Salon Morisot-Jodie Blackshaw

Salon
Morisot:
Full Suite
for concert winds, brass
& percussion
grade 2
Emerging Series
JODIE
BLACKSHAW

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About the author
Dr. Jodie Blackshaw (b. 1971) grew up in the south-east of rural Australia and formed a very
personal relationship with music early in life through the creative application of her
imagination to musical colours and movement. Today, she continues to seek creative
experiences for students through her teaching and composing so they, too, may enjoy the
personal relationship she discovered in her formative years.
In 2020 Blackshaw completed her PhD in Composition with Dr. Christopher Sainsbury at the
Australian National University. In addition to composing and presenting music education
workshops, Blackshaw is passionate about fostering equality in concert programs, including
schools. In 2018 she curated the website www.colourfullmusic.com to share diverse wind
band programs created by leading conductors with the global wind music community.
The Teaching Performance through Composition series is evidence-based and was developed
as part of Jodie’s post-graduate studies into the compositional process and how best to apply
that in an educational environment.
To find out more please visit: www.jodieblackshaw.com

Salon Morisot
F O R C O N C E R T W I N D S , B R A S S & P E R C U S S I O N
JODIE BLACKSHAW
I N S T R U M E N T A T I O N
Flute
Oboe
Clarinet 1 & 2 in B !
Bass Clarinet in B !
Alto Sax in E !
Tenor Saxophone in B !
Baritone Saxophone in E !
Trumpet 1 & 2 in B !
French Horn in F
Trombone/Baritone/Bassoon
Tuba
Keyboard
Timpani (optional)
Percussion
I: MAJESTY
Mallets 1, 2 & 3
1: Glockenspiel
2 & 3: Vibraphone/Bells
Percussion 1, 2, 3
Triangle, Cymbal(s), Bass Drum
II: DEVOTION
Mallets 1, 2 & 3
1: Glockenspiel
2 & 3: Metals (optional)
(Metallophone/Vibraphone/Bells)
Percussion 1, 2, 3
Triangle, Cymbal(s), Bass Drum
III: ENCHANTMENT
Mallets 1, 2, 3 & 4
1: Glockenspiel
2: Vibraphone (optional)
3 & 4: Marimba
(2 players on one instrument)
Percussion 1, 2, 3
Triangle, Cymbal(s), Bass Drum
Note: No Timpani or Keyboard in this movement
© 2022 ColourFULL Music. All rights reserved.
International rights secured.
jodieblackshaw.com

Salon Morisot
Salon Morisot (the Morisot Exhibition) is
inspired by three artworks by Berthe
Morisot, that represent a challenging
time in her life: 1869-1884. Morisot was
torn between her passion for art and the
desire to marry and become a Mother. It
is this tension that forms a central theme.
T REHEARSAL NOTES T
I – The Harbor at Lorient
The first movement ‘Majesty’ is inspired by
the artwork ‘The Harbor at Lorient’, painted in 1869. The artwork beautifully captures the reflective nature of water and
features a lone female figure observing the grandeur of the tall ships. The woman is her sister Edma, who had recently married
and moved away from the family home. The sisters were both avid painters and consequently were very close. They found
their separation very difficult. Hence in this movement, I have attempted to capture not only the majesty of the ships, but the
profound sense of loss as displayed by the sole woman sitting on the wall.
III – Enchantment
II – Devotion
In 1873 Morisot painted ‘The Cradle’, again representing her sister Edma
with a new born infant. The baby is Edma’s little girl Blanche, Berthe’s
niece. Again, the painting represents tension. This can be found in Edma’s
expression and how she holds her fingers in her right hand. The
juxtaposition of the light background behind her sister and the dark
background surrounding the bassinet may also suggest the inner battle
both sisters contended regarding societal expectations and their artistic
pursuits. In this movement I have attempted to capture the thoughts of
Edma Morisot at this time – joy, apprehension, hope and pure love whilst
also
Berthe’s
capturing
anxieties
regarding marriage.
The third movement brings about a release from the tension.
‘The Garden at Bougival’ represents the changes that
occurred in Berthe’s life in the decade following ‘The Cradle’.
She married Eugene Manet, Édouard’s younger brother, in late
1874. Eugene was himself a painter but gave up his pursuits to
support Berthe, thus relieving her inner struggle.
i

The Manet’s expanded their family in 1878 with the birth of a baby girl, Julie. From 1881-1884 the Manet’s
predominantly lived in Bougival. They were very happy there and thus the music in ‘Enchantment’ is strikingly
different, representing not only the whimsical change in painting style but also Berthe’s newfound love brought
about by marriage and motherhood.
Providing context: a brief art history lesson regarding Impressionism
From 1648 to 1881 the most prestigious annual art exhibition in France was the Paris Salon (a salon being an
exhibition). Thousands of artists sent paintings for consideration and acceptance (and thus exhibition) paved the
successful careers of many painters. However; the French Academy of Fine Art was embedded in the Neo-
Classicist style and in time, their increasingly parochial parameters brought labels such as ‘academic’ to describe
their preferred artistic approach. The Academy’s resistance to change came to a head in 1863 when almost 3000
artworks were rejected for the forthcoming Paris Salon. Artists such as Édouard Manet appealed to the Emperor
of France, Napoleon III to have the Academy reconsider their parameters for the Paris Salon. Their efforts were
rewarded with a second public exhibition entitled the Salon des Refusés (exhibition of rejected art). The public
turned out in their thousands to view the refused artwork and whilst their opinion was varied, the result was an
acknowledgement of a new avant-garde movement in French art. This movement is what we now call
Impressionism and it was Impressionism that brought about the dissolution of the Academy of Fine Art in 1881.
1874 brought the very first Impressionist Salon featuring works by Claude Monet, Edgar Degas, Pierre-Auguste
Renoir, Camille Pissarro and one woman, Berthe Morisot. Morisot had dedicated her life to painting and had been
fortunate to have some works exhibited in the Paris Salon from an early age. However; her subject matter
represented her surroundings and as a woman, these were dominated by other women and children. This subject
matter was viewed as common and unimportant and as a result, her works were often overlooked. That said,
Morisot was held in high regard by her artistic colleagues, in particular, Édouard Manet. All of the ‘masters’ owned
Morisot originals (Claude Monet owned 5) and there are particular schools of thought that suggest that her
experimentation significantly influenced the ongoing development of the Impressionist style that culminated with
the famous ‘Waterlily’ collection by Claude Monet.
Educational goals
There are two central education goals that govern the entire work:
1. Learning to hear harmonic changes
In each of the three movements the same melodic material is repeated over an ever-changing harmonic
landscape. These changes become increasingly more complex as the suite progresses and invites
students to hold onto their melodic parts even when the harmonic movement changes.
2. Releasing sound with care
In the second movement a new form of notation is
introduced (see left). The fading notation is designed to
encourage your students to consider how they release
their sound during a piece. It is not to represent ‘niente’,
ii

ut to invite the student to decrescendo and gently release their sound so that their release isn’t
noticeable. You can teach this to your students using their voice first with the humming that exists at the
beginning and end of the second movement. Students are encouraged to start with a hum, gradually move
to an ‘ooo’ sound then back to a hum and gently release. If your group is small enough, do this with
everyone standing in a circle. Can they tell when the students around them have released their sound?
Who will be detected and who will not? It’s as much a listening activity as it is of breath control.
Key Signatures
Each movement does not employ the use of key signatures, instead, accidentals are employed. This provides
you, the director, an opportunity to discuss key signature with your students and based on their accidentals,
discover what key they think each movement is based on.
T NOTES TO THE CONDUCTORT
I – Majesty
1. Percussion 3: this should be one of your strongest percussionists because the part is so exposed. Concert
marimba is the preferred instrument here, or a Bass Xylophone.
2. Trombone: there is a focus in this movement for the trombone players to embrace a “Study” on moving
between the 3 rd and 4 th slide positions. Seat them near the Bassoons (if you have them) in this movement,
it will help them find and hold their pitch.
3. Keyboard: this part has been included to provided a strong tonal centre for the whole ensemble to refer
to. Hence, a solid, non-wavering string ensemble sound on a keyboard is asked for. This can be played by
a student new to ensembles who is confident with keyboard – it will give them the opportunity to get used
to working with others whilst learning to follow a conductor.
4. At measure 49 a cue has been placed in the Trumpet part. If you feel your clarinetists cannot work out
how to play their written ‘A’ in tune by adding additional fingers in the right hand, then it may work better
for your ensemble to use trumpet. I don’t mind either way J
5. Intensity is key in this movement, as is momentum. It is vital that the ensemble dynamic moves
progressively and isn’t too loud, too soon. Hold back until the measures 37-48. To quote Tim Reynish ‘If it
is always loud it never gets exciting’. Let this movement become exciting!
Educational Goal #1: Learning to hear harmonic changes
In Movement 1, the melodic material first represented by Flute, Oboe, Bassoon and Trombone overlays two moving chords - G
and F. Over the G centre, the melodic material sits in the third of the chord, whilst over F the concert B natural becomes a tension,
a diminished fourth (tritone) that resolves to the major third. Articulate this to your students and ask them to embrace the tension,
not shy away from it. This will enable stronger intonation and help them hear the simple changing harmonic structure.
At measure 41, the piece lands in E¯ major and the same melodic figure now sits in the 5 th of the chord providing resolution and
another harmonic change. Teaching students about where their part sits in the voicing of the chord is empowering and enhances
their listening.
iii

II – Devotion
There is a wonderful opportunity in this movement to discuss the Impressionist style of painting and how that has
influenced the music. Impressionists, unlike the preceding Neo-Classicists, blurred the lines. Compare these two
paintings, both created in 1842. On the left is Snow Storm - Steam-Boat off a Harbour's Mouth by Joseph W. M.
Turner (England), on the right is Theodore Rousseau’s Landscape (France):
Rousseau (1812-1867) was one of the first French painters to challenge the Academy of Fine Art and paved the
way for the later Impressionists with his passion for landscape. However, the lines are still quite distinct and the
imagery is clearly defined in comparison to the Turner. But I digress…
The movement and life displayed in the Turner painting signifies the Impressionists ability to capture an event, not
just a moment. The blurred lines cleverly embrace the movement of the snow and water whilst keeping the ship
as a focal point. This blurring of lines to create emotion and timelessness is something I have used in the second
movement.
The “blurring” is first represented by pedaled chords in the opening statement of the clarinets. The pedaling is
continued through the movement and is why at times directions in parts state “blend inside” or “not the same note
as…”. I appreciate that at this level, most students are used to having parts “match”. In this movement, they work
together to create a moment, an emotion… not one player does this, collectively they work together to create this,
just as Turners multiple, seemingly haphazard brushstrokes work together to create the impression of a wild snow
storm.
1. The keyboard part is a little more challenging, playing in octaves and being asked to play down one or two
octaves. Use the same timbre as the first movement.
2. Percussion 2 & 3 “Metals”: it is preferred that Perc. 2 is played on Vibraphone and Perc. 3 is played on
Tubular Bells. If you do not have these instruments, double Perc. 1 & 2 on the same glockenspiel and play
in octaves and if necessary, omit Perc. 3. All parts can be played on Glockenspiels if that is all that is
available.
3. Measure 19 – it is recommended that you conduct this in 8 – i.e. articulate every quaver.
iv

