Catango-Blackshaw

CataNgo 5 F O R P R O F E S S I O N A L S A X O P H O N E Q U A R T E T A N D S E N I O R S C H O O L W I N D E N S E M B L E

JODIE BLACKSHAW INSTRUMENTATION

Soprano Saxophone (Quartet)

Trumpet 1 in B¯

Alto/Soprano Saxophone (Quartet)

Trumpet 2 in B¯

Tenor/Soprano Saxophone (Quartet)

French Horn in F

Baritone/Soprano Saxophone (Quartet)¯

Trombone Euphonium T.C. / B.C.

Flute

String Bass

Bassoon 1

Bass Clarinet in B¯

Mallet Percussion 1 Vibraphone, Xylophone, Triangle, Tambourine, Handclap Mallet Percussion 2 Glockenspiel, Vibraphone, Handclap, Woodblock

Alto Sax 1 in E¯

Timpani (4)

Alto Sax 2 in E¯

Percussion 1 Cajon, handclap

Bassoon 2 Clarinet 1 in B¯ Clarinet 2 in B¯

Tenor Saxophone in B¯

Percussion 2 Cabasa, Hi-hat, Ride Cymbal, Suspended Cymbal Percussion 3 Hand clap, Woodblock, Vibraslap, Ratchet, Whistle, Cowbell, Tambourine

Baritone Saxophone in E¯

©2018 Wallabac Music. All rights reserved. International rights secured.

www.jodieblackshaw.com

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REHEARSAL NOTES

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Characters in the Score At first perusal, it will strike you that few ‘musical’ terms used. Instead, there is a reference to various characters. Five to be exact:

“A lonely, hungry, no-name cat.” Each of the cats I have ever owned either entered my life as a stray, or were obtained from the RSPCA. When a cat first comes into your life from a shelter, they are scared and do their utmost to shower you with their love and gratitude. The opening melody as stated in the tenor was written to reflect this fragile state and hence begin the journey.

“Machiavellian cat.” “Men judge generally more by the eye than by the hand, for everyone can see and few can feel. Everyone sees what you appear to be, few really know what you are.” Niccolò Machiavelli (1469-1527)

Niccolò Machiavelli was a controversial Italian writer, critic, atheist and statesman. To be Machiavellian is to be deceptive, cunning and hold little regard for others. Those who have not lived with a cat, or taken the time to befriend a feline often think of cats as selfish, dishonourable creatures with little regard for anyone other than themselves. (Which is, of course, preposterous!)

“The cat who dreams like Alice.” “Imagination is the only weapon in the war against reality.” Lewis Carroll, Alice in Wonderland

Alice explored the wildest worlds in her dreams as part of ‘Alice in Wonderland’ by Lewis Carroll. In studying the life of cats, they spend much of their time sleeping; hence it simply couldn’t be a piece about cats without a ‘dream’ section. Cats do indeed dream, and it is believed they have two main sleep states with one containing Rapid Eye Movement (REM) sleep. The brain waves of a cat look almost identical to that of a human during REM sleep and it is a very busy time for brain activity. This section is explored with all four saxophone quartet members playing Soprano Saxophone plus two vibraphone parts. PLEASE do not replace a vibraphone part with anything else – homogeny of timbre is vital during this section and it won’t be achieved if either of the parts is played on another instrument. Thank you! It is also suggested that the Vibraphones are placed at the very front of the ensemble so that they are clearly audible during this section.

“Nimrod, the hunting cat.” The name Nimrod comes from the Hebrew verb marad, meaning “rebel.” In Genesis 10:8-11 of the Old Testament we learn that “Nimrod” established a kingdom. He was described as a fierce hunter “Like Nimrod, a mighty hunter before the LORD.” The reference here is to the cat who suddenly jumps into a sprint during a hunt. Any cat person knows this can be anything from a bird, a listless Autumn leaf or even one of your household shoes!

“Cat. Shaken, not stirred.” The famous character whom we know now as James Bond was created by Ian Fleming. I make this cryptic reference as I imagine the cat who struts their stuff after a good meal, a successful hunt or perhaps even just a warm cuddle. They are not afraid to express their confidence and self-assurance, much like agent 007… Please pay close attention to all articulation patterns to gain the swagger that the melodic material demands.

The role of the quartet – playing with character I have envisaged the quartet as 4 (outstanding) lead players within the ensemble itself, rather than adopt the usual Concerto Grosso model. Hence, the quartet is often playing the same lines as those in other sections. We all know the power of a strong lead player in an ensemble and how much influence that player can have on the rest of the section. It is my wish that this experience inspires school students in the ensemble to push harder and be more articulate and refined in their approach to playing music on their instrument. (You don’t know what you don’t know, and sometimes it takes working with someone who is much better than you, to push you out of your comfort zone and reach a new level of comprehension and proficiency). The mentoring role is also designed to address the detail in the work. The goal being to enable student musicians to understand the fundamental importance of playing with an agreed approach to articulation, with unison slurring patterns (that have been meticulously included!) and with a matched energy and character. This is a Grade 4 wind band work - they are ready for this kind of challenge! I have also included references to literary characters (Machiavelli, Alice (in Wonderland), Nimrod and James Bond – more information above) as I believe the strength of these characters can be explored musically. The quartet will instinctively play with a great sense of vitality and spirit and it is my desire that the quartet draws upon characteristics of these literary giants to inspire their playing and teach students how to do the same. Music is SO much more than loud and softs, shorts and longs, there needs to be character! To assist with this process, vocabulary stencils are provided for all cats (please go to: www.jodieblackshaw.com/catango-5 for a free download). It is highly recommended that these stencils be distributed with parts and used as a guide during rehearsal. The vocabulary words will help define these characters and then it will be up to the quartet to demonstrate how to translate such adjectives into music.

