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The

Little Bush

Buddha

for concert winds, brass,

percussion & electroacoustics

grade 2

Emerging Series

JODIE

BLACKSHAW


The Little Bush Buddha

F O R W O O D W I N D , B R A S S & P E R C U S S I O N

JODIE BLACKSHAW

I N S T R U M E N T A T I O N

FLUTE UPPER

FLUTE LOWER

OBOE

BASSOON (OPT.)

B ♭ CLARINET UPPER

B ♭ CLARINET LOWER

B ♭ BASS CLARINET

E ♭ ALTO SAXOPHONE

B ♭ TENOR SAXOPHONE

E ♭ BARITONE SAXOPHONE

B ♭ TRUMPET UPPER

B ♭ TRUMPET LOWER

HORN IN F

TROMBONE

EUPHONIUM

TUBA

BASS GUITAR

MALLET PERCUSSION : GLOCKENSPIEL

PERCUSSION I: TIMPANI

PERCUSSION 2 : BASS DRUM

PERCUSSION 3: CYMBALS (CAN BE MORE THAN ONE

PLAYER – SEE NOTES)

© 2 0 2 2 C o l o u r F U L L M u s i c . A l l r i g h t s r e s e r v e d .

I n t e r n a t i o n a l r i g h t s s e c u r e d .

jodieblackshaw.com


w P ROGRAMME NOTE w

…and then it hit me. It was entirely possible that I would see the extinction of the koala in my own lifetime (and I’m already in my

50’s). Tears rolled down my cheeks. How could I not know? How could I, a passionate environmentalist, a proud Australian and a

member of a regional Australian community not know how desperately fragile the situation is for the Australia koala at this very

moment? The global pandemic greatly overshadowed the impact of the 2019-2020 Australian bushfires. The impact of those

devastating fires didn’t just magically go away, it’s just that the media turned our attention toward the next “big disaster”.

Communities didn’t have time to catch their breath and our native flora and fauna were seemingly left out in the cold. It will literally

take decades for native populations to recover (if they ever do).

Two years later, on Feb. 11, 2022, the koala was listed as endangered by the Environmental Protection and Biodiversity

Conservation Act. Prior to British settlement, there were an estimated 10 million koalas living along the East coast. Today, the

Australian Koala Foundation places that number at somewhere between 43-80 thousand. 61,000 koalas were lost in the

bushfires.

The Little Bush Buddha” is a wakeup call to all Australians. We can ensure the future of the koala and many other precious native

Australian species IF we act now. What we need to do most is write to our local politicians strongly requesting a new act of

parliament called the ‘Koala Protection Act’ that will prioritise the protection of native bushland.

How will that help? The ‘Koala Protection Act’ will help to establish corridors of bushland throughout the East coast of Australia

to enable wider movement, migration, access to healthy habitat and safe passages for travel. You can do this easily through the

Australian Koala Foundation (they’ve written a letter for you AND provide easy links to find the right person in your electorate:)

https://www.savethekoala.com/our-work/support-the-koala-protection-act/

(You can even scan this code and do it now, while you wait for the concert to start.)

Scan here to

write to send a letter

Scan here to learn how to make your

home safe for wildlife

Scan here to donate to the

Australian Koala Foundation

As for the “The Little Bush Buddha”, you will hear what urbanisation might sound like to a koala. Place yourself in their shoes for

the next 5 or so minutes and treat the band in front of you as their impression of human beings. Notice how things change when

the musicians become aware of their place within the ecosystem and tread with more consideration and respect.

“If you cannot save the Koala, you cannot save anything.”

Deborah Talbart, OAM, Director, Australian Koala Foundation

Jodie Blackshaw

Baranduda, Victoria, 2022

i


w ABOUT THE COMPOSER w

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. In 2021 Blackshaw launched the Teaching Performance through Composition series. This

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 to an educational environment.

To find out more please visit: www.jodieblackshaw.com: www.jodieblackshaw.com

w REHEARSAL NOTES w

EDUCATIONAL OBJECTIVES:

Ensemble: Introduce the concept that an ensemble is a carefully balanced ecosystem that needs to constantly work

with each other to maintain that balance. This includes considered entries and releases.

Student:

Director:

Discover the difference between an ‘ugly’ sound and a ‘beautiful’ sound and when each is appropriate.

Establish cue, patterns in 3 and 4, considered entry and release and what this looks like from the podium.

THE ELECTRONIC TRACK(s)

Four electronic tracks are included with this piece:

1. Opening soundscape

2. Galahs overhead

3. Magpie soundscape

4. A new day

• Tracks 1-3 will fade in and out naturally with the music written when started at the measure specified in

the score and part. Check levels for each track as each sound system will have different capability.

• Track 4 is approximately 2min long. It is not anticipated that the end soundscape will continue for this

long. Instruct the person playing these tracks to “fade out” this track manually at the appropriate time.

• All tracks are stereo and should be played out of a minimum of 1x left and 1 x right speakers appropriately

positioned either side of the stage.

• Foldback for the band (and conductor) is optional.

• This part may also activate the Power point slides at rehearsal marking B.

ii


POWER POINT SLIDES

A short video containing informative slides and imagery is included in the package and must be presented at

rehearsal marking ‘B’ during the performance (as detailed in the score). The band members are strongly

encouraged to freeze after the loud, dissonant chord at measure 14 and then slowly, and gradually move into rest

position whilst the slides are presented. Alternatively, students strongly encouraged to create their own students

Power point slides based about the current state of the koala. This would provide students with the opportunity

to voice what is most important to them and take a greater sense of ownership in the overall performance. Sample

Power point slides are also provided as a guide, a starting point or as a template.

