Blackshaw-13 Moons

13 Moons 13 Moons

C O M P O S I N G

P I E C E S

F O R

W I N D

E N S E M B L E

JODIE BLACKSHAW I N S T R U M E N T A T I O N Flute Oboe Clarinet (high & low) in B¯ Bass Clarinet in B¯

13 Moons: North Mallets (Metal preferred) A, B, C Bass Drum 13 Moons: East Mallets Treble Clef/Bass Clef Woodblock, Cymbal Timpani

Alto Sax in E¯ Tenor Saxophone in B¯ Baritone Saxophone in E¯

13 Moons: South Glockenspiel, Marimba Hi-hat, Claves, Woodblock Bass Drum

Trumpet in B¯ French Horn in F Trombone/Baritone/Bassoon Tuba

13 Moons: West Mallets Treble Clef/Bass Clef Add own choice percussion during compositional process

©2018 W allabac M usic. All rights reserved.

In te rn a tio n a l rig h ts s e c u re d .

www.jodieblackshaw.com

13 Moons

REHEARSAL NOTES

T

What are Composing Pieces?

When we allow our students to think creatively in our rehearsals, they develop ownership of the music because they have been involved in the decision-making process. This is a powerful tool to use in our learning environments and one that is often overlooked.

To program a Composing Piece means to hold back and allow students to discover the music elements of structure, timbre, texture and expression. This learning can then be applied to all other repertoire you are currently playing to enable even deeper comprehension. All of this leads to creating musical thinkers who are invested in their own music making – it is more powerful than you can ever imagine. So strap in and get ready for the ride of your life!

“The most beautiful thing we can experience is the mysterious. It is the source of all true art and science. Those to whom this emotion is a stranger, who can no longer pause to wonder and stand rapt in awe, are as good as dead; their eyes are closed.”

— Albert Einstein

13 Moons explained There are 4 ‘composing’ pieces in this suite and they take their titles from the compass points; North, South, East and West. If you move in a clockwise direction around the points, beginning at North, you will get an idea of how the movements are structured in terms of level of difficulty:

N

W

E

S i © 2018 Wallabac Music. All rights reserved. International rights secured.

13 Moons

Here is a scope and sequence that details the educational growth between the Grade 1 composing piece, 13 Moons: North and the Grade 3+ composing piece, 13 Moons: West:

SCOPE AND SEQUENCE North Pitch

Structural Components I (Standard) Structural Components II (For more Advanced players)

Textural Complexity

Concert Bb Major 1. Harmonized Melody 2. Counter Melody (optional) A material only TUTTI SOLI LAYER-IN LAYER-OUT SOUNDSCAPE SOLO M/C (Melody & Accomp.)

East Concert G Minor 1. Melody 2. “Creepy” Accomp. (harmonic clashing)

South

West

Concert C Major 1. Melody 2. Accompaniment 3. Ostinato

Concert Eb whole tone 1. Leit motifs (3) 2. Drone 3. Colour motif 4. Connecting material A material only A+B material A+B+C material + SOUNDSCAPE + M/A (Melody & PLUS transition + SOLO Accomp.) material + 2-part ROUND + Multi-layered textural (that may or may not be + M/A (Melody/ Accomp.) passages. used) + ECHO +S/A (Solo & Accomp.)

Introduce formal + 4-part ROUND (1/2 soloists, one terminology: Binary, playing melody, one Ternary, Rondo, Sonata playing counter melody plus accompaniment) 1. Unison rhythm in 1. Alternate parts 1. Four independent 1. Overlapping of three main melody. overlapping pitched ostinati alternate melodic (w/w, brass). figures (leit motifs) 2. Two simultaneous (round).

2. Three non-melodic lines (with opt.

2. Clashing harmonic one of which is in two parts. counter melody) accompaniment. ostinato (perc).

2. Addition of transition material.

TWO-STAGE LEARNING PROCESS? This work has been especially designed to be learned in two stages… BUT!! It depends…

If your students are young and/or inexperienced, I highly recommend completing Stage One before doing anything creative. This will ensure safety and confidence is always maintained.

However; if you students are more senior with reasonable sight-reading skills, they will not need to complete Stage One – so you can simply read through the material as a warm-up then jump right in to the compositional process!

Stage One: Learning the notes The Stage One teaching approach suggested here utilizes the three educational pillars of skill, creativity and context: Skill: Students need the necessary skill-set to play most of the notes asked of them in the Moon you have selected (North, South, East or West).

Creativity: Provide your students with the opportunity to discover how to play all the notes by themselves (see No. 2 Notes to Know) and then apply this to a specific rhythm (no. 3 – see below). ii © 2018 Wallabac Music. All rights reserved. International rights secured.

13 Moons

Context: Students can learn about a sample text that this work is based on (such as Thirteen Moons on Turtle’s Back – see page vii), and link that, or other more personal experiences they have had with the moon to musical intent. Understanding why the music is written is often overlooked.

Stage Two: The compositional process Now that your students have the skills to play the melody (and counter-melody too if you choose to use it) as well as comprehend the musical intent, these skills are now applied to the compositional process that will reach your students as individuals and unify them as a whole with regard to musical thinking and performing capability (seriously!).

SUGGESTED TEACHING APPROACH STAGE ONE: Learning the notes Once students can play the material detailed on this stencil they will have the confidence and capability to compose with the materials and create their own structured piece of music.

Here is an example of a “13 Moons” part looks to a student:

iii © 2018 Wallabac Music. All rights reserved. International rights secured.

13 Moons

Explaining each element on the page: 1. What key are we in?

It is not expected that all students will be able to play the full scale listed here. This simply identifies one full octave of the key that the work is based in. Explain this using your own methods and take the opportunity to make key and key signature part of your regular vocabulary.

2. Notes to know This demonstrates to students the notes they need to know inside the key that the piece is composed in. I strongly encourage you to invite students to explore these notes individually and with the person they sit next to on the same instrument. Using communal knowledge to work out new notes provides a deeper understanding for students because these are discovered not taught. Jean Piaget said: “Children should be able to do their own experimenting and their own research. Teachers, of course, can guide them by providing appropriate materials, but the essential thing is, that in order for a child to understand something, he must construct it himself, he must re-invent it.

Every time we teach a child something, we keep him from inventing it himself."

“Some Aspects of Operations”, Loyola University Symposium entitled 'Play and Development', 1972

PLEASE NOTE: In 13 Moons South and West students are asked to find and notate the notes they are required to know in order to play their parts. Please provide time for this.

3. Melody Directors are invited to teach the melody aurally at first by adding conversational, rhythmically relevant words. For example in 13 Moons: North, try this:

TEACHING TIPS: • • • • • •

•

Teach the words through call and response Invite students to change the words “over sea” and “through the trees” whilst maintaining the rhythm. (They can work with the person next to them in ensemble).

Once students know no. 2 and the rhythm to no. 3, have then try and play their part to no. 3 Share your no. 3 part with a friend from another side of the band.

Play your no. 3 part in small chamber groups.

Listen to each section in the band play no. 3. Build the harmonized melody from the bass up and invite students to comment on how each instrument changes the colour of the sound.

Each time they are still practicing their part but you are engaging them in another way!

Use the same ideas for teaching no. 4 (and all other materials detailed in other moons). iv © 2018 Wallabac Music. All rights reserved. International rights secured.

13 Moons

Stage Two: Compositional Process

Use this timeline for 13 Moons: North then apply what students have learned here to all other moons (with the addition of new structural components, as detailed in the Scope and Sequence).

Timeline

Activity

Lesson 1

BIG IDEA: Tone Colour & Blends 1. Hand out “Tone Colour” vocabulary stencil (see Addendum 1) 2. Build the harmony to no. 1 in this order: a. Trumpet/Clarinet/Alto Saxophone b. ADD Horns c. ADD Trombone d. ADD Euphonium/Tuba/Bass reeds e. ADD Percussion f. ADD Flute g. ADD Tenor Saxophone h. ADD Oboe With the addition of each new tone colour, invite students to discuss with the person next to them, what vocabulary words they would use from the stencil to describe the sound they have heard.

Students make their own notes and openly discuss their vocabulary choices.

When there is a difference of opinion, invite students to display their preference (with a show of hands). THERE IS NO RIGHT ANSWER HERE! GOAL: Students develop an initial understanding of blends of tone colour throughout the ensemble and form their own opinion on what words they would use to describe those blends of colour, and whether or not they like them.

Lesson 2

BIG IDEA: Composing with structure 1. Introduce structural components TUTTI – SOLI 2. Using structure cards on a whiteboard (see Addendum 2) suggest a structured performance (something simple like TUTTI – SOLI – TUTTI).

3. Play 4. Add LAYER-IN (i.e. Divide the band into manageable groups such as woodwinds, brass, percussion and have them layer upon each other with each repetition of the melody).

5. Using structure cards (see Addendum 2) suggest a structured performance (something simple like LAYER-IN - SOLI – TUTTI) 6. Record and listen back – invite discussion.

TEACHING TIP Different ways to play SOLI: • Select a section to play the whole melody by themselves.

• Use 2 different instrumental SOLI sections – for example woodwind and brass to play one phrase each.

v © 2018 Wallabac Music. All rights reserved. International rights secured.

Lesson 3

13 Moons

BIG IDEA: Introducing voicing 1. Introduce Soprano – Alto – Tenor – Bass voicings as Sun – Air – Trees – Birth (Use the visual aid if desired – see Addendum 3) 2. Invite each instrument group to play a concert Bb around the ensemble – students listen and decide where they fit in terms of S – A – T – B. 3. Your students will come to this conclusion much like this: a. b. c. d.

S: Flute/Glockenspiel A: Oboe, Clarinet, Alto Saxophone, Horn, Trumpet T: Tenor Saxophone, Trombone, Bassoon, Euphonium B: Bass Clarinet, Baritone Saxophone, Tuba, String Bass

4. Play Harmonized melody in each grouping – then try different combinations.

5. Using tone colour stencil – describe colours with this and own words.

6. Make decisions about what is preferred and how to use it.

Lesson 4

BIG IDEA: Why? What are we trying to achieve?

Life is too short to play music without meaning! Give your composition a meaning, a story, a purpose and use this to influence the structure.

1. Explore other materials such as the text that inspired this work “13 Moons on Turtle’s Back” (see details below under Moral Rights and Literacy).

Other good websites to explore are: https://www.almanac.com/content/full-moon-names https://www.wwu.edu/skywise/indianmoons.html http://www.greatdreams.com/moon/moon_worship.htm 2. Divide ensemble into four (or less) mixed groups and invite students to research and discuss a possible storyline and/or deeper meaning for the composition.

3. Once they reach a decision regarding meaning, groups are invited to create a structure surrounding this using the structural elements you have introduced so far (and possibly others, depending on the capability of the group).

4. Groups present their ideas to each other.

Lesson 5

1. Using structure cards on a whiteboard, play through each of the small group composition structures – RECORD. 2. Listen and reflect.

3. Decide on one form that the majority think works best.

4. Rehearse and prepare that form for performance.

Optional Lesson 6

BIG IDEA: In the voicing of some sections – is there a need for a “top” melodic line for all others to make sense. (Flute line is such, but invite instrumental groups to play their line and have the students discover which one this is).

(for advanced groups)

Optional Lesson 7

If yes – teach your students how to transpose the Flute line for the required instrument and use when appropriate (see Addendum 4 – you’ll need to explain this).

BIG IDEA: Considering octaves for intensity Invite student to try their parts in upper or lower octaves (where possible) and listen for the change in colour and voicing. Apply to the composition where appropriate.

Your composition should now be complete. Have the students use the “Create your own Structure” box at the bottom of the page to write down the composition you and your students have created. Make sure they write down EVERYTHING – not just their part. vi © 2018 Wallabac Music. All rights reserved. International rights secured.

