Recording Credits for Symphony No. 2: Performance of movements 1 and 2 by the FSU Wind Symphony conducted by James Croft, recorded at the the 2003 WASBE 11th Conference in Jönköpíng, Sweden, from Mark Custom Recording Service: www.markcustom.com Performance of movement 3 by the USC Thornton Wind Ensemble, reading session conducted by Frank Ticheli.
This virtual conductor score and recording are designated “private,” and any publication or distribution beyond the web sites of Manhattan Beach Music without its permission is prohibited.
S Y M P H O N Y N O. 2 F O R C O N C E RT B A N D
FRANK TICHELI I N S T R U M E N T A T I O N 1 Full Score
2 Eb Alto Saxophone 1
2 Euphonium T.C.
1 Piccolo
2 Eb Alto Saxophone 2
4 Tuba
4 Flute 1
1 Bb Tenor Saxophone
1 Timpani
4 Flute 2
1 Eb Baritone Saxophone
1 Oboe 1
3 Bb Trumpet 1
1 Oboe 2
3 Bb Trumpet 2
1 Eb Clarinet (mvt. 1 only)
3 Bb Trumpet 3
4 Bb Clarinet 1
1 F Horn 1
4 Bb Clarinet 2
1 F Horn 2
4 Bb Clarinet 3
1 F Horn 3
2 Bb Bass Clarinet
1 F Horn 4
1 Eb Contrabass Clarinet
2 Trombone 1
1 Bassoon 1
2 Trombone 2
1 Bassoon 2
2 Trombone 3 (Bass)
(also playing medium Triangle)
2 Percussion 1 Xylophone, Chimes, medium suspended Cymbal, medium Triangle, large Tam Tam, Tambourine, three Temple Blocks, and Snare Drum
2 Percussion 2 Vibraphone (motor off), Bongos, three Tom Toms, crash Cymbals, medium suspended Cymbal, and Vibraslap
2 Percussion 3 Glockenspiel, small suspended Cymbal, Bass Drum, small Triangle, Slapstick, Ratchet, two Woodblocks (mounted), and Cabasa
3 Euphonium B.C.
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A RC H I VA L
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D
E
D
I
C
A
T
I
O
N
This work is dedicated to Dr. James E. Croft upon his retirement as Director of Bands at Florida State University.
It was commissioned by a consortium of institutions represented by his Doctorate of Philosophy and Masters of Conducting alumni, and by a number of dear friends. James Croft’s career has been consistently identified by outstanding musicianship, conducting expertise, scholarship, and dedication to music education. It is with the deepest respect and affection that we express our gratitude for his mentorship by commissioning Frank Ticheli to compose in his honor Symphony No. 2. Dr. Bobby Adams, Stetson University Dr. James Batcheller, Central Michigan University Dr. Kevin Bowen, Wake Forest University Dr. John C. Carmichael, Western Kentucky University Dr. Rod Chesnutt, University of Northern Iowa Mr. Steven D. Davis, University of Michigan Dr. Patrick Dunnigan, Florida State University Dr. Richard Greenwood, University of Central Florida Dr. Stephen Grugin, Northern Michigan University Dr. Robert S. Hansbrough, College of Saint Rose Dr. Jo A. Jossim, Florida Southern College Mr. Joseph Kreines, Melbourne, Florida Dr. John Laverty, Syracuse University Dr. Richard B. Lundahl, Lakeland High School Dr. Don M. McLaurin, Western State College Dr. Richard Miles, Morehead State University Dr. Warren Olfert, North Dakota State University Dr. Timothy W. Oliver, University of Kansas Mr. Timothy A. Paul, University of Colorado, Doctoral Fellow Dr. Ann M. Porter, California State University, Hayward Dr. Eddie Smith, University of Redlands Dr. Robert Spradling, Western Michigan University Dr. John West, Western Carolina University
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F R A N K W O R K S
F O R
T I C H E L I C O N C E R T
B A N D
Frank Ticheli’s works for concert band are published by Manhattan Beach Music
Amazing Grace (5 minutes, grade 3) An American Elegy (11 minutes, grade 4) Ave Maria / Schubert (4 1/2 minutes, grade 3) Blue Shades (10 minutes, grade 5) Cajun Folk Songs (6 2/3 minutes, grade 3) Cajun Folk Songs II (10 1/2 minutes, grade 4) Fortress (5 1/2 minutes, grade 3) Gaian Visions (9 1/2 minutes, grade 6) Loch Lomond (6 1/2 minutes, grade 3) Pacific Fanfare (5 1/2 minutes, grade 5) Portrait of a Clown (2 3/4 minutes, grade 2) Postcard (5 1/3 minutes, grade 5) A Shaker Gift Song (2 minutes, grade 2) This work is a separate publication of the third song from Simple Gifts: Four Shaker Songs
Shenandoah (6 1/2 minutes, grade 3) Simple Gifts: Four Shaker Songs (9 minutes, grade 3) Sun Dance (5 minutes, grade 3) Symphony No. 2 (21 minutes, mvts. 1 & 2 are grade 6 , mvt. 3 is grade 5) Movement 1, “Shooting Stars,” Movement 2, “Dreams Under a New Moon,” and Movement 3, “Apollo Unleashed” may be separately performed
Vesuvius (9 minutes, grade 4)
Hear complete recordings online of all of the above works at www.ManhattanBeachMusic.com Hear Frank Ticheli talk about his compositions at www.BestMusicSeries.com
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P R O G R A M
N O T E S
The symphony’s three movements refer to celestial light — Shooting Stars, the Moon, and the Sun. Although the title for the first movement, “Shooting Stars,” came after its completion, I was imagining such quick flashes of color throughout the creative process. White-note clusters are sprinkled everywhere, like streaks of bright light. High above, the Eb clarinet shouts out the main theme, while underneath, the low brasses punch out staccatissimo chords that intensify the dance-like energy. Fleeting events of many kinds are cut and pasted at unexpected moments, keeping the ear on its toes. The movement burns quickly, and ends explosively, scarcely leaving a trail. The second movement, “Dreams Under a New Moon,” depicts a kind of journey of the soul as represented by a series of dreams. A bluesy clarinet melody is answered by a chant-like theme in muted trumpet and piccolo. Many dream episodes follow, ranging from the mysterious, to the dark, to the peaceful and healing. A sense of hope begins to assert itself as rising lines are passed from one instrument to another. Modulation after modulation occurs as the music lifts and searches for resolution. Near the end, the main theme returns in counterpoint with the chant, building to a majestic climax, then falling to a peaceful coda. The final B-flat major chord is colored by a questioning G-flat. The finale, “Apollo Unleashed,” is perhaps the most wide-ranging movement of the symphony, and certainly the most difficult to convey in words. On the one hand, the image of Apollo, the powerful ancient god of the sun, inspired not only the movement’s title, but also its blazing energy. Bright sonorities, fast tempos, and galloping rhythms combine to give a sense of urgency that one often expects from a symphonic finale. On the other hand, its boisterous nature is also tempered and enriched by another, more sublime force, Bach’s Chorale BWV 433 (Wer Gott vertraut, hat wohl gebaut). This chorale — a favorite of the dedicatee, and one he himself arranged for chorus and band — serves as a kind of spiritual anchor, giving a soul to the gregarious foreground events. The chorale is in ternary form (ABA'). In the first half of the movement, the chorale’s A and B sections are stated nobly underneath faster paced music, while the final A section is saved for the climactic ending, sounding against a flurry of 16th-notes. My second symphony is dedicated to James E. Croft upon his retirement as Director of Bands at Florida State University in 2003. It was commissioned by a consortium of Dr. Croft’s doctoral students, conducting students and friends as a gesture of thanks for all he has given to the profession. FRANK TICHELI
D E S C R I P T I V E P E R F O R M A N C E N O T E S
As stated in the Program Notes, the three movements of Symphony No. 2 bear programmatic titles that refer to celestial light — Shooting Stars, the Moon, and the Sun. These programmatic titles, and the images they evoke, are useful in identifying the overall expressive mood of each movement, but they should not be over-interpreted or taken too literally. Instead, they should serve merely as jumping off points into a world that transcends such tangible references. More importantly, my symphony is a piece of music — a work whose three movements differ dramatically in their expressive content, but which are nonetheless bound together tightly by carefully wrought melodic, harmonic, and rhythmic relationships. In short, the work’s most important messages are musical ones.
M V T.
I :
S H O O T I N G
F O R M :
Q U A S I
S TA R S
R O N D O
A (mm. 1–17) Three important ideas are introduced: 1.) The main theme, shouted out by the Eb clarinet, and by the alto saxophone a 12th below; 2.) a series of rapidly ascending “rocket-like” diatonic clusters in the muted trumpets, colored by chimes glissandi; and 3.) a series of syncopated, dance-like staccatissimo chords in the low brasses. This opening material establishes the bright, intense tone of the entire movement. The dynamic indications play an extremely important role in enhancing this quality, and also help to preserve textural transparency. For example, the muted trumpets must rigorously observe their fp indications so that the sustained portions of their notes do not distract from the statements of the main theme. The meticulous articulation indications are equally important, contributing greatly to the movement’s energetic, dance-like quality. B (mm. 18–34) The lyrical B-theme, comprised of triplet quarter-note chords, is in direct contrast to the more aggressive main theme. Its lyrical quality, however, is challenged and opposed by brief interjections — reminders of the more aggressive main theme. Again, the dynamics play a crucial role in allowing the various opposing ideas to take turns occupying the foreground.
