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S T E V E RO U S E

WAY FA R I N G STRANGER F

O

R

C

O

N

C

E

R T

B A

N

D

I N S T R U M E N T A T I O N

1 Full Score

2 Bassoon 1

2 Trombone 2

1 Piccolo

2 Bassoon 2

2 Trombone 3

4 Flute 1

3 Eb Alto Saxophone 1

3 Euphonium

4 Flute 2

3 Eb Alto Saxophone 2

2 Euphonium

2 Oboe 1

2 Bb Tenor Saxophone

2 Oboe 2

2 Eb Baritone Saxophone

4 Bb Clarinet 1

3 Bb Trumpet 1

4 Bb Clarinet 2

3 Bb Trumpet 2

4 Bb Clarinet 3

3 Bb Trumpet 3

3 Bb Bass Clarinet

3 Horn 1

1 Eb Contralto Clarinet

3 Horn 2

1 Bb Contrabass Clarinet

2 Trombone 1

P R I N T E D

O N

A RC H I VA L

(Treble Clef)

4 Tuba 2 Timpani 3 Percussion 1 Glockenspiel; Chimes; Crash Cymbals

2 Percussion 2 Suspended Cymbals (2); Tom-Toms (3)

2 Percussion 3 Bass Drum; Vibraphone

PA P E R

 M A N H AT TA N B E A C H M U S I C 1595 East 46th Street Brooklyn, NY 11234 Fax: 718/338-1151 Voicemail: 718/338-4137 www.ManhattanBeachMusic.com mbmband@aol.com


Hear recordings, purchase music, learn more, at: www.ManhattanBeachMusic.com


PROGRAM NOTES

Wayfaring Stranger was born in the southern Appalachian Mountains about the time of the American Revolution, according to widely held beliefs about the origins of this popular, early American song. At that time, the immigrants of the region were mostly English, Scottish, Irish, and Welsh, but there was also a mysterious group known as Melungeons. Sometimes called the Black Dutch, the Melungeons are often said to be of Portuguese descent, though their precise lineage is still a mystery, varies much, and is a complex mixture thought to include Native American, African (including Bantu), and some Mediterranean, with Turkish as a favorite. In recent years much research has begun to yield more clues to the Melungeons’ origins and history. They appear to have been semi-nomadic, generally moving inward from the Atlantic coast in search of more favorable social conditions. Probably because of this, Wayfaring Stranger has become associated with Melungeon history. Regardless of descent, in those days the people of the region lived lives of enormous hardships, struggling to survive in an environment of often-rugged wilderness terrain, few supplies, not always friendly Indians, and the frequent loneliness of isolation. Wayfaring Stranger is typical of many of the spiritual songs of the time, expressing the pain and hardship of daily life, while dreaming and hoping for a bright and beautiful life after death. As many of these settlers moved westward in the expansion during the years following the American Revolution, Wayfaring Stranger, one of the favorite songs of the day, traveled with them, eventually becoming widely known all across North America. More recently, in the middle of the twentieth century, Wayfaring Stranger was revived by the American folk music movement and by musical researchers and performers such as Pete Seeger and Burl Ives. It was Burl Ives who popularized many early American songs, including Wayfaring Stranger. Known as Wayfaring Stranger, Poor Wayfaring Stranger, or I Am a Poor Wayfaring Stranger, the song is described variously as: spiritual, American spiritual, folk-spiritual, Negro spiritual, traditional Southern spiritual, Southern folk-hymn, spiritual folk-ballad, religious ballad, hymn, etc. There is some evidence that supports a black American spiritual source for Wayfaring Stranger, and surely the song’s history is not complete without the significant influences of the black spiritual tradition. I think that David Warren Steel of the University of Mississippi describes well the intermingled transformation and development of many spirituals when he writes in the Journal of Musicological Research 5 (November 1984), pp. 260-264, “The spiritual song tradition is neither white nor black, neither northern or southern, but American.” I understand this to mean that, whatever their often hard to trace initial origins, spirituals were quickly adopted and adapted by the diverse people and traditions of America. And so it continues today. Like most early American songs, there were hundreds or even thousands of variations of Wayfaring Stranger. In my quest to learn about Wayfaring Stranger, I communicated with University of Georgia Professor Emeritus of Chemistry and published music researcher John F. Garst, who has extensively studied the song’s history. His article, “Poor Wayfaring Stranger” – Early Publications,” was published in 1980 in the journal, The Hymn (31 (2): 97–101). Having examined hundreds of early versions of Wayfaring Stranger, he mentions that the song has an oral history that probably dates back to the 1780s. He then goes on to describe its history in hymnals from the mid-1800s into the early 20th Century. I am grateful to Professor Garst for sending me, from his private research collection, several examples of early versions of Wayfaring Stranger. Even among these samples, there are so many variations of melody, harmony, lyrics, and even titles. Still, I feel that the song’s essence remains intact in every version. Wayfaring Stranger is a tremendously popular, universal, and timeless song that still strikes a deep, resonant chord within us today, just as it has for over two centuries. STEVE ROUSE


FORM Measures

Section

Key

1–8 Introduction

c minor

First statement… 9–16 17–24 25–35 36–43

A A´ B A´

c minor c minor Eb major…c minor c minor

Second statement… 44–51 52–57 58–61 62–69 70–79 80–86 87–92

A A´ Transition B A´ Coda Conclusion

F major / d minor F major / d minor preparing Bb major Bb major “c minor” (F, C major) Eb/Bb c minor

The form of the original tune is AA´–BA´, with each A phrase altered slightly. The second half of the tune serves as a refrain or chorus in the sense that its words are usually much the same from stanza to stanza: I’m going home to see my father, (mother, sister, brother, etc.) I’m going there no more to roam; I’m just a-going over Jordan, I’m just a-going over home.

Like most early American tunes, there are hundreds of variations of Wayfaring Stranger, both in text and melody. In addition, improvisational changes are common (or even expected) in many performance situations. Beyond its distinctive text, the tune itself has some basic characteristics that allow it to be recognized in so many different versions: (1) an initial melodic shape of a rising perfect fifth from tonic to dominant, (2) a mode-like melodic structure that includes a lowered seventh scale degree (rather than a raised leading tone), and (3) a structure that usually moves temporarily to the relative major (B section).


PERFORMANCE NOTES Tempo Observations Although there are many tempo changes, most are subtle and should be almost imperceptibly felt rather than explicitly heard. Don’t exaggerate the tempo changes. For example, in measures 16–25, the tempo moves from mm=80 to mm=88, using a very small amount of accelerando one bar before each new phrase. These and all other tempo changes throughout the piece should feel like subtle, natural expressive choices, not obvious events. In general, take care not to perform the piece too slowly. With the exception of the music near the cadences, the piece has a relatively moderate tempo range of mm=80 to mm=96. Introduction (measures 1–8) This is a fanfare-like opening, explosive in nature. Note that after the rit. poco in measures 3–4, there is a sudden return to the initial tempo of mm=92 and a gradual slowing to the fermata in measure 8. The sixteenth note material that leads to measure 3 is derived from the tune and becomes an important figure in the Coda (beginning in measure 80). The descending, three-note chordal passage in the saxophones and flutes in measures 5–8 is used in transitions throughout the score. First Statement A (measures 9–16) Here the melody is played by all the Bb clarinets, alto saxophone 1, and one player from horn 1. The long, smoothly descending line of the accompaniment gradually adds more tones and more instruments to the harmonies, until they are rich and luminous. These chords should not become ponderous or heavy. A third element in this section is the concert c pedal tone in horn 2 and vibraphone, which should be more felt than heard. A´ (measures 17–24) This phrase repeats A with a cadential ending. An echoing canonic statement at the fifth appears in muted trumpet 1. The descending countermelody in the glockenspiel should be gentle. The chords in measures 17–20 pulse with a breath-like quality, then grow slightly more insistent through measures 21–24. The transitional, three-note, descending chordal figure in the upper woodwinds (measure 23), leads to the woodwind pickups to the B section. B (measures 25–35) The chorale-like woodwind statement of the B melody is accompanied by mostly chordal writing in the low brass and lower woodwinds. Measures 34–35 echo the opening measures of the piece. A´ (measures 36–43) Here, a gentle, three-part canon at the fifth and the ninth features lighter woodwind scoring. The primary melody in alto saxophone 2 and tenor saxophone should be heard clearly and more prominently than the canonic statements. The statement at the fifth is scored for piccolo and oboe 1 in octaves, while the statement at the ninth is scored for one alto saxophone 1 and glockenspiel two octaves higher. (The oboe part is cued in flute 1, which may be substituted as desired.) The descending, growing chords gently support the melodies. The crescendi in measures 39–42 and in the low brass in measures 42–43 serve to lead this section to the trumpet and horn pickups of measure 43, which should be heard as a small surge of energy and emotion, rather than as a sudden outburst.


