Over the Rainbow Sample by Tapspace

Harold Arlen

Over the Rainbow from “The Wizard of Oz”

arranged for solo marimba by Robert Oetomo

OVER THE RAINBOW (from “The Wizard of Oz”) Music by HAROLD ARLEN Lyrics by E.Y. HARBURG © 1938 (Renewed) METRO-GOLDWYN-MAYER INC. © 1939 (Renewed) EMI FEIST CATALOG INC. All Rights Controlled and Administered by EMI FEIST CATALOG INC. (Publishing) and ALFRED MUSIC (Print). This arrangement © 2014 EMI FEIST CATALOG INC. All Rights Reserved Used by Permission of ALFRED MUSIC www.tapspace.com Notice of Liability: Any duplication, adaptation, or arrangement of any text or composition contained herein requires the written consent of the copyright owner. No part of any composition contained herein may be photocopied or reproduced in any way without permission. Unauthorized uses are an infringement of the U.S. Copyright Act and are punishable by law.

TSPCS-60

Program Notes This arrangement of Harold Arlen’s Over the Rainbow from The Wizard of Oz was created with the intention of having a combination of jazz influences (harmonies and quasi improvisation) and classical romantic influences (runs, ornaments, and flourishes), yet maintaining the simplicity of the melody and harmony of the original song. The original song was first recorded in 1938 by Judy Garland. It was then made famous from the release of the film, The Wizard of Oz, in 1939.

Somewhere over the rainbow Way up high, There's a land that I heard of Once in a lullaby. Somewhere over the rainbow Skies are blue, And the dreams that you dare to dream Really do come true. Someday I'll wish upon a star And wake up where the clouds are far Behind me.

Where troubles melt like lemon drops Away above the chimney tops That's where you'll find me. Somewhere over the rainbow Bluebirds fly. Birds fly over the rainbow. Why then, oh why can't I? If happy little bluebirds fly Beyond the rainbow Why, oh why can't I? – Lyrics by E.Y. Harburg

This arrangement received its world premiere performance by the arranger himself in December 2013 at St. Josef Kirche, Mannheim-Lindenhof, Germany.

Performance Notes Although embellished by jazz influences (harmonies and quasi improvisation) and classical romantic influences (runs, ornaments and flourishes), keep in mind that this arrangement was created with the intention of maintaining the simplicity of the melody and harmony of the original song. The rhythm of the melody is clearly written out on purpose in this arrangement. Therefore, treat every other note before, after, and in between the melody as ornaments and/or harmonies. Take some freedom within the runs and flourishes; however, maintain the big pulse to avoid distorting the rhythm of the melody for it to flow. Realize the tenutos within the runs. The tenutos highlight the important note(s) in each run (usually the bass note of a harmony). The accelerando/deaccelerando figures in bars 1 and 2 are only written out to indicate the direction in which the line goes: to speed up or to slow down. The number of notes played in each figuration is entirely up to the performer. Take note of the melody among these figures (notated with stem up). Continue with and maintain the lateral roll (4-1-2-3) in bars 3 and 4 as shown in the previous two bars, with chords notated with “S” on the stem. The two arrows pointing towards beat 3 in bar 4 indicate the morphing of the lateral roll (4-1-2-3) to a traditional roll (double vertical strokes). Play the grace note in bar 16 on the beat (indicated by the downward-pointing arrow). The theme from the original song repeats three times in this arrangement; one in C major in bar 10, one in E-flat major in bar 18, and another in the same key in bar 34. The idea of repeating the theme multiple times is for the audience to familiarize themselves more and more as the performer plays through the arrangement. Keep this aspect in mind and do not give away the first theme in bar 10 so quickly and easily to the audience (as described, Recitativo, quasi improvisando). This should be played as if it were an improvisation. The second time the theme is played in E-flat major (bar 18) should be played less freely than the first time (stated in bar 20, quasi in tempo). By the third and final statement (bar 34), the theme should be played strictly in time to allow the audience to easily recognize the melody at this point so they can “sing along” with the familiar theme.

