a la Machaut

OR

For Wind Ensemble

M

à la Machaut

AN CE

Transposed Score

TO

BE

US

ED

FO R

PE RF

Written for and commissioned by Joseph Kreines

US

AL

,N

OT

Andrew Boss 2015

PE R

Graded 5 by the Florida Bandmasters Association Music List

Transposed Score

Instrumentation

AN CE

Piccolo (alternate with flute) Flute 1 + 2 (must be at least 2 players per part) Oboe 1 + 2 Bassoon 1 + 2 * Clarinet in Bb 1, 2, 3 (must be at least 2 players per part) Bass Clarinet Contrabass Clarinet in Bb (if unavailable, use 2nd bass clarinet**)

OR

M

Alto Saxophone 1 + 2 Tenor Saxophone Baritone Saxophone

PE RF

Trumpet in Bb 1, 2, 3 Horn in F 1, 2, 3, 4 Trombone 1, 2, 3 (bass trombone optional for 3rd player) Euphonium Tuba String Bass

FO R

Timpani Percussion 1 – 4 tom-toms, 2 bongos, medium suspended cymbal, crash cymbals Percussion 2 – 2 congas, vibraphone, chimes, tambourine Percussion 3 – marimba, xylophone, tam-tam Percussion 4 – bass drum, snare drum, maracas, crotales, large suspended cymbal

*A contrabassoon part (which would double the contrabass clarinet line in the score) is available upon request. It may be used to replace a contrabass clarinet for performance. If resources are available, both may be used; however, it is strongly preferred that at least one contra-wind instrument be used for performance.

** In the case where no contra-wind instruments are unavailable, a 2nd bass clarinet may be used. This case is not preferred, but acceptable. In this case,

ED

the player should read from the contrabass clarinet part and play the part down an octave where possible. In passages that are out-of-range for the bass clarinet, player should read from the contrabass clarinet part and treat as a transposition for bass clarinet.

US

About the piece…

TO

BE

à la Machaut integrates thematic material from 3 works of the great Medieval composer Guillaume de Machaut and adds a colorfully modern touch. The piece opens with a slow introduction using melodic and harmonic material from his polyphonic chanson Puis qu’en oubli (“Since I am forgotten”). The upbeat percussion transitions the piece to the main material, quoting the melody of his secular virelai, Douce dame jolie (“Sweet lovely lady”) – beginning in the bassoon and passed around to numerous instruments in a soloistic and variation-like manner throughout the piece. This piece also uses material from the opening measures, the triplum voice, and the cantus firmus from the Kyrie to Machaut’s Messe de Nostre Dame, which are labeled appropriately in the score (not labeled in the parts). A reflective middle section brings back the slow material from the introduction while maintaining the upbeat rhythms introduced earlier in the percussion. A short recapitulation revisits the virelai in several contrasting textures, leading to a climactic variation with shimmering winds, blasting percussion and low brass. A final tutti variation harmonizes the virelai and closes the piece. The horns outline the parallel 5th motion of the #4-5 and #7-1 scale degrees in the last two measures, a cadential signature for many of the Medieval composers.

,N

OT

This piece contains strong pedagogical undertones; aside from introducing high-quality music from [nowadays] lesser-known composers to younger players, it allows numerous opportunities for brief discussions about aspects of Medieval music – performance practices, the modes (Dorian), dance forms, the motet, the Mass Ordinary, Medieval instruments, and many other topics that can segue into a rich learning environment.

AL

The piece’s level of difficulty is ideal for intermediate and advanced high school wind bands/ensembles. Though intended to be one-per-part (except for flutes and clarinets), the instrumentation for this piece is very flexible, and may also be performed by a large concert band with proportionally-appropriate doublings on each part.

… about the composer

US

The music of Andrew Boss is widely acclaimed for expressing its creative voice, offering captivated listeners “something that has never been heard before.” (Florida Music Teachers Association). His musical language is encapsulated in a “fundamentally tonal, often vividly spiced language”(Baltimore Sun).

PE R

Mr. Boss has enjoyed many performances by the nation’s leading ensembles. The premiere of his first symphony, Tetelestai (2014), by the University of Texas (UT) Wind Ensemble under Jerry Junkin was an enormous success; its many performances throughout 2015-16 include such as its College Band Directors National Association premiere in February 2016 at the Southern Division Conference in Charleston by the Kennesaw State Wind Ensemble and its Australian National Band and Orchestra Conference premiere in September 2016 by the Sydney Conservatory Wind Ensemble. He will have his debut with the Dallas Winds in February 2016 in the Meyerson Hall with his new piece, Millennial Inception. Mr. Boss has recently enjoyed a critically-acclaimed world premiere of his Concerto for Alto Saxophone and Small Chamber Orchestra (2015) by Baltimore-based chamber orchestra, Symphony Number One, and is considered as one of their founding composers. Currently residing in Austin, Texas, Mr. Boss is finishing his Doctorate of Musical Arts in Composition at the University of Texas at Austin as the 2013-14 Recruitment Fellow. For more information, please visit www.andrewboss1.com.

