BLACKSHAW_13 Moons_SCORE_9x12_v3.1

13 Moons
Four composing pieces
for wind bands of all ages
5

TEACHING PERFORMANCE THROUGH COMPOSITION
The Teaching Performance through Composition series brings many more
13 Moons style composing opportunities to you and your students.
Books One-Four available through Murphy Music Press Incorporated.
http://murphymusicpress.com/
Individual purchases of selected resources in PDF along
with professional development packages available at
jodieblackshaw.com
© ColourFULLM usic 202 2

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

13 Moons
C O M P O S I N G P I E C E S F O R W I N D E N S E M B L E
JODIE BLACKSHAW
INSTRUMENTATION
Flute
Oboe
Clarinet (high & low) in B !
Bass Clarinet in B !
Alto Sax in E !
Tenor Saxophone in B !
Baritone Saxophone in E !
Trumpet in B !
French Horn in F
Trombone/Baritone/Bassoon
Tuba
13 Moons: North
Mallets A, B, C (for three players)
Bass Drum
13 Moons: East
Mallets Treble Clef/Bass Clef
Woodblock, Cymbal
Timpani
13 Moons: South
Glockenspiel, Marimba
Hi-hat, Claves, Woodblock
Bass Drum
13 Moons: West
Mallets Treble Clef/Bass Clef
Add own choice percussion during
compositional process
©2022 Wallabac Music. All rights reserved.
International rights secured.
www.jodieblackshaw.com

Check out the online Conductor’s Notes at:
https://www.jodieblackshaw.com/13-moons-conductors-notes
SCAN ME

What are Composing Pieces?
T REHEARSAL NOTES T
These are works specifically designed to teach students about music making from the inside out. Each piece
provides the Director and their students with a set of pitch material based in a particular key, including scales,
melody, counter-melody, accompaniment, ostinato etc.. Over a series of rehearsals, the students not only
learn how to play the material, they compose with the elements of structure, timbre, texture and expression
to create their very own, original piece of music.
Know that these decisions are made by the students – not the Director. The Director is there as a facilitator
– allowing students to engage with each other and make musical decisions based on their own listening,
ideas and creative thought. Learn more about this approach over the page – you can achieve this without
compromising your structured teaching environment – promise J.
Why program a Composing Piece?
To reach the 21 st Century child, I believe that a Band Director needs to alter their considerations for repertoire
selection and teaching approach. It is not enough anymore to simply select repertoire and teach students
how to play it. Why? Because the 21 st Century child has become a more independent learner as a result of
technology. No longer is the “expert” the only source of information – the internet allows children to learn a
great deal about the world around them all by themselves. Educational ideology engaging this
independence such as Project Based Learning, Kagan Cooperative Learning Structures and Reciprocal Peer
Questioning Strategies has infiltrated virtually every other subject area. Hence what are we doing as Band
Directors to remain educationally present and ensure that the 21 st Century student holds interest in
instrumental music making?
Based on my experience, the answer lies with composing pieces.
When we allow our students to think creatively in our rehearsals, they develop a deep attachment to the
music because they have been directly involved in the decision-making process. This is a powerful tool to
use in our learning environments and one that is often overlooked.
To program a Composing Piece means to hold back and allow students to learn through discovery. This
learning can then be applied to all other repertoire you are currently playing, enabling deeper
comprehension and connection. All of this leads to creating musical thinkers who are invested in their own
music making – it is more powerful than you can ever imagine. So strap in and get ready for the ride of your
life!
“The most beautiful thing we can experience is the mysterious. It is the source of all true art
and science. Those to whom this emotion is a stranger, who can no longer pause to wonder
and stand rapt in awe, are as good as dead; their eyes are closed.”
— Albert Einstein
i

13 Moons explained
There are 4 ‘composing’ pieces in this suite, and they take their titles from the compass points; North, South,
East and West. If you move in a clockwise direction around the points, beginning at North, you will get an
idea of how the movements are structured in terms of level of difficulty:
N
W
E
S
Here is a scope and sequence that details the educational growth between the Grade 1 composing piece,
13 Moons: North and the Grade 3+ composing piece, 13 Moons: West:
SCOPE AND SEQUENCE
Concept
13 Moons:
North
13 Moons:
East
13 Moons:
South
13 Moons:
West
Pitch
Concert Bb Major
1. Harmonized
Melody
2. Counter
Melody
(optional)
Concert G Minor
1. Melody
2. “Creepy”
Accomp.
(harmonic
clashing)
Concert C Major
1. Melody
2. Accompaniment
3. Ostinato
Concert Eb whole
tone
1. Leit motifs (3)
2. Drone
3. Colour motif
4. Connecting
material
Structural
Components I
(Standard)
A material only
TUTTI
SOLI
LAYER-IN
LAYER-OUT
A material only
+ SOUNDSCAPE
+ SOLO
+ 2-part ROUND
+ M/A (Melody/
Accomp.)
A+B material
+ M/A (Melody &
Accomp.)
+ Multi-layered
textural passages.
A+B+C material
PLUS transition
material
(that may or may not
be used)
Structural
Components II
(For more
Advanced
players)
SOUNDSCAPE
SOLO
M/C (Melody &
Accomp.)
+ ECHO
+ 4-part ROUND
+S/A (Solo &
Accomp.)
(1/2 soloists, one
playing melody, one
playing counter
melody plus
accompaniment)
Introduce formal
terminology: Binary,
Ternary, Rondo,
Sonata
Textural
Complexity
1. Unison rhythm in
main melody.
2. Two
simultaneous
lines (with opt.
counter melody)
1. Alternate parts
overlapping
(round).
2. Clashing
harmonic
accompaniment.
1. Four independent
pitched ostinatos
(w/w, brass).
2. Three nonmelodic
ostinatos
(perc).
1. Overlapping of
three alternate
melodic figures
(leit motifs) one of
which is in two
parts.
2. Addition of
transition material.
ii

TWO-STAGE LEARNING PROCESS
This work has been especially designed to be learned in two stages… BUT!! It depends…
If your students are young and/or inexperienced, I highly recommend completing Stage One before doing
anything creative. This will ensure safety and confidence is always maintained.
However; if your students are more senior with reasonable sight-reading skills, they will not need to complete
Stage One – so you can simply read through the material as a warm-up then jump right in to the
compositional process!
Stage One: Learning the notes
The Stage One teaching approach suggested here utilizes two of the three educational pillars – skill (the
what and how) and romance (the creative process that allows students to play with ideas):
Skill: Students need the necessary skill-set to play most of the notes asked of them in the Moon you have
selected (North, South, East or West).
Romance: Provide your students with the opportunity to discover how to play all the notes by themselves
(see No. 2 Notes to Know) and then apply this to a specific rhythm (no. 3 – see below).
Stage Two: The compositional process
The Stage Two teaching approach suggested here also utilizes an alternate two of the three educational
pillars of romance and context (placing skills and romantic ideas into a place that is relevant to the learner):
Now that your students have the skills to play the melody (and counter-melody too if you choose to use it)
and have played around with these musical motifs, you can apply this knowledge to a compositional process.
This will reach your students as individuals and unify them as a whole with regard to musical thinking and
performance (seriously!).
Romance: Provide your students with initial ideas and time to create a musical composition using structure,
tone colour, texture and expressive techniques. Embellish these elements to include ensemble balance,
voicings and appropriate octave ranges for specific instrumental families.
Context: The ‘Why’! To contextualise the music, you can do one of the following (or you may have your own
ideas – that’s perfectly fine too!):
ü Students link personal experiences they have had with the moon to the pitch material (for
example, a camping trip, memories of seeing the moon on a particular night of significance
etc..) and base their musical composition around this;
ü Students link a story from a text about the moon (such as Thirteen Moons on Turtle’s Back –
see page viii), and link that to their musical intent;
Understanding why the music is written is often overlooked. Context provides the all important ‘why’ and
ensures the music is saying something and isn’t just a set of elements smashed together.
iii

SUGGESTED TEACHING APPROACH
STAGE ONE: Learning the notes
Once students can play the material detailed on this stencil they will have the confidence and capability to
compose with the materials and create their own structured piece of music.
Here is an example of how a “13 Moons” part looks to a student:
Explaining each element on the page:
1. What key are we in?
It is not expected that all students will be able to play the full scale listed here. This simply identifies one full
octave of the key in which the work is based. Explain this using your own methods and take the opportunity
to make key and key signature part of your regular vocabulary.
2. Notes to know
This demonstrates to students the notes they need to know inside the key in which the piece is composed. I
strongly encourage you to invite students to explore these notes individually and with the person they sit
next to on the same instrument. Using communal knowledge to work out new notes provides a deeper
understanding for students because these are discovered not taught.
Jean Piaget said:
iv

“Children should be able to do their own experimenting and their own research. Teachers, of
course, can guide them by providing appropriate materials, but the essential thing is, that in
order for a child to understand something, he must construct it himself, he must re-invent it.
Every time we teach a child something, we keep him from inventing it himself."
“Some Aspects of Operations”, Loyola University Symposium entitled 'Play and Development', 1972
PLEASE NOTE: In 13 Moons South and West students are asked to find and notate the notes they
are required to know in order to play their parts. Please provide time for this.
3. Melody
Directors are invited to teach the melody aurally at first by adding conversational, rhythmically relevant words.
For example in 13 Moons: North, try this:
TEACHING TIPS:
• Teach the words through call and response.
• Invite students to change the words “over sea” and “through the trees” whilst maintaining the
rhythm. (They can work with the person next to them in ensemble).
• Once students know no. 2 and the rhythm to no. 3, have them try and play their part to no. 3.
• Share your no. 3 part with a friend from another side of the band.
• Play your no. 3 part in small chamber groups.
• Listen to each section in the band play no. 3. Build the harmonized melody from the bass up and
invite students to comment on how each instrument changes the colour of the sound. Each time they
are still practicing their part, but you are engaging them in another way!
• Use the same ideas for teaching no. 4 (and all other materials detailed in other moons).
b a
v

Stage Two: Compositional Process
Below is the suggested timeline for 13 Moons: North. Read and utilise some of the components for East.
Alternatively, purchase the Teaching Performance through Composition Professional Development Pack!
Timeline
Lesson 1
Lesson 2
Activity
BIG IDEA: Tone Colour & Blend
1. Hand out “Tone Colour” vocabulary stencil (see Addendum 1)
2. Build the harmony to no. 1 in this order:
a. Trumpet/Clarinet/Alto Saxophone
b. ADD Horns
c. ADD Trombone
d. ADD Euphonium/Tuba/Bass reeds
e. ADD Percussion
f. ADD Flute
g. ADD Tenor Saxophone
h. ADD Oboe
With the addition of each new tone colour, invite students to discuss with the
person next to them, what vocabulary words they would use from the stencil to
describe the sound they have heard.
Students make their own notes and openly discuss their vocabulary choices.
When there is a difference of opinion, invite students to display their preference
(with a show of hands). THERE IS NO RIGHT ANSWER HERE!
GOAL: Students develop an initial understanding of blend of tone colour throughout the
ensemble and form their own opinion on what words they would use to describe those
blends of colour, and whether or not they like them.
BIG IDEA: Composing with structure
1. Introduce structural components TUTTI – SOLI
2. Using structure cards on a whiteboard (see Addendum 2) suggest a structured
performance (something simple like TUTTI – SOLI – TUTTI).
3. Play
4. Add LAYER-IN (i.e. Divide the band into manageable groups such as
woodwinds, brass, percussion and have them layer upon each other with each
repetition of the melody).
5. Using structure cards (see Addendum 2) suggest a structured performance
(something simple like LAYER-IN - SOLI – TUTTI)
6. Record and listen back – invite discussion (to learn how to do this using super
effective cooperative learning structures, see page viii regarding online training).
TEACHING TIP
Different ways to play SOLI:
• Select a section to play the whole melody by themselves.
• Use 2 different instrumental SOLI sections – for example woodwind and brass to
play one phrase each.
vi

