20180731_Blackshaw_Score_Catango 5_4.2 (2)_new

Catango 5
for skilled saxophone quartet,
concert winds, brass & percussion
Grade 4
Maturing Series
JODIE
BLACKSHAW

CataNgo 5
F O R S K I L L E D S A X O P H O N E Q U A R T E T
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
INSTRUMENTATION
Soprano Saxophone (Quartet) Trumpet 1 in B !
Alto/Soprano Saxophone (Quartet) Trumpet 2 in B !
Tenor/Soprano Saxophone (Quartet)
Baritone/Soprano Saxophone (Quartet)¯
Flute
Bassoon 1
French Horn in F
Trombone
Euphonium T.C. / B.C.
String Bass
Bassoon 2 Mallet Percussion 1
Clarinet 1 in B !
Vibraphone, Xylophone, Triangle,
Tambourine, Handclap
Clarinet 2 in B ! Mallet Percussion 2
Bass Clarinet in B !
Glockenspiel, Vibraphone,
Handclap, Woodblock
Alto Sax 1 in E ! Timpani (4)
Alto Sax 2 in E ! Percussion 1
Tenor Saxophone in B !
Cajon, handclap
Baritone Saxophone in E ! Percussion 2
Cabasa, Hi-hat, Ride Cymbal,
Suspended Cymbal
Percussion 3
Hand clap, Woodblock, Vibraslap, Ratchet,
Whistle, Cowbell, Tambourine
© 2022 ColourFULL Music. All rights reserved. International rights secured.
jodieblackshaw.com

T REHEARSAL NOTES T
CHARACTERS IN THE SCORE
At first perusal, it will strike you that few ‘musical’ terms used. Instead, there is a reference to various characters.
Five to be exact:
1. “A lonely, hungry, no-name cat.”
Each of the cats I have ever owned either entered my life as a stray, or were obtained from the RSPCA. When a cat
first comes into your life from a shelter, they are scared and do their utmost to shower you with their love and
gratitude. The opening melody as stated in the tenor was written to reflect this fragile state and hence begin the
journey.
2. “Machiavellian cat.”
“Men judge generally more by the eye than by the hand, for everyone can see and few can feel. Everyone sees what
you appear to be, few really know what you are.”
Niccolò Machiavelli (1469-1527)
Niccolò Machiavelli was a controversial Italian writer, critic, atheist and statesman. To be Machiavellian is to be
deceptive, cunning and hold little regard for others.
Those who have not lived with a cat, or taken the time to befriend a feline often think of cats as selfish, dishonourable
creatures with little regard for anyone other than themselves. (Which is, of course, preposterous!)
3. “The cat who dreams like Alice.”
“Imagination is the only weapon in the war against reality.”
Lewis Carroll, Alice in Wonderland
Alice explored the wildest worlds in her dreams as part of ‘Alice in Wonderland’ by Lewis Carroll. In studying the life
of cats, they spend much of their time sleeping; hence it simply couldn’t be a piece about cats without a ‘dream’
section. Cats do indeed dream, and it is believed they have two main sleep states with one containing Rapid Eye
Movement (REM) sleep. The brain waves of a cat look almost identical to that of a human during REM sleep and it is
a very busy time for brain activity.
This section is explored with all four saxophone quartet members playing Soprano Saxophone plus two vibraphone
parts. PLEASE do not replace a vibraphone part with anything else – homogeny of timbre is vital during this section
and it won’t be achieved if either of the parts is played on another instrument. Thank you! It is also suggested that
the Vibraphones are placed at the very front of the ensemble so that they are clearly audible during this section.
4. “Nimrod, the hunting cat.”
The name Nimrod comes from the Hebrew verb marad, meaning “rebel.”
In Genesis 10:8-11 of the Old Testament we learn that “Nimrod” established a kingdom. He was described as a fierce
hunter “Like Nimrod, a mighty hunter before the LORD.”
The reference here is to the cat who suddenly jumps into a sprint during a hunt. Any cat person knows this can be
anything from a bird, a listless Autumn leaf or even one of your household shoes!