Level: Advanced Approximate duration: 4’10”

from “The Wizard of Oz”

Over the Rainbow

Music by Harold Arlen Arranged by Robert Oetomo

Molto libero ed espressivo

Marimba (5-octave)

{

œœ

5 & 4 bœ œ

œœ

œœ œœ

œ ˙™ œ œ œœ

œœ

˙ œ ˙™

3 &4 ˙

{

œœ

œ ? 3 bœ 4

œœ œœ

œœ S

œœ

bœ 44 ˙˙ S

æ ˙˙™æ ææ mp æ æ™ ˙ ? 3 æ˙™ 4æ

{

ææ œ

æ ˙˙æ™ ææ æ ˙˙æ™ ææ ™

ææ œ

? ≈ œœ œ œ œ œ -œ

˙˙ œ ˙ œ œ œ

∏∏∏∏∏∏∏∏∏∏∏∏∏∏

& ˙

œœ

æ ˙˙æ ææ æ ˙˙æ ææ

, 3 4 n

molto rall.

æ œæ˙™ ææ ææ ˙™ ˙™ ææ

æ œæ œææ

Recitativo, quasi improvisando molto rubato

œœ

S ˙ ˙ 4 4S

, œ 3 4

œœ

S œ œ ? b ˙˙ ™™

ææ œ˙ ™ ææ æ ˙æ™ ˙ ææ ™

æ œæ œææ

4 4

ææ ˙œ ææ æ 4 wæ 4w ææ

œ 3

œ- œ

œ œ œ #œœ nœœ œ # œ nœ

∏∏∏∏∏∏∏∏∏∏∏∏∏∏

3 &4

œœ œœ

Cantabile ed espressivo (q = ca. 60)

{

œœ

œ bœ

˙˙

œœœœœœ œ-

˙ ææ

æ ˙æ b œ ææ

3 4 U n

œœ bœœ œ œ œ œ

∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏

˙ 5 &4

#œœ nœœ

* See performance notes. ** Morph from lateral roll (4-1-2-3) to traditional roll (double vertical strokes).

Over the Rainbow

(molto rubato) 13

œ bœœ œœ bbœœ œœ bbœœ œ n œ œœœ œ œ

& ˙œ

{

? œœ

œ- œ

œ œœœ

> j œ

Uj æ æ œ œæ ‰ & œ œ œ œ bæœ æ #æœ J U ? œœœ œ œ œbœ -œ ™ j œ œ- - - - æœ™ ## œœ æ -

{

b &b b ˙ ˙

{

poco rubato

?b œ bbœ -

b & b b <b>˙

{

œ -

quasi in tempo

? bb b œ

œœ œ œ

œœœ

***Play grace note on the beat. TSPCS-60

poco rall. (A tempo)

ææ œ œ ˙˙ j bœ-

b˙˙ ææ

molto rall.

bb ææ ææ ææ b œ œ œ œœ ™ œb œ ˙ œ œ œœ œœ œ 10 *** æ æJ æ œœ œœœ - œ - ˙æ œ œ b-œbœbœbœbœ œ œ bbb œ j æ Œ j œ œ æ œ ˙ œœœ œ pp

œœ ∫ œ b œ œœ

˙ œ œ œœ ˙

œœœœ

b œœ n œ b œ bœ ∫œ bœ œ #œ nœ œb œ œ #œ <n>œœœ œœ œ œ œœœ > -

Adagio cantabile (q = ca. 78)

∫œ b œ œ œ

nœœ œ œœ nœ bœ œ œœ<n>œ bœ<n>œ œ œ 3

œ p

œ bœ # œ n œ n œœ bb œœ nœœ b∫ œœ b œœ ≈

-œ

sub. mf

˙ œ- œ

œœ œ w œ œ œ œ œœœ

-œ œ

œ œ œ œ œ-œ œ œ œ œ œœ

œœ

Over the Rainbow

b &b b ˙

{

? bb œ œ œœ œ œ bœ

˙œ œ œ œ -œ œ œ œ œ œ œ œb œ -

œ œ œœœ

œ œ œœ

-œ b -œ -œ

œ œ n œ œœ

rall.

