RHYTHM GAMES
TIMOTHY BROEGE
CONCERT BAND
M A N H A T T A N
B E A C H
M U S I C
Recording Credits for Rhythm Games: Performance by Jason Worzbyt conducting the Indiana University of Pennsylvania Concert Band.
This virtual conductor score and recording are designated “private,” and any publication or distribution beyond the web sites of Manhattan Beach Music is prohibited
RHYTHM GAMES F O R
C O N C E R T
B A N D
T I M O T H Y B RO E G E I N S T R U M E N T A T I O N 1 Full Score
3 Eb Alto Saxophone 2
2 Euphonium T.C.
1 Piccolo
2 Bb Tenor Saxophone
4 Tuba
4 Flute 1
1 Eb Baritone Saxophone
1 String Bass
4 Flute 2
3 Bb Trumpet 1
1 Timpani
3 Bb Trumpet 2
3 Mallet Percussion
1 Oboe 4 Bb Clarinet 1 4 Bb Clarinet 2 4 Bb Clarinet 3 2 Bb Bass Clarinet
3 Bb Trumpet 3 2 F Horn 1 2 F Horn 2 3 Trombone 1 3 Trombone 2
1 Bassoon 3 Eb Alto Saxophone 1
3 Euphonium B.C. (optional Trombone 3)
Bells, Chimes, Xylophone, Marimba, and all available bells, chimes, and metallophones
3 Percussion 1 Bongos, Snare Drum, Bass Drum, Claves, Maracas, Tom Toms (high, low), and all available drums
3 Percussion 2 Cymbals, Tambourine, Triangle, Suspended Cymbal, Woodblock, Finger Cymbals
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 A C H M U S I C
R
PROGRAM NOTE h y t h m G ame s was composed during the months of September, October and Novem-
ber 1998 on commission from band director Laura Kautz Sindberg and The Central Middle School Band of Waukesha, Wisconsin. The composition is dedicated to the Waukesha Central Middle School Grade 8 Concert Winds & Percussion. To honor the commissioning group, the original title of the piece was The Waukesha Rondo. The work is indeed a large-scale rondo that incorporates variation form in the same manner as is found frequently in the rondo-variations of Joseph Haydn. The symphonic rondos of Haydn, among others, are a model for this structural process, wherein the rondo “theme” is varied in its subsequent appearances throughout the movement. In the present work, after a slow and weighty introduction, the rondo “theme” or refrain appears in measure 10. It is a sprightly diatonic tune, mostly in eighth notes, played above a percussion ostinato. Throughout the work this tune will be variously harmonized, transposed, inverted, treated canonically, and otherwise made to be both surprising and yet always recognizable. The music overall is characterized by frequent changes of tempo and texture; the overall mood is playful and energetic. Between each reappearance of the refrain occur “verses” of contrasting material, often built upon motives from the refrain itself. The first verse begins at measure 49 and is gentle and a little sad, in contrast to the bustling and cheerful theme. After the first restatement of the refrain at measure 63 (in inversion), the second verse, a somber chorale, begins at measure 75. After the return of the refrain at measure 94 as a 4-part canon over rhythmic and harmonic ostinatos, the third verse, with many silences and unsettled tonality, creates the greatest stylistic distance from the theme itself. The refrain returns at measure 135 with the tune divided among different instrumental groups. Another chorale-like passage introduces the fourth verse, which includes a passacaglia on a 5-note motive derived from the theme. This section builds to a climax at measures 183 –185 that is followed by a transitional passage leading to the final return of the refrain at measure 202. An extended coda of fifty measures, always based upon main motives from the theme, brings the work to a rousing conclusion. The final bars return to the polychordal harmonies of the introduction with chords of G major and D major stacked above the main tonality of C major. P er f ormance S u gge s tion s
The music will work at a variety of tempos. Therefore, metronome markings have not been provided in order to encourage experimentation with tempo ranges that are comfortable for the ensemble and at the same time effective for presenting the musical discourse. What matters most is highlighting the rondo theme whenever it appears. Accompaniments should always be secondary to the primary thematic material. All players should be aware of the theme no matter which instruments are playing it. Maintenance of steady pulse — never rushed! — is very important for creating the proper rhythmic effect of the music. Formal P lan
