Israeli Rhapsody FULL SCORE REVISED · 2015. 7. 15. · ISRaelI RHAPSODY!!! for Concert Band...
40
J UDITH Z AIMONT I SRAELI R HAPSODY FOR W IND E NSEMBLE (2006) Score PERUSAL
Transcript of Israeli Rhapsody FULL SCORE REVISED · 2015. 7. 15. · ISRaelI RHAPSODY!!! for Concert Band...
JUDITH ZAIMONT ISRAELI RHAPSODY FOR WIND ENSEMBLE
(2006)
Score
PERUSAL
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PERUSAL
Commissioned by Saint Mary’s University Concert Band, Dr. Janet Heukeshoven, Conductor with financial support from the Sam and Helen Kaplan Charitable Foundation Trust Fund
ISRAELI
!!! !!!
RHAPSODY
for
Concert Band
by
Judith Lang Zaimont
Summer 2006
PERUSAL
!!! ISRaelI RHAPSODY!!!
for
Concert Band
Transposed Score
Piccolo 1, 2 5 Percussion -
Flute 1, 2 1. Timpani, Triangle,
Oboe 1, 2 Suspended Cymbal
Clarinet in Bb 1, 2, 3
Bass Clarinet in Bb 2. Marimba, Glockenspiel,
Contrabass Clarinet in Bb Cymbals, Maracas,
Bassoon 1, 2 Tam-Tam
Alto Saxophone 1, 2 3. Snare Drum, Tam-Tam,
Tenor Saxophone Suspended Cymbal
Baritone Saxophone Wood block, Tubular
Bell, Glockenspiel
Flugelhorn Solo
Trumpet 1, 2, 3 4. Tom-Toms, Vibraphone
French Horn 1, 2, 3, 4 Tambourine
Trombone 1, 2, 3
Baritone Horn 5. Bass Drum, Mark Tree
Tuba
String Bass
PERUSAL
Note
I think of Israel as a cultural wellspring. It is the homeland of my religion, and the quality of life in this desert land has a
complex, honed beauty that is simultaneously clean and glorious. In Israeli Rhapsody I pay tribute to the complicated,
thoughtful and joyous aspects that come together and do indeed characterize the people who flourish in that dramatic land.
Two movements fuse together here. The first is an introspective slow essay balancing monumental, declarative chords,
increasingly interrupted by melodic fragments drawn from a well-known Israeli tune, which are layered and developed.
Chords and these questing fragments gradually intersect at ever-shorter intervals, and the melody eventually breaks free –
moving into the second movement’s dance (a hora).
My source materials are three Israeli melodies. “Do di li” is the main tune, wonderfully characterized by a ‘catched’
(syncopated) line; it is presented in full. Joining in are fragments from two other melodies: the opening phrase of “Sallênu”
and the closing phrase of “Hulu mechol ha-horah”. All three in their original form feature a mix of major/minor flavors along
with dancing syncopations.
The entire movement comes together by interweaving one type of material into the other’s main territory. Listeners in
retrospect recognize that the essence of the hora melody is present right from the essay’s start, with the first hint at the solo
Fluegelhorn’s entrance, in its first five notes. While the complex essay chords still occasionally intrude, Israeli Rhapsody
ends clearly as a joyful dance.
— Judith Lang Zaimont
PERUSAL
PERUSAL
!"
!"
q = 52-58
q = 52-58
Majestic
Majestic
Israeli RhapsodyCommissioned by the Saint Mary's University Concert Band, Dr. Janet Heukeshoven, Conductor
with financial support from the Sam and Helen Kaplan Charitable Foundation Trust Fund
Judith Lang Zaimont""
""
1 Piccolos
2
1
Flutes
2
1
Oboes
2
1
Clarinets in Bb 2
3
Bass Clarinet in Bb
Contrabass Clarinet in Bb
1 Bassoons
2
1
Alto Saxophones
2
Tenor Saxophone
Baritone Saxophone
Fluegelhorn Solo
1
Trumpets in Bb 2
3
Horns 1, 3 in F
Horns 2, 4 in F
1Trombones 2
3
Baritone Horn
Tuba
String Bass
Percussion 1 (Timpani)
Percussion 2 (Crash Cymbals)
Percussion 3 (Tam-tam)
Percussion 4 (Tom-toms)
Percussion 5 (Bass Drum)
!
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PERUSAL
4
4
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1 Picc.
2
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Fl. 2
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Ob. 2
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Cb. Cl.
1 Bsns.
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PERUSAL
q = c. 63
q = c. 63
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PERUSAL
16
16
*
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Pochissimo più mosso
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Pochissimo più mosso
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Ob. 1
Ob. 2
Cl. 1
Cl. 2
Cl. 3
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Cb. Cl.
1 Bsns.
2
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A. Sax. 2
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Stg. Bs.
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PERUSAL
20
20
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2
1 Fl.
2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Cl. 3
A. Sax. 1
A. Sax. 2
Ten. Sax.
1Hns.
3
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5
PERUSAL
30
30
::
::
C
C
espressivo
espressivo
1 Picc.
2
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Cb. Cl.
1 Bsns.
2
A. Sax. 1
A. Sax. 2
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Bari. Sax.
Flg. Solo
Tpt. 1
Tpt. 2
Tpt. 3
1Hns.
3
2Hns.
4
1Tbns. 2
3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Tgl.
Perc. 2Glock.
Perc. 3S. D.
Perc. 4Tom-t.
Perc. 5B. D.
!
!
"
#
"
#
!
"
#
"
#
!
#molto f
,*(+ * '' *'+ *'$ $
*() *(3 % 6
mf
*(7 * *) * *) *') *) *
#2*)
molto f
, *'+ *'$
*() *(3
ben f6 *() *') 7 * , *() ,
flut.*>7 &&&*( .
sub.mf
*'7
* *) * *) * *) *
#2*+
molto f
, *'+ *'$
*() *(3
ben f
6 *() *') 7 * , *() ,flut.*>) 7 &&&*( .
sub.mf
*') 7 * * *) *) * *) *)
#molto f
* * *+ * *(*( %
en dehors
6mf
*7 *7* *'7
f
*( * *' * ' 6 3 % 6mf
*'7 * *) * *) *) *) *
#molto f
* *' * * *( *() %en dehors
6mf
*7 *7* *'7
f
*( * *' * ' 6 $ $
#*)
f
&)$ 3 6
ben f
*( *') 7,*7
*() *(7
* ' .
submf
*'7 * * * *) *) * *+
#*)
f
& $ 3ben f
6 *( *'7,*7 *() *(7 * ' .
sub.mf
*')7 * * *) * *) * *
# *)f
&) $ 3ben f
6 *(*')7
,*7 *( *(7 * ' .
sub.mf
*')7 * * *) * *) * *+
# $f&'
*' *( * '' 2 %ben f
*') %*'
$
# $f
*) *) & 2 %ben f
*') %*'
$
, $ a 2
f*- *- &+ 22 % unis.
ben f*') % **' $
# *f
&+ $ %mf
* * * *ben f
*' *' *' '' 0 *' '' 0sub.mf
*) ' *7*) * *+ *'
# *f
&) $ %mf
* * * *ben f
*' *' *' '' 0 *' '' 0sub.mf
* ' *)7 * * * *'
# $f
*(- *( '' * *'- *'- %mf
*+ * *) *ben f
*' *' *' '' 0 *' '' 0sub.mf
*) ' *)7 * * * *'
# $f
&' *' *' 2 $ $
# %poco f
*'$-% *'f
*' *' % 6mf
*-7 *7 * *'7 0 * *- * * ' 6 $ $
# $ % 6mf
*-7 *7 * *'7 *( *- *+ * ' 6 $ $
# $f*(- *( '' * *'- *'- & 3 $ $
# $ 3 % 6mf
*'7 *( * *'- * ' 6 $ $
# $ $ % a 2
mf* *) *) *)
ben f
*' *') *' '' 0 *' '' 0 $
# $ $ %mf
a 2
*) * *) *+ben f
*' *') *'$+% ''0
*' ''0 $
, $f
-- *&& * +***1. 2.
3.
+* 1.*(
* '' 22* * & ' $ $
, $f
&' &' 2' $mf
solo* ' *)7 *) *) * *')
, $ %f*) * * *' 2
$ $
, $ %f*) * * *' 2 %
ben f
*') % *' $
1poco f
; % %Timp.
poco f
,
::&&&&- &&&*
&&&* &&&* $TO TRIANGLE $espressivo
1f
3( $ % %%
# %mf
* *f
TO CYMBALS
$ 1*() *( %mf
&( ' 2 $TO GLOCK.
#
1 TO SNARE $ $ $poco p
light,* * *. % ,* * *. % ,* * *. % % %
1 $ 3 %poco f
&&&*f** % 3 $ $
1 $ * * * *f
* * * * * % 3 $ $0 0 0 0 0 0 0 0 0 0 0 0poco f0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
6
PERUSAL
35
35
1 Picc.
2
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Cl. 3
B. Cl.
1 Bsns.
2
A. Sax. 1
A. Sax. 2
Ten. Sax.
Bari. Sax.
Flg. Solo
Tpt. 1
Tpt. 2
1Hns.
3
2Hns.
4
1Tbns. 2
3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Tgl.
Perc. 2Glock.
Perc. 3Sus. Cym.
Perc. 4Tom-t.
!
!
"
#
"
#
!
"
#
"
#
!
# & 3 3poco f
*') *' *' * *')7 6 % 3 $
#*
6sf
*(7
*7
*( *) 7,*7
*') *()7 3 $ $
# * 6sf
*(7
*7
*( *) 7,*7
*') *()7 3 $ $
#&
6sf
*() *)7,*7 *') *(7 6
mp
*7 *.+ *. *. *) *7 6 % 3 $3
# *'() *'() *'(6
sf
*() *)7,*7
*') *(7 6mp
*+7 *.+ *. *. *) *7 6 % 3 $3
# & 6sf
*( *7,
*7*' *() 7 3 6
mp
*.+ *. *. * * * * % $3
# & 6sf
*( *7,
*7*') *() 7 3 6
mp
*.+ *. *. * * * * % $3
# & 6sf
*( *7,
*7*' *() 7 3 6
mp
*.+ *. *. * * * % $3
# 3f&) *(
/ *() ' 3 $ 3p& *
455555555555555555555555
, $ 3 % a 2
mp*') * *) & 6
mp*/ *) '
.
p*/ &
# *'( *'() *'( 3 $ $ $
# *'( *'() *'( 3 $ $ $
# *'( *'() *'( 3 $ $ $
#mf
*'( *'() *'( 3 $ $ $
# $ $ 6mf
*7 &poco p
,
*+ * * * */ 6 3
# $ $ 3 %mp
* * * * */*'
/ &
# $ $ 3 %poco p
*. *. *. * * 'p
p*'
/ &3
# 3 %fp**' **
/ 6sfz
**() 3 3 %1.
p*$+% &
a 2
*) * *# 3 %
fp**') **
/ 6sfz
**()) 3 3 % 2.
p*) & *) * *
, 32. 3.
f&) *() / *() ' 3 $ $
, *') *') *( tutti
f
&) *()7*() ' 3 $ $
, $ 3 % solo
mp*' * * &
6mp*
/* '
.
p*
/&
, $ 3 %mp
*') * *) & 6mp
*/ *) '.
p
*/ &
, $ 3mp
3'p
( ); ;. 3( ' 3
# $ 3mf
*) * * * *)7 *) / * * *) % $
1 $ 3 %pp
* *mp,& * * *
ppp
&
1 3ben p
&&&&
&&&* '
mf
*.(7 3 $ $0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 03 0 0 03 0 0 03 0 0 03 0 0 03 0 0 03 0 0 03 0 0 03 0 0 03 0 0 03 0 0 03 0 0 03 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
7
PERUSAL
D
D
D
39
39
!:
!:
1 Picc.
2
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Cb. Cl.
1 Bsns.
2
A. Sax. 1
A. Sax. 2
Ten. Sax.
Bari. Sax.
Flg. Solo
Tpt. 1
Tpt. 2
Tpt. 3
1Hns.
3
2Hns.
4
1Tbns. 2
3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Sus. Cym.
Perc. 2Glock.
Perc. 3S. D.
Perc. 4Tom-t.
Perc. 5B. D.
!
!
"
#
"
#
!
"
#
"
#
!
