Dominik J. Dieterle - Paul Gerhardt (clone) | Page 23

2
5 6 7
1 ' 00 '' 1 ' 30 ''
Time
S .
Sobald die Pattern etabliert sind , können alle Sänger individuell zwischen den Patterns 1 bis 3 wechseln .
° ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
3
& í ™
5 '' slow gliss . U œ œ œ œ œ Œ ™ î
¯¯¯¯¯¯¯¯¯¯
Sobald die Pattern etabliert sind , können alle Sänger individuell zwischen den Patterns 1 bis 3 wechseln .
nun lasst uns geh ' n ,
A .
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
3
slow gliss .
& í ™ œ œ œ œ
œ
U 5 ''
Œ ™ î
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
nun lasst uns
geh ' n
T .
Bar .
B .
¢
Perc .
°
A ‹ 7 („ ˆˆ9 )
? í™ Solo ? ? ? ? ™î
p
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Db .
A ‹ 7 („ ˆˆ9 )
ì ? í™ Solo
? ? ? ?
p
î ™
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Org .
¢ ¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Vln . 1
°
After double bass starts improvising , individually change to pattern 2
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Vln . 2
Vla .
Hold note with changing bows , softly fading in and out individually
After double bass starts improvising , individually change to pattern 2
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
After double bass starts improvising , individually change to pattern 2
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯
Vlc .
¢
After double bass starts improvising , individually change to pattern 2
¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯¯