Daugherty: Niagra Falls

MICHAEL DAUGHERTY

F O R

S Y M P H O N I C

P E E R M U S I C

N E W

B A N D

Y O R K

Michael Daugherty

Program Note

One of the most performed and commissioned American composers of his generation, Michael Daugherty

Niagara Falls for Symphonic Band was commissioned by the University of Michigan Symphony Band,

has created a niche in the music world that is uniquely his own, composing concert music inspired by

H. Robert Reynolds, music director. The first performance was given by the University of Michigan Symphony

contemporary American popular culture.

Band, conducted by H. Robert Reynolds, at Band-O-Rama, in Hill Auditorium, Ann Arbor, Michigan, October 4, 1997.

Michael Daugherty came to international attention when his dynamic Metropolis Symphony (1988-93),

A gateway between Canada and the United States, Niagara Falls is a Mecca for honeymooners and

a five-movement tribute to the Superman comics, was performed in 1995 at Carnegie Hall by conductor

tourists who come to visit one of the most scenic waterfalls in North America. The Niagara River also

David Zinman and the Baltimore Symphony Orchestra, and subsequently recorded by the same performers

generates electricity for towns on both sides of the border, where visitors are lured into haunted houses,

for Argo/Decca. Hailed as “a real Symphonie Fantastique for our times,” Metropolis Symphony is

motels, wax museums and candy stores, as well as countless stores that sell “Niagara Falls” postcards,

frequently performed, in whole and in its separate parts, by orchestras around the world.

T-shirts, and souvenirs.

The command of the ensemble and brilliant orchestration on display in Metropolis are also heard in

This composition is another souvenir, inspired by my many trips to Niagara Falls. It is a ten-minute musical ride over the Niagara River with an occasional stop at a haunted house or wax museum along

Daugherty’s works for concert band, which have been embraced wholeheartedly by college, university

the way. Its principal musical motive is a haunting chromatic phrase of four tones corresponding to

and high school bands throughout the U.S. In his chamber music, Daugherty sometimes casts prominent

the syllables of “Niagara Falls,” and repeated in increasingly gothic proportions. A pulsing rhythm in the

figures in America’s cultural life as soloists with ensemble. The popular Dead Elvis is a witty tribute to the

timpani and lower brass creates a current of energy that give an electric charge to the second motive,

industry of Elvis impersonators in the form of a solo bassoonist with ensemble. In a more serious vein,

first heard in the upper brass. The saxophones and clarinets introduce another level of counterpoint,

Jackie’s Song pays homage to Jacqueline Kennedy Onassis, whose plaintive cello solo takes center stage.

in a bluesy riff with a film noir edge.

— Michael Daugherty

Daugherty has received numerous awards for his music, including the Elise L. Stoeger Prize from the Chamber Music Society of Lincoln Center, recognition from the American Academy and Institute of Arts and Letters, the Guggenheim Foundation and National Endowment for the Arts.

Niagara Falls has been recorded by the North Texas Wind Symphony, conducted by Eugene Migliaro Corporon, on UFO: Music of Michael Daugherty (Klavier CDE K11121).

Cover design: Mary Christianson / Christianson Design First printed: 2003

Michael Daugherty

Program Note

One of the most performed and commissioned American composers of his generation, Michael Daugherty

Niagara Falls for Symphonic Band was commissioned by the University of Michigan Symphony Band,

has created a niche in the music world that is uniquely his own, composing concert music inspired by

H. Robert Reynolds, music director. The first performance was given by the University of Michigan Symphony

contemporary American popular culture.

Band, conducted by H. Robert Reynolds, at Band-O-Rama, in Hill Auditorium, Ann Arbor, Michigan, October 4, 1997.

Michael Daugherty came to international attention when his dynamic Metropolis Symphony (1988-93),

A gateway between Canada and the United States, Niagara Falls is a Mecca for honeymooners and

a five-movement tribute to the Superman comics, was performed in 1995 at Carnegie Hall by conductor

tourists who come to visit one of the most scenic waterfalls in North America. The Niagara River also

David Zinman and the Baltimore Symphony Orchestra, and subsequently recorded by the same performers

generates electricity for towns on both sides of the border, where visitors are lured into haunted houses,

for Argo/Decca. Hailed as “a real Symphonie Fantastique for our times,” Metropolis Symphony is

motels, wax museums and candy stores, as well as countless stores that sell “Niagara Falls” postcards,

frequently performed, in whole and in its separate parts, by orchestras around the world.

T-shirts, and souvenirs.

The command of the ensemble and brilliant orchestration on display in Metropolis are also heard in

This composition is another souvenir, inspired by my many trips to Niagara Falls. It is a ten-minute musical ride over the Niagara River with an occasional stop at a haunted house or wax museum along

Daugherty’s works for concert band, which have been embraced wholeheartedly by college, university

the way. Its principal musical motive is a haunting chromatic phrase of four tones corresponding to

and high school bands throughout the U.S. In his chamber music, Daugherty sometimes casts prominent

the syllables of “Niagara Falls,” and repeated in increasingly gothic proportions. A pulsing rhythm in the

figures in America’s cultural life as soloists with ensemble. The popular Dead Elvis is a witty tribute to the

timpani and lower brass creates a current of energy that give an electric charge to the second motive,

industry of Elvis impersonators in the form of a solo bassoonist with ensemble. In a more serious vein,

first heard in the upper brass. The saxophones and clarinets introduce another level of counterpoint,

Jackie’s Song pays homage to Jacqueline Kennedy Onassis, whose plaintive cello solo takes center stage.

in a bluesy riff with a film noir edge.

— Michael Daugherty

Daugherty has received numerous awards for his music, including the Elise L. Stoeger Prize from the Chamber Music Society of Lincoln Center, recognition from the American Academy and Institute of Arts and Letters, the Guggenheim Foundation and National Endowment for the Arts.

Niagara Falls has been recorded by the North Texas Wind Symphony, conducted by Eugene Migliaro Corporon, on UFO: Music of Michael Daugherty (Klavier CDE K11121).

