Corigliano MR. TAMBOURINE MAN: SEVEN POEMS OF BOB DYLAN (for soprano and chamber ensemble)

John Corigliano

MR. TAMBOURINE MAN: Seven Songs of Bob Dylan for Amplified Soprano and Sextet Full Score From the G. Schirmer Rental Library Date of Printing_______

G. Schirmer, Inc. New York, NY

John Corigliano

MR. TAMBOURINE MAN: Seven Songs of Bob Dylan for Amplified Soprano and Sextet Prelude: Mr. Tambourine Man........................................1 1. Clothes Line................................................................18 2. Blowin’ in the Wind....................................................27 3. Masters of War.............................................................35 4. All Along the Watchtower.........................................46 5. Chimes of Freedom......................................................53 Postlude: Forever Young..................................................66

commissioned by the University of Sydney/Sydney Conservatorium of Music under the leadership of its Dean & Principal, Professor Kim Walker, and under the Vice-Regal patronage of the Governor of New South Wales, Her Excellency, Professor Marie Bashir, to celebrate the 100th anniversary of the Sydney Conservatorium of Music, and by eighth blackbird through the support of Doctors Anne and Dennis Wentz.

It was first performed on 11 September 2009 in the Verbruggen Hall at the Sydney Conservatorium of Music.

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.

duration circa 30 minutes

G. Schirmer, Inc. New York, NY

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, W ith 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 Music.

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 W hich nobody really wanted to touch.

Mama come in and picked up a book

An’ Papa asked her what it was.

Someone else asked, “W hat do you care?”

Papa said, “W ell, 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!”

“W here?” “Downtown.” “W hen?” “Last night.”

“Hmm, say, that’s too bad!”

“W ell, 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 M a, 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.”

W ell, 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 Music.

International Copyright Secured. All Rights Reserved.

Used by permission of Special Rider Music.

Blowin’ in the W ind 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 Music.

International Copyright Secured. All Rights Reserved.

Used by permission of Special Rider Music.

Masters of W ar 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 W hen the fast bullets fly…

You fasten the triggers For the others to fire Then you set back and watch W hen 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 W ill it buy you forgiveness Do you think that it could I think you will find W hen your death takes its toll All the money you made W ill 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 Music.

International Copyright Secured. All Rights Reserved.

Used by permission of Special Rider Music.

All Along the W atchtower “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 W hile 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 Music.

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 W e 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 W ith 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 Music.

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 W hen 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 Ram’s Horn 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 well-suited 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

Instrumentation Flute (doubling Piccolo and optional Bass Flute) Clarinet in B-flat (doubling Clarinet in E-flat and Bass Clarinet) Percussion Glockenspiel, Vibraphone, Xylophone, Chimes, 3 Tam-tams (high, medium, and large), Snare Drum, Tenor Drum, Bass Drum, Suspended Cymbal, Tambourine, Triangle, W ood Block, Slapstick, Police W histle, Temple Blocks, Bell Plate, Vibraslap

Piano Solo Amplified Soprano* Violin (optional doubling Viola) Violoncello *The amplification speaker should be positioned close enough to the soloist so her voice does not sound as if it is coming from another place. Throughout the work, different levels of amplification will be needed.

It is necessary that these levels be determined during rehearsals so the singer will be heard at all times in performance.

to Mark Adamo

MR. TAMBOURINE MAN Seven Poems of Bob Dylan Prelude: Mr. Tambourine Man

Bob Dylan

John Corigliano

Freely q = ca. 52 ( K q = ca. 78)

4 Flute 4

Flute (Piccolo, optional Bass Flute)

pp

4 4

Bb Clarinet (Eb Clarinet, Bass Clarinet)

Violin

3

Bb Clarinet

3 3

3

pp

4 4

pizz.

4 4

pizz.

3

3

pp

Violoncello

3

3

pp

p

4 4

Soprano

Though I

4 4 Piano

4 4 Freely q = ca. 52 ( K q = ca. 78) Vibraphone (motor off)

4 4

Percussion

3

3

3

3

3

pp

3

3

3

3

sempre

3 Fl. 3 3

mp (colla voce)

p

mp (colla voce)

p

colla voce

Bb Cl. pp

arco

Vn. 3

p

arco Vc. p

3

mp

5

3

p

S. know

that eve - nin's

em

-

pire

has

re

-

turned

in

-

to

sand,

Van-ished from my

hand,

Pno.

(Vib.) 3

3

3

3

3

Perc.

Words by Bob Dylan Copyright © 1964, 1965 Warner Bros., Inc. Copyrigh renewed 1992, 1993 Special Rider Music International Copyright Secured. All Rights Reserved.

Used by Permission of Special Rider Music

Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY This version Copyright © 2009 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved.

Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

Corrected 6/2013

2 Slightly faster q = ca. 60

5 Fl. 3

3

pp

3

3

3

3

3

3

3

Bb Cl.

pizz.

arco

Vn. 3

3

pp

3

5

mp

3 3

pizz.

5

arco

Vc. 3

3

pp

mp

3

mp languid

(p)

3

3

S. Left me blind - ly

here

to stand

but still not

sleep - ing.

My

Pno.

Slightly faster q = ca. 60

(Vib.) 3 3

3

3

3

3

3

3

Perc. (pp)

3

3

3

Ped. sempre

Tempo I q = ca. 52

8

to Piccolo

Fl. p

to Eb Clarinet

Bb Cl. p

Vn. p

pizz.

Vc. p p

mp

3

p

S. wea - ri - ness

Pno.

a - maz - es

me

I'm brand- ed on my feet

I have no one to meet

And the

an - cient emp - ty street's too dead for

p

Tempo I q = ca. 52

(Vib.) Perc. p

3 ( K e = e)

11 Picc.

Eb Cl.

con sord.

3

3

3

3

3

3

Vn. 3

pp 3

3

3

3

arco con sord.

3

3

3

3 3

3

3

3

3

3

3

3

3

3

3

Vc. 3

pp

3

3

3

3

3

S. dream- ing,

too dead for dream - ing,

dream

-

ing.

p

Pno.

( K e = e)

Vib.

Bass Drum - large beater

3

3

Perc. pp

15

( K e = e)

q = ca. 78 Piccolo

2 4

Picc. mp

3

mp

3

3

3

(mp)

Clarinet in Eb Eb Cl.

2 4

3 3

(mp)

2 4

Vn. n

2 4

Vc. n n

2 4

S.

2 4 mp

Pno.

3 3

q = ca. 78 (Vib.) Perc.

2 4

3 3

(mp)

( K e = e)

2 4

4 19 Picc.

q = ca. 117

**

2 4

mp

sfz

2 4

Eb Cl.

mf

2 4

Vn.

p

via sord.

senza sord.

p

sf

mf

sfz

sf

p

p

2 4

Vc.

via sord.

senza sord.

p

p

2 4

S.

**

2 4 Pno.

2 4 q = ca. 117 * Tambourine with hard yarn mallets (suggested Good Vibes red)

2 4

Perc.

**

26 sfz

to Bb Clarinet Eb Cl. sfz

sf

Vn. **

2 4

6 8

2 4

Hey!

Mis - ter

p

3

sf (mp)

p

* mount tambourine so it can be played with one hand ** grace note on the beat

sfz

p

2 4 me,

6 8

2 4

6 8

2 4

6 8

Perc.

(ossia)

3

Tam - bou- rine Man, play a song for

Xyl. - hard yarn e = e

(Tamb.)

3

2 4

6 8

S.

p

6 8

3

mp

Pno.

2 4

6 8

Vc.

sfz

e=e

6 8

Picc.

p

sf (mp)

p

e=e

to Flute

mf

sf (mp)

p

p

e=e

2 4

5 Flute

32

2 4

3 4

Fl.

pp

sf p legato

Bb Clarinet

3 4

Bb Cl. sf IV

p

sf

2 4

3 4

Vn.

sf

p secco

2 4

3 4

Vc.

sf

legato (sostenuto) mf

2 4

3 4

3

3

S. I'm

not sleep - y and there is

no place I'm

go

-

ing

to.

sf

sf secco

Tamb.

Perc.

2 4

3 4

2 4

Bb Cl.

2 4

3 8

2 4 3

3

2 4

3 8

pp p sub.

3

3 8

2 4

Tam - bou - rine Man,

3

play a song for

3 8

2 4

3 8

2 4

Xyl.

3 8

2 4

fltg.

sfz

mp

2 4

3 4

pp

3 8

p sub.

2 4

3 4

Fl.

pp

p sub.

sf

38

*

2 4

3 4

p

3

3

Hey! Mis - ter

3 4 Pno.

2 4

2 4

3 8

3

3

3

sfz mf legato

mp sub.

2 4

3 4

Vn.

sfz mf legato

3 4

Vc.

3 4

S. 3

me,

3

3

In the

3 4

Perc.

3

3

fol - low -

in'

you.

f

secco

f

2 4

Tenor Drum hard yarn

24

43 sfz

* grace note on the beat

2 4

2 4 sfz

Tamb.

mp sub.

jin - gle jan - gle morn - ing I'll come

3 4 Pno.

arco

2 4

f (secco)

sfz f

mp sub.

pizz.

mp

3

3

3

f

6 43 Fl. f f

Bb Cl. f

Vn. ff

Vc. ff exuberant

3

3

S. Take

me

on

Pno. 3

a

trip

3

3

3

3

Vibraphone hard yarn 3

Perc.

up

3

3

3

3

-

on

your

ma

-

gic

3

3

3

3

3

3

swir

-

lin'

3

3

3

3

3

f

46 Fl. e

e

Bb Cl.

Vn.

Vc.

S. ship,

My

Pno. 3

3

3

sen

3

-

-

-

ses have been stripped,

3

My

3

3

3

3

3

3

3

3

(Vib.) 3

3

Perc.

3

3

3

3

7 49 Fl. e

Bb Cl. e

pizz.

Vn. mf

pizz.

Vc. mf

S. hands

can't feel

Pno.

to

grip,

3

My

3

3

3

3

toes

too

numb

3

3

to

3

3

(Vib.) 3

Perc.

