George Cory & Douglass Cross I Left My Heart in San Francisco
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I LEFT MY HEART IN SAN FRANCISCO Words by Douglass Cross • Music by George Cory Copyright © 1954 Colgems-EMI Music Inc. Copyright Renewed. This arrangement Copyright © 2018 by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219 International Copyright secured. All rights reserved. Reprinted by permission of Hal Leonard LLC. FULL SCORE George Cory & Douglass Cross I Left My Heart in San Francisco Concert Transcription for Band by Alfred Reed Edited by R. Mark Rogers INSTRUMENTATION 1-FULL SCORE 1-PICCOLO 3-1st FLUTE 3-2nd FLUTE 1-1st OBOE 1-2nd OBOE 1-CLARINET in Eb 4-1st CLARINET in Bb 4-2nd CLARINET in Bb 4-3rd CLARINET in Bb 1-ALTO CLARINET in Eb 2-BASS CLARINET in Bb 1-CONTRA ALTO CLARINET in Eb or CONTRA BASS CLARINET in Bb 1-1st BASSOON 1-2nd BASSOON 2-1st ALTO SAXOPHONE in Eb 2-2nd ALTO SAXOPHONE in Eb 2-TENOR SAXOPHONE in Bb 1-BARITONE SAXOPHONE in Eb 2-1st TRUMPET in Bb 2-2nd TRUMPET in Bb 2-3rd TRUMPET in Bb 1-1st CORNET in Bb 1-2nd CORNET in Bb 1-1st HORN in F 1-2nd HORN in F 1-3rd HORN in F 1-4th HORN in F 2-1st TROMBONE 2-2nd TROMBONE 2-3rd TROMBONE 3-EUPHONIUM in Treble or Bass Clef 4-TUBA 1-STRING BASS 5-PERCUSSION: Timpani (three or four drums needed), Crash & Suspended Cymbals, Bass Drum and Bells Grade 3.5 Duration: Approx. 4 Minutes Perusal
Transcript of George Cory & Douglass Cross I Left My Heart in San Francisco
I LEFT MY HEART IN SAN FRANCISCO Words by Douglass Cross • Music by George Cory
Copyright © 1954 Colgems-EMI Music Inc. Copyright Renewed. This arrangement Copyright © 2018 by Sony/ATV Music Publishing LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International Copyright secured. All rights reserved. Reprinted by permission of Hal Leonard LLC.
FULL SCORE
George Cory & Douglass Cross
I Left My Heart in San Francisco Concert Transcription for Band by Alfred Reed
Edited by R. Mark Rogers
INSTRUMENTATION
1-FULL SCORE
1-PICCOLO
3-1st FLUTE
3-2nd FLUTE
1-1st OBOE
1-2nd OBOE
1-CLARINET in Eb
4-1st CLARINET in Bb
4-2nd CLARINET in Bb
4-3rd CLARINET in Bb
1-ALTO CLARINET in Eb
2-BASS CLARINET in Bb
1-CONTRA ALTO CLARINET in Eb or
CONTRA BASS CLARINET in Bb
1-1st BASSOON
1-2nd BASSOON
2-1st ALTO SAXOPHONE in Eb
2-2nd ALTO SAXOPHONE in Eb
2-TENOR SAXOPHONE in Bb
1-BARITONE SAXOPHONE in Eb
2-1st TRUMPET in Bb
2-2nd TRUMPET in Bb
2-3rd TRUMPET in Bb
1-1st CORNET in Bb
1-2nd CORNET in Bb
1-1st HORN in F
1-2nd HORN in F
1-3rd HORN in F
1-4th HORN in F
2-1st TROMBONE
2-2nd TROMBONE
2-3rd TROMBONE
3-EUPHONIUM in Treble or Bass Clef
4-TUBA
1-STRING BASS
5-PERCUSSION: Timpani (three or four drums needed),
Crash & Suspended Cymbals, Bass Drum and Bells
Grade 3.5 Duration: Approx. 4 Minutes Perusa
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I Left My Heart in San Francisco
George C. Cory Jr. (August 3, 1920—April 13, 1978) was an American pianist and composer whose most notable work
is the song I Left My Heart in San Francisco. His partner, Douglass Cross (1920–1975), wrote the lyrics. When the song was
written in 1953, Cory and Cross were amateur songwriters who had moved to New York following military service in World
War II and were homesick for the west coast. After pitching the song unsuccessfully to other artists for about eight years, the
song was picked up by Ralph Sharon, Tony Bennett’s musical director, who suggested to Bennett that it would be a good song
for a 1962 New Year’s engagement scheduled at the Fairmont Hotel in San Francisco. Mayor George Christopher and future
mayor Joseph L. Alioto were in attendance. After a good response to the song, Bennett recorded it shortly thereafter and released
it in February 1962. The song has became an enduring hit and in 1969 was named as the official song of San Francisco, with the
song’s creators present when the city’s board of supervisors decided unanimously to make that designation.
Composer George Cory grew up in the San Francisco area. He studied music at UC Berkely, then enlisted in the army
on September 14, 1942. While in the army, he met Douglass Cross who was also in the service at the time. Cross had been a
baritone soloist (and youngest member) of the San Francisco Opera Company in 1941 when his career was interrupted by the
war. During the war, Cory and Cross collaborated on musical shows for servicemen. After military service, they moved to
Brooklyn, New York, to make a career of songwriting and met with mixed success. They wrote over 200 songs together, but only
30 were published. The song I Left My Heart in San Francisco was their only commercial success. Cory said, “It was pure
nostalgia. We missed the warmth and openness of the people and the beauty. We never took to New York.” The song provided
them income for life when it became an international hit. In 2003, Cory and Cross received the “Towering Song Award,” given
by the Songwriters Hall of Fame and presented at the National Academy of Popular Music’s 34th annual induction ceremony.
Tony Bennett received the “Towering Performance Award” for his trademark rendition of the song. Bennett has said of the song,
“That song helped make me a world citizen. It allowed me to live, work and sing in any city on the globe. It changed my whole
life.”
Southern Music Company’s edition of Alfred Reed’s arrangement of George Cory and Douglass Cross’s hit song I Left My Heart in San Francisco, is a welcome return to the repertory of the wind band. Long out-of-print, this exquisite arrangement
was originally published with an entirely unsatisfactory condensed score. Mark Rogers’ edition of this score preserves Cory’s
lovely, romantic tune in a handsome full score that allows conductors to observe the great skill of Alfred Reed’s lush, colorful
setting.
Alfred Reed
Alfred Reed (January 21, 1921 - September 17, 2005) was a prolific and frequently performed composer and arranger,
with more than two hundred published works for concert band, wind ensemble, orchestra, chorus and chamber ensemble to his
name. He also traveled extensively as a guest conductor, performing in North America, Latin America, Europe and Asia.
Reed was born in New York and began his formal music training at the age of ten. During World War II, he served in
the 529th Army Air Force Band. Following his military service, he attended the Juilliard School of Music, studying under
Vittorio Giannini, after which he was staff composer and arranger first for NBC, then for ABC. In 1953, he became conductor of
the Baylor Symphony Orchestra at Baylor University, where he received his B.M in 1955 and M.M. in 1956. His master’s thesis,
Rhapsody for Viola and Orchestra, was awarded the Luria Prize in 1959. He was a member of the Beta Tau chapter of Phi Mu
Alpha Sinfonia, the national fraternity for men in music.
From 1955 to 1966, Alfred Reed was the executive editor of Hansen Publications, a music publisher, also lending his
talents to other publishers. It was during this time that his arrangement of Cory and Douglass’s song I Left My Heart in San Francisco was written (copyright 1963). He was appointed Professor of Music at the University of Miami in 1966. He was
chairman of the Department of Music Media and Industry and director of the Music Industry Program at the time of his
retirement. He established the very first college-level music business curriculum at the University of Miami, which led other
colleges and universities to follow suit. At the time of his death, he had commissions for compositions that would have taken
him to the age of 115. Many of Reed’s wind band compositions and arrangements, including the song I Left My Heart in San Francisco, were recorded by the Tokyo Kosei Wind Orchestra under his direction on CDs that are readily available.
