Acadiana for concert band by Frank Ticheli, conductor score

ACADIANA C

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Recording Credits for Acadiana: Performance by Metropolitan Wind Symphony, Lewis J. Buckley, music director and conductor.

F RA N K T ICH ELI AC A DI A N A F O R

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1 Full Score

3 Eb Alto Saxophone 1

3 Euphonium B.C.

1 Piccolo

3 Eb Alto Saxophone 2

2 Euphonium T.C.

4 Flute 1

2 Bb Tenor Saxophone

4 Tuba

4 Flute 2

1 Eb Baritone Saxophone

1 Oboe 1

3 Bb Trumpet 1

1 Oboe 2

3 Bb Trumpet 2

4 Bb Clarinet 1 4 Bb Clarinet 2 4 Bb Clarinet 3 2 Bb Bass Clarinet 1 Bb Contrabass Clarinet 1 Eb Contra Alto Clarinet (in absence of Bb Cbs. Clar.)

2 Bb Trumpet 3 1 F Horn 1 1 F Horn 2 1 F Horn 3 1 F Horn 4 2 Trombone 1

1 Bassoon 1

2 Trombone 2

1 Bassoon 2

2 Trombone 3

2 String Bass 1 Timpani 2 Percussion 1 Xylophone, Chimes, Snare Drum, Wood Block (med.)

2 Percussion 2 Glockenspiel, Slapstick (lg.), Triangle (med. lg.), Suspended Cymbal (med.), Crash Cymbals, Tam Tam (very lg.), Washboard

2 Percussion 3 Vibraphone, Crotales (upper octave only), Suspended Cymbal (med. sm.), Bongos, Washboard

2 Percussion 4 Washboard, Tambourine, Suspended Cymbal (med.), Shaker or Maracas, Tom Toms (4), Bass Drum (lg.)

P R I N T E D O N A RC H I VA L PA P E R

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Manhattan Beach Music 1595 East 46th Street Brooklyn, New York 11234 Web: www.ManhattanBeachMusic.com E-mail: customerservice@manhattanbeachmusic.com Voicemail: 718/338-4137

M A N H AT TA N B E AC H M U S IC

F RA NK

T I CH ELI

WO R K S F O R CO N C ERT BA N D FRANK TICHELI’S WORKS FOR CONCERT BAND

ARE PUBLISHED EXCLUSIVELY BY MANHAT TAN BEACH MUSIC

Abracadabra (5 minutes, grade 3) Acadiana (17 minutes, grade 5) Movements 1 and/or 3 may be performed separately

Amazing Grace (5 minutes, grade 3) Amen! (3 ½ minutes, grade 2) An American Elegy (11 minutes, grade 4) This work is also available as An American Elegy for orchestra

Angels in the Architecture (14 ½ minutes, grade 5) Ave Maria / Schubert (4 ½ minutes, grade 3) Blue Shades (10 minutes, grade 5) This work is also available as Blue Shades for orchestra

Cajun Folk Songs (6 ¾ minutes, grade 3) Cajun Folk Songs II (10 ½ minutes, grade 4) Concerto for Clarinet and Wind Ensemble (21 minutes, grade 6) This work is also available as Concerto for Clarinet in an edition for Solo Bb Clarinet and Piano

Concerto for Alto Saxophone and Wind Ensemble (21 ½ minutes, grade 6) This work is also available as Concerto for Saxophone in an edition for Solo Alto Saxophone and Piano

Dancing on Water (8 minutes, grade 4) December Snow (2 ¼ minutes, grade 1) Earth Song (3 ½ minutes, grade 2) First Light (3 minutes, grade 1) Fortress (5 ½ minutes, grade 3) Gaian Visions (9 ½ minutes, grade 6) Joy (2 ½ minutes, grade 2) Joy Revisited (3 ½ minutes, grade 3) Korean Folk Songs from Jeju Island (10 ½ minutes, grade 4) Loch Lomond (6 ½ minutes, grade 3) Making Music Matter: Band Method by Frank Ticheli and Gregory B. Rudgers – Bob Margolis, Editor

Book 1: Beginning Band (Foreword by Richard L. Floyd) & Book 2: Intermediate Band (Foreword by Craig Kirchhoff ) view online: www.makingmusicmatterbook1.com & www.makingmusicmatterbook2.com

Nitro (3 minutes, grade 4) Pacific Fanfare (5 ½ minutes, grade 5) Peace (3 minutes, grade 1) Portrait of a Clown (2 ¾ minutes, grade 2) Postcard (5 ¼ minutes, grade 5) This work is also available as Postcard for orchestra

Rest (8 minutes, grade 4)

This work is also available as Rest for string orchestra

Sanctuary (12 minutes, grade 5) San Antonio Dances (9 ½ minutes, grade 4) Songs of Love and Life (23 minutes, grade 6) for Soprano and Small Wind Ensemble (18 players) 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 ½ minutes, grade 3) Simple Gifts: Four Shaker Songs (9 minutes, grade 3) Sun Dance (5 minutes, grade 3) Symphony No. 1 (31 minutes, grade 6)

Movement 1, “Of Youth,” Movement 2, “Of Wisdom,” Movement 3, “Profanation,” Movement 4, “Prayer”

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

The Tyger (6 minutes, grade 6) Vesuvius (9 minutes, grade 4) Wild Nights! (6 ½ minutes, grade 4)

W W W. F R A N K T I C H E L I . C O M – T H E O F F I C I A L S O U R C E F O R T H E M U S I C O F F R A N K T I C H E L I

ACADIANA Commissioned by

the Metropolitan Wind Symphony, Lewis J. Buckley, Music Director;

the New England Youth Wind Ensemble at UMass Lowell, Deb Huber, Music Director;

and the MIT Concert Band,

Thomas Reynolds, Music Director

A C A D I A N A

P R O G R A M

N O T E

The word, Acadiana, was coined by Cajuns in Louisiana with the intention of creating a hybrid of

“Acadia” (now Nova Scotia) and “Louisiana;” it refers to a region comprising much of the southern half

of Louisiana, where Cajun culture and heritage have thrived for more than two hundred years. My work honors that heritage, and completes the trilogy of Cajun-inspired works I have composed for concert band over a twenty-seven year period.   The trilogy:   Cajun Folk Songs (1989) - Grade III   Cajun Folk Songs II (1996) - Grade IV  Acadiana (2016) - Grade V

I  ­—   A T T H E D A N C E H A L L :

The first movement, “At the Dancehall,” makes use of two

different Cajun rhythmic features: un valse in deux temps (a waltz in two times), alternating between

triple and duple meters, and a witty, lighthearted two-step dance. Beginning as a playful game of catch

between instruments at the extreme registers of the band, and ending like an old 78 rpm record that has lost its spring-power, this movement is jazzily joyful and as wry & playful as anything I’ve composed for concert band.