Cover design: Mary Christianson / Christianson Design First printed: 2003

Instrumentation Number of players doubling each part at discretion of conductor (but in keeping with a balanced sound) Piccolo 4 Flutes 3 Oboes English Horn Eb Clarinet 3 Bb Clarinets Bass Clarinet 3 Bassoons Contrabassoon 2 Eb Alto Saxophones Bb Tenor Saxophone Eb Baritone Saxophone 4 F Horns 4 C or Bb Trumpets 2 Trombones Bass Trombone 2 Euphoniums 2 Tubas

(jazz mouthpiece preferred) (jazz mouthpiece preferred) (jazz mouthpiece preferred)

(C preferred; mutes: plunger, straight metal, harmon/stem half-out) (mutes: plunger, straight metal) (mutes: plunger, straight metal)

Timpani (4 Drums) Percussion (6 players; percussion instruments are not shared) 1.

Glockenspiel (brass and hard plastic mallets), Xylophone (hard plastic mallets)

2.

Vibraphone (hard yarn mallets)

3.

Marimba (hard yarn mallets)

4.

Chimes, Glockenspiel (hard plastic mallets)

5.

Bell Tree, Mark Tree (Metal Wind Chimes), 3 Triangles (small, medium, large), Ship Bell (or Fire Bell or Ice Cymbal; heavy metal beaters), Claves, large Bass Drum (large mallet), Suspended Cymbal (yarn mallets), Tambourine, large Crash Cymbals

6.

Congas (tuned high), Bongos (tuned high), Suspended Cymbal (yarn mallets), very large Whip, Ratchet

Harp

Positioned near conductor; stage front.

Pipe Organ or 88-key Synthesizer with pipe organ sound Pipe organ should be used if possible. The pipe organ (or synthesizer) should blend with the ensemble at all times.

Bass notes marked as Pedal sound an octave lower than written. If synthesizer is used, the Pedal notes should be transposed down an octave by the performer.

Contrabass If one player, amplification is recommended using a jazz pickup and amplifier located next to the performer.

If more than one player is used, amplification is not recommended.

Performance Note: Stand to Play/Sit to Play, as indicated in the score, is optional but recommended.

Score in C Duration: ca. 10 minutes

NIAGARA FALLS

SCORE IN C

Michael Daugherty (1997)

Commissioned by University of Michigan Symphony Band H. Robert Reynolds, Music Director

= 56 Piccolo 4 Flutes

espr.

3 Oboes espr.

English Horn espr.

E Clarinet 3 B Clarinets solo

Bass Clarinet 5

3 Bassoons Contrabassoon E Alto Saxophone

1 2

jazz mouthpiece a 2

jazz mouthpiece

B Tenor Saxophone

jazz mouthpiece

E Baritone Saxophone 4 F Horns

straight metal mute a 4

4 Trumpets (C or B ) Trombone

1 2

straight metal mute a 2

straight metal mute

Bass Trombone Euphonium

1 2

Tuba

1 2

= 56 damp

Timpani GLOCKENSPIEL, brass mallets

1 2 3 Percussion 4 BELL TREE, let ring always

MARK TREE, let ring always

5 6

solo

Harp

gl.

D C B -E F G A

C -G

Pipe Organ or 88-key Synthesizer with pipe organ sound

Organ

Contrabass

0049242

Š Copyright 2003 by Peermusic III, Ltd. Faber Music Ltd., London sole agent for Europe, New Zealand and Australia.

International Copyright Secured. Printed in the U.S.A. All Rights Reserved.

2 5 Picc.

4 Fls. 3 Obs. E. H. E Cl. espr.

3 Cls. espr.

5

B. Cl. 5

3 Bns. espr.

Cbn. espr.

A. Sax.

1 2

T. Sax. B. Sax.

Tbn.

1 2

B. Tbn. Tba.

1 2

1 2 Perc. 3 4 5

gl.

Hp.

gl.

C -G

Org.

0049242

C -F

3 A

accel.

9

= 66

Picc.

4 Fls. a3

3 Obs. E. H. E Cl. solo ends

5

B. Cl. a3

3 Bns. Cbn.

1 espr.

A. Sax. 2

espr.

T. Sax. espr.

B. Sax. espr.

stand to play, (straight metal mute)

Tbn.

a2

gl.

1 2 stand to play, (straight metal mute)

gl.

B. Tbn. Tba.

1 2

A

accel.

= 66

1 VIBRAPHONE, motor off

hard yarn mallets

2 pedal according to duration of notes

Perc. 3 CHIMES

4 TRIANGLES, let ring always

SMALL

MEDIUM

LARGE

5 accented

solo ends gl.

Hp.

F

Manual, two hands

Org.

16’8’4’, No strong reeds except orchestral reeds

legato

Pedal

0049242

4 13 Picc.

4 Fls.

3 Obs.

E. H.

E Cl.

B. Cl. 1, 2.

3 Bns. 3.

Cbn.

A. Sax.1

T. Sax.

B. Sax.

Tbn.

1 2

B. Tbn.

Tba.

1 2

1

2 MARIMBA

Perc. 3

4

5

Hp.

Org.

0049242

hard yarn mallets

gl.

gl.

gl.

gl.

5 17 Picc.

4 Fls. 1, 2.

3 Obs. 3.

E. H.

E Cl.

B. Cl.

3 Bns.

Cbn.

A. Sax.1

T. Sax.

B. Sax.

gl.

Tbn.

gl.

B. Tbn.

Tba.

gl.

1 2

1 2

1

2

Perc. 3

4

5

Hp.

Org.

0049242

gl.

6 B

rit.

21

a tempo

Picc.

4 Fls. a3

3 Obs. E. H.

E Cl. 3 Cls. B. Cl. 1, 2.

3.

3 Bns. Cbn.

A. Sax. 1 2 T. Sax. B. Sax. 1.

3.

2.

4.

4 Hns.

straight metal mute a 4 1.

3.

2.

4.

4 Tpts.

Tbn.

1 2

B. Tbn. Euph. 1 2 Tba.

1 2

B

rit.

a tempo

damp

1 2

Perc. 3 damp

4 SHIP BELL

damp

5 heavy metal beater

6

solo

Hp.

6

let ring

6

6

Org.

0049242

6

6

6

6

7 C

= 96

rit.

25 Picc.

4 Fls. 3 Obs. E. H. E Cl. 3 Cls. B. Cl.

Bn.

1 2 3

Cbn.