#solo
p
*7 *) ' 6 *7 *)%* *) * **) * *
6mp
a 2
*/ &) % 'f
*) 7*() * * ' *7 6
sfz
*()f
*() * * ' *7 6sfz
*()*7
#p
*) * * * *) * * *) * * * *)mp
* *) * * *) *)45 * *)mf
*) *)f
*) * *() * * ' *7 6sfz
*()f
*() * * ' *7 6sfz
*()
# 3p
&) 6* ' *7 6
mp
* *) *) *) * *)mf
* *)f
*) * *() * * ' *7 6sfz
*()f
*() * * ' *7 6sfz
*()
# 3p
* * *) * *) *. * * *) * *) .
mp
* * ' *) * *) &)
mf f
* *) *() * * ' *7 6sfz
*()f
*() * * ' *7 6sfz
*()
# $ 6mp
* ' *7 6 * * 6mf
*) 'f
*) *) *() * * ' *7 6sfz
*()f
*() * * ' *7 6sfz
*()
#p
* * * * * * * * * *mp
* *) * * * * * *) * *mf
* *)
f
*) * *( * * ' *7 6sfz
*(+f
*( * * ' *7 6sfz
*(
# $ %p
* *) * *mp
* *) * *) * *mf
* *)f
*) * *( * * ' *7 6sfz
*(+f
*( * * ' *7 6sfz
*(
# $ 3 % 6mp
*)7 * *) * *mf
* *)f
*) * *() * * ' *7 6sfz
*()f
*() * * ' *7 6sfz
*()
# $ 3p
&)mp
*) ' *) / *mf
*'() %ben f
*'% % *'
%
#p&) & &+ & $ $ $
, a 2
p& & &) &&
mp
**))''
a 2*)7 *mf
*'() %ben f
*() *(% % *() *(
%
# %p
& ,* *,& ,*
%mf
* &()f
*( * * ' *7 6sf
*(
f
*( * * ' *7 6sfz
*(
# %p&
,* *
,& ,* %mf
*) &(f
*( * * ' *7 6sf
*(f
*( * * ' *7 6sfz
*(
# %p&
,
* *,& ,* %
mf
* &()f
*( * * ' *7 6sf
*(f
*( * * ' *7 6sfz
*(
# %p
& ,* *
,% 3poco f
* ' *)7 * *'( %ben f
*( *( % % *( *( %
# $ %p
* *) * * * * * *) * *mf
* *)f
*) * *() * * ' *7 6sfz
*(f
*() * * ' *7 6sfz
*(
# $ $poco p
* ' *) / *mf
*f
*() * * ' *7 6sfz
*()f
*() * * ' *7 6sfz
*()
# $ $poco p
*) ' */ *mf*
f
*( * * ' *7 6sfz
*($+%f
*( * * ' *7 6 *(
# $ $ 3 % *)f
*() * * ' */ 6sfz
*()f
*() * * ' */ 6 *()
# $ $ %a 2
mp
*) &(f
**()) ** ** '' **7 6sfz
**())f
**()) ** ** '' **7 6 **())
# 3 %p** **
, && , **)) %a 2
mp*) &()
f
*( * * ' *7 6sfz
*(f
*( * * ' *7 6 *(
, $ $poco p
***))) ''' ***)) 7***
mf
***))f
$ $
,ben p
& &) &) &)mp
*) ' *)7 *mf
*'() %ben f
*() % % *') %
,
ben p& & &) & $ %
ben f*() *(
% % *() *(%
,p& & &) &
mp
*) ' *)7
*
mf
*()%
ben f
*() *( % % *() *( %
1 $TO SUSP. CYMBAL $ 3poco p
* *!:
%poco f
*.( % % *.( %
# $ $ $ 3sfz
*() 3sfz
*()
1 $ %ben p
,*/*./ 6 % ,*/*.
/ 6 % ,* * *. ,* * *. %f*( * * 6 % %
f
*( * * 6 % %
1 $ $p
,* * *. % ,* * *.,* * *. %
poco f
,* * **.(76 % % ,* * **.(7
6 %
1 3 %pp&&&*
&&&2
&&&&
&&&& % 6
sfz
*(7% % 6
sfz
*(7 %9999999999999999999999
9999999999 * 99999999999999999999999999999999 * 9999999999999999
999999
9999999999 9 9 999
999999
9999999999999* * * 9 9 99999999
99999999999999
8
PERUSAL
44
44
::
::
rit. molto - - -
rit. molto - - -
Tempo Primo
meno mosso
Tempo Primo
meno mosso
rit. molto - - -
rit. molto - - -
*
*
?:
?:
1 Picc.
2
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Cb. Cl.
1 Bsns.
2
A. Sax. 1
A. Sax. 2
Ten. Sax.
Bari. Sax.
Flg. Solo
Tpt. 1
Tpt. 2
Tpt. 3
1Hns.
3
2Hns.
4
1Tbns. 2
3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Sus. Cym.
Perc. 2Glock.
Perc. 3S. D.
Perc. 4Tom-t.
Perc. 5B. D.
!
!
"
#
"
#
!
"
#
"
#
!
# $ $ $ $ %a 2
sfz
&() *7 6
#poco f dim. molto - - - - - - -
*(- ' *- &- &
p
*7 6 $ $ben f sfz
*) ' *() &( *7 6
#poco f dim. molto - - - - - - -
*(- ' *- & &p
*7 6 $ $ben f sfz
*) ' *() &( *7 6
#poco f
*(- ' *-sub.mp
*( *- ' *dim. molto - -
&p
*7 6 %mp
* *- *- * *= 6' $ben f sfz
*+ ' *() &() *7 6
#poco f dim. molto - - - - - - -
*(- ' *- &- &p*/ 6 % 0
mp
* * * *= 6' $ben f sfz
* ' *() &() *7 6
# % % solo
mf
*.'+ *.'- *- ,*+ *) * *)mp3
*.) *. * *'
*)
mp
* * * **) *) *) *)
*8 6'$
tutti
ben f sfz
* ' *( &( *7 6* *) '
# $ $ 3mp
*) *) *) *) $ben f
* *) 'sfz
*+ ' *( &() *7 6
# $ $ 3mp
*) *) *) *) $ben f
* *) 'sfz
*+ ' *( &( *7 6
# $ $ 3 6 solo
mp*) *)
f
* *) *' *') &+ * '/ 0 %
ben f
,
sfz
*+ * * &( */ 6
# $ $ 3 % 6mf f
* *) & * '/ 0 %ben f
,
sfz
* *) *) &( */ 6
, $ $ 3 6 2 soli
mp* *
f
*- *- *') &&)+ ** ''/ 0 %
ben f
,
sfz
**)) **) **) &() */ 6
# 6'mf dim. molto - - - - - - -
*() = & &p
*7 6 3 %mf
$ben f
*' *')sfz
*) ' *( &( */ 6
# 6'mf dim. molto - - - - - - -
*()= & &p
*7 6 3 %mf
$ben f
*') *'sfz
* ' *( &() */ 6
# 6'mf dim. molto - - - - - - -
*'(= & &p
*7 6 3mp
*) *) *)f
* *) * & * '/ 0 %ben f sfz
*) ' *( &(+ */ 6
#mf
*() *) * *7 6 % $ 3mp
*) *) *f
* *) * &+ * '/ 0 %ben f
,
sfz
*) * *) &( */ 6
# $ $ $ %f
*( * * ' * *ben f
*( *0
sfz
* ' *( &( *7 6
#sub. mf
*( * * *7 6 % $ $ %f
*( * * ' * *ben f
*( *0
sfz
* ' *( &() *7 6
#sub. mf
*() * * */ 6 % $ $ %f
*( * * ' * *)ben f
*( *) 0sfz
*) ' *( &() */ 6
#sub. mf
*() * * */ 6 % $ $ %f
*() * * ' * *ben f
*() * 0sfz
*) ' *( &() *7 6
# $ $ $ %f
**()) ** ** '' ** **ben f
a 2
**( **) 0sfz
*) ' *( &() *7 6
# $ $ 3 %mf
**')) **'))% a 2
f*() * * ' * **)
ben f*( **) 0
sfz
**)) '' *( &() */ 6
,sub. mf
***(
-++ *** *** ***7 6 % $ $ %f
***(
)) *** *** ''' *** ***)))
ben f
***())+ ***)) 0
sfz
***))) ''' *() &&&(
))) ***7 6
, $ $ $f
&() * '/ 0 %ben f
,
sfz
*() *) *) &() *7 6, $ $ $
f&( * '/ 0 % 0
ben f
,
sfz
* * &( */ 6
, $ $ 3 % 6mf f
*- *- &(+ * '/ 0 %ben f
,
sfz
*(+ * * &( */ 6?:
1 %p& & '
::% %
poco p
Tgl.;' %Tempo Primo
%poco f
Susp.&( %f
&'( ' % *# %
mp
&- $( ) $ %mf*() * * '
sfz
* * **() *) 6ben f
**)) '' *) &() %
1 $ $ $fmp
&&&2 *( '/ 0p
&&&&f*/ 6
1 $ $ 3 %mp f
&&&* * * *8 6' *( * * ' * * *( * 6f p
sub.
* * * * &&&&(f*.
/ 6
1 $ $ 3 %mp poco f
* * *'( % 6sfz
*'7 *(7 6ben f
* ' * &( %0 0 00 0 0000000 0000999999990 000 00000 0 00
3 999999999 9 99999999999
9999 999099 * * 9
999999 999999999999999999999990
9
PERUSAL
?:
?:
E
E
Più mosso (q = c. 92-100)
Impetuous
Più mosso (q = c. 92-100)
Impetuous
$ 6 7%49
49
1 Fl.
2
1 Ob.
2
Cl. 2
1 A. Sax.
2
Ten. Sax.
Bari. Sax.
Flg. Solo
Bar. Hn.
Stg. Bs.
Perc. 1Sus. Cym.
Perc. 4Tom-t.
!
!
"
#
"
#
"
#
"
#
# 3 3a 2
f
*() * *) *)3 3
f
*() * *) *)3 3
f
*() * *) *
# 3 3 a 2
f
*() * *) *) 3 3f
*() * *) *) 3 3f
*() * *) *
# $ $ 3 %mp*( *) *() *
f
*. *. *() *
#poco p
a 2
* * * * *) * * * *) *. *. *( *- % * * * * *) * * * *) *. *. *( *- %mp
*' *) *) *+ *+ * * *- *) *( * *() * %
# %poco p
* *- * *) *) *7 * ' % * *- *+ *) *) *7 *) ' %mp
*'- *- * *- *mf
mf
f
*' *. *.(+ *.()
# %poco p
* *- * *- *- *7 * ' % * *- * *- *- *7 * ' %mp
*' *- * *) *-mf f
*' *.+ *.( *.()
#take mute $ $ % 6
con sord.lontano
p
*) 7 * ' *7 * *
, 3 % %poco f
solo
*.() *.(3 % % *.() *.(
3 %tutti
mf
*') *. *.( *.()
, 3 % 6pizz.
mf
*()7 *() *( 3 % 6
*()7 *() *( 3 % %
f
f
*( *()
1 3ben p
& ' 3 & ' 3 & '
1 3 % %mf
* * 3 3 * * 3 3 * *
52
52
1 Picc.
2
1 Fl.
2
1 Ob.
2
1 Cls.
2
Cl. 3
B. Cl.
1 Bsns.
2
1 A. Sax.
2
Ten. Sax.
Bari. Sax.
Flg. Solo
1 Tpts.
2
1Hns.
3
2Hns.
4
Bar. Hn.
Stg. Bs.
Perc. 1Sus. Cym.
Perc. 3W. Bl.
Perc. 4Tom-t.
!
!
"
#
"
#
!
"
#
"
#
# $ $ 6solo
p
* ' * *) *) *
# 3f*' * *'- * *(- *(- *( % 3
f
* * *) * % ****
**)) ****(
% % %a 2
f
* * *) *)
# 3f*' * *'- * *( *(- *( % 3
f
* * *) * % * * *) * *( % %f
* * *) * * * *) *)
#mf
%mf
)*(
* *.
*.
*
f
)* *) *.
) *.
)) +*
'*+ *
'*+*
'*.
