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John Corigliano

MR. TAMBOURINE MAN: Seven poems of Bob Dylan for Amplified Soprano and Wind Ensemble trans. Verena Mรถsenbichler

full score

G. Schirmer Rental Library date of printing _________

G. Schirmer, Inc. New York, NY


John Corigliano

MR. TAMBOURINE MAN: Seven poems of Bob Dylan for Amplified Soprano and Orchestra

Commissioned by the Minnesota Orchestra, Osmo Vänskä, Music Director, and the Brooklyn Philharmonic, Robert Spano, Music Director. The Brooklyn Philharmonic was generously supported for this commission by Board Member Gloria Messinger, in honor of her husband, Charles L. Mandelstam. The original piano version of this work was commissioned for Sylvia McNair by The Carnegie Hall Corporation. The world premiere was given at Carnegie Hall, New York City on March 15, 2000 by Sylvia McNair, soprano and Martin Katz, piano.

This Wind Ensemble version was transcribed by Verena Mösenbichler, as fulfillment of her final DMA project at the University of Texas at Austin. It was premiered on March 27, 2009 by the University of Texas at Austin Wind Ensemble, Jerry F. Junkin, conductor, Hila Plitmann, soprano, during the National College Band Directors Association Conference.

NOTE: This arrangement was made with the permission of the publisher. The set of materials supplied on loan for this arrangement was prepared by Ms. Mösenbichler and provided to the publisher in accordance to the publisher’s permission-to-arrange specifications. The arrangement has been approved by the composer, John Corigliano, and the materials are distributed “as is”.

G. Schirmer, Inc. New York, NY


Instrumentation Piccolo 3 Flutes (1 and 3 doubling Piccolos) 3 Oboes (3 doubling English Horn) 5 Clarinets in B= (1 and 2 doubling Clarinet in A, 4 doubling Clarinet in E=, 5 doubling Bass Clarinet) Contrabass Clarinet in B= 3 Bassoons (3 doubling Contrabassoon) 2 Alto Saxophones Tenor Saxophone Baritone Saxophone 4 Horns in F 4 Trumpets in C 2 Trombones Bass Trombone Tuba Timpani Percussion (6 Players) Marimba Vibraphone Xylophone Glockenspiel 3 sets of Chimes (perc 2 and 3 will play sets of chimes in the hall, left and right boxes, during the sixth song, perc 1 will have chimes onstage) Flexatone lg. Tamtam sm. Tamtam Metal Plate lg. Sus. Cym sm. Sus. Cym. Triangle Hammer Police W histle 2 Tambourines Vibraslap Slapstick Snare Drum Tenor Drum 2 lg. Bass Drums (one pitched slightly lower than the other) Temple Blocks W ood Blocks

Piano Harp Solo Soprano, amplified Contrabass duration ca. 37 minutes


Prelude: Mr. Tambourine Man …Though I know that evenin’s empire has returned into sand, Vanished from my hand, Left me blindly here to stand but still not sleeping. My weariness amazes me, I'm branded on my feet, I have no one to meet And the ancient empty street’s too dead for dreaming. Hey! Mr. Tambourine Man, play a song for me, I’m not sleepy and there is no place I’m going to. Hey! Mr. Tambourine Man, play a song for me, In the jingle jangle morning I’ll come followin’ you. Take me on a trip upon your magic swirlin’ ship, My senses have been stripped, my hands can’t feel to grip, My toes too numb to step, wait only for my boot heels To be wanderin’. I’m ready to go anywhere, I’m ready…to fade Into my own parade, cast your dancing spell my way, I promise to go under it. Hey! Mr. Tambourine Man, play a song for me, I’m not sleepy and there is no place I’m going to. Hey! Mr. Tambourine Man, play a song for me, In the jingle jangle morning I’ll come followin’ you. Though you might hear laughin’, spinnin’, swingin’ madly across the sun, It’s not aimed at anyone, it’s just escapin’ on the run… And if you hear vague traces of skippin’ reels of rhyme To your tambourine in time, it’s just a ragged clown behind, I wouldn’t pay it any mind, it’s just a shadow you’re Seein’ that he’s chasing. …Yes, to dance beneath the diamond sky with one hand waving free, Silhouetted by the sea, circled by the circus sands, With all memory and fate driven deep beneath the waves, Let me forget about today until tomorrow. …I’m not sleepy and there is no place I’m going to… Copyright © 1964, 1965 W arner Brothers, Inc. Copyright renewed 1992, 1993 Special Rider M usic International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.

Clothes Line After a while we took in the clothes, Nobody said very much. Just some old wild shirts and a couple pairs of pants Which nobody really wanted to touch. Mama come in and picked up a book An’ Papa asked her what it was. Someone else asked, “What do you care?” Papa said, “Well, just because.” Then they started to take back their clothes, Hang ’em on the line. It was January the thirtieth And everybody was feelin’ fine. The next day everybody got up Seein’ if the clothes were dry. The dogs were barking, a neighbor passed, Mama, of course, she said, “Hi!” “Have you heard the news?” he said, with a grin, “The Vice-President’s gone mad!” “Where?” “Downtown.” “When?” “Last night.” “Hmm, say, that’s too bad!” “Well, there’s nothin’ we can do about it,” said the neighbor, “It’s just somethin’ we’re gonna have to forget.” “Yes, I guess so,” said Ma, Then she asked me if the clothes was still wet.

I reached up, touched my shirt, And the neighbor said, “Are those clothes yours?” I said, “Some of ‘em, not all of ‘em.” He said, “Ya always help out around here with the chores?”

I said, “Sometime, not all the time.” Then my neighbor, he blew his nose Just as papa yelled outside, “Mama wants you t’ come back in the house and bring them clothes.” Well, I just do what I’m told, So, I did it, of course. I went back in the house and Mama met me And then I shut all the doors. Copyright © 1969, 1975 Dwarf Music Copyright renewed 1998 Special Rider M usic International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.

Blowin’ in the Wind How many roads must a man walk down Before you call him a man? Yes, ’n’ how many seas must a white dove sail Before she sleeps in the sand? Yes, ’n’ how many times must the cannon balls fly Before they’re forever banned? The answer, my friend, is blowin’ in the wind, The answer is blowin' in the wind. How many times must a man look up Before he can see the sky? Yes ’n’ how many ears must one man have Before he can hear people cry? Yes, ’n’ how many deaths will it take till he knows That too many people have died? The answer, my friend, is blowin’ in the wind… How many years can a mountain exist Before it’s washed to the sea? [The answer is blowin’ in the wind.] Yes, ’n’ how many years can some people exist Before they’re allowed to be free? [“blowin’ in the wind.”] Yes, ’n’ how many times can a man turn his head, Pretending he just doesn’t see? …blowin’… …blowin’… Copyright © 1962 W arner Brothers, Inc. Copyright renewed 1990 Special Rider M usic International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.

Masters of War Come, [come,] you masters of war You that build all the guns You that build the death planes You that build the big bombs You that hide behind walls You that hide behind desks [Come, come, you masters of war] I just want you to know I can see through your masks You that never done nothin’ But build to destroy You play with my world Like it’s your little toy You put a gun in my hand And you hide from my eyes And you turn and run farther When the fast bullets fly… You fasten the triggers For the others to fire Then you set back and watch When the death count gets higher You hide in your mansion As young people’s blood Flows out of their bodies And is buried in the mud


You’ve thrown the worst fear That can ever be hurled Fear to bring children Into the world For threatening my baby Unborn and unnamed You ain’t worth the blood That runs in your veins… Let me ask you one question Is your money that good Will it buy you forgiveness Do you think that it could I think you will find When your death takes its toll All the money you made Will never buy back your soul And I hope that you die And your death will come soon I will follow your casket In the pale afternoon And I’ll watch while you’re lowered Down to your deathbed And I'll stand o’er your grave ’Til I’m sure that you’re dead Copyright © 1963 W arner Brothers, Inc. Copyright renewed 1991 Special Rider M usic International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.