Lesson 3
Lesson 4
Lesson 5
Optional
Lesson 6
(for advanced
groups)
Optional
Lesson 7
BIG IDEA: Introducing voicing.
1. Introduce Soprano – Alto – Tenor – Bass voicings as Sun – Air – Trees – Birth
(Use the visual aid if desired – see Addendum 3)
2. Invite each instrument group to play a concert Bb around the ensemble – students
listen and decide where they fit in terms of S – A – T – B.
3. Your students will come to this conclusion much like this:
a. S: Flute/Glockenspiel
b. A: Oboe, Clarinet, Alto Saxophone, Horn, Trumpet
c. T: Tenor Saxophone, Trombone, Bassoon, Euphonium
d. B: Bass Clarinet, Baritone Saxophone, Tuba, String Bass
4. Play Harmonized melody in each grouping – then try different combinations.
5. Using tone colour stencil – describe colours with this and own words.
6. Make decisions about what is preferred and how to use it.
BIG IDEA: Why? What are we trying to achieve?
Life is too short to play music without meaning! Give your composition a meaning, a
story, a purpose and use this to influence the structure.
1. Explore other materials such as the text that inspired this work “13 Moons on
Turtle’s Back” (see details below under Moral Rights and Literacy).
Other good websites to explore are:
https://www.almanac.com/content/full-moon-names
https://www.wwu.edu/skywise/indianmoons.html
http://www.greatdreams.com/moon/moon_worship.htm
2. Divide ensemble into four (or less) mixed groups and invite students to research
and discuss a possible storyline and/or deeper meaning for the composition.
3. Once they reach a decision regarding meaning, groups are invited to create a
structure surrounding this using the structural elements you have introduced so
far (and possibly others, depending on the capability of the group).
4. Groups present their ideas to each other.
1. Using structure cards on a whiteboard, play through each of the small group
composition structures – RECORD.
2. Listen and invite discussion (see page viii regarding online training).
3. Decide on one form that the majority thinks will work best.
4. Rehearse and prepare that form for performance.
BIG IDEA: In the voicing of some sections – is there a need for a “top” melodic line for
all others to make sense. (Flute line is such, but invite instrumental groups to play their
line and have the students discover which one this is).
If yes – teach your students how to transpose the Flute line for the required instrument
and use when appropriate (see Addendum 4 – you’ll need to explain this).
BIG IDEA: Considering octaves for intensity
Invite student to try their parts in upper or lower octaves (where possible) and listen for
the change in colour and voicing. Apply to the composition where appropriate.
Your composition should now be complete. Have the students use the “Create your own
Structure” box at the bottom of the page to write down the composition created. Make
sure they write down EVERYTHING – not just their part.
vii

Optional
Lesson 8
Lesson 9
Lesson 10
BIG IDEA: Transforming the educator into the conductor
Now that the composition is mostly complete – SHOW your students the REAL purpose
of the conductor – you are there to direct the music, not beat time and not teach!
Discuss the following and relate them to your gesture:
ü Phrasing
ü Articulation
ü
ü
Dynamic contrast
Tempo
ü Ensemble balance
ü Line
FINAL REHEARSAL – record and invite discussion (to learn how to do this using super
effective cooperative learning structures, see below regarding online training).
Tweak where necessary.
Perform in a concert or present as an Informance detailing the learning process!
ONLINE TRAINING COURSE
If these lessons seem a little overwhelming, or you feel you need a little more support, there is the
option of purchasing an pre-recorded online training course. This will not only guide you through
this process but will also provide extra tools and teaching tips to ensure your first attempt is a
positive experience for you and your students.
Keen? Please go to jodieblackshaw.com and search for the TPTC Professional Development Pack
in the online store. It is an instant download.
KEEPING BAND REPERTOIRE RELEVANT TO AUDIENCES
Consider presenting the compositional process to an audience through an ‘Informance’. This will:
ü
ü
ü
share knowledge gained through the process of learning
explain how the piece has grown and developed over time
reflect on how this experience has effected their musical thinking.
Parents, friends and the greater community will learn a great deal about music through this process and will
be fascinated by what their children have been doing during band class. It is a very powerful experience for
all concerned – I dare you!
MORAL RIGHTS AND LITERACY
This work is inspired by the text from Thirteen Moons on Turtle’s Back, written by Joseph Bruchac and
Jonathon London, illustrated by Thomas Locker, published by Random Penguin House, USA. You can
purchase the book directly from the publisher here:
http://www.penguinrandomhouse.com/books/336154/thirteen-moons-on-turtles-back-by-josephbruchac/9780698115842/
The publisher has granted rights to link this composition to this book, a perfect introduction to Native
American culture, aimed at children of a 4-8 year old reading age.
This text is also listed as part of the Authentic First Peoples Resources (K-9) as put together by the First
Nations Education Steering Committee. To obtain this list of texts, please visit: http://www.fnesc.ca/k-7/
viii

FIRST PEOPLES PRINCIPLES OF LEARNING
Principles of learning focused on during the creation of this work are as follows:
• Learning ultimately supports the well-being of the self, the family, the community, the land, the spirits,
and the ancestors.
• Learning is embedded in memory, history and story.
• Learning is holistic, reflexive, reflective, experiential, and relational (focused on connectedness, on
reciprocal relationships, and a sense of place).
• Learning involves generational roles and responsibilities.
• Learning involves patience and time.
COMMISSION
Commissioned by the University of British Columbia Conducting Symposium Consortium hosted by Dr.
Robert Taylor, Director of Bands:
v W.J. Mouat Secondary School, Janet Wade (Abbotsford, British Columbia)
v American Community School, Christopher Ward (Abu Dhabi, UAE)
v Mulgrave Schools, Mark Steffens (West Vancouver, British Columbia)
v Seaquam Secondary School, Jill Sparrow-Ng (Delta, British Columbia)
v Seycove Secondary School, Risa McDonell (North Vancouver, British Columbia)
v Tristan Roush, Kent, WA (USA)
My sincere gratitude is extended to Janet Wade of W.J. Mouat Secondary School for her passion and
persistence in driving this project to fruition.
T PROGRAMME NOTES T
There are no set programme notes for this work as you and your students are the composers. Write your
own notes to reflect upon your compositional journey to share information about your original composition
with the audience. (Or better still – create a video presentation showing the process!)
T ABOUT THE COMPOSER T
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. This includes the launching
her new series “Teaching Performance through Composition”.
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
ix

Fl.
°
& bb
1. What key are we in?
This work was commissioned by the UBC Conducting Symposium Consortium
13 Moons: North
For instrumentalists who can play a Concert Bb Major Scale
Concert Bb Scale for YOU is Bb Major
bœ
œ œ bœ
œ œ œ bœ œ œ bœ
JODIE BLACKSHAW
Oboe
&b b
Concert Bb Scale for YOU is Bb Major
bœ
œ œ
bœ
bœ
œ
œ
œ
œ
œ
œ
bœ
bœ
Cl.
&
Concert Bb Scale for YOU is C Major
œ œ œ œ œ
œ
œ
œ
œ
œ
œ
B. Cl.
¢ &
Concert Bb Scale for YOU is C Major
œ œ œ œ œ œ œ œ
A. Sax
°
& #
Concert Bb Scale for YOU is G Major
œ œ œ œ œ
œ
œ
# œ
# œ
œ
œ
T. Sax
B. Sax.
&
¢ & #
Concert Bb Scale for YOU is C Major
œ
œ
œ
œ
Concert Bb Scale for YOU is G Major
œ œ œ œ œ œ
œ œ œ œ œ œ
œ œ œ œ œ œ # œ œ
Tpt.
°
&
1. What key are we in?
Concert Bb Scale for YOU is C Major
œ œ œ œ œ œ œ œ
F Hn.
Trb./Bar. BC/
Bsn.
&b
? b b
Concert Bb Scale for YOU is F Major
œ œ œ
bœ
bœ
œ œ œ œ œ œ œ
œ
Concert Bb Scale for YOU is Bb Major
bœ
œ œ bœ
œ œ œ bœ
Euphonium/
Baritone TC
&
Concert Bb Scale for YOU is Bb Major
œ œ œ œ œ œ œ nœ
Tuba
Mallets A
?
¢ b b
°
& bb
Concert Bb Scale for YOU is Bb Major
bœ
œ œ bœ
œ œ œ bœ
Concert Bb Scale for YOU is Bb Major
bœ
œ œ bœ
œ œ œ bœ
Mallets B
& bb
Concert Bb Scale for YOU is Bb Major
bœ
œ œ bœ
œ œ œ bœ
Mallets C
Bass Drum
(Ostinato)
¢ & bb
° ?
¢ b b
Concert Bb Scale for YOU is Bb Major
bœ
œ œ bœ
œ œ œ bœ
Concert Bb Scale for YOU is Bb Major
Play this scale on Marimba
Bb C D Eb F G A Bb
bœ
œ œ bœ
œ œ œ bœ

2
Fl.
13 Moons: North
2. Notes to Know
These are the ONLY notes you need to know to play the harmonized melody (3) - can you play them all?
°
&b b bœ
œ œ bœ
œ œ
Ob.
& bb
œ œ bœ
œ
Cl.
&
œ œ œ œ
B. Cl.
A. Sax
¢ &
°
& #
œ œ œ œ œ œ
œ œ œ œ
T. Sax
&
œ œ œ œ œ
Bari. Sax.
¢ & #
œ œ œ œ œ œ
Tpt.
°
&
2. Notes to Know
These are the ONLY notes you need to know to play the harmonized melody (3) - can you play them all?
œ œ œ œ œ
F Hn.
Trb.
& b
? b b
œ œ œ œ
œ œ bœ
Euph.
&
œ œ œ œ
Tuba
Mlts. A
?
¢ b b
bœ
œ œ bœ
œ œ
°
&b b
bœ
œ œ bœ
œ œ
Mlts. B
&b b
œ œ bœ
œ œ
Mlts. C
¢ & bb
œ
bœ
œ œ
B. D.
°
¢ / b
b
Bass Drum
œ Œ Ó œ œ Ó

