MMP_Score_Poorvi_An Evening Raga for Concert Band_Aakash Mittal copy

Aakash Mittal 

Poorvi 

An Evening Raga for Concer t Band



an evening raga for concert band 

Woodwinds 

Flute* 

Oboe* 

Doubles high w.w. 

Bassoon* 

Doubles low w.w. 

Clarinet 1 

Clarinet 2 

Bass Clarinet* 


Alto Saxophone 1-2* 

Tenor Saxophone* 

Baritone Saxophone* 


Brass 

Trumpet in Bb 1* 

Trumpet in Bb 2* 

Horn in F* (optional) 

Trombone* 

Euphonium* 

Tuba* 

Strings 

Bass, Electric or Acoustic* 

(optional) 

Percussion 

Timpani* 

Percussion 1* 

Snare Drum 

Percussion 2* 

Medium Tom and High Tom 

Percussion 3* 

Tambourine 

Percussion 4* 

Crash Cymbals, Suspended Cymbals 

Percussion 5* 

Bass Drum 

Percussion 6* 

Glockenspiel 

*Instrumentalists that play metallic 

objects. See composer’s notes. 

Duration 4:30

About Poorvi: An Evening Raga for Concert Band 

The sounds of bells, gongs and struck metal objects will forever remind me of my time studying 

music in India. From rituals in Pushkar, Rajasthan to Kolkata’s Durga Pooja festival, to the 

bell-laden cows passing on the road, metallic timbres were part of the soundscape. The 

opening metallic sounds of Poorvi: An Evening Raga for Concert Band invokes the improvised 

rhythms of India’s street music that I regularly encountered. 

As the sound of bells establishes the color of this piece, clarinets or other high woodwinds 

emerge with a single unison melody. This phrase is a melody central to raag Poorvi. Raag 

Poorvi is one of thousands of ragas, a highly detailed musical system originating in South Asia. 

A few measures later this central phrase, called the raag chalan, is restated and varied by 

woodwinds as the metallic sounds continue. Suddenly, trumpets and saxophones enter, playing 

a third variation on the raag chalan. After percussion enters dramatically, the piece begins to 

move forward at a faster tempo. 

It is nearly impossible to express the full nature of a raga within concert band instrumentation. 

One challenge is that each raga has a unique approach to gliding between specific notes. This 

glide, called meend, changes speed, inflection, and timbre depending on the raga. This 

technique is not sight-readable as it requires many years of focused listening and practice. 

Additionally, raga music is typically small ensemble music. A traditional concert features a solo 

vocalist or instrumentalist that brings the raga to life by performing highly structured 

improvisation and a series of fixed compositions. The soloist is often accompanied by a number 

of instrumentalists. Tanpura players establish a drone of the root note, a tabla player expresses 

the rhythmic cycle, and a harmonium or sarangi player reflects the soloist with melodic 

accompaniment. Despite these differences in technique and instrumentation, I believe there is 

a universality to raga music that allows it to function as the seed material for melody, 

orchestration, and harmony within the wind ensemble medium. 

As a composer exploring the sonic universes of raga music and concert band instrumentation, I 

ask myself, what experience do I want to share with you, the listener, by the end of this piece? 

From a technical standpoint, I want to introduce you to raag Poorvi, whose essential melody, 

the raag chalan, is stated four times throughout the work. The center of the piece features a 

traditional composition called khayal, which is stated three times across various instruments in 

the band. I hope you leave the concert humming these melodies. I also want to share with you 

the sonic experience of cultural hybridity. In addition to the sound of bells, I often encountered 

breakbeats in night clubs, backbeats in ensemble rehearsals, and sounds that intentionally 

bridge the gap between modernity and tradition, during my time studying music in India. I 

hope the sounds of Poorvi: An Evening Raga for Concert Band invoke this sonic diversity and 

shine a light on our collective journey. 


December 15th, 2023

About the Composer 

Hailed as “A fiery alto saxophonist and prolific composer” by the Star Tribune (Minneapolis), Aakash Mittal creates 

music at the intersection of improvisation, composition, sonified movement, and noise. The colorful dissonances, 

meditative silences, and angular rhythms that emerge invite the listener to enter a sonic landscape. Mittal’s work 

explores universal designs while being rooted in his studies of South Asian and American musical traditions. In his 

latest project, Breathe, Mittal sets text from anonymous musings on the Covid-19 pandemic, expresses his own 

relationship to family, and asks questions about who is allowed to breathe in America. 

As a composer Aakash Mittal has written extensively for a variety of ensembles and mediums composing over one 

hundred new works. His wind ensemble works include, Salt March (2022), Three Songs of Bengal (2019) and Samay 

Raga for Wind Ensemble (2019). His recent works for strings include The Other Shore for solo violin and The First 

Dream for countertenor, baritone, violin, viola and cello. Both works were commissioned by the Gabriella Lena Frank 

Creative Academy of Music (2022). In This Sound We Are One and Many for cello and field recordings was 

commissioned by Jake Charkey (2022). In 2017 Mittal composed the found sound piece Ghosts for BOMB 

Magazine, and a work for solo percussion titled Meditation, Motion, and Melody for Indian-American percussionist 

David Abraham. In 2014 Mittal premiered a suite of trio works titled Nocturne as part of his American Institute of 

Indian Studies Fellowship. American University Creative Ensemble commissioned the work Pooja, in 2013. The 

Playground ensemble has commissioned a number of works including Urban Raga (2011), Transitions (2011), and 

Questions of Identity (2012). In 2009 Mittal wrote Octet on Raga Yaman for the Ethos West Chamber Orchestra. As a 

leader, Mittal has self-released the five recordings Possible Beginnings, Videsh, Thumbs Up EP, Ocean, and 

Nocturne to rave reviews. 

Aakash Mittal has performed with such notable ensembles as the Milford Graves Trio, Du Yun’s Ok Miss, Amir 

Elsaffar’s Rivers of Sound, William Parker’s Little Huey’s Pocket Watch and the Brooklyn Raga Massive. As a leader 

Mittal has performed nationally at such venues as Lincoln Center (New York City), The Dakota (Minneapolis), The 

Cultural Center of Chicago, The American Jazz Museum (Kansas City) and Dazzle Jazz Club (Denver). Internationally, 

Aakash Mittal led a quartet at the Congo Square Jazz Festival in Kolkata, India. As a sideman, Mittal has performed 

in Kolkata with world renowned percussionist Pandit Tanmoy Bose’s Taal Tantra, and with the creative music 

ensemble Kendraka. In 2012 Mittal toured Mexico with Ravish Momin’s Trio Tarana. Other collaborations include 

poet Bhanu Kapil, Yells at Eels with Dennis Gonzalez, and Joining Hands with bharatnatyam dancer Anjal Chande. 

Aakash Mittal’s awards and honors include the Gabriella Lena Frank Creative Academy of Music Fellowship (2022), 

Chamber Music America/ASCAP Award for Adventurous Programming of Contemporary Music (2012), the Herb 

Albert/ASCAP Young Jazz Composers Award (2013) and the American Institute of Indian Studies Creative and 

Performing Arts Fellowship (2013). Aakash Mittal has received a Bachelor of Music from the University of Colorado at 

Boulder (2007) and has been a participant of the “Workshop for Jazz and Creative Music” and “(R)evolution: 

Resonant Bodies” at the Banff Center in Alberta, Canada. Mittal has been studying Hindustani raga music with 

Prattyush Banerjee and Tanmoy Bose since 2009 and with Samarth Nagakar since 2016. Aakash Mittal studied music 

and creativity with the legendary drummer/healer Milford Graves from 2015-2022. 

Acknowledgments 

Thank you California Band Directors Association and the consortium of music programs for commissioning this work. 

Dr. Kaitlin Bove, thank you for your hard work, attention to detail and for being available to answer questions at 

weird hours of the day and night. Quite simply this piece would not exist without your leadership. Thank you M.J. 

Wamhoff for premiering this work, asking important questions and offering feedback throughout the process. Thank 

you Samarth Nagarkar for teaching me how to sing raag Poorvi. I hope this piece inspires many more fans and 

practitioners of the artform. Michael Markowski, thank you for being my second whenever I need to duel Sibelius. 

Thank you Meera Mittal for bringing the score to life with your captivating art and design on the cover. Thank you 

Jayanthi Bunyan for listening to every draft of this piece and for picking up the slack when writing Poorvi required 

my full attention. To my dearest Nishad, thank you for being a shining light of joy and love in our lives. When you are 

old enough to join band I think the repertoire and pedagogy will be more reflective of your life and culture.

Raga Poorvi 

By Samarth Nagarkar 

A brief note on the concept of Raga 

Raga is the central concept of Indian classical music. It is so vital to the tradition that we mark 

its centrality when referring to it by its full name: Raga Sangeet, or Raga Music. An essential 

aspect of a raga is the anga, a melodic form created by the movement of swara (notes) in a 

specific laya (tempo). A set of angas deliberately strung together assumes a distinctive 

personality called raga. 

Anga is a Sanskrit word that means ‘part of’. The word anga is often combined with the word 

raga to create the term raga-anga. Raga-anga refers to the note combination that holds the 

signature movement, or phrasing, of a raga. There can be two or more ragas that employ the 

same set of notes and have the same ascending and descending scales, but will render 

different moods and personalities due to their raga-anga being distinct. The degree of 

prominence given to a note, the meend, or portamento-like gliding between notes, the 

curvatures akin to grace notes, and the tempo of each phrase are characteristics of the 

raga-anga that render every raga unique. A raga’s anga can be conceptualized as the sonic 

fingerprints of the raga. 

In order to understand a raga, one needs to grasp its structural and aesthetic attributes. The 

structure of a raga includes the swaras (notes) employed, the previously discussed raga-anga 

phrases, and a swara’s prominent or diminished status. A prominent swara has the option of 

being sustained while a diminished swara may act as passing tone in addition to other qualities. 

Aesthetic attributes imply subtler aspects such as the general mood, gait, and time of day or 

night associated with the raga. Most ragas have an ideal time of day, night or season attributed 

to them for performance and listening. Although these rules do not have any known scientific 

basis, the practice of singing certain ragas only at certain times has been in convention for 

centuries. There is a kind of beauty that emerges from the collective association of a raga with 

a specific time of day or night. 


Poorvi is an important raga within the Indian classical tradition. It is significant due to its own 

depth, gravitas, and as a parent raga to several popular ragas. A parent raga, or Aashraya raga, 

is a status given to a major raga with which several other ragas share a common raga-anga 

root. Pedagogically, the concept of a parent raga aids in the study of numerous ragas that have 

structural commonalities and subtle differences.

Structurally, If C is the tonic (known as Sa in Indian music sargam 1 ), Poorvi will use the notes C 

Db E F# G Ab B C , and an occasional F, to establish its fundamental scale. It employs the flat 

2nd (Re), flat 6th (Dha), the augmented 4th (teevra Ma in sargam), and a special use of the 

natural 4th (shuddha Ma 2 ). The 5th (Pa), although very central to the raga, is often omitted in 

the aaroh (ascending) movements 3 . It distinguishes itself from ragas like Paraj and 

Puriya-dhanashri by dwelling in the lower and middle tetrachord 4 of the scale with a strong 

focus on the 3rd (Ga). 

