A WIND BAND TRANSCRIPTION

OF JAMES REESE EUROPE’S

“THE CLEF CLUB MARCH”

by

JEREMY STOVALL

KENNETH B. OZZELLO, COMMITTEE CHAIR RANDALL O. COLEMAN JEREMY S. CRAWFORD LINDA P. CUMMINS MARVIN E. LATIMER JR. THOMAS S. ROBINSON

A DOCUMENT

Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Department of Music in the Graduate School of The University of Alabama

TUSCALOOSA, ALABAMA

2018 Copyright Jeremy Stovall 2018 ALL RIGHTS RESERVED ABSTRACT

James Reese Europe was an accomplished musician, composer, conductor, and bandleader. A key figure in the transition from ragtime to jazz, Europe was an advocate of

African American music and musicians, and he helped them gain acceptance in the United States and abroad. After his untimely death in 1919, the result of being stabbed by one of his drummers,

Europe’s fame unfortunately turned to obscurity. He achieved much in his short life and was a significant influence on American music at an important time in the nation’s history.

With this document and transcription, I hope to bring James Reese Europe’s music and his influence some of the attention it deserves. The components of the document include a biographical sketch of the composer, details of the original composition and the transcription process, suitable applications for the piece, and a score of the wind band transcription of “The

Clef Club March.”

!ii DEDICATION

For my wife, Noelle, and our daughter Audrey, who are my constant source of joy. Thank you for your patience, encouragement, and endless support during this process. I can never express how much you both mean to me. Nothing I’ve ever done has given me more joy than being a husband and a father. I love you both!

!iii ACKNOWLEDGEMENTS

I would like to express my gratitude to the outstanding faculty members at the University of Alabama School of Music who made up my committee, including my major professor, Dr.

Kenneth Ozzello, for their guidance throughout the process of this degree. Also to the faculty of the David L. Walters Department of Music at Jacksonville State University for their support and encouragement.

Thank you to Mr. Patrick Roszell for his advice and expertise in the transcription and editing process of “The Clef Club March.” Also to Mrs. Susan Dean, Jacksonville State

University Instructor of English, and Dr. Steve Whitton, Jacksonville State University Faculty

Emeritus, for their help editing this document.

Special thanks to the New York Public Library’s Schomburg Center for Research in

Black Culture for access to the manuscripts and archives of James Reese Europe. This unique collection provided much inspiration for this project.

Three years, 150 trips to Tuscaloosa, 750 hours in a car, and 43,500 miles ago, Taylor

Cash and I began the pursuit of this degree. I am forever grateful for his friendship.

And finally, to the best support system I could ever ask for—Mom and Bud, Dad and

Vicki, and Paul and Debbie. Thank you for your constant encouragement.

!iv CONTENTS

ABSTRACT………………………………………………………………………………………ii

DEDICATION……………………………………………………………………………………iii

ACKNOWLEDGEMENTS………………………………………………………………………iv

LIST OF TABLES………………………………………………………………………..………vi

LIST OF ILLUSTRATIONS…………………………………………………………………….vii

CHAPTER 1. PROFILE OF JAMES REESE EUROPE…………………………………..…..…1 a. Struggling Young Instrumentalist and Songwriter………………………………………..….…2 b. Theatre Performer and Musical Director……………………………..………………….……..3 c. Dance Orchestra Leader and Organizer of the Clef Club…………………..…………………..3 d. Association with Vernon and Irene Castle………………………………..……………….……6 e. U.S. Military Bandmaster………………………………………………………………………8 f. Death……………………………………………………………………………………..…….18

CHAPTER 2. ORIGINAL COMPOSITION…………………….…………………………..…..21

CHAPTER 3. TRANSCRIPTION PROCESS………………………………….……………….27

CHAPTER 4. APPLICATION……………………………….………………….……………….34

CHAPTER 5. CONCLUSION…………………..………………………………………………37

REFERENCES…………………………………………………………………..………………39

APPENDIX………………………………………………………………………………..…..…42

!v LIST OF TABLES

1. Chidester’s Comparative Instrumentation of American Bands (1891-1946)…………………29

!vi LIST OF ILLUSTRATIONS

1. Form of “The Clef Club March” by James Reese Europe………………………………….…24

!vii CHAPTER 1

PROFILE OF JAMES REESE EUROPE

James Reese Europe was an accomplished conductor, bandleader, and composer during the early twentieth century. An influential figure in the transition of ragtime to jazz, Europe was a champion of African American musicians and composers who helped them gain acceptance in the United States. After the composer’s untimely death, his fame unfortunately turned to obscurity. He achieved much in his short life, and he was a significant influence on American music at an important time in the nation’s history. James Reese Europe’s career can be divided into roughly five periods: 1) struggling young instrumentalist and songwriter; 2) theatre performer and musical director; 3) dance orchestra leader and organizer of the Clef Club; 4) nationally-known conductor and composer in association with the popular dance team of Vernon and Irene Castle; and 5) U.S. military bandmaster.1

James Reese Europe was born on February 22, 1880, in Mobile, Alabama. His father

Henry, who was born a slave, studied law at Howard University and worked in the Post Office.

His mother Lorraine was the freeborn daughter of one of the earliest and most prominent African

American members of the Episcopal Church of Mobile.2 Lorraine played the piano and read music well enough to teach her children their first music lessons. Henry was a self-taught

1 Reid Badger and Rick Benjamin, The Music of James Reese Europe: Complete Published Works (New York: Edward B. Marks Music Company, 2012), vi. 2 Reid Badger, A Life in Ragtime (New York: Oxford University Press, 1995), 10.

!1 performer on several instruments and adopted a more improvisational approach to music than his wife did. Before the family moved away from Mobile, James had already begun to demonstrate his musical abilities on the piano, as well as improvising on the fiddle and banjo. This would prove to be a perfect combination for James’ future path in music.

The Europe family moved to Washington, D.C., in 1889 to their first residence, 308 B

Street S.E., in the section of the city that traditionally had the greatest concentration of black property owners.3 In 1891, John Philip Sousa, the celebrated leader of the United States Marine

Band, moved with his family into the house at 318 B Street S.E., a few doors away from the

Europe’s. Such an event could hardly have escaped the notice of James Reese Europe’s musical family.4 The Marine Band regularly took part in important events in the the African American community in Washington, D.C., and often provided music lessons to children. James and his sister Mary received instruction on the piano and violin from Enrico Hurlei, the assistant director of the band. It is entirely likely that this early training provided the foundation for James Reese

Europe’s later successes as a composer of marches and as a leader of a military band during

World War I.5

Struggling Young Instrumentalist and Songwriter

After the sudden death of Henry Europe in 1899, James’ brother John moved to New

York to pursue a music career. New York City was considered the center for African American professional musicians and performers. James joined him in late 1902 or early 1903. He spent

3 Ibid., 18.

4 Ibid., 20. 5 Ibid.

!2 several weeks auditioning on violin in various cafes and saloons before realizing that the concert style of the violin was not in fashion at that time. He then began to find regular employment as a professional musician playing the mandolin and piano.

Theatre Performer and Musical Director

In 1904, the most exciting area of black music both artistically and in terms of popular acceptance and acclaim, was the musical stage.6 In the fall of that year, James Reese Europe was asked at the last minute to direct the orchestra and chorus for a musical comedy called A Trip to

Africa. This began his career as a leading figure in black musical theatre, which would occupy him for the next six years. One of his first theatre works to achieve success was a military comedy called The Shoo-fly Regiment, which capitalized on the popularity of the Spanish-

American War.7 James Reese Europe’s years in musical theatre were valuable for him musically, professionally, and personally. He saw it as his duty to reveal to the world “the musical proficiency of the African race.”8 During this time, he developed his conducting and composing skills and became involved with a wide variety of African American talent.

Dance Orchestra Leader and Organizer of the Clef Club

James Reese Europe was deeply engaged in community affairs and the political struggle for civil rights. Prior to 1910, African Americans were excluded from the local musician unions.

6 Ibid., 28.

7 Richard Slotkin, Lost Battalions: The Great War and the Crisis of American Nationality (New York: Henry Holt and Company, 2005), 45. 8 Geoffrey C. Ward and Ken Burns, Jazz: A History of America’s Music (New York: Alfred A. Knopf, 2000), 57.

!3 They had no central place for potential employers to contact them or for them to gather while awaiting job opportunities.9 Europe helped organize the Clef Club, a society for African

Americans in the music industry. This organization was officially incorporated on June 21, 1910, the Preamble to the organization’s charter states:

We, the members of said organization, have established, organized, and incorporated the Clef Club of the City of New York, in order to inculcate the science of vocal and instrumental music, technique, and execution of vocal and instrumental music, and to promote good fellowship and social intercourse.10

The Clef Club was also a popular entertainment venue and society for African American musicians in the neighborhood of Harlem. For entertainment in the club, James Reese Europe created the first all African American orchestra in the country called the Clef Club Orchestra.

This large orchestra consisted of around 125 musicians on a wide variety of instruments. Outside of the standard orchestral string and wind sections, the Clef Club Orchestra also included banjos, mandolins, guitars, and ukuleles. To publicize the Clef Club and the orchestra, James Reese

Europe organized their first major performance on May 27, 1910, at Harlem’s Manhattan Casino.

On May 2, 1912, the orchestra made history by playing a concert at Carnegie Hall to benefit the Colored Music Settlement School in New York City. A concert at one of America’s most prestigious concert halls announced the arrival of African American music and musicians in the national arts scene and set a precedent for future generations.11 To James Reese Europe, this event represented a step forward for the acceptance of African American culture through music.

He programmed a historic first “Concert of Negro Music,” by black American singers and

9 Badger, A Life in Ragtime, 53.

10 Ibid., 53. 11 David Gilbert, The Product of Our Souls: Ragtime, Race, and the Birth of the Manhattan Musical Marketplace (Chapel Hill:The University of North Carolina Press, 2015), 178.

!4 instrumentalists. In addition to popular songs, marches, and ragtime, the program also featured concert pieces, choral works, waltzes, and tangos.

The Carnegie Hall concert sold out, and hundreds of people stood in the aisles and in the back of the hall. David Mannes, concertmaster of the New York Symphony Orchestra, stated,

“The hall was packed from floor to the roof, thousands being turned away for the lack of even standing room.”12 The concert was a tremendous success, and it was reported that the receipts for the night netted close to five thousand dollars, an impressive sum of money for that time.

Mannes described James Reese Europe as, “An amazingly inspiring conductor. Of a statuesquely powerful build, he moved with simple and modest grace, always dominating this strange assemblage before him with quiet control.”13

The New York Evening-Journal said that the Clef Club Orchestra “has given us the only music of our own that is American-national, original, and real.”14 James Reese Europe added,

“The negro’s songs are the expression of the hopes and joys and fears of his race; These songs are the only folk music America possesses, and folk music being the basis of so much that is most beautiful in the world, there is indeed hope for the art product of our race.”15 The response could not have been more enthusiastic from both black and white audience members. In this significant moment, they sat side by side, displaying music’s power to unite all people.

12 Stephen L. Harris, Harlem’s Hell Fighters (Washington, D.C.: Brassey’s, Inc., 2003), 6. 13 Badger, A Life in Ragtime, 67.

14 Ward and Burns, Jazz: A History of America’s Music, 58. 15 Judith Tick and Paul Beaudoin, Music in the USA: A Documentary Companion (New York: Oxford University Press, 2008), 377.

!5 The 1912 Carnegie Hall concert was the crowning achievement of James Reese Europe’s

Clef Club Orchestra years, and elevated his reputation as a conductor and composer. The Clef

Club Orchestra returned to Carnegie Hall for performances on February 12, 1913, and March 11,

1914. Following the 1914 concert, the New York Evening Post described James Reese Europe as

“one of the most remarkable of men, not only of his race, but in the music world of this country.”16 He was launched into the spotlight as a leading spokesperson and promoter of black music, and became more involved in community affairs and the struggle for civil rights.17 Slotkin states that James Reese Europe used his orchestras as devices to wedge open a segregated culture and introduce audiences to black music and musicians.18 The Carnegie Hall concerts were significant events in demonstrating the power of music in breaking down racial barriers. They also helped change the perception and long-standing opinions about African American musicians and led to more employment opportunities for them in New York City.

Association with Vernon and Irene Castle

During the spring and summer of 1913, as the popularity of social dancing began to grow,

James Reese Europe and the Clef Club were asked to provide a large number of dance orchestras for society entertainments. He could hardly fill all of the jobs himself, but did not want to turn down the opportunities. His solution was to form different ensembles drawn from the Clef Club

Orchestra members. One of the ensembles that he led himself was called Europe’s Exclusive

16 Badger and Benjamin, The Music of James Reese Europe, i.

17 Gilbert, The Product of Our Souls, 182. 18 Richard Slotkin, Lost Battalions: The Great War and the Crisis of American Nationality (New York: Henry Holt and Company, 2005), 46.

!6 Society Orchestra. This group became nationally famous while accompanying theatre headliner dancers Vernon and Irene Castle.

The Castles were a husband and wife team of ballroom dancers and dance teachers who appeared on Broadway and in silent movies. They helped popularize ragtime, early jazz, and

African American music through their choreography. The music provided by James Reese

Europe inspired the Castles to develop the foxtrot, their longest lasting legacy and the basis for many other dances. James Reese Europe was the first to perform W.C. Handy’s “Memphis

Blues” publicly after it was written.19 He approached the Castles with the idea that this slower tune might serve well as a contrasting style to the faster dance numbers included in their show.

He described a dance he had learned when he was a child, a dance called the “get over sal.” The dance was a perfect match for a slower tempo, and was renamed the foxtrot. The foxtrot became the most popular dance step in America for the next fifty years.

The musical plays and revues developed by the Castles and James Reese Europe made them the leading figures in New York show business.20 Their relationship represented a progressive development in race relations in America. James Reese Europe and the “Society

Orchestra” accomplished a breakthrough for black musicians as a result of their association with the Castles. On December 29, 1913, the orchestra began a historic series of recordings of dance music for Victor Records. They recorded four titles for the prestigious record company that day and another four on February 10, 1914. It was one of the first contracts ever given by a major

19 Bill Harris, The Hellfighters of Harlem: African American Soldiers Who Fought for the Right to Fight for Their Country (New York: Carroll and Graf Publishers, 2002), 64. 20 Slotkin, Lost Battalions, 45.

!7 record company to a black musician and the first ever to a black orchestra.21 Their partnership changed the acceptance and significance of African American music and musicians in a positive manner during the early twentieth century.

U.S. Military Bandmaster

After the outbreak of World War I, Charles S. Whitman, the Governor of New York, formed the 15th Infantry Regiment (Colored) of the New York National Guard. With the help of

Colonel William Hayward, the unit began its existence in 1916. James Reese Europe enlisted on

September 18 as a private and was assigned to a machine gun company. His reasons for joining had little to do with patriotism, national preparedness, or even his fondness for march music and military drill.22 He believed that a national guard unit in Harlem could be a benefit for the

African American community in breaking down racial barriers. James Reese Europe stated,

“There has never been such an organization of Negro men that will bring together all classes of men for a common good. And our race will never amount to anything, politically or economically, in New York or anywhere else unless there are strong organizations of men who stand for something in the community.”23 This statement showed his belief that being active in community affairs could be an important cultural touchstone for influencing social climates.

James Reese Europe, being the most famous orchestra leader in the city, was soon approached to become the leader of the 15th Regimental Band. Hayward felt that James Reese

21 Badger, A Life in Ragtime, 89.

22 Ibid., 142. 23 Ibid.

!8 Europe might well be the most important person he would recruit.24 He knew he needed a man like Europe, who could build a band that would help recruit men for the regiment. James Reese

Europe had a list of demands before he would consider the bandleader position. He suggested hiring a few professional musicians to set the standard for other members of the band. These professionals would not actually be members of the band and would need to be paid outside of the regimental budget.25 Also, he wanted more than the twenty-eight players specified by Army regulations. In his opinion, the band needed to include at least forty-four to sixty musicians.26

Hayward decided to increase the numbers by making playing in the band a “special duty.” As long as the musicians were available for their regular assignments, the army didn’t care about its size.27 This allowed James Reese Europe to create his band while avoiding any possible arguments against it from military leaders.

James Reese Europe did not particularly like the brassy sound of military orchestras of the day. For a properly balanced instrumentation, he sought reed musicians. These were hard to find in the New York area, but he convinced Hayward that these musicians could be found in

Puerto Rico. Europe arrived in San Juan on May 2, 1917, to persuade musicians to join his newly formed band. The trip was a success. He recruited the most visible young players in San Juan, including members of Manuel Tizol’s municipal band, former performers with the Jolly Boys

24 Walter Dean Myers and Bill Miles, The Harlem Hellfighters: When Pride Met Courage (New York: HarperCollins Publishers, 2006), 43. 25 Harris, The Hellfighters of Harlem, 66.

26 Jeffrey T. Sammons and John T. Morrow, Jr., Harlem’s Rattlers and the Great War: The Undaunted 369th Infantry Regiment and the African American Quest for Equality (Lawrence: University Press of Kansas, 2014), 126. 27 Harris, The Hellfighters of Harlem, 67.

!9 theater group, and several “scions of illustrious musical families.”28 After a three day search,

James Reese Europe came home with thirteen of the best reed players on the island.29 With these demands met, Lieutenant Europe accepted the position of leader of the 15th Regimental Band.

However, this was not the end of Hayward’s problems. The Army would not supply the instruments and music for more than the twenty-eight members specified in their regulations.

Colonel Hayward approached Daniel G. Reid, his friend and board member of U.S. Steel, to ask for contributions to his cause. Reid wrote him a check for $10,000 to cover the extra expenses, and the 15th Regimental Band was born.

Some of Lieutenant Europe’s bandsmen were the best and best-known professional musicians in the country. Veteran army musician and experienced bugler Ila White joined and was named head of the band’s bugle corps. The band’s first big-name recruit was Chicago cornet player Frank de Broit. At the time, de Broit was considered one of the nation’s premier cornet soloists. Even more important to the band’s success was South Carolina native Francis Eugene

Mikell, who became the assistant conductor and bandmaster. Perhaps the most celebrated recruit was singer Noble Sissle. Sissle, along with jazz pianist and composer Eubie Blake, would become famous after the war for their musical-comedy writing. Their musical Shuffle Along premiered in 1921 on Broadway and helped launch the career of Josephine Baker. It was considered a milestone in African American entertainment in that it appealed to both black and white audiences and opened many doors for black entertainers in the 1920s.

