The Fusion of Classical Music and Electronic Dance Music

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Let Me Tell You A Story (The Children In Their Beds): The Fusion of Classical Music and Electronic Dance Music

Larson, Logan Thomas https://scholarship.miami.edu/discovery/delivery/01UOML_INST:ResearchRepository/12379279380002976?l#13379279370002976

Larson, L. T. (2021). Let Me Tell You A Story (The Children In Their Beds): The Fusion of Classical Music and Electronic Dance Music [University of Miami]. https://scholarship.miami.edu/discovery/fulldisplay/alma991031572688802976/01UOML_INST:ResearchR epository

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UNIVERSITY OF MIAMI

LET ME TELL YOU A STORY (THE CHILDREN IN THEIR BEDS): THE FUSION OF CLASSICAL MUSIC AND ELECTRONIC DANCE MUSIC

By Logan Larson

A DOCTORAL ESSAY

Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts

Coral Gables, Florida

May 2021

UNIVERSITY OF MIAMI

A doctoral essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts

LET ME TELL YOU A STORY (THE CHILDREN IN THEIR BEDS): THE FUSION OF CLASSICAL MUSIC AND ELECTRONIC DANCE MUSIC

Logan Larson

Approved:

______Dorothy Hindman, D.M.A. Juraj Kojs, Ph.D. Associate Professor of Composition Assistant Professor of Professional Practice

______Lansing McLoskey, Ph.D. Guillermo J. Prado, Ph.D. Professor of Composition Dean of the Graduate School

______Robert Carnochan, D.M.A. Professor of Conducting

LARSON, LOGAN (D.M.A., Composition) (May 2021)

Let Me Tell You A Story (The Children In Their Beds): The Fusion of Classical Music and Electronic Dance Music

Abstract of a doctoral essay at the University of Miami.

Doctoral essay supervised by Professor Dorothy Hindman. No. of pages in text. (142)

This dissertation explores the inspiration for the concert band and fixed media work

Let Me Tell You A Story (The Children In Their Beds). I discuss the genesis of the work,

Electronic Dance Music (EDM) history, the text, instrumentation, influences, and classical and EDM techniques. In Let Me Tell You A Story (The Children In Their Beds), I explore the combination of classical music and EDM. The work serves as an interactive children’s story where the narrator in the fixed media represents a parent acting out the story. The work is seven minutes and three seconds in length.

TABLE OF CONTENTS

Page

LIST OF EXAMPLES ...... v

LIST OF FIGURES ...... viii

Chapter

1 INTRODUCTION AND GENESIS OF THE WORK ...... 1 Inspiration………………….………………………………………………… 2 Commission…………………………………………………………………… 3

2 EDM GENRES ...... 4 Early Electronic Music………………………………………………………… 4 Drum and Bass…………………………………………………………………. 6 Dubstep and Riddim…………………………………………………………. 6 The Importance of Movement………………………………………………… 10

3 TEXT ...... 12 Commission and Research ...... 12 Collaboration and Characters ...... 13 Synopsis ...... 13 Conversational vs. Rhythmic Speech in Music ...... 15 Vocals vs. Speech ...... 16

4 INSTRUMENTATION ...... 17 Instrumentation ...... 17

5 INFLUENCES ...... 18 Concert Band Research ...... 18 Narration in Orchestral Music ...... 19 EDM Influences and Storylines ...... 21 Sampling ...... 22 Sound Design ...... 22 Techniques ...... 23

6 CLASSICAL AND EDM TECHNIQUES IN LET ME TELL YOU A STORY (THE CHILDREN IN THEIR BEDS) ...... 26 Overall Formal Structure ...... 26 Counterpoint In My Music ...... 27 Musical Elements in EDM Compared To Classical Concert Band in Let Me Tell You A Story (The Children In Their Beds) ...... 28 Section 1: Introduction of Narrator – Measures 1-9 ...... 30

iii

Section 2: Narrator Begins Story – Measures 10-33 ...... 31 Section 3: Introduction of Blue and the Ambassador – Measures 34-57 ...... 40 Section 4: Adventure Begins and Introduction of the Purple Dragon – Measures 58-75 ...... 43 Section 5: Purple’s Coin Drop – Measures 76-83 ...... 47 Section 6: Leaving Purple’s Cave and Introduction of the Green Dragon – Measures 84-117 ...... 51 Section 7: Green’s Knife Drop – Measures 118-142 ...... 57 Section 8: Leaving Green’s Cave and Introduction of the Dragon – Measures 143-184...... 62 Section 9: Red’s Sword Drop – Measures 185-202 ...... 71 Section 10: Return To Aeribeth and Blue’s Hoard – Measures 203-228 ...... 75 Section 11: Blue’s Book Drop – Measures 229-247 ...... 77

7 CONCLUSION ...... 84

WORKS CITED…………… ...... 85

Appendix A – Full Score…………… ...... 98

LIST OF EXAMPLES

Page

Example 1 – Opening Vocals ...... 30

Example 2 – Trombone 1 Phrygian Mode Mixture: Measure 12 ...... 31

Example 3 – Flute 1 Triplet Sixteenth-Note Passage: Measures 20-21 ...... 32

Example 4a – Opening of Middleground Section 2, Part 1 ...... 33

Example 4b – Opening of Middleground Section 2, Part 2 ...... 33

Example 5 – Wobble Bass Triplets in Tenor and Baritone Saxophones: Measures 18- 20 ...... 34

Example 6 – Glockenspiel Entrance: Measures 18-20 ...... 34

Example 7a – Middleground: Measures 18-21, Part 1 ...... 36

Example 7b – Middleground: Measures 18-21, Part 2 ...... 37

Example 8 – Middleground: Measures 22-25 ...... 39

Example 9 – Lower Brass and Horn in Measures 26-29 ...... 40

Example 10 – Background of Section 3 – Repeated Five Additional Iterations ...... 41

Example 11 – Two Foreground Layers: Measures 54-57 ...... 42

Example 12a – Conversational Speech in the Vocal: Measures 58-60 ...... 43

Example 12b – Rhythmic Speech in the Vocal: Measures 62-66 ...... 43

Example 13a – Horns and Chimes Beat 3 Accent: Measures 58-64, Part 1 ...... 45

Example 13b – Horns and Chimes Beat 3 Accent: Measures 58-64, Part 2 ...... 46

Example 14a – Two Foreground Layers of Drop 1, Part 1 ...... 48

Example 14b – Two Foreground Layers of Drop 1, Part 2 ...... 49

Example 15a – Bassoon and Trumpet 1 Imitation, Part 1 ...... 50

Example 15b – Bassoon and Trumpet 1 Imitation, Part 2 ...... 51

Example 16 – Dovetailing Sections 5 and 6 – Measures 84-85 ...... 52

Example 17 – Mimicking of Fixed Media in Horn 1, Trombone 1, Bass Trombone: Measures 100-101 ...... 53

Example 18a – Orchestrational Dialogue: Measures 104-111, Part 1 ...... 54

Example 18b – Orchestrational Dialogue: Measures 104-111, Part 2 ...... 55

Example 19 – Orchestrational Additions At Measure 114 and Cultivation of Foreground Material...... 56

Example 20 – Foreground of Drop 2: Measures 118-120 ...... 58

Example 21 – Background Layers of Drop 2: Measures 118-120 ...... 60

Example 22a – Measures 143-154, Part 1 ...... 63

Example 22b – Measures 143-154, Part 2 ...... 64

Example 22c – Measures 143-154, Part 3 ...... 65

Example 23 – Shift from Measure 162 to 163 ...... 67

Example 24 – Cluster Chords: Measure 163-168 ...... 68

Example 25a – Orchestrational Crescendo: Measures 175-181, Part 1 ...... 69

Example 25b – Orchestrational Crescendo: Measures 175-181, Part 2 ...... 70

Example 26 – Glockenspiel and Xylophone in Measures 185-188 ...... 71

Example 27 – Flute 1, Oboe, and Saxophones: Measures 185-188 ...... 72

Example 28 – Brake Drum: Measures 185-188 ...... 72

Example 29 – Tutti Foreground: Measures 193-196 ...... 74

Example 30 – Imitation Between Vocals and Concert Band in Measures 207-210 .... 76

Example 31 – Xylophone In Section 11 ...... 78

Example 32 – Swells of Section 11 ...... 78

Example 33a – Auxiliary Piccolo and Eb clarinet In Section 11, Part 1 ...... 79

Example 33b – Auxiliary Piccolo and Eb clarinet In Section 11, Part 2 ...... 80

Example 34 – Staccato Material In Section 11 ...... 82

vii

LIST OF FIGURES

Page

Figure 1 – EDM Family Tree ...... 7

Figure 2 – Four To The Floor Patterns of Techno and House ...... 8

Figure 3 – Dubstep Drums ...... 8

Figure 4 – Rhythmic Intricacy in Vocals: Measures 34-38 ...... 15

Figure 5 – Conversational Speech in Vocals: Measures 58-60 ...... 16

Figure 6 – The Duck ...... 19

Figure 7 – The Cat ...... 20

Figure 8 – The Narrator ...... 21

Figure 9a – Automation Inside Ableton ...... 23

Figure 9b – Beginning of EQ Eight ...... 24

Figure 9c – End of EQ Eight ...... 24

Figure 10 – LFO Automation ...... 25

Figure 11 – Overall Structure of Form ...... 26

Figure 12 – Layering In Green’s Knife Drop ...... 29

viii

CHAPTER 1

INTRODUCTION AND GENESIS OF THE WORK

This dissertation explores my inspiration for the concert band and fixed media work

Let Me Tell You A Story (The Children In Their Beds). In Let Me Tell You A Story (The

Children In Their Beds), I explore the combination of classical music and Electronic Dance

Music (EDM). The work serves as an interactive children story where the narrator in the fixed media represents a parent acting out the story. In this paper I will discuss: the genesis of the work; a brief history of EDM and its subgenres relevant to my work; the text of my piece; instrumentation; my musical influences as they appear in this piece; and my personal fusion of classical and EDM styles.

My passion for EDM has a large influence on my approach to my musical creation process, even in strictly classical styles. My development as a composer has been shaped both by my time in the classical music community, including my participation in choirs, and years of academic study of classical music composition, and my participation in the EDM online community and in person through recordings, festivals, raves, blogs, and Facebook groups. A fundamental part of who I am as a composer is reflected in my desire to create music that expresses both of these passions.

My aspiration to create a concert band and fixed media work derived from wanting to compose a work for a large ensemble in continuation of the development of a new genre I created entitled New Wave Classical Art Music. This genre has been the focal point of my doctoral studies at the University of Miami. It always includes one or more acoustic instruments with fixed media tracks. The acoustic instruments are treated

2 with a classical approach to orchestration and counterpoint, such as utilizing church modes, and mode mixture, techniques not currently found in EDM. By combining the acoustic instruments with the visceral synths and drums of EDM, I hope to broaden the possibilities for the classical genre.

Inspiration

The inspiration for this work began with thinking about my childhood. My mother and father both read to me often, either to teach me how to read or as a bedtime story, as many parents do for their children. I thought about how my parents would often do voices for certain characters and make percussive noises to give the story context, distinguish characters, and feel immersive. I wanted to replicate these treasured memories but in a new way, one where fixed media amplifies the imagery of the words presented by the parents/narrator/speaker. In addition, the layers of counterpoint, timbres, and rhythms from the concert band would continue to advance my goals of text painting and enhanced musical complexity.

While my original idea was to set already completed short stories or poems, I decided to commission a text in order to have more creative control and to be able to change aspects of a sentence or plot point. The text was commissioned from author Sarah

Eral, in conjunction with myself, and will be discussed in greater detail in Chapter 3.

The form of Let Me Tell You A Story (The Children In Their Beds) follows the storyline and is through composed. The melodic material, musical tension, and sound design all serve the overall storyline as will be discussed in Chapter 6. The EDM

3 subgenres in the fixed media are both descendants of Drum and Bass music, Dubstep and

Riddim, which are characterized in detail in Chapter 2.

Commission

This work, along with three others, are being commissioned by the University of

Kansas Symphonic Band, conducted by Dr. Matthew Smith. The work will be performed in the April 28th, 2022.

CHAPTER 2

EDM GENRES

Early Electronic Music

The origins of electronic music began in Europe in 1948 with musique concrète by artists such as Pierre Schaeffer, Pierre Henry, Karlheinz Stockhausen, Iannis Xenakis,

Dod Dockstader, Michel Colombier, Darius Milhaud, and Edgard Varèse (Holmes,

2012). Beginning in studios such as Radiodiffusion-Télévision Francaise (RTF) and

Westdeutscher Rundfunk (WDR), and Radio Italiana (RAI), this technology expanded outside of Europe to more higher education institutions and corporations. This included the Radio Corporation of America (RCA) and the Columbia-Princeton Electronic Music

Center.

As electronic devices became smaller and more easily mass produced, the opportunity and access for more people to experiment and create electronic music expanded. Musique concrète techniques such as looping, sampling, and splicing sounds continued to be used as Electronic Dance Music began to form. Artists influenced by musique concrète include Aphex Twin, Autechre, Mouse On Mars, and Pan sonic.

The development of computers led to a rise in accessibility for new electronic music experimenters. This further increased as the internet emerged. Improved connection to people across the world assisted in the formation of electronic music communities. Before this, one would have to purchase a record or go to a rave to hear new dance music. With the computer and internet, now with the press of a button, one is connected to a community and music one may not have had access to otherwise. This

5 technological development allowed for new trends to form more quickly and be more widespread. Equally, information for the creation of music became more readily available and increased the number of people who were producing electronic music.

Electronic Dance Music is characterized as music made with computers and electronic instruments that is generally connected with dancing. The birthplace of EDM was in New York in the early 1980s where illegal parties and clubs such as The

Warehouse played House and Techno music. This music was inspired by disco and gained popularity immediately in New York, and later in Chicago, especially among the gay community (King, 2017).

The late 1980s and early 1990s brought the emergence of club culture and raving.

The association of drug culture being intertwined with EDM led to governments across

Europe and the United States to prohibit such events. This led to secret raves where the location was given only by someone connected with the host. New genres emerged in the

1990s including Trance, Hardstyle, Dub music, and Drum and Bass. Artists of this era include Daft Punk, The Chemical Brothers and Tiësto. EDM started to infiltrate other genres and through these means gained more popularity. An example of this is

Madonna’s 1998 album Ray of Light (Madonna, 1998).

The 2000s brought about new digital means of DJing and production such as

Pioneer’s electronic turntables and the Digital Audio Workstation (DAW) Ableton Live.

EDM started to gain further popularity and push towards more mainstream appeal through EDM artists like David Guetta, Daft Punk, and Skrillex and Pop artists like the

Black Eyed Peas and Lady Gaga. The decriminalization of EDM occurred around the

6 beginning of the millennium and emerged with large festivals for the genre such as Ultra

Music Festival, Coachella, Electric Daisy Carnival, and Tomorrowland.

The peak interest of EDM in America began around 2010 and was embodied through artists such as Flux Pavilion, David Guetta, Skrillex, Boys Noize, Hardwell, and others. A particularly influential album was Skrillex’s 2011 album Scary Monsters and

Nice Sprites (Skrillex, 2011), which allowed EDM to achieve main stage success. This album demonstrated a change in the musical landscape of popular music during the beginning of the 2010s (Bein, 2020).

Drum and Bass

The subgenres I draw inspiration from, Dubstep and Riddim, originate from Drum and Bass. This genre, abbreviated as drum ‘n’ bass, D’n’B, D&B, DNB, or D+B, typically ranges in tempo between 160-180 BPM, with strong bass and subbass melodies.

The genre emerged in England in the 1990s in nightclubs and outdoor events, and eventually birthed rave music (ARvaplane, 2014). The musical elements featured in

D’n’B are drums and a bass melody as the genre’s name suggests. The bass synths, formal structure, and rhythms of the genre vary, as the musical influences range from reggae to rock and roll drum breaks.

Dubstep and Riddim

Two descendants of Drum and Bass, that are explored in Let Me Tell You A Story

(The Children In Their Beds), are the Dubstep and Riddim subgenres. Their relationship to EDM broadly is illustrated in Figure 1 through a family tree.

Black and White Simple Corporate Family Tree 3/15/21, 4:06 AM

Figure 1 – EDM Family Tree

EDM GreatGreat-Grandparent -Grandparent

DRUM AND BASS GrandparentGrandparent

DUBSTEP ParentParent

RIDDIM MELODIC RIDDIM EldestEldest Child Kid YoungestYoungest Child Kid

The genre is derived from Jamaican dub music and British two-step garage music

(Snoman, 2019). From Jamaican dub music the instrumental nature of songs was

maintained and the drum patterns from two-step was used. The drums differ from the

constant kick drum of Techno and House music and alternate the kick drum beats (Figure

2). The Dubstep drum pattern (Figure 3) has a kick on beat 1 and a snare on beat 3 . The

hi-hat allows for diversity in rhythmic patterns but retains a lesser importance in the mix.

https://www.canva.com/design/DAEP8TqcRn0/1yRGYBWcdNK9E-XQVBBsaA/edit?layoutQuery=Family%20Tree Page 1 of 1 Score 8

Figure 2 - Four To The Floor Patterns of Techno and House)

Kick Drum 4 œ œ œ œ ã 4

Figure 3 - Dubstep Drums

Hi-hat rhythms Hi-hat rhythms Kick Snare 4 œ Œ œ Œ ã 4

Strong subbass and bass lines are the key characteristics in Dubstep’s sound. The

BPM for the genre was usually between 130-140 in the early 2010s but has evolved

slightly throughout the decade to 140-150. The rhythmic and melodic elements of the

genre operate at half speed, about 75 BPM, to encourage a headbanging motion when

listening. The mood is traditionally dark and conveyed in a minor key, generally E or F

minor because of the increased functionality of the subbass in these keys.

Originators of the genre in the early 2000s include artists such as Skream, Benga,

MRK1, Kode Nine, Vex’d and Digital Mystikz in the United Kingdom (Snoman, 2019).

The tracks made were typically instrumental but began to add vocals later in the decade

which allowed the genre to grow in commercial use. An example of this is Promises by

Nero (Nero, 2011).

Over a decade later, the Americanized version of Dubstep, commonly referred to

as Brostep, became synonymous with one pioneering DJ and producer, Skrillex. Brostep

peaked the interests of the American mainstream culture in the early 2010s and allowed

for greater acceptance of EDM music on ©a larger scale.

To further examine the Dubstep genre and the demonstration of common Dubstep drum patterns, heavily distorted bass synths, timbral possibilities and the common build and release of musical tension, I would refer a listener to this short list of works from different eras: Lost It (VIP) by Virtual Riot (Virtual Riot, 2019), Hoedown by Zomboy

(Zomboy, 2012), Get High by Oliverse (Oliverse, 2018), First of The Year (Equinox) by

Skrillex (Skrillex, 2011), Covered In Blood by Herculez (Herculez, 2020), Never Give Up by Teminite (Teminite, 2018), We Don’t Play by Various Disciple Artists (Various

Disciple Artists, 2019), Vertebreaker by Herobust (Herobust, 2017), and Battle of the

Bros by Ray Volpe (Ray Volpe, 2020).

Riddim is a relatively new subgenre of EDM with a rudimentary version appearing around 2008 and becoming fully formed in 2010. The genre remained mostly underground in the United Kingdom and only recently gained popularity in the US around 2018. The scholarly material on this genre is scarce because it is still relatively underground. To better understand the history and intricacies of the genre, I had a discussion with a DJ and Producer of Riddim, Cody Cordova.

Riddim is a more minimalistic approach to Dubstep that focuses on the syncopated rhythm of the synths and bassline as its most prominent feature. Riddim basslines have minimal synths accompanied with dark percussive grooves and a basic two-step drum pattern. Riddim doesn’t typically have the high energy of other Dubstep derived subgenres such as Brostep. Originators of Riddim include artists such as Jakes,

A3, Hizzleguy, D2, Badklaat, Bukez Finezt, Bloodthinnerz, BlankFace, Aweminus,

Akira, Ad, Infekt, SubFiltronik, Detzky, 50 carrot, Solomon, Coffi, The Argonauts,

Vodex, Jam PRD, Ponicz, Bommer, Crowell, Styn, Obey, LV, Curzed, Badphaze, The

Gremlins, and Benzmixer. SubFiltronik shaped a large portion of the subgenre with songs such as Passout (SubFiltronik 2013), Turn It Out (SubFiltronik 2017), and Blissimo

(SubFiltronik 2013). In the last year, a sister genre entitled Melodic Riddim has emerged.

Artists leading the development of this new subgenre include Killin’ Void, Chime, and

Ace Aura.

The Importance of Movement

Electronic Dance Music is directly tied to physical movement, as is any dance music. There are certain dance actions correlated with certain forms and genres. For instance, the Waltz is tied to its three-step pattern and House music is connected with shuffling. The genres I use in my work, Dubstep and Riddim, are similar but can differentiated by the movement they evoke. The movement associated with Dubstep, and why it operates in half time, is a back-and-forth headbanging motion. The drums facilitate this locked motion in the genre. The Riddim genre differs with the body naturally gravitating to a bounce, typically side-to-side instead of back-and-forth. These considerations of how the listener will move to the music influenced my use of more simplistic rhythms in the drums throughout Let Me Tell You A Story (The Children In

Their Beds) to firmly convey the headbanging or bounce movement.

Collaborating with a dance department/dancers to further illustrate the story would allow for movement to be integrated in the performance. An additional film project will be

11 commissioned in the future to accompany this work and can add new opportunities for lighting design and other theatrical components. Even in a concert hall setting, while not common, movement of the audience can be encouraged. Asking the audience to stand and dance is not out of the realm of possibilities. The performance of this work can also be outside of the concert hall and give a less restrictive space for the audience to move and dance.

CHAPTER 3

TEXT

Commission and Research

The commissioned text for Let Me Tell You A Story (The Children In Their Beds) is by author Sarah Eral and myself. I met Sarah at Luther College during our undergraduate degrees. Her creativity and knowledge in literature is something I have admired for many years and made her a clear choice to approach in writing the text.

Knowing the overall direction of the work, I began my own research before meeting with Sarah. The form and style of the text I envisioned was similar to a children's book. I read over 40 children’s books that ranged in theme, length, and rhyme scheme

(see works cited). What I found most interesting was that many of the books had dark themes presented. The Old Lady Who Swallowed A Fly (Adams, 1995) ends in her death, many versions of The Three Little Pigs involve murder, and The Snowman (Briggs, 1990) ends in the snowman melting to death with no explanation or justification afterward. This led to my exploration of darker underlying themes in the creation of my story.

First, Sarah and I brainstormed to generate a shared vision for the story. As the text was crafted, Sarah and I agreed on four major points. Firstly, the story would follow the form of a quest and have the trinity of three places/tasks that are common in short story arcs and in other literature. The tale would contain a form of a moral or life lesson.

The characters should be drawn from the seven deadly sins of Pride, Greed, Wrath, Envy,

Lust, Gluttony, and Sloth, and characters should have an easily distinguishable auditory cue.

The other considerations for the text included the person(s) who would be speaking and whether the narration should be live or in the fixed media. One of my most consistent musical collaborators, Wesley Frye, is an operatic tenor and voice actor.

Changing character voices quickly in musical time is an art. Using a voice actor with ensembles would not only be difficult but an actor would not be likely to possess a musical background. For this reason, I decided that the vocals would be part of the fixed media to provide consistency when rehearsing and avoid performance issues.

Collaboration and Characters

Following the four agreed upon terms, the characters ultimately created were:

Narrator, Blue, The Ambassador of Aeribeth, Purple, Green, and Red. The dragons are all assigned a color and are representations of four of the seven deadly sins. The Blue dragon is Pride, the Purple dragon is Greed, the Green dragon is Gluttony, and the Red dragon is

Wrath.

Synopsis

The narrator describes the land of Aeribeth that is ruled by dragons. These dragons collect gifts or hoards of a particular item to keep them happy and the town safe.

Our main character, Blue, is visited by the Ambassador of Aeribeth and asked what hoard they would like to collect. Blue does not know, which leads to the Ambassador and Blue visiting three other dragons to see what they collect. The first dragon, Purple, collects jewels and gold. The second dragon is Green and collects food. Lastly, the third dragon,

Red, collects weapons. After visiting each hoard, Blue finds happiness in the other

14 dragon’s stories and desires to collect knowledge and books. The moral of the story conveyed is that knowledge is true power.

The sounds associated with each dragon’s hoard led to a discussion of the formation of each dragon character. The Purple dragon, following the stereotypical items of gems and gold associated with dragon hoards, was to be aurally represented by the jingling or dropping of coins. The Green dragon hoarding kitchen materials and food led to the use of sounds resembling bubbling cauldrons and knife chopping noises. The Red dragon’s collection of weapons is represented by the sounds of well-known medieval weapons such as knives, swords, and axes. Lastly, the Blue dragon’s discovery of knowledge and books as their desired hoard led to the slamming and tearing of books as the aural indicator.

Upon Sarah’s completion of the first draft, there were two problems. The first was the length when read at a moderate tempo. The intended time for the work for marketability to concert bands was between 5-7 minutes. The reading at normal speech patterns was about nine minutes. The second problem was the rhyme scheme. I originally asked Sarah to write the story without rhyming, but upon trying to set the text in the highly stressed drums patterns of a 4/4 EDM texture, I felt every attempt disrupted the flow and style and juxtaposed the fixed media in an unpleasant way. The solution to both of these problems was the addition of myself as a collaborator. With Sarah’s permission,

I edited down the story while simultaneously creating a rhyme scheme.

Conversational vs. Rhythmic Speech in Music

As a composer who has written many choral works, art songs, and created lyrics for my own music, the setting of text to music is natural for me. However, a presentation I attended at The Society of Music Theory and The American Musicological Society conference in November 2020 greatly informed my thought process specifically for this work. Ben Duinker’s presentation Functions of Expressive Timing in Hip-Hop Flow

(Duinker, 2020) discussed Eminem’s rap song Stan (Eminem, 2000). Duinker demonstrates the correlation between character development in the storyline of the work and the choice between the lyrics being conveyed through conversational versus rhythmic speech. The character, Stan, is writing Eminem a letter. As the character becomes increasingly agitated and unhinged after each verse, the highly rhythmic speech in the first verse dissolves into conversational speech by the third, and last, verse.

The concept of rhythmic intensity to convey character development is something I greatly pondered when creating the spoken rap vocals of the narrator in Let Me Tell You

A Story (The Children In Their Beds). Figure 4 demonstrates the rhythmic motif of The

Ambassador of Aeribeth and the Blue dragon characters through the rhythmic intricacy of offbeat and tied rhythms. The rhythms are highly focused on the sixteenth note pulse for rhythmic speech.

Figure 4 – Rhythmic Intricacy in Vocals: Measures 34-38

Conversational speech on the contrary, seen in Figure 5, demonstrates the more conversational tone of the vocals when the change in key from F minor to F major occurs with more simplistic rhythm and has a higher focus on the eighth note pulse to differ from the rhythmic speech.

Figure 5 – Conversational Speech in Vocals: Measure 58-60

Vocals vs. Speech

Wesley Frye speaks the text in the fixed media for this work. While Mr. Frye does have the ability to sing, all of the vocals are spoken. This conveys a parent actually reading to their child, not singing, and allows for greater melodic options for the concert band. Wesley is my best friend, and that relationship has resulted in countless collaborations and performances of my compositions, an understanding of the vision of my music, and intuitive phrasing for the desired outcome I intend.

With Let Me Tell You A Story (The Children In Their Beds), Wesley and I began by looking at the completed text and experimented with the timbres for each character.

As the narrator speaks first, and speaks most frequently, we both decided that his normal speaking voice should be assigned to this character. The final voices for the dragons are

Wesley’s interpretation of how he imagines the deadly sins of Pride, Greed, Gluttony, and Wrath. Lastly, the ambassador is a sidekick character in nature, and it was agreed upon that they would possess a more nasal quality.

CHAPTER 4

INSTRUMENTATION

Instrumentation

The full instrumentation for the work is as follows: Piccolo, Flutes 1 and 2, Oboe,

Clarinet in Eb, Clarinet in Bb 1, 2, and 3, Bass Clarinet, Bassoon, Alto Saxophone in Eb

1 and 2, Tenor Saxophone in Bb, Baritone Saxophone in Eb, Horn in F 1 and 2, Trumpet in Bb 1, 2, and 3, Trombone 1 and 2, Bass Trombone, Euphonium, Tuba, Percussion 1, 2,

3, and 4.

The choice of concert band, instead of another large instrumental ensemble, was my desire to have the work more accessible for high school students. My choice of which concert band instruments to include were based on what is accessible from discussions with high school band directors and the number of instruments per instrumental family typically associated with a high school level band. While playability for a high school ensemble is what I desired, grade level was not a factor in my creation process. The complete work is at a Grade 4 level.

CHAPTER 5

INFLUENCES

Concert Band Research

My research for orchestration and arranging for the concert band came largely from The Study of Orchestration by Samuel Adler (Adler, 2002), The Technique of

Orchestration by Donald Grantham and Kent Kennan (Grantham and Kennan, 2001),

Band Scoring by Joseph Wagner (Wagner, 1960) Arranging for the Concert Band by

Frank Erickson (Erickson, 1983) and Band Orchestration by Bret Newton (Newton,

2016). Attending the Frost Wind Ensemble rehearsals equally assisted in my understanding of timbral possibilities and potential orchestrational techniques. I also researched well-known concert band composers such as Percy Grainger, Paul Hindemith,

Alfred Reed, Darius Milhaud, John Phillip Sousa, and Gustav Holst.

More recent band literature had a large influence stylistically on my music with regards to timbre and harmony. These works in include: Angels In The Architecture by

Frank Tichelli (Tichelli, 2009), and the mountains rising nowhere by Joseph Schwantner

(Schwantner, 1977), Circus Maximus by John Corigliano (Corigliano, 2005), and Wine-

Dark Sea by John Mackey (Mackey, 2014). The most influential work, and what I believe is the closest work in the repertoire I have encountered to my intended vision, is

Mason Bates’ Mothership. The piece has been adapted from orchestra to band and fuses band and electronics with the inspiration of the piece deriving from the Techno subgenre of EDM (Bates, 2011).