The phrasing of Poorvi is rather heavy in its gait. If one characterized Poorvi’s overall aesthetic, 

one would imagine a royal elephant, rather than a swift and nimble gazelle. With a marked 

solemnity and gravitas, it glides with somber shades of dusk. Poorvi is called a sandhi-prakaash 

raga or a twilight raga, indicating that dusk or pre-dusk is the recommended time to perform it. 

Traditional lyrical compositions in this raga cover a wide gamut of moods. Due to its heavy and 

slow movement, intense feelings of bhakti (devotion), karunaa (compassion) and shaanti (peace) 

are often explored. Inspired by the raga's darker shades, one may also find compositions that 

depict romance with themes of longing, pangs of separation, bitter-sweet fights, and coyness 

between lovers. The word Poorvi itself refers to the easterly winds that blow in India during the 

winter. These winds often bring storms, but are also symbolic of longer nights when lonely 

lovers impatiently await their next meetings with anticipation. 

Poorvi is a mature raga that has stood the test of time dating back more than 300 years. 

Despite its grandeur, significance and popularity, Poorvi is not commonly performed, because 

it requires a high level of mastery to properly express the nuances of the raga’s structure. Very 

few musicians are able to render Poorvi in its full glory, and even those that can often wait for 

an audience that is able to appreciate the depth of this beautiful raga. 

1 Sargam is similar to solfege in that there is a different syllable used to sing each pitch of a scale or mode. The sargam syllables 

are Sa, Re, Ga, Ma, Pa, Dha, Ni and Sa. 

2 

Shuddha means the natural or unaltered form of a note as if in a major scale. Teevra is the name for raising the note by a half step. 

3 

See the warmup guide at the back of this score for more information about the aaroh of Poorvi. 

4 

In Indian classical music, the lower tetrachord is called the poorvang.

Metallic Objects Guide 

The sounds of bells, gongs and struck metal will be forever etched in my mind from my time studying 

music in India. From early morning poojas in Pushkar Rajasthan, to the sounds of bell laden cows passing 

on the road, and the evening festivities of Kolkata’s Durga Pooja, metallic sounds were part of the 

soundscape. The opening metallic sounds of Poorvi An Evening Raga for Concert Band invites both the 

performers and audience to engage in a practice of mindfulness with the metallic sounds. When the bell 

is struck take a moment to bring your awareness to your breath. 

The metallic sounds are meant to be played improvisationally and rehearsed in the style of aural 

tradition. The metallic objects notation can not be sight read or practiced individually. The performers 

will need to learn the part as an ensemble with the conductor shaping the sound to create an aleatoric 

texture. Below is a list of suggestions to aid in rehearsal. 

● 

● 

● 

● 

● 

● 

● 

Instruct performers to stagger their metallic sounds. Tell them to avoid playing their metallic 

object at the same time as another player. 

The instructions to count in seconds is at the speed and pace of each individual player rather 

than actual seconds on a clock. 

There are five groupings of performers in the diagram above. Rehearse each group separately 

and design the texture before rehearsing as a full ensemble. The sound of each group alone 

needs to be as focused and captivating as the full ensemble playing together. 

This section is not random. Utilize repetition in your rehearsal until you find the sound you want. 

Remind the performers to “play the silence.” The silence and space between each performer’s 

metallic sound is essential to create the texture. Performers need to be listening deeply in the 

silence. 

Invite performers to bring a mindful intention to playing the metal objects. This intention can 

simply be to focus on listening to the ensemble or bringing awareness to their breath. When 

they strike their object they are sending their intention into the world. The intention does not 

need to be spoken, only felt. 

From the score: Metal objects must make a soft sustained metallic sound. Possible objects are 

metal water bottles, metal mixing bowls and metal plates. Possible instruments are singing 

bowls, chimes, bells and finger cymbals. Please do not play the music stand.

Metallic Objects Instructions in Score Order m. 1-23 

Flute - m. 1-12 Create a bell-like tone by striking a metal object with a wooden pencil. 

Strike once. Rest for three seconds. Repeat. Create a quiet ambient aleatoric texture 

across the band that is not in tempo. 

Oboe - m. 1-12 Create a bell-like tone by striking a metal object with a wooden pencil. 

Strike once. Rest for three seconds. Repeat. Create a quiet ambient aleatoric texture 


Bassoon - m. 2-12 When the first melody begins. Create a bell-like tone by striking a 

metal object with a wooden pencil. Strike once. Rest for five seconds. Repeat. Create a 

quiet ambient aleatoric texture across the band that is not in tempo. 

Clarinet 1 - m. 1-12 Playing the raag chalan. 

Clarinet 2 - m. 1-12 Playing the raag chalan. 

Bass Clarinet - m. 2-12 When the first melody begins. Create a bell-like tone by striking a 

metal object with a wooden pencil. Strike once. Rest for five seconds. Repeat. Create a 

quiet ambient aleatoric texture across the band that is not in tempo. 

Alto Saxophone 1 - m. 1-12 Create a bell-like tone by striking a metal object with a wooden 

pencil. Strike once. Rest for three seconds. Repeat. Create a quiet ambient aleatoric 

texture across the band that is not in tempo. 

Alto Saxophone 2 - m. 1-12 Create a bell-like tone by striking a metal object with a wooden 



Tenor Saxophone 1 - m. 1-12 Create a bell-like tone by striking a metal object with a wooden 



Baritone Saxophone - m. 2-12 When the first melody begins. Create a bell-like tone by striking 

a metal object with a wooden pencil. Strike once. Rest for five seconds. Repeat. Create 

a quiet ambient aleatoric texture across the band that is not in tempo. 

Trumpet 1 - m. 13-23 Create a bell-like tone by striking a metal object with a wooden 



Trumpet 2 - m. 13-23 Create a bell-like tone by striking a metal object with a wooden 



Horn in F - m. 13-23 Playing harmony parts.

Metallic Objects Instructions in Score Order m. 1-23 

Trombone - m. 13-23 Create a bell-like tone by striking a metal object with a wooden 



Euphonium - m. 13-23 Create a bell-like tone by striking a metal object with a wooden 



Tuba - m. 13-23 Create a bell-like tone by striking a metal object with a wooden 



Bass - m. 13-23 Create a bell-like tone by striking a metal object with a wooden 



Timpani - m. 13-23 Create a bell-like tone by striking a metal object with a wooden 



Percussion 1 - m. 1-23 Create a bell-like tone by striking a metal object with a wooden 

pencil. Rest for 10 seconds. Strike twice. Rest for five seconds. Repeat. Create a quiet 

ambient aleatoric texture across the band that is not in tempo. 







Percussion 4 - m. 2-23 When the first melody begins. Create a bell-like tone by striking a metal 

object with a wooden pencil. Rest for 7 seconds. Strike twice. Rest for five seconds. 

Repeat. Create a quiet ambient aleatoric texture across the band that is not in tempo. 



Repeat. Create a quiet ambient aleatoric texture across the band that is not in tempo. 



Repeat. Create a quiet ambient aleatoric texture across the band that is not in tempo.

Metallic Objects Instructions in Score Order m. 97– end 

Trumpet 1 m. 97-end. Create a bell-like tone by striking a metal object with a wooden 

pencil. Strike once and rest for five seconds. Repeat. Create a quiet ambient aleatoric 


Trumpet 2 m. 97-end. Create a bell-like tone by striking a metal object with a wooden 

pencil. Strike once and rest for five seconds. Repeat. Create a quiet ambient aleatoric 


Horn in F m. 97-end. Create a bell-like tone by striking a metal object with a wooden pencil. 

Strike once and rest for five seconds. Repeat. Create a quiet ambient aleatoric texture 


Trombone m. 98-end. When woodwinds begin to play. Create a bell-like tone by striking a 

metal object with a wooden pencil. Strike twice and rest for five seconds. Repeat. 

Create a quiet ambient aleatoric texture across the band that is not in tempo. 

Euphonium m. 98-end. When woodwinds begin to play. Create a bell-like tone by striking a 



Tuba 

Bass 

m. 98-end. When woodwinds begin to play. Create a bell-like tone by striking a 



m. 98-end. When woodwinds begin to play. Create a bell-like tone by striking a 


Create a quiet ambient aleatoric texture across the band that is not in tempo.

Glossary 

Aaroh - The ascending scale of a raga. 

Alaap - The first movement or phase of a raga music performance. The alaap is typically performed without 

percussion accompaniment. When an alaap is performed with percussion accompaniment it is typically at a slow 

tempo called vilambit. The form of the alaap often begins with a statement of the raag chalan. After the opening 

raag chalan, the performer can develop the lower octave of the raga followed by the first tetrachord and then the 

second tetrachord leading to the tonic note (called Sa in sargam) of the second octave. The melodic progression is 

typically improvised within an additive process whereby each note of the raga becomes the focus of musical 

development for a time. This process is further organized by use of the raag ang and raag chalan as themes within 

the additive process. A literal translation of the word alaap is “introduction.” 

Avroh - The descending scale of a raga. 

Breakbeat - A technique where the drum beats that occur as a break in a recorded piece of music are looped and 

repeated. 

Khayal - A song form with two primary sections called the Sthayi and the Antara. The Sthayi is the first melody and 

lyric of the song. The Antara is characterized by a resolution to the high Sa (the second octave tonic) as part of the 

melody. Khayals are set within a rhythmic cycle called tala. A literal translation of Khayal is “imagination” or 

“thought.” 

Mezzo-staccato - Notes that are connected in a legato style while also being slightly accented to create a pulsing 

sound. Also known as portato and non-legato in string music. 

Raag Ang - The identifying phrase of a raga. 

Raag Chalan - Multiple raag ang phrases performed with a sense of rhythm and tempo. 

Sargam - The syllables used to sing each note (swara) of the raga. In sargam each scale degree has a specific 

syllable that is used to sing each note. The syllable represents a specific scale degree regardless of the key. In that 

sense sargam is similar to the concept of fixed do in solfege. 

Scale Degree Long Name Short Name 

1 Shadja Sa 

2 Rishabh Re 

3 Gandhar Ga 

4 Madhyam Ma 

5 Pancham Pa 

6 Dhaivat Dha 

7 Nishad Ni 

Tala - A rhythmic cycle of a set number of beats such as 7, 10, 12 or 16 that repeat. Each tala is characterized by 

specific percussion patterns and notes on the tabla or pakawaj. These sounds can be spoken and represented by 

rhythmic syllables called bols. The first beat of the cycle is called the sum. A specific beat that excludes the bass 

drum sound is called kali. Tala is often represented by a clapping pattern that emphasizes the sum and the kali. 

Teentaal - A tala of sixteen beats divided into four groups of four beats. The kali is on beat nine.

Social Impact Consortium 

As educators, we are privileged to welcome students into our classroom regardless of their race, religion, socioeconomic 

status, sexuality, or gender identity. We are also fortunate to teach alongside amazing educators that 

reflect that same diversity we see in our classrooms. The annual CBDA Social Impact Consortium is designed to 

promote empathy, engagement, and understanding in areas critical to our growth as a society by inviting composers 

of diverse identities to grapple with socially relevant topics and providing meaningful companion curricula. 

