DANCY, ANDREW LANCE, D.M.A. David R. Gillinghams Concerto No.

2 for
Marimba: A Transcription for Marimba and Chamber Ensemble. (2008)
Directed by Dr. Cort A. McClaren.182 pp.
The marimba is an ancient instrument, although a newcomer to the concert stage.
Paul Creston wrote his Concertino for Marimba, Op. 21 in 1940. Ruth Stuber Jeanne
gave the premiere performance of this first marimba concerto on April 29, 1940 at
Carnegie Chamber Music Hall with the Orchestrette Classique, Frederique Petrides,
conductor. Creston later arranged his work for wind band, possibly understanding the
increased performance venue possibilities. Since that time, composers have written
hundreds of concerti for marimba and various ensembles. These concerti include
accompaniments such as orchestra, percussion ensemble, piano reduction, wind
ensemble/symphonic band, and chamber ensemble.
Concerti for marimba and winds is a growing genre. Over twenty original works
exist for marimba and winds dating from 1973 to 2008. A recent addition is Concerto No.
2 for Marimba by David R. Gillingham. Commissioned by a consortium of individuals
and universities, the work is scored for solo marimba with full wind ensemble
accompaniment.
Professional and amateur marimbists may find difficulty in performing a concerto
with the original accompaniment. Such large instrumental forces are not always easily
accessible. Arrangments of concerti for smaller chamber ensembles may allow for more
performance opportunities in a larger variety of venues. In examining the need for more
accessible arrangements, a survey and description of existing works originally conceived
for marimba and winds, which includes present versions of each work was incorporated.

The purpose of this document was to provide a transcription of Gillinghams Concerto

No. 2 for Marimba arranged for chamber winds. The document includes information
concerning the procedures used for the transcription and suggestions for further research.

DAVID R. GILLINGHAMS CONCERTO NO. 2 FOR MARIMBA:

A TRANSCRIPTION FOR MARIMBA AND
CHAMBER ENSEMBLE

by
Andrew Lance Dancy

A Dissertation Submitted to
the Faculty of The Graduate School at
The University of North Carolina at Greensboro
in Partial Fulfillment
of the Requirements for the Degree
Doctor of Musical Arts

Greensboro
2008

Approved by
____________________________________
Committee Chair

 2008 by Andrew Lance Dancy

APPROVAL PAGE
This dissertation has been approved by the following committee members of the
Faculty of The Graduate School at The University of North Carolina at Greensboro.

Committee Chair ___________________________________________

Committee Members ___________________________________________
___________________________________________
___________________________________________
___________________________________________

_________________________________
Date of Acceptance by Committee
_________________________________
Date of Final Oral Examination

ii

ACKNOWLEDGMENTS
The author would like to acknowledge with utmost appreciation the contributions
of the dissertation advisor and committee chair, Dr. Cort McClaren as well as committee
members Dr. Dennis Askew, Dr. Kevin Geraldi, and Dr. Constance McKoy. Great
appreciation is also extended to C. Alan Publications for their permission in making this
orchestration possible. Special thanks is extended to the highly talented group of
musicians involved in the premiere performance and editing of this orchestration:
Michael Lasley, conductor; Alison Fletcher, flute; TomTuranchik, oboe; Kevin Erikson,
clarinet; Rebecca Libera, bassoon; Kate Hopper, horn; Shannon Kucirka, horn; Christian
McIvor, trumpet; Matthew Boggs, trumpet; Jonathan Alvis, trombone; Brent Harvey,
tuba; Amy Blackwood, piano; Josh Cvijanovic, percussion; Christina Palermo,
percussion; and Michael Ptacin, percussion.

iii

TABLE OF CONTENTS
Page
CHAPTER
I. INTRODUCTION AND PURPOSE............................................................... 1
II. EXTANT LITERATURE FOR SOLO MARIMBA AND WINDS................. 4
III. DAVID R. GILLINGHAMS CONCERTO NO. 2 FOR MARIMBA .......... 23
IV. PROCEDURES OF THE EDITION ............................................................ 30
Critical Notes ......................................................................................... 30
Global Changes .......................................................................... 30
Movement 1................................................................................ 31
Movement 2................................................................................ 32
Movement 3................................................................................ 32
V. THE EDITION: CONCERTO FOR MARIMBA AND
CHAMBER ENSEMBLE ........................................................................... 34
I ............................................................................................................. 35
II ............................................................................................................ 90
III......................................................................................................... 126
VI. CONCLUSION ......................................................................................... 175
Suggestions for Further Research ......................................................... 175
BIBLIOGRAPHY ....................................................................................................... 177
APPENDIX A. PERMISSION TO ARRANGE........................................................... 182

iv

CHAPTER I
INTRODUCTION AND PURPOSE
In his Book of the Marimba, marimba enthusiast and builder Frank MacCallum
wanted to bring to the attention of the public the potentialities and glory of the marimba,
a musical instrument neglected for many years but now winning meritorious
recognition.1 He decided that essentially every other musical instrument of importance
had spurred scholarly research, and it was now time for definitive research into the
marimba. During his research, MacCallum collected these varying viewpoints from
musical colleagues:

The marimba has sticks, struck by sticks. It has exactly 23 slabs of wood. It
is suitable only for potpourris and slow, cantabile styles of music. It has two
octaves; has three octaves. It is a drum, a kind of harmonica, a set of musical
glasses, and a kind of xylophone. It rests on a wooden base. Classical music is
never played on the marimbathat is for the xylophone. In Central America
dried fruits hang under each key for resonance. In due time the steel marimba
may win acceptance by serious musicians. A marimba concerto is a freak
concerto.2

These negative perspectives may be the reason that keyboard percussion instruments,
specifically marimba, are a late addition to the influential genre of percussion literature.
Consequently, the marimba is still considered a newcomer to the concert stage.
1

Frank K. MacCallum, The Book of the Marimba (New York: Carlton Press,
1969), 5.
2
MacCallum, 53-54.

2
Paul Creston wrote the Concertino for Marimba, Op. 21 in 1940. Ruth Stuber
Jeanne gave the premiere performance on April 29, 1940 at Carnegie Chamber Music
Hall with the Orchestrette Classique, Frederique Petrides, conductor.3 Creston later
arranged his work for wind band, obviously understanding an increased performance
possibility. Since Creston's Concertino, composers have written hundreds of concerti for
marimba and various ensembles. These concerti include accompaniments such as
orchestra, percussion ensemble, piano reduction, wind ensemble/symphonic band, and
chamber ensemble.
Concerti for marimba and winds is a growing genre. Over twenty original works
exist for marimba and winds dating from 1973 to 2008. A recent addition is Concerto No.
2 for Marimba by David R. Gillingham. Commissioned by a consortium of individuals
and universities, the work is scored for solo marimba with full wind ensemble
accompaniment.
Professional and amateur marimbists may find difficulty in performing a concerto
with the original accompaniment. Such large instrumental forces are not easily
accessible. Arrangments of concerti for smaller chamber ensembles may allow for more
performance opportunities in a larger variety of venues. The purpose of this document is
to provide a transcription of Gillinghams Concerto No. 2 for Marimba arranged for
chamber winds. In examining the need for more accessible arrangements, Chapter II is a

Shirley Hixson, From Whence Came Paul Crestons Concertino for Marimba
and Orchestra Opus 21? An Interview with Ruth Stuber Jeanne, Percussive Notes 14:1
(Fall 1975), 22.

3
survey and description of existing works originally conceived for marimba and winds
which includes present versions of each work.

CHAPTER II
EXTANT LITERATURE FOR SOLO MARIMBA AND WINDS
A survey of extant literature for solo marimba and winds follows. The survey
includes composer biographical information, compositional circumstances regarding the
work, premiere information, and existing versions of the work. In total, twenty-two
known compositions are identified. Information regarding several pieces is limited or
unknown. Several pieces are unpublished and/or unavailable. Attempts were made to
contact the composer or publisher to find complete information. The omission of David
R. Gillinghams Concerto No. 2 is intentional as the work is discussed in detail in
Chapter III. The following compositions are listed alphabetically by composers last
name.

Keiko Abe: Prism Rhapsody

Keiko Abe is a primary figure in the development of the marimba, both in
technique and construction. In addition to her own output of over fifty works, Abe
commissioned many works for marimba solo or marimba ensemble by prominent
contemporary Japanese composers. Some of her most widely recognized include Dream
of the Cherry Blossoms, Wind in the Bamboo Grove, Variations on Japanese Childrens
Songs, Frogs, Memories of the Seashore, and Marimba damore. She has received
numerous awards and honors including the Japan Fine Arts Festival Award in 1968,

5
1969, 1971, 1974, 1976 and 1989 and induction into the Percussive Arts Society Hall of
Fame in 1993. Abes recording and performance career spans over twenty compact discs,
performances as soloist with orchestras for over 100 concerts, over 300 performances
with chamber ensembles, over 50 jazz concerts, and over 800 solo concerts throughout
the world.1 In addition to performing, Abe also served as Artistic Director for the World
Festival in Japan, the Percussion Festival of Japan Week in Korea, and served on the
judging panel for the International Marimba Competition in Paris.
Abes Prism Rhapsody was first performed on July 26, 1995, in Hamamatsu,
Japan, by the composer at the marimba and the Royal Northern College of Music Wind
Orchestra conducted by Timothy Reynish.2 Other versions include piano reduction
(1995), orchestra (1997), orchestra (2nd edition-2001), wind ensemble (2nd edition-2001),
marimba duo and orchestra (2001), marimba duo and wind ensemble (2003), marimba
duo and piano reduction (2002), and marimba duo and six percussion (2004).3

Thomas Briggs: Concertino for Marimba and Wind Ensemble

Thomas Briggs is Senior Chief Musician and principal percussionist with the
United States Coast Guard Band. He graduated from the University of Massachusetts at
Amherst with a Bachelor of Arts degree in jazz studies and music education. Briggs is an
award-winning composer and has written and arranged many works for all types of

2008).

Keiko Abe, <http://www.keiko-abe.com/englishindex.html> (accessed 2 June

Percussive Arts Society, Siwe Guide to Solo and Ensemble Percussion

Literature, <http://www.pas.org> (accessed 6 May 2008).
3
Keiko Abe, <http://www.keiko-abe.com/englishindex.html>

6
musical ensembles from full symphonic wind ensembles to rock groups and swing bands.
He is an accomplished jazz pianist and mallet percussionist, having performed as a
marimba soloist with the Coast Guard Band in his own composition, the Concertino for
Marimba, premiered in 1989. In the 1990 Percussive Arts Society Composition Contest,
Briggs won second prize for his Reminiscence for Solo Vibraphone. In January 1990, he
won second prize in the annual American Bandmasters Association-Ostwald Band
Composition Contest for his work titled Harkness. A piano reduction (2006) is available
for the Concertino, transcribed by Nathan Daughtrey.

Timothy Broege: Concerto for Marimba and Wind Orchestra

Timothy Broege, born November 6, 1947, studied composition at Northwestern
University with M. William Karlins, Alan Stout, and Anthony Donato; piano with
Frances Larimer; and harpsichord with Dorothy Lane. He graduated in 1969 with a
Bachelor of Music with Highest Honors. Broege taught public school music in Chicago,
Illinois from 1969 to 1971 and in Manasquan, New Jersey from 1971 to 1980. He is
currently the Organist and Director of Music at First Presbyterian Church in Belmar and
Organist and Director of Music at Elberon Memorial Church in Elberon, NJ.
Many soloists and ensembles perform the music of Timothy Broege including the
Monmouth Symphony Orchestra, the Garden State Philharmonic Orchestra, the Meadows
Wind Ensemble, the U.S. Military Academy Band, the New Jersey Chamber Singers, the
Atlantic String Quartet, the Cygnus Ensemble, pianist Robert Pollock, guitarist Francis
Perry, and recorder virtuoso Jody Miller. He has received numerous grants and

7
commissions from schools, universities, professional performers and Meet the Composer,
an organization formed to aid composers through commissioning, residency, education,
and audience interaction programs.
Some of his most respected works include twenty-one Sinfonias for large
ensembles, a series of Songs Without Words for chamber ensembles, and a series of
Fantasias for solo instruments. Other works include music for voice, guitar, keyboard,
and wind band. He appears frequently as a guest composer/conductor and clinician.
Awards received include the Edwin Franko Goldman Award from the American School
Band Directors Association and the 2003 Award of Excellence from the New Jersey
Education Association. He is a past-president of the Composers Guild of New Jersey,
Inc., a member of the Organ Historical Society, and an affiliate of Broadcast Music, Inc.
(BMI). In addition to his compositional activities, Timothy Broege is an active recitalist
on early keyboard instruments and recorder and maintains a teaching studio at his home
in Bradley Beach, New Jersey.4
Concerto for Marimba and Wind Orchestra (1991) is approximately twenty-five
minutes in length and is in three movements: I. Song of the Termite People, II.
Passacaglia and Soliloquy, and III. Round Dance. Commissioned by Timothy Salzman,
conductor, and the University of Washington Wind Ensemble, the work received its
premiere March 19, 1994 in Reno, Nevada by the commissioning ensemble with Robert
Meunier, marimba. The instrumentation is for an orchestral wind section with timpani,
three percussion, and string bass. The Concerto exists only in the original form.
4

Timothy Broege: Composer and Keyboard Performer,

<http://www.timothybroege.com> [accessed 28 April 2008].

8
Timothy Broege: Songs Without Words, Set No. 3 for Marimba and 10 Players
Broeges Songs Without Words are among his most successful works. Set No. 3
was commissioned by the Tidewater Music Festival of St. Marys City, Maryland. The
work was composed in 1976 and premiered on July 4, 1976 at the festival with Gordon
Stout as soloist. Broege scored the piece for solo marimba and an ensemble including
flute/piccolo, oboe, clarinet/bass clarinet, alto saxophone, bassoon, horn, trumpet, tuba,
piano, and violin. The unusual ensemble is due to the artists in residence at the music
festival during the time of composition. Song Without Words Set No. 3 is eight minutes
long and includes four movements: Prelude, Van Eycks Laura, Van Eycks Daphne, and
Hymn. Broege sees the work as more chamber music in style rather than concerto
style.5 The work exists in the original version only.

Yiu-kwong Chung: Concerto No. 1 for Marimba and Wind Ensemble

Yiu-kwong Chung is one of Taiwan's best known and most frequently performed
composers. His music, distinguished by its profound Chinese philosophical background
and expressive range, has won large and enthusiastic audiences all over the world. He has
written for most genres of music including orchestra, wind band, Chinese opera,
percussion, and musical theatre. Yiu-kwong Chung was born in Hong Kong in 1956. He
received formal percussion training at the Philadelphia College of the Performing Arts
and Brooklyn College, City University of New York where he studied percussion with
Nicolas d'Amico and Morris Lang. He also studied marimba with Leigh Howard Stevens

Timothy Broege Email Correspondence, 8 May 2008.

9
and Keiko Abe. Concerto No. 1 was completed in 2005 and is available only in the
original version.6

Niel DePonte: Concertino for Marimba and Wind Ensemble

Niel DePonte is the Principal Percussionist of the Oregon Symphony, a post to
which he was appointed in 1977 at the age of 24. His performance history includes
appearances with the Oregon, Colorado Springs and Walla Walla (Wash.) symphonies,
and he appears regularly as solo percussionist for Chamber Music Northwest. In 2004, a
recording of Concerto for Marimba by Tomas Svoboda, with DePonte, soloist, and the
Oregon Symphony, was a 2004 Grammy Award nominee in the category of Best
Instrumental Soloist Performance with Orchestra. His principal teachers and influences
are Fred Hinger, John Beck, Bill Cahn, and Leigh Stevens. DePonte was born in New
York City and received his training at the Eastman School of Music where he earned a
Master of Music degree and the Performers Certificate. He also holds a degree in
education from the State University of New York College at Fredonia, where he studied
percussion with Theodore Frazeur. Concertino for Marimba and Wind Ensemble was
composed in 1976, and premiered July 20, 1977 with Niel DePonte, soloist, and the
University of Michigan Wind Ensemble.7 The work is dedicated to Gordon Stout and is
structured in three sections without pause. A piano reduction is available.

Yiu-kwong Chung, <http://www.cykmusic.com> (accessed 6 June 2008).

Percussive Arts Society,Siwe Guide to Solo and Ensemble Percussion
Literature, <http://www.pas.org> (accessed 6 May 2008).
7

10
Brendan Faegre: Concerto for Marimba and Wind Ensemble
Brendan Faegre, born in 1985 in Portland, Oregon, graduated cum laude from the
University of Puget Sound in 2007 with a Bachelor of Arts in Music (emphasis in
composition) and a minor in philosophy. He studied composition with Robert Hutchinson
and percussion with Amy Putnam. His Concerto for Marimba and Wind Ensemble placed
second regionally in the 2007 American Society of Composers, Authors, and Publishers
(ASCAP)/Society of Composers Inc. (SCI) Composition Competition. His work
Skydancer received performance at the 2006 SCI Convention. He has studied
composition with Gregory Youtz and participated in master classes with composers such
as Dana Wilson, Roberto Andreoni, Aldo Forte, Emily Doolittle, Forrest Pierce, and
Vincent McDermott.8
Regarding his Concerto for Marimba, Faegre remarks:
The Concerto for Marimba and Wind Ensemble began as an inspiration to
research the mythology of my Norwegian ancestors. After dismissing the idea of a
completely programmatic work, I decided to compose a concerto with three
movements, each inspired by the images of a different Norse myth. The titles of
each movement hint at the stories and images drawn upon while that movement
was being composed.9
The concerto, completed in 2007, is approximately twenty minutes in length and is
structured in three movements. The instrumentation is for full wind ensemble. A chamber
winds accompaniment is available with the following instrumentation: two flutes (with
one doubling piccolo), oboe/English horn, B-flat clarinet, B-flat bass clarinet, bassoon,

8
9

Brendan Faegre, < http://www.brendanfaegre.com> (accessed 30 May 2008).

Ibid.

11
tenor saxophone, B-flat trumpet, two F horns, trombone, tuba, piano, and three
percussion.

Raymond Helble: Dragon of Wyckham

Raymond Helble, born Feb. 3, 1949, began composing at the age of ten and
conducting at twelve.10 His earliest musical influences were Wagner, Beethoven, and
Brahms, but he eventually grew to appreciate the music of Mozart, Bach, Stravinsky, and
Bartok. Early in his compositional study, Helble had no formal teacher. However, he
dissected the music of the masters in order to understand structure and theory. 11
Accepted at Julliard, the Manhattan School of Music, and the Eastman School due to his
compositional skill, Helble completed his undergraduate and graduate studies at Eastman.
His teachers included Samuel Adler, Warren Benson, and Joseph Schwantner.12 Helbles
compositions for percussion are widely performed and include Concertare, Diabolic
Variations, Duo Concertante, Preludes for Marimba, and Grand Fantasy for Marimba
The Lebanon, Missouri Band Boosters commissioned Dragon of Wyckham, Op.
47 in 2005. The commissioners requested a substantial work for wind band. Helble
structured the work as a marimba solo with wind band accompaniment and says this of
the piece: Despite the title, there is, alas, no dragon, and no Wyckham, large enough for
a map. It is not a tone poem; it is simply a work with a colorful title invented by me after
10

Keyboard Percussion Publications, <http://www.mostlymarimba.com>

[accessed 12 May 2008].
11
Michael Bump, A Conversation with Raymond Helble, Percussive Notes
45:5 (2007), 12,.
12
Keyboard Percussion Publications, <http://www.mostlymarimba.com>
[accessed 12 May 2008].

12
the piece was written.13 Dragon of Wyckham divides into two distinct sections: Adagio
misterioso and Allegro furioso e con brio. The work has no other versions.

David J. Long: Concerto for Marimba and Wind Ensemble

David J. Long is Professor of Music and Composer-in-Residence at the University
of Mary Washington in Fredericksburg, Virginia where he teaches courses in Theory,
Skill Development, Composition, Orchestration, and History of Jazz. His compositions
are regularly performed primarily by college/university groups and public schools across
the country as well as performances in Canada, France, Switzerland, and Germany.
Long completed the Concerto for Marimba and Wind Ensemble in 1997 on
commission of the Greensboro (NC) Concert Band, Charles Murph, director; Enloe High
School (Raleigh, NC), Tom Jenner, director; and Cort McClaren of the University of
North Carolina at Greensboro (UNCG). The third movement received premiere in 1997
with Danny Frye, soloist, and the UNCG Wind Ensemble, John R. Locke, conductor, at
the North Carolina Day of Percussion hosted by UNCG. The work was premiered in
entirety in 1998 with the Greensboro Concert Band and three soloists, Laura (Phillips)
Franklin, Nathan Daughtrey, and Cort McClaren, each performing one movement
respectively.14 The concerto may be performed with the original wind ensemble
accompaniment, orchestra, or piano.