All Along the Watchtower “There must be some way out of here,” said the joker to the thief, “There's too much confusion, I can’t get no relief. Businessmen, they drink my wine, plowmen dig my earth, None of them along the line know what any of it is worth.” “No reason to get excited,” the thief, he kindly spoke, “There are many here among us who feel that life is but a joke. But you and I, we've been through that, and this is not our fate, So let us not talk falsely now, the hour is getting late.” All along the watchtower, princes kept the view While all the women came and went, barefoot servants, too. Outside in the distance a wildcat did growl, Two riders were approaching, the wind began to howl. Copyright © 1968, 1985 Dwarf Music Copyright renewed 1996 Special Rider M usic International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.

Chimes of Freedom Far between sundown’s finish an’ midnight’s broken toll We ducked inside the doorway, thunder crashing As majestic bells of bolts stuck shadows in the sounds Seeming to be the chimes of freedom flashing Flashing for the warriors whose strength is not to fight Flashing for the refugees on the unarmed road of flight An’ for each an’ ev’ry underdog soldier in the night An’ we gazed upon the chimes of freedom flashing. In the city’s melted furnace, unexpectedly we watched With faces hidden while the walls were tightening As the echo of the wedding bells before the blowin’ rain Dissolved into the bells of the lightening. [Striking for the gentle, striking for the kind Striking for the guardians and protectors of the mind An’ the unpawned painter behind beyond his rightful time An’ we gazed upon the chimes of freedom flashing. Through the mad mystic hammering of the wild ripping hail The sky cracked its poems in naked wonder That the clinging of the church bells blew far into the breeze Leaving only bells of lightning and its thunder As we listened one last time an’ we watched with one last look

Spellbound an’ swallowed ’til the tolling ended Tolling for the rebel, tolling for the rake Tolling for the luckless, the abandoned an’ forsaked Tolling for the outcast, burnin’ constantly at stake An’ we gazed upon the chimes of freedom flashing… Tolling for the deaf an’ blind, tolling for the mute Tolling for the mistreated, mateless mother, the mistitled prostitute…] Tolling for the aching ones whose wounds cannot be nursed… An’ for every hung-up person in the whole wide universe An’ we gazed upon the chimes of freedom flashing. Copyright © 1964 W arner Brothers, Inc. Copyright renewed 1992 Special Rider M usic International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.

Postlude: Forever Young May God bless and keep you always, May your wishes all come true, May you always do for others And let others do for you. May you build a ladder to the stars And climb on every rung, May you stay forever young, Forever young, forever young, May you stay forever young. May you grow up to be righteous, May you grow up to be true, May you always know the truth And see the lights surrounding you. May you always be courageous, Stand upright and be strong, May you stay forever young, Forever young, forever young, May you stay forever young. May your hands always be busy, May your feet always be swift, May you have a strong foundation When the winds of changes shift. May your heart always be joyful, May your song always be sung, May you stay forever young, Forever young, forever young, May you stay forever young. Copyright © 1973, 1985 Ram’s Horn Music International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music. Note: … is used where composer has omitted lyrics [ ] is used where lyrics have been set out of sequence


Program Note: When Sylvia McNair asked me to write her a major song cycle for Carnegie Hall, she had only one request; to choose an American text. I have set only four poets in my adult compositional life: Stephen Spender, Richard Wilbur, Dylan Thomas (whose major works generated the oratorio A Dylan Thomas Trilogy) and William M. Hoffman, collaborator with me on, among other, shorter pieces, the opera The Ghosts of Versailles. Aside from asking Bill to create a new text, I had no ideas. Except that I had always heard, by reputation, of the high regard accorded the folk-ballad singer/songwriter Bob Dylan. But I was so engaged in developing my orchestral technique during the years when Dylan was heard by the rest of the world that I had never heard his songs. So I bought a collection of his texts, and found many of them to be every bit as beautiful and as immediate as I had heard--and surprisingly wellsuited to my own musical language. I then contacted Jeff Rosen, his manager, who approached Bob Dylan with the idea of re-setting his poetry to my music. I do not know of an instance in which this has been done before (which was part of what appealed to me,) so I needed to explain that these would be in no way arrangements, or variations, or in any way derivations of the music of the original songs, which I decided to not hear before the cycle was complete. Just as Schumann or Brahms or Wolf had re-interpreted in their own musical styles the same Goethe text, I intended to treat the Dylan lyrics as the poems I found them to be. Nor would their settings make any attempt at pop or rock writing. I wanted to take poetry I knew to be strongly associated with popular art and readdress it in terms of concert art---crossover in the opposite direction, one might say. Dylan granted his permission, and I set to work. I chose seven poems for what became a thirty-five minute cycle. A Prologue: Mr. Tambourine Man, in a fantastic and exuberant manner, precedes five searching and reflective monologues that form the core of the piece; and Epilogue: Forever Young makes a kind of folk-song benediction after the cycle’s close. Dramatically, the inner five songs trace a journey of emotional and civic maturation, from the innocence of Clothes Line through the beginnings of awareness of a wider world (Blowin’ in the Wind), through the political fury of Masters of War, to a premonition of an apocalyptic future (All Along the Watchtower), culminating in a vision of a victory of ideas (Chimes of Freedom). Musically, each of the five songs introduces an accompanimental motive that becomes the principal motive of the next. The descending scale introduced in Clothes Line resurfaces as the passacaglia which shapes Blowin’ in the Wind. The echoing pulse-notes of that song harden into the hammered ostinato under Masters of War; the stringent chords of that song’s finale explode into the raucous accompaniment under All Along the Watchtower; and that song’s repeated figures dissolve into the bell-sounds of Chimes of Freedom. Thanks are due to Carnegie Hall; to Sylvia McNair, for her commitment as well as her luminous artistry; and to Mark Adamo, to whom Mr. Tambourine Man is warmly dedicated.

—John Corigliano


MR. TAMBOURINE MAN: Seven Poems of Bob Dylan

Score in C    Piccolo 1   

Prelude: Mr. Tambourine Man

Freely q = 52

    

Flute 1

    

Flute 2

   

Flute 3 (Piccolo 2)

    

Oboes 1-2

    

Oboe 3 (English Horn)

   

Clarinet in Bb (Clarinet in Eb)

3

 English Horn

 

   

Clarinets in Bb 2-3

  

Bass Clarinet in Bb (Clarinet in Bb)

   

Contrabass Clarinet in Bb

   

Bassoons 1-2

  

Bassoon 3 (Contrabassoon)

   

Alto Saxophones in Eb 1-2

   

Tenor Saxophone in Bb

               

Horns in F 2, 4

   

Trumpets in C 1-2

   

Trumpets in C 3-4

  

Trombones 1-2

Bass Trombone

Timpani

Percussion 1

  

Percussion 4

Glockenspiel

Marimba

Contrabass

Piano

Harp

          3

3

pp

   n

  

n



        

3

3

     





pp

pp

3

Though I know

that eve - nin´s em - pire

take harmon mute

 

take straight mute

take straight mute

         

   

       

  

n

  

EF#GA# BbC#Db

   

  3

   3

pp



pp

 

 



 

       3

3

         3

3

 

 

 

 

has

mp

5

re - turned

     in - to

sand,

 

      p

Van - ished from my hand,

 

 

3

 p

 

       p 2. with straight mute  with straight mute     p      p 

1. with straight mute

 

 

    

 

    



 

   

  

     

              

3

  

 

3

p

 

 

     

        

 

3

  

 

1

 

 

3

mp

Bassoon

     

 

3

 

3

3

 

3

 3

3

n

     

3

Bass Clarinet

3

  

  

3

  

3

3

 

Clarinet in Bb

 

  

Percussion 2

Percussion 3

  

Soprano Solo

Tuba

3

             3        pp 3 3

Clarinet in Bb 1

Horns in F 1, 3

Flute

3

Baritone Saxophone in Eb

3             3 

pp 3

1

John Corigliano trans. Verena Mösenbichler

 

Bass Drum

    pp        

 

 

 

 3

3



 

   

 

   


2

  Picc. 