I I  ­—   M E D I T A T I O N S O N A C A J U N B A L L A D :

The second movement (composed

in memory of the victims of Hurricane Katrina) serves as the emotional heart of the entire work. It is

constructed as a set of six variations (or meditations) on an ancient Cajun ballad, “La fille de quatorze ans.” The haunting melody first appears about 90 seconds into the movement, heard as if through a

distant mist of circling rain; it is played by piccolo and tuba four octaves apart from each other. Then the variations unfold, growing in volume and speed, finally bursting out in pandemonium, during which

several old Cajun folksongs make short, frenzied cameo appearances. The energy reaches a boiling point, finally collapsing on itself before slowly dissolving into a poignant and prayer-like coda, during which, without pause, in bursts the final movement:

I I I  ­ —  T O L A F A Y E T T E :

The finale is an exalted dance that combines original material

with my own personal variant on the Cajun folk melody, “Allons a Lafayette.” I’ve come across many versions of this wonderfully jubilant tune over the years. While my own version is fairly removed from

any of the sources I’ve seen or heard, it still upholds the tune’s basic harmonic structure and inherent joie de vivre. From beginning to end, the finale is an exuberant celebration of life, as is the trilogy itself.

A B O U T

T H E

C A J U N

P E O P L E

Cajuns are descendants of the Acadians, a group of early French colonists who began settling in Acadia (now Nova Scotia) around 1604. In 1755 they were driven out by the British, whereupon they resettled in various parts of Canada, including Québec, New Brunswick, and Prince Edward Island, and in the Northeastern United States in and around what is now the state of Maine; however, most Acadian exiles eventually resettled in South Louisiana, where roughly one million of their descendants now live.

R E H E A R S A L

S U G G E S T I O N S

M OV EM EN T 1: AT T H E DA N C EH A LL

Bars 1–54 — Un valse in deux temps. The most captivating aspect of the opening melody lies in its alternation between 9/8 and 6/8 meters. There should be no need to force artificial accents onto the melody to bring out these agogic shifts; just let them occur naturally. However, do pay attention to the contrast in style between the crisp, separated notes that comprise most of this melody’s setting and the answering slurred passages that occur at the end of each phrase.   About the Washboards: Percussion 4 is required to play a washboard in this movement, (while three percussionists play washboards in the finale). The washboard is not a typical percussion instrument, but it is readily available. Searching “musical washboard” online this year (2017), I found numerous websites, almost all offering the instrument for under $30. For ease of playing, the players are encouraged attach a strap or belt to the washboard so that it may be worn around the neck with the washboard hanging at chest level. This frees up both hands to play the instrument. Percussionists may experiment using triangle beaters, spoons, thimbles, or whatever they find works best as scrapers, and whichever allows them to most effectively play the instrument in a crisp, staccato fashion, never too connected.   Bars 55 – end — Cajun Two-Step Dance. A dramatic turn of events occurs at measure 55 with the introduction of a new melody and a new rhythmic feeling—a Cajun Two-Step dance with swung eighth-notes. The mood is now somewhat more easygoing than before, but just as joyous and optimistic. Strive to swing the eighth-notes with a natural, easygoing lilt, not forced or overly done. The melody is first announced by solo clarinet. The player is asked to bend the first note of the melody upwards towards the second note. The resulting effect should sound subtle and natural. (I would prefer no note-bend at all over one that sounds rhythmically awkward or insecure.) Notice also that the second clarinetist

does not bend the note. This, combined with the first clarinet, will produce a marked dissonance. Let it happen freely. Indeed, the half-step dissonance occurs regularly in this section and contributes greatly to the melody’s rugged and carefree profile.   At measure 79, a foreshadowing of the middle movement’s melody sounds in the brasses as a counterpoint to the woodwind melody. Balance these two melodies carefully, perhaps allowing the main melody (in the woodwinds) to receive slightly more prominence.

M O V E M E N T 2 : M E D I TAT I O N S O N A C A J U N BA L L A D

Bars 1 – 38 — Introduction. This movement, composed in memory of the victims of Hurricane Katrina, serves as the emotional heart of the work, and will likely require greater care and attention in rehearsals than the outer movements. It is constructed as a set of six variations — I like to think of them as meditations — framed by an introduction and coda. The opening thirty-eight measures establish the movement’s mysterious, dream-like quality, and set the stage for the ancient melody’s entrance at bar 39.   The bass line, entering at bar 7, is sounded by the string bass, bass clarinet, and contrabass clarinet, and cued in the tuba; however, the string bass color is, to my ears, the most important one for this bass line. It is strongly suggested that the director secure a string bass player rather than relying on the alternative options presented.   An important idea is first introduced by solo flute at bar 13. Soon thereafter (bar 29), the clarinets play it in a tight, three-part canon, thus blurring its original clarity and transforming it into its ultimate role as a cloudy, mysterious accompaniment figure to the Cajun ballad.   Bars 32 – 39 — Percussion and Brass Swells. The gently swelled chords, first appearing in the glockenspiel and crotales at bar 32, must be handled with care. The players should experiment with a variety of soft mallets to produce a shimmery, bowed effect, with almost no audible attacks. The chords should sound as though they are sustained, not audibly rolled.   At the other end of the register, the low brasses answer the percussion with their own gentle swells built on diatonic cluster chords. Here, too, subtlety is the main objective, but not to the point that the attacks sound insecure or timid. The players may play these passages into their stands, or with their bells slightly hand-covered — whatever will produce the desired distance, mystery, and beauty of sound.   Bars 39 – 153 — the Variations on the Main Theme. The first statement of the melody, occurring at