)+*(
* **(
*(
*(
% 3 1.
f
* * * * 3a 2
f
*() *) * *+ & * *) * *+ *+ ****)) *
# 3mf f
*') *. *(+ * * % $f
*() *) * *+ * & %
# 3 % %mf
*( *( * * *) * *) *() *( *(+ *( %poco f
*) * *) *+f
*- * *.+ *.) *(),6
*'(*/ % %
, 3 % %a 2
mf
*( *() *( *f
*- * *- *( *( *( *()poco f
*') *+ *- *- * *+f
*+ * *.) *. *(-,% % 3
# *(+ * *.+ *. *+ *' *- *'+ * *( *( *() % 3f
%poco f
* *+ *.) *.f
* *) *. *. *(,% 3'
# *) *( *+ *.) *.) *') *.+ *(- *(+ *(- % % %f sub.
poco f
*') * * * *.) *.f
* *) *. *.+ *() ,% 3'
#*) *( *) *. *.) % % % % %
f
*' *) %f
*- * *.+ *.) *(+,6
poco f*') */ *-7 *+ *.(7
# *7 * ' & *$+% & ' 3mute off
$
# $ $ %mf
a 2
* * *) *) * *) *) * *+ *- *+ * * **+**)) *
# $1.mf
%*-f
- +*(
*(
*(
*(
*(
*(
*'
*'
*'
*'
3 % 6
poco f
a 2
*'() *) / */ *) *+ /
# $ %f*() *( *( *'- * 3 ,
f
*(- 6poco f
*'(*+7
*+7 *#
*7
, 3 *') *. *(+ * *% $ % 6
poco f*'+ *)7 *)7 *- *7
, $ %arco
f
*() *( *'(3' % 6
poco f
*'( *7 3
1 %p* %
mp* *.(
0 % 3 %mp& %
cresc.
&' * *
1 3 % %mp
* % *. *. 0 6mf
*(7 % % $
1 %p
,* * */ 6 %mp
*. *.( 0 % 3 6mf
,*/*(/ % % %
p
&&&* 'cresc.
&&&*/ &&&*
/&&&* *'7
0
10
PERUSAL
55
55
":
":
1 Picc.
2
1 Fl.
2
1 Ob.
2
1 Cls.
2
Cl. 3
B. Cl.
Cb. Cl.
1 Bsns.
2
1 A. Sax.
2
Ten. Sax.
Bari. Sax.
Flg. Solo
1 Tpts.
2
Tpt. 3
1Hns.
3
2Hns.
4
1Tbns. 2
3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Sus. Cym.
Perc. 3W. Bl.
Perc. 4Tom-t.
Perc. 5B. D.
!
!
"
#
"
#
!
"
#
"
#
# & ' 3 %ben f
(a 2)
sfz
*+ * ' *() % % *() % *( % *'sffz
*.() %
#&(
6'f
*)=*) *+ *(+ *(- *.( * ' * *.(
ben f
flut.
&&&*() % % &&&
*() % &&&*( % &&&
*'
sffz
*.() *- *+ *- *-
# **) % 6'f
*)=*) *+ *(+ *(- *.( * ' * *.(
sfz
*'() % % $ $
#2.
1.
**(7 6
ben f
a 2
*() * * * *( *( * ** *) *.(
)*
.()
3 %a 2
ff
* *) *) * *) *) *) *) *.(*) *) * *) *.(
* *) * * *'(
sffz
*>*() *) * *)
# %ben f
*() * * * *( *( *( *.() 7 6 *.() 3 %ff
* *) *) * *) *) *) *) *.(*) *) * *) *.(
* *) * * *'(
sffz
*>*() *) * *)
# % % 6'mf
*.- 8 * * '*.( % *'
ben f
*.(% % *.(
% *.'% *'(
sffz
*.(%
# $ % %ben f
*.(% % *.(
% *.(% *'(
sffz
*.(%
, %f
*+ ' * *- * * *- *- ' **( **.(+ % **'-ben f
**(+)a 2
ff
* *) *) *) *- * *- *- **(++ 7 6 *- * *- * **(-7 6 *- * * * **'(+
sffz
**.(- *( * *- *-
# $ %a 2
f
*')ben f
*(7 6ff* * *) * *) *) *) * **
.(++ * *) * *) **
.() ))
* * * * *'(
*'(
sffz
*.() *( *) * *)
# %ben f
*' *- *- * * ' *(- *.( % *'ben f
*(+7 6 % % *.(- *- *$-% *- * *.(- *- *- * *- *'(
sffz
*.(*( *- *.-
# $ %f
*')ben f
*() 7 6 % % *.( % *.( % *'sffz
*.( %
# $ 3open
ben f
*.( % % *( % *() % *')sffz
*.(%
#a 2
ben f
*(7 6 - )-* * ** * * + -* * * ** * * * +) -* * * * *.(
* * * *.(
**(-+ '' **() **.(
+ben f
**.(
) % % ) *(*( % *
(*( % )*
'*' sffz
**.()) %
#f
*() * * *( *( * *- * *) * * * *- *.() *( ' *( *.(+ben f`
*.( % % *() % *( % *'sffz
*.() %
#f
*() * * *) *) ' **/ **)$)% **.
( *( ' **(+ **.()ben f
*.() % % **() % **()) % **'sffz
**.()) %
# %f* * *- * *- * *.( *( ' *( *.(+
ben f
*.() % % *() % **() %+*
'*' sffz
**.(%
, $ %f
***.()-
ben f
***.(+) % %
***(
)) %
***()) %
***'))
sffz
***.(
)) %
, %f
*' ' *+ *.- * * *+ *+ * * *.( % *ben f
*.() % % *() % *( % *'sffz
*.() %
, $ 3ben f
*.(% % *(
% *(% *'
sffz
*.(%
, % % 6f
*- * *+ *+ ' % % % *.( % % *.( % *() % *'
sffz
*.( %
1poco f
* % 3' %mp
*.f
*.( % % *.( % *.( % *.
":sfz
*(TO TRIANGLE
%
1 3 6mf
*.7 %f
*.(7 6 3f
*.( % % *.( % *.( % *. crack
sfz
*( TO GLOCK.
%
1poco f
*( * * 0 % % ,*/
f
* * * * *.(7 6 % &&&*
f*( % % *.(
% *.(% *.
sfz
**.(TO VIBES%
1 $ 3f
*.( % % *.( % *.( % *.(sfz
*.(TO MARK
TREE%0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
11
PERUSAL
F
F
(q = 104-108)
(q = 104-108)
Poco più mosso
Poco più mosso
59
59
!:
!:
":
":
1 Picc.
2
Fl. 1
Fl. 2
1 Ob.
2
Cl. 2,3
1Hns.
3
2Hns.
4
Perc. 1Tgl.
Perc. 2Mba.
Perc. 3Glock.
Perc. 4Vib.
Perc. 5Mk. Tree
"
#
"
#
"
#
!
# $ $ $ $ 6'solo
mp
*= * * * &p
*7 6 % $ $ $
# $ $ $ %mp
6solo
delicate
dim.
* * * * ' * &ben p
* % $ $ $
# $ $ $ $ $ $ $solo
mp
* *- * *' *'- * * & '
#(a 2 optional)
mf
*( * * * * * *. 0 *( * * * * *( * * * * *. * * * * & $ $ $ $ $
# $ $ $ $ $ $ $2 soli
mp**-- **-- ** **' **'-- **-- ** && ''
#fmf
a 2
&+ &dim.
& &(n)
& $ $ $ $ $
#fp
a 2
& & & */ 6 % $ $ $ $ $ $
1 $ $ $pp
Tgl.3 ; ; ( )% % %ppp
; $( ) % ; % %p
;'
# %poco p
( .)*( & & & & & & & & &' ' *45555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555
# $ $ $ $ $ $poco p
6 *7l.v.
$( ) $( )*) ** % delicate%ben p
*'-TO
S.D.
# $ $ $ $ $poco p
,*/* ,*/* ** ( )l.v.*- *% $( ) $( ) $( )
@ A1 $
mp
l.v.
$1
( ) $( )2
$( )3
$( )4
$5
( ) $( )6
$( )7
off $0 0 0 0 0 0 0 0 0 0 000 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
":
":
69
69
1 Picc.
2
Fl. 1
Fl. 2
Cl. 1
Cl. 2
B. Cl.
A. Sax. 1
Ten. Sax.
1Hns.
3
2Hns.
4
Perc. 1Tgl.
Perc. 2Mba.
Perc. 4Vib.
Perc. 5Mk. Tree
"
#
"
#!
"
#
"
#
!
# $ $ $ $ $ $ $ solo
mp
* * 0 * * 0 * * * * * * * *
#solo
mf
* * * * * ,* ** *.( *. * * * * *( * * * * *. * *( * *' & $mp*- ' * * * ' & * '
ben p
6
# $ $ $ $ 6'mp
*=*. * * * * *
3 dim.
& &
ben p
* '6
#solo
mf
* *- * * * ,* ** *.( *.- * * * * *( *- * * * *. * *(- * *' & % 6 *) / *) * * * *. * & * ' 6
# $ $ $ % solo6mf
* *- *- * ' * & $ $ $
# $ $ $ $ $ $ $ $ %poco p
*'# $ $ $ $ $ $ $ $ %
poco p*'-
# $ $ $ $ $ $ $ $ %poco p
*'
#fmf
&&dim.
&& && &* 'p
6 * 'pp
61.
pp*- * *. * * ' 6 $ $
#fp
2.
& * ' 6 $ $ $ $ $ $ $
1 $( ) damp $ $poco p
3' ;p
; 3ben p
; ; ; 6mp
; ' ;7 ;p
;7
# %poco p
( .)*' & & & & & *
45555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555* * * *
455555555555555555555555555
mp
,* * &($( )
# $ $ $ $ $ dry
mp*B *B
$poco p
*B *B&( * &455555555555555555555555555555555555555555555555555555555555
1 $mp
l.v.
$1
( ) $2
( ) $( )3
$( )4
$5
( ) $( )6
$7
( )
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0
12
PERUSAL
G
G
G
78
78
1 Picc.
2
Ob. 1
Cl. 1
Cl. 2
Cl. 3
B. Cl.
1 Bsns.
2
A. Sax. 1
Ten. Sax.
Flg. Solo
Tpt. 1
1Hns.
3
Bar. Hn.
Stg. Bs.
Perc. 1Tgl.
Perc. 2Mba.
Perc. 4Vib.
Perc. 5Mk. Tree
!
!
"
#
"
#
!
"
#
"
#
!
# & &ben p
* ' 6 $ $ $ $ $ $
# $ $ $ %solo
p
lontano* & *7 * *7 * * *) * *. 6' *= * * * * * * *
# $ $ $ $ $ $ $ %poco p
&3
*- * *-3
# $ $ $ $ $ $ $ $ %poco p
*- *3
# $ $ $ $ $ $ $ %poco p
&3 *- * *-3
# * *) *3
& %poco p
* * *) *3 & *
3
mf
*) &3 & $ $
, $ %mp
**$+%$+%
**))3
**-- ** **/ 6 % % ** **))
3
** %mf
**-+3 **--**
**--3
sub.poco p
a 2
*- *- *+3
* * *+3
# * *) *3 & %
poco p
*- * *) *3
& *3
mf
* &3 & $ $
# *) *) *3 &) %
poco p
* *- * *)3 & *+3
mf
* &)3 & $ $
# $ $ $ $ $ $ $ %poco p
&-3
*- &'-3
# $ $ $ $ $ $ $ %poco p
&-3
*- &'-3
# $ $ $ $ $ $ $poco p
a 2
*+ *- *3
* *- *3
, $ %mp
*) *)3 *+ *) */ 6 % % *) *3
* %mf
*$+%3 *- *- *3 sub.
poco p
tutti
*- *- *+3
* * *+3
, $ %mp
* *)3 *- * *7 6 % % * *)3 * % %3
mf
*- *- *-3
$ $
1 $( )TO TIMP.
Tune G# - A
$ $ $ $ $ $ $ $
# $ $ $ $ $mp
*. * *) 6' $mp
*.- * *455555555555555555555555555
* *-4555555555
# & & & &4$ %555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555
& *- * *455555555555555555555555555555555555555555555555555555
*) *455555555555555555555555555555
*) *) * *.)4555555555555555555555555555 $
1 off $p
$( ) $( )pp p
$( ) $( ) $( )
0 0 0 0 0 0 6 0 0 0 0 0 0 6 0 0 0 0 0 6 0 0 0 0 0 0 6 0 0 0 0 0 0 6 0 0 0 0 0 0 6 0 0 0 0 0 0 6 0 0 0 0 0 0 6
13
PERUSAL
87
87
!!!!"
!!!!"
e = qq = h
e = qq = h
""
""
1 Picc.
2
1 Fl.
2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Cl. 3
1 Bsns.
2
A. Sax. 1
A. Sax. 2
Ten. Sax.
Bari. Sax.
Flg. Solo
Tpt. 1
Tpt. 2
Tpt. 3
1Hns.
3
2Hns.
4
1Tbns. 2
3
Bar. Hn.
Tba.
Perc. 2Mba.