Slightly faster q = ca. 60

5

3           

Fl. 1

 

Fl. 2

3

pp

 

Fl. 3

  

 

Eng. Hn.

  3

Cl. 2 - Cl. 3

B. Cl.

3

 

Cb. Cl.

Bsn. 1 - Bsn. 2

Bsn. 3/Cbn.

T. Sax.

S. Solo

Hn. 1, Hn. 3

pp

Tba.

Timp.

Perc. 1

Vib.

Glock.

Mar.

Cb.

Pno.

Hp.

 To Eb Cl.

 

3

3

3

        

 

3

3

   3       

3

    

3

 



 

 

 

 

 

        

p

  

Left me blind - ly

 here

  

  

to stand

but still not



3

sleep

-

mp languid

   ing.

 harmon mute

3

My

mp

     3     

wea - ri - ness

         3

p

mf

a - maz - es

remove mute

5

p

  

 



pp

pp



 

 

    

  

 

 

  3

pp

 

    

 

   3

3

pp





 

 

 

 

   3     3

     3      3

me

Perc. 2

Xyl.

 

 

   

B. Tbn.

3

 

Tbn. 1 - Tbn. 2

3

 

C Tpt. 3 - C Tpt. 4

3

3

 

C Tpt. 1 - C Tpt. 2

3

    

  

Hn. 2, Hn. 4

3

    

pp

 

Alto Sax 1-2

3

 

        3        pp 3 3 3       pp       3

Cl. 1

3

         

 

Cl.

3

    3

 

Ob. 1 - Ob. 2

B. Sax.

 

I´m


3

  Picc.  9

 

 

Fl. 1

 

 

Fl. 2

 

 

Fl. 3

   

Eng. Hn.

p

Cl. 1

Cl. 2 - Cl. 3

 

 

 

 

  

  

 

Perc. 2

   

 

 



 

  

 

   

   

 

 

 

 

 

 

 

   

Hp.

 

  

 

p

 

 

 

        

  

n

ppp

n

ppp

n

  

 

  3  

3 mp

Cl. 2

  3   3 mp

pp

3

  

      

pp 3

        3

3

3   

n pp



 



pp

a2 remove mute

remove mute

pp

3

 3      

3

  

  

  

    too

dead

 

  

 

 

 

 

ppp (Pedale)

3

ppp

   

    

  

3     

dream - ing.

3

pp

ppp

  

 

   

B. Tbn.

Pno.

 

 

 

Tbn. 1 - Tbn. 2

Cb.

 

 

 

C Tpt. 3 - C Tpt. 4

Mar.

                                  brand - ed on my feet I have no one to meet And the an - cient emp - ty street´s too dead for      

C Tpt. 1 - C Tpt. 2

Glock.

  

 

 

Vib.

 

    

Hn. 2, Hn. 4

Xyl.

 

Alto Sax. 1

Perc. 1

Bsn. 3/Cbn.

Timp.

 

Bsn. 1 - Bsn. 2

Tba.

 

Hn. 1, Hn. 3

 

 

 

Cb. Cl.

T. Sax.

 

B. Cl.

Alto Sax 1-2

 

 

S. Solo

 

 

Cl.

B. Sax.

 

 

Ob. 1 - Ob. 2

Tempo I q = ca. 52

 

E§F#G§A§ B§C§D§



for

3

  


4

  Picc.  13

Fl. 1

Fl. 2

 

 

Ob. 1 - Ob. 2

 To Ob. 

Eng. Hn.

 

Cl.

   

Cl. 1

3

     3

Cl. 2 - Cl. 3

S. Solo

Hn. 1, Hn. 3

mp

3

        3

3 3    3       

       

3

3

3

   

3

 

3

 3 3  3 3                3

ppp

     

                        

   3

     

      3   

     

      

 

  

    

        

 

  

    

n

n

        

 

 

 

  

  

ppp

 

 

 

  

 

 dream - ing. 

To Picc.

3

 

mp

3

 

3     

 

 

 

 

  

3

Cb. Cl.

B. Sax.



T. Sax.



        3

p ]r=r

  

Alto Sax 1-2



  

 

  

Bsn. 3/Cbn.



3

          

q = ca. 78

B. Cl.

Bsn. 1 - Bsn. 2

 

 

Fl. 3

p ]r=r

1

  p

  



  

  



 

dream

 

-

 

ing.

n

     

 

  

Tbn. 1 - Tbn. 2

 

 

B. Tbn.

 

 

 

  







Hn. 2, Hn. 4

 

C Tpt. 1 - C Tpt. 2

C Tpt. 3 - C Tpt. 4

Tba.

Timp.

Perc. 1

Perc. 2

Xyl.

Vib.

Glock.

Mar.

Cb.

Pno.

 

        



ppp

3

  

  

  

 

  

 

     

     

  

 

  

 

  

 

  

 

 

 

Hp.

  

  



pizz.

ppp

  ppp

E§F§G§A§ B§C§D§

 

 

   mp

3

   mp

3

 

          3

          3

   

3

3

       3

          3

  


5

q = ca. 117

     Picc.     p  Fl. 1    p     Fl. 2   19

p Piccolo

  

Picc.

 

Ob. 1 - Ob. 2

Eng. Hn.

Cl.

Cl. 1

T. Sax.

B. Sax.

S. Solo

Hn. 1, Hn. 3

  

  

          

  

C Tpt. 1 - C Tpt. 2

 

C Tpt. 3 - C Tpt. 4

 

Tbn. 1 - Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

   

Hn. 2, Hn. 4

 

Alto Sax 1-2

       

   

    

    

   



    

    



  

   

p

p

  

 1  1

p

p

     

Clarinet in Eb

mp

sf

 1   

      mp

sf



 

   



  

   

  



    



   

    

                             

sf



p



p

   

   

sf

  

 

      

        

Hp.

 

    

  p

    

    

   

 

           p

sf

p

  

sf

    

       

 

sf

   



    

sf



 p

   

sf

       sf Snare Drum,  rim shot     sf    



p

Cl. 2

 

Pno.

 

 

 

  

sf

   



sf

           

 

Cb.

       sf    

Xyl.

Mar.

sf

 

  

sf

 

  

mp

Glock.

                

 

Vib.

     



Perc. 2

  

    

 

mp

    

          

Tambourine, thumb roll

  

   

p

   

  

  

Bsn. 3/Cbn.

     

 

Bsn. 1 - Bsn. 2

   

 

Cb. Cl.

