John Corigliano
CIRCUS MAXIMUS (Symphony No. 3 for large wind ensemble)
From the G. Schirmer Rental Library Date of Printing ______________
G. Schirmer, Inc. New York, NY
John Corigliano
CIRCUS MAXIMUS (Symphony No. 3 for large wind ensemble)
commissioned by the School of Music, The University of Texas at Austin, for the University of Texas Wind Ensemble, Jerry F. Junkin, Director of Bands
G. Schirmer, Inc. New York, NY
Program Note Circus Maximus is my first work specifically written for concert band. Many years ago, I arranged a piano-four-hand suite, Gazebo Dances, for band, but I have always felt more comfortable writing for the symphony orchestra. The sight of a multi-staved-and-transposed-band score still fills me with dread. Attending a band concert, in contrast, I find exhilarating. For starters, the repertoire of band music is largely contemporary. As a result the audiences expect and look forward to new works. Listening in an environment largely ignored by the press, they learn to trust their own ears and respond directly to what they hear. Most important of all, concert bands devote large amounts of rehearsal time over a period of weeks, not days, to learning throughly the most challenging of scores. With its combination of new notations and spatial challenges demanding an intricate coordination of a large work, Circus Maximus could only have been attempted under such special circumstances. I owe a great debt to the dedicatee of Circus Maximus, Jerry Junkin. He approached me about writing an original band work years ago. I declined at the time, because, frankly, the thought of that enormous ensemble, composed of so many instruments I had never written for, overwhelmed me. But Jerry persisted; and his encouragement both in commissioning me to write this work and during the composing process (during which he was incredibly supportive) has really made this piece possible. Jerry wanted a large and theatrical piece: a third symphony. And, when I thought about that, it made a certain sense. My first symphony was for large symphony orchestra, my second for string orchestra alone, and this piece is for winds, brass, and percussion alone. For the past three decades I have started the compositional process by building a shape, or architecture, before coming up with any musical material. In this case, the shape was influenced by a desire to write a piece in which the entire work is conceived spatially. But I started simply wondering what dramatic premise would justify the encirclement of the audience by musicians, so that they were in the center of the arena. This started my imagination going, and quite suddenly a title appeared in my mind: Circus Maximus. The Latin words, understandable in English, convey an energy and power by themselves. But the Circus Maximus of ancient Rome was a real place - the largest arena in the world. 300,000 spectators were entertained by chariot races, hunts, and battles. The Roman need for grander and wilder amusement grew as its empire declined. The parallels between the high decadence of Rome and our present time are obvious. Entertainment dominates our reality, and ever-moreextreme ‘reality’ shows dominate our entertainment. Many of us have become as bemused by the violence and humiliation that flood the 500-plus channels of our television screens as the mobs of imperial Rome, who considered the devouring of human beings by starving lions just another Sunday show. The shape of my Circus Maximus was built both to embody and to comment on this massive and glamorous barbarity. It utilizes a large concert band, and lasts approximately 35 minutes. The work is in eight sections that are played without pause. I. Introitus: Trumpets and percussion surrounding the audience play fanfares, signaling the opening of the work. The full band enters with a primitive call from the clarinets. A short central section features the lowest winds and brass followed by the joining of the offstage and onstage ensemble playing together this time, and reaching the first climax of the work II. Screen/Siren: A saxophone quartet and string bass call from the 2nd tier boxes in seductive inflections. Other instruments scattered around the hall (clarinet, piccolo, horns, trumpets) echo the calls, which are suddenly interrupted by III. Channel Surfing: Sensory overload and infinite variety dilute concentration. Our need for constant change echoes the desires of the ancient mob, only now we can access it all by pressing a button. Music in this section is constantly interrupted by other music and comes from all sections of the hall. IV. Night Music I: Tranquility in nature. Away from cities, forest sounds suspend time. Animals call to each other. V. Night Music II: The hyper night-music of the cities pulse with hidden energy and sudden flashes. Sirens and distant battles onstage build the tension to VI. Circus Maximus: The peak of the work incorporates all the other movements and is a carnival of sonoric activity. A band marching down the aisles counterpoints the onstage performers and the surrounding fanfares. Exuberant voices merge into chaos and a frenzy of overstatement. VII. Prayer: In answer to this, a long-lined serene melody is set against a set of plagal (IV-I) cadences that circle through all the keys. The rising line grows in intensity against the constantly changing harmonies as the chords overlap from stage to surround trumpets and back. VIII. Coda: Veritas: Music from the Introitus enters almost inaudibly, but grows in intensity until it dominates the ‘prayer’ music, and the surrounding trumpet calls reach an even higher peak. A gunshot ends the work. — John Corigliano
Circus Maximus Instrumentation and Positions
STAGE (Stage Band)
First Tier Second Tier Third Tier Balcony
Stage Band 4 Flutes (1 and 2 doubling Piccolos) 4 Oboes (1 doubling English Horn) 3 Clarinets in B flat (9 players minimum) 2 Bass Clarinets Contrabass Clarinet 3 Bassoons Contrabassoon 4 Trumpets in B flat (1 and 2 doubling Trumpet in D) 4 Horns in F 4 Trombones 2 Euphoniums 2 Tubas Piano Harp Timpani Percussion *(4 - 5 players)
11
10
1
2
Surround Band Clarinet in B flat 4 Saxophones (2 Alto, 1 Tenor, 1 Baritone) 11 Trumpets in B flat **(7 or 9 minimum) 2 Horns in F 3 Percussion String Bass
9
3
Marching Band Piccolo/Flute Clarinet in E flat 2 Trumpets in B flat (Trumpets 5 and 7 from Surround Band) 2 Trombones Percussion (Percussion 2 from Surround Band)
8
*Note: A 12-gauge shotgun is required. It should fire a full load/black powder “popper� made by Winchester. Smokeless gun powder charges are an acceptable alternative, but the black powder is louder and throws a much larger flame from the barrel. Because of safety/insurance issues, a licensed pyro-technician may need to be hired to fire the shotgun instead of having a percussionist do so.
4
**Note: Trumpets 8-11 have been cross-cued as necessary in the Trumpet 4 part to facilitate the minimum number of players.
7
5
(Marching Band) 6 Clarinet plays from this position in Movement II
Piccolo
E Flat Clarinet
B Flat Clarinet
French Horn
B Flat Trumpet
G. Schirmer, Inc. New York, NY
Trombone
Percussion
Saxophone Quartet and String Bass
to Jerry Junkin
CIRCUS MAXIMUS (Symphony No. 3 for large wind ensemble) I. Introitus = 92
*
8
8-10 sec.
4-6 sec.
8-10 sec.
8-10 sec.
4-6 sec. wide vibrato 1/2 valve (3rd)
8-10 sec.
( = 92)
4-6 sec.
John Corigliano 10-12 sec.
Marching Band
Piccolo
E Clarinet
B Trumpet
1 2
Trombone
1 2
= 92
a5
4-6 sec.
10-12 sec. overtone arpeggio
(1/2 valve)
(1/2 valve)
(1/2 valve) **
(1/2 valve)
(1/2 valve) **
1-5 free, asynchronous B Trumpet
wide vibrato 1/2 valve (3rd)
a6
overtone arpeggio (1/2 valve)
6-11 free, asynchronous 1 2
F Horn
S.D., snares on
Surround Band
1
Percussion
S.D., snares on
5
S.D., snares on
5
5
2
3 5
5
B Clarinet
Alto
1 2
Saxophone Tenor Baritone
String Bass 8
= 92 8
(Piccolos)
8-10 sec.
4-6 sec.
8-10 sec.
( = 92)
4-6 sec.
10-12 sec.
1 2
Flute 3 4 1 2 Oboe 3 4
B Clarinet 1
B Clarinet 2
B Clarinet 3
1 Bass Clarinet 2 Contrabass Clarinet
Bassoon
8
1 2 3
Stage Band
Contrabassoon
8
1 2 B Trumpet 3 4 1 3 F Horn 2 4 1 2 Trombone 3 4
Euphonium
1 2
Tuba
1 2
Timpani
1 2
Percussion
3 4 Bass Drum l.v.
l.v.
5
Piano
Harp
SCORE IN C *Numerals in triangles represent cued events rather than regular beats. The number in the triangle equals the number of cues. Dotted barlines separate each cue. **Randomly begin to alternate the three figures.
Corrected 08/05 Corrected 08/05a (05/06) (parts changed: All Surround Tpts., Contrabass Cl., Timpani, and Perc. 5)
Copyright Š 2005 by G. Schirmer, Inc. (ASCAP) New York, NY International Copyright Secured. All Rights Reserved. Warning: Unauthorized reproduction of this publication is prohibited by Federal law and subject to criminal prosecution.
2 ( = 92)
5
12-15 sec. randomly alternate the three figures
( = ca. 92)
(a5)
1-5 all asynchronous
B Tpt. (a6)
randomly alternate the three figures
6-11 all asynchronous 1 2
F Hn.
S.D.
Surround Band
1 5
Perc.
S.D.
5
6
2 5
S.D. 3 5
3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
( = 92)
12-15 sec.
8
Picc.
1 2
Fl.
3 4 1 2
Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
1 Bs. Cl. 2
Cb. Cl.
8
1 Bn.
2 3
Cbn.
8
1 2 B Tpt.
Stage Band
3 4 1 3 F Hn. 2 4 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp.
Suspended Cymbal 4 Perc.
B.D. 5
Piano
Harp
3 9
(a5)
1-5 B Tpt.
(a6)
6-11
1 2
F Hn.
(S.D.) 1 5
5
5
5
6
5
5
5
5
6
5
5
5
5
6
Surround Band
(S.D.) Perc.
2
(S.D.) 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
Fl.
3 4 a2 1 2
Ob.
a2 3 4 bell up tutti
B Cl. 1 primitive, wild! bell up tutti B Cl. 2 primitive, wild! bell up tutti B Cl. 3 a2
primitive, wild!
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1., 2.
1 2 3
3.
Cbn.
8
a2 1 2 B Tpt.
a2
Stage Band
3 4 a2 1 3 F Hn.
a2 2 4
1 2 Tbn. 3 4 a2 Euph.
1 2
Tba.
1 2
a2
Timp.
2 Flexatones 1 S.D. 2 5
Perc.
High Tenor Drum 3 4 Tamtam 5
Piano
Harp
B.D.
5 5
5
Low Tenor Drum 5
5
4 15 1-5 B Tpt. 6-11
1 2
F Hn.
Surround Band
1
Perc.
2
3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
a2 8
Picc.
1 2 crude
Fl.
3 4 (a2) molto 1 2 (a2)
Ob.
molto
3 4
B Cl. 1
B Cl. 2
B Cl. 3 (a2) 1 Bs. Cl. 2 molto Cb. Cl.
8
molto
Bn.
1.
(1., 2.)
1 2 3
molto 2., 3.
(3.) Cbn.
8
molto 5
5
5
5
1 5
5
molto
55
5
5
5
2 5
B Tpt.
5
molto
5
5
5
5
Stage Band
3 5
5
molto
55
5
4 5
5
molto
lip gliss.
(a2) 1 3
5
molto
F Hn.
brassy lip gliss.
(a2) 2 4 molto
II lip gliss. with slide a2
VII
brassy
1 2 molto Tbn.
brassy a2 lip gliss.
3 4 molto brassy
(a2) Euph.
1 2
Tba.
1 2
molto
(a2)
a2
molto
Timp.
1 (S.D.)
Low Lion’s Roar
2 5
(H.T.Dr.) Perc.
5
3 4 (L.T.Dr.) (B.D.) 5
Piano
Harp
5
5
4. High Lion’s Roar
II
5
5 19 1-5 B Tpt. 6-11
1 2
F Hn.
Surround Band
1
Perc.
2
3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
Fl.
3 4
5
5
5
5
5
5
5
5
5
5
5
5
a2 1 2 5
Ob.
a2
5 5
5 5
5 5
5 5
5 5
5
3 4 bell ord. (tutti) B Cl. 1
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
bell ord. (tutti) B Cl. 2 bell ord. (tutti) B Cl. 3
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1., 2.
1 2 3
3.
Cbn.
8
5
5
1 5
5 5
5
5
5
2 5 5
5
B Tpt.
5
5
Stage Band
3 5
5 5
5
5 5
4 5
5
5
(a2) 1 3 F Hn.
(a2) 2 4 VII (a2)
II
VII
1 2 (a2) Tbn. 3 4 a2 Euph.
1 2
Tba.
1 2
(a2)
Timp. 1. Chimes
(2. L. L. Roar) 1 2 (4. H. L. Roar) Perc.
3 4 B.D. 5
Piano
Harp
5 5
5 5
5 5
5 5
5
6 22 1-5 B Tpt. 6-11
1 2
F Hn.
Surround Band
1
Perc.
2
3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
Fl.
1 2
3 4
5
5
5
5
5
5
5
5
5
5
a2 1 2 5
Ob.
a2
5 5
5 5
5 5
5 5
5
3 4 bell up B Cl. 1
5
5
5
5
5
bell up B Cl. 2
5
5
5
5
5
bell up B Cl. 3
5
5
5
5
5
a2 1 Bs. Cl. 2
Cb. Cl.
Bn.
8
(1., 2.)
1 2 3
(3.)
Cbn.
8
2. 1 2 5
B Tpt.
5 5
5 5
5 5
5 5
4.
5
Stage Band
3 4 (a2) 1 3 F Hn.
(a2) 2 4
1 2 Tbn. 3 4 a2 Euph.
1 2
Tba.
1 2
a2
Timp. 2 Flexatones 1 S.D. 2 5
Perc.
H.T. Dr.
5
5
5
5
3 4 L.T. Dr. B.D. 5
Piano
Harp
5
5
5
5
7 27
6 5, 7
4, 5, 6, 7, 8
4, 8
B Tpt.
5
5 5
2, 10
1, 2, 3, 9, 10, 11
5 5
5 5
5 5
5
3, 9 1, 11
1 2
F Hn.