13

Raymond Helble Email Correspondence, 8 May 2008.

C. Alan Publications, <http://www.c-alanpublications.com> (accessed 28
May 2008).
14

13
David Maslanka: Concerto for Marimba and Band
David Maslanka was born in New Bedford, Massachusetts in 1943. He studied
composition at the New England Conservatory and the Oberlin College Conservatory
with Joseph Wood. In 1963, he spent a year at the Mozarteum in Salzburg, Austria.
Maslanka received a Doctor of Philosophy in music theory and composition from
Michigan State University, studying with H. Owen Reed. He has served on faculties at
the State University of New York at Geneseo, Sarah Lawrence College, New York
University, and Kingsborough College of the City University of New York. 15
Along with many grants and fellowships, Maslanka has received recognition from
ASCAP, the MacDowell Colony, The New York State Arts Council, The National
Endowment for the Arts and the Martha Baird Rockefeller Fund for Music. 16 Wind band
pieces include A Child's Garden of Dreams for Symphonic Wind Ensemble; Concerto for
Piano, Winds and Percussion; Symphonies No. 2, 3, and 4; and Mass for soloists, chorus,
boys chorus, wind orchestra and organ. Percussion works include, Variations on Lost
Love and My Lady White for solo marimba; Arcadia II: Concerto for Marimba and
Percussion Ensemble, Crown of Thorns, and Montana Music: Three Dances for
Percussion for percussion ensemble; and the Concerto for Marimba and Band. In
addition, he has written a wide variety of chamber, orchestral, and choral pieces.17

15

2008).

16

David Maslanka, <http://www.davidmaslanka.com> (accessed 25 May

Michael L. Varner, An Examination for David Maslankas Marimba Concerti

(DMA diss., University of North Texas, 1999), 1.
17
David Maslanka, <http://www.davidmaslanka.com>.

14
Concerto for Marimba and Band was composed in the fall of 1990 in Missoula,
Montana. It was commissioned in 1989 by James Bankhead for the United States Air
Force Band in Washington, D.C. The Air Force Band premiered the composition in
November 1990 at the Percussive Arts Society International Convention in Philadelphia,
Pennsylvania. Steven Grimo conducted with Randal Eyles as soloist.18 The
instrumentation for Concerto for Marimba and Band is specific to the US Air Force
Band. There are no other versions of the concerto known to be available.

Daniel McCarthy: Chamber Symphony No. 1 for Marimba and Winds

Daniel McCarthy's music is performed throughout the world, particularly his
works for percussion, marimba, chamber ensemble, and symphonic band. His music is
recorded on Centaur, d'note Classics, Gesparo, Klavier Records. A recipient of numerous
awards and grants in composition, he has received four nominations for the Pulitzer Prize
and the Grawemeyer Award. McCarthy is currently Chair of the Composition and Theory
Section at the University of Akron School of Music. He is founder and director of the
American New Arts Festival in Akron, Ohio; founder of the Midwest Composers Forum;
and former co-chair of the Indiana State University Contemporary Music Festival.
McCarthy formerly taught composition at the Interlochen Center for the Arts. He has
been Conductor of the Interlochen Festival Orchestra, the Terre Haute Symphony Youth
Orchestra, and has been guest conductor of the Cleveland Chamber Symphony, the

18

Varner, 81.

15
Columbia Symphony Orchestra, and the Interlochen Arts Camp Symphonic Band,
Concert Band, and Intermediate Band.
McCarthy wrote his first Chamber Symphony in 1993, commissioned by Cort
McClaren and the University of North Carolina at Greensboro (UNCG). Soloist Michael
Burritt and the UNCG Wind Ensemble, John R. Locke, conductor, gave the premiere in
November 1993 at the Music Educators National Conference in Raleigh, North Carolina.
McCarthy wrote the work, inspired by the outdoors of northwestern Michigan's Lower
Peninsula. The first movement, Deer Hunting in Michigan, and third movement, The
Stuff of Adventure, are portraits of this region. McCarthy developed a strong attachment
to this area, being born in Onekoma, Michigan, growing up in Bay City, Michigan, and
attending the Interlochen Arts Academy during his high school years. At the Interlochen
Arts Academy. he studied trumpet and piano for four years. McCarthy dedicated this
composition to his trumpet teacher at Interlochen, John Lindenau. McCarthy chose the
title "Chamber Symphony" to indicate that "the wind ensemble is more intimately
involved (musically speaking) with the soloist than as accompaniment as in a concerto. In
this regard, the single winds and marimba are treated integrally although the marimba is
the featured instrument.19 The reduced wind ensemble includes one each of flute, oboe,
B-flat clarinet, bass clarinet, soprano saxophone, bassoon, trumpet, horn, trombone, tuba,
and two percussion. No other versions are available of the Chamber Symphony.

19

2008).

Daniel McCarthy, <http://www.dmccarthycomposer.com> (accessed 20 May

16
Thea Musgrave: Journey Through a Japanese Landscape
Thea Musgrave was born May 27, 1928 in Edinburgh, Scotland. She first studied
at the University of Edinburgh and later at the Paris Conservatory, where she spent four
years as a pupil of Nadia Boulanger. In 1970 she became Guest Professor at the
University of California, Santa Barbara and in 1971 married American violist and opera
conductor Peter Mark. In 1974 she received the Koussevitzky Award, resulting in the
composition of Space Play (Concerto for Nine Instruments), which after its London
premiere was performed in New York City by the Lincoln Center Chamber Players.
Musgraves awards include two Guggenheim Fellowships (1974-75 and 198283), and a Commander of the British Empire on the Queen's New Year's Honour List in
January 2002. As Distinguished Professor at Queens College, City University of New
York from September 1987-2002, Musgrave guided and interacted with many new and
gifted young student composers.
The four movements of Journey through a Japanese Landscape are based on a
series of Haiku representing the four seasons. The solo marimba introduces each season
with wind chimes bamboo for spring, wood for summer, metal for autumn, and glass
for winter. Regarding the work, Musgrave reveals:

The three haiku chosen for each of the seasons provide a setting and an "event."
Thus the gently undulating spring sea is the background for the free,
improvisatory character of the skylark (solo marimba). The summer grasses have
buried the glorious dreams of ancient warriors (a march for brass instruments) and
after a violent storm a distant memory of this march is heard on the solo marimba.
An autumnal fog envelops a colossal Buddha (solo for English horn, with slow
moving brass and hovering 6-note chords for marimba). The solo flute represents
the lonely watcher who sounds "one gong after another." The cricket (wood

17
blocks, temple blocks and slap strokes on the marimba, over an intoned A-flat) is
asked to "act as grave-keeper." Glass wind chimes introduce the frozen winter
landscape. Winds reintroduce the march theme, the "lonely" flute returns, then
sleet and snow (various drums all played with nylon brushes) build to a big storm.
Out of the silence that follows, echoes of the first movement suggest the return of
spring and so rebirth.20

Journey Through a Japanese Landscape is available only in the original instrumentation

for full wind ensemble.

Russell Peterson: The Life of King David: Concerto for Marimba and Band
Russell Peterson holds degrees from Youngstown State University, Le
Conservatoire de Bordeaux, and Bowling Green State University, where he studied with
Dr. James Umble, Donald Byo, Jean-Marie Londeix, Dr. Jeffrey Lyman and Dr. John
Sampen. A saxophonist, he has won several awards including top prize at the
International Geneva Saxophone Concours, (Switzerland) and first place winner of the
MTNA National Music Competition.21
Peterson has served on the faculty at Youngstown State University, The
University of Toledo, Minnesota State University-Moorhead, The Interlochen Summer
Arts Camp, The International Music Camp, and is currently instructor of Saxophone,
Bassoon, and Jazz studies at Concordia College in Moorhead, Minnesota.
The Life of King David: Concerto for Marimba and Band was commissioned by
Marc Wooldridge and Northwestern College (IA) Symphonic Band directed by Timothy
20

Thea Musgrave, http://www.theamusgrave.com/ (accessed 5 May 2008).

Russell Peterson, <http://www.cord.edu/faculty/rpeters/russ.html> (accessed
20 May 2008).
21

18
McGarvey. It was composed in the summer of 2004 and is in three movements that depict
various stages in King David's life: I. Shepherd Boy, II. Giant Slayer, III. King of
Judah.22 The work exists only with the original instrumentation.

Alfred Reed: Concertino for Marimba and Winds

Alfred Reed was born in New York City on January 25, 1921. His formal music
training began at the age of ten, studying the trumpet. His interests eventually shifted
from performing to arranging and composition. In 1938, he started working in the Radio
Workshop in New York as a staff composer/arranger and assistant conductor. At the
onset of World War II he enlisted and was assigned to the 529th Army Air Corps Band.
During his three and a half years of service, he produced nearly 100 compositions and
arrangements for band. After his discharge, Reed enrolled at the Juilliard School of
Music and studied composition with Vittorio Giannini. In 1953, he enrolled at Baylor
University, serving as conductor of the Symphony Orchestra while he earned the
Bachelor of Music degree (1955). He received his Master of Music degree a year later.
His interest in the development of educational music led him to serve as executive editor
of Hansen Publishing from 1955 to 1966. He left that position to become a professor of
music at the University of Miami, where he served until his retirement in 1993. After
retirement, he continued to compose and made numerous appearances as guest conductor
in many nations, most notably in Japan. At the age of 84, on September 17, 2005, Alfred

22

Russell Peterson, <http://www.cord.edu/faculty/rpeters/russ.html> (accessed

20 May 2008).

19
Reed passed away after a short illness. His Concertino for Marimba and Winds, available
with piano reduction, was completed in 1991, commissioned by marimbist Reiko Kono.23

John Serry: Concerto for Marimba and Wind Ensemble

John Serry received the Grand Prize in the JAZZIZ magazine Keyboards on Fire
pianist/composer competition and a Grammy Nomination for his debut recording,
"Exhibition." Serry's second recording, "Jazziz" (Chrysalis, 1980), earned four stars in
Downbeat magazine, feature review of the month in Keyboard magazine and was the
inspiration for the naming of JAZZIZ magazine by publisher Michael Fagien. He has
composed and arranged for ABC, NBC, CNN, PBS, films, and commercials. He has
received numerous commissions for his original concert works, including concertos,
solos and chamber music, many of which feature percussion (on which he also doubles).
Serry completed the Concerto for Marimba and Wind Ensemble, commissioned
by Leigh Howard Stevens, the University of Wisconsin, and James Madison University,
in 1987. The first movement received its premiere in the spring of 1987 with Leigh
Howard Stevens, soloist, and the University of Wisconsin-Whitewater Wind Ensemble,
Thom Wubbenhorst, conductor. The work was premiered in entirety April 30, 1987 at the
Kennedy Center with Leigh Howard Stevens and the James Madison University Wind
Ensemble.24 The concerto is self published and is available only in the original version.

23

Percussive Arts Society, Siwe Guide to Solo and Ensemble Percussion

Literature, <http://www.pas.org> (accessed 6 May 2008).
24
Percussive Arts Society, Siwe Guide to Solo and Ensemble Percussion
Literature, <http://www.pas.org> (accessed 6 May 2008).

20
Kees Schoonenbeek: Concerto for Marimba and Wind Orchestra
Dutch composer Kees Schoonenbeek, born in 1947, studied the piano at the
Conservatory in Arnhem and completed his studies in music theory and composition at
the Conservatory of Brabant in Tilburg.25 Schoonenbeek taught at the Conservatory of
Braban from 1975-77. Before returning to Tilburg in 1980, he taught at the University of
Amsterdam. As a composer, Schoonenbeek makes use of sound idioms which are
accessible to a large audience. His compositions are very diverse and include, besides
chamber music, works for choir, orchestra and wind ensembles. He became interested in
wind music in 1980, receiving a commission to compose for brass band, resulting in his
work Symfonietta. The Concerto for Marimba and Wind Orchestra was written in 1994.
Other versions of the work include a piano reduction and orchestrations for percussion
ensemble and marimba duo with wind ensemble.

Gordon Stout: Three Movements for Marimba and Wind Ensemble

Born in 1952 Gordon Stout is currently professor of percussion at the School of
Music, Ithaca College, Ithaca, N.Y., where he has taught percussion since 1980. A
composer as well as percussionist, he has studied composition with Joseph Schwantner,
Samuel Adler and Warren Benson, and percussion with James Salmon and John Beck. As
a composer-recitalist he has premiered a number of his original compositions and works
by other contemporary composers. Many of his compositions for marimba are considered
standard repertoire for marimbists.
25

2008).

Kees Schoonenbeek, <http://home.hetnet.nl/~canzona> (accessed 16 June

21
Three Movements for Marimba and Wind Ensemble was written in 1974 for a
Performers Certificate at the Eastman School of Music. The premiere was given by the
Eastman Wind Ensemble under the direction of Donald Hunsberger. In recalling the
work, Stout states:

It was my first venture with writing for wind ensemble, and so I have never
published it (and probably wont). I have thought about publishing the second
movement, which is for marimba aloneIt is in a style harmonically and
rhythmically similar to my second book of Etudes.26

Three Movements is not available in any other version.

Frode Thingns: Little Concerto for Marimba and Band

Frode Thingns is one of Norway's foremost jazz musicians with a versatile
background as a trombonist, composer, arranger and conductor. Born in 1940, he studied
at the Music Academy in Denmark and now holds a position in the Royal Norwegian
Army Band in Oslo.27 Little Concerto for Marimba and Band was composed in 1989.28
There is no other arrangement of the work available.

Other compositions with no existing information on composer or compositional

circumstances include David Careys Suite for Marimba and Winds (1980), Jason

26
27

2008).

28

Gordon Stout Email Correspondence 8 May 2008.

Music Centre Norway, <http://www.mic.no/english> (accessed 21 April
Ibid.

22
Nitschs Concerto No. 2 for Marimba and Wind Ensemble (2003), and Terumichi
Tanakas Music for Marimba and Wind Ensemble (1974).29
Twenty-two works exist for solo marimba and winds. Of these works, fourteen
exist only in the original version; six have available piano reductions; three are available
with orchestra accompaniment; three are playable with percussion ensemble
accompaniment; two have been expanded for marimba duo with accompaniment; and one
is available with a chamber winds accompaniment. With the additional accompaniments
of several works, the concerti may have broader appeal to a soloist and may be more
accessible when finding an ensemble or performance venue.

29

Percussive Arts Society, Siwe Guide to Solo and Ensemble Percussion

Literature, <http://www.pas.org> (accessed 6 May 2008).

23

CHAPTER III
DAVID R. GILLINGHAMS CONCERTO NO. 2 FOR MARIMBA
David R. Gillingham, born October 20, 1947, earned a Bachelor of Music degree
(1969) and a Master of Music degree (1977) in instrumental music education from the
University of Wisconsin-Oshkosh and the Doctor of Philosophy (1980) in music
theory/composition from Michigan State University.11 Dr. Gillingham is a professor of
music at Central Michigan University where he is the recipient of an Excellence in
Teaching Award (1990), a Summer Fellowship (1991), a Research Professorship (1995),
and recently, the Presidents Research Investment Fund grant for his co-authorship of a
proposal to establish an International Center for New Music at Central Michigan
University. He is a member of ASCAP and the recipient of the ASCAP Standard Award
for Composers of Concert Music since 1996.12
Dr. Gillingham has gained an international reputation for his band and percussion
compositions. He has received numerous awards including the 1981 DeMoulin Award for
Concerto for Bass Trombone and Wind Ensemble and the 1990 International Barlow
Competition (Brigham Young University) for Heroes, Lost and Fallen. Nationally
recognized ensembles have commissioned and performed his works including the Prague
Radio Orchestra, Cincinnati Conservatory of Music Wind Ensemble, The University of
11

Neil H. Schnoor, An Analysis of David Gillinghams Prophecy of the Earth

(1993), Journal of Band Research 34:2 (1999), 63.
12
David Gillingham, <http://www.gillinghammusic.com> (accessed 22 April
2008).

24
Georgia Bands, University of North Texas Wind Ensemble, Michigan State University
Wind Ensemble, Florida State Wind Ensemble, University of Illinois Symphonic Band,
Indiana University Wind Ensemble and the University of Wisconsin Wind
Ensemble. Also, nationally known artists Fred Mills (Canadian Brass), Randall Hawes
(Detroit Symphony) and Charles Vernon (Chicago Symphony Orchestra) have performed
works by Dr. Gillingham.13 His music is published by C. Alan Publications, Hal Leonard,
Southern Music Company Publications, MMB, Tuba-Euphonium Press, I.T.A., and Dorn
Publications. Gillinghams concerti include Concerto for Bass Trombone and Wind
Ensemble (1983), Concerto for Woodwind Quintet and Wind Ensemble (1983), Concerto
for Alto Saxophone and Wind Ensemble (1990), Vintage for Euphonium and Wind
Ensemble (1991), Interplay for Piano Four-hands and Orchestra (1996), Concertino for
Four Percussion and Wind Ensemble (1997), Quintessance for Brass Quintet, Solo
Percussion, and Wind Ensemble (1997), Gate to Heaven: Concerto No. 1 for Marimba
(1998), When Speaks the Signal-Trumpet Tone for Trumpet and Wind Ensemble (1999),
Concerto for Piano and Percussion Ensemble (2002), Double Star for Clarinet, Piano, and
Wind Ensemble (2002), Supercell for Alto Saxophone and Percussion Ensemble (2004),
Concerto No. 2 for Marimba and Wind Ensemble (2006), Concerto for Viola, Cello, and
Orchestra (2007) and Concerto for Horn and Symphonic Band (2007).14
Many performers and listeners are drawn to the Gillingham Sound. Gillingham
states that this sound relies first on good melodic material. I have always been attracted

2008).

13

David Gillingham, <http://www.gillinghammusic.com> (accessed 22 April

14

David Gillingham, <http://www.gillinghammusic.com>.