Narration in Orchestral Music

I researched a number of works including narration such as Sergei Prokofiev’s

Peter and The Wolf Op. 67 (Prokofiev, 2001) and Igor Stravinsky’s L’historie du soldat

(The Soldier’s Tale) (Stravinsky, 1992). Peter and The Wolf is the work I gravitated to for inspiration. What I found particularly interesting about this work is the correlation between the instruments and characters. In Figures 6 and 7 Prokofiev uses the oboe to represent the duck and the clarinet to represent the cat. Because my work has multiple dragons, I wanted to assign clear motivic material that could be associated with each dragon. Prokofiev applies instrumental timbre to directly develop characters, but I desired a more motivic approach to ensure the volume of the concert band can equal the fixed media.

Figure 6 – The Duck

Figure 7 – The Cat

The narration in Peter and The Wolf allows for variation in stress and deliverance of the text, shown in Figure 8. The score dictates when the narrator begins but not when to end or the exact rhythm of speech. This would be counterintuitive for my piece as the work is inspired by dance music and has a heavy pulse that should not be interrupted and must be rhythmically align. To ensure consistent flow, I dictated vocal rhythms to align with the 4/4 rhythmic patterns of the drums. The text is more comparable to the speech rhythms of rap than free speaking rhythms and allows for drastic changes in the story to be musically timed.

Figure 8 – The Narrator

EDM Influences and Storylines

My largest EDM influences for the work were Virus Syndicate and Midnight

Tyrannosaurus. Both artists have a unique blend of storytelling through vocals or vocal sampling in their music. Virus Syndicate is known for mixing rap vocals with Dubstep tracks. Songs I analyzed by this artist were Sick Gang (Virus Syndicate and IVORY,

2019), Queasy (Chime, 2020), Frwrd (Virus Syndicate and Oliverse, 2020), We Don’t

Play (Various Disciple Artists, 2019), and How We Roll Play (Various Disciple Artists,

2020). The rhythmic flow in correlation to the instrumental accompaniment directly influenced my own approach to the setting and creation of my spoken vocals. For instance, their rap vocals never occur during the chorus material to allow for the focus to be on the Dubstep instrumental.

Midnight Tyrannosaurus’ music often includes long vocal interludes that inform his upcoming musical decisions. As is common within the Dubstep genre, his works

22 typically feature dark and sinister subject matter. For instance, his song Planet Purge

(Midnight Tyrannosaurus and Eh!de, 2016) condenses an episode of the popular Adult

Swim animated series Rick and Morty. He turns an episode focused on characters murdering each other in a blood-soaked rage into a musical rendition that builds on the essence of the episode. Other Midnight Tyrannosaurus works with extensive dialogue are

Dead Cell (Midnight Tyrannosaurus, 2020) and Brain Sludge (Midnight Tyrannosaurus,

2017).

Sampling

The production community shares sound samples, loops, instrument presets, and collections of sounds known as “packs” for others to use and manipulate. Production of

EDM songs involves large amounts of timbres and layers, which change depending on the subgenre. Working within one or more subgenres requires an extensive library of sounds. The site Splice is the most common sound library among EDM producers. In

Splice’s library one can search based on the name of a sound, genre, tempo, key, instrument, packs, and characteristics of sounds that include synths, bass, drums, grooves, vocals, percussion, pads, spoken word, chords, melodies, arpeggios, leads, and phrases.

Sound Design

For the sound design of my work, I utilized Splice samples and created my own synths through the popular EDM wavetable Serum to compliment the subgenres of

Dubstep and Riddim. Serum is an Xfer Record’s plugin and is an advanced wavetable synthesizer that allows for the creation of new sounds by manipulating different synth

23 waveforms such as sine waves, square waves, triangle waves, and sawtooth waves. The choice to use Serum, instead of other synthesizers, was because of its application specifically for drum and bass music. It is the most commonly used synthesizer among

Drum and Bass producers and has plentiful resources in the forms of tutorials from current artists in the field.

Techniques

Common audio manipulation techniques I employ in Let Me Tell You A Story

(The Children In Their Beds) are elongation and diminution of samples, pitch transpositions of samples, and “sample chopping” to create new rhythms.

Common audio effects I use are heavy saturation through a saturator or overdrive effect, multiband compression with an OTT compressor, multiple EQs for color and frequency adjustments, and a basic compressor.

To add a moving bass effect, I often incorporate high pass filter sweeps in a notch position. Figure 9a, 9b, and 9c demonstrates one of these sweeps from 100 Hz to 446 Hz.

Each line represents a quarter note in Figure 9a. Additionally the red line shows the automation. The green line and black MIDI notes do not demonstrate this concept.

Figure 9a – Automation Inside Ableton

Figure 9b - Beginning of EQ Eight

Figure 9c - End of EQ Eight

Figures 9b and 9c demonstrates the start (Figure 6b) and end (Figure 6c) of the number 2 knob of an EQ Eight moving from 100 Hz to 446 Hz. This movement is what has been automated in Figure 6a.

The dragons have Fx sound effects such as coins, knives, swords, and books attached to each of them. Multiple iterations of a specific sound create the associate of the sound with the specific dragon for the listener. I assigned specific rhythms to these Fx sound samples in order for the sound to become one with the other musical elements. For

25 instance, in Chapter 6 in section 11, I utilize six different book samples, such as slamming, ripping, and flipping of pages, to create the underlying rhythm of the fourth dragon, Blue.

Another tool I utilize is automation of synths. For instance, in Figure 10 I automated the LFO rate changes to alter from thirty second notes to quarter notes quickly to add rhythmic diversity to the synth holding a tonic F natural. Each line in the figure represents two measures.

Figure 10 - LFO Automation

CHAPTER 6

CLASSICAL AND EDM TECHNIQUES IN LET ME TELL YOU A STORY (THE

CHILDREN IN THEIR BEDS)

Overall Formal Structure

The formal structure of Let Me Tell You A Story (The Children In Their Beds) is divided into eleven parts, each with its own subtitle. These are: Introduction of Narrator;

Narrator Begins Story; Introduction of Blue and the Ambassador; Adventure Begins and

Introduction of the Purple Dragon; Purple’s Coin Drop; Leaving Purple’s Cave and

LMTYAS Formal Structure Introduction of the Green Dragon; Green’sL oKnifegan Larson | M aDrop;rch 18, 2021 Leaving Green’s Cave and

Introduction of the Red Dragon; Red’s Sword Drop; Return To Aeribeth and Blue’s

Hoard; and Blue’s Book Drop. This structure is illustrated in Figure 11.

Figure 11 – Overall Structure of Form

Introduction of Introduction Blue and the Purple's Coin Green's Knife of Narrator Ambassador Drop Drop

measures measures 10-33 measures 34-57 measures 58-75 measures 76-83 measures 84-117 measures 118-142 1-9

Narrator Begins Adventure Leaving Purple's Story Begins and Cave and Introduction of Introduction of the Purple the Green Dragon Dragon

Leaving Green's Cave and Return to Introduction of Aeribeth and the Red Dragon Blue's Hoard

measures 143-184 measures 185-202 measures 203-228 measures 229-247

Red's Sword Blue's Book Drop Drop

The structure of the work is through composed to accompany the changing events of the storyline. Through composed form does not occur in EDM and is based in the classical tradition, especially for programmatic and narrative works. EDM tends to have material return in some form, either in a chorus or verse. With the storyline events constantly changing, repetition of musical themes do not occur in Let Me Tell You A

Story (The Children In Their Beds).

Another prominent component of the structure of Let Me Tell You A Story (The

Children In Their Beds) is the duration of sections in the work. This work does not always follow the four-bar construction (i.e., 4 bars, 8 bars, 16 bars, 32 bars) that is common in EDM. The overall duration also does not follow standard EDM time constraints. In EDM, typical songs last between 3-4 minutes, but my work is slightly over

7 minutes.

Counterpoint In My Music

My music creation process is always contrapuntally driven. The fixed media material in Let Me Tell You A Story (The Children In Their Beds) was composed first and directly affected the creation of the melodic material for the concert band. At times, a rhythm from the fixed media is directly stated in the concert band; at other times, the rhythmic structure of the concert band contrasts the rhythmic structure of the fixed media, but more commonly new counterpoint is created between the two. To do this, I created a short score that would later inform my orchestrational decisions. With many layers of counterpoint, identifying what elements needed to be in the foreground, middleground,

28 and background was imperative. For example, the vocals convey the storyline through the use of text and rhythm; hence, whenever present, they are always foreground material.

Musical Elements in EDM Compared To Classical Concert Band in Let Me Tell You

A Story (The Children In Their Beds)

The remainder of the chapter identifies and discusses the elements of Let Me Tell

You A Story (The Children In Their Beds) that are influenced by classical music idioms and those influenced by EDM idioms, by examining the combination and interplay between the fixed media, text, and concert band music.

The dynamic layers of foreground, middleground and background are influential in how EDM producers mix their music. What I have done in my fixed media mimics

EDM music, but the orchestration of the concert band is classically driven through the contrapuntal interplay between the layers. The number of layers in EDM music does not go beyond the four basic layers of music: melody; countermelody/harmony; bassline; and rhythmic beat. My work, at times, has up to nine discernable contrapuntal layers occurring simultaneously. For example, Figure 12 shows six layers in the concert band and has three additional layers in the fixed media at the Green dragon’s knife drop.

Figure 12 – Layering in Green’s Knife Drop

Section 1: Introduction of Narrator - Measures 1-9

The vocals in the fixed media are the only layer in the opening introduction of Let

Me Tell You A Story (The Children In Their Beds). The narration, illustrated in Example

1, is from the perspective of a parent and occurs outside of the storyline.

Vocals ExampleLet Me 1 – OpeningTell You Vocals A Story (The Children In Their Beds) commissioned for Dr. Matt Smith and the KU Symphonic BandLogan Larson

q = 140 4 œ œ œ œ œ œ œ œ ã 4 Œ Œ ‰. Child - ren gath - er a - round, andR

7 œ œ œ œ œ œ œ œ œ ã . ‰ Ó ∑ let me tell you Ja sto - ry.

10 œ œTheœœ œtextœ œestablishesœ œ œ œ œ œthatœ someoneœ œ œ œ œ willœ œ beœ readingœ œ œ a storyœ œ œ toœ children.œœ œ œ œ Theœ œ workœ œ œ œ ã Œ . . . . ‰ . . ‰ . J 3 3 J beginsOnceup inon Fatime, minor.therewas Ia decidedlandacrossthe onsearuled theby keydragons. basedIntimes onpast, thesetwocrea considerations,turesweredangerousifnot oneroyal EDM- lytreated. Townsdrivennolong er

15 and the other classically driven. In EDM, the Dubstep subgenre is most commonly œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã . . ‰. . . writtenwished into E beminorde or-plet F minor- ed. to allowTheR forcol -subbasslec - tion frequenciesof gifts topleased operate theproperlydrag - in ons,the genre.17 The second deals with the concert band and their tendency to play better in flat œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ keys,ã ‰ and≈ with fewer. accidentals in general. This. piece is aimed‰ for high school level. soR the towns - peo - ple3 be - gan to pack in, J what-ev - er the drag - ons performers19 and finding ways to create a cohesive and well-tuned performance is œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ essential.ã This selection of the F minor key (four. flats) was important,. Œ as. the key. later Œ want-ed to leave them a -lone, so they3 could stay co - zy and bun - dled up in their homes. switches to the relative major, F major (three sharps). 22 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã ‰. The opening. section is nine measures in length. While short, this does go‰. against EveR - ry town had a drag - on am - bas - sa - dor to keep the peace, andR the24 formulaic structure of EDM following multiples of four. A typical EDM song would œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã . . . . Œ would vis - it them reg - u - lar - ly to bring of - ferings to the beast.

Copyright © Logan Larson 2021. (ASCAP). All Rights Reserved. 31 launch directly into the next section, but my piece has one measure of only a kick drum to allow for a small de-escalation, thus, making the concert band’s entrance more impactful at the beginning of Section 2.

Section 2: Narrator Begins Story - Measures 10-33

The narration in this section shifts to the storyline and remains there for the rest of the piece. The vocals in this section depict the dragon-ruled world where dragons collect hoards of objects. The narrator also introduces the audience to the town of Aeribeth and the characters of the Ambassador of Aeribeth and our main character, Blue. The fixed media melody contains a male vocal synth and musically utilizes classical mode mixture from the Phrygian church mode when G flats appear (see Example 2). EDM does have some mode mixture but is typically only bVI and bVII.

Example 2 – Trombone 1 Phrygian Mode Mixture: Measure 12

In order to establish the storyline, the narrator delivers a large amount of information quickly, similarly to a recitative in vocal music. With the unpitched vocals, I desired a melodic foreground that was cohesive and at times imitated the rhythms from the vocals. Imitation is used in both classical and EDM music through doubling or layering. In comparison to the vocals, the melody in this section either utilizes the same

32 rhythms or longer rhythmic durations. This allows for the focus to be placed on the vocals but still have a melodic foreground layer.

Other than vocalists, EDM producers do not typically work with live musicians.

This means that the concerns of playability and clarity rarely occur. The considerations regarding what passages musicians can play at a certain speed resides in the classical field. For example, in measures 20-21 of this section, shown in Example 3, the orchestration demanded instruments that have the ability to produce triplet sixteenth- notes cleanly at 140 BPM.

Example 3 – Flute 1 Triplet Sixteenth-Note Passage: Measures 20-21

The flutes, saxophones, trumpets, and percussion immediately came to mind. I wanted to save the percussion for later in the movement for a larger section of musical intensity. Thus, to highlight the foreground I used the second flute, alto saxophone, and trumpet until measure 25.

EDM producers have the ability to control their sound design and volume before a performance and adjust. With live instruments, proper orchestration directly affects how the listener will perceive each layer. For instance, the opening middleground of Section 2, illustrated in Example 4a and 4b, begins with whole note chords in the Bb clarinets and bass clarinet.

Example 4a – Opening of Middleground Section 2, Part 1

Example 4b - Opening of Middleground Section 2, Part 2

This was done to have a homogenous sound from the clarinets and treat them as a choir. My decision to use a homogeneous sound for this layer was because I wanted the listener’s focus to be on the activity in the text and fixed media. I felt there was no need for the middleground layer to be timbrally complex. I wanted it to be discernable but not distracting.

An EDM technique specifically found in Dubstep music that I implemented in the middleground and background of the concert band layers of Section 2 is the wobble bass, seen in the tenor and baritone saxophone in Example 5 .

Example 5 – Wobble Bass Triplets in Tenor and Baritone Saxophones: Measures

18-20

Wobble basses, typically heard as the word “wub”, have the rhythms of either a quarter note or eighth-note triplet. In my work, the initial background layer has a quarter- note triplet pattern that mimics the pitches in the fixed media, but I have changed the rhythm to add diversity. Additionally, I added dynamic changes where swells grow from soft to loud in each measure.

At times, orchestral percussion appears in EDM songs, typically a xylophone, glockenspiel, or tam-tam. For instance, Ace Aura’s EP reset_environment (Ace Aura,

2020) includes different orchestral percussion for each of the five songs. What I have done in my work is place the electronic glockenspiel in the fixed media and doubled it with the live glockenspiel, seen in measure 18-20 of Example 6, in order to create a stronger cohesiveness between the fixed media and the band.

Example 6 – Glockenspiel Entrance: Measures 18-20

The form of the concert band in Section 2 is set up in a series of loops. As one four-measure iteration finishes, the material shifts to a less important layer and either remains in that layer or continues to decrease in layered dynamics. This excludes the

35 melody and chordal middleground material. For example, one middleground layer has a triplet quarter-note pattern on F with a quarter note rest on the first quarter note beginning in measure 18, shown in Example 7a and 7b.

Example 7a – Middleground: Measure 18-21, Part 1

Example 7b – Middleground: Measure 18-21, Part 2

This middleground layer begins in the oboe, bassoon, tenor saxophone, and trumpet 3 to create the reed-centered sound I intended for this layer. After four measures, this middleground line moves to the background layer and is replaced with the eighth- note triplet pattern that now includes Bb clarinet 2, bass clarinet and alto saxophone 1 to create a more pronounced wobble bass motif later when the change from quarter note triplets to eighth-note triplets appear, shown in Example 8.

Example 8 - Middleground: Measures 22-25

In measure 26, there is another middleground layer that mimics the fixed media bass line but is directly stated in the lower brass and horns, illustrated in Example 9.

Example 9 – Lower Brass and Horn in Measures 26-29

Section 3: Introduction of Blue and the Ambassador - Measures 34-57

The vocals in Section 3 discuss Blue and the Ambassador’s relationship, and that

Blue has no hoard. The Ambassador suggests visiting other dragon’s hoards for examples, and Blue agrees. All layers of the concert band operate at a slower rhythmic pace in comparison to the vocals. This allows the vocals to be the focus of this section.

The scoring for all of Section 3 was determined to serve one purpose: to transition and build to Section 5. Knowing Section 5 would be extremely loud and have a thick scoring, Section 3, along with Section 4, needed to constantly crescendo orchestrationally.

An interesting orchestration choice begins in measure 34, with a background layer imitating the solo fixed media bass synth. I altered this direct imitation of material to include a perfect 5th for each iteration, shown in the reduction in Example 10.

Example 10 – Background of Section 3 – Repeated Five Additional Iterations

The choppy style of the bassline synth in the fixed media led to my decision to score this layer in the lower brass only. This decision to have the brass essentially loop was EDM driven, but my decision to switch the brass every four measures to allow rest for the players, is driven classically from considering the stamina of the players.

Superimposed foreground textures are something I view as counterpoint, and not the layering of loops, the same musical information, repeated exactly, as in EDM. For this reason, I define any moment this appears as classically driven material. An example of superimposed foreground textures occurs in measure 54, shown in Example 11, where the Bb clarinets return with sustained chords while the other foreground layer is played by the piccolo, flute 1, oboe, alto saxophone 1, and baritone saxophone, to create a clash between the reediness of the clarinets and the flute-centered sound.

Example 11 – Two Foreground Layers: Measures 54-57

Section 4: Adventure Begins and Introduction of the Purple Dragon - Measures 58-

The key change to F major informs this section change. The mood of the fixed media becomes lighter with a sine wave synth that is reverbed and slightly arpeggiated in the new key. Again, the use of changing keys to the relative major is a classically driven technique.

The vocals, seen in the reduction in Example 12a and 12b, show the distinction between conversational (measures 58-60) and rhythmic speech patterns (measures 62-

66).

Example 12a – Conversational Speech in the Vocal: Measures 58-60

Example 12b –Rhythmic Speech in the Vocal: Measures 62-66

The conversational rhythms are fairly simple and focus on the eighth-note pulse, while the more rhythmic speech patterns focus on the sixteenth-note pulse. The ability to use contrasting rhythmic styles to demonstrate a character is reminiscent for me of

44 classical vocal repertoire from operatic literature. Here, speech-rhythms of recitative transforming into sung rhythms in the subsequent aria is standard in opera. Both are used in character development. My rhythms, however, are still inspired by the fusion of rap vocal rhythms that have been combined with EDM, such as the artist Virus Syndicate. In

EDM, characters are rarely established, and the text is presented primarily in a rhythmic style.

The opening material of this section begins with winds only, to allow for all melodic dynamic layers to have room for growth. Ultimately, I decided to infuse EDM elements with the horns and chimes from percussion 3 to accent beat 3 for the opening section, shown in Example 13a and 13b. With beat 3 being of large importance in creating the two-step feel of Dubstep, and having this beat further highlighted with the snare in the fixed media, I felt it required greater emphasis in the concert band for the new section.

Example 13a – Horns and Chimes Beat 3 Accent: Measures 58-64, Part 1

Example 13b – Horns and Chimes Beat 3 Accent: Measures 58-64, Part 2

The vocals explain that the Ambassador and Blue are going to visit the Purple

Dragon. Purple shows Blue and the Ambassador its hoard of jewels and gold.

The build to a musical highpoint is in almost all genres of Western music. In my work, the typical build of tension in EDM is heard as kick drums begin to subdivide the beat into smaller and smaller increments. EDM music does not add new layers and timbres as the song transitions to the climax. What I have done instead is to add these layers in the concert band, which creates an orchestrated crescendo through the addition of parts/players.

The last two measures of Section 4 are a common musical break that occurs in

EDM where there is one, two, or four measures of release of tension. These tension

47 breaks tend to be either silence, words, sounds, noises, and phrases, or combinations of these. Most importantly, excluding the interplay of silence, they remain at one volume.

My work has dynamics that crescendo to the sound of jingling coins, that represent the

Purple dragon’s hoard, to the climax of a voice stating, “okay”. Dynamics are classically driven and greatly affect the function of this two-measure break in musical tension.

Section 5: Purple’s Coin Drop - Measures 76-83

The fifth section presents the first chorus, or bass drop material, commonly referred to as “the drop”. The section features all players except for Eb clarinet, voice, trumpet 2, trombone 2, euphonium, and two percussion parts. The importance of counterpoint, and the aural timbral combinations, changes each measure in this eight- measure section. The melodic or rhythmic movement dictated which layer should be most prominent. As shown in Example 14a and 14b, the foreground layer focuses on chordal material but later shifts to quarter note triplets.

Example 14a – Two Foreground Layers of Drop 1, Part 1

Example 14b – Two Foreground Layers of Drop 1, Part 2

This pattern is repeated until the end of the section. Heavy bombardment of triplets is commonly used in Dubstep and is thus EDM inspired for the concert band material. Examples of this can be found in Midnight Tyrannosaurus’ Shrapnel (Midnight

Tyrannosaurus, 2018) and Virtual Riot’s Pray For Riddim (VIP) (Virtual Riot, 2020) in the second drop.

The middleground is identical to the solo synth in the fixed media. I wanted this to be in the live instruments but did not need to be heavily reinforced. The bassoons and trumpet 1 parts are the two instruments that convey the middleground, shown in Example

15a and 15b.

Example 15a – Bassoons and Trumpet 1 Imitation, Part 1

Example 15b – Bassoons and Trumpet 1 Imitation, Part 2

Section 6: Leaving Purple’s Cave and Introduction of the Green Dragon - Measures

84 – 117

The vocals return in Section 6 and describe the Ambassador and Blue leaving

Purple’s cave to travel to the Green dragon. Green hordes food and tells its visitors of the importance of nutrients to survive.

The section begins with dovetailing in the instruments that fade out as the texture thins in measure 84, shown in Example 16, and is replaced by a saxophone dominated texture. Dovetailing is inherently classical.

Example 16- Dovetailing Sections 5 and 6 – Measures 84-85

Another instance of the concert band mimicking the foreground appears in measure 100 and 101, shown is Example 17.

Example 17 – Mimicking of Fixed Media in Horn 1, Trombone 1, Bass Trombone:

Measures 100-101

Although, I added a perfect 5th interval that is not included in the fixed media to add a stronger harmonic presence than octaves alone possess. The doubling is found in horn 1, trombone 1, and bass trombone, as I desired a brass-centered timbre.

In measure 104-111, I orchestrationally begin a musical dialogue between parts that is portrayed in the characters alluded to in the vocals, shown in Example 18a and

18b.

Example 18a – Orchestrational Dialogue: Measures 104-111, Part 1

Example 18b - Orchestrational Dialogue: Measures 104-111, Part 2

The first iteration has the oboe, Bb clarinet 1, bassoon, and alto saxophone 1, juxtaposed with the Bb clarinet 2, bass clarinet, alto saxophone 2, and baritone saxophone. There are some small variations to the orchestration in the upper winds to add intrigue to each dialogue change and to vary the timbre slightly. This back-and-forth texture can appear in EDM but is mostly limited to multiple singers and not in the instrumental texture as seen in the classical repertoire.

The classically derived technique of using orchestration to increase volume appears throughout section 6 but is seen more clearly shown at measures 114, illustrated in Example 19 as I added parts to further drive the musical tension towards Section 7.

Example 19 – Orchestrational Additions At Measure 114 and Cultivation of

Foreground Material

In measure 114, shown in Example 19, the upper winds cultivate in a contrapuntal foreground layer building through orchestration towards the two measures of fixed media that serve as a break in musical tension to end the section.

The two measures of fixed media at the end of Section 6 are filled with bubbling cauldrons and a voice stating, “bring me a meal”. This is a reference to the Green dragon’s hoard of food and a foreshadowing of the musical “meal” that is going to be displayed in Section 7. This character development in the fixed media is classical driven.

Section 7: Green’s Knife Drop - Measures 118-142

The vocals disappear for the second “drop” material. The fixed media elicits rhythmic knife sounds to aurally indicate Green’s hoard. The six layers occurring simultaneously from the concert band alone is a clear sign of a classical idiom. EDM rarely goes beyond four layers, and when it does occur, are often rhythmically based with percussion or noised based with atmospheric sounds.

This section contains two equal layers of contrapuntal foreground material, shown in Example 20.

Example 20 - Foreground of Drop 2: Measures 118-120

EDM contains a single melody only for instrumental drops, the only exception is for vocal duets, but they typically operate in predominantly parallel motion, either in 3rds or 5ths. Counterpoint is classically derived. In order to assure that one contrapuntal layer did not overshadow another, I scored the foreground layers in homogenous instruments, i.e., flute 1 and flute 2, oboe and Eb clarinet, alto saxophone 1 and 2, tenor and baritone saxophone, trumpet 1 and 2, and vibraphone and xylophone.

Another interesting element in this section can be found in the two background layers where brass emerges through the texture on beat 1 and 3 or on the off beats of two and four, illustrated in Example 21.

Example 21 – Background Layers of Drop 2: Measures 118-120

On the surface this could be seen similar to the classical rinforzando or volume automation and filter sweeps in EDM. With the extreme repetition of this concept, it seems closer to what would be expected from volume automation or filter sweeps inside a

Digital Audio Workstation (DAW). The swells with crescendos from soft to loud over every half note add dimension to this layer and ensure the background has constant musical drive. I desired a gradually emerging brass sound, which led to my scoring of this layer in the horns, trombone 2, and euphonium for one layer and keeping the clarinets as a choir, which led to my scoring of the other layer.

Inside this section there are two fixed media only sections that occur. The first is a three-measure break in the middle of the drop section in measure 126. The same voice of the pre-drop vocals saying “bring me meal” are heard again stating “stop! [inhale, exhale] ah yes, I could never forget a smell”. This pause in material is not only uncommon in

EDM textures but the duration of three measures, instead of division of two or four, breaks from EDM formalities. Another fixed media only moment that does not conform with typical numeric measure construction occurs in measure 137 for the six measures at the end of the section. Although, the transition from the last six measures of this section into Section 8 could function similarly to how a DJ might transition material switching songs and crescendoing into the next section.

The construction of the foreground material in this section is the same four measures of counterpoint but shifted as to where the player begins the line to slightly vary the timbre. The complexity of material is dense, for this reason, I wanted the listener to have multiple iterations of the material to fully grasp both foreground layers and the

62 middleground and background layers. A four-measure phrase repeated for four repetitions follows the stereotypical functions of EDM music.

Section 8: Leaving Green’s Cave and Introduction of the Red Dragon - Measures

143-184

The vocals return in Section 8 and describe the departure from Green’s cave and the arrival at the weapons-filled cave of the Red Dragon. Red shows its weapons collections of swords, knives, and axes to the Ambassador and Blue to demonstrate the

Red dragon’s power.

Section 8 begins with twelve measures of heavily planed chords. Planing is a classical technique, and my inspiration comes directly from Claude Debussy’s The

Sunken Cathedral (Debussy, 1994). Orchestrationally, I wanted a juxtaposition of a winds only section and a section that includes brass for the opening twelve measures of

Section 8. The winds, excluding piccolo, are present in the first four measures. The next four measures replace the oboe and all three Bb clarinet parts with three trumpet parts and trombone. The last four measures of the twelve-measure section return to the same instrumentation and melodic material as the first four measures. This is illustrated in

Example 22a, 22b and 22c.

Example 22a – Measures 143-154, Part 1

Example 22b – Measures 143-154, Part 2

Example 22c – Measures 143-154, Part 3

The development of characters in combination with narrative, as defined earlier in the chapter, is a classically driven technique. In measure 163, shown in Example 23, this happens again when the Red dragon speaks for the first time. As the fixed media changes to a heavily distorted bass synth, the instrumentation and rhythms drastically change.

Example 23 – Shift from Measure 162 to 163

The fixed media change at measure 163, seen in Example 24 also triggers a barrage of 9th and 11th chords in the middleground layer.

Example 24 – Cluster Chords: Measure 163-168

This is intended to add a defining moment for Red’s character, which is classically inclined. Before this moment, I had limited myself to mostly triads with some

7th chords which makes the cluster sound easily recognizable. The utilization of these chords is intended to function similarly to 21st century choral music traditions of cluster chords seen in the works of classical composers such as Eric Whitacre, Paul Mealor, and

Ēriks Ešenvalds. EDM does not typically go beyond triads and seventh chords.

Another orchestrational crescendo occurs to finish this section in measures 175,

179, and 181, seen in Example 25a and 25b.

Example 25a - Orchestrational Crescendo: Measures 175-181, Part 1

Example 25b - Orchestrational Crescendo: Measures 175-181, Part 2

The section once again ends in a two-measure fixed media only material to allow for the release of musical tension before the start of Section 9. The two-measures of musical release are inspired by EDM, but the content of the sounds is classically driven as the sounds of swords and a human scream are heard to depict Red’s hoard of weapons and the destruction they are capable of inflicting.

Section 9: Red’s Sword Drop - Measures 185-202

The vocals disappear for the entirety of the third “drop”. The fixed media features multiple distorted saw waves to aurally depict the Red dragon’s weapons. Rhythmically, this sixteenth-note dominated texture is doubled in the live instruments in the glockenspiel and xylophone to accentuate the fixed media, illustrated in Example 26.

Example 26 – Glockenspiel and Xylophone in Measures 185-188

The melody appears in flute 1, oboe, bass clarinet and the saxophones and creates a smooth and connected melody juxtaposing the harsh and choppy fixed media.

Contrasting moods do not appear together in EDM music as a specific mood is intended to trigger an associated dance movement. The melody is also heavily chord driven, shown in Example 27, to have a different rhythmic motive take the foreground for the

Red dragon character, which is a classically developed character decision.

Example 27 – Flute 1, Oboe, and Saxophones: Measures 185-188

The brake drum is seen in percussion 4 on beats 2 and 4 during the first eight measures of this section, illustrated in Example 28.

Example 28 – Brake Drum: Measures 185-188

The intention with its inclusion for this section is to create the connotation between the swords heard in the fixed media and how they are made. The brake drum is meant to conjure the image of a blacksmith pounding metal. Forming these relationships

73 to better create the world or atmosphere of the story, person, or place occurs in both classical and EDM music, thus, is a shared concept of inspiration.

