&V?&&V??&??B?44444444444444444444444444444545454545454545454545454545444444444444444444444444444443434343434343434343434343434444444444444444444444444444CuesDreamerDiverTravelerSopranoAltoTenorBassBb Clarinet(doubling Bass Cl.)Electric Guitar(doubling Classical Gtr.)Viola(doubling Violin)Double BassPercussionxU !!!!!!!!!!!!!Recording of soft, ambient pool sounds (People splashing and talking, whistles blowing);continue until fade is indicatedAct IScene 1The DREAMER walks onto the stage. She is wearing a bathing suit and holding a field recorder. Ambient sound is heard from a swimming pool. 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Fh - -&&&?B?DrmrBb/Bass Cl.Gtr.Vla.D.B.Perc.73 .? ?mind and73 wwwwwwwnb ? !?" ? ? ? ?#? ? ? ? ? ?" ? ? ? ? ?#? ? ?" ? ?6 6 6 6.?b ?norm.F$ord.?b > ? ?bo dy? ?# ? ? ? ?b ? ? ? ?n ? ?b ?n ?# ? ?n ? ?b ? ? ? ?n ? ?b6 6 6 6??????n##bggggggggg ?????##gggggggg? ? ??# > ? ? ? ? ? ?> ? ? ? ? ? ?> ?# ? ? ? ? ?> ? ? ? ? ?6 6 6 6?> J? ?> j?# ?> J? ?> J?#3 3 3 3S fFfff? ? ? ?bThat' left me? ?b ? ? j? ? ? ? ? ? ? ?3 3 3wwww##gggg !? ?# ? ?? ?b ? ? ? ?n ? ?b ?n ?# ? ?n ? ?b ? ? ? ?n ? ?b6 6 6 6.?b ?poco rit.FFFF PF-&&&?B? 464646464646 444444444444DrmrBb/Bass Cl.Gtr.Vla.D.B.Perc.76 ? ?b ? ? ? ?3dead in side76 ? ?????bbb ????n ???? ????? ? ? y y3? j? ? j? ? j? ?3 3 3?b J?b ? J? ? J? ?3 3 3meno q  = 58PPP P? ?b ?bI can't? .?b ?? ?bwwwwbbbb y ? ?..??bb j?? ?.?b j? ?Pp ? ?b ? ? ? ?b ?3sleep at night but I?. ?. ? ? ?3 !? .y???b ?? ?? ?? ??3?b ? ? ? ?3big, darkp ppprit.h . .?b ? ?U ? j?b ? ?dream When I'm a.?n ?-U ?? ? ?U ?Jy? ? ? ? ?U ? &.?# ?-U ?.? ?-U ?$$$FPPPPPtake time- -114??&&& 444444DrmrGtr.Perc. 80 ?b ?b ?b ?wake it's like I'm? ??b ?? ?? ?.?b ? J?b?b ?b ? ? ?b ? ? ?ord. (no delay pedal)q  = 58 PPVibr. ?b ?b ? ?b ?dream ing, and I? ??bb ?? ?? ??n J?b ? ?b?b ?b ?b ? ? ? ?b ? ?b ?b ? ?bdream on ly to? ??b ?? ?? j??? ?b ??b ?b ?b ? ? ? ?b ?poco cresc.- -&&&&B?DrmrBb/Bass Cl.Gtr.Vla.D.B.Perc.83 ?! ? ? j?wake in83 "? ??!b ?? ?? ?b ?b ?b ?b?b ??! ??bb ? y??"?b # ? ?p poco cresc. poco cresc.poco cresc. ppoco rit.h ? ?b ? ? ?U3oth er times?b - ?- ? ? ?U3?b ? ?UJy? ? ? ?U?b - ?- ? ? ?U3?b - ?- ? ? ?U3PPPP pesantepesantepesantemeno ? ?b ? ? ? ?3oth er lives?b - ?- ? ? ? ?b ? ? ?b3???bbbgggg ? ?" &?b - ?- ? ? ?3?b - ?- ? ? ?3rall. "?b - ?b -"???bbb ???bb?b - ?b -?b - -?pVibr.- -&&&B?DrmrGtr.Vla.D.B.Perc. 87 "? ?b ? ? ? ? ? ? ? ? ? ? ? ???bb ???b ? ?.?b j? ?.?b J? ?moving ahead againpppq  = 60 ? ? ?b .?b j?bI don't know what's? ?b ? ? ? ? ? ? ? ? ? ? ? ???bb ?? ?b ? ? ? ? ? ? ? ? ? ? ? ??b .?b j? ?"p ? ? ?b ?real an y? ?b ? ? ? ? ? ? ? ??b ?? ?b ?b ? ? ? ? ?b ? ? ? ? ? ??b "" ?b ?more??bb ??bb?b ?b ? ? ? ? ? ?b ? ?b ? ? ? ?""- -115??&&&&B?DrmrBb/Bass Cl.Gtr.Vla.D.B.Perc.91 ? y ?91 !?b ?b ? ? ? ? ?b ?b ? ? ? ?b..??b J??b ??b? ?b .? J?b? ?b&I keep going back to that dayP PPPy ? ??b ?b ? ? ? ? ?b ?b ? ? ? ?bwwwbb wb? .?b ??b .?b ? ?that started in this pool.P? y ?! ?!?b ?b ? ? ? ? ? ? ? ?b ? ? ? ? ? ??b ?b ?b ? ? j? ? ?b ? ? ? j??b ?b " ? ? ? ?b " ? ?I came for a swimming lesson.without pedal (marimba-like)remove capopizz.pizz.PPP&?&&B?DrmrBb/Bass Cl.Gtr.Vla.D.B.Perc.94 y ? ?94 !!?b ?b ? ? ? ? ? ? ? ?b ? ? ? ? ? ??b ?b ?b ? ? j? ? ?b ? ? ? j??b ?b " ? ? ? ?b " ? ?The instructor entered, and then.... Bass Clar.y ? ??b . ?b . ?b . ?. " ?. ?. ?. ?. ?b . ?. ?. " ?. ?. ?.? ? ???bbgggg!!?b ?b ?b ? ? ?b ?b ? ? ?and then....P F !?b . ?b . ?b . ?. " ?. ?. ?. ?. ?b . ?. ?. " ?. ?. ?.???nnn ???gggg ???gggg ???3wwwnnn ??n # ?b ?# ??b ?b ?b ? ? ?b ?b ? ? ?with barP$The swimming instructor (the DIVER) enters. MEMBERS of the CHORUS enter, also dressed in bathing suits. The DREAMER clicks off the tape recorder and puts it down.116?&V?&&B?DrmrDvrBb/Bass Cl.Gtr.Vla.D.B.Perc.97 ? ? yy ? ?97 !. ?b . ?b . ?. ! ?. ?. ?. !. ?b . ?. ?. ! ?. ?. ?.wwwwwwwb ?.? ? ??b ?b J? ? ? ?b J? ?How are you this week? Not bad. "? ? y!. ?b . ?b . ?. ! ?. ?. ?. !. ?b . ?. ?. ! ?. ?. ?.????gggggg ????gggggg ????gggggg ????3wwwwnb ?? ?# ?b ??b ?b J? ? ? ?b J? ?Have you been practicing your strokes? ""?b ?b ?b ? ?b ? ? ? ? ?b ? ? ? ? ? ?wwwwwwwwb ?? ? ?b ?n?b ?bdim. dim.&V?&&B?DrmrDvrBb/Bass Cl.Gtr.Vla.D.B.Perc.100 y ? ?"100 ! ?b ?b ? ?b ? ? ?n ? ? ? ? ? ? ? ?wwwww?wwwwb ?w?b ?A little.p"y ? ?? ?b ? ? ?b ? ? ? ? ? ? ? ? ? ? ?wwwww?J????b? ? ? ? ?J? ? ? ?.?b J? ?Well.... nien.$$"y ? ?""w? ""Shall we?%""""w? ""117?V&?B?DvrGtr.Vla.D.B.Perc. 104 Y> y>? ?> ???b >?> ? ?!? ?> ?>Faster q  = 84Clap! Blow lifeguard whistlepizz.f FFh k Two CHORUS MEMBERS dive into the water. The DREAMER stays on the stage, watching. !???b > ?> ????> ????>!? ?"fl ???"fl ???"fl? ?> ?> ?F !?> ? ???b! &?"fl ?" ??b?> ? ?sim. accentssim. accents !? ??? ? ???b?> ??> ?> ???b >? ? ? ?? ? ? ?pizz.Vibr.F no pedalF&&B?Gtr.Vla.D.B.Perc. 108 ???b ? ???? ???????b > ?> ???> ???>? ? ? ?? ? ? ? ? ? ???b >U?> ?> ????bb >U? ? ???b >U? ? >?UarcoF ? ???? ? ????b!!? ? ? ?p pnorm. (non accented) ? ???? ?!!? ? ? ?let ring118?V&&V?&&B?Dvr SATBGtr.Vla.D.B.Perc.112 ? ?U ?UWhen you're!U!U!U!U? ....????bU !U ?!U!UFcan take time with these (quasi fermata) ? ? ? ?# ? ? ? ?# ?3mo ving your arms and you're!!!!? ???? ? ????b? y ? y!? ? ? ?A bit more relaxed, and swung q  = 72PPP l.v.pizz.? ? ? ?# ? ?n ?kick ing your feet Don't you!!!!? ???? ? ????b? y ? y Jy3!? ? ? ?l.v.j? ? j? ? ?n ?sink down un der? ? ? j?#Don't? ? ? j?Don't? y y ? ? y y y y y y6En ter Ex it shal low wat er? y y ? ? y y y y y y6En ter Ex it shal low wat er? ???? ? ????b? y ? y? "?&? ? ? ?precited, somewhat flatlyrecited, somewhat flatlyPPPP(Vln)- -- - - --- - - -V&&V?&?&?Dvr SATBGtr.Vla.D.B.Perc.116 ? ? j?# ? ?When you're a? ? ? ? ? ?sink down un der? ? ? ?b ? ?sink down un der? ? y y y y y y y ?3 6Jump in to deeperwat er? ? y y y y y y y ?3 6Jump in to deep erwat er? ???? ? ????##? y ? y Jy3? ?b ?b ? ?# ? ?# ? ?n ?3 3? ? ? ?P? ? ? ?# ? ? ?swim min' and a gli din'!!? ? y y y y y #6Ex it and re turn? ? y y y y y #6Ex it and re turn? ???? ? ????b? y ? yww#? ? ? ?? ? ? ? ? ? ?#feel in' so free Don't you!!!!? ????? ? ?????b? y ? y Jy3J?? ? ? ?? ? ? ?The stage becomes the meeting place of two worlds.  The swimming pool and the hospital.j? ? j? ? ?n ?sink down un der!!? y y ? ? y y ?Sub merge Hold breath? y y ? ? y y ?Sub merge Hold breath? ???? ? ????b? y ? y &? ? ?? ? ? ?p- - -- - - -- --- - - -- ---119?V&&V?&&&?&?DvrSATBBb/Bass Cl.Gtr.Vla.D.B.Perc.120 ? ? ? ?#When your? ? ? ? ? ?3Don't sink be low? ? ? ? ?b ?3Don't sink be low? ? y y y y y y y ! ?6 6O pen eyes un der wat er? ? y y y y y y y ! ?6 6O pen eyes un der wat er120 ? ? ? ?#? ???? ? ?????b#b? ? .?b120 ? y ? y Jy3? ?# ? ? ?3? ? ?b ?FP(vibr.)(Cym.)B b Clar.? ? ? ? ? ? ? ? ?3face is in the wat er and you""""? ? ? ? j? ? ? ? ? ?3? ???? ? ???"? y ? y"? ? ? ?? ? ?b ? ? ? j?#don't know how to breathe just""""? ? ? ? ? ?? ????b ? ????b"? y ? y? ?b? ? ?b ?? ?# ? ? ? ?try not to drown.""""? j? ? ? ? ?# ?# ?????? ????##"y ? y ??? ??#? ? ? ?straight 8ths-- - -- - ---V&&V?&&?&?DvrSATBBb/Bass Cl.Gtr.Vla.D.B.Perc.124 """""124 ?b ? ? ?b ? ? ? ?#????b ?????b124 y ? y ???n ??b ??-?b ? ? ?y ? ?""""? ? ? ? ?b? ???? ? ????b? y ? y? ? ? ? ? ?? ?? ? ? ?Exhale through mouth and nose ten times "? y y y y ? ? y y y y ?6 6One one thous and Two one thous and? y y y y ? ? y y y y ?6 6One one thous and Two one thous and? y y y y ? ? y y y y ?6 6One one thous and Two one thous and? y y y y ? ? y y y y ?6 6One one thous and Two one thous andj? ? ? ?? ???? ? ????? y ? y Jy3?? ??? ? ? ?recited, somewhat flatlyrecited, somewhat flatlyPP - -- -- -- -120?&&&V?&&?&?DrmrSATBGtr.Vla.D.B.Perc.127 !? y y y y ? ? y y y y ?6 6Three one thous and Four one thous and? y y y y ? ? y y y y ?6 6Three one thous and Four one thous and? y y y y ? ? y y y y ?6 6Three one thous and Four one thous and? y y y y ? ? y y y y ?6 6Three one thous and Four one thous and? ???? ? ????b!127 ? y ? yj?? ? ? ?? ? ? ?pppp !? y y y y ? ? y y y y ?6 6One one thous and Two one thous andy ? ?? y y y y ? ? y y y y ?6 6One one thous and Two one thous and? y y y y ? ? y y y y ?6 6One one thous and Two one thous and? ???? ? ????b!? y ? y Jy3!? ? ? ?An instruction: speak out? ? ?# ?You go? y y y y ? ? y y y y ?6 6Three one thous and Four one thous andy ? y ?? y y y y ? ? y y y y ?6 6Three one thous and Four one thous and? y y y y ? ? y y y y ?6 6Three one thous and Four one thous and? ???? ? ????b? ?b ? ?b ?3? y ? y!? ? ? ?What to pack for your hospital stayF- -- - - - - -- - - - - -- - - - - -&&&V?&&&??DrmrSATBB b/Bass Cl.Gtr.D.B.Perc.130 ? ? ? ? ?b ? ?un der you come up!!!!130 !? ???? ? ????b!130 ? y ? y? ? ? ?!!y ? ?!!!? ???? ? ????b? ?n ? ?n ? ?b ? ?b3 3? y ? y Jy3? ? ? ?1. Pack a bag with your essentials. In addition to comfortable pajamas, pack comfortable clothing and shoes to wear home, toiletries and anything else you may need, such as a book or music.    !!!!!!? ???? ? ????b? ?b ? ?b ? ?# ?b ?#3 3? y ? y? ? ? ?!y y ? ? y y y y y y ?6En ter Ex it shal low wat er!y y ? ? y y y y y y ?6En ter Ex it shal low wat ery y ? ? y y y y y y ?6En ter Ex it shal low wat er? ?? ???? ? ????b!? y ? y Jy3? ? ? ?p- - - -- - - -- - - --121?&&&V?&&&??DrmrSATBBb/Bass Cl.Gtr.D.B.Perc.134 ? ?# ? ? ? ?You go un der? y y y y y ! ?6Ex it and re turn"? y y y y y ! ?6Ex it and re turn? y y y y y ! ?6Ex it and re turn134 ? ?b ?b ? ?# ? ? ?n r?n ?b ? ?3 3 3? ??? ? ???b"134 ? y ? y? ? ? ?straight 8ths "y y ? ? y y y y y y ?6En ter Ex it shal low wat er? y ?y y ? ? y y y y y y ?6En ter Ex it shal low wat ery y ? ? y y y y y y ?6En ter Ex it shal low wat err? wb ? ???? ? ????b"? y ? y Jy3? ? ? ?2. Be sure to leave your jewelry, credit cards, cash and any other valuables at home. ? ? ?b ?You come? y y y y y! ?6Ex it andre turn"? y y y y y! ?6Ex it andre turn? y y y y y! ?6Ex it andre turnJ? ? ? ?? ???? ? ????##"? y ? y? ? ? ?The staff will not be able to protect your belongings while you are in surgery, and they will be vulnerable to theft or loss.?b ? ? ?up "? y ?"""? ??? ? ???? ? ? ? ? ? ?b ?3 3? y ? y Jy3? ? ? ?- - - - - - - -- - - - - - - -- - - - - - - --&V&V?&&&?&?DrmrDvrSTBBb/Bass Cl.Gtr.Vla.D.B.Perc.138 """? y y ? ? y y ?Sub merge Hold breath? y y ? ? y y ?Sub merge Hold breath138 "? ??? ? ???? ? ?b ? ? ? ? ?n3 3138 ? y ? y"? ? ? ?? Jy ? ? ""? ? y y y y y y y ! ?6 6O pen eyes un der wat er? ? y y y y y y y ! ?6 6O pen eyes un der wat er"? ??? ? ???"? y ? y Jy3? .#?? ? ? ?pBut something happened "y ? ?? ? ? ?#Cause"""? ???? ? ????"? y ? y? ? ? ? ? ? ?b ? ?#3? ? ? ?Exhale through mouth and noseten timesPF ""? ? ? ? j?# ? ?n ? ? ?#3swim min' gets so lone some andy y y y y y y yOne one thou sand two one thou sandy y y y y y y yOne one thou sand two one thou sand? ? ?# ?? ???? ? ????##"? y ? y Jy3? ? ? ? j?# ? ?n ? ? ?#3? ? ? ?SwungPSwung- -- - - - - -- - - - - -122?&&V?&&&?&?SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.142 ? ? ? ?b ? ? ?#3blue as can be so don't you!y y y y y y y yThree one thou sand four one thou sandy y y y y y y yThree one thou sand four one thou sand142 ? ?? ???? ? ????b!142 ? y ? y? ? ? ..??bb J?3? ? ? ?J?n ? J? ? ? ?sink down un der!!? y ? ?.? ? ?b ?3? ??? ? ??!? y ? y Jy3J? ? J? J? .?? ? ? ?3. Don't forget to take your insurance card, personal identification and a list of any medications you are currently taking with the dosage you are taking.speak out? ? ? ?#You go? ? ? ?You go!!? ?b ?b ? ? ? ? ?? ???#?## ???nnn ???? ??#b ??nn ??? y ? y? ?# ?n ?? ? ?n ?F ? ? ? ?# ? ? ?# ?un der you come up you're not sup? ? ? ? ? ? ?b ?un der you come up you're not sup!!? ? ?? ???? ? ????b!? y ? y Jy3!? ? ? ?- -- -- - -- -&V&&V&&&&?DrmrDvrSATBb/Bass Cl.Gtr.Vla.D.B.Perc.146 ? ? ? j?But!? ? ? ?# ? ? ?posed to re mem ber?n ? ? ? ? ?posed to re mem ber!146 !? ????? ? ?????b? y ? y!? ? ? ?f ?? ? ? ?some thingy ? y ?? J?. ? ? J?- ?Bop bah? J?. ? ? j?- ?Bop bah? J?. ? ? J?- ?Bop bah? J?. ? ? J?- ?? ????. ? ????.? y ? y? J??." ? ? J??-" ?? ? ? ?Enter exit shallow waterPPnon l.v.F? ?#? ? ?hap pened? Jy ? ?J?. ? ? J?- ? J?. ?bop bah bopJ?. ? ? j?- ? J?. ?bop bah bopJ?. ? ? J?- ? J?. ?bop bah bopJ?. ? ? J?- ? J?. ?? ????. ? ????# .? y ? yJ??. ? ? J??- ? J??. ?? ? ? ?Jump into deeper water !? y ?? J?- ? J?. ? ? J?-bah bop bah? j?- ? J?. ? ? j?-bah bop bah? J?- ? J?. ? ? J?-bah bop bah? J?- ? J?. ? ? J?-? ????b . ? ????.? y ? y? J??- ? J??. ? ? J??-?b ? ? ?Exit and return-- -- --123?&V&&V?&&&&?DrmrDvr SATBB b/Bass Cl.Gtr.Vla.D.B.Perc.150 !y ? y ?? ?. ? J?> ?bop bah? ?. ? j?> ?bop bah? ?. ? J?b> ?bop bah!150 ? ?. ? j?> ?? ????b . ?b ?b ? ?> ?? y j? .y>? ??. ? j??b> ??? ? ?b ?b ?b> ?3Submerge Hold breath? ? y? y ?? ? ? ? ? ?Ex it re turn? ? ? ? ? ?Ex it re turn!!!? ???? ? ????? y ? y!? ? ? ?Open eyes underwaterl.v.Something happened. !y ? ?? ? ? ? ? ?En ter ex it? ? ? ? ? ?En ter ex it? y y y y y"?6Ex it and re turn? y y y y y"?6Ex it and re turn!? ???? ? ????? y ? y!? ? ? ?Recover object from bottomwith hands!? y ? y? ? ? ? ? ?En ter en ter? ? ? ? ? ?En ter en tery y ? ? y y ? ?Sub merge Hold breathy y ? ? y y ? ?Sub merge Hold breath!? ???? ? ????? y ? y Jy3!? ? ?One one thousandTwo one thousand- - - -- - -- - - -- - -124V&&V?&&?&?CueDvrSATBGtr.Vla.D.B.Perc.154 !? y ? y? ? ? ? ? ?ex it ex it? ? ? ? ? ?ex it ex it? y y y y y y y "?6 6O pen eyes un der wat er? y y y y y y y "?6 6O pen eyes un der wat er? ???? ? ????b!154 ? y ? y!? ? ?Three one thousand Four one thousandy? y ?? ? ? ? ? ?Ex it re turn? ? ? ? ? ?Ex it re turn!!? ? ????? ??bb ??? y ? y Jy3? ?b ?? ? ? ?PExhale through mouth and nose ten timesCardiogram beep starts, out of time with rest (somewhere between the half and quarter) We hear the pulse from an electrocardiogram. She appears as if in pain, clutching her abdomen.  She looks to the DIVER for help but he doesn?t seem to see her. She continues to double over in pain.!!? ? ? ? ? ?En ter ex it? ? ? ? ? ?En ter ex it? y y y y ? ? y y y y ?6 6One one thous and Two one thous and? y y y y ? ? y y y y ?6 6One one thous and Two one thous and? ???? ? ?????? ??#? y ? y? !?- - - -- - - - -- - - -- - - - -125V&&V?&&&?&?DvrSATBBb/Bass Cl.Gtr.Vla.D.B.Perc.157 !? ?# ? ?Sub merge? ? ? ?Sub merge? y y y y ? ? y y y y ?6 6Three one thous and Four one thous and? y y y y ? ? y y y y ?6 6Three one thous and Four one thous and157 ? ?# ? ? ? ?? ....????.?157 ? y ?? ?? ? ? ?? ? ?FPvib. pedal down throughoutF ? ? y? ? ?hold? ? ?hold !!!? ? ?????b ?n? ? y!? ? ?Open ? ? y?# ? ? ?Op en? ? ? ?Op en !!?b ? ? .? !? ? J?b ?!?? ? .?? ? ?Exhale ? y ?? ? .?Ex hale?b ? .?Ex hale !!!? ? ????? ? ?b ?? ? y!? ? ?Recover- - -- -- - -- -V&&&&??DvrSAGtr.D.B.Perc. 161 !? .??Hold? .??Hold? ?? ?? ?b161 !!p p y ? y ?!!!.? ?!? ? ?pOpen Exhale ? y ?!!? ? ????? J? .?3? ? y! Recover ? y ?!!? ? ? ?3J? ?? J?? ?!?! Open !!!wwb !?# ? ?&&Gtr.Perc. 166 ??# ? ?? ?? !? J? .?3 w? ? ? ?3 w? ? J? ? ?3 poco rit.w#U?# U?126??&&Gtr.Perc. 171 w www ww# ?? ? ? ? ?# ? ?3 3let all ring with pedallazilyPsoft tremolo with palm/base of thumbp 1/8 tone flat with whammy bar until "ord"Same tempo, straight 8thsScene 2The chorus becomes the SURGICAL TEAM. They are engaged in banal conversation. w www ww# ? ! wwwwww## ??# ?# ? ? ?# ? ?5 wwwwww## ? ! wwwww# ?? ? ? ?# ? ?5&&V&&SATGtr.Perc. 176 !!? y ?wwwww# ? !What time is it? !? y ?!ww www# ??n ?# ? ? ? ?5 13:56. !!y ? ?ww www# ? !Last shift before I go on vacation. ? y ?!? ? ywwwwww ??n ? ? ? ? ? ? ?n3 3Nice.  Where are you going?Mexico.  All inclusive.&&V?&&DrmrATBGtr.Perc. 180 !!!? y ?wwwwww# ?? ? ? ? ?# ?5 The wife and I did that last year.Nothing but non-stop booze, tacos, and bikinis. !? y ?!!wwwwww# ? ! You're disgusting. !!? y ?!ww www# ??n ?# ? ? ? ?5 ?And you don't know how to ha-(ve a good time, interrupted)y ? ?!!!?????# ? ? ?.y? Jy? ?still doubled over in painfeedbackSo?  What's wrong?ord.Phk127??V?&B?TBb/Bass Cl.Gtr.Vla.D.B. 184 ? y ?184 .? ?-????# ? ?..??# ??-.? ?-PPFParcoBas s Clarinetnon-rolledAn operating table is wheeled in and the DREAMER is placed on it. The surgicalteam hook the DREAMER up to electrodes and cords attached to the ceiling. TheANESTHESIOLOGIST puts a breathing mask over her face. The rest of the teamcontinues to prepare the DREAMER for surgery.(Vla)It's your appendix.  There's been a rupture.!.? j? ?????? ? ?..?? J?? ?.? J? ? !w?????# ? ?w#"w" !w????# ? ??# ?w &w?&&&?Bb/Bass Cl.Gtr.Vla.D.B.Perc.188 w? ? ??J? ? ? ? J?j? ? ? j? ? ?ww#wPppPpw?? ? ???J? ? ? ? ?? ? J? ? j? ? ?www w???# ? ??J? ? ? ? J?? ? J? ? j? ?# ?ww#w w?? ..??J?n ? ? ? J??n ? J? ? ? j??? ..??w128?&&&V??&&&?DrmrSATBBb/Bass Cl.Gtr.Vla.D.B.Perc.192 !!!!? y ?192 j? ? ? ?j? ? ? ? j?j? ? ? ? j??? ? ?j? ? ? ?Now count down from ten for me, sweetheart.? y ?Ten!y ? ?!!!J?? ? ? ??? j?j? ? ? ?? j?? ? J? ?? T? JT? ? T?slow gliss between notescresc.cresc.cresc.paccel.accel.accel.accel.accel.She's not your sweetheart.accelerando y ? y ?nine eight!!!? y ?!? ? J?? ? ? J???##? ? j? ? ? j??b? ? ? ? ?#T? ? JT? JT? T? ?hk What's wrong with you?  Why do you have to be like that?? Jy ? ?seven? y ?!y ? ?!! &j? ? j? J??## ? j?j?? ? j? j? ? j?? ? ? ?T? T? ? T? JT?wOh hey, where did you sayyou're going in Mexico?cresc.Ok guys, cool it.&V?&&&&?STBBb/Bass Cl.Gtr.Vla.D.B.Perc.196 !? y ?!196 ? ? ? ? j?j? ??? ? ? J???j? ?? ? ? j???# ?    ? T?b T? ? JT?hkB b Clarinet PPuerto Vallarta ? ? y!y ? ?j? ? ? ? ?j? ? ???b ? j?j?? ? ??b ? j?? ? ?#   JT? T?b ? T? T?hCan you just stopopening your mouth?How do the Mexicans pronounce it?Poo-eeehrrrr-to Vah-yarrr-ta?( q  = 76) !? y ?!? ? j? ? ?J??b ? ? ???#n j?J?b ? ? ??n j?? ? ? ?? T? JT? ? T?w F FFFFOk seriously, that's enough.  For the next few minutes no one speaks. !!!w !? ? ? ?J?# ? ? ?wa tempopq  = 60(ritenuto)129?&&&&?Bb/Bass Cl.Gtr.Vla.D.B.Perc. sim200 j? ? ? ?!? ? ? ?!J? ? ? ? !!? ? ? ?!! !!? ? ? ?!!The TRAVELER comes from pool and onto the stage.  He is wearing a military uniform.  He looks out over the water, examines his hands, his feet, trying to figure out what has just happened to him. !????ngggg ? ?? ? ? ?.y? J?? y? J?? .y? ??3TwP" hide bow changessul pont trem; sporadically move from mutedbow sound only to short D's, half-stopped, weak tone.This sound sound like a radio frequency that is trying to "tune in" to a note, but can't !????#ggggg ? ?? ? ? ?Tw?&&? 4646464646 4444444444 4343434343 4444444444CueBGtr.D.B.Perc. 205 !?????# ? ?? ? ? ?Tw sim. strum y !?????# ? !? ? ? ? ? ?..Twcardiogram slows/fades out !wwww? ?Tw !!?????# ? ?.? ..T?He walks around the operating table until the ANESTHESIOLOGIST notices him. !? ? ywwwwwwU? .y?U !U YOU!nien h .&&&B?Bb/Bass Cl.Gtr.Vla.D.B.Perc. 210 ? ? ?# ? ? ? j? ? j?3 3????#ggggg ? ?Jy? ? ? ?? j? .? J?#3? J? ?3? J? j? ? .? ?3 3p?u mosso, Andante rit.q  = 69FFFFF each bar dying away to nothing, then surging and again fadingeach bar dying away to nothing, then surging and again fadingnormal sound, with delay set approx at tempoThe TRAVELER freezes. The surgical team walks away from the operating table and the DREAMER. They are transformed into the TRIBUNAL of the INQUISTION.? ? ?# ? ? ? j? ? j?3 3????# ? ?y? ? y?? j? .? j?3? J? ?3? J? j? ? .? ?3 3rit.F sim.sim.sim.a tempo h ? ? ?# ? ? ? j? ? j?3 3????## ? ?Jy ? ? ?? j? .? j?3? ?? J? j? ? .? ?3 3a tempo sim. ? ? ?# ? ? ? j? ? j?3 3????## ? ? ?y? ? y?? j? ? ?3? ? J? ? ?? J? j? ? .? ?3 3 h 130??&&&B? 8787878787 4444444444Bb/Bass Cl.Gtr.Vla.D.B.Perc. 214 ? ? ?# ? ? ? j? ? j?3 3?? ?? ?? ?3Jy? ? ? ?? ..T? &? J? j? ? .? ?3 3P ? ? ?# ? ? ? j? ?3 3????# ???? ???? ? ?3? .y?? T? JT?? J? j? ? .?3 3 ? ? ?# ? ? ? j? ? J?3 3????b ???? ???? ?3.y? Jy? ?? ..T??b J?b j? ? .? ?3 3 ? ? ?# ? ? ? J? ? J?b3 3 !? y? ? ? Jy?? ..T? !&&&&? 4545454545 4444444444Bb/Bass Cl.Gtr.Vla.D.B.Perc. 218 ?b ? ? ?b ?n ? J? ? J?3 3????b ???? ???? ?3.y? Jy? ?? ? ?b? J? j? ? .? ?3 3p ? ? ? ?b ?n ? J? ? J? ?U3 3! ?U! ?U?b ? ? ? ? ?U! ?U & ? ?- ?? ? ?!? ?# ? ? ? ? J? ? J?3 3 B? ?- ? ?ppppoco meno ? ?- ?!!?b ? ?? ? ? ? ? ? j? .?3 3? ?- ?&&B?Bb/Bass Cl.Gtr.Vla.D.B. 222 w???? ? ?.? J?# ? ? ? ?? ?- ?-p w???? ? ?? ? .?ww ? ? ? ?...??? ???bb.? ?b.? ?brallentando poco a poco ? ? ???? ??? ???b ?? ? ?? ? ?b131??&&V?&&&B?444444444444444444SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.226 !U!U? ? ?UAp!U226 ? ?b ?U ?!??? ???b ???U ?? ??bU ?? ?bU ?Sung in the style of Gregorian incipitScene 3F !U!U?b ? ?b ?b ? ? ? ?Uroach the bench! ?U j?Ap!U!U!U!U!U F!? ? j? ? ?bAp proach? ? ? j?Ap? ?b ? ? ?b ? J? ?proach the benchw??? ? !? ? !!wFFPPPPq   = 72 ? j? ?b ? ?b ? ? ?Ap proach the bench of the most? ?b ? ? ? ? ?nthe bench of the most?b ?b ? ?b ? ? ?proach the bench of the most? J?b ?b ?b ? ? ?the bench of the mostj? ? ? ?!!!J? ? ? ?F""-----&&V?&&B?45454545454545454444444444444444SATBGtr.Vla.D.B.Perc.230 ?b - ?