25
to unique, memorable melodies.15 He also believes that the harmony must be striking.
In regards to his scoring for band, Gillingham likens the ensemble to an organ, like
pulling stops.16 He begins with the foundation, then adds layers. Gillingham uses
percussion for colors and effects. The parts must blend well and he stresses the
importance of the pitched instruments, especially keyboard instruments, in all of his
writing for percussion. Although there are many different attributes of Gillinghams
percussion works, there is a major emphasis on the use of tonal melody. Many of his
percussion solo and ensemble works sound very symphonic and can easily be imagined
as scored for an orchestra; this treatment of percussion makes his works truly spectacular
and unlike other composers. Gillingham has been a pioneer in utilizing new percussion
sounds. Some of these effects include water-dipped crotales, suspended cymbal on the
timpani, crotales on roto-toms, mallets playing on the strings of the piano, bowed cymbal,
bowed tam-tam, bowed marimba, bowed vibraphone, bowed crotales, the brake drum,
melodic lines on timpani, rhythmically driving hi-hat, and thundering sets of bass drums.
Gillinghams Concerto No. 2 for Marimba and Wind Ensemble was
commissioned by a consortium of schools and private individuals organized by Marc
Wooldridge of Northwestern College (IA). The consortium members include:

15

David Gillingham, Composer Spotlight: David Gillingham pt. 1, Pod cast by

C-Alan Publications, Interview by Nathan Daughtrey, <http://www.calanpublications.com/podcasts/gillingham-interview1.mp3> (accessed 20 May 2008).
16
Ibid

26
Apple Valley High School, Apple Valley, MN, Eric Strom, Corey Desens
Brigham Young University-Idaho, Rexburg, ID, David L. Taylor, Diane Soelberg,
Christopher Dupuis
California State University, Fresno, Gary P. Gilroy, Matthew Darling
Central College, Pella, IA, Stanley E. Dahl, Evan Feldman, Mitchell B. Lutch
Concordia College, Moorhead, MN, David P. Eyler, Scott Jones
Community College of Southern Nevada, North Las Vegas, NV, Richard McGee
Friends University, Wichita, KS, John W. Taylor, Matthew Maholland
Gustavus Adolphus College, St. Peter, MN, Robert Adney, Douglas Nimmo
Illinois State University, Normal, Illinois, Stephen K. Steele
Iowa State University, Ames, Iowa, Barry Larkin, Michael Golemo
Kansas State University, Manhattan, KS, Frank Tracz
Knightwind Ensemble, Milwaukee, WI, John Steinke
Michael C. Muncher, Birmingham, AL
Middle Tennessee State University, Murfreesboro, TN, Reed Thomas
Mississippi State University, Mississippi State, MS, Elva Kaye Lance
Missouri Western State University, St. Joseph, MO, Jeffrey Hinton
Morehead State University, Morehead, KY, Richard Miles
Northwestern College, Orange City, IA, Marc Wooldridge, Timothy McGarvey
Purdue University, West Lafayette, IN, Pamela J. Nave, Diana Day
Raymond Dandurand, Somers, CT
Southwestern Oklahoma State University, Weatherford, OK, James South,
David Bessinger
The University of Akron, Akron, OH, Robert D. Jorgensen, Larry Snider
The University of Alabama at Birmingham, Birmingham, Alabama,
Gene Fambrough, Sue Samuels
The University of North Carolina at Pembroke, Pembroke, NC, Tracy Wiggins,
Timothy Altman
The University of South Dakota, Vermillion, SD, Darin Wadley, Stephen Sudduth

27
VanderCook College of Music, Chicago, IL, Charles T. Menghini,
Stacey L. Larson
Western Michigan University, Kalamazoo, MI, Robert Spradling17

The world premiere performance of the work was given on November 10, 2006
by Marc Wooldridge, marimba soloist and the Northwestern College Symphonic Band
under the direction of Timothy McGarvey. Other regional premieres were given by
commissioners throughout 2007.18
The original version of Gillinghams Concerto is scored for full wind ensemble.
Instrumentation includes piccolo, flutes 1/2, oboe 1/2, bassoon 1/2, clarinet 1/2/3, bass
clarinet, alto saxophone 1/2, tenor saxophone, baritone saxophone, trumpet 1/2/3, horn
1/2/3/4, trombone 1/2, bass trombone, euphonium, tuba, contrabass, piano, timpani, and
percussion 1/2/3/4. Other arrangements of Concerto No. 2 include percussion ensemble,
piano reduction, and orchestra, all scored by Nathan Daughtrey.
The work exploits the full range of the technical and expressive ability of the fiveoctave concert grand marimba. It is cast in a standard three-movement format. The first
movement uses sonata-rondo form and begins with a slow introduction and quasicadenza by the marimba. An animated first theme follows in G-minor accompanied by
woodwinds and tambourine. A contrasting second theme area follows featuring
chromatic mediant progressions and descending chromatic lines. The return of the first
theme utilizes a slightly different accompaniment. The development section all the
17

David Gillingham, Concerto No. 2 for Marimba and Wind Ensemble, C. Alan
Publications: Greensboro, NC (2007).
18
Ibid.

28
thematic material in different guises. The recapitulation presents the first theme,
verbatim, as it was in the exposition. The second theme, however, changes the mode to
major. The return alternates the marimba on the theme with the winds playing the theme
in augmentation. The marimba quietly ends the movement with an ascending and
descending arpeggiated passage.
The second movement is a chaconne with eight variations. The marimba states a
haunting chorale-like melody in Bb minor. The first variation features the brass on the
chaconne theme with the marimba on the variation. Variation II uses marimba, oboe,
bells, and vibraphone with the chaconne theme again presented in the brass and Variation
III uses marimba, descending woodwind lines, and horns/trombone. Cascading muted
brass against the augmented chaconne theme in the oboe and clarinet are indicative of
Variation IV. Variation V changes the slow pace to fast using marimba, brass, timpani,
and bells. A haunting Variation VI utilizes bowed marimba on the chaconne theme
accompanied by piano, bells, and vibraphone. Variation VII features the low brass on the
chaconne theme against triplets in the upper brass. Rolled arpeggiated chords highlight
Variation VIII along with a solo horn on the second half of the variation. A somber coda
brings the movement to a close.
The third movement, like the first, is in sonata-rondo design and is cyclic,
bringing back and combining the thematic material of the first and second movements.
The first theme, in D-minor, is angular and spirited, accompanied by woodwinds and
tambourine (reminiscent of Movement I). The second theme brings back the second
theme of the first movement followed by the return of the first theme, now accompanied

29
by horns and tambourine. The development combines and works thematic material from
all three movements of the concerto. The recapitulation begins with the bassoons on the
first theme, followed by the horns/trumpets and finally, the marimba. The second theme
brings back the chaconne of the second movement, this time in major with the marimba
accompanying using rhythmic material taken from the first theme of the third movement.
There is no formal return of the first theme, rather the marimba plays a cadenza in which
the first theme material and the second movement chaconne are developed. A galloping
presto (coda) follows, ending the movement in D major.

30

CHAPTER IV
PROCEDURES OF THE EDITION
The chamber winds edition of David Gillinghams Concerto No. 2 for Marimba
appearing in Chapter V of this document was based on the original scoring for wind
band. The new instrumentation includes flute, oboe, B-flat clarinet, bassoon, two F horns,
two B-flat trumpets, trombone, tuba, piano, and three percussion. The instrumentation
was chosen due to general accessibility of quality instrumentalists while maintaining the
characteristic sound of the original ensemble.
A score was created for the Concerto using Finale 2008 music notation software.
After editing the score, parts were extracted for each instrument. Parts were edited and
formatted to accommodate page turns. Several alterations from the original score were
necessary including: octave transpositions, articulations, rhythms, slurs, and dynamics.
Specific examples of all major changes from the original version for wind ensemble
appear in the following critical notes section.
Critical Notes
Global Changes
During the preparation of the performance edition, global alterations were applied
to all three movements of the Concerto. Those changes are summarized as follows:

31
1. The assignment of parts was based on the presence of the original instruments
in the new instrumentation. When appropriate, parts were reassigned based on
desired sound of ensemble. The note-for-note transfer was not included in the
critical notes.
2. Octave transpositions were necessary at several points
3. The piano part is true to the original with some additions in order to fill out
harmonies.
4. Piccolo is used only in a few instances.
5. The original five percussion parts, including timpani, were combined and
reassigned for three players.
6. Some cautionary accidentals were added for convenience.
7. Enharmonic spellings of notes occurred occasionally for convenience.
8. Some dynamics were changed to achieve desired sound within the confines of
the new ensemble.
Following is a list of changes made to each movement of the Concerto. The
marimba solo remained true to the original score.
Movement 1
1. Orchestration thinned due to instrumentation limitations
mm. 1-4: wind parts
mm. 89-100: wind parts
2. Phrasing altered/added
mm. 139-40: clarinet changed for clarity
mm. 238-41: phrasing added for consistency with previous phrase
3. Range altered
mm. 117-20: oboe, bassoon, horn 1: transposed up octave
4. Dynamic(s) added (not present in original)
mm. 36: mezzo forte (mf); all instruments playing
mm. 113: mezzo piano (mp); Flutes, Clarinets, and Oboe

32
5. Dynamic(s) changed to accommodate balance within ensemble
mm. 1, 3: pp changed to mp (vibraphone)
m. 82: mf changed to f (flute/clarinet)
Movement 2
1. Marimba roll altered from original to outline phrasing
m. 6: added roll on last eighth note of measure
2. Measure added to facilitate mallet change for soloist
m. 11
3. Timpani repeats m. 11 in added measure
m. 12
4. Rehearsal numbers reassigned reflecting added measure throughout
movement. The rehearsal numbers remain in same structural area.
5. Orchestration thinned due to instrumentation limitations
mm. 30-7
mm. 38-44
mm. 120-124
6. Range altered
mm. 74-84: flute, oboe, clarinet, bassoon: transposed up octave
7. Solos reassigned to instruments included in new instrumentation
mm. 109-116: euphonium reassigned to horn 1
mm. 116-120: alto saxophone reassigned to oboe
Movement 3
1. Notes omitted due to instrumentation limitations
mm. 1-18: clarinet 2 (from original) omitted
2. Phrasing added
mm. 25-31: horn 2, trumpet 1 & 2, trombone
3. Dynamic(s) changed to accommodate balance within ensemble
m. 78: trumpet 1 & 2 changed from mf to f
m. 81: trumpet 1 & 2 changed from mf to f

33
4. Orchestration thinned due to instrumentation limitations
mm. 95-98
mm. 200-03
5. Range altered
mm. 117-24: horn 1 & 2 transposed down octave
6. Crash cymbals omitted due to too few players
m. 139

34

CHAPTER V
THE EDITION:
CONCERTO NO. 2 FOR MARIMBA AND CHAMBER ENSEMBLE

35

CONCERTO No. 2 for MARIMBA

& Chamber Ensemble

Slowly and mysteriously q = 60

Marimba

Flute

Oboe

Clarinet in B b

Bassoon

? b 4
b 4

b
& b 44

b
& b 44
&

44

? b b 44 w

& b 44

Horn in F 2

& b 44

Trumpet in B b 2

b
& b 44

Horn in F 1

Trumpet in B b 1

David R. Gillingham

Chamber Winds Orchestration by Andrew Dancy

w
w

&

44

&

44

j

F
j

F

J
F
j

F
j

F
j

F

w
w

Trombone

? b b 44

Tuba

? b 4
b 4

b 4
&b 4

Piano

Percussion 1

Percussion 2

Percussion 3

b
& b 44
? b b 44

timpani
Set-up: F #, G, D, E b

#
#

&
3

w
w
>
F

w
w
>

#
#

vibraphone

#
b 4
#
b

& 4

P
P
bells
b

& b 44
p
1
2
3
Copyright 2008 C. Alan Publications
USED BY PERMISSION

to brake drum

>

J
F

J
F

J
F
j
F

to vibraphone

36

b
#

&b

accel.
f
p

? bb
#

6
Mrb.

w
w

w
w

P
. #
& .
J

w
w

ww

..

w
w

&

? bb

Hn. 1

&b

Hn. 2

&b

Tpt. 1

&

Tpt. 2

&

Tbn.

? bb

Tuba

? bb

? bb

Perc. 2

&b

Perc. 3

&b

10

Fl.

&b

Ob.

&b

Cl.

Bsn.

Pno.

Perc. 1

&b
&b

#
p

p to brake drum

p
to tambourine

11

37

14

12
Mrb.

&

bb

? bb

Fl.

&b

Ob.

&b

>
> # > > >
freely
>

>
>
>
>
# #

# > >
>
accel.

F
>>
> > > > # > > # >

#
&
# > >
>

> > # > > > >

> >

>

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?

> > > >
accel.

&

? bb

Hn. 1

&b

Hn. 2

&b

Tpt. 1

&

Tpt. 2

&

Tbn.

? b
b

Tuba

? b
b

? b
b

bb

bb

12

13

14

15

Cl.

Bsn.

Pno.

Perc. 1

Perc. 2

Perc. 3

&b
&b

38

~~~~

> > > b >

>>
3
>

j
b

> > > >

> > > >.
>

>

~~~~~~~

Mrb.

> > > # >

>> >
#

>

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> > # > > > >

bb #
&

>
> > > >
? b b ##
> > >

16

&

? bb

Hn. 1

&b

Hn. 2

&b

Tpt. 1

&

Tpt. 2

&

Tbn.

? b
b

Tuba

? b
b

? b
b

b
&b

Ob.

&

Cl.

Fl.

Bsn.

Pno.

Perc. 1

Perc. 2

Perc. 3

bb

&b
&b

bb

bb

16

>

17

>

to tom-toms

85
85

85

5
8

85

85

85

5
8

85

5
8

85

5
8

>

85

85

damp.

5
8

85

5
8

18

19

39

20 Quick with restlessness q = 132

Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

b
& b 85

? b b 85

f
> .

b
& b 85

2 > >
# > 4 >
>
> .

42

# >

42

b 5 . . # . . . . . # . . . . . # . . . . . # . . 2 # J. J.
& b 8 .

4
&

F
58 . . . . . . . . . . . . . . . . . . . . 42 J. J.

>
85 b b
>
85

85

.
5 . .
8
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85

F
? b b 85 j
2 j j 85 j
j
j
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.
.
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.
.
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& b 85 .
F
5
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2 j j 85 j
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.

42

85

Tpt. 2

&

5
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2
4

5
8

Tbn.

? b 5
b 8

42

85

Tuba

? b 5
b 8

2
4

5
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b
& b 85

42

85

42

85

5
8

85

Pno.

b
& b 85

? b 5
2

b 8 .
4
F
tambourine
j
j 2
b b 85 j j
j

4
F
tom-toms (with yarn mallets)
b b 85 42
P
Change: 32"-G, 29"-B b, 23"-F #

Perc. 1

Perc. 2

Perc. 3

20

21

22

23

24

5
8
25

. .
. .

.
.

.

40

>
> b >
b
n b
& b b b 42 b
b n # # #
>
>

>

26
Mrb.

Fl.

Ob.

Cl.

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85

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85

j
& b . .

Tpt. 1

&

Tpt. 2

&

2
4

5
8

Tbn.

? b
b

42

85

Tuba

? b
b

2
4

5
8

42

85

42

85

? b
b

2
4

5
8

j 2
4

Pno.

Perc. 1

Perc. 2

Perc. 3

&b
&b

bb

bb
26

2 j
4

27

28

j
.

Hn. 2

42

j
.

29

30

j
.

5
8
85

85
5
8

41

31
Mrb.

Fl.

Ob.

Cl.

Bsn.

&b

? bb

()
>
>
# #
58

58

b
& b 85

b 5 .
&b 8 J
f
.
5

& 8 J
f
.
? b b 85 J
f

42

2
4

42

F
.
. . 2
58 . . . . . . . . . . 42 J. J. 85 . .
4

42

j 42 j j 85 j j 42
.
. .
.
.
.
.
.
.

&

Tpt. 2

&

Tbn.

? b
b

Tuba

? b
b

Pno.

Perc. 1

Perc. 2

Perc. 3

b
& b 85

> >

42 85 n 42
> >

Tpt. 1

F
5
8
F
58

85
F
5
8 b
F

85 # #
>
>
f
> .
> .

85

Hn. 2

33

42

& b 85
F
5
&b 8

Hn. 1

42
>
>

>

42 # J J

42
J
fl

42 J
fl
2
4 J
fl

2 J
4

85

42

85

42

42

85

42

.
n . .
.
.
.
.
5 . . . # . . . . # . 2 # J J 5 . .
2
8

4
8
4
F
58 j
.
F
j
85 .
F
58 j
.
F
j
85
fl

.
.
. . .j . . 42 .j .j 85 J J 42

2 j j 85 j j 42
j
. . .
. . 4 .
.
.
.

42

85

42

5
8 j .
fl

85 J .

2
4

5
8

2
4

42

85

42

2
4

5
8

2
4

42 85 j .
J
J
fl
fl
42

85

42

85

42

b
& b 85

42

85

42

85

42

? b 5
b 8

2
4

5
8

2
4

5
8

2
4

42

2
4

j
j 2
j 2
j 85
85

4
F

2 5
2
5
8
4
8
4

b b 85
f
b
5
b 8
f

31

32

33

34

35

36

42

> >
> >
>

bb 2 > b > > b > b

n
b

& 4
j
#
> # > >

>
? b b 42

37
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

b
& b 42

b 2
j
& b 4 . . .
&

. .
.
& b 42 J

Tpt. 2

&

2
4

Tbn.

? b 2
b 4

Tuba

? b 2
b 4

b
& b 42

Perc. 2

Perc. 3

b . .

j
2
& b 4 . . . b
. .
42

P
b
P

b
P

. . . . . . .
J
J J
f
. .
.
. J . . . # j
J .
J
f
j . .
.
.
j
. . . . J J
f
. .
. . .
. . .
J J

J
f
j j
j
j
. . . . . . . .
f
j

f
j

J
f
j

# # # #

. . .
J

? b b 42 j
. .
. b . .

&

Perc. 1

. .
42 . . .j b

Tpt. 1

Pno.

p

p
j j

. .
p
.

J
p
.

J
p
j
.

.
J

b
& b 42

? b 2
b 4

b b 42

b b 42 j

j
j

37

j
j
j

j
j j

38

39

40

j
F

J
F

41

42

43

43

b
&b

? bb

44
Mrb.

Fl.

Ob.

Cl.

Bsn.

45
x=x

22 F

22

b
n n
& b # 22 #
b
2
b
&b 2
22

&
? bb

22

Hn. 2

&b

22

&

Tpt. 2

&

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

2 .
2
F
22
w

? b
b

? b
b

&b

bw

2 w
2

? b
b
&b

2
2 w
w
w

b
22

6
6
6
6
6
6
p

3
3

22

b


3
3
3

3
2
2

bb

bb

22

2
2

45

46

47

44

&b

Tpt. 1

Hn. 1

solo
straight mute

# n

22 w

44

b
&b

48
Mrb.

Fl.

Ob.

Cl.

Bsn.

? bb
&

bb

b
&b

>>

5

85

n b 5 #
8 J .

&
? bb w

85 #

22

22

>
> >
# >
22
f

2
> >
>
# >
22

85 J .

85

22

Hn. 1

&b

85

22

Hn. 2

&b

5
8

22

Tpt. 1

&

85

2
2

Tpt. 2

&

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? b #w
b

85

? b
b w
w

b


bb

&

6
6
6
3
6
3

? bb
b

3
3

? b
b

5
8

5
8

85 j .
j
85 .

&

bb

5
8

bb

48

49

j
85

F

5
8

50

2
2

>>

>
# > .

22

2
2
22
22

2
2

j 2
2

22
51

45

52
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

b
.
& b 22 .
F
.
? b b 22 .

..

f
.
.

. . . . . . b . . . . . . . . . . . .
bb 2
& 2
p
F
bb 2

& 2
&

22

. . . . . .

p
? b b 22 w
p

&

. . . . . . . . . . . .
F
w

& b 22 w
p
2
&b 2 w
p
2 mute out
& 2

bw

w
F

w
F

n #

#
#

N n ..

# # #
n #

# . . . . . .

# . . . . . .

.
.
. .

. . . .

# . . . . . .

#w

nw

nw

bw

Tpt. 2

&

22

Tbn.

? b 2
b 2

Tuba

? b 2
b 2

b
& b 22

b
& b 22

? b 2
b 2

Pno.

Perc. 1

Perc. 2

b b 22 j
b b 22

to susp. cymbal

Perc. 3

j j

52

j j

w

j j

53

j j
j j

F

F
54

j j

j j

55

56

46

60
57
Mrb.

Fl.

Ob.

Cl.

&b
&

b A

bb

b
&b
&b

n ww

F
w
w

. . . . . .

. . . . . . n w

&

&

# n
# n

? bb w

Hn. 1

&b

Hn. 2

&b

#w

Tpt. 1

&

Tpt. 2

&

Tbn.

? b
b

Tuba

? b
b

bb

bb

? b
b

Bsn.

Pno.

Perc. 1

Perc. 2

Perc. 3

&
&

b b j
bb

F
# n

# n

# n

#w
p
w
p

# n

w
p

57

58

59

60

j j

to brake drum

47

b
&b

61
Mrb.

b
& b n

&

? bb

Hn. 1

&b

Hn. 2

&b

Tpt. 1

&

Tpt. 2

&

Fl.

&b

Ob.

&b

Cl.

Bsn.

Tbn.

? b w
b

Tuba

? b
b w

Pno.

Perc. 1

Perc. 2

Perc. 3

? b
b

bb

bb

61

62

&b
&b

63

48

64
Mrb.

Fl.

Ob.

&b

&

bb

&

bb

&b

&

? bb

Hn. 1

&b

Hn. 2

&b

Tpt. 1

&

Tpt. 2

&

Tbn.

? b #w
b

Tuba

? b
b

Cl.

Bsn.

Pno.

Perc. 1

Perc. 2

Perc. 3

&b

? b
b

&b

65

bb

b b w
64

5
8

85

#
J

5
8 J

58 J

58 j j
.

fl
F

j
85 . # J
F
58 j j
.
fl
F

.
#
5 . . .
8
85

#
J

j j
.

fl
j
.
j
.

.
.

2 > >
# > 4 >
>
> .

42

# >

f
> .

# .

p
.
. . # . . . .
.

