Newman
CHUNK wind orchestra
OK
FEEL
GOOD
MUSIC
about CHUNK Funk is all around us. It has permeated every aspect of popular music and culture. What was born as a 70's counter-culture movement has grown to become the heart of any music with a beat. Sit in a coffee shop, listen to top-40's radio, shop in a department store -- it doesn't matter if it's a hip 90's club tune, or a contemporary concert music work -- you can't escape the funk. Chunk owes major favors to George Clinton and the Parliament Funkadelic, Stevie Wonder, James Brown, Prince, and Beck, just to name a few. We steal, because we love.
about THE COMPOSER Jonathan Newman composes music rich with rhythmic drive and intricate sophistication. A recipient of the Charles Ives Scholarship from the American Academy of Arts and Letters, Newman creates broadly colored musical works, often incorporating styles of pop, blues, jazz, folk, and funk into otherwise classical models. Upcoming projects include These Inflected Tentacles, a chamber work commissioned by the New York City-based Avian Orchestra, and a new work for orchestra commissioned by the Chicago Youth Symphony Orchestras. Recent commissions include Vivid Geography for women's chorus and chamber orchestra on a text by poet Marcella Durand, written for the 2011 Japan Wind Ensemble Conductors Conference and the University of Houston, Stereo Action, written for a consortium of percussion ensembles, and Sowing Useful Truths, commissioned by the Boston University Tanglewood Institute. Other recent works include Symphony No. 1, My Hands Are a City—a wind ensemble consortium commission based on themes of mid-century American Beat Culture, De Profundis for massed winds, Milori Blue for euphonium and piano, Concertino for flute solo, chamber winds, and piano, and his chamber sextet The Vinyl Six, recorded by Avian Orchestra on Fantastic Music for a Fabulous Time (Avian Music). His arrangements of electronica for Acoustica: Alarm Will Sound Performs Aphex Twin (Cantaloupe) premiered at the 2005 Lincoln Center Festival, and as a MacDowell Colony Fellow, he began work on an opera based on the 1962 cult horror film Carnival of Souls, in collaboration with playwright Gary Winter. Born in 1972, Newman holds degrees from Boston University's School for the Arts (MusB), where he studied composition with Richard Cornell and Charles Fussell and conducting with Lukas Foss, and The Juilliard School (MusM), where he studied with composers John Corigliano and David Del Tredici and conducting with Miguel Harth-Bedoya. At Juilliard, his collaborative works for dance enjoyed multiple performances at The Juilliard Theater, Alice Tully Hall, P.S. 122, and Dance Theater Workshop. Early training includes Boston University Tanglewood Institute and the Aspen Music Festival where he studied with composers George Tsontakis and Bernard Rands. Newman’s catalog for wind ensembles includes My Hands Are a City, recorded by the University of Georgia Wind Ensemble (Naxos), As the scent of spring rain…, recorded by Tokyo’s TAD Wind Symphony (Basic Video Arts) and the University of New Mexico (Summit), Climbing Parnassus, commissioned and recorded by the 2008 Japan Wind Ensemble Conductors Conference (Brain Music), Avenue X, recorded by the Gotham Wind Symphony (ArtistShare), and Moon by Night, 2003 winner of the bi-annual NBA/Merrill Jones Composition Award. His work with the University of Nevada Las Vegas Wind Orchestra includes Chunk, a 2003 commission and title track of their 2004 CD release (Mark Custom Records), and OK Feel Good, a 1999 commission recorded on 3 Steps Forward (Klavier). The Rutgers Wind Ensemble has recorded three of his ensemble works on three CDs (Mark Custom Records), including Moon by Night, Uncle Sid, and The Rivers of Bowery. Newman is a founding member of the composer-consortium BCM International: four stylistically diverse composers from across the country, dedicated to enriching the repertoire with exciting works for mediums often mired in static formulas. BCM has recorded two CDs: BCM Saves the World (2002, Mark Custom Records) and BCM Men of Industry (2004, BCM Records). He resides with his wife Melissa Schlachtmeyer, a costume designer, and their daughter Amelia, in New York City. [June 2011]