Fl.
3. Harmonized melody
13 Moons: North
To the conductor: written this way to teach students when to release.
Play up the octave if you can!
°
&b b 3
œ œ ˙ ˙
4
˙ w ˙ œ Œ œ œ ˙ ˙ ˙ w ˙ œ Œ
3
Ob.
&b b 4
œ œ ˙ ˙ ˙ w ˙ œ Œ œ œ ˙ ˙ ˙ w ˙ œ Œ
Cl.
&
4
œ œ ˙ ˙ ˙ w ˙ œ Œ œ œ ˙ ˙ ˙ w ˙ œ Œ
B. Cl.
¢ &
4
œ œ ˙
˙
˙ w ˙ œ
Œ œ œ ˙ ˙
˙ w ˙ œ Œ
Alto Sax.
°
& #
4
œ œ ˙ ˙ ˙ w ˙ œ Œ œ œ ˙ ˙ ˙ w ˙ œ Œ
Ten. Sax.
&
4
œ œ ˙ ˙ ˙ w ˙ œ Œ œ œ ˙ ˙ ˙ w ˙ œ Œ
Bari. Sax.
¢ & # 4
œ œ ˙
˙
˙ w ˙ œ Œ œ œ ˙ ˙
˙ w ˙ œ Œ
Tpt.
°
&
3. Harmonized melody
4
œ œ ˙ ˙ ˙ w ˙ œ Œ œ œ ˙ ˙ ˙ w ˙ œ Œ
Hn.
&b
4
œ œ ˙ ˙ ˙ w ˙ œ Œ œ œ ˙ ˙ ˙ w ˙ œ Œ
Tbn.
? b b
4
œ œ ˙ ˙ ˙ w ˙ œ Œ œ œ ˙ ˙ ˙ w ˙ œ Œ
Euph.
&
4
œ œ ˙ ˙ ˙ w ˙ œ Œ œ œ ˙ ˙ ˙ w ˙ œ Œ
Tuba
? ¢ b b4
œ
Play as smoothly as possible
˙ ˙ ˙
w ˙ œ Œ œ œ ˙ ˙ ˙ w ˙ œ
Œ
Mlts. A
°
&b 4 œ œ ˙ ˙ ˙ w ˙ œ Œ œ œ ˙ ˙ ˙ w ˙ œ Œ
b
Metals preferred
Mlts. B
&
Metals preferred
4
œ œ ˙ ˙ ˙ w ˙ œ Œ
œ œ ˙ ˙ ˙ w ˙ Œ
Mlts. C
B. D.
¢ &
°
¢ /
4
Metals preferred
4 œ œ ˙ ˙ ˙ w ˙ œ Œ œ œ ˙ ˙ ˙ w ˙ œ Œ
Note to conductor: There are 2 different kinds of slurring patterns to avoid big breath gaps and cater for different instrumental capabilites
Bass Drum
œ Œ Ó œ œ Ó œ Œ Ó œ œ Ó œ Œ Ó œ œ Ó œ Œ Ó œ œ Ó

13 Moons: North
4
Fl.
4. Optional harmonized counter melody for more advanced players. Can you play your part up the octave?
Divide section into 3 and assign top, middle or lower notes to each group - can anyone play their part up the octave?
°
& bb ˙
Ó œ œ œ œ w ˙ ˙ œ œ œ œ w ˙ ˙ ˙ œ œ œ œ w
œ Œ
œ œ œ œ w
œ œ œ œ w
Ob.
Divide section into 2 and assign upper and lower notes to each group
&b b ˙
Ó œ œ œ œ w ˙ ˙ œ œ œ œ w ˙ ˙ ˙
œ œ œ œ w œ œ œ œ w
œ Œ
œ œ œ œ w œ œ œ œ w
Cl.
&
Ó
œ œ œ œ w
œ œ œ œ w
˙
w
œ œ œ œ ˙ ˙ ˙˙
œ œ œ œ w
œ œ œ œ w
œ
œ Œ œ œ œ œ w
B. Cl.
¢ &
Ó œ œ œ œ w ˙ œ œ œ œ w ˙ Ó ∑ Œ Œ œ œ œ œ w
Alto Sax.
°
& #
Ó
œ œ œ œ ˙ œ œ œ œ w ˙ ˙ œ œ œ œ w œ œ œ œ ˙ ˙ ˙
œ œ œ œ w œ œ œ œ w
œ Œ œ œ œ œ w œ œ œ œ w
Ten. Sax.
&
Ó œ œ œ œ w ˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ w œ Œ œ œ œ œ w
Bari. Sax.
¢ & #
Ó
œ œ œ œ w ˙ œ œ œ œ w ˙
Ó
∑
Œ Œ
œ œ œ œ w
Tpt.
°
&
4. Optional harmonized counter melody for more advanced players. Can you play your part up the octave?
Ó
œ œ œ œ ˙ œ œ œ œ w ˙ ˙ œ œ œ œ w œ œ œ œ ˙ ˙ ˙
œ œ œ œ w œ œ œ œ w
œ Œ œ œ œ œ w œ œ œ œ w
Hn.
& b
Ó
œ œ œ œ ˙ œ œ œ œ w ˙ ˙ œ œ œ œ w œ œ œ œ ˙ ˙ ˙
œ œ œ œ w œ œ œ œ w
œ Œ œ œ œ œ w œ œ œ œ w
Tbn.
? b b
Ó
œ œ œ œ w ˙ œ œ œ œ w ˙ œ œ œ œ w œ
Œ
œ œ œ œ w
Euph.
&
Ó œ œ œ œ w ˙ œ œ œ œ w ˙ œ œ œ œ w œ Œ œ œ œ œ w
Tuba
?
¢ b b Ó œ œ œ œ w ˙ œ œ œ œ w ˙ Ó ∑ Œ Œ œ œ œ œ w
Mlts. A
°
& bb
Ó
œ œ œ œ ˙ ˙ ˙ œ œ œ œ w ˙ œ œ œ œ w œ Œ
œ œ œ œ w
Mlts. B
&b b
Ó œ œ œ œ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ œ œ œ œ w œ Œ
œ œ œ œ w
Mlts. C
¢ & bb
Ó œ œ œ œ w ˙ œ œ œ œ w ˙ œ œ œ œ w œ Œ œ œ œ œ w
B. D.
°
¢ /
Bass Drum
œ Œ Ó œ œ Ó œ Œ Ó œ œ Ó œ Œ Ó œ œ Ó œ Œ Ó œ œ Ó

Flute
This work was commissioned by the UBC Conducting Symposium Consortium
13 Moons: East
For instrumentalists who can play a concert G natural minor scale
1. What key are we in?
Concert G minor scale for YOU is G minor
°
& bb œ œ bœ
œ œ bœ
œ œ
JODIE BLACKSHAW
Oboe
¢ &b b Concert G minor scale for YOU is G minor
œ œ bœ
œ œ bœ
œ œ
œ œ
Clarinet in Bb - high
°
&
Concert G minor scale for YOU is A minor
œ œ œ œ œ œ œ œ
Clarinet in Bb - low
&
Concert G minor scale for YOU is A minor
œ œ œ œ œ œ œ œ
Bass Clarinet
¢ &
Concert G minor scale for YOU is A minor
œ œ œ œ
œ
œ
œ
œ
œ
œ
œ
œ
Alto Saxophone
°
& #
Concert G minor scale for YOU is E minor
œ
# œ œ œ œ œ œ œ
Tenor Saxophone
&
Concert G minor scale for YOU is A minor
œ œ œ œ œ œ œ œ
Baritone Saxophone
¢ & #
Concert G minor scale for YOU is E minor
œ
# œ œ œ œ œ
œ
œ
œ
œ
Trumpet
°
&
1. What key are we in?
Concert G minor scale for YOU is A minor
œ œ œ œ œ œ œ œ
French Horn
&b
Concert G minor scale for YOU is D minor
œ œ œ œ œ œ œ œ
Trb./Bar./Bsn.
? b b
Concert G minor scale for YOU is G minor
œ œ bœ
œ œ bœ
œ œ
Tuba
?
¢ b b
Concert G minor scale for YOU is G minor
œ œ bœ
œ
œ
œ
b b œ
œ œ œ œ œ
Percussion 1
Mallets - TC
°
& bb Concert G minor scale for YOU is G minor
œ œ bœ
œ œ bœ
œ œ
Percussion 2
Mallets - BC
Timpani
?
¢ b b
Concert G minor scale for YOU is G minor
G A Bb C D Eb F G
œ œ bœ
œ œ bœ
œ œ

2
Fl.
°
&b b
2. Notes to Know for Melody
œ
bœ
œ œ œ bœ
13 Moons: East
œ
Ob.
¢ & bb
œ œ œ bœ
œ œ bœ
Cl. (high)
°
&
œ œ œ œ œ œ œ
Cl. (low)
&
œ œ œ œ œ œ œ
B. Cl.
A. Sax
¢ &
°
& #
œ œ œ œ œ œ œ œ
œ œ œ œ # œ œ œ
T. Sax
&
œ œ œ œ œ œ œ
Bari. Sax.
¢ & #
œ œ # œ œ œ œ œ
Tpt.
°
&
2. Notes to Know for Melody
œ œ œ œ œ œ œ
F Hn.
&b
œ
bœ
œ œ œ œ œ
Trb.
? b b
œ
bœ
œ œ œ bœ
œ
Tuba
?
¢ b b
œ
bœ
œ œ œ bœ
œ
Perc. 1
Mallets
Metal
°
&b b
œ
bœ
œ œ œ bœ
œ
Perc. 2
Mallets BC
?
¢ b b
œ
bœ
œ œ œ bœ
œ

1 5
1
1 5
13 Moons: East
Fl.
3. Melody. If you like, use the words to help you figure out the rhythm. Can be played as a 3-part round.
°
4
3
&b b œ ˙ œ ˙ œ œ œ ˙ œ ˙ œ œ ˙
3
Ob.
New Moon Dark Moon Sha - dows of time Half Moon Crescent Moon
3
¢ & bb œ ˙ œ ˙ œ œ
4
œ ˙ œ ˙ œ œ ˙
New Moon Dark Moon Sha - dows of time Half Moon Crescent Moon
Cl. (upper)
Cl. (lower)
B. Cl.
°
&
&
¢ &
3
4
3
4
3
4
œ ˙ œ ˙ œ œ œ ˙ œ ˙ œ œ ˙
New Moon Dark Moon Sha - dows of time Half Moon Crescent Moon
œ ˙ œ ˙ œ œ œ ˙ œ ˙ œ œ ˙
New Moon Dark Moon Sha - dows of time Half Moon Crescent Moon
œ ˙ œ ˙ œ œ œ ˙ œ ˙ œ œ ˙
New Moon Dark Moon Sha - dows of time Half Moon Crescent Moon
A. Sax
°
4
3
& #
œ ˙ œ ˙ œ œ # œ ˙ œ ˙ œ œ ˙
New Moon Dark Moon Sha - dows of time Half Moon Crescent Moon
T. Sax
&
3
4
œ ˙ œ ˙ œ œ œ ˙ œ ˙ œ œ ˙
New Moon Dark Moon Sha - dows of time Half Moon Crescent Moon
Bari. Sax.
3
¢ & # 4
œ ˙ œ ˙ œ œ
œ ˙ œ ˙ œ œ ˙
New Moon Dark Moon Sha - dows of time Half Moon Crescent Moon
Tpt.
°
&
3. Melody. If you like, use the words to help you figure out the rhythm. Can be played as a 3-part round.
3
4
œ ˙ œ ˙ œ œ œ ˙ œ ˙ œ œ ˙
New Moon Dark Moon Sha - dows of time Half Moon Crescent Moon
F Hn.
Trb.
&b
3
4
œ ˙ œ ˙ œ œ œ ˙ œ ˙ œ œ ˙
New Moon Dark Moon Sha - dows of time Half Moon Crescent Moon
? b b4
3 œ ˙ œ ˙ œ œ œ ˙ œ ˙ œ œ ˙
New Moon Dark Moon Sha - dows of time Half Moon Crescent Moon
Tuba
? 3
¢ b b4
œ ˙ œ ˙ œ œ œ ˙ œ ˙ œ œ ˙
New Moon Dark Moon Sha - dows of time Half Moon Crescent Moon
Perc. 1
Mallets TC
°
4
3
& bb
œ ˙ œ ˙ œ œ œ ˙ œ ˙ œ œ ˙
Perc. 2
Mallets BC
New Moon Dark Moon Sha - dows of time Half Moon Crescent Moon
? 3
¢ b b4
œ ˙ œ ˙ œ œ œ ˙ œ ˙ œ œ ˙
New Moon Dark Moon Sha - dows of time Half Moon Crescent Moon

