Keane Southard
An Appalachian Trail Symphony: New England (Symphony No. 1)
For
Orchestra
(2017) (Duration: c. 27 mins.)
Instrumentation: 2 Flutes 2 Oboes 2 Clarinets in Bb Bass Clarinet 2 Bassoons 4 Horns in F 2 Trumpets in C 3 Trombones (3. Bass Trombone) Tuba Timpani Percussion 1: Sand Blocks (or Cabasa), Medium Triangle, Metal Wind Chimes (Mark Tree), 3 Suspended Cymbals, Glockenspiel (shared with Perc. 2 which briefly plays it in Mvt I), Crash Cymbals, Whip, Snare Drum, Tam-tam, Bass Drum (shared with Perc. 2, played only briefly by Perc. 1 in Movement V) Percussion 2: 2 Wood Blocks, Maracas, Ratchet, Glockenspiel (shared with Perc. 2, played only briefly in Mvt I), Vibraphone, Bass Drum (shared with Perc. 1 which briefly plays it in Movement V), High Triangle Violin I Violin II Violas Cellos Double Basses
Score in C
Program notes: An Appalachian Trail Symphony: New England (Symphony No. 1) for Orchestra was begun during my hike of the 734-mile New England portion of the Appalachian Trail (June 11, 2016-August 26, 2016) and completed in late March 2017. The symphony was commissioned by a consortium of orchestras throughout New England in celebration of the 80th anniversary of the completion of the trail, which stretches over approximately 2,200 miles from Springer Mountain in Georgia to Mount Katahdin in Maine. I grew up in central Massachusetts, but a few years before I was born my father was a graduate student at Dartmouth College in Hanover, NH, through which the Appalachian Trail runs after it crosses the Connecticut River from Vermont into New Hampshire. (I actually composed the majority of the symphony in Hanover, with the AT lying only a few hundred feet away in the woods.) They loved living in New Hampshire, and when my siblings and I were young they took us on so many camping and weekend trips around New Hampshire and Vermont. These trips instilled in me a love of the outdoors and this region as well as made me aware of the AT itself. While we didn't do much hiking on those trips, I was captivated by the idea of one day hiking this legendary trail. When I later started to get serious about composing, I thought it would be wonderful to hike the trail and then write a piece of music about the experience some day. After years of having this idea in the back of my head, I finally was able to make it a reality. My journey began at the New York/Connecticut border and passed through 51 miles of the northwest corner of Connecticut (Movement I), the shortest section of trail of the five New England states that the trail traverses. (The length in time of each movement of the symphony is roughly proportional to the length of trail in each corresponding state.) The symphony begins with the sound of my footsteps, along with my own theme based on my first name (using a system I make up on the trail to assign a pitch for each letter: K-E-A-N-E turns into F#-E-A-B-E). This theme is played on the clarinet, the instrument I played in school bands growing up, which represents how excited, nervous, tentative, and independent I felt while beginning my hike. Then a tapestry of birds and other forest sounds (all of which I transcribed either on the trail or later from recordings I made on my portable digital audio recorder) gradually build up around me as I become aware of the sounds of nature and leave the din of civilization. The elevation also gradually increases until we reach the summit of Bear Mountain, the highest peak in Connecticut (2,316 ft), before descending into Massachusetts.
The trail in Massachusetts (Movement II) is 90 miles long through the Berkshires, and I was barely in the state when the mosquitoes and flies started to make their irritating presence known, although there was a wonderful moment when their buzzing nearly formed a nice D-major chord! Halfway through the state, there is a gradual mile-long crescendo and diminuendo of mechanical noise as the trail passes over the Massachusetts Turnpike (which I'd seen many times from the perspective of a car on the road). We then hear an extended birdsong, a very complicated one where I had to slow down the recording to a quarter of the original speed in order to transcribe it. We then make our way up Mt. Greylock, the biggest ascent on the hike so far with an elevation change of 2,500 ft. At the top, the highest point in Massachusetts (3,491 ft), we are treated to a fantastic vista overlooking five states. After descending, it is on to the Green Mountains. Entering Vermont (Movement III, 150 miles), we hear the “Vermont theme” in the glockenspiel and vibraphone (again using my pitch-letter system: V-E-R-M-O-N-T = D#-E-F-A-CB-Bb). While I created this theme on the trail, it wasn't until months later when I realized how similar it is to the opening phrase of the gospel hymn “Just a Closer Walk with Thee,” which shares all the same melodic intervals except for one. The words of the hymn also fit perfectly with my experience, as in many ways it was a spiritual journey where I was literally walking closer to nature and to God, so I decided to weave it throughout this movement along with the Vermont theme. The trail passes through the small mountain town of Shrewsbury, which happens to be where my grandfather was born in 1921 (d. 2005). The year before my hike my mother and I visited the town and located the exact house he was born in. My grandfather is where I get my musical abilities from, as he always wanted to become a conductor and studied music at Elon College for a few years in the late 30s. But after his father fell ill and the US entered World War II (where he served in the military as a pilot), he had to abandon his studies and never returned. We still have some of his music notebooks and harmony exercises, and there is one chorale of his that I've always enjoyed, so I decided to use it in this movement to reflect how much I was thinking of him while passing through his birth town and state. In the symphony, we then come to Killington Peak, the highest point on the hike so far and Vermont's 2nd highest peak (4,236 ft.) where the “Vermont theme,” “Grandpa's hymn” and “Just a Closer Walk with Thee” are all combined. After a long descent, we reach the end of Vermont as we glide over the Connecticut river into Hanover, NH where after 27 straight days of hiking I took a 10-day break (7 of which were spent in Rio de Janeiro, Brazil!) Back on the trail, New Hampshire (Movement IV, 161 miles) and the White Mountains are the largest, steepest, most challenging and most breathtaking section of the trail, and consequentially this movement is the most dissonant and raucous, filled with ups and downs, sharp contrasts, transcendent highs and deep lows. After scaling the southwesternmost peak of the Whites, Mt. Moosilauke (4,561 ft), we plunge down into Kinsman Notch and back up via treacherous climb over South Kinsman Mountain (4,358 ft). After dipping down through Franconia Notch, we head up to the highest heights yet on the hike, walking along the breathtaking Franconia Ridge from Mt. Lincoln (5,089 ft) to Mt. Lafayette (5, 263 ft). Then it's down again, this time into Crawford Notch before the massive climb through the Presidential Range, including Mt. Washington, the highest point in New England and on the entire hike (6,288 ft). Mt. Washington can be extremely treacherous; during the final ascent I passed a sign which warned: “STOP The area ahead has the worst weather in America. Many have died there from exposure, even in the summer. Turn back now if the weather is bad.” But despite the danger and the noise at the summit (which tourists reach via a road or a train,) I experienced some blissful solitary moments gazing over all of New England when it seemed as though everything was calm, still, and perfect. After descending into another notch, Pinkham Notch this time, it's up and over the Carter-Moriah range, crowned by the Carter Dome (4,832 ft), before finally descending down and out of the White Mountains. The southern part of Maine (Movement V, 282 miles) was very difficult and slow going, but beautiful with wild blueberries on rocky mountain tops and so many remote and untouched ponds. About halfway through the state, we finally come to relatively flat ground and the pace picks up as the terrain becomes much easier (so much so that I covered 26 miles in my first day of this section, 8 miles longer than any other day on the trail!) The final stretch of trail was through the “100 Mile Wilderness,” the most remote section of the trail where there are no towns, services, or civilization for 100 miles. While this was one of the most challenging and dangerous parts of the trail, I was filled with pride to be able to see the end, Mt. Katahdin, gradually grow larger and larger on the horizon. My day on Katahdin, the highest point in Maine at 5,268 ft, was overcast and I was hiking through clouds, but it didn't subtract from my elation of having completed the journey and my gratitude for all the beautiful sights and experiences I had along the way. While the richness of my experience on the trail cannot be completely conveyed in a halfhour-long piece of music and a couple pages of words, I hope that this symphony reflects the beauty of the trail and our country's wilderness along with some of the immense significance this journey has had on me personally. My hope is that this piece inspires people to enjoy and protect our natural environment, including the Appalachian Trail. Keane Southard 2017
Performance instructions:
1. Tenuto marks (-) over notes indicate more weight/stress on the note and does not indicate space to be placed in between that note and the next (unless the tenuto is combined with a staccato). 2. Double Basses that do not have the low C extension should automatically play notes that are out of their range an octave higher than written, except when notes in parentheses are given. All basses without the low C extension should play all notes in parentheses while all basses with the extension play the non-parenthetical notes. 3. Glissandi in this piece are very important. All glissandi should last the entire duration and move at a steady velocity . If anything, glissandi should be over-emphasized. Stems above or below a glissando indicate the length of a glissando. They are not meant to be pulsed or articulated in any way unless indicated and accompanied by articulations or tremolos. 4. In Mvt IV, brass “air sounds� should have has much body and volume as possible without having pitch. No specific fingering is necessary, each player should use what works best for them. 5. In Mvt II, arrows indicate a gradual change from one mode of playing to another (e.g. from sul ponticello to normal.) 6. In Mvt II, where passages are in boxes, each player chooses his or her own tempo and should not be coordinated or synchronized with others. These passages are to be repeated for the duration indicated. 7. Notes with triangle noteheads (∆) indicate that the performer should play the highest note possible on the instrument (or the indicated string) at the given moment. 8. Metronome marks in parentheses signify what the tempo should be during or at the end of an accel. or rit. just before a sudden tempo change.
This work was commissioned by a consortium of New England Orchestras and donors, which includes: • The Claflin Hill Symphony Orchestra • The Wesleyan University Orchestra • The Wellesley Symphony Orchestra, Max Hobart – Music Director • The Sage City Symphony, Michael Finckel – Music Director • Marjorie Coldwell Additional support provided by the following donors: “Thru-Hikers” ▪ Anonymous “Section Hikers” • Chris Bauknecht • Robert Schwartz • Maynard Southard • Luke Letter • Michael Wimberly • Doug & Lynn Farrell • Alexander Vera • Sabra G Upjohn • Glenn Thomas • Janey Letter • Paul & Bonnie Morris • Ralph Thomas & Karl Brosch • Jeffrey Nytch • Vale Southard • Diane Cruciani • Lane Southard • David McHenry
Keane Southard/Spindrift Pages Email: keane.southard@hotmail.com Website: keanesouthard.instantencore.com
Score in C
e = 80
2
Oboe 1-2
1. Solo
mp (K -
Bass Clarinet in Bb
Bassoon 1-2
(3+2+2)
(51 Miles)
Flute 1-2
Clarinet in Bb 1-2
I. Connecticut
3
4
E - A - N - E)
mf
p
e = 80
Horn in F 1-2
Horn in F 3-4
Trumpet in C 1-2
Trombone 1-2
Bass Trombone
Tuba
Timpani
e = 80
Sand Blocks (or Cabasa) Percussion 1
Percussion 2
Violoncello
Double Bass
mp Footsteps through the leaves (rub for full duration!)
e = 80
©2017
Violin I
Viola
Violin II
(simile)
Keane Southard
2
Fl. 1-2
Ob. 1-2
Cl. 1-2
(3+2+2)
1.
(3+2)
A 6
Hn. 1-2
mf
1. Solo
pp
A mf
Hn. 3-4
p
Bsn. 1-2
7
p
B. Cl.
5
3
with straight mute 1.
Tbn. 1-2
B. Tbn.
C Tpt. 1-2
Tba.
Timp.
A
p
(Sand Blocks) Perc. 1
Perc. 2
Vln. I
2 Wood Blocks with yarn mallets
p
A con sord.
pp
Vc.
f
pp con sord.
pp
Db.
con sord.
pp
p
con sord.
pppp
pp Vla.
con sord.