INSTRUMENTATION Piccolo Flute 1/2 Oboe 1/2 Bassoon 1/2 B-flat Clarinet 1 B-flat Clarinet 2 B-flat Clarinet 3 B-flat Bass Clarinet Alto Saxophone 1/2 Tenor Saxophone Baritone Saxophone B-flat Trumpet 1 B-flat Trumpet 2/3 Flugelhorn Horn in F 1/2 Horn in F 3/4 Trombone 1/2 Bass Trombone Euphonium Tuba 1/2 Electric Bass Guitar Electric Keyboard Player Player Player Player Player Player
1 2 3 4 5 6
Xylophone Marimba, Triangle (share with Player 4) Vibraphone, Glockenspiel 2 Bongos, Triangle (share with Player 2), Guiro Large Shaker, Suspended Cymbal, Police Whistle Drum Set DRUM SET KEY
PERFORMANCE NOTES • If at all possible, the flute solo at m.19 should be amplified. This helps balance the flute over the rest of the band, as well as approximate a more “Jethro Tull”-type sound. Also, consider having a sax player who can double on flute play the solo (cued in the alto sax part), for the same stylistic reasons. • The bass guitar should tune the 4th string up to an F. • If necessary and possible, double piccolo/xylophone at m.111-123 with a harmon-muted trumpet solo, but only if there are enough trumpet 1 players to sufficiently cover the main line as well as the optional solo. • The keyboard patch should be as close as possible to the sound of a Hammond B-3 organ. B-3 patches are common on all modern keyboards, but they aren’t necessarily named “B-3”. Look for a drawbar jazz organ sound with some heavy vibrato/wave to it (replicating the Leslie Speakers), and with a strong percussive attack. Jazz organ patches on a Clavinova also work well. If more than one good patch is available, have the keyboardist change samples once or twice, as stylistically necessary (m. 52 is a good place to switch sounds — so is m. 87). DURATION ca. 6:30 Performance materials available for hire from OK Feel Good Music rental@jonathannewman.com www.jonathannewman.com
Commissioned by the University of Nevada Las Vegas Wind Orchestra Dedicated with friendship to Thomas G. Leslie, conductor
CHUNK
Groovy moderato (q = ca. 92)
Piccolo
ff
Flute 1/2
ff
Oboe 1/2
ff
Clarinet in Bb 1
ff
Clarinet in Bb 2
ff
ff
Clarinet in Bb 3
Bass Clarinet in Bb
Bassoon 1/2
Alto Saxophone 1/2
Trumpet in Bb 1
mf
mf
mf
mf
Euphonium
Tuba 1/2
Bass Guitar
Keyboard (Jazz Organ)
Xylophone
Marimba Triangle
mp
mp
mp
mp
sfzp
sfzp
sfzp
mf
mp
mp
Groovy moderato (q = ca. 92)
f
2 Bongos Triangle Guiro
2nd Ed. 6/03
mp
Drum Set
Vibraphone Glockenspiel
Large Shaker Susp. Cymbal Police Whistle
mp
Bass Trombone
Trombone 1-2
ff
ff
Horn in F 3/4
ff
Horn in F 1/2
ff
Flugelhorn
ff
ff
ff
Trumpet in Bb 2/3
ff
JONATHAN NEWMAN
Tenor Saxophone
Baritone Saxophone
f
mp
f
f
Copyright Š 2003 by Jonathan Newman, OK Feel Good Music, ASCAP For all countries All rights reserved www.jonathannewman.com
side-stick
p
bell hi-hat ride
2
6
Picc.
Fl.
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
T.Sax.
B.Sax.
Tpt.1
ff
ff
ff
Hn.3/4
Euph.
Mar.
Bongos
Shkr.
mp
mp
1.
+ 2.
mp mf
mp
f
dry
mf
f
f
sim.
1.
mp
kick
mp
mp
mp
mf
mp
mp
mp
f
1.
mp
f
mp
mf
Vib.
Dr.
A
ff
mp
B. Tbn.
Xyl.
Hn.1/2
ff
Kbd.
ff
B.Gtr.
mp
ff
mp
Flug.
ff
Tba.
ff
mp
mp
ff
Tpt.2/3
Tbn.1/2
A
3
10
Picc.
Fl.
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
B.Sax.
Tpt.1
Hn.1/2
Hn.3/4
B. Tbn.
B.Gtr.
Kbd.
Xyl.
Mar.
Vib.