3

3

3

3

52 Fl. f

f

mf

3

3

3

3

3

3

3

3

3

3

Bb Cl. f

mf

arco

f

Vn. mf

ff

arco

Vc. mf

ff

3

S. step,

Pno.

wait

3

3

on

-

ly

3

T.D.

for

my

boot

3

3

3

3

Vib. 3

Perc. f

heels

to

3

3

3

3

be

wan

3

3

3

3

-

d'rin'.

8 56

2 4

3 4

Fl. 3

3

mf

3

sf

2 4

3 4

Bb Cl. 3

3

mf

sf

mf

2 4

3 4

Vn. f legato

col legno batt.

Vc. f

mp

arco ord.

3 4

2 4

3 4

2 4

mp

ff

S. I'm

read - y

to

go

an - y - where, I'm

read - y

to

fade

In - to my own

3 4

2 4

3 4

2 4

white key gliss.

Pno.

mp

(Vib.)

Xyl.

3 4 white key gliss.

Perc.

3* High Temple block 4 mp

2 4 sf

2 4

sf

61 Fl. f secco

Bb Cl. mf legato

Vn.

Vc.

p sub.

3

S. rade,

cast

your danc - ing

Pno.

Perc. sf

* only Hi and Lo Temple Blocks needed (2) for entire piece

spell

my

way,

I

pro - mise

to

go

un - der

it.

Hey!

pa -

9 e=e

66

6 8

Fl.

2 4

3 4

pp

sf

6 8

Bb Cl.

2 4

3 4

pp

sf

6 8

Vn. p

2 4 3

Vc.

p secco

2 4

(p)

3

6 8

S. Mis - ter

(ossia)

3

Tam - bou- rine Man, play a song

p

for

me,

68

24

6 8

2 4

6 8

Perc.

mf

2 4

e=e

Xyl.

Bb Cl.

3 4

2 4

43

pp

42

sf secco

3 4

Tamb.

sf

3 4

3 4

pp

2 4

3 4

3 4

2 4 3

3

43

42

pp

2 4

3 4

3 8 38

pp

sf

S.

no place I'm

43

2 4

sf

Vc.

not sleep - y and there is

p

p

Vn.

3 4

3

3

I'm

p

Fl.

3 4

legato (sostenuto)

p

71

3 4

IV

3

6 8

Pno.

p legato

p sub.

2 4

3 8

3

2 4

3 8 3 8

3 4

2 4 3

3

2 4

3 4 3

f

3 4 3

go

3 4

-

ing

to.

Hey! Mis - ter

sf

2 4

play

me,

In

the

2 4

3 4 3 4

2 4

3 8

2 4

(Tamb.)

2 4

3 8

2 4

sf

for

3 8

3 4 3 4

a song

p sub.

Pno.

Perc.

Tam - bou- rine Man,

p sub.

Tamb.

3 4

10 76

3 4

Fl.

3 4

Bb Cl.

2 4

to Piccolo sfz

2 4

sfz

3

3

3

mf legato

2 4

3 4

Vn.

sfz mf legato

pizz.

3 4

Vc.

f (secco)

sfz

3 4

S.

mf

2 4

3

3

3

3

jin - gle jan - gle morn - ing I'll come

fol - low

-

in'

you.

2 4

3 4 sfz

Pno.

arco

2 4

3 4

f

secco

f

2 4

sfz

Tenor Drum

(Tamb.)

2 4

3 4

Perc.

sfz

3

mf

3

3

f

Piccolo

80 Picc. f

Bb Cl. f

Vn. f

sfp

sfp

Vc. f

sfp

sfp 3

S. Though

you might

hear

laugh - in

spin - nin'

swing - in'

mad

-

ly

gliss.

Pno.

f

Xyl. (white key gliss.)

Perc. f

(sim.)

a -

11 83 Picc.

Bb Cl.

Vn. sfp

f

Vc. f

sfp

f

3

3

S. cross

the

sun,

It's

not

aimed

at

a

-

ny

-

one

It's just

Pno.

(Xyl.) Perc.

86 Picc. to Eb Cl. Bb Cl.

con sord.

via sord.

Vn. p

f

p

con sord.

via sord.

Vc. p

p

p sub.

3

S. cap

-

in'

on

the

run.

And

if

you hear vague

Pno.

(Xyl.)

Tambourine yarn mallets

Perc. p

trac - es

of

skip -pin'

reels

of rhyme

es -

12 92 Picc. sfz

mp

sfz

Eb Clarinet

Eb Cl. mf

sf

mf

sf

sfz

mf

sf

sfz

senza sord.

Vn. p

senza sord.

Vc. p 3

3

3

3

S. to your tam - bour - ine

in time, it's just a

rag - ged clown be -

hind,

I would- n't

pay

it

an - y

mind it's just

a

Pno.

(Tamb.)

Perc. sf (mp)

p

98

p

sf (mp)

p

to Flute

Flute

to Bb Cl.

Bb Cl.

sfz

p

sf (mp)

p

sfz

fltg.

Picc. p

mf

f

f

fltg.

Eb Cl. p

mf

f

f

Vn. p

f

sfp

Vc. p

f

sfp f sub.

3

3

3

3

3

S. sha

-

dow

you're See

-

in' that

he's

chas

-

ing.

Yes,

to dance gliss.

3

3

3

3

3

Pno.

3

3

f ff

Xyl. f

Perc.

Tenor Drum f

(Tamb.)

p

3

3

3

3

sfp

ff

be- neath

the

13 103 Fl.

Bb Cl.

Vn. f

f

sfp

Vc. f

sfp

f 3

S. dia

-

mond

sky

with

one

hand

wav - ing

free

Sil

-

Pno.

(Xyl.) Perc.

106 Fl. f

Bb Cl. f

Vn. sfp

f

Vc. sfp

f 3

3

S. et - ted

by

the

sea,

cir - cled by the

cir

-

cus

sands,

Pno. 3

(Xyl.)

(white key gliss.)

3

With

3

3

3

3

3

3

3

3

Vibraphone 3

Perc. f

3

all

hou

14 rall. poco a poco

110 Fl.

3 4

2 4

Bb Cl.

3 4

2 4 con sord.

2 4

3 4

al sord.

Vn.

n f legato

ord.

col legno batt.

2 4

3 4

al sord.

Vc. ff

p mp

2 4

3 4

S. mem

-

ory and fate

dri - ven

deep

be- neath

the

waves,

Let

me

for

-

f

Pno.

Vib.

3

3

3

get

3

3 4

-

bout

to

-

3

3

3

3

mp

3

3

3

2 4

3

3

rall. poco a poco

poss. soft stick

42

43

mp

Tamb.

a

2 4

3 4

Perc.

n

III IV con sord.

p

2 4

3 4

mf

115

3 4

Fl. 3

3

3

Bb Cl.

3

3 4

3

2 4 3

3

3

3

3

3

3

3

3

3 4

p

2 4

3 4 p

Vn. n

n

p

Vc.

3

S. day

Pno.

un

3

-

3

til

to

3

-

3

mor

-

3 4

2 4

3 4

3 4

2 4

3 4

3 4

2 4

3 4

row.

Let

me

for

-

get

a - bout

to

-

3 4

2 4

3 4

3 4

2 4

3 4

3 4

2 4

3 4

(Vib.) Perc.

K x = Ke

(rall.)

119 Fl.

15

Tempo I q = ca. 52

3 3

3 4

3

3

3

4 4

3

p

pp 3

3 4

Bb Cl.

to Picc.

3

3

4 4

3 3

to Eb Cl.

3

p

3

4 4

3 4

Vn.

4 4

3 4

Vc.

(sord.)

3

p

(sord.)

3

3

3 3

3

3

3

3 3

3

3

p p

3 4

S.

day

un

-

til

to

-

4 4

mor

-

row.

un - til to - mor - row.

4 4

3 4 Pno.

p

3 4 K x = Ke

(rall.)

4 4

Tempo I q = ca. 52 Bass Drum large beater

3 4

Perc.

3

4 4

pp

Vib.

3

pp

q = ca. 78 Ke=e

123

3 4

Picc.

Ke=e

Piccolo

mp

3

2 4 3

3

Eb Clarinet

3 4

Eb Cl.

3

mp 3

3

3

3

3

Vn. 3

3

3 3

3

3

3 4

2 4

via sord.

3 4

2 4

via sord.

3 4

2 4

3 4

2 4

3

3

3

2 4

3

3

Vc.

3

3

pp

S. to

Pno.

-

mor

-

row.

3 4

3

2 4

3

q = ca. 78 (Vib.) Perc.

3

Ke=e

3 4

3 3

mp stacc.

Ke=e

2 4

16 129

q = ca. 117 mp

sf

Vn. p

p

Vc. p

6 8

3 4

2 4

6 8

3 8

3 4

2 4

6 8

3 8

3 4

2 4

6 8

3 8

3 4

2 4

6 8

3 8

3 4

2 4

6 8

3 8

3 4

2 4

6 8

3 8

3 4

3 8

senza sord.

senza sord.

2 4

3

Eb Cl. mp

3 4

3 8

Picc.

mp

mp

sf

p

S.

*

(p)

Pno.

q = ca. 117 Tamb. - thumb roll Perc. p

p

mf

Triangle

pp

2 4

Tamb.

p

6 8 mf

* on the beat

136 Picc.

(q = 108–120)

2 4

6 8 3

Eb Cl.

6 8

mp

3

2 4

Vn.

68

42

Vc.

6 8

2 4

S.

6 8

pp

2 4

q = ca. 72–80 free, asynchronous, lazy

I'm

Pno.

6 8

2 4

6 8

2 4

not

(q = 108–120)

6 8

Xylophone

2 4

p

Perc.

6 8

2 4

Triangle

Tamb. (thumb roll)

p (no cresc.)

sleep - y

and there

is

17 143 Picc.

Eb Cl.

Vn. n

Vc.

3

S. no

place

I'm

go

-

-

ing

to.

Pno.

(Xyl.)

(Tamb.)

Perc.

149 Picc.

Eb Cl.

Vn.

Vc.

S.

Pno.

(Xyl.)

Perc.