Second Statement A (measures 44–51) Trumpets and horns play an F major version of the melody. The original tune is such that only raising the 3rd degree of the scale is required to situate it in a major modality. The harmonization is a variation of F major / d minor that includes many color chords and suspension figures. A´ (measures 52–57) The repeat of A introduces a countermelody in the upper woodwinds with expressive suspensions and suspensionlike melodic gestures. This countermelody should be clearly heard, but should remain secondary to the melody in the trumpets and horns. The accompaniment in the low brass and woodwinds now includes more contrapuntal motion than before. Transition (measures 58–61) The cadence in measure 58 begins a transition to measure 61. If timpani are not available, the bass drum should play the replacement cue. B (measures 62–69) Trumpets in measure 61 lead surprisingly to an Eb major chord, introducing more surprising harmonies in the following measures. The basic elements here are the melody (which is harmonized in triads in the trumpets and upper woodwinds), the chordal accompaniment (low woodwinds and low brass), the countermelody (upper saxophones and horns), and the percussion, which are used to support strong arrival points. The cadence in measure 69 leads the harmony back to the suspended dominant of c minor. A´ (measures 70–79) Three determined pickup notes introduce the final statement of the A material, now in c minor. The harmonic accompaniment in the low brass, with its primary triads, moving internal voices, and suspension figures, flirts with references to several other tonalities, including an F dominant sound that has a somewhat bluesy quality. Measure 74 initiates an extension of the melody, and the harmony turns more directly to C major. The bluesy, dominant sound returns once more in the cadential measure 79. Care should be taken that the chimes in measures 70–74 are heard, but as if from far in the distance. When the horns drop the melody, be sure the clarinets and saxophones are still heard clearly. Coda (measures 80–86) The four musical elements of measures 62–69 return: the melody (harmonized in triads in the trumpets and upper woodwinds), the chordal accompaniment (low woodwinds and low brass), the countermelody (upper saxophones and horns), and percussion, which introduce and support various strong moments in the winds. If all the horn 2 players are comfortable playing the upper octave of the countermelody, omit the lower octave. However, performance practicality should be the first priority here. Conclusion (measures 87–92) This passage brings the return of the pedal tone and the descending, three-note chordal figures in the upper woodwinds. The pedal tone should decay smoothly, disappearing gradually until vanishing in measure 90. The final melodic gesture, a passage of ascending fifths, is played by solo flute and vibraphone. The solo flute should be clearly heard, but the vibraphone should be more felt than heard. STEVE ROUSE


WAYFARING STRANGER Piccolo

(one player)

1 Flute 2 1 Oboe 2

1 B b Clarinet 2 3 B b Bass Clarinet E b Contralto Clarinet

1 Bassoon 2

1

E b Alto Saxophone 2 B b Tenor Saxophone E b Baritone Saxophone

B b Trumpet 1, 2, 3

1 F Horn 2

1 Trombone 2 3 Euphonium Tuba

Timpani

1

Percussion 2

3

With deep expression q = 92 Sostenuto

b 4 &b b 4 b 4 &b b 4 b 4 &b b 4 b 4 &b b 4 b 4 &b b 4 &b &b

4 4 4 4

2

∑ ∑ ∑ ∑

œ >œ >œ p >cresc.

> nœ > nœ

FOR CONCERT BAND

3 œœ œœ f Ó Œ œœ œœ f Ó ‰ œ nœ œ œ œ f œ nœ œ œ œ œ œ œ> > > F cresc.n >œ >œ n œ > >œ cresc. F œ > # >œ >œ Nœ œ nœ nœ

Ó

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F cresc. > # >œ >œ nœ F cresc. > nœ Ḟ cresc.

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4

q = 92 subito (c72) rit. poco a poco

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6

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q = 66 accel.

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7

(c66)

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5

STEVE ROUSE

Œ Ó Œ Ó Œ Ó

U Œ Œ Ó

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hi P

on the bell

&

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Copyright © 2005 Manhattan Beach Music 1595 East 46th Street, Brooklyn, NY 11234-3122, U.S.A. Voicemail 718 338-4137 Fax: 718 338-1151 E-mail: mbmband@aol.com All Rights Reserved. This music is made entirely in the United States of America. ISBN 0-931329-89-2 (complete set of score & parts) ISBN 0-931329-90-6 (score only)

Hear this composition online at www.ManhattanBeachMusic.com

ò P

w p

U œ Œ Ó


9 Picc. 1 Fl. 2 1 Ob. 2 1 B b Cl. 2 3 B b Bass Cl. E b Cn. Cl. 1

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2

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1

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E b Alto Sax.

2

B b Ten. Sax. E b Bari. Sax. 1 B b Tpt. 2 3 1 F Hn. 2

1 Trbn. 2 3

Euph. Tuba

Timp. 1 Perc. 2 3

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11

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w

16

w

accel. poco q = 84

w

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15

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œ ˙. œ ˙.

14

13

∑ ∑

12

∑ ∑

b b

17

q = 80

˙

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Glockenspiel, plastic mallets

Œ

˙ (p)

œ

œ ˙.


Picc.

1 Fl. 2

1 Ob. 2

1 B b Cl. 2 3 B b Bass Cl. E b Cn. Cl. 1 Bsn. 2

1

E b Alto Sax.

2

B b Ten. Sax. E b Bari. Sax.

1 B b Tpt. 2 3 1 F Hn. 2

1 Trbn. 2

b &b b

accel. poco

19

b &b b b &b b &

bbb

b &b b &b

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b œ ˙. b &b Œ ˙

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Timp. 1 Perc. 2

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3

÷

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dim.

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w

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24

w P dim. w ˙ ˙ P dim. œ œ œ œ œ œ œ Œ (F)œ œ œ Œ ˙. œ F P œ œ œ Œ ˙ ˙ F P w ˙ ˙ P dim. ˙. œ w

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w

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w

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œ œ œ œ

23

∑ ∑

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&b

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Œ

22

œ ˙.

&b

21

œ ˙.

&b

? bb

20

cresc.

œ œ œ œ cresc. œ œ œ œ cresc. œ œ œ œ cresc.

