KOREAN FOLKSONGS FROM JEJU ISL AND
C O N C E R T
F R A N K
M A N H A T T A N
B A N D
T I C H E L I
B E A C H
M U S I C
Recording Credits for Korean Folksongs from Jeju Island: Recording by TLU Wind Symphony, Beth Bronk, conductor; Frank Ticheli, guest conductor.
F RA N K T ICH ELI KOR EA N FOLK SONG S F ROM JEJ U ISLA N D I
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1 Full Score
3 Eb Alto Saxophone 1
2 Euphonium T.C.
1 Piccolo
3 Eb Alto Saxophone 2
4 Tuba
4 Flute 1
2 Bb Tenor Saxophone
1 String Bass
1 Eb Baritone Saxophone
2 Timpani
3 Bb Trumpet 1
2 Percussion 1
4 Flute 2 1 Oboe 1
3 Bb Trumpet 2
1 Oboe 2
3 Bb Trumpet 3
4 Bb Clarinet 1
2 F Horn 1
4 Bb Clarinet 2
2 F Horn 2
4 Bb Clarinet 3
2 Trombone 1
3 Bb Bass Clarinet
2 Trombone 2
1 Bassoon 1
2 Trombone 3
1 Bassoon 2
3 Euphonium B.C.
Vibraphone (motor off), Bongos, Temple Blocks (5), Tam Tam (lg.)
2 P ercussion 2 Marimba, Glockenspiel, Suspended Cymbal (med.), Claves
2 P ercussion 3 Chimes, Xylophone, Tambourine, Crash Cymbals (lg.), Sleigh Bells
2 P ercussion 4 Triangles (sm. & med. lg.), Bass Drum (lg.), Suspended Cymbal (lg.)
P R I N T E D O N A RC H I VA L PA P E R
Gg Manhattan Beach Music 1595 East 46th Street Brooklyn, New York 11234 Web: www.ManhattanBeachMusic.com E-mail: customerservice@manhattanbeachmusic.com Voicemail: 718/338-4137
M A N H AT TA N B E AC H M U S IC
F RA N K
T I C H ELI
WORKS FOR CONCERT BAND F R A N K T I C H ELI ’ S WO R K S F O R CO N C ERT BA N D A R E P U B LI S H ED EXC LU S I V ELY B Y M A N H AT TA N B E AC H M U S I C
Abracadabra (5 minutes, grade 3)
Amazing Grace (5 minutes, grade 3) Amen! (3 ½ minutes, grade 2)
An American Elegy (11 minutes, grade 4) This work is also available as An American Elegy for orchestra
Angels in the Architecture (14 ½ minutes, grade 5) Ave Maria / Schubert (4 ½ minutes, grade 3) Blue Shades (10 minutes, grade 5) This work is also available as Blue Shades for orchestra
Cajun Folk Songs (6 ¾ minutes, grade 3)
Cajun Folk Songs II (10 ½ minutes, grade 4)
Concerto for Clarinet and Wind Ensemble (21 minutes, grade 6) This work is also available as Concerto for Clarinet in an edition for Solo Bb Clarinet and Piano
Earth Song (3 ½ minutes, grade 2) First Light (3 minutes, grade 1) Fortress (5 ½ minutes, grade 3)
Gaian Visions (9 ½ minutes, grade 6) Joy (2 ½ minutes, grade 2)
Joy Revisited (3 ½ minutes, grade 3)
Korean Folk Songs from Jeju Island (10 ½ minutes, grade 4) Loch Lomond (6 ½ minutes, grade 3) Nitro (3 minutes, grade 4)
Pacific Fanfare (5 ½ minutes, grade 5)
Portrait of a Clown (2 ¾ minutes, grade 2) Postcard (5 ¼ minutes, grade 5) This work is also available as Postcard for orchestra
Rest (8 minutes, grade 4)
This work is also available as Rest for string orchestra
Sanctuary (12 minutes, grade 5)
San Antonio Dances (9 ½ minutes, grade 4)
Songs of Love and Life (23 minutes, grade 6) for Soprano and Small Wind Ensemble (18 players) A Shaker Gift Song (2 minutes, grade 2)
This work is a separate publication of the third song from Simple Gifts: Four Shaker Songs
Shenandoah (6 ½ minutes, grade 3)
Simple Gifts: Four Shaker Songs (9 minutes, grade 3) Sun Dance (5 minutes, grade 3)
Symphony No. 1 (31 minutes, grade 6)
Movement 1, “Of Youth,” Movement 2, “Of Wisdom,” Movement 3, “Profanation,” Movement 4, “Prayer”
Symphony No. 2 (21 minutes; mvts. 1 & 2 are grade 6, mvt. 3 is grade 5)
Movement 1, “Shooting Stars,” Movement 2, “Dreams Under a New Moon,”and Movement 3, “Apollo Unleashed” may be separately performed
The Tyger (6 minutes, grade 6) Vesuvius (9 minutes, grade 4)
Wild Nights! (6 ½ minutes, grade 4) WWW .FRANKT ICH ELI .COM
THE OFFICIAL SOURCE FOR THE MUSIC OF FRANK TICHELI
KOREAN FOLKSONGS FROM JEJU ISLAND
Commissioned by the Organizing Committee of the Jeju International Wind Ensemble Festival
JEJU AND ITS FOLKSONG TRADITION
Jeju Island is located in the Korean Strait just south of the Korean mainland. Created entirely from volcanic eruptions approximately two million years ago, its most prominent geographical feature is Halla Mountain, a 6,400-foot volcano located near the island’s center. Although Jeju is a province of South Korea, the island’s relative isolation has engendered a native dialect and culture that are distinct from those of mainland Korea. Jeju folksongs date back hundreds of years; however, the tradition was virtually ignored and nearly lost during the many years of colonization by foreign powers. Fortunately, a revival of interest occurred in the 1960’s, and many Korean folksongs were recorded for posterity thanks in large part to collaborations between Korean scholars and British ethnomusicologist, John Levy.