9
9
13 Moons: East
4
Fl.
°
&b b
œ œ œ ˙ œ
˙
œ œ ˙ ˙ œ ˙
Œ
Wax
- ing Earth - shine
Full Moon Flow - er Moon Wa - - ning
Ob.
¢ & bb œ œ œ
Wax
˙
œ
˙
œ œ ˙ ˙ œ ˙ Œ
- ing Earth - shine
Full Moon Flow - er Moon Wa - - ning
Cl. (upper)
°
&
œ œ œ ˙ œ
˙
œ œ ˙ ˙ œ ˙ Œ
Wax
- ing Earth - shine
Full Moon Flow - er Moon Wa - - ning
Cl. (lower)
&
œ œ œ ˙ œ
˙
œ œ ˙ ˙ œ ˙
Œ
Wax
- ing Earth - shine
Full Moon Flow - er Moon Wa - - ning
B. Cl.
A. Sax
¢ &
°
& #
œ œ œ ˙ œ
Wax
- ing Earth - shine
Full Moon Flow - er Moon Wa - - ning
œ œ œ ˙ œ
˙
˙
œ œ ˙ ˙ œ ˙
œ œ ˙ ˙ œ ˙ Œ
Œ
Wax
- ing Earth - shine
Full Moon Flow - er Moon Wa - - ning
T. Sax
&
œ œ œ ˙ œ
˙
œ œ ˙ ˙ œ ˙ Œ
Wax
- ing Earth - shine
Full Moon Flow - er Moon Wa - - ning
Bari. Sax.
¢ & #
œ œ œ
Wax
˙
œ
˙
œ œ ˙ ˙ œ ˙
- ing Earth - shine
Full Moon Flow - er Moon Wa - - ning
Œ
Tpt.
°
&
œ œ œ ˙ œ
˙
œ œ ˙ ˙ œ ˙ Œ
Wax
- ing Earth - shine
Full Moon Flow - er Moon Wa - - ning
F Hn.
Trb.
&b
? b b
œ œ œ ˙ œ
Wax
- ing Earth - shine
Full Moon Flow - er Moon Wa - - ning
œ œ œ ˙ œ
˙
˙
œ œ ˙ ˙ œ ˙
œ œ ˙ ˙ œ ˙ Œ
Œ
Wax
- ing Earth - shine
Full Moon Flow - er Moon Wa - - ning
Tuba
?
¢ b b œ œ œ ˙ œ
Wax
˙
œ œ ˙ ˙ œ ˙
- ing Earth - shine
Full Moon Flow - er Moon Wa - - ning
Œ
Perc. 1
Mallets TC
°
& bb
œ œ œ ˙ œ
˙
œ œ ˙ ˙ œ ˙
Œ
Perc. 2
Mallets BC
Wax
Wax
- ing Earth - shine
Full Moon Flow - er Moon Wa - - ning
?
¢ b b
œ œ œ ˙ œ
˙
œ œ ˙ ˙ œ ˙ Œ
- ing Earth - shine
Full Moon Flow - er Moon Wa - - ning

5 9
5 9
13 Moons: East
Fl.
°
4
3
&b b
4. Creepy Accompaniment. Play upper or lower note. Does this work when the melody is played as a round? What do you think?
n
˙
˙˙
˙˙
˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ œ n
˙˙ ˙˙
˙˙
5
Ob.
3
¢ &b b 4
n
˙
˙˙
˙˙
˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ œ n
˙˙ ˙˙
˙˙
Cl. (upper)
°
&
3
4
# ˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙ œ # ˙˙
˙˙
Cl. (lower)
&
3
4
# ˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙ œ # ˙˙
˙˙
B. Cl.
¢ &
3
4
# ˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙ œ # ˙˙
˙˙
A. Sax
°
4
3
& # #˙
# ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ œ # # ˙˙
˙˙
T. Sax
&
3
4
˙ # ˙
˙
˙
˙ ˙ ˙ ˙
˙
˙ œ # ˙
˙
Bari. Sax.
¢ & #
3
4
# ˙ ˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙ œ # ˙˙
˙˙
Tpt.
°
&
3
4
4. Creepy Accompaniment. Play upper or lower note. Does this work when the melody is played as a round? What do you think?
˙ # ˙
˙
˙
˙ ˙ ˙ ˙
˙
˙ œ # ˙ ˙
F Hn.
&b
3
4
n ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ œ n ˙˙ ˙˙
Trb.
? b b4
3
n˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙ œ n ˙˙
˙˙
Tuba
? 3
¢ b b4
n˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙
˙ œ n ˙˙
˙˙
Non-Melodic Perc.
Woodblock
Cymbal
°
4
3
/ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Large Cymbal - medium soft yarn mallets.
æY
æY
æY
æY ¿ Œ Œ
Place each mallet on opposite sides of outer edge and gently roll
Perc. 2
Timpani
? 3
¢ b b4
Timpani: Tune drums to G and D
∑ ∑ ∑ ∑
Med. soft mallets
æ˙ æ˙
Roll gently
æ˙
æ˙
æ˙
æ˙
œ
æ˙
˙

13 Moons: East
6
Fl.
°
&b b
4
3
5. Ostinato patterns (If you like, use the words to help you figure out the rhythm.)
Say and tap
Œ œ œ œ Œ
∑
œ œ œ Œ Œ œ
Sum
- mer Moon Win - ter Moon Rise
Fl.
¢ &b b
4
3
Say and tap
Œ œ œ œ Œ
∑
œ œ œ Œ Œ œ
Sum
- mer Moon Win - ter Moon Rise
Cl. (upper)
°
&
4
3
Say and tap
Œ œ œ œ Œ
∑
œ œ œ Œ Œ œ
Sum
- mer Moon Win - ter Moon Rise
Cl. (lower)
&
4
3
Say and tap
Œ œ œ œ Œ
∑
œ œ œ Œ Œ œ
Sum
- mer Moon Win - ter Moon Rise
B. Cl.
¢ &
4
3
Say and tap
Œ œ œ œ ∑
Œ œ œ œ Œ Œ œ
Sum
- mer Moon Win - ter Moon Rise
A. Sax
°
& #
4
3
Say and tap
Œ œ œ œ Œ
∑
œ œ œ Œ Œ œ
Sum
- mer Moon Win - ter Moon Rise
T. Sax
&
4
3
Say and tap
Œ œ œ œ ∑
Œ œ œ œ Œ Œ œ
Sum
- mer Moon Win - ter Moon Rise
Bari. Sax.
¢ & #
4
3
Say and tap
Œ œ œ œ Œ
∑
œ œ œ Œ Œ œ
Sum
- mer Moon Win - ter Moon Rise
Tpt.
°
&
4
3
5. Ostinato patterns (If you like, use the words to help you figure out the rhythm.)
Say and tap
Œ œ œ œ ∑
Œ œ œ œ Œ Œ œ
Sum
- mer Moon Win - ter Moon Rise
F Hn.
&b
4
3
Say and tap
Œ œ œ œ Œ
∑
œ œ œ Œ Œ œ
Sum
- mer Moon Win - ter Moon Rise
Trb./Euph.
Bsn.
? b b
4
3
Say and tap
Œ œ œ œ Œ
∑
œ œ œ Œ Œ œ
Sum
- mer Moon Win - ter Moon Rise
Tuba
?
¢ b b
4
3
Say and tap
Œ œ œ œ Œ
∑
œ œ œ Œ Œ œ
Sum
- mer Moon Win - ter Moon Rise
Non-Melodic Perc.
Woodblock
Cymbal
Woodblock with hard yarn mallets
° 3
/ 4
Œ œ œ œ ∑ Œ œ œ œ Ó
Sum
Cymbal (use same mallets)
- mer Moon Win - ter Moon Rise
¿
let ring
Perc. 2
Timpani
?
¢ b b
4
3
Timpani: Tune drums to G and D
˙
Med. hard mallets
œ
œ
œ
˙
œ
œ
œ

This work was commissioned by the UBC Conducting Symposium Consortium
13 Moons: South
For instrumentalists who can play a Concert C Major Scale
JODIE BLACKSHAW
Flute
°
&
1. What key are we in?
œ œ œ œ œ œ œ
Concert C Major Scale for YOU is C Major
œ
Oboe
&
œ œ œ œ œ œ œ
œ œ œ œ
Concert C Major Scale for YOU is C Major
œ
œ
Clarinet in Bb - high
Clarinet in Bb - low
Bb Bass Clarinet
& # #
& # #
¢ & # #
Concert C Major Scale for YOU is D Major
œ œ # œ œ œ
Concert C Major Scale for YOU is D Major
œ
œ
Concert C Major Scale for YOU is D Major
œ
œ
#œ
# œ œ œ
#œ
# œ œ œ œ œ œ œ # # œ œ œ œ
œ œ # œ œ œ œ # œ œ
Alto Saxophone
°
& # # #
œ œ # œ œ œ # œ # œ œ
Concert C Major Scale for YOU is A Major
Tenor Saxophone
Baritone Saxophone
& # #
¢ & # # #
Concert C Major Scale for YOU is D Major
œ œ # œ œ œ œ # œ œ
Concert C Major Scale for YOU is A Major
œ
œ
œ
œ
#œ
# œ œ œ # œ # œ œ
Trumpet
French Horn
Trb./Euph. BC/
Bsn.
°
& # #
& #
?
1. What key are we in?
Concert C Major Scale for YOU is D Major
œ œ # œ œ œ œ # œ œ
Concert C Major Scale for YOU is G Major
œ
œ
œ
œ
Concert C Major Scale for YOU is C Major
œ
œ
œ œ œ œ œ œ œ
œ
œ
œ
# œ œ
œ
Tuba
?
¢
Concert C Major Scale for YOU is C Major
œ œ œ œ œ œ œ
œ
Mallets A
Glockenspiel
Mallets B
Marimba
Percussion 1
Mallets & Hi-hat
°
&
?
¢
°
&
Concert C Major Scale for YOU is C Major
œ œ œ œ œ œ œ œ
Concert C Major Scale for YOU is C Major
(Marimba or Bass Xylophone)
E F G A B C
C
D
œ œ œ œ œ œ œ œ
Concert C Major Scale for YOU is C Major
œ œ œ œ œ œ œ œ
Percussion 2
Mallets & Claves
&
Concert C Major Scale for YOU is C Major
œ œ œ œ œ œ œ œ
Percussion 3
Mallets & Bass Drum
¢ &
Concert C Major Scale for YOU is C Major
œ œ œ œ œ œ œ œ

2
Fl.
°
&
13 Moons: South
2. Notes to Know for Melodies
Write down the notes you need to know for BOTH 'A' Melody and 'B' Melody.
Ob.
&
Cl. - high
& # #
Cl. - low
& # #
B. Cl.
¢ & # #
A. Sax
°
& # # #
T. Sax
Bari. Sax.
Tpt.
& # #
¢ & # # #
°
& # #
2. Notes to Know for Melodies
Write down the notes you need to know for BOTH 'A' Melody and 'B' Melody.
F Hn.
& #
Trb./Euph BC/
Bssn.
?
Tuba
?
¢
Mlts A
Glock.
Mallets B
Mar.
°
&
?
¢
Perc. 1
Mallets TC
°
&
Perc. 2
Mallets TC
&
Perc. 3
Bass Drum
¢ &