EMOTIONAL CONTEXT: Embracing the 21st Century

Instead of providing more specific details for emotional context on the score and

in parts by way of words and directions, I have instead created a webpage that

provides links to YouTube clips and imagery. All parts contain the QR code

printed here (and in your score) for easy access.

There are four main sections of the work and each section is linked to informative

videos or other webpages. Students are invited to link a personal experience to

the information provided to establish emotional attachment and relevancy.

Strategies to transform these feelings and personal experiences into music

making is designated by the ‘Teaching Performance through Composition’

symbol (shown here). Based on your school community, select what methodology is best for sharing/discussing

student responses (you can also choose what will/will not be shared). This task is designed to couple information

and imagery with personal experience to contextualise the meaning behind the work with the day-to-day life of

your students. Contextualization that is hoped will influence their emotional and musical approach to the

performance of this work.

NOTE: Programme note is also available for download via this link in Word format at the bottom of the page.

PREPARATORY MATERIALS

A full set of preparatory materials are included with this work. Use these to learn the material before you start

learning the piece. As the main melody is often divided between sections, it will work better for your students if

they know what the melody is BEFORE they start playing the piece!

Here is what your students can learn in these preparatory materials:

• Main melody in 4/4 time (able to be played as around).

• Main melody in 3/4 time (able to be played as around).

• Accompaniment to melody in 3/4 focusing on these rhythm patterns | h q | q h |.

• Study on sustained melodic orchestration as used at rehearsal marking ‘C’ in the main score.

• Rhythmic ostinato patterns to be used as accompaniment in any way you wish!

iii


w CONDUCTOR NOTES w

Free time section (measure 1)

This section is designed to represent the urbanization of the natural environment. It is not metered.

• Have a phone/stopwatch on your music stand and start it when the first audio track begins. Use this to

cue the timed entries on the first page of the score.

• Using silent, numbered visual commands of your own preference, cue each “group” to enter (labelled on

the score between 1-6). Groups should be aware of the sound already established and enter with care

and awareness.

• Once the chord cluster is established and thicker in texture (with the entry of Group 6), instruct

percussion to guide the beginning of the intense crescendo labelled at rehearsal marking ‘A’. You will

notice that their parts are teaching them about changing the speed of their roll to increase intensity and

dynamic.

• At letter ‘A’, students are strongly encouraged to push as much air as possible through their instruments

whilst maintaining a note. It is expected that the notes will become more and more distorted and out of

tune, this timbre is sought at this time to represent the intensity of the sounds of traffic, people,

electronic devices and construction sites.

• ‘Wild and Crazy’: two measures before ‘15’, all woodwind & brass students (and bass guitar) are invited

to ‘Go wild and crazy’. It means play whatever you want as fast and as loud as you want. BUT! Ensure

that the sound intensity is maintained, especially when you return to the “normally played” dissonant

chord just prior to the caesura.

CREATIVE EXTENSION: If you have a large ensemble, you may wish to experiment with having some students

from each group not play their notes but instead, add to the soundscape with ringing mobile phones, loud

conversations, football whistles etc.. Let your imagination run wild! Just ensure that it all comes to a dramatic

and sudden stop at the same time (as marked by the caesura).

Power point Slides (Rehearsal Marking 15)

These slides should be shown in absolute silence and your band members should remain completely still. They

should also slowly place their instruments in their laps after the dissonant chord – percussion should be

particularly aware of the impact their movement has on the audience.

Blending and legato tonguing

As part of the ‘ecosystem’ Educational Objective, parts are sometimes detailed with who else in the band they

are playing with or blending with. Have students sit near these students at first and then move away from them.

Can they still hear them?

Legato tonguing is an extension of basic tonguing and it’s never too early to learn (in my humble opinion).

Encourage students to consider how they re-articulate here, the main idea is that the sound isn’t too harshly

interrupted but is smooth and unintrusive.

iv


Crescendo and Decrescendo

All crescendo and decrescendo markings have been deliberately left to a minimum of two measures. At times, a

long decrescendo over several measures is divided into stages (see this horn part at m. 67):

Students are encouraged to consider how they change their breath to alter their dynamic as well as, how this

aligns with the other musicians around them. Consider introducing this concept during warm-ups.

Space

I grew up in regional New South Wales. My father was a primary school teacher and up until the age of 10 years,

we lived in very remote parts of the state. Dad often taught with fewer than 3-4 teachers in his school. We lived

in the school residence (Dad was the Principal) and this meant usually having no neighbours. My afternoons

were spent playing in the playground of my own school, on my own, in large, wide open spaces. It would take

many hours of driving to arrive as a major city from where we lived, and we didn’t visit very often. Please

consider the impact this has on my music. Don’t be in a rush – allow the spaces within the music itself to breath.

Relax. Take your time, and be as sleepy as a koala when it comes to progressing through the transitions.

Linking Ecosystem to Band

In the notes provided via the QR code, students are encouraged to draw a link between an ecosystem, and a

musical ensemble. They can do this by watching two specifically chosen video clips that explain ecosystems

and then discussing how the ensemble works as an ecosystem. Most importantly, the ecosystem with change

based on the music, and it’s great for them to realise if they are the Primary producer (or not) in those moments.

SUGGESTION: Link with the Social Science/Humanities department to draw a curricular connection with music!

COMMISSION ACKNOWLEDGEMENT

This work was commissioned by St. Joseph’s College, Newtown, Victoria, Australia. Special mention to Music

Director Amy Young for her passion, vision and commitment to offering students creative experiences and an

all-important opportunity to be vulnerable.

v


This work is dedicated to the

many self-sacrificing wildlife volunteers

who continue to care for our endangered species.

