John Corigliano
MR. TAMBOURINE MAN: Seven Songs of Bob Dylan for Amplified Soprano and Sextet Full Score From the G. Schirmer Rental Library Date of Printing_______
G. Schirmer, Inc. New York, NY
John Corigliano
MR. TAMBOURINE MAN: Seven Songs of Bob Dylan for Amplified Soprano and Sextet Prelude: Mr. Tambourine Man........................................1 1. Clothes Line................................................................18 2. Blowin’ in the Wind....................................................27 3. Masters of War.............................................................35 4. All Along the Watchtower.........................................46 5. Chimes of Freedom......................................................53 Postlude: Forever Young..................................................66
commissioned by the University of Sydney/Sydney Conservatorium of Music under the leadership of its Dean & Principal, Professor Kim Walker, and under the Vice-Regal patronage of the Governor of New South Wales, Her Excellency, Professor Marie Bashir, to celebrate the 100th anniversary of the Sydney Conservatorium of Music, and by eighth blackbird through the support of Doctors Anne and Dennis Wentz. It was first performed on 11 September 2009 in the Verbruggen Hall at the Sydney Conservatorium of Music. 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.
duration circa 30 minutes
G. Schirmer, Inc. New York, NY
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, W ith 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 Music. 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 W hich nobody really wanted to touch. Mama come in and picked up a book
An’ Papa asked her what it was. Someone else asked, “W hat do you care?” Papa said, “W ell, 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!” “W here?” “Downtown.” “W hen?” “Last night.” “Hmm, say, that’s too bad!” “W ell, 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 M a, 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.” W ell, 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 Music. International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.
Blowin’ in the W ind 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 Music. International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.
Masters of W ar 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 W hen the fast bullets fly… You fasten the triggers For the others to fire Then you set back and watch W hen 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… Let me ask you one question
Is your money that good W ill it buy you forgiveness Do you think that it could I think you will find W hen your death takes its toll All the money you made W ill never buy back your soul 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 Copyright © 1963 W arner Brothers, Inc. Copyright renewed 1991 Special Rider Music. International Copyright Secured. All Rights Reserved. Used by permission of Special Rider Music.
All Along the W atchtower “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 W hile 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 Music. 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 W e 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 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 W ith 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 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… Tolling for the deaf an’ blind, tolling for the mute Tolling for the mistreated, mateless mother, the mistitled prostitute… ] 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 © 1964 W arner Brothers, Inc. Copyright renewed 1992 Special Rider Music. 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 W hen 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 Ram’s Horn 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
Instrumentation Flute (doubling Piccolo and optional Bass Flute) Clarinet in B-flat (doubling Clarinet in E-flat and Bass Clarinet) Percussion Glockenspiel, Vibraphone, Xylophone, Chimes, 3 Tam-tams (high, medium, and large), Snare Drum, Tenor Drum, Bass Drum, Suspended Cymbal, Tambourine, Triangle, W ood Block, Slapstick, Police W histle, Temple Blocks, Bell Plate, Vibraslap
Piano Solo Amplified Soprano* Violin (optional doubling Viola) Violoncello *The amplification speaker should be positioned close enough to the soloist so her voice does not sound as if it is coming from another place. Throughout the work, different levels of amplification will be needed. It is necessary that these levels be determined during rehearsals so the singer will be heard at all times in performance.
to Mark Adamo
MR. TAMBOURINE MAN Seven Poems of Bob Dylan Prelude: Mr. Tambourine Man
Bob Dylan
John Corigliano
Freely q = ca. 52 ( K q = ca. 78)
4 Flute 4
Flute (Piccolo, optional Bass Flute)
pp
4 4
Bb Clarinet (Eb Clarinet, Bass Clarinet)
Violin
3
Bb Clarinet
3 3
3
pp
4 4
pizz.
4 4
pizz.
3
3
pp
Violoncello
3
3
pp
p
4 4
Soprano
Though I
4 4 Piano
4 4 Freely q = ca. 52 ( K q = ca. 78) Vibraphone (motor off)
4 4
Percussion
3
3
3
3
3
pp
3
3
3
3
sempre
3 Fl. 3 3
mp (colla voce)
p
mp (colla voce)
p
colla voce
Bb Cl. pp
arco
Vn. 3
p
arco Vc. p
3
mp
5
3
p
S. know
that eve - nin's
em
-
pire
has
re
-
turned
in
-
to
sand,
Van-ished from my
hand,
Pno.
(Vib.) 3
3
3
3
3
Perc. Words by Bob Dylan Copyright © 1964, 1965 Warner Bros., Inc. Copyrigh renewed 1992, 1993 Special Rider Music International Copyright Secured. All Rights Reserved. Used by Permission of Special Rider Music
Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY This version Copyright © 2009 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.
Corrected 6/2013
2 Slightly faster q = ca. 60
5 Fl. 3
3
pp
3
3
3
3
3
3
3
Bb Cl.
pizz.
arco
Vn. 3
3
pp
3
5
mp
3 3
pizz.
5
arco
Vc. 3
3
pp
mp
3
mp languid
(p)
3
3
S. Left me blind - ly
here
to stand
but still not
sleep - ing.
My
Pno.
Slightly faster q = ca. 60
(Vib.) 3 3
3
3
3
3
3
3
Perc. (pp)
3
3
3
Ped. sempre
Tempo I q = ca. 52
8
to Piccolo
Fl. p
to Eb Clarinet
Bb Cl. p
Vn. p
pizz.
Vc. p p
mp
3
p
S. wea - ri - ness
Pno.
a - maz - es
me
I'm brand- ed on my feet
I have no one to meet
And the
an - cient emp - ty street's too dead for
p
Tempo I q = ca. 52
(Vib.) Perc. p
3 ( K e = e)
11 Picc.
Eb Cl.
con sord.
3
3
3
3
3
3
Vn. 3
pp 3
3
3
3
arco con sord.
3
3
3
3 3
3
3
3
3
3
3
3
3
3
3
Vc. 3
pp
3
3
3
3
3
S. dream- ing,
too dead for dream - ing,
dream
-
ing.
p
Pno.
( K e = e)
Vib.
Bass Drum - large beater
3
3
Perc. pp
15
( K e = e)
q = ca. 78 Piccolo
2 4
Picc. mp
3
mp
3
3
3
(mp)
Clarinet in Eb Eb Cl.
2 4
3 3
(mp)
2 4
Vn. n
2 4
Vc. n n
2 4
S.
2 4 mp
Pno.
3 3
q = ca. 78 (Vib.) Perc.
2 4
3 3
(mp)
( K e = e)
2 4
4 19 Picc.
q = ca. 117
**
2 4
mp
sfz
2 4
Eb Cl.
mf
2 4
Vn.
p
via sord.
senza sord.
p
sf
mf
sfz
sf
p
p
2 4
Vc.
via sord.
senza sord.
p
p
2 4
S.
**
2 4 Pno.
2 4 q = ca. 117 * Tambourine with hard yarn mallets (suggested Good Vibes red)
2 4
Perc.
**
26 sfz
to Bb Clarinet Eb Cl. sfz
sf
Vn. **
2 4
6 8
2 4
Hey!
Mis - ter
p
3
sf (mp)
p
* mount tambourine so it can be played with one hand ** grace note on the beat
sfz
p
2 4 me,
6 8
2 4
6 8
2 4
6 8
Perc.
(ossia)
3
Tam - bou- rine Man, play a song for
Xyl. - hard yarn e = e
(Tamb.)
3
2 4
6 8
S.
p
6 8
3
mp
Pno.
2 4
6 8
Vc.
sfz
e=e
6 8
Picc.
p
sf (mp)
p
e=e
to Flute
mf
sf (mp)
p
p
e=e
2 4
5 Flute
32
2 4
3 4
Fl.
pp
sf p legato
Bb Clarinet
3 4
Bb Cl. sf IV
p
sf
2 4
3 4
Vn.
sf
p secco
2 4
3 4
Vc.
sf
legato (sostenuto) mf
2 4
3 4
3
3
S. I'm
not sleep - y and there is
no place I'm
go
-
ing
to.
sf
sf secco
Tamb. Perc.
2 4
3 4
2 4
Bb Cl.
2 4
3 8
2 4 3
3
2 4
3 8
pp p sub.
3
3 8
2 4
Tam - bou - rine Man,
3
play a song for
3 8
2 4
3 8
2 4
Xyl.
3 8
2 4
fltg.
sfz
mp
2 4
3 4
pp
3 8
p sub.
2 4
3 4
Fl.
pp
p sub.
sf
38
*
2 4
3 4
p
3
3
Hey! Mis - ter
3 4 Pno.
2 4
2 4
3 8
3
3
3
sfz mf legato
mp sub.
2 4
3 4
Vn.
sfz mf legato
3 4
Vc.
3 4
S. 3
me,
3
3
In the
3 4
Perc.
3
3
fol - low -
in'
you.
f
secco
f
2 4
Tenor Drum hard yarn
24
43 sfz
* grace note on the beat
2 4
2 4 sfz
Tamb.
mp sub.
jin - gle jan - gle morn - ing I'll come
3 4 Pno.
arco
2 4
f (secco)
sfz f
mp sub.
pizz.
mp
3
3
3
f
6 43 Fl. f f
Bb Cl. f
Vn. ff
Vc. ff exuberant
3
3
S. Take
me
on
Pno. 3
a
trip
3
3
3
3
Vibraphone hard yarn 3
Perc.
up
3
3
3
3
-
on
your
ma
-
gic
3
3
3
3
3
3
swir
-
lin'
3
3
3
3
3
f
46 Fl. e
e
Bb Cl.
Vn.
Vc.
S. ship,
My
Pno. 3
3
3
sen
3
-
-
-
ses have been stripped,
3
My
3
3
3
3
3
3
3
3
(Vib.) 3
3
Perc. 3
3
3
3
7 49 Fl. e
Bb Cl. e
pizz. Vn. mf
pizz. Vc. mf
S. hands
can't feel
Pno.
to
grip,
3
My
3
3
3
3
toes
too
numb
3
3
to
3
3
(Vib.) 3
Perc.