      

  

B. Cl.

p

 

    

 

Cl. 2 - Cl. 3

   

  

  

sf

       

      



     

 

sf

     sf

    


6

r=r

 Picc. 

29

Fl. 1

Fl. 2

Picc.









r=r





 To Fl.







 



  3 3                                    

Ob. 1 - Ob. 2

   

p

Eng. Hn.

Eb Cl.

To Cl. in Bb

Cl. 1

Cl. 2 - Cl. 3



 

      

 

      

    

       

  

Cb. Cl.

Bsn. 1 - Bsn. 2

Bsn. 3/Cbn.

Alto Sax 1-2

T. Sax.

S. Solo



mp

























Mi - ster

Tam -bou - rine Man,play a song for

sf

not sleep -y and there is legato





     



C Tpt. 1 - C Tpt. 2







C Tpt. 3 - C Tpt. 4





Hn. 1, Hn. 3

Hn. 2, Hn. 4

Tbn. 1 - Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1











    











1



p harmon mute

1

  mp

      

 

p

   

 

     





Xyl.





Vib.

Glock.

Mar.

Cb.

Pno.

Hp.



 

 















 

 

   













  



 

 





 





 

 

arco

   







    













Mis - ter

Tam -bou - rine Man,

















   







   





 

 









   





















sf

sf



3          















     



     

     sf              sf   

 

    



                 S. D., r. s.



   

p











Hey!



to.





   



sf

ing

    

 

   

   

                   sf    

Tamb.



-



go











p







    





p Cl. 2





    

Perc. 2



no place I´m

sf

3   3           

I´m





me,

    







p

To Eng. Hn.



 3                    

 



r=r





mf



r=r

 

3

Hey!

 





                

 3               

  

 





        

      

 

   



sf Oboe

     

B. Cl.





B. Sax.





 









   

















  



 

 

  



 

 


7

  Picc.   37

Fl. 1

  

 

  

Fl. 2

Picc.

               

Ob. 1 - Ob. 2

Ob.

Eb Cl.

Cl. 1

Cl. 2 - Cl. 3

B. Cl.

3

 

   



   

 

 





     





 



   

  

 

  

 



f

 

Bsn. 1 - Bsn. 2

 





Bsn. 3/Cbn. Alto Sax 1-2

 

T. Sax.

  

B. Sax.

  

       

S. Solo

Hn. 1, Hn. 3

     

Hn. 2, Hn. 4

3

play

a song

 

for

 

me,

 

mp 2

 

C Tpt. 1 - C Tpt. 2

C Tpt. 3 - C Tpt. 4

 

  

Tbn. 1 - Tbn. 2

B. Tbn. Tba.

 

  

  Timp.   Perc. 1  

  

Perc. 2 Xyl.

Vib. Glock.

Mar.

Cb.

Pno.

 

  

    

  

3

In

 

the

    sf

 

  

 

mp

sf

  



sf





 



 



  





a2

f

 





  





 

 



slap tongue

 



  

 



  

  



  



  



 Bassoon

3

 -

low

-

mf



3

 



you. Hn. 1

 

 

 

in´



       

 mf  

 







f

      

 

3



f

 



f

  



   mf



3

 

   a2    

  



mf







 

fol



 

 

 

  

 

  



open

2



open

  

open

ff

open

ff ff

  

 

mf







 

Tamb.

mf









f

   









 

 









take harmon mute



 

To Ob.



 

  

come



 

  



sf

 

jin - gle jan - gle morn - ing I´ll

 

3

      

      ff 3              3

 

 

Hp.

  

 

f

 mp



3

mp

  





 open



 

To Bassoon

 

Cl. 3

sf

 







English Horn

  

sf

mp

  

mp



Cb. Cl.

  

f

     f  







  

 







  

 





    

f

3

   

     3

     



  

f

 

 

3

 



     

ff

 

    

  

f

    f 

E§F#G§A§ B§C§D§




8

 Picc.  43

Fl. 1

Fl. 2

Picc.

Ob. 1 - Ob. 2

Ob.

Eb Cl.

Cl. 1

      

f

B. Cl.

            

Bsn. 1 - Bsn. 2

Bsn. 3 /Cbsn.

Alto Sax 1-2

T. Sax.

B. Sax.



sffz

sffz

     

C Tpt. 1 - C Tpt. 2

    

Xyl.

me

sffz

Vib. Glock.

Mar.

Cb.

Pno.

Hp.



hard sticks L

 



on

a

 3

R

trip

 

L RL R L RL 3

sim.

           

 

3

   

3

 

            

      

a2                                   

    sffz    

    sffz  

swir     sffz       1 harmon mute   

sffz sffz

sffz

   

    sffz sffz      

 3

 

       3





3

    



3

ship

 

remove mute

pp

 

  3

3

    



3

    

 3

   3



3



 

 

sffz

  

  

3



3

3

3

    

     

My

    

3

lin´

3

-



-

 

 

-

3

3

-

 

 

sfs

 3

f

       

sf



up on 3 your ma - gic

 

  

ff brilliant

  

            

sffz

a2

3

                        

     sffz    

    sffz  

pp

 

 

 

Sus. Cym.

sffz

 

     sffz    Tbn. 1 - Tbn. 2   sffz  B. Tbn.    sffz  Tba.     sffz    Timp.   sffzsfz  Perc. 1   Perc. 2    

   sffz    

exuberant

      sffz      sffz     

C Tpt. 3 - C Tpt. 4

Take

Hn. 2, Hn. 4

      

sffz

a2

sffz



  

       

sffz

sffz

sffz

Hn. 1, Hn. 3

   

   sffz      sffz     sffz    

Cb. Cl.

                  f     

Cl. 2 - Cl. 3

sffz

f

          f           Flute          

sffz Oboe

Cl. 2

S. Solo

 3



3

3

     

3

  G# C#

 

 

   

 



 

3



3


9

 Picc.  47

Fl. 1

Fl. 2

Fl. 3

Ob. 1 - Ob. 2

 

Ob.

Cl. 1

Cl. 2 - Cl. 3

       

       



     



                    

 

         

Bsn. 1 - Bsn. 2

Bsn. 3 /Cbsn.

B. Sax.

S. Solo

Hn. 1, Hn. 3

 

sen

C Tpt. 1 - C Tpt. 2

C Tpt. 3 - C Tpt. 4

Tbn. 1 - Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Perc. 2

Xyl.

Vib.

Glock.

Mar.

Cb.

Pno.

Hp.

sfz

  

   sfz    sfz                  

sfz

Hn. 2, Hn. 4

      

sfz





T. Sax.

 -

  sfz    sfz    sfz   

sfz

  

  

Tamb.

  

sfs

a2

 

My

sfz

    sfz   

sfz



can´t

             

sfz sfz

sfz sfz

3

sf

 

     

sfz

 

    







sfz

   sfz                  

sfz

sfz

sfz

 

feel

to

sfz

  

sfz

    sfz    sfz

 

p

 

 3



3

     

 

      





3

  

sfz



   

 D#

 

 

3



 

 

3



3

 

 

3

  

   3

sfz

  

   

f

 

   

My



sfz

 

  

f

grip,



    

   

          

    



                   

3

3

3

 

         



   

     



p

3





hands



sfz

     

 

To Eng. Hn.

           3 3



       

   

     

       

sfz

sfz 



 

  

sfz

sfz

         



  



 

     

      

ses have been stripped,

sfz

     



      

      

     

sfz

Cb. Cl.