(p)

n

(Tamb.)

n

Hi Temple Block

mp

n

18

Clothes Line e = 96 - 104 (e = e sempre) Flute

12 8

Flute

4 4

12 8

7 8

3 4

4 4

12 8

7 8

3 4

7 8

3 4

7 8

3 4

p with simplicity

12 8

Bb Clarinet

Bb Clarinet

p with simplicity

Violin

12 8

4 4

12 8

Violoncello

12 8

4 4

12 8

p with simplicity

p with simplicity

Soprano

Piano

12 8

4 4

12 8

7 8

3 4

12 8

4 4

12 8

7 8

3 4

12 8

44

12 8

78

43

4 4

12 8

7 8

3 4

e = 96 - 104 (e = e sempre)

12 8

Percussion

5 Fl.

3 4

12 8

Bb Cl.

3 4

12 8

4 4

p

4 4 p

Vn.

3 4

12 8

4 4

Vc.

43

12 8

44

S.

43

12 8

44

quasi

 

p simply

Af - ter a while

Pno.

Perc.

3 4

12 8

43

12 8

43

12 8

Words by Bob Dylan Copyright © 1969, 1975 Dwarf Music Copyrigh renewed 1998 Special Rider Music International Copyright Secured. All Rights Reserved.

Used by Permission of Special Rider Music

4 4 p

44

44

Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY This version Copyright © 2009 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved.

Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

19 10

12 8

9 8

12 8

9 8

Vn.

12 8

9 8

Vc.

12 8

9 8

S.

12 8

Fl. p

Bb Cl. p

we took in the clothes.

No - bod - y

said

Perc.

Fl.

9 8

ver - y much.

Pno.

14



quasi 

Just some old wild shirts

12 8

9 8

12 8

9 8

12 8

9 8

4 4

9 8

p

9 8

4 4

Vn.

9 8

4 4

Vc.

9 8

4 4

Bb Cl.

p

IV

mp

S.

9 8

3

3

3

4 4

and a cou-ple pairs of pants Which no - bo - dy real - ly want- ed to touch.

Pno.

Perc.

p

p

3

3

Ma- ma come in and

9 8

4 4

9 8

4 4

98

44

20 17 Fl.

6 8

Bb Cl.

6 8

rall.

3

Vn.

6 8

Vc.

6 8

3

3

S. picked up

a book

3

6 8

3

An' Pa - pa asked her what it was.

Some - one else asked "What do you care?"

Pa - pa said,"Well, just

be -

6 8 Pno.

6 8 rall.

6 8

Perc.

20

a tempo

Fl.

4 4

12 8

Bb Cl.

4 4

12 8

Vn.

4 4

12 8

pizz.

Vc. pp

4 4

p

4 4

S. cause."

Pno.

p

a tempo Perc.

12 8

arco

 quasi 

12 8 Then they start - ed

to take back their clothes.

Hang 'em on

the line.

4 4

12 8

4 4

12 8

4 4

12 8

21 25

4 4

12 8

7 8

4 4

12 8

7 8

5 4

4 4

12 8

7 8

4 4

12 8

7 8

4 4

12 8

7 8

Fl.

12 8

5 4

Bb Cl.

12 8

5 4

p

p

12 8

Vn.

p

Vc.

12 8

5 4

S.

12 8

5 4 It was Jan- u - ar-y

Pno.

Perc.

29

3

3

the thir- ti-eth And ev- ery - bod- y was feel - in'

fine.

12 8

5 4

4 4

12 8

7 8

12 8

5 4

4 4

12 8

7 8

12 8

5 4

4 4

12 8

7 8

Fl.

7 8

4 4

3 4

4 4

Bb Cl.

78

44

43

44

Vn.

7 8

4 4

3 4

4 4

Vc.

7 8

4 4

3 4

4 4

S.

7 8

4 4

3 4

(p) 3

5

The next day

Pno.

Perc.

4 4

ev - ery- bod - y got up

78

44

43

44

7 8

4 4

3 4

4 4

7 8

4 4

3 4

4 4

22 33

poco rall.

Fl.

4 4

Bb Cl.

4 4

Vn.

4 4

Vc.

4 4

p

pp

pp

pp

(p)

4 4 See- in' if the clothes were dry.

The

dogs were bark- ing,

4 4 Pno.

pp

4 4

poco rall.

4 4

Perc.

37

5 4

3 4

5 4

3 4

5 4

3 4

5 4

3 4

5 4

pp

3

S.

Freely

3 4

a

neigh- bor passed,

Ma- ma,

of course,

she

said,

3 4

5 4

3 4

5 4 Freely

3 4

5 4

q = 72

Fl.

5 4

Bb Cl.

5 4

sf

sf

Vn.

5 4

Vc.

5 4

sul pont.

mp

sul pont.

mp

(as him) S.

mp

mf

5 4 "Hi!"

"Have you heard the news?"

f

he said,with a grin,

"The Vice - Pres- i - dent's gone mad!"

5 4 Pno.

5 4

mp

sf

q = 72 Vibraphone - normal mallets Perc.

5 4 mp

3

23 41 Fl. p

Bb Cl. p

Vn. pp

Vc. pp

(her) (f)

(her)

(him)

mf

p

(him) p

(her, calmed down) (p)

(him)

3

S. "Where?"

"Down - town."

"When?"

"Last night."

"Hmm,

p sostenuto

Pno.

say, that's too bad!"

"Well,there's noth- in' we can do a- bout it,"

pp

(Vib.) Perc. mp

46 Fl.

6 8

Bb Cl.

6 8

Vn.

6 8 p

6 8

Vc. p

6 8

(her)

3

S. said the neigh- bor,

Pno.

"It's just some- thin' we're gon- na have to for - get."

"Yes, I guess so"

said

6 8

pp

6 8 (Vib.)

Perc. pp

68

24 52

e = 96 - 104

Fl.

6 8

4 4

Bb Cl.

6 8

4 4

Vn.

6 8

4 4

Vc.

6 8

4 4

S.

6 8

4 4

mp

quasi

 

Ma,

Then she asked me

if the clothes was still wet.

I reached up,

4 4

6 8 p

Pno.

6 8 e = 96 - 104

6 8

Perc.

4 4

4 4

56 Fl.

12 8

4 4

12 8

Bb Cl.

12 8

4 4

12 8

12 8

4 4

12 8

p

Vn.

p

Vc.

S. touched my shirt,

Pno.

Perc.

And the

12 8

4 4

12 8

4 4

neigh - bor said,"Are those clothes yours?"

12 8

p 3

I said,"Some of 'em,not all

of 'em."

12 8

He said "Ya

12 8

4 4

12 8

12 8

4 4

12 8

12 8

4 4

Vib.

p

12 8

25 59 Fl.

12 8

4 4

Bb Cl.

12 8

4 4

Vn.

12 8

4 4

Vc.

12 8

4 4

S.

12 8

4 4 al -

Pno.

Perc.

ways help out a-round here with the chores?"

3

I said, "Some - time, not all

12 8

4 4

12 8

4 4

12 8

4 4

the time."

3

Then my neigh - bor,

(Vib.)

mp

p

62

5 4

Fl. sf f

p

p

45

Bb Cl. sf f

p

5 4

Vn. 3

sf f

p

5 4

Vc. p

sf f f freely 3

3

3 3

3

3

3

3

p

(f)

5 4

S. he blew his nose

Just as Pa - pa yelled out - side,

"Ma - ma wants you t' come back in the house and bring them clothes."

45 Pno.

sf f

p

45 p

(Vib.)

5 4

Perc. sf f

26 65 Fl.

12 8

4 4

12 8

6 8

5 4

p

12 8

4 4

12 8

6 8

5 4

Bb Cl.

(p)

p

Vn.

5 4

6 8

12 8

4 4

12 8

Vc.

5 4

6 8

12 8

4 4

12 8

S.

5 4

6 8

12 8

4 4

12 8

(p)

Well, I

Pno.

Perc.

69

just

do

what I'm

told,

So, I

did it,

of course.

5 4

6 8

12 8

4 4

12 8

5 4

6 8

12 8

4 4

12 8

5 4

6 8

12 8

4 4

12 8

Fl.

12 8

9 8

5 4

Bb Cl.

12 8

9 8

5 4

Vn.

12 8

9 8

5 4

Vc.

12 8

9 8

5 4

p

p

S.

12 8 went

Pno.

I

pp

9 8 back in

the house

and Ma - ma met

me

And

5 4 then

I

shut

12 8

9 8

5 4

12 8

9 8

5 4

12 8

9 8

5 4

12 8

9 8

5 Med. Tam-tam 4

all

the

doors.

pp

(Vib.)

pp

Perc.

pp

Bass Drum ppp

Blowin' in the Wind

Solemn q = 60

**Bass Flute (Piccolo)

5 4

Bass Clarinet in Bb

5 4

Viola (if available)

5 4

Violoncello

5 4

Soprano

5 4

27

5 4 Piano

p sost.

5 4

Solemn q = 60 * Bass drum with beater 1

5 4

Percussion

p

Bass drum with beater 2

7 Bs. Fl.

Bs. Cl. p

Vla.

Vc. p p sost.

(p)

mf

man?

Yes,

S. How man - y roads

Pno.

must a

man walk down

Be - fore

you call him

a

p sost.

(B.D.) Perc.

* both soft beaters, but beater 2 should produce a different and softer sound. ** if available

Words by Bob Dylan Copyright © 1962 Warner Bros., Inc. Copyrigh renewed 1990 Special Rider Music International Copyright Secured. All Rights Reserved.

Used by Permission of Special Rider Music

Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY This version Copyright © 2009 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved.

Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

28

Bass Flute (if available)

11 Bs. Fl.

p

Bs. Cl.

Play only if there is no Bass Flute Vla. p

Vc.

f

(mp)

mp

S. 'n' how

man- y seas must a

white

dove sail

Be

- fore

she sleeps

in

the

sand?

Pno.

Yes,

sempre non cresc.

Perc.

15

rall.

6 4

Bs. Fl.

Bs. Cl.

6 4

Vla.

6 4

Vc.

6 4

to Picc.

4 4

to Bb Cl.

4 4 4 4

to Violin

4 4

(ten.)

(p) f

mf

6 4

S. 'n' how man - y

times

must the

can- non balls

fly

be - fore

they're for - ev

-

er

pp (ten.)

p

banned?

The

4 4

6 4 Pno.

(p)

Perc.

(B.D.)

6 4 (p)

(ten.)

6 4

6 4

4 4

rall.

4 4

Glock. soft stick p

4 4 4 4

19

29

q = 50

Picc.

4 4

Cl.

4 4

Vn.