A. Sax. 1 2 T. Sax. B. Sax.

4 Hns. quietly to harmon mute, stem half-out a 4

harmon mute a 4

4 Tpts.

Tbn.

sit to play

1 2

sit to play

B. Tbn. Tba.

a2

1 2

C

= 96

rit.

Timp damp

1 (VIBRAPHONE)

2 (CHIMES)

damp

Perc. 4 damp

CLAVES

5 (tuned high) use hands

CONGAS

6

6

Hp.

6

solo ends, to pick

6

6

6

6

6

gl.

B -E

A

6

Org. pizz.

Cb.

0049242

8 29 Picc.

4 Fls. 3 Obs. E. H. E Cl. 1, 2.

3 Cls. 3.

B. Cl.

Bn.

a2

1 2 3

Cbn.

A. Sax. 1 2 T. Sax.

B. Sax. a 4, brassy

4 Hns. senza sord. a 4

1, 2.

4 Tpts.

3, 4.

Tbn.

senza sord. a 2

1 2

senza sord.

B. Tbn. Tba.

1 2

Timp.

2 (MARIMBA)

3 Perc. 4 5 6

solo (pick) gl.

Hp.

Org.

Cb.

0049242

gl.

9 33 a3

3 Bns. Cbn.

4 Hns. Tba.

1 2

Timp.

5 Perc.

6

Cb.

D

36 E Cl. a3

3 Cls.

B. Cl. 3 Bns. Cbn.

4 Hns. a2

Euph.

1 2

Tba.

1 2

D Timp.

(VIBRAPHONE)

2

Perc. 5 6

Cb.

0049242

10

39 E Cl.

3 Cls.

B. Cl.

3 Bns.

Cbn.

A. Sax.

1 2

T. Sax.

B. Sax.

1, 2.

4 Hns. 3, 4.

Euph.

1 2

Tba.

1 2

Timp.

2

Perc. 5

6

Cb.

0049242

11

42 Picc. stacc.

4 Fls. stacc.

3 Obs. stacc.

E. H. stacc.

E Cl. 1.

3 Cls. 2, 3.

B. Cl.

plunger a 2

Tbn.

a2

gl.

1 2

gl.

plunger

gl.

B. Tbn.

gl.

XYLOPHONE, hard plastic mallets

1 (VIBRAPHONE)

2 (MARIMBA)

Perc. 3 BELL TREE

5 BONGOS, use hands

6

solo (simile) gl.

Hp.

0049242

gl.

12

E

46 E Cl.

3 Cls.

B. Cl. 1, 2.

3 Bns. 3.

Cbn.

1, 2.

4 Hns. 3, 4. plunger a 2 sting the attacks

Tpt.

1 2

Tbn.

1 2

sting the attacks

B. Tbn. a2

1 Euph.

2

Tba.

1 2

E Timp.

CLAVES

5 Perc.

CONGAS

6

Hp.

(pizz.)

Cb.

0049242

13

49 E Cl.

1, 2.

3 Cls. 3.

B. Cl.

3 Bns.

Cbn.

gl.

gl.

4 Hns. (1, 2) lip trill

1, 2.

4 Tpts.

3, 4.

3, 4. plunger, sting the attacks slide vibr.

Tbn.

1 2

Euph.

1 2

Tba.

1 2

gl.

gl.

Timp.

(VIBRAPHONE)

2 (CHIMES)

4 Perc.

5

6

Cb.

0049242

14

52 E Cl.

3 Cls.

B. Cl.

3 Bns.

Cbn.

4 Hns.

4 Tpts.

Tbn.

1 2

Euph.

1 2

Tba.

1 2

Timp.

2

4 Perc.

5

6

Cb.

0049242

15 55 Picc stacc.

4 Fls. stacc.

3 Obs. stacc.

E. H. stacc.

E Cl.

3 Cls.

B. Cl. 3 Bns. Cbn.

A. Sax. 1 2 T. Sax.

B. Sax. 1, 3.

gl.

gl.

4 Hns. 2, 4.

lip trill

to straight metal mute a 4

4 Tpts.

Tbn.

1 2

gl.

Euph. 1 2 Tba.

gl.

gl.

1 2

Timp.

(XYLOPHONE)

1 2 (MARIMBA)

3 Perc.

4 5 BONGOS

6

gl. gl.

Hp.

Cb.

0049242

16 F

58 Picc.

4 Fls. 3 Obs. E. H.

E Cl.

3 Cls.

B. Cl. 1.

3 Bns. 2, 3.

Cbn.

A. Sax.

1 2

T. Sax.

B. Sax.

Tbn.

1 2

gl.

gl.

B. Tbn. a2

Tba.

1 2

F Timp. cresc.

(VIBRAPHONE)

2 pedal according to duration of notes SHIP BELL, (heavy metal beaters)

Perc. 5 CONGAS

6

Hp.

(pizz.)

Cb.

0049242

17 61 Picc. stacc.

1, 3.

4 Fls. stacc.

2, 4.

3 Obs. stacc.

E. H. stacc.

E Cl.

3 Cls.

B. Cl.

3 Bns.

Cbn.

A. Sax.

1 2

T. Sax.

B. Sax.

straight metal mute a 4 1, 2.

4 Tpts.

3, 4.

Tba.

1 2

Timp.

(XYLOPHONE)

1

2 (MARIMBA)

Perc. 3

5

6

Cb.

0049242

18 64 Picc. stacc.

normale

stacc.

normale

stacc.

normale

1, 3.

4 Fls. 2, 4.

3 Obs. E. H. normale stacc.

E Cl. 3 Cls. B. Cl.

3 Bns. Cbn.

A. Sax.

1 2

T. Sax. B. Sax.

1, 2.

jazz fall

4 Tpts.

3, 4.

Tbn.

1 2

gl.

gl.

B. Tbn. Tba.

1 2

Timp. cresc.

1 2 3 Perc.

GLOCKENSPIEL, (hard plastic mallets)

4 5 6

Cb.

0049242

19 67 Picc.

4 Fls. 3 Obs. E. H.

E Cl.

3 Cls. B. Cl. 3 Bns. Cbn.

A. Sax. 1 2 T. Sax.

B. Sax.

1, 2.

4 Hns.

gl.

3, 4.

1, 2.

4 Tpts.

3, 4. gl.

Tbn.

1 2 gl.

B. Tbn. Euph. 1 2 Tba.

gl.