A (mm. 35–43) The main theme returns in a shortened, slightly varied version. C (mm. 44–61) Bouncy, dance-like rhythms characterize this section. The first flute and oboe sound in the foreground in measures 44–46, while the brasses play a supportive role. Short phrases are suddenly stopped by the bongo drums at unexpected moments, giving an off-centered feeling to the music. This section builds to a climactic, but abrupt halt, paving the way for another reprise of the main theme. A (mm. 62–66) This is an even briefer reprise of the main theme, dissolving quickly into a restatement of the lyrical B-theme. B (mm. 67–82) The lyrical theme sounds first in the upper woodwinds before being handed to the brasses. Again, several reminders of the more aggressive main theme are interjected within this otherwise lyrical section. D (mm. 83–102) Although this section develops the material from the C-Section, it transforms the ideas sufficiently to earn its own separate identity. In measures 83–86, three layers sound in counterpoint: 1.) The foreground line, sounded by flute 1 and supported by flute 2 and piccolo; 2.) the leaping eighth-note passage, sounded by the oboes, Eb clarinet, and also saxophone; and 3.) the syncopated parallel sixths moving in stepwise motion, sounded by the clarinets and bassoon. The orchestration is changed and thickened at measure 89, and again at measure 95. Transition (mm. 103–108) The mood relaxes, marked by a thinner texture, softening dynamics, and a slackening tempo. Note also the gradual transformation from staccato to legato as indicated in measure 106 in the flute and vibraphone. B (mm. 109–116) The lyrical theme is now in its most relaxed state. Solo bassoon and clarinet take turns sounding in counterpoint with the theme, but they too are much calmer than the interjections sounding in previous B-sections. Transition (mm. 117–137) The calm mood of the B-theme is suddenly interrupted. The faster tempo returns.
A repeated 16th-note pedal point in the vibraphone glues together a kaleidoscopic interplay of spiky chords and melodic fragments which bounce all around the ensemble. The energy increases... C (mm.138–151) Material from C-section bursts forth more aggressively than before. A (mm. 152–157) One final reprise of the A-section is intensified by tight, imitative shouts of the main theme (mm. 156–157). Coda (mm. 158–171) The coda is launched by a series of brass pyramid-chords and woodwind 16th-note passages. A dramatic descent in quarter-note triplets is brutally interrupted by an explosion of sound in the percussion at measure 168, answered by one final outburst of the main theme.
M V T. 2 :
DREAMS
UNDER
A
NEW
MOON
FORM: THROUGH-COMPOSED
This movement depicts a series of dreams or dreamlike events. I intended not only to express a dreamlike world, but also to open a door that would invite the listener to enter into that world. The movement’s form is extremely free, but its freedom is balanced by intense motivic unity and economy of means. A (mm. 1–18) Main theme When I first composed this theme, I had in mind a quiet lake with no ripples, such as the kind I enjoyed growing up in Louisiana. The music meanders calmly — like a boat on still water — easing from Bb major to Db major and back again, colored by traditional blues notes. These “blue notes” form their own triad a minor third away from the home-key. (E.g., in the key of Bb Major, the “blue notes” — flatted 3rd, 5th, 7th — make up a Db minor chord.) These two triads — Bb Major and Db Minor — combine to serve as the building blocks for several ideas in the piece, such as the ascending half-note chords in measures 12 to 15, and, more interestingly, the 32ndnote passage beginning in measure 15:
15 B major with added 6th etc.
“D minor” (enharmonically respelled)
B (mm. 19–25) Chant theme The chant theme is introduced by the piccolo and muted trumpet in parallel 10ths. (The trumpet implies Bb minor with flatted 5th, while the piccolo implies D minor with flatted 5th.) Their combined pitches form a blues scale, thus connecting the chant theme with the main theme: Bb C Db D Eb E F G Ab The two soloists must sound in equal balance with one another. The accompanying trombone glisses should be lazy and slow, like a relaxed sigh. C (mm. 26–36) Introduction of minor 3rd “call-motive” Instrumental color was foremost in my mind as I composed this particular dream event. The texture is somewhat complex, but the dynamic indications, when observed carefully, will enable individual colors — and specific color combinations — to come through clearly at given moments. The call motive is introduced by the flutes in measure 27: 27
(fl.) 3 3
3
This motive is passed to others within this section, and takes on greater importance as the movement unfolds. Underneath the call motive, lines weave their way through the texture, never distracting from the foreground events. The music slips through a variety of vague tonal centers before settling back to the home-key of Bb Major. D (mm. 41–84) Alto sax solo The movement suddenly darkens and intensifies. A solo alto saxophone shouts out fiercely — the call motive interwoven into the solo — like a lone voice raging against injustice. Against this, the ensemble plays a series of forceful snap-rhythm chords. During this intense dialogue between soloist and ensemble, the ensemble members must obey the dynamics carefully, coming down to piano where indicated so that the soloist may be heard clearly. Likewise, the soloist must throw caution to the wind, playing as powerfully and aggressively as tastefully possible. Even as the soloist’s dynamic level diminishes (mm. 52–58), the intensity level should remain very high. The ensemble answers the soloists “outrage” at measure 62 with an intense chordal variation of the chant theme. Once again, the dream recedes and returns to the home key, and a brief recollection of the main theme.
E (mm. 84–112) This fairly strict four-part canon represents a point of repose, like a healing dream. The call motive is now subtly interwoven into the more peaceful context of the canonic lines. Everything relaxes at measure 109. The harmon-muted trombone glissando represents a healing sigh of relief — like a slow and calming exhalation. F (mm. 113–146) A fragment of the chant theme is developed to a great degree in this section, as ascending lines are passed throughout the ensemble. The conductor and ensemble must exercise great patience, allowing the music to grow slowly, the tempo to accelerate imperceptibly. It is tempting, but ill-advised to allow the music to accelerate beyond the tempo goal indicated (quarter note = 80). The ritardando at measure 146 should be quite dramatic, slowing almost to a halt just before the downbeat of measure 147. Reprise (mm. 147–168) The main theme returns majestically in counterpoint with the chant theme. The music swells to an enormous climax. A piece of the alto saxophone solo is recalled, now shouted at ffff in the horn and saxophones, then bounced back and forth between them and the trumpets. Once again, the music recedes. The final Bb major chord is colored by a questioning Gb, stated by the first clarinet.
M V T.
3 :
F O R M :
A P O L L O Q U A S I
U N L E A S H E D
S O N A TA
F O R M
Typical of many symphonic finales, this one is quite boisterous, but its driving energy is tempered and enriched by the use of Bach’s Chorale BWV 433. A galloping line, first appearing at measure 47, and Bach’s chorale, serve as contrasting themes in this sonata-like movement. The use of hemiola is quite extensive, and the accents play a crucial role in enhancing it. Introduction (mm. 1–46) Hard, spiky chords are exchanged between the muted trombones and low woodwinds, while the euphonium and tuba introduce a motive built from the first four notes of a minor scale. (This motive, having appeared in various manifestations in the previous two movements, is now used extensively in this movement.) The main theme, not appearing until measure 47, is foreshadowed at measure 31 in the clarinets and horns. The building blocks for the movement’s harmonic language are gradually revealed: a dominant-seventh chord combines with the tonic pitch, forming a five-note sonor-
ity (first heard as F A Bb C Eb — later this cell is transposed). This sonority, together with the four-note minor scale motive, account for much of the pitch structure of the movement. EXPOSITION
Main theme group (mm. 47–84) The main theme is announced by the trumpets, built entirely from the five-note sonority mentioned above. Indeed, everyone in the ensemble plays some manifestation of this sonority. Even the low woodwind interruption at measure 58 is built entirely from this sonority. Several modulations occur as the music gathers strength, leading to a joyous outburst at measure 85. Second theme group (103–133) The tempo slackens, but only slightly. The first phrase of Bach’s chorale appears nobly in the low brass, answered by fleeting reminders of the galloping main theme. The texture grows more complex at measure 119. An eleven-note ostinato runs through the clarinets and mallet instruments. Random pitches from the ostinato are reinforced by the others (e.g., the first trumpet, the stopped horns, and the fp stings in the upper woodwinds). Under this fabric, the chorale’s second phrase is begun by the saxophones, low woodwinds, and horns, then handed back to the more forceful low brasses. D E V E L O P M E N T (mm. 142–226)
The main theme returns, now up higher, in the flutes. Much of the material from the exposition is varied and developed. Ideas that had appeared independently in the exposition are now combined and juxtaposed (e.g., mm. 154–166 combines the rhythmic idea from m. 26, the rising line of mm. 60–62, and the general harmonic structure of mm. 85–100). The development proceeds as new material sounds along with older material. Suddenly, the second movement’s chant theme is recalled (mm. 214–219). Then the first movement’s main theme is recalled (mm. 220–226). V A R I E D R E C A P I T U L A T I O N (mm. 227–249)
A false return of the main theme is sounded by the trumpet at measure 227, ushering in the final phrase of Bach’s chorale, now stated majestically under a flurry of 16th notes. Coda (mm. 250–269) A violent timpani solo signals the coda. (The tom tom cues may be played only in the case of a weak set of timpani, or timid timpanist!) The work ends explosively, but not before one final shout of the first movement’s main theme.
FRANK TICHELI
.
Dedicated to James E. Croft upon his retirement as Director of Bands at Florida State University.
SYMPHONY NO. 2 FOR CONCERT BAND
FRANK TICHELI
I. Shooting Stars With ecstatic energy ( =2 126−132)
3
4
Piccolo
1 Flute 2 1.
a2
a2
1 Oboe 2
Solo E Clarinet
3 (E Cl.)
1
3
B Clarinet 2
3
B Bass Clarinet
E Contrabass Clarinet a2 1 2
Bassoon
1 3
E Alto Saxophone 2
B Tenor Saxophone
E Baritone Saxophone Straight mute, div. 1 5
5 5
5
5
5
Straight mute, div. B Trumpet 2 Straight mute 3 0
a2 1 3 F Horn 2 4 Straight mute 1 Trombone 2 3 Euphonium
Tuba
Timpani CHIMES
“white note” gliss.
“white note” gliss.
l.v.
1 VIBES
l.v.