PROGRAM NOTES
Korean folksongs from Jeju Island are almost all in compound meter (6/8 or 9/8) and employ a pentatonic scale (re-mi-sol-la-do). The words and folk melodies have evolved over the centuries, and address a wide range of topics—love, joy and sadness, the beauty of the island, farming and fishing, island legends, etc. They are traditionally sung unaccompanied or with a light drum beat, providing a simple pulse. In my setting, I endeavored to preserve the bright, bouncy spirit of the original folk melodies; however, I also enhanced the music using extensive counterpoint, extended harmony, a sense of fantasy, and other Western devices. The three movements are melodically interconnected: the second movement’s melody is foreshadowed in the middle of the first movement; the third movement’s melody is foreshadowed in the second; and the first movement’s melody makes a cameo appearance in the finale’s grand climax. This cross-pollination was not only fun to do, but also served to unify the three movements in a palpable way. Most importantly, I was delighted and galvanized by these buoyant, optimistic folksongs. I hope the joy I felt comes through to all who perform and hear this work.
FRANK TICHELI PA S A D E N A , C A L I F O R N I A
REHEARSAL NOTES MOVEMENT 1
A feeling of unalloyed joy pervades the movement. Maintain a bouncy, dance-like quality throughout. Often the texture is quite contrapuntal in nature (e.g., mm. 68-75, mm. 112-129, mm. 157-168); extra care should be given to balancing these various layers of activity so that no single layer overpowers any other. MOVEMENT 2
Perhaps the greatest challenge in this movement is deciding when to conduct the music “in 6,” and when to conduct “in 2.” In my own experience rehearsing the work, I preferred conducting most of the movement “in 2”; however, in so doing one must be careful not to let the movement rush, striving instead to maintain a gentle, quiet lyricism. The passages which for me needed to be conducted “in 6” are: mm. 2, 28, & 48, beats 4, 5 and 6: to control the held length of the tenuto notes; mm. 22-23: to facilitate the ritardando; mm. 38-45: to encourage the dynamic growth and the energy of the climax; mm. 57-61: to facilitate the ritardandi and accel. MOVEMENT 3
The bright, cheerful mood of the first movement returns in the finale, and once again, the players should play with a buoyant, vibrant quality. The movement is structured as a series of variations on the main melody. Occasionally, the variations are interrupted by a contrasting bridge melody, such as is seen, for example, in measures 25-32. As in the first movement, the texture periodically becomes quite contrapuntal, and once again, attention should be devoted to balancing the contrapuntal layers. Some may be tempted to add majesty and nobility to the climax beginning at m. 112 by slowing the tempo. I urge you strongly to resist this temptation! Maintain the exact same pulse (qtr. = 132). The main melody is already notated in the brass so that it will sound at half its original speed. That’s already enough majesty! Any slackening of tempo will destroy the energy and drive that is being enhanced by the woodwinds’ 16th-note flurries. Keep moving at a steady tempo! The chimes player should feel free to play quite wildly and loudly during the climax at m. 112. No attempt should be made to play the notated pitches, as the passage is simply a wild improvisation that evokes the sound of celebratory church bells. The chimes should be heard by every member of the audience, but without asking the band to play softer!
F O L K S O N G
T R A N S L AT I O N S
Mv’t. 1: Country Song (“Iyahong”)1 Atop Halla Mountain,2 higher than the highest peak, is White Deer Lake. The three named Ko, Yang, and Bu came out of Samseonghyel,3 On Yongyeon Pond4 at night rows a miserable boatman. In Cheonjiyeon Pond,5 under the moonlight, it is so nice watching the sweet fish play. The spectacular Weh Dol Gweh,6 embracing Sammaebong Peak,7 so lovely. The sunset is beautiful too at Seongsan Ilchulbong Peak8 Yes! Right! What a poignant sound breaking against Jeolbuam Rock!9
Notes to Country Song: 1
Iyahong literally means, “Right! Correct!”
2
Jeju’s main mountain, the tallest in all of South Korea. As a shield mountain, it is visible from anywhere on the island. There is a local saying that Jeju Island is Halla Mountain, and Halla Mountain is Jeju Island. 3
Cave of the three Clans; according to legend, the forefathers of the Ko, Yang, and Bu clans emerged from three holes in the ground to become the original inhabitants of Jeju Island. These three “holes” or caves are one of the most popular tourist attractions on the island. 4
Dragon Pond; a pond whose shape resembles that of a dragon. 5
Heaven-Earth Pond; according to legend, the pond was created by the meeting of heaven and earth. 6
A rocky pillar created volcanically, twenty meters tall, located south of Sammaebong Peak. 7
A peak located in Seogwipo, Jeju Island.
8
Castle Mountain Peak; rising from the sea off the eastern shore of Jeju Island during a volcanic eruption over 100,000 years ago, this mountain has a huge crater at its peak surrounded by ninety-nine rocks, giving it the resemblance of a giant crown or castle. 9
Rock of the Faithful Wife, located near the shore facing neighboring Chagwido Island.