13 Moons

Optional Lesson 8

BIG IDEA: Transforming the educator into the conductor Now that the composition is mostly complete – SHOW your students the REAL purpose of the conductor – you are there to direct the music, not beat time and not teach!

Discuss the following and relate them to your gesture: ü Dynamic contrast ü Ensemble balance ü Phrasing ü Line ü Tempo ü Articulation

Lesson 9

FINAL REHEARSAL – record and reflect. Tweak where necessary.

Lesson 10

Perform in a concert or present as an Informance detailing the learning process!

ONLINE TRAINING COURSE If these lessons seem a little overwhelming, or you are unsure how your students will react, there is the option of participating in an online training course with me that will guide you through this process and provide you with the tools and confidence to make it work really well.

Keen? Please email me at: jodieblackshaw@bigpond.com to find out more.

KEEPING BAND REPERTOIRE RELEVANT TO AUDIENCES Consider presenting the compositional process to an audience through an ‘Informance’. Students will be able to: ü share knowledge gained through the process of learning ü explain how the piece has grown and developed over time ü reflect on how this experience has effected their musical thinking.

Parents, friends and the greater community will learn a great deal about music through this process and will be fascinated by what their children have been doing during band class. It is a very powerful experience for all concerned – I dare you!

MORAL RIGHTS AND LITERACY This work is inspired by the text “Thirteen Moons on Turtle’s Back”, written by Joseph Bruchac and Jonathon London, illustrated by Thomas Locker, published by Random Penguin House, USA. You can purchase the book directly from the publisher here: http://www.penguinrandomhouse.com/books/336154/thirteen-moons-on-turtles-back-by-josephbruchac/9780698115842/ The publisher has granted rights to link this composition to this book, a perfect introduction to native American culture, aimed at children of a 4-8 year old reading age.

This text is also listed as part of the Authentic First Peoples Resources (K-9) as put together by the First Nations Education Steering Committee. To obtain a free download of this list of texts, please go here: http://www.fnesc.ca/k-7/ vii © 2018 Wallabac Music. All rights reserved. International rights secured.

13 Moons

FIRST PEOPLES PRINCIPLES OF LEARNING

Principles of learning focused on during the creation of this work are as follows: • Learning ultimately supports the well-being of the self, the family, the community, the land, the spirits, and the ancestors.

• Learning is embedded in memory, history and story.

• Learning is holistic, reflexive, reflective, experiential, and relational (focused on connectedness, on reciprocal relationships, and a sense of place).

• Learning involves generational roles and responsibilities.

• Learning involves patience and time.

COMMISSION This work was commissioned by W. J. Mouat Secondary School (Abbotsford, BC), Mulgrave School (West Vancouver, BC) and members of the University of British Columbia Conducting Symposium hosted by Dr. Robert Taylor (Chair, Woodwind Brass & Percussion Division, UBC).

My sincere gratitude is extended to Janet Wade of W.J. Mouat Secondary School for her passion and persistence in driving this project to fruition.

T

PROGRAMME NOTES

T

There are no set programme notes for this work as you and your students are the composers! Write your own notes to reflect upon your compositional journey to share information about your original composition with the audience. (Or better still – create a video presentation showing the process!)

T

ABOUT THE COMPOSER

T

Have you ever played a ‘Blackshaw’ with your wind ensemble? If you have, then you know that a work by this Australian composer-educator is different from the norm. You will also know that it takes you, the Director, on an alternate educational pathway that for some, is a little uncomfortable at first. That said you would also know that it is a surprise package, an audience favourite and presents you the director with interesting conducting challenges.

Such is the work of Jodie Blackshaw.

Through her teaching, conducting and composing, Blackshaw has passionately searched for a compositional approach to band that offers Directors a product that centres on musical elements other than melody and harmony. In 2006 Jodie won the inaugural Frank Ticheli Composition Contest with her work ‘Whirlwind’ and since then has travelled throughout Australia, the United States, Canada and the UAE as a guest composer and creative music teaching clinician.

In 2016 Jodie launched her ‘Off the Podium’ professional development webinar series, connecting like-minded, creative band directors throughout the world. She is currently studying a PhD in Composition at the Australian National University.

To find out more about Jodie and her works please go to: www.jodieblackshaw.com viii © 2018 Wallabac Music. All rights reserved. International rights secured.

This work was commissioned by the UBC Conducting Symposium Consortium

13 Moons: North For instrumentalists who can play a Concert Bb Major Scale

1. What key are we in?

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Concert Bb Scale for YOU is Bb Major Play this scale on Marimba Bb C D

Bass Drum (Ostinato)

JODIE BLACKSHAW

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13 Moons: North 2

2. Notes to Know

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13 Moons: North 3. Harmonized melody

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Play up the octave if you can!

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Note to conductor: There are 2 different kinds of slurring patterns to avoid big breath gaps and cater for different instrumental capabilites

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13 Moons: North 4. Optional harmonized counter melody for more advanced players. Can you play your part up the octave?

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Divide section into 3 and assign top, middle or lower notes to each group - can anyone play their part up the octave?

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Divide section into 2 and assign upper and lower notes to each group

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4. Optional harmonized counter melody for more advanced players. Can you play your part up the octave?

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œœœœ w

˙

œœœœ w

˙

Ó

° b Mlts. A & b Ó

œœœœ ˙

˙

˙

œœœœ w

˙

œœœœ w

œ Œ œœœœ w

b &b Ó

œœœœ ˙

˙

˙

œœœœ ˙

˙

œœœœ w

œ Œ œœœœ w

bb Ó

œœœœ w

˙

œœœœ w

˙

œœœœ w

œ Œ œœ œœ œœ œœ w w

Euph.

Tuba

Mlts. B

Mlts. C

B. D.

&

¢& ° ¢/

Bass Drum

œ Œ Ó

œ œ Ó

œ Œ Ó

˙

œ œ Ó

œ Œ Ó

∑

œ œ Ó

Œ

œœœœ w

Œ Œ œœœœ w

œ Œ Ó

œ œ Ó

This work was commissioned by the UBC Conducting Symposium Consortium

13 Moons: East For instrumentalists who can play a concert G natural minor scale

° b Flute & b œ

1. What key are we in?

œ

œ

bœ

œ

œ

Concert G minor scale for YOU is G minor

œ

œ

bœ

œ œ

œ œ

Concert G minor scale for YOU is A minor

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 œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

bœ

œ

œ

œ

œ œ

bœ bœ

œ œ

œ œ

œ

œ

bœ

œ

œ

C

D

œ

bœ

Eb

F

œ

G

Concert G minor scale for YOU is G minor

b Oboe & b œ ¢ ° Clarinet in Bb - high &

Bass Clarinet

œ œ œ

° # Alto Saxophone &

Baritone Saxophone

Trumpet

œ

bœ

œ

œ

œ

œ

œ

Concert G minor scale for YOU is E minor

œ

#œ

œ

Concert G minor scale for YOU is A minor

œ

& ¢&

œ

bœ

Concert G minor scale for YOU is A minor

¢&

Tenor Saxophone

œ

Concert G minor scale for YOU is A minor

&

Clarinet in Bb - low

#

° &

œ

œ

Concert G minor scale for YOU is E minor

œ

#œ

œ

1. What key are we in?

Concert G minor scale for YOU is A minor

œ

œ

œ

Concert G minor scale for YOU is D minor

French Horn

&b

Concert G minor scale for YOU is G minor

Trb./Bar./Bsn.

? bb

œ

œ

œ

œ

?b Tuba ¢ b œ

œ

œ

bœ

Concert G minor scale for YOU is G minor

Percussion 1 Mallets - TC

Percussion 2 Mallets - BC Timpani

bœ

° bb Concert G minor scale for YOU is Gbœminor œ & œ ¢

? bb

JODIE BLACKSHAW

Concert G minor scale for YOU is G minor G A Bb

œ

œ

bœ

œ

œ

13 Moons: East 2

° b œ Fl. & b

bœ

œ

œ

œ

bœ

œ

¢&

bb œ

œ

œ

bœ

œ

œ

bœ

° &

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

œ

œ

#œ

œ

œ

œ

œ

2. Notes to Know for Melody

Ob.

Cl. (high)

Cl. (low)

&

B. Cl.

¢&

A. Sax

° # &

T. Sax

&

Bari. Sax.

¢&

#

° Tpt. &

2. Notes to Know for Melody

œ

œ

œ

œ

œ

œ

œ

œ

bœ

œ

œ

œ

œ

œ

Trb.

?b œ b

bœ

œ

œ

œ

bœ

œ

Tuba

?b ¢ b œ

bœ

œ

œ

œ

bœ

œ

° b œ &b

bœ

œ

œ

œ

bœ

œ

?b ¢ b œ

bœ

œ

œ

œ

bœ

œ

F Hn.

Perc. 1 Mallets Metal

Perc. 2 Mallets BC

&b

œ

13 Moons: East

° b3 œ &b 4

3. Melody. If you like, use the words to help you figure out the rhythm. Can be played as a 3-part round.

1

Fl.

New

Ob.

Cl. (upper)

¢

b3 œ &b 4 1

New

° 3 & 4œ

New

Cl. (lower)

3 & 4

œ

New

B. Cl.

3 ¢& 4

œ

New

A. Sax

° #3 & 4œ

New

T. Sax

3 & 4œ

New

Bari. Sax.

#3 œ ¢& 4

New

° 3 Tpt. & 4 œ

˙

œ

˙

Moon

Dark

Moon

˙

œ

˙

Moon

Dark

Moon

˙

œ

˙

˙

œ

˙

œ

˙

œ

Moon

Moon

Moon

Moon

Dark

Dark

Dark

Dark

˙

œ

˙

œ

Moon

Moon

Dark

Dark

Moon

˙

Moon

˙

Moon

˙ Moon

˙

Moon

˙ Moon

œ

œ

Sha - dows

œ

œ

Sha - dows

œ

œ

œ

œ

œ

œ

œ

œ

Sha - dows

Sha - dows

Sha - dows

Sha - dows

œ

œ

œ

œ

Sha - dows

Sha - dows

œ

˙

time

Half

Moon

˙™

œ

˙

œ

˙™

of

œ

5

of

time

Half

Moon

œ

˙™

œ

˙

of

time

Half

Moon

œ

˙™

œ

˙

of

time

Half

Moon

œ

˙™

œ

˙

of

time

Half

Moon

#œ

˙™

œ

˙

of

time

Half

Moon

œ

˙™

œ

˙

of

time

Half

Moon

œ

˙™

œ

˙

of

time

Half

Moon

3. Melody. If you like, use the words to help you figure out the rhythm. Can be played as a 3-part round.

1

New

F Hn.

& b 43

œ

New

Trb.

? bb 43 œ New

Tuba

? b3 ¢ b4œ

New

Perc. 1 Mallets TC

° b3 œ &b 4 New

Perc. 2 Mallets BC

? b3 ¢ b4œ

New

˙

œ

˙

œ

Moon

Dark

˙

Moon

˙

Moon

Dark

Moon

˙

œ

˙

Moon

Dark

Moon

˙

œ

˙

Moon

Dark

Moon

˙

œ

˙

Moon

Dark

Moon

˙

œ

˙

Moon

Dark

Moon

œ

œ

œ

œ

œ

œ

Sha - dows

Sha - dows

Sha - dows

œ

œ

œ

œ

Sha - dows

Sha - dows

œ

œ

Sha - dows

œ

˙

time

Half

Moon

œ

˙™

œ

˙

of

time

Half

œ

˙™

œ

Moon

of

time

Half

Moon

œ

˙™

œ

˙

of

time

Half

Moon

œ

˙™

œ

˙

of

time

Half

Moon

œ

˙™

œ

˙

of

time

Half

Moon

œ

˙™

of

5

˙

œ

œ

Crescent

œ

œ

Crescent

œ

œ

Crescent

œ

œ

Crescent

œ

œ

Crescent

œ

œ

Crescent

œ

œ

Crescent

œ

œ

Crescent

œ

œ

Crescent

œ

œ

Crescent

œ

œ

Crescent

œ

œ

Crescent

œ

œ

Crescent

œ

œ

Crescent

˙ Moon

˙ Moon

˙ Moon

˙ Moon

˙ Moon

˙ Moon

˙ Moon

˙

Moon

˙ Moon

˙ Moon

˙ Moon

˙ Moon

˙ Moon

˙ Moon

3

13 Moons: East 4

° bœ Fl. & b Wax

Ob.