œ œ œ œcresc. Ó ˙ π Ó ˙ π Ó ˙ π Ó ˙ π œ œ œ œ

25

q = 88

˙

f w f w f Œ Œ Œ Œ

w

˙ ˙ ˙ ˙ ˙ ˙ ∑

remove mutes

Ó π Ó π Ó π Ó π Ó π

œ

-̇ F -̇ F -̇ F -̇ F

œ-

œœœ-

Œ Œ Œ Œ Œ Œ Œ

-̇ -̇

-̇ -̇

-̇ œ œ œ œ

œ œ œ œ

-̇ F

∑ ∑

-̇ F -̇ F -̇

F -̇

œ-

˙

˙

F -̇

œœœœ-

F -̇

œ-

F

∑ ∑

∑ ∑

œ-

Œ Ó

˙

œ œ œ œ

-̇ F ∑

˙

to Chimes (Tubular Bells), rawhide mallet

œ œ œ œ œ œ œ œ

w

Ó π ∑ Ó π Ó π

œ œ œ œ

f w f w

Œ

œ œ œ œ

f w

Ó π

˙

œ œ œ œ

f w

w

˙

œ œ œ œ

F w

œ œ œ œ œ œ œ œ

26

w

œ-

w-

w-̇

∑ ∑ ∑ ∑


œ ˙. bbb

œ œ œ œ

28

27

Picc.

1 Fl. 2

1 Ob. 2

1 B b Cl. 2 3 B b Bass Cl. E b Cn. Cl.

1 Bsn. 2

1

E b Alto Sax.

2

B b Ten. Sax. E b Bari. Sax. 1 B b Tpt. 2 3 1 F Hn. 2

1 Trbn. 2 3 Euph.

&

˙ b œ . &b b b œ ˙. &b b b œ ˙. &b b

œ ˙.

&b

œ ˙.

&b &b & ? bb

˙

œ.

b -̇

? b b b &

œ ˙.

˙

œ œ œ œ

œœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ ˙.

&b &

˙

&b

&b &b

˙

œ œ ˙. J

œ

&

&b

w

˙

˙

∑ b

Œ

b

Œ

Timp.

? bb

b

b &b b ÷

b &b b

œ œ ˙. œœœ

˙

œ œ œ œ œ œ œ œ

w

˙

w œ-

b ˙-

-̇ .

œ-

-̇ .

Œ Œ Œ

w

˙

œ-

b ˙-

œ-

w

Œ Œ

Œ

-̇ . œ œ œ œ

b ˙-

œ-

-̇ .

œ œœœ-

b ˙-

œ-

-̇ .

œ

œ-

-̇ .

w> w> w>

˙ ˙

dim.

˙

dim.

œ

dim.

π

Œ

Œ œ > π F Œ œ > π F Œ œ > π F

w> dim. >˙ .

> n˙ .

dim.

dim.

˙. >

dim.

w> dim.

>œ >œ F

w>

w> > dim. w

w> > w

w> dim. >œ > > œ œ œ > > œ ˙ œ > > > nœ . >˙ dim. w>

w> >œ >œ >œ >œ

dim.

dim.

33

> œ> œ œ œ > > F >œ œ >œ >œ >œ > F >œ œ> >œ >œ >œ F >œ œ> >œ >œ >œ F

dim.

dim.

w > dim. w>

w>

32

Œ P >œ ˙ >œ P >œ > œ ˙ >œ > >

w w -̇

31

Ó

œ

-̇ -̇

∑ -̇

˙

∑ ∑

Nœ Aœ

˙

Œ A˙ -̇ Œ Œ

∑ Œ

œ œ œ œ

w Œ

˙

œ œ œ œ

Œ b˙ -

œœ w œ œœ F -̇ œœ œ b˙ œ ? bb b ˙ ˙ n˙ ? b b -̇ b ? bb œ w œ. J b -̇ ? bb œ w œ. b -̇ J &b

œ œ œ œ

œ F

œ œ œ œ

w

œ œ œ œ

œ œ œ œ

w

w

˙

œ œ œ œ

w

œ œ œ œ œ œ œ œ

œ œ œ œ ˙

b

3

œ œ œ œ

œ ˙.

&b

? bb

Perc. 2

œ œ œ œ

b & b b œ ˙.

Tuba

1

œ œ œ œ

30

w

29

>œ >œ

> Œ œ ˙ > cresc. P ˙. œ open

>cresc.

> œ >

w > dim. w > dim.

œœò F>

4

cresc.

> œ ˙

> œ ˙

cresc.

cresc.

w >

w> >œ cresc.

˙

cresc.

w> œ >w

w

w

w

w P

(Vibraphone, motor off, medium yarn mallets)

œ ˙ F >œ > >

cresc.

w

w

ò> P

> œ ˙

cresc.

w

cresc.

w

Chimes (Tubular Bells), rawhide mallet

w F>

w

f w dim.

cresc.

œ r œ ‰. π r‰. œ π œ R ‰. π œ R ‰. π w

˙.

w

dim.

˙.

cresc.

Œ

w

dim. w> > dim. w

> >œ ˙

cresc.

w

p cresc.

> >˙ œ >. ˙

Œ Ó Œ Ó

>œ >œ >œ

34

˙f dim.

Œ Ó

˙

œ œ œ œ œ œ œ œ

œ

f dim. r . œ‰ Œ Ó π ˙ œ œ F dim. ˙ ˙ F dim. w F dim. ∑ ∑

Œ Ó

ò> p w p

>œ œ œ f> dim. œ œ œ f> dim. œ œ œ f> dim. œ œ œ f> dim. œ œ œ f> dim. œ œ œ f> dim. œ œ œ f> dim. œ œ œ f dim. r‰. Œ Ó œ π r‰. Œ Ó œ π œ ‰. Œ Ó R π r . œ‰ Œ Ó π ˙ œ

>œ œ > >œ œ > >œ œ > >œ œ > > œ ˙

w> > w

˙ w> w>

rit.

∑ ∑

œ ‰. Œ Ó R π r . œ‰ Œ Ó π r‰. Œ Ó œ π G to F ∑ w

P dim.

to Glockenspiel

∑ œ œ œ


q = 72 accel.

1 Fl. 2 1 Ob. 2 1 B b Cl. 2 3 B b Bass Cl. E b Cn. Cl. Bsn.

1 2 1

E b Alto Sax.

2 B b Ten. Sax. E b Bari. Sax. 1 B b Tpt. 2 3 1 F Hn. 2

1 Trbn. 2 3 Euph.

Tuba Timp. 1

Perc. 2 3

q = 84

b U &b b œ Œ Ó p 35

Picc.

36

Œ œ œ P

Œ P nœ Uœ œ œ Œ Ó & b ∑ pU b œ ∑ Œ Ó &b b p one player n œ b Uœ Œ Ó Œ œ œ &b b pU P b ∑ &b b œ Œ Ó p Uœ Œ Ó w &b p p sempre Uœ b Œ Ó & ˙ p ṗ sempre Uœ Œ Ó &b -̇ p p sempre-̇ U Œ Œ Ó ∑ &b U Œ Œ Ó ∑ & U ? b Œ Œ Ó ∑ b b U ? b Œ Œ Ó ∑ b b Uœ one player œ ˙ Œ Œ œ œ & p P Uœ œ œ œ w & p P Uœ œ œ œ w &b p P U ∑ Œ Œ Ó & Uœ ∑ Œ Ó &b p U ∑ & b nœ Œ Ó p U ∑ œ Œ Ó &b p b UŒ Œ Ó ∑ &b

b

U Œ Œ Ó

Ó

? b UŒ Œ b b ? b b UŒ Œ b ? b UŒ Œ b b ? b UŒ Œ b b ? b UŒ Œ b b ? b UŒ Œ b b b U &b b Œ Œ

nw

w -̇

39

˙.

p

˙

˙

40

œ ˙.

œ

œ œ œ nœ

˙

p

∑ ∑

œ

˙

one player

∑ ∑ ∑

œ

cresc.

∑ n˙ 5

˙

˙ ˙ p cresc. ∑ -̇ -̇

œ œ ˙

˙

˙

˙.

w

∑ ∑

œ

w

w

œ

∑ ∑ ∑

˙

œ

∑ ∑ ∑

Œ

b

Œ

b

Œ

w

b b b

# #

w

# ∑ ∑

w P cresc. ˙ ˙ w P cresc. one player ∑ w P cresc. -̇ ˙ ˙ -̇ P cresc. one player ∑ -̇ cresc.n ˙P ∑ ∑

w

˙.