Vln. II
Fl. 1-2
8
Cl. 1-2
B. Cl.
Bsn. 1-2
Hn. 1-2
Hn. 3-4
mf
1.
p
Tba.
with straight mute fluttertongue
Db.
3
B gliss.
mp
ricochet
p
div.
p
pp
(straight mute) 1.
pp
B
Maracas swirled
B
Vln. I
Vc.
3
Vla.
Vln. II
gli altri
(Wood Blocks)
solo
p
(Sand Blocks)
Perc. 2
Timp.
Perc. 1
p
B. Tbn.
10
6
Tbn. 1-2
1.
C Tpt. 1-2
3
(3+2+2)
9
Ob. 1-2
(3+2)
3
B
p
p
p
p
p
4
Fl. 1-2
B. Cl.
Bsn. 1-2
Hn. 1-2
Cl. 1-2
12
1.
mp
Ob. 1-2
(3+2+2)
11
3
1.
p
13
3
3
mf
Tbn. 1-2
B. Tbn.
Tba.
Hn. 3-4
C Tpt. 1-2
Timp.
Perc. 1
Perc. 2
solo
Ratchet
mp
div.
Vc.
Db.
Vla.
div.
Maracas swirled
Vln. II
p
p
p
Vln. I gli altri
1. (straight mute)
p
(Sand Blocks)
Fl. 1-2
Hn. 1-2
mf
B. Cl.
1.
f
mp
fluttertongue
mf
3
3
3
3
B. Tbn.
Timp.
f
Tbn. 1-2
Tba.
3
6
3
(1.)
(1.)
C Tpt. 1-2
C
3
Hn. 3-4
1.
15
mp
14
Cl. 1-2
C
Ob. 1-2
Bsn. 1-2
5
16
C
(Sand Blocks) Perc. 1
mf
(Wood Blocks)
Perc. 2
solo
Vln. I gli altri
Vln. II
mf
C
div.
div.
mp
p
II
harmonic gliss.
Ratchet
mf
II
harmonic gliss.
mf
mp
mp
Db.
mp Vc.
mp
mp Vla.
mf
mf
mf
mf
6
Fl. 1-2
17 6
18
C Tpt. 1-2
Tbn. 1-2
5
ff
Tba.
mf
ff
(ff)
ff
ff
D
3
f
ff
pp
ff
ff
pp senza sord.
ff
pp
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
Db.
mf
D
(Sand Blocks)
f
D
tutti div.
f
f
f
f
f
ff
ff
Bear Mountain Summit Highest Peak in CT (2,316 ft)
ff
pp senza sord.
(ff)
pp
ff
Bear Mountain Summit Highest Peak in CT (2,316 ft)
pp
ff
pp
f
B. Tbn.
a2
f
Hn. 3-4
f
Hn. 1-2
19
B. Cl.
Bear Mountain Summit Highest Peak in CT (2,316 ft) 20 2.
pp
Cl. 1-2
Ob. 1-2
Bsn. 1-2
D
ff
ff
Bear Mountain Summit Highest Peak in CT (2,316 ft)
ff
ff
ff
ff
ff
Fl. 1-2
E e = 60 1. Solo
21
22
23
mp
7
(e = q) 24
n
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
Hn. 1-2
E
e = 60
(e = q)
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
Timp. Perc. 1
E
e = 60
attacca
Medium Triangle
pp
attacca
(e = q)
attacca
Glockenspiel with brass mallets Perc. 2
Vln. I
Vln. II
Vla.
p
E
e = 60 pp
Vc.
Db.
pp
(e = q)
n
pp
n
pp
n
pp
n
n
n
n
n
n
attacca
II. Massachusetts
q = 60
(90 Miles)
(e = q)
2
3
Flute 1-2 Oboe 1-2
Clarinet in Bb 1-2
Bass Clarinet in Bb
Bassoon 1-2
Keane Southard
The Mosquitoes and Flies
q = 60
4
(e = q)
The Mosquitoes and Flies
Horn in F 1-2
Horn in F 3-4
Trumpet in C 1-2
Trombone 1-2
Bass Trombone
Tuba
q = 60
(e = q)
Timpani
Percussion 1
Percussion 2
The Mosquitoes and Flies
q = 60
(e = q)
Violin I 2 Soli
The Mosquitoes and Flies
(con sord.)
II
ppp (con sord.)
Solo
Violin II
pp
I poco sul pont. gliss.
p (sempre tremolando e glissando)
molto sul pont.
sfz
(con sord.)
gli altri div.
Viola
Violoncello
Double Bass
pp
n
poco sul pont.
p
5
6
poco sul pont. gliss.
molto sul pont.
Vln. II Solo
sfz
molto sul pont.
8
Vln. I 2 Soli
3
3
3
Vln. II 2 Soli
Perc. 1
sfz
11
Medium Triangle
p
mf
Vln. I 2 Soli
3
3
mf
poco sul pont.
ppp
p (sempre tremolando e glissando)
p
A
p
sfz
p
p
sfz
poco sul pont.
sfz
molto sul pont.
10
poco sul pont.
molto sul pont.
poco sul pont.
3
12
3
molto sul pont.
sfz
3
poco sul pont.
p
13
14
A Each player at own tempo, uncoordinated (I) (poco sul pont.)
3
(con sord.)
(con sord.)
add 2nd Desk (div.) on downbeat
add the others (tutti div.) on downbeat
pp (sempre tremolando e glissando)
Each player at own tempo, uncoordinated
molto sul pont.
poco sul pont. gliss.
(con sord.) II
sfz
molto sul pont.
molto sul pont.
p
9
p
3
p
3
poco sul pont.
poco sul pont.
p
sfz
poco sul pont.
poco sul pont.
3
sfz
p (sempre tremolando e glissando)
molto sul pont.
(II) (poco sul pont.) gliss.
pp (sempre tremolando e glissando)
(con sord.)
(con sord.)
3
Each player at own tempo, uncoordinated
mf
Vln. II 2 Soli
gliss.
(I) (poco sul pont.)
3
mf
(con sord.)
(con sord.)
add 2nd Desk (div.) on downbeat
add the others (tutti div.) on downbeat
pp (sempre tremolando e glissando)
Each player at own tempo, uncoordinated
(II) (poco sul pont.)
pp (sempre tremolando e glissando)
9
p (sempre tremolando e glissando)
ppp Vln. I 2 Soli
7
poco sul pont. gliss.
I
(con sord.)
3
(con sord.)
(con sord.)
19
20
10
Fl. 1-2
Ob. 1-2
Cl. 1-2
B. Cl.
15
16
17
B
18
1.
mp
21
22
(2+3)
23
2.
mp
mp
Bsn. 1-2
1.
p
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B
"Crossing the Mass. Pike"
"Crossing the Mass. Pike"
pp
Tba.
Timp. Perc. 1
Perc. 2
B
with bow Vibraphone motor on: medium speed
mp
B
Vln. I div.
Vc.
ff
n
n
n
senza sord. div.
p
ff
n
Vla.
ff
Vln. II div.
"Crossing the Mass. Pike"
pp
pp
B. Tbn.
senza sord. div.
p
Db.
senza sord.
p
Fl. 1-2
C
24
1.
mp
2.
26
2.
mp
B. Cl.
Bsn. 1-2
mp
1.
Hn. 1-2
mf
28
a2
mf
3
mp
2.
a2
mf
Hn. 3-4
mf
C
mp
27
mf
Cl. 1-2
mp
1.
Ob. 1-2
25
11
molto accel.
mf
a2
molto accel. a2
mf
a2
mf
1.
C Tpt. 1-2
Tbn. 1-2
2.
mf
a2
mf
mf
pp
B. Tbn.
Tba.
pp
Timp.
pp
C
mp
mf
Metal Wind Chimes (Mark Tree) Perc. 1
p
Vln. I
Vln. II
Vla.
mf
C senza sord., norm. div.
mp
mp
Vc.
molto accel.
mp
f
mp
3
f
molto accel.
mp
Db.
mp
senza sord., norm. div.
3
with medium yarn mallets Perc. 2
12
D 29
Fl. 1-2
Ob. 1-2
Cl. 1-2
31
p
f
a2
f
Hn. 3-4
a2
Tbn. 1-2
Tba.
f
Timp.
Perc. 1
f
f
Vln. II
Vla.
Vc.
Db.
mp
ff
3
3 3
3
3
3
unis.
n
f
n
unis.
unis.
n
q = 144
I
f
unis.
n f
ff
f
f
f
f
q = 144
Medium Suspended Cymbal with yarn mallets
f
ff
p
D Vln. I
1.
f
pp
(Vibraphone)
Perc. 2
D
f
f
D q = 144 f
3
33
p
3 3 3 3 3 3
32
p
mf
B. Tbn.
p
C Tpt. 1-2
f
Hn. 1-2
f
f Bsn. 1-2
p
a2
B. Cl.
30
q = 144
ff
I I
f ff
Fl. 1-2
3
3
3
3
3
3 3
3
ff
ff
ff
a2
ff
3
3
f
3
ff
3
3
f
3
3
3
ff
3 3
n
f
3
ff
f
3
a2
3
ff
37
ff
3 3 3 3
n
3
B. Tbn.
3
36
3
Tbn. 1-2
C Tpt. 1-2
3
3
Hn. 3-4
Timp.
3
Hn. 1-2
Tba.
3
35
3
3
B. Cl.
Bsn. 1-2
Cl. 1-2
3
Ob. 1-2
34
3
3
Glockenspiel with brass mallets Perc. 1
Perc. 2
Vln. I
3
Vla.
Vc.
Db.
(I)
(I)
ff
ff
Vln. II
(I)
(I)
(I)
3
ff
3
3
13
14
3 Fl. 1-2 3
38
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
Hn. 1-2
3 3
3
3 3
ff
p
Tbn. 1-2
B. Tbn.
ff
f
3 3
1.
3 3
f
3 3
41 3 3 3 3
3
40
3
p
C Tpt. 1-2
3
Hn. 3-4
39 3 3
3
3
f
n
ff
n
Timp.
Perc. 1
Perc. 2
Tba.
Vln. I
Vln. II
Vla.
Vc.
Db.
f
ff
f
(I)
(I)
(I)
(I)
f
(I)
(I)
3 42
Fl. 1-2
Ob. 1-2
Cl. 1-2
Bsn. 1-2
3 3 3 3
B. Cl.
Hn. 1-2
C Tpt. 1-2
5 5 44
5
Hn. 3-4
43
E
poco rit.
5
3
3
f
ff
ff
q = 128 E
3
ff
3 3
mf
Tbn. 1-2
45
poco rit.
q = 128
ff
f
15
1.
3
mf
B. Tbn.
Tba.
n
Perc. 1
Vln. II
q = 128
E
poco rit.
mp
Medium Suspended Cymbal with brushes 3
f
q = 128
E
poco rit.
ff
3
ff
mp
I
3
ff
f
Vc.
Db.
Vla.
f
Vln. I
Timp.
Perc. 2
f
pizz.
mf
16
Fl. 1-2
46
47
48
Ob. 1-2
Cl. 1-2
B. Cl.
3
3
3
Bsn. 1-2 3 3 Hn. 1-2
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
3
3
3
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
Perc. 1
Timp.
3
Db.
3
3
49
Fl. 1-2
Ob. 1-2
Cl. 1-2
Hn. 1-2
3
3
f
3
3
3
3
a2
3
3
Perc. 2
3
3
3
3
3
Vln. I
ff
3
3
ff
F
f
3
mf
II
3
div. 3
3
mf
f
F
gliss.
ff
Bass Drum
ff 3
f
ff
f
3
ff
3
mf
Vln. II
a2
F
3
Timp.
Perc. 1
ff
3 3
3
3
3
3
3
f
Tba.
a2
3
B. Tbn.
a2
3
Tbn. 1-2
f
f
Bsn. 1-2
C Tpt. 1-2
51
Hn. 3-4
50
f
3
B. Cl.
17
52
F
gliss.
ff
div. 3
3
mf
Vla.