# .
J 42

p
# . . 2 # .
.
4 J J

p
.
.
.
.
. . . . . . . . 42 J J

85
85
85
5
8
85

p
2 j j 85
j
j
.
. . .
. . 4 .
.
p

# J .j . . .j . . 42 .j .j 85
p
j
2
5
j
j 4 j j 8

.
.
. .
.
.
.
.
fl
p

#
.

42
85

F
58 . . . . . . .
F.

.
5 J J J J
8
F
5 j j j j
8

.
fl
fl
F

2
4

5
8

42

85

2
4

5
8

85

42

85

85

42

85

5
# >
# >
2

8
4
F
tambourine
brake drum
58 > >
j
j 2

J
J
ptom-toms
F

2

5 to. tom-toms

8
4


F
p
65

66

67

68

69

5
8
85
5
8

49

>

# n 5
>
> 2 b > b >
b 5
n b > n # # n
b
b

& 8 b
4
b
#
8
b
> > n > #
>
>

70
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

? b b 85

.
J

p
.
b 5 . . . . . . .
b
& 8
b
& b 85

&

42

.
. .
. .
. #
J 42 J

p
. . 2 . .
.
J # . .
4

.
.
. b . . . . b . . . 2 b . . .
85
4
J

. .

? b b 85 j j 42 j #
.
.
. .
.
.
. .
. . .
.
.
. .
.
.
. .
. . .
& b 85 J J 42 J #

.
J

. .

.
J

. .

.
J

b . .

j
. n
. .
.
J

.
J

n . .

.
J

n . .

j
.

. .

j
.

. .

# . .

n . .

j
. # . .

.
J

.
J
.
J
.
J
.
J
.
J

85
85
5
8
85
85
85

Hn. 2

5 j
j
2
j
& b 8 . . . . . . 4 . . . # . .

Tpt. 1

&

85

42

Tpt. 2

&

5
8

2
4

5
8

Tbn.

? b 5
b 8

42

85

Tuba

? b 5
b 8

2
4

5
8

b
& b 85

b
& b 85

42

85

42

85

? b 5
b 8

2
4

5
8

j 2
4

Pno.

Perc. 1

Perc. 2

Perc. 3

b b 85

b b 85 42
70

71

72

73

j
.

74

. .

j 85
.
85

j 85

75

5
8

50

76
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

&b

? bb

()
>
> b >

2

58
4
> >

85
42

A >
bb 5 J
& 8
f
bb 5 A >
& 8 J
f
>
5

& 8 J
f
? b b 85 J>
f

& b 85 A
f
5
&b 8
f
5
& 8
f
5

& 8
f
? b 5 b
b 8
f
? b 5
b 8 b
f
b
& b 85

5
2
J 4 J J 8

b 42 N 85
J
J
J
5
j 2
b 4 J J 8
fl
42

42

42
42
42
42

b
& b 85

42

? b 5
b 8

b b 85

76

85
.
F
5
8
.
F
85

> >

42 85 n 42
> >

42

85

42

42

85

42

2
4

5
8

2
4

42

85

42

42

85

42

. # . . . # . . 42 # J. J. 85 J. .
.
.
.
2 j
j 5 j
. . . . . 4 . . 8 . .
.
.
.

85
.
F
5
2
5

8
4
8
.
F
.
.
.
.
.
. .
.
.

85 J J 42 # J J 85 J
F
. 5 j
5
2 .
j j 8 j j 4 J J 8 .
.
.
. .
.
.

fl
fl F

42

42
2
4

. . . 42
.
2
. . . 4
.
.
.
42
. . 42

85

42

85

42

42

85

42

85

42

2
4

5
8

2
4

5
8

2
4

j 2
4
f

4
f

85 # #
>
>
f
> .
> .

85

2 #
J 4 J J 85

b b 85

78

77

j
j 2
j 2
85
85

4
F

2
5
2
5
8
4
8
4

F
78

79

80

81

51

87

> >
>
> >
e=e

bb 2 > b > > b > b

n

68 j .

& 4

b
#
> # >

>

>
? b b 42
68

82
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

b
& b 42 .
f
bb 2
& 4
42 .
f
? b b 42

& b 42 .

2
& b 4 .

Tpt. 1

&

Tpt. 2

&

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

42 .
2
4 .

? b 2 .
b 4
? b 2
b 4 .
b
& b 42

. .

j
.

. .

j . .
. b

j
. b
. .

j
.

.
J

. .

b . .

.
J

j
.
.
J
.
J
.
J
j
.

.
.

.
.

j
.

.
J

. .

.
J

. .

j
. # j
.
.
.
J
J

.
J

.
J
j
.

. .

. .
. .

b
& b 42

? b 2
b 4

b b 42

82

83

84

. .

.
J

b b 42

j j

85

.
J

j
.

.
.

&

Hn. 2

Tbn.

.
J
.
J

j
.

# .
J

j
# .
.
J

j
.

6
8

68

j
.

68 j .
.

.
J

68 j .
.

j
.
.
J

6 j .
8 .

j
.
.
J

j
.

68 j .
.

68 j .
.
6 . .
8 J
6 j .
8
.
68

68

6
8
>f >
68

F
6
8

68 j .
.

86

> > > >

.

to vibraphone

to bells
J
F

87

52

44

44

44

4
4

&

44

? bb

44 .

Hn. 1

&b

44

Hn. 2

&b

44

Tpt. 1

&

4
4

Tpt. 2

&

44

Tbn.

? b
b

4
4

Tuba

? b
b

4 w
4

44

44

b
&b

? bb

88
Mrb.

Fl.

&b

Ob.

&b

Cl.

Bsn.

Pno.

&b
&b

e=e

Perc. 2

Perc. 3

89

? b
# 4

b

4
>
>
>
> > >
p


b
4
#
b

#
& 4

b
4

& 4


p
88

to susp. cymbal

Perc. 1

90

91

53

b
&b

92
Mrb.

Fl.

Ob.

Cl.

Bsn.

b b

b b

? bb

b
&b

b
&b
&

? bb

b
b

b b
b b

b
b

b b
b b

Hn. 1

&b

Hn. 2

&b

Tpt. 1

&

Tpt. 2

&

Tbn.

? b
b

bb

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

bw

? b w
b
&b
&b

b
&b

bb
&

bw

bw

92

b b

b b

b
b

b
b

b b

93

b b

b b

b
b

b
b

b b

94

54

97

b n n
n n n # n n #
b
&

95
Mrb.

Fl.

Ob.

Cl.

Bsn.

? bb

b
&b

b
&b
&

? bb n

#
n

#
.

# n

# #
n

Hn. 1

&b

Hn. 2

&b

Tpt. 1

&

Tpt. 2

&

Tbn.

? b
b

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

nw

nw

? b w
b

#w

nw

bb

&b
&b

b
& b n

bb
& n

n #
n #
95

N n
N n

n #
n #
96

# n
n # n
n # n
n #
97

#
#

55

98
Mrb.

Fl.

Ob.

Cl.

Bsn.

&b

b n # n n # #
#

? bb

b
&b

# n #

b
&b

&

# # #
? bb n n .

Hn. 1

&b

Hn. 2

&b

Tpt. 1

&

Tpt. 2

&

Tbn.

? b
b

Tuba

? b w
b

Pno.

Perc. 1

Perc. 2

Perc. 3

#w

#w
w

bb

&b
&b

# n #
#
#
n

n n

#


b
n # n
#
#
&b
#

n n
&b

98

99

#
b n
>f > > >
#
b n
>f > > >

100

w
p

susp. cymbal

101

56

102
b #
Mrb.

Fl.

&b

105

? bb

&b

&

Cl.

&

? bb

b > > > > > > > >

Hn. 1

&b

Hn. 2

&b

Tpt. 1

&

Tpt. 2

&

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

>

>

>

>

&b

>
bb
f
b
&b
b

> > > > > > > >

> >

>
J

>

> > > > > >

w
p

> > > > > > > > > > > > > > > > bw

w
f
? b w
b
f
? b
b
w
f
b
&b

&b

solo

bb

Ob.

Bsn.

b > > > > > > > >

> > > > > > > >

p
w

102

103

104

105

to timpani
Change: 32"-F, 23"-E

57

bb

106
Mrb.

Fl.

Ob.

Cl.

Bsn.

&

? bb
&b

b
&b

b b
b b

&

? bb

Hn. 1

& b bw

Nw

Hn. 2

&b w

bw

Tpt. 1

&

Tpt. 2

&

Tbn.

? b w
b

Tuba

? b
b bw

w
w

Perc. 1

? b
b

Perc. 2

&b

Perc. 3

&b

106

107

108

Pno.

&b
&b

58

b b

&

109
Mrb.

Fl.

? bb

bb

&

bb b .

Ob.

&

Cl.

&

? bb

Bsn.

Hn. 1

& b bw

Hn. 2

&b w

Tpt. 1

&

Tpt. 2

&

Tbn.

? b w
b

Tuba

? b
b w

111

.
b . .

. .
F

>

b >

>
J

. b >
b
J
. . . .
F

. . b >
F

. . b >
F
>

>

. . >

J
F
. . b >

b . .
J

. .
F

. . b >
F

. . b >
F
>

>

. . >

J
F
. . b >

b . .
J

. .
F

Perc. 1

? b
b

Perc. 2

&b

Perc. 3

&b

109

110

111

112

Pno.

&b

b >

>

J

. . b >
J

&b

>

59

Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

113

b
&b

? bb

b
&b

> n >
J J

>
b
b > #
&b

&

? bb

> # >
J J
j j
n >
>

>
& b b #
>
>
& b b #
>
> >
& J J
> >
& J J
>
? b b >J J
b
? b
b
&b
&b

b
b

j
j
> n >

> > #
b

> # >
J J
j j
n >
>

>
b #
>
>
b #
>
> >
J
J
> >
J
J
> >
b J J

> b > > > > > >

b n b b

> b > b > > > >

n b b #

>

>
>
b > b > > b
b >

> > > >

b

>

ww

w
p

w
p

j

>

N >
J

>

J
>
> > > >
b N
J

>

j
j
> n >

113

114

115

116

117

118

? b
b
>>>

bb

&
&b

> n >
J J

&

ww

F
..

>
n J
> > >

>
n J

Change: 32"-F #

60

119 w
Mrb.

Fl.

Ob.

Cl.

Bsn.

b w
&b
b
& b ww
b
&b

b
&b w

> . .
> . . #

ww

ww

? bb w

ww

b ..

&

121

ww

w
p

> . .
. . #

>
F
w

ww

b ww

.
. > b .
.

>

bw

Hn. 1

&b w

Hn. 2

&b

Tpt. 1

&

Tpt. 2

&

Tbn.

? b
b

Tuba

? b
b

bb

bb

Perc. 1

? b
b

Perc. 2

&b

Perc. 3

&b

119

120

121

122

123

Pno.

&
&

61

Mrb.

Fl.

Ob.

Cl.

Bsn.

124

b
& b

b
&b

&b

b
&b w
&

>
F
? bb w

> b . .

.
.

Hn. 1

&b w

Hn. 2

&b

Tpt. 1

&

Tpt. 2

&

Tbn.

? b
b

Tuba

? b
b

Pno.

b
&b
b
&b

w
p

w
p

w
b

Perc. 1

? b
b

Perc. 2

&b

Perc. 3

&b

125

126

124

b b

62

127
b

&b

Fl.

&b

Ob.

&b

Mrb.

Cl.

Bsn.

Hn. 1

Hn. 2

&b

&
? bb
p

& b .
p
& b .

Tpt. 1

&

Tpt. 2

&

Tbn.

Tuba

Pno.

p
.
p
.

p
? b
b w
? b
b

b
&b

b
&b

w
b

Perc. 1

? b
b

Perc. 2

&b

128

129

Perc. 3

b
b
&b

127

b b

63

#
n n # # 43

130

&b

#
n n # # 43

Fl.

&b

Ob.

&b

#
n n # # 43

Mrb.

Cl.

Bsn.

&b

&

? bb

#
n n # # 43

#
n # # # 43

& b b

Hn. 2

&b

Tpt. 1

&

Tpt. 2

&

Tbn.

? b
b w

Tuba

Pno.

? b
b

b
&b

b
&b

? b
b

Perc. 2

&b

130

131

Perc. 3

Perc. 1

#### 3
# 4

Hn. 1

##
n n # 43

##
n # # 43
#### 3
# 4
#### 3
# 4
#
n n # # 43

w
p

## 3
nn # 4
##
n n # 43
##
n n # 43
## 3
nn # 4

#
n n # # 43

b
b b b nn### 3
&b
4

132

64

133
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

&
&

###
###

43
43

>
f

##
& # 43
## 3
& # 4
##
& # # # 43
? # # # 43
##
& # # 43
# ## 3
& # 4
##
& # # # 43
# ## 3
& # # 4
? ###
? ###

43
3
4

##
& # 43
##
& # 43
? ###

# >

> > >

n
>

>>

44
44

44

4
4

44

44

j
fl

44

j
fl
f
j

fl
f

J
f

J
f

J
f
j

f fl
a >
J
f
>
a a
J

# # 3 a
& # 4
f

> > >

> > >

3
4 a
>
f
### 3
&
4

n
>

# >

Change: 32"-G
to susp. cymbal

133

j
fl

n J

n j
fl

j
fl

44
w

4
4

44

n J

4 w
4

n j
fl

4
4

44

44

4
4

44

4
4

134

135

136

137

65

###

138
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

&

##
& #
##
& #
&

? ###

# ##
& # #
? ###

? ###

##
& #
##
& #
##
#
##
& #
&

###

. . .
P

. . .
P

# ##
& # w
##
& # ##

# j
P

##
& ##

##
& # ##

>

###

141

w
P

139

140

141

138

vibraphone

j
.
j
.

66

###

142
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

&

? ###
&
&

###

##
& # ##
? ###

# ##
& # #
? ###

##
#
##
& #
##
& #

n
b

b
n

w
w

#
solo

j
. . . .

j
.
. . .

j
.
j
.

n . . .

b . . .

w
w

# ##
& #
. . .
#
#

& # ##

##
& #

##
& ##
. . .

##
& #

###

? ###

j
.
. . .
j
.
. . .

j
.
j
.

. . .

. . .

142

143

144

145

146

j
.
j
.

67

###

147
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

&

? ###

n
b

b
n

##
& #

&

###

##
& # ##
? ###

##
& ##
. . .
# ##
& #
. . .
#
#

& # ##
# ##
& # #
? ###
? ###
##
& #
##
& #
##
#
##
& #
##
& #

j
.
j
.

n . . .

b . . .

aw
w

w
w

151

# # #
F

F
j
.
j
.

j
.
j
.

w
F

w
F

147

148

#
#
#

#

#

#
F
vibraphone

bells

149

150

151

68

##
& #

152
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? ###
&
&
&

n
### #
###
####

n
# #

? ###

##
& # # n #

# ##
& # #
? ###
? ###
##
& #

##
#

n n n n

f
w
f

n >

n >

n
>

fw

n
>

>

w
f

>

>

> n >

n > > >

n >

w
>

>

>

> n >

>

>

n > > >

b
w

f n b n
###
n
n

n b
# n
#

&

f
###
n

n
&
#
f
susp. cymbal

152

153

>

n n

n n n n n n n n n

##
& #

# ##
& # nw
##
& # ##

n n

to timpani

154

155

156

69

###

? ###

157
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

&

&
&

###
###

>
> b > b b

n n >
J

n >
#### n
J
& #

>
? ### w

J

>
#### w
J
&

#### w
j

&
>

>
#### w
& #
J

? ###

w
w

##
& #

##
& #

>

>

> > b b

> b

>

n
J

158

>

brake drum

>

J

b
>

157

> b

>

n to brake drum
### b
J

&

##
n to tom-toms

& #
J

? ###

>

>
J

>
J

# ## w
& # #
? ###

> b
> b

>

>

159

160

>

70

###

Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

>
J

nnnbb 5
8

n n n b b 85

nnnbb 5
8

? ###

F
n n n n 5 . . . . . . . . . . . . . . . . . . . . 2
n 8

##
& ##

2
j
j
j
. . . . . .
. . .
. . 4

? ###

>b

##
& #
##
& #
&

####

# ##
& #

##
& # ##
# ##
& # #

? ###
? ###

##
& #

#
##
#
##

##
& #
? ###

b
> >>

to tambourine

f
> .

> .