S.D. 1 5
5
5
5
5
5
5
5
5
5
5
5
5
5
5
Surround Band
S.D. Perc.
2 S.D. 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
a2
a2
a2
8
Picc.
1 2
Fl.
3 4 (a2) 1 2 (a2)
Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3 (a2) 1 Bs. Cl. 2
Cb. Cl.
Bn.
8
(1., 2.)
1 2 3
(3.) Cbn.
8
(2.) 1 2 Tpt.
(4.)
Stage Band
3 4 (a2) 1 3 Hn.
(a2) 2 4
1 2 Tbn. 3 4 (a2) Euph.
1 2
Tba.
1 2
(a2)
a2
a2
Timp. (1. Flexatone) 1 2
Perc.
3 4 (B.D.) 5
Piano
8ba
Harp
8ba
A
A
B E
8 32 4, 5, 6, 7, 8 B Tpt. 1, 2, 3, 9, 10, 11 1 2
F Hn.
Surround Band
1
Perc.
2
3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
(a2) 8
Picc.
1 2 3
Fl.
3 4 3
(a2) 1 2 3
Ob.
(a2) 3 4 3
B Cl. 1 3
B Cl. 2 3
B Cl. 3 3
3
a2
3
=
3
1 Bs. Cl. 2 3
3
3
Cb. Cl.
=
3
8
3
Bn.
a3
1 2 3
3
3
=
3
a3
3
3
3
Cbn.
=
3
8
a2
with harmon mute
take harmon mute
5
1 2 3
B Tpt.
a2
take harmon mute
3., with harmon mute
Stage Band
3 4
5
(a2)
3
1 3 3
F Hn.
(a2)
3
2 4 with harmon mute
take harmon mute 1 2 3
Tbn.
3
3
4.
5
3
3
=
3
3 4 3
(a2) Euph.
1 2
Tba.
1 2
=
3 3
3
1.
=
3 3
2. 3
=
3
Timp. 1., Tambourine 1 3
=
5
2 3
= Perc.
3
= 4 (B.D.)
3
3
=
5 3
=
3 3
Piano
8ba 3
=
Harp
Tom-toms
3 Snare Drum
9 37 4, 5, 6, 7, 8 B Tpt. 1, 2, 3, 9, 10, 11 1 2
F Hn.
Surround Band
1
Perc.
2
3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
Fl.
3 4 1., solo 1 2
Ob. 3 4 solo, bell ord. B Cl. 1 liquid B Cl. 2
B Cl. 3 (a2) 1 Bs. Cl. 2 sub. Cb. Cl.
Bn.
8
(a3)
1 2 3
sub. Cbn.
8
5
1 2 5
B Tpt. 3.
5
5
Stage Band
3 4 1 3 F Hn. 2 4 1 2
5
5
Tbn.
(4.) 3 4 sub.
Euph.
1 2
Tba.
1 2
1.
sub. Timp. Tamb. 1 5
Temple Blocks 2 (T.-t.) Perc.
3 (S.D.) 4 (B.D.) 5
Piano
Harp
C D
10 42 4, 5, 6, 7, 8 B Tpt. 1, 2, 3, 9, 10, 11 1 2
F Hn.
Surround Band
1
Perc.
2
3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
Fl.
3 4 a2 1 2 cresc.
Ob. 3 4
tutti B Cl. 1 cresc. B Cl. 2
B Cl. 3 (a2)
(
= )
(
= )
(
= )
(
= )
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
(a3)
1 2 3
Cbn.
8
open
remove mute
5
1 5
5
remove mute
open
remove mute
open
5
5 5
2 5
5
B Tpt.
5 5
Stage Band
3 5
5
4 3
5
a2
1 3 3
F Hn. 3
a2 3
2 4 a2, open, lip gliss with slide II
remove mute 1 2
5
Tbn. (4.)
(
= )
(
= )
(
= )
(
= )
a2, lip gliss
3 4
Euph.
1 2
Tba.
1 2
(1.)
a2
Timp. 1. Tamb.
2. L. Lion’s Roar
1 2 T.-t.
5
(
= )
(
= )
(
= ) Sus. Cym.
(
= )
(
= )
3 Perc.
(S.D.) 4
(B.D.) 5
Piano
8ba
Harp
B E
11 46 4, 5, 6, 7, 8 B Tpt. 1, 2, 3, 9, 10, 11 1 2
F Hn.
Surround Band
1
Perc.
2
3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
Fl.
3 4
5
5
a2 1 2 5
Ob.
a2
5
3 4 (tutti) B Cl. 1
5
(tutti) B Cl. 2
5
(tutti) B Cl. 3
5
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1., 2.
1 2 3
3.
Cbn. 8
5
5
5
5
5
1 5 5
5
5
5
5
5
5 5
5
2 5
B Tpt.
5
5
5
5
5
5
5
Stage Band
3 5
55
5
5
5
5
5
5
5
4 5
5
5 5
5
(lip gliss.) (a2) 1 3 F Hn. (lip gliss.) (a2) 2 4 VII (a2) sim. 1 2 asynchronous
(a2) Tbn. 3 4
asynchronous
a2 1 2
Euph.
(a2)
asynchronous
1 Tba. 2
asynchronous Timp. (2. L. Lion’s Roar)
1. Chimes
asynchronous
1 2 (4. H. Lion’s Roar) Perc.
3 4 B.D. 5
Piano
8ba
Harp
8ba
12 49
8-10 seconds
a5
4, 5, 6, 7, 8
6-8 seconds
free, asynchronous
B Tpt. a6 1, 2, 3, 9, 10, 11
free, asynchronous 1 2
F Hn.
S.D.
Surround Band
1
Perc.
S.D.
molto
S.D.
molto
2
3 molto B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
8-10 seconds
6-8 seconds
8-10 seconds
6-8 seconds
3
poss.
Fl.
3 4
3
(a2)
poss.
1 2 3
Ob.
(a2)
poss.
3
3 4 poss. B Cl. 1
3
poss. B Cl. 2
3
poss. B Cl. 3
3
poss. 1 Bs. Cl. 2 poss. Cb. Cl.
Bn.
8
(1., 2.)
1 2 3
poss.
(3.) poss.
Cbn.
8
poss. 1 2 3
B Tpt.
poss.
3
Stage Band
3 4 (a2)
poss.
(a2)
poss.
1 3 F Hn. 2 4 poss. 1 2 Tbn.
poss. 3 4 (a2)
Euph.
1 2
Tba.
1 2
poss.
poss.
poss.
Timp. 1. Xylophone
poss.
1 2 Tam. Perc.
3 4 B.D. 5
Piano
Harp
D A
13 53
(randomly alternate 3 figures)
(a5)
4, 5, 6, 7, 8 asynchronous
(randomly alternate 3 figures)
B Tpt. (a6) 1, 2, 3, 9, 10, 11 asynchronous 1 2
F Hn.
(S.D.) Surround Band
1 5
(S.D.) Perc.
2 5
(S.D.) 3 5
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
Fl.
3 4 a2 1 2
Ob.
a2 3 4 bell up
B Cl. 1 bell up B Cl. 2 bell up B Cl. 3 a2 1 Bs. Cl. 2
Cb. Cl.
Bn.
8
(1., 2.)
1 2 3
(3.)
Cbn.
8
2.
1. to Trumpet in D
1 2 B Tpt.
4.
Stage Band
3 4 a2 1 3 F Hn.
a2 2 4
1 2 Tbn. 3 4 a2 1 2
Euph.
a2 1 2
Tba.
Timp. 2 Flexatones 1 S.D. 2 5
Perc.
Tamtam
5 5
H. T. Dr.
5
3 4 L. T. Dr. B.D. 5
Piano
Harp
5
5
B.D.
14 6 5, 7
4, 5, 6, 7, 8
4, 8
5
a5
*
a6
*
8
57
5
B Tpt. 5
growl sing any long notes into trumpet while playing
8
5
2, 10 1, 2, 3, 9, 10, 11
sing any long notes into trumpet while playing
3, 9 1, 11 growl 1 2
F Hn.
S.D.
Surround Band
1 5
5
5
5
5
5
S.D. Perc.
2 S.D. 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
a2
(a2) 8
Picc.
1 2
Fl.
3 4 (a2) 1 2
Ob.
(a2) 3 4
B Cl. 1
B Cl. 2
B Cl. 3 (a2) 1 Bs. Cl. 2
Cb. Cl.
Bn.
8
(1., 2.)
1 2 3
(3.) Cbn.
8
2.
2. to Trumpet in D
Trumpet in D
a2
1 D Tpt. 2 (together)
Stage Band
4. 3 B Tpt. 4 (a2) 1 3 F Hn.
(a2) 2 4
1 2 Tbn. 3 4 (a2) 1 2
Euph.
(a2) 1 2
Tba.
Timp. (Flexatones)
1 S.D. 2 5
Perc.
5 5
H. T. Dr.
5
3 4 (B.D.) 5
Piano
Harp
*Play slowly, legato between and including given notes.
L. T. Dr. 5
5
15 61
(alternate) (a5)
4, 5, 6, 7, 8 asynchronous, freely (alternate)
B Tpt. (a6) 1, 2, 3, 9, 10, 11
asynchronous, freely 1 2
Hn.
S.D. 1
Surround Band
S.D. Perc.
2 S.D. 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
a2 8
Picc.
1 2 (together) poss.
Fl.
3 4 poss. 1 2
Ob.
poss. 3 4 *
poss.
*
poss.
*
poss.
B Cl. 1
B Cl. 2
B Cl. 3 a2
poss.
1 Bs. Cl. 2 poss. Cb. Cl.
Bn.
8
1., 2.
1 2 3
poss.
3. poss.
Cbn.
8
a2
poss.
1 D Tpt. 2 (together)
Stage Band
poss. 3 B Tpt. 4 a2
poss.
a2
poss.
1 3 F Hn. 2 4 poss. 1 2 Tbn.
poss. 3 4 a2
Euph.
1 2
Tba.
1 2
poss.
a2
poss.
poss. Timp. *
poss.
1 S.D.
poss.
2 poss.
5
Perc.
5
H. T. Dr. 3 4 L. T. Dr. 5
(B.D.)
poss.
5 poss.
Piano poss.
Harp
D F G A poss.
*Clarinets and Flexatone play together.
to Trumpet in B
16
II. Screen/Siren = ca. 60
8
Picc.
B Cl.
3 3
3
5
3
3
Al. 1-2
Surround Band
freely, seductive
3
3
3
Sax. Ten. Bar.
Str. Bs. 8
take harmon mute B Tpt.
2
F Hn.
1 2
take straight mute
2
A 8
Picc.
B Cl.
Surround Band
Al. 1-2 3
3
Sax. Ten. Bar.
Str. Bs. 8
B Tpt.
2
F Hn.
1 2
10 8
Picc.
B Cl.
6
Al. 1-2
Surround Band
3
Sax. Ten. Bar.
pizz. Str. Bs. 8
B Tpt.
2
F Hn.
1 2
18 8
Picc.
B Cl.
3 3
3
3
3
3
3
Surround Band
Al. 1-2
Sax. Ten. Bar. 3
3 3
Str. Bs. 8
B Tpt.
2
F Hn.
1 2
3
3
3
17 26
rall.
8
* B
a tempo
Picc.
( = ca. 60) B Cl.
3
Surround Band
Al. 1-2
Sax.
3
3
3
3
3
3
Ten. Bar. 3 3
3
3
3
3
Str. Bs. 8
3
B Tpt.
2
F Hn.
1 2
34 8
Picc.
B Cl.
3
Surround Band
Al. 1-2 Sax. Ten. Bar. 3
3
arco
3
Str. Bs. 8
3
B Tpt.
2
F Hn.
1 2
41 C 8
Picc.
B Cl.
1. Al. 1-2 3
Surround Band
Sax. Ten. Bar.
arco
pizz. Str. Bs. 8
with harmon mute
B Tpt.
2
F Hn.
1 2
with straight mute
47 D 8
Picc.
B Cl.
3
3
3
Surround Band
Al. 1-2 3
Sax.
3
3
Ten. Bar.
pizz.
3
Str. Bs. 8
3
B Tpt.
2
F Hn.
1 2
3
*From rehearsal letter B to the end the parts will have differing bar numbers.
3
3
18
III. Channel Surfing *
**
(10.)
*
**
(a2)
*
**
8
Marching Band
Picc.
E Cl.
B Tpt. 1 2
Tbn.
1 2
1-6 B Tpt. 7-11
1 2
F Hn.
1
2
Surround Band
Perc.
3 *
**
(a2)
*
**
(a2)
*
**
*
**
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
Prestissimo
= 220
8
Picc.
1 2
Fl.
3 4 a2 1 2
Ob.
a2
(squawking)
3 4 (squawking) B Cl. 1
B Cl. 2
B Cl. 3
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
Trumpet in B
1.
1 2 B Tpt.
Stage Band
3 4
1 3 F Hn.
a2 2 4 1. open 1 2 2. with harmon mute 3. with harmon mute
Tbn. 3 4
4. with harmon mute Euph.
1 2
Tba.
1 2
Timp. Xyl. 8
1 Wood Block Perc.
2 3 Ratchet Police Whistle 4 5 Clicker
Piano
Harp
*Stop abruptly when interrupted by Stage Band. **Resume playing the previous figure ( = 60, piano, legato) from where the Stage Band interrupted.
2.
19 (10)
to Flute
8
Marching Band
Picc.
E Cl.
B Tpt.
1 2
Tbn.
1 2
1-6 B Tpt.
(10.)
remove mute
(a2)
remove mute
7-11
1 2
F Hn.
Surround Band
1
Perc.
2
3
B Cl. (a2) Al. 1-2 Sax.
(a2) Ten. Bar.
Str. Bs. 8
( = 220)
+ =
8
Picc.
1 2
Fl.
