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1 Without Borders: Toard a Contemporary Model for Performance and Composition Volume II: Scores Sam Evans M.A. (music perf.), B.Mus. (Hons)

2 TABLE OF CONTENTS NOTATION INDICATIONS... i Description of Notes Performed on the Set... ii Notes on the Bayan Drum... ii Notes on the Drum... iii Notes Using Both and Bayan Drums... viii Combination Strokes... x THE TABLA PROECT SCORES Anushka... 1 Tremor... 7 Shifter The Valley of Vung Sans Frontières Five Trains In a Milky Way Interlude Ladu The Waiter Parallel Paths While You Were Sleeping Into the Unknon BLUEPRINT SCORES Blueprint Inside Out The World of Birds Estuaries THE SLIDE PROECT - SCORES ojo

3 LIST OF ILLUSTRATIONS Illustration 1. Preparation and execution of the bol ge, ga or gi... ii Illustration 2. Preparation and execution of the bol ke, ka or ki... iii Illustration 3. Preparation and execution of the bol na or ta... iii Illustration 4. Preparation and execution of the bol tin... iv Illustration 5. Preparation and execution of the bol tun or tu... iv Illustration 6. Preparation and execution of the bol te... v Illustration 7. Preparation and execution of the bol te... v Illustration 8. Preparation and execution of the bol ti... vi Illustration 9. Preparation and execution of the bol ne... vi Illustration 10. Preparation and execution of the bol tak... vii Illustration 11. Preparation and execution of the bol thak... vii Illustration 12. Preparation and execution of the bol din... viii Illustration 13. Preparation and execution of the bol dha... viii Illustration 14. Preparation and execution of the bol dhin or dhi... ix Illustration 15. Preparation and execution of the bol dhiin or dhii... ix Illustration 16. Preparation and execution of the bol dhet or dhe... ix Illustration 17. Preparation and execution of the bol kran... x Illustration 18. Preparation and execution of the bol deredere... x Illustration 19. Preparation and execution of the bol taran... xi

4 NOTATION INDICATIONS The notation system for the tabla in place in this research is a hybridised form that includes both Western staff notation as ell as tabla bols. The particular design features of this system are detailed in chapter four of the ritten component and repeated here for ease of use. Contextualisation of these notations relative to other forms of tabla notation can be found in the tabla notations revie, in chapter to of the ritten component. Pitch and harmony in these notations are indicated in standardised Western staff notation. Rhythm is also indicated in staff notation in order to establish a higher level of rhythmic specificity than is offered in any of the alternative tabla notation systems. The notes to be played on the tabla are indicated by the standardised system of tabla bols. Contrary to the notation system for lyrics hich are located beneath the staff, the tabla bols here are located above the staff. This is intended to reflect the importance of the bols in the notation and to assist in more fluent reading. Further to this, the beams in the tabla notations are alays donard facing to assist in visual focus on the bols. The specific font (Kabel) is used to assist in differentiation of the particular bols present in tabla notations, such as the a and the e appearing clearly different. A specific spelling system clarifies the bols in the repertoire that have more than one possible note. Maintaining the tradition of the spoken bol, the spellings are designed so that the pronunciation of the note remains the same hile the spelling differentiates the note to be performed. For example: dhin, dhiin, and din. Each bol is defined in a legend prior to the notations that includes photographs and descriptions to clarify inconsistencies of bol pronunciations and spellings. Bracketed lines underneath the notations have been employed to indicate bol inversions 1. Where the tabla bols are vocalised, they are indicated on a separate staff as sometimes they are vocalised only ithout playing, other times simultaneously hile playing the same bol, and other times they are vocalised hile playing different bols. The remote hi-hat that is played by the tabla player in this music is also represented on a seperate staff to avoid any confusion. The notation indications that follo are a revised version of tabla notation indications from my Masters thesis: Representing Music: Defining an Effective Notation System for Indian Repertoire (2010, Monash University). It appears here in order to clarify any issues regarding the exact notes to be performed on the tabla. 1 Bol inversions are discussed in detail in chapter eight of the ritten component. i

Description of Notes Performed on the Set Due to the variety of performing techniques and pronunciations used by tabla players it is critical that notations of tabla music clearly define the

bols in the folloing notations are from the Farukhabad gharana of tabla playing. The accents used for bol pronunciation and their translated spellings in English are from Eastern India.

Khuli (lit: open) here refers to open resonant strokes on the bayan. Mudi or band (lit: closed) refers to closed, muted bayan strokes.

5 Description of Notes Performed on the Set Due to the variety of performing techniques and pronunciations used by tabla players it is critical that notations of tabla music clearly define the performed note referred to by the ritten bol 2. The folloing list defines the ritten bols notated in the accompanying scores, illustrated by photographs and explanations. bols in the folloing notations are from the Farukhabad gharana of tabla playing. The accents used for bol pronunciation and their translated spellings in English are from Eastern India. Each of the images belo represents the preparation and execution of the strokes referred to in the text as indicated by (I) and (II) respectively. Khuli (lit: open) here refers to open resonant strokes on the bayan. Mudi or band (lit: closed) refers to closed, muted bayan strokes. Notes on the Bayan Drum ge, ga or gi The bols ritten as ge, ga, or gi are performed by alternating the middle and index fingers on the left hand ith the forearm resting on the edge of the bayan. The fingers move from an out-stretched position as shon in illustration 1 (I), to a horizontal position at the moment of impact (II), to a bent position after striking (III). This is an open and resonant note referred to as a khuli stroke. This note is indicated as ge, ga or gi depending on the context, but it is alays played the same. 3 I II III Illustration 1. Preparation and execution of the bol ge, ga or gi ghin The bols ge, ga or gi on the bayan are occasionally pronounced ghin, here it indicates the note is accented. 2 See tabla notations revie in chapter to, section 2.2 of the ritten document. 3 The modulation of bayan notes, knon as gamak, is not stipulated in these notations, nor is it indicated in a traditional setting. The exact modulation applied to each composition is a part of the creative process that varies beteen performers. ii

ke, ka or ki In illustration 2, ke, ka, or ki begins ith a rotation in the rist of the left hand (I) and the bayan is struck ith the hole hand in a flat

This note is indicated as ke, ka or ki depending on the context, but it is alays executed in the same manner. I Illustration 2.

ko The bol ko refers to striking the outer edge of the bayan ith the tip of the index finger.

illustration 3 begins in a raised position (I) and moves donard to strike the kinar, the outer skin of the tabla drum (II).

6 ke, ka or ki In illustration 2, ke, ka, or ki begins ith a rotation in the rist of the left hand (I) and the bayan is struck ith the hole hand in a flat position (II). The forearm rests on the rim of the bayan shell. This is a muted note referred to as a mudi stroke. This note is indicated as ke, ka or ki depending on the context, but it is alays executed in the same manner. I Illustration 2. Preparation and execution of the bol ke, ka or ki II kat The bols ke, ka or ki may be pronounced as kat here it indicates the note is accented. ko The bol ko refers to striking the outer edge of the bayan ith the tip of the index finger. Notes on the Drum na or ta With the ring finger lightly resting on the sur section (the main resonating skin) of the tabla, the index finger in illustration 3 begins in a raised position (I) and moves donard to strike the kinar, the outer skin of the tabla drum (II). The little finger rests on the edge of the kinar, close to the ring finger. The note is produced by rotating from the rist as ell as the first knuckle of the index finger. Either na or ta may be used to represent this stroke, the performed note is the same. I II Illustration 3. Preparation and execution of the bol na or ta iii

tin The note performed in illustration 4 begins ith the same motion used to produce na (I), except that the index finger strikes the drum in the sur section of the tabla (II).