Perc. 3S. D.
Perc. 4Vib.
Perc. 5Mk. Tree
!
"
#
"
#
"
#
"
#
!
# $ $ $ $ $a 2
sffz
,*+ /& *B/ 6 %
sff
*(- * *- * *'(-
# $ $ $ $ %a 2
f
,*/*(- *(- *.( *(- *7 6
f
*- * * *sff
*(- * *- * *'(-
# 8& & $ $ %f
*(- *(- *.( *(- *7 6f
*- * * *sff
*(- * *- * *'(
# $ $ $ $ %f
*(- *(- *.(*(- *7 6
f
*- * * *sff
*(- * *- * *'(
# &- *-3 *- &- 3
f
$ $ %f
,*- /*(- *(- *.(- *(- *7 6
f
*- *+ * *-
sff
*(- *- *- * *'(
# &- *-3 *- &- 3
f
$ $ %f
,*- /*(- *(- *.(- *( */ 6
f
*- *+ * *-sff
*(- *- *- * *'(
# &- *-3 *- &- 3
f
$ $ %f
,*- /*(- *(- *.(- *(- */ 6
f
*- *+ * *-sff
*(- *- *- * *'(
, $ $ $ $ %ff
$mf
a 2**(- ** ** ** *( *- *- *ben f
*- * * * &*(/ *
(- '
# $ $ $ %punched
f
*) *) * * *ff
. $mf
*(+ * * * *- *- *- *- **--**+ ** *
sff
*(+ *- *- *- *'(+
# $ $ $ %punched
f
* *) * * *.
ff
$mf
*(+ * * * *- *- *- *- **--**+ ** *
sff
*(+ *- *- *- *'(-
# $ $ $ %punched
f
* * * * *.
ff
$fmp
*( * * * *(f
*'( &
# $ $ $ $ $ $fmp
*(-f
*'( &
#mp&+ *3 *- &3
f
*( ' *) *( * * *punched
*( * *() * *( *( *( *( *( . % $poco f
*- *- *- *- *- * * * *(- *(- *(- *(- *(-
#mp
&+ *3 *- &3
f
*() ' *) *( * * * *() * *() * *() *( *( *( *() . % $poco f
*- *- *- *- * * * * *(- *(- *(- *(- *(-
# %mf
*- *3 *' &- 3
f
*() *) *) *( * * * *() * *() * *( *(*( *(
*() . % $ $ 6ben f
*(+ *(*(-
# %mf
*- *3 *' &- 3
f
*( *) * *( * * * *( * *( * *( *(*( *(
*'(. % $ $
ben f*- *- *- *- *(
# %mf
* *-3 *'- &3
f
*() * *) * *( * * * punched*() ' * *( *( *( *( *() .
ff
**(+ ****** %molto f
**.(fmp
&( *sff*'(-
# $ $f
*(
* **) ** *(
* ** ** *(
' **) *( **(
*( **(
*( .
ff
*() * * * %molto f
*.()fmp
&+ *sff
*'(
, $ $ $ $ $ %1. 2.
molto f3.
*(
*'(
fmp
-*(
*( -
f
*'
*'
*' *
'---*
(/**'(
''*(7 *
'('
, $ $ $ $ $ $fmp
*(f
*' *' *(/ *'(- '
, $ $ $ $ $ $ $f
*(/
*'(- '
# &( *mf
*-4555555555555555555555555555555( )%
sfz
///// ***(
))/
6crisp
**.( *) * **.() *) * ** *) *) * **.(
) % $f* *- *- * *.(-7 6
*- * *- * **(
--
1 $ $f
,* * *(mf
*( ' &&* *( * *( *sfz
rim
x*( *( *( *( *( % %Wd. Blk.
sfz
*(S.D.
,* * *(mf
molto
* * * *rim
sfz
x* * * * *(
#mf
*( %flourish
f
*(- ** * * * * *- 6crisp
*) * *) *) * *) *) *) * *) * * *.() %TO TAMBOURINE
$ $ $
1 $( ) off $TO BASS DRUM
$ $ $ $ $ $0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
14
PERUSAL
""
""
H
H
h = 88-100
h = 88-100
Steady Dance
Steady Dance
95
95
1 Ob.
2
B. Cl.
Cb. Cl.
1 Bsns.
2
Ten. Sax.
Bari. Sax.
Flg. Solo
1 Tpts. 2
3
1Hns.
3
2Hns.
4
1 Tbns.
2
Tbn. 3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Tgl.
Perc. 3Sus. Cym.
Perc. 4Tamb.
Perc. 5B. D.
!
!
"
#
"
#
!
"
#
"
#
#ben f
a 2
* * * * & *. *' 6 */ * * * * * * * * & *. * * * &.
* * * * & */ 6 ,* * *' * * * * * * * * * &' * * * * &
#f&'
.*' *' */ 6 % 3 &'
.*' *' */ 6 % 3 &'
.*' *' */ 6 % 3 &'
.*' *' */ 6 % 3
#f&' ' % $ &' ' % $ &' ' % $ &' ' % $
,f&&' '' % $ &&'
''
% $ &&'''
% $ &&'''
% $
#f
&' .*' *' */ 6
mf
*' &-f
*' ' 6 *' *' */ 6mf
*' &-f
*( ' 6 *' *' */ 6mf
*' &-*( ' 6 *' *'
mf*/ 6 *' &-
#f
&'. *'- *'- *7 6 % 3 *' ' 6 *'- *'- *7 6 % 3 *( ' 6 *'- *'- *7 6 % 3 *( ' 6 *'- *'- *7 6 % 3
# $ $ $ $f* *- * * & */ 6 ,* * *' *- * * * * * *- * * &' * * *- * &
#tutti
f* *- * * & *. *' 6 *- / * * * * * *- * * & *. * *- * &
.* *- * * & */ 6 ,* * *' *- * * * * * *- * * &' * * *- * &
# $ %a 2
mf
*' & $ % *' & $ % *' &f& ' % %
mf
*' &
#f
&'
'& '% %
mf
*'
*'
&&f
&'
'& '% %
mf
*'
*'
&&f
&'
'& '% %
mf
*'
*'
&&f
& '& '% %
mf
** -&&
, 3a 2
f
*' *' *7 6mf
*'& ' &
3f
*' *' *7 6mf
*'& ' &
3f
*' *' *7 6mf
*'& ' &
3f
*' *' *7 6mf
*'& ' &
, 3f
*' *' *7 6mf
&' ' 3f
*' *' *7 6mf
& ' 3f
*' *' *7 6 &' ' 3f
*' *'mf
*7 6 &' '
,f&' ' % %
mf
&' 'f&' ' % %
mf
& 'f&' ' % %
mf
&' 'f&' ' % %
mf
& '
,
f&' '
% $&' '
% $&' '
% $&' '
% $
,f&' ' % $ &' ' % $ &' ' % $ &' ' % $
,Timp./
f
Timp.
,* * &(3 3
Tgl.
(f)
;( %Timp.
,* * &(3 3
Tgl.;( %Timp.
,* * &(3 3
Tgl.;( %Timp.
,* * &(3 3
Tgl.;( %
1 TO SUSP. CYM.$ %mf
*.( 3 $ % *.( 3 $ % *.( 3 $ % *.( 3
1 $ %mf
* &f
555555555555555555555 *./ 6 % 3 %
mf
* &f
555555555555555555555*./ 6 % 3 %
mf
* &f
555555555555555555555 *./ 6 % 3 %
mf
* & 55555555555555
1 3 % * % * &. 3 % * % * &. 3 % * % * &. 3 % * % * &'3 0000f
00
6 3 mf 0000006 30
00
0
f0
06 3 mf 00000
06 3 0000f0
06 3 mf 0000006 3 0000f0
06 3 mf 0000006
103
103
1 Fl.
2
Cl. 1
Cl. 2,3
A. Sax. 1
A. Sax. 2
Ten. Sax.
Bari. Sax.
Perc. 2Mrcas.
"
#
"
#
"#
#a 2
6mp
soli
* */ * *) * * 6 * */ * * * 6 * */ * *') * 2 2 & 3
#mp&'- & &' & &'- & $ $ $
#mp22- 22- 22- $ $ $
# 6solo
mp
*- *7 * * * * 6 *- *7 * * * 6 *- *7 * *' * 2 2 & 3
# $ $ $ 3p*- * &) *' *' *) * &)
# $ $ $ 3p* *) & *') *' * * &)
# $ $ $ 3p*- * &) *' *' *) * &)
1poco p
* * * * * * * * * * * * * %twirl
p& 2 2555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555
6 6 6 6 6 6 % 6 6 6 6 6 6 % 6 6 6 6 6 6 % 6 6 6 6 6 6 % 6 6 6 6 6 6 % 6 6 6 6 6 6 %
0
15
PERUSAL
109
109
1 Fl.
2
1 Cls. 2
3
B. Cl.
Bsn. 1
Bsn. 2
Ten. Sax.
1Hns.
3
Hn. 2
1 Tbns.
2
Tbn. 3
Perc. 1Tgl.
Perc. 2Mrcas.
Perc. 4Tamb.
"#
"
#
!
"
#
"
#
# 6mf
** **7**
**))** ** 6 ** **7
** ** ** 6 ** **7**
**'
)) ** 22 22
#3 soli6
mp
* */ * * * * 6 * */ * * *. 6
1, 3 soli + cl. 2 tutti
* */ * *' * 2 2
# $ $ $ 3mf& &) *') *')
,mp
&' & &' & &'+ & $ 3mf
*'- *', $ $ $ 3
mf&) &) *'- *'+
# $ $ $ $ 3mf
*'- *'-
#p
22 22 22- $ $
#p
2 2 2 $ $, $ $ $ %
a 2
mp
* &) &)mf
*') *')
, $ $ $ 3mp& &
mf
*'- *'
1 ( )p
3( 3 ( )3( 3 ( )3( 3 3 3 ; ;mp
3( TO TIMP.
1 %mp* * * % * * * * * * * 3
shake
mp& & *
f*(
5555555555555555555555555555555555555555555555555555555555555555555555555
1 $ $ $ $ 3p
&'55555555555555555555555555
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 66 6
114
114
1 Fl.
2
Ob. 1
1 Cls. 2
3
B. Cl.
Cb. Cl.
1 Bsns.
2
1 A. Sax.
2
Ten. Sax.
Bari. Sax.
Flg. Solo
1 Tpts. 2
3
1Hns.
3
2Hns.
4
1 Tbns.
2
Tbn. 3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Timp.
Perc. 3Sus. Cym.
Perc. 4Tamb.
Perc. 5B. D.
!
!
"
#
"
#
!
"
#
"
#
#ben f
a 2
*( * * * & *. *' 6 *7 * * * * *( * * * & *. * * * & . *( * * * & *7 6,* * * * * * * * * * * * &
# $ $ $ $ben f
*( * * * & *7 6,* * * * * * * * * * * * &
#ben f
2.
3.
*( % 3*(
*- * * & (2 only)*. *' 6 *-7 * * * * *( *- * * & *. * *- * & . 2.
1. tuttiben f
**( **--
** **&& **7 6
,
**
** ** **--
** ** ** ****
**--** **
&&
# 3 % *(+ &,3 3 % *( &
,3 3 % *( &,3 3 % *(
# 3 % f
f*( &
,3 3 % *( &,3 3 % *( &
,3 3 % *(,
f
* ' 6 *( *( * % 3 *( ' 6 *( *' * % 3 *( ' 6 *( *' * % 3 *( ' 6 *( *'#
a 2
f
*( *- * * & *. *' 6 *-7 * * * * *( *- * * & *. * *- * &2.
*( *- * * & *7 6 ,* * * *- * * * * * *- * * &
#f
&( ' % %mf
*- &f
&( ' % %mf
* &f
&( ' % %mf
*- &f
&( ' %
#f
&( ' % %mf
* &f
&( ' % %mf
* &f
&( ' % %mf
* &f
&( ' %
#poco f
*( *- * * & *. *' 6 *- / * * * * *( *- * * & *. * *- * &.
*( *- * * & */ 6 ,* * * *- * * * * * *- * * &
#poco f
tutti
*( *- * * & *. *' 6 *- / * * * * *( *- * * & *. * *- * &.
