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Fountain in The Rain William Glock

The document is a musical score titled "Fountain in the Rain" composed by William Gillock. It contains musical notation using symbols to indicate elements like tempo, dynamics, and the interplay between the right and left hands. The piece starts calmly but builds in complexity, speed, and volume, depicting the sounds of a fountain and rain through a cadenza-like section before returning to a calm ending.

Uploaded by

Omar Sandoval
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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2K views4 pages

Fountain in The Rain William Glock

The document is a musical score titled "Fountain in the Rain" composed by William Gillock. It contains musical notation using symbols to indicate elements like tempo, dynamics, and the interplay between the right and left hands. The piece starts calmly but builds in complexity, speed, and volume, depicting the sounds of a fountain and rain through a cadenza-like section before returning to a calm ending.

Uploaded by

Omar Sandoval
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Fountain

in the Rain
⾬中的喷泉
William Gillock

                                  
= 88

 
   
     
 


 
portamento

                                
3
soft pedal


    
 
   

                      
   
5


  
  
    
  
  

    
           
           
   
7

   
 
   
   

                                
9

 
  
        
 

                            


11

  
      
  
  
                              
2


13

 
   
    
  
        
                
15

  
   
    
 

 
 
 

          
              

   
Allegretto

 
17

   
       
R.H.


L.H.
L.H. accellerating and



cadenza - like

  
                       
 

            
   
19

     downward
  
growing louder splashing

  
   
       
           

    
 
21

    
        
        
downward

   

= 88

    
   
     
in time


 

  
24

      
  



 R.H.  

   
    

  
L.H.
L.H.  
3

                 


  

           
26

      
    

    


     
calmly


 


  

as at first

          
   
                        
   
29

 
        
               
 



   
                  
               
32

 
   
L.H.

      



   
a little louder

  
L.H. very softly
sweetly

 
  
   
                      


35

 

 
      
L.H.

 
 
L.H.

    
 
 
                
             
  

  
37

  
L.H. L.H.

      
L.H.

       
L.H.


holding back
                  
                  
4 Allegro = 88

 

  
40

 

accellerating R.H.

         
L.H.

   


 


    

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