28 Badger, A Life in Ragtime, 147. 29 Harris, The Hellfighters of Harlem, 68.

!10 On July 15, 1917, the 15th Infantry Regiment of the New York National Guard was mustered into active service in the U.S. Army.30 They were ordered to Camp Whitman near

Poughkeepsie, New York, for field training. Less than five weeks later, the Regimental Band was sent to Camp Dix in Wrightstown, New Jersey, to accompany the 3rd Battalion for guard duty.

While at Camp Dix, Lieutenant Europe and his band were able to practice and perform concerts almost daily. The band’s reputation began to spread, and they soon began receiving invitations to perform outside the camp.

A decision was made to send the 15th New York Infantry to Camp Wadsworth in

Spartanburg, South Carolina. They arrived on October 10, 1917, to an unwelcoming local population. Colonel Hayward assured community officials that his men would not challenge local customs nor react violently to insults they would likely receive.31 Hayward encouraged the troops, stating that they had a great opportunity “to win from the whole world respect for the colored race, with an advance in the elimination of existing prejudices to follow” if they refused to retaliate against the prejudice and brutality from the citizens of Spartanburg.32 However, after several racially charged incidents, it was clear that New York’s African American infantry could not be trained at home. On October 24, 1917, the 15th Infantry Regiment left Camp Wadsworth with plans to travel to France to finish their training. On December 13, 1917, the ocean transport

Pocahontas left Hoboken, New Jersey, carrying the first African American combat troops from

America to France.

30 Badger, A Life in Ragtime, 153.

31 Ibid., 155. 32 Ibid., 156.

!11 On January 1, 1918, the first African American combat unit landed in France and were greeted by French soldiers. Upon their arrival, Colonel Hayward ordered Lieutenant Europe to play the French national anthem, the “Marseillaise.” To the surprise of the American soldiers, the

French soldiers did not immediately recognize their own national anthem. Suddenly “as the band had played eight or ten bars there came over their faces an astonished look, quickly alert snap- into-it-attention and salute by every French soldier and sailor present.”33 The sounds of African

American music had not made its way to France yet, and the French were confused at first by the rhythmic arrangement by the 15th Regimental Band. The band, later renamed the 369th

Regiment Band, would soon become one of the most famous military bands throughout the continent of Europe.

Not long after James Reese Europe’s band landed in France, Army leaders saw that their brand of music would be good for morale. Their ragtime style provided a “feeling of home” for bored and battle-weary soldiers. One of Lieutenant Europe’s most popular tunes was written during his time in France, at the request of an officer who wanted a song about missing home. In

“Everything Reminds Me Of You,” he sang:

In the blue of the skies, I see the blue of your eyes, In the thrilling song of the bird, Your voice is heard, It thrills me, it stills me, With love anguish fills me, I find the white fleur-de-lis An anthem of your purity, As the bees kiss the vine, I feel your lips touching mine, The breath of the rose

33 Ibid., 163.

!12 Your perfumed tresses disclose… Everything reminds me of you. Everything reminds me of you.34

James Reese Europe wrote many other war songs inspired by his experiences on the front lines including, “I’ve an Observation Tower of My Own,” “Trench Trot,” and “I’ve Got the Map of

Your Heart.” These songs entertained troops and gave the listener a view of military life during the war.

While in France, the 369th band also provided entertainment for the French citizens, playing concerts for audiences that ranged from French dignitaries to village townspeople. They were sent on a goodwill mission, a thirty-seven day tour, playing for a war-weary population.35

The band took the country of France by storm and became almost singularly responsible for the international spread of ragtime and jazz during the war.36 The music of James Reese Europe’s band was orchestrated ragtime meant for marching. The players were not allowed to improvise, but it was filled with jazz-like elements, such as syncopation. The French people were captivated by the blending of military tunes infused with the “jazz” flair of syncopated rhythms. Noble

Sissle, who served as the band’s vocalist, described the French reaction to their music: “The audience could stand it no longer, the ‘jazz germ’ hit them and it seemed to find the vital spot, loosening all muscles and causing what is known in American as an ‘eagle rocking it.’”37 The band was well received everywhere they went, which gave the African

34 Peter N. Nelson, A More Unbending Battle: The Harlem Hellfighters’ Struggle for Freedom in WWI and Equality at Home (New York: Basic Civitas Books, 2009), 114. 35 Myers and Miles, The Harlem Hellfighters, 83.

36 Chad L. Williams, Torchbearers of Democracy: African American Soldiers in the World War I Era (Chapel Hill: The University of North Carolina Press, 2010), 165. 37 Ward and Burns, Jazz: A History of America’s Music, 68.

!13 American soldiers a new sense of confidence and acceptance. James Reese Europe’s band demonstrated the democratic possibilities of jazz to challenge racial, language, and national barriers.38

European citizens weren’t the only ones impressed by the 369th Regiment Band. A joint concert was planned with Europe’s band along with the British Grenadier’s Band, the band of the

French Garde Républicain, and the Royal Italian Band. After the performance, the leader of the band of the Garde Républicain asked for the score to one of the pieces Europe’s band played because the band members wanted to perform it. The French tried in vain to imitate their sound, but they could not duplicate it.39 The French bandsmen asked to examine the American’s instruments because they could not believe that such sounds could be made through regular instruments. Lieutenant Europe explained, “It’s all in the performance.”40 It was not the instruments they played, but the way they played them that made the difference.

Soon after they were integrated into the French Army, the 369th Infantry Regiment quickly realized that one problem they would not face with the French was bigotry. Unlike the experience they faced with some members of the U.S. Army, the French military showed no prejudice toward the African American regiment. James Reese Europe wrote to Fred Moore,

Editor of the New York Age, about the French:

“Their broad minds are far and free from prejudice, and you, as a great champion of our people, I am sure will be glad to know that despite their contact, despite the desperate efforts of some people, the French simply cannot be taught to comprehend that despicable

38 Williams, Torchbearers of Democracy, 166.

39 Peter J. Burkholder, Donald Jay Grout, and Claude V. Palisca, A History of Western Music. 9th ed. (New York: W.W. Norton & Company, 2014), 774. 40 Harris, The Hellfighters of Harlem, 74.

!14 thing called prejudice…”Viva la France” should be the song of every black American over here and over there.”41

James Reese Europe and his fellow soldiers found the connection with the French liberating because it immersed them in a society blind to the difference of color.42

With his assignment to the band no longer a main priority, Lieutenant Europe took command of Company I of the 3rd Battalion, his combat unit. It soon became clear that the

French intended to send the 369th to the front-line as soon as possible. James Reese Europe became the first African American officer to lead troops into combat in World War I. He was also very likely the first African American to cross no-man’s land and participate in a raid on the

German lines.43 During his second week on the front, the Germans hit his unit’s position with a poison-gas attack. Lieutenant Europe was exposed to the gas that damaged his lungs and sent him to a hospital a short distance behind the front lines.44 While in the hospital, he drafted the song, “On Patrol in No Man’s Land.” It contained a lively, nervous melody and lyrical treatment juxtaposed against a dark situation of a soldier’s experience in no-man’s land:

There’s a minnenwerfer coming, Look out! Bang! Hear that roar! There’s one more. Stand fast. There’s a Very light. Don’t gasp, or they will find you all right. Don’t start to bombing with those hand grenades, There’s a machine gun! Holy spades! Alert! Gas! Put on your mask. Adjust it correctly and hurry up fast. Drop! There’s a rocket for the Boche Barrage, Down! Hug the ground as close as you can,

41 Badger, A Life in Ragtime, 175. 42 Slotkin, Lost Battalions, 135.

43 Ibid., 180. 44 Slotkin, Lost Battalions, 186.

!15 Don’t stand! Creep and crawl. Follow me, that’s all. What do you hear, nothing near. Don’t fear, all’s clear. That’s the life of a stroll when you take patrol Out in no man’s land. Ain’t life grand, Out in no man’s land.45

This song, that so personally depicted a soldier’s experience, would become one of James Reese

Europe's most well known.

The nickname “Hell Fighters” was given to the 369th Infantry Regiment by the Germans because of their toughness and tenacity in battle. The 369th served for nearly six months on the front lines during World War I, and earned many distinguished awards, including the Croix de

Guerre, France’s highest military honor. The 369th left an impressive World War I service record that includes:

• Being the only volunteer regiment to serve during the war in France.

• Being the first regiment in U.S. history to serve as part of a foreign army.

• Being the first Allied regiment to reach the Rhine River.

• Having the longest combat service—191 days—of any American unit in World War I.

• Having the distinction of never losing a foot of ground or losing a man by capture.

• Being the first combat regiment to arrive home after the armistice that ended the war.46

At the end of the war, the 369th Infantry Regiment returned to New York and were greeted with a parade in their honor on February 17, 1919. Over one million New Yorkers turned out to witness the homecoming of American troops from the battlefields of the European front.

45 Nelson, A More Unbending Battle, 116. 46 Harris, The Hellfighters of Harlem, 221-222.

!16 The crowd cheered loudly for James Reese Europe’s band as they marched from Fifth Avenue to

Harlem. The crowd greeted the 369th Infantry Regiment with gratitude and pride for what they had done for the country. On this day, New York knew no color line.47 Black and white New

Yorkers came together in a way that they had never before experienced.48 It was a day of triumph and a moment of glory that the citizens of Harlem would remember for years to come. In a letter to Eubie Blake, James Reese Europe wrote, “As sure as God made man, I will be on top and so far on top that it will be impossible to pull me down.”49 For the moment, it seemed that he was right.

James Reese Europe had big plans for the future, including a National Negro Symphony

Orchestra, a music school in Harlem, new musicals on Broadway with all-black casts, and new ways in which jazz elements could be infused into popular music. He told an interviewer, “We won France by playing music which was ours and not a pale imitation of others, and if we are to develop in America we must develop along our own lines.”50 James Reese Europe also told the

New York Tribune that jazz was the most American form of music, and that its acceptance in the musical world was both a national triumph for American culture and proof of the cultural capacity of African Americans.51 It was important to him that jazz would be recognized as art music by music critics everywhere and that African Americans could look to themselves for value and not imitate white culture.

47 Arthur W. Little, From Harlem to the Rhine: The Story of New York’s Colored Volunteers (New York: Covici, Friedu Publishers, 1936), 361.

48 Williams, Torchbearers of Democracy, 217. 49 Harris, Harlem’s Hell Fighters, 261-262.

50 Ward and Burns, Jazz: A History of America’s Music, 70. 51 Slotkin, Lost Battalions, 404.

!17 Death

A few days after the victory parade, James Reese Europe announced that his Hellfighter’s

Band had scheduled a ten week tour of the United States. The tour would start in New York and end in Boston, where Europe and Governor Calvin Coolidge planned to place a wreath at the memorial honoring the state’s black Civil War regiment, the 54th Massachusetts Infantry.52 At the outset of the tour, the band recorded twenty-eight songs for Pathé Record Company, a historic event in jazz history. The recordings featured landmark jazz tunes like “That Moaning

Trombone” and “St. Louis Blues,” along with songs inspired by the war, such as “On Patrol in

No Man’s Land,” “All of No Man’s Land Is Ours,” and “How ‘Ya Gonna Keep ‘Em Down on the Farm? (After They’ve Seen Paree).”53

James Reese Europe’s dream of ragtime and jazz creating a musical and social revolution for African Americans came to an abrupt end, however. After the final concert of the tour at

Mechanic’s Hall in Boston on May 9, 1919, he was attacked and stabbed during an altercation by

Herbert Wright, one of his drummers. As he was being wheeled out, James Reese Europe told

Noble Sissle to have the band ready for the ceremony at the Statehouse for the 54th

Massachusetts Infantry. He said, “I am going to the hospital, and I will have my wound dressed and I will be at the Common in the morning in time to conduct the band.”54 However, James

Reese Europe’s jugular vein had been severed, and he died that night in the hospital. He was thirty-nine years old. W.C. Handy wrote, “The man who had just come through the baptism of war’s fire and steel without a mark had been stabbed by one of his own musicians…The sun was

52 Harris, Harlem’s Hell Fighters, 264.

53 Williams, Torchbearers of Democracy, 327. 54 Harris, Harlem’s Hell Fighters, 267.

!18 in the sky. The new day promised peace. But all the suns had gone down for Jim Europe, and

Harlem didn’t seem the same.”55 The country lost one of its great composers, and the most popular African American bandleader in the United States.

James Reese Europe was granted the first ever public funeral for an African American in

New York City. On May 13, 1919, thousands of mourners, black and white, turned out to see the procession pass from Harlem, down the West Side to St. Mark’s Episcopal Church.56 The band marched last in the funeral procession, musicians in black armbands, their instruments at their sides.57 There were dozens of eulogies that day, but the one the Tribune singled out by Lieutenant

Europe’s friend, Deacon Tanney Johnson, was most appropriate. He said, “I think the public ought to know that in Jim Europe, the race has lost a leader, a benefactor, and a true friend.”58

James Reese Europe was buried with full military honors at Arlington National Cemetery. In addition, he was honored by having American Legion Post 5 in Washington, D.C., bear his name.

Many newspapers wrote about James Reese Europe’s life and influence after his death.

The New York Times credited him with transforming a good military band into arguably the best in the world.59 They also stated that his death was a loss to American music and a blow to our nation’s attempt to establish itself as the Old World’s rival in the high arts.60 The New York Age said, “His death comes at a big loss to the musical world, but still a greater loss to the race of

55 Badger, A Life in Ragtime, 217.

56 Ward and Burns, Jazz: A History of America’s Music, 70.

57 Nelson, A More Unbending Battle, 255. 58 Harris, The Hellfighters of Harlem, 77.

59 Jeffrey T. Sammons and John T. Morrow, Jr., Harlem’s Rattlers and the Great War: The Undaunted 369th Infantry Regiment and the African American Quest for Equality (Lawrence: University Press of Kansas, 2014), 476. 60 Slotkin, Lost Battalions, 411.

!19 which he was proud to be a member.”61 James Reese Europe’s death was a loss to the musical community, African American community, and our nation as a whole.

61 Nelson, A More Unbending Battle, 256.

!20 CHAPTER 2

ORIGINAL COMPOSITION

James Reese Europe’s experiences as a club musician and musical theatre director influenced his decision to create a professional organization for black musicians in Harlem. This organization, formed in 1910, became known as the Clef Club. James Reese Europe was the president of the organization for several years and oversaw its greatest successes. His composition, “The Clef Club March,” became the group’s official anthem. It was published in

1910 by the F.B. Haviland Publishing Company of New York. This stirring and pride-filled march opened the historic 1912 Carnegie Hall concert by the Clef Club Orchestra, the first

African American orchestra in the United States. When James Reese Europe raised his baton to begin the concert, Carnegie Hall was “jammed to the very limit of the fire laws.”62 Perhaps for the first time at any concert in the United States, the audience was composed equally of black and white races. He began the performance with his march, a composition very much in the vein of John Philip Sousa, America’s “March King.” The march climaxed as the entire ensemble, while still playing their instruments, came in singing a refrain on the last strain. A surprised audience sprang to their feet as the march concluded and cheered wildly.63 Folklorist Natalie

Curtis-Burlin wrote years later that “New York woke up to the fact that it had something new in

62 Ibid., 66. 63 Ibid., 67.

!21 music.”64 New York had not yet become accustomed to jazz and ragtime. So when the Clef Club

Orchestra opened its concert with a march, playing it with a biting attack and an infectious rhythm, and on the finale bursting into singing, the effect can only be imagined.65

James Reese Europe augmented the traditional symphonic orchestration of the Clef Club

Orchestra by including dozens of “folk” instruments such as banjos, mandolins, guitars, and multi-string harp guitars. Alongside the standard orchestral instruments, he also included five drum kits, timpani, and fourteen upright pianos. James Reese Europe desegregated the Carnegie

Hall stage with his 125 member ensemble of black musicians, performing for a racially integrated audience. The orchestra performed a diverse program of light classical music, popular ballads, dance music, and plantation songs. James Reese Europe juxtaposed a European-style orchestra playing classical music with popular strains of ragtime, including folk instruments.

This created a unique musical experience that was designed to place African Americans at the center of debates about American national culture. The Carnegie Hall concert of 1912 was memorable because is disrupted basic assumptions that Americans had about issues of race and culture in the early twentieth century.

The form of “The Clef Club March” follows the typical quickstep march form. This form was most popular during the late nineteenth and early twentieth centuries. Quickstep march form normally contains six main sections: the Introduction, First Strain, Second Strain, Trio, Dogfight

64 Gilbert, The Product of Our Souls, 2. 65 Badger, A Life in Ragtime, 67.

!22 or Break Strain, and the Final Strain. This form is also known as the “Sousa model” because many of John Philip Sousa’s marches follow this layout.66

66 Carl Chevallard. Teaching Music Through Performing Marches, ed. by Richard Miles (Chicago: GIA Publications, 2003), 3.

!23 Illustration 1

Form of “The Clef Club March” by James Reese Europe

“THE CLEF CLUB MARCH” James Reese Europe

Introduction 1st Strain 2nd Strain Trio Dogfight/Break Strain Final Strain (m.1-4) (m.5-25) (m.26-42) (m.43-76) (m.77-92) (m.93-124)

A B C D C’

!24 “The Clef Club March” begins with a 6/8 time signature and a key signature of D major.

The Introduction is a fanfare designed to set up the rest of the piece. It is four measures long and played at a loud dynamic. From the first downbeat, D major is established as the tonic key. Like most 6/8 marches, “The Clef Club March” contains the rhythmic figure of a quarter note followed by an eighth note. To achieve the correct style, performers should rhythmically delay the eighth note slightly to deemphasize the eighth note and to accentuate the longer quarter note.

This will create a forward momentum over the barline to the next downbeat. Also, the

Introduction contains a fragment of the smooth, lyrical melody of the first theme.

The First Strain contains a dynamic shift that is softer than the Introduction. This section is marked at a mezzo-forte dynamic and should be played in a lighter style with very staccato and separated articulations. Although most marches typically emphasize the first beat of each measure, James Reese Europe emphasizes the second beat dynamically and rhythmically in several measures. This emphasis on the second beat is created by longer, accented notes, creating an agogic accent. Shifting the beat emphasis makes this march more interesting to the listener because such emphasis is not expected. The First Strain consists of a sixteen measure phrase that is repeated.

The Second Strain is the exact same length, and also contains a repeat, creating a thirty- two measure phrase. Dynamically, the Second Strain is marked at a forte dynamic. This section should be played in a more marcato, heavier style than the First Strain. Longer note values should be played louder than shorter note values. Also, a loud attack with an immediate decay in volume on longer notes will help create a bouncy, heavy downbeat style typical of quickstep marches. The shifting beat emphasis from the previous section is developed further during the

!25 Second Strain. Tonally, this section deviates from the tonic key slightly. A brief section hinting at

B flat major leads back to the tonic key of D major. The tonic key is reinforced by the ending of this section, which contains a strong cadence on beat two. The ending of the phrase almost sounds like the end of the march. However, this finality is a false impression.