R. Mark Rogers
R. Mark Rogers began writing for band while in high school, and continued with degrees from Texas Tech University
and the University of Texas. Director of Publications for Southern Music Company from 1993 and Managing Editor of the firm
since 2015, Rogers has authored editions of the music of Percy Grainger and John Philip Sousa that have entered band repertory
worldwide. He is also widely published as an arranger and transcriber, with performances by all five of the Washington, DC
service bands. Dr. Rogers is the conductor of the Heart of Texas Concert Band and serves on the adjunct faculty of San Antonio
College, Texas Lutheran University and Trinity University, and prior to coming to San Antonio was on the faculty of the
University of South Alabama and a staff member of the University of Texas Longhorn Band. A bassoonist, he performs with the
orchestras of Corpus Christi, Victoria, Laredo, San Antonio and Austin, as well as the Mid-Texas Symphony. He is active in
church music and occasionally appears in music theater, performing numerous roles in the operettas of Gilbert and
Sullivan. Sudie, his wife of more than forty years, their children and spouses (and grandchildren), are the joy of his later years.
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I LEFT MY HEART IN SAN FRANCISCO George Cory and Douglass CrossConcert Transcription for band by Alfred Reed
Edited by R. Mark Rogers
Full ScoreS972
I LEFT MY HEART IN SAN FRANCISCOWords by Douglass Cross • Music by George Cory
Copyright © 1954 Colgems-EMI Music Inc. Copyright Renewed.This arrangement Copyright © 2018 by Sony/ATV Music Publising LLC, 424 Church Street, Suite 1200, Nashville, TN 37219
International copyright secured. All Rights Reserved. Reprinted by permission of Hal Leonard LLC.Digital and photographic copying of this publication is illegal.
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12
Eb Cl.
1
2
3
Al. Cl.
Bs. Cls.
CB. Cl.
12
12
T. Sxs.
B. Sx.
1
23
12
12
34
12
3
Euphs.
Tubas
St.Bs.
Timp.
Cymbs.Bs. Dr.
Bells
Flutes
Oboes
Bb Clars.
Bsns.
A. Sxs.
Trpts.
Crnts.
Horns
Trbns.
21 œ œ œ# œ
œœ œœ# œœ## œœ
œœ œœ œœ#n œœ
Œ œ œ# œ
œœ œœ œœ## œœ
œ œœ# œœ‹# œœ
œœ œœb œœ œœbn
œ# œ# œ œ
˙ ˙w-œ# œn œ œ
œœ œœ# œœ#‹ œœ
œ œ œ œw#
∑∑∑∑∑
∑∑
œ# œn œ œ
˙-
w-w-
∑∑
21
˙ Ó
P
w
wwnwww
wwwwn
wwn
œ œ œ œ# œn3
w-w-œ œ œ œ# œn3
wwnw˙n ˙
Œ œ œ œŒ œ œ œŒ œ œ œ
∑∑∑
Œ œ œ œŒ œ œ œ
Œ œ œ œ# œn3
œ œ œ œ# œn3
ww-w-
∑∑
22
∑
P
P
PP
œ œ- .œJœ
œœ œœn - ..œœb jJœ
œœ œœn - ..œœb jJœ
œ œ- .œ jœœœ œœ# - ..œœb j
Jœœœ œœ- ..œœ# jœœ
œœ œœ# - ..œœb jœœ
.˙# œ œ
w-w-.˙n œ œ
œœ œœ- ..œœ# Jœœœ œ# - .œb Jœw-
œ- œ œ Jœ ‰œœ- œœ# œœ## jœœ ‰
∑∑∑
- œb jœ ‰- œ Jœ ‰˙n œ Jœ ‰
.˙n œ œ
ww-w-
∑∑
23
∑
f
f
f
f
f
f
f
ff
take cup mutes
Ftake cup mutes
F
FF
FF
.- œ œ
.- œ œ
.˙- œ œ- œ œ
.- œ œ
.- œ œ-- œ œ.˙n -
œ œ
˙- œœ œœb
œ œ œ œ œnŒ - œ#Œ œ- œ œ#œ œ œnœ œ œb- œ œn.˙n -
œ œ- œ œnŒ - œ#
∑∑∑
Ó Œ œœ# -Ó Œ œb -
∑ 1st & 2nd Horn cues
∑œ œ œ œ œb
Œ œ- œ œnŒ œ- œ œn
∑∑
24
∑
unis.
unis.
PP
œ Œ Óœ Œ Óœ Œ Ó
œ Œ Óœ Œ Óœ Œ Óœ
œœ Œ Ó
œ Œ Ó
œ Œ Ó
œ Œ Ó
œœ Œ Ó
œœ ‰ Jœ œ œœ ‰ Jœ œ œ
œ Œ Ó
∑∑∑cue: Saxes & Horns
œœn ‰ jœ œ œ
œ ‰ jœ œ œ
∑∑
œ Œ Ó
œ Œ Ó
œ Œ Ó∑∑
25
∑
p
p
p
p
p
p
p
ppp
p
Punis.
soli
pP
soli
pp
Punis.
soli
pP
soli
p
pp
p
7
S972
Perusa
l
&&&
&&
&
&&&&?
&
&&
&
&
&
&
&
????
??
ã&
bbb b
b b
#
#
b b
#
#
b
b
b b
b b
b bb b
b bb b
b b
Picc.
12
12
Eb Cl.
1
2
3
Al. Cl.
Bs. Cls.
CB. Cl.
12
12
T. Sxs.
B. Sx.
1
23
12
12
34
12
3
Euphs.
Tubas
St.Bs.
Timp.
Cymbs.Bs. Dr.
Bells
Flutes
Oboes
Bb Clars.
Bsns.
A. Sxs.
Trpts.
Crnts.
Horns
Trbns.
26∑∑∑
∑Œ œ œ œ œ œ œ
Œ œ œ Jœ œ Jœ
∑∑
œ. Œ œ. Œ
œ. Œ œ. Œ∑
ww
w26 ∑
∑
∑
w
w
w-w
w-
∑
œ.Œ œ.
Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
26
∑
p
p
pp
p
pp
ppizz.
Brushes on Suspended Cymbal
Bass Drump
p
∑∑∑
∑˙ ˙#
˙ ˙b
Œ œ ˙#∑
œ. Œ œb . Œ
œ. Œ œb . Œ∑
œ œ .œ Jœ
œ œ .œ Jœ
˙ ˙b
∑∑Œ œ ˙#∑
œ œ .œ Jœ
œ œ .œ Jœ
˙ ˙.˙ œ
˙ ˙n∑
œ.Œ œb .
Œ
˙ ˙b∑
œ œ œ œœ Œ œ Œ
27
∑
p
pcup mutes
∑Œ œœ œœ œœ œœ œœ œœ
∑
∑∑
∑
wn∑
œ. Œ œ. Œ
œ. Œ œ. Œ∑
œ .˙œ .˙w
Œ œ œ œ œ œ œŒ œ œ œ œ œ œwn
∑
œ .˙
œ .˙
ww
wb∑
œ.Œ œ.
Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
28
∑
F
FF
cup mutes
cup mutes
∑œœ Jœœ ‰ Ó
∑
∑Œ œ œ# œŒ œ œ# œjœ ‰ œ œ# œ
∑wœ. Œ œ. Œ
∑
jœ ‰ œ œ# œ
Jœ ‰ œ œ# œw
œ Jœ ‰ Ó
œ jœ ‰ Óœ Jœ ‰ Ó
Œ œ œ# œjœ ‰ Œ Ó
jœ ‰ Œ Ó
˙ œœn# œœ
w
∑
œ. Œ œ. Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
29
∑
Fsoli
Fsoli
Fsoli
Fsoli
∑Œ œœ œœ œœ œœ œœ œœ
∑
∑w
w
w∑
œ. Œ œ. Œ
œ. Œ œ. Œ∑
ww
w
Œ œ œ œ œ œ œ
Œ œ œ œ œ œ œ
w
∑
∑
ww-
w-
∑
œ.Œ œ.
Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
30
∑
2nd
8
S972
Perusa
l
&&
&
&&
&&
&
&&?
&
&&
&&
&
&
&
??
??
??
ã&
bbb b
b b
#
#
b b
#
#
b
b
b b
b b
b bb b
b bb b
b b
Picc.
12
12
Eb Cl.
1
2
3
Al. Cl.
Bs. Cls.
CB. Cl.
12
12
T. Sxs.
B. Sx.
1
23
12
12
34
12
3
Euphs.
Tubas
St.Bs.
Timp.
Cymbs.Bs. Dr.
Bells
Flutes
Oboes
Bb Clars.
Bsns.
A. Sxs.
Trpts.
Crnts.
Horns
Trbns.
31 ∑˙ ˙
Œ œ œ œŒ œ ˙
∑œ œ œ œ
œ œ ˙œ œ ˙Ó ˙
œ. Œ ˙œ. Œ ˙Ó ˙Ó ˙
œ œœ œ œ
œ œ ˙˙ ˙
˙ ˙
˙ ˙
œ œœ œ œ
Ó œ- œ∑Ó œ- œ∑˙ œ˙ œ
˙ ˙
Ó ˙
œ.Œ ˙
˙ ˙∑
œ œ œ œœ Œ œ Œ
31
∑
p
p
p
P
P
p
∑Jœœ# ‰ Œ Ówœ# œ# œ œ œ œ
∑w
œ# œ‹ œ œ œ œ
œ œ# œ œn œ œ
wœ. Œ œ. Œ
œ. Œ œ. Œœ Œ Ów
wœ# œ‹ œ œ œ œ
œ œ# œ œ œ œw
Jœ ‰ Œ Ójœ# ‰ Œ Ó
wœ# œ‹ œ œ œ œ
˙ œn œ œŒ œ# œ œ œ œ
˙ œn œ œ∑œœ Œ Óœ# Œ Ó
œ œ# œ œ œ œ
œ.Œ œ.
Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
32
∑
mutes out
mutes out
∑Œ œœ œœ## œœ
œ œ œ# œœ# œ œ œ
Œ œ# œ‹ œœ œ œ# œ
œ# œ œ œ
œ# œ œ# œ
œ Œ Ó
œ. Œ Ó
œ. Œ Ó∑œ Œ Ó
œ œ œ# œœ# œ œ œ
œ# œ œ# œœ Œ Ó
Œ œ œ# œ
Œ œœ# œœ#‹ œœœ œ œ# œœ# œ œ œ
œ œ# œ# œœ# œ œ# œ
œ œ# œ# œŒ œ œ# œn
Œ œœ œœ## œœn
Œ œ# œ# œœn œ œ# œ
œ.Œ Ó
˙ Ó∑
œ Œ Óœ
33
∑
F
fF
f
f
F
FF
open
open
F
FF
34∑..˙n œœ
˙ œ œJœn ‰ œ œ œ.˙ œn˙ œ œ
w#jœ ‰ œ œ œŒ œ œ œ
w-w-ww--
.˙ œJœn ‰ œ œ œ
Jœ ‰ œ œ œ
w-34 .˙ œ
..˙# œœn
.˙ œw#jœ ‰ Œ ÓJœ ‰ Œ Ó
jœ ‰ Œ ÓJœ# ‰ Œ Ó
..˙nn œœ
.˙ œ
.˙ œ
w-w-
œ> Œ Ó∑
34
∑
f
ff
ff
f
f
f
f
f
f
f
ff
f
f
ff
f
f
fF
arco
f
∑˙n - œœ- œœn -
˙ œ œn˙ œ œ
˙ œ œ#˙ œ œ#
˙ œ œ˙ œ œ#˙ œ œ#jœ ‰ œ- -jœ ‰ œ- -jœœ ‰ œœ-
˙-˙# œ œ˙ œ œ#˙ œ œ#jœ ‰ œ- -
˙# - œ- œ-
˙- œœ- œœ# -˙# - œœ- œœ# -
∑
∑
˙n - œœ- œœ-
- œ- œ-
Œ œ- -jœ ‰ œ- -Jœ ‰ œ- -
∑∑
35
∑
9
S972
Perusa
l
&
&&&&&&
&&&
?
&
&&
&&
&&
&
????
??
ã&
bb
b bb b#
#
b b
#
#
b
b
b b
b b
b bb b
b bb b
b b
Picc.
12
12
Eb Cl.
1
2
3
Al. Cl.
Bs. Cls.
CB. Cl.
12
12
T. Sxs.
B. Sx.
1
23
12
12
34
12
3
Euphs.
Tubas
St.Bs.
Timp.
Cymbs.Bs. Dr.
Bells
Flutes
Oboes
Bb Clars.
Bsns.
A. Sxs.
Trpts.
Crnts.
Horns
Trbns.
36 ∑œœb - .˙ .-
œ œ œb œ œb
œ œ œn œ œbœ œ œn œ œb
œ œœ œœnn œœ œœbb
œ œ œn œ œbœ œ œn œ œb
w-w-Œ œ œA œ œb
œ œ œ œ œbœ œ œn œ œ
œ œ œn œ œb
w-
œ- .-œœn# - ..˙-œ- œ œn œ œb
Œ œ œ œ œbŒ œ œ œ œbœœb - ˙ œb.-œ- .-
w-w-w-wæ
∑
36
∑
div.
unis.
Funis.
Funis.
F
Œ œ œ# œ
œœ œœn œœ## œœœ œœn œœ## œœœ œ œ# œ
œ œ œ# œœœ œ# œ# œ
œ œ œ œœ œ- œ- œ-œ Œ Ó
œ Œ Óœ Œ Óœ œœ# œœ## œœœ
œ œ œn œœ Œ Ó
œ Œ Óœœ Œ Óœ Œ Ó
œ .-œ Œ Óœ- Œ Óœ
œ Œ Óœ Œ Ó
œ Œ Ó
œ Œ Óœ Œ Ó
∑
37
∑
p(on Flute)
ppppp
pppp
p
p
pp
take cup mutes
take cup mutes
pp
p
ppp
pp
p
.˙b - œ
..˙bb - œœ
..˙b - œœ
.- œ
.- œ
..˙- œœ
..˙- œ
w-w-w-ww-
..˙n - œœ
.- œw-
Ó Œ œ-
Ó Œ œœn -∑
œ œ œ œ
w-∑3rd & 4th Horn cues
∑Euphonium cues
w-w-w-
∑∑
38
∑
P
P
PP
PP
P
Ppp
p
P
Pp
pcup mutes
pcup mutes
p
p
pp
˙ -
˙ ˙b -
˙ ˙b -
˙ ˙b -
˙ -
˙ ˙b -
˙ -˙ -˙ -w-˙ ˙-
˙ ˙b -
˙ -
˙ -
˙ -
˙ ˙b -∑
˙ -
˙ ˙-∑∑
˙ -
w-w-
∑∑
39
Œ ˙ œ
PP
P
P
P
P
P
P
P
P
40w-
ww-
ww-
w-
w-
ww-w-w-w-œ. Œ Ó
ww-
ww-
w-
œ. Œ Ó40
Jœ ‰ Œ Ójœœ ‰ Œ Ó
∑w-ww-
∑∑
w-
œ.Œ Ó
œ Œ Ó∑∑
40
œ œ œ œ
pizz.
solo
mutes out
mutes out
10
S972
Perusa
l
&&&&&&
&
&&&
?