- ? ? ?bho ly The most?- ?- ? ? ?bho ly The most?- ?b - ? ? ?bho ly The most?- ?- ? ? ?ho ly The most!!!!rit. a tempo ? ? ? j? ?. ?bworth y the Truth, the?n ? ? j? ?. ?worth y the Truth, the? ? ? j? ?. ?worth y the Truth, the? ? ? j? ?. ?worth y the Truth, the!!!!?b ? ? ? j? ? ?on ly Tri bu nal? ? ? ? j? ? ?on ly Tri bu nal?b ?b ? ? J? ? ?on ly Tri bu nal? ? ? J? ? ?on ly Tri bu nal? ??? ?? ??? ?? ??> ?? ??> ?PPPPPPPP .?. ? ? ? ? ? ? ?U .? ?of the In qui si tion Your su.?. ? ? ? ? ? ? ?U ?of the In qui si tion.?. ? .? ? ? ? ? ?U ?of the In qui si tion.?. ? .? ? ? ? ? ?U ?of the In qui si tion!U!U!U!Ufreely, recit.solo dynamicF- - - - - - - - -- - - - - - - -- - -- - - - - - -- - - - --132?& 44S 234 ? ? ? ? ? ? j?prem a cy this ? ? ! ? ? ? ? ? ?man claims he doesnot know where he ?b ? ? j?is He ? ! ? ? ? ? ?b ? ?b ?3says he was in Las Is las Fi li- - - - -& 45S 238 ? ? ? ?b ? J? ? j?3pi nas yes ter day mor ning Which ?b ? ? j? ? ? ? j?you know which I know which ? ?b ? ?b ? ?b ? ? ?God Knows y y y ? ? j? ? ?can not be For we arespoken- - - - -& 45 44 4 2 44S 242 .? J? ? ? ? ?b ? ? ?3now in Mex i co Cit y the next ?b ? ? ? j?ev en ing Oc ? ? ? ? ? ? ?to ber Twen ty fifth ? ? ? ?fif teen nine ty- - - - - - - - - -& 44 42 44S 246 ? ? ? ?three He's been ? ? j? ? ? ?brought be fore us ? ? ? ?n ? ?3 3un der char ges of .? ?b ? ? ? j?her es y Which- - - - -&&?B 454 54 54 5 44444444SGtr.Vla.Perc. 250 ?b ? ? j? ? ? ? j?you know, which I know, which""" ? ? ? ?b ? ? ?b ?God knows""" ? y ? ? j? ? ?he claims that"? ? .y?" &must be. ? ? ?b ? ? ? ?Uhe is in no cent.????bbgggg ? ? ?UJy ? ? ? ?U? ?# ? ?b ? ?U BPP $ --?&?B? 4444444444BGtr.Vla.D.B.Perc. 254 ? ? ? ?b ? ? ?Ap proach this most right eous????b ? ?? ? ?wwbwFFF ? ? J? ? ?bench El Tri bu""j?? ? ? ?j? ? ? ? ?b ? J? .? ? ? ? ? ?nal del San to O fi ci o"""" ? ? ? ? ? ? ?3de la In qui si cion""""- - - - - - - - --- 133?????&&V?&&?B?SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.258 !!!? ? ? ?en Me xi co258 !!!!!? j? ? ? ? ? ? j?We have been cho sen by? j? ? ? ? ? ? j?We have been cho sen by? J? ? ? ? ? ? J?We have been cho sen by? J? ? ? ? ? ? J?We have been cho sen by!!? ? ? Jy?!!rit.pppp j? ?b j?b ? ?UGod? ? ? ?UGod.?b ?UGod? ?b ?b ?UGodJ? ?b J?b ? ?U? ?b ?b ?n ?U??b ?? ??.y? Jy? ? ?U?b ? ?U? ? ? ?.?b ?UFP FF F FFFF ? ? ? j?Ap? ? ? j?Ap? ? ? j?Ap? ? ? j?Ap? ? ? j?.?? ?? ?? ??!? ? ? J??.? ? ? ? J? ? ? ? ? J?3 3a tempo ppp ppppp- -- - --- ---&&V?&&?B?44?8144?8144?8144?8144?8144?8144?8144?8144?81454545454545454545444444444444444444SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.262 ? ? j? ? ? ? j?proach Walk for ward Come? ? j? ? ? ? j?proach Walk for ward Come? ? j? ? ? ? j?proach Walk for ward Come? ? j? ? ? ? j?roach Walk for ward Come262 ?. ? j?. ?. ?. ? j?.?? ?? ?? ???? ?? ?? ????. ? J??. ??. ??. ? J??.? ? ? ? J? ? ? ? ? J?3 3P? j? ? ? ? ? j? ? ? j?3 3forth con fess your faith Ap proach the Most? j? ? ? ? ? j? ? ? j?3 3forth con fess your faith Ap proach the Most? j? ? ? ? ? j? ? ? j?3 3forth con fess your faith Ap proach the Most? j? ? ? ? ? j? ? ? j?3 3forth con fess your faith Ap proach the Most?. j?. ?. ?. ?. ? j?. ?. ?.3 3?? ?? ? ?? ???? ?? ? ?? ????. J??. ??. ??. ??. ? J??. ??. ??. J??.3 3? ? ? ? J? ? ? ? ? J? ?3 3accel. ?b ? ? j? ? j? ? ? ? ?U3 3Ho ly Pro claim your au to da fe? ? ? j? ? j? ? ? ? ?U3 3Ho ly Pro claim your au to da fe?b ? ? j? ? j? ? ? ? ?U3 3Ho ly Pro claim your au to da fe?b ? ? j? ? j? ? ? ? ?U3 3Ho ly Pro claim your au to da fe?b . ?. ? j?. ? j? ? ? ? ?U3 3??## ?? ?? ?? ?U?? ?? ?? ? J??b? J??U ?&??b . ??. ? J??. ?? J?? ?? ?? ?? ??U3 3?# ? ? ? J? ? ? ? ? J? ?U3 3Pcresc.cresc.cresc. cresc.cresc. FFF FFPPP ritenuto- - - - - -- - - - - -- - - - - -- - - - - -134?&&V?&B?444444444444444343434343434342424242424242SA TBB b/Bass Cl.Vla.D.B.265 !!!? J? ? ?b ? ? ? ?I've heard the ev i dence a265 ? j? ? ?b ? ? ? ?! &wa tempo, p?u mossoPPP!!!?b ? ?gainst you?b .?? ? ? ? ?b ?b? J? ? ?P!!!? ?n ? ? ?b ?There are Christ ians who? ? ? ?? ? ?b ?!!!!?b ?b ?saw you.??b ?b.? .?b . ?. .?. ?. ?. ?.?Ly ing in the cen tre.?b . ?. .?. ?. ?. ?. ?Ly ing in the cen tre.?. ?. .?. ?. ?. ?. ?Ly ing in the cen tre.?b . ?. .?. ?. ?. ?. ?Ly ing in the cen tre? ? ?.??bb ?? ??.?b ? ?.PpppPPP - -- - - - - -- -- -&&V?&&&&?424242424242424242444444444444444444454545454545454545444444444444444444SA TBB b/Bass Cl.Gtr.Vla.D.B.Perc.270 ? ?b ? ? ? ?of the Pla za Ma? ?b ? ? ? ?of the Pla za Ma? ? ? ? ? ?of the Pla za Ma? ?b ? ? ? ?of the Pla za Ma270 ? ?!!? ??bb? ?b?# ? j?# ? ? ? ?yor at tired in a?# ? j? ? ? ? ?yor a tired in a?# ? j? ? ? ? ?yor at tired in a?b ? j?# ? ? ? ?yor at tired in a?# ? ? ?!!??## ? ??# ??# ? ? ?FPPPFFF ?n ?# ? ? j? ?n ? ?u ni form from a cross the?# ? ? ? j? ?n ? ?un i form from a cross the?# ? ? ? j? ?# ? ?un i form from a cross the?# ? ? ? j? ?n ? ?un i form from a cross the?# ? ? j? ?# ?!? y? y???#n ?? ? j?? ?? ???# ? ? j? ?n ?cresc.cresc. cresc.cresc. Fw> ?Useaw ?Useaw# ?Useawn > ?Useaw# ?U? ?# ? ? ? ? j? ? j? ?U3 3w ?! ?U? ?# ? ? ? ? j? ? j? ?U3 3? .? ? Bw ?UF FFFrit.- - - - - -- - -- - - - - -- - -- - - - - -135?&&V?&B?44444444444444SATBGtr.Vla.D.B.274 !!!? ?b ?b ?b J? ? J?from the Span ish Ar my in? ?b ?" ?wb? ?b ?b ?b J? ? J??b ? ?a tempo ( q  = 72)Pppppizz.!!!? ?n ?n ?n ? ? ?ser vice of the coun try?b ? ?b ?n? ?n ?n ?n ? ? ??b ? ?F!!!? ?b ?b ?on the trade route? ??bb ??? ?b ?? ?b ?arco cresc.cresc. cresc.p cresc.!!? ? ?b ?bof the? ? ?b ? ? ?of the peo ple of the? ?? ??? ?b ? ? ?b? ? ? F? # r? ?> ?lip pines? # r? ?> ?lip pines.?n ? ? ?Phi lip pines.? ? ?> ?Phi lip pines.? ???? ? ?? # ?? ?? ?j? ? ? ?fFFFff-- -- - -- - - --?&&B?TrvlrBb/Bass Cl.Gtr.Vla.D.B. 279 !279 ? ? ?.? ? j? ? ?wwwwb !!subito ritenuto p !w???? ??bb ? ?????? ?b ? ???? ?b? ??ppp ? ? ? ? ? ? ?I drink cof fee ev' ryj? ? ? ????bb ? ? ??? ? ??b? ? ?meno ( q  = 66)pThe TRIBUNAL shuffles around. They whisper to each other. They point at him. The TRAVELER walks over to the DREAMER. She sits up and listens to him. He is confused and desperate and begins to plead his case.? ?mor ning!??b ? ?!?b ? ?pppizz.- - - -136??&&B?TrvlrB b/Bass Cl.Gtr.Vla.D.B. 283 ? ? j? ? ? ? ?with sleep still in my283 !!!! ? ?b ?eyes ! ??????bbb ? ?!?b ? ? Bass Clar.arco ? ?b ? ?Go to work eachww wwwbb w"w"Ppppphaser or rotoSIM (Leslie) effectwith volume ped. .?n J? ?day.?b j? ?w www .?b j? ?.? J? ?P ? ?n ?make sure myww wwwbb wn w??&B?TrvlrB b/Bass Cl.Gtr.Vla.D.B. 288 ?b ? ? ?bboots are shined288 wb w wwwwwb ? ? ? ?I kiss myw wwww? ? ? ?w sim. ? ? ? ?nwife on thew wwww? ?? ? ? ?w ? ? ? ?neck be fore Iw wwww? ? ?w ? ? ? ?leave I tell youw wwww? ?? ? ? ?w-??&&B?TrvlrB b/Bass Cl.Gtr.Vla.D.B.Perc. 293 j? ? ? ? ?Ufor cer tain293 ? ? ?U? ? ?U? ? ?U ?? ? ?U? ? ? ?U .?# J?# ? ? ? ?I'm an or di nar y? .? !w ?? .??J? ? .??p ppp p ?# ?# .?manw# ? ? ? ?# ?# ?# ?w?w ?w#? p .?# J?# ? ? ? ?I'm an or di nar y? ?? ? ?!.?#" J?# ? ? ? ?? ? ? ? ? ?# ?# ? ?Uman.?b ?U??# ??# ?? ?U ?b ?b ?b ?b ?b? ? ?U?# ?# ? ?bU? ?b ?Urit.- - - - - - -137??&&V?&??SATBGtr.D.B.Perc.298 !? ? j?b ?b ?bAp proach? ? ? J?bAp?b ?b ? ?b ?b ? J? ?Ap proach the bench?b ? ?? ? ?j?b .wb FFPPPq  = 72 ? J?b ?b ?b ?b ? ? ?Ap proach the bench of the most?b ?b ? ? ? ? ?nthe bench of the most?b ?b ?b ?b ? ? ?proach the bench of the most? J?b ?b ?b ? ?b ?bthe bench of the most!!j? ? ? ?F"?b ?b ? ? ?bho ly The most?b ?b ? ? ?bho ly The most?b ?b ? ? ?bho ly The most?b ? ? ? ?bho ly The most!!!?b - ?b ? J? ?. ?bworth y the Truth, the?n - ? ? j? ?. ?worth y the Truth, the?b - ?b ? J? ?. ?worth y Truth, the?b - ? ? J? ?b . ?worth y Truth, the!!!------------&&V??&?SATBBb/Bass Cl.Gtr.D.B.302 ?b ?b ?b ? j? ? ?on ly Tri bu nal?b ?b ? ? j?b ? ?on ly Tri bu nal?b ?b ?b ? J? ? ?on ly Tri bu nal?b ? ? J? ? ?on ly Tri bu nal302 !!!PPPP .?b ? ? ? ? ? ? ?of the In qui si tion.?b ? ? ? ? ? ? ?of the In qui si tion.?b ? .? ? ? ? ? ?.?b ? .? ? ? ? ? ?? ?b? ? ???bbb ?!PPord., no ped.!!!? J?b ? ? ? ?b ?b ?bWe've heard the ev i dence a!????bbbb ? ?J?b ? J?b ? J?b ? J?b ?poco p?u mossoPP- - -- - -- - -- - -- - -- - -- - -138?&&V??&B?424242424242424244444444444444444545454545454545SATBBb/Bass Cl.Gtr.Vla.D.B.305 !!!?b ?b ?gainst you305 ? ? ?>? ? ?? ? ?b>J?b ? J?b ? ?b ?>ppp!!!? ?n ? ? ?n ?b ?bThere are Christ i ans who? ? !?? ? ?? ? ?!!? ?saw you? ?saw you? ?!!!FF?. ?. .?. ?. ?. ?. ?. ?.You pro claim you are not from this?. ?. .?. ?. ?. ?. ?. ?.You pro claim you are not from this?. ?. .?. ?. ?. ?. ?. ?.You pro claim you are not from this?. ?. .?. ?. ?. ?. ?. ?.You pro claim you are not from thisJ? ? ? ????? ? ?!wpppppp- - ----&&V??&??4545454545454545444444444444444445454545454545454343434343434343SATBBb/Bass Cl.Gtr.D.B.Perc.309 ?. ?. .?. ?. ?. ?. ?. ?. ?b> ?. ?.place, you state you don't know how it hap pened you?. ?. .?. ?. ?. ?. ?. ?. ?b> ?. ?.place, you state you don't know how it hap pened you?. ?. .?. ?. ?. ?. ?. ?. ?> ?. ?.place, you state you don't know how it hap pened you?. ?. .?. ?. ?. ?. ?. ?. ?> ?. ?.place, you state you don't know how it hap pened you309 ! ?>! ????b>!j? ? ? ? ?>? j?. .?. ?. ?. ?. ?. ?. ?. ?.3 3in sist you trav eled a cross the sea? j?. .?. ?. ?. ?. ?. ?. ?. ?.3 3in sist you trav eled a cross the sea? j?. .?. ?. ?. ?. ?. ?. ?. ?.3 3in sist you trav eled a cross the sea? J?. .?. ?. ?. ?. ?. ?. ?. ?.3 3in sist you trav eled a cross the seaw !!w?. ?. ?. ? ? ? ? ? ? ? ?3in stant ly in the time a cock takes to?. ?. ?. ? ? ? ? ?b ? ? ?3in stant ly in the time a cock takes to?. ?. ?. ? ? ? ? ? ? ? ?3in stant ly in the time a cock takes to?. ?. ?. ? ? ? ? ? ? ? ?3in stant ly in the time a cock takes toj? ? ? ? ? ? j? ? ?3 !! yj? ? ? ? ? ? ? ? ?3 arco- - - - - -- - - - - -- - - - - -- - - - - -139?&&V??&?&?434343434343434343464646464646464646444444444444444444SA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.312 ?b ? ? ? ?crow? ?b ? ? ?crow.?bcrow.?crow312 .?b ?????nbb ? ?.y ? ?? J?n ! J?n ? ? J?3 3 3.?b pFFFF ? ? ? ? ? ? ? ?Ap proach the bench this is not? ? ? ? ? ? ? ?Ap proach the bench this is not? ? ? ?b ? ? ? ?Ap proach the bench this is not?> ? ? ? ? ? ? ?Ap proach the bench this is not" &"? ? "J? ? ? ? "3 B.wF FFF FF .?b ? ? ?pos si ble.? ? ? ?pos si ble.?b ? ? ?pos si ble.? ? ? ?pos si ble? .? ""? ? ?b ?bj? ? ? ?FFBb Clar."""? ? ? ? ? ?b ?bWith no boat you can not? ? ? ? ? ?b ?b""? ?b ?b ?? ? ?- - -- - - -- -- - --&&V?&&B?SA TBBb/Bass Cl.Gtr.Vla.D.B.316 """? ? ?trav el316 ? ? ?"?b ? ?? ?b ?? ? j? ? ?Where are you? ?fl ? ?Where are you? J?? ? ? ? ? ? ?What have you done where are you?fl ? ? j? ? ?What Where are you"??? ? ?"wFFFFF wnfrom?wfrom?wfrom?wfrom? "? j? ? ?b ? ? ? ?b? ? j? ? ?b? ? ? ?b ?? ? j? ?b ?bTo speak these? ?fl ?b ?Who speak these? j?fl ? ? ? ?Who sent you to?? ? ? J? ? ?Who to speak these? ? ? ?? ? ??b ?w- 140?&&V?&&&B?434343434343434343424242424242424242434343434343434343424242424242424242SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.320 wwords?wbwords?wbwords?wwords?320 ? ? ?? J? ? ? ? ?b ?b!? ? ?b ?b? ? ? ? ?? j? ? ? ? ? ?Who whis pered them in your? j? ? ? ? ? ?Who whis pered them in your? j? ? ? ? ? ?Who whis pered them in your? j? ? ? ? ? ?Who whis pered them in your? ? ?? ? ??? ? ?? ? ?? ? ?""""""""" ?b>ear?>?ear??b>ear??b>ear??b>????bb > ?????bb> ?! &?b>PP ?b ? ? ? j? ? ? ?3Trav el er of so man y? ? ? ? j? ? ? ?3Trav el er of so man y?b ? ? ? j? ? ? ?3Trav el er of so man y?b ? ? ? j? ? ? ?3Trav el er of so man y?b ? ? j? ? ? ?3!!??b ?? ? J?? ?? ?? ??3?b ? ? J? ? ? ?3- - - -- - - --- - - -- - -&&V?&&&&?424242424242424242444444444444444444SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.324 .?> jylies (sss).?> jylies (sss).?b> jylies (sss).?b> jylies (sss)324 ?b>????y?bb> ?????bnn > ?TT>??b>fFFFFFfff jy ? ? ?jy ? ? ?jy ? ? ?jy ? ? ?j? ? ? ????b ? ?? ? ?Jyy ? ? ? BwPP? ? ?U? ? ?U? ? ?U? ? ?U? ? ?U? ? ?U? ??? ???b ???bU? ? ?U.? ?UppDrop Dmolto rall.141?&&B?Gtr.Vla.D.B.Perc. 327 .?# ?#www !wwpFlowing ( q  = 69) ? ?# ??# ? ? .?j? ? ? ?J? ? ? ?p j? ..?? j?? ?? j???# ?!! j?# ?? ?? j?? ? ??? ? .?!!?&&?TrvlrGtr.D.B.Perc. 331 !j?? ? ? ? j?? j? ?# ? j? ? j?! w#Rainj? ? ? ? j?j? ? j? j? ? j?? ? ? j?ppizz., sustain all as long as possible P wfallsj?# ?? ?? j?? ? ??j?# ? ? ? j??# ? ? ? ? .? J?# .?# J?in my colj?? ?? ?? ?? j??j? ?? j?? j?? ?? j?? ? ? j?- - -?&&?TrvlrGtr.D.B.Perc. 335 .?# ? J?lar withj?# ?? ?? j?? ? ???# ? ?# ? ? ? ? ??# ? ? ? ? ?# ? ? ?#sleep still in myj?? ?? ?? ?? j??j? ?? j?? j?? ?? j?? ? ? ? ? J?eyes Ij?? ?? ?? j?? ? ??j? ?? ?? ?? j?.? ? ? ?# J? ? J?#jump o ver eachj?? ?? ?? ?? j??j? ?? ?? ?? j?? ? ? j?-142???&&&B?TrvlrB b/Bass Cl.Gtr.Vla.D.B.Perc. 339 ? ?# ? J?pud dle My339 !j?# ?? ?? j?? ? ?j?# ? ? ? j?!?# ? ? ? ? ?# ?# ? ?#boots don't lose their!?# ? ?# ? ? ? ?# ??# ? ?# ? ? ? ?# ?!? ? ? j?# w#shinew#w# J?# ? ? ? J?w# ? ?# ? ? J?!?# ? ?Fp ? ? ? ?Stand guard at the?n ? ?n ?#j?n ???? ???? ???? j?????? ??n ??n ?? ??n ?? ??# ??? ? ? ??n ? ?PPPPP-?&&&B?TrvlrB b/Bass Cl.Gtr.Vla.D.B.Perc. 343 ? .? J?pal ace my343 ? .? ?j? ???? ???? ???? j????j?? ?? j?? j?? ?? j??? .? ?? ? ? ? .?col lar? .?j? ??? ??? ???# j???? ?? ? ?? j?? ??# j??? .?? ? ? ?# ? ?# ? ?wet a gainst my?# ? ?# ? ?j? ???# ??? ??? j???j? ??# ?? ?? j??..??# ??? ? ? ? j?P ?# ?neck?# ?j?# ?? ?? ?? j??j?# ? ? ? j?ww#?# ? ?- - - --?&&&B?TrvlrB b/Bass Cl.Gtr.Vla.D.B.Perc. 347 ? ?# ?# ? ?You must be lieve it,347 ? .? ?j?? ?? ?? ?? ?j? ? ? ?J?? ? ? ?!molto rit. .?# J? ? ? ? ?#I'm an or din ar y.?# j? ? ? ? ?#j? ? ? ? j?? y?? !? ? ? ? j?a tempo, meno arcoh ?# ?# ?Uman?# ?# ?Uj? ? ? j? ?UJy ? ? ? ?U &? ? ?nU &.? ?UP pppp- - - -143??&&V?&&&&?434343434343434343454545454545454545SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.350 ?b> ? ? ? ? ?Ap proach this most right eous?> ? ? ? ? ?Ap proach this most right eous?n> ? ? ? ? ?Ap proach this most right eous?b> ? ? ? ? ?Ap proach this most right eous350 ?> ?> ?> ?> ?> ?>????bb > ? ?????bb > ? ???bb > ??> ??> ??> ??> ??>?b > ?> ?> ?> ?> ?>Quicker ( q  = 76)FFFFFSSSS .?> J?b ? ?bench El Tri bu.?> j? ? ?bench El Tri bu.?# > j? ? ?bench El Tri bu.?b > j?b ? ?bench El Tri bu>? ?>????bb > ? ?????bb > ? ??>? ??bb >?b > ?b >?b ? J? .?b ? ?nal del San to O? ? j? .? ? ?nal del San to O? ? j? .? ? ?nal del San to O?b ? j? .? ? ?nal del San to O?> ? ?>????bb > ? ?????bb > ? ???bb > ? ??bb >?b > ? ?>- - - -- -- - - - - -- - - - - -- - - - - -&&V?&&&&?454545454545454545424242424242424242444444444444444444454545454545454545444444444444444444SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.353 .? ? ? ! ? ? ? ? ? ? ?3fi ci o de la In qui si cion en.? ? ? ! ? ? ? ? ? ? ?3fi ci o de la In qui si cion en.? ? ? ! ? ? ? ? ? ? ?3fi ci o de la In qui si cion en.?b ? ? ! ? ? ? ? ? ? ?3fi ci o de la In qui si cion en353 ?> .>?????bb > ? ?????b > ? ???> ..?>??b > .>??> ? ? ?3Me xi co?> ? ? ?3Me xi co?# > ? ? ?3Me xi co?b > ? ? ?3Me xi co>??????b# > ?????#b > ??>??b >? J? ? ? ? ? ? J?We have been cho sen by? j? ? ? ? ? ? j?We have been cho sen by? j? ? ? ? ? ? j?We have been cho sen by? j?b ? ? ? ? ? j?We have been cho sen by"???? ? ?????b ? ?"?b ? ??> ? ? ?God.>? ?God.>? ?God.>? ?God "???> ? ? ?b ?>???> ? ? ? ?..??> ?? ?>.?> ?b?>#- - - - - - - -- - - - - - - -- - - - - - - -- - - - - - - -144??&&&&? 444444444444TrvlrBb/Bass Cl.Gtr.Vla.D.B.Perc.357 ? ? ? ? ?bI get in to357 ! ?j?b ? ? ? ?j?? ? ? ?j??? ? ? ?J?b? ? ? ?meno q  = 69PpppP Bass Clar..? ? J?bed With.?b j? ?!!.? j? ?.?b J? ?ppp? ? ?b ?sleep still in myw !!w"w"?b .? ?eyes.?b j? ?!!? ?.?b J? ?? ? ?See my wife'sj?b ?b < ?< ?< j?? ?b ? ? j?!? ? ??b ? ?ppizz.-??&&&?TrvlrBb/Bass Cl.Gtr.Vla.D.B.Perc.362 ?b .?bbod y362 J?b ?? ?? ?? J?j?b ??b ?? ?? j??!?b ?b ? ?b?b ? ??b ? ?b ?beach drop of sweatJ?b ?? ?? ?? J?j?b ??b ?? ?? j??!?b ? ?b ?b?b ? ? arcowshineswb j?? ??bb ?? ?? j??!? ?b ?b ?wb "F ? ? ?bHer!j?b ???bbb ??? ??? j???!.?b ??b ??n ?n ?hands an chorj?b ? j? j? ? j?j?n ? j? ? ? ? ??b J?? ?? j?? ?? ?? ?? ??!?b ?PPPP pedal down throughout sord.- -145???&&&?TrvlrBb/Bass Cl.Gtr.Vla.D.B.Perc. 367 ?b ? ?me hold the367 j?b ? j? j? ? j?j?b ? j? ? ? ? ??b j??b ?? j?? ?? ?? ?? ??? ? ??b ?p float? ? ? ?bback of myj?b ? j? j? ? j?? ? ? ? ? ? ?b ??b?? ?? ?? ?? ?? ?? ??b ??? ? ? ??b ? ? ? ?neck Youj? ? ? ? J?? ??b ? ?? j?? ?? j???? ?? ? ?? j?? ?? j??bT? T?? ? ?dim.!(or vln. 367 - 375 possible; 15va 369 - 375, non-harmonic) ? ? ? ?Umust be lieve it,.? ?bU? ? ?U? ? ?U ?T? T?## U.? ?Udim.dim. -?&&V??&?&?4242424242424242424244444444444444444444TrvlrSATBBb/Bass Cl.Gtr.Vla.D.B.Perc.371 .?# J?# ? ? ? ?I'm an or din ar y? ? j?# ? ? ? ? ?3Who sent you to speak these? ? j? ? ? ? ? ?3Who sent you to speak these? ? j? ? ? ? ? ?3Who sent you to speak these? ? j? ? ? ? ? ?3Who sent you to speak these371 ? j?- ? j?- ?....????# j???? ???? ???? ???? ???? ????3w?Tw## "? J?- ? J?- ?pBroader  ( q  = 60)!pppp!!!!pluck? ?# .?man.?# j? ? ? ? ? ?3words? Who whis pered them in your.? j? ? ? ? ? ?3words? Who whis pered them in your.?# j? ? ? ? ? ?3words? Who whis pered them in your.? j? ? ? ? ? ?3words? Who whis pered them in your? j?- ? j?- ?....????# j???? ???? ???? ???? ???? ????3w? ..T?## T??# J?- ? J?- ?.?# J?# ? ? ? ?I'm an or din ar y.?# j? ?ear?.? j? ?ear?.? j? ?ear?.? j?? ?ear?.? ?????# ? ?w?Tw# .? ??# ?# ? ?man?# ? .? j? ? ? ?3Trav el er of so man y? ? .? j? ? ? ?3Trav el er of so man y? ? .? j? ? ? ?3Trav el er of so man y? ? .? j? ? ? ?3Trav el er of so man y? .?n #.?? ?T?# T? T?w#U?# Ulies!?# Ulies!?Ulies!?Ulies!?U ?????n## Ugggggggg #UT?## UT??U- - - - - -- - - -- - - -- - - -- - - -146???&&? 4444444444TrvlrBb/Bass Cl.Gtr.Vla.D.B. 376 !376 ? ?b ?b ? ? ?b ?b ?!!! &accel.The TRAVELER turns and faces the TRIBUNAL, addressing them directly.Mod.  ( q   = 88 ) ?? ?? ?? ??Lis ten Lis ten!? ? ? ? ?b ? ? ?? ? ?!? ? ? ? ? ?PPP desperately, quasi sprech., over roughly 4 bars, follow suggested grouping/scansion and spatial/proportional notationF J?? ?b? ?? ?? ?b? ?? ?? ?? ?? ??3Es cu cha me! I do not know where I?? ? ? ?b ?b ? ?!!?b ? ? ? ? ? ?n ? ?? ?? ?? ?b? ?b? ??am. I do not know how I? ? ?b ?b ? ? ?b ?b??? ? ?? ?b ? ?b ? ?n? ? ?b ?b ? ? ?b ?b? P ?? > ?n ?got here? ? ?n ? ?b ?!? ?b ?b ? ?b ?b ?? ? ? ?n ? ?b ?- - - - -??&&&?TrvlrBb/Bass Cl.Gtr.Vla.D.B.Perc. 381 ?? ?? ?? ?? ?? ?? ?? ??Last night in a coun try called the381 ? ? ? ? ? ?b ?b? ? ?!? ? ?b ?b ? ?b? ? ? ? ? ?b ?bsim. ?? ?? ?? J?? ?? ?b? ?? ??3Phi lip pines I stood guard at the? .?b? ?b ?!? ?b ? ? ? ?b ?b ?? ? ? ?The TRIBUNAL does not listen to him but flank the TRAVELER on each side and begin to drag him away. The Traveler keeps pleading as they prepare his bonds.?b? ?? J?? ?? ?? ?? ?? ?? ?? ?b?3 3pal ace. This mor ning I ar rived in a? ? ? ? ?b ?b? ? ? ? ?b ?b!?b ? ?b ?b j? ? j?wwith e-bow ?b? ? ?b? ?b? ?n? J??3place far from home, you? ?b ? ?? ?b ? ?? ?b ?? ?b ?b ? j? ? j?w ?b? ?? ?? ?b? J?n?say it's Mex i co? ?b ?b ?b? ?b ?b ?b? ?b ?? ?n ?n ?# j? ? j?w cresc.cresc.cresc.cresc.cresc.- - - - - - - -??&&&?TrvlrBb/Bass Cl.Gtr.Vla.D.B.Perc. 386 J?? ?? ?b? ?b? ?n? ? ?? ??3You must be lievre me I am386 ? ?b ?n ?b ? ?n ?n ?b? ?b ?b ?? ?n ? ?? ?b ?n ?b ? ?n ? ?b? ?b ?b ?molto rall.ped....sim. ?b? ?? ?? ?n? ?? ?b? ?? ?n?3 3not who you say I am I'm an? ?b ? ?b ? ?b ? ?b? ? ?J? ?b J?b ? ?b ? ?b? ?b ? ?b ? ?b ? ?b? ? ? quasi in time ?? ?#? ?? ?b ? ?b ? ?or di na ry manwn????bb ? ??b ? ?wbwbFFFFF- - - -147??&&V??&&&?SATBB b/Bass Cl.Gtr.Vla.D.B.Perc.389 ? ? ? ? ?You are not? ? ?b ?b ?You are not? ? ? ? ?You are not? ? ? ?You are389 .? j? ?????b ? ?? ? ?.?b j? ?.? j? ? ?meno ( q  = 76)PPPPP FFFFno e-bow, ord.? ? ? ? ?You are not? ? ?b ?b ?You are not? ? ? ? ?You are not? ? ? ?not You are!!!!!FFF !!!?b ? ? ? ?e vil You're a!? ? ?b ? ? ?3? ??? ?!!PP!!!?b ? J? ? ? ? ?witch You do not tru ly!?b ? ?? ? J?? ?? ?? ?? ??!!P!!? ? ? j? ? j?You must not be al? ? ? j? ? j?see You must not be al? ? .? J?? ? ? ? ? ?3?? ? ?!? ? .? J?PPP- - --&&V??&&&?SATBB b/Bass Cl.Gtr.Vla.D.B.Perc.394 !!? ?b ?b ?lowed a mong us?b j? ? ?lowed394 ? ? ? ? ?b??b ? ?b ? ??b ? ??b ?!? ?b ?b ??b ?P!j? ? j? ? ?Ser vant of Sa tan?b ? ? ?Ser vant Sa tan? ?b ?b ?Ser vant Sa tan?b ? ? ?n??b ? ??b ? ??b ? ?? ?? .? ? ?.?b ??b ?b ? ?rallentandocresc.cresc.cresc. cresc.cresc.PP ? ? j? ?b ?bHave you no?b .?b j?Have you no?b ? ? ?Have you? .?Have?b ? ? ?? J??bb ? ? ? ? ?b ??b .?b J?..??bb J? ??bb ?b?b .?cresc.cresc.cresc.P ? ? ?Ufear?.? ?Ufear?.? ?Uno fear?? ? ?Uno fear?.? ?U? ? ? ?b ? ? ? ? ? ?U? ? ??U? ? ?U? ? ?Ufffffcresc. ffff- -- -- - -148??&&V??&&&?Trvlr SATBB b/Bass Cl.Gtr.Vla.D.B.Perc.398 !? ? ? j? ? ? ?Ves sel of dark ness? ? ? j? ? ? ?Ves sel of dark ness? ? ? j? ? ? ?Ves sel of dark ness? ? ? j? ? ? ?Ves sel of dark ness398 j? ? ? ??? ? ??? ? ? ?!? ? ?pmeno ( q  = 60)ppp !? ? ? ? ?You must be con tained? ? ? ? ?You must be con tained? ? ? ? ?You must be con tained? ? ? ? ?You must be con tained!!? ? y?! B!!j? ? ? ?j? ? ? ?j? ? ? ?y ? ?? ? ? ? ?b ? ? ? ?bU3 3..??? ???b ?UJy? ? ? ? ?U.? ?U.? ?UPut him in the cell.   