Mv’t. 2: The Forest Nymph and the Woodcutter (“Kyewha”)1 You shall be born and come down to White Deer Lake from the sky as a forest nymph. And I will be born to be the woodcutter in Halla Mountain so I can meet my soul mate: you!
Notes to The Forest Nymph and the Woodcutter: 1
Kyewha is a girl’s name.
2
Jeju dialect for a small, inactive volcano; there are approximately 360 orums on Jeju Island.
In another life, you will be a rooster; in that afterlife I will be a hen. In the alley, I will meet my love alone so excited, so thrilled, my feet shake. So nice and tender are the young girls washing clothes in the creek flowing down Halla Mountain.
The flowers on the front Orum2 wither, bloom again; Our life goes on, never to come back. Mv’t. 3: Celebration on Halla Mountain (“Nuhyoung Nahyoung”)1
Notes to Celebration on Halla Mountain: 1
You and I go ‘round and ‘round, Day after day, night after night, what true love! A bird is crying in the morning, hungry for food; Crying in the evening, thirsty for love. That round full moon is climbing over the mountain; When will I see my love? When will I be with my love? You heartless time, once you come, you never leave; My younger days are fading. The lone pine stands atop of the high mountain; Who are you waiting for, sitting all alone? On the way up to White Deer Lake, he called her kid-sister; At the top of Halla Mountain, they turned into a bride and groom.
Nuhyoung Nahyoung is Jeju dialect for “You and I, together in harmony.”
Commissioned by the Organizing Committee of the Jeju International Wind Ensemble Festival
KOREAN FOLKSONGS FROM JEJU ISLAND FOR CONCERT BAND I. Country Song ("Iyahong")
q. = c. 144 Bouncy, somewhat detached
Piccolo
Flute 1
Flute 2 1 Oboe 2
Solo
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Bb Clarinet 1
Bb Clarinet 2
Bb Clarinet 3
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FRANK TICHELI
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tutti
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Ob. 1
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Bb Bass Clarinet
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Bb Trumpet
2 3
F Horn 1
F Horn 2
Trombone 1
Trombone
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Euphonium
Tuba
String Bass
Timpani
Initial tunings
VIBRAPHONE
Percussion 1
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Percussion 2
Percussion 3
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TRIANGLE (med. lg.) l.v. Percussion 4 mp
CHIMES
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Copyright © 2013 Manhattan Beach Music - All Rights Reserved - Printed and engraved in the United States of America ISBN 1-59913-158-7 (complete set) ISBN 1-59913-159-5 (conductor score) Visit www.Frank Ticheli.com for the latest information on the music of Frank Ticheli Purchase music, download free MP3s, view virtual scores and more at www.ManhattanBeachMusic.com
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Bb Cl. 2
Bb Cl. 3
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Tba. Str. Bass
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86 Picc. Fl. 1
Fl. 2
1 Ob. 2
Bb Cl. 1
Bb Cl. 2
2.
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Tba.
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mp cresc.
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Perc. 4
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Bb Cl. 3
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mp f
2
p
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sf
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2
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Picc.
93
Fl. 1
Fl. 2
Ob.
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Bb Cl. 1
Bb Cl. 3
Bb Bass Cl.
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
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2 Bb Tpt. 3
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Eb Bari. Sax.
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mp mp
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Bb Cl. 2
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p
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F Hn. 2
Trb. 1
2 Trb. 3
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Perc. 3
Perc. 4
f
TRI. (sm.)
mp
f 2.
VIBES
p
f
CRASH CYMBALS
f
f
f
f
div.
f arco f f
(SUS. CYM.)
f
f B.D.
f
14
l.v.
l.v. l.v.
f
fpp
f
fpp
f
f
a2
fpp
f
a2
Perc. 2
Perc. 1
Timp.
f
Str. Bass
Tba.
f
f
2 3
Bb Tpt.
f
f
a2
f
f
f
f
104
dampen
a2
unis.
f
Picc. 109
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Eb Bari. Sax.
mp
pp
pp
"Kyehwa"
mp
2
2
F Hn. 2
Trb. 1
2 3
"Kyehwa"
mp
to st. mute
to st. mute
f 2.
Hn. 1
F Hn. 1
Euph.
mp
Trb.
1.
2 3
Bb Tpt.
mp
Bb Ten. Sax.
Bb Tpt. 1
112
2
2
st. mute
mp
Tba.
Str. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
TRI. (med. lg.)
mp
15
mp
Picc. 117
Fl. 1
Fl. 2
mp
Bb Cl. 1
Bb Cl. 2
mp
Bb Cl. 3
1 2
Bb Bass Cl.
Bsn.
1 2
Eb Alto Sax. 1
Bb Ten. Sax.
Eb Bari. Sax.
2 Bb Tpt. 3
Play
mp
1.
mp
"Kyehwa"
mp
"Kyehwa"
mp
mp
mp
2
2
2
Ob. 1
mp
Eb Alto Sax. 2
Bb Tpt. 1
Ob.
121
mp
F Hn. 1
F Hn. 2
Trb. 1
2 3
Euph.
Tba.
Trb.
Str. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
(TRI.)
(VIBES)
2
16
Picc.
125
Fl. 1
1 2
Bb Cl. 1
Bb Cl. 3
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
1.
mp
mp
2 Bb Tpt. 3
F Hn. 1
F Hn. 2
Trb. 1
2 Trb. 3
Euph.