˙

˙.

˙.

˙.

accel. poco

œ

43

œ œ œ œ F ∑

w

˙

œ

œ œ ˙ F œ œ œ œ w F œ œ œ œ w F ∑ ∑

˙

˙

cresc.

˙

p cresc. ∑

˙.

˙

∑ ∑

∑ ∑ ∑

one player

œ œ œ œ ˙

F œ

w

w

œ œ œ œ F

42

w

œ

n ˙-

˙

œ œ ˙

˙

cresc.

w

œ œ œ œ

w

cresc.

œ œ œ œ

˙

cresc.

˙

œ ˙.

w

˙.

∑ ∑

œ nœ

41

˙

˙

œ

œ œ œ nœ

˙

˙

œ ˙.

˙

˙

œ œ œ œ

∑ ∑ ∑

˙

œ

cresc.

˙.

œ ˙.

˙

œ

œ nœ

œ œ œ œ

˙.

∑ ∑

˙

one player

œ œ ˙ ∑

w

Œ œ p

œ œ œ œ

Glockenspiel. plastic mallets

œ

œ œ œ nœ

Ó

∑ ∑

Ó

œ

w

Ó

U ÷ Œ Œ Ó b Uœ Œ Ó &b b p

nw

Ó

Ó

œ œ œ nœ

38

cresc. Oboe cue: Play only if no Oboe is available, or at the discretion of the conductor. cresc. one player

bb

&b

nw

37

∑ ∑

œ Œ Ó

#

## b

b ##

œ Œ Ó

##

##

œ Œ Ó Œ œ F Œ œ F Œ œ F Œ œ F Œ œ F nw

œ œ œ œ œ œ œ œ œ œ

w-

# # #

nn nn b b

w-

b

ww-

#

b ∑

take Crash Cymbals

÷ œ œ ˙ w P (Low Susp. Cymb., med. mallets) ˙ ∑ Ó æ π cresc. ∑ ∑ ÷ to Bass Drum, medium-hard mallets

b b


44 With a bit more motion; flowing Picc. 1 Fl. 2

1 Ob. 2 1 B b Cl. 2 3 B b Bass Cl. E b Cn. Cl. 1 Bsn. 2 1

E b Alto Sax.

2

B b Ten. Sax. E b Bari. Sax. 1 B b Tpt. 2 3 1 F Hn. 2

1 Trbn. 2 3 Euph. Tuba Timp. 1 Perc. 2 3

&b

q = 92

&b

∑ ∑

#

Œ aœ #˙ ## Œ F & aœ a˙ F ? b Œ Nœ n˙ F ?b Œ Nœ N˙ tutti # # Fœ œ #œ Œ & F # & # Œ œ #œ œ F # Œ #œ ˙ & F # & # Œ œ F ˙ # w & # (F) w & # (F) w & (F) w & (F) & w (F) Nœ œ nœ ? tuttiŒ b Fœ not too much nœ œ ? b tuttiŒ F not too much ? b tuttiŒ n œ œ N œ F not too much ? b tuttiŒ N œ n ˙ F not too much ? b tuttiŒ Nœ N˙ F not too much ?b ∑ ÷ ÷ ÷

ô P

w w w

Œ

œ œ œ Œ œ ˙ Œ œ œ œ Œ

w w

>œ ˙ . w

œ ˙ Œ œ œ œ Œ œ œ œ Œ œ ˙

Œ w œ ˙ œ œ œ œ œ ˙. œ œ œ œ œ ˙.

œ œ œ œ œ ˙. œ œ œ œ œ ˙.

œ œ œ œ œ ˙. œ œ œ w Œ œ œ œ >œ N ˙ . Œ w

Œ

Œ œ Nœ œ

w w

œ œ œ

∑ ∑

Œ

œ ˙ ∑ ∑

(Low Susp. Cymb., med. mallets) l.v. to 3 Tom-toms, hard mallets

∑ ∑

∑ ∑

˙. ˙. ˙.

œ œ

˙.

œ

˙.

œ

˙ w

˙ ˙

˙

b˙ w

˙

b˙ nw

˙

˙.

œ

˙

˙

œ œ œ œ œ œ œ œ œ œ œ œ œ ˙. ˙ ˙

˙. ˙.

˙

w w w w w

œ œ

w

œ

˙

˙

˙

˙

˙

œ

˙

˙

∑ ∑

∑ 6

∑ N˙

˙

w

∑ b˙

˙

œ œ œ œ œ œ œ œ

˙ ˙

˙

˙

œ œ ˙

˙

˙ ˙

˙

˙

n˙ ˙

˙ ˙

˙

˙

˙

b˙ b˙

b˙ b˙

˙

N˙ N˙

˙ ˙ ˙ ˙

˙

œ nœ œ œ a˙ ˙ bœ bœ ˙

Œ œ œ œ F full sound Œ œ œ œ F full sound Œ œ œ œ F full sound tutti Œ œ œ œ F full sound Œ œ œ œ F full sound Œ œ œ œ F full sound Œ œ œ œF full sound Œ œ œ œF full sound Œ œ #˙ Œ œ ˙ œ Œ n˙ q = 96

51

œ

accel. poco

50

49

∑ ∑

48

∑ ∑

47

#

46

&b # & # &

∑ ∑

&b

&

45

&b

&

52

Œ œ ˙ Œ œ œ #œ

˙

Œ œ #œ œ Œ #œ œ ˙

˙

Œ œ n˙

˙

Œ œ N ˙ (˙˙ ) n˙ ˙ ˙ b˙ b˙ œ w œ œ œ œ w œ œ œ œ œ œ œ w œ œ œ œ w œ œ œ œ w œ œ œ œ w ˙ œ œ w œ œ œ œ bœ ˙ œ ˙ œ œ w œ œ œ œ bœ ˙ œ w bw œ œ nœ ˙ ˙ Œ ˙ ˙ œ nœ œ œ bœ œ œ N˙ ˙ Œ nœ œ ˙ ˙ ˙ ˙ bœ bœ ˙ ˙ Œ

˙

∑ ∑ ∑ ∑

˙

˙

∑ ∑ ∑ ∑

∑ ∑ ∑ ∑

˙

Œ œ ˙ ∑ ∑ ∑ ∑


Picc. 1 Fl. 2 1 Ob. 2

1

œ ˙

œ-

&b

œ ˙

œ-

&b

œ ˙

&b &b &b &

B b Cl. 2

&

3

&

B b Bass Cl. E b Cn. Cl. 1 Bsn. 2

1

E b Alto Sax.

2

B b Ten. Sax. E b Bari. Sax. 1 B b Tpt. 2 3 1 F Hn.

&

# # # #

?b ?

b

Timp. 1 Perc. 2

3

œ-

œ ˙

œ-

œ ˙

œ-

œ ˙ w w w

?

b

?b ?

b

?b ? ÷ ÷ ÷

b

œ ˙

œ-

œ ˙ œ ˙

œ-

œ ˙

œ-

œ ˙

œ-

œ ˙

œ-

œ ˙

œ -

œ ˙ Œ

œ

˙

Œ œ Œ œ

˙

œ œ œ œ œ œ œ œ œ

>œ ˙ . w w

∑ ∑ ∑

œ

œ ˙

œ

œ ˙

œ

œ ˙ ˙.

œ œ œ

˙. œ

œ œ

˙

œ œ ˙

˙.

œ

œ œ œ œ œ œ œ œ

œ ˙.

œ œ œ œ

œ ˙. œ ˙.

œ ˙. œ œ œ Œ œœœ œ Œ œ nœ œ œ Œ Œ œ ˙ œ

œ

œ ˙

˙.