Masterclasses When rehearsing this piece with the quartet, I envisage dividing the band into four sections: Group A: Flute, Oboe, Bassoons, Horns, Troms Euph Group B: Clt 1, Alto 1, Trumpet 1 Group C: Clt 2, Alto 2, Tenor Sax, Trumpet 2 Group D: bass reeds, Tuba, String Bass & Timpani Players from the quartet then host a masterclass on playing measures 41-63 with their respective group: Group A: Soprano Sax Group B: Alto Sax Group C: Tenor Sax Group D: Baritone Sax (If you intend to use the Drum Kit part, ideally you would involve a percussion tutor/specialist to play this part and use them to masterclass your percussion section at the same time J). The focus of this masterclass is on character! Whilst the score is heavily articulated, quartet members are encouraged to use the vocabulary stencils to invite students to move beyond the detail. The goal of the work is to consider the character of a cat (in the case of the above, a conniving, slippery, not-to-be-trusted kind of cat), so I ask the soloists to demonstrate how your approach to the melodic material can suggest this. The next step is to work out how to play the material collectively to achieve this. It can be lead by the quartet initially and then students could break into smaller group of 2-3 people and experiment with ideas. They could then bring them back to the group and collectively decide what works. The more invested the students are the more it will mean to them. It’s then important to come back and share what each part has brought to their playing. Ask the question – will it work together? A final creative moment maybe bringing together everyone’s ideas and making a collective decision on various passages. YOU ARE ALLOWED TO CHANGE THINGS! If you don’t like some of the articulations/dynamics, CHANGE THEM! Seriously. It’s ok :) Finally, another quirky idea is to invite band members to bring in photos of their own pets (doesn’t have to be a cat) with some vocabulary words that describe them. This will provide ownership and context. It’s also a kind of cute thing to do! The quartet may like to do this too :)

Bird Whistle Soundscape (m. 128) At measure 128, a bird whistle soundscape enables the mallet percussionists to change instruments and provides a sonic sorbet for the audience. Some of the calls should begin on the downbeat of measure 127 to flow onto 128. Feel free to have as many students as you wish take part in this section using the following bird whistles as well as appropriate improvised vocal sounds: • • • • • •

Acme Warbler Whistle Acme Skylark Whistle Acme Nightingale Whistle Acme Curlew or Peewit Whistle Acme Quail Whistle Acme Duck Decoy (use this sparingly for comic relief J)

Alleycat Soundscape (m. 188) At measure 188, it’s your chance to have some fun with your ensemble and create a soundscape depicting a latenight altercation between 1-4 sparring felines. Percussion should start the soundscape by knock over garbage bins and various other noise makers to represent cats on the prowl in an alley. The band can vocalise cat hissing sounds (make sure it isn’t too many!) and possibly a dog bark or owl hoot - get creative! The solo saxophone quartet maybe able to emulate sounds of cats howling at each other by bending pitch with open throat sounds in higher octaves. A little theatre is also required here to sell it to the audience, so I envisage some kind of spotlight (a bright torch light would do) shining from stage right to stage left and all heads turn with it - like a cat has run past. The imaginary cat can even run through the quartet for added drama. The quartet/band look at each other, shrug their shoulders, then the conductor does so too. Now you can Launch into U. This is just a suggestion – whatever you come up with if yours – this is some ideas to get you started. The students will have LOADS of fun creating the soundscape and remember to keep the ideas flowing to keep the creativity flowing – try not to “glue the pieces down” J.

Cajon ‘Cajon’ means drawer, or wooden box in Spanish and is a wooden boxed percussion instrument that you sit on to play with your hands. To see a demonstration of what a Cajon sounds like, watch this clip (link also available on my website): https://www.youtube.com/watch?v=-uLsM9vp3dw If your students have not played a Cajon before – never fear! Here is an excellent resource available online for a very reasonable fee with instant download (link also available on my website): https://dancinghands.com/products/cajon-grooves-for-beginners-dvd-instant-download It contains a series of short lessons that will teach your student the three main sounds on the Cajon (Bass – Touch – Slap) as well as different grooves on the instrument. This (and a bit of practise!) will be enough for the student to interpret the part written in Percussion 1 (Bottom line = Bass; Middle line = Touch, Top line = Slap). If you have a parent who is particularly good at woodworking, they maybe interested in building an instrument for you. Here is a link to an excellent set of instructions (link also available on my website): http://www.instructables.com/id/How-To-Build-Your-Own-Cajon-Box-Drum/

About the composer Have you ever played a ‘Blackshaw’ with your wind ensemble? If you have, then you know that a work by this Australian composer-educator is different from the norm. You will also know that it takes you, the Director, on an alternate educational pathway that for some, is a little uncomfortable at first. That said you would also know that it is a surprise package, an audience favourite and presents you the director with interesting conducting challenges. Such is the work of Jodie Blackshaw. Jodie Blackshaw (b. 1971) grew up in the Riverina, NSW, Australia and after completing high school, studied a Bachelor of Music (Composition) with Professor Larry Sitsky at the Australian National University School of Music. Since then, she has worked in a range of schools teaching classroom/instrumental music and conducting ensembles. Through her teaching, conducting and composing, Blackshaw has passionately searched for a compositional approach to band that offers Directors a product that centres on musical elements other than melody and harmony. In 2006 Jodie won the inaugural Frank Ticheli Composition Contest with her work ‘Whirlwind’ and since then has traveled throughout Australia, the United States, Canada and the UAE as a guest composer and creative music teaching clinician. Highlights of these travels include residencies at prestigious school such as the University of North Texas, the University of British Columbia, Ithaca College and the Crane School of Music, State University of New York (Potsdam). Jodie is currently studying a PhD in Composition at the Australian National University with Dr. Christopher Sainsbury with a focus on composing music for children influenced by brain-based learning principles. Blackshaw is fanatical about producing quality, meaningful works for band and is frequently commissioned by various groups throughout the western world to do just that. She desires that her music not just be "another piece, but an educational and spiritual journey for both the players and the director". To find out more about Jodie and her works please go to: www.jodieblackshaw.com

DEDICATION This piece is for my friend and colleague Joanne Heaton. Her quirky sense of humour, brilliance on the podium (and as a saxophonist), dedication to the wind band genre and music education is much to be admired. ‌ She’s also a fellow cat lover.