After a brief two measure introduction, the march arrives at the Trio or Aria Strain. It is the most melodious and song-like section of the march. As in most quickstep marches, “The Clef

Club March” changes the key signature at the trio. The common practice of “adding a flat” at the

Trio occurs in James Reese Europe’s march. In this case, it moves from D major to G major. The trio contains a thirty-two measure phrase and is marked at a piano dynamic.

The Dogfight or Break Strain occurs after the trio. This is the loudest, most raucous section of the march. Marked at fortissimo, this section should be played in a very heavy, marcato style with short, crisp articulations. It is also characterized by a sudden dynamic contrast from fortissimo to piano, creating much intrigue for the listener. The Dogfight, or Break Strain, in “The Clef Club March” contains a shorter phrase of only sixteen measures. Tonally, this section “breaks up” the trio’s key. It flirts with the keys of E minor and G minor before returning to the dominant of the Trio’s key.

This dominant prolongation prepares us for the return of the Trio key and theme in the

Final Strain. Finality is achieved with a reprise of the Trio melody in a grandiose style. It is thirty-two measures long and marked at a fortissimo dynamic. Stylistically, this section should be played more like the Second Strain with heavy, marcato stye. The final cadence on the last beat of the last measure features a tutti reinforcement of the tonic key of G major. “The Clef Club

March” almost stereotypically fits the quicktime march form model.

!26 CHAPTER 3

TRANSCRIPTION PROCESS

Two main sources were used in the transcription process of “The Clef Club March.” The first was a piano reduction from a collection of James Reese Europe’s complete published works.67 It is not known whether the piano score is Europe’s original piano piece from which he later developed his orchestration or if his work was reduced to a piano version from his full score. It is also not known if his sketches of the work exist. The other source utilized was a recording by the Paragon Ragtime Orchestra,68 conducted by Rick Benjamin. This album was recorded in 2003 and features the music of James Reese Europe, Will Marion Cook, and members of the Clef Club. The Paragon Ragtime Orchestra specializes in recreating early musical theatre, silent film, and vintage dance music.

The first major decision concerning a wind band transcription of “The Clef Club March” involved what instrumentation to utilize. Although standards for instrumentation have been suggested numerous times by many different authorities, no common standard has ever been achieved for the wind band. One reason behind the lack of a standard instrumentation is that band music is very different from one country to another. Therefore, instrumentation differs

67 Badger and Benjamin, The Music of James Reese Europe, 2. 68 Paragon Ragtime Orchestra, “The Clef Club March,” Recorded May 2003, track 16 on Black Manhattan: Theatre and Dance Music of James Reese Europe, Will Marion Cook, and Members of the Legendary Clef Club, New World Records 80611-2. Compact disc.

!27 greatly in different parts of the world based on customs, styles, and balance preferences between various sections of the band.

This lack of standardization can be an annoyance to composers. Many publishers of wind band music provide extra parts that fit the demands of differing instrumentations in different countries. In the United States, Patrick S. Gilmore was the first to set a high standard of instrumentation for wind bands.69 His ensemble consisted of a well-balanced number of woodwind, brass, and percussion instruments. John Philip Sousa’s bands typically consisted of two-thirds woodwinds and one-third brass and percussion.70

World War I had an impact on band instrumentation. General Pershing attempted to improve the overall quality of army bands and to set a standard instrumentation for each unit.

Another influence on wind band instrumentation was the American school band movement of the

1920s. The National School Band Association specified the instrumentation of various sized school bands in the country in the 1920s. Other groups that affected the wind band’s instrumentation were the Goldman Band, led by Edwin Franko Goldman, and the University of

Illinois Band, directed by A.A. Harding. The following table shows the comparative instrumentation of some of the most famous American wind bands from 1891-1946.

69 Lawrence Chidester, International Wind-Band Instrumentation (San Antonio: Southern Music Company, 1946), 14. 70 Ibid.

!28 Table 1

Chidester’s Comparative Instrumentation of American Bands (1891-1946)71

71 Ibid.

!29 The instrumentation for this transcription was created from the comparison of the instrument listings of historic American bands and the instrument listings from several John

Philip Sousa marches. Sousa marches examined include: “El Capitan,” “King Cotton,” “Semper

Fidelis,” “The Liberty Bell,” and “The Washington Post.”72 After consideration of these sources and considering modern trends in wind band orchestration, the following instrumentation was selected for this transcription:

Piccolo Flute 1 Flute 2 Oboe Bassoon Clarinet in E flat Clarinet in B flat 1 Clarinet in B flat 2 Clarinet in B flat 3 Alto Clarinet Bass Clarinet Alto Saxophone 1 Alto Saxophone 2 Tenor Saxophone Baritone Saxophone Trumpet in B flat 1 Trumpet in B flat 2 Trumpet in B flat 3 French Horn in F 1 & 2 French Horn in F 3 & 4 Trombone 1 Trombone 2 Trombone 3 Euphonium Tuba Mallet Percussion (Bells) Snare Drum Bass Drum

72 “The Complete Marches of John Philip Sousa,” The President’s Own United States Marine Band, 2016, http://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of-John- Philip-Sousa/.

!30 Crash Cymbals

Another major concern when initially considering this orchestral march for wind band transcription was the key of the composition. Keys for orchestral pieces are usually selected for the convenience of its most important family of instruments, the string section.73 Clarinets are usually the recipients of string passages in wind band transcriptions of orchestral works. Since violins are constructed to be played at ease in sharp keys and clarinets are constructed in flat keys, a change of key is sometimes necessary. For ease of playing by wind instruments, flat keys are more common. The original key of concert D major, with the Trio in G major, makes certain passages very taxing on the clarinet and alto saxophone. Moving the key of the wind band transcription to concert B-flat major, with the Trio in E-flat major, benefits not only the clarinet and alto saxophone, but other instruments in the band. This nearby transposition positions the band in better keys without affecting the register or compass of any instrument.

Common scoring traits can also be found in many American marches. The melody often appears in the clarinet and trumpet sections, after beats in the french horn parts, and countermelodies in the trombone and euphonium parts. These scoring traits were utilized in my transcription of “The Clef Club March.”

After the Introduction, The First Strain melody is scored in the piccolo, flute, oboe, Bb clarinet, alto clarinet, alto saxophone, and the euphonium. The accompaniment part containing downbeats in the trumpets and trombones is meant to mimic the sound of the banjos, mandolins, and guitars that were included in the instrumentation of the Clef Club Orchestra. The typical

73 Philip J. Lang, Scoring for Band (New York: Mills Music, Inc, 1950), 135.

!31 afterbeat figures are assigned to the french horns and the bass line is carried by the bassoon, bass clarinet, baritone saxophone, and tuba.

The Second Strain melody remains in the same woodwind instruments as the First Strain.

The trumpet 1, trombone 1, and euphonium add in on the melody after the repeat. The bass line also remains in the same voices as the First Strain. The trumpet 2-3 and french horn parts play an accented accompaniment part that complements the accents in the melodic line.

After a brief introduction, the Trio begins with the clarinets, alto clarinet, euphonium, and bells playing the melodic line. The afterbeat figure returns in the french horn part and is joined by the alto saxophones. The bass part is thinned out to only include the bass clarinet, baritone saxophone, and tuba. However, instrumentation can be thinned out even more at the discretion of the conductor. Altering instrumentation, dynamics, and percussion parts are common practice in the performance of American marches, and should be utilized in this transcription.

The Dogfight or Break Strain is scored for full ensemble and features the upper woodwinds and high brass scored together as well as the low reeds and low brass scored together for the first eight measures. The second half of the Dogfight is scored for woodwinds only, creating a dramatic dynamic contrast. The conductor could certainly ask for one performer per part to play in the woodwind section during the second half of the Dogfight to create even more dynamic contrast if desired.

A rhythmic fanfare at the end of this section signals the Final Strain, and a return of the

Trio melody. The melody is played by the trumpets, trombone 1-2, and euphonium with an upper woodwind obbligato. The afterbeat parts are once again in the alto saxophone and french horns,

!32 with a the bass line covered by the bassoon, bass clarinet, baritone saxophone, trombone 3, and tuba.

!33 CHAPTER 4

APPLICATION

There are many avenues by which a teaching unit surrounding Europe’s story can be presented. First, James Reese Europe’s story could be presented in a music history lesson regarding African American music, ragtime and early jazz, military music, or the music of World

War I. This story might also be presented as part of Black History Month and in regards to the historical significance of efforts made by James Reese Europe to further the African American community. A historical presentation of the African American soldiers in World War I, including the Harlem Hellfighters, would be an ideal addition to an American history curriculum. Finally, performing “The Clef Club March” with a wind band as a presentation on the typical playing style, performance practices, and form of quickstep marches, would be a tangible highlight of the contributions of James Reese Europe.

James Reese Europe and his compositions could be incorporated into many different elements of music history. African American involvement in music has influenced every genre of music in the United States. Reflecting both triumph and hardship, African American music has served in shaping the nation’s identity, and influencing the lives of all Americans. Ragtime is a musical style that peaked in the late 19th and early 20th centuries. Its primary trait is a syncopated, or “ragged,” rhythm. Ragtime fell out of favor as jazz became more popular.

!34 James Reese Europe was an important figure in this transition. The music of James Reese

Europe can also be included in a unit on the music of World War I. From its first appearance in ancient times, military music has performed many important services during warfare. These services can be divided loosely into four interrelated activities: development of esprit de corps and morale; camp duties; ceremonial functions; and social and recreational activities.74 The music provided by James Reese Europe and his band was used to encourage troops and raise morale before, during, and after battle. It was also used to encourage valor, instill patriotism, and to create a devotion to duty.

The Black History Month theme for 2018 is “African Americans in Times of War.” This year also marks the 100th anniversary of the end of World War I. Honoring James Reese Europe and the Harlem Hellfighters fits perfectly with these themes. Their contributions during wartime, given the social and racial climate in America during World War I, deserve praise and commendation. Their story reminds us of the extraordinary and often underrepresented contributions made by African Americans to our country.

The story of the Harlem Hellfighters is an important piece of history for both the United

States and the world. Their story is about a struggle on two fronts, one in France and one at home. It is important to remember the cultural atmosphere and the struggle for racial equality in the United States during the early part of the twentieth century. Many things have improved, and these brave soldiers had much to do with that. They showed extraordinary valor on the battlefield and represented a social triumph for African Americans. Beyond that, they displayed courage, bravery, and patriotism for a country which often did not embrace them in return. Even after their

74 Raoul F. Camus. Military Music of the American Revolution (Chapel Hill: The University of North Carolina Press, 1976), 3.

!35 performance on the front lines, the Harlem Hellfighters returned to a country that quickly reminded them of the battle still to be fought at home. Even so, their actions earned them respect and acknowledgement and helped lay the groundwork for civil rights in America.

Beyond the historical magnitude of James Reese Europe’s story, his composition “The

Clef Club March” is a lesson in its own right. Marches are a quintessential part of American music history. They gained popularity in the late 19th and early 20th century due to prolific composers such as John Philip Sousa, Henry Fillmore, and Karl King. Marches became a staple in the wind band repertoire and their popularity spread throughout the world. “The Clef Club

March” is an almost textbook example of the quickstep march form. This composition could be used as a teaching tool to identify the different sections of a quicktime march. A better understanding of the form can benefit the performer and audience alike. As Elton Obrecht stated,

“Knowing the form enables everyone to enjoy the music all the more.” 75

It is for these reasons that “The Clef Club March” and other compositions by James

Reese Europe are worthy of inclusion in the wind band repertoire. His compositions represent an important era in the development of American music. James Reese Europe used his music as a way to break down the racial and social barriers that plagued the United States during his life. He also played a major role in the acceptance of ragtime and jazz as a truly American musical genre.

75 Carl Chevallard, Teaching Music Through Performing Marches, 13.

!36 CHAPTER 5

CONCLUSION

The story of James Reese Europe is one of courage, persistence, talent, and tragedy. Upon first hearing of this compelling figure, I was shocked to realize that many Americans, even musicians and music educators, have little-to-no knowledge of the composer beyond a line or two in the jazz section of some music history textbooks. The impact that James Reese Europe had not only on the African American music community, but American music and musicians as a whole, is grossly under-represented in our music history education.

It is easy to speculate on the potential contributions James Reese Europe might have made if he had lived longer. His whole life was before him, and the future couldn’t have possibly looked brighter.76 At the time of his death, he was one of the best known band leaders in the

United States. As a transitional figure, he was the most popular and important African American musical leader in the period between ragtime and jazz. He had already accomplished a great deal in popularizing ragtime and the beginnings of jazz music in American society. James Reese

Europe and his band transformed American music, and in the process, demonstrated the potential of white Americans to embrace African Americans as indispensable members of the nation’s democracy.77 More acceptance for black entertainers continued after his influence. The

76 Harris, The Hellfighters of Harlem, 78. 77 Williams, Torchbearers of Democracy, 329.

!37 popularity of jazz that followed his death might have never happened if it were not for James

Reese Europe laying the foundation. Throughout the 1920s, development among European classical composers was built upon the legacy of black American musicians, prompting Darius

Milhaud to cite James Reese Europe as a major influence on French composers during that time.78 It is easy to think that he could have become one of the most influential figures in

American music ever. Some believe that his fame would have risen to the same level as that of

Scott Joplin, Louis Armstrong, or Duke Ellington.79 His musical ability, drive, and ambition could have carried him further into film, recordings, radio, and television. His musical success and military service made it a possibility for a minority in American culture to be heard. James

Reese Europe was a hero and inspiration to the modern African American. He helped give

America another voice and another aesthetic it badly needed, and one that has been heard around the world.80

The story of James Reese Europe is one “for the history books,” and yet that story is hard to find in one. My hope is that all who encounter his story will realize his significance and be compelled, as I am, to tell it.

78 Richard K. Hansen, The American Wind Band: A Cultural History (Chicago: GIA Publications, 2005), 60.

79 Nelson, A More Unbending Battle, 261. 80 Badger, A Life in Ragtime, 230.

!38 REFERENCES

Badger, Reid. A Life in Ragtime: A Biography of James Reese Europe. New York: Oxford University Press, 1995.

Badger, Reid and Rick Benjamin. The Music of James Reese Europe: Complete Published Works. New York: Edward B. Marks Music Company, 2012.

Burkholder, J.Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music. 9th ed. New York: W.W. Norton & Company, 2014.

Camus, Raoul F. Military Music of the American Revolution. Chapel Hill: The University of North Carolina Press, 1976.

Chevallard, Carl. Teaching Music Through Performing Marches, Edited by Richard Miles. Chicago: GIA Publications, 2003.

Chidester, Lawrence W. International Wind-Band Instrumentation. San Antonio: Southern Music Company, 1946.

Cipolla, Frank J. and Donald Hunsberger. The Wind Band in and Around New York ca. 1830-1950. Essays presented at the 26th Biennial Conference of the College Band Directors National Association, New York, NY, February 2005.

“The Complete Marches of John Philip Sousa.” The President’s Own United States Marine Band. 2016. http://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of-John- Philip-Sousa/

Europe, James Reese. James Reese Europe with his 369th U.S. Infantry “Hellfighters” Band: The Complete Recordings. 1996. Memphis Archives MA7020, Compact disc.

Hansen, Richard K. The American Wind Band: A Cultural History. Chicago: GIA Publications, 2005.

Harris, Bill. The Hellfighters of Harlem: African American Soldiers Who Fought for the Right to Fight for Their Country. New York: Carroll and Graf Publishers, 2002.

!39 Harris, Stephen L. Harlem’s Hell Fighters. Washington, D.C.: Brassey’s, Inc., 2003. Lang, Philip J. Scoring for the Band. New York: Mills Music, Inc., 1950.

Little, Arthur W. From Harlem to the Rhine: The Story of New York’s Colored Volunteers. New York: Covici, Friede Publishers, 1936.

Myers, Walter Dean and Bill Miles. The Harlem Hellfighters: When Pride Met Courage. New York: HarperCollins Publishers, 2006.

Nelson, Peter N. A More Unbending Battle: The Harlem Hellfighters’ Struggle for Freedom in WWI and Equality at Home. New York: Basic Civitas Books, 2009.

Paragon Ragtime Orchestra. “The Clef Club March.” Recorded May 2003, Track 16 on Black Manhattan: Theatre and Dance Music of James Reese Europe, Will Marion Cook, and Members of the Legendary Clef Club. New World Records 80611-2. Compact disc.

Sammons, Jeffrey T. and John H. Morrow, Jr. Harlem’s Rattlers and the Great War: The Undaunted 369th Regiment and the African American Quest for Equality. Lawrence: University Press of Kansas, 2014.

Slotkin, Richard. Lost Battalions: The Great War and the Crisis of American Nationality. New York: Henry Holt and Company, 2005.

Sousa, John Philip. El Capitan. Public Domain: As played by “The President’s Own” United States Marine Band, 2016. http://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of- John-Philip-Sousa/El-Capitan-March/

——. King Cotton. Public Domain: As played by “The President’s Own” United States Marine Band, 2016. http://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of- John-Philip-Sousa/King-Cotton-March/

——. Semper Fidelis. Public Domain: As played by “The President’s Own” United States Marine Band, 2016. http://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of- John-Philip-Sousa/Semper-Fidelis-March/

——. The Liberty Bell. Public Domain: As played by “The President’s Own” United States Marine Band, 2016 http://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of- John-Philip-Sousa/The-Liberty-Bell-March/

!40 ——. The Washington Post. Public Domain: As played by “The President’s Own” United States Marine Band, 2016. http://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of- John-Philip-Sousa/The-Washington-Post-March/

Tick, Judith and Paul Beaudoin. Music in the USA: A Documentary Companion. New York: Oxford University Press, 2008.

Ward, Geoffrey C. and Ken Burns. Jazz: A History of America’s Music. New York: Alfred A. Knopf, 2000.

Williams, Chad L. Torchbearers of Democracy: African American Soldiers in the World War I Era. Chapel Hill: The University of North Carolina Press, 2010.