The foreground material becomes tutti in measures 193-196 to create a division from the typical repetition in EDM music where chorus material remains stagnant, seen in Example 29.

Example 29 – Tutti Foreground: Measures 193-196

This stop is irregular, but I define it as classically driven for two reasons; one, it creates a call and response between the brass family and wind family, and two, has cluster chords on beat 4 in the winds that extends the defining musical characteristic of cluster chords of the Red dragon character seen in Section 8.

The two-measures of fixed media only in 201 and 202 create something uncommon in EDM. There are pauses like this before the drop but not after, especially with repeated material from the pre-drop section. Most EDM works would directly transition, as numerically, this pause does not align with the four-measure phrase construction.

Section 10: Return To Aeribeth and Blue’s Hoard - Measures 203-228

The vocals return for the final time in this section. The vocals describe the

Ambassador and Blue returning home and Blue decides it would like to collect stories and knowledge as it enjoyed learning from the other dragons about their hoards. The entire section functions as a build up to the final “drop” in Section 11.

The construction of measures is based in the four-measure phrase model of EDM, but the layered concert band and how the dynamic layers interact with each other are classically inspired.

In this section I employ imitation between the vocal rhythms and the melodic material of the concert band in measures 207-210, shown in Example 30.

Example 30 – Imitation Between Vocals and Concert Band In Measures 207-210

EDM has melodic material that is imitated in drum patterns, but it does not occur with drum patterns being imitated melodically. In my piece, I adapt this principle, but I use it in a way it would never be used in EDM. The vocals are first displayed in the rhythms of the unpitched vocals and later appear as the melody for the foreground material. This occurs in the Eb clarinet, Bb clarinet 2, bass clarinet, alto saxophone 1, and baritone saxophone during measures 207-208 as the rhythm is played with the vocals and again in the subsequent two measures.

This section again orchestrationally builds to a two-measure fixed media only moment in measure 227. What I composed in the fixed media is an assortment of book related sounds such as slamming, ripping, tearing, and flipping of pages. These book sounds are intended to aurally embody the Blue dragon’s hoard of knowledge. Character development is once again a classical idiom.

Section 11: Blue’s Book Drop - Measures 229-247

The fourth “drop” and final section features no vocals. The fixed media has a beat consisting of the book sounds mentioned in Section 10. While sampling, as discussed in

Chapter 2, was developed in classical electronic music studios, the creation of sampling to create a specific and repetitive beat is more closely tied to EDM music. The formal construction of this section also follows EDM with a sixteen-measure musical phrase.

This section marks the change from the Dubstep genre to Riddim, described in

Chapter 2. This change in genre is meant to demonstrate that Blue is different from the other dragons. This development of character through changes of genre is a classically derived idea.

The foreground and middleground layers remain at one dynamic level for this section. On the surface, this would appear to be closely related to EDM where the dynamic level is fixed, but classical works have extended passages at one volume as well.

The example I used for crafting this section was inspired by John Corigliano’s Circus

Maximus (Corigliano, 2005), specifically, portions of the work where extended periods of sustained loudness appear.

The fixed media for this section is detuned and quick sixteenth-notes. I have the xylophone emphasize the material from the fixed media, shown in Example 31, to more clearly center the pitch and ensure the doubling will be heard with how easily discernable the xylophone is in a large texture.

Example 31 – Xylophone In Section 11

Emerging swells occur only in the first eight measures of this section, shown in the reduction in Example 32, to add dynamic dimension to the background layer. As discussed in Section 7, these resemble volume automation or filter sweeps in EDM.

Example 32 – Swells of Section 11

Throughout the first eight measures I use the auxiliary instruments of the piccolo and Eb clarinet to add momentum to measures 232 and 234, illustrated in Example 33a and 33b. This orchestrational choice to further emphasize a musical moment is a classically derived decision.

Example 33a– Auxiliary Piccolo and Eb clarinet In Section 11, Part 1

Example 33b– Auxiliary Piccolo and Eb clarinet In Section 11, Part 2

In measure 237, shown in Example 34, the rhythms become choppy with staccato passages to alter the mood for the repetition of the fixed media. While cuts and splices occur in EDM, the way the live instruments will articulate these staccatos, is not as precise as it would be in a DAW and function as a normal staccato in classical music.

Example 34 –Staccato Material In Section 11 – Measures 237-241

The final interest of this section is the three measures of outro material in the fixed media only. The numeric aspect of measure numbers does not fit with the conventional EDM formalities. The fixed media contains the synth from the previous material and drums and finishes with the sound of a book shutting and fading out. The book shutting in the fixed media works in tandem to represent Blue’s hoard and the closing of the storybook the narrator has been reading. This connection furthers Blue’s character development, a classical concept, and concludes the narrator’s position outside of the story, referencing the opening section 1 material (“children gather around and let me tell you a story”), through the completion of reading their child the story.

CHAPTER 7

CONCLUSION

My original goal for Let Me Tell You A Story (The Children In Their Beds) was to create something completely original for a large ensemble. I wanted to take my experience as a classical composer and EDM producer and integrate both aspects into one work. In these regards, I have met and exceeded what I originally planned. Through collaboration on the text and recording of vocals, I have created something that would have not been possible alone. The feedback I have received on my fixed media through the EDM industry professional instructors of DeFrye Society, especially Ace Aura (Eric

Seall), have made the fixed media aspect of the work be at the highest level of production. For orchestration, having Dr. Dorothy Hindman and Dr. Kenneth Fuchs give me feedback and advise me throughout the process, has made the completed work everything I imagined.

My journey with this work has transformed my production and orchestration knowledge and given me the confidence to continue to combine the classical and EDM genres for large ensembles. I believe Let Me Tell You A Story (The Children In Their

Beds) demonstrates a true culmination of what I have learned and developed during my doctoral degree at the University of Miami.

WORKS CITED

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Corigliano, John. Circus Maximus. New York: G. Schirmer, Inc., 2005.

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Ticheli, Frank. Angels in the Architecture. Manhattan Beach, California: Manhattan Beach Music, 2009.

EDM Works Mentioned

Ace Aura. 2020. reset_environment. Disciple Round Table, digital audio.

Chime. 2020. “Queasy ft. Virus Syndicate.” Track 2 on Our Flame EP. Disciple Recordings, digital audio.

Herculez. 2020. “Covered In Blood.” Track 1 on Covered In Blood EP. Disciple Round Table, digital audio.

HeRobust. 2017. “Vertebreaker.” Track 1 on Vertebreaker. Mad Decent, digital audio.

Midnight Tyrannosaurus. 2017. “Brain Sludge.” Track 1 on From The Depths. Never Say Die Records LTD, digital audio.

Midnight Tyrannosaurus. 2020. “Dead Cell.” Track 1 on Tales From The Man Cave EP. Midnight Tyrannosaurus/Create Music Group Inc., digital audio.

Midnight Tyrannosaurus and Akronym. 2018. “Shrapnel.” Track 1 on Shrapnel. NSD: Black Label, digital audio.

Midnight Tyrannosaurus and Eh!de. 2016. “Planet Purge.” Track 20 on Midnight Snacks Vol. 2. SoundCloud, digital audio.

Nero. 2011. “Promises.” Track 13 on Welcome Reality. MTA Records, digital audio.

Oliverse. 2018. “Get High.” Track 2 on Dimension EP. Disciple Recordings, digital audio.

Ray Volpe. 2020. “Battle of the Bros.” Track 1 on World Domination EP. Disciple Round Table, digital audio.

Skrillex. 2011. “First Of The Year (Equinox).” Track 1 on More Monsters and Nice Sprites EP. Big Beat Records/Atlantic, digital audio.

Skrillex. 2011. Scary Monsters and Nice Sprites. Big Beat Records, compact disc.

SubFiltronik. 2013. “Blissimo.” Track 1 on Monsters EP . Bandcamp, digital audio.

SubFiltronik. 2013. “Passout ft. Skullion Shades.” Track 1 on Monsters EP . Bandcamp, digital audio.

SubFiltronik. 2017. “Turn It Out.” Track 5 on Be Bewildered Vol. 3 . Bewildered Productions, digital audio.

Teminite. 2018. “Never Give Up.” Track 12 on Firepower. Teminite, digital audio.

Various Disciple Artists. 2019. “We Don’t Play.” Track 10 on Disciple Alliance Vol. 5. Disciple Recordings, digital audio.

Various Disciple Artists. 2020. “How We Roll.” Track 1 on Disciple Alliance Vol. 6. Disciple Recordings, digital audio.

Virtual Riot. 2019. “Lost It ft. Pearl Andersson (VIP).” Track 12 on Knights Of The Round Table Vol. 3. Disciple Round Table, digital audio.

Virtual Riot. 2020. “Pray For Riddim (VIP).” Track 1 on Head To Head Vol. 1. Disciple Recordings, digital audio.

Virus Syndicate and IVORY. 2019. “Sick Gang.” Track 3 on Sick Gang EP. Disciple Round Table, digital audio.

Virus Syndicate and Oliverse. 2020. “Frwrd.” Track 1 on The Antidote EP. Disciple Recordings, digital audio.

Zomboy. 2012. “Hoedown.” Track 2 on The Dead Symphonic EP. Never Say Die Records, compact disc.

EDM Artists Mentioned

50 carrot. “50 carrot: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/50carrot-dubstep.

A3. “A3: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/dubplatesdubplates.

Ace Aura. “Ace Aura: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/aceaura.

Ad. “Ad: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/ad_dubstepper.

Akira. “Akira: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/sushistep.

Aphex Twin. “Aphex Twin: SoundCloud Home Page.” SoundCloud webpage, Accessed March 18th, 2021. https://soundcloud.com/richarddjames.

Autechre. “Discogs: Artist Page, Autechre.” Discogs, Accessed March 18th, 2021. https://www.discogs.com/artist/41-Autechre.

Aweminus. “Aweminus: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/aweminus.

Badklaat. “Badklaat: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/badklaat.

Badphaze. “Badphaze: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/BADPHAZEDUBSTEP.

Barely Alive. “Barely Alive: SoundCloud Home Page.” SoundCloud webpage, Accessed October 26th, 2020. https://soundcloud.com/barelyalive.

Benga. “Benga: Facebook Page.” Facebook webpage, Accessed March 2021. https://www.facebook.com/iambenga/.

Benzmixer. “Benzmixer: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/benzmixerbassline.

BlankFace. “BlankFace: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/BLANKFACEDUBSTEP.

Bloodthinnerz. “Bloodthinnerz: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/BLOODTHINNERZ.

Bommer. “Bommer: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/bommer_dubstep.

Boys Noize. “Boys Noize: Home Page.” Boys Noize, Accessed October 26th, 2020. https://www.boysnoize.com.

Bukez Finezt. “Bukez Finezt: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/bukezfinezt.

Chime. “Chime: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/chimetunes.

Cody Cordova. “Cody Cordova: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/codycordova.

Coffi. “Coffi: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/coffi-music.

Crowell. “Crowell.: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/crowell.

Curzed. “Beat Port: Artist Page, Curzed.” Beat Port, Accessed March 2021. https://www.beatport.com/artist/curzed/235680/tracks.

D2. “D2: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/d2dubstep.

Daft Punk. “Discogs: Artist page, Daft Punk.” Discogs. Accessed March 2021. https://www.discogs.com/artist/1289-Daft-Punk.

Digital Mystikz. “Discogs: Artist page, Digital Mystikz.” Discogs. Accessed March 2021. https://www.discogs.com/artist/203509-Digital-Mystikz.

Disciple Records. “Disciple Records: Home Page.” Disciple Records, Accessed October 26th, 2020. https://www.disciplerecs.com/.

Detzky. “Detzky: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/detzkyuk.

Flux Pavilion. “Flux Pavilion: Home Page.” Flux Pavilion, Accessed October 26th, 2020. http://fluxpavilion.com.

Guetta, David. “David Guetta: Home Page.” David Guetta, Accessed October 26th, 2020. https://davidguetta.com.

Hardwell. “Hardwell: Home Page.” Hardwell, Accessed October 26th, 2020. https://www.djhardwell.com.

Herculez. “Herculez: SoundCloud Home Page.” SoundCloud webpage, Accessed October 26th, 2020. https://soundcloud.com/herculezmusic.

Herobust. “Herobust: Home Page.” Herobust, Accessed March 18th, 2021. https://herobust.com.

Hizzleguy. “Hizzleguy: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021.https://soundcloud.com/hizzleguy-gangoon.

Infekt. “Infekt: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/infektdubstep.

Jakes. “Jakes: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/iamthejakes.

Jam Prd. “Jam Prd: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/jamprd.

Killin’ Void. “Killin’ Void: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/killinvoid.

Kode nine. “Kode Nine: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/kodenine.

LV. “LV: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/lvdubz.

Nero. “UKF: Artist Page, Nero.” UKF, Accessed March 18th, 2021. https://ukf.com/artist/nero.

Obey. “Obey: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/obeydubstep.

Oliverse. “Oliverse: SoundCloud Home Page.” SoundCloud webpage, Accessed March 18th, 2021. https://soundcloud.com/oliverse.

MRK1. “MRK1: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/mrk1dubstep.

Midnight Tyrannosaurus. “Midnight Tyrannosaurus: SoundCloud Home Page.” SoundCloud webpage, Accessed March 18th, 2021. https://soundcloud.com/midnightasaurus.

Mouse On Mars. “Mouse On Mars: Bandcamp Home Page.” Bandcamp webpage, Accessed March 18th, 2021. https://mouseonmarstj.bandcamp.com.

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Ponicz. “Ponicz: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/ponicz.

Ray Volpe. “Ray Volpe: Home Page.” Ray Volpe, Accessed October 26th, 2020. https://rayvolpemusic.com.

Skrillex. “Skrillex: Home Page.” Skrillex, Accessed October 26th, 2020. https://skrillex.com/pages/home.

Skream. “Skream: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/skreamizm.

Solomon. “Solomon: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/solomandj.

Styn. “Styn: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/styndubs.

Subfiltronik. “Subfiltronik: Facebook Page.” Facebook webpage, Accessed March 2021. https://www.facebook.com/SUBFILTRONIK/.

Teminite. “Teminite: SoundCloud Home Page.” SoundCloud webpage, Accessed March 18th, 2021. https://soundcloud.com/teminite.

The Argonauts. “The Argonauts: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/the-argonauts-uk.

The Chemical Brothers. “Discogs: Artist page, The Chemical Brothers.” Discogs. Accessed March 2021. https://www.discogs.com/artist/2290-The-Chemical- Brothers.

The Gremlins. “The Gremlins: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/thegremlins.

Tiësto. “Tiësto: Home Page.” Tiësto, Accessed March 2021. https://www.tiesto.com.

Vex’d. “Planet Mu: Artist Page, Vex’d.” Planet Mu, Accessed March 2021. https://planet.mu/artists/vexd/.

Virtual Riot. “Virtual Riot: SoundCloud Home Page.” SoundCloud webpage, Accessed October 26th, 2020. https://soundcloud.com/virtual-riot.

Virus Syndicate. “Virus Syndicate: SoundCloud Home Page.” SoundCloud webpage, Accessed March 18th, 2021. https://soundcloud.com/virus-syndicate.

Vodex. “Vodex: SoundCloud Home Page.” SoundCloud webpage, Accessed March 2021. https://soundcloud.com/vodex.

Zomboy. “Zomboy: Home Page.” Zomboy, Accessed October 26th, 2020. https://zomboyofficial.com.

Programs, Software, and EDM Sounds

DeFrye Society. “DeFrye Society: Home Page.” DeFrye Society, Accessed March 2021. https://www.defyresociety.com/?r_done=1.

Production Music Live. “Production Music Live: Home Page.” Production Music Live, Accessed March 2021. https://www.productionmusiclive.com/.

Serum. “Serum: Advanced Wavetable Synthesizer.” Xfer Records, Accessed March 2021. https://xferrecords.com/products/serum.

Splice. “Splice: Home Page.” Splice, Accessed March 2021. https://splice.com/home.

Children’s Books

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Brett, Jan. The Mitten. New York: Scholastic Inc., 1989.

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Carle, Eric. The Very Hungry Caterpillar. New York: The Putnam Publishing Group, 1994.

Christiansen, Candace. The Mitten Tree. New York: Scholastic Inc., 2000.

Coleman, Michael. A Silly Snowy Day. New York: Scholastic Inc., 2000.

Cronin, Doreen. Click, Clack, Moo Cows That Type. New York: Simon & Schuster Books for Young Readers, 2001.

Cuyler, Margery. The Biggest, Best Snowman. New York: Scholastic Inc., 1998.

Daywalt, Drew. The Day The Crayons Quit. New York: Philomel Books, 2014.

Eastman, P.D.. Are You My Mother. Toronto: Random House, 1998.

Freeman, Don. Corduroy. New York: Viking Penguin, 1976.

Galdone, Paul. The Three Billy Goats Gruff. New York: Clarion Books, 2001.

Geisel, Theodor Seuss. Fox in socks. Toronto: Random House, 1993.

Geisel, Theodor Seuss. Gerald McBoing Boing. Toronto: Random House, Inc., 2000.

Geisel, Theodor Seuss. Green Eggs and Ham. Toronto: Random House, Inc., 1960.

Geisel, Theodor Seuss. Oh, the Places You’ll Go!. Toronto: Random House, Inc., 1990.

Geisel, Theodor Seuss. The Sneetches and Other Stories. Toronto: Random House, Inc., 1961.

Gershator, Phillis. When It Starts To Snow. New York: Scholastic Inc., 1999.

Hallinan, P.K.. We’re Very Good Friends, My Father and I. Nashville: Ideals Children’s Books, 1989

Henkes, Kevin. Chrysanthemum. New York: Scholastic Inc., 1991.

Hubbell, Patricia. Snow Happy. New York: Scholastic Inc., 2010.

Inkpen, Mick. Kipper’s Snowy Day. New York: Red Wagon Books, 1996.

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Littledale, Freya. The Snow Child. New York: Scholastic Inc., 1989.

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APPENDIX A

Full Score of Let Me Tell You A Story The Children In Their Beds)

LOGAN LARSON

let me tell you a story (the children in their Beds) (2021)

grade 4 concert band and fixed media

100

LOGAN LARSON

let me tell you a story (the children in their beds) (2021) Grade 4 concert band and fixed media 7 Minutes and 3 Seconds [email protected] www.LoganLarson.com

101

Instrumentation

Piccolo, Flute 1 and 2, Oboe, Eb Clarinet, Bb Clarinet 1, 2, and 3, Bass Clarinet, Bassoon, Alto Saxophone 1 and 2, Tenor Saxophone, Baritone Saxophone, Horn in F 1 and 2, Trumpet in Bb 1, 2, and 3, Trombone 1 and 2, Bass Trombone, Euphonium, Tuba, Percussion 1, 2, 3, and 4 and Fixed Media.

Performance Notes

Stereo playback required for the electronic track. The speakers should be behind the band (directly or on the side depending on space and venue) pointed towards the audience. This will allow the band to hear the fixed media and create the correct blend of sound for the audience. If the band is extremely large, the fixed media can also be played through the hall to create a 50/50 blend in the sound.

For the conductor, the fixed media and concert band should ALWAYS be balanced in a 50/50 split. The text should also always be understood. The following of the storyline is imperative.

Fixed Media Aural References

Track Begins; 0:00 A: Vocal Synth Enters; 0:15 B: “Pack in”, orchestration changes in the concert band; 0:29 C: “Every town” orchestration changes in the concert band; 0:36 D: “Aeribeth was a region” orchestration changes in the concert band; 0:42 E: “ The ambassador and the dragon” Short Bass enters and mood changes; 0:56 F: “The blue dragon sighed” Triplets in concert band; 1:10 G: “Well said the ambassador” orchestration changes in the concert band; 1:17 H: “Dragons don’t really” Triplets in concert band return; 1:24 I: “That sounds like a splendid” Superimposed melodies in concert band; 1:30 J: “As they flew” Key and mood change; 1:37 K: “As Blue and the ambassador arrived” longer rhythmic values in melody of concert band; 1:44 L: “Purple said you need” new concert band material; 1:51 M: “Why do you like your hoard” concert band changes; 1:58 N: Purple Coin Drop; 2:08 O: Pluck synth enters and mood changes; 2:22 P: “Blue found no interest” new layer in concert band; 2:29 Q: Lower Distorted Synth Enters; 2:49 R: “Greetings, said a voice” Green dragon enters and added layer in the concert; 2:56 S: “Blue said, I’m looking for” Water drip sound effect enters; 3:03 T: “I have enough food” filter sweep begins; 3:10 U: Green Dragon’s Knife Drop; 3:20 V: Return of synths after three measures of “Stop! Ah yes, I could never forget a smell”; 3:39

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W: “Thank you for the food” Drums return after a swirling synth builds (live bass drum keeps time). Concert band planing; 4:02 X: “Blue said, it’s not for me” new rhythm and instrumentation in the concert band, continues planing; 4:10 Y: Returns to the W material in the concert band; 4:17 Z: “They flew on”, planing in concert band stops; 4:24 AA: “Smoke billowed”, new concert band layer; 4:30 BB: “Who goes there” shift to low distorted synth; 4:37 CC: “We’re searching for a hoard” fixed media repeated from last six measures and never concert band pairings; 4:48 DD: “First you need to collect”, a repetitive tonic in the fixed media begins; 4:58 EE: “Swords, knives, axes”, frequencies begin shifting up; 5:05 FF: Red Dragon’s Sword Drop; 5:15 GG: Rhythmic Change in Fixed Media; 5:29 HH: Return to previous rhythmic structure; 5:36 II: Arpeggiated Synth Begins; 5:46 JJ: “Blue and the ambassador flew back”, concert band rhythms imitate vocal rhythms; 5:53 KK: “Blue exclaimed, I’m happy”, additional layer in concert band; 6:00 LL: “From hearing the other dragons’, no large changes; 6:06 MM: “The dragon became wise”, additional layer in concert band; 6:13 NN: “Knowledge is a hoard”, frequencies and musical tension rises; 6:20 OO: Blue Dragon’s Book Drop; 6:30 PP: Altered rhythms in lead synth; 6:44

Text

Children gather around and let me tell you a story.

Once upon a time, there was a land across the sea ruled by dragons. In times past, these creatures were dangerous if not royally treated. Towns no longer wished to be depleted. The collection of gifts pleased the dragons, so the townspeople began to pack in, Whatever the dragons wanted to leave them alone, So they could stay cozy and bundled up in their homes. Everytown had a dragon ambassador to keep the peace, And would visit them regularly to bring offerings to the beasts.

Aeribeth was a region nestled between the forest and mountains ruled by a Dragon named Blue, And the townspeople just didn’t know what to do, The blue dragon said they did not collect anything and left the town alone, But one day the ambassador hiked up to the blue dragon’s home.

The ambassador and the dragon had become friends over the years sharing stories, News of the town and all of its glories. The ambassador sensed Blue was sad and asked “What’s wrong my friend?”, He said, “Tell me the truth, there’s no need to pretend”.

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The Blue dragon sighed, “I have no hoard” is what they said. “But I don’t know what I want to collect”, scratching their head. “Well,” said the ambassador, “perhaps you need some inspiration, What if you travelled to other dragon’s hoards to do an investigation? “Dragons don’t really like,” said Blue, “because I have no hoard.”, “Well, I’ll go with you!” said the ambassador, and Blue’s spirit soared. “That sounds like a splendid idea” is all Blue had to say, And the pair decided to take flight the very next day.

As they flew to the coast, the first destination was that of the Purple Dragon. As Blue and the ambassador arrived, Purple greeted them and asked of their quest, Blue replied, “I’m looking for the hoard that fits me best.” Purple said, “You need a hoard of jewels and gold. Look at my bracelets, rings, and gems, aren’t they a beauty to behold?!” “Why do you like your hoard?” the ambassador asked with a smile, Purple said, “ I like the way it shines, here, take a listen to my coins for a while.”

Blue found no interest in gold because he wanted something useful. The next dragon to visit was named Green. As Blue and the ambassador landed inside Green’s cave they smell something delicious, Smells with aroma so nutritious.

“Greetings,” said a voice. “You’re just in time for a meal. My chef has cooked it fresh with flavors that taste unreal.” Blue said, “I’m looking for a hoard and wondered why you collect food?”, “We all need to eat to live, don’t we?” Green said as they chewed. “I have enough food and I don’t want it to go to waste.” Green chuckled, “Please, sit down and have a taste!”

“Thank you for the food!”, said the ambassador and Blue as they left together. The ambassador asked Blue, “Does this hoard fit you better?” Blue said, “It’s not for me, it seems like a waste. Let’s trying looking at another dragon’s place.”

They flew on to the next dragon whose name was Red, Sights of machinery appeared as they soared overhead. Smoke billowed from the mineshafts in the Red dragon’s home, As they entered they saw weapons covered in metallic chrome.

“Who goes there?”, a voice growled and out of the darkness a lean dragon appeared. Seeing Blue and the ambassador, the Red dragon sneered. “We’re searching for a hoard that might suit my tastes.”, explained Blue. “I see,” said the Red dragon, “I’ll show you exactly what you need to do. First you need to collect weapons to show your power, To command respect through every hour. Swords, knives, axes are the comforts I go to,

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Stand back and let me show you what these beauties can do!”

Blue and the ambassador flew back to Aeribeth.

Blue exclaimed, “I’m happy, even if it sounds strange.” “That’s good news”, said the ambassador, “what has changed?” “From hearing the other dragon’s interests, I think I like to learn. Books, stories, and skills are the hoard that I yearn.”

The dragon became wise and was known as a scholar, Blue was happy and his love for learning never got smaller. Because knowledge is a hoard that can be shared throughout the ages, Here, come, take a listen to these pages.

Cross Cueing

If parts in the score do not meet your ensemble’s instrumentation, please contact Logan Larson directly at [email protected] for transposed parts. In case of missing oboe, an alternate oboe part has been written for Bb clarinet. In case of missing bassoon, an alternate oboe part has been written for Bass Clarinet. In case of missing French Horn, an alternate oboe part has been written for Trumpet. In case of missing Euphonium, an alternate oboe part has been written for Trombone. Any other missing instruments cues can be available upon request with substitutes depending on your ensemble’s needs.

Movement of Audience and Additional Components

Movement for a concert band piece being performed in a concert hall might seem to be counterintuitive, with the audience and concert band being seated. While not required for performance, the option of adding interdisciplinary elements is encouraged. Collaborating with a dance department/dancers to further illustrate the story would allow for movement to be integrated in the performance. An additional film project will be commissioned in the future to accompany this work and can add new opportunities for lighting design and other theatrical components. Even in a concert hall setting, while not common, movement of the audience can be encouraged. Asking the audience to stand and dance is not out of the realm of possibilities. The performance of this work can also be outside of the concert hall and give a less restrictive space for the audience to move and dance.