*( *- * * & */ 6 ,* * * *- * * * * * *- * * &
#f&& '' % %
mf
a 2
*'- &'f&& '' % %
mf
*' &&-f&&( '' % %
a 2
mf
*'- &'f&& '' %
#f
& '& '% %
mf
*'*'
-&'&'
f
& '& '% %
mf
*'*'
-&'&'
f
& '& '% %
mf
*'*'
-&'&'
f
& '& '%
,f
&'( ' % $ &'( ' % $ &'( ' % $ &'( ' %,
f
&'(+ ' % $ &'( ' % %mf
*' &'f
&'( ' % $ &'( ' %, 3
f*( *( &
,3 3 *( *( &, 3 3 *( *( &
, 3 3 *( *(, 3
f*( *'( &
,3 3 *( *( &, 3 3 *( *( &
, 3 3 *( *(, 3
f
*( *( *mf
. *( &'3
f
*( *( * % 3 3 *( *( *.
mf
*( &(3
f
*( *(
, 3 Timp.
f
,* * *(&&&* *.
/ 6 %(f)
Tgl.; % 3 Timp.
,* * *(&&&* *.
/ 6 %Tgl.; % 3 Timp.
,* * *(&&&* *.
/ 6 %Tgl.; % 3 Timp.
,* * *(&&&*
1f2' %
mp
*. 3f2' %
mp
*. 3f2' %
mp
*. 3f
2'
1f*(
55%
mf* * 3 &'
f*(
55555555555555555555 %mf* * 3 &'
f*(
555555555555555555 %mf* * 3 &'
f
*(555555555555555555 %
mf* *
1 3 % *( %mf
*. &' 3 %f
*( %mf
*. &' 3 %f
*( %mf
*. &' 3 %f
*(000000000000f0000 000
0000000000000 0000000000000000 0000000000000000 000000 0000
00
0000 000 0
000000000000 000000 00000
00000
0
16
PERUSAL
121
121
!"
!"
""
""
1 Fl.
2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Cb. Cl.
1 Bsns.
2
A. Sax. 1
A. Sax. 2
Ten. Sax.
Bari. Sax.
Flg. Solo
Tpt. 1
Tpt. 2
Tpt. 3
1Hns.
3
2Hns.
4
1 Tbns.
2
Tbn. 3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Timp.
Perc. 3Sus. Cym.
Perc. 4Tamb.
Perc. 5B. D.
!
!
"
#
"
#
!
"
#
"
#
# * *. * * *. .
sfz
*( * *7 * *(7 * * * * % 3 $ $ $
# * *. * * *. .
sfz
*( * *7 * 6 3 % 'sfzp
*(7 & 2 * ' 6 $ $
# $ % 'sfz
*(7 * * * % 'pale
mp
*7 * * * * * * * * * * * * *( * *.7 6molto f
*.( & ' 2
#fp
* *. *- * & & 3ben f
punched
sfzp
* *- * *($+% & & 'sfz
*.() *() ' 6 $ $
#fp
* *. *- * & * ' 6 3ben f
punched
sfzp
* *- * *($+% & & 'sfz
*.() *() ' 6 $ $
# $ $tutti
ben f
punched
sfzp
* *- * *($+% & & 'sfz
*.() *() ' 6 $ $
# &,3 $ $ $ $ $
# &,3 $ $ $ $ $
,* % 3 $ $ 3 3
mf
*+ *) 3f
**'(**'( **' % 3
# $ $ % 'sfzp
*(7 & 2 * ' 6 $ $
# 1
sfz
* *. *- * *. % $ % 'sfzp
*(7 & 2 * ' 6 $ $
# % *(fp
&(- 2 *7 6 6sfzp
*(7 & 2 * ' 6 $ %poco f
*'- &'
# % *(fp
&( 2 *7 6 6sfzp
*(-7 & 2 * ' 6 $ $
# * *. *- * * % $ $ 3 3mf ben f
*(- * *. *. *.( &( ' 2
# * *. *- * *,
sfz
*( * */ *.*(
/ *- * * */ 6 6fp
*(/ * *- * * * *- * * * * * *
ben f
*( * *. *. *.( &'( ' 2
# * *. *- * *,
sfz
*( * */ *.*(
/ *- * * */ 6 6fp
*(/ * *- * * * *- * * * * * *
ben f
*( * *. *. *.( & ' 2
#fp
* *. *- * & & ' % $ 3poco p
* *- * *ben f
*( * *. *. *.( *(3 $
# %a 2
*( *(- % $ % 'sfzp
1.
*(+ / & 3& ' %a 2
mf
*.(- *(- ' $ %poco f
*'- &'+
# % a 2
*( *(% $ $ $ $ %
poco f*' &'-
, 3$'' fp
& 2 */6 % 3 3 %
1.
mf
*.(+ *(- ' 6 3poco f
*% poco f
*(* **
%* 3&
, 3fp
&( 2 *7 6 % 3 $ $ $
, * ' 6 3 $ $ $ 3f*(
*( * . *' &'
,* '
6 3 $ $ $ 3f*(
*( * . *' &'
, * % 3 $ $ $ 3f
*( *( * . *' &'
, *./ 6 %
sfz
Tgl.;( % $ $ Timp.
!"mp
*. *. *. *.f
*' %f
"",* * *.(
% 3 $
1 %mp
*. 3 $ % 'mp
*(7 & & ' *.mf
&( *.( % 3 % gentle
mf
& '
1 3sfz
*( % $ $ 3 3mf* * *' % 3 3
mf
& 555555555555555555
1 %mf
*.sfz
*( % $ % 'sfz
*(7 * % 3 %p
* * *ben f
&.' 3 %poco f
*.( 3
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
17
PERUSAL
127
127
I
I
I
Fl. 1
Fl. 2
B. Cl.
Cb. Cl.
Bsn. 1
Bsn. 2
A. Sax. 2
Bari. Sax.
Tpt. 2
1Hns.
3
2Hns.
4
1 Tbns.
2
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Timp.
Perc. 3Sus. Cym.
Perc. 4Tamb.
Perc. 5B. D.
!
"
#
"
#
!
"
#
"
#
# $ $ $ $ 6solo
mp
* *-7 * * *) * 6 *.dim.
*-7 * * * 2
#poco p
pale2 2 $ $ $ $ $
# $ $ 3p
&- 2 2 2 $
# $ $p2 2 2 2 $
, 3f
*'( *'( */ 6 % 3 3mp
*- *- 2'- 2 2p
$
, 3f
*'( *'( */ 6 % 3mp*' &) ' 2 2 2
p
$
#mf
2dim.
2 2 &p
3 $ $ $
# $ $ $ $ $ $ %ben p
*- * *- / * '
#dim.
2 2p& 3 $ $ $ $
# $ %mf
*'- &'+( )
$ $ $ $ $
# $ %mf
*' &'-( )
$ $ $ $ $
,3
$''
mf
*( *
(
%*7 6
mf
%* 3& $ $ $ $ $
, 3poco f
*( *( */ 6mf
*' &' $ $ $ $ %ben p
* * * *
, 3poco f
*( *( */ 6 % 3 $ $ $ $p2
, 3poco f
*( *( *7 6mf
*' &' $ $ $ $p* * * &
,mf
,* * *. %TO TGL.
3 $ $ $ $ $ $
1 $ %gentle
mp
&' 'l.v.
$( ) $( ) $( ) $( )TO GLOCK.
$
1Vib./*.
555555 % TO VIBES3 $ $ # 3 solo
mp*- * & ' *$+% $( )
@ A$
1 3poco f
*' % %mf
*.( 3 $ $ $ $ $6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
18
PERUSAL
134
134
1 Picc.
2
Fl. 1
Fl. 2
Ob. 2
Cl. 1
Cl. 2
Cl. 3
A. Sax. 1
A. Sax. 2
Ten. Sax.
Bari. Sax.
1Hns.
3
2Hns.
4
1 Tbns.
2
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Tgl.
Perc. 2Mba.
Perc. 3Glock.
Perc. 4Vib.
!
"
#
"
#
"
#
"
#
!
# $a 2
p
* * * * * * * *. % *. *. *. % *ben p
*. *. *. % *. *.
*.
*.
*. 3% ' */
*.
*.
*.
*. 3% ' */
# 2 2ben p
$ $ $ $ $
# 3p
* * * * * * * *. * * *.3
leggiero *. *.3
ben p
*.% 3 $ $
# 3 %ben p
*.' *.'&
pp
* 2 2 2 2 2
# 3(solo ad lib.)
p
* * * * * * * *- *
pp
* 2 2 2 2 2
#(solo ad lib.)
p* * * * */ 6 %
ben p
* * *- *- * * *. $ $ $ $ $
#(solo ad lib.)
p* * * * * * % * * *- * *.7 6 % $ $ $ $ $
# 3p
* * & '
pp
* 2 2 2 2 2
#p*- * & &- '
pp
* 2 2 2 2 2
#ben p
2 & 'pp
* 2 2 2 2 2
# * * & & 'pp
* 2 2 2 2 2
#ben p
2% & ' & '& 'pp
** 22 22 22 22 22
# $ 3 % , a 2
pp
* 2 2 2 2 2
,ben p
* * & & '
pp
* 2 2 2 2 2
, * * & & 'pp* 2 2 2 2 2
,*
ben p
* & & 'pp* 2 2 2 2 2
, *ben p
* & & 'pp
* 2 2 2 2 2
1 $ $ $ $pp
3 3' l.v.
$( )
# * * ** &
pp
& '( )% $ $
energeticsolo
molto f
* * *(- *- * * *- * * *(- *- * *
,p
* * * 6 $ $ $ $ $*
* * *
# $ 3 ( )solo
mp
*( * *p&.
& &.&
dim.
* * * & &.* % * * * %
# 3ben p
* ** * * %
pp
* l.v.
$( ) $( ) $( ) damp $ $
6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6
19
PERUSAL
141
141
J
J
1 Picc.
2
1 Fl.
2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Cl. 3
A. Sax. 1
A. Sax. 2
Ten. Sax.
Bari. Sax.
1Hns.
3
2Hns.
4
1 Tbns.
2
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Tgl.
Perc. 2Mba.
Perc. 3Glock.
Perc. 4Vib.
!
"
#
"
#
"
#
"
#
!
# ** ** 3% 'pp
*/&*
.*. 3 $ $ $ $
# $ $poco p
a 2energetic* * *(- * * * * *- * *(+ * * * * *) *(+ * * * *( *( *( *( &'(
# $ $mp
energetic* * *(- * * * * *- * *(+ * * * * *) *(+ * * * *( *( *( *( &'( *4555555555555555555
# 2 * % 3 $ $ $ $
#2 *
% %ben p
* *- *** *- ** *- * * *( 3 $ $ $6
5
# $ 3 %ben p
* *- *** *- ** *- * * *( 3 $ $ $6
5
# $ 3 %ben p
* *- *** *- ** *- * * *( 3 $ $ $6
5
#2 * % 3 $ $ $ $
# 2 * % 3 $ $ $ $
# 2 * % 3 $ $ $ $
# 2 * % 3 $ $ $ $
# 22 ** % 3 $ $ $ $
, 2 * % 3 $ $ $ $
, 2 * % 3 $ $ $ $
, 2 * % 3 $ $ $ $
,2 *
% 3 $ $ $ $
, 2 * % 3 $ $ $ $
1 $( ) ( )3p
3 ; ( )3( 'l.v.
$( ) $( ) ( )3 %mp
;
# * *+ *( * * * *( *( *( *( & &
gliss. ( )%
graceful
*(- *- * & % *() * *% & *() * *+ *7 6 &) *( *(
# &.* %
pp* * * % 3 %
mp
graceful
*(- * * 3 % *(+ * * 3 % $*( * *
# $ 3 %dry
p
(1)
**
(2)**(gliss. 3 $ %
dry
mp
& graceful*) * * % &) *( *(
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
20
PERUSAL
147
147
K
K
1 Picc.
2
1 Fl.
2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Cb. Cl.
1 Bsns.
2
1 A. Sax.
2
Ten. Sax.
Bari. Sax.
Flg. Solo
1 Tpts. 2
3
1Hns.
3
2Hns.
4
1Tbns. 2
3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Timp.
Perc. 2Mba.
Perc. 3Glock.
Perc. 4Vib.
Perc. 5B. D.
!
!
"
#
"
#
!
"
#
"
#
!