5. “Cat. Shaken, not stirred.”
The famous character whom we know now as James Bond was created by Ian Fleming. I make this cryptic reference
as I imagine the cat who struts their stuff after a good meal, a successful hunt or perhaps even just a warm cuddle.
They are not afraid to express their confidence and self-assurance, much like agent 007…
Please pay close attention to all articulation patterns to gain the swagger that the melodic material demands.
THE ROLE OF THE QUARTET – PLAYING WITH CHARACTER
I have envisaged the quartet as 4 (outstanding) lead players within the ensemble itself, rather than adopt the usual
Concerto Grosso model. Hence, the quartet is often playing the same lines as those in other sections. We all know the
power of a strong lead player in an ensemble and how much influence that player can have on the rest of the section.
It is my wish that this experience inspires school students in the ensemble to push harder and be more articulate and
refined in their approach to playing music on their instrument. (You don’t know what you don’t know, and sometimes it
takes working with someone who is much better than you, to push you out of your comfort zone and reach a new level
of comprehension and proficiency).
The mentoring role is also designed to address the detail in the work. The goal being to enable student musicians to
understand the fundamental importance of playing with an agreed approach to articulation, with unison slurring
patterns (that have been meticulously included!) and with a matched energy and character. This is a Grade 4 wind band
work - they are ready for this kind of challenge! I have also included references to literary characters (Machiavelli, Alice
(in Wonderland), Nimrod and James Bond – more information above) as I believe the strength of these characters can
be explored musically. The quartet will instinctively play with a great sense of vitality and spirit and it is my desire that
the quartet draws upon characteristics of these literary giants to inspire their playing - and teach students how to do
the same. Music is SO much more than loud and softs, shorts and longs, there needs to be character!
MASTERCLASSES
When rehearsing this piece with the quartet, I envisage dividing the band into four sections:
Group A: Flute, Oboe, Bassoons, Horns, Troms Euph
Group B: Clt 1, Alto 1, Trumpet 1
Group C: Clt 2, Alto 2, Tenor Sax, Trumpet 2
Group D: Bass reeds, Tuba, String Bass & Timpani
Players from the quartet then host a masterclass on playing measures 41-63 with their respective group:
Group A: Soprano Sax
Group B: Alto Sax
Group C: Tenor Sax
Group D: Baritone Sax
(If you intend to use the Drum Kit part, ideally you would involve a percussion tutor/specialist to play this part and use
them to masterclass your percussion section at the same time J).
The focus of this masterclass is on character! Whilst the score is heavily articulated, quartet members are encouraged
to use the vocabulary stencils to invite students to move beyond the detail. The goal of the work is to consider the
character of a cat (in the case of the above, a conniving, slippery, not-to-be-trusted kind of cat), so I ask the soloists to
demonstrate how your approach to the melodic material can suggest this.
The next step is to work out how to play the material collectively to achieve this. It can be lead by the quartet initially
and then students could break into smaller group of 2-3 people and experiment with ideas. They could then bring them

ack to the group and collectively decide what works. The more invested the students are the more it will mean to
them.
It’s then important to come back and share what each part has brought to their playing. Ask the question – will it work
together? A final creative moment maybe bringing together everyone’s ideas and making a collective decision on
various passages. YOU ARE ALLOWED TO CHANGE THINGS! If you don’t like some of the articulations/dynamics,
CHANGE THEM! Seriously. It’s ok :)
Finally, another quirky idea is to invite band members to bring in photos of their own pets (doesn’t have to be a cat) with
some vocabulary words that describe them. This will provide ownership and context. It’s also a cute thing to do! The
quartet may like to do this too!
BIRD WHISTLE SOUNDSCAPE (m. 128)
At measure 128, a bird whistle soundscape enables the mallet percussionists to change instruments and provides a
sonic sorbet for the audience. Some of the calls should begin on the downbeat of measure 127 to flow onto 128.
Feel free to have as many students as you wish take part in this section using the following bird whistles as well as
appropriate improvised vocal sounds:
• Acme Warbler Whistle
• Acme Skylark Whistle
• Acme Nightingale Whistle
• Acme Curlew or Peewit Whistle
• Acme Quail Whistle
• Acme Duck Decoy (use this sparingly for comic relief J)
ALLEYCAT SOUNDSCAPE (m. 188)
At measure 188, it’s your chance to have some fun with your ensemble and create a soundscape depicting a latenight
altercation between 1-4 sparring felines. Percussion should start the soundscape by knock over garbage bins
and various other noise makers to represent cats on the prowl in an alley.
The band can vocalise cat hissing sounds (make sure it isn’t too many!) and possibly a dog bark or owl hoot - get
creative!
The solo saxophone quartet maybe able to emulate sounds of cats howling at each other by bending pitch with open
throat sounds in higher octaves.
A little theatre is also required here to sell it to the audience, so I envisage some kind of spotlight (a bright torch light
would do) shining from stage right to stage left and all heads turn with it - like a cat has run past. The imaginary cat can
even run through the quartet for added drama.
The quartet/band look at each other, shrug their shoulders, then the conductor does so too. Now you can Launch
into U.
This is just a suggestion – whatever you come up with if yours – this is some ideas to get you started. The students will
have LOADS of fun creating the soundscape and remember to keep the ideas flowing to keep the creativity flowing –
try not to “glue the pieces down” J.