44

Piccolo pp

n

4 4

pp

n

pp

4 4 pp

n

n

n

pp

pp

n

n

p pp floating

an

3

-

-

swer,

my

friend,

is

blow - in'

in

the

p

p

4 4

p

44 n

3 4 3 4

3

wind,

*

4 4 Pno.

3 4 43

4 4

S.

4 4

pp

Bb Clarinet

pp

Vc.

3 4

p

(ten.)

4 4 4 4

The

3 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Ped. sempre

q = 50

(Glock.) *

4 4 4 4

Perc.

p

Vib * motor on

p

p Ped. sempre

4 4

Tam-tam

3 4

p

4 4

pp

23

(q = 50) stringendo

Picc.

4 4

Cl.

4 4

3 4

5 4

to Flute pp

pp

3 4

to Bass. Cl.

5 4

Bass Clarinet

n p

pp

Vn.

4 4

Vc.

4 4

S.

4 4

3 4 pp

pp

3 4 3 4

an

-

-

swer

is

-

in'

in

4 4

p

5 4

the

wind.

pp cresc.

3 4

(Glock.)

(Vib.)

pp

p

3 4

p

(q = 50) stringendo

3 4

p

5 4

5 4

(p)

4 4

p

3 4

Pno.

4 4

pp

(ten.)

3

blow

4 4

Perc.

5 4

5 4 5 4 5 4

p p

4 4

3 4

* play 5 even pulses. Try to enter between the fourth and fifth pulse of predecessor.

5 4

(B.D) pp

p

30

Tempo I (q = 60) 27

5 4

Flute

Fl.

p

Bs. Cl.

5 4

pp

Vn.

5 4

Vc.

5 4

pp p

5 4

S.

p

pp

How man - y times

must a

man

look up

Be - fore

he can see

the

(p)

mf

sky?

Yes!

5 4 Pno.

pp

45

Tempo I (q = 60)

5 4

Bass Drum Perc.

Tam-tam

pp

31 Fl.

Bs. Cl. 3

Vn.

Vc.

(mp) mp

f

3

S. 'n' how

man - y

ears

must

one

man have

Be - fore

he

can hear peo - ple

cry?

mp

Pno.

Vib. motor off Perc. p

sim.

mp (sim.)

3

p

Yes,

31 rall.

35

to Piccolo

4 4

Fl. p

ff sub. mf

4 4

Bs. Cl. p

ff sub. mf

pp

(p)

(mp)

4 4

Vn. 3

mf

ff sub. mf

44

3

Vc. ff

mf mf

f

3

4 4

S. 'n' how man - y

deaths

will it

take'til he knows

That too man - y peo - ple

have

pp

(p)

pp

(p) p

(p) (ten.)

died?

The

4 4 mf

Pno.

f

4 4

p

rall.

Glock.

4 4

p

4 4

(Vib.) Perc. mf

f

Sus. Cym. p

4 4

p

f

q = 50 (Tempo II)

40

q = 60 subito

* Piccolo

5 4

to Flute

Picc. pp

pp

5 4

Bs. Cl. pp

5 4

Vn. pp

pp

pp

pizz.

mp

arco

5 4

Vc. pp

pp

pp

3

-

-

swer,

my

friend,

is

blow - in'

in

pont.

mp (pp)

5 4

3

S. an

pont.

the

mp 3

wind.

How man-y years can a

**

5 4 Pno.

p

(p)

p

45

q = 50 (Tempo II)

5 4

(Glock.) p

(Vib.) motor on

**

5 4

Perc. p

Tam-tam pp

* ossia Flute if pp dynamic is possible. ** The final group may be more or less than five notes for alignment purposes.

p

5 4

3

p

q = 60 subito

32

Flute

44 (fltg.)

Fl. mp

3 2

5 4

3 2

5 4

3 2

5 4

mf

(fltg.)

Bs. Cl. mp

mf

ord.

Vn. mf

f

3 2

ord.

Vc.

f

mf f 3

3

S. moun- tain ex - ist

Be - fore

5 4

it's washed to the sea?

(f) sarcasticially

3 2

"The

sf

ossia:

3

5 4

an - swer

is

blow - in'

in

the wind." Yes!

3 2

3

'n'

5 4

sff

sff

mf

Pno.

f

3

3 2

5 4 Xyl.

3 2

Perc.

5 4 sff

47

q = 72 sub. (Tempo III)

Fl.

5 4

Bs. Cl.

5 4

Vn.

45

Vc.

5 4

S.

mf

(mf)

mf

(mf)

mf

(mf)

mf

(mf) 'n' mf

5 4

3

3

cresc.

can some peo - ple

mf

q = 72 sub. (Tempo III)

Perc.

5 4

5 4

f

45

be - fore

they're al-lowed to

3 4 be

5 4

f

3

ex - ist

f

3 4 f

3

free?

ff 3

5 4

"blow - in' in the wind."

5 4

3 4

5 4 5 4

f

3 4 43

how man - y years

Pno.

5 4

3 4

f

cresc.

sf

3 4

3 4

(Xyl.)

5 4

5 4 sf

33 Tempo I (q = 60) (fltg.)

51 Fl.

5 4

Bs. Cl.

5 4

(ff)

(f)

(mf)

(ff)

(f)

(mf)

dim. poco a poco

(ff)

(f)

(mf)

(f)

(mf)

fff

(ff)

fff

dim. poco a poco

fff

dim. poco a poco

fff

(fltg.)

5 4

Vn.

5 4

Vc.

dim. poco a poco fff

5 4

S.

'n'

dim. poco a poco

how

man - y

times

can

a man

turn

his head,

5 4 Pno.

5 4

sfff dim. poco a poco

(f)

(ff) (dim.)

(mf)

Tempo I (q = 60) Bass Drum - beater 1

5 4

Perc.

Tam- ff dim. poco a poco (f) tam

(mf)

(mp)

B.D. - beater 2

(p)

(pp)

q = 50 (Tempo I)

rall.

55

(mp) (dim. poco a poco)

(p)

(mp)

to Clarinet in Bb

(p) (dim. poco a poco)

Clarinet in Bb solo

pp

(mp)

4 4

Vc. (mp) (dim. poco a poco) (dim.)

Pre - tend

-

ing

he

(p) (dim. poco a poco)

pp

mp (dim.)

(p)

(pp)

does -n't

4 4

(p)

pp

4 4

ppp pp

just

4 4

4 4

5 4 5 4

4 4

5 4

4 4

see?

4 4 Pno.

5

5 4

4 4

S.

4 4

5 4

p

4 4

Vn.

pp

ppp

(pp)

4 4

Bs. Cl.

4 4

5 4

4 4

Fl.

pp

(pp)

5 4

4 4

5

q = 50 (Tempo I)

rall.

5 4

Glock.

4 4

p

4 4

Perc.

Vib. - motor on

5 4 pp

(B.D.)

ppp

4 4

5 4

p

4 4 4 4

34

60 Fl.

4 4 pp

pp

pp

pp legatissimo

4 4

Bb Cl.

pp legatissimo

con sord.

4 4

Vn.

pp

pp

3

3

mp

3

* pp

4 4

S.

pp

con sord.

solo

4 4

Vc.

pp legatissimo

pp

mmm

44 Pno.

4 4

p

p

pp

pp

(Glock.)

4 4 Perc.

4 4

p

p

* precise alignment between singer and instrumentalists is not necessary.

65 Fl. pp

pp

pp

n

Bb Cl. pp

Vn. pp

pp

Vc. n 3

3

S. mmm

ppp

Pno.

(Vib.) Perc.

Blow

5

-

in,

Blow

-

in'.

Masters of War

q. = 144

ff sffz

sfz

mp sub.

ff sffz

sfz

mp sub.

ff sffz

sfz

p sub.

p sub.

ff sffz

9 8

Come,

Come,

Come,

you

mas- ters of war

9 8

12 8

6 8

12 8

sfz

mp

ff sffz

9 8

12 8

6 8

Come,

Piano

9 8

sfz

ff

12 8

Soprano

f

12 8

6 8

12 8

Violoncello

pizz.

12 8

6 8

12 8

Violin

9 8

12 8

6 8

12 8

Clarinet in Bb

9 8

12 8

6 8

12 8

Flute

35

12 8

f

9 8

6 8

12 8

6 8

12 8

6 8

12 8

9 8

6 8

12 8

9 8

q. = 144

Xylophone

12 8 12 8

Percussion

12 8

ff sffz

rim shot

Snare Drum snare sticks pp sub.

Tenor Drum wood stick

ff sffz

5

9 8

pp sub.

Fl.

9 8

12 8

9 8

12 8

Bb Cl.

9 8

12 8

9 8

12 8

Vn.

9 8

12 8

9 8

12 8

Vc.

9 8

arco mf

9 8 who build all the guns

9 8 Pno.

9 8

You

mf

12 8 sf

(Xyl.)

9 8 Perc.

Bass Drum

9 8

that build the death

planes

You

sf

mf

9 8 sf

12 8

12 8 that build thebig bombs

You

that hide be- hind walls

9 8

12 8 sf secco

12 8

9 8

12 8 sf

mf

f

12 8 You

mf

9 8

f

f

S.

mf

12 8

12 8 sf

mf

sf

sf

mf

12 8 sf

9 8 sf

9 8

12 8 sf

sf

12 8

mf secco Words by Bob Dylan Copyright © 1963 Warner Bros., Inc. Copyrigh renewed 1991 Special Rider Music International Copyright Secured. All Rights Reserved.

Used by Permission of Special Rider Music

Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY This version Copyright © 2009 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved.

Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

36 9 Fl.

12 8 f sffz

sfz

sfz

12 8

Vn.

12 8

Vc.

f sffz

sfz

f

p

p sub.

f sffz

p

ff

mp

Come,

You that hide be- hind desks

12 8 Pno.

(Xyl.)

S.D. p sub.

T.D.

12 8

f sffz

Fl.

sfz

Bb Cl.

Vn.

6 8

12 8

Vc.

68

12 8

sfz

98

12 8

6 8

12 8

Perc.

6 8

T.D.

9 8

6 8

9 8

6 8

98

68

15 8 pizz.

15 8

9 8 you

sfz

mas- ters of war

even and malevolent mf sub.

I

just

want

9 8

you

to

know

I

15 8

9 8 f

15 8

mp

p sostenuto

15 8

rim shot S.D.

