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SECOND PRIZE WINNER T H E 3 r d I N T E R N AT I O N A L F R A N K T I C H E L I C O M P O S I T I O N C O N T E S T

CAMERON’S DREAM C O N C E R T

B A N D

JONI GREENE

RAISING THE STANDARDS OF THE AMERICAN CONCERT BAND AND BANDS ALL OVER THE WORLD

M A N H A T T A N

B E A C H

M U S I C


.


JON I G R EEN E CA M ERON ’S DR EA M I N T E R L U D E S

I

N

S

T

R U

F O R

M

E

C O N C E R T

N

T A T

1 Full Score

3 F Horn

4 Flute 1

3 Trombone 1

4 Flute 2

3 Trombone 2

1 Oboe (optional)

I

B A N D

O

N

3 Euphonium B.C.

4 Bb Clarinet 1

1 Euphonium T.C.

4 Bb Clarinet 2

4 Tuba

4 Bb Clarinet 3

1 Timpani

1 Bb Bass Clarinet

1 Percussion 1

1 Bassoon

Glockenspiel, Chimes

3 Eb Alto Saxophone 1

1 Percussion 2

3 Eb Alto Saxophone 2

Suspended Cymbal, Finger Cymbals, Bass Drum, Chimes

1 Bb Tenor Saxophone

1 Percussion 3

1 Eb Baritone Saxophone

Vibraphone

4 Bb Trumpet 1

1 Percussion 4

4 Bb Trumpet 2

Tambourine, Suspended Cymbal, Bass Drum

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

Gg

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


.


CAMERON’S DREAM

r Winner of the Second Prize The Third International Frank Ticheli Composition Contest Category 1: Works for Concert Band Grade 1 – 2 ½


.


CAMERON’S DREAM

r C A M E R O N ’ S D R E A M encompasses multiple moods and styles, with the goal of introducing

younger players to diverse musical expressivity within appropriate technical demands. It is dedicated to my young son, Cameron, and was inspired from the practice of intermedii (interludes) of the late 16th century — musical excerpts of various themes and styles presented between acts of a play. They were considered the forerunner to opera, and were often brief spectacles incorporating dance. Such intermedii frequently told a story with moral or political undertones. Using this as my inspiration, Cameron’s Dream introduces a whimsical fantasy for young players to express brief scenes within an overarching story: Sailing to Dreamland; Gypsies vs. Pirates; Man Overboard; Heroic Measures; and Teddy’s Lullaby. MEASURE

SECTION

1–25

Sailing to Dreamland c…d

26–68 69–88

89–110

111–147

TONAL CENTERS

(introduction of main motives)

Gypsies vs. Pirates g…d…c…g (imitation; progression of first motive)

Man Overboard g (tempo change; development)

Heroic Measures g/Bb…Eb…F (climax)

Teddy’s Lullaby Eb…(Db)…(C)…(Ab)…d…Bb (return to faster tempo, restatement of motives, resolution)

( ) = brief tonal center

SAILING TO DREAMLAND MAIN MOTIVE INTRODUCTION

Sailing to Dreamland begins with the image of a child drifting off to sleep. The gentle stepwise motion between the flute and clarinets creates a rocking motion indicative of not only falling asleep but of


“sailing” into an ocean of dreams. Paired with the tonal c-minor harmony, the work suggests the innocence of childhood. This section then hints at the motives waiting to evolve in the dream, specifically the eighth note descent (m. 6), rising and descending dance-like eighth notes found in m. 10 (clarinets), and ascending stepwise movement (mm. 10 & 13, Tbn 1).

Overall, the section is characterized by soft and slow c-minor harmony alluding to a sweet and

childlike mood; thin texture emphasizing gentle glockenspiel; descending eighth note motive (m. 6); and first presentation of the main Gypsies vs. Pirates (m. 10) dance motive.

G Y P S I E S V S . P I R AT E S

F U L L P R E S E N TAT I O N O F M A I N T H E M E

Now sailing on open waters, the work’s programmatic story continues, introducing the Gypsies vs. Pirates section (m. 26). I imagined a jousting dance with careful footwork, and sword attacks between the pirates and gypsies, this being characterized by ascending and descending eighth notes (first presented in m. 10 in Clar. 1). The encounter with gypsies is further alluded to with the introduction of tambourine and open fifth drones. A sense of dialogue between the pirates and gypsies is mimicked musically through an instrumental conversation between the saxophones and trumpets (mm. 40–43); flutes, clarinets and oboes (mm. 44–47); woodwinds beginning in m. 56; and finally brass, in m. 63.

Overall, the section is characterized by the development of a rising and falling eighth-note motive

(m. 26); Tambourine, Bass Drum, and Glockenspiel; an emphasis on downbeats; and open-5th drones.

M A N OV ERB OA RD DIRGE MELODY


(DIRGE HARMONY )

A shift in mood creates the basis for the Man Overboard section. A tiered presentation of the g-minor harmony in brass underlies a reinterpreted version of the original pirate/gypsy theme (m. 10/26). This melodic version (m. 72, flutes, oboe and cl. 1) continues the eighth-note ascent and descent, but now with longer dotted quarter-note durations that emphasize a falling stepwise figure. Programmatically, the story now has one of the pirates walking the plank as his comrades stand by, heads bowed, lamenting his fate.