Measure 1–9 introduction Meas. 10 –43 theme with 2 repetitions Meas. 44 –50 transition Meas. 51 –62 verse 1 (quieter, with echoes of the theme) Meas. 63 –74 theme (variation 1, with theme inverted) Meas. 75 –91 verse 2 (chorale)
Meas. 92 –106 theme (variation 2, in canon) Meas. 107 –134 verse 3 (melodic and harmonic fragments) Meas. 135 –146 theme (var. 3, melody passed among different instruments) Meas. 147 –158 transition Meas. 159 –182 verse 4 (passacaglia) Meas. 183 –205 transition with thematic extension Meas. 206 –253 theme (var. 4, with coda) The introduction (meas. 1 –9) should be very grand, with all note values fully sustained. At measure 8 the main tempo of the work kicks in. It should be a bright and lively allegretto, not so fast as to sound hurried or breathless, but quick enough to sparkle and cause the toes to tap. The music should almost play itself thereafter, if articulation and expression markings are observed, and tempos and style are judiciously modified to characterize the verses as effectively as possible. The addition of several string basses to the ensemble will prove beneficial. In measures 239, 241, 243, and 245 as many ringing pitched percussion instruments — bells, chimes, vibraphone, crotales, metallophones of all types — as possible should be employed for the half-notes. Bongo drums should be played with light sticks rather than hands. Marimba may double the xylophone in the final three measures, as desired. A huge molto rallentando (marked in the score as slowing greatly) should occur here as well. Duration of the work is approximately 8 to 9 minutes, depending on the tempos employed. S u gge s tion s f or L i s tening
As mentioned above, the symphonic (and string quartet) rondos of Haydn have provided some of the inspiration for Rhythm Games. A highly entertaining rondo, with a theme that bears a resemblance to the theme of Rhythm Games, is the 4th movement, Finale: Spirituoso, of Haydn’s Symphony No. 97 in C Major. The French baroque rondeau seldom varies the refrain, leaving it unchanged between many verses. This was a favorite form of French composers in the late 17th and early 18th centuries, particularly in music for harpsichord. An especially fine harpsichord rondeau is the concluding Chaconne from the Suite in d minor (1707) of Elizabeth Jacquet de La Guerre. And there is the classic concert band rondo Rhythm Machine, by the composer himself. Originally composed in the 1970s, revised and published in the 1980s (Bourne Co. Music Publishers, New York), my earlier work, Rhythm Machine, is the obvious rondo brother of the present work, Rhythm Games. Since rondo form is one of the older musical forms in the western tradition (as well as in other world music traditions) there are many more examples worth hearing and analyzing. Here are just a few from the European baroque and classical periods: Joseph Haydn: Rondo all’Ongarese (“Hungarian Rondo”) from Piano Trio in G Major, Opus 75, No. 1 Haydn: 2nd Mvt., Andante, from Symphony No. 90 in C Major Francois Couperin: Passacaille, from Pieces for Harpsichord, Book 2, Suite No. 8 in B minor Wolfgang Amadeus Mozart: 4th Mvt., Allegretto, from String Quartet in D Major, K. 575 T I M O T HY B R O E G E
for the Waukesha Central Middle School Band
RHYTHM GAMES Very slow and broad 2
for Concert Band 3
4
TIMOTHY BROEGE 5
6
Piccolo a2 Flute
1 2
Oboe
1
B Clarinet 2
3
B Bass Clarinet
Bassoon
1 E Alto Saxophone 2
B Tenor Saxophone
E Baritone Saxophone
1 B Trumpet
a2
2 3
F Horn
1 2
Trombone
1 2
a2
Euphonium (w/Tbn. 3 opt.)
Tuba
arco String Bass
Timpani Bells
Chimes
Mallet Percussion
Percussion 1 Cymbals Percussion 2 Copyright © 2010 — All Rights Reserved — Printed and Engraved in the U.S.A.
ISBN 1-59913-038-6 (complete set) ISBN 1-59913-039-4 (conductor’s score) Purchase music, download free MP3s, view scores, and more at www.ManhattanBeachMusic.com
7
8 Moderately quick, steady tempo 9
10
11
12
Picc. (a2) Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
F Hrn.
1 2
Tbn.
1 2
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp.
Mallet Perc. Bongos Perc. 1
Tambourine Perc. 2 Triangle
2
13
14
15
16
17
18
Picc.
1. Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
F Hrn.
1 2
Tbn.
1 2
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp. Xylophone Mallet Perc.
(Bongos) Perc. 1 (Tamb.) Perc. 2 (Tri.)
3
19
20
21 22
23
24
25
Picc. (1.) Fl.