Educational Goal #1: Learning to hear changes in harmony
This is a little less obvious in Movement Two but does occur.
1. Measures 8-13: a repeat of the melodic material over an F then Eb chord.
2. Measures 13-16 :the Trumpet figure is repeated over moving harmonies.
3. Measure 20: the opening clarinet figure, originally placed over pedal ‘G’ is now placed over pedal ‘C’.
Educational Goal #2: Releasing the sound with care
This is introduced in this movement and requires some preparation. Please read the notes on page ii for ideas.
III – Enchantment
The final movement of the suite is a step up in textural complexity. Each melodic line is gradually introduced:
1. Measure 6: Melody 1 in Melodic Perc. 1 & 2
2. Measure 21: Melody 2 in upper winds and Bassoon
3. Measure Melody 3 in Alto Sax, Trumpets and Euphonium
At Measure 61 each of these figures come together coupled with the percussion ostinati and the semiquaver
colour part. To help your students learn to play the semiquaver colour part, it is recommended that you warm-up
the band on Concert F major, like this (start slow and gradually build to 108 beats per minute):
Educational Goal #1: Learning to hear changes in harmony
In an even more complex way, this goal has been pursued in this movement:
1. Measure 5-20: statement of first melody over a single F chord.
2. Measures 21-36: repeat of melody 1 with the addition of melody 2 and a change in harmonic structure to two
alternating chords, F major and E minor (with Mel. Perc. 3 remaining steadfast to A-E).
3. Measure 37-56: the clear and obvious change to a chord progression of Bb – C – G should strike your students after
the pedaling experienced in the opening movements and the opening section of this movement.
4. Measure 57-68: return of the (21-36) two chord ostinato but this time, under three melodic figures. The complexity
is furthered from 69-74 with Mel. Perc. 3 moving beyond the pedal and reinforcing the harmonic structure provided
by Mel. Perc. 4.
Educational Goal #2: Releasing the sound with care
Releasing with care is contextualized in this movement in the hope that when you and your students move beyond this work,
“releasing with care” with become something they look to achieve in all of their pieces.
v

French directions
All score directions are given in French to provide vocabulary extension and embrace the French theme. Here are
the translations for your convenience:
I – Majesty French English
Measure 1 Avec une intensité croissante With increasing intensity
Measure 49 Pacifiquement Peacefully
Measure 56 très ralentissez Molto Rit.
II – Devotion French English
Measure 1 Avec grâce et solitude With grace and solitude
Measure 13 Plus de movement With more movement
Measure 19 très ralentissez Molto Rit.
Measure 20 Je t’aime mon enfant I love you my child
Measure 27 ralentir un peu Slow down a little
Measure 29 Avec grâce et solitude With grace and solitude
III – Enchantment French English
Measure 1 Avec un sens de l’amusement With a sense of fun
Measure 37 Avec une joie profonde With great joy!
COMMISSION
This work was commissioned by Clarkston Schools Instrumental Music Association in recognition of Shelley
Schwaderer Roland's many years of dedication to the Clarkston School Music Program and the University of
Wisconsin (Eau Claire), Director of Bands, Dr. John Stewart.
My sincere gratitude is extended to Justin Harris for his patience and support throughout the compositional
process and also to Dr. John Stewart for his continued encouragement and grace.
vi

T PROGRAMME NOTES T
"Salon Morisot" is a suite of three miniatures that are inspired by the remarkable artistry of little known female French impressionist artist,
Berthe Morisot (1841-1895). Morisot was highly admired by her fellow Impressionist colleagues and her works were exhibited in the very
first (and many consequential) Impressionist ‘Salon’ of 1874 (a Salon being an exhibition). Many famous artists held an original Morisot
artwork in their private collections including Manet, Monet, Degas and Pissaro. Morisot married Édouard Manet’s younger brother
Eugene Manet and her painting styles are regarded as a driving force behind the Impressionist style.
The three miniatures in this program are inspired by three Morisot artworks that depict a particular period in her life.
I – Majesty: inspired by the painting ‘The Harbor at Lorient’ (1869).
The Harbor at Lorient" features Morisot’s sister Edma and tall ships. Edma and her sister were very close. She had not long been married
and they missed each other terribly. Hence, I have attempted to capture not only the grandeur of the tall ships but to also reveal the
despair and heartbreak felt by both sisters at this time. It is my desire that the harmonic tensions reveal their hidden emotions whilst
maintaining an element of calm on the surface.
II – Devotion: inspired by the painting ‘The Cradle’ (1873)
This delicate and revealing artwork again features Morisot’s sister, but this time in a maternal role with her newly born daughter, Blanche.
At the time this was painted, Berthe Morisot was 31 years old and unmarried. In her letters to her sister, Berthe was torn between her
passion for painting and her desire to marry and become a Mother. The tension displayed in this artwork suggest a Mother’s fatigue and
mixed emotions about the daunting task of raising a child. Hence, I have written this work to suggest the cycle of emotions a new parent
feels when their child is born including nervousness, joy, intense love and even a little trepidation. The work begins and ends the same
way to represent this ongoing succession of sensations that can be felt over the course of a day, a moment, a lifetime, as suggested in
the artwork ‘The Cradle’.
III – Enchantment: inspired by the painting ‘The Garden at Bougival’ (1884)
In late 1874 Berthe Morisot married Édouard Manet’s younger brother, Eugene. He dedicated his life to Berthe’s painting career, hence
alleviating her mixed emotions about marriage. The ‘Garden at Bougival’ is 11 years on from ‘The Cradle’ and is painted in quite a different
style, reflecting developments in both her professional and personal life. Her painting output was slowed due to the birth of her only child
Julie, in 1878. Berthe Morisot and her family loved to holiday in Bougival (25km West of Paris) and between 1881-1884 they rented a
home in the area and spent most of their time there. It was a very happy time for the family, before the decline of her husband’s health
that lead to his premature death in 1892. Hence the final movement in this suite is quite whimsical, reflecting the relaxed emotions
associated with holidays as well as Berthe’s chance to equally indulge in her two passions; family and painting.
vii

For Shelley
Portrait of Berthe Morisot entitled
“Berthe Morisot with a bouquet of flowers”
by Édouard Manet, 1872

This work was commissioned by Clarkston Schools Instrumental Music Association in recognition of
Shelley Schwaderer Roland' s many years of dedication to the Clarkston School Music Program.
Salon Morisot
I - Majesty
Inspired by the artwork " The Harbor at Lorient"
by French Impressionist artist Berthe Morisot (1841-1895)
Avec une intensité croissante h=48 9
°
Flute & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó ˙ œ Œ œ œ œ Œ œ œ w Ó ˙ œ Œ œ œ
Oboe ¢ & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°
1st Clarinet in Bb & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2nd Clarinet in Bb
BLACKSHAW
& 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass Clarinet
in Bb ¢ & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°
Alto Saxophone & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
mp
Ó ˙ œ Œ œ œ œ Œ œ œ w Ó ˙ œ Œ œ œ
Ó
mp
Bassoon cue
Œ
# ˙ œ # œ œ œ Œ # œ œ # w
mp
Ó
mf
mf
# ˙ œ
mf
Œ
# œ œ
Tenor Saxophone
& 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Baritone Saxophone ¢ & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
° ? Bassoon ¢ 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ó
Blend with Flute and Oboe
˙ œ Œ
œ œ œ Œ
œ œ w
mp
Ó
˙
mf
œ Œ
œ œ
°
1st Trumpet in Bb & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2nd Trumpet in Bb ¢ & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°
Horn in F ¢ & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
° ? Trombone 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Euphonium
? 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? Tuba ¢ 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Avec une intensité croissante h=48 9
Keyboard °
w/ strings timbre ¢ & 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ w w w w w w
° ? Timpani (optional) ¢ 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
p
Ó
Blend with Bassoon
˙
mf
œ Œ
œ œ
°
Mallet Percussion 1
& 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Glockenspiel
Mallet Percussion 2
Metals
Mallet Percussion 3
Woods ¢ & 2 œ Ó œ œ Ó œ œ Ó œ
Percussion 1 °
/ 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ Ó ˙ w ∑ ∑ Ó ˙ w ∑
Triangle
Percussion 2
Suspended Cymbal
& 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Marimba preferred
mf
/ 2 ∑ ∑
On edge with medium hard yarn mallet l.v.
∑
Œ Ó œ Ó œ œ Ó œ œ Ó œ
œ
∑
Ó
Y
mp
∑
roll on outer edges
Percussion 3
¢ / 2 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass Drum
Ó
Œ Ó œ Ó œ œ Ó œ œ Ó œ
œ
mf
æ Y æ Y ¿ Œ
always let ring
l.v.
always let ring
2 3 4 5 6 7 8 9 10 11 12 13 14
Y
∑
Ó
Œ Ó œ Ó
œ œ œ Ó œ
æ Y æ Y ¿ Œ
Y
∑
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

2
I - Majesty
°
Fl. &
Ob. ¢ &
17 25
œ Œ œ œ ˙ ˙ w œ ˙ Ó œ œ œ ˙ Ó ˙ œ Œ œ œ œ Œ œ œ ˙ ˙ Ó ˙ œ Œ œ œ œ Œ œ œ w
mp mf mp
œ Œ œ œ ˙ ˙ w œ ˙ Ó œ œ œ ˙ Ó ˙ œ Œ œ œ œ Œ œ œ ˙ ˙ Ó ˙ œ Œ œ œ œ Œ œ œ w
mp mf mp
°
1st Cl. &
œ Œ œ œ
2nd Cl. & ∑ ∑
Play: with horn & tenor sax.
# ˙ ˙
w œ ˙
mp
w
mp
Ó
Ó
œ œ œ ˙
Ó
Ó
œ ˙ œ œ œ ˙
˙ œ Œ œ œ œ Œ œ œ ˙ ˙ w œ ˙ ˙ œ œ w
B. Cl. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
mf
˙ œ Œ œ œ œ Œ œ œ ˙ ˙ w œ ˙ ˙ œ œ w
mf
mp
mp
°
Alto Sax. & ∑ ∑
Ten. Sax. & ∑ ∑
Blend with trumpet
Ó ˙ w w ˙ ˙ ˙ Œ ˙ Œ ˙ Œ # ˙ ˙ w w w ˙ œ œ
mp
mp
Blend with horn
w œ ˙ Ó œ œ œ ˙ Ó ˙ œ Œ œ œ œ Œ œ œ ˙ ˙ w œ ˙ ˙ œ œ w
mp mf mp
Bari. Sax. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
° ?
Bsn. ¢
œ œ œ ˙ ˙ w œ ˙ œ œ œ ˙ ˙ œ œ œ œ œ œ ˙ ˙ w œ ˙
Œ Ó
Ó Œ Œ
mp mf mp
Ó
œ œ
w
°
1st Tpt. & ∑ ∑
Ó
Blend with alto saxophone
˙ w w ˙ ˙ ˙
mp
Œ
˙
Œ
˙
Œ
˙
# ˙ w -œ Ó
-˙
œ # œ ˙ œ œ
mp
2nd Tpt. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
w w w ˙ œ œ
mp
°
Hn. ¢ & ∑ ∑
Blend with tenor saxophone
w œ ˙ Ó
mp
œ œ
Ó
œ ˙
˙ œ Œ œ œ œ Œ œ œ ˙ ˙ w œ ˙ ˙ œ œ w
° œ œ
? œ ˙ ˙ w œ ˙ œ œ œ ˙ ˙ œ œ œ œ œ œ ˙ ˙ w œ ˙ œ œ w
Tbn. Œ Ó
Ó Œ Œ Ó
mp mf mp
mf
mp
Euph.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
Tba. ¢
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°
Key. ¢ &
17 25
w w w w w w w w w w w w w w
mf
° ?
Timp. ¢
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ó
œ œ w w w
mp
Ó
œ œ
mf
°
Mallets 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Glock.
Mallets 2
Metals
Mallets 3
Woods ¢ &
Perc. 1 °
/ ∑ Ó ˙ w ∑ ∑ ∑ ∑ ∑ ∑ Ó ˙ w ∑ ∑ Ó ˙
Tri.
Perc. 2
S. Cym.
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ œ
Ó
œ
Œ Ó œ œ
Ó œ œ
Ó œ œ
Ó
(1) (2)
Perc. 3 ¢ / ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. D.
œ
Œ Ó œ œ
Ó œ œ
Ó œ œ
Ó
15 16 17 18 19 20 21 22 23 24 25 26 27 28
mp
Glock' and/or Vibraphone
Ó œ œ ˙ œ œ ˙ œ œ ˙
˙
/ Ó æ Y Y æ ¿ Y Y
Œ Ó Ó æ Y Y æ ¿ Y Y
Œ Ó Ó æ Y Y æ ¿ Y Y
Œ Ó
∑
œ
f
f
Œ Ó œ œ
Ó œ œ
Ó œ œ
Ó
mp
œ
Y
æ
Œ Ó
Ó œ œ w w w Ó œ œ
f
mf
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