Perc. 1
Perc. 2
Perc. 3
Tba.
Str. Bass
Timp.
Perc. 4
mp
mp
mf st. mute 2.
3. "Kyehwa" mp
mp
mp
mf
mf
mf
2
2
2
mf
mute out
mp
mf
mf
mf
mf
Bb Tpt. 1
f
mf
f mf f mf f mf f mf
f
a2
mf
mp
mp
Bsn.
mp
mp
mp
130
1.
Bb Cl. 2
Bb Bass Cl.
mp
Fl. 2
Ob.
f
f
mute out
17
mp
l.v.
f
f
f
3. (open)
f
f
f
Picc. 133
Fl. 1
Fl. 2
1 Ob. 2
Bb Cl. 2
Bb Cl. 3
1 Bsn. 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
2 Bb Tpt. 3
F Hn. 1
F Hn. 2
Trb. 1
Trb.
2 3
Euph.
Tba.
Str. Bass
Bb Cl. 1
Bb Bass Cl.
Perc. 2 Perc. 3
Perc. 4
f
f
mp
mp
f
mp
f
mp
mp
mp
open
mp
mp
mp
mp
mp
mp
f
f
f
mp
2.
mp
mp
f
mp
f
a2 f
mp
a2
SUS. CYM. (yarn)
p
18
f
mp
mp
mp
mp
Timp.
Perc. 1
138 mf f f
f
f
f
f
mf
mf
mf
mf
f
f
f
a2
2
2
2
2
f
f
p
p
f
f
f
p
2
2 2 2
p
2
f 2 pizz.
f
2
l.v.
mf 2
T. BLKS.
f
f SLEIGH BELLS f
f
f
f
Picc. 141
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bsn.
1 2
Eb Alto Sax. 1
2 2 2 2
146
mf
mp
mp
mp Eb Alto Sax. 2 mp Bb Ten. Sax. Eb Bari. Sax. Bb Tpt. 1
2 Bb Tpt. 3
F Hn. 1
F Hn. 2
Trb. 1
Trb.
2 3
Euph.
f
p
f
p
2 2 2 2
2 2 Str. Bass
2 Perc. 1 2
2
Timp.
Perc. 3
Perc. 4
mf mp f
mp
mp
mp
mf
SUS. CYM. (sticks) mf
f
Tba.
Perc. 2
19
mp
mp
149 mp ff Fl. 1
Picc.
p
Fl. 2
1. mp p
1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
1 2
Trb. 1
2 3
Euph.
Str. Bass
Timp.
p
mp
Perc. 2
Perc. 3
Perc. 4
mp
ff
ff
ff
ff
a2
ff
ff
ff
ff
ff
ff arco
ff
ff
(SUS. CYM.)
f CRASH CYMBALS
f B.D.
f
2.
l.v.
20
mp
mp
p
mp
p
p
p
mp
1.
mp
p
p
ppp
ppp
to mute
to mute
ppp
p
l.v. l.v.
ff
mp
p
p
p
p
mp
mp
ff
TRI. (sm.)
mp
ff
ff
Ob. 1 (st. mute)
VIBES
Perc. 1
F Hn. 2
Tba.
ff
ff
F Hn. 1
Trb.
ff
ff
2 3
Bb Ten. Sax.
Bb Tpt.
Eb Alto Sax. 2
Bb Tpt. 1
Eb Alto Sax. 1
Eb Bari. Sax.
Bb Bass Cl.
Bsn.
p
ff
157
Picc.
Fl. 1
Fl. 2
1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Eb Bari. Sax.
Bb Tpt. 1
2 Bb Tpt. 3
F Hn. 1
mp
mp
1.
mp
Ob. 1
mp
Trb. 1
st. mute
mp
mp
mp
F Hn. 2
mp
2 3
Euph.
Str. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Tba.
Trb.
mp
mp
pp
Hn. 1
Bb Ten. Sax.
mp
pp
Bsn.
CLAVES
mp
21
Picc. 166
Fl. 1
Fl. 2
Ob.
1 2
ppp
ppp
Bb Cl. 2
Bb Cl. 1
ppp
169
p
p
Bb Bass Cl.
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
ppp
p
F Hn. 2
Trb. 1
2 Trb. 3
Euph.
Tba.
Perc. 4
pp
F Hn. 1
Perc. 3
pp pp
Perc. 2
pp
Perc. 1
p
Timp.
p
Str. Bass
pp
2 3
Bb Tpt.
ppp
pp
p Ob. 1
p
1 2
Bb Cl. 3
Bsn.
pp p pp p pp p 1.
p
ppp
mute p mute
p st. mute p
mute out
mute out
mute out
one only
pizz. secco
(VIBES)
p
22
TRI. (med. lg.)
mp
pp pp dampen pp
II. The Forest Nymph and the Woodcutter ("Kyehwa") Picc.
h. = c. 44 (q = c. 132)
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Bass Cl.
Bsn.
1 2
mp
pp
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
F Hn. 2
Trb. 1
2 3
Euph.
Tba.
Trb.
Str. Bass
Timp.
Perc. 1
p
Perc. 2
Perc. 3
Perc. 4
VIBES
mp
p ten. ten. 1.
F Hn. 1
2 3
Ob. 1 ten. ten.
mp
6
mp
Bb Tpt.
A Tempo
Eb Alto Sax. 1
Bb Tpt. 1
rit.
