About the composer: Jodie Blackshaw grew up in the Riverina, NSW and after completing high school, studied a Bachelor of Music in Composition with Professor Larry Sitsky at the Australian National University, School of Music. Since then, she has worked teaching music to students of all ages and conducting a variety of ensembles in several different settings, from remote country centres to the inner city.
The influence of Orff-Schulwerk methodology is a significant influence of Jodie’s teaching practice and composition. In December 2012, Jodie presented the clinic ‘Get off the Podium’ alongside Dr. Mark Fonder of Ithaca College and conductor Professor Craig Kirchhoff at the Midwest Clinic in Chicago, Illinois. This clinic, advocating her unique compositional style and inclusive teaching approach to ensemble, offered directors opportunities to explore musical elements other than melody and harmony. Jodie is passionate about inspiring teachers and musicians to be active in the music making process.
Jodie won the inaugural Frank Ticheli Composition Contest earning her publication of a Grade 1 piece Whirlwind. Whirlwind was premièred at the Midwest clinic in 2006 and now appears on several state band lists. A second work, Terpsichorean Dances was awarded 2nd place in ‘Category 2’ of the same competition.
Jodie resides in the Blue Mountains, New South Wales, Australia with her husband David and daughter Matilda and works full-time as a composer and appears as a guest clinician and adjudicator for band festivals throughout Australia. Jodie is fanatical about producing quality, meaningful works for band. She desires that her music not just be "another piece, but an educational and spiritual journey for both the players and the director".
To find out more about Jodie and her works go to: www.jodieblackshaw.com.
TWIST by JODIE BLACKSHAW
TWIST was commissioned by a consortium led by the Australian Band and Orchestra Directors’ Association, Queensland. TWIST was premiered at the Australian National Band and Orchestra Clinic 2012.
Many thanks to the following director and their schools for making this project possible:
Marist College Ashgrove Craig Kennedy, Conductor Canterbury College Lewes Peddell, Conductor Villanova College Peter Morris, Conductor Brisbane Girls’ Grammar School Paul Kucharski, Conductor West Moreton Anglican College Symphonic Band Lisa Holownia, Conductor Newington College Luke Gilmour, Conductor Albion College Symphonic Band (USA) Sam McIlhagga, Conductor Ithaca College Concert Band (USA) Dr Mark Fonder, Conductor Queensland Wind Orchestra David Law, Conductor Helensvale State High School Wind Symphony Renee Wolf, Conductor Australian Band & Orchestra Directors’ Association Joanne Heaton, President Victoria Branch
The Arts Unit Stephen Williams, Conductor NSW Department of Education and Communities
NOTES for the CONDUCTOR
Please feel free to use these notes to tell the stories of the Murray River to your ensemble and audience
Twist, composed for wind orchestra, is inspired by the shape, spirit and history of Australia’s magnanimous waterway, the Murray River (the Wiradjuri people of the Albury-Wodonga region call the river ‘Millewa’). The work is divided into 6 sections, each is subtitled:
I - ‘Survival’. This powerful opening was stimulated by the indigenous story of ‘Tiddalick the Frog’. There are assorted versions of this Dreamtime fable but essentially, it tells of a colossal, greedy amphibian who consumes the entire river without any thought for the inhabitants of his bionetwork. This forthright, almost violent introduction to your journey along the river is driven by bass and percussion; it seeks to paint Tiddalick’s volatile movements whilst he selfishly gorges on the region’s lifeblood.
“From that dark recess There is a voice cursing. Soon a snarl echoes In the body dark, and From the lip, a fall, All things descending, Where the River’s anger smashes Itself amongst the stones. In twist and scream it heaps upon itself One giant convulsion, and From this mouth a roar repeats Over and again. But in its vicious chant, In its water heavy air, It inhales, and The monster’s skin is rent.” Excerpt from Rapid Acoustic
II - ‘Reflection’ speaks of the majestic beauty the river displays at dawn and dusk. At times, the water is so very calm a perfect mirror image of the surrounding landscape is reflected on the water’s surface, bringing a sensation of inner peace to any spirit who is fortunate enough to experience such splendour. The elegance of the Vibraphone pitted against a meandering Flute solo and unpredictable bass line reflects the stillness of the river but the hidden undercurrents that lurk just beneath the surface.
“Upon that westward reach, The mirrored trees and banks are gone In a play of light and dark. The reflection of myself alone, The words, the world, forgone. Beneath the gums a shimmering light, Wave upon wave reflecting, and I am no longer solid, I have no reflection of myself, I shimmer In the light of the River.” Excerpt from The Light of the River
III - ‘Discovery’ reveals the arrival of European settlers and the introduction of paddleboats in the mid-1800s. These steam- powered beasts enabled essential supplies to be delivered to farmers working the land in arid, remote regions. The magnificence of the towering cliffs must have be an awesome sight to newcomers navigating this often treacherous waterway. These discoveries inspire a chorus of brass rising above busy, interlocking woodwinds and pulsating percussion, transforming into a glittering, joyous melody that echoes the enthusiasm and spirit of the paddleboats themselves. Just as dawn is announced by a chorus of Kookaburras, so to is this movement but instead of a recording, the call of these idiosyncratic Australian birds is emulated here by the Trumpet section using various playing techniques and plunger mutes.
“Deep in the range threads a singing path Where every bend reveals a world of sheer Too steep for life to cling. Beneath a plunge from cloud to liquid deep, Where it repeats and arcs away, Beneath a world of drift, a song, A chime against the stone, A whispered word, Too soft for you and I to hear. But all the time it steals away The mountain chain, Grain by grain, Till none remain, But the mute white beach.” The Gorge Country
IV - ‘Obsession’. Following the paddleboats is a bush soundscape, painting the timbral colours experienced at the campfire at dusk. This is usurped by a sleazy late night Tango featuring at first the Soprano then Baritone Saxophone. The river is as deceiving as it is beautiful. Whilst the calm and innocent surface has lured many into the Murray’s embrace, precarious snags, unseen creatures and treacherous undercurrents present many hazards. Even with experience the Murray still makes those in love with her unable to resist her temptations
“Catch me I’m falling Now catch me I’m falling, Down the face of Old Barmah Country. On each river bend The world in unwinding, Forever unwinding. ...Now I’m folding, folding, Country ‘round me Like an old possum-skin cloak, As the River is cutting, Carrying and carving, Away my intelligence, To leave me primitive..” Excerpt from ‘Catch me I’m falling’ V - ‘Carnevale’ is the Italian term for carnival or festival and is used here to capture the profound influence of Mediterranean culture in the South West regions of New South Wales. In the late 1940s and early 1950s hundreds of Italian people migrated to Australia and thanks to the development of the Murrumbidgee Irrigation Area and many years of strenuous labour, they helped to transform otherwise unworkable land into thriving viticultural regions. Whilst many despise the changes that man has brought to the Murray and her surrounding landscape, no-one can deny that these one-time immigrants, now the Great-Grandfathers and Mothers of second and third generation Australians, have promoted positive change in Australia. The melodic material used in this section is inspired by the Italian folk dance the ‘Tarantella’ and is simply bursting with energy and joy.
‘I feel My skin begin to peel, Unpuzzling, forgetting. I am emptying, and My headwater is a circle Winding into a vortex. Accelerate! Accelerate! Suck me down The hollowed out tube The River is carving for itself. Excerpt from Headwater
VI – Ascension. Through all of these twists and turns the piece comes back to where we started using material from ‘Survival’. Not only does this implicate the lifecycle of the eco-system, it also hopes to challenge all listeners to consider this; how do we successfully sustain of our beloved Murray River? As now it not only affects the natural inhabitants, it encompasses all who prosper from her bounty, and that means you.