1.+2.
1 2
Oboe
1
B Cl. 2
3 simile B Bass Cl. simile Bsn. simile 1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
F Hrn.
1 2 a2
1 Tbn. 2
simile
Euph. (Tbn. opt.) simile Tuba simile pizz. Str. Bass simile Timp. (Xylo.) Mallet Perc.
Perc. 1 (Tamb.) Perc. 2
4
26
27
28
29
30
31
Picc.
Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 1. F Hrn.
1 2
Tbn.
1 2
(a2)
a2
Euph. (Tbn. opt.)
Tuba (pizz.) Str. Bass
Timp.
Mallet Perc.
Perc. 1
Perc. 2
5
32
33
34 Bold and powerful
35
36
37
Picc. sub. Fl.
1 2 sub.
Oboe sub. 1 sub. B Cl. 2 sub. 3 sub. B Bass Cl. sub. Bsn. sub. 1 sub.
E Alto Sax. 2
sub. B Ten. Sax. sub. E Bari. Sax. sub. 1 sub.
B Tpt. 2 3
sub. a2 F Hrn.
1 2 sub.
Tbn.
1 2
(a2)
sub. Euph. (Tbn. opt.) sub. Tuba sub. arco Str. Bass sub. Timp. Xylophone Mallet Perc. Snare Drum Perc. 1 Bass Drum Perc. 2
6
38
40
39
41
42
43
44
Picc.
a2 Fl.
1 2
Oboe sub. 1 sub.
sub.
sub.
sub.
B Cl. 2
3 sub. sub. B Bass Cl. sub. sub. Bsn. sub.
sub.
1 sub.
E Alto Sax. 2
sub. B Ten. Sax. sub. E Bari. Sax. sub. 1 B Tpt.
2.
2 3 a2 F Hrn.
1 2 sub.
Tbn.
a2
1 2
sub.
a2 sub. sub.
Euph. (Tbn. opt.) sub. Tuba sub. Str. Bass
Timp. (Xylo.) Mallet Perc.
(S.D.) Perc. 1 (B.D.)
sub. Triangle
Perc. 2
7
sub.
gently
45
46
47
48
49
51
50
Picc. a2 Fl.
1 2 div.
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. solo 1 smoothly B Tpt. (2.) 2 3 1.+2.
1. 1 F Hrn. 2
Tbn.
1 2
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp.
Mallet Perc.
Perc. 1 Perc. 2
8
52
53
54
55
56
57
58
Picc.
a2 Fl.
a2
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. tutti 1 B Tpt. 2 3
F Hrn.
1 2
Tbn.
1 2
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp. Bells Mallet Perc.
Perc. 1 Perc. 2
9
59
60
61
62
63
Picc. (a2) 1 Fl. 2 unis. Oboe
( ’s always sustained) 1 gently B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
F Hrn.
1 2
Tbn.
1 2
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp. (Bells) Mallet Perc.
Perc. 1 Triangle Perc. 2
10
64
65
66
67
68
69
Picc.
Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
F Hrn.
1 2
Tbn.
1 2
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp.
Mallet Perc.
Perc. 1 Perc. 2
11
70
71
74 72
73
Very sustained, hymn-like 75
76
77
78
Picc. a2 1 Fl. 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
F Hrn.
1 2
Tbn.
1 2
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp. Bells Mallet Perc.
Perc. 1 Perc. 2
12
79
80
81
82
83
84
85
86
87
88
Picc. (a2) Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt.
a2
2 3 a2 F Hrn.
1 2
Tbn.
1 2
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp. Bells Mallet Perc.
Perc. 1 Suspended Cymbal
l.v.
Perc. 2
13
choke
89
92 90
slowing
91
a tempo
93
94
95
96
Picc. 1. 1 Fl. 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt.
2. muted
2 3
F Hrn.
1 2
Tbn.
1 2
(a2)
a2
Euph. (Tbn. opt.) (bsn.) Tuba
pizz. Str. Bass
Timp.
Mallet Perc. Bongos Perc. 1 Tambourine Perc. 2 Triangle
14
98
97
99
100
Picc. (1.) Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt.
(2.)
2 3
F Hrn.
1 2
Tbn.
1 2
Euph. (Tbn. opt.) Tuba
(pizz.) Str. Bass
Timp.
Mallet Perc.
(Bongos) Perc. 1 (Tamb.) Perc. 2 (Tri.)
15
101
102
104
103
105
106
107
108
Picc. (1.) Fl.