!41 APPENDIX

FULL SCORE

“THE CLEF CLUB MARCH”

JAMES REESE EUROPE

WIND BAND TRANSCRIPTION

by

JEREMY STOVALL

!42 Full Score Clef Club March James Reese Europe Arranged by Jeremy Stovall

March tempo {q. = 112} 5

Piccolo œ œ œ œ œ œ œ œ œ œ œ œ œ œ b 6 J J œ œ œ œ œ œ œ bœ Nœ >œ J J œ œ œ œ & b 8 J J J J ‰ ‰ . J J F ƒ F Flute 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ b 6 J J œ œ œ œ œ œ œ bœ Nœ >œ J J œ œ œ œ & b 8 J J J J ‰ ‰ . J J F ƒ F œ œ œ œ œ œ œ œ Flute 2 b œ œ œ œ œ œ œ œ œ œ bœ Nœ >œ œ œ œ œ œ œ œ & b 86 J J J J J J ‰ ‰ . J J J J F ƒ F Oboe b j j j >œ j j b 6 œ œ œ œ œ œ œ j ‰ ‰ . œ œ œ œ œ œ œ & 8 J J œ œ œ œ œ œ œ bœ Nœ . J J œ œ œ œ F ƒ F Bassoon ? b 6 b 8 œ. œ j ‰ ‰ . œ ‰ ‰ œ ‰ ‰ . œ. œ œ œ. bœ. œ œ œ F œ ƒ> F Clarinet in E œ œ œ œ œ œ œ œ b # 6 œ œ œ J œ œ œ œ œ œ œ nœ aœ >œ œ œ œ J œ œ œ œ & 8 J J J J J ‰ ‰ . J J J F ƒ F Clarinet in B 1 > b œ j j œ œ j 6 œ œ œ œ œ œ œ œ bœ Nœ ‰ ‰ . œ œ œ œ œ œ œ œ & 8 J J œ œ J œ œ œ J . J J œ œ J F ƒ F Clarinet in B 2 b œ j j j > œ j 6 œ œ œ œ œ œ œ œ ‰ œ ‰ . œ œ œ œ œ œ œ œ œ œ & 8 J J œ œ œ œ #œ. œ . J J J F ƒ F Clarinet in B 3 b j > j 6 œ œ œ œ œ œ œ œ œ j ‰ œ ‰ . œ œ œ œ œ œ œ œ œ œ œ & 8 J J œ œ œ. œ. œ J J J F ƒ F Alto Clarinet # 6 j j j j j . j j j j & 8 œ œ œ œ œ œ œ j ‰ œ ‰ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ aœ > œ œ œ œ F ƒ F Bass Clarinet 6 j . & 8 œ œ œ. bœ. ‰ ‰ . ‰ ‰ ‰ ‰ œ. œ. œ. œ œ œ œ œ œ F ƒ > F Alto Sax 1 œ œ œ œ >œ œ œ œ œ # 6 œ œ œ J œ œ œ œ œ œ œ nœ aœ œ œ œ J œ œ œ œ & 8 J J J J J ‰ ‰ . J J J F ƒ F Alto Sax 2 œ œ œ œ œ œ œ œ # 6 œ œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ & 8 J J J J J #œ. ‰ ‰ . J J J J F ƒ F Tenor Sax & 86 œ. œ. œ. œ j ‰ œ ‰ . œ ‰ œ ‰ œ ‰ œ ‰ œ œ. bœ. œ > F ƒ F Baritone Sax . # 6 œ œ. œ œ œ. bœ. ‰ ‰ . ‰ ‰ ‰ ‰ & 8 œ. J œ œ . œ œ œ œ > 5 MarchF tempo ƒ F {q. = 112} Trumpet in B 1 b œ j j > 6 œ œ œ œ œ œ œ œ œ œ œ bœ Nœ ‰ œ ‰ . ‰ ‰ ‰ ‰ & 8 J J J œ œ J . œ œ œ œ F ƒ F Trumpet in B 2 b 6 j > . & 8 œ. œ. œ. œ œ œ. #œ. œ ‰ œ ‰ . œ ‰ œ ‰ œ ‰ œ ‰ F ƒ F Trumpet in B 3 b 6 & 8 j ‰ œ ‰ . ‰ ‰ ‰ ‰ œ. œ. œ. œ œ œ. œ. œ > œ œ œ œ F ƒ F Horn in F 1, 2 6 . j œ . & b 8 œ. œ œ. œ œ œ. œ. œ ‰ œ ‰ . œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ. œ. œ. œ œ œ. nœ. œ > F ƒ F Horn in F 3, 4 j & b 86 œ œ ‰ œ ‰ . ‰ ‰ ‰ ‰ œ. œ. œ. œ œ. œ. œ œ œ œ œ œ œ œ œ œ œ. œ œ. bœ. œ > F ƒ F Trombone 1 œ œ œ œ œ ? b 6 . œ. œ. œ œ . . >œ . b 8 J œ bœ œ ‰ ‰ . ‰ ‰ ‰ ‰ F ƒ F Trombone 2 œ. œ. œ. ? bb 86 œ œ œ. bœ. œ ‰ œ ‰ . œ ‰ œ ‰ œ ‰ œ ‰ J > F ƒ F Trombone 3 œ ? b 6 . œ. œ. œ œ . . >œ . b 8 J œ bœ œ ‰ ‰ . œ ‰ œ ‰ œ ‰ œ ‰ F ƒ F Euphonium œ œ œ œ ? 6 œ. œ. œ. œ œ œ œ œ œ œ œ bb 8 œ œ. bœ. œ ‰ œ ‰ . J J J J J > F ƒ F Tuba ? b 6 . b 8 œ. œ. œ. j ‰ ‰ . œ ‰ ‰ œ ‰ ‰ œ œ œ. bœ. œ >œ œ œ F ƒ F Mallet Percussion b (Bells) & b 86 ∑ ∑ ∑ ∑ . ∑ ∑

Snare Drum > Percussion 1 ˙ ˙ ˙ œ œj œ œ œ œ œ œ œ œ œ œ œ œ (Snare Drum, 6 œæ. œ œæ. œ œæ. œ œ ‰ œ ‰ . œ ‰ œ ‰ œ ‰ œ ‰ Bass Drum) ã 8 ...... Bass Drum ‰ ‰ ‰ ‰ F Crash Cymbalsƒ F Percussion 2 > (Crash Cymbals) 6 ã 8 ∑ ∑ ∑ Œ. y ‰ . y ‰ y ‰ y ‰ y ‰ ƒ 1 2 3 4 F 5 6

!43 2 Clef Club March

Picc. œ > b œ œ œ œ œ œ œ #œ œ œ >œ œ b>œ. J œ. ˙. & b J J J J ‰ ‰ . J ‰ ‰ ‰ ‰

Fl. 1 œ > b œ œ œ œ œ œ œ #œ œ œ >œ œ b>œ. J œ. ˙. & b J J J J ‰ ‰ . J ‰ ‰ ‰ ‰

Fl. 2 b œ œ œ œ j j >œ. ˙. & b J J œ œ œ #œ œ œ ‰ ‰ œ. œ ‰ ‰ bœ. Nœ ‰ ‰ J > J > Ob. b j j j & b j œ œ j j ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ œ œ œ œ #œ œ œ œ. bœ. œ. ˙. > > > Bsn. ? bb œ ‰ ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ œ œ. œ bœ œ œ œ œ ˙. œ bœ. Nœ > >. > E Cl. b # œ œ œ > œ >. . & œ œ J œ œ œ bœ nœ œ ‰ ‰ œ. J ‰ ‰ bœ. J ‰ ‰ œ ˙ J J J >

B Cl. 1 b j j j j ‰ ‰ j ‰ ‰ œ ‰ ‰ & œ œ œ œ œ œ œ bœ nœ œ œ œ bœ. J œ. ˙. >. > > B Cl. 2 b j j & œ œ œ œ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ j œ bœ Nœ œ œ bœ Nœ œ œ œ œ œ œ . >. >. >. B Cl. 3 > > > b j j ‰ bœ. Nœ ‰ ‰ œ. œ ‰ ‰ bœ. Nœ ‰ ‰ œ. œ œ œ œ œ & œ œ œ œ œ J J J J

A.Cl. # j & j j j j ‰ ‰ j ‰ ‰ œ ‰ ‰ œ œ œ œ œ œ œ bœ nœ œ œ. œ bœ. œ. ˙. > > > B. Cl. ‰ ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ & œ. œ bœ. œ œ œ bœ. Nœ > > œ œ œ >œ ˙. A. Sx. 1 # œ œ œ > œ >. . & œ œ J œ œ œ bœ nœ œ ‰ ‰ œ. J ‰ ‰ bœ. J ‰ ‰ œ ˙ J J J > A. Sx. 2 # œ œ œ œ j j j j & J J œ ‰ nœ aœ ‰ ‰ œ œ ‰ ‰ nœ aœ ‰ ‰ œ œ œ œ œ œ . >. >. >. T. Sx. > > > œ ‰ œ ‰ œ ‰ bœ. Nœ ‰ ‰ œ. œ ‰ ‰ bœ. Nœ ‰ ‰ œ. œ œ œ œ œ & J J J J B. Sx. # j & œ ‰ ‰ œ ‰ bœ. Nœ ‰ ‰ j ‰ ‰ j ‰ ‰ œ œ œ. œ bœ. œ œ œ ˙. > > > B Tpt. 1 b j j j & œ ‰ œ ‰ œ œ œ bœ nœ œ ‰ ‰ œ ‰ ‰ bœ. œ ‰ ‰ œ. ˙. >œ. > J > B Tpt. 2 b & ‰ ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ j œ œ œ œ bœ Nœ œ œ bœ Nœ œ. œ œ œ œ . >. >. > B Tpt. 3 b & ‰ ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ j œ œ œ œ bœ. Nœ œ. œ bœ. Nœ œ. œ œ œ œ > > > a2 Hn. 1, 2 j j j b ‰ ‰ ‰ œ. œ ‰ ‰ œ. œ ‰ ‰ œ. œ ‰ ‰ œ. œ j œ & œ œ œ œ œ bœ. Nœ œ. œ bœ. Nœ œ. œ œ œ œ > > > a2 Hn. 3, 4 j j j & b ‰ ‰ ‰ bœ. Nœ ‰ ‰ œ. œ ‰ ‰ bœ. œ ‰ ‰ œ. œ j œ œ œ œ œ œ œ. œ œ. œ œ. œ œ. œ œ œ œ > > > Tbn. 1 œ œ œ bœ. Nœ >œ. œ b>œ. Nœ >œ. œ œ œ œ œ ? bb ‰ ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J

Tbn. 2 . >. >. ? bb œ ‰ œ ‰ œ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ œ ‰ ‰ œ. œ œ œ œ œ J J J > J Tbn. 3 > > ? b œ ‰ œ ‰ ‰ j ‰ ‰ œ. œ ‰ ‰ bœ. œ ‰ ‰ b œ bœ. Nœ J J œ œ œ ˙ > . Euph. ? œ œ œ œ œ œ > œ >œ. ˙. bb J œ œ œ #œ œ ‰ ‰ œ. J ‰ ‰ bœ. J ‰ ‰ J J J > Tuba ? bb œ ‰ ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ œ œ œ. œ bœ œ œ œ ˙. œ bœ. Nœ > >. > Mlt. Perc. b & b ∑ ∑ ∑ ∑ ∑ ∑

Perc. 1 > j > j > j > œ ‰ œ œ ‰ œ œ ‰ œæ. œ ‰ ‰ œæ. œ ‰ ‰ œæ. œ ‰ ‰ œæ. ˙æ. ã ‰ ‰ . . . . . > J > J > J > Perc. 2 > > > > > ‰ ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ ã y y y y. y y. y y. y y. T. 7 8 9 10 11 12

!44 Clef Club March 3

1. œ œ œ œ Picc. b œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ Nœ >œ. œ >œ. & b J J J J J J œ J J ‰ ‰ J ‰ ‰

œ œ œ œ Fl. 1 b œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ Nœ >œ. œ >œ. & b J J J J J J œ J J ‰ ‰ J ‰ ‰

Fl. 2 œ œ œ œ œ œ œ œ œ bœ b J J œ œ J œ œ œ œ œ œ œ œ œ >œ. œ n>œ. & b J J J J J ‰ ‰ J ‰ ‰

Ob. j j b œ œ œ œ j j j j & b œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ Nœ ‰ ‰ œ œ ‰ ‰ œ. J J œ >. J >

Bsn. ? b j b œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ j j ‰ ‰ bœ. œ ‰ ‰ œ. œ œ œ œ bœ œ > >

E Cl. œ œ œ œ b # œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ aœ >œ. œ >œ. & J J J J J J œ J J ‰ ‰ J ‰ ‰

B Cl. 1 b œ œ œ œ j j j j & œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ Nœ ‰ ‰ œ. œ ‰ ‰ œ. J J J œ J > J >

B Cl. 2 b j j œ œ œ œ œ œ œ j j j j & J J œ œ œ œ œ œ œ œ œ ‰ œ œ œ ‰ ‰ œ. œ ‰ ‰ #œ. J > > B Cl. 3 > >. b œ œ œ œ j j j bœ Nœ œ. œ #œ & œ œ œ œ œ œ œ œ œ œ œ ‰ œ ‰ ‰ J ‰ ‰ J J J œ J J A.Cl. # j j j j j œ œ œ œ j j j j ‰ ‰ ‰ ‰ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ aœ œ œ œ. œ >. > B. Cl. & ‰ ‰ ‰ ‰ ‰ ‰ ‰ j j ‰ ‰ j ‰ ‰ œ œ œ œ œ bœ œ bœ 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 nœ aœ >œ. œ >œ. & J J J J J J œ J J ‰ ‰ J ‰ ‰

A. Sx. 2 œ œ œ œ œ œ œ > > # J J œ œ œ œ œ œ œ œ œ ‰ œ œ œ ‰ ‰ œ. œ ‰ ‰ #œ. & J J J J J J J T. Sx. > j > œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ j j ‰ ‰ bœ. œ ‰ ‰ œ. & œ bœ œ

B. Sx. # j j & œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ œ bœ œ ‰ ‰ nœ ‰ ‰ œ. œ œ œ J >. œ >

B Tpt. 1 b & œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ bœ Nœ ‰ ‰ œ. œ ‰ ‰ œ. J > J >

B Tpt. 2 b j j j & œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ œ ‰ ‰ œ. œ ‰ ‰ #œ. > > B Tpt. 3 b ‰ ‰ ‰ ‰ ‰ ‰ ‰ j j ‰ ‰ j ‰ ‰ & bœ œ œ. œ #œ. œ œ œ œ œ œ œ œa2 > > Hn. 1, 2 b ‰ ‰ ‰ ‰ ‰ ‰ ‰ j j ‰ ‰ j ‰ ‰ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ. œ œ. a2 nœ > >. Hn. 3, 4 j j & b œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ bœ œ ‰ ‰ j ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ. œ nœ. > œ >. Tbn. 1 œ œ œ œ œ œ œ >. >œ. ? b ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ bœ j ‰ ‰ bœ œ ‰ ‰ b J œ J Tbn. 2 j b>œ. >œ. ? b œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ bœ œ ‰ ‰ œ ‰ ‰ b J J Tbn. 3 j b>œ. >œ. ? b œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ bœ œ ‰ ‰ œ ‰ ‰ b J J

Euph. œ œ œ œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ Nœ >œ. œ >œ. bb J J J J J J œ J J ‰ ‰ J ‰ ‰

Tuba ? b j b œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ j j ‰ ‰ bœ. œ ‰ ‰ œ. œ œ œ œ bœ œ > > Mlt. Perc. b & b ∑ ∑ ∑ ∑ ∑ ∑ > > > Perc. 1 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œj œ œj œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œæ. œ ‰ ‰ œæ. œ ‰ ‰ œæ. ã ‰ ‰ ‰ ‰ ‰ ‰ ‰ . . . J > J > J > Perc. 2 > > > ‰ ‰ ‰ ‰ ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ ã y y y y y y y y. y y. y y. 13 14 15 16 17 18

!45 4 Clef Club March 2. > œ œ. œ. n>œ œ >œ Picc. b >œ. œ œ >œ œ œ œ œ nœ œ œ. œ. œ & b J ‰ ‰ J ‰ J . œ J J J f > œ œ. œ. n>œ œ >œ Fl. 1 b >œ. œ œ >œ œ œ œ œ nœ œ œ. œ. œ & b J ‰ ‰ J ‰ J . œ J J J f Fl. 2 > œ œ œ. œ. > > b œ b>œ. Nœ œ œ . œ œ œ nœ œ Aœ. œ. œ nœ œ >œ & b J ‰ ‰ J ‰ J . J J J f Ob. > b œ j j j œ œ. n>œ œ >œ & b ‰ ‰ œ œ ‰ œ œ œ œ . œ œ œ œ. œ. . œ J J J >. > œ nœ f Bsn. ? b j ‰ ‰ ‰ ‰ . ‰ ‰ ‰ ‰ ‰ ‰ j b œ j œ. œ bœ œ œ j bœ. œ > œ bœ œ œ n>œ > œ > f > E Cl. œ > > œ. œ. œ. œ > > > b # J ‰ ‰ œ. œ ‰ œ œ œ œ . œ œ œ #œ œ œ. #œ œ œ & J J . J J J f B Cl. 1 b œ j j j œ. œ. j & J ‰ ‰ œ. œ ‰ œ œ œ œ . œ œ #œ œ œ. œ. œ #œ œ j > > œ > > >œ f B Cl. 2 b j & œ ‰ ‰ j ‰ ‰ . ‰ ‰ œ. œ. œ j œ j bœ. Nœ œ. œ œ œ. œ. #œ > œ > > f > > B Cl. 3 b œ > >. & J ‰ ‰ bœ. Nœ ‰ ‰ œ . ‰ ‰ œ. j œ j J œ œ œ. œ. œ. œ #>œ > œ f > A.Cl. # j > > > & œ ‰ ‰ j ‰ j . j œ #œ œ œ œ. œ œ œ œ œ œ œ œ #œ œ œ. œ. œ. œ. J J > > f B. Cl. . j j & j ‰ ‰ bœ. j ‰ ‰ . ‰ ‰ ‰ ‰ ‰ ‰ #œ œ œ œ > œ œ bœ Nœ œ bœ œ > > > >œ. œ f A. Sx. 1 œ > > . . > > > # J ‰ ‰ œ. œ ‰ œ œ œ œ . œ œ œ #œ œ œ. œ. œ œ œ #œ œ œ & J J . J J J f A. Sx. 2 # j > > > > & œ ‰ ‰ bœ. Nœ ‰ ‰ œ. . œ ‰ œ ‰ œ. œ. œ. œ. œ #œ œ œ J > J J f T. Sx. j & œ ‰ ‰ j ‰ ‰ œ. . œ ‰ bœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ #œ œ j J bœ. œ > > > œ > f > B. Sx. # > j > > > j ‰ ‰ bœ. œ ‰ ‰ . ‰ bœ ‰ Nœ ‰ ‰ ‰ ‰ #œ œ œ & aœ œ. . œ œ bœ œ œ J J > f B Tpt. 1 > b j . œ. #>œ œ >œ & œ ‰ ‰ œ. œ ‰ ‰ œ. . œ ‰ œ œ œ œ. œ. œ œ J J J > > #œ f B Tpt. 2 b j & œ ‰ ‰ j ‰ ‰ . ‰ ‰ œ. œ. œ j œ j bœ. Nœ œ. œ œ œ. œ. #œ > œ > > f > > B Tpt. 3 b j . j j & œ ‰ ‰ j ‰ ‰ . ‰ ‰ œ. œ. œ. œ. #œ œ bœ. Nœ œ. œ œ œ > > >œ > > fa2 Hn. 1, 2 j j > > j & b œ ‰ ‰ bbœœ. Nœ ‰ ‰ œ. . œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ nœ œ œ œ > . > œ œ #œ œ J > fa2 Hn. 3, 4 > > j b j ‰ ‰ j ‰ ‰ . . ‰ ‰ ‰ ‰ ‰ œ ‰ œ œ nœ œ œ & œ bœ. Nœ œ. œ œ bbœ œ Nœ œ œ œ œ œ œ œ J > > f > Tbn. 1 > > œ > > > ? b œ ‰ ‰ bœ. j ‰ ‰ œ. . ‰ bœ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ nœ œ œ b J œ . J J f Tbn. 2 œ > j > > > > ? b ‰ ‰ bœ. ‰ ‰ œ. . œ ‰ œ ‰ œ ‰ ‰ ‰ œ ‰ œ nœ œ œ b J œ . œ œ J J f Tbn. 3 œ > j > > > ? bb J ‰ ‰ bœ. œ ‰ ‰ œ. . œ ‰ œ ‰ œ ‰ ‰ ‰ ‰ œ nœ œ œ > œ bœ œ J J f Euph. œ > > œ. œ. œ. œ > > > ? b J ‰ ‰ œ. œ ‰ œ œ œ œ . œ œ œ nœ œ œ. nœ œ œ b J J . J J J f Tuba ? b j ‰ ‰ ‰ ‰ . ‰ ‰ ‰ ‰ ‰ ‰ j b œ j œ. œ bœ œ nœ œ j bœ. œ > œ bœ œ œ > > œ > f > Mlt. Perc. b & b ∑ ∑ . ∑ ∑ ∑ ∑