Percussion 2 SLAPSTICK
to ratchet
3 Copyright ©2004 Manhattan Beach Music 1595 East 46th Street — Brooklyn, NY 11234 All Rights Reserved. Printed and Engraved in the U.S.A. ISBN 0-931329-93-0 (complete set) ISBN 0-931329-94 9 (conductor score)
Hear this composition online at www.ManhattanBeachMusic.com
l.v.
5
7
6
8
Picc.
1 Fl. 2 (a2) Ob.
1.
1 2
E Cl.
3 (E Cl.)
1
Play 3
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax.
3
2
B Ten. Sax.
E Bari. Sax. (0, 12)
(div.)
*
1 *Timbral trill: alternate between different fingerings of the same pitch. (1, 13)
(div.)
5 5
*
B Tpt. 2 (0, 23)
5
* 3 (open)
(a2)
a2
1 3 F Hn. a2 2 4 mute out
open
1 Tbn. 2 3
Euph.
Tuba TRIANGLE
Timp.
1
Perc. 2 RATCHET
3
2
to Glockenspiel
10
9
11
12
Picc.
1 Fl. 2
Ob.
1.
1 2
1.
E Cl.
1
3
3
3
3
3
3
3
3
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. (div.) 1 5
5
(div.) B Tpt. 2 5
3 (a2) 1 3 F Hn.
(a2)
2 4
1 Tbn. 2 3
Euph.
Tuba (Tri.)
Timp. “white note” gliss.
to Xylophone
1 to Vibraslap
Perc. 2
3
3
13
14
Picc. 3
1
16
15
3
3
3
3
3
3
3
3
3
3
3
Fl. 2
5
(1.) Ob.
1 2 5
E Cl.
3
1
5
3
5
B Cl. 2 5
3 5
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 3
3
E Alto Sax.
3
2
5
B Ten. Sax.
E Bari. Sax. unis.
1 3
3
unis.
B Tpt. 2
3 (a2) 1 3 F Hn.
(a2)
2 4
1 Tbn. 2 3
Euph.
Tuba
(Tri.)
Timp. XYLOPHONE
to Triangle
1 3
3
VIBRASLAP
3
l.v.
to Vibes
Perc. 2 GLOCKENSPIEL
3
4
3
18
17
19
20
21
22
Picc. (Ob.1)
1 Fl. 2
Ob.
1.
1 2
E Cl.
1
B Cl. 2 (Bsn.1)
3
B Bass Cl.
E Cb. Cl.
a2 Bsn.
1.
1 2 (Hn.1)
1 E Alto Sax.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 a2
3
3
3
3
3
3
3
3
3
(Hn.3)
2 (Hn.2)
B Ten. Sax. (Euph.)
E Bari. Sax. mute out 1 mute out B Tpt. 2
3 3
1 3 3
3
F Hn. 2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. TRIANGLE
1
Perc. 2 to Ratchet
3
5
l.v.
24
23
25
26
27
28
Picc. (Ob.1)
Play
1 Fl. 2 (1.) Ob.
1 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2 Play
(Hn.1)
1 E Alto Sax.
3
3
3
Play
(Hn.3)
2 3 (Hn.2)
3
3
3
3
Play
(Bsn.1)
B Ten. Sax. 3 (Euph.)
Play
(Bsn.2)
E Bari. Sax. 3
3
3
open
3
3
open
3
3
1
B Tpt. 2
3 3
3
3
3
3 3
3
3
3
1 3 F Hn. (a2) 2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. (dampen)
to Temple Blocks
1
Perc. 2
3
6
29
30
31
32
33
34
Picc.
1 Fl. 2
Ob.
1 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax.
3
3
3
3
3
3
3
2 3
B Ten. Sax. 3
3
3
3
3
3
3
3
E Bari. Sax. to st. mute 1 to st. mute B Tpt. 2
3 3
3
3
1 3 3
F Hn. (a2)
3
3
3
3
3
3
3
3
2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. TEMPLE BLOCKS to Chimes
1
Perc. 2 RATCHET
to Glock.
3
7
div.
35
36
37
38
Picc. 3
3
5
1
3
5
3
Fl. 2
3
5
a2 Ob.
1.
1 2 5
E Cl.
3
1
3
B Cl. 2 5 3
3
3 5
3
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 3
3
E Alto Sax.
3
2 3
B Ten. Sax.
E Bari. Sax. st. mute div. 1 5 5
st. mute div. B Tpt. 2
(st. mute)
5
3 a2 1 3 F Hn. a2 2 4
1 Tbn. 2 3
Euph.
Tuba
(Tri.)
to Timpani
Timp. CHIMES “white note” gliss.
l.v.
XYLO. (4 mallets)
to Xylo. (4 mallets)
1
VIBES (hard mallets)
Perc. 2 GLOCK.
dampen
no pedal, secco to Slapstick
SLAPSTICK
3
8
39
40
41
42
Picc.
1 Fl. 2 (1.) Ob.
1 2
E Cl.
1
3
3
3
3
3
3
3
3
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. (div.) 1 (div.) B Tpt. 2
3 a2 1 3 F Hn.
a2
2.
2 4 to st. mute 1 Tbn. 2 3
Euph.
Tuba
Timp. to Tri.
1
to Bongos
Perc. 2 to Glock.
3
9
44
43
45
46
48
47
Picc.
1 Fl.
Play
(Ob.2)
2
(1.) Ob.
1 2
2.
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. 1. Bsn.
a2
1 2 (Hn.1)
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1
B Tpt. 2
3
1. Solo 1 3 F Hn.
0
(2.)
(2.)
2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. TRI.
1 BONGOS (hands)
Perc. 2 GLOCK.
3
10
49
50
51
52
Picc.
Solo
Tutti
1 5 5
Fl. 2
1. Ob.
a2
1 2
E Cl.
1
5 5
B Cl. 2
3
B Bass Cl.
E Cb. Cl. 1. Bsn.
1 2 Play
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1
B Tpt. 2
3 a2 1 3 F Hn. 2 4 st. mute
mute out
1 Tbn. 2 3
Euph.
Tuba
Timp. to Tam-Tam
1 to Vibes
Perc. 2 to Woodblock
3
11
56 53
54
55
Picc. 5
1 5
Fl. 2 5 5
Ob.
1 2
E Cl. 5
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1
B Tpt. 2
3 (a2) 1 3 F Hn.
a2
3
3
3
3
2 4 open 1 Tbn. 2 3 3
Euph. 3
Tuba TIMPANI
Timp. TAM-TAM (metal beater)
1 VIBES
Perc. 2 WOODBLOCK (hard)
3
12
3 3
57
60
59
58
Picc.
1 Fl. 2
Ob.
1 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1
B Tpt. 2
3
a2 1 3 F Hn. 2 4
(a2)
3
3
3
3
3
3
1 Tbn.
a2 2 3 3 3
3
3 3
Euph. 3
Tuba
Timp.
1
Perc. 2
3
13
62
61
63
Picc.
64
5
1
5
Fl. 2 5
a2 Ob.
1 2 5
E Cl.
1
B Cl. 2 5
3 5
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
div. 1 5 5
div. B Tpt. 2 5
3 a2 1 3 F Hn.
a2
2 4
1 Tbn. 2 3
Euph.
Tuba TRI.
(dampen) to Tri.
l.v.
Timp. (dampen)
(scrape)
(scrape)
l.v.
1
Perc. 2 to Glock.
GLOCK.
3
14
l.v.
65
67
66
Picc.
68
3
1 3
3
3
3
3
3
3
3
3
3
Fl. 2
1 Ob. 2
3
E Cl.
3
1
3 (Ob.1)
B Cl. 2
3 (Ob.2)
3
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 3
E Alto Sax. 2 3
B Ten. Sax.
E Bari. Sax. mute out 1 mute out B Tpt. 2 mute out 3 (a2) 1 3 F Hn. 2 4
1 Tbn. 2 3
Euph.
Tuba l.v. to Timp. Timp. to Tambourine
1 to Tri.
Perc. 2
3
15
69
70
72
71
74
73
Picc.
1 3
3
3
3
3
3
3
3
3
Fl. 2 3
Ob.
3
3
1 2 3
3
3
3
3
E Cl.
1 (Ob.1)
B Cl. 2 3 (Ob.2)
3
3
3
3
3 3
3
3
B Bass Cl.
E Cb. Cl.
Bsn.
1.
1 2
1 3
E Alto Sax. 2
3
3
3
3
3
3
B Ten. Sax.
E Bari. Sax. open, unis. 1 3
open, unis. B Tpt. 2 3 3
open 3
1.
1 3 F Hn.
2.
2 4
1 Tbn. 2 3
Euph.
Tuba
Timp.
1
Perc. 2 (Glock.)
3
16
3
3
75
76
77
78
79
80
Picc.
1 Fl. 2
Ob.
1 2
E Cl.
1
B Cl. 2
3 3
B Bass Cl.
E Cb. Cl. (1.) 1 Bsn. 2 3
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. 3
1 3
3
3
3
3
3
3
3
B Tpt. 2 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3
1 3
(1.)
F Hn. 2 4
3
(2.)
3
3
1 Tbn. 2 3
Euph.
Tuba
Timp.
1
Perc. 2
3
17
81
82
83
84
Picc.
1 Fl. 2
Ob.
1 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (1.) Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. (to straight mute) 1 3 3
(to straight mute)
B Tpt. 2 3
3
1 3
(1.)
F Hn. 2 4
(2.)
3
3
1 Tbn. 2 3
Euph.
Tuba
Timp.
1 TRI.
Perc. 2 (Glock.)
3
18
85
86
87
88
89
Picc.
1 Fl. 2
a2 Ob.
1 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (1.) Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. st. mute 1 st. mute B Tpt. 2
3
1 3 F Hn. 2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. TAMBOURINE
1 secco
Perc. 2
3
19
90
91
92
Picc.
1 Fl. 2 (a2) Ob.
a2
1 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1
B Tpt. 2
3
1 3 F Hn. 2 4
1 Tbn. 2 3
Euph.