LOCK HIM AWAY!FFFFFThe TRAVELER is bound and dragged to the side of the stage. The TRIBUNAL exit. The DREAMER gets up. The TRAVELER yells to her.molto rall. !!!!!? .? j??? ? ?! &? .? j?.? J? .? j?PP P vibr.y ? ?U!U!U!U!U.U? ?-???U ? ??U ? ?.U? ?-.U? ?-pppppI'm telling the truth!- - -- - -- - -- - -?&&B? 4343434343 4444444444B b/Bass Cl.Gtr.Vla.D.B.Perc. 403 .?b J? ?!!? ?.? J? ?q  = 60 .? ?-???b ? ?!j? .?b ?-.? ?-The DREAMER doesn?t hear the TRAVELER. Instead, She walks over to the edge of the pool where a dream-like water ballet is taking place..?b ? ?-??bb ? ?!?b ? ?.?? ?-FFF .?b??bb ? ?!..?? .p?pp .?b ? ???b >? ??>..??b .?b PPrit.149??&&B? 4444444444 4545454545 812 ? 8 1812 ? 8 1812 ? 8 1812 ? 8 1812 ? 8 1Bb/Bass Cl.Gtr.Vla.D.B.Perc. 408 ? ?> ? ? ? ? ? ? j?3 3 3????? ?> ? ? ? ? ? ? J?3 3 3??? ?> ? ? ? ? ? ? ? ? ?3 3?? ? ?? ? ?? ? ?? ? ?? ? ?3 3J?-> ? J?- ? ?- ? ? J?3 3+++++ 111111212 121212 FFF FF !!! !!meno q  = 54 ? ? ? ? ? ? ? ? ? ? j? ?U3 3????? ? ? ? ? ? ? ? ?3 3w www ????U?? ? ?? ? ?? ? ?? ? ?? ? j? ?U3 3? ? ? ? ? ? ? ? ?U3 3FF FFF?&&B? 812 ? 8 1812 ? 8 1812 ? 8 1812 ? 8 1812 ? 8 1 812 812 812 812 812 812 ? 8 1812 ? 8 1812 ? 8 1812 ? 8 1812 ? 8 1 812 812 812 812 812Bb/Bass Cl.Gtr.Vla.D.B.Perc. 410 ""? . ??. ??. ??. ??. ??. ??. j??. ??. j??.? ?. ?. ?. ?. ?. ?. ?. ?. .?. ?? ? ? ? ? ? ? ? ? ? ?.? J? ? .? ? ? J?pizz.pizz.senza pedalePPPq.  = 58, flowing " &"? . ?? ?? ?? ?? ?? ?? ?? j??? ? ? ? ? ? ? ? ? .?? ? ? ? ? ? ? ? ? ? j?.? J? ? .? ? ?sim. staccato, decresc.P poco rit. ? ? .? .? .?b j? ? j?? ? .? .? .?b J? ? J?? . ?? ?? ?? ?? ?? ?? j?? ?? j??b? ? ? ? ? ? ? ?b ? ?b ?? ? ? ? ? ? ? ?b ? ?b ?.? .? .? ? ? J?PFespr.sim.a tempoBb Clar.&&&B? 812 812 812 812 812 812 ? 8 1812 ? 8 1812 ? 8 1812 ? 8 1812 ? 8 1 89 ? 8289 ? 8289 ? 8289 ? 8289 ? 82Bb/Bass Cl.Gtr.Vla.D.B.Perc. 413 .? .? .? .?b .?.? .? .? .?b .?? . ?? ?? ?? ?? ?? ?? ?? j??? ? ? ? ? ? ? ? ? ?b J?? ? ? ? ? ? ? ? ? ?b j?.?b .?b .?b ? ?b .? .? .?b .? .?.? .? .?b .? .?? . ?? ?? ?? ?? ?? ?? ?? ??b2? ? ? ? ? ? ? ?b ? .?b? ? ? ? ? ? ? ?b ? .?b.? .? .? .? .?- .?- .? .? .?b j?.?- .?- .? .? .?b J?? ? ?? ?? ?? ?? ?? ?? j?? ?? j??? ? ? ? ? ? ? ? ? ?b ?? ? ? ? ? ? ? ? ? j?b ? j?.?b .?b .?b .?b ?150??&&&B? 89?8289?8289?8289?8289?82 812?81812?81812?81812?81812?81 812812812812812 812?81812?81812?81812?81812?81Bb/Bass Cl.Gtr.Vla.D.B.Perc. 416 .? .? .? .? .?b ?.? .? .? .? .?b ?? ? ?? ?? ?? ?? ?? ?? ?? ??? ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ?.? .? .?b ?bPpp pp .? .? .? .? .?b J?.? .? .? ....????bbggggg .?b J?? ? ?? ?? ?? ??b ?? ?? .? j?? ? ? ? ? ? ?b ? ? ?b ?? ? ? ? ? ? ?b ? ? ? ?.? .? .?b ? ?b j?cresc.cresc.cresc.cresc.cresc. SFFFFritenuto sub. .? .?n .? .? .?.? ..??nn ..?? ..?? ..???? ?? ?? ?? ?? ?? ??b ?? ?? ?? ?? ??? ? ? ? ? ? ? ? ? .??n ? ? ? ? ? ? ?b ? .?b.? J? ? .? .?a tempoP PPPP F&&&B? 812?81812?81812?81812?81812?81 812812812812812 812?81812?81812?81812?81812?81Bb/Bass Cl.Gtr.Vla.D.B.Perc. 419 .? .? .? .?b J? ? ?..?? ..?? ..?? .?b J? ? ?? . ?? ?? ?? ?? ?? ?? j?? ?? j??? ? ? ? ? ? ? ? ? ?b ?? ? ? ? ? ? ? ? ? ?b ?.?b .?b .?b ? ?b J? .? .? .?b .? .?.? .? .?b .? .?? . ?? ?? ?? ?? ?? ?? ?? ??b2? ? ? ? ? ? ? ?b ? .?b? ? ? ? ? ? ? ?b ? .?b.? .? .? .? .? .? .? .? .?b j?.? .? .? .? .?b J?? ? ?? ?? ?? ?? ?? ?? j?? ?? j??? ? ? ? ? ? ? ? ? ?b ?? ? ? ? ? ? ? ? ? j?b ? j?.?b .?b .?b .?b ?&&B? 812812812812 812?81812?81812?81812?81 812812812812Gtr.Vla.D.B.Perc. 422 !? . ?? ?? ?? ?? ?? ?? j?? ?? j??? ? ? ? ? ? ? ? ? .? ?? ? ? ? ? ? ? ? ? ? ?.? J? ? .? ? ? J? !? . ?? ?? ?? ?? ?? ?? ?? j??? ? ? ? ? ? ? ? ? .?? ? ? ? ? ? ? ? ? ? j?.? J? ? .? ? ?Classical Guitar ? ? ? ? ? ? ? ? ? ? ?.? .? .? ? ? J?!? ? ?? ?? ?? ?? ?? ?? ?? ??.? J? ? .? ? ? J?P p p&&B? 812812812812 86868686 44444444Gtr.Vla.D.B.Perc. 425 ? ? ? ? ? ? ? ? ? .?.? .?! ?? . ?? ?? ?? ?? ?? ?? ?? J?.? .? ? . ? ?" " .? .? ? . ? ..w?? ? ? .? .? ? ..? ? ?b ? .# !.w?? j? .? .? .? .? ? j?? ? ? . ? .cresc. !.??? . .?!151???&&?B? 4444444444B b/Bass Cl.Gtr.Vla.D.B.Perc. 429 ? ? ? ?b ?bU > J? ? ?U >? ???bb U > ???bU >?> ? ??U >? ??U >? ??U >f ?? ?? ? ffThe DIVER appears from behind the water cell.  He is dressed as a showman.Scene 4 arcofreely, approx. previous q.  = q   (sticks) J? ? ?U > J? ? ?bU???? ???b U > ??????bn Ugggggggg??U > ??U >??U > ??U >??U > ??U >? ?ff ff ? ? ? ?? ????# > ????bbbn > ????>?> y y y? ??# > ??bn > ??b >? ?> ?b > ?>Allegro q  = 144 fff ffswung ? ? ? ?# ? ?b ?n ? ? ? ?#3? ????b . ? ????b .? y y ? y y? y ? y? j??.! ? ? j??# .! ??b . ?b . ?. ?.bass mallet for dry sound&&?B?B b/Bass Cl.Gtr.Vla.D.B.Perc. 433 ? ? ?b ? ?b ? ? ? ? ?b ?? ????b . ? ????b .? y y ? y y? y ? y? j??.! ? ? j??# .! ??b . ?b . ?. ?. J? ? r?# J? J? ? ?? ????b . ? ????b .? y y ? y y? y ? y? j??.! ? ? j??b .! ??b . ?b . ?. ?. ? ? ?# ? ?n ? ? ?b ?n ? ?b J?b ^ ?3? ????b . ? J????b ^ ?? y ?? y ? ? ? J?v ?? ?? ? ???b ?&?b . ?b . ?. J?^ ?? ? ?# ? ?# j? ? ? ?n ?# ?n j?b ?? ????b ? ????b? y y ? y y? y ? y? ? ? ?# ? ? ? ? ?#3?b . ?b . ?. ?.&&?&?B b/Bass Cl.Gtr.Vla.D.B.Perc. 437 ? ? ? ?# j? ? ? ?# ? ?# j? ?? ????b ? ????b? y y ? y y? y ? y? ? ?b ? ? ? ?b ??b . ?b . ?. ?. ? ? ? ?# j? ? ? ?b ?n ?n ?b ?n ?b ? ?? ????bb ? ????b? y y ? y y? y ? yJ? ? r?# J? J?b ? ?b ?n ? ?#?b . ?b . ?b . ?b . ?b ? ? ?# ? ? ?b J?^ ??b ????# ????bbbn J????^ ?? ? j? ?? y y JyJ?n ? ??# ! ??bn ! ??^!?b . ?. ?b . J?^ ?152??V&?&? 4242424242 4444444444 4343434343 4444444444DvrGtr.Vla.D.B.Perc. 440 yU ? ?!U!U!U!ULadies and Gentlemen, Ladies and Gentlemen.Boys and Girls, Boys and Girls.  What you areabout to see is me.  sub. ritenuto yU ? ?!U!U!U!UIf you do not truly see, you will not see... held back, recit. q  = 66y ?!y y y ???b ?>??> me.Electric Gtr.??P ? J?b R? J? R? J? ?Mag ic mag ic mag ic????nggggg ? ? ? ?3 !wwb ?w?soft, intense, and exaggeratedly carnivaleque(nasally) pwith delay pedalp " ? ?b ? ? ? ?Re qui res i ron nerve,!? ? ? ?b ? ?3&..??b ?.?? Vibr. p(ped. l.v.)- - - - - -V&&&? 4444444444 4343434343 4545454545 4444444444DvrGtr.Vla.D.B.Perc. 445 ? J?b ? .? ? ? ? ?strong arms strong legs!? ? ? ? ?3wwb ?w? ?b ? ? ? ? ? . r?per fect move ment re!!..??b ?.?? ?b ? ? ? " ? ? ? r? ? ? ?jec tion of fear re jec tion of pain? ? ? ????## ?!..??b ? ??n# ? ???.?? ??trem with base of thumb Ppoco cresc.poco cresc.- - -- - -V?&&&? 444444444444 424242424242 444444444444 434343434343DvrBb/Bass Cl.Gtr.Vla.D.B.Perc. 448 !448 ?b ?b ? ? ? ? ? ? ?3 3????## ? ? ???b ?b ? ? ? ? ? ? ? ? ?? ?3 3?? ??- ??- ?? ??- ??- ?? ?? ??3 3?b ?b ? ? ? ? ? ? ?3 3PPPP dim.dim.dim.dim.!.? ?!? ? ???? ? J?b R? J? R? J? ?Mag ic mag ic mag ic!? ? ? ?b ? ?b3y y y ? ? &wwb ?>w?> p??P p- - -153??V&&&? 4343434343 4444444444 4242424242 4444444444DvrGtr.Vla.D.B.Perc. 451 ! ? ?b ? ? ? ?Re qui res i ron nerve,? ? ?? ? ? ?# ?# ?#..??b ?.?? p ? J?b ? .? ? ? ? .? ?strong arms strong legs pre? ? ???b ?"wwb ?w? ?b ?> .?.cise move ment???b ? ?" ???b ? ??? ?non l.v.? ?- - - --V?&?&? 444444444444 424242424242 444444444444DvrBb/Bass Cl.Gtr.Vla.D.B.Perc. 454 ? J?b ? .? ? ? ? J? ?Per fect fear per fect pain454 "? ? ????#### ?gggggy y y ? ? &??b ?> ??n# ? ?????> ??detune with bar....and releaseP?? ##PBass Clar. "?b ?b ? ? ? ? ? ? ?3 3????nnnn ???? ???? ? ?????nnbgggggg ?3??n ?b ? ? ? ? ? ? ? ? ?? ?3 3?? ??- ??- ?? ??- ??- ?? ?? ??3 3?b ?b ? ? ? ? ? ? ?3 3PPPP dim.dim.dim.dim. ? ? y yI pre? ?"" ??? ?J? ? ?- - -V&?&? 4444444444 4343434343 42?8142?8142?8142?8142?81DvrGtr.Vla.D.B.Perc. 457 x x x x x x x x ? ? jx3sent to you my own in ven tion my? J????b ^ ? ?? J?^ ? ?? j???b ^ ? ?"FFFord., no delay y y y y y ? ? x x3per fect de scen sion in to? ????b ^ ????^ ?? ? ? ?^ ?^ ?? ???b$^ ???^$ ? B? ?n ^ ?^ ?f fff y y y ? ? Jywhat I call the? ? J????nbb ^ ?? ? J?^ ?? ? ???# ^? ? J?^ ?????- - - - - -154??V?&?B? 42?8142?8142?8142?8142?8142?81 424242424242 222222222222DvrBb/Bass Cl.Gtr.Vla.D.B.Perc. 460 x x ? ?Chi nese460 ? ? Jyyy? ?? ? J????bb ^ ?? ? J?^ ?? ? j???b ^ ?? ? j?^ ?honk/distort ????? y y ?Wat er? yyy^ ? yyy^3? ????b ^ j????^3? ? ? ?^ J?^3? ???b ^ j???^3? ?^ j?^3?????x x ?Tor ture? ?b >? ????bb >? ?>?? ??# >? ?>???? ?y>Cell!J? ? ?j?^ ? ?J?^ ? ?j?? ? ? &j? ? ??????//- - -?&?&? 2222222222Bb/Bass Cl.Gtr.Vla.D.B.Perc. 464 ?> ? j?fl ? ?>?> ????> ? ?>y> ? ?? ??! ??!> ? ?!> ?!>h   = 69fff ff The DIVER confidently raises his arms, signaling applause. TheSWIMMERS and DREAMER cheer. j? ? ? ? ?????# > ????> ?> ????>"??#! ??! ? ??!j? ? ? ?! ? ? j? ? ?????# > ?> ? ????bbbn" &??#! ? ? ??bn? j? ? ?The DIVER ceremoniously readies himself for the feat, stripping down into a bathing suit. The CHORUS enters and walks over to the tank with hoses, adding more water?> ? j?fl ? ?>? ????n ????# ??# > ? ? ? ?b > ? ? ?# >? ??nn ??# ??!> ? ?!> ?!>Vibr.F but with hard mallet?&&&? 4343434343 2222222222Bb/Bass Cl.Gtr.Vla.D.B.Perc. 468 ?> ? ?> ????? ???? ? ????? ?# > ? ?n ? ?b > ? ???# ?? ? ???>! ? ?>! ? j?fl ? ?> j? ? ????? ? ???? ?????# > ? ?# > ? ?n ???# ? ??# B?>! ?>! j? ? ?poco rit. yyy> ? ???????bbb ? ??b > ? ?????bb! ? ? &?! ? ?????? a tempo ?> ? j?fl ? ?>?> ????# > ? ?>?# > ? ? ? ?b > ? ? ?# >? ??! ??!> ? ?!> ?!>ff ffF155???&&?&? 434343434343 212121212121 222222222222Bb/Bass Cl.Gtr.Vla.D.B.Perc. 472 j? ? ? ? ?????# > ????> ?> ????>? ?# > ? ?n ? ?b > ? ?472 !??#" ??" ? ??"j? ? ? ?" ? ? j? ? ?????# > ?> J????bbb ??# ? J? ?!??#" ? J??bn ?? j? ? J? ?Crash cym. ?> ? ?fl ?> 3?> ????# > ? ?> 3?# ? ? ? ?b ? ? ?#6y ? ?? ??bb ? ? 3?"> ? ?"> ?"> 32222266666+++++2+ 6 j? ? ? ? ?????# > ????> ?> ????>? ?# ? ? ? ?b ? ?!??bb ?? ? ?? Bj? ? ? ?" ?poco rit.?&&B?Bb/Bass Cl.Gtr.Vla.D.B.Perc. 476 ? ? ? ? Jyyy^ ?3? ????# ? j?????b# ^ ??# ? ?b ?b ? ?# ? ? j?b ^ ?6? ??bb ? J??^ ? &? ? ? ? j?b ^3 ????? ?> ? j?fl ? ?>?> ????# > ? ?>?# > ? ? ? ?b > ? ? ?# >? ??" ??"> ? ?"> ?">fff ff j? ? ? ? ?????# > ????> ?> ????>? ?# > ? ?n ? ?b > ? ???#" ??" ? ??" Bj? ? ? ?" ? ?b > ? ? &??????bbb > ? ??b > ? ?????bb"> ? ??"> ? ?He dramatically drops his hands to his side, signaling an end to the applause.V&&&B? 444444444444 434343434343 454545454545 444444444444DvrBb/Bass Cl.Gtr.Vla.D.B.Perc. 480 yU ? ?480 !U!U!U!U!ULadies and Gentlemen, Boys and GirlsWhat you?re about to see contains no trickery.If you do not truly see, you will not see... y ? ?? ? j? ? ? ? ? ? ? ?7????#ggggg ? ? ? ?3 !ww?>w?>with delay pedalMe.q  = 58??P PTwo CHORUS MEMBERS lock his feet into a harness that is attached to a rope suspended from the ceiling.Bb Clar.soft mallets!? ? ? j?!? ? ?# ?# ? ?n ? ?3 3..???.?? P !? ? ? ? ? ? ? ? ? ? ? ? ?b ? ? J?3 3? ? ? ????bb ?!..??? ??## ?.?? ?#?156??V&&&B? 444444444444 424242424242 444444444444 434343434343DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.484 !484 .? ?????bb ? ? ??? ? ? ? ? ? ? ? ? ? ?? ?3 3?? ??- ??- ?? ??- ??- ?? ?? ??3 3? ? ? ? ? ? ? ? ?3 3FFFFF dim.dim.dim.!!!? ????"""? ? j? ? ? ? ? ? ? ?7No mag i cal way to es cape!? ? ? ? ?# ?3y y y ? ?ww?>w?>??Pp p- - -V&&V?&&B?434343434343434343424242424242424242444444444444444444424242424242424242DvrSATBGtr.Vla.D.B.Perc.487 ? ? ? ? ?3No se cret? ?Mm? ?Mm? ?Mm? ?Mm? ? ?!..???.??"""" J? ? ? j?trick I've!!!!!? ?b ? ?b ??????p? ? ? ? ? ? ? ? ? ? ? ? ?7trained my lungs to hold breath for as long as I need!!!!!!???> ??## ? ??# ???> ?# ?-157?V&&&B? 424242424242 44?8144?8144?8144?8144?8144?81 444444444444DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.490 ? ?490 ? ??? ????bb?ggggg? ? j??# ?????? detune with bar....and release!! !Bass Clar."? ? ? ? ?# ? ? ? ? J?3 3????nn## ???? ???? ? ?3??# ? ? ? ? ? ? ? ? ? j?? ?3 3?? ??- ??- ?? ??- ??- j?? ?? ??3 3? ? ? ? ? ?# j? ? ?3 3PPPPP dim.dim.dim.dim. !!!!? j? ? ? ? ? ? ? ? ?I've taught my bod y to move in"? ? ? ? ? ?3"ww?>w?>?? p-V&&V??&&B?434343434343434343434545454545454545454543434343434343434343DvrSA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.493 .? ? ? ? ? ? .? ? . r?ways thought im pos si ble But? ? ?Mmm? ?Mmm? ?Mmm? ?Mmm493 "? ? ? ?????bb ?? ? ? ?b ? ?b..??? ??b>?.?? ?>?p!!!! ? ? ? ? ? ? # ? ? ?they are pos si ble be cause I""""? ? ?.....?????bb ? "..??b ?.?? p? ? ? ? ? ? ? ?7do them ev e ry night? .?Mm? .?Mm? .?Mm? ? ?Mmmw ?wwwwwbb ? ?????nn ?? y y y ? ??nn? &??b ?> ..????? .?decrease pace of trem to standstill!!!! p- - - - - - - -158??&&?B? 434343434343 444444444444Bb/Bass Cl.Gtr.Vla.D.B.Perc.496 ? ?U?????? J????? ?U? y? Jy? ?U? &496 !??? ?Uj? ? ? ?Udecrease pace of trem.....to standstilldecrease pace of trem.....to standstill .? ?????> ? ?? ? ? ???> ? ??> ? ? ?!.? ? ?poco p?u q  = 66p ppPPHe lies down on the stage with his feet in the air.pVibr. Low tom ord., no delay ? ?? ?? ??? ?? ?? ??!? ? ? ?!? ? ? ?pizz. ?? ?? ?? ?. ?b>?? ?? ?? ??. ??bb >??## ? ? ? ?..??## ? ??## ? ??n?? ? ? ?p?&&?B?43?8143?8143?8143?8143?8143?8143?8144444444444444CueBb/Bass Cl.Gtr.Vla.D.B.Perc.500 y500 ? ?b ? ?? ???? ??bb ?? ??!500 ? ? ? ?  ? ??? ??bb ?? ? ? ?h kDIVER'S VOICE (PHONOGRAPH RECORDING):The thing that no one knows, that is hard to truly knowis that every time I go in I wonder if I'll emerge.The rope is pulled and the DIVER is dragged upwards by his feet.!?n ? ?? ?? ?. ?>??nn ?? ?? ??. ??b>!? ? ? ?..  ?   ? ??bb ?? ? ? ?h k!? ?? ?? J??? ??b ?? j??!? ? ? J?..???   ?? ? ? ?h Tonight I?m in pain, my right ankle is sore.Maybe tonight will be the time.  The time I don?t come out.yJ? ?# ? ?? ?? J?j?? ??#n ?? ?? j??? ??# ?? ?? j??? ? ? ?  ? ??? ??b?   n?j?n -" ? j?-" ? j?-" ? j?-" ?h arcoPPP PP159??&&?B?43?8143?8143?8143?8143?8143?8143?8144444444444444CueB b/Bass Cl.Gtr.Vla.D.B.Perc.504 !504 J? ?> ?> ?> J?b >j?? ??> ??> ??> j??bb >j?? ?? ?? ?? j??bb504 ? ? ? ?  ?   ? ??? ??#?j?n ? j? ? j? ? j? ?h sim. cresc.cresc.cresc.cresc.Fp!J? ?b > ?> ?> J?n >j?? ??bb > ??> ??> j??nn >j?? ??bb ?? ?? j??nn? ? ? ?  ? j?n ? j? ? j? ? j? ?yJ? ?> ?> ?> J?b >j?? ??> ??> ??> j??bb >j?? ?? ?? ?? j??bb? ? ? ???? ??? ..  ?j?n ? j? ? j? ? j? ?h k?When people realize, it?s always been me.Nothing supernatural, just a man. Just me. !J? ?b ? ?j?? ??bb ?? ??? ? .y??? ? ?..  ? J???? ? .?h k ffff?&?B? 4444444444B b/Bass Cl.Gtr.Vla.D.B.Perc. 508 ?b - ? ?- ? ?- ? ?- " r?b >???bbbggggg ? ? ? . ? ?b ?3Jy? ? ? ? ? . ? ?..??? ??b - ? ?- ? ?- ? ?- " r?b >f pp p ffF .?b ?? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6?? ? ? ????b ?? ?? ??. ? ?? ?? ?? ??. ? ?? ?? ?? ??. ? ?? ?? ?? ??. ?33 33 33 33.?b ?ff?poco p?u mosso Everything fades to silence as the SWIMMERS and the DREAMER cheer in silence and slow motion .?b J? ?? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ?? ? ? &?? ?? ?? ?? ? ?? ?? ?? ?? ? ?? ?? ?? ?? ? ?? ?? ?? ?? ?3 3 3 3?b ? ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?3 3 3 3FFFFp p p160?V&&B? 434 34 34 34 3DvrGtr.Vla.D.B.Perc. 511 ?b ? ?b ? ?Just me, just a man,??bb ? ?? ? ??b ?b ?? ??b ? ? ? ?b ? ? ?!?b? ? ? ?? ? ? ?b? ? ? ?? ? ?GlockenspielpppP ? j? ? ?b ?b ? ?just a rou tine just an??b ?b ?? ? ??b ? ?? ?? ?b ? ? ?b ? ? ?!?b? ? ? ?? ? ? ?b? ? ? ?? ? ? ?b ? ?b ?or di na ry??bb ? ?? ? ??b ?b ?? ??b ? ? ? ?b ? ? ?!?b? ? ?? ? ?b? ? ?? ? ? .? ?hu man??b ?b ??b ? ?? ?? ?b ? ?b ?? T?bJ?b ? J?b ? ?p- - - - -V&V??&&B?4444444444444444444 24 24 24 24 24 24 24 24 2444444444444444444DvrATBBb/Bass Cl.Gtr.Vla.D.B.Perc.515 ?b ? ?Breathe in? ?- ?Mm? ?- ?Mm? ?- ?Mm515 ? ?b ?n ?b ?n ? ? ?b ? ?????bb ? ?? ? ??J??b - ? ??- ??J?- ? ?- ??PPP " p?b ? ? ?Breathe out Breathe? ?- ? ?Mm Mm? ?- ? ?Mm Mm? ?- ? ?Mm Mm? ?b ?n ?b ?n ? ? ?b ? ?!? ?? ?J??b - ? ??- ?? ??J?- ? ?- ?? ??slow?b?b?b?b ?b ? ? ? ? ?3!????b? ?b?poco rit.PPP?b ? ?b ? ?Just me, just a man,!!!? j?b ? ? ? J?b ? ???bb ? ?? ? ??b ?b ?? ?? ? ?!?b ? ?b ?a tempopizz.ppp161?V&&V??&&B?42424 24 24 24 24 24 24 24 24 34 34 34 34 34 34 34 34 34 344444444444444444444DvrSATBBb/Bass Cl.Gtr.Vla.D.B.Perc.519 ? j? ? ?b ?b ?just a rou tine!!!!519 ?b ? ? ? ? j?b ? ???b ?b ?? ? ??b ? ?? ?!! &?b ? ?b ??b ? ?b ?Feel the wat er!!!!? j?b ? ? ? J?b ? ???bb ? ?? ? ??b ?b ?? ?!wb "?b ? ?b ?#? ? j?bsink down!!!!?b ? ? ???b ?b ?? ?!??b ?cresc.?b ? ?deep? ?b ?Breathe in? ? ?Breathe in? ? ?Breathe in? ? ?Breathe in?b ?b ? ?????bb ????b ?? j?? ? ??? ?b?b ? ?PpPPPP ? ? ?b ? ?bCon cen trate Must!!!!? ? ? ? ?b ?b ? ??????b ? ????bb ?j?? ? ? ?? ? ??b ?b!- - - -162V?&&V??&&&?DvrTrvlrSA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.524 ? ? ?b ?con cen trate? ?Breathe? ?Breathe? ?Breathe? ?Breathe? ?Breathe524 ? ? ?b ? ? ?b ?b ?wwwwwb !? ? ??b ?.? ?PPPPParco"Spotlight on Traveler, alone in chains at the far end of the stage?b ?b ?b ?bFeel each mus clewboutwboutwboutwboutwbout? j?b ?b ?b ? ?b ? ??b ?b ?b ? ?b ? ?b ??b ? ? ??b ?b ?b ?b?b ?b ?b ?bj?b ? ?b ?b ? j? ? ?FPPPPP.?b ? ?neach ti ny?b ?b ?.?b ?.? ?.?b ?.?b ?? J?b ?b ? ?b ? ? ?b?b ?b ?b ? ?b ? ?b ??b?b ?b ?b ?b.?b ? ?nj?b ? ?b ?b ? J? ?b ? subito pp ? ? J? ?b ?bvein un til they.?b ?Mm .?n ?Mm .?n ?Mm .?b ?Mm .?b ?Mm? J? ?n ? ? j? ?b ?b?? J? ?n ? ? .??n ?b ? ?b ? ? ? ?b?n ? J? ?b ?b?b ?b ? ? ? ? ? ? ? ? ? ?3 3pppppsubito psubito psubito psubito p- - - - -163V?&&V??&&&?4646464646464646464646DvrTrvlr SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.528 ? ? ? ? ?ball float a? ? ? J?a!!!!528 ? ?????b ? ?? ? ?? ? ?b? ? ? J? ? ? ? J?float p ?b ?way Breathe?b ? ?bway Breathe? ?Breathe? ?bBreathe? ?Breathe? ?bBreathe? ?wwwwwbbb ?? ????b? ?? ?b? ?b??b ?bppppp "" p? ?slow?b ?slow? ?slow?b ?slow?b ?slow?b ?slow.?b ?......??????bbbb ? ??? ??? ? ?.?b ?quasi niente--164V?&?&?464646464646444444444444DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.sim531 !531 ?b ?n ? ?b ? ? ?b ?n ? ? ? ? ?b ?n ? ? ? ? ? ?? ? ? ?b ?b ? ? ? ? ? ? ? ? ? ? ? ?? ? ? ? y?b ? ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? Bwb ?light gliss with flesh of finger sim.sul pont., lightly, quickly as possible l.v.as faintly as possible, subtones arcoh kh k h kppp pp quasi scratch/pont to get some harmonicsrit. y y y y y y y y y y y y y y y y3 3 3 3En ter the chains. En ter the pain. Emp ty my mind. Emp ty it all.? ? ? j??b ? ???n ??? ???Jy ? ? ??b ?> ??> ??> ??> ???b"> ?"> ?"> ?">spoken quietly and intensely, to self, as a routine chant to prepare for feat TWO TIMES, THEN MOVE TO NEXT BOXFP? PP pp a tempo poco a poco accelerando? ?# ? ?# ? ?b ? ?b ?n ? ? ?# ?n ?# ?n ?b ?n ?b5 5??? ??? ???### ???! &?b ? ?? ?? ???b > ?> ?> ?>- - - -V?&&?B?41414141414141DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.sim534 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?En ter the chains. En ter the pain. Emp ty my mind. Emp ty it all.534 ? ?# ? ?# ? ? ? ?b ?n ? ? ?# ?n ?# ?# ?n ?n ?b5 5??? ??? ???### ??? ????? ?? ??## ?? ??534 ? ? ? ???bb ? ??? ??? ??? ????b > ?> ?> ?>intoned on given contour, should be light, as ifthe Diver has entered a new mind "space"cresc.cresc.cresc.cresc.cresc.B.D.? ?# ? ? ?# ? ?b ?n ? ? ? ?# ?n ?b ? ?b ?n ? ?b ?n ?# ?n ? ?# ?n6 6 6 7J??? ??? ???bb ??? J???nn#J?? ?? ??b ?? J??#n? ? ? ?j??bb ? ??b? ??? ??? J????b > ?> ?> ?>TWO TIMES, OR UNTIL JUST BEFORE ROPE IS RELEASED fq   = 104 J?b ? ? ?U!U!U ?? ? ?Uwwbb ?Uwb ?Uf f f con fuococon fuoco- - - -165?&??&?B?4141414141414141444444444444444442424242424242424343434343434343CueDrmrTrvlrBb/Bass Cl.Gtr.Vla.D.B.Perc. simsim537 !!!537 !!!J??bb? ?J?b? ?The DIVER is plunged into the cell. The theatre goes black except for a light that shines on the SURGICAL TEAM gathered around the operating table and the DREAMER standing by the water tank. The DIVER?S heartbeat pulses.y !!? ?b ?# ? ?b ?n ?# ? ?b ? ? ? ? ? ? ? ? ?n ? ? ?b ? ? ? ??????###ggggggg t tt tnt t t t t t t? ? ?T T T Tw gliss sul C, all harmonicspluck randomly between nut and pegsdownward rollqWe hear a recording of the Diver's heartbeatas quickly as possibleLargo q   = 52ffffF dim.dim. dim.dim.hide changes!!!? ??b ?&T T T Tw " "!? ?bBreathe? ?Breathe!? ????b ???b ? ?T JT ?? j? ?PP p" "&?&&B?4343434343434344444444444444CueDrmrTrvlr Gtr.Vla.D.B.Perc.541 ? y ??b ? ?in? ? ?in....????b ?? ? ? ?b ?b ?5 !!DIVER'S VOICE (NORMAL)I'm bound.p(ped l.v.) ? y ??b ? ?Breathe? ? ?Breathe !!!!I'm here.pp? y ?U?b ? j? ?Uout Breathe? ? J? ?Uout Breathe!U? ?b ? ? ?b ? ? ??U3 3? ? ??b?U? ? ?b?UI'm nowhere."""""Classical GuitarCapo 6th fret, A position !!?b ? ? ? ?b ??b ?b ?b ? ?b ?b.?b ? ?.?? ?.?b? ?pppPAndante q   = 76166?&&BCueGtr.Vla.Perc. 545 y? ? ?b ?b ? ?? ?b ?b ? ?b ? ?!!Heartbeat fades out as EKG sound fades in simultaneously.  !?b ? ? ? ?b ?b ? ??b ?b ? ?b?b ? ?b ??b ?b ? ?pizz.Glockenspielpp !? ?b ? ? ? ?? ?b ? ?? ?b ? ? ? ?? ?b ? ? !??b ? ?b ?? ? ??b ? ?b ?&?