7 tin The note performed in illustration 4 begins ith the same motion used to produce na (I), except that the index finger strikes the drum in the sur section of the tabla (II). The tip of the index finger may touch the edge of the gab upon striking. The ring finger is positioned on the sur as it is in the na stroke. I Illustration 4. Preparation and execution of the bol tin II tun or tu With all fingers raised above the tabla (I) the tip of the index finger of the right hand in illustration 5 moves donard to strike the edge of the gab (II). The finger is quickly removed to allo the skin to resonate. The tu and tun are performed the same, the pronunciation changes according to the context. I Illustration 5. Preparation and execution of the bol tun or tu II tii The note tii is played exactly the same as tun. This bol occurs as the mudi form of dhii. i.e.; dhiinedhiina, becomes tiinetiina. iv

8 te As shon in illustration 6, the middle, ring and little finger are raised above the tabla (I) and are bought don to strike the centre of the gab (II). The note is produced by rotating from the rist as ell as the first knuckle of the fingers. This is a muted note. I Illustration 6. Preparation and execution of the bol te II te Using the same motion described in the previous te, the index finger, is raised above the gab (I), and is bought don to strike the centre of the gab on the tabla (II) as shon in illustration 7. This is a muted note. Notice that the spelling is the same for this and the previous note as they are most commonly performed together; as in tete. An additional spelling change for such a common note ould create unnecessary information. The threefinger form is alays played first unless indicated by the ord ulto (lit: backards). In the rare instance that te is performed alone, as in thaketedha, it is alays in the three-finger form. I Illustration 7. Preparation and execution of the bol te II v

9 ti Beginning ith the middle finger raised, the ring and little finger are positioned on the maidan and kinar respectively (I). The middle finger alone strikes the center of the gab to produce the bol ti (II). This is a muted note. I Illustration 8. Preparation and execution of the bol ti II ne Beginning ith the hole hand raised above the tabla (I) the ring and little finger strike the maidan of the tabla (II), in the same motion as described for te. I Illustration 9. Preparation and execution of the bol ne II tha The bol tha is pronounced the same as ta but is performed the same as te ith the index finger. It is pronounced this ay to assist in the recitation of the bols at high speed. It is mainly found in phrases such as tereketethaka and thaketedha. vi

tak Beginning ith the index finger raised (I), the finger strikes beteen the kinar

as tak but is performed ith the hole right hand in a cupped position raised above

10 tak Beginning ith the index finger raised (I), the finger strikes beteen the kinar and the maidan (II) and remains don to create a sharp slapping sound. I Illustration 10. Preparation and execution of the bol tak II thak This note is pronounced the same as tak but is performed ith the hole right hand in a cupped position raised above the tabla (I) and stuck in a slapping motion on the gab (II) as shon belo in illustration 11. I Illustration 11. Preparation and execution of the bol thak II vii

din Originating from the pakaaj 4 drum of North India, the bol din in illustration 12 is played ith the hole right hand, slightly cupped, beginning raised above the tabla (I) and striking the

Preparation and execution of the bol din II ra The spoken bol, ra, is performed exactly the same as na. It is pronounced ra for ease of recitation as in, for example, dhinenaragene.

11 din Originating from the pakaaj 4 drum of North India, the bol din in illustration 12 is played ith the hole right hand, slightly cupped, beginning raised above the tabla (I) and striking the middle of the drum (II). The index fingers are beyond the center and toard the outer edge of the gab. I Illustration 12. Preparation and execution of the bol din II ra The spoken bol, ra, is performed exactly the same as na. It is pronounced ra for ease of recitation as in, for example, dhinenaragene. Notes Using Both and Bayan Drums dha The note dha is produced by the execution the notes ge and na at the same time as shon belo in illustration 13. I Illustration 13. Preparation and execution of the bol dha II 4 Double-ended barrel drum of North India that pre-dates the tabla. viii

dhin or dhi The notes tin and ge are performed at the same time to produce dhin. The bol may be pronounced dhi or dhin, the performed note is the same. I Illustration 14.

The pronunciation is exactly the same as dhin, but the notes played are tun and ge, rather than tin and ge. The bol dhiin is at times pronounced dhii depending on the composition. I Illustration 15.

12 dhin or dhi The notes tin and ge are performed at the same time to produce dhin. The bol may be pronounced dhi or dhin, the performed note is the same. I Illustration 14. Preparation and execution of the bol dhin or dhi II dhiin or dhii The notes tun and ge are performed at the same time to produce dhiin. The pronunciation is exactly the same as dhin, but the notes played are tun and ge, rather than tin and ge. The bol dhiin is at times pronounced dhii depending on the composition. I Illustration 15. Preparation and execution of the bol dhiin or dhii II dhet or dhe The bol dhe or dhet is produced by playing the notes te and ge at the same time. The threefinger form of te is used unless indicated otherise. This bol is pronounced dhe or dhet. I Illustration 16. Preparation and execution of the bol dhet or dhe II ix

kran kran is performed ith the notes ka and ta played almost simultaneously, ith the ka played slightly before ta.

Preparation and execution of the bol kran II Combination Strokes deredere and therethere deredere, shon belo in

(II) of the palm, flat across the entire face of the tabla. The right side is pronounced de the left side, re.

Preparation and execution of the bol deredere II treke treke is played ith to strokes: tre and kre.

13 kran kran is performed ith the notes ka and ta played almost simultaneously, ith the ka played slightly before ta. I Illustration 17. Preparation and execution of the bol kran II Combination Strokes deredere and therethere deredere, shon belo in illustration 18, is performed ith the palm of the hand striking first on the right side (I) and then on the left side (II) of the palm, flat across the entire face of the tabla. The right side is pronounced de the left side, re. The mudi form of this bol is therethere. I Illustration 18. Preparation and execution of the bol deredere II treke treke is played ith to strokes: tre and kre. The tre section is performed by playing tete ith the middle, ring and little finger striking just before the index finger. The ke section in treke, is performed ith the bols ka and te (middle finger form) ith the ka sounding slightly before the te. This combination of ke and te played almost simultaneously is knon as kre. x

taran taran is performed in the same manner as tete, except

singing motion striking the edge of the kinar instead of the

ith the index finger (III) as shon in illustration 19 belo.

14 taran taran is performed in the same manner as tete, except it begins ith a raised hand (I) and moves ith an outard singing motion striking the edge of the kinar instead of the gab first ith the middle ring and little fingers (II) then ith the index finger (III) as shon in illustration 19 belo. I II III Illustration 19. Preparation and execution of the bol taran xi

15 the tabla project SCORES

16 Anushka Sam Evans 1

17 Anushka Sam Evans Shakuhachi Tar 1 q = 60 b b A 4 b b b b 4 Tar 2 b b 4 Guitar b b 4 { Piano b b 4 b b b b4 q = 60 b b b b4 b b 4 Required: F, Ab, C and Db 4 Tar 1 Tar 2 b b b b Tar 1 Tar 2 Pno. b b b b 3 { b b b b b b tin na tin tin 2

18 Tar 1 10 b b Tar 2 Pno. b b { b b b b b b tin na tin tin tin na tin na tin tin ka te ka tre ke tin na tin tin ka te na nake te Tar 1 Tar 2 >> b b 13 b b >> b b b b dhin ke tedhin na tin ge te na tre ke dhinna ki tindhin dhin dha tre ke dhin dha te te nadhin ge te natre ke Tar 1 Tar 2 b b b b dhin na ki tin dhin ka te na na ke te dhin na te te ke tintin ke na ke tin dhin ge ki tin dhin ge te na na ke te b b Tar 1 Tar 2 b b b b dhin na na ke tin tin tin tin ke na ke tin dhin ge ki tin dhin ge te na na ke te b b