Cl. (upper)

¢&

bb œ

° &

œ

Wax

Wax

&

Cl. (lower)

¢&

° # œ &

Wax

Wax

Bari. Sax.

¢&

° Tpt. &

#

Wax

-

-

-

-

? bb œ

Trb.

Wax

?b ¢ b œ

Wax

-

-

° bœ &b Wax

Perc. 2 Mallets BC

-

œ

Wax

Perc. 1 Mallets TC

-

&b œ

F Hn.

¢

-

? bb œ Wax

œ

ing

Earth

œ

œ

ing

Earth

œ

œ

ing

Earth

œ

œ

ing

œ

œ

Wax

Tuba

-

œ

&

T. Sax

-

œ Wax

A. Sax

-

œ Wax

B. Cl.

-

œ

-

Earth

œ

ing

Earth

œ

œ

ing

Earth

œ

œ

ing

Earth

œ

œ

ing

Earth

œ

œ

ing

Earth

œ

œ

ing

Earth

œ

œ

ing

Earth

œ

œ

ing

Earth

œ

œ

ing

Earth

œ

œ

ing

Earth

˙™ -

-

-

-

-

-

-

9

shine

Full

˙™

œ

shine

Full

˙™

œ

˙™

œ

shine

Full

shine

Full

˙™

œ

˙™

œ

shine

Full

shine

Full

˙™

œ

shine

Full

˙™ -

œ

œ

shine

˙™

Full

9

œ

-

shine

-

˙™

œ

˙™

œ

-

-

-

shine

shine

Full

Full

˙™

œ

˙™

œ

shine

shine

˙™ -

Full

shine

Full

Full

œ Full

˙ Moon

˙ Moon

˙ Moon

˙ Moon

˙ Moon

˙ Moon

˙ Moon

˙ Moon

˙ Moon

˙ Moon

˙

Moon

˙ Moon

˙ Moon

˙ Moon

œ

œ

Flow - er

œ

œ

œ

œ

Flow - er

Flow - er

œ

œ

Flow - er

œ

œ

œ

œ

Flow - er

Flow - er

œ

œ

Flow - er

œ

œ

œ

œ

Flow - er

Flow - er

œ

œ

œ

œ

Flow - er

Flow - er

œ

œ

œ

œ

Flow - er

Flow - er

œ

œ

Flow - er

˙

˙

Moon

Wa

˙

˙

Moon

Wa

˙

˙

Moon

Wa

˙

˙

Moon

Wa

˙

˙

Moon

Wa

˙

˙

Moon

Wa

˙

˙

Moon

Wa

˙

˙

Moon

Wa

˙

˙

Moon

Wa

˙

˙

Moon

Wa

˙

-

-

Wa

˙

˙

Moon

Wa

˙

˙

Moon

Wa

˙

˙

Moon

Wa

-

œ

-

-

-

-

œ œ

-

-

-

-

-

œ

-

-

-

-

œ

-

-

œ

-

-

-

-

Œ

ning

Œ

ning

Œ

ning

˙

œ

Œ

ning

˙

œ

Œ

ning

˙ -

Œ

ning

˙

œ -

˙

˙ -

Œ

ning

˙

œ

Œ

ning

˙

œ

Œ

ning

˙

œ

Œ

ning

˙ -

Œ

ning

˙ -

Œ

ning

˙ -

Œ

ning

˙

œ

˙

Moon

˙

œ

ning

Œ

13 Moons: East

° b 3 n˙ ™ &b 4 ˙™

˙™ ˙™

˙™ ˙™

˙™ ˙™

bb 3 n˙ ™ ¢& 4 ˙ ™

˙™ ˙™

˙™ ˙™

° 3 & 4 #˙ ™ ˙™

˙™ ˙™

Cl. (lower)

3 & 4 #˙ ™ ˙™

B. Cl.

˙ ™™ ˙

˙ ™™ ˙

˙ ™™ ˙

˙ ™™ ˙

˙™ ˙™

˙ ˙

œ œ

n˙ ™ ˙™

˙™ ˙™

˙™ ˙™

˙ ™™ ˙

˙ ™™ ˙

˙ ™™ ˙

˙ ™™ ˙

˙™ ˙™

˙ ˙

œ œ

n˙ ™ ˙™

˙™ ˙™

˙™ ˙™

˙™ ˙™

˙ ™™ ˙

˙ ™™ ˙

˙ ™™ ˙

˙ ™™ ˙

˙™ ˙™

˙ ˙

œ œ

#˙ ™ ˙™

˙™ ˙™

˙™ ˙™

˙™ ˙™

˙™ ˙™

˙ ™™ ˙

˙ ™™ ˙

˙ ™™ ˙

˙ ™™ ˙

˙™ ˙™

˙ ˙

œ œ

#˙ ™ ˙™

˙™ ˙™

3 ¢& 4 #˙˙ ™™

˙™ ˙™

˙™ ˙™

˙™ ˙™

˙ ™™ ˙

˙ ™™ ˙

˙ ™™ ˙

˙ ™™ ˙

˙™ ˙™

˙ ˙

œ œ

#˙ ™ ˙™

˙™ ˙™

° # 3 #˙ ™ & 4# ˙™

˙™ ˙™

˙™ ˙™

˙™ ˙™

˙ ™™ ˙

˙ ™™ ˙

˙ ™™ ˙

˙ ™™ ˙

˙™ ˙™

˙ ˙

œ ##˙˙ ™™ œ

˙™ ˙™

& 43 #˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙

œœ

™ #˙˙ ™

˙˙ ™™

# 3 #˙ ™ & 4 ˙™ ¢

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙™ ˙™

˙ ˙

œœ

#˙˙ ™™

˙˙ ™™

° 3 ™ Tpt. & 4 #˙ ˙™

˙˙ ™™

˙˙ ™™

˙˙ ™™

3 & b 4 n˙˙ ™™

˙˙ ™™

˙˙ ™™

? b 3 n˙ ™ b 4 ˙™

˙™ ˙™

? b 3 n˙ ™ ¢ b 4 ˙™

˙™ ˙™

4. Creepy Accompaniment. Play upper or lower note. Does this work when the melody is played as a round? What do you think?

Fl.

Ob.

Cl. (upper)

A. Sax

T. Sax

Bari. Sax.

5

9

˙˙ ™™

˙˙

œœ

#˙˙ ™™

˙˙ ™™

˙™ ˙™

˙ ™™ ˙

˙ ˙

œ œ

n˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙

œœ

n˙ ™ ˙™

˙™ ˙™

˙ ™™ ˙

˙ ™™ ˙

˙˙ ™™

˙˙

œ œ

n˙ ™ ˙™

˙™ ˙™

æ Yæ™

æ Yæ™

æ Yæ™

æ Yæ™

¿ Œ Œ

æ ˙æ™

˙™ ææ

˙ ææ

4. Creepy Accompaniment. Play upper or lower note. Does this work when the melody is played as a round? What do you think?

F Hn.

Trb.

Tuba

° Woodblock

Non-Melodic Perc.

Cymbal

3 / 4

? b3 ¢ b4

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙˙ ™™

˙™ ˙™

˙™ ˙™

˙™ ˙™

˙™ ˙™

˙™ ˙™

˙˙ ™™

˙˙ ™™

˙™ ˙™

˙™ ˙™

˙ ™™ ˙

˙ ™™ ˙

Perc. 2

9

Large Cymbal - medium soft yarn mallets.

∑

∑

∑

Timpani: Tune drums to G and D

Timpani

5

∑

∑

∑

∑ ∑

∑ æ ˙æ™

∑ æ ˙æ™

Med. soft mallets

Roll gently

∑ æ ˙æ™

Place each mallet on opposite sides of outer edge and gently roll

œ

˙™ ææ

˙™

5

13 Moons: East 6 Fl.

Fl.

° b ™3 & b ™4 bb ™3 ¢& ™4

5. Ostinato patterns (If you like, use the words to help you figure out the rhythm.)

Œ

Say and tap

Œ

Say and tap

&

™™43

Œ

¢&

™™43

Œ

° # ™3 ™4 A. Sax &

Œ

™™43

Œ

# ™3 ™4 Bari. Sax. & ¢

Œ

T. Sax

&

° Tpt. &

™™43

Œ

Say and tap

/

? bb ™™43 Timpani ¢ Perc. 2

œ

Say and tap

œ

œ

Say and tap

œ

œ

Say and tap

œ

œ

Say and tap

œ

œ

Sum - mer

œ

Œ

∑

Moon

œ

œ

Œ

œ

Œ

œ

Œ

œ

Œ

œ

Œ

œ

Œ

œ

œ

œ

œ

œ

œ

œ

Win - ter

Œ

∑

Moon

œ

Win - ter

∑

Moon

œ

Win - ter

∑

Moon

œ

Win - ter

∑

Moon

œ

Win - ter

∑

Moon

œ

Win - ter

∑

Moon

œ

Win - ter

∑

Moon

œ

œ

œ

Win - ter

œ

Œ

Œ

Moon

œ

Rise

Œ

Œ

Moon

œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

Œ

™™

œ Rise

Œ

Œ

Moon

œ

™™

œ Rise

Moon

œ

™™

œ Rise

Moon

œ

™™

œ Rise

Moon

œ

™™

œ Rise

Moon

œ

™™

œ

™™

œ Rise

Œ

Œ

Moon

™™

œ Rise

5. Ostinato patterns (If you like, use the words to help you figure out the rhythm.)

Œ

Say and tap

œ

œ

Sum - mer

Œ

Cymbal

œ

Sum - mer

? b ™3 Tuba ¢ b ™4 ™3 ™4

Say and tap

Sum - mer

Œ

° Woodblock

œ

Sum - mer

? b ™™3 b 4

Non-Melodic Perc.

œ

Sum - mer

Œ

Trb./Euph.

Bsn.

œ

Sum - mer

3 & b ™™4

F Hn.