˙

œ ˙.

œ

œ ˙

˙

œ

œ

œ ˙

Œ œ #œ œ œ Œ

œ

œ ˙

˙.

Œ ∑

œ ˙

œ

œ

œ

55

˙.

˙

Œ œœœ

˙.

œ -

˙

œ

Œ œ

w

w

œ-

54

Œ

œ œ œ œ

1

Tuba

œ-

œ œ œ œ

&

?b

Euph.

œ-

œ ˙

# & # w # & # œ > # & w # & # w # œ & # œ & # œ & &

3

œ-

œ ˙

# & # w

2

Trbn. 2

53

˙

∑ ∑ ∑ ∑

œ œ œ œ œ œ œ œ œ ˙. ˙

œ œ

˙

˙

˙. ˙.

œ œ

∑ ∑ ∑ ∑

56

rit. poco

œ- . œ- œ J œ- . œ- œ J œ- . œ- œ J -œ . œ- œ J œ- . œ- œ J -œ . œ- œ J

œœœœœœ-

œ- . œ- œ J œ- . œ- œ J ˙

œ œ-

˙

˙

˙

˙ w ˙ ˙

œ -̇

œ -̇

œ -̇

œ -̇ œ œ ˙

˙

˙

˙

˙

nœ nœ

-̇ b˙ b˙ b˙ b˙

œ nœ ˙

˙

˙

w

œ -̇

˙

˙

˙

œ -̇

˙

˙

57

˙ b˙

œ œ œ nœ

w

œ œ œ nœ

w

œ œ œ nœ

w

œ œ œ bœ

w w

œ œ œ bœ ˙ œ bœ

w

˙

˙

˙

˙

˙

˙ ˙ ˙

˙ ∑

˙

˙

59

p

w

dim.

p

w

dim.

p

w

dim.

p

w

dim. dim.

p

dim.

p

dim.

p

dim.

p

w w w

j‰ œ j‰ œ j œ ‰

n˙ .

>cresc.

n >˙ .

cresc.

n˙ .

>cresc.

n >˙ .

> > œ œ aœ (F) cresc. œ >œ >œ (F) cresc. > œ œ >œ (F) cresc. cresc.

n˙ .

>cresc. w dim.

w

dim.

w

dim.

w

dim.

w dim. w w

œ >

>œ >œ

j‰ œ

>œ >œ > œ

Œ

F >cresc. œ >œ >œ Œ F cresc. >œ >œ Œ œ F cresc. > Œ œ œ œ > > > F cresc. > Œ œ œ œ > > F cresc. Œ œ œ œ > > F >cresc. Œ œ >œ œ > F >cresc. j‰ ˙. œ

>

j‰ œ j œ ‰ j‰ œ >œ >œ > œ

>˙ . >˙ . >˙ . Œ Œ Œ

>˙ . r œ ‰. p r œ ‰. p r œ ‰. p r‰. œ p r‰. œ p œ p œ p œ p

w

dim. dim.

w pæ

j‰ œ

dim.

nw

dim.

∑ ∑

60

p œ

dim.

∑ 7

w

nw

q = 88

58

>œ >œ œ > >œ >œ œ > Œ Ó

rit. poco

Œ Œ

>œ n >œ > œ >œ >œ > œ

> > > Œ œ œ nœ > > Œ œ nœ œ

> >œ # >œ Œ œ > Œ œ œ œ > > >

Œ œ > >œ # >œ ‰ j >˙ >œ >œ

w> >˙

‰ œ >

w> >œ # >œ > œ Œ > > > Œ œ œ œ >œ >œ > #œ Œ

j‰ œ >w

Œ Ó

Œ Ó

Œ Ó

Œ Ó

Œ Ó

Œ Ó

Œ Ó

Œ Ó

œ p w æcresc.

∑ ∑

Œ Ó

no break in the roll

w æ cresc. F

œœœœ p

3 Tom-toms (high, med., low), hard mallets

œ [ œœ ] Ó

Timpani cue: Play only if Timpani are not available. p F cresc. cresc. wæ wæ wæ

j

Œ

no break in the roll


61

Picc. 1 Fl. 2 1 Ob. 2 1 B b Cl. 2 3 B b Bass Cl. E b Cn. Cl.

1 Bsn. 2

1

E b Alto Sax.

2

B b Ten. Sax.

E b Bari. Sax.

1 B b Tpt. 2 3 1 F Hn. 2

1 Trbn. 2 3

Euph.

&b &b &b &b &b & & & &

?

#

f f f

œ̆

Œ Ó

œ̆ Œ Ó œ̆ Œ Ó

œ f fl œ̆ f œ f fl f flœ

f flœ f flœ

Œ Ó Œ Ó

Œ Ó Œ Ó

b

Ó Ó Ó Ó Ó

œ œ

œ div. œœ n ww> n w œ œ > ∑ b ∑

& ?

Ó

b

?b

?b

?

∑ ∑

b

œ̆ Œ Ó f ÷ ∑ (3 Tom-toms) > w ÷ f ÷

b

dampen

f ˘ dampen Œ œ

Ó

>˙ b b Œ f >˙ b Œ b f > b˙ b Œ b f div. b b Œ b ˙˙ f > bb Œ f b >˙ bb >

œ

œ

œ

œ

œ

b >œ b >œ

>œ >

> œ

b >œ

œ b >œ b >œ

Œ í. f Œ ˙ ‰ œœœ > f p 3

Crash Cymbals (hand-held pair)

> Œ ˙ œ

(Measures 61-67: Percussion should not overwhelm.)

œœ

œœ

œ

œ

œ œ >

œ

œ nœ œ

œ œ nœ œ >œ œ >˙ .

œ

œ

œ

œ

œ

œœ

œœ

f

f

>˙ >˙

œœœœœ œ

œ

œœœ

œ œ

f

> ˙

f

œ œ œ œ

˙

œœ

œœ ˙˙ ..

œ œ œ

cresc. œ ‰ œ œ cresc.

cresc.

˙

˙

˙

>œ > . ˙ >œ > . ˙ >œ > ˙.

œœ œ œ œœ J ‰ œcresc.œ j œ‰ œ œ œ >œ cresc. ˙. >

˙. >œ > ˙ ˙

˙

˙

˙

˙

˙ >˙

˙˙

˙˙

b ˙˙

˙ >˙ l.v. w>I

˙

f

‰ œœœ w > f p 3

> w f

8

cresc.

cresc.

œ ˙ œ > > >˙ ˙

œ

‰ œ œ œ

œ œ J ‰ œ œ

œ ˙. > œ ˙

œ

cresc. ‰ œ œ œ

˙

œ ˙.

œ

cresc.

˙

˙

œ

‰ œ œ œ

˙

˙

œ

˙ æ p

˙

‰ œ œ œ cresc. ‰ œ œ œ

œœ œ œ œœ J ‰ œ œ j cresc. œ‰ œ œ œ

˙ >˙ > >˙ >œ œ >˙ >œ œ> > >œ ˙ >œ

( œ)

>˙ >˙

œ œ

( ˙ )

˙. >

œ ˙.

œ Nœ

˙. >˙ .

. >˙ . œ œ wæ > f fp

œœ ˙˙ ..

œ

œ œœœœœ >

Œ

œ ˙.

œ

œ

œ J œ J œ J œ J œ J œ J

œ ˙.

œœ

>˙ . >˙ .

65

œ ˙.

œ

œ

>˙ .

64

œ

>˙ .

Bass Drum, medium-hard mallets

æ F p

œ

œ

œ

Œ

b >œ

œ

œ

œ

œ

œ

œœ

œ

œ

œœ

b >œ

œ ˙.

œ

œ

œ

œ

œ

b

?b

w > n Œ ˙ f> # Œ f b >˙ bb Œ b˙ f > b b Œ f b >˙ > # Œ ˙ f # Œ ˙ f > n Œ b >˙ # Œf f b >˙ > n w

œ

œ ˙. œ ˙.