Written for and commissioned by Joseph Kreines

à la Machaut ANDREW BOSS poco rit.

Oboe 2

 

Bassoon 1

Bassoon 2



  

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



   Clarinet in Bb 1     p

Clarinet in Bb 2

   

Clarinet in Bb 3

    

 



Bass Clarinet Contrabass Clarinet in Bb

 

Alto Saxophone 2

Tenor Saxophone



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 Baritone Saxophone   

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Trombone 1

Trombone 2

Trombone 3

Euphonium

Tuba

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vibraphone - soft mallets

   

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crotales - with bow

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   mp

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 

 

  

Copyright © 2015 by Andrew Boss. All Rights Reserved

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US

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PE R Percussion 4



p



  Percussion 1  

Percussion 3



n

 

  String Bass     Timpani  

Percussion 2



p

OT

Horn in F 3+4



pp

,N

Horn in F 1+2



  



                

p

AL

Trumpet in Bb 3



  



"Puis qu'en oubli"   q=70 (h=35)   Trumpet in Bb 1   Trumpet in Bb 2



 

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  Alto Saxophone 1   

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AN CE

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p

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M

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OR

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p

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

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p

Flute 2



PE RF



US

    

Flute 1

flute

FO R

"Puis qu'en oubli"   q=70 (h=35)   Flute  

  

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mp

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Ob. 2

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Hn. 1+2

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Hn. 3+4





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Tbn. 1

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Tbn. 2



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Tbn. 3

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

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Euph.





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Tba.





   Timp. 



PE R

S.B..

US



 Perc. 1 Perc. 2

Perc. 3

Perc. 4



 









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

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q=85 With direction  





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 

pp

     

     

  



 





A "Douce dame jolie" 



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OT







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



 



spritely mf





pp

                  

 

solo









pp









 

AL











Meno mosso q=65 (h=32.5)      Tpt. 1  Tpt. 2



pp

 



Bari. Sax.



    





T. Sax.



pp

B. Cl.

A. Sax. 2



PE RF

 Cl. 1  



FO R





ED



 

US

Bsn. 2



BE

Bsn. 1

 

AN CE



 



M

Fl. 2



 



q=85 With direction  



OR

Fl. 1





TO

2

A "Douce dame jolie"

9 Meno mosso q=65 (h=32.5)      Fl. 



 



 



 bongos - hands                             









 





 

   

mp



congas - hands

        

    

 





mp

    

    

 

mp



pp

    

maracas - tap with finger while holding, very staccato



                     

   

pp



     



pp

  



    



    

B 

solo





Fl. 1











Fl. 2











Ob. 1





















                   





 





Cl. 2





Cl. 3





B. Cl.





Cb. Cl.









A. Sax. 1

 







A. Sax. 2









T. Sax.









Bari. Sax.









Tpt. 2







Tpt. 3







Hn. 1+2







Hn. 3+4





Tbn. 1





Tbn. 2





Tbn. 3





Euph.









   





 









p





ED

solo



f

       





















  

B 











































































          

   



   

 

f

percussion cue - if more resonance is needed



  





 





pizz.

mf

medium mallets



pointed p









  





OT ,N

AL US 

           

f

La Messe de Nostre Dame: Kyrie (cantus firmus) (String Bass, Timpani, Marimba)



PE R Perc. 4



US



Perc. 3







BE



 Timp. 









TO

 

Perc. 2



   

                                            pp 1.                            pp    



Tpt. 1

Perc. 1



spritely

 S.B.. 



3



1.

 







Cl. 1

Tba.



  

spritely mf

OR

Bsn. 2





PE RF

Bsn. 1



FO R

Ob. 2



    

AN CE



piccolo

M

17

 Fl. 



 









 





 





 

  



    









marimba - medium mallets

mp



 

 





 

 





 





 

 





 

      



 



 







 

 









 



 



      

  



 





 











  

Bsn. 1



 

 











 

 



B. Cl.

  A. Sax. 1 





Cb. Cl.

    





    











 





Tpt. 2





Tpt. 3





Hn. 1+2





Hn. 3+4









Tba.









  



PE R Perc. 1

Perc. 2

Perc. 3

Perc. 4



US



  







 







 





mp

f

                    f

   











 

  

    







    



















 fp





      

 fp

















TO

mp









  pp

mp



mp

 





pp









   





   





p

 



   

 



   

   

  





   







 



  







   

  f

mp





   

 











(shake lightly)







  



  

mf



p

  

     



  











 



   

fp

  

   



 

pp



    

mf

 

  







     

 

fp





fp



fp

   



     





  

fp







       











 



             pp



fp

   

p



pp













                       

1.

 

   

















 



   





 

   









 

 



pp









 

 







  





 







     

 





fluttertongue



pp



         



 



 

pp



OT



  S.B..  Timp.

,N





   

  

fluttertongue







AL

Euph.







Tbn. 3

mf

BE

Tpt. 1





    

 

Tbn. 2



                            



Tbn. 1









Bari. Sax.