Ego dissolves, The body, osmotic, Is everywhere, And all I’m hearing Is the sound of water Falling on stone, The echo of myself, And my own body, Ringing.’ Excerpt from Headwater
ACKNOWLEDGEMENT: I extend my deep thanks and gratitude to Dr. Brian Wattchow of Monash University for granting permission to publish excerpts of his poetry as published by Ginninderra Press in ‘The Song of the Wounded River’ in this score. To embrace alternate learning styles and hopefully stimulate emotional connection for your players, I ask that you share this poetry with them in the hope that it will breathe life into every moment of ‘Twist.’
REHEARSAL NOTES
Images of the Murray River are available at http://www.murrayriver.com.au/education/photos/. Please use them in your program notes where available and any others you deem appropriate. I - SURVIVAL The opening is fast and furious. It is relentless, driving and passionate. It is all consuming, greedy, hungry and gleefully gluttonous. It is driven by the Timpani and Snare Drum; the quaver figures must be exact and tight. If these are in any way sloppy and not together, the whole opening sounds messy and unconvincing. It cannot be apologetic, nor half-hearted. Please know that in this section f means strong, powerful, relentless, and full. Not just loud. 1. Bar 1-16: Tempo must be no less than ♩. =108 (or ♩ =160). Quaver figures that commence in Tenor Sax, Trombones and Euphonium and then filter throughout the band onto the downbeat of bar 17 must be short and precise. Please do not allow players to shorten the crotchet on the third beat of the bar (2, 4, 6, 8, etc). 2. Bar 17-25: Maintain tempo and ensure players observe articulation and agree on the interpretation. When the band enters at bar 24 it should be a rude interruption, a burst of colour that exactly matches tempo and the ferocity of the opening. Percussion will drive this. 3. Bar 26-41: As stated in the program notes, this entire section is inspired by the indigenous story of Tiddalick the Frog. This section represents, if you will, the large amphibian swallowing the river and the river (represented by the contrary, rapidly running woodwind lines) resisting. It’s a battle for survival and should sound as such. The main theme played here by double reeds, Alto 1, Trumpets and lower brass should once again be high on the beat and played with boundless enthusiasm. As stated in point 2, please ensure all articulation markings are strictly observed and played in the same way; when tenuto marks the last beat of the bar it is there to remind players not to throw away the phrase by shortening the note. This melody demonstrates the contradiction of emotion occurring at this exact time: the joy that comes from greed ie Tiddalick’s consumption versus the river’s rage. 4. Bar 42-54: As for opening, keep the pulse driving through to downbeat of B53. Allow Bass Drum and Cymbal to ring and don’t rush the pause. It is there to allow the ‘dust to settle’ and introduce the first Twist!
II – REFLECTION 1. Marimba/Double Bass: this line should not ever seem rushed, or be played too high on the beat. The instrumentalists should work together at all times and their colours combine to create one clear voice. Play accents with subtlety - they are placed to provide shape only. Staccato markings in the Double Bass require the instrumentalist to stop the string from resonating. Should either of these instruments not be available the order of preference for replacement is Piano, followed by Bass Clarinet then Baritone Saxophone. 2. Bar 67-74: Vibraphone solo. Encourage soloist to ad lib. a little with time. To ensure the instrument can be heard, firm mallets will be required and the instrument should be raised or placed to the side of the band. Balance reeds/horns accordingly. 3. Bar 74: Flute solo. Soloist should have a rich, full tone and use vibrato throughout the solo. Staccato markings are to be observed as a detachment, with notes affected played for approximately 50% of their written duration. This melody should glide over the top, interlaced with the Vibraphone. 4. Bassoon/Clarinet/Alto Sax players are to strictly observe their dynamic markings and breathe at the end of a phrase or tied note. These alternate markings are written deliberately to emulate the changing colours of the sky at dusk. 5. Bar 81: legato tonguing (as marked in Horns and Trombones) requests that players re-articulate each note smoothly, maintaining a continuous air stream, giving each note the fullest value possible. 6. Bar 91: interpret forte here as rich/full, rather than loud/strong. 7. Bar 95-6: Trumpet Kookaburra Cadenza is to commence prior to the end of the final chord. There should not be a break in sound here, but an overlapping of the beginnings of the Kookaburra call.
TRUMPET KOOKABURRA CADENZA: FREE TIME (when rehearsing the second movement your Trumpets can practice this!).
NOTE: This is a quasi-improvised cadenza that should be experimental. Please!!! Do not interpret the score as written! The cells of melodic material written here are to inspire your trumpet players with some precursory source material. They will not play together and it should not sound exactly as it is written. They should play at different times.
Invite your Trumpet section to do the following to achieve the colour required - this information is also provided in their parts on the last page.
1. RESEARCH: Listen to Kookaburra calls. I recommend the following YouTube clips (you can easily find these and two other sample recordings of bands interpreting this cadenza on the composer’s website www.jodieblackshaw.com):
• ‘Laughing Kookaburra’ uploaded by coder76
• ‘Laughing Kookaburra’ uploaded by padai777
• ‘Laughing Kookaburra’ uploaded by rascaldee
• ‘Laughing Kookaburra’s’ uploaded by steveronka (up to 1’10”)
• ‘Kookaburra laugh...just laugh’ uploaded by 96fehctoh
2. EXPERIMENT: Squeeze out a plunger mute from the bell whilst flutter tonguing. You will notice from the You Tube recordings that the sound is rather brash, hence the use of the plunger mute and flutter tonguing. At the start and often the end of the call there is a ‘coo-ing’ kind of sound that can be emulated using flutter tonguing and chromatic progression over a minor or major third. Use these ‘cells’ (all in Treble clef) of sound to gain some initial ideas about how to create your very own Kookaburra call:
1 2 . .
At other times, the call has a clearer ‘Koo-koo’ again, moving over the interval of a minor third chromatically. To achieve this, double-tonguing techniques are encouraged, utlising the ‘ka’ sound from the throat as well as utilising the plunger mute at will.
3 .
At the peak of the ‘laugh’ the call becomes elongated high pitches. Try the following with and without the mute:
4 .
3. CREATE YOUR CALL: Here is an example of a combination of the techniques and sounds experimented with above:
Each trumpeter is encouraged to create their own unique Kookaburra call using the techniques as outlined in (2) 1-4. Experimentation and listening is the key to your success! The only hard and fast rule is pitch. Use ONLY the notes provided above and always end your call on a Concert D (fourth space). The most important aspect of this process is that it be interactive and fun for the whole section!
4. REHEARSE AS A SECTION: Listen again to the ‘Laughing Kookaburra’s’ uploaded by steveronka (up to 1’10”) on You Tube. Notice that the birds ‘bounce’ off each other. When one starts the others join in, as one changes the call the others follow, as another hits the peak so do the rest and so on (NOT in unison). The section leader should direct the Cadenza by instigating each change. It is imperative that everyone in the section compose the basic structure of their Kookaburra Cadenza together and that all ideas are embraced.
5. FITTING INTO THE PIECE: The Kookaburra cadenza MUST always commence with a soft flutter tongue growl with plunger mute (Concert C - third space) on the downbeat of bar 95 (as written in the score and parts). From here the Cadenza should run for no longer than 20-25 seconds. The Conductor will commence bar 101 and this should be taken as the cue for each player to scale down their call over the next 2 or so bars and end on a long diminishing Concert D, disappearing into the emerging texture of III Discovery.