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Transposed Score Commission by the University of Kansas Symphonic Band, Matt Smith, conductor. Text by Sarah Eral and Logan Larson Logan Larson Vocals portrayed by Wesley Frye Let Me Tell You A Story (The Children In Their Beds) (b.1994)

A Ominousq = 140 With swagger Piccolo b & b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ Flute 1 b b 4 & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ 3 3 f Flute 2 b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 Oboe b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Clarinet in Eb & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Clarinet in B 1 b w w b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ F

Clarinet in Bb 2 b 4 w & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ w F

Clarinet in B 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ w w 4 F Bass Clarinet b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ w w F Bassoon ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 3 Alto Sax 1 œ œ & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ œ œ œ œ œ œ œ œ œ œ œ f Alto Sax 2 4 & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Te n o r S a x b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 Baritone Sax b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œœ œ œ œ œ œ œ œ œ œ œ & 3 3 3 3 Synth Pad Begins Kick Drum Pattern Kick Drums pVocal Synth Enters F p F Fixed Media œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã Œ Ó Œ Œ ‰ Œ Ó Œ Œ ‰. . ‰ Ó . Œ Œ . . . J Child-ren gath-er a-round, andR let me tell you Ja sto -ry. J Once up-on a time, there was a land a-cross the sea ruled by

Horn in F 1 b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Horn in F 2 b 4 & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œ Trumpet in Bb 1 bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ œ œ œ œ œ œ œ œ œ œ œ & 3 3 4 f Trumpet in B 2 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Trumpet in B 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Trombone 1 ? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œœ œ œ œ œ œ œ œ œ œ œ b b 3 3 3 3 p F p F Trombone 2 ? b 4 b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bass Trombone ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 Euphonium ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tuba ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Drum Set (Drum Sticks)

Percussion 1 (Drum Set) 4 f f ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œŒ Œ œ Œ Œ F Percussion 2 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 4 Percussion 3 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Percussion 4 ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

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Let Me Tell You A Story (The Children In Their Beds) 2 12 Picc. b & b bb ∑ ∑ ∑ ∑ ∑

œ. œ œ ˙ œ. œ œ œ. œ œ œ Fl. 1 b & b bb J ‰ Œ Ó ∑ ∑ . ˙ œ. œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ. œ Fl. 2 b b J J & b b ∑ ∑ ‰ f Ob. b b & b b ∑ ∑ ∑ ∑ ∑

Eb Cl. & b ∑ ∑ ∑ ∑ ∑

B Cl. 1 b w w w w w b & b F

Bb Cl. 2 b w & b w w w w F

B Cl. 3 b b & b bw w w w bw F B. Cl. bb & w w w w w F Bsn. ? b b bb ∑ ∑ ∑ ∑ ∑

A. Sx. 1 j & b œ. œ œ ˙ œ. œ œ œ. œ œ œ ‰ Œ Ó ∑ ∑

A. Sx. 2 j b ∑ ∑ œ œ œ œ œ ‰ œ. œ œ œ & ˙ . œ œ . œ . œ œ œ œ. J f 3 3 3 3 3 3 T. S x . b & b ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ p F p F p F B. Sx. bœ œ œ œ œ œ b 3 3 œ œ œ œ œ œ ∑ ∑ ∑ & 3 3 12 p F p F F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã . ‰ . . ‰ . . . ‰. . . J 3 3 J R 12 drag - ons. In times past, these crea-tures were dan - ger - ous if not roy - al - ly treat - ed. Towns no long - er wished to be de-plet - ed. The col-lec-tion of gifts pleased the drag - ons, Hn. 1 b & b b ∑ ∑ ∑ ∑ ∑

Hn. 2 b & b b ∑ ∑ ∑ ∑ ∑

Bb Tpt. 1 bb œ. œ œ ˙ œ. œ œ œ. œ œ œ ‰ Œ Ó ∑ ∑ & J œ. Bb Tpt. 2 bb ∑ ∑ ˙ œ. œ œ œ œ. œ œ. œ œ œ œ ‰ œ œ œ. œ & J J f B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑

Tbn. 1 ? bœ œ œ œ œ œ b b 3 3 œ œ œ œ œ œ ∑ ∑ ∑ b b 3 3 p F p F Trom. 2 ? b b ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ b b 3 3 3 3 3 3 p F p F p F B. Tbn. ? bbbb ∑ ∑ ∑ ∑ ∑

Euph. ? b b bb ∑ ∑ ∑ ∑ ∑

Tuba ? b b bb ∑ ∑ ∑ ∑ ∑ 12 f f f f f D. S. ã œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ 12 Perc. 2 ã ∑ ∑ ∑ ∑ ∑

Perc. 3 ã ∑ ∑ ∑ ∑ ∑

M.B.D, Snare, ∑ ∑ ∑ ∑ ∑ & B.D. ã

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Let Me Tell You A Story (The Children In Their Beds) 3 B 17 Picc. b & b bb ∑ ∑ ∑ ∑ œ. œ œ bœ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 1 b b J & b b ∑ 3 3 f . œ œ œ œ œ. œ Fl. 2 b b J J & b b ‰ Œ Ó ∑ ∑

bœ Ob. b b œ œ œ œ œ œ œ œ œ œ œ œ & b b ∑ Œ 3 Œ 3 Œ 3 Œ 3 Œ 3 Œ 3 œ F Eb Cl. & b ∑ ∑ ∑ ∑

B Cl. 1 b w w w w b & b F

Bb Cl. 2 b w & b w w w F

B Cl. 3 b b & b w w w bw F

B. Cl. b & b w w w w F 3 Bsn. ? b b ∑ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ bœ œ œ Œ œ b b 3 3 3 3 3 œ œ F 3 3 A. Sx. 1 b ∑ œ. œ œ œ œ œ bœ œ œ œ œ œ œ œ œ & œ. J œ œ œ œ œ œ œ œ f A. Sx. 2 b œ. œ œ œ ‰ Œ Ó ∑ ∑ & œ œ. J J

3 3 œ œ œ œ œ œ œ œ bœ œ œ T. S x . bb Œ Œ Œ Œ Œ Œ œ œ œ & œ œ œ œ œ œ 3 3 3 3 3 3 p F F B. Sx. b ∑ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ & 3 3 3 3 3 3 17 p F p F p F F.M. ‰ ≈ œ œ œ. œ œ œ œ œ >œ. œ œ ‰ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ. œ Œ ã 3 3 soR the towns - peo - ple be - gan to pack in, J what-ev - er the drag - ons want-ed to leave them a - lone, so they could stay co - zy and bun - dled 17 Hn. 1 b & b b ∑ ∑ ∑ ∑

Hn. 2 b & b b ∑ ∑ ∑ ∑

bœ B Tpt. 1 b œ. œ œ . œ œ œ œ œ b & b ∑ œ J ∑ f œ. œ œ œ Bb Tpt. 2 bb œ œ œ. œ J ‰ Œ Ó ∑ œ œ œ œ œ œ œ œ œ œ œ œ & J 3 3 f 3 3 3 3 3 3 B Tpt. 3 b b & b ∑ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ bœ œ Œ œ œ œ œ F Tbn. 1 ? b b ∑ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ b b 3 3 3 3 3 3 p F p F p F Trom. 2 ? b b œ œ œ œ œ œ ∑ ∑ ∑ b b 3 3 p F B. Tbn. ? b b bb ∑ ∑ ∑ ∑

Euph. ? b b bb ∑ ∑ ∑ ∑

Tuba ? b b bb ∑ ∑ ∑ ∑ 17 x x x x x x x x x x x x x x x x x x x x x x x x D. S. f œ œ œ ã œ Œ Œ œ 3 œ 3 œ 3 3 3 3

GlockenspielF (Brass Mallets) 17 3 3 3 3 3 3 Perc. 2 b b œ œ œ œ œ œ ã ∑ & b b œ œ œ œ œ œ œ œ œ œ œ œ P Perc. 3 ã ∑ ∑ ∑ ∑

M.B.D, Snare, ∑ ∑ ∑ ∑ & B.D. ã

108

Let Me Tell You A Story (The Children In Their Beds) 4 C 21 Picc. b & b bb ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 1 b b J & b b 3 3 ‰ Œ Ó ∑ ∑ ∑ ˙ œ œ œ. œ œ ˙ œ œ œ œ œ œ œ. œ œ œ œ Fl. 2 b b & b b ∑ 3 3 f bœ Ob. b b œ œ œ œ œ b b Œ 3 Œ ∑ ∑ ∑ ∑ & 3

3 3

Eb Cl. œ œ œ œ œ œ œ œ bœ œ œ bœ œ œ œ & b ∑ Œ 3 Œ 3 Œ 3 Œ 3 Œ 3 Œ œ œ œ Œ 3 Œ œ œ F

B Cl. 1 b w w w w w b & b

F 3 3 œ œ œ œ œ œ œ œ Bb Cl. 2 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b w 3 3 3 3 3 3 3 3 œ œ œ œ œ œ œ œ œ œ œœ œ & 3 3 3 3 œ œ œ œ œ œ œ f

B Cl. 3 b b & b w w w bw w

F 3 3 œ œ œ œ œ œ œ œ B. Cl. b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b 3 3 3 3 3 3 3 3 œ œ œ œ œ œ œ œ œ œ œœ œ & w 3 3 3 3 œ œ œ œ œ œ œ

3 f 3 3 Bsn. ? b b Œ bœ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ œ œ Œ bœ œ œ Œ œ Œ bœ œ œ Œ œ œ b b 3 œ 3 3 3 3 3 œ œ 3 œ 3 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ A. Sx. 1 b œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ 3 3 3 3 3 3 3 3 3 3 3 3 3 3

3 3 A. Sx. 2 ˙ œ & b ∑ œ œ. œ œ ˙ œ œ œ œ œ œ œ. œ œ œ œ

3 3 f 3 3 3 3 3 3 bœ œ œ œ T. S x . bb Œ Œ œ œ & 3 3 œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ p F p F p F p F B. Sx. b œ œ œ œ œ œ ∑ ∑ ∑ ∑ & 3 3 21 p F F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã . . Œ ‰. . ‰. . . . . Œ up in their homes. EveR -ry town had a drag - on am - bas - sa-dor to keep the peace, andR would vis - it them reg - u-lar-ly to bring of - ferings to the beasts. 21 Hn. 1 b & b b ∑ ∑ ∑ ∑ ∑

Hn. 2 b & b b ∑ ∑ ∑ ∑ ∑

B Tpt. 1 b b & b ∑ ∑ ∑ ∑ ∑

œ œ œ ˙ œ Bb Tpt. 2 bb œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ ˙ œ œ œ œ œ œ œ. œ œ œ œ & 3 3 3 3

3 3 f

B Tpt. 3 b b b Œ bœ Œ ∑ ∑ ∑ ∑ & œ œ œ œ œ

Tbn. 1 ? b b œ œ œ œ œ œ ∑ ∑ ∑ ∑ b b 3 3 p F Trom. 2 ? œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ b b ∑ 3 3 œ œ œ œ œ œ b b 3 3 3 3 3 3 p F p F p F p F B. Tbn. ? b w w w b bb ∑ w F Euph. ? b b bb ∑ ∑ ∑ ∑ ∑

Tuba ? b b bb ∑ ∑ ∑ ∑ ∑ 21 x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x D. S. œ œ œ œ œ ã œ 3 œ 3 œ 3 œ 3 œ 3 3 3 3 3 3 21 F ˙ ˙ Glk. b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ & b b œ œ œ 3 3 3 3 ˙ ˙ 3 3 ˙ ˙ P Perc. 3 b b ã ∑ ∑ ∑ ∑ ∑ & b b

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Let Me Tell You A Story (The Children In Their Beds) 5 D

Picc. b & b bb ∑ ∑ ∑ ∑ œ œ œ bœ œ œ. œ œ œ. œ œ. œ œ œ. œ . œ œ œ. œ œ Fl. 1 b & b bb J J J F ˙ ˙ ˙ œ. œ œ ˙ œ œ. œ œ œ. œ Fl. 2 b b ˙ & b b f Ob. b b & b b ∑ ∑ ∑ ∑

Eb Cl. & b ∑ ∑ ∑ ∑

B Cl. 1 b w w w w b & b F

Bb Cl. 2 b w & b w w w F

B Cl. 3 b b & b w w bw w F B. Cl. bb & w w w w F ˙ ˙ œ. œ œ ˙ œ œ. œ œ œ. Bsn. ? b ˙ ˙ œ b bb f A. Sx. 1 bœ b œ. œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ & œ. J œ. J . J F A. Sx. 2 b œ ‰ Œ Ó ∑ ∑ ∑ & J F T. S x . b ˙ œ. œ œ œ œ. œ & b ˙ ˙ ˙ ˙ œ œ. œ f B. Sx. œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ b 3 3 œ œ œ œ œ œ & 3 3 3 3 3 3 26 p F p F p F p F F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã ‰. . . Œ . AerR - i - beth was a re - gion nes - tled be - tween the for - est and moun - tains ruled by a drag - on named Blue, and the towns - peo-ple just did - n't know what to do. 26 Hn. 1 b & b b ˙ œ. œ œ œ œ. œ ˙ ˙ ˙ ˙ œ œ. œ f Hn. 2 b & b b w w bw w f . . œ. œ œ bœ œ Bb Tpt. 1 b œ œ œ œ œ œ œ œ œ œ œ. œ œ & b œ. J œ. J J F

Bb Tpt. 2 b j & b œ ‰ Œ Ó ∑ ∑ ∑ F Bb Tpt. 3 b ˙ œ. œ œ œ œ. œ & b ˙ ˙ ˙ ˙ œ œ. œ f Tbn. 1 ? œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ b b 3 3 œ œ œ œ œ œ b b 3 3 3 3 3 3 p F p F p F p F Trom. 2 ? b b bb ∑ ∑ ∑ ∑

B. Tbn. ? w w bw bbbb w f ˙ ˙ œ. œ œ ˙ œ œ. œ œ œ. Euph. ? b ˙ ˙ œ b bb f Tuba ? bb b b w w bw w f 26 x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x D. S. œ œ œ œ ã œ 3 œ 3 œ 3 œ 3 3 3 3 3 26 f 3 3 3 3 3 3 Glk. b œ b bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ 3 3 PChimes (Chime Mallets) Chm. b b ˙ œ. œ œ œ œ. œ & b b ˙ ˙ ˙ ˙ œ œ. œ f M.B.D, Snare, ∑ ∑ ∑ ∑ & B.D. ã

110

Let Me Tell You A Story (The Children In Their Beds) 6 30 Picc. b & b bb ∑ ∑ ∑ ∑ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ Fl. 1 b b & b b 3 3 3 3 F ˙ ˙ ˙ œ œ. œ œ œ. œ œ œ. œ œ œ. œ Fl. 2 b ˙ & b bb f

Ob. b & b bb ∑ ∑ ∑ ∑

Eb Cl. & b ∑ ∑ ∑ ∑

B Cl. 1 b w w w w b & b F

Bb Cl. 2 b w & b w w w F

B Cl. 3 b b & b w w bw w F B. Cl. bb & w w w w F ˙ ˙ œ œ. œ œ œ. œ œ œ. œ œ œ. œ Bsn. ? b ˙ ˙ b bb f A. Sx. 1 b œ ‰ Œ Ó ∑ ∑ ∑ & J 3 3 3 3

A. Sx. 2 œ œ œ œ œ ˙ œ œ & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ F T. S x . b ˙ œ œ. œ œ œ œ. œ œ & b ˙ ˙ ˙ œ œ. œ œ. f B. Sx. œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ b 3 3 œ œ œ œ œ œ & 3 3 3 3 3 3 30 p F p F p F p F F.M. ‰. œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ. œ œ ‰ œ œ œ œ œ œ. œ. œ œ ã 3 TheR blue drag - on said they did not col - lect an-y-thing and left the town a - lone, but one day the am - bas - sa - dorR hikedR up to the blue drag - on's home. 30 Hn. 1 b b b œ œ. œ œ. œ & ˙ ˙ ˙ ˙ œ œ œ. œ œ œ œ. f Hn. 2 b & b b w w bw w f B Tpt. 1 b b & b ∑ ∑ ∑ ∑

œ œ œ œ œ ˙ œ œ Bb Tpt. 2 bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ & 3 3 3 3 F Bb Tpt. 3 b ˙ œ œ. œ œ œ œ. œ œ & b ˙ ˙ ˙ œ œ. œ œ. f Tbn. 1 ? b b bb ∑ ∑ ∑ ∑

Trom. 2 ? œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ b b 3 3 œ œ œ œ œ œ b b 3 3 3 3 3 3 p F p F p F p F B. Tbn. ? w w bw bbbb w f ˙ ˙ œ œ. œ œ œ. œ œ œ. œ œ œ. œ Euph. ? b ˙ ˙ b bb f Tuba ? bb b b w w bw w f 30 x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x D. S. œ œ œ œ ã œ 3 œ 3 œ 3 œ 3 3 3 3 3 30 f ˙ ˙ Glk. bb b œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ & b 3 3 3 3 ˙ ˙ ˙ ˙ P Chm. b b ˙ œ œ. œ œ œ œ. œ œ & b b ˙ ˙ ˙ œ œ. œ œ. f M.B.D, Snare, ∑ ∑ ∑ ∑ & B.D. ã

111

Let Me Tell You A Story (The Children In Their Beds) 7 E With ease

Picc. b & b bb ∑ ∑ ∑ ∑ ∑ œ ˙. Fl. 1 b & b bb J ‰ Œ Ó ∑ ∑ ∑ Œ œ f Fl. 2 b b J & b b ‰ Œ Ó ∑ ∑ ∑ ∑

˙ ˙ Ob. b b œ œ. œ œ œ œ. œ œ ˙ ˙ œ œ. œ œ & b b œ œ. œ œ. œ œ. f f Eb Cl. & b ∑ ∑ ∑ ∑ ∑

œ œ. œ œ. ˙ ˙ ˙ œ œ. Bb Cl. 1 b œ œ œ. œ œ œ œ. œ ˙ œ œ œ. œ & b f f

B Cl. 2 b b b œ ‰ Œ Ó ∑ ∑ ∑ . & J œ œ œ œ œ. œ f Bb Cl. 3 bb œ ‰ Œ Ó ∑ ∑ ∑ Œ ˙. & J f B. Cl. b j & b œ ‰ Œ Ó ∑ ∑ ∑ Œ ˙. f . Bsn. ? b œ œ. œ œ œ œ. œ œ ˙ ˙ ˙ ˙ ˙ b bb œ œ. œ œ. Œ f f œ A. Sx. 1 ˙ œ œ ˙. bœ œ œ œ œ œ œ ˙ œ œ & b œ œ œ œ œ œ f f A. Sx. 2 ˙ œ œ œ œ œ ˙ & b ˙ ˙. œ œ œ œ œ œ œ œ œ ˙ f f T. S x . b ˙ œ œ œ œ œ œ ˙ & b ˙ ˙. œ œ œ œ œ œ œ œ ˙ f f œ B. Sx. ˙ œ œ ˙. bœ œ œ œ œ œ œ ˙ œ œ & b œ œ œ œ œ œ 34 f f F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã Œ . . ≈ ≈ . ‰ ≈ Œ The am - bas - sa - dor and the drag - on had become friendso - ver the years shar - ing sto - ries, news of the town J and all of its glo - ries. The am-bas - sa -dor sensed Blue was sad 34 Hn. 1 b ˙ ˙ & b b œ œ. œ œ œ. œ œ œ. œ œ œ. œ ˙ ˙ Œ j ‰ Œ j ‰ œ œ f F Hn. 2 b & b b ∑ ∑ ∑ ∑ œ œ. œ œ f œ œ. B Tpt. 1 b b & b ∑ ∑ ∑ ∑ Œ ˙. f B Tpt. 2 b œ b & b J ‰ Œ Ó ∑ ∑ ∑ ∑

B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑

Tbn. 1 ? b b Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ bœ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ ∑ b b J J J J J J J J F j j j j j j Trom. 2 ? b b Œ ‰ Œ ‰ Œ ‰ Œ œ ‰ Œ ‰ Œ ‰ Œ ‰ Œ j ‰ ∑ b b œ œ œ J œ œ œ œ F B. Tbn. ? j j bbbb ∑ ∑ ∑ ∑ Œ œ ‰ Œ œ ‰ F Euph. ? b b Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ bœ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ ∑ b b J J J J J J J J F Tuba ? b b ∑ ∑ ∑ ∑ Œ j ‰ Œ j ‰ b b œ œ F 34 x x x x x x x x x x œ œ œ œ œ D. S. ã œ œ œ œ œ 34 F F Glk. b b œ & b b œ ‰ Œ Ó ∑ ∑ ∑ ∑ J

Chm. b b œ & b b J ‰ Œ Ó ∑ ∑ ∑ ∑

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Let Me Tell You A Story (The Children In Their Beds) 8 39 F With swagger Picc. b & b bb ∑ ∑ ∑ ∑ ∑ œ ˙. œ œ œ œ œ œ œ. œ œ ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 1 b b œ œ œ & b b 3 Œ 3 3 3 3 3 3 3 ‰ f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 2 b b œ œ œ & b b ∑ ∑ ∑ 3 3 3 3 3 3 3 ‰ f ˙ ˙ Ob. b b œ œ. œ œ ˙ ˙ & b b œ œ. ∑ ∑

3 3 3 3 3 3 3 E Cl. b & b ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ f œ œ. ˙ ˙ ˙ Bb Cl. 1 b œ œ œ. œ ˙ & b ∑ ∑

B Cl. 2 b b b . ˙ ˙ ∑ ∑ & œ œ œ œ œ. œ ˙ ˙

Bb Cl. 3 b . œ œ œ œ œ œ. œ œ . & b ˙ œ œ 3 ˙ Œ ∑ ∑

B. Cl. b . œ œ œ œ œ œ. œ œ . & b ˙ œ œ 3 ˙ Œ ∑ ∑

. œ œ œ œ œ œ. œ œ . Bsn. ? b ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b bb 3 Œ 3 3 3 3 3 3 3 ‰ œ f œ A. Sx. 1 ˙. bœ œ œ œ œ œ œ & b œ œ œ œ œ œ ∑ ∑

A. Sx. 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ˙. œ œ œ œ œ œ œ œ œ 3 3 3 3 3 3 3 ‰ œ f T. S x . b œ œ œ œ œ œ & b ˙. œ œ œ œ œ œ œ œ ∑ ∑ œ B. Sx. ˙. bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ œ œ 3 3 3 3 3 3 3 ‰ œ 39 f F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã . . . ‰ ≈ Œ . . ‰ and asked "What's wrong my friend?". He said, "Tell me the truth,J there's no need to pre - tend". The blue drag - on sighed. "I have no hoard" is what they said. "But I 39 Hn. 1 b & b b Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ ∑ ∑ œ bœ œ œ œ œ

Hn. 2 b & b b ∑ ∑ œ œ. œ œ ˙ ˙ ˙ ˙ œ œ. 3 3 3 3 3 3 3

Bb Tpt. 1 bb ˙. œ œ œ œ œ œ œ œ. œ œ ˙. Œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ & 3 œ œ œ œ œ œ œ œ œ œ f B Tpt. 2 b b & b ∑ ∑ ∑ ∑ ∑

B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑

Tbn. 1 ? b œ œ œ bœ b bb ∑ ∑ ∑ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ F j j j Trom. 2 ? b b ∑ ∑ ∑ Œ ‰ Œ ‰ Œ ‰ Œ œ ‰ b b œ œ œ J F

B. Tbn. j j j j j ? b b Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ ‰ ∑ ∑ b b J œ

Euph. ? b œ œ œ bœ b bb ∑ ∑ ∑ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ F Tuba ? bb b Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ ∑ ∑ b œ bœ œ œ œ œ 39 x x x x x x x x x x x x x x x x x x x x x x x D. S. œ œ œ œ œ Œ ã œ œ œ œ 3 3 3 œ 3 3 3 3 39 F Glk. b b & b b ∑ ∑ ∑ ∑ ∑

Chm. b b & b b ∑ ∑ ∑ ∑ ∑

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Let Me Tell You A Story (The Children In Their Beds) 9 44 G Picc. b & b bb ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 1 b b œ J J & b b ‰ 3 ‰ Œ Ó ∑ ∑ f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 2 b b œ J J & b b ‰ 3 ‰ Œ Ó ∑ ∑ f ˙ ˙ Ob. b b œ œ. œ œ œ œ. œ œ & b b ∑ ∑ œ œ. œ œ.

3 f E Cl. j b & b œ œ œ œ œ œ œ ‰ ˙ œ œ œ œ œ œ œ œ œ. œ . œ œ œ. œ . œ ˙ œ f œ œ œ œ œ ˙ œ œ. bœ œ . œ œ. Bb Cl. 1 b œ œ œ J œ & b ∑ ∑ J J f œ œ. œ œ. œ œ. Bb Cl. 2 bb ∑ ∑ ˙ œ œ œ œ & J œ J J f B Cl. 3 b j œ. œ. b b ∑ ∑ ˙ œ œ œ. œ œ œ œ œ & œ J J f B. Cl. b b ∑ ∑ . . ˙ ˙ & œ œ œ œ œ. œ œ œ œ œ œ. œ f œ œ œ œ œ œ œ œ œ Bsn. ? b œ œ œ œ œ œ œ J b bb J ‰ 3 ‰ Œ Ó ∑ ∑ f œ œ œ œ A. Sx. 1 œ œ œ. œ œ œ œ. œ œ ˙ ˙ & b ∑ 3 œ œ. œ œ. f œ œ œ œ œ œ œ A. Sx. 2 b œ œ œ J ‰ œ œ œ œ ∑ ∑ ∑ & 3 œ f œ œ œ œ œ ˙ ˙ T. S x . b œ œ œ œ . œ œ œ. œ . œ œ œ. œ & b ∑ 3 f œ œ œ œ œ œ œ œ œ B. Sx. œ œ œ œ œ œ œ J & b J ‰ 3 ‰ Œ Ó ∑ ∑ 44 f F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã . . ‰ Œ ≈ . . ‰ . . don't know what I want to col-lect", scratch-ing their head.J "Well," said the am - bas - sa - dor, "per-haps you need some in -spi - ra - tion,J what if you trav - eled to see oth - er drag - 44 Hn. 1 b & b b ∑ ∑ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ œ œ œ bœ œ œ F Hn. 2 b & b b ∑ ∑ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ œ œ œ bœ œ œ 3 F Bb Tpt. 1 bb œ œ œ œ œ œ œ œ œ ‰ œ œ œ ‰ Œ Ó ∑ ∑ & œ J œ œ œ J

B Tpt. 2 b b & b ∑ ∑ ∑ ∑ ∑

B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑

Tbn. 1 ? b b Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ ∑ ∑ ∑ b b J J J J

Trom. 2 ? b j j j j b bb Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ ∑ ∑ ∑

j j j j j B. Tbn. ? b b ∑ ∑ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ b b J F Euph. ? b œ œ œ œ b bb Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ ∑ ∑ ∑

Tuba ? b b ∑ ∑ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ b b œ œ œ bœ œ œ F 44 x x x x x x x x x x x x œ œ œ œ œ D. S. œ œ œ œ œ œ œ ã . . . 3 44 F Glk. b b & b b ∑ ∑ ∑ ∑ ∑

Chm. b b & b b ∑ ∑ ∑ ∑ ∑

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Let Me Tell You A Story (The Children In Their Beds) 10 H 49 Picc. b & b bb ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 1 b b œ œ œ J J J J J œ J J J J J & b b ∑ 3 3 3 ‰ ‰ ‰ ‰ ‰ 3 3 3 ‰ ‰ ‰ ‰ ‰ f Fl. 2 b b & b b ∑ ∑ ∑ ∑ ∑

œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ Ob. b b ˙ ˙ œ œ œ J œ œ œ J J œ J J & b b 3 3 3 ‰ ‰ J J ‰ J ‰ J ‰ 3 3 3 ‰ ‰ J ‰ ‰ ‰ f Eb Cl. & b ∑ ∑ ∑ ∑ ˙ ˙

3 3 ˙ ˙ œ Bb Cl. 1 b œ œ œ œ œ œ œ & b œ œ œ œ œ œ œ œ œ ‰ ‰ œ ‰ ‰ œ ‰ œ œ œ œ œ œ œ œ œ ‰ ‰ J ‰ J ‰ J ‰ 3 3 J J J J J 3 3 J J f f ˙ Bb Cl. 2 bb ˙ ∑ ∑ ∑ ‰ œ œ ‰ œ ‰ œ ‰ & J J J J f

Bb Cl. 3 b ˙ & b ˙ ∑ ∑ ∑ ‰ j j ‰ j‰ j‰ œ œ œ œ f œ B. Cl. b œ œ œ & b ˙ ˙ ∑ ∑ ∑ ‰ J J ‰ J ‰ J ‰ f œ œ œ œ œ œ œ œ œ œ Bsn. ? b œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ J b ∑ 3 3 3 J ‰ ‰ œ ‰ ‰ ‰ 3 3 3 J ‰ ‰ J ‰ ‰ J ‰ b b J J J J J f f œ œ œ œ œ œ œ œ œ œ œ œ œ œ A. Sx. 1 ˙ ˙ œ œ œ œ œ œ œ J œ J œ œ œ œ œ œ J J J J & b 3 3 3 J ‰ ‰ J ‰ ‰ J ‰ 3 3 3 J ‰ ‰ ‰ ‰ ‰ f f œ œ œ A. Sx. 2 œ œ œ bœ œ J & b ∑ ∑ ‰ J J ‰ J ‰ J ‰ ∑ ‰ J J ‰ ‰ J ‰ f f

T. S x . b ˙ ˙ œ œ œ œ j j j b ∑ ‰ J ‰ J ‰ ‰ ∑ ‰ œ ‰ œ ‰ œ ‰ & J J œ J f f œ œ œ œ œ œ œ œ œ œ œ œ œ œ B. Sx. œ œ œ œ œ œ œ J œ J œ œ œ œ œ œ J J J J & b ∑ 3 3 3 J ‰ ‰ J ‰ ‰ J ‰ 3 3 3 J ‰ ‰ ‰ ‰ ‰ 49 f f F.M. œ œ. œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. Œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ Œ ã 3 on's hoards to do an in-ves - ti - ga - tion? J "Drag-ons don't real-ly like me," said Blue, "be-cause I have no hoard.", "Well, I'll go with you!" said the am-bas - sa-dor, and Blue's spir-it soared. 49 Hn. 1 b & b b Œ j ‰ Œ j ‰ ∑ ∑ ∑ ∑ œ œ

Hn. 2 b & b b Œ j ‰ Œ j ‰ ∑ ∑ ∑ ∑ œ œ 3 3

Bb Tpt. 1 b œ j j j œ & b ∑ œ œ œ œ œ œ œ œ œ ‰ ‰ œ œ ‰ œ ‰ bœ ‰ œ œ œ œ œ œ œ œ œ ‰ ‰ j j ‰ j‰ j‰ 3 3 J J 3 3 J œ œ œ œ f f B Tpt. 2 b b & b ∑ ∑ ∑ ∑ ∑

B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑

Tbn. 1 ? b b ∑ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ bœ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ b b J J J J J J J J f

Trom. 2 j j j j j j j ? b b ∑ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ ‰ b b J œ f B. Tbn. ? b j j b bb Œ œ ‰ Œ œ ‰ ∑ ∑ ∑ ∑

Euph. ? b œ œ œ bœ œ œ œ œ b bb ∑ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ Œ J ‰ f Tuba ? bb b Œ j ‰ Œ j ‰ ∑ ∑ ∑ ∑ b œ œ 49 x x x x x x x x x x x x x x x x x x D. S. œ œ j j œ j j ã œ œ œ œ ‰ œ œ ‰ J ‰ J ‰ œ œ œ ‰ œ œ ‰ J ‰ J ‰ 3 3 3 3 3 3 49 f Glk. b & b bb ∑ ∑ ∑ ∑ ∑

Chm. b b & b b ∑ ∑ ∑ ∑ ∑

M.B.D, Snare, ∑ ∑ ∑ ∑ ∑ & B.D. ã

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Let Me Tell You A Story (The Children In Their Beds) 11 I J 3 3 3 3 3 3 3 With ease

Picc. b n b bb œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ n nnb ∑ & œ œ œ œ œ œ œ œ œ œ œ J 3 f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 1 b b œ œ œ œ J n n œ œ œ œ œ & b b 3 3 3 3 3 3 3 ‰ ‰ 3 n n b Œ f f ˙ ˙ Fl. 2 b b œ œ. œ œ œ œ. œ œ ˙ ˙ n n & b b œ œ. œ œ. n n b ∑ f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ob. b b œ œ œ œ J œ œ œ œ œ n n œ œ œ œ œ & b b 3 3 3 3 3 3 3 ‰ ‰ 3 n n b Œ f f

Eb Cl. œ œ. œ œ. ˙ ˙ ˙ # w & b œ œ œ. œ œ œ œ. œ ˙ # f f B Cl. 1 b # b b . . ˙ ˙ ∑ & œ œ œ œ œ. œ œ œ œ œ œ. œ ˙ ˙ f Bb Cl. 2 b # w & b ∑ ∑ ∑ ∑ f

B Cl. 3 b # b & b ∑ ∑ ∑ ∑ Œ œ œ œ œ œ f

B. Cl. b # w & b ∑ ∑ ∑ ∑ f Bsn. ? b n ˙ b bb ∑ ∑ ∑ ∑ n nnb Ó f œ œ œ œ A. Sx. 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ## œ œ œ œ œ & b 3 3 3 3 3 3 3 ‰ œ J ‰ 3 Œ f f A. Sx. 2 # œ œ œ & b ∑ ∑ ∑ ∑ # Œ œ œ f