&
&&
&&
&&
&
????
??
ã&
bb
b bb b#
#
b b
#
#
b
b
b b
b b
b bb b
b bb b
b b
Picc.
12
12
Eb Cl.
1
2
3
Al. Cl.
Bs. Cls.
CB. Cl.
12
12
T. Sxs.
B. Sx.
1
23
12
12
34
12
3
Euphs.
Tubas
St.Bs.
Timp.
Cymbs.Bs. Dr.
Bells
Flutes
Oboes
Bb Clars.
Bsns.
A. Sxs.
Trpts.
Crnts.
Horns
Trbns.
41 œ Œ Ópoco più mosso
œœ Œ Óœœ Œ Óœ Œ Óœ œ œ œ
œœ œ ˙#
œ .˙˙ œ œjœ ‰ œ ˙bŒ œ ˙b
Jœœ ‰ œœ ˙bœ œ
œœ Œ Óœ Œ ÓŒ œ ˙b
∑poco più mosso
∑
∑˙ ˙
˙ œ œ
∑∑
jœ ‰ œ ˙bŒ œ ˙bŒ œ ˙b
∑∑
41
˙ Ó
pchange to Piccolo
pppp
p
p
pp
p
pp
p
p
arco
pp
∑∑
Œ œœ œœ œœ∑
œ œ œ œ
˙n œ œ
˙ œœ œœ
˙ œ œw-w-ww-
∑cue: 2nd Oboe
∑cue: Alto Clar.
w-
∑∑
∑jœ ‰ Œ Ó
jœ ‰ Œ Óww-
w-
w-
w-w-
∑∑
42
∑
p
P
pp
∑∑
œ œ œ œw
∑œ œ œ œ
w
wwb
w
w-w-wwb -
∑
∑œ Œ Ó
∑∑
∑∑
∑ww-
wb -
w-w-w-
∑∑
43
∑
F
F
F
FFPP
F
PPP
P
P
∑∑
œ œ- œ œwb
∑œ œ- œ œ
wb
www
wb -wb -wwb -
∑
∑∑cue: Tubas
∑∑
∑∑
∑wwb -
w-
wb -wb -wb -
∑∑
44
∑
∑poco a poco rit.
∑œ œ- œ œw
∑œ œ- œ œ
w
w œ œ˙ œ œ
w-w-ww-
∑
Œ œ œ œ
∑
∑poco a poco rit.
∑
∑Œ œ œ œ
Œ œ œ œwwn -
w-
w-w-w-w-æ
∑
45
∑
P
P
P
p
11
S972
Perusa
l
&
&
&&
&&&
&&&?
&&&
&&
&
&&
??
??
??
ã&
bb
b b
b b#
#
b b
#
#
bb
b b
b b
b b
b b
b bb b
b b
b b b
b b b
b b bn
bbbn
bb
b b b
n
bn
bb
b
b b
b b
b b bb b b
b b bb b bb b bb b b
b b b
Picc.
12
12
Eb Cl.
1
2
3
Al. Cl.
Bs. Cls.
CB. Cl.
12
12
T. Sxs.
B. Sx.
1
23
12
12
34
12
3
Euphs.
Tubas
St.Bs.
Timp.
Cymbs.Bs. Dr.
Bells
Flutes
Oboes
Bb Clars.
Bsns.
A. Sxs.
Trpts.
Crnts.
Horns
Trbns.
46 ∑a tempo
Œ œœ œœb œœ#jœJœ ‰ œœ œœb œœ
Œ œ œ œ#
Jœ ‰ œ œ œ
Jœ ‰ œ œb œjœJœ ‰ œ œ œ#
Jœ ‰ œ œ œjœ ‰ Œ Ójœ ‰ Œ Ó
Jœœ ‰ Œ Ó
Œ œœ œœn œœ##
Jœ ‰ œ œ œ
Œ œ œ œ
Œ œ œb œa tempo
Œ œ œ œ#Œ œ œ œŒ œ œ œjœ ‰ œ œ œjœ ‰ œ œ œ
Jœœ ‰ œœ œœb œœn
Jœ ‰ œ œ œjœ ‰ œ œb œ
jœ ‰ Œ Ójœ ‰ Œ Ójœ ‰ Œ Ó
∑
46
∑
Fbroadly
FF
broadly
broadly
broadly
Fpp F
broadly
Fbroadly
pbroadly
Fpppp
Fbroadly
FF
broadly
broadly
open broadly
FF
broadlyopen
broadly
F
Fbroadly
pF
broadly
p
p Fbroadly
p Fbroadly
pbroadly
F
pp
47∑
Moderately, with a steady beat
ww
œ œ œ œ œ3
wwœ œ œ œ œ3
w
wœ œ œ œ œ3
œ. Œ œ. Œ
œ. Œ œ. Œ
∑
wwœ œ œ œ œ3
w47
wModerately, with a steady beat
wœ œ œ œ œ3
œ œ œ œ œ3
œ œ œ œ œ3
œ œ œ œ œ3
ww
ww
œ. Œ œ. Œ˙ ˙
∑œ œ œ œœ Œ œ Œ
47
∑
FF
Fpizz.
Brushes on Suspended Cymbal
Bass DrumF
F
Œ œ .œ Jœœœ œœ ..œœn Jœœ
œ œ .œn jJœœ
œ œ .œ# Jœ
œ œ .œn Jœœ œ .œ Jœ
œ œ .œ jœœ œ .œ# jœœ. Œ ˙bœ. Œ œb . Œ
Œ œœ ˙n#
œœ œœ ..œœ# Jœœ#œ œ .œn Jœœ œ .œb Jœ
œ œ .œ Jœ
œ œ .œn jœœ œ .œ Jœ
œ œ .œn jœœ œ .œn jœœ œ .œn jœœœ œœ ..œœn Jœœ
œ œ .œb Jœœ œ .œ Jœ
œ. Œ œb . Œ˙ ˙b
∑œ œ œ œœ Œ œ Œ
48
∑
Fon Piccolo
F
F
œ .˙œœb .˙ .˙
- œ œœn .˙- œ œ
w-
w-- œ œœ. Œ œ. Œœ Œ œ Œwwbn- œ œwn- œ œœ .˙
œ .˙œœb ..˙˙
- œ œ
- œ œ
- œ œœœb - ..˙-
œ- .-
œ .˙
œ Œ œ Œ˙ ˙
∑œ œ œ œœ Œ œ Œ
49
∑
simile
ff
ff
ff
fsimile
œ Œ Óœœ œœ œœn# œœ
œ œœ œœ#n œœœ œ œ# œœ œ œ# œ
œ œ œ œ
œ œ œ# œ
˙ -œ. Œ œ. Œ
œ Œ œ Œœœ Œ Ó
œ œœ œœ## œœœœ œ- œ- œ-
w-
œ œ œ# œœœ œœ œœ# œœ
˙ -˙ -˙ -Œ œœ œœ œœ
Œ œ œn œ
œ œ œn œ
œ Œ œ Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
50
∑
12
S972
Perusa
l
&
&
&&&&&
&&&?
&
&&
&&
&
&&
??
????
ã&
bbb
b b b
b b b
bbb
bb
b b b
b
bb
b
b b
b b
b b bb b b
b b bb b bb b bb b b
b b b
Picc.
12
12
Eb Cl.
1
2
3
Al. Cl.
Bs. Cls.
CB. Cl.
12
12
T. Sxs.
B. Sx.
1
23
12
12
34
12
3
Euphs.
Tubas
St.Bs.
Timp.