19 Tar 1 21 b b Tar 2 Pno. b b { b b b b dhin dha ge ge ge tin dhin ge te na na ke te dhin dha ge ge ge tin dhin ge te na na ke te b b Tar 1 23 b b 4 Tar 2 Pno. b b { b b b b 4 4 dhindha ge ge ge tin dhin ge te na na ke te dhindha ge ge ge tin dhin ge te na na ke te b b b b 4 Shak. 25 b b 4 B Solos in F Phygian 1. Piano x 1 form 2. Shakuhachi and Piano x 1 form 3. Tar and Shakuhachi x 1 form 4. and Tar and Shakuhachi x 1 form { Pno. b b 4 b b 4 b b b b4 F C D Or similar... Or similar... Cresc (first time) b b b b4 F C Or similar... D Entry on 2nd form b b 4 tin na tre ke tin na tin na tin tin na tin na tre ke tin na tin na tin tin na 4

20 27 b b b b Pno. { b b b b b b F C D F C D b b tin na tre ke tin na tin na tin tin na tin na tre ke tin na tin na tin tin na Pno. 29 b b b b b b F 6B { b b b F 6B F 7(b9)G F 7(b9)G b b b tin na tre ke tin na tin na tin tin na tin na tre ke tin na tin na tin tin na Pno. 31 b b b b b b { b b b F 6B F 7(b9)G A F 6B F 7(b9)G A b b b tin na tre ke tin na tin na tin tin na tin na tre ke tin na tin na tin tin na 5

21 Pno. 33 b b { b b b b b b F F F F b b dhin na dhin na dhin na dhin na dhin dhin na tre ke dhin na tre ke dha na na ti na dhin na ke te Shak. 35 b b Vamp and fade out Improvised solo shakuhachi outro b b b b j j j j b b b b j j b b dhin na dhin na dhin na dhin na ge 6

22 Tremor Sam Evans 7

23 Tremor Flute Alto Clarinet in Eb Clarinet in Bb Slide Guitar Guitar Sam Evans q = 40 Intro 4 4 b b 4 4 G ( ˆˆ2) E 6 G ( ˆˆ2) E 6 F( 4) C 9 4 V V V V V V V V V V V V V V V V V V V V V V V V V b 4 or sim. required: D, Eb, F, G, Bb, D b Fl. 7 B D E ( 2) C 9 G ( ˆˆ2) V V V V V V V V + + V V V V V A ta tre ke dhiin tin na dha dha ge na na ge dhin na tre ke dhiin Œ 12 b b E 6 G ( ˆˆ2) V V V V V V V V Repeat or similar dha ge na dha ge dhin na tre ke dhet dha ge na dha ge dhin na dhin na R 14 E 6 F( 4) V V V V V V V V dha tre ke dha ti dha na dha dhin na ke te ta tun na na ti na tun na 16 C 9 V V V V ka te ge dhin ge dhin ge dhin ge dhin dhin dhin dhin dhin dhin dhin 8

24 17 B D E ( 2) C 9 V V V V V V V V + + dhin dhin na dha ge dhin na tre ke dhindha dha na dha ge tun na ka dhindhin Ó Œ tin Alto Cl. 21 B B. Cl. b b b b G ( ˆˆ2) E 6 G ( ˆˆ2) V V V V V V V V V V V V V Repeat or similar dhin dhin te dha te dha tre kedhin dhin te dha te dha ge tre kedhin dhin te dha te dha tre ke Fl. 24 j Alto Cl. B. Cl. b b j E 6 F( 4) C 9 V V V V V V V V V V V V dhin dhin te dhate tedha tre ke dhin dhin te dha te dha tre ke dhin dhin na dha dhin na Œ Fl. Alto Cl. B. Cl. 27 b b B D E ( 2) V V V V V V V V dhin dhin te dha te dha tre ke dhin dhin te dha te dha ge tre ke 9

25 Fl. 29 Œ Alto Cl. Œ B. Cl. b b Œ C dhin dha ge tre ke dhin na na te dha Œ Fl. 31 bb A1 G ( ˆˆ2) E 6 V V V V V V V V V Repeat or similar dha dha ne dha ge dhin na tre ke dhin dha ge na dha ge dhin na tre ke dhet 33 G ( ˆˆ2) E 6 V V V V V V V V dha dha dha na dha ge dhinna ka te ge dha ti dha dha ge dhii na ge na,dha ti dha R R R R R 35 F( 4) C 9 V V V V V V V V ta ketinna na ti na tin na dha ti dha ge dhi na ge na,dha ge dhi na ge na,dha dha dhinna 37 B D E ( 2) C 9 V V V V V V V V + ke tre ke dhe te te dha ge dhin na dhin na dha dhin na dha dhin na ka te dhin 10

26 Alto Cl. 40 B1 B. Cl. b b G ( ˆˆ2) + V V V V V V V V V Repeat or similar tin dhin dhin te dha te dha tre ke dhin dhin te dha te dha ge tre ke Ó Œ E 6 Fl. 43 j Alto Cl. j B. Cl. b b G ( ˆˆ2) E 6 F( 4) V V V V V V V V V V V V dhin dhin te dha tedha tre ke dhin dhin te dhate tedha tre ke dhin dhin te dha te dha tre ke Fl. 46 Alto Cl. B. Cl. b b C 9 B D E ( 2) V V V V V V V V V V V V dhin dhin na dha dhin na dhin dhin te dha tedha tre kedhin dhin te dha tedha ge tre ke Œ 11

27 Fl. 49 Œ C Alto Cl. Œ B. Cl. b b Œ Sl. C 9 G ( ˆˆ2) + + V V V V V V dhin ta ge na ge dhin na dha ti ge na ge dhin na dha ti Ó Fl. Alto Cl. B. Cl. Sl. 52 b b D G ( ˆˆ2) V V V V V V V V or sim. dhin dhin dha dhin dhin na dha ti dhin dhin na dha ti dhin dhin na dha ti 12

28 Fl. Alto Cl Œ j b b 3 Œ j B. Cl. Sl. b b 3 Œ j E 6 F( 4) G ( ˆˆ2) D V V V V V V V V V V V V dhin dhin na dha dhin ge na dha ti dhin dhin dha dhin dhin na dha ti dha dhin dha dhin te te dha te te R 3 Fl. Alto Cl. B. Cl. 57 b b j j Sl. j G ( ˆˆ2) E 6 F( 4) V V V V V V V V dhin dhin dha ka te dha ti dhin dhin dha dhin dhin na dha ti 13

29 Fl Alto Cl. b b B. Cl. Sl. b b 3 G ( ˆˆ2) D V V V V V V V V genage dhin na dha ti genage dhin na dha ti genage dhin na dha ti genage dhin na dha ti Fl. 61 Alto Cl. B. Cl. b b Sl. G ( ˆˆ2) E 6 F( 4) V V V V V V V V dhin dhin dha dhin dhin na dha ti dhin dhin na dha ti ge na ge dhin na dha ti 14

30 Fl. Alto Cl B. Cl. b b Sl. 3 G ( ˆˆ2) D G ( ˆˆ2) V V V V V V V V V V V V ge na ge dhin na dha ti ge na ge dhin na dha ti dhin dhin na dha ka te dha ti dhin dhin dha ka te dha ti Fl. Alto Cl. 66. b b. B. Cl. Sl. b b. E 6 F( 4) G ( ˆˆ2) D V V V V V V V V V V V V ge na ge dhin na dha ti ge na ge dhin na dha ti dhin dhin dha ka te dha ti dhin dhin dha dha ti 15