Tuba
Timp.
1 l.v.
to Bongos
l.v.
to Suspended Cymbal
Perc. 2
3
20
93
95
94
96
97
Picc. sub.
1 sub. Fl. 2 sub. (a2) Ob.
1 2
a2
1. sub.
E Cl. sub.
1 sub. B Cl. 2 sub. 3 sub. B Bass Cl.
E Cb. Cl. a2
Bsn.
1 2 sub.
1 E Alto Sax. 2
B Ten. Sax. sub. E Bari. Sax. sub. open
mute out 1 sub. open
mute out B Tpt. 2 sub. 3 a2
a2
a2
a2
1 3 F Hn. 2 4
1 Tbn. 2 3
Euph.
Tuba TIMP.
Timp. to Chimes
1 BONGOS (sticks)
Perc. 2 SUSPENDED CYMBAL
l.v. 3
21
98
99
100
101
Picc.
1 Fl. 2 (a2)
a2
1.
a2
1 Ob. 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1
B Tpt. 2
3
a2 1 3 F Hn.
a2
2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. CHIMES
to Xylo.
1 to Toms
TOMS
to Vibes
Perc. 2 l.v. 3
22
to Woodblock
103
102
104
105
Picc.
1 Fl. 2 (a2) Ob.
1 2
E Cl. (Bsn.)
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2
a2 Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. to st. mute 1 to st. mute B Tpt. 2 to st. mute 3 1.
1 3 F Hn.
(a2)
2.
2 4 to st. mute 1 Tbn. to st. mute 2 3
Euph.
Tuba (F to E ) to Tri. Timp. to Temple Blocks
1 VIBES (med. yarn)
Perc. 2 no ped. WOODBLOCKS
to Cabasa or Sandblocks
3
23
109 Calm ( = 84−92) 110
rit.
106
107
108
Picc. 3
gradually to legato …
legato
1 Fl. 2 1. (Bsn.1)
Ob.
3
3
1 2
E Cl. Play
3
3
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Solo 1. Bsn.
1 2
3
3
3
3
(Bsn.1)
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1
B Tpt. 2
3 Conductor’s note: If necessary, horns may use mutes in mm. 109–113 to facilitate balance with bassoon solo. 1 3
(1.)
F Hn. 2 4
1 Tbn. 2 3 (Hn.4)
Euph.
Tuba
Timp.
1 l.v.
Perc. 2 gradually to ped. … 3
24
(to 4 hard cord)
rit.
111
112
113
114
115
116
Picc.
1 Fl. 2 1. (Bsn.1)
Ob.
1 2
E Cl. 3
3
Solo 1
3
dolce B Cl. 2
3
B Bass Cl.
E Cb. Cl. (1.) Bsn.
1 2 (Bsn.1)
ten.
Play 1 (poco)
E Alto Sax.
ten. 2 (poco) ten. B Ten. Sax. (poco) ten. E Bari. Sax. (poco) 1
B Tpt. 2
3
1 3 (poco)
F Hn. 2 4
(poco) 1 Tbn. 2 3 (Hn.4)
Euph. (poco)
Tuba
Timp.
1
Perc. 2
3
25
120 With energy
Tempo I ( = 126−132) 117
118
119
121
Picc. interrupting
1 interrupting
Fl. 2
interrupting
Ob.
1 2 interrupting
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2 (Bsn.1)
B Ten. Sax. (Bsn.2)
E Bari. Sax. st. mute, Play
(Ob.1)
1 interrupting
st. mute
(Ob.2)
Play
B Tpt. 2 interrupting
st. mute 3 1.
1 3 F Hn.
2.
2 4 st. mute 1 Tbn.
2. st. mute
2 3
Euph.
Tuba TRI.
Timp. TEMPLE BLOCKS
1 (Vibes) (4 hard cord)
Perc. 2 CABASA or SANDBLOCKS
3
26
122
123
124
125
Picc.
1 Fl. 2
Ob.
1 2
E Cl.
Tutti 1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn.
1 2
1 E Alto Sax. 2 (Bsn.1)
Play
(Bsn.2)
Play
B Ten. Sax.
E Bari. Sax. div.
unis.
div.
unis.
1
B Tpt. 2
3 (1.)
1 3 F Hn.
(2.)
2 4
1 Tbn.
(2.)
2 3 3. st. mute Euph.
Tuba (Tri.)
Timp.
1
Perc. 2 (Cabasa or Sandblocks)
3
27
3. mute out
126
128
127
129
Picc.
1 Fl. 2
Ob.
1 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. mute out 1 mute out B Tpt. 2 mute out 3 a2 1 3 F Hn. a2 2 4 mute out 1 Tbn.
2.
2. mute out
2 3 div.
unis.
Euph.
Tuba (Tri.)
Timp. to Xylo. (4 mallets)
1
Perc. 2 to Woodblocks
WOODBLOCKS
3
28
130
132
131
133
Picc.
1 Fl. 2
Ob.
1 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (a2) Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. open 1 open B Tpt. 2 open 3 a2
0
1 3 a2
F Hn.
a2
2 4 open 1 Tbn.
open
2 3
Euph.
Tuba
Timp. XYLO. (4 mallets)
1
Perc. 2 (Woodblocks)
3
29
134
135
136
137
Picc.
1 Fl. 2 a2 Ob.
1 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn.
a2
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1
B Tpt. 2
3 (a2) 1 3 F Hn.
a2
2 4
1 Tbn. a2 2 3
Euph.
Tuba
Timp.
1
Perc. 2 to Glock.
3
30
138
139
140
141
Picc.
1 Fl. 2
Ob.
1 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1
B Tpt. 2
3 (a2) 1 3 F Hn.
(a2)
2 4 VI 1 Tbn. a2
VII
2 3
VI
Euph.
Tuba (Tri.)
l.v.
l.v.
Timp. to Tam-Tam (metal beaters)
1
Perc. 2 GLOCK.
3
31
142
143
144
145
Picc. 5
5
5
5
5
5
1 Fl. 2 5
Ob.
1 2
E Cl. 5
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1
B Tpt. 2
3 (a2) 1 3 F Hn.
(a2)
2 4
1 Tbn. 2 3
Euph.
Tuba (Tri.)
to Timp.
Timp.
1
Perc. 2 to Woodblock
3
32
146
147
148
149
Picc.
1 Fl. 2
Ob.
1 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
(a2)
a2
(a2)
a2
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1
B Tpt. 2
3
1 3 F Hn.
(a2)
3
3
3
3
3
3
3
3
3
3
2 4
1 Tbn.
a2 2 3 3
3 3
3
3 3
Euph. 3
3
Tuba TIMP.
Timp. TAM-TAM (metal beater)
1
Perc. 2 WOODBLOCK (hard)
3
33
3 3
150
accel. poco a poco 152
151
Picc.
153
5
1
5
Fl. 2 5
a2 Ob.
1 2 5
E Cl.
3
1
3
B Cl. 2 5
3 5
B Bass Cl.
E Cb. Cl. (a2) Bsn.
1 2
1 3
E Alto Sax. 2
3
B Ten. Sax.
E Bari. Sax. 5
div. 1 5
div. B Tpt. 2
5
3
1 3 F Hn.
(a2)
1.
(a2)
2.
2 4
1 Tbn. 2 3
2.
Euph.
Tuba dampen Timp. dampen
(scrape)
1
Perc. 2 to Glock.
3
34
l.v.
to Sus. Cym.
(accel.) 154
155
156
157
Picc.
1 Fl. 2 a2 Ob.
1 2
E Cl.
3
1
3
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 3
E Alto Sax. 2
3
B Ten. Sax.
E Bari. Sax. unis. 1 unis. B Tpt. 2
3
1 3 F Hn. 2 4
(1.)
a2
(2.)
a2
1 Tbn.
(2.)
2 3
Euph.
Tuba
Timp. SUS. CYM.
1 to Toms
Perc. 2 GLOCK.
dampen
3
35
to Ratchet
0
158
= 144−152
159
160
Picc.
1 Fl. 2 a2 Ob.
1 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. Bell tones 1 Bell tones B Tpt. 2 Bell tones 3 Bell tones
1 3 F Hn. 2 4
Bell tones
1 Tbn. 2 3
Euph.
Tuba
Timp. l.v.
l.v.
1 TOMS
Perc. 2 RATCHET
3
36
164 161
162
163
Picc.
1 Fl. 2 (a2) 1 Ob. 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1
B Tpt. 2
3
1 3 F Hn. 2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. l.v. 1 to Bongos
Perc. 2 to Bass Drum
3
37
168
166
165
3
167
Picc.
1
5
3
5
3 3
Fl. 2
5
3
(a2)
3
a2 Ob.
1 2
5
3 3
E Cl.
5
3 3
1
5
3 3
B Cl. 2
5
3 3
3
5
3 3
B Bass Cl.
E Cb. Cl. a2 Bsn.
1 2 3
1 3 3
E Alto Sax.
3
2 3
B Ten. Sax. 3
E Bari. Sax. 3
1 3
B Tpt. 2 3
3 3
a2
3
1 3 F Hn.
3
a2
2 4
3
3
1 3
Tbn.
a2
2 3
Euph.
Tuba
Timp. l.v.
to Snare Drum
1 BONGOS (sticks)
to Toms
TOMS
Perc. 2 BASS DRUM
3
38
169
170
171
Picc.
1 Fl. 2 (a2) a2 Ob.
1 2
E Cl.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1
B Tpt. 2
3 (a2) rip 1 3 F Hn.
(a2) rip
2 4
1 Tbn. 2 3
Euph. div. Tuba dampen Timp. SNARE DRUM
rim shots
ord.
r.s.
1 (Toms)
Perc. 2 (B.D.)
3
39
dampen
II. Dreams Under a New Moon Tranquil, poco rubato ( = c. 44) ten.
2
ten.