œ

œ

n

Œ Ó

63

œ

n div. ww>

Œ Ó

&

Timp.

3

#

(q = 80)

>˙ . bb Œ f >˙ . bb Œ >˙ . bb Œ >˙ . bb Œ >˙ . bb Œ > n w

Œ œ ? b f fl Œ f flœ # œ̆ Œ & # f # & # œ̆ Œ f # œ̆ Œ & f # Œ & # œ f fl # Œ œ & # Œfœ & # Œf & fœ

?

Perc. 2

#

# & #

Tuba

1

#

62 Majestic and full

q = 80

F to G

˙

∑ ∑

66

w> ƒ> w ƒ w> ƒ> w ƒ> w ƒ> w ƒ ww> ƒ w > ƒ ˘ Œ œ̆ N œ F cresc. Œ œ œ F flcresc.fl œ̆ œ̆ Œ F cresc. Œ œ œ F flcresc.fl

œ œ œ œ œ œ œ œ

67

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ

œ œ fl fl flœ flœ

>˙ ƒ

œ fl flœ N flœ flœ œ̆ œ̆ œ̆ œ̆

>˙ ƒ ˙ > ƒ

œ fl flœ A flœ flœ œ̆ Œ œ œ œ̆ œ̆ œ̆ F flcresc.fl Œ œ œ œ̆ œ̆ œ̆ œ̆ F flcresc.fl œ̆ œ̆ œ̆ Œ œ̆ œ̆ œ̆

F cresc. œ œ F flcresc.fl w> ƒ ww> ƒ w > ƒ Œ œ œ F flcresc.fl Œ œ œ F flcresc.fl œ̆ œ̆ Œ F cresc.˘ N Œ œ̆ œ F cresc. Œ œ̆ œ̆ F cresc. unis. œ̆ N ˘ œ Œ F cresc. Œ œ œ F flcresc.fl Œ

> ó

f Ó

Ó

˙ ˙ ˙

˙ >˙ ƒ >œ œ œ œ ƒ >œ œ œ œ ƒ >œ œ œ œ ƒ ˙ (˙ ) >ƒ˙ œ œ œ œ

œ fl flœ N flœ flœ

œœ œœ œ œ œ œ

œ̆ œ̆ œ̆ œ̆ œ̆ œ̆ œ̆ œ̆ œ̆ œ̆ œ̆ œ̆

œ >œ ƒ >œ ƒ >œ

œ œ œ œ œ œ

˙ > ƒ

˙

œ̆ œ̆ œ̆ N ˘œ œ̆ œ̆ œ̆ œ̆ œ fl flœ A flœ flœ

>˙ ƒ

quickly to Chimes

˙ æ p

œ œ œ

ƒ> œ œ œ œ ƒ >œ œ œ œ ƒ

œ̆ œ̆ œ̆ œ̆

Œ

œ œ œ

‰ œœœ w > p f 3

> w f

∑ ∑

˙ &


68

Picc. 1 Fl. 2 1 Ob. 2 1

&b

b w

&b

b w

&b &b &b

b w

dim. dim.

b w

dim.

b w

dim.

w

&

dim.

&

# ˙˙

3

&

w

E b Cn. Cl.

& &

dim.

dim.

˙

˙

dim.

#

dim.

1

? b b ˙

dim.

Bsn. 2

1

E b Alto Sax.

2 B b Ten. Sax. E b Bari. Sax. 1 B b Tpt. 2 3

1 F Hn. 2

1 Trbn. 2 3 Euph. Tuba

Timp. 1

Perc. 2 3

? b b ˙ & & & &

n ˙˙

#

dim.

w

b˙ b˙

dim.

#

˙

˙

dim.

#

dim.

˙ n˙ dim. w

&

dim.

# ˙˙

&

dim.

&

w

n ˙˙

dim.

&b

w

dim.

& b #˙ ? bb

dim.

w

dim. b˙ ? b n˙ b dim. ? b ˙ ˙ b

? bb ? b b ? bb &b ÷ ÷

dim.

˙

˙

dim.

dim.

b

∑ ∑

˙i l.v. æ p F not too much U ∑ Œ

Low Suspended Cymbal

Ó

q = 72

70

q = 80 Sostenuto

71 Uœ (no pause) bbb ∑ Œ Ó F Uœ bbb ∑ Œ Ó F Uœ bbb ∑ Œ Ó F Uœ Œ Ó bbb ∑ F Uœ bbb ∑ Œ Ó F Uœ œ b w œ > F >œ >œ > f sostenuto U unis. œœ œ b w œ > F f>œ >œ > sostenuto U œ œ >œ >œ >œ b w> F f sostenuto U b ∑ Œ Ó œ F U n ∑ Œ Ó œ F U ∑ bbb œ Œ Ó F U ∑ bbb œ Œ Ó F U > n w> œ œ œ œ œ > F >f sostenuto U >œ n w> œ œ >œ >œ F f sostenuto > w> œ U >œ >œ œ b œ F f sostenuto U n ∑ œ Œ Ó F Uœ b ∑ Œ Ó F U œœ Œ Ó b ∑ F U b ∑ œ Œ Ó F U > b > œ œ >œ >œ œ b w F f sostenuto p U >dim. >œ œ bb w œ œ œ > > F f sostenuto dim. p Uœ >œ >˙ >œ Œ Ó bbb Œ F F >œ A œ >˙ Uœ >œ Œ Ó bbb Œ F F >œ A œ >œ Uœ >w œ œ b Œ Ó b b Œ F F U >œ b Œ Ó Œ w b b œ >˙ > F F U b Œ Ó b b Œ Aœ w> > >˙ F œ F U Œ Œ Ó ∑ bbb Chimes (Tubular Bells), rawhide mallets distant... U œ œ Œ bbb ˙ . œ > f >œ >œ > p sempre U take medium mallets Œ Œ Ó ∑

69

dim.

B b Cl. 2

B b Bass Cl.

Resolute

rit.

Œ

Ó

9

72

∑ ∑

œ œ œ œ

œ ˙.

œ œ œ œ

œ ˙

œ œ œ ∑

œ œ œ œ

œ ˙.

œ œ œ œ œ œ œ œ œ

œ ˙.

œ œ œ

>˙ f ˙ f> >f˙ >f˙ >˙

œ œ œ

74

œ ˙. œ ˙.

>˙ >˙ >˙ ˙ >

˙

cresc.

˙

cresc.

n˙ >˙

Ḟ >˙

œ œ œ œ

œ ˙

cresc.

˙

∑ Œ

∑ Ó

Œ

Ó

n >˙ .

Œ

n >˙ .

Œ Œ Œ Œ ∑

∑ ∑

œ

œ

∑ ∑

>œ A œ œ

>œ >œ

>˙ .

˙

∑ ∑

b w>

œ

œ ˙

cresc. cresc.

cresc.

cresc.

˙

œ

cresc.

˙

>œ A œ >œ œ œ >˙ . œ >œ œ >œ > œ œ bw >œ b w> >˙ >œ

œ

cresc.

œ œ œ œ

Ḟ n˙ F

œ œ œ œ

œ ˙.

73

˙

˙ ˙

N ˙cresc. n ˙

œ œ

w w

to Crash Cymbals

÷

∑ ∑


Picc.

1 Fl. 2 1 Ob. 2 1 B b Cl. 2 3 B b Bass Cl. E b Cn. Cl. 1 Bsn. 2

1

E b Alto Sax.

2

B b Ten. Sax.

E b Bari. Sax.