1 2

Timp. cresc.

1 2

3 Perc.

4 5 6

Cb.

0049242

20 G 70

a4

4 Fls. 1, 2.

3 Obs. 3.

E. H.

E Cl. 3 Cls. B. Cl. a3

3 Bns. Cbn.

A. Sax.

1 2

T. Sax. B. Sax.

4 Hns. harmon mute, stem half-out a 4

senza sord. a 4

4 Tpts.

Tbn.

gl.

1 2

B. Tbn.

Euph.

1 2

Tba.

1 2

gl.

unis.

G

GLOCKENSPIEL, hard plastic mallets

1 LARGE TRIANGLE choke let ring simile

Perc. 5 6

6

Org.

manual

Cb.

0049242

6

6

6

6

6

6

6

6

6

6

6

21 73 4 Fls.

3 Obs.

E. H.

E Cl. 3 Cls.

B. Cl.

3 Bns.

Cbn.

A. Sax.

1 2

T. Sax.

B. Sax.

jazz fall

1, 2.

4 Hns.

gl.

3, 4.

4 Tpts. gl.

Tbn.

gl.

1 2

B. Tbn.

gl.

gl. jazz fall gl.

Euph.

1 2

Tba.

1 2

1

Perc. 5 6

6

Org.

Cb.

0049242

6

6

6

6

6

6

6

6

6

6

6

22 76 Picc.

4 Fls. 3 Obs. E. H.

E Cl. 3 Cls. B. Cl. 1, 2.

3 Bns. 3.

Cbn.

A. Sax. 1 2 T. Sax.

B. Sax.

4 Hns.

gl.

senza sord. a 4

1.

3.

2.

4.

4 Tpts.

half valve gliss.

gl.

Tbn.

1 2

B. Tbn.

gl. gl.

Euph. 1 2 Tba.

1 2

1 (VIBRAPHONE)

2 (MARIMBA)

Perc. 3

5 6

6

Org.

Cb.

0049242

6

6

6

6

6

6

6

6

6

6

6

23 = 66

79 Picc. cresc.

4 Fls. cresc.

3 Obs. cresc.

E. H. cresc.

E Cl. cresc.

3 Cls. cresc.

B. Cl. cresc.

3 Bns. cresc.

Cbn. cresc.

A. Sax. 1 2 cresc.

T. Sax. cresc.

B. Sax. cresc.

3

1, 3.

4 Hns. 2, 4.

cresc.

1, 2.

3, 4.

4 Tpts.

3

3, 4.

cresc.

Tbn.

gl.

1 2

B. Tbn.

gl.

Euph. 1 2

3

cresc.

Tba.

1 2 cresc. = 66 XYLOPHONE

1 cresc.

2 cresc.

Perc. 3 cresc.

5 6

6

6

6

6 cresc.

Org.

cresc.

Cb. cresc.

0049242

24 H

= 66

82 Picc.

1.

3.

2.

4.

4 Fls. 3 Obs. E. H.

E Cl. 3 Cls. B. Cl. (1, 2.)

3 Bns. (3.)

Cbn. A. Sax. 1 2 T. Sax.

B. Sax.

4 Hns. 3

3

4 Tpts.

Tbn.

senza sord. a 2

1 2

senza sord.

B. Tbn. Euph. 1 2 3

Tba.

3

1 2

H

= 66

Timp.

1 CHIMES

4 Perc.

SHIP BELL

let ring

BELL TREE

let ring

5 SUSPENDED CYMBAL

6 Manual, two hands 16’8’4’2, Orchestra reeds

Org. Pedal

Cb.

0049242

let ring

let ring

25 I

= 138

rit.

86 Picc.

4 Fls. a3

3 Obs. E. H.

E Cl. a3

3 Cls.

B. Cl.

3 Bns.

Cbn.

a2

A. Sax. 1 2 T. Sax.

B. Sax.

4 Hns. vib.

4 Tpts. slide vib.

Tbn.

1 2 slide vib.

B. Tbn. Euph. 1 2 Tba.

1 2

I

= 138

rit.

Timp.

GLOCKENSPIEL

1 (VIBRAPHONE)

2 (MARIMBA)

3 Perc.

4 let ring

damp.

MARK TREE

5 choke

BONGOS

6

(with pick) D C B -E F G A gl.

Hp.

Org.

arco

Cb.

0049242

sul pont.

26 90 Picc.

4 Fls. 1 2 Ob. 3 E. H.

E Cl. 3 Cls.

B. Cl.

3 Bns. Cbn.

1. stand to play

A. Sax.

1. solo *

1 2

T. Sax. B. Sax.

4 Hns. 4 Tpts.

1

2

Perc. 3 damp

4 LARGE TRIANGLE

let ring

5

Hp.

gl.

gl.

Cb. * In mm. 92-109, the sax solos may be performed by more than one player per part 0049242

gl.

gl.

27 94 Picc.

4 Fls. 1 2 Ob. 3

E. H.

E Cl.

3 Cls.

B. Cl.

3 Bns.

A. Sax.1 stand to play

solo

T. Sax.

B. Sax.

4 Hns.

4 Tpts.

1

2

Perc. 3

4 BELL TREE

let ring

MEDIUM TRIANGLE

5

Hp.

gl.

0049242

gl.

gl.

gl.

28 98 Picc. stagger breathing

a2

stagger breathing

a2

1 2 Fl. 3 4 1, 2.

3 Obs. 3.

E. H.

E Cl.

3 Cls.

B. Cl.

3 Bns.

(1.)

A. Sax.

1 2

2. stand to play

T. Sax.

B. Sax.

4 Hns.

4 Tpts.

1

2

Perc. 3

4 SMALL TRIANGLE

5

gl.

Hp.

0049242

gl.

gl.

gl.

29 102 Picc.

1 2

cresc.

Fl. 3 4

cresc.

3 Obs. cresc.

E. H.

E Cl. cresc.

3 Cls. cresc.

B. Cl.

3 Bns.

A. Sax.

1 2

+ 2. solo (standing)

T. Sax. stand to play

solo

B. Sax.

4 Hns.

4 Tpts.

1 cresc.

2 cresc.

Perc. 3 cresc.

4 LARGE TRIANGLE

5

gl.

Hp.

0049242

gl.

gl. gl.