°
Fl. &
Ob. ¢ &
Ó
I - Majesty 3
33 37 41
˙ œ œ > > > > > > > >
œ œ œ œ ˙ ˙ w œ ˙ œ œ œ ˙ ˙ œ œ œ œ œ œ ˙ ˙ b˙
œ bœ
œ
Œ Œ Ó
Ó Œ Œ Ó Œ
mf
f
> > > > >
Ó ˙ œ Œ œ œ œ Œ œ œ ˙ ˙ w œ ˙ Ó œ œ œ ˙ Ó ˙ œ Œ œ œ œ Œ œ œ ˙ ˙ Ó
>
˙ œ
> Œ œ œ
>
mf
f
°
1st Cl. & Ó
2nd Cl.
B. Cl. ¢ & ∑ ∑ ∑ ∑
Bari. Sax. ¢ & ∑ ∑ ∑ ∑
°
> >
>
1st Tpt. & w -œ Ó
mf - ˙ œ œ ˙ œ œ w œ Ó
> > > ˙ œ # œ Œ
˙ w
>
w
>
w
> >
˙ #
>
˙
f
>
˙ >
œ w
2nd Tpt. ¢ & w -œ mf - ˙ w ˙
> œ
> œ w œ Ó
Œ
> > > ˙ œ œ ˙ w
>
w
>
w
>
w
> >
>
œ
˙ w
>
Euph.
&
mf
mf
mf
mf
mf
mf
mf
mf
> > > > > > > >
Ó ˙ œ Œ œ œ œ Œ œ œ ˙ ˙ Ó ˙ œ Œ œ œ
f
f
f
f
f
˙ œ Œ œ œ œ Œ > > >
œ >
œ
>
˙ >
˙
f
f
f
f
f
Ó ˙ œ Œ œ
>
œ
>
Œ Œ
˙ œ ˙ œ ˙ œ œ ˙
mf
>
˙
>
˙
>
˙ >
œ >
œ
>
˙
>
œ œ œ œ w w >
w w
°
Alto Sax. & w w w ˙ œ œ > ˙ ˙ w w ˙ ˙ w w w w
> >
> > > > w- œ ˙
mf
f
>
> >
Ten. Sax. & Ó ˙ œ Œ œ œ œ Œ œ œ ˙ ˙ w œ ˙ Ó œ œ œ ˙ Ó ˙ œ Œ œ œ œ Œ œ œ
> > > >
˙ ˙ w œ b˙
>
?
Ó
° ?
Bsn. Ó
¢
°
Hn. ¢ & Ó
° ?
Tbn. Ó
˙ œ Œ œ œ œ Œ œ œ ˙ ˙ w œ ˙
˙ œ Œ œ œ œ Œ œ œ ˙ ˙ w œ ˙
˙ œ Œ
œ œ œ Œ
œ œ ˙ ˙ w œ ˙
˙ œ Œ œ œ œ Œ œ œ ˙ ˙ w œ ˙ Ó
˙ œ Œ
œ œ œ Œ
œ œ ˙ ˙ w œ ˙
Ó ˙ œ Œ œ œ œ Œ
œ œ ˙ ˙ w œ ˙
˙
Ó
Ó
œ œ
œ œ
œ ˙
œ ˙
# œ ˙ # œ ˙ # œ œ ˙ ˙ œ ˙ œ w
Ó
Ó
œ œ
œ œ
œ œ
œ ˙
œ ˙
œ ˙
Ó œ œ œ ˙
Ó
Ó
Ó
Ó
>
>
˙
>
œ œ w w
> > > > > >
˙ œ œ œ œ œ œ ˙ ˙ bw
Œ Œ
˙ œ Œ œ œ œ Œ #
> >
>
œ >
œ ˙
>
˙ w w
> -
> > > > > >
˙ œ œ œ œ œ œ ˙ ˙ bw
>
Œ Œ œ b˙
> >
˙ œ ˙ œ w ˙ ˙ w œ b˙
>
w
?
Tba. ¢
∑ ∑ ∑ ∑
˙ œ ˙ œ ˙ œ œ ˙ Œ Œ
>
˙
>
˙
>
˙ >
œ >
œ
>
˙
>
œ œ bw
mf
33 37 41
°
Key. ¢ & w w w w w w w w w w w w bw
mf
f
bw
f
w
w w
° ?
Timp. ¢
Mallets 3
Woods ¢ &
Ó
w w w ˙
>
œ
>
œ w
>
w
>
w
> >
œ
>
œ w
>
w
>
w
>
w
>
°
>
Mallets 1 & ∑ ∑ ∑ ∑
> > > > > > > > > > > > > > >
Glock.
>
œ œ ˙
>
œ œ ˙
>
œ œ ˙
>
œ œ ˙
>
œ œ ˙
>
œ œ ˙
>
œ œ ˙
>
œ œ ˙ Ó bœ
bœ
˙ bœ
bœ
f
> œ > >
> > >
Mallets 2 & Ó
Metals
œ Ó œ œ Ó œ œ œ ˙ ˙ Ó œ
œ ˙ œ
> œ
>
˙ œ
œ ˙ œ
> œ
>
˙ œ
œ ˙
œ
> œ
>
˙ ˙ Ó œ
œ œ
Ó
>
˙ > œ œ
œ œ
Ó
> œ œ
œ ˙
> œ
>
˙ >
˙ Ó bœ
bœ
˙ bœ
bœ
œ œ
Ó œ œ
Ó œ œ
Ó
Œ Ó œ Ó œ œ Ó œ œ Ó œ
œ
(3) (4)
> > > > > >
Perc. 1 °
/ w ∑ Ó ˙ w ∑ ∑ Ó ˙ w Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Tri.
Perc. 2 ¿ Y Y
Y ¿ Y Y
Y ¿
/ Œ Ó ∑ æ Œ Ó ∑ æ Œ Ó ∑ ∑
Y ¿ æ Œ Ó Ó
S. Cym.
f mp f mp ff mp ff
>
>
>
Perc. 3 ¢ / w w w Ó œ œ w> w> w>
Ó œ œ w>
∑ ∑ Ó œ œ w>
B. D.
f
29 30 31 32 33 34 35 36 37 38 39 40 41 42
f
Œ Ó œ Ó
œ œ œ Ó œ œ Ó œ
ff
Œ Ó
œ
∑
bœ
Ó
bœ
∑
bœ
Ó
bœ
∑
Y
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

4
I - Majesty
°
Fl. &
Ob. ¢ &
°
1st Cl. &
2nd Cl.
B. Cl. ¢ & w
Œ w w ∑ ∑ ∑ ∑ ∑ ∑ ∑
w ˙
˙
˙ w
w w
˙˙
w
°
>
Alto Sax. &
>
œ ˙ w
Ten. Sax.
&
œ b> œ > œ bw> 49 Pacifiquement
très ralentissez....
U U
Œ Ó b˙
œ Œ bœ
œ œ Œ bœ
œ bw
Ó b˙
œ Œ bœ
œ œ Œ bœ
œ bw
Ó b˙
œ Œ bœ
œ œ Œ bœ
œ bœ
˙
œ Œ >
œ
>
œ bw
>
Ó ˙ œ Œ œ œ œ Œ œ œ bw
mf
mf
Bari. Sax. ¢ & w ˙
U U
Œ w w ˙ ˙ w ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Ó
mf
mf
mf
mf
∑ ∑ ∑ ∑ ∑ ∑ ∑
> > > U U
œ Œ œ œ w Ó ˙ œ Œ œ œ œ Œ œ œ w Ó ˙ œ Œ œ œ œ Œ œ œ w Ó ˙ œ Œ œ œ œ Œ œ œ œ ˙
œ Œ œ
> >
œ w Ó ˙ œ Œ œ
>
œ œ Œ œ œ w
w œ ˙ œ ˙ w
mf mp p
w w w w
mp
mp
mp
∑ ∑ ∑
U U
Œ Ó
U U
Œ Ó
U U
Œ
˙
Two players only
U U
∑ ∑ ∑
w œ ˙ œ ˙ w Œ Ó
U U
& ∑ ∑ ∑ ∑ ∑ ∑ ∑
>
œ ˙ w w œ b˙ œ ˙ w Œ Ó
mp
° ? bw
> ˙
b> œ > œ
Bsn. ¢
bw
w bw
w bw
w bw
mf
w
mp
∑ ∑ ∑
U U
Œ Ó
Clt
° >
>
U U
1st Tpt. & >
˙ œ
> œ ˙ Œ
>
>
>
œ w
>
˙ œ œ w Ó ˙ œ Œ œ œ œ
˙ Œ œ œ w Ó ˙ œ Œ œ œ œ Œ œ œ œ ˙
mf mp mp
U U
2nd Tpt. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑
>
˙ œ
> >
œ
>
˙ Œ
>
>
œ w
˙ > >
˙ œ œ w Œ Ó
°
> >
U U
Hn. ¢ & w ˙ bœ
œ w w ∑ ∑ ∑ ∑ ∑ ∑ ∑
> >
w w Œ Ó
mf
° ? > > >
Tbn. Ó œ bœ
w bw
Euph.
œ b˙
? > ˙ > œ b > œ bw>
w œ b˙ ˙ œ bœ
Ó
œ bœ
w w
?
Tba. ¢
Œ
b˙
∑ ∑ ∑ ∑ ∑ ∑ ∑
bw
˙ bw
w
˙ bw
mf
Bassoon cue
b w bw
mf
bw
w œ b˙ ˙ œ bœ
mf
w
bw
mp
mp
∑ ∑ ∑
∑ ∑ ∑
U U
Œ Ó
U U
Œ Ó
U U
Œ Ó
°
Key. ¢ & w
w w w w w w w ˙
b˙
49 Pacifiquement
très ralentissez....
U U
bw
w w w w w w w œ ˙
mf mp p
° ? U U
Timp. ¢
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Œ Ó
°
Mallets 1 & ˙ bœ
bœ
˙
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Glock.
b˙
Mallets 2
Metals
Mallets 3
Woods ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑
bœ
Ó Œ Ó
bœ
bœ
Ó
bœ
bœ
Ó
bœ
bœ
Ó Œ Ó
bœ
bœ
bœ
Perc. 1 °
/
Tri.
Perc. 2
S. Cym.
& ˙ bœ
bœ
˙
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
b˙
Perc. 3 ¢ / ∑
B. D.
> >
U
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w Œ
∑ ∑ ∑ ∑ ∑ ∑ U Ó
f
mp ff p mf
mf
Y ¿ Y
Y ¿ U U
/ ∑ æ Œ Ó Ó ∑ æ Œ Ó ∑ ∑ ∑ ∑ ∑ ∑ Œ Ó
>
U
Ó œ œ w>
Œ
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ U Ó
43 44 45 46 47 48 49 50 51 52 53 54 55 56
U U
Œ Ó
U U
Œ Ó
U U
Œ Ó
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