1 B b Tpt. 2

&

bbb

&b &b

Trbn. 2 3 Euph. Tuba

Timp. 1

Perc. 2 3

œ nœ œ nœ œ #œ œ

? bb ? bb &

œ

˙

˙

&

˙

˙

˙

b ˙ b ˙

˙

œ #œ

# >˙

# >œ >œ ˙

&

˙

&b &

nœ œ

˙

˙

Œ nœ œ #œ F ∑

&b &b

&b

> n˙ > n˙ > > n˙ ˙

&b

&b

1

œ nœ

# >œ œ œ >

&b

1

œ nœ

b & b b n˙ b &b b b &b b

b b

∑ ∑

œ œ ? bb n˙ b nœ ? b b >œ >˙ b ? bb ˙ œ œ b ? bb ˙ ˙ b ? bb b ˙ ˙ ? bb ∑ b ÷ ∑ ÷ ÷

77

>

&b

2

76

b & b b n˙

3

F Hn.

75

∑ ∑

˙

>œ n >œ >œ n >œ >œ n >œ >œ n >œ

˙ ˙ ˙

>œ n >œ

˙

# >œ n >œ œ œ #˙ n˙

#˙ n˙ n˙

w

˙

#˙ #˙

˙

˙

˙

# >œ n >œ œ œ #˙

w

œ Œ œ œ F cresc. >˙ œ œ

œ œ

œ œ

œ œ œ œ

>œ >œ œ œ #˙

˙ ˙ ˙ ˙

œ œ

#˙ n˙ n˙

œ œ œ œ œ œ

78

˙

˙

œ

œ œ œ nœ œ nœ œ

œ œ œ nœ œ nœ œ ˙ ˙ œ

˙

˙

œ œ œ #œ œ nœ œ œ œ nœ œ #œ œ œ œ œ

79

n >œ A >œ f cresc. n >œ A >œ n >œ A >œ cresc.

n >œ A >œ cresc.

n >œ cresc. A >œ n >œ cresc. N >œ

>œ cresc.> œ >œ

nœ œ œ œ œ #œ œ œ #˙

˙

˙

˙

f

f

˙ >

f

n˙ ˙

˙

˙

# >œ

˙

> nœ

#˙ ˙

cresc.

>

cresc.

cresc.

cresc. cresc.

>˙ f> cresc. œ N >œ

˙ ˙

>œ >œ # >œ nœ œ ˙ >> > ˙ #˙ ˙ œ ˙ œ œ œ

Powerful

rit.

cresc. cresc.

>

J \œ ƒ >œ œ œ œ 3 J 4 ƒ \œ >œ œ œ. J 43 ƒ \œ > œ œ œ 3 J œ 4 ƒ\ > œ œ. 3 Jœ œ 4 ƒ\ œ >œ œ œ 34 Jœ ƒ\ œ 43 Jœ > ƒ 34 A \œ N >œ ƒJ 3 4 3 4

>œ >œ >œ >œ

>œ > nœ >œ >˙ >˙ >˙ >œ

>˙ f>cresc. > œ œ

>˙ >œ

>

œœœ œ

n >œ n >œ œ N œ

˙

n˙ n˙

˙ ˙

∑ ∑ ∑ ∑

˙

> œ œ n >œ n >œ >œ >˙ ˙ ˙

n˙ n˙

∑ ∑ ∑ ∑

˙ ˙

˙

∑ ∑

˙ æ p cresc.

(Low Susp. Cymb., med. mallets)

Ó

∑ 10

f cresc. n >œ >œ N >œ f>cresc. >˙ ˙ f cresc. ˙ > >˙ f cresc. >˙ >˙ f cresc. Ó èæ p

wi æ

œ̆

œ̆ n >œ J œ̆ >œ J œ̆ >œ J >œ œ̆ J > œ n Jœ fl j œ >œ fl

œ̆ œ̆ œ̆ œ̆ œ fl

43

3 4 43 43 43

\œ J ƒ\ A œœ ƒJ j œ | ƒ ˙.

43 f 3 4

43 f 3 4

l.v.

4 4 4 4 44 44 44 4 4

44 4 4 ∑

œ̆

œ̆

œœ fl

œœ fl

œ fl

œ fl

>œ J j n œœ > j œ >

44 4 4 4 4 4 4 44 44 44 44

44 44

44

∑ ∑

˙. æ p

44

44

43

4 4

44

43

4 4

4 4

˙. ˙.

43 43

l.v.

>œ J

43

∑ ∑

>œ œ œ œ 3 4

f cresc.div. cresc. poco a poco > > ∑ Œ n œ œœ N œœ œ ˙ œ ˙ œ œ > >œ cresc. F f cresc. ∑ Œ œ ˙ ˙ œ œ >œ >œ >œ cresc. >œ F f cresc. > ∑ ∑ ∑ Ó œ œœœœ ƒ f (div.) ∑ ∑ ∑ Ó œ œ œ œœ œœ If possible, all Horn 2 play the upper octave, omitting the lower line (measures 79-89). œ œ œ > ƒ f n˙ ˙ >œ A >œ >œ A >œ ˙ ˙ ˙ ˙

>œ >œ ˙

œ̆

3 4

˙. 43 ƒ 3 ˙. 4 ƒ ˙. 43 ƒ 3 4

J

œ̆

43

cresc.

80 q\ = 92 subito œ œ̆ œ̆ >œ

(High Susp. Cymb.)

44 44 44 44 4 4


81

Picc.

1 Fl. 2 1 Ob. 2 1 B b Cl. 2 3 B b Bass Cl. E b Cn. Cl.

1 Bsn. 2

1

E b Alto Sax.

2

B b Ten. Sax.

E b Bari. Sax.

1 B b Tpt. 2

b 4 &b b 4 b & b b 44

&b &b &b &

&

&b &

&b &b &b

Trbn. 2 3 Euph. Tuba

Timp. 1

Perc. 2 3

4 Π4

ƒ |œ

4 Π4

ƒ

b |œ

œ ƒ|

bœ ƒ|

44 œ >œ >œ >œ

&

1

1

44 ˙ 44 ˙

? b b 44 Πb ? b b 44 Πb

&b

2

˙

b 4 ˙ &b b 4 ˙ b & b b 44 b & b b 44 ˙ & b 44 ˙

3

F Hn.

˙

44 œ >œ >œ >œ

> 4 œ >œ >œ œ 4 4 Œ 4 bœ ƒ| 44 ˙ 4 ˙ 4 ˙ 4 4 ˙

b 4 œ > > >œ 4 œ œ

b 4 œ unis. div.œ & b 4 œ >œ >œ œ > \ ? b b 44 Œ œ b ƒ\ ? b b 44 Œ bœ b ƒ ? b b 44 Œ b œ ƒ| ? b b 44 Œ b |œ ? b b 44 Œ ƒ b bœ ƒ| ? b b 44 Ó b ÷ ÷ ÷

44 ó> f 44 wi f 4 Œ 4

Crash Cymbals

> œ

82 \œ œ̆ >œ œ œ œ œ J ‰ 3 J 4 \œ œ̆ >œ œ œ œ œ J ‰ 34 J \œ œ̆ >œ œ œ. œ 3 J J ‰ 4 \ œ ‰ >œ œ œ œ 3 Jœ œ̆ J 4 \ > œ. 34 Jœ œ̆ œ ‰ œ œ J > œ œ œ 3 \œ œ̆ œ 4 J J ‰ œ > . 3 \œ œ̆ œ ‰ œ œ œ 4 J J \ j ‰ 3 œ 4 Jœ œ œ fl >œ œ . 3 . ‰ r 4 œ ˙ | 3 4 œr ‰ . ˙| r ˙ 43 œ ‰ . | r ‰. 43 ˙| œ >œ >œ >œ ˙. 43 >œ >œ >œ ˙. 43 >œ >œ >œ . 3 ˙ 4 3 4 œr ‰ . ˙| > œ œ œ 3 \œ œ̆ œ 4 J J ‰ œ j 3 \œ œœ ‰ Œ 4 A Jœ œœ fl 3 j j ‰ 4 œ œ œ œ | fl >œ œ . >œ >œ >œ . 43 ˙

œ œ œ œ >œ > >œ \˙

43 43

˙ | ˙ | ˙æ pI

> é

œ ‰. R r œ ‰. r œ ‰.