The section is characterized by repetitive, slow, and lamenting brass in g-minor (m. 69); alterna-

tion of chimes and vibraphone, alluding to a ship’s bell; and the development of pirate/gypsy theme (m. 72, flute). HEROIC MEASURES

The accented entrances in clarinet 2 at m. 85 followed by trumpet and saxophone in m. 86, mark a transition into Heroic Measures. (Note: accented entrances should have a clear and distinct left-edge note entrance followed by an immediate sustain at indicated dynamic level.) A building of tension through harmonic layering, staggered entrances, and ascending range, prepare the climax. The final climax at m. 93 programmatically celebrates the rescue of the pirate previously forced overboard. The work then continues with a sense of falling from the climax (mm. 93-110), incorporating melodic and motivic repetition and fragmentation.

The section is characterized by peak range (m. 89, Fl. 1) and percussive intensity (mm. 90-96;

accented, tiered harmonic entrances (m. 86 forward, brass); restatement of main theme (m. 94, woodwinds); and conversational winding down using motivic fragments of main melody (mm. 101-110)


  

Long terraced harmonies Return to faster tempo (m. 6) Softer, gentle presentation of earlier themes and motives

Reinterpretation of main theme:

TEDDY ’S LULLABY

R E I N T E R P R E TAT I O N O F M A I N T H E M E

Cameron’s Dream concludes with a gentler presentation of the main pirate and gypsy theme, this time

Cameron’s Dream concludes with a gentler presentation of the main pirate and gypsy theme. alluding to previous melodic events through and instrumental conversation. Harmonically, This time alluding to previous melodicfragmentation events through fragmentation and instrumental conversation. Harmonically, this is the lushest section of the work, moving through several this is the lushest section of the work, moving through several tonal centers in an expansive pyramid tonal centers in an expansive pyramid presentation. A final winding down of the work is presentation. A final winding down of the work is achieved through dwindling melodic movement and The achieved through dwindling melodic movement and a harmonic sense of settling in Bb. dream a peaceful reflective mood. This isand achieved achild’s harmonic senseconcludes of settling ininBb. The child’sand dream concludes in a peaceful reflectiveprimarily mood. Thisthrough careful and expansive harmonic pacing that is highlighted by a music box backdrop in the isglockenspiel achieved primarily through careful and expansive harmonic pacing that is highlighted by a music box and vibraphone. backdrop in the glockenspiel and vibraphone. ADDITIONAL NOTES

ADDITIONAL NOTES Oboe part is optional. All oboe music is either doubled or cued;

Oboe part is optional. All oboe music is either doubled or cued;

All percussion instruments: l.v. (let vibrate), unless dampen is indicated;

Cymbal scrape: playerinstruments should quicklyl.v. scrape from top outward using a triangle beater; All percussion (letcymbal vibrate) unless dampen is indicated; If finger cymbals are not available, small triangle may be substituted;

Cymbal scrape: player should quickly scrape cymbal from top outward using a triangle Ifbeater; multiple chime instruments are not available, one instrument may be shared between percussion 1 & 2. However, the chimes must be positioned immediately beside the glockenspiel in order to allow percus-

If finger cymbals are not available, small triangle may be substituted;

sion 1 ample time to play the instrument transition at measure 90;

Conductor may choose which instrument plays cues in instances of multiple cross cues. Example: m. 6 clarinet solo cross cued into alto sax 1 and trumpet 1; If possible, the tuba part should play divisi at measure 123. If multiple tubas are not available, the lowest part should be played; Decresendo markings are used frequently throughout the work as an expressive device. When end dynamic markings are not given, please ask players to end as softly as possible (while still retaining both good sound and intonation). JONI GREENE

AUSTIN, TEXAS


for Cameron

CAMERON’S DREAM

Transposed Score

INTERLUDES FOR CONCERT BAND

Sailing to Dreamland Sweet, then playful q. = 60

Flute

° b 6 ˙™ b 1 & 8

Flute 2

b6 &b 8

Oboe

b6 &b 8

Bb Clarinet 1

Eb

2

˙™

p

Bb Clarinet 3

6 & 8

mf

˙™

mp

˙™

˙™ -

p

mp

˙™ -

˙™

p

Bb Bass Clarinet

6 & 8

Bassoon

? b6 ¢ b8

Eb Alto Saxophone 2

Bb Tenor Saxophone

Eb Baritone Saxophone

Bb

œ™ œ ™

˙™

° #6 Alto Saxophone 1 & 8

(q. = 44) q. = 104

5

mp

p

œ J

p

œ œ™

solo

p

6 & 8 ˙™ -

4

˙™

mp

6 & 8 ˙™ -

Bb Clarinet 2

rit.

3

mp

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7

8

b

b

b

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# #

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6 & 8

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6 & 8

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6 &b 8

n

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b

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Bb Trumpet 2

F Horn

Trombone 1

Trombone 2

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Copyright © 2019 Manhattan Beach Music - All Rights Reserved - Printed and Engraved in the U.S.A. ISBN 1-59913-238-9 (complete set) ISBN 1-59913-239-7 (conductor's score) Purchase music, download free MP3s, view scores, and more at www.ManhattanBeachMusic.com

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JONI GREENE

10

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Tuba

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28

mf

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24

j & b œ- Œ

p sub.

Cl. 1

26 Gypsies vs. Pirates 23

∑ Œ™

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˙™


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Cl. 1

&

Cl. 2

&

Cl. 3

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B. Sax.

Tpt. 1

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° # &

Tpt. 2

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Perc. 1

Perc. 2

Perc. 4

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F Hn. mf

? b œ- Œ J ¢

œ?b J Œ

?b

43

42

∑ ‰ Œ™

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38

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45

mf

Ϫ

Ϫ &b Ϊ

Ϫ

# Œ ™ œ™

Ϫ

p

&

Cl. 1

&

Cl. 2

Cl. 3

&

Bass Cl.