1.
mp
mp
mf
mf
mf
sfzp
mf
p
f
f f
f
mf
mf
1. (open)
mf
+ 2.
mf
Shkr.
mf
2. st. mute
mf
mf
mf
sfzp
mf
sfzp
mf
mf
sfzp st. mute
Bongos
Dr.
mf
st. mute
Euph.
mp
Tbn.1/2
mf
mf
Flug.
Tba.
Tpt.2/3
mf
mp
mf
T.Sax.
B
mf
f
B
mf
f
4
14
Picc.
Fl.
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
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A.Sax.
T.Sax.
mf
mf
mf
ff
ff
mf
ff
ff
ff
f
mf
f
mf
mf
B.Sax.
Tpt.1
Tpt.2/3
mf
open
Hn.1/2
Hn.3/4
Flug.
Tbn.1/2
B. Tbn.
Euph.
Tba.
B.Gtr.
Kbd.
Xyl.
Mar.
Vib.
mf
sim.
2. open
f
f
f
Bongos
Shkr.
Dr.
mf
mf
mf
open
f
mf
5
18
Picc.
f
Fl.
Ob.
Cl.1
Cl.2
Bsn.
A.Sax.
Tpt.1
mf
mf
f
Solo, "funk"
f
f
mp
mp
mp
T.Sax.
B.Sax.
Cl.3
B.Cl.
C
Tpt.2/3
Flug.
Hn.1/2
Hn.3/4
Tbn.1/2
B. Tbn.
Euph.
Tba.
B.Gtr.
Xyl.
Mar.
Vib.
f
Shkr.
sim.
mf
mp
mp
mf
mf
f
sim.
mp
C
sim.
sim.
mp
f
mp
mfp
f
mfp
mp
Bongos
Dr.
mfp
Kbd.
mfp
6
21
Picc.
Fl.
Cl.1
Cl.2
B.Cl.
Bsn.
A.Sax.
Ob.
Cl.3
Dr.
f
f
f
f
f
f
f
f
D
f
f
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mf
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Flug.
Vib.
Mar.
f
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f
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B.Sax.
Tba.
Euph.
B. Tbn.
Tbn.1/2
Hn.3/4
Hn.1/2
T.Sax.
Tpt.1
D
f
7
24
Picc.
Fl.
Ob.
Cl.1
Cl.2
Cl.3
A.Sax.
T.Sax.
B.Sax.
B.Cl.
Bsn.
f
f
tutti
Tpt.2/3
Hn.1/2
Hn.3/4
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Tpt.1
Tbn.1/2
B. Tbn.
Euph.
Tba.
B.Gtr.
Kbd.
Xyl.
Mar.
Vib.
Bongos
Shkr.
Dr.
3
3
f
3
3
8
Picc.
27 E
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
Tpt.1
f
f
Shkr.
f
1.
mf
mf
mf
mf
mf
f
f
f
Bongos
E
f
piĂš f
f
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f
f
piĂš f
f
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ff
piĂš f
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ff
piĂš f
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ff
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B.Gtr.
mf
Tpt.2/3
Tba.
T.Sax.
B.Sax.
Ob.
ff
Fl.
p
9
30
Picc.
Ob.
Cl.1
Cl.2
B.Cl.
Bsn.
A.Sax.
f
B.Sax.
f
Hn.3/4
B. Tbn.
Shkr.
Dr.
ff
f
f
f
f
f
1.
f
f
f
ff
+ 2.
f
mf
F
f
f
piĂš f
f
piĂš f
f
f
f
Bongos
Soli, "funk"
Tbn.1/2
Euph.
f
Hn.1/2
f
Flug.
Vib.
f
Tpt.2/3
Mar.
f
Xyl.
Kbd.
f
B.Gtr.
Tba.
T.Sax.
Tpt.1
F
Fl.
Cl.3
10
33
Picc.
Fl.
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
T.Sax.
f
f
B.Sax.
Tpt.1
Tpt.2/3
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f
Hn.1/2
Hn.3/4
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Euph.
Tba.
B.Gtr.
Kbd.
Vib.
Bongos
Shkr.
Dr.
f
f
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f
f
f
ad lib.
11
36
Picc.
G
Fl.
Ob.
Cl.1
p
Cl.2
p
Cl.3
p
B.Cl.
Bsn.
A.Sax.
Tpt.1
mp
p
T.Sax.
B.Sax.
mp
B. Tbn.
Euph.
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B.Gtr.
Kbd.
Xyl.
Mar.