&&BCueDrmrBb/Bass Cl.Gtr.Vla.Perc. 549 !!549 ? ? .??b ?b ?b ? ? ? ?? ? ?b?b ? ? ?" !!w !!!The Divers heartbeat turns into the EKG machine, getting faster and louder. The DREAMER begins banging on the water tank.yy ? ?J? ? ? ?!w? .y? J?? y? J?? .y? ??3niente##Stop.  Don't.  Don't go under.quietly, then louder, then yellingEKG machine becomes faster and louder.mute, swell in and out of actual pitch&?&&B?CueDrmrBb/Bass Cl.Gtr.Vla.D.B.Perc. sim552 !y ? ?552 !eyyeee# w?y? ??wb ? cresc.# cresc.cresc.finger pitches and create feedback/volume swell into cutoffnienteDon't!  Don't go under!sim. try to lock in with EKG pulse !!? .?bUeyyeee# Uw?U ??nn ?U.?b? ??U" y ? ?Uy ? ?Uj? ? ? ?Uyyyyyy# ? ?U?> ? ?Uj?? ? ? ?UJ? ? ? ?U???? Stop!f  coordinate cuttoff with an EKG beep (beep stops)END ACT Icut feedback167???&??B? 454545454545 444444444444Bb/Bass Cl.Gtr.Vla.D.B.Perc. w>wwwwwn##n# >? ? ? &?> ?> ?> ?>? ?!> ?!> ?!>? ??!> ??!> ??!>Very slow q  = 46B.D.? ? ? ?fAct IIThe TRAVELER is pulled out of the water cell.  He is gasping for breath.  The TRIBUNAL pushes him onto his knees, places a silk scarf in his mouth and ties it around his head.   The DREAMER is where she was before, staring at the water tank.Scene 1Bass Cl.555 .?b > ? ?>.....?????b > ????? ?????b# >??b > ? ? ? j??b >?> ?> ?> ?> ?>? ??#!> ?? ??? ??! ?? ??simsimrit.? ?? w ?wwwwwb# ?????"? . R?> ? ?> ? .?> ? J?>? . r??b ?? ?? ?? ..?? ?? ??? . r?? ?? ?? ?? ..?? ?? ??a tempo?&&?B? 444444444444 424242424242Bb/Bass Cl.Gtr.Vla.D.B.Perc.558 w>wwwwwwbbbbb > ??# >?> ?> ? J?> ??? ?? j?? ..???? ?? j?? ..??? wwwwwww " ?? ? ? ??? ???? ??poco diminuendopoco diminuendopoco diminuendow>wwwww## >? ? ?? .??? j? ? ??? j?? ? ?ffF P FFwwwwww? ? ? Jy??? ? ?? ? ?# ?#3&w#rit.FP P arco168?&&?&? 4242424242 4444444444SAVla.D.B.Perc. 562 ? ? J?# You? ? j?# YouJy ? ?w# ?wT# ? icy, straight tone, detached articulationicy, straight tone, detached articulationscrape w/ brushpp punta d'arcopunta d'arcoF PPA n dante  q  = 80They slowly pour water down his throat. ?# ? ? ? ? ? ? ? J?3say you trav eled a dis tance that?# ? ? ? ? ? ? ? j?3say you trav eled a dis tance thaty ? ? ?&w# ?Tw# ? arcoP ? ? ? ? ? ? ? J? ? ? ?3 3 3takes a ship eight y days in on ly an?# ? ? ? ? ? ? j? ? ? ?3 3 3takes a ship eight y days in on ly anJ? ? ? ?w# ?Tw# ? ?# ? ? ? ? J?in stant Con?# ? ? ? ? j?in stant Con? ? ?#w# ?Tw# ?- - - - - -- - - - - -&&V?&&&&?43 ? 8 143 ? 8 143 ? 8 143 ? 8 143 ? 8 143 ? 8 143 ? 8 143 ? 8 143 ? 8 1SA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.566 ? ? ? ? ? ?3fess how you did it? ? ? ? ? ?3fess how you did it? ? ? J?.Re? ? ? J?.Re566 .? ?!j? ? ? ?.?# ? ? j?"B..T?# ? ? J?"?meno FFstraight tonestraight tonepBb Clar.ord.ord.? J?# ? ? ? ? ? ? ?3Re nouce the Dev il come to God? j?# ? ? ? ? ? ? ?3Re nouce the Dev il come to Godwnoucewnouce? ? ? J?#3!!."? ? J?# "3."? ? J?"3 P? ? ?# ?Step a? ? ?n ?Step a? ? ? ?Step a? ? ? ?Step a? ? ? ?# -!!.? ?-.? ?-more legatomore legato? ? ? ? ? ? J? ? ? ?3 3way from the dark ness and in to the?# ? ? ? ? ? j? ? ? ?3 3way from the dark ness and in to the? ? J? ? ? ?3way and in to the?b ? J? ? ? ?3way and in to the? ? ?-? ? ? ?# ? ?3? ? y??? ? ?-?b ? ?-poco rit.FF- - - - -- - -- - -- - - - -169?&&V?&&?B?43?8143?8143?8143?8143?8143?8143?8143?8143?81434343434343434343444444444444444444SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.570 J? ?# J? ? J?light con fess con.? j? ? j?light con fess con.? j? ? j?light con fess con.? J? ? J?light con fess con570 ? J? ? J?? ? j???. ??? j???Jy? ? ? Jy? Jy? ? ?j?! ??? j?! ?! j?.? J?! ?! j?meno ( q  = 72)fnon-rolledffffF? ?fess? ?fess? ?fess? ?fess.? ...??? .?? &.?? ?FThe pouring stops. """".? j? ?Jttttttggggggggg > ? ? ?? ? ????..T?## ^ ?.o?^ ?o?#?#sharp stroke between nut and pegsF? PPPThe scarf is removed from the TRAVELER's mouth.  The TRAVELER sputters and spits water, leaning forward to catch his breath.  He sways his head around in circles, clearly confused. """"""????## ????www---- ----??&&B?TrvlrBGtr.Vla.D.B.Perc.574 y "???# ???# ??? ???#U? ? ? ?"j??J? ? ? TPlease! Please... I am not who you think I am.quietly humming, loosely echoing guitar1/4 flat, weak bow pressure, hide changes$freely, rubato, approx. q  = 60punmeasuredverticality = approx. simultaneity (all players read score)Guitar and Bass should sound as separate layer from Traveler, as if they are not listening to himcolla guitarrap?# ? ? ?Mmm...??? ???# ?? ??#? ? ?# ? "freely, rubato, approx. q  = 60 colla guitarrafreely, rubato, approx. q  = 60J?# ? ?# ? ?I don't know what I've? ?# ? ??# ? ?# ? ? ?# ?...??? ? ?wwwwwwwbb ?# pThe Tribunal ring out the scarf, scarcely listening to himPed. throughout passage.?n J?b ?done?# ? ? ? ? ?# ? ?? ? ?# ????# ? ??# ? ? ? ?nslowly detune with bar, 1/2 stepF J?b ? ? ?b ? ?b ?bI've no i de a how I?# ? ? ? ? ???# ? ?#? ?? ???wwwwwwb##n ?P - -170???&&B? 43434343 444444444444TrvlrBGtr.Vla.D.B.Perc.579 ?b J?b ?3got here? ?Mmm...!??????b##n ? !? w# Maybe something happened in my sleep...norm. y ?# ? ?# ? ? ?#.?# ??? ? ?# ?# ? ?# ? ?wwwwwwwbbbb ? ! But no...1/4-tone flat with bar sord.yTn ? ?no it's not? ?# ? ? ?# ??? ? ?# ??n ? ? ?#?# ? ??# ??w# " falsettodim. al niente#colla guitarra# xn x x ? ?3pos si ble? y# ?? ? ??? ? ??# ???#??????bbb ? ??????#n## ?!! &sord.Larghetto q  = 58 rit.Guitar/Vib. can trail off into next bar niente- -?&&V?&&&B&444444444444444444444646464646464646464644444444444444444444TrvlrSA TBB b/Bass Cl.Gtr.Vla.D.B.Perc.583 ? ? ? ?Please pleasew#MmmwMmmw#Mmm !583 .?# ?!!..??# ?.? ?ptastotastoa tempodarkdarkdark###pp ord., delicatelyord., delicatelyp? ? ?# ?# ?ev' ry thing I'vej? ? ? ?j? ? ? ?J? ? ? ? !.? ?!!..??# ??# ?n ??# ?# ?# ?# ?#told you be fore isw# ? ?Ahw# ? ?Ahw# ? ?Ahw ? ?Ahw# ? ????### ???### ???## ...???##? . .....??????#n### ??# ?# ?? ?w ? ?2 string trem (I and II)PPPP # senza sord.senza sord.- -171??&&&&B?4444444444444446464646464646TrvlrSBb/Bass Cl.Gtr.Vla.D.B.Perc.586 ?# ? J? ? ?true I beg you!586 ? ? .?? ? ? ? ?# ?# ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ???????#n#n ? ?? ? j? ? ?wbrush softly with flesh of fingerfade out over barp " pp?n ?please !wTTTTTT## ? .????n #?? #?finger pitches, create feedback or volume swellpressure/scratchpressure/scratchpsticksThe scarf is placed back in the TRAVELER's mouth. ? y> Jy ? ?Please!? ? ??Sss...j? ? ? ?j?????? ? ? ?w?Tw?w?muffled by scarf??fwith end of "please" pff&&V?&&?B?464646464646464646434343434343434343444444444444444444SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.589 ? ?? ?? ?? ?? ?? ? ? ? ? ?Sss...? ?? ?? ?? ? ? ? ? ? ? ?Sss...? ? ?? ?? ?? ? ? ? ? ? ? ?Sss... !589 ? ? J?b ? ?b ? ? ?b ? ?b ? ?b ? ? ?b ? ?b ? ? ?b ? ?b ? ?b ?? ?b3 5 7? ?b eT ?# eT ? ?n ?b eT ? eT ? ?n ?b eT ? eT ? ?n ?b eT ? eT ? ?n ?b ? ?# ?n3 3 6 6.w?T?? ??? ?? ?#? ?? ?#? ?? ?#? ?? ?? ?#? ??3 3 3&w?Broadly q  = 54 sim.sim. sim.p PppThe cycle of pouring begins again.accel. accents ad lib.accel. accents ad lib.accel. accents ad lib.J?> ? ? ?J?> ? ? ?J?> ? ? ?? ? y>j?^ ? ? ?j?^ ? ? ??? ?>?#? ?? ?? y#? y? ?3 3?? j??> ?niente?sul IIIpercussive action (i.e. slamming empty pitcher down on table)**optional, director's choiceffffff ffquasi bow sound only172?&&V?&&?&?444444444444444444SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.591 ? .??.ySss...? .??.ySss...? .??.ySss...? .??.ySss...591 !j??^ ??> ? ?3y .>?? ? ?j?^" ?>" .?3j?^"?>" .?3h k Clap hands as quickly as possibleh k Clap hands as quickly as possibleh k Clap hands as quickly as possibleh k Clap hands as quickly as possibleq  = 58fffZ ?ppSpotlight on the DIVER behind a scrim, dripping wet, standing on top of the ?Chinese Water Torture Cell? and raising his hands in triumph. He is facing away from the audience towards an "imaginary" audience, situating the house "backstage". Applause is heard offstage (from DREAMER and SWIMMERS).!U!U!U!U? ? ? ? ?b ?U ?#U ,!U? ? ?Uj? ? ? ?Uj? ? ? ?Ufff sticksF!!!!? ?# ?# ? ? ? ?# ? ? J?j? ? j?y??# ? j? ? j???n# ?? y ? y!? ? ? ?Lazy swing q   = 76let all ringPPPswungThe DIVER swings down on a rope. He does not see the DREAMER.  a choppy strumpizz.!!!!?# ? ? ? ?# ?# ? ? ?n ?j? ? j??y?# ? j? ? j???? ?? y ? y!? ? ? ?&&?&?Bb/Bass Cl.Gtr.Vla.D.B.Perc. 595 J?# ? J?# J?n ? ??- j??y??## ? ?- ?????gggggg? y ? y! B? ? ? ?He walks to his ?dressing room?, enters and shuts the door behind him. The DREAMER  follows but keeps her distance.? ? ? J?#3?- j??y??## ? ?- ?????gggggg? y ? ? ? ?? j?? ?# ?# ? ?? ?? Jyy# ^3 3? ? ? ?Fport., jazz sound, swung F ?# ? ? ? ?# ? ? J?#!y? y ? y!? ? ? ?The CHORUS stop torturing the TRAVELER, suddenly interested in the DIVER ?# ? ? ?# ?# .? ?3j? ? j??y?# ? ? ? ? ?3? y ? y y y3!? ? ? ?173?&&V?&&?B?SA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.599 y y y ? ?3There he is!? y y ? ?3Ask him!!!599 J?# ? J?# J? ? ?? ???# ? ???n? y ? y!? ? ?loud whispers loud whispersloud whispers? y y y ?3There he is!? ? y y ?3Ask him!? y y ? ?3Ask him!y y y ? ? Jy y y ?3 3 3You ask him! You ask him!? ? ?n ?n? ??? ? ????n? ? ? y!!loud whispers F !!!!?# ? ?# ? j? ? ? ? ? ?3? ???## ? ???? y ? y? ? ?" ?&? ? ? ?FF F&&V?&&?&?SA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.602 !!!!602 ? ?# ? ? ? ?? ???n ? ?????? y y y y ? ?3? ? ?n ? ??? ? ? ?y y y y y y ? ? ?b ?b ?3Ask him how he did it How is it!!? ? Jy y y y y3 3We want to knowhow? J?# ? ? ?b ?b ?n ?b??????# ??????bbbbbnyy o ? yy o ???# ??bn? ? ?b ?straight 8thslouderP(spoken on given rhythm) ?n ?b ?n ? ? ?n ?# ?# ? ?3 3 3pos si ble? How did you do it?? ?b ? ? ?b ? ?n ? ? ? ? ?3 3 3 3How is it pos si ble How did you do it?? ? ? Jy3 Yes? ? ?b ?n ? ?b ? ?n ? ?3 3 3How is it How did you do it?? ? ? ? ?# ? ? ?#??????# ??????yy o ? yy o ???#n ?? ??-? ? ? ?P P poco accel.- - - -174?V&&V?&&?&?43434343434343434343Dvr SATBB b/Bass Cl.Gtr.Vla.D.B.Perc.605 !!? ? ? ?b ?b3Was it? y y y y ?How'd you do it? !605 ? ? ? j?#? ?????? ?b ??????bbbby ? y y y ?3 ??? J? ? ? ? ?b ?b ?? ? ?b ?bstraight 8thsarco crescendocrescendoF!? ?b ?n J?n > ?n ? ?#3 3Was it mag ic?J?n > ?b .?3mag ic?? ? ?# ?# J?> ?#3 3Was it mag ic?? ? ? ?# J?# > ?# ?3 3Was it mag ic?? ? ? ?# ? ? ?# ? ?- ?n? ??????### j?# .....?????#U! &?- ?- ?# - ?- ?# - ??- ??n# - ???? ? j?# .?#U?? ??break highcrescendocrescendo f ??f Fq   = 88 ritenuto ?U ? y?U J? ? ??nU j? ? ??U j? ? ?? ?U J? ? ??U J? ? ?!?# ?# ?# ?# ?# ?# ?# ?# ?#U ? ???U J?? ? ??n oU J?o ? ?Ladies and GentlemenGlock .rall e rubato, take timep fffffff- - - -V&&&? 4343434343 4444444444 4545454545DvrB b/Bass Cl.Vla.D.B.Perc. 608 !608 ? ?b ?b ? ?? ? ??xo?? ??#?? ? ?#?q  = 80 rall.S ? ??sticks ? y y y y y y ?3I have one thing to sayJ? ? ? ? ? ? ?b ?b?> ? ??y+ yo ?J??# > ? ? ? ??#n ?J?# > ? ? ??? ?? S ? Jy y y y y y y y ? ?3One thing I want to speak a boutJ? ? ? ? ?b ? ? ??> ? ? ? . ??y+J??# > ? ? ? ??n# ?J?# > ? ? ? ? . R??q  = 56? ?-175?V&&?&?454545454545444444444444DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.611 ? y y ? ?U ? ?U ?#U3To day Well you611 J? ? ? ?# ? ? ?bU J?n > ? ?U ?U? ?U ? ?U ?U??> ?? ??>U j?> ? ?U ?U y yy+J??# > ? ? ??# ?U j??nn > ? ?U ?UJ?# > ? ?? ?# ?U r?> ! ? ?U ?UPClassical Guitar? PPPPffffslick, and freelyy# y y ? y# y ? ? Jy#3 3got ta be care ful there're"? ???# yyy ? ????##nyo jy ? yo jy ?""A bit slower q  = 63, swungslower rolls on beat 4s...PP swung, ad lib. in the style if desiredthis section should sound sound loose, swung;quick downstroke on beat 2s, soft, half-muted upstroke;embellishments on chords at the performer's discretion?# ? ? ?n > ? y y#3 3those in each town who pro"? ???## yyy ? ????yo ? yo y y yo3""y# > ? y y y# > ?3fess to pos sess"? ???# yyy ? ????##nyo jy ? yo y jy ? ?""- - - --V&&?&?DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.615 ? ? ?# J?# ?n J?#spec ial po wers would615 ? ?#? ???## ? ???bb >? . yyy y y y y y ? y yo3? ?b #? #?vib.vib. pppy y y y ? ? ? ?#3have you be lieve in their aJ? ? ? ?????nn# ???## ? ???nbnjy> ? yo jy ? yo? ? ??# ? ?Py y yy ? ? ? J?n3bi li ty to"? ?????# ? ???nnjy ? yo jy ? ? y y""?# ? ? j? ?n ? ?chan nel the su per? ? ? ?# ? ?#3? ???## yyy ? ?????yo ? yo ?" B" F- - - - - - --176?V&&?B?DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.619 ? ?# ?# .? Jy3nat u ral A619 ? ?# ?# .? J??#}3? ??????## ?3? y?- ??# - ??nb ??3 &? ? ? ?3 &schmalz gliss jarcoh F Fspooky, kitsch, whisperedor similar, soft, controlled multiphonicy y y y y JyU ? ?U ?bU3land be yond the grave! But I??} ??} ?? ? ????##? ????nnbb ? ???? ????Jy ? ? ? ? Jyo?b ? ? ? ? ? ? ? ? ?t- t- t- t- t- t- t- t- ? ?3 3 3jflautando (rusty hinge effect)half-stop weak tonefF fnorm. ? ? ? y y yn y ? ? j?3 3tell you this for certain, there's!????b ???# ? ???y y yo y y y yo3!!f? ? ? ? ? ? ? ? ?3noth ing real a bout them it's all!? ???# ? ???ny y y y y y y y y y y yo3 3 3 3!!- - - - -V&&?&&434343434343444444444444DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.623 y# ? Jy y ?tricks and lies623 !? ???# yyy ? ????##n ? ?# ? ?y jy> ? y jy> ?!!? J?# ? ? ?# ? ?man i pu la tion!? ???# ? J???# ? ????? y yo ?!! ?P? y y y ?3and de ceit!? ?#?b ????n# ?? Jy Jy ? ? yo yo? ??b? ? ?arco norm.pF pizz.FThe only thing that's real is the living human bodypoco rit. y ? ??# ? ?# ? ? ? ? J?3? ????# ? ???##yo jy+ ? yo jy ??? ?b ? ? ?# ?n ? ?b3? ? ?a tempo- - - - -177?V&&?&?DvrB b/Bass Cl.Gtr.Vla.D.B.Perc.627 ? ? ? j?and627 ? ? r? ?# ? r? J? ? ?n ? ?b3? ????# ? ????##yo jy ? yo jy ?? ?b ? ? ? ??>? ? ? ??Fpizz.? ? ? ?n ? ? ?all that it's ca pa ble ofJ? ? r? j?# - ? ? r? j?n - ?? ???# ? ???njy ? yo jy ? y yoj??^ ? j??- ? ? j??- ?? ? ? ?plucky soundarco? y ?? ?- ? ?-? ??? ?y jy ? yo y y yo3? ??- ? ??-? ? ? ?#It is the sum of all we knowarco? y ?j?- ? ? ?? ???## ?y ? y?j??# - ? ? ?? ? ?All we can experiencerit.h Pmallets- -&V&&V?&&?&?45454545454545454545454444444444444444444444DrmrDvr SATBB b/Bass Cl.Gtr.Vla.D.B.Perc.631 ? ? ? !? ? ? ? ?All we can ex per i ence".? ?Mm.? ?Mm.? ?Mm "631 "??????nnngggggggg ? ?Jy ? ? ? &..?? ?.? ?S traight eighthsmeno q  = 58pppppp ? ? ? ? j? ? ? ? ?3 3This is all there is? y ?.? ?Oh .? ?Oh .? ?Oh? . ?Oh""? ? ????? ?..?? ??.? ?This is all there ismouth mostly closed, darkmouth mostly closed, darkmouth mostly closed, darkmouth mostly closed, darkslightly behind beatp? ? ? ? ? ?This is all there is? ? ?b ?n ? ? ?b ?3 3This is all there is.? ?Ah Mm.? ?Ah Mm.? ?Ah Mm.?b ?Ah Mm? ? ?-"????? ? ?..?? ??.?b ?meno rall.p.?b ?UMm? ? ?U.? ?UMm.? ?UMm.? ?UMm.? ?UMm?- ? ?U? ? ?U????#b ? ? ? ?Uj?? ? ? J? ? ? ?b ??bU3.? ?Upoco port.F- - -178?&&&&? 4343434343 2222222222 8686868686Bb/Bass Cl.Gtr.Vla.D.B.Perc. !635 ? ? ?b ? ?b ? ?3 3? ?# ? ? ? ? ?n ?# ? ? ? ?3 3 3 3"J?? ? ? ?"slowly at first, then molto   a c c e l  e  r   a   n    d     oq   = 60p p ?b ? ?b ? ? ?n ? ? ?b3 3 3? ?# ? ? ? ? ?n ?# ?3 3 3" ?? ? ? ?b ? ?b ?3 3"Pcrescendo ? ?b ?n ?b ? ?b ? ? ?n ? ? ?b6 6? ? ?# ?n ?# ? ? ? ? ?n ?# ?6 6w??b ? ? ?# ? ? ? ? ? ? ? ?6 6? ? ? ?b ? ? ?b ? ?b ?3 6rit.h   = 56# Plight sticks J? ? ? ?J? ? ? ?? ? ?j?b ? ? ?J?b ? ? ?FF FFFV&?&? 8686868686DvrGtr.Vla.D.B.Perc. 639 "? ??## ?? ? ?? ??.?# .?#y? ? ? .?$ ? ?# ?n ?# ? ? ? ? ?n ?# ?.?# ? .Waltz tempo ( q.   = 60)fF pizz.F p "? ??## ?? ? ?? ??.?# .?#"? ? ?# ?n ?# ? ? ? ? ?n ?# ?"cresc. "? ??## ? ??.?# .?#"? J? ?# J?#.?# .?#F ? ? ? j?#So? ??## ?? ? ?? ??.?# .?#"r?? ?# ?# ?# r?? ?n . ?n . ?# ..?# .?# FfV&??DvrGtr.D.B.Perc. 643 ?# j?# ?# ?step right up? ??## ?? ? ??#.?# .?#j? y j? y.?# .?#PF ?# ?# ?# j?#> ?Show me what you got? ??## ?? ??# j??.?# ? ?#? y yo y> ? y.?# J?#> ?# ? ?# ?# .?#Show the strength? ??## ?? ? ??#.?# .?#j? y j? y.?# .?# ? ?# ?# j?n ?#of my bod y? ??## ? ???##.?# .?#j? y ? y yo.?# ?# ?# ?#-179??V&?B?83838383838686868686DvrGtr.Vla.D.B.Perc.647 J?# > ?# > .?#my arms legs??## j?? ? ??# ??? ?# > .?#jy> y? y? Jy? ? ? j?# !? ?# > .?# F ? j?# j?n > ?My gut? ??## ? ??#?# J?# .?n >? y yo y> jyo?# ?# ?# ^ ??# ^ j?.?# ?> ?pizz. arco? ? j?# A? ??# ??? y y? ? . ?#?# ? . ?#arco FV&&?B? 868686868686 888888888888 868686868686 87 87 87 87 87 87DvrBb/Bass Cl.Gtr.Vla.D.B.Perc. 650 ?# ?# ?# j?n > ? j?punch to con nect A650 "? ??## ?? ? ??n.?# ?# J?j? y j? yj? ? ? ? .j?# ? ? .?#pizz. ?# j?# .y# y y ?punch to take me out? ? ? ? ?? ??## ? j??n# ? ? j??n?# J?# ?> J? ?j? y ?> j? ? Jy? ? ? ? ? j??nn !?# ? ?# > ? ?>? arco ?# j?# ?# ?step right upj?# ^ ? ? ? .? ??## ? ??# ??.?# .?#j? y j? y?? # ??## . ? ? ??#$. ??$.j?# . ? ? .?#F pizz.-V&&?B? 8787 87 87 87 87 868686868686 848484848484DvrBb/Bass Cl.Gtr.Vla.D.B.Perc. 653 ?# ?# ?# j?# ? j?#Show me what you got You653 "? ??## ?? ??# j?? ?.?# ? ?# ?? y yo y+ ? y j?? ??## .$ ?? .$ j??# .$ ? j?? j?.?# J?# > ?# J?#poco ritenuto j? ? .ynheard me Who? ?# .?? ??## ? ? ?# ? ?#.?# .?#j? y yo ? ?J?# ? .?#.?# ?# j?#a tempo ? Jy y- Jywill throw aJ? ? ? ? .j?# > ? ? ? .?> ? ? .J? ? ? ? ..?# > ? .exaggerated rolled rsplash soundalla Bartokalla Bartokfffff pizz.q   = e180??V&&V?&?B?848484848484848484DvrSA TBGtr.Vla.D.B.Perc.656 y> ?punch?!y> y ! y> y ! y> y ! y> y !3 3 3 3Punch him Punch him Punch him Punch him? Ry y> y ! y> y ! y> y !3 3 3 3You punch him Punch him Punch him? ? Ry y> y ! y> y !3 3 3You punch him Punch him? ? Ry y y y3 3You punch him youj??????### ^ ? ?Jyy ? ?j??b ^ ? ?J?^ ? ????? ? F Paccented whisper accented whisperaccented whisper """"y y ! ? y y ! y y !3 3 3punch him Punch him Punch him"?? "" &cresc.#$ sticksA MEMBER of the CHORUS (TENOR) is selected by the others and thrust forward. ""y y ! y y ! y y ! y y !3 3 3 3Punch him Punch him Punch him Punch him"y y ! y y ! y> y ! y> y !3 3 3 3Punch him Punch him Punch him Punch him"?? " &?? cresc.poco accel.cresc.PpV&&V?&?&&444444444444444444222222222222222222DvrSA TBBb/Bass Cl.Vla.D.B.Perc.659 "y y ! y y ! y> y ! y> y !3 3 3 3Punch him Punch him Punch him Punch himy> y ! y> y ! y> y ! y> y !3 3 3 3Punch him Punch him Punch him Punch him"y> y ! y> y ! y> y ! y> y !3 3 3 3Punch him Punch him Punch him Punch him659 "???b ? ???? ?# ?cresc.FPHe swaggers up to the DIVER and punches him in the gut. Everything is still while everyone waits to see if the DIVER is harmed."y> y!? ? ? ?U3Punch himy> y!? ? ? ?U3Punch him? ? ?Uy> y!? ? ? ?U3Punch him? ? ?U ?J? ? ? r? ?> ?UJ? ? ? ? ?U BJ?# ? ? ? ?U ?e  = e = 108???? full voicedfull voicedfull voicedfff (two sticks, with punch,sounding almost like one stroke)Bass Cl.? ? ?#U ?USo.Y ?U ?U.Y ?U ?U.Y ?U ?U.Y ?U ?U?# ^ .?> ? J? ? ?U ?U?^ .??> ?? j? ? ?U ?U jy??# ^ .?> ? j? ? ?U ?U?# ^ .?> ? J? ? ?U ?UF// ApplauseApplauseApplauseApplauseSSSS ffff????There is a collective exhale as the DIVER stands up tall.Everyone applauds.181?V?&?B2222222222DvrBb/Bass Cl.Gtr.Vla.Perc.662 ?# > ?> ?n > ?step right up662 ?> ? j?# fl ? ?# >?n > j??????bbbb ^ ? J?????^ ? ?yo> y> y?> ?>!emphatically, each note short and accented(trying to prove something but overcompensating)h   = 54 (a tempo)honkyquick, staccato punctuated strumsffFf ?n ?# ? ?#Show me what youj? ? ? ?# > ?j??????bbbbn ^ ? J?????^ ? ? J????? ??> y> ?> y>y!sim. ?n ? ?# ?got Show the?> j?# fl ? ?j??????bbbbn ^ ? ? ??> ?> ?! ?# ? ? ?#strength of my?> ? j?# fl ? ?# >?n > j??????bbbb ^ ? J?????^ ? ??> y> y> ?>?n > ?# ? ?# ?> ?# ? ?n >pizz.fV?&??B?4343434343434322222222222222DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.666 ?# ? ? ?bod y my666 ?> ? ?# > ?j??????bbbbn ^ ? J?????^ ? ? J?????^ ??> yo> ?> y>!?# ?> ?# ?n ?# ?> ?# ?!?n ? ?# ? ?#3arms, my legs and myj?fl ? ?# > j? ? ?j??????bbbbn ^ ? ? J?????^ ? ?n? ? ? ?3!?> ? ?n > ?# ?n ?#!poco rit. ?n > ? ?#gut Ayyy> ? ??????n## > ? ??> ? y>!??? ?#b >gggggg ? ? &?# ^ ? ?a tempopizz. alla Bartok????f? fSnare? ?# ? ?npunch to con nect?n > ?# ? ?# ?> ?# ? ?n >?n > j??????bbbb ^ ? J?????^ ? ??> ? ?> ?>? ? ? ? ? ? ? ?? J??b ^gggg ? ??"> ? ?#"> ?#">arcoPPfFf f- -182?V?&??&?454545454545454444444444444443434343434343DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.670 ?# ?# ? ?A punch to670 ?# ?> ?# ?n ?# ?> ?# ?j??????bbbbn ^ ? J?????^ ? ? J????? ??> y> ?? ? ? ? ? ? ? ?J??b ^gggg ? J??^gggg ? ? J?? ?j? ? ? ?#! ?sim.?n ?# j?# ^ ? ?take me out? ?# ? ?# Jyyy^ ? ?n ?#j??????bbbbn ^ ? ?n j?????n## ^ ? ?? ? ?> ?? ? ? ? ?> ? ?J??## ! ? ? J??# ? ?? j?# ? J?# ^ ? ?Bart. pizz.??? ?? PP?# ? ? ?n ?step right up?> ?# ? ?# ? ?> ?# ? ?# ?? ????### ?# ?????n? y> ? ?> y>? ? ? ? ? ? ? ? ? ?? ??#n ! ??! ? ??b!"f farco F?n ?# ? ?#Show me what you?# ? ?# ? ?> ? ?> ?#?n > j??????bbbb ^ ? ? J?????^ ??> y> ? y>? ? ? ? ? ? ? ?? J??nn ! ? ? J??! ? B?!? ? ?#! ?poco rit.arco fV&V??&??B?4343434343434343434344444444444444444444DvrSTBBb/Bass Cl.Gtr.Vla.D.B.Perc.674 ?n > ? ?#got You"""674 ?> ?# ?> ? ?# ? ?6?????n## > ? ?y o ? ? jy> ?6?> ? ?> ? ? ? ?6?! ? ?# ?3?! ?# ?# ?3poco menof ? ?? f ?n ?# ? ?#heard me who will"""?> ?# ? ?# ?> ?# ? ?>?b J?????bbbb ? J????? ? ?y?> ? ?> ?>? ? ? ? ? ? ?? J??! ? J??! ? ??#!> ? ?#!> ?#!>showing signs of painf ffF?