Commissioned by International Grammar School, Sydney, New South Wales, Australia

Soprano Saxophone (Quartet)

Alto Saxophone (Quartet)

Tenor Saxophone (Quartet)

Baritone Saxophone (Quartet)

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CataNgo 5 For professional sax quartet and senior high school wind ensemble

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Alto Saxophone 1 (Ensemble)

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String Bass

Mallets/Aux. Perc. 1

Vibraphone, Xylophone Triangle, Tambourine, Handclap

Mallets/Aux. Perc. 2

Glockenspiel, Vibraphone Handclap

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(can replace Perc. 1-3 where necessary)

Percussion 1

Cajon, Handclap

Cabasa, Hi-Hat, Ride Cymbal, Supended Cymbal

Hand Clap, Wood Block Ratchet, Whistle Cowbell, Tambourine

CDFG

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Catango 5 - Score

2

Sop. Sax. (Quartet)

Alto Sax. (Quartet)

Ten. Sax. (Quartet)

Bari. Sax. (Quartet)

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   



 Tpt. 1 







Tpt. 2





















Hn. 1





















Hn. 2





















Tbn. 1

 



















Tbn. 2

 



















Euph.

 



















Tba.

  



















   



















  

















 

















   

















 

























Perc. 2 Cba.





















Perc. 3 Aux.









S. Bass

Mlts/Aux 1 Vib.

Mlts/Aux 2 Glock.

Timp.

Kit

Perc. 1 Clap



9

(Hand Clap)

10

Rim of snare



11

   



mp

   

Handclap

12

mp





13



   

   

14





  





15

  

16





Vib.



Glck.



 

mp

 

mp

 



17

   

  

Catango 5 - Score

Sop. Sax. (Quartet)

 

Fl.



Cl. 2

B. Cl.

Alto Sax. 1

Alto Sax. 2



p

  

mf







   





  

     

p

mp



               



 



                  



 



mp

 



 

f

mp

f

mp

f

 



 



 













 



 



 



 



        

 

 

      





 

   





 

   

  









  





















 mp



  





 mp

    



 



 mp









             3            





 







mf

       



3            



 

mp

    



       



     

    



 



 





Hn. 1













 





 





 



 

   

Play



     

mp



mf





     





   

 

          

mp

       mf       

 



B

Play

  

mf



             



         

                



  

 



     

 



 



             



 

 



                

 Solo (Play)      mp



 



                  



 





 



                



 



       



 



mp

 

 



 



f

 



  

mp



f

     

mp

 

  

 

f

     f

f

mp

f

               

  

mp

f

mp

mf

   



mp

mp

f

mp

f

   

           mp 

 



 



 



 







 



 



 



 



                 



 





 





 



   



  

mp



                  



mp

     



   



f



f

              

  

 



 

                



 



  

                



 



mp

f

mp

f

 





  













 



 



 



 















 



 



 



 



    











 



 



 



 



  











 



 



 



 













 



 



 



 



   







 



 



 



 













 



 



 



 













 



 



 



 



   







 



 



 



 



   



   

 Kit  

 (Rim of snare)

 



Perc. 2 Cba.



Perc. 3 Aux.



18

(Cabasa)



(Hand Clap)

 







19



20



mp

21

mf

22

Hi-hat



  mp

mp



 Cabasa

    mp

23



24

f

25

26

27



Solo (Play)



Play





mp





mf





mp



   

mf

    

mf

   

mf







mf

             mp  

   

            

Solo





mf



mp





 

mp



Perc. 1 Clap





Tpt. 2

Timp.

 

 



Mlts/Aux 2 Glock.







Mlts/Aux 1 Vib.

                  

  

 



S. Bass







Tba.

 



 Tpt. 1 

Euph.







Tbn. 2

 







Tbn. 1

mf

   

p



 







Hn. 2

mf



 



ooow.."

   



Bari. Sax.

-



                      3 mf                 

mp

Ten. Sax.

gliss.

"meeoooo

3

mp

  

B





Bsn. 1

Cl. 1

     

3



  

Ob.

Bsn. 2

mp



Ten. Sax. (Quartet)

scoop       



        

Alto Sax. (Quartet)

Bari. Sax. (Quartet)



3

 

Catango 5 - Score

4

poco accel.

 Sop. Sax. (Quartet)  Alto Sax. (Quartet)



Ten. Sax. (Quartet)



Bari. Sax. (Quartet)

Fl.

Ob.

Bsn. 1

Bsn. 2



 















HMachiavellian cat q=108

C 







 



 



 





                           

p



mp

mf

                            p



 



 





                

Solo - mischievously

             

 

mp

p





 



 



 



 



 



 







 



 



 



 



 



 



mf

  











 



 



 



 



 



 



 











 



 



 



 



 



 



 



    

 

 

         

mp

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

p

  



 



 



 



 



 



 







 



 



 



 



 



 



mf





mf

 

  









 



 



 



 



 



 



Cl. 2













 



 



 



 



 



 



B. Cl.



 









 



 



 



 



 



 













 



 



 



 



 



 













 



 



 



 



 



 













 



 



 



 



 



 













 



 



 



 



 



 



Cl. 1

Alto Sax. 1

  

Alto Sax. 2



Ten. Sax.