measure 39, is sounded in the piccolo and tuba four octaves apart from each other. The tune is reorchestrated with each succeeding appearance, all the while gaining in intensity and volume.   The tempo suddenly increases at bar 116 by means of a simple metric modulation, setting up a faster, more energetic mood for Variation IV. This sudden change in tempo may initially cause minor problems for some players, but they should become comfortable with it after a bit of practice. It may help to point out to the players that the bass line should sound exactly the same in the new tempo as it did in the old tempo. In fact, the most noticeable change at the modulation point should not be aural at all, but visual: the conductor’s beat suddenly changes from the slower tempo to the new, faster tempo.   Bars 154 – 195 — Variation VI (Climax). A molto ritardando ushers in the final, climactic variation. Although the tempo is now slower than before, the intensity is substantially greater, more passionate and chaotic. Horns (with bells up) and trumpets sound the main melody while trombones wail as loudly as possible, smoothly executing a slow, steady, siren-like glissando. Tuba (supported by Euphonium) roars violently, ripping up to the top of its register, trying to overpower everyone and everything. (I refer to these tuba rips as “elephant rips,” as they remind one of an elephant’s loud trumpeting sound.)   Beginning in measure 160, a series of ancient Cajun folksongs make cameo appearances. These tunes combine and compete with other material as the tension builds like a pressure cooker, finally collapsing into a huge sustained brass chord at measure 192. As the chord slowly recedes, it gives way to a final, prayer-like statement of the main melody, sounded in solo horn and echoed by solo euphonium.   Bars 217 – end — Transition. A brief transition connects to the final movement without a pause. This transition begins with a distant foreshadowing of the finale’s main melody, first stated in the muted horns, then muted trumpets. The tempo accelerates and the volume builds as the music sweeps forward, bursting into the final movement.

M OV EM EN T 3 : T O L A FAY E T T E

There are many things to love about the old Cajun melody, “Allons a Lafayette” — its unabashed simplicity, its exuberance, its optimism — but for me, its most appealing quality is its quirky harmonic construction. It begins not on the tonic chord, but on a sustained sub-dominant chord. As a result, the ear is pleasantly tricked into thinking that the sub-dominant is in fact the tonal center…that is, until the melody’s second half appears, where the real tonal center finally becomes firmly established. It’s one of those rare little harmonic twists that can sound at once natural yet surprising.

Three percussionists begin this movement playing on washboards. In truth, the assigned number of three players is only an approximation. One cannot be certain whether two, three, or four or more players would be the ideal number. It may depend on the performance venue, or the overall size of the ensemble. In the end, the washboards should serve as a lively accompaniment (along with the trumpets) to the main melody, and should be heard clearly in the overall texture. The overall mood should be quite celebratory. As before, the washboard rhythms should be crisp and distinct, never overly legato.   A Word About Original Material used in the Movement. Although the movement relies heavily on my own personal variant of this delightful Cajun melody, there are also many passages where the melody is absent, replaced by original music (e.g., mm. 17–48, mm. 82–93, etc.). These sections provide contrast from the melody, but without ever turning away from the overall feeling of heightened joy. Strive to preserve that mood throughout.   Of equal importance is the syncopated bass line that permeates the movement. The rhythm of this bass line must be played with rock-solid accuracy in order to provide a firm foundation for the other ideas to dance upon. It also contributes greatly to the movement’s exuberance and dance-like energy. As in the second movement, the string bass is crucial. The bass line is once again present in other instruments, but the color of the string bass, to my ear, is the most crucial component to its success. Using one string bassist is far better than using none, and two would be even better than one!   Bars 128 – End — Coda. An unexpected meeting of Cajun melodies from the finale and first movement occurs here, sounding in full-throated counterpoint with each other and ushering in the final climax. A few brief measures of quiet, reflective music attempts to dampen down the unrelenting energy (mm. 145–147), but in the end the boisterous energy and ecstatic mood are victorious.

F R A N K

P A S A D E N A ,

T I C H E L I

C A L I F O R N I A

Commissioned by the Metropolitan Wind Symphony, Lewis J. Buckley, Music Director; the New England Youth Wind Ensemble at UMass Lowell, Deb Huber, Music Director; and the MIT Concert Band, Thomas Reynolds, Music Director

ACADIANA

FOR CONCERT BAND 1. At the Dancehall

FRANK TICHELI

q. = 156 Crisp and Distinct

                                                              Piccolo            f                                                                Flute 1          f                                                               Flute 2           f                        1                                                             Oboe  2  f                                                             Bb Clarinet 1     f                                                            Bb Clarinet 2          f

Bb Clarinet 3

Bb Bass Clarinet Bb Contrabass Clarinet

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 



                                                                                                                                                                               



Tuba

Percussion 1



  

   



 



        f        

 







 

 

      

 

 

 



 

 

 

 

    

 

 



 

  

 



 



 



 

 

 



 

 

 



 

       







       

 

      

 

 

 



 

 



 



    

 

 



 

  

 



 



 



 

 

 



 

 

 



 

       







       

Copyright © 2017 Manhattan Beach Music - All Rights Reserved - Printed and engraved in the United States of America ISBN 1-59913-174-9 (complete set) ISBN 1-59913-175-7 (conductor score) Visit www.Frank Ticheli.com for the latest information on the music of Frank Ticheli Purchase music, download free MP3s, view virtual scores and more at www.ManhattanBeachMusic.com

 

      

 

 

 

 

 

 

 

      

 

 

 

 

 

 

 

 

 



 



 

 



 



 

 



 



 

 



 



 

         Fl. 1    8

Picc.

    

Fl. 2

Ob.

9

                                                          4                                                               4                                                           4

                                                                                           4                                    

1 2

Bb Cl. 1

                                                    

Bb Cl. 2

     

Bb Cl. 3

      

                                                    

 

 

 

Bb Bass Cl.

Bb Cb. Cl. 1 Bsn. 2



   

  Eb Alto Sax. 1   Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

1 Bb Tpt. 2 Bb Tpt. 3

     

 

      



f

4

            



          



4

      

f



 

3 4

  



 

1 Trb. 2

   



Trb. 3

   



Euph.

  



Tuba

   

   

Timp.



 

 

 

 

  

        

       







 

 

 

  

 

 

 

 



  

 



               

        

  

Str. Bs.



 



                                                                                            

1 F Hn. 2

F Hn.