3
3
3
3
52 Fl. f
f
mf
3
3
3
3
3
3
3
3
3
3
Bb Cl. f
mf
arco
f
Vn. mf
ff
arco
Vc. mf
ff
3
S. step,
Pno.
wait
3
3
on
-
ly
3
T.D.
for
my
boot
3
3
3
3
Vib. 3
Perc. f
heels
to
3
3
3
3
be
wan
3
3
3
3
-
d'rin'.
8 56
2 4
3 4
Fl. 3
3
mf
3
sf
2 4
3 4
Bb Cl. 3
3
mf
sf
mf
2 4
3 4
Vn. f legato
col legno batt. Vc. f
mp
arco ord.
3 4
2 4
3 4
2 4
mp
ff
S. I'm
read - y
to
go
an - y - where, I'm
read - y
to
fade
In - to my own
3 4
2 4
3 4
2 4
white key gliss.
Pno.
mp
(Vib.)
Xyl.
3 4 white key gliss.
Perc.
3* High Temple block 4 mp
2 4 sf
2 4
sf
61 Fl. f secco
Bb Cl. mf legato
Vn.
Vc.
p sub.
3
S. rade,
cast
your danc - ing
Pno.
Perc. sf
* only Hi and Lo Temple Blocks needed (2) for entire piece
spell
my
way,
I
pro - mise
to
go
un - der
it.
Hey!
pa -
9 e=e
66
6 8
Fl.
2 4
3 4
pp
sf
6 8
Bb Cl.
2 4
3 4
pp
sf
6 8
Vn. p
2 4 3
Vc.
p secco
2 4
(p)
3
6 8
S. Mis - ter
(ossia)
3
Tam - bou- rine Man, play a song
p
for
me,
68
24
6 8
2 4
6 8
Perc.
mf
2 4
e=e
Xyl.
Bb Cl.
3 4
2 4
43
pp
42
sf secco
3 4
Tamb.
sf
3 4
3 4
pp
2 4
3 4
3 4
2 4 3
3
43
42
pp
2 4
3 4
3 8 38
pp
sf
S.
no place I'm
43
2 4
sf
Vc.
not sleep - y and there is
p
p
Vn.
3 4
3
3
I'm
p
Fl.
3 4
legato (sostenuto)
p
71
3 4
IV
3
6 8
Pno.
p legato
p sub.
2 4
3 8
3
2 4
3 8 3 8
3 4
2 4 3
3
2 4
3 4 3
f
3 4 3
go
3 4
-
ing
to.
Hey! Mis - ter
sf
2 4
play
me,
In
the
2 4
3 4 3 4
2 4
3 8
2 4
(Tamb.)
2 4
3 8
2 4
sf
for
3 8
3 4 3 4
a song
p sub.
Pno.
Perc.
Tam - bou- rine Man,
p sub.
Tamb.
3 4
10 76
3 4
Fl.
3 4
Bb Cl.
2 4
to Piccolo sfz
2 4
sfz
3
3
3
mf legato
2 4
3 4
Vn.
sfz mf legato
pizz.
3 4
Vc.
f (secco)
sfz
3 4
S.
mf
2 4
3
3
3
3
jin - gle jan - gle morn - ing I'll come
fol - low
-
in'
you.
2 4
3 4 sfz
Pno.
arco
2 4
3 4
f
secco
f
2 4
sfz
Tenor Drum
(Tamb.)
2 4
3 4
Perc.
sfz
3
mf
3
3
f
Piccolo
80 Picc. f
Bb Cl. f
Vn. f
sfp
sfp
Vc. f
sfp
sfp 3
S. Though
you might
hear
laugh - in
spin - nin'
swing - in'
mad
-
ly
gliss.
Pno.
f
Xyl. (white key gliss.)
Perc. f
(sim.)
a -
11 83 Picc.
Bb Cl.
Vn. sfp
f
Vc. f
sfp
f
3
3
S. cross
the
sun,
It's
not
aimed
at
a
-
ny
-
one
It's just
Pno.
(Xyl.) Perc.
86 Picc. to Eb Cl. Bb Cl.
con sord.
via sord.
Vn. p
f
p
con sord.
via sord.
Vc. p
p
p sub.
3
S. cap
-
in'
on
the
run.
And
if
you hear vague
Pno.
(Xyl.)
Tambourine yarn mallets
Perc. p
trac - es
of
skip -pin'
reels
of rhyme
es -
12 92 Picc. sfz
mp
sfz
Eb Clarinet
Eb Cl. mf
sf
mf
sf
sfz
mf
sf
sfz
senza sord. Vn. p
senza sord. Vc. p 3
3
3
3
S. to your tam - bour - ine
in time, it's just a
rag - ged clown be -
hind,
I would- n't
pay
it
an - y
mind it's just
a
Pno.
(Tamb.) Perc. sf (mp)
p
98
p
sf (mp)
p
to Flute
Flute
to Bb Cl.
Bb Cl.
sfz
p
sf (mp)
p
sfz
fltg.
Picc. p
mf
f
f
fltg.
Eb Cl. p
mf
f
f
Vn. p
f
sfp
Vc. p
f
sfp f sub.
3
3
3
3
3
S. sha
-
dow
you're See
-
in' that
he's
chas
-
ing.
Yes,
to dance gliss.
3
3
3
3
3
Pno.
3
3
f ff
Xyl. f
Perc.
Tenor Drum f
(Tamb.)
p
3
3
3
3
sfp
ff
be- neath
the
13 103 Fl.
Bb Cl.
Vn. f
f
sfp
Vc. f
sfp
f 3
S. dia
-
mond
sky
with
one
hand
wav - ing
free
Sil
-
Pno.
(Xyl.) Perc.
106 Fl. f
Bb Cl. f
Vn. sfp
f
Vc. sfp
f 3
3
S. et - ted
by
the
sea,
cir - cled by the
cir
-
cus
sands,
Pno. 3
(Xyl.)
(white key gliss.)
3
With
3
3
3
3
3
3
3
3
Vibraphone 3
Perc. f
3
all
hou
14 rall. poco a poco
110 Fl.
3 4
2 4
Bb Cl.
3 4
2 4 con sord.
2 4
3 4
al sord. Vn.
n f legato
ord.
col legno batt.
2 4
3 4
al sord.
Vc. ff
p mp
2 4
3 4
S. mem
-
ory and fate
dri - ven
deep
be- neath
the
waves,
Let
me
for
-
f
Pno.
Vib.
3
3
3
get
3
3 4
-
bout
to
-
3
3
3
3
mp
3
3
3
2 4
3
3
rall. poco a poco
poss. soft stick
42
43
mp
Tamb.
a
2 4
3 4
Perc.
n
III IV con sord.
p
2 4
3 4
mf
115
3 4
Fl. 3
3
3
Bb Cl.
3
3 4
3
2 4 3
3
3
3
3
3
3
3
3
3 4
p
2 4
3 4 p
Vn. n
n
p
Vc.
3
S. day
Pno.
un
3
-
3
til
to
3
-
3
mor
-
3 4
2 4
3 4
3 4
2 4
3 4
3 4
2 4
3 4
row.
Let
me
for
-
get
a - bout
to
-
3 4
2 4
3 4
3 4
2 4
3 4
3 4
2 4
3 4
(Vib.) Perc.
K x = Ke
(rall.) 119 Fl.
15
Tempo I q = ca. 52
3 3
3 4
3
3
3
4 4
3
p
pp 3
3 4
Bb Cl.
to Picc.
3
3
4 4
3 3
to Eb Cl.
3
p
3
4 4
3 4
Vn.
4 4
3 4
Vc.
(sord.)
3
p
(sord.)
3
3
3 3
3
3
3
3 3
3
3
p p
3 4
S.
day
un
-
til
to
-
4 4
mor
-
row.
un - til to - mor - row.
4 4
3 4 Pno.
p
3 4 K x = Ke
(rall.)
4 4
Tempo I q = ca. 52 Bass Drum large beater
3 4
Perc.
3
4 4
pp
Vib.
3
pp
q = ca. 78 Ke=e
123
3 4
Picc.
Ke=e
Piccolo
mp
3
2 4 3
3
Eb Clarinet
3 4
Eb Cl.
3
mp 3
3
3
3
3
Vn. 3
3
3 3
3
3
3 4
2 4
via sord.
3 4
2 4
via sord.
3 4
2 4
3 4
2 4
3
3
3
2 4
3
3
Vc.
3
3
pp
S. to
Pno.
-
mor
-
row.
3 4
3
2 4
3
q = ca. 78 (Vib.) Perc.
3
Ke=e
3 4
3 3
mp stacc.
Ke=e
2 4
16 129
q = ca. 117 mp
sf
Vn. p
p
Vc. p
6 8
3 4
2 4
6 8
3 8
3 4
2 4
6 8
3 8
3 4
2 4
6 8
3 8
3 4
2 4
6 8
3 8
3 4
2 4
6 8
3 8
3 4
2 4
6 8
3 8
3 4
3 8
senza sord.
senza sord.
2 4
3
Eb Cl. mp
3 4
3 8
Picc.
mp
mp
sf
p
S.
*
(p)
Pno.
q = ca. 117 Tamb. - thumb roll Perc. p
p
mf
Triangle
pp
2 4
Tamb.
p
6 8 mf
* on the beat
136 Picc.
(q = 108–120)
2 4
6 8 3
Eb Cl.
6 8
mp
3
2 4
Vn.
68
42
Vc.
6 8
2 4
S.
6 8
pp
2 4
q = ca. 72–80 free, asynchronous, lazy
I'm
Pno.
6 8
2 4
6 8
2 4
not
(q = 108–120)
6 8
Xylophone
2 4
p
Perc.
6 8
2 4
Triangle
Tamb. (thumb roll)
p (no cresc.)
sleep - y
and there
is
17 143 Picc.
Eb Cl.
Vn. n
Vc.
3
S. no
place
I'm
go
-
-
ing
to.
Pno.
(Xyl.)
(Tamb.)
Perc.
149 Picc.
Eb Cl.
Vn.
Vc.
S.
Pno.
(Xyl.)
Perc.