III - DISCOVERY 1. This movement should be light, high on the beat and played with youthful enthusiasm. Keep the tempo spot on 108 as this will allow Clarinet and Saxophone lines to speak. The 2-bar figure that first appears in the E♭ and 1st B♭ Clarinet at B110 should rise out of the texture then fold back. 2. Ensure the crotchets on Concert D that commence in the Trombone section and travel throughout the ensemble move seamlessly between each instrument and that players’ attention is drawn to who they are passing the line to in order to match intonation and articulation. 3. As with II - Reflection, players are to strictly follow the rise and fall in dynamic markings to emulate the contrary currents of the river. 4. Bar 119: Brass chorus builds continuously with a peak at B128. Ensure that the build up to this peak is unspoiled by breath. Forte at 128 is strong and rich; asking all to play with a round, warm tone. The tall, cathedral-style cliffs encountered on the Murray inspire this section. 5. Bar 138: The colour change at M should be flawless. There is no change in tempo, only instrumentation and the return of the opening melody. The upper woodwind should play with vivacity, capturing the exhilarating feeling of experiencing something wonderful for the first time (like a roller coaster!). Once again, each articulation marking should be observed with care to ensure a uniform sound is achieved. Marimba is encouraged to play out and the Glockenspiel line should sit on top of the whole texture. Experiment with mallets if necessary to achieve this.
IV - OBSESSION
BUSH SOUNDSCAPE: The sound effects created for the “Bush soundscape” by the band are to bring about the whirring, buzzing sounds of the Australian bush. To achieve this, use the following materials: 2 Drum kit brushes and/or 2 bunches of 10- Paper rubbed together between Intermittently popping of bubble Clicking of hair clips 12 bamboo skewers hit against each other hands wrap Random playing of the following Cricket Clarinet players hit the wooden section on back of the lower percussion instruments: Frog Rasp joint with this kind of rhythm: Kokiriko Gecko Clacker Ching Chok Guiro For audio and visual samples of these instrument, please follow the links on Listen to this audio sample (hear past the birds) and you will get my website at: www.jodieblackshaw.com/soulstrom-twist an idea of what I am hoping the bush soundscape will capture: http://www.listeningearth.com/LE/product.php?id=48. 1. The flavour of the Argentinean Tango inspired this movement. Hence heavy downbeats and a slightly unpredictable, wandering tempo is required. Do not allow the tempo to fall below 84. To see and hear an Argentinian Tango, click on the link on my website: www.jodieblackshaw.com/soulstrom-twist. 2. If your Baritone Saxophone player doesn’t play this solo with pure sleaze then the movement will not work. It is imperative that the soloist embrace the cheeky nature of this section and take the band with them! 3. Piano: hard almost fist smash on the down beat immediately proceeding the quasi-glissando. 4. ‘A little faster’ (bar 200): Reeds to play straight down the reed to create a “reedy” sound and use wide vibrato for a quasi-drunken effect; ‘carrying and carving, away my intelligence to leave me primitive’. 5. Bar 206: The body percussion in the lower brass and percussion is to accentuate the rhythmical flavour of the tango and percussive sounds of the dancers. This is preferable performed wearing boots on a wooden floor! 6. Bars 213-221: If the tempo hastens at 206 don’t slow it down again here! Balance this section and gradually build the momentum toward Bar 222.
V – CARNEVALE 1. Bar 222: If pitched Roto toms are not available play on timpani towards the edge of the drum. Percussion should be easily heard and add festivity. 2. Bar 226: Klezmer-style (Clarinets) is a Jewish style of Clarinet playing. It will add a sense of fun and festivity to this movement - invite your students to find clips on You Tube to hear what this style of playing is like and experiment. 3. Bar 250: Balance Trumpet entry and be sure the Trumpet line leads at 258-261. 4. Bar 261: Bring out crotchet triplets and be sure to maintain accelerando to achieve 172 by the downbeat of 262, work with Percussion 1 to achieve this. 5. Bar 262-277: Whilst this is a raucous section, be sure to maintain ensemble pulse and distinguish clear layers. Do not allow the Timpani to dominate the texture otherwise other parts in the mix will be lost. Slur, don’t accent into the downbeat of 278.
VI - ASCENSION 1. Bar 278: Tam tam to smother the sound at the downbeat of 278 so ensure player “warms” it up to ensure best timbre and dynamic. The “trickling” piano should spill out of the resonance of the Tam tam and introduce the final section. 2. Bar 296-98: Maintain crescendo in the lower brass and bring in Horns over the top of the texture. Don’t allow the dynamics to fade here. Allow Trombone 1 to sail over the top of highlight this climax in the movement. 3. Bar 304: Allow the parts the wash away in their own fashion and taper all instruments who exit the timbre between 307-313. 4. Ocean drums: in the final 1-2 bars, experiment with the ocean drums and allow them to fade away in their own time, as you the conductor deem appropriate.
OTHER DETAILS
1. Placement of certain instruments. If possible, the piano (preferably a grand piano with lid open) and keyboard percussion should be set to the side of the band or be raised to ensure they are clearly audible. 2. The term Divide or Divisi is NEVER used. When the notes split on a single part, it is assumed that players will divide themselves amongst all notes written. When the part returns to a single line unison is once again assumed. 3. Advise all players that ALL tempo markings, include gradual changes are always placed on top of the stave. 4. Staccato in string bass and percussion means stop/choke. 5. This website www.murrayriverphotos.com.au hosts a gallery of photographs of the Murray River. I strongly encourage you and your students to look them up (and any others) for inspiration! 6. Should you have any further questions or queries please contact me directly via email: [email protected] or check out supplementary materials (including links to Kookaburra clips and other You Tube links recommended in this score) provided on my website www.jodieblackshaw.com.
This work was commissioned by a consortium led by the Australian Band and Orchestra Director's Association Qld.
TWIST JODIE BLACKSHAW I Survival: fast and furious (q. = 108; q = 160) 4 5 6 7 Piccolo
Flute 1
Flute 2 Oboe f
Bassoon ff Clarinet in Eb f Clarinet in Bb 1 5 6 6 6 7 6 ff Clarinet in Bb 2 5 6 6 6 6 6 ff Clarinet in Bb 3 5 6 5 6 5 6 ff Bass Clarinet in Bb ff 6 6 6 7 Alto Saxophone 1/ Soprano Saxophone ff 5 7 6 6 Alto Saxophone 2 ff 6 6 5 7
Tenor Saxophone f fp f fp f Baritone Saxophone ff
gliss. Piano ff I Survival: fast and furious (q. = 108; q = 160) palm without palm Trumpet in Bb 1 f palm without palm Trumpet in Bb 2 f palm without palm Trumpet in Bb 3 f Horn in F 1 2 f Horn in F 3 4 f gliss. Trombone 1 f fp f fp f gliss. Trombone 2 f fp f fp f Belltones Bass Trombone f Euphonium f fp f fp f fp f
Tuba f String Bass f
Show no mercy! Timpani ff
Xylophone - hard mallets Mallet/Aux. Percussion 1 gliss. Xylophone/Marimba/ Vibraphone/Claves f
Bass Drum - play towards centre; hard mallets Mallet/Aux. Percussion 2 Bass Drum/Vibraphone/ Glockenspiel/Triangle/ Mounted Castanets f Snare
Percussion 1 Drum Kit f Percussion 2 Small bright crash cymbal l.v. l.v. l.v. Cym./Cabasa/Shekere Tamb./Temple Blocks/Lg. T-tam f 2 8 9 10 11 12 13 14 15 Picc. 5 6 f ff Fl. 1 f 5 ff Fl. 2 5 ff f Ob. 5 5 ff Bsn. 5 6 5 Eb Cl. 6 ff Cl. 1 5 5 5 5 Cl. 2 5 5 Cl. 3 B. Cl. 5 5 A. Sax. 1 5 ff A. Sax. 2 5 ff T. Sax. fp f fp f ff Bari. Sax. Pno. palm gliss. Tpt. 1 sim. ff palm Tpt. 2 sim. ff palm Tpt. 3 sim. ff Hn. 1 2 ff Hn. 3 4 ff gliss. gliss. gliss. Tbn. 1 ff gliss. gliss. gliss. Tbn. 2 ff
B. Tbn. Euph. fp f fp f ff
Tba. S. Bs.