 

                                                         

       

  

f



f

 

 



 

                  



     



 

        

 



 



 



 

 



 



 



 

 



 

 





 



 





 



 





 



 



 



 



 



 

 



 



 



 



 



 



 



 



 



 



 



 



 



 



 



 



 



 



 



 



 



 



 



 





 



 

 



 



  

 



  

 

 



 

 



 

 



 

 





      



st. mute

 

   



(Xylo.)

Perc. 1



(Slpstk.)

Perc. 2

 

Perc. 3

   



Perc. 4

  



(Vibes)

f

  

     ff     

      





 



 



 



 

 



 



 



 



 

      

            WASHBOARD                      f

 



 

    

  

 

               

                                2

 



  

      



 

         



                               

   Picc.       Fl. 1    15

    

Fl. 2

Ob.

  

Bb Cl. 2

  

Bb Cl. 3

Bb Cb. Cl.

Bb Ten. Sax.

Bb Tpt. 3

F Hn.

1 2

3 F Hn. 4

Trb.

1 2

Trb. 3

Euph.



         



    

 

  

 



 



        



           

a2



f

  



           

    

 f

  

   

 

        

18

               

                                            

      

 

 

 

   

  

    



 







 

   

    





 



    

     

a2



 

 



    

  f

a2

f

   

                           

ff

   

              ff a2                      ff                     ff               ff       

     



       

  

 



       

 





     



        

       ff

 

 

 

  

          

















     



    ff



  



   



ff

   



ff





 

    



   

ff



 













 

 

1.



ff

 

 

 

    

 

    

     

 

   

    

 

f  

 



ff







      





    

        





    

        

    



   

 

    

1.



    



f



   

    











      

p





p



 p



 



   









 

  















 













 









 







 

  f



 p







 













 





 













 













 



 



 

  

      

 



f

  dampen  

 

           

 

ff

ff





  

                        Perc. 4     

 ff

  



  



 

 3

  

 

   

  

 

 

     

  





  



 

  

  



ff









f

Perc. 3

 

GLOCK.

Perc. 2

  



   Timp. 

Perc. 1

 



  Tuba   Str. Bs.

 

 

 Eb Bari. Sax.    1 Bb Tpt. 2

 



 

  Eb Alto Sax. 1   Eb Alto Sax. 2

 



       

Bb Bass Cl.

1 2

 

 

                 

1 2

Bb Cl. 1

Bsn.

 





     

  Picc.   23

Fl. 1

Fl. 2

 

 

     

(a2)

1 Ob. 2

                            

                  

   



26



                         

                 Bb Cl. 1                    Bb Cl. 2              Bb Cl. 3                Bb Bass Cl.    f     Bb Cb. Cl.    f  1           Bsn.  2 

   Eb Alto Sax. 1  Eb Alto Sax. 2

Bb Ten. Sax.

 

  1  2

Eb Bari. Sax.

Bb Tpt.

Bb Tpt. 3



     

(1.)

ff



(a2)

  

3 F Hn. 4



1 2

Trb. 3

Euph.



     

Tuba

  

Str. Bs.

 

  Timp. 

   

(Xylo.)

Perc. 1

Perc. 2

Perc. 3

Perc. 4





 

                



ff

 





1 F Hn. 2

Trb.

     

f

 

 

 





    



      

 



    







 





 

 

 



 





 

 

 

 

 

 

  

  





  

                 





















   



 

            

 



 

 

   

   





  









  



















 

 

      

     

open       

 



f

 

f

 

  f       

     f



f





(Glock.)

 





(Vibes)



(Washboard)

 







    



2.

     ff 



ff



   

  

  





 



  

  

    

   ff   ff

ff



    

f





  

 



 

 

 

 

 



    







    



    



 

 

  ff

   

          



    





 

p



   



f

p

 

    

 





 

     



 

a2

    

 



    

p

  





















 





 



f





a2



 p

























  



 



 

 

  

ff





  

ff





                             4

 

    

    









 







  



 

   

    









 



 

  

1.



f







   

 



 











   

     



               

          

  Picc.   31

 

Fl. 1

  

1 Ob. 2

Bb Cl. 1



Bb Cl. 2



Bb Cl. 3



Bb Bass Cl.

Bb Cb. Cl.

1 2



 

Fl. 2

Bsn.





1 2







Trb. 3

Euph.

Perc. 3

Perc. 4



   

 

     

 



 

 

   

 

 

 

             

 

               

 

  

  







 

           



      

(a2)

 



























 

a2



ff





 













 

   

Bringout 

 

       



f

f

4







     



mf



mf

    



     



mf













 





 f

 

  

   



 



 

 

 



 



 



 

 



 



 



 

 



 



 



 

 



 



 



 

 



 



 

 



 



 

         

 

 



 



 



 

 



 



 



 

                                  mf a2 Bring out                     f Bring out                      f                 







mf

 

 

                                     



 



 



Bring out

mf

 

  



4



 



 

ff

 



mf



 

 



     





 





       

ff





    

mf

ff 4



a2



4         



  



        

 

 

                                  mf Bring out                               4 f                     4

 



 

Bring out

                      mf                             



  



f



   





 

        

34



 





 

1 2

Perc. 2



  

3 F Hn. 4

Perc. 1







Bb Tpt. 3

Timp.

 

 



  1  2

Str. Bs.

 

 



Eb Bari. Sax.

Tuba

 

   

Bb Ten. Sax.

Trb.

 



  

Eb Alto Sax. 2

F Hn.

 

   

   Eb Alto Sax. 1 

Bb Tpt.

 

              ff           

                           5



 



 



 

 



 



 



 

 



 



 



 

 





 

 





 

 





   

 

 



 



 



 

 



 



 



 



 



 



 



 



 



 



 



 



ff





 

                    Picc.       f                                Fl. 1         f                                Fl. 2         38



f

                                 (a2)

1 Ob. 2

f



 



 



 

  

  

     

            

            

            



                    



 

Bb Cl. 1

 



 



 

Bb Cl. 2

 



 





Bb Cl. 3

 



 





 

Bb Bass Cl.

 



 



                f                

                  mf        

Bb Cb. Cl.

 



 



1 2

   



 







  

 



 





 



 



 



 

Bsn.

  Eb Alto Sax. 1   Eb Alto Sax. 2

 

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt.