&

Bsn.

A. Sax. 1

¢

Tpt. 2

F Hn.

Tbn. 1

Tbn. 2

Euph.

Tuba

Timp.

Perc. 4

Ϫ

Ϫ

˙™

œ™ Œ ™

œ™ ∑

p

p

Ϫ

mf

49 50 œ nœ œ™ œ œ œ œ™ Œ ™ J

48

Ϫ Ϊ

p

∑ ˙™ p

mf

Ob. p

mf

˙™

Ϫ

œ œ- œ- œ ™

51 -

#

œ- œ- œ- œ™ œ- œ- œ- œ™

œ- œ- œp

œ- œ- œ- Œ ™

p

œ œ œ Œ™ - - -

Bass Cl. p

∑ œ œŒ -œ - œ- J

#

° # &

j j œŒ œŒ

#

jŒ œ -œ - œ- œ

jŒ j œŒ œ

œ -œ - œ- œ ™

¢

& & ?

˙™ b

˙™

?

b

? ¢ b

° & b Œ ™ œ™ &b Œ™ ¢/

j œŒ œŒ J

∑ Œ™

Ϫ mp

œ™ Œ™ ™ œ™ œ™ œ™ œ œ™ œ™ œ™

pp

° ∑

p

ø

f

ø

ø

pp

∑ ∑

∑ œ™ mp

œœ ™™

mp

°

Ϊ

-œ œ- œ- œ™

œŒ œŒ J J

-œ -œ œ- œ™

œ Œ œJ Œ J

-œ -œ œ- œ™

p

Ϫ

ø ∑

œ™ Œ ™ Œ™

Ϊ

œ - ‰ Œ™ œ

mf

Ϫ

Ϫ Ϫ

Ϫ

œŒ J

œŒ J

p

Ϫ

bœ ™ œ J Œ

œ™ œœ‰

œ œ- ‰ œ œ- ‰ œ nœ ‰ Œ ™

n˙ ™

Ϫ

˙™

mf mf

mp

mp

∑ Bass Cl. p

Ϫ

∑œ™

j œŒ œ œ-

œŒ J ‰

∑ œ™

œŒ J

n˙ ™

∑œ™

mf

‰ œ nœ ‰ œ™ œ œ-

j œ œ- ‰ œ œ- ‰ œ œ- ‰ œ œ œ™ œ™ œ™ œ™

Ϫ Ϫ Ϫ Ϫ

Ϫ Ϫ

Ϫ Ϫ

œ-‰ œ

mf

œ™ Œ ™

œ™ Œ ™

mf

mf

˙™ mf

˙™

bœ ™

Ϫ

˙™

Ϫ

Ϫ

b˙™

mf

mf

∑ ∑ ∑ ∑

mf

5

œ œ œ œ™ œœ‰ ∑

æ ˙æ™

Sus. Cymbal

55

œ™ -œ -œ œ-

-œ œ- œ- œ™

p

54

œ -œ ‰ œ -œ ‰

p

œ œJ Œ J Œ

p

œ -œ ‰ œ -œ ‰ œ Œ J

p

°? œ™ ™ Œ ¢ b

(vibes)

p

p

?b

/

p open

œ J Œ

Ϊ

# &#

œ J Œ

53

œ -œ ‰ œ œ ‰

&

œ J Œ

p

p

œ J Œ

p

?b

52

p

p

p

Perc. 3

p

Ϊ

œ Œ J

#

(glock)

Perc. 2

˙™

mp

Perc. 1

47

# &#

T. Sax.

Tpt. 1

Ϫ mf

° ## & ˙™

A. Sax. 2

B. Sax.

Ϫ

mf

p

#

Ϫ

mf

p

Ob.

Ϫ

46

p

œ—™ Œ ™ mp


œ™ œ™ ° &b 56

Fl. 1

1 only

mp

&b

Fl. 2

&b

Ob.

&

Bsn.

A. Sax. 1

¢

p sub.

œ™ œ ™

∑ ∑

∑ ∑

œ œ™ œ œj œ J nœ œJ ˙ ™ mf

œ™ œ œj œ œj œ œ ˙ ™ J

Ϫ

mf

p

j œ œ œJ œ J œ œ ˙ ™ ∑

œ œj œ ™ Œ ™

?b

mp

bœ ™

Ϫ

p

œ œ œ œ ˙™ œ J J J

nœ œ œ œ œ œ ™ œ ™ J

p

mf

œ™ œ

‰ Œ™ j œ œ

mp

bœ ™

œ ™ œ œ œ œ œ œJ ˙™ J J 68

Œ

Ϫ

rit.

67

Ϊ

p

bœ ™

66

mf

Ϫ

tutti

#

œ™ œ ™

p

mf

œ™ œ œj œ œj œ œ ˙ ™ J

65

p

Ϊ

œ bœ œ ‰ J

Œ ∑

mp

p

mf

‰ Œ™ j œ œ

œ bœ œ ‰ J

tutti

˙™

mp

° # &

#

& ¢&

# ##

œ™ œ ™

œ™ œ ™

p

mf

F Hn.

&

?b

?

b

?b

?b

Tbn. 1

Tbn. 2

Euph.

¢

°? b˙ ™ ¢ b ææ p

°

œ™ œ ™

œ™ œ ™

p

mf

œ™ œ ™

œ™ œ ™

p

mf

Ϊ

Ϊ

Ϊ

˙™

œ œj œ ™ Œ ™

mp

p

&

Timp.