Alto Sax 1-2



sfz

B. Cl.

      

Eb Cl.

3

3

 

 

3



 

3

3

   

 

 

3


10

 Picc.  51

Fl. 1

Fl. 2

Fl. 3

Ob. 1 - Ob. 2

Ob.

Eb Cl.

Cl. 1

 

Cl. 2 - Cl. 3

B. Cl.

Cb. Cl.

Bsn. 1 - Bsn. 2

Bsn. 3 /Cbsn.

     

p

p

a2

 

p

f

 

 

 3

3

3

Cl. 2 3

a2

3

p

f

  

 

  

T. Sax.

B. Sax.



  

C Tpt. 1 - C Tpt. 2

C Tpt. 3 - C Tpt. 4

toes







too

numb

to

step,

 

B. Tbn.

Timp.

Perc. 1

 

Perc. 2

Xyl.

Vib.

Glock.

Mar.

Cb.

Pno.

Hp.

 



  sf    sf

  

Fb Cb D§

        a2

                 

  

   

  

   sf 

on

   

sf

sf

sf

           

-

-

-

 

for

my

 

 

boot

heels

 

 

 

     sf   

sf

sf

 

 

 

take harmon mute

 

mf

 

 

          sffz

 f

 



3

 

 

to

be

 

p

               

       

       

ly

  

-

mf

p

sf

    sf    sf      

  

sf

                                         



 

f

p

f

 

sf

f

f

Tbn. 1 - Tbn. 2

Tba.

sf

mf

  

            sf        

mf

mf

wait

Hn. 2, Hn. 4

mf

      3     3     3          3

 

3

Hn. 1, Hn. 3

sf

 3   3   3             

S. Solo

   

Alto Sax 1-2

 

 



3

          3

3

3

     

3

     3





 

 





  



 

 

 

  




11

 Picc.  55

Fl. 1

Fl. 2

Fl. 3

 f

                       3

3

3

3

3

3

                      3 3 3 3 f f f 3 3   To Picc.      

Ob. 1 - Ob. 2

Ob.

Eb Cl.

Cl. 1

Cl. 2 - Cl. 3

     

T. Sax.

B. Sax.

Hn. 1, Hn. 3

Hn. 2, Hn. 4

C Tpt. 1 - C Tpt. 2

C Tpt. 3 - C Tpt. 4

 

 

 

mp

 







  

3

wan

-

 

ff

 

 mf

ff

 

f

I´m Hn. 1

  



 

f



 

 

rea - dy

 



       

  

to

f

 





 

1   

 



go

 

 



an

-

y - where,

 

Cb.

Pno.

Hp.

 

 

  mp







        



rea - dy

 



col legno battuto











 

Gb

  f



to

fade

 





Wood Block



    f    



 

  

 



  



sf

fsf

  

  sf

 



 



 





     















sf





  

p Tamb.

















with harmon mute









 

 

sf



 

 



 

  



Vib.

Mar.

 

Xyl.

Glock.

3

  





 







  

 

 



f

 

 

 

   



I´m

     

  





   

f coarsely To Ob.



 

Perc. 2



 

   





f legato slap tongue

sf

 

 

 

a2

 



d´rin´



f

 



 

  

f legato

 

B. Tbn.

Perc. 1

English Horn

Timp.



Tbn. 1 - Tbn. 2

Tba.

    

 





S. Solo

 



Alto Sax 1-2

Cb. Cl.



Bsn. 3 /Cbsn.

mf



B. Cl.

Bsn. 1 - Bsn. 2

       


12

  Picc.   60

 

Fl. 1

  

Fl. 2

"smack" tones

Clarinet in Bb

  

Cl. 1

 

Cl. 2 - Cl. 3

 

B. Cl.

 

Cb. Cl.

 

Bsn. 1 - Bsn. 2

mp

 

 Bsn. 2 2       Bsn. 1  1 2 1 2 1 

  

mp

  

T. Sax.

B. Sax.

   

Hn. 1, Hn. 3

   

Cb.

Pno.

  

  

mf

  

         



p

  mf  

 

 

p

 

a2

  

               

 

  

      

  

 

 

n

     



  



 

 

p













 

 







p

p

cast

your dan - cing

spell my

  n   n

    

 



way,

pro - mise to

  

 

  

 E§F§G§A§ B§C§D§

        p

 

     

mp

mf



  pp







3 3               



Tam - bou -rine Man, play a song

                   

 





Mis - ter

Hey!

 

 

un - der it.

sub.

  

go

 

  

      

p

 

I

    

  

Cl. 2

    

 

    

 

Cl. 2

  



  



  

Cl. 2

   

  



        

  

ppp

 

  

Cl. 2

  

     2               3 3





ppp

p

 



 

        

Oboe

 

  

p

To Eb Cl.

   

 

ppp

r=r

3

In - to my own pa - rade,

n

        

 

Hp.

legato

Perc. 2

Mar.

 

B. Tbn.

Glock.

r = r    



Tbn. 1 - Tbn. 2

Vib.

 

  

C Tpt. 3 - C Tpt. 4

Xyl.

   

  

C Tpt. 1 - C Tpt. 2

Perc. 1

             

  

Hn. 2, Hn. 4

Timp.



  

Tba.

mp

         

S. Solo

  

     mp   

Alto Sax 1-2

  

 mp

secco

mp mp Bassoon

Bsn.

mf

mf

  

Cl.

  

mp

 

 

mp

 Piccolo    

 

Eng. Hn.

  

Ob. 1 - Ob. 2

   

 

Fl. 3

legato

 

for

  























 



 





  

  

 



  

  




13

  Picc.   68

 

Fl. 1

  

Fl. 2

 

Picc.

  

Ob. 1 - Ob. 2

  

Ob.

   

Cl. 1

      

Cl. 2 - Cl. 3

B. Cl.

T. Sax.

S. Solo

Hn. 1, Hn. 3

C Tpt. 1 - C Tpt. 2

B. Tbn.

Timp.

Perc. 1



 

  

1

sf

 

 

 



 

 

sf

 

  

mf





I´m not open legato 1

  

p

  

2 legato

1

harmon mute

 

  

 

 

sleep - y

p

3

 

and there

    

3

 

 

is

no









 

 

place

 

Tamb.

  

  pp

p

 

 

 

 

 

 

-

ing

  

  

  





 

 

 

Perc. 2

 

 

S. D., r. s.

Xyl.

  

 

  

   

  

Vib.

Glock.

Mar.

Cb.

Pno.

 

   

 

    

Hp.

    



   

   

    

 

 

  

 

 







sf

   sf  sf



 

  sf



 

Mi - ster







 

Man,









 







3

 

Tam - bou - rine





 











 







remove harmon mute

































 









 













 





 





   pp

 



 



 

E§F#G§A§ B§C#D§

  

p



 arco

Cl. 2

 



 



 

 

 

 

   

Cl. 2



  





















sf





 



Hey!



    1    3 









Cl. 2







to.

 

 

go



p











  

   

p



 



 

  





2 







   p 



 

 



  





I´m

 

sf



  

 



     





 

 



 



 





r=r



 

  

 

 

r=r



Cl. 2

  

 





me,

  

 



  



  

   sf   mp

      

 

Tbn. 1 - Tbn. 2

Tba.

  

  

C Tpt. 3 - C Tpt. 4

  

   

Hn. 2, Hn. 4



 

Alto Sax 1-2

Cl. 2

 

Bsn.



 

Bsn. 1 - Bsn. 2

  

Cb. Cl.