1 2

  

  

3 4

  



 



 

a2 Bring out

    

1 Trb. 2

  

f Bring out

    

Trb. 3

f

  

Euph.

  

Bring out

Tuba

      

f

Str. Bs.





  

  Bring out   Timp.  

Perc. 1

Perc. 2

Perc. 3

  

   

   

   

 Perc. 4   

f

           

    

 





 

 



 





 

 



 





                f                 f

    

 

   

 

    

 



 



 



 

   

 



 

 



 



 



 



 



 



 



 





 

 

        

    

    

  

 



  

 



 





mf







                 







 

 

 











 



                 mf        

 







                    

1 F Hn. 2



f

                       

Bb Tpt. 3

F Hn.

 

 

43



  

a2

a2

a2



    

f

     f      f

f



       



                mf                         

 

 

 

f

             

 



 



 



 



 

 



 

 



 

 

 

 



 



 

               



 



 



 

 



 



 

 



 



 

 



 

 



 

 



 

 

 



 



 



 



 

f



 







 







 







 







 







 





(Vibes)    



 



   TAMB.  

6

                   

 

mf

(Xylo.)         

 

f

f



f

     



  

   mp

 

45                                       Picc.                                           Fl. 1                                            Fl. 2       

Ob.

a2                                          

1 2

                        

Bb Cl. 1

Bb Cl. 2

 

Bb Cl. 3

 

Bb Cb. Cl.

 

1 Bsn. 2

   

Eb Alto Sax. 2





 



  

   



  



  



  

 

  



    



    



    



    



               

            

                          

mf

 

f



                                  mf f                                             

Bb Bass Cl.

Eb Alto Sax. 1

 



 



 

   



 



 





 





mf

 

 





  

mf



f

             mf

        



f

                         



mf

 



 

 





Bb Tpt.

 



1 2

3 F Hn. 4

 



 



  



 



    

1 Trb. 2

  

Trb. 3

mf



  



Euph.

  

Tuba

   

Str. Bs.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

   

   

      

  f

              



mf

 



 



 



 





 



 



 



 



 



 



 



 



 



 



 



 



  

 



 

 



 

 



 

 



 



 

 



 



  

 



 

 



   mp

 



            



 



 

 

 



mf

 

   

  f

              





   

   mp

7

  

(Glock.)

f

  f



 



 

          f

 

f

 

f

  

  

 

             

 

 

 

 



 



 

              mf f              mf f                    mf f         f     



 

 



 

 

 



                                 

                        

     



f a2

                   a2

 

  

                     

  

 

 



1.                                 1                     2

Bb Tpt. 3

F Hn.

 

 

 

                               mf                                         Eb Bari. Sax.           Bb Ten. Sax.

 

  

                                     mf f                                 a2

 

q. = q

         

  

          



 



 

  

    



 



  Picc.    52

(q = 160) Swing 8ths







55  











Fl. 1

   







 











Fl. 2

  







 











1 2

  







 











Bb Cl. 1

  





Bb Cl. 2

 





Bb Cl. 3

  

Ob.

f Solo

    f

   

Bb Bass Cl.

Solo      









mf

 



 







1 Bsn. 2

   







1.  







 







 

  Eb Alto Sax. 1     

Eb Alto Sax. 2

  

Bb Ten. Sax.

 Eb Bari. Sax.    Bb Tpt.

1 2

f

     

Bb Tpt. 3



F Hn.











  



 





  



















mf

p



 













 























 











   

    



 













 















mp

mp

  



 





 













 

















 





















mf



 

 



























 















 































mp

  

 





  8

1. mute









mp 3. mute

mp





p













mf

mf

mf

  

   



 

 (Vibes)     

 Perc. 4   







Tuba

f



 

   

Perc. 3







Euph.

   









Perc. 2



f







   







Trb. 3

Perc. 1



mf





   Timp. 



 

       



mute out

   



   

   f



  

Str. Bs.

f

  

mf



   



mf

  

   

 

1 2

Trb.

mp

f

f

    



   

3 4



mp one only

mf

      



      

1 2



 



  



(a2)

F Hn.





  

       

f

mp

Bb Cb. Cl.



  

         mf

 



  

  p



p

p

  





  

SUS. CYM. (sticks)



mp





  Picc.   60

Fl. 1

Fl. 2

Ob.

 





 









Bb Cl. 1





  



  

   

mf



Bb Cl. 2



 

 

1 2



f

mf



   







     

fltg.

f fltg.

ff

f

ff

     



      

    

f

63



   







   



















































Bb Cb. Cl.















 























































Eb Alto Sax. 2

Bb Ten. Sax.



Eb Bari. Sax.



1 Bb Tpt. 2

  

Bb Tpt. 3

F Hn.

F Hn.



 

1 2

 

3 4







  









1 Trb. 2

 

Trb. 3

 





Euph.

 





Tuba

 



 



Str. Bs.





  Timp. 

Perc. 1

Perc. 2

Perc. 3

Perc. 4

    













 

mf



mf

 





       























































   

TRIANGLE



 





 

  



mp

f





mp



9















   





  





a2

open



3.

mf open



  



  mf  



   

mf

 

pp

  

 

mf









 









































mf



   



SUS.CYM. (stick)







1.

mf





 





f



      









 





SN. DR. (brushes) (opt. swirl, ad lib.)

mf





pp









 



                    









  

 



  







   



mf

 





mf

 mf

       

(st. mute) a2



f

 







mf

    1.

 





  

   

f



Bb Bass Cl.

Eb Alto Sax. 1

mf







   

  



Bb Cl. 3

1 Bsn. 2















  Picc.   68

Fl. 1

Fl. 2

     

 

               (1.)

1 Ob. 2







      







     



     













Bb Cl. 3









Bb Bass Cl.









Bb Cb. Cl.

Bsn.

1 2



   

  Eb Alto Sax. 1  Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt.





 



 1  2

Bb Tpt. 3 1 F Hn. 2





(1.)

(a2)

3 4

1 Trb. 2 Trb. 3





















  f

F Hn.





 



  

 

f a2

 

mf









    

f



 







 

















Perc. 2

















Perc. 4





(Sus. Cym.)



