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p p
mp
p
G
mp
Bongos
Shkr.
Dr.
mp
1.
Tbn.1/2
Flug.
Hn.3/4
Tpt.2/3
Hn.1/2
12
40
Picc.
Fl.
mp
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
1.
mp
T.Sax.
B.Sax.
Tpt.1
Flug.
B. Tbn.
Euph.
Tba.
B.Gtr.
Kbd.
Xyl.
Mar.
Tbn.1/2
Hn.3/4
Tpt.2/3
Hn.1/2
ss.
gli
gliss.
mp
Vib.
Bongos
Shkr.
Dr.
Solo, "funk"
mf
13
44
Picc.
H
Fl.
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
T.Sax.
B.Sax.
Hn.1/2
Hn.3/4
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B. Tbn.
Euph.
Tba.
B.Gtr.
Kbd.
Xyl.
Mar.
shake
Bongos
Shkr.
H
f
Vib.
Dr.
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Tpt.1
14
48
Picc.
mf
Fl.
mf
a2
Ob.
Cl.1
Cl.2
Cl.3
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A.Sax.
Tpt.1
T.Sax.
B.Sax.
f
f
Hn.1/2
Kbd.
Xyl.
Mar.
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Shkr.
Dr.
gliss.
mp
mf
mp
gliss.
mp
mp
Bongos
B.Gtr.
Tba.
Euph.
B. Tbn.
Tbn.1/2
Flug.
Hn.3/4
Tpt.2/3
1.
15
51
Picc.
Fl.
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
mf
mf
T.Sax.
B.Sax.
Tpt.1
I
mp
mp
mp
Flug.
Hn.1/2
Hn.3/4
B. Tbn.
Euph.
B.Gtr.
Kbd.
Xyl.
I
Mar.
Vib.
Bongos
Shkr.
Dr.
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Tba.
sim.
mf
Tpt.2/3
mf
16
56
Picc.
Fl.
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
Tpt.1
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
Hn.3/4
mf
mf
Tbn.1/2
gliss.
B. Tbn.
Euph.
cresc. poco a poco
mf
cresc. poco a poco
J
Vib.
mp cresc. poco a poco
mf cresc. poco a poco
sporadic light toms, ad lib.
mf
+ 2.
cresc. poco a poco to Sus. cym.
gliss.
mf
+ 2.
Mar.
mf
cresc. poco a poco
mf
f
Hn.1/2
Dr.
Flug.
Shkr.
Bongos
Xyl.
Kbd.
B.Gtr.
Tpt.2/3
Tba.
T.Sax.
B.Sax.
J
17
Picc.
Fl.
Ob.
Cl.1
Cl.2
Cl.3
60
B.Cl.
Bsn.
A.Sax.
T.Sax.
B.Sax.
Flug.
Hn.1/2
Hn.3/4
Tbn.1/2
B. Tbn.
Euph.
Tba.
B.Gtr.
fp
fp
Kbd.
Xyl.
Mar.
Vib.
Bongos
Sus. Cym.
Dr.
f
f
fp
f
fp
+ hi-hat, pedal
mf
p
f "funk"
f "funk"
f
f
"funk"
"funk"
f "funk"
f
"funk"
f
K
f "funk"
"funk"
f
f
"funk"
Tpt.2/3
Tpt.1
K
to Triangle
to Shaker
18
Fl.
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
63
Picc.
Bsn.
A.Sax.
shake
shake
T.Sax.
B.Sax.
Tpt.1
shake
shake
shake
Tpt.2/3
shake
Flug.
Hn.1/2
Hn.3/4
shake
B. Tbn.
Euph.
Tba.
B.Gtr.
Kbd.
Mar.
Vib.
Bongos
Shkr.
Dr.
Xyl.
shake
Tbn.1/2
19
Picc.
Fl.
Ob.
66 L
f
f
f
Cl.1
Cl.2
Cl.3
A.Sax.
T.Sax.
B.Sax.
Tpt.1
f
f
f
Flug.
Hn.1/2
Tbn.1/2
f
Kbd.
Xyl.
Bongos
Shkr.
f
f
gliss.
f
f
Vib.
L
f
Mar.
Dr.
Euph.
B.Gtr.
B. Tbn.
f
Hn.3/4
Tba.
Tpt.2/3
f
f
B.Cl.
Bsn.
ad lib.
20
69
Picc.
Fl.
Ob.
