John Corigliano
MR. TAMBOURINE MAN: Seven poems of Bob Dylan for Amplified Soprano and Orchestra
full score
G. Schirmer Rental Library date of printing _________
G. Schirmer, Inc. New York, NY
John Corigliano
MR. TAMBOURINE MAN: Seven poems of Bob Dylan for Amplified Soprano and Orchestra
Prelude: Mr. Tambourine Man.....................................1 1. Clothes Line.............................................................28 2. Blowin’ in the Wind.................................................43 3. Masters of War..........................................................58 4. All Along the Watchtower.......................................77 5. Chimes of Freedom....................................................91 Postlude: Forever Young................................................114
Commissioned by the Minnesota Orchestra, Osmo Vänskä, Music Director, and the Brooklyn Philharmonic, Robert Spano, Music Director. The Brooklyn Philharmonic was generously supported for this commission by Board Member Gloria Messinger, in honor of her husband, Charles L. Mandelstam. The original piano version of this work was commissioned for Sylvia McNair by The Carnegie Hall Corporation. The world premiere was given at Carnegie Hall, New York City on March 15, 2000 by Sylvia McNair, soprano and Martin Katz, piano.
G. Schirmer, Inc. New York, NY
Instrumentation: 3 Flutes (2 and 3 doubling Piccolos) 3 Oboes (3 doubling English Horn) 3 Clarinets in B= (1 and 2 doubling Clarinet in A, 3 doubling E= and Bass Clarinet) Alto Saxophone (doubling Baritone Saxophone) 3 Bassoons (3 doubling Contrabassoon) 4 Horns in F 4 Trumpets in C 2 Trombones Bass Trombone Tuba Timpani Percussion (3 Players) Vibraphone Xylophone Glockenspiel 3 sets of Chimes (perc 2 and 3 will play sets of chimes in the hall, left and right boxes, during the sixth song, perc 1 will have chimes onstage) Flexatone lg. Tamtam sm. Tamtam Metal Plate lg. Sus. Cym sm. Sus. Cym. Triangle Hammer Police W histle 2 Tambourines Vibraslap Slapstick Snare Drum Tenor Drum 2 lg. Bass Drums (one pitched slightly lower than the other) Temple Blocks W ood Blocks
Piano Harp Solo Soprano, amplified Strings duration ca. 37 minutes
Prelude: Mr. Tambourine Man …Though I know that evenin’s empire has returned into sand, Vanished from my hand, Left me blindly here to stand but still not sleeping. My weariness amazes me, I'm branded on my feet, I have no one to meet And the ancient empty street’s too dead for dreaming. Hey! Mr. Tambourine Man, play a song for me, I’m not sleepy and there is no place I’m going to. Hey! Mr. Tambourine Man, play a song for me, In the jingle jangle morning I’ll come followin’ you. Take me on a trip upon your magic swirlin’ ship, My senses have been stripped, my hands can’t feel to grip, My toes too numb to step, wait only for my boot heels To be wanderin’. I’m ready to go anywhere, I’m ready…to fade Into my own parade, cast your dancing spell my way, I promise to go under it. Hey! Mr. Tambourine Man, play a song for me, I’m not sleepy and there is no place I’m going to. Hey! Mr. Tambourine Man, play a song for me, In the jingle jangle morning I’ll come followin’ you. Though you might hear laughin’, spinnin’, swingin’ madly across the sun, It’s not aimed at anyone, it’s just escapin’ on the run… And if you hear vague traces of skippin’ reels of rhyme To your tambourine in time, it’s just a ragged clown behind, I wouldn’t pay it any mind, it’s just a shadow you’re Seein’ that he’s chasing. …Yes, to dance beneath the diamond sky with one hand waving free, Silhouetted by the sea, circled by the circus sands, With all memory and fate driven deep beneath the waves, Let me forget about today until tomorrow. …I’m not sleepy and there is no place I’m going to… Copyright © 1964, 1965 W arner Brothers, Inc. Copyright renewed 1992, 1993 Special Rider M usic International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.
Clothes Line After a while we took in the clothes, Nobody said very much. Just some old wild shirts and a couple pairs of pants Which nobody really wanted to touch. Mama come in and picked up a book An’ Papa asked her what it was. Someone else asked, “What do you care?” Papa said, “Well, just because.” Then they started to take back their clothes, Hang ’em on the line. It was January the thirtieth And everybody was feelin’ fine. The next day everybody got up Seein’ if the clothes were dry. The dogs were barking, a neighbor passed, Mama, of course, she said, “Hi!” “Have you heard the news?” he said, with a grin, “The Vice-President’s gone mad!” “Where?” “Downtown.” “When?” “Last night.” “Hmm, say, that’s too bad!” “Well, there’s nothin’ we can do about it,” said the neighbor, “It’s just somethin’ we’re gonna have to forget.” “Yes, I guess so,” said Ma, Then she asked me if the clothes was still wet.
I reached up, touched my shirt, And the neighbor said, “Are those clothes yours?” I said, “Some of ‘em, not all of ‘em.” He said, “Ya always help out around here with the chores?” I said, “Sometime, not all the time.” Then my neighbor, he blew his nose Just as papa yelled outside, “Mama wants you t’ come back in the house and bring them clothes.” Well, I just do what I’m told, So, I did it, of course. I went back in the house and Mama met me And then I shut all the doors. Copyright © 1969, 1975 Dwarf Music Copyright renewed 1998 Special Rider M usic International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.
Blowin’ in the Wind How many roads must a man walk down Before you call him a man? Yes, ’n’ how many seas must a white dove sail Before she sleeps in the sand? Yes, ’n’ how many times must the cannon balls fly Before they’re forever banned? The answer, my friend, is blowin’ in the wind, The answer is blowin' in the wind. How many times must a man look up Before he can see the sky? Yes ’n’ how many ears must one man have Before he can hear people cry? Yes, ’n’ how many deaths will it take till he knows That too many people have died? The answer, my friend, is blowin’ in the wind… How many years can a mountain exist Before it’s washed to the sea? [The answer is blowin’ in the wind.] Yes, ’n’ how many years can some people exist Before they’re allowed to be free? [“blowin’ in the wind.”] Yes, ’n’ how many times can a man turn his head, Pretending he just doesn’t see? …blowin’… …blowin’… Copyright © 1962 W arner Brothers, Inc. Copyright renewed 1990 Special Rider M usic International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.
Masters of War Come, [come,] you masters of war You that build all the guns You that build the death planes You that build the big bombs You that hide behind walls You that hide behind desks [Come, come, you masters of war] I just want you to know I can see through your masks You that never done nothin’ But build to destroy You play with my world Like it’s your little toy You put a gun in my hand And you hide from my eyes
And you turn and run farther When the fast bullets fly… You fasten the triggers For the others to fire Then you set back and watch When the death count gets higher You hide in your mansion As young people’s blood Flows out of their bodies And is buried in the mud You’ve thrown the worst fear That can ever be hurled Fear to bring children Into the world For threatening my baby Unborn and unnamed You ain’t worth the blood That runs in your veins…
Flashing for the refugees on the unarmed road of flight An’ for each an’ ev’ry underdog soldier in the night An’ we gazed upon the chimes of freedom flashing. In the city’s melted furnace, unexpectedly we watched With faces hidden while the walls were tightening As the echo of the wedding bells before the blowin’ rain Dissolved into the bells of the lightening. [Striking for the gentle, striking for the kind Striking for the guardians and protectors of the mind An’ the unpawned painter behind beyond his rightful time An’ we gazed upon the chimes of freedom flashing. Through the mad mystic hammering of the wild ripping hail The sky cracked its poems in naked wonder That the clinging of the church bells blew far into the breeze Leaving only bells of lightning and its thunder As we listened one last time an’ we watched with one last look Spellbound an’ swallowed ’til the tolling ended
Let me ask you one question Is your money that good Will it buy you forgiveness Do you think that it could I think you will find When your death takes its toll All the money you made Will never buy back your soul
Tolling for the rebel, tolling for the rake Tolling for the luckless, the abandoned an’ forsaked Tolling for the outcast, burnin’ constantly at stake An’ we gazed upon the chimes of freedom flashing…
And I hope that you die And your death will come soon I will follow your casket In the pale afternoon And I’ll watch while you’re lowered Down to your deathbed And I'll stand o’er your grave ’Til I’m sure that you’re dead
Tolling for the aching ones whose wounds cannot be nursed… An’ for every hung-up person in the whole wide universe An’ we gazed upon the chimes of freedom flashing.
Copyright © 1963 W arner Brothers, Inc. Copyright renewed 1991 Special Rider M usic International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.
All Along the Watchtower “There must be some way out of here,” said the joker to the thief, “There's too much confusion, I can’t get no relief. Businessmen, they drink my wine, plowmen dig my earth, None of them along the line know what any of it is worth.” “No reason to get excited,” the thief, he kindly spoke, “There are many here among us who feel that life is but a joke. But you and I, we've been through that, and this is not our fate, So let us not talk falsely now, the hour is getting late.” All along the watchtower, princes kept the view While all the women came and went, barefoot servants, too. Outside in the distance a wildcat did growl, Two riders were approaching, the wind began to howl. Copyright © 1968, 1985 Dwarf Music Copyright renewed 1996 Special Rider M usic International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.
Chimes of Freedom Far between sundown’s finish an’ midnight’s broken toll We ducked inside the doorway, thunder crashing As majestic bells of bolts stuck shadows in the sounds Seeming to be the chimes of freedom flashing Flashing for the warriors whose strength is not to fight
Tolling for the deaf an’ blind, tolling for the mute Tolling for the mistreated, mateless mother, the mistitled prostitute…]
Copyright © 1964 W arner Brothers, Inc. Copyright renewed 1992 Special Rider M usic International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.
Postlude: Forever Young May God bless and keep you always, May your wishes all come true, May you always do for others And let others do for you. May you build a ladder to the stars And climb on every rung, May you stay forever young, Forever young, forever young, May you stay forever young. May you grow up to be righteous, May you grow up to be true, May you always know the truth And see the lights surrounding you. May you always be courageous, Stand upright and be strong, May you stay forever young, Forever young, forever young, May you stay forever young. May your hands always be busy, May your feet always be swift, May you have a strong foundation When the winds of changes shift. May your heart always be joyful, May your song always be sung, May you stay forever young, Forever young, forever young, May you stay forever young. Copyright © 1973, 1985 Ram’s Horn Music International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music. Note: … is used where composer has omitted lyrics [ ] is used where lyrics have been set out of sequence
Program Note: When Sylvia McNair asked me to write her a major song cycle for Carnegie Hall, she had only one request; to choose an American text. I have set only four poets in my adult compositional life: Stephen Spender, Richard Wilbur, Dylan Thomas (whose major works generated the oratorio A Dylan Thomas Trilogy) and William M. Hoffman, collaborator with me on, among other, shorter pieces, the opera The Ghosts of Versailles. Aside from asking Bill to create a new text, I had no ideas. Except that I had always heard, by reputation, of the high regard accorded the folk-ballad singer/songwriter Bob Dylan. But I was so engaged in developing my orchestral technique during the years when Dylan was heard by the rest of the world that I had never heard his songs. So I bought a collection of his texts, and found many of them to be every bit as beautiful and as immediate as I had heard--and surprisingly well-suited to my own musical language. I then contacted Jeff Rosen, his manager, who approached Bob Dylan with the idea of re-setting his poetry to my music. I do not know of an instance in which this has been done before (which was part of what appealed to me,) so I needed to explain that these would be in no way arrangements, or variations, or in any way derivations of the music of the original songs, which I decided to not hear before the cycle was complete. Just as Schumann or Brahms or Wolf had re-interpreted in their own musical styles the same Goethe text, I intended to treat the Dylan lyrics as the poems I found them to be. Nor would their settings make any attempt at pop or rock writing. I wanted to take poetry I knew to be strongly associated with popular art and readdress it in terms of concert art---crossover in the opposite direction, one might say. Dylan granted his permission, and I set to work. I chose seven poems for what became a thirty-five minute cycle. A Prologue: Mr. Tambourine Man, in a fantastic and exuberant manner, precedes five searching and reflective monologues that form the core of the piece; and Epilogue: Forever Young makes a kind of folk-song benediction after the cycle’s close. Dramatically, the inner five songs trace a journey of emotional and civic maturation, from the innocence of Clothes Line through the beginnings of awareness of a wider world (Blowin’ in the Wind), through the political fury of Masters of War, to a premonition of an apocalyptic future (All Along the Watchtower), culminating in a vision of a victory of ideas (Chimes of Freedom). Musically, each of the five songs introduces an accompanimental motive that becomes the principal motive of the next. The descending scale introduced in Clothes Line resurfaces as the passacaglia which shapes Blowin’ in the Wind. The echoing pulse-notes of that song harden into the hammered ostinato under Masters of War; the stringent chords of that song’s finale explode into the raucous accompaniment under All Along the Watchtower; and that song’s repeated figures dissolve into the bell-sounds of Chimes of Freedom. Thanks are due to Carnegie Hall; to Sylvia McNair, for her commitment as well as her luminous artistry; and to Mark Adamo, to whom Mr. Tambourine Man is warmly dedicated.