3 4
3., solo
a2 1 2 Ob.
a2 3 4
B Cl. 1
B Cl. 2
B Cl. 3
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1. 1 2 B Tpt.
Stage Band
3 4
1 3 a2
F Hn. 2 4
2. 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. Xyl.
8
1
W. Blk. Perc.
2 3 Ratchet
P. Whistle 4 5 Clicker
Piano
Harp
20 20 Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2
= ca. 120 1-6 B Tpt. 7-11 open * 1 2
F Hn.
brassy
Surround Band
1
Perc.
2
3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
= 55
( = ca. 120)
8
Picc.
1 2
Fl.
3 4
(3.)
3
3
3 3
3
3
3
1 2 Ob. 3 4 div. a3
quasi gliss.
div. a3
quasi gliss.
div. a3
quasi gliss.
B Cl. 1
B Cl. 2
B Cl. 3 3
1. 1 Bs. Cl. 2 3
Cb. Cl.
Bn.
3
3
8
1 2 3
Cbn.
8
1 2 B Tpt. Stage Band
3 4 1 3 F Hn. 2 4 2. remove mute 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. 8
1 W. Blk. Perc.
2 3 Ratchet P. Whistle 4 5 Clicker
Piano
Harp
*Horns establish tempo
21 28 (
= ca. 120)
Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2 5., 6.
1-6
B Tpt.
7., 8.
7-11
* 1 2
Surround Band
F Hn.
1
Perc.
2
3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
Fl.
3 4
( = ca. 120)
1 2 Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1 2 B Tpt. Stage Band
3 4 1 3 F Hn. 2 4 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp.
1 W.Blk. Perc.
2 3 Ratchet
P. Whistle 4 5 Clicker
Piano
Harp
*Conductor beats in Horn’s tempo for two measures (or more, if necessary). The conductor then cues and conducts the Surround Band Trumpets.
22 36 Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2
1-6 B Tpt. 7-11
1 2
F Hn.
Surround Band
1
Perc.
2
3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
Fl.
3 4 1 2
Ob. 3 4 tutti, unis. B Cl. 1
tutti, unis. B Cl. 2 tutti B Cl. 3
a2 1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1 2 B Tpt. Stage Band
3 4 1 3 F Hn. 2 4
2. open
1 2 Tbn. 3 4
4. open Euph.
1 2
Tba.
1 2
Timp. Xyl.
8
15
1 W.Blk.
Maracas Perc.
2 3 5. Congas 4 5
Piano
Harp
Ratchet Clicker
23 42 Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2
1-6 B Tpt. 7-11
1 2
F Hn.
Surround Band
1
Perc.
2
3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
1., solo 8
Picc.
1 2 sparkling
3., solo Fl.
3 4
5
sparkling N
1., solo
O
N
O
1 2 sparkling
Ob. 3 4 1 player, solo B Cl. 1
sparkling B Cl. 2
B Cl. 3
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
Stage Band
1 2 B Tpt. 3 4 a2* 1 3 legato F Hn.
a2* 2 4 legato 1 2
Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. 15
Glock.
1
Perc.
2 3 4 5 8va
Piano
Harp
*Play between and including the two pitches as fast as possible with constantly varying figures.
N
24 43
= ca. 108 *
= ca. 132 Flute
Fl.
3
3
3
3
Marching Band
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
Sus. Cym.
B.D.
sub.
1-6 B Tpt. 7-11 1 2
F Hn.
1 Surround Band
Perc. 3
B Cl.
= ca. 108 * Al. 1-2 slap tongue
Sax. Ten. Bar.
slap tongue arco Str. Bs. 8
= ca. 132 8
Picc.
1 2
Fl.
3 4
( = ca. 108)
(1.)
(3.)
(1.) 1 2 Ob. 3 4 (1 player) B Cl. 1
B Cl. 2
B Cl. 3
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
Stage Band
1 2 B Tpt. 3 4 (a2) 1 3 F Hn.
(a2) 2 4 1 2
Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. 15
Glock.
1 2. W.Blk. Perc.
2 3 Ratchet 4 5 Clicker
Piano
Harp
*Saxophones establish tempo (slightly slower than previous tempo
= 132).
25 = 120
51
*
Fl.
Marching Band
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
1-6 B Tpt. 7-11 * 1 2
F Hn.
brassy
Surround Band
1 Perc. 3
B Cl. (like police sirens) Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
( = 120) 8
Picc.
1 2
Fl.
3 4 1 2
Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
Stage Band
1 2 B Tpt. 3 4 1 3 F Hn. 2 4 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. 15
1 2. W.Blk. Perc.
2 3 Ratchet 4 5 Clicker
Piano
Harp
*As before, the Horns set the tempo (slightly faster than previous tempo.)
26 ( = 120)
58
(
= 152
= )
Fl.
Marching Band
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
1-6 B Tpt. 7-11
1 2
Surround Band
F Hn.
1 S.D., snares on
Perc. 3 * B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
= 120
( = 152)
8
Picc.
1 2
Fl.
3 4 1 2
Ob. 3 4 tutti B Cl. 1
tutti B Cl. 2 tutti B Cl. 3
a2 1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
Stage Band
1 2 B Tpt. 3 4 1 3 F Hn. 2 4 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. Xyl. 15
8
1 W.Blk. Perc.
2. Maracas
W.Blk.
2 3 Ratchet
Ratchet Clicker
4. Clicker 4 5 5. Congas
Piano
Harp
*Clarinet sets tempo (faster than previous tempo).
ad lib.
27 (Intense
66
= 60)
= 132
Fl.
= 220
to Piccolo 3
3
3
3
Marching Band
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
Sus. Cym.
B.D.
1-6 B Tpt. 7-11
1 2
Surround Band
F Hn.
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
Intense
= 60
( = 132)
= 220
8
Picc.
1 2
Fl.
3 4 a2 1 2
Ob.
a2 3 4
B Cl. 1
B Cl. 2
B Cl. 3
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1. solo
3
3
1 2 B Tpt. Stage Band
3 4 a2
a2
1 3 F Hn.
a2
a2
2 4
1 2 Tbn. 3 4 a2 1 2
Euph.
slow asynchronous, wide oscillation 1.
7
1 2
Tba.
Timp. Xyl. 8
1 W.Blk. Perc.
2 3 Ratchet
1
5. Clicker 4 5
Piano
Harp
4. P. Whistle
28 75 8
Picc.
Marching Band
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
1-6 B Tpt. 7-11
1 2
F Hn.
Surround Band
1 Perc. 3
B Cl.
( = ca. 108) *
(like sirens)
Al. 1-2
slap tongue
Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
Fl.
3 4 (a2) 1 2
Ob.
(a2) 3 4
B Cl. 1
B Cl. 2
B Cl. 3
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1 2 3. take straight mute 4. take harmon mute
B Tpt. Stage Band
3 4
(a2) 1 3 F Hn.
(a2) 2 4 1. take harmon mute 2. take straight mute 1 2
Tbn.
4. 3 4 (a2)
Euph.
1 2
Tba.
1 2
2.
Timp. 8
(Xyl.)
1
W.Blk. Perc.
2 3 Ratchet 4.
5.
4 5 Clicker
Piano
Harp
*Surround groups enter on conductor’s cue. Players enter at the same tempo as before. They continue playing until they are cued to stop. This playing time will become shorter and shorter as the ensemble texture builds.
29 80
(79) 8
Picc.
Marching Band
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
1-6 B Tpt. 7-11
(
= ca. 120)
1 2
F Hn.
Surround Band
brassy 1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
1., solo
8
Picc.
1 2 sparkling
3., solo
Fl.
3 4 sparkling N
1., solo
O N
O N
1 2 sparkling
Ob. 3 4 1 player, solo B Cl.
1 sparkling
B Cl.
2 tutti legato
cresc.
B Cl. 3 a2 1 Bs. Cl. 2 cresc.
legato Cb. Cl.
Bn.
8
cresc.
1 2 3
Cbn.
8
1 2 Stage Band
B Tpt.
a2, 3. with straight mute, 4. with harmon mute 3 4 a2 1 3 legato
F Hn.
a2 2 4 legato 1 2
Tbn.
(4.)
3.
3 4 a2
cresc. Euph.
1 2
Tba.
1 2
legato (2.)
1.
cresc. Timp. Glock.
8
15
1 (W.Blk.) Perc.
2 3 (Ratchet) (5. Clicker) 4 5 8va
Piano
Harp
30 (80) ( = 132)
Piccolo *
8
( (
Picc.
* E Cl.
) ) )
Marching Band
* B Tpt.
1 2
Tbn.
1 2
(
*
(
)
(Sus. Cym.) Perc.
2 B.D.
1-6 B Tpt. 7-11
1 2
F Hn.
Surround Band
1
( = 152) S.D.
Perc.
ad lib.
3
B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8
(1.)
8
Picc.
1 2
Fl.
3 4
(3.)
(1.) 1 2 Ob.
4 3 4 (solo)
tutti
B Cl. 1 legato B Cl. 2
B Cl. 3 legato
(a2)
cresc.
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
a3
1 2 3
legato
Cbn.
cresc.
8
1. with straight mute
Stage Band
2. B Tpt.
cresc.
1 2 (a2) 3 4 (a2) 1 3
F Hn.
(a2) 2 4 a2, 1. harmon mute, 2. straight mute 1 2
Tbn. 3 4 (a2) Euph.
1 2
Tba.
1 2
Timp. Tamtam
15
1 W.Blk.
Perc.
2 3 Ratchet 5. Clicker 4 5
Piano
Harp
*Cut off at cue—even if the player has not finished performing the written music.
31 ( = 132)
(81) 8
Picc.
Marching Band
E Cl.
3
3
3
3
1 2
B Tpt.
3
Tbn.
1 2
Perc.
2
3
3
3
Sus. Cym.
B.D. 1-6 B Tpt. 7-11
(
Surround Band
= 120)
*
1 2
F Hn.
1 Perc. 3 * B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
Fl.
3 4 1 2
Ob. 3 4 cresc. poco a poco B Cl. 1 cresc. poco a poco B Cl. 2 cresc. poco a poco B Cl. 3 cresc. poco a poco
(a2) 1 Bs. Cl. 2
cresc. poco a poco Cb. Cl.
Bn.
8
(a3)
1 2 3
cresc. poco a poco
cresc. poco a poco
Cbn.
cresc. poco a poco
8
cresc. poco a poco 1 2 Stage Band
B Tpt.
cresc. poco a poco
(a2) 3 4
cresc. poco a poco 1 3 F Hn. 2 4 (a2) 1 2 cresc. poco a poco
Tbn. 3 4 (a2) Euph.
1 2
Tba.
1 2
cresc. poco a poco
cresc. poco a poco
cresc. poco a poco Timp. cresc. poco a poco (Tam.) 1 cresc. poco a poco W.Blk. Perc.
2 3 Ratchet Whip 4 5 Clicker
Piano
Harp
*Cut off on cue.
32
82
(81)
*
8
Picc. * Marching Band
E Cl. * B Tpt.
1 2
Tbn.
1 2
Perc.
2
*
*
1-6 B Tpt. 7-11
1 2
F Hn.
Surround Band
1 Perc. 3
B Cl.
( = 108) * Al. 1-2 slaptongue
Sax.
*
Ten. Bar. * Str. Bs. 8
a2
8
Picc.
1 2 asynchronous
a2 Fl.
3 4 asynchronous N
a2
O
N
O
N
1 2 asynchronous
Ob. 3 4 (cresc.)
molto
2 players B Cl. 1 soli asynchronous
molto B Cl.
1 2 (cresc.)
molto
B Cl. 3 (a2)
(cresc.)
molto
1 Bs. Cl. 2 (cresc.) Cb. Cl.
Bn.
molto
8
(a3) (cresc.)
1 2 3
molto
(cresc.)
Cbn.
molto
8
(cresc.)
molto
1 2 (a2)(cresc.)
Stage Band
B Tpt.
molto
3 4 (cresc.)
a2
molto
1 3 F Hn.
cresc.
molto
cresc.
molto
a2 2 4 (a2) 1 2 (cresc.)
Tbn.
molto
3 4 (a2) (cresc.)
molto
1 2
Euph.
(cresc.)
molto
1 2
Tba.
(cresc.)
molto
Timp. (Tam.) (cresc.) 1 (cresc.) 3. Ratchet Perc.
2. Glock. molto
15
2 3
Whip 4 5
W.Blk. Clicker (one player)
Piano
Harp
*Cut off on cue.
8va
33 83
= 92
rall.
8
a tempo
Marching Band
Picc.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
S.D.
a6
3
3
3
3
1-6 3
B Tpt.
a5
(10. open)
3
7-11 3
3
1 2
F Hn.
S.D. Surround Band
1
S.D.
Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8
= 92 Picc.
1 2
Fl.
3 4
a tempo
rall.
8
a2 1 2 Ob.
a2 3 4
tutti bell up
B Cl. 1 bell up B Cl. 2 bell up B Cl. 3 a2 1 Bs. Cl. 2 Cb. Cl.
Bn.
8
1., 2.
1 2 3
3.
Cbn.
8
a2, open
2.
1 2 3
Stage Band
B Tpt.
3
3
a2, open
4.
3 4 3
3
3
a2
1 3 F Hn.
a2 2 4
open Tbn.
1 2 3 4
a2 Euph.
1 2
Tba.
1 2
a2
Timp. 2 Flexatones 1 S.D.
5
(2. S.D.) Perc.
5
5
S.D.
2 3 T. Dr. Ratchet Clicker and W.Blk.
5
3. Sus. Cym. B.D.
4 5 B.D.
Piano
Harp
C D G A
L. T. Dr.
5 5
5 5
5
34 89 8
Marching Band
Picc.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
S.D.
5
5
5
6 5, 7 4,5,6,7,8 4, 8 B Tpt.
5
5 5
2, 10
1,2,3 9,10,11
5 5
5
3, 9 1, 11 1 2
F Hn.