Poorvi Consortium Members 

Acalanes High School, Edwin Cordoba 

Albany High School, Craig Bryant 

Bella Vista High School, Santiago Sabado 

Branham High School, Chris Nalls 

Canyon Crest Academy, Amy Villanova 

Denver South High School, Kyle Dobbins 

Diablo Valley College, Kaitlin Bove 

Dougherty Valley High School, 

Teri Musiel & Lauren Gibson 

Edina High School, Paul Kile 

Evanston Township High School, Matthew Bufis 

Evergreen Valley High School, Maritza Spieller 

Fiorello H. LaGuardia High School, 

David Blumenthal & Kimberly Roof 

Franklin Academy High School, Lily Ianaconi 

Hinton Community School, Braeden Weyhrich 

Homestead High School, John Burn 

Hopkins High School, Nora R. Tycast 

International School of Luxembourg, 

Demosthenes Dimitrakoulakos 

John F. Kennedy Middle School, Stephanie Watkins 

Lawrence University, Matthew Arau 

Leigh High School, Alex Christensen 

Lincoln High School, 

Cathy Ettle, Kristin Florek & Jazareth Valencia 

Marshall University, Christopher Schletter 

Minneapolis Southwest High School, Reid Wixson 

Minnesota Junior Winds, Charles Weise 

Mission San Jose High School, Bryce Beckel 

Roseville Area High School, Mathew Dehnel 

Saint Paul Central High School, Matthew Oyen 

San José State University, David Vickerman 

Saratoga High School, 

Jason Shiuan & Michael Boitz 

Sierra Pacific High School, Jeff Detlefsen 

Special Music School High School, Phil Rashkin 

Spring Lake Park High School, Ross Wolf 

Thomas S. Hart Middle School, Sarah McClimon 

Thompson Junior High School, Chandran Daniel 

University of British Columbia, Robert Taylor 

University of San Diego, Jeffrey Malecki 

Vanguard Music and Performing Arts, Hao Duong 

Vienna Community Band, Christian Folk 

Viewmont High School, Dan Chaston 

Washington Union High School, Ashley Shine 

Whitefish High School, Matthew King 

CBDA Social Impact Curriculum Teacher Resource Guide 

Indian Classical Music (often divided into Hindustani [north] and Carnatic [south]) boasts a rich and 

complex history of structural, compositional, and improvisatory theory vastly different from the Western 

European Art Music that much of school band repertoire is based on. The 2024 Social Impact Consortium 

companion curriculum seeks to serve as a music student’s first engagement with the theory and 

improvisational techniques of Indian Classical Music (specifically in the Hindustani tradition). Students 

will learn about raga and how they are constructed and developed into melodies before being encouraged 

to improvise with them. Aakash Mittal’s included series of three warm-ups for his 

composition, Poorvi, serve as an integral part of this curriculum. 

Visit www.cbda.org/social-impact-consortium for links to the Poorvi Hindustani 

theory and improvisation curriculum resources as well as information and companion 

curricula for our other annual consortia.

Cover Art and Design 

Meera Mittal 

Editors 

Dr. Kaitlin May Bove 

James Kogan 

Samarth Nagarkar 

M.J. Wamhoff 

Performance Notification 

University and professional organizations are requested to submit programs directly to 

ASCAP or email a copy of the program to aakashmittalmusic@gmail.com 

For more information about this work or other works by Aakash Mittal please visit: 

aakashmittal.com

Transposing Score 

Flute 

Oboe 

Bassoon 

Clarinet in Bb 1 


Bass Clarinet 

in Bb 

Alto Saxophone 1 


Tenor Saxophone 

Baritone Saxophone 

Trumpet in Bb 1 


Horn in F 

Trombone 

Euphonium 

Tuba 

Bass 

(Optional) 

Timpani 

Percussion 1 

Percussion 2 

Percussion 3 

Percussion 4 

Percussion 5 

Percussion 6 

q = 60 alaap style 

15 seconds 

Strike once. Rest for 3 seconds. Repeat. 

° 

& b b 4 

√ 

15 seconds 

& b b Strike once. Rest for 3 seconds. Repeat. 

4 

√ 

? b b 

4 

& 

& 

& 

¢ & # Strike once and rest for 5 seconds. Repeat. 

don't play 

Create a quiet ambient aleatoric texture across the band that is not in tempo.* 

√ 

4 

∑ 

cont. playing metal object 

15 seconds 

° 

& 4 

don't play √ ∑ ∑ ∑ ∑ ∑ 

15 seconds 

don't play 

√ 

& 4 

∑ 

∑ ∑ ∑ ∑ 

& b 

don't play 

4 

√ 

∑ 


Rest for 5 seconds. Strike twice. Repeat. 


15 seconds 

dont play 

? b b 

4 

√ 

∑ 

∑ ∑ ∑ ∑ 

15 seconds 

? b b 

4 

don't play ∑ ∑ ∑ ∑ ∑ 

15 seconds 

? b b 

4 

don't play ∑ ∑ ∑ ∑ ∑ 

15 seconds 

? ¢ b b don't play 

4 

√ ∑ ∑ ∑ ∑ ∑ 

15 seconds 

° ? ¢ b b don't play 

4 

Tune Timpani to Bb and F 

∑ ∑ ∑ ∑ ∑ 

° 

/ 

4 

4 

4 

15 seconds 

& # 4 

15 seconds 

& # 4 

& 

/ 

/ 

/ 

/ 

4 

4 

4 

4 

4 

Create a bell like tone by striking a metal object with a wooden pencil. 


15 seconds 

¢ & bb 4 

don't play 

Commissioned by California Band Director Association for the 2024 California All-State Social Impact Consortium 



15 seconds 

don't play 

15 seconds 

15 seconds 

15 seconds 

√ 

∑ 

√ 

∑ 

√ 

∑ 

√ 

∑ 



√ 




√ 


15 seconds 


Rest for 3 seconds. Strike twice. Rest for 5 seconds. Repeat. 


15 seconds 

15 seconds 

15 seconds 

√ 




15 seconds 

√ 




15 seconds 

√ 




15 seconds 

don't play 

√ 

∑√ 


clarinet cues 

˙ œ nœ 

pp p mp pp 

Copyright © 2023 Aakash Mittal/ASCAP Awaz Arts 

3 4 5 

˙ 

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œ nœ 

œ nœ 

pp p mp pp 

pp p mp pp 

pp 

15 seconds 

don't play 

4 

√ ∑ 

When the first melody begins 

√ 

∑ 


An Evening Raga for Concert Band 


clarinet cues 

˙ œ nœ 



Strike once and rest for 5 seconds. Repeat. 


molto legato e rubato 

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molto legato e rubato 

˙ œ # œ ˙ Œ 


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mp 


v.1.6 

œ œ j œ # œ œ # œ œ œ 

œ œ j œ # œ œ # œ œ œ 

˙ œ bœ 

˙ Œ œ œ J 

œ bœ 

œ bœ 

œ œ 

pp 

*Metal objects must create a soft sustained resonant sound. 

Possible objects are metal water bottles, metal mixing bowls 

and metal plates. Possible instruments are singing bowls, 

chimes, bells, and finger cymbals. Please do not play the 

music stand. 

œ 

œ 

œ 

œ

2 

Fl. 

6 7 8 9 10 11 12 

w 

U 

Ó ‰ nœ 

œ nœ 

˙ 

œ 

Œ 

nœ 

# œ nœ 

œ œ nœ 

œ Ó œ nœ 

œ œ 

œ ˙ Œ 

J 

° 

& b b 

f 

p 

end perc. 

Ob. 

& bb 

w Ó ‰ nœ 

œ nœ 

J 

˙ 

Œ 

œ 

nœ 

# œ nœ 

œ œ nœ 

œ Ó œ nœ 

œ œ 

end perc. 

œ ˙ 

U 

Œ 

f 

p 

Bsn. 

? b b cont. playing metal object 

clarinet cues 

œ 

end perc. 

U 

bœ 

œ œ œ ˙ Œ 

Cl. 1 

& 

w 

Ó ‰ 

# œ 

j œ # œ ˙ Œ œ # œ bœ 

œ œ œ # œ œ 

f 

Ó 

œ 

# œ œ œ œ ˙ 

p 

p 

U 

Œ 

Cl. 2 

& 

w 

Ó ‰ 

# œ 

j œ # œ ˙ Œ œ # œ bœ 

œ œ œ # œ œ 

f 

Ó 

œ 

# œ œ œ œ ˙ 

p 

U 

Œ 

B. Cl. 

Alto Sax. 1 

Alto Sax. 2 

Ten. Sax. 

Bari. Sax. 

Tpt. 1 

Tpt. 2 

Hn. 

Tbn. 

Euph. 

Tba. 

Bass 

Timp. 

& 

& # 

& # 

& 

¢ & # 





f 

clarinet cues 

° 

& ∑ ∑ ∑ ∑ ∑ ∑ 

? 

¢ b b ∑ ∑ ∑ ∑ ∑ ∑ 

° ? 

¢ b b ∑ ∑ ∑ ∑ ∑ ∑ 

p 

p 

p 

p 

p 

p 

U 

Œ 

end perc. 

end perc. 

U 

Œ œ # œ bœ 

œ œ œ # œ œ Ó œ bœ 


clarinet cues 

end perc. 

œ bœ 


clarinet cues 

& ∑ ∑ ∑ ∑ ∑ ∑ 

& b 

w Ó ‰ bœ 

j œ # œ ˙ 


? b b ∑ ∑ ∑ ∑ ∑ ∑ 

? b b ∑ ∑ ∑ ∑ ∑ ∑ 

? b b ∑ ∑ ∑ ∑ ∑ ∑ 

œ 

œ 

bœ 

œ œ œ ˙ 

U 

end perc. 

clarinet cues 

end perc. 

œ bœ 


U 

bœ 

œ œ œ ˙ 

Œ 

U 

U 

Œ 

U 

Œ 

clarinet cues 

end perc. 

œ bœ 


Ó 

Ó 

Ó 

Ó 

Ó 

Ó 

Ó 

U 

U 

Œ 

U 

Œ 

U 

Œ 

U 

Œ 

U 

Œ 

Perc. 1 

° 

/ cont. playing metal object 

cont. perc 

U 

Œ 

Perc. 2 

Perc. 3 

Perc. 4 

Perc. 5 





cont. perc 

U 

Œ 

cont. perc 

U 

Œ 

cont. perc 

U 

Œ 

cont. perc 

U 

Œ 

Perc. 6 

¢ & bb 


cont. perc 

U 

Œ

Fl. 

Ob. 

Bsn. 

Cl. 1 

Cl. 2 

B. Cl. 

Alto Sax. 1 

Alto Sax. 2 

Ten. Sax. 

Bari. Sax. 