   

 

Cl.

B. Sax.

  



  

 



  

      

  

 



 




14

  Picc.   74

Fl. 1

  

  

 

Fl. 2 Picc.

         3    To Eng. Hn.    

Ob. 1 - Ob. 2

Ob.

Cl.

Cl. 1

Cl. 2 - Cl. 3

 

  

 

 

B. Cl.

Cb. Cl.

Bsn.



   

f

 



 

 

  

mp

Cl. 2

mp







 

T. Sax.

  



B. Sax.

  

 

S. Solo

Hn. 1, Hn. 3

     

Hn. 2, Hn. 4

C Tpt. 1 - C Tpt. 2

C Tpt. 3 - C Tpt. 4

Tbn. 1 - Tbn. 2

Timp.

Perc. 1

Vib.

Glock.

Mar.

Cb.

Pno.

   

 

open

In

 

3

 

mp

 

   

 

     

 

     

 

  

 

  

  

  

    

   

  

         





f

  

Cl. 3

   





 



   











  

ff

a2

f

 

 

   

slap tongue

 

 

jin - gle jan - gle morn - ing I´ll

  





   

3

the



 



 



Bassoon

 

 3

 -

low



-



 

     3

 



in´

you. Hn. 1

 



mf

 



  

 

 







 



  

 

  

  









Tamb.

 

mf











pizz. (slap)



  



    

f

3

     3

open 2

  

ff

ff

ff ff

     

3





 

 

 



  

f

  

 f

  



 



 



    

     

 

 









mf





  



 









  





f

 



 



  

f







mf

f

3





 

f

   

sf



sf



      

    

3

 

   sf    

             

f

    a2

  

 



mf

mf

To Ob.

   

mf

 

fol

   

  

come

  

sf

 mp

  ff 3              3 f

mp 2

 

3

me,

mp

 

  

Hp.

 

 

for

 

Perc. 2

Xyl.

a song



B. Tbn.

Tba.

3

play

 

 







English Horn

sf

Alto Sax 1-2

 

  

sf

       

f

    







 

  



  

 

Bsn. 1 - Bsn. 2

    

  







S.D.

f

E§F#G#A# B#C#D#






15

80          

 Picc. 

fff poss.

       



    

 

   

Fl. 2

sf

fff Piccolo

Picc.

                   

   

Ob. 1 - Ob. 2

fff poss.

sffz Oboe

   

Ob. 3

Eb Cl.

 

Cl. 1

   

Cl. 2 - Cl. 3

Cb. Cl.

Bsn. 3 /Cbsn. Alto Sax 1-2

a2

    sffz       

Bsn. 1 - Bsn. 2

  

sffz

B. Sax. S. Solo

    sffz        fff 

   

Though a2

Hn. 1, Hn. 3

fff poss.

  



youmight

hear

3

fff poss.

    fff poss. sf  C Tpt. 1 - C Tpt. 2    C Tpt. 3 - C Tpt. 4   sfp   Tbn. 1 - Tbn. 2   B. Tbn.  sfp    Tba.     Timp.  ff   Flexatone Perc. 1    Perc. 2   sf   

Vib. Glock.

Mar. Cb.

Pno.

Hp.

  

  

sf

  sffz  

3

laugh - in´

fff poss.

3

spin - nin´ 3

3              3

3

3         3       3

 

swing - in´

        

p

  

A§ B§



a - cross

the

 

sun,

       3

3

3

3              3 

 



 

 

   

mf

 

 

 

  

       

      

  

 

 

  

 



 

  

 

 

  

 



 

white key gliss.

  

3

3

3

   sffz 



            

 

   

 





3

p

  

                

 

     

ly3

3

ff

-

                    



  

    

mad





 

 

 

fff

            

 

 

 

p p

    white key gliss.  fff        

           

white key gliss.

  

        a2

fff



3

3      

Hn. 2, Hn. 4

Xyl.

 

     

sf a2

sf

                                                                  

                                                                                                                                      fff poss.        sffz                           fff poss.       3 3 3 sf 3 3     3 3                                          ���              3                       fff poss.

sffz

  

       

fff poss.

   sffz   

B. Cl.



         

fff poss.

sf

sffz Clarinet in Eb

T. Sax.

                                  poss.        sf                          

Fl. 1

                                                                      




16

 Picc.  84

       

Fl. 1

 

Fl. 2

Picc.

   

 

Ob. 1 - Ob. 2

sfz

 

 

Ob. 3

sfz

Eb Cl.

 

Cl. 1

    

 

B. Cl.

sfz

 

Cb. Cl.

sfz

 

Bsn. 1 - Bsn. 2

 

Bsn. 3 /Cbsn.

Alto Sax 1-2

T. Sax.

B. Sax.

Hn. 1, Hn. 3

 

sfz fff

S. Solo



  

It´s

Hn. 2, Hn. 4

 

C Tpt. 1 - C Tpt. 2

 

C Tpt. 3 - C Tpt. 4

 

 

B. Tbn.

Timp.

Perc. 1

   

  

Perc. 2

Xyl.

 

Vib.

Glock.

Mar.

Cb.

at

a

3

  

3

  

3

 

 -



ny 3

 

3

  

-

 

-



3

one 3

3

 

 

 

3



3





It´s

just

 

   p

 



3

es

  

3



 -

ca

 



3

 

 

  

 

 

mf



  

 

  

 

  

 

pin´

on

the



 



 

 

run.

 

 

 

  





 

 

    

  

 

E§F§G§A§ B§C§D§

p sub.

 

And

 

  

 

   

3

  

 -

  

white key gliss.

-

   

 

p

 3





 

    

aimed

 

not

 

 

 

 

  





           





 

ff





 

    

                 



p

p



3

p

                 

  

 

    





 



 

          

 

Hp.

  



 

Pno.

  



 

Tbn. 1 - Tbn. 2

Tba.

sfz

  sfz   

    

                     

                           

a2

 



         

 

Cl. 2 - Cl. 3

 

 


17

 Picc.   

 

88

Fl. 1

Fl. 2

p





  

    

 

Picc.

p



p

p

   

   

 







  













    

       

p



 

p





  



p





















1





1





p



 



1

    

















   







Cl. 1

Cl. 2 - Cl. 3

B. Cl.

Cb. Cl.

Bsn. 1 - Bsn. 2

Bsn. 3 /Cbsn.

Alto Sax 1-2

T. Sax.

Ob. 3

Eb Cl.

B. Sax.

S. Solo

Hn. 1, Hn. 3

 



 



if

you hear

vague

tra - ces

  of

 

 3

skip - pin´





reels

of

rhyme

p

 

 

sf

mp

 

 

mp



to

your

tam - bour

-

  sf

  mp



ine

in

time, it´s just

3

 

   3

a

 -

ged

Hn. 2, Hn. 4

C Tpt. 1 - C Tpt. 2

C Tpt. 3 - C Tpt. 4

Tbn. 1 - Tbn. 2

B. Tbn.



Tba.

Timp.

Perc. 1

Tambourine, thumb roll

 



p

  



p

sf

  

 p

sf

   

Vib.

Glock.



Perc. 2

Xyl.

Mar.

Cb.

Pno.

Hp.

  

 

   

 



p

 

p

 



 

p





 



    

 







    

  



 

    

    



  

 

 

 

 



   

 

   p

 

 











 





 

 







  sf

 rag





Ob. 1 - Ob. 2









  

clown

be

 

sf

   sf






18

    

95    

 Picc.  