Perc. 1 j > j > > œ œæ œ œæ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ã œ ‰ ‰ œ. œ ‰ ‰ œ. . œ ‰ œ œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ ‰ Œ. J ‰ J ‰ ‰ > > f> Perc. 2 > > > j ‰ ‰ j ‰ ‰ . ‰ ‰ ‰ Œ. ã y y. y y. . y y y. y. y. y. y 19 20 21 22 23 f 24

!46 Clef Club March 5 26

Picc. >œ > > œ. œ œ œ œ œ œ > bœ. b J œ bœ Nœ J œ œ œ œ œ œ œ b>œ bœ & b ‰ ‰ J . ‰ J J J ‰ p (p)-f Fl. 1 >œ > > œ. œ œ œ œ œ œ > bœ. b J œ bœ Nœ J œ œ œ œ œ œ œ b>œ bœ & b ‰ ‰ J . ‰ J J J ‰ p (p)-f Fl. 2 > œ > > œ œ œ œ œ œ œ œ œ œ œ > > œ. bb œ ‰ ‰ nœ . Aœ ‰ œ. œ J J œ bœ bœ ‰ & J J . J J p (p)-f Ob. b > j j j & b œ ‰ ‰ bœ . Nœ ‰ œ. œ œ œ œ œ œ œ œ œ œ j j bœ ‰ bœ. J œ > > œ œ œ bœ > p (p)-f > Bsn. ? bb j ‰ ‰ j . ‰ ‰ ‰ ‰ ‰ œ ‰ œ œ j ‰ bœ. œ bœ œ. œ œ bœ bœ œ > œ œ œ > > > p (p)-f> E Cl. b # j b>œ N>œ œ. œ œ œ œ œ œ œ œ œ œ > b>œ nœ. & œ ‰ ‰ œ J . ‰ J J œ œ œ bœ ‰ > J J p (p)-f B Cl. 1 b j j j & j ‰ ‰ œ bœ . Nœ ‰ œ. œ œ œ œ œ œ œ œ œ œ œ œ j bœ ‰ bœ. œ > > J œ bœ > > p (p)-f > B Cl. 2 b j j j ‰ ‰ j . ‰ œ œ œ œ œ œ œ œ œ j ‰ . & œ œ #œ Nœ œ. œ J œ œ œ bœ bœ œ > p > (p)-f> > > B Cl. 3 b j ‰ ‰ j . ‰ œ œ œ œ œ j j ‰ & j œ #œ . œ œ J œ œ œ œ œ œ œ bœ bœ. œ > œ . > œ > p (p)-f> > A.Cl. # j b>œ N>œ œ. œ œ œ œ œ œ œ œ œ œ > b>œ nœ. & œ ‰ ‰ œ J . ‰ J J œ œ œ bœ ‰ > J J p (p)-f B. Cl. j . & j ‰ ‰ œ bœ . ‰ ‰ ‰ ‰ ‰ ‰ œ j ‰ bœ. œ > œ œ œ œ œ bœ bœ > p (p)-f> œ. œ œ > > A. Sx. 1 # j œ b>œ N>œ œ. œ œ œ œ œ œ œ œ œ œ œ œ > b>œ nœ. & œ ‰ ‰ J . ‰ J J œ bœ ‰ > J J p (p)-f A. Sx. 2 # j > œ œ œ œ œ œ œ œ œ œ œ j > œ. & œ ‰ ‰ Œ. . œ ‰ œ. œ J J œ bœ bœ ‰ > J > (p)-f T. Sx. j & j ‰ ‰ Œ. . ‰ œ. œ ‰ œ ‰ œ ‰ œ ‰ ‰ œ œ ‰ . œ œ œ b>œ b>œ œ > (p)-f> B. Sx. # j ‰ ‰ œ bœ . œ ‰ ‰ ‰ œ ‰ ‰ ‰ œ j ‰ & œ J œ. œ œ œ œ œ nœ bœ > (p)-f > > bœ. p 26 Play 2x only B Tpt. 1 > b œ ‰ ‰ Œ. . ‰ œ. œ œ œ œ œ j œ j j ‰ bœ. & J . Nœ J œ œ œ œ œ œ œ bœ bœ (p)-f> > > B Tpt. 2 b j ‰ ‰ Œ j . ‰ Œ. ∑ ∑ Œ. Œ j ‰ Œ. & œ #œ Nœ bœ bœ > p> (p)-f> > > B Tpt. 3 b & j ‰ ‰ Œ j . ‰ Œ. ∑ ∑ Œ. Œ j ‰ Œ. œ #>œ N>œ bœ œ > p (p)-f > > Hn. 1, 2 j j j j & b œ ‰ ‰ Œ œ . œ ‰ ‰ Œ. ∑ ∑ Œ. Œ bœ œ ‰ Œ. > bœ Nœ bœ bœ p> (p)-f> > > Hn. 3, 4 j j j & b œ ‰ ‰ Œ œ . œ ‰ ‰ Œ. ∑ ∑ Œ. Œ j ‰ Œ. > nœ Aœ bœ bbœ > > > > p (p)-fPlay 2x only Tbn. 1 . œ œ > > . ? b j ‰ ‰ Œ. . Nœ ‰ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ ‰ bœ b œ . J J J J > (p)-f Tbn. 2 j > . > > ? bb œ ‰ ‰ œ bœ . œ ‰ œ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ bœ bœ ‰ œ. > J > J p (p)-f Tbn. 3 > ? b j ‰ ‰ œ bœ . œ ‰ œ. œ ‰ œ ‰ œ ‰ œ ‰ ‰ œ j ‰ bœ. b œ J . œ œ bœ bœ > (p)-f> > > p Play 2x only Euph. j >œ œ. œ œ œ œ œ œ œ œ œ œ > b>œ bœ. ? bb œ ‰ ‰ Œ. . ‰ J J œ œ œ bœ ‰ > J J (p)-f Tuba ? bb j ‰ ‰ j . ‰ ‰ ‰ ‰ ‰ j ‰ œ bœ œ. œ œ ‰ œ bœ. œ > œ œ œ œ œ bœ bœ > p (p)-f> > > Mlt. Perc. b & b ∑ . ∑ ∑ ∑ ∑ ∑ > Perc. 1 j > > > > > . œ . œ œæ. œ œ œ œ œ œ œ œ œ œ œ œ œ œæ. ã Œ ‰ ‰ œ . œ ‰ œ. œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ ‰ œ. J ‰ ‰ ‰ ‰ ‰ J p (p)-f Perc. 2 > > > > ã Œ. ‰ ‰ yj . y ‰ Œ. ∑ ∑ Œ. ‰ ‰ yj y ‰ Œ. 25 p 26 27 28 29 30

!47 6 Clef Club March œ Picc. b œ bœ bœ œ nœ œ œ œ. œ ‰ b>œ N>œ œ. œ œ œ œ œ œ œ œ œ œ & b J ‰ J ‰ J J œ Fl. 1 b œ bœ bœ œ nœ œ œ œ. œ ‰ b>œ N>œ œ. œ œ œ œ œ œ œ œ œ œ & b J ‰ J ‰ J J

Fl. 2 œ œ œ b bœ bœ œ nœ œ œ. œ ‰ n>œ >œ œ. œ œ œ œ œ œ œ œ & b bœ J ‰ J ‰ œ J J

Ob. b j j j j & b œ bœ bœ œ nœ œ ‰ œ œ œ. œ ‰ bœ œ ‰ œ. œ œ œ œ œ œ œ œ œ > > œ

Bsn. ? b b bœ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ nœ. œ. œ bœ œ œ. œ œ œ > > œ E Cl. b # œ nœ bœ œ #œ œ œ œ œ. œ ‰ b>œ N>œ œ. œ œ œ œ œ œ œ œ œ & J ‰ J ‰ J J œ

B Cl. 1 b j j & œ bœ bœ œ nœ œ ‰ œ œ œ. œ ‰ bœ Nœ ‰ œ. œ œ œ œ œ œ œ œ œ œ J > > J

B Cl. 2 b œ j j & bœ bœ œ nœ œ ‰ œ œ. œ ‰ ‰ œ œ œ œ œ œ œ œ œ bœ J #>œ N>œ œ. œ J

B Cl. 3 b j j & bœ bœ œ nœ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ œ bœ J œ. œ ‰ œ œ œ. œ J > > A.Cl. # œ nœ bœ œ #œ œ œ œ œ. œ ‰ b>œ N>œ œ. œ œ œ œ œ œ œ œ œ & J ‰ J ‰ J J œ

B. Cl. ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ & ‰ bœ œ œ bœ œ œ #œ. œ. œ > > œ. œ œ œ A. Sx. 1 # œ nœ bœ œ #œ œ œ œ œ. œ ‰ b>œ N>œ œ. œ œ œ œ œ œ œ œ œ œ & J ‰ J ‰ J J

A. Sx. 2 # nœ bœ œ #œ œ œ œ . > > œ œ œ œ œ œ œ œ & bœ J ‰ J œ œ ‰ #œ Nœ ‰ œ. œ J J œ

T. Sx. bœ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ & œ œ #œ. œ. œ bœ œ œ. œ œ œ œ > > B. Sx. # & ‰ ‰ ‰ ‰ bœ œ ‰ œ ‰ ‰ œ ‰ ‰ bœ œ œ #œ. œ. œ > > œ. œ œ

B Tpt. 1 b œ j j & œ bœ bœ œ nœ œ ‰ œ œ. œ ‰ bœ Nœ ‰ œ. œ œ œ œ œ œ œ œ œ œ J > > J

B Tpt. 2 b j & ∑ ∑ Œ. Œ #œ Nœ ‰ Œ. ∑ ∑ > >

B Tpt. 3 b j & ∑ ∑ Œ. Œ #œ Nœ ‰ Œ. ∑ ∑ > >

Hn. 1, 2 b ∑ ∑ Œ. Œ j j ‰ ‰ Œ. ∑ ∑ & bœ Nœ > > Hn. 3, 4 j & b ∑ ∑ Œ. Œ ‰ Œ. ∑ ∑ nœ Aœ > > Tbn. 1 ? œ bœ bœ œ nœ œ œ œ œ. œ ‰ b>œ N>œ œ. œ œ œ œ œ œ œ œ œ œ bb J ‰ J ‰ J J

Tbn. 2 bœ . > . ? bb ‰ œ ‰ œ ‰ nœ. œ œ ‰ bœ œ ‰ œ œ ‰ œ ‰ œ ‰ œ ‰ > Tbn. 3 . > . ? bb bœ ‰ œ ‰ œ ‰ nœ. œ œ ‰ bœ œ ‰ œ œ ‰ œ ‰ œ ‰ œ ‰ > Euph. œ bœ bœ œ nœ œ œ œ œ. œ ‰ b>œ N>œ œ. œ œ œ œ œ œ œ œ œ ? bb J ‰ J ‰ J J œ

Tuba ? b b bœ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ nœ. œ. œ bœ œ œ. œ œ œ > > œ Mlt. Perc. b & b ∑ ∑ ∑ ∑ ∑ ∑

Perc. 1 > > > > œ œ œ œ œ œæ œæ œ œ œ œæ œ œ œ œ œ œ œ œ ã œ ‰ œ ‰ œ ‰ œ. œ . œ ‰ œ œ ‰ œ. œ ‰ œ ‰ œ ‰ œ ‰ ‰ ‰ ‰ J ‰ ‰ ‰ ‰ > > > > Perc. 2 > > ã ∑ ∑ Œ. ‰ ‰ yj y ‰ Œ. ∑ ∑ 31 32 33 34 35 36

!48 Clef Club March 7 > > 1. 2. Picc. > >œ > >œ ˙. œ œ œ œ > œ >œ b œ œ œ b>œ bœ œ J J >œ bœ J J b & b J J ‰ ‰ ‰ ‰ J . ‰ ‰ ‰ ‰ b b f > > Fl. 1 > >œ > >œ ˙. œ œ œ œ > œ >œ b œ œ œ b>œ bœ œ J J >œ bœ J J b & b J J ‰ ‰ ‰ ‰ J . ‰ ‰ ‰ ‰ b b f > > > Fl. 2 œ > > œ b>œ œ ˙. œ >œ > > > bb œ œ bœ bœ ‰ ‰ œ œ ‰ ‰ œ nœ . œ ‰ ‰ œ ‰ ‰ bb & J J J J J . J J b f Ob. b j >˙. œ >œ j > b & b œ œ j bœ ‰ œ œ œ ‰ œ œ ‰ ‰ œ bœ . œ ‰ ‰ œ ‰ ‰ b b œ bœ > > > > J J > > J J > f Bsn. ? j bb œ ‰ œ œ ‰ Œ. ‰ ‰ j ‰ ‰ j . j ‰ ‰ j ‰ ‰ bb bœ bœ œ œ nœ œ œ œ œ. œ bœ b > > > > > > > > > œ > > œ œ f > > > E Cl. > > >œ > >œ ˙. œ œ œ œ > > œ >œ b # œ œ œ bœ bœ ‰ œ ‰ J J ‰ ‰ œ bœ . J ‰ ‰ J ‰ ‰ n & J J J . f B Cl. 1 > > b j j >œ > >œ ˙. œ œ œ œ j . œ >œ & œ œ œ bœ bœ ‰ œ ‰ J J ‰ ‰ œ bœ . J ‰ ‰ J ‰ ‰ b > > > > f B Cl. 2 b j > > > > > j j j & œ œ j ‰ œ bœ œ ˙. œ ‰ œ œ j ‰ ‰ œ #œ . j ‰ ‰ œ ‰ ‰ b œ bœ bœ œ > > œ > > > f B Cl. 3 b j >œ > >œ j j j . j j & œ œ œ j ‰ bœ ˙. œ ‰ œ œ œ ‰ ‰ œ #œ . œ ‰ ‰ œ ‰ ‰ b bœ œ > > > > > > > f A.Cl. > > # œ œ > bœ >. > j j >œ bœ . j j n & J œ bœ ‰ œ bœ œ ˙ œ ‰ œ œ œ ‰ ‰ J . œ ‰ ‰ œ ‰ ‰ J > > > > f B. Cl. . j . & ‰ œ j ‰ Œ ‰ œ œ #œ œ œ œ ‰ œ. j ‰ ‰ œ bœ . j ‰ ‰ j ‰ ‰ b œ œ bœ bœ > > > > > > > œ > > œ œ > > > f > > A. Sx. 1 > > >œ > >œ ˙. œ œ œ œ > > œ >œ # œ œ œ bœ bœ ‰ œ ‰ J J ‰ ‰ œ bœ . J ‰ ‰ J ‰ ‰ n & J J J . f A. Sx. 2 # œ j > >œ b>œ >œ >˙. œ >œ > > > n & œ œ bœ bœ ‰ ‰ œ œ ‰ ‰ œ #œ . œ ‰ ‰ œ ‰ ‰ J > J J J J J f T. Sx. > j j j & œ ‰ œ bœ bœ ‰ Œ. ‰ œ œ œ ‰ œ. œ ‰ ‰ j . œ ‰ ‰ œ ‰ ‰ b J > œ >œ #>œ > > > > œ bœ > > f > > B. Sx. > > # ‰ œ j ‰ Œ. ‰ ‰ j ‰ ‰ œ bœ . j ‰ ‰ j ‰ ‰ n & œ œ nœ bœ œ œ . œ œ > > œ œ #œ œ > œ œ. J > > > > > > > f Play B Tpt. 1 b j > > > >˙. œ >œ j > & œ œ j bœ ‰ œ œ œ ‰ œ Œ. œ bœ . œ ‰ ‰ œ ‰ ‰ b œ bœ > J > > J J > f B Tpt. 2 b > > > > > j j j & Œ. Œ j ‰ œ bœ œ ˙. œ ‰ œ œ j ‰ ‰ œ #œ . j ‰ ‰ œ ‰ ‰ b bœ bœ œ > > œ > > > f B Tpt. 3 b . >œ > >œ j j j . j j & Œ Œ j ‰ bœ ˙. œ ‰ œ œ œ ‰ ‰ œ #œ . œ ‰ ‰ œ ‰ ‰ b bœ œ > > > > > > > a2 f Hn. 1, 2 b Œ. Œ j ‰ ‰ j j ‰ ‰ Œ j . j ‰ ‰ j ‰ ‰ bb & bœ œ œ bœ œ ˙. œ œ œ œ bœ . œ œ bœ bœ > > > > > œ œ > œ œ > > a2 f > Hn. 3, 4 j b & b Œ. Œ j ‰ ‰ œ œ j ‰ ‰ Œ j . j ‰ ‰ j ‰ ‰ b œ bœ œ œ œ ˙. œ œ œ œ œ œ bœ b œ > > > œ œ Play nœ œ œ > > > > f > > Tbn. 1 > > > > > > > > > > > œ >œ ? b œ œ œ bœ bœ ‰ Œ. ‰ œ œ nœ œ œ œ ‰ œ. Œ. œ bœ . J ‰ ‰ J ‰ ‰ b b J J J . b b f f Tbn. 2 ? b œ j > >œ n>œ >œ >œ >œ >œ. œ > > œ >œ b b ‰ œ bœ ‰ Œ. ‰ œ ‰ J ‰ ‰ œ bœ . J ‰ ‰ J ‰ ‰ b b > bœ J > f Tbn. 3 ? j j > > j j bb œ ‰ œ bœ ‰ Œ. ‰ ‰ œ ‰ ‰ œ bœ . œ ‰ ‰ œ ‰ ‰ bbb > b>œ œ œ nœ œ >œ œ œ. J > > > > > > > f Play Euph. > > > > > > > > > > > > ? b œ œ œ bœ bœ ‰ Œ. ‰ œ œ nœ œ œ œ ‰ œ. Œ. œ bœ . œ ‰ ‰ œ ‰ ‰ b b J J J . J J b b f Tuba ? bb j ‰ Œ. ‰ ‰ j ‰ ‰ j . j ‰ ‰ j ‰ ‰ bb ‰ œ œ œ nœ œ œ œ œ. œ bœ b œ œ bœ bœ > > > > > > > œ > > œ œ > > f > Mlt. Perc. b b & b ∑ ∑ ∑ ∑ ∑ . ∑ b b > > Perc. 1 > > > > > > ‰ > j j j j œ œ œ œ œ œ œ œ ˙æ. œ œæ. œ œ . œ œ ã œ ‰ œ ‰ œ œ ‰ ˙. œ. œ ‰ ‰ Œ œ . œ ‰ ‰ œ ‰ ‰ ‰ J Œ. Œ. J J J J > > > > f > > Perc. 2 > > > > > > Œ. ‰ ‰ j ‰ Œ. Œ. j ‰ ‰ Œ j . j ‰ ‰ j ‰ ‰ ã y y T. y. y y . y y 37 38 39 40f 41 42