Cl.1
Cl.3
B.Cl.
Bsn.
A.Sax.
T.Sax.
B.Sax.
Tpt.1
Tbn.1/2
Euph.
ff
sfzp
ff
gliss. ff
Bongos
Shkr.
f
M
ad lib.
f
ff
ff
f
Vib.
f
f
ff
f
Mar.
Dr.
ff
ss. gli
Xyl.
sfzp
Kbd.
ff
ff
B. Tbn.
B.Gtr.
Hn.3/4
ff
Hn.1/2
sfzp
Flug.
ff
Tpt.2/3
Tba.
M
ff
Cl.2
to Guiro
p
21 73
B.Gtr.
Dr.
gliss.
mp
3
liss.
g
79 B.Gtr.
Tri.
mp
Guir.
Dr.
long scrape mp
gliss.
3
83
Cl.1
Cl.2
Cl.3
Tbn.1/2
B. Tbn.
B.Gtr.
Tri.
Vib.
Guir.
Dr.
2.
mp
mp
mp
mp
mp
gliss.
mp
3
22
Cl.1
87 N
B.Cl.
cresc. poco a poco
Cl.3
cresc. poco a poco
Cl.2
cresc. poco a poco
mp cresc. poco a poco
T.Sax.
mp cresc. poco a poco
Tbn.1/2
B. Tbn.
B.Gtr.
Kbd.
Tri.
cresc. poco a poco
mp cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
Guir.
N
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
Vib.
Dr.
gliss.
3
Cl.2
Cl.3
91
Cl.1
B.Cl.
T.Sax.
Flug.
mp cresc. poco a poco
Tbn.1/2
B. Tbn.
B.Gtr.
Kbd.
Tri.
Vib.
Guir.
Dr.
gliss.
3
23
95
Picc.
Fl.
mp 1.
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
Tpt.1
mf
Tpt.2/3
mf
mf
Euph.
mf
Guir.
Shkr.
Vib.
Dr.
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
Tri.
cresc. poco a poco
B. Tbn.
Xyl.
Tbn.1/2
Kbd.
cresc. poco a poco
mf
B.Gtr.
Hn.3/4
Tba.
mf
mf
Hn.1/2
mf
mf
mp cresc. poco a poco
Flug.
mp cresc. poco a poco 2.
T.Sax.
B.Sax.
mf
2.
mp
1.
cresc. poco a poco
cresc. poco a poco
gliss.
mf
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
3
24
99
Picc.
O
1.
2.
Fl.
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
1.
Bsn.
A.Sax.
T.Sax.
B.Sax.
Tpt.1
mf cresc. poco a poco
Hn.1/2
Hn.3/4
Kbd.
1.
Xyl.
O
Tri.
Vib.
Guir.
Shkr.
Dr.
mf cresc. poco a poco
gliss.
mf
gliss.
3
gliss.
mf cresc. poco a poco
B.Gtr.
Tba.
Flug.
Euph.
B. Tbn.
mf cresc. poco a poco
Tpt.2/3
Tbn.1/2
2.
25
103
Picc.
Fl.
1.
Ob.
1.
Cl.2
Cl.3
Bsn.
A.Sax.
Tpt.1
Tpt.2/3
Flug.
Hn.1/2
Hn.3/4
B. Tbn.
Xyl.
Shkr.
Dr.
Guir.
f
f
f
gliss.
f
f
f
f
f
f
gliss.
f
f
f
f
f
sfp
f
sfp
gliss.
f
f
f
f
Vib.
Tri.
Euph.
Tbn.1/2
Kbd.
f
B.Gtr.
f
Tba.
T.Sax.
B.Sax.
mf
mf 2.
Cl.1
B.Cl.
2.
3
26
107
Picc.
Fl.
Ob.
cresc. poco a poco a2
Cl.2
Cl.3
B.Cl.
A.Sax.
cresc. poco a poco
B.Sax.
Tpt.1
Tpt.2/3
Flug.
Hn.1/2
Tbn.1/2
B. Tbn.
Euph.
Tba.
B.Gtr.
Kbd.
Xyl.
cresc. poco a poco
Vib.
Dr.
cresc. poco a poco
Shkr.
cresc. poco a poco cresc. poco a poco cresc. poco a poco cresc. poco a poco cresc. poco a poco
Tri.