# ? ? ?throw Ay y y y y y y yWho will who will who will throw a? y y y y y yWho will who will throw a? y y y yWho will throw a?# ?> ?# ?n ?# ?> ?# ?j??????bbbbn ^ ? J?????^ ? ? J????? ?y o y y o y ?> y>? ? ? ? ? ? ? ?J??! ? J??! ? ? J??! ?j? ? ? ?#! ? ?mustering determinationwhisper cresc. to shout....whisper cresc. to shout....whisper cresc. to shout....A different MEMBER of the CHORUS is thrust forward. He walks over to the DIVER and, after a moment?s hesitation, punches him in the gut. ?n > ? ?Upunch?y ? ?Upunch?!y ? ?Upunch?!y ? ?Upunch?!j?^ ? ? ?Uj??????bbbb ^ ? ? ?UJy ? ? ?UJ? ? ? ?UJ????#!> ? ? ?U &j?# > ? ? ?U &chokefffThere is a pause?the DIVER takes longer torecover this time.  The next passage happensduring this pause.183?&??&&CueDrmrB b/Bass Cl.Vla.D.B.Perc.678 !!678 wb? ? ?t# t t t t t t Jt t Jt3 3 3 3eT eT ? eT eT eT eT ? eT eT3 3Broadly q  = 54flautando, half-stopped weak tonemay sound 1/4 tone sharpFFFf sul IIstarts with punch y ? ?!? j? ?!.t# Jt t Jt t ?3 3eT eT ? eT eT eT eT ?3 ?DIVER'S VOICE (Phonograph recording)You see I have been around.  Tried to speak with the deadMy mother, my father, my friends.  What I know is this:p ? ? y!?> ?>??> ??>!? ?. ? ? ?. ? ?# . ? ? ?.3 3Look around.  Feel your pulse.  The rise and fall.  This is all there is.pp p" !t t# t tLook a round?> ?>??> ??>!? ?n . ? ? ?. ? ?# . ? ? ?.3 3quietly, to herselfpoco cresc.poco cresc.poco cresc. -&?&?&?DrmrB b/Bass Cl.Gtr.Vla.D.B.Perc.sim682 ? t# t t ? jtFeel your pulse The682 ? ?# ? ?n ?# ? ?n ?#??gggggg ? ? ? ? ? j? ? j?3 3wwj?? ? j? ? ? j? ?3 3!w#Repeat, 1/4-note slightly quicker than beatgradually accelerateFPPt# t t ? t# trise and fall This is? ?#?} .?#ww? ? ? ? # ? ? j? ? ?3?? ?# ? ?? ??? ?# ?> ?? .??> ?? ??>sul pont.ppoco accel. .T ?all ?....????## ?j? ? ? j? ?? j? ? ? ?3 3 3y? ?# ? ?? ?# ? jy? ??# ? ??> ?? ??> ?? ??> j?? ?h k f ffnienteFq   = 60 !U !U !U !U !U !UHe stands up.184?&&V??&?&?SATBB b/Bass Cl.Gtr.Vla.D.B.Perc.686 .Y ?.Y ?.Y ?.Y ?686 j?# ^ ? ? j? ? ?3j??## ?? ? j??^ ? ?3j?> ??> ?? j?> ?3j??## ^ ?? ?? j?? ? ?3j?# ^ ? ? j? ? ?3ApplauseApplauseApplauseApplausefffff ???? fffffq  = 54The CHORUS applauds. !!!!!? j???# . ? j???. ? ?J?# ? ? ? ? ?# ?!? j???# . ? j???. ? ??# . ? ?. ?# .pizz.pizz.PP P...and then, bored, they go back to torturing the TRAVELER. The DIVER lets down his guard. He is tired and slumped over. h   = 56 !!!!!j???# . ? j???. ? ? j???. ?J? ? ? J?# ? ?!j???# . ? j???. ? ? j???. ??. ? ?# . ?? ? ? ?U? ? ? ?U? ? ? ?U? ? ? ?U? ? ? ?Uj???# . ? ? j???. ? ?? ? ?# ? ? ? ?. ?U? ? ? ?Uj???# . ? ? j???. ? ? ?U?. ?# . ?. J?. ?U&&V?&?&?464646464646464644?8144?8144?8144?8144?8144?8144?8144?8183?4383?4383?4383?4383?4383?4383?4383?43SATBGtr.Vla.D.B.Perc.690 !!!!wwww## ?x ? ?..??# ? ?.?? ?SpSpSpsoft trem. with side of thumbSlower( q  = 69)Sarcoarco?# ? ? ? ? ? j? ?On ly you can make it stop?# ? ? ? ? ? j? ?On ly you can make it stop? ? ? ? ? ? j? ?On ly you can make it stop? ? ? ? ? ? j? ?On ly you can make it stopwwww## ? !!!"p quasi sotto vocep quasi sotto vocep quasi sotto vocep quasi sotto voce ? ?# ? ? ? ? ? ? ? ?On ly you can re quest the grace of? ?# ? ? ? ? ? ? ? ?On ly you can re quest the grace of? ? ? ? ? ? ? ? ? ?On ly you can re quest the grace of? ? ? ? ? ? ? ? ? ?On ly you can re quest the grace of....wwww## ? !!! sord.?# ? j? ? j?God Ad mit your? ? j? ? j?God Ad mit your?# ?# ? j? ? j?God Ad mit your? ? j? ? j?God Ad mit yourwwww### ? ?!w? ??#? ?#? ??!"- - - -- - - -- - - -- - - -185?&&V??&?&?83? 4383? 4383? 4383? 4383? 4383? 4383? 4383? 4383? 43444444444444444444SA TBB b/Bass Cl.Gtr.Vla.D.B.Perc.694 .? ? ? ? ? ?lies Turn your face to the.?n ? ? ? ? ?lies Turn your face to the.? ? ? ? ? ?lies Turn your face to the.? ? ? ? ? ?lies Turn your face to the694 !......??????# ? ......??????? !..??? ..???.?? .??"sord.? ? j? .?Lord be gone? ? j? .?Lord Be gone? ? j? .?Lord be gone? ? j? .?Lord be gone!??????# ? ????b ?! &ww?w?cresc.cresc.cresc.cresc.?# > ? ? j?Sa tan, in?> ?# ? j?Sa tan in?b > ? ? J?Sa tan, in?> ? ? J?Sa tan, in?# ? J? ?wwww#b ?wwww#### ???? ..??## ?w?""PPPPp o c o      r a l  l  e   n   t    a    n      d       o?# ? ? .? j?Je sus Christ's name Con?# ? ? .? j?Je sus Christ's name Con?b ? ? .? J?Je sus Christ's name Con? ? ? .? J?Je sus Christ's name Con!j????#b ? ? ? ?J????#### ? ? ? yn??j??## ? ? ? ?J?? ? ? ?h - - -- - -- - -- - -&&V??&?&?SA TBB b/Bass Cl.Gtr.Vla.D.B.Perc. sim698 .?# ? j?fess Con.? ? j?fess Con.? ? j?fess Con.? ? J?#fess Con698 !!Jy? ? ? ?.? ?.? ?j?. ? ?< ?fess Con fessj?. ? ?< ?fess Con fessj?. ? ?< ?fess Con fessJ?# . ? ?? ?fess Con fess? ?# ?? ????### ?? y? Jy? ? ? &? ??#o ??o&? ?free trem. with gradual decel.The pouring stops and the scarf is again removed from the TRAVELER?S mouth. The TRAVELER falls on his face and crawls toward the edge of the stage, desperate. He is sputtering and crying. The TRIBUNAL laughs.senza sord. senza sord.P PP PP!U!U!U!UJ? ? ? ?UJ????### ? ? ?Utb t tb t t t t# ?U7J?? ? ? ?U BJ? ? ? ?U?with fingers, barely audible, to niente h k----- -- -186??B?B b/Bass Cl.Vla.D.B. 701 J?- ?- J?- ?# ?j??# - ??- j??- ??j?- ?- J?- ?Adagio ( q  = 60)PPPmesto, espr.mesto, espr.mesto, espr. J?# - ?- J?- ? ?j??- ??- j??- ??#j?- ?- J?- ?# J?- ?- J?- ? ?#j?- ?- j?- ?J?# - ?- J?- ? ?# ? ?# ? ?..??# ? j?? ?.?# ? J? ?poco rit.??&?TrvlrB b/Bass Cl.Gtr.D.B. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~poco vib. straight tonealla Hammond/Leslie rotor~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~poco vib. straight tonealla Hammond/Leslie rotor ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~straight tone poco vib.~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~poco vib. straight tone ~ ~ ~ ~ ~ ~ ~ ~poco vib. straight tone~ ~ ~ ~ ~ ~ ~poco vib. straight tone705 .?# J? J? .?Soy mal vad o?705 WU???# UWUa tempop Recit.Recit. unmetered ( q  = approx. q  of preceding)ppp ? ?# ?Un di ? ?n ? ? ? ? ? ?3 3sc? pu lo de Sa tanwU !UwULL K ?n ?n .?# J?#Are my hands, thewU !Uw# U- - - - - -??&?TrvlrB b/Bass Cl.D.B.Perc. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~straight tone poco vib.~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~poco vib. straight tone decrease pace of tremolo to very slow ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~poco vib. straight tone~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~poco vib. straight tone ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~straight tone poco vib.~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~straight tone poco vib.increase pace of trem. from slow to fast slowly detune 1/4 tone flat over duration709 ?# ? ? ? ? ?hands that bathe my daugh ter709 w# U !w# U Set motor low-med.K L J?# ? ? .? J?ser vants of thewUw# U ww#wU" very soft malletsnorm.norm. ?> ? J? ?Dev ilwnUww U wwwnU- - -187????&&B?TrvlrBb/Bass Cl.Gtr.Vla.D.B.Perc.~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~poco vib. straight tonealla Hammond/Leslie rotor~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~poco vib. straight tonealla Hammond/Leslie rotordecrease pace of tremolo to very slow decrease pace of tremolo to very slow 712 ? J? ? ? ? ? t tHas she been harmed? Have I712 WnU WWWbb ? ww U ww!UWn U""""t t t t tb tb ?harmed her with out know ing?nien.nien.nien.? ?b ?n ?#What have I!WWWbb ? U? WWWnnn U ?Wb U? Wn Upoco vib. poco vib." "ppoco vib.Cue entrances loosely in time with voice .?n ?done?wnU fnien." desperate- -??&&B?TrvlrBb/Bass Cl.Gtr.Vla.D.B.Perc. decrease pace of tremolo to very slow ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~poco vib. straight tonealla Hammond/Leslie rotor~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~poco vib. straight tone716 ? J?# ? ? ? ?Con tes te me716 j? !Uwwww#U www# ?U j?b !UJ? !Up?u mossoP Slightly quickerFFFp? ?# ? ? ? ?3An swer me God!Uwww#U www## ?U !UwU p? J? ? ? ? ?Con tes te me!Uwww## U wwww## ? U !Uw#U? ? ? ?Have you aWU !Uww# ww#!WU" tasto? ? ? ?ban doned meww##U wwwwbU nien.nien.nien.nien.l.v.p- - - - - - - - -188???B?TrvlrB b/Bass Cl.Vla.D.B. 721 ? ? ? ?nHow did this721 !U!U!U" ? .?hap pen?wnUwUwUpoco vib.poco vib.poco vib. soft, diffuse""" y y ? y y ?Co mo? Co mo?!U!U!U- - -??&?TrvlrB b/Bass Cl.Gtr.D.B. 724 ? ? y y y3Oh my child724 ? ?# ? ? ? ? ?!!metered q  = 58 sotto voce - quiet, broken, haggardp The TRAVELER sees the DREAMER and goes over to her? y y ? Jy Jy y y y y y y3 3 5my child my ba by E stoy tu pa pa?# ?!ww Classical Guitarp P ? Jy y y y y y y ? Jy3 3 3Di scul pa me por fav or mi!? ? ? ? ? ? ?? ? ..?? ! y y y y y ?Uni ?a por fav orwnU? U?ww !U &p p- - - - - - - -- -&?&&&& 868686868686DrmrB b/Bass Cl.Gtr.Vla.D.B.Perc. #728 !U728 ? ? ?U!U??## ? ?UeT## UeT## U$$$ sul Isul II!!?# ?# ? ? ? ? ? ? ? ? ? ?.?# .?#J??## ? ? ? ...eT## ..eTq.   = 54p The DREAMER turns her attention from the DIVER and speaks to the TRAVELER for the first time.Capo 6 .y ? .!?# ?# ? ? ? ? ? ? ? ? ? ?.?# .?#? . ? j?#..eT ? ...eT ? .Glock.You shouldn't be here p189???&&&&TrvlrGtr.Vla.D.B.Perc. 731 j?# ?# ?# ?# ? ? ?Duerme te mi ni ?a? ?# ?# ? ?# ? ? ? ? ? ? ?# #?# ?# ?# ? ? ?#!!p dolce ?# ?# ?# ?# ?n ?n ? ? ?3Duerme te sol li ta que? ?# ?# ? ? ? ? ? ? ? ? ?# #?# ?# ?# ?n ? ?!! j? ?# ?# ? ? ? ?#cuan do des pier tes? ?# ?# ? ? ? ? ? ? ? ? ?# #?# ?# ? ? ? ?#!! ? ? ?# ? ?# ?e sta r? al la? ?# ?# ? ?# ? ? ?# ?# ? ?# ?? ? ?# ? ?# ?? ? ? ?#? ? ? ?# ?#P P- - - - - - --&?&&&&DrmrTrvlrGtr.Vla.D.B.Perc. 735 !!J?# ? ? ? .?# ? ? .?# ? ?n ?# ? ?n? ?# ? ? ? ?# !!!! ?? ? ..??n? ?# ? ? ? ? ?Remove snare Triangle !!!1? yo ? ? ? 1? ???###gggggg ? ? J?# ^?# ?# ? ?# ? ?pizz. alla guitarraP .y ? .? ? ? j?#Duerme!? yo 1 ? ? 1? ???###gggggg ? ???nnggggggg?# ?# ? ?# ? ?Don't let them do this to you. P -&?&?&?DrmrTrvlrGtr.Vla.D.B.Perc.739 ? ? ? ?# ?You should n't?# ?# ?# ? ? ?te mi ni na?# ?# ?# ? ?# ? ? ? ? ? ? ?# # #? ? ? "???# ? ? .?# ?# ? ?# ? ?Capo 2pizz.Snare (snare still off) play near rimPPP .?# ?# ?be here!? ?# ?# ? ?# ? ? ? ? ? ? ?# > > > # > > #?> ? ? ?> "???> ? ? ? ? ?!?# ?# ? ? ?#? ? ?# ?n ?Don't fall a?# ?# ?# ?# ? ? ? ? ?3Duerme te mi sol?# ?# ?# ? ?# ? ? ? ? ? ? ?# n n!!?# ?# ? ? ?n ? .?n .?#sleep? ? ? ?# ?que? ?# ?# ? ? ? ? ? ? ? ? ?# > > > > # >? ? ?> ? ? ? ? ?? > ?> ? ? ? ? "??!?# ?# ? ? ? ?- - - - -190??&?&&&?&?DrmrTrvlrBb/Bass Cl.Gtr.Vla.D.B.Perc.743 ? . ?# ?n ?Try to es?# ?# ? ?n J?cuan do des743 !? ?# ?# ? ? ? ? ?n ? ? ? ?# !R?> " ? ? ? .! ??# ?# ? ?n j?# Glock..?# .?#cape I'll.?# .?#pier tes? ? .?n?# ?# ?# ? ?# ? ? ?# ? ? ?# ?.?# .?#j? yo j? yo? ???###gggggg ? ???n#gggggg.?# .?#PPBb Clar. ?# ?# ?# .?be here to help? ?# ?# .?e st? ra.?# .?#? ?# ?# ? ?# ? ?n ?# ? ? ? ??# ?# ?# .?j? yo j? yo? ???##gggggg ? ???#gggggg.? .??# ? ? .you?# ? ? ? ?#al la? j? ?# ? ?> ?#?# ?# ? ? ?# ? ? ? ??????###### ^.?# ? .? ? ? ? ? ?yo y+? ???##gggggg ? ? ?# ^? ? ?#> ? ?#arco- - - - - - - --&&???DrmrBb/Bass Cl.Vla.D.B.Perc.747 !747 ? ?# ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ?? ? ? ?# ? ?j?# ? ? ? .pp !? ?# ? ? ? ? ? ? ? ? ? ?? ? ? ? ? ? ? ? ? ? ? ?? ?n ?# ? ? ?#? ? ?# ? ? ?# .y ? ..J?? ? ? ? .? ?# ? ? ? ? ? ? ? ? ? ?.?# Don't let them do this to you.more emphatically#FpFp !j? ? ? ? .!? ?# ? ? ? ? ? ? ? ? ? ?.?# dim.dim.191?V&&&??DvrB b/Bass Cl.Gtr.Vla.D.B.Perc.751 !751 .?? . .?# .? .? .? .?# .?#j??# ? ? ? .? ?# ? ? ? ? ? ? ? ? ? ?j? ? ? ? .Vibr. let all ringCapo 2" Pp ? . .?Soj? ? ? ? . ? .!.?# .? ? .!p" molto rit.tired voice ?# j? ?# ?bring me down!!? ? ? ??# -!!a tempo pSlower  q.   = 44 ?# ? ? ?# ?Down to the ground!? j? ?# ?# ?J??# ??# - J? ??! &!let all ring PV&&&&?DvrGtr.Vla.D.B.Perc. 755 ?# J? ?# J?I'm so ver y!!j?# ??# - j?# ??# -? J? ?# J?!p poco vib.Vibr. .?# ? ?tired !? ?# ?# ? ? ?j? ??# ? ..?# J? ? ?!Glock.p .? ?# J?Tired of the? ? ? ?# .?#4.? ? J?j? ??# !! ? ? ? J? J? ? ?3in be tween !?# ?# ?j? ??# ? .!? ? ? ? ?pizz. p ? ? ? j? j? ? ?3In be tween? ?# ?# ? .?4.?# j? ??# ? .?# ?n ? .?.? ? ? ?p- - -V&&&?DvrGtr.Vla.D.B.Perc. 760 .?# life !j? ??# ..??.? .?b.?# ? .Vibr. ?# ?# ? .?in be tween?# ?# ? ? ?# .?#5j?# ??# ..??.? .?b.?# ? .rallentando ? ? ? ?U j?#Con? j??????# n#n# ? U? ?.? ? ?# ?U.?n J? ?U? ? ? ?# U ppparcop ?# ?# ?# j? ? ?n ?#nect me to life or con......??????###### ?j??## ? ? ? ? . .J?#? . .J?# # .?.?# .?Even slower ( e   = 88 )p " Glock. p- - -192??&V?&&&&?DrmrDvrTrvlrB b/Bass Cl.Gtr.Vla.D.B.Perc.764 !?# ?# ?# .?nnect me to death? ? ?n ?# ?Duerme te mi764 ? ? .?n .?#......??????###### ? ......??????#.?# .?# .?# .?n..??# .?#pp !?# ?# ? .?I've held my breath?# J? J? ? ?ni ?a.%# .%#......??????###### ?.?# .?# .?# .?#.?# .?#?# ?# ? .?I"ve held my breath? ?# ? ?# J?#un der wat er? ? ?# ?n ?Duerme te mi.%n .%#......??????####n# ?.?# .?n .? .?#.? .?#p ? ?# ?# .? .?un der wat er? ?# ? .? .?#un der wat er.?# ? ? ?sol e sta.?# .?# .?# .?......??????###### ?.?# .?# .?# .?#.?# .?.?#- -- - - -- -- -&V?&&&&?DrmrDvrTrvlrB b/Bass Cl.Gtr.Vla.D.B.Perc.768 .j?# ? . .? .?far too? . .J?# .? .?For far too.? ? . .j?r? al768 .?# .?# .?# .?......??????#### ?.?# .? .?# .?#.?# .? .?#.?rall. .?#Ulong.?# J? ?#Ulong.?#Ula .?# .?# .?U.....?????##### ? .....?????# ?U.?# ? yU??.?# .?#U B.?# .?#U.?#Mm.?#Mm.?#Mm !.....?????##### ?.y??# ?# ? ? ? ? ? ? ? ? ? ?.?# Fsempre  psempre  ph ka tempoF .? .? .? !.....?????##### ?.y??# ?# ? ? ? ? ? ? ? ? ? ?.?# h kdim.!.?# .?# !!.y??# ?# ? ? ? ? ? ? ? ? ? ?.?# h k- 193?V&&?B?85858 58 58 58 5868686868686DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.773 !773 !!.y??# ?# ?# ? ?n ? ? ?# ? ??# J? ? J?h k!!!.y? y??# ?# ?n ? ? ? ? ??# J? ?!! ??# ?# ? ? ? ? ? ? ? ?Jy? ? ? ? . &?# ?# ? ? ? .J? ? ? ? .PP 2Showing signs of injury, but with bravado all the same.Sung to himself, or to no one in particular, he is in another world.3 1(capo still on 2)? ? ? ?#>So.>??# ?# ?# ? ? ? ? ? ? ???>? ? .?# ?.?? ? .?PFF F med.-hard malletVib r.2V?&&B?8787 87 87 87 8786868686868687 87 87 87 87 87DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.777 ? ?# . ?. j?# . ? ?step right up777 j?# ^ ? ? ? .?# ?# ? ? ? ? ? ? ? ?y#> ???#b . ? ? . ...J???j? ? ? ? .j?# ^ ? ? ? .poco meno mosso e  = 80F senza ped.ff?# . ?n . ?. y# . y. ? J?#Show me what you got you? ? ? ?>?# ?# ? ? ? ? ? ? ? ? ?# ??# ???#b ??? ? . ...J??? j?? ? ? ?>? ? ? ?>FFFA member of the CHORUS begins to walk toward the DIVER. The DIVER does not notice him and sings very slowly. sim. short J?# ? t# ?heard me whoj?# ^ ? ? ? .?# > ?# ? ?# ? ? ? ? ? ?y# ???#b . ??? ? . ...J???j?# ^ ? ? ? .j?# ^ ? ? ? .194?V?&&?B?8787 87 87 87 87 878 58 58 58 58 58 58 58484848484848486868686868686DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.780 ? J? ?# ? J?#will throw a780 .!? j??# ?# ? ? ? ? ? ? ? ? ?# ??# ???#b ??? ? . ...J??? ?"? ? ? ? j?n.!? j?pp Fjy ? ? ?# ?#punch to conj?# ^ ? ? ??# > ?# ?# ?# ? ? ? ?j?# ? J???#b ? J???? Jy ? ?j?# ^ ? ? ?j?# ^ ? ? ?Crash cymb.FFj?# ? ? J?#nect a? ?# >?# ?# ? ? ? ?# ??# ???#b J??? ?"? ? j?n? ?# >FpFp F?# ? ? ? ? ?npunch to take me outj?^ ? ? ? ?# ??> ?# ? ?# ? ? ? ? ? ??# ???#b ? ??? ??? ?"j?# ^ ? ? ? jy>j?^ ? ? ? ?# > ?n >force scratchFF-V?&&?B?85858 58 58 58 58 586868686868686858 58 58 58 58 58 5DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.784 ? ?# ?# ? y# y#So step right up784 "?# ?# ? ?# ? ? ? ? ? ?j?n ? ? J???#b ? ?Jy> ? ? ? .? ? J???#b # ? ?"? ?">? ??n ?# ? ? ? ? ? ??n ???#b ^ ???^ ? . R???"? J???#b # J???# ? . R???#>? ???F Frall. poco a poco ?# ?# ? ? ?Show me?# > ? ?> ? .?# ?# ? ??n ? ? ? ? ? ??# ???#b ? ? ?"? J???#b # ? ? .?# > ? ?> ? .P ???? ?The DREAMER realizes that the man is about to punch the DIVER andtries to warn him. He doesn?t hear her and sings to himself..?# .?# jy> ? ?what you got.?# j?^ ? ??# ?# ? ? ? j?> $? ? ?? . J???nb > ? ?"? . J???nb ^ ? ?.?# j?^ ? ??ffff195?&V?&&B?8585858585858586868686868686DrmrDvrBb/ Bass Cl.Gtr.Vla.D.B.Perc.788 !j?^ ? j?# ^ ? j?# ^You heard me788 ? j?# > ? j?> ?" ?? ?# > ?? ?? ?> ?? ? ? ?3? J???#b > ? J???> ?? J???#b > ? J???> ?? j?# > ? J?> ?ff fff!yn > ? ? " y y ywho will throw a.?# .?# ? ...%%# ..%%##j? ..??## .?( e  = 60)??fFy ? ? ?PUNCH!y ? ? ?punch?.?# ? ???## ??? ...??? ...???j????### ? ? ? ? .J?? ? ? ? .j? ? ? ? .The DIVER turns his head at the DREAMER?S warning and notices the man near him on stage. He addresses him directly.fff FfQuicker ( q.  = 60)123!!.? j? ? ?? ???## ??? ...??? ...???!!!V?&&?B?44444444444444DvrBb/ Bass Cl.Gtr.Vla.D.B.Perc.792 !792 !? ???## - ??? ...??? ...???.!!!!y ? ? ?!? ???## - ??? ...??? ...???.!!! &!Take me downThe CHORUS also sees the DREAMER and goes to her. There is a struggle as they take hold of her, drag her over to the operating table and pin her down.f!.?# >? ???## - ??? ...??? ...???..?# > ? .? ? .y?? ???## # ???# ? . R???# ?.?# >flaut., half-stopped weak tone, should "squeak"S m. S u s . C ymb.?? P!.? ? . .j?n >? ???## - ??? ...??? ...???.? ? ? . .j?n >.y? Jy ? ?? ???## # ???# ? . R???# ?.? ? . .j?>??? choke? y ? ?.?? ???## - ??? ??? ?!.y?? ???## # ???# ? . R???# ? B.?Take me downThe man punches the DIVER.h k196??&&?B?44444444444444CueBb/Bass Cl.Gtr.Vla.D.B.Perc.797 y797 j? ? ? ?j???### ? ? ? ? ? ?? ??. ? ??. ? ? ??. ?3Jy ? ? ?? ??- ??-? ? ? ??.3j? ? ? ?A bit quicker ( q  = 72)Cardiogram beep starts, out of time with rest (somewhere between the half and quarter)dampen r.h. line (dead stroking fine if easier)plain, boring sound - non vib. hint of scratchsul III, IV ?ffF PPScene 2 The DIVER falls on the floor, the DREAMER goes limp and thesurgical team begins surgery. The viewpoint of the DREAMER is seen via video (i.e. heads bent over her, operating). The dialogue is fragmented.!!!? ??. ? ??. ? ? ??.3 !? ??- ??-? ? ? ??.3 !sim.!!??## ? ?? ??. ? ??. ? ? ??.3??## !? ??- ??-? ? ? ??.3 !P Ped. l.v.!!!? ??. ? ??. ? ? ??.3 !? ??- ??-? ? ? ??.3 !remove capo?&&B?Bb/Bass Cl.Gtr.Vla.D.B.Perc. poco sul pont.801 !????nnnn ? ?? ??. ? ??. ? ? ??.3??nn ? ??- ??-? ? ? ??.3 !sim. P unless otherwise specified  P unless otherwise specified  P unless otherwise specified  ! &? ???#gggggggg ??? ??. ? ??. ? ??# ??.3? ??- ??-? ? ? ??.3 ! &with pick wwwwww?? ??. ? ??. ? ? ??.3??# ? ??- ??-? ? ? ??.3wosustain with as much as possible (with soft feedback or gently shaking the neck)sim.pp or similar, controlled multiphonic, avoid honkewbwwwww? ??. ? ??. ? ? ??.3? ??- ??-? ? ? ??.3wo197?&&&B&B b/Bass Cl.Gtr.Vla.D.B.Perc. 805 ew?????n ? ?? ??. ? ??. ? ? ??.3???nn ? ??- ??-? ? ? ?? .3wo sim.FF .? ?!? ??. ? ??. ? ? ??.3? ??- ??-? ? ? ?? .3.o? ? !??# ? ?? ? ? ? ? ? ?# ? ? ? ?3 3 5??# ?? ??? ? ? ??3? ??- ??-? ? ? ?? .3 ! !? ?????#? ?? . ? ?? . ? ??# ??.3? ??- ??-? ? ? ?? .3 !&V?&&&BSTBB b/Bass Cl.Gtr.Vla.Perc.809 !? ? ?Time !809 !wwwwww?? ??. ? ??. ? ? ??.3??n ? ??- ??-? ? ? ?? .3 sim.p ? ? ? ? ? ?5:3Thir teen fif ty six!!!wwwwww? ??. ? ??. ? ? ??.3? ??- ??-? ? ? ?? .3p ? ?? ? ? ? ?3Last shift!!???# ? ?? ??. ? ??. ? ? ??.3??# ? ??- ??-? ? ? ?? .3 sim.p ? ?# ? ?Where are you!? ? ? Jy? ?# ? ?? ?????#ggggggg? ??. ? ??. ? ??# ??.3? ??- ??-? ? ? ?? .3 The wife and, well P- -198?&V?&&&B&A TBB b/Bass Cl.Gtr.Vla.D.B.Perc.poco sul pont.813 ? ? ?You? ? ? ?Mex i co!813 .? ? ?? ? ? ? ? ?5?? ??. ? ??. ? ? ??.3??n ? ??- ??-? ? ? ??.3 !sim.p J? ? ? ?j? ? ? ?? Jy ? ?!? ???#gggggggg ??? ??. ? ??. ? ??# ??.3? ??- ??-? ? ? ??.3 !You don't know!? y ?!wwwwww?? ??. ? ??. ? ? ??.3??# ? ??- ??-? ? ? ??.3wo sim.I'm afraid we'll have toK or similar, controlled multiphonic, avoid honk !? ? ?Apy y y y ?3Count down from tenew????? ? ?? ??. ? ??. ? ? ??.3? ??- ??-? ? ? ??.3wosmarmy, drawn out- - -&&V?&&&B&SA TBB b/Bass Cl.Gtr.Vla.D.B.Perc.817 !!? ?# ?pen dix? y ?817 ew?n ?n ?n ?# ?# ?5? ??. ? ??. ? ? ??.3???nn ? ??- ??-? ? ? ??.3wo Non-stopsim.FF!!!!.? ?!? ? ?# ? ? ?# ?# ? ? ?n5 5? J?? J??? ? ? ??3? ??- ??-? ? ? ??.3.o? ?? ?# ?# ?She's not your? ?# ? ?She's not your!!!???# ? ?? ??. ? ??. ? ? ??.3??# ? ??- ??-? ? ? ??.3 !Psim.P j? ? ? ?j? ? ? ?!!!? ?????##ggggggg? ??. ? ??. ? ??## ??.3? ??- ??-? ? ? ??.3 ! ?-199?&&V?&&&B?SA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.821 !!? ?n . J? J? ? ?3rup ture? ?n . J? J? ? ?3rup ture821 !wwwww#n# ??n ??. ? ??. ? ? ??.3???nnn ? ??. ??. ? ??.3.?n J? ?sim.ord.FpFF ? J?# . ?n - ?Sweet heart? J?. ?# - ?Sweet heart? ? y!? ?n ? ? ?3.....?????#n# eeeeebbnbn????### ??nb yy. ? ??3? ?# ? ? ?3.? J? ?Fplet all ring with pedal unless notated with "x"We'll have to takeP crescendocrescendoFF !!!y ? ?? ?n . ?. ? ?-3wwwbnn ???#n ???nb yyy ? ???b3? ??b - ??- ? ??b -3wb What's wrong with you?Fpleave bar down, finger half-step highcrescendocrescendo!!?- ?^ ? ?Cool it !? ?. ?. ? ?-3???nn ????#? ?? ?? ??# ??3? ?- ?- ? ?-3J? ? ? ?P----&&V?&&&?B?46464646464646464646444444444444444444448787 87 87 87 87 87 87 87 8744444444444444444444SA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.825 y ? ?!? y ?!825 wJ?n wwww#????