—John Corigliano
MR. TAMBOURINE MAN
Score in C
Seven Poems of Bob Dylan Prelude: Mr. Tambourine Man
John Corigliano
3
Freely
= ca. 52 ( = ca. 78)
1. (Piccolo)
1 2 3
Flute (Piccolo)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1. 1 2
English Horn
Oboe (English Horn)
3
B Clarinets (A Clarinet) (A Clarinet)
1 2
Clarinet
B Clarinet (Bass Clarinet, (E Clarinet)
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Alto Saxophone Alto Saxophone (Baritone Saxophone) 1 2 Bassoon (Contrabasson)
3
1 3 Horn 2 4
take harmon mute 1 2 Trumpet in C 3 4 3
with straight mute
take straight mute Trombone
1 2
with straight mute with straight mute
take straight mute Bass Trombone Tuba
Timpani
1
Percussion
2
Bass Drum 3
Piano
EF GA D C B
Harp
3
3
3
3
3
3
3
3
3
3 5
3
Soprano
3
Freely
Though I
know that eve nin’s em pire
has re
= ca. 52 ( = ca. 78)
al sord. I Violin
al sord. II
half section, con sord. Viola
div., con sord. Violoncello
half section, con sord. Contrabass
corr. 01/04a (6/4/07) (cl.3, tuba, perc., piano)
Copyright Š 2003 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.
turned
in
to sand,
Van ished from my hand,
2 Slightly faster
5
= ca. 60
1 2 3
3
3
Fl.
3
3
3
3
3
3
3
3
3
3
(1.) 1 2
Ob.
E.H.
1 2 Cl.
3
3
3
3
3
3
3
3
3
3
3
3
3
Al.Sax.
1 2 Bn. 3
1 3 Hn. 2 4
harmon mute
2. remove mute
1 2 Tpt.
3
5
3 4 1 2
Tbn.
Bs. Tbn. Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
3
3
3
3
3
3
3
3
languid 3
3
3
Sop.
Left me blind ly
here
to stand
but still not
sleep
ing.
My
wea
ri ness a
Slightly faster I Vn. II
(half section) 3
Va.
3
Vc.
3
(half section) Cb. 3
maz es me
= ca. 60
I’m
3 Tempo I
9
= ca. 52
1 2 Fl. 3
1 2
Ob.
E.H.
1. 1 2 Cl.
to Bass Clarinet 3
Al.Sax.
1 2 Bn. 3
1 3 Hn. 2 4
1 2 Tpt. 3 4
remove mute 1 2
Tbn.
(Bs. Tbn.)
remove mute
Bs.Tbn. Tuba
Timp.
Vibraphone
3
1
Pedal Perc.
2
3
Pn.
Hp.
3
Sop.
brand ed on my feet
I have no one to meet
And the an cient emp ty street’s too dead for
Tempo I
dream
= ca. 52
ing.
too
con sord.
dead for
3
3
I 3
Vn.
con sord. II 3
tutte, con sord. Va.
unis. Vc.
tutti, con sord. Cb.
3
3 3
3
3
3 3
3
3
3
4 = ca. 78
3
13
=
3 =
Flute 2 to Piccolo 2
1 2 Fl.
to Piccolo 1 3
1 2
Ob.
E.H.
1 2
Cl.
Bass Clarinet
to E Clarinet
Bs. Cl.
to Baritone Saxophone Al.Sax.
1 2 Bn. 3
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp. 3
(Vib.) 1
(Pedal) Perc.
2
3
3
3 3
Pn.
3
3
3
F A D C B
Hp.
3
3
3
Sop.
dream
ing.
dream
ing.
= ca. 78
3
3
=
=
I 3
Vn.
3
3 3
3
3
3
3
3 3
II 3
3
3
3
3
3
pizz.
via sord.
arco, senza sord.
pizz.
via sord.
arco, senza sord.
3
3
3
Va. 3
stacc.
Vc. 3
pizz. Cb.
stacc. via sord.
3
3
5 = ca. 117 19 Picc.
1 2
Fl.
1
Ob.
1 2
Piccolo
E.H.
1 2
Cl.
E Clarinet E Cl.
Bar. Sax.
1 2 Bn. 3
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Xylophone 1
Tambourine, thumb roll Perc.
2
Snare Drum, rim shot 3
Pn.
Hp.
Sop.
= ca. 117
(con sord.)
I
(con sord.)
Vn. II
al sord. Va.
al sord. Vc.
Cb.
6 29 Picc.
1 2
Fl.
1
Ob.
1 2
Piccolo 1 to Flute 3 Piccolo 2 to Flute 2
=
=
=
=
1.
E.H.
1. 1 2
Cl.
to B Clarinet E Cl.
Bar. Sax.
1 2 Bn. 3
1. 1 3
legato
Hn. 2 4
1. (harmon mute)
1. remove mute
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Xyl. 1
Tamb. Perc.
2
S.D., r.s. 3
Pn.
Hp.
3
3
3
3
3
Sop.
Hey!
Mis ter
Tam bou rine Man, play a song for
me,
I’m not sleep y and there is no place I’m
go
ing to.
=
Hey!
Mis ter
Tam bou rine Man,
= =
=
I 3
3
3
Vn. II
con sord. Va.
con sord. Vc.
legato Cb.
arco, senza sord.
7 37 1 2 Fl. 3
1 2
Ob.
to Oboe E.H.
1 2 Cl. 3
Baritone Saxophone slap tongue Bar. Sax.
a2 1 2 3
Bn.
3
3
3
1. 1 3 Hn.
2. 2 4
1., open
1., take harmon mute
2., open
1 2 Tpt.
3. 3 4
open 1 2
Tbn.
Bs. Tbn., open Bs.Tbn. Tuba
Timp.
1
Tamb. Perc.
2 3
3
3
S.D.
3
Pn.
Hp.
3 3
3
3
3
3
Sop.
play a song for
me,
In the
jin gle jan gle morn ing I’ll come
fol
low
in’
you.
div. unis.
via sord.
unis.
via sord.
I 3
Vn.
div. II
div.
via sord.
unis., senza sord. 3
3
Va.
div.
via sord.
unis., senza sord.
Vc.
pizz. (slap) Cb.
arco
3
8 43 1
Flute Fl.
2
Flute 3
3., Oboe 1 2 3
Ob.
1
Cl.
2
B Clarinet 3
1 2 Bn. 3
1 3 Hn. 2 4
(harmon mute)
2.
1. remove mute
1 2 Tpt. 3 4
1 2
Tbn.
a2, open Bs.Tbn. Tuba
Timp.
Vib., hard sticks L R L R L 1
R
L
R
L
sim.
3
3
3
3 3
3
3
3
3
Sus. Cym. Perc.
3
3
3
3
3
3
2
(S.D.) 3
brilliant
Pn.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
F
Hp.
exuberant 3
3
Sop.
Take me on non div., senza sord.
a
trip
up on
your
ma
I Vn.
non div., senza sord. II
div. a3, free bows Va.
non div. Vc.
0
Cb.
gic
swir
lin’
ship,
My
9 47 1
Fl.
2
3
1 2 Ob.
to English Horn 3
1
Cl.
2
dim. 3
dim. Bar. Sax.
1 2 Bn. 3
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(Vib.)
3
3 3
3
3
3
1 3
(Sus. Cym.) Perc.
3
3
3
3
3
3
2
Tamb. 3
Pn.
3 3
3
3
D
Hp.
3
3
3
3
F G D C
C
Sop.
sen
I Vn. II
Va.
Vc.
Cb.
ses have
been
stripped,
My
hands
can’t
feel
to
grip,
My
10 51 1 2 Fl. 3
a2 1 2
Ob.
E.H. 3
3
3
3
3
3
1 2 Cl.
3
3
3 3
3 3
3
3
Bar. Sax.
1 2 Bn. 3
1 3 Hn. 2 4
take harmon mute 1 2 Tpt. 3 4
1 2
Tbn.
Bs. Tbn. Bs.Tbn. Tuba
Timp.
(Vib.)
3
3
3
3
3
1
(Sus. Cym.) Perc.
3
3
3
3
2
(Tamb.) 3
Pn. 3
3
3
3
3
G
Hp.
Sop.
toes
too
numb
to
step,
wait
on div.
ly
I
sub.
Vn.
non div. II
unis.
sub.
Va.
pizz. (non div.)
sub. arco (non div.)
Vc.
sub. Cb.
div. a3
for
my
boot
heels
to
be
11 3 3
55
3
3 3
3
Flute 2 to Piccolo 2
1 2 3 3
Fl.
3 3
3 3
to Piccolo 1 3
a2 1 2
Ob.
coarsely E.H.
1 2 Cl. 3
slap tongue Bar. Sax.
1 2 Bn. 3
1. 1 3 Hn. 2 4
1., with harmon mute
2. with harmon mute
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(Vib.) 1 3
(Sus. Cym.) Perc.
Wood Block
2
Tamb. 3
Pn.
Hp.
3
Sop.
wan
d’rin’
I’m
rea dy
to
go
an
y
where,
I’m
rea dy
to
div., pizz. I Vn. II
legato unis. Va.
div.
unis.
legato
sub.
col legno battuto
Vc.
Cb.
fade
12 60
Piccolo 1
=
=
Picc.
legato 1 2
Fl.
legato 1 2
Ob.
“smack� tones E.H.
1. 1 2 Cl.
secco 3
Bar. Sax.
1 2 Bn. 3
1. 1 3 Hn. 2 4
2. remove mute 1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3 8va
Pn.
EF G A DC B
Hp.
3
3
sub.
3
Sop.
In to my own pa
rade,
cast
your dan cing spell my way, I
pro mise to go
un der it.
Hey!
Mis ter unis., con sord.
arco
Tam bour ine Man, play a song for =
=
al sord.
I 3
div. a3
Vn.
al sord.
unis., con sord.
II
div. a3
al sord.
unis., con sord.
Va.
con sord. al sord. Vc.
arco, non div. Cb.
3
13 68 Picc.
1 2
Fl.
1
Ob.
1 2
=
=
1.
E.H.
1. 1 2 Cl. 3
Bar. Sax.
1 2 Bn. 3
1., open 1 3
legato
Hn. 2 4
1. (harmon mute)
1. remove mute
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Xyl. 1
Tamb. Perc.
2
S.D., r.s. 3
Pn.
E
Hp.
3
3
3
Sop.
me,
I’m
not sleep y and
there is
no
place
I’m
go
ing
to.
Hey!
Mis
ter
Tam bou rine Man,
= = I 3
Vn. II
Va.
Vc.
legato Cb.
14 74 Picc.
1 2
Fl.
1
Ob.
1 2
to Oboe E.H.
1 2 Cl. 3
slap tongue Bar. Sax.
a2 1 2 3
Bn.
3
3
3
1. 1 3 Hn.
2. 2 4
1., open
2., open
1 2 Tpt.
3. 3 4
1 2
Tbn.
Bs. Tbn. Bs.Tbn. Tuba
Timp.
1
Tamb. Perc.
2 3
3
3
S.D.
3
Pn.
D C B E F G A
Hp.