Timp. M./Ax. 1 Xyl.
M./Ax. 2 B. D.
Perc. 1 (Kit)
l.v. l.v. l.v. l.v. Perc. 2 (C. Cym) 16 A 18 19 20 21 22 23 24 25 3 gliss. Picc. fff ff gliss. Fl. 1 fff ff gliss. Fl. 2 fff ff Soli Ob. f gliss. Bsn. fff ff
gliss. Eb Cl. fff ff gliss. Cl. 1 fff ff gliss. Cl. 2 fff ff gliss. Cl. 3 fff ff B. Cl. fff ff Soli A. Sax. 1 f Soli A. Sax. 2 f T. Sax. gliss. fff ff Bari. Sax. fff Pno. fff A Tpt. 1 fff Tpt. 2 fff ff Tpt. 3 ff fff Hn. 1 2 ff fff Hn. 3 4 ff fff Tbn. 1 fff ff Tbn. 2 fff ff B. Tbn. fff ff Euph. fff ff Tba. fff ff S. Bs. fff ff
Timp. fff ff M./Ax. 1 Xyl. fff
M./Ax. 2 B. D. f fff ff Perc. 1 (Kit) fff ff l.v. Perc. 2 (C. Cym) fff ff 27 28 29 30 31 4 B Picc. f Fl. 1 mf Fl. 2 mf Soli Ob. f ff f Soli Bsn. f ff f Eb Cl. mf Cl. 1 mf Cl. 2 mf 3 Cl. 3 3 3 mf B. Cl. mf mf
Solo A. Sax. 1 f ff f 3 A. Sax. 2 3 mf 3 mf T. Sax. mf 3
Bari. Sax. mf mf
Play repeatedly in your own time; ensure the phrase isn't played too quickly - use sustain pedal at will Pno. f
B Solo Tpt. 1 f ff f Tpt. 2
Tpt. 3
Hn. 1 2
Hn. 3 4 Soli Tbn. 1 f ff f Soli Tbn. 2 f ff f
B. Tbn. Soli Euph. f ff f
Tba.
S. Bs.
Timp.
M./Ax. 1 Xyl.
M./Ax. 2 B. D.
Perc. 1 (Kit)
l.v. Perc. 2 (C. Cym) 32 33 C 35 36 37 5 Picc. f fp Fl. 1 f Fl. 2 f Ob. ff fp Bsn. ff fp Eb Cl. Cl. 1
Cl. 2 6 Cl. 3 3 B. Cl. p tutti A. Sax. 1 ff fp A. Sax. 2 mf 3 T. Sax. 3
Bari. Sax. mf
Pno. C tutti Tpt. 1 ff fp Tpt. 2 ff fp Tpt. 3 ff fp Hn. 1 2
Hn. 3 4
Tbn. 1 ff fp Tbn. 2 ff fp
B. Tbn. Euph. ff fp
Tba.
S. Bs.
Timp.
M./Ax. 1 Xyl. ff fp M./Ax. 2 B. D.
Perc. 1 (Kit)
Perc. 2 (C. Cym) 6 38 39 40 41 D 43 44 45 Picc. 6 Fl. 1 5 5 6 Fl. 2 5 6 6 Ob. ff mf ff f f 6 Bsn. ff mf 6 ff f f 6 5 Eb Cl. f 6 6 6 Cl. 1 6 5 f ff f 6 6 6 Cl. 2 f ff f 6 5 6 5 Cl. 3 f ff f B. Cl. mf p mf sfz sfz f 6 6 A. Sax. 1 ff mf f ff f 5 5 5 A. Sax. 2 mf f ff f 6 T. Sax. f ff 6 f Bari. Sax. sfz sfz mf f
6 6 Pno. sfz sfz f 6 6 D Tpt. 1 ff f sfz sfz Tpt. 2 ff f sfz sfz Tpt. 3 ff f sfz sfz a2 Hn. 1 2 sfz f sfz a2 Hn. 3 4 sfz f sfz Tbn. 1 ff f sfz sfz Tbn. 2 ff f sfz sfz
B. Tbn. ff Euph. ff sfz sfz f Tba. sfz sfz f S. Bs. sfz sfz f
Timp. mp f M./Ax. 1 Xyl. f
M./Ax. 2 B. D. ff
Perc. 1 (Kit) mp f l.v. l.v. Perc. 2 (C. Cym) f 46 47 48 49 50 51 52 53 54 7 5 Picc. ff sffz Fl. 1 5 ff 6 5 sffz Fl. 2 5 ff 5 sffz Ob. 5 5 ff 6 sffz Bsn. ff 6 5 sffz 6 Eb Cl. 5 ff 5 sffz 6 Cl. 1 ff 5 5 sffz 5 Cl. 2 ff 5 sffz 5 5 Cl. 3 ff 5 sffz B. Cl. ff sffz 5 A. Sax. 1 ff z f ff 5 sff 5 A. Sax. 2 6 ff f ff 5 sffz 6 T. Sax. 5 sffz ff f ff Bari. Sax. ff sffz 6 Pno. sfz ff sffz 6 Tpt. 1 z ff sff Tpt. 2 ff fff Tpt. 3 ff fff Hn. 1 gliss. 2 ff sffz Hn. 3 4 ff sffz Tbn. 1 ff fff Tbn. 2 ff fff B. Tbn. sffz Euph. ff fff Tba. ff sffz S. Bs. ff sffz
Timp. ff fff M./Ax. 1 Xyl. sffz M./Ax. 2 B. D. sffz
Perc. 1 (Kit) 3 3 3 sffz l.v. l.v. l.v. l.v. Perc. 2 (C. Cym) sffz 8 E II Reflection: meandering - with a little rubato q=80 60 61 62 63
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
S. Bs. B. Cl.
A. Sax. 1 p mp mp
A. Sax. 2 p mp p mp
T. Sax.
S. Bs. Bari. Sax.
Pno. S. Bs. E II Reflection: meandering - with a little rubato q=80 Tpt. 1
Tpt. 2
Tpt. 3
1. Hn. 1 2 mp Hn. 3 4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Pizz. S. Bs. mp mf mp
Timp. Marimba Very laid back - almost behind the beat M./Ax. 1 (Mar.) mf mf mp M./Ax. 2 (Vib.)
Perc. 1 (Kit)
Cabasa Perc. 2 (Cab.) mp 66 F 68 69 70 71 72 64 65 9
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Cl. 1 p mp p mp
Cl. 2 p mp p mp p mp Cl. 3 p 3 B. Cl.
A. Sax. 1 p
A. Sax. 2 p
T. Sax.
3 Bari. Sax.
Pno. 3 F Tpt. 1
Tpt. 2
Tpt. 3
Hn. 1 2 p mp p mp 3. Hn. 3 4 p mp p mp
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
S. Bs. 3 mf mp
Timp.
M./Ax. 1 (Mar.) 3 mf mp Vibraphone Solo M./Ax. 2 (Vib.) f Pedal as necessary
Sus. Cymbal l.v. Perc. 1 (Kit) mp mf
Perc. 2 (Cab.) 10 73 74 G 76 77 78 79 80 Picc. Solo - warm tone with vib. Fl. 1 mp f mf f
Fl. 2
Ob.
Bsn.
Eb Cl.
Cl. 1 p mp p mp
Cl. 2 p mp p mp p Cl. 3 mp B. Cl. 3 3 A. Sax. 1 mp p mp p
A. Sax. 2 p mp p mp
T. Sax.
Bari. Sax. 3 3
Pno. 3 3 G Tpt. 1
Tpt. 2
Tpt. 3 2. 1. Hn. 1 2 mf p mp p mp 4. Hn. 3 4 mf p mp
Tbn. 1 p mp p pp Tbn. 2 pp p
B. Tbn.
Euph.