° 

& bb 

& 

? b b 

& 

13 

Flute 14 15 16 17 18 19 20 21 22 

bring out 

legato 

> U 

Œ Œ œ œ nœ 

˙ Œ Œ Œ œ œ œ nœ 

œ œ œ ˙ Œ nœ 

œ nœ 

œ ˙ 

Œ 

œ nœ 

# œ 

Œ 

nœ 

nœ 

œ Œ nœ 

˙ Œ 

bb 

Oboe 

p f p mf p f p mf mp p 

bring 

Œ Œ out œ œ nœ 

> ˙ Œ Ó legato œ œ œ nœ 

œ œ œ ˙ Œ nœ 

œ nœ 

œ ˙ 

Œ 

œ nœ 

# œ 

Œ 

nœ 

nœ 

œ U Œ nœ 

˙ Œ 

Bassoon 

legato 


˙ ˙ ˙ Ó 

w w # ˙ Œ ∑ œ n œ 

pp mp pp mp p mf pp 


pp mp pp mp p mf pp mp pp 





¢ & #Bari Sax ˙ legato ˙ ˙ w U 

Ó 

w b˙ Œ ∑ œ bœ 

œ Œ ˙ bœ 

Œ ˙ œ Œ œ ˙ Œ 


U 

b Œ œ ˙ Œ 

bring out > legato U 

Œ Œ œ œ# œ ˙ Œ Œ Œ œ œ œ # œ œ œ œ ˙ Œ # œ œ # œ œ ˙ œ 

Œ 

# œ bœ 

œ 

Œ 

# œ œ Œ 

# œ ˙ Œ 

& legato Œ 

Œ ∑ 

œ b˙ 

b˙ 

w w # ˙ 

˙ bœ 

Œ ˙ # œ Œ ˙ 

Bass Clarinet legato 

& 

˙ ˙ ˙ Ó w w b˙ 

Alto Sax 

# 

legato 

& œ b˙ 

∑ 

# 

Alto Sax legato 

U 

& w ˙ Œ w w ˙ Œ ∑ # ˙ œ Œ # ˙ œ Œ # ˙ œ Œ # œ ˙ Œ 

& Tenor w Sax legato ˙ Œ w w ˙ Œ ∑ 

Œ 

∑ 

œ # œ nœ 

bœ 

Œ ˙ nœ 

Œ ˙ œ 

b˙ Œ w w b˙ Œ ˙ bœ 

Œ ˙ # œ Œ ˙ œ Œ œ ˙ 

Œ 

˙ 

# œ 

Œ 

U 

Œ 

U 

Œ 

U 

Œ 

# ˙ œ # ˙ 

U 

Œ œ # ˙ œ # œ 

Œ Œ ˙ Œ 

˙ 

œ Œ 

nœ 

Œ 

œ ˙ 

œ ˙ 

3 

Tpt. 1 

° 

& 


Strike once and then rest for 3 seconds. Repeat. 



œ 

# œ # œ 

flute cues 

Œ 

nœ 

# œ œ 

Œ 

end perc. 

# œ ˙ U 

Œ 

Tpt. 2 

Hn. 

& 






flute cues 

end perc. 

# œ ˙ U 

Œ 

F Horn 

legato 

U 

& b w ˙ Œ w w ˙ Œ ∑ n˙ 

œ Œ n˙ 

œ Œ n˙ 

œ Œ nœ 

˙ Œ 

œ 

# œ # œ 

Œ 

nœ 

# œ œ 

Œ 

Tbn. 

Euph. 

? b b 

? b b 


Rest for 5 seconds and strike once. Repeat. 



Rest for 5 seconds and strike once and then. Repeat. 




flute cues 

œ 

flute cues 

œ 

nœ 

nœ 

# œ Œ nœ 

# œ Œ nœ 

nœ 

œ Œ œ 

nœ 

œ Œ œ 

end perc. 

U 

n ˙ Œ 

end perc. 

U 

n ˙ Œ 

Tba. 

Bass 

Timp. 

Perc. 1 

Perc. 2 

Perc. 3 

Perc. 4 

Perc. 5 

Perc. 6 

? 

¢ b b 

° ? 

¢ b b 

° 

? b b 















¢ & bb cont. playing metal object 




flute cues 

œ 

flute cues 

œ 

flute cues 

œ 

nœ 

nœ 

nœ 

# œ 

Œ 

nœ 

# œ Œ nœ 

# œ Œ nœ 

nœ 

œ 

Œ 

nœ 

œ Œ œ 

nœ 

œ Œ œ 

end perc. 

U 

Œ 

nœ 

˙ 

end perc. 

U 

n ˙ Œ 

end perc. 

U 

n ˙ Œ 

end perc. 

U 

Œ 

end perc. 

U 

Œ 

end perc. 

U 

Œ 

U 

Œ 

end perc. 

U 

Œ 

end perc. 

U 

Œ 

end perc.

4 

Fl. 

Ob. 

Bsn. 

Cl. 1 

Cl. 2 

B. Cl. 

Alto Sax. 1 

Alto Sax. 2 

Ten. Sax. 

Bari. Sax. 

Tpt. 1 

Tpt. 2 

Hn. 

Tbn. 

Euph. 

Tba. 

Bass 

Timp. 

Perc. 1 

Perc. 2 

Perc. 3 

Perc. 4 

Perc. 5 

Perc. 6 

23 

° 

& bb ∑ ∑ ∑ ∑ ∑ 

¢ & # 

° 

& 

? 

¢ b b ∑ ∑ ∑ ∑ 

° 

/ 

q=90 a little faster, with a touch of drama 

24 25 26 27 28 29 

& bb ∑ ∑ ∑ ∑ ∑ 

¢ & bb ∑ ∑ ∑ ∑ ∑ 

f sfp f 

f sfp f 

f sfp f 

f sfp f 

f p f mp p f 

f p f mp p f 

f p f mp p f 

marcato 

mf mp p f p 

f p f mp p f 

Trumpet 

marcato 

f p f mp p f 

f 

f 

mf mp p f p f 

Euphonium 

marcato 

Bass Drum 

f 

dramatic 

/ trumpet b ˙ 

cues ˙ æ˙ 

mf mp p f p f 

f 

f 

f 

f p mp p mf p f 

f p mp p mf 

f 

f 

b 

. . . > Ÿ ~~~~~~~~ 

œ nœ 

nœ 

œ ˙ 

b 

. . . > Ÿ ~~~~~~~~ 

œ nœ 

nœ 

œ ˙ 

marcato 

? b b ∑ # > œ n˙ 

> > > 

Œ ∑ 

∑ œ nœ 

œ nœ 

œ ˙ Ó 

mf mp p f p b 

. 

& ∑ ∑ ∑ ∑ ∑ . 

. > Ÿ ~~~~~~~~ 

œ # œ # œ œ ˙ 

& ∑ ∑ ∑ ∑ ∑ 

marcato 

b 

Ÿ~~~~~~~~ 

œ. # œ # œ 

. . 

œ ˙ 

> 

& ∑ bœ 

> 

˙ Œ ∑ 

∑ 

œ 

∑ 

# œ > 

œ # 

> 

œ œ ˙ Ó 

> 

mf mp p f p 

& #marcato > > 

˙ ˙ ˙ Œ œ œ œ bœ 

œ bœ 

œ œ w Œ bœ 

œ # œ ˙ Œ 

& #marcato ˙ ˙ ˙ Œ œ œ œ bœ 

œ bœ 

> 

œ # œ w Œ 

p 

Glockenspiel 

f 

> 

bœ 

œ bœ 

˙ Œ 

marcato 

> > 

& ˙ ˙ ˙ Œ œ œ œ bœ 

œ bœ 

œ nœ 

w Œ bœ 

œ # œ ˙ Œ 

& 

Trumpet 

marcato 

∑ 

b > œ ˙ Œ ∑ 

∑ œ b œ 

> > > 

œ # œ œ ˙ Ó 

œ œ œ # œ œ # œ > 

œ Œ 

œ w 

# œ œ # œ > 

˙ Œ 

œ œ œ # œ œ # œ > 

œ œ w 

Œ 

# œ œ # œ > 

˙ Œ 

& bmarcato Œ 

˙ ˙ ˙ œ œ œ # œ œ # œ > 

œ Œ 

nœ 

w 

# œ œ # œ n 

> 

˙ 

Œ 

f p f mp p f 

? b b Trombone marcato 

> 

> > > 

∑ # œ n˙ 

Œ ∑ 

∑ œ œ œ nœ 

œ ˙ Ó œ bœ 

œ œ 

? b b ∑ 

# > œ n˙ 

> > > 

Œ ∑ 

∑ œ œ œ nœ 

œ ˙ Ó œ bœ 

œ nœ 

? b b ∑ ∑ ∑ ∑ 

° ? 

¢ b b æw 

Timpani 

dramatic 

trumpet cues 

b˙ 

˙ 

∑ ¿ Œ ¿ ¿ Œ ¿ ¿ Œ ¿ ¿ ¿ 

Tuba 

Bass 

marcato 

marcato 

p mf p 

Snare Drum 

p f p 

rim click 

Tom-Toms 

rim click 

/ trumpet b˙ 

cues ˙ ∑ ¿ Œ ¿ ¿ Œ ¿ ¿ Œ ¿ ¿ ¿ 

/ 

/ 

trumpet cues 

Tambourine 

open palm 

b˙ 

˙ 

∑ œ Œ œ œ Œ œ œ Œ œ œ ¿ 

trumpet cues 

˙ ˙ ˙ Œ 

˙ ˙ ˙ Œ 

b˙ 

˙ 

æ˙ Œ œ Œ œ 

n Ó œ Œ œ Œ 

Suspended Cymbal with soft mallets 

dramatic 

æ˙ n 

Ó 

∑ 

œ œ 

œ œ œ Œ Œ 

æw 

æw 

Ó 

˙ 

∑ ∑ ∑ 

∑ ∑ ∑ 

∑ ∑ ∑ 

> 

Œ 

∑ 

æ˙ œ Œ Ó 

∑ 

˙ 

> 

æ˙ œ Œ Ó 

œ. nœ 

œ 

. . 

œ ˙ 

> 

Œ 

f 

∑ 

∑ 

∑ 

∑ 

∑ 

∑ 

œ œ œ nœ 

Ó ˙ ˙ Œ œ œ œ nœ 

æw 

æ˙ 

Œ 

Œ 

∑ 

∑

Fl. 

Ob. 

30 31 32 33 34 35 

° 

& bb ∑ ∑ 

. . . > 

. . . > 

Ó œ nœ 

nœ 

œ w bœ 

∑ 

œ œ nœ 

& bb . 

∑ ∑ 

. . > 

. . . > 

Ó œ nœ 

nœ 

œ w bœ 

∑ 

œ œ nœ 

˙ 

˙ 

5 

C 

C 

Bsn. 

Cl. 1 

? b b ∑ ∑ Ó œ. nœ 

nœ. 

œ w 

. > 

f 

. 

& ∑ ∑ 

. 

. > 

Ó œ # œ # œ œ w 

∑ 

Ó œ. œ. 

œ. bœ 

> 

w 

∑ 

C 

C 

Cl. 2 

& ∑ ∑ 

Ó 

œ. # œ # œ 

. . œ w Ó œ 

> . œ œ 

. 

. bœ 

> 

w 

C 

B. Cl. 

Alto Sax. 1 

Alto Sax. 2 

& ∑ ∑ Ó 

œ 

∑ 

. # œ # œ 

. . œ w 

∑ 

> 

f 

& # œ # œ b> ˙ œ # œ 

> ˙ # œ œ . . . > . . . > 

œ bœ 

œ œ w œ bœ 

# œ œ ˙ w 

& # . . . > . . . > 

œ œ b˙ 

> 

œ œ > 

˙ bœ 

œ œ œ # œ œ w œ bœ 

# œ œ ˙ w 

C 

C 

C 

Ten. Sax. 

Bari. Sax. 

Tpt. 1 

Tpt. 2 

Hn. 

Tbn. 

Euph. 

Tba. 

Bass 

Timp. 