œ

Sum - mer

™™43

B. Cl.

œ

Sum - mer

° Cl. (upper) &

Cl. (lower)

œ

Say and tap

œ

œ

Sum - mer

Say and tap

œ

œ

Sum - mer

Say and tap

œ

œ

Sum - mer

Œ

œ Moon

œ Moon

œ

œ

Sum - mer

˙™

œ Moon

Œ

œ

œ

œ

œ

Win - ter

Œ

œ

œ

Win - ter

∑

œ

œ

Win - ter

∑

Œ

Moon

œ

œ

Win - ter

Timpani: Tune drums to G and D

Med. hard mallets

Œ

∑

Moon

œ

Win - ter

∑

Woodblock with hard yarn mallets

œ

Œ

∑

œ

œ

œ

˙™

œ

Œ

Œ

Moon

œ

Rise

Œ

Œ

Moon

œ

Œ

Œ

™™

œ Rise

Œ

Œ

Moon

œ

™™

œ Rise

Moon

œ

™™

œ

™™

œ Rise

Cymbal (use same mallets)

Ó

Moon

¿ Rise

œ

œ

œ

let ring

™ ™ ™™

13 Moons: East

° & ¢& ° & & ¢& ° & & ¢& °& & & ¢& ° & b ¢& b

7

This work was commissioned by the UBC Conducting Symposium Consortium

13 Moons: South For instrumentalists who can play a Concert C Major Scale

1. What key are we in?

° Flute &

# &#

Clarinet in Bb - low

Bb Bass Clarinet

œ

# &#

Clarinet in Bb - high

¢

œ

œ

œ

<n> œ

œ

œ œ

œ œ

œ œ

<n> œ <n>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

œ

œ

#œ

œ

œ

œ

#œ

#œ

œ

œ

œ

œ

#œ

œ

œ œ

œ œ

œ

#œ

œ

œ

œ

<n>œ

œ

œ

œ

œ

<n>œ

œ

œ

œ

œ

œ

œ

F

œ

G

A

œ

B

œ

C

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

<n>œ

Concert C Major Scale for YOU is C Major

&

Oboe

œ

<n>œ

Concert C Major Scale for YOU is C Major

œ

# &#

œ

Concert C Major Scale for YOU is D Major

œ

œ

#œ

Concert C Major Scale for YOU is D Major

œ

œ

Concert C Major Scale for YOU is D Major

œ

œ

Concert C Major Scale for YOU is A Major ° ### #œ œ œ Alto Saxophone &

# &#

Tenor Saxophone

Concert C Major Scale for YOU is D Major

œ

## œ Baritone Saxophone & # ¢ œ

œ

JODIE BLACKSHAW

#œ

Concert C Major Scale for YOU is A Major

° # Trumpet & # &

French Horn

#

œ œ

#œ #œ

1. What key are we in?

Concert C Major Scale for YOU is D Major

œ

œ

#œ

Concert C Major Scale for YOU is G Major

œ

œ

œ œ

<n>œ

?

Concert C Major Scale for YOU is C Major

Trb./Euph. BC/ Bsn.

?

Concert C Major Scale for YOU is C Major

Tuba

Mallets A Glockenspiel

Mallets B Marimba

Percussion 1 Mallets & Hi-hat

¢

° & ¢

?

° &

œ œ

œ œ

<n> œ

Concert C Major Scale for YOU is C Major

œ

œ

œ

Concert C Major Scale for YOU is C Major C D E

œ

œ

œ

Concert C Major Scale for YOU is C Major

œ

œ

œ

&

Concert C Major Scale for YOU is C Major

Percussion 2 Mallets & Claves

¢&

Concert C Major Scale for YOU is C Major

Percussion 3 Mallets & Bass Drum

œ œ

œ œ

œ œ

œ

œ

œ

13 Moons: South 2

° Fl. &

# &#

Cl. - high

# &#

Cl. - low

A. Sax

## & ¢ ° ### & # &#

T. Sax

Bari. Sax.

Write down the notes you need to know for BOTH 'A' Melody and 'B' Melody.

&

Ob.

B. Cl.

2. Notes to Know for Melodies

### & ¢ 2. Notes to Know for Melodies

° # Tpt. & # &

F Hn.

?

Trb./Euph BC/ Bssn.

Tuba

Mlts A Glock.

Mallets B Mar.

Perc. 1 Mallets TC

¢

?

° & ¢

?

° &

Perc. 2 Mallets TC

&

Perc. 3 Bass Drum

¢&

#

Write down the notes you need to know for BOTH 'A' Melody and 'B' Melody.

13 Moons: South 3. Section 'A' Melody

° &

43 œ

˙™

˙

œ œ

˙

œ

˙

œ

œ

˙

˙

œ

˙™

˙

œ

&

43 œ

˙™

˙

œ œ

˙

œ

˙

œ

œ

˙

˙

œ

˙™

˙

œ

# & # 43 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

# 3 &#4œ

˙™

˙

œ œ

˙

œ

˙

œ

œ

˙

˙

œ

˙™

˙

œ

### 3 4

œ

˙™

˙

œ œ

˙

œ

˙

œ

œ

˙

˙

œ

˙™

˙

œ

° # 3 Tpt. & # 4 œ

˙™

˙

œ œ

˙

œ

˙

œ

œ

˙

˙

œ

˙™

˙

œ

&

# 3 4œ

˙™

˙

˙

œ

˙

œ

œ

˙

˙

˙

œ

˙™

˙

˙

˙™

?

˙

œ

œ 43

œ œ

œ

˙™

˙

œ

?

43 œ

˙™

° &

43 œ

?

Fl.

Ob.

Cl. - high

# 3 &#4

Cl. - low

B. Cl.

A. Sax

¢&

## 3 4

° ### 3 œ & 4

T. Sax

Bari. Sax.

What is the 'range' of this melody? Do you think this a good 'range' for your instrument?

¢&

3. Section 'A' Melody

F Hn.

3

œ œ

˙

œ

˙

œ

œ

˙

œ œ

˙

œ

˙

œ

œ

˙

˙

œ

˙™

˙

œ

˙™

˙

œ œ

˙

œ

˙

œ

œ

˙

˙

œ

˙

œ

œ 43

˙™

˙

œ œ

˙

œ

˙

œ

œ

˙™

˙

˙

œ

˙™

˙

œ

° &

43 œ

˙™

˙

œ œ

˙

œ

˙

œ

œ

˙

˙

œ

˙™

˙

œ

Perc. 2 Mallets TC

&

43 œ

˙™

˙

œ œ

˙

œ

˙

œ

œ

˙

˙

œ

˙™

˙

œ

Perc. 3 Bass Drum

¢&

43 œ

˙™

˙

œ œ

˙

œ

˙

œ

œ

˙

˙

œ

˙™

˙

œ

Trb./Euph BC/ Bssn.

Tuba

Mlts A Glock.

Mlts. B Mar.

Perc. 1 Mallets TC

¢

¢

13 Moons: South 4 Fl.

° &

˙™

˙

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

˙

˙

œ

œ œ ˙

˙

œ œ

˙™

˙

Œ

œ

œ œ ˙

˙

œ œ

˙™

˙

Œ

9

&

Ob.

Cl. - high

# &#

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

° # Tpt. & # ˙™

˙

œ œ

œ

˙

˙

œ

œ œ ˙

˙

œ œ

˙™

˙

Œ

˙

˙

œ

œ œ ˙

˙

œ œ

˙™

˙

Œ

Cl. - low

B. Cl.

## & ¢

° # # ˙™ A. Sax & # T. Sax

Bari. Sax.

9

&

#

˙™

˙

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 œ ˙

˙

œ œ

˙™

˙

Œ

° &

˙™

˙

œ œ

œ

˙

˙

œ

œ œ ˙

˙

œ œ

˙™

˙

Œ

Perc. 2 Mallets TC

&

˙™

˙

œ œ

œ

˙

˙

œ

œ œ ˙

˙

œ œ

˙™

˙

Œ

Perc. 3 Bass Drum

¢&

˙™

˙

œ œ

œ

˙

˙

œ

œ œ ˙

˙

œ œ

˙™

˙

Œ

F Hn.

Trb./Euph BC/ Bssn.

Tuba

Mlts A Glock.

Mlts. B Mar.

Perc. 1 Mallets TC

¢

° & ¢

9

4. Section 'B' Melody

13 Moons: South

˙

˙™

œœ˙

œ ˙

˙™

˙

˙

˙™

œœ˙

œ ˙

˙™

˙

œœ˙

œ ˙

˙™

˙

° &

˙™ 43

˙

&

43 ˙™

˙

œœ œ

# 3 & # 4 ˙™

˙

œœ œ

˙

˙™

˙™

˙

œœ œ ˙

˙™

œœ˙

œ ˙

˙™

˙

˙™

˙

œœ œ

˙

˙™

œœ˙

œ ˙

˙™

˙

˙

œœ œ

˙

˙™

œ ˙

˙™

˙

˙

œœ˙

œ ˙

˙™

˙

Œ

## ™ & # 43 ˙

œœ œ ˙

˙™

œœ˙

˙

œœ œ

œœ˙

œ ˙

˙™

˙

Œ

° # 3 Tpt. & # 4 ˙ ™

˙

œœ œ

Œ

# 3 4 ˙™

˙

Fl.

Ob.

Cl. - high

# 3 &#4

Cl. - low

B. Cl.

A. Sax

## 3 & 4 ¢

° ### 3 & 4 ˙™ # 3 & # 4 ˙™

T. Sax

Bari. Sax.

¢

œœ œ

˙

˙™

˙

˙™

œœ˙

œ ˙

˙™

˙

œœ œ ˙

˙™

œœ˙

œ ˙

˙™

˙

œœ˙

œ ˙

˙™

˙ ˙

4. Section 'B' Melody

&

F Hn.

Trb./Euph BC/ Bssn.

Tuba

Mlts A Glock.

Mlts. B Mar.

Perc. 1 Mallets TC

Perc. 2 Mallets TC

Perc. 3 Bass Drum

¢

?

™ 43 ˙

?

43 ˙™

° &

˙

˙™

˙

˙™

˙

œœ œ ˙

˙™

˙™

˙

œœ œ

˙

˙™

˙™

˙

œœ œ

˙

˙™

˙™

˙

œœ œ ˙

˙™

˙

œœ œ ˙

˙™

˙™

˙

œœ œ

˙

˙™

˙™

˙

œœ œ ˙

˙

œœ œ ˙

˙™

˙

œœ œ

˙™

˙

œœ œ

˙

œœ œ

œœ œ

Œ

˙™

˙

œœ œ

Œ

˙™

˙

œœ œ

˙™

43 ˙™

Œ Œ Œ

9

Œ

œœ œ ˙

˙™

˙

œœ œ

˙

˙™

œœ˙

œ ˙

˙™

˙

˙™

œœ˙

œ ˙

˙™

˙

œœ˙

œ ˙

˙™

˙

Œ

˙™

™ 43 ˙

œœ œ

˙

œœ œ

° &

43 ˙™

˙

œœ œ

&

43 ˙™

¢/

43 ˙™

¢

˙™

˙™

Œ

9

˙

˙

?

˙

˙

What is the 'range' of this melody? Is this a good 'range' for your instrument? Which is better for you, 'A' or 'B'?

˙™

Œ Œ Œ

9

˙™

˙™ ˙™

˙

˙™

˙

˙™

˙

˙™

˙

˙™

˙

œœ œ ˙

˙™

˙

œœ œ

˙

˙™

˙

˙™

˙

˙™

œœ˙

œ ˙

˙™

˙

Œ

˙™

˙

œœ œ

˙

œœ œ ˙

˙™

œœ˙

œ ˙

˙™

˙

Œ

˙™

˙

œœ œ

˙

˙™

œœ˙

œ ˙

˙™

˙

Œ

˙™

5

13 Moons: South 6

° Fl. &

œœ˙

˙

œ ˙™

˙

œœ œœ˙

˙

œ ˙™

&

œœ˙

˙

œ ˙™

˙

œœ œœ˙

˙

œ ˙™

˙

# œœ ˙ &#

˙

œ ˙™

˙

œœ œœ˙

˙

œ ˙™

# & # œœ ˙

˙

œ ˙™

˙

œœ œœ˙

˙

œ ˙™

˙

œœ œœ˙

˙

˙

œ ˙™

˙

œœ œœ˙

˙

# œœ˙ &#

˙

œ ˙™

˙

œœ œœ˙

˙

### œœ˙ & ¢

˙

œ ˙™

˙

œœ œœ˙

˙ ˙

Ob.

Cl. - high

Cl. - low

B. Cl.

A. Sax

## & ¢ œœ˙ ° ### & œœ˙

T. Sax

Bari. Sax.

° # œœ ˙ Tpt. & # &

F Hn.

Trb./Euph BC/ Bssn.

Tuba

¢

#

œœ˙

?

œœ˙

?