3 3
3
3
3
3
Sop.
play a song for
me,
In the
jin gle jan gle morn ing I’ll come
fol
low
in’
you.
div. unis.
via sord.
unis.
via sord.
I 3
Vn.
div. II
div.
via sord.
unis., senza sord. 3
3
Va.
div.
via sord.
unis., senza sord.
Vc.
pizz. (slap) Cb.
arco
3
15 80
a2
1 2
Picc.
poss.
Fl.
1
poss. 3., Oboe Ob.
1 2 3
Cl.
1 2 3
a3
poss.
a3
poss. 3
3
3
3
Bar. Sax. 3
poss.
3
3
3
1 2 Bn.
poss. 3
a2
3
3
1 3 3
3
a2
3
3 3
3
2 4
3
3
3
poss.
Hn.
3
3
3
3
3
3
3
3 3
poss. 1 2 Tpt. 3 4
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Xyl. 1
Glockenspiel Perc.
2
Flexatone 3
S.D. 8va
8va
white key gliss.
poss.8va
Pn.
white key gliss.
white key gliss.
8va
poss. Hp.
Sop. 3
Though senza sord.
you might
hear
laugh in’
spin nin’
swing in’
non div. I
poss. senza sord. Vn.
non div. II
poss. non div. Va.
poss. non div. Vc.
poss. div. Cb.
mad
ly
a
cross
the
sun,
16 2.
84 1 2
Picc.
1.
Fl.
1
(a2) 1 2 Ob. 3
(a2) 1 2 Cl.
to E Clarinet 3
3
3
Bar. Sax. 3
3
1 2 Bn. 3
(a2) 1 3
3
3
3
3
3
3
3
Hn.
(a2) 2 4
3
3
3
3
3
3
3
1 2 Tpt. 3 4
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(Xyl.) 1
white key gliss. Perc.
Glock.
2
(Flex.) 3
Pn.
A D Hp.
3
sub.
3
Sop.
It’s
not
aimed
at
a
ny
one
It’s just
es
ca
pin’
on
non div.
al sord.
non div.
al sord.
I
Vn. II
non div. Va.
non div. Vc.
unis., pizz. Cb.
the
run.
And
17 88 Picc.
1 2
Fl.
1
1 2 Ob. 3
1 2
Cl.
E Clarinet E Cl.
Bar. Sax.
1 2 Bn. 3
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Xyl. 1
Tamb., thumb roll Perc.
2
3
Pn.
F
Hp.
C G
3
3
3
Sop.
if
you hear vague
tra
ces
of
skip pin’
reels
of rhyme
to
your tam bour
ine
in
con sord. via sord. I
con sord.
Vn.
via sord. II
Va.
Vc.
Cb.
time, it’s just
a
rag
ged clown
be
18 95 Picc.
1 2
Fl.
1
1 2
3
3
3
Ob. 3
1 2
Cl.
sub. E Cl.
Bar. Sax.
1 2 Bn. 3
1 3 Hn. 2 4
2. 1 2 Tpt. 3 4
1 2
Tbn.
Bs. Tbn. Bs.Tbn. Tuba
Timp.
Xyl. 1
(Tamb.) Perc.
2
S.D., r.s. 3 3
3
3
Pn.
EF G A DC B
Hp.
3
3
3
3
Sop.
hind,
I would n’t pay
it
a
ny
mind it’s just
a
sha
dow
you’re See
in’
that
he’s
chas ing.
senza sord.
I
senza sord.
Vn. II
3
Va.
Vc.
Cb.
3
3
3
3
3
3
19 102
a2
Piccolo 2 to Flute 2 Piccolo 1
1 2
Picc.
poss.
Fl.
1
poss. a2 1 2 Ob. 3
a2 1 2
Cl.
poss.
to B Clarinet E Cl.
poss. 3
Bar. Sax.
3
3
3
3
3
poss.
3
3
3
3
1 2
poss. Bn. 3
poss. a2
3
3
3
3
1 3 3
Hn.
poss.
a2
3
poss.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
2 4 3
3
3 3
3
1 2 Tpt. 3 4 1 2
Tbn.
Bs. Tbn. Bs.Tbn. Tuba
Timp.
Xyl. 1
Perc.
2
Flexatone 3
S.D. 8va
poss.8va
Pn.
Hp.
poss.
sub. 3
3
3
Sop. 3
Yes
to
dance be neath the
dia
mond
sky
with
one
I
poss. Vn. II
non div.
poss.
Va.
non div.
poss.
Vc.
poss. arco
0
Cb.
poss.
hand
wav
ing
free
Sil
hou
20 106 Picc.
1
Fl.
1
Fl.
2
Ob.
1 2 3
Piccolo 1 to Flute 3
Flute 3
Flute 2
a3
1
Cl.
2
B Clarinet 3
Bar. Sax.
3
3
3
3
3
3
3
3
3
3
3
3
1 2 3
Bn.
(a2) 1 3
3
Hn.
(a2) 2 4
3
1. 3
3
1 2 Tpt. 3 4
1 2
Tbn.
a2 Bs.Tbn. Tuba
Timp.
(Xyl.)
Vib., hard sticks L
Glock. Perc.
R
L
R
sim. 3
3
1
3
3
3
3
Sus. Cym.
2
D Flexatone
S.D.
3
Pn. 3
3
3
3
3
3
D
Hp.
3
3
Sop.
et
ted
non div.
by
the
sea,
cir
cled by
the
cir
cus
sands,
non div.
I
Vn.
non div.
non div. II
non div.
div. a3, free bows
Va.
non div.
non div. Vc.
pizz. Cb.
With
all
21 110 1
3 3
sub.
Fl.
3
3
2 3
3
3
sub.
3
3
1. 1 2 3
Ob.
1
Cl.
2
3
slap tongue
to Alto Saxophone
Bar. Sax.
1 2 3
Bn.
1.
2., 3.
2., 3. 1 2 3 4
Hn.
1. 2.
1.
a3
a4
legato 1 2 Tpt. 3 4
1 2
Tbn.
Tuba Bs.Tbn. Tuba
Timp.
(Vib.)
L R L
3
3
3
1
3
3
3
3
3
3
(Sus. Cym.) Perc.
2
Tamb. 3
Pn. 3
3
C
Hp.
3
3
3
3
3
3
3
G
Sop.
mem non div.
ory
and
fate
driv
en
deep
be neath
the
waves,
Let
me
for
get
a
bout
al sord. I
non div.
Vn. II
unis. 0
0
div. a3
al sord.
Va.
non div., pizz.
al sord.
Vc.
arco, col legno battuto Cb.
ord. 0
al sord.
div., arco, con sord.
to
22 3
3
3
115
3
Flute 2 to Piccolo 2
rall. poco a poco
(
=
1.
)
1 2 3
3
3
Fl.
3
3
to Piccolo 1 3
1 2
Ob.
E.H. 3
3
3 3
3
3
3
3
3
3
3
1 2 Cl.
3
to E Clarinet
3 3
3 3
3
3
3
3
3
Alto Saxophone Al. Sax.
1 2 Bn. 3
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
C F
Hp.
3
Sop.
day
un
til
to
mor
row.
Let
me
for
get
a
bout
to
day
un
til
to
div., con sord. = , Vn. I only
rall. poco a poco
3
=
3
3
3 3
3
3 3
3 3
I 3
Vn.
3
al sord. II 3
half section, con sord.
Va.
half section, con sord. Vc.
con sord. Cb.
half section
3
3
3
3
3
3
3
23 Tempo I
120 Picc.
1 2
Fl.
1
Ob.
1 2
= ca. 52
3
=
English Horn 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
E.H.
3
3
1.
1 2
Cl.
E Cl.
Al. Sax. 3
3
3
3
3
3
3
3
3
3
3
3
3
2.
1. 1 2
1.
3
Bn. 3
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
B D A
Hp.
3
3
3
3
3
3
3
3
3
Sop.
mor
row.
Tempo I
un
til to
mor
row.
to
mor
row.
= ca. 52
3
=
unis. I 3
Vn.
con sord. II
Va.
Vc.
con sord.
pizz.
via sord.
con sord.
pizz.
via sord.
div. Cb.
pizz.
3
24 125 Picc.
1 2
Fl.
1
Ob.
1 2
= ca. 117
= ca. 78
3
=
Piccolo
=
E.H.
(1.) 1 2
Cl.
E Clarinet E Cl.
Al. Sax.
(2.) 1 2
(1.)
Bn.
to Contrabassoon
3
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(Vib.) 1
Perc.
2
Tamb., thumb roll 3
3
3 3
Pn.
3
3
3
D A
Hp.
3
3
G
E
Sop.
= ca. 78
3
=
= ca. 117
=
I Vn. II
Va.
arco, senza sord.
3
3
3
al sord.
3
Vc.
arco, senza sord.
al sord.
3
half section Cb.
3
3
25 3
3
= =
133 Picc.
1 2
Fl.
1
Ob.
1 2
3
Piccolo 2 to Flute 2
=
E.H.
1. 1 2
Cl.
E Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Xyl. 1
Glock., softest sticks
Triangle Perc.
2
Tamb. 3
8va
Pn.
8va
Hp.
Sop.
I’m 1 solo = =
=
I Vn. II
tutte, con sord. Va.
tutti, con sord. Vc.
Cb.
gli altri
not
sleep y
26 141 Picc.
Fl.
1 2
Ob.
1 2
E.H.
(1.) 1 2
Cl.
E Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(Xyl.) 1
(Glock.) Perc.
2
(Tamb.) 3 8
8va
Pn.
8
Hp.
Sop.
and
I Vn. II
Va.
Vc.
Cb.
there
is
no
place
I’m
go
ing
to.
27 148 Picc.
Fl.
1 2
Ob.
1 2
E.H.
1 2
Cl.
E Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(Xyl.)
1
Wd. Blk. Perc.
2
(Tamb.) 3
8
Pn.
Hp.
Sop.
I Vn. II
Va.
Vc.
Cb.
28
1. Clothes Line = 96–104
=
sempre
Picc.
1., solo 1 2
Fl.
with simplicity 1. 1 2
Ob.
with simplicity E.H.
1., solo A Clarinet 1 2
with simplicity
Cl. 3
Al. Sax.
1. 1 2
Bn.
with simplicity Cbn.
1., solo
take straight mute
1 3 Hn.
take straight mute
with simplicity
2 4
take harmon mute
with harmon mute
1 2 Tpt.
3. take cup mute 3 4
1., with straight mute
1. take straight mute 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
= 96–104 al sord. I Vn.
al sord. II
al sord. Va.
al sord. Vc.
al sord. Cb.
=
sempre
29 7 Picc.
Fl.
1 2
Ob.
1 2
(1.)
E.H.
1 2 Cl. 3
Alto Saxophone Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
take cup mute 1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
C
Hp.
quasi
simply
Sop.
Af ter a while
we took in the clothes,
No bo dy said
con sord. I
con sord.
Vn. II
con sord. Va.
with simplicity
con sord.
Vc.
with simplicity con sord. Cb.
non div.
ve ry much.
30 13 Picc.
Fl.
1 2
Ob.
1 2
(1.)
E.H.
1. 1 2 Cl. 3
Al. Sax.
1 2
Bn.
Cbn.
with straight mute 1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
quasi 3
3
3
3
3
Sop.
Just some old wild shirts
and a cou ple pairs of pants Which no bo dy real ly want ed to touch.
Ma ma come in and
I Vn.
div. II
Va.
Vc.
Cb.
unis., sul tasto
31 rall.
17
a tempo
Picc.
Fl.
1 2
Ob.
1 2
1.
E.H.
(1.) 1 2 3
Cl. 3
Al. Sax.
1 2
Bn.
Cbn.
remove mute 1 3
with straight mute
Hn.
remove mute
2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
F
Hp.
3
3
3
3
quasi
Sop.
picked up
a book
An’ Pa pa asked her what it was.
Some one else asked, “What do you care?”
Pa pa said, “Well, just
rall. I Vn. II
sul tasto Va.
Vc.
Cb. 0
be cause.”
a tempo
Then they start ed
32 22 Picc.
Fl.
1 2
Ob.
1 2
(1.)
E.H.