Perc. 1 

Perc. 2 

Perc. 3 

Perc. 4 

Perc. 5 

Perc. 6 

> > 

& œ œ # ˙ nœ 

œ ˙ # œ œ ˙ 

∑ ∑ ∑ 

¢ & # ∑ ∑ . . . > 

Ó œ bœ 

# œ œ w 

∑ 

∑ 

° 

& 

& 

& b 

œ 

œ 

p 

f 

p 

f 

p 

? 

¢ b b œ nœ 

œ œ w Œ nœ 

œ nœ 

w 

∑ ∑ 

p 

° ? 

¢ b b œ Œ œ œ œ 

œ œ œ Œ œ œ œ 

œ œ Ó æw 

∑ ∑ 

° 

/ ¿ Œ ¿ ¿ Œ ¿ ¿ Œ ¿ ¿ ¿ 

∑ ∑ ∑ ∑ 

f 

f 

f 

p 

# œ b˙ 

> 

œ # œ > 

˙ # œ œ ˙ 

# œ b˙ 

> 

œ # œ > 

˙ # œ œ ˙ 

œ œ # 

> 

˙ nœ 

œ > 

˙ # œ œ ˙ 

¢ & bb ∑ ∑ Ó 

mp 

p 

mp 

mp 

f 

mp 

mp 

mp 

f 

f 

f 

p 

f 

p 

p 

∑ ∑ ∑ 

∑ ∑ ∑ 

∑ ∑ ∑ 

? b b œ œ œ œ w Œ œ œ nœ 

w 

∑ ∑ 

? b b œ nœ 

œ œ w Œ nœ 

œ nœ 

w 

∑ ∑ 

? b b Œ 

∑ ∑ 

œ nœ 

œ œ w 

nœ 

œ nœ 

w 

/ ¿ Œ ¿ ¿ Œ ¿ ¿ Œ ¿ ¿ ¿ 

∑ ∑ ∑ ∑ 

/ œ Œ œ œ Œ œ œ Œ œ œ ¿ 

∑ ∑ ∑ ∑ 

/ œ Œ œ Œ æ˙ Ó 

∑ 

æw 

∑ ∑ 

/ ∑ 

æ˙ Ó 

∑ 

æw 

f 

to Crash Cymbals 

∑ 

f 

∑ 

œ. nœ 

nœ 

. . 

œ w bœ 

œ œ nœ 

> 

∑ 

˙ 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C 

C

6 

Fl. 

h=90 khayal in teentaal 

36 37 38 39 40 41 42 43 

° 

& bb C ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

Ob. 

& b b C ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

Bsn. 

? b b C ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

Cl. 1 

Cl. 2 

B. Cl. 

Alto Sax. 1 

Alto Sax. 2 

Ten. Sax. 

& 

& 

C 

œ. # œ œ 

. . 

# œ. œ. > 

˙ ˙ œ bœ 

. . # œ. œ. œ. nœ. ˙. œ. # œ œ 

. . 

# œ. œ. > 

˙ ˙ œ bœ 

. . # œ. œ. œ. nœ. ˙. 

f 

mezzo-staccato 

C 

œ. # œ œ 

. . 

# œ. œ. > 

˙ ˙ œ bœ 

. . # œ. œ. œ. nœ. ˙. œ. # œ œ 

. . 

# œ. œ. > 

˙ ˙ œ bœ 

. . # œ. œ. œ. nœ. ˙. 

f 

& C ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

& # C œ. 

& # C œ. 



f 


f 

bœ. 

bœ. 

. . . > . . . . 

œ # œ œ ˙ ˙ œ bœ 

# œ œ œ. nœ. ˙. œ. 

bœ. 

. . . > . . . . 

œ # œ œ ˙ ˙ œ bœ 

# œ œ œ. nœ. ˙. œ. 

bœ. 

œ. # œ. œ. > ˙ ˙ œ. bœ. # œ. œ. œ. nœ. ˙. 

œ. # œ. œ. > ˙ ˙ œ. bœ. # œ. œ. œ. nœ. ˙. 

& C ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

Bari. Sax. 

C 

¢ & # ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

Tpt. 1 

Tpt. 2 

Hn. 

° 

& 

& 


C 

œ. # œ œ 

. . 

# œ. œ. > 

˙ ˙ œ bœ 

. . # œ. œ. œ. nœ. ˙. œ. # œ œ 

. . 

# œ. œ. > 

˙ ˙ œ bœ 

. . # œ. œ. œ. nœ. ˙. 

f 


C 

œ. # œ œ 

. . 

# œ. œ. > 

˙ ˙ œ bœ 

. . # œ. œ. œ. nœ. ˙. œ. # œ œ 

. . 

# œ. œ. > 

˙ ˙ œ bœ 

. . # œ. œ. œ. nœ. ˙. 

f 

& b C ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

Tbn. 

? b b C ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

Euph. 

? b b C ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

Tba. 

? b b C ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

Bass 

Timp. 

Perc. 1 

Perc. 2 

Perc. 3 

Perc. 4 

Perc. 5 

Perc. 6 

? C 

¢ b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

° ? C 

¢ b b ∑ 

° 

/ C ∑ 

/ C ∑ 

mf 

f 

f 

/ C ∑ œ œ j ¿ œ œ œ œ ¿ Œ 

• 2 • 2 

œ œ j ¿ œ 

f 

/ C ∑ œ Œ Œ Œ 

∑ ∑ ∑ œ Œ Œ Œ 

∑ ∑ 

/ C ∑ 

˙ Œ œ ˙ Œ œ ˙ Œ œ 

snare off 

œ œ j ¿ œ œ œ œ ¿ Œ 

• 2 • 2 

œ œ j ¿ œ 

2 

2 

œ œ ¿ œ œ œ œ ¿ Œ J • 

• 

œ œ ¿ œ J 

medium tom 

f 

Crash Cymbals 

œ Œ Œ Œ 

∑ ∑ ∑ œ Œ Œ Œ 

∑ ∑ 

f 

let ring 

œ œ œ œ œ ˙ Œ œ ˙ Œ œ ˙ Œ œ 

C 

¢ & bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

Fl. 

Ob. 

Bsn. 

Cl. 1 

44 


° 

& bb œ . . . . . > . . . . . . . . . . . . > . . . . . . . 

nœ 

œ nœ 

œ ˙ ˙ œ # œ nœ 

nœ 

œ œ ˙ œ nœ 

œ nœ 

œ ˙ ˙ œ # œ nœ 

nœ 

œ œ ˙ 

f 

f 

f 

45 46 47 48 49 50 51 52 


& bb œ . nœ 

. œ . nœ 

. œ . > ˙ ˙ œ . # œ . nœ 

. nœ 

. œ . œ . ˙ . œ . nœ 

. œ . nœ 

. œ . > ˙ ˙ œ . # œ . nœ 

. nœ 

. œ . œ . ˙ . 

high woodwind cues 


? b b 

& 

œ 

. 

nœ 

. 

. . . > . . . . 

œ nœ 

œ ˙ ˙ œ # œ nœ 

nœ 

œ 

. bœ. ˙ 

. 

œ 

. 

nœ 

. 

. . . > . . . . 

œ nœ 

œ ˙ ˙ œ # œ nœ 

nœ 

œ 

. œ. ˙ 

. 

∑ 

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

œ . . . 

# œ œ# œ œ ˙ ˙ œ bœ 

# œ œ œ œ ˙ œ # œ œ# œ œ ˙ ˙ œ bœ 

# œ œ œ œ ˙ 

∑ 

∑ 

∑ 

7 

Cl. 2 

B. Cl. 

& 

& 

œ. # œ œ 

. . 

# œ. œ. > 

˙ ˙ œ bœ 

. . # œ. œ. œ. œ. ˙. œ. # œ œ 

. . 

# œ. œ. > 

˙ ˙ œ bœ 

. . # œ. œ. œ. œ. ˙. 



œ. # œ œ # œ œ ˙ ˙ œ bœ 

. . . . > . . # œ œ 

. . œ nœ 

. . ˙. œ. # œ œ # œ œ ˙ ˙ œ bœ 

. . . . > . . # œ œ 

. . œ nœ 

. . ˙. 

f 

∑ 

∑ 

Alto Sax. 1 

& # œ. 

bœ. 

. . . > . . . . 

œ# œ œ ˙ ˙ œ bœ 

# œ œ œ. œ. ˙. œ. 

bœ. 

. . . > . . . . 

œ# œ œ ˙ ˙ œ bœ 

# œ œ œ. œ. ˙. ∑ 

Alto Sax. 2 

Ten. Sax. 

Bari. Sax. 

Tpt. 1 

Tpt. 2 

Hn. 

Tbn. 

Euph. 

Tba. 

Bass 

Timp. 

Perc. 1 

Perc. 2 

Perc. 3 

Perc. 4 

Perc. 5 

Perc. 6 

& # œ. 

bœ. 

& 

¢ & # 

° 

& 

? 

¢ b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

° ? 

¢ b b ∑ 

° 

/ ∑ œ œ j ¿ œ œ œ œ ¿ Œ 

• 2 • 2 

œ œ j ¿ œ œ œ œ ¿ œ 

2 

2 

/ ∑ œ œ ¿ œ œ œ œ ¿ Œ J • 

• 

œ œ ¿ œ œ œ œ ¿ œ 

J 

/ ∑ œ œ j ¿ œ œ œ œ ¿ Œ 

• 2 • 2 

œ œ j ¿ œ œ œ œ ¿ œ 

¢ & 


f 

f 

f 

. . . > . . . . 

œ# œ œ ˙ ˙ œ bœ 

# œ œ œ. œ. ˙. œ. 

bœ. 

. . . > . . . . 

œ# œ œ ˙ ˙ œ bœ 

# œ œ œ. œ. ˙. ∑ 

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

œ . . . 

# œ œ# œ œ ˙ ˙ œ bœ 

# œ œ œ œ ˙ œ # œ œ# œ œ ˙ ˙ œ bœ 

# œ œ œ œ ˙ 



& 

œ 

. 

bœ. 

. . . > . . . . 

œ # œ œ ˙ ˙ œ bœ 

# œ œ œ 

. nœ. ˙ 

. 

œ 

. 

bœ. 

∑ 

∑ 

. . . > . . . . 

œ # œ œ ˙ ˙ œ bœ 

# œ œ œ 

. nœ. ˙ 

. 

∑ 

w 

> 

œ œ œ . œ . œ . œ . ∑ ∑ w > œ œ œ. œ. œ. œ. 

fp mp fp mp 

> 

w œ œ œ . œ . œ . œ . ∑ ∑ w > œ œ œ. œ. œ. œ. 

fp mp fp mp 

& b ∑ ∑ ∑ 

w 

> 

œ œ œ. œ. œ. œ. w 

> 

œ œ œ. œ. œ. œ. 

fp mp fp mp 

? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

? b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

∑ 

∑ 

∑ 

f 

f 

f 

f 

∑ 

∑ 

∑ 

∑ 


. . . . . 

œ œ œ nœ 

œ 


œ. 

nœ. 

. . . 

œ nœ 

œ 


œ. nœ 

œ 

. . 

nœ. œ. 