Guir.
cresc. poco a poco
cresc. poco a poco
Hn.3/4
cresc. poco a poco
cresc. poco a poco
T.Sax.
cresc. poco a poco
cresc. poco a poco
gliss.
gliss.
cresc. poco a poco
f
f
gliss.
3
sfp
sfp
f
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
Bsn.
cresc. poco a poco
Cl.1
a2
to Bongos
27
Picc.
111 P
f cresc. poco a poco
Fl.
3
f cresc. poco a poco
f cresc. poco a poco
3
Ob.
3
3
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
Tpt. solo ossia
B. Tbn.
P
f
Vib.
f
3
3
Dr.
Tri.
Shkr.
Euph.
Tbn.1/2
(open)
3
3
3
gliss.
gliss.
3
3
3
f
sfp
sfp
Hn.3/4
Bongos
f cresc. poco a poco
Hn.1/2
Xyl.
Flug.
Kbd.
Solo w/ harmon doubles Picc./Xyl. if necc.
Tpt.2/3
B.Gtr.
Tpt.1
Tba.
T.Sax.
B.Sax.
f
3
gliss.
ff
3
3
to Glock
28
115
Picc.
ff
Fl.
ff
Cl.2
Cl.3
Bsn.
A.Sax.
ff
T.Sax.
B.Sax.
Tpt. solo ossia
Tpt.1
Flug.
ff
B. Tbn.
Tba.
B.Gtr.
Kbd.
ff
Xyl.
Mar.
Bongos
Shkr.
ff
3
to Marimba
f
cresc. poco a poco
cresc. poco a poco
3
cresc. poco a poco
gliss.
cresc. poco a poco
cresc. poco a poco
3
cresc. poco a poco
3
3
gliss.
3
f
cresc. poco a poco
gliss.
cresc. poco a poco
cresc. poco a poco
3
3
f
sfp
cresc. poco a poco
cresc. poco a poco
sfp
cresc. poco a poco
3
cresc. poco a poco
cresc. poco a poco
ff
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
3
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco
3
ff
Dr.
Glock.
ff
ff
ff
ff
ff
Euph.
ff
ff
Tbn.1/2
ff
ff
Hn.3/4
Tpt.2/3
Hn.1/2
ff
ff
Cl.1
ff
B.Cl.
3
Ob.
ff
3
29
119
Picc.
3
3
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
Tpt. solo ossia
3
Flug.
Hn.1/2
Tpt.1
Tpt.2/3
f
Hn.3/4
Tbn.1/2
B. Tbn.
B.Gtr.
Kbd.
Xyl.
Mar.
Glock.
Shkr.
hi-hat, pedal
3
3
gliss.
sfp
gliss.
3
fff
fff
3
3
fff
fff
sfp
fff
3
fff
fff
fff
Bongos
Dr.
Euph.
Tba.
T.Sax.
B.Sax.
Fl.
ad lib.
3
30
122
Picc.
Fl.
Ob.
Cl.2
Cl.3
A.Sax.
B.Sax. Tpt. solo ossia
Shkr.
Dr.
ff
fff
fff
fff
f
ff
f
ff
ff
ff
ff
to Vibes
Police whistle
Q
f
ff
ff
ff
ff
ff
f
ff
ff
ff
sfzp
3
ff
ff
ff
ff
f
sfzp
ff
f
ff
sfzp
fff
fff
sfzp
fff fff
a2
fff
fff
ff
ff
fff
Euph.
Bongos
B. Tbn.
Glock.
Tbn.1/2
Mar.
Hn.3/4
Xyl.
Hn.1/2
Kbd.
fff
Q
fff
Flug.
B.Gtr.
Tpt.2/3
Tba.
Tpt.1
T.Sax.
B.Cl.
Cl.1
Bsn.
f
fill, toms only
ff
ride bell
31
Picc.
Fl.
125
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
Tpt.1
T.Sax.
B.Sax.
Hn.3/4
Tbn.1/2
B. Tbn.
Euph.
Tba.
B.Gtr.
Kbd.
Glock / Vib.
Bongos
Mar.
Shkr.
Dr.
f
f
f
f
f
R
f
Xyl.
Hn.1/2
Flug.
Tpt.2/3
R
f
f
f
hi-hat pedal
32
Picc.
Fl.
129
Ob.
B.Cl.
Hn.1/2
Tbn.1/2
B. Tbn.
B.Gtr.