42

42

n n n b 5 . . . # . . . . . # . . . . . # . . . . . # . . 2
b 8

4
F
n n n b b 85 j
.
F
nnnn 5 j
b 8 .
F
nnnnb 5 j
8
.
F
n
nn n 5
n 8
nnnn 5
n 8
nnn b 5
b 8

j
j
j
. . . . . . . . . . . 42
2
j
j
j
. . . . . .
. . .
. . 4

42

2
4

42

fl

nnn b 5
b 8

2
4

nnnbb 5
8

42

42

>

# >

2
# > 4

&

163

~~~~
~~~~
~~~~
~~~~
~~~~

161

161

162

nnn b 5
b 8

nnn b 5
2

b 8 .
4
F
n n n b b 5 tambourine
j
j 2
8 j j

4
F
n n n b b 5tom-toms

2
8
4


F
to bells

163

164

165

166

71

> >
>
>
b
& b 42 85 b b b b
> >
>
>
? b b 42

85

> b >
n b > n # n
42 b b n # # #
> > >
42

b
& b 42

42

167
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

85

.
b 2 # J. J. 5 . . . .
b
& 4
8
&

.
.
.
. b . . .
42 J J 85

? b b 42 j j 85 j
.
.
.
.
.
j
j
.
.
.
& b 42 . . 85 J
2
5 j
& b 4 j j 8 . . .
.
.

Tpt. 1

&

42

85

Tpt. 2

&

2
4

5
8

Tbn.

? b 2
b 4

Tuba

? b 2
b 4
b
& b 42

Pno.

Perc. 1

Perc. 2

Perc. 3

.
. . . 2 . .
.
.

J
4

j
j
. . . 42 . . . # .

# .

j
2
j
. . . 4 . . . # .

. .
.
. .
.
. . 42 J

. . . 42 . . .
J
J

.
J

. .

b . .

n . .

j
.

# . .

j
. # . .

.
J

j
.

.
J

j
.
.
J

42

2
4

85

42

5
8

2
4

42

b
& b 42

85

85

42

? b 2
b 4

5
8

2
4

j 2
4

b b 42

j 85

b b 42
167

5
8
168

2 j
4

169

170

171

.
J

j
.

J
172

72

? bb

>
> b >

2

4
> >

85
42

85

173 > n n
#
b
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

&b

&b

b n . .
&b
. .

&

.
J

. .
? bb

.
J

. .
& b n
&b
. .

.
J

Tpt. 1

&

Tpt. 2

&

Tbn.

? b
b

Tuba

? b
b

? b
b

Pno.

Perc. 1

Perc. 2

Perc. 3

&b
&b

bb
bb

.
J

j
.

85

5 .
8 J
f
58 .
J
f
.
58 J
f

85
F
58
F
5
8
F
58

85
F
5
8 b
F

42

2
4

42

42

42 # J
f
2
4 J
fl
f
2
4 J
fl
f
2
4 J
fl
f

2 J

4
f
2
4 J
fl
f

42

85

42

5
8

85
f
5
8
f

173

85 # #
>
>
f
> .
> .

85

> >
42 85
> >
42

85

.
# . . . . . # . . 2 # . . 5
J 8
85 . .

4 J
F
.
.
.
.
5 . . . # . . . . # . 2 # J J 5
8

4
8
F
58 n . . . n . . . . . . . 42 J. J. 85

F
58 j
2 j j 85
j
.
. . .
. . 4 .
.
F

J 85 .j . . .j . . 42
F
5
2
8 j
j
J
.
. . .
. . 4
F
5 j
J 8 .

42
fl

2
J 85 j .

4
fl

J 85 J .

42

85

176

85 j .
J
fl

j
j
. . 85
j j 85
.
.

85

5
8

85

2
4

5
8

85

42

85

85

42

85

2
4

5
8

2
4

5
8

42

2
4

j
j 2
j 85
85

4
F

2 5
5
8
4
8

F

174

175

176

177

178

73

b
& b 85

179
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

? b b 85

>
>
> > > > b> > b > n > # >
b
>
#

# #

# b
n

. .
.
b 5 . . n 2
j . .
.
b
& 8
4 . . . J
.
j
b 5 . . . n . 2
b
& 8
4 j b . . .
. .
.
. . . . . 2
.
j . .
5

& 8
4 . . . J

.
.
j
& b 85 J J 42 J

85

42

Tpt. 2

&

5
8

2
4

Tbn.

? b 5
b 8

42

Tuba

? b 5
b 8

2
4

b
& b 85

b
& b 85

42

42

? b 5
b 8

2
4

j 2
4

Perc. 2

Perc. 3

J
J

b b 85

b b 85 42 j
179

#
nn## #
##
nn # #

#### #
#

b J

#### #
#

n
J

#
nn## #

##
nn # #
#
nn## #

b
P

#
nn## #

j
j
5 j
2
& b 8 . . 4 . . . b j b
. .
.
&

Perc. 1

? b b 85 j j 42 j
j
. .
. b . . . b
.
.

Tpt. 1

Pno.

#
nn## #

#
j nn## #

#
n## ##

j ##
n # ##

#### #
#

##
nn # #

##
nn # #

j j

180

j j

181

182

183

#
j n n # # #

184

j ##
nn # #

74

>

####

185
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

&

? ####

22

22 >

&

188

..

.
.

####

# ##
& #

22 J

2
2 J

22 j

22
J

&

to piccolo

## #
& # ##
? ####

22 J

##
& # ##
&

####

## #
& # ##

2
2 w
p
22
w
p
2 w
2
p
2
2 w
p
#
22
3
3
3
3
P

22

2
2
#

# ## #
& # #

? ####

? ####

##
& ##

##
& ##
? ####
#
## #
#
## #

22
J

bells

&

to vibraphone

&

p
w
p

w
w

# #

22

2
2

186

187

188

to crash cymbals

185

75

# # #
& ##

189
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

##
& ##
##
& ##

# ##
& #

## #
& # ##
? ####

..

..

n
n

n n

ww

ww

# # #
& # ##

# ##
& # #

## #
& # ##
# ## #
& # #
? ####

? ####

w
w
w
nw
()
# # n # n #
##
& ##
##
& ##
# ##
& #
##
& ##
#
## #

n n

n

n

189

190

191

192

76

##
& ##

193
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

##
& ##
##
& ##

.
.

ww

ww

..

# ##
& #

## #
& # ##
? ####

# ## #
& # #

..

..

# ## w
& # #
## #
& # ##

## w
& # ##

? ####

? ####

w
w
w
w
()

# # # # # #
& ##
##
& ##
# ##
& #
##
& ##
#
## #

193

194

195

196

77

# # n
& ##

197
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Perc. 1

Perc. 2

Perc. 3

##

& # # n
n
##
& ##

ww

w
w

####

? ####

# # n
& # ##

## #
& # ##

# ## n
& # #
## #
& # ##
# ## #
& # #
? ####

F
w
p
w
p

w
p
w
p

? ####

w
w
nw
()

# # n # n # #
& ##
n

##
n

& # # n

# ## n

& #
n

197

198

199

##
& ##
#
## #

solo

200

&

Pno.

vibraphone

F
.
.
..
F

200

78

##
& ##

201
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

##
& ##
##
& ##

# ## #
& #
## #
& # ##
? ####

nw

##
& # ##
# ##
& # #

## #
& # ## w

.
w

nw

# ## #
& # # w

? ####

? ####

##
& ##
##
& ##

n
3

# ##
#
& #

# # #
& # #

#
## #

n
n

201

ww
ww

n
n

n
3

202

203

n ..
.
n.

204

79

##
& ##

205
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

##
& ##
##
& ##

# ## n
& #
## #
& # ##
? ####

##
& # ##

## #
& # ## n w

nw
w

nw

? ####

##
& ##

205

.
n . .
.

206

n
n

207

n n

nw

? ####

# ## #
& # # w

# # n
& # #

##
#
#

nw

# ##
& #
n

nw

# ##
& # #

##
& ##

n n

208

80

####

209
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

&
&

####

##
& ##

# # # ~~~~~~~~~~~~~~~~~~~~~~~
w
& #
## #
& # ##
? ####

# ##
& # #

? ####

##
& ##

&

####

##
& ##
#
## #

nnnnbb 5
4
nnnn b 5
b 4

j
n
>f
j
n
>
f

n n n n b b 45

nnnn 5
nb 4

nnnn n 5
n 4

nnnn b 5
n 4
nnnn n 5
n 4
nnnn n 5
n 4
nnnn b 5
b 4
nnnn b 5
b 4

nnnnbb 5
4

nnnn b 5
b 4

nnnn b 5
b 4

209

210

211

ww
w
w

n n n n b b 45

>
J
f

&

n >
J
f

j
n
>f

? ####

####

n b >
n #

## #
& # ## w
# ## #
& # #

##
& # ##

b > > >

n n nn b 5
>

n b 4

to timpani

to tambourine

nnnnbb 5
4
nnnnbb 5
4

81

>
>
>
>
> # > > # >
b
44
& b 45
f
? b b 45
44

212
Mrb.

Fl.

Ob.

Cl.

Bsn.

b
& b 45

b 5
&b 4

44

4
4

45

44

? b b 45

&

Hn. 1

& b 45 .

Hn. 2

5
& b 4 .

&

45

Tpt. 2

&

5
4 .

Tbn.

? b 5
b 4

Tuba

? b 5
b 4

Tpt. 1

Pno.

Perc. 1

Perc. 2

Perc. 3

>

b >

# .

>

b
>

.
F

# .

>

44

44

b
>

>

44

4
4

b
>

44

4
4

4
4

b
& b 45

44

44

? b 5
b 4

4
4

44

b
& b 45

b b 45

.
F

crash cymbals
b b 45 .

212

>

(choke)

213

>

(choke)

4
4

82

b
& b 44

214
Mrb.

>

? b b 44

>
>
>
>
> > b >
b b >
>

# > >
b

n

n > 4
54
4

> >
>
>
bb 4

& 4

45

44

45

44

4
4

piccolo

Fl.

Ob.

Cl.

b 4
&b 4
&

44

> > > >

5 b .
4
f
54

. . b >
. . .

Bsn.

? b b 44

45

Hn. 1

& b 44

45 .

Hn. 2

4
&b 4

5
4 .

Tpt. 1

&

4
4

45

Tpt. 2

&

44

5
4

Tbn.

? b 4
b 4

45 .

Tuba

? b 4
b 4

5
4

b
& b 44

b
& b 44

45

? b 4
b 4

Pno.

Perc. 1

Perc. 2

Perc. 3

b b 44
b b 44

b .
f

b
. . . . . >

b
>

b
>

n > b

b .
f
b .
f

. . b >
.

. .
b
. . . . . >

b

. . . . . >

44
44
44

>
n b 44

b > 4
4

>
b 44

4
4

4
4

44

45

44

5
4

4
4

45

44

5
4 .

214

b .
f

215

>

(choke)

216

>

(choke)

4
4

83

>
>
b 4 n b >
n b
b
& 4
b 42 n # # #
>
>

217
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

? b b 44

42

b
& b 44

42 b .
F
2 .
4

b 4
&b 4

44

? b b 44

&

>
& b 44 b
f
>
4
b
b

& 4

Tpt. 1

&

4
4

Tpt. 2

&

44

Tbn.

? b 4
b 4

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

>
b

b
>
>

b >

b
>
>

>
n

F
24 b .
F
24 #
.
F
.
42 #
F
24 #
.
F
42

.
.

j
.
.
J
.
J

j
.
.
J

j
.

b
# # n

> n n
#
43

j
.

n .

.
J

n .

j
.

j
.

.
J

n .

b .

b .

n .

# .
# .

43

j
.

.
J
.
J
.
J
.
J
.
J
.
J

43
3
4
43
43
43
3
4

43

2
4

3
4

42

43

2
4

3
4

b
& b 44

42

43

42

43

? b 4
b 4

2
4

3
4

42
F
2
4

b >

f
? b 4 b >
b 4
b
& b 44

>
b

b b 44
b b 44

b >

to tom-toms

> >
b

b
>
>

217

tambourine

218

219

220

43
3
4

84

Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

()
> b >
221
b 3

b
& 4

? b b 43

b b
& b 43
f
bb 3 A
& 4
f
3

& 4
f
? b b 43
b
f

b
& b 43

45

45
.
F
5
4

45

F
? b 3
b 4 b
F

>
>
> # >
45

b
& b 43
f
3
& b 4 b
f
3 b
& 4
F
3
& 4
F
? b 3
b 4

> #

223

J
f

f

J
f
j

f

45
F .
45

.
. #

.
. #

5
4 .
45

5
4

45

45

? b 3
b 4

5
4

45

221

>>>

>
3

222

45 .

tom-toms (with sticks)

b b 43

>

5
4 .

b
& b 43

b b 43

>

5
4 .

crash cymbals

223

b
>

>

b
>

(choke)

>
f

85

>
>
224 > # >

Mrb.

Fl.

Ob.

Cl.

Bsn.

&b

? bb

. .
b .
b
&
F
bb
.
& .
.
F
&

? bb

& b .

Hn. 2

& b .

Tpt. 1

&

Tpt. 2

&

Tbn.

? b
b

Tuba

? b
b

Perc. 1

Perc. 2

Perc. 3

. . >
. #

Hn. 1

Pno.

44

. . >
. #

44

>

b >

b
>

>

>
>
>
> >
# > >
#

4
45
4

>
n > b b n > b >
b
44
f
4

4
> > > >

44
f
44

45

44

45

44

5
4

4
4

45

44

>
. n . .
54
.

. .

44

44

45 .

44

5
4 .

4
4

45

44
>

4
b 4
>

4
4

44

5
4

44

b > 4
4

>
4

4
. . n . .

. .
44

4
4
>
>
>
#
f
>
4

45 .

44

45

44

45

44

? b
b

4
4

5
4

4
4

44

45

44

5
4 .

&b
&b

. . .
F

bb

. . >
. #

bb .

224

>

(choke)

4
4

225

5
4

226

>

(choke)

&

4
4

86

>
>
> >
> >
> >

> n
> b
#

bb 4

44

& 4
# 4 b
> # > # >

? b b 44
2
44

4
> b > >
# > 2 b J to flute
b 4
44
b

& 4
4
f
bb 4
2
4

& 4
4
4
>

227
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

44

42

44

? b b 44

42

44

&

>
& b 44
f
>
4
b

& 4
f

b >
#
>
>
>
b
#
>
>

42
P
24
b
P
2
4

Tpt. 1

&

4
4

Tpt. 2

&

44

2
4

Tbn.

? b 4
b 4

42
P
2
4 b
P

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? b 4 >
b 4
f
b
& b 44

b >

#
>
>

44

44

4
4

44

42

4
4
4
4

44

b
& b 44

42

44

? b 4
b 4

2
4

4
4

42
F
2

b b 44
b 4
&b 4

to bells

227

tambourine

228

229

230

231

44
4
4

87

b
& b 44

232
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? b b 44

>
F

234

b 4
&b 4

44

? b b 44

b
& b 44

&

& b 44 j
P
4
& b 4 j
P
4

& 4

.
p

cup mute

cup mute

44

b
& b 44

&

? b 4

b 4 J
P
? b 4 j
b 4 j j j j j j j j j j j j j j j j j j j j j j j
p
b
& b 44

? b 4 j
b 4 j j j j j j j j j j j j j j j j j j j j j j j
p
to vibraphone
b b 44

&
P
bb 4

& 4
232

233

234

235

236

237

88

? bb

&

Mrb.

Fl.

&b

Ob.

&b

Cl.

Bsn.

&
? bb

& b .
p
& b .
p

Tpt. 1

&

Tpt. 2

&

Hn. 1

Hn. 2

Tbn.

Tuba

Pno.

Perc. 1

242

bb

238

#w

bw

bw

# n

? b .
n
w
w
w
#
b
p
? b j
b j j j j j j j j j j j j j j j w
&b
&b

? b j
b j j
-

Perc. 2

&b

Perc. 3

&b

j j
j j
j j
j j
j j
j j
j
- - - - - -

238

239

240

241

242

89

# n # n
b

b
n

&
#
n
f
#
? bb

243
Mrb.

Fl.

bb

&b

Ob.

&

Cl.

&

? bb

Bsn.

Hn. 1

&b w

Hn. 2

&b w

Tpt. 1

&

Tpt. 2

&

Tbn.

? b w
b

Tuba

? b
b w

p
n
J
p

J
p

J
p

? b
b

Perc. 2

&

bb

Perc. 3

&b

243

244

Pno.

Perc. 1

&b
&b

n
p

bells

vibraphone

245

90

Chaconne

Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

= 56

II

b
& b b b b 44

? bb 4
bbb 4

b
& b b b b 44

b
& b b 44

j
n .. n ..
j
. ..
.

soft mallets

j
@
F


@J

@ @

..

..

@ @

j
b .. n

b .. n
J

n ..
F
..

? b b b 44
bb

b
& b b b 44

b 4
&bb 4

? bb 4
bbb 4

? bb 4
bbb 4

b
& b b b b 44

? b b b 44
bb

bb 4
&bbb 4

bb 4
&bb 4
b
& b b 44

timpani
Set-up: F, B b, D b, E b

? bb 4
b b b 4
p
b

& b b b b 44
bb 4
&bbb 4

@j

j
@

91

b
& b b b b
n

9
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? b b b
bb

b
& b bbb

12

medium soft mallets

ww
p
ww

b
&bb

? bb b
bb

b
& b bb

b
&bb

? bb
bbb

? bb
bbb

b
& b bbb

? bb b
bb

? bb
bbb

bb
&bbb

bb
&bb
b
&bb

b
& b bbb
bb
&bbb

10

11

n.

n.

&

j
n

bells

vibraphone

12

n
n

13

n N
n

92

b
& b bbb

14
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

b
& b bbb

b
& b bbb

b
&bb

? bb b
bb

bb
&bbb

b
& b bb
bb
&bb
b
&bb
b
&bb
? bb
bbb

? bb
bbb

b.

? bb
bbb

bb
&bbb

14

15

b.

? bb b
bb

b
& b bbb

b
& b bbb

16

n
n

93

b
& b bbb

17
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? bb b
bb

b
& b bbb

b
&bb

? bb b
bb

b
& b bb

n.

bb
&bbb

bb
& b b n
b
&bb

b
&bb

? bb
bbb

? bb
bbb

b
& b bbb

? bb b
bb

? bb
bbb

b
& b bbb
bb
&bbb

n

n
n

17

n
n
n
n

18

n

n
n

94

20

& b bbb
n

19
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? bb b
bb

b
& b bbb

bb
&bbb

b
&bb

? bb b
bb

b
& b bb w
p
bb b
& b w
p
bb b
&
b
&bb

? bb w
bbb
p
? bb
bbb w
p

solo

n.

b
& b bbb

? bb b
bb

? bb
bbb

bb b b

& b

19
b
& b bbb

20

95

& b bbb n n

21
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? bb b
bb

b
& b bbb

bb
&bbb
b
&bb

bb
&bb
b
&bb
b
&bb

n.

? bb b
bb
b
& b bb

j
n

? bb
bbb

? bb
bbb

b
& b bbb

? bb b
bb

? bb
bbb

21

22

b
& b bbb
bb
&bbb

96

b
b

& b bbb

23
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? bb b
bb

b
& b bbb

bb
&bbb
b
&bb

? bb b .
bb

b
& b bb .

bb
& b b .
b
&bb
b
&bb

? b b .
bbb

b.

b.

? bb
bbb

b
& b bbb

? bb b
bb

? bb
bbb

23

24

b
& b bbb
bb
&bbb

97

b n n b

& b bbb
n

b n n n

25
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? bb b
bb

b
& b bbb

bb
&bbb
b
&bb

? bb b
bb

b
&bb
b
&bb

n.

? bb
bbb

? bb
bbb

b
& b bbb

? bb b
bb

? bb
bbb

25

26

b
& b bbb
bb
&bbb

b
& b bb
bb
& b b n

98

b
& b bbb

27
Mrb.

Fl.

Ob.

Cl.

? bb b
bb
b
& b bbb

&

bbb

? bb b w
bb

Hn. 1

b
& b bb w

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

bb
&bb w
b
&bb
b
&bb

? bb w
bbb
? bb
bbb

b
& b bbb

? bb b
bb

? bb
bbb

b
& b bbb
bb
&bbb

bb
&bbb w

Bsn.

Hn. 2

30

P


n

27

28

29

30

99

b
& b bbb

31
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

n n

? bb b n
bb
sim.

b
& b bbb w
n

? bb b
bb

b
& b bb w
bb
& b b nw
b
&bb

b
&bb

n

n

nw

? bb
bbb

b
& b bbb

? bb b
bb

? bb
bbb

bb
& b b b n

31

32

b
& b bbb

nw

? bb w
bbb

n n

bb
&bbb
b
&bb

33

100

b
& b bbb

34
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? bb b
bb

b
& b bbb w

? bb b
bb

b w
& b bb
bb w
&bb
b
&bb
b
&bb
? bb
bbb

bb
&bbb
b
&bb

? bb
bbb

b
& b bbb

? bb b
bb

? bb
bbb

b
& b bbb

bb
&bbb

34

35

36

101

Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

38

b
& b bbb
P

? bb b
bb

37

b
& b bbb w

&

? bb b
bb

b
&bb

? bb
bbb
b
& b bbb

bbb

muted

p
muted

w
p

straight mute

p
w

straight mute

? bb
bbb

37

38

bb
&bbb

? bb b
bb

b
& b bbb

p
w

bb
& b b .

? bb
bbb

sim.

b
& b bb .

&

to piccolo

bb
&bbb w
bbb

102

b b

b
& b bbb

39
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? bb b b b
bb
3

b
& b bbb

bb
&bb

? bb w
bbb
n

n n

? bb
bbb

39

40

bb
&bbb

? bb b
bb

b
& b bbb

b
& b bb

b
& b bbb

n n

n
n n

? bb b
bb

? bb
bbb

b
& b b bw

b
&bb

bb w
&bbb

b
&bb

n
n n

103

b
& b bbb

41