   











T. Sax.

 





       



A. Sax. 2



                          



Cl. 3

   

     

 

Cl. 2



 

pp

 

  

 





AN CE





Ob. 2



mf

   



pp 1. fluttertongue

 

 

 

      

M

Ob. 1



    



1. fluttertongue



 



  

OR



  

   

            



PE RF

      



Fl. 2

Cl. 1





Fl. 1

Bsn. 2

  

FO R

 Picc. 



ED

22

US

4



mp

  













  



  





f



 





        

Ob. 2

        

Bsn. 1



           

Cl. 3



B. Cl.

 











 

     







  









  







  









 

Tpt. 3

Hn. 1+2

Hn. 3+4

























3.



Tbn. 2





Tbn. 3





Euph.





Tba.







p f







US

  S.B.. 

AL   

  Timp. 

PE R

mp





                

 



   

       Perc. 4   (shake mf

lightly)



  











ED

 

f

C











straight mute

1.



 

   

pp

  



p

p

p

f

   

p

























   

f solo, marc. 





  











   



     



 



f

  









      





  









 

  







   



    





  









  





  





 



      ff      ff





 



 

     







 



        









  



 

  



 

Forceful    



 

   



 

   



 

   



 

 



 

   



 

 





 





  f     sfz   sfz 

        

          

        

       

f

   

   



f

    



 

   





 

   



  

   





    



 

   





   



  

   



 

f



 

mf

 

 

 



snare drum - snares on







arco



5

f

f



 



f solo, marc.

f

  



f



p



f



   

        

  



straight mute

pp

Tbn. 1



  







  f   

straight mute









US

mf

BE



f





mp

 



mp

f

 

Tpt. 2



mp





mp

f

  



   

     





f



 

    





mf

   

ff

      f      



mf

Perc. 3

     



T. Sax.

Perc. 2



  

mf

Perc. 1





  

A. Sax. 2

Tpt. 1



 

 



   

 

a2

                      pp f                                         f                                  

mf

Bari. Sax.





TO

A. Sax. 1

 



mp

Cl. 2

Cb. Cl.

 



 

OT

Cl. 1





,N

Bsn. 2





    







  

 

  

AN CE

  

 

Ob. 1



Forceful    

   

M

  

mf

Fl. 2

  

ff

 

Fl. 1

     

C

OR





    

PE RF

 Picc. 





FO R

27

       

La Messe de Nostre Dame: Kyrie (opening bars) (Fl.1, Ob.1+2, Bsn. 1+2)



f

        mp

f



         mp

f





 





     

p

 



 

 







  









p





  



 

 









T. Sax.







Bari. Sax.



 

  

 Tpt. 1 

  

   



  

   



  

   



Tbn. 3



Euph.



Tba.



 

            

 

  

 

 



p













     



    







   







p

   



     

  







      p    



   

 

 

 

















      

       





breath only - briefly remove mute

p

f



breath only - briefly remove mute

p

f



 



                 











  







  







f

p







f

  

p









p

f

  



a2, breath only

   

p

   

 



modo ord.



modo ord.

































p

p

p

   

  n

pp





mp





pp straight mute, modo ord.







pp

 

euph. cue, modo ord.



 p





pp





mp

pp



mp



pp



      

mp

euph. 2 (if doubling is used)

 









 





 





 

slurs in this piece do not represent bowing marks as much as melodic phrasing



med. sus. cymbal



straight mute, modo ord.

4.



   







p

p





straight mute, modo ord.

p

breath only - briefly remove mute

 





mp

   

  



   

US





mf

           





bring out

mp

n

vibraphone - soft mallets













          

PE R Perc. 4



    

a2, breath only



AL



Perc. 3



           

Tbn. 2

 Perc. 1 





 





,N



Tbn. 1

mf

p



Hn. 3+4

 

bring out





Mysterious





Hn. 1+2

1.



TO

Tpt. 3





OT

Tpt. 2



p





    

1.





  

p



 

 



    



















  





 





p





 







p 1.



  

p

  



Perc. 2









A. Sax. 2

Timp.





 A. Sax. 1 

S.B..

p



B. Cl.





















Cl. 3

 

 





 

Cl. 2

Cb. Cl.





 



US

Cl. 1





Mysterious



AN CE



Bsn. 2



   

Ob. 1



M





Bsn. 1



OR

 

Fl. 2

Ob. 2



 



Fl. 1

  

PE RF



FO R

32

ED

   Picc. 

BE

6

 

          mp

f

marimba



solo

  

mf





 

 

pp

 

 

 

                          



 



                

crotales - with bow



 

mf



 

Fl. 1

 

Fl. 2













   































a2. breath only

 



p

f

p

 



p

f

   

a2. breath only

p





Ob. 2









































 



 



 

  

p









      A. Sax. 1  A. Sax. 2

T. Sax.

Bari. Sax.

Tpt. 1

       



Tpt. 3



p

f

p

 



p

f

   

breath only

Tbn. 2

pp

Tbn. 3

    pp

Euph.

Tba.

S.B..



p

f

 











 

  

 



   





US

    Timp. 