!49 8 43 Trio Clef Club March

œ œ œ >œ Picc. b & b b J ‰ ‰ Œ. ∑ ∑ ∑ ∑ ∑ ƒ œ œ œ >œ Fl. 1 b & b b J ‰ ‰ Œ. ∑ ∑ ∑ ∑ ∑ ƒ œ œ œ >œ Fl. 2 b & b b J ‰ ‰ Œ. ∑ ∑ ∑ ∑ ∑ ƒ Ob. b œ œ œ >œ & b b J ‰ ‰ Œ. ∑ ∑ ∑ ∑ ∑ ƒ Bsn. > ? bb œ. œ. œ. ‰ Œ. ∑ ∑ ∑ b œ. œ ƒ p E Cl. b > œ œ œ œ . & J ‰ ‰ Œ ∑ ∑ ∑ ∑ ∑ ƒ B Cl. 1 b œ œ œ >œ . & b J ‰ ‰ Œ. ∑ œ œ. œ. ˙. œ. œ. œ. ƒ P B Cl. 2 b > . & b œ ‰ ‰ Œ. ∑ œ œ. œ. J ˙. œ. œ. œ. ƒ P B Cl. 3 b j . & b œ ‰ ‰ Œ. ∑ œ œ. œ. > ˙. œ. œ. œ. ƒ P A.Cl. > œ œ œ œ . & J ‰ ‰ Œ ∑ œ. œ. œ. ˙. œ. œ. œ. ƒ P B. Cl. b ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ & œ. œ. . bœ > œ œ. œ œ nœ bœ œ bœ Nœ ƒ p 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 ƒ p 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 ƒ p T. Sx. j & b œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ‰ Œ. ∑ ∑ ∑ ƒ> p B. Sx. > œ. œ. . ‰ ‰ ‰ ‰ ‰ ‰ ‰ bœ ‰ & œ œ. œ œ #œ nœ œ bœ Nœ 43 Trio ƒ p

B Tpt. 1 b œ œ œ >œ & b J ‰ ‰ Œ. ∑ ∑ ∑ ∑ ∑ ƒ B Tpt. 2 > b b œ ‰ ‰ Œ. ∑ ∑ ∑ ∑ ∑ & J ƒ B Tpt. 3 b j & b œ ‰ ‰ Œ. ∑ ∑ ∑ ∑ ∑ ƒ> Hn. 1, 2 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 > ƒ p Hn. 3, 4 b & b ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ #œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ > ƒ p Tbn. 1 > ? œ bbb J ‰ ‰ Œ. ∑ ∑ ∑ ∑ ∑ ƒ Tbn. 2 ? >œ bbb J ‰ ‰ Œ. ∑ ∑ ∑ ∑ ∑ ƒ Tbn. 3 ? b >œ . b b J ‰ ‰ Œ ∑ ∑ ∑ ∑ ∑ ƒ œ > Euph. œ œ œ . ? J œ œ. œ. bbb ‰ ‰ Œ. ∑ ˙. œ. œ. œ. ƒ P Tuba ? b ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ b b œ. œ œ nœ bœ œ bœ Nœ > œ. œ. bœ ƒ œ. p Mlt. Perc. b & b b ∑ ∑ œ. œ. œ. ˙. œ. œ. œ. > P Perc. 1 œ œ œ œj ã œ ‰ ‰ Œ. ∑ ∑ ∑ ∑ ∑ J > ƒ Perc. 2 > ã yj ‰ ‰ Œ. ∑ ∑ ∑ ∑ ∑ ƒ 43 44 45 46 47 48

!50 Clef Club March 9

Picc. b & b b ∑ ∑ ∑ ∑ ∑ ∑

Fl. 1 b & b b ∑ ∑ ∑ ∑ ∑ ∑

Fl. 2 b & b b ∑ ∑ ∑ ∑ ∑ ∑

Ob. b & b b ∑ ∑ ∑ ∑ ∑ ∑

Bsn. ? b b b ∑ ∑ ∑ ∑ ∑ ∑

E Cl. b & ∑ ∑ ∑ ∑ ∑ ∑

B Cl. 1 b j b œ. . & œ. œ œ œ ˙. ˙. ˙. œ. œ.

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

B Cl. 3 b j & b œ. œ. œ œ œ. ˙. ˙. ˙. œ. œ.

A.Cl. j & œ. œ œ œ œ. . ˙. ˙. ˙. œ. œ. B. Cl. b ‰ ‰ j j ‰ ‰ ‰ ‰ ‰ ‰ & Nœ j œ œ œ œ œ œ œ. ˙. œ œ nœ bœ > A. Sx. 1 œ œ j œ œ & œ ‰ œ ‰ œ ‰ œ œ ‰ œ œ ‰ ‰ œ. œ. bœ. œ ‰ œ œ ‰ œ œ ‰ œ ‰

A. Sx. 2 bœ ‰ œ ‰ ‰ j ‰ ‰ ‰ & œ ‰ œ œ œ œ œ œ œ. œ. œ. œ ‰ œ œ ‰ œ œ ‰ œ œ œ

T. Sx. & b ∑ ∑ ∑ ∑ ∑ ∑

B. Sx. œ ‰ ‰ j œ œ œ ‰ ‰ ‰ ‰ ‰ ‰ & œ œ œ J J œ. ˙. œ œ #œ nœ > B Tpt. 1 b b j j j ‰ ‰ Œ. ∑ ∑ ∑ & œ. œ. œ œ œ œ œ P B Tpt. 2 b & b j j j ‰ ‰ Œ. ∑ ∑ ∑ œ. bœ. œ œ Nœ œ œ P B Tpt. 3 b & b j j j ‰ ‰ Œ. ∑ ∑ ∑ œ. bœ. œ œ Nœ œ œ P Hn. 1, 2 b j & b œ ‰ œ bœ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ‰ œ. bœ. ‰ ‰ œ ‰ œ œ ‰ œ œ œ œ. œ. œ. œ œ œ œ œ œ œ œ Hn. 3, 4 b j & b œ ‰ œ bœ ‰ œ ‰ œ ‰ œ œ ‰ ‰ œ. ‰ ‰ ‰ ‰ œ œ œ œ œœ œœ œ œ œ œ. œ. œ. œ œ œ œ nœ œ œ œ

Tbn. 1 ? b b b ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 2 ? bbb ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3 ? bbb ∑ ∑ ∑ ∑ ∑ ∑

Euph. ? œ. œ. œ œ bbb œ. J ˙. ˙. ˙. œ. œ.

Tuba ? b ‰ ‰ j ‰ ‰ ‰ ‰ ‰ ‰ b b j j . . œ nœ bœ œ œ œ œ œ œ œ >œ ˙ œ Mlt. Perc. b j & b b œ. œ œ œ œ. . ˙. ˙. ˙. œ. œ.

Perc. 1 ã ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ 49 50 51 52 53 54

!51 10 Clef Club March

Picc. b & b b ∑ ∑ ∑ ∑ ∑ ∑

Fl. 1 b & b b ∑ ∑ ∑ ∑ ∑ ∑

Fl. 2 b & b b ∑ ∑ ∑ ∑ ∑ ∑

Ob. b & b b ∑ ∑ ∑ ∑ ∑ ∑

Bsn. ? b b b ∑ ∑ ∑ ∑ ∑ ∑

E Cl. b & ∑ ∑ ∑ ∑ ∑ ∑

B Cl. 1 b b œ. œ. œ. œ. œ œ ˙. œ j œ & œ. œ. œ. J œ œ J

B Cl. 2 b j b œ. œ. œ. . . . œ j œ & œ. œ œ bœ œ. œ œ œ œ œ œ œ J

B Cl. 3 b . j & b œ œ. œ. œ. œ. bœ. œ œ œ j œ œ œ. œ. œ œ œ œ J A.Cl. j j & œ. œ. œ. œ. œ œ ˙. œ j œ œ. œ. œ. œ œ

B. Cl. b ‰ ‰ ‰ ‰ ‰ j ‰ ‰ j œ j & œ bœ œ œ œ œ œ œ œ j œ bœ Nœ bœ œ œ œ œ A. Sx. 1 œ œ œ œ œ & œ ‰ œ œ ‰ œ œ ‰ œ bœ ‰ œ œ ‰ œ ‰ œ ‰ œ œ ‰ œ J 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 J œ œ ‰ Œ.

T. Sx. & b ∑ ∑ ∑ ∑ ∑ ∑

B. Sx. œ j & ‰ ‰ ‰ ‰ ‰ œ bœ œ ‰ ‰ œ œ œ œ œ œ j œ bœ Nœ bœ œ J œ J œ œ

B Tpt. 1 b b ∑ ∑ ‰ Œ. Œ j œ & œ. œ. bœ. œ. œ œ œ J P B Tpt. 2 b & b ∑ ∑ ‰ Œ. ∑ œ. œ. œ. nœ. œ P B Tpt. 3 b & b ∑ ∑ ‰ Œ. ∑ œ. œ. œ. nœ. œ P a2 Hn. 1, 2 bb œ ‰ œ œ ‰ œ œ ‰ œ bœ ‰ œ œ ‰ œ œ ‰ bœ ‰ ‰ œ œ œ œ œ ‰ Œ. & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ a2 Hn. 3, 4 b œ & b ‰ œ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ œ œ œ œ ‰ Œ. œ œ œ œ œ œ bœ œ Nœ œ œ œ bœ œ nnœ J œ

Tbn. 1 ? b b b ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 2 ? bbb ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3 ? bbb ∑ ∑ ∑ ∑ ∑ ∑

Euph. œ. œ. œ. œ. œ œ ˙. œ ? b œ. œ. œ. J œ œ œ b b J J

Tuba ? b b b œ ‰ bœ ‰ œ ‰ ‰ ‰ j ‰ ‰ j œ j j bœ Nœ œ bœ œ œ œ œ œ œ œ œ œ œ Mlt. Perc. bb œ. œ. œ. œ. œ œ ˙. œ j j & b œ. œ. œ. J œ œ œ

Perc. 1 ã ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ 55 56 57 58 59 60

!52 Clef Club March 11 61 Picc. b & b b ∑ ∑ ∑ ∑ ∑ ∑

Fl. 1 b & b b ∑ ∑ ∑ ∑ ∑ ∑

Fl. 2 b & b b ∑ ∑ ∑ ∑ ∑ ∑

Ob. b & b b ∑ ∑ ∑ ∑ ∑ ∑

Bsn. ? b b b ∑ ∑ ∑ ∑ ∑ ∑

E Cl. b & ∑ ∑ ∑ ∑ ∑ ∑

B Cl. 1 b b ˙. œ ˙. j œ. & œ. œ J œ. œ œ œ. œ. œ.

B Cl. 2 b ˙. ˙ & b œ. œ œ . œ j J . œ œ œ. œ. œ. œ.

B Cl. 3 b ˙. ˙ & b œ. œ œ . œ j J . œ œ œ. œ. œ. œ.

A.Cl. ˙. j . j & œ. œ œ ˙ œ. œ œ œ. œ. œ. œ.

B. Cl. b ‰ ‰ ‰ ‰ ‰ ‰ & j bœ œ j j ˙. œ. œ œ œ œ œ œ œ bœ Nœ 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

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

T. Sx. & b ∑ ∑ ∑ ∑ ∑ ∑

B. Sx. j j & ˙. œ. j ‰ ‰ œ œ œ ‰ ‰ ‰ ‰ 61 œ œ œ bœ œ œ bœ Nœ œ

B Tpt. 1 b b ˙. œ ˙. j œ. & œ. œ J œ. œ œ œ. œ. œ.

B Tpt. 2 b & b ∑ ∑ ∑ Œ. j œ œ œ. œ. œ. œ. P B Tpt. 3 b & b ∑ ∑ ∑ Œ. j œ œ œ. œ. œ. œ. P Hn. 1, 2 b 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 nœ ‰ œ œ ‰ œ Aœ ‰ œ

Hn. 3, 4 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

Tbn. 1 ? b b b ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 2 ? bbb ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3 ? bbb ∑ ∑ ∑ ∑ ∑ ∑

Euph. ˙. ? œ. œ œ ˙. œ œ œ. œ. œ. bbb J œ. J œ.

Tuba ? j bb j ‰ ‰ œ œ j ‰ ‰ ‰ ‰ b ˙. œ. œ œ œ bœ œ œ œ bœ Nœ œ

Mlt. Perc. b ˙. j . j & b b œ. œ œ ˙ œ. œ œ œ. œ. œ. œ.

Perc. 1 ã ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ 61 62 63 64 65 66

!53 12 Clef Club March

Picc. b & b b ∑ ∑ ∑ ∑ ∑ ∑

Fl. 1 b & b b ∑ ∑ ∑ ∑ ∑ ∑

Fl. 2 b & b b ∑ ∑ ∑ ∑ ∑ ∑

Ob. b & b b ∑ ∑ ∑ ∑ ∑ ∑

Bsn. ? b b b ∑ ∑ ∑ ∑ ∑ ∑

E Cl. b & ∑ ∑ ∑ ∑ ∑ ∑

B Cl. 1 b b œ. œ. œ j & ˙. ˙. ˙. œ. œ. œ. œ

B Cl. 2 b œ. œ. j & b j j œ. œ. œ œ ˙. œ œ œ œ ˙. œ. B Cl. 3 b œ. œ. j & b j j œ. œ. œ œ ˙. œ œ œ œ ˙. œ. A.Cl. œ j & . œ. œ œ ˙. ˙. ˙. œ. œ. œ. B. Cl. b ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ & bœ œ œ œ œ œ œ nœ bœ œ bœ Nœ A. Sx. 1 bœ œ Nœ 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

T. Sx. & b ∑ ∑ ∑ ∑ ∑ ∑

B. Sx. ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ bœ ‰ & œ œ œ œ œ œ #œ nœ œ bœ Nœ

B Tpt. 1 b b ∑ ∑ ∑ ∑ & ˙. ˙.

B Tpt. 2 b & b j j ‰ Œ. ∑ ∑ ∑ ˙. œ œ œ œ œ B Tpt. 3 b & b j j ‰ Œ. ∑ ∑ ∑ ˙. œ œ œ œ œ Hn. 1, 2 b & b œ ‰ œ bœ ‰ œ Nœ ‰ œ œ ‰ œ ‰ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Hn. 3, 4 b & b œ ‰ œ œ ‰ œ ‰ ‰ ‰ ‰ ‰ ‰ ‰ œ ‰ œ ‰ ‰ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ #œ œ

Tbn. 1 ? b b b ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 2 ? bbb ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3 ? bbb ∑ ∑ ∑ ∑ ∑ ∑

Euph. œ. ? œ. œ œ bbb ˙. ˙. ˙. œ. œ. œ. J

Tuba ? b b b œ ‰ œ ‰ ‰ ‰ ‰ ‰ nœ ‰ bœ ‰ œ ‰ bœ ‰ Nœ ‰ ‰ œ œ œ œ bœ Mlt. Perc. b œ j & b b . œ. œ œ ˙. ˙. ˙. œ. œ. œ.