# $ 3a 2
f
*'( * *' *sfz
*'( * *'( * *(7 6 % 3 $ $ $mp*/ * *- / *' * * *
# *( * * * *mp
*( *poco f
* * * * * * *sfz
* * * **(
*(
*(
*(
*7*(/
6 % 3 $ $ $sfz
**(7 6 % 3
#mf
*( * * * *poco f
*( * * * *f sf
*( *( *( *( *(7 6fp& ' %
fp& '
sfz
*(7 6fp& ' %
fp& '
sf
*(7 6fp& '
#mf
*( * * * *poco f
*( * * * *f sf
*( *( *( *( *(7 6fp& ' %
fp& '
*(7 6fp& ' %
fp& '
sf
*(7 6fp& '
# $ $sfz
*(/ * *- / *'- * *- * *(- / *+ *- / *(***. * *(
/ * *- / *'- * *- * *(- / *+ *- / *(***. * *(/ * *- / *'+ * *- *
3 3
# $ $sfz
*(/ * *- / *'- * *- * *(- / *+ *- / *(***. * *(
/ * *- / *'- * *- * *(- / *+ *- / *(***. * *(/ * *- / *'+ * *- *
3 3
# $ $ $ $ $ $mf*(
/ * *- / *' * *- *
# $ $stamp footsharply
; % 3 3 % ; ; % 3 3 % ; ; % 3
# $ $stamp footsharply
; % 3 3 % ; ; % 3 3 % ; ; % 3
, $ $ $ %stamp footsharply
; 3 $ ; % 3 $
# $ 3 %a 2
f
*(- *( *(7 6fp
&( ' %fp
&( '
sf
*(7 6fp
&( ' %fp
& '
sfz
*(7 6fp
&( '
# $ $stamp footsharply
; % 3 % ; % ; ; % 3 ; % % ; ; % 3
# $ $stamp footsharply
; % 3 % ; % ; ; % 3 ; % % ; ; % 3
# $ $mf*(
/ * *- / *'- * *- * *(- / *+ *- / *(***. * *(/ * *- / *'- * *- * *(- / *+ *- / *(***. * *(
/ * *- / *'+ * *- *3 3
# $ $stamp footsharply
; % 3 3 % ; ; % 3 3 % ; ; % 3
# $ $stamp footsharply
; % 3 3 % ; ; % 3 3 % ; ; % 3
# $ $stamp footsharply
; % 3 3 % ; ; % 3 3 % ; ; % 3
, $ $ $ %stamp footsharply
; 3 $ ; % 3 $
, $ $ $ %stamp footsharply
; 3 $ ; % 3 $
, $ $stamp footsharply
; % 3 3 % ; ; % 3 3 % ; ; % 3
, $ $stamp footsharply
; % 3 3 % ; ; % 3 3 % ; ; % 3
1Tgl./;.( % % ,;/ ;.( 3 ; ; ;(
f
;.( % 3 TO TIMP. $ $ $ , %Timp.
mp
*. *. *. *. *. *.
# * % *( *() *'( */ 6 *( *() *(f
*(+ *( *(/ 6 % 3 3 gliss.
,*/f
*(7 6 % 3 3 gliss.
,*/f
*(7 6 % 3
# *( % % *( 3 *.(
f
*( *( *(7 6 % 3 $ $ $ $
# * % *( *() *( % *( *() *(f
**++ ** *(% 3 $ $ $ $
1 $ $poco f
*.(7 6 % 3 $ *.(7 6 % 3 3 % *.f
*.(7 6 % 30000000000000000 000000000 0 0 0 0 0 0 0 0000000 000000000 0 00000000 0 000000 0000000 0 00000000 0 0 0000000 0 000000 0000000 000000000
21
PERUSAL
154
154
1 Picc.
2
1 Fl.
2
1 Ob.
2
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Cb. Cl.
1 Bsns.
2
1 A. Sax.
2
Ten. Sax.
Bari. Sax.
Flg. Solo
1 Tpts. 2
3
1Hns.
3
2Hns.
4
1Tbns. 2
3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Timp.
Perc. 2Mba.
Perc. 3Glock.
Perc. 5B. D.
!
!
"
#
"
#
!
"
#
"
#
!
# */ * *- / *(***. * *(/ * *- / *'- * * * */ * *- / *( * * *. *'(
$ $ $ $3 3
# $ $a 2
mf
*7* *-7 *( * * *. *'(
flut.
sfz
&&&*(
% 3 $ $ $3
# %fp&' '
*(7 6fp&' ' % &( sfz
*( $ $ $ $
# *(- / * *- / *(***. * *(/ * *- / *'- * *- * *(- / *+ *- / *( * * *. *(
$ $ $ $3 3
# *(- / * *- / *(***. * *(/ * *- / *'- * *- * *(- / *+ *- / *( * * *. *(
$ $ $ $3 3
# *(- / * *- / *(***. * *(/ * *- / *'- * *- * *(- / *+ *- / *( * * *. *(
$ $ $ $3 3
# 3 % ; ; % 3 3 ; ; $ $ $ $
# 3 % ; ; % 3 3 ; ; $ $ $ $
, % ; 3 $ ; % 3f
(a 2)en dehors
* * * * * * * * * * * * * * * * * * * * * * * * * * * * *( * * *
# %fp
&( '
sf
*(7 6fp
&' ' %fp
&(
sfz
*.( $ $ $ $
# % ; % ; ; % 3 ; % 3poco f
* * *( *- * * * *- *- *( ** * * *- *( *+ *- * * * *- * &.
# % ; % ; ; % 3 3 ; ; 3 %mf
*'f
*.(7 6 % % *' *.(7 6 % %mf
*f*- *- * * & .
# *(- / * *- / *(***. * *(/ * *- / *'- * *- * *(- / * *- / *( * * *. * $ $ $ $3 3
# 3 % ; ; % 3 3 ; ; $ $ $ $
# 3 % ; ; % 3 3 ; ; $ $ $ $
# 3 % ; ; % 3 3 ; ; $ $ $ $
, % ; 3 $ ; % 3ben f
(a 3)* * *( ** * * * * *( ** * * * *( * * * * * * * & .
, % ; 3 $ ; % 3mf
*.f
&'( %mf
*.f
&'( %mf
*.f
&'( %f* * * * &
.
, 3 % ; ; % 3 3 ; ; $ $ $ $
, 3 % ; ; % 3 3 ; ; $ $mf
*7 6 *7 6 *7 6 *7 6 *7 6 *7 6f
*( * * *
, *. *. *. *.simile
*. *. *. *. * * * * * * * * * * * * * * *f*(
/ 6p
&&&& ' &&&& ' &&&*mf* * */ 6 % &&&* *. *.
ben f
6 *7 *. *.
# 3 gliss.
,*/ *(7 6 % 3 3 % gliss.
,*/ *.( $ $ $ $
#mp*(
/ 6 % 3 $mf*(
/ 6 % 3f
***0% 3 $ $ $
1 $poco f
*.(7 6 % 3 3 %sf
*.( $ $ $ $
000000000 0 000000 0000000 000000000 0 00000000 0 0 0006 000000000 0000000 000000000 0000000 000000000 0 000000 0000000000000000
22
PERUSAL
161
161
1 Picc.
2
1 Fl.
2
1 Ob.
2
Cl. 1
Cl. 2
Cl. 3
1 Bsns.
2
A. Sax. 1
A. Sax. 2
Ten. Sax.
Bari. Sax.
Flg. Solo
Tpt. 1
Tpt. 2
Tpt. 3
1Hns.
3
Hn. 2
1 Tbns.
2
Tbn. 3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Timp.
Perc. 3Glock.
Perc. 4Tamb.
!
!
"
#
"
#
"
#
"
#
# $ $ $ff
* * * * *(7 6 % $molto f
punch
*) &) * *( *( *.(+fp
*( ' 6
# $ $ben f
a 2*C *C) *(* * *ff
* * * * & &3 3 %
f
* *( *( *.(
ff
**( '
' 6
#a 2
mf
*C *C *( * * * * * *C *( * * *ben f
*C *C) *(* * *ff
* * * * & *(7 6 % 3 ,
molto f
punch
*) &) * *( *( *.(+ff
**( '' 6
# $
f
3f
*( *- * *ben f
*C- *C *(* *- *ff
* * *+ * & & ,
sfz
&() 2 .
f ff
*( *(- *( *( *- %
# $ $ben f
*C *C$+% *(* *- *ff
* * *- * & 2 2f ff
*( *(- *( *( *(- '6
# $ $ben f
*C *C$+% *(* *- *ff
* * *- * & 2molto f
punch*) &) *ff
*( *( *(+ *(*'(- ' 6
,*'(
% 3 $poco f
* * * *) * * * *molto f
* * *+ * *(7 6 % $ $ $
#f
* * *(- * * * *( *(- *( *(- * * *ben f
*- * *(* *- *ff
* * *- * & & 3 $ben f
*( *( *(- *( *'(- ' 6
# $ 3ben f
*( *- *- *ben f
*- * *(* *- *ff
* * *- * & & 3 $ben f
*( *( *(- *( *'(- ' 6
#f
*(mf
* *. *. * *. *. * *. *.sf
*(/ 6 $ $ $ $
ben f
*( *( *( *( *'(-%
#ben f
*(
- *- %mf
* *. *. *- *. %sf
* *. *(7 6 $ $ $ $ $
# $f
*(- *(* *( * * *
sub.mf
* *+ *(* *- * * * *- * & & *.( %poco f
*(7 6 % *(7 6 %f
*( *- * * **(
--'' 6
# $ $ $ 3mf
*(7 6 %f
*(7 6 %ben f
*( * *- * *( * *- * *( * * * *( *- * * *'(- ' 6
# $ $ $poco f
* * *- * *( * *- *
ben f
*( * *- * *(7 6 % *( * *- * *(7 6 % *( *- * * **(
--'' 6
# $ $ $poco f
* * *- * *( * *- *
ben f
*( * *- * *( * * * *(7 6 % *( * *- * *( *- * * *'(- ' 6
#a 2
mf
* * *( *- * * *(- *(* *( * * * 3
poco f
* * * *ben f
* * % 3 3sfz
&) 2 . *( * *+ * *'(- ' 6
#mf
* * *( *- * * *(- *(* *( * * * 3
poco f
* * * *ben f
* * % 3 $ $ $
,ben f
a 2
mf
* *. *( * *( * *( * *( * *( * *( * *'( $ $ $ $ $
,ben f
*'mf
*./ 6 *(
/ 6 *(/ 6 *(
/ 6 *(/ 6 *(
/ 6f
*( *( *(7 6 % 3 $ $ $ $
,ben f
*'mf
*./ 6 */ 6 */ 6 */ 6 */ 6
poco f
*/ 6 * * * * * *) * * *6 $ $ $ $
,ben f mf
* * */ 6 */ 6 *7 6 *7 6 */ 6poco f
*/ 6 * * * * * *) *7 6 % $ $ $ $
,sfz
*'( %mf
*7 6 *7 6 *7 6 %poco f
*7 6 * * * * * *) * * * * *7 6 % 3 $ $ $
,/Cym.
**.(% 3
TO SUSP. CYM.
$ $ $ $ $ 3 Susp. Cym.
poco f
*.( %
# 3f
*( ** % 3 *( * * % 3 *(* * % *( *( &($( ) $
ff* * *
*( %
#f
*.( % % *.( *.( % % * * % %mf
*( $ 3f
&thumb roll
2555555555555555555555555555555555555555555555555555555555555555555555555
*sfz
*( 3000000000 0000000 000000000 0 000000 0000000000 000000 0000000000000000 0000000000000000 0000000000000000 0000000000000000
23
PERUSAL
L
L
168
168
1 Picc.
2
1 Fl.
2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Cb. Cl.
1 Bsns.
2
A. Sax. 1
A. Sax. 2
Ten. Sax.
Flg. Solo
Tpt. 1
Tpt. 2
Tpt. 3
1Hns.
3
2Hns.
4
Tbn. 1
Tbn. 2
Tbn. 3
Bar. Hn.
Stg. Bs.
Perc. 1Sus. Cym.
Perc. 4Tamb.
!
!
"
#
"
#
!