Let us live for the day when it is

safe enough to return them all home.


This work was commissioned for the Intermediate band of St. Joseph' s College, Geelong, Australia.

Scan this QR

code for

additional

materials,

background

information and

rehearsal

strategies.

e Lile Bu Buddha

Jodie Blackshaw

Electronic Track

Flute Upper

Flute Lower

Oboe

Bassoon

Clarinet in Bb Upper

Clarinet in Bb Lower

Bass Clarinet

in Bb

Alto Saxophone

Tenor Saxophone

Baritone Saxophone

Trumpet in Bb Upper

Trumpet in Bb Lower

Horn in F

Trombone

Euphonium

Tuba

Bass Guitar/

String Bass

Mallets

Glockenspiel

Percussion 1

Timpani

Percussion 2

Bass Drum

Percussion 3

Cymbals

°

¢ /

°

& bb b

¢ &

°

& b Ú Suspended Cymbal Timp.

change notes in own time

w

æ˙

æ

˙ # w

w

?

¢ b b b Ú

° ?

¢ b b b Ú

°

& bb b

¢

& bb b

& bb b

Free time - all entries cued 53'' 1' 20'' 1' 35''

o

? b b b Ú

mp

mf

mf

p stagger breath mf

mf

Group 4 Group 5

pp stagger breath mf

p

mp

mp

mf

mf

pp stagger breath mf

pp stagger breath mf

pp

p

Group 4

p

p mp mf

mf

mf

mf

p mp mf

Free time - all entries cued 53'' 1' 20'' 1' 35''

Group 1 Group 2 Group 3 Group 4 Group 5 Group 6

Suspended Cymbal Timp.

Ú

w

æ

Medium-soft mallets.

Entry cued by conductor

f

Sus. Cymbal cue

C - Bb - F

Ú

Ú

Ú

Suspended Cymbal

Suspended Cymbal

Suspended Cymbal

Suspended Cymbal

ppp

Timp.

Timp.

Timp.

Timp.

ppp Group 1

Timp.

æ˙ ∑

Use large, soft mallets.

Slow even roll

gradually move to optimal position on skin without ceasing the roll

ppp

Conductor: please note that all Group entries are cued in parts.

Group 1 Group 2 Group 3 Group 4 Group 5

& b Ú Suspended Cymbal Timp.

w

æ˙ ∑ Ó ˙ w

Group 2

Group 3

Group 5

Group 4 Group 5

& b Ú Suspended Cymbal Timp.

w

æ˙ ∑ w w

& b Ú Suspended Cymbal Timp.

w

æ˙

&

Ú

Suspended Cymbal

Timp.

Group 1

Group 2 Group 3

& b Ú Suspended Cymbal Timp.

w

æ˙ w w w

Ú

Suspended Cymbal

Timp.

& b Ú Suspended Cymbal Timp.

w

æ˙ w w

& bb

? b b b Ú

? b b b Ú

Conductor: If you have multiple percussionists, position

them around the concert hall on suspended and ride

cymbals (with the Perc. 3 part). Alternatively, position them

at either end of the stage to provide spacial ambience.

Ú

Suspended Cymbal

Suspended Cymbal

Suspended Cymbal

Suspended Cymbal

Suspended Cymbal

Timp.

Timp.

Timp.

Timp.

Timp

Group 1

Group 2

Group 2

Group 4

Group 3

Group 4

w

change notes in own time

˙ w ˙ w

Start in dead centre of drum.

? b b b bœ Ú

œ

w æ

æ ~ ~ æ w æ w æ

/ Ú

Suspended Cymbal

/ Ú

Use soft yarn mallets,

slow even roll

w

æ

w

æ

w

æ

w

æ

æ

æ

æ

w

æ

æ

w

æ

æ

w

æ

w

æ

w

æ

w

æ

w

æ

Sus. Cymbal

æw

æw

Entry cued by conductor

æ˙ ∑ Ó ∑ ∑ ∑ ∑

æ˙

æ˙

æ˙

Ó

Group 2

Group 3

roll faster

roll faster

2 3 4 5 6

bw

Group 6

Group 6

Ó

w

w w w

w w w w

æ˙ Ó w w w

æ˙ w w w w

æ˙

æ˙

æ˙

æ˙

æ˙

w w w

Ó

Ó

w w w

æ˙ ∑ Ó ∑ ∑ ∑ ˙ ˙

æw

æw

æw

æw

æw

w

æw

æw

w

w

mf


> ˙ n>

˙

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

Copyright ColourFULL Music 2023. All rights reserved. International rights secured. Did you buy this music? If not, you have just stolen food from my table. Please support independent artists and buy your own copy.


2

E.T.

Fl./U

Fl./L

Ob.

Bsn.

Cl./U

Cl./L

B. Cl.

Alto Sax.

Ten. Sax.

Bari. Sax.

Tpt./U

Tpt./L

Hn.

Tbn

Euph.

Tba.

Bass

Mallets

Glock.

Perc. 1

Timp.

Perc. 2

B. D.

Perc. 3

S. Cym.

7 Becoming angrier & angrier! q=96

accel.

15

°

¢ / 2 4

4 U ∑

2 4 3 4 ∑ ∑ 4 ∑ ∑ ∑


U

U

Ó + + 4

U ww

°

& bb b

4 u

& bb b

4

& bb b

4

¢ &

°

& b

° ? 2

¢ b b 4 2 4

4

U 3 b ∑ . . U

.^ .^

U Ÿ ~~~~~~~

> - > - U

U

4 œ œ

nw

>

4 œ œ n˙

˙ œ œ 4

>

˙ w

7

˙ Ó +

>

7 Randomly gliss. all over the

Randomly gliss. all over the

15

instrument with ferocity!