Bari. Sax.









poco accel.

 Tpt. 1 









Tpt. 2









Hn. 1







Hn. 2





Tbn. 1

 

Tbn. 2

HMachiavellian cat q=108

C



 



 



 



 



 



 







 



 



 



 



 



 









 



 



 



 



 



 











 



 



 



 



 



 













 



 



 



 



 



 



 











 



 



 



 



 



 



Euph.

 











 



 



 



 



 



 



Tba.

  











 



 



 



 



 



 



  S. Bass  







     

  











 



 



 



 



 



 















 



 



 



 



 



 



   









Mlts/Aux 1 Vib.

Mlts/Aux 2 Glock.

Timp.



 Kit   Perc. 1 Clap



(Hi-hat)





Perc. 2 Cba.



Perc. 3 Aux.



 

 

 (Cabasa)

28





 

29



p leggiero

   



  





String Bass cue

p

mf



       



    

Pizz.

mp

    

30

      mf









 



 

   mp

31

  

 



     

32

   

    



   

 



    

 

  



      

 

33









 

  

 

 

 





      

 



 

 

       



 

34



 

35

  

  









 



 





 

  

 



   

36

   

    



 

 

       

 



  

    



      

 

37









 

 

 

Catango 5 - Score

Sop. Sax. (Quartet)

5

D Like a wolf in sheep's clothing

  



 



 



 



 



                             

With Clt 1 Alto Sax. (Quartet)



Ten. Sax. (Quartet)





 

mp

 



     

mf

 

 



       

 



   





 



 



 



 



 



 









 



 



 



 



 



 



   





 



 



 



 



 



 



  





 



 



 



 



 



 



Bsn. 1

 





 



 



 



 



 



 



Bsn. 2

  





 



 



 



 



 



 



Bari. Sax. (Quartet)

Fl.

Ob.

 Cl. 1  



Cl. 2







 



 



 



 



 



 



B. Cl.

 





 



 



 



 



 



 



 





 



 



 



 



 



 









 



 



 



 



 



 









 



 



 



 



 



 







 



 



 



 



 



 



D Like a wolf in sheep's clothing      



 



 



 



 



Alto Sax. 1

Alto Sax. 2

Ten. Sax.

Bari. Sax.

Solo: with Alto 1 (from quartet)



                               mp

                         mf

 Tpt. 1  









 



 



 



 



 



 



 





 



 



 



 



 



 



 





 



 



 



 



 



 



Tbn. 1

  





 



 



 



 



 



 



Tbn. 2

 





 



 



 



 



 



 



Euph.

  





 



 



 



 



 



 



Tba.

  





 



 



 



 



 



 



     

    

Tpt. 2

Hn. 1

Hn. 2

S. Bass

    

  





Triangle

Mlts/Aux. 1 Tri.

Mlts/Aux 2 Glock.

(Clap)   

  Timp.     Kit   Perc. 1 Clap









(Clap)

(Cabasa) Perc. 2 Cba.



Perc. 3 Aux.



 

Vibraslap

38



mp

 



   

Staccato mallets - leggiero

(Hi-hat)



  

Handclap





    

Play

 

p







  









   



mf



   

mf

Handclap mp

mf

39

   

 



f

 

   



 



   

40

     

    

            



    

 

 

41



 

 

  

 

 

 

  

  



 

mp

     

       

 

43



 



 

  

 

   

        

      

42

mp

  

        

     

 

   



  











            

  



  

 





 

 

   

   



 



  

 



 



 

44



            

  



    

 







 



     

      

                 

 

 

45

   









     

  

Catango 5 - Score

6

Sop. Sax. (Quartet)

   

Alto Sax. (Quartet)



Ten. Sax. (Quartet)



Bari. Sax. (Quartet)



E 

   



mp



 



     leggiero

  



mp

 





 



 

 



 





 



 



 



 



 



                                  mp

                                mf

 



 



 









 



 



 



 



 



 









 



 



 



 



 



 







 



 



 



 



 



 





 



 



 



 



 



 





 



 



 



 



 



 



  



 





 



 

Tbn. 1

  





 



Tbn. 2

  





 

Euph.

 





Tba.

  





      



   



mp

     

  



   





Perc. 3 Aux.





Woodblock



 



 



 



 



 



 



 



 





 



 



 



 



 



 



 



 



 



 



 



 



 



 



 



 



 





 

    

 



        

 

   

                 

   



  





(Clap)

mf



 

   



 



 

 

 

    

  

   



  

 



    







(Woodblock)



    





   





    



48

49

                  

 

mf

50

  

 

   

51

         



 

   



 



  

 

 

 

 



    



 

   





 

       

          





 







      

         

(Cabasa)



 

  

 

    

        

mf

          

    

 

 

  

  





                 

                            

    mf



 

(Hi-hat)

mf



  

mp

  

 

      



    



    

 

mf

     

 

    

         

                                mf

  

  

 

(Clap)

   

  





mp

     

Perc. 2 Cba.

46

E

Tambourine

    

 Kit   Mlts 2 Clap

 







                                mp

 

    





Timp.





 



Mlts/Aux. 2 Clap

 



     

mf

Tutti



Mlts/Aux. 1 Tamb.

                               

                

 Tpt. 1  

S. Bass

 

                             mp

Tutti

 

    





B. Cl.

        

 

 



 









 



Cl. 2

  



  

Hn. 2

  



                              

Bsn. 2

Hn. 1

 

 



 

 

Tpt. 2

  

 



  



Bari. Sax.

 

    

 

Ten. Sax.