"
#
"
#
# $ $ $ben f
*() *( *( * *) * *( *() *.() 3 $ $
# $ $ $ben f
*() *( *( * *) * *( *() *.()3 $ $
# $ $ $ben f
*( *( *() * * * *() *( *.(3 $ %
intense
mp
*) / *) *) / * *
# $ $ $ben f
*( *( *() * * * *() *( *.(3 $ %
intense
mp
*) / *) *) / * *
# $ 3mf
*)7*' *(7 *( *( &(
f
% $ 3poco p
intense
*/ * */ *) * * * *- / * *- /*
poco p
*+7 *) *) / * *
# $ 3mf
*)7*' *(7 *( *( &(
f
% $ 3poco p
intense
*/ * */ *) * * * *- / * *- /*
poco p
*+7 *) *) / * *
# $ $ $ $ 3poco p
intense
*/ * */ *) * * * *- / * *- /*
poco p
*+7 *) *) / * *
# $ $ $ $ 3 %p* * *) % *
mf*+ %
p* *
# $ $ $ $ 3 %p*) * * % *-
mf
* %p
&)
, $ $ $1.
mf
&() ' *(f
&() .%p
**)) ** *) % *+mf
* %p
*- *-
# $mf
*-f
* *- 3 $mf
*+ * * * * * * *f
*( *( *.(
poco p
. intense
*/ * *7 *) * * * *- / *mf
*-7 *.
p
&- '
# $mf
*-f
* *- 3 $mf
*+ * * * * * * *f
*( *( *.(
poco p
. intense
*/ * *7 *) * * * *- / *mf
*-7 *.
p
&- '
# $ $ $ $ 3poco p
intense
*7* *7 *) * * * *-7
*mf
*-7 * % 3
# 3poco p
* *) *) * *+ / *'mp
*(7 *)7*' *(+7 *( *( &'(
poco f
% $ $ $ $
# 3poco p
* *) *) * *+ / *'mp
*(7 *)7*' *(+7 *( *( &'(
poco f
% $ $ $ $
# 3poco p
* *) *) * *+ / *'mp
*(7 *)7*' *(+7 *( *( &'(
poco f
% $ 3p
& & &) * % 3
# 3poco p
* *) *) * *+ / *'mp
*(7 *'( *'( * '.
mf
*)7 * * *.( $ $ $ $
# $ 3a 2
mp
*'( *'( * ' .
mf
)*)7 * * *.(
* * *.(
$ $ $ %a 2
p&- '
# $ 3a 2
mp
*'( *'( * ' .
mf
)*)7 * * *.(
* * *.(
$ 3p& & &- *
,% 3
, ( )
mf
*() * &) *() *+ * *(-3 $ $ 3 %
p
*) & , % *+ * ,%p
&-
, ( )
mf
*() * &) *() *+ * *(-3 $ $ 3 %
p
*) & , % * *,%
p
&-
, ( )
mf
*() * &) *() *+ *+ *(- 3 $ $ 3 %p*) &
, % *+ *,%
p&-
, $ $ $mf
&() ' *(f
&'() . %sub.p
*) &, % * *
,%p
&-
, $ $ $ $ 3 %p
*) * *) % *+ *+%
mp
&-
1 $ $ $ 3p& *.
mf*.(
/ 6 3 $ $
# $ $ 3tap
mf*.
f*. $
mf*. *.
/ 6 3 TO VIBES
$ $0000000000000000 00000 00000000000 0000000000000000 000000000 0 000000 0000000000000000 0000000000000000 00000 00000000000
24
PERUSAL
175
175
M
M
1 Picc.
2
1 Fl.
2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Cb. Cl.
1 Bsns.
2
A. Sax. 1
A. Sax. 2
Ten. Sax.
Bari. Sax.
Flg. Solo
Tpt. 1
Tpt. 2
Tpt. 3
1Hns.
3
2Hns.
4
Tbn. 1
Tbn. 2
Tbn. 3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Sus. Cym.
Perc. 3Tub. Bells
!
!
"
#
"
#
!
"
#
"
#
# %mf
*7 *) *$+% $*/ 3 %ben f
*) *) * *- *.(% 3 %
clap
; % ; ;( % 3
# $mp
*) 7 * *) *) *7 *7 *) * *7ben f
* *) * *- *.(% 3 % clap; % ; ;( % 3
#mf
* *) *+7 *) *+sub.p
*/ *)7 * *) *) */ */ *) * */ben f
* *) * *- *.(7 6 % 3 % clap; % ; ;( % 3
#mf
* *) *+7 *) *+sub.p
*/ 2) & ' % $ % clap; % ; ;( % 3
#mf
* *) *+7 * *+ */ 3poco p
*' *'+ *') *') *' *'$ %
clap
; % ; ;( % 3
#mf
* *) *+7 * *+ */ 3poco p
*' *'+ *') *') *' *'$ %
clap
; % ; ;( % 3
#mf
* *) *+7 * *+ */ 3poco p
*' *'+ *') *') *' *'$ %
clap
; % ; ;( % 3
# *) %&+
3p& & */ 6 % $ %
bounce
f
* * * *.( fmf
.
&( '
# * % &+ $ $ $ $sfz
*.(fmf
.� &( '
, *- % *+ * 3poco p
*') *') *' *') *') *' $ %a 2
bounce
f
* * * **.( fmf
.&&(
''
# * ,& ' 3poco p
*' *' *' *') *' *' $ %clap
; % ; ;( % 3
# * ,& ' 3poco p
*' *' *' *') *' *' $ %clap
; % ; ;( % 3
# 3mp* * 3
poco p
*') *' *' *' *') *' $ %clap
; % ; ;( % 3
# 3mp
* *- * 3poco p
*') *' *' *' *' *' $ %clap
; % ; ;( % 3
# %mp
*7 * *+ ,
sub.p
*/ *)7 * * *) */ */ *) * */f
* * * *- *(7 6 % 3 $clap
;( % 3
# $p
*)7 * * *) */ */ *) * */f
* * * *- & ,3 $clap
;( % 3
# $p
*)7 * * *) */ */ *) * */f
* * * *- & ,3 $clap
;( % 3
# $p2) & */ 6 %
f
*'(+7 6 % 3 $clap
;( % 3
# *,
& ',
2) * % 3unis.
ben f
hearty
*+ / * *-7 * * * * *7*' *-7 * ** *. *( */ * *-7 * * * *
3
# $ $ $unis.
ben f
hearty
*+ / * *-7 * * * * *7*' *-7 * ** *. *( */ * *-7 * * * *
3
, * ,%mp
*'+7 * ' %poco p
&) ' & *7 6 % $ %fp
&( ' *fmf
, &'( '
, * ,%mp
*'+7 * ' %poco p
&) ' & */ 6 % $ 3fp
&( *fmf
, &'( '
, *,%
mp&'+ %
poco p
&) ' & */ 6 % $ 3 %fp
*( *fmf
,&'( '
, * ,%mp
*'+7 * ' %poco p
&) ' & *7 6 % $ $fp
*(fmf
,&'( '
, $ $ $ $ $fp
*(
,
&'( '
,*-
%f
&+ %mp
&D) ' & *7 6 % $ $ *(fmf
fmf,
&'( '
1 $p2' *' *' *' *'
ben f2'
l.v. $( ) l.v. $( )
# $ $ $f
2( $( ) 2
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
25
PERUSAL
181
181
1 Picc.
2
1 Fl.
2
1 Ob.
2
Cl. 1
1 Cls. 2
3
B. Cl.
Cb. Cl.
1 Bsns.
2
1 A. Sax.
2
Ten. Sax.
Bari. Sax.
Flg. Solo
Tpt. 1
Tpt. 2
Tpt. 3
1Hns.
3
2Hns.
4
Tbn. 1
Tbn. 2
Tbn. 3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Sus. Cym.
Perc. 3Tub. Bells
!
!
"
#
"
#
!
"
#
"
#
# $ ;( % 3 % ; % ; ; ; % ;( $
# $ ;( % 3 % ; % ; ; ; % ;( % ;( ;( ;(
# $ ;( % 3 % ; % ; ; ; % ;( % ;( ;( ;(
#Solo
$happysolo
molto f
*7*( *-7 * * *- * *-7
*( *-7 * * * *. * *7*( *-7 * * *- * *-7
*( *-7 * * * *.7**(
3 3
# % ; % ; ;( % 3 % ; % ; ; ; % ;( % ;( ;( ;(
#2
3 %f
* * *.(ben f
&( 2 2
# 2 $mf
* *.(ben f
&( 2 2
,22 %
(a 2)
f
* * * * **.(ben f
&( 2 2
# %poco f
*'- *'- *'f
2' 2 2 2
# %poco f
*' *'- *'f
2' 2 2 2
# %poco f
*'- *'- *'f
2' 2 2 2
# $ ;( % 3 $ ;( % 3 $
# % ; % ; ;( % 3 % ; % ; ;( ; % ;( % ;( ;( ;(
# % ; % ; ;( % 3 $f* * * * * * * * * * * * * * * *
# % ; % ; ;( % 3 $f* * * * * * * * * * * * * * * *
# *7*' *-7 * * * *. *( */ *' *-7 * * * * *7
*' *-7 * * * *. *( */ *' *-7 * * * * *7*' *-7 *( *( *(
3 3
# *7*' *-7 * * * *. *( */ *' *-7 * * * * *7
*' *-7 * * * *. *( */ *' *-7 * * * * *7*' *-7 *( *( *(
3 3
, 2 %fp
&( ' &ben f
, &'( 2 2
, 2 3fp
&( &ben f
, &'( 2 2
, 2 3 %fp
*( &ben f
,&'( 2 2
, 2 $fp&(
ben f
,&'( 2 2
,2
3 %bounce
mf
*( *( *(ben f
,
&'( 2 2
, 2 3 %bounce
mf
* * *ben f
,& 2 2
1 l.v. $( ) (off) $TO TRIANGLE
$ $ $
# $( ) 2( $( ) 2 $( )TO SNARE
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
26
PERUSAL
186
186
1 Picc.
2
Ob. 1
Cl. 1
B. Cl.
Flg. Solo
Perc. 1Tgl.
Perc. 2Mba.
Perc. 3Glock.
Perc. 4Vib.
!
"
#!
"#
"
#
!
#poco f
a 2* * *( * * * * * * *( * * * * * *( * * * * ** * *7 6* * &*7 6 %a 2
mp
* * *( * * *
# $ $mf
* *+ *( * * * * * * * & *C7 6 % 3
# $ $ $ 3 %p* * * *- *- * * * * * * *- * * *3 3 3 3
3
# $ $ $ 3 %p* *- * * * * *- * * *- * * * *- *3 3 3 3
3
#solo
mf
* * *( *- * * *- * * *( * * * * *- *( * *- * * * *- * * %mp
* *- *( *- * *
1mf
; ; 3 % ; 3 ; ; 3 % ;( 6mp
;7f
; ; ;( % 3TO TIMPANI
Tune B - Bb
#on the keys
mf* * * * * * * * * * * * * * * * * * * * * * *( * * * * * *( * * * * * * * * * * *
# $ %mf
& ' $ % * *(gliss
. ( )% $
#dry, on the keys
* * * * * * * * * * * * * * * * * * * * * * *( * * * * * *( * * * * * * * * * * *mf
00
00 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
191
191
N
N
1 Picc.
2
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
B. Cl.
A. Sax. 1
A. Sax. 2
Ten. Sax.
Bari. Sax.
Flg. Solo
1Hns.
3
2Hns.
4
Perc. 2Mba.
Perc. 4Vib.
!
"
#
"
#!
"
#
"
#
!
# * * * *( * * * * *) *( * * * * * *(/ 6 *(
%mf
airy* * *( * * * * * * *( * * *
# $p
* * * * *) * * *6 % * *+ * * * * * *
6 % * * * * * * * *6 % * * * * * * * *
6 %3 3 3 3 3 3 3 3 3 3 3 3
# $ $p
* *+ * * * * * * 6*( *+ 2( 2
3 3 3
4555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555
# $ $mf
*C7 6 *C *C *airy
f
* * * * * * *( * * * * * * *( * * *3
# $mp
hearty
* *) *( * * * * * * * *'( ' 6airy
f
* * *( *+ * * * * * *( * * *
# *- * * *- * * * * * $p
* * * * *- * * * *- * *+6 % $ * *- * * * *- * *+
6 %3
3 3 3 3 3 3 3 3 3
# * *- * * * * * *- * * * * * *- * * *- * * * 6 % $ * *- * * * *- * *+6 % $3 3 3 3
33 3 3 3 3
# * *- * *. 3 $ 3 %mp
brooding
not loud
*- & ' * &%
*3
# $ $stacc.
p
*7 6 *-7 6 *- * * * *7 6 *- * *7 6 % % * *- *7 6 *- *
# $ $ $ 3 6stacc.
p
*- * *- *- / 6 % * *- */ 6
# $ $ 3 %mpnot loud
brooding
*- & ' *+ &- % *
# $ $ 3 %brooding
not loudmp
*- & ' *+ &- % *
# *- * * *( * * * * *+ *( * *- * *( * *(- *( &'( 2 2
# 3 % 1.
pcantabile
*-ten.
& * ' */ * ' *- / & 2) *7 * ' &
# 3 % 2.
pcantabile
*-ten.