31 Fl. 69 Alto Cl. B. Cl. b b Sl. G ( ˆˆ2) G ( ˆˆ2) E 6 F( 4) V V V V V V V V V V V V dhin dhin dha dha ti dhin dhin dhaka te dha ti dhin dhin na dha ti dhin dhin na dha ti Fl. 72 b b Slide guitar solo B. Cl. Sl. b b Improvised Solo V V V V V V V V V V V V V V V V V V V V V V V V G ( ˆˆ2) G ( ˆˆ2) E 6 G ( ˆˆ2) E 6 F( 4) C 9 b b V V V V V V V V V V V V V V V V V V V V V V V V V V V V V Improvise in Bb or sim. dha V V V V V V V V V V V V V V V V V V V V V V V V Alto Cl. 79 ü A3 B. Cl. Sl. b b ü V V V V V V V V V V V V V V V V B D E ( 2) C 9 G ( ˆˆ2) ü V V V V V V V V V V V V V V V V V V V V V tacit on repeat ü dhin dhin te dha te dha tre ke V V V V V V V V V V V V V V V V 16

32 Alto Cl. 84 B. Cl. b b E 6 G ( ˆˆ2) E 6 V V V V V V V V V V V V or sim. dhin dhin te dha te dha ge tre kedhin dhin te dha te dha tre kedhin dhin te dha te te dha tre ke Fl. 87 j Alto Cl. B. Cl. b b j F( 4) C 9 V V V V V V V V dhin dhin te dha te dha tre ke dhin dhin na dha dhin na Œ Fl. 89 b b Œ ü Alto Cl. Œ B. Cl. b b B D E ( 2) C 9 Œ V V V V V V V V + + Œ ü dhin dhin te dha te dha tre ke dhin dhin te dha te dha ge tre ke dhin Œ 17 ü

33 Shifter Sam Evans 18

34 Shifter e= 275 Introduction 7 8 Sam Evans 9 8 Cello 7 8 Tune C String to G Required: B, C, E 9 8 Cello A ka tin tin ke tin tin ka ka ka ka ka tin Ó Cello tin tin tin ka tin tin tin tin tin tin tin ke tin ke tin tin tin tin Œ 8 Ó Cello 20 Ó ordless... Œ j tin ka tin ka ke ke tin tin ke

35 Cello tun tun tun tun tun tun tun tun tun tun tun tun tun tun tun tun tun tun 9 > 7 8 > > > > > 8 strike outer rim of tabla Cello Ó j j 7 8 tin tin tin tin tin tin ka ka ka tin Ó Cello j 8 j tin tin tin tin tin tin tin tin Œ 8 Cello Ó j j j tin tin ka tin tin tin te te te te te tin tin tin tin te te tin Ó 20

36 Cello j tin tin tin tun tun tun tun tun tun tun tun tun ge ti ge tin tin dhin 9 > > > 7 8 Œ 8 strike outer rim of tabla A2 Cello Œ dhin te ka na na tin tin na ge te ge tin tin ke tin ne dhin dhin dhin dhin Œ 8 Cello j j j Œ j 7 8 ke te ke tin tin ke tin ke tin ke tin dhin dhin dhin dhin ke te ge dhin ke na na tun na tin Cello j dhin ke tun tun tun tun tun tun tun tun tun tun tun tun tun tun tun tun tun tun ge te ka tin 9 > > > > > > strike outer rim of tabla 21

37 61 j j j j j 9 8 Cello 9 8 tin tin tin tin dhin ka na tun na tin dhin dhin dhin dhin tha ke te dhin dhin dhin Œ 8 j j Cello dhin ge te ka tin dhin dhin na dhin ge ge na na ne tun ke na ke ne Œ 8 Cello j j 9 8 dhin dhin dhin te na tin dhin dhin dhin ke tun tun ke tun tun 9 > > 8 strike outer rim of tabla Cello A3 7 8 ke tun tun ke tun tun ke tun tun ge ti ge dhindhin dhin dhin ge na dha ke na na na ke tun na 7 > > > 8 22

38 Œ 8 j Cello dha ge ge na na tun na ne dha tun tun ke tun ka ka tun ka ka ge te ke tin Cello 86 j j Œ j tin dhin ne tin ge na na ta ke tun ke ta ke ne ge te ta na na tun na na dha ge ta 9 8 Cello tun tun tun tun tun tun tun tun tun tun tun tun tun tun tun tun tun tun dha ge ge dhiin ge ge dha ge ge 9 > > > > > > 8 strike outer rim of tabla 95 B 7 8 Cello 7 8 dhiin ge ge dha ge ge dha ge ge dha 7 8 Œ Cello #

39 Cello # tin tin na na tun tin tin na na tun na ke ne tin tin na Cello # na tun na ke ne tin tin na tin tin tin tin tin na na tun tin tin na na tun na ke ne Cello # tin tin na na tun na ke ne tin tin na tin tin tin dhin dhi ge ne dha ge dhin tin ke ne Cello 9 8 dhin ge dhi ge ne ta ke tun dhii ge ne dhin ge dhi ge ne ta ke tun dhii ge ne dhe dhe dha na

40 Cello # tin tin tin dhin dhi ge ne dha ge dhin tin ke ne dhin ge dhi ge ne ta ke tun dhii ge ne Cello # dhin ge dhi ge ne ta ke tun dhii ge ne dhe dhe dha na tin tin tin A1 7 8 Wordless improvisation V V V V V V V V V Cello 7 8 dha te re ke te ta ka te te ke te ta ka dha ti dha ge dhii na ge dha te re ke te ta ka te te ke te ta ka V V V V V V Cello dhii ne dhii na ge ne ta ka te re ke te tha ka dha ti dha ge dhii na ge 25

41 Cello V V V V V V 8 V V V dhii ne dhii na ge ne ta ka te re ke te tha ka dha ti dha ge dhii na ge dhin dhin dha V V V V V V V V V V V V Cello 7 8 dha te re ke te ta ka te te ke te ta ka dha ti dha ge dhii na ge dhe te dha ge dhii na ge tin tin 7 8 tin tin 156 V V V V V V V V V 9 8 Cello 9 8 dha te re ke te ta ka te te ke te ta ka dha ti dha ge dhii na ge dhii ne dhii na ge ne ta ka te re ke te tha ka A1 Wordless improvisation V V V V V V 8 V V V V V V Cello dhin dhin dha dhin dhin dha dha ge ta ka te re ke te ta ka dha ti dha ge dhii na

42 Cello 163 V V V V V V V V V V V V ge ti ta ka te re ke te dha ti dha ge dhii na ge dhe te dha ge dha na ge dhe te dha na dha V V V 8 V V V 8 V V V V V V V V V Cello ge te dha ne tin tin tin ge te ka ka na dha ge dhin dha ge na dhe te ta ke ne Cello V V V V V V V V V V V V 8 V V V 9 8 tak tun dha ge ne dhe te na ta ke ne dha tun ta ke ne dhe te ta ke ne tin ka ka tin ka ka tin ge ge 9 8 Cello 177 A1 Wordless improvisation 7 V V V 8 V V V V V V V V V V V V 7 8 ge tun tun ge tun tun na na na ge te ke ka tin tin tun ta ke ne ge te ke ka tin tin tun ta ke ne

43 Cello V V V V V V V V V 8 V V V 8 V V V Œ ge te na na tin tin tun ta ke ne ge te na na tin na ka ka tin ka ka tin ka ka ge te ka tin Cello 187 V V V V V V V V V V V V Œ Œ tin ka ka ge te ka na na ka ka ne ge te ka tin Cello 191 V V V V V V 9 8 V V V V V V Œ 9 8 tin tun na ge te ka na ko ko ko ko ko 9 8 Strike outer rim of bia 28