Tba.
3 3 S. Bs. mf mp mf
Timp.
3 3 M./Ax. 1 (Mar.) mf mp mf M./Ax. 2 (Vib.)
l.v. Perc. 1 (Kit) pp mp pp
Perc. 2 (Cab.) 81 82 83 84 85 86 H 88 11
Picc. Fl. 1 mf f mf f mf f
Fl. 2
Ob. Bsn. p mp p mp
Eb Cl.
Cl. 1 p mp p mp p
Cl. 2
Cl. 3 p mp p mp
3 3 3 B. Cl. 3 3 A. Sax. 1 mp p mp p mp
A. Sax. 2 p mp p mp p mp
T. Sax.
3 3 Bari. Sax. 3 3 3
Pno. 3 3 3 3 3 H Tpt. 1
Bsn. Tpt. 2 Tbn. 2 Tpt. 3 a2 legato tonguing Hn. 1 2 mf p a2 legato tonguing Hn. 3 4 mf p legato tonguing Tbn. 1 p mp mf mp mf mp Tbn. 2 p mp p
B. Tbn. blend with Horn Euph. pp mf mp
Tba.
3 3 3 3 S. Bs. mp 3 mf
Timp.
3 3 3 M./Ax. 1 (Mar.) mp 3 3 mf M./Ax. 2 (Vib.)
l.v. Perc. 1 (Kit) mp p
Perc. 2 (Cab.) 12 89 90 91 92 93 94 95 96
Picc. Fl. 1 ff mp
Fl. 2
Ob. Bsn. p mp mf p
Eb Cl. mp mf p Cl. 1 mp p mf p
Cl. 2 p mp mf p
Cl. 3 p mf 3 p B. Cl. 3 A. Sax. 1 p mf p
A. Sax. 2 p mp mf p
T. Sax. Bari. Sax. 3 3
Pno. 3 Plunger mute Tpt. 1 p Plunger mute Tpt. 2 p Plunger mute Tpt. 3 p detached Hn. 1 2 p mf f detached Hn. 3 4 mf f p detached Tbn. 1 mf detached f p Tbn. 2 mf f p
B. Tbn. detached Euph. mf f p
Tba.
3 3 S. Bs. f
Timp. mf f 3 3 M./Ax. 1 (Mar.) f M./Ax. 2 (Vib.)
l.v. l.v. l.v. l.v. l.v. Perc. 1 (Kit) f mp f
Perc. 2 (Cab.) I Trumpet Section Kookaburra cadenza: free time approx. 40" 13 Conductor: it is imperative that you refer to notes at front of score to understand how this section is to be prepared and performed. Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Cl. 1
Cl. 2
Cl. 3
B. Cl.
A. Sax. 1
A. Sax. 2
T. Sax.
Bari. Sax.
Pno. I Trumpet Section Kookaburra cadenza: free time 3. 4. 5. 1. 2. 3 3 Tpt. 1 3 3 3 3 3 3 'to-ka' 'ka' dbl. tg.
3 3 Tpt. 2 3 3 3 3 3 3 'to-ka' 'ka' dbl. tg. 3 3 Tpt. 3 3 3 3 3 3 3 'to-ka' 'ka' dbl. tg. Hn. 1 2
Hn. 3 4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
S. Bs.
Timp.
M./Ax. 1 (Mar.)
M./Ax. 2 (Vib.)
Perc. 1 (Kit)
Perc. 2 (Shek.) 14 J III Discovery: with a sense of anticipation q=108 101 102 103 104
Picc.
Fl. 1
Fl. 2
Ob. Bsn. p mf p
Eb Cl.
Cl. 1
Cl. 2 mp mf
Cl. 3 mp f mp f mp f
B. Cl.
A. Sax. 1
tutti A. Sax. 2 p
T. Sax. p mf p
Bari. Sax.
Pno. mp mf mp mf mp mf mp sim. J III Discovery: with a sense of anticipation q=108 Tpt. 1 3 3 3 dbl. tge.
Tpt. 2 3 3 3 dbl. tge.
Tpt. 3 3 3 3 dbl. tge. Hn. 1 2
Hn. 3 4 Tbn. 1 mp mf Tbn. 2 mp mf p
B. Tbn.
Euph.
Tba.
S. Bs.
Timp.
(Marimba) M./Ax. 1 (Mar.) mf Glockenspiel M./Ax. 2 (Glock.) mf Hi-hat Perc. 1 (Kit) mf Shekere (Beaded gourd) Perc. 2 (Shek.) mp Hold vertically, handle side up and tap narrow end with palm of hand 105 K 107 108 109 110 111 15
Picc.
Fl. 1
Fl. 2 Solo (with Tpt 1) Ob. f pp f Bsn. p mf p p mf
Eb Cl. mp f stagger breath Cl. 1 mf
Cl. 2 mp mf mp mf mp mf mp mf Cl. 3 mp mf mp pp B. Cl.
A. Sax. 1 mf p mf A. Sax. 2 mf p p mf p
T. Sax. p mf p mp mf
Bari. Sax.
Pno. mf mp mf mp mf
K Harmon mute - stem in Solo (with Oboe) Tpt. 1 f pp f
Tpt. 2 p mf Tpt. 3 Soli Hn. 1 2 mf Soli Hn. 3 4 mf Tbn. 1 p mp mf Tbn. 2 mp mf p
B. Tbn.
Euph.
Tba. mf mf Pizz. arco Pizz. arco S. Bs. mf mp mf p mf
Timp.
M./Ax. 1 (Mar.)
M./Ax. 2 (Glock.)
Perc. 1 (Kit)
Perc. 2 (Shek.) 16 112 113 114 115 116 117 118
Picc.
Fl. 1
Fl. 2
Ob. pp pp f Bsn. p p mf p mp
Eb Cl. mf mf f Cl. 1
Cl. 2 mp mf mp mf mp mf Cl. 3
B. Cl.
A. Sax. 1 p mp mf A. Sax. 2 p mf p p mf p T. Sax. p mp
Bari. Sax.
Pno. mp
remove mute Tpt. 1 pp f pp Tpt. 2 p
Tpt. 3 p mf p Hn. 1 2
Hn. 3 4 Tbn. 1 p Tbn. 2 mp mf p
B. Tbn. mf
Euph. mf
Tba. mf mp mf Pizz. arco S. Bs. mp mf p mf mp mf
Timp.
M./Ax. 1 (Mar.)
M./Ax. 2 (Glock.)
Perc. 1 (Kit)
Perc. 2 (Shek.) L 120 121 122 123 124 125 17
Picc.
Fl. 1
Fl. 2
Ob. Bsn.
Eb Cl. mf f Cl. 1
Cl. 2 mp mf mp mf mp mf mp mf Cl. 3 mp
B. Cl.
A. Sax. 1 p mp mf
A. Sax. 2 mp mf p T. Sax. mf p
Bari. Sax.
Pno. mf f mf f
L tutti legato tonguing Tpt. 1 mf legato tonguing Tpt. 2 mp mf legato tonguing Tpt. 3 mp mf legato tonguing Hn. 1 2 mf legato tonguing Hn. 3 4 mf legato tonguing Tbn. 1 mf legato tonguing Tbn. 2 mf
B. Tbn. f mf f legato tonguing Euph. f mf
Tba. f mf f S. Bs. f mf f
Timp. mp
M./Ax. 1 (Mar.)
M./Ax. 2 (Glock.)
Perc. 1 (Kit)
Perc. 2 (Shek.) 18 126 127 128 129 130 131 132 133
Picc.
Fl. 1
Fl. 2
Ob. Bsn. mp mf
Eb Cl. mf f Cl. 1
Cl. 2 mp mf mp mf mp mf
Cl. 3 mf p
B. Cl. mp mf
A. Sax. 1 p
A. Sax. 2
T. Sax.
Bari. Sax.