1 2 Cl. 3
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
3
Sop.
to take back
their clothes,
Hang ’em
on
the line.
It
was Jan u ar y
I Vn.
ord. II
ord. Va.
Vc.
Cb.
33 26 Picc.
Fl.
1 2
Ob.
1 2
E.H.
1 2 Cl. 3
Al. Sax.
1 2
Bn.
Cbn.
1., open 1 3 Hn. 2 4
1 2 Tpt. 3 4
1. (with straight mute)
take cup mute
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
3
3
Sop. 3
the thir ti eth And ev ery bo dy was feel in’
fine.
The next day
I Vn. II
Va.
div. Vc.
Cb.
unis.
34 32 Picc.
Fl.
1 2
Ob.
1 2
E.H.
1 2 Cl. 3
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
non arp.
Hp.
A
3
5
Sop.
ev ery bo dy got up
See in’ if the clothes were dry.
The
dogs
were bark ing,
a
neigh bor passed,
Ma ma,
of course,
via sord. I Vn.
via sord. II
div.
unis.
via sord.
Va.
via sord. Vc.
via sord. Cb. 3
she
said,
35 = 72
37 Picc.
Fl.
1 2
Ob.
1 2
E.H.
1 2 Cl. 3
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
with cup mute
legato 1.
* 1 2
legato Tpt.
3., with cup mute* 3 4
* with cup mute
legato
1 2
Tbn.
legato Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
(as her)
(as him)
(as him)
Sop. 3
“Hi! ”
= 72
“Have you heard the news?”
he said, with a grin,
“The Vice Pre si dent’s gone mad!”
div., senza sord., senza vib.*
I Vn.
div., senza sord., senza vib.* II
Va.
Vc.
Cb.
*
= 5 unaccented beats.
“Where?” “Down town”
36 42 Picc.
Fl.
1 2
Ob.
1 2
E.H.
1 2 Cl. 3
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
remove mute 1 2 Tpt.
(3.)
remove mute
3 4
remove mute 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
(as her)
(as him)
(as her, calmed down)
(as him)
3
3
Sop.
“When?” “Last night.”
“Hmm,
say, that’s too bad!”
unis., vib. I
unis., vib.
Vn. II
senza sord. Va.
senza sord. Vc.
senza sord. Cb.
“Well, there’s no thin’ we can do a bout it,”
said the neigh bor,
“It’s
37 47 Picc. 1. Fl.
1 2
Ob.
1 2
legato
legato
E.H.
1 2 Cl. 3
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
(as her) Sop.
just
some thin’ we’re gon na have to for
get.”
I Vn. II
Va.
Vc.
al sord. Cb.
“Yes,
I guess
so”
said
38 52
= 96–104
Picc. 1. Fl.
1 2
Ob.
1 2
(1.)
E.H.
1 2 Cl. 3
Al. Sax.
1 2
Bn.
Cbn.
1., open 1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
quasi Sop.
Ma,
Then she asked me
= 96–104 al sord. I Vn.
al sord. II
Va.
non div. Vc.
Cb.
if the clothes was still wet.
I reached up, touched
my shirt,
And the
39 57 Picc. (1.) Fl.
1 2
Ob.
1 2
2.
1. to Oboe E.H.
1. 1 2 Cl. 3
Al. Sax.
2. 1 2
Bn.
1. Cbn.
(1.)
3. open
1 3 Hn.
open 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
3
Sop.
neigh bor said, “Are those clothes yours?”
I said, “Some of ’em, not all of ’em.”
He said, “Ya al
ways help out a round here withthe chores?” I said, “Some time, not all the time.”
I Vn. II
al sord.
con sord.
Va.
al sord. Vc.
Cb.
40 61 Picc.
1 2
Fl.
1 2 Ob. 3
1 2 Cl. 3
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
open 1 2 Tpt. 3 4
open 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
freely 3
3
3
3
3
Sop. 3
Then my neigh bor, he blew
his nose
Just as Pa pa yelled out side,
I
con sord., sul tasto
3
II
Va.
div., con sord.
unis.
con sord.
pizz.
Vc.
Cb.
3
3
3
“Ma ma wants you t’ come back in the house and bring them clothes.”
con sord., sul tasto
Vn.
3
41 65 Picc. 1. 1 2
Fl.
1. 1 2 Ob. 3
1. 1 2 Cl. 3
Al. Sax.
1. 1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
Well,
I Vn. II
Va.
Vc.
Cb.
I
just
do
what I’m
told,
So, I
did
it,
of course.
I
42 69 Picc. (1.) 1 2
Fl.
1 2 Ob. 3
(1.)
1. to B Clarinet
1 2 Cl. 3
Al. Sax.
(1.) 1 2
Bn.
Cbn.
1. 1 3 Hn.
2. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
went
back
in
the house
and
Ma
ma
met
me
And
then
I
shut
all
the
doors. div., ord. (vib.)
I Vn.
div., senza vib.
ord., vib.
senza vib.
ord., vib. (non harm.)
II
Va.
div., senza vib.
ord., vib.
Vc.
half section, arco, senza vib. Cb.
tutti, div., ord., vib.
43
2. Blowin’ in the Wind Solemn
= 60
Picc.
1 2
Fl.
1 2 Ob. 3
1 2 Cl. 3
Al. Sax.
1 2
Bn.
Cbn.
1 3
sost.
Hn. 2 4
sost. 1 2 Tpt. 3 4
1.
2.
1 2
Tbn.
sost. sost. Bs. Tbn.
Tba. Bs.Tbn. Tuba
sost. Bs. Tbn.
Tba.
Timp.
1
Large B.D. 1* Perc.
2
Large B.D. 2 3
Pn.
Hp.
Sop.
Solemn
= 60
I Vn. II
Va.
Vc.
Cb.
*Use two large bass drums with different sounds. Bass drum 2 should be tuned lower.
44 6 Picc. a2 1 2
Fl.
1 2 Ob. 3
1 2 Cl. 3
Al. Sax.
1. 1 2
Bn.
sost.
Contrabassoon
Cbn. sost.
1 3 Hn.
a2 2 4
1 2 Tpt. 3 4
sost. 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Tamtam 1
B.D. 1 Perc.
2
B.D. 2 3
sost.
Pn.
B C
Hp.
D
sost.
C
A
E
E
F
sost. Sop.
How
ma ny roads
musta
man
walk down
Be fore
you call him
I Vn. II
Va.
sost.
div. sost.
Vc.
div. Cb.
sost.
sost.
sost.
a
man?
Yes,
45 11 Picc. (a2) 1 2
Fl.
1 2 Ob. 3
1 2 Cl. 3
Al. Sax.
(1.) 1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Tba. Bs.Tbn. Tuba
Bs. Tbn.
Timp.
1
B.D. 1 Perc.
2
B.D. 2 3
Pn.
C D A
Hp.
G
Sop.
’n’
how
ma ny seas
must
a
white
I Vn. II
div. Va.
Vc.
Cb.
unis.
dove
sail
Be
fore
she
sleeps
in
the
sand?
Yes,
46 rall.
15 Picc. (a2) 1 2
Fl.
1 2 Ob. 3
1. (ten.) 1 2 Cl. 3
Al. Sax.
1. 1 2
Bn.
Cbn.
1 3 Hn.
4. 2 4
1. 1 2
sost.
Tpt.
3.
4.
3 4
sost. sost.
2.
1 2
Tbn.
Bs. Tbn.
(Tba.) Bs.Tbn. Tuba
(Bs. Tbn.)
Tba.
Timp.
Glock., softest stick possible 1
(B.D. 1) Perc.
2
(B.D. 2) 3
Pn.
Hp.
B
(ten.) Sop.
’n’ how
ma
ny
times
must the
can non balls
fly
Be
fore
they’re for ev
er
banned?
al sord.
The
rall.
I
sost. div.
Vn.
unis.
II
sost.
div.
Va.
(div.) Vc.
(div.) Cb.
unis.
al sord.
47 19
= 50 (Tempo II) (Piccolo)
Picc.
1. 1 2
Fl.
1. 1 2 Ob. 3
1.
1.
1 2
legatissimo, floating
Cl. 3
Al. Sax.
1. 1 2
Bn.
Cbn.
take straight mute 1 3 Hn. 2 4
1., with harmon mute
1. take harmon mute
1. remove mute
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(Glock.) 1
Vib., motor on, soft sticks Perc.
2
Pedal
Crotales, soft sticks 3
*
Pn.
*
G
Hp.
C
floating
(ten.)
3
3
Sop.
an
swer,
my
friend,
is
blow in’
in
the
wind,
The
an
swer
= 50 (Tempo II) div., con sord.
I
div., con sord. Vn. II
1 sola (senza sord.) Va.
unis. Vc.
unis. Cb.
*Five slow, even pulses. Try to enter between the fourth and fifth pulse of predecessor.
(1 sola)
is
48 ( = 50) string.
24
Tempo I ( = 60)
to Flute
Picc.
1 2
Fl.
(1.) 1 2 Ob. 3
1 2 Cl. 3
Al. Sax.
1 2
Bn.
to Bassoon Cbn.
1., with mute
3. with mute
1 3 Hn.
with mute 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(Glock.) 1
(Vib.) Perc.
2
(Pedal)
B.D. 2
3
Pn.
C
Hp.
(ten.)
3
Sop.
blow
in’
in
the
wind.
How ma
( = 50) string.
ny times
must a
man
look up
Tempo I ( = 60) unis., senza sord.
via sord. I
unis., senza sord.
Vn.
via sord. II
tutte Va.
div. Vc.
div. Cb.
49 29 1 2
Fl.
Flute
to Piccolo
3
1 2 Ob.
Oboe 3
1 2 Cl.
B Clarinet 3
Al. Sax.
1 2
Bn.
Bassoon
to Contrabassoon
3 3
1. (with mute)
remove mute
2. (with mute)
remove mute
1 3 Hn. 2 4
1., open 1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
(actual pitch)
Hp.
3
Sop.
Be fore he can see
the sky?
Yes!
’n’ how
ma ny ears
must one man have
Be
fore
he
can hear peo ple
I Vn. II 3
Va.
unis. Vc.
unis. Cb.
cry?
Yes,
50 rall.
35 Picc.
1 2
Fl.
1 2 Ob. 3
1 2 Cl. 3
Al. Sax.
1 2
Bn.
Cbn. open
3.
1.
1 3
3. Hn.
3
3
3
3
1.
open 2 4
2.
1. 2.
1. take harmon mute
1 2
1. Tpt. 3 4
2. 1 2
Tbn.
1.
Bs.Tbn. Tuba
Timp.
Glock. 1
Suspended Cymbal Perc.
2
3
Pn.
Hp.
(ten.)
3
Sop.
’n’ now
ma ny
deaths
will it
take ’till
he knows
That
too
ma
ny peo
ple
have
died?
The
rall. div., pizz.
div. a3, arco
div., pizz.
div. a3, arco
al sord.
I Vn.
al sord.
II
div., pizz.
unis., arco
al sord.
Va.
pizz. non div., arco
div.
al sord.
Vc.
al sord. Cb.
51 = 50 (Tempo II)
40
Tempo I subito ( = 60)
Picc. 1. 1 2
Fl.
1. 1 2 Ob. 3
1. 1 2
floating, legatissimo
Cl. 3
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1., with harmon mute
1. remove mute
1 2 Tpt. 3 4 1 2
Tbn.
(Tba.) Bs.Tbn. Tuba
Timp.
(Glock.) 1
Vib. Perc.
2
Pedal
Crot. 3
Pn.
E D
Hp.
3
3
3
3
3
Sop.
an
swer,
my
friend,
is blow in’
in
the
wind.
= 50 (Tempo II)
How ma ny years can a moun tain ex ist
Tempo I subito ( = 60)
div. a2, con sord.
sul ponticello
I
sul ponticello
sub.
div. a2, con sord. Vn.
sul ponticello II
sub. sul pont. 1 sola, senza sord.
al sord.
tutte, con sord.
Va.
unis., con sord.
3
div.
sul pont.
Vc.
sul pont. sub. con sord.
3
Cb.
sub.
sul ponticello
Be
52 = 60)
(sempre a tempo
45
= 72 sub. (Tempo III)
Picc.