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? bb b
bb

n
n
3

n
n n

b
& b bbb

n
n
3

n
n n

? bb b
bb

b
& b bb n
bb
& b b n

b
& b b nw

? bb
bbb

? bb w
bbb

b
& b bbb

? bb b
bb

? bb
bbb

41

42

b
& b bbb
bb
&bbb

b
& b b n

b b n.
&bbb
b
&bb

104

b
& b bbb

43
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

n
n

n

3

? bb b n
bb

b
& b bbb

b
&bb

? bb b
bb

bb
&bb

b
&bb
b
&bb

? bb
bbb
? bb
bbb

piccolo

mute out

mute out

mute out

mute out

? bb b
bb

? bb
bbb

bb
&bbb

b
& b bbb

b
& b bbb

3
p 3

bb
&bbb

b
& b bb

43

44

105

46 With fury
b
& b bbb

? bb b
bb

45
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

bb b n

& bb
bb
&bbb
&

bbb

? bb b
bb

b
& b bb

bb
&bb
b
&bb
bb

& b

Tbn.

? bb
bbb

Pno.

? bb
bbb
b
& b bbb
? bb b
bb

p
p
p
p
p

Perc. 2

Perc. 3

? bb
bbb w
p
b
& b bbb
bb
&bbb

Change: 32"-G b

Perc. 1

68

68
3
3
3
3
3
F3
3
3
3
3

6
n

8
n n

F
3
3
3
3
3
3

68

n 68

Tpt. 2

Tuba

68 .

medium hard mallets

= 144

.
p
.
p

p
p

68 >J .

68 j .
>

>
6 J .
8

68 >J .

6 >
8 J

6 j
8
>
>
68
J
j
68

>

6
8 .
>
68 .

6
8

45

q.

> > >

> >


> >

> .

46

> .

>.

47

.
>

>.

48

>.

>.

49

106

50
Mrb.

&

bbbb

>
? b b b > n
bb
4

>
> n
n

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

b .
& b bbb
bb
& b b b .
b
& b b .
? bb b .
bb
b
& b bb

n.

n.

n.

b
&bb

? bb
bbb

? bb
bbb

b
& b bbb

? bb b
bb

bb
&bbb

>.

? bb
b b b .

bb b
& b b .
>

b
&bb

bb
&bb

>
> n n > >
n n >
J
n
n n
>
>
>

n >
J

>
J

>
J

>
J

>
J

> .

> .

j .

>

>.

> .

Change: 26"-D n

n > .

50

51

52

n.
>

>.

53

n.
>

n.
>

54

n.
>

>.

55

107

58

>
> # # > n >
n n
# n > n >
4
> # n #> n
# #
J

n
# n #
# n
>
> n
4
>
4

b
& b bbb .

56
Mrb.

? b b b n > # n
bb
4

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

n.

bb
& b b b .

b .
& b bbb

b
&bb

? bb b .
bb
b
& b bb

b
&bb

? bb
bbb

? bb
bbb

b
& b bbb

? bb b
bb

bb
&bb
b
&bb

? b b n.
bbb

b
& b bbb n .
>
bb
&bbb

n > .

> .

n > .

n >
J

j
#
>

n >
J

# >
J

>
J

j
#
>

.
>>
n.

Change: 26"-D b

# > .

# > .

n.
>

56

57

58

59

#.
>

#.
>

60

n.
>

#.
>

61

108

> # #
n # #
>
#

#
# # n #
4
>
4

b
& b bbb .

62
Mrb.

? b b b #> n # #
bb
4

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

b >
> n > >
>
J


>
> >

b .
& b bbb

b b .
&bbb

b
&bb

? bb b .
bb

b
& b bb

b
&bb

? bb
bbb

? bb
bbb

b
& b bbb

? bb b
bb

bb
&bb
b
&bb

? bb
b b b .

bb b
& b b #.
>
bb
&bbb

n.
>

>
J .

>
.
J

A >
J .

>
J .

>
J .

j .

>

> .

# > .

>.

> .

Change: 29"-An

> .

> .

.
>

62

63

64

65

>.

>.

66

.
>

>.

67

109

>

4
>
>

b
& b bbb .

68
Mrb.

Fl.

Ob.

Cl.

Bsn.

? b b b > .
bb
b .
& b bbb

to flute

? bb b .
bb

b
&bb

b
& b bb

Tpt. 2

bb

& b

Tbn.

? bb
bbb

? bb
bbb

b
& b bbb

? bb b
bb

Perc. 3

&

Perc. 2

> # n > # n
n n

bbb

Perc. 1

> n
# n #
n

n
>

Pno.

Tuba

bb
&bb

Tpt. 1

b b .
&bbb

Hn. 2

> .

Hn. 1

70

? b b .
bbb

b
& b bbb .
>
bb
&bbb

.
>

> .

> .

n > .

# > .

>
n.

# > .
J
>
n .
J

#.
>

# > .

# > .

# > .

# > .

n > .

#.
n n # ...
>
>
n.
n.

n.
# # n ...
>
n > .
n.

Change: 32"-F, 29"-B b

to brake drum

n. .
>
>
n.
.

j
# .
>

j
n .
>

j .
n n #
>
j
n .
n
>

j .
n
>

n.
>

n.
>

j
# .
>

>
#.

&

68

69

70

71

72

73

110

>
b b b n J .
b
& b

? bb b
bb

74
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

>
b n.
& b bbb
f
bb b b # > .
& b
f
b >.
& b b #
f
? b b b # > .
bb
f
b
& b bb

> n >

>
> n > J
.

# > .

> .

> .

> .

> .

> .

n > .

> .

A > .

> .

> .

> .

>
n.

> .

>
A.

> .

> .

>
n.

.
>

>.

>.

>
n.

>.

.
>

12
8
12
8
12
8
12
8

12
8

12
8

12
8

12
8

12
8

12
8

12
8

12
8

12
8

12
8

74

75

76

77

78

79

80

81

b
&bb

? bb
bbb

? bb
bbb

b
& b bbb

b
& b bbb
bbbbb

bb
&bbb

12
8

b
& b bbb

12
8

12
8

b
&bb

e=x

bb
&bb

111

82 Slow & Calm

Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

b
& b b b b 12
8
? b b b 12
bb 8

q.

= 72

b
.
& b b b b 12
8 w
F
bb b b 12 w .
& b 8

w.
w.

F
bb b 12
&
8 w.
F
? b b b 12
b b 8 w.
b
& b b b 12
8

w.
w.

b 12
&bb 8

? b b 12
bbb 8

b b 12
&bb 8
b
& b b 12
8

? b b 12
bbb 8

b
n

& b b b b 12
8
F
bb b b 12

& b 8

b b b b b 12
8
b
& b b b b 12
8
b b 12
&bbb 8

82

83

112

b
& b bbb

? bb b
bb

84
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

b
& b b b b J

bb b b
& b J

bb b j
&

? b b b j
bb
b
& b bb

b
&bb

? bb
bbb

bb
&bb
b
&bb

? bb
bbb
b
& b bbb

()

n n

bb b b
& b
bbbbb

b
& b bbb

bb b b
& b

Perc. 3

bells

Perc. 2

84

85

113

b
.
& b bbb w
F

86
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

? bb b
bb

b
& b bbb

b
&bb

? bb b
bb

b
& b bb

b
&bb

? bb
bbb

bb
&bbb

bb
&bb
b
&bb

? bb
.
.
.
.
bbb
.
p .
()

bb b n n n
& bb




b



& b bbb
4

Perc. 1

Perc. 2

bbbbb

b
& b bbb

b b w.
& b b b ww ..
w.

vibraphone

Perc. 3

w.

arco (using two string bass bows)

86

n www ...
w.

87

114

b w.
& b bbb

nw.

88
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? bb b
bb

b
& b bbb

b
&bb

? bb b
bb

b
& b bb

bb
&bbb

bb
&bb
b
&bb

.
p

b
&bb

? bb
bbb

? bb
b b b .
()

b
& b bbb

bb b b
& b
4

b
& b bbb

bbbbb

b b w.
& b b b www ...

.
.

n.
p

.
p

n n

88

n



n

n ww ..
ww .
.

89

115

b
& b bbb

90
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

w.

w.

? bb b
bb

b
& b bbb

b
&bb

? bb b
bb

bb
&bbb

b
& b bb
bb
&bb
b
&bb

b
&bb
? b b A
bbb J

? b b j .
.
bbb
.
()
n

b
& b bbb

bb b b

& b
4
4
4
4
4

b
& b bbb
b b www ...
& b b b w.

bbbbb

90

ww ..
ww ..

91

116

93
w.

b w.
& b bbb

92
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? bb b
bb

b
& b bbb

b
&bb

? bb b
bb

bb
&bbb

b
& b bb .

.
p

bb
& b b .

.
p

b
&bb
b
&bb

? b b .
bbb

.
p

? bb
.
.
j .
bbb

.
.
()

n
bb b b
& b

b



& b bbb
4
4
4
4

bbbbb

b
& b bbb
bb
&bbb

ww ..
ww .
.

92

ww ..
ww ..

93

117

w.

b w.
& b bbb

94
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? bb b
bb

b
& b bbb

b
&bb

? bb b
bb

b
& b bb

b
&bb

? bb
bbb

bb
&bbb

bb
&bb
b
&bb

? bb
.
.
bbb
b.
()
b

b
& b bbb

n
n

n



b




N



& b bbb b
bbbbb

b
& b bbb

b b w.
& b b b bb www ...

94

ww ..
w.
nw.

95

118

b
.
& b bbb n w

w.

96
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? bb b
bb

b
& b bbb

b
&bb

? bb b
bb

b
& b bb

b
&bb

? bb
bbb

bb
&bbb

bb
&bb
b
&bb

? bb
bbb
&

bbbb

.
()
n

b b nw.
& b b b ww ..
w.

b
& b bbb n
4

bbbbb
b
& b bbb n

96

ww ..
ww ..

97

119

b
.
& b bbb

? bb b
bb
b
& b bbb

98
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

99

b
&bb

? bb b
bb

b
& b bb

bb
&bbb

bb
&bb
b
&bb
b
&bb

> > > > > > > > > > > >

> > > > > > > > > > > >

> > > > > > > > > > > >
f

>>>>>>>>>> > >

>>>>>>>>>> > >
f

> > > > > > > > > > > >
f
>
? bb

.
bbb
n.
> >
>
f
? bb
.
.

.
b b b .
.

f > > > n > .

()

>

n
n b .
b
.
.
& b bbb
f

>
n ...
b

.
.
& b bbb
4
4
4
4

drum
>brake
b
b
bbb

.
.
.
f tom-toms (sticks) - QUICKLY!
2
2
> > > > > >
>.
bb b

.
.
n

& bb
n

f
F
>
bb b b ..

.
.
.
.
.

n ..
& b .
..
.
.
>

98
99
f
no pedal

>>>>>>>>>> > >

> > > > > > n > > > > > >
> > > > .
n
.

>

> n > .

>

>.

>.
f

100

> > > > > >

120

b
& b bbb

? bb b
bb

b
& b bbb

b
&bb

? bb b
bb

101
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

bb
&bbb

b > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >
& b bb
bb
&bb
> > > > > > > > > > > > >
b > > > > > > > > > > > >
&bb
>
b
&bb

b
> > > > > > > > > > > > > > > > > > > > > > >

> > > > > > > > > > > > > > > > > > > > > > >

> > > > > > > > > > > > > > > > > > > >
? b b >
.

bbb

.
.

> > > .
>
>
> >
F
? b b b >
.

bbb

.
.

> > > .
>
>
> >
F
b

& b bbb
b
& b bbb

>
bbbbb .
bbbbb .
>
f
bb b b
& b

> > > > > > > > > > > > > > > >
> > >
.
b.
> > >
>
>
f
> > >
.
b.

>
> > > >
f

101

102

103

> > > > > >

121

b
& b bbb

44

? bb b
bb

44

b
& b bbb

&

104
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

bbbb

b
&bb

? bb b
bb

b > > > > > > > > > > > >
& b bb
bb
& b b n
> > > > > > > > > > > >
b
&bb
bb

& b

> > > > > > > > > > > >

> > > > > > > > > > > >
>.
? bb

b b b n

>
>
>
? bb
b b b n
>
b
& b bbb

n
>

>

b
& b bbb
>
bbbbb .
f
b
b
b b b .
>
f
bb b b
& b

>.

> .

104

> .

>.

> > > > > >

.
>
f
F

.
>f

> .
> .
> .
> .

n > > > .

> .

n > > > .

> .

> > >.

n

.
>

> > f
> > .

.
> > > > > > > > > > > >
f
> .
> .
> > > > .

f
> > >.
n

f
> > > .
n

f
> > > .
n

> > > > > > > > > > > >
>
j
>
f
j>
> > > > > > >
> > > > > >
f

.
> > > > > > > > > > > >

> .
n > >

> .
> .

> .

> .

>.

>.

44
4
4
44
44
44
44
4
4
44
4
4
4
4
44

44

4
4

44

4
4

105

106

to timpani

122

107 Tempo primo

Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

b
& b b b b 44
? b b b 44
bb

>

b
& b b b b 44 J

>
b b b 4 J
b
& b 4

>
bb b 4 J
&
4

>
? b b b 44 J
bb

b
& b bb
bb
&bb
b
&bb
b
&bb
? bb
bbb
? bb
bbb
b
& b bbb

44 >J

44 >
J
>

4 J
4

>
44 J

>
4 J
4

4
4 j

>

44

= 56

medium soft mallets

ggg ggg
gg
ggg
Fg

gggg gggg
gg
gg

ggg n ggg n
ggg
g
g ggg
ggg n ggg n
ggg ggg
g
g

slow arpeggio from bottom to top

gggg
g

ggg
gg

gggg
g

ggg
gg

ggg n ggg n
gg n gg n
ggg n ggg n
gg n gg n & ggg
ggg
nw

nw

nw

nw

solo

ggg ggg
gg
ggg
g
gg
ggg
g

w
w

? bb 4
b b b 4
>

b b b b b 44

b
& b b b b 44

bb 4
&bbb 4

107

108

109

110

111

112

113

123

ggg
gggg ?ggg
gg
gg
b
& b b b b gg gg ? gggg gggg
gg
ggg ggg
g g
b
& b b b b gggg gggg

114
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

b
& b bbb w
bb
&bbb
b
&bb

bb
&bb
b
&bb

& b bb

g
g
& ggg ggg
gg
gg
w

? bb b w
bb

&

ggg
gg
g
ggg ?ggg

solo

j
.

end solo

b
&bb

? bb
bbb

b
& b bbb

b
& b bbb

? bb
bbb
bbbbb
bb
&bbb

J
F

? bb
bbb

&

b
b

n.

114

115

116

117

118

124

b
& b bbb

119
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

? bb b
bb
b
& b bbb

bb
&bbb

? bb b
bb

bb
&bb
b
&bb

very soft mallets - dead strokes

p
. .

3

b
&bb

b
& b bb

120

w
w

w
w

b
&bb

nw

? bb
bbb

? bb
bbb
b
& b bbb

b
& b bbb

? bb
bbb

119

120

121

122

123

124

bbbbb
bb
&bbb

125

b
& b bbb

125
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

. . . . . .
? b b b
bb

3
3
b
& b bbb

ww
ww

b
&bb

? bb b
bb

b
& b bb

b
&bb

? bb
bbb

? bb
bbb

b
& b bbb

bb
&bbb

bb
&bb
b
&bb

b
& b bbb
? bb
bbb
bbbbb
bb
&bbb

U
w

www

niente

125

126

127

128

126

Very fast & lively

Mrb.

& b 44

? b 44

Fl.

& b 44

Ob.

4
&b 4

Cl.

# . .
p. .

hard mallets

III

= 144

. .
. .

# . .
. .

3 >
#
>
f

. .
. .

p
# 4 . . # . . . . . . . . # . . . . . .
& 4

Bsn.

? b 44

Hn. 1

& 44

Hn. 2

4
& 4

.
p

&

42

. .
. .
.
. . # . . 42 . . #

. .

. .

# . .

n # >
24 # >
43 44
# .

>

>

42

. . 2
4

42

42

43

43
3
4

# . .
. .

44

4
4

. .
43 . . # . .
43

44

43

44
44

44

2
4

3
4

44

43

# 4
& 4

42

4
4

2
4

3
4

44

Tbn.

? 4
b 4

42

43

4
4

Tuba

? 4
b 4

2
4

3
4

4
4

Tpt. 1

Tpt. 2

Pno.

#
& 44

.
.
. . # . . . . .

&b 4
p # .
.
. .
.
4
&b 4
(Timpani Set-up: F, A, D, F)
tambourine (lightly with fingertips)

Perc. 1

Perc. 2

Perc. 3

b 44

bells
& b 44
p

4
&b 4

p
#

xylophone

# . . . .
. . .

# .

.
.
.
. . # . . . . 2 . . #
4
.
.
# .
.
. # .
24

2
4

42
2
4

.
. # .
34 . . .
. # . .
34

3
4
43
3
4

44
44
4
4
44
4
4

127

>

>
& b 44 b

6
Mrb.

& b 44

Fl.

& b 44

Ob.

4
&b 4

Cl.

>

>

. .

. .

>
b > b

# >

>
>

24 b b
34 b
54 >

42

. . 2
4
. . 2
4

. .
. .

#
. .
& 44 b . . . . 42 b
. .
. .
. .

Bsn.

? b 44

Hn. 1

& 44

Hn. 2

4
& 4

42

. .
43 . . # b
. .
43

.
.

. .
.

45

45
5
4

# . .
. .

45

5
4

43

45

# 4
& 4

42

2
4

3
4

5
4

Tbn.

? 4
b 4

42

43

45

Tuba

? 4
b 4

2
4

3
4

5
4

() .
. . . . . . .
. . . .
4

& b 4 b 42 b
.
& b 44 b

Perc. 1

b 44

2
4

Perc. 2

& b 44 b

Pno.

Perc. 3

4
&b 4

.
42 b

42 b
2
4

.
. #
34 . . b . .
# . .
34 .
b

. . .

3
4

43 # b
3
4

45

3
4

. .
. .
. . 45 # b . .
. .
. .

. .
. .

2
4

Tpt. 2

3
4

# .

43

#
& 44

42

43

Tpt. 1

43

b .

.
.
. . 5 . . # . . . . b . b .
4
.
. # . . . b b .
b
54

5
4

45 #
5
4

10

128

13
>
>
>
>
>

>
b

b 2 4 b > > n

& b b
4

>
44

&b
42

11
Mrb.

Fl.

&b

Ob.

&b

Cl.

Bsn.

&

. .
. .

# . .

?b

# . .
. .

. .
. . 2
4 . . #

42

. .

# . .
. .

. .

. .
44
. . #
b . . . .
b .
44

. .

42

4
4

2
4

44

42

4
4

2
4

4
4

Tpt. 1

&

Tpt. 2

&

#
#

().
.
. . . # . b . .
b

&b
&b

Perc. 1

Perc. 2

&b

Perc. 3

&b

# .

b b .

11

. .
# . .
2 . .

4
.
# .
.
24
2
4

42
2
4

12

.
# . . .
.
44 b . . . n .
b
.
# .
n .
44 b .
b .
4
4
44
b
4
4

13

# . .
. .

. .
. . . . #

44

42

4
4

. .

&

Pno.

. .

2
4

44

2
4

Hn. 2

# . .

44

Tuba

b .

. .

42

&

. .
. . # b . .

Hn. 1

Tbn.

. .

> b b > > n >

.
. . . n . # .

.
n

14

# .

129

> >
> n
>
b >
> n > > >

5 >

> b b >

&

4
b b b

>
5

&b
4

15
Mrb.

Fl.

Ob.

Cl.

Bsn.

&b
&b

# .
&
?b

b . .

. .

#
# . . . . b . .
.

. .

. .
. .
. . 45 # b . .
. .
. .

45

b .

. .
. .

# . .

. .

. .
. .
. . # b . .
.

b .

22
2
2
22
22

5
4

22

45

2
2

5
4

22

45

2
2

5
4

2
2

Tpt. 1

&

Tpt. 2

&

#
#

()
. . n .
# . . .
. . . b . .
.

.
.
&b
.
& b

Perc. 1

Perc. 2

&b

Perc. 3

. .

. .

&

Pno.

. . 5
4

. .

Hn. 2

. .

# . .
. . 5

45

Tuba

. .

22

&

. .

b . .
. .
.
. . #

Hn. 1

Tbn.

. .

22

&b

# .

15

. n .
b .

.
.
. . 5 . . # . . . . b . b .
4
.
.
.
5 . # . b b .
4

5
4

n b

16

45 #
5
4

17

22

. . . # . b . . > >
b . .

# . b >
b

>

# b

18

22
22
2
2
22
2
2

130

>
2
&b 2

19

Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

& b 22

2
&b 2

. .
. . .
.
. # . b . . . . .
. . . n b . . . . . . . .

& b 22

#
& 22
? b 22

.
& 22
F
2
& 2 .
#
& 22
# 2
& 2
? 2
b 2

F
? 2 .
b 2
F
() >

& b 22
>
& b 22
b 22

to timpani

& b 22

# b

n b

&b 2
to susp. cymbal

Perc. 2

Perc. 3

19

20

21

22

131

23
Mrb.

Fl.

Ob.

Cl.

Bsn.

&b

&b

&b

&

?b

() .
. . . .
.
n . . b . . . . .
. #
. . . n b . . . . .
.

b
&

Hn. 1

&

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

#
#

#w

b .

.
F
.

.
F
.

.
F

&b

&b

b .

w
p
() n
n n

n b
# #
n b

&b
b

23

24

25

susp. cymbal

26

132

27
Mrb.

Fl.

Ob.

Cl.

Bsn.

&b

&b

&b

&

.
.
. . .
b . n . .
. n . .
b b . . .
. .
. . #
b
&

.
?b

.
&

Hn. 2

& .

Tpt. 1

&

Hn. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

# .

# .
&

? b .
?b
&b

b
f
b
f
b
f
n

f
b

f
b

b
f

n.

#.

Perc. 3

&b

b w

f
n

b n b
n #


b

&b
to brake drum

Perc. 2

. . .
. .
.

27

28

29

b