44 The Valley of Vung Sam Evans 29

45 The Valley of Vung Sam Evans Shakuhachi Slide Guitar A q = { Piano 6 b b 8 b b6 8 Guitar 6 8 b b6 8 6 b b required: D, Eb, G, Bb, D 8 Pno. 5 { b b. tin na na tin tin tin Œ Œ Pno. 9 { b b. tin na tin na tin tin tin na tin na na Œ Œ Œ Œ Œ Pno. 17 { b b. tin tin na tin na na Œ Œ 30

46 21 { Pno. b b Œ Œ Œ. tin tin na tin tin na tin na tin dhin dhin na Œ 28 { Pno. b b Œ Œ Œ Œ Œ Œ. dha ge dhin ta tin dhin dhin na dha ge dhin na dhin dhin na dha ge dhin na dhin dhin na 34 { Pno. b b b b Œ Œ Œ. na te re ke te dhin na dhin dhin dhin na dha ge dhin na dhin dhin na dha ge dhin na dhin dhin na 40 { Pno. b b Œ Œ Œ. dha ge dhin na dhin dhin na dha ge dhin na dhin dhin na dha ge dhin na ge thak ge dhin na 46 { Pno. b b Œ Œ Œ. dha dhin na dhin dhin na dha ge dhin na dhin dhin na 31

47 50 { Pno. b b. dha ge dhin na dha te dha te dha ge dhin na 53 { Pno. b b Œ Œ Œ Œ Œ b b Œ Œ Œ Œ Œ. dhin na dhin na tin tin na dhin dha ge dhin na dhin na tin tin na dhin dha ge dhin na dhin na 58 { Pno. b b Œ Œ Œ Œ : ; b b Œ Œ Œ Œ. tin tin na dhin dha ge dhin na dhin na dha te re ke te ta ka te re ke te dhii ne dhii ne na dhin na 32

48 62 { Pno. b b Œ : ;. b b Œ Œ Œ Œ Œ tin tin na dhin dha ge dhin na dhin na tin tin na dhin dha ge dhin na dhin na tin tin na dhin dha ge { Pno. 67 b b : ; Œ b b Œ Œ Œ. b b dhe te dha dhe dha dha dha te re ke te tha ka te re ke te ta ka te re ke te tha ka te re ke te dhin na dhin na { Pno. 70 b b : ; b b Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ. tin tin na dhin dha ge dhin na dhin na dha te re ke te dha dhin dha dhin na dhin na tin tin na dhin dha ge 33

49 { Pno. 75 b b : ; b b Œ Œ Œ Œ. dhin na dhin na tin tin na dhin dha ge dhin dhin dhin dha dhin dhin dhin dhin dhin dha dhin dhin. 79 B j j j j # # # j dha ge ge dha ge ge ge ge ge ge dhin ge dha ge ge ge ge ge dha ge ge dhiin ge ge dha 84 <#> j # # # # j # # j. dha te re ke te te ke te ke dha te re ke te te ke te ke ta ka te re ke na ta ke ne Sl. Gtr 87 n j j j j #. dha ge tak ge dhii ne dha dha ge tak tun dha ge tak ge dhii ne dha dha ge tak tun 34

50 Sl. Gtr 91 b b # # j j # # # # j. dha ge tak ge dhii ne dha dha ge tak tun dha ge tak ge dhii ne dha Sl. Gtr 94 # # j n j j. dha ge tak tun dha ge tak ge dhii ne dha dha ge tak ge dhii ne dha Sl. Gtr 97 # j j # # # j. dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha Sl. Gtr 100 # # # <#> j # # # # j # # j n j. dha ge tak tun dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha 35

51 Sl. Gtr 104 j j j #. dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne Sl. Gtr 107 b b # # j j # # # # j. dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha Sl. Gtr 110. # # j n j j dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne 113 j j # # # j. dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha 36

52 116 <#> j # # # # j # # j. dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne Sl. Gtr 119 n j j j. dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha Sl. Gtr 122 # j j # # # j j # #. dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne Sl. Gtr 125 b b # # j # # j n j. dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha Sl. Gtr 128 # j j j j #. dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne 37

53 Sl. Gtr 131 j # # j j # # # # j. dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha Sl. Gtr. 134 b b # # j n j j dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne Sl. Gtr 137 j j # # # j. dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha Sl. Gtr 140 b b # j <#> j # # # # j # # j. dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne Sl. Gtr 143 n j j j. dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha 38

54 146 j # # # j j # #. dha ge tak ge dhii ne na na ke ne dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne. 149 # # j # # j n j dha ge tak ge dhii ne dha dha ge tak ge dhii ne na na ke ne dha ge tun ge dha ge tun ge. 152 b b j j j # # # j dha ge tun ge dha ge tun ge dha ge tun ge dha ge tun ge dha ge tun ge dha ge tun ge dha dhin dha dhin Shak. 156 C Shakuhachi feature in G harmonic min#4 V V V V { Pno. b b Or Similar in G harmonic min#4 b b <#> j j # # # # # # j b b. dha dhin dha dhin dha dhin dha dhin dha dhin dha dhin dhin dhin dha te dha dhin 39 Or Similar. Played on outer edge of tabla

55 Shak. 161 V V V V V V V V V V V V { Pno. # # b b # # b b# #. dhin dha te dha dhin dhin dhin na na na dhin dha na na na na na Shak. { Pno. 167 Shakuhachi feature in G harmonic min#4 V V V V V V V V V V V V Or Similar in G harmonic min#4 b b b b. dhin dhin dha te dha dhin dhin dha te dha dhin dhin dhin na na na Or Similar. Played on outer edge of tabla Shak. 173 Shakuhachi feature in G harmonic min#4 V V V V V V V V V V V V V V { Pno. b b b b Or Similar in G harmonic min#4 # #. Or Similar. Played on outer edge of tabla dhin dha na na na na na dhin dhin dha te dha dhin dhin dha te dha dhin dhin 40

56 Shak. 180 Shakuhachi feature in G harmonic min#4 V V V V V V V V V V V V V V { Pno. b b b b # # # # Or Similar in G harmonic min#4. Or Similar. Played on outer edge of tabla dhin na na na dhin dha na na na na na dhin dhin dha te dha dhin dhin dha te dha dhin Shak. 187 V V V V V V V V V V { Pno. b b b b b b. dhin dhin na na na dhin dha na na na na na dhin dhin dhin dhin dhin dhin 41

57 Shak. Pno. 192 { V V V V V V j j b b. b b dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin Shak. 195 V V V V Pno. { j j j j b b. ta ka te re ke te ta ka te re ke te ta ka te re ke te ta ka te re ke te Shak. 197 V V Pno. { j b b j. ta ka te re ke te tha ka ta ka te re ke te tha ka ta ka te re ke te tha ka 42

58 Shak. Pno. 198 V V { b b. ta ka te re ke te tha ka ta ka te re ke te tha ka ta ka te re ke te tha ka dhin Pno. 202 Pno

59 Sans Frontieres Sam Evans 44

60 Sans Frontieres Slide Guitar Guitar Tar Intro b b b Tar 5 A j ge ko ko ko ko ko ki ko ko ke ko ko ko ko ko ke ko ko ko ko ko ko dhin kre dhin ka tin Ó b b b b Tar 10 dhin ge ka te te ka tin tin tin ka ka dhin ge dhin dha dhin ka tin dha dha tin tin na dha b b b b b b b b b b b b Tar 17 b b j b b j dha dha dha tin dhin ke ke na dha dha dha ti tin tin na na tin tin na na dhin na b b b b b b b b b 45