Note to conductor: Measure 1 - invite students who are
humming to listen to the pitch given by the keyboard first,
then gently enter, humming on a G in the octave that suits
their voice. Discuss stagger breathing and how to maintain
a constant, smooth, subtle sound without interruption.
"Release with care" notation: The notation displayed as a
faded out note with decresecendo provides the teaching
opportunity to invite players to think about how to
articulate the release of their sound. In this case, when this
notation occurs, I, the composer, wish students to
articulate a soft release, using the breath, rather than a
sudden halt to the sound.
q=48-60, Avec grâce et solitude
Blend with clarinets - no more than 2-3 players
8
Tutti
°
U U
Flute & 4 Ó Ó ∑ ∑ Ó ˙ ˙ œ Œ ∑
∑ Ó Œ œ bœ
Play
U
Oboe ¢ & 4 Ó ˙ w w w w w ˙ œ œ Ó Œ œ bœ
°
1st Clarinet in Bb & 4
U Ó
U Ó
This work was commissioned by Clarkston Schools Instrumental Music Association in recognition of
Shelley Schwaderer Roland' s many years of dedication to the Clarkston School Music Program.
Salon Morisot
II - Devotion
Inspired by the artwork " The Cradle"
by French Impressionist artist Berthe Morisot (1841-1895)
2nd Clarinet in Bb & 4
U Ó
U Ó
œ œ ˙ œ œ Ó
œ œ Œ
œ œ ˙ ˙ œ œ œ ˙ œ œ œ œ ˙ ˙ ˙
mp mp mp mf
Bass Clarinet
in Bb ¢ & 4
U Hum
U
Ó ˙ w w w w w ˙ œ œ ∑
°
Alto Saxophone & 4
U Hum
U
Ó ˙ w w ˙ œ œ ∑ Ó œ œ ˙
Tenor Saxophone
Voice (in C) - hum in the octave most comfortable for you - stagger breathe
ppp
ppp
p
Play: gently blend with clarinets
Baritone Saxophone ¢ & 4
U Hum
U
Ó ˙ w w w œ œ Ó w w ˙ ˙
° ? Bassoon ¢ 4
U Hum
U
Ó ˙ w w w œ œ Ó Ó
°
1st Trumpet in Bb & 4
U Hum
U
Play
Ó ˙ w w w w w ˙ œ œ Ó Œ
œ œ
2nd Trumpet in Bb ¢ & 4
U Hum
U
Ó ˙ w w w w w ˙ œ œ Ó Œ
°
Horn in F ¢ & 4
U Hum
U
Ó ˙ w w w w œ œ Ó
mp
mp mp mp mf
p
ppp p p mp
ppp p p mp p
ppp
p
p mp p mp p
ppp p p mp
ppp
ppp
ppp
œ œ ˙ œ œ
p
p
p
Ó
œ œ œ œ œ œ œ ˙ œ
Play: blend with woodwinds
p
BLACKSHAW
T. Sx. cue Play: gently blend inside clarinets
& 4
U Hum Play: gently blend inside clarinets and with bassoon
U
Ó ˙ w w w œ œ Ó Ó œ œ w ˙ ˙
Œ
œ œ ˙
œ
mf
mf
œ œ œ œ bœ
œ œ œ ˙ œ œ
œ œ w
bœ
w ˙ b˙
w ˙ ˙
mp
mf
Play
œ œ
mf
5
° ? Trombone 4
U Hum
U
Ó ˙ w w w w w œ œ Ó
Euphonium
? Tuba ¢ 4
U Hum
U
Ó ˙ w w w w w ˙ œ œ
Keyboard °
U U
w/ strings timbre ¢ & 4 ˙ ˙ w w w w w w w
° ? Timpani (optional) ¢ 4
U Hum U
Ó ˙ w w w w w ˙ œ œ
°
Mallets Percussion 1
& 4
U
Ó ˙
Glockenspiel
w w w w w ˙ œ œ
ppp p
Mallets Percussion 2
& 4
U
Ó ˙ w
Metals
w w w w ˙ œ œ
ppp p
Mallet Percussion 3
Metals ¢ & 4
U
Ó ˙ w w w w w ˙ œ œ
Percussion 1
Suspended Cymbal
Percussion 2
Ride Cymbal
Crash Cymbals
Percussion 3
Bass Drum
ppp
ppp
ppp
Play down one octave
mp
ppp
ppp
p
? 4
U Hum
U
Ó ˙ w w w w w ˙ œ œ
p
p
p
p
°
U
Hum U
/ 4 Ó ˙ w w w w w ˙ œ œ
pp
ppp
p
Ride Cymbal - soft yarn mallets either side of crown on outer edge
U U
/ 4 æ Y æ Y Y æ Y æ Y æ Y æ Y æ Y æ Y æ
Hum U U
¢ / 4 Ó ˙ w w w w w ˙ œ œ
ppp p
2 3 4 5 6 7 8
∑
∑
∑
∑
∑
∑
∑
∑
∑
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

6
II - Devotion
°
Fl. &
œ
œ œ œ œ œ bœ
- U 13 Plus de mouvement (q=54-66)
œ œ bœ
bœ
œ œ œ œ œ œ -
J œ œ bœ
œ œ œ bœ
œ
∑ ∑ ∑ ∑
-
U
bœ
œ
Ob. ¢ &
œ œ œ œ œ w bœ
œ œ œ œ œ œ bœ
œ ˙ œ
∑ ∑ ∑ ∑
°
U
1st Cl. & œ œ œ ˙ œ œ ˙ œ œ œ ˙ œ ˙ œ
2nd Cl.
Play
U Tuba cue
B. Cl. ¢ & ˙ œ ˙ œ
- ˙ œ- œ œ
mp
- œ ˙ œ œ w ˙ œ w ˙ œ
° œ œ
U
Alto Sax. &
œ œ œ œ œ w œ œ œ ˙ œ œ ˙ œ Œ œ œ ˙ œ œ œ ˙ œ œ œ ˙ œ œ œ ˙
Ten. Sax.
-
Bari. Sax. ¢ &
˙ œ ˙ œ ˙ œ-
œ œ
œ
- œ
° ?
Bsn. ¢
°
1st Tpt. &
U
2nd Tpt. ¢ & œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ bœ œ j ˙ œ œ ˙ bœ œ j ˙ œ œ ˙
°
U
Hn. ¢ & bœ
œ œ œ j œ ˙ -œ bœ
œ œ œ j œ œ œ bœ
œ œ œ
° ? Play - U
b˙ œ w b˙ œ ˙ œ
Tbn.
Euph.
U
& œ œ œ ˙ w œ œ œ ˙ œ œ œ œ œ œ
mp
mf
U
&
˙ œ w w ˙ œ œ
mp
mp
˙ œ w w ˙ œ Uœ
mf
œ œ œ œ œ œ œ œ œ œ bœ
œ j œ œ œ œ œ œ œ œ œ
mp
mp
p
p
?
Tba.
∑ ∑ ∑
¢
mf
mf
˙
˙
mp
œ
œ
U
œ
œ
œ bœ
œ œ ˙
mp
mp
p
mp
mf
mf
mp
p
mp
- -
∑ ∑ ∑ ∑
∑ ∑ ∑ ∑
-œ U
œ œ bœ œ j œ œ œ œ bœ
œ ˙ bœ œ j œ œ œ œ bœ
œ ˙
∑ ∑ ∑ ∑
∑ ∑ ∑ ∑
? b Play ˙ œ w ˙ œ- ˙
U
œ w ˙ œ- bw
b˙
-œ
œ bœ
œ œ ˙
œ œ œ œ ˙
œ œ œ œ ˙
œ j bœ ˙ œ j bœ ˙ œj œ ˙ œj œ ˙
œ bœ
bœ
œ ˙
œ bœ
bœ
œ ˙
U
b˙ œ w ˙ œ- bw
b˙
-œ
bœ
œ œ bœ
˙
bœ
œ œ bœ
˙
°
U
Key. ¢ & w w bw
˙ œ
(down one octave)
Play down two octaves
w
w
p
w
w
b bw w
w w
(down 2 octaves)
° ?
Timp.
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
¢
°
Mlt. Perc. 1 & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Glock.
Mlt. Perc. 2
Metals
Mlt. Perc. 3
Metals ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Perc. 1
S. Cym.
Perc. 2
R. Cym.
Cr. Cym.
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°
/ ∑ ∑ ∑
/
mf
l.v.
¿
J ‰ Œ
Ó
U l.v.
æ Y æ ¿ æ ¿ ¿ J ‰ Œ Ó
p
Perc. 3
B.D. ¢ / ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
9 10 11 12 13 14 15 16
mf
∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑ ∑
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