Fl. 1

Fl. 2

Picc.

Ob. 1 - Ob. 2

   



   



  

Eb Cl.

mp



 

sf



  

  

    

    

                

Cl. 2

B. Cl.

Cb. Cl.

Bsn. 1 - Bsn. 2

Bsn. 3 /Cbsn.

B. Sax.

S. Solo

Hn. 1, Hn. 3

   sf

sf

   

T. Sax.

  

 p

 

sf

 

sf

 

p



  

 

 

p

 



  





 

                 3 3 p

 

f

f

f

 

f

sub.

 

 hind, 

3      3

I would - n´t

pay

   it

a - ny

p

      mind it´s

just

1  



a

 sha



1  



1

1

1





 

dow

you´re

See

3

-

  -

in´



that

he´s





1

1

f

f

 

  

3

chas - ing.

 

open

Tbn. 1 - Tbn. 2

B. Tbn.

Tba.

C Tpt. 1 - C Tpt. 2

C Tpt. 3 - C Tpt. 4

Timp.

Perc. 1

  p

  

sf

Perc. 2

   

 

 S. D., r. s.

   sf   

  

3

3

Glock.



Pno.

 

Hp.

  





     

sf

    

   

        

        

ff

    

ff

Vib.

Cb.

ff

3

ff

    

       2

Xyl.

Mar.

p

sf

    

f

 



Hn. 2, Hn. 4

          3

sub.

p



                 3 3

 



                 3 3 p



       

Alto Sax 1-2

sf

   

Cl. 2 - Cl. 3

 

sf

Cl. 1



  

       

    

Ob. 3



       

E§F#G#A§ B§C#D§

f


19

102   

 Picc. 

Fl. 1

Fl. 2

Picc.

Ob. 1 - Ob. 2

Ob. 3

              

fff poss.

fff poss.

                  

    sffz    

fff poss.

Cl. 2 - Cl. 3

 

B. Cl.

Cb. Cl.

Bsn. 1 - Bsn. 2

   sf      sffz

Bsn. 3 /Cbsn.

Alto Sax 1-2

T. Sax.

B. Sax.

S. Solo

 

C Tpt. 1 - C Tpt. 2

1    f sfp

     Tbn. 1 - Tbn. 2  sfp   B. Tbn. sfp  sfp   Tba.    sf   Timp.   sf   Perc. 2   sfz   Xyl.  

Pno.

      

3

 

fff

 

         

                     

         

       

fff poss.

3

3

3

 

3



fff poss.

fff poss. 

dia

-

mond

3

                  

sky 3

with

3              3

3

3 3                   

                         

            one

hand

   

 





wav - ing

free

        3

3

3

      

3                      

3

3

3



  

 

 



 

  

 

 



   





 

 

   





 

  

 





mf

 

   

 

 

3

-

hou -

 



    

 

Sil

1



 

2



  

  

3

  

3

3

3

3

        

     

3

   

      

fff poss.

       



fff

Hp.

the

3

 

 

3

     

C Tpt. 3 - C Tpt. 4

Cb.

be - neath

3

fff poss.

 



 

     

3

  

  

Hn. 2, Hn. 4

fff poss.

to dance 3

sf a2

fff

3 3 3  3 3                                     fff poss. 3 

3

                                                    a2                         fff

                                                                             a2                                                                           fff poss.                      

                                                                

               

fff poss.

Yes

Hn. 1, Hn. 3

  

   

   

   sffz       sffz  

           

   sffz a2

sffz

fff poss.

  

 

fff poss.

 

sf

                

Cl. 1

 

   

                                

sffz

Eb Cl.



    

 

   

 3


20

 Picc. 

106

Fl. 1

 

Fl. 2

  To Fl.

 

Ob. 1 - Ob. 2

 

Ob. 3

   

Eb Cl.

sfz

 

Cl. 1

Cl. 2 - Cl. 3

B. Cl.

Cb. Cl.

 

Bsn. 1 - Bsn. 2

Bsn. 3 /Cbsn.

Alto Sax 1-2

T. Sax.

B. Sax.

S. Solo

    



by

the

sea, 3

       3

3

3

        

     

Timp.

Perc. 1

  p

Vib.

Cb.

 

3

3

    

sf

 

D#

 

   

 



 

3

-

 3

 



 

 

  

 

 

3



 

          

     

Flute

 ff

   

 

 

              

cled

     3 sfz

 

   

 

   

3

ff

 

 

 









 

 

  

sfz

hard sticks

 



 



 

  

 3

R



L

 

R L R

L

3

     

3

R



L

sim.



C§ D§

 

3

     

3



 

 

  

all

  p  L

With



    sfz      sfz 

S.D.

  



 

sands,

ff Sus. Cym.

 

sfz

     sfz       sfz       sfz  

sfz

3

 

bythe cir - cus

1







   

 

  

3



cir 3

 

Hp.



ff

 

Pno.

p

Xyl.

Mar.

 

Perc. 2

Glock.

p

  

sfz





p

Tba.

 

  

p

B. Tbn.

    sfz    

    

     

ff

ff

                          

  

Tbn. 1 - Tbn. 2

To Cl. in Bb

     

C Tpt. 3 - C Tpt. 4

 

 





sfz

 

C Tpt. 1 - C Tpt. 2

                             



  

Hn. 2, Hn. 4

ff

                a2               a2 a2                                                                     sfz sfz                                  sf sfz sfz            sfz sfz             sfz  sfz            

et - ted

Hn. 1, Hn. 3

 



                        

Picc.

 

 

3

3

 

 

  

 

3

3





  

 

 3





3

       3    

 


21

 Picc. 

110

    

Fl. 1

    

Fl. 2

   

Ob. 1 - Ob. 2

sfz

Eb Cl.

      

Bsn. 1 - Bsn. 2

Bsn. 3 /Cbsn.

Alto Sax 1-2

T. Sax.

S. Solo

Hn. 1, Hn. 3

mf

    

Cb. Cl.

  

ff a2

    

Tbn. 1 - Tbn. 2

B. Tbn. Tba.

Timp.

Perc. 1

Perc. 2

Xyl.

Vib.

Glock.

Mar.

Cb.

     

a2

fate

     

mf

    

deep

    

            mpsf     

  



 

 

 

mf

 

    

 

f



           sf                    

    

arco, col legno battuto

  

  

ord.

                   







     

      

  





 









p

 

  mf

 



me

for



mp

 

 

bout

to

















waves,

  



          3

3



3

  



  

 





3

3



3

3



  

mp



3

  

    

3

   

  

 



 

 

 

 



  





3





3

-

  3                        3 3 3

a







n



   

get



 



 

-

  

3

Let



the



   p 

 





 3





L

f

      



mp

R

    

3

f

3

   



                3 3 3

    



be - neath

3

3



mp To Crot.

L

 

3

mf sub.

   

 

               3

      

    mpsf



     

mpsf

 



    

       





mf sub.

    



To Bb Cl.

   

    



             

          

driv - en

mp

a2

                        

     



Hp.

     

      

mf



Pno.

    

   

     Tamb. f     

 

       

            mfsf f legato       mfsf       mfsf       

 

    

        mf

slap tongue

  

mf

mf

f legato

C Tpt. 3 - C Tpt. 4

       

 

C Tpt. 1 - C Tpt. 2

       

To Eng. Hn.

 mem - ory and        

Hn. 2, Hn. 4

 

 

   

B. Cl.

B. Sax.

1

    

Cl. 2 - Cl. 3

    

Cl. 1



mf

     sfz  

Ob. 3

    

Fl. 3

mp

  

-


22

 Picc. 