30 J 106 Picc.

1, 2.

1.

3.

2.

4.

4 Fls. 3, 4.

3 Obs.

E. H.

E Cl.

3 Cls.

B. Cl.

Bn.

1 2

A. Sax.

1 2

solo ends

sit to play a 2

solo ends

sit to play

solo ends

sit to play

T. Sax.

B. Sax.

1.

4 Hns. straight metal mute a 4

4 Tpts.

1.

3.

2.

4.

J 1

2 Perc.

3 (CHIMES)

4

Hp.

gl.

0049242

3.

2.

4.

31

110 Picc. cresc.

4 Fls. cresc.

3 Obs. cresc.

E. H. cresc.

E Cl. cresc.

3 Cls. cresc.

B. Cl. cresc.

Bn.

A. Sax.

1 2

cresc.

1 2

T. Sax.

B. Sax.

1.

3.

2.

4.

1.

3.

4 Hns.

4 Tpts. cresc.

(GLOCKENSPIEL)

1 cresc.

2 cresc.

Perc.

(MARIMBA)

3 cresc.

4 cresc.

0049242

32

114 Picc.

4 Fls.

3 Obs.

E. H.

E Cl.

3 Cls.

B. Cl.

Bn.

1 2

A. Sax.

1 2

T. Sax.

B. Sax.

2.

4 Hns.

4 Tpts.

1

2 Perc.

3

4

0049242

4.

1.

3.

2.

33 117

K

= 84 fingered gl.

Picc. fingered gl.

1, 2.

4 Fls. 3, 4. fingered gl.

1.

3.

2.

4.

1, 2.

3, 4.

1, 2.

1, 2.

3.

3.

3 Obs. fingered gl.

E. H. fingered gl.

E Cl. fingered gl.

3 Cls. fingered gl.

B. Cl. fingered gl.

3 Bns.

1.

3.

1.

2.

1.

3.

2.

3.

2.

fingered gl.

Cbn.

fingered gl.

A. Sax. 1 2

fingered gl.

T. Sax. fingered gl.

B. Sax. open

lip gl.

4 Hns. lip gl.

4 Tpts.

Tbn.

a2

1 2

gl.

gl.

B. Tbn. lip gl.

Euph. 1 2 Tba.

lip gl.

1 2

K

= 84 solo

Timp.

XYLOPHONE

1 2 Pedal according to duration of notes

3 Perc.

damp

damp

4 damp

LARGE BASS DRUM

5 damp VERY LARGE WHIP

6 8va

8va

use pick for each hand gl.

Hp. D B

Org.

Bottom note Pedal, upper notes manual

normale (arco)

Cb.

0049242

gl.

34 120 Picc.

1.

3.

2.

4.

4 Fls.

1, 2.

3, 4.

1, 2.

3 Obs. 3.

E. H.

E Cl. 3 Cls. B. Cl. 1.

3.

2.

1.

2.

3 Bns.

3.

Cbn.

A. Sax. 1 2 T. Sax. B. Sax.

4 Hns. 1, 2.

4 Tpts.

3, 4.

Tbn.

1 2

B. Tbn. Euph. 1 2 Tba.

1 2

Timp.

1 2 3 Perc.

damp

4 damp

5 6 8va

gl.

Hp.

Org.

Cb.

0049242

35 (

124

=

)

Picc.

4 Fls. 3 Obs. E. H.

E Cl. 3 Cls.

B. Cl.

3 Bns.

Cbn.

A. Sax.

1 2

T. Sax.

B. Sax.

a2

1 2 Hn.

a2

3 4

gl.

gl.

gl.

gl.

senza sord. a 4

4 Tpts.

Euph.

1 2

Tba.

1 2

(

=

)

1 2

Perc. 3 CHIMES

4 SUSPENDED CYMBAL

5 cresc.

Cb.

0049242

36 L

= 66

128 Picc.

4 Fls. 1. solo

1 espr.

Ob.

3.

2 3 3

E. H. espr.

E Cl. 3 Cls. solo

B. Cl. stacc.

3 Bns. Cbn.

A. Sax. 1 2 T. Sax. B. Sax.

1 2

gl.

Hn.

gl.

3 4

(open)

4 Tpts.

Tbn.

1 2

B. Tbn. Euph. 1 2 a2

Tba.

1 2

L

= 66

solo ends

Timp.

GLOCKENSPIEL, brass mallets, solo

let ring

1 2

3 Perc.

damp

4 let ring

BASS DRUM, damp

5 RATCHET

6

Org.

Cb.

0049242

3

37

132 Ob.

1

3

3

3

3

E. H.

E Cl.

B. Cl.

Timp.

Perc. 1

136 Ob.

1

3

3

E. H.

solo

E Cl.

3

stacc.

B. Cl.

Timp.

Perc. 1

0049242

3

3

3

38 140

solo

Picc.

3

3

3

3

cresc.

4 Fls. Ob.

1 cresc.

E. H. cresc.

3

E Cl.

3

3

3

3

3

cresc.

3

3

3

3

1. solo

Cl.

1

3

stacc.

B. Cl. cresc.

3 Bns. Cbn.

A. Sax. 1 2 T. Sax. B. Sax.

4 Hns. 4 Tpts.

Tbn.

1 2

B. Tbn. Euph. 1 2 Tba.

1 2

Timp. cresc.

1 cresc.

2 Perc. 4 5 6

Org.

Cb.

0049242

cresc.

3

39 M 144 Picc.

3

3

1, 2.

4 Fls. 3, 4.

Ob.

1

E. H. 3

3 3

3

solo ends

3

E Cl.

3

(1)

3 Cls.

1, 2.

3

3

3

solo ends

3.

3

solo ends

B. Cl. 1, 2.

3 Bns. 3.

Cbn. A. Sax. 1 2 T. Sax. B. Sax. 1, 3.

4 Hns. 2, 4.

1.

3.

2.

4.

4 Tpts.

Tbn.

vib.

1 2

B. Tbn. Euph. 1 2 Tba.

1 2

M damp

Timp.

1 (VIBRAPHONE)

2 flutter ped.

(CHIMES)

Perc. 4 SUSPENDED CYMBAL

5 BONGOS

6 Manual, two hands 16’8’4’2’, Orchestral reeds

Org. Pedal (arco)

Cb.

0049242

40 147 Picc.