# ???b ??? ? ???3 !? ?? ?? ? ??3wnMexico?l Puerto Vallartaincrease compression/distortionuse to create feedback crescendiFF FFF? ? ?b ? ? ? ?3Puer to Val lar ta? ? ?b ? ? ? ?n3Puer to Val lar ta!? y !..ew???? wwwwwwn#b#nn? ???b ??? ????nb# ???b ?? j?? J??n ??3 3 3!? ?? ?? ? ?? ? ?? ??3 3? ? wnPueeerto-vayyaaarta?or similar, controlled multiphonic, avoid honk(bar across frets 6/7)fffPfFF saccharin-esquesaccharin-esque !? y ?!!ewwwwwwwnnb#n ? ?# ? ? ? ??3 3??b ??b ? ??bb3!? ???## ? ????n ????n3wbJust stopP s m. cym.!!y ? ?!.? J?......??????nnb#n j??????!.y? Jy? ????## ...???j? JT T JTs u l IIOk that's enough ?fh k- - -- - -200?&&V&&&?B?444444444444444444Drmr STB b/Bass Cl.Gtr.Vla.D.B.Perc.829 !!y ? ?829 J? ? ? ??>} ? ? ??> ? ?Jy ? ? ?j??? ? ? ?J? ? ? ?>} ?Quicker ( q  = 80)Ten blade.6 a bit less compression/distortionpizz. don't let ring, observe restsdon't let ring, observe restsP Psim. slightly accented? ? ??The NURSE hands the DOCTOR the knife.without pick? ?Wait!!!??? ? ? ?!!!? ? ? ?P but with intensitysim. slightly accented4? ? ?some thing's!!!?? ??? ? ? ?!!!? ? ? ?? ?wrong? y ?!!www? ? ? ?!!!? ? ? ?Ten blade.-&&?DrmrGtr.D.B. 833 ? ? ? ?No real ly? ? ?? ? ? ?..??? ? ? ?cresc. ? ? ?some thing's???? ? ? ?? ? ? ? ? ?wrongwwwb? ? ? ?? ? ? ? ? ?b ?I can??? ???#? ? ? ?? ? ? ?- -&?&B?Drmr BGtr.Vla.D.B. 837 ?b ? ?see that knife!wwwb? ? ? ?!? ? ? ? !!www? ? ? ?!? ? ? ? ? ? ?Did you!???? ? ?!? ? ? ?F ?# ? ?hear me? ? ywww### w#? ? ? ??? ? ?? ?Countdownpizz.P don't let ringThe surgical team does not hear the DREAMERord.201??&V&?B? 222222222222ATGtr.Vla.D.B.Perc.841 !? y ????? ? ?!? ? ? ??? ? ?? ?Cool it. y ? ?!!!? ? ? ??? ? ?? ?Can you just stop opening your mouth? !? y ?!!? ? ? ??? ? ?? ?Alright I'm going in !!?? ?? ?? ?? ?? ??3??>} ? ?? ?? ??. ??. ?. ??.3.J??>} "? .J?? "?poco p?u mosso h   = 42with a strumming feel, let strings ring morebien d?tach? sim.sim.arcoppp parco&&V?&?B?DrmrATBGtr.Vla.D.B.Perc.845 y ? ?!!!?? ?? ?? ?? ?? ??3?? ? ?? ?? ??. ??. ?. ??.3.J?? "? .J?? "?No what are you doing?  I'm awake.The DOCTOR brings the knife closer and closer to her abdomen. !!? j?# ? ? ? ? ? ?Why do you have to be like? J? ? ? ? ? ? ?Why do you have to be like?? ?? ?? ?? ?? ??3?? ? ?? ?? ??. ??. ?. ??.3.J?? "? .J?? "?PP slightly separated, on the back side of the beatslightly separated, on the back side of the beat ? y ?!?# ?that?? ?that??? ??b ?? ?? ?? ??3?? ? ?? ?? ??. ??. ?. ??.3.J?? "? .J?? "?I can hear you !y ? ?!!?? ??b ?? ?? ?? ??3?? ? ?? ?? ??. ??. ?. ??.3.J?? "? .J?? "?What's wrong with you?202?&&&&?B?21 ? 832 1 ? 832 1 ? 832 1 ? 832 1 ? 832 1 ? 832 1 ? 83Drmr SAGtr.Vla.D.B.Perc.849 y ? ?? ? ?# ?Can you? ? ? ?Can you?? ??b ?? ?? ?? ??3?? ? ?? ?? ??. ??. ?. ??.3.J?? ! ? .J?? ! ?PNo.  Stop. P "?# ? ? ? ? ?just stop o pen ing your? ? ? ? ? ?just stop o pen ing your?? ??b ?? ?? ?? ??3?? ? ?? ?? ??. ??. ?. ??.3.J?? ! ? .J?? ! ?? y ?? ?mouth??# ?mouth??? ???#b ??? ?? ??? ???3?? ? ?? ?? ??. ??. ?. ??.3.J?? ! ? .J?? ! ? STOP!  DON'T! """?? ??#b ?? ?? ?? ??3?? ? ?? ?? ??. ??. ?. ??.3.J?? ! ? .J?? ! ?- -- -&&&?B?21 ? 832 1 ? 832 1 ? 832 1 ? 832 1 ? 832 1 ? 83222222222222Bb/Bass Cl.Gtr.Vla.D.B.Perc.853 ? ?# ?# ?n ?n ? ?# ?b J?n6 3? ?# ?# ?n ?n ? ?# ?b j?n6 3?? ..??"?. ?. ?. ?. J?.3?# ??## . ??. ?. j??.3?? ?. ?. .J?? ! J?.3Tom/snare (snare off)PPPPPThe DOCTOR makes the incision and continues the operation.  Blood starts to spread on her hospital gown. The stage is completely dark except for the spot on the DREAMER and the video projection. The video of the DREAMER?s POV looking up at the surgical team keeps playing as if the surgery is going on normally.mallets ok? ? ??? ..??? ..??b?. ?. ?. ?. J?.3?# ??## . ??. ?. j??.3?? ?. ?. .J?? ! J?.3 F? ? ?# ?# ?3? ?n ?n ?b ?b ?b ? ?n6?? ..???? ..??b?. ?. ?. ?. J?.3?# ??## . ??. ?. j??.3?? ?. ?. .J?? ! J?.3F ?# .????### ...????? ..????## ?. ?. ?. ?. J?.3?# ??## . ??. ?. j??.3?? ?. ?. .J?? ! J?.3203?&?&&&?B?2222222222222222DrmrBBb/Bass Cl.Gtr.Vla.D.B.Perc.857 !? ? y857 ? ?# ?# >? ???## ???##?? ??? ? ????bb >?. ?. ?. ?. ?3?# ??## . ??. ?. ???-3?? ?. ?. .J?? " ?-3Why do you have to be like that?!!? J? ? ?www??## ??!? ? ? ?.?n#? ? .?#? ?.?##? ? .?#? ?encore p?u mosso ( h   = 48)Low TomFFPThe DREAMER sits right up. !!.?n ? ? .?? ???## ??!? ? ? ?.?? ? .?? ?.?# ? ? .?? ?sim. bowsim. bowF? ?Stop!!.?n ? ? .?? ????nnn?# ?!?> ? ?> ?.?? ? .?? ?.?# ? ? .?? ?FF&&&&?B?DrmrABb/Bass Cl.Gtr.Vla.D.B.Perc.861 ? ?- ?# - ?-I'm burn ing!!861 .?n ? ? .?? ???? ???#?# ??> ? ?> ?.?? ? .?? ?.?# ? ? .?? ?p o c o   a   p o c o   c r e s c e n d o !? y ?.?n ? ? .?? ?www?# ??> ? ?> ?.?? ? .?? ?.?# ? ? .?? ?What's wrong with you? ? ?# - ?- ?-Your hands are!.?n ? ? .?? ?www?# ??> ? ?> ?.?? ? .?? ?.?# ? ? .?? ?wnred! !.?n ? ? .?? ?wwwnnn ?# ??> ? ?> ?.?? ? .?? ?.?# ? ? .?? ?-204?&&&&&&?B?DrmrSABb/Bass Cl.Gtr.Vla.D.B.Perc.865 ? ?# -Stop!!!865 .?n ? ? .?? ???? ??????#####?# !?> ? ?> ?.?? ? .?? ?.?# ? ? .?? ?? -?Stop!y ? ?!.?n ? ? .?? ?????? ?????####?# ? ? ??> ? ?> ?.?? ? .?? ?.?# ? ? .?? ?Shall we have a drink after work? ? ?# - ?- ?-I'm burn ing!!!.?n ? ? .?? ?????# ????##?# ?? ? ??> ? ?> ?.?? ? .?? ?.?# ? ? .?? ?fcrescendocrescendocrescendocrescendocrescendo!!y ? ? y.?? ? .?? ?wwww?# ?! ??> ? ?> ?.?? ? .?? ?.?# ? ? .?? ?Can't I have a date -&&&?B?DrmrBb/Bass Cl.Gtr.Vla.D.B.Perc.869 ? ?>Stop!869 .?? ? ?>?# ???b > ? ? ?# ? ??> ? ??.?? ? ????bb".?# ? ? .?? ??break highFp f fff.?b ?.?# ?? ????#" ????" ????"? ??> ? ? ?..?? ???> ? ?> ??> ?>3poco port sul IIIf Fflip to beater handle if necessary ?encore p?u mosso ( h   = 52) ? ?# ?b ??b ?n ?b ?? ? ? ?# ?????#" ???? ????" ?# ????"3? ? ? ? ? ? ? ? ? ?6? ?? ?# ?b ????> ? ?> ??> ?>3sim.slide up neck.?n ?#Stop!.?n ?b? ?> ?# > ?# > ?# >????#" ???? ????"3? ? ?? ? ? ?.? ?#??> ? ?> ??> ?>3205?&&&?B?DrmrBb/Bass Cl.Gtr.Vla.D.B.Perc.873 w#873 wb? ? ? ?# ?????# ! ???? ????! ?" ????!3? ? ? ? ? ? ? ? ? ?6? ? ? ?wwb??> ? ?> ??> ?>3accelerando .? ?n.? ?? ?> ?# > ? ?# > ?# > ?6????# ! ???? ????!3? ? ? ? ? ? ?6? ? ? ?..?? ???> ? ?> ??> ?>3pitches from here ad lib., should just turn into a prolonged scream.?# ?n.?b ?? ?> ?# > ? ?# > ?# > ??6????# ! ???? ????!3? ? ? ? ? ? ?6? ? ? ?..??bb ?b??> ? ?> ??> ?>3( h   = 60)? !wn ????b! ????! ????! ???b! ????! ??????>! ??????3? ? ? ?3? ? ?..??# ????#??> ? ?> ??> ?>3molto rit.?&V?&&?B?Drmr TBBb/Bass Cl.Gtr.Vla.D.B.Perc.877 J1 ? ? ?##877 ? , ? ? ?# ? ?# ? ? ?# ? ?# ?3 3 3 3wwwwww# >?> ? ? ? ? ? ? ? ? ? ? ?3 3 3 3???? ? ??b ?? $ ??< ? ??. ?? ?? $ ??<3 3? ?Largamente  h   = 40 / q  = 80?p? accent through hammer on sustain through feedback or gently shaking neck?p#? ? ?A? ? ?# A?b ? ?# ? ? ?# ? ?# ? ?# ?n ?3 3 3 3wwwwww # &? ??b . ?? ?? $ ??< ? ??. ?? ?? $ ??<3 3? ?F cantabileF cantabile #? ?date??# ?date??# ? ? ?# ? ?# ? ?# ? ?n ?# ?3 3 3 3j?????? ? ? ?? j? ?# ? ? ? j? ? ?# ?3 3 3 3? ??b . ?? ?? $??< ? ??. ?? ?? $??<3 3? ?pPed.y> ? ?? ? ?Oh, too? ?# ?Oh, too?# ? ? ?# ? ?# ? ? ?# ?n ?# ?3 3 3 3#? ?# ? ?# ? ? ?# ?3 3? ??b . ?? ?? $??< ? ??. ?? ?? $??<3 3? ?? No! scream206?&&&V?&&&B?Drmr SATBB b/Bass Cl.Gtr.Vla.D.B.Perc.881 ? y> ?!!.? ?bad..? ?bad.881 ? ?# ? ?# ? ?# ? ?# ? ?n ?# ?n3 3 3 3? ??b ? ?? ?? ??? ? ??? ?? ?? ???3 3?? ??? ?# ? ? ? ?# ? ?# ? ?n ?# ?3 3 3 3? ??b . ?? ?? " ??< ? ??. ?? ?? " ??<3 3? ?sim. No!p o c o   a   p o c o   c r e s c e n d op o c o   a   p o c o   c r e s c e n d op o c o   a   p o c o   c r e s c e n d op o c o   a   p o c o   c r e s c e n d op o c o   a   p o c o   c r e s c e n d o!? .?Shut up.? .?Shut up. !!?# ? ?# ? ? ?# ? ? ?# ?n ?# ?n3 3 3 3? ??b ? ?? ?? ??? ? ??? ?? ?? ???3 3?? ???# ? ?# ? ? ?# ? ?# ? ?3 3 3? ??b . ?? ?? " ??< ? ??. ?? ?? " ??<3 3? ?FF ? ? y>!!!!J?# ? ? ? ?# ? >?? ????# ???? ? j???? ? ???? ???? ? j????3 3?# ????bnnn > ??> ? ? ? j?> ?> ? ? ? j?>3 3?> ?# ? ? J?> ?> ? ? ? J?>3 3Stop!fffffpoco grindpoco grind!? ??Well? ?# ?Well? ??Well? ??Well? >??? ???## ??? ? j??? ?? ??? ??? ? j???3 3???> ????## >?> ?b ? ? j?> ?> ? ? ? j?>3 3?> ? ? ? J?> ?> ? ? ? J?>3 3poco p?u mosso ( h   = 44)ffff&&V?&&&B?SATBB b/Bass Cl.Gtr.Vla.D.B.Perc.885 ? ?? ?? ?? ??3 3I'm up for it? ?# ? ?? ?? ??3 3I'm up for it? ?? ?? ?? ??3 3I'm up for it? ?? ?? ?? ??3 3I'm up for it885 ? ?# > ?> ?> ?>3 3? ????# > ????> ????> ????>3 3??> ? ?? ??# > ??> ??> ??>3 3??> ? ?? ??> ??> ??> ??>3 3>? ?> ?> ?>3!!!!!???bbb > ???> ???> ???> ???> ??? ???>3? ??> ??bb > ??> ??> ? j??>3??bb >??bb > ??> ? ??> ??> ? J??>3?b > ?b >? ? ? ? ? ?3Let's just fin ish this? ?b ? ? ? ?3Let's just fin ish this? ?b ? ? ? ?3Let's just fin ish this? ? ? ? ? ?3Let's just fin ish this? ?> ?> ?> ?> ?>3????# > ???bb > ????n > ???b > ??????nnn # ??????# ?????#3? ??b > ????> ??> ????> ??> ??>3??>?> ??# > ?> ??> ??> ??> ??>3.?> ? ?> ?>rit.f ?? wn >offw>offwb >offwn >offw> w#wwwwwwb ?>ww> wwbj?www# ?>w?>?? ?? ???a tempo----207?&&V?&&&B?SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.889 y> ? ?Ten!y> ? ?Ten!y> ? ?Ten!y> ? ?Ten!889 J?# ? ? ??> ???b ??? ??? ??? ? ??? ??? ??? ???3 3? ?J????b ? ? ?J???#? ? ? ?#? ?# ? ?# ? ? ?# ? ?# ? ? ?#6 6a tempoShouting togetherf FShouting togetherf Shouting togetherf Shouting togetherf ? ??? p pDreamer begins to rise towards the ceiling.Ped.y> ? ?niney> ? ?niney> ? ?niney> ? ?nine !?> ???b ??? ??? ??? ? ??? ??? ??? ???3 3? ?!? ? ? ?# ?3? ? ? ?# ? ?# ? ? ?# ? ?# ?6 6 crescendoy> ? ?eighty> ? ?eighty> ? ?eighty> ? ?eight?b ??> ???b ??? ??? ??? ? ??? ??? ??? ???3 3? ?? ? ? ? ? ? ?6??b ? ?# ? ? ?# ? ?# ? ?# ?n ?6 6?b ? ?# ? ? ?# ? ?# ? ?# ?n ?6 6P Pcrescendocrescendostringendo  p o c o   a   p o c osticksy> ? ?seveny> ? ?seveny> ? ?seveny> ? ?seven? ? ?# ? ?# ? ?# ? ? ?# ? ?#6 6? ?????n#n ????? ? J????? ? ????? ????? ? J?????3 3? ? ? ? ? ? ? ? ? ? ? ?6 6? ? ??# ? ?# ? ?# ? ?# ? ?n ?# ? ?#6 6?#> ? ? ? J??b > ? ?> ? ? ? J??> ?3 3p p sim.F f&&&V?&&?B?Drmr SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.893 ? y> ?y> ? ?sixy> ? ?sixy> ? ?sixy> ? ?six893 ? ?# ? ?# ? ? ?# ? ?# ? ? ?#6 6? ?????n#n ????? ? J????? ? ????? ????? ? J?????3 3? ? ? ? ? ? ? ? ? ? ? ?6 6? ? J? ? ? ?? ?# ? ?# ? ? ?# ? ?# ? ? ?#6 6?> ? ? ? J??b > ? ?> ? ? ? J??> ?3 3Stop!screamF crescendo crescendof!y> ? ?fivey> ? ?fivey> ? ?fivey> ? ?five?> ? ? ?# ? ?# ? ? ?# ? ?# ?6 6? ?????n#n ????? ? J????? ? ????? ????? ? J?????3 3? ? ? ? ? ? ? ? ? ? ? ?6 6? ? ? ? ? ? ??> ? ? ?# ? ?# ? ? ?# ? ?# ?6 6??> ??b ?? ?? J??> ? ??> ?? ?? ?? J??> ?3 3F?F? y> ?y> ? ?foury> ? ?foury> ? ?foury> ? ?four?b> ? ?# ? ? ?# ? ? ?# ?# ?#6??????#bb " ??????nb# "? ? ? ? ? ? ? y>6? ? ? ? ? y?#> ? ? ?# ? ?# ?> ??b>"6.?"> ? "?>I am awake!sim.? ? ?f ??!y> ? ?threey> ? ?threey> ? ?threey> ? ?threew? ????#" ????" ????" ????"3w?? ????b> ????> ????> ????>3? ?> ?> ?> ?>3 h   = 60P208?&&&V?&&?B?DrmrSATBBb/Bass Cl.Gtr.Vla.D.B.Perc.897 ? ? y>y> ? ?twoy> ? ?twoy> ? ?twoy> ? ?two897 ? ?> ?> ?> ?> ?> ?>3? ??????#! ??????! ??????! ??????! ??????" ??????!3?> y> y> y> y> y> y>3? ???b >" ???> ???> ???> ???> ???>3? ?>" ?> ?> ?> ?> ?>3rit. I am - f f#####?b J? ? ? J? ?3 3??" ? tttttt ???b jtttttt ?3 3????# ????nny ? y ? y?3????n# j?? ? ?? j? ?3 3 J?&wbjjk let all ring as much as possible????ffLargamente h   = 40 / q  = 80sharp stroke between nut and pegs?The DREAMER?S hands are released from the cords holding them. The DREAMER hangs from the ceiling by her feet as if executed. The surgical team exit. #####? ? ? ? ? ? ?3 3???b ? tttttt ? jtttttt ?3 3.? JT TJy? ? ? ? y?? ? ? ?? j? ?3 3 J?wbjkj arcoffpoco dim.poco dim.poco dim.poco dim.&&??&?Bb/Bass Cl.Gtr.Vla.D.B.Perc.900 .? ? .? ?T jttt.? JT ? .?#Jy ? ? ? j? ?#?? .?n ?> ..?? ?? ? .?bjkjleft hand pizzFFf P ? ? .?n? ? ? .? j?n?# ?? ? j?b ?& # &??nn ? ..T?##? .?bjGlock. FPFThe DIVER and the TRAVELER enter. The DIVER pulls her down and releases her feet. The DIVER and the TRAVELER carry her to the edge of the pool. The DIVER and the TRAVELER bathe the DREAMER with the pool water. They wash off the blood.F? ? ? ?3? ?b ?n? ? ?b ? ? ?3?# ? ? ?njT? ? ? T?## T?3.?b ?oF Pvibr.J? ? ? ? ?3?n J? .?#? ? ?b ?3? ? ? ?njT? ? ? T?## T? ? ?3o? J?o ? ?P209??&&&&& 868686868686TrvlrBb/Bass Cl.Gtr.Vla.Perc. sim904 j?# ?# ?# ?# ? ? ?Duerme te mi ni ?a904 J? .?n ?? ? T!? ? j? ?? ? ? PPpdolce Hum quietly, independent 6/8 meter approx.   h   =  q .sotto voceP ?# ?# ?# ?# ? ? ? ? ?3Duerme te sol li ta que? ? .?tttggggg ? ??b J? ? ?b ? ? J?b3..T?## jT? ?p pp p j? ?# ?# ? ? ? ?#cuan do des pier tesJ? ? ? ?!? ?b ?? ?n! ? ? ?# ? ?# ?e sta r? al la !? ???nnn ? !?n ?# !"#coordinate end of iterationat end of this bar if possible#- - - - - - - -?&&? 86868686TrvlrGtr.D.B.Perc. 908 j?# ?# ?# ?# ? ? ?Duerme te mi ni ?aJ???nnn ? ? ? ? ..?#?? . ? ?#poco p?u q.  = 48sord. #sneak inin time now ?# ?# ?# ?# ? ? ? ? ?3Duerme te sol li ta que?o J?o ? J?o.?#? .?#p j? ?# ?# ? ? ? ?#cuan do des pier tes? ? .?# oJ?#? ? ? ? ..?# ? ? ?# ? ?# ?e sta r? al la?o j?o !.?#- - - - - - - -V?&&&? 8787 87 87 87 87DvrTrvlrBb/Bass Cl.Gtr.D.B.Perc. sim912 !!912 t t t t# tn tn t t t t.?# o .?o? ? ?#.?#"Glock with softer mallet (avoid any sharp attack)pairy, subtones, sporadic swells  q   = 60 approx.y ? ? .? ? ? j?#Mm...t t# t# t# t .t# jtn t t t t# t#? ?o ? J?o?# ?# ?#.?# I hear you. ? ? ?# ?# ?I?# ?# ?# ? ? ?#? ? .?# o?# ? ?#.?# humming, molto legatop ? ?# ?#see?# ?# ?# ?# ? ? ?# ? ?3? ? j?o ? ??# ? ? ..?#They comfort her. They stroke her hair. .?# ? .youj? ?# ?# ? ? ? ?#? J?o ? .?# ? ?.?# nien.210??V?&&&? 8787 87 87 87 87868686868686DvrTrvlrGtr.Vla.D.B.Perc.917 y ? ? ? ?? j?# J? ?# ?? . ???### ??# ?# ? ?? . j?#.?# ?Something's wrong !slightly flat - make pitch unstable with bar! 1/4 tone flatsord., tasto, sul I, port., with little sporadic swellsalmost like a radio coming in and out of tune Vibr.? ? ?# ?# ?#I"...???### ?? ? ?n..??## ? ?# ?# ?# ? ? ?#.?# ? slightly flat, slowly going about a half-tone flatter, then "recover" to original pitch; do this about once every couple of barsp!.?# .?n ? .hear you "...???### ??n ?n ?n..??# ??# ?# ?# ?# ? ? ?# ? ?3.?# ?? ? ?# ? ?#We can? ? ?# ?# ?#We can...???### ??n ?..??## ?j? ?# ?# ? ? ? ?#.?# ? pV?&&&&?DvrTrvlrBb/Bass Cl.Gtr.Vla.D.B.Perc.921 .?n .?see you.? .?nsee you921 "...???# ? ....????n ?.?n ..???? j?# .?n B.?# ?? ? .?# .?#Some thing's? ? .?# .?#Some thing's" ?....????#### "..??## ?.?# ?ord. Bass Cl..?# ? . .j?#wrong I.?# ? . .J?#wrong. I? ?# ?n ?n ? ?....????#### "..??## ?.?# P?# ? .?# .?know some thing's?# ? .?# .?know some thing's"....????#### ? "..??## ?.?#.?# ? j?wrong I.? ? J?wrong I? ?# ?# ? ?# ?....????# ? "..??# ?.?#-- --211?V??&&B?88888888888888DvrTrvlrBb/Bass Cl.Gtr.Vla.D.B.Perc.926 .?# .?# .?know some thing's.?# .? .?know some thing's926 ? ? ?# ?# ? ?#......??????#### ? !..??# ?.?#.?# ? .wrong .?n ? .wrong? ? ?# ?# ? ?n.....?????#b ? ! ?..???.?#? ? ? . .jt# I? ? ? . .jt# I!...???n# ?.y? ..??b ?? ?" ?n ?# ? ?#h k#p # .T# ?know. .T# ?know. !...???n# ? ?Jy? ? ? ? ?..??b ? ??# ?# ?n ? ? ? ?b ?bpoco accel.--?D.B. 930 ?b> ?b ? ?b> ?b ?b ?> ?bp leggieroq.   = 58 ?b> ?b ?b ?b> ?b ?b ?> ?The contrast in the POV video projection of the surgery increases until all that can be seen is the surgical light. The surgical light becomes a light at the surface of the water. The video is still the DREAMER?s POV but this time she is under water. The light gets bigger and bigger as she moves up towards the light, towards the surface. Towards the bottom of a boat. ?b> ?b ? ?b ?b ?b ?b ?bsim. accents ?n ?# ?# ?n ? ?# ?n ?nB? 8989Vla.D.B. 934 ? ? ? ?b J?b ?b?b ?b ? ?b ?b ? ? ?bpbien d?tach?Fp ? ?b ?b ? ? ?b ??b ?b ?b ?b ? ?b ? ? ? ? ?b ?b J? ? ?b?b ?b ? ?b ?b ?b ?b ? ? ?# ?# ? ?# ?n ? ?n?n ?# ?# ?n ? ?# ?n ?n212??&B? 898989 888888 811 811 811 888888Vla.D.B.Perc. 938 !.? - .?b - .?b J? ?#?b ?b ?b ?b ? ? ?n ?# ?n ? . ? . ?b?n ?b ?b .? ??b ? ?b ? ?b ?b ? ?barcop j? ? ? ?.?# .? .?n ?# ?n?n ? ?# ?n ?n ?# ?# ? ? ? ?#SS&&&B? 8888888888 811 811 811 811 811 812 812 812 812 812Bb/Bass Cl.Gtr.Vla.D.B.Perc. 941 .? .? .?b ?b ?b!!.? ?n?b ?b ? ?b ?b ?b ? ?bpppBb Clar. .?# ? .?!!?# ? ?# ? ? ?# ? ?#J?# ? j?# ? J? ? .?# ?# .? .?#...???# ? ? ?? ? ? ? J? .?? ?# ?# ? ? ? ?# ?# ? ? ?J? ? J? ? j? ? J?# ?arcop p .? .?n .? ? ?!J? ? ? ? .? J? ??n ? ? ? ? ? ? ? ? ?# ?J?n ? J? ? J? ? J? ?arco&&&B? 812 812 812 812 812 811 811 811 811 811 812 812 812 812 812Bb/Bass Cl.Gtr.Vla.D.B.Perc. 945 ? ?# ? ? ? ? ? ? ? ? ? ?? ?n .?n ? . ? .? . ? ? .???? .? .?# .? .?&? ? ? ? ? ? ? ? ? ? ? ?Sp arco ? ? ? ? ?# ? ? ? ? ? ?!J? ? ? ? .? ?.? .? ?? ? ? ? ? ? ? ? ? ? ?cresc.cresc.cresc. arco ? ? ? ?b ?b ? ? ? ?b ? ? ?b...???bb ? . ? .j? ? ? ? ? ? ..? .?b .?b .??b ?b ? ? ? ? ? ? ? ? ?b ?bFFFFF213??&&&&? 810 810 810 810 810 812 812 812 812 812 811 811 811 811 811Bb/Bass Cl.Gtr.Vla.D.B.Perc. 948 ? ?b ? ? ? ? ? ? ? ? ? ?!!.? .?b .? .??b J?b ? J? ? J? ? J?diminuendodiminuendo ?. ? ?b ? ? ?. ? ? ? ? ?. ? ? ? ? ?.3 3 3!? . .y? Jy??.? .?b ??b ?b ?. ?. ?. ? ? ?. ?. ?. ? ? ?. ?. ?. j?3 3 3poco agitatopoco agitatoPP ?. ? ? ? ? ?. ? ? ? ? ? ? ? ? ?# ?3 3 !Jy? ? ? ? . ? ..?n " .? .? .? .?? ?n ???? ? ? ? ? ? ? ? ?3P ord.&&?&? 811 811 811 811 811 812 812 812 812 812 811 811 811 811 811 812 812 812 812 812Bb/Bass Cl.Gtr.Vla.D.B.Perc. 951 ? ? ?b ? ? ? ? ? ? ? ?!!..??b .? ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?b ?b ? ? ?#!? . .y?.? .? .?b .?b .?b?b ?b ? ? ? ? ? ? ? ? ? ?ppp ? ?# ?# ? ? ? ?# ? ? ? ?#!Jy? ? ? ? ? ? ?.? .? ?.?# .? ??n ?n ? ? ? ? ? ? ? ? ?&&?&? 812 812 812 812 812 811 811 811 811 811 812 812 812 812 812 811 811 811 811 811Bb/Bass Cl.Gtr.Vla.D.B.Perc. 954 .?n ? . .J?n .?b .?b....????b ? . .J? .?b .?? . .y???b ? ?? ?? ? ?? ?? ? ?? ?? ? ???b ?b ? ? ? ? ? ? ? ? ? ?PPP .?# .?n ?.?# .?# ?...???## Jy? ? ? ??# " ?# ? ?" ???? ? ?# ??? ? ?3 3? ?# ? ? ? ? ? ?# ? ? ?PP cresc.cresc.cresc.FFF agitato .? ? J? ? J?b? ? ? ? ? ? ? ? ? ? ? ?? J? ? J? ? J? .?..yy? Jyy? ? ? ? .? ?. ?. ?. ? ? ?. ?. ?? ? ? ??. ??. ?? ? ? ??. ??. ?? ?b3 3 3 3?n#?. ?. ?. ? ?. ?. ?. ?. ? ?. ?. ?. ?. ? ?. ?. ?. ?. ?3 3 3 3? fagitato214??&&?&?811 811 811 811 811812 812 812 812 8122424242424Bb/Bass Cl.Gtr.Vla.D.B.Perc.957 .? .? ?? j? ? j? ? j? ?J? ?b J? ? J? ? ?? . ? ? y?? ??b . ??. ?? ? ? ??. ??. ?? ? ? ??. ??. ??. ? ? ??3 3 3 B?. ?. ?. ?. ? ?. ?. ?. ?. ? ?. ?. ?. ?. ? ?. ?. ?. ?.3 3 3 3??fdiminuendodiminuendodiminuendodiminuendo.? .? ? ?.? .? ? ??b ? ? ? ? ? ? ? ?Jy? ? ? ?? ? ? ? ? ? ? j? ??b ? ? ? ? ? ? ? ? ? ?rit.F .?b .? .?U.?b?b ? ? ? ? ? ? ? ? ? .U? . ? ? ? .U.? ..?? .?bU?b ?b ? ? ? ? ? J? .?Ue  = 108molto rall. PP PP&&?B?2424242424Bb/Bass Cl.Gtr.Vla.D.B.Perc.!960 ? ? ? ? ? ?b ?? ? ?b ?? ? ? ? ? ?b ? ?.?? ? .?? ? .?? ? .?? ??@ ?@ ?@ ?@ ?b @ ?@ ?@ ?b @?! ?! ? ? ?! ?! ? ? ?! ?! ? ? ?! ?! ? ?capo 8, 8va top line onlyBroadly  h   = 40 The video ends as the TRAVELER and the DIVER place the DREAMER onto a boat/raft in the water.ppppp ? ? ? ? .?b ?b? ? ? ?b ? ??b ? ? ? ?b ? ?.?? ? .?? ? ?? y??@ ?b @ ?@ ?@ ?@ ?b @ ?@ ???! ?! ? ? ?! ?! ? ? ?! ?! ? ? ?! ?! ??h cresc.cresc.cresc.cresc.&&?B? 4444444444Bb/Bass Cl.Gtr.Vla.D.B.Perc. 962 ? ? ? w ? ?3WWWWWb Jy? ? ? ? "??- ??- ??- ??- ? ? ? ?3?b - ?- ?- ?- ? ? ? ?3FFFFF P ? ? ? w ?3 "" &??b - ??- ??- ??- "3?- ?- ?- ?- "3PP pesantepesante " ? ? ????bb ? ???? ???n ? www?? ? ? ? "3?? ?? ?? ?? ?@ ?! ??b? ?? ?? ?b ? ?@ ?! ?#ppp #rall. wwww? "wwn###q  = 50215??&&&&B?SBb/Bass Cl.Gtr.Vla.D.B.Perc.sim966 Jy ? y .y Jy ? Jy ?Heads Shoul ders Knees Toes966 ? j? ? ? ?- ?-3www??? ?? ? ?? J?? ?? ? ?? ? ?? ??3 3 3 3.? ? &wRepeat quietly to self as if concentrating on an exercise, tempo approx. and slightly quicker than the beat! " Jy ? Jy ? Jy ? Jy ?Eyes Ears Mouth Nose? ?- ?- ?- ? ?- J?- ?- ? ?3 3 3 3???? ? EEEEEE? ?? ?? ?? ? ?? J?? ??3 3 3 ?? ?- ?- ? ?- J?- ?- ? ?3 3 3J? ? ? ?" with compression;finger notes volume off, swell in niente??- ?- ? ?- ?- ?- ? ?- J?-3 3 3 3EEEEEE ??????y? Jy? ? ?? ?- ?- ? ?- ?- ?- ? ?- J?-3 3 3 3wh poco sul pont.pp PPP ?-? ? ? ?- ?- ? ?- ?- ?- ?3 3 3 3wwwwww #?- ? ? ? ?- ?- ? ?- ?- ?- ?3 3 3 3.? ?-&&&?&?SBb/Bass Cl.Gtr.Vla.D.B.Perc.sim970970 ?- J?- ?- ? ? ? ?- ?- ? ?-3 3 3 3EEEEEE #?- J?- ?- ? ? ? ?- ?- ? ?-3 3 3 3# !sticksFF? ? ? ? ?b ? ? ? ? ? ? ?3 3 3 3wwwb $>? ? ? .y??- ?- ? ?- J?- ?- ? ?- ? ?- ?-3 3 3 3wb > h kSSF !poco sul pont.Pp ? ? ? ? ? ? ?b ? ? ? ? ?n3 3 3 3.....EEEEE ????? ? ???>3.y? y? ? j? ?>3? ?- ?- ?- ? ?- J?- ?- ? ?3 3 3 3.?b ? j?b >3h k pp f fF Fdiminuendo ? ? ? ?b ? ? ? ? ? ? ? ?3 3 3 3??? ......eeeeeeb r?????? %.y? Jy? ?? ?- ?- ? ?- ?- ?- ? ?- J?-3 3 3 3? ?bh k !!! ? ?b ? t t t t t tb t t t3 3 3 3????bbb > EEEEEEnn>?? y y Jy ? ? &?- ? ? ? ?- ?- ? ?- J?- ?-3 3 3 3.?b > ?rit.Fp??nien.216?&&&V?&&&&?DrmrSATBBb/Bass Cl.Gtr.Vla.D.B.Perc.sim975 y Jy ? y .y Jy ? Jy ?Heads Shoul ders Knees ToeswMmwMmwMm975 wj??????nn ? ? ?J?? ?? j?? ?? ?? ?? ??j? ? ? ?j? ? ? ?DREAMER'S VOICE THROUGH FIELD RECORDERI am 34 years old.  