œœ˙

17

˙

œ ˙™

˙

œœ œœ˙

˙

œ ˙™

˙

œœ œœ˙

˙

œ ˙™

˙

œœ œœ˙

˙

œ ˙™

˙

œœ œœ˙

œœ œœ˙

˙

˙™

œœ œœ˙

œ- œ- ˙

˙

œ- œ- ˙

˙™

˙

œœ œœ˙

˙

œ- œ- ˙

˙™

œ ˙™

˙

œœ œœ˙

˙

œ- œ- ˙

˙™

œ ˙™

˙

œœ œœ˙

˙

œ- œ- ˙

˙™

œ ˙™

˙

œœ œœ˙

˙

œ- œ- ˙

˙™

œ ˙™

˙

œœ œœ˙

˙

œ ˙™

˙

œœ œœ˙

˙

œ ˙™

˙

œ ˙™

œœ œœ˙

˙

˙

œœ œœ˙

˙

˙

œ ˙™

˙

œœ œœ˙

œ- œ- ˙

˙

œ- œ- ˙

˙™

˙

œ ˙™

˙

œœ œœ˙

˙

œ- œ- ˙

˙™

˙

˙

17

˙

° Mlts A Glock. &

œœ˙

˙

œ ˙™

˙

œœ œœ˙

˙

˙

˙

˙

œ ˙™

˙

œœ œœ˙

œœ œœ˙

?

œœ˙

œ ˙™

˙

œ ˙™

˙

œœ œœ˙

˙

° &

œœ˙

˙

œ ˙™

˙

œœ œœ˙

˙

œ ˙™

˙

˙

&

œœ˙

˙

œ ˙™

œœ œœ˙

˙

œœ œœ˙

œ ˙™

˙

˙

¢/

œœ˙

˙

œ ˙™

œœ œœ˙

˙

œœ œœ˙

œ ˙™

˙

œœ œœ˙

˙

Mlts. B Mar.

Perc. 1 Mallets TC

Perc. 2 Mallets TC

Perc. 3 Bass Drum

¢

17

˙ ˙

œ- -œ ˙ œ- œ- ˙ œ- -œ ˙

œ- œ- ˙

˙™ ˙™ ˙™ ˙™

˙™

œ- œ- ˙

˙™

œ- œ- ˙

˙™

- œ œ ˙

˙™

- œ œ ˙

˙™

13 Moons: South

Fl.

B. Cl.

A. Sax

˙

˙

œœ œ ˙

˙™

˙

Œ

˙™

˙

˙ œœ œ

˙™

˙

Œ

˙™

˙

˙ œœ œ

˙™

˙

œ >˙

˙™

˙

œœ œ ˙

˙™

Œ

˙

Œ

œ ˙ >

˙™

˙

œœ œ ˙

˙™

˙

Œ

˙™

˙

˙ œœ œ

˙™

˙

œ ˙ > œ >˙

˙™

˙

œœ œ ˙

˙™

˙

˙™

˙

œœ œ ˙

œ ˙ >

˙™

˙

˙ œœ œ

˙™

˙

œ ˙ > œ >˙

˙™

˙

˙ œœ œ

˙™

˙

˙™

˙

˙ œœ œ

œ ˙ >

˙™

˙

˙ œœ œ

˙™

˙

œœ œ ˙

˙

˙ œœ œ

œ ˙ >

˙™

˙

˙ œœ œ

œ >˙

˙™

˙

˙ œœ œ

˙

œ œ ˙™

œ ˙ >

˙™

˙

œ œ ˙™

œ ˙ >

œ œ ˙™

œ ˙ >

# 3 &#4˙ # 3 &#4 ## 3 & 4 ¢

° ### 3 & 4˙

™ œœ ˙

# 3 &#4˙

œ œ ˙™

### 3 & 4˙ ¢

œ œ ˙™

° # 3 Tpt. & # 4 ˙

™ œœ ˙

&

# 3 4˙

œ œ ˙™

?

43 ˙

?

43 ˙

Bari. Sax.

˙™

œ œ ˙™

43 ˙

T. Sax

˙

˙

&

Cl. - low

˙™

˙™

˙ œœ œ

˙ 43

Cl. - high

˙

œ >˙

° &

Ob.

˙™

™ œœ ˙

5. Section 'B' Counter Melody

5. Section 'B' Counter Melody

F Hn.

Trb./Euph BC/ Bssn.

Tuba

¢

° Mlts A Glock. & Mlts. B Mar.

Perc. 1 Mallets TC

Perc. 2 Mallets TC

Perc. 3 Bass Drum

¢

?

43 ˙ 43 ˙

œ œ ˙™ œ œ ˙™ œ œ ˙™ ™ œœ ˙

œ >˙

° &

43 ˙

œ œ ˙™

&

43 ˙

œ œ ˙™

> œ ˙

˙™

¢/

43 ˙

œ œ ˙™

> œ ˙

˙™

˙™

˙™

˙

˙

™ œœ ˙

œ >˙

˙™

Œ

˙

œ œ ˙™

˙™

Œ

˙

™ œœ ˙

œ ˙ >

˙

Œ

Œ

9

˙™

œ œ ˙™

œ ˙ >

˙™

˙

œ œ ˙™

œ ˙ >

˙™

˙

œ œ ˙™

œ ˙ >

˙™

˙

œ œ ˙™

˙

œ >˙

˙™

œ œ ˙™

œ ˙ >

˙™

˙

™ œœ ˙

œ >˙

˙™

˙

œ œ ˙™

9

Œ Œ Œ Œ

œ >˙

œ ˙ > œ >˙

˙™

˙

œ œ ˙™

˙

œ œ ˙™

œ ˙ >

˙™

˙

œ œ ˙™

œ ˙ > œ >˙

˙™

œ ˙ >

˙™

9

˙™

Œ

˙

™ œœ ˙

˙

Œ

˙

œ œ ˙™

˙™

˙

Œ

˙

œ œ ˙™

> œ ˙

˙™

˙™

˙

Œ

˙

œ œ ˙™

> œ ˙

˙™

˙

˙™

7

13 Moons: South 8

° Fl. &

˙

˙ œœ œ

˙™

˙

&

˙

˙ œœ œ

˙™

˙

# &# ˙

˙ œœ œ

˙™

˙

˙

œœ œ ˙

˙™

˙

˙

˙ œœ œ

˙™

˙

˙ œœ œ

˙™

˙

Œ

Ob.

Cl. - high

# &#

Cl. - low

B. Cl.

A. Sax

## & ¢

° ### & ˙

Œ Œ

˙™

˙

Œ

° # Tpt. & # ˙

˙ œœ œ

˙™

˙

Œ

œœ œ ˙

˙™

˙

Œ

˙

œœ œ ˙

˙™

˙

˙ œœ œ

˙™

˙

Œ

° &

˙

˙ œœ œ

˙™

Œ

?

˙

˙ œœ œ

˙™

˙

° &

˙

˙ œœ œ

˙™

&

˙

œœ œ ˙

¢/

˙

˙ œœ œ

Trb./Euph BC/ Bssn.

Tuba

Mlts A Glock.

Mlts. B Mar.

Perc. 1 Mallets TC

Perc. 2 Mallets TC

Perc. 3 Bass Drum

¢

¢

?

˙™

˙

Œ

˙

˙ œœ œ

˙™

˙

Œ

˙

˙ œœ œ

˙™

˙

˙

œœ œ ˙

˙™

Œ

˙

Œ

˙

œœ œ ˙

˙™

˙

Œ

˙

˙ œœ œ

˙™

˙

˙

œœ œ ˙

˙™

˙

˙ œœ œ

œœ œ ˙

?

˙

œœ œ ˙

˙

### & ¢ ˙

˙

˙

Œ

Œ

#

˙™

˙ œœ œ

˙

&

˙

˙

˙™

F Hn.

˙™

Œ

Œ

œœ œ ˙

Bari. Sax.

˙

˙ œœ œ

# &# ˙

T. Sax

˙™

˙

17

17

˙™

˙

˙ œœ œ

˙™

˙

Œ

˙

˙ œœ œ

˙™

˙

Œ

Œ

˙

˙ œœ œ

˙™

˙

Œ

˙

œœ œ ˙

˙™

˙

˙

˙ œœ œ

˙™

˙

˙

˙ œœ œ

˙™

˙

Œ

˙

œœ œ ˙

˙™

˙

Œ

˙

œœ œ ˙

˙™

˙

Œ

˙

˙ œœ œ

˙™

˙

Œ

˙

œœ œ ˙

˙™

˙

Œ

Œ

Œ Œ

˙™

˙

˙ œœ œ

˙™

˙

Œ

Œ

˙

˙ œœ œ

˙™

Œ

Œ

˙

˙ œœ œ

˙™

˙

˙

Œ

˙

˙ œœ œ

˙™

˙

Œ

˙™

˙

Œ

˙

œœ œ ˙

˙™

˙

Œ

˙™

˙

Œ

˙

˙ œœ œ

˙™

˙

Œ

˙

˙ œœ œ

˙™

˙

Œ

˙

˙ œœ œ

˙™

˙

Œ

˙

˙ œœ œ

˙

Œ

˙

˙ œœ œ

˙™

˙™

˙

Œ

˙

œœ œ ˙

˙™

˙

Œ

˙

˙ œœ œ

˙

17

Œ

œœ œ ˙

œœ œ ˙

Œ

Œ

˙

˙

˙

˙

Œ

˙™

˙

Œ

˙

˙

Œ

Œ

13 Moons: South

Fl.

° & &

Ob.

6. 'A' section Accompaniment Divide section into 3 and assign top, middle or lower notes to each group

43 Œ

œœœ

43

∑

˙™

Œ ∑

œœ œœ œœ

˙™ ˙™

∑

∑

9

Œ

œœ œœ œœ œœœ

˙˙ ˙

œœ œ

˙™ ˙˙™™

˙˙ ˙

Œ

Œ

œœœ

˙

œ

˙™

˙

Œ Œ

˙™

<#>˙ ™

˙™

˙™

œ ˙

˙™

˙

˙™

˙™

˙™

˙™

˙

<#>˙ ™

˙™

œ ˙

˙™

˙™ ˙™

œ

˙™

˙

° ### 3<#>˙ ™ & 4

˙™

˙™

˙™

<#>˙ ™

œ ˙

<#>˙ ™

˙

Œ

# & # 43 ˙™

˙™

˙™

˙™

˙™

œ ˙

˙™

˙

Œ

### 3 & 4 ˙™ ¢

˙™

<#>˙ ™

˙™

˙™

œ

˙™

˙

Œ

° # 3 Tpt. & # 4<#>˙ ™

˙™

˙™

˙™

<#>˙ ™

˙™

<#>˙ ™

˙

Œ

&

# 3 4 ˙™

˙™

˙™

˙™

˙™

˙™

˙

?

˙™ 43

˙™

˙™

˙

?

43

# & # 43 ˙™

Cl. - high

# 3 &#4

Cl. - low

B. Cl.

Alto Sax.

¢&

Ten. Sax.

Bari. Sax.

˙™

## 3 4 ˙™

6. 'A' section Accompaniment

Hn.

Trb./Euph BC/ Bssn.

Tuba

Mlts A Glock.

Mlts. B Mar.

Perc. 1 Hi-hat

Perc. 2 Claves/ Woodblock

Perc. 3 B.D.

¢

° & ¢

?