   



Alto Sax. 2

 

 



Alto Sax. 1

mf

 

  

  

    



Bsn. 1

mp

  



 

   





    



mp





       

   

   

  

  

                                             

  



Tutti



       



Cl. 1

 

  

mp

  Fl.     Ob.

    

    

                             





  

  

 



52

   

    

      

 





                  

   

53

 

 



     

  

Catango 5 - Score

Sop. Sax. (Quartet)

F Devious, cunning and crafty                   

   

fp



Ten. Sax. (Quartet)

 

Fl.



fp

mf

Bsn. 2

Cl. 1

Alto Sax. 1

Alto Sax. 2

Ten. Sax.

mf



fp

         



   

fp

mf





fp



Tbn. 2

S. Bass

Mlts/Aux. 1 Tamb.

Mlts/Aux. 2 Clap

Timp.



fp





  

    

    

  











  

fp

mf







  





 



mp







   

     

   





  

   





   



 

     







Perc. 3 Aux.





   

  

   

  

   

  

   

    

  

    

  

    

  

    

  

 



       

 

                     

                                                                         

mf

                   mf  

  

    





 

mf



 

 

   

          

    

                       mf

 



  

mf

                

  

 

  

 

                

   

                





    

 

mf

   

  

mf

  

 

   

                                       

 

  

 

                 

 

              

  

              

mf

  

 

  

 



 

    

 



  



 

    

  



  

  

  



 

    

 

        

 

      

 

        

 

      

   

 

                 

 

        

 

       

f

(Clap) f

   



f



     

mf (Cabasa)



f

    

  

  

  





 

    

mf

                  

  

Cajon



    



    

        



f

(Woodblock)



55



  

  

        

       

 

Drum Set

 

               

mf

           

 

                 



Perc. 2 Cba.



 





mf

  

  



 

mf

  

  



                  

                

     

   



(Tamb.)

  

  

  



mf

 





  







    

 



mf

leggiero



  



    

54



fp





  

mf

mf

   





                  





  

F Devious, cunning and crafty                                mf

fp

mf

  



    

   

 Kit   Mlts 2 Clap

mf

mf

  

  

Tba.



   

fp

Euph.

  

leggiero



  

  

    

mf

 

Tbn. 1

   

                                  

fp

fp

Hn. 2

  

                                mf

fp

Hn. 1

  

mf

  Tpt. 1   Tpt. 2



                               





 

                                mf                  

  

  



                                mf

fp

Bari. Sax.

    

mf

     mf

   



fp

  

 

mf

   



  





 

 





  







mp

  

 

 





mf fp leggiero

       

   

    



   



 

   





 



  

 

 

 



mf

fp

mf

 





   





   

  

  

mf

   

mf

fp

B. Cl.

 

                                            

fp

Cl. 2

    

mf

mp

fp

Bsn. 1

mp



fp

Ob.

f

    

5                                           



Alto Sax. (Quartet)

Bari. Sax. (Quartet)

mp

7



  



          

           

     

  



Ride Hi-hat                                                         





                 

     





 



    









    





   





    

56

f

57

58

 

          

 



           











  

  





 



   

   



       





59



60

  

Catango 5 - Score

8

            Sop. Sax.  (Quartet)  Alto Sax. (Quartet)

Ten. Sax. (Quartet)

Bari. Sax. (Quartet)

Fl.

Ob.

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

  

    

Bari. Sax.

             

Tpt. 2

Hn. 1

Hn. 2

Tbn. 1

Tbn. 2

Euph.

Tba.

S. Bass

Mlts/Aux. 1 Tamb.

Mlts/Aux. 2 Clap

Timp.

     





 



 



 





 

   



 



 



 





 

   



 



 



 





 

   



 



 



 



   



 



 



 



   



 



 



 



   

   



 



 



 



    

   



 



 



 



    

   



 



 



 



   

   



 



 



 



    



 



   

mp

Suddenly slower q=96



           



            



            



           





 



 

   



 



 



 



   

   



 



 



 



  

   



 



 



 



  

   



 



 



 





 

   



 



 



 





 

   



 



 



 





 

   



 



 



 





 

 



 



 





 







 



 





 

mp

mp

mp

mp

mp

    

     



      

    



  

mp



         





(Clap)          



(Tamb.)

      

             

   





Perc. 2 Cba.



 

  



mp



Perc. 3 Aux.



 









  

To Tam tam



62

    

Ride

        

     



    

 F>E§



l.v.

Hi-hat



Vibraphone

 



Vibraphone





 



 





 



 



 



 





 

  



 

 



 



 



 





63



 

 



 

 



poco rit.

   

mp



61

   

mp

          



 

mp



(Woodblock)

mp



mp



     



mf



   







    

      

 

mp

    

          

(Cabasa)

     

  



   



          



   

 

mp



Perc. 1 Cajon

    

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

mp

          

 Kit  

mp



    



mp



mf

mf

    

 

mp



 

       mp



mp





     

       



    

   

   

mp



           

   Tpt. 1   

  



 



mp



   

             

mp

           

    







mp

mf









mp

mp

            

   Alto Sax. 1  

Ten. Sax.

    

               

     

                                     



          

 B. Cl.     

Alto Sax. 2

     

poco rit.

Suddenly slower q=96





   

64

 

   

      

 

 

65



 



  To Sus. cymbal      

 

66

Catango 5 - Score

G a The cat who dreams like Alice (q=108)       Sop. Sax.     (Quartet)        

Alto Sax. (Quartet)

Fl.

p

     

Ten. Sax. (Quartet)

Bari. Sax. (Quartet)

p

p

p





















































  



















Change to Soprano Saxophone























   























     

mp

p

Cl. 2

   B. Cl. 





     

Ten. Sax.



p

 





mp



mp















 

















p





mf

p









    























   







































































 





































Mlts/Aux. 1 Vib.