Vc.
Db.
3
3
3
mf
3
3
3
3
arco
18
Fl. 1-2
Ob. 1-2
Cl. 1-2
53
54
55
56
a2
3
a2
3
3
57
3
3
3
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
B. Cl.
Bsn. 1-2
Tba.
Timp.
Perc. 1
Perc. 2
3 3 Vln. I
Vln. II
Vla.
Vc.
Db.
3
3
3
3
3
3
3
unis.
div.
3
3
3
3
3
3
3
3
3
3
f
3
f
f
3
3
3
3
3
3
3
3
3
3
( q = 72) q = 96
rit.
58
Fl. 1-2
3
3
60
61
Ob. 1-2
3
3
Cl. 1-2
3
3
B. Cl.
Bsn. 1-2
59
62
63
G
a2
mf
19
G Hn. 1-2
Hn. 3-4
rit.
( q = 72) q = 96
mf
3.
mf
Tbn. 1-2
B. Tbn.
C Tpt. 1-2
Tba.
G Timp. Perc. 1
Perc. 2
( q = 72)
rit.
Medium Triangle
q = 96
mf
G
( q = 72) q = 96
rit. unis.
Vln. I
Vln. II
Vla.
Vc.
Db.
3 3 3 3
3
3
3
3
3
3
3
div.
3
unis.
unis.
20
Fl. 1-2
64
65
66
( e = 48)
molto rit. 67
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
( e = 48)
molto rit.
mf
68
Tbn. 1-2
B. Tbn.
p
Tba.
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
Db.
( e = 48)
molto rit.
( e = 48)
molto rit.
p
Mt. Greylock Summit Highest point in MA (3,491 ft)
21
h = 48 (q = 96) H
69
Fl. 1-2
70
71
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
ff
ff
ff
ff
ff
h = 48 (q = 96)
72
3
Mt. Greylock Summit H Highest point in MA (3,491 ft) a2
Hn. 1-2
ff
Hn. 3-4
C Tpt. 1-2
ff a2
ff
Tbn. 1-2
B. Tbn.
Tba.
ff
ff
3 3
3 3
3
ff
H Mt. Greylock Summit Highest point in MA (3,491 ft) h = 48 (q = 96) Timp.
3
3
ff
Perc. 1
Perc. 2
Mt. Greylock Summit H Highest point in MA (3,491 ft) h = 48 (q = 96) Vln. I
ff
Vln. II
div.
Vla.
Vc.
ff
ff
ff Db.
ff
(Bass Drum)
ff
3
3
22
Fl. 1-2 74
73
Ob. 1-2
Cl. 1-2
Bsn. 1-2
Hn. 1-2
B. Cl.
Hn. 3-4
B. Tbn.
Tbn. 1-2
C Tpt. 1-2
75
76
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
Tba.
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Crash Cymbals
3
fff
p
fff
Medium Suspended Cymbal with yarn mallets
ff
(Bass Drum)
ff
p
ff
ff
fff
div. p
Vla.
Vc.
Db.
p
div.
p
fff
23
I Fl. 1-2
77
78
79
80
81
82
83
B. Cl.
Bsn. 1-2
Ob. 1-2
Cl. 1-2
I Hn. 1-2
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
I Timp.
Perc. 1
Perc. 2
Vla.
Vibraphone with medium yarn mallets motor on: medium speed
mf
p
unis.
p
attacca
unis.
mf
p
p
div.
mf
(no break before first chord of next movement!)
unis.
mf
Db.
attacca
p
mf
Vc.
attacca
Medium Triangle
I Vln. I
Vln. II
attacca
p
q = 60
III. Vermont
Flute 1-2
Oboe 1-2
2
3
Keane Southard
4
5
6
7
8
1.
3
mp
Clarinet in Bb 1-2
(150 Miles)
1.
3
mp
Horn in F 1-2
3
3
p
Horn in F 3-4
Trumpet in C 1-2
Trombone 1-2
Bass Clarinet in Bb
Bassoon 1-2
Bass Trombone
Tuba
Timpani
q = 60
q = 60
Glockenspiel with brass mallets Percussion 1
(V
-
E
-
R
-
M
-
p l.v.
with medium yarn mallets Vibraphone motor on: medium speed
Percussion 2
q = 60
Violin II
Viola
Violoncello
mp
(div.)
Violin I
O - N - T)
p
p
p
p
Double Bass
A
( q = 48)
rit.
q = 60 10
9
Fl. 1-2 3
mp
Ob. 1-2
5
B. Cl.
12
13
mf
14
1.
p
mf
Cl. 1-2
Bsn. 1-2
3
11
1.
25
A Hn. 1-2
rit.
( q = 48)
q = 60
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
A Timp.
Perc. 1
rit.
q = 60
(Vibraphone)
Perc. 2
( q = 48)
3
mp
3
3 3
3
Vln. I
rit.
Vln. II
Vla.
q = 60
3
A
( q = 48)
3
3
p
Vc.
p
Db.
26
( q = 40)
rit. 15
Ob. 1-2
17
18
Cl. 1-2
16
Fl. 1-2
1.
B. Cl.
p
3 3
mp
19
p
3 3
Bsn. 1-2
1.
3
mp
3
mp
p
p
rit.
( q = 40)
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
Timp.
Perc. 1
3
3
3
Vln. II
Vc.
3
Vln. I
Vla.
( q = 40)
rit.
pp
(Vibraphone) Perc. 2
rit.
( q = 40)
con sord.
3
p
Db.
"Grandpa's Hymn" B q = 72 21
20
Fl. 1-2
22
q = 60 23
rit.
24
( q = 36)
25
26
1.
3
3
Ob. 1-2
1.
3
Cl. 1-2
B. Cl.
Bsn. 1-2
3
mp
with straight mute
p
3
n
p
C Tpt. 1-2
3
mp
n
3
n
"Grandpa's Hymn" B q = 72 sord. con Hn. 1-2 Hn. 3-4
mp
3
mp
1.
q = 60
( q = 36)
3
rit.
B. Tbn.
B Timp. Perc. 1
Perc. 2
"Grandpa's Hymn" q = 72
q = 60
(Vibraphone)
3
p
"Grandpa's Hymn" B q = 72 Vln. I
Vln. II
Vla.
3
p swished together (strisciato)
( q = 36)
rit.
Crash Cymbals
3
3
Vc.
Db.
rit.
( q = 36)
pp
div.
3
3
n
(motor on: medium speed)
q = 60
Tbn. 1-2
Tba.
27
28
q = 52
C
Fl. 1-2
28
3
29
31
n
n
n
p
q = 52 p
C
Hn. 1-2
30
3
3
B. Cl.
Cl. 1-2
Bsn. 1-2
Ob. 1-2
27
n
Hn. 3-4
C Tpt. 1-2
n
Tbn. 1-2
with straight mute
mp
B. Tbn.
mp
Tba.
q = 52
C
Timp.
with straight mute
Glockenspiel with brass mallets Perc. 1
p
(Vibraphone)
Perc. 2
p
q = 52
C
Vln. I
Vla.
3
p
Vc.
Db.
p
3 3
p
con sord.
3
3
3
p
3
3
3 3
ppp
3 3
p
n
3
3
3
unis.
div.
con sord.
con sord.
Vln. II
32
33
Fl. 1-2 Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
3
Tbn. 1-2
3
B. Tbn.
3
Tba.
Timp.
34
36
senza sord.
p
3
3
3
(with straight mutes)
p
3
D
p
n
p
35
29
D
n
D
(Glockenspiel) Perc. 1
Perc. 2
Vln. I
Vla.
Vc.
Db.
p
unis. con sord.
Vln. II
3 3 3
3 3 p 3 3
D p3
ppp
3
3
3
3
3
3
n
3
div.
3
30 37
38
42
Ob. 1-2
Cl. 1-2
Bsn. 1-2
Hn. 1-2
(with straight mute)
Tbn. 1-2
B. Tbn.
pp
mp
pp
mp
40
3
mf
p (with straight mute)
3.
C Tpt. 1-2
Hn. 3-4
41
39
Fl. 1-2
B. Cl.
mf
mp
mf
con sord.
p
f
f
n
p
Tba.
mp
mf
f
f
Perc. 1
Perc. 2
Timp.
3 3 3 3 Vln. I
Vln. II
3
p
Vla.
3
Vc.
Db.
3
3
p
n
n
senza sord.
senza sord. unis.
f
senza sord.
f
n
f
n
senza sord.
f
n
senza sord. unis.
f
31
E Fl. 1-2
43
45
1.
1.
mp
3 3 3 3 3 3 3 3 3 3 p 3 3 3
3
Cl. 1-2
3
B. Cl.
Bsn. 1-2
46
mp
Ob. 1-2
44
p
E Hn. 1-2
Hn. 3-4
3
3
mp
3
3
p
mp
3
p
mp
p
mp
(with straight mute)
Tbn. 1-2
B. Tbn.
C Tpt. 1-2
Tba.
mp
E Timp.
p
Medium Suspended Cymbal with brushes
Perc. 1
Perc. 2
p
p
pp
p
Db.
pp pizz.
p
pp
pizz.
Vc.
p
Vla.
pp l.v.
E pizz. Vln. I Vln. II
3
mp
pizz. mp
3
p
3
3 mp
p mp
p
3
mp
3
F
32
Fl. 1-2
47
48
49
3
3
3
3
3
mf
B. Cl.
Bsn. 1-2
mf
3
3
3
3
p
1.
mp
F
( q = 40)
q = 60
mp
(with straight mute)
rit.
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
pp
p
p
Tba.
52
mp
3 3 3 3 3 3 3 3 3 3 3
Cl. 1-2
51
mp
Ob. 1-2
( q = 40) q = 60 50
rit.
mp
pp
(con sord.)
mp
pp
mp
pp
F
Timp.
rit.
(Medium Susp. Cym.)
Perc. 1
Perc. 2
6
mp
( q = 40) q = 60
6
pp
F
Vln. I
3
p
Vla.
3
mp
3
mp
( q = 40)
3
Vc.
p
Db.
arco
p
3
3
mf
p
3
3 3
3
mf
p
div.
arco 3 3 3
mf
q = 60
3 3 3 3
p 3 3
Vln. II
rit.
p
3
mp
div.
mf
mp
div.
mf
p
33
( q = 36)
rit. 53
Bsn. 1-2
3
3
cresc.
mf
a2
a2
57
58
a2
cresc.
Hn. 1-2
56
mf
B. Cl.
55
mf
Cl. 1-2
G
Fl. 1-2
Ob. 1-2
54
cresc.
mf
mf
a2
cresc. mf
mf
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Timp.
Perc. 2
cresc.
cresc.
( q = 36)
cresc.
3
mf cresc.
( q = 36)
rit.
cresc.
Vln. I
Vln. II
mf
3 3
Vla.
div. arco
unis.
mf
mf
( q = 36)
cresc.
unis.
mf
div.
cresc.
cresc.
rit.
div. arco
mf cresc.
3 3 unis. 3 3
Vc.
cresc.
senza sord.
G
G
Db.
senza sord.
mp
Perc. 1
cresc.
mf
Tba.
1. senza sord.
mf
3
mf
Hn. 3-4
cresc.
rit.
G
59
3
div.
3
34
Killington Peak H q = 120 60 Fl. 1-2
ff
Ob. 1-2
62
63
ff
3 3 3 3 3 3 3 3 ff 3
Cl. 1-2
B. Cl.
3
3
3
3
ff
Bsn. 1-2
61
3
3
3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
3
ff
Killington Peak H q = 120 a2
Hn. 1-2 ff
Hn. 3-4
ff
(senza sord.)
C Tpt. 1-2
ff senza sord.