PE R Perc. 2

  







mp

  

pp

  

 Perc. 1



a2. breath only

 

p

  







pp

 

  

mp

  





     

     

mp

    



 





 











p

 

                     

 



mf

open (tpt. 1, next measure)



 





 



open (tpt. 1, next measure)



 





























 





 

  











  



 





 





















  













 

  













  



 





 













 

mp

mp



bongos - yarn mallets

 

pp

        

 pp



  

 

mf





 

       

 

pp















mp



 



pp







pp







mp





 

pp







pp

  













mp







pp





 





 

p





                         



   



a2















,N

pp



pp



  



p

pp

mf

   

  

   

   

  

AL

Tbn. 1



          

 

mf

Hn. 3+4





p



 







breath only

 

Hn. 1+2





                                      

   

  



      

mf

Tpt. 2

  





pp

 

ED

Cb. Cl.



p

  



                     mf             

US

B. Cl.

   

  

BE

Cl. 3



      



OR

Cl. 2

        

PE RF

   

FO R

        

Cl. 1

TO



OT

Bsn. 2

M

Ob. 1

Bsn. 1



7

AN CE

37

 Picc. 

 

       

                            p





                                                                           p mf                 Perc. 4      Perc. 3

mf

mf

Fl. 2

pp

  

Ob. 1

espress.

pp

  

espress.

 Bsn. 2  

espress.

Bsn. 1

 



 

mp

 

mp



p





mf

 









 Cb. Cl.   

A. Sax. 1

espress.



     

T. Sax.

modo ord.

   Bari. Sax.     mp





  



 



 

 

    

   





   

          

           



BE





 



 



  



 



 

                  

 



 

    



  



 



 



  











  



 

   





  



 



 

 





mp

    







  





  













                 



,N

AL

mp



US



p

 



              mp



 

espress. soft mallets

  

mp

mp

  

  n



 

4 tom-toms

p



             

                    large. suspended cymbal     Perc. 4      Perc. 3

n

 

mp



    

   

    

p

   

mf

   







 













































  



 

  







               p





 

n

   

 



n





   



mp espress.









 

 





mp





 



           

 



p

     

 



mp





mp

       

  



  

  

mp





espress.

          

  



 

mf





mp



  









mp





PE R Perc. 2





Euph.

Perc. 1

mp





pp espress. pp

Timp.

p

 







 p



TO



    

espress.



pp espress.

Tbn. 3

S.B..

modo ord.

espress.

  

Tbn. 2

Tba.



modo ord.

espress.

Tbn. 1



OT

Hn. 3+4







mp

mp





  





mp





 

Hn. 1+2



     modo ord.                               mp                                   

  

pp









pp espress.

 







D

Tpt. 3





mp

"Puis qu'en oubli" Transcendant espress.     Tpt. 1   Tpt. 2

  

mp

espress.  



  







n

 

A. Sax. 2

 



                              

espress.







 

    





     

 

   

ED

B. Cl.





 

mp

a2             

   

 

                              



mf







 

mp

a2

Cl. 3

 

 

                          

Cl. 2

 

mp                                                mf    

p

  Cl. 1      

 





  

Ob. 2

 

   

AN CE

modo ord.

 espress.   

mf



M

pp

modo ord.



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

OR

espress.

   

PE RF



   

Fl. 1

flute

FO R

43

  Fl.  

US

8

qu'en oubli" D "Puis Transcendant

          

          

     















 



 

 

       



   

     mp

 



 





       

 

                

 



 

pp



       

  

 p





  

Bari. Sax.

Tpt. 1

n



     





     

open

 

 p

Timp.

 





   





             

   



   

            

        

 







          















              

 







   



 





   









  









   



 









   









   











    

 

 



   



   



 



 

mf



 



mf

   



   



 

  



                               

mf





mf

mf



  





   

mf

   

  

  

  





   

 







   









 

       

p



  

p





  



     B.D

mp



   

        

 Perc. 4    

 







mf

,N



mp

Perc. 3

    

   

PE R Perc. 2

 





       

Perc. 1





AL

S.B..

mf

 



    

  

   







  

US

Tba.





 

9

   

pp

Euph.



mf



OT

 

pp

Tbn. 3



    

pp

Tbn. 2



p

  

Tbn. 1



mf

  

   



  

 

  

pp

Hn. 3+4

p

  

pp

  

 

   



 



   

  

Hn. 1+2



          

     mf                                                                                           

pp

Tpt. 3



p

 



   

Tpt. 2



mf

                                  

 



  

T. Sax.



mf

  



     A. Sax. 1   A. Sax. 2

 

          

                                  

            mf   

B. Cl.



 



                                                

     

Cl. 3

Cb. Cl.