    











arco



p

mp









             

  f







p

 

f













    



mp







         

mf





mf

        

















mp













    

 













    

 

















    

mp

mf



   f

Euph. solo (cue)

Stagger breathe

mf



    









Solo - freely and dreamily



mp

       

  Mlts/Aux. 2  Vib.  Timp.



mf

mf



pp



   

mf

p

 



p

mf



H

p

mf

p





mf

p

mp



mf







mp





p



p





p

mp

        



mp

p

S. Bass

mf



    



mf

Stagger breathe



p

Tba.



p











    

Euph.



mf



p

Tbn. 2





     

Tbn. 1







    

Hn. 2

mf

p

mf

p

G a The cat who dreams like Alice (q=108)         Tpt. 1 

Hn. 1



mp

p







Tpt. 2



2 players only - blend









p

 

 



mf





mp

Two players       Alto Sax. 1  

Alto Sax. 2





p



p



  Two players     

 mf





mp





p



    

    







p

Bari. Sax.

H

    

Bsn. 1

Cl. 1

Change to Soprano Saxophone

Change to Soprano Saxophone

      

Ob.

Bsn. 2

  

9

  



mf

f





 

  

    

 

 

























 























Perc. 2 Cba.



 























Perc. 3 Aux.



 



Kit

Perc. 1 Cajon



67

68



69



70



71



72



73



74



75



76



77



Catango 5 - Score

10

I

  Sop. Sax.  (Quartet) 

















   

















   

















 

































Sop. Sax. (Alto - Qtet)

Sop. Sax. (Tenor - Qtet)

Sop. Sax. (Bari. - Qtet)

Fl.



    

Ob.

Bsn. 1

Bsn. 2

Cl. 1



 



 







Ten. Sax.

Bari. Sax.









 

















mp

mp

 mf









mp



mf

mp



  

 

  



mf

mf

  

mf







   

































  

I





 

  

 

    







mf Tpt 1 Solo cue





     

     















  

      









mf

  



  





mf

mf

mp









mp

mf



  

  

 Pizz.   

  

  



 

  

  



  

  

p

mf

mf









           















  

Tutti





mp

  



  

mf



mf

  



mp



 











  



  



  



mf

  

mp





mf

   

mf



 









 



















C>A, D>C, G>F

mf

 



































Perc. 2 Cba.



















Perc. 3 Aux.





Kit

Perc. 1 Cajon



78

79



80























p













3





  

3

    

mp

mf



   

mf





f

    



mp





   

f



mp

     

  



mp

 

 



mp

    

 





mf

    

 

Solo - in free time with a sense of day dreaming

  







    S. Bass 

Timp.

 



81



82



83



3





  



mf

mp

  









f

   





Mlts/Aux. 2 Vib.





   





Mlts/Aux. 1 Vib.

mp









 

    

   

Tba.

mf

mf



Euph.



   



Tbn. 2



mf



Tbn. 1

mp





Hn. 2

  



mf



   Tpt. 1 

Hn. 1





 

mp

mf



Tpt. 2



mp





mf



     Alto Sax. 1  Alto Sax. 2



mp

         





   

Cl. 2

B. Cl.



Solo - Tpt cue



84



85



Catango 5 - Score

11

poco rit.

  Sop. Sax.  (Quartet) 



















   



















   



















 



























Sop. Sax. (Alto - Qtet)

Sop. Sax. (Tenor - Qtet)

Sop. Sax. (Bari. - Qtet)

Fl.



    

Ob.

Bsn. 1

Bsn. 2

Cl. 1



Alto Sax. 1



 



 



S. Bass

Mlts/Aux. 1 Vib.

Mlts/Aux. 2 Vib.

Timp.

Kit

Perc. 1 Cajon

mp

p







p

mp

p







p

mp

p







mp

  

p

 

mp



pp









  



    



  









  



mp



p

pp









 

 





 



         







mp

p

   

  





 















 

Divide









































   



















































 

  

 

   

  



  







mf

         

  

 



 

3

3





3





mp

















































































































mp





p

p

mp

p













p

mp

p







 



 



 

     

  

    



 

     

  

    

 p

        



pp

  

pp



p



   

pp

pp



  

mf

poco rit.



mp



p



    3

mf

 





p



    

Euph.







     

    

Tbn. 2

3

mp

  



ppp



   

Tbn. 1

   



p

 



pp

   









      Tpt. 1 

Hn. 2

 

3





    



Hn. 1

  



     

Tpt. 2



mf

 



Ten. Sax.

Tba.

 

     

Alto Sax. 2

Bari. Sax.



    

Cl. 2

B. Cl.

  









            mp

  















































    























 















































 

 

Suspended Cymbal - medium yarn mallets Perc. 2 Cba.





Perc. 3 Aux.





86



87





88





89





mp

90



91



 

92

  

93

  

94

  

95





12

Sop. Sax. (Quartet)

J

 

P



Cantabile

Floatingly q=108     

ppp



Cantabile Sop. Sax. (Alto - Qtet)

Catango 5 - Score



Sop. Sax. (Bari. - Qtet)

Fl.

   





Ob.



 

 

 

Bsn. 2

  



 

ppp





  

  







  



       

   

 







 

 

 

Cl. 2







B. Cl.







mp





 





 

 



    





  









 





    

 



 



 



 



  

 

 



 



 



  







 



 











 



 









 



 









 



 









 



 



Ten. Sax.



Bari. Sax.





 

J

P

Floatingly q=108

Tpt. 2









 



 



Hn. 1









 



 



Hn. 2









 



 



Tbn. 1

 







 



 



Tbn. 2

 







 



 



Euph.

 







 



 



Tba.