Tremelo between E§ & Bb

°

2 4 2 4 3

& b b b 4

U instrument with ferocity!

U

∑ . .

.^ .^

U > - > - gradually getting faster

œ

˙

U U let ring U

4 œ œ



œ 4 œ œ


œ

˙ œ œ



nw

bw



Ó +

œ

4

¢ /

mf

f ff ffff UGLY LOUD

Play file

Slides in silence

Slides in silence

f ff ffff UGLY LOUD Slides in silence

f ff ffff UGLY LOUD Slides in silence

f ff ffff UGLY LOUD Slides in silence

f ff ffff UGLY LOUD Slides in silence

ff ffff UGLY LOUD Slides in silence

f ff ffff UGLY LOUD Slides in silence

f ff ffff UGLY LOUD Slides in silence

f ff ffff UGLY LOUD Slides in silence

f ff ffff UGLY LOUD Slides in silence

f

ff ffff UGLY LOUD Slides in silence

f ff ffff UGLY LOUD Slides in silence

ff ffff UGLY LOUD Slides in silence

f ff ffff UGLY LOUD Slides in silence

Becoming angrier & angrier! q=96

f

accel.

ffp

UGLY LOUD

Slides in silence

f ff fff sfp roll faster UGLY LOUD Slides in silence

f

Tutti

FREEZE! Then

slowly rest

. . U > .^ .^ > U Ÿ ~~~~~~~

> - -> >

U

instrument

2 œ œ nw


œ ˙ ˙ œ œ n˙

w ˙

4 2 4 U 3 4 4 7

Ó + 4

U

Tutti

. .

2 4 U > .^ .^ > U Ÿ ~~~~~~~ > - -> > U

w œ œ w 2 œ œ ˙ ˙ œ œ ˙ w ˙

4 U 3 4 4 7

Ó + 4

U 2 . 4 >U ^

2 .^ 4 > U Ÿ ~~~~~~~

> - -> > U U

w 3 4 œ œ

.

w

4 œ œ

.

˙ ˙ œ œ n˙

w ˙

7

Ó + 4

U . .

? 2 4 U > .^ .^ > U Ÿ ~~~~~~~ >

w œ œ -

b b 2 4 3 b 4

n ->

w

œ œ n ˙ ˙ œ œ n> ˙ w

U

˙ U

4 4 7

Ó + 4

& b U 2 . . 4 U > 2 .^ .^ > U Ÿ ~~~~~~~ > - -> > U

w œ œ w œ œ 4 U 3

4

# ˙ ˙ œ œ ˙ w ˙

4 4 7

Ó + 4

& b

& b

&

4

4

4

U 2 4 U

^ ^

2 4 U Ÿ ~~~~~~~

U

U

w 4 bœ

3

. œ

.

# w

4 bœ

4

>

. œ.

˙ ˙ b-œ

f

>

>

-œ >

˙ w

7

˙ Ó +

>

ff ffff UGLY LOUD Slides in silence

U 2 4 U

2 ^ ^ 4 U Ÿ ~~~~~~~

U U 3

w 4 œ 4 4

. œ.

# w

œ

f >

. œ.

# ˙ ˙ œ

>

-> > - œ # ˙

7

Ó +

w ˙

>

U 2 . . 4 U >

2 .^ .^ > U Ÿ ~~~~~~~

4

> - -> > U U

w œ œ # w

œ œ # ˙ ˙ œ œ # ˙ w ˙

3 4 4 7

Ó + 4

& b U 2 . . 4 U > 2 .^ .^ 4 3

4

> UŸ ~~~~~~~

> - -

w 4 œ œ w > > U U

4 œ œ ˙ ˙ œ œ ˙ w ˙ Ó +

7

4

& b

& bb

4

4

4

4

U 2 . . 4 U

2 .^ .^

U

4 Ÿ ~~~~~~~

> - > - U

U 3 4 >

4 4

w

w œ œ # w

œ œ # ˙ ˙ œ œ # ˙ w

7

˙ Ó +

>

>

U 2 4 U

^

2 .^ 4 > U Ÿ ~~~~~~~

> - -> U U 3

# w 4 œ. œ.

w

>

4 œ œ

.

˙ ˙ bœ

œ ˙ w ˙ Ó +

7

4

U 2 4 U

^ ^

2 4 U Ÿ ~~~~~~~

> - > - U U

w

3 4 œ. œ


.

# w

4 nœ

4

>

. œ. ˙ ˙ bœ

œ ˙ w

7

˙ Ó +

f

>

ff ffff UGLY LOUD Slides in silence

U 2 4 U

2 ^ ^ 4 U Ÿ ~~~~~~~

U U 3

w 4

œ œ

4 4

. . nw

>

œ œ

. . n˙

˙

>

œ œ n˙

w

7

˙

Ó +

->

-> >

U

? w

b b 2 œ. œ. 4 U > 2 .^ .^

4 > U -> -> > U U 3 b 4 4 nw

œ œ 4 n˙

˙ œ œ n˙

w ˙ Ó +

7

4

U

? b b 2 . . 4 U > 2 .^ .^

4 > U Ÿ ~~~~~~~

w œ œ w œ œ ˙ ˙

> - œ ->

œ > ˙ w

U

˙ U 3 b 4 4 4 Ó +

7

4

f ff ffff UGLY LOUD Slides in silence

? 2 4 2 4 3

¢ b b

U

U

^ ^

U Ÿ ~~~~~~~

U U

b 4 4 4 4

w œ. œ.

nw

œ

f >

. œ.