Pno. f
(Lead line dynamics) full, rich sound 3 Tpt. 1 f mf full, rich sound Tpt. 2 f mf full, rich sound Tpt. 3 f full, rich sound a2 p Hn. 1 2 f mf full, rich sound a2 Hn. 3 4 f full, rich sound p Tbn. 1 f mf full, rich sound Tbn. 2 f mf p B. Tbn. Euph. f p
Tba. p S. Bs. p
Timp. f
M./Ax. 1 (Mar.)
M./Ax. 2 (Glock.) Perc. 1 (Kit) Perc. 2 (Shek.) M 134 135 136 137 139 140 141 19 Vibrantly Picc. f Vibrantly Fl. 1 f Vibrantly Fl. 2 f Vibrantly Ob. f Bsn. p mp mf
Eb Cl. p
Cl. 1 p A. Sax. 2 Cl. 2 mp mf mp mf Cl. 3 mp mf mp mf
B. Cl. mf p p
A. Sax. 1 mp mf p
A. Sax. 2 mp mf mp mf
T. Sax.
Bari. Sax.
Pno. mp mf (mf) M tutti Tpt. 1 p
Tpt. 2 p
Tpt. 3 mf p
Hn. 1 2 p
Hn. 3 4 mf p Tbn. 1 p mf Tbn. 2 p
B. Tbn. Euph. p mf p
Tba.
Pizz. arco Pizz. arco S. Bs. mf mf p p
Timp.
M./Ax. 1 (Mar.) mf M./Ax. 2 (Glock.) f Perc. 1 (Kit)
Perc. 2 (Shek.) 20 142 143 144 145 N 147 148 149 Picc. f Fl. 1 f Fl. 2 f Ob. f Bsn. p
Eb Cl.
Cl. 1
Cl. 2 Cl. 3 mp mf mp mf mp mf
B. Cl. mf p A. Sax. 1 f
A. Sax. 2 mp mf mp mf mp mf
T. Sax.
Bari. Sax.
Pno. N Tpt. 1
Tpt. 2
Tpt. 3 Vibrantly Hn. 1 2 f Vibrantly Hn. 3 4 f Tbn. 1 p mp Tbn. 2 mp mf p
B. Tbn.
Euph.
Tba.
Pizz. arco S. Bs. mf p
Timp.
M./Ax. 1 (Mar.)
M./Ax. 2 (Glock.) Perc. 1 (Kit)
Perc. 2 (Tamb.) 150 151 152 153 154 155 156 21 Picc. mp Solo Fl. 1 mp Solo Fl. 2 mp
Ob. Bsn. p mp
Eb Cl. Solo Cl. 1 mp Solo Cl. 2 mp Cl. 3 mp mf mp mf mp
B. Cl. mf pp A. Sax. 1 p A. Sax. 2 mp mf mp mf p
T. Sax.
Bari. Sax. Pno. mp Tpt. 1
Tpt. 2
Tpt. 3
Hn. 1 2 mp
Hn. 3 4 mp Tbn. 1 mf mp p Tbn. 2 p mp p
B. Tbn.
Euph.
Tba.
Pizz. arco S. Bs. mf pp
Timp.
M./Ax. 1 (Mar.) mf M./Ax. 2 (Glock.) Crash Perc. 1 (Kit)
Perc. 2 (Tamb.) 22 157 158 159 160 161 162 163 164 165 poco rit.
Picc. Fl. 1 mf p Fl. 2 mf mp p Ob. mf p Bsn. mf
Eb Cl. Cl. 1 mf p Cl. 2 mf p
Cl. 3
B. Cl.
A. Sax. 1
A. Sax. 2
T. Sax.
Bari. Sax. Pno. p poco rit. Tpt. 1
Tpt. 2
Tpt. 3
Hn. 1 2
Hn. 3 4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
S. Bs.
Timp.
M./Ax. 1 (Mar.) M./Ax. 2 (Vib.)
Perc. 1 (Kit)
Perc. 2 (Tamb.) O IV Obsession: wistful, with rubato q=72 173 174 175 176 177 178 179 23 Bush Soundscape Conductor: check notes at front of score regarding "Bush Soundscape" Picc. p Bush Soundscape Fl. 1 p Bush Soundscape Fl. 2 p Sop. Sax. (A. Sax. 1) 3 3 Ob. Bush Soundscape Bsn. p
Bush Soundscape
Eb Cl. p Sop. Sax. (A. Sax. 1) 3 3 Cl. 1 Bush Soundscape tutti Cl. 2 p Bush Soundscape Cl. 3 p B. Cl. "As the River is cutting, carrying and carving away my intelligence, to leave me primitive..." Soprano Sax. Solo ad. lib. A. Sax. 1 f 3 3
A. Sax. 2
T. Sax.
Bari. Sax.
Pno. O IV Obsession: wistful, with rubato q=72 Bush Soundscape Tpt. 1 p Bush Soundscape Tpt. 2 p Bush Soundscape Tpt. 3 p Bush Soundscape Hn. 1 2 p Bush Soundscape Hn. 3 4 p Bush Soundscape Tbn. 1 p Bush Soundscape Tbn. 2 p Bush Soundscape B. Tbn. p Bush Soundscape Euph. p Bush Soundscape Tba. p
S. Bs.
Timp. mp 3
Shaker ring with rice - roll around gently, ensure continuous sound M./Ax. 1 (Mar.) mp Vibraphone M./Ax. 2 (Vib.) mf With pedal depressed always Bush Soundscape Perc. 1 p Bush Soundscape Perc. 2 p 24 180 181 182 183 184 185 186 187 188 189 190 191
Picc.
Fl. 1
Fl. 2
3 3 3 3 6 Ob. Bsn.
Eb Cl. 3 3 3 3 6 Cl. 1
Cl. 2
Cl. 3
B. Cl. with intensity Sop. Sax. (A. Sax. 1) mf f 3 3 mf growl 3 f 3 6 ff
A. Sax. 2
T. Sax. f Bari. Sax.
Pno. Tpt. 1
Tpt. 2
Tpt. 3
Hn. 1 2
Hn. 3 4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
S. Bs.
Timp. 3 3
M./Ax. 1 (Mar.) M./Ax. 2 (Vib.)
Kit Perc. 1 p Tambourine Perc. 2 p P Sassy with much expression A little faster q=96 poco accel. 195 196 197 198 199 200 25
Picc.
Fl. 1
Fl. 2
Ob.
Bari. Sax. Bsn.
Eb Cl. with wide vibrato tutti Cl. 1 f with wide vibrato Cl. 2 f with wide vibrato Cl. 3 f
Bari. Sax. B. Cl. with wide vibrato Alto Saxophone Sop. Sax. (A. Sax. 1) f p Play with wide vibrato A. Sax. 2 f with wide vibrato T. Sax. p f Solo - grunt! ghost growl Bari. Sax. f
Pno. ff ff ff f ff P Sassy with much expression poco accel. A little faster q=96 Tpt. 1
Tpt. 2
Tpt. 3
Hn. 1 2
Hn. 3 4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
Pizz. Pizz. arco Pizz. arco S. Bs. ff
Timp.
M./Ax. 1 (Mar.) Motor on: slow M./Ax. 2 (Vib.) Pedal as necessary mf mf ff Toms Ride Perc. 1 (Kit) f mp p mf Perc. 2 (Tamb.) f p f p f p f p 26 202 203 204 205 Q 207 208 209 210 211 212
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl. 3 f 3 3 3 Cl. 1 f f 3 3 3 3
Cl. 2 f f Cl. 3 f f B. Cl. A. Sax. 1 f f A. Sax. 2 f f T. Sax. f f Bari. Sax.