  

  













  

  

f

f

a2



       3

  

3

3





f

             3

3

  

       

f



3

f



3





  

    

     

3

3

  

3

     

 

f











mf a2















f







3

3

3

3

f



  



















 

 









mf





3

3

f



  

mf

 































  





   





3

 





3

3 3 3 3     3          





 









3



 10

3



  

mf

3





(Sus. Cym. - sticks)



3

3

 

mf



           3                  3 3 3 3 3



1. open

  

 

3



        

    3                 3 3 3 3

f

3

3

 

                                  



3

 

   

       

 

3

  

       



f

3

3

  

      

  

                          f  3 3 3 3               3     3 3 3                 

   

 

Perc. 1

Perc. 3



 mf             



 







(Sn. Dr.)



     

 Tuba     







Timp.



  



Str. Bs.



2. (st. mute)



Euph.



   

 





      

 



















f tutti







  





Bb Cl. 2



tutti



Bb Cl. 1

71





 

mf

  mf  

mf



  Picc.  









 











 



















a2

75

Fl. 1

Fl. 2

 

1 Ob. 2



Bb Cl. 1

Bb Cl. 2



Bb Cl. 3



Bb Bass Cl.



Bb Cb. Cl.



Bsn.

1 2



  



        3

3

       

Bb Ten. Sax.

Eb Bari. Sax.

1 Bb Tpt. 2 Bb Tpt. 3

F Hn.

F Hn.

1 2 3 4 1 2

Trb. 3

Euph.

Tuba

Str. Bs.

Timp.

Perc. 1

       3

 

3

3



  

mf

a2

 



     



 p

   

     f



3

3







3

p



   

p





  

3



 

   



  



  

  

        

     



  

  





ff









    























 

 

  

p



3    3  

 

 

 

   

f













 









































 

 

   



  

   

11

 f

 f 

 



 

    

















3

3

3

 

3

3

 

3

 

 

f

  

f

 f

 f

   

        











                





 







 



 





  

3

 

3

 

3

3



   















3

3

3

3



 









 

  

   





 

3

3

ff

ff



   

 3

3



3

 

       

      3



 

        

3

3







3





f



3

   





 

f



3

f





mf

f





f

 



3

ff

open





3

3



mf



3

3

3

3

3

3

3

ff



 

            

  



 



ff

ff

   





         

  



 

         

ff

        

  

3

p

SUS. CYM. (yarn)







 

   







p



 3 3              3             

   

  

Perc. 3

       3

  





  



     

3

 

  

  



 

ff

ff

   



mf

open



ff



          ff 3 3 3    3  3 3 3                     3 3 3 3 3  mf ff               f       3    3    3          3 3 3  3 3 3 3

  



 

Perc. 2

Perc. 4



  

  

     

   ff  

      



mf



          

mf

Trb.

a2



   Eb Alto Sax. 1  Eb Alto Sax. 2

   3

p

 

  

       

   



  

  

79

   ff 

81            Picc.              Fl. 1  

           

Fl. 2

                     (a2)

Ob.

1 2

Bb Cl. 1

Bb Cl. 2



Bb Cl. 3



Bb Bass Cl.



Bb Cb. Cl.



               

1 2



Eb Bari. Sax.

1 Bb Tpt. 2

F Hn.

Tuba



Perc. 2



Perc. 3

Perc. 4

  

 



  



 

        





        





 



























  

























      



  3

3





 





 

3





3

3

3

3











 

 

3

 3



   

 

3

3

3







aggressive, heavy swing

                                

     

           

3



3

 

3

 

3

 









 

3

         

aggressive, heavy swing



 

                   aggressive, heavy swing       



  

3





aggressive, heavy swing

      

 

 

3

       







     Timp.   



                     





Str. Bs.

Perc. 1

  

 



  

       





        

 

    







   

Euph.

  











  

Trb. 3

  



       

   









  

1 Trb. 2

    



       

 

                      



   

3 4

              











1 2









(a2)

F Hn.

  

     



 















Bb Tpt. 3











Bb Ten. Sax.



     



          Eb Alto Sax. 1  Eb Alto Sax. 2







   







(a2)

Bsn.







3



3

  

3

  

3

3

     

3



 









3

3

3





3

  

3

 

3

3

3

 

3

 





3





3





 

3

3

3

































































  mp



  f





















 

  

 







       



 

  





mf



3









 

3

 

 

3

 













     mf



          3

    



                    



 



       

 

3

  







      

  

mp



































(Sus. Cym.)

 

p

   

f

 12

  Picc.  

87

Fl. 1

    f

Fl. 2 1 Ob. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

Bb Cb. Cl.

1 Bsn. 2

     









Bb Ten. Sax.



Bb Tpt.

1 2

Bb Tpt. 3

1 F Hn. 2 3 F Hn. 4















    



mf































mf

            

         







p







p

   

 



mf





      

  

 



      





Trb. 3





    



   

    



    

mf





























                   

   

     

    

   



















   

     

   





























   













    

















   

    

p

   

p

p

       p

            p

Perc. 1



Perc. 2

































    mp









































   



  13

mf







  



mp

 mp











 

a2



mf



 f

  



 



mp



mp

 



mf





 VIBES     p

    

1.



mf



   



       p     Str. Bs.     p  Timp.    

Perc. 4

    

    



Tuba

Perc. 3

1. mf

   



p

Euph.

mf

  

p

1 Trb. 2

mf





mf

    



        



p



   



   

      

Eb Alto Sax. 2

f

 



   

ff







   

f

   Eb Alto Sax. 1 

Eb Bari. Sax.



 



























   Picc.   93

 

Fl. 1



   

Fl. 2

   

(1.)

1 Ob. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

Bb Cb. Cl.

1 Bsn. 2



   





Bb Ten. Sax.

Eb Bari. Sax.

        



    



    

   



           























      mp

      mp

       mf        mf









 

























 



 







  

          





(1.)







   

(a2)

        

mf



 



Tuba

  



 

  

mp

        mp

              



       mp



 

 

1.





  



mp



 







 

mp







 



mf



          

mf

 



 

          





  



































































                                   

       







  f



  

   

                    



             

                             





       

       



                   

       





























SN. DR. (light sticks)



mp

    



   





 

   







    









   



    





























14



   

   









         

a2 mute

 





 





 









mp











Euph.

Perc. 4







Perc. 3







Perc. 2







Perc. 1





3 F Hn. 4

Timp.







Str. Bs.