/ ∑ œ Œ Œ Œ ∑ ∑ ∑ œ Œ Œ Œ ∑ ∑ ∑ 

/ ∑ œ Œ Œ Œ 

∑ ∑ ∑ œ Œ Œ Œ 

∑ ∑ ∑ 

bb 


˙ Œ œ ˙ Œ œ ˙ Œ œ 

œ œ œ œ œ ˙ Œ œ ˙ Œ œ ˙ Œ œ 

œ. nœ 

œ 

. . 

nœ. œ. > 

˙ ˙ œ. # œ. nœ. nœ. œ. bœ. ˙. œ. nœ 

œ 

. . 

nœ. œ. > 

˙ ˙ œ. # œ. nœ. nœ. œ. bœ. ˙. 

œ. 

nœ. 

œ œ œ œ 

. . . 

œ nœ 

œ 

∑ 

œ

8 

Fl. 

Ob. 

Bsn. 

Cl. 1 

Cl. 2 

B. Cl. 

Alto Sax. 1 

Alto Sax. 2 

Ten. Sax. 

Bari. Sax. 

Tpt. 1 

Tpt. 2 

Hn. 

Tbn. 

Euph. 

Tba. 

Bass 

Timp. 

Perc. 1 

Perc. 2 

Perc. 3 

Perc. 4 

Perc. 5 

Perc. 6 

53 54 55 56 57 58 59 

° 

& bb 

marcato > 

> 

∑ œ ˙ 

∑ 

œ ˙ 

∑ 

∑ œ œ œ œ 

¢ & bb marcato œ œ œ œ œ œ œ œ œ ˙ 

œ nœ 

œ œ œ œ œ œ œ œ œ œ 

& bb ∑ 

mf p f 

marcato > 

> 

œ ˙ 

∑ 

œ ˙ 

∑ 


play 

mf p f 

marcato 

? b b 

> 

œ ˙ w Ó œ 

> 

œ w œ nœ 

œ œ w w 

mf p f sub p 

marcato > 

> 

& ∑ œ ˙ œ ˙ 

∑ 

∑ 


mf p f 

& marcato œ ˙ w 

Ó 

> œ œ w œ 

> 

# œ œ œ w 

mf p f sub p 

w 

play 

& marcato 

œ ˙ w 

Ó 

> œ œ w œ 

> 

# œ œ œ w 

mf p f sub p 

w 

& # Ó 

marcato 

> 

bœ 

# œ w 

> 

bœ 

˙ ∑ 

∑ œ œ œ œ w 

mf p f 

& #marcato > 

œ ˙ w Ó œ 

> 

œ w œ bœ 

œ œ w w 

mf p f sub p 

marcato > > 

& Ó # œ # œ w # œ ˙ œ 

∑ 

∑ œ œ œ w 

play 

mf p f 

¢ & #marcato > > 

œ ˙ w Ó œ œ 

mf 

w œ 

p 

bœ 

œ œ 

f 

w 

sub p 

w 

° 

> 

& ∑ œ œ œ ∑ 

∑ 

. œ. œ. œ. 

œ œ œ. œ. œ. œ. œ œ œ. œ. œ. œ w 

. 

& ∑ ∑ 

∑ 

œ œ œ. œ. œ. œ. 

œ œ œ. œ. œ. œ. œ œ œ. œ. œ. œ. w 

> 

& b ∑ œ œ 

> 

œ ∑ 

∑ 

. œ. œ. œ. 

œ œ œ. œ. œ. œ. œ œ œ. œ. œ. œ 

w 

. 

? b b 

> ˙ ˙ œ. # œ. nœ. nœ. œ. bœ. ˙. œ. œ. œ. nœ. œ. > ˙ ˙ œ. # œ. nœ. nœ. œ. bœ. ˙. 

? b b 

> ˙ ˙ œ. # œ. nœ. nœ. . . . . . . . > . . . . 

œ bœ 

˙ œ nœ 

œ nœ 

œ ˙ ˙ œ # œ nœ 

nœ 

. 

œ. bœ. ˙. 

? b b 

> 

˙ ˙ œ. # œ. nœ. nœ. œ. bœ. ˙. œ. nœ 

œ 

. . 

nœ. œ. > 

˙ ˙ œ. # œ. nœ. nœ. œ. bœ. ˙. 

? 

¢ b b 

> ˙ ˙ œ. # œ. nœ. nœ. . . . . . . . > . . . . 

œ bœ 

˙ œ nœ 

œ nœ 

œ ˙ ˙ œ # œ nœ 

nœ 

. 

œ. bœ. ˙. 

° ? 

¢ b b 

° 

/ 

˙ 

œ 

Œ 

œ j ¿ 

œ 

œ 

˙ 

œ œ œ 

Œ 

¿ 

œ 

Œ 

˙ Œ œ 

œ œ œ 

• 2 œ œ ˙ Œ œ ˙ 

• 2 

Œ œ ˙ 

œ 

Œ 

œ j ¿ 

œ 

œ 

2 

2 

/ œ œ ¿ œ œ œ œ ¿ Œ J • 

• 

œ œ ¿ J 

œ 

/ œ œ j ¿ œ œ œ œ ¿ Œ 

• 2 • 2 

œ œ j ¿ œ 

/ œ Œ Œ Œ 

∑ ∑ ∑ œ Œ Œ Œ 

∑ ∑ 

/ œ Œ Œ Œ 

∑ ∑ ∑ œ Œ Œ Œ 

∑ ∑ 

p mf p mf p mf fp f 



p f p f p f

Fl. 

Ob. 

Bsn. 

Cl. 1 

Cl. 2 

B. Cl. 

Alto Sax. 1 

Alto Sax. 2 

Ten. Sax. 

Bari. Sax. 

Tpt. 1 

60 

tempo rubato e legato 

° 

& bb œ nœ 


& b b 

61 62 63 64 65 66 67 68 69 

œ nœ 

w w ∑ nœ 

œ œ œ nœ 

bœ 

˙ w ∑ ∑ ∑ 

¢ & # ∑ ∑ ∑ 

p f p 

œ nœ 

w w ∑ nœ 

œ œ œ nœ 

bœ 

˙ w ∑ ∑ ∑ 

? b b ∑ ∑ ∑ 


& 

& 

œ nœ 

p f p 


f sub p 

p f p 

p f p 

f 

sub p 

f sub p 

sub p 

f sub p 

f 

p 

∑ ∑ ∑ ∑ 

œ # œ œ # œ w w # œ 

∑ œ œ œ # œ nœ 

˙ w ∑ ∑ ∑ 


œ # œ œ # œ w w 

& ∑ ∑ ∑ 

& # ∑ 


& # ∑ ∑ ∑ 

& ∑ 


œ nœ 

bœ 

œ w w 

w 

# œ œ œ œ # œ nœ 

˙ w 


œ # œ nœ 

œ w w 

œ bœ 

˙ # ˙ ˙ w # œ œ œ œ # œ nœ 

˙ w 


œ bœ 

œ # œ w w 

œ bœ 

˙ # ˙ ˙ œ # œ œ # œ w w 


œ bœ 

œ œ w w 

∑ ∑ ∑ 

∑ ∑ ∑ ∑ 

∑ ∑ ∑ 

∑ ∑ ∑ ∑ 

∑ ∑ ∑ ∑ 

∑ ∑ ∑ ∑ 

° 

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

9 

Tpt. 2 

Hn. 

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

& b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

Tbn. 

Euph. 

Tba. 

Bass 

Timp. 

Perc. 1 

? b b ∑ ∑ ∑ ∑ ∑ 

? b b ∑ ∑ ∑ ∑ ∑ 

? b b ∑ ∑ ∑ ∑ ∑ 

? 

¢ b b ∑ ∑ ∑ ∑ ∑ 

marcato 

Ó Œ œ ˙ ˙ ˙ nœ 

˙ œ # œ nœ 

p f mp 

marcato 

Ó Œ œ ˙ ˙ ˙ œ 

p f mp 

p f mp 

p f mp 

° ? 

¢ b b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

° 

/ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

Ó 

marcato 

Œ 

marcato 

Ó Œ œ ˙ ˙ ˙ œ 

n ˙ œ # œ nœ 

œ ˙ ˙ ˙ nœ 

˙ œ # œ nœ 

n ˙ œ # œ nœ 

nœ 

nœ 

nœ 

nœ 

œ bœ 

œ bœ 

œ bœ 

œ bœ 

Perc. 2 

Perc. 3 

Perc. 4 

Perc. 5 

/ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

/ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

/ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

/ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

Perc. 6 

¢ & bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

10 

Fl. 

Ob. 

Bsn. 

Cl. 1 

Cl. 2 

B. Cl. 

Alto Sax. 1 

Alto Sax. 2 

Ten. Sax. 

Bari. Sax. 

Tpt. 1 

Tpt. 2 

Hn. 

Tbn. 

Euph. 

Tba. 

Bass 

Timp. 

Perc. 1 

Perc. 2 

Perc. 3 

Perc. 4 

Perc. 5 

Perc. 6 

70 

° 

& bb Breakbeat ∑ ∑ ∑ ∑ ∑ 

¢ 

° 

& Breakbeat ∑ ∑ ∑ ∑ 

¢ 

° 

/ 

ff 

ff 

ff 

ff 

ff 

ff 

ff 

ff 

Breakbeat 

ff 

ff 

ff 

71 72 73 74 75 76 77 78 79 

& b b Breakbeat ∑ ∑ ∑ ∑ ∑ 

¢ & bb Breakbeat ∑ ∑ ∑ ∑ ∑ 

f 

f 

f 

f 

f 

ff 

ff 

bring out 

legato 

ff 

bring out 

legato 

ff 

ff 

ff 

marcato 

ff 

ff 

ff 

marcato 

ff 

∑ ∑ ∑ 

∑ ∑ ∑ 

& Breakbeat ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 

& 

marcato 

Breakbeat 

> 

œ œ ˙ 

> b˙ 

˙ # w w > 

œ œ ˙ 

> b˙ 

˙ # w w > 

œ œ ˙ 

> b˙ 

& # Breakbeat ∑ ∑ ∑ ∑ ∑ ∑ 

& # Breakbeat ∑ ∑ ∑ ∑ ∑ ∑ 

& 

Breakbeat 

∑ ∑ ∑ ∑ 

bring out 

legato 

marcato 

Ó ˙ w ∑ ˙ ˙ ˙ # ˙ ˙ # ˙ 

& # Breakbeat 

marcato 

> 

œ œ ˙ 

> b˙ 

˙ bw 

w > 

œ œ ˙ 

> b˙ 

˙ bw 

w > 

œ œ ˙ 

> b˙ 

& Breakbeat ∑ ∑ ∑ ∑ 

& b 

Breakbeat 

∑ ∑ ∑ ∑ 

Breakbeat 

marcato 

? b b œ œ ˙ ˙ ˙ w w 

bring out 

legato 

∑ 

˙ w ˙ ˙ ˙ # ˙ ˙ # ˙ 

∑ 

˙ w ˙ ˙ ˙ # ˙ ˙ # ˙ 

Ó ˙ w ∑ ˙ ˙ ˙ # ˙ ˙ # ˙ 

> > > 

œ œ ˙ 

> 

˙ ˙ w w 

> 

œ œ ˙ ˙ ˙ 

> 

? b b Breakbeat ∑ ∑ ∑ ∑ 

bring out 

legato 

Ó ˙ w ∑ ˙ ˙ ˙ n˙ 

˙ n˙ 

Breakbeat 

marcato 

? b b 

> 

œ œ ˙ 

# ˙ 

> # ˙˙ 

nw 

w w > 

œ œ ˙ # ˙ 

> # ˙˙ 

nw 

w w > 

œ œ ˙ # > # ˙˙ 

Breakbeat 

marcato 

? b b 

> 

œ œ ˙ 

> #˙ 

˙ nw 

w > 

œ œ ˙ 

> #˙ 

˙ nw 

w > 

œ œ ˙ 

> 

/ 

/ 

/ 

/ 

Breakbeat 

snare drum on and closed hi hat 

¿ ¿ ¿ ¿ ¿ ¿ ¿ 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ 

œ ‘ ‘ ‘ 

œ ‘ ‘ ‘ œ 

Breakbeat 

Breakbeat 

w> 

∑ ∑ ∑ w> 

∑ ∑ ∑ w> 

w> 

∑ ∑ ∑ w> 

∑ ∑ ∑ w> 

Breakbeat 

marcato 

nœ 

œ nœ 

œ # w 

nœ 

œ nœ 

œ # w 

Breakbeat 

ff 

marcato 

? b b 

> 

œ œ ˙ 

˙ 

> #˙ nw 

w > 

œ œ ˙ 

˙ 

> #˙ nw 

w > 

œ œ ˙ 

˙ 

> #˙ 

ff 

f 

& Breakbeat marcato 

∑ ∑ ∑ ∑ ∑ # œ œ # œ œ b w 

∑ ∑ ∑ 

Breakbeat marcato 

° ? 