(p)
n
(Tamb.)
n
Hi Temple Block
mp
n
18
Clothes Line e = 96 - 104 (e = e sempre) Flute
12 8
Flute
4 4
12 8
7 8
3 4
4 4
12 8
7 8
3 4
7 8
3 4
7 8
3 4
p with simplicity
12 8
Bb Clarinet
Bb Clarinet
p with simplicity
Violin
12 8
4 4
12 8
Violoncello
12 8
4 4
12 8
p with simplicity
p with simplicity
Soprano
Piano
12 8
4 4
12 8
7 8
3 4
12 8
4 4
12 8
7 8
3 4
12 8
44
12 8
78
43
4 4
12 8
7 8
3 4
e = 96 - 104 (e = e sempre)
12 8
Percussion
5 Fl.
3 4
12 8
Bb Cl.
3 4
12 8
4 4
p
4 4 p
Vn.
3 4
12 8
4 4
Vc.
43
12 8
44
S.
43
12 8
44
quasi
p simply
Af - ter a while
Pno.
Perc.
3 4
12 8
43
12 8
43
12 8
Words by Bob Dylan Copyright © 1969, 1975 Dwarf Music Copyrigh renewed 1998 Special Rider Music International Copyright Secured. All Rights Reserved. Used by Permission of Special Rider Music
4 4 p
44
44
Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY This version Copyright © 2009 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.
19 10
12 8
9 8
12 8
9 8
Vn.
12 8
9 8
Vc.
12 8
9 8
S.
12 8
Fl. p
Bb Cl. p
we took in the clothes.
No - bod - y
said
Perc.
Fl.
9 8
ver - y much.
Pno.
14
quasi
Just some old wild shirts
12 8
9 8
12 8
9 8
12 8
9 8
4 4
9 8
p
9 8
4 4
Vn.
9 8
4 4
Vc.
9 8
4 4
Bb Cl.
p
IV
mp
S.
9 8
3
3
3
4 4
and a cou-ple pairs of pants Which no - bo - dy real - ly want- ed to touch.
Pno.
Perc.
p
p
3
3
Ma- ma come in and
9 8
4 4
9 8
4 4
98
44
20 17 Fl.
6 8
Bb Cl.
6 8
rall.
3
Vn.
6 8
Vc.
6 8
3
3
S. picked up
a book
3
6 8
3
An' Pa - pa asked her what it was.
Some - one else asked "What do you care?"
Pa - pa said,"Well, just
be -
6 8 Pno.
6 8 rall.
6 8
Perc.
20
a tempo
Fl.
4 4
12 8
Bb Cl.
4 4
12 8
Vn.
4 4
12 8
pizz. Vc. pp
4 4
p
4 4
S. cause."
Pno.
p
a tempo Perc.
12 8
arco
 quasi 
12 8 Then they start - ed
to take back their clothes.
Hang 'em on
the line.
4 4
12 8
4 4
12 8
4 4
12 8
21 25
4 4
12 8
7 8
4 4
12 8
7 8
5 4
4 4
12 8
7 8
4 4
12 8
7 8
4 4
12 8
7 8
Fl.
12 8
5 4
Bb Cl.
12 8
5 4
p
p
12 8
Vn.
p
Vc.
12 8
5 4
S.
12 8
5 4 It was Jan- u - ar-y
Pno.
Perc.
29
3
3
the thir- ti-eth And ev- ery - bod- y was feel - in'
fine.
12 8
5 4
4 4
12 8
7 8
12 8
5 4
4 4
12 8
7 8
12 8
5 4
4 4
12 8
7 8
Fl.
7 8
4 4
3 4
4 4
Bb Cl.
78
44
43
44
Vn.
7 8
4 4
3 4
4 4
Vc.
7 8
4 4
3 4
4 4
S.
7 8
4 4
3 4
(p) 3
5
The next day
Pno.
Perc.
4 4
ev - ery- bod - y got up
78
44
43
44
7 8
4 4
3 4
4 4
7 8
4 4
3 4
4 4
22 33
poco rall.
Fl.
4 4
Bb Cl.
4 4
Vn.
4 4
Vc.
4 4
p
pp
pp
pp
(p)
4 4 See- in' if the clothes were dry.
The
dogs were bark- ing,
4 4 Pno.
pp
4 4
poco rall.
4 4
Perc.
37
5 4
3 4
5 4
3 4
5 4
3 4
5 4
3 4
5 4
pp
3
S.
Freely
3 4
a
neigh- bor passed,
Ma- ma,
of course,
she
said,
3 4
5 4
3 4
5 4 Freely
3 4
5 4
q = 72
Fl.
5 4
Bb Cl.
5 4
sf
sf
Vn.
5 4
Vc.
5 4
sul pont.
mp
sul pont.
mp
(as him) S.
mp
mf
5 4 "Hi!"
"Have you heard the news?"
f
he said,with a grin,
"The Vice - Pres- i - dent's gone mad!"
5 4 Pno.
5 4
mp
sf
q = 72 Vibraphone - normal mallets Perc.
5 4 mp
3
23 41 Fl. p
Bb Cl. p
Vn. pp
Vc. pp
(her) (f)
(her)
(him)
mf
p
(him) p
(her, calmed down) (p)
(him)
3
S. "Where?" "Down - town."
"When?" "Last night."
"Hmm,
p sostenuto
Pno.
say, that's too bad!"
"Well,there's noth- in' we can do a- bout it,"
pp
(Vib.) Perc. mp
46 Fl.
6 8
Bb Cl.
6 8
Vn.
6 8 p
6 8
Vc. p
6 8
(her)
3
S. said the neigh- bor,
Pno.
"It's just some- thin' we're gon- na have to for - get."
"Yes, I guess so"
said
6 8
pp
6 8 (Vib.)
Perc. pp
68
24 52
e = 96 - 104
Fl.
6 8
4 4
Bb Cl.
6 8
4 4
Vn.
6 8
4 4
Vc.
6 8
4 4
S.
6 8
4 4
mp
quasi
Ma,
Then she asked me
if the clothes was still wet.
I reached up,
4 4
6 8 p
Pno.
6 8 e = 96 - 104
6 8
Perc.
4 4
4 4
56 Fl.
12 8
4 4
12 8
Bb Cl.
12 8
4 4
12 8
12 8
4 4
12 8
p
Vn.
p
Vc.
S. touched my shirt,
Pno.
Perc.
And the
12 8
4 4
12 8
4 4
neigh - bor said,"Are those clothes yours?"
12 8
p 3
I said,"Some of 'em,not all
of 'em."
12 8
He said "Ya
12 8
4 4
12 8
12 8
4 4
12 8
12 8
4 4
Vib.
p
12 8
25 59 Fl.
12 8
4 4
Bb Cl.
12 8
4 4
Vn.
12 8
4 4
Vc.
12 8
4 4
S.
12 8
4 4 al -
Pno.
Perc.
ways help out a-round here with the chores?"
3
I said, "Some - time, not all
12 8
4 4
12 8
4 4
12 8
4 4
the time."
3
Then my neigh - bor,
(Vib.)
mp
p
62
5 4
Fl. sf f
p
p
45
Bb Cl. sf f
p
5 4
Vn. 3
sf f
p
5 4
Vc. p
sf f f freely 3
3
3 3
3
3
3
3
p
(f)
5 4
S. he blew his nose
Just as Pa - pa yelled out - side,
"Ma - ma wants you t' come back in the house and bring them clothes."
45 Pno.
sf f
p
45 p
(Vib.)
5 4
Perc. sf f
26 65 Fl.
12 8
4 4
12 8
6 8
5 4
p
12 8
4 4
12 8
6 8
5 4
Bb Cl.
(p)
p
Vn.
5 4
6 8
12 8
4 4
12 8
Vc.
5 4
6 8
12 8
4 4
12 8
S.
5 4
6 8
12 8
4 4
12 8
(p)
Well, I
Pno.
Perc.
69
just
do
what I'm
told,
So, I
did it,
of course.
5 4
6 8
12 8
4 4
12 8
5 4
6 8
12 8
4 4
12 8
5 4
6 8
12 8
4 4
12 8
Fl.
12 8
9 8
5 4
Bb Cl.
12 8
9 8
5 4
Vn.
12 8
9 8
5 4
Vc.
12 8
9 8
5 4
p
p
S.
12 8 went
Pno.
I
pp
9 8 back in
the house
and Ma - ma met
me
And
5 4 then
I
shut
12 8
9 8
5 4
12 8
9 8
5 4
12 8
9 8
5 4
12 8
9 8
5 Med. Tam-tam 4
all
the
doors.
pp
(Vib.)
pp
Perc.
pp
Bass Drum ppp
Blowin' in the Wind
Solemn q = 60
**Bass Flute (Piccolo)
5 4
Bass Clarinet in Bb
5 4
Viola (if available)
5 4
Violoncello
5 4
Soprano
5 4
27
5 4 Piano
p sost.
5 4
Solemn q = 60 * Bass drum with beater 1
5 4
Percussion
p
Bass drum with beater 2
7 Bs. Fl.
Bs. Cl. p
Vla.
Vc. p p sost.
(p)
mf
man?
Yes,
S. How man - y roads
Pno.
must a
man walk down
Be - fore
you call him
a
p sost.
(B.D.) Perc.
* both soft beaters, but beater 2 should produce a different and softer sound. ** if available
Words by Bob Dylan Copyright © 1962 Warner Bros., Inc. Copyrigh renewed 1990 Special Rider Music International Copyright Secured. All Rights Reserved. Used by Permission of Special Rider Music
Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY This version Copyright © 2009 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.
28
Bass Flute (if available)
11 Bs. Fl.
p
Bs. Cl.
Play only if there is no Bass Flute Vla. p
Vc.
f
(mp)
mp
S. 'n' how
man- y seas must a
white
dove sail
Be
- fore
she sleeps
in
the
sand?
Pno.
Yes,
sempre non cresc.
Perc.
15
rall.
6 4
Bs. Fl.
Bs. Cl.
6 4
Vla.
6 4
Vc.
6 4
to Picc.
4 4
to Bb Cl.
4 4 4 4
to Violin
4 4
(ten.)
(p) f
mf
6 4
S. 'n' how man - y
times
must the
can- non balls
fly
be - fore
they're for - ev
-
er
pp (ten.)
p
banned?
The
4 4
6 4 Pno.
(p)
Perc.
(B.D.)
6 4 (p)
(ten.)
6 4
6 4
4 4
rall.
4 4
Glock. soft stick p
4 4 4 4
19
29
q = 50
Picc.
4 4
Cl.
4 4
Vn.