I live alone.   I used to work but now I stay at home.  A year ago something happened, something I can't explain, something I cannot prove, something that no one will believe but I know it's true.  It started in this very pool.kill all volume immediatelyGlock.Repeat quietly to self as if concentrating on an exercise, tempo approx. and slightly quicker than the beata tempo p?u mosso q   = 56sempre, and maintain previous tempo independentlyPff!!pppAct IIIScene 1 "Jy ? Jy ? Jy ? Jy ?Eyes Ears Mouth Nosewbwww "J?? ?? j?? ?? ?? ?? ??"""wMmwMmwMm.? ?"J?? ?? j?? ?? ?? ?? ??" B""w-w-?- "?"J?? ?? j?? ?? ?? ?? ??? ? ?? &word.p p-217V&&V?&&&&?DvrSA TBB b/Bass Cl.Gtr.Vla.D.B.Perc.sim979 !wMmmwMmmwMmm979 !..?? ? ? ? .? ? ? ??? ? ?..??o ?wPicking up a bit  q  = 63Drop D clean, warm soundPThe Swimmers start a slow water ballet !!!!!.? ? ? ? .? ? ? ?!!? J? ? ?Vibr.freely, in a folk style? ? ? ? ? ? ? ?When the wat ter's!!!!..?? ? ? ? .? ? ? ?ww !!"F .? ? ? ? ? ? ?cold whenthe nights are!!!!.? ? ? ? .? ? ? ?www !!-VV?&&DvrTBGtr.Perc.983 .? ? ? ? ? ? ?long when my bod y's!!..?? ? ? ? .? ? ? ?www portamento a piacere ? ? ? j? ? ? ? ? ? ? ?3dy in' will you sing a song!!..??b ? ? ? ..?? ? ? ?wwwb ? ? ? ? ? ?Will you staywMmmwMmm..?? ? ? ? .? ? ? ?ww""- - 218?V&&V?&&DvrSATBGtr.Perc.sim986 ? ? ? J? ? ? ? r? ? ? ?3with me all through thewMmmwMmmwMmm .? ? ? ? .? ? ? ?wwws l o w l y   f a d e   o u t!!! ? ? .? " r? ? ? ? ? ?night and hold me through thewww..?? ? ? ? .? ? ? ?www? ? ? ? ? ? ? ? ?3win ter through the fail ing#? ?? ?Mmm?b ?Mmm ..??b ? ? ? ..?? ? ? ????b ??- -V?&&V?&&DvrTrvlrSATBGtr.Perc.989 ? ? .? ?light. #?> j? ? ?Hold me #?> j? ? ?Hold me?> J? ? ?Hold me?? ? ? ? ?? ?? ? ? ? ??? ??????poco p?u mossoPPP P###y ##?? ? ? ? ?? ?? ? ? ? ????? ???bbIn all strokes there comes a point where your hand stops moving forward and starts pulling back past your body and against the water.  This stage of the stroke is known as the catch and it's at this point that getting a good hold of the water is most crucial. #?> J? ? ?Hold me?> j? ? ?Hold me ##?> j? ? ?Hold me?? ? ? ? ?? ?? ? ? ? ????? ??????######?? ? ? ? ?? ?? ? ? ? ????? ???219??&&?&&TrvlrSA BGtr.Perc. 993 ?> J? ? ?Hold me?> j? ? ?Hold me !?> j? ? ?Hold me?? ? ? ? ?? ?? ? ? ? ????? ?????? !y ? ?!?? ? ? ? ?? ?? ? ? ? ????? ???In an ideal world you would be able to anchor your hand stationary in the water, so that as you exert a force your hand doesn't move relative to the poolside, but instead stays still as your body moves past this point.  !!!?? ? ? ? ?? ?? ? ? ? ????? ???b??? !!!?? ? ? ? ?? ?? ? ? ? ???? ????&&&?TrvlrAGtr.D.B.Perc. 997 !? y ?? ? ? ? ? ? ? ? ? ? ? ?? ??? ? ?!p?u mosso  q  = 66 Of course, this being the real world, it's not as easy as it sounds.  !!? ? ? ? ? ? ? ? ? ? ? ?? ?!! ? ? ? ? ? ? .? ?When the wat er's cold!? ? ? ? ? ? ? ? ? ? ? ?? ?ww? ? ?pizz. sustain as long as possibleFPP ? ? ?b ? .? J?when the night's are!? ? ? ? ? ? ? ? ? ? ? ?? ?ww !-V??&&?DvrTrvlrBGtr.D.B.Perc.1001 !? ? ? ? ? ?b ? ? ?long when my bod y's!? ? ? ? ? ? ? ? ? ? ? ?? ?ww? ? ? !? ? ? ? ? ?3dy in' will you!? ? ? ? ? ? ? . r? ? .??b ? ? ? ? ? ?wwb ? ? ? ? ? ?? ? ?Will you stay with? ? ? .?3sing a songwOh? ? ? ? ? ? ? ? ? ? ? ?? ?ww? ? ?FP- -220??V?&&V?&&?DvrTrvlrSATBGtr.D.B.Perc.1004 ? ? ? ? r? ? ? ?me all through the? .? ? r? ? ? J?all through the night and!wOh !w? ? ? ? ? ? ? ? ? ? ? ?? ?ww? ? ?.? " r? ? ? ? ? ?night and hold me through the? ? ? ? ? ? ? ?hold me hold me through the!w? ?OhwOh? ? ? ? ? ? ? ? ? ? ? ?? ?ww? ? ?? ? ? ? ? ? ? ? ?3win ter through the fail ing? ? ? ? ? ? ? ? ?3win ter through the fail ing? ? ?Oo? ? ?Oh Oo-? ? ?Oo?b ? ?Oo? ? ? ? ? ? " ? ? ? " ? ? ??b ? ? ?wwb?b ? ?b ?- -- -221&V?&&V?&&&?DrmrDvrTrvlr SA TBGtr.D.B.Perc.1007 !j?- ? ? ?lightJ?- ? ? ?light?> J? ? ?Hold me?> j? ? ?Hold me?> j? ? ?Hold me?> J? ? ?Hold me" ? ? ? ? ? ? " ? ? ? ? ? ?? ? ? ?? ??ww? ?? ? ?FFFFFF FGlock.!!!!y ? ?!!" ? ? ? ? ? ? " ? ? ? ? ? ?? ? ? ??? ??bww? ?b!FFFsim.sim.sim.It can seem easier just to let the water go, particularly at the end of a stroke, but you need to make as much out of each movement as you can.?> J? ? ?Hold me?> J? ? ?Hold me?> j? ? ?Hold me?> j? ? ?Hold me? y ??> j? ? ?Hold me?> j? ? ?Hold me" ? ? ? ? ? ? " ? ? ? ? ? ?? ? ? ??? ??ww? ?? ? ?!!!!!!!" ? ? ? ? ? ? " ? ? ? ? ? ?? ? ? ??? ??ww? ?!222&V?&&V?&&&?DrmrDvrTrvlr SA TBGtr.D.B.Perc.1011 ?> J?- ? ?Hold me?> J?- ? ?Hold me?> j?- ? ?Hold me?> j?- ? ?Hold me !?> j?- ? ?Hold me?> j?- ? ?Hold me" ? ? ? ? ? ? " ? ? ? ? ? ?? ? ? ??? ??ww? ?? ? ?sim.sim.sim.!!!!!!!" ? ? ? ? ? ? " ? ? ? ? ? ?? ? ? ??? ??ww? ?! P!?- J?- ? ?Hold me?- J?- ? ?Hold me?- j?- ? ?Hold me?- j?- ? ?Hold me?- j?- ? ?Hold me?- J?- ? ?Hold me" ? ? ? ? ? ? " ? ? ? ? ? ?? ? ? ??? ??ww? ?b? ? ?ppppppP P!!!!!!!" ? ? ? ? ? ? " ? ? ? " ? ? ?? ? ? ??? ??ww? ?? ? ?arco223&V?&&V?&&&&B?DrmrDvrTrvlr SA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.1015 ?> j? ? ?Hold me?> j? ? ?Hold me?> j? ? ?Hold me? ? ? ? ? ? ?Hold it all in your? ? ? ? ? ? ?Hold it all in your? ? ? ? ? ? ?Hold it all in your? ? ? ? ? ? ?Hold it all in your1015 ? ? ?. ? ? ? ?! ? ? ? ? ? ? ! ? ? ? ? ? ?? ? ? ?? ??ww? ?? ? ? ! ? ? ? ? ? ? ! ? ? ?? ? ? J? ? J? ?FFF FFFFFFFFFd?tach?""".? ?hands? ? ?hands.? ?hands.? ?hands.? ?! ? ? ? ? ? ? ! ? ? ? ? ? ?? ? ? ??? ??ww? ?? ? ? ! ? ? ? ? ? ? ! ? ? ?? ? ? j? ? j? ?J?- ? J?- ? ?Hold meJ?b - ? J?- ? ?Hold meJ?- ? J?- ? ?Hold me? ? ?- ? j? ? ?b ?Hold it at the back of your?b ? ?- ? j? ? ? ?Hold it at the back of your? ? ?- ? j? ? ? ?Hold it at the back of your? ? ?- ? j? ? ? ?Hold it at the back of your? ? ?- ? J? ? ?b ?! ?b ? ? ? ? ? ! ? ? ? ? ? ?? b ? ? ??? ??bwwb? ??b ? ? ! ? ? ? ? ? ? ! ? ? ?? ? ? j? ? j? ?224&V?&&V?&&&&B?DrmrDvrTrvlrSA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.1018 !!!.?b ?lungs?b ? ?lungs.? ?lungs.?b ?lungs1018 wb" ? ? ?b ? ? ? " ? ? ? ? ? ??b ? ? ??? ??ww? ??b ? ?b " ? ? ? ? ? ? " ? ? ?? ?b ? j? ? j? ?? ? ? ? ? ? ?b ?Hold it as you swim and?b ? ? ? ? ?b ? ?Hold it as you swim and?b ? ? ? ? .? j?Hold it as you swim and? ? ? ? ? .? J?Hold it as you swim and?b ?b ? ? ? .? J?Hold it as you swim and? ? ? ? ? ?b ? ?Hold it as you swim and?b ? ? ? ? .? j?Hold it as you swim and? ? ? ? ? .? J?" ?b ? ?b ? ? ? " ? ? ? ? ? ??b ? ? ??? ??bww? ?? ?b ?b " ? ? ? ? ? ? " ? ? ??b ? ? J? ? J? ?? ? ? ? ? ?try to get it right? ?b ? ? ?b ?try to get it right? ? ? ? ? ?try to get it right? ? ? ? ? ? .? ?try to get it right?n ? ?b ? ? ?btry to get it right? ? ? ? ? ?try to get it right? ? ? ? ? ?btry to get it right? ? ? ? ? ? .? ?" ? ? ? ? ? ? " ? ? ? ? ? ?? ? ?b ??? ??ww? ?? ? ? " ? ? ? ?b ? ? " ? ? ?? ? ? ?b ? ?225&V?&&V?&&&&B?DrmrDvrTrvlrSA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.1021 .? ? ? ? . .? r?-Try to hold it long e.? ? ? ? . .? R?-Try to hold it long e.? ? ? ? . .? r?-Try to hold it long e.? ? ? ? j? . .? R?-Try to hold it long e.? ? ? ? . .?b R?-Try to hold it long e.? ? ? ? . .? r?-Try to hold it long e.? ? ? ? . .?b r?-Try to hold it long e1021 ? ? ? ? ? ? .? .? ?! ? ? ? ? ? ? ! ? ? ?n ? ? ?? ? ?b ??? ??ww? ?? ? ? ! ? ? ? ? ? ? ! ? ? ?? ? ? ?b ? ?wnough.? ?noughwnoughwnoughwnoughwnoughwnoughw! ? ? ? ? ? ? ! ? ? ? ? ? ?? ? ? ??? ??ww? ?? ? ? ! ? ? ? ? ? ? ! ? ? ?? ? ? j? ? j? ?P"""wAhwAhwAhwAhJ? ? ? ?! ? ? ? ? ? ? ! ? ? ? ? ? ?? ? ? ??? ??ww? ?? ? ? ! ? ? ? ? ? ? ! ? ? ?? ? ? J? ? J? ?PPPPp diminuendodiminuendodiminuendo-------226&&&V?&&&B?DrmrSATBGtr.Vla.D.B.Perc.sim1024 wMmJy ? y .y Jy ? Jy ?Heads Shoul dersKnees ToeswMmwMmwMm! ? ? ? ? ? ? ! ? ? ? ? ? ?? ? ? ?wwwwwRepeat quietly to self as if concentrating on an exercise, tempo approx. and slightly quicker than the beatsempre, and maintain previous tempo independentlyppppPPPwJy ? Jy ? Jy ? Jy ?Eyes Ears Mouth Nosewww? ? ? ? ? ? ? ? ? ? ? ?? ?""w? ? ?pizz.wMmwMmwMmwMm? ? ? ? ? ? ? ? ? ? ? ?? ?""""""""? ? ? ? ? ? ? ? ? ? ? ??b ?""""-&&&?SGtr.D.B.Perc. sim1028 ?? ? ? ? ?? ?? ? ? ? ??? ? ?.? ? ? ? .? ? ? ?pizz.p leggieroppThe chorus members and swimmers get out of the pool. The DIVER walks towards the operating table and lies down. The TRAVELER goes back behind the water cell. ?? ? ? ? ?? ?? ? ? ? ??w.? ? ? .? ? ? ?? ? ? ? ?? ?? ? ? ? ??w.? ? ? ? .? ? ? ? ?? ? ? ? ?? ?? ? ? ? ??.? ?.? ? ? ? .? ? ? ?227?&&&?SGtr.D.B.Perc. sim1032 ..?? ? ? ? .? ? ? ?? ? ?? ? .? ? ? ? .? ? ? ?!? ?s l o w l y   f a d e   o u t .? ? ? ? .? ? ? ?!? ? !.? ? ? ? .? ? ? ?!? ?&&B? 43434343Gtr.Vla.D.B.Perc. 1036 ..?? ? ? ? .? ? ? ?!!? ? ..?? ? ? ? .? ? ? ?!!? ? ..?? ? ? ? .? ? ? ?!! &? ? ..?? ? ? ? .? ?? ? . r?>? ? . R??? o>? ?Glock . poco ?ppunta d'arcoPlet ring228?&&V&&&&? 454545SATBb/Bass Cl.Gtr.Vla.D.B.Perc.change smoothly from "s" to "sh"change smoothly from "s" to "sh"change smoothly from "s" to "sh"sim1040 ?> ? ? ? ? ?> ? ? ?> ? ? ?> ? ?Some one's ar rived aboat has ar rived from the Philip pines?> ? ? ? ? ?> ? ? ?> ? ? ?> ? ?Some one's ar rived a boat has ar rived from the Phil ip pines?> ? ? ? ? ?> ? ? ? ? ? ?> ? ?Some one's ar rived a boat has ar rived from the Phil ip pines1040 !!?WW ?oU !repeat "s" soundrepeat "s" soundunmetered (q  = 48 approx., dotted barlines loose cue markers)whisperedwhisperedwhisperedThe TRIBUNAL enters, whispering and talking among themselves. repeat "s" soundScene 2 ! ??# U?# ?# ? ? ? ? ??# ? ? ?# ?#U ?! &softer beater lightly near bridge, fast as poss.independent ( q  = 48) Bass Cl.P p? U? ? ? ? ? ? ? ?Usss sss sss sss sh sh shh SHH!? U? ? ? ? ?? ? ?Usss sss sss sss sh shshh SHH!? U? ? ? ? ? ? ? ?Usss sss sss sss sh sh shh SHH!?# ?# ? ? ? ? ?# ?U? U?# ? ? ?# ? ? ?#Uslow down and get louderslow down and get louderslow down and get loudertasto, alla gamba, port.The HEAD of the TRIBUNAL enters majestically.f ffFF "Double Bass and Clarinet together metered at tempo- - - - -- - - - -- - - - -&?&?&&SBb/Bass Cl.Gtr.Vla.D.B.Perc.1043 ? ?# .? ? ? ? ?Your ex cel len cy1043 j? !U!U!U &!UJ? !U ?Free recit. (approx.  q  = 72 )Fvibr.? .?? ?# ? ?n? ?? ?Most ho ly!www## Utt ttbbnb > Uww## ?Uw?U 2less confidentlywith fingersPPPP? ? j?n ? ? ?Oh right eous head!.?n ? U ?# ?ww# ?tt#n Uw# ?Uw?U finger bend (ord. mallets, soft)p timidly !W# Uwwwwwwn} }} ?U wwwwww??# ?# ?# ?# ? ? ?# ?# ?# w#UWWnn ?UW# ?U FFFFPrubato-- - - -229?&&V??&&&?44? 8 144? 8 144? 8 144? 8 144? 8 144? 8 144? 8 144? 8 144? 8 1444444444444444444SATBBb/Bass Cl.Gtr.Vla.D.B.Perc.1047 !!!? .?# ?USpeak1047 !Uj??????? ? ? ?U!U!U!UF? ?# > ?> ?-Have you heard?? ?# > ?> ?-Have you heard?? ?# ? ? ?Have you heard?!! &? ? ?#? ??## > ?!!Broadly q  = 60with e-bow on string 5P FFF F! j?# A!!? J?# ? ?# ? ?What is it?? ? J?# J? .?? ? ?# ? ? ?# ? ? j?? ? j??## ? ?? ? J?# J? .?!Glock.F FPPBb Clar.?# ? ? ? j?#boat A!!? ? j?# ?# ?A boat?? ? ? j?#?# ? ?n ?n ? ? ? ?#!? ? j?# ?# ? ?? j?# ?# ?#P&?&&&&&?4343434343434343SBBb/Bass Cl.Gtr.Vla.D.B.Perc.1051 ?# ? ? ? ? ? ? J? ?boat !1051 .? j? ?? ?# .?n ?!!? ?# ?# ? .? ?J? ? ? ?!? y ?!!!!!!That is all?Glock.? j?# ? ? ? ?3A boat has ar rived!!???> ? ???## > ? ??# > ? ?!!still Drop D, not rolledFFP ? j?# ? ? ? ? ?# ?3 3A man has ar rived on the!!????## > ? ???## > ? ??# > ? ?!!- -230?&&V&&&&&?44444444444444444443?8143?8143?8143?8143?8143?8143?8143?8143?81434343434343434343SA TB b/Bass Cl.Gtr.Vla.D.B.Perc.1055 ?# ?# ? ? ? ?3boat from the!!1055 !????> ? ???#> ? ??#> ? ?! B!?# j?# ?#> ?3Phil ip pines?# j? j?> ?3Phil ip pines?# j?# j?> ?3Phil ip pines!!? ???nnn > ?!j??## > ? j??##> ? ?J?#> ? j?#> ? ?fffff!!!? ?n?# ?ww www# !!!!The DREAMER steps off the raft onto the stage.ritenutoPP ? ?. ?. j?- ? ?He heard talk!!? ?- j?.!!!?b ?- j?.?b ?- J?.a tempo PPPTune 6 back up = E- -- -- -&&V&&&B?434343434343434342424242424242424545454545454545SA TB b/Bass Cl.Gtr.Vla.D.B.Perc.1059 ? ? ? ? ? ? ? ? ?b? ??3 3talk of the pris o ner Claims he?b ? ? ? ? ? ? ? ?? ??3 3talk of the pris o ner Claims he? ? ? ?n? ??3Claims he1059 j?- ? ?- ?-!!j?b - ? ?b - ?-J?b - ? ?- ?-FF fff ?b? ?? ?? ? ?knows who he is?n? ?? ?? ? ?knows who he is?n? ?? ?? ? ?knows who he is?? ?? ?? ?> ?? ? ? ? ?b ? ? ? ? ? ? ? ? ?? ? J????nbb > ???b? ??? ??? ??> ???? ?? ?? ?> ?ritenutorubatoFFF FFvib r.!!!!? !!!- -- -231??&&B? 4545454545 4444444444BBb/Bass Cl.Gtr.Vla.D.B. 1062 ? ?# ? j?# ? ? j? ? ? ?3Bring the pris o ner1062 !!!!F freely ?# ? ?Uin !U?# ?# ?# ?# ??? ?# ?? ? ? ?# U!U !UFrubato !.?# ?# ? ?wwwwwww#####gggggggg !!The TRAVELER is brought out from behind the water cell. He looks at the DREAMER, confused.PP !?# ? ?#!?? ?? ?# ??# ? ?# ? ??PP- -&??&&B?4646464646464644444444444444811811811811811811811DrmrTrvlrBBb/Bass Cl.Vla.D.B.Perc.1066 ? ? j? ? ?I know this!!1066 ?# ?!?# ?? ?pSlow q  = 48 .? j? ? ? j? ? ?man I know this! ? J? ? ?I know this!j? ?b j? ? ?!.? j? ? ?!ppp.? j? j? ? ?man?b J? ? ?man !.? j? ?!j? ?b j? ?J?b - ? ? J? ?p!!? ? yw? ? ??b ??b ?b! But tell me...The TRIBUNAL begin loudly whispering and talking amongst themselves.PP232??&&&B? 811 811 811 811 811 811BBb/ Bass Cl.Gtr.Vla.D.B.Perc.1070 !1070 .? .? ?? ? ? ? ? ? ? ? ? ? ?j??b ? ? ? ? .j? ? ? ?!Picking up a bit  q .  = 63PPp flowing, lightly pulsing .y ? ? ? ? ?!? ?b ? ? ? ? ? ? ? ? ?!? . ? ? ?? . ? ? ?4 3 2favour positions that let strings ring pizz.pizz.When did you last see this heretic? PP!!? ? ? ? ? ? ? ? ? ? ?.? ? ? ..? ? ? ..? ? ? .P !!? ? ?b ? ? ? ? ? ? ? ?!? . .? ?!arco&&&B?DrmrGtr.Vla.D.B.Perc. 1074 .? ? .? .?Be fore we set? ? ? ? ? ? ? ? ? ? ?.? ? ? ...?? ? ? ?.?> .? ?Ppizz.PPParco .? ? ? ? .? ?sail from Man i la? ?b ? ? ? ? ? ? ? ? ?.? .? .? ?!.?b .? ? .? ? ? .? ? j?Phil ip pines is the? ? ? ? ? ? ? ? ? ? ?..?? ? ? .!.?> .? ? .? ? j? .? ?last time I saw him? ? ?b ? ? ? ? ? ? ? ?!!.? .? ?- - - - -&&&? 812 812 812 812DrmrGtr.D.B.Perc. 1078 ? ? ? .? .?How he?> ? ? ? ? ? ? ? ? ? ?..??> ? ? ?.?> .? ?arco .? .? .? ?#came to be here? ? ? ? ? ? ? ? ? ? ?!.? .? ? ? ? ? ?# .? .? .? .?I am sure I do not? ? ? ? ? ? ? ? ? ? ?!.?> .? ? .? ? ? ?# ? ?know but I tell you? ? ? ? ? ? ? ? ? ? ?? ? .? .? ?.? .? ?P233??&?&&&?812 812 812 812 812 812811 811 811 811 811 811812 812 812 812 812 812DrmrBb/Bass Cl.Gtr.Vla.D.B.Perc.1082 ? . .?# .?# ? j?for cer tain I1082 ? ? ? ? ? ? ? ? ? ? ?? ? ?# ? ? ? ? ? ? ? ? ?.? .?# .?#? . .?# .? .?# .?# .? .?.? .? .? .?P pedal throughout passageBass Cl.slightly detached.?# .?# .? .? .? .? .?#know from where he?# ?# ? ? ? ? ? ? ? ? ? ??# ?# ? ? ? ? ? ? ? ? ? ?.?# .? .?#.?# .?# .? ? . .J? .? .?#.?# > .?# .? .?F FFFF F.?# j? ? .? .?# ? j?comes he is not a?# ? ? ? ? ? ? ? ? ? ? ?? ? ?# ? ? ? ? ? ? ? ? ?.? .?# .?..??# .? .?# ? J?.?> .? .? .?F.?# .?# .?# ? ? ?her e tic? ?# ? ? ?> ? ?> ? ? ? ??# ?# ? ? ?> ? ?> ? ?> ? ?.?# ? ? ?.?# .? .?# ?.?# > .?# .? ?F- - -&??&&&?812 812 812 812 812 812 812DrmrTrvlrBb/Bass Cl.Gtr.Vla.D.B.Perc.1086 ? . .?n .?n .?b .?He is on ly!1086 ?b ?b ? ? ? ? ? ? ? ? ? ?.w ..??nn .?n .?b!?b ? ?b ?b ? ? ? ? ? ? ? ?PPPP .? .? .?b .? ? ? ? . .j?or din ar y an.? .? .? .? .?b .? ? . .J?I am or din ar y an?b ?b ? ? ? ? ? ? ? ? ? ?.?n .?n .?b .?n .?..??b .?b ..??bb ..??b? . .? .? .?b .?b?b ? ?b ?b ? ? ? ? ? ? ? ?PP F.? .? .?b .? .?or din ar y man.?b .? .? .?b .?bor di na ry man?b ?b ? ? ? ? ? ? ? ? ? ?? ? ? ? ?b ? ? ? ? ? ?b ? ?b ? ? ?4 4 4 4...??? ...???b ...???bb ...???bb..wwb?b ? ?b ?b ? ? ? ? ? ? ? ?!!?b ?b ?b ? ? ? ? ? ? ? ? ?...wwwb ...??? .?.w ?b ? ?b ? ? ? ? ? ?b J? ? ?poco rit.P- - -- - -- - - -- - -234??&?Bb/Bass Cl.D.B.Perc. 1090 ? ?b ? ? ? ? ? ? ? ? ? ?.? .?? ? ? ? ? ? ? ?p?u mosso  q  = 72The TRIBUNAL fades, scurrying to the back of the stage.?b ?b ? ? ? ? ? ? ? ? ? ?.w.?b .? ? . ?b ?b ? ? ? ? ? ? ? ? ? ?.?b ? ? ? .! ?b ?b ? ? ? ? ? ? ? ? ? ?.?b ? ? ? .!?&&?CueBb/Bass Cl.Gtr.D.B.Perc. 1094 !1094 ?b ?b ?b ? ? ? ? ? ? ? ? ?? ? ....????ggggg ....????ggggg ....????ngggggg.?b .? .? .?.?b .? .?pizz. PPP legato, soft mallets, flowing !?n ? ? ? ? ? ? ? ? ? ? ?....wwww ..??# ..??#?? ? ? ? ? ? ? ? ? ? ? ?.?n ? ? ? .The DOCTOR enters and sits down beside the DIVER.poco trem with bar !? ? ? ? ? ? ? ? ? ? ? ?!..?? .? .?? ?n ? ? ? ? ? ? ? ? ? ?.? ? ? ? . .y .? .? .? .?? . .? .? .?.w? ? ? ? ? ? ? ? ? ? ? ?!Hospital PARoom 401, Corridor D.Room 401, Corridor D.Drop D, with pick PV&&?TGtr.D.B.Perc. 1098 !.? .? .?> .?> .?>? ? ? ? ? ? ? ? ? ? ? ?? . ? . .J?"> .?> .?>well markedP !.? .? .? .?>? ? ? ? ? ? ? ? ? ? ? ?.#?> .? ? . .j?#> .y ? . ? ..?> .?> .? .? .? .? .?? ? ? ? ? ? ? ? ? ? ? ?.?"> .?#> .? .? .? .? .?sim.I am sorry. sim.235??&VV&&?DrmrDvrTGtr.D.B.Perc. 1101 !.y ? . ? .? ? ? J? .? .?I'm sor ry.? .? .? .?? ? ? ? ? ? ? ? ? ? ? ?.? .? ? . .j?PFor what? .y ? . ? .? . .y ? ?!.? .? .? .? .? .? .?? ? ? ? ? ? ? ? ? ? ? ?.? .? .? .? .? .? .?There was nothing you could do.You are? ? . ? ? .y!? . .y ? ..? .? .? .?? ? ? ? ? ? ? ? ? ? ? ?.? .? ? . .j?I know it's not enough Couldn't you have stopped it? !!!.? .? .? .? .? .? .?? ? ? ? ? ? ? ? ? ? ? ?.? .? .? .? .? .? .?-VV&&? 811 811 811 811 811DvrTGtr.D.B.Perc. 1105 ? . ? J? .?Ev' ry one!.? .? .? .?? ? ? ? ? ? ? ? ? ? ? ?.? .? ? . .J?piz z . PPF ? . ? J? .? .?has a fi nal!.? .? .? .? .? .? .?? ? ? ? ? ? ? ? ? ? ? ?.? .? ? ? ? . .J? .? .? .y ? . ? .fight? . ? ? ? .? ? ?E ven you?.? .? .? .?? ? ? ? ? ? ? ? ? ? ? ?.? ? ? ? ? ? . .J? ? ? ? j? ? ? ? ?4es pe cial ly me!.? .? .? .? .? .? .?? ? ? ? ? ? ? ? ? ? ? ?.? .? ? ? ? . .J? .? .?- - - - --VV?&&? 811 811 811 811 811 811DvrTB b /Bass Cl.Gtr.D.B.Perc. 1109 .? ? ? .? . .y ?1109 !.? ? .? .? .?? ? ? ? ? ? ? ? ? ? ?.? ? ? ? ? . .J?But you're the great magician !!!.? .? .? ? ?? ? ? ? ? ? ? ? ? ? ?.? .? ? ? ? J? ? ? ? . .y ? .!.?b > ? .!?? ?b ? ? ? ? ? ? ? ? ?.?b ? ? ?I'd rather be someone else,p ? ? ? .? ?Some one like you!.?> .? ?...???" ? ? ?? ? ? ? ? ? ? ? ? ? ?.?> .? ?FPp -236??VV?&&&?DvrTBb/Bass Cl.Gtr.Vla.D.B.Perc.1113 !.y ? ? .1113 .?b ? ? ? J? ? J?!?b ? ? ? ? ?b ? ? ? ? ?!.?b > ? .?But everyone loves you.? . .? ?bDon't you!.?b .?b - .?- ?b -!?b ?b ?b ? ? ? ? ? ? ? ?!.?b > .?b - .?- ?-F(Vln.)?b ?see? !.?> ?b - .?- .?- .?b >...???b ? ? ?? ?b ?b ? ? ? ? ? ? ? ?.?" ? .?.?b ? .? .? .?b >pP poco vib.? . .?b .? ?bThere's noth ing!.?b > .?b - .?- ?- ?b >...???bbb ? ? ??b ?b ?b ? ? ? ? ?b ? ? ?.wb .?b > .? ? ?b >P-V?&&&?DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.1117 .? ?b .? ? j?bmag ic a1117 .?b > ?b - .?b - .?- .?b >....????bbb ? ? ?? ?b ?b ? ? ? ?b ? ? ? ?.?b ?b .? .?b.?b > ? .? .? .?b >P.?b .? ?bbout what I.?b > .?b - .?- ?- ?b >....????bbbb ? ? ??b ?b ?b ? ? ? ? ? ? ? ?.?b .? ?.?b > .? ? ?b >.? ? ? . .?do Just.?b > ?b - .?b - .?- .?b >.....?????bbbb ? ? ?? ?b ?b ? ? ? ?b ? ? ? ?.? ?b .?b .?.?b > ? .? .? .?b >- - 237?V?&&&&?812812812812812812812DvrB b/Bass Cl.Gtr.Vla.D.B.Perc.1120 .?b ? ?me1120 .?b> .?b - .?- ?- ?b>....????bbbb ? ? ??b ?b ?b ? ? ? ? ? ? ? ?!.?b .?b.?b> .? ? ?b>? . .? .?n .?bNight af ter.?b> .?b - .?- .?-? ? .? ..??bb .? ..?? .?b ..???b ? ?b ? ? ? ?n ? ? ? ? ?!.?b .?n .?.?b> .? .?cresc.cresc.cresc.cresc. cresc.F .? .? .?bnight sus? ? .?- .?- .?-...wwwb ...??? ?? J?? ?? J?? ?? J??? ? ?b ? ? ? ? ? ? ? ? ?b? . ? ? .?b.?b .?b? J? ? J? ? J? ? j?fGlock.- -VV?&&&&?DvrTB b/Bass Cl.Gtr.Vla.D.B.Perc.1123 .?# .?n .?# .?#pen ded be tween!1123 ? J?# ? J? ? J? ? J?? j??# ? j?? ? j?? ? j??.? .?? ?# ?# ? ? ? ? ? ? ? ? ?.?# .?n .?# .?#.?# .? .?? J? ? J? ? J? ? J?FFFF.? ? ? ? J?death and!? J?# ? J? ? J? ? J?? j??# ? j?? ? j?? ? j??.? .?? ?# ?# ? ? ? ? ? ? ? ? ?.w .?# .?# .?? J? ? J? ? J? ? J?.?# ? . ? .life? . ? . .J?n .? .?That's just not? J?# ? J? ? J? ? J?? j??# ? j?? ? j?? ? j??.? .?? ?# ?# ? ? ? ? ? ? ? ? ?.w# .w#? J? ? J? ? J? ? J?F- -238?&VV?&&&&?DrmrDvrTBb/Bass Cl.Gtr.Vla.D.B.Perc.1126 ? . .? .? .? .?You just don't? . .? .? .?b .?b .?bYou just don't.?n ? . ? .true1126 ?b J?b ? J? ? J? ? J?? j??bb ? j?? ? j?? ? j??.?b .?? ?b ?b ? ? ? ? ? ? ? ? ?b? ? .? .? .?b .?b .?bJ? ? .?n .?n .?b?b J? ? J? ? J?b ? j?bfloatP .?b .?b ? . ? .see.? .?b ? .see !?b J?b ? J? ?b J? ? J??b j??bb ? j?? ? j?? ?? j??.?b .?? ?b ?b ? ? ? ? ? ? ? ? ?.? ? ? ? ? .?b.?b .??b J?b ? J?b ? J? ? J?!.?b .? .? .?b .?blook, look at me!? J?b .? .? .??b j??bb ..?? ..?? ..??.?b? ?b ?b ? ? ? ? ? ? ? ? ?b.?b .?b .?n.?b .?b .?n?b J?b .? .? .?brallentandoV?&&&&?DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.1129 ? . ?b j?b ?b ?b ?b ?b ?b ? ?b j?bI'm the great est per for mer of all1129 .wb ..wwbb .w .w .w .wbfreely, parlando, in the same style as previous show act, but weakernientenientenientenienteniente.?b ? .xb x x .xb xb xb xb xb4time but I'm a man who has cheat ed!!!!!!.yb jyb yb ? . .yb .yb ? .Udeath too long too long!!! ?!!!sober, straight ? . ? ? ? j?To!!? ? .??> ? .!! B.w>PPpBroadly q  = 54- - - - -239?V?&?B?DvrBb/Bass Cl.Gtr.Vla.D.B.Perc.1133 .? .? .?n .? .? .? .?day is not de feat but1133 ? ? ? . .j?< ?< ?< ?< .?< .?