6 8

f

12 8

6 8

6 8

9 8

mf legato

9 8

Come,

Pno.

6 8

15 8

sf

sfz

6 8

Come,

15 8

9 8 sfz

S.

6 8

mf legato

12 8

6 8

9 8

p sub.

9 8

12 8

6 8

6 8

f sffz

12 8

13

9 8

mp

12 8 Perc.

6 8

9 8

12 8

sfz

9 8

Come,

f sffz

sfz

6 8

p sub.

f sffz

12 8

S.

9 8 mp sub.

IV

sfz

6 8

mp sub.

12 8

Bb Cl.

9 8

12 8

9 8

15 8

12 8

9 8

15 8

* Half step clusters between and including indicated pitches

*

can

see through your

37 18

12 8

Fl. p

sfz

12 8

Bb Cl. p

sfz

12 8

Vn. sfz

arco

12 8

pizz.

Vc. sfz

f

ff

f

12 8

S. masks

You

f secco

sfz

Pno.

that nev - er done noth

-

in'

but

12 8

p sub.

sf

12 8

Slapstick

12 8

sfz

Perc.

B.D.

12 8

f

21 Fl.

p

sf

Bb Cl.

p

sf

12 8

9 8

15 8

12 8

12 8

9 8

sf

Vn.

sf

15 8

12 8

12 8

9 8

15 8

12 8

f rough

Vc.

arco

9 8

15 8

12 8

f rough

p

S.

15 8

12 8 build

Pno.

12 8

sf (p)

(B.D.) Perc.

to

de

-

stroy

f

You, you play with my world

15 8

15 8

12 8

p

f

9 8 Like

it's

your

lit

sf (p)

9 8

9 8

-

tle

toy

You

12 8 put

12 8

9 8

15 8

12 8

12 8

sf

12 8

12 8

38 25

12 8

fltg.

Fl.

Bb Cl.

12 8

fltg.

f

f

Vn.

12 8

Vc.

12 8

S.

12 8 a

12 8 Pno.

gun

in

my

sf

sf

sf

sf

hand

And

you

hide

from

my

eyes

And

f

12 8 Vibraphone motor off

12 8

f

Perc.

Temple Blocks (Hi, Lo only)

12 8

f

28

9 8

Fl. f

9 8

Bb Cl.

12 8 mp

12 8

mp

Vn.

9 8

12 8

Vc.

9 8

12 8

9 8

12 8

ff .

ossia: run

far

-

ther

(non dim.)

and

run

far

-

fast

bul - lets

ther

12 8 When the

fast

bul - lets

98

12 8

9 8

12 8

(Vib.)

9 8

12 8

(T. Blks.)

9 8

12 8

Pno.

Perc.

turn

the

9 8

S. you

When

39 31 Fl.

rall.

12 8

pp

12 8

Bb Cl.

15 8 15 8

pp p

mp

near bridge

12 8

Vn.

15 8 sfz

f sfz

sfz

near bridge ord.

12 8

Vc.

12 8

Sop.

f sfz

sfz

sfz

sfz

sfz

15 8

mp

ten.

(ff)

15 8

fly

12 8 Pno.

12 8

15 8 pp

p

15 8

f

Perc.

15 8 (p)

(p)

q. = 108

Fl.

15 8

Bb Cl.

15 8

q. = h

3 2

pp

p

pp

pp

15 8

p

pp

the

oth- ers to

fire Then

you set back and watch When the

15 8 15 8

pp

23

death count gets high - er

3 2 pp

pp

q. = 108

Perc.

p p

pp

for

3 2 3 2

p

You fas- ten the trig - gers

Pno.

p

p

pp

3 2

p

pp

15 8

15 8

p

pp

p

pp

S.

mp

(f)

12 8

36

Vc.

15 8

B.D. p

Vn.

rall.

Temple Blocks

12 8

q. = h

Tam-tam 15 8 pp

3 2 3 2

pp

40 40 Fl.

h = 108 (q. = 144)

q. = q.

3 2

9 8

(p)

pp cresc. poco a poco

(mp)

(mf)

ff

(f)

9 8

3 2

Bb Cl.

(p)

pp cresc. poco a poco

3 2

Vn.

(mp)

(mf)

pizz.

arco

pp cresc. poco a poco

(mp)

pizz.

arco

ff

(f)

9 8 (cresc.)

(f)

3 2

Vc.

9 8 pp cresc. poco a poco

(mp)

(mf)

(cresc.)

(f)

(ff)

3 2

S.

9 8 You

hide

in

your

man

-

sion

As

young

peo

-

ple's

blood

3 2

9 8 mp cresc.

Pno.

(mf)

3 2

sfz

h = 108 (q. = 144) pp cresc. poco a poco

3 2

sfz

sfz

sfz

(mp)

9 8

sfz

q. = q.

T. Blks.

S.D.

3 2 Perc.

sfz

ff

(f)

9 8

(f)

(cresc.)

9 8

T.D. pp cresc. poco a poco

(mp)

(p)

(q. = 144) 44 Fl.

Bb Cl.

Vn.

9 8 9 8

sfz

mf

sfz

molto rall.

4 4

12 8

4 4

mf

9 8

12 8 mp

f

Vc.

rall.

12 8

9 8

pizz.

mp sf

4 4

mf

pizz.

12 8

4 4

mp

f ff

ossia:

9 8

12 8 Flows

out of their bod - ies

And

is

bur

- ied in

the

4 4

mud

ff (non dim.)

S.

9 8

12 8 Flows

98 Pno.

9 8

out of their bod

-

ies And is bur - ied in

the

mud

12 8 sf

4 4 f

mp

4 4

12 8

44 ten.

(q. = 144) Perc.

9 8

T.D.

ff

12 8

rall.

molto rall.

4 4

41 48

q = 72

Fl.

4 4

Bb Cl.

4 4

p even

3 2

4 4

3 2

4 4

3 2

4 4

p even

4 4

Vn.

4 4

Vc.

arco

pp p even

arco

3 2

pp

p even p even

4 4

S.

3

3 2

3

3

Pno.

4 4

pp

q = 72

be

3 2

4 4

3 2

4 4

Vib.

4 4

3 2

4 4

Perc.

4 4

3

You've thrown the worst fear That can ev - er

4 4

4 4

p

p

53 Fl.

4 4

3 2

Bb Cl.

4 4

3 2

4 4

3 4

4 4

3 4

p

p

3

mp

Vn.

44

23

44

IV

3 4 mp

Vc.

4 4

3 2

S.

4 4

3 2 hurled

Pno.

3 2

4 4

3 2

(Vib.)

Perc.

3

Fear to bring chil

4 4

4 4

4 4

3 2

p

3

-

dren

in - to

3 4

4 4

3

the

3

world

mp mp ominous

3 4

For

threat - 'ning

4 4

3 4

4 4

3 4

4 4

(mp)

p

3 4 3

mp

mp

my

42

h = 108 (q. = 144)

3

57

jjq = iiq

3 2

Fl. mf 3

Bb Cl.

mp cresc.

3 2

3

mp cresc.

mf

3 2

3

Vn. mf

3 2

Vc. mf cresc.

(mf)

3 2

S. ba

-

by

Un - born

and un - named

f

You

ain't

worth

the

blood

sfz

sfz

sfz

3 2 mf

Pno.

3

3

3 2 3

mp sub.

cresc.

sfz

sfz

sfz

h = 108 (q. = 144)

3

jjq = iiq

(Vib.)

3 2

Perc.

Temple Blocks

3 2

mp cresc.

q. = 144 h = q.

62

12 8

Fl.

12 8

Bb Cl.

6 8 ff sffz

(cresc.)

mp sub.

12 8

Vn.

6 8

p sub.

ff sffz

mf

12 8

Vc.

(cresc.)

That

p sub.

12 8 runs

in

your

veins

(cresc.)

That

6 8 ff sffz

mf ossia:

S. S.

mp sub.

ff sffz

(cresc.)

6 8

ff

12 8 runs

in

your

veins

Let

6 8 me

ask

you

one

6 8

12 8 Pno.

(cresc.)

sfz

sfz

sfz

sfz

sfz

12 8 sfz

sfz

ff sffz

mp

Xylophone

6 8

12 8

Perc.

6 8

q. = 144 h = q.

T. Blks.

ques -

12 8

(cresc.)

12 8

ff sffz

Snare Drum pp sub.

Tenor Drum

ff sffz

6 8 6 8

pp sub.

43

q = 144 66 Fl.

6 8

12 8

q. = q

6 8

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

4 4

5 4

f sostenuto, malevolent

5 4

sfz

6 8

Bb Cl.

f

12 8

6 8 sfz

6 8

Vn.

12 8

6 8

pizz.

sfz

6 8

Vc.

12 8

6 8

ff

3 4

ff

sfz

6 8

S.

12 8 -

6 8

tion

3 4

Is your mon - ey that good

6 8

12 8

6 8

6 8

12 8

6 8

Perc.

it

buy

3 4 f

6 8

you

for - give - ness

4 4

5 4

mp sub., sostenuto

3 4

4 4

5 4

3 4

4 4

5 4

3 4

4 4

5 4

q = 144

rim shot (S.D.)

4 4

Will

sfz

Pno.

pizz.

12 8

q. = q

6 8 sfz

(T.D.)

6 8

71

12 8

6 8

Fl.

5 4

6 4

Bb Cl.

5 4

6 4

q = 72

rit.

f

Vn.

5 4

6 4

Vc.

45

46

S.

5 4 think

that

it

*

45 5 4

you

*

mf

ff`

6 4 Do

Pno.

arco

3

could

I

think

Perc.

will

find

46

mp

mf sostenuto

f

6 4

(mf)

f

5 4

you

6 4

rit.

q = 72

T.D.

p

* Half step clusters between and including indicated pitches

When your

44 74

4 4

Fl.

f

4 4

Bb Cl.

mf mf

f

quasi gliss.

4 4

arco Vn. mf

f

4 4

Vc. mf

f 3

3

4 4

S. death takes

its

toll

All the

mon - ey

you

made

will

nev - er

buy back your

soul *

4 4 Pno.

4 4 (T.D.)