44
Piccolo pp
n
4 4
pp
n
pp
4 4 pp
n
n
n
pp
pp
n
n
p pp floating
an
3
-
-
swer,
my
friend,
is
blow - in'
in
the
p
p
4 4
p
44 n
3 4 3 4
3
wind,
*
4 4 Pno.
3 4 43
4 4
S.
4 4
pp
Bb Clarinet
pp
Vc.
3 4
p
(ten.)
4 4 4 4
The
3 4
4 4
3 4
4 4
3 4
4 4
3 4
4 4
Ped. sempre
q = 50
(Glock.) *
4 4 4 4
Perc.
p
Vib * motor on
p
p Ped. sempre
4 4
Tam-tam
3 4
p
4 4
pp
23
(q = 50) stringendo
Picc.
4 4
Cl.
4 4
3 4
5 4
to Flute pp
pp
3 4
to Bass. Cl.
5 4
Bass Clarinet
n p
pp
Vn.
4 4
Vc.
4 4
S.
4 4
3 4 pp
pp
3 4 3 4
an
-
-
swer
is
-
in'
in
4 4
p
5 4
the
wind.
pp cresc.
3 4
(Glock.)
(Vib.)
pp
p
3 4
p
(q = 50) stringendo
3 4
p
5 4
5 4
(p)
4 4
p
3 4
Pno.
4 4
pp
(ten.)
3
blow
4 4
Perc.
5 4
5 4 5 4 5 4
p p
4 4
3 4
* play 5 even pulses. Try to enter between the fourth and fifth pulse of predecessor.
5 4
(B.D) pp
p
30
Tempo I (q = 60) 27
5 4
Flute
Fl.
p
Bs. Cl.
5 4
pp
Vn.
5 4
Vc.
5 4
pp p
5 4
S.
p
pp
How man - y times
must a
man
look up
Be - fore
he can see
the
(p)
mf
sky?
Yes!
5 4 Pno.
pp
45
Tempo I (q = 60)
5 4
Bass Drum Perc.
Tam-tam
pp
31 Fl.
Bs. Cl. 3
Vn.
Vc.
(mp) mp
f
3
S. 'n' how
man - y
ears
must
one
man have
Be - fore
he
can hear peo - ple
cry?
mp
Pno.
Vib. motor off Perc. p
sim.
mp (sim.)
3
p
Yes,
31 rall.
35
to Piccolo
4 4
Fl. p
ff sub. mf
4 4
Bs. Cl. p
ff sub. mf
pp
(p)
(mp)
4 4
Vn. 3
mf
ff sub. mf
44
3
Vc. ff
mf mf
f
3
4 4
S. 'n' how man - y
deaths
will it
take'til he knows
That too man - y peo - ple
have
pp
(p)
pp
(p) p
(p) (ten.)
died?
The
4 4 mf
Pno.
f
4 4
p
rall.
Glock.
4 4
p
4 4
(Vib.) Perc. mf
f
Sus. Cym. p
4 4
p
f
q = 50 (Tempo II)
40
q = 60 subito
* Piccolo
5 4
to Flute
Picc. pp
pp
5 4
Bs. Cl. pp
5 4
Vn. pp
pp
pp
pizz.
mp
arco
5 4
Vc. pp
pp
pp
3
-
-
swer,
my
friend,
is
blow - in'
in
pont.
mp (pp)
5 4
3
S. an
pont.
the
mp 3
wind.
How man-y years can a
**
5 4 Pno.
p
(p)
p
45
q = 50 (Tempo II)
5 4
(Glock.) p
(Vib.) motor on
**
5 4
Perc. p
Tam-tam pp
* ossia Flute if pp dynamic is possible. ** The final group may be more or less than five notes for alignment purposes.
p
5 4
3
p
q = 60 subito
32
Flute
44 (fltg.) Fl. mp
3 2
5 4
3 2
5 4
3 2
5 4
mf
(fltg.) Bs. Cl. mp
mf
ord. Vn. mf
f
3 2
ord. Vc.
f
mf f 3
3
S. moun- tain ex - ist
Be - fore
5 4
it's washed to the sea?
(f) sarcasticially
3 2
"The
sf
ossia:
3
5 4
an - swer
is
blow - in'
in
the wind." Yes!
3 2
3
'n'
5 4
sff
sff
mf
Pno.
f
3
3 2
5 4 Xyl.
3 2
Perc.
5 4 sff
47
q = 72 sub. (Tempo III)
Fl.
5 4
Bs. Cl.
5 4
Vn.
45
Vc.
5 4
S.
mf
(mf)
mf
(mf)
mf
(mf)
mf
(mf) 'n' mf
5 4
3
3
cresc.
can some peo - ple
mf
q = 72 sub. (Tempo III)
Perc.
5 4
5 4
f
45
be - fore
they're al-lowed to
3 4 be
5 4
f
3
ex - ist
f
3 4 f
3
free?
ff 3
5 4
"blow - in' in the wind."
5 4
3 4
5 4 5 4
f
3 4 43
how man - y years
Pno.
5 4
3 4
f
cresc.
sf
3 4
3 4
(Xyl.)
5 4
5 4 sf
33 Tempo I (q = 60) (fltg.)
51 Fl.
5 4
Bs. Cl.
5 4
(ff)
(f)
(mf)
(ff)
(f)
(mf)
dim. poco a poco
(ff)
(f)
(mf)
(f)
(mf)
fff
(ff)
fff
dim. poco a poco
fff
dim. poco a poco
fff
(fltg.)
5 4
Vn.
5 4
Vc.
dim. poco a poco fff
5 4
S.
'n'
dim. poco a poco
how
man - y
times
can
a man
turn
his head,
5 4 Pno.
5 4
sfff dim. poco a poco
(f)
(ff) (dim.)
(mf)
Tempo I (q = 60) Bass Drum - beater 1
5 4
Perc.
Tam- ff dim. poco a poco (f) tam
(mf)
(mp)
B.D. - beater 2
(p)
(pp)
q = 50 (Tempo I)
rall.
55
(mp) (dim. poco a poco)
(p)
(mp)
to Clarinet in Bb
(p) (dim. poco a poco)
Clarinet in Bb solo
pp
(mp)
4 4
Vc. (mp) (dim. poco a poco) (dim.)
Pre - tend
-
ing
he
(p) (dim. poco a poco)
pp
mp (dim.)
(p)
(pp)
does -n't
4 4
(p)
pp
4 4
ppp pp
just
4 4
4 4
5 4 5 4
4 4
5 4
4 4
see?
4 4 Pno.
5
5 4
4 4
S.
4 4
5 4
p
4 4
Vn.
pp
ppp
(pp)
4 4
Bs. Cl.
4 4
5 4
4 4
Fl.
pp
(pp)
5 4
4 4
5
q = 50 (Tempo I)
rall.
5 4
Glock.
4 4
p
4 4
Perc.
Vib. - motor on
5 4 pp
(B.D.)
ppp
4 4
5 4
p
4 4 4 4
34
60 Fl.
4 4 pp
pp
pp
pp legatissimo
4 4
Bb Cl.
pp legatissimo
con sord.
4 4
Vn.
pp
pp
3
3
mp
3
* pp
4 4
S.
pp
con sord.
solo
4 4
Vc.
pp legatissimo
pp
mmm
44 Pno.
4 4
p
p
pp
pp
(Glock.)
4 4 Perc.
4 4
p
p
* precise alignment between singer and instrumentalists is not necessary.
65 Fl. pp
pp
pp
n
Bb Cl. pp
Vn. pp
pp
Vc. n 3
3
S. mmm
ppp
Pno.
(Vib.) Perc.
Blow
5
-
in,
Blow
-
in'.
Masters of War
q. = 144
ff sffz
sfz
mp sub.
ff sffz
sfz
mp sub.
ff sffz
sfz
p sub.
p sub.
ff sffz
9 8
Come,
Come,
Come,
you
mas- ters of war
9 8
12 8
6 8
12 8
sfz
mp
ff sffz
9 8
12 8
6 8
Come,
Piano
9 8
sfz
ff
12 8
Soprano
f
12 8
6 8
12 8
Violoncello
pizz.
12 8
6 8
12 8
Violin
9 8
12 8
6 8
12 8
Clarinet in Bb
9 8
12 8
6 8
12 8
Flute
35
12 8
f
9 8
6 8
12 8
6 8
12 8
6 8
12 8
9 8
6 8
12 8
9 8
q. = 144
Xylophone
12 8 12 8
Percussion
12 8
ff sffz
rim shot
Snare Drum snare sticks pp sub.
Tenor Drum wood stick
ff sffz
5
9 8
pp sub.
Fl.
9 8
12 8
9 8
12 8
Bb Cl.
9 8
12 8
9 8
12 8
Vn.
9 8
12 8
9 8
12 8
Vc.
9 8
arco mf
9 8 who build all the guns
9 8 Pno.
9 8
You
mf
12 8 sf
(Xyl.)
9 8 Perc.
Bass Drum
9 8
that build the death
planes
You
sf
mf
9 8 sf
12 8
12 8 that build thebig bombs
You
that hide be- hind walls
9 8
12 8 sf secco
12 8
9 8
12 8 sf
mf
f
12 8 You
mf
9 8
f
f
S.
mf
12 8
12 8 sf
mf
sf
sf
mf
12 8 sf
9 8 sf
9 8
12 8 sf
sf
12 8
mf secco Words by Bob Dylan Copyright © 1963 Warner Bros., Inc. Copyrigh renewed 1991 Special Rider Music International Copyright Secured. All Rights Reserved. Used by Permission of Special Rider Music
Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY This version Copyright © 2009 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.
36 9 Fl.
12 8 f sffz
sfz
sfz
12 8
Vn.
12 8
Vc.
f sffz
sfz
f
p
p sub.
f sffz
p
ff
mp
Come,
You that hide be- hind desks
12 8 Pno.
(Xyl.)
S.D. p sub.
T.D.
12 8
f sffz
Fl.
sfz
Bb Cl.
Vn.
6 8
12 8
Vc.
68
12 8
sfz
98
12 8
6 8
12 8
Perc.
6 8
T.D.
9 8
6 8
9 8
6 8
98
68
15 8 pizz.
15 8
9 8 you
sfz
mas- ters of war
even and malevolent mf sub.
I
just
want
9 8
you
to
know
I
15 8
9 8 f
15 8
mp
p sostenuto
15 8
rim shot S.D.