b &b b œ™ œ™

œ œœ

œ œ œœ

{

œ ? bb œ œ œ œ bœ -

œ-

œ œ

bœ nœ œ œ

œ œ œ œœ œœ œœœœœ œ-

æ æ œ œ œœ œœ p

, Uj æ œ œœ

œ œ œ U ‰ ææœ ™

A tempo dolcissimo

b &b b œ

{

(pp)

? b œ- œ bb

œœœ œ œ

œœœ œ œ œ

œ œ™

œœ œ œœ

œ œ-

œœ œ œ œ

œ-

œœœ œ œœ

œ œœœ

poco rall.

b œ™ & b b œœ ™™ œ œ œ œ œ œ œ ™

{

? bb œ- œ b

-œ

œ œ -œ

œœ ˙ ˙ œ œ œ œ œ œ œ œœ œœœ -œ

-œ

œ œ œœ J

j œ

œ p

‰ TSPCS-60

Over the Rainbow

(A tempo)

bb j œ b & œ

{

œ œ

œ œ œœœ œ œ

? bb œœœ œ b œœ ˙ b ˙ &b b

{

œ œ œœœ œ œ œ

œ™

molto rall.

˙ œ ˙ œ œ œ œ#œ

˙ nœ œ œ ˙ œ œ #œ-

œ œ

œ œ#œ œ

œ œ œ œ œ nœ #œ

œ œ œ œ œ œ œœœœœ

nœ #œ nœ œ œ- nœ

? bb œ œ œ œ nœ œ b œ-

œ œ

œ nœ œ nœ

œœ

˙ œœœ œ ˙

œ œ<n>œ œ

<n>œ-

œ-

- œ- - œ œ œ bœb œœ

<b>-œœ p

Più mosso con moto (q = ca. 84)

b &b b ˙ ˙

˙ œœ ˙

{

? bb œ bœ -

œœœœ

œ œ œœ œ œœ

œ œ œ-

b œ œ ˙˙ œœ & b b ˙˙ œ œ œ œ ? bb œ œ œ œ œœ œ bœ -œ

{

œ œœ œœ œ

œ œ

bœ œ œ bœ œ œ

12 œnœ œ œ œ œ b œ œ œ bœ œ œ -œ œ -œ

˙ ˙ -œ œ

œœ

œ œ œ œ ˙˙

bœ œ- n-œ œ- œ- -œ f molto - -œ œ- œ œ œ œ nœ œ œ -œ œ 17

TSPCS-60

Over the Rainbow

Subito meno mosso (q = ca. 52)

b &b b

{

? bb œ œ œœ œ œ bœ bb 4 j œ b & 4œ

{

œ œ œ 2 j œ œ b œ 4 bœ œ œ œ œ œ

˙ œ œ œ ˙ œ- b œ

nœ œ Œ b œ œ œ- bœ- -œ œ

b4 & b b4 ≈ œ œ œ -

b2 & b b 2 wææ w ææ pp ææ ˙ b ? bb 2 b2 w ææ

{

ææ w w ææ n ææ w ? bb w b ææ

{

ææ w w ææ æ wæw ææ

œ ™™ œ

œ œ- œ

œœœœ

U ∑

, 2 2

œ œœ

œ œ œœ

œœ œ œ œ- œ

-œ

œœ

œœœ 2 2

œ œœœœ

U ææ Œ bœ

æ ˙˙æ ææ ™ u Uæ ˙˙æ™ ææ ™ u

poco

œ œ 4 j œ 4

molto rall.

æ wæ œ b œ œ œ ææ ææ ææ ææ æ wæ b b wæ æ

ææ b˙

(A tempo)

b &b b

æ ˙æ w ææ

j œ

molto rall.

ææ w œ ææ ææ˙ ™ æ ˙æ

2 4

Cantabile ed espressivo (q = ca. 60)

U bœ

. ˙. . n œ . œ. œ n œ œ œœ

ppp

U ∑ U ˙ ˙-

(pp) TSPCS-60