4 4

Perc.

sfz

78 Fl. f

Bb Cl. f

Vn. f

Vc. f 3

ossia: 3

3

3

3

S. And I hope that you die

6

Pno.

fff

And

f

your death will

come

soon

I

6

will fol - low your cas - ket

f

fff

ff

(one hand)

Xyl. **

Perc.

[

f

]

] [

f

B.D. - large beater ff

* Use flat hands to play these clusters ** If possible

ff

45 82 Fl.

5 4

6 4

Bb Cl.

5 4

6 4

Vn.

5 4

6 4

Vc.

5 4

6 4

S.

5 4 In

the

pale

af - ter - noon

6 4

3

3

And I'll watch while you're low - ered Down

to

your

death - bed

6 4

5 4 f

6

Pno.

fff

5 4

6 4

(Xyl.) ]

5 4 Perc.

6 4

[ B.D.

5 4

6 4

ff

86 Fl.

6 4

3

sfz

Bb Cl.

f

6 4

3

f

3

3

3

4 4

3

4 4

3

4 4

3

6 4 sfz

Vc.

3

3

3

sfz

Vn.

3

3

f

3

6 4

3

4 4

3

3

S.

6 4

4 4 And

I'll

6 4 Pno.

stand

o'er

3

fff

6 4

* ff

3

your

grave

3

3

'Til

I'm

3

3

3

sure that you're

4 4

3 3

dead.

3

4 4

3

(Xyl.)

6 4

Perc.

46

4 4

sf

44

S.D. mf

6 4

T.D.

3

3

3 3

3

3

3

3

3

3

3

mf

sf

B.D. * ossia subito mp and then crescendo to fff

4 4

46

All Along the Watchtower

Hard and driven q = 132 Flute

4 4

Bass Clarinet

4 4

ff

p

ff

4 4

Violin

5 4

4 4

5 4

4 4

5 4

4 4

5 4

4 4

ff

4 4

Violoncello

ff f

4 4

Soprano

(f)

5 4

"There must be some way out of here,"

said

4 4

ff

Hard and driven q = 132

4 4

Percussion

4 4

44

p secco

5 4

4 4

5 4

4 4

5 4

4 4

Xylophone

f

Bell plate (very metallic)

the

45

44 Piano

4 4

f

5 Fl.

4 4

3 4

4 4 f marc.

Bs. Cl.

4 4

3 4

ff

4 4

ff f marc.

Vn.

4 4

3 4

ff

f marc.

mp

Vc.

4 4

44

43

44

mp

ff f marc.

S.

4 4 jok- er to the thief,

Pno.

"There's

too much con- fu- sion,

I

4 4

3 4

4 4

3 4

4 4 Perc.

ff sub.

3 4

4 4

can't

get

no

re - lief.

4 4 f marc., mechanical

(Xyl.)

3 4 3 4

4 4

4 4

ff

sf

4 4 f

4 4

(Bell plate)

f

f Words by Bob Dylan Copyright © 1968, 1985 Dwarf Music Copyrigh renewed 1996 Special Rider Music International Copyright Secured. All Rights Reserved.

Used by Permission of Special Rider Music

Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY This version Copyright © 2009 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved.

Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

47 11 Fl.

3 4

4 4

3 4

Bs. Cl.

3 4

4 4

3 4

Vn.

3 4

4 4

3 4

Vc.

3 4

4 4

p

p

3 4 p

f

Busi - ness- men, they drink my wine,

Plow- men dig my earth,

p

Pno.

Perc.

3 4

4 4

3 4

S.

3 4

4 4

3 4

4 4

3 4

4 4

f

f marc.

3 4

q = 92-100 pp

ff

4 4

Bs. Cl.

ff

4 4

f marc.

ff

f marc. ff sub.

an

-

of

it

ff sub., marc.

is

worth."

(ff)

5 4

4 4

5 4

4 4

mp sub.

rea - son

4 4 4 4

(Bell plate)

f

4 4 f

f

to get ex-

4 4

5 4 dim.

rall.

f

4 4

5 4

(Xyl.)

Police whistle

5 4

"No

4 4

Perc.

4 4

p sub. p slyly

y

f

5 4

pp

4 4

4 4 Pno.

p sub.

4 4

S.

4 4

con sord. ff

Vc.

5 4

pp

f marc.

Vn.

of it

3 4

4 4

Fl.

know what an - y

3 4

rall.

16

Noneofthem a - long the line

pp

q = 92-100

4 4

5 4

4 4

5 4

4 4

5 B.D. 4

4 4

pp

48 23 Fl.

4 4

3 4

4 4

Bs. Cl.

4 4

3 4

4 4

Vn.

44

43

44

Vc.

4 4

3 4

4 4

pizz.

arco

pp

cit -

Pno.

ed,"

the

thief,

he kind - ly

spoke,

"There are

man - y here a - mong us

4 4

3 4

4 4

4 4

3 4

4 4

3 4

4 4

(Bass drum)

4 4

Perc.

4 4

3 4

4 4

S.

feel that life

is but a

joke.

q = 132

accel.

28

who

Fl. p

ff

Bs. Cl. p

ff

senza sord.

Vn. p

ff

Vc. ff sff

p sub.

S. But you and I, we've been through that,

p

Pno.

q = 132

accel.

Perc.

B.D.

p

ff

Xyl. p

sff

f

and

49 33 Fl.

6 4

4 4

3 4

4 4

3 4

Bs. Cl.

6 4

4 4

3 4

4 4

3 4

Vn.

6 4

4 4

3 4

4 4

3 4

Vc.

6 4

4 4

3 4

4 4

3 4

6 4

4 4

3 4

4 4

3 4

mf

S. this is not out fate,

So

let us not talk false - ly now,

mp

Pno.

the

hour

is get - ting

late.

The

hour

is get - ting

late.

46

44

43

44

43

6 4

4 4

3 4

4 4

3 4

4 4

3 4

4 4

Vibraphone

6 4

Perc. mp

q = 92-100

rall.

39

3 4

p

Fl.

Bs. Cl. mp secco

Vn. con sord.

p secco

Vc. mp legato

(dim.)

(mp)

S. The hour

Pno.

is

get

-

ting

late."

mp

(dim.)

rall.

(Vib.)

q = 92-100 Xyl.

Perc. p

dim.

dim.

50 tratt.

46 Fl. p

Bs. Cl. p

4 4

3 4

4 4

3 4

4 4

Vn. pizz.

mf

to Viola

3 4

mp

arco

pizz.

44

0

Vc.

43

p

S.

p

Pno.

4 4

3 4

4 4

3 4

mp legato

4 4

3 4

tratt.

Vib. (motor off)

3 4

4 4

Perc.

p secco

If the violin player cannot double on viola, then perform the ossia version on the smaller staffs.

52

a tempo

Fl.

3 4

2 4

Bs. Cl.

3 4

2 4

Vla.

3 4

2 4

con sord. p

(con sord.) arco

Vc.

3 4

2 4

pp

a tempo ossia Fl.

3 4

ossia Bs. Cl.

3 4

2 4 2 4 pp

ossia Violin

3 4

ossia Vc.

3 4

2 4 con sord. arco

2 4

p

S.

p oblivious, serene

3 4

All

a

2 4 -

long

the

watch - tower,

prin

-

ces kept

the

3 4 Pno.

3 4

view,

2 4 p

2 4

a tempo (Vib.) Perc.

3 4

2 4 mp

51

60 Fl.

2 4

Bs. Cl.

42

Vla.

2 4

Vc.

2 4

3 4 pp legato

43

pp secco

3 4 3 4

2 4

ossia Fl. ossia Bs. Cl.

2 4

ossia Violin

2 4

3 4 pp legato

3 4 3 4

pp secco

2 4

ossia Vc.

3 4

2 4

S.

3 4 While

Pno.

42

43

2 4

3 4

(Vib.)

2 4

Perc.

68

all

the

wo

-

men

came

and

went,

bare - foot

serv

-

ants,

too.

3 4

a tempo

tratt.

Fl.

4 4

3 4

Bs. Cl.

4 4

3 4

Vla.

4 4

3 4

Vc.

4 4

3 4

pp

pp

pp

pp

tratt.

a tempo

ossia Fl.

4 4

3 4

ossia Bs. Cl.

4 4

3 4

ossia Violin

4 4

3 4

ossia Vc.

4 4

3 4

pp

pp

pp

pp

S.

4 4

3 4 Out

4 4 Pno.

4 4 4 4

side

in

the

dis

-

tance,

a

3 4 pp legato

3 4

p

a tempo

tratt.

Perc.

-

Xyl.

3 4

pp secco

pp

wild

-

cat

did

52 Piccolo

76 Fl.

2 4

3 4

Bs. Cl.

2 4

3 4

Vla.

2 4

3 4

Vc.

2 4

3 4

ossia Fl.

2 4

3 4

ossia Bs. Cl.

2 4

3 4

ossia Violin

2 4

3 4

ossia Vc.

2 4

3 4

2 4

3 4

to Piccolo

to Eb Clarinet

pp

3

Piccolo to Piccolo

S. growl,

Two

mp

Pno.

Perc.

to Eb Clarinet

rid - ers

2 4

3 4

2 4

3 4

2 4

3Bass drum 4

pp

were

3

ap

-

proach

-

ing,

pp

pp

85

2 4

Picc.

3 4 ff possible

2 4

Eb Cl.

Vla. senza sord.

Vc.

3 4

42

43

2 4

3 4

2 4

3 4

mp ossia Picc.

Clarinet in Eb

ff possible

senza sord. p

p

ff possible

Eb Cl.

2 4

3 4

ossia Violin

2 4

3 4

2 4

3 4

senza sord. ossia Vc. mp

2 4

Perc.

(B.D.)

p

3 4 the

Pno.

ff possible

senza sord.

p

2 4

S.

Clarinet in Eb

wind

be - gan

to

using a plastic guitar pick, rasp rapidly along low, thick strings as hard as possible

howl.

3 4

42

43

42

43

2 4

3 4

2 4

3 4

let vibrate until sounds dies out

ff poss.

Xyl.

ff possible

Tam-tam mp p

sf sf

Vibraslap fff

53

Chimes of Freedom q = 60

4 4

Flute

Bb Clarinet (Bass Clarinet)

4 4

Violin

4 4

pp

p

p

p

pp

4 4

Violoncello

(pp)

pp

4 4

Soprano

4 4 Piano

4 4 q = 60

4 4

Percussion

Faster

accel.

rall.