 

p

  Cl. 1    Cl. 2



mf                                  

    

  

 



PE RF

Bsn. 2

mf

   

 

FO R

Bsn. 1

  

ED

Ob. 2

pp

 

 





mf

US

 

Ob. 1

 

  

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

AN CE





M

   

  





BE

Fl. 2

 

      

TO

Fl. 1

   



    

OR

           Fl.   49

     



p

p n

mp

large. susp. cym.



mf

 

  

mp





  

 

 

   

mf

 

mf                      

n





                    

 

    p

mf

  



 





                            



mf

     mp

     

p



       





 

  

 

     

    







 







                                    









   

Ob. 1

 

Bsn. 1

Bsn. 2



 

f

f

  







 









ff





f

 

Cl. 3

    

B. Cl.

Cb. Cl.

A. Sax. 1

           

A. Sax. 2

       

   



f

 





f

f

Tbn. 2



  



 





 

 

     

  

 

 

f



f



f

 

 



f

 

  f  



     

US



      n

p

  

   

mf

      mf f



 



                   

  

  

crotales - modo ord., not too tinny



 



   

p



   

 

  



           f

              mf

  





   

 



   



   

       















  





   



  

  



   



f









mf

  



   









   



  

f



   



 



 



           











 





 

 



   

  



  





             mf





    



   





 











           

    







 

  



          

p



    

        

   









f



f







   

n





   









p











 

mp



  



                 mp  p                   

  



        



  





mf

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

n

3



f

    mf    





            

  



  

   

f

 

 

f

Perc. 4





  



3

  

f







 

PE R Perc. 3





    

  Perc. 1   Perc. 2

  f

   S.B..   Timp.

f







AL





 

  

    

Euph.

Tba.

      

   

Tbn. 3

 

,N

Tbn. 1

f



 

 

f



    

 

                        f mf                  mf f   

3                    f                             

TO

 

Hn. 3+4



 



  





     

OT

 

Hn. 1+2



f

   

Tpt. 3

 



   

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

BE

  

Tpt. 2

E





ff



                      T. Sax.     f                           Bari. Sax.        Tpt. 1  

 

   

mf



    

     

ff



3



f



 

 

f

 





ff

ff



ff

ff

  



3

       

ff

 

 

f

         

 



           



3



                        



               

 





                             Cl. 1    Cl. 2

 

 

 

f



f





                     

   

Ob. 2

ff

   





          

AN CE

   

 





     



M

Fl. 2

ff

 



   

OR

 



    

PE RF

    

 



FO R



  

ED

   Fl.       Fl. 1   

54

US

10

E

 

 

  

p



    



 



  



  



  Bsn. 2   Cl. 1

 mf

B. Cl.

Cb. Cl.

A. Sax. 1

T. Sax.

Bari. Sax.

Tpt. 1

  



  

f

 

S.B..

p

 



 



p

mp

  

mp

  

mp





  

mp





      



  



  



 

f

 

mp

f

mf

  



 

  



   

  





   

mp

  





 

  

  p    

mp

US

PE R

          



mp

t-toms

     3    



   



           

        



       mf







p





 



 

 











 





  

mp













       



    



     

 

 

   

 

 

p

   p

  

 

pp





     n  

   p



n

  

  

p

   



 



p

  





n

 

 



mp

 









 





mp

   



             mf   

n

   

mf

      

  

  



                            







mf



n

 

   

 



 

pp

mp

   



 

  

pp



  



  



mf

   





mp

   

pp

mf



 



mf



  





mf

 



 



 

  



mf





  

        

  





 

 

mp



                      





mf

mf



             



     mf





3

      





                    

mf

      





mf

  

  



mf



  



                             mf                        

   

 

f

   

mp

    Perc. 1   

Perc. 4





p

Perc. 3

n



   Timp.  

Perc. 2





  

AL

Tba.





       

p

Euph.





OT

Tbn. 3

  

                        

p

Tbn. 2

 

 



    

,N

Tbn. 1

3 

f

p

Hn. 3+4

  

 







p

Hn. 1+2





                              



f

  





n

                                  

p

Tpt. 3





f

p

Tpt. 2



 



  

                             

mp

A. Sax. 2



3

TO

Cl. 3



 

mp

Cl. 2

  

   

                             f      

mp



    

 

f

mp





 



 

 

AN CE

  

f



              11   

M

mp

 

PE RF

Bsn. 1



  

FO R

Ob. 2

mp

          

ED

Ob. 1



 

   

US

Fl. 2

 



                     3          

BE

Fl. 1

                  f         f       

OR

59

  Fl.   

  

 

 

  

  

  

 

p

 

 

p





*Fl.1 - preferred to be played by 1st chair only, but may be doubled if necessary for a fuller sound

Cl. 1

















p



  



B. Cl.



Cb. Cl.



A. Sax. 1

 

A. Sax. 2

T. Sax.

 

pp

  

 

Cl. 3



p

    

Cl. 2

Bari. Sax.

 

p

p 1.















  

 



   

pp







Hn. 3+4





Tba.





 















pp

  



       

































 

solo, exuberant

ff

                  

ff solo, exuberant

  









ff



        

             

     

 

        

















   











































  





pp



         

        

Ostentatious                                

pp

 





   

solo, exuberant





OT

Euph.