S.D. Surround Band
1 Perc.
5
5
5
5
5
5
S.D. 3
B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8
a2 8
Picc.
1 2
Fl.
3 4 (a2) 1 2
Ob.
(a2) 3 4
B Cl. 1
B Cl. 2
B Cl. 3 (a2)
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
(1., 2.)
1 2 3
(3.) Cbn.
8
(a2)
a2
1 2 B Tpt.
(a2)
a2
Stage Band
3 4 (a2) 1 3 F Hn.
(a2) 2 4
1 2 Tbn. 3 4 (a2) Euph.
1 2
Tba.
1 2
(a2)
a2
Timp.
1 (S.D.) Perc.
2 3 (T.Dr.) (L.T. Dr.)
(B.D.)
4 5 (B.D.)
Piano
8ba
Harp
A
A
A
35 93 8
Picc.
Marching Band
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
S.D.
to Surround Band
6 5., 7.
5
4., 8. 2., 10.
5
5
4,5,6,7,8 B Tpt. 1,2,3, 9,10,11
5 5
5
3., 9. 1., 11.
1 2
F Hn.
Surround Band
S.D. 1 Perc.
5
5
5
5
S.D. 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
(a2)
a2
to Flutes
8
Picc.
1 2 3
Fl.
3 4 3
(a2) 1 2 3
Ob.
(a2) 3 4 3
B Cl. 1 3
B Cl. 2 3
B Cl. 3 3
(a2)
3
3
3
=
1 Bs. Cl. 2 3
3
3
Cb. Cl.
3
3
Bn.
=
8
(1., 2.)
1 2 3
a3
3
3
3
=
(3.) 3
3
3
Cbn.
3
=
8
Stage Band
2. take harmon mute, 1. take straight mute
2., with harmon mute 5
1 2 3
B Tpt.
take harmon mute
with harmon mute 5
3 4 3
(a2) 1 3 3
F Hn.
(a2)
3
2 4 take harmon mute
with harmon mute
1 2 4.
3 3
Tbn.
3
3
3
3
5
=
3 4 (a2) Euph.
1 2
Tba.
1 2
3 3
a2
1.
3 3
3
=
Timp.
Flexatone
Tamb.
*
1 3
Perc.
3
=
2 3 3
(5. B.D.)
=
4 5 3
=
Piano
8ba 3
Harp
B E
*Highest note possible.
=
5
1. with straight mute
36 98 8
Picc.
Marching Band
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
4,5,6,7,8 B Tpt. 1,2,3, 9,10,11 1 2
Surround Band
F Hn.
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
Flutes, a2 1 2 Fl.
a2 3 4 (a2) 1 2 3
(a2)
Ob. 3 4
3
bell ord.
B Cl. 1 bell ord. B Cl. 2 bell ord. B Cl. 3 (a2) 1 Bs. Cl. 2
Cb. Cl.
Bn.
8
(a3)
1 2 3
Cbn.
8
1 2
Stage Band
5
5
B Tpt.
5
5
3 4 1 3 F Hn. 2 4 1 2
5
5
Tbn.
(4.) 3 4
Euph.
1 2
Tba.
1 2
Timp. (Tamb.) 1 5
T. Blks.
2 T.-t. Perc.
3 S.D. 4 B.D. 5
Piano
Harp
5
37 103 8
Picc.
Marching Band
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
4,5,6,7,8 B Tpt. 1,2,3, 9,10,11 1 2
Surround Band
F Hn.
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
(a2) 1 2
3
3
(a2)
Fl. 3 4
3
3
a2 1 2 3
Ob.
a2 3 4 3
B Cl. 1 3 3
B Cl. 2 3 3
B Cl. 3 3
(a2)
=
3
1 Bs. Cl. 2 = Cb. Cl.
Bn.
8
(a3)
1 2 3
=
=
Cbn.
8
Stage Band
2.
remove mute
1 2 5
5
B Tpt.
remove mute
5
3 4 5
3
a2
1 3 a2
F Hn.
3 3
3
2 4 remove mute 1 2
5
5
(4.)
Tbn.
=
3 4 = Euph.
1 2
Tba.
1 2
=
= Timp. Tamb. 1 (T. Blks.)
5
5
=
2 (T.-t.) Perc.
=
3 S.D.
=
4 (B.D.)
=
5 =
Piano
=
8ba
Harp
C
C D G
G
38 108 8
Marching Band
Picc.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
4,5,6,7,8 B Tpt. 1,2,3, 9,10,11 1 2
Surround Band
F Hn.
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8
(a2)
to Piccolos
1 2 Fl.
(a2) 3 4 sost. 1 2 sost.
Ob.
sost. 3 4 sost.
B Cl. 1
B Cl. 2
B Cl. 3
1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
open
5
5
5
5
1 5
5 5
open
5 5
5
5
2 5
5 5
open
B Tpt.
5 5
5
3 Stage Band
5
5 5
open
5 5
5
4 5
5 5
(a2) 1 3 F Hn.
brassy
(a2) 2 4 II a2, open
VII
brassy sim.
1 2 brassy Tbn.
a2 3 4 brassy
Euph.
1 2
Tba.
1 2
a2
Timp. 2. Low Lion’s Roar 1 2 (4. S.D.) Perc.
3 4 Cym. 5
Piano
Harp
High Lion’s Roar
39 110 8
Marching Band
Picc.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2 a5
4,5,6,7,8 asynchronous B Tpt.
a6
1,2,3, 9,10,11 asynchronous 1 2
Surround Band
F Hn.
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8
Piccolos
a2
8
Picc.
1 2 (together)
Fl.
3 4 a2 1 2
Ob.
a2 3 4 *
B Cl. 1 * B Cl. 2 * B Cl. 3 a2 1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1., 2.
1 2 3
3.
Cbn.
8
5
to Trumpet in D
5
Trumpet in D
1 5 5
5
5 5
(together) to Trumpet in D
Trumpet in D
2 5 5
5
B Tpt.
(together)
5
Stage Band
3 5 5
5
4 5
5
(a2)
1 3 F Hn.
(a2) 2 4 (a2) 1 2 (a2)
Tbn. 3 4 a2 Euph.
1 2
Tba.
1 2
(a2)
a2
Timp. (2. L. L. Roar)
1. Flexatone
*
1 2 (with clarinets)
(4. H. L. Roar) Perc.
3 4 B.D. 5
Piano
C D G A
Harp
*Clarinets and Flexatone stay together.
40
= 92
113 Slowly rotate in place. Ad lib. three figures.
(stop)
Slowly rotate in place. Ad lib. three figures.
(stop)
Slowly rotate in place. Ad lib. three figures.
(stop)
Slowly rotate in place. Ad lib. three figures.
(stop)
Slowly rotate in place. Ad lib. three figures.
(stop)
Slowly rotate in place. Ad lib. three figures.
(stop)
a2
1 11 asynchronous a2
2 10 asynchronous a2
3 9 B Tpt.
asynchronous a2
4 8 asynchronous a2
Surround Band
5 7 asynchronous 6 asynchronous 1 2
F Hn.
S.D.
1 5
molto
5
molto
5
molto
S.D. 2
Perc.
S.D. 3
Str. Bs.
= 92 a2
8
Picc.
1 2
6
6
6
6
a2 Fl.
3 4
6
6
6
6
1
2 Ob. 3
4
6
B Cl. 1
6
6
asynchronous, blurred
6 6
B Cl. 2
6
6
asynchronous, blurred
6 6
B Cl. 3
6
6
asynchronous, blurred (a2)
6
6
1 Bs. Cl. 2 6
Cb. Cl.
Bn.
8
(a3)
1 2 3
Stage Band
Cbn.
8
(a2) 1 D Tpt. 2 asynchronous
(a2) 3 B Tpt. 4 asynchronous (a2)
5
5
1 3 5
F Hn.
(a2)
5
5
2 4 5
(a2) Tbn.
1 2 3 4 (a2)
Euph.
1 2
Tba.
1 2
(a2)
Timp. (Flexatone)
2. Glock., hard sticks 15
1 2 molto
S.D. Perc.
3 4 (B.D.)
5
Tam. molto
5 8va
gliss.
molto
Piano
8ba
Harp
(l.v.)
(l.h.)
41 115 rall.
half valve fall off ca. 3-4 seconds
1 11 half valve fall off ca. 3-4 seconds 2 10 half valve fall off ca. 3-4 seconds 3 9 B Tpt.
half valve fall off ca. 3-4 seconds 4 8
Surround Band
half valve fall off ca. 3-4 seconds 5 7 half valve fall off ca. 3-4 seconds 6
1 2
F Hn.
1
2
Perc.
3
Str. Bs. 8
(a2)
rall. 6
8
Picc.
1 2
6
6
(a2) 6
Fl.
6
3 4
1
2 Ob. 3
4 6
6
6
6
6
6
B Cl. 1
B Cl. 2
B Cl. 3
(a2)
6 6
6
1 Bs. Cl. 2
6
Cb. Cl.
8
Stage Band
a3 Bn.
1 2 3
5 5
Cbn.
5
5
5
5
8
(a2)
to Trumpet in B
1 D Tpt. 2 (a2) 3 B Tpt. 4
(a2)
5 5
1 3
5
5
(a2)
F Hn.
5
2 4
5
5
5
1 2 Tbn.
3.
4.
3 4 3
a2 Euph.
1 2
Tba.
1 2 3
Timp. 15
(Glock.)
2
Vibraphone
Perc.
3
Pedal 4 5
Piano
Harp
3
3
42
IV Night Music I 1 2
F Hn.
Surround Band
1
Perc.
2
3
Str. Bs. 8
8
Picc.
1
Picc.
2
Fl.
3 4
Piccolo 1 to Flute
Piccolo 2 to Flute
1 2 Ob. 3 4
cold sound B Cl. 1 cold sound
cold sound
cold sound B Cl. 2 cold sound
cold sound
cold sound B Cl. 3 cold sound
cold sound Bs. Cl.
Cb. Cl.
Bn.
8
1 2 3
Cbn.
Stage Band
(Trumpets in B ) take straight mute 1 2 B Tpt.
take straight mute 3 4 take straight mute 1 3
F Hn.
take straight mute 2 4 take straight mute 1 2
Tbn.
take straight mute 3 4
Euph.
1 2
Tba.
1 2
Timp. 15
1 8
Perc.
2 3 5. to Piano 4 5
Percussion 5, soft felt sticks, tremolo on low A string, inside piano
Piano
legatissimo sempre
Harp
43 3 1 2
F Hn.
Surround Band
1
Perc.
2
3
Str. Bs. 8
( = ca. 60) Flute
8
1 Flute Fl.
senza vibrato
2 cold sound senza vibrato 3 4 cold sound 1 2
Ob. 3 4 ca. 3 seconds
ca. 3 seconds B Cl. 1 ca. 3 seconds
ca. 3 seconds
ca. 3 seconds B Cl. 2 ca. 3 seconds
ca. 3 seconds
ca. 3 seconds B Cl. 3 ca. 3 seconds
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Stage Band
Cbn.
8
1 2 B Tpt. 3 4 1 3 F Hn. 2 4 with straight mute 1 2 Tbn.
with straight mute 3 4
Euph.
1 2
Tba.
1 2
Timp. 15
1 8
Perc.
2 3 4 5
(Perc. 5)
Piano
Harp
44 5 1 2
F Hn.
Surround Band
1
Perc.
2
3
Str. Bs. 8
1
Fl.
2
3 4 1 2 Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Stage Band
Cbn.
8
1 2 B Tpt. 3 4 1 3 F Hn. 2 4 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. 15
1 8
Perc.
2 3 4 5
(Perc. 5)
Piano
Harp
45 7 1 2
Surround Band
F Hn.
1
Perc.
2
3
Str. Bs. 8
( = 60)
1
Fl.
2
3 4 1 2 Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
Stage Band
with straight mute 1 2 B Tpt.
with straight mute 3 4 with straight mute 1 3
F Hn.
with straight mute 2 4
1 2 Tbn.
3. 3 4
4. 3.
Euph.
1 2
Tba.
1 2
Timp. 15
1 8
Perc.
2 3 4 5
(Perc. 5)
Piano
Harp
4.
46 9 1 2
F Hn.
Surround Band
1
Perc.
2
3
Str. Bs. 8
1 2 Fl. 3 4
= ca. 60 1., solo 1 2 Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Stage Band
Cbn.
8
1. remove mute
2.
1 2 B Tpt. 3 4
3.
1., open***
remove mute
1 3 F Hn.
(4.)
remove mute
(2.)
to harmon mute
wolf howl
2 4
1 2 (3.)
Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. * Crotale
15
1
Perc.
**
*
15
*
8
2
Glock.
**
2. Vib.
**
3 4 5 8va
*
Piano
(Perc. 5)
8va
*
Harp
*Sparse, ad lib., pointillistic “star sounds.” **Continue with ad lib. patterns on given pitches. The texture should continue to be sparse. ***“Wolf howl.” Half valve 3 valves, excluding thumb valve. Glissando to indicated pitch, hold, and then descend in a wavelike form.
47 11 1 2
F Hn.
Surround Band
15
* Crotale
1
15
Perc.
*
Crotale
2
15
*
Crotale
3
Str. Bs. 8
** 1.
1.
1 2 2.**
Fl. 3 4 1 2 Ob. 3 4
= ca. 60 solo B Cl. 1 1 player ** B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Stage Band
Cbn.
8
1 2 B Tpt. 3 4 1. (1.)
3.
1 3 F Hn.
wolf howl
2., open** 2 4
**open 1. *** 1 2 Tbn. 3 4
= ca. 60 solo Euph.
1 2
Tba.
1 2
Timp. 15
(Crot. and Glock.)
1 (Vib.) 2 Perc. 3
4 5
Piano
(Perc. 5)
non arp.