9 Fl. ppp

3

3

3

3

3

mp

3

3

3

3

3

3

3

Bb Cl. pp

Vn. ppp

mp

ppp non cresc.

(ppp)

Vc.

S. *

mf

pp

Pno.

Vibraphone motor on med.

Perc.

Faster

accel.

rall.

mf

Sus. Cym.

ppp

mp

* To achieve bell-like sound, play the left hand softer than the right hand at all times.

Words by Bob Dylan Copyright © 1964 Warner Bros., Inc. Copyrigh renewed 1992 Special Rider Music International Copyright Secured. All Rights Reserved.

Used by Permission of Special Rider Music

Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY This version Copyright © 2009 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved.

Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

54 16

* accel.

Slower q = ca. 50 a piacere

Fl. 3

ppp

3

3

3

Bb Cl.

Vn. ppp

Vc. ppp non cresc. p (whispered)

(sempre a tempo)

2 4

S. Far be - tween sun- down's fin - ish

an' mid- night's bro - ken

toll.

We ducked in

-

side

the

door

mp

Pno.

* accel.

Slower q = ca. 50 a piacere (Vib.)

mp

Perc.

Sus. Cym.

ppp

Faster

rall.

q = ca. 50

20 Fl. mp

3

3

3

3

3

3

3

3

pp

Bb Cl. pp

Vn. mp

pp

Vc. (ppp)

(q = ca. 50) mf

way,

thun

-

der

crash

-

ing

As ma - jes - tic bells of bolts struck sha - dows in the sounds

pp

mp

Pno.

Faster

q = ca. 50

rall.

(Vib.)

mp

Perc.

(Sus. Cym.)

mp

pp

* Ensemble accelerates, Singer continues a tempo, ignoring conductor

-

55 q = 60

25

1 4

4 4

Bb Cl.

1 4

4 4

Bs. Cl.

41

Fl.

*

44

3

pp

pp 3

p

Vn.

1 4

Vc.

1 4

4 4

3

S. Seem- ing to be the chimes of free- dom

*

3

pp

3

p

3

p

p

4 4

flash - ing

1 4 Pno.

p

p

4 4

1 4

3

3

p

p p

3

4 4

3

p

1 4

Flash- ing for the war-ri - ors

4 4

3

whose

3

3

3

3

3

3

3

3

3

pp

q = 60

(Vib.)

1 4

Perc.

1 4

4 4

Large Tam-tam

4 4

3

p

30 Fl. p

Bb Cl. p 3

3

3

Bs. Cl.

p

Vn. p

arco pizz.

3

3

3

Vc. p

p

mp

mp

mf

S. strength is not to fight

Flash- ing for

the ref - u - gees on the

un- armed road of

flight,

An' for each

3

Pno. 3

mp p

an' ev - 'ry un - der- dog

3

3

3

3

3

3

Medium Tam-tam

Perc.

(Lg. Tam-tam)

p 3

l.v.

* if Bass Clarinet can produce a low "A"(concert), then Bass Clarinet and Violin play the small notes. Otherwise, play normal-sized notes only.

56 34

4 4

5 4

Fl.

mf

mp

play on either { mf

mp

mf

mp

mf

5 4

Bb Cl. 3

5 4

3

Bs. Cl.

4 4 4 4

p

pp

p

pp

p

pp

p

pp

p

pp

mf

4 4

5 4

Vn. mf

(mf)

3

3

5 4

Vc. f

f

An' we gazed up - on 3

3

the chimes of free- dom 3

f

3

mf

4 4

mp (f)

5 4

S.

Pno.

mp

mf

f

sol - dier in the night

mf

flash

-

4 4

ing.

5 4

4 4

5 4

4 4

5 4

Chimes

4 4

f

mf

mp

p

Perc.

(Lg. Tam-tam)

3

5 4

3

mp

High Tam-tam mf

l.v.

Faster

accel.

4 4

mp

p

rall.

38 Fl. 3

ppp

3

3

3

mp

3

3

3

3

3

3

3

3

Bb Cl.

Bs. Cl.

Vn. ppp

mp

pp

Vc. pp non cresc.

S.

Pno.

mf

mf sub.

Faster

accel.

rall.

Vib. (motor on med.)

Perc.

mf

mf sub.

Sus. Cym.

p

l.v. mf

(l.v.) pp

57 Slower q = ca. 50 a piacere

44

3 4

Fl. pp

pp

play on either { pp

pp

pp

pp

3 4

Bb Cl.

3 4

Bs. Cl.

43

3

Vn. pp

pp

pp

3 4

Vc. pp

pp

3

p

pp 3

3

S. In the cit - y's

3

mp

Pno.

melt - ed

3

pp

un - ex - pect - ed - ly

we

watched

with fac - es hid - den while the walls were

3

mp

3

fur- nace,

3

3 4 pp

mp

3

mp

mp

3

3

3

mp

3

pp

3

3

3 4

3

3

sempre

Slower q = ca. 50 a piacere Vib.

3

Vib.

Glock.

3

3 4

Perc. mp

48 Fl.

3 4

Bb Cl.

3 4

Bs. Cl.

3 4

pp

mp

pp

pp

mp

q = 60

4 4

3

p 3

(play on either) { p 3

4 4

n

4 4

3 4 Pno.

As the

pp

3 4

3

3

ech - o of the wed - ding bells be - fore the blow - in' rain

4 4

Dis - solved in - to the bells

3

3

p

mf

mp

3

3

3

mp

Perc.

3 4

pp

3

p

mf

4 4

* low A produced either by extending bell or lip position

3

3

mf

of

2 4

4 4

the light- ning

4 4

3

pp

2 4

Glock.

3

3

mp

4 4

3

mp

4 4

3 3

4 4

3

3 3

3

(Vib.)

pp

3

3

3 4

3

2 4 3

mf

3

4 4

p

p

4 4 pp

*

4 4

2 4

4 4

mp

3

pp

n

tight - ening

4 4

p

4 4

3 4

2 4

2 4 n

3 4

4 4

n

4 4

3 4

2 4

2 4

3

pp

S.

pp

3

pp

Vc.

3

n

p

Vn.

3 4

pp

q = 60

2 4

4 4

pp

2 4

Lg. Tam-tam 3

p

4 4

58 53 Fl.

4 4

Bb Cl.

4 4

Bs. Cl.

4 4

Vn.

4 4

Vc.

4 4

S.

4 4

p

p 3

3

3

3

p

3

3

3

3

pizz.

(p)

(mp)

Strik- ing for the gen - tle,

strik - ing for the kind

Strik- ing for the guard- ians and pro-

4 4 p

4 4

Pno.

3

3

3

3

3

3

3

3

mp

4 4

p

44 Perc.

Med. Tam-tam p

(Lg. Tam-tam)

4 4

3

3

3

3

58 Fl.

Bb Cl. 3

3

3

3

3

Bs. Cl.

Vn. arco 3

Vc. 3

(mf)

3

(f)

3

S. tec - tors

of the

mind

An' the

mp

un

-

pawned paint - er

3

be - hind be - yond his right - ful

time

An'

3

3

3

3

3

3

Pno.

3

mf

mp

(Med. Tam-tam)

Perc.

(Lg. Tam-tam) 3

we

59 61

stringendo

Fl.

5 4

3 4

Bb Cl.

5 4

3 4

Bs. Cl.

5 4

3 4

4 4

Vn.

5 4

3 4

4 4

Vc.

5 4

3 4

4 4

5 4

3 4

q = q.

S.

5 4

3 4

4 4

5 4

3 4

4 4

5 4

3 4

3

3

gazed up - on the chimes of free- dom flash

3

Pno. 3

5 4 (Lg. Tam-tam) 3

65

5 4

mf

4 4

to Bass Clarinet

12 8

ing.

Chimes

f

Perc.

-

4 4

pp

p

stringendo

3 4 f

mf

mf

4 4 p

(mp)

mp

3 4

4 4

q = 72

Fl.

44

Bs. Cl.

4 4

Vn.

4 4

Vc.

4 4

S.

12 8

mf

Through

4 4 Pno.

44 (p)

q = 72

(Chimes)

Perc.

4 4

mf

mp sub.

4 4

damp

4 4

Bass Drum p

the

60 67

3 4

Fl.

4 4 f

3 4

Bs. Cl.

4 4 f

3 4

Vn.

4 4

pp

f

3 4

Vc.

4 4

pp

f

9 8

3

S. mad

mys

-

tic

ham - mer - ing

of

the

12 8

wild

3 4 Pno.

rip - ping hail

The

4 4

sim.

3 4

4 4 f

3 4

Perc.

p

69

4 4

Small Sus. Cym. - snare sticks sf

Fl.

4 4

3 4

4 4

Bs. Cl.

4 4

3 4

4 4

mf

(mp)

mp

Vn.

4 4

3 4

Vc.

4 4

3 4 mp

mf

S.

cracked

its

poems

4 4 f

9 8 in

na - ked

won - der

That

12 8 the

4 4

3 4

4 4

4 4

3 4

4 4

mf

Perc.

pizz.

mf

12 8 sky

Pno.

4 4

44

f

43

44

61 71 Fl.

4 4

Bs. Cl.

4 4

Vn.

4 4

Vc.

4 4

3 4 mf

3 4

mf

3 4 mf

arco

3 4

(mf) mf

12 8

S.

clang

Pno.

-

ing

of

the

church

bells

blew

far in - to the breeze

Leav - ing

4 4

3 4

4 4

3 4 (f)

mf

dim.

4 4

Perc.

Chimes

Fl.

3 4

Bs. Cl.

3 4

3 4

3

mp

5

mf

73

9 8

rall.

4 4 4 4

mp

Vn.

3 4

Vc.

3 4

4 4 p

4 4 mp

S.

3

9 8 on

Pno.

ly

bells

of

light

-

ning

and

its

3 4

4 4

3 4

4 4 (dim.)

Perc.

-

12 8

3 4

mp

mp

p

rall.

4 4

Bass Drum ppp

poco

62 75

Slower

Fl.

4 4

Bs. Cl.

4 4

Vn.

4 4

Vc.

4 4

Tempo I (q = 60) rubato (free)

rall.

p

pp

(pp)

p

pp

(pp)

mp

12 8

S.

q. = 60

thun - der

As

we

lis - tened

one

last

time

an' we watched with one

last look

4 4 pp

(p)

Pno.