       

,N



pp





AL

Tbn. 3

  







Hn. 1+2





pp

     pp  











        

















ff











       



                







  





  



   



  



ff









   











   

ff

















   









p







p



Tbn. 2







Tbn. 1



pp

   

 

Tpt. 3



1.



ff



        



  





Tpt. 2

 

 

dame jolie" F "Douce Delicate Tpt. 1

 



pp

p



   



      

AN CE





a2.



M





ff

   

ED

Bsn. 2

   

 





Bsn. 1



 

US

Ob. 2

mp



 

                       

BE

Ob. 1





OR



Fl. 2



Ostentatious   piccolo   

FO R

mf



TO

12

La Messe de Nostre Dame: Kyrie (cantus firmus, fragmented) (winds, Tba, S.B., percussion)

PE RF

F

"Douce dame jolie" Delicate 64   Picc.  solo *                Fl. 1 

    f



pizz.

 

       







  



  















  

















Perc. 2

















Perc. 3











US

PE R

 Timp.  Perc. 1

Perc. 4





   pp



 





  



  



medium mallets

f

   

xylophone

  



S.D. rim shot

   mf

  





    

   



 

    

  

  





  

f









ff







pp



         



S.B..





Fl. 1



Fl. 2

    

Ob. 1

Bsn. 1

Bsn. 2





 

p







Ob. 2





1.



p



    



            

    



           

      

bring out 1.























 



 







 

pp

B. Cl.











Cb. Cl.





























         

Tpt. 2





Tbn. 1





Tbn. 2





Perc. 2

Perc. 3

Perc. 4





  





















 

 

n 3. 

mp

n

mp

 





 





 



straight mute







n



   







     



n





   







   



  

















 







  

 



n

mf

 

 mf

 











mf

 

    



 

    



mp

mp

mp





mp

  



p

f

  

  

 

  

p

  

n



n



n



  



  



    

n











    

 



pp arco

 







 











    





  

 

n



 

     



pp

mp

 

n





    

       





   



n





straight mute



 p

     

straight mute

 



 

mp



 





    









 



  

mp



   





pp

 





n



 

    



 







med. sys. cm.



pp



     











 



           







p



                           

 



   



US

  

,N

    







PE R Perc. 1







Euph.

Timp.

        





Tbn. 3

S.B..

p

 

AL

Hn. 3+4

Tba.

 

 

   

TO



pp

OT



Hn. 1+2



G Mysterious

                

Tpt. 3

p

pp

                   Tpt. 1 

  

                                      

p

US

Bari. Sax.

           

BE

T. Sax.

mp

     

FO R



 

                               

ED









pp



A. Sax. 2

         







                                    



   

    





   







 A. Sax. 1 

   

 



Cl. 3

mp

    

   







  

 



bring out 1.

 

   





mp

   







Cl. 2



 

  

 

Cl. 1



    

    

1.



           

  





AN CE



       





M

    



13

OR



G Mysterious

           

PE RF

71      Picc. 



mp

                         



 





Fl. 1



  



Ob. 1



Ob. 2

Bsn. 1

Bsn. 2



    



   

Fl. 2







   

   mp





   



H Ascending 

   

mf



























 



 











 



  









 





pp

       Cl. 1 



mp

      

  

          



   



  











mp



mf

mp



A. Sax. 1

                 

A. Sax. 2

     

         

 

T. Sax.

Bari. Sax.

mp









    





Tpt. 3

   

















  

Euph.

S.B..

Timp.



  

mp





mp



 

  

  

PE R Perc. 2

Perc. 3

Perc. 4



     





 



 







 

n

mp



 



 













































   





 

 

 







mp

 





mp

   





n 3. 





mp

          





   

H Ascending 









 



 



















   mp

 



 

 



 

 

a2



  

pp

    p







 











 









 

pp



 





p



p







mp

pp



 

pp

 

 

   





mp

 



pp

 

 



 

 

 

 

  







































  







 



 



 



mp

   

 



 





               

large susp. cym.

  n



   

mp



pp



 



pp

  

  









pp

Perc. 1







  





TO



US

Tba.



AL

Tbn. 3

mp

  

OT

Tbn. 2

 

 

,N

Tbn. 1

  













Tpt. 2



 





 







Hn. 3+4



  



  Tpt. 1    

Hn. 1+2



ED



pp

 

US

pp

Cb. Cl.   





mf

a2   mp  

FO R



  

BE



    



PE RF

Cl. 3

 

 

                                                 

   

B. Cl.

mp

 

Cl. 2



         

                                                         



AN CE



M

77

 Picc. 

OR

14

p

p

mp



Cl. 3

Cb. Cl.



   

 







               



 











mf

mp



mp



mp









p

















 



p





















 

 





 







 







 











 







  



 

     mf





        mf

 

         







           



 





mp

  



mp



 



1.





 





 







 





mp











p

mp







  





 



 





 



 









 



mp

 































      



US

  













 

Perc. 4









Perc. 3





 



Perc. 2







mp

      

      

 

      











 

 



Perc. 1

BE

TO









mp

   

AL



3.

PE R

Timp.



  







mp



 

Euph.