Harp
*Sparse and pointillistic “star sounds.� Continue with ad lib. patterns on given pitches. The texture should continue to be sparse. **Very slow quarter-tone oscillation. ***Slowly uncover and recover harmon mute. Play the indicated overtones while holding the indicated pitch.
48 13
1.
1 2
F Hn.
Surround Band
wolf howl 15
(Crot.)
15
(Crot.)
15
(Crot.)
1
Perc.
2
3
Str. Bs. 8
2.
(1.)
1.
1 2 Fl. 3 4 ca. 2 sec. 1., solo N
O N
O N
sim. O
N
O
N
O
N
O
1 2 Ob.
slow, even pulses 3 4
B Cl. 1 (sim.) B Cl. 2 (1 player) B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Stage Band
Cbn.
8
1 2 B Tpt. 3 4 3. 1 3 F Hn.
(4.)
2.
4.
2 4 (1.) (1.)
(2.)
1 2 Tbn.
(2.) 3 4
( = ca. 60) Euph.
1 2
Tba.
1 2
Timp. 15
(Crot. and Glock.)
1 (Vib.) 2 3. Vib., bowed, slow motor
Perc. 3 4
Pedal 5
Piano
Harp
non arp.
2.
wolf howl
49 15
** 1.
wolf howl
2.
1 2
F Hn.
Surround Band
wolf howl 15
(Crot.)
15
(Crot.)
15
(Crot.)
1
Perc.
2
3
Str. Bs. 8
8
1. (ad lib.)
* 2.
1 2 Fl. 3 4 1. N
O
N
O
N
O
N
(ad lib.)
1 2 Ob. 3 4
B Cl. 1 *
(ad lib.)
B Cl. 2 * (sim.) B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Stage Band
Cbn.
8
1 2 B Tpt. 3 4 ** 1.
wolf howl
3.
1 3 F. Hn.
wolf howl 2 4 4. (a2) stagger breath (1.) 1 2
Tbn. 3 4 2. take straight mute Euph.
1 2
Tba.
1 2
take straight mute
Timp. 15
(Crot. and Glock.)
1 (Vib.) 2 Perc.
(Vib.) 3 4 (ped.) 5
Piano
Harp
*Continue oscillations. Trade partners when necessary. **Alternate wolf howls. Also vary solo and duo calls..
(ad lib.)
(ad lib.) (2.)
(ad lib.)
O
50
= 72 16
a tempo 1.
wolf howl
1 2
F Hn.
Surround Band
tratt.
1.
2.
wolf howl
15
(Crot.)
l.v.
15
(Crot.)
l.v.
15
(Crot.)
l.v.
1
Perc.
2
3
Str. Bs. 8
(1.)
2.
1.
1 2 2.
Fl. 3 4
N
(1.) N
O
N
O
O
N
O
N
O
2.
1 2
2.
Ob. 3 4
B Cl. 1
B Cl. 2
(2.)
3.
1.
B Cl. 3
Bs. Cl.
2.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
Stage Band
= 72
tratt.
a tempo
1., solo, open
1 2 with restraint
with straight mute
B Tpt. with straight mute 3 4 wolf howl
3.
1 3 F Hn.
2.
4.
wolf howl
2.
2 4 (4.)
(a2, continue harmonic arpeggios)
1 2 Tbn.
with straight mute 3 4
1., solo 1 2
Euph.
with restraint
2. with straight mute with straight mute
1 2
Tba.
Timp. 15
(Crot. and Glock.)
1 (Vib.) 2 Perc.
(3. Vib.)
4. B.D.
3 4 (Ped.) 5
non arp.
Perc. 5, soft felt sticks
Piano
sempre
Harp
B D E
51 24 1 2
F Hn.
15
Surround Band
1 15
Perc.
2 15
3
Str. Bs. 8
1
Fl.
2
3 4 (2.) 1 2 Ob. 3 4
cold sound B Cl. 1 cold sound
cold sound
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Stage Band
Cbn.
8
1 2 B Tpt. 3 4
1 3 F Hn. 2 4 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. 15
(Crot. and Glock.)
8
(Vib.)
1
2 Perc. 3 4
5
Piano
Harp
(Perc. 5)
52 26
1.
1 2
F Hn.
wolf howl, lontano
15
Surround Band
1 15
Perc.
2 15
3
Str. Bs. 8
1
Fl.
2
3 4 1 2 Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
Cb. Cl.
Bn.
8
1 2 3
Stage Band
Cbn.
8
1 2 B Tpt. 3 4 1 3 F Hn. 2 4 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. 15
(Crot. and Glock.)
8
(Vib.)
1
2 Vib., bowed, 2 players
Perc. 3 4
Pedal 5
Piano
Harp
(Perc. 5)
release bows
53 29 1 2
F Hn.
15
Surround Band
1 Crot., bowed
15
Perc.
2 15
3
*seagull sound (play forte to sound piano) Str. Bs. 8
( = ca. 60) 8
1
Fl.
2
3 4 1 2 Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
Cb. Cl.
Bn.
8
1 2 3
Stage Band
Cbn.
8
1 2 B Tpt. 3 4 1 3 F Hn. 2 4 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. 15
(Crot. and Glock.)
8
(Vib.)
1
2 Vib., bowed (2 players)
Perc. 3 4
Pedal 5
(Perc. 5)
Piano
Harp
F
*Touch harmonic and gliss upward and then downward. Do not adjust the distance between note and node on ascending. Waves of “seagull-like” sounds will ensue.
(l.v.)
54 311. 1 2
F Hn.
wolf howl, from a great distance Crot., bowed
15
(l.v.)
Surround Band
1 Crot., bowed
15
Perc.
(l.v.)
2 Crot., bowed
15
(l.v.)
3
Str. Bs. 8
to Piccolo
8
1
Fl.
2 3. 3 4 1 2
Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
Cb. Cl.
Bn.
8
1 2 3
Stage Band
Cbn.
8
1 2 B Tpt. 3 4 1. 1 3
3. wolf howl, lontano
F Hn. 2 4 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. 15
1 8
2 (3., Vib.)
Perc. 3 4
(Ped.) 5
Piano
Harp
wolf howl, lontano
3
Jazz feel 15
(Crot.)
(l.v.)
15
(Crot.)
(l.v.)
15
(Crot.)
(l.v.)
= ca. 92
=
= ca. 92
=
55
V Night Music II
1
2
Perc.
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
3
Jazz feel 8
Picc.
1 2
Fl.
3 4
(3.)
1 2 Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1 2 B Tpt.
Stage Band
3 4 1 3 F Hn. 2 4 1., with harmon mute 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp.
(Take over beat from clarinet, Hi-hat, with brushes ad lib.
15
1 8
2 (Vib.) Perc.
3 (ped.) 4
5
Piano
Harp
= ca. 92)
56 (1) 15
1 15
2
Perc.
15
3
( = ca. 92) * B Cl. jazz feel
poss.
( = ca. 92) *
3
3
3
Surround Band
Al. Sax. 1
3
3
3
3
3
jazz feel
( = ca. 92) * Al. Sax. 2
3
3
3
3
jazz feel
*
( = ca. 92)
3
3
Ten. Sax. 3
jazz feel *
3
( = ca. 92)
3
3
3
Bar. Sax. 3
3
jazz feel
( = ca. 92) pizz., gliss downwards, changing strings at will 3
* Str. Bs. 8
8
1 2
Fl.
3 4 1 2
Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1 2 B Tpt.
Stage Band
3 4 1 3 F Hn. 2 4 (1.) 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. (Hi-hat) 1 15
2 15
Perc.
3 3
3 3
3
Picc.
3
3 15
4
5
Piano
Harp
*Asynchronous.
3
3
3
arco 3
3
3
57 (1) 15
Nervous 2
= ca. 92
Nervous
= ca. 92
1
15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
Piccolo 1. to Flute
8
Picc.
1 2
Fl.
3 4
Flute 2.
1., solo 1 2 Ob. 3 4 1., solo B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
3.
1 2 3
Cbn.
1. 2.
8
1 2 B Tpt. 3 4
Stage Band
1. 1 3 F Hn. 2. 2 4
1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp.
( = ca. 92) (Trapset) ad lib. 1 T.-ts., with hands
15
2 15
Perc.
3 15
4
5
Piano
Harp
Wood Block
58 8
15
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
(Flute) a2 1 2 Fl. a2 3 4 3
3
3
3
a2 1 2 3
3
3
3
Ob.
a2 3 4
B Cl. 1
B Cl. 2
B Cl. 3 1., solo Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1.
1 2 3
Cbn.
2.
8
1. 1 2 B Tpt.
a2, fltg. (with straight mute) 3 4
Stage Band
1. 1 3 F Hn. 2 4 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. Trapset (Hi-hat, brushes) ad lib. 1 T.-ts. 2 Brake Drum Perc.
3
15
Ratchet
4 B.D. 5
Piano
Harp
Anvil
59 15 15
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
solo
6
1 3
3 6
2 6
Fl.
6 6
3 6
6 6
4 6
1 2 3
Ob.
3
3
3 4 jazz feel
solo B Cl. 1
B Cl. 2
B Cl. 3 a2 1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1.
1 2 3
2.
Stage Band
Cbn.
8
1 2 B Tpt. 3 4 1. 1 3 F Hn.
sub. 2 4 1 2
Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. Trapset 1 T.-ts. 2 sub. Perc.
3
4 B.D. 5
Piano
Harp
6
60 21 15
1 15
2
Perc.
15
Surround Band
3
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
Piccolo
to Piccolo
8
3
1 3
2 solo
Fl. 3
3
4
1 2 Ob. 3 4 solo B Cl. 1
*
6
6
B Cl. 1 *
6
6
6
6
B Cl. 2 * B Cl. 3
6
6
6
3
3
(a2) 1 Bs. Cl. 2
Cb. Cl.
8
1. Bn.
1 2 3
Cbn.
8
1 2 B Tpt.
Stage Band
3 4 1 3 F Hn. 2 4 1 2 Tbn.
4., open 3 4
Euph.
1 2
Tba.
1 2
1., open
Timp. Trapset, with sticks ad lib. 1 T.-ts. 2 Triangle Perc.
3
4
5
Piano
Harp
*Each player starts immediately after the other. Do not synchronize.
61 29 15
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
1. Picc.
1 2
Fl.
3 4
to Flute
1 2 Ob.
3
3
3
3 4
B Cl. 1
B Cl. 2
B Cl. 3 a2 Bs. Cl.
1 2
Cb. Cl.
Bn.
8
a3
1 2 3
Cbn.
8
1 2 B Tpt. 3 4
Stage Band
a2
3
1 3 F Hn.
a2 2 4
3
3
3
open open 1 2 4.
Tbn.
(4.)
3
4.
3
3 4 3. open cresc. poco a poco Euph.
1 2
Tba.
1 2
2., open
3
1.
1.
3
cresc. poco a poco
Timp. (Trap)
*
accel. poco a poco
1 cresc. poco a poco 2 W.Blk. Perc.
3 Sus. Cym. 4 Tam. 5
Piano
Harp
*Accelerate tempo little by little until measure 37,
= 92. Then lock in with the conductor’s beat.
3
3.
62 37 15
= 92,
= 276 (in one)
= 92,
= 276 (in one)
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
1 2 Fl. 3 4 1 2 Ob. 3 4
B Cl. 1 marc. B Cl. 2 marc. B Cl. 3 (a2) Bs. Cl.
Cb. Cl.
Bn.
marc.
1 2
8
(a3)
1 2 3
Cbn.
8
1.
*
2., open
take straight mute
1 2 B Tpt.
3., open
4. open
take straight mute
3 4 Stage Band
a2 1 3 F Hn.
(a2) 2 4
1 2 4.
Tbn. 3 4
3. Euph.
1 2
Tba.
1 2
Timp.
= 92 (in one) (Trap) 1 B.D. 2
Vib. Perc.
3 (Sus. Cym.) 4 (Tam.) 5
Piano
8ba
Harp
*Trumpet 1: ossia B .
T.-t.
B.D.
T.-t.
63 47 15
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
1 2 Fl. 3 4 1 2 Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1 2 B Tpt.
Stage Band
3 4 1 3 F Hn. 2 4 1.
2.
1 2 Tbn.
3. 3 4 2. open
Euph.
1 2
Tba.
1 2
Timp. secco
Trapset
1 B.D.
T.-t.
B.D.
T.-t.
T.-t.
B.D.
2
(Vib.) 15
Perc.
3 Temple Blocks 4
8
5
Piano
8ba
Harp
Xyl.
Glock.
64 55 15
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
1 2 Fl. 3 4 1 2 Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1 2 B Tpt.
Stage Band
3 4 1 3 F Hn.
(a2) 2 4 (2.)
1.
1 2 Tbn.
(3.)
4.
4.
3 4 3.
Euph.
1 2
Tba.
1 2
Timp. (Trap) 1 B.D. 2 15
Perc.
(Glock.)
3 T.Blks. 4
8
5
Piano
Harp
Xyl.
65 57 15
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
a2, fltg. 1 2 Fl.
a2, fltg. 3 4 1 2
Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3 a2 Bs. Cl.
1 2
Cb. Cl.
Bn.
8
a3
1 2 3
Cbn.
8
molto
molto
molto
molto
with straight mute 1 2
Stage Band
molto
molto molto
B Tpt.
molto
molto molto
molto molto
with straight mute 3 4 molto
molto
molto
molto
fltg. 1 3 F Hn.
fltg. 2 4 a2 1 2
Tbn.
a2
(4.) 3 4
Euph.
1 2
Tba.
1 2
a2
Timp. (Trap) 1 (B.D.) 2 15
Perc.
Police Whistle
Glock.
3 Ratchet 4
5 8
Piano
Harp
B
B
66 59 15
1–2 seconds
1–2 seconds
1–2 seconds
1–2 seconds
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
(a2) 1 2 (a2)
Fl. 3 4
1 2 Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3 1., solo Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1 2 B Tpt.