Trb. 3







1 Trb. 2





1 2

F Hn.







Bb Tpt. 3





     mf 

1 Bb Tpt. 2





  Eb Alto Sax. 1  Eb Alto Sax. 2

94

 



   Picc.   100



 

Fl. 1

 

Fl. 2

 

1 Ob. 2

101



     

f





     























      



        f



                                   



Bb Cl. 2



                                   

Bb Cl. 3







Bb Bass Cl.



Bb Cb. Cl.

1 Bsn. 2





 



  Eb Alto Sax. 1  Eb Alto Sax. 2



Bb Ten. Sax.



Eb Bari. Sax.



1 Bb Tpt. 2





 







Perc. 2

Perc. 3

Perc. 4



  

mp





















mf



































  



1. cup mute

  

f

a2





  

  

  







     

                      

   

mf

      



            

mf







                                    mf

      

       

          

    

1.

mf

      





       

        



      

mp

  



   

mp       



  







    mf

  



   



              

                                 

mf

   

              

 



















  



SUS. CYM. (sticks)



mf



  



















   



 

  



  











   



 

  



  



























15

  









 

     



  

  

         





   







    

     



   

 

                       









       













        







      Tuba    

Perc. 1







          

  

mf







Timp.

 

        









 



     



3 F Hn. 4

Str. Bs.









 

 











Euph.

 





Trb. 3



     



fp

 



                     mf               

1 2

1 Trb. 2







F Hn.





mf



Bb Tpt. 3

  



   



Bb Cl. 1



     Picc.    107

  

Fl. 1

Ob.

       

 

Fl. 2



Bb Cl. 1



Bb Cl. 2





Bb Cl. 3



  

Bb Bass Cl.



Bb Cb. Cl.

 

  

 

(1.)

 

 

  

  

 

              Eb Alto Sax. 1             Eb Alto Sax. 2  Bb Ten. Sax.



Eb Bari. Sax.



Bb Tpt.

1 F Hn. 2

F Hn.



 1  2

Bb Tpt. 3

3 4

1 Trb. 2 Trb. 3

Euph.



  



Perc. 2



Perc. 3

Perc. 4

  













 

  

mf









(Sn. Dr.)

   

   

   

 



    



 



    



                







  

 

           



  

   



    2.





        





















            

  



  

 





             

        

  





     

 

 1.

















































































   

mp



    











(Vibes)

   

mf SUS. CYM. (stick)



mp







    16





 

 

 









  



 



a2 open

 

 

       

mf



 

  

             







mf









f

         



      





      mf



mp

mf

    



                     

  

  



1.



  

f



    



    

                  

      

      

       



          

     

           

 



 mute out     

mf





           





 



a2

   

    





mf



mf



                            

  



   







      mf      mf     











mp

mute out

mf

  



         mf     mf        mf



 

    mf    



  







         







         

Perc. 1







  





         (a2)









(1.)

 









     Tuba       Str. Bs.  Timp.







1 Bsn. 2



                

1 2

109









V.



  Picc.   114

Fl. 1

 

Fl. 2

 

Ob.

1 2

     







     



      







Bb Cl. 2













Bb Bass Cl.



Bb Cb. Cl.



1 Bsn. 2

Eb Alto Sax. 1

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt.

1 2

Bb Tpt. 3

      

 

  





 



      

 



   

          





  

    

        

 

      

         

Euph.

 

 Tuba   Str. Bs.

Timp.

 

  

 













mf



 



 



  

   







 

















        

 













     mf    

              



mf

mf

   



mf









       

  

               

     

       

       mf 

                                 

                                    



 



     mf























































     mf

  



   

            

   







             













































     mf

Perc. 1

















Perc. 2



























Perc. 3

Perc. 4

  





















mf



 17











Trb. 3



 



3 4

f



      



 











    



 



     

 



F Hn.

 

     mf





     



                

     

         

mf

mf





 

1 2

 

    

     mf





mf



 

 





F Hn.

1 Trb. 2





    







            





      

Bb Cl. 1









Bb Cl. 3

116







p



 

  Picc.   121

     

Fl. 1







 

f

 f



  

  

 









  



 







 













  

f

 

mf



 



mf

          

f

   

mf

   

f

f

  





   

f

f

f

  



   

mf

   

f

f







  

  



f

   f

  

f





  

  







Bb Cl. 2









Bb Cl. 1







      

1 2

 

     

Fl. 2

Ob.



123



f

          





  

Bb Cl. 3



Bb Bass Cl.

























 













































Bb Cb. Cl.

1 Bsn. 2





      Eb Alto Sax. 1       Eb Alto Sax. 2         Bb Ten. Sax.            Eb Bari. Sax.       Bb Tpt.



                             

             1                2   mf

















Trb. 3

 





      

Euph.

 





 





 





















Tuba

Str. Bs.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4





 

mf

  

   

(Vibes)



 





mp

       mp        mp

       mp

                    

 (Sn. Dr.)



mp

 



      



  

                     





   

 18









  







mf









  

   











 







 

 

mf



mf

mf              

              



3.

   mf                                      



 

     



mf



  

 



mf





 

f



   

  

f





 



 

mf     

      



  

f

mf

 



   f  

1.  

             





  

      







      





                            



1 Trb. 2



  



3 4



  



F Hn.



  





1 F Hn. 2





  





Bb Tpt. 3







          

                             









  











 



  





 

  Picc.   128

 

Fl. 1

Fl. 2

1 Ob. 2

Bb Cb. Cl.

1 2

 











Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt.



F Hn.

F Hn.















  

 

 









  

 





 

 







 











p





SUS. CYM. (yarn)



  

p

 





  





3

f

3



 

 



 











f



f







 

3

 

3





3

 

3

 

 



 



 







3







3



   



 



   

  

 

 





3

3

 

 

f





   

f

         

  

f

f

19



3







 

     f SUS. CYM. (yarn)  

f





f







 





3

  

 

 



 

f



f





  









  

 

ff





          

       









                                     



a2

            

  

ff

a2







ff



               

f

 

          

       



  

  





       

 f  



    2.

  

 

ff





  

       







ff





 



ff

mf





ff

ff



  

 



       









       



   





 

       



mf





ff







       





   

 



  



  



   







   



ff

 



 

ff









ff

 

 



  







   

ff

 





        







         

  





1 2

  







Perc. 4







Perc. 3



 

3 4

Perc. 2







Perc. 1

       



  





Timp.