¢ b b ˙ ˙ œ œ œ 

high tom 

˙ ˙ œ œ œ 

˙ ˙ œ œ œ 

˙ ˙ œ œ œ 

Ó 

Ó 

˙ ˙ œ œ œ 

˙ ˙ œ œ œ 

œ bœ 

# œ œ w 

œ bœ 

# œ œ w 

˙ ˙ œ œ œ 

˙ ˙ œ œ œ 

∑ 

∑ 

#˙ 

˙ ˙ œ œ œ 

∑ ∑ ∑ 

∑ 

∑ 

‘ 

˙ ˙ œ œ œ 

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

marcato 

nœ 

œ nœ 

œ # w 

∑ 

∑ 

˙ 

˙ 

˙ 

˙

Fl. 

Ob. 

Bsn. 

Cl. 1 

Cl. 2 

B. Cl. 

Alto Sax. 1 

Alto Sax. 2 

Ten. Sax. 

Bari. Sax. 

80 81 82 83 84 85 87 88 89 

86 

° 

& bb Ó Œ n œ œ nœ 

˙ w 

∑ œ nœ 

œ œ ˙ ˙ ∑ ∑ Œ 

# œ 

# œ 

¢ & # bw 

w > 

œ œ ˙ 

> 

b˙ 

mp f p p fp 

mp f ff p fp 

p 

p 

fp 

fp 

p 

p 

fp 

fp 

optional 8vb > 

& bb > 

Ó Œ n œ œ nœ 

˙ w 

∑ œ nœ 

œ œ ˙ ˙ ∑ ∑ Œ # œ œ œ w 

? b b nw 

w > 

œ œ ˙ 

> 

b˙ 

p 

p 

p 

fp 

bw> 

w w 

> 

& Ó Œ # œ œ # œ ˙ w 

∑ œ # œ œ œ ˙ ˙ ∑ ∑ Œ bœ 

œ œ w 

& ∑ ∑ ˙ # ˙ b˙ 

œ # œ w ∑ ∑ Œ 

˙ 

nw 

f 

fp 

œ # œ œ # w w 

> 

& 

# w w > 

œ œ ˙ > 

> 

b˙ 

˙ 

Œ 

# w w # œ œ # œ bw 

w w 

p 

fp 

& # > 

∑ ∑ ˙ # ˙ b˙ 

œ # œ w ∑ ∑ ∑ Œ bœ 

œ œ w 

& # ∑ ∑ ˙ # ˙ b˙ 

œ # œ 

> 

œ bœ 

œ œ ˙ ˙ ∑ Œ œ bœ 

œ # w w 

˙ ˙ w 

> 

& ∑ ∑ ∑ ∑ ∑ Œ œ # œ œ # w w 

˙ 

bw 

w 

w 

Œ 

Œ 

nœ 

bœ 

œ nœ 

œ 

œ œ œ 

w 

w 

> 

œ # œ bw 

w w 

11 

Tpt. 1 

Tpt. 2 

Hn. 

Tbn. 

Euph. 

Tba. 

Bass 

° 

& ˙ ˙ w 

∑ ∑ ∑ ∑ ∑ ∑ 

& ˙ ˙ w 

∑ ∑ ∑ ∑ ∑ 

& b ˙ ˙ w ∑ ∑ œ # œ œ œ ˙ ˙ ∑ Œ 

? b b 

? b b 

? b b 

nw 

w w > 

œ œ ˙ # > 

# ˙˙ 

? 

¢ b b nw 

w > 

œ œ ˙ 

> 

#˙ 

ff p fp 

˙ ˙ w 

> 

œ œ ˙ 

> 

˙ ˙ w w Œ œ 

p 

, 

˙ ˙ w ˙ n˙ 

# ˙ nœ 

nœ 

w ∑ Œ nœ 

low brass cues 

mp f p p fp 

˙ 

˙ 

f 

f 

n œ nœ 

œ nœ 

Œ 

play 

fp 

p 

fp 

p 

fp 

œ # œ œ # w w 

> 

> 

œ # œ œ nw 

> 

Œ bœ 

œ œ w 

w 

# w> 

w w 

# w> 

w w 

nw 

w w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 

nw 

w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 

Timp. 

Perc. 1 

° ? 

¢ b b 

° 

˙ ˙ œ œ œ 

4 

/ ‘ ‘ 

˙ ˙ œ œ œ 

¿ ¿ ¿ ¿ œ 

¿ ¿ ¿ 

˙ ˙ œ œ œ æ w æ w æ w æ w 

4 

‘ ‘ ‘ 

mf 

∑ ∑ ∑ ∑ 

Perc. 2 

/ ˙ ˙ œ œ œ 

˙ ˙ œ œ œ 

˙ ˙ œ œ œ 

∑ ∑ ∑ ∑ 

Perc. 3 

Perc. 4 

Perc. 5 

Perc. 6 

/ ˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙ œ œ œ ∑ ∑ ∑ ∑ 

/ ∑ ∑ w> 

∑ ∑ ∑ ∑ ∑ ∑ ∑ 

/ ∑ ∑ w> 

∑ ∑ ∑ ∑ ∑ ∑ ∑ 

¢ & bb > 

Ó Œ 

∑ ∑ ∑ 

nœ 

œ nœ 

˙ w œ nœ 

œ œ ˙ 

Œ 

˙ 

# œ œ œ w 

p 

f

12 

Fl. 

Ob. 

Bsn. 

Cl. 1 

Cl. 2 

B. Cl. 

Alto Sax. 1 

Alto Sax. 2 

Ten. Sax. 

Bari. Sax. 

Tpt. 1 

Tpt. 2 

Hn. 

Tbn. 

Euph. 

Tba. 

Bass 

Timp. 

Perc. 1 

Perc. 2 

Perc. 3 

Perc. 4 

Perc. 5 

Perc. 6 

90 91 92 93 94 95 96 

° 

cantabile & bb > U 

Œ n œ œ n œ # ˙ n ˙ ˙ n˙ 

˙ n˙ 

w 

w œ Œ Ó 

p f p 

cantabile 

& bb > U 

Œ n œ œ n œ # ˙ n ˙ ˙ n˙ 

˙ n˙ 

w 

w œ Œ Ó 

p f p 

? b b cantabile U 

Œ nœ 

œ nœ 

# ˙ n˙ 

˙ n˙ 

˙ n˙ 

w 

w œ Œ Ó 

> 

& 

cantabile 

p f p 

# ˙ ˙ # ˙ ˙ # ˙ w 

> 

w œ 

U 

Œ Ó 

p f p 

& cantabile Œ 

# œ œ # œ b˙ 

# ˙ ˙ # ˙ ˙ # ˙ w 

w œ 

> 

p f p 

& cantabile # œ œ œ # ˙ ˙ # ˙ ˙ # ˙ w 

f 

> 

p 

p 

& # cantabile U 

Œ bœ 

œ # œ b˙ 

# ˙ ˙ # ˙ ˙ b˙ 

w 

w œ Œ Ó 

> 

p f p 

& # cantabile U 

Œ bœ 

œ # œ b˙ 

# ˙ ˙ # ˙ ˙ b˙ 

w 

w œ Œ Ó 

> 

& 

cantabile 

p f p 

# ˙ ˙ # ˙ ˙ # ˙ w 

> 

w œ 

U 

Œ Ó 

p f p 

¢ & # cantabile U 

Œ bœ 

œ # œ b˙ 

# ˙ ˙ # ˙ ˙ b˙ 

w 

w œ Œ Ó 

> 

p f p 

° 


# œ œ # œ b˙ 

# ˙ ˙ # ˙ ˙ # ˙ w 

w œ 

> 

p f p 


# œ œ # œ b˙ 

# ˙ ˙ # ˙ ˙ # ˙ w 

w œ 

> 

& b 

? b b 

Œ 

Œ 

Œ 

# œ œ # œ b˙ 

p f p 

cantabile 

Œ 

p f p 

play 

cantabile 

low brass cues 

Œ 

# b˙ 

# œ œ # œ b˙ 

# œ œ nœ 

nœ 

œ nœ 

# ˙ n˙ 

˙ n˙ 

˙ ˙ 

# ˙ n˙ 

˙ n˙ 

˙ n˙ 

p f p 

p f p 

? 

¢ b b cantabile U 

Œ nœ 

œ nœ 

# ˙ n˙ 

˙ n˙ 

˙ n˙ 

w 

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> > > 

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let ring. no roll. 

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4 

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4 

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4 

4 

4 

4 

4 

4 

4 

4 

4 

4 

4 

4 

4 

4 

4 

4 

4

Fl. 

Ob. 

Bsn. 

Cl. 1 

Cl. 2 

B. Cl. 

Alto Sax. 1 

Alto Sax. 2 

Ten. Sax. 

Bari. Sax. 

Tpt. 1 

Tpt. 2 

Hn. 

q=60 ethereal like a fading memory 

97 98 

99 100 101 102 103 104 

° 

15 & bb 

seconds 

4 

√ ∑ 

˙ rubato e legato ˙ ˙ Œ ˙ œ ˙ Œ 

˙ # ˙ ˙ 

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? b b 

4 

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° 

& 

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& 15 seconds 4 

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∑ Œ 

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4 

4 

4 

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15 seconds 



√ 


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√ 


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w ˙ Œ w œ œ œ Œ ˙ nœ 

w Ó ˙ 






Œ 

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Tbn. 

Euph. 

Tba. 

Bass 

Timp. 

Perc. 1 

Perc. 2 

Perc. 3 

Perc. 4 

Perc. 5 

Perc. 6 

15 seconds 

dont play 

? b b 

4 

15 seconds 

dont play 

? b b 

4 

15 seconds 

dont play 

? b b 

4 

15 seconds 

dont play 

√ 

∑ 

√ 

∑ 

√ 

∑ 

When woodwinds begin to play 


Strike twice and rest for 5 seconds. Repeat. 

