& * ' */ * ' *- / & 2) *7 * ' &
# * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *+ * * * * * * * *
# * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *+ * * * * * * * *0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0
0
27
PERUSAL
196
196
1 Picc.
2
Fl. 1
Fl. 2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Cl. 3
B. Cl.
1 Bsns.
2
A. Sax. 1
A. Sax. 2
Ten. Sax.
Bari. Sax.
Flg. Solo
Tpt. 1
Tpt. 2
Tpt. 3
1Hns.
3
2Hns.
4
1Tbns. 2
3
Bar. Hn.
Perc. 2Mba.
Perc. 3S. D.
Perc. 4Vib.
!
"
#
"
#
!
"
#
"
#
!
#cresc.
* * *( *) * * *) * * * * * *)ben f
* * */ 6sfz
&(
mp
* 2 &4555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555555
mf
*( *( *( *(
ben f
*( *( *( *( *( ' 6
# $ % * *) * * * * * * 6 % 6 * * * * * *( *) *3
mf
* * *) * * * * *6 %
cresc.
*/ *) * * * * * % * *) *ben f
* * *45 *( * 6
3 3 3 3 3 3 3 3 3 33
33
3 3
#24$ %5555555555555555555555555555555555555555
sfz
*( * * * * *3 $
sfz
*( * * * * *3 $
sfz
*( * * * * &%
5 5 5
# * * *( *) * * *) * * * *Ecresc.
*( *) * * *E6
ben f
*( *( *( 2( 2mf sfz
*( * * * * ' 6
# *( *() *( * * * * * * * *fp
* &ben f
* * * * 2 2
mf sfz
*( * * * * ' 6
# $ %p
*- * * * * * * *- 6 % 6 * * * * *- * * * 3mf
*- * * * * * * *6 %
cresc.
*7 *- * * * * * %*/ * * * * *- * * * 63
3 3 3 3 3 3 3 3 3 3 3
3 3 3 3
#p
* *- * * * * *- * * * * * 3 % * * * * * * *.7 6 % 6 *- *mf
* * * * *- * 3cresc.
* *- * * * * % % */ * * *- * * * * * * * *63 3
3 3
3
3
3
33
3
3
3 3 3
33
#p* * *- * * * *- * * *- * * 3 % * * *- * * * *.- / 6 % 6 * *
mf* * *- * * * 3
cresc.
* * *- * * * % * * * * * * * *- * * * * * * 63 3 3
3
3 3 3 33
33 3
33 3 3
# * & * &3 $ %
mp&
cresc.
* * * * *) &) *+ ' 6
, $ 3 %mp
** ** **+ **) **) %mp&&+
cresc.
**)) ** ** **)) **) &&)+
**) '' 6
# * *- *-7 6 % * * *-7 6 * *- * * * * */ 6 % *- * * * *7 6 %cresc.
* *- % * *- % * * % *( *- * * *'(- '
f
6
# % *- *- * * *+ / 6 *- * 6 */ */ 6 *- * * *- *- * *7 6 % * * %cresc.
* * % * * % * * % *( *- * * *'( '
f
6
# * & *) &- 3 3stacc.
p
*+7 6 * * * * * *cresc.
* * * * * * * * * * * * *( * * *( * '
f
6
# * & *+ &) %mp
*) * *) * *+ %(mp)
&)cresc.
* * *) * *+ &) * ' 6
# * % 3 3 % *( *f
*- * *(,*/ 6 * * *C7 6
sub.mp
*C- *C *C7 6 *C *C *C7 6poco f
*C- *C *( * * *
ben f
* * * * * ' 6
#mf
* *- *( * * *f
* * *- * * *( * *- * &( 'sub.mp
*( *- * * * *(* * * * *( *- * * **( *- * * * *( *( *(- * ' 6
#poco f
*( * *( * *- *f
* * *- * & *,%
f sub.mp
*( * *- * *( *- * * * *(* *mf
* * *( *- * * * *( **ben f
* * *( *( *(- * ' 6
# $ $ 3f
*( * *E- / 6 */ 6sub.mp
*- * */ 6mf
* * *( *- *mf
* * *( **ben f
* * *( *( *(- * ' 6
#(1.)
* * ' * ' &- ' * & ' *- 2-cresc.
2ben f
*/ * ' * ' 6
#(2.)
* * ' * ' &- ' * & ' *- 2-cresc.
2 */ * ' * ' 6
, $ $ $ $ %mp
***+ ***))) ***) ***)+)molto
***)) ***+) ''' 6
, $ $ $ %mf
&+cresc.
*) * *+ *) * &+ * ' 6
# * * * * * * *) * * *) * * *) *cresc.
* * *,
* *) * * *) * * * * * *) * * * * * * * *) * * * *
ff
TO CR. CYMBS.
* * * * * '6
1 $ $ $p
,* * *. % ,* * *. % ,* * *. % ,* * *. % ,* * *. &&*mf*( %
# * * * * * * *) * * *) * * *) *cresc.
* * * * *) * * *) * * * * * *) * * * * * * * *) * * * *ff
* * * * * ' 6
0 0 0 00000 0 0 00 0000 0 0 0 0 0 00000000 0 0 0 0000 000 0 0 0 000 0 00 0 0 0 0 0 00000 0 00000 0 0 0 0000 0 0 000000 0 % 000005 % 9900005
28
PERUSAL
Richly
Richly
202
202
!"
!"
*
*
O
O
Più mosso
Più mosso
h = 92-96
h = 92-96
""
""
1 Picc.
2
Fl. 1
Fl. 2
1 Ob.
2
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Cb. Cl.
1 Bsns.
2
1 A. Sax.
2
Ten. Sax.
Bari. Sax.
Flg. Solo
Tpt. 1
Tpts. 2, 3
1Hns.
3
2Hns.
4
1 Tbns.
2
Tbn. 3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Timp.
Perc. 2Crash Cym.
Perc. 3S. D.
Perc. 4Tamb.
Perc. 5B. D.
!
!
"
#
"
#
!
"
#
"
#
# 3molto f
&(- * *- *3
* *(-
sffz
*( * * * *%
ff
*(- * * *.+% *( * * *+
% *( * * *+%
3 3 3
# 3molto f
*( * ' * * *- *3
* *(-
sffz
*( * * * *(45%
ff
*(- * * *+ ' , *( * * *+ ' , *( * * *+ '
3 3 3
# 3molto f
*( * ' * * *- *3
* *(sffz
*( * * * *(45
%ff
*(- * * *+ ' , *( * * *+ ' , *( * * *+ '
3 3 3
# 3molto f
a 2*(+ * ' * * *- *3
* *(
sffz
*( * * * *(%
ff
*(- * * **+- '', *( * * **+- ''
, *( * * **+- ''3 3 3
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29
PERUSAL
""
""
205
205
::
::
rit. molto . . . . . . . . .
rit. molto . . . . . . . . .
1 Picc.
2
1 Fl.
2
1 Ob.
2
Cl. Solo
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Cb. Cl.
1 Bsns.
2
1 A. Sax.
2
Ten. Sax.
Bari. Sax.
Flg. Solo
Tpt. 1
Tpt. 2
Tpt. 3
1Hns.
3
2Hns.
4
1 Tbns.
2
Tbn. 3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 2Crash Cym.
Perc. 3S. D.
Perc. 4Tamb.
Perc. 5B. D.
!
!
!
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30
PERUSAL
q = 76-80
q = 76-80
Slow, Grand
Slow, Grand
211
211
allargando
sempre . . . . . . . .
allargando
sempre . . . . . . . .
,
,
h = 92-96
h = 92-96
A tempo più mosso e accel. sempre
A tempo più mosso e accel. sempre
1 Picc.
2
1 Fl.
2
Ob. 1
Ob. 2
Cl. 1
Cl. 2
Cl. 3
B. Cl.
Cb. Cl.
Bsn. 1
Bsn. 2
A. Sax. 1
A. Sax. 2
Ten. Sax.
Bari. Sax.
Flg. Solo
Tpt. 1
Tpt. 2
Tpt. 3
1Hns.
3
2Hns.
4
1 Tbns.
2
Tbn. 3
Bar. Hn.
Tba.
Stg. Bs.
Perc. 1Timp.
Perc. 2Tam-t.
Perc. 3S. D.
Perc. 4Tamb.
Perc. 5B. D.
!
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31
PERUSAL
PERUSAL
Judith Lang Zaimont (b. 1945) is internationally recognized for her distinctive style, characterized by its expressive
strength and dynamism. Many of her 100 works are prize‐winning compositions; these include three symphonies,
chamber opera, oratorios and cantatas, music for wind ensemble, vocal‐chamber pieces with varying
accompanying ensembles, a wide variety of chamber works, and solo music for string and wind instruments,
piano, organ, and voice.
Among her composition awards are a Guggenheim Fellowship (1983‐84); Maryland State Arts Council creative
fellowship (1986‐87); commission grants from the National Endowment for the Arts (1982) and American
Composers Forum (1993); and grants to support recordings from the Aaron Copland Fund (American Music
Center: 1995, 2002) and Ditson Fund (Columbia University: 2002). Over the past decade, she has been Composer of
the Year at Alabama University‐Huntsville (1994‐95), Featured Composer at the 1995 Society of Composers
International meeting, Filene Artist‐in‐Residence for the 1996‐97 year at Skidmore College, Composer in Residence
at University of Wisconsin‐River Falls (spring 1999), and Honored Composer at the 11th International Van Cliburn
Competition in 2001 (where both Gold Medalists selected and performed her music). Most recently she has been
Featured Composer for 2002 ‐ National Federation of Music Clubs, 2003 Commissioned Composer of the California
Music Teachers Association, Commissioned Composer for the 2003 International San Antonio Piano Competition,
and recipient of a 2003 Aaron Copland Award (commissions, residency), a 2005‐06 Commissioned Composer ‐
Kaplan Foundation (work for wind ensemble) and recipient of a 2005 Bush Foundation Artist Fellowship in
Composition.
Zaimontʹs music is frequently played in the United States (Carnegie Hall, Lincoln Center) and abroad; it is
published, recorded and commissioned by ensembles and solo performers world‐wide. Her orchestral music has
been repeatedly recognized through prizes: First Prize ‐ Gold Medal in the Gottschalk Centenary International
Composition Competition (orchestra and chorus‐ 1972); First Prize in the Chamber Orchestra Composition contest
to honor the Statue of Liberty Centennial (1986) ‐ Chroma; and First Prize in the international 1995 McCollin
Competition for Composers (for Symphony No. 1, performed by the Philadelphia Orchestra in 1996). Among
orchestras that have performed and/or commissioned works are the Baltimore, Jacksonville, Philadelphia,
Greenville (SC), Rockford (IL), Mississippi, Madison (WI), Harrisburg (PA), East Texas and Nassau (NY)
symphonies, the Womenʹs Philharmonic (CA), the Berlin Radio Orchestra (Germany), Czech Radio Orchestra
(Prague), the Kremlin Chamber Orchestra (Moscow, Russia), Kharkov Philharmonic (Ukraine), Pro Arte Chamber
Orchestras (NY and Boston), and others; and wind ensembles at Florida State University, University of Minnesota,
Georgia State, and University of Virginia. Her vocal and choral works have been featured by the Elmer Isseler
Singer (Canada), American Vocal Arts Theatre (CT), Florilegium Chamber Choir, New York Virtuoso Singers,
Amor Artis, Canticum Novum, Plymouth Music Singers, the Gregg Smith Singers, La Vie Ensemble and the Dale
Warland Singers, Ernst Senfft Chor (Berlin), and Laudebus (London) among others.
Zaimont is a distinguished teacher, formerly a member of the faculties of Queens College and Baltimoreʹs Peabody
Conservatory of Music, where she was named ʺTeacher of the Yearʺ in 1985. She held the post of Professor of
Music and Chair of the Music Department at Adelphi University from 1989‐91, and from 1992 to 2005 she served as
Professor of Composition at the University of Minnesota School of Music, as well as division chair and Scholar of
the College of Liberal Arts. Since retiring from full‐time college teaching in fall 2005, she continues to be active as
clinician, frequent adjudicator and masterclass presenter across the US and abroad. Zaimont is also the creator and
editor‐in‐chief of the critically acclaimed book series, The Musical Woman: An International Perspective (3 vols.,
Greenwood Press). For the books, she received a research grant from the National Endowment for the Humanities
(1989) and the 1993 First Prize in the international musicology awards, the Pauline Alderman Prizes. After serving
as National Board Member for Composition for the College Music Society (2003‐2005), she recently was elected to a
second term on the advisory board of the International Alliance for Women in Music (2004‐2007), and to the
editorial board of American Music Teacher magazine (2005‐2007).
PERUSAL
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