64

Tpt. 2

Tuba

63

# &#

T. Sax.

Tpt. 1

œ™ œ ™

tutti

62

#

° ## 1œ™only œ™ &

A. Sax. 2

B. Sax.

61

&

Bass Cl.

nœ œ œ œ œ œ™ œ™ J

60

&

Cl. 3

mp

#

# Ϫ Ϫ

59

&

Cl. 2

58

1 only

Cl. 1

bœ œ œ œ œ œ ™ œ ™ J

57

Ϊ

˙™

mp

œ œ œ™ Œ™ J

mp

Ϊ

˙™

œ œ œ™ Œ™ J

œ bœJ œ ‰

œ bœJ œ ‰

œ bœ œ ‰ J

œ bœ œ ‰ J

Œ œj œ ‰ Œ ™

mp

mp

Œ œj œ ‰ Œ ™ mp

Ϊ

pp

/b

Perc. 2

/

Perc. 3

&b

Perc. 1

Perc. 4

¢/

Ϫ Ϫ

(vibes)

p

°

Ϊ

Ϊ

œ™ œ™ °

Ϊ

Ϊ

6

˙™ ° mp

Ϊ

Ϊ

˙™ °

Ϊ

Ϊ

∑ ∑


69 Man Overboard Solemnly q. = 82 70 ° b ∑ ∑ & Fl. 1

Ϫ

72

mf

Ϫ

œœ J

73

œ œ œ œ™

œœ J

œ œ œ œ™

œœ J

œ œ œ œ™

75 76 œ œ œ œ œ œ™ ™ Œ œ ‰ œ œJ J

74

77

p

œ œ œ œ œ œ œ™ Œ™ œ ‰ œ J J

78

79

Ϫ

Ϫ

80

Ϫ

mp

Ϫ

&b

&b

#

° ## 1 &

# &#

#

Fl. 2

Ob.

Cl. 1

Cl. 2

Cl. 3

Bass Cl.

Bsn.

A. Sax.

71

A. Sax. 2

& & & &

# # #

? ¢ b

mf

Ϫ

mf

Ϫ

mf

œœ J

œ œ œ œ™

p

œ œ œ œ œ œ™ Œ™ œ ‰ œ œJ J p

œ œ œ œ œ œ œ™ ™ Œ œ ‰ œ J J p

j œ™ œ œ

œ œ œ œ™

œ

mp

œ œ œ œ™

œ

mp

œ œ œ œ™

œ

mp

j œ™ œ œ j œ™ œ œ œ™ œ œ J

mp

œ œ œ œ™

mp

Ϫ

Ϊ

p

Ϊ

Ϫ

p

Ϊ

‰ œ œj œ œ œ œ œj œ ™

Ϊ

‰ œ œj œ œ œ œ œj œ ™

Ϊ

‰ œ œj œ œ œ œ œj œ ™

œ œ œ œ œ œ™ œ ‰ œ œJ J

Ϊ

T. Sax.

&

B. Sax.

## ¢&

° # &

#

Tpt. 1

Tpt. 2

&

F Hn.

&

Tbn. 1

Tbn. 2

Ϊ

? b Ϊ

œ œj œ ™ Œ ™ œ œ œ™ Œ™ J

mp

mp

Tuba

? ¢ b œ™ mp

Timp.

Perc. 1

°? ¢ b °

/b

(glock)

Ϊ Ϫ

Ϫ

Perc. 3

Perc. 4

/ &b ¢/

Ϊ

Ϫ

Ϊ

œ

p

œ

p

œ œ J œ™

p

œ œ J œ™

p

Ϫ

p

Ϫ

Ϊ

j œ œ™ œ œ™ J

Ϊ

Ϊ

œ œj œ ™

Ϊ

Ϊ

œ

Ϊ

œ

Ϊ

Ϫ

œ œ œ™ J

œ œ J œ™

Ϊ

œ œ J œ™

Ϊ

Ϫ

Ϫ

j œ œ ∑

œ œ œ∑ œ™

œ œj œ ™ Œ ™

œ

œ œ™ J

Œ™ œ

œ œ™ J

Ϊ

Ϫ

Ϊ Ϫ

Ϫ

Ϊ

œ œ œ™ Œ™ J

Ϊ

œ œ™ J

Œ™ œ

œ

j œ œ™ œ œ™ J

Ϊ

œ œ™ J

œ

Ϊ Ϊ

‰ œ

j œ

œ œ œ œ

œ œ œ™ J

œ œ J œ™

Ϊ

Ϫ

Ϊ

œ œ J œ™ œ™

Ϊ

œ œj œ ™

Ϊ

Ϊ

&

˙™

f

°

æ œæ™ Œ ™

Ϊ

Ϫ

f

Bass Drum

p

Ϊ

°

Ϫ

˙™

Ϊ

°

æ œæ™

p

Ϊ

Ϊ

Ϊ

Ϊ

Ϫ

° ∑

7

˙™ Œ™

œ™ ∑

°

æ œæ™ Œ ™

p

Ϊ Ϊ

Ϊ Ϫ

°

∑ œ™

Œ™ ∑

æ œæ™

p

∑Œ

œ œj œ ™ œ œ œ™ J Œ™

Ϫ

Ϊ

Ϊ

∑ Œ™

Ϫ mp

Ϊ

˙™ °

Ϫ

œ œ J œ™

Ϫ

Ϊ

j œ

œ œ J œ™

∑ (vibes)

Ϊ

Ϊ

Ϫ

Chimes

Perc. 2

Ϊ

Œ™ œ œ œ™ J

?b œ œ ™ J œ mp

œ œ œ™ J

Œ™ œ œ œ™ J

?b œ œ ™ J œ mp

Euph.