Perc. 1 ã ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ 67 68 69 70 71 72

!54 Clef Club March 13

77 Ÿ Picc. . . . b œ œ œ >œ. >œ. >˙. & b b ∑ ∑ ∑ Œ. ƒ Ÿ Fl. 1 . . . b œ œ œ >œ. >œ. >˙. & b b ∑ ∑ ∑ Œ. ƒ Ÿ Fl. 2 . . . > > > b œ œ œ œ. œ. ˙. & b b ∑ ∑ ∑ Œ. ƒ Ÿ Ob. b b b ∑ ∑ ∑ Œ. . . . & œ. œ. œ. œ œ ˙ ƒ > > > Bsn...... ? bb ∑ ∑ ∑ ∑ nœ œ. œ œ œ œ œ œ œ. b œ. nœ. . J ƒ E Cl. Ÿ b œ. œ. œ. >œ. >œ. >˙. & ∑ ∑ ∑ Œ. ƒ Ÿ B Cl. 1 b . j j & b œ. œ œ. œ œ ˙. œ ‰ ‰ œ. œ. œ. œ. œ. ˙. ƒ > > > B Cl. 2 b b œ. j ‰ ‰ œ œ œ . & œ. œ œ œ. j . . . œ œ. œ. œ. ˙. œ ƒ > > > > B Cl. 3 b & b œ. j j ‰ ‰ œ. œ œ œ. #œ. œ. #œ. œ. ˙. œ œ. œ. œ. > > > > A.Cl. ƒ. . . > > > > j j ‰ ‰ œ œ œ œ. œ. œ. œ. & œ. œ. œ. œ œ ˙. œ ƒ B. Cl. & b ‰ ‰ j j j j ‰ ‰ Œ. œ j œ œ œ œ œ œ œ œ œ #œ œ œ. œ. . œ. œ. œ. œ œ nœ œ œ. nœ. . . . ƒ A. Sx. 1 . . . œ œ œ œ œ œ œ œ >œ. >œ. >. >œ. & œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ ‰ ‰ J ‰ ‰ œ ƒ A. Sx. 2 & ‰ ‰ ‰ ‰ ‰ ‰ j ‰ ‰ bœ. nœ. bœ. nœ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ. œ. œ. > > > > ƒ T. Sx. b ∑ ∑ ∑ ∑ œ n œ # œ j & #œ œ œ œ. œ. œ œ. œ œ œ. nœ...... ƒ B. Sx. j j j . . œ. . . . & œ ‰ ‰ œ œ œ œ œ œ œ j ‰ ‰ Œ. #œ œ. œ œ œ œ œ œ. œ œ #œ œ œ. #œ. . J 77ƒ B Tpt. 1 b . j & b ∑ ∑ ∑ Œ œ. œ. œ. œ. œ. œ. œ œ. ƒ > > B Tpt. 2 b b ∑ ∑ ∑ Œ. & œ. œ. œ. œ. œ. œ. œ. ƒ > > > B Tpt. 3 b b ∑ ∑ ∑ Œ. & #œ. œ. #œ. œ. œ. œ. œ. > > > ƒa2 Hn. 1, 2 b œ œ œ œ œ œ j & b œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ‰ #œ. œ. #œ. œ. œ. œ. œ. > > > ƒa2 Hn. 3, 4 b 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. ƒ > > > Tbn. 1 ? . . œ. . . bb ∑ ∑ ∑ ∑ nœ œ. œ œ œ œ œ œ. b œ. nœ. . J ƒ Tbn. 2 . . . . . ? bb ∑ ∑ ∑ ∑ nœ œ. œ œ œ œ œ œ œ. b œ. nœ. . J ƒ Tbn. 3 . . . . . ? bb ∑ ∑ ∑ ∑ nœ œ. œ œ œ œ œ œ œ. b œ. nœ. . J ƒ Euph. œ...... ? bb œ. œ œ œ ˙. œ ‰ ‰ Œ. nœ œ. œ œ œ œ œ œ œ. b J J œ. nœ. . J ƒ Tuba ? bbb ‰ ‰ j j j j ‰ ‰ Œ. j œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ. œ. œ œ. œ œ nœ œ. nœ...... Mlt. Perc. ƒ b j j . & b b œ. œ. œ. œ œ ˙. œ ‰ ‰ Œ ∑ ∑

Perc. 1 > > > > . œ œ œ ˙æ. ˙æ. ã ∑ ∑ ∑ Œ ˙. ˙. ƒ > > Perc. 2 > > ∑ ∑ ∑ ∑ ã T. T. 73 74 75 76 ƒ 77 78

!55 14 Clef Club March

. Ÿ . . œ. Picc. . . . nœ. œ œ. œ. œ. >œ. >œ. >˙. œ. nœ. œ œ b œ œ nœ J J J J J & b b J ‰ ‰ ‰ ‰ Œ. . Ÿ . . œ. Fl. 1 . . . nœ. œ œ. œ. œ. >œ. >œ. >˙. œ. nœ. œ œ Aœ. œ. œ. b œ œ nœ J J J J J & b b J ‰ ‰ ‰ ‰ . Ÿ . . œ. p Fl. 2 . . . nœ. œ œ. œ. œ. >œ. >œ. >˙. œ. nœ. œ œ Aœ. œ. œ. b œ œ nœ J J J J J & b b J ‰ ‰ ‰ ‰ p Ob. j > > >Ÿ . . bbb œ nœ nœ. œ. ‰ ‰ œ. œ. œ. œ. œ. ˙. œ. nœ. œ. œ œ ‰ ‰ Aœ. œ. œ. & œ. . . J J J J J p Bsn. . j . bœ. œ. . bœ. . . œ. bœ. . ? b œ. œ œ. œ. œ ‰ ‰ Œ. œ œ œ. œ œ œ œ. œ J œ œ. ‰ ‰ Œ. b b J J . œ. . . J J J Ÿ . E Cl...... > > > . . . œ. œ b œ. œ. #œ. #œ Nœ œ œ œ œ. œ. ˙. œ #œ œ & J J J ‰ ‰ J J J ‰ ‰ Œ. Ÿ B Cl. 1 . > > > . . . b b œ. nœ. #œ. œ ‰ ‰ œ. œ. œ. œ. œ. ˙. œ. #œ. œ œ œ ‰ ‰ Nœ. œ. œ. & œ. J J J J J J p B Cl. 2 b j j . . . > . j ...... & b œ j œ œ œ ‰ ‰ œ œ œ œ. bœ. œ. bœ. œ œ œ œ œ ‰ ‰ œ œ œ . œ. . . . > > > . J J p B Cl. 3 b j j . j . . . & b j œ œ ‰ ‰ œ œ j œ œ bœ ‰ ‰ œ œ œ #œ œ œ . . œ œ œ œ. >. œ. >. œ. œ. . J ...... > > p A.Cl. . . . . œ. œ. œ. >. > > > . . œ. œ. œ. œ. œ. œ. œ œ. œ œ œ ‰ ‰ œ bœ. œ. bœ. œ œ J J ‰ ‰ & J J J J p B. Cl. j j . . j . j j . & b œ œ œ œ j ‰ ‰ Œ œ œ œ bœ. œ œ bœ. œ œ œ œ bœ. œ œ ‰ ‰ Œ . . . . œ. œ. œ...... J . . A. Sx. 1 . . . . œ. œ. œ. >œ. > > > œ. . œ. œ. œ. œ. œ. œ. œ œ. œ œ œ ‰ ‰ bœ. œ. bœ. œ J J ‰ ‰ & J J J J p A. Sx. 2 . . . j . > > > > œ. bœ. œ œ œ bœ œ œ œ œ. ‰ ‰ œ. œ. œ. œ. œ. œ. œ. J ‰ ‰ & . . . J J œ. œ. œ. J J p T. Sx. b j j j ‰ ‰ Œ. œ. j œ. j j ‰ ‰ Œ. & œ œ œ œ œ œ œ bœ. œ bœ. œ œ œ bœ. œ œ . . . . œ. œ. œ...... J . . B. Sx. . j . . œ. . . . . œ. . . œ. œ œ. œ. œ ‰ ‰ Œ. œ œ œ. œ bœ œ bœ œ œ. œ J bœ œ œ. ‰ ‰ Œ. & J J œ. . . J J J

B Tpt. 1 b . > > > . . œ. b œ. nœ. #œ. œ ‰ ‰ Nœ. œ. œ. œ. œ. œ. œ œ. œ. #œ. œ œ ‰ ‰ Œ. & œ. J J J J J J J

B Tpt. 2 b j j . . . > . j . . . & b œ j œ œ œ ‰ ‰ œ œ œ œ. bœ. œ. bœ. œ œ œ œ œ ‰ ‰ Œ. . œ. . . . > > > . J J

B Tpt. 3 b b j j j ‰ ‰ j œ. j ‰ ‰ Œ. & œ œ œ. œ. œ. œ. œ œ œ bœ. bœ. œ. œ. . . œ. œ. œ. > > > > . . . J Hn. 1, 2 b j j j >. >. j j . . & b #œ œ ‰ ‰ œ œ œ œ. œ œ. œ œ #œ œ œ. œ ‰ ‰ Œ œ. œ. nœ...... > > . . . J Hn. 3, 4 b j j & b j j j ‰ ‰ j ‰ ‰ Œ. œ œ œ œ œ. œ. œ. œ. bœ. œ. bœ. œ. œ œ. œ. œ. . œ. . . . > > > > . Tbn. 1 . j . bœ. œ. . bœ. . . œ. bœ. . ? b œ. œ œ. œ. œ ‰ ‰ Œ. œ œ œ. œ œ œ œ. œ J œ œ. ‰ ‰ Œ. b b J J . œ. . . J J J Tbn. 2 . j . bœ. œ. . bœ. . . œ. bœ. . ? b œ. œ œ. œ. œ ‰ ‰ Œ. œ œ œ. œ œ œ œ. œ J œ œ. ‰ ‰ Œ. b b J J . œ. . . J J J Tbn. 3 . j . . œ. . . . . œ. . . ? b œ. œ œ. œ. œ ‰ ‰ Œ. œ œ œ. œ bœ œ bœ œ œ. œ J bœ œ œ. ‰ ‰ Œ. b b J J . œ. . . J J J Euph. . j . . œ. . . . . œ. . . ? b œ. œ œ. œ. œ ‰ ‰ Œ. œ œ œ. œ bœ œ bœ œ œ. œ J bœ œ œ. ‰ ‰ Œ. b b J J . œ. . . J J J

Tuba ? j bbb j j j ‰ ‰ Œ. œ j œ j j ‰ ‰ Œ. œ œ œ œ œ œ œ bœ. . œ bœ. œ œ œ . bœ. œ œ . . . . œ. œ. œ...... Mlt. Perc. b & b b ∑ ∑ ∑ ∑ ∑ ∑ > > > > > > Perc. 1 j > j j > > > > j > j j œ œ œ œ œ œ œ œ ˙æ ˙æ œ œ œ œ œ ã œ. œ. œ ‰ ‰ ˙. ˙. œ. œ. œ ‰ ‰ Œ. J Œ. J > > > > > Perc. 2 > > > > > > > > j ‰ ‰ Œ. j ‰ ‰ Œ. ã y. y. y T. T. y. y. y 79 80 81 82 83 84

!56 Clef Club March 15

Picc. b & b b ∑ ∑ ∑ ∑ ∑ ∑ . . Fl. 1 nœ œ. œ . œ...... b J J J bœ J œ bœ œ œ œ. œ œ. & b b ‰ ‰ ‰ ‰ ‰ ‰ J ‰ ‰ ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰

Fl. 2 . . . . . j j j bbb œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ ‰ ‰ œ. ‰ ‰ œ. ‰ ‰ nœ ‰ ‰ bœ. ‰ ‰ œ ‰ ‰ nœ ‰ ‰ j ‰ ‰ & J J J J J J J . J . . œ.

Ob. b . j . j j j j j j j œ. & b b nœ ‰ ‰ œ. ‰ ‰ œ ‰ ‰ bœ ‰ ‰ œ. ‰ ‰ œ ‰ ‰ bœ ‰ ‰ ‰ ‰ œ ‰ ‰ j ‰ ‰ ‰ ‰ ‰ ‰ J J . . . œ. . œ. œ. J Bsn. œ. . bœ. . j j j ? b J ‰ ‰ œ ‰ ‰ ‰ ‰ œ. ‰ ‰ œ ‰ ‰ œ. ‰ ‰ œ. ‰ ‰ œ ‰ ‰ œ. ‰ ‰ bœ ‰ ‰ œ ‰ ‰ j ‰ ‰ b b J J J J J J . J . . nœ. p E Cl. b & ∑ ∑ ∑ ∑ ∑ ∑

B Cl. 1 b œ. . œ. œ. . . b J ‰ ‰ œ ‰ ‰ J ‰ ‰ J ‰ ‰ œ ‰ ‰ œ. ‰ ‰ œ. ‰ ‰ nœ. ‰ ‰ bœ ‰ ‰ Aœ. ‰ ‰ nœ. ‰ ‰ j ‰ ‰ & J J J J J J J J œ.

B Cl. 2 b . . j j b bœ ‰ ‰ œ ‰ ‰ œ. ‰ ‰ œ. ‰ ‰ œ. ‰ ‰ œ. ‰ ‰ bœ ‰ ‰ œ ‰ ‰ œ. ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ & J J J J J J . . J œ. œ. œ.

B Cl. 3 b bœ. . œ. j . j j j j j j & b J ‰ ‰ œ ‰ ‰ ‰ ‰ bœ. ‰ ‰ œ ‰ ‰ œ ‰ ‰ bœ. ‰ ‰ œ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ j ‰ ‰ J J J . . . œ. . œ. A.Cl. bœ. œ...... J J œ œ œ œ bœ œ œ œ. œ. œ. & ‰ ‰ ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰

B. Cl. . j j j j j j j & b œ ‰ ‰ œ ‰ ‰ bœ. ‰ ‰ œ ‰ ‰ œ ‰ ‰ ‰ ‰ œ ‰ ‰ j ‰ ‰ ‰ ‰ j ‰ ‰ j ‰ ‰ j ‰ ‰ J . . . œ. . œ. œ. bœ. Nœ. nœ p . A. Sx. 1 bœ. œ...... J J œ œ œ œ bœ œ œ œ. œ. œ. & ‰ ‰ ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰ J ‰ ‰

A. Sx. 2 bœ. . œ...... J ‰ ‰ œ ‰ ‰ J ‰ ‰ bœ ‰ ‰ œ ‰ ‰ œ ‰ ‰ bœ ‰ ‰ œ. ‰ ‰ œ ‰ ‰ œ. ‰ ‰ œ. ‰ ‰ j ‰ ‰ & J J J J J J J J J œ. T. Sx. œ. . œ. œ. . . b J ‰ ‰ œ ‰ ‰ J ‰ ‰ J ‰ ‰ œ ‰ ‰ œ. ‰ ‰ œ. ‰ ‰ nœ. ‰ ‰ bœ ‰ ‰ Aœ. ‰ ‰ nœ. ‰ ‰ j ‰ ‰ & J J J J J J J J œ. p B. Sx. œ. . . . j j j J ‰ ‰ œ ‰ ‰ bœ ‰ ‰ œ. ‰ ‰ œ ‰ ‰ œ. ‰ ‰ œ. ‰ ‰ œ ‰ ‰ œ. ‰ ‰ bœ ‰ ‰ Nœ ‰ ‰ j ‰ ‰ & J J J J J J . J . . #œ. p B Tpt. 1 b & b ∑ ∑ ∑ ∑ ∑ ∑

B Tpt. 2 b & b ∑ ∑ ∑ ∑ ∑ ∑

B Tpt. 3 b & b ∑ ∑ ∑ ∑ ∑ ∑

Hn. 1, 2 b & b ∑ ∑ ∑ ∑ ∑ ∑

Hn. 3, 4 b & b ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 1 ? bbb ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 2 ? bbb ∑ ∑ ∑ ∑ ∑ ∑

Tbn. 3 ? b b b ∑ ∑ ∑ ∑ ∑ ∑

Euph. ? bbb ∑ ∑ ∑ ∑ ∑ ∑

Tuba ? bbb ∑ ∑ ∑ ∑ ∑ ∑

Mlt. Perc. b & b b ∑ ∑ ∑ ∑ ∑ ∑

Perc. 1 ã ∑ ∑ ∑ ∑ ∑ ∑

Perc. 2 ã ∑ ∑ ∑ ∑ ∑ ∑ 85 86 87 88 89 90

!57 16 Clef Club March

93 Maestoso > {q. = 106} œ. Picc. œ œ œ. œ. œ. œ- œ bœ œ œ œ. œ. œ. œ. b J J œ œ œ œ œ. & b b ‰. ‰ ‰ ‰ F ƒ > œ. Fl. 1 œ œ œ. œ. œ. œ- œ bœ œ œ œ. œ. œ. œ. b . J J œ œ œ œ œ. & b b œ ‰ ‰ ‰ F ƒ . . . - > œ œ. Fl. 2 œ œ œ œ œ œ œ bœ œ œ œ œ. . œ. œ. b J J œ œ œ œ. & b b œ. ‰ ‰ ‰ F ƒ Ob. > bb œ. ‰ œ œ œ. œ. œ. œ- ‰ ‰ œ bœ œ œ œ. œ. œ. œ. œ. & b J J œ œ œ œ œ. F ƒ Bsn. ? b j ‰ ‰ ‰ ‰ b b œ œ j j œ. nœ. bœ. œ. bœ. Nœ. . . œ. œ- œ. œ. bœ. F ƒ > E Cl. . . . - > . œ. œ. . b œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ. œ. & ‰ ‰ J ‰ ‰ J œ œ F ƒ B Cl. 1 b - > œ œ. b ‰ œ œ œ. œ. œ. œ ‰ ‰ œ bœ œ œ œ œ œ. . œ. œ. œ. & œ. J J œ œ F ƒ B Cl. 2 b . . . - > . œ. œ. . & b ‰ œ œ œ œ œ œ ‰ ‰ œ. œ œ œ œ œ œ œ œ. œ. œ. J œ F ƒ B Cl. 3 b . . . - > . œ. œ. . & b ‰ œ œ œ œ œ œ ‰ ‰ œ. œ œ œ œ œ œ œ œ. œ. œ J œ . F ƒ A.Cl. œ œ œ œ. œ. œ- œ. œ. œ. ‰ J ‰ ‰ j œ. œ. œ. & œ bœ œ œ œ œ œ œ. ƒ> œ F B. Cl. & b j ‰ ‰ j j ‰ ‰ œ œ. œ. nœ. bœ. . . . bœ. . œ. œ œ > œ. œ bœ Nœ F . - ƒ A. Sx. 1 . . - . œ œ œ œ œ œ >œ. & œ ‰ J ‰ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ F ƒ A. Sx. 2 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 F ƒ T. Sx. j j j > . b ‰ ‰ œ. œ ‰ ‰ œ. œ œ. œ. & œ. . œ- ˙. œ. œ. œ. F ƒ B. Sx. j ‰ ‰ ‰ ‰ & œ œ j j œ. œ. #œ. nœ. œ. bœ. œ. bœ. . . œ. œ- > œ. F ƒ 93 Maestoso {q. = 106} B Tpt. 1 b b ‰ ‰ œ œ œ. œ. œ. œ- ‰ ‰ j œ. œ. œ & J œ bœ œ œ. œ. . > ˙. . F ƒ B Tpt. 2 b œ œ œ. œ. œ. œ- œ. œ. & b ‰ ‰ J ‰ ‰ j œ. œ. œ. >œ bœ ˙. œ. F ƒ B Tpt. 3 b b ‰ ‰ ‰ ‰ j œ. œ. & j œ bœ œ œ. œ. œ. œ œ œ. œ. œ. œ- > ˙. . F ƒ Hn. 1, 2 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- > F ƒ Hn. 3, 4 b 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 F ƒ Tbn. 1 œ. œ. - j œ. œ. œ. ? bb Œ. J œ ‰ ‰ œ bœ ˙. œ. œ. œ. b J > F ƒ Tbn. 2 . . . - j œ œ. œ. ? bb Œ. œ œ œ ‰ ‰ œ bœ ˙. œ. œ. œ. b J J > F ƒ Tbn. 3 . . - ? bb Œ. œ œ œ ‰ ‰ œ. œ. bœ. b J J > œ. nœ. bœ. œ. bœ. œ. F ƒ Euph. . > œ. ? b œ œ. œ- œ. œ œ. œ. b b Œ. J J ‰ ‰ ˙. œ. œ. . F ƒ Tuba ? b . b b Œ j j ‰ ‰ œ. nœ. bœ. œ. bœ. Nœ. œ. œ. œ œ œ. bœ. - >. Mlt. Perc. F ƒ b œ & b b ∑ ∑ . . œ. œ. ˙. œ. œ. œ Perc. 1 j ‰ ‰ > ‰ ‰ œ œ œ œ œ œ œæ. œ ‰ œ@ œ ‰ œ@ œ ‰ œ@ œ ‰ œ@ œ ‰ œ@ œ ‰ œ@ œ ‰ œ@ œ ‰ œ@ ã Œ...... F ƒ > Perc. 2 > ∑ Œ. ã y. y. y. y. y. y. y. y. y. 91 92ƒ 93 94 95 96