°
Fl. & ∑ ∑ ∑
Ob. ¢ & ∑ ∑
très ralentissez
f
II - Devotion 7
20 q=54-60, Je t'aime mon enfant
> > >
> >
œ œ ˙
œ œ œ œ œ œ œ œ œ œ
ff
ff
˙
2
4
˙
>
> >
2
œ œ ˙ 4
> >
œ >
œ ˙ œ œ œ œ œ œ ˙
J
4
4
°
1st Cl. & ˙ ˙ b˙
>
œ >
œ b > œ œ œ œ
> > >
œ
>
œ n
>
œ n >
œ #
>
œ
2nd Cl.
B. Cl. ¢ &
°
Alto Sax. & œ
Ten. Sax.
Bari. Sax. ¢ & ∑ ∑
°
> > > >
2
1st Tpt. & bœ
œ ˙ bœ
œ ˙ b 4
>
œ >
œ ˙
> n
>
œ
j œ œ
>
œ ˙
œ œ œ œ œ # œ œ ˙
>
> 2
2nd Tpt. ¢ & œ œ ˙ œ œ > b˙ ˙
> n 4
>
˙ œ œ ˙
œ
> >
œ œ œ j # œ ˙
>
°
Hn. ¢ &
° ?
Tbn.
Euph.
?
Tba. ¢
°
Key. ¢ &
° ?
Timp.
∑ ∑
¢
°
Mlt. Perc. 1 & ∑ ∑ ∑
Glock.
Mlt. Perc. 2
Metals
Mlt. Perc. 3
Metals ¢ & ∑ ∑ ∑
Perc. 1
S. Cym.
Perc. 2
R. Cym.
Cr. Cym.
&
œ
&
° ?
w
Bsn. ¢
œ j -
˙
˙ œ ˙
>
°
/ ∑ ∑
With horn
mf f ff
Play: with Euphonium
œ œ bœ- œ b
- >
˙
‰ œ j > >
˙
mf f ff
Play
play octave lower if possible
mf f ff
mf f ff
mf ff f
mf
mp mf ff
f
f
ff
ff
ff
ff
mf f ff
mp
ff
> > > >
œ œ ˙
œ œ œ œ ˙ 2
4
˙
2
4
>
œ > œ ˙
>
œ œ >
œ œ
>
œj # œ ˙
2
4
b
>
œ >
œ ˙ œ
> >
œ #
>
œ
>
œ >
œ œ j œ œ œ œ œ j œ œ œ œ j > > > >
œ
>
œ j
With horn
>
> > > > > > >
# œ œ # ˙ ˙ œ nœ
bœ
œ œ œ œ œ n˙
∑
∑
˙ ˙ bw
œ œ bœ
œ
- - œ bœ
>
> 2
4
>
œ > œ ˙ >
œ œ >
œ œ ˙ ˙
2
nw
w w
> >
4
˙
Ó ‰ #
>
œ
j #
>
œ
>
œ
> >
bw
œ œ ˙ J
Ó
œ
œ j 2
4
>
œ
>
œ œ œ >
œ œ œ œ œ œ œ œj œ œ >
œ œ œ œ œ œj >
œ
>
œ j
ff
> > >
> >
œ œ ˙
œ œ œ œ ˙ 2
˙
4
> 2
4
>
œ b
> œ bœ
> > œ ˙ ‰
n
>
œ
j #
>
œ
>
œ > œ ˙
>
œ œ œ
>
œ œ œ œ ˙
> > > > >
n˙
œ œ œ œ œ ˙
> œ œ œ œ ˙
2
˙
4
?
- - > > >
œ œ œ œ œ >
>
>
J œ œ œ bœ
bœ
œ œ ˙ œ nœ
nœ
œ œ œ œ œ œ œ
œ j œ œ œ œ
>
>
˙ œ b˙ > >
œ > œ > ˙ œ >
œ >
œ
>
œ
w
w
bw
bw
& ∑ ∑ ∑
/ ∑ ∑ ∑ Crash Cymbals > Y
w
ff
ff
œ
œ j 2
4
>
œ
œ œ œ >
œ œ œ œ œ œ œ œj œ œ >
œ œ œ œ œ œj >
œ
>
œ j
f
ff
Hard mallets: Vibraphone/Glockenspiel/Metallophone
ff
Hard mallets: Tubular Bells/Hand Bells/Vibraphone
ff
mp ff mp
l.v. > > l.v. > > >
Perc. 3
2
B.D. ¢ / ∑ ∑
æw œ j ‰ ‰ œ j œ j œ Œ ‰ œ j œ j œ æ
4
æ˙
mp ff mf
17 18 19 20 21 22
w
w
ff
2
4
2
4 ˙
˙
2
æ˙ œ 4
>
œ
>
œ
>
œ
æœ œ j œ æœ æœ æœ œ j œ æœ æœ œ
> > > > > > > œ
> œ
> œ
œ œ œ
>
œ > œ > œ
œ œ œ
>
œ > œ > œ
>
œ
Y ¿
æ
J ‰ Œ Ó Ó
l.v.
> œ
˙
˙
˙
˙
˙
Ó
w
w
> > 2
œ œ œ œ œ 4
>
œ > œ > œ
> œ œ œ œ
>
œ œ ˙˙
> > 2
œ œ œ œ œ 4
>
œ > œ > œ
> œ œ œ œ
>
œ œ ˙˙
>
œ
> >
œ œ > œ 2
4
˙
∑
æ Y
2
4 æ Y
2
4
˙
∑
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
4
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

8
° > > >
> >
œ œ ˙
œ œ œ œ œ œ œ œ œ œ œ ˙ ˙
œ
Fl. & 4
˙ ˙
II - Devotion
w 2 œ œ
4
2
Ob. ¢ & 4
>
>
>
œ >
œ ˙ œ œ œ œ ˙ ˙ ˙ ˙ ˙ 4 œ œ 4 ∑ Ó ˙ w
>
Div.
mf
mf
ralentir un peu. . .
4
29 q=48-54, Avec grâce et solitude
∑ ∑ ∑
Voice (in C) - hum (as beginning)
ppp
°
1st Cl. & 4
> > > >
œ œ ˙
œ œ œ œ ˙
2nd Cl.
2
B. Cl. ¢ & 4
4
>
œ œ j œ œ œ œ ˙
> ˙
>
œ w œ œ
>
°
2
Alto Sax. & 4
4
>
œ > œ ˙
>
œ œ œ œ # ˙
w w œ œ
> >
Ten. Sax.
# w
w 2
4
œ œ
2
& 4
4
>
œ > œ ˙
>
œ œ >
œ œ œj # œ w # ˙ ˙ # œ œ
>
2
- - -
Bari. Sax. ¢ & 4 œ
œ j 4 4
>
œ
>
œ œ œ > >
>
œ œ œ œ œ œ ˙˙ ˙ œ ˙ œ œ Œ œ œ ˙ œ œ œ Ó
mf
mp
° ? 2
Bsn. ¢ 4
> > >
> - -
œ œ ˙
œ œ œ œ ˙ w ˙ ˙ œ œ ˙ œ œ œ
4 4
Ó
mf
mf
mf
mf
mf
mf
mp
4
4
4
4
mp
mp
Voice (in C) - hum (as beginning)
ppp
Voice (in C) - hum (as beginning)
2
& 4 w w # w
w > > >
4 œ œ 4 ∑ Ó ˙ w
∑
∑
∑
œ œ ˙ œ œ
œ œ ˙ œ œ Ó
Ó ˙ w
∑ ∑ ∑
ppp
∑
∑
Ó
°
2
1st Tpt. & 4
> > Two only
> >
œ œ ˙
œ œ œ œ œ œ # œ œ ˙ ˙ ˙ œ œ 4 ˙ 4 ˙ ˙ ˙ ˙ œ Œ Ó
>
2
2nd Tpt. ¢ & 4
> > Two only
œ œ ˙
œ
>
4 4
>
œ œ œ œ # œ œ # ˙ ˙ ˙
>
# œ œ # ˙ # ˙ ˙ ˙ ˙ œ
°
2
Hn. ¢ & 4
4 4
>
œ œ ˙
> >
œ œ œ
>
œ œ œ
J œ
>
˙ œ w œ œ
-
˙ œ
>
-
œ œ Ó
° ? 2
Tbn. 4
> > >
œ œ ˙
> œ œ œ œ ˙ œ > ˙ > œ w œ œ- œ ˙- œ-
œ œ
4 4
Ó
Euph.
?
Tba. ¢ 4 œ
œ j 2
4 4 ∑
>
>
œ
œ œ œ >
œ œ œ œ œ œ ˙˙ ˙ œ w œ Œ Ó ˙ w
mf
ppp
° ? 2
Timp. ¢ 4
æœ œ j œ œ æ æ j œ æ˙ æœ > > > œ æ æ˙ æ˙ w
4 ∑ 4 ∑ ∑ ∑
°
Mlt. Perc. 1
& 4 œ œ œ
Glock.
>
œ > œ > œ
Mlt. Perc. 2
Metals
Mlt. Perc. 3
>
Metals ¢ & 4 >
œ
œ
Perc. 1
S. Cym.
Perc. 2
R. Cym.
Cr. Cym.
Perc. 3
B.D.
? 4
> œ > œ œ
°
Key. ¢ & 4 w
w
& 4 œ œ œ
>
œ > œ > œ
°
/
/
4
4
l.v.
¿
J ‰ Œ
> œ > >
œ œ œ
œ J ˙ ˙
f mf p
f mf p
(down 2 octaves) mf mp
ff mp ff
> Y
j œ œ
>
˙
˙
˙
˙
˙
Ó
Ó
w
w
mf
> > > > > >
œ œ œ œ œ
>
œ > œ > œ
œ œ
>
œ
œ œ œ œ ˙
œ
>
˙˙ ˙˙ ˙
> > > > > >
œ œ œ œ œ
>
œ > œ > œ
œ œ
> œ
œ œ œ
˙
œ œ
>
˙˙ ˙˙ ˙
>
œ
> œ œ Œ
> >
œ >
˙ œ ˙ Ó
>
∑
∑
w
w
∑
ff ff To ride cymbal p
l.v. > > l.v.
l.v.
mf
mf
mf
mp
mp
Voice (in C) - hum (as beginning)
w 2
4 œ Œ 4 ∑ Ó ˙ w
ppp
Voice (in C) - hum (as beginning)
w 2
4 ˙ 4
w
w w w
> Y
¢ / 4 œ j ‰ ‰ œ j œ j œ
∑ æw œ j ‰ Œ Ó 2
4 ∑ 4 ∑ ∑ ∑
ff mp ff
23 24 25 26 27 28 29 30
l.v.
Y ¿
æ
J ‰ Œ Ó
Ó
Ó
Ó
2
4
2
4
2
4
2
4
2
4
∑ 4 ∑ ∑ ∑
∑ 4 ∑ ∑ ∑
∑ 4 ∑ ∑ ∑
∑ 4 ∑ ∑ ∑
∑
4
Play down one octave
∑
Ride Cymbal
Y
æ
Y
æ
Œ
∑
∑
Ó
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