Tbn. 1-2
ff
B. Tbn.
Tba.
ff
ff
Killington Peak H q = 120 Timp.
f
Glockenspiel with brass mallets
Perc. 1
ff
Perc. 2
with medium (Vibraphone) rubber mallets
ff motor off Pedal each note
Killington Peak H q = 120 Vln. I
unis.
ff
Vln. II
unis.
ff 3 3 3 3
unis.
Vla.
ff
3
3
3
unis.
3 3
Vc.
Db.
ff
ff
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3
3
3
3
3
3
3
3
3
35
Fl. 1-2
64
Ob. 1-2
Cl. 1-2
B. Cl.
65
3
3
3
3
3
3
3 3
3
3
3
3
66
3
3
3
3
3 3 3 3 3 3 3 Bsn. 1-2 3 3 3 3 3
3
Hn. 1-2
a2
Hn. 3-4
ff
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
Timp.
3
(Glockenspiel) Perc. 1
(Vibraphone)
Perc. 2
Vln. I
Vln. II
Vla.
Db.
3
3
3
3
Vc.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
36
67
Fl. 1-2
Ob. 1-2
Cl. 1-2
Hn. 1-2
3
3
3
3
B. Cl.
Bsn. 1-2
3
3
3
3
3
3
3
3
3
3
3
3
Tbn. 1-2
B. Tbn.
(Glockenspiel) Perc. 1
Perc. 2
(Vibraphone)
Vla.
Vc.
3
3
3
3
3
3
Db.
3
3
3
3
Vln. I
Vln. II
3
3
3
3
3
3
3
3
3
3
Timp.
C Tpt. 1-2
3
3
3
3
3
3
3
3
3
ff
3
Hn. 3-4
Tba.
69
68
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Fl. 1-2
Ob. 1-2
70
3
3
Cl. 1-2
3
3
71
72
3
3
3
3
Bsn. 1-2
Hn. 1-2
3
3
C Tpt. 1-2
3
3
3
3
3
3
3 3
3
3
ff
B. Tbn.
Tbn. 1-2
Timp.
3
Hn. 3-4
Tba.
3
3
3
B. Cl.
37
(Glockenspiel)
Vln. I
Perc. 1
(Vibraphone) Perc. 2
Vln. II
Vla.
Vc.
3
3
Db.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3
3
3
3
3
3
I
38
( q = 60)
rit.
Fl. 1-2
Ob. 1-2
fff
73
3
3
3
3
Bsn. 1-2 3 3 a2
3
3
Hn. 3-4
Tba.
Timp.
3
3
Perc. 2
rit.
Db.
3
I Killington Peak Summit, 2nd highest peak in VT (4,236 ft) A Tempo ff
fff
I Killington Peak Summit, 2nd highest peak in VT (4,236 ft) ( q = 60) A Tempo fff
3
3
3
3
3
fff
Vc.
3
fff
Vla.
3
3
3
3
fff
( q = 60)
Vln. II
3
rit.
Vln. I
3
fff
p
Perc. 1
3
3
3
3
fff
3
3 3 3 3
3
fff B. Tbn.
3
3
fff
Tbn. 1-2
3
3
fff
C Tpt. 1-2
3
3
3
I Killington Peak Summit, 2nd highest peak in VT (4,236 ft) ( q = 60) A Tempo
rit.
3
3
fff
fff
Hn. 1-2
3
fff
75
3
B. Cl.
74
fff
a2
Cl. 1-2
Killington Peak Summit, 2nd highest peak in VT (4,236 ft) A Tempo
3
3
3
3
3
3
3
fff
3
3
3
3
3
3
3
fff
fff
3
3
3
3
3
3
Fl. 1-2
Cl. 1-2
77
ff a2
Ob. 1-2
39
76
a2
78
rit.
f
ff
f
3 3 3 3 3 3 3 3
3
3
3
3
3
3
3
3
ff
B. Cl.
79
3
3
3
3
ff
3
3
3
3
3
3
f
3
3
3
f
3
3 3 3 3 3 3 3 Bsn. 1-2 3 3 3 3 3 3 3 3 3 3
3
3
3
3
3
f
ff
rit.
Hn. 1-2
ff
Hn. 3-4
ff
C Tpt. 1-2
Tbn. 1-2
n
n
n
n
B. Tbn.
Tba.
ff
ff
Timp.
f
(Glockenspiel)
Perc. 1
ff
(Vibraphone)
Perc. 2
ff
f
rit.
mf
f
f
Vln. I
Vln. II
ff
rit.
f
ff
f
Vla.
3
3
3
3
Vc.
3
3
ff
3
3
3
3
3
3
3
f
3
3
3
3
3
Db.
3
3
ff
3
3
ff
3
3
3
3
3
3
3
3
f
f
3
3
40
(q = 102) Fl. 1-2
(q = 86) 80
Cl. 1-2
B. Cl.
Bsn. 1-2
q = 48
84
82
83
85
n
n
3 3 3 3 3 3 3
mf
molto rit.
81
Ob. 1-2
(q = 66)
3
mp
p
3 3 3 3 3 3 3 3 3 3 3
3
mf
(q = 102)
mp
p
pp
(q = 86)
(q = 66)
n
q = 48
molto rit.
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
3
n
(q = 102)
(q = 86)
Timp.
Perc. 1
(q = 66)
q = 48
molto rit.
p
(Glockenspiel)
l.v. 3
3
p
Perc. 2
(Vibraphone)
pp
3 3
3
3
3
mp
p
(q = 102) Vln. I
Vln. II
(q = 86)
q = 48
Vla.
3
Vc.
3
3
3
3
3
3
3
3
3
3
3
3
pp
p 3
3
pp
n 3
div.
pp
3
n
3
molto rit.
3
Db.
(q = 66)
3
p
n
pp
p
pp
Flute 1-2
IV. New Hampshire
q = 120
Oboe 1-2
(161 Miles) 2
3
4
5
Keane Southard 6
7
f
f
Clarinet in Bb 1-2
f
Bass Clarinet in Bb
Bassoon 1-2
f
q = 120 f
Horn in F 1-2
Horn in F 3-4
Trumpet in C 1-2
Trombone 1-2
with straight mute
f
f
a2
Bass Trombone
f
Tuba
q = 120
Timpani
f
mp
Percussion 1
Percussion 2
Bass Drum
q = 120
Violin I
Violin II
mf
Whip f
High Triangle
p
mf
div.
fp
Viola
air sound
p
f
air sound
p
f
air sound
p
f
mp
n
n
n
f
ff
p
ff
p
ff
div.
fp
f
with straight mute
pizz.
p
f
f
arco
f
Violoncello
fp
f
Double Bass
arco
pizz.
fp
42
A f f f
9
10
Ob. 1-2
Cl. 1-2
Fl. 1-2
B. Cl.
ff
f Bsn. 1-2
8
6
11
12
f
Hn. 1-2
Hn. 3-4
A
f
f
mf
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
f
f
(with straight mute)
(with straight mute)
f
Tba.
f
f
f
f
A
Timp.
Perc. 1
Perc. 2
fp
fp
f
Vc.
Db.
div. pizz.
div. pizz.
f
f
f
f
A
f
f
div. pizz.
unis.
unis.
Vla.
f
Vln. I Vln. II
Bass Drum
div. pizz.
f
pizz.
f
43
16
17
15
Fl. 1-2
14
Ob. 1-2
Cl. 1-2
3 3 3 3 3 3 3 3
B. Cl.
Bsn. 1-2
13
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Tba.
Timp.
f
Perc. 2
Vln. I
air sound
a2 senza sord.
air sound
p
senza sord.
air sound
ff
air sound
p
mf
ff
ff
p
ff
mp
unis. arco
f
Vln. II
Vla.
Vc.
mp
f
p
f
mp
f
mp
f
mp
f
mp
mp
f
mp
mp
div.
mp
unis. arco
f
unis. arco
unis. arco
Db.
a2
p
mp
Perc. 1
f
C Tpt. 1-2
div.
p
f
f
mp f
mp f
ff
ff
mp
(pizz.)
mf
f
mf
44
18
Fl. 1-2 ff
Ob. 1-2
ff
Cl. 1-2
19
20
21
Bsn. 1-2
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
ff
1.
mf
mf
(senza sord.)
(senza sord.)
accel.
mf
ff
Timp.
f
ff
a2
f
ff
ff
a2
f
ff
Hn. 3-4
f
ff
Hn. 1-2
a2
f
ff
B. Cl.
22
accel.
mf
mf
mf
accel.
mp
Perc. 1
High Triangle Perc. 2
Medium Suspended Cymbal with yarn mallets
p
ff
accel.
Vln. I
Vln. II
Vla.
Vc.
Db.
unis.
f
f
f
f
unis.
pizz.
f
pizz.
pizz.
pizz.
B q = 148 23 Fl. 1-2
45 24
25
26
27
28
Ob. 1-2
Cl. 1-2
B. Cl.
mf Bsn. 1-2
mf
B q = 148 Hn. 1-2
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
f
B. Tbn.
f
Tba.
f
q = 148
B Timp.
mf
mf
(Med. Susp. Cym.)
Vln. I
Perc. 1
f
Perc. 2
Bass Drum
p
B
mf
q = 148 IV
f con fuoco
arco IV
Vln. II
f con fuoco
arco III
Vla.
f con fuoco
arco div.
Vc.
mf
arco div.
Db.
mf
3
3
46
29
Fl. 1-2
Ob. 1-2
Cl. 1-2
Hn. 1-2
mp
B. Cl.
Bsn. 1-2
30
Tba.
Perc. 1
f
mf
mf
p
f
p
p
f
f
Db.
f
Vc.
f
f
(Med. Susp. Cym.)
f
Vln. I
Vla.
mf
Vln. II
f
(Bass Drum)
Perc. 2
mf
Timp.
f
mp
B. Tbn.
f
33
mp
f
Tbn. 1-2
mf
f
f
mf
C Tpt. 1-2
32
f
mp
Hn. 3-4
31
f
f
47
C Fl. 1-2
38
34
3
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
3
35
fff
ff
ff 3
3
ff
Hn. 3-4
a2
3
mf
C Tpt. 1-2
mf
Tbn. 1-2
B. Tbn.
Tba.
Timp. Perc. 1
Vln. I
Vln. II
Vla.
ffp
3
ffp
3
ffp
(Bass Drum)
mf
3
Db. 3
ffp
ffp
fff
fff
fff
ffp
rit.
fff
q = 120
ff
C
ff
ff
ff
Vc.
f
fff
ff
3 3
fff
ffp
ffp
C
(Med. Susp. Cym.) with wood sticks
ffp
3
mp
Perc. 2
ffp
q = 120
fff
ffp
ffp
fff
ffp
ffp
ffp
rit.
ffp
a2
3
a2
ffp
3
ffp
a2
C
3
mf
a2
1.
ff
Hn. 1-2
q = 120
rit.
ff
37
36
unis.
ff
unis.
ff
q = 120 div. fff
rit.
div.
fff div.
fff div.
fff
fff
48
Fl. 1-2
39
fff
Ob. 1-2
Mt. Moosilauke Summit (4,561 ft)
B. Cl.
Bsn. 1-2
Hn. 1-2
fff
fff
Cl. 1-2
40
41
C Tpt. 1-2
f
f
f
f
n
3
3
mf
3
mf
mf
n
B. Tbn.
Tba.
Timp.
Perc. 1
n
mf
Mt. Moosilauke Summit (4,561 ft)
n
mf
Glockenspiel with brass mallets
n
mf
f
n
Tbn. 1-2
n
f
n Hn. 3-4
42
Mt. Moosilauke Summit (4,561 ft)
fff
High Triangle Perc. 2
Vln. I Vln. II
Vla.
Vc.