Stage Band
3 4 1 3 F Hn. 2 4 1 2
Tbn. 3 4
Euph.
1 2
Tba.
1 2
solo, wood sticks, vary groups and pattern in nonrepeating figures * Timp.
1 T.-ts., solo, wood sticks, vary groups and pattern in nonrepeating figures
Whip
*
2
(P. Whistle) Perc.
3 (Ratchet)
Sus. Cym.
4 molto 5 8
Piano
Harp
*Timpani and Tom-toms should be stage left and stage right, respectively, if possible.
67
61
(60) 15
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
a2, fltg. 1 2 Fl.
a2, fltg. 3 4
1 2 Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
Stage Band
1 2
B Tpt.
3 4 fltg. 1 3 F Hn.
fltg. 2 4 1 2
Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp.
1 T.-ts. 2 P. Whistle Perc.
3 Ratchet 4
5 8
Piano
Harp
68 62
15
= 92
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
= 92
a2, ord.
1 2 Fl.
a2, ord. 3 4 a2 1 2 a2
Ob. 3 4
tutti B Cl. 1 tutti
3
B Cl. 2
tutti
3
B Cl. 3 a2 Bs. Cl.
1 2
Cb. Cl.
Bn.
8
a3
1 2 3
Cbn.
8
remove mute 1 2 B Tpt.
remove mute
Stage Band
3 4 1 3 F Hn. 2 4
2. take harmon or solotone mute
1. open, 2. with harmon or solotone mute 1., jazz feel
1 2 manic
Tbn.
take harmon or solotone mute
with harmon or solotone mute
3 4 a2 Euph.
1 2
Tba.
1 2
Timp. Trap Set
ad lib.
1 (T.-ts.)
manic
2
Perc.
3 T.Blks.*
3
4 3
5 8
Piano
Harp
*If only 4 Temple blocks are available, last note should be the highest. Alternatively, use a small wood block that is highest in pitch.
69 68 15
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
(a2) 1 2 Fl.
(a2) 3 4 (a2) 1 2
Ob.
(a2) 3 4
B Cl. 1
B Cl. 2
B Cl. 3 (a2) Bs. Cl.
1 2
Cb. Cl.
Bn.
8
(a3)
1 2 3
Cbn.
8
a2, open, one lip pedal tone, upper lip only* 1 2 B Tpt. a2, open, one lip pedal tone, upper lip only*
Stage Band
3 4
1 3 F Hn. 2 4 growl 1 2 Tbn. 3 4 (a2) Euph.
1 2
Tba.
1 2
Timp. (Trap) 1 T.-t. 2
P. Whistle Perc.
3 T.Blks. 4
B.D. 5 8
Piano
Harp
*Each player plays a different pitch.
70 72
=
15
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
=
(a2) 1 2 Fl.
(a2) 3 4 (a2) 1 2
Ob.
(a2) 3 4 1 player, solo siren sound 3
“doppler sound”
*
freely
B Cl. 1
B Cl. 2
B Cl. 3 (a3) Bs. Cl.
1 2
Cb. Cl.
Bn.
8
(a3)
1 2 3
Cbn.
8
1 2 B Tpt.
5
5
5
5
Stage Band
3 4 1 3 F Hn. 2 4 growl
(
=
)
(
=
)
(
=
)
1 2
Tbn. 3 4 (a2) Euph.
1 2
Tba.
1 2
Timp. (Trap) 1 T.-ts.
5
2 P. Whistle Perc.
3 S.D.
r.s.
4 5
5
Piano
Harp
*Freely glissando, gradually lowering pitches to achieve a “doppler effect.”
3
5
B.D.
71 76 15
= 92 (in one)
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
= 92 (in one) (a2) 1 2 Fl.
(a2) 3 4 (a2) 1 2
Ob.
(a2) 3 4
B Cl. 1
B Cl. 2
B Cl. 3
(a2) Bs. Cl.
1 2
Cb. Cl.
Bn.
8
(a3)
1 2 3
Cbn.
8
1 2 5
B Tpt. 3 4
Stage Band
5
a2
1 3 rude, brassy F Hn.
a2 2 4 rude, brassy remove mute 1 2
Tbn.
remove mute 3 4 (a2)
Euph.
1 2
Tba.
1 2
Timp. (Trap) 1 T.-ts. 2 5 8
Perc.
Xyl.
3
S.D. 4 5
B.D.
5
Piano
8ba
Harp
72 83
=
15
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
= 1 2 Fl. 3 4 1 2 Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
a2 1 2 B Tpt.
3. 3 4
Stage Band
(a2) 1 3 F Hn.
(a2) 2 4 2., open 1 2
a2, open
Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. Trap Set 1 (T.-ts.)
Vib.
2
Perc.
3 8
T.Blks. 4 (B.D.) 5
Piano
8ba
Harp
B.D.
73 91 ( = 92) 15
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
( = 92)
1.
to Piccolos
1 2 Fl. 3 4 a2 1 2
3 3
3
3
Ob.
a2 3 4 3
3
3
3
1 solo
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
3
3
3
3
8
1 2 3
Cbn.
8
1 with harmon mute, jazz feel
1. take harmon mute 2. take cup mute
1. 1 2
2 with cup mute
B Tpt. take cup mute
with cup mute
Stage Band
3 4 1 3 F Hn. 2 4 1 2 Tbn.
4.
3
3
3 4
Euph.
1 2
Tba.
1 2
a2
3
3
3
Timp. Trap Set 1 Xyl. 8
T.-ts.
Wood Block
2 Vib. Perc.
T.Blks.
3 B.D.
3
3
3
4 Siren (stage left) 5
Piano
Harp
3
3
74 97 15
1 15
2
Perc.
15
3
Surround Band
B Cl.
Al. Sax. 1
Al. Sax. 2
Ten. Sax.
Bar. Sax.
Str. Bs. 8
Piccolo, a2, fltg. 8
Picc.
1 2 3
3
3
3
3
a2, fltg. Fl.
3 4 3
(a2) 1 2 Ob.
3
3
3
3
3
3
3
3
3
(a2) 3 4 3
1., solo
tutti
B Cl. 1
3 3
3
brash
3
3
3 3
3
3
B Cl. 2
B Cl. 3
Bs. Cl.
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
1 2
Cb. Cl.
Bn.
3 3
8
1 2 3
Cbn.
8
1., open
1. remove mute 1 2 B Tpt.
3
3
remove mute
4., open
2. open
3 4 a2
3. open
3
Stage Band
1 3 3
F Hn.
a2 2 4
3
3
3
a2 1 2 Tbn. a2 3 4
Euph.
1 2
Tba.
1 2
(a2)
1.
Timp. Trap Set 1 3
3
3
3
(T.-ts.)
3
3
Vib.
2 3
T.Blks. Perc.
3
3
3
3
3
3
3
T.Blks.
3 Siren (stage right) (B.D.)
3
3
3
3
3
3
3
4 (Siren) 5
Piano
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
8va
Harp
VI Circus Maximus
75
8
Picc.
Marching Band
E Cl. 3
1. B Tpt.
1 2
Tbn.
1 2
Perc.
2
2.
S.D., snares off
a6 (stagger breathing) 1-6 B Tpt.
a5 (stagger breathing)
7-11 1.
1.
1 2
F Hn.
Surround Band
2. 1 Perc. 3
B Cl. 3
1. Al. 1-2 2.
Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
Fl.
3 4 1 2
Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1 2 B Tpt.
Stage Band
3 4 1 3 F Hn. 2 4 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp.
1
2 (Siren) release Perc.
3
4 (Siren) 5
Piano
Harp
release
76
rall.
( = 92)
2
a tempo
*
Picc. *
Marching Band
E Cl. (a2) B Tpt.
1 2
Tbn.
1 2
Perc.
2
*
a2
*
(S.D.)
(a6) 1-6 B Tpt.
(a5)
7-11 (a2) 1 2
F Hn.
Surround Band
S.D., snares off 1 Perc.
5
S.D., snares off
5
5
6
3 5
5
*
6
B Cl. *
(a2) Al. 1-2 Sax.
a2
*
Ten. Bar.
* 3
Str. Bs. 8 8
8
Picc.
1 2
Fl.
3 4
( = 92)
a tempo
rall. 8
a2 1 2 Ob.
a2 3 4
B Cl. 1
B Cl. 2
B Cl. 3 a2 Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1., 2.
1 2 3
Cbn.
3.
8
1 2 B Tpt. Stage Band
3 4 a2 1 3 F Hn.
a2 2 4
( = 92) 1 2 Tbn. 3 4 a2 Euph.
1 2
Tba.
1 2
a2
Timp. Flexatone 1
2
Perc.
3 Sus. Cym. 4 B.D. 5
Piano
Harp
*Hold any C arrived at in this bar.
ritard. 8
77
8
Picc.
Marching Band
E Cl. a2 B Tpt.
1 2
Tbn.
1 2
Perc.
2
a2
S.D., snares off
a6 1,3,5, 7,9,11 B Tpt.
5
5
5
5
5
5
a5
2,4,6, 8,10 a2 1 2
F Hn.
S.D.
Surround Band
1 Perc.
S.D. 3
B Cl.
a2 Al. 1-2 Sax.
a2 Ten. Bar.
Str. Bs. 8
ritard.
a2
8
Picc.
1 2
Fl.
3 4 (a2)
molto
(a2)
molto
1 2 Ob. 3 4
molto B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2 molto
Cb. Cl.
Bn.
8
1 2 3
Cbn.
molto
1., 2.
3.
molto
8
molto 1 2 B Tpt.
Stage Band
3 4 (a2)
molto
1 3 F Hn.
molto
(a2) 2 4
molto
1 2 Tbn.
molto
3 4
molto
(a2) Euph.
1 2
Tba.
1 2
molto
(a2)
molto Timp. molto (Flexatone) 1 S.D. 2 5
Ten. Dr. Perc.
5
5
5
5
5
5
5
5
3 L.T.-t. 4 B.D. 5 molto
Piano
Harp
78
12Slightly slower ( = ca. 80–84)
to Flute
8
Marching Band
Picc.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
(S.D.)
(a6)
5., 7.
3
3
3
3
1,3,5, 7,9,11
B Tpt.
(a5)
6., 8.
2,4,6, 8,10
3
3
brassy
3 3
3
3
3 3
3 3
3
Surround Band
3
1 2
(S.D.)
3
3
3
3
3
3
3
3
3
brassy F Hn.
3
3
3
3
3
3
3
3
3
brassy
snares on
1 Perc.
3
3
(S.D.)
3
3
3
3
3
3
3
3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
8
Slightly slower ( = ca. 80–84) Flute to Flute
8
Picc.
a2
1 2 3
a2 Fl.
3 4 3
(a2) 1 2 Ob.
3
(a2) 3 4
3
B Cl. 1 3
B Cl. 2 3
B Cl. 3 3
3
a2 Bs. Cl.
3
=
3
1 2 3
3
3
Cb. Cl.
=
3
8
3
Bn.
a3
1 2 3
3
3
3
3
3
Cbn.
=
3
=
3
8
a2
1. take straight mute, 2. take harmon mute
1. straight mute
1 2 3
B Tpt.
2. harmon mute
a2
take harmon mute
with harmon mute
take harmon mute
with harmon mute
5 5
Stage Band
3 4 3
3
a2
=
1 3 F Hn.
3
3 3
a2
=
2 4
1 2
5 3 3
Tbn.
3
4.
3
3
=
3
3 4 a2 1 2
Euph.
3 3
1 2
Tba.
3
1.
=
3 3
3
=
3
Timp. Tamb. 1 5
3
= 2 3
T.-t.
= Perc.
3 3
= 4 3
(B.D.)
3
=
5 3
=
3 3
Piano
8ba 8va
Harp
3
=
3
3
S.D.
79 15 Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2 5., 7.
3
3
3
3
3
3
3
3
1,3,5 7,9,11 3
6., 8.
B Tpt. 2,4,6 8,10
3
1 2
Surround Band
F Hn.
1 Perc. 3
B Cl. 3
Al. 1-2 3 3
Sax.
3
3
3
3
Ten. Bar.
Str. Bs. 8
(a2) 8
1 2
3
Fl.
(a2) 3 4
3
1 2 Ob. 3 4
B Cl. 1 3
B Cl. 2 3
B Cl. 3 3
(a2) Bs. Cl.
1 2
Cb. Cl.
Bn.
8
a3
1 2 3
Cbn.
8
1 2
Stage Band
B Tpt. 3 4 1 3 F Hn. 2 4 1 2 (4.)
Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp.
1 T.Blks. 2 T.-ts. Perc.
3 (S.D.) 4 B.D. 5
Piano
Harp
80 17 Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2 1.,3.,9., 11
1.,3.,9., 11
1,3,5 7,9,11 5., 7. B Tpt.
2., 10.
3
3
3
3
2., 10.
2,4,6 8,10 6., 8. 3
1 2
F Hn. Surround Band
3
3
3
3
S.D. 1 3
Perc.
3
3
3
3
3
B Cl. 3
3
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
(a2) 1 2
3
Fl.
(a2) 3 4
3
a2 1 2 Ob.
a2 3 4
B Cl. 1 3
B Cl. 2 3
B Cl. 3 (a2) Bs. Cl.
Cb. Cl.
Bn.
3
1 2
8
(a3)
1 2 3
Cbn.
8
Stage Band
1 2 5
B Tpt. 3 4
5
a2
1 3 F Hn. 2 4 1 2
5
Tbn.
(4.) 3 4
Euph.
1 2
Tba.
1 2
Timp. Tamb. 1 (T.Blks.)
5
2
Perc.
3 S.D. 4 B.D. 5
Piano
8ba
Harp
C D
81 19 Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2 (1., 3., 9., 11.)
1,3,5 7,9,11 5., 7. 3
B Tpt.
3
(2., 10.)
2,4,6 8,10 6., 8. 3
3
3
3
3
3
3
1 2
F Hn.