II - Devotion 9
°
Fl. &
Ob. ¢ &
Blend with clarinets: two only
Voice (in C) - hum (as beginning)
2
U
Ó ˙ ˙ œ Œ ∑ Ó ˙ w w 4 ˙ 4 w w ˙ œ œ
mp
ppp
2
U
w w w w w w 4 ˙ 4 w w ˙ œ œ
°
2
1st Cl. &
4 4
∑
œ œ œ œ œ œ œ ˙ œ
Œ
œ œ ˙
œ œ œ œ bœ
œ œ œ ˙ ˙ ˙ œ œ ˙ ˙ œ ˙ œ œ
2nd Cl.
mp mp mf mp p
2
& 4 4
∑ ∑
œ œ Œ
œ œ ˙ ˙ œ œ œ ˙ œ œ Œ
œ œ ˙ ˙ ˙ ˙ œ œ ˙ ˙ œ
mp mp mf mp
2
U
B. Cl. ¢ & w w w w w w 4 ˙ 4 w w ˙ œ œ
°
Alto Sax. & ∑ ∑ ∑ Ó
One only - gently blend inside clarinets
œ œ ˙ ˙ ˙ œ-
œ 2 ˙ ˙ œ
4 4 Œ
mp
mf
∑ ∑
2
U
Ten. Sax. & w w w w w w 4 ˙ 4 w w ˙ œ œ
Bari. Sax. ¢ &
° ?
Bsn. ¢
Voice (in C) - hum (as beginning)
2
U
Ó ˙ w w w w w 4 ˙ 4 w w ˙ œ œ
ppp
Voice (in C) - hum (as beginning)
2
U
Ó ˙ w w w w w ˙ w w ˙ œ œ
4 4
ppp
°
1st Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ 2
4 ∑
2nd Tpt. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ 2
4 ∑
Voice (in C) - hum (as beginning)
°
2
U
Hn. ¢ & Ó ˙ w w w w w 4 ˙ 4 w w ˙ œ œ
ppp
Solo: Cup mute (optional)
4 ˙ ˙ ˙ œ œ
p
Solo: Cup mute (optional)
4
˙ ˙ ˙ œ œ
p
∑
∑
° ?
Tbn.
?
Euph.
?
Tba. ¢
°
Key. ¢ &
° ?
Timp. ¢
Voice (in C) - hum (as beginning)
2
U
Ó ˙ w w w w w ˙ w w ˙ œ œ
4 4
ppp
w w w w w w 2 ˙ w w ˙ œ Uœ
4 4
w w w w w w 2 ˙ w w ˙ œ Uœ
4 4
w w w w w
ppp
(down one octave)
2
U
4 4
w ˙ w w ˙ œ œ
Voice (in C) - hum (as beginning)
2
U
Ó ˙ w w w w w ˙ w w ˙ œ œ
4 4
p
°
Mlt. Perc. 1
2
& ∑ ∑ ∑ ∑ ∑ Ó 4 4
∑ ∑
Glock.
œ œ ˙ ˙ Ó
Mlt. Perc. 2
Metals
Voice (in C) - hum (as beginning)
Mlt. Perc. 3
2
U
Metals ¢ & Ó ˙ w w w w w 4 ˙ 4 w w ˙ œ œ
Perc. 1
S. Cym.
Perc. 2
R. Cym.
Cr. Cym.
Voice (in C) - hum (as beginning)
2
U
& Ó ˙ w w w w w 4 ˙ 4 w w ˙ œ œ
°
/
/
ppp
ppp
Voice (in C) - hum (as beginning)
2
U
Ó ˙ w w w w w 4 ˙ 4 w w ˙ œ œ
Y
æ
ppp
Y
æ
Y
æ
Y
æ
Voice (in C) - hum (as beginning)
Perc. 3
2
U
B.D. ¢ / Ó ˙ w w w w w 4 ˙ 4 w w ˙ œ œ
ppp
31 32 33 34 35 36 37 38 39 40
Y
æ
Y
æ
mf
l.v.
2
4 æ Y 4
Y æ æ Y ¿ Œ
∑
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

10
This work was commissioned by Clarkston Schools Instrumental Music Association in recognition of
Shelley Schwaderer Roland' s many years of dedication to the Clarkston School Music Program.
Salon Morisot
III - Enchantment
Inspired by the artwork " The Garden at Bougival"
by French Impressionist artist Berthe Morisot (1841-1895)
BLACKSHAW
q=108, avec un sens de l'amusement 5
°
Flute & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
Oboe ¢ & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
œœœœœœœœœœœœœœœœ
> > > >
w œ œ Ó
mp
œœœœœœœœœœœœœœœœ
> > > >
w œ œ Ó
mp
°
1st Clarinet in Bb & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2nd Clarinet in Bb
& 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bass Clarinet
in Bb ¢ & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°
Alto Saxophone & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tenor Saxophone
& 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Baritone Saxophone ¢ & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
° ? Bassoon ¢ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
q=108, avec un sens de l'amusement 5
°
1st Trumpet in Bb & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2nd Trumpet in Bb ¢ & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°
Horn in F ¢ & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
° ? Trombone 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Euphonium
? 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
? Tuba ¢ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Keyboard °
w/ strings timbre ¢ & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑
œœœœœœœœœœœœœœœœ
> > > >
w œ œ Ó
mp
°
Mallets Percussion 1
& 4 ∑ ∑ ∑ ∑ Ó Œ
∑
Glockenspiel
œ œ ˙ w
Mallets Percussion 2
Vibraphone (optional)
¢ & 4 ∑ ∑ ∑ ∑ Ó Œ œ œ ˙ w ∑ Ó Œ œ œ ˙
°
Mallet Percussion 3
& 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
To be played on the
same instrument
Marimba
Mallets Percussion 4
(Timpanist in Movt. 1/2 to play this part)
Marimba
?
œ
¢ 4
œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ
Percussion 1 °
/ 4 ∑ ∑ ∑
Triangle
Percussion 2
Suspended Cymbal
Percussion 3
Bass Drum
¢ /
mp
mp
mf (2) (4) (6) (8) (10)
/ 4 ∑
4
use butt end of mallet
pp
Ó
Œ
¿ Y
mf
l.v.
mf
l.v.
Ó Œ ¿ ¿ Y ∑ ∑ Ó Œ ¿ ¿ Y
∑
∑
Ó Œ œ w Ó Œ œ w Ó Œ œ w Ó Œ œ w Ó Œ œ w
Ó
(4)
2 3 4 5 6 7 8 9 10
Œ
¿ Y
l.v.
∑
Ó
l.v.
∑
Œ
œ œ ˙
Ó
∑
Œ
¿
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

III - Enchantment 11
13
°
Fl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ob. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°
1st Cl. & ∑
2nd Cl. & ∑
œ œ œ œ
> >
œ œ œ œ
>
œ œ œ œ
>
œ œ œ œ w œ œ
mp
œ œ œ œ
> >
œ œ œ œ
>
œ œ œ œ
>
œ œ œ œ w œ œ
mp
Ó ∑ ∑ ∑ ∑ ∑ ∑
Ó ∑ ∑ ∑ ∑ ∑ ∑
B. Cl. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°
Alto Sax. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ten. Sax.
& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bari. Sax. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
° ?
Bsn. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
¢
13
°
1st Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2nd Tpt. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°
Hn. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
° ?
Tbn. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Euph.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
?
Tba. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
¢
°
Key. ¢ &
∑
Play one octave lower than written
œ œ œ œ
> >
œ œ œ œ
>
œ œ œ œ
>
œ œ œ œ w œ œ Ó
mp
∑ ∑ ∑ ∑ ∑ ∑
°
Mlt. Perc. 1 & ∑ ∑
Glock. w œ œ ˙ œ œ œ ˙
œ œ ˙ œ œ œ ˙ œ ˙ Ó Œ œ w
Mlt. Perc. 2
Vib. ¢ & w ∑ œ œ ˙ œ œ œ ˙ œ œ ˙ œ œ œ ˙
œ ˙ Ó Œ œ w
∑
mf
hold pedal until sound dissipates
°
Mlt. Perc. 3
Mar. 1
Mlt. Perc. 4
Mar. 2
°
& ∑ ∑ ∑ ∑ ∑ ∑
Perc. 1 °
/ ∑
Tri.
Perc. 2
S. Cym.
/
l.v.
mf
p (2) (4)
(12) (14) (16) (18) (20)
l.v.
Ó Œ ¿ ¿ Y ∑ ∑ Ó Œ ¿ ¿ Y
∑
∑
Perc. 3 ¢ / Ó Œ œ w Ó Œ œ w Ó Œ œ w Ó Œ œ w Ó Œ œ æw
B. D.
(8)
11 12 13 14 15 16 17 18 19 20
l.v.
∑
œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ
? œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ
¢
Y
Ó
Œ
¿ Y
l.v.
∑
Ó
∑ ∑ ∑
Œ
¿ Y
l.v.
Y
æ
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

12
III - Enchantment
21
- -
° ˙ œ œ w w œ œ
Fl. &
Ó Ó
˙ ˙ ˙ œ ˙ œ œ
mp mf mp mf
Ó
Ob. ¢ & ˙- œ œ w
-
w œ œ Ó Ó ˙ ˙ ˙ œ ˙ œ œ Ó
mp mf mp mf
°
1st Cl. &
˙ - œ œ w
Ó Ó
-
w œ œ
˙ ˙ ˙ œ ˙ œ œ
mp mf mp mf
2nd Cl. &
˙ - œ œ w -
w œ œ
mp mf mp mf
B. Cl. ¢ & ∑ ∑ ∑
œ œ œ œ
> >
œ œ œ œ
>
œ œ œ œ
>
œ œ œ œ w œ œ Ó
mp
Ó
Ó
˙ ˙ ˙ œ ˙ œ œ
∑
∑
Ó
Ó
°
Alto Sax. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ten. Sax. & ∑ ∑ ∑
Bari. Sax. ¢ & ∑ ∑ ∑
œ œ œ œ
> >
œ œ œ œ
>
œ œ œ œ
>
œ œ œ œ w œ œ Ó
mp
>
œ œ œ œ> œ œ œ œ> œ œ œ œ>
œ œ œ œ w œ œ Ó
mp
∑
∑
∑
∑
° ? ˙ - œ œ - w w œ œ
Bsn. ¢
Ó Ó
˙ ˙ ˙ œ ˙ œ œ
mp mf mp mf
Ó
21
°
1st Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2nd Tpt. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°
Hn. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑
mf
mf
œ œ œ œ
> >
œ œ œ œ
>
œ œ œ œ
>
œ œ œ œ
° ? . . . .
Tbn. ∑ ∑ ∑ œ œ œ œ w œ œ . . . .
Ó ∑ œ œ œ œ
>
? > > >
Euph. ∑ ∑ ∑ ∑ ∑ ∑ ∑ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
?
Tba. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
¢
mf
mf
°
Key. ¢ & ∑ ∑ ∑
Play one octave lower than written
œ œ œ œ ∑
> >
œ œ œ œ
>
œ œ œ œ
>
œ œ œ œ w œ œ Ó œ œ œ œ
> >
œ œ œ œ
>
œ œ œ œ
>
œ œ œ œ
mp
Play one octave lower than written
mp
°
Mlt. Perc. 1 & Ó Œ
∑ Ó Œ
∑
Glock.
œ œ ˙ w
œ œ ˙ w
Mlt. Perc. 2
Vib. ¢ & Ó Œ œ œ ˙ w ∑ Ó Œ œ œ ˙ w
∑
Mlt. Perc. 3
Mar. 1
Mlt. Perc. 4
Mar. 2
Perc. 1 °
/
Tri.
Perc. 2
S. Cym.
Perc. 3
B. D.
°
& œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ
¢ /
mf
mp
mf
mf
mf (6) (8) (10) (12)
? œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ
¢
l.v.
(1) (2) (3) (4)
Ó Œ ¿ ¿ Y ∑
∑ Ó Œ ¿ ¿ Y
¿
/ Œ Ó ∑ Ó Œ
p
¿ Y
mf
l.v.
œ Œ Ó Ó Œ œ w Ó Œ œ w Ó Œ œ w Ó Œ œ
21 22 23 24 25 26 27 28
∑
l.v.
∑
Ó
∑
Œ
¿ Y
l.v.
∑
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