30

133

31
Mrb.

Fl.

Ob.

Cl.

Bsn.

&b

&b

# .
#
&b
J

&b
fl

#

&

fl
? b #w

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

68

44

78

68

44

78

68

44

7
8

6
8

4
4

78

68

44

&b

78

&

Tbn.

Hn. 2

Tpt. 2

#
& #
P
#
&
P
? w
b
P
?
b

P
&b

&

>
J

>

. .

>
. .

>
J

. . >

>

J

timpani

> 6 . > . > 4 #

. .
.
8 .
4

>
>
>
. . 68 . . . . 44 b

# 6
#
4
. . > 8 . . > . . > 4
6
4 #
. . > 8 . . > . . > 4

>
>
>
J 68 J J 44
>
>
>
68 44
J
J
J

68

44

68

44

> > >

J
> >
>

J

>>>

32

>
>
>
J 68 J J 44

#
. . >

7 > >
8

>
>

brake drum
78

#
n # to tom-toms (sticks) - QUICKLY!
7
&b
8
J

31

78

78 >
J

>
78 J

>
78 J

7 j
8 >

7 j
8 >

7 >
8 J

7 j
8
>

78

Hn. 1

Tpt. 1

32

damp.
>
68 44
J >>>>>> > > > >

>
>
> > > > >
68 44
J
J
J

6 4
8
4

>>> >>>>>> > > > >

33

34

35

&

to tambourine

to bells

to susp. cymbal

36

134

37

Mrb.

Fl.

Ob.

Cl.

Bsn.

# >
>
b
&
&b

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

Tbn.

Tuba

Perc. 2

Perc. 3

# . .
p
. .
p

n # >
>
24 # >
43 44 b

42

#
& . . . .
. .
. .
p
?b

.
p
&

Perc. 1

& b . . # . . . . . .
p

&b

Hn. 1

Pno.

>

>

.
42 . . #

.
42
. .

2
4

42

. . 42
2
. . 4

# .

2
4

42

2
4

37

42
2
4

43
3
4

# . .
. .

44

3
4

38

3
4
43
3
4

39

44

43

.
. # .
34 . . .
. . .
34

2

4
. . . . . . . .
.

42

. .
. .

43

2
4

44

43

44

2
4

&b
p
b

4
4

42

44

3
4

. .
43
. .
. .

3
4

4
4

. .
# .
.
42 .
.
.
.
24

#
24 b > b
43

44
2
b . . . . . . . . 4 b .

.
. . # . . .
&b
P # .
. .
&b

p
#

44

>

>

. .
43 . . # . .

43

42

43

>

2
. . 4
2
. . 4

. .

43

. .

43

3
4

43
43
3
4

42

2
4

3
4

4
4

42

43

4
4

2
4

3
4

.
.
44 b . . . . . . 42 b .
44 b .

4
4

2
4

44
b
4
4

40

.
.

.
42 b

42 b
2
4

41

43

43
43

3
4
43
3
4

135

43
>
>
>
b > b >
>
n

> b b > > 2 4

>

b b b

4
&b 4
4
4

>
3
5
44

&b 4
4
42

42
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

. .
& b 43 . . # . .

. .
.

#
. .
& 43
. .
. .

b . .
.

3
&b 4

? b 43

& 43 # .
3
& 4
#
& 43

.
.

. .

# . . b . . 42
# . . 44
. .
. .

. . 45 # . . . . b
. .
. .
. .

. .
. .
. .
. .
. .
. .
. . 45 n . . b n . . 42 44
. .
. .
. .
. .

5
4

45

45 # . .
5
4
45

. .

b .

. .

. .

. .

. .
. .

2
4

b .

# . .
. .

42

4
4

. . 42
2
. . 4

44

. . 44

42

4
. . 4
4
4

# 3
& 4

5
4

2
4

44

Tbn.

? 3
b 4

45

42

4
4

Tuba

? 3
b 4

5
4

2
4

4
4

Tpt. 2

Pno.

()
.
. . # . . .

b
&b 4
.
. # b .
3

&b 4

Perc. 1

b 43

Perc. 2

& b 43 # b

Perc. 3

b 43

. . . n .

.
.
. . 5 . . # . . . . b . b .
4
.
. # . . . b b .
b 45

5
4

45 #

42

43

5
4

. . . # . b . . . .
# .
b . .

2 . . . 4
4
4
.
.
. # . b b .

. .

24
44

2
4

# b

44

45

4
4

42
2
4

46

44
4
4

136

> > > n >

4
b
b

& 4

47
Mrb.

Fl.

Ob.

Cl.

Bsn.

& b 44

# .
. . . . . . .

#
& 44

.
. b . . . . . .

4
&b 4

? b 44

b . . b . . . . . . b .
.

& 44

Hn. 2

4
& 4
#
& 44

. .

. .

. .

. .

. .
. .

>
>
b >
5

4

& b 44 b . . . . # . . b
. .
.

Hn. 1

Tpt. 1

> b b > > n >

> n # > n > >

. .
. # .

b . .
.
b . . n . . b . .

. .
. b .

. .
.

. .

b . .

. .

. .

45

. .
. .

. . 45
5
4

5

. . . . b . . b . . 4
.

n . .
. .

45

5
n . . 4
5
. . 4
45

# 4
& 4

5
4

Tbn.

? 4
b 4

45

Tuba

? 4
b 4

5
4

Tpt. 2

Pno.

()
.
. . . . . n . # . b .
4
b

&b 4
.
# .
.
n .
4
b

b .
&b 4

Perc. 1

b 44

Perc. 2

& b 44 b

Perc. 3

b 44

47

.
# .
. . . n . . .
.

.
n

48

# .

# .
# .

49

. .
.

.
n
. . . b . .

. . 5
4

n .

5
4

b .

50

45

45
5
4

137

53
>
>
>
>
> b b > 2

b b b

&b 4
2

>
22

& b 45

51
Mrb.

Fl.

Ob.

Cl.

Bsn.

. .
. .
& b 45 . . # . . b . .

. .

#
. .
. .
& 45 n . .
. .
. .

b . .

5
&b 4

? b 45

Hn. 1

& 45

Hn. 2

5
& 4

Tpt. 1

#
& 45

# . .
. .

b .

. .

. .

. .

2
2

. .
. .

. .
. . 22
. . n . .
J
.

# . . b . . 22
J
. .

# . .

j
22

2
2 j

2
2

b .

. .

22

# 5
& 4

22

Tbn.

? 5
b 4

Tuba

? 5
b 4

2
2
p
2
2
p

Tpt. 2

() .
.
. . # . . . . b . b .

&b 4
.
.
. # . b b .
5
&b 4

.
.
# . b . . > >
#

b . . .

22
.
>
# . b >


.
b
22

Perc. 1

b 45

Perc. 2

& b 45

Pno.

Perc. 3

b 45

2
2

51

52

22
2
2

Change: 32"-D, 29"-F, 26"-B b, 23"-C #

to tom-toms

to brake drum

53

54

138

55

&b

&b

Fl.

&b

Ob.

&b

&

?b

Hn. 1

&

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

Tbn.

?
b

Mrb.

Cl.

Bsn.

Tuba

Pno.

#
#

()
#

&b
&b

F
#
F

Perc. 1

Perc. 2

57

58

59

b w

susp. cymbal

Perc. 3

55

>

56

139

60
Mrb.

Fl.

Ob.

Cl.

&b

&b

61

&b

&b

#
&

# > # > # # >

# > # > # >
# #

#
>
f

#w

#w

w
p
w
p
w
p

?b

Hn. 1

&

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

Tbn.

?
b

Bsn.

Tuba

Pno.

#
#

#w

#w
F
()
#

# #

&b
&b

w
p

# #

w
p

# #
#

Perc. 1

Perc. 2

63

64

Perc. 3

b w

60

61

to vibraphone

62

&

140

> >
> > > >
3
& b # #
4
n >
>
> # # n > >
>
> > >
>

&b
43

65
Mrb.

Fl.

&b

Ob.

&b

Cl.

Bsn.

&

w
w

# w

?b

43

22

3
4

2
2

43

43

Hn. 1

&

43

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

Tbn.

Tuba

Pno.

#
#
b

F
.
F

22 j

f
22 j

22

3
4

22

43

2
2

3
4

22

43

2
2

3
4

2
2

b w
() #
# #
&b
&b

>
>

22

22

43

22

43

22

Perc. 1

3
4

2
2

Perc. 2

43

22

Perc. 3

&b

3
4

2
2

66

67

68

65

69

141

70
Mrb.

Fl.

Ob.

j
&b
>
&b

& b # #

&b

# # #

&b

&b

Perc. 1

Perc. 2

& b #

b b

Cl.

Bsn.

#
&
?b

Hn. 1

&

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

Tbn.

Tuba

Pno.

vibraphone
keep ped. depressed for "blurred" effect

Perc. 3

70

b b
71

# ww

ww

b b
72

b b
73

b b
74

142

75
Mrb.

Fl.

Ob.

Cl.

&b

F
?b

&

& b # # #
&b
&

#
#

#
#

?b

Hn. 1

&

Hn. 2

&

b n

Tpt. 1

&

. . # . .
. .
. .
p

Tpt. 2

&

#
f

Tbn.

?b

Bsn.

Tuba

Pno.

#
#

&b

#
f
#w

#w

F
F

# . . . .
. .
p . .
w
w

&b

Perc. 1

Perc. 2

Perc. 3

& b #

b b
75

b b
76

b b
77

#
#

# #

78

#
#

# #

79

143

80
Mrb.

&b

F
?b
3

Fl.

Ob.

Cl.

Bsn.

&b
&

Hn. 2

&
&
&

Tbn.

Tuba

Pno.

#
3

#
3

#
3

?b
&

Tpt. 2

#
3

&

&b

b
p

# . . n . . # . . n . .

straight mute

f
. . # . . n . . #
. .
f
#w

straight mute

#w
F

Perc. 1

Perc. 2

Perc. 3

& b #

b b

81

82

80

b b

#w
F

b b

&b

#
#

& b # # #

Hn. 1

Tpt. 1

#
#

# #

83

144

#
#

Mrb.

44

44

4
4

44

&b
&b

Fl.

&b

Ob.

&b

Cl.

Bsn.

Hn. 1

Hn. 2

&

?b
&
&

Tpt. 1

&

Tpt. 2

&

#
3

to piccolo

n
w

44

44

#
#
#

#
. . . # . . .
f

4
4

b
>

>

44

44

. . # . . . . #
. .

mute out

mute out

# . . . . . . #
. .

#
. . . # . . .

&b

>

J

4 # .
. . # . . .
.
f
44

&b

44

Tbn.

Tuba

Pno.

85

44

84

b
b

4
4

Perc. 1

Perc. 2

Perc. 3

#
& b #

# #

84

4 >
4
F

brake drum
>
44

tom-toms

to tom-toms

4
4

85

>
b J

>
J

#
#
. . . . > . . . . . . . > . . .

>
b

open
>
b

J
>
J

. # . > . . . . # .
. # . # .

.
.
. .
. .
open

87

88

86

to susp. cymbal / bells

#
> >>

> . . .

to timpani

>

F

>

> # > >

145

89

&b

&b

Fl.

&b

Ob.

&b

&

Mrb.

Cl.

Bsn.

Hn. 1

Hn. 2

?b

#
#
. . . . > . . . . . . . > . . .

b >

&

& b
>

Tpt. 1

&

Tpt. 2

&

Tbn.

Tuba

#
#
b
b

b
> > >

>
> > # > > > # > >

j
b
> > >

# b
>>> >

> > b > j

3
3

#
#
. . . . > . . . . . . . > . . .

&b

Perc. 2

Perc. 3

Perc. 1

#
> > >
>

> > > # >

> # > > b >

# j
. . . . > . . . .

Pno.

&b

> > b >

# j
. . . . > . . .

89

90

91

92

93

146

> > > # >

& b #
> > > >

?b

piccolo

Fl.

&b

Ob.

&b

&

94
Mrb.

Cl.

?b

> > # > .

Hn. 1

&

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

Bsn.

Tbn.

Tuba

Pno.

Perc. 1

#
#
b

&b

&b

#
> >
f

>
f
>

> > .

w
>
f

# > > >

# w>

> > >

w>

w
w

>
>

>
>

w
>
w>

# > > >

# w>

> >

w>

> >

w
>

> >

>

>

> > # >

>
>

#
> > >
>
f

susp. cymbal (one-handed roll)

have bell mallet ready

Perc. 2

Perc. 3

94

95

96

97

f


f

w
p
w
p

&

tom-toms

98

147

99

Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

>
>
>
>
# > n > > > > > > >

&b
?b

&b J

&b J

#
& J

?b w

& w
P

& w
P
# >
& J

# >
& J

? w
b
P
?
b
w
P

&b

&b

>f
>f
& b
bells F
b

Change: 32"-F, 29"-A, 26"-C, 23"-G #

99

100

101

148

>
>
>
>
>
>
102 > n > > > # > n n >

n
Mrb.

&b
?b

Fl.

&b

Ob.

&b

&

Cl.

Bsn.

?b w

Hn. 1

& w

Hn. 2

& w

Tpt. 1

&

Tpt. 2

&

Tbn.

Tuba

Pno.

Perc. 1

#
#

? w
b
?

&b

&b

Perc. 2

&b

Perc. 3

102

103

104

149

Mrb.

>
105 > # > > > >
> # >

&b
> > >
>

107

# > > > > >

?b

Fl.

&b

Ob.

&b

. . >
. . #
.

.
F
p

&

Cl.

. . >
. . . #
.
F
p

Bsn.

?b
J

Hn. 1

& J

Hn. 2

j
&

Tpt. 1

&

Tpt. 2

&

Tbn.

Tuba

Pno.

Perc. 1

#
#

? J
b

b j

&b

&b

Perc. 2

&b

Perc. 3

105

106

p #

#
p

107

108

109

150

Mrb.

110

&b

?b

to flute

Fl.

&b

Ob.

&b

&

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

?b

&
f
&
f
#
&
#
&

Tbn.

?
b

Tuba

?
b

Pno.

Perc. 1

f

f
f

&b

f

#

&b
b

Perc. 2

&b

Perc. 3

110

solo

111

112

113

114

151

117

115
Mrb.

Fl.

Ob.

Cl.

&b

?b

&b

.
&b
&

medium hard mallets

P

J

b . .

p.

flute

bw

#.

?b

Hn. 1

&

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

Bsn.

Tbn.

Tuba

Pno.

Perc. 1

#
#

&b

&b
?

&b

Perc. 3

b
. .
F

#

.
J

Perc. 2

115

116

117

118

119

152

120
Mrb.

Fl.

Ob.

Cl.

Bsn.

&b

? b

&

&

Tpt. 1

&

# .

w
F

w
p

&b

&b

Tbn.

Tuba

Perc. 2

& b #

Perc. 3

&

Perc. 1

?b

Hn. 2

&b

&

Pno.

#.
&b

Hn. 1

Tpt. 2

to crash cymbals

120

121

122

123

tom-toms (with sticks)

124

>#

>#

> > > >

153

125
&b

?b

Fl.

&b

Ob.

&b

&

Mrb.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

?b

& #

&
fl

# #
&

fl

fl

fl

#

fl

fl

F
> > >

F

> > >

#
F
> > >

fl

&b

#
> > > > > > > >

#
> > > > > > > >

b
>
crash cymbals
>
>
b

b
>

125

126

>

> > > >

>

>

127

128

w>
w
>
f

>
#
>>
f
>
#
>>
f
F
>
>
>
# # w>

&b

F
# > > > # w>

F
> > >

#
&

?
b

?
b
fl

# > > > # w>

to susp. cymbal

>

> > > >

>

129

>
w

# w>
f

w
f

130

154

Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

131

&b

?b

&b
&b
&

Tpt. 1

&

Tbn.

Tuba

Pno.

Perc. 1

b >

> >
& #
>
&

# > >
>

# w

? w
b
b

&b

&b

b w

b
>

b
>

>

Perc. 3

f
n

>

b b
> > > > > > > >

>
b b .
f
>
b b .
f
>
b.

>
b.
f

b b
> > > > > >

>
j b >
b J b .

j b >
b J

>
j>
J b .

j>
J n #

j>
b b J

>
j >
J b.

j >
J n #

b b
> > > > > > > >

b b
> > > > > >

b
>

b
>

>

>

to timpani

Change: 32"-E, 29"-Bn, 26"-E, 23"-F

to tam-tam

> > > >

> > > >

> > > >

131

132

133

134

>
j>
b b J b .

b b b b
> > > > > > > > > > > > > > > >
f

>
>f
>
>

>

Perc. 2

f
b b b b
> > > > > > > > > > > > > > > >
f

>
b

#
& w

N >

N >

# w

?b

Hn. 2

Tpt. 2

132

> >
135

155

Mrb.

Fl.

Ob.

Cl.

Bsn.

136

&b

?b

&b
&b
#
&

&

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

>
J #
J
> > >
>
J #
J
> > >

>
>
J # .
J

# > .

>
J > > > > > > > >
J

>
>
J # .
J

# > .

>
J > > > > > > > >
J

>
J > .
J

n > .

> > > > > > > >

>
J > .
J

> .

> > > > # w>

>

> > > > w>

>

> > > > >.

# # #

> >>> >

# #.

&b

&b

>
f

>

> >
> >
b
136

> > > > > > > >

>

>

> > > >

137

>

w
p
> > > >

> > > >
f

tam-tam

138

to crash cymbals

>

to bass drum

139

n
>

J

J

> > > > > > > >

b

n >

Tuba

Perc. 3

f
n

to piccolo

Perc. 2

> > > > n w>

# #

Tbn.

Perc. 1

? b > > > > > > >

Hn. 1

Pno.

n
>
f

140

156

141
Mrb.

&b
?b

# n n

Fl.

&b

Ob.

&b

Cl.

Bsn.

Hn. 1

#
& #w

? b >
J

&

Tpt. 1

&

Tpt. 2

&

Tbn.

Tuba

Perc. 1

Perc. 2

Perc. 3

b
b j
>

# n

piccolo

# n J
p

& #w

Hn. 2

Pno.

#w

#w

#w

n #

n
J
p

&b

&b

141

142

143

144

145

b
>
>
b

Change: 32"-G #, 29"-A, 26"-D

to tambourine

to susp. cymbal

157

146
Mrb.

Fl.

Ob.

Cl.

Bsn.

&b
?b

n #

&b

&b

#
& w
?b
& w

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

n #

# n

n J
p

# # #

n #

#w

Hn. 1

# n

# # #

# n

#w

n #

# n

#w

n #

#w

&b

#w
# # J
p

&b

Perc. 1

Perc. 2

Perc. 3

146

147

148

149

150

Tbn.

Tuba

Pno.

b
p

158

151
Mrb.

&b
?b

Fl.

&b

Ob.

&b

Cl.

Bsn.

&

# w

? b J

b
b b

to flute
b b J

b
b b

b b J
p
w

bw

bw

Hn. 2

&

bw

bw

Tpt. 1

&

Tpt. 2

&

& bw

b b

Hn. 1

&b

&b

Perc. 1

Perc. 2

Perc. 3

151

152

153

154

155

Tbn.

Tuba

Pno.

159

156
Mrb.

&b
?b

b b

159

Fl.

&b

Ob.

&b

Cl.

Bsn.

&

# w

?b

Hn. 1

&

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

#
#

&b

&b

Perc. 1

Perc. 2

Perc. 3

156

Tbn.

Tuba

Pno.

157

158

159

160

161

160

162

&b

42

43

44

?b

42

43

44

Fl.

&b

Ob.

&b

&

?b

Hn. 1

&

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

Tbn.

? w
b

Mrb.

Cl.

Bsn.

Tuba

Pno.

#
#

&b

. .
43 . . # . .

44

43
. .
. .
24 # n # 43

. .

44

42

43

2
4

3
4

42

43

2
4

3
4

44

42

43

4
4

#
2
# .
. . . . . . . . 4 . .
p
2

.
p

f

. . . .
# > . .
.

w
w
w

w
w
w

w
w

. . .
>
.
.

.
42
. .

42

# .
. .
.
. .
. .
42
p # .
.
.
.

42

&b

Perc. 1

Perc. 2

Perc. 3

162

163

164

165

w
w

# .
. .
.

2
4

3
4

43

tambourine (lightly with fingertips)

. .

. .

3
4

43

2
4

3
4

4
4

44

4
4
f
44
f
4

. # . . . .
34 .

.
.
.
34

42

166

4
4
44
44
4
4

44

4
4

167

161

168
Mrb.

Fl.

Ob.

Cl.

Bsn.

& b 44

42

43

? b 44

42

43

> >
n b b
>

& b 44 b . . . . 42 b . .
. .
. .
. .

. .
43 . . # b
. .

. .
.

#
& 44

. .
43
. .
. .

. .
.

4
&b 4

? b 44

2
4

2
. . . . . . . . 4 . . . .
42

3
4

43

>

54 >
b

45

. . 45 # . . . . b
. .
. .
. .

. .
. .
. . 45 n . .
. .
. .

5
4

45

45

5
4

45

b
& 44 b . . . . . 42 b b
>
>

4
2
b
& 4 b . . . . . 4 b b
>
>

.
34 . . .

# 4
& 4

b
42 b n
f
24

3
4

5
4

Tbn.

? 4
b 4

42

43

45

Tuba

? 4
b 4

.
& b 44 b

Perc. 1

b 44

Perc. 2

b 44

Perc. 3

b 44

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Pno.

#
& 44

2
4

.
42 b

() .
.
. . . . . .
. . . .

& b 44 b 42 b
.

2
4

.
34 n . . n .
. .
43 .
.

3
4

3
4

42

43

2
4

3
4

169

.
. #
34 . . b . .
# . .
34 .
b

168

.
b

. . . n .

5
4

b
.
.
. . # . . . . b . .
. 45 b
. # . . . b b .
54

5
4

45

5
4

170

171

172

162

173
Mrb.

Fl.

Ob.

Cl.

Bsn.

&b
?b

>
> b b > > 2

b b
4

>

42

. .
. .
& b . . # b . .
&b
&

# . .

?b

. .
. . n . .

175

>
>
44 b > > n

44

> b b > > n >

. . 42
. .
. .

44
#
b . . . . . . . . b .

. .
. . 42
. .

44

2
4

4
4

42

44

. . . . . .

. .

. . # . .
. .

. . . .
. .

Hn. 1

&

42

44

Hn. 2

&

2
4

44

Tpt. 1

&

42

4
4

Tpt. 2

&

2
4

44

42

4
4

#
#

Tbn.

Tuba

Pno.

().
.
. . . # . b . .
b

&b
&b

# .

b b .