Solo ten. ten.
mp
Bb Cl. 3
p
p
p
p Solo gentle, heartfelt
mp
pizz.
p
23
Picc. 9
Fl. 2
1 2
Fl. 1
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
1 Bsn. 2
Eb Alto Sax. 1
p
14
1.
mp
p
mp
a2
tutti
mp
p
tutti
p
Bb Ten. Sax.
Eb Bari. Sax.
Ob. 1 (st. mute)
F Hn. 1
F Hn. 2
Trb. 1
Euph.
Tba.
Eb Alto Sax. 2
Bb Tpt. 1 Bb Tpt.
Trb.
2 3
2 3
Str. Bass Timp. Perc. 1 Perc. 2
Perc. 3
Perc. 4
p
p
24
Picc. 17
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Bass Cl.
mf
1 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1 Bb Tpt.
2 3
F Hn. 1
F Hn. 2
Trb. 1
Trb.
2 3
Euph.
Tba.
mp
mp
Perc. 3
Perc. 4
mp
pp
pp
mp
pp
mp
mp
a2
mp
mp
pp
pp
pp
pp
mp
pp
mp
mp
pp
pp
mp
pp
pp
mp
open
pp
pp
pp
p
mp
p
mp pp
Str. Bass Timp. Perc. 1 Perc. 2
pp
pp
mp
mp
Eb Alto Sax. 2
pp
mp
pp
p mf mf pp mp
mp
Eb Alto Sax. 1
mp
pp
pp
mf
pp
A Tempo
pp
mp
Bsn.
rit.
mp
mf
Bb Cl. 3
mp
mf
Bb Cl. 2
20 poco accel.
p
SUS. CYM. (yarn)
pp
pp div.
pp arco
pp
mp
pp
25
open
l.v.
ppp
p
Picc.
Fl. 2
1 2
rit.
26
Fl. 1
Ob.
Solo
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bsn.
1 2
mp
pp
1. ten. ten. mp
mf
ten. ten.
28 A Tempo
mp
Ob. 1 ten. ten.
mp
2 3
Solo gentle, heartfelt
F Hn. 1
F Hn. 2
Trb. 1
2 Trb. 3
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Eb Alto Sax. 1
Bb Tpt. 1
Bb Tpt.
Euph.
Tba.
Str. Bass
Timp. Perc. 1
Perc. 2
Perc. 3
Perc. 4
mp
pizz.
p
mp
st. mute
mp 2. st. mute
mp Solo gentle, heartfelt
mp
mp
26
Picc. 34
Fl. 1
Fl. 2
1 Ob. 2
Bb Cl. 2
Bb Cl. 3
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
2 Bb Tpt. 3
F Hn. 1
F Hn. 2
Trb. 1
Trb.
2 3
Euph.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Play
cresc.
cresc.
cresc.
cresc.
p
p
p
cresc.
p
cresc.
f
f
f
cresc.
cresc.
cresc.
cresc.
f
f
f
p
f
27
2. open
SUS. CYM. (yarn)
cresc.
3. (open)
p
cresc.
cresc.
cresc.
mute out
cresc.
p arco
p
end solo
cresc.
p tutti
mp
(open)
p
p
Timp.
p
p
p
p
p
p
Tba. Str. Bass
p
Bb Cl. 1
Eb Alto Sax. 1
p
1 2
p
Bsn.
mp
Bb Bass Cl.
36
42
Picc. Fl. 1
Fl. 2
ff
ff
ff
1 Ob. 2
ff
Bb Cl. 1
ff
Bb Cl. 2
"Nuhyoung Nahyoung""
ff
Bb Cl. 3
"Nuhyoung Nahyoung""
"Nuhyoung Nahyoung""
ff
Bb Bass Cl.
1 Bsn. 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
2 Bb Tpt. 3 F Hn. 1
F Hn. 2
Trb. 1
ff
ff
2 3
Euph.
ff
ff
"Nuhyoung Nahyoung"
ff "Nuhyoung Nahyoung"
ff open
ff
ff
Str. Bass
ff
Timp.
Perc. 1
Perc. 2
Perc. 3 Perc. 4
ff
l.v.
ff
f
f
p
p
f
p
f
p
n
Ob. 1
1. ten. ten. mp
n
n
p
n
n
mp
n
VIBES
p
ten. ten.
mp
28
mp
ten. ten.
pp
Solo gentle, heartfelt
f
n
p
f
f
p
f
n
ff
Tba.
ff
ff
Trb.
ff
ff
ff a2
rit.
Picc.
49 A Tempo
Fl. 1
Fl. 2
Solo gentle, heartfelt
1 Ob. 2
mf
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bsn.
1 2
p
p
1.
p
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt.
2 3
p
p
Eb Alto Sax. 1
Solo dolcissimo
mp
F Hn. 1
F Hn. 2
Trb. 1
2 3
Euph.
Trb.
p
p
n
Tba.
Str. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
29
pizz.
p
Picc. 57
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bsn.
1 2
59 poco accel.
rit.
mp
mf
p
p
mf
p one only
Tba.
p
Timp. Perc. 1
Perc. 2
Perc. 3
Perc. 4
arco
Str. Bass
pp
Euph.
n
mp
pp
2 3
Trb.
n
1. mp
2.
Trb. 1
mp
pp
n
pp
F Hn. 2
Bb Ten. Sax.
mp
pp
F Hn. 1
mp
2 3
pp
Bb Tpt.
mp
pp
Eb Alto Sax. 2
Bb Tpt. 1
mp
mp
p
pp
p
Eb Bari. Sax.
mp
1.