61 Tar 23 b. b b j b b dhin dhin tin na na dha dhin dhin dha dha na dha dha dha na tin tin na b b. b b na tin na dha tin dhin dhin na b b b Sl.Guit Tar 29 Bridge b b b dhin ge ge tin. b dhin na tin na dhin tin dhin ge dha tun tin ka dhin dhin dha b b b b b b Sl.Guit 36 B b j b j b b b Œ b Tar Œ b tin tin na dhin ne na ti tin ne na ti dhin tin na tin tin tin tin dhin ge dhin dhin tin b b b b b b b 42 b b j b b Tar b b j b b tin ka ka tin dhin dhin dhin na tin tin tin tin na dhin ge dhin dhin na tin dhin ge dhin dhin na b b b b b b b b b 46

62 48 b b j b j b Tar b b b j b j b tin tin tin dhin na dhin ge dhin dhin na tin ke ke tin dhin tin tin dhin na dhin tin dhin tin tin b b b b b b b 53 b b j b b Tar b dhin dhin dhin na tin ke ke tin dhin dhin dhin na dhin tin dhin tin tin dhin dhin dhin na tin ke ke tin b b b b b b b b b b b b Tar 59 dhiin dhin dhin na tin tin tin tin tin tin dhin dha dhin tin dhin na dha dhin tin tin na na dhin tin b b b b b b j b b j b j b b j b b j b j b b b b b 64 b b j b j Tar b b j b j dhin tin dhin dhin na dhin dhin tin na dhin ge ka tin dhin dhin na tin tin na dhin ga dha ke na tin b b b b b b b b 47

63 Sl.Guit Tar 71 Improvised Slide Guitar Solo V V V V V V V V V V V V V V V dhin ga dha ke na na dha ge dhin na tun ke tin na dha ge dhin na tun ke tin na dha ge dhin na b b b b b Sl.Guit 78 V V V V V V V V V V V V V V V V V V V V V b dhin ge dhin na dhin ge dhin na tin ke tin na dha ge dhin na tin ke tin na dha ge dhin na na tin tin na b b b b b Sl.Guit 85 V V V V V V V V V V V V V V V V V V V V V dha ge dhin na tin ke tin na dha ge dhin na na tin tin na dha ge dhin na tin ke tin na dha ge dhin na b b b b b b b Sl.Guit 92 V V V b b G 9 F( 4) E ( 2) V V V V V V V V V V V V V V V V V V tin ke tin na dhin ge ge dhin dhin na dha ti dhin ge ge dhin dhin na dha ti dhin na dha dhin tun na na ti b b b b 48

64 Sl.Guit Tar 99 4 x C D( 4) 4 x V V V V V V j Improvised Solo 4 x 4 x. j dhin dha dhin dhin dha dhin dhin 4 x 4 x V V V V V V V V V V V V b. b. b b A kre dhin ka tin Tar 106 dhin ge ka te te ka tin tin tin ka ka dhin ge dhin dha dhin ka tin dha dha tin tin na dha b b b b b b b b b b b b b b b 113 b b j b b j Tar b b j b b dha dha dha tin dhin ke ke na dha dha dha ti tin tin na na tin tin na na dhin na b b b b b b b b b Tar. b b b 119. b b b dhin dhin tin na na dha dhin dhin dha dha na dha dha dha na tin tin na na tin na b b b b b b b 49

65 124 j b b Tar j b b dha tin dhin dhin na dhin ge ge tin dhin na tin na dhin tin b b. b b b Tar 129 Improvised Solo V V V V V V V V V V V V b b b 4 x 4 x 50

66 Five Trains Sam Evans 51

67 q = 140 Five Trains Sam Evans Slide Guitar Tar Introduction { Piano Guitar Guitar (effects) Œ Œ Œ Œ b Œ Œ Œ throughout entire piece required: C, D, Eb b j Œ dhin na te dhin na na ke te in G 9 8 (e) 6 Œ Œ b j Œ Œ Œ Œ b dhe te na ke dhin na na ke te ta ge ge na na ge dhin na dha dha te dhin te na ge dhin ta ke tak G (e) 9 b Œ j b b Œ Œ Œ Œ b Œ Œ dhin na te dhin na na na ge dhe te na ke dhin na na ke te ta ge ge na na ge dhin na dha dha te G 52

68 S. 12 A Œ b Tar Œ b (e) b b b Œ Œ Œ Œ Œ b dhin te na ge dhin dhin dha ge dhe dhin na na ke te dhe te na ke dhin te na ke tak G dhin dha ge dhe dhin na na ke te dhe te na ke dhin te na ke tak S. 15 b Tar b (e) j b b b Œ Œ Œ Œ dhe te na ke dhin ne na na ke te ta ge dhe te na ke dhin te na ke tak dhe te na ke dhin na na ke b Œ G dhe te na ke dhin ne na na ke te ta ge dhe te na ke dhin te na ke tak dhe te na ke dhin na na ke 53

69 S. 18 b b Tar b b (e) b j b b Œ Œ Œ b Œ Œ dhe te na ke dhin na ke tak dhin dha ge dhe dhin na na ke te dhe te na ke dhin te na ke tak Œ Œ b j G dhe te na ke dhin na ke tak dhin dha ge dhe dhin na na ke te dhe te na ke dhin te na ke tak S. 21 b b Tar (e) b b b b j b Œ Œ Œ b j Œ Œ dhe te na ke dhin ne na na ke te ta ge dhe te na ke dhin te na ke tak dhe te na ke dhin na na ke G dhe te na ke dhin ne na na ke te ta ge dhe te na ke dhin te na ke tak dhe te na ke dhin na na ke 54

70 S. Tar (e) G 24 b dhe te na ke dhin na ke tak dhin dhin dha dhin ge te te ke na na ke te tha ka te ge dhin ge dhe te na ke dhin na ke tak Solo b b b b j b Œ Œ b Œ Œ Œ Œ b Œ Œ b (e) 28 b b b Œ b j Œ Œ Œ b j b b b dhin ge dha ge dhin ge tun tun tun tun tun tun tun tun tun tun tun tun tun tun tun tun G S. 31 A2 Œ b Tar Œ b (e) j b b b Œ Œ Œ Œ b Œ tun tun tun tun tun tun tun tun tun dhin dha ge dhe dhin na na ke te b G 55 dhin dha ge dhe dhin na na ke te

71 S. 34 Tar (e) b j b b Œ Œ Œ b Œ Œ dhe te na ke dhin te na ke tak dhe te na ke dhin ne na na ke te ta ge dhe te na ke dhin te na ke tak Œ b j G dhe te na ke dhin te na ke tak dhe te na ke dhin ne na na ke te ta ge dhe te na ke dhin te na ke tak S. 37 b b b Tar b b b (e) b b j b Œ Œ Œ b j Œ Œ dhe te na ke dhin na na ke dhe te na ke dhin na ke tak dhin dha ge dhe dhin na na ke te G dhe te na ke dhin na na ke dhe te na ke dhin na ke tak dhin dha ge dhe dhin na na ke te 56

72 S. 40 b b Tar (e) b b b b b Œ Œ b Œ Œ Œ Œ b dhe te na ke dhin te na ke tak dhe te na ke dhin ne na na ke te ta ge dhe te na ke dhin te na ke tak G dhe te na ke dhin te na ke tak dhe te na ke dhin ne na na ke te ta ge dhe te na ke dhin te na ke tak S. 43 b Outro Tar (e) b j b b b Œ Œ Œ Œ Œ dhe te na ke dhin na na ke dhe te na ke dhin na ke tak ko ko ko ko ko ko ko ko ko ko ko ko played on the outer edge of the bia G dhe te na ke dhin na na ke dhe te na ke dhin na ke tak ko ko ko ko ko ko ko ko ko ko ko ko 57 played on the outer edge of the bia