4 4

pp

5

5

6

Slower

Tempo I (q = 60) rubato (free)

rall.

4 4

(Bass Drum) Perc.

p

n

78

lunga

Fl. to Bb Clarinet

lunga

Bs. Cl. lunga

Vn. pp

lunga

Vc. pp (pp) p

q. = q

lunga

Spell - bound an' swal - lowed 'til

the toll - ing

(pp)

4 4

S. end - ed.

Toll - ing for

the reb - el,

lunga 3

Pno.

3

3

3

3

3

3

3

3

3

3

p

lunga

lunga

Chimes

p

Perc. lunga

Large Tam-tam 3

p

63 82 Fl. pp

(pp)

p

(pp)

p

Bb Cl. Bb Cl. pp

Vn. p

Vc. p p

mp

S. toll - ing for the rake

Toll - ing for

the luck- less,

the a - ban- doned an' for - saked

Toll - ing

out - cast burn - in'

3

3

3

3

3

3

3

3

3

mp

Pno.

(Chimes)

for the

cresc.

pp

mp

Med. Tam-tam Perc.

(Lg. Tam-tam)

pp

3

3

3

mp

Faster, free

86 Fl. mp

f

mf

mp

f

mf

mp

f

mf

mp

f

Bb Cl.

Vn.

Vc. mf

f

mf

S. con- stant- ly atstake

An' we

3

gazed

Toll - ing for

3

3

3

3

f

the deaf an' blind, toll

-

ing for the mute The mis-

3

Pno. (mp) 3

f

3

mf

3

3

Faster, free (Chimes)

3

3

3

solo

3

mf

(mp)

3

(Med. Tam-tam) 3

3

Perc.

(Lg. Tam-tam)

3

(mp)

3

3

mf

f

mf

f

mf

64 91 Fl.

Bb Cl. arco

pizz.

Vn.

mf

f

arco

pizz.

Vc.

mf

f

ff 3

3

S. treat - ed, mate - less moth - er,

the mis - ti - tled

pros - ti - tute

Toll

-

-

ing

for

Pno.

the

ach - ing

ones

whose

f

(Chimes)

f

Perc.

mf

f

f

mf

f

(Med. Tam-tam) f

poco ritard.

94 Fl. 3

mf

3

mf

Bb Cl.

pizz.

arco

f

mf

3

Vn.

pizz.

mf

arco

Vc. f

mf

mf

3

3

3

S. wounds can - not

be nursed

An' for

ev - ery

hung - up

in

the

whole

wide u - ni - verse

An'

we

mf

Pno.

poco ritard.

(Chimes)

Perc.

per - son

3

(f)

(Med. Tam-tam)

(f)

3

65

Sostenuto (q = 60) 97 Fl. f

Bb Cl. f

Vn. f

Vc. f fff

S. gazed

An'

f

Pno.

sf

we

gazed

An'

mf

sf

we

(f)

gazed up - on

the chimes

of free - dom

f` (f)

Sostenuto (q = 60)

(Chimes)

ff

Perc.

Lg. Tam-tam

f

f

accel.

a tempo

100 Fl. sfp

cresc.

sff

sfp

cresc.

sff

sfp

cresc.

sff

cresc.

sff

Bb Cl.

Vn.

Vc. sfp

cresc.

S. flash

-

-

-

-

mp sub.

-

cresc.

Pno.

-

-

-

-

-

-

-

-

-

ing.

fff dim.

(hold pedal into next song)

accel.

a tempo

(Chimes)

Perc.

(Lg. Tam-tam)

cresc.

sff

(hold pedal into next song)

sff

(hold note into next song)

66

Postlude:Forever Young h = 56

(q = q)

5 4

3 2

5 4

3 2

4 4

Flute (Piccolo)

3 2

Bb Clarinet (Eb Clarinet)

3 2

5 4

3 2

5 4

3 2

4 4

Violin

3 2

5 4

3 2

5 4

3 2

4 4

Violoncello

3 2

5 4

3 2

5 4

3 2

4 4

Soprano

3 2

3 2

5 4

3 2

4 4

p with simplicity

5 4

May God bless and keep you

al - ways,

May your wish - es all come true,

May you

accel.

rall.

al - ways do for oth-ers And let

*

Piano

3 2

5 4

3 2

5 4

3 2

4 4

3 2

5 4

3 2

5 4

3 2

4 4

5 4

3 2

5 4

3 2

4 4

5 4

3 2

5 4

3 2

4 4

h = 56 (q = q)

(Chimes) *

3 2

Percussion

(Lg. Tam-tam) *

3 2

a tempo

8

accel.

rall.

rall.

Fl.

5 4

4 4

5 4

3 2

Bb Cl.

5 4

4 4

5 4

3 2

4 4

Vn.

5 4

4 4

5 4

3 2

4 4

Vc.

5 4

4 4

5 4

3 2

4 4

S.

5 4

4 4

5 4

3 2

4 4

oth - ers do for

you.

Pno.

Perc.

(Chimes)

a tempo

(Lg. Tam-tam)

damp

May

you

build a

lad - der

to the stars

And

climb

on

ev - 'ry

4 4

rung.

5 4

4 4

5 4

3 2

4 4

5 4

4 4

5 4

3 2

4 4

5 4

4 4

5 4

3 2

5 4

4 4

5 4

3 2

rall.

4 4 4 4

* sonorities from Chimes of Freedom diminuendo to niente Words by Bob Dylan Copyright © 1973, 1985 Ram's Horn Music International Copyright Secured. All Rights Reserved.

Used by Permission of Ram's Horn Music

Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY This version Copyright © 2009 by G. Schirmer, Inc. (ASCAP), New York, NY International Copyright Secured. All Rights Reserved.

Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.

67

q = 66

15

4 4

Fl.

pp

4 4

Bb Cl.

(q = q)

pp

4 4

Vn.

con sord.

h = 56

6 4

3 2

5 4

6 4

3 2

5 4

6 4

3 2

5 4

6 4

3 2

5 4

6 4

3 2

pp

4 4

Vc.

con sord.

pp

4 4

S.

pp

May you stay

Pno.

for - ev - er young, For - ev - er young, for - ev - er young,

4 4

6 4

4 4

6 4

q = 66

21

pp

(q = q)

4 4

Perc.

May you stay for - ev - er

6 4

mf

young.

5 4

May you

3 2

5 4

3 2

5 4 h = 56

3 2

5 4

Fl.

5 4

3 2

5 4

3 2

5 4

3 2

Bb Cl.

5 4

3 2

5 4

3 2

5 4

3 2

Vn.

5 4

3 2

5 4

3 2

5 4

3 2

Vc.

5 4

3 2

5 4

3 2

5 4

3 2

S.

5 4

3 2

5 4

3 2

5 4

3 2

grow

Pno.

Perc.

3

up

to

be

right- eous,

May you

grow

up

to

be

true,

f (dolce)

May you

al

-

ways know the

45

23

45

23

45

23

5 4

3 2

5 4

3 2

5 4

3 2

5 4

3 2

5 4

3 2

5 4

3 2

68

26 Fl.

3 2

4 4

Bb Cl.

3 2

4 4

Vn.

3 2

4 4

Vc.

3 2

4 4

S.

3 2

mf

truth And see the lights sur- round- ing

Pno.

Perc.

32

you.

rall.

4 4

May you

al - ways be cou - ra- geous, Stand

3 2

4 4

23

44

23

44

q = 66

Fl. pp

Bb Cl.

up - right and

be

strong.

rall.

h = 56

q=q

46

23

6 4

3 2

5 4

6 4

3 2

5 4

6 4

3 2

5 4

6 4

3 2

mp

young.

May

45

pp

(sord.)

Vn. pp

(sord.)

Vc. pp pp

S. May you stay

Pno.

q = 66 Perc.

for - ev - er young,

For - ev - er young, for - ev - er young,

May you stay for - ev - er

5 4

3

you

6 4

3 2

5 4

6 4

3 2

5 4

Vib. (motor off)

q=q

3 2

6 4

pp

h = 56

5 4

69 38 Fl.

5 4

3 2

5 4

3 2

4 4

Bb Cl.

5 4

3 2

5 4

3 2

4 4

Vn.

5 4

3 2

5 4

3 2

4 4

Vc.

5 4

3 2

5 4

3 2

4 4

S.

5 4

3 2

5 4

3 2

4 4

hands

Pno.

Perc.

44

al - ways be

bus - y,

May your

feet

al - ways be

swift,

May your

have

5 4

3 2

5 4

3 2

4 4

45

23

45

23

44

5 4

3 2

5 4

3 2

4 4

rall.

a tempo

accel.

a strong foun - da - tion When the

accel.

rall.

Fl.

5 4

4 4

5 4

3 2

Bb Cl.

5 4

4 4

5 4

3 2

4 4

Vn.

45

4 4

45

23

44

Vc.

5 4

4 4

5 4

3 2

4 4

S.

5 4

4 4

5 4

3 2

winds of chang - es

shift.

Pno.

rall.

Perc.

a tempo

mf

May

your

heart al - ways be

joy - ful,

May your

f

song

4 4

4 4 al - ways be

sung,

5 4

4 4

5 4

3 2

4 4

5 4

4 4

5 4

3 2

4 4

5 4

4 4

5 4

3 2

rall.

4 4

70 51

q = 66

Fl.

4 4

6 4

4 4

Bb Cl.

4 4

6 4

4 4

Vn.

4 4

6 4

4 4

Vc.

4 4

6 4

4 4

S.

4 4

6 4

4 4

p

May

Pno.

you

stay

for - ev - er

young,

For - ev - er

young,

for - ev - er

young,

May

you

stay

for - ev - er

4 4

6 4

4 4

4 4

6 4

4 4

6 4

4 4

q = 66 Vib. - use bow

4 4

Perc.

pp

56

rall.

Fl.

4 4

Bb Cl.

4 4

6 4 (pp)

6 4

ppp

(pp)

Vn.

4 4

6 4

Vc.

4 4

6 4

S.

4 4

6 4 young.

For

-

ev

-

-

er

young.

6 4

4 4 Pno.

May you stay

pp

4 4

6 4 rall.

(Vib. - bowed)

Perc.

4 4

pp

6 4

for - ev - er

young.