Db.
fff
Mt. Moosilauke Summit (4,561 ft)
n
f
f
f
f
3
3
3
Kinsman Notch 43
44
45
46
Bsn. 1-2
D Fl. 1-2
Ob. 1-2
Cl. 1-2
B. Cl.
mp
ff
f
fff
f
fff
mf
mp
Tba.
49
ff
D Kinsman Notch Hn. 1-2
B. Tbn.
48
ff
Tbn. 1-2
ff
C Tpt. 1-2
47
49
ff
ff
Hn. 3-4
f
mp
f
mp
f
mp
D Kinsman Notch Timp.
mf
f
mf
Perc. 1
f
D Kinsman Notch Vln. I
Vln. II
Vla.
Vc.
f
Bass Drum
Perc. 2
Snare Drum
High Triangle
f
(div.)
(div.)
fp
ff
fp
Tam-tam
(highest note possible)
ff (highest note possible)
ff
(div.)
f
Db.
f
50 50
Fl. 1-2
Ob. 1-2
51
52
53
E
54
55
p
Cl. 1-2
B. Cl.
f
mp
mp
p
1.
56
mf
f
mf
f
mf
Bsn. 1-2
p
mf
(stopped)
Hn. 1-2
mf
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
(stopped)
mf
E
mf
3
f
mp
mp
B. Tbn.
3
mp
Tba.
Timp.
3
mp
E
mf
Perc. 1
Perc. 2
p
Bass Drum
p
Vln. I
unis.
unis.
Vln. II
Snare Drum
E
mp
mf
mp
f
mf
f
p
mp
Vla.
Vc.
Db.
p
unis.
pizz.
mf
unis.
pizz.
mf
arco
p
(pizz.)
mf
57
Fl. 1-2
58
59
51 60
61
62
ff fluttertongue
Ob. 1-2
1.
f
1.
Cl. 1-2
Bsn. 1-2
ff
(open)
mf
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
ff
mf
Hn. 1-2
3. (open)
mf
Tba.
f
3
ff
ff
Timp.
Perc. 1
mf
ff
ff
1.
Vln. I
Vln. II
Vla.
Vc.
(Bass Drum)
ff
mp
Db.
mf
f
ff
Vibraphone with medium rubber mallets
ff
div. pizz.
unis. arco
mf
div. pizz.
f
mf
pizz.
pizz.
(pizz.)
div.
unis. arco
(pizz.)
ff
div.
unis. arco
mp
unis. arco
mp
mf
mf
ff
mf
f
Glockenspiel with brass mallets
(Snare Drum)
mf
ff
Perc. 2
mf
p
f
mp
B. Tbn.
3
mp
1.
3
3
mf
B. Cl.
arco
p
3
f
mf
mf
gliss.
3
3
3
52
Fl. 1-2
66
1.
63
F
64
65
ff
Ob. 1-2
mf
f Bsn. 1-2
f
F
Hn. 1-2
3
mf
B. Cl.
f
ff
Cl. 1-2
3
67
f
sfz
Hn. 3-4
mf
3
Tbn. 1-2
ff
B. Tbn.
Tba.
mf
mf
Timp.
F
Medium Suspended Cymbal with wood stick
Perc. 2
f
F
Whip
mp
arco
ff
pizz.
ff pizz.
Vc.
arco
Db.
ff
Bass Drum
f
pizz.
mf
ff
pizz.
f
pizz.
Vla.
f
pizz.
Vln. II
f
ff
f
2 Wood Blocks with medium yarn mallets
Vln. I
mf
mf
Perc. 1
3
mf
3
arco
mp
f
3
sfz
C Tpt. 1-2
G
accel. 68
Fl. 1-2
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
q = 148 69 70 mf
mf
a2
air sound
p
p
a2
p
q = 148
ff
air sound
ff
accel.
Hn. 3-4
72
G
Hn. 1-2
71
ff
53
ff
p
C Tpt. 1-2
a2
air sound
p
Tbn. 1-2
a2
air sound
ff
p
B. Tbn.
ff
air sound
p
Tba.
Timp.
Perc. 1
Perc. 2
p
accel.
ff
G q = 148
div.
div.
arco div.
f
p
arco
p
p
Vc.
Vla.
arco
div. p
Vln. II
Db.
air sound
accel.
Vln. I
ff
q = 148 unis. unis.
f
f
mf
f
f
mf
f
G
mf
1. 73
54 Fl. 1-2
Ob. 1-2
mp
mf
Hn. 1-2
a2
f
f
3
3
mp
Hn. 3-4
3.
3
Tbn. 1-2
3
f
f
mp
C Tpt. 1-2
78
f
mf
Bsn. 1-2
a2
f
77
f
mf
B. Cl.
76
1.
75
f
mp
Cl. 1-2
74
f 1.
f
mf
mf
mf
B. Tbn.
Tba.
Timp.
Perc. 1
Perc. 2
Db.
p
Medium Suspended Cymbal with yarn mallets
f
Vc.
Vla.
(Bass Drum)
Vln. I
Vln. II
mf
p
mp
f
f
f
f
f
55
rit. 79
Fl. 1-2
Bsn. 1-2
Hn. 1-2
Tbn. 1-2
B. Tbn.
Tba.
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
Db.
ff
ff cresc.
ff
cresc.
a2
cresc.
3
3
ff
cresc. a2
f
ff
H rit.
cresc.
3
3
ff
div. 3 3
fff
fff
fff
fff
fff
H rit. div.
ff
fff
fff
fff
f
(Bass Drum)
ff cresc.
ff cresc.
85
f
rit.
f
a2
3.
H
f
cresc.
ff cresc.
cresc. ff ff
1.
C Tpt. 1-2
ff cresc.
f
Hn. 3-4
3
3
3
84
83
82
B. Cl.
H
3
Cl. 1-2
81
Ob. 1-2
80
ff
cresc.
unis.
cresc. unis.
ff cresc.
ff
ff
cresc.
cresc.
fff
fff
fff
56
South Kinsman Mountain Summit (4,358 ft) 86 87 88 q = 120 Fl. 1-2 7
fff
Ob. 1-2
Cl. 1-2
Bsn. 1-2
7
90
91
I Franconia Notch
7
fff
B. Cl.
89
I Franconia Notch
7
7
fff
7
South Kinsman Mountain Summit (4,358 ft) q = 120 Hn. 1-2
f
f
Hn. 3-4
C Tpt. 1-2
3 3 3
3
Tbn. 1-2
ff
B. Tbn.
Tba.
ff
South Kinsman Mountain Summit (4,358 ft) q = 120 Timp.
3
f
mf
3
f
Perc. 1
fff
Maraca
Perc. 2
mf
fff
3
I Franconia Notch
Medium Suspended Cymbal with wood stick
Bass Drum
3
3
I Franconia Notch
ff
mp
ff
3
Glockenspiel with brass mallets
3
f
f
South Kinsman Mountain Summit (4,358 ft)
q = 120 Vln. I fff
Vln. II
Vla.
Vc.
fff
div.
div.
fff
fff
Db.
ff
mf
f
mf
92
Fl. 1-2
93
mf
Cl. 1-2
94
95
96
ff
1.
mf
B. Cl.
mp
Bsn. 1-2
Hn. 1-2
1.
p
mf
accel.
f
Tbn. 1-2
B. Tbn.
Tba.
Timp.
mf
f
mf
f
C Tpt. 1-2
mf
Hn. 3-4
57
ff
mf
Ob. 1-2
accel.
f
accel.
f
Perc. 1
Perc. 2
unis.
Vln. I ff
Vln. II
unis.
ff
unis.
Vla.
ff
unis.
Vc.
ff
Db.
f
Whip
High Wood Block with rubber mallet
mp
accel.
p
mp
Bass Drum
p
p
f
mp
pizz.
mp
mf
mp
pizz.
p
f
mf
q = 148
J The Franconia Ridge Mt. Lincoln (5,089 ft) to Mt. Lafayette (5,263 ft)
58
Fl. 1-2
99 97
100
98
mf, but full
Ob. 1-2
mf, but full
Cl. 1-2
B. Cl.
Bsn. 1-2
mf, but full
The Franconia Ridge Mt. Lincoln (5,089 ft) to Mt. Lafayette (5,263 ft) q = 148
mf, but full
Tbn. 1-2
B. Tbn.
Tba.
mf, but full
mf, but full
C Tpt. 1-2
Hn. 3-4
f
J
Hn. 1-2
1.
f espress.
mf, but full
mf, but full
mf, but full
q = 148
J The Franconia Ridge Mt. Lincoln (5,089 ft) to Mt. Lafayette (5,263 ft)
Timp.
f
Glockenspiel with brass mallets Perc. 1
Perc. 2
f espress.
f
Db.
p
Vc.
f
The Franconia Ridge Mt. Lincoln (5,089 ft) to Mt. Lafayette (5,263 ft) J q = 148 Vln. I
Vla.
ff
(Bass Drum)
Vln. II
f full arco
f full
f espress.
arco
f espress.
102
101
Fl. 1-2
Ob. 1-2
B. Cl.
Bsn. 1-2
Hn. 1-2
Hn. 3-4
B. Tbn.
Perc. 1
Perc. 2
Vla.
Vc.
Vln. I
Db.
Vln. II
Timp.
Tbn. 1-2
C Tpt. 1-2
Tba.
59
Cl. 1-2
104
103
(Bass Drum)
Crash Cymbals
p
f
f
60
107
105
Fl. 1-2
Ob. 1-2
Cl. 1-2
Hn. 1-2
Vln. II
Vc.
(Bass Drum)
f
Vla.
Vln. I
Db.
B. Tbn.
Perc. 2
Tbn. 1-2
Perc. 1
C Tpt. 1-2
Timp.
Hn. 3-4
Tba.
B. Cl.
Bsn. 1-2
108
106
109
Fl. 1-2
Ob. 1-2
110
q = 120
K
111
112
113
ff
ff
Cl. 1-2
61
ff
B. Cl.
Bsn. 1-2
pp
pp
K
Hn. 1-2
q = 120
ff
Hn. 3-4
ff
C Tpt. 1-2
ff
Tbn. 1-2
ff
B. Tbn.
Tba.
Timp.
Perc. 1
Perc. 2
K q = 120
3
p
ff
Snare Drum
mf p
f
ff
(Bass Drum)
ff
Vln. I div.
K q = 120
ff
unis.
mp
div.
Vln. II
pizz.
ff
unis.
sfz
sfz
div.
Vla.
ff
Vc.
Db.
div.
unis.
mp
3
f
p
f
p
3
f
mp
f
62
114 1. Fl. 1-2 p
p
3
3
3
3
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
3
mp
mp
f
Bsn. 1-2
117
3
f
B. Cl.
116
f
Cl. 1-2
115
f
Ob. 1-2
with straight mute
f
Tbn. 1-2
with straight mute
f
B. Tbn.
Tba.
Timp.
sffz
Perc. 1
Perc. 2
Vln. I
2 Wood Blocks with medium yarn mallets
mf
Vln. II
p
sfz
Vla.
mp
Vc.
div.
mf
(div.)
mf
Db.
118
Fl. 1-2
119
120
121
63
122
p
3
mp
Ob. 1-2
mp
Hn. 1-2
Hn. 3-4
Cl. 1-2
B. Cl.
Bsn. 1-2
C Tpt. 1-2
Tbn. 1-2
senza sord.
f
senza sord.
f
B. Tbn.
Tba.
Medium Triangle
Perc. 1
mp
Perc. 2
Vln. I
Vln. II
Ratchet
f
mf
unis.
mf
Vc.
unis.
mf
Db.
mf
mf
arco
mf
Vla.
f
Timp.
f
f
f
3
mf 3
64
123 Fl. 1-2
L Crawford Notch
124
125
126
f
Ob. 1-2
f
Cl. 1-2
f
B. Cl.
Bsn. 1-2
Hn. 1-2
f
f
Hn. 3-4
f
L Crawford Notch
mf 3.
mf
Tbn. 1-2
B. Tbn.
C Tpt. 1-2
Tba.