<? ? ? ? ? ? ? ? ? ? ? ?.?? ? . .j? ? ? ? .? .?? ? ? . .j?! ? ? ? .? .?.? ? ? .? .? .? .?pp pp p bien d?tach?bien d?tach?(Vla.)? J? .? ? .vic to ry.?< ? . .j?< ?< ?< ?< .?< .?<? ? ? ? ? ? ? ? ? ? ? ?.?? ? . .j? ? ? ? .? .?.? ? . .j?! ? ? ? .? .?.? ? ? .? .? .? .?.? .? .? .? .? ? j?I shall fi n(a)ly be re.? ?< ?< ?< .?< .?<? ? ? ? ? ? ? ? ? ? ? ?.?? ? . .j? ? ? ? .? .?.? ? ? ? .? .?.? ? ? .? .? .? .?.? ? ? ? .leased.? j? ? ? ? .? ? ? ? ? ? ? ? ? ? ? ?.?? ? . .j? ? ? ? .? .?.? ? ? ? ? ? ?&.? .? .?- - - - -&V&?&?444444444444DrmrDvrGtr.Vla.D.B.Perc.1137 ? . ? ? y ?Uy ? ?U? ?b ? ? ? ? ? ? ?b .?U.? ? . ? .U &? ?b ? ? ? ? ? ? ?b ? ? ?U.?b .? .?UWill you stay with me?molto rit. As long as I can. """? ? ? ? ? ? ? ? ? ? ? ?.w "a tempo, poco p?u mossopGlock . soft-med. mallet """? ? ? ? ? ? ? ? ? ? ? ?J? ? ? ? ? .""""? ? ? ? ? ? ? ? ? ? ? ?"""""?b ? ? ? ? ? ? ? ? ? ? ?""rallentando240??&&? 4444444444CueBb/Bass Cl.Gtr.D.B.Perc. 1142 y1142 ?> ? ? ? ? ? ?> ? ? ? ? ? ?> ? ? ? ? ? ?> ? ? ? ? ?6 6 6 6wwwwwwThe sound of a pulse through a hospital machine is heard. The TRAVELER and DREAMER are on a separate part of the stage.Cardiogram pulse begins, regular, out of time with ensemble,and continues throughout passageLargamente q .  = q   = 50softly pulsingpp!vibr. y? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6www "w HOSPITAL PARoom 401, Corridor Dsim.?&?Bb/Bass Cl.Gtr.D.B. 1144 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6wwww ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6wwww&V??&?DrmrDvrTrvlrBb/Bass Cl.Gtr.D.B. 1146 ? ?- ?- ?- ?3I am here? ?- ?- ?- ?3I am here? ?- ?- ?- ?3I am here1146 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6www ppp ? ?- ?- ?- ?3I am here? ?- ?- ?- ?3I am here? ?- ?- ?- ?3I am here? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6www241??&V??&?DrmrDvrTrvlrBb/Bass Cl.Gtr.D.B. 1148 ? ? ?- ?- ?- ?-3I am no where? ? ?- ?- ?- ?-3I am no where? ? ?- ?- ?- ?-3I am no where1148 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6www !!!? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6ww---&&V??&&?SA TBBb/Bass Cl.Gtr.D.B.Perc.1150 ? j?. ?. ?. ?. ? ? ? ?3 3Room four o one cor ri dor? j?. ?. ?. ?. ? ? ? ?3 3Room four o one cor ri dor!? J?. ?. ?. ?. ? ? ? ?3 3Room four o one cor ri dor1150 ? ? ??? ? ? ? ? ? ? ? ? ? ? ? ? ? ?> ? ? ?> ? ? ?> ? ? ?6 6 6 6? ? ? ?> ? ? ? ? ?> ? ?>6 6?> J?- ? J?- ? J?- ?fading away "F PPPPP ? ? ?D? ? ?D? # R? ? ? ? ? ? J? ?Can not hold you? ? ?Dj?- ? j?- ? j?- ? j?- ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ?> ? ? ?> ? ? ?> ? ? ?6 6 6 6? ? ? ?> ? ? ? ? ?> ? ?>6 6?> J?- ? J?- ? J?- ?F sim.P P- -- -- - -242?&&V??&&?CueSATBBb/Bass Cl.Gtr.D.B.Perc.1152 !? j?. ?. ?. ?. ?3Room four o one? j?. ?. ?. ?. ?3Room four o one !? j?. ?. ?. ?. ?3Room four o one1152 j?- ? j?- ? j?- ? j?- ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6? ? ? ?> ? ? ? ? ?> ? ?>6 6?> J?- ? J?- ? J?- ?y ? ?? ? ? ? ? ?3Can't enclose you? ? ? ? ? ?3Can't enclose you? ? ? ? ? ?3Can't enclose you? ? ? ? ? ?3Can't enclose you? J?- ? J?- ? J?- ?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6?w?> J?- ? J?- ? J?- ?HOSPITAL PARoom 401, Corridor D&V??&&&?DrmrDvrTrvlrBb/Bass Cl.Gtr.D.B.Perc.1154 ? ? ? ? ? ?When the wat er's? J?- ? ?This? ? ? ? ? J? ? ?3These are my eyes This is my1154 ?. ? ? ? ?. ? ? ? ?. ? ? ? ?. ? ? ?3 3 3 3"? ? ? ? ? "? ? ? ? ? "? ? ? ? ? "? ? ? ? ?6 6 6 6? ? ? ?? ?? ??b? ? ?bJ?? ? J?? ? J?? ? J?? ?PP Pkeep it light P(have drum/vibe mallet ready)Glock .? ? ? ? ? ? ?cold when the nights are? ?- ?This? ? ?neck?. ? ? ? ?. ? ? ? ?. ? ? ? ?. ? ? ?3 3 3 3"? ? ? ? ? "? ? ? ? ? "? ? ? ? ? "? ? ? ? ?6 6 6 6? ? ? ??? ?? ??? ? ?J?? ? J?? ? J?? ? J?? ?-243?&V??&&&?DrmrDvrTrvlrBb/Bass Cl.Gtr.D.B.Perc.1156 ? ? ? ? ? ? ?long will you? J? ? ?This is? J? ? ? ? J? ?This is my bod y1156 ? ? ? ? ?. ? ? ? ?. ? ? ? ?. ? ? ?3 3 3 3! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ?6 6 6 6? ? ? ??? ?? ??? ? ?j?? ? j? ? j? ? j? ?sim. accents? ? ? ? ? ?3sing a song?? ? ? ? ?Or din ar y? ? ? ? ?Or din ar y?. ? ? ? ?. ? ? ? ?. ? ? ? ?. ? ? ?3 3 3 3! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ?6 6 6 6? ? ? ??? ?? ??? ?b ?J? ? J? ? J? ? J? ?- - -- - - - -- - - - -244&V?&V??&&&&?CueDrmrDvrTrvlrATBBb/Bass Cl.Gtr.Vla.D.B.Perc.1158 y? ? ? ? ? ?Will you stay with!? ? J? ? ?This is my? ? ? ? ? ? .? ?When the wat er's cold? j?. ?. ?. ?. ?3Room four o one? j?. ?. ?. ?. ?3Room four o one1158 ? ? ? ? ?. ? ? ? ?. ? ? ? ?. ? ? ?3 3 3 3" ? ? ? ? ? " ? ? ? ? ? " ? ?> ? ? ?> " ? ?> ? ? ?6 6 6 6? ? ? ?? ? ? ?> ? ? ? ?> ? ?>3 6? ? ?b? ?? ?b? J? ? J? ? J? ?HOSPITAL PARoom 401, Corridor DP PPF F PP!? ? ? ? r? ? ? ?me all through the? J? ? ?You are? ? ? ? ? J? ? ?3u ni form This is my? ? ? ? .? j?And the night's are? ?. ?. ?. j?. ? ?3Cor ri dor D? ?. ?. ?. j?. ? ?3Cor ri dor D?. ? ? ? ?. ? ? ? ?. ? ? ? ?. ? ? ?3 3 3 3" ? ? ? ? ? " ? ? ? ? ? " ? ?> ? ? ?> " ? ?> ? ? ?6 6 6 6? ? ? ?? ? ? ?> ? ? ? ?> ? ?>3 6? ? ?? ?? ?? J? ? J? ? J? ?cresc.cresc. cresc.cresc.- -- - -- -245&V?&V??&&&&?DrmrDvrTrvlrATBBb/Bass Cl.Gtr.Vla.D.B.Perc.1160 ? ? ? .? ? ? ? ? ? ?3night and hold me through the? j? ? ?You are? J? ? ? J? ? ?mouth Those are your? ? ? ? ? ? ? ?long will you hold me through the? j? ? ?Through the? j? ? ?Through the1160 ?. ? ? ? ?. ? ? ? ?. ? ? ? ?. ? ? ?3 3 3 3! ? ? ? ? ? ! ? ? ? ? ? ! ? ?> ? ? ?> ! ? ?> ? ? ?6 6 6 6? ? ? ?? ? ? ?> ? ? ? ?> ? ?>3 6? ? ?? ?? ??? j? ? j? ? j? ?FFF? ? ? ? ? ? ? ? ?3win ter through the fail ing? j? .?You are?b .? J?words? j? ? ? ? ? ? ?3win ter through the fail ing? ?b ? ?night just? ? ? ?night just?. ? ?b ? ?. ? ? ? ?. ? ? ? ? ?3 3 3! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ?6 6 6 6?b ? ? ?? .?b? y? y? ! ? ???? ?? ??- B?b J? ? ?- ?-cresc.Fcresc.cresc.cresc.- -- -246&V?&&V??&&?B?DrmrDvrTrvlrSATBBb/Bass Cl.Gtr.Vla.D.B.Perc.1162 j? ? ? ?lightj? ? ? ?light? ? ? ? ? ?3That is the sea? ? J?? ?? ??Room four oj? ? j? ? ? j?< ?< ?<light This Room four o? j? ? ? J?? ?? ??Hold me Room four o? j? ? ? J?? ?? ??Hold me Room four o1162 ? ? ?! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ?6 6 6 6? ? ? ?? ?? ??.j?? ! ? . Ry? Jy? ? ??." ?@# ? ? ? ?." ?@# ? ? ? ?." ?@# ? ? ? ?." ?@# ? ? ?6 6 6 6.? j? ?ff f fffff f fff f$$? J? ? ? ? ?This is the mor ning? ? ? ?? ?? ??3one Cor ri dor? ? ? ?< ?< ?<3one This Cor ri dor? ? ? ?? ?? ??3one This Cor ri dor? ? ? ?? ?? ??3one Cor ri dorj? ? ? ?! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ?6 6 6 6? ? ? ?? ?? ?? ??? ? ? . ? ??. ?@ ? ? ? ?. ?@ ? ? ? ?. ?@ ? ? ? ?. ?@ ? ? ?6 6 6 6?? ? ? ? ?? ? ? ? ?? ? ? ? ?? ? ? ?3 3 3 3sim.- -- - - - -- -- -247&V?&&V??&&?B?CueDrmrDvrTrvlrSA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.1164 !j? ? ? ? ? ? ?Now Now you see me? J? ? ? ? ?Now can you see me?J? ? ? J? ? ?Now you see meJ? ? ? ?Dj? ? ? ?DJ? ? ? ?DJ? ? ? ?D1164 ?> j?? ? j?? ?" ? ? ? ? ? " ? ? ? ? ? " ? ? ? ? ? " ? ? ? ? ?6 6 6 6? ? ? ??? ?? ??.j?? " ? . Ry? Jy? ? ??. ?@ ? ? ? ?. ?@ ? ? ? ?. ?@ ? ? ? ?. ?@ ? ? ?6 6 6 6?> ? ? j? ?> ? ?> ?F y !!? ? ? ? .? ?3Those are my boots? ? ?This? ? ?This? ? ? ? ? ?This Can not keep you? ? ? ? ? ?This Can not keep youj?? ? j?? ? j?? ? j?? ?" ? ? ? ? ? " ? ? ? ? ? " ? ? ? ? ? " ? ? ? ? ?6 6 6 6? ? ? ??? ?? ?? ??? ? ? . ? ??. ?@ ? ? ? ?. ?@ ? ? ? ?. ?@ ? ? ? ?. ?@ ? ? ?6 6 6 6?fl ? ? ? ?fl ? ? ? ?fl ? ? ? ?fl ? ? ?3 3 3 3HOSPITAL PARoom 401, Corridor D--248&V?&&V??&&?B?DrmrDvrTrvlr SA TBB b /Bass Cl.Gtr.Vla.D.B.Perc.1166 ? ? ? j?This.? J? ? ? ?Or din ar y This.? J? ? ? ?Or din ar y This? J? ? ? ? .? ?This can't con tain? j? ? ? ? ?This can't con tain? j? ? ? ? ?This can't con tain? j? ? ? ? ?This can't con tain1166 ? ? ?! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ?6 6 6 6? ? ? ?? ?? ??.j?? ! ? . Ry? Jy? ? ??. ?@ ? ? ? ?. ?@ ? ? ? ?. ?@ ? ? ? ?. ?@ ? ? ?6 6 6 6.? ?? ? ? j? ?is I am? ? ? J? ?is I am? ? ? J? ?is I am? J? ? ? ? .? ?This can't con tain? j? ? ? ? ?This can't con tain? j? ? ? ? ?This can't con tain? j? ? ? ? ?This can't con tain?> ? ? j? ?> ? ?> ?! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ?6 6 6 6? ? ? ??? ?? ??.j?? ! ? . Ry? Jy? ? ??. ?@ ? ? ? ?. ?@ ? ? ? ?. ?@ ? ? ? ?. ?@ ? ? ?6 6 6 6?> ? ? J? ?> ? ?> ?- -- - - - - - - -- - - - - - - -- -- -- -249&V?&&V??&&?B?DrmrDvrTrvlrSATBB b /Bass Cl.Gtr.Vla.D.B.Perc.1168 wMm?- ?(am)wMm !!!!1168 w>"? ? ? ? ? "? ? ? ? ? "? ? ? ? ? "? ? ? ? ?6 6 6 6? ? ? ?www?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6w> dim inuendodiminuendodiminuendo!!!wYouwYouwYouwYou? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6"? ? ? ? ? "? ? ? ? ? "? ? ?b ? ? "? ? ? ? ?6 6 6 6? ? ? ?!j? ? ? ?J? ? ? ?b j?wFFFFdim inuendopppp250?&&B?Bb/Bass Cl.Gtr.Vla.D.B.Perc. 1170 ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6! ? ? ? ? ? ! ? ? ? ? ? ! ? ? ? ? ? ?6 6 6? ? ? ?? ? ?b j?? j?- ? j?- ? j?- ? j?-? J?- ? J?- ? J?- ? J?-Glock. PP ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6"j? ? ? ? j?? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6"PP&&V??&&B?DrmrATBBb/Bass Cl.Gtr.Vla.D.B.Perc.1172 """"1172 .? j? ?! ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6?? j? .?w.? J? ?"Vibr.p? t t t t tWill you stay withwMmmwMmmwMmm "? ? ?? ? ?"win tempo, but freely with Dreamerfreely, quietly, as a broken lullabypp pppp t ? t t t t tme all through thewww "?? ? ?? ? ?""251?&&V?&&43434343434343CueDrmrA TBGtr.Perc.1175 !t t t ? " rt t t t t tnight and hold me through thewMmmwMmmwMmm?? ? ?? ? ?rallentando !t t t ? y y y ywin ter Through the fail ing!!!??b ? ?? ? ?yU !U!U!U!U!U!UThe pulse flatlines y !!!!!! ?The DREAMER slowly walks over and picks up her tape recorder.  Tune back up D = E- -&&?B&434343434343424242424242444444444444434343434343838383838383CueBb/Bass Cl.Gtr.Vla.D.B.Perc.1179 Jy ? ? ?1179 ? ? ? ? ?b ? ? ?3 3....????b Ry? "? ? ??- ?- ?- &?b - ?b - ?Faster, but with repose q  = 60She presses stop and the flatline stops.legato, rubato (slight accel., decel. with each "surge")FFFFFpoco rit.Bb Clar. !?????y??? ?bpoco accel. !? ? ? ?wwwwwn Jy? ? ? ? ? Jy?? ? ? ? ? ? ? ? ?3 3 B?n ?- .? J? ?All exit one by one except DREAMERFFFpoco rit. !? ? ? ? ?b ? ? ?3 3...???bb Jy? ? ? ??- ?- ?-?b - ?b - ?-SS fa tempo252?&&?B? 8383838383 4444444444 4343434343 4444444444Bb/ Bass Cl.Gtr.Vla.D.B.Perc. 1183 .? ...???? ??.?- .?b - P ? ? ? ? ?b ? ? ? ?3 3wwwwwj?? ? ? j? ?? ?b ? ? ? ? ? ? ?3 3?- ?- ?- ?-FFFpoco rit. poco accel. ? ? ? ? ?b ? ? ?3 3....????b ? ? y??- ?- ? ?&?b ?- ?b -SS f ppoco rit. ? ? ? ?wwwwwn Jy? ? ? y? Jy? ? &? ? ? ? ? ? ? ? ?3 3.?n J? ?FFFPa tempo&&&&?Bb/ Bass Cl.Gtr.Vla.D.B.Perc. 1187 ? ??b ? ? ? ? ? ?3 3? ? ?b ?n ? ? ?3 3? ???b ?b16 2PPPP wU EEE EEb U EE EE EEEb UwwU wU diminuendodiminuendodiminuendodiminuendodiminuendo nien.nien.nien. !!!!!She sits on the side of the pool.253?&&CueVla.Perc. sim1190 !!!Andante q  = 92Scene 3She presses record.  We hear pool sounds: people talking and laughing, splashing, whistle blowing, feet running on the deck.yw ww w ww#!soft cluster dronepSoft pool sounds !? ?? ?# ? ?pizz.pedal down throughoutp !?" ??# ??" y?# # ? j??# ?y" y#II, III I, II (mute I) IIIstrum alla guitarra, bow markings are for strum direction, not bow&&&&ABb/Bass Cl.Vla.Perc. simsim1194 ?# ?Mm...1194 !p Humming Diver tune from beginning softly and seldomly;swung, out of time with ensemble, a bit slower than tempo?# ? ? ?n j?b .?! ?# ? ? ?# .? j?? ? ? j? .?$ j? ? j? j? .?? ? ? ? ?&&&&&DrmrABb/Bass Cl.Vla.Perc. simsimsim1198 y ? ?1198 w The hospital review board maintains that nothing happened.  Thats it's impossible, that someone would have noticed if it were true.  into recorder !.? J? ? !! It feels like that game: two truths and a lie.? y ?!254??&&&&&DrmrAGtr.Vla.Perc. simsim simsimsim1202 !! !! p y ? ?wwwww????# ??? ??? ??? ??? ??? ??? ???You tell two stories that are true and one that is a lie. The goal of the game is to make the truths sound so impossible that the other person thinks they?re lies.continue "drone" through softly pulsing with l.h.soft tremolo !? ?# ?n&&&&&?DrmrAGtr.Vla.D.B.Perc. sim simsim sim1206 !?# ? ? ?n ?# ?3 3! !? ? ?# ? ?3! y ? ?!?n ?#!Like this:  Once, I met a man who teleported from the  Philippines to Mexico.  !!w."? ?#con sord, delicately, alla gambap&&&&&?DrmrAGtr.Vla.D.B.Perc. simsimsim1210 y ? ?? ?# ? ?? ?? ? ?# ?Capo 5th fret, 1st position AOnce, I saw someone lowered upside down into a tank of water.  p out of time with ensemble  q   = 88 approx. !? ?? ? ? ?.? ? y ? ??# ? ?? ? ? ?!Once, I woke up during surgery and no one knew.  !? ?# ?? ? ?!255??&&&&&&DrmrABb/Bass Cl.Gtr.Vla.Perc. sim simsim1214 !1214 !? ?# ? ?? ? y ? ?!? ? ? ?? ?How does someone decide what is false and what is true? !!? ? ? ?# out of time with ensemble  q   = 88 approx.!? ?b ?b j? .??# ? ?#? ?? .?p p&&&&Bb/Bass Cl.Gtr.Vla.Perc. simsim1218 ?b ?b ?b ? ?bw? ?.? j?# ? wn? ?w wb? ? ? ?.? j? ? !? ? ?.? ?b&&&&DrmrBb/Bass Cl.Vla.Perc. simsim1222 y ? ?1222 !wb What I know is this:  !? ? ? J? .?w#in time p y ? ?? ? ? ? ?w This is my hand. This is the pool. This is my body.This is what I hear. This is what I see. That is what happened.I am alive.  I am awake. !? ? ? J? .?256??&&&Bb/Bass Cl.Vla.Perc. simsim sim1226 ? ? ? ? ? w ww ww w ww#soft cluster dronep J? ? ? ?&&&Gtr.Vla.Perc. simsim1230 ?????# ? ? ? ? ? ? ? ? ? ? ?She presses stop as the swimming instructor (the DIVER) enters.out of time with ensemble  q   = 88 approx.F p ! !&V&&DrmrDvrVla.Perc. simsim1234 !y ? ?How are you? y ? ?!Much better.  Thank you. !y ? ?Have you been practicing your strokes? y ? ?!Every day.257??&V&&?DrmrDvrVla.D.B.Perc. sim1238 !y ? ?.? j?# ? ?!Shall we?sparser now y ? ?!? ? ?# ? ?!Yes, please. !!? ? ?? ? ?# ? ?ppizz. !!! B? ? ?# ? ?&&&B?2424242424Bb/Bass Cl.Gtr.Vla.D.B.Perc.1242 Wb ?????nbbbb ? ? ? ?b ? ? j?? ? j?# ? ??n ? ?lower pitch half-step with barThe DREAMER puts on a pair of goggles and straps the tape recorder to her body.out of time with ensemble q   = 88 approx.FP ?b ?b ?b ? ?j??????# ? ? ?? ? j?# ? ??n ? ?arco!wwwwwnnnnn ??b ?b ?b ?b ?b ? ? ?!wrallentandoPP !U?????nnnnn ? ?U?b ?b ?b U?3 ?!Uj? ? ? ?Uq   = 60"258??B? 242424Vla.D.B.Perc. 1246 W ? !Wb >Broadly ( h   = 50)PPShe dives into the water. We hear the HUM. She emerges and starts swimming. Everyone else joins the DIVER on stage. W ? !j? ? ? ? !p ??> ? ??> ? ??> ? ??> ?! ? ??bb @> j??> ? ??@>?b !> ?b ! ? ? ?!> ?! ? ? ?!> ?! ? ? ?!> ?! ? ?ppwith quiet intensity with quiet intensitywith quiet intensity&&V?&?B?SA TBBb/Bass Cl.Vla.D.B.Perc.1249 ? ?b ?b ? ?b ?bHold it all in your? ?b ? ? ?b ?bHold it all in your? ?b ? ? ? ?Hold it all in your? ?b ? ? ? ?Hold it all in your1249 ! ??? ? ?? ? ?? ? ?? ?j??bb ? ??@ j?? ? ??@ j?? ? ??@ j?? ? ??@?b ! ?b ! ? ? ?! ?! ? ? ?! ?! ? ? ?! ?! ? ?psim. accentssim. accentssim. accentsppp with quiet intensitywith quiet intensitywith quiet intensitywith quiet intensity Bass Cl. .wb ?handswb "? ?hands.wb ?hands.wb ?hands?b> ?b ? ? ? ? ? ? ?> ? ? ? ? ? ? ? ?"> ?b ? ? ? ? ? ? ?b> ? ? ? ? ? ? ? ? ? ? ?6 6 6 12?? ? ?? ? ?? ? ?? ?j??bb ? ??@ j?? ? ??@ j?? ? ??@ j?? ? ??@?b ! ?b ! ? ? ?! ?! ? ? ?! ?! ? ? ?! ?! ? ?p with quiet intensity259?V?&&V??&?B?DvrTrvlrSA TBB b /Bass Cl.Gtr.Vla.D.B.Perc.1251 ?b ? ? ? ? ?b ?Hold it at the back of your! . ?b ?of your?b ?b ? ?b ?b ?b ?bHold it at the back of your?b ? ? ?b ?b ?b ?Hold it at the back of your?b ? ? ? ? ? ?Hold it at the back of your?b ? ? ? ? ? ?Hold it at the back of your1251 ?b ?b ? ? ? ? ? ?12 12 12 12!.?? ? .?? ? .?? ? .?? ?j??bb ? ??@ j?? ? ??@ j?? ? ??@ j?? ? ??@?b ! ?b ! ? ? ?! ?! ? ? ?! ?! ? ? ?! ?! ? ?pp Pcrescendocrescendocrescendocrescendocrescendocrescendocrescendocrescendo.wb ?lungswb ?b ?lungs.w" ?lungs.wb ?lungs.wb ?lungs.wb ?lungs?b ?" ? ? ? ? ? ?12 12 12 12WWWWWW## .?? ? .?? ? .?? ? .?? ?j??b" ? ??@ j?? ? ??@ j?? ? ??@ j?? ? ??@?b ! ?b ! ? ? ?! ?! ? ? ?! ?! ? ? ?! ?! ? ?PPPPPPPPPPpochissimo p?u mosso260V?&&V??&?B?DvrTrvlr SA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.1253 ?b ?b ? ? .? ?Hold it as you swim and?b ? ? ? .? ?Hold it as you swim and?b ?b ? ? .? ?Hold it as you swim and?b ? ? ? .?b ?Hold it as you swim and?b ? ? ? .? ?bHold it as you swim and?b ? ? ? .? ?Hold it as you swim and1253 ?b ?b ? ? ???b ?b ????????????????????12 12 12 12? ?b ?b ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6?? ?? ?? ??j??bb ? ??bb @ J?? ? ??@ J?? ? ??b@ J?? ? ??@?b ! ?b ! ? ? ?! ?! ? ? ?! ?! ? ? ?! ?! ? ?.?b J? ? ? wtry to get it right.?b J? ? ? wtry to get it right.?b J?b ? ? J? . .?try to get it right.?b J? ? ? wtry to get it right.?b J? ? ? wtry to get it right.?b j? ? ? wtry to get it right?b ?b ?b ?b ?? ? ?? ??? ?? ?? ?? ??? ?? ?? ?? ??b ?b ?b ?? ??? ??? ?????? ???12 12 12 12?n ?b ?b ?b ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?6 6 6 6?? ?? ?? ??J??b ? ??b@ J?? ? ??@ J?? ? ??@ J?? ? ??@?b ! ?b ! ? ? ?! ?! ? ? ?! ?! ? ? ?! ?! ? ?poco cresc.poco cresc.poco cresc.poco cresc.poco cresc.poco cresc.poco cresc.poco cresc.poco cresc.poco cresc.261&V?&&V??&?B?232323232323232323232323DrmrDvrTrvlr SA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.1255 .?b j? ? ? ?b > ?b ?bTry to hold it long e.?b J? ? ? wTry to hold it long.?b J? .?! ?b ?Try to hold it long.?b J?b ? ? .? ?Try to hold it long e.?b J? ? ? .?! > ?bTry to hold it long e.?b j?b .? ? ?Try to hold it long.?b j?b .? ?b ?bTry to hold it long1255 ?b ?b ?b ?b ?????????????????????! ????????????b ???????????12 12 12 12?b ?b ?b ?b ? ? ? ? ? ? ? ? ?n ?b ? ? ? ? ? ? ? ? ? ?6 6 6 6??> ?? ?? ??j??bb ? ??@ j?? ? ? ??nb > ??nb ??b ! ?b ! ? ? ?! ?! ? ? ?b! ?b! ? ? ?! ?! ? ?FFFFFFFFFFF ????b ?b .wnough.? ?b ?b > ?e nough? ?b - ?- ?- wit long e noughWbnoughwb wbnough? ?b - ?b - ?- ?n ?bit long e nough?b ?- ?- ?b - wbit long e nough?b ?b ? ? ?n ? ?b ?b ? ? ?b ? ? ? ?b ?12 6 6?b ?b ?b ?b ? ? ?b ? ? ? ? ? ?n ?b ?b ? ? ? ?b ?b ? ? ? ?6 6 6 6?? ? y? y? ? ??b ?b ?b ?b ??b ??b?b! ?b! ? ? ? ? ? ?b ?decel. tremmolto rit.Fh ??? cresc.cresc.cresc. cresc.cresc.cresc.cresc.FFFFFFFppppp f FFFdim .dim .dim .dim .dim .dim .dim .dim . dim .-------262&V?&&V??&?B?23232323232323232323232324 24 24 24 24 24 24 24 24 24 24 24232323232323232323232323DrmrDvrTrvlrSA TBBb/Bass Cl.Gtr.Vla.D.B.Perc.1257 ?U ? ? -?To speak?U ? ?b -?To speak?U ? ?b -?To speak.?b -U ? -?Mm Mm.?b -U ? -?Mm Mm.?b -U ? -?Mm Mm.?bU ? -?Mm Mm1257 .?U ? ?b -.?U ? ?.?U ? ? ?..??bU ? -?.?bU ? ?b -PPPa tempopppp ppppppp !!!! ppphushed and reverentlyhushed and reverentlyhushed and reverentlyhushed and reverentlyhushed and reverentlyhushed and reverentlyhushed and reverentlylight, crisp sound (sticks).?b > j?b ? ? ? ? ? ?loud enough To hold your.?b > J?b ? ? ? ? ? ?loud enough To hold your.?b > J?b ? ? ? ? ? ?loud enough To hold yourj?b > ? ? wb ? ?-loud Mmm Ohj?b > ? ? wb ? ?-loud Mmm OhJ?b > ? ? wb ? ?-loud Mmm OhJ?b > ? ? wb ? ?-loud Mmm Oh?b - ? ?b - ? ? ?- ?-"?? ? ? ? ? ? ? ???b - ? ?b - ? ? ?- ?-?b - ? ?b - ? ? ?- ?-pppppp p !!!!pj?b ? ? ? ? ? ? ?weight To keep fromJ?b ? ? ? ? ? ? ?weight To keep fromJ?b ? ? ? ? ? ? ?weight To keep fromj?b ? ? ? ? ? ?weight keep fromj?b ? ? ? ? ?b ?nweight keep fromj?b ? ? ? ? ?b ?weight keep fromj?b ? ? ? ? ? ?weight keep fromj?b - ? ? ? ?- ?"? ? ? ? ? ??j?b - ? ? ? ?- ?J?b - ? ? ? ?- ?PP P ppppppp !!!!PPP ppp---263&V?&&V??&?B?242424242424242424242424444444444444444444444444DrmrDvrTrvlrSATBBb/Bass Cl.Gtr.Vla.D.B.Perc.1260 ?? ?b ? ? ? ? ?sink ing To say this?b ? ? ? ? ? ? ?sink ing To say this?b ? ? ? ? ? ? ?sink ing To say this?b ? ? ? ? ? ? ?sink ing To say this?n ? ? ? ? ?b ? ?sink ing To say this?b ? ? ? ? ? ? ?sink ing To say this?b ? ? ? ? ?b ? ?sink ing To say this1260 ?b ? ? ? ? ?!? ? ? ? ? ? ??? ? ? ? ??b ? ? ? ? ?PPPPPPPPPP ppp?b ? ? ? ? ?- ?- ?- ? ?-hap pened be lieve me it's?b ? ? ? ? ?- ?- ?- ? ?-hap pened be lieve me it's?b ? ? ? ? ?- ?- ?- ? ?b -hap pened be lieve me it's?b ? ? ? ? ?- ?- ?- ? ?-happened be lieve me it's?b ? ? ? ? ?- ?- ?- ? ?b -hap pened be lieve me it's?? ? ? ? ?- ?- ?- ? ?-happened be lieve me it's?b ? ? ? ? ?b - ?- ?- ? ??b } -hap pened be lieve me it'sj?b - ? ? ? -? ? ?-!? ? ? ? ? ?? ? ? ? ?j?- ? ? ? -? ? ??b -J?b - ? ? ? -? ? ?b -poco rit.ppppppp """"Wb Utrue.WUtrue.Wb Utrue.Wb Utrue.Wb Utrue.WUtrue.WWbb } Utrue.Wb UWWWbb U.w? ?UWWb UWb Ucapo on 1"- -- -- ----- -----------264&V?&&V??&?B?44444444444444444444444444CueDrmrDvrTrvlrSATBBb/ Bass Cl.Gtr.Vla.D.B.Perc.1263 yj?j?j?j?j?j?j??}1263 j?wwwwwwbbbb ?1 j??j? tremolo with thumb/palm, mostly muting, quasi nienteFade pool soundsa tempo h   = q   = 50a tempo h   = q   = 50P?Fade guitar and cue with lightswwwwbbbb ? wwwbb ?!U!U!U!U!U!U!U!U!U???bb ? ??bb ?!U!U!U123dim. wwwbb ? Jxxxbb ? !Ufade to nienteEND265

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