S.B..



p

 



,N

Tbn. 3

open

OT

 

Tbn. 2

p

 



     

mp

  



open

 

 

Tbn. 1







Hn. 3+4

Tba.



 

Hn. 1+2

mp



 







  







Tpt. 3

 

mp

 

Tpt. 2

    



mp







mf





  

 

mp

 





         

mp



Tpt. 1



  



 

Bari. Sax.



 



 A. Sax. 1 

T. Sax.

 

                                      mp mf     a2           



A. Sax. 2



 







B. Cl.

     

mf 1.



           Cl. 1  Cl. 2



PE RF

Bsn. 2

   





 









                            



 

Bsn. 1



mp



FO R

Ob. 2

  

ED

Ob. 1

mp



US

Fl. 2







AN CE

     

Fl. 1





M



15

OR

83

 Picc. 

mp

mp

                

         

    

         











 





  



 





Cl. 3

  

Cb. Cl.



A. Sax. 1

  

A. Sax. 2



T. Sax.





      













Perc. 3

Perc. 4





 





    

large susp. cym.

n

 





    



  f   f 



mf





   

f

 

 

f

      

         











   



  

 

 

 

 

 



       

 

  

  

                        









  











           

  











           

  

 

   

 





 



 

    

  

        

   

  

         

 

   

        

 

  

 

  

  

 

 

 













  



 

 

  

  

 



      

     f                       f



     

 f 

f



 

 

f



 



  

f



 





f



 

f

f



soft mallets



 

f

mf



bongos - hard yarn mallets

      

 





PE R

 





 

f



AL

 







US

Tba.







open



 

                          













f

 



          

                            





Perc. 2



f



Euph.

Perc. 1

 



Tbn. 2

Timp.

f

 

 

 

f

 



       

 



 f 

 

    



f



  



S.B..





    

f



Tbn. 1











Tbn. 3

 





Hn. 3+4



  mf f         f ff          ff a2                       

 



Hn. 1+2

  

ff

 

  Tpt. 1 

Tpt. 3





   Bari. Sax. 

Tpt. 2



        

Cl. 2

B. Cl.





 



 

 

 



AN CE

Bsn. 2



  

ff

 

ff



 

ED

Bsn. 1







     

M

 

Cl. 1





Ob. 2

ff

    





OR







  



   

PE RF



  

 

    ff

FO R



 

US

Ob. 1



    

        f  a2            

TO

Fl. 2



OT

Fl. 1



BE

88

 Picc. 

,N

16









  





        

       





                                     tam-tam       

 

p



      

* Picc. and Cl.1 lines do not have to be exactly together

I With Power q=95

* 92                              Picc. 



  

*             

Cb. Cl.

A. Sax. 1





   





 

         





  

      



 

 

 

 

 

 

   ff

ff

OT

,N AL

US

  

PE R

      



Perc. 1

Perc. 2 Perc. 3 Perc. 4

 



  

  











 



              

 

 



ff

   ff ***

   ff     ff 





  ff    ff 



 

t-toms

    

ff

  

  

B.D - medium mallets

ff

ff











    





     



















  





       











  

marc.

ff marc.  ff marc.



ff marc. ff marc.



ff marc.



ff



         

                                                   

                

























ff

*** if bass trombone is used, Tbn.3 is encouraged to play lower pitches

        

 

 ff



     



****

ff

                                      







            ff

ff

ff



La Messe de Nostre Dame: Kyrie (saxophones, horns)

 



    









      

 

ff



   







 

  





 



          



   

          



  

  

  





   



          



ff





  

 





ff



  

 

as fast as possible

 



     ff   





ff

ff

   

ff

 

  



marc. ff





Timp.







Tbn. 3

   S.B.. 

 



  

  



 ff 

       













ff







   ff    

 





I With Power q=95

Tbn. 2



         





 

Tba.

ff



 







ff



 

   

ff

 

Euph.



ff

  





 

 

Tbn. 1

 

Hn. 3+4



f



Hn. 1+2

  



         

   



f **

TO

Tpt. 3

   

  

          

   

Tpt. 2





           



a2 **

a2



  



f

             f 7 6  a2   **   f             a2 ** 



 

T. Sax.

Tpt. 1

fff

  

A. Sax. 2

Bari. Sax.

    

               

B. Cl.



 



AN CE



   

Cl. 3

         

 **     

   Cl. 1  Cl. 2

 

M

     

f **

OR

Bsn. 2







PE RF

Bsn. 1





FO R



Ob. 2

 

f  a2 **    

 

a2 **

ED



Ob. 1

f 7  

US



Fl. 2



BE



Fl. 1

17

**

6

fff



** players play any pitch in concert D Dorian around given registers very fast; they may use scales or arpeggios. They should play freely and out-of-sync from the conductor's pulse or other players, staggerbreathing when necessary. Players continue in this manner until conductor cues given rehearsal number



         chimes



ff f



  

**** horns may raise their bells if more sound is needed

18

1

100

Players resume counting at m.108 when conductor cues this rehearsal number. All players (except Cl.1 and B.Cl.) should gradually play more in-sync to conductor's pulse. Picc, Fl.1, and Cl.2 improvisations should begin to gradually resemble their subsequent written pitches. This cue is provided only to the instruments with the aleatoric gestures

 Picc.   