III - Enchantment 13
29
°
˙ ˙ œ œ œ ˙ ˙ ˙
Fl. & Ó
˙ ˙
˙ œ w œ œ
Ó
Ob. ¢ & Ó ˙ ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙
°
1st Cl. & Ó
˙ ˙ œ œ œ ˙ ˙ ˙ ˙ ˙
2nd Cl. & Ó
mf f mf
mf
mf
f
mf
f
f
œ w œ œ Ó
B. Cl. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
mf
Ó
˙ œ w œ œ
˙ ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ w œ œ
mf
mf
Ó
°
Alto Sax. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Ten. Sax. & ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bari. Sax. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑
>
œ œ œ œ
>
œ œ œ œ
>
œ œ œ œ
>
œ œ œ œ
mf
>
œ œ œ œ > œ œ œ œ > œ œ œ œ > œ œ œ œ
mf
° ?
Bsn. ¢
Ó
˙ ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ w œ œ Ó
mf f mf
29
°
1st Tpt. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
2nd Tpt. ¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
°
Hn. ¢ & Ó
∑ ∑ ∑ ∑ ∑ ∑
w œ œ
° ? w œ œ
Tbn.
Ó
∑ ∑ ∑ ∑ ∑ ∑
Euph.
? w œ œ Ó
∑ ∑ ∑ ∑ ∑ ∑
?
Tba. ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
¢
°
Key. ¢ & w œ œ Ó
∑ ∑ ∑ ∑ ∑ ∑
°
Mlt. Perc. 1 &
Glock.
œ œ ˙ œ œ œ ˙
Mlt. Perc. 2
Vib. ¢ &
œ œ ˙ œ œ œ ˙
Mlt. Perc. 3
Mar. 1
Mlt. Perc. 4
Mar. 2
Perc. 1 °
/
Tri.
Perc. 2
S. Cym.
Perc. 3
B. D.
f
f
hold pedal until sound dissipates
°
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
l.v.
(4) (7)
Ó Œ ¿ ¿ Y ∑
∑ Ó Œ ¿ ¿ Y
/ ∑ ∑
œ œ ˙ œ œ œ ˙ œ ˙ Ó Œ œ
œ œ ˙ œ œ œ ˙ œ ˙ Ó Œ œ w
? œ œ œ œ œ œ œ œ ¢
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
Ó
Œ
¿ Y
l.v.
flip mallets around
¢ / w Ó Œ œ w Ó Œ œ w Ó Œ œ w
(4) (7)
29 30 31 32 33 34 35 36
∑
l.v.
∑
°
l.v.
∑
∑
use head of mallet
∑
Y
æ
mp
æw
∑
∑
∑
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

14
III - Enchantment
37 avec une joie profonde
47
°
. . . . . . . . .
. . . . . . . . .
. . . . . . . . .
Fl. & ∑ ∑ Ó bœ
œ œ œ ‰ bœ
œ œ œ œ ∑ ∑ Ó bœ
œ œ œ ‰ bœ
œ œ œ œ ∑ ∑ Ó bœ
œ œ œ ‰ bœ
œ œ œ œ
J J J
mp
mf
Ob. ¢ & ∑ ∑ Ó bœ. œ. œ. œ . ‰ bœ. œ. œ. œ. œ. ∑ ∑ Ó bœ. œ. œ. œ . ‰ bœ. œ. œ. œ. œ. ∑ ∑ Ó bœ. œ. œ. œ . ‰ bœ. œ. œ. œ. œ.
J J J
mp
mf
°
1st Cl. & ∑ ∑ ∑ ∑ ∑ ∑ Ó œ. œ. œ. œ . ‰ œ. j œ. œ. œ. œ. ∑ ∑ Ó œ. œ. œ. œ . ‰ œ. j œ. œ. œ.
œ
2nd Cl. & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
B. Cl. ¢ &
œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ
mp
°
Alto Sax. & Ó œ œ œ œ œ œ œ œ ˙ ˙ œ œ Ó Ó œ œ œ œ œ œ œ œ w œ œ Ó Ó œ œ œ œ œ œ œ œ ˙ ˙ w
w œ œ
Bari. Sax. ¢ & Ó ∑ ∑ ∑ ∑ ∑ ∑ œ ˙ œ œ ˙ œ œ ˙ œ œ ˙ œ
° ?
Bsn. ¢ bœ
˙ œ œ ˙ œ œ ˙ œ œ ˙ œ bœ
˙ œ œ ˙ œ œ ˙ œ œ ˙ œ bœ
˙ œ œ ˙ œ œ ˙ œ œ ˙ œ
mp
37 avec une joie profonde
47
°
1st Tpt. & Ó œ œ œ œ œ œ œ œ ˙ ˙ œ œ
Ó Ó œ œ œ œ œ œ œ œ w œ œ
Ó Ó œ œ œ œ œ œ œ
˙
œ ˙ w
2nd Tpt. ¢ & Ó œ œ œ œ œ œ œ œ ˙ ˙ œ œ
mp
mf
f f f
f
f
f
f
f
f
mf
f
Not the same note as Clt. 1
œ. œ. œ. œ . ‰ œ j . œ. œ. œ.
œ
Ten. Sax. & w œ œ Ó ∑ ∑ ∑ ∑ ∑ ∑ Ó œ œ œ œ œ œ œ œ ˙ ˙ w
Ó Ó œ œ œ œ œ œ œ œ w œ œ
Ó Ó œ œ œ œ œ œ œ œ ˙ ˙ w
Ó
mf
p
p
p
°
Hn. ¢ & œ . œ Œ . œ .
œ . œ Œ . œ . œ. œ. Œ Œ
œ. œ. œ. œ œ
. . œ. Œ œ. œ. œ Œ
. œ. œ. œ. Œ Œ
œ. œ. œ. œ œ
. . œ. Œ œ. œ. œ Œ
. œ. œ. œ. Œ œ. œ. œ.
mp
Œ œ
° ? bœ
. œ . œ . œ. œ. œ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tbn. Œ Œ œ œ Œ œ œ œ Œ œ bœ
œ œ œ œ œ Œ Œ œ œ Œ œ œ œ Œ œ bœ
œ œ œ œ œ Œ Œ œ œ Œ œ œ œ Œ œ
Euph.
?
mp
Ó œ œ œ œ œ œ œ œ ˙ ˙ œ œ Ó Ó œ œ œ œ œ œ œ œ w œ œ Ó Ó œ œ œ œ œ œ œ œ b˙
˙ w
f f f
?
Tba. ¢ bœ
˙ œ œ ˙ œ œ ˙ œ œ ˙ œ bœ
˙ œ œ ˙ œ œ ˙ œ œ ˙ œ bœ
˙ œ œ ˙ œ œ ˙ œ œ ˙ œ
mp
Play two octaves lower than written
°
Key. ¢ & bœ
˙ œ œ ˙ œ œ ˙ œ œ ˙ œ bœ
˙ œ œ ˙ œ œ ˙ œ œ ˙ œ bœ
˙ œ œ ˙ œ œ ˙ œ œ ˙ œ
mp
p
p
°
Mlt. Perc. 1 & ∑ ∑ Ó
∑ ∑ ∑ ∑
Glock.
bœ
œ œ œ ‰ j Ó
b œ œ œ œ œ
bœ
œ œ œ ‰ j
b œ œ œ œ œ
Mlt. Perc. 2
Vib. ¢ & ∑ ∑ Ó bœ
œ œ œ ‰ bœ
œ œ œ œ ∑ ∑ Ó bœ
œ œ œ ‰ bœ
œ œ œ œ ∑ ∑ Ó bœ
œ œ œ ‰ bœ
œ œ œ œ
J J J
Mlt. Perc. 3
Mar. 1
Mlt. Perc. 4
Mar. 2
°
& œ œ Œ œ œ œ
? œ
¢ bœ
Perc. 1 °
/ ∑ ∑ Ó œ œ œ œ ‰ œ j œ œ œ œ ∑ ∑ Ó œ œ œ œ ‰ œ j œ œ œ œ ∑ ∑ Ó œ œ œ œ ‰ œ j œ œ œ œ
Tri.
mp
mf
Perc. 2
S. Cym.
/
mf
mf
l.v.
Œ
¿ Œ Ó ∑ ∑
Y ¿ æ Œ Ó
mp
mp
œ Œ œ œ
œ œ
œ œ Œ œ œ œ œ œ œ Œ
œ œ œ Œ œ œ œ
œ
œ
œ
œ
œ
œ
Œ
Œ
œ œ œ Œ œ œ œ
œ
œ
œ œ b Œ œ œ œ Œ œ œ œ œ œ Œ
l.v.
f mp f mp f mp
l.v.
l.v.
l.v.
Perc. 3 ¢ / œ Œ Ó ∑ ∑
æw œ Œ Ó ∑ ∑
æw œ Œ Ó ∑
æw æw
B. D.
mf p mf p mf p
37 38 39 40 41 42 43 44 45 46 47 48
∑
Œ
œ œ œ Œ œ œ œ
∑
œ
œ
œ
œ
œ
œ
Œ
Œ
œ œ œ Œ œ œ œ
œ
œ
l.v.
Y æ
¿ Œ Ó ∑
Y Y
æ æ
Œ
Ó
bœ
œ œ œ ‰ j
b œ œ œ œ œ
mf
mf
œ œ b Œ œ œ œ Œ œ œ œ œ œ Œ
œ œ œ Œ œ œ œ
œ
œ
œ
œ
œ
œ
Œ
Œ
œ
œ
œ
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