Timp.
Perc. 1
Perc. 2
Vln. I
Vla.
f
Vc.
f
Crawford Notch L
Bass Drum
mf
L Crawford Notch
f
f
Vln. II
Db.
div.
div. (snap pizz.)
sfz
unis. (snap pizz.)
sfz
Fl. 1-2
128
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
127
129
65 130
131
f
f
Hn. 1-2
Hn. 3-4
f
f
sfz
sfz
C Tpt. 1-2
Tbn. 1-2
mf
B. Tbn.
Tba.
Timp.
Perc. 1
Perc. 2
Whip mp
Vln. II
f
Vla.
3
3
Vc.
f
p
f
p
f p
f
p
(div.)
fp
arco
div.
sfz
arco
mp
Db.
Snare Drum
mp
f
div.
3
div. Vln. I f
3
mf
3
mf
3
sfz
(div.)
fp unis.
fp
unis.
fp
fp
66
132
Ob. 1-2
Cl. 1-2
B. Cl.
133
134
135
Fl. 1-2
p mp mf f
p
p
mp
mf
mf
mp
f
f
Hn. 1-2
p
Bsn. 1-2
mf
Hn. 3-4
C Tpt. 1-2
mf
sfz mf
Tbn. 1-2
sfz
mp
ff
3
mf
Perc. 2
Vln. I
f
Vln. II
pizz.
sfz
sfz
pizz.
pizz.
f
Db.
sfz
Vc.
pizz.
f
f
pizz.
f
Vla.
sfz
sfz
p
sfz
3
mp
ff
arco
ff
ff
arco
sfz
mf
sfz
sfz
3
arco
mp
sfz
ff
(Bass Drum)
3
ff
3
p
Perc. 1
mf
Timp.
ff
mf
Tba.
ff
3
mf
B. Tbn.
3
3
div.
arco
mf
arco
mf
Mt. Washington Summit, Highest point on the hike M and in all of New England (6,288ft)
Fl. 1-2
fff
ff
Cl. 1-2 ff B. Cl. ff Bsn. 1-2
Tba.
fff
ff
fff
fff
fff
fff
Mt. Washington Summit, Highest point on the hike M and in all of New England (6,288ft)
q = 148
accel. Timp.
Perc. 1
fff
Vln. I
unis.
unis.
Vla.
Vc.
ff unis.
ff
Db.
(Snare Drum)
ff
ff
ff
fff
Mt. Washington Summit, Highest point on the hike and in all of New England (6,288ft) M q = 148
accel.
Vln. II
fff
(Bass Drum)
Perc. 2
fff
ff
q = 148
B. Tbn.
fff
ff
Tbn. 1-2
fff
accel.
C Tpt. 1-2
Mt. Washington Summit, Highest point on the hike M and in all of New England (6,288ft)
fff
ff
Hn. 3-4
138
ff
Hn. 1-2
137
fff
Ob. 1-2
q= 148
136
accel.
67
fff
fff
fff
68
Fl. 1-2
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
Hn. 1-2
C Tpt. 1-2
141
142
143
144
145
146
Perc. 1
Perc. 2
Vln. I
Vla.
Vc.
Db.
147
fff
fff
pp
mp serene and calm
fff
fff
fff
mp serene and calm
fff
fff
(Bass Drum)
div.
fff
pp
pp
fff
div.
Vln. II
pp
(Snare Drum)
fff
Tba.
fff
fff
fff
B. Tbn.
140
fff
Tbn. 1-2
Timp.
139
Hn. 3-4
fff
div.
pp
div.
fff
fff
pp
unis.
fff
div.
Fl. 1-2
Ob. 1-2
Cl. 1-2
Hn. 1-2
B. Tbn.
(Bass Drum)
(Snare Drum)
Perc. 2
Tbn. 1-2
Perc. 1
150
C Tpt. 1-2
Timp.
69
149
Hn. 3-4
Tba.
B. Cl.
Bsn. 1-2
148
fff
Vln. I
Vln. II
Vla.
Vc.
div.
unis.
Db.
unis.
(bow each 16th note while glissing.)
gliss .
s. glis
s. glis
(bow each 16th note while glissing.) gliss.
gliss. (bow each 16th note while glissing.)
gliss.
70
151 Fl. 1-2
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
Hn. 1-2
155
156
157
158
rit.
B. Tbn.
Timp.
(Snare Drum)
(Bass Drum)
Vln. I
Vla.
Vc.
Tam-tam
p
mp serene and calm
(div.) Vln. II
rit.
p
(div.)
Db.
154
Tbn. 1-2
Perc. 2
153
C Tpt. 1-2
Perc. 1
152
Hn. 3-4
Tba.
rit.
rit.
mp serene and calm
q = 120 160 159 N a2 Fl. 1-2
162 161
fff
a2
Ob. 1-2
Cl. 1-2
fff
B. Cl.
fff
Bsn. 1-2
a2
q = 120
fff
Hn. 3-4
fff
B. Tbn.
fff Tba.
q = 120
Timp.
Perc. 1
fff
(Bass Drum)
Perc. 2
fff
q =120 unis. Vln. I
Vln. II
Vla.
unis.
Vc.
Db.
fff
fff
fff
p
fffp
fffp
fffp
p
mf
Crash Cymbals
ff
mf
p
fff
ff
fff
p
ff
N
unis.
p
p
p
fffp
Medium Suspended Cymbal with yarn mallets
(Tam-tam)
fffp
fff
71
166
p
fff
N
fffp
fff
p
Tbn. 1-2
165
p
fff
C Tpt. 1-2
fff
N Hn. 1-2
164
fff
a2
163
p
p
p
fffp
72
Fl. 1-2
O Pinkham Notch
167
168
169
fff
Ob. 1-2
sfz
fff
Cl. 1-2
170
sfz
sfz
sfz
fff
B. Cl.
Bsn. 1-2 fff
O Pinkham Notch
f
fff
f
Hn. 1-2
sfz
fff
C Tpt. 1-2
6
sfz
fff
Hn. 3-4
sfz
sfz
sfz
fff
Tbn. 1-2
3
fff
B. Tbn.
Tba.
3
mf
f
3
mf
fff
3
f
O Pinkham Notch
fff
Timp.
O Pinkham Notch
fff
(Crash Cymbals)
Perc. 1
fff
(Bass Drum) Perc. 2
fff
mf
Vln. I fff
Vla.
fff
Vc.
ff
fff
fff
arco unis.
f
f
f
f
f
fff
Db.
Vln. II
f
mf
div. pizz.
mp
mf
3
3
f
pizz.
mf
3
3
f
f
73 171
Fl. 1-2
172
mp
p
Ob. 1-2
mp
p
B. Cl.
mp
p
Cl. 1-2
mp
Bsn. 1-2
mp
p
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
Timp.
Perc. 2
Vln. I
div.
p
div.
Vln. II
div.
Vla.
Vc.
p
div.
Db.
mp
p
Perc. 1
pizz.
mp
p
p
mp
mp
mf
mp
mp
74
173
Fl. 1-2
Ob. 1-2
mf
f
mf
Hn. 1-2
Bsn. 1-2
176
f
mf
B. Cl.
175
mf
Cl. 1-2
f
174
f
p
Hn. 3-4
p
C Tpt. 1-2
Tbn. 1-2
f
B. Tbn.
Tba.
Timp.
Perc. 1
Perc. 2
Vla.
Vc.
Db.
f
mf
mf
p
fp
fp
p
f
2 Wood Blocks with rubber mallets
f
mf
mf
mp
Vln. I
f
Sand Blocks (Cabasa)
mf
Vln. II
f
f
unis.
p
f
p
f
p
p
arco
p
f
f
f
Fl. 1-2
mp
mp
p
Hn. 1-2
mf
p
mf
180
181
q = 148
3
3
f
f
mf
f
mf
mp
Tbn. 1-2
mf
accel.
f
f
C Tpt. 1-2
P
f
f
Hn. 3-4
182
f
75
179
p
Bsn. 1-2
q = 148
B. Cl.
178
p
Cl. 1-2
177
mf
Ob. 1-2
accel.
P
3
ff
3
3
mf
ff
3
mf
ff
mf
B. Tbn.
Tba.
Timp.
Perc. 1
Perc. 2
Vln. I
Vla.
Vc.
accel.
q = 148
P
f
mf
(Wood Blocks)
Ratchet
f
f
accel.
unis.
unis.
unis.
mf
Bass Drum
mf
q = 148 f f f
Crash Cymbals
f
ff
(Sand Blocks)
P
f
f
non div.
mf
f
Db.
mf
Vln. II
non div.
mf
mf
76 183
184
185
186
187
Fl. 1-2 Ob. 1-2
Cl. 1-2
Hn. 1-2
Hn. 3-4
B. Cl.
Bsn. 1-2
Tbn. 1-2
B. Tbn.
Tba.
Timp.
C Tpt. 1-2
(Crash Cymbals)
Perc. 2
mf
Perc. 1
(Bass Drum)
Vln. I
Vln. II
(sim.)
Vla.
Vc.
(sim.)
Db.
191
Fl. 1-2
77
189
3
f 3
fff
ff
3 3 3 mf ff 3
Ob. 1-2
192
Q 190 Dome Summit (4,832 ft) Carter 188
fff
Cl. 1-2
3
3
f
B. Cl.
3
Bsn. 1-2
3
f
3
3
f
Hn. 1-2
Hn. 3-4
3
Tba.
Timp.
3
3
3
Perc. 1
Perc. 2
ff
f
f
3
3
fff
Q Carter Dome Summit (4,832 ft) ff ff
ff
ff
ff
f
f
Q Carter Dome Summit (4,832 ft) 3 ff
f
f
f
3
(Bass Drum)
fff
fff
3
(Crash Cymbals)
ff
3
B. Tbn.
3
mf
Tbn. 1-2
ff
3
C Tpt. 1-2
3
f
f
3
ff 3
ff
ff
3
ff
ff 3
ff
Q Carter Dome Summit (4,832 ft) 3 Vln. I 3
3
3
fff
ff
3 3 3
3
Vln. II
ff
3
Vla.
3
Vc.
Db.
3
ff
3
3
fff
3
fff
ff
3
ff
3
fff
3
fff
78 193
Fl. 1-2
1. 194
195
196
mf
B. Cl.
Bsn. 1-2
Hn. 1-2
B. Tbn.
Perc. 2
Tbn. 1-2
Perc. 1
mf
C Tpt. 1-2
Timp.
Hn. 3-4
Tba.
Cl. 1-2
Medium Triangle
mf
mp
p
mp
f
mf
mf
mp
f
Medium Suspended Cymbal with brushes
mp
f
mp
f
f
pizz.
pizz.
mp
mp
f
mp
f
(Bass Drum)
pizz.
f
p
p
mf
mp
Db.
p
mp
Vc.
3
mp
Vla.
3
mp
Vln. I
Vln. II
mp
f
mp
mf
3 3 3
p
f
3
3
3
mp 1.
197
1.
mf
Ob. 1-2
mp
f
pizz.
mp
f
mp
f
mp
f
79
R
End of the White Mountains q = 120
rit.
198 Fl. 1-2
attacca
199
200
201
202
203
204
205
206
207
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
f mf
f
mf
mp mp
p
p
pp
pp
R End of the White Mountains
q = 120
rit.
C Tpt. 1-2
mp
mf
p
rit.
(Med. Susp. Cym.)
Perc. 1
Perc. 2
with straight mute
p
Timp.
attacca
mp
B. Tbn.
Tba.
1.
Tbn. 1-2
Hn. 3-4
1.