œ œj œ ™

Bsn. mp

Ϊ

Ϊ

∑ ∑


81

Fl. 1

° &b &b

Fl. 2

œ œ œ œ™

82

œ œ œ œ™

Ϫ

&b

Ob.

&

Cl. 1

&

Cl. 2

&

Cl. 3

&

Bass Cl.

Ϫ

#

Œ™ Œ™ ∑

Ϫ

Ϊ

#

Ϫ

Ϊ

A. Sax.

#

∑ ∑

° ## 1 &

œ- ™

mp

˙™

p

&

B. Sax.

Tpt. 1

¢

#

# &#

° # & &

Tpt. 2

?

Tbn. 1

Tbn. 2

Euph.

¢

Perc. 2

Perc. 3

Perc. 4

Ϊ

Ϊ

Ϫ Ϫ

?b

Ϫ

Ϫ

mp

p

mp

™ -˙

Ϫ

-œ ™

˙™

mp

p

˙™

mp

p

˙™

mp

p

mp

?b

Ϊ

Ϊ

/b

&b &b

(glock)

(vibes)

Ϫ -

p

Ϫ

Ϫ Ϫ

œ™ ∑

Ϫ

Ϊ

Ϫ

˙™

Ϊ

mf

˙™

Ϫ

mf

Ϫ

Ϫ

Ϫ

Ϫ Ϫ

œ- ™

-Ϫ

Ϫ

Ϫ

Ϫ

Ϊ

Ϫ

mf

Ϫ

˙™ Œ™

mf

Ϫ

Ϫ

Ϫ

mf

Ϫ Ϫ

mf

˙™

˙™

Ϫ

˙™

mf

f

œ™ æ œæ™

Ϫ

> Ϫ

Ϊ

mf

fp

Ϫ

fp

p

p

mp

f

œ™ >œ ™

Ϫ

˙™

8

f

Ϫ

Ϫ

Ϫ >

fp

fp

Ϊ

>Ϫ

Œ™ ∑

˙™ œ™

f

fp

f

fp

f

>Ϫ

>˙™

fp

Ϫ

Ϫ

Ϊ

Ϫ

n

Ϫ

Ϫ

n

˙™

˙™

˙™

˙™

˙™

Ϫ

œ™ ˙™

˙™ ˙™

∑ ˙™

fp

f

> ˙™

>˙™

Ϫ

fp

f

˙™

˙™

f

˙™

˙™

Œ™ Œ™ Œ™ ˙™

Ϫ >

Ϫ >

Ϫ > fp >Ϫ

˙™

>œ ™

˙™

f

>œ ™

˙™

f

fp

fp

>Ϫ

˙™

˙™ >œ ™

∑ œ™ ™ œ ™ œ™ œ™ œ œ™ œ™ mp f ø ° ∑

Ϫ

˙™

˙™

Œ™ ∑

Ϫ

∑ œ™

ø

Ϫ

bb # #

Ϫ

n #

˙™

˙™

n

˙™

˙™

b

Ϫ

Ϫ

Ϫ

bb

˙™

Ϫ

˙™

˙™

Ϫ

Ϫ

bb

Ϫ

bb

˙™

˙™

œ™ b œ ™

bb

Chimes

˙™

ff

° Œ™

Ϊ

˙™

Ϊ

Ϊ

Ϊ

Ϫ

∑ œ™

°

ø

Ϊ

æ œæ™

Sus. Cymbal

Ϫ

n

˙™

f

n

˙™

˙™

Ϫ

>Ϫ

˙™

Ϫ

n

œ™ ˙™

˙™

f

Ϫ

˙™

˙™

˙™

Ϫ

˙™

f

Ϫ

f

˙™

fp

bb

˙™

˙™ ˙™

p

Ϊ

˙™

˙™

˙™

Ϊ

bb

f

™ >˙

Ϫ

Ϫ

f

˙™ >

Ϫ

˙™

f

˙™

Ϫ

Ϫ

bb

Ϫ

˙™

™ >˙

Ϫ

Ϫ

˙™

˙™

Ϊ

Ϫ

f

˙™

Ϫ

Ϫ

92

Ϫ

f

˙™

p

Ϫ

˙™

mf

>Ϫ

p

f

fp

fp

fp

mp

p

Ϫ >

Bass Drum

/

˙™

˙™

p

Ϫ

>œ ™

fp

Ϫ

˙™

fp

p

˙™

Ϫ

p

˙™

∑ Œ™

>œ ™

mp

mf

æ œæ™

Ϊ

mf

Ϫ

™ -œ

˙™

mp

Ϫ

Ϫ

Ϊ

Ϫ

mf

™ -˙ œ™

fp

mp

-Ϫ

>™ œ

Ϫ

œ- ™

Ϫ

Ϫ

Ϫ

-˙ ™

Ϫ

Ϫ

fp

mf

Ϫ

Ϊ

Ϫ

>™ ˙

89 Heroic Measures 90 91 œ™ œ™ œ™ œ™ œ™ ™Œ

88

˙™

-Ϫ

mp

mp

fp

mf

mp

Ϫ

Ϫ >

mf

˙™ œ™

Ϊ

Ϫ

Ϫ

p

˙™

Ϫ

-˙ ™

˙™

mf

open

?b

˙™

˙™

p

∑ ∑

¢/

Ϊ

mp

˙™

°? Timp. ¢ b Perc. 1

p

#

b

°

˙™

p

Ϊ

mp

˙™

p

∑ ∑

&

F Hn.

Tuba

mp

-œ ™

87

mp

mp

86

˙™

85

mp

˙™

84

˙™

p

# &#

T. Sax.

mp

p

#

? ¢ b

A. Sax. 2

œ- ™

˙™

p Bsn.