˙ œ

7

Ó +

>

-> n > - œ ˙ w ˙

>

Go wild and crazy on these

Go wild and crazy on these

drums for three beats

drums for three beats

U

^ ^

U

U

? b b 2 4 2 4 let ring U 3 b 4

æw 4 œ. œ.

œ œ œ

æœ 4 œ

.

œ.

œ œ œ

æœ œ

æ˙ æw æ˙ Ó + 4

-> > - œ

/

4

4

improvise with rhythm to create chaos

U . . U U U

let ring

æw 2 4 2 4 U 3 4 œ œ


æw

4

æœ œ œ œ

æ˙ æ˙ æœ œ œ œ æ˙ æw æ˙ Ó + 4

U

æw

ff

The Little Bush Buddha

sfp ffff sfp ffff

Conductor: All parts include the brackets and

text " Go wild and crazy" plus " Freeze! etc."

Go wild and crazy!

sfp roll faster UGLY LOUD Slides in silence

let ring

U U

U

let ring

let ring

let ring

2 4 2 4 U 3 4 ˙

æw


4 ˙

æ˙ æ˙ ˙ æ˙ æw æ˙ Ó + 4

7 8 9 10 11 12 13 14 15

f ff mp ffff mp ffff mp roll faster UGLY LOUD Slides in silence

Copyright ColourFULL Music 2023. All rights reserved. International rights secured. Did you buy this music? If not, you have just stolen food from my table. Please support independent artists and buy your own copy.


E.T.

16

°

¢ /

3

4 ∑

There is hope q=76

2 - Galahs overhead

The Little Bush Buddha

24

" Let us pray for wisdom. Let us pause from thinking and empty our mind. Let us stop the noise and in the silence, listen to our heart."


3

Fl./U

°

& bb b 3

4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Fl./L

& bb b 3

4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Ob.

Bsn.

Cl./U

Cl./L

B. Cl.

Alto Sax.

Ten. Sax.

Bari. Sax.

Tpt./U

Tpt./L

Hn.

Tbn

Euph.

Tba.

Bass

Mallets

Glock.

Perc. 1

Timp.

Perc. 2

B. D.

Perc. 3

S. Cym.

& bb b 3

4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? b b 3 b 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& b 3

4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Soli w/ A. Sx.

& b 3

4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙ œ ˙ ˙ œ ˙ ˙

& b 3

4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ Bassoon cue

˙

&

3

4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& b 3

4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

3

¢ & 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

°

& b 3

4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& b 3

4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& bb 3

4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? b b 3 b 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? b b 3 b 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? 3

¢ b b b 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

° ? 3

¢ b b b 4 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

16 There is hope q=76

24

°

always let ring

3

& b b ˙

˙

b 4 ∑ ∑ ∑ ˙

∑ ∑ ˙

Change to

med. hard mallets

F>Ab

pp

(Timps now at these pitches)

3

¢ / 4 ∑ ∑ ∑ ∑ ∑

f

? b b 3 ∑ b 4 œœœ

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

/

3

4

æ˙

æ˙

æ˙

æ˙

æ˙

p

æ˙

æ˙

mp

Soli w/ Cl. 2

mp

p

mp

(4) (8)

16 17 18 19 20 21 22 23 24 25 26 27 28

æ˙

æ˙

æ˙

æ˙

˙

mp

˙ ˙ ˙

˙ œ ˙ ˙ œ ˙ ˙

æ˙

æ˙

Ó

æ˙

æ˙

œ

˙

æ˙

æ˙

Ó

æ˙

æ˙

œ

mp

˙

mp

˙

æ˙

æ˙

œ

Copyright ColourFULL Music 2023. All rights reserved. International rights secured. Did you buy this music? If not, you have just stolen food from my table. Please support independent artists and buy your own copy.


The Little Bush Buddha

4

E.T.

36

°

¢ / ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Fl./U

°

& bb b ∑ ∑ ∑

œ

˙ ˙ œ œ

With alto sax and trumpet

œ ˙ ˙ ˙ œ ˙ ˙ ˙ ˙

f mf mp

Fl./L

& bb b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

˙

mp

˙

Ob.

Bsn.

Cl./U

Cl./L

B. Cl.

Alto Sax.

Ten. Sax.

Bari. Sax.

Tpt./U

Tpt./L

Hn.

Tbn

Euph.

Tba.

Bass

Mallets

Glock.

Perc. 1

Timp.

Perc. 2

B. D.

Perc. 3

S. Cym.

& bb b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

-

? œ ˙ ˙ -œ ˙ ˙ -œ ˙

b b ˙ ˙ œ œ œ œ œ b

œ œ

& b

& b

mf mp mf mp mf

mp

f

f mp mf

& b -œ ˙ ˙ -œ ˙ ˙ -œ ˙ ˙ ˙ œ œ œ œ œ œ ˙ œ œ ˙ ˙ ˙

&

& b


p mp p mp p mf

¢ & ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

°

& b ∑ ∑ ∑ ∑ ∑ ∑ ∑

& b ∑ ∑ ∑ ∑ ∑ ∑ ∑

& bb ∑ ∑ ∑ ∑

mf mp mf mp

mp

p mp p mf mp

?

¢ b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

° ?