Hn. 1-2
f with straight mute
mf
f
mf
pp
R End of the White Mountains q = 120
(Bass Drum)
f
mf
mp
attacca
p
pp
R
End of the White Mountains q = 120
div. arco rit.
3 Vln. I 3 3
3 3 3
3 3 3
mf
mp
mf
Vla.
mp
p
3 3 3
div. arco
mp
Vc.
div. arco
mp
Db.
p
arco div.
Vln. II
attacca
unis.
p
pp
p
pp
f
f
mf
mp
arco
f
mf
mp
q = 60
2
3
4
Flute 1-2 Oboe 1-2
Clarinet in Bb 1-2
Bass Clarinet in Bb
V. Maine 5
6
7
Keane Southard 8
A
9
10
11
12
Horn in F 1-2
Horn in F 3-4
Trumpet in C 1-2
Trombone 1-2
Bassoon 1-2
Bass Trombone
Tuba
q = 60
(282 Miles)
q = 60
Timpani Percussion 1
Percussion 2
with hard rubber Vibraphone mallets (motor off)
q = 60 ff
Violin I div.
ff
ff
Violin II div.
ff
ff
Viola div.
ff
Violoncello div.
ff
Double Bass div.
ff
ff
ff
A
A
ff
Glockenspiel with brass mallets
ff
A
15
Fl. 1-2
14
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
13
16
B
81 19
20
21
22
Hn. 3-4
C Tpt. 1-2
18
Hn. 1-2
17
B
Tbn. 1-2
B. Tbn.
Tba.
Timp.
(Glockenspiel)
Perc. 1
(Vibraphone)
Perc. 2
Vln. I div.
Vln. II div.
Vla. div.
B
B
fff
fff
Vc. div.
Db. div.
fff
fff
fff
fff
fff
fff
fff
C
82
rit.
A tempo
23
25
26
27
28
29
30
31
32
33
34
35
Fl. 1-2
24
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
C rit.
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
A tempo
Hn. 1-2
1.
C A tempo
p
Timp.
Perc. 1
Perc. 2
A tempo
rit.
C rit.
Vln. I div.
Vln. II div.
Vla. div.
n
n
n
n
n
Vc. div.
Db.
pp
pp
n
p espress.
n
(like a sigh)
p
pp
pp
unis.
pp
3
3
83
poco rit. 36
37
38
39
40
41
42
43
44
Fl. 1-2
Ob. 1-2
Cl. 1-2
3
B. Cl.
Bsn. 1-2
p
3
p
45
pp
poco rit.
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
poco rit.
Timp.
Perc. 1
Perc. 2
Vln. I
mp espress.
Vln. II
mp espress.
Vla. div.
mp 3
p
3
p
Vc. div.
p
Db.
3
3
mp
p
f
p
p
pp
pp
mp 3
f
mp
3
f
f
p
mp
unis.
mp div.
(like a sigh)
unis.
poco rit.
(like a sigh)
unis.
mp
p
p
pp
pp
pp
mp
mp
mp
f
f
f
D A tempo
84
46
47
48
49
50
51
52
53
Fl. 1-2 Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
D Hn. 1-2
A tempo
Hn. 3-4
C Tpt. 1-2
Soli senza sord.
Tbn. 1-2
mp
B. Tbn.
p
Soli senza sord.
mp
Tba.
pp
pp
p
pp
D A tempo Timp.
Perc. 1
Perc. 2
D A tempo Vln. I pp
Vln. II
Vla.
pp
III
III
Bass Drum
pp
5
5
unis.
pp
pp
Vc.
pp
Db.
pp
q = 48
poco rit. 54
E
Fl. 1-2
55 3
56
3
mp
Ob. 1-2
1.
Bsn. 1-2
a2
mf
E Hn. 1-2
59
3
3
n f
3 a2
3
mp
58
n f
mp
n
mf
3
3
3
mp
B. Cl.
a2
mp
n
3
Cl. 1-2
n
mp
57
3
85
n f
poco rit.
q = 48
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
q = 48
Tba.
poco rit.
E Timp.
mf
Glockenspiel with brass mallets Perc. 1
Perc. 2
(Vibraphone - motor off) with hard rubber mallets
3
mp
3
mp
E
q = 48
poco rit.
Vln. I
mf
Vln. II
mf
Vla.
mf
unis.
Vc.
mf
Db. mf
div.
F
86
poco accel.
Fl. 1-2
Ob. 1-2
Cl. 1-2
60
3
3
B. Cl.
Bsn. 1-2
61
n
f
n
f
p sub.
Hn. 3-4
Tbn. 1-2
Tba.
q = 60
accel.
p
f
f
poco accel.
q = 60
f
(Glockenspiel)
f
Vln. I
Db.
poco accel.
p
F q = 60
p sub. unis.
p
f
f
f
sub.
p
f
sub.
p sub.
accel.
sub.
accel.
p
F
Vc.
f
Vla.
(Vibraphone)
Vln. II
Timp.
Perc. 2
p
Perc. 1
B. Tbn.
f
C Tpt. 1-2
64
f
poco accel.
63
f
sub.
f
p
accel.
F Hn. 1-2
f
n
62
3
q = 60
f
G
Fl. 1-2 Ob. 1-2
Bsn. 1-2
3
3
3
B. Cl.
65
Cl. 1-2
66
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
B. Tbn.
Tba.
Perc. 2
q = 120
ff
ff
3 3
ff
a2
ff
f
ff
f
ff
ff
ff
(Vibraphone)
ff
G Vln. I
Vla.
Db.
Vc.
q = 120 f
Vln. II
(Glockenspiel)
Perc. 1
ff
G Timp.
q = 120
3
3 3
mf
Tbn. 1-2
mf
1.
ff
G
67
ff
q = 120
87
3
ff
ff
3
3
ff
ff
ff
88
Fl. 1-2
Ob. 1-2
69
70
Cl. 1-2
68
mf
B. Cl.
Bsn. 1-2
2.
mf
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
n
B. Tbn.
n
Tba.
n
Timp.
Perc. 1
p
(Glockenspiel)
3
f
(Vibraphone)
Perc. 2
3
f
Vln. I
Vln. II
Vla.
mf
Vc.
n Db.
n
H Fl. 1-2
89 71
72
73
74
ff
Ob. 1-2
f
Cl. 1-2
B. Cl.
Bsn. 1-2
p
ff
p
p
ff
p
ff
ff
p
ff
p
ff
p
ff
p
ff
p
p
p
ff
p
H Timp.
p
a2
p
a2
ff
p
Tba.
p
B. Tbn.
ff
Tbn. 1-2
f
C Tpt. 1-2
f
H Hn. 1-2 Hn. 3-4
ff
ff
p
p
ff
f
(Glockenspiel)
Perc. 1
Perc. 2
Bass Drum
div.
f div.
f
div.
f
Vc.
Tam-tam
pp
f
Vla. div.
ff
H Vln. I Vln. II
f
div. Db. f
p
p
p
p
p
p
90
75
Fl. 1-2
76
f
Ob. 1-2
B. Cl.
f
Cl. 1-2
77
f
Bsn. 1-2
Hn. 1-2
B. Tbn.
Tbn. 1-2
Tba.
C Tpt. 1-2
Perc. 1
Perc. 2
p
ff
p
ff
p
ff
p
ff
p
p
p
p
ff
p
(Tam-tam)
f
Vln. I
Vla. div.
p
f
Vln. II
ff
p
Timp.
p
Hn. 3-4
Vc.
Db.
91
I
78
Fl. 1-2
Ob. 1-2
B. Cl.
Bsn. 1-2
Cl. 1-2
79
ff
Tba.
p
ff
p
ff
p
ff
Perc. 2
p
p
p
f
p
ff
p
ff
p
ff
p
ff
p
ff
I
p
(Tam-tam)
p
p
p
p
p
ff
p
f
pp
I
Vc.
Db.
3
3
3
3
3
3
3
f
Vln. I
Vla. div.
p
Vln. II
ff
Timp.
p
p
Perc. 1
ff
p
p
B. Tbn.
f
p
Tbn. 1-2
I
C Tpt. 1-2
81
Hn. 1-2 Hn. 3-4
80
3
3
92
82
Fl. 1-2
Ob. 1-2
83
84
85
f
f
Cl. 1-2
B. Cl.
Bsn. 1-2
f
f
Hn. 1-2
p
ff
Hn. 3-4
Tbn. 1-2
Tba.
p
ff
Perc. 1
Perc. 2
ff
p
pp
p
ff
p
ff
p
p
p
ff
p
ff
p
3
3
3
Db.
Vc.
f
p
ff
p
p
ff
p
(Tam-tam)
p
p
p
Vla. div.
ff
Vln. I Vln. II
p
p
ff
p
Timp.
p
p
B. Tbn.
ff
p
p
C Tpt. 1-2
86
Fl. 1-2
Ob. 1-2
Cl. 1-2
Hn. 1-2
Tbn. 1-2
B. Tbn.
Perc. 2
Vln. I
Vln. II
Vla. div.
p
p
p
p
ff
ff
ff
ff
ff
p
(Bass Drum)
gliss.
ff
3
3
ff
3
3
Db.
ff
3
3
ff
3
3
3
3
3
3
3
ff
ff
Vc.
p
ff
f
3
p
p
ff
Glockenspiel with brass mallets l.v.
p
p
ff
p
Perc. 1
ff
p
Timp.
p
Tba.
ff
p C Tpt. 1-2
ff
p Hn. 3-4
ff
B. Cl.
Bsn. 1-2
87 88 93
3
rit.
94 89
Fl. 1-2 Ob. 1-2
Cl. 1-2
90
91
f
f
f
B. Cl.
f
Bsn. 1-2
f
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
p
ff
p
ff
ff
Tba.
p
p
ff
p
p
ff
p
p
p
p B. Tbn.
rit.
p
ff
p
rit.
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
mp
rit.
f
f
Vla. div.
f
f
Vc.
f
Db.
f
q = 84
molto rit.
Fl. 1-2 92
( e = 48) 93
mp
n
mp
n
Ob. 1-2
mp
B. Cl.
Solo
Hn. 1-2
mf
Hn. 3-4
mf
C Tpt. 1-2
p
mf
Tbn. 1-2
p
B. Tbn.
Tba.
q = 84
molto rit.
mf
p
mf
p
mf
p
p
p
p
p
p
q = 84
Timp.
p
p
3 3
p
n
f
Bsn. 1-2
molto rit.
Perc. 2
Vln. II
molto rit.
mp
mp
mp
Vla. div.
mp
Vc.
mp
Db.
mp
ppp
Perc. 1
Vln. I
( e = 48)
( e = 48)
pp
q = 84
Cl. 1-2
94
95
( e = 48)
J
96
Fl. 1-2
q. = 52 95
96
97
98
99
Ob. 1-2
Cl. 1-2
B. Cl.
p
Bsn. 1-2
J
Hn. 1-2
q. = 52
p as legato as possible, minimize separation between notes
Hn. 3-4
Tbn. 1-2
B. Tbn.
C Tpt. 1-2
Tba.
p as legato as possible, minimize separation between notes
J
Timp.
Perc. 1
Perc. 2
q. = 52 pp
J
q. = 52
Vln. I
unis.
pp
n
unis.
pp
Vln. II
pp
p
unis.
pp
Vla. div.
p
p
pp
Vc.
Db.
unis.
mp
unis.
mp
100
101
Fl. 1-2
Ob. 1-2
Cl. 1-2
B. Cl.
97
K
102
103
104
105
106
1.
p as legato as possible, minimize separation between notes
p as legato as possible, minimize separation between notes
Bsn. 1-2
Hn. 1-2
Hn. 3-4
p as legato as possible, minimize separation between notes
K
Tbn. 1-2
B. Tbn.
C Tpt. 1-2
Tba.
K
Perc. 1
Perc. 2
Timp.
Vln. I
Vln. II
Vla.