Fl. 2





AN CE

Fl. 1

beat 3



marc.

  

Ob. 1

ff (play as written) marc.

  





 





 





  



 

  



 













 







A. Sax. 2

T. Sax.



Bari. Sax.



    

 



 



 













Tbn. 1

 



 

Tbn. 2

 



 

Tbn. 3





Euph.

 







  





 





ff (play as written)



 





PE RF

beat 3







marc.



ff

mf (play as written, a2)

PE R

 

  



      

   





















marc.







  





marc.

 

 

  

ff





marc.



 

  

  

 



    

 

  









 

          

  

    

          



 



     

 



        



 



    







 

                      

  

  





f



ff









  









Perc. 3





ff





 

 















 





 











 



 

 













 



 





       

Perc. 2











 







              





 

 











 

 

 





(play as written)





       

 

 

  

  

 

        

                                           

US

           



,N





AL









TO

 

Hn. 3+4



OT

Hn. 1+2

 

   





  





           

  

 





 





  

           







     





  





 



Tpt. 3

 



 Tpt. 1  Tpt. 2





FO R

 

            

ED



US





Perc. 4





  



Perc. 1



  

 

  A. Sax. 1 

Timp.

 

   

B. Cl.

S.B..

  

  

Cl. 3

Tba.

 



M



OR



Cl. 2

Cb. Cl.



BE

Cl. 1





Bsn. 1

Bsn. 2



  

Ob. 2



  

  



       



  

  

  

    

     















mf

   

ff















 





















    





 

      



p







  



 mp

ff marc.

 

      

       









f



  



mf

        





ff marc.



 

 

fff

7



 

    

Ob. 2

Bsn. 1



 

 

          

 





7

6







    A. Sax. 1 

   

 

 

 



  







Cb. Cl.



Hn. 1+2

sfp

Tbn. 1



Tbn. 2

 

sfp







 



sfp

sfp

  

sfp





 

Perc. 1

Perc. 2

Perc. 3



 

f





 







    

fff









 

       



  

ff



 

 

p

 



 

f

ff



mf

f



ff



     Perc. 4   ff

 





ff

      S.D. - snares on

f

  



          





 

              

          

                       

  

   

                         

        



           

        



         



               



mp

mp

           mp        

    

     



 



 

 

      



  

        











 



   









  







mp

          

      

  



mp

      





   

 

              



mp         

   

    

     

gliss



      

   



  



   



         

xylophone

     

        



     

          

            



tambourine



  

       

                 

     

  

      

       

ff blend in with bass instruments

  

 



        

                      

       





ff

        

   

        



       

   

       

        



 

   

ff

ff

   

La Messe de Nostre Dame: Kyrie (Christe; triplum line) (saxophones)

       

p



ff

      

US ff

 





      ff 1.      ff   



med. sus. cymbal

  

ff



ff

PE R



US

f

 a2      

ff



 

sfp         Timp.  

ff

      



sfp

 S.B..  

  

ff



sfp

 

Euph.

  

sfp

     

        

 

sfp

 

Tbn. 3

ff

J



 



         

ff



 

  

Hn. 3+4

Tba.

 

  

ff





sfp

 

Tpt. 3

             

          ff         

BE



Tpt. 2



ff

       

ff

  



 

ff         

sfp

  



ff

TO

Tpt. 1



AL

Bari. Sax.

sfp



OT



T. Sax.

sfp



       

       

,N



A. Sax. 2

sfp

        



(play as written, a2)

 





6

B. Cl.

         

ff

                      a2           Cl. 1   (play as written, a2) 7   a2   6             Cl. 2           7  7                 Cl. 3            

             

        

ff



                        

ff

              7

        

PE RF



Ob. 1

(play as written, a2)

              

FO R

Fl. 2

ED

Fl. 1

Bsn. 2

ff

                 a2                         7 (play as written, a2) 6 ff            a2                               

         19

M



(play as written)

        



OR

              Picc.   108

             

AN CE

J

beat 3



                          





 

 

 







            







 

            Cl. 1       Cl. 2 

Bsn. 2

Cl. 3



     

    Cb. Cl.    



B. Cl.

mp Hn. 3+4

 

 

mp



Tbn. 1



Tbn. 2

 



 



Tbn. 3

     Tba.    

Euph.

Timp.

  

PE R





Perc. 1

Perc. 2

Perc. 3

Perc. 4



  





mp







 

    

 





   

     f     f  f

f

  



f



f

 

  

 











 

    



   

ff

ff





  





 

 

 

     









 



   



 







 



    





   



















         



p



  

ff



 

 



f





 

  





  

 







 

 



 



  

 

  

     

 

 

 

 

   

 







           

                                                            

    





 



  

 







 



  





 

 

f

f

      f

      

  

     







     



 

f

ff





 

   ff     ff  

























  f

  



 