°

˙™

˙™

˙™

43 œ œœ ‰ œj œœ

œœ Œ

43 œ Œ

œ

Metals preferred

œœ

Œ

œ œ

(1)

/

o+ +++ ++o 34 ¿ ¿ ‰ ¿J ¿ ¿ ¿ ¿ Y

/

43 œ œ Œ

Hi-hat

¢/

Claves/Woodblock

43 ˙™ —

Bass Drum

˙™

˙™

˙™

˙™

œ ‰ jœ œœ œœ

œœ Œ

œ Œ

œ

œœ

œ œ

(2)

¿o +¿ +¿ +¿ +¿ +¿ +¿ Yo ‰J

œœ‰ œœœ œ œ Œ J ∑

Œ

∑

œ œ

Œ

œ ˙

˙™

œ œ œ

˙™

˙

œ ‰ jœ œœ œœ

œœ Œ

œ ‰ jœ œœ œœ

œœ Œ

œ Œ

œ

œ Œ

œ

œœ

Œ

œ œ

(3)

¿o +¿ +¿ +¿ +¿ +¿ +¿ Yo ‰J

(2)

Œ

˙™

œœ‰ œœœ œ œ Œ J ∑

œ œ

Œ

˙™ —

œœ

Œ Œ

œ œ

(4)

¿o +¿ +¿ +¿ +¿ +¿ +¿ Yo ‰J

œœ‰ œœœ œ œ Œ J (3)

∑

Œ

∑

œœ‰ œœœ J (4)

∑

13 Moons: South 10 Fl.

° &

9

Œ

˙™

∑

&

Ob.

œœœ

Œ ∑

œœ œœ œœ

˙™ ˙™

∑

∑

Œ

œœ œœ œœ œœœ

˙˙ ˙

œœ œ

˙™ ˙˙™™

˙˙ ˙

Œ

Œ

œœœ

˙

œ

˙™

˙

Œ Œ

˙™

<#>˙ ™

˙™

˙™

œ ˙

<#>˙ ™

˙

˙™

˙™

˙™

<#>˙ ™

˙™

œ ˙

˙™

˙™

˙™

˙

œ <#> ˙

˙™

˙

° ###<#>˙ ™ &

œ œ <#> œ

˙™

˙™

˙™

<#>˙ ™

œ ˙

˙™

˙

Œ

# & # ˙™

˙™

˙™

˙™

˙™

œ ˙

˙™

˙

Œ

### ˙™ & ¢

˙™

<#>˙ ™

˙™

œ <#>œ <#>œ

œ <#>˙

˙™

˙

Œ

° # Tpt. & # <#>˙ ™

˙™

˙™

˙™

<#>˙ ™

˙™

<#>˙ ™

˙

Œ

˙™

˙™

˙™

˙™

˙™

˙™

˙

˙™

˙

Œ

˙™

˙

Œ

œ ‰ jœ œœ œœ

œœ Œ

Œ

# & # ˙™

Cl. - high

# &#

Cl. - low

B. Cl.

Alto Sax.

## & ¢ ˙™

Ten. Sax.

Bari. Sax.

˙™

9

&

Hn.

Trb./Euph BC/ Bssn.

Tuba

Mlts A Glock.

Mlts. B Mar.

Perc. 1 Hi-hat

Perc. 2 Claves/ Woodblock

¢

˙™

?

˙™

˙™

?

˙™

˙™

œ ‰ jœ œœ œœ

œœ Œ

° & ¢

#

?

°

9

œ Œ

œœ

Œ

œ œ œ

(5)

/

¿o +¿ +¿ +¿ +¿ +¿ +¿ Yo ‰J

/

œ œ Œ

˙™

˙™

˙™

˙™

œ ‰ jœ œœ œœ

œœ Œ

œ Œ

¢/

˙™ —

œœ‰œœœ œ œ Œ J ∑

œ œ œ

(6)

¿o +¿ +¿ +¿ +¿ +¿ +¿ Yo ‰J

(5)

Perc. 3 B.D.

œœ

Œ

∑

˙™

œ ˙

œ œ œ

œ ˙

œ ‰ jœ œœ œœ

œœ Œ

œ Œ

œœ

œ œ œ

(7)

¿o +¿ +¿ +¿ +¿ +¿ +¿ Yo ‰J

œœ‰ œœœ œ œ Œ J (6)

∑

Œ

˙™ —

œ Œ

œœ

Œ

Œ

œ œ œ

Play these notes when necessary

¿o +¿ +¿ +¿ +¿ +¿ +¿ Yo ‰J

œœ‰ œœœ œ œ Œ J (7)

∑

Œ

∑

œœ‰ œœ J ∑

13 Moons: South

Fl.

° &

43 ˙™

œ -œ œ

˙™

œ -œ œ ˙™

œ -œ œ

˙™

˙

Œ

&

43 ˙™

œ -œ œ

˙™

œ -œ œ ˙™

œ -œ œ

˙™

˙

Œ

# 3 & # 4 ˙™

œ -œ œ

˙™

œ -œ œ ˙ ™

œ -œ œ <#>˙ ™

˙

Œ

# 3 & # 4 ˙™

œ œ- œ <#>˙ ™

œ œ- œ ˙ ™

œ œ- œ

˙

Ob.

Cl. - high

Cl. - low

B. Cl.

Alto Sax.

## 3 & 4 ¢

∑

∑

° ### 3 ˙ ™ & 4

œ -œ œ

∑

∑

Mlts. B Mar.

∑

œ -œ œ <#>˙ ™

˙

Œ

∑

∑

∑

∑

∑

∑

∑

### 3 & 4 ¢

∑

∑

∑

∑

∑

∑

∑

∑

° ## 3 & 4 ˙™

œ œ- œ <#>˙ ™

œ œ- œ ˙ ™

œ œ- œ

˙™

Œ

˙

&

# 3 4

∑

∑

∑

∑

∑

∑

∑

∑

?

43

∑

∑

∑

∑

∑

∑

∑

∑

?

43

∑

∑

∑

∑

∑

∑

∑

∑

° &

43

∑

∑

∑

∑

∑

∑

∑

∑

Trb./Euph BC/ Bssn.

Mlts A Glock.

∑

Œ

∑

Hn.

Tuba

˙™

∑

œ -œ œ ˙ ™

˙™

7. 'B' Section Accompaniment

Tpt.

∑

11

# 3 &#4

Ten. Sax.

Bari. Sax.

7. 'B' Section Accompaniment

¢

¢

?

œ œ

43 œ Œ

œ

œ œ

œ œ

œ Œ

œ œ

œ œ œ œ Œ (1)

œ

œ œ

œ œ œ

(2)

+¿ +¿ +¿ +¿ +¿ Y ™ ‰J

/

o + + ++++ + + o 34 ¿ ¿ ‰ ¿J ¿ ¿ ¿ ¿ ¿ ¿ Y

Perc. 2 Claves/ Woodblock

/

43

∑

∑

∑

∑

∑

∑

∑

∑

Perc. 3 B.D.

¢/

43

∑

∑

∑

∑

∑

∑

∑

∑

Perc. 1 Hi-hat

°

¿o +¿

+¿ +¿ +¿ +¿ +¿ +¿ +¿ ¿o ¿o ‰J

¿o +¿

+¿ +¿ +¿ +¿ +¿ +¿ +¿ Yo ‰J

œ œ

œ Œ ¿o +¿

Splash/ Small Cym

(1)

13 Moons: South 12 Fl.

° &

Cl. - high

Cl. - low

Alto Sax.

-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 ˙ ™

œ

œ- œ

˙

9

˙™

## & ¢

∑

∑

° ### ˙ ™ &

œ

-œ œ ˙ ™

œ

∑

∑

-œ œ <#>˙ ™

˙

Œ

∑

∑

∑

∑

∑

### & ¢

∑

∑

∑

∑

∑

∑

∑

∑

¢

#

œ- œ <#>˙ ™

œ

œ- œ ˙ ™

œ

œ- œ

˙™

Œ

˙

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

° & ¢

œ ∑

&

Trb./Euph BC/ Bssn.

Perc. 1 Hi-hat

œ

∑

∑

Hn.

Mlts. B Mar.

˙™

∑

∑

9

Mlts A Glock.

∑

Œ

∑

° # Tpt. & # ˙™

Tuba

-œ œ

∑

˙™

# &#

Ten. Sax.

Bari. Sax.

œ

&

Ob.

B. Cl.

˙™

9

?

°

/

9

œ ¿o +¿

œ œ

Œ

œ

œ œ

+¿ +¿ +¿ +¿ +¿ +¿ +¿ Yo ‰J

œ œ

œ

Œ

¿o +¿

+¿ +¿ +¿ +¿ +¿ +¿ +¿ ¿o ¿o ‰J

œ

œ œ œ

œ œ

Œ

(3)

¿o +¿

œ

œ œ

+¿ +¿ +¿ +¿ +¿ +¿ +¿ Yo ‰J

œ œ

œ

Œ

¿o +¿

+¿ +¿ +¿ +¿ +¿ Y ™ ‰J

œ œ œ

(4)

Splash/ Small Cym

(2)

Perc. 2 Claves/ Woodblock

/

∑

∑

∑

∑

∑

∑

∑

∑

Perc. 3 B.D.

¢/

∑

∑

∑

∑

∑

∑

∑

∑

13 Moons: South

Fl.

° &

Cl. - high

Cl. - low

B. Cl.

Alto Sax.

-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

## & ¢

∑

∑

° ### ˙ ™ &

œ

-œ œ

˙™

œ

-œ œ

∑

∑

∑

### & ¢

∑

∑

∑

∑

∑

∑

¢

#

œ- œ <#>˙ ™

œ

œ- œ

˙™

œ

œ- œ

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

° & ¢

œ ∑

&

Trb./Euph BC/ Bssn.

Perc. 1 Hi-hat

œ

∑

∑

Hn.

Mlts. B Mar.

˙™

∑

∑

17

Mlts A Glock.

∑

∑

° # Tpt. & # ˙™

Tuba

-œ œ

∑

# &#

Ten. Sax.

Bari. Sax.

œ

&

Ob.

13

˙™

17

?

°

/

17

œ ¿o +¿

œ

Œ

œ

œ

œ œ

+¿ +¿ +¿ +¿ +¿ +¿ +¿ Yo ‰ J

œ

œ

œ

Œ

¿o +¿

+¿ +¿ +¿ +¿ +¿ +¿ +¿ ¿o ‰ J

œ

œ œ

œ

Œ

¿o +¿

+¿ +¿ +¿ +¿ +¿ +¿ +¿ Yo ‰ J

(5)

¿o

œ

œ

œ

œ œ

Perc. 2 Claves/ Woodblock

/

∑

∑

∑

∑

∑

∑

Perc. 3 B.D.

¢/

∑

∑

∑

∑

∑

∑

13 Moons: South 14

° Fl. & Ob.

Cl. - high

Cl. - low

B. Cl.

Alto Sax.

Mlts. B Mar.

Perc. 1 Hi-hat

Perc. 2 Claves/ Woodblock

Perc. 3 B.D.

˙™ ˙™

Œ

œœ œœ œœ œœœ

˙˙ ˙

œœ œ

˙™ ˙˙™™

˙˙ ˙

Œ

Œ

œœœ

˙

œ

˙™

˙

Œ Œ

˙™

<#>˙ ™

˙™

˙™

˙™

˙™

˙

# &#

˙™

˙™

˙™

˙™

<#>˙ ™

˙™

<n>˙ ™

˙

∑

∑

∑

˙™

∑

∑

∑

∑

∑

˙™

<#>˙ ™

˙™

<#>˙ ™

˙

Œ

˙™

<#>˙ ™

˙™

˙™

˙™

<n>˙ ™

˙

Œ

∑

˙™

˙™

∑

Œ

˙™

∑

23

∑

˙™

∑

#

∑

∑

<#>˙ ™

∑

˙™

∑

∑

˙™

˙™

∑

<#>˙ ™

Œ

˙

∑

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

∑

?

∑

∑

∑

∑

∑

∑

∑

∑

&

° & ¢

œœ œœ œœ

˙™

### & ¢

¢

Œ

# &#

# &#

Trb./Euph BC/ Bssn.

˙™ Ó™

˙™

° ### <#>˙ ™ &

Hn.

Mlts A Glock.

œœœ

&

° # Tpt. & #

Tuba

™

Divide

## & ¢

Ten. Sax.

Bari. Sax.

Œ̇

23

?