Pno. ff ff Q Tpt. 1
Tpt. 2
Tpt. 3 Snap Pat Body Percussion Clap chest Hn. 1 2 Snap Pat Body Percussion Clap chest Hn. 3 4 Snap Pat Body Percussion Clap chest Tbn. 1 Snap Pat Body Percussion Clap chest Tbn. 2 Clap Body Percussion Pat thigh Vocalise Snap B. Tbn. Stamp tshh - a! tshh - a! Clap Body Percussion Pat thigh Vocalise Snap Euph. Stamp tshh - a! tshh - a! Clap Body Percussion Pat thigh Vocalise Snap Tba. Stamp tshh - a! tshh - a! Pizz. arco Pizz. arco S. Bs.
Clap Body Percussion Pat thigh Vocalise Snap Timp. Stamp tshh - a! tshh - a! Clap Body Percussion Pat thigh Vocalise Snap M./Ax. 1 (Mar.) Stamp tshh - a! tshh - a! M./Ax. 2 (Vib.) ff ff Perc. 1 (Kit) mp f mf Perc. 2 (Tamb.) f p f p f mp mf V Carnevale: joyously =144 R accel. 214 215 216 217 218 219 220 221 S q 27 Picc. mf f mf ff Fl. 1 mf f mf ff Fl. 2 mf f mf ff
Ob. mf f mf ff Bsn. mf ff f no. vib. Eb Cl. mp mf f mf ff no. vib. Cl. 1 mp mf f mf ff no. vib. Cl. 2 mp mf f mf ff no. vib. Cl. 3 mp mf f Play mf ff Bari. Sax. B. Cl. mf ff no. vib. A. Sax. 1 mp mf f mf ff no. vib. A. Sax. 2 mp mf f mf ff T. Sax. f ff Bari. Sax. f ff Pno. Gourd Maracas f ff ff ff accel. S V Carnevale: joyously q=144 R Harmon mute - stem in Tpt. 1 mf f mf f ff remove mute Harmon mute - stem in Tpt. 2 mf f mf f mf ff remove mute Harmon mute - stem in Tpt. 3 mf f mf f mf ff remove mute Horn Hn. 1 2 mf ff Horn Hn. 3 4 mf ff Trombone Tbn. 1 mf ff Trombone Tbn. 2 mf ff Trombone B. Tbn. mf cres. ff Euphonium Euph. mf ff Tuba Tba. mf ff Pizz. Pizz. Pizz. arco arco arco S. Bs. ff ff ff mf ff Roto-toms Timp. f Claves Claves M./Ax. 1 (Mar.) f Triangle M./Ax. 2 (Vib.) ff ff ff ff Large Cowbell Perc. 1 (Kit) f p f Temple Blocks Perc. 2 (Tamb.) f p f p f p ff 28 224 225 226 227 228 229 230 231 232
Picc. Fl. 1 mp Fl. 2 mp Ob. mp
Bsn.
Klezmer-style Eb Cl. mp Klezmer-style Cl. 1 mp Klezmer-style Cl. 2 mp Klezmer-style Cl. 3 mp B. Cl.
A. Sax. 1
A. Sax. 2
T. Sax.
Bari. Sax.
G.M. mp Tpt. 1
Tpt. 2
Tpt. 3
Hn. 1 2
Hn. 3 4
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tba.
S. Bs. mp
Timp. (Roto-t.) mp
M./Ax. 1 (Clv.) mp Triangle M./Ax. 2 (Tri.) mp (4) Perc. 1 (Kit) p
Perc. 2 (T. Bl.) 233 234 235 236 237 T Driving q=160 240 241 29 poco accel. Picc. mf Fl. 1 mf mf Fl. 2 mf mf Ob. mf mf
Bsn.
Eb Cl. mf mf Cl. 1 mf mf Cl. 2 mf mf Cl. 3 mf mf B. Cl.
Klezmer-style A. Sax. 1 mf Klezmer-style A. Sax. 2 mf Klezmer-style T. Sax. mf Bari. Sax.
G.M. mf
poco accel. T Driving q=160 Tpt. 1
Tpt. 2
Tpt. 3
Hn. 1 2 p mf p Hn. 3 4 p mf p Tbn. 1 p mf p Tbn. 2 p mf p
B. Tbn.
Euph.
Tba.
S. Bs. mf mp Vibraslap Timp. (Roto-t.) mf mp
M./Ax. 1 (Clv.) mf
M./Ax. 2 (Tri.) mf Perc. 1 (Kit) mf Temple Blocks Perc. 2 (T. Bl.) mf 30 242 243 244 245 246 247 248 Picc. mf Fl. 1 mf Fl. 2 mf Ob. mf
Bsn.
Eb Cl. mf
Cl. 1 mf Cl. 2 mf Cl. 3 mf B. Cl.
A. Sax. 1 mf A. Sax. 2 mf T. Sax. mf Bari. Sax.
G.M. Tpt. 1
Tpt. 2
Tpt. 3 Hn. 1 2 mf 3 Hn. 3 4 mf 3 Tbn. 1 mf 3 Tbn. 2 mf 3
B. Tbn.
Euph.
Tba.
S. Bs. Timp. (Roto-t.)
M./Ax. 1 (Clv.)
M./Ax. 2 (Tri.)
Perc. 1 (Kit) 3 3 Perc. 2 (T. Bl.) 249 U 251 252 253 254 255 31 Picc. mf Fl. 1 mf Fl. 2 mf Ob. mf Bsn. mf
Eb Cl. mf Cl. 1 mf Cl. 2 mf Cl. 3 mf
B. Cl. mf A. Sax. 1 mf A. Sax. 2 mf T. Sax. mf Bari. Sax. mf G.M. f U Tpt. 1 mp mf mf
Tpt. 2 mp mf mf
Tpt. 3 mp mf mf Hn. 1 2 mf mf Hn. 3 4 mf mf Tbn. 1 mf mf Tbn. 2 mf mf
B. Tbn. mf Euph. mp mf mf
Tba. mf
S. Bs. mf Timp. (Roto-t.) mf
M./Ax. 1 (Clv.) f M./Ax. 2 (Tri.) f
Perc. 1 (Kit) 3 3 Perc. 2 (T. Bl.) f 256 257poco accel. 258 259 260 261 V Woo Hoo! q=172 32 Picc. f Fl. 1 f ff Fl. 2 f ff Ob. f ff Bsn. f Eb Cl. f 5 5 Cl. 1 f
5 Cl. 2 f Cl. 3 f f 5 6 3 3 B. Cl. f 5 A. Sax. 1 f A. Sax. 2 f T. Sax. f 3 3 3 Bari. Sax. f G.M. f poco accel. V Woo Hoo! q=172 Tpt. 1 f Tpt. 2 f Tpt. 3 f
Hn. 1 2 f Hn. 3 4 f Tbn. 1 f Tbn. 2 f 3 3 B. Tbn. f Euph. f 3 3 Tba. f 3 3 S. Bs. f Timpani Timp. (Roto-t.) f fp mf M./Ax. 1 (Clv.) f Mounted Castanets M./Ax. 2 (Tri.) ff mp f
Ride Perc. 1 (Kit) f Perc. 2 (T. Bl.) fp f 264 265 266 267 268 269 270 33 Picc. Fl. 1 Fl. 2
Ob. Bsn. Eb Cl. Cl. 1 Cl. 2 Cl. 3 B. Cl. A. Sax. 1
A. Sax. 2
T. Sax. Bari. Sax.
G.M. Tpt. 1 Tpt. 2
Tpt. 3 Hn. 1 2 Hn. 3 4 Tbn. 1 f Tbn. 2 f
B. Tbn. f Euph. f
Tba. f S. Bs. f
Timp. f
Xylophone M./Ax. 1 (Xyl.) f M./Ax. 2 (Cast.) (4) f
Perc. 1 (Kit) Perc. 2 (T. Bl.) fp f 271 272 273 274 275 276 277 34 Picc. Fl. 1 Fl. 2
Ob. Bsn. Eb Cl. Cl. 1 Cl. 2 Cl. 3 B. Cl. A. Sax. 1 A. Sax. 2
T. Sax. Bari. Sax. G.M. Piano
Tpt. 1 3 Tpt. 2 3 Tpt. 3
Hn. 1 2 3 Hn. 3 4 Tbn. 1 3 Tbn. 2 3
3 B. Tbn. Euph. 3
3 Tba. S. Bs.
Timp.
gliss. M./Ax. 1 (Xyl.) gliss. Glockenspiel M./Ax. 2 (Cast.) Crash Perc. 1 (Kit) Large Tam Tam Perc. 2 (T. Bl.) W Ascension: singingly q=88 280 281 282 35 Picc. Fl. 1 Fl. 2
Ob.