Eb Alto Sax. 1
mp
p tutti
tutti
rit.
mp
p
SUS. CYM. (yarn)
pp
30
n
n
n
n
mp
p
p
pp
pp
pp
pp
l.v.
mp
III. Celebration on Halla Mountain ("Nuhyoung Nahyoung") Picc.
q. = 132 Bouncy and cheerful
Fl. 1
Fl. 2
p
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
1 2
Ob.
Bsn.
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
2 Bb Tpt. 3
F Hn. 1
mf
F Hn. 2
Trb. 1
2 3
Euph.
Tba.
Str. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
VIBES
TRI. (sm.)
p
p
Trb.
St. mute
Bb Tpt. 1
p
mute out
mute out
mute
mf
31
p
p
p
Picc.
9
Fl. 1
Fl. 2
1 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Bass Cl.
Bsn.
1 2
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt.
2 3
F Hn. 1
mp
Eb Alto Sax. 1
Bb Tpt. 1
p
mp
Bb Cl. 3
mp
Trb. 1
2 3
Euph.
Tba.
Str. Bass
Timp. Perc. 1
Perc. 2
Perc. 3
Perc. 4
MAR.
mp
(TRI.)
32
F Hn. 2
Trb.
p
p
p div.
p
p
l.v.
p
Picc.
17
Fl. 1
Fl. 2
a2
1 Ob. 2
mp
mp
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
1 Bsn. 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
p
mp
mp
mp
p
p
mp
pp
mp a2
mp
p
p
mp
pp
F Hn. 1
F Hn. 2
Trb. 1
2 3
Euph.
Tba.
Str. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
pizz.
mp
Trb.
2 3
Bb Tpt.
p
p
p
XYLO.
mp
33
p
Picc.
25
Fl. 1
Fl. 2
Ob.
mp
mf
Bb Bass Cl.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
mp
mp
Timp.
(VIBES)
(MAR.)
mp
mp
mf
mf
arco
mf
mp
mp
mf
mp
mp
mp
p
mp mp mf open mp
p
34
unis.
mf
open
mf
ppp
mp
ppp
ppp
Trb. 1
Euph.
mp
F Hn. 2
f
mp
mf
2 3
f
mp
mf
Perc. 4
Perc. 3
F Hn. 1
Perc. 2
Perc. 1
Str. Bass
Tba.
2 Bb Tpt. 3
Trb.
f mp mf f mp mf mp f
Bb Cl. 3
Bb Tpt. 1
mp
Bb Cl. 2
Eb Bari. Sax.
1. mp
1 2
Bb Cl. 1
Bsn.
(XYLO.)
mp
TRI. (med. lg.)
mp
33
Picc. f Fl. 1 f
Fl. 2
f
Ob.
1 2
f
Bb Cl. 3
f
Bb Bass Cl.
Eb Alto Sax. 1
Eb Alto Sax. 2
f
f
Bb Ten. Sax.
mf
f
mf
mf a2
2.
mf
mf
mf (VIBES) mf
mf
(MAR.)
mf
l.v.
f
f
div.
Euph.
mf
Perc. 4
2 3
Perc. 3
f
Perc. 2
f f
Trb. 1
Perc. 1
mf
f
F Hn. 2
Timp.
F Hn. 1
Str. Bass
to st. mute
2 Bb Tpt. 3
Tba.
f
Trb.
mf
1 2
Bb Tpt. 1
f
Bb Cl. 2
Eb Bari. Sax.
Bb Cl. 1
Bsn.
f
mf
(XYLO.)
35
ppp
ppp
ppp
mp
ppp
mp
ppp
ppp
ppp
mp
mp
mp
mp
mp
l.v.
41
Picc. Fl. 1
Fl. 2
mp
Ob. 1
mp
Ob.
1 2
1.
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bsn.
1 2
Eb Alto Sax. 1
2
mp
mp
2
mp
mp
Bb Cl. 1
2
mp
mp
2 3
F Hn. 1
F Hn. 2
Trb. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt.
Trb.
2 3
Euph.
Tba.
div. mp
pizz.
Str. Bass
Timp.
Perc. 1
Perc. 2
mp
Perc. 3
Perc. 4
ppp
36
GLOCK.
mp
p
one only
one only
p
p
49
Picc.
mf
Fl. 1
Fl. 2
Ob.
1 2
mp
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
a2
mp
56
mf
a2
mf
mf
mf
mf
Bsns.
mp
st.mute mp
Play
mf
mp
2 3
F Hn. 1
F Hn. 2
Trb. 1
Bb Tpt.
Trb.
2 3
Euph.
Tba.
Str. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
pp
pp
p
p
pp
p
pp
pp
p
pp
37
57 Picc. f Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 3
Bb Bass Cl.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
F Hn. 2
Trb. 1
2 Trb. 3
Euph.
Tba.
Str. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
f
f
mf
F Hn. 1
mf
2 3
f f
Bb Tpt.
Bb Cl. 2
Bsn.
f
f
f
f
mp mp
mp
mute out
tutti
mf
mf
mf
tutti.
mf
SUS. CYM. (yarn)
mf
mf arco
mp
mp
mp
mp
mp
38
mp
mp
mp
a2
mp
mp
mp
p
mp
(XYLO.)
mp
p
p
mp
BONGOS mp
64
Picc. f
Fl. 1
f
Fl. 2
1 Ob. 2
f
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
f
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
2 3
f
f
Trb. 1
f
2 3
Euph.