°

23

œ ‰ jœ œ Œ œœ œœœ œ œ Œ

œœ

Y™

Splash/ Small Cym

/ /

¢/

Claves/Woodblock

œ œ Œ ˙™ —

Bass Drum

Œ

œ œ œ

(1)

∑

œ ‰ jœ œ Œ œœ œœœ œ œ Œ

œœ

∑

œœ‰ œœœ œ œ Œ J ∑

∑

Œ

œ œ œ

(2)

œ ‰ jœ œ Œ œœ œœœ œ œ Œ

∑

œœ

∑

œœ‰ œœœ œ œ Œ J (2)

∑

˙™ —

Œ

œ œ œ

(3)

œ ‰ jœ œ Œ œœ œœœ œ œ Œ

œœ

Œ

œ œ œ

(4)

∑

∑

∑

œœ‰ œœœ J

œ œ Œ

œœ‰ œœœ J

∑

∑

(3)

(4)

∑

13 Moons: South

Fl.

° &

# &#

Cl. - low

œœœ

˙™

∑

# &#

Cl. - high

Alto Sax.

Œ

&

Ob.

B. Cl.

31

## & ¢

Œ ∑

œœ œœ œœ

˙™ ˙™

∑

∑

Œ

œœ œœ œœ œœœ

Œ

œœœ

˙˙ ˙

˙™ ˙˙™™

˙˙ ˙

Œ

˙

œ

˙™

˙

Œ Œ

˙™

˙™

<#>˙ ™

˙™

˙™

˙™

<#>˙ ™

˙

˙™

˙™

˙™

˙™

˙

<#>˙ ™ #˙ ™

<#> ˙ ™

˙™

˙™ ˙™

˙™

œ <#> ˙

˙™

˙

˙™

° ### <#>˙ ™ &

˙™

˙™ ˙™

œ œ <#> œ

15

œœ œ

Œ Œ

˙™

˙™

<#>˙ ™

˙™

˙™

˙

Œ

˙™

<#>˙ ™

˙™

˙

Œ

˙™

˙

Œ

Œ

˙™

˙™

˙™

˙™

### ˙™ & ¢

˙™

<#>˙ ™

˙™

° # Tpt. & # <#>˙ ™

˙™

˙™

˙™

<#>˙ ™

˙™

<#>˙ ™

˙

˙™

˙™

˙™

˙™

˙™

˙™

˙

˙™

˙

Œ

˙™

˙

Œ

# &#

Ten. Sax.

Bari. Sax.

31

&

Hn.

Trb./Euph BC/ Bssn.

?

Tuba

?

Mlts A Glock.

Mlts. B Mar.

Perc. 1 Hi-hat

Perc. 2 Claves/ Woodblock

¢

° & ¢

?

°

#

˙™

31

31

31

˙™

˙™

˙™

˙™

œ ‰ jœ œ Œ œœ œœœ œ œ Œ

œœ

Œ

œ œ œ

(5)

˙™

˙™

˙™

˙™

œ ‰ jœ œ Œ œœ œœœ œ œ Œ

œœ

/

∑

∑

∑

/

œ œ Œ

œœ‰ œœœ J

œ œ Œ

∑

∑

(5)

Perc. 3 B.D.

¢/

˙™ —

œ <#>œ <#>œ

Œ

œ œ œ

(6)

˙™

˙™

œ œ œ

œ ˙

œ ‰ jœ œœ œœœ

œœ Œ

œ Œ

∑

œœ

∑

œœ‰ œœœ œ œ Œ J (6)

∑

œ <#>˙

˙™ —

Œ

œ œ œ

(7)

∑

œ ‰ jœ œ Œ œœ œœœ œ œ Œ

œœ

Œ

œ œ œ

Play these notes when repeating

∑

œœ‰ œœœ œ œ Œ J (7)

∑

Œ

∑

∑ œœ‰ œœ J ∑

This work was commissioned by the UBC Conducting Symposium Consortium

13 Moons: West

For instrumentalists who can play a concert Eb whole tone scale

JODIE BLACKSHAW

1. What key are we in?

° Flute & bœ

Concert Eb whole tone scale for YOU is Eb whole tone

œ

œ

Concert Eb whole tone scale for YOU is Eb whole tone

Oboe

¢ & bœ

° & (high)

Clarinet Bb

Clarinet in Bb (low)

&

Bass Clarinet

¢&

° Alto Saxophone & Tenor Saxophone

&

Baritone Saxophone

¢&

° Trumpet &

œ

Concert Eb whole tone scale for YOU is F whole tone

œ

œ

œ

¢

bœ

bœ

œ

œ

bœ

bœ

œ

bœ

bœ

œ

œ

bœ

bœ

œ

Concert Eb whole tone scale for YOU is F whole tone

œ

œ

œ

Concert Eb whole tone scale for YOU is F whole tone

œ

œ

œ

œ

bœ

bœ

œ

œ

œ

œ

bœ

bœ

bœ

œ

œ

bœ

bœ

œ

bœ

bœ

bœ

œ

œ

bœ

bœ

œ

Concert Eb whole tone scale for YOU is C whole tone

Concert Eb whole tone scale for YOU is F whole tone

œ

œ

œ

Concert Eb whole tone scale for YOU is C whole tone

œ

œ

œ

1. What key are we in?

Concert Eb whole tone scale for YOU is F whole tone

œ

œ

œ

Concert Eb whole tone scale for YOU is Bb whole tone

œ

œ

œ

bœ

bœ

bœ

? bœ

œ

œ

œ

œ

bœ

bœ

œ

œ

bœ

bœ

Concert Eb whole tone scale for YOU is Eb whole tone

Trb./Bar./Bsn.

œ

bœ

&

French Horn

œ

œ

?

Concert Eb whole tone scale for YOU is Eb whole tone

œ

bœ

œ

° Mallets - TC & bœ

œ

œ

œ

œ

bœ

bœ

? bœ

œ

œ

œ

œ

bœ

bœ

Tuba

Concert Eb whole tone scale for YOU is Eb whole tone

Mallets - BC

¢

Concert Eb whole tone scale for YOU is Eb whole tone

13 Moons: West 2

2. Melody Range. Write down the range of each melody (lowest note and highest note). Can you work out the interval?

° Fl. &

Ob.

Cl. (high)

Animal Character Melody

Human Character Melody - upper

Human Character Melody - lower

¢& ° &

Cl. (low)

&

B. Cl.

¢&

A. Sax

Nature Character Melody

° &

T. Sax

&

Bari. Sax.

¢&

° Tpt. &

2. Melody Range. Write down the range of each melody (lowest note and highest note). Can you work out the interval?

&

F Hn.

?

Trb.

Tuba

Mallets TC

Mallets BC

¢

?

° & ¢

?

13 Moons: West

b˙

bœ œ w

b˙

w bœ œ œ

b˙

œ bœ ˙ bœ œ œ

b˙

bœ œ w

b˙

bœ œ œ w

b˙

bœ

° &

b˙

œ œ w

b˙

bw œ œœ

b˙

Cl. (low)

&

b˙

œ œ w

b˙

bw œ œœ

B. Cl.

¢&

b˙

œ œ w

° A. Sax &

b˙

T. Sax

&

Bari. Sax.

¢&

Fl.

Ob.

Cl. (high)

Tpt.

° & ¢&

° & &

F Hn.

?

Trb.

Tuba

Mallets TC

Mallets BC

¢

?

° & ¢

?

3. Nature character melody

bœbœ œ ˙

˙

˙

w

œ ˙

˙

˙

w

bœ bœ ˙ œ œœ

œ bœ œ b˙

˙

˙

w

b˙

bœ bœ ˙ œ œœ

œ bœ

œ b˙

˙

˙

w

b˙

bw œ œœ

b˙

bœ œ œœ

bœ ˙

œ bœ

œ b˙

˙

˙

w

bw œ œ

b˙

bw œ œœ

b˙

bœ œ œœ

bœ ˙

œ b œ bœ b ˙

˙

˙

w

b˙

œ œ w

b˙

bw œ œœ

b˙

bœ œ œœ

bœ ˙

œ bœ

œ b˙

˙

˙

w

b˙

œ œ bw

b˙

bw œ œœ

b˙

bœ œ œœ

bœ ˙

œ bœ bœ b˙

˙

˙

w

b˙

bœ œ œœ

bœ ˙

œ bœ

œ b˙

˙

˙

w

bœ bœ œ œ

bœ ˙

bœ bœ

œ b˙

˙

˙

w

bœbœ œ ˙

˙

˙

w

bœ ˙ œœœ

3. Nature character melody

b˙

œ œ w

b˙

bœ œ w

b˙

bœ œ w

b˙

bœ œ w

b˙

bœ œ w

b˙

bœ œ w

bœ bœ

b˙

bw œ œœ

b˙

bw bœ œ œ

b˙

b˙

w bœ œ œ

b˙

œ bœ ˙ œ œ bœ

b˙

w bœ œ œ

b˙

˙ œ bœ œ œ bœ

bœ bœ

œ ˙

˙

˙

w

b˙

bœ œ œ w

b˙

bœ ˙ œ œ œ bœ

bœ bœ

œ ˙

˙

˙

w

b˙

bœ œ œ w

b˙

bœ ˙ bœ œ œ œ

bœbœ

œ ˙

˙

˙

w

3

13 Moons: West 4

° Fl. &

Ob.

¢&

° Cl. (high) & &

Cl. (low)

B. Cl.

¢&

° A. Sax & &

T. Sax

Bari. Sax.

¢&

° Tpt. &

F Hn.

Trb.

Tuba

¢

¢

b˙ bœ œ

U b˙ œ bœ œ

Ornament/improvise around the first note using these notes: U bœ bœ œ œ œ bœ bœ bœ ˙ œ œ œ œ bœ œ œ ˙

˙

U bw

bœ

œ b˙

U b˙ œ bœ œ

Ornament/improvise around the first note using these notes: U bœ bœ œ œ œ b œ bœ bœ ˙ œ œ œ œ bœ œ œ ˙

˙

U bw

œ

œ b˙

U b˙ œ œ œ

Ornament/improvise around the first note using these notes: U œ bœ œ b œ bœ bœ bœ œ ˙ œ œ œ œ œ œ œ b˙

˙

U w

b˙ œ œ b˙ œ œ œ œ œ

U

b˙ œ œ œ

U

U

Ornament/improvise around the first note using these notes:

œ bœ œ bœ œ œ œ œ b˙ U

bœ

bœ

œ

œ

œ

bœ œ ˙

˙

U w

˙

U w

˙

U w

˙

U w

bœ bœ ˙

˙

U bw

bœ bœ ˙

˙

U bw

˙

U w

˙

U bw

˙

U bw

bœ b ˙

U bœ b ˙ œ œ

œ b œ œ U bœ b œ œ œ œ b˙

bœ

œ b˙

U b˙ œ œ œ

Ornament/improvise around the first note using these notes: U œ bœ œ b œ bœ bœ bœ œ ˙ œ œ œ œ œ œ œ b˙

bœ b ˙

U bœ b ˙ œ œ

œ b œ œ U bœ b œ œ œ œ b˙

œ

œ

Ornament/improvise around the first note using these notes:

bœ

bœ

œ

œ

b œ œ b˙

Ornament/improvise around the first note using these notes:

bœ

bœ

bœ

œ

œ

U b˙ œ œ œ

Ornament/improvise around the first note using these notes: U œ bœ œ b œ bœ bœ bœ œ ˙ œ œ œ œ œ œ œ b˙

&

b˙ bœ œ

U b˙ œ œ œ

U œ bœ œ bœ œ œ œ œ b˙

?