43 43 l.v.

f

(Bass Drum, medium-hard mallets)

f

œ R ‰.

43

\ ˙

˙. ˙.

3 4

r ‰. œ

43 43 43 3 4

f

> í.

˙. æ p

œ̆

Œ

\œ J

83

>˙ .

n ˘œ n \œ > ˙. J œ̆ \œ n >˙ . J œ̆ \œ >˙ . J n ˘œ n \œ >˙ . J œ̆ \œ >˙ . J œ̆ œj # >˙ . ˘ | n œ # œj ˙ . | >

Œ

Œ

Œ

Œ

Œ

Œ

Œ Œ

Œ

Œ

Œ ‰ ‰

Œ

œ̆

Œ

˘

n œœ

œ fl

Œ

\œ >˙ . J j # >˙ # |œœ ˙ .. j ˙. |œ > ‰ ‰

Œ

Œ

Œ

Œ

Œ

Œ

Œ Œ Œ

Œ

Œ

Œ

Œ

Œ

Œ

f Œ

∑ 11

œ >œ œ 2 J ‰ 4 œ >œ œ 24 J ‰ œ A >œ œ 2 J ‰ 4 24 Jœ ‰ >œ œ 24 œ ‰ >œ œ J 24 Jœ ‰ >œ œ 24 œ ‰ N >œ œ J 24 œj ‰ >œ œ 2 4 ˙ > 2 4 ˙ > 24 ˙ > 24 >˙ > 24 >œ œ # œ œ > 24 >œ œ # œ œ > œ n œ >œ 2 œ 4 2 4 ˙ > 24 Jœ ‰ >œ œ > œ 2 œœ unis. 4 J ‰ Nœ 2 j ‰ 4 œ >œ œ 24 >œ œ n œ >œ 84

j |œ j |œ j œ | j |œ

j |œ j b |œ j œ |œ fl j œ fl b |œ > >œ j œ> >œ >œ œ > >œ j œ œ >œ >œ > j > > > >œ œ œ œ œ > j œ j |œ fl b |œ

œ fl œ fl

> >œ j œ œ >œ >œ >

div.

œ 2 œ j œ> >œ >œ >œ >œ 4 >œ \œ n ˘œ \œ 2 >˙ J J 4 \ œ̆ \ 2 > œ bœ 4 ˙ J J j œ j 24 ˙ œ | fl > |œ j œ j 2 œ 4 ˙ | fl > |œ 2 j j 4 œ |œ fl b |œ >˙ 24 ∑ ˙æI p 24 ∑

unis.

˙ pæ > œ œ J f

24 >ê f > œ 24 é J

œ nœ œ œ œ nœ >

œ œ

\œ œ̆ 4 J 4 \œ œ̆ œ œ 44 J \œ œ. œ̆ 4 J 4 \ œ œ 4 Jœ œ̆ 4 \ œ. 44 Jœ œ̆ œ œ 4 \œ œ̆ 4 J œ. 44 \œ œ̆ J 44 œj œ œ. | fl 4 4 j œ |œ fl 4 4 j œ |œ fl 44 j œ |œ fl 44 j œ |œ fl

44 œ

44 œ

4 œ 4 4 j 4 œ œ | fl œ œ 4 \œ œ̆ 4 J œ. 4 \œ œ̆ 4 J 4 œj 4 | œ œ. fl

44 œ

œ >œ

l.v.

85

f

4 œ 4 œ \ 44 Jœ \ 44 Jœ 44 \œ J 44 j |œ 44 j |œ 44 44 ó> f 44 wæ p 4 >É 4 f

œ̆ œ̆ œ̆

œ fl œ fl

œ̆

\œ \ J œ

œ̆

\œ \ œ J \œ \ J œ

œ̆ œ̆ œ̆ œ̆ œ̆

œ fl

j ‰

\œ \ J œ \œ \ J œ \ \ œ œ J j œ œ | | j |œ b |œ

bœ œ |œ fl fl

j ‰ bœ œ |œ fl fl >œ \ ˘ j œ> ‰ œ b œ œ̆ j ‰ >œ bœ œ |œ fl fl >œ > ‰ œj œj œ œ # œ J

> ‰ œj > > ‰ œ

> j > œ œ > >œ >œ

J J j ‰ >œ

œ̆ œ̆

œ fl

‰ œj >

œ œ #œ >

œ nœ

J

>œ J

(œ )

bœ œ |œ fl fl \ \ œ œ J j œ œ | | j |œ b |œ j > œ n œ >Jœ œ> œ

unis. > ‰ œj œj œ œ n œ œœ œ n œ œ > > > J \œ \œ œ̆ J \œ b \œ œ̆ J \ \ œ̆ œ œ J \ ˘ j œ ‰ œ b œ œ̆ div.

>

j ‰ bœ œ œ> |œ fl fl ∑

‰ œ œ J P

œ


> 86 > œ œ œ >œ œ > œ œ b &b b >œ >œ œ œ œ >œ >œ b &b b >œ >œ œ œ. >œ >œ b &b b > b >œ >œ œ œ œ n œ >œ &b b b > > œ œ. >œ >œ &b b œ œ > œ œ >œ >œ & b >œ œ œ > œ. >œ >œ &b œ œ œ > > > nœ bœ &b œ >œ >œ œ . rit.

Picc.

1 Fl. 2 1 Ob. 2 1 B b Cl. 2 3 B b Bass Cl. E b Cn. Cl.

1 Bsn. 2

1

E b Alto Sax.

2

B b Ten. Sax.

E b Bari. Sax. 1 B b Tpt. 2 3

1 F Hn. 2

1

Trbn. 2 3 Euph. Tuba

Timp. 1 Perc. 2 3

&b

&

|˙ \ ? bb ˙ b ? b b b ˙ | >œ & >œ & >œ &b &

|˙ œ

&b

>

&b

&b

b

? b b b ? b b b ? bb b ? b b b

\˙ \˙ \ ˙ |˙

? b Ó b b ÷ ÷ ÷

> ó fi w

f> é f

q = 80

Œ œ œ œ

>œ >œ

Œ œ œ œ

>œ >˙ >œ >˙ >œ

dim.

Œ œ œ œ legatoœ œ œ Œ

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dim.

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legato

dim.

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legato

∑ ∑

Œ

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legato

Œ

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w>

> >

Œ œ nœ œ F dim. Œ œ œ F dim. œ Œ œ œ F dim. n œ ∑

w

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w> dim. poco a poco w >dim. w w> dim. w>

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f > ó f> ôö f not too much l.v. ∑ f quickly to Vibraphone

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w

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one player, solo espress.

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92

w U w U

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(c50)

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w

œ

91

stagger breathing as needed

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dim.

(c72)

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90

Œ œ nœ œ F dim. Œ œ nœ œ F dim. ∑

dim.

legato

89

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div.

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dim.

legato

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legato

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rit. poco a poco

88

legato

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87

U ∑ U ∑ U ∑ U ∑

U ∑

U ∑ U nw

∑ 12

&

bb b

∑ nœ ‰ j œ œ œ œ œ œ p

Vibraphone, medium yarn mallets

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)

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 .

Profile for Manhattan Beach Music

Wayfaring Stranger for concert band by Steve Rouse  

The conductor score of Wayfaring Stranger for concert band by Steve Rouse

Wayfaring Stranger for concert band by Steve Rouse  

The conductor score of Wayfaring Stranger for concert band by Steve Rouse