Surround Band
1 Perc.
3
3
3
3
3
3
B Cl. 3
3
3
Al. 1-2 3 3
Sax.
3
3
3
3
Ten. Bar.
Str. Bs. 8
(a2) 1 2 Fl. (a2) 3 4 (a2) 1 2 3
Ob.
(a2) 3 4 3
B Cl. 1
B Cl. 2
B Cl. 3 (a2) Bs. Cl.
Cb. Cl.
Bn.
8
(a3)
1 2 3
Cbn.
Stage Band
=
1 2
8
remove mute 1 2 5
B Tpt.
remove mute
3 4 5
(a2)
=
1 3 F Hn.
a2 2 4 remove mute 1 2
5
Tbn.
(4.)
=
3 4 Euph.
1 2
Tba.
1 2
=
= Timp. (Tamb.) 1 5
=
2 T.-ts. Perc.
3 Sus. Cym. 4 B.D. 5 =
Piano
=
Harp
C
82 21 Fl.
Marching Band
E Cl.
1 2
B Tpt.
II
VII
a2 Tbn.
1 2
Perc.
2
sim.
brassy (gliss.)
1.,3.,9.,11
take straight mute
2.,10.
take straight mute
1,3,5 7,9,11 B Tpt. 2,4,6 8,10
a2 1 2
F Hn.
brassy (gliss.)
Surround Band
S.D. 1 Perc.
cresc. poco a poco
S.D. 3
cresc. poco a poco B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8
(a2)
to Piccolo
1 2 (a2)
Fl. 3 4 1 2 Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3 1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
5
open
5
5
5
1 5
5 5
open
5
5
5
5
2 5
B Tpt.
5 55
open
5
5
3 5
5 5
open
5
5
5
4 5
5 5
Stage Band
(a2) 1 3 F Hn.
brassy
(a2) 2 4 II a2, open
VII
brassy sim.
1 2 brassy
Tbn.
a2 3 4 brassy
Euph.
1 2
Tba.
1 2
a2
Timp.
1
2 Low Lion’s Roar Perc.
3 High Lion’s Roar 4 Sus. Cym. 5
Piano
Harp
83 23 Fl.
Marching Band
E Cl.
1 2
B Tpt.
(a2) (sim.) Tbn.
1 2
Perc.
2
1,3,5 7,9,11 B Tpt. 2,4,6 8,10 1 2
F Hn.
Surround Band
(S.D.) 1 (cresc.) (S.D.)
Perc. 3
(cresc.) B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8 8
Picc.
1 2
Fl.
3 4 1 2
Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3 1 Bs. Cl. 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
5
5
1 5 5
5
5 5
2 B Tpt.
5 5
5
5
3 5 5
5
4
Stage Band
5
5
(a2)
1 3 F Hn.
(a2) 2 4 (a2) (sim.) 1 2 (a2)
Tbn. 3 4
Euph.
1 2
Tba.
1 2
(a2)
Timp.
1
2 (L. L. Roar) Perc.
3 (H. L. Roar) 4
5
Piano
Harp
84 Swaggering
24
= 132
Begin marching down aisle.
Fl.
Marching Band
E Cl. B Tpt.
1 2
Tbn.
1 2
Perc.
2
(on repeat only)
S.D.
*
play
Sus. Cym.
B.D.
ca. 1–2 sec. a6, with straight mute 1,3,5 7,9,11 sub.
ad lib.
sub.
ad lib.
ad lib., asynchronous a5, with straight mute
B Tpt. 2,4,6 8,10 (a2)
ad lib., asynchronous
1 2
F Hn.
(S.D.) Surround Band
1 Perc.
(S.D.) 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
Fl.
3 4 1 2
Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1.
1. take straight mute
1 2 3. take harmon mute 4. take straight mute
B Tpt. 3 4
Stage Band
(a2) 1 3 F Hn.
(a2) 2 4 2. take harmon mute 1 2
Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp. Chimes 1 Whip 2
Perc.
3 (Lion’s Roar) 4
5
Piano
Harp
*Percussionist strikes both Bass Drum and Cymbal with bass drum sticks. Percussionist sets tempo.
85 (24)
25
Marching Band
Fl. E Cl. B Tpt.
1 2
Tbn.
1 2
Perc.
2
3
3
3
3
3
3
3
3
3
3
(B.D.)
(a6) 1,3,5 7,9,11 B Tpt.
(a5)
2,4,6 8,10 1 2
F Hn.
1
Surround Band
Perc. 3
B Cl.
( = 108) (like police sirens) * Al. 1-2 Sax. *
slap tongue
Ten. Bar.
* Str. Bs.
8
Picc.
1 2
Fl.
3 4 1 2
Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1 2 B Tpt.
Stage Band
3 4 1 3 F Hn. 2 4 1 2 Tbn. 3 4
Euph.
1 2
Tba.
1 2
Timp.
1
2
Perc.
3
4
5
Piano
Harp
*Surround groups enter on conductor’s cue. Groups enter at the same tempo they played before. The groups continue playing until they are cued to stop. This playing time will get shorter and shorter as the texture builds.
86 (25) 8
Marching Band
Fl.
E Cl. 3
B Tpt.
1 2
Tbn.
1 2
Perc.
2
3
3
3
3
3
3
3
2.
Sus. Cym.
B.D.
Surround Band
(a6) 1,3,5 7,9,11 B Tpt.
(a5)
2,4,6 8,10
(
= ca. 120)
1 2
F Hn.
brassy 1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
Fl.
3 4 1 2
Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
sempre sim.
1 2 3
Cbn.
8
sempre sim. 1 2 B Tpt.
Stage Band
3 4 1 3 F Hn. 2 4 1 2 Tbn.
4. 3 4 sempre sim.
Euph.
1 2
Tba.
1 2
2.
sempre sim. Timp.
1
2 W.Blk. Perc.
3 Ratchet 4 Clicker 5
Piano
Harp
87 (25)
26
Marching Band
Fl.
E Cl.
Tpt.
1 2
Tbn.
1 2
Perc.
2
1,3,5 7,9,11 Tpt. 2,4,6 8,10 1 2
Hn.
Surround Band
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8
Piccolo
8
Picc.
1.
1 2 sparkling
3. Fl.
3 4
5
sparkling N O
1.
N O N
1 2 sparkling
Ob. 3 4 1 player B Cl. 1
sparkling gli altri legato B Cl. 2
legato B Cl. 3 a2 Bs. Cl.
1 2 cresc.
legato Cb. Cl.
Bn.
8
cresc.
1 2 3
Cbn.
8
cresc.
1 2 B Tpt.
3. with harmon mute
sempre sim.
Stage Band
3 4 a2
4. with straight mute
1 3 legato
F Hn.
a2 2 4 legato 1 2
Tbn.
3.
sempre sim.
3 4 cresc.
a2 1 2
Euph.
legato 1.
sempre sim.
1 2
Tba.
cresc. Timp. Glock. 1
2 W.Blk. Perc.
3 Ratchet 4 Clicker 5 8va
Piano
Harp
88 (26)
Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2 1., open
3., open
* 1,3,5 7,9,11 sub.
gliss.
gliss. 2., open
B Tpt.
(with straight mute)
2,4,6 8,10 sub.
1 2
F Hn. Surround Band
gliss.
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8
8
Picc.
1 2
Fl.
3 4 1 2
Ob.
4. 3 4
B Cl. 1 cresc. B Cl. 2 legato
cresc. B Cl. 3 (a2) Bs. Cl.
1 2 cresc.
Cb. Cl.
8
cresc.
a3 Bn.
1 2 3
Cbn.
legato
cresc.
8
cresc. Stage Band
2. 1 2 B Tpt.
sempre sim.
(a2) 3 4 cresc. 1 3
F Hn. 2 4 a2, 1. open, 2. with harmon mute 1 2 Tbn.
asynchronous
sempre sim.
cresc.
3 4 cresc. Euph.
1 2
Tba.
1 2
cresc.
cresc. Timp. 15
1
2 W.Blk. Perc.
3 Ratchet 4 Clicker 5
Piano
Harp
*Surround trumpets overlap each other, producing a clockwise rotation of the figure.
89 27
Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2 (3.)
5., open
7., open
9., open
11., open
1,3,5 7,9,11 B Tpt.
4., open
6., open
8., open
10., open
2,4,6 8,10
(
= 120)
1 2
F Hn.
brassy Surround Band
1
( =S.D.152)
Perc.
ad lib.
3
( = 152) B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8
8
Picc.
1 2
Fl.
3 4 1 2
Ob.
(4.)
3.
sempre sim.
3 4
B Cl. 1 cresc. poco a poco B Cl. 2 cresc. poco a poco B Cl. 3 (a2) Bs. Cl.
cresc. poco a poco
legato
1 2 cresc. poco a poco
Cb. Cl.
Bn.
8
(a3)
1 2 3
Cbn.
(sim.)
cresc. poco a poco
8
(sim.) 1. with straight mute sempre sim. 1 2 B Tpt.
(a2)
(sim.)
3 4
Stage Band
(sim.) 1 3 F Hn. 2 4 (a2) 1 2 (sim.)
Tbn. 3 4
(sim.) Euph.
1 2
Tba.
1 2
cresc. poco a poco
(sim.) Timp. cresc. poco a poco
15
1 Tam. 2 W.Blk. Perc.
3
Ratchet 4
Clicker 5
Piano
Harp
cresc. poco a poco
sim.
90 (27)
Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2 (1.)
1,3,5 7,9,11 B Tpt.
(3.)
(2.)
(5.)
(4.)
(etc.)
(6.)
2,4,6 8,10 1 2
F Hn.
Surround Band
1 Perc.
S.D.
( = 80)
3
B Cl.
( = 108) Al. 1-2 slap tongue
Sax. Ten. Bar.
Str. Bs. 8
8
Picc.
1 2
Fl.
3 4 1 2
Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3 (a2) Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
(a3)
8
1 2
Stage Band
B Tpt.
(a2) 3 4 1 3
F Hn. 2 4 (a2) 1 2 Tbn. 3 4 (a2) Euph.
1 2
Tba.
1 2
Timp. 15
1 (Tam.) 2
Perc.
3
4
5
Piano
Harp
91 28 Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
1,3,5 7,9,11 B Tpt. 2,4,6 8,10 1 2
F Hn.
S.D.
( = 80)ad lib.
Surround Band
1 Perc.
S.D. ad lib. 3
( = 152) B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8
a2 8
Picc.
1 2 sparkling, asynchronous a2
Fl.
3 4
5
sparkling, asynchronous N O
a2 1 2 sparkling, asynchronous
Ob. 3 4
2 soli ad lib. B Cl. 1 sparkling, asynchronous
gli altri B Cl. 2
B Cl. 3
(a2) Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
(a3)
ad lib.
8
Stage Band
ad lib. 1 2 B Tpt.
ad lib.
(a2) 3 4
ad lib.
a2 1 3 F Hn.
a2 2 4 (a2) 1 2 ad lib.
Tbn. 3 4 (a2) Euph.
1 2
Tba.
1 2
ad lib.
ad lib. Timp. Glock.
15
1 (Tam.) 2
Perc.
3 4 5 8va
Piano
Harp
N O N
92 (28)
(march toward back exit door)
Fl.
Marching Band
(march toward back exit door) E Cl. (march toward back exit door) B Tpt.
1 2
Tbn.
1 2
Perc.
2
(march toward back exit door)
(march toward back exit door)
1,3,5 7,9,11 B Tpt. 2,4,6 8,10
(
= ca. 120)
1 2
F Hn.
Surround Band
brassy 1 Perc. 3
B Cl.
( = ca. 108) (sirens) Al. 1-2
slap tongue
Sax. Ten. Bar.
Str. Bs.
8
Picc.
1 2
Fl.
3 4
(a2)
(a2)
(a2)
cresc.
cresc.
1 2 cresc.
Ob. 3 4
B Cl. 1 cresc. B Cl. 2 cresc. B Cl. 3 (a2) Bs. Cl.
cresc.
1 2 cresc.
Cb. Cl.
Bn.
8
(a3)
1 2 3
Cbn.
cresc.
8
1 2 B Tpt.
(a2)
Stage Band
3 4 (a2) 1 3 F Hn.
(a2)
cresc.
2 4 (a2)
cresc.
1 2 Tbn. 3 4 (a2) Euph.
1 2
Tba.
1 2
cresc.
Timp. 15
(Glock.)
1 (Tam.)
cresc.
2 cresc. Perc.
3
4
5
cresc. Piano
Harp
cresc.
29
(exit hall)
10-12 seconds (close door slowly)
12 seconds
12 seconds
8 seconds
10-12 seconds a6, one breath only
12 seconds
12 seconds
8 seconds
12 seconds
12 seconds
8 seconds
Fl. (exit hall) Marching Band
E Cl. (exit hall) B Tpt.
1 2
Tbn.
1 2
Perc.
2
(exit hall)
(exit hall)
1,3,5 7,9,11 B Tpt.
poss.
a5, one breath only
poss.
one breath only
2,4,6 8,10 1 2
F Hn.
( = 80)
poss. fast single stroke
(S.D.)
Surround Band
1 Perc.
poss.
fast single stroke
3 poss. B Cl. poss.
one breath only
Al. 1-2 Sax.
one breath only
poss. Ten. Bar. poss.
Str. Bs. 8
poss. 10-12 seconds Flutes to Flutes
(a2) Picc.
(stagger breath)
1 2
8va
(a2) Fl.
dim.
(stagger breath)
3 4 (a2)
poss.
a2
dim.
(stagger breath)
poss.
a2
dim.
(stagger breath)
poss.
tutti
dim.
(stagger breath)
dim.
(stagger breath)
dim.
(stagger breath)
dim.
(stagger breath)
dim.
(stagger breath)
dim.
(stagger breath)
dim.
(stagger breath)
1 2 Ob. 3 4
B Cl. 1 poss. B Cl. 2 poss. B Cl. 3 poss. a2
(a2) Bs. Cl.