1.+2.
1 2
Oboe sub. 1 sub. B Cl. 2 sub. 3 sub. B Bass Cl.
Bsn.
1 sub.
E Alto Sax. 2
sub. B Ten. Sax.
E Bari. Sax.
1 B Tpt. (2.)
2 3
F Hrn.
1 2
Tbn.
1 2
3. (open)
a2 (open)
Euph. (Tbn. opt.)
Tuba
(pizz.)
arco
Str. Bass
Timp.
Mallet Perc. (Bongos) Perc. 1
(Tamb.) Perc. 2 (Tri.)
16
109
silences carefully observed 110
111
112
113
114
115
116
117
Picc. 1. tutti (2. tacet)
1. solo Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. (a2)
a2
2 3 a2 F Hrn.
1 2
Tbn.
1 2
Euph. (Tbn. opt.)
Tuba
pizz. Str. Bass
Timp. Xylophone Mallet Perc. Bongos
Claves
Perc. 1 Finger Cymbals
Woodblock Perc. 2
17
121 a little slower
118
119
120
122
slowing 123
124
125
Picc. 1. solo (2. tacet) Fl.
1 2 solo
Oboe
solo
(ob.)
1
B Cl. 2
3
B Bass Cl.
Bsn. (hn.) 1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. muted 1 B Tpt. muted
2 3
(a2) F Hrn.
1 2
Tbn.
1 2
Euph. (Tbn. opt.)
Tuba
pizz.
arco
Str. Bass gliss.
Timp.
Mallet Perc. (Claves) Perc. 1 (Finger Cym.)
Triangle
Perc. 2
18
a tempo
126
129
127
128
130
131
Picc. a2 tutti 1 Fl. 2 tutti Oboe tutti 1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. open 1 B Tpt. 2 3 F Hrn.
1 2
Tbn.
1 2
Euph. (Tbn. opt.)
div. Tuba
pizz.
arco
Str. Bass
Timp. Xylophone Mallet Perc. Bongos Perc. 1 (Tri.)
Woodblock
Claves
Perc. 2
19
132
133
134
135
136
137
138
Picc. a2 Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. muted 1 B Tpt. a2 muted 2 3 a2 F Hrn.
1 2
Tbn.
1 2
a2
Euph. (Tbn. opt.)
unis. Tuba
Str. Bass
Timp. Marimba Mallet Perc. Maracas Perc. 1
Perc. 2
20
139
140
141
142
143
144
Picc.
(a2)
a2
1 Fl. 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. (a2) 2 3 (a2) F Hrn.
1 2
Tbn.
1 2
(a2)
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp. (Marimba) Mallet Perc. (Maracas) Perc. 1
Perc. 2
21
147 145 slowing
slower, very sustained and hymn-like 146
148
149
150
151
152
Picc. (a2) Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
(hn.1)
1 E Alto Sax.
(hn.2)
2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
(a2)
(a2) F Hrn.
1 2
Tbn.
1 2
(a2)
(bsn.) Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp. (Marimba)
Bells
l.v.
Chimes
l.v.
Mallet Perc. (Maracas) Perc. 1 Perc. 2
22
159 153
Passacaglia, with a little more movement, smooth and sustained 154
155
156
157
158
160
Picc.
Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 a2 F Hrn.
1 2
Tbn.
1 2
a2
Euph. (Tbn. opt.)
Tuba Str. Bass Timp.
Bells
l.v.
Chimes
l.v.
Mallet Perc.
Perc. 1 Perc. 2
23
161
162
163
164
165
166
167
168
169
Picc. a2 Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. open 1 B Tpt. 2. open 2 3 (a2) F Hrn.
1 2
Tbn.
1 2
(a2)
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp.
Mallet Perc.
Perc. 1
Perc. 2
24
2.+3. open
171
170
172
173
Picc. (a2) 1 Fl. 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 (a2) F Hrn.
1 2
Tbn.
1 2
(a2)
Euph. (Tbn. opt.)
Tuba Str. Bass Timp. Bells Mallet Perc.
Perc. 1 Perc. 2
25
174
175
176
177
178
slowing
179
slower and slower 180
181
182
183
184
Picc.
Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn. 3
3
3
3
3
3
3
3
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 a2 1 F Hrn. 2 a2 1 Tbn. 2
Euph. (Tbn. opt.)
Tuba pizz.
arco
Str. Bass
Timp.
Marimba Mallet Perc.