1 2
Fl.
1 2
sost.
Ob. 3
1 2
sost.
Cl. 3
Al. Sax.
1 2
Bn.
Contrabassoon
sost.
Cbn. sost. 1 3 Hn. 2 4
open
3
1 2
sost.
Tpt. 3 4 1 2
Tbn.
sost.
3
Bs.Tbn. Tuba
Timp.
Xyl. 1
Sus. Cym. Perc.
2
Slap Stick 3
Pn.
G
Hp.
sarcastically
cresc.
ossia:
’n’
3
3
cresc.
can some
peo ple
Sop. 3
3
fore
it’s
washed to the sea?
The
an swer
is
blow in’
in the wind.” Yes!
(sempre a tempo
= 60)
unis., pizz. ord.
3
via sord.
’n’
how ma ny years
= 72 sub. (Tempo III)
(non trem.)
div., arco, senza sord.
I
sost.
Vn.
unis., pizz. ord.
via sord.
div., arco, senza sord.
(non trem.)
II
sost. unis., pizz. ord.
via sord.
arco, senza sord.
Va.
sost. unis., pizz.
ord.
via sord.
div., arco, senza sord.
Vc.
sost. ord.
via sord.
div., senza sord.
Cb.
sost.
div.
ex ist
be
fore
53
Tempo I ( = 60) 49 Picc. sost., dim. poco a poco
1 2
Fl.
a2
sost.
sost., dim. poco a poco
1 2
sost., dim. poco a poco
Ob. 3
dim. poco a poco a2 1 2
sost., dim. poco a poco
Cl. 3
dim. poco a poco
sost.
a2 1 2
Bn.
sost.
dim. poco a poco Cbn. sost. dim. poco a poco
a2, open 1 3 Hn.
a2, open 2 4
sost.
sost., dim. poco a poco
sost.
dim. poco a poco
sost.
1 2
sost.
sost., dim. poco a poco
Tpt. 3 4
3.
dim. poco a poco sost. 1 2
Tbn.
dim. poco a poco
sost., dim. Tuba
Bs.Tbn. Tuba
sost., dim. poco a poco
sost. Timp.
Xyl.
Metal Plate
dim. poco a poco
1
(Sus. Cym.) Perc.
B.D. 1
dim. poco a poco
2
dim. poco a poco
B.D. 2 3
dim. poco a poco
dim. poco a poco
Pn.
8ba
C
Hp.
B
dim. poco a poco
3
Sop. 3
they’re al lowed to
be
free?
3
“blow in’ in the wind.”
’n’
how
Tempo I ( = 60) unis. I
sost., dim. poco a poco
sost.
sost., dim. poco a poco
sost.
Vn.
(div.)
unis.
II
(div.) Va.
sost., dim. poco a poco
sost.
Vc.
sost., dim. poco a poco Cb.
sost., dim. poco a poco
sost.
ma
ny
times
can a man
54 rall.
54 Picc.
1. 1 2
Fl.
(dim. poco a poco)
dim. poco a poco 1., solo
1. 1 2
dim. poco a poco
Ob. 3
1. 1 2
dim. poco a poco
Cl.
dim. poco a poco
3
(dim. poco a poco) dim. poco a poco Al. Sax.
1. 1 2
Bn.
dim. poco a poco Cbn.
(a2) 1 3
(dim. poco a poco)
Hn.
(a2)
take mute
2., with mute
2 4
(dim. poco a poco) 2.
dim.
1. take harmon mute
1 2
(dim. poco a poco)
Tpt.
3.
3 4
(dim. poco a poco) 1 2
Tbn.
2. (dim. poco a poco) (dim. poco a poco)
1.
Bs. Tbn.
Bs.Tbn. Tuba
Timp.
1
(B.D. 1) Perc.
Vib.
2
(dim. poco a poco)
B.D. 2
3
Pn.
C
Hp.
(dim. poco a poco) Sop.
turn
his head,
Pre
tend
ing
he
just
does n’t
see?
rall. I
(dim. poco a poco) Vn.
poco a poco al sord. II
(dim. poco a poco) unis., poco a poco al sord. Va.
(dim. poco a poco) unis., poco a poco al sord. Vc.
(dim. poco a poco) unis. Cb.
(dim. poco a poco)
div.
55 = 50 (Tempo I)
59 Picc.
1. 1 2
Fl.
(1.)
1.
1 2 5
Ob. 3
1. 1 2 Cl.
to Bass Clarinet 3
Al. Sax.
1 2
Bn.
Cbn.
1., solo 3
1 3
3
3
Hn. 2 4
1., with harmon mute 1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Glock. 1
Vib. Perc.
2
Pedal
Crot. 3
Pn.
sempre
Hp.
C
5
Sop.
= 50 (Tempo I)
div., con sord.
al sord. I
div., con sord.
Vn. II
con sord. Va.
con sord. Vc.
Cb.
56 63 Picc. 1. 1 2
Fl.
(1.) 1 2 Ob. 3
(1.) 1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1. (harmon mute) 1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Glock. 1
(Vib.) Perc.
2
3
Pn.
6
Hp.
3
Sop.
mmm
I Vn. II
Va.
Vc.
Cb.
mmm
3
57 67 Picc. 1. 1 2
Fl.
1. 1 2 Ob. 3
1. 1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1. (harmon mute)
1. remove mute
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(Glock.) 1
(Vib.) Perc.
2
3
Pn.
Hp.
Sop.
Blow
I Vn. II
Va.
Vc.
Cb.
in’
Blow
in’
58
3. Masters of War
= 144 Picc.
1 2
Fl.
1 2 Ob. 3
1 2
Cl.
Bs. Cl. Bs. Cl.
Al. Sax.
a2 1 2
Bn.
Cbn.
1.
3.
1.
a2
3.
1.
1 3
sub.
Hn.
2.
a2
2 4
1.
2.
1 2
sub. Tpt.
3. 3 4
1 2
Tbn.
a2
Bs. Tbn.
Tuba
Bs.Tbn. Tuba
wood stick Timp.
Xyl. 1
S.D. Perc.
r.s.
2
sub.
Ten. Dr. 3
sub. 8va
Pn.
E F G A D CB
Hp.
Sop.
Come,
= 144
Come,
Come,
Come,
you mas ters of war
You
div.
I
sub. Vn.
div. II
unis.
div. Va.
sub. div.
unis.
Vc.
* Cb.
*Low C only.
that build all the guns
59 6 Picc.
1 2
Fl.
1 2 Ob. 3
1 2
Cl.
Bs. Cl.
Al. Sax.
a2 1 2
Bn.
Cbn.
(1.)
a2
1 3 Hn. 2 4
1 2 Tpt. 3 4
1. 1 2
Tbn.
brassy
Tuba
(Tuba)
Bs.Tbn. Tuba
Timp.
(Xyl.) 1
Perc.
2
3
Pn.
Hp.
Sop.
You
I Vn. II
Va.
Vc.
Cb.
that build
the death
planes
You
that build the big bombs
You
that hide be hind walls
You
that hide be hind desks
60 even and malevolent
10 Picc.
Flute 2 to Piccolo 2 1 2
Fl.
1 2 Ob. 3
1. 1 2
Cl.
Bs. Cl.
Al. Sax.
a2 1 2
Bn.
Cbn.
(a2)
1.
3.
1.
a2
3.
1 3
sub.
Hn.
2.
a2
2 4
1.
2.
1 2
sub. Tpt.
4.
3.
a2
3 4
molto
2.
1 2
Tbn.
Bs. Tbn.
a2
Bs. Tbn.
Bs.Tbn. Tuba
Timp.
Xyl. 1
S.D. Perc.
r.s.
2
sub.
Ten. Dr. 3
8va
Pn.
A D
Hp.
sub. Sop.
Come,
Come,
Come,
Come, you mas ters of war
div. unis.
unis.
I
just
want
you
to
I
sub. Vn.
div.
unis.
unis.
II
div. a3 div. Va.
sub. div.
sost.
div. a3
Vc.
sost. Cb.
know
even and malevolent
61 17 Picc. 1 2
Fl.
1 2 Ob. 3
1 2
Cl.
Bs. Cl.
Al. Sax.
a2 1 2
Bn.
sub.
Cbn. sub. 1 3 Hn. 2 4
1 2 Tpt. 3 4
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
B.D. 3
secco
Pn.
sub.
Hp.
Sop.
I
can
see through your
masks
You
that ne ver done no
sost.
Vn.
I
sost.
sost.
sost. Vn.
II
sost.
sost. Va.
unis.
pizz.
Vc.
sub. pizz. Cb.
sub.
thin’
but
62 21 Picc.
1 2
Fl.
1
1. 1 2 Ob. 3
1 2
Cl.
Bs. Cl.
Al. Sax.
(a2) 1 2
Bn.
Cbn.
1 3
brassy
Hn. 2 4
(open) 1 2 Tpt.
(open) 3 4 1 2
Tbn.
Bs. Tbn. take straight mute Bs.Tbn. Tuba
Timp.
Temple Blocks 1
S.D. Perc.
2
(B.D.) 3
Pn.
Hp.
Sop.
build
to
de
stroy
You,
you play with my world
Like
it’s
your
lit
tle
toy
You
put
a
gun
in
unis., pizz. I Vn.
unis., pizz. II
unis., pizz. Va.
Vc.
Cb.
my
63 26 Picc.
1 2
Fl.
1
(1.) 1 2 Ob. 3
1. 1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
a2, open 1 3 Hn. 2 4
1 2 Tpt.
a2
take straight mute
3 4
take harmon mute 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(T. Blks.) 1
(S.D.) Perc.
2
3
Pn.
Hp.
run
far
ther
run
far
ther
When
the fast
bul lets
Sop.
hand
And
you
hide
from
my
eyes
And
you
turn
and
arco I Vn.
arco II
arco Va.
arco Vc.
Cb.
When the fast
bul
lets
64 31 Picc.
1 2
Fl.
1
Piccolo
rall.
Piccolo 2 to Flute 2
1 2 Ob. 3
(2.) 1 2
Cl.
Bs. Cl.
Al. Sax.
1. 1 2
Bn.
Cbn.
1 3 Hn. 2 4
take harmon mute 1 2 Tpt. 3 4
with harmon mute
1.
1 2
Tbn.
Bs. Tbn., with straight mute Bs.Tbn. Tuba
Timp.
T. Blks. 1
Perc.
2
B.D. 3
Pn.
8ba
Hp.
Sop.
fly
rall. I Vn. II
Va.
Vc.
Cb.
65 36
= 108
=
Picc. 1. 1 2
Fl.
1 2 Ob. 3
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4
remove mute 1 2
Tbn.
(Bs. Tbn.)
remove mute
Bs.Tbn. Tuba
Timp.
1
S.D., muffled Perc.
2
3
Pn.
non arp.
Hp.
Sop.
You fas ten the trig
= 108
gers
for
the
oth ers
to
fire
Then
you set back and watch
div.
I Vn.
div. II
Va.
div. Vc.
div., arco Cb.
unis.
When
the
death
count
gets
high
er
=
66 40
= 108 (
= 144)
=
Picc. (1.) 1 2
Fl.
1. 1 2 Ob. 3
1. 1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn.
open 2 4
with harmon mute
open
remove mute
1 2 Tpt.
with straight mute 3 4
open 1 2
Tbn.
open Bs.Tbn. Tuba
Timp.
T. Blks. 1
(S.D., muffled) Perc.
2
Ten. Dr., muffled 3
Pn.
F G
Hp.
Sop.
You
hide
= 108 (
in
your
man
sion
As
sul ponticello (div. a2) II
div., sul ponticello Va.
pizz. (div.)
Cb.
ple’s
blood
=
I
Vc.
peo
= 144)
sul ponticello
Vn.
young
67 44
(
= 144)
rall.
molto rall.
’
Picc. Flute 1 2
Fl.
1. 1 2 Ob. 3
(1.) 1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
solo Cbn. 1.
take mute
1 3 Hn. 2 4
take straight mute 1 2 Tpt.
remove mute 3 4
1. 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(T. Blks.) 1
(S.D.) Perc.
2
(Ten. Dr.) 3
solo
Pn.