Tba.
Str. Bass
f
Timp.
f
Perc. 1
Perc. 3
Perc. 4
l.v.
f
a2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
unis.
2
2
2
(GLOCK.)
2
2
2
2
2
39
ff
ff
ff
ff
ff
ff
ff
ff
2
2
ff
2
2
f
2
2
2
2
2
f
f
f
f
f
Perc. 2
f
f div.
f
f
F Hn. 2
f
f
f
f
F Hn. 1
Trb.
f
Bb Tpt. 1 Bb Tpt.
f
Bsn.
72
Picc. Fl. 1 Fl. 2 Ob.
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
f
open Bb Tpt. 1
F Hn. 1
f
f
F Hn. 2
Trb. 1
Trb.
2 3
fpp
Euph.
Tba.
Str. Bass
Timp.
f
ff (GLOCK.)
Perc. 2
Perc. 3
Perc. 4
ff
fpp
fpp
fpp
fpp
fpp
fpp
fpp
fpp
fpp
fpp
VIBES
Perc. 1
fpp
2 Bb Tpt. 3
1 2
Eb Bari. Sax.
1 2
Bb Cl. 1
Bsn.
40
80
Picc. 78
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bsn.
1 2
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
F Hn. 1
F Hn. 2
Trb. 1
2 3
Euph.
Perc. 4
fpp
Str. Bass
Perc. 3
Perc. 2
Perc. 1
Tba.
Timp.
fpp
f
f
f
f
f
41
f
fpp
Trb.
fpp
2 Bb Tpt. 3
Eb Alto Sax. 1
Picc. Fl. 1 Fl. 2
84
Ob.
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Euph.
Tba.
(VIBES)
(GLOCK.)
Perc. 4
Perc. 3
2 3
Perc. 2
Perc. 1
Trb. 1
Timp.
F Hn. 2
Str. Bass
Trb.
F Hn. 1
2 Bb Tpt. 3
Bb Cl. 1
Bsn.
1 2
88
42
ff
ff
ff
ff
ff
ff
ff
ff
ff
CRASH CYMBALS
B.D. f
ff
f
90 Picc. Fl. 1 Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Tba.
Perc. 4
4 4
4
Timp. Perc. 1
Perc. 3
Str. Bass
Perc. 2
F Hn. 2
Euph.
2 3
F Hn. 1
Trb.
Trb. 1
2 3
Bb Tpt.
Bb Bass Cl.
Eb Alto Sax. 2
Eb Alto Sax. 1
Bb Cl. 3
1 Bsn. 2
43
4
ff
a2
4
ff
4
4
SUS. CYM. (yarn)
p
ff
4
4 4 ff
4
4
4
1.
mp
96
"Iyahong"
4 Picc. 4 4 4 4 4 4 4 4 4 4 4 4 Fl. 1 4 4 4 4 4 4 4 4 4 4 4 4 Fl. 2 4
4
1 Ob. 2
4
Bb Cl. 2
Bb Cl. 3
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
4
4
Bb Cl. 1
Bb Bass Cl.
4
4
4 4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
(2.)
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
4
4
4
4
4
4
4
4
4
4
4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4
4
4
4
4 Bb Ten. Sax. 4 4 4 4 4 4 4 Eb Bari. Sax.
4
Bb Tpt. 1
Bb Tpt.
2 3
4
4
4
4
4
4
4
4
Perc. 2
Perc. 3
Perc. 4
l.v.
ff
l.v.
ff
Perc. 1
Timp.
Str. Bass
F Hn. 2
Tba.
F Hn. 1
Euph.
2 3
Trb.
4
4
Trb. 1
4
4
4
div.
44
a2
ff
f
f mf f mf
Picc. 103
Fl. 1
Fl. 2
1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
F Hn. 1
F Hn. 2
Trb. 1
Trb.
2 3
Euph.
mf
a2
mf
f
f
Timp.
f
f
f
mf
f
mf
mp
mp mp
fp
mf
cresc.
cresc.
mf
cresc.
(23") F to Eb
fp
mf
f
Tba. Str. Bass
mf f f mf f mf f unis. f mp f f
Bb Tpt. 1
2 Bb Tpt. 3
104
fp
f
f
f
f
f unis.
f
f
mp mp mp
mp
mp
mp
mp
mp
mp
mf
mp
mp
f
mf mp mp
mp
mf
mp
mp
mp
mp
mp
p TAM TAM
Perc. 2
45
mf
Perc. 4
Perc. 1
Perc. 3
mp
mp
mp
p
112 (q = 132) Don't drag!
q. = q 111 Picc. ff Fl. 1 ff Fl. 2 ff a2 1 Ob. 2 ff Bb Cl. 1 ff Bb Cl. 2 ff Bb Cl. 3 ff Bb Bass Cl. ff 1 Bsn. 2 ff Eb Alto Sax. 1 ff Eb Alto Sax. 2 ff Bb Ten. Sax. ff Eb Bari. Sax. Bb Tpt. 1
ff
ff ff
2 Bb Tpt. 3
F Hn. 1
ff
F Hn. 2
ff
Trb. 1
Euph.
Tba.
Str. Bass Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
ff
2 Trb. 3
ff
ff
div. ff
ff
fff
Strike any notes in wild, random fashion, CHIMES evoking the sound of celebratory church bells.
l.v. ff
ff
TRIANGLES
f
fff (Notated pitches are only a suggestion.)