Cymbs.Bs. Dr.
Bells
Flutes
Oboes
Bb Clars.
Bsns.
A. Sxs.
Trpts.
Crnts.
Horns
Trbns.
51 ∑ww-
ww-
w-
w-
w-
w-
Œ œ œ œ œ œ
œ Œ œ Œœ Œ œ Œ
∑ww-
Œ œ œ œ œ œ
w
w-
ww-Œ œ œ œ œ œ
Œ œ œ œ œ œ
Œ œ œ œ œ œ
ww-
w-
œ- œ œ œ œ œ
œ Œ œ Œ˙ ˙
∑œ œ œ œœ Œ œ Œ
51
∑
simile
Œ œ .œ Jœœœ œœ ..œœ Jœœ#
œœ œœ ..œœ jœœ#œ œ .œ Jœ#œ œ .œ Jœœ œ .œ jœ#œ œ .œ# jœœ œ ˙
œ Œ ˙œ Œ œ ŒŒ œœ ˙
œœ œœ ..œœ# Jœœ#œ œ ˙œ œ ˙œ œ .œ Jœ
œœ œœ ..œœ# jœœ#
œ œ ˙œ œ ˙œ œ ˙œœ œœ ..œœ Jœœœ œ .œ jœœ œ ˙
œ Œ œ Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
52
∑
f
f
fffff
f
f
f
f
ff
f
ff
f
w-w-
ww-œn œ œ œ œ3
w-
w-œn œ œ œ œ
3
œ œ œ œ œ3
œ Œ œ Œœ Œ œ Œww-
w-œn œ œ œ œ3
w-
w
w
œn œ œ œ œ3
w-œ œ œ œ œ
3
œ œ œ œ œ3
œ œ œ œ œ3
ww-
w-œ œ œ œ œ3
œ Œ œ Œ˙ ˙
∑œ œ œ œœ Œ œ Œ
53
∑
œ Œ Óœ Œ Ó
œœ Œ Ó
œ Œ Óœ Œ Óœ Œ Ó
œ œ œ ˙œ œ œ ˙œ Œ ˙œ Œ œ Œœœ Œ Ó
œ Œ Óœ œ œ ˙œ Œ Óœ œ œ œ
œ œ œ œn
œ œ œ œ#œ œ œ œ
œ œ œ ˙
œ œ œ ˙œ œ œ ˙œœ œœ œœ œœn#œ œ œ œœ œ œ ˙
œ Œ œ Œ˙ ˙
∑œ œ œ œœ Œ œ Œ
54
∑
55∑
Ó ‰ œœ œœ œœ
Ó ‰ œœ œœ œœ
∑Ó ‰ œ œ œ
Ó ‰ œ œ œ
- œ œ œ œ∑
œ Œ œ Œœ Œ œ Œ
∑
- œ œ œ œ
∑w55
œ œb œ œ ˙
œ œn œ œ ˙œ œ œ œ ˙∑
∑∑
œœ œœ œœ œœ ˙
œ œ œ œ ˙
∑
œ Œ œ Œ˙ ˙
∑œ œ œ œœ Œ œ Œ
55
∑
F
F
FF
Funis.
(pizz.)
F
13
S972
Perusa
l
&
&
&
&&&&
&&&?
&
&&
&&&&&
??
??
??
ã&
bbb
b b b
b b b
bbb
bb
b b b
b
bbbb bb b
b b bb b b
b b bb b bb b bb b b
b b b
Picc.
12
12
Eb Cl.
1
2
3
Al. Cl.
Bs. Cls.
CB. Cl.
12
12
T. Sxs.
B. Sx.
1
23
12
12
34
12
3
Euphs.
Tubas
St.Bs.
Timp.
Cymbs.Bs. Dr.
Bells
Flutes
Oboes
Bb Clars.
Bsns.
A. Sxs.
Trpts.
Crnts.
Horns
Trbns.
56 ∑œœ œœ œœ œœ ˙
œœ œœ œœ œœ ˙3
∑œ œ œ œ ˙
3
œ œ œ œ ˙3
œ œ jœ œ œ3
∑œ Œ ˙œ Œ œ Œ
∑
œ œ Jœ œ œ3
∑.˙ œ
.˙ œ
.˙ œœ.˙∑∑∑
..˙ œœ
.˙ œ
∑
œ Œ œ Œ˙ ˙
∑œ œ œ œœ Œ œ Œ
56
∑
3
∑
∑
Ó ‰ œn œn œÓ ‰ Jœ œn∑
Ó ‰ œn œ# œÓ ‰ œ œ œ
Ó ‰ jœ œnjœ ‰ œ œ œ œb
Œ œ œ œ œb
œ Œ œ Œ
œ Œ œ Œ
∑
Jœ ‰ œ œ œ œœ#b
Œ œ œ œ œb
Jœ ‰ Œ ˙
œ œ œ œ ˙
œœn œœ œœ œœ ˙∑∑∑
œœn œœ œœ œœ œ œ#˙
œ œ œ œ ˙
Œ œ œ œ œb
œ Œ œ Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
57
∑
F
F
F
Œ œ .œ# Jœ
Œ œœn ..œœ## Jœœn
œ œ .œ# jœœ .˙∑
œ œn .œb jœnœ œ .œ Jœ
˙ .œb Jœ
˙ ˙#
˙ ˙#˙ ˙œ Œ -
∑˙ ˙n
˙ ˙#˙ ˙
œ œ .œ# Jœ
œœ œœn ..œœ# Jœœ##∑∑∑
œnœ œœn ..œœn Jœœn
œ œ- .œ- Jœ-
˙ ˙n
œ Œ -˙ ˙
∑œ œ œ œœ Œ œ Œ
58
∑
F
F
wwwb
w.˙ œ œ
∑..˙ œœ
.˙ œŒ œ œ œ œ œn
Œ œ œ œ œ œn
œ Œ œ Œ
œ Œ œ Œ
∑
Œ œ œ œ œ œ
Œ œ œ œ œ œn
˙ ˙
w
wwnnŒ œ œ œ œ œŒ œ œ œ œ œ
Œ œ œ œ œ œ
ww
w
w
œ Œ œ Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
59
∑
gliss.
FFF
œ œ- .œ jœœœn œœ- ..œœ j
Jœ
œ œ- œb œ œ.˙n œŒ œ- œb œ œœœn œœ œœb œ œ
œn œœ œœb œn.˙n œ œ.˙# œ œœ Œ -œ Œ -
∑.˙# œœ œ.˙n œ œ
w
œ œ- .œ jœœœn œœn - .œœ# œn œjœ.˙n œ œ.˙n œ œ.˙n œ œœœ œœn - ..œœ Jœœ
œ œ- .œ- Jœ-
w
œ Œ -˙ ˙
∑œ œ œ œœ Œ œ Œ
60
∑
ƒ
ƒƒ
ƒ
f
f
f
f
f
ƒ
ƒff
ƒƒ
f
f
14
S972
Perusa
l
&
&
&
&&&&
&
&&?
&
&&
&&
&
&&
????
??ã&
bbb
b b b
b b b
bbb
bb
b b b
b
bb
b
b bb b
b b bb b bb b bb b b
b b bb b b
b b b
Picc.
12
12
Eb Cl.
1
2
3
Al. Cl.
Bs. Cls.
CB. Cl.
12
12
T. Sxs.
B. Sx.
1
23
12
12
34
12
3
Euphs.
Tubas
St.Bs.
Timp.
Cymbs.Bs. Dr.
Bells
Flutes
Oboes
Bb Clars.
Bsns.
A. Sxs.
Trpts.
Crnts.
Horns
Trbns.