4 Fls. a3

3 Obs.

3

3

3

3

E. H.

E Cl. 3 Cls.

B. Cl.

3 Bns. Cbn. A. Sax. 1 2 T Sax B Sax

4 Hns. 3

1, 3.

4 Tpts.

2, 4.

Tbn.

1.

3.

2.

4.

3

1, 3.

2, 4.

1 2 3 3

3 3

3

3

B. Tbn. Euph. 1 2 Tba.

1 2

1 2

Perc. 4 let ring

SHIP BELL (heavy metal beater)

let ring

5

6

Org.

Cb.

3

0049242

3

41 150 Picc.

4 Fls.

3 Obs.

3

E. H. 3

E Cl. 3 Cls. B. Cl. a3

3 Bns. Cbn. 3

A. Sax. 1 2 T. Sax. 3

3

B. Sax.

4 Hns. 3

1.

3.

2.

4.

4 Tpts.

Tbn.

3

1, 3.

1.

3.

2.

4.

2, 4.

1 2 3

B. Tbn. 3

Euph. 1 2 3

Tba.

1 2

3

Timp.

3

1 6

2

Perc. 4 let ring

5

6

bottom note Pedal, upper notes manual

Org.

3

3

Cb.

3

0049242

42 accel.

153 Picc.

4 Fls. 3 Obs. E. H.

E Cl. 1, 2.

3 Cls. 3.

B. Cl.

3 Bns. Cbn. 3

A. Sax. 1 2

3

3

3

3

3

3

3 3

T. Sax.

3

3 3

3

3

3

3

B. Sax.

3

3

3

3

3

3

3 3

3

3

3

3

3

3

4 Hns.

3

3

4 Tpts.

Tbn.

1 2

3

3

3

3

3

3

3

3

3

3

B. Tbn.

Euph. 1 2 Tba.

3

3

3

1 2

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

accel.

Timp 3

3

3

3

3

1 3 6

3

3

6

6

6

6

2 6

Perc.

6

6

damp

let ring

5 x

6

Org.

3

3

3

3

3 3

3

3

Cb. 3

0049242

3

3

3

3

3

3

3

43 N

= 156 stagger breathing

156 (1, 3) 4 Fls. (2, 4) (a 3)

3 Obs.

stand to play a 2

A. Sax.

1 2 stand to play

T. Sax.

stand to play

B. Sax.

4 Hns.

N

= 156 (VIBRAPHONE)

2 no pedal (MARIMBA)

Perc. 3 GLOCKENSPIEL

4

160 4 Fls.

3 Obs.

rip

A. Sax.

1 2 rip

T. Sax.

rip

B. Sax.

2

3 Perc.

4 VERY LARGE WHIP

6

0049242

44 164 4 Fls.

3 Obs.

rip

A. Sax.

1 2 rip

T. Sax.

rip

B. Sax.

2

3 Perc.

4

6

168 4 Fls.

3 Obs.

rip

A. Sax.

1 2 rip

T. Sax.

rip

B. Sax.

2

3 Perc.

4

6

0049242

45 O 172 Picc.

4 Fls.

3 Obs.

E. H.

E Cl.

3 Cls.

B. Cl.

3 Bns.

Cbn.

A. Sax.

1 2

T. Sax.

B. Sax.

Tba.

1 2

O XYLOPHONE

1

2

3 Perc.

4 TRIANGLES SMALL

BELL TREE

5 BONGOS

6

0049242

46 176 Picc.

4 Fls.

3 Obs.

E. H.

E Cl.

3 Cls.

B. Cl.

3 Bns.

Cbn.

rip

A. Sax.

1 2

T. Sax.

B. Sax.

Tba.

1 2

1

2

3 Perc.

4

MEDIUM

5

6

0049242

LARGE

rip

47 solo

180 Picc.

4 Fls.

3 Obs.

E. H.

E Cl.

3 Cls.

B. Cl.

3 Bns.

Cbn.

rip

A. Sax.

1 2

T. Sax.

B. Sax.

solo *

Tba.

1 2

1

2

3 Perc.

4 let ring

5

6 * May be played by multiple players per part 0049242

48 184 Picc.

4 Fls.

3 Obs.

E. H.

E Cl.

3 Cls.

B. Cl.

3 Bns.

Cbn.

A. Sax.

1 2

T. Sax.

B. Sax.

Tba.

1 2

1

2

3 Perc.

4

5

6

0049242

49 188 Picc. cresc.

4 Fls. cresc. a3

3 Obs. E. H. cresc.

E Cl. cresc.

3 Cls. cresc.

B. Cl. cresc.

3 Bns. cresc.

Cbn. cresc.

A. Sax. 1 2 cresc.

T. Sax. cresc.

B. Sax. cresc.

4 Hns. stand to play a 4

4 Tpts.

2 Tbns.

B. Tbn. a2

Euph. 1 2 cresc. a 2, solo continues

Tba.

1 2 cresc.

1 cresc.

2 cresc.

3 cresc.

Perc.

4 cresc.

SUSPENDED CYMBAL

5 cresc.

6 cresc.

0049242

50 P

= 56

192 solo ends

Picc.

4 Fls. 3 Obs. E. H.

E Cl. 3 Cls. B. Cl.

3 Bns. Cbn.

sit to play a 2

A. Sax. 1 2

sit to play

T. Sax. sit to play

B. Sax. open

a4

4 Hns. (standing)

1 2 Tpt.

(standing)

3 4

plunger a 3

2 Tbns.

B. Tbn. (a 2)

Euph. 1 2 solo ends

Tba.

1 2

P

= 56

1 2

3 Perc.

CHIMES

4 let ring

SHIP BELL

let ring

5 SUSPENDED CYMBAL

6 Manual, two hands

Org. arco if two players, div.

Cb.

0049242

Pedal

let ring

51 196 3 Cls.

B. Cl.

3 Bns.

Cbn.

A. Sax.

1 2

T. Sax.

B. Sax.

4 Hns.

1 2 Tpt. 3 4

2 Tbns.

B. Tbn.

Euph.

1 2

Tba.

1 2

4 let ring

let ring

Perc. 5 let ring

6

Org.

Cb.

0049242

let ring

52 200 accel.

Q

= 66

3 Cls.

B. Cl.

3 Bns.

Cbn.