III - Enchantment 15
°
Fl. & ∑ ∑
Ob. ¢ & ∑ ∑
. . . . . . .
. . . . . . . . .
Ó œ œ œ œ ‰ œ œ ∑ ∑
∑ ∑ ∑
J œ œ œ Ó œ œ œ œ
. .
‰ œ œ œ œ œ J f
Ó ∑ ∑ . . . . . . . . .
œ. œ. œ. œ ∑ ∑ ∑
. ‰ œ j . œ. œ. œ. œ Ó œ œ œ œ ‰ œ œ œ œ œ
.
J
f
°
1st Cl. & w . . . . . . . . . . . . . . . . . . ∑ ∑ ∑
w ˙ œ œ œ œ ‰ œ j œ œ œ œ w w ˙ œ œ œ œ ‰ œ j œ œ œ œ
mp mf mf f
2nd Cl. & w ∑ ∑ ∑
w ˙ œ. œ. œ. œ . ‰ œ j . œ. œ. # œ. œ. nw
w # ˙ œ. œ. œ. œ . ‰ # œ. j œ. œ. œ. œ.
mp mf mf f
B. Cl. ¢ &
bw
w œ -˙ œ- ˙- ˙ bw
w w œ
>
œ
>
œ
>
œ
mf
°
Alto Sax. & ˙ œ œ ˙ ˙ œ ˙ ˙ w ˙ œ œ ˙ w w
∑ ∑ ∑
mf
f
mf
f
f
∑ ∑ ∑
Ten. Sax. & b˙ œ œ ˙ ˙ œ ˙ w b˙ œ œ ˙ ˙ # w w
∑ ∑ ∑
Bari. Sax. ¢ & w w œ -˙ œ- ˙- ˙ w w w œ œ œ œ
> > >
mf
f
∑ ∑ ∑
° ?
Bsn. ¢
bw
bw
œ -˙ œ- ˙- ˙ bw
bw
w œ œ œ œ
> > >
mf
f
∑ ∑ ∑
°
1st Tpt. & b˙ œ œ ˙ ˙ œ ˙ w b˙ œ œ ˙ ˙ w w
∑ ∑ ∑
mf
f
2nd Tpt. ¢ & ˙ œ œ ˙ ˙ # œ ˙ # w n˙ œ œ ˙ ˙ w w
∑ ∑ ∑
mf
f
°
Hn. ¢ & ˙ œ œ ˙ ˙ œ ˙ w ˙ œ œ ˙ ˙ w w
∑ ∑ ∑
f
° ? b˙
œ œ b˙
˙ œ ˙ w b˙
œ œ b˙
˙ w w
Tbn.
∑ ∑ ∑
mf
f
f
? b˙
œ œ b˙
˙ œ ˙ w b˙
œ œ b˙
˙ w w
Euph.
∑ ∑ ∑
?
Tba. ¢
bw
°
Key. ¢ & bw
bw
œ -˙ œ- ˙- ˙ bw
bw
w œ œ œ œ
> > >
mf
- - - > > >
bw
œ ˙ œ ˙ ˙ bw
bw
w œ œ œ œ
mf
f
f
∑ ∑ ∑
∑ ∑ ∑
°
Mlt. Perc. 1 & ∑ ∑ Ó bœ
œ œ œ ‰ bœ
œ œ œ œ ∑ ∑ Ó œ œ œ œ ‰ œ j œ œ œ œ ∑ ∑ ∑
Glock.
J
f
Mlt. Perc. 2
Vib. ¢ & ∑ ∑ Ó œ œ œ œ ‰ œ œ œ œ œ J ∑ ∑ Ó œ œ œ œ ‰ œ œ œ œ œ ∑ ∑ ∑
J
Mlt. Perc. 3
Mar. 1
Mlt. Perc. 4
Mar. 2
°
& bœ
œ Œ œ œ œ Œ œ œ œ Œ œ œ œ
? bœ
> > >
¢ b œ œ Œ œ œ œ b Œ œ œ œ Œ œ œ œ Œ œ b b œ œ Œ œ œ œ b Œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ
Perc. 1 °
/ ∑ ∑ Ó œ œ œ œ ‰ œ j œ œ œ œ ∑ ∑ Ó œ œ œ œ ‰ œ j œ œ œ œ ∑ ∑ ∑
Tri.
Perc. 2
S. Cym.
/
mp
mp mf f
l.v.
Œ
œ
mf
f mp f
l.v.
l.v.
Perc. 3 ¢ / œ Œ Ó ∑ ∑ ∑ ∑ ∑
æw æw œ Œ Œ œ w Ó Œ œ
B. D.
mf p f
49 50 51 52 53 54 55 56 57 58 59
f
bœ
œ Œ œ œ œ Œ œ œ œ Œ œ œ
∑
>
œ
>
œ
>
œ œ Œ Ó œ Œ œ œ œ œ
¿ Œ Ó ∑ ∑ ∑ ∑ ∑
Y Y æ æ ¿ Œ Ó Ó Œ
f
f
l.v.
mf
¿ Y
l.v.
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

16
III - Enchantment
°
Fl. &
∑
61
˙- - -
œ œ w w œ œ
˙ ˙ ˙ œ ˙ œ œ
Ó Ó
mf f mf f mp
Ó
Ob. ¢ &
∑
˙- œ œ- w w œ œ Ó Ó ˙ ˙
-
˙ w œ œ
Ó
mf f mf f mp
°
1st Cl. & ∑ - - -
˙ œ œ w w œ œ Ó Ó ˙ ˙ ˙ œ ˙ œ œ Ó
2nd Cl.
&
B. Cl. ¢ & ∑ ∑ ∑ ∑
°
Alto Sax. &
∑
∑
mf f mf f mp
˙- œ œ w w œ œ
-
mf
# ˙- œ œ-
w # w œ œ
f
mf
Ó Ó # ˙ ˙ #-˙
w # œ œ Ó
mf f mp
œ œ œ œ ∑
> >
œ œ œ œ
>
œœœœœœœœ
>
˙ œ Ó
Ó
mf f mf f mp
Ó
œ œ œ œ œ œ œ œ
# ˙ w w # œ œ Ó
f
Ten. Sax. & ∑ ∑ ∑ ∑
Bari. Sax. ¢ & ∑ ∑ ∑ ∑
œ œ œ œ ∑
> >
œ œ œ œ
>
œœœœœœœœ
>
˙ œ Ó œ œ œ œ œ œ œ œ
mf
>
œ œ œ œ > œ œ œ œ > œœœœœœœœ > ˙ œ ∑ Ó
mf
f
f
# œ œ œ œ # œ œ œ œ
° ?
Bsn. ∑
¢
˙- œ œ- w w œ œ
-
Ó Ó
˙ ˙ ˙ w œ œ
mf f mf f mp
Ó
61
°
1st Tpt. & ∑ - - -
˙ œ œ w w œ œ Ó Ó ˙ ˙ ˙ œ ˙ œ œ Ó
mf f mf f mp
2nd Tpt. ¢ & ∑ ˙- œ œ-
# w
w œ œ Ó Ó # ˙ ˙ #-˙
w # œ œ Ó
mf f mf f mp
°
Hn. ¢ & ∑ ∑ Ó
œ
∑ ∑
œ œ œ œ œ œ œ
˙ ˙ ˙ œ œ œœœœœœœœœœœœœœœœ
> > > >
f mp mf
° ?
Tbn. ∑ ∑
œ
Ó œ œ œ œ œ œ œ
˙ ˙ ˙ œ œ
∑ ∑ ∑
f
mp
?
Euph. ∑ ∑
œ > > > >
Ó œ œ œ œ œ œ œ
˙ ˙ ˙ œ œ
˙
∑ ∑ œœœœœœœœœœœœœœœœ
f mp mf
?
Tba. ∑ ∑ ∑ ∑ ∑ ∑ ∑
¢
Ó œ œ œ œ œ œ œ œ
f
°
Key. ¢ & ∑ ∑ ∑ ∑
Play one octave lower than written
œ œ œ œ ∑
∑
> >
œ œ œ œ
>
œœœœœœœœ
>
˙ œ œœœœœœœœœœœœœœœœ
> > > >
mf
Play one octave lower than written
mf
°
Mlt. Perc. 1 & ∑ Ó Œ
∑ Ó Œ
∑
Glock.
œ œ ˙ w
œ œ ˙ w
f
Mlt. Perc. 2
Vib. ¢ & ∑ Ó Œ œ œ ˙ w ∑ Ó Œ œ œ ˙ w
∑
Mlt. Perc. 3
Mar. 1
Mlt. Perc. 4
Mar. 2
Perc. 1 °
/
Tri.
Perc. 2
S. Cym.
f
°
& œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ œ Œ œ œ œ œ
(2) (4) (6) (8) (10)
? œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ
¢
mf
l.v.
Ó Œ ¿ ¿ Y ∑
∑ Ó Œ ¿ ¿ Y ∑
∑ Ó Œ ¿ ¿
/ ∑ ∑
Ó
Œ
¿ Y
mf
l.v.
Perc. 3 ¢ / w Ó Œ œ w Ó Œ œ w Ó Œ œ w Ó Œ œ æw
B. D.
mf (4) p
60 61 62 63 64 65 66 67 68
∑
mf
l.v.
∑
Ó
Œ
¿ Y
l.v.
Y
æ
mp
f
©2022 ColourFULL Music. Salon Morisot. All rights reserved.

III - Enchantment 17
69
°
˙ ˙ œ œ œ ˙ ˙ ˙
Fl. & Ó
˙ ˙ ˙ œ w œ œ
Ó ∑ ∑
f
mf
Ob. ¢ & Ó ˙ ˙ œ œ œ ˙ ˙ -˙ w
f
˙ œ w œ œ Ó
mf
∑
∑
°
1st Cl. & Ó
2nd Cl.
B. Cl. ¢ & ˙
° # ˙ ˙
Alto Sax. & Ó
# œ œ œ ˙ # ˙ ˙ œ œ Ó
∑ ∑ ∑ ∑ ∑
Ten. Sax.
& Ó
Bari. Sax. ¢ & ˙
˙
f
f
f
# ˙ œ œ œ ˙ # ˙ ˙ ˙ ˙ # ˙ œ ∑ Ó Œ
∑
˙- ˙ # œ œ œ
-
˙ # ˙ ˙ ˙ ˙ # ˙ œ Ó Œ
# œ œ ˙ œ ˙ # œ œ ˙
˙ œ
& ∑ ∑ Ó
# œ œ ˙ œ ˙ # œ œ ˙
˙ œ ˙ œ # œ
-˙ œ
> ˙ w> # > œ œ œ œ œ ˙ œ
f
mf
mf
mf
˙ œ œ
p
p
∑ ∑ ∑
˙ œ ˙ œ # œ -˙ œ ˙ œ œ Œ Ó ∑ ∑
Œ
Ó
œ w œ
œ w œ
∑
Œ Ó
Œ Ó
∑
° ?
Bsn. ¢
Ó
˙- ˙ - œ-
œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ
f
∑ ∑ ∑ ∑
69
°
1st Tpt. & Ó ˙ ˙ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ w œ œ Ó ∑ ∑
f
mf
2nd Tpt. ¢ &
Ó ˙ # ˙ -œ œ
-
œ ˙ ˙ ˙ ˙
f
˙ ˙ œ w œ œ Ó
mf
∑
∑
°
Hn. ¢ &
Ó
∑ Ó
w œ œ
° ?
Tbn. Ó
f
mf
>
>
˙ w œ œ ∑
>
œ Ó
œ œ ˙ œ w œ œ
f
- - - - - > > >
˙ ˙ œ œ œ ˙ ˙ ˙ w œ œ œ œ œ w œ œ Ó
? ˙ œ
Euph.
∑ ∑ Ó
?
Tba. ¢ ˙ œ œ ˙ œ ˙ œ œ ˙
f
mp
°
Key. ¢ & w œ œ Ó
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
mf
mp
∑ ∑
> ˙ > >
w œ œ œ œ œ ˙ œ w œ œ Ó ∑
˙ œ ˙ œ œ -˙ œ ˙ œ œ
Œ Ó ∑ ∑
°
Mlt. Perc. 1 & œ œ ˙ œ œ œ ˙ œ œ ˙ œ œ œ ˙
Glock.
f
œ ˙ Ó Œ œ
l.v.
∑ ∑ ∑ ∑
Mlt. Perc. 2
Vib. ¢ & œ œ ˙ œ œ œ ˙ œ œ ˙ œ œ œ ˙
œ ˙ Ó Œ œ w
∑ ∑ ∑
hold pedal until sound dissipates
°
Mlt. Perc. 3
Mar. 1
Mlt. Perc. 4
Mar. 2
Perc. 1 °
/
Tri.
Perc. 2
S. Cym.
Perc. 3
B. D.
°
& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ Ó ∑ Ó œ œ œ œ œ Œ Ó
? œ œ œ œ œ œ œ œ ∑
¢
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ Œ œ œ œ œ Œ Œ
/
¢ /
f
f
f
l.v.
l.v.
Y ∑
∑ Ó Œ ¿ ¿ Y ∑ Ó Œ ¿ ¿ Y Ó Œ ¿ ¿ Y
¿
l.v.
l.v.
Œ
Ó
∑
> l.v.
œ Œ Ó w>
>
∑ w
Y
∑
mf
69 70 71 72 73 74 75 76 77 78
mp
mf
> l.v. l.v.
Y
Ó
Œ
¿ Y
mp
l.v.
l.v.
∑ ∑ ∑
∑ ∑ ∑ ∑ ∑ ∑
©2022 ColourFULL Music. Salon Morisot. All rights reserved.