115

3

3

3

3

3

Fl. 3

Ob. 1 - Ob. 2



f



Ob. 3

Eb Cl.

B. Cl.

Cb. Cl.

Cl. 1

Cl. 2 - Cl. 3

  

Bsn. 1 - Bsn. 2

S. Solo

 

 

3





day

un

-

mf



3



 

 



3

pp

 

mf

til

to

 -

3

mor Hn. 3

   row.







3

3

Alto Sax 1

 



Let

me

for

-











a

-

bout

to



 

un

-

til

to



-





2 



  

























B. Tbn.

 

p

p











 







  

 

Xyl.

Vib.





Glock.

















   

 

pp



 



   E§FbG§A# B§C#Db

  



mp





















  





 





 



soft mallets on Crotales

 





 











Hp.





Tbn. 1 - Tbn. 2





Pno.



Cb.

p

   day



 

-

p





C Tpt. 3 - C Tpt. 4

Mar.





 

  



Perc. 2



get





English Horn





 















3 3

3

 

p

 

  3    



 

3 3

3

 

3



3 3

                                  3



3 3



3

 



C Tpt. 1 - C Tpt. 2

3 3

3



 

Perc. 1

3

3



Timp.

mf



3



n

3

Tba.

3     3    3    3                  

Hn. 2, Hn. 4

 

3



mf

p

 

3

Cl. 2

3



                                    

Hn. 1, Hn. 3

3

 



3

 



 

 

 

���

   3     3      3     3     3            

T. Sax.

 

Alto Sax 1-2

3

f

Bsn. 3 /Cbsn.

3



 

                     3 3

Fl. 2

B. Sax.

             

Fl. 1

rall. poco a poco











 












23

  Picc. 

120 Tempo

   

Fl. 1

  

n

       p Clarinet in Bb

  

Cl.

n

 

Cl. 1



 

Cl. 2 - Cl. 3

Clarinet in Bb

Cl.

 

Cb. Cl.

n

   

Bsn.

 

Alto Sax 1-2

T. Sax.

B. Sax.

S. Solo

Hn. 1, Hn. 3

 

 

 

 p p

     

Hn. 2, Hn. 4

 

C Tpt. 1 - C Tpt. 2

 

C Tpt. 3 - C Tpt. 4

Tbn. 1 - Tbn. 2

B. Tbn.

Tba.

Timp.

Perc. 1

Crot.

Xyl.

Vib.

Glock.

Mar.

Cb.

Pno.

Hp.

 -

row.

 

  

 

 

     





 

    

 

 

 

        

 

3

3

 

3

pp



 1

  n

       

          3

p

3

3













  











 



        

3

3

     

3

to - mor - row.



  

3

3

3

3

pp

 to

-



mor

-

 

 



pp

    

      

3

3

3

3



row.

 

  



   

 

   



 

  

3

3

 



  

 

3



   







 



  

pp

3 3                     

  

  

    

pp

un - til

     

EbFbG#A# BbC#Db

3

pp

 3

  12 

 



3

p



Bsn. 1



  





3



pp

  

3



3 3 3    3        3                      3





 3

3

  

 

 



  - mor 

p ]r=r



p



 

 

Bassoon

 

 

Bsn. 2

Bsn. 1 - Bsn. 2



n 3

pp

 

    

3

3                           3

pp

 

p

Eng. Hn.

 

3

  

n

    

Ob. 1 - Ob. 2

   

Fl. 3





  

Fl. 2

I q = ca. 52





3

3



 



 

 

A§ D§


24

q = ca. 78

   Picc.   125

   

Fl. 1

   

Fl. 3











   

Ob. 1 - Ob. 2

 



  

Cl. 1



    

Cl. 2 - Cl. 3

     

Cl.

  

     

Bsn. 1 - Bsn. 2

    

    

 



n

n

   

 

 

n

  

n

    

Bsn.



 

  

 

 

  

Cb. Cl.

    

Cl.

 

n

      

Eng. Hn.

 

   

 

    

Fl. 2

p ]r=r q = ca.  117 

n

to Picc.













To Eb Cl.

Piccolo

pp

    pp

     r =  r 





       





  

   

Clarinet in Eb



     





            











n

p

mp





























   







   











 











   















Tbn. 1 - Tbn. 2

  







B. Tbn.

  







   







  





 





 

 



















   



    



Alto Sax 1-2

T. Sax.

B. Sax.

S. Solo

Hn. 1, Hn. 3

  

   

  

  

Hn. 2, Hn. 4

  

C Tpt. 1 - C Tpt. 2

C Tpt. 3 - C Tpt. 4

Tba.

Timp.

Perc. 1

Crot.

Xyl.

Vib.

Glock.

Mar.

Cb.

Pno.

Hp.

         

   

   

  



   

   

 

 

        

       

mp

3

       mp

3

 

 

 

 

         3   3



           3   3

 

Tambourine, thumb roll

3

      3



p

    

 p

  

       

 p



  

mp

   

     



 





 

 

      

      

    

 

         



      


25

r = r     

r=r

       

r=r

     

  Picc.  

    

Fl. 1

 









Fl. 2

 









133

Picc.

3

  

 

     





     3

          

Ob. 1 - Ob. 2

 

 

 

 

Eng. Hn.

 

 

 

Eb Cl.

 





Cl. 1

 





Cl. 2 - Cl. 3

 





Cl.

 



Cb. Cl.

 



Bsn. 1 - Bsn. 2

 

Bsn.

 

Alto Sax 1-2

  



3

  

       

  

  

  mf

  



  

 



  

 

 

 





































 





T. Sax.

 





B. Sax.

  





S. Solo

Hn. 1, Hn. 3

 

  

 p

      

mp

pp

p

 

































I´m

not

 

sleep - y

Hn. 2, Hn. 4

 









C Tpt. 1 - C Tpt. 2

 









C Tpt. 3 - C Tpt. 4

 









Tbn. 1 - Tbn. 2

 









B. Tbn.

 









Tba.

  









 

 

 

 





   









 

Timp.

Perc. 1

 

  

Triangle   



Crot.

 

Xyl.

 



Vib.

 

Glock.

  

  

Mar.

Cb.

Pno.

Hp.

    

 

















     



 

  



          

 

 

 

  



   

   p 

 

pp



    

p

    

 

 

 

  



  



   

 

mf

        

     

 

        

 





 









         

 

 

   



 

 

   

   

p



   

   

p

  



   



     

                                                        

  

p

     

 

softest sticks

  



p


26

141         

 Picc. 



 



 

 



 

 

     

 

 



 



 

       

Fl. 2

Picc.

Ob. 1 - Ob. 2

Eng. Hn.

Eb Cl.

Cl. 1

Fl. 1

 

n

Cl.

Cb. Cl.

Bsn. 1 - Bsn. 2

Bsn.

Alto Sax 1-2

T. Sax.

 

 



and

there

is

Cl. 2 - Cl. 3

B. Sax.

S. Solo

Hn. 1, Hn. 3





no



place



I'm



go

-

-



ing

to.

C Tpt. 1 - C Tpt. 2

C Tpt. 3 - C Tpt. 4

Tbn. 1 - Tbn. 2

B. Tbn.

Hn. 2, Hn. 4

Tba.

Timp.

Perc. 1

   





  







Crot.

Xyl.

Vib.

Glock.

Mar.

Cb.

Pno.

Hp.

   

 

  

 