CAJON
‘Cajon’ means drawer, or wooden box in Spanish and is a wooden boxed percussion instrument that you sit on to play
with your hands. To see a demonstration of what a Cajon sounds like, watch this clip (link also available on my website):
https://www.youtube.com/watch?v=-uLsM9vp3dw
If your students have not played a Cajon before – never fear! Here is an excellent resource available online for a very
reasonable fee with instant download (link also available on my website):
https://dancinghands.com/products/cajon-grooves-for-beginners-dvd-instant-download
It contains a series of short lessons that will teach your student the three main sounds on the Cajon (Bass – Touch –
Slap) as well as different grooves on the instrument. This (and a bit of practise!) will be enough for the student to
interpret the part written in Percussion 1 (Bottom line = Bass; Middle line = Touch, Top line = Slap).
If you have a parent who is particularly good at woodworking, they maybe interested in building an instrument for you.
Here is a link to an excellent set of instructions (link also available on my website):
http://www.instructables.com/id/How-To-Build-Your-Own-Cajon-Box-Drum/
COMMISSION
Catango 5 was made possible by the International Grammar School, Ultimo, Sydney, New South Wales, Australia.
Particular thanks are extended to Alison Housley, Director of Music, for her enthusiasm not only for this commission
but for Australian music in general. Additional gratitude is extended to Ms. Sarah Butler, Director of Bands at
International Grammar School for her patience and sense of humour during the rehearsal process.
NEXAS SAXOPHONE QUARTET
Michael Duke (Soprano), Andrew Smith (Alto), Nathan Henshaw (Tenor) and Jay Byrnes (Baritone) make up the
Australian sensation known as the Nexas Saxophone Quartet (https://www.nexasquartet.com). Their skill and
musicianship are of the highest quality and it was their ability to place such personality into their own playing that
inspired the nature of this work. The quartet has held a long and proud association with International Grammar School
and composing this piece for them and the students of IGS was an honour.
PROGRAM NOTES
Catango 5 is a playful, tango-inspired work composed especially for senior wind ensemble and a professional
saxophone quartet. Instead of taking a more traditional concerto grosso viewpoint with this work (i.e. solo quartet with
accompanying ensemble), I have placed the quartet under the guise of mentors and infused much of their playing
alongside that of the ensemble. The four members of the original quartet for which this was written, the Nexas
Saxophone Quartet (www.nexasquartet.com) have vibrant personalities and this is most certainly demonstrated in
their approach to playing the saxophone. With this in mind, components of Catango 5 are built around imaginary feline
characters largely inspired by the personality traits observed in the 5 cats I have owned in this lifetime. Placing
personality into your playing can be a challenging aspect of musicianship hence, I have written the work to also include
mentoring opportunities between the visiting quartet and the wind band by way of Soprano, Alto, Tenor and Bass
voicings that work in cohesion. The quartet thus have the opportunity to work alongside high school players and help
them break through an all-important membrane: finding a freedom in their instrumental approach that is both expressive
and personal. At the centre of the work is a vibrant, virtuosic moment for the quartet to shine with all players on Soprano
Saxophone. This represents the feline dream state – a place to be safe and free.

ABOUT THE COMPOSER
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, including the Teaching Performance through
Composition series. This resource 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 ensemble environment.
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.
To find out more please visit: jodieblackshaw.com

DEDICATION
This piece is for my friend and colleague Joanne Heaton.
Her quirky sense of humour, brilliance on the podium (and as a saxophonist),
dedication to the wind band genre and music education
is much to be admired.
… She’s also a fellow cat lover.

Soprano Saxophone
(Quartet)
Commissioned by International Grammar School, Sydney, New South Wales, Australia
CataNgo 5
bLACKSHAW
For professional sax quartet and senior high school wind ensemble
K A lonely, hungry, no-name stray q=72
Alto Saxophone
(Quartet)
Tenor Saxophone
(Quartet)
Baritone Saxophone
(Quartet)
Flute
Smooth
p mp mf
Smooth
p
mp
Oboe
Bassoon 1
Bassoon 2
Clarinet 1 in Bb
Clarinet 2 in Bb
Bass Clarinet
in Bb
Alto Saxophone 1
(Ensemble)
Alto Saxophone 2
(Ensemble)
Tenor Saxophone
(Ensemble)
Baritone Saxophone
(Ensemble)
Trumpet 1 in Bb
K A lonely, hungry, no-name stray q=72
Trumpet 2 in Bb
F Horn 1
F Horn 2
Trombone 1
Trombone 2
Euphonium
Tuba
String Bass
Mallets/Aux. Perc. 1
Vibraphone, Xylophone
Triangle, Tambourine, Handclap
Mallets/Aux. Perc. 2
Glockenspiel, Vibraphone
Handclap
Timpani (4)
Vibraphone
Glockenspiel
C D F G
Drum Kit
(can replace Perc. 1-3
where necessary)
Percussion 1
Cajon, Handclap
Handclap
Percussion 2
Cabasa, Hi-Hat, Ride Cymbal,
Supended Cymbal
Cabasa
Percussion 3
Hand Clap, Wood Block
Ratchet, Whistle
Cowbell, Tambourine
Handclap
2 3 4 5 6 7 8

2
Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
3
rit. A Pensively q=96
mp mf p p
3
3
mp mf mp mf p
3
Catango 5 - Score
mp p p
mf
3 3
mp p
Fl.
Solo
mp
pp
Ob.
Bsn. 1
Bsn. 2
p
p
Cl. 1
Cl. 2
Bsn. 1
p
B. Cl.
Bsn. 2
p
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
rit. A Pensively q=96
Tpt. 2
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Tba.
S. Bass
Mlts/Aux 1
Vib.
Mlts/Aux 2
Glock.
Vib.
Glck.
mp
mp
Timp.
Kit
Rim of snare
mp
Perc. 1
Clap
Perc. 2
Cba.
Perc. 3
Aux.
(Hand Clap)
Handclap
mp
9 10 11 12 13 14 15 16 17

Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Fl.
B
scoop
3
3
mp p mf
"meeoooo
-
ooow.."
mp 3
mf mp f
p
gliss.
mp mf mp f
Catango 5 - Score
3
mf
p
mp
f
Ob.
Bsn. 1
Bsn. 2
Cl. 1
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
3
mp
mp
mf mp f mp
mp mf mp f mp
B
mf
mp
mf mp f
Solo (Play)
mp
mf
mp
f
mp
mp
Solo
3
mp mf mp f
mp mf mp f
mp
f
mp mf mp f
mp
f
Solo (Play)
mp
Tpt. 2
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Play
Play
mf
mp mf mp f
Play
mf mp f
mp mf mp f
mp
mp
f
f
Tba.
S. Bass
Mlts/Aux 1
Vib.
Mlts/Aux 2
Glock.
Timp.
Kit
(Rim of snare)
Hi-hat
mp
Perc. 1
Clap
Perc. 2
Cba.
(Cabasa)
Cabasa
mp
Perc. 3
Aux.
(Hand Clap)
18 19 20 21 22 23 24 25 26 27

4
Sop. Sax.
(Quartet)
Catango 5 - Score
poco accel. C HMachiavellian cat q=108
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
p
mp
Solo - mischievously
p mp p
mf
mf
Fl.
Ob.
Bsn. 1
Bsn. 2
Cl. 1
p
mp
mf
mf
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
poco accel. C HMachiavellian cat q=108
Tpt. 2
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Tba.
S. Bass
Pizz.
p leggiero
Mlts/Aux 1
Vib.
Mlts/Aux 2
Glock.
Timp.
p
String Bass cue
Kit
(Hi-hat)
mf
mp
Perc. 1
Clap
Perc. 2
Cba.
(Cabasa)
mf
mp
Perc. 3
Aux.
28 29 30 31 32 33 34 35 36 37

Sop. Sax.
(Quartet)
Catango 5 - Score
5
D Like a wolf in sheep's clothing
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
With Clt 1
mp
mf
Bari. Sax.
(Quartet)
Fl.
Ob.
Bsn. 1
Bsn. 2
Cl. 1
Solo: with Alto 1 (from quartet)
mp
mf
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
D Like a wolf in sheep's clothing
Tpt. 2
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Tba.
S. Bass
mp
Mlts/Aux. 1
Tri.
Triangle
f
Mlts/Aux 2
Glock.
Timp.
Kit
(Clap)
(Hi-hat)
p
Handclap
mf
mp
Staccato mallets - leggiero
Play
mp
Perc. 1
Clap
(Clap)
Handclap
mp
Perc. 2
Cba.
(Cabasa)
mf
Perc. 3
Aux.
Vibraslap
mf
38 39 40 41 42 43 44 45

6
Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
mp
E
mp
Catango 5 - Score
mf
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Fl.
Ob.
Bsn. 1
Bsn. 2
leggiero
mp
Tutti
mp
mp
Cl. 1
Tutti
mp
mf
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Tutti
mf
mp
mp
mf
Ten. Sax.
Bari. Sax.
Tpt. 1
E
Tpt. 2
Hn. 1
Hn. 2
mp
mf
Tbn. 1
Tbn. 2
Euph.
Tba.
S. Bass
mf
Mlts/Aux. 1
Tamb.
Tambourine
mp
Mlts/Aux. 2
Clap
(Clap)
mf
Timp.
Kit
mp
(Hi-hat)
mf
Mlts 2
Clap
(Clap)
mf
Perc. 2
Cba.
(Cabasa)
Perc. 3
Aux.
Woodblock (Woodblock)
mf
46 48 49 50 51 52 53

Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Fl.
Ob.
Bsn. 1
Bsn. 2
Cl. 1
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Tba.
S. Bass
Catango 5 - Score
7
F Devious, cunning and crafty
fp mp f
5
fp mf mp mf mf
fp
mp
fp mf fp mf
fp mf fp mp
mf
mf
mf
mf
fp mf fp mf mf
fp mf fp mf
leggiero
mf
fp mf mf
fp mf mf
fp mf mf
leggiero
mf
F Devious, cunning and crafty
fp mf fp mf
fp mf fp mf
fp
fp
mf
mf
mf
mf
leggiero
mp
mf
f
mf
fp
mf
mf
mf
Mlts/Aux. 1
Tamb.
Mlts/Aux. 2
Clap
(Tamb.)
mf
(Clap)
f
f
Timp.
Kit
Mlts 2
Clap
Perc. 2
Cba.
Perc. 3
Aux.
f
mf
Drum Set Ride Hi-hat
Cajon
mf
(Cabasa)
f
f
54 55 56 57 58 59 60
(Woodblock)