6 8
f
12 8
6 8
6 8
9 8
mf legato
9 8
Come,
Pno.
6 8
15 8
sf
sfz
6 8
Come,
15 8
9 8 sfz
S.
6 8
mf legato
12 8
6 8
9 8
p sub.
9 8
12 8
6 8
6 8
f sffz
12 8
13
9 8
mp
12 8 Perc.
6 8
9 8
12 8
sfz
9 8
Come,
f sffz
sfz
6 8
p sub.
f sffz
12 8
S.
9 8 mp sub.
IV
sfz
6 8
mp sub.
12 8
Bb Cl.
9 8
12 8
9 8
15 8
12 8
9 8
15 8
* Half step clusters between and including indicated pitches
*
can
see through your
37 18
12 8
Fl. p
sfz
12 8
Bb Cl. p
sfz
12 8
Vn. sfz
arco
12 8
pizz. Vc. sfz
f
ff
f
12 8
S. masks
You
f secco
sfz
Pno.
that nev - er done noth
-
in'
but
12 8
p sub.
sf
12 8
Slapstick
12 8
sfz
Perc.
B.D.
12 8
f
21 Fl.
p
sf
Bb Cl.
p
sf
12 8
9 8
15 8
12 8
12 8
9 8
sf
Vn.
sf
15 8
12 8
12 8
9 8
15 8
12 8
f rough
Vc.
arco
9 8
15 8
12 8
f rough
p
S.
15 8
12 8 build
Pno.
12 8
sf (p)
(B.D.) Perc.
to
de
-
stroy
f
You, you play with my world
15 8
15 8
12 8
p
f
9 8 Like
it's
your
lit
sf (p)
9 8
9 8
-
tle
toy
You
12 8 put
12 8
9 8
15 8
12 8
12 8
sf
12 8
12 8
38 25
12 8
fltg.
Fl.
Bb Cl.
12 8
fltg.
f
f
Vn.
12 8
Vc.
12 8
S.
12 8 a
12 8 Pno.
gun
in
my
sf
sf
sf
sf
hand
And
you
hide
from
my
eyes
And
f
12 8 Vibraphone motor off
12 8
f
Perc.
Temple Blocks (Hi, Lo only)
12 8
f
28
9 8
Fl. f
9 8
Bb Cl.
12 8 mp
12 8
mp
Vn.
9 8
12 8
Vc.
9 8
12 8
9 8
12 8
ff .
ossia: run
far
-
ther
(non dim.)
and
run
far
-
fast
bul - lets
ther
12 8 When the
fast
bul - lets
98
12 8
9 8
12 8
(Vib.)
9 8
12 8
(T. Blks.)
9 8
12 8
Pno.
Perc.
turn
the
9 8
S. you
When
39 31 Fl.
rall.
12 8
pp
12 8
Bb Cl.
15 8 15 8
pp p
mp
near bridge
12 8
Vn.
15 8 sfz
f sfz
sfz
near bridge ord.
12 8
Vc.
12 8
Sop.
f sfz
sfz
sfz
sfz
sfz
15 8
mp
ten.
(ff)
15 8
fly
12 8 Pno.
12 8
15 8 pp
p
15 8
f
Perc.
15 8 (p)
(p)
q. = 108
Fl.
15 8
Bb Cl.
15 8
q. = h
3 2
pp
p
pp
pp
15 8
p
pp
the
oth- ers to
fire Then
you set back and watch When the
15 8 15 8
pp
23
death count gets high - er
3 2 pp
pp
q. = 108
Perc.
p p
pp
for
3 2 3 2
p
You fas- ten the trig - gers
Pno.
p
p
pp
3 2
p
pp
15 8
15 8
p
pp
p
pp
S.
mp
(f)
12 8
36
Vc.
15 8
B.D. p
Vn.
rall.
Temple Blocks
12 8
q. = h
Tam-tam 15 8 pp
3 2 3 2
pp
40 40 Fl.
h = 108 (q. = 144)
q. = q.
3 2
9 8
(p)
pp cresc. poco a poco
(mp)
(mf)
ff
(f)
9 8
3 2
Bb Cl.
(p)
pp cresc. poco a poco
3 2
Vn.
(mp)
(mf)
pizz.
arco
pp cresc. poco a poco
(mp)
pizz.
arco
ff
(f)
9 8 (cresc.)
(f)
3 2
Vc.
9 8 pp cresc. poco a poco
(mp)
(mf)
(cresc.)
(f)
(ff)
3 2
S.
9 8 You
hide
in
your
man
-
sion
As
young
peo
-
ple's
blood
3 2
9 8 mp cresc.
Pno.
(mf)
3 2
sfz
h = 108 (q. = 144) pp cresc. poco a poco
3 2
sfz
sfz
sfz
(mp)
9 8
sfz
q. = q.
T. Blks.
S.D.
3 2 Perc.
sfz
ff
(f)
9 8
(f)
(cresc.)
9 8
T.D. pp cresc. poco a poco
(mp)
(p)
(q. = 144) 44 Fl.
Bb Cl.
Vn.
9 8 9 8
sfz
mf
sfz
molto rall.
4 4
12 8
4 4
mf
9 8
12 8 mp
f
Vc.
rall.
12 8
9 8
pizz.
mp sf
4 4
mf
pizz.
12 8
4 4
mp
f ff
ossia:
9 8
12 8 Flows
out of their bod - ies
And
is
bur
- ied in
the
4 4
mud
ff (non dim.)
S.
9 8
12 8 Flows
98 Pno.
9 8
out of their bod
-
ies And is bur - ied in
the
mud
12 8 sf
4 4 f
mp
4 4
12 8
44 ten.
(q. = 144) Perc.
9 8
T.D.
ff
12 8
rall.
molto rall.
4 4
41 48
q = 72
Fl.
4 4
Bb Cl.
4 4
p even
3 2
4 4
3 2
4 4
3 2
4 4
p even
4 4
Vn.
4 4
Vc.
arco
pp p even
arco
3 2
pp
p even p even
4 4
S.
3
3 2
3
3
Pno.
4 4
pp
q = 72
be
3 2
4 4
3 2
4 4
Vib.
4 4
3 2
4 4
Perc.
4 4
3
You've thrown the worst fear That can ev - er
4 4
4 4
p
p
53 Fl.
4 4
3 2
Bb Cl.
4 4
3 2
4 4
3 4
4 4
3 4
p
p
3
mp
Vn.
44
23
44
IV
3 4 mp
Vc.
4 4
3 2
S.
4 4
3 2 hurled
Pno.
3 2
4 4
3 2
(Vib.)
Perc.
3
Fear to bring chil
4 4
4 4
4 4
3 2
p
3
-
dren
in - to
3 4
4 4
3
the
3
world
mp mp ominous
3 4
For
threat - 'ning
4 4
3 4
4 4
3 4
4 4
(mp)
p
3 4 3
mp
mp
my
42
h = 108 (q. = 144)
3
57
jjq = iiq
3 2
Fl. mf 3
Bb Cl.
mp cresc.
3 2
3
mp cresc.
mf
3 2
3
Vn. mf
3 2
Vc. mf cresc.
(mf)
3 2
S. ba
-
by
Un - born
and un - named
f
You
ain't
worth
the
blood
sfz
sfz
sfz
3 2 mf
Pno.
3
3
3 2 3
mp sub.
cresc.
sfz
sfz
sfz
h = 108 (q. = 144)
3
jjq = iiq
(Vib.)
3 2
Perc.
Temple Blocks
3 2
mp cresc.
q. = 144 h = q.
62
12 8
Fl.
12 8
Bb Cl.
6 8 ff sffz
(cresc.)
mp sub.
12 8
Vn.
6 8
p sub.
ff sffz
mf
12 8
Vc.
(cresc.)
That
p sub.
12 8 runs
in
your
veins
(cresc.)
That
6 8 ff sffz
mf ossia:
S. S.
mp sub.
ff sffz
(cresc.)
6 8
ff
12 8 runs
in
your
veins
Let
6 8 me
ask
you
one
6 8
12 8 Pno.
(cresc.)
sfz
sfz
sfz
sfz
sfz
12 8 sfz
sfz
ff sffz
mp
Xylophone
6 8
12 8
Perc.
6 8
q. = 144 h = q.
T. Blks.
ques -
12 8
(cresc.)
12 8
ff sffz
Snare Drum pp sub.
Tenor Drum
ff sffz
6 8 6 8
pp sub.
43
q = 144 66 Fl.
6 8
12 8
q. = q
6 8
3 4
4 4
5 4
3 4
4 4
5 4
3 4
4 4
5 4
4 4
5 4
f sostenuto, malevolent
5 4
sfz
6 8
Bb Cl.
f
12 8
6 8 sfz
6 8
Vn.
12 8
6 8
pizz.
sfz
6 8
Vc.
12 8
6 8
ff
3 4
ff
sfz
6 8
S.
12 8 -
6 8
tion
3 4
Is your mon - ey that good
6 8
12 8
6 8
6 8
12 8
6 8
Perc.
it
buy
3 4 f
6 8
you
for - give - ness
4 4
5 4
mp sub., sostenuto
3 4
4 4
5 4
3 4
4 4
5 4
3 4
4 4
5 4
q = 144
rim shot (S.D.)
4 4
Will
sfz
Pno.
pizz.
12 8
q. = q
6 8 sfz
(T.D.)
6 8
71
12 8
6 8
Fl.
5 4
6 4
Bb Cl.
5 4
6 4
q = 72
rit.
f
Vn.
5 4
6 4
Vc.
45
46
S.
5 4 think
that
it
*
45 5 4
you
*
mf
ff`
6 4 Do
Pno.
arco
3
could
I
think
Perc.
will
find
46
mp
mf sostenuto
f
6 4
(mf)
f
5 4
you
6 4
rit.
q = 72
T.D.
p
* Half step clusters between and including indicated pitches
When your
44 74
4 4
Fl.
f
4 4
Bb Cl.
mf mf
f
quasi gliss.
4 4
arco Vn. mf
f
4 4
Vc. mf
f 3
3
4 4
S. death takes
its
toll
All the
mon - ey
you
made
will
nev - er
buy back your
soul *
4 4 Pno.
4 4 (T.D.)