73 46 (e) b Œ Œ Œ b j b b Œ Œ Œ Œ b ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko G ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko Tar { Pno. (e) Tar 49 { Pno. (e) 52 B Solo dhin na te dhin na na ke te dhe te na ke dhin te na ke tak dhin dhin dhin ta ke te dhe te na ke dhin te na ke tak dhin dhin dhin ta ke te dhe te na ke dhin te na ke tak b b b b j b b b b b 58

74 Tar { Pno. (e) 55 b b b dhin dhin dhin ta ke te dhe te na ke dhin te na ke tak te dha dha ti dha te b b b j b b b te dha te dhe dha te re ke te b b b Tar 59 b { Pno. (e) b j b b b dha te re ke te ta ke te ge te te tin na ta ke ne 59

75 Tar 61 { Pno. (e) b b dha te re ke te tha ka ta ka te re ke te tha ka ta ka te re ke te tha ka ta ke ne dhe te na tin ta ke ne Tar { Pno. (e) 63 b b b b j b b dha te re ke te tha ka ta ka te re ke te tha ka ta ka te re ke te tha ka ta ke ne dhe ta dhe ta ke ne b b 60

76 Tar 65 C b b { Pno. b b b b b j b b (e) b dhin ge te ta ne dhin dhin dhin dhin dhin ge te ta ne dhin dhin dhin b Œ b Tar 69 b b b { Pno. b b b b b j b b (e) dhin ge te ta ne dhin dhin dhin dha dhin dhin dhin dha dhin Œ b b b 61

77 Tar 73 Improvisation in F Dorian #4 Œ Œ { Pno. (e) Œ Œ b b b b j b dhin na te dhin na na ke te dhe te na ke dhin ta ke ne dhin na te dhin na na ke te Pno. (e) 76 { b b b dhe te na ke dhin ta ke ne dhin na te dhin na na ke te dhe te na ke dhin ta ke ne Pno. 79 { j b b (e) dhin na te dhin na na ke te dhe te na ke dhin ta ke ne b b 62

78 G 81 Outro b b ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko Œ played on the outer edge of the bia ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko Œ played on the outer edge of the bia Œ 83 j b b ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko G ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko ko 63

79 In a Milky Way Sam Evans 64

80 In a Milky Way q = 72 Sam Evans Shakuhachi A Piano { b b Cello 1 Cello 2 Cello 3 required: A, Bb, C, Dd tin tin tin b Piano Piano Piano { { { tin na na na tin tin tin tin tin ka na na tin tin na tin tin tin tin na na na tin tin na b b b b # # # # # n n b Œ b # b# b b b b tin tin na na na tin tin na na tin tin na na b b

81 Piano 13 { b na tin na tin na tin na ke dhin dhin ge ge ge dhin ge dhin A b b b Piano Piano Piano Piano 15 { 17 { { b dhin dhin dha te re ke te te na te ke dhin dhin ge ge ge dhin ge ge b # # # # dhin dhin dha te re ke te te na te ke dhin dhin dha te re ke te te tin tin dhin dhin dha te re ke te te tin ke ne dhin dhin dha te re ke te te tin ke tin dhin dhin dha ge ge dhin ge ge b b # b j { n n b # b # Piano 22 { b b dhin dhin dha te re ke te te tin ke tin dhin dhin dha te re ke te te tin ke tin b

82 Piano 24 { b b dhin dhin dha te re ke te te tin ke ne dha tun dha tun dha tun dha tun b b Piano Cello 1 26 { b A b Cello 2 Cello 3 tin ke tin tin ge tin tin ge tin tin ke tin dha te te dha te te dha te te dha te te dhin ge ge dhin ge ge b b Piano Cello 1 Cello 2 { b Cello 3 dhin dhin dha te re ke te te na te ke dha te te dha te te dha te te dha te te dhin ge ge dhin ge ge b

83 Piano Cello 1 { # # # # # # Cello 2 Cello 3 # dhin dhin dha te re ke te te na te ke dhii ne dhii na ge na ta ka te re ke te dhii ne dhii na ge na tin ke te b Piano Cello 1 32 { n n n Cello 2 Cello 3 n dhii ne dhii na ge na ta ke te dhii ne dhii na ge na ta ke te Piano Cello 1 Cello 2 33 { b b # b# # # Cello 3 # dha te te dha te te dha te te dha te te dha te te dha te te dha te te dha te te dhin dhin dha dhin b b b

84 Piano Cello 1 Cello 2 35 { b b b b Cello 3 dhii ne dhii na ge na ta ke te dhii ne dhii na ge na ta ke te dhii ne dhii na ge na ta ke te dhii ne dhii na ge na ta ke te b Piano Cello 1 Cello 2 37 { b b b b Cello 3 dhii ne dhii na ge na ta ke te dhii ne dhii na ge na ta ke te dhii ne dhii na ge na ta ka te re ke te dhii ne dhii na ge na ta ka te re ke te b b Piano Cello 1 Cello 2 39 { b b Cello 3 dhii ne dhii na ge na ta ka te re ke te dhii ne dhii na ge na ta ke te b

85 Piano Cello 1 40 A3 { b Cello 2 Cello 3 dhii negene dha ti gene dhii negenedha ti gene dhii negenedha ti gene dhii negene dha ti gene dhii negene dha ti gene dhii negenedha ti gene Piano Cello 1 Cello 2 Cello 3 41 { dhin dhin dha te re ke te te na te ke 3 3 Piano Cello 1 42 { b Cello 2 Cello 3 dhii ne gene dha ti ge ne dhii ne gene dha ti ge ne dha ti gene dhii nege ne dha ti gene dhii nege ne dha ti gene dhii ne gene dha ti gene dha ti gene

86 Piano Cello 1 43 { Cello 2 Cello 3 dhin dhin dha te re ke te te na te ke 3 3 Piano Cello 1 44 { # # # # # # Cello 2 Cello 3 # dhii ne dhii na ge na ta ka te re ke te dhii ne dhii na ge na ta ka te re ke te b Piano Cello 1 45 { n n n Cello 2 Cello 3 n dha dha dha te te dha te te ta ke te

87 Piano Cello 1 Cello 2 46 { b b Cello 3 dhii negene dha ti gene dhii negenedha ti gene dhii negenedha ti gene dhii negene dha ti gene dhii negene dha ti gene dhii negenedha ti gene b Piano Cello 1 47 { # b # # Cello 2 Cello 3 # # dhin dhin dha dhin b b Piano Cello 1 Cello 2 48 { b b Cello 3 b dha te te dha te te ta ke te dhii ne ge ne dha ti ge ne dhii ne ge ne dha ti ge ne dhii ne ge ne dha ti ge ne

88 Piano Cello 1 Cello { b b Cello 3 b dhii ne ge ne dha ti ge ne dhii ne ge ne dha ti ge ne dhii ne ge ne dha ti ge ne dhii ne ge ne dha ti ge ne dhii ne ge ne Piano Cello 1 50 { b Cello 2 b Cello 3 dhii negene dha ti gene dhii negenedha ti gene dhii negenedha ti gene dhii negene dha ti gene dhii negene dha ti gene dhii negenedha ti gene b Piano Cello 1 Cello 2 51 { b b b b Cello 3 dha te te dha dha te te dha dhin te te dhin te te dhin te te dha te te b b

89 Shak. Piano 53 B 7 8 (e=q) b 8 b { U b b 7 b > b 8 b 8 b b b b 8 8 (e=q) dhin tin tin tin na U b 8 b 8 Shak b b 8 b 8 b 8 Piano { 8 b b b b b 9 7 > 9 7 > b b 8 8 b b b b na tin tin na na b 8 8 b 8 b 8 b 8 Shak j b 8 Piano 7 { j j b n> b 7 b b b 8 8 tin dhin dhin ne ta tun dhin te ke ne te dhin ge ne dhin ge ne j 8 8 b 8 74