8
Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Fl.
Ob.
Bsn. 1
Bsn. 2
Cl. 1
Cl. 2
Suddenly slower q=96
mp
mf
mf
poco rit.
mp mf mp
mp
mp
mp
mp
mp
mp
mp
Catango 5 - Score
mf
mp
mp
mp
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2
Hn. 1
Suddenly slower q=96
mp
mp
mp
mp
mp
mp
mp
mp
poco rit.
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Tba.
S. Bass
mp
mp
mp
mp
mp
Mlts/Aux. 1
Tamb.
(Tamb.)
mp
Vibraphone
Mlts/Aux. 2
Clap
(Clap)
Vibraphone
Timp.
F>E§
Kit
Ride
Hi-hat
l.v.
Perc. 1
Cajon
Perc. 2
Cba.
(Cabasa)
To Sus. cymbal
Perc. 3
Aux.
(Woodblock)
To Tam tam
61 62 63 64 65 66

Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Fl.
Catango 5 - Score
9
G a The cat who dreams like Alice (q=108)
H
p
p
p
p
Change to Soprano Saxophone
Change to Soprano Saxophone
Change to Soprano Saxophone
Ob.
Bsn. 1
Bsn. 2
p
p
mp p mf p mf
mp p mf p mf
Cl. 1
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
2 players only - blend
Two players
mp
p mp p mf p mf
Two players
p mp p mf p mf
mp
p
Stagger breathe
Ten. Sax.
Bari. Sax.
Tpt. 1
G a The cat who dreams like Alice (q=108)
H
Tpt. 2
Hn. 1
Hn. 2
p mp p mf p mf
p
mp p mf
p
mf
Tbn. 1
Tbn. 2
Euph.
p mp p mf p mf
p mp p mf pp Solo - freely and dreamily
mf
f
Euph. solo (cue)
mf
f
Tba.
mp
Stagger breathe
S. Bass
Mlts/Aux. 1
Vib.
Mlts/Aux. 2
Vib.
arco
p mp p mf mp
f
f
Timp.
mp mf mp mf
Kit
Perc. 1
Cajon
Perc. 2
Cba.
Perc. 3
Aux.
67 68 69 70 71 72 73 74 75 76 77

10
Sop. Sax.
(Quartet)
Catango 5 - Score
I
Sop. Sax.
(Alto - Qtet)
Sop. Sax.
(Tenor - Qtet)
Sop. Sax.
(Bari. - Qtet)
Fl.
Ob.
Bsn. 1
Bsn. 2
Solo - Tpt cue
mf
mp mf mp mf
mp mf mp mf
f
3
Cl. 1
mp
mf
Cl. 2
B. Cl.
Alto Sax. 1
mp mf mp
mf mp mf
mp mf mp mf
mf
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2
Solo - in free time with a sense of day dreaming
I
mf
f
Tpt 1 Solo cue
mf
f
3
3
Hn. 1
Hn. 2
Tbn. 1
mp mf mp mf
mp mf mp mf
mp mf mp mf
Tbn. 2
Euph.
Tutti
mf p mp mf
Tba.
mf mp mf
mf
p
S. Bass
Mlts/Aux. 1
Vib.
Mlts/Aux. 2
Vib.
mf mp mf
Pizz.
Timp.
mp
mf
C>A, D>C, G>F
Kit
Perc. 1
Cajon
Perc. 2
Cba.
Perc. 3
Aux.
78 79 80 81 82 83 84 85

Sop. Sax.
(Quartet)
Sop. Sax.
(Alto - Qtet)
Sop. Sax.
(Tenor - Qtet)
Catango 5 - Score
11
poco rit.
ppp
Sop. Sax.
(Bari. - Qtet)
Fl.
Ob.
Bsn. 1
Bsn. 2
mf
p mp p
3
3
p mp p pp
pp
mp
mp
Cl. 1
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
p mp p
p mp p
p mp p pp
mp
Divide
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2
mf
mf
3
3
3
3
mp
mp
poco rit.
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
p mp p pp
p mp p pp
p mp p pp
p mf p
Tba.
pp
S. Bass
Mlts/Aux. 1
Vib.
Mlts/Aux. 2
Vib.
Timp.
Kit
Perc. 1
Cajon
Perc. 2
Cba.
Perc. 3
Aux.
86 87 88 89 90 91 92 93 94 95
mp
mp
Suspended Cymbal - medium yarn mallets

12
Sop. Sax.
(Quartet)
Sop. Sax.
(Alto - Qtet)
Sop. Sax.
(Tenor - Qtet)
Sop. Sax.
(Bari. - Qtet)
P J Floatingly q=108
Cantabile
ppp p mp p mp
Cantabile
p
Cantabile
ppp
ppp
p
p
Cantabile
Catango 5 - Score
mp
Fl.
Ob.
Bsn. 1
Bsn. 2
Cl. 1
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
P J Floatingly q=108
Tpt. 2
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Tba.
S. Bass
Mlts 1
Vib.
Mlts 2
Vib.
Vibraphone - hard yarn mallets - pedal as appropriate
mf
Vibraphone - hard yarn mallets - pedal as appropriate
mf
ff
ff
Timp.
Kit
Perc. 1
Cajon
Perc.
T.-t.
Tam-tam
mf
Wood Block
f
96 97 98 99 100