1 2 poss.
Cb. Cl.
Bn.
8
(a3)
1 2 3
poss. 1.
2., 3.
poss. Cbn.
8
dim. poss.
(stagger breath)
open
1 2 Stage Band
dim. B Tpt.
F Hn.
3 4 1 3 2 4
open
poss.
(a2)
dim.
1., 3.
(a4)
2., 4.
poss.
1 2
(stagger breath)
poss.
Tbn.
(stagger breath)
dim.
open
(a2)
(stagger breath)
dim.
(stagger breath)
3 4 dim.
poss. a2
(a2)
(stagger breath)
1 2
Euph.
dim. poss.
a2
(stagger breath)
1 2
Tba.
poss.
dim.
Timp.
15
dim. fast single stroke roll (match Ten. Dr. sixteenth note roll)
poss. S.D.
(Glock.)
1 dim.
(Tam.) 2
Sus. Cym. Perc.
dim.
poss.
3 dim.
poss.
Ten. Dr., fast single stroke roll
4 dim.
B.D. 5
dim.
15ma
Piano
8va 8ba
Harp
l.v.
93
94 31
8 seconds
8 seconds
10 seconds
8 seconds
7 seconds
6 seconds
5 seconds
6-8 seconds
4 seconds
8 seconds
8 seconds
10 seconds
8 seconds
7 seconds
6 seconds
5 seconds
6-8 seconds
4 seconds
8 seconds
8 seconds
10 seconds
8 seconds
7 seconds
6 seconds
5 seconds
6-8 seconds
4 seconds
Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
1,3,5 7,9,11 B Tpt. 2,4,6 8,10 1 2
Surround Band
F Hn.
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8
1 2 Fl. 3 4 1.
(a2) 1 2 2.
Ob.
(a2)
3.
3 4 4. div. B Cl. 1 div. B Cl. 2 div. B Cl. 3 (a2) Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
(a3)
8
2. take straight mute 1.
1. take whispa mute 2., with straight mute
(a2)
1., with whispa mute
Stage Band
1 2 2. B Tpt. (a2)
4. 3. take straight mute
4. take whispa mute 3., with straight mute
4., with whispa mute
3 4 3. (a2)
1.
(a2)
2.
3. take straight mute
3., with straight mute
1 3 F Hn.
4. take straight mute
4., with straight mute
2 4
(a2)
2. take straight mute
2., with straight mute
1 2 Tbn.
(a2)
take straight mute
with straight mute
take straight mute
with straight mute
3 4 (a2) Euph.
1 2
Tba.
1 2
(a2)
Timp. (S.D.) 1 (Tam.) 2
Perc.
3 (Ten. Dr.) 4 (B.D.) 5
Piano
Harp
l.v.
VII Prayer
95
= 48 Fl.
Marching Band
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
1,2,6 7,11 B Tpt. 3,4,5 8,9,10 1 2
Surround Band
F Hn.
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
= 48 1 2 Fl. 3 4 E.H. (ossia Oboe 1)
Oboe 1 to English Horn E.H.
Ob.
3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
with straight mute 1 2 B Tpt.
with straight mute
a2
a2
Stage Band
3 4
1 3 F Hn. 2 4 1. take straight mute
with straight mute
1 2 Tbn.
(with straight mute) 3 4
Euph.
1 2
Tba.
1 2
(with straight mute)
Timp.
1
2
Perc.
3
4
5
Piano
Harp
96 10 Fl.
Marching Band
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
1,2,6 7,11 B Tpt. 3,4,5 8,9,10 1 2
Surround Band
F Hn.
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
1 2 Fl. 3 4
E.H.
Ob.
3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1 2 B Tpt.
Stage Band
3 4
1., with straight mute
3., with straight mute
2., with straight mute
4., with straight mute
1 3 F Hn. 2 4
1 2 Tbn. 3 4 1., with straight mute Euph.
1 2
Tba.
1 2
1.
Timp.
1
2
Perc.
3
4
5
Piano
Harp
97 19 Fl.
Marching Band
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
1,2,6 7,11 B Tpt. 3,4,5 8,9,10 1 2
Surround Band
F Hn.
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
1 2 Fl. 3 4 Oboe 2 E.H. 2 E.H.
Ob. 3 4 solo B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1.
1 2 3
Cbn.
2.
8
3
1 2 B Tpt.
Stage Band
3 4 (3.)
(1.)
1.
(4.)
(2.)
2.
1 3 F Hn. 2 4
1 2 Tbn. 3 4
2., with straight mute
(1.) Euph.
1 2
Tba.
1 2
(1.)
non dim.
non dim. Timp.
1
2
Perc.
3
4
5
Piano
Harp
2., with straight mute
98 29 Fl.
Marching Band
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2
1,2,6 7,11 B Tpt. 3,4,5 8,9,10 1 2
Surround Band
F Hn.
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
1., solo 1 2 3
Fl. 3 4 E.H. E.H.
Ob.
3 4 solo
3
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
ossia
1 2 3
Cbn.
8
1 2 B Tpt.
Stage Band
3 4 1. remove mute 1 3 F Hn. 2 4 (straight mute) 1 2 Tbn.
4.
(straight mute)
3 4 a2 (straight mute) Euph.
1 2
Tba.
1 2
Timp.
1
2
Perc.
3
4
5
Piano
Harp
Moving forward 38
99
= 56–58
Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2 with straight mute
1,2,6 7,11
1. 2., 6. 7., 11.
B Tpt.
5., 9.
10.
10. 3. 4., 8.
3., 4., 8
1.
*
2., 6. 7. 11.
7. 11.
with straight mute 5., 9.
3,4,5 8,9,10
5., 9.
*
10. 3. 4., 8.
1 2
F Hn. Surround Band
1. 2., 6.
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8
Moving forward
= 56–58
a2
1 2 Fl.
a2 3 4 (E.H.)
E.H.
1 2
Ob.
3 4
English Horn to Oboe 1
Oboe
a2
a2
tutti B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1., solo, open 1 2 B Tpt. 3 4 Stage Band
1., solo, open
1.
1 3 F Hn.
3., with straight mute 2., with straight mute
remove mute
2 4 * 1 2 Tbn.
* 3 4 * a2
Euph.
1 2
Tba.
1 2
remove mute
1. (with straight mute)
Timp.
1
2
Perc.
3
4
5
Piano
Harp
*
= 5 beats.
*
100 46 Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2 1. 2., 6.
1,2,6 7,11
7. 11. 5., 9. 10.
B Tpt. 3,4,5 8,9,10
2., 7., open remove mute
3., 8.
3. 4., 8.
3., 4., 8., 9.
4., 9. 5., 10.
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8
1.
(a2)
1. to Piccolo 1 2 (a2) Fl. 3 4 (a2)
1.
1 2 (a2)
Ob. 3 4
div.
1.
B Cl. 1 gli altri B Cl. 2
B Cl. 3
Bs. Cl.
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
a2 (open) 1 2 3
B Tpt.
remove mute
a2, open
Stage Band
3 4 3. remove mute 1 3 F Hn. 2 4 remove mute
open
1 2 Tbn.
remove mute
open
3 4
Euph.
1 2
Tba.
1 2
(1.)
remove mute
open
Timp. Vib. 15
Glock.
1 Pedal 2
Perc.
3
4
5
Piano
Harp
3., 8. 4., 9. 5., 10.
5., 10.
1 2
F Hn.
Surround Band
1., 6., 11, open
remove mute
101
= 60
( = ( =
54
) )
Marching Band
Fl.
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2 take harmon mute
a5, with harmon mute, no stem, stagger breathing
take harmon mute
a6, with harmon mute, no stem, stagger breathing
1,2,6 7,11
B Tpt. 3,4,5 8,9,10
1 2
Surround Band
F Hn.
1 Perc. 3
B Cl.
Al. 1-2 Sax. Ten. Bar. Str. Bs. 8
= 60 Piccolo Picc.
1
Fl.
2
Fl.
3 4
( = ( =
1., Flute
8
1. 1 2 Ob. 3 4
B Cl. 1 tutti B Cl. 2 tutti B Cl. 3
1 Bs. Cl. 2
Cb. Cl.
8
1. Bn.
1 2 3
Cbn.
8
1 2
molto
B Tpt.
a2
Stage Band
3 4 molto open 1 3
molto
F Hn.
open 2 4
molto
1.
1 2
3
Tbn.
molto
a2
3 4 a2 open
molto
1 2
Euph.
molto open 1 2
Tba.
molto
Timp. Vib.
molto 1
2
Perc.
3
4
5
Piano
Harp
C
E
) )
102
VIII Coda: Veritas = 90 ( =
)
Fl.
Marching Band
E Cl.
B Tpt.
1 2
Tbn.
1 2
Perc.
2 (a5)
*
(a6)
*
1,2,6 7,11 B Tpt.
cresc. poco a poco
3,4,5 8,9,10 cresc. poco a poco 1 2
F Hn.
Surround Band
S.D., snares off, muffled 1 Perc.
5
S.D., snares off, muffled
cresc. poco a poco
3 5
5
cresc. poco a poco
B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
= 90 ( =
)
1 2
5
3 4
5
5
Fl. 5
1 2 Ob. 3 4
B Cl. 1
B Cl. 2
B Cl. 3
Bs. Cl.
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1. (open) 1 2 cresc. poco a poco
B Tpt.
(open) 3 4 cresc. poco a poco 3.
Stage Band
1 3
3. 1.
1. cresc. poco a poco
F Hn. 2 4
cresc. poco a poco a2 1 2 cresc. poco a poco Tbn. 3 4 cresc. poco a poco
Euph.
1 2
Tba.
1 2
1.
cresc. poco a poco
1.
cresc. poco a poco
cresc. poco a poco Timp.
1
2 High T. Dr. Perc.
3
4
5
Piano
Harp
*Slowly remove and replace mute with left hand, asynchronously with other trumpet players.
5
5
103 5
= 92
(tutti)
(a6)
1,3,5 7,9,11 (cresc.) B Tpt.
asynchronous
(tutti)
(a5)
2,4,6 8,10 (cresc.) asynchronous 1 2
F Hn.
(S.D.)
Surround Band
1 5
(cresc.)
Perc.
5
5
5
5
5
5
(S.D.)
3 (cresc.) B Cl.
Al. 1-2 Sax. Ten. Bar.
Str. Bs. 8
= 92 to Piccolos 1 2
5
5
5
5
3 4
5
5
5
5
Fl.
a2 1 2 Ob.
a2 3 4 tutti
B Cl. 1
B Cl. 2
B Cl. 3 a2 Bs. Cl.
Cb. Cl.
Bn.
8
1., 2.
1 2 3
3.
Cbn.
8
a2
a2 1 2 (cresc.)
B Tpt.
sost. a2
a2
3 4 (cresc.)
sost.
Stage Band
1.
a2
1 3 3.
F Hn.
a2
(cresc.)
2 4
(cresc.) (a2) 1 2 (cresc.)
Tbn. 3 4
(cresc.) (cresc.) a2 Euph.
1 2
Tba.
1 2
(1.)
(cresc.)
2.
a2
(cresc.)
Timp.
Glock. 15
1 Flexatone 2 (Ten. Dr.) 5
Perc.
5
5
5
3 Tam. 4 B.D. 5
Piano
8ba
Harp
104 3., 9. enter
5., 7.
9
1., 11, enter
*
stagger breathing
1,3,5 7,9,11 * 6.
B Tpt.
asynchronous 4., 8. enter
2., 10. enter stagger breathing
2,4,6 8,10 asynchronous 1 2
F Hn.
asynchronous
S.D.
Surround Band
1 Perc.
B Cl. asynchronous
Al. 1-2 asynchronous
Sax. Ten. Bar.
asynchronous
Str. Bs. 8 8
asynchronous
Piccolos, a2 8
Picc.
1 2
Fl.
3 4 (a2) 1 2
Ob.
(a2) 3 4
B Cl. 1
B Cl. 2
B Cl. 3 (a2) Bs. Cl.
1 2
Cb. Cl.
Bn.
8
(a2)
1 2 3
Cbn.
8
(a2) 1 2 B Tpt.
(a2) 3 4
Stage Band
5
5
5
5
S.D. 3
(a2) 1 3 F Hn.
(a2) 2 4
1 2 Tbn. 3 4 (a2) Euph.
1 2
Tba.
1 2
(a2)
Timp. 2 Flexatones
1
Glock.
15
S.D. 2 H. Ten. Dr. Perc.
5
5
5
5
5
5
5
5
5
5
5
5
3 L. Ten. Dr. 4 (B.D.) 5
Piano
8ba
A
Harp
*Trumpets stagger entrances to create a “wave” of the motive around the hall. The players enter in the following order: 6, 5./7., 4./8., 3./9., 2./10., 1./11.
105 lunga
14 1,3,5 7,9,11
poss.
B Tpt. 2,4,6 8,10
poss. 1 2
F Hn.
Surround Band
(S.D.) 1 (S.D.)
Perc. 3
B Cl. poss. a2 Al. 1-2 Sax.
poss. Ten. Bar.
Str. Bs. 8
(a2)
lunga
8
Picc.
1 2
Fl.
3 4 (a2) 1 2
Ob.
poss.
(a2) 3 4
poss. B Cl. 1 poss. B Cl. 2 poss. B Cl. 3 poss. Bs. Cl.
1 2
Cb. Cl.
Bn.
8
1 2 3
Cbn.
8
1 2
poss.
B Tpt.
a2 3 4 poss.
Stage Band
(a2) 1 3 F Hn.
(a2) 2 4
1 2 Tbn. 3 4 (a2) Euph.
1 2
Tba.
1 2
Timp. (Flexatones)
1
Xyl.
(Glock.) 15
S.D. 2 H. Ten. Dr. Perc.
3 L. Ten. Dr. 4 (B.D.) 5
Piano
Harp
* 12 gauge Shotgun with super-packed blank.
Gunshot*