83

p

Ϊ

æ b œæ™

Glockenspiel

æ ˙æ™ œ™

p

ø

æ ˙æ™

Ϫ

p

f

Ϊ

bb bb

bb


93

° b œ™ b Fl. 1 & Fl. 2

Ob.

Cl. 1

Cl. 2

Cl. 3

Bass Cl.

Ϊ

b Ϫ &b

Ϊ

b &b

∑ Œ™

Ϫ

&

Ϊ

Ϫ

&

95 96 œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

mf

f

mf

f

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ f

mf

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ™ -

mf

&

&

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

F Hn.

Tbn. 1

Tbn. 2

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

?b ¢ b

° # œ™ & & & ¢&

Ϊ

#

∑ œ™

∑ #

° & &

mp

∑ ˙™

Ϫ

˙™

mp

Ϫ

Ϫ mf

Ϫ

f

Ϫ

œ œ œ

Ϫ

mp

? bb ˙™

Ϫ

Ϫ Ϫ

Ϫ

mf

Ϫ

Ϫ Ϫ

p

? bb ™ ˙

? bb ™ ˙

Ϫ

Ϫ

Ϫ

p

Ϫ

mp

Ϫ

f

Ϫ

Ϊ

b &b ¢/

f

œ—™

Ϊ Ϊ

(sus. cym.)

f

l.v.

Ϫ

˙™

Ϫ

˙™

æ œæ™ æ œæ™

p

˙™

Ϫ

˙™

Ϫ

˙™

mf

Ϫ

mp

Ϫ

æ j œæ œ—

mf

mp

mp

˙™ -

mp

˙- ™

solo

Ϫ Ϫ

Ϊ

f

æ j œæ œ— mp

mp

∑ Œ™

Ϫ mp

œ œ œ

Ϫ

œ œ œ œ™ Œ ™

œ œ œ Œ™

mp

Ϫ

œ œ œ œ™ Œ ™

œ œ œ Œ™

mp

Ϫ Ϫ

tutti

mf

˙- ™

˙™

˙- ™

˙- ™

˙™

˙™

˙- ™

˙™

mp

˙™

™ œ œ œ Œ

solo

mp

mp

∑ -˙™ mp

Ϫ Ϫ mf

mp

mp

˙™

Ϊ

Ϫ Ϫ

Ϫ

mf

p

mp

mf

f

œ—™

Ϊ

-œ ™

104

f

Ϫ

103

Ϫ Ϫ

mf

Ϫ

Ϫ

f

Ϫ

102

Ϫ

˙™

mp

Ϊ

/

Ϊ

œ œ œ œ™

mp

101

mp

œ œ œ œ- ™

(b. drum)

˙™

mf

mp

100

mp

mf

Ϫ

Ϫ Ϫ

Ϫ

mp

(glock)

œ œ œ œ™

Ϫ

°? b j Œ™ ¢ b œææ œ— b /b

Ϫ Ϫ

°

œ œ œ œ™

f

?b ¢ b ˙™

Ϫ Ϫ

mp

∑ œ™

œ œ œ œ™

˙™

œ œ œ œ™

99

f

∑ œ™

98

mp

&b ˙™

97

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ -œ ™

mp

Bsn.

˙™

94

∑ ˙™

mp

œ œ œ Œ™

solo

mp

mp

æ ˙™æ

9

p


° b b Fl. 1 &

b &b

b &b

105

Fl. 2

Ob.

Cl. 1

Cl. 2

&

106

˙™

œ™ ∑

& &

Bass Cl.

&

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

F Hn.

Tbn. 1

Tbn. 2

Euph.

Tuba

Timp.

Perc. 1

?b ¢ b

° # ˙™ & &

#

& ¢&

108

Ϫ

˙™

œ œ œ Œ™

Ϫ

˙™

Ϫ

Ϫ

œ œ œ œ™ -

mf

Cl. 3

Bsn.

Ϊ

107

#

j œ œ œ œ Œ

mf

˙™

110

mf

Ϫ

Teddy's Lullaby q. = 104 112 ˙™ ∑ p

∑ œ™

˙™

˙™

p

Ϫ

˙™

œ œ J

mf

œ œ œ™ J

Ϊ

∑ œ™

Ϫ

Ϊ

mf

Ϫ

˙™

Ϫ

Ϫ

˙™

Ϫ

tutti

mp

mp

Ϫ

mp

Ϫ

Ϫ

Ϊ

Ϊ Ϊ

Ϊ

? bb

?b b

? bb

?b ¢ b

°? b ¢ b

b /b

Ϫ

Ϫ

Ϫ

Ϊ

Ϫ

Ϫ

Ϫ

Ϊ

mf

mf

∑ tutti

Ϫ

mf

Ϫ Ϫ

Ϫ

Ϫ Ϫ

mp

∑ Œ™

∑ Œ™

Ϊ

Ϊ

Ϫ

mp

Ϫ

mp

˙™

mf

mp

∑ œ™

∑ œ™

˙™

p

œ ‰ Œ™

Ϫ

Ϫ

˙™

Ϫ Ϫ

mp

˙™

Ϫ

˙™

Ϫ

˙™

Ϫ

Ϫ

˙™

Ϫ

Ϫ

Ϊ

Ϊ

Ϊ

Ϊ

Ϫ

Ϫ

Ϫ

Ϫ

p

˙™

˙™ ˙™

p

˙™

˙™

˙™

˙™

˙™

˙™

∑ Œ™

Ϫ

Ϊ

Sus. Cymbal scrape

Perc. 2

Perc. 3

Perc. 4

/

b &b

¢/

(vibes)

f

10

æ œ™

mp

°

æ œ™

œ ™ œ™ Œ ™ ∑

Ϊ

mf

˙™

Ϫ

p

p

Ϫ

Ϊ

p

p

Ϫ

Ϊ

j œ œ œ œ œ œ œ œ œ™

∑ Œ™

Ϊ

Ϫ

mp

Ϊ

Ϊ

˙™

p

Ϊ

œ™ ∑

∑ Œ™

Ϫ

p

∑ œ™

˙™

˙™

Ϫ

p

mp

mp

p

Ϊ

&b

œ œ œ œ œ œ œ™

mp

™ œ œ -œ Œ

&

œ œ J

mp

mp sub.