Sop. Sax.
(Quartet)
Sop. Sax.
(Alto - Qtet)
Sop. Sax.
(Tenor - Qtet)
Sop. Sax.
(Bari. - Qtet)
Mlts 1
Vib.
Mlts 2
Vib.
Sop. Sax.
(Quartet)
Sop. Sax.
(Alto - Qtet)
Sop. Sax.
(Tenor - Qtet)
Sop. Sax.
(Bari. - Qtet)
Mlts 1
Vib.
Mlts 2
Vib.
Sop. Sax.
(Quartet)
Sop. Sax.
(Alto - Qtet)
Sop. Sax.
(Tenor - Qtet)
Sop. Sax.
(Bari. - Qtet)
Mlts 1
Vib.
Mlts 2
Vib.
Catango 5 - Score
13
p
mp
p
mp
mp p mp
mp p mp
101 102 103 104 105
3
3
3
106 107 108 109 110
K
mf
mf
3 3 3 3
mf
mf
K
111 112 113 114

14
Sop. Sax.
(Quartet)
Sop. Sax.
(Alto - Qtet)
Sop. Sax.
(Tenor - Qtet)
Sop. Sax.
(Bari. - Qtet)
Catango 5 - Score
3 3 3 3
3 3 3 3 3 3 3 3
3 3 3 3
3 3 3 3 3 3 3 3
Mlts 1
Vib.
Mlts 2
Vib.
115 116 117 118
Sop. Sax.
(Quartet)
Sop. Sax.
(Alto - Qtet)
Sop. Sax.
(Tenor - Qtet)
Sop. Sax.
(Bari. - Qtet)
3
3
3
3 3 3 3 3 3 3 3
3 3 3 3
3
3
3 3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3
f
f
f
f
Mlts 1
Vib.
Mlts 2
Vib.
fff
119 120 121
fff
Sop. Sax.
(Quartet)
rit.
mf mp p
TO THE CONDUCTOR:
Commence some bird calls
at the beginning of 127.
Sop. Sax.
(Alto - Qtet)
mf mp p
Sop. Sax.
(Tenor - Qtet)
Sop. Sax.
(Bari. - Qtet)
mf mp p
mf mp p
Mlts 1
Vib.
Mlts 2
Vib.
rit.
f
f
122 123 124 125 126 127

Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Catango 5 - Score
15
L Bird soundscape M q Nimrod, the hunting cat q=96
To the Conductor: see notes in front matter of score for further explanation
Alto Saxophone
Change to Alto Saxophone
Change to Tenor Saxophone
Tenor Saxophone
Baritone Saxophone
Change to Baritone Saxophone
Fl.
Ob.
Bsn. 1
Tutti
mp
mp
mp
Bsn. 2
mp
Cl. 1
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2
Hn. 1
mp
mp
mp
L Bird soundscape M q Nimrod, the hunting cat q=96
mp
mp
mp
mp
mp
mp
mp
mp
mp
mp
mf
Tutti
Tutti
Tutti
Hn. 2
mp
Tbn. 1
mp
Tbn. 2
Euph.
mp
Tba.
mp
S. Bass
Pizz
mp
Mlts 1
Vib.
Mlts 2
Glock.
Timp.
Xylophone
Glockenspiel
Use different Bird Whistles to create soundscape - play at different times
A-C-E§-F
mp
mp
Kit
Perc. 1
Cajon
Perc.
Perc. 3
Aux.
128 129 130 131 132

16
Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Catango 5 - Score
f
f
f
3
f
3
3
3 3
3
3
Fl.
Ob.
Bsn. 1
Bsn. 2
Cl. 1
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
mp
mf
mf mf f
mf
mf mf f
mf
mf mf f
mf mf mf f
mf mf mf f
mf
mf
mf
mf
mf
f
mf
f
f
f
mp mf mf f
mf
mf
f
Tpt. 1
Tpt. 2
mf mf f
mf mf f
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Tba.
S. Bass
Mlts/Aux. 1
Xyl.
Mlts/Aux. 2
Glock.
Timp.
Kit
mf
f
mf mf f
mf mf f
mf mf f
mf mf f
mf
f
mf
mf
mf
f
Ride
Perc. 1
Cajon
Perc. 2
Cym.
Perc. 3
Aux.
133 134 135 136 137 138 139