T. S x . b # & b ∑ ∑ ∑ ∑ ∑

3 œ œ œ œ B. Sx. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ## œ œ œ œ œ & b 3 3 3 3 3 3 3 ‰ œ J ‰ œ œ œ œ œ Œ f f Key Changes and Texture Thins 54 conversational F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã ‰. ‰ ≈ . . ≈ . ‰ Œ ‰. "ThatR sounds like a splen - did i - dea" is all Blue had to say, J and the pair de-cided to take ﬂightJ Rthe ver -y next day.J AsR they ﬂew to the coast, the 54 Hn. 1 b n & b b Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ n n Ó œ œ œ bœ œ œ œ œ ˙ f f Hn. 2 b n & b b Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ n n Ó œ œ œ bœ œ œ œ œ ˙ f f B Tpt. 1 b # b b . . ˙ ˙ ∑ & œ œ œ œ œ. œ œ œ œ œ œ. œ ˙ ˙ f B Tpt. 2 b # b & b ∑ ∑ ∑ ∑ ∑

B Tpt. 3 b # b & b ∑ ∑ ∑ ∑ ∑

Tbn. 1 ? b n b bb ∑ ∑ ∑ ∑ n nnb ∑

Trom. 2 ? b n b bb ∑ ∑ ∑ ∑ n nnb ∑

B. Tbn. j j j j j j j ? b b Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ œ ‰ Œ ‰ n n ∑ b b J œ n n b f Euph. ? b n b bb ∑ ∑ ∑ ∑ n nnb ∑

Tuba ? bb b Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ Œ j ‰ nn nb ∑ b œ œ œ bœ œ œ œ œ n 54 x x fx x x x x x x x x x x x x x x x x x x x x x x x œ œ œ œ œ D. S. œ œ œ œ œ œ œ Œ Œ ã 3 3 3 3 3 3 . . . 3 3 3 54 f f Glk. b n & b bb ∑ ∑ ∑ ∑ n nnb ∑ Chimes (Chime Mallets)

Chm. b b n n & b b ∑ ∑ ∑ ∑ n n b Ó ˙ f M.B.D, Snare, ∑ ∑ ∑ ∑ ∑ & B.D. ã

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Let Me Tell You A Story (The Children In Their Beds) 12 K 59 Picc. & b ∑ ∑ ∑ ∑ ∑ ∑

Fl. 1 œ œ œ œ œ œ œ œ. œœ. œœ œ œ œ œ œ œ b œ. œ 3 œ œ ∑ ∑ ∑ & 3

œ ˙ œ. œ œ ˙ œ œ œ ˙ Fl. 2 & b ∑ ∑ ∑ Œ ‰ f Ob. œ œ œ œ œ œ œ œ. œœ. œœ œ œ œ œ œ œ b œ. œ 3 œ œ ∑ ∑ ∑ & 3

Eb Cl. # w & # w w ˙. œ w w f œ # œ ˙ œ. œ ˙ œ œ œ ˙ Bb Cl. 1 & ∑ ∑ ∑ Œ ‰ f

Bb Cl. 2 # w œ w w & w ˙. w

3 3 f # Bb Cl. 3 & œ œ Œ œ ˙ œ. œ œ ˙ œ ‰ œ œ ˙ œ œ œ œ œ œ œœ. œœ. œœ œ œ œ œ œ œ. œ œ f w B. Cl. # w w ˙. œ w w & f Bsn. ? ˙ ˙ ˙ b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

A. Sx. 1 # ˙ œ. œ œ ˙ œ œ œ # œ œ œ œ œ œ œ œ. œœ. œœ œ œ œ œ œ œ Œ œ ‰ ˙ & œ. œ 3 œ œ 3 f # A. Sx. 2 # œ œ œ œ œ œ œ œ. œœ. œœ œ œ œ œ œ œ ∑ ∑ ∑ & œ. œ 3 œ œ œ # œ ˙ œ. œ ˙ œ œ œ ˙ T. S x . & ∑ ∑ ∑ Œ ‰ 3 f

B. Sx. # ˙ œ. œ œ ˙ œ œ œ # œ œ œ œ œ œ œ œ. œœ. œœ œ œ œ œ œ œ Œ œ ‰ ˙ & œ. œ 3 œ œ

59 rhythmic speechf F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã . Œ Ó ∑ ‰ Œ ≈ ‰. ﬁrst des - ti - na - tion was that of the Pur - ple drag-on. As Blue and the am - bas-sa- dor - ar-rived,J Pur - ple greet - ed them and asked of their quest, Blue re-plied, "I'mR 59 Hn. 1 & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ f Hn. 2 & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ f # Bb Tpt. 1 & ∑ ∑ ∑ ∑ ∑ ∑

# Bb Tpt. 2 & ∑ ∑ ∑ ∑ ∑ ∑

# Bb Tpt. 3 & ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1 ? b ∑ ∑ ∑ ∑ ∑ ∑

Trom. 2 ? b ∑ ∑ ∑ ∑ ∑ ∑

B. Tbn. ? b ∑ ∑ ∑ ∑ ∑ ∑

Euph. ? b ∑ ∑ ∑ ∑ ∑ ∑

Tuba ? b ∑ ∑ ∑ ∑ ∑ ∑ 59 D. S. j œ œ j œ œ j œ œ ã Œ ‰ œ Œ œ Œ Œ Œ ‰ œ Œ œ Œ Œ Œ ‰ œ Œ œ Œ Œ 59 f Glk. & b ∑ ∑ ∑ ∑ ∑ ∑

Chm. & b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ f M.B.D, Snare, ∑ ∑ ∑ ∑ ∑ ∑ & B.D. ã

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Let Me Tell You A Story (The Children In Their Beds) 13 L 65 Picc. & b ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ Fl. 1 œ œ œ œ. œ œ. J & b ∑ Œ Œ 3 ‰ f Fl. 2 œ œ œ ˙ & b ‰ ∑ ∑ ∑ ∑

3 Ob. œ œ œ. œ & b ∑ Œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ. œ œ. œ œ ‰ J œ œ œ œ f # Eb Cl. # ˙ ˙ & w w w w f 3 œ œ Bb Cl. 1 # œ ˙ œ œ œ œ œ. œ & ‰ Œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ. œ œ. œ œ ‰ J œ œ f # Bb Cl. 2 ˙ ˙ & w w w w f

B Cl. 3 # b & œ ‰ œ œ ˙ ∑ ∑ ∑ ∑

B. Cl. # ˙ ˙ & w w w w f

Bsn. ? œ ˙ œ œ ˙ œ œ œ ˙ b ˙ ˙ Œ ˙ œ f # œ œ œ œ œ œ œ œ œ œ œ. œ A. Sx. 1 # œ ‰ œ œ ˙ Œ œ œ œ œ œ œ Œ œ œ œ œ. œ œ. œ œ ‰ J & 3 f # œ œ œ œ œ œ œ œ œ œ œ. œ A. Sx. 2 # ∑ Œ œ œ œ œ œ œ Œ œ œ œ œ. œ œ. œ œ ‰ J & 3 f # œ œ œ ˙ T. S x . & ‰ ∑ ∑ ∑ ∑

# œ œ œ œ œ œ œ œ œ œ œ. œ B. Sx. # œ ‰ œ œ ˙ Œ œ œ œ œ œ œ Œ œ œ œ œ. œ œ. œ œ ‰ J & 3 65 f F.M. œ œ œ œ œ. œ œ œ œ ‰. œ œ œ œ œ. œ œ. œ œ œ œ œ œ Œ œ œ œ œ. œ œ. œ œ ‰ œ œ œ œ œ œ œ œ œ ‰ ã 3 look - ing for the hoard that ﬁts me best." PurR - ple said, "You need a hoard of jewels and gold. Look at my brace - lets, rings, and gems, aren't they a beau - ty to be - hold?!"J 65 Hn. 1 Œ & ˙ œ œ ˙ œ ˙ ˙ ˙ œ œ ˙ œ œ f Hn. 2 Œ & ˙ œ œ ˙ œ ˙ œ œ ˙ œ œ ˙ ˙ f # Bb Tpt. 1 & ∑ ∑ ∑ ∑ ∑

# Bb Tpt. 2 & ∑ ∑ ∑ ∑ ∑

# Bb Tpt. 3 & ∑ ∑ ∑ ∑ ∑

Tbn. 1 ? b ∑ ∑ ∑ ∑ ∑

Trom. 2 ? b ∑ ∑ ∑ ∑ ∑

B. Tbn. ? b ∑ ∑ ∑ ∑ ∑

Euph. ? b ∑ ∑ ∑ ∑ ∑

Tuba ? b ∑ ∑ ∑ ∑ ∑ 65 D. S. j œ œ j œ œ j œ ã Œ ‰ œ Œ œ Œ Œ Œ ‰ œ Œ œ Œ Œ Œ ‰ œ Œ 65 f Glk. & b ∑ ∑ ∑ ∑ ∑

Chm. & b Œ ˙ œ œ ˙ œ ˙ ˙ ˙ œ œ ˙ œ œ f M.B.D, Snare, ∑ ∑ ∑ ∑ ∑ & B.D. ã

118

Let Me Tell You A Story (The Children In Their Beds) 14 With the power of M N 100 exploding suns 2 Picc. b & b ∑ ∑ ∑ ∑ nb bb Œ œ ˙ Ï ˙. œ. 2 Fl. 1 ˙ œ. œ œ. œ œ ˙ b & b Œ Œ œ J J J nb bb Œ œ ˙ f ƒ Ï 2 œ ˙ Fl. 2 b b & b ∑ ∑ ∑ ∑ nb b Œ Ï ˙. . 2 Ob. œ. œ œ. œ œ œ ˙ b b ˙ & b Œ ∑ J J J nb b Œ œ f ƒ Ï # j 2 Eb Cl. # j j œ. œ b ∑ & w w œ. œ œ. œ œ œ f ƒ # j 2 œ ˙ Bb Cl. 1 ˙. Œ Œ j j œ. bb Œ & œ ˙ œ. œ œ. œ œ ˙ f ƒ Ï 2 Bb Cl. 2 # j j j œ b œ ˙ & w w œ. œ œ. œ œ. œ œ b Œ f ƒ Ï # 2 Bb Cl. 3 ∑ ∑ j j j bb Œ œ ˙ & œ. œ œ. œ œ. œ œ œ f ƒ Ï 2 B. Cl. # œ œ b w w œ. œ œ. œ . œ œ b Œ & J J J œ ˙ f ƒ Ï œ ˙ œ œ œ œ. œ œ œ 2 œ œ œ. œ Bsn. ? œ ˙ œ. œ œ. œ b b ‰ ≈ œ œ œ b J J J nb b R f ƒ Ï ˙. œ. œ. œ œ œ 2 A. Sx. 1 # œ. œ œ & # Œ ∑ J J J b Œ œ ˙ f ƒ Ï # ˙. œ. œ 2 œ ˙ A. Sx. 2 # Œ ∑ œ. œ œ. œ œ œ b Œ & J J J f ƒ Ïœ ˙ œ œ 2 T. S x . # œ. œ œ. œ . œ œ b & ∑ ∑ J J J b Œ f ƒ Ï ˙. œ. œ. œ œ. œ œ œ 2 B. Sx. ## œ J & Œ ∑ J J b Œ œ ˙ f ƒ Ï Jingling of Coin Coin Drop Endiing with 'okay" 70 2 F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã ‰ . ‰ ‰ ‰ . . ∑ "Why do you like your hoard?" the am-bas-sa-dor asked with a smile,J Pur-ple said, "I like the way it shines,J here, take a lis-ten to my coins for a while." 70 2 Hn. 1 j b & ˙ œ œ j j œ œ b b Œ ˙ œ œ œ ˙ œ. œ œ. œ . œ œ œ f ƒ Ï 2 Hn. 2 j b & ˙ œ œ j j œ œ b b Œ ˙ œ œ œ ˙ œ. œ œ. œ . œ œ œ f ƒ Ï 2 Bb Tpt. 1 # b r œ. & ∑ ∑ ∑ ∑ b ‰ ≈ œ œ œ œ œ œ Ï 2 B Tpt. 2 # b b & ∑ ∑ ∑ ∑ b ∑ 2 B Tpt. 3 # b b & ∑ ∑ ∑ ∑ b Œ œ ˙ 2 Ï Tbn. 1 ? b b ∑ ∑ ∑ ∑ nb bb Œ œ ˙ Ï 2 Trom. 2 ? b b ∑ ∑ ∑ ∑ nb bb ∑ 2 B. Tbn. ? b b ∑ ∑ ∑ ∑ nb bb Œ œ ˙ Ï 2 Euph. ? b b ∑ ∑ ∑ ∑ nb bb ∑ 2 Tuba ? b b ∑ ∑ ∑ ∑ nb bb Œ œ ˙ 70 Ï x x x 2 x D. S. œ j œ œ. œ œ œ ã œ Œ Œ Œ ‰ œ Œ œ. J J œ. J œ Œ 70 f ƒ Ï 2 Glk. b b & b ∑ ∑ ∑ ∑ nb b ∑ 2 Chm. ˙ œ j j . j œ b b & b œ œ œ œ ˙ œ. œ. œ œ œ œ nb b ∑ œ Muted Bass Drum Snare f ƒ (Heavy Beater) (Drum Stick) 2 œ M.B.D, Snare, ∑ ∑ ∑ ∑ œ Œ Œ & B.D. ã Ï

119

Let Me Tell You A Story (The Children In Their Beds) 15 O With ease 77 œ œ œ œ œ ˙ œ Picc. b b œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ b 3 œ œ œ Œ œ 3 Œ ˙ 3 3 Œ œ 3 ∑ ∑ ∑ & b 3 3 œ 3 Ï œ œ ˙ œ œ œ œ ˙ œ Fl. 1 b b œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ b 3 œ œ œ Œ œ 3 Œ 3 3 Œ œ 3 ∑ ∑ ∑ & b 3 3 3 Ï ˙ œ œ. œ ˙ ˙ Fl. 2 b b ˙ œ œ œ. œ ˙ œ œ. œ & b b Œ Œ œ ˙ Œ œ ˙ ˙ w w ∑ Ï P œ œ ˙ œ œ œ œ ˙ œ Ob. b b œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ b 3 œ œ œ Œ œ 3 Œ 3 3 Œ œ 3 w w ∑ & b 3 3 3 Ï P Eb Cl. & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ . ˙ œ œ. œ œ ˙ ˙ œ œ. œ ˙ Bb Cl. 1 b ˙ ˙ œ œ œ ˙ œ ˙ w w & b Œ Œ Œ ∑ Ï P œ . œ . Bb Cl. 2 b œ œ. œ ˙ œ œ œ ˙ ˙ œ œ ˙ & b ˙ ˙ Œ œ ˙ Œ Œ œ ˙ w w ∑ Ï P Bb Cl. 3 b œ œ œ ˙ œ œ œ & b ˙ ˙ Œ œ œ. œ œ ˙ ˙ Œ . œ ˙ Œ . œ ˙ ˙ w w ∑ Ï P B. Cl. b b Œ Œ œ œ œ ˙ Œ œ œ œ ∑ & ˙ ˙ œ œ. œ œ ˙ ˙ . œ ˙ . œ ˙ ˙ w w Ï P . œ œ. . ˙ œ œ. . œ œ. . ˙ Bsn. ? b œ œœ ˙ œ œœ œ œ œ œœ œ œœ œ œ œ œœ ˙ œ œœ œ œ œ œœ w w b bb ‰ ≈R ‰ ≈R ‰ ≈R ∑ 3 Ï P œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œ œ. œ œ. œ œ. œ œ. œ A. Sx. 1 œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ œ b œ œ œ Œ ˙ œ Œ 3 Œ œ Œ & 3 œ œ œ œ 3 3 3 œ 3 3 Ï ƒ f œ œ. œ ˙ œ œ. œ œ. œ. ˙ ˙ œ œ. œ œ ˙ ˙ œ ˙ œ ˙ ˙ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œœ œ œ. œ œ œ. œ A. Sx. 2 & b Œ Œ Œ Œ Ï œ œ ƒ f ˙ ˙ œ œ. œ ˙ ˙ œ. œ œ ˙ ˙ œ. œ ˙ ˙ T. S x . b œ œ œ. œ. œ. œ. œ. œ. œ œ. œ œ. œ œ. œ œ. œ & b Œ Œ Œ œ œ œ œ œ œ œœ Œ 3 Ï ƒ f œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œ œ. œ œ. œ œ. œ œ. œ B. Sx. œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ œ b œ œ œ Œ ˙ œ Œ 3 Œ œ Œ & 3 œ œ œ œ 3 3 3 œ 3 3 Ï ƒ f 77 Pluck Synth Enters F.M. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 77 3 Hn. 1 b œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ b b œ œ œ Œ ˙ œ Œ 3 Œ œ ∑ & 3 œ œ œ œ 3 3 3 œ 3 3 w w

3 Ï P Hn. 2 b œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ b b œ œ œ Œ ˙ œ Œ 3 Œ œ ∑ & 3 œ œ œ œ 3 3 3 œ 3 3 w w Ï P

B Tpt. 1 b r r r b b œ. œœ ˙ ‰ ≈ œœœ œ. œ œ œ. œœ ˙ ‰ ≈ œœœ œ. œ œ œ. œœ ˙ ‰ ≈ œœœ œ. œ œ œ. œœ ˙ ∑ ∑ & œ œ œ œ. œ œ. œ œ. œ œ. œ Ï f B Tpt. 2 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 3 3 3 3 3 3 3 B Tpt. 3 b b b Œ œ Œ œ ˙ œ œ œ Œ œ ˙ œ ∑ ∑ ∑ & œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 Ï Tbn. 1 ? œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ b b œ œ œ œ œ œ Œ ˙ œ œ Œ 3 Œ œ œ w w œ. œ œ œ œ. œ œ œ b b 3 3 3 3 3 3 . . Ï P f Trom. 2 ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Tbn. ? œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ b b œ œ œ œ œ œ Œ ˙ œ œ Œ 3 Œ œ œ w w ∑ b b 3 3 3 3 3 3 Ï P Euph. ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 3 3 3 3 3 3 3 Tuba ? bb b Œ Œ Œ ∑ b œ œ œ œ ˙ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ Ï œ w w P 77 x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x œ œ œ œ œ œ œ œ œ œ D. S. œ œ Œ œ œ Œ œ œ Œ œ œ œ œ ã 3 3 3 3 3 3 3 3 Ï 77 f Glk. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Chm. b & b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œ œ œ œ œ œ M.B.D, Snare, œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ ∑ ∑ ∑ & B.D. ã Ï

120

Let Me Tell You A Story (The Children In Their Beds) 16 87 P Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Fl. 1 b & b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Fl. 2 b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Ob. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Eb Cl. & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B Cl. 1 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B Cl. 2 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B Cl. 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Cl. b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bsn. ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ. œ. œ. œ. œ. œ. œ œ œ œ œ. œ œ. œœ. œ œ. œ œ.œ œ. œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œœ œ œ. œ œ œ. œ A. Sx. 1 & b Œ Œ F F œ. œ. œ. œ. œ. œ. œ œ œ œ œ. œ œ. œœ. œ œ. œ œ.œ œ. œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œœ œ œ. œ œ œ. œ A. Sx. 2 & b Œ Œ F F T. S x . b œ. œ œ œ œ. œ. œ. œ. œ. œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œ œ. œ. œ. œ. œ. œ. œ œ. œ œ. œ œ. œ œ. œ & b œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ œœ Œ F œ. F œ. œ. œ. œ. œ. œ œ œ œ œ. œ œ. œœ. œ œ. œ œ.œ œ. œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œœ œ œ. œ œ œ. œ B. Sx. & b Œ Œ F 87 conversational F rhythmic speech F.M. œ œ œ œ œ œ œ œ‰ œ œ œ œ œ œ œ œ. œ œ ‰ Ó Œ ‰ ≈œ œ œ œ œ œ œ Œ Œ œ œ. ˙ Ó ã ∑ 3 ∑ Blue found no in-terest in gold J be-cause he want-ed some-thing use-ful. J TheR next drag-on to vis-it was named Green. 87 Hn. 1 bb ∑ Œ Œ ˙. w & b ˙. ˙. œ w w ˙. œ œ f f Hn. 2 bb ∑ Œ Œ ˙. w & b ˙. ˙. œ w w ˙. œ œ f f B Tpt. 1 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ. œ œ œ œ

B Tpt. 2 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1 ? b œ œ œ œ b bb . œ œ œ œ œ. œ œ. œœ. œ œ. œ œ.œ œ. œ œ œ œ Œ . œ œ. œ . œ œ. œ . œ œ œ œ ∑ ∑ ∑ F P ˙. ˙. . œ w w w ˙. œ œ Trom. 2 ? b ˙ b bb ∑ Œ Œ f f B. Tbn. ? b ˙. w . b bb ∑ Œ ˙. ˙. œ w w Œ ˙ œ œ f f Euph. ? b ˙. w . b bb ∑ Œ ˙. ˙. œ w w Œ ˙ œ œ f f Tuba ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 87 x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x œ œ œ œ œ œ œ œ D. S. ã œ œ œ œ œ œ œ œ 87 F F Glk. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Chm. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

M.B.D, Snare, ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & B.D. ã

121

Let Me Tell You A Story (The Children In Their Beds) 17 95 Q With swagger Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑

Fl. 1 b & b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑

Fl. 2 b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑

Ob. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑

Eb Cl. & b ∑ ∑ ∑ ∑ ∑ ∑ ∑

B Cl. 1 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑

B Cl. 2 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑

B Cl. 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Cl. b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bsn. ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ. œ. œ. œ. œ œ œ œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ A. Sx. 1 & b Œ ∑ ∑ F œ. œ. œ. œ. œ œ œ œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ A. Sx. 2 & b Œ ∑ ∑ F

T. S x . b œ. œ œ œ œ. œ. œ. œ. œ. œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œ & b œ œ œ œ œ œ œ œ œ Œ œ ∑ ∑ F œ. œ. œ. œ. œ œ œ œ œ. œ œ. œ œ. œ œ. œ œ. œ œ. œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ B. Sx. & b Œ ∑ ∑ 95 F Lower Distorted Synth Enters F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã Ó Œ ‰. . . Œ ‰ ∑ ∑ R 3 J 95 As Blue and the am -bas-sa - dor land-ed in - side Green's cave they smelled some-thing de - li-cious, smells with a - ro-ma so nu-tri-tious. Hn. 1 bb œ. j j‰ j‰ ‰ j‰ ‰ j j‰ j‰ j‰ & b ˙ ˙ ˙ ˙ œ ˙ ˙. œ œ ˙ ˙ œ œ j œ œ œ œ œ > > œ > > > > > f f > Hn. 2 bb œ. j ∑ ∑ & b ˙ ˙ ˙ ˙ œ ˙ ˙. œ œ ˙ ˙ f

B Tpt. 1 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑

B Tpt. 2 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑

B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1 ? >œ > j > >œ > >œ >œ bb b ∑ ∑ ∑ ∑ ∑ ‰ œ ‰ œ ‰ œ ‰ ‰ œ ‰ J ‰ ‰ b J J > J J J J f ˙ ˙ ˙ œ. ˙ ˙. œ ˙ Trom. 2 ? b ˙ œ œ ˙ b bb J ∑ ∑ f

B. Tbn. j j j j ? b b ˙ ˙ œ. j ˙ œ œ ‰ j‰ j‰ j‰ ‰ œ j‰ œ ‰ ‰ b b ˙ ˙ œ ˙ . œ ˙ ˙ œ œ œ œ œ > > > > > > > > f f Euph. ? b œ j b bb ˙ ˙ ˙ ˙ . œ ˙ ˙. œ œ ˙ ˙ ∑ ∑ f Tuba ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 95 x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x xx x x xx x xxx x xxx x œ œ œ œ œ D. S. ã œ œ œ œ œ œ œ œ œ 95 F f Glk. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑

Chm. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑

M.B.D, Snare, ∑ ∑ ∑ ∑ ∑ ∑ ∑ & B.D. ã

122

Let Me Tell You A Story (The Children In Their Beds) 18 102 R Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑

Fl. 1 b & b bb ∑ ∑ ∑ ∑ ∑ ∑

Fl. 2 b b & b b ∑ ∑ ∑ ∑ ∑ ∑

œ. œ œ œ œ œ œ œ œ œ œ Ob. b b œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ œ & b b ∑ ∑ ‰ J œ Œ f Eb Cl. & b ∑ ∑ ∑ ∑ ∑ ∑

Bb Cl. 1 b œ. j & b ∑ ∑ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ. œ œ Œ œ œ œ œ œ œ œ œ œ œ f B Cl. 2 b b & b ∑ ∑ ∑ ∑ ∑ ∑

B Cl. 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑

B. Cl. b & b ∑ ∑ ∑ ∑ ∑ ∑

œ. œ Bsn. ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ b bb ∑ ∑ ‰ J œ Œ f œ. œ A. Sx. 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ & b ∑ ∑ œ œ ‰ J œ œ œ œ œ œ œ œ Œ f A. Sx. 2 & b ∑ ∑ ∑ ∑ ∑ ∑

T. S x . b & b ∑ ∑ ∑ ∑ ∑ ∑

B. Sx. & b ∑ ∑ ∑ ∑ ∑ ∑ 102 F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã ∑ ∑ ‰ ‰ . . Œ "Greet-ings," said a voice. "You'reJ just in time for a meal. MyJ chef has cooked it fresh with ﬂa -vors that taste un - real." 102 > > > > Hn. 1 bb œ ‰ j‰ œ ‰ œ ‰ ‰ œ j‰ ∑ ∑ ∑ ∑ & b œ J J œ œ œ. œ œ J > J > > > >>

Hn. 2 b j j j j > j >œ > > j & b b ∑ ∑ œ ‰ j ‰ j ‰ j ‰ ‰ œ j ‰ œ ‰ ‰ œ ‰ œ ‰ ‰ œ ‰ ‰ œ œ ‰ œ œ œ œ œ J J J J œ œ. œ œ f> > > > > > > > > > > > > >

B Tpt. 1 b b & b ∑ ∑ ∑ ∑ ∑ ∑

B Tpt. 2 b b & b ∑ ∑ ∑ ∑ ∑ ∑

B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑

>œ > >œ > >œ > > > >> Tbn. 1 ? b œ J œ œ œ œ œ œ b bb J ‰ J ‰ ‰ J ‰ ‰ J . J ‰ ∑ ∑ ∑ ∑ >œ >œ > >œ Trom. 2 ? >œ > j > >œ > >œ >œ >œ œ >œ >œ > > >œ bb b ∑ ∑ ‰ œ ‰ œ ‰ œ ‰ ‰ œ ‰ J ‰ ‰ J ‰ ‰ J ‰ J ‰ ‰ J œ. œ ‰ b J J > J J J J J J f B. Tbn. ? > j >œ > >œ j bbbb œ ‰ œ ‰ J ‰ œ ‰ ‰ J œ œ œ œ œ ‰ ∑ ∑ ∑ ∑ J > J > > >. >>

Euph. j j j j > j >œ > > j ? b b ∑ ∑ œ ‰ j ‰ j ‰ j ‰ ‰ œ j ‰ œ ‰ ‰ œ ‰ œ ‰ ‰ œ ‰ ‰ œ œ ‰ b b œ œ œ œ œ J J J J œ œ. œ œ f> > > > > > > > > > > > > > Tuba ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ 102 x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x D. S. ã œ œ œ œ œ œ œ œ œ œ œ œ 102 f Glk. b b & b b ∑ ∑ ∑ ∑ ∑ ∑

Chm. b b & b b ∑ ∑ ∑ ∑ ∑ ∑

M.B.D, Snare, ∑ ∑ ∑ ∑ ∑ ∑ & B.D. ã

123

Let Me Tell You A Story (The Children In Their Beds) 19 S T

Picc. b & b bb ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ Fl. 1 b b œ J & b b Œ ∑ ‰ 3 f f

Fl. 2 b & b bb ∑ ∑ ∑ ∑ ˙ ˙ œ f œ œ œ œ œ œ œ œ œ œ. Ob. b œ & b bb ∑ Ó Œ ‰ J ∑ œ. œ œ œ œ f f œ œ œ œ œ œ œ œ. Eb Cl. J œ œ œ & b ∑ Ó Œ ‰ ∑ ∑ f

Bb Cl. 1 b œ œ & b ∑ Ó Œ ‰ J œ œ œ œ œ œ œ œ œ. ∑ ∑ f œ œ œ Bb Cl. 2 bb œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ Œ ∑ ‰ œ œ œ œ œ œ œ œ. œ œ œ œ & œ œ J 3 f f Bb Cl. 3 bb ∑ ∑ ∑ ∑ & ˙ ˙ f œ œ œ B. Cl. bb œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ Œ ∑ ‰ œ œ œ œ œ œ œ œ. œ œ œ œ & œ œ J 3 f f Bsn. ? b b bb ∑ ∑ ∑ ∑ ∑

œ œ œ œ œ œ œ œ œ œ œ. œ. œ œ œ œ œ A. Sx. 1 & b ∑ Ó Œ ‰ J ∑ f f œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ A. Sx. 2 œ œ œ œ œ œ J & b Œ ∑ ‰ 3 ˙ ˙ f f f

T. S x . b & b ∑ ∑ ∑ ∑ ∑

œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ B. Sx. œ œ œ œ œ œ J & b Œ ∑ ‰ 3 ˙ ˙ f f Water Drip Sound Fitler Sweep Begins 108 Effect Enters F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã . ‰ ‰ ‰. . Blue said, "I'm looking for a hoard and won - dered why you col-lect food?", "WeJ all need to eat to live, don't we?"J Green said as they chewed. "IR have e-nough food and I don't 108 > > > > Hn. 1 b j j j j j j j j œ œ j & b b œ ‰ ‰ j ‰ ‰ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ J ‰ œ ‰ ‰ œ œ œ ‰ ∑ > œ œ œ > œ > > J > J J > > œ. œ > f > > > > > > Hn. 2 b j & b b ∑ ∑ ∑ ∑ œ ‰ j ‰ j ‰ j ‰ œ œ œ > > > > f B Tpt. 1 b b & b ∑ ∑ ∑ ∑ ∑

B Tpt. 2 b b & b ∑ ∑ ∑ ∑ ∑

B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑

> > j > > > > > >œ > >œ >œ >œ > > > > > Tbn. 1 ? b b œ ‰ œ ‰ ‰ œ ‰ ‰ œ œ ‰ œ ‰ œ ‰ J ‰ œ ‰ J ‰ ‰ ‰ J œ œ œ. œ œ ‰ ∑ b b J J œ J J J J J J J J f >