 





1 2

Str. Bs.

       





                   Trb. 3           Euph.          Tuba    

Trb.

 

                    

     



 1  2

Bb Tpt. 3

   



   Eb Alto Sax. 1  Eb Alto Sax. 2

 





 



Bb Bass Cl.

 



Bb Cl. 3









Bb Cl. 2



 



Bb Cl. 1

Bsn.



131



 







 































 

134    Picc. 

 

Fl. 1

1 2



Bb Cl. 3



Bb Bass Cl.



Bb Cb. Cl.

 

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt.

1 2

Bb Tpt. 3

Perc. 4







 

 





 



  



(a2)



(a2)

 

 

  



 





 

f

3

3





 

3

    

3













  

















          



          



          

  

 

       

              

        

    











3



     





 







 

 



  









3





3

 







  

 3

3



3





3

































  

 









 

f



 





3



3



  

   

 





mf

   

 











 

























 



        

 

  

 



 













 





 

   







  

mf



 

   





 

  











 





f











         

3

 









f



       

3

   

1.



         





               

aggressive, heavy swing           





       



3





        







        







        

 



       



  



       

        





   





    f

 

         

ff

139





           aggressive, heavy swing

    





       

ff

1.



  

ff aggressive, heavy swing



  



ff



 

 



aggressive, heavy swing                           



(2.)



       

 



 

       

 





       

   



 

       







  

 



mp

Perc. 3





     Timp.   

Perc. 2





Str. Bs.

Perc. 1

  







Tuba

 





3 F Hn. 4

Euph.



               



Trb. 3

 

       

1 F Hn. 2

1 Trb. 2



  

  Eb Alto Sax. 1  Eb Alto Sax. 2

 

       



Bb Cl. 2

1 2



  

Bb Cl. 1

Bsn.



 

Fl. 2

Ob.





 

mp







   

























20

  Picc.   140



      

Fl. 2

       

1 2

legato



Bb Cl. 1



p legato



Bb Cl. 2



p legato



Bb Cl. 3









Bb Tpt.

1 2







     



 









 











 

      









 

  

p



 







   dim.







 





  





  



















  



 

   dim.







 





  





  







 





  



 



 

 





 



  

  























 



 

















    

div.

dim.







p



div.



     

 



div.



 

















  

p

dim.

legato



 

 













   

mf







































 

































Bb Tpt. 3











   





 

   

     





   

     





molto rit.





Bb Ten. Sax.

Eb Bari. Sax.

 



        Eb Alto Sax. 1  Eb Alto Sax. 2





p

 









legato



Bb Cb. Cl.







p



Bb Bass Cl.

1 Bsn. 2



      

Fl. 1

Ob.

rit.



legato

 

























p

F Hn.

1 2

















F Hn.

3 4

















 mute out 



1 Trb. 2

Trb. 3

Euph. Tuba

Str. Bs.

Timp.



1.



st.mute

mf





 VII     

 



 





























     

  











V

 2. st.mute











mf



3

(open)







mf







 

Str. Bass cue





 





If no low Eb, take passage up and octave.



to st. mute

     3

mp

arco

mf





Perc. 1

















Perc. 2













































Perc. 3

Perc. 4

 



21



 

  Picc.   147

 

 

Fl. 1

 

 

Fl. 2

 

1 Ob. 2



Bb Cl. 1

  

    ppp     ppp   

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

1 Bsn. 2





    

  Eb Alto Sax. 1  

Eb Alto Sax. 2

Bb Tpt.

1 2



   

  

Bb Tpt. 3

F Hn.

1 2



F Hn.

3 4



Trb.

1 2

 

Trb. 3

 

Euph.

 

Tuba

 

Str. Bs.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4



 

    

  

ppp



                         

   

 

 



 



 

 



      





 







          



   



















mp





   

          



 





 







   

    







   









 



 











































1.



Solo





























  

mp

 

  



 

  



 

        





   mp  

mute out

   























































































 

mp

 





 























22

 

mp





mp

mp





 

  



 



Solo







mp



TRIANGLE



  









 

          

mp

1. Solo st. mute









Ob. 1 cue











Solo







   mp    1.







mp

 















 





Bb Ten. Sax.

Eb Bari. Sax.

ppp





ppp

ppp

Bb Cb. Cl.

 

148 q = 160 (Swing 8ths)

  





 



























153

Picc.

 

Fl. 1

Fl. 2

 

1 Ob. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

Bb Cb. Cl.

1 Bsn. 2



Eb Bari. Sax.

Bb Tpt.

1 2

 





 









 



 



          







 



   









   

  

 

         

  

   

 



 

 



 



 





 



mp

   

  

  



       

     

 

Bsn.1 cue

    

mp

      mp     



mp

 









 







   



















1 2











F Hn.

3 4











1 Trb. 2

 









Trb. 3

 









Euph.

 









Tuba

 





   



F Hn.







          

    







 





 

 

 





 

Bb Tpt. 3

    



        





 

1.



  



 







  

mp





    



mp





Bb Ten. Sax.

    





   Eb Alto Sax. 1  Eb Alto Sax. 2



     



     

   

Str. Bs. / Contabs. Cl. cue





  

 

   



tutti

p

tutti

p tutti

 

p







 

   

     pp

     pp

    pp







 







 







 

















     

           



open





    pp





 



 





 



mp

Str. Bs.

 









































  Timp. 

Perc. 1

Perc. 2

Perc. 3

Perc. 4

 



If no low Eb, take passage up and octave.



     mp

 



 





(Tri.)

 mp

 

23

   

 



 



   



 



pizz.

    mp

 

 



 













     



2. Meditations on a Cajun Ballad   Picc.     Fl. 1

Fl. 2

Ob.

1 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

In memory of the victims of Hurricane Katrina

q. = 84 Somber

              

       

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

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











div.

p

  

 



div.



p



  





  

 

  

p



 

  

 

p

 





 

 

 

 

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   

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   

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      Eb Alto Sax. 1  

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Eb Bari. Sax.

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Bb Tpt.

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

Bb Ten. Sax.

F Hn.

1 2

F Hn.

3 4

Trb.

1 2

Trb. 3

Euph.

  



slightly separated

 

p



p