4 4
Perc.
sfz
78 Fl. f
Bb Cl. f
Vn. f
Vc. f 3
ossia: 3
3
3
3
S. And I hope that you die
6
Pno.
fff
And
f
your death will
come
soon
I
6
will fol - low your cas - ket
f
fff
ff
(one hand)
Xyl. **
Perc.
[
f
]
] [
f
B.D. - large beater ff
* Use flat hands to play these clusters ** If possible
ff
45 82 Fl.
5 4
6 4
Bb Cl.
5 4
6 4
Vn.
5 4
6 4
Vc.
5 4
6 4
S.
5 4 In
the
pale
af - ter - noon
6 4
3
3
And I'll watch while you're low - ered Down
to
your
death - bed
6 4
5 4 f
6
Pno.
fff
5 4
6 4
(Xyl.) ]
5 4 Perc.
6 4
[ B.D.
5 4
6 4
ff
86 Fl.
6 4
3
sfz
Bb Cl.
f
6 4
3
f
3
3
3
4 4
3
4 4
3
4 4
3
6 4 sfz
Vc.
3
3
3
sfz
Vn.
3
3
f
3
6 4
3
4 4
3
3
S.
6 4
4 4 And
I'll
6 4 Pno.
stand
o'er
3
fff
6 4
* ff
3
your
grave
3
3
'Til
I'm
3
3
3
sure that you're
4 4
3 3
dead.
3
4 4
3
(Xyl.)
6 4
Perc.
46
4 4
sf
44
S.D. mf
6 4
T.D.
3
3
3 3
3
3
3
3
3
3
3
mf
sf
B.D. * ossia subito mp and then crescendo to fff
4 4
46
All Along the Watchtower
Hard and driven q = 132 Flute
4 4
Bass Clarinet
4 4
ff
p
ff
4 4
Violin
5 4
4 4
5 4
4 4
5 4
4 4
5 4
4 4
ff
4 4
Violoncello
ff f
4 4
Soprano
(f)
5 4
"There must be some way out of here,"
said
4 4
ff
Hard and driven q = 132
4 4
Percussion
4 4
44
p secco
5 4
4 4
5 4
4 4
5 4
4 4
Xylophone
f
Bell plate (very metallic)
the
45
44 Piano
4 4
f
5 Fl.
4 4
3 4
4 4 f marc.
Bs. Cl.
4 4
3 4
ff
4 4
ff f marc.
Vn.
4 4
3 4
ff
f marc.
mp
Vc.
4 4
44
43
44
mp
ff f marc.
S.
4 4 jok- er to the thief,
Pno.
"There's
too much con- fu- sion,
I
4 4
3 4
4 4
3 4
4 4 Perc.
ff sub.
3 4
4 4
can't
get
no
re - lief.
4 4 f marc., mechanical
(Xyl.)
3 4 3 4
4 4
4 4
ff
sf
4 4 f
4 4
(Bell plate)
f
f Words by Bob Dylan Copyright © 1968, 1985 Dwarf Music Copyrigh renewed 1996 Special Rider Music International Copyright Secured. All Rights Reserved. Used by Permission of Special Rider Music
Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY This version Copyright © 2009 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.
47 11 Fl.
3 4
4 4
3 4
Bs. Cl.
3 4
4 4
3 4
Vn.
3 4
4 4
3 4
Vc.
3 4
4 4
p
p
3 4 p
f
Busi - ness- men, they drink my wine,
Plow- men dig my earth,
p
Pno.
Perc.
3 4
4 4
3 4
S.
3 4
4 4
3 4
4 4
3 4
4 4
f
f marc.
3 4
q = 92-100 pp
ff
4 4
Bs. Cl.
ff
4 4
f marc.
ff
f marc. ff sub.
an
-
of
it
ff sub., marc.
is
worth."
(ff)
5 4
4 4
5 4
4 4
mp sub.
rea - son
4 4 4 4
(Bell plate)
f
4 4 f
f
to get ex-
4 4
5 4 dim.
rall.
f
4 4
5 4
(Xyl.)
Police whistle
5 4
"No
4 4
Perc.
4 4
p sub. p slyly
y
f
5 4
pp
4 4
4 4 Pno.
p sub.
4 4
S.
4 4
con sord. ff
Vc.
5 4
pp
f marc.
Vn.
of it
3 4
4 4
Fl.
know what an - y
3 4
rall.
16
Noneofthem a - long the line
pp
q = 92-100
4 4
5 4
4 4
5 4
4 4
5 B.D. 4
4 4
pp
48 23 Fl.
4 4
3 4
4 4
Bs. Cl.
4 4
3 4
4 4
Vn.
44
43
44
Vc.
4 4
3 4
4 4
pizz.
arco
pp
cit -
Pno.
ed,"
the
thief,
he kind - ly
spoke,
"There are
man - y here a - mong us
4 4
3 4
4 4
4 4
3 4
4 4
3 4
4 4
(Bass drum)
4 4
Perc.
4 4
3 4
4 4
S.
feel that life
is but a
joke.
q = 132
accel.
28
who
Fl. p
ff
Bs. Cl. p
ff
senza sord. Vn. p
ff
Vc. ff sff
p sub.
S. But you and I, we've been through that,
p
Pno.
q = 132
accel.
Perc.
B.D.
p
ff
Xyl. p
sff
f
and
49 33 Fl.
6 4
4 4
3 4
4 4
3 4
Bs. Cl.
6 4
4 4
3 4
4 4
3 4
Vn.
6 4
4 4
3 4
4 4
3 4
Vc.
6 4
4 4
3 4
4 4
3 4
6 4
4 4
3 4
4 4
3 4
mf
S. this is not out fate,
So
let us not talk false - ly now,
mp
Pno.
the
hour
is get - ting
late.
The
hour
is get - ting
late.
46
44
43
44
43
6 4
4 4
3 4
4 4
3 4
4 4
3 4
4 4
Vibraphone
6 4
Perc. mp
q = 92-100
rall.
39
3 4
p
Fl.
Bs. Cl. mp secco
Vn. con sord.
p secco
Vc. mp legato
(dim.)
(mp)
S. The hour
Pno.
is
get
-
ting
late."
mp
(dim.)
rall. (Vib.)
q = 92-100 Xyl.
Perc. p
dim.
dim.
50 tratt.
46 Fl. p
Bs. Cl. p
4 4
3 4
4 4
3 4
4 4
Vn. pizz.
mf
to Viola
3 4
mp
arco
pizz.
44
0
Vc.
43
p
S.
p
Pno.
4 4
3 4
4 4
3 4
mp legato
4 4
3 4
tratt. Vib. (motor off)
3 4
4 4
Perc.
p secco
If the violin player cannot double on viola, then perform the ossia version on the smaller staffs. 52
a tempo
Fl.
3 4
2 4
Bs. Cl.
3 4
2 4
Vla.
3 4
2 4
con sord. p
(con sord.) arco
Vc.
3 4
2 4
pp
a tempo ossia Fl.
3 4
ossia Bs. Cl.
3 4
2 4 2 4 pp
ossia Violin
3 4
ossia Vc.
3 4
2 4 con sord. arco
2 4
p
S.
p oblivious, serene
3 4
All
a
2 4 -
long
the
watch - tower,
prin
-
ces kept
the
3 4 Pno.
3 4
view,
2 4 p
2 4
a tempo (Vib.) Perc.
3 4
2 4 mp
51
60 Fl.
2 4
Bs. Cl.
42
Vla.
2 4
Vc.
2 4
3 4 pp legato
43
pp secco
3 4 3 4
2 4
ossia Fl. ossia Bs. Cl.
2 4
ossia Violin
2 4
3 4 pp legato
3 4 3 4
pp secco
2 4
ossia Vc.
3 4
2 4
S.
3 4 While
Pno.
42
43
2 4
3 4
(Vib.)
2 4
Perc.
68
all
the
wo
-
men
came
and
went,
bare - foot
serv
-
ants,
too.
3 4
a tempo
tratt.
Fl.
4 4
3 4
Bs. Cl.
4 4
3 4
Vla.
4 4
3 4
Vc.
4 4
3 4
pp
pp
pp
pp
tratt.
a tempo
ossia Fl.
4 4
3 4
ossia Bs. Cl.
4 4
3 4
ossia Violin
4 4
3 4
ossia Vc.
4 4
3 4
pp
pp
pp
pp
S.
4 4
3 4 Out
4 4 Pno.
4 4 4 4
side
in
the
dis
-
tance,
a
3 4 pp legato
3 4
p
a tempo
tratt. Perc.
-
Xyl.
3 4
pp secco
pp
wild
-
cat
did
52 Piccolo
76 Fl.
2 4
3 4
Bs. Cl.
2 4
3 4
Vla.
2 4
3 4
Vc.
2 4
3 4
ossia Fl.
2 4
3 4
ossia Bs. Cl.
2 4
3 4
ossia Violin
2 4
3 4
ossia Vc.
2 4
3 4
2 4
3 4
to Piccolo
to Eb Clarinet
pp
3
Piccolo to Piccolo
S. growl,
Two
mp
Pno.
Perc.
to Eb Clarinet
rid - ers
2 4
3 4
2 4
3 4
2 4
3Bass drum 4
pp
were
3
ap
-
proach
-
ing,
pp
pp
85
2 4
Picc.
3 4 ff possible
2 4
Eb Cl.
Vla. senza sord. Vc.
3 4
42
43
2 4
3 4
2 4
3 4
mp ossia Picc.
Clarinet in Eb
ff possible
senza sord. p
p
ff possible
Eb Cl.
2 4
3 4
ossia Violin
2 4
3 4
2 4
3 4
senza sord. ossia Vc. mp
2 4
Perc. (B.D.)
p
3 4 the
Pno.
ff possible
senza sord.
p
2 4
S.
Clarinet in Eb
wind
be - gan
to
using a plastic guitar pick, rasp rapidly along low, thick strings as hard as possible
howl.
3 4
42
43
42
43
2 4
3 4
2 4
3 4
let vibrate until sounds dies out
ff poss.
Xyl.
ff possible
Tam-tam mp p
sf sf
Vibraslap fff
53
Chimes of Freedom q = 60
4 4
Flute
Bb Clarinet (Bass Clarinet)
4 4
Violin
4 4
pp
p
p
p
pp
4 4
Violoncello
(pp)
pp
4 4
Soprano
4 4 Piano
4 4 q = 60
4 4
Percussion
Faster
accel.
rall.