Trom. 2 ? >œ > j > bb b ∑ ∑ ∑ ∑ ‰ œ ‰ œ ‰ œ ‰ b J J > J f > > > > B. Tbn. ? b j j j j j j j œ j œ œ œ j b bb œ ‰ œ ‰ j ‰ œ ‰ ‰ œ œ ‰ œ ‰ œ ‰ ‰ œ ‰ J ‰ ‰ ‰ J œ œ œ. œ œ ‰ ∑ > > œ > > > > > J > J > > > > > f > Euph. ? b j j j b bb ∑ ∑ ∑ ∑ œ ‰ œ ‰ j ‰ œ ‰ > > œ > f > Tuba ? b b bb ∑ ∑ ∑ ∑ ∑ 108 x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x D. S. ã œ œ œ œ œ œ œ œ œ œ 108 f f Glk. b b & b b ∑ ∑ ∑ ∑ ∑

Chm. b b & b b ∑ ∑ ∑ ∑ ∑

M.B.D, Snare, ∑ ∑ ∑ ∑ ∑ & B.D. ã

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Let Me Tell You A Story (The Children In Their Beds) 20 With the power of U 113 100 exploding suns 2 Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ. œ œ œ œ œ œ œ œ œ. œ 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 1 b œ œ œ œ œ œ œ œ œ œ & b bb Œ ‰ J J ‰ ƒ Ï œ œ œ œ ˙ œ œ œ œ. œ œ œ 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 2 b b ˙ œ œ & b b J J ‰ ‰ ƒ Ï 2 Ob. b b œ œ œ œ œ œ j œ œ œ œ & b b œ. œ œ Œ œ ‰ J œ œ œ. œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ƒ Ï 2 Eb Cl. b ∑ œ j j‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ƒ Ï œ œ œ œ œ . œ œ œ 2 Bb Cl. 1 b J J ˙ & b ∑ ‰ ˙ ˙ ˙ ˙ ˙ ƒ F ƒF ƒ F ƒ F ƒ F ƒ F ƒ œ œ œ œ 2 Bb Cl. 2 bb œ. œ œ œ Œ œ œ ‰ J œ œ œ. œ j‰ ˙ & œ ˙ ˙ ˙ ˙ ˙ ƒ F ƒF ƒ F ƒ F ƒ F ƒ F ƒ 2 Bb Cl. 3 b œ. & b ˙ œ œ œ œ œ œ œ ‰ ˙ ˙ J J ˙ ˙ ˙ ˙ ˙ ƒ F ƒ F ƒ F ƒ F ƒ F ƒF ƒ 2 B. Cl. b . œ œ œ œ œ œ j & b œ œ œ Œ œ ‰ J œ œ œ. œ œ ‰ ˙ ˙ ˙ ˙ ˙ ˙ ƒ F ƒ F ƒ F ƒ F ƒ F ƒF ƒ œ œ. œ 2 Bsn. ? œ œ œ œ œ œ œ ˙ œ bbbb ∑ J J ‰ Ó œ œ œ œ ˙. œ f ƒ ƒ œ œ œ œ œ. œ œ œ œ œ œ œ œ 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ A. Sx. 1 J œ. œ œ œ œ œ œ œ œ œ œ œ & b Œ ‰ J ‰ ‰ ƒ Ï œ œ. œ 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ A. Sx. 2 ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ˙ J J ‰ ƒ Ï œ œ œ 2 œ T. S x . b œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ∑ ‰ J œ œ. œ œ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f ƒ Ï œ. 2 œ œ œ œ œ œ œ œ œ œ œ B. Sx. ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ˙ œ J J ‰ œ œ œ œ ƒ Ï Bubbling Cauldron & Knife Drop "Bring Me A Meal" 113 2 F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ã Œ . . . . ∑ ∑ ∑ want it to go to waste." Green chuck-led, "Please, sit down and have a taste!" 113 2 Hn. 1 b œ œ & b b ∑ ∑ ∑ Œ œ Œ œ Œ œ Œ œ Œ Œ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ 2 Hn. 2 b j j j > j >œ > > & b b ‰ œ j ‰ œ ‰ ‰ œ ‰ œ ‰ ‰ œ ‰ ‰ œ œ j‰ Œ Œ Œ Œ Œ Œ œ œ J J J J œ œ. œ œ œ œ œ œ œ œ > > > > > > > > > > ƒ F F F F F F 2 ƒ ƒ ƒœ ƒ ƒ ƒ Bb Tpt. 1 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ∑ ∑ ∑ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï 2 Bb Tpt. 2 b œ œ œ œ œ œ œ œ œ œ œ & b ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï 2 B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑ 2 Tbn. 1 ? œ œ ˙ œ bbbb ∑ ∑ ∑ Ó œ œ œ œ ˙. œ ƒ >œ >œ > >œ 2 Trom. 2 ? >œ > >œ >œ >œ œ >œ >œ > > j œ œ œ œ œ œ bb b ‰ œ ‰ J ‰ ‰ J ‰ ‰ J ‰ J ‰ ‰ J œ. œ œ ‰ Œ Œ Œ Œ Œ Œ b J J J J > ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ 2 B. Tbn. ? b œ œ œ ˙ œ œ œ b bb ∑ ∑ ∑ Ó œ œ ˙. ƒ > > > > 2 Euph. ? b j j j j œ j œ œ œ b bb ‰ œ œ ‰ œ ‰ œ ‰ ‰ œ ‰ J ‰ ‰ ‰ J œ œ œ œ j‰ Œ Œ Œ Œ Œ Œ > > > > J > J > > >. > œ œ œ œ œ œ œ > F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ ƒ 2 Tuba ? b b ∑ ∑ ∑ Ó b b œ œ œ œ ˙ œ œ œ ˙. œ 113 ƒ x x x x x x x x x x x x x x x x x x x x œ œ x 2 xx xx xx xx xx xx D. S. œ œ œ œ œ œ œ œ ã œ œ œ œ œ œ œ œ 3 œ œ œ 3 3 3 3 3 3 ƒ Ï 113 Vibraphone (Hard Yarn Mallets) 2 Glk. b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b b ∑ ∑ ∑ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï Xylophone (Hard Plastic Mallets) 2 Chm. b b œ œ œ œ œ œ œ œ œ œ œ & b b ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï Muted Bass Drum Snare 2 (Heavy Beater) (Drum Stick) M.B.D, Snare, ∑ ∑ ∑ œ Œ œ Œ œ Œ œ Œ œ Œ œ Œ & B.D. ã Ï

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Let Me Tell You A Story (The Children In Their Beds) 21 V 121 3 Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ Fl. 1 b œ œ œ œ œ œ œ œ œ œ œ œ œ & b bb œ ‰ ‰ ‰ œ Ï œ œ Ï œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ Fl. 2 b b œ œ œ œ œ œ œ œ œ œ œ œ œ & b b ‰ œ Ï Ï œ 3 Ob. bbbb œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï Ï 3 Eb Cl. b ‰ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï Ï 3 Bb Cl. 1 b ˙ ˙ ˙ ˙ ˙ & b ˙ ˙ ˙ ˙ ˙ ˙ ˙ F ƒ F ƒ F ƒF ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒF ƒ 3 B Cl. 2 b b b ˙ ˙ ˙ ˙ ˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ 3 F ƒ F ƒ B Cl. 3 b b & b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ 3 F ƒ F ƒ B. Cl. b ˙ ˙ ˙ ˙ ˙ & b ˙ ˙ ˙ ˙ ˙ ˙ ˙ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ 3 Bsn. ? b ˙ ˙ œ œ œ œ ˙ œ œ œ ˙ ˙ œ œ œ b bb Œ œ œ ˙. Ó ƒ ƒ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ A. Sx. 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ‰ œ œ œ Ï Ï œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ A. Sx. 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ œ ‰ ‰ ‰ Ï Ï 3 T. S x . b œ œ œ œ œ œ œ b ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï Ï œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ B. Sx. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ œ ‰ ‰ ‰ Ï Ï Stop! [inhale, exhale] Ah, Knife Drop Resumes 121 I could never forget a smell. 3 F.M. ã ∑ ∑ ∑ ∑ ∑ ∑ 121 3 Hn. 1 b œ œ œ œ œ œ & b b Œ Œ Œ œ Œ œ Œ œ Œ œ Œ Œ Œ Œ Œ œ Œ œ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ 3 Hn. 2 b & b b Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ 3 B Tpt. 1 b œ œ œ œ œ œ œ b b ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï Ï 3 B Tpt. 2 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ b b œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ Ï Ï 3 B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑ 3 Tbn. 1 ? ˙ ˙ œ œ œ ˙ œ ˙ ˙ œ œ bbbb Œ œ œ œ œ ˙. œ Ó œ ƒ ƒ 3 Trom. 2 ? b œ œ œ œ œ œ œ œ œ œ œ œ b bb Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ 3 B. Tbn. ? ˙ ˙ œ œ œ ˙ œ ˙ ˙ œ œ bbbb Œ œ œ œ œ ˙. œ Ó œ ƒ ƒ 3 Euph. ? b b Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ b b œ œ œ œ œ œ œ œ œ œ œ œ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ 3 Tuba ? bb b Œ Ó b ˙ ˙ œ œ œ œ ˙ œ œ œ ˙ ˙ œ œ œ ƒ œ œ ˙. 121 xx xx xx xx xx xx xx xx xx xx xx xx xx ƒ xx œ œ œ œ œ œ œ œ œ œ 3 œ œ D. S. ã œ œ œ œ œ œ 121 Ï Ï 3 Vib. b b œ œ œ œ œ œ œ & b b ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï Ï 3 Xyl. b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b b œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï Ï œ œ œ œ œ 3 œ M.B.D, Snare, œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ & B.D. ã Ï Ï

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Let Me Tell You A Story (The Children In Their Beds) 22 130 Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 1 b œ œ œ œ œ œ œ œ œ œ œ œ œ & b bb ‰ Ï œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 2 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b bb œ ‰ Ï Ob. b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï

Eb Cl. œ & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï

B Cl. 1 b ˙ b & b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ B Cl. 2 b b b ˙ ˙ ˙ ˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ B Cl. 3 b b & b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ B. Cl. b ˙ ˙ ˙ ˙ & b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ Bsn. ? b ˙ œ œ œ ˙ ˙ œ œ œ œ ˙ œ œ œ b bb œ œ ˙. Œ œ œ ˙. ƒ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ A. Sx. 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ œ ‰ œ Ï œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ A. Sx. 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ‰ Ï T. S x . b œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ Ï œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B. Sx. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ‰ 130 Ï F.M. ã ∑ ∑ ∑ ∑ ∑ ∑ 130 Hn. 1 b œ œ œ œ œ œ & b b Œ œ Œ œ Œ Œ Œ Œ Œ œ Œ œ Œ œ Œ œ Œ Œ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ Hn. 2 b & b b Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ

B Tpt. 1 b œ œ œ œ œ œ œ œ œ œ œ œ œ b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ Ï œ Bb Tpt. 2 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï

B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1 ? b ˙ œ œ œ ˙ ˙ œ œ œ œ ˙ œ œ œ b bb œ œ ˙. Œ œ œ ˙. ƒ Trom. 2 ? b œ œ œ œ œ œ œ œ œ œ œ œ b bb Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ B. Tbn. ? b ˙ œ œ œ ˙ ˙ œ œ œ œ ˙ œ œ œ b bb œ œ ˙. Œ œ œ ˙. ƒ Euph. ? b b Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ Œ b b œ œ œ œ œ œ œ œ œ œ œ œ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ F ƒ Tuba ? b b bb Œ ˙ œ œ œ ˙. œ œ ˙ ˙ œ œ œ œ ˙ œ œ œ ˙. œ œ ƒ 130 xx xx xx xx xx xx xx xx xx xx xx xx xx œ œ œ œ œ œ œ œ œ œ œ œ D. S. ã œ œ œ œ œ œ 130 Ï Vib. b b œ œ œ œ œ œ œ œ œ œ œ œ œ & b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï Xyl. b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï œ œ œ œ œ œ M.B.D, Snare, œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ & B.D. ã Ï

127

Let Me Tell You A Story (The Children In Their Beds) 23 136 W In a grandiose style Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œ œ. œ ˙ Fl. 1 b œ œ œ œ œ œ œ œ œ ˙ ˙ & b bb œ ∑ ∑ ∑ ∑ ∑ ∑ J f œ œ œ œ œ œ œ œ œ œ œ œ. Fl. 2 b b ˙ œ ˙ & b b ‰ ∑ ∑ ∑ ∑ ∑ ∑ ˙ J f j Ob. bbbb œ œ ∑ ∑ ∑ ∑ ∑ ∑ œ. œ ˙ & œ œ œ œ œ œ œ œ œ œ ˙ ˙ f œ. Eb Cl. b ‰ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ˙ œ ˙ & œ œ œ œ œ œ œ œ ˙ J f œ. Bb Cl. 1 b ˙ ˙ ˙ œ ˙ & b ∑ ∑ ∑ ∑ ∑ ∑ ˙ J F ƒ F ƒ f B Cl. 2 b b b ˙ ˙ ∑ ∑ ∑ ∑ ∑ ∑ ˙ œ. œ ˙ & ˙ J F ƒ F ƒ f B Cl. 3 b b & b ˙ ˙ ∑ ∑ ∑ ∑ ∑ ∑ œ. j ˙ ˙ œ ˙ f F˙ ƒ F ƒ B. Cl. bb ˙ ∑ ∑ ∑ ∑ ∑ ∑ j & ˙ ˙ œ. œ ˙ F ƒ F ƒ f Bsn. ? b b ˙ ˙ ∑ ∑ ∑ ∑ ∑ ∑ j b b ˙ ˙ œ. œ ˙ f œ œ œ œ œ œ œ œ œ œ œ. ˙ A. Sx. 1 œ ˙ ˙ œ & b ‰ ∑ ∑ ∑ ∑ ∑ ∑ J f œ œ A. Sx. 2 b œ œ œ œ œ œ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ˙ œ. œ ˙ & œ ˙ J f œ. T. S x . b œ œ œ œ œ œ œ œ œ œ ˙ œ ˙ & b ‰ œ ∑ ∑ ∑ ∑ ∑ ∑ ˙ J f œ. ˙ B. Sx. œ œ œ œ œ œ œ œ œ ˙ ˙ œ & b œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ J Sudden Silence and f 136 Build of Swirling Synth Drums Return F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ . . . "Thank you for the food!", said the am-bas - sa-dor and Blue as they left to-geth- er. 136 Hn. 1 b œ œ & b b Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ F ƒ F ƒ Hn. 2 b b b Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & œ œ F ƒ F ƒ

Bb Tpt. 1 b œ œ œ œ œ œ & b ‰ œ œ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Bb Tpt. 2 bb œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & œ œ œ œ œ œ œ œ œ œ

B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1 ? b ˙ ˙ b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Trom. 2 ? b œ œ b bb Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ F ƒ F ƒ B. Tbn. ? b ˙ ˙ b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Euph. ? b b Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ b b œ œ F ƒ F ƒ Tuba ? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ b b ˙ ˙ 136 xx xx xx x x x x x x D. S. œ œ œ œ ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. J œ. J 136 π f Vib. b œ & b bb ‰ œ œ œ œ œ œ œ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Xyl. b b & b b œ œ œ œ œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ M.B.D, Snare, œ Œ Œ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ & B.D. ã

128

Let Me Tell You A Story (The Children In Their Beds) 24 145 X Playful Picc. b & b bb ∑ ∑ ∑ ∑ . œ œ œ. œ ˙ ˙ œ œ œ. œ. œ œ. œ œ œ œ œ œ œ Fl. 1 b & b bb J J ‰. R Œ f œ. œ œ œ ˙ œ œ œ œ œ œ Fl. 2 b b . ˙ . . œ œ. œ œ œ œ œ & b b J J ‰. R Œ f Ob. b b œ. œ . œ & b b J œ J ˙ ˙ ∑ ∑ œ. Eb Cl. œ œ. œ ˙ ˙ œ & b J J ‰. R œ œ. œ. œ œ. œ œ œ œ œ œ œ Œ f œ. œ . œ Bb Cl. 1 b œ ˙ ˙ & b J J ∑ ∑

. Bb Cl. 2 b œ œ œ & b J œ. J ˙ ˙ ∑ ∑

Bb Cl. 3 bb j j ∑ ∑ & œ. œ œ. œ ˙ ˙

B. Cl. bb œ. j j ‰. œ Œ & œ œ. œ ˙ ˙ R œ œ. œ. œ œ. œ œ œ œ œ œ œ f j j Bsn. ? b b œ. ‰. œ Œ b b œ œ. œ ˙ ˙ R œ œ. œ. œ œ. œ œ œ œ œ œ œ œ. fœ œ œ. œ ˙ ˙ œ œ. œ. œ œ. œ œ œ œ œ œ œ A. Sx. 1 & b J J ‰. R Œ f œ. œ A. Sx. 2 œ œ. œ ˙ ˙ œ œ. œ. œ œ. œ œ œ œ œ œ œ & b J J ‰. R Œ f œ. œ œ œ T. S x . b œ. ˙ ˙ œ œ. œ. œ œ. œ œ œ œ œ œ œ & b J J ‰. R Œ f œ. œ œ œ. œ ˙ ˙ œ œ. œ. œ œ. œ œ œ œ œ œ œ B. Sx. & b J J ‰. R Œ 145 f F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã ‰ ‰. . ‰. . . . Œ The am - bas - sa - dor asked Blue, "DoesR this hoard ﬁt you bet - ter?" BlueR said, "It's not for me, it seems like a waste. 145 Hn. 1 b & b b ∑ ∑ ∑ ∑

Hn. 2 b & b b ∑ ∑ ∑ ∑

Bb Tpt. 1 b œ œ œ. œ œ & b ∑ ∑ ‰. R œ. œ œ. œ œ œ œ œ Œ f Bb Tpt. 2 bb ∑ ∑ ‰. œ Œ & R œ œ. œ. œ œ. œ œ œ œ œ œ œ f B Tpt. 3 b r b b ∑ ∑ ‰. œ Œ & œ œ. œ. œ œ. œ œ œ œ œ œ œ f Tbn. 1 ? b b ∑ ∑ ‰. œ Œ b b R œ œ. œ. œ œ. œ œ œ œ œ œ œ f Trom. 2 ? b b bb ∑ ∑ ∑ ∑

B. Tbn. ? bbbb ∑ ∑ ∑ ∑

Euph. ? b b bb ∑ ∑ ∑ ∑

Tuba ? b b bb ∑ ∑ ∑ ∑ 145 x x x x x x x x x x x x D. S. œ œ œ œ ã œ. J œ. J œ. J œ. J 145 f Vib. b b & b b ∑ ∑ ∑ ∑

Xyl. b b & b b ∑ ∑ ∑ ∑

M.B.D, Snare, ∑ ∑ ∑ ∑ & B.D. ã

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Let Me Tell You A Story (The Children In Their Beds) 25 Y Z 149 In a grandiose style Playful Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ . . œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ. œ ˙ œ œ œ. œ ˙ ˙ œ œ œ œ œ œ Fl. 1 b ˙ ˙ & b bb ‰ J J J ‰ J f œ f œ. œ œ œ œ œ œ œ œ œ. œ. œ œ œ ˙ œ œ œ œ Fl. 2 b b œ œ œ œ ˙ ˙ œ ˙ . ˙ J J J & b b ‰ ˙ J J J ‰ ‰ ‰ f f j Ob. bbbb ∑ ∑ œ. œ ˙ œ. œ œ. œ ˙ ˙ œ ‰ œ ‰ œ ‰ œ œ & ˙ ˙ J J J J J f f œ. œ. œ œ Eb Cl. b œ. œ œ œ ‰ œ œ œ œ œ œ œ œ ˙ ˙ œ ˙ œ. ˙ ˙ ∑ & œ ˙ J J J f œ. œ. œ œ. œ ˙ œ Bb Cl. 1 bb ∑ ∑ ˙ ˙ œ ˙ J J ˙ ‰ œ ‰ œ ‰ œ œ & J J J J f f B Cl. 2 b œ. œ b b ∑ ∑ ˙ œ. œ ˙ œ œ. œ ˙ ˙ ‰ J œ œ œ œ œ & ˙ J J J f f

B Cl. 3 b j j b & b ∑ ∑ œ. j œ. œ œ œ ˙ ∑ ˙ ˙ œ ˙ . ˙ f B. Cl. b œ œ j œ j j j & b . œ œ œ œ ‰ œ œ œ œ œ œ œ ˙ ˙ œ. œ ˙ . œ œ. œ ˙ ˙ œ ‰ j ‰ j ‰ ˙ œ œ œ œ f f j j Bsn. ? b b œ. ‰ œ œ œ j œ. ∑ b b œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ œ. œ ˙ œ œ. œ ˙ ˙ f œ. œ œ œ œ œ œ œ œ œ œ œ ˙ œ. ˙ œ. œ œ œ ˙ œ œ œ œ œ œ A. Sx. 1 œ ˙ ˙ œ . ˙ J & b ‰ J J J ‰ f f œ. œ œ œ œ œ. j A. Sx. 2 b œ œ œ œ ‰ œ œ œ œ ˙ ˙ œ. œ ˙ œ œ. œ ˙ ˙ œ ‰ ‰ j ‰ & ˙ J J J J œ œ œ œ f f œ. œ œ œ œ œ. œ. œ . œ T. S x . b œ œ œ œ œ œ œ œ ˙ ˙ œ ˙ œ ˙ ˙ & b ‰ ˙ J J J ∑ œ. œ f œ. œ œ œ œ œ œ œ œ œ œ œ ˙ œ. œ ˙ œ œ. œ ˙ ˙ j B. Sx. b ‰ ˙ ˙ J J œ ‰ ‰ j ‰ & J J œ œ œ œ 149 f f F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã . ‰ Œ ∑ ∑ ∑ Ó Œ ‰ . Let's try look - ing at an - oth - er drag - on's place." TheyJ ﬂew on to the next drag - on whose 149 Hn. 1 b j b b ∑ ∑ ∑ ∑ ∑ ∑ œ ‰ ‰ j ‰ & J œ œ œ œ f Hn. 2 b b b ∑ ∑ ∑ ∑ ∑ ∑ ‰ œ & J œ œ œ œ œ f . Bb Tpt. 1 b œ œ œ œ œ œ œ œ œ j & b œ œ ‰ œ œ ˙ ∑ ∑ ∑ ∑ ‰ j ‰ j ‰ œ œ œ œ f œ

B Tpt. 2 b b & b œ. œ œ œ œ ‰ œ œ œ œ œ œ œ œ ˙ ∑ ∑ ∑ ∑ ∑

B Tpt. 3 b b b œ ‰ œ ∑ ∑ ∑ ∑ ∑ & . œ œ œ œ œ œ œ œ œ œ œ ˙ j Tbn. 1 ? b b œ. ‰ œ œ œ ∑ ∑ ∑ ∑ œ ‰ ‰ j ‰ b b œ œ œ œ œ œ œ œ œ ˙ J œ œ œ œ f Trom. 2 ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑

B. Tbn. ? bbbb ∑ ∑ ∑ ∑ ∑ ∑ ∑

Euph. ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tuba ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 149 x x x x x x x x x x x x x x x x x x x x x D. S. œ œ œ œ œ œ œ ã œ. J œ. J œ. J œ. J œ. J œ. J œ. J 149 f f Vib. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑

Xyl. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑

M.B.D, Snare, ∑ ∑ ∑ ∑ ∑ ∑ ∑ & B.D. ã

130

Let Me Tell You A Story (The Children In Their Beds) 26 156 AA œ. œ Picc. b œ œ œ œ œ œ œ œ œ œ œ œ œ & b bb ∑ ∑ ∑ œ œ œ œ œ œ œ œ ‰ œ. f œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. œ Fl. 1 b œ & b bb Œ ∑ ∑ ∑ œ. . œ œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ Fl. 2 b b J J œ & b b ‰ ‰ ∑ ∑ ∑

œ. œ œ œ œ œ œ. œ œ œ œ œ œ Ob. bbbb ‰ œ ‰ œ œ œ œ œ œ œ. œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ œ œ ‰ & J J œ F . Eb Cl. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b ∑ ∑ ∑ œ œ œ œ œ œ œ œ ‰ f œ œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ œ. œ œ œ Bb Cl. 1 bb ‰ œ ‰ œ œ œ œ œ œ œ œ. œ œ. œ œ œ œ œ ‰ & J J œ F œ. Bb Cl. 2 b œ œ œ œ œ œ œ œ œ œ & b œ œ œ œ Œ œ. œ œ. œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ f Bb Cl. 3 bb ∑ ∑ ∑ & ˙ œ. œ œ ˙ ˙ ˙ œ. œ œ F

B. Cl. b & b ‰ j ‰ j œ. j ‰ œ œ œ œ œ œ œ œ. œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ F œ œ œ œ œ œ œ. œ œ. œ Bsn. ? j bb b ∑ ∑ ∑ œ œ œ œ œ œ œ œ ‰ b œ œ œ œ œ œ œ. œ œ. œ œ F œ œ œ œ œ . œ œ œ œ œ œ œ œ œ œ A. Sx. 1 œ . œ . œ œ œ œ œ œ œ œ œ. œ œ œ œ œ & b Œ œ œ œ œ œ œ œ œ œ œ œ ‰ f

A. Sx. 2 j j œ œ œ œ. œ œ œ œ œ œ b ‰ ‰ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ ‰ & œ œ œ œ. œ œ œ. œ œ œ F œ œ œ œ œ œ œ. œ œ œ œ œ T. S x . b œ œ œ œ œ œ & b ∑ ∑ ∑ œ œ œ œ œ ‰ f B. Sx. j j œ. j & b ‰ œ ‰ œ œ œ œ œ œ œ. œ œ œ œ. œ. œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ. œ œ. œ 156 F F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã . Œ . . . Œ . . ‰. name was Red, sights of ma - chin-er- y ap-peared as they soared o-ver-head. Smoke bil-lowed from the mine - shafts in the Red dragon's home, asR they en - tered they saw weap - ons cov - ered 156 Hn. 1 b j j & b b ‰ ‰ œ œ œ. œ œ œ œ. œ œ œ ∑ ∑ ∑ œ œ œ œ. œ œ œ. œ

Hn. 2 b œ. j & b b œ œ œ œ œ Œ œ œ œ œ œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ F B Tpt. 1 b b b ‰ j ‰ j œ œ œ œ. œ œ ‰ œ œ & œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ œ œ œ œ f B Tpt. 2 b b & b ∑ ∑ ∑ ∑ ∑ ∑

B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1 j j ? b b ‰ ‰ œ œ œ. œ œ œ œ. œ œ œ ∑ ∑ ∑ b b œ œ œ œ. œ œ œ. œ

Trom. 2 ? b b bb ∑ ∑ ∑ ∑ ∑ ∑

B. Tbn. j ? b b ∑ ∑ ∑ œ œ œ œ œ ‰ b b œ œ œ œ œ œ œ œ. œ œ. œ œ œ F Euph. ? b b bb ∑ ∑ ∑ ∑ ∑ ∑

Tuba ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ 156 x x x x x x x x x x x x x x x x x x D. S. œ œ œ œ œ œ ã œ. J œ. J œ. J œ. J œ. J œ. J 156 F Vib. b b & b b ∑ ∑ ∑ ∑ ∑ ∑

Xyl. b b & b b ∑ ∑ ∑ ∑ ∑ ∑

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Let Me Tell You A Story (The Children In Their Beds) 27 BB With strength 162 œ œ œ œ œ œ Picc. b œ œ & b bb ∑ ∑ ∑ ∑ ∑ ∑ . œ . œ œ . œ œ œ œ ˙ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙ Fl. 1 bb b ∑ Œ œ œ œ & b J J f ˙ ˙ ˙ œ. œ œ œ ˙ Fl. 2 b b ˙ ˙ ˙ ˙ ˙ ˙ & b b ∑ J f œ œ œ œ Ob. bbbb Œ j j ˙ œ œ. œ œ œ œ œ. œ œ œ œ œ. œ œ ˙ & œ œ œ œ œ œ ˙ œ œ f œ œ œ œ Eb Cl. œ œ œ œ & b ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ. œ. œ. œ Bb Cl. 1 bb Œ j j ˙ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ ˙ œ œ f œ Bb Cl. 2 bb œ œ œ œ œ œ Œ Œ Œ Œ Œ Œ œ œ œ œ œ œ. œ œ œ œ. œ œ ˙ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f œ. œ ˙ Bb Cl. 3 bb ˙ ˙ ˙ ˙ œ œ ˙ & œ œ œ œ ˙ ˙ ˙ ˙ J f B. Cl. b j b œ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ & œ œ œ œ

Bsn. ? b œ œ œ œ œ œ. œ b bb œ Œ Œ Œ Œ Œ Œ œ œ œ œ œ . œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f œ œ œ œ ˙ œ. œ ˙ A. Sx. 1 œ œ œ œ ˙ ˙ ˙ œ œ ˙ & b ˙ ˙ ˙ ˙ J f œ ˙ œ. œ ˙ A. Sx. 2 œ œ œ ˙ ˙ ˙ œ œ ˙ & b ˙ ˙ ˙ ˙ J f œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ . œ œ œ ˙ ˙ T. S x . b ˙ J & b f B. Sx. œ œ œ œ & b œ J ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ 162 Shift To Low Distorted Synth F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã Œ Œ ≈ Œ ‰. . Œ . Œ in me-tal -lic chrome. "Who goes there?",J Ra voice growled and out of the dark -ness, Ra lean drag-on appeared. See - ing Blue and the am - bas - sa - dor, the Red drag-on sneered. 162 Hn. 1 bb ∑ ˙ j & b ˙ ˙ ˙ ˙ ˙ œ œ œ œ. œ ˙ ˙ ˙ ˙ f Hn. 2 bb œ œ œ œ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ & b œ J œ. œ. œ. œ Bb Tpt. 1 bb œ œ œ œ œ œ Œ Œ Œ Œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f B Tpt. 2 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑

B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1 ? b ˙ j b bb ∑ ˙ ˙ ˙ ˙ ˙ œ œ œ œ. œ ˙ ˙ ˙ ˙ f œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ Trom. 2 ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b bb ∑ Œ Œ œ œ Œ Œ Œ Œ f B. Tbn. ? œ œ œ bbbb œ œ J ‰ Œ Ó ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ. œ œ œ œ. œ œ œ . œ œ œ œ Euph. ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b bb ∑ Œ Œ œ œ Œ Œ Œ Œ f Tuba ? b b ∑ b b ˙ j f ˙ ˙ ˙ ˙ ˙ œ œ œ œ. œ ˙ ˙ ˙ ˙ 162 x x x x x x x x x x x x x x x x x x x x x x x x x x x D. S. œ œ œ œ œ œ œ ã œ. J œ 3 œ 3 œ 3 œ 3 œ 3 œ 3 f 162 Glockenspiel (Brass Mallets) Vib. b b j œ œ œ œ & b b ∑ Œ j œ œ ˙ œ œ. œ œ œ œ. œ œ œ. œ ˙ œ œ œ œ œ œ ˙ f Xyl. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑

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Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑

œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ. œ œ ˙ Fl. 1 b ˙ œ œ ˙ œ œ. œ & b bb Œ J J f ˙ ˙ ˙ œ. œ œ œ ˙ Fl. 2 b b ˙ ˙ ˙ ˙ ˙ ˙ & b b J f Ob. bbbb Œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ. œ œ ˙ & J J ˙ œ œ ˙ œ œ. œ f Eb Cl. & b ∑ ∑ ∑ ∑ ∑ ∑

œ. œ. œ. œ Bb Cl. 1 bb Œ Œ Œ Œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f Bb Cl. 2 bb Œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ. œ œ ˙ & J J ˙ œ œ ˙ œ œ. œ f œ. Bb Cl. 3 b ˙ ˙ ˙ œ œ œ ˙ & b ˙ ˙ ˙ ˙ ˙ J ˙ f

B. Cl. b & b ∑ ∑ ∑ ∑ ∑ ∑

œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ Bsn. ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b bb Œ Œ œ œ Œ Œ Œ Œ f ˙ œ. œ ˙ A. Sx. 1 ˙ ˙ ˙ œ œ ˙ & b ˙ ˙ ˙ ˙ J f ˙ œ. œ ˙ A. Sx. 2 ˙ ˙ ˙ œ œ ˙ & b ˙ ˙ ˙ ˙ J f œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ . œ œ œ ˙ ˙ T. S x . b ˙ J & b f B. Sx. & b ∑ ∑ ∑ ∑ ∑ ∑ 169 F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã ≈ ‰. ‰. . ‰. . . ∑ "We're search - ing for a hoard thatR might suit my tastes.", ex-plained Blue. "IR see", said the Red drag - on, "I'llR show you ex - act - ly what you need to do. 169 Hn. 1 b & b b ∑ ∑ ∑ ∑ ∑ ∑

Hn. 2 bb ˙ j & b ˙ ˙ ˙ ˙ ˙ œ œ œ œ. œ ˙ ˙ ˙ ˙ f B Tpt. 1 b b & b ∑ ∑ ∑ ∑ ∑ ∑

œ. œ. œ. œ Bb Tpt. 2 bb Œ Œ Œ Œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f

B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ. œ œ œ œ. œ œ œ . œ œ œ œ Tbn. 1 ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b bb Œ Œ œ œ Œ Œ Œ Œ f Trom. 2 ? b ˙ j b bb ˙ ˙ ˙ ˙ ˙ œ œ œ œ. œ ˙ ˙ ˙ ˙ f B. Tbn. ? bbbb ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ. œ œ œ œ. œ œ œ . œ œ œ œ Euph. ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b bb Œ Œ œ œ Œ Œ Œ Œ f Tuba ? b b bb j ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ ˙ f œ. œ ˙ ˙ ˙ 169 x x x x x x x x x x x x x x x x x x x x x x x x D. S. œ œ œ œ œ œ ã œ 3 œ 3 œ 3 œ 3 œ 3 œ 3 169 f Glk. b b bb Œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ. œ œ ˙ & J J ˙ œ œ ˙ œ œ. œ f Xyl. b b & b b ∑ ∑ ∑ ∑ ∑ ∑

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Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 1 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b bb ‰ J ‰ J f f œ œ œ œ Fl. 2 b & b bb ∑ ∑ ∑ ∑ ∑ Ó f Ob. b b œ & b b ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f

Eb Cl. & b ∑ ∑ ∑ ∑ ∑ ∑

B Cl. 1 b b b ‰ j œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ œ œ f f Bb Cl. 2 bb ‰ j œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ J œ œ œ. œ œ œ œ œ œ. f f B Cl. 3 b b & b ∑ ∑ ∑ ∑ ∑ œ œ œ. œ œ œ f

B. Cl. b b ∑ ∑ ∑ ∑ œ œ œ & œ œ œ. œ œ œ œ œ œ. f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Bsn. ? b b œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰ œ ∑ ∑ b b J J f œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ A. Sx. 1 b œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ & J J f f A. Sx. 2 b œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ & J J J J œ œ œ œ œ œ œ œ f f T. S x . b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b Œ Œ Œ Œ œ œ œ œ œ œ œ œ f f B. Sx. œ œ œ œ. œ œ œ & b ∑ ∑ ∑ ∑ œ œ œ. œ œ f 175 Repetitive Tonic Frequencies Begin Shifting Up F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã . . ‰. . ‰. . Œ Œ First you need to col-lect weap-ons to show your power, toR com - mand re - spect Rthrough eve - ry hour. Swords, knives, ax - es are the com-forts I go to, 175 Hn. 1 b & b b j j j j ∑ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ œ œ. œ œ œ f f Hn. 2 bb ∑ ∑ ∑ ∑ & b œ œ œ œ œ œ. œ œ œ œ œ œ. f

B Tpt. 1 b b b ∑ ∑ ∑ ∑ œ œ œ & œ œ œ. œ œ œ œ œ œ. f B Tpt. 2 b b & b ∑ ∑ ∑ ∑ ∑ ∑

B Tpt. 3 b b & b œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ ∑ ∑ f Tbn. 1 ? b b œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ b b J J J J œ œ œ œ œ œ œ œ f f Trom. 2 ? b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ b bb Œ Œ Œ Œ œ œ œ. f f B. Tbn. ? bb b j j j j œ œ b œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ œ œ œ œ œ f f Euph. ? b b bb ∑ ∑ ∑ ∑ ∑ ∑

Tuba ? b b bb ∑ ∑ ∑ ∑ ∑ ∑

175 x x x x x x x x x x x x D. S. œ œ œ œ ã œ. J Œ œ. J Œ œ. J Œ œ. J Œ œ. œ. œ. œ. œ. œ. œ. œ. 175 f f Glk. b b & b b ∑ ∑ ∑ ∑ ∑ ∑

Xyl. b b & b b ∑ ∑ ∑ ∑ ∑ ∑

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Let Me Tell You A Story (The Children In Their Beds) 30 181 FF Explosive 2 Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑ . . ˙ œ œ œ œ œ œ œ œ ˙ 2 ˙ ˙ ˙ œ œ œ œ œ. œ ˙ Fl. 1 b ˙ & b bb J ƒ Ï œ. œ. ˙ ˙ > > > œ œ œ œ œ œ 2 >œ >œ > >œ > >œ >œ > >œ > >œ >œ >œ >œ >œ œ œ >œ œ >œ Fl. 2 b b œ œ œ œ & b b 3 3 Œ 3 3 Œ 3 3 Œ 3 3 Œ ƒ Ï 2 ˙ œ œ œ. Ob. b œ. œ. ˙ ˙ ˙ ˙ œ œ œ ˙ & b bb œ œ œ œ œ œ ˙ J ƒ Ï 3 3 3 ˙ ˙ 2 3 3 3 3 3 E Cl. b & b ∑ œ œ œ Œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ > > œ > œ > > œ > œ > > > > > > > > > > f ƒ Ï > > > > . . ˙ 2 œ. œ. . œ œ Bb Cl. 1 b œ œ œ œ œ œ ˙ œœ œ œ œœ œ œ œ œ œ œ b œ œ Œ Œ œ. œœ œ Œ 3 Œ & 3 3 3 ƒ Ï 2 Bb Cl. 2 b œ œ œ œ œ j j j & b œ œ œ œ œ œ œ œ. œ œ Œ œ. œ œ Œ œ œ Œ j Œ œ œ . œ œ. œ œ ƒ Ï 2 B Cl. 3 b > > > > > > > > > > > > > > > > b b œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ & œ œ œ œ œ œ œ œ œ 3 3 3 3 œ 3 > >3 3 > >3 ƒ 2 Ï B. Cl. b œ b œ œ œ œ œ œ œ œ ˙ ˙ ˙ œ œ œ œ. œ ˙ & œ œ œ œ œ œ ˙ J 3 ƒ Ï 3 3 3 3 3 3 3 2 Bsn. ? b b ∑ ∑ Œ Œ Œ Œ b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > > > > > > > > > > > > > > > > ˙ Ï œ. œ œ œ œ. œ œ œ ˙ 2 A. Sx. 1 ˙ œ œ œ œ j ˙ & b ˙ ˙ ˙ œ . œ ƒ Ï œ œ œ œ œ 2 ˙ ˙ A. Sx. 2 œ œ œ œ œ œ œ œ œ ˙ ˙ œ j & b œ œ œ œ. œ ˙ ƒ Ï œ œ œ œ œ œ œ œ œ œ œ œ œ 2 ˙ ˙ T. S x . b œ ˙ ˙ œ j & b œ œ œ œ. œ ˙ ƒ Ï œ œ œ œ œ 2 ˙ ˙ ˙ B. Sx. œ œ œ œ œ œ ˙ œ j & b œ œ œ œ œ œ œ. œ ˙ ƒ Ï Sounds of Swords Sword Drop 181 and a human scream 2 F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã . . Œ ∑ ∑ ∑ ∑ stand back and let me show you what these beau-ties can do!" 181 3 3 3 2 Hn. 1 b b b œ. œœ œ Œ œ. œœ œ Œ Œ œ. œ œ œ Œ & œ œ œ œ œ œ œ œ œ œ œ. œœ œ œ œ 3 œ œ œ œ œ œ

ƒ Ï 3 3 3 3 3 3 3 3 2 Hn. 2 b & b b œ œ Œ Œ Œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > > > > > > > > > > > > > > > > ƒ Ï 2 œ. œ. . œ œ Bb Tpt. 1 b œ œ œœ œ œ œœ œ œ œ œ œ œ b œ œ œ œ œ œ Œ Œ œ. œœ œ Œ 3 Œ & œ œ œ œ œ œ 3 3 3 ƒ Ï 2 > > > > > > > > > > > > > > > > Bb Tpt. 2 bb ∑ ∑ œ œ œ Œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ & œ œ œ œ 3 3 3 3 3 > >3 3 > >3 Ï 2 Bb Tpt. 3 b j j j & b ∑ ∑ œ. œ œ Œ œ. œ œ Œ œ œ Œ j Œ . œ œ. œ œ Ï 3 œ œ œ œ œ 2 Tbn. 1 ? b œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ. œ œ b b œ œ œ Œ œ œ œ Œ œ. œ œ œ Œ œ œ 3 Œ b 3 3 œ ƒ Ï œ œ 2 Trom. 2 œ œ œ œ œ œ ? b b œ œ œ œ œ œ œ. œ œ Œ œ. œ œ Œ œ. œ œ Œ j Œ b b J J J œ. œ œ ƒ Ï œ œ œ œ œ œ œ œ œ 2 >œ >œ > >œ > >œ >œ > >œ > >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ B. Tbn. ? b b œ œ œ œ œ œ œ Œ œ œ Œ Œ Œ b b 3 3 3 3 3 3 3 3 ƒ Ï 3 œ œ œ œ œ 2 Euph. ? b œ œ œ œ œ œ œ œ. œ œ. œ œ. œ œ b b œ œ œ œ œ Œ œ œ œ Œ œ. œ œ œ Œ œ œ 3 Œ b 3 3 œ

f ƒ Ï 3 3 2 3 3 3 3 3 3 Tuba ? b b bb ∑ ∑ Œ Œ Œ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > œ > œ > > œ > œ > > > > > > > > > > Ï > > > > 181 x x x x x x x x x x x x x x x x œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 2 œ œ œ œ D. S. œ œ œ œ ã æ 3 3 3 3 3 3 3 3 ƒ Ï 181 Vibraphone (Hard Yarn Mallets) 2 Glk. bb b ∑ ∑ ‰ ‰ ‰ ‰ & b œ œœ œœ œ œœ œ œœ œ œœ œ œœ œœ œ œœ œ œœ œ œœ œ œœ œœ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ XylophoneÏ (Hard Plastic Mallets) 2 Xyl. b œ œœ œœ œ œœ œ œœ œ œœ œ œœ œœ œ œœ œ œœ œ œœ œ œœ œœ œ œœ œ œ œ œœ & b bb ∑ ∑ ‰ ‰ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ Ï 2 Brake Drumy (Hard Plastic yMallets) y y y y y y M.B.D, Snare, ∑ ∑ Œ Œ Œ Œ Œ Œ Œ Œ & B.D. ã Ï

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Let Me Tell You A Story (The Children In Their Beds) 31 189 GG With swagger Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ >œ > > ˙ ˙ ˙ œ œ œ œ œ. œ ˙ œ œ œ œ Fl. 1 b ˙ & b bb J Ó Œ Ó Œ Ó Œ Ó Œ Ï Ï > > > >œ >œ > >œ > >œ >œ > >œ > >œ >œ >œ >œ >œ œ œ >œ œ >œ >œ >œ > œ Fl. 2 b b œ œ œ œ œ œ & b b 3 3 Œ 3 3 Œ 3 3 Œ 3 3 Œ Ó Œ Ó Œ Ó Œ Ó Œ Ï Ï ˙ œ œ œ œ. ˙ >œ >œ > œ Ob. b b ˙ ˙ œ œ œ œ & b b ˙ J Ó Œ Ó Œ Ó Œ Ó Œ

3 Ï 3 3 3 3 3 3 3 Ï E Cl. b & b œ œ œ Œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ ∑ ∑ ∑ ∑ > > œ > œ > > œ > œ > > > > > > > > > > Ï > > > > œ. œ. . œ œ >œ > > Bb Cl. 1 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b Œ Œ œ. œ œ œ Œ 3 Œ Ó Œ Ó Œ Ó Œ Ó Œ & 3 3 3 Ï Ï

B Cl. 2 b >œ > > b b . j Œ . j Œ j Œ Œ Ó Œ Ó Œ œ Ó Œ œ Ó Œ œ œ & œ œ œ œ œ œ œ. œ œ œ. j œ Ï œ Ï > > > > > > > > > > > > > > > > > > > Bb Cl. 3 bb œ œ œ Œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ Ó Œ œ Ó Œ œ Ó Œ œ Ó Œ œ œ & œ œ œ œ 3 3 3 3 3 > >3 3 > >3 Ï Ï B. Cl. b ˙ œ œ œ. > & b ˙ ˙ ˙ œ œ œ ˙ Ó Œ œ Ó Œ œ Ó Œ œ Ó Œ œ œ J > > Ï 3 3 3 3 3 3 3 3 Ï Bsn. ? b b Œ Œ Œ œ œ œ Œ Ó Œ Ó Œ Ó Œ Ó Œ b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > > > > > > > > > > > > > > > > > > > Ï Ï > > > A. Sx. 1 ˙ œ œ œ œ j ˙ œ œ œ & b ˙ ˙ ˙ œ . œ Ó Œ Ó Œ Ó Œ œ Ó Œ œ Ï Ï A. Sx. 2 j > & b ˙ ˙ œ œ œ œ. ˙ Ó Œ œ Ó Œ œ Ó Œ œ Ó Œ œ œ ˙ ˙ œ œ > > Ï Ï T. S x . b > > > b ˙ œ œ œ œ. j ˙ Ó Œ œ Ó Œ œ Ó Œ œ Ó Œ œ œ & ˙ ˙ ˙ œ œ Ï Ï B. Sx. œ j b ˙ ˙ ˙ œ œ œ œ. œ ˙ Ó Œ Ó Œ Ó Œ Ó Œ & ˙ œ œ œ œ œ Ï > > > 189 Rhythmic ChangeÏ F.M. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

189 3 3 3 Hn. 1 bb œ. œ Œ œ. œ Œ Œ œ. œ œ Œ Ó Œ Ó Œ Ó Œ Ó Œ & b œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ . œ > > > Ï 3 3 3 3 3 3 3 3 Ï Hn. 2 bb Œ Œ Œ Œ Ó Œ Ó Œ Ó Œ Ó Œ & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > œ > œ > > œ > œ > > > > > > > > > > > > > Ï > > > > Ï œ. œ. . œ œ œ. œ œ. œ . Bb Tpt. 1 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b Œ Œ œ. œ œ œ Œ 3 Œ J Œ J Œ Œ œ. œ œ Œ & 3 3 3 J J Ï Ï B Tpt. 2 b > > > > > > > > > > > > > > > > . . . b b œ œ œ Œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ Œ œ œ œ Œ œ œ œ Œ . j Œ & œ œ œ œ 3 3 3 3 J J J œ œ œ 3 > >3 3 > >3 Ï Ï Bb Tpt. 3 b j j j j j & b œ. œ œ Œ œ. œ œ Œ œ j œ Œ j Œ œ. œ œ Œ œ. œ œ Œ œ. œ œ Œ j Œ . œ œ. œ œ œ. œ œ Ï Ï 3 œ. œ œ. œ . œ œ œ œ œ œ. œ Tbn. 1 ? b œ. œ œ. œ œ. œ œ J J J œ b b œ œ œ Œ œ œ œ Œ œ. œ œ œ Œ œ œ 3 Œ Œ Œ Œ J Œ b 3 3 œ Ï Ï œ. œ œ œ. œ œ œ. œ œ Trom. 2 ? b b œ. œ œ Œ œ. œ œ Œ œ. œ œ Œ j Œ J Œ J Œ J Œ œ. œ œ Œ b b J J J œ. œ œ J Ï Ï >œ >œ > >œ > >œ >œ > >œ > >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ œ. œ œ. œ j B. Tbn. ? b b œ œ Œ œ œ Œ Œ Œ œ Œ œ Œ œ. œ œ Œ œ. œ Œ b b 3 3 3 3 3 3 3 3 J J J œ Ï 3 Ï Euph. ? b œ. œ œ. œ œ. œ œ œ. œ œ œ. œ œ œ. œ j b b œ œ œ Œ œ œ œ Œ œ. œ œ œ Œ œ œ 3 Œ Œ Œ œ Œ œ. œ Œ b 3 3 œ J J J œ

Ï 3 3 3 3 3 3 3 3 Ï Tuba ? b b bb Œ Œ Œ Œ j Œ j Œ j Œ j Œ œ œ œ œ. œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ > > > > > > > > > > > > > > > > > > > > Ï 189 Ï x x x x x x œ x x x x œ x x x x œ x x x x œ x x x œ x œ x œ x œ D. S. œ œ œ œ œ J œ J œ J œ J ã 3 3 3 3 3 3 3 3 . . . . 189 Ï Ï Vib. b b j œ j j & b b œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ ‰ ‰ œ. œ œ œ œ. œ œ œœ œ. œ œ œœ j œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ . œ œ. œ œ œ. œ œ Ï œ Ï . œ œ Xyl. b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ j œ œ b bb ‰ ‰ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ. œ œ œ. œ œ œ. œ œ œ œ. œ œ œ & J J J œ. œ œ Ï Ï y y y y y y y y y y y y M.B.D, Snare, Œ Œ Œ Œ Œ Œ Œ Œ Ó Œ Ó Œ Ó Œ Ó Œ & B.D. ã Ï Ï

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Let Me Tell You A Story (The Children In Their Beds) 32 HH Explosive œ II With ease œ. œ œ œ. œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ. œ ˙ 2 Picc. b b œ œ J & b b J ‰ 3 ∑ ∑ ∑ Ï œ œ œ œ œ œ œ œ ˙ œ œ œ ˙ ˙ 2 Fl. 1 b & b bb Œ ∑ ∑ ∑ Ï œ œ ˙ 2 Fl. 2 b b œ œ œ œ œ ˙ œ œ œ ˙ & b b œ Œ ∑ ∑ ∑ Ï œ œ. œ œ œ. œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ. œ ˙ 2 Ob. b b œ œ J & b b J ‰ 3 ∑ ∑ ∑ Ï œ. œ. œ œ œ œ 2 Eb Cl. b œ. œ œ œ œ. œ œ ‰ œ œ œ œ œ œ œ œ. œ ˙ ∑ ∑ ∑ & J 3 J Ï 2 3 3 Bb Cl. 1 b œ œ œ œ œ œ ˙ œ œ œ ˙ & b œ œ Œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï f 2 B Cl. 2 b b b œ œ Œ ˙ ∑ ∑ ∑ & œ œ œ œ œ œ ˙ œ œ œ ˙ Ï œ. œ œ œ. œ œ œ œ œ œ œ. ˙ 2 Bb Cl. 3 bb œ. œ œ œ œ. œ œ ‰ œ œ œ œ ∑ ∑ ∑ & J 3 J Ï 2 B. Cl. b j œ. œ. œ œ œ œ œ. b œ. œ œ œ. œ ‰ œ œ œ œ œ œ 3 œ œ ˙ ∑ ∑ ∑ & œ œ J Ï 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Bsn. ? b œ œ œ œ œ œ b b œ œ œ œ 3 3 b œ œ œ œ œ œ œ œ œ Ï œ f œ œ œ œ œ œ œ ˙ œ œ œ ˙ ˙ 2 A. Sx. 1 & b Œ ∑ ∑ ∑ Ï 2 A. Sx. 2 œ œ œ œ ˙ œ œ ˙ & b œ œ œ œ Œ œ ˙ ∑ ∑ ∑ Ï œ. œ œ œ. œ œ œ œ œ œ œ. ˙ 2 T. S x . bb œ. œ œ œ œ. œ œ ‰ œ œ œ œ ∑ ∑ ∑ & J 3 J Ï . . œ 2 B. Sx. œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ ˙ & b œ œ ‰ 3 J ∑ ∑ ∑ J Sounds of Swords and a Ï Human Scream Return 197 Returns To Previous Rhythmic Structure Arpeggiated Synth Begins 2 F.M. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ 197 3 2 Hn. 1 b & b b j ‰ œ. œ. œ œ œ œ œ. j ∑ ∑ ∑ œ. œ œ œ œ. œ œ œ œ œ œ œ œ œ œ ˙ Ï 2 Hn. 2 b & b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï f œ 2 œ Bb Tpt. 1 bb œ œ œ œ œ œ œ Œ ˙ œ œ œ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 3 3 Ï f 2 Bb Tpt. 2 bb œ œ Œ ˙ ∑ ∑ ∑ & œ œ œ œ œ œ ˙ œ œ œ ˙ Ï 2 Bb Tpt. 3 b j œ. œ. œ œ œ œ œ. b œ. œ œ œ. œ ‰ œ œ œ œ œ œ 3 œ œ ˙ ∑ ∑ ∑ & œ œ J Ï œ œ œ œ œ œ ˙ œ œ œ ˙ 2 œ œ œ œ Tbn. 1 ? b œ œ ˙ œ œ œ œ œ œ œ œ b bb Œ Ï f 2 Trom. 2 ? b œ œ œ œ œ œ ˙ œ œ œ ˙ ˙ b bb œ œ Œ ∑ ∑ ∑ Ï œ œ œ œ œ œ œ 2 B. Tbn. ? b œ œ œ œ œ œ œ œ œ b bb ∑ ∑ ∑ Ï . . œ. œ œ œ. œ œ œ œ œ œ œ. ˙ 2 Euph. ? b œ œ œ œ œ œ œ œ œ œ œ b bb J ‰ 3 J ∑ ∑ ∑ Ï 2 Tuba ? œ bb b œ œ œ œ œ œ ∑ ∑ ∑ b œ œ œ œ œ œ œ œ œ Ï 197 x x x x x x x x x 2 œ œ œ D. S. ã ∑ ∑ ∑ ∑ œ œ œ 197 f 2 Vib. b b & b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ ∑ ∑ Ï œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 Xyl. b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ ∑ ∑ Ï y y y y y y y y 2 M.B.D, Snare, Œ Œ Œ Œ Œ Œ Œ Œ ∑ ∑ ∑ & B.D. ã Ï

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Let Me Tell You A Story (The Children In Their Beds) 33 JJ KK 206 Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑

Fl. 1 b & b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑

Fl. 2 b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑

Ob. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑

œ œ œ œ. œ Eb Cl. œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ œœ. œ. œ œ & b ∑ œ œ œ œ œ. œ œ œ œ. œ œ œ J ‰ Œ Ó ∑ f . œ Bb Cl. 1 b œ œ œ œ. œ œ œ œ œ & b j ‰ Œ Ó ∑ ∑ ∑ œ œ œ œ. œ œ ˙ œ f

B Cl. 2 b b b ∑ œ œ œ œ œ œ œ. œ . œ & œ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ œ œ œ œ œœ. œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ f œ. œ f

Bb Cl. 3 b œ œ œ œ œ œ & b ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ f B. Cl. b œ œ œ œ œ œ & b ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ. œœ. œœ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ. œ œ. œ œœ. f œ. œ f œ. œ œ ˙ œ Bsn. ? b J œ œ œ œ b bb ‰ Œ Ó ∑ ∑ ∑ . œ œ œ. œ œ œ œ œ œ f œ . A. Sx. 1 œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œœ. œ. œœ œ. œ œ œ & b ∑ œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ f f A. Sx. 2 œ & b ∑ ∑ ∑ ∑ ∑ œ. œ œ œ. œ œ œ œ œ œ œ œ f T. S x . b œ œ œ œ œ œ & b ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ f œ . B. Sx. œ. œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œœ. œ. œœ œ. œ œ œ & b ∑ œ œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ 206 f f F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã ∑ . . ‰ Œ ∑ ∑ . . ‰ ‰. Blue and the am - bas - sa- dor ﬂew back to Aer - i -beth.J Blue ex - claimed, "I'm hap - py, J e- ven if it sounds strange."R"That's 206 Hn. 1 b j & b b ∑ œ œ œ œ. j œ j œ ‰ Œ Ó ∑ œ œ œ œ œ œ œ œ. œ ˙ f

Hn. 2 b j & b b œ. j œ œ œ ‰ Œ Ó ∑ ∑ ∑ œ œ œ œ œ œ œ œ f œ œ

Bb Tpt. 1 b œ. œ œ ˙ œ & b J ‰ Œ Ó ∑ ∑ ∑ ∑ ∑

B Tpt. 2 b b & b ∑ ∑ ∑ ∑ ∑ ∑ ∑

B Tpt. 3 b b & b ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ f œ. œ œ œ œ œ Tbn. 1 ? b œ J œ œ œ œ œ œ œ b bb J ‰ Œ Ó ∑ ∑ ∑ f œ œ œ œ œ. œ œ œ . œ Trom. 2 ? b œ œ œ œ œ œ ˙ J b bb ∑ J J ‰ Œ Ó ∑ f B. Tbn. ? bbbb ∑ ∑ ∑ ∑ ∑ ∑ ∑

Euph. ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑

Tuba ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ 206 x x x x x x x x x x x x x x x x x x x x x œ œ œ œ œ œ œ D. S. ã œ œ œ œ œ œ œ 206 f f Vib. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑

Xyl. b b & b b ∑ ∑ ∑ ∑ ∑ ∑ ∑

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Let Me Tell You A Story (The Children In Their Beds) 34 213 LL Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑

Fl. 1 b & b bb ∑ ∑ ∑ ∑ ∑ ∑

Fl. 2 b b & b b ∑ ∑ ∑ ∑ ∑ ∑

Ob. b b & b b ∑ ∑ ∑ ∑ ∑ ∑

Eb Cl. j j œ & b ∑ ∑ œ œ œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ f œ œ œ œ œ œ. œ œ œ Bb Cl. 1 bb ‰ J œ œ œ œ ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ ˙ & J 3 3 f œ œ œ œ œ œ œ œ œ œ Bb Cl. 2 bb ‰ j ‰ Œ œ œ. œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ & œ œ j œ œ œ œ 3 3 œ œ œ œ œ œ f Bb Cl. 3 b œ œ œ œ œ œ œ œ. œ œ œ œ œ. œ œ b 3 œ œ œ ˙ œ œ œ œ œ œ œ œ & 3 œ œ œ œ J f œ œ B. Cl. bb œ œ œ œ œ œ œ œ œ œ. œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ ˙ & 3 3 3 3 f . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ ˙ Bsn. ? b œ œ j œ œ œ œ œ œ œ œ œ b bb ‰ J œ œ œ œ ‰ Œ 3 3 f 3 A. Sx. 1 œ j œ œ œ. œ œ œ œ œ œ b ‰ œ œ œ ‰ Œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ & J œ œ œ œ œ œ œ œ. œ œ œ œ œ œ f 3

A. Sx. 2 j œ œ. œ b ‰ œ œ œ œ ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ & J œ œ œ œ œ œ œ œ 3 œ œ œ ˙ f œ œ œ œ. œ œ œ œ. œ œ T. S x . bb œ œ œ œ œ œ œ œ œ œ. œ œ ˙ œ œ œ œ œ œ œ œ & 3 3 J J f . œ œ œ œ. œ œ œ œ œ œ. œ œ œ B. Sx. œ œ j œ œ œ œ œ œ œ œ œ œ & b ‰ J œ œ œ œ ‰ Œ J J 213 f F.M. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã . . ‰ Œ ‰. ≈ Œ . ‰ ‰. good news," said the am-bas - sa-dor, "what has changed?" "FromR hear-ing the oth-er drag-ons' in - terestsJ RI think I like to learn; books, sto - ries, and skills are the hoard that I yearn."J TheR 213 Hn. 1 b & b b ∑ ∑ œ œ œ. j œ œ œ œ œ œ œ œ œ œ œ œ f œ œ Hn. 2 bb j œ j ‰ Œ Ó ∑ ∑ ∑ & b œ œ œ œ œ. œ œ œ œ

B Tpt. 1 b b & b ∑ ∑ ∑ ∑ ∑ ∑

3 3 B Tpt. 2 b b b ∑ ∑ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ 3 3 f B Tpt. 3 b b & b œ j ‰ Œ Ó ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ. œ œ ˙ œ œ œ œ œ. œ œ œ œ Tbn. 1 ? b œ œ J b bb J ‰ Œ Ó ∑ ∑ ∑ œ œ œ œ œ. œ œ œ Trom. 2 ? b œ œ œ œ œ œ œ œ œ b bb ∑ ∑ J f B. Tbn. ? bbbb ∑ ∑ ∑ ∑ ∑ ∑