¢ b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

f

¢ /

æ˙ æ˙ æ˙ æ˙ æ˙ æ˙ æ˙ æ˙ æ˙ æ˙ æ˙ œ Œ Œ


mp

mf

mp

mp

Blend with Bass Gtr

mp

mp

mp

mp

mp with Bass Clarinet

-

? œ ˙ ˙ -œ ˙ ˙ -œ ˙

b b ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ ˙

b

? b b b ∑ ∑ ∑


36

œ ˙

With alto sax and trumpet

˙ ˙ œ ˙ ˙ ˙ ˙

? b b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

/

˙ ˙ ˙ ˙

˙

°

& b b b Ó

˙

œ ˙ ˙

œ ˙ ˙ œ ˙ ˙ œ ˙ œ œ

æ˙

œ

l.v.

æ˙ œ Œ Œ

(1 2) (1 6) mf

29 30 31 32 33 34 35 36 37 38 39 40 41

B. Gtr. cue

œ œ œ ˙ ˙ œ œ œ

œ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ ˙ ˙

œ ˙ ˙ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ ˙

œ ˙ ˙ ˙ œ ˙ ˙ b˙

˙ ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ œ œ œ

˙

æ˙

œ œ œ ˙ ˙ œ œ œ

˙ ˙ œ ˙ ˙ b˙

˙ ˙ œ ˙ ˙ b˙

˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙ ˙

˙ ˙ ˙ œ œ œ œ œ œ ˙ ˙ œ œ ˙ ˙ ˙

˙

œ ˙ œ œ

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

˙

˙ œ œ ˙ ˙ ˙

Blend with Bass Clarinet

˙ œ œ ˙ ˙ ˙

˙

˙

˙

˙

Copyright ColourFULL Music 2023. All rights reserved. International rights secured. Did you buy this music? If not, you have just stolen food from my table. Please support independent artists and buy your own copy.


E.T.

The Little Bush Buddha

46

°

¢ / ∑ ∑ ∑ ∑ ∑ ∑ ∑

3 - Magpie soundscape

poco rit.

5

Fl./U

°

& bb b

With Trumpet 1

œ ˙ ˙ œ ˙ ˙ œ œ œ ˙ œ ˙ ˙ œ œ œ


˙

mf f mp f

Solo

œ

Fl./L

& bb b

With Trumpet 1

œ ˙ ˙ œ ˙ ˙ œ œ œ ˙ œ ˙ ˙ ˙

mf f mp p



Ob.

Bsn.

Cl./U

Cl./L

B. Cl.

Alto Sax.

Ten. Sax.

Bari. Sax.

Tpt./U

Tpt./L

Hn.

Tbn

Euph.

Tba.

Bass

Mallets

Glock.

Perc. 1

Timp.

Perc. 2

B. D.

Perc. 3

S. Cym.

& bb b œ ˙ ˙ œ ˙ ˙ œ œ œ ˙ ˙ œ Œ Œ ∑ ∑ ∑

œ œ

¢ & œ œ

œ œ

˙ œ ˙ ˙ ˙

œ œ œ ∑ ∑

˙ ˙

°

& b bœ

˙ ˙ œ ˙ ˙ œ œ œ ˙ œ ˙ ˙ ˙ ∑ ∑

Play (with Bass Clarinet)

?

¢ b b b œ œ œ ˙ œ ˙ ˙ ˙ œ

° ?

¢ b b œ œ

b

œ œ

œ ˙ œ ˙ ˙ ∑ œ œ œ œ ∑ ∑

˙ ˙

°

& b b b

mf f p


? ˙

b b ˙ œ ˙ ˙ œ

œ

b Œ Œ

œ œ œ œ œ ∑ ∑

˙ ˙

mf

mf

¢ / ∑ ∑

f mf p

& b œ ˙ ˙ œ ˙ ˙ œ œ œ ˙ œ ˙ ˙ ˙ ∑ ∑

f mp p

& b œ ∑ ∑

˙ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙

mf f mp p

& b œ œ

œ œ

œ œ

˙ œ ˙ ˙ ˙

œ œ œ ˙ ˙

∑ ∑

&

& b

f mf p

-


˙ ˙ œ ˙ ˙ œ œ œ ˙ œ ˙ ˙ ˙

mf f mf mp p

mf f mp p

mf f mf p

mf f mp p

mf f mp p

mf f mf mp p

mf f mf mp p

mf f mp p

mp mf f mp

mf (don' t dampen) mf p

mp

p

mp

p

legato tonguing


˙ ˙ œ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙

& b bœ

˙ ˙ œ ˙ ˙ œ

œ œ ˙ œ ˙ ˙ ˙ ∑ ∑

& bb ∑ ∑

œ ˙ ˙ œ ˙ ˙ œ œ œ ˙ ˙ ˙ ˙

? b b œ ˙ ˙ œ ˙ ˙ œ œ œ ˙ ˙ ˙ ˙

b ∑ ∑

? b b œ ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ ˙

b ∑ ∑

œ ˙

˙˙

? b b b ∑

/ ∑

œ œ let ring

œ œ Œ Œ

˙

œ

œ œ œ

æ˙

æ˙

æ˙

46

poco rit.

∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

f

mf

mf

let ring

æ˙ œ Œ Œ

l.v.

æ˙ œ Œ Œ

let ring

æ˙ œ Œ Œ

∑ ∑ ∑ ∑ ∑

∑ ∑ ∑ ∑ ∑ ∑

∑ ∑ ∑ ∑ ∑ ∑

42 43 44 45 46 47 48 49 50 51 52

To Tri.

Œ

Œ

∑ ∑ ∑ ∑ ∑ ∑





Copyright ColourFULL Music 2023. All rights reserved. International rights secured. Did you buy this music? If not, you have just stolen food from my table. Please support independent artists and buy your own copy.


The Little Bush Buddha

6

E.T.