Sop. Sax.
(Quartet)
Catango 5 - Score
17
N Catch.that.mouse. b q=160
mf
Alto Sax.
(Quartet)
mf
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Detached
mf
Fl.
Ob.
mf
Bsn. 1
Bsn. 2
Cl. 1
Cl. 2
mf
mf
mf
B. Cl.
mf
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2
mf
N Catch.that.mouse. b q=160
mf
mf
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Tba.
S. Bass
Mlts/Aux. 1
Xyl.
Mlts/Aux. 2
Glock.
Timp.
Kit
Perc. 1
Cajon
Perc. 2
Cym.
Perc. 3
Aux.
A>C, C>D, E§>F, F>G
mf
mf
mf
mf
mf
Ride Cymbal
Ratchet
f
f
140 142 144 145
Whistle
(Ride)
Tambourine

18
Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Fl.
Ob.
Bsn. 1
Bsn. 2
Cl. 1
Cl. 2
B. Cl.
O
mf
mp
f
fp
f
3 3
fp f
f
(sim.)
f fp f
f
f
mp
f
fp
f
f
+Picc.
Catango 5 - Score
fp
fp
fp
3 3
3 3
f
f
f
f
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
mf
mf
f
f
Divide
Bari. Sax.
f
Tpt. 1
Tpt. 2
Hn. 1
O
mp f fp f
Divide
mp
f
Hn. 2
Tbn. 1
Tbn. 2
Euph.
f
f
f
Tba.
f
S. Bass
Mlts/Aux. 1
Xyl.
Mlts/Aux. 2
Glock.
Timp.
mf
f
f
f
Kit
Perc. 1
Cajon
Perc. 2
Cym.
Perc. 3
Aux.
Hi-hat
Ride
Toms
mf
Cajon
f
f
Hi-hat
(Hi-hat)
(Tamb.)
f
f
147 149 150
fp
(Cajon)

Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Fl.
Ob.
Bsn. 1
Bsn. 2
Cl. 1
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Tba.
S. Bass
Mlts/Aux. 1
Xyl.
3 3 5
fp f fp f
3 3 5
fp f fp f
fp
f
fp f fp f
fp f fp f f
fp
Div.
fp f f
fp
Catango 5 - Score
19
Growl
Growl
f
Growl
fp
f
fp f fp f
fp
fp
mf
mf
mf
mf
mf
Tutti
mf
mf
f
f
f
mf
f
Divide
mf
f
f
f
mf
mf
f
3 3
5
mf
f
f
f
f
f
f
f
f
Growl
Flutter tongue
Mlts/Aux. 2
Glock.
Timp.
Kit
Perc. 1
Cajon
Hi-hat
Ride
Hi-hat
Toms
Perc. 2
Cym.
Sus. Cym.
mp
ff
Perc. 3
Aux.
f
151 153 154 155 156
fp

20
Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Fl.
Ob.
Bsn. 1
Bsn. 2
Cl. 1
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
P
f
P
f
f
f
f
Tutti
Prepare to Clap
Catango 5 - Score
fp
fp
fp
fp
fp
fp
fp
fp
fp
fp
fp
fp
Tpt. 2
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
f
fp
fp
Prepare to Clap
fp
fp
fp
Tba.
S. Bass
Mlts/Aux. 1
Xyl.
Mlts/Aux. 2
Glock.
Timp.
Kit
f
Rim shot
Perc. 1
Cajon
(Cajon)
f
Perc. 2
Cym.
(Sus. Cym.)
mp
Perc. 3
Aux.
Cowbell
mf
157 158 159 160 161 162 163

Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Fl.
Q o Cat. Shaken, not stirred. q=144
mf
f
mf
mf
mf
Catango 5 - Score
21
f
f
f
Ob.
Bsn. 1
Bsn. 2
mf
mf
Cl. 1
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
mf
mf
f
f
mf
mf
mf
mf
Clt down
Clt down
Handclap - high in the air - like you're dancing a salsa
f
f
f
Tpt. 1
Tpt. 2
Q o Cat. Shaken, not stirred. q=144
f
f
Hn. 1
mf
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Tba.
mf
mf
mf
mf
S. Bass
Mlts/Aux. 1
Clap
Mlts/Aux. 2
Clap
Timp.
To Tamb.
Handclap - high in the air - like you're dancing a salsa
f
To W.B.
Handclap - high in the air - like you're dancing a salsa
f
Kit
Rim of snare
f
Perc. 1
Cajon
Perc. 2
Cym.
Perc. 3
Aux.
f
Handclap - high in the air - like you're dancing a salsa
f
164 165 166 167 168 169 170

22
Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Fl.
Ob.
Bsn. 1
Bsn. 2
Clt. 1
Clt. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2
Hn. 1
Hn. 2
Tbn. 1
R
3
3
wah-wah
- wah-wah
mf
+Picc. (lower 8ve)
mf
wah-wah
- wah-wah
wah-wah
- wah-wah
wah-wah
- wah-wah
mf
mf
mf
mf
mf
mf
mf
mf
mf
3
3
mf
mf
To Cl.
Clarinet in Bb
To Cl.
mf
mf
To Tpt.
To Tpt.
R
Tutti
Catango 5 - Score
mf
Tbn. 2
Euph.
Tba.
mf
S. Bass
mf
Mlts/Aux. 1
Tamb.
Mlts./Aux. 2
W.B.
Tambourine
mf
Woodblock
mf
Timp.
Kit
Perc. 1
Clap
Perc. 2
Cym.
Perc. 3
Aux.
C D F G
mf
mf
mf
Hi-hat
(Clap)
mf
Hi-hat
Tambourine
mf
mf
171 173 174 175 176 177

Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Fl.
Ob.
Bsn. 1
Bsn. 2
S
Dolce
3 3
3
3 3
3 3
Tutti (+Picc.)
Dolce
f
mf
Catango 5 - Score
23
3
3
mf
Dolce
3 3
Cl. 1
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Tba.
f
mf
mf
mf
mf
mf
mf
f
f
f
mf
Dolce
S
Dolce
Dolce
mf
Dolce
S. Bass
f
Mlts/Aux. 1
Tamb.
Mlts./Aux. 2
W.B.
(Tambourine)
mf
(W.B.)
f
Timp.
Kit
Perc. 1
Clap
Perc. 2
Cym.
(Hi-hat)
Toms
(Clap)
Cajon
mf
f
f
(Hi-hat)
Crash
Perc. 3
Aux.
(Tambourine)
f
178 179 181 182 183

24
Sop. Sax.
(Quartet)
Catango 5 - Score
riten.
Percussion knock over garbage bins and other things to represent cats on the prowl in an alley.
Band vocalise cat hissing sounds and possibly a dog bark - get creative!
Solo sax quartet emulate sounds of cats howling at each other - pitch bending in higher octaves.
A spotlight shines from stage right to stage left and all heads turn with it - like a cat has run past.
Quartet/band look at each other, then the conductor. All shrug their shoulders and launch into U.
T Alley cat
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Fl.
Ob.
Bsn. 1
Bsn. 2
Cl. 1
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
f
f
f
f
f
f
f
f
Tpt. 1
riten.
T
Alley cat
Tpt. 2
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Tba.
f
f
f
f
f
f
f
S. Bass
Mlts/Aux. 1
Tamb.
(Tambourine)
mf
f
Xylophone
Mlts./Aux. 2
W.B.
(W.B.)
Glockenspiel
Timp.
Kit
Perc. 1
Cajon
Perc. 2
Cym.
Perc. 3
Aux.
(Cajon)
(Hi-hat)
Sus.
(Tambourine)
mf
ff
Knock over metal garbage bins with noise-making objects inside, add other random
sounds that are appropriate to your band's composition
mf ff Smash cymbals - add any auxilliary
percussion you wish to add tension
mf
f
Add auxilliary percussion deemed appropriate to add tension & colour
184 185 186 187 188

Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Fl.
Ob.
Bsn. 1
Bsn. 2
Cl. 1
Cl. 2
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Tba.
S. Bass
Mlts/Aux. 1
Xyl.
Mlts/Aux. 2
Glock.
Timp.
Kit
Creep in..
Catango 5 - Score
25
U Run away! n q.=72
molto accel.
Creep in..
sub. p
sub. p
Creep in..
sub. p
mp
mp
mp
mp
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
Creep in..
Creep in..
mp
mf
U Run away! n q.=72
molto accel.
mp
mp
mp
mp
mp
sub. p
Creep in..
mp
sub. p
mf
mf
C>B§, F>E§ G>F#
Ride/Sus. Cym.
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
Perc. 1
Cajon
To Cajon
Perc. 2
Cym.
To Sus. Cymbal
Perc. 3
Aux.
To Tambourine
189 190 191 192 193 194 195
(Tambourine)
mf

26
Sop. Sax.
(Quartet)
Alto Sax.
(Quartet)
Ten. Sax.
(Quartet)
Bari. Sax.
(Quartet)
Fl.
Ob.
Bsn. 1
Bsn. 2
Cl. 1
Cl. 2
5
(+Picc.)
f
5
ff
f
ff
Furiously q=172
molto riten.
f
f
5
f
f
f
f
f
f
5
5
5
6
Catango 5 - Score
ff
ff
ff
ff
ff
ff
ff
ff
B. Cl.
Alto Sax. 1
Alto Sax. 2
Ten. Sax.
Bari. Sax.
Tpt. 1
Tpt. 2
Hn. 1
Hn. 2
Tbn. 1
Tbn. 2
Euph.
Tba.
S. Bass
Mlts/Aux. 1
Xyl.
Mlts/Aux. 2
Glock.
Timp.
Kit
Perc. 1
Cajon
Perc. 2
Cym.
Perc. 3
Aux.
5
f
ff
f
6
ff
f
ff
f
ff
5
Arco
Pizz.
f
ff
f
ff
f
Furiously q=172
molto riten.
f
opt. top octave ff
f
ff
f
f
f
f
ff
f
ff
f
ff
f
mf
Hi-hat
(Cajon)
Sus. Cym.
(Sus. Cym.)
(Tambourine)
mp f ff
f
196 197 198 199 200 201
f
f
ff
ff
ff
ff
ff
ff
ff
ff
ff