A. Sax.

1 2

T. Sax.

B. Sax.

1, 3.

4 Hns. 2, 4. sit to play a 2

1 2 Tpt. sit to play a 2

3 4 senza sord a 3

2 Tbns.

B. Tbn.

Euph.

1 2

Tba.

1 2

solo ends

accel.

Q

= 66 GLOCKENSPIEL

1

Perc. 4 let ring

6

Org.

Cb.

0049242

53 204

accel. poco a poco

Picc.

1 2 Fl. 3 4 1 2 Ob. 3 E. H. 3 Cls. cresc. poco a poco

B. Cl. cresc. poco a poco

3 Bns. cresc. poco a poco

Cbn. cresc. poco a poco

A. Sax.

1 2 cresc. poco a poco

T. Sax. cresc. poco a poco

B. Sax. cresc. poco a poco

4 Hns. straight metal mute a 2

1 2 Tpt.

cresc. poco a poco straight metal mute a 2

3 4

cresc. poco a poco

2 Tbns.

B. Tbn. cresc. poco a poco

Euph.

1 2

Tba.

1 2

a2

cresc. poco a poco

accel. poco a poco 1 Perc. 4

5

Hp.

pizz.

Cb. cresc. poco a poco

0049242

54 R 208

= 160

Picc.

1 2 Fl. 3 4 1 2 Ob. 3 E. H. 3 Cls. B. Cl. 3 Bns. Cbn.

A. Sax. 1 2 T. Sax.

B. Sax.

1 2 Hn.

cresc.

3 4

cresc.

1 2 Tpt. 3 4 1, 2.

2 Tbns.

B. Tbn.

B. Tbn.

Euph. 1 2 Tba.

gl.

cresc.

1 2

R

= 160

XYLOPHONE

1 (CHIMES)

Perc. 4 CLAVES

5 use pick for each hand gl. gl.

Hp. D C B -E F G A

Cb.

0049242

55 212 Picc.

1 2 Fl. 3 4 1 2 Ob. 3 E. H.

3 Cls. B. Cl. 3 Bns. Cbn.

A. Sax. 1 2 T. Sax. B. Sax.

1 2 Hn. 3 4 1 2 Tpt. 3 4 gl.

gl.

gl.

2 Tbns.

B. Tbn. Euph. 1 2 Tba.

1 2

Timp.

1 Perc. 4 5

gl.

Hp.

Cb.

0049242

gl.

gl.

gl.

gl.

gl.

gl.

gl.

56 S 216 Picc.

1 2 Fl. 3 4 1 2 Ob. 3 E. H. 3 Cls. B. Cl. 3 Bns. Cbn.

A. Sax. 1 2 T. Sax. B. Sax.

1 2 Hn. 3 4 senza sord. a 2

1 2 Tpt.

senza sord. a 2

3 4 2 Tbns.

B. Tbn. Euph. 1 2 Tba.

1 2

S solo

Timp.

1 4 Perc.

BELL TREE, let ring

5 CONGAS, solo

6

gl.

Hp.

Cb.

0049242

gl.

57 T 220 Picc. a4

4 Fls. a3

3 Obs. E. H.

E.H.

E Cl. 1, 2.

3 Cls. 3.

B. Cl. a3

3 Bns. Cbn.

a2

A. Sax. 1 2 T. Sax. B. Sax.

4 Hns.

4 Tpts.

2 Tbns.

B. Tbn. a2

Euph. 1 2 Tba.

1 2

T solo ends

Timp.

(XYLOPHONE)

1 (VIBRAPHONE)

2 no pedal (MARIMBA)

3 Perc.

4 SHIP BELL, let ring

TAMBOURINE (on knee)

5 solo ends

(CONGAS)

6

Hp.

Org.

Bass clef: bottom notes Pedal, upper two notes manual

Cb.

0049242

58 224 Picc.

1, 2.

4 Fls.

3, 4.

1, 2.

3.

3 Obs. E. H.

E.H.

E Cl. 3 Cls. B. Cl. 1, 2.

3.

3 Bns. Cbn. A. Sax. 1 2 T. Sax. B. Sax.

4 Hns.

4 Tpts.

1, 2.

2 Tbns.

B. Tbn.

B. Tbn.

Euph. 1 2 Tba.

1 2

Timp.

1

2

3 Perc.

CHIMES

4 shake

5 6 (use pick for each hand)

Hp.

D C B -E F G A

Org.

Cb.

0049242

gl.

59 227 Picc. a4

4 Fls. a3

3 Obs. E. H.

E Cl. 1, 2.

3 Cls. 3.

B. Cl. a3

3 Bns. Cbn.

A. Sax. 1 2 T. Sax. B. Sax.

4 Hns.

4 Tpts.

2 Tbns.

B. Tbn. Euph. 1 2 Tba.

1 2

Timp

1 2

Perc.

3 5 6

Hp.

Org.

Cb.

0049242

60 230 Picc.

1, 2.

4 Fls.

a4

3, 4.

3, 4.

1, 2.

1, 2. a3

3.

3 Obs. E. H.

1, 2.

E.H.

a3

3.

(E.H.)

(E.H.)

(E.H.)

E Cl. 1, 2.

1, 2.

3 Cls. 3.

3.

B. Cl. 1, 2.

a3

3.

3 Bns.

1, 2.

3.

Cbn. a2

A. Sax. 1 2 T. Sax. B. Sax. 4 Hns.

4 Tpts.

2 Tbns.

B. Tbn. Euph. 1 2 Tba.

1 2

Timp.

1 2

3 Perc.

damp

4 simile

5 6

gl.

Hp.

sempre

Org.

Cb.

0049242

gl.

61 233 Picc.

4 Fls. 3 Obs. E. H.

E Cl. 1, 2.

3 Cls. 3.

B. Cl. cresc. a3

3 Bns. cresc.

Cbn. cresc.

A. Sax. 1 2 cresc.

T. Sax. cresc.

B. Sax. cresc.

4 Hns. cresc.

4 Tpts.

1.

B. Tbn. 2.

2 Tbns.

B. Tbn.

cresc.

Euph. 1 2 cresc.

Tba.

1 2 cresc.

Timp. cresc.

1 2

3 cresc.

Perc.

damp.

4 cresc.

5 6 cresc.

gl.

gl.