2
4

. .
# . .
2 . .

4
.
.
.
24
2
4

4
4

4
4

Perc. 2

42

44

Perc. 3

2
4

4
4

173

174

.
# . . .
.
44 b . . . n .
b
.
# .
n .
44 b .
b .

Perc. 1

.
. . . n . # .

.
n

175

176

# .

163

Mrb.

Fl.

Ob.

Cl.

>

>
> >
>
> >
177 > n >
b >
>

> 2
#

b b b

&b
4
2

>
?b

.
&b
&b

# .
&

45

b . .
.
.

. .
. .

. .
.
. . n . . b . .

. . 45 # . . . . b
. .
. .
. .

. .

. .
. . .
. .
. .

. .
. .
. . 45 n . .
. .
. .

. .

5
4

45

22

. .

. . b . . . . 22

2
2

22

. .
. . 22
. . . .

?b

Hn. 1

&

45

22

Hn. 2

&

5
4

22

Tpt. 1

&

45

2
2

Tpt. 2

&

5
4

22

45

2
2

Bsn.

Tbn.

Tuba

Pno.

#
#
b
b

()
. .
#

.
.
& b .
.
& b

n # .

.
n

.
. . . . b . .
.

. n .
b .

5
4

.
.
. . 5 . . # . . . . b . b .
4
.
. # . . . b b .

54

5
4

Perc. 1

Perc. 2

45

Perc. 3

5
4

177

178

2
2

. . .
# . . b . . > >
b .

22
.
. .
>
# b b >
22

2
2

22

2
2

179

180

164

>
>
>
# > >

n

>
>

>
>


#

& b 22

181
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

? b 22
.
& b 22

2
&b 2

# .
& 22

? b 22 .
p

& 22 .
p
2
& 2 .
p
# 2
& 2

>
& b 22
b 22

# 2
& 2

? 2 .
b 2
p
? 2
b 2 .
p
()
>
& b 22

#.

to timpani

Perc. 2

b 22

Perc. 3

b 22

181

182

183

susp. cymbal

184

165

Mrb.

189
>
> >
> > > > > > > >
185 >
>

&b
?b

Fl.

&b

Ob.

&b

&

Cl.

Bsn.

?b

Hn. 1

& w

Hn. 2

& w

Tpt. 1

&

&

Tbn.

? w
b

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

b w

Tpt. 2

w
w
w

&b

&b

185

186

187

188

189

b
b

166

190 >
Mrb.

&b

> b
> >
>
>
>
# n > n > #
> # n n >
>

?b

Fl.

&b

Ob.

&b

&

Cl.

Bsn.

?b w

Hn. 1

&

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

#
#

#
w

#.

#.

b bw

&b

&b

192

193

b w

190

191

to brake drum

167

Mrb.

Fl.

Ob.

Cl.

196
>
> # >
194 > >
>

# 4 >
&b
4
?b
&b

&

44

& w

Hn. 2

& w

#w

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

flute

Hn. 1

Tpt. 2

44

#
& w
&

? w
b

&b

Tpt. 1

44

4
4

?b w

Bsn.

#
J
f

J
f

J
f

44
# fl
f fl fl
44 J
f
44 J
f
4 #
4
J
f
44
j

fl

4
4

> #

# #
fl fl fl fl fl fl fl fl fl fl fl

>

J
#

fl

&b

f
4
#
4 #
fl fl fl fl fl fl fl fl # fl
f fl fl fl fl
fl

44

&b

44

b w

194

195

timpani

4
4
> >
f
brake drum
44 >
4
4

bass drum

>
f

#
J
f

J
f

J
f

#
fl fl fl fl
f

J
f

J
f

#
J
f
j
f fl
#

f

> >

196

>

>

197

fl fl fl fl

j

fl

#
fl fl fl fl fl fl fl fl
f

> >

#
>
>

>

> >
f
>

>f

> >

198

>

>

168

Mrb.

199

&b

?b

Fl.

&b

Ob.

&b

Cl.

Bsn.

#
&
?b

Hn. 1

&

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

Tbn.

Tuba

Pno.

#
#
b

> #

# #
fl fl fl fl fl fl fl

>

b # #
fl fl fl fl fl fl fl

&b

&b

? > >
b

Perc. 2

#
>
>

Perc. 3

Perc. 1

199

to piccolo

>

> > > >

>>
# .
>>
f
# w
>>> >
f

> > > > # >J > .

> > .
f

> > .


f

piccolo

# > > > > w

f
> > > >

f > b > > .

>
J

f
w

w
w

# > > > > w

f
> > .
#

> > > > J

f
w

>

j
#
>

# >
J

>
J

w>

>
J

w>

# > to flute
J

>
J

>
J

>
J

>

>

200

201

202

203

to crash cymbals
U
>

>

204

205

169

206 Cadenza
Mrb.

&b
?b

= 60

Mrb. 1

?b

210

211

212

n #

b n

& b ww

220

221

?
b w

& b ww

227

233

..

228

233

? b #

= 60

#
accel.

n n

n b
b b

223

.
.

224

= 60
..

#
234

226

#
232

235

ww

231

..

225

rit.

w
w

w
w

230

w
#w

219

230

218

b #

# n

..
p
..

222

w
w

214

223 Expressively

# #

213

b n

229

209

217

&b

&

# #

( = c. 250)
> >
#

& b #

227

Mrb. 1

216

220

Mrb. 1

215

Mrb. 1

213

&b
&b

208

(q = c. 250)

215
Mrb. 1

207

n #

#
n
n #
b
#

# n
206

&b

accel.

medium hard mallets

210

w
w

niente

236

170

> > # > >

> > > >
> # > >

#
#

> > >

hard mallets F
> # > >

237 Presto
Mrb.

&b
?b

= 168

Fl.

&b

Ob.

&b

&

?b

Hn. 1

&

Hn. 2

&

Tpt. 1

&

Tpt. 2

&

Cl.

Bsn.

Tbn.

Tuba

#
#

.
p .

j
.

. . .
J
p

.
P .
.
F .

j
.
j
.

. . .
J
P

j
. .
.
f
j
. .
.
f
.
.
. J
F
j
. .
.
F

flute

. .

f
.
.
f

.
J

>
J

>
J

>
J

>

>
J

j

>

>
J

>

J

>

J

>

&b

&b

Perc. 2

Perc. 3

237

238

239

240

241

Pno.

Perc. 1

.
J

w
p

>

Change: 29"-B b

171

242
Mrb.

&b
?b

> .
b .

b n

b n
> > # >

> F
>

& b ..

&b

&b

&

?b

Hn. 1

&

Hn. 2

&

Fl.

Ob.

Cl.

Bsn.

Tpt. 1

Tpt. 2

&
&

Tbn.

Tuba

Pno.

Perc. 1

.
J
p
j
.
p

.
J

j
.

.
J
j
.

.
J
p
j
.
p

.
J

j
.

b .
J

.
J

b .
J

.
J

&b

&b

243

244

245

b
crash cymbals

Perc. 2

Perc. 3

bass drum

. (choke)

damp.

242

to susp. cymbal

j
.

j
.

.
.
.

> > >

> > >

b .
J
f
j
.
f

j
.

f
b >

j
.

f
>

>
f
.
J
f
j
.
f

.
J
j
.

>

>
f

susp. cymbal

246

172

247
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

&b

&b

&b

&b

&

?b

&
&

Tpt. 2

&

Tbn.

Tuba

Perc. 1

Perc. 2

Perc. 3

&

Tpt. 1

Pno.

>
# w

> > > >

#

> # > > >

>

b w>

&b

&b

bw
>

> Change: 32"-G , 23"-E

b
b

>
b

>
b

>

n # > # >
>
F
> # > >

j

>
F
j
#
>
F

247

>

J
F
j

>
F

j
#
>
j

>

# # w>
b

> # >
> > # > >

n
>

>

j
n
>

j

>

j
#
>

>
J

# >
J

j

>

j

>

n # #

#
# n
3

# #

# >w
f

#w
>
f

>
J

w>

>

w
>
f

248

249

250

251

173

252
Mrb.

Fl.

Ob.

Cl.

Bsn.

Hn. 1

Hn. 2

Tpt. 1

Tpt. 2

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

&b

?b

&b J

>

?b

w>

>
& #w

>
# w
&

# # w>
&

?
b
?

# >

>

f
#

w
F

to bells - QUICKLY!

253

f
#

&

252

to tom-toms

&b

>
b

>
b

#w
F
w
F

>
> #
>
# > n

w
F

&b

254

F
> #
# > n #

J
b
&
#
# J
&

&

> #
n #
>

#
#

>

n
>

bells

&

>
f

# # >
>

>

>

254

>

174

255
Mrb.

&b

>
&b

Fl.

&b

Ob.

&b

Cl.

>

&

Hn. 1

&

Hn. 2

&

Tpt. 2

&
&

Tbn.

Tuba

Pno.

Perc. 1

Perc. 2

Perc. 3

#
b

b
b

()
bb
&b

bb
&b

b b b
> > > > >

to crash cymbals
>

&b

tom-toms (with sticks)

> >
>
b
> >

255

#
#
>

r
b
>

w
>

>

>
b >
w
R

r
b
w
> >
>
>
b

.
R

>
. b r ?
b
>
>

w
.

>
>

>

> .

>

>

to bass drum

256

>

>

&

>

>

>
(opt. LH 8va)

# >
#

>

b
#

Tpt. 1

?b

Bsn.

b >
. b R

r
?
. b
b
>

>(opt. LH 8va)
>

# >

>

>

# >

>

>

>

>

# >

>
>
#

>
#
&

257

>

crash cymbals

bass drum

>

>

damp.

(choke)

damp.

258

175

CHAPTER VI
CONCLUSION
The first concerto for marimba was written in 1940. Since that time, many
composers have penned works for marimba. Currently, twenty-two works exist for
marimba and winds. These concerti include various accompaniment options including
full wind band, orchestra, percussion ensemble, piano reduction, and chamber ensemble.
With the recent addition of David R. Gillinghams Concerto No. 2 for Marimba and
Wind Ensemble to the repertoire, other accompaniments of the work have appeared
including piano reduction and percussion ensemble. The intent of the current edition for
marimba and chamber ensemble is to provide the marimbist with another performance
venue with a smaller scale ensemble.

Suggestions for Further Research

With possible difficulty in securing a performing ensemble for the original
accompaniment of a concerto, professional and amateur marimbists may find more
success performing transcriptions of concerti for smaller chamber ensembles. The
transcription of Concerto No. 2 for Marimba and Chamber Ensemble was successfully
performed on April 7, 2008 at the University of North Carolina at Greensboro. The
instrumentation chosen maintained the integrity of the piece, although on a much smaller
scale than the original. Michael Lasley recently completed a similar study with Eric

176
Ewazens Concerto for Marimba. These studies could be replicated with other concerti
such as those discussed in Chapter II. The instrumentation used may prove successful
with other transcriptions. Other research will provide what instrumentation or
performance venues may benefit from these arrangement projects.

177

BIBLIOGRAPHY
Dissertations
Daughtrey, Nathan H. Marimba Concerto Performances in United States Orchestras:
1940 through 2002. DMA diss., University of North Carolina at Greensboro,
2004.
Eyler, David Paul, The History and Development of the Marimba Ensemble in the
United States and its Current Status in College and University Percussion
Programs. DMA diss., Louisiana State University, 1985.
Kastner, Kathleen S. The Emergence and Evolution of a Generalized Marimba
Technique. DMA diss., University of Illinois-Urbana Champaign, 1989.
Phillips, Laura L. Vida Chenowith and Her Contributions to Marimba Performance,
Linguistics, and Ethnomusicology. DMA diss., University of North Carolina at
Greensboro, 2000.
Raush, John R. Four-Mallet Technique and Its Use in Selected Examples of Training
and Performance Literature for Solo Marimba. DMA diss., University of TexasAustin, 1977.
Smith, Sarah E. The Development of the Marimba as a Solo Instrument and the
Evolution of the Solo Literature for the Marimba. DMA diss., Ohio State
University, 1995.
Varner, Michael L. An Examination of David Maslankas Marimba Concerti. DMA
diss., University of North Texas, 1999.
Books and Reference Materials
Blades, James. Percussion Instruments and Their History. London: Faber and Faber,
1970; revised edition 1974; Westport: The Bold Strummer, 1992.
Combs, F. Michael. Solo and Ensemble Literature for Percussion. Terre Haute:
Percussive Arts Society, 1978.
Kite, Rebecca. Keiko Abe: A Virtuosic Life. Leesburg, VA: GP Percussion, 2007.
MacCallum, Frank. The Book of Marimba. New York: Canton Press, 1969.

178
Moersch, William. New Music Marimba: Marimba Concerto List. New York: New
Music Marimba, 1995.
________. New Music Marimba Repertoire Guide, vol. I. New York: New Music
Marimba, 1990.
Peters, Gordon B. The Drummer: Man, A Treatise on Percussion. Wilmette, Illinios:
Kemper-Peters Publications, 1975.
Siwe, Thomas. Percussion Ensemble and Solo Literature. Champaign: Media Press,
1993.
Journal Articles
Abe, Keiko. Japanese Percussion and Marimba Music. Percussive Notes 22, no. 4
(1984): 90-92.
Baker, Michael. Toward the Reality of Concert Marimba. Percussive Notes 24, no. 1
(1985): 16-17.
Bump, Michael. A Conversation with Raymond Helble. Percussive Notes 45, no. 5
(2007): 12-17.
Chenowith, Vida. The Marimba Comes Into Its Own. Music Journal 15 (May-June
1957): 12.
Hixson, Shirley. From Whence Came Paul Crestons Concertino for Marimba and
Orchestra, Opus 21? An Interview with Ruth (Stuber) Jeanne. Percussive Notes
14, no. 1 (1975): 22-23.
Moersch, William. Commissioning Marimba Music. Percussive Notes 37, no. 5(1999):
62-63.
Kastner, Kathleen. Creston, Milhaud, and Kurka: An Examination of the Marimba
Concerti. Percussive Notes 32, no. 4 (1994): 83-87.
Rehbein, Steven. Preparing and Performing a Concerto. Percussive Notes 33, no. 1
(1995): 49-52.
Schnoor, Neil H. An Analysis of David Gillinghams Prophecy of the Earth (1993).
Journal of Band Research 34, no. 2 (1999): 63-82.
Smith, Sarah. The Birth of the Creston Marimba Concerto: An Interview with Ruth
Stuber Jeanne. Percussive Notes 34, no. 2 (1996): 62-65.

179
Via, David. PASIC 89: An Individual Entrepreneur - A Discussion with William
Moersch. Percussive Notes 27, no.5 (1989): 30.
Wu, She-e. Interview with Leigh Howard Stevens. Percussive Notes 36, no. 5 (1998):
56.
Websites and Electronic Resources
Brendan Faegre. http://www.brendanfaegre.com (accessed 30 May 2008).
C. Alan Publications. http://www.c-alanpublications.com (accessed 28 May 2008).
Daniel McCarthy. http://www.dmccarthycomposer.com (accessed 20 May 2008).
David Gillingham. http://www.gillinghammusic.com (accessed 22 April 2008).
David Maslanka. http://www.davidmaslanka.com (accessed 25 May 2008).
Gillingham, David Composer Spotlight: David Gillingham pt. 1. Podcast by C-Alan
Publications. Interview by Nathan Daughtry <http://www.calanpublications.com/podcasts/gillingham-interview1.mp3> (accessed 20 May
2008).
Gordon Stout Electronic Mail Correspondence. 8 May 2008.
Kees Schoonenbeek. http://home.hetnet.nl/~canzona> (accessed 16 June 2008).
Keiko Abe. http://www.keiko-abe.com/englishindex.html (accessed 2 June 2008).
Keyboard Percussion Publications. http://www.mostlymarimba.com (accessed 12 May
2008).
Music Centre Norway. http://www.mic.no/english (accessed 21 April 2008).
Percussive Arts Society. Siwe Guide to Solo and Ensemble Percussion Literature.
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Raymond Helble Electronic Mail Correspondence. 8 May 2008.
Russell Peterson. http://www.cord.edu/faculty/rpeters/russ.html (accessed 20 May
2008).
Thea Musgrave. http://www.theamusgrave.com (accessed 5 May 2008).

180
Timothy Broege: Composer and Keyboard Performer. http://www.timothybroege.com
(accessed 28 April 2008).
Timothy Broege Electronic Mail Correspondence. 7 May 2008.
Timothy Broege Electronic Mail Correspondence. 8 May 2008.
Yiu-kwong Chung. http://www.cykmusic.com (accessed 6 June 2008).
Concerti
Abe, Keiko. Prism Rhapsody for Marimba and Orchestra. Tokyo: Xebec, 1995.
Briggs, Thomas. Concertino for Marimba and Wind Ensemble. Greensboro, NC: C. Alan
Publications, 2005.
Broege, Timothy. Concerto for Marimba and Wind Orchestra. Bradley Beach, NJ: All
Allaire/Woodbridge Wilson Music, 1991.
Broege, Timothy. Songs Without Words, Set No. 3. Bradley Beach: All
Allaire/Woodbridge Music, 1976.
Chung, Yiu-kwong. Concerto No. 1 for Marimba and Wind Ensemble. Self Published,
2005.
DePonte, Niel. Concertino for Marimba and Wind Ensemble. Asbury Park, NJ: Studio 4
Music, 1978.
Faegre, Brendan. Concerto for Marimba and Chamber Winds. Self Published, 2007.
Gillingham, David R. Concerto No. 2 for Marimba and Wind Ensemble. Greensboro: C.
Alan Publications, 2007.
Helble, Raymond. Dragon of Wyckham. Asbury Park: Keyboard Percussion Publications,
2005.
Long, David J. Concerto for Marimba and Wind Ensemble. Greensboro: C. Alan
Publications, 1997.
Maslanka, David. Concerto for Marimba and Band. New York: Fischer, 1990.
McCarthy, Daniel. Chamber Symphony No. 1 for Marimba and Winds. Greensboro: C.
Alan Publications,

181
Musgrave, Thea. Journey Through a Japanese Landscape. London: Novello & Co, Ltd.,
1994.
Peterson, Russell. Life of King David: Concerto for Marimba and Band. Self Published,
2004.
Reed, Alfred. Concertino for Marimba and Winds. Oskaloosa, IA: Birch Island Music
Press, 1993.
Serry, John. Concerto for Marimba and Wind Ensemble. Self Published, 1987.
Schoonenbeek, Kees. Concerto for Marimba and Wind Orchestra. Netherlands: Canzona
Music, 1994.

182
APPENDIX A. PERMISSION TO ARRANGE