Euph. ? b b bb ∑ ∑ ∑ ∑ ∑ ∑

Tuba ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ 213 x x x x x x x x x x x x x x x x x x œ œ œ œ œ œ D. S. ã œ œ œ œ œ œ 213 f Vib. b b & b b ∑ ∑ ∑ ∑ ∑ ∑

Xyl. b b & b b ∑ ∑ ∑ ∑ ∑ ∑

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Let Me Tell You A Story (The Children In Their Beds) 35 MM NN With strength

Picc. b & b bb ∑ ∑ ∑ ∑ ∑ ∑

Fl. 1 b & b bb ∑ ∑ ∑ ∑ ∑ ∑

Fl. 2 b & b bb ∑ ∑ ∑ ∑ ∑ ∑

Ob. b & b bb ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ f Eb Cl. j j & b œ œ. œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f f œ. œ œ œ œ œ œ œ œ œ. œ œ Bb Cl. 1 bb œœ œ. œ œ œœ œ œ ‰ J œ œ œ œ ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œ & J f f œ Bb Cl. 2 bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ ˙ œ œ œ & 3 3 œ œ œ œ œ f f B Cl. 3 b j j b & b œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ ∑ ∑ œ œ œ f œ B. Cl. bb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ ˙ œ œ œ & 3 3 œ œ œ œ œ f f . œ œ œ œ œ œ œ œ œ œ Bsn. ? b œ œ œ œ œ œ j œ œ œ œ œ œ œ œ b bb . œœ œ. œ œ œœ œ œ ‰ J œ œ œ œ ‰ Œ f f œ œ œ œ œ œ œ œ œ œ œ A. Sx. 1 œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ œ & b œ œ œ J J f f . œ A. Sx. 2 œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ & b . œœ œ. œ œ œœ œ œ ‰ J œ œ œ œ ‰ Œ f f œ T. S x . b œ œ œ. œ œ œ œ œ œ œ œ. œ œ œ œ & b œ œ J J J ‰ Œ Ó ∑ f œ œ œ œ œ œ œ œ. œ œ œ œ B. Sx. œ œ . œ œ œ & b œ J J J ‰ Œ Ó ∑ f Frequencies and Musical 219 Tension Rises F.M. œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã . . Œ . . ≈ ≈ ‰ . Œ drag-on be-came wise and was known as a schol-ar, Blue was hap-py and his love for learn-ing ne-ver got small - er. Be-cause knowl-edge is a hoardJ that can be shared through-out the ag - es, 219 Hn. 1 b j & b b œ ‰ Œ Ó ∑ ∑ ∑ ∑ ∑

Hn. 2 b j & b b œ œ œ. j œ œ œ ‰ Œ Ó ∑ œ œ œ œ œ œ œ œ œ œ f œ œ

B Tpt. 1 b j b & b œ œ œ œ ‰ œ œ j ‰ Œ œ œ œ œ. œ œ . œœ œ. œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f f B Tpt. 2 b b b j ‰ Œ Ó ∑ ∑ ∑ œ œ œ œ & œ œ œ œ œ 3 3 f B Tpt. 3 b b & b œ j ‰ Œ Ó ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ ˙ œ f œ œ œ œ œ. œ œ œ œ Tbn. 1 ? b œ œ œ œ œ œ œ œ œ J b bb J ‰ Œ Ó ∑ f œ œ Trom. 2 ? b J œ œ œ œ œ œ œ b bb ‰ Œ Ó ∑ ∑ ∑ f B. Tbn. ? b b bb ∑ ∑ ∑ ∑ ∑ ∑

Euph. ? b b bb ∑ ∑ ∑ ∑ ∑ ∑

Tuba ? b b bb ∑ ∑ ∑ ∑ ∑ ∑ 219 x x x x x x x x x x x x x x x x x x x x œ œ œ œ D. S. ã œ œ œ œ œ œ œ œ œ œ œ œ f 219 f Vib. b b & b b ∑ ∑ ∑ ∑ ∑ ∑

Xyl. b b & b b ∑ ∑ ∑ ∑ ∑ ∑

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Let Me Tell You A Story (The Children In Their Beds) 36 225 OO Groovy but still strong 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ Picc. b b & b b ∑ ∑ ∑ ∑ ∑ 3 3 ∑ 3 Ï Ï . œ œ œ œ œ œ œ œ œ œ œ œ œ 2 . œ œ œ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Fl. 1 b b J J œ œ œ œ œ œ œ œ œ œ œ œ œ & b b ‰ J J 3 3 3 f ƒ Ï Ï 2 œ œ. œ œ œ œ œ œ Fl. 2 b b œ. œ œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ & b b ∑ ∑ J J œ J J Ï Ï 2 œ œ œ œ œ Ob. bb b œ œ œ œ œ œ œ œ œ œ. œ œ œ. ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b 3 œ œ. œ œ œ œ œ œ œ œ œ œ. œ 3 3 œ 3 3 J J ƒ Ï Ï 2 œ œ œ œ œ œ œ œ œ œ œ œ Eb Cl. j œ j œ œ & b œ œ œ œ œ. œ œ œ ‰ ∑ ∑ ∑ 3 3 ∑ 3 ƒ Ï œ Ï 2 œ. œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ Bb Cl. 1 b œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b 3 œ œ œ œ. ‰ J J 3 œ œ œ œ 3 œ & 3 3 ƒ Ï 3 Ï 2 Bb Cl. 2 b œ œ œ œ. œ œ œ j j œ œ & b œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J J œ. œ œ œ œ œ œ œ œ œ œ. œ 3 œ 3 3 3 ƒ Ï 3 3 Ï 3 2 Bb Cl. 3 bb ‰ & œ œ œ œ j j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ f ƒ Ï Ï œ 2 j B. Cl. bb œ œ œ œ œ. œ œ œ ‰ j j j œ. œ & J J œ. œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ ƒ Ï Ï œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. 2 Bsn. ? b b ‰ j b b 3 3 j j j œ œ. œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ ƒ Ï Ï œ œ œ œ œ œ œ œ œ œ. œ œ œ. 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ A. Sx. 1 œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ & b 3 3 ‰ J J 3 3 3 ƒ Ï Ï œ œ œ œ. œ œ œ 2 œ œ A. Sx. 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b J J ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ œ œ œ œ 3 & . J œ œ . J 3 ƒ Ï Ï 2 œ œ œ œ œ T. S x . b œ œ œ œ œ œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b 3 œ œ œ œ. ‰ œ. œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ 3 3 œ œ 3 & 3 J J ƒ Ï Ï œ œ œ œ œ. œ œ œ œ 2 œ. œ B. Sx. b J ‰ œ. œ œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ & J J J œ J J f ƒ Ï Ï Book Sounds only 225 Book Drop 2 F.M. œ œ œ œ œœ œ œ œ œ œ œ œ œ ã . . Œ . ‰ ∑ ∑ ∑ ∑ ∑ ∑ here, come take a lis - ten to these pag-es. J 225 2 Hn. 1 b b b ∑ ∑ j & j j j œ œ. œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ Ï 2 Ï Hn. 2 b ˙ ˙ & b b ∑ ∑ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

3 3 f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï 2 Bb Tpt. 1 b j j œ œ œ œ œ œ œ œ œ œ b ‰ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ 3 œ & œ œ. œ œ œ œ œ œ œ œ œ œ. œ 3 œ œ œ œ œ œ œ œ œ œ œ. œ œ œ. ƒ Ï Ï 2 B Tpt. 2 b œ j b b œ œ œ œ œ. œ œ œ ‰ j j j œ œ. œ œ œ œ œ œ & J J œ. œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ ƒ Ï Ï 2 B Tpt. 3 b b & b ∑ ∑ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï 2 . Tbn. 1 ? b œ. œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b bb ∑ ∑ J J œ œ J J Ï Ï œ œ œ œ. œ œ œ 2 Trom. 2 ? b œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ b bb J J ‰ ƒ f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï 2 B. Tbn. ? bb b ∑ ∑ b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï f Ï 2 œ. œ Euph. ? b b ∑ ∑ œ. œ œ œ œ. œ œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ b b J J œ J J Ï Ï 2 Tuba ? b b ∑ ∑ j b b j j j œ œ. œ œ œ œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ œ œ œ œ œ Ï Ï 225 xxx x xxx x xxx x xxx x xxx x xxx x x x x x x xxx x xxx x x xx x xxx x œ œ œ œ œ œ œ œ œœœœœ œ œ œ ˙ 2 œ œ œ œ œ œ œ D. S. œ œ œ œ œ œ ã æ 225 ƒ 2 Ï Ï Vib. bb b ∑ ∑ j j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b œ œ œ œ œ œ 3 œ œ œ œ œ 3 œ. œ œ œ œ œ œ œ œ œ œ. œ 3 œ Ï Ï 2 Xyl. b b œœœ œ œ œ œ œœ œ œ œœœ œ œ œœœ œ œ œœ œ œ œ œ œœœ œœ œœœ œ œ œ œ œ œ œ œ œœœ œ œ & b b ∑ ∑ œœ œœ œ œ Ï Ï Muted Bass Drum (Heavy Beater) 2 œ œ œ œ œ œ M.B.D, Snare, ã ∑ ∑ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ & B.D. Snare Ï (Drum Stick) Ï

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Let Me Tell You A Story (The Children In Their Beds) 37 PP Explosive 235 œ œ œ œ ˘ ˘ ˘ ˘ ˘ ˘ œ ˘œ ˘ ˘ ˘œ ˘œ ˘œ ˘œ œ œ ˘œ ˘œ ˘œ ˘ ˘ ˘œ ˘œ ˘œ ˘œ œ œ œ œ ˘œ ˘ ˘ Picc. bb b ∑ ‰ ‰ œ ‰ ‰ œ ‰ ‰ ‰ œ ‰ ‰ œ ‰ ‰ ‰ œ ‰ ‰ œ ‰ & b 3 J J J J J J J J J Ï Ï Ï œ œ œ . œ œ œ œ œ œ œ œ ...... œ. œ. œ. œ. œ. œ. œ . œ. œ. œ. œ œ Fl. 1 b b œ œ œ. . . œ œ œ œ œ œ œ œ œ œ œ. . . œ œ J J J J œ b b 3 J ≈ ‰ œ ≈ œ ‰ J ≈ J ≈ J ≈ J ‰ J ≈ ‰ œ ≈ œ ‰ ≈ R ≈ R ≈ R ‰ J ≈ R ‰ J ≈ R ‰ & R J R R R R R J R Ï Ï œ œ ˘ ˘ ˘ ˘ ˘ ˘ œ œ œ œ œ œ ˘œ ˘ ˘ ˘œ ˘œ ˘œ ˘œ œ œ ˘œ ˘œ ˘œ ˘ ˘ ˘œ ˘œ ˘œ ˘œ œ œ œ œ ˘œ ˘ ˘ Fl. 2 bb b œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ ‰ œ ‰ ‰ œ ‰ ‰ ‰ œ ‰ ‰ œ ‰ & b J J J J J J J J J Ï Ï œ œ œ . . . . . Ob. b b œ œ œ œ œ œ œ j r j j r j r j r j j r j œ œ. œ œ. œ œ. œ j . œ . œ œ & b b œ œ 3 œ ≈ ‰ ≈ r‰ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ‰ œ ≈ ‰ ≈ r‰ œ ≈ ≈ ≈ J ‰ œ ≈ œ ‰ ≈ œ ‰ . œ. œ. œ œ ...... œ. œ. œ œ J R J R J R . R J R Ï . . œ Ï œ œ œ œ . . . . . Eb Cl. j r j j r j r j r j j r j œ œ. œ œ. œ œ. œ j œ. œ œ. œ œ & b ∑ 3 œ ≈ ‰ ≈ r‰ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ‰ œ ≈ ‰ ≈ r‰ œ ≈ ≈ ≈ J ‰ œ ≈ ‰ ≈ ‰ . œ. œ. œ œ ...... œ. œ. œ œ J R J R J R . R J R Ï . . Ï œ Ï œ œ œ œ œ œ œ ˘ ˘ ˘ ˘ ˘ ˘ Bb Cl. 1 b œ œ œ œ j j œ œ œ œ j & b 3 œ ‰ ‰ j ‰ ‰ j ‰ œ œ œ œ œ œ œ œ œ ‰ ‰ j ‰ ‰ j ‰ œ œ œ œ œ ‰ ‰ j ‰ ‰ j ‰ œ œ œ œ œ œ fl fl fl fl fl fl fl fl fl fl fl fl fl fl fl fl Ï fl fl Ï fl r r r ...... Bb Cl. 2 b œ œ œ . r j r . . . . . r j r œ œ œ œ œ œ œ . œ. œ œ. œ œ & b œ œ œ œ œ œ œ œ œ ≈ œ ‰ œ ≈ ‰ œ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ‰ œ ≈ œ ‰ œ ≈ ‰ œ œ J ≈ J ≈ J ≈ J ‰ œ ≈ ‰ J ≈ ‰ œ 3 J . . œ. J . J . J . J J . . œ. R R R J R R 3 Ï Ï . r r Bb Cl. 3 b j r j r j r j r j j r œ. . œ. . œ. . œ j . œ & b œ œ œ œ œ œ œ œ œ ≈ œ ‰ j ≈ r‰ œ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ‰ œ ≈ œ ‰ j ≈ r‰ œ œ J ≈ œ J ≈ œ J ≈ œ J ‰ œ ≈ œ. ‰ œ ≈ œ. ‰ œ œ œ œ œ . . œ. œ...... œ. œ. R R R . J Ï Ï œ ˘ ˘ ˘ ˘ ˘ ˘ B. Cl. b œ j j œ œ j & b œ œ œ œ œ œ œ ‰ ‰ j ‰ ‰ j ‰ œ œ œ œ œ œ œ œ œ ‰ ‰ j ‰ ‰ j ‰ œ œ œ œ œ œ œ ‰ ‰ j ‰ ‰ j ‰ œ fl œ œ fl fl fl fl fl fl fl œ œ fl fl fl fl fl œ œ Ï fl fl fl fl Ï fl fl Bsn. ? œ j r j r j r j j bb b œ j ≈ r‰ j ≈ r‰ j≈ r j ≈ r j ≈ r j ‰ j ≈ r‰ j ≈ r‰ œ ≈ œ ≈ œ ≈ œ ‰ j ≈ r‰ ≈ r‰ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ . œ. . œ. . œ. . œ œ. œ. œ. œ œ . œ. œ. œ œ ...... œ. œ. œ œ . Ï . . Ï œ œ œ œ œ œ œ œ œ œ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ A. Sx. 1 b œ œ œ ‰ ‰ œ ‰ ‰ œ ‰ Œ œ ‰ œ ‰ Œ œ ‰ ‰ œ ‰ ‰ œ ‰ Œ œ ‰ œ ‰ Œ œ ‰ ‰ œ ‰ ‰ œ ‰ & 3 J J J J J J J J J J J J J Ï Ï œ œ œ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘œ ˘œ ˘œ ˘œ ˘ A. Sx. 2 œ œ œ œ œ œ œ œ œ j j œ œ œ œ œ œ œ œ œ j j œ œ œ œ œ j j & b œ 3 J ‰ ‰ œ ‰ ‰ œ ‰ J ‰ ‰ œ ‰ ‰ œ ‰ J ‰ ‰ œ ‰ ‰ œ ‰ fl fl fl fl fl fl Ï Ï œ œ œ œ ...... T. S x . b œ œ œ œ œ œ œ . r j r . r . . r j r œ œ œ œ œ œ œ . œ. œ œ. œ œ & b œ 3 œ ≈ œ ‰ ≈ ‰ œ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ‰ œ ≈ œ ‰ ≈ ‰ œ œ J ≈ J ≈ J ≈ J ‰ œ ≈ ‰ J ≈ ‰ J . œ. œ. J . . . . . J J . œ. œ. R R R J R R Ï Ï œ œ ...... œ. . B. Sx. œ œ œ . . j r ...... j r œ œ œ œ œ œ . œ. œ œ. œ œ b œ œ œ œ œ ≈ œ ‰ œ ≈ ‰ œ œ œ ≈ œ œ ≈ œ œ ≈ œ œ ‰ œ ≈ œ ‰ œ ≈ ‰ œ œ J ≈ R J ≈ R J ≈ R J ‰ œ ≈ ‰ J ≈ ‰ & J R . œ. J R J J R . œ. J R R Ï Ï 235 Altered Rhythms in Synth Lead F.M. ã ∑ ∑ ∑ ∑ ∑ ∑ ∑ 235 Hn. 1 b j r j r j r . j b b œ œ j ≈ r‰ ≈ r‰ j≈ r j ≈ r j ≈ r j ‰ j ≈ r‰ ≈ r‰ œ ≈ œ ≈ œ ≈ œ ‰ j ≈ r‰ œ ≈ r‰ œ œ & œ œ œ œ j œ œ œ œ œ œ œ œ œ j œ . œ. . œ. . œ. J œ œ. . œ. œ œ œ œ . œ. œ. œ œ ...... œ. œ. œ œ . Ï . . Ï Hn. 2 b j j j j & b b ˙ ˙ ˙ ˙ j ≈ r‰ j ≈ r‰ j≈ r j ≈ r j ≈ r j ‰ j ≈ r‰ j ≈ r‰ ≈ r ≈ r ≈ r œ ‰ j ≈ r‰ j ≈ r‰ œ œ œ œ œ œ œ. œ. œ. œ. œ. œ. . œ œ œ. œ œ œ . œ. œ œ œ œ . œ. . œ. . œ. . . œ. œ œ œ œ . . . f Ï f Ï f Ï f Ï Ï . . . . Ï œ œ œ . r r Bb Tpt. 1 bb œ œ œ œ œ œ œ j ≈ r‰ j ≈ ‰ j≈ r j ≈ r j ≈ r j ‰ j ≈ r‰ j ≈ ‰ œ. ≈ œ. œ. ≈ œ. œ. ≈ œ. œ ‰ j ≈ ‰ œ. ≈ ‰ œ œ & œ œ 3 œ œ r œ œ œ œ œ œ œ œ œ œ œ r œ œ J J J J œ œ. œ. . . œ. œ...... œ. œ. R R R . J Ï Ï B Tpt. 2 b œ œ j j j j j b b œ œ œ j ≈ r‰ ≈ r‰ j≈ r j ≈ r j ≈ r j ‰ j ≈ r‰ ≈ r‰ ≈ r ≈ r ≈ r œ ‰ j ≈ r‰ ≈ r‰ œ & œ œ œ œ œ j œ œ œ œ œ œ j œ œ. œ. œ. œ. œ. œ. . œ œ. œ. œ. œ . œ. œ œ œ . œ. . œ. . œ. . . œ. œ œ œ . Ï . . . . Ï Bb Tpt. 3 b j j j j j j j j j j j j j & b ˙ ˙ ˙ ˙ œ ‰ ‰ œ ‰ ‰ œ ‰ Œ œ ‰ œ ‰ Œ œ ‰ ‰ œ ‰ ‰ œ ‰ Œ œ ‰ œ ‰ Œ œ ‰ ‰ œ ‰ ‰ œ ‰ fl fl fl fl fl fl fl fl fl fl fl fl fl f Ï f Ï f Ï f Ï Ï Ï œ œ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘œ ˘œ ˘œ ˘œ ˘ Tbn. 1 ? œ œ œ œ œ œ œ j j œ œ œ œ œ œ œ œ œ j j œ œ œ œ œ j j bbbb œ J ‰ ‰ œ ‰ ‰ œ ‰ J ‰ ‰ œ ‰ ‰ œ ‰ J ‰ ‰ œ ‰ ‰ œ ‰ fl fl fl fl fl fl Ï Ï ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘œ ˘œ ˘œ ˘œ ˘ Trom. 2 ? b ˙ ˙ ˙ ˙ œ j j œ œ œ œ œ œ œ œ œ j j œ œ œ œ œ j j b bb J ‰ ‰ œ ‰ ‰ œ ‰ J ‰ ‰ œ ‰ ‰ œ ‰ J ‰ ‰ œ ‰ ‰ œ ‰ fl fl fl fl fl fl f Ï f Ï f Ï f Ï Ï Ï ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘œ ˘œ ˘œ ˘œ ˘ B. Tbn. ? b œ j j œ œ œ œ œ œ œ œ œ j j œ œ œ œ œ j j b bb J ‰ ‰ œ ‰ ‰ œ ‰ J ‰ ‰ œ ‰ ‰ œ ‰ J ‰ ‰ œ ‰ ‰ œ ‰ ˙ ˙ ˙ ˙ fl fl fl fl fl fl f Ï f Ï f Ï f Ï Ï Ï œ œ œ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ Euph. ? b b œ œ œ œ œ œ ‰ ‰ œ ‰ ‰ œ ‰ Œ œ ‰ œ ‰ Œ œ ‰ ‰ œ ‰ ‰ œ ‰ Œ œ ‰ œ ‰ Œ œ ‰ ‰ œ ‰ ‰ œ ‰ b b œ J J J J J J J J J J J J J Ï Ï Tuba ? œ bb b œ j ‰ ‰ j ‰ ‰ j ‰ Œ j ‰ j ‰ Œ j ‰ ‰ j ‰ ‰ j ‰ Œ j ‰ j ‰ Œ j ‰ ‰ j ‰ ‰ j ‰ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ fl fl fl fl fl fl fl fl fl fl fl fl fl 235 x x x x xx x x x xx x x Ï x x x x x x x x x x x x x x x x x x x x x x x x x x x x Ï x x x x x x œ œ œ œ œ œ D. S. ã œ œ œ œ œ œ œ œ œ œ œ œ œ 235 Ï Ï œ r r r j Vib. bb b œ œ œ œ œ œ œ j ≈ r‰ ≈ ‰ j≈ r j ≈ r j ≈ r j ‰ j ≈ r‰ ≈ ‰ œ. ≈ œ. ≈ œ. ≈ œ. ‰ j ≈ r‰ ≈ r‰ œ & b œ œ œ œ 3 œ j r œ œ œ œ œ œ œ œ œ j r œ œ. œ. œ. J œ œ œ. œ œ . œ. œ. œ œ ...... œ. œ. œ œ J J J . . . Ï . . Ï œ œ œ œ Xyl. b b œ œœ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ Ï Ï œ œ œ œ œ œ œ M.B.D, Snare, œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ œ Œ Œ & B.D. ã Ï Ï

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Let Me Tell You A Story (The Children In Their Beds) 38 ˘ ˘ 242 ˘ ˘ ˘œ ˘œ œ œ ˘œ ˘œ ˘œ ˘œ œ œ ˘œ ˘œ ˘œ ˘ ˘ ˘œ ˘œ ˘œ ˘œ 3 Picc. bb b ‰ ‰ œ ‰ ‰ œ ‰ & b J J J ...... œ. œ œ. œ œ. œ œ. œ . . œ. . œ œ œ œ œ œ œ œ 3 Fl. 1 b œ œ œ & b bb J ≈ R J ≈ R J ≈ R J ‰ J ≈ R ‰ J ≈ R ‰ J ≈ R J ≈ R J ≈ R J ‰ ˘ ˘ ˘ ˘ ˘ ˘ œ œ œ œ ˘œ ˘œ ˘œ ˘œ œ œ ˘œ ˘œ ˘œ ˘ ˘ ˘œ ˘œ ˘œ ˘œ 3 Fl. 2 bbbb J ‰ ‰ œ ‰ ‰ œ ‰ & J J . œ. . œ. . œ. . œ. j . œ. œ. œ. œ. œ. œ. œ 3 Ob. bbbb J ≈ œ J ≈ œ J ≈ œ J ‰ œ ≈ œ. ‰ œ ≈ œ. ‰ œ œ J ≈ J ≈ J ≈ J ‰ & R R R . R J R R R R . œ. . œ. . œ. . œ. j . œ. œ. œ. œ. œ. œ. œ 3 Eb Cl. b ≈ œ ≈ œ ≈ œ ‰ ≈ œ. ‰ œ ≈ œ. ‰ œ œ J ≈ R J ≈ R J ≈ R J ‰ & J R J R J R J œ. R J R ˘ ˘ ˘ ˘ 3 B Cl. 1 b ˘ ˘ j œ œ œ œ b & b œ œ œ œ œ œ œ œ œ ‰ ‰ j ‰ ‰ j ‰ œ œ œ œ œ œ fl fl fl fl fl fl fl fl fl fl fl fl fl . . . . œ. . œ. . œ. . œ. . œ œ œ. œ œ. œ œ. œ 3 Bb Cl. 2 bb J ≈ œ J ≈ œ J ≈ œ J ‰ œ. ≈ œ. ‰ œ ≈ œ. ‰ œ J ≈ R J ≈ R J ≈ R J ‰ & R R R J R J R . . . . 3 B Cl. 3 b . . . . j r r œ œ. œ œ. œ œ. œ b b œ ≈ œ. œ ≈ œ. œ ≈ œ. œ ‰ ≈ œ ‰ œ. ≈ œ ‰ œ œ J ≈ J ≈ J ≈ J ‰ & J R J R J R J œ. . J . R R R ˘ ˘ ˘ ˘ 3 B. Cl. b ˘ ˘ j œ œ œ œ & b œ œ œ œ œ œ œ œ œ ‰ ‰ j ‰ ‰ j ‰ œ œ œ œ œ œ fl fl fl fl fl fl fl fl fl fl fl fl fl . 3 Bsn. ? b j r j r j r j r j r œ. . œ. . œ. . œ b bb œ. ≈ œ œ. ≈ œ œ. ≈ œ œ. ‰ j ≈ ‰ œ ≈ ‰ œ œ ≈ œ ≈ œ ≈ œ J ‰ . . . œ. œ. . œ. J R J R J R ˘ ˘ ˘ ˘ ˘ ˘ ˘œ 3 A. Sx. 1 œ œ œ œ œ œ & b Œ J ‰ J ‰ Œ J ‰ ‰ J ‰ ‰ J ‰ Œ J ‰ J ‰ Œ ˘ ˘ ˘œ ˘œ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ œ œ 3 A. Sx. 2 œ œ œ œ œ œ œ œ œ j j œ œ œ œ & b J ‰ ‰ œ ‰ ‰ œ ‰ fl fl . . . . œ. . œ. . œ. . œ. . œ œ œ. œ œ. œ œ. œ 3 T. S x . bb J ≈ œ J ≈ œ J ≈ œ J ‰ œ. ≈ œ. ‰ œ ≈ œ. ‰ œ J ≈ R J ≈ R J ≈ R J ‰ & R R R J R J R ...... œ. œ. œ. œ. œ. œ. œ. œ. . . . . œ œ œ œ œ œ œ 3 B. Sx. J J J J œ œ œ œ œ J R J R J R J & b ≈ R ≈ R ≈ R ‰ J ≈ R ‰ J ≈ R ‰ ≈ ≈ ≈ ‰

Lead Synth Continues For One Measure, Fades For Two Measures 242 3 F.M. ã ∑ ∑ ∑ 242 . 3 Hn. 1 b . r . r . r . r j r œ. . œ. . œ. . œ & b b œ ≈ œ œ ≈ œ œ ≈ œ œ ‰ j ≈ ‰ œ ≈ ‰ œ œ ≈ œ ≈ œ ≈ œ J ‰ J . J . J . J œ. œ. . œ. J R J R J R r r r 3 Hn. 2 bb j ≈ r j ≈ r j ≈ r j ‰ ≈ r ‰ j ≈ r ‰ œ. ≈ œ. ≈ œ. ≈ œ. ‰ & b œ œ œ œ œ œ œ j œ œ œ œ. œ. œ. J ...... œ. œ. . œ. J J J . . . . 3 B Tpt. 1 b . . . . j r r œ œ. œ œ. œ œ. œ b b œ ≈ œ. œ ≈ œ. œ ≈ œ. œ ‰ ≈ œ ‰ œ. ≈ œ ‰ œ œ J ≈ J ≈ J ≈ J ‰ & J R J R J R J œ. . J . R R R . 3 Bb Tpt. 2 b . r . r . r . r j r œ. œ. œ. œ. œ. œ. œ & b œ ≈ œ œ ≈ œ œ ≈ œ œ ‰ j ≈ œ ‰ œ ≈ œ ‰ œ œ ≈ ≈ ≈ J ‰ J . J . J . J œ. . . . J R J R J R ˘ 3 Bb Tpt. 3 b j j j j j j œ & b Œ œ ‰ œ ‰ Œ œ ‰ ‰ œ ‰ ‰ œ ‰ Œ œ ‰ J ‰ Œ fl fl fl fl fl fl ˘ ˘ ˘œ ˘œ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ œ œ 3 Tbn. 1 ? b œ œ œ œ œ œ œ œ œ j j œ œ œ œ b bb J ‰ ‰ œ ‰ ‰ œ ‰ fl fl ˘ ˘ ˘œ ˘œ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ œ œ 3 Trom. 2 ? b œ œ œ œ œ œ œ œ œ j j œ œ œ œ b bb J ‰ ‰ œ ‰ ‰ œ ‰ fl fl ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ ˘ œ œ œ œ 3 B. Tbn. ? b œ œ œ œ œ œ œ œ œ j j œ œ œ œ b bb J ‰ ‰ œ ‰ ‰ œ ‰ fl fl ˘ ˘ ˘ ˘ ˘ ˘ ˘œ 3 Euph. ? œ œ œ œ œ œ bbbb Œ J ‰ J ‰ Œ J ‰ ‰ J ‰ ‰ J ‰ Œ J ‰ J ‰ Œ

j 3 Tuba ? b b Œ j ‰ j ‰ Œ j ‰ ‰ j ‰ ‰ j ‰ Œ j ‰ œ ‰ Œ b b œ œ œ œ œ œ fl fl fl fl fl fl fl 242 x x x x x x x x x x x x x x x x x x x x œ œ 3 D. S. ã œ œ œ œ œ œ œ œ 242 . 3 Vib. b r j r œ. . œ. . œ. . œ b bb œ. ≈ œ. œ. ≈ œ. œ. ≈ œ. œ. ‰ j ≈ ‰ œ ≈ ‰ œ œ ≈ œ ≈ œ ≈ œ J ‰ & J R J R J R J œ. œ. . œ. J R J R J R œ œ œ œ œ œ 3 Xyl. b b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & b b œ œ œ œ

œ œ œ 3 M.B.D, Snare, œ Œ Œ œ Œ Œ œ Œ Œ & B.D. ã