9 Fl. ppp
3
3
3
3
3
mp
3
3
3
3
3
3
3
Bb Cl. pp
Vn. ppp
mp
ppp non cresc.
(ppp)
Vc.
S. *
mf
pp
Pno.
Vibraphone motor on med.
Perc.
Faster
accel.
rall.
mf
Sus. Cym.
ppp
mp
* To achieve bell-like sound, play the left hand softer than the right hand at all times. Words by Bob Dylan Copyright © 1964 Warner Bros., Inc. Copyrigh renewed 1992 Special Rider Music International Copyright Secured. All Rights Reserved. Used by Permission of Special Rider Music
Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY This version Copyright © 2009 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.
54 16
* accel.
Slower q = ca. 50 a piacere
Fl. 3
ppp
3
3
3
Bb Cl.
Vn. ppp
Vc. ppp non cresc. p (whispered)
(sempre a tempo)
2 4
S. Far be - tween sun- down's fin - ish
an' mid- night's bro - ken
toll.
We ducked in
-
side
the
door
mp
Pno.
* accel.
Slower q = ca. 50 a piacere (Vib.)
mp
Perc.
Sus. Cym.
ppp
Faster
rall.
q = ca. 50
20 Fl. mp
3
3
3
3
3
3
3
3
pp
Bb Cl. pp
Vn. mp
pp
Vc. (ppp)
(q = ca. 50) mf
way,
thun
-
der
crash
-
ing
As ma - jes - tic bells of bolts struck sha - dows in the sounds
pp
mp
Pno.
Faster
q = ca. 50
rall.
(Vib.)
mp
Perc. (Sus. Cym.)
mp
pp
* Ensemble accelerates, Singer continues a tempo, ignoring conductor
-
55 q = 60
25
1 4
4 4
Bb Cl.
1 4
4 4
Bs. Cl.
41
Fl.
*
44
3
pp
pp 3
p
Vn.
1 4
Vc.
1 4
4 4
3
S. Seem- ing to be the chimes of free- dom
*
3
pp
3
p
3
p
p
4 4
flash - ing
1 4 Pno.
p
p
4 4
1 4
3
3
p
p p
3
4 4
3
p
1 4
Flash- ing for the war-ri - ors
4 4
3
whose
3
3
3
3
3
3
3
3
3
pp
q = 60
(Vib.)
1 4
Perc.
1 4
4 4
Large Tam-tam
4 4
3
p
30 Fl. p
Bb Cl. p 3
3
3
Bs. Cl.
p
Vn. p
arco pizz.
3
3
3
Vc. p
p
mp
mp
mf
S. strength is not to fight
Flash- ing for
the ref - u - gees on the
un- armed road of
flight,
An' for each
3
Pno. 3
mp p
an' ev - 'ry un - der- dog
3
3
3
3
3
3
Medium Tam-tam
Perc.
(Lg. Tam-tam)
p 3
l.v.
* if Bass Clarinet can produce a low "A"(concert), then Bass Clarinet and Violin play the small notes. Otherwise, play normal-sized notes only.
56 34
4 4
5 4
Fl.
mf
mp
play on either { mf
mp
mf
mp
mf
5 4
Bb Cl. 3
5 4
3
Bs. Cl.
4 4 4 4
p
pp
p
pp
p
pp
p
pp
p
pp
mf
4 4
5 4
Vn. mf
(mf)
3
3
5 4
Vc. f
f
An' we gazed up - on 3
3
the chimes of free- dom 3
f
3
mf
4 4
mp (f)
5 4
S.
Pno.
mp
mf
f
sol - dier in the night
mf
flash
-
4 4
ing.
5 4
4 4
5 4
4 4
5 4
Chimes
4 4
f
mf
mp
p
Perc. (Lg. Tam-tam)
3
5 4
3
mp
High Tam-tam mf
l.v.
Faster
accel.
4 4
mp
p
rall.
38 Fl. 3
ppp
3
3
3
mp
3
3
3
3
3
3
3
3
Bb Cl.
Bs. Cl.
Vn. ppp
mp
pp
Vc. pp non cresc.
S.
Pno.
mf
mf sub.
Faster
accel.
rall.
Vib. (motor on med.)
Perc.
mf
mf sub.
Sus. Cym.
p
l.v. mf
(l.v.) pp
57 Slower q = ca. 50 a piacere
44
3 4
Fl. pp
pp
play on either { pp
pp
pp
pp
3 4
Bb Cl.
3 4
Bs. Cl.
43
3
Vn. pp
pp
pp
3 4
Vc. pp
pp
3
p
pp 3
3
S. In the cit - y's
3
mp
Pno.
melt - ed
3
pp
un - ex - pect - ed - ly
we
watched
with fac - es hid - den while the walls were
3
mp
3
fur- nace,
3
3 4 pp
mp
3
mp
mp
3
3
3
mp
3
pp
3
3
3 4
3
3
sempre
Slower q = ca. 50 a piacere Vib.
3
Vib.
Glock.
3
3 4
Perc. mp
48 Fl.
3 4
Bb Cl.
3 4
Bs. Cl.
3 4
pp
mp
pp
pp
mp
q = 60
4 4
3
p 3
(play on either) { p 3
4 4
n
4 4
3 4 Pno.
As the
pp
3 4
3
3
ech - o of the wed - ding bells be - fore the blow - in' rain
4 4
Dis - solved in - to the bells
3
3
p
mf
mp
3
3
3
mp
Perc.
3 4
pp
3
p
mf
4 4
* low A produced either by extending bell or lip position
3
3
mf
of
2 4
4 4
the light- ning
4 4
3
pp
2 4
Glock.
3
3
mp
4 4
3
mp
4 4
3 3
4 4
3
3 3
3
(Vib.)
pp
3
3
3 4
3
2 4 3
mf
3
4 4
p
p
4 4 pp
*
4 4
2 4
4 4
mp
3
pp
n
tight - ening
4 4
p
4 4
3 4
2 4
2 4 n
3 4
4 4
n
4 4
3 4
2 4
2 4
3
pp
S.
pp
3
pp
Vc.
3
n
p
Vn.
3 4
pp
q = 60
2 4
4 4
pp
2 4
Lg. Tam-tam 3
p
4 4
58 53 Fl.
4 4
Bb Cl.
4 4
Bs. Cl.
4 4
Vn.
4 4
Vc.
4 4
S.
4 4
p
p 3
3
3
3
p
3
3
3
3
pizz.
(p)
(mp)
Strik- ing for the gen - tle,
strik - ing for the kind
Strik- ing for the guard- ians and pro-
4 4 p
4 4
Pno.
3
3
3
3
3
3
3
3
mp
4 4
p
44 Perc.
Med. Tam-tam p
(Lg. Tam-tam)
4 4
3
3
3
3
58 Fl.
Bb Cl. 3
3
3
3
3
Bs. Cl.
Vn. arco 3
Vc. 3
(mf)
3
(f)
3
S. tec - tors
of the
mind
An' the
mp
un
-
pawned paint - er
3
be - hind be - yond his right - ful
time
An'
3
3
3
3
3
3
Pno.
3
mf
mp
(Med. Tam-tam)
Perc.
(Lg. Tam-tam) 3
we
59 61
stringendo
Fl.
5 4
3 4
Bb Cl.
5 4
3 4
Bs. Cl.
5 4
3 4
4 4
Vn.
5 4
3 4
4 4
Vc.
5 4
3 4
4 4
5 4
3 4
q = q.
S.
5 4
3 4
4 4
5 4
3 4
4 4
5 4
3 4
3
3
gazed up - on the chimes of free- dom flash
3
Pno. 3
5 4 (Lg. Tam-tam) 3
65
5 4
mf
4 4
to Bass Clarinet
12 8
ing.
Chimes
f
Perc.
-
4 4
pp
p
stringendo
3 4 f
mf
mf
4 4 p
(mp)
mp
3 4
4 4
q = 72
Fl.
44
Bs. Cl.
4 4
Vn.
4 4
Vc.
4 4
S.
12 8
mf
Through
4 4 Pno.
44 (p)
q = 72
(Chimes)
Perc.
4 4
mf
mp sub.
4 4
damp
4 4
Bass Drum p
the
60 67
3 4
Fl.
4 4 f
3 4
Bs. Cl.
4 4 f
3 4
Vn.
4 4
pp
f
3 4
Vc.
4 4
pp
f
9 8
3
S. mad
mys
-
tic
ham - mer - ing
of
the
12 8
wild
3 4 Pno.
rip - ping hail
The
4 4
sim.
3 4
4 4 f
3 4
Perc.
p
69
4 4
Small Sus. Cym. - snare sticks sf
Fl.
4 4
3 4
4 4
Bs. Cl.
4 4
3 4
4 4
mf
(mp)
mp
Vn.
4 4
3 4
Vc.
4 4
3 4 mp
mf
S.
cracked
its
poems
4 4 f
9 8 in
na - ked
won - der
That
12 8 the
4 4
3 4
4 4
4 4
3 4
4 4
mf
Perc.
pizz.
mf
12 8 sky
Pno.
4 4
44
f
43
44
61 71 Fl.
4 4
Bs. Cl.
4 4
Vn.
4 4
Vc.
4 4
3 4 mf
3 4
mf
3 4 mf
arco
3 4
(mf) mf
12 8
S.
clang
Pno.
-
ing
of
the
church
bells
blew
far in - to the breeze
Leav - ing
4 4
3 4
4 4
3 4 (f)
mf
dim.
4 4
Perc.
Chimes
Fl.
3 4
Bs. Cl.
3 4
3 4
3
mp
5
mf
73
9 8
rall.
4 4 4 4
mp
Vn.
3 4
Vc.
3 4
4 4 p
4 4 mp
S.
3
9 8 on
Pno.
ly
bells
of
light
-
ning
and
its
3 4
4 4
3 4
4 4 (dim.)
Perc.
-
12 8
3 4
mp
mp
p
rall.
4 4
Bass Drum ppp
poco
62 75
Slower
Fl.
4 4
Bs. Cl.
4 4
Vn.
4 4
Vc.
4 4
Tempo I (q = 60) rubato (free)
rall.
p
pp
(pp)
p
pp
(pp)
mp
12 8
S.
q. = 60
thun - der
As
we
lis - tened
one
last
time
an' we watched with one
last look
4 4 pp
(p)
Pno.