Fl.
Ob.
Cl. - high
Cl. - low
B. Cl.
°
&
&
& # #
& # #
¢ & # #
3
4
3
4
3
4
3
4
3
4
3. Section 'A' Melody
13 Moons: South
What is the 'range' of this melody? Do you think this a good 'range' for your instrument?
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
mp mf mp
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
mp mf mp
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
mp mf mp
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
mp mf mp
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
3
A. Sax
° 3
& # # #
4
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
T. Sax
& # #
3
4
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
Bari. Sax.
3
¢ & # # #
4
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
Tpt.
°
& # #
3
4
3. Section 'A' Melody
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
F Hn.
Trb./Euph BC/
Bssn.
& #
?
3
4
3
4
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
Tuba
?
¢
3
4
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
Mlts A
Glock.
Mlts. B
Mar.
°
&
?
¢
3
4
3
4
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
Perc. 1
Mallets TC
°
&
3
4
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
Perc. 2
Mallets TC
&
3
4
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ
Perc. 3
Bass Drum
¢ &
3
4
œ ˙ ˙ œ œ ˙ œ ˙ œ œ ˙ ˙ œ ˙ ˙ œ

13 Moons: South
4
Fl.
°
&
9
˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ Œ
mf
Ob.
&
˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ Œ
mf
Cl. - high
& # #
˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙
mf
Œ
Cl. - low
& # #
˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ Œ
mf
B. Cl.
¢ & # #
˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ Œ
A. Sax
°
& # # #
˙ ˙ œ œ œ ˙ ˙
œ œ œ ˙ ˙ œ œ ˙ ˙ Œ
T. Sax
& # #
˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙
Œ
Bari. Sax.
¢ & # # #
˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ Œ
Tpt.
°
& # #
9
˙ ˙ œ œ œ ˙ ˙
œ œ œ ˙ ˙ œ œ ˙ ˙ Œ
F Hn.
Trb./Euph BC/
Bssn.
& #
?
˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ Œ
˙ ˙ œ œ œ ˙ ˙
œ œ œ ˙ ˙ œ œ ˙ ˙ Œ
Tuba
?
¢
˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ Œ
Mlts A
Glock.
°
&
9
˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ Œ
Mlts. B
Mar.
?
¢
˙ ˙ œ œ œ ˙ ˙
œ œ œ ˙ ˙ œ œ ˙ ˙ Œ
Perc. 1
Mallets TC
°
&
˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ Œ
Perc. 2
Mallets TC
&
˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ Œ
Perc. 3
Bass Drum
¢ &
˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ Œ

Fl.
°
&
4. Section 'B' Melody
3
4
13 Moons: South
What is the 'range' of this melody? Is this a good 'range' for your instrument? Which is better for you, 'A' or 'B'?
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙
Œ
9
˙ ˙ œ œ œ ˙ ˙
5
Ob.
&
3
4
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙ Œ ˙ ˙ œ œ œ ˙ ˙
Cl. - high
& # #
3
4
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙ Œ ˙ ˙ œ œ œ ˙ ˙
Cl. - low
& # #
3
4
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙
Œ
˙ ˙ œ œ œ ˙ ˙
B. Cl.
¢ & # #
3
4
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙
Œ
˙ ˙ œ œ œ ˙ ˙
A. Sax
° 3
& # # #
4
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙
Œ
˙ ˙ œ œ œ ˙ ˙
T. Sax
& # #
3
4
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙ Œ ˙ ˙ œ œ œ ˙ ˙
Bari. Sax.
3
¢ & # # #
4
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙ Œ
˙ ˙ œ œ œ ˙ ˙
Tpt.
°
& # #
4. Section 'B' Melody
3
4
9
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙ Œ ˙ ˙ œ œ œ ˙ ˙
F Hn.
Trb./Euph BC/
Bssn.
& #
?
3
4
3
4
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙
Œ
˙ ˙ œ œ œ ˙ ˙
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙ Œ ˙ ˙ œ œ œ ˙ ˙
Tuba
?
¢
3
4
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙
Œ
˙ ˙ œ œ œ ˙ ˙
Mlts A
Glock.
Mlts. B
Mar.
°
&
?
¢
3
4
3
4
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙ Œ ˙ ˙ œ œ œ ˙ ˙
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙ Œ ˙ ˙ œ œ œ ˙ ˙
9
Perc. 1
Mallets TC
°
&
3
4
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙ Œ ˙ ˙ œ œ œ ˙ ˙
Perc. 2
Mallets TC
&
3
4
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙ Œ ˙ ˙ œ œ œ ˙ ˙
Perc. 3
Bass Drum
¢ /
3
4
˙ ˙ œ œ œ ˙ ˙ œ œ ˙ œ ˙ ˙ ˙ Œ ˙ ˙ œ œ œ ˙ ˙

6
Fl.
Ob.
Cl. - high
Cl. - low
B. Cl.
A. Sax
°
&
&
& # #
& # #
¢ & # #
13 Moons: South
17
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ ˙ ˙
°
& # # # œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙
- œ -œ ˙ ˙
- -
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙
- œ -œ ˙ ˙
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙
- œ -œ ˙ ˙
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙
- œ -œ ˙
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙
- œ -œ ˙ ˙
14
14
14
14
14
14
T. Sax
Bari. Sax.
& # #
- - 14
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ ˙ ˙
¢ & # # # 14
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙
- œ -œ ˙ ˙
Tpt.
F Hn.
°
& # 17
#
- - 14
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ ˙ ˙
& # 14
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙
- œ -œ ˙ ˙
Trb./Euph BC/
Bssn.
Tuba
Mlts A
Glock.
Mlts. B
Mar.
?
?
¢
°
&
?
¢
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙
- œ -œ ˙ ˙
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ - œ -œ ˙ ˙
17
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙
- œ -œ ˙ ˙
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙
- œ -œ ˙ ˙
14
14
14
14
Perc. 1
Mallets TC
Perc. 2
Mallets TC
Perc. 3
Bass Drum
°
&
&
¢ /
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙
14
œ ˙ ˙ œ œ œ œ ˙ ˙ - - œ ˙ ˙
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙
- - 14
œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ ˙ ˙
œ œ ˙ ˙ œ ˙ ˙ œ œ œ œ ˙ ˙
- - 14
œ ˙ ˙ œ œ œ œ ˙ ˙ œ œ ˙ ˙

Fl.
°
&
5. Section 'B' Counter Melody
3
4
13 Moons: South
> 9 >
˙ œ œ ˙ œ ˙ ˙ ˙ œ œ œ ˙ ˙ ˙
˙ œ œ ˙ œ ˙ ˙
Œ
7
Ob.
&
3
4
˙ œ œ ˙ œ ˙ ˙
>
˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ ˙ œ ˙ ˙
>
Cl. - high
& # #
3
4
> >
˙ œ œ ˙ œ ˙ ˙ ˙ œ œ œ ˙ ˙ ˙
Œ ˙ œ œ ˙ œ ˙ ˙
Cl. - low
B. Cl.
& # #
¢ & # #
3
4
3
4
˙ œ œ ˙ œ ˙ ˙
>
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ ˙ œ ˙ ˙
>
˙ œ œ ˙ œ ˙ ˙
>
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ ˙ œ ˙ ˙
>
A. Sax
° 3
& # # # 4 ˙ œ œ ˙ œ ˙ ˙
>
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ ˙ œ ˙ ˙
>
T. Sax
& # #
3
4
> >
˙ œ œ ˙ œ ˙ ˙ ˙ œ œ œ ˙ ˙ ˙
Œ ˙ œ œ ˙ œ ˙ ˙
Bari. Sax.
3
¢ & # # # 4 ˙ œ œ ˙ œ ˙ ˙
>
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ ˙ œ ˙ ˙
>
Tpt.
°
& # #
5. Section 'B' Counter Melody
3
4
>
˙ œ œ ˙ œ ˙ ˙ ˙ œ œ œ ˙ ˙ ˙
9
>
Œ ˙ œ œ ˙ œ ˙ ˙
F Hn.
Trb./Euph BC/
Bssn.
3
& # 4
˙ œ œ ˙ œ ˙ ˙
>
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ ˙ œ ˙ ˙
>
> >
? 3
4
˙ œ œ ˙ œ ˙ ˙ ˙ œ œ œ ˙ ˙ ˙
Œ ˙ œ œ ˙ œ ˙ ˙
Tuba
?
¢
3
4
˙ œ œ ˙ œ ˙ ˙
>
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ ˙ œ ˙ ˙
>
Mlts A
Glock.
Mlts. B
Mar.
°
&
?
¢
3
4
3
4
˙ œ œ ˙ œ ˙ ˙
>
˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ ˙ œ ˙ ˙
>
> >
˙ œ œ ˙ œ ˙ ˙ ˙ œ œ œ ˙ ˙ ˙
Œ ˙ œ œ ˙ œ ˙ ˙
9
Perc. 1
Mallets TC
Perc. 2
Mallets TC
Perc. 3
Bass Drum
°
&
&
¢ /
3
4
3
4
3
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 ˙ ˙

13 Moons: South
8
Fl.
°
&
˙ œ œ œ ˙ ˙ ˙
Œ
17
14
˙ œ œ œ ˙ ˙ ˙
Œ
˙ œ œ œ ˙ ˙ ˙
Œ
Ob.
&
˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ œ ˙ ˙ ˙ Œ
14
Cl. - high
& # #
˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ œ ˙ ˙ ˙
Œ ˙ œ œ œ ˙ ˙ ˙ Œ
14
Cl. - low
B. Cl.
A. Sax
T. Sax
& # #
¢ & # #
14
˙ œ œ œ Œ
˙ ˙ ˙
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ œ Œ
˙ ˙ ˙
14
Œ
˙ œ œ œ ˙ ˙ ˙
˙ œ œ œ ˙ ˙ ˙ Œ
Œ
˙ œ œ œ ˙ ˙ ˙
°
& # # # 14
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ œ ˙ ˙ ˙ Œ
& # 14
# ˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ œ ˙ ˙ ˙
Œ ˙ œ œ œ ˙ ˙ ˙ Œ
Bari. Sax.
¢ & # # # 14
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ œ ˙ ˙ ˙ Œ
Tpt.
°
& # #
˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ œ ˙ ˙ ˙
17 14
Œ ˙ œ œ œ ˙ ˙ ˙ Œ
F Hn.
Trb./Euph BC/
Bssn.
& # 14
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ œ ˙ ˙ ˙ Œ
14
? ˙ œ œ œ ˙ ˙ ˙
Œ ˙ œ œ œ ˙ ˙ ˙
Œ ˙ œ œ œ ˙ ˙ ˙
Œ
Tuba
?
¢
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ œ ˙ ˙ ˙ Œ
14
Mlts A
Glock.
Mlts. B
Mar.
°
&
?
¢
17 14
˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ œ ˙ ˙ ˙ Œ
14
˙ œ œ œ ˙ ˙ ˙
Œ ˙ œ œ œ ˙ ˙ ˙
Œ ˙ œ œ œ ˙ ˙ ˙
Œ
Perc. 1
Mallets TC
Perc. 2
Mallets TC
Perc. 3
Bass Drum
°
&
&
¢ /
˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ œ ˙ ˙ ˙ Œ
˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ œ ˙ ˙ ˙ Œ ˙ œ œ œ ˙ ˙ ˙ Œ
14
14
14