61 .˙ œ œ.˙ œ œ
œ- œ œ œ œ.˙ œ
œ- œ œ œ œœ- œ œ œ œ.˙ œœbœ œ œ œœ#
œ œ œ œœ Œ œ œ#œ Œ œ œ#Œ ˙ œœn..˙ œœ#œ œ œ œb
˙ œ œ#.- œ œ.- œœ- œ œ œb
œ- œ œ œœbœ œ œ œœn#œ œ œ œ- œ œb.˙b - œ.- œn- œ œn
œ. Œ œ. œn˙ œ œn
∑œ œ œ œœ Œ œ œ
61
∑
unis.
F
jœ ‰ Œ Ó
Jœb ‰ Œ Ójœ ‰ Œ ÓJœ ‰ Œ Ó
jœ ‰ Œ Ó
Jœ ‰ ‰ jœ œ œjœœ ‰ ‰ jœ œœ œœ#jœœnb ‰ ‰ jœœ œœ œœnjœn ‰ Œ Œ ‰ œ œ œ# œ#jœ ‰ Œ Ójœ ‰ Œ Ó
Jœœ ‰ Œ Œ ‰ œ œ œn œ#
Jœœnn ‰ ‰ Jœœ œœ œœ#
Jœ ‰ ‰ Jœ œ œ
jœ ‰ ‰ Jœ œ œ#
Jœ ‰ Œ Ójœ ‰ Œ ÓJœ
‰ Œ Ó
jœœb ‰ Œ Ójœœn ‰ Œ Ójœ ‰ Œ Ójœ ‰ Œ ÓJœ ‰ Œ Ó
Jœ ‰ Œ Ó
Jœ ‰ Œ Ó Alto Clar./Bssn. cue
jœ ‰ Œ Ó
Jœ ‰ Œ Ó∑
œ Œ Óœ
62
∑
ten.
ten.
ten.
ten.
pten.
pten.
ten.
ten.
Psoli
ten.
pten.
pten.
Psoli
punis.
pten. soli
pten.
p p
p pten.
ten.
ten.
ten.
pten.
pten.
ten.
ten.
p
Alto Clar./Bssn. cue
ten.
ten.
63∑
∑
∑
∑w
wwwwjœ ‰ œ œ œ œ
∑∑
Jœ ‰ œ œ œ œwww
Jœ ‰ œ œ œ œ63 ∑
∑
∑
∑∑
∑∑
Œ œ œ œ œ
œ. Œ œ. Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
63
∑
P
F
p(pizz.)
P
p
∑
∑
∑
∑œ œ .œ Jœ
œœ œœ ..œœnjœœ
œœ œœ ..œœjœœn
˙ ˙#Œ œ ˙bŒ œ ˙b˙ ˙n
œœ œœ ..œœ# Jœœ#
œ œ .œ Jœ˙ ˙#
∑∑
∑
∑∑
∑∑
˙ ˙n
œ. œ ˙bœ œ ˙b
∑œ œ œ œœ Œ œ Œ
64
∑
PP
P
∑
∑
∑
∑œ- ..˙
œœ-..˙b
œœb - ..˙
Œ œn œ œ œ# œ œ
œ Œ œ Œ
œ Œ œ Œ
Œ œb œ œ œn œ œœœn - ..˙œ- .˙Œ œn œ œ œ# œ œ
∑∑
∑
ww-ww-
∑cue: Horns
∑Œ œb œ œ œn œ œ
œ. Œ œ. Œ˙ ˙
∑œ œ œ œœ Œ œ Œ
65
∑
f
f
F
F
ff
F
pp
15
S972
Perusa
l
&
&
&&
&&&
&&&?
&
&
&
&&
&
&
&
??
??
??
ã&
bbb
b b bb b b
bbb
bb
b b b
b
bb
b
b b
b b
b b bb b bb b bb b b
b b bb b b
b b b
Picc.
12
12
Eb Cl.
1
2
3
Al. Cl.
Bs. Cls.
CB. Cl.
12
12
T. Sxs.
B. Sx.
1
23
12
12
34
12
3
Euphs.
Tubas
St.Bs.
Timp.
Cymbs.Bs. Dr.
Bells
Flutes
Oboes
Bb Clars.
Bsns.
A. Sxs.
Trpts.
Crnts.
Horns
Trbns.
66 ∑
Œ œœ œœn# œœ
∑Œ œ œ# œœœ œœ œœ## œœœœ œ œ# œœœ œœ œœ# œœœ œ ˙
wœ Œ œ Œœ œ ˙
œœ œœ œœ## œœ
œ œ œ œœ œ ˙
∑∑
∑
œœ Œ Ó
œœ Œ Ó
∑∑
œ œ ˙
œ.Œ œ.
Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
66
∑
P
P
P
P
P
P
P
∑ww-
∑w-
w-
ww-w-‰ œ# œ œ œ œ œ œ
∑œ Œ œ Œ
‰ œn œ œ œ œ œ œ
ww-
w-
‰ œ# œ œ œ œ œ œ
∑∑
∑
∑
∑
∑∑
‰ œn œ œ œ œ œ œ
œ. Œ œ. Œ˙ ˙
∑œ œ œ œœ Œ œ Œ
67
∑
gliss.
∑œœ œœ œ œ˙
∑œ œ ˙
œ œ œn œ
œœ œœ œœ œœ
œ œ œ œ˙ ˙nwœ Œ ˙˙ ˙b
œœ œœ œœ œœ
œ œ œ œ
w
∑∑
∑
˙ ˙w
˙ ˙w∑cue: Horns
∑˙ ˙b
œ. Œ ˙˙ ˙
∑œ œ œ œœ Œ œ Œ
68
∑
P
p
p
∑
wwn
∑w#
w
ww#
w
.œ jœ œ# œ œ œ
wœ Œ œ Œ..œœn Jœ ˙nww#
w
w
∑∑
∑
.œ# jœ œ œ œ œAw
.œ# jœ ˙w∑∑
.œ Jœ œn œ œ œA
œ. Œ œ.Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
69
∑
f
f
f
ff
f
f
Œ œ œ# œ
Jœœ ‰ œ œ# œ
Œ œœ œœ## œœJœ ‰ œ œ# œ
Jœ ‰ œ œ# œ
Jœœ ‰ œœ# œœ## œœjœ ‰ œ œ# œ
Jœ. ‰ œ œ# œjœ ‰ Œ Óœ Œ Ó
Jœ ‰ Œ Ó
Jœœ ‰ œœ# œœ‹# œœ
Jœ ‰ œ œ# œ
Jœ ‰ œ# œ‹ œ
∑cue: Horns
∑cue: Horns
Œ œœ œœ## œœnjœ. ‰ œœ# œœ## œœJœjœ ‰ œœ# œœ## œœJœ
∑∑
Jœ.
‰ Œ Óœ. Œ Óœ Œ Ó
∑œ Œ Óœ
70
∑
f
f
ff
f
ff
f
f
f
f
f
f
f
16
S972
Perusa
l
&
&
&
&
&
&&
&&
&?
&
&
&
&&
&
&
&
????
??
ã&
bbb
b b b
b b b
b
bb
b
b
b b b
b
bb
b
b b
b b
b b bb b bb b bb b b
b b bb b b
b b b
Picc.
12
12
Eb Cl.
1
2
3
Al. Cl.
Bs. Cls.
CB. Cl.
12
12
T. Sxs.
B. Sx.
1
23
12
12
34
12
3
Euphs.
Tubas
St.Bs.
Timp.
Cymbs.Bs. Dr.
Bells
Flutes
Oboes
Bb Clars.
Bsns.
A. Sxs.
Trpts.
Crnts.
Horns
Trbns.
71 .˙ œ
.˙n œ
..˙nb œœ
.˙ œ
.˙ œ
..˙# œœn
.˙# œ
.˙ œ
w-œ Œ œ Œ
∑..˙# œœn
.˙n œ
.˙n œ
71 ∑∑
.w# œ
..˙n œœn
..˙nn œœ
Œ œ- -Œ œ- -
∑
œ Œ œ Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
71
∑
FF
F(pizz.)