4 4
pp
5
5
6
Slower
Tempo I (q = 60) rubato (free)
rall.
4 4
(Bass Drum) Perc.
p
n
78
lunga
Fl. to Bb Clarinet
lunga
Bs. Cl. lunga
Vn. pp
lunga
Vc. pp (pp) p
q. = q
lunga
Spell - bound an' swal - lowed 'til
the toll - ing
(pp)
4 4
S. end - ed.
Toll - ing for
the reb - el,
lunga 3
Pno.
3
3
3
3
3
3
3
3
3
3
p
lunga
lunga
Chimes
p
Perc. lunga
Large Tam-tam 3
p
63 82 Fl. pp
(pp)
p
(pp)
p
Bb Cl. Bb Cl. pp
Vn. p
Vc. p p
mp
S. toll - ing for the rake
Toll - ing for
the luck- less,
the a - ban- doned an' for - saked
Toll - ing
out - cast burn - in'
3
3
3
3
3
3
3
3
3
mp
Pno.
(Chimes)
for the
cresc.
pp
mp
Med. Tam-tam Perc. (Lg. Tam-tam)
pp
3
3
3
mp
Faster, free
86 Fl. mp
f
mf
mp
f
mf
mp
f
mf
mp
f
Bb Cl.
Vn.
Vc. mf
f
mf
S. con- stant- ly atstake
An' we
3
gazed
Toll - ing for
3
3
3
3
f
the deaf an' blind, toll
-
ing for the mute The mis-
3
Pno. (mp) 3
f
3
mf
3
3
Faster, free (Chimes)
3
3
3
solo
3
mf
(mp)
3
(Med. Tam-tam) 3
3
Perc. (Lg. Tam-tam)
3
(mp)
3
3
mf
f
mf
f
mf
64 91 Fl.
Bb Cl. arco
pizz. Vn.
mf
f
arco
pizz. Vc.
mf
f
ff 3
3
S. treat - ed, mate - less moth - er,
the mis - ti - tled
pros - ti - tute
Toll
-
-
ing
for
Pno.
the
ach - ing
ones
whose
f
(Chimes)
f
Perc.
mf
f
f
mf
f
(Med. Tam-tam) f
poco ritard. 94 Fl. 3
mf
3
mf
Bb Cl.
pizz.
arco
f
mf
3
Vn.
pizz.
mf
arco
Vc. f
mf
mf
3
3
3
S. wounds can - not
be nursed
An' for
ev - ery
hung - up
in
the
whole
wide u - ni - verse
An'
we
mf
Pno.
poco ritard.
(Chimes)
Perc.
per - son
3
(f)
(Med. Tam-tam)
(f)
3
65
Sostenuto (q = 60) 97 Fl. f
Bb Cl. f
Vn. f
Vc. f fff
S. gazed
An'
f
Pno.
sf
we
gazed
An'
mf
sf
we
(f)
gazed up - on
the chimes
of free - dom
f` (f)
Sostenuto (q = 60)
(Chimes)
ff
Perc. Lg. Tam-tam
f
f
accel.
a tempo
100 Fl. sfp
cresc.
sff
sfp
cresc.
sff
sfp
cresc.
sff
cresc.
sff
Bb Cl.
Vn.
Vc. sfp
cresc.
S. flash
-
-
-
-
mp sub.
-
cresc.
Pno.
-
-
-
-
-
-
-
-
-
ing.
fff dim.
(hold pedal into next song)
accel.
a tempo
(Chimes)
Perc.
(Lg. Tam-tam)
cresc.
sff
(hold pedal into next song)
sff
(hold note into next song)
66
Postlude:Forever Young h = 56
(q = q)
5 4
3 2
5 4
3 2
4 4
Flute (Piccolo)
3 2
Bb Clarinet (Eb Clarinet)
3 2
5 4
3 2
5 4
3 2
4 4
Violin
3 2
5 4
3 2
5 4
3 2
4 4
Violoncello
3 2
5 4
3 2
5 4
3 2
4 4
Soprano
3 2
3 2
5 4
3 2
4 4
p with simplicity
5 4
May God bless and keep you
al - ways,
May your wish - es all come true,
May you
accel.
rall.
al - ways do for oth-ers And let
*
Piano
3 2
5 4
3 2
5 4
3 2
4 4
3 2
5 4
3 2
5 4
3 2
4 4
5 4
3 2
5 4
3 2
4 4
5 4
3 2
5 4
3 2
4 4
h = 56 (q = q)
(Chimes) *
3 2
Percussion
(Lg. Tam-tam) *
3 2
a tempo
8
accel.
rall.
rall.
Fl.
5 4
4 4
5 4
3 2
Bb Cl.
5 4
4 4
5 4
3 2
4 4
Vn.
5 4
4 4
5 4
3 2
4 4
Vc.
5 4
4 4
5 4
3 2
4 4
S.
5 4
4 4
5 4
3 2
4 4
oth - ers do for
you.
Pno.
Perc.
(Chimes)
a tempo
(Lg. Tam-tam)
damp
May
you
build a
lad - der
to the stars
And
climb
on
ev - 'ry
4 4
rung.
5 4
4 4
5 4
3 2
4 4
5 4
4 4
5 4
3 2
4 4
5 4
4 4
5 4
3 2
5 4
4 4
5 4
3 2
rall.
4 4 4 4
* sonorities from Chimes of Freedom diminuendo to niente Words by Bob Dylan Copyright © 1973, 1985 Ram's Horn Music International Copyright Secured. All Rights Reserved. Used by Permission of Ram's Horn Music
Music by John Corigliano Copyright © 2000 by G. Schirmer, Inc. (ASCAP), New York, NY This version Copyright © 2009 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.
67
q = 66
15
4 4
Fl.
pp
4 4
Bb Cl.
(q = q)
pp
4 4
Vn.
con sord.
h = 56
6 4
3 2
5 4
6 4
3 2
5 4
6 4
3 2
5 4
6 4
3 2
5 4
6 4
3 2
pp
4 4
Vc.
con sord.
pp
4 4
S.
pp
May you stay
Pno.
for - ev - er young, For - ev - er young, for - ev - er young,
4 4
6 4
4 4
6 4
q = 66
21
pp
(q = q)
4 4
Perc.
May you stay for - ev - er
6 4
mf
young.
5 4
May you
3 2
5 4
3 2
5 4 h = 56
3 2
5 4
Fl.
5 4
3 2
5 4
3 2
5 4
3 2
Bb Cl.
5 4
3 2
5 4
3 2
5 4
3 2
Vn.
5 4
3 2
5 4
3 2
5 4
3 2
Vc.
5 4
3 2
5 4
3 2
5 4
3 2
S.
5 4
3 2
5 4
3 2
5 4
3 2
grow
Pno.
Perc.
3
up
to
be
right- eous,
May you
grow
up
to
be
true,
f (dolce)
May you
al
-
ways know the
45
23
45
23
45
23
5 4
3 2
5 4
3 2
5 4
3 2
5 4
3 2
5 4
3 2
5 4
3 2
68
26 Fl.
3 2
4 4
Bb Cl.
3 2
4 4
Vn.
3 2
4 4
Vc.
3 2
4 4
S.
3 2
mf
truth And see the lights sur- round- ing
Pno.
Perc.
32
you.
rall.
4 4
May you
al - ways be cou - ra- geous, Stand
3 2
4 4
23
44
23
44
q = 66
Fl. pp
Bb Cl.
up - right and
be
strong.
rall.
h = 56
q=q
46
23
6 4
3 2
5 4
6 4
3 2
5 4
6 4
3 2
5 4
6 4
3 2
mp
young.
May
45
pp
(sord.) Vn. pp
(sord.) Vc. pp pp
S. May you stay
Pno.
q = 66 Perc.
for - ev - er young,
For - ev - er young, for - ev - er young,
May you stay for - ev - er
5 4
3
you
6 4
3 2
5 4
6 4
3 2
5 4
Vib. (motor off)
q=q
3 2
6 4
pp
h = 56
5 4
69 38 Fl.
5 4
3 2
5 4
3 2
4 4
Bb Cl.
5 4
3 2
5 4
3 2
4 4
Vn.
5 4
3 2
5 4
3 2
4 4
Vc.
5 4
3 2
5 4
3 2
4 4
S.
5 4
3 2
5 4
3 2
4 4
hands
Pno.
Perc.
44
al - ways be
bus - y,
May your
feet
al - ways be
swift,
May your
have
5 4
3 2
5 4
3 2
4 4
45
23
45
23
44
5 4
3 2
5 4
3 2
4 4
rall.
a tempo
accel.
a strong foun - da - tion When the
accel.
rall.
Fl.
5 4
4 4
5 4
3 2
Bb Cl.
5 4
4 4
5 4
3 2
4 4
Vn.
45
4 4
45
23
44
Vc.
5 4
4 4
5 4
3 2
4 4
S.
5 4
4 4
5 4
3 2
winds of chang - es
shift.
Pno.
rall. Perc.
a tempo
mf
May
your
heart al - ways be
joy - ful,
May your
f
song
4 4
4 4 al - ways be
sung,
5 4
4 4
5 4
3 2
4 4
5 4
4 4
5 4
3 2
4 4
5 4
4 4
5 4
3 2
rall.
4 4
70 51
q = 66
Fl.
4 4
6 4
4 4
Bb Cl.
4 4
6 4
4 4
Vn.
4 4
6 4
4 4
Vc.
4 4
6 4
4 4
S.
4 4
6 4
4 4
p
May
Pno.
you
stay
for - ev - er
young,
For - ev - er
young,
for - ev - er
young,
May
you
stay
for - ev - er
4 4
6 4
4 4
4 4
6 4
4 4
6 4
4 4
q = 66 Vib. - use bow
4 4
Perc.
pp
56
rall.
Fl.
4 4
Bb Cl.
4 4
6 4 (pp)
6 4
ppp
(pp)
Vn.
4 4
6 4
Vc.
4 4
6 4
S.
4 4
6 4 young.
For
-
ev
-
-
er
young.
6 4
4 4 Pno.
May you stay
pp
4 4
6 4 rall.
(Vib. - bowed)
Perc.
4 4
pp
6 4
for - ev - er
young.