? ¢ b b 

√ 

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4 

∑ 


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√ 

4 

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15 seconds 

/ 4 

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∑ 

∑ 

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∑ 

∑ 

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∑ 

∑ 

∑ 

∑ 

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15 seconds 

/ 4 

∑√ ∑ ∑ ∑ ∑ ∑ ∑ U ∑ 

15 seconds 

/ 4 

∑√ ∑ ∑ ∑ ∑ ∑ ∑ U ∑ 

15 seconds 

/ 4 

∑√ ∑ ∑ ∑ ∑ ∑ ∑ U ∑ 15 ¢ & bb 

√ 

4 

∑ 

∑ ∑ ∑ ∑ ∑ ∑ U ∑ 

U 

U 

U

Poorvi Warmup Guide 

by Aakash Mittal 

The following three warmups are designed to help students and conductors understand the basic 

elements of raag Poorvi 1 . The warmups are also designed to facilitate repetitive practice of music that 

appears in the work. This guide offers three methods that utilize the warmup to enhance your rehearsal. 

You are welcome to use the techniques that best suit your band and to skip any methods that do not 

work for your students. 

The word raga refers to a multifaceted musical tradition originating in South Asia. The earliest reference 

to raga occurred in the 3rd century BC. Yet, the musical style of khayal, which this concert band piece is 

based on, is relatively contemporary with roots in the 19th century. Raga is a melodic structure utilized in 

composition and improvisation. Each raga is governed by notes that can be organized into a scale and 

specific phrases that are unique to the raga. The foundation of raga music is the vocal tradition. In India, 

some pedagogy requires that students do not begin to learn an instrument until they can first sing the 

music. Other methods require that students learn to sing simultaneously while learning the instrument 

technique. In my own study of raga music with Prattyush Banerjee in Kolkata, all of my lessons were 

taught vocally. My teacher never once pulled out his instrument. The vocal syllables associated with each 

note are called sargam. Sargam is similar to solfege in Western traditions. In raga music sargam is used 

to communicate everything, from memorizing repertoire to theoretical concepts. Teaching your band to 

sing and think about music utilizing the sargam syllables is a fundamental step in the Indian music 

tradition. Therefore, underneath every note in each warmup is the corresponding sargam syllable for that 

note. 

I. Sing and Play 

For musicians who are new to singing, alternate playing each note of Warmup 1 Aroh-Avroh with singing 

that note using the sargam syllable. (For example, ask the students to play a Bb. Then ask them to sing 

the note they played with the syllable Sa.) If sargam syllables and Indian music techniques are new to 

you as a conductor, consider sharing that with your students and telling them, “We are going to learn 

this together.” For warmup two and three, utilize the same method with each phrase. Play the first four 

notes of the raag chalan. Then ask the students to sing each note using the sargam syllables written 

under each note in the warmup. You may need to go through it one note at a time until they are 

comfortable with the pitches. If you only learn the first four notes of Warmup 2 Raag Chalan before you 

need to move on with your rehearsal that is normal. Consider adding one more phrase of the raag 

chalan or khayal at each rehearsal. 

II. Unison-Repetition-Riyaz 

Each warmup is designed so the entire band can practice melodies in unison that are orchestrated in 

various places throughout the piece. To utilize this aspect of the warmups, practice Warmup No. 2 Raag 

Chalan. Then rehearse measures 13-22 of Poorvi. Ask the band to name which instruments are playing 

the raag chalan. Then rehearse measures 23-35. Ask the band who is playing the raag chalan. You can 

also ask the band how the raag chalan in the warmup is different from the arrangement in Poorvi and 

similar to the arrangement in Poorvi. 

1 

The term raga and raag are often interchangeable. When talking about a specific raga such as raag Poorvi or raag Yaman the word raag is 

often used. When talking about the music as a whole such as the phrase “raga music” the word raga is used.

Warmup No. 3 Khayal is designed so that the band may play the khayal composition together in unison. 

After playing through Warmup No. 3 Khayal, rehearse the band from measure 35-70. Ask the band to 

identify the instruments that are playing the khayal composition. Ask the band to describe how the 

arrangement of the khayal changes with each repetition of the melody. For a big project, assign the 

students to create their own arrangement of the khayal melody. 

If your students are struggling with the technical aspects of the raag chalan and khayal melodies in the 

piece, the warmup is designed so you can rehearse the melodies slowly and with repetition in a way that 

all students can participate. In raga music, rigorous and repetitive practice is called riyaz. You may use 

this term in rehearsal such as, “Okay, we are going to do some riyaz with this melody.” 

III. Aural Tradition 

Raga music is learned through the aural tradition. You can bring elements of aural tradition learning into 

your practice of Poorvi by teaching the students to sing and play each of the three warmups before 

passing out any sheet music. 

1. Prep your students by telling them, “To start our next piece we are going to learn some of the 

melodies and scales from the music by ear. Does anyone know what it is called when you learn 

music entirely by ear?” Once you have collected some answers, focus on the term Aural 

Tradition. When I teach about aural tradition in ensembles that use western notation I like to say, 

“Aural tradition is the method that most of the world uses to make music. In the Indian music 

tradition it is common for a student to take multiple lessons a week with their teacher to study 

the music. Aural tradition is just as rigorous and important as music notation. If you can learn 

music aurally and you can read notated music it will open up numerous opportunities for you.” 

2. Tell the students that each note in the scale has a syllable associated with it. In Indian music this 

is called Sargam. In western music this is called Solfege. Write the sargam syllables on the board. 

They are Sa, Re, Ga, Ma, Pa, Dha, Ni, Sa. Practice saying each syllable together in unison as you 

point to each one on the board. 

3. Sing a Bb major scale together in unison using the sargam syllables. If you are using a sing and 

play method you could follow this by having the students play the scale they just sang. 

4. If it helps your students write the note names on the board below the sargam syllables. Now flat 

the second note to B natural, raise the fourth note to E natural, flat the sixth note to F# or Gb. 

Your scale is now Bb, B natural, D, E natural, F, F#, A natural, and Bb. Sing this scale up and 

down using the same sargam syllables. 

5. For warmup two and three utilize an echo song method. The conductor or a band member can 

sing the first phrase of the raag chalan or khayal. If this is too much to absorb, even singing three 

or four notes is a good start. Then have the band echo the first singer. You may need to do this 

numerous times for your students to memorize the notes if they are not already used to this 

technique. 

6. The three warmups can potentially be a vocal warmup before the band plays the piece. If you 

have the time, consider having the students learn all three melodies with their voice before 

beginning rehearsal on the notated material. Any amount of singing the melodies with the 

sargam syllables is valuable and will deepen the student’s understanding of raga music.


vocal syllables 

Oboe 

Bassoon 



Bass Clarinet 

in Bb 







Horn in F 

Trombone 

Euphonium 

Tuba 

Bass 

(Optional) 

Timpani 

Percussion 1 

Percussion 2 

Percussion 3 

Percussion 4 

Percussion 5 

Percussion 6 

Aaroh and Avroh 

Each raga has an ascending and descending scale associated with it that we can practice to better understand the raga. The ascending 

scale is called aaroh and the descending scale is called avroh. Each raga will have a minimum of five notes. Some ragas use all twelve 

notes. The foundation of raga music is vocal music. Each scale degree in the raga has a syllable that represents the note. These vocal 

syllables are called sargam. Play the scale on your instrument and sing the scale using the sargam syllables. 

2 3 4 5 6 7 

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Copyright © 2023 Aakash Mittal/ASCAP Awaz Arts


Flute 


Oboe 

Bassoon 



Bass Clarinet 

in Bb 







Horn in F 

Trombone 

Euphonium 

Tuba 

Bass 

(Optional) 

Timpani 

Percussion 1 

Percussion 2 

Percussion 3 

Percussion 4 

Percussion 5 

Percussion 6 

Raag Chalan q=60 

Ragas are defined by specific phrases called raag ang. When multiple phrases are performed together with rhythm and tempo, it is 

called raag chalan. Each raga has a unique raag chalan that shows the movement of the phrases, the order of the notes, the tempo 

of the notes, the rhythm of the notes, the notes that are sustained, and the notes that are played quickly. Play the raag chalan on your 

instrument and sing the raag chalan using the sargam syllables. 

2 3 4 5 6 7 

° 

& b b 

legato 

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c 

¢ & b b 

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legato 

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& 

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legato 

c ˙ œ # œ ˙ Œ œ œ œ # œ ˙ U˙ Œ # œ œ # œ ˙ 

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c 

˙ œ # œ ˙ Œ 

Ni Sa re Ga 

legato 

c 

˙ œ # œ ˙ Œ 

Ni Sa re Ga 

Ga ma Ga re Ma Ga re Ga Ma Pa Pa 

Ga ma Ga re 

Ma 

Ma 

Copyright © 2023 Aakash Mittal/ASCAP Awaz Arts 

Ga 

Ga 

re Ga Ma Pa 

re Ga Ma 

& # legato U 

c ˙ œ bœ 


˙ ˙ Œ bœ 

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c ˙ œ # œ ˙ Œ œ œ œ # œ ˙ ˙ Œ # œ œ # œ ˙ 

Ni Sa re Ga 

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legato 

c 

˙ œ # œ ˙ Œ 

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c 

˙ œ # œ ˙ Œ 

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Ga ma Ga re 

Ma 

Ma 

Ga 

Ga 

re Ga Ma 

re Ga Ma 


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? b b 

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? b b c 




p mf p p f p 

rim click 

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c 

c 

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legato 



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œ œ œ # œ ˙ ˙ 

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legato 

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∑ 

∑ 

∑ 

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with soft mallets 

∑ 

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Ob. 

Bsn. 

Cl. 1 

Cl. 2 

B. Cl. 

Alto Sax. 1 

Alto Sax. 2 

Ten. Sax. 

Bari. Sax. 

Tpt. 1 

Tpt. 2 

Hn. 

Tbn. 

Euph. 

Tba. 

Bass 

Timp. 

Perc. 1 

Perc. 2 

Perc. 3 

Perc. 4 

Perc. 5 

Perc. 6 

8 9 10 11 12 13 14 15 

° 

& bb # œ n œ n œ œ U 

n œ b œ œ œ 

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w 

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n œ b œ œ œ 

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n œ ˙ Œ nœ 

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# ˙ n ˙ w Œ nœ 

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bw 


? b b # œ nœ 

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dha Pa Ma Pa Ga ma Ga re 

dha Pa Ma Pa Ga ma Ga re ma Ga 

ma Ga re Ga Ma dha Ma Ga Ma Ga re Sa 

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° 

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Khayal in Teentaal h=90 

Khayal is a song form commonly used in raga music. Each khayal is set to a rhythmic cycle called tala. Each tala has a specific 

number of beats. Beat one is the beat the music will resolve on. This khayal is set in teentaal, a sixteen beat cycle. Sixteen beats 

is similar to four measures of 4/4 time. 

mezzo-staccato 2 3 4 5 6 7 8 9 10 11 12 

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œ œ J 

¿ œ œ œ œ ¿ Œ œ œ J 





¿ 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 ¿ Œ œ œ j ¿ œ œ œ œ ¿ Œ œ œ j ¿ œ 

Copyright © 2023 Aakash Mittal/ASCAP Awaz Arts

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