53 Piu mosso q=80

61

°

¢ / ∑ ∑ ∑ ∑ ∑ ∑

Fl./U

°

& bb b

Tutti

˙ ˙ œ Œ Œ ∑ ˙

œ ˙ œ œ

œ ˙ ˙ ˙ œ ˙

p mp mf

Fl./L

Ob.

Bsn.

Cl./U

Cl./L

B. Cl.

Alto Sax.

Ten. Sax.

Bari. Sax.

Tpt./U

Tpt./L

Hn.

Tbn

Euph.

Tba.

Bass

Mallets

Glock.

Perc. 1

Timp.

Perc. 2

B. D.

Perc. 3

Tri.

& bb b ∑ ∑ ∑ ∑

¢ & ∑ ∑

°

& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?

¢ b b b ∑ ∑ ∑ ∑ ∑ ∑

° ?

¢ b b b

53 Piu mosso q=80

61

°

& b b b ∑ ∑ ∑ ∑ Ó œ Ó

˙ œ ˙ Œ

¢ /

p

mp

& bb b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

? b b b ∑ ∑ ∑ ∑

& b ∑ ∑ ∑ ∑

& b

& b

&

mp

mp

mp

p mp p mp p mp

Horn/Tbn 2 cue

p mp p mp mp

Tutti

& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ˙ ˙ ˙

p mp p mp

p mp p mp

p mp p mp p mp

p mp p mp p mp

p

pp

Hit toward centre of drum

/

p

p

mf

53 54 55 56 57 58 59 60 61 62 63

mp

mp

Play (Tutti)

p

Play notes in brackets if lower notes not possible

& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& bb ∑ ∑ ∑ ∑

? b b b

? b b b

˙ ˙ œ nœ

œ n˙ ˙ ˙ œ œ œ

˙ ˙ œ nœ

œ ˙ ˙ ˙ œ œ œ

˙

œ ˙ œ œ

? b b b ˙ œ œ ˙ ˙ œ œ ˙ ˙ œ œ ˙ ˙ œ œ ˙ ∑ ∑ ∑

Triangle

Triangle

∑ ∑ ∑ Ó ¿ ¿ Œ Œ

∑ ∑ Ó ¿ ¿ Œ Œ

B. Clt cue

œ ˙ ˙ ˙ œ ˙

˙ ˙ ˙ ˙ ˙ ˙ œ nœ

œ ˙ ˙ ˙ œ œ œ

˙ ˙ ˙ ˙ ˙ ˙ ˙ œ nœ

Hit in best sounding place on the drum

To Cym.


mf

mf

mf

˙ ˙ ˙ œ œ

˙ ˙ ˙ ˙ ˙ ˙ ˙ œ # ˙ ˙ ˙ œ œ œ

˙ ˙ ˙ ˙ ˙ œ # œ

˙ ˙ ˙ œ ˙ ˙ ˙ ˙

˙ ˙ ˙ ˙ ˙ ˙ œ nœ

œ n˙ ˙ ˙ œ œ œ

˙ ˙ ˙ ˙ ˙ ˙ ˙ œ n˙ ˙ ˙ ˙

˙ œ nœ

˙ œ œ ˙ ˙ œ œ ˙ ˙ œ œ ˙ ˙ œ nœ

˙

˙

˙

˙


˙

˙

˙ ˙ ˙ œ

mp

˙ ˙ ˙ œ œ

œ

œ

Œ

œ

œ

œ

mf

œ

œ

œ œ ˙

˙ œ œ ˙ ˙ œ œ ˙ ˙ œ œ ˙ ˙ œ œ ˙ ˙ œ œ ˙ ˙ œ


œ

œ

œ

œ

Copyright ColourFULL Music 2023. All rights reserved. International rights secured. Did you buy this music? If not, you have just stolen food from my table. Please support independent artists and buy your own copy.


E.T.

The Little Bush Buddha

rit. 70 Sleepily q=72

°

¢ / ∑ ∑ ∑ 3

4 ∑ ∑ ∑ 4 ∑ ∑ ∑

4 - A new day

7

Fl./U

Fl./L

Ob.

Bsn.

Cl./U

Cl./L

B. Cl.

Alto Sax.

Ten. Sax.

Bari. Sax.

Tpt./U

Tpt./L

Hn.

Tbn

Euph.

Tba.

Bass

Mallets

Glock.

Perc. 1

Timp.