46
(continue to m. 128)
Picc. 116
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
2 Bb Tpt. 3
F Hn. 1
F Hn. 2
Trb. 1
Trb.
2 3
Euph.
Tba.
Timp.
Perc. 1
Perc. 2
Perc. 4
120 "Iyahong"
3
3
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
f
3
3
3
3
47
3
3
Str. Bass
Perc. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3 3 3
3
3
3
3
3
f
3 GLOCK.
ff
3
3
3
3
123 Picc. 3
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
3
3
3 3 3 3 3 3
3
3
3
3
3
3
3 3 3
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
3 3 3 3 3 3 3
F Hn. 2
2 Trb. 3
Euph.
3
Tba. Str. Bass
3 3
(GLOCK.)
Perc. 2
3
Perc. 3
(CHIMES)
Perc. 4
(TRI.)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
3
3 3
3
3
3
3
3
mf
mf
mf
mf
p
mf
unis.
mf
mf
mp (23") Eb to G
p
mf
p
p
mf
mf
p
p
p
p
mf
p
mf
mf
p
48
3
mf
3
3
3
3
mf 3 3 mf 3 3
3
rit.
3
Timp.
Perc. 1
3
F Hn. 1
Trb. 1
3
3
3
3 3 3 3
3
3
3 3 3 Eb Bari. Sax.
2 3
Bb Ten. Sax.
Bb Tpt.
3 3
3
Bb Tpt. 1
3
3
Bsn.
3
Bb Bass Cl.
3 3
Bb Cl. 3
131 q. = 132+
Picc. Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bsn.
1 2
Eb Alto Sax. 2
Bb Ten. Sax.
F Hn. 2
Trb. 1
2 Trb. 3
Euph.
f f
f
f
Bb Tpt. 1
F Hn. 1
f
Eb Bari. Sax.
2 Bb Tpt. 3
f
f
Eb Alto Sax. 1
f
f
ff
ff
ff
fff
ff
4
4
4
4
fff
4
ff
ff
ff
ff
2
B.D. Slam it!
fff
SUS. CYM. (yarn)
mf
49
CRASH CYMBALS
4 4 4 4
4 4
4
4
4
4
4
4
4
4
4
2
2
2
4 4
4 4
4
fff
VI
fff
f 2
2
2
IV V
2
4
2
2
f fff dampen 2 2 2 2 2 f fff 4 4 4 fff choke
4
ff
4
fff
4
4
fff
ff
f
a2
4
fff
4
2
2
fff
4
f fff
ff
Timp. ff f BONGOS Perc. 1
fff
4
a2
fff
4
4 4 4 4
ff ffp
fff
4
ff
ffp
f
fff
ff
fp
4
ff
ffp
fff
ff
f
fff
4 4 f f 4 4 4 f ff
fff
ffp
f Str. Bass
Perc. 4
4
Tba.
Perc. 3
ff
f
f
Perc. 2
fff ff fff ff 4 4 4 fff ff 4 4 a2 4 fff ff 4
f
fff
fff
2
2
2
fff
2
dampen
dampen
12/12/12 Pasadena, CA
PRESERVING OUR MUSIC I T I S I M P O R TA N T T O P R E S E R V E O U R M U S I C A L H E R I TA G E F O R F U T U R E G E N E R AT I O N S
Acidic paper has been in widespread use since the turn of the century, and has become the bane of archivists, librarians, and others who seek to preserve knowledge intact, because it literally will self-destruct as it ages. Some paper, only three or four decades old, already has become impossible to handle — so brittle it crumbles to the touch. Surely we do not want today’s music to be unavailable to those who will inhabit the future. If the music of the Renaissance had not been written on vellum it could never have been preserved and we would not have it today, some four hundred years later. Let us give the same consideration to the musicians in our future. It was with this thinking that Manhattan Beach Music in 1988 first addressed the needs of the archivist by printing all of its concert band music on acid-free paper that met the standards specified in the American National Standard for Information Sciences — Permanence of Paper for Printed Library Materials (ANSI Z39.48-1984). The standard was revised on October 26, 1992 to include coated papers; all of our new editions and reprints of older editions meet this revised standard. With proper care and under proper environmental conditions, this paper should last for at least several hundred years.
Technical notes: Paper permanence is related to several factors: The acidity or alkalinity (pH) of the paper is perhaps the most critical criterion. Archival paper (also known as acid-free paper, alkaline paper, and permanent paper) is acid-free, has a pH between 7.5 and 10, is tear resistant, has an alkaline reserve equivalent to 2% calcium carbonate (to neutralize any acid that might arise from natural aging of the paper or from environmental pollution), and contains no unbleached pulp or groundwood (no more than 1% lignin by weight). The specific standards summarized here are set forth in detail by the National Information Standards Organization in American National Standard Z39.48-1992. For more information, contact: NISO, 4733 Bethesda Avenue, Suite 300, Bethesda, MD 20814, http://www.niso.org/
This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper)
BOB MARGOLIS — PUBLISHER N E I L R U D D Y — C R E AT I V E D I R E C T O R COFOUNDERS P R I N T I N G : C H E R N AY P R I N T I N G , I N C .
.
KOREAN FOLKSONGS FROM JEJU ISL AND
w w w. M a n h at ta n B e a c h M u s i c . c o m w w w. Fr a n k T i c h e l i . c o m
R a i s i n g A m e r i c a n
T h e
S ta n d a r d s
C o n c e rt
A l l
O v e r
B a n d
t h e
o f
a n d
W o r l d
t h e B a n d s