  







 



 









 



 



S. Bass

   

       Mlts 1  Vib. 





Vibraphone - hard yarn mallets - pedal as appropriate



 



  





mf

Mlts 2 Vib.

Timp.

Kit

Perc. 1 Cajon

Perc.

  



 



 T.-t.

Tam-tam

96

 f



















ff

 Vibraphone - hard yarnmallets - pedal as appropriate       











mf





 





 











 



 









ff





 



 









 



 









 



 





 



 





 



 



mf Wood Block

97



98

99

100



   

  







  







 







Alto Sax. 2

 

mp

        



    



    

         









 

 





  

   

      

p

       











    

           

    

p





 

Tpt. 1



p



Bsn. 1

Alto Sax. 1

  

       

ppp



 

Cl. 1



Cantabile

   

     mp

p



    

p

Cantabile Sop. Sax. (Tenor - Qtet)

      



Catango 5 - Score

 Sop. Sax. (Quartet) 

Sop. Sax. (Alto - Qtet)

Sop. Sax. (Tenor - Qtet)

Sop. Sax. (Bari. - Qtet)

Mlts 1 Vib.

Mlts 2 Vib.



 

    



                 

p



  



    





  







  



   

     



















mp





101

p

























 





    



 

mp





 







 





 

104

 

    

 





  

103

          

           

mp



     

   

mp

        

 

102

 

              

    



    

mp

p

    

         

  

  

          



mp



 

 



p

      



    

13





   





 





 

105



  Sop. Sax. (Quartet)  

Sop. Sax. (Alto - Qtet)

Sop. Sax. (Tenor - Qtet)

   

Mlts 2 Vib.

        

        

                                           



   











       

   

 

3

      



      Sop. Sax. (Bari. - Qtet)  

Mlts 1 Vib.



3

        

  

        

   







 









106





  

         







  







                                 

                                      

3















107



 

 

 

    





 





 



 





108





 



 







 



109





 



    

  

   

 



 

  

 



  

  

 

  

 

110



Sop. Sax. (Quartet)

K        mf

Sop. Sax. (Alto - Qtet)

Sop. Sax. (Tenor - Qtet)

  

  mf



         3

3

          mf

K    Mlts 1   Vib.   Mlts 2 Vib.

     

111

 



   



      

  



















  

112

 



         







  

113

 



 



          3







   



  

114



 

        

 



 

3

         

          

    

                

           

           

 

          

    

             

       mf

Sop. Sax. (Bari. - Qtet)

          



     

 





   

Catango 5 - Score

14

                                        Sop. Sax.    (Quartet)                              

  

Sop. Sax. (Alto - Qtet)

 Sop. Sax. (Bari. - Qtet)  

  



  Mlts 1   Vib.  

 

    







115

  

  

  

  

   



































116

 

 

 



3

 



3

 



3

3



3

 

3

3

3

    



3

3

    

3

3

    

3

3

   

3

3

                                  

   

3



 



 

                              

                                             

Sop. Sax. (Tenor - Qtet)

Mlts 2 Vib.

        



3

3

  



 

3

 

 

117

3



3

3

 

 

3

 



 



118



 Sop. Sax. (Quartet)  

Sop. Sax. (Alto - Qtet)



Sop. Sax. (Tenor - Qtet)

Sop. Sax. (Bari. - Qtet)

Mlts 1 Vib.

Mlts 2 Vib.



      3                        3 3                   3

3

 

3

 



3

3

3

 



3

3

3

3

3

 



3

       

        3





    

3

3

     



             

3

 

  

    

3

 



3

 







3

3





fff





    

    

        f

 

119

    

f

                                              3 3 3 3 3 3 3 3 3 3 3  f     

 

f



3







120

       

        

  



  



   

 



 









121

fff



 Sop. Sax. (Quartet)  

Sop. Sax. (Alto - Qtet)



Sop. Sax. (Tenor - Qtet)

Sop. Sax. (Bari. - Qtet)







 

       

   



 

mf

    

    

         

    mf



 





 



      

    





122

 







 



  

123





 



  



rit.

 

 

124





      



mp



 mp

    

 



  



          f

125



 



 

p

p

mp



 

p



         



mp

f

 

   

TO THE CONDUCTOR: Commence some bird calls at the beginning of 127.

 

 



mf



    

    



mf

   Mlts 1  Vib.  Mlts 2 Vib.

       

rit.

p

      



126

 





 

127



 



 



Catango 5 - Score

To the Conductor: see notes in front matter of score for further explanation

L Bird soundscape   Sop. Sax.  

M q Nimrod, the hunting cat q=96

(Quartet)

Alto Saxophone Change to Alto Saxophone

Alto Sax. (Quartet)

Ten. Sax. (Quartet)

Bari. Sax. (Quartet)

Fl.

Ob.

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

B. Cl.

Alto Sax. 1

Alto Sax. 2

Ten. Sax.

Bari. Sax.

15







 



 



 







 



 

Change to Tenor Saxophone Tenor Saxophone

 







 



 

 







 



 

  

 



 

 



 

 

  

 

 

Baritone Saxophone Change to Baritone Saxophone





 



 



   



 Tpt. 1 

 



 





    



 

 









     

 

 









     



 

Tutti

mp

mp

mp













Tutti



Tutti

    

 



 

    

 



 



 

mp

mp







    



mp

 







 

   

    



mp

 



    



    



    



mp

mp



 



L Bird soundscape  



 

  mp

    





 



 

    





 



 







      

 







    



 







 

    



Tutti

mp



mp

    



mp





M q Nimrod, the hunting cat q=96       

mp

  mp

mp



 

Hn. 1



 





Hn. 2



 









 

 









Tbn. 2

 

 





Euph.