Bsn.
Eb Cl.
Cl. 1 mp Cl. 2
Cl. 3 ff mp pp
B. Cl. p mp A. Sax. 1 ff mp with gentle vibrato A. Sax. 2 ff mp with gentle vibrato T. Sax. ff mp with gentle vibrato Bari. Sax. 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Pno. ff W Ascension: singingly q=88 Tpt. 1 ff
Tpt. 2 ff
Tpt. 3 ff Hn. 1 2 ff mp pp Hn. 3 4 ff Tbn. 1 ff mp pp Tbn. 2 ff mp pp
B. Tbn. ff Euph. ff p mp Tba. ff S. Bs. ff
l.v. Timp. ff
Vibraphone Motor on, slow M./Ax. 1 (Xyl.) ff ff Pedal as necessary
M./Ax. 2 (Glock.) l.v. Perc. 1 (Kit) ff Perc. 2 l.v. (T. Tam.) fff 36 283 284 285 286
Picc. Fl. 1 mf f Fl. 2 mf f
Ob. mp mf Bsn. mp mf
Eb Cl. mf Cl. 1 mf Cl. 2 mf
Cl. 3 mp mf B. Cl. pp mf
A. Sax. 1 p
A. Sax. 2 p T. Sax. p Bari. Sax. p mf 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Pno. Tpt. 1
Tpt. 2
Tpt. 3
Hn. 1 2
Hn. 3 4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. p mf
Tba.
S. Bs.
Timp.
M./Ax. 1 (Vib.) Glockenspiel M./Ax. 2 (Glock.) mf 3 3 3 3 3 3 3 3 3 3 3 3
Perc. 1 (Kit)
Perc. 2 (T. Tam.) 287 288 289 X 37
Picc. mf p mf p Fl. 1 Fl. 2
Ob. Bsn.
Eb Cl. Cl. 1 Cl. 2
Cl. 3
B. Cl.
no vib. A. Sax. 1 mf no vib. A. Sax. 2 mf no vib. T. Sax. mf Bari. Sax. 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Pno. X Tpt. 1
Tpt. 2
Tpt. 3
Hn. 1 2
Hn. 3 4
Tbn. 1 mf
Tbn. 2 mf
B. Tbn. mf Euph.
Tba. mf
S. Bs.
Timp.
M./Ax. 1 (Vib.) M./Ax. 2 (Glock.) 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Perc. 1 (Kit)
Perc. 2 (T. Tam.) 38 291 292 293 294
Picc. mf p mf p Fl. 1 Fl. 2 Ob. Bsn.
Eb Cl. Cl. 1 Cl. 2 Cl. 3 B. Cl.
A. Sax. 1 A. Sax. 2 T. Sax. Bari. Sax. 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Pno. Tpt. 1
Tpt. 2
Tpt. 3
Hn. 1 2
Hn. 3 4 Tbn. 1 3 Tbn. 2 3 B. Tbn. 3 Euph.
Tba. 3
S. Bs.
Timp. M./Ax. 1 (Vib.) M./Ax. 2 (Glock.) 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Perc. 1 (Kit)
Perc. 2 (T. Tam.) 295 296 297 298 39
Picc. mf p f p Fl. 1 Fl. 2 Ob.
Bsn.
Eb Cl. Cl. 1 Cl. 2 Cl. 3
B. Cl.
A. Sax. 1 A. Sax. 2 T. Sax.
Bari. Sax. 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Pno. Tpt. 1
Tpt. 2
Tpt. 3
Hn. 1 2 f Hn. 3 4 f Tbn. 1 f
Tbn. 2 f
B. Tbn. f Euph. f
Tba. f arco S. Bs. f
Timp. mp f M./Ax. 1 (Vib.) M./Ax. 2 (Glock.) 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Sus. Cymbal l.v. Perc. 1 (Kit) mp f
Perc. 2 (T. Tam.) 40 299 300 301 302
Picc. f p f p Fl. 1 Fl. 2 Ob. Bsn.
Eb Cl. Cl. 1 Cl. 2 Cl. 3 B. Cl.
A. Sax. 1 A. Sax. 2 T. Sax. Bari. Sax. 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Pno. Tpt. 1
Tpt. 2
Tpt. 3
3 Hn. 1 2 3 3 Hn. 3 4 Tbn. 1 3 ff 3 Tbn. 2 3
3 B. Tbn. Euph. 3
3 Tba. 3 S. Bs.
3 Timp. M./Ax. 1 (Vib.) M./Ax. 2 (Glock.) 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Perc. 1 (Kit)
Perc. 2 (T. Tam.) rit. 303 Y 306 307 41 Picc. f 6 mf Fl. 1 Fl. 2
6 Ob. 7 mf 5 Bsn. 3 5 mp
6 5 5 6 5 Eb Cl. 5 5 Cl. 1 5 6 6 6 6 Cl. 2 6 6 6 6 6 Cl. 3 6 5 mf B. Cl. 3 mp A. Sax. 1 3 7 6 mp A. Sax. 2 mp 5 T. Sax. 7 6 Bari. Sax. 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 Pno. Y rit. Tpt. 1
Tpt. 2
Tpt. 3 Hn. 1 2 3 ff Hn. 3 4 ff Tbn. 1 3 3 f Tbn. 2 3 3 B. Tbn. Euph. 3 3 Tba. S. Bs.
Timp. f M./Ax. 1 (Vib.) M./Ax. 2 (Glock.) 3 3 3 3 3 3 3 3 3 3 3 3 3 3
Perc. 1 (Kit) mp Perc. 2 (T. Tam.) 42 Z "..the echo of myself and my own body, ringing." q=60 313 314 315 316 317 rit. Picc. p 2 players only Solo Fl. 1 mf pp 2 players only Solo Fl. 2 mp stagger breathing pp
Ob. pp
Bsn. pp
Eb Cl. pp Cl. 1 mp stagger breathing pp Solo Cl. 2 pp mp pp Cl. 3 mp stagger breathing pp
B. Cl. pp
A. Sax. 1 pp
A. Sax. 2 pp T. Sax. pp
Bari. Sax. pp Pno.
Z "..the echo of myself and my own body, ringing." q=60 rit. Tpt. 1
Tpt. 2
Tpt. 3
Hn. 1 2 p Hn. 3 4 p Tbn. 1 mp stagger breathe with Tbn 2 pp Tbn. 2 mp stagger breathe with Tbn 1 pp
B. Tbn. pp Euph. pp
Tba. pp
Pizz. S. Bs. pp mp p
l.v. l.v. l.v. l.v. Timp. pp p M./Ax. 1 (Vib.) mp Hold pedal until sound dissapates Ocean Drum/Large Tambour - upside down with 15-20 large lima beans inside. M./Ax. 2 (Glock.) mf Ocean Drum/Large Tambour - upside down with 15-20 large lima beans inside. Perc. 1 (Kit) mf ff l.v. l.v. Perc. 2 (T. Tam.) p pp ppp