-œ œ œ

116

Ϊ

œ œ œ œ œ œ œ™

Ϊ

mf

œ œ œ™ J

œ œ J

œ œ J

115

œ œ œ œ œ œ

Ϊ

mf

œ œ œ™ J

114

œ œ J

Ϊ

113

Ϫ

(glock)

Ϫ

° &

°

Ϫ

109

111

Ϊ

æ œ™ ° ∑ p

æ ˙™


° b b Fl. 1 &

b &b

117

Fl. 2

Ob.

b Ϫ &b p

Cl. 1

Cl. 2

Cl. 3

Bass Cl.

Bsn.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Ϫ

&

Ϫ

&

Ϫ

p

&

p

&

?b ™ ¢ b Œ ° # & &

Ϫ

Ϫ

Ϫ

Ϫ

mf

mf

Ϫ mf

Ϫ

mf

bœ ™ p

#

∑ ∑

∑ œ™

-Ϫ

Ϫ

-œ ™

Ϫ Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ

Ϫ Ϫ

Ϫ

-Ϫ

Ϫ -

mf

n˙ ™ Œ™

Ϫ

Ϊ

Ϫ

˙™

121

˙™

Ϫ

Ϫ

Ϫ

Ϊ

Ϫ

Perc. 4

¢/

j œ ˙™

Ϫ

Ϫ

Ϫ

p

j œ œ

j œ œ

˙™ Œ™

mf

œ

mf

˙™ œ™

Ϊ

˙™

p

∑ Œ™

Ϫ

˙™

˙™

Ϫ

∑ ∑

mf

mf

mf

˙™

Ϫ

Ϫ

mp

Ϫ

˙™

Ϊ

mp

Ϫ

Ϊ

j œ ˙™

Ϫ

∑ œ™

Ϫ

˙™

˙™

p

mp

˙™ œ™

Ϫ

Ϫ

Ϫ

p

Ϊ

˙™

˙™

Ϊ

Ϫ

Ϫ

Ϫ

˙™

mf

æ ˙™

Ϊ

Ϊ

p

˙™

p

Ϫ

Ϫ

˙™

Ϊ

Ϫ

˙™

˙™

Ϫ

Ϫ

˙™

Ϫ

j œ œ

p

°

Ϫ

p

æ b˙™

Ϫ

mf

˙™

Ϊ

œ

j œ œ

b &b Ϊ

˙™

Perc. 3

j œ ˙™

˙™

(vibes)

œ bœ J

b˙ ™

(sus. cym.)

j œ œ

bœ ™

/

œ

˙™

Perc. 2

Ϫ

p

Ϫ

b /b

Ϫ

mf

˙™

°

mf

˙™

˙™

Perc. 1

j œ ˙™

œ

127

bœ ™

°? b ¢ b

œ bœ J

œ J

mf

126

? b Ϊ b

Timp.

œ

œ

œ

Ϊ

p

œ J

œ J

125

bœ ™

Ϫ

p

˙™

Ϫ

œ bœ J

œ

p sub.

p

˙™

Ϫ

œ J

œ J

? bb

Tuba

Ϫ

Ϫ

˙™

œ bœ J

œ

?b ™ ¢ b Œ

Ϫ

p sub.

Ϫ

Ϫ

&b

? bb Œ ™

Ϫ

124

F Hn.

Euph.

p sub.

Ϫ

p

˙™

&

Tbn. 2

Tpt. 2

Tbn. 1

œ œ œ œ œ ‰ -

mf

Ϫ

123 œ -œ ‰ œ™

œ -œ œ œ œ ‰

mf

Ϊ

Ϊ

œ œ œ

˙™

Ϊ

Ϊ

122

mf

˙™

p

Ϊ

˙™ ∑

Ϊ

Ϫ

b œ- ™

p

∑ ∑

Ϫ

˙™

120

mf

#

° &

Ϫ Ϊ

119

Ϫ

& ¢&

118

Ϫ

Ϊ

Ϫ

p

æ ˙æ™

mp

11

˙ ™™ ˙

top voice optional

˙™

Ϫ

Ϫ

∑ œ

j œ œ

œ bœ J

mf

Ϫ

Œ™ œ

˙ ™™ ˙

œ J

Ϫ mp

j œ œ

j œ œ

bœ ™

œœ ™™

mf

mf

mp

œ J

Ϫ

Ϫ

Ϫ

˙™

˙™

˙™

˙˙ ™™


° b b Fl. 1 & 128

Fl. 2

Ob.

Cl. 1

Cl. 2

Cl. 3

Bass Cl.

Bsn.

A. Sax.

129

∑ ∑

b &b

œ œ. ‰ œ œ ‰ .

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

F Hn.

Tbn. 1

Tbn. 2

mp

mp

œ œ.

mp

‰ ‰

œ œ. œ œ.