Fl.
°
&
3
4
6. 'A' section Accompaniment
Divide section into 3 and assign top,
middle or lower notes to each group
Œ
œ œ œ
˙
Œ
13 Moons: South
œ œ œ œ œ œ
˙
Œ
œ œ œ
œ œ œ œ
˙
œ
˙
˙ ˙ Œ
9
Ob.
3
& 4 ∑ ∑ ∑ ∑
Œ œ œ œ ˙ œ ˙ ˙ Œ
Cl. - high
& # #
3
4
˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ Œ
Cl. - low
& # #
3
4
˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙
Œ
B. Cl.
¢ & # #
3
4
˙ ˙ ˙ ˙ ˙ œ
œ œ ˙ ˙
Œ
Alto Sax.
° 3
& # # #
4 ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ Œ
Ten. Sax.
& # #
3
4
˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ Œ
Bari. Sax.
3
¢ & # # #
4
˙ ˙ ˙ ˙ ˙ œ
œ œ ˙ ˙ Œ
Tpt.
°
& # #
6. 'A' section Accompaniment
3
4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Œ
Hn.
& #
3
4
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Œ
Trb./Euph BC/
Bssn.
?
3
4
˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ Œ
Tuba
?
¢
3
4
˙ ˙ ˙ ˙ ˙ œ œ œ
˙
˙
Œ
Mlts A
Glock.
°
&
3
4
Metals preferred
œ œ ‰ œ
j œ œ Œ Œ
œ œ ‰ œ
j œ œ Œ Œ
œ œ ‰ œ
j œ œ Œ Œ
œ œ ‰ œ
j œ œ Œ Œ
Mlts. B
Mar.
?
¢
3
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
(1) (2) (3) (4)
Perc. 1
Hi-hat
Perc. 2
Claves/
Woodblock
Perc. 3
B.D.
°
/
/
¢ /
3
4
3
4
3
4
Hi-hat
¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Y o ¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Y o ¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Y o ¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Yo
‰ J ‰ J ‰ J ‰ J
Claves/Woodblock
œ œ Œ œ œ ‰ œ J
œ œ œ œ Œ œ œ ‰ œ J
œ œ œ œ Œ œ œ ‰ œ J
œ œ œ œ Œ œ œ ‰ œ J
œ œ
Bass Drum
(2) (3) (4)
˙— ∑ ∑ ∑ ˙— ∑ ∑ ∑

13 Moons: South
10
Fl.
°
&
9
Œ
œ œ œ
˙
Œ
œ œ œ œ œ œ
˙
Œ
œ œ œ
œ œ œ œ
˙
œ
˙
˙ ˙ Œ
Ob.
& ∑ ∑ ∑ ∑
Œ œ œ œ ˙ œ ˙ ˙ Œ
Cl. - high
& # #
˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ Œ
Cl. - low
& # #
˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙
Œ
B. Cl.
¢ & # #
˙ ˙ ˙ ˙
œ œ œ œ ˙ ˙ ˙
Œ
Alto Sax.
°
& # # # ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ Œ
Ten. Sax.
& # #
˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ Œ
Bari. Sax.
¢ & # # #
˙ ˙ ˙ ˙
œ
œ œ œ ˙ ˙ ˙ Œ
Tpt.
°
& # #
9
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Œ
Hn.
& #
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Œ
Trb./Euph BC/
Bssn.
?
˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ Œ
Tuba
?
¢
˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ Œ
Mlts A
Glock.
°
&
9
œ œ ‰ œ
j œ œ Œ Œ
œ œ ‰ œ
j œ œ Œ Œ
œ œ ‰ œ
j œ œ Œ Œ
œ œ ‰ œ
j œ œ Œ Œ
Mlts. B
Mar.
Perc. 1
Hi-hat
?
¢
°
/
œ
Œ
œ œ œ
œ œ œ Œ
œ œ œ
œ œ œ Œ
œ œ œ
œ œ œ Œ
(5) (6) (7)
œ œ œ
œ œ
Play these notes
when necessary
¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Y o ¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Y o ¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Y o ¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Yo
‰ J ‰ J ‰ J ‰ J
Perc. 2
Claves/
Woodblock
/
œ œ Œ œ œ ‰ œ J
œ œ œ œ Œ œ œ ‰ œ J
œ œ œ œ Œ œ œ ‰ œ J
œ œ œ œ Œ œ œ ‰ œ J
œ
(5) (6) (7)
Perc. 3
B.D.
¢ / ˙— ∑ ∑ ∑ ˙— ∑ ∑ ∑

Fl.
°
&
7. 'B' Section Accompaniment
3
4
13 Moons: South
˙ œ -œ œ ˙ œ -œ œ ˙ œ -œ œ ˙ ˙ Œ
11
Ob.
&
3
4
˙ œ -œ œ ˙ œ -œ œ ˙ œ -œ œ ˙ ˙ Œ
Cl. - high
3
& # # - - -
4 ˙ œ œ œ ˙ œ œ œ ˙ œ œ œ ˙ ˙ Œ
Cl. - low
& # #
3
4
˙ œ -œ œ ˙ œ -œ œ ˙ œ -œ œ ˙ ˙
Œ
B. Cl.
3
¢ & # # 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Alto Sax.
° 3
& # # # 4
˙ œ - œ œ ˙ œ - œ œ ˙ œ - œ œ ˙ ˙ Œ
Ten. Sax.
3
& # # 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bari. Sax.
3
¢ & # # # 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tpt.
°
& # #
7. 'B' Section Accompaniment
3
4
˙ œ -œ œ ˙ œ -œ œ ˙ œ -œ œ ˙ ˙
Œ
Hn.
3
& # 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Trb./Euph BC/
Bssn.
? 3
4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tuba
? 3
¢ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Mlts A
Glock.
° 3
& 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Mlts. B
Mar.
?
¢
3
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
(1) (2)
Perc. 1
Hi-hat
°
/
3
4
¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Y o ¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ ¿ o ¿ o ¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Y o ¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Y
‰ J ‰ J ‰ J ‰ J
Splash/
Small Cym
(1)
Perc. 2
Claves/
Woodblock
3
/ 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Perc. 3
B.D.
3
¢ / 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

13 Moons: South
12
Fl.
°
&
9
˙ œ -œ œ ˙ œ -œ œ ˙ œ -œ œ ˙ ˙ Œ
Ob.
&
˙ œ -œ œ ˙ œ -œ œ ˙ œ -œ œ ˙ ˙ Œ
Cl. - high
& # # - -
˙ œ œ œ ˙ œ œ œ ˙ œ -œ œ ˙ ˙ Œ
Cl. - low
& # # 9 ˙ œ -œ œ ˙ œ -œ œ ˙ œ -œ œ ˙ ˙
Œ
B. Cl.
¢ & # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Alto Sax.
°
& # # # ˙ œ - œ œ ˙ œ - œ œ ˙ œ - œ œ ˙ ˙ Œ
Ten. Sax.
& # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Bari. Sax.
¢ & # # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tpt.
°
& # # 9 ˙ œ -œ œ ˙ œ -œ œ ˙ œ -œ œ ˙ ˙
Œ
Hn.
& # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Trb./Euph BC/
Bssn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tuba
?
¢
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Mlts A
Glock.
°
&
9
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Mlts. B
Mar.
?
¢
œ
Œ
œ œ
œ
œ œ œ Œ
œ œ
œ
œ œ
œ
œ Œ œ œ
œ œ œ Œ
œ œ
œ œ œ
(3) (4)
Perc. 1
Hi-hat
°
/
¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Y o ¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ ¿ o ¿ o ¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Y o ¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Y
‰ J ‰ J ‰ J ‰ J
Splash/
Small Cym
(2)
Perc. 2
Claves/
Woodblock
/ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Perc. 3
B.D.
¢ / ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Fl.
°
&
17
13 Moons: South
˙ œ -œ œ ˙ œ -œ œ ˙ œ -œ œ
13
Ob.
&
˙ œ -œ œ ˙ œ -œ œ ˙ œ -œ œ
Cl. - high
& # # - -
˙ œ œ œ ˙ œ œ œ ˙ œ -œ œ
Cl. - low
& # #
˙ œ -œ œ ˙ œ -œ œ ˙ œ -œ œ
B. Cl.
¢ & # # ∑ ∑ ∑ ∑ ∑ ∑
Alto Sax.
°
& # # # ˙ œ - œ œ ˙ œ - œ œ ˙ œ - œ œ
Ten. Sax.
& # # ∑ ∑ ∑ ∑ ∑ ∑
Bari. Sax.
¢ & # # # ∑ ∑ ∑ ∑ ∑ ∑
Tpt.
°
& # # 17 ˙ œ -œ œ ˙ œ -œ œ ˙ œ -œ œ
Hn.
& # ∑ ∑ ∑ ∑ ∑ ∑
Trb./Euph BC/
Bssn.
? ∑ ∑ ∑ ∑ ∑ ∑
Tuba
?
¢
∑ ∑ ∑ ∑ ∑ ∑
Mlts A
Glock.
°
&
17
∑ ∑ ∑ ∑ ∑ ∑
Mlts. B
Mar.
?
¢
œ
Œ
œ œ œ
œ œ œ Œ
œ
œ
œ
œ
œ
(5)
œ
Œ
œ œ œ
œ
œ
Perc. 1
Hi-hat
°
/
¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Y o ¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ ¿ o ¿ o ¿ o + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ + ¿ Yo
‰ J ‰ J ‰ J
Perc. 2
Claves/
Woodblock
/ ∑ ∑ ∑ ∑ ∑ ∑
Perc. 3
B.D.
¢ / ∑ ∑ ∑ ∑ ∑ ∑

13 Moons: South
14
Fl.
°
&
23
Divide
Œ
˙
œ œ œ
˙
Ó
Œ
œ œ œ œ œ œ
˙
Œ
œ œ œ
œ œ œ œ
˙
œ
˙
˙ ˙ Œ
Ob.
& ˙ ∑ ∑ ∑ Œ œ œ œ ˙ œ ˙ ˙ Œ
Cl. - high
& # #
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Œ
Cl. - low
& # #
˙ ˙ ˙ ˙ ˙ ˙ ˙
˙
Œ
B. Cl.
¢ & # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Alto Sax.
°
& # # # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Œ
Ten. Sax.
& # #
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Œ
Bari. Sax.
¢ & # # # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tpt.
°
& # #
23
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Œ
Hn.
& # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Trb./Euph BC/
Bssn.
? ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Tuba
?
¢
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
Mlts A
Glock.
°
&
23
œ œ ‰ œ
j œ œ
œ Œ Œ
œ œ ‰ œ
j œ œ
œ Œ Œ
œ œ ‰ œ
j œ œ
œ Œ Œ
œ œ ‰ œ
j œ œ
œ Œ Œ
Mlts. B
Mar.
?
¢
œ
Œ
œ œ œ œ
œ œ œ Œ œ œ œ
œ œ œ Œ œ œ
œ œ œ Œ
œ œ œ
œ œ
(1) (2) (3) (4)
Perc. 1
Hi-hat
°
/
Splash/
Small Cym
Y
∑ ∑ ∑ ∑ ∑ ∑ ∑
Perc. 2
Claves/
Woodblock
Perc. 3
B.D.
/
¢ /
Claves/Woodblock
œ œ Œ œ œ ‰ œ J
œ œ œ œ Œ œ œ ‰ œ J
œ œ œ œ Œ œ œ ‰ œ J
œ œ œ œ Œ œ œ ‰ œ J
œ œ
Bass Drum
(2) (3) (4)
˙— ∑ ∑ ∑ ˙— ∑ ∑ ∑