Perc. 2

B. D.

Perc. 3

S. Cym.

°

& bb b ˙

¢ &

Tutti

°

& b ∑ cantabile

> >

˙ ˙ 3

4 œ ˙ ˙ œ w

>

4 œ œ œ ˙ œ ˙ ˙

Play

? ¢ b b b ˙ ˙ œ ˙ 4 œ

>

˙

° ˙

? ¢ b b

>

b ˙ œ

œ ˙ 4 ˙

°

& b b b

¢ /

mp

pp

> > > cantabile

˙ ˙ nœ

˙ ˙ œ w œ œ 3 œ ˙

4

4

œ ˙ ˙

> > >

cantabile

& bb b ˙ ˙ ˙ œ ˙ ˙ œ w œ œ

3 œ ˙

4

4

œ ˙ ˙

& bb b ∑

3

˙ ˙ 4 œ ˙ ˙ œ w 4 œ œ œ ˙

> >

œ ˙ ˙

mf f ff

˙ ˙ ˙ w ˙ >

>

? b b œ w 3 ˙ ˙ œ ˙

b 4

4

˙

mp mf f ff mf

Div.> > Tutti

cantabile

& b 3

˙ ˙ ˙ 4 œ ˙ ˙ œ w

>

4 ˙ ˙ œ ˙ ˙

mp mf f ff mf

& b 3

˙ ˙ ˙ 4 œ ˙ ˙ œ 4

> >

w ˙

>

mp mf f ff f

& b cantabile

3

˙ ˙ 4

4

œ ˙ œ ˙ ˙

>

œ w ˙ ˙

>

œ ˙ ˙

>

&

f

f

mf f ff mf

˙ ˙ ˙ œ > > >

3

4 ˙ ˙ œ w 4 ˙ ˙ œ œ ˙ ˙

mf f ff mf

& b > > cantabile

3

˙ ˙ ˙ w ˙

4

œ w 4 ˙

-˙ œ ˙ ˙

mf f ff mf

˙ ˙ 3

œ ˙ 4 œ ˙ ˙ 4

>

œ w ˙ ˙ œ ˙ ˙

>

>

mf f ff mf

mf f ff mf

& b ∑ 3

˙ ˙ 4 œ ˙ ˙ œ 4

> >

w

>

œ œ œ ˙ œ ˙ ˙

mp

f

mf

mf

mf

(echoing the band)

ff

ff

f ff mf

cantabile

& bb >

3

4

4

˙ ˙ ˙ nœ

˙ ˙ œ w ˙

>

>

˙ œ œ ˙ ˙

mf f ff f

> > >

? b b ˙ ˙ ˙ -

3

b 4

n œ ˙ ˙ b œ w ˙ ˙ œ ˙ ˙

4

mf f ff mf

>

? > >

b b 3

b

˙ ˙ ˙ ˙ ˙ œ

4 œ

w ˙ ˙

4

œ ˙ ˙

? b b b ∑ ∑ ∑ 4 ∑

/

˙

˙

œ

Suspended Cymbal

æ˙

æ˙

œ

æ˙

æ˙

œ

œ

œ

æ˙

æ˙

œ

œ

4

4

4

Œ

æw

æw

Œ

mf f ff mf

3

4

˙

>

œ w ˙ ˙ œ ˙ ˙

>

f ff mf

Tuba cue

3

˙ 4

>

œ w ˙ ˙ œ ˙ ˙

>

f

rit. 70 Sleepily q=72

> > > > > Solo - cantabile

œ œ ˙ œ œ let ring

3

œ œ ˙ œ œ Œ Ó 4 Œ Œ Œ

œ œ œ


˙ œ

mf

64 65 66 67 68 69 70 71 72 73

ff

>

cantabile

cantabile

3

4

>

æw

æw œ Œ Œ

>

æw

æw

ff

æw 3

4 œ Œ Œ

ff

æw 3

4 œ Œ Œ

ff

let ring

l.v.

let ring

cantabile

˙ œ œ ˙ ˙

cantabile

cantabile

mf

f

∑ ∑ ∑

∑ ∑ ∑

∑ ∑ ∑

Copyright ColourFULL Music 2023. All rights reserved. International rights secured. Did you buy this music? If not, you have just stolen food from my table. Please support independent artists and buy your own copy.


8

E.T.

Fl./U

°

¢ /

°

& bb b

78

œ œ œ ˙ œ ˙ ˙ œ

mf

The Little Bush Buddha

mp

Create windy soundscape with air through instrument and some key clicking

Conductor note: The electroacoustic track is long. You do not need to use it all,

but instead, have the additional recording to use to freely fade out as desired.

Fade out as directed

o

Fl./L

& bb b

œ œ œ ˙ œ ˙ ˙ œ

mf

mp

Ob.

Bsn.

Cl./U

Cl./L

B. Cl.

Alto Sax.

Ten. Sax.

Bari. Sax.

Tpt./U

Tpt./L

Hn.

Tbn

Euph.

Tba.

Bass

Mallets

Glock.

Perc. 1

Timp.

Perc. 2

B. D.

Perc. 3

S. Cym.

& bb b œ Œ Œ ∑ ∑

? b b b

¢ &

Solo - with Clt 1

°

& b œ Œ Œ ∑ œ œ œ ˙ œ ˙ ˙ ˙ œ

° ?

¢ b b b

p

mp

Solo - with Trumpet 1

& b ˙ ∑ œ œ œ ˙ œ ˙ ˙ œ

& b

& b

&

& b

mp

78

°

& b b b ˙ ∑ ∑ ∑ œ ˙ ˙

¢ / ∑ ∑ ∑ ∑

f

mp p pp

mp (decresendo if not playing solo) mf pp

mp

mp p pp

p f mf p

& b Œ Œ

œ

∑ ∑

p

& bb ˙ ˙ Œ ∑ ∑

mf

p

Two players only

? b b ˙ ˙ œ ˙ ˙ b

œ ˙ ˙ ˙ œ

? b b b

˙ ˙ œ ˙ ˙ ˙

˙ ˙ œ œ ˙ ˙ ˙

˙ ˙ œ ˙ ˙ ˙ ˙ ˙ œ

˙ ˙ œ œ ˙ ˙ ˙ ˙ ˙ œ

˙ ˙ œ ˙ ˙

˙ ˙ œ ˙ ˙ ˙ ˙ œ

pp

mp p pp

˙ ˙ œ ˙ ˙ Œ

mp

?

¢ b b b

˙ ˙ œ ˙ ˙

mp

˙ ˙ œ ˙ ˙

mp

? b b b ∑ ∑ ∑ ∑ ∑ ∑

/ ∑ ∑ ∑ ∑

pp

pp

p

Solo

pp

pp

74 75 76 77 78 79 80 81 82 83 84 85

p

Create windy soundscape - use any percussion you think is appropriate

Copyright ColourFULL Music 2023. All rights reserved. International rights secured. Did you buy this music? If not, you have just stolen food from my table. Please support independent artists and buy your own copy.

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