Vc.
Db.
mf
mf
n
n
mp
K
mp
mp
98 107
108
Fl. 1-2
Ob. 1-2
Cl. 1-2
B. Cl.
L
109
110
111
112
113
114
115
1.
p
p
Bsn. 1-2
Hn. 1-2
L
p
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
L
Timp.
Perc. 1
Perc. 2
Vln. I
Vln. II
Vla.
Vc.
Db.
L
p
mp
mf
mf
f
f
f
f
f
M poco rit.
A tempo
99
116
118
119
120
121
122
Fl. 1-2
117
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
M
A tempo
poco rit.
Hn. 1-2
Hn. 3-4
123
mf
p
Tbn. 1-2
B. Tbn.
A tempo
C Tpt. 1-2
Tba.
M Timp.
poco rit.
Medium Suspended Cymbal with yarn mallets Perc. 1
Perc. 2
M Vln. I
Vln. II
Vla.
Vc.
Db.
poco rit.
A tempo
mp
mp
mp
pp
f
f
f
mf
mf
f
f
Fl. 1-2
p
Ob. 1-2
ff
125
p
p
p
ff
p
p
B. Cl.
mp
mp
mp
ff
N Hn. 1-2
1.
p
3 3 3 3 3 3
ff
ff
mp
ff
f
p
f
Tbn. 1-2
p
C Tpt. 1-2
p
ff
Hn. 3-4
ff
p
ff
3 3 3 3 3 3 3 3 3
Cl. 1-2
ff
p
3
3
3
Bsn. 1-2
124
N
100
f
mf
B. Tbn.
mf
Tba.
mf
N Timp.
mf
(Med. Susp. Cym.) Perc. 1
Perc. 2
mp
N Vln. I
mp
f
mp
mp
div.
mf
mf
f
f
mp
mp
f
div.
mp
Vc.
Vla.
div.
Db.
pp
Vln. II
f
f
126
Fl. 1-2
p
p
ff
p
ff
p
3 3 3 3 3 3 3 3 3 3 3
Ob. 1-2
p
ff
Cl. 1-2
p
mp
mp
ff
p
f
3
ff
fff
fff
mp
p
p
mp
ff
mp
3
ff
mp
p
ff
3
3
p
ff
Hn. 3-4
p
p ff
B. Cl.
Hn. 1-2
101
3
3
3
Bsn. 1-2
127
f
p
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
Timp.
ff
(Med. Susp. Cym.) Perc. 1
Perc. 2
mp
f
mp
Vc.
mp
Vla.
Vln. II
mp
Vln. I
Db.
f
f
mp
mp
f
mp
f
f
mp
mp
102
128
Fl. 1-2
p
p
p
ff
3
p 3
p
ff
p
p
fffp
3
ff
fffp
p
ff
mp
ff
p
ff
3
ff
B. Cl.
Hn. 1-2
p
3 3 3 3 3 3 3 3 3 3 3 3 3 3
Cl. 1-2
Bsn. 1-2
Ob. 1-2
p
ff
129
ff
mp
mp
ff
mp
p
Tbn. 1-2
B. Tbn.
Hn. 3-4
p
C Tpt. 1-2
Tba.
Timp.
Perc. 1
f
p
f
(Bass Drum)
Perc. 2
ff
Vln. I mp
Vln. II
Db.
f
mp
f
f
mp
mp
f
mp
Vc.
mp
Vla.
f
f
Fl. 1-2
130
p
B. Cl.
3
Bsn. 1-2
Hn. 1-2
Hn. 3-4
3
3
3
3
mf
3
3
3
3
3
3
3
ff
3
3
3
ff
ff
3
3
3
3
3
q. = q
ff
p
Tbn. 1-2
ff
C Tpt. 1-2
3
3
3
3
3
mf
3
3
mf
3
131
3
3
q. = q
f
Cl. 1-2
f
Ob. 1-2
103
ff
ff
B. Tbn.
ff
Tba.
Timp.
Solo
f
pp
q. = q
f
Glockenspiel with brass mallets Perc. 1
l.v.
f
Perc. 2
Vln. I
Vln. II
Vla.
(Bass Drum)
mp unis.
mp
Db.
p
f
pp
IV
ff
mf IV
ff
mf
ff
ff
ff
q. = q
unis.
mf
Vc.
pizz.
mp
104
O
q. = q (q = 52) The 100 mile Wilderness Fl. 1-2
132
133
134
135
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
pp
O
q. = q (q = 52) The 100 mile Wilderness Hn. 1-2
pp
Tbn. 1-2
B. Tbn.
The 100 mile Wilderness
Hn. 3-4
C Tpt. 1-2
Tba.
pp
p
O
q. = q Timp.
(q = 52)
Sand Blocks (or Cabasa) Perc. 1
Perc. 2
simile
mf Footsteps (as in the 1st mvt., full duration)
O
q. = q (q = 52) The 100 mile Wilderness Vln. I
espress.
Vln. II
simile
non div.
simile
III
mp
Db.
Vc.
.unis. (non div.), pizz
3
III
mp
3
non div., pizz
3
espress.
Vla.
3
simile
105
136
137
138
139
Fl. 1-2 Ob. 1-2
Cl. 1-2
B. Cl.
p
Bsn. 1-2
Hn. 1-2
Tbn. 1-2
B. Tbn.
Hn. 3-4
C Tpt. 1-2
Tba.
Timp.
(Sand Blocks)
Perc. 1
Perc. 2
IV
IV
mp
III
3
III
3
mf
Db.
f
mf
Vc.
mp
Vla.
f
Vln. II
Vln. I
mf
mp
mp
mp
106 140
141
142
143
Fl. 1-2
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
Hn. 1-2
Tbn. 1-2
B. Tbn.
Hn. 3-4
C Tpt. 1-2
Tba.
Timp.
(Sand Blocks) Perc. 1
Perc. 2
Vln. I
f
f
3
IV
IV
mp
3
3
pp
mp
mf
mp
f
pp
mp
mf
Db.
mp
3
mf
Vc.
Vla.
p
Vln. II
arco
f
144
P
Fl. 1-2
Ob. 1-2
Cl. 1-2
a2
a2
3
3
3
3
mf
P a2 Hn. 1-2 mf
mf
a2
146
107
3
3
3
3
3
3
3
3
mf
a2
Tbn. 1-2
C Tpt. 1-2
f
Hn. 3-4
145
f
mf
Bsn. 1-2
f
B. Cl.
a2
a2
a2
mp
mp
B. Tbn.
Tba.
mp
P Timp.
mf
(Sand Blocks) Perc. 1
f
(Bass Drum)
Perc. 2
f
mf
P
Vln. I
Vln. II
mf arco div.
Vla.
mf
Db.
f
f
3
3
espress. arco div.
Vc.
3
espress. div.
3
108
Fl. 1-2
3
Ob. 1-2
3
Cl. 1-2
3
B. Cl.
3
Bsn. 1-2
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
B. Tbn.
Timp.
3
f
3 3 3
3
Perc. 2
Vln. I
a2
3
3
3
3
a2
(Bass Drum) 3
mp
f
ff
Vla.
f
f
3
3
f
ff
Db.
mp
3
3
3
3
Vln. II
Vc.
3
a2
(Sand Blocks)
Perc. 1
3
mf
3 3
150
3
mf
149
a2
3 3 3
Tbn. 1-2
Tba.
f
3 3
148
147
Fl. 1-2
Ob. 1-2
Cl. 1-2
151
3
3
3
3
3
Hn. 1-2
3
3
Hn. 3-4
3
B. Tbn.
Timp.
3
Tbn. 1-2
Tba.
C Tpt. 1-2
109
3
3
3
3
Perc. 1
9
Perc. 2
3
3
3
Vln. II
Vla.
3
3
3
3
mf
3
ff
Medium Suspended Cymbal with yarn mallets
n
p
f
3
3
9
3
f
5
ff
Db.
unis.
Vc.
Vln. I
p
3
(Bass Drum)
a2
13
154
a2
(Sand Blocks)
153
3
3
152
3
B. Cl.
Bsn. 1-2
Q Mt. Katahdin 155 Fl. 1-2
110
ff
Ob. 1-2
ff
Cl. 1-2
B. Cl.
ff
f
Bsn. 1-2
f
a2
ff
3
3
3
Q Mt. Katahdin
Hn. 3-4
ff
C Tpt. 1-2
(mf)
Tbn. 1-2
mf
B. Tbn.
f
f
a2
ff
ff
mf
Tba.
157
ff
f
Hn. 1-2
156
ff
Q Mt. Katahdin Timp.
f
(Med. Susp. Cym.)
Perc. 1
ff
Tam-tam
p
ff
(Bass Drum)
Perc. 2
f
Q Mt. Katahdin Vln. I
ff
Vla.
f
Vc.
Db.
f
3
ff
(unis.)
ff
3
3
ff
f
ff
unis.
f
3
ff
f
Vln. II
ff
3
3
111
Fl. 1-2
Ob. 1-2
Cl. 1-2
B. Cl.
Bsn. 1-2
rit.
158
Hn. 1-2
Hn. 3-4
C Tpt. 1-2
Tbn. 1-2
B. Tbn.
Tba.
160
3
3
3
(Tam-tam)
rit.
3
rit.
Timp. Perc. 1
a2
ff
159
3
ff
3
161
ff
(Bass Drum)
Perc. 2
Vln. I
Vln. II
Vla.
3
3
Db.
3
3
rit.
div.
Vc.
3
3
Mt. Katahdin Summit/Northern Terminus of the Appalachian Trail R (5,268 ft, Highest Point in Maine) 162 e = 60 163 A tempo Fl. 1-2
S
112
Ob. 1-2
B. Cl.
a2
3
Bsn. 1-2
fff
3
3
fff
3
fff
3
fff
3
3
fff
Mt. Katahdin Summit/Northern Terminus of the Appalachian Trail R (5,268 ft, Highest Point in Maine) e = 60 A tempo a2 3 Hn. 1-2 fff 3 3 a2 3 Hn. 3-4 fff 3 3 a2 C Tpt. 1-2 ff fff a2 Tbn. 1-2 B. Tbn.
Tba.
ff
fff
3
ff
fff
3
ff
S
fff
Perc. 1
ff l.v.
3
3
(Bass Drum)
Perc. 2
3
3
Vln. II
Vla.
ff Vc.
Db.
unis.
3
3
3
3
3
S
q = 126
poco rit.
fff
fff
fff
Mt. Katahdin Summit/Northern Terminus of the Appalachian Trail R (5,268 ft, Highest Point in Maine) A tempo e = 60 div. Vln. I
q = 126
poco rit.
Mt. Katahdin Summit/Northern Terminus of the Appalachian Trail R (5,268 ft, Highest Point in Maine) e = 60 A tempo Timp. ff 3 Suspended Cymbals with wood sticks
165
3
Cl. 1-2
164
3
q = 126
poco rit.
S poco rit. unis. div.
fff
div.
fff
unis.
div.
q = 126 p
p
fff
fff
fff
166
Fl. 1-2
168
a2
14
14
7
ffff
a2
ff
Cl. 1-2
ffff
a2
ff
B. Cl.
f
Bsn. 1-2
f
Hn. 1-2
Tbn. 1-2
ffff
ffff
ffff
fff
fff
Vln. I
ppp
Vln. II
Vla.
div.
ff ff
Db.
p
ffff
fff
fff
gliss.
ffff
ffff
ffff
Vc.
fff
Medium Suspended Cymbal with yarn mallets
ffff
ffff
p Perc. 2
ffff
(Bass Drum)
ffff
p
Perc. 1
p
Timp.
mf
B. Tbn.
Tba.
mp
C Tpt. 1-2
ffff
mp
Hn. 3-4
113 169
ff
Ob. 1-2
167
gliss.
ffff
ffff