œ b˙

U b˙ œ œ œ

œ œ œ U bœ œ bœ œ œ ˙

bœ

œ b˙

U b˙ œ œ œ

Ornament/improvise around the first note using these notes: U œ œ œ bœ bœ œ bœ bœ ˙ œ œ œ œ bœ œ œ ˙

bœ

œ b˙

U œ œ œ b˙

Ornament/improvise around the first note using these notes: U œ œ œ œ b œ bœ œ œ bœ bœ ˙ œ b˙ œ œ bœ œ

b˙ bœ œ

U œ œ œ b˙

?

?

œ

bœ

Ornament/improvise around the first note using these notes:

bœ

bœ

œ

œ

œ

Ornament/improvise around the first note using these notes:

bœ

œ

œ

œ

œ

bœ bœ ˙

Ornament/improvise around the first note using these notes:

œ œ œ U œ bœ œ b œ œ b ˙

bœ

œ

œ

œ

œ

U

b œ œ b˙

bœ

œ

w

˙

œ bœ œ œ bœ œ b˙ œ œ

bœ

U

bœ œ ˙

œ œ œ b˙

4. Animal character melody

˙

Ornament/improvise around the first note using these notes:

œ b˙

° Mallets TC & Mallets BC

4. Animal character melody

w

13 Moons: West

° Fl. &

Ob.

¢&

° Cl. (high) &

Cl. (low)

&

B. Cl.

¢&

° A. Sax &

5. Human character melody. Play upper or lower part - which one do you think suits your instrument best?

e e ˙ be e b˙

˙˙

bw w

e ee ˙ e b˙

˙˙

œ bœ ™ œ œ œ™ œ

e ee ˙ e b˙

˙˙

œ œœ b œœ œ œ bœ

be ee b˙ e ˙

˙˙

bw w

be ee b˙ e ˙

˙˙

bœ ™ œ bœœ œ™ œ

be ee b˙ e ˙

˙˙

bœ bœœ œ œœ œ

bw w

b˙˙

U Œ

bw w

ee bee

b˙˙

bœ bœœ bœœ œ bœ œ

w w

b˙˙

U Œ

bw w

e bee e

b˙ ˙

bœ œ œ b œœ œ bœ

w w

˙

bœ œ œ bœ

w

ee bee e bee e e be

˙˙ ˙ ˙ ˙

be b ee b˙ e ˙ ee bee

˙˙

b˙˙ b˙ ˙

e be

˙˙ ˙ ˙ ˙

˙

w

b˙˙

bw w

be b ee b˙ e ˙

b˙˙

bw w

ee bee

˙

w

˙˙

b˙˙

œ bœ ™ œ œ œ™ œ

ee bee

b˙ ˙

bœ ™ œ œœ œ™ œ

e bee e

˙˙ ˙ ˙

˙

œ bœ™ œ

e be

b˙˙

œ bœ ™ œ œ b œ™ œ

be b ee b˙ e ˙

b˙˙

bœ™ œ œœ œ ™ œ

ee bee

˙

œ bœ™ œ

be be b˙

˙

˙˙

b˙˙

bw b œ bb œœ b œœ b ww œ œ bœ œ

b˙˙

bœ bœœ bœœ bœœ œ

w w

˙

œ bœ

bœ œ

bw

T. Sax

&

Bari. Sax.

¢&

be be b˙

° &

5. Human character melody. Play upper or lower part - which one do you think suits your instrument best?

Tpt.

e bee e

˙˙

&

be b ee e b ˙ ˙

Trb.

?

e e ˙ be e b˙

Tuba

?

F Hn.

Mallets TC

Mallets BC

¢

e e ˙ be e b ˙

° &

e bee e b˙ ˙

?

e bee e b˙ ˙

¢

5

bw w

b˙˙

bw w

be be b˙

e bee e

˙˙

bw w

be b ee e b ˙ ˙

bw w

e ee ˙ e b˙

bw w

e ee ˙ e b˙

˙ ˙

bw w

ee ee b˙ ˙

˙˙

bw w

ee ee b˙ ˙

b ˙˙ ˙˙ ˙ ˙

b˙˙

bœ™ œ œœ œ ™ œ

b ˙˙

bœ™ œ œ œ™ œ

be b ee e b ˙ ˙

bœœ bœ ™ œ œ™ œ

e ee ˙ e b˙

˙˙ ˙ ˙

b œœ b œ™ œ ™ œœ

˙ ˙

œ b œ™ œ œ œ™ œ

˙˙

œ bœ ™ œ œ œ™ œ

e bee e

˙˙

e ee ˙ e b˙ ee ee b˙ ˙ ee ee b˙ ˙

b˙˙

bœ bœœ bœœ bœœ œ

w w

b ˙˙

bœ bœœ bœœ œ bœ œ

bw w

˙˙

œ œœ b œœ œ œ bœ

bw w

˙ ˙

œ œœ bœœ œ œ bœ

bw w

˙ ˙

œ œœ bœœ œ œ bœ

˙˙

œœ b œœ œœ œ bœ

b ˙˙

b˙˙ b˙

U Œ

U Œ U Œ

bb ˙˙

U Œ

b˙˙

U Œ

b˙

U Œ

b˙˙

U Œ

b˙˙

U Œ

b ˙˙

U Œ

b˙˙

U Œ

bw w

b˙˙

U Œ

bw w

b ˙˙

U Œ

13 Moons: West 6. Atmosphere Composition idea #1 - In pairs, playing the whole tone scale, select a different note to each start on.

6

Play in parallel motion and unison rhythm around the scale (HINT: it doesn't have to be stepwise). Try this a few times until you are happy with how it sounds. Write down what your best idea and share it with others!

Fl.

Ob.

Cl. (high)

° & ¢& ° &

Cl. (low)

&

B. Cl.

¢&

A. Sax

° &

T. Sax

&

Bari. Sax.

¢& 6. Atmosphere Composition idea #1 - In pairs, playing the whole tone scale, select a different note to each start on.

° &

Play in parallel motion and unison rhythm around the scale (HINT: it doesn't have to be stepwise). Try this a few times until you are happy with how it sounds. Write down what your best idea and share it with others!

Tpt.

&

F Hn.

?

Trb.

Tuba

Mallets TC

Mallets BC

¢

?

° & ¢

?

13 Moons: West 7. Atmosphere Composition idea #2 - In pairs, playing the whole tone scale, select a different note to each start on.

Play in contrary motion and unison rhythm around the scale (HINT: start at either end of scale the first time). Try this a few times until you are happy with how it sounds. Write down what your best idea and share it with others!

Fl.

Ob.

Cl. (high)

° & ¢& ° &

Cl. (low)

&

B. Cl.

¢&

A. Sax

° &

T. Sax

&

Bari. Sax.

¢& 7. Atmosphere Composition idea #2 - In pairs, playing the whole tone scale, select a different note to each start on.

° &

Play in contrary motion and unison rhythm around the scale (HINT: start at either end of scale the first time). Try this a few times until you are happy with how it sounds. Write down what your best idea and share it with others!

Tpt.

&

F Hn.

?

Trb.

Tuba

Mallets TC

Mallets BC

¢

?

° & ¢

?

7

13 Moons: West 8. Other ideas to consider. Try these in different octaves and hear it on different instruments - what timbres works best?

8

° bU w Fl. & bw

Drone (in 8ves)

bU w Ob. & ¢ bw ° Cl. (high) &

w w

Cl. (low)

&

w w

B. Cl.

¢&

w w

° &

w w

&

w w

¢&

w w

A. Sax

T. Sax

Bari. Sax.

° Tpt. &

Mallets BC

"Colour" part (repeat at random)

U w bw

bbœœœ œ œ œœœ œ œ U Ó

w w

bbœœœ œ œ œœœ œ œ U Ó

w w w w

bbœœœ œ œ œœœ œ œ U Ó 3

3

3

3

3

3

3 3 U Ó œ œ b œ œ bœ œœ œ œœ 3 3 U Ó œ œ bbœœ œ œ œœ œ œ

U œ œœ œ œœ b˙˙

b˙ œœ œœ œœ œœ ˙

U œ œœ œ bœœ ˙˙

U œ œœ œ œœ ˙ b˙

œœ œœ œœ œœ b˙˙

U b œ œœ œ œœ ˙˙

U œœ œœ œœ ˙ b˙

œœ œœ œœ œœ b˙˙

U

U

œœ b œœ œœ ˙˙

U

œœ b œœ œœ ˙˙

U œœ œœ œ ˙ œ b˙

œœ œœ œ œœ bb ˙˙ œ

˙˙

U œ œ

œœ œœ œœ œœ b˙˙

˙˙

U œ œ

˙˙

U œ œ U œ œ

w w

U bœœ bœœ œ ˙˙ œ

U œœ œœ œ ˙ œ b˙

w w

3 3 U bbœœœbœ œ œœœ œ œ Ó

U œ œ

˙˙

U œœ œœ œœ ˙ b˙

3

˙˙

U œ œ

œœ œœ œœ œœ b˙˙

U œœ bœœ œœ ˙˙

3

˙˙

U œ œ

œœ œœ œœ b ˙˙

U

bbœœœ œ œ œœœ œ œ U Ó

3

˙˙

U œ bœ

œœ œœ œœ b ˙˙

U bœœ b œœ œ ˙˙ œ

3

˙˙

U œ bœ

œœ œœ œœ œœ b˙˙

bb œœœ bœ œ œœœ œ œ U Ó

œœ œœ œ œœ bb˙˙ œ

8. Other ideas to consider. Try these in different octaves and hear it on different instruments - what timbres works best?

w w

w w

U b œ œœ œ œœ ˙˙

U œœ œœ œœ ˙ b˙

œœ œœ œœ œœ b˙˙

˙˙

U Ó

U œœ bœœ bœœ ˙˙

U œœ œœ bœœ ˙ b˙

œœ œœ bœœ œœ b ˙˙

˙˙

U œ bœ

U œœ œœ bœœ ˙˙

U œœ œœ œœ b˙˙

œœ œœ œœ œœ b ˙˙

˙˙

U œ bœ

3 3 U bbœœœ œ œ œœœ œ œ Ó

U œœ œœ b œœ ˙˙

U œœ œœ œœ b ˙˙

œœ œœ œœ œœ b˙˙

˙˙

U œ bœ

U œ œœ œ bœœ ˙˙

U œ œœ œ œœ b˙˙

œœ œœ œœ œœ b˙˙

˙˙

U bœœ

U œœ œœ œœ b˙˙

œœ œœ œœ œœ b ˙˙

˙˙

bbœœœ œ œ œœœ œ œ U Ó 3

3 3

3

bbbœœœ œ œ œœœ œ œ

bw ? bw

w bw

bb œœœ œ œ œœœ œ œ U Ó

? bw ¢ bw

w bw

° bw & bw

w bw

bbœœœ œ œ œœœ œ œ U Ó

bw ? bw

w bw

U bbœœœ œ œ œœœ œ œ Ó

¢

U œ œœ œ bœœ ˙˙

"Connecting" part (consider tempo and expression)

w w

w bw

Trb.

Mallets TC

U w bw

& bw bw

F Hn.

Tuba

Drone (in 6ths)

3

3

3

3 3

3

U œœ œœ bœœ ˙˙

U bœœ

Addendum

pure

bright

booming

muffled

blazing

reedy

sweet

dark

muddy

distorted

mellow

beeping

artificial

dry

percussive

shimmering wheezing hollow

clear

thin aggressive

Structure Cards Print each on a different coloured paper/card and laminate for multiple use.

Teaching tip: If you have a metal whiteboard that will host magnets, purchase magnetic tape and stick onto the back of each structure card for easy use.

Tutti

Solo

Soli

Round

Layer In

Layer Out

Melody Counter Melody

Melody A

ccompaniment

Echo

s!

!

Flute

Alto voice in Bb

Alto voice in Eb

Alto voice in F

Tenor voice in Bb

Tenor voice in C

Bass voice in Bb

Bass voice in Eb

Bass voice in C

               

                      

 





 

  









 