Perc. 1 Suspended Cymbal w/Timpani mallets Perc. 2
26
186 185
hold back
a tempo
187
188
Picc.
Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
3
1 E Alto Sax.
3
2
B Ten. Sax.
E Bari. Sax.
1 B Tpt.
a2
2 3 (a2)
3
1 F Hrn. 2
(a2) Tbn.
1 2 3
Euph. (Tbn. opt.)
Tuba
pizz. Str. Bass
Timp. Marimba Mallet Perc.
Perc. 1 (Sus. Cym.)
choke
w/stick
Perc. 2
27
189
190
191
192
194
193
195
196
Picc.
a2 Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. solo 1 B Tpt.
a2
2 3 a2 F Hrn.
1 2
Tbn.
1 2
a2
Euph. (Tbn. opt.)
Tuba
(pizz.)
arco
Str. Bass
Timp. Xylophone Mallet Perc.
Perc. 1 Cymbals Perc. 2
28
202 197
slowing
198
very slow
199
200
Tempo I (m. 8)
201
203
204
205
Picc. (a2) Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
F Hrn.
1 2
Tbn.
1 2
a2
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp.
Mallet Perc. Bongos
+ Hi/Low Toms
Perc. 1 B.D. Tambourine Perc. 2 Triangle
29
207
206
Stamp feet
208
209
210
211
212
Picc. (a2) Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
Stamp feet 1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. tutti
Stamp feet
1 B Tpt.
a2
a2
2 3 a2 F Hrn.
1 2
Tbn.
1 2
(a2)
Euph. (Tbn. opt.)
Tuba
Stamp feet Str. Bass
Stamp feet Timp. (Xylo.) Mallet Perc. (Bongos, Toms, B.D.)
Bongos, Toms, B.D.
Perc. 1
(Tamb.)
Tambourine
Perc. 2 (Tri.)
30
213
214
215
216
217
218
219
Picc.
a2 Fl.
1 2
Oboe
div. unis. 1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. a2 2 3
F Hrn.
1 2
Tbn.
1 2
a2
Euph. (Tbn. opt.) div.
unis.
Tuba
Str. Bass
Timp. cresc. poco a poco Mallet Perc. Perc. 1 Cymbals
Suspended Cymbal w/mallets
choke
Perc. 2 cresc. poco a poco
31
220
221
222
223
224
225
226
Picc. a2 a2 Fl.
1.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. (upper notes optional) 1 B Tpt. (a2) 2 3 a2 a2
a2
1 F Hrn. 2 (a2) Tbn.
a2
1 2
Euph. (Tbn. opt.) div.
unis.
Tuba
Str. Bass
Timp. Xylophone Mallet Perc. Bongos
S.D. Perc. 1 B.D.
Woodblock
Perc. 2
32
228
227
229
230
Picc. (1.)
1.+2.
1 Fl. 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3 (a2) F Hrn.
1 2
Tbn.
1 2
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp. Xylophone Mallet Perc. Bongos + Toms Perc. 1
Perc. 2
33
231
232
233
234
235
236
Picc.
Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
F Hrn.
1 2
Tbn.
1 2
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp. (Xylo.) Mallet Perc. (bongos + toms) Perc. 1 Maracas Perc. 2
34
237
238
(abrupt cut-off)
239
240
241
242
243
244
245
246
Picc.
Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt.
a2
2 3 a2 F Hrn.
1 2
Tbn.
1 2
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp. All available bells, chimes, and metallophones l.v.
Xylophone
l.v.
(Xylo.)
Mallet Perc. Bells, etc. Perc. 1 Cymbals Perc. 2
35
l.v.
l.v.
Slowing greatly 248
247
249
250
251
Picc.
Fl.
1 2
Oboe
1
B Cl. 2
3
B Bass Cl.
Bsn.
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. div. 1 B Tpt. 2 3
F Hrn.
1 2
Tbn.
1 2
(a2)
Euph. (Tbn. opt.)
Tuba
Str. Bass
Timp. (Xylo.)
Xylophone
Mallet Perc. All available drums Perc. 1
Cymbals
Cymbals
Perc. 2
36
252
253
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)
BOB MARGOLIS — PUBLISHER N E I L R U D D Y — C R E AT I V E D I R E C T O R COFOUNDERS 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 .
.
TIMOTHY BROEGE
To
h e a r
a
p l e a s e
r e c o r d i n g v i s i t
w w w . M a n h a t t a n B e a c h M u s i c . c o m