13 Moons: South
Fl.
°
&
31
Œ
œ œ œ
˙
Œ
œ œ œ œ œ œ
˙
Œ
œ œ œ
œ œ œ œ
˙
œ
˙
˙ ˙ Œ
15
Ob.
& ∑ ∑ ∑ ∑
Œ œ œ œ ˙ œ ˙ ˙ Œ
Cl. - high
& # #
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Œ
Cl. - low
& # #
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Œ
B. Cl.
¢ & # #
˙
˙
˙
˙
# ˙
˙˙
œ œ œ œ ˙ ˙ ˙
Œ
Alto Sax.
°
& # # # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Œ
Ten. Sax.
& # #
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Œ
Bari. Sax.
¢ & # # #
˙ ˙ ˙ ˙
œ
œ œ œ ˙ ˙ ˙ Œ
Tpt.
°
& # #
31
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Œ
Hn.
& #
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
Œ
Trb./Euph BC/
Bssn.
?
˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Œ
Tuba
¢
? 31
˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ Œ
Mlts A
Glock.
°
&
31
œ œ ‰ œ
j œ œ
œ Œ Œ
œ œ ‰ œ
j œ œ
œ Œ Œ
œ œ ‰ œ
j œ œ
œ Œ Œ
œ œ ‰ œ
j œ œ
œ Œ Œ
Mlts. B
Mar.
Perc. 1
Hi-hat
¢
? 31
œ
Œ
œ œ œ œ œ œ Œ
œ œ œ œ œ œ Œ
(5) (6) (7)
Play these notes
when necessary
°
/ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
œ œ
œ œ œ œ Œ
œ œ œ œ œ
Perc. 2
Claves/
Woodblock
/
œ œ Œ œ œ ‰ œ J
œ œ œ œ Œ œ œ ‰ œ J
œ œ œ œ Œ œ œ ‰ œ J
œ œ œ œ Œ œ œ ‰ œ J
œ
(5) (6) (7)
Perc. 3
B.D.
¢ / ˙— ∑ ∑ ∑ ˙— ∑ ∑ ∑

Flute
°
&
This work was commissioned by the UBC Conducting Symposium Consortium
13 Moons: West
For instrumentalists who can play a concert Eb whole tone scale
1. What key are we in?
Concert Eb whole tone scale for YOU is Eb whole tone
bœ
œ œ œ œ bœ
bœ
JODIE BLACKSHAW
Oboe
¢ &
Concert Eb whole tone scale for YOU is Eb whole tone
bœ
œ œ œ œ bœ
bœ
Clarinet Bb
(high)
°
&
Concert Eb whole tone scale for YOU is F whole tone
œ œ œ œ bœ
bœ
œ
Clarinet in Bb
(low)
&
Concert Eb whole tone scale for YOU is F whole tone
œ œ œ œ bœ
bœ
œ
Bass Clarinet
¢ &
Concert Eb whole tone scale for YOU is F whole tone
œ œ œ œ bœ
bœ
œ
Alto Saxophone
°
&
œ œ œ bœ
Concert Eb whole tone scale for YOU is C whole tone
bœ
bœ
œ
Tenor Saxophone
&
Concert Eb whole tone scale for YOU is F whole tone
œ œ œ œ bœ
bœ
œ
Baritone Saxophone
¢ &
Concert Eb whole tone scale for YOU is C whole tone
œ œ œ bœ
bœ
bœ
œ
Trumpet
°
&
1. What key are we in?
Concert Eb whole tone scale for YOU is F whole tone
œ œ œ œ bœ
bœ
œ
French Horn
&
Concert Eb whole tone scale for YOU is Bb whole tone
bœ
œ œ œ bœ
bœ
bœ
Trb./Bar./Bsn.
?
Concert Eb whole tone scale for YOU is Eb whole tone
bœ
œ œ œ œ bœ
bœ
Tuba
?
¢
Concert Eb whole tone scale for YOU is Eb whole tone
bœ
œ œ œ œ bœ
bœ
Mallets - TC
Mallets - BC
°
&
?
¢
Concert Eb whole tone scale for YOU is Eb whole tone
bœ
œ œ œ œ bœ
Concert Eb whole tone scale for YOU is Eb whole tone
bœ
œ œ œ œ bœ
bœ
bœ

13 Moons: West
2
Fl.
°
&
2. Melody Range. Write down the range of each melody (lowest note and highest note). Can you work out the interval?
Nature Character Melody Animal Character Melody Human Character Melody - upper Human Character Melody - lower
Ob.
¢ &
Cl. (high)
°
&
Cl. (low)
&
B. Cl.
¢ &
A. Sax
°
&
T. Sax
&
Bari. Sax.
¢ &
Tpt.
°
&
2. Melody Range. Write down the range of each melody (lowest note and highest note). Can you work out the interval?
F Hn.
&
Trb.
?
Tuba
?
¢
Mallets
TC
°
&
Mallets
BC
?
¢

13 Moons: West
Fl.
°
&
3. Nature character melody
b˙
bœ
œ w b˙
bœ
œ œ w
b˙
bœ
œ œ œ bœ
˙ bœbœ
œ ˙ ˙ ˙ w
3
Ob.
¢ &
b˙
bœ
œ w
b˙
bœ
œ œ w
b˙
bœ
œ œ œ bœ
˙ bœ
bœ
œ ˙ ˙ ˙ w
Cl. (high)
°
&
b˙
œ œ w b˙
œ œ œ bw
b˙
œ œ œ bœ
bœ
˙ œ bœ
œ b˙
˙ ˙ w
Cl. (low)
&
b˙
œ œ w
b˙
œ œ œ bw
b˙
œ œ œ bœ
bœ
˙ œ bœ
œ b˙
˙ ˙ w
B. Cl.
¢ &
b˙
œ œ w
b˙
œ œ œ bw
b˙
œ œ œ bœ
bœ
˙ œ bœ
œ b˙
˙ ˙ w
A. Sax
°
&
b˙
œ œ bw
b˙
œ œ œ bw
b˙
œ œ œ bœ
bœ
˙ œbœbœ
b˙
˙ ˙ w
T. Sax
&
b˙
œ œ w
b˙
œ œ œ bw
b˙
œ œ œ bœ
bœ
˙ œ bœ
œ b˙
˙ ˙ w
Bari. Sax.
¢ &
b˙
œ œ bw
b˙
œ œ œ bw
b˙
œ œ œ bœ
bœ
˙ œ bœbœ
b˙
˙ ˙ w
Tpt.
°
&
3. Nature character melody
b˙
œ œ w
b˙
œ œ œ bw
b˙
œ œ œ bœ
bœ
˙ œ bœ
œ b˙
˙ ˙ w
F Hn.
&
b˙
bœ
œ w
b˙
bœ
œ œ bw
b˙
bœ
œ œ bœ
bœ
˙ bœ
bœ
œ b˙
˙ ˙ w
Trb.
?
b˙
bœ
œ w b˙
bœ
œ œ w b˙
bœ
œ œ œ bœ
˙ bœbœ
œ ˙ ˙ ˙ w
Tuba
?
¢
b˙
bœ
œ w
b˙
bœ
œ œ w
b˙
bœ
œ œ œ bœ
˙ bœ
bœ
œ ˙ ˙ ˙ w
Mallets
TC
°
&
b˙
bœ
œ w
b˙
bœ
œ œ w b˙
bœ
œ œ œ bœ
˙ bœ
bœ
œ ˙ ˙ ˙ w
Mallets
BC
?
¢
b˙
bœ
œ w
b˙
bœ
œ œ w
b˙
bœ
œ œ œ bœ
˙ bœbœ
œ ˙ ˙ ˙ w

4
Fl.
°
&
4. Animal character melody
bœ
13 Moons: West
Ornament/improvise around the first note using these notes:
U U U
œ b˙
œ bœ
œ b˙
œ œ œ œ bœ
œ bœ
bœ
œ ˙ bœ
bœ
bœ
œ œ œ ˙ ˙ bw
Ob.
¢ &
bœ
Ornament/improvise around the first note using these notes:
U U U
œ b˙
œ bœ
œ b˙
œ œ œ œ bœ
œ bœ
œ ˙
bœ
bœ
bœ
bœ
œ œ œ ˙ ˙ bw
Cl. (high)
°
&
Ornament/improvise around the first note using these notes:
U U U
œ œ b˙
œ œ œ b˙
œ bœ
œ œ œ œ bœ
œ b˙
bœ
bœ
bœ
œ
œ œ œ ˙ ˙ w
Cl. (low)
&
U
œ œ œ œ œ U
œ bœ
œ œ œ œ œ b˙
Ornament/improvise around the first note using these notes:
bœ
bœ
œ œ œ
U
bœ
œ ˙ ˙ w
B. Cl.
¢ &
U
œ œ œ œ œ U
œ bœ
œ œ œ œ œ b˙
Ornament/improvise around the first note using these notes:
bœ
bœ
œ œ œ
U
bœ
œ ˙ ˙ w
A. Sax
°
&
œ bœ
b˙
U
œ
œ bœ
b˙
œ bœ
œ U
œ œ bœ
bœ
œ
Ornament/improvise around the first note using these notes:
b˙
bœ
bœ
bœ
œ œ
bœ
œ b˙
˙ U
w
T. Sax
&
Ornament/improvise around the first note using these notes:
U U U
œ œ b˙
œ œ œ b˙
œ bœ
œ œ œ œ bœ
œ b˙
bœ
bœ
bœ
œ
œ œ œ ˙ ˙ w
Bari. Sax.
¢ &
œ bœ
b˙
U
œ
œ bœ
b˙
œ bœ
œ U
œ œ bœ
bœ
œ
Ornament/improvise around the first note using these notes:
b˙
bœ
bœ
bœ
œ œ
bœ
œ b˙
˙ U
w
Tpt.
°
&
4. Animal character melody
Ornament/improvise around the first note using these notes:
U U U
œ œ b˙
œ œ œ b˙
œ bœ
œ œ œ œ bœ
œ b˙
bœ
bœ
bœ
œ
œ œ œ ˙ ˙ w
F Hn.
&
bœ
U
œ b˙
œ œ œ b˙
œ U
bœ
œ œ œ œ bœ
œ b˙
Ornament/improvise around the first note using these notes:
bœ
bœ
œ œ œ
bœ
bœ
U
˙ ˙ bw
Trb.
?
bœ
œ b˙
U
U
œ œ œ b˙
œ œ œ œ bœ
œ bœ
œ ˙ œ
Ornament/improvise around the first note using these notes:
b œ œ œ œ
bœ
bœ
˙ U
˙ bw
Tuba
? U U
¢ bœ
œ b˙
œ œ œ b˙
œ œ œ œ bœ
œ bœ
œ ˙ œ
Ornament/improvise around the first note using these notes:
b œ œ œ œ
bœ
bœ
U
˙ ˙ w
Mallets
TC
°
&
bœ
Ornament/improvise around the first note using these notes:
U U U
œ b˙
œ œ œ b˙
œ œ œ œ bœ
œ bœ
œ b˙
bœ
œ œ
bœ
bœ
œ œ ˙ ˙ bw
Mallets
BC
?
¢
bœ
œ b˙
U
œ
U
œ œ b˙
œ œ œ œ bœ
œ bœ
œ b˙
Ornament/improvise around the first note using these notes:
bœ
œ œ œ œ
bœ
bœ
˙ U
˙ bw