 

 











  

 











  S. Bass  

 











Pizz

  

 









 

Tpt. 2

Tbn. 1

Tba.

Mlts 1 Vib.

Mlts 2 Glock.



   





 



mf

     



 



 



 



 



 

mp

Xylophone











      

     

mp

     

mp

 



mp Glockenspiel

 





 

      

 

  mp

    



 

 

    



 

mp

mp

 



 

mp

    

 



 

Use different Bird Whistles to create soundscape - play at different times

Timp.

Kit

Perc. 1 Cajon

Perc.

Perc. 3 Aux.







 



 

 







 



 









 



 









 



 









 



 

A-C-E§-F



128

129

130

131

132

Catango 5 - Score

16

  Sop. Sax. (Quartet)     

Alto Sax. (Quartet)



  



  Fl.    Ob.

Bsn. 1





 

Ten. Sax. (Quartet)

Bari. Sax. (Quartet)



 



    

     

   



mp

  

mf





Tpt. 1

    

 

  













 

mf











  







mf





 



   

    



mf



  

    



 

          



 



 

Hn. 2





 





 

   





 





 

   





 

Tba.

   



   S. Bass    Mlts/Aux. 1 Xyl.

   

 

   



   Timp.   



Mlts/Aux. 2 Glock.

Kit

Perc. 1 Cajon

Perc. 2 Cym. Perc. 3 Aux.



    

  

  

mf



mf

  







 



mf

 

      







  mf



mf

 

  





 





 



 





 









 

   







     





f

f

f

f



 mf

  



 



mf

 

f

   

 

 





  



f

 

f





 



 







 







f

 

 

    

 





 

 



 





   

 



 



mf

f

     



f



mf







  



   



 



   



  



   



 





    





 



 



 





 

 





 



 



 





  

  





 



 



 









 



 



 





  

133

134

135

136

137

138



  

    



   

 

f

 







 

 

   



 

mf



    

  

mf

   

f

  



 





 





  



mf

   











    

  



  

mf

f

   





 

mf





 



  



 







f

mf

   







 





f





   

           







mf









 

 







  

      

 



 

3



mf

 





f

  

 

  

   



 





  

    

 

   

3

3

3





 

mf

 

 

 





 



  



  

mf

 

         

     



3

f

  

  

mf

 

f

   

3

3



mf

 



   







   

        mf f

  

Euph.

 

f

f

         



 





  







   

f





mf





 

    

 

mf



 

    

mf

 



mf







mf



 

    

Hn. 1

Tbn. 2







 

f

    



Tbn. 1

f

 

  

Tpt. 2

 

mf

mf



 



 



mf

 

 

mf

 





mf

 

 

   





 

mf

  

 

 

     

Bari. Sax.





  Alto Sax. 1   



 



   

 





mf

 B. Cl.   

 

 



 



 

mf



mf



  



        

Ten. Sax.







mp

Alto Sax. 2

mf

mf

   Cl. 1   Cl. 2

  

 



 





  Bsn. 2    

 



      

139

 Ride

Catango 5 - Score

N Catch.that.mouse. b q=160            Sop. Sax.   (Quartet)  mf

Alto Sax. (Quartet)

Ten. Sax. (Quartet)



 

   

  



 



 





        

  



 



 





       

  

mf

    







Detached

Bari. Sax. (Quartet)

17

             mf

    Fl.    



 



         

        

        



 

        

 

 

        

       



  

mf

    













Bsn. 1

    













Bsn. 2

      

Ob.

mf

   Cl. 1    

mf

Cl. 2

    





 





 

 









Alto Sax. 1

Alto Sax. 2

Ten. Sax.

Bari. Sax.



 



  



 













  

       

  

    















     















    























    



 

  

    





 













 



 

 



 





































       

  





       

  

























     







































                mf    

mf

           

mf



              

 Perc. 1





          



      







         

       







          



      





            



       







       

            













































         

          

        

          

         



       



A>C, C>D, E§>F, F>G













      





       



 Kit  

          

mf



 

Perc. 2 Cym.



Ride Cymbal          

Perc. 3 Aux.



Cajon

 







Timp.









    

Mlts/Aux. 2 Glock.







Euph.

Mlts/Aux. 1 Xyl.

 





   

S. Bass





Tbn. 2

Tba.









 

mf

Tbn. 1





    

mf

mf

Hn. 2





 

N Catch.that.mouse. b q=160           Tpt. 1    

Hn. 1







mf

Tpt. 2



 

  

mf

B. Cl.





        

mf

 

140





Ratchet

 

f



       

142



Whistle



          

f

    

       

(Ride)



144





        

145



Tambourine

18

Catango 5 - Score

O            Sop. Sax.  



 

(Quartet)



Alto Sax. (Quartet)

 

Ten. Sax. (Quartet)

Bari. Sax. (Quartet)





     mf

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

 



               

 



 





 



 

 

    

 



f

f





(sim.)

 

Bsn. 1

Bsn. 2

Cl. 1



Ten. Sax.

Bari. Sax.









 



       mf

  

mf





 



f



mp



  



 

 

f



 



  



       

 



 



        

       

 



 







                    



mp

  





 







mp

 

f





 

    









 

    





















f

 

 Divide





O   

 

f







 





  











 



   

 







S. Bass

Mlts/Aux. 1 Xyl.

       

    mf

Mlts/Aux. 2  Glock.  Timp.

    

 Kit   Perc. 1 Cajon



Perc. 2 Cym.



Perc. 3 Aux.



 

   

 

        

    

 



 









Hi-hat              



                    

 f

           

147

  









  

Ride

     



 

  









f

  





f







   

 





 

  











   

















 



 

  





 

   





 



   

 



 

   





    

 



  





  



 











 

  

 

 

 



  