Hp.
Flows
out
of their
bo
dies
And
is
bur
ied
in
ied
in
the
mud
Sop.
Flows
(
out of their bo
dies And is bur
the
mud
= 144)
rall.
unis., ord.
’
al sord. I Vn.
unis., ord. II
unis., ord. Va.
unis., arco Vc.
Cb.
molto rall.
al sord.
68 48
= 72
Picc.
1 2
Fl.
2. 1 2 Ob. 3
1. 1 2
Cl.
Bs. Cl.
Al. Sax.
1. 1 2
Bn.
Cbn.
1., with mute
3. with mute
remove mute
1 3 Hn. 2 4
1., with straight mute
remove mute
1 2 Tpt.
2. with straight mute 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
C
Hp.
even 3
3
3
3
Sop.
You’ve
= 72
thrown the worst fear That can ev
div., con sord.
I Vn.
div., con sord. II 8va
Va. 8va
Vc.
1/2 section, senza vib. Cb.
er
be
hurled
69 3
54
=
Picc. 1. 1 2
Fl.
3
1. 1 2 Ob. 3
(1.) 1 2
Cl.
3
3
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn. 1., open 1 3
3. open 3
Hn. 2 4
3
a2, open
1 2 Tpt.
a2, open 3 4 3 3
1 2
Tbn.
Bs.Tbn. Tuba
(
)
(
)
Timp.
Xyl.
3
3
1
T. Blks. Perc.
2 3
Ten. Dr.
3
3
3
Pn.
D
Hp.
3
F
3
E
D E
3
3
3
ominous
3
3
3
cresc.
Sop.
Fear to bring child ren
in to
the
world
For
threaten ing
my
ba
by
Un
born
and un
named 3
senza sord.
via sord. I Vn.
via sord. II
div. Va.
div. Vc.
tutti, non div. Cb. 0
senza sord.
=
70 60
= 108 (
= 144)
=
Picc.
1 2
Fl.
1 2 Ob. 3
1 2
Cl.
Bs. Cl.
Al. Sax.
a2 1 2
Bn.
Cbn.
a2 1 3 Hn.
a2 2 4
1. 1 2 Tpt. 3 4
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(Xyl.) 1
(T. Blks.) Perc.
2
(Ten. Dr.) 3
Pn.
Hp.
Sop.
You
ain’t
= 108 (
worth
= 144)
the
blood
That
unis.
I Vn.
unis. II
unis. Va.
unis. Vc.
Cb.
runs
in
your
veins
=
71 = 144 64 Picc.
1 2
Fl.
1 2 Ob. 3
1 2
Cl.
Bs. Cl.
Al. Sax.
a2 1 2
Bn.
Cbn. 1.
3.
1.
a2
3.
1 3
sub.
Hn.
2.
a2
2 4
1.
2.
1 2
sub. Tpt.
3. 3 4
1 2
Tbn.
a2
Bs. Tbn. Bs.Tbn. Tuba
Timp.
(Xyl.) 1
S.D. Perc.
r.s.
2
sub.
(Ten. Dr.) 3
sub. 8va
Pn.
Hp.
Sop.
Let
= 144
me
ask
you
one
ques
tion
Is yourmon ey that
div.
I
sub. Vn.
div. II
div. Va.
sub. div. Vc.
Cb.
good
72 = 144 68
= 72
=
Picc. Flute 2 to Piccolo 1 2
Fl.
1 2 Ob. 3
1 2
Cl.
Bs. Cl.
Al. Sax.
Bn.
1 2
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4
Tbn.
1 2
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
sost., malevolent Sop.
Will
it
buy
you
for
give
ness
Do
you
think
that
it
could
= 72
= 144 =
sost.
Vn.
I
sost.
sost.
sost.
Vn.
II
sost.
div. a3
sost.
Va.
sost. unis.
div. a3
Vc.
pizz. Cb.
I
sost.
73 73 Picc.
1 2
Fl.
1
1 2 Ob. 3
1 2
Cl.
Bs. Cl.
Al. Sax.
a2 1 2
Bn.
Cbn.
3.
3.
1 3
1. sost.
Hn.
4. 2. 2 4
sost.
sost.
1 2 Tpt.
sost.
3 4
sost.
sost.
1 2
Tbn.
sost. sost.
Tuba
Bs.Tbn. Tuba
sost.
Timp.
1
Perc.
2
3
Pn.
Hp.
3 3
3
Sop.
think
you
I Vn. II
Va.
unis., pizz. Vc.
Cb.
will
find
When
your death takes
its
toll
All the
mon ey
you
made
will
nev
er
buy back your
74 77
Piccolo
1 2
Picc.
sost. Fl.
1
1. 1 2
sost.
Ob. 3 3
3
1 2
Cl.
3
3
3
3
Bs. Cl.
Al. Sax.
a2 1 2
Bn.
Cbn. 1. 3. 1 3 Hn.
2. 2 4
4.
1 2 Tpt. 3 4
1 2
Tbn.
Bs.Tbn. Tuba
Timp. 3
Xyl.
3
1
Large Tamtam, scrape with metal rod Perc.
2
B.D. 3
6
Pn.
6
8va
8va
E F G A D CB
Hp.
poss. 3
3
3
Sop.
soul
And I hope that unis.
you die
And
your death will
come
soon
I
8va
will fol
low
your cas 8va
div. a5 I 3
Vn.
div. a5
unis.
sost. 3
3
sost.
sub.
3
II
div. a4
3
sost.
unis.
sost. 3
Va.
sost. div. a4, arco
unis.
Vc.
div., arco Cb.
sost.
ket
75 82 Picc.
1 2
Fl.
1
(1.) 1 2 Ob. 3 3
1. 1 2
Cl.
sost. 3
Bs. Cl. 3
Al. Sax.
1 2
Bn.
Cbn.
a2 1 3 Hn. 2 4
1 2
sost.
Tpt. 3 4
a2 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(Xyl.)
6
Sus. Cym. 1
Tam., scrape with metal rod Perc.
sub.
Glock.
2
B.D. 3
damp Tam. Tam.
8va
6
Pn.
8va
Hp.
3
Sop.
In
the
pale
af
ter
3
noon
And I’ll watch while you’re low
8va
I Vn.
sub.
sost.
3
II
sost. 3 3
Va.
div. Vc.
Cb.
sost.
ered
Down
to
your
death
bed
76 86
a2
Piccolo 2 to Flute 2
1 2
Picc.
(1.) Fl.
1 3
3
3
3
3
3
3
a2 1 2
3
Ob. 3
a2 1 2
Cl.
3
to E Clarinet Bs. Cl.
Al. Sax.
a2 1 2
Bn.
Cbn.
a2
3
1 3
3
3
Hn.
3
a2
3
2 4
1.
3
3
2. take harmon mute
2.
1 2
3
3
3
Tpt.
3
3
3
3
a2 3 4 3
take harmon mute
1 2
Tbn.
Bs. Tbn. take harmon mute
Bs.Tbn. Tuba
Timp.
(Xyl.)
Sus. Cym.
1
damp Glock. Perc.
Hammers
2 3
3
3
3
3
S.D. 3
Ten. Dr. 3
3
3
3
3
3
8
Pn.
Hp.
Sop.
And
I’ll
stand
o’er
your
grave
’Til
I’m
sure
unis.
div. I
3
3
3
div.
Vn. II
div.
3
3
3
3
div.
unis. Va. 3
3
unis. Vc.
3
unis. Cb.
3
div.
3
3
that you’re
dead.
77
4. All Along the Watchtower Hard and driven
= 132
Picc.
1 2
Fl.
1 2 Ob. 3
1 2
Cl.
E Clarinet E Cl.
Bari. Sax.
1 2
Bn.
Cbn.
a2 1 3 Hn.
a2 2 4
1. (open)
1. take harmon mute
with harmon mute
1. remove mute
1 2
(open)
Tpt.
2. with harmon mute
3 4
1., with harmon mute take harmon mute
2. with harmon mute
1 2
Tbn.
secco
Bs. Tbn. take harmon mute
Tuba (open)
Bs.Tbn. Tuba
secco Bs. Tbn., with harmon mute Timp.
Xyl. 1
Hammer Perc.
2
3
Pn.
EF G A D C B
Hp.
C B
Sop.
“There must be some way out of here,”
Hard and driven
= 132
said
the
jok er to the thief,
“There’s too much con fu sion,
non div., pizz., non arp.
I Vn.
div. II
non div., pizz., non arp. Va.
non div., pizz., non arp. Vc.
Cb.
div., arco
78 7
*
Picc. marc. Flute 1 2
Fl.
marc. 1 2 Ob.
to English Horn 3
1 2
Cl.
E Cl.
marc. Baritone Saxophone, slap tongue Bari. Sax.
marc.
a2 1 2
Bn.
marc. Cbn. marc.
a2
1 3 Hn.
a2 *
(a2)
2 4
1., open
marc.
1. take harmon mute
1 2 Tpt. 3 4
1. 1 2
Tbn.
Bs. Tbn. open marc.
Bs. Tbn. take harmon mute
Tuba (open)
secco
secco
Bs.Tbn. Tuba
Tuba (open)
secco Bs. Tbn. with harmon mute
marc. Timp.
Xyl. 1
marc. Perc.
Hammer
2
3
marc.
Pn.
8va
8va
marc.
Hp.
Sop.
I
can’t
div., arco
I
marc.
Vn. II
Va.
arco Vc.
(non div.)
marc.
Cb.
marc.
*Optional: measures 7 and 8 tacet.
get
no
re
lief.
Busi ness men, they drink my wine,
79 *
13 Picc.
marc.
1 2
Fl.
marc. 1 2
Ob.
E.H.
1. 1 2
Cl.
E Cl.
marc. slap tongue
to Alto Saxophone
Bari. Sax.
a2 1 2
Bn.
marc.
marc. Cbn. a2
marc. 1 3
* a2
Hn.
(a2)
2 4
with harmon mute
marc.
remove mute
open
1 2 Tpt.
a2 3 4
remove mute 1 2
Tbn.
Tuba
Bs. Tbn., open marc.
Bs. Tbn. remove mute
Bs.Tbn. Tuba
Bs. Tbn.
Tuba (open) marc.
Timp.
Xyl. 1
marc. Perc.
Hammer
2
Police Whistle 3
marc.
Pn.
8va
C B
Hp.
C
8va
B
B
marc.
sub. Sop.
Plow men dig my earth,
None of them a long the line
know what an y
of
it
an div., arco
unis., pizz. I
marc.
Vn.
div. II
unis., pizz.
div., arco
Va.
unis., pizz.
arco
Vc.
marc. (non div.) Cb.
*Optional: measures 16 and 17 tacet.
marc.
y
of
it
is
worth.�
F
80 = 92–100
rall.
19 Picc.
Fl.
1 2
Ob.
1 2
English Horn E.H.
slyly
1 2
Cl.
E Cl.
Alto Saxophone Al. Sax.
slyly a2 1 2
Bn.
secco Cbn. secco (a2) 1 3
sub.
Hn.
(a2) 2 4
sub. 1 2 Tpt. 3 4
sub. take harmon mute 1 2
Tbn.
Bs.Tbn. Tuba
wood Timp.
secco 1
Perc.
2
3
Pn.
Hp.
slyly Sop.
“No
rall.
unis., sul tasto
rea
son
to get ex
cit
ed,”
the
thief,
= 92–100
I Vn.
unis., sul tasto II
div. Va.
div.
unis., pizz.
Vc.
pizz. Cb.
he kind
ly
81 accel.
25 Picc.
Fl.
1 2
Ob.
1 2
E.H.
1 2
Cl.
E Cl.
Al. Sax.
(a2) 1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt.
3. 3 4 1 2
Tbn.
(open) Bs.Tbn. Tuba
secco
Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
spoke,
“There are
ma ny here a mong us
who
feel
that life
is but a
joke.
accel. I Vn. II
unis. Va.
non div., arco col legno battuto
arco ordinario
Vc.
arco Cb.
82 30
= 132
(accel.)
Picc.
Fl.
1 2
Ob.
1 2
E.H.
1 2
Cl.
E Cl.
Al. Sax.
1 2
Bn.