Xyl.
Mar.
Vib.
Bongos
Shkr.
Dr.
a2
fff
fff
fff
ad lib.
Kbd.
Tba.
Flug.
Euph.
Tpt.2/3
Hn.3/4
T.Sax.
Tpt.1
Cl.3
B.Sax.
A.Sax.
Cl.2
Cl.1
Bsn.
to Glock
Picc.
132 S
Fl.
Ob.
Cl.3
B.Cl.
T.Sax.
B.Sax.
Tpt.1
piĂš f
piĂš f
piĂš f
piĂš f
piĂš f
B. Tbn.
piĂš f
Euph.
piĂš f
piĂš f
piĂš f
S
ff
Shkr.
to Triangle
gliss.
f
ad lib.
fff
fff
fff
ff
hi-hat, pedal
piĂš f
Bongos
piĂš f
Dr.
piĂš f
piĂš f
piĂš f
Tbn.1/2
Glock.
Hn.3/4
Mar.
piĂš f
piĂš f
Xyl.
Hn.1/2
Kbd.
Flug.
B.Gtr.
Tpt.2/3
Tba.
piĂš f
piĂš f
Cl.2
A.Sax.
Cl.1
Bsn.
33
34
T
136
Picc.
fff
Fl.
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
Tpt.1
fff
fff
fff
fff
fff
Tbn.1/2
B. Tbn.
Euph.
Xyl.
Mar.
Glock / Vib.
Tri. Whistle Csba.
Dr.
fff
fff
piĂš f
piĂš f
piĂš f
sfp
sfp
sfp
gliss.
gliss.
ff
1.
fff
ff
fff
T
fff
2.
fff
ff
fff
ff
sfp
fff
bells up
Hn.3/4
sfp
sfp
Hn.1/2
Kbd.
bells up
B.Gtr.
fff
Flug.
Tba.
Tpt.2/3
fff
T.Sax.
B.Sax.
dry
ad lib.
35
139
Picc.
Fl.
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
T.Sax.
B.Sax.
Tpt.1
2.
Flug.
ff
Hn.3/4
B. Tbn.
Euph.
Tba.
B.Gtr.
Kbd.
Xyl.
Mar.
Glock / Vib.
Tri.
Shkr. Dr.
a2
3
3
3
fp
cresc.
3
fp
3
3
3
3
fp
3
3
3
fp
fp
3
2.
3
fff
fff
3
3
fff
Tbn.1/2
Hn.1/2
ff
ff
Tpt.2/3
1.
gliss.
36
142
Picc.
Fl.
1.
Ob.
Cl.2
Cl.3
B.Cl.
Cl.1
Bsn.
A.Sax.
Tpt.1
3
3
Tpt.2/3
3
Flug.
Hn.1/2
Hn.3/4
Tbn.1/2
B. Tbn.
3
3
3
3
3
Tba.
fp
fp
Kbd.
Xyl.
Mar.
Glock / Vib.
Tri. Shkr.
Dr.
3
3
3
3
3
3
3
3
3
3
f possibile
f possibile
f possibile
3
3 3
3
3
3
3
3
3
3
3
3
fp
fp cresc.
fp cresc.
U ff ff
ff
ff
cresc.
f possibile
f possibile
3
f possibile
f possibile
f possibile
f possibile
f possibile
f possibile
fp cresc.
f possibile
fp
f possibile
fp
fp
3
f possibile
3
U
f possibile
3
3
3
3
3
cresc.
fp B.Gtr.
3
fp
Euph.
2.
T.Sax.
B.Sax.
ff
to Sus. cym.
fp cresc.
37
145
Picc.
Fl.
Ob.
Cl.1
Cl.2
Cl.3
B.Cl.
Bsn.
A.Sax.
B.Sax.
Tpt.1
Tpt.2/3
Flug.
B. Tbn.
Dr.
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
to Glock
3
3
f possibile
f possibile III
gliss.
ff
to Bongos
crash
slap
fff
fff
f possibile
3
sfzp
3 3 3
sfzp
3
3
f possibile
3
3
3
3
3
3
Sus. Cym.
Tba.
Tri. Bongos
3
Euph.
Glock / Vib.
Mar.
Tbn.1/2
Xyl.
Hn.3/4
Kbd.
3 3 3
Hn.1/2
B.Gtr.
T.Sax.
f possibile