Fl.
13 Moons: West
5. Human character melody. Play upper or lower part - which one do you think suits your instrument best?
°
& b b b b b
e e ˙ b b ˙˙ w e e ˙ œ
˙˙ b b e e
œ œ œ
˙ ˙˙ b
œ œ œ œ w
˙
U
Œ
5
Ob.
¢ & b b b b b
e e ˙
˙ w e e ˙ ˙ b
œ
b b b b b b b U
œ œ
e e ˙ ˙ œ œ œ œ w
˙ Œ
Cl. (high)
°
&
b
e e ˙
b˙
bw
b
e e ˙
b˙
œ
œ
b
œ œ
b
e e ˙
b b b b b b U
˙
œ œ œ œ w
˙ Œ
Cl. (low)
& b b b b b b b b b b b b
e e ˙
˙˙ w e e ˙ ˙˙ œ œ œ e e ˙ ˙˙ œ œ œ œ w
˙
U
Œ
B. Cl.
¢ &
e be
˙ ˙ w e be
˙ ˙ œ bœ œ
e be
˙ ˙ œ bœ
bœ
œ w
b˙
U
Œ
A. Sax
°
&
b b b
e e ˙
b˙
bw
b b b
e e ˙
b˙
œ
œ
bb
œ œ
b b b
e e ˙
b b b b
b b b b b b
˙
œ w
œ w
œ œ œ œ w ˙
U
Œ
T. Sax
&
b
e e ˙
b˙
bw
b
e e ˙
b˙
b
b
œ œ œ e e ˙
b b b b b b U
˙
œ œ œ œ w
˙ Œ
Bari. Sax.
¢ &
be
be
b˙
˙ w be
be
b˙
˙ œ bœ œ
be
be
b˙
˙ œ bœ
bœ
œ bw
b˙
U
Œ
Tpt.
°
&
5. Human character melody. Play upper or lower part - which one do you think suits your instrument best?
b
e e ˙
b˙
bw
b
e e ˙
b
b
b˙
œ œ œ e e ˙
b b b b b b U
˙
œ œ œ œ w
˙ Œ
F Hn.
& b
b e e b ˙ b˙
bw
b
b
e e b
˙
b˙
b
b b b b b b
œ œ œ
b
e e b ˙ b˙
b
œ œ œ œ w
˙
U
Œ
Trb.
b b
? b b b U
e e ˙ b b ˙˙ w e e ˙ b ˙˙ œ b b e e ˙
œ œ
˙˙ b
œ œ œ œ w
˙
Œ
Tuba
?
¢
b b
U
b b b
e e ˙ b b ˙˙ w e e ˙ b ˙˙ œ b b e e
œ œ
˙ ˙˙ b
œ œ œ œ w
˙ Œ
Mallets
TC
Mallets
BC
°
b b b U
& b e eb ˙
˙˙ bw
e eb ˙ œ
˙˙ b e e b œ œ œ
˙ ˙˙ b
œ œ œ œ w
˙ Œ
b b b
? b b
¢
b b b b
U
e e ˙
˙˙ w e e ˙ œ
˙˙ œ
œ e e œ
˙ ˙˙ b
œ œ œ œ w
˙
Œ

13 Moons: West
6
Fl.
°
&
6. Atmosphere Composition idea #1 - In pairs, playing the whole tone scale, select a different note to each start on.
Play in parallel motion and unison rhythm around the scale (HINT: it doesn't have to be stepwise). Try this a few times
until you are happy with how it sounds. Write down what your best idea and share it with others!
Ob.
¢ &
Cl. (high)
°
&
Cl. (low)
&
B. Cl.
¢ &
A. Sax
°
&
T. Sax
&
Bari. Sax.
¢ &
Tpt.
°
&
6. Atmosphere Composition idea #1 - In pairs, playing the whole tone scale, select a different note to each start on.
Play in parallel motion and unison rhythm around the scale (HINT: it doesn't have to be stepwise). Try this a few times
until you are happy with how it sounds. Write down what your best idea and share it with others!
F Hn.
&
Trb.
?
Tuba
?
¢
Mallets
TC
°
&
Mallets
BC
?
¢

13 Moons: West
Fl.
°
&
7. Atmosphere Composition idea #2 - In pairs, playing the whole tone scale, select a different note to each start on.
Play in contrary motion and unison rhythm around the scale (HINT: start at either end of scale the first time). Try this a few times
until you are happy with how it sounds. Write down what your best idea and share it with others!
7
Ob.
¢ &
Cl. (high)
°
&
Cl. (low)
&
B. Cl.
¢ &
A. Sax
°
&
T. Sax
&
Bari. Sax.
¢ &
Tpt.
°
&
7. Atmosphere Composition idea #2 - In pairs, playing the whole tone scale, select a different note to each start on.
Play in contrary motion and unison rhythm around the scale (HINT: start at either end of scale the first time). Try this a few times
until you are happy with how it sounds. Write down what your best idea and share it with others!
F Hn.
&
Trb.
?
Tuba
?
¢
Mallets
TC
°
&
Mallets
BC
?
¢

13 Moons: West
8
8. Other ideas to consider. Try these in different octaves and hear it on different instruments - what timbres works best?
Fl.
Ob.
Drone (in 8ves) Drone (in 6ths) "Colour" part (repeat at random) "Connecting" part (consider tempo and expression)
°
& U U U U
bw
bw
w bbœœ
œ
b
œ œœœ œ œ œ Ó
œ œ b
œ ˙ œ œ œ
3 3
¢ & U U U U
bw
bw
w bbœ œ
b
œ œœ œ œ œ Ó
œ œ b
œ ˙ œ œ œ
3 3
U
b˙
U
b˙
œ œ œ œ œ œ
œ œ œ œ œ œ
œ
œ
b˙ ˙
U
œ
b
b˙ ˙
U
œ
b
Cl. (high)
°
&
w
U
w w bbœœ
œ
œ œœœ œ œ œ Ó
3 3
U
b
œ œ œ ˙ œ œ œ
U
b˙
œ œ œ œ œ œ
œ
b˙
˙
U
œ
Cl. (low)
&
w
w
w
bbœœ
3 3 U
œ œ œ Ó
œ œ
U
b
œ œ œ ˙ œ œ œ
U
b˙
œ œ œ œ œ œ
œ
b˙
˙
U
œ
B. Cl.
¢ &
w
w
w
bbœœ
3 3 U
œ œ œœœ Ó
œ œ
U
œ
b
œ œ ˙ œ œ œ
U
b˙
œ œ œ œ œ œ
œ
b˙
˙
U
œ
A. Sax
°
&
w
w
w
œ bœœ b
bœ
œœœ œ œ œ U Ó
3 3
U
b b
œ œ œ ˙ œ œ œ
U
b˙
œ œ œ œ œ œ
œ
b b
˙
˙
U
œ
T. Sax
&
w
w w bbœœ
œ
U
œ œœœ œ œ œ Ó
3 3
U
œ
b
œ œ ˙ œ œ œ
U
b˙
œ œ œ œ œ œ
œ
b˙
˙
U
œ
Bari. Sax.
¢ &
w
w
w
3 3 U
bbœœ
bœ
œ œœœ œ œ Ó
U
b œ
b
œ œ ˙ œ œ œ
U
b˙
œ œ œ œ œ œ
œ b b ˙
˙
U
œ
Tpt.
F Hn.
Trb.
°
&
&
8. Other ideas to consider. Try these in different octaves and hear it on different instruments - what timbres works best?
w
w w bbœœ
œ
bw
bw
bw bbbœœ
U
œ œœœ œ œ œ Ó
3 3
3 3 U
œ œ œ Ó œ œ
bw
w b
?
bœœœ
U
bw b
œ œœœ œ œ œ Ó
3 3
U
œ
b
œ œ ˙ œ œ œ
U
b
œ œ b
œ ˙ œ œ b
œ
U
œ œ b
œ ˙ œ œ œ
U
b˙
U
b˙
U
b˙
œ œ œ œ œ œ
œ œ b
œ
œ œ œ œ œ œ
œ
œ
œ
b˙
b˙
˙
˙
U
œ
U
bœ
U
b˙ ˙ œ
b
Tuba
3 3
? U
U
bw
¢ bw
w bbœœ
b
œ œ œ œ œ Ó œ œ b
œ ˙ œ œ œ
U
b˙
œ œ œ œ œ œ
œ
U
b˙ ˙ œ
b
Mallets
TC
Mallets
BC
°
&
bw
bw
bw bbœ œ
U
œ œœ œ œ œ Ó
3 3
bw
3 3
?
w
bw b
U
¢
bbœœ
œ œ œ œ œ Ó
U
œ œ b
œ ˙ œ œ œ
U
œ œ b
œ ˙ œ œ œ
U
b˙
U
b˙
œ œ œ œ œ œ
œ œ œ œ œ œ
œ
œ
b˙ ˙
U
b
œ b˙ ˙
U
b
œ

TEACHING PERFORMANCE THROUGH COMPOSITION
13 Moons
ADDENDUM

s!
!

Flute
Alto voice in Bb
Alto voice in Eb
Alto voice in F
Tenor voice in Bb
Tenor voice in C
Bass voice in Bb
Bass voice in Eb
Bass voice in C

pure bright booming
muffled blazing reedy
sweet dark muddy
distorted mellow beeping
artificial dry percussive
shimmering wheezing
thin
hollow clear aggressive

HEAVY... LIGHT
SPARSE
THIN
SINGULAR
FRAGILE
TEXTURE
DENSE
HOMOPHONIC
THICK
DARK
EVEN
MODERATE
2 or 3
POLYPHONIC
BUSY
MULTIPLE
CLEARLY IDENTIFIABLE
MUDDY
CONVERSATIONAL
MONOPHONIC
For more teaching tools go to www.jodieblackshaw.com

smooth jagged flat
fluid jerky bouncy
sinuous erratic random
round accented
question &
answer
predictable stepwise haphazard
repetitive
cyclic
easy to
sing
modal major minor

Structure
Cards
Print each onto a different coloured paper/card &
laminate for multiple uses.
OR
save yourself time and purchase the (inexpensive!)
PDF coloured set & print directly.
TEACHER TIP:
If using a whiteboard that will hold magnets,
purchase magnetic tape from a good stationery
shop and place on back of each card.

STRUCTURE CARD DEFINITIONS
All Play together (the same material or in parts).
One player plays melody, counter melody, bass line or a rhythmic pattern
One section (for eg. Flutes, Percussion etc..) plays melody, counter melody,
bass line or a rhythmic pattern
Two players (for eg. Flutes, Percussion etc..) play any combination of two
different pieces of material that work together harmonically and/or
rhythmically.
Two or more players play the same material one after the other but not in
strict time.

Sections/individual or specified groups from the ensemble enter at different
times. This may include ostinato patterns built from melodic material or
indicate a gradual build-up of players on the same melody (for example:
Flutes start melody from m.1, Clarinet from m. 2, Trumpets from m. 3 etc.)
Different sections of the ensemble cease playing at different time (the reverse
of Layer In).
Two Individuals/Specific Groups or Sections play the same material but
commence playing at different times (usually one, two or four measures
apart). A consistent pulse is maintained between all groups.
Three Individuals/Specific Groups or Sections play the same material but
commence playing at different times (usually one, two or four measures
apart). A consistent pulse is maintained between all groups.
Four Individuals/Specific Groups or Sections play the same material but
commence playing at different times (usually one, two or four measures
apart). A consistent pulse is maintained between all groups.
A melody with purposely written accompaniment are played simultaneously.

A melody with purposely written bass line are played simultaneously.
A melody with purposely written counter melody are played simultaneously.
A melody with purposely written harmonic elements are played
simultaneously.
Four individual players from one section play the four part provided
simultaneously OR a section is divided appropriately into four parts and the
whole section play those parts simultaneously.
Four individual players from different sections play the four part provided
simultaneously OR a selection of players are divided appropriately into four
parts and these players perform those parts simultaneously.
Using vocal sounds, auxilliary percussion, body percussion and other hommade
instruments, students collectively create sounds of a particular
environment that reflect landscape, mood and/or emotion of a selected idea.

Tutti

Solo

Soli

Duo

Duet

Round
2-part

Round
3-part

Round
4-part

Layer
In

Layer
Out

Sound
scape

Melody
Counter
Melody

Melody
Bass
Line

Melody
Accompaniment

Melody
Harmony

Echo

Mixed
Quartet

Section
Quartet

Modulation