3
4
Piccolo
Solo poco rubato
ten.
ten.
ten.
ten.
(Ob.1)
ten.
ten.
Solo
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
(Bsn.1)
ten.
ten.
(Bsn.2)
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten.
ten. div.
ten.
ten.
ten.
LARGE TAM-TAM ten.
ten.
ten.
ten.
ten.
ten.
1 3
Flute
dolce
2 1. dolce
Oboe 1 2
1
B Clarinet 2
3
B Bass Clarinet
E Contrabass Clarinet
Bassoon 1 2
1 E Alto Saxophone 2
B Tenor Saxophone
E Baritone Saxophone
1 B Trumpet 2 3 1 3 F Horn 2 4
1 Trombone 2 3
Euphonium
Tuba Tunings Timpani
1
Percussion 2
3
40
unis.
Slightly faster
5
6
7
rit. 8
Picc.
Tutti Play
(Ob.1)
1 Fl.
Play
(Ob.1)
2
(1.) Ob. 1 2
Tutti
a2
1.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
1. Bsn. 1 2
1 E Alto Sax. 2 Play B Ten. Sax.
(Bsn.1)
E Bari. Sax.
1 B Tpt. 2 3 1 3 F Hn. 2 4
1 Tbn.
3.
2 3
Euph.
Tuba
Timp. (Tam-Tam)
to Triangle
1 l.v. VIBRAPHONE Perc. 2 SUSPENDED CYMBAL (yarn) 3
41
to Small Triangle
9
Faster ( = c. 56) 10
11
12
Picc.
1 3
Fl. 2 a2 Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2 (Hn.1)
1 E Alto Sax. (Hn.3)
2 (Hn.2,4)
B Ten. Sax. Play E Bari. Sax.
1 B Tpt. 2 3 a2
to mute
mute
2.
to mute
a2 mute
1 3 F Hn. 2 4
1 n
Tbn. 2 3
2. n
3.
Euph.
Tuba n Timp.
1 l.v. Perc. 2 SMALL TRIANGLE
to Sus. Cym.
3
42
15 poco rit. a tempo ( = 56,
13
14
= 112)
16
Picc.
1 3
Fl. 2
1. Ob. 1 2
1
B Cl. 2 dim.
3 dim. B Bass Cl.
E Cb. Cl. 1.
Bsn. 1 2
(Hn.1)
Play
(Hn.3)
Play
1 dim. E Alto Sax. 2 (Hn.2,4)
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 1 3 F Hn.
a2
2 4 to cup mute 1 Tbn.
to cup mute
2 3
Euph.
Tuba
Timp.
1 (soft mallets)
Perc. 2 shimmery SUS. CYM. 3
43
19 17
= 56Solo
18
20
21
Picc. 3
3
3
3
3
3
3
3
3
3
3
(Picc.)
1
3
3
Fl. 2 (1.) Ob. 1 2
dim.
n
dim.
n
1
B Cl. 2 n 3 n B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 n
E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
Solo straight mute 1 3
B Tpt.
3
2 3 1 3
mute out
1. open
mute out
2. open
F Hn. 2 4
cup mute 1 Tbn.
(slow)
cup mute
2 3
(slow)
Euph. div. Tuba
Timp. TRIANGLE
l.v. to Suspended Cymbal
1 l.v. Perc. 2 to Glockenspiel l.v. 3
44
lightly
22
(Solo)
23
24
25
Picc. 3
3
3
3
3
3
3
3
3
3
(Picc.)
1
3
3
Fl. 2 Ob. 1 2 3
3
1
3
3
B Cl. 2
3
3
3
B Bass Cl.
E Cb. Cl. 1.
Bsn. 1 2 1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
(Solo) 1 3
B Tpt.
3
3
3
3
2 3 (1.) 1 3 F Hn. 2 4
(2.)
(V)
(keep mute)
1 Tbn.
2.(VI)
mute out
2 3
Euph.
Tuba
Timp.
1
Perc. 2
3
45
3
3
3
26 27
29
28
Picc.
Play 1
3 3
3
3
3
3 3
Fl. 2
3 3
a2
Ob. 1 2 3
3 3
3
1 3 3
3
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 1.
1 3 F Hn.
2.
2 4 (cup mute)
to straight mute
1 3
Tbn. 2 3
Euph. (div.) Tuba
Timp. SUSPENDED CYMBAL (scrape with metal beater) 1
Perc. 2 GLOCKENSPIEL 3
46
l.v.
(scrape)
to Tam-Tam
31
30
32
Picc.
1
3 3
3
3
3
3
3
Fl. 2 1.
3
a2
Ob. 1 2 3 3
1
3
3
3
3
B Cl. 2 3
3
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2 3
Solo
3
1 3 3
E Alto Sax. 2
B Ten. Sax. 3
3
3
E Bari. Sax.
Tutti straight mute
3
3
1 3
B Tpt. 2. straight mute 2 3 1 3
(1.)
F Hn. 2 4
(2.)
1 Tbn. 2 3
Euph.
Tuba
Timp.
1
Perc. 2
3
47
33 34
35
36
Picc. 3
1 Fl. 3
2
Ob. 1 2 3
Solo 1
3 3
3
3
3 3
3
3
3
3
3
3
3
3
3
3
3
B Cl. 2
3
3
3
3
3
3
3
B Bass Cl.
E Cb. Cl. 1.
3
a2
Bsn. 1 2 3
3
3
(Solo)
(Bsns.)
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 1.
1 3 F Hn.
2.
2 4
3
3
3
3
3
3
1 Tbn.
open
3. to straight mute
2 3
Euph.
Tuba
Timp. TAM-TAM 1 l.v. Perc. 2
l.v. 3
48
37 38
rit.
39
Picc.
1 3
3
Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Solo 1.
Bsn. 1 2
1 E Alto Sax. 2 (Bsn. 1)
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 1. open 1 3 F Hn. 2. open 2 4
1 Tbn. 2 3
2.
2. to st. mute
Euph.
Tuba
Timp. (Tam-Tam)
to Tri.
1
Perc. 2
3
49
40
41 Aggressive ( = c. 80) 42
43
Picc.
1 3
Fl. 2
33
Ob. 1 2
1 33
B Cl. 2 3
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
Solo 1 E Alto Sax.
3 5
(shouting out!)
5 5
2 3
B Ten. Sax.
E Bari. Sax.
(st. mute) 1 B Tpt. st. mute 2 3 1 3 F Hn. 2 4 st. mute 1 Tbn. 2 3
st. mute
Euph.
Tuba
Timp. TRI. 1
Perc. 2 (Glock.) 3
50
44
45
46
47
Picc.
1 Fl. 2
a2 Ob. 1 2
1 3
3
3
3
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
(Solo) Tutti 1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 a2
0
0
0
0
1 3 F Hn. a2 2 4
1 Tbn. 2 3
Euph. unis. Tuba
Timp. (Tri.)
SUS. CYM. (stick)
(Tri.)
1
Perc. 2
3
51
48
49
50
51
Picc. 5
1
5 3
6
6
6
6
Fl. 2
5 3 3
(a2) Ob. 1 2 6
6
6
6
1 3
3
5
B Cl. 2 3
5
3
5
3
3 3
B Bass Cl.
E Cb. Cl. Bsn. 1 2 3
1
3
5
E Alto Sax.
3
3 3
2 3
B Ten. Sax. 3
E Bari. Sax.
1 3
B Tpt. 2 3 (a2)
open
1.
(a2)
open
2.
1 3 F Hn. 2 4
3
1 3
Tbn. 2 3 3
Euph.
Tuba
Timp.
1 (Vibes) Perc. 2 3 3
3
52
52
53
54
Picc.
1 Fl. 2 a2 Ob. 1 2
1 3 3
B Cl. 2
3
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
Solo 1 3
E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. mute out 1 B Tpt. 2 3 (1.) 1 3 F Hn. (2.) 2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. (Tri.) 1
Perc. 2
3
53
55
56
57
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2 (Bsn.1)
B Ten. Sax.
(Bsn.2,Cb.Cl.)
E Bari. Sax.
1 B Tpt. 2 3
mute out
1 3 F Hn. 2 4 mute out 1 Tbn. 2 3
mute out
Euph.
Tuba
Timp.
1 (Vibes) Perc. 2
3
54
58 60
59
61
Picc.
1 Fl. 2 1.
Ob. 1 2
1.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn. 1 2
Tutti 1 E Alto Sax. 2
Play B Ten. Sax.
E Bari. Sax. open 1 B Tpt. open 2 3 a2 1 3 F Hn.
a2
2 4 open 1 Tbn. a2 open 2 3
Euph.
Tuba
Timp. (Tri.)
to Tambourine
1 to Bongos Perc. 2
(Glock.) 3
55
l.v.
to Sus. Cym.
62 63
64
65
66
Picc.
1 Fl. 2 a2 Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (a2) Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
(a2) 1 3 F Hn. (a2) 2 4
1 Tbn. a2 2 3
Euph.
Tuba
Timp. TAMBOURINE (finger roll) 1
Perc. 2
3
56
67
68
69
70
71
72
Picc.
1 Fl. 2 a2
(a2)
a2
a2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
(a2) 1 3 F Hn.
(a2)
2 4
1 Tbn.
a2
2 3
Euph.
Tuba
Timp. (hard, dry) 1 BONGOS (sticks) Perc. 2 SUS. CYM. 3
57
74
rit. poco a poco
75
73
76
77
Picc.
1 Fl. 2 a2 Ob. 1 2
1 dim. B Cl. 2 dim. 3 dim. B Bass Cl.
E Cb. Cl.
a2 Bsn. 1 2 dim.
1 E Alto Sax. 2
B Ten. Sax. dim. E Bari. Sax. dim. to straight mute 1 B Tpt. 2 3 (a2) 1 3 F Hn. (a2) 2 4 to Harmon mute (stem in) 1 Tbn. 2 3
Euph.