Cbn.
open
a2
1. take mute
1 3 Hn. 2 4
take harmon mute
with harmon mute
1 2
Tpt. 3 4
1., with harmon mute
2. with harmon mute
to straight mute
1 2
Tbn.
secco Bs. Tbn. take harmon mute
sub.
Tuba
Bs. Tbn., Tba. to straight mute
Bs.Tbn. Tuba
secco Bs. Tbn., with harmon mute
sub.
Timp.
Xyl. 1
Perc.
2
3
Pn.
Hp.
sub. Sop.
But you and I, we’ve been through that,
(accel.)
and
this is not our fate,
= 132
So
let us not talk false ly now,
div.
I Vn.
pizz. II
pizz. Va.
pizz. Vc.
Cb.
sub. div., arco
the
83 rall.
35 Picc.
Fl.
1 2
Ob.
1 2
E.H.
1 2
Cl.
E Cl.
solo Al. Sax.
legato sarcastic 1 2
Bn.
Cbn.
1 3 Hn. 2 4
1., solo, with harmon mute
1 2 Tpt.
secco
3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
E FG A D C B
Hp.
Sop.
hour
is
get
ting
late.
The
hour
is get
ting
late.
The
unis. I Vn. II
Va.
Vc.
Cb.
N.B.: Alto Sax. and solo Trumpet levels should be equal.
hour
rall.
is
get
ting
84 = 92–100
42 Picc.
Fl.
1 2
Ob.
1 2
E.H.
1. 1 2
Cl.
E Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
(1., solo) 1 2
legato
Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
normal Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
late.”
= 92–100
unis., col non div. legno battuto 0
I Vn.
unis., col legno battuto II
div., arco col legno battuto Va.
0 0
0
arco col legno battuto Vc.
Cb.
unis. (col legno)
non div. (col legno)
ord.
85 tratt.
50
a tempo
Picc. 1. 1 2
Fl.
serene
1., solo 1 2
Ob.
secco E.H.
1. 1 2
Cl.
E Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
(1.) 1 2 Tpt. 3 4
st. mute 1 2
Tbn.
serene st. mute Bs.Tbn. Tuba
serene
Timp.
1
Perc.
2
3
Pn.
Hp.
oblivious, serene Sop.
All
tratt.
a tempo
1 solo, ord. I
legato
Vn. II
Va.
Vc.
Cb.
a
long
the
watch
tower,
prin
86 57 Picc. (1.) Fl.
1 2
Ob.
1 2
(1.)
legato E.H.
1., solo 1 2
Cl.
serene, legato E Cl.
Al. Sax.
1. 1 2
Bn.
legato Cbn.
1., solo, with mute 1 3 Hn.
secco 2 4
1 2 Tpt. 3 4
(mute) 1 2
Tbn.
(mute) Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
ces (1 solo)
I Vn. II
Va.
Vc.
Cb.
kept
the
view,
While
all
the
wo
men
came
and
87 tratt.
64
a tempo
Picc. (1.) Fl.
1 2
Ob.
1 2
1.
E.H.
(1.) 1 2
Cl.
E Cl.
Al. Sax.
1 2
Bn.
Cbn.
(1.) 1 3 Hn.
legato 2 4
1 2 Tpt. 3 4
remove mute 1 2
Tbn.
remove mute Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
went,
bare
foot
serv
ants,
too.
Out
tratt. tutti, ord.
I
ord.
Vn. II
ord. Va.
div. Vc.
Cb.
side
a tempo
88 71 Picc. 1. Fl.
1 2
Ob.
1 2
(1.)
E.H.
1., solo 1 2
Cl.
E Cl.
Al. Sax.
legato 1 2
Bn.
Cbn.
1. (with mute) 1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
8va
solo
Pn.
Hp.
Sop.
in
I Vn. II
Va.
Vc.
Cb.
the
dis
tance,
a
wild
cat
did
growl,
Two
89 79 Picc. 3
3
3
legato (1.) Fl.
1 2
Ob.
1 2
E.H.
1 2
Cl.
E Cl.
Al. Sax.
1 2
Bn.
Cbn.
(1.) 1 3 Hn. 2 4
1 2 Tpt. 3 4
1., solo, open 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
rid
ders
were
ap
proach
ing,
div. I Vn. II
div. Va.
Vc.
div. Cb.
unis.
div.
unis.
90 87 Picc.
Fl.
1 2
Ob.
1 2
E.H.
a2 1 2
Cl.
poss. solo E Cl.
poss. marc., savage Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn.
a2 2 4
1 2 Tpt. 3 4
(1.)
2. open
1 2
Tbn.
open Bs.Tbn. Tuba
Timp.
Xyl. 1
S.D. Perc.
2
Vibraslap
l.v.
3
poss.
Using a plastic guitar pick, rasp rapidly along low, thick string as hard as possible.
Pn.
poss.
l.v.
8va
l.v.
poss.
Hp.
Sop.
the
I Vn. II
Va.
Vc.
Cb.
wind
be
gan
to
howl.
91
5. Chimes of Freedom = 60 1 2
legato
Fl. 3
1 2
legato
Ob. 3
1 2
Cl.
legato Bs. Cl.
tacet Al. Sax.
1 2
Bn.
Cbn.
1. 1 3
legato
Hn. 2 4
take harmon mute 1 2 Tpt.
take harmon mute 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
EFGA DC B
Hp.
Sop.
= 60 I Vn. II
Va.
Vc.
Cb.
92 Faster rall.
accel.
9 1 2
Fl. 3 3
2. 1. 1 2 3
Ob.
3
3
3
3
3
3
3
3
3
3
3
3
3
1. 1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
(1.) 1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Vib.
Sus. Cym.
1
Ped.
Pedal motor on Perc.
2
3
*
Pn.
non arp. *
A
Hp.
G
G A
Sop.
accel. I Vn. II
non div. Va.
Vc.
Cb.
*To achieve bell sonority, play left hand slightly softer than right hand.
Faster rall.
16
Slower
= ca. 50 a piacere
*
1.
Faster rall.
accel.
93 = ca. 50
1 2
Fl. 3 3
2. 1. 1 2 3
Ob.
3
3
3
3
3
3
3
3
3
3
3
3
3
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Vib.
Sus. Cym.
1
Pedal
Pedal Perc.
Pedal
2
3
Pn.
A
Hp.
E D
G
(whispered) Sop.
Far be tween sun down’s fin ish
Slower
an’ mid night’s bro ken toll
= ca. 50 a piacere
We ducked in
*
accel.
I Vn. II
Va.
Vc.
Cb.
*Orchestra accelerates, Singer continues a tempo, ignoring conductor.
side
the
door
way,
thun
Faster rall.
der
crash
ing
As ma
= ca. 50
94 = 60
23 1 2
Fl. 3
1 2 Ob. 3
1 2
Cl.
3
3
3
3
3
3
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn.
3
2 4
3
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
tune largest Timpano below pitch level 3
3
Timp.
Lg. Tam.
Vib.
3
3
1
Pedal Perc.
2
3
Pn.
A B
Hp.
E
A
3
Sop.
jes
tic bells
of
bolts struck shad ows
in
the
sounds
Seem ing to
be
the chimes of
free dom
flash
ing
= 60 I
half section
Vn.
3
3
II
half section, non div. 3
3
Va.
half section 3
3
Vc.
half section, non div. Cb. 3
3
95 28 1 2
Fl. 3
1 2 Ob. 3
1 2
Cl.
3
3
3
3
3
3
3
3
3
3
3
3
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
with harmon mute 1 2 Tpt.
with harmon mute 3 4
1 2
Tbn.
Bs.Tbn. Tuba 3
3
3
3
3
3
Timp.
(Tam.)
Small Tam.
1
Perc.
2
3
Pn.
non arp.
D B F
Hp.
Sop.
Flash ing for
the war ri
ors
whose strength is not to fight
Flash ing for
the ref
div. a2 I Vn. 3
3
3
3
3
3
3
3
3
3
3
3
II
other half
Va.
Vc.
Cb.
other half
u gees on the
un armed road of
flight,
An’ for
96 33 1 2
Fl. 3
1 2 Ob. 3
1 2
Cl.
3
3
3
Bs. Cl.
sub. Al. Sax.
1 2
Bn.
3
3
3
Cbn. sub.
1 3
3
3
3
3
Hn.
3
sub. 2 4
3
sub. 1 2 Tpt.
3. remove mute 3 4 1 2
Tbn.
Bs.Tbn. Tuba
3
3
3
3
3
3
3
Timp.
3
Lg. Tam.
Chimes
1
Perc.
2
3
Pn.
Hp.
Sop.
each
an’ ev ’ry
un der dog
sol dier in the night
An’ we gazed up on
the chimes of free dom
flash
unis. I
Vn.
3
sub. 3
3
3
3
3
tutti, unis.
3
unis.
II
3
Va.
sub.
3
3
3
3
Vc.
sub.
(half section) Cb. 3
3
3
sub.
3
ing.
97 Faster rall.
accel.
38 1 2
Fl. 3 3
2. 1. 1 2 3
Ob.
3
3
3
3
3
3
3
3
3
3
3
3
1. 1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
remove mute 1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Vib. 1
Pedal Perc.
2
3
sub. Pn.
G A
Hp.
Sop.
accel. I Vn. II
Va.
Vc.
Cb.
Faster rall.
98 44
Slower
= ca. 50 a piacere
1 2
Fl. 3
1 2 Ob. 3
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4 3
open
take harmon mute
1 2 3
Tpt.
3., open
take harmon mute
3
3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(Vib.)
3
3
Glock., with Vib. sticks
3
Vib.
3
1 3
3
Pedal Perc.
Pedal
2
3 8va
3
3
3
3
3
3
3
3
Pn.
non arp.
Hp.
3
3
3
3
3
3
8va
3
3
A
3
3
3
3 3
3
Sop.
In the
Slower
cit
y’s
melt ed
= ca. 50 a piacere
fur nace,
un ex pect ed
(div.)
I
Vn.
div. II
half section Va.
Vc.
Cb.
ly
we
watched
with fac
es
hid den while
the walls were
99 48 1 2
Fl. 3
1 2 Ob. 3
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Glock.
(Vib.)
Vib.
3
3
3
3
3 3
3
Glock.
1
Pedal Perc.
Pedal
2
3
3
3
3
3
3
3
3
Pn. 3
3
3
3
3
3
3
3
3
3
3
3
3
3
D
Hp.
3
A B
E
3
3
A 3
3
3
3
3
Sop.
tight ening
As
the
ech
o
of
the wed
ding bells be
fore the blow
in’
rain
Dis solved in
to
the
bells 3
I 3 3 3
Vn.
II 3
half section
3
3
Va. 3
Vc.
Cb.
of
the
100 52
= 60
1 2
Fl. 3
1 2 Ob. 3
1 2
Cl.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
3
3
3
3
3
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
3
3
3
3
3
3
3
3
3
Timp.
(Glock.)
Lg. Tam. 3
1
Perc.
2
3
Pn.
Hp.
B D E F
Sop.
light
ning
Strik ing
for
the gen
tle,
strik ing
for
the kind
= 60 I
Vn.
half section 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
II
half section, non div. Va.
half section Vc.
half section Cb. 3
101 57 1 2
Fl.
to Piccolo 3
1 2 Ob. 3
1 2
Cl.
3
3
3
3
3
3
3
3
3
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
3
3
3
with harmon mute
remove mute
with harmon mute
remove mute
1 2 Tpt. 3 4
1 2
Tbn.
Bs.Tbn. Tuba 3
3
3
3
3
3
Timp.
Sm. Tam.
1
Lg. Tam. Perc.
2
3
Pn.
non arp.
Hp.
3 3
3
Sop.
Strik ing
for
the guard ians and
pro
tec
tors
of the
mind
An’ the
un
pawned paint
er
be hind be yond his right ful time
An’
div. a2 I
Vn.
3 3
3
3
3
II
3
Va.
3
3
3
3
3
Vc.
Cb. 3
we
102 stringendo
61 Picc.
1 2
Fl.
1 2 Ob. 3
a2 1 2
Cl.
3
Bs. Cl.
Al. Sax.
1 2
Bn.