P
unis.
FF
F
˙n œ œ
˙ œ œn
˙n œ œ˙# œ œ
˙# œ œ
˙˙ œœ œœ#
˙# œ œ˙# œ œ
w
œ Œ œ Œ
∑˙# œœ œœ
˙ œ œ#
w
∑∑
˙# œœ œœ#˙n œ œw
˙ œ œnw
œ - œ-œ - œ-
∑
œ Œ œ Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
72
∑
œ .˙
œ ..˙n
œœn ..˙nœ .˙œ .˙
œœnn .˙œ .˙nœ .˙w
œ Œ œ Œ
∑œœ# ..˙#
œ .˙n
œ .˙
Ó œ- œbÓ ˙-œ .˙œ .˙wnœb .˙w- ˙n -- -
∑
œ Œ œ Œ
˙ ˙∑
œ œ œ œœ Œ œ Œ
73
∑
P
P
PP
Jœ ‰ œ> œn œ œ œ œ œBroadly
Jœœ ‰ œ> œn œ œ œ œ œ
Jœœ ‰ œ> œn œ œ œ œ œ
jœ ‰ œ> œ# œ œ œ œ œ
Jœ ‰ œ> œ# œ œ œ œ œ
Jœ ‰ œ> œ# œ œ œ œ œ
jœ ‰ œ> œ# œ œ œ œ œ
jœ ‰ œ> œ# œ œ œ œ œ
jœ ‰ Œ Ó
œ Œ Ó
∑
Jœœ ‰ œ> œ# œ œ œ œ œ
Jœ ‰ œ> œ# œ œ œ œ œ
Jœ ‰ Œ Ójœ ‰ Œ ÓBroadly
jœœ ‰ Œ Ó
jœ ‰ Œ Ójœ ‰ œ> œ# œ œ œ œ œJœ ‰
jœ ‰ œ> œ# œ œ œ œ œJœ
Jœœn ‰ Œ Ó
Jœ ‰ Œ Ó∑
œ Œ Ó
œ Œ Ó∑
œ Œ Óœ
74
∑
pp
p
p
f
f
f
f
f
ff
f
funis.
f
funis.
funis.
arco
Crash Cymbals
p
.˙ œ
.˙ œ
.˙ œ
.˙ œ
.˙ œ
.˙ œ
.˙ œ
.˙ œ
> œ œ> œ>3
> œ œ> œ>3
˙> œœ œœ> œœ>3
.˙ œœ
.˙ œ
> œ œ> œ>3
Œ œ> œ> œ> œ>3
Œ œœ>> œœ> œœ> œœ>
3
..˙> œœ.˙ œ.˙ œ˙> œœb> œœ> œœ>3
> œ> œ> œ>3
> œ œ> œ>3
> œ œ> œ>3
> œ> œ> œ>3
>æ œ œ> œ>3
w> ∑
75
∑
ƒ
ƒ
ƒ
ƒ
ƒ
ƒƒ
ƒßß
߃
ƒ
ßf
fß
ƒ
ƒ
ßß
ß
ß
ß
ß
17
S972
Perusa
l
&&&&&
&
&
&&
&
?
&&&
&&
&
&&
??
??
??
ã&
bbbb b bb b b
b
b
b
b
b
b b b
b
bb
b
b bb b
b b bb b b
b b bb b b
b b bb b b
b b b
Picc.
12
12
Eb Cl.
1
2
3
Al. Cl.
Bs. Cls.
CB. Cl.
12
12
T. Sxs.
B. Sx.
1
23
12
12
34
12
3
Euphs.
Tubas
St.Bs.
Timp.
Cymbs.Bs. Dr.
Bells
Flutes
Oboes
Bb Clars.
Bsns.
A. Sxs.
Trpts.
Crnts.
Horns
Trbns.
76 jœ. ‰ Œ Ómolto rit.
Jœ. ‰ Œ Ó
Jœœ. ‰ Œ Ó˙ Ó˙ Ó
˙ Ó
˙ Ó
˙ Ójœ. ‰ Œ ˙b -jœ. ‰ Œ ˙b -
Jœœ. ‰ Œ ˙b -
˙ ˙# -˙ -jœ. ‰ Œ ˙b -
Jœ>. ‰ Œ Ómolto rit.
Jœœ>. ‰ Œ Ójœœ ‰ Œ ˙-jœœ. ‰ Œ ˙b -jœœ.‰ Œ ˙-
Jœœ.>
‰ Œ Ócue: 2nd & 3rd Horns
Jœ.> ‰ Œ Ócue: 4th Horn
jœ. ‰ Œ ˙b -
jœ.>‰ Œ ˙b -
jœ.> ‰ Œ ˙bjœ.> ‰ Œ Ójœ ‰ Œ Ó∑
76
∑
p
p
p
p
ƒz p
ƒz p
ƒz p
pp
ƒz p
ƒztake Harmon mutes
ƒztake Harmon mutes
p
pp
ƒzƒz
ƒz pdiv.
ƒzpizz.
pƒz choke
p
ƒz p
∑più mosso
∑∑∑
‰ œ œ œ œ œ œ œ œ3
‰ œ œ œ œ œ œ œ œ3
∑
∑
ww
wwwwww
∑più mosso
∑
wwwww
∑∑
ww
w˙ Ó
∑∑
77
∑
soli
psoli
p
unis.
∑cue: Flutesrit.
Ó-
∑∑cue: Flutes
œ œ œ œ ˙
œ œ œ œ ˙
Ó -Ó Œ ‰ . rœ#˙ jœ ‰ ‰ . rœn˙ jœ ‰ ‰ . rœ
˙Jœœ ‰ ‰ . Rœœn#
˙ Jœœ ‰ Œ
˙ jœ ‰ Œ˙ jœ ‰ Œ
∑rit.
∑
˙ jœ ‰ Œ
˙ jœœ ‰ Œ˙ jœœ ‰ Œ
Ó Œ ‰ . Rœœn#Ó Œ ‰ . rœn
˙Jœœ ‰ ‰ . Rœœn#
˙ jœ ‰ ‰ . rœÓ Œ ‰ . Rœ
∑∑
78
Ó ˙
p
F
P
PP
P
PP
P
Parco
psolo
P
∑Very Slowly
w
∑∑
˙ Jœ ‰ Œ
˙ Jœ ‰ Œ
˙ jœ ‰ Œ
w
wwww
∑∑∑
Ó ‰ Jœ- œ- œb -Very Slowly
Ó ‰ Jœœ- œœb - œœb -
∑
∑∑
ww
www
ww
∑∑
79
˙ ˙
π
π
π
FHarmon mutes
(shank pulled out)
FHarmon mutes
(shank pulled out)
∑˙ Jœ ‰ Œ
jœ# ˙ jœ ‰ Œ∑
œ œ œ ˙ jœ‰ Œ
œ œ œ ˙ jœ‰ Œ
œ œ œ ˙ jœ‰ Œ
˙ jœ ‰ Œ
˙ jœ ‰ Œ
˙ jœ ‰ Œ
˙ Jœœ ‰ Œ
∑cue: 1st Oboe
∑∑
- Jœ ‰ Œ˙n - Jœœ ‰ Œ
∑cue: 1st Oboe
∑∑
˙ Jœœ ‰ Œ˙ jœ ‰ Œ
˙ Jœœ ‰ Œ
˙ jœ ‰ Œ
˙ Jœ ‰ Œ∑∑
80
˙ Jœ ‰ Œ
πp π
1st
F π
π
ππ
π
ππ
π
π
π
π
F π
F π
π
18
S972
Perusa
l
Selected Concert Band Publications
FULL ENSEMBLE WORKS
BARNES, JAMES
Carnaval in Sao Paulo (Grade 3)S831 HL3778659
A light encore which features a clevertune, solid scoring, interesting modulations and easy, effective Latin percussion, playable by any good high school band. Carnaval in Sao Paulo is dedicated to all the students in the Senzoku Gakuen Symphonic Wind Orchestra.