Tuba
Timp. (25" E →B )
l.v. to Sus. Cym. 1
to Vibes Perc. 2 l.v. to Tri. 3
58
78
79
82
(rit.) 80
81
= c. 52
83
Solo
Picc. 3
3
3
3
3
3
3
(Picc.)
1 3
Fl.
(Ob.1)
2 3
lazily
1.
Solo
Ob. 1 2
3
lazily
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. st. mute Solo
mute out
1 3
3
B Tpt. 2 3 1 3 F Hn. 2 4
1 Tbn. 2 3
Euph. two only Tuba
Timp.
1
Perc. 2
3
59
3
3
84 Calm ( = 66–69) 86
85
87
88
89
90
91
Picc. (dolce) 1 Fl.
dolce (Ob.1)
(Ob.1)
2 3
Ob. 1 2
dolce
(1.) 3
dolce
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 1 3 F Hn. 2 4
1 Tbn. 2 3
Euph. n Tuba n Timp.
1
Perc. 2
3
60
molto rit. 92
93
a tempo 94
95
96
97
98
Picc.
1 Fl.
cresc.
poco
cresc.
poco
a
(Ob.1)
2 (1.) Ob. 1 2
1 a (dolce) B Cl. 2 cresc.
poco
a
(dolce) 3 cresc.
poco
a
poco
a
B Bass Cl.
E Cb. Cl. 1. Bsn. 1 2
cresc.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 1 3 F Hn. 2 4
1 Tbn. 2 3
Euph.
Tuba
Timp.
1
Perc. 2
3
61
100
99
101
102
103
104
105
Picc.
(dolce) 1 poco
Fl.
dim.
2 dim. 1.
Ob. 1 2
dim.
(dolce) 1 poco
dim.
poco
dim.
B Cl. 2
3 poco
dim.
B Bass Cl. dim. E Cb. Cl. (1.) Bsn. 1 2
poco
dim.
1 E Alto Sax. 2
B Ten. Sax. dim. E Bari. Sax. dim. 1 B Tpt. 2 3 1 3 F Hn. 2 4
1 Tbn. 2 3
Euph.
Tuba
Timp.
1
Perc. 2
3
62
106
rit.
(molto)
107
108
109 a tempo
rit. 110
111
112
Picc.
1 Fl.
(dim.)
2 (dim.) Ob. 1 2
(1.)
1.
(dim.) 1 (dim.)
B Cl. 2 (dim.) 3 (dim.) div. B Bass Cl. (dim.) E Cb. Cl. (1.)
1.
a2
Bsn. 1 2 (dim.) (Bsns.)
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 1 3 F Hn. 2 4 0
Solo
Harmon mute (stem in) 1
n
Tbn. 2 3 div. Euph. div. Tuba
Timp. SUS. CYM. (yarn)
l.v.
to Tam-Tam.
1 VIBES
l.v.
Perc. 2 TRI.
l.v.
3
63
to Sus. Cym.
113 Flowing ( = 66–69) 114
115
116
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2 (Bsn.1)
B Ten. Sax. (Bsn.2)
E Bari. Sax.
1 B Tpt. 2 3 1 3 F Hn. 2 4 mute out 1 Tbn. 2 3 one only Euph. one only Tuba
Timp.
1
Perc. 2
3
64
117
118
119
120
122
121
accel. poco a poco to m. 145*
Picc. *This accelerando occurs over such a long span, that it will be almost imperceptible. 1 Fl. 2 1.Solo Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. 1.Solo Bsn. 1 2 (Ob.1)
1 E Alto Sax. 2
B Ten. Sax. (Bsn.1)
E Bari. Sax.
1 B Tpt. 2 3 1.
1 3 F Hn. 2 4 open 1 Tbn. 2 3
Euph.
Tuba
Timp. TAM-TAM 1 (Vibes) Perc. 2
3
65
to Sus. Cym.
123
(accel.)→
124
125
Picc.
1 Fl. 2 1.
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2 Play 1 E Alto Sax. 2 Play B Ten. Sax.
Play E Bari. Sax.
1 B Tpt. 2 3 1 3 F Hn. a2 2 4
1 Tbn. 2 3
Euph.
Tuba
Timp.
1
Perc. 2
3
66
126
127
128
(accel.)→
132 129
130
131
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. open 1 B Tpt. 2 3 a2 1 3 F Hn. 2 4
1 Tbn. 2 3
Tutti Euph.
Tutti Tuba
Timp. SUS. CYM.
l.v.
1 (Vibes) Perc. 2
3
67
to Tam-Tam
133
(accel.)→
134
135
136
137
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt.
2.:(
)
2 3 (a2) 1 3 F Hn. a2 2 4
1 Tbn. 2 3
Euph. div. Tuba
Timp. TAM-TAM 1 l.v. (Vibes) Perc. 2 SUS. CYM. 3
68
l.v.
138
(accel.)→
141 139
140
142
143
Picc.
1 Fl. 2 a2 Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 3.(
(a2)
) 1.
1 3 F Hn. (a2)
2.
2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. to Xylophone 1
Perc. 2 (Sus. Cym.) 3
69
144
rit.
= c. 80
(accel.) 145
147 Majestic ( = c. 56)
146
Picc. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1 Fl. 2 (a2) Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 3
B Tpt.
3
3
3
3
3
2 3 3
1 3 F Hn. 2 4
(1.)
a2
(2.)
a2
1 Tbn. 2 3
Euph. div.
unis.
Tuba
Timp. XYLOPHONE
3
1 3
Perc. 2 (Sus. Cym.)
l.v. to Bass Drum
3
70
3
150 148
149
Picc.
3
1
151 3
3
3
3
3
3
3
3
3
3
3
3
Fl. 2
3
3
1. Ob. 1 2 3
1
3
3
3
3
3
3
3
3
3
3
3
3
3
B Cl. 2 3
3 3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 3
B Tpt. 2 3
2.
3.
(a2)
3
1.
1 3 F Hn.
(a2)
2.
2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. to Sus. Cym. 1 3
3
3
3
Perc. 2
3
71
3
rit. 152
153
154
a tempo 155
Picc.
3
1 3
Fl.
3 3
2
3 3
Ob. 1 2
1 3
3
B Cl. 2 3 3
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 3
E Alto Sax. 2
3
B Ten. Sax.
E Bari. Sax.
1 B Tpt. a2
2.
2 3 (1.)
a2
1 3 3
F Hn.
(2.)
a2
2 4 3
1 Tbn. 2 3
Euph. div. Tuba
Timp.
SUS. CYM. 1 to Crash Cymbals
CRASH CYMBALS
Perc. 2 BASS DRUM 3
72
156
157
158
159
Picc.
1 Fl. 2 1.
Ob. 1 2
1 dim. poco a poco B Cl. 2 dim. poco a poco 3 dim. poco a poco B Bass Cl. dim. poco a poco E Cb. Cl. dim. poco a poco Bsn. 1 2 dim. poco a poco 1 marcato
E Alto Sax. 2
marcato 3
B Ten. Sax. marcato
legato
E Bari. Sax.
1 marcato
B Tpt.
legato
2 3 (a2)
marcato
a2
1 3 marcato a2
F Hn. (a2)
legato 3
2 4 marcato
legato
1 dim. poco a poco
Tbn. 2 3 2.
dim. poco a poco
Euph. legato 3 Tuba dim. poco a poco Timp. l.v.
to Tam-Tam
1
Perc. 2
3
73
rit.
160
161
163
= c. 50
162
Picc.
Solo
Tutti
1 3
Fl.
5 (Ob.1)
(Fl.1)
2 3
1. Solo
Ob. 1 2
3
1 (dim.)
(dim.)
(dim.)
(dim.)
(dim.)
(dim.)
B Cl. 2
3
B Bass Cl. (dim.)
(dim.)
E Cb. Cl. (dim.)
(dim.) 1.
Bsn. 1 2 (dim.)
(dim.)
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 (a2)
1.
(a2)
2.
1 3 F Hn. 2 4
1 Tbn.
(dim.)
(dim.)
2 3 3.
dim. poco a poco
(dim.)
Euph.
Tuba (dim.) Timp. TAM-TAM 1
Perc. 2
3
74
rit.
164
165
166
167
168
Picc. 3
1 Fl. (Fl.1)
(Fl.1)
3
2
Ob. 1 2 linger 1 n B Cl. 2 morendo
n
3
morendo
n
B Bass Cl. morendo
n
E Cb. Cl. morendo
n
Bsn. 1 2
1 E Alto Sax. 2 (Bsn.1)
B Ten. Sax. (Bsn.2)
E Bari. Sax.
1 B Tpt. 2 3 1 3 F Hn. 2 4
1 Tbn. 2 3
Euph. (Cb.Cl.) one only
Tuba morendo
Timp.
1
Perc. 2
3
75
n
III. Apollo Unleashed = c. 160
2
3
4
5
6
Piccolo
1 Flute 2
Oboe 1 2
1
B Clarinet 2
3
B Bass Clarinet
E Contrabass Clarinet
Bassoon 1 2 hard 1 E Alto Saxophone 2
B Tenor Saxophone hard E Baritone Saxophone hard 1 B Trumpet 2 3
1 3 F Horn 2 4 Straight mute 1 hard
Trombone
Straight mute
2 3 hard Euphonium
Tuba Initial Tunings Timpani distinct TEMPLE BLOCKS
1 VIBRASLAP
l.v. Percussion 2 BASS DRUM (muffled with cloth)
distinct 3
76
7
9
8
10
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
1 3 F Hn. 2 4
1 Tbn. 2 3 one player only Euph. one player only Tuba
Timp.
1 (Vibraslap)
l.v.
Perc. 2
3
77
11
12
13
14
15
16
18
17
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. 1.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. st. mute 1 B Tpt. 2. st. mute
2 3 a2 1 3 F Hn. 2.
2 4
VI 1 Tbn. a2 2 3
Euph. to mute Tuba
Timp.