Hp.

(no cresc.)

Org.

cresc.

Cb. cresc.

0049242

62 U

236 Picc.

1, 2.

a4

3, 4.

1, 2.

3, 4.

4 Fls. 3 Obs. E. H.

1, 2.

3.

a3

E.H

E.H.

1, 2.

3.

E.H.

E Cl. 3 Cls. B. Cl. a3

1, 2.

3.

1, 2.

3.

3 Bns. Cbn. A. Sax. 1 2 T. Sax.

B. Sax. 1, 2.

4 Hns. 1, 2.

4 Tpts.

1.

2 Tbns.

B. Tbn.

2.

B. Tbn.

Euph. 1 2 Tba.

1 2

U Timp.

1 damp

2

3 Perc.

4 fist

5 6

gl.

Hp.

Org.

Cb.

0049242

gl.

63 240 1, 2.

4 Fls. 3, 4.

1, 2.

3 Obs. E. H.

3.

E.H.

3 Cls. 1, 2.

3 Bns. 3.

Cbn.

A. Sax.

1 2

T. Sax.

B. Sax.

1, 2.

3, 4.

4 Hns. 1, 2.

1, 2.

3, 4.

4 Tpts.

2 Tbns.

B. Tbn. gl.

gl.

1 Euph.

2 Tba.

1 2

Timp.

1 2 Perc.

3 6

gl.

Hp.

Org.

Cb.

0049242

gl.

64 245 Picc.

4 Fls. 3 Obs. E. H. E Cl. 3 Cls. B. Cl. 3 Bns. Cbn.

A. Sax.

1 2

T. Sax.

B. Sax.

1, 2.

4 Hns. 3, 4. stand to play a 4 al fine

4 Tpts.

2 Tbns.

B. Tbn. Euph.

1 2

Tba.

1 2

Timp.

1 2 Perc. 3 4 5

Org.

Cb.

0049242

65 V

= 80 (Half tempo)

250 Picc.

4 Fls. a3

cresc.

3 Obs. E. H. E.H. cresc.

E Cl. 3 Cls. cresc.

B. Cl.

3 Bns. cresc.

Cbn. accented

A. Sax. 1 2 T. Sax.

B. Sax. bell in air a 4

1, 3.

4 Hns. 2, 4.

1.

4 Tpts.

(standing a 4)

2, 3, 4. marcato 1.

2 Tbns.

B. Tbn.

B. Tbn. 2.

marcato

Euph. 1 2 Tba.

1 2

marcato

V

= 80 (Half tempo)

Timp. accented (XYLOPHONE)

1 (VIBRAPHONE)

2 (MARIMBA)

Perc. 3 GLOCKENSPIEL

4 LARGE CRASH CYMBAL

let ring

5

Org. Pedal arco

Cb. accented

0049242

66 254 Picc.

4 Fls. 3 Obs. E. H.

E Cl. 3 Cls. B. Cl.

3 Bns. Cbn.

A. Sax. 1 2 T. Sax.

B. Sax.

4 Hns.

4 Tpts.

2 Tbns.

B. Tbn. Euph. 1 2 Tba.

1 2

Timp.

1

2 Perc.

3

4

Org.

Cb.

0049242

67 258 Picc

4 Fls. 3 Obs. E. H.

E Cl. 3 Cls. B. Cl.

3 Bns. Cbn.

A. Sax. 1 2 T. Sax.

B. Sax.

4 Hns.

4 Tpts.

2 Tbns.

B. Tbn. Euph. 1 2 Tba.

1 2

Timp.

1

2

Perc. 3

4 5

Org.

Cb.

0049242

68 262 Picc.

4 Fls. 3 Obs. E. H.

E Cl. 3 Cls. B. Cl.

3 Bns. Cbn.

A. Sax. 1 2 T. Sax.

B. Sax.

4 Hns.

4 Tpts.

2 Tbns.

B. Tbn. Euph. 1 2 Tba.

1 2

Timp.

1

2

Perc. 3

4 5

Org.

Cb.

0049242

69 266

W

= 160 (Double tempo)

Picc.

1, 2.

3, 4.

4 Fls.

1, 2.

3.

E.H.

3 Obs. E. H.

E Cl. 3 Cls. B. Cl.

3 Bns. Cbn.

A. Sax. 1 2 T. Sax. B. Sax. a4

4 Hns. 1.

4 Tpts.

2, 3, 4.

2 Tbns.

B. Tbn.

1.

B. Tbn. 2. a2

Euph. 1 2 Tba.

1 2

= 160 (Double tempo)

W

Timp.

1 2 3 Perc.

4 (CRASH CYMBALS)

5 CONGAS

6 solo

(use pick for each hand) gl.

gl. gl.

Hp.

gl.

gl. solo ends

D C B -E F G A

Org.

(arco)

Cb.

0049242

70 271 Picc.

4 Fls. 3 Obs. E. H.

E Cl. 3 Cls. B. Cl. 3 Bns. Cbn.

A. Sax. 1 2 T. Sax. B. Sax.

4 Hns. 4 Tpts.

2 Tbns.

B. Tbn. Euph. 1 2 Tba.

1 2

Timp.

1 2

3 Perc.

4 5 6

gl.

Hp.

Org.

Cb.

0049242

gl.

gl.

gl.

gl.

71 276 Picc.

6

4 Fls.

6

6

6 6

3 Obs. E. H. 6

E Cl.

6

6

1, 2.

6

6 6

6

6

3 Cls. 6

+ 3.

6

6

B. Cl.

6 6

1, 2.

6

6

3 Bns. + 3.

6

6

Cbn. 6

rip

A. Sax. 1 2

6

6

rip 6

T. Sax. rip

6

6 6

6

6

B. Sax. 6

6

6

1, 3. gl.

4 Hns. 2, 4.

1.

2., 3.

4.

4 Tpts. a3

2 Tbns.

B. Tbn.

1., 2.

B. Tbn. gl.

Euph. 1 2 Tba. 1 2 Timp. gl.

1 damp

gl.

damp

2 gl.

3 Perc.

damp

CHIMES

4 BASS DRUM

damp

5 damp

SUSPENDED CYMBAL

6

gl.

Hp.

gl.

gl.

8ba

Org.

Bass clef: bottom note Pedal, upper notes manual

Cb.

0049242