!58 Clef Club March 17

Picc. œ œ œ œ œ œ. œ. b œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ & b b J J ‰ ‰

Fl. 1 œ œ œ œ œ œ. œ. b œ. œ. œ. œ œ œ œ œ œ œ œ œ œ œ œ œ & b b J J ‰ ‰

Fl. 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 & b b J J ‰ ‰

Ob. b j j 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

Bsn. ? bb j j j ‰ ‰ œ. b œ. œ œ. ˙. œ. nœ. bœ. œ. œ œ œ œ > E Cl. . œ œ œ œ œ œ. œ. b œ. œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ & J J ‰ ‰

B Cl. 1 b . j j œ œ œ œ œ œ. œ. & b œ. œ œ. œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ œ œ

B Cl. 2 b j j œ œ œ œ œ œ. œ. & b œ. œ. œ. œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ œ œ

B Cl. 3 b j j œ œ œ œ œ œ. œ. & b œ. œ. œ. œ œ œ ‰ ‰ œ œ œ œ œ œ œ œ œ œ

A.Cl. œ. œ. œ. œ œ œ ‰ ‰ œ œ œ. œ. & J J œ œ œ œ œ œ œ œ œ œ œ œ œ

B. Cl. b j j j ‰ ‰ & œ. œ œ œ . œ. œ œ œ. ˙. œ. œ nœ. bœ. > A. Sx. 1 œ œ j œ ‰ œ œ œ œ ‰ œ œ œ & œ ‰ œ ‰ œ ‰ œ œ ‰ œ œ ‰ ‰ œ. œ. œ. ‰ ‰

A. Sx. 2 bœ ‰ œ ‰ ‰ j ‰ ‰ ‰ & œ ‰ œ œ œ œ œ œ œ. œ. œ. œ ‰ œ œ ‰ œ œ ‰ œ œ œ T. Sx. j b œ. . & œ. œ œ œ ˙. ˙. ˙. œ. œ. B. Sx. j Nœ. œ. œ œ œ ‰ ‰ . & œ œ J J œ. ˙. œ. œ #œ. nœ. > B Tpt. 1 b j b œ. . & œ. œ œ œ ˙. ˙. ˙. œ. œ.

B Tpt. 2 b j & b œ. œ. œ œ œ. ˙. ˙. ˙. œ. œ.

B Tpt. 3 b j b œ. . & œ. œ œ œ ˙. ˙. ˙. œ. œ.

Hn. 1, 2 b œ œ j œ œ & b œ ‰ œ ‰ œ ‰ œ œ ‰ œ œ ‰ ‰ œ. œ. œ. œ ‰ œ œ ‰ œ œ ‰ œ ‰

Hn. 3, 4 bb ‰ j ‰ ‰ ‰ & œ ‰ œ bœ œ œ ‰ œ œ ‰ œ œ œ. œ. œ. œ ‰ œ œ ‰ œ œ ‰ œ œ œ Tbn. 1 ? œ. œ. œ œ bbb œ. J ˙. ˙. ˙. œ. œ.

Tbn. 2 ? œ. œ. œ œ bbb œ. J ˙. ˙. ˙. œ. œ.

Tbn. 3 j ? b Nœ. œ. œ œ œ ‰ ‰ . b b œ œ J J œ. ˙. œ. œ nœ. bœ. > Euph. ? œ. œ. œ œ bbb œ. J ˙. ˙. ˙. œ. œ.

Tuba ? b j ‰ ‰ . b b œ. j j œ œ. ˙. œ. œ nœ. bœ. œ. œ œ œ œ > Mlt. Perc. b j & b b œ. œ œ œ œ. . ˙. ˙. ˙. œ. œ. Perc. 1 j > œ œ@ œ œ@ œ œ@ œ œ@ œ œæ ˙æ œ œ@ œ œ@ œ œ@ œ œ@ ã œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ ‰ ‰ œ. . œ. ‰ œ. ‰ œ. ‰ œ. ‰ J > ß Perc. 2 > j ‰ ‰ ∑ ã y. y. y. y. y y. y. y. y. y. 97 98 99ß 100 101 102

!59 18 Clef Club March

œ. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Picc. œ. œ. œ. œ. œ œ ˙. œ b œ. œ. J ‰ œ œ œ & b b J œ. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Fl. 1 œ. œ. œ. œ. œ œ ˙. œ b œ. œ. J ‰ œ œ œ & b b J œ. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Fl. 2 œ. œ. œ. œ. œ œ ˙. œ b œ. œ. J ‰ œ œ œ & b b J Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ob. j bbb œ. œ. œ. œ. œ. œ œ ˙. œ ‰ œ & œ. œ. J œ œ

Bsn. ? b ‰ j j b b œ. bœ. Nœ. j œ j bœ. œ œ bœ œ. œ. œ œ œ œ œ œ œ œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ E Cl. œ. . . b œ œ. œ. . œ. œ œ œ ˙. œ œ & œ J ‰ œ œ J

B Cl. 1 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b œ. b œ. œ. œ œ. œ. œ œ ˙. œ ‰ œ & . œ. J œ œ J

B Cl. 2 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b œ. b œ. œ. œ œ. œ. œ œ ˙. œ ‰ œ & . œ. J œ œ J Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ B Cl. 3 . b b œ œ. œ. œ. œ. œ œ ˙. œ ‰ œ & œ. œ. J œ œ J Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ A.Cl. . . œ œ. œ. . œ. œ œ œ ˙. œ œ & œ. œ J ‰ œ œ J

B. Cl. j & b ‰ j œ œ œ j j œ bœ œ. œ œ œ œ œ. bœ. Nœ. bœ. œ œ. œ œ A. Sx. 1 œ œ œ œ œ & œ ‰ œ œ ‰ œ œ ‰ œ bœ ‰ œ Nœ ‰ œ ‰ œ ‰ œ œ ‰ œ J 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 J œ œ ‰ Œ.

T. Sx. b œ. œ. œ. œ. œ œ ˙. œ j œ & œ. œ. œ. J œ œ J

B. Sx. œ œ œ j & ‰ œ bœ œ. œ J œ œ œ j œ. bœ. œ. bœ. Nœ J œ. œ œ

B Tpt. 1 b b œ. œ. œ œ. œ. œ œ ˙. œ j œ & œ. . œ. J œ œ J

B Tpt. 2 b b œ. œ. œ. œ. nœ œ ˙. œ j œ & œ. œ. œ. J œ œ J

B Tpt. 3 b b œ. œ. œ. œ. nœ œ ˙. œ j œ & œ. œ. œ. J œ œ J

Hn. 1, 2 b œ œ œ œ œ . & b œ ‰ œ œ ‰ œ œ ‰ œ bœ ‰ œ Nœ ‰ œ ‰ œ ‰ œ œ ‰ œ J œ œ ‰ Œ

Hn. 3, 4 b œ œ œ . & b œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ nœ ‰ œ J œ œ ‰ Œ

Tbn. 1 œ. œ. œ. œ. œ œ ˙. œ ? b œ. œ. œ. J œ œ œ b b J J

Tbn. 2 œ. œ. œ. œ. œ œ ˙. œ ? b œ. œ. œ. J œ œ œ b b J J Tbn. 3 œ j ? b ‰ œ bœ œ œ œ œ œ œ b b œ. bœ. Nœ. bœ. œ J . œ. œ J œ œ J Euph. œ. œ. œ. œ. œ œ ˙. œ œ ? b œ. œ. œ. J œ œ J b b J

Tuba ? b b b œ. bœ. Nœ. ‰ j j œ j j bœ. œ œ bœ œ. œ. œ œ œ œ œ œ œ œ Mlt. Perc. bb œ. œ. œ. œ. œ œ ˙. œ j j & b œ. œ. œ. J œ œ œ > > Perc. 1 œ œ@ œ œ@ œ œ@ œ œ@ œ œ@ œ œ@ œ œ œ œ œ œ œj ã œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œæ. œ ‰ œæ. œ ‰ ‰ Œ...... ‰ . > J > J ß ß Perc. 2 > > j ‰ ‰ j ‰ ‰ j ‰ ‰ Œ. ã y. y. y. y. y. y. y y. y y. y 103 104 105 106ß 107ß 108

!60 Clef Club March 19

109

Picc. œ Ÿ œ Ÿ œ b 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 J œ œ œ œ J

Fl. 1 œ Ÿ œ Ÿ œ b 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 J œ œ œ œ J

Fl. 2 œ Ÿ œ Ÿ œ b 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 J œ œ œ œ J Ÿ Ob. œ. j Ÿ bbb œ œ œ œ œ œ œ œ œ œ œ œ œ. j œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ

Bsn. ? j bbb ˙ œ j œ œ œ j . . œ œ œ. bœ. œ œ. bœ. œ. œ. E Cl. Ÿ Ÿ œ b 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 J œ Ÿ B Cl. 1 œ. Ÿ. b b œ œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ & œ J œ œ œ œ œ œ œ œ œ œ œ

B Cl. 2 Ÿ Ÿ b œ œ. œ. j b 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 œ œ Ÿ B Cl. 3 œ. Ÿ. b b œ œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ & œ J œ œ œ œ œ œ œ œ œ œ œ

A.Cl. Ÿ Ÿ 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 J œ

B. Cl. b & j bœ. œ j j ˙. œ. œ œ œ. œ œ œ œ. bœ. 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

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

T. Sx. j b ˙. œ œ ˙. œ œ. œ & œ. J œ. œ . œ. œ.

B. Sx. j j & ˙ œ j œ œ œ . . œ œ œ. bœ. œ œ. bœ. Nœ. œ. 109

B Tpt. 1 b b ˙. œ ˙. j œ. & œ. œ J œ. œ œ œ. œ. œ.

B Tpt. 2 b b ˙. œ ˙. j œ. & œ. œ J œ. œ œ œ. œ. œ.

B Tpt. 3 b b ˙. œ ˙. j œ. & œ. œ J œ. œ œ œ. œ. œ. Hn. 1, 2 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

Hn. 3, 4 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

Tbn. 1 . ? ˙ œ. œ œ ˙. œ œ œ. œ. œ. bbb J œ. J œ.

Tbn. 2 . ? ˙ œ. œ œ ˙. œ œ œ. œ. œ. bbb J œ. J œ.

Tbn. 3 j ? bb j bœ. œ œ j b ˙. œ. œ œ œ. œ œ œ. bœ. Nœ. œ.

Euph. ˙. ? b œ. œ œ ˙. œ œ œ œ. œ. œ. œ b b J . J .

Tuba ? j bbb ˙ œ j œ œ œ j . . œ œ œ. bœ. œ œ. bœ. Nœ. œ.

Mlt. Perc. b ˙. j . j & b b œ. œ œ ˙ œ. œ œ œ. œ. œ. œ.

Perc. 1 > œ œ@ œ œ@ œ œ@ œ œ@ œ œ@ œ œ@ œ œ@ œ œ ˙æ ˙æ ã œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ ˙. ˙. > > ß Perc. 2 > > ã y. y. y. y. y. y. y. y. T. T. 109 110 111 112 113 114

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œ. Picc. œ œ œ. œ. œ. œ. b ˙. œ œ œ œ œ œ & b b ˙. J œ. Fl. 1 œ œ œ. œ. œ. œ. b ˙. œ œ œ œ œ œ & b b ˙. J œ. Fl. 2 œ œ œ. œ. œ. œ. b ˙. œ œ œ œ œ œ & b b ˙. J

Ob. bbb œ œ œ œ. œ. œ. œ. œ. j & ˙. ˙. œ œ œ œ œ

Bsn. ? b b b œ. œ. œ nœ. bœ. œ. bœ. Nœ. . œ. œ. œ. bœ. E Cl. œ. œ. œ. œ. b œ œ œ œ œ œ œ. œ œ & ˙. ˙. J

B Cl. 1 b œ. b œ œ œ œ œ. œ. œ. œ. œ j & ˙. ˙. œ œ œ

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

B Cl. 3 b œ œ. j b œ œ œ œ œ. . œ. œ. œ & ˙. ˙. œ œ œ A.Cl. œ. œ. œ ˙. ˙. œ. œ. œ. œ & œ œ œ œ œ œ J

B. Cl. b & . . bœ. œ. œ. œ. œ œ. œ nœ. bœ. œ. bœ. Nœ. A. Sx. 1 bœ œ Nœ 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

T. Sx. b œ. œ. œ j & ˙. ˙. ˙. œ. œ. œ. œ

B. Sx. . . bœ. & œ. œ. œ. œ œ. œ #œ. nœ. œ. bœ. Nœ.

B Tpt. 1 b b œ. œ. œ j & ˙. ˙. ˙. œ. œ. œ. œ

B Tpt. 2 b . j & b œ œ. œ œ ˙. ˙. ˙. œ. œ. œ.

B Tpt. 3 b b œ. œ. œ j & ˙. ˙. ˙. œ. œ. œ. œ

Hn. 1, 2 b bœ œ Nœ œ œ œ œ œ & b œ ‰ œ ‰ ‰ œ ‰ œ œ ‰ œ œ ‰ œ ‰ ‰ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ

Hn. 3, 4 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

Tbn. 1 . ? œ œ. œ œ bbb ˙. ˙. ˙. œ. œ. œ. J

Tbn. 2 . ? œ œ. œ œ bbb ˙. ˙. ˙. œ. œ. œ. J

Tbn. 3 ? b . . bœ. b b œ. œ. œ. œ œ. œ nœ. bœ. œ. bœ. Nœ.

Euph. . ? œ œ. œ œ bbb ˙. ˙. ˙. œ. œ. œ. J

Tuba ? b b b œ. œ. œ. . nœ. bœ. œ. bœ. Nœ. œ. œ œ. bœ. Mlt. Perc. b j & b b œ. œ. œ œ ˙. ˙. ˙. œ. œ. œ. > Perc. 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@ ã œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ œ. ‰ > > Perc. 2 > > ã y. y. y. y. y. y. y. y. y. y. y. y. 115 116ß 117 118 119 120

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Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ äœ Picc. b œ. œ. œ. œ œ ˙. œ & b b J J ‰ ‰ ‰ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ äœ Fl. 1 b œ. œ. œ. œ œ ˙. œ & b b J J ‰ ‰ ‰ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ äœ Fl. 2 b œ. œ. œ. œ œ ˙. œ & b b J J ‰ ‰ ‰

Ob. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b j j äœ & b b œ. œ. œ. œ œ ˙. œ ‰ ‰ ‰

Bsn. j ? bb j j œ œ œ j ‰ ‰ ‰ b œ. œ nœ œ œ œ. œ œ œ œ â ä E Cl. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ b œ. œ. œ. œ œ ˙. œ & J J ‰ ‰ ‰ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ B Cl. 1 b œ ˙. œ äœ & b œ. œ. œ. œ J J ‰ ‰ ‰ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ B Cl. 2 ä b œ ˙. œ œ & b œ. œ. œ. œ J J ‰ ‰ ‰ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ B Cl. 3 b . œ ˙. œ & b œ. œ œ. œ J J ‰ ‰ œ ‰ â A.Cl. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ä œ. œ. œ. œ œ ˙. œ œ & J J ‰ ‰ ‰

B. Cl. b j j j ‰ ‰ ‰ & œ. œ œ œ œ œ œ œ j œ. œ nœ œ œ â A. Sx. 1 ä ‰ ‰ œ ‰ ‰ œ ‰ œ œ ‰ œ œ ‰ ‰ œ ‰ & œ œ œ œ œ œ œ J

A. Sx. 2 j & œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ ‰ œ ‰ â T. Sx. ä . j j œ & b œ. œ œ. œ œ ˙. œ ‰ ‰ ‰

B. Sx. j j j œ. œ œ œ j ‰ ‰ ‰ & œ. œ œ œ #œ œ œ œ œ â B Tpt. 1 ä b j j œ & b œ. œ. œ. œ œ ˙. œ ‰ ‰ ‰

B Tpt. 2 b . & b œ. œ œ j j ‰ ‰ œ ‰ œ œ. ˙. œ â B Tpt. 3 b . & b œ. œ œ j j ‰ ‰ œ ‰ œ œ. ˙. œ â Hn. 1, 2 ä bb ‰ ‰ œ ‰ ‰ œ ‰ œ œ ‰ œ œ ‰ ‰ œ ‰ & œ œ œ œ œ œ œ J

Hn. 3, 4 bb j ‰ ‰ ‰ & œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ ‰ œ œ œ â Tbn. 1 œ ä ? œ. œ œ. ˙. œ œ bbb œ. J J ‰ ‰ ‰

Tbn. 2 ä ? b œ. œ. œ. œ œ ˙. œ œ b b J J ‰ ‰ ‰

Tbn. 3 j j j ? b œ. œ œ œ œ œ ‰ ‰ ‰ b b œ. œ œ nœ œ œ J œ â Euph. ä ? b œ. œ. œ. œ œ ˙. œ œ b b J J ‰ ‰ ‰

Tuba ? b j ‰ ‰ ‰ b b œ. j j œ j œ œ œ. œ œ œ œ nœ œ œ œ â Mlt. Perc. b j j œ & b b œ. œ. œ. œ œ ˙. œ ‰ ‰ ‰

Perc. 1 > > j j > œ œ œæ. œ œ œæ. œ œ œ œ œ œ œ œ ã ˙. ‰ ˙. ‰ œ. œ. ‰ œ ‰ ‰ œ ‰ > > J > Perc. 2 ß > ß > > Œ. Œ. j ‰ ‰ j ‰ ‰ ã y. y. y. y. y y 121ß 122ß 123 124

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