1
Perc. 2 (B.D.)
3
78
19
20
21
22
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 a2 1 3 F Hn.
2.
2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. (T.Blks.)
to Tambourine
1 (Vibraslap)
l.v. to Tom (muffled with cloth)
l.v. Perc. 2
3
79
23
24
26 25
(3+3+2+2+2)
27
28
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. a2 st. mute
2 3
1 3
1.
F Hn. 2.
2 4
1 Tbn. 2 3
Tutti Euph.
Tutti mute Tuba to Tri. Timp.
1 TOM (muffled with cloth)
Perc. 2 remove cloth
to Slapstick
3
80
3. mute out
29
30
31
32
(3+3+2+2+2)
(3+3+2+2)
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 (1.)
1 3
1.
F Hn. 2 4
(2.)
1 Tbn. 2 3
Euph.
Tuba
Timp. TAMBOURINE
1
remove cloth
Perc. 2
3
81
to Vibes
33
34
35
36
37
Picc.
1 Fl. 2 1. Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. 1. Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. mute out 1 B Tpt. 2.
2 3
2. mute out
a2 1 3 F Hn. a2 2 4 VI 1 Tbn. mute out
2 3
Euph. mute out Tuba TRI.
to Timp.
Timp. to Xylo.
1 VIBES
Perc. 2 SLAPSTICK
to Glock.
3
82
38 39
40
41
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. 1.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
1 3
1.
F Hn. 2 4
2.
mute out 1 Tbn. 2 3
Euph.
Tuba
Timp.
1 to Bongos
Perc. 2
3
83
42
43
44
45
47
46
48
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (1.)
a2
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. open
con bravura
2. open (Tpt.1)
con bravura
1 B Tpt.
marcato
2 3 marcato
a2 stopped 1 3 a2 stopped
F Hn. 2 4 open 1 Tbn. open 2 3
Euph. open Tuba TIMP. Timp.
1 BONGOS (hands)
to Sus. Cym.
Perc. 2
3
84
49
52 50
51
53
54
55
Picc.
1 Fl. 2 a2 a2 Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. (2. (Tpt.1))
2. Play
2.
2 3 3. open a2 open 1 3 F Hn.
a2 open
2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. XYLO.
to S.D. (brushes)
1 SUS. CYM.
l.v.
to Vibes
Perc. 2 GLOCK.
3
85
to B.D.
56
57
58
60
59
Picc.
1 Fl. 2 1.
Ob. 1 2
1
B Cl. 2
3
B Bass Cl. 3
3
3
E Cb. Cl.
Bsn. 1 2 3
3
3 3
1 3
3
E Alto Sax. 3
3
3
3
3
3
3
2
3
B Ten. Sax.
3
E Bari. Sax. marcato 1 B Tpt. 2 3
(2.)
2. 3. a2
1 3 F Hn. 2.
2 4 4. 1 Tbn.
2.
2 3
Euph.
Tuba
Timp. S.D. (brushes)
to Tam-Tam
1
VIBES
Perc. 2 B.D.
3
86
to Sus. Cym. (stick)
61
62
63
64
65
66
Picc.
1 Fl. 2 (1.) Ob. 1 2
2.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 (a2) 1 3 F Hn. a2 2 4
1 Tbn. (2.) 2 3
Euph.
Tuba
Timp. (C→D) TAM-TAM 1
Perc. 2 SUS. CYM. (stick) l.v. 3
87
to Slapstick
68
67
69
70
71
72
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. 1.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 marcato
B Tpt.
2. marcato
2 3 (a2) 1 3 F Hn.
(a2)
2 4
1 Tbn. 2 3
3.
Euph.
Tuba
Timp. to Sus. Cym.
1 to Sus. Cym.
Perc. 2
3
88
77 73
74
75
78
76
Picc.
1 Fl. 2
a2 Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2
a2
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 3.
2 3
2.
a2
(a2) 1 3 F Hn.
a2
(a2)
2 4
1 Tbn. 2.
2 3 3. Euph.
Tuba
Timp. SUS. CYM.
l.v.
1 SUS. CYM.
Perc. 2 SLAPSTICK
to Sus. Cym. (stick)
3
89
l.v.
to Tam-Tam
79
80
81
82
83
84
Picc.
1 Fl. 2 (a2)
a2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (a2) Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 (a2) 1 3 F Hn.
(a2)
2 4
1 Tbn. 2 3
(3.)
Euph.
Tuba
Timp. TAM-TAM
1 (Sus. Cym.)
l.v. to Tom-Toms Perc. 2
3
90
85 86
87
88
Picc.
1 Fl. 2 (a2) Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (a2) Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 (a2) 1 3 F Hn. (a2) 2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. l.v.
to Xylo.
1 TOM-TOMS
Perc. 2 SUS. CYM. (stick)
3
91
89
90
91
93
92
94
Picc.
1 Fl. 2 (a2) Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 (a2) 1 3 F Hn.
(a2)
2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. (B →A) XYLO.
1 to Sus. Cym. (stick)
SUS. CYM. (stick)
Perc. 2 to Glock. 3
92
95
96
97
98
99
100
101
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. to straight mute 1 B Tpt.
2. to straight mute
2 3 (a2) 1 3 F Hn. (a2) 2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. (A→B ) 1 TOMS
Perc. 2
3
93
to Vibes
103 poco rit.
102
104
105
= c. 144
106
Picc.
1 Fl. 2 1. Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
1 3 F Hn. 2 4
Bach Chorale, BWV 433: First Section 1 Tbn. 2 3
Euph.
Tuba
Timp. (Xylo.) 1 VIBES Perc. 2 GLOCK.
l.v.
3
94
107
108
110
109
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (a2) Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. st. mute 1 B Tpt. 2. st. mute 2 3
1 3
1.
F Hn. 2 4
1 Tbn. 2 3 (Hn.1)
Euph.
Tuba
Timp.
1
Perc. 2
to Tri.
3
95
111
112
113
114
rit.
115
116
a tempo
117
118
Picc.
1 n Fl. 2
Ob. 1 2 n Play
(Ob.1)
1 n
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. (2.)
2 3
1 3
mute out
(1.)
F Hn. 2 4
1 dim.
Tbn. 2 3 (Hn.1)
dim.
Play
Euph. dim. Tuba dim.
to Tri.
Timp. (B →G) (Xylo.)
1
(Vibes)
Perc. 2 TRI.
l.v.
to Glock.
3
96
119 120
121
122
123
Picc.
1 Fl. 2
Ob. 1 2
1.
1.
3
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
Bach Chorale, BWV 433: Middle Section 1 B Tpt. 2 3 a2 1 3 F Hn. 2 4 (Hn.2)
1 Tbn.
(Hn.4)
2 3 (Bsn.1)
Euph. (Bsn.2)
Tuba
TRI.
l.v.
l.v.
Timp.
1
Perc. 2
GLOCK.
3
97
124
126
125
127
Picc.
1 Fl. 2 1.
Ob. 1 2
1.
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 a2 1 3 F Hn. 2 4 (Hn.2)
1 Tbn.
(Hn.4)
2 3 (Bsn.1)
Euph. (Bsn.2)
Tuba (Tri.)
l.v.
l.v.
Timp.
1
Perc. 2
3
98
130 128
129
131
Picc.
1 Fl. 2
(1.)
a2
Ob. 1 2
3
1
3
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2 3
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. mute out 1 B Tpt.
open
2 3 (a2)
a2 open
1 3 F Hn.
a2
2 4
(Hn.2)
Play
(Hn.4)
Play
1 Tbn. 2 3 (Bsn.1)
Euph. Play
(Bsn.2)
Tuba (Tri.)
l.v.
to Timp.
Timp. (Xylo.)
1
Perc. 2
3
99
rit.
132
133
134
= c. 160
135 136
137
138
Picc.
1 Fl. 2 a2 Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. to st. mute
2 3 dim. (a2) 1 3 dim.
F Hn. (a2) 2 4
dim. to st. mute 1 dim.
Tbn. 2 3
dim. Euph. dim. div. Tuba
TIMP.
dim.
to Tri.
Timp. (G→B ) (Xylo.)
1 (Vibes)
Perc. 2 (Glock.)
3
100
139
140
142
141
143
144
Picc.
1 marcato
Fl. 2
marcato 1. Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. st. mute 1 B Tpt. st. mute
2 3
1 3 F Hn. 2 4 st. mute 1 Tbn. 2 3
Euph.
Tuba TRI.
l.v.
Timp. to Tambourine
1
Perc. 2 CABASA
to Cabasa 3
101
146 145
marcato
147
148
3
149
Picc.
3
1 Fl. 3
2
a2
3
Ob. 1 2 3
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. mute out 1 B Tpt. 2 3
mute out
a2 1 3 F Hn. a2 2 4 mute out 1 Tbn. 2.
2 3
Euph. div. Tuba (Tri.)
l.v.
Timp. TAMBOURINE (thumbroll)
to S.D. (brushes)
1 (Vibes)
Perc. 2 to Woodblock
3
102
150
151
152
154
153
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
3
3
3
3
3
3
E Cb. Cl.
Bsn. 1 2
3
3
3 3
1 3
3
E Alto Sax. 3
3
3
3
3
3
3
2
3
B Ten. Sax.
3
E Bari. Sax. open 1 marcato open
B Tpt. 2 3 (a2)
a2
1 3 F Hn.
(a2)
a2
2 4 open 1 Tbn. 2 3
2.
Euph.
Tuba
Timp. S.D. (brushes)
1 (Vibes)
Perc. 2
3
103
155
156
157
158
159
160
161
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
1 3 F Hn. 2 4
1 Tbn. a2 2 3
Euph. unis. Tuba
Timp.
1
Perc. 2 WOODBLOCK
to Sus. Cym.
3
104
162 163
164
165
166
167
Picc.
1
3
Fl. 2
3
a2
3
Ob. 1 2 3 3
1 3 3
B Cl. 2 3 3
3 3
B Bass Cl.