Credo, Op. 153 (Grade 3)S945CB HL172748
Credo is an ideal piece for young bands, particularly those with a large percussion section. It is very carefully scored and cross-cued, so that almost any size band can perform it. Composed in sonatina form, it is highly energetic and tuneful, and the bass instruments have lots of fun, easy things to play. Like Prairie Winds Festival, Credo is very safely scored, with Piccolo, 2nd Oboe, 2nd Bassoon, Contra-Alto Clarinet, 3rd Trombone and Double Bass parts optional. Ranges are very reasonable; the only sixteenth notes in the piece are in the snare drum.
Prairie Winds Festival, Op. 152 (Grade 3)S949CB HL172766
Prairie Winds Festival is a fast, happy-go-lucky “opener.” It is very carefully scored and cross-cued, so that almost any size band can perform it. The Piccolo, 2nd Oboe, 2nd Bassoon, Contra-Alto Clarinet, 3rd Trombone and Double Bass parts are all optional, but if you have these instruments, it will sound more full.
Trail of Tears (Grade 3)S624 HL3777831
A tone poem for wind band that describes the 150th anniversary of one of the most cruel, unjust and embarrassing official actions in the history of the United States Government.
EWAZEN, ERIC
A Hymn for the Lost and the Living (band)
(Grade 4)
S817 HL3778602
After witnessing the tragic aftermath of the September 11, 2001 attack on New York firsthand, Ewazen composed this as a memorial to those who lost their lives, and as a tribute to the resilience and determination of those left behind. Available for band, orchestra, and solo trumpet with piano. (2002) Ca. 9'
GIROUX, JULIE
Mystery on Mena Mountain (Grade 3)S564 HL3777599
This programmatic piece is based on the legend told in the Ozark Mountains in Arkansas. As an actual fact, two children did disappear in that area in 1940. According to that legend, the children, having heard old stories, set out to meet the angels, who were beliveed to live in the clouds that hang in the sky above Mena Mountain.
GOLDMAN, EDWIN FRANKORogers, Mark
Christmas March (Grade 4)S951CB HL172768
Among Goldman’s many contributions to the band’s repertoire, his pastiche marches such as “Children’s March” and the “Christmas March” have been especially popular. Familiar seasonal tunes include Good King Wenceslas, Adeste Fideles, Jingle Bells, It Came Upon the Midnight Clear, The First Noël, Deck the Halls and Hark! the Herald Angels Sing. An optional short coda reduces the playing time to approximately 4:00. A handsome full score and judicious rescoring of the upper woodwinds makes this an ideal alternative for community bands looking for new sounds in a classic, yet familiar style for their December programs.
GRAINGER, PERCY ALDRIDGERogers, Mark
Colonial Song (Grade 4)S702 HL3778130
Grainger's art inextricably linkded to folk music, this composition, which uses no traditional tunes but is meant to express feelings aroused by thoughts of the scenery and people of his native Australia, is perhaps the finest, and may well be the most well-crafted, of any of his original works. Intended to be the first of a set of pieces written in a sweetly romantic vein called "Sentimentals", the composer dedicated this composition to his mother, though it remains the only piece in the set following her death. This edition returned to the original arrangement for band produced by Grainger to create the most authentic version, true to the composer's intentions, with small adjustments in instrumentation made to accommodate the contemporary band.
Irish Tune from County Derry (Grade 3)S665 HL3777987
The present setting for concert band is part of Percy Grainger's largest body of work collectively known as British Folk-Music Settings.
Shepherd's Hey (Grade 4)S667 HL3777995
"In agricultural districts in various parts of England, teams of 'Morris Men,' decked out with jingling bells and other finery, can still be seen dancing to 'Sheperd's Hey' and other traditional dance tunes played on the fiddle or on the 'pipe and tabor' (a sort of drum and fife).- Percy Aldridge Grainger, 1918. Part of the composer's British Folk-Music Settings, Grainger arranged the tune "Shepherd's Hey" for a variety of settings. The wind band version is considered to be largely derived with from his orchestra setting.
The Gum Suckers March (Grade 4)S684CB HL3778056
From Grainger: "Gum-suckers" is a nick-name for Australians hailing from the state of Victoria, the home state of the composer. The leaves of the 'gum' (Eucalyptus) trees are very refreshing to suck in the parching summer weather." The 4th movement of his "In a Nutshell" suite for orchestra, the composer himself arranged this piece for band, as he did for much of his orchestral music. However, due to some contemporary methods of transposing and the lack of a full score, that original version contains numerous errors. This edition was carefully crafted, pulling from all available resources and archives to determine the composer's original intent. In addition to corrections, this edition updates the instrumentation to reflect current bands and offers generous cross-cueing for those bands without the full instrumentation for which Grainger customarily wrote.
HERBERT, VICTORClarke, Herbert
March of the Toys (Grade 4)S739 HL3778286
Victor Herbert (1859-1924) was a German composer who emigrated to the United States where he became a well-known composer of light music and operettas and, along with John Philip Sousa, was one of the founders of the American Society of Composers, Authors, and Publishers (ASCAP). One of the many "hits" from Victor Herbert's operettas which are still well-known today is the "March of the Toys" from 1903's "Babes in Toyland". In this charming work, Herbert's gift for melody meets with his experience as a military band conductor to inspire a delightful concert work which effectively blend the "march miniature" style utilized by Tchaikovsky and others with the "grand march" style heard in the operas of Verdi and Wagner. Herbert Clarke's masterful setting for the Sousa Band allows audiences to experience a work which is a perennial holiday classic, in an arrangement which brings band performers in touch with some of the greatest names from the golden age of the American concert band. R. Mark Rogers edition of the "March of the Toys", the first to present Herbert L. Clarke's arrangement in full score with complete instrumentation, gives modern conductors and educators the means to secure the place of this item in the repertory for generations to come.
JARRE, MAURICEReed, Alfred/ Rogers, Mark
Lawrence of Arabia (Grade 4)S947CB HL172752
David Lean’s epic film “Lawrence of Arabia” was nominated for ten Academy Awards and won seven, including Best Original Score for Maurice Jarre’s masterful musical depiction of the exotic world through which T.H. Lawrence passed. Alfred Reed’s setting of the music for concert band, available here for the first time in full score with newly edited parts, is built on two of the main themes: the Arabian motif, with its blazing color and almost-barbaric effects; and the Lawrence theme, a haunting, poignant melody that reflects both his love of the desert and his internal, psychological conflicts.
KOSMA, JOSEPHReed, Alfred
Autumn Leaves (Les feuilles mortes) (Grade 3)S961CB HL236109
The iconic tune Autumn Leaves "Les feuilles mortes" by Hungarian-born composer Joseph Kosma hardly requires an introduction to jazz aficionados. The music was originally set to French lyrics by Jacques Prévert, and later English lyrics by Johnny Mercer. This classic band arrangement by Alfred Reed showcases the rich harmonic language that underlines the melody with thick, sonorous orchestration. This piece can be the perfect change of pace when placed among works with quicker tempi or more rigorous demands on the players.
SOUSA, JOHN PHILIPRogers, Mark
Easter Monday on the White House Lawn from
Tales of a Traveler (Grade 4)
S777 HL3778440
"With the children rolling eggs, dancing and romping, a scene of animation persists itself: the elders, from the President to the merest passerby, look on the scene with joy and pleasure."- John Philip Sousa. This march serves as the third movement to the composers "Tales of a Traveler".
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EAN 13
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