90 Shak b b 8 8 j 8 b 8 Piano { b b j b 9 b b b 8 b 8 dhin ge ne dhin ge ne dhin ge ne dhin ta ke ne ta tun ta te ke tin dhin ta ke ne b b 8 j 8 8 b 8 Shak b 8 b 8 b 8 8 Piano { b b b j 9 7 > 9 7 > 9 8 b b b b b 8 8 b 8 8 ta tun ta dha ge na dhin dha ta ke ne ta tun dhin te ke tin dhin dha ta ke ne b 8 b 8 b b 8 8 Shak. Piano b b b { b b b j b 9 7 > 9 7 > 9 8 b b b b 8 8 n b dha tun dha dhin ge na dhin dha ta ke ne dha tun na te ke tin dhin dha ta ke ne dhin b b b b j 8 75

91 Piano 82 Improvised solos: tabla then piano F 6 F 6 A E A E F F F F G 11(;5) 7 { F 6 F 6 A E A E F F F F G 11(;5) F 6 F 6 A E A E F F F F G 11(;5) Piano 91 G 11(;5) F F G G G F { G 11(;5) F F G G G F G 11(;5) F F G G G F Piano 97 G F G E G E F( 4) F( 4) { G F G E G E F( 4) F( 4) G F G E G E F( 4) F( 4)

92 Interlude Sam Evans 77

93 q = 70 Interlude Sam Evans { Piano Upright 4 A 4 b 4 b Ó Œ Double 4 4 Required: G and Bb in C in D 2 Cajon q = 70 4 { Pno. U. 1 5 b dha dhin na tin tin na dha dha te te dhin na tin tin na dha 78

94 { Pno. U. 1 7 b b dha dhin na tin tin na dha dha dhin na dhii ne na na ge ne ta ka ta ka te re ke te C Ó dhii ne na na ge ne ta ka ta ka te re ke te { Pno. U. 1 9 b dha te te ka na na ge dha ti na tin tin na dha dha dhin na tin tin na dha R C dha te te ka na na ge dha ti na tin tin na dha dha dhin na tin tin na dha R { Pno. U dha dhin dhin dha dhin dhin na dha dha te te dha ti na tin tin na dha R R R R R R b b R C D dha dhin dhin dha dhin dhin na dha dha te te dha ti na tin tin na dha R R R R R R R dha dhin dhin dha dhin dhin na dha dha te te dha ti na tin tin na dha R R R R R R R 79

95 { Pno. U b dha dhin na tin tin na dha dha dhin na tin tin na dha dha dhin na tin tin na dha C D dha dhin na tin tin na dha dha dhin na tin tin na dha dha dhin na tin tin na dha dha dhin na tin tin na dha dha dhin na tin tin na dha dha dhin na tin tin na dha { Pno. U. Db b b dha te te dha ti na tin tin na dha dha dhin dhin dhin b R B C D dha te te dha ti na tin tin na dha dha dhin dhin dhin R dha te te dha ti na tin tin na dha dha dhin dhin dhin R 4 æ Muted roll ith closed strokes Cajon æ 80

96 { Pno. U. Db b b b b dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin b b b C D dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin dhin 4 æ æ æ Cajon æ æ æ { Pno. U. Db C dhe te na te te te dha dha dhe te na te te te dha dha C D dhe te na te te te dha dha dhe te na te te te dha dha dhe te na te te te dha dha dhe te na te te te dha dha 81

97 { Pno. U. Db b dhe te na te te te dha dha dhe te na te te te dha dha C D dhe te na te te te dha dha dhe te na te te te dha dha dhe te na te te te dha dha dhe te na te te te dha dha { Pno. U. Db dhe te na te te te dha dha dhe te na te te te dha dha C D dhe te na te te te dha dha dhe te na te te te dha dha dhe te na te te te dha dha dhe te na te te te dha dha 82

98 { Pno. U. Db b b b dhe te na te te te dha dha dhe te ta ka te re ke te tha ka te re ke te ta ka te re ke te tha ka te re ke te C D dhe te na te te te dha dha dhe te ta ka te re ke te tha ka te re ke te ta ka te re ke te tha ka te re ke te dhe te na te te te dha dha dhe te ta ka te re ke te tha ka te re ke te ta ka te re ke te tha ka te re ke te { Pno. U. Db dhe te na te te te dha dha dhe te na te te te dha dha C D dhe te na te te te dha dha dhe te na te te te dha dha dhe te na te te te dha dha dhe te na te te te dha dha 83

99 { Pno. U. Db b dhe te na te te te dha dha dhe te na te te te dha dha C D dhe te na te te te dha dha dhe te na te te te dha dha dhe te na te te te dha dha dhe te na te te te dha dha { Pno. U. Db dhe te na te te te dha dha dhe te na te te te dha dha C D dhe te na te te te dha dha dhe te na te te te dha dha dhe te na te te te dha dha dhe te na te te te dha dha 84

100 { Pno. U. Db b b b dhe te na te te te dha dha dhe te na te te te dha dha dha C D dhe te na te te te dha dha dhe te na te te te dha dha dha dhe te na te te te dha dha dhe te na te te te dha dha dha 85

101 Ladu Sam Evans 86

102 Ladu q = 60 Sam Evans Slide Guitar Tar Guitar 1 A Guitar 2 Rhodes 4 { b b 4 b b n n G F( 4) G E Eº F( 4)C b b b 4 n 1 [Bb] 4 2 [Bb C] 4 Bb to be played unless noted otherise Sl Rds. 5 { b b b b G F( 4) 1 ta tin ke tin na ti ta ke na tin ke tin na ti ta ke na tin ke tin na ti ta ke na tin ke tin na ti 87

103 Sl Rds. 6 { b bb b G b bb 1 ta ke na tin ke tin na ti ta ke na tin ke tin na ti tin tin na tin ke tin na ti ta ke na tin ke tin na ti Sl Rds. 7 b b { b b b b n E Eº n n n 1 na na na na na tin ke tin na ti ta ke na tin ke tin na ti na na na na na tin ke tin na ti ta ke na tin ke tin na ti Sl Rds. 8 { b b b b F( 4)C 1 ta ke na tin ke tin na ti ta ke na tin ke tin na ti ta 88

104 Sl Tar Rds. 9 { b b b b G F( 4) 1 dha ge na dhi ge dhi na ti ta ke na dhi ge dhi na ti dha ge na dhi ge dhi na ti ta ke na dhi ge dhi na ti Sl Tar Rds R.. R { b bb b G b bb 1 dha ge na dhi ge dhi na ti ta ke na dhi ge dhi na ti dha ge na dhi ge dhi na ti ta ke na dhi ge dhi na Sl Tar Rds. 11 { b b b b n n n E Eº n n 1 dha ge na dhi ge dhi na ti, ta ke na dhi ge dhi na ti, dha ge na dhi ge dhi na ti, ta ke na dhi ge dhi 2 dha ge na dhi ge dhi na ti, ta ke na dhi ge dhi na ti, dha ge na dhi ge dhi na ti, ta ke na dhi ge dhi 89

TABLA. Indian drums. Play the drums Book 4. By: Sanjay Patel. ( Taal - rhythms cycle )

TABLA. Indian drums. Play the drums Book 4. By: Sanjay Patel. ( Taal - rhythms cycle ) Play the drums Book 4 TABLA Indian drums ( Taal - rhythms cycle ) By: Sanjay Patel. 1 Importance of clapping system in Hindustani Classical Music In music, the element of time plays a very important role.