E Cb. Cl. (a2) Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt.
3. to st. mute
2 3
1 3 F Hn. 2 4 to st. mute 1 Tbn. 2. to st. mute
2 3
Euph. div. Tuba (Tri.)
Timp. to Tam-Tam
TAM-TAM
1
Perc. 2 SUS. CYM.
l.v. 3
105
to Cabasa
2.
169
168
170
171
172
173
174
Picc.
1 Fl. 2 dim. 1.
Ob. 1 2
1 dim. B Cl. 2
3 dim. B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. to st. mute 1 B Tpt. 2 3
(2.)
2. to st. mute
a2
1.
1 3 F Hn. 2 4
1 Tbn. 3.
2 3
3. to st. mute
Euph. unis. Tuba
Timp. to Xylo.
1
(Vibes)
Perc. 2
3
106
div.
175
176
177
178
Picc.
1 Fl. 2 (1.) Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. 1. Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2. (Bsn.1) (st. mute)
2 3 (1.) 1 3 F Hn. 2 4
1 Tbn. 2 3
Euph.
Tuba (Tri.)
Timp.
XYLO.
1 light Perc. 2
3
107
179
180
181
182
183
184
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (1.)
a2
Bsn. 1 2 2. 1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. st. mute 1 B Tpt. 2. st. mute
2. (Bsn.1)
2 3
Play
1 3 F Hn. 2 4 st. mute 1 Tbn. 2 3
Euph.
Tuba (Tri.)
Timp. (Xylo.)
1
Perc. 2 CABASA
3
108
185 186
187
188
189
190
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (a2) Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
(2.)
a2 1 3 F Hn.
a2
2 4
1 Tbn. 2 3
Euph. div. Tuba (Tri.) Timp. (Xylo.)
1 (Vibes)
Perc. 2 to Glock.
GLOCK.
3
109
191
193
192
195
194
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (a2) Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. (st. mute) 1 B Tpt.
(st. mute)
2 3 a2
a2
1.
1 3 F Hn. (a2)
2.
2 4 (st. mute)
mute out
1 Tbn. st. mute
2 3
a2
mute out
Euph. unis. Tuba (Tri.)
(Tri.)
l.v.
l.v.
Timp. to Chimes
1 to Toms
TOMS
to Vibes (3 mallets)
Perc. 2 (Glock.)
3
110
196
197
198
199
200
201
Picc.
1 Fl. 2 1.
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn. 1 2
1 E Alto Sax. 2
(Bsn.1)
B Ten. Sax.
(Bsn.2)
E Bari. Sax.
1 B Tpt. 2.
2 3 (1.) 1 3 F Hn.
(2.)
4. to mute
2 4
1 Tbn. 2 3
Euph.
Tuba (Tri.)
Timp.
1
Perc. 2 (Glock.)
3
111
l.v.
202
203
205
204
206
207
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (a2) a2 Bsn. 1 2
1 E Alto Sax. 2
(Bsn.1)
B Ten. Sax. Play
(Bsn.2)
E Bari. Sax.
1 B Tpt.
(2.)
2.
2 3
a2 1 3 F Hn. 2 4
1 Tbn. 2 3
Euph.
Tuba (Tri.)
Timp.
1
Perc. 2 (Glock.)
3
112
l.v.
209
208
210
213
212
211
Picc.
1 Fl. 2
Ob. 1 2 2:
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (a2) Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2.
2 3 (a2)
3. to mute
1.
1 3 F Hn.
2.
2 4
1 Tbn.
open 2.
2 3
Euph.
Tuba (Tri.)
l.v.
l.v.
Timp.
1 VIBES (3 mallets)
Perc. 2
(Glock.)
3
113
to Ratchet
215
214
217
216
218
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
(2.)
(1.)
to mute
(2.)
to mute
1 3 F Hn. 2 4
1 Tbn.
(2.)
2 3
Euph.
Tuba
(Tri.)
l.v.
to Timp.
Timp.
1
Perc. 2
3
114
219
221
220
223
222
Picc.
1
3
Fl. 2 a2 Ob. 1 2
1
3
B Cl. 2
3
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 3
E Alto Sax. 2
3
B Ten. Sax.
3
E Bari. Sax. (st. mute) 1 B Tpt.
(st. mute)
2 3 a2 mute
1 3 F Hn.
a2 mute
2 4
open 1 Tbn. 2 3
Euph. div.
unis.
Tuba
Final Tunings
TIMP. gliss.
Timp. CHIMES
“white note” gliss.
“white note” gliss.
l.v.
1 to Bongos
Perc. 2 RATCHET
3
115
224
225
227
226
228
Picc.
1
3
Fl. 2 a2 Ob. 1 2
1
3
B Cl. 2
3
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 3
E Alto Sax. 2
3
B Ten. Sax.
E Bari. Sax. open
mute out 1
marcato
B Tpt. mute out
2 3 (a2)
mute out
1 3 F Hn.
(a2) mute out
2 4
1 Tbn. 2 3
Euph.
Tuba
Timp. l.v.
to Tam-Tam
1 BONGOS (hands)
Perc. 2 to Sus. Cym.
(Ratchet)
3
116
229
230
231
232
233
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt.
2. open
marcato
2 3 3. open a2 open
a2
1 3 F Hn.
a2 open
2 4
1 Tbn. 2 3
Euph.
Tuba
Timp.
1 to Sus. Cym.
Perc. 2 SUS. CYM.
3
117
234
rit.
molto
235
236
237
= c. 160
Picc.
1 Fl. 2 a2 Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
Bach Chorale, BWV 433: Final Section (a2) 1 3 F Hn.
(a2)
2 4
1 Tbn. 2 3
Euph. div. Tuba
Timp. TAM-TAM
to S.D.
1 l.v. SUS. CYM.
Perc. 2 l.v.
to B.D.
3
118
l.v.
238
240
239
241
Picc.
1 Fl. 2 a2 Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (a2) Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 (a2) 1 3 F Hn. a2 2 4
1 Tbn. 2 3
Euph. unis. Tuba
Timp.
1 (Sus. Cym.)
Perc. 2
3
119
l.v.
242 243
244
245
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 (a2) 1 3 F Hn. (a2) 2 4
1 Tbn. 2 3
Euph. div. Tuba
Timp.
1 to Toms
Perc. 2
3
120
rit. 246
249
Picc.
1 Fl. 2
a2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 (a2) 1 3 F Hn.
molto
248
247
(a2)
2 4
1 Tbn. 2 3
Euph. unis. Tuba
Timp. S.D.
1
Perc. 2 B.D.
3
121
= c. 160 250
252
254
251
253
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
a2
a2
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 (a2) 1 3 F Hn. (a2) 2 4
1 Tbn. 2 3
Euph. div. Tuba
Timp. aggressive 1 Play
TOMS (Timp. rhythm cues)
Perc. 2
3 dampen immediately
sim.
122
256
255
257
258
259
Picc.
1 Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. marcato 1 B Tpt. 2. marcato 2 3 marcato (a2) 1 3 F Hn.
marcato (a2)
a2
2 4 marcato 1 marcato
Tbn.
a2 2 3 marcato Euph. marcato unis. Tuba
Timp.
1
Perc. 2 to Sus. Cym.
3
123
a2
260
261
262
263
264
Picc.
1 Fl. 2 a2 Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 a2 1 3 F Hn.
(a2)
2 4
1 Tbn.
(a2)
2 3
Euph.
Tuba
Timp. (E →D) 1
Perc. 2
3
124
267
266
265 Picc.
1
268
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
269
Fl. 2
Ob. 1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn. 1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 a2 rip. 1 3 F Hn.
rip.
2 4
1 Tbn.
V
2 3
VI
Euph. div. Tuba
Timp.
1 (Toms)
Perc. 2 l.v.
SUS. CYM.
3
125
PRESERVING OUR MUSIC I T I S I M P O R TA N T T O P R E S E R V E O U R M U S I C A L H E R I TA G E F O R F U T U R E G E N E R AT I O N S
Acidic paper has been in widespread use since the turn of the century, and has become the bane of archivists, librarians, and others who seek to preserve knowledge intact, because it literally will self-destruct as it ages. Some paper, only three or four decades old, already has become impossible to handle — so brittle it crumbles to the touch. Surely we do not want today’s music to be unavailable to those who will inhabit the future. If the music of the Renaissance had not been written on vellum it could never have been preserved and we would not have it today, some four hundred years later. Let us give the same consideration to the musicians in our future. It was with this thinking that Manhattan Beach Music in 1988 first addressed the needs of the archivist by printing all of its concert band music on acid-free paper that met the standards specified in the American National Standard for Information Sciences — Permanence of Paper for Printed Library Materials (ANSI Z39.48-1984). The standard was revised on October 26, 1992 to include coated papers; all of our new editions and reprints of older editions meet this revised standard. With proper care and under proper environmental conditions, this paper should last for at least several hundred years.
Technical notes: Paper permanence is related to several factors: The acidity or alkalinity (pH) of the paper is perhaps the most critical criterion. Archival paper (also known as acid-free paper, alkaline paper, and permanent paper) is acid-free, has a pH between 7.5 and 10, is tear resistant, has an alkaline reserve equivalent to 2% calcium carbonate (to neutralize any acid that might arise from natural aging of the paper or from environmental pollution), and contains no unbleached pulp or groundwood (no more than 1% lignin by weight). The specific standards summarized here are set forth in detail by the National Information Standards Organization in American National Standard Z39.48-1992. For more information, contact: NISO (National Information Standards Organization), 4733 Bethesda Avenue, Suite 300, Bethesda, MD 20814, http://www.niso.org/
This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper)
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M A N H AT TA N B E A C H M U S I C BOB MARGOLIS – PUBLISHER NEIL RUDDY – CREATIVE DIRECTOR COFOUNDERS
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Raising the Standards of the American Concert Band, and Bands all Over the World
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