3
Cbn.
3
1 3 Hn. 2 4 3
open
1 2 Tpt.
open 3 4
1 2
Tbn.
Bs.Tbn. Tuba
3
Timp.
(Lg. Tam.) 3
Sm. Tam.
1
Perc.
2
3
Pn.
Hp.
( = Sop.
gazed up
on
the chimes of free dom
flash
unis.
ing.
stringendo
I Vn.
3
unis.
II
3
Va.
3
Vc.
Cb. 3
unis.
)
103 = ca. 72
65 Picc.
1 2
Fl.
1 2 Ob. 3
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
(
= ca. 72)
Sop.
Through
= ca. 72
0
I Vn. II
Va.
unis. Vc.
Cb.
the
104 67
Piccolo
to Flute
Picc.
a2 1 2
Fl.
1. 1 2 Ob. 3
1 2
Cl.
Bs. Cl.
Al. Sax.
a2 1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Sm. Sus. Cym., metal sticks 1
Perc.
2
3
Pn.
Hp.
Sop.
mad
mys
tic
3
ham mer ing
of
the
wild
rip ping hail 0 0
I
Vn. 0
II
non div. 0 0
0 0
Va.
Vc.
tutti Cb.
The 0 0 0
105 69 1 2
Fl. 3
1 2 Ob. 3
Clarinet 2 to Clarinet in A 1 2
Cl.
* Bs. Cl.
Al. Sax.
1.
(a2)
*
1 2
Bn.
Cbn.
1 3 Hn. 2 4
take harmon mute 1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
(Bass Drum sound) Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
sky
cracked
0
0
its
poems
in
na
ked
won
I Vn. II
Va.
Vc.
Cb.
*If too rapid to articulate staccato, play legato.
0
der
That
the
106 71 1 2
Fl. 3
1 2 Ob.
to English Horn 3
1 2
Cl.
Bs. Cl.
Al. Sax.
(1.) 1 2
Bn.
Cbn.
1 3 Hn. 2 4
2. with harmon mute
1, with harmon mute 1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
Chimes
3
1 5
Perc.
2
3
Pn.
Hp.
Sop.
clang
ing
of
the
church
bells
blew
far
in
to
the
breeze
Leav
I Vn.
0 0
II
Va.
0
Vc.
Cb.
ing
107 Slower
rall.
73
rall.
1 2
Fl. 3
1 2
Ob.
E.H.
1 2
Cl.
Bs. Cl.
Al. Sax.
1. 1 2
Bn.
Cbn.
1 3 Hn. 2 4
(1.)
remove mute
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
3
E F GA DC B
Hp.
3
Sop.
on
ly
bells
of
light ning
and
rall.
its
thun
der
Slower
As
we
rall.
I Vn. 3
II
Va.
Vc.
Cb. 3
3
108 76
Tempo I ( = 60), rubato
lunga
1 2
Fl. 3 3
1 2
Ob.
English Horn 3
E.H.
3
1. 1 2
Cl.
3
Bs. Cl.
Al. Sax.
1 2
Bn.
3
Cbn.
1.
3
1 3 Hn.
2. 2 4 3
open 3
1 2 Tpt.
3
3 4
3
1 2
Tbn.
3
Bs.Tbn. Tuba
3
Timp.
Sm. Tam.
Lg. Tam.
B.D.
3
1
Perc.
2
3
Pn.
5
Hp.
(
F
B
B F
= 60)
lunga
=
Sop.
lis tened
one
last
time
an’ we watched with one
Tempo I ( = 60), rubato
last look
Spell bound an’ swal lowed ’til
the toll ing
end
ed.
lunga
I Vn. II
Va. 5
pizz. 3
Vc.
pizz. 3
Cb.
109 80 1 2
Fl.
Flute 3
1 2
Ob.
E.H.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4 3
1 2 Tpt. 3 4
3
3
3
3
3
3
3
3
1 2
Tbn.
3
3
with harmon mute
with harmon mute
3
3
3
3
3
3
3
3
3
3
Bs.Tbn. Tuba
Timp.
(Lg. Tam.)
Sm. Tam.
1
Perc.
2
3
Pn.
Hp.
Sop.
Toll ing for
the reb el,
toll ing for the rake
Toll ing
for
I Vn. II
Va. 3
3
3
arco
3
3
3
arco
Vc.
Cb.
the luck less,
the a
ban doned an’ for
saked
110 Faster, free 85 1 2
Fl. 3
1 2
Ob.
3
a2
3
3
3
3
3
3
3
3
3
3
3
3
3
3
E.H.
3 3
1.
3
1 2
Cl.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn. 3
1 3 Hn. 2 4
3
3
open
3
3
1 2
3
3
3
3
3
Tpt. 3 4
3
open
3
3
3
3 3
3
1 2
Tbn.
Bs.Tbn. Tuba
3
3
3
3
3
3
3
3
3
3
3 3
3
3
3
3
3
3
3
Timp.
(Sm. Tam.) Lg. Tam. 3
Chimes 3
1
* Perc.
Chimes in hall, left box
Pedal sempre
2 3
*
Pedal sempre Chimes in hall, right box
3 3
Pedal sempre
Pn.
EFG A DCB
Hp.
Sop.
Toll ing
for the out
cast
burn in’ con
stant ly
at stake
An’ we
gazed
Toll
ing for
the deaf an’ blind, toll
Faster, free div. I Vn.
div. II
div. Va. 3
pizz.
3
pizz.
3
3
3
3
arco
Vc.
div.
Cb. 0
*Chimes in left and right boxes of hall, midway between stage and back of hall.
3
3 3
111 90 1 2
Fl. 3
1 2
Ob.
E.H.
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(Chimes) 1
(Chimes) Perc.
2
(Chimes)
3
3
3
3
3 3
Pn.
sempre
E G F D
Hp.
E
F A
3
3
Sop. 3
ing
for the
mute
The mis treat ed, mate less moth er,
the mis ti tled
pros
ti tute
Toll
ing for
I Vn. II
Va.
pizz. Vc.
unis. Cb.
the ach ing ones whose wounds can not be nursed
An’ for
112
Sostenuto ( = 60) 95
a2
1 2 3
Fl. 3 3 3
a2 1 2
Ob.
3
E.H. 3 3
1 2
Cl.
Bs. Cl.
Al. Sax.
a2
a2
a2
1 2
Bn.
3
Cbn. a2 1 3 Hn.
a2 2 4
solo
1 2 Tpt.
a2 3 4
1 2
Tbn.
Bs.Tbn. Tuba
Timp.
(Chimes) 1
(Chimes) 3
Perc.
3
2 3
(Chimes)
3
3
3
3 3
Pn.
3
E F
Hp.
3
Sop.
ev
ery hung up
per son
in the
3
whole wide u ni
verse
An’ we
gazed
An’ we
gazed
An’ we gazed up on
the chimes of free dom
Sostenuto ( = 60) unis.
I 3
unis.
Vn. II 3
unis. Va. 3
div., arco unis.
Vc.
div., arco
unis. (non div.)
Cb. 0
113 100
a tempo
accel.
1., 3. 2.
1 2 3
Fl.
poss. molto
1 2
Ob.
poss.
E.H.
poss. molto
1 2
Cl.
poss.
Bs. Cl.
poss. (a2) 1 2
Bn.
poss.
Cbn. poss. 1 3 2 4
Hn.
1, 3
poss.
2, 4
1 2
poss.
Tpt.
molto 3 4
poss.
molto 1 2
Tbn.
poss.
Bs.Tbn. Tuba
poss.
Timp.
poss. Chimes, solo 3
3
3
3
Lg. Tam.
1
(Chimes, solo) Perc.
(Pedal)
poss.
2
poss.
(Pedal) (Chimes, solo) 3
poss.
(Pedal)
poss. Pn.
E F G A D
Hp.
poss.
Sop.
flash
accel.
ing.
a tempo al sord.
I
poss. Vn.
al sord. II
poss. al sord. Va.
poss. al sord. Vc.
poss. al sord. Cb.
poss.
attacca
114
Postlude: Forever Young = 56
accel.
( = )
rall.
1 2
Fl.
tacet 3
tacet 1 2
Ob.
tacet E.H.
1 2
Cl.
tacet Bs. Cl.
tacet Al. Sax.
tacet 1 2
Bn.
tacet Cbn.
tacet 1 3 Hn.
tacet 2 4
tacet 1 2 Tpt.
tacet 3 4
tacet 1 2
Tbn.
tacet Bs.Tbn. Tuba
tacet Timp.
(Chimes)
**
1
(Tam.)
Perc.
(Pedal) (Chimes)
**
(Pedal) (Chimes)
**
2
3
(Pedal)
**
Pn.
**
Hp.
*
with simplicity
Sop.
May God
= 56
bless
and keep you
al ways,
May your
wish
( = )
I Vn. II
Va.
Vc.
Cb.
*Soprano should wait until sound in hall is piano before beginning to sing. **Sound should cease by measure 6.
es
all come
true,
May you
al
ways do
accel.
for
oth
ers And let
rall.
115 a tempo
8
rall.
1 2
Fl. 3
1 2
Ob.
E.H.
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
oth
ers
do
for
you.
a tempo I Vn. II
Va.
Vc.
Cb.
May
you
build
a
lad
der
to
the stars
And
climb
on
ev
’ry
rung,
rall.
116 15
= 66
( = )
= 56
1 2
Fl. 3
1 2
Ob.
E.H.
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
May
you
stay
for
ev
er young,
For
ev
er young,
for
ev
er young,
May
you
stay
for
ev
er
young.
= 66
con sord., sul tasto ( = )
I Vn.
con sord., sul tasto II
con sord., sul tasto Va.
con sord., sul tasto Vc.
Cb.
May you
= 56
117 21 1 2
Fl. 3
1 2
Ob.
E.H.
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
(dolce)
3
Sop.
grow
I Vn. II
Va.
Vc.
Cb.
up
to
be
right
eous,
May
you
grow
up
to
be
true,
May you
al
ways
know
the
118 rall.
26 1 2
Fl. 3
1 2
Ob.
E.H.
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
truth
And see the lights sur round ing
you.
May you
al
ways
be
cou
ra
geous,
Stand
up
right
and
be
strong.
rall. I Vn. II
Va.
Vc.
Cb.
119
= 66 32
= 56
=
1 2
Fl. 3
1 2
Ob.
E.H.
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
3
Sop.
May
you
stay
= 66
for
ev
er
young,
For
ev
er
young,
for
ev
er
young,
May
you
sul tasto
I Vn.
sul tasto II
sul tasto Va.
sul tasto Vc.
Cb.
stay
for
ev
er
young.
=
May
your
= 56
120 accel.
38 1 2
Fl. 3
1 2
Ob.
E.H.
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
hands
al
ways
be
bus
y,
May
your
feet
al
ways
be
swift,
May
you
have
a
strong foun
accel. I Vn. II
Va.
Vc.
Cb.
da
tion When
the
121 44
rall.
a tempo
rall.
1 2
Fl. 3
1 2
Ob.
E.H.
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
winds of chang es
rall. I Vn. II
Va.
Vc.
Cb.
shift.
a tempo
May
your
heart
al
ways
be
joy
ful,
May your
song
al
ways
be
sung,
rall.
122 51
= 66
1 2
Fl. 3
1 2
Ob.
E.H.
1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
May
you
stay
for
ev
er
young,
= 66
(con sord., sul tasto)
I Vn.
(con sord., sul tasto) II
(con sord., sul tasto) Va.
(con sord., sul tasto) Vc.
Cb.
For
ev
er
young,
for
ev
er
young,
May
you
stay
for
ev
er
123 56
rall.
1., solo
1 2
Fl. 3
1 2
Ob.
E.H.
1. 1 2
Cl.
Bs. Cl.
Al. Sax.
1 2
Bn.
Cbn.
1 3 Hn. 2 4
1 2 Tpt. 3 4 1 2
Tbn.
Bs.Tbn. Tuba
Timp.
1
Perc.
2
3
Pn.
Hp.
Sop.
young.
For
ev
er,
young.
May
you
rall. I Vn. II
Va.
Vc.
con sord. Cb.
stay
for
ev
er
young.