132

131

133

Ϊ

. œ œ. ‰ œ nœ ‰

Ϊ

Ϊ

œ #œ œ œ œ œ

œ œ. ‰ œ œ ‰ .

mp

œ œ. ‰ œ œ ‰ .

p

œ- ™

134

. œ œ. ‰ œ nœ ‰

œ #œ œ œ™ mp

œ- ™

mf

œ- ™

mf

mf

Ϊ

Ϫ Ϊ

p

&

˙™

&

˙™

&

?b ¢ b

° # Œ™ 1 &

A. Sax. 2

b &b

&

œ œ.

130

# & Ϊ

Ϫ

mp

Ϫ

mp

œ- Œ J œ- Œ J

Bb Cls. p

Ϊ

Ϊ

œ #œ

œ

œ

œ

œ #œ

∑ œ™

Ϫ

œ

∑ ∑

Ϫ

mf

p

mp

œ

Ϫ

Ϫ

Ϫ

œ- ™

135

136

˙- ™

˙™

-˙ ™

˙™

-˙™

™ -˙

˙™

˙™

mf

-˙™

˙™

˙™ -

˙™

mf

Ϊ

˙- ™ mf

˙- ™

mf

° &

œ œ. ‰ œ œ ‰ .

&

œ œ. ‰ œ œ ‰ .

&b

Ϊ

Ϊ

& ¢&

#

? bb Œ ™ ? bb Œ ™

Ϫ mp

Ϫ

mp

-œ J Œ -œ J Œ

cup mute

mf cup mute

mf

p

Ϫ

Ϫ

Ϫ

Ϫ

p

˙- ™ ˙™

mf

mf

Euph.

? bb ˙™

Tuba

?b ¢ b ˙™

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

°? b ¢ b °

b /b /

b &b ¢/

(glock)

(vibes)

Ϫ

Ϫ

mp

œ™ ° p

12

Ϫ

œ™ ø

Ϊ

j œ œ

p

Ϫ

Ϊ

Ϊ

Ϊ

˙™

Ϫ

mp

°

Ϫ

œ J ∑

˙™ ø

œ


° b ˙™ b Fl. 1 & 137

Fl. 2

Ob.

Cl. 1

Cl. 2

Cl. 3

138

˙™

mp

b &b ˙™

& &

˙™

&

˙™

140

Ϊ

141

Ϫ

1 only mp

˙™

rit.

˙™

142

143

144

145

146

q. = 44 ∑

147

U ∑

˙™

U ∑

˙™

U ∑

Ϊ

mp

b &b ˙™ ˙™

139

mp

Ϫ mp

Ϫ

˙™

Ϫ

p

Ϊ

Ϊ

1 only

Ϫ

˙™

˙™

p

Ϫ

p

U ˙™

Ϫ

U ˙™

tutti

˙™

Ϊ

˙™

Ϊ

p

Ϊ

p

mp

mp

Ϫ Ϫ

U ˙™ U ˙™

&

?b ¢ b

° # &

#

U ∑

U ∑

U ∑

° &

U ∑

Tpt. 2

&

U ∑

F Hn.

&b

U ∑

Ϊ

Bass Cl.

Bsn.

A. Sax. 1

A. Sax. 2

&

T. Sax.

&

B. Sax.

¢&

Tpt. 1

Tbn. 1

Tbn. 2

Euph.

Tuba

Timp.

Perc. 1

Perc. 2

Perc. 3

#

? bb

˙™

mp

Ϊ

Ϫ

p

Ϫ

U ˙™

p

U ˙™

Ϊ

? bb

Ϊ

?b ¢ b

Ϊ

°? b ¢ b

œ œ œ™

/

(glock)

b & b œJ œ (vibes)

ø

¢/

Ϫ

˙™ ø

∑ œ œ œ ø

Ϊ

∑ œ œ œ ø

Ϊ Ϊ

Ϊ

j œ œ

p

∑ œ™

Ϊ

œ™ ∑ ∑

mp

° ∑

13

Ϫ

Ϊ

Œ™ ∑

Ϊ

œ

∑ ∑ ∑

Ϊ

œœ ™™ ° ∑ p

U ˙™

Ϫ

b /b

U ˙™

p

°

U ∑

? bb

mf

Perc. 4

˙™

p

Ϫ

p

Ϫ

p

œ™ œœ ™™ œ ™ pp ø ∑

U ˙™ U ∑ U Œ™

(5 beats)

U ˙™ ˙™

U™ œ

pp

U ∑

U ∑


.


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, 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)

T AONL I BS E— A CP H BM OA B NMHAA RT G U BML U I SSHI CE R N EBI LO BR UMDADRYG— A TN I VEEI L DRI U RD EC O LCI RS E— DT YO R P U B L I S H ECR O S FAONUDN D CE ORFSO U N D E R S P R I N T I N G : C H E R N AY P R I N T I N G , I N C .


.


.


SECOND PRIZE WINNER T H E 3 r d I N T E R N AT I O N A L F R A N K T I C H E L I C O M P O S I T I O N C O N T E S T

CAMERON’S DREAM C O N C E R T

B A N D

JONI GREENE

HEAR COMPLETE RECORDINGS & V I E W C O M P L E T E V I RT UA L S C O R E S : W W W. M A N H AT TA N B E A C H M U S I C . C O M

W W W. M A N H AT TA N B E A C H M U S I C . C O M

Profile for Manhattan Beach Music

Cameron's Dream for concert band by Joni Greene  

The complete conductor score of Cameron's Dream for concert band by Joni Greene

Cameron's Dream for concert band by Joni Greene  

The complete conductor score of Cameron's Dream for concert band by Joni Greene