The Moon Glistens.Score

TheMoonGlistens
forWindEnsemble
I. MoonViewing
I.WideBlueSky
I.AutumnRain
JoniGreene

Joni Greene
The Moon Glistens
A Tone Poem for Wind Ensemble
I. Moon Viewing
II. Wide Blue Sky
III. Autumn Rain

Commissioned by “The Greene Consortium”:
University of New Mexico Symphonic Band, Chad P. Simons, conductor (lead commissioner)
Belmont University Wind Ensemble, Barry Kraus, conductor
Eastern Illinois University Concert Band, J. Corey Francis, conductor
Eastern New Mexico University Wind Symphony, Dustin D. Seifert, conductor
Indiana University Wind Ensemble, Stephen W. Pratt, conductor
Iowa State University Bands, Michael Golemo and Steven Smyth, conductors
Michigan State University Symphony Band, John Madden, conductor
Pacific Lutheran University Wind Ensemble, Ed Powell, conductor
University of California Los Angeles Bands, Travis Cross, conductor
University of Kansas Wind Ensemble, Paul W. Popiel, conductor
University of Mary Hardin‐Baylor Wind Ensemble, Nils Landsberg, conductor
Washburn Wind Ensemble, Michael W. Mapp, conductor

THE
MOOO
N GLISTENS
A Tone Poem for Wind
Ensemble
___ ___ J O N I G R E E N E
___ ___ ___ ___ ___ ___ ___ ___ ____
I N S T
R U M E N T A T I
O N
Piccolo
Bb Trumpet 1
Timpani
(4 drums)
Flute 1
Bb Trumpet 2
Percussion 1
Flute 2
F Horn 1 & 3
Percussion 2
Oboe
F Horn 2 & 4
Percussion 3
Bb Clarinet 1
Trombone
1
Percussion 4
Bb Clarinet 2
Trombone
2
Percussion 5
Bb Clarinet 3
Bass Trombone
Contrabass
Bb Bass Clarinet
B.C
Euphonium 1 & 2
Harp
Bb Contrabass Clarinet
Tuba 1 & 2
Piano
Bassoon
Eb Alto Saxophone 1
Voice (female singers from
within ensemble)
Eb Alto Saxophone 2
Bb Tenor Saxophone
Eb Baritone Saxophone
Percussion Assignments
Percussion 1: Crotales (C4‐A5
+ bass bow) shared with percussion 4, Bass Drum, Xylophone
Percussion 2: Vibraphone (+ bow), Large Tam‐tam, Thundersheet
Percussion 3: Marimba, F3 Pitched Gong, Large Tam‐tam, Xylophone, Mark Tree, Snare Drum , Vibraphone
Percussion 4: Small and Large Suspended Cymbal ( +bass bow), F2 & Ab4 Pitched Gongs, Splash Cymbal,
Vibraphone, 4 Toms, Brake
Drum,
Crotales (E4 +bow) shared with
percussion 1
Percussion 5: Small, Medium, & Large Suspended Cymbals
(+bass bow), Splash Cymbal, Glockenspiel, Large Tam‐tam,
Substitutions:
Crotales may be substituted with Vibraphone when
arco is required
(preferably two octaves below; however, one
octave
below or as
written
is acceptable).
Crotales may be substituted with Glockenspiel when
arco is
not required.
Gongs: Gong F2 may be substituted
with large suspended cymbal; gong F3
may be
substituted with medium suspendedd cymbal; gong
Ab3 may be substituted with small suspended cymbal.

C O M P O S E R ‘ S
T H O U G H T S
Instrumentation & Notational Considerations
General information:
While preference is given to performing The Moon Glistens in its original instrumentation, cues have been thoroughly
provided throughout. Instruments which may be omitted if necessary include: Contrabass Clarinet, Crotales, Pitched Gongs,
Contrabass, Harp, and Piano. Bass Trombone may be omitted if absolutely necessary; however, some minor excerpts are not
cued and will thus not be represented.
Piano is cued heavily in mallets; however, segments are cued into piccolo, flute 1, oboe, clarinet 1, alto saxophone 1, and
baritone saxophone. If the work is being performed without piano, secondary cued parts are included for Piccolo, Tuba,
Contrabass, Percussion 2, and Percussion 3. Additionally, an alternate score entitled [The Moon Glistens.Piano Cues] is
provided for the conductor (original score and piano cued score available at www.jonigreene.com as part of the download
package).
Instrument sections may have more than one player per part; however, please follow indications in the score where “1 only”
is requested. In sections which may have several players per part (i.e. Bb Clarinet), tutti is used to bring in the full section;
whereas, instruments such as Euphonium which should be less section heavy have a2 indicated.
Decrescendo hairpins are employed often as an expressive device for phrase endings. In instances where a release dynamic
is not indicated, players should decrescendo delicately so that they disappear into the textural background. Niente (n) release
dynamics are not necessary unless indicated.
Instruments that ring should always l.v. (let vibrate) unless the dampen sign is indicated.
All grace notes occur before the beat.
Arco indicates to bow instrument. In order to hear bowed sound at notated time, please request player to anticipate
entrances by starting slightly before the beat. Always l.v. unless dampen sign is indicated.
Mutes needed: Straight mutes: Trumpets, F Horns, Trombones, and Euphonium (mutes may be omitted for Euphonium if not
available), Cup Mutes: Trumpets.
A minimum of 4 Clarinet players is required to perform the work (Bb 1, Bb 2, Bb 3, and Bass Clarinet). Contrabass Clarinet
may be omitted if unavailable. Bb clarinet parts may have more than one player; however, please follow indications in the
score where “1 only” is requested.
If a second Euphonium is unavailable, cues are provided in the Tuba part.
If a second Tuba is unavailable, the Tuba part may be played by one player. In instances where divisi is indicated, player
should play the bottom line.
If Crotales are unavailable, player may perform part on either Glockenspiel and/or Vibraphone. Where arco is indicated, the
excerpt(s) may be bowed on Vibraphone two octaves below (when possible), otherwise one octave below or as written.
When playing arco on Vibraphone, always use pedal. In order to avoid confusion, Crotales are not cued into the
Glockenspiel or Vibraphone parts when cross cues would cause collisions.
Vibraphone and Marimba parts indicate suggested mallets.
If Contrabass player does not have C attachment, notes below E2 may be played one octave higher.
Harp is cued into two cue versions. The first, and preferred replacement, is piano. If piano is unavailable, harp cues are
provided as a split part between the piccolo part and percussion 3. If the piccolo player is playing Harp cues in movement
three, Piccolo player will need a Flute.

Movement I
Flz. (Flute) indicates to flutter‐tongue.
(Broken) above tremolo markings in Piano and Harp indicates to play a broken tremolo as opposed to a blocked tremolo.
The effect creates a fluttery sound often referred to as bisbigliando.
Measures 65‐98 of movement one, require female singers. There is no limit to how many women may sing. The goal is to
produce a good tone that may be heard through the instrumental music. Careful compositional consideration has been given
so that ensemble members may sing in lieu of bringing in outside vocalists. A separate vocal part is provided and should be
passed out to those who will perform this part, since the vocal music is not cued into instrumental parts. Additionally, the
vocal part contains pitch cues to assist players in finding their pitches at each entrance.
Movement II
Jet Whistle (ex. Flute 1, mvt. 2, measure 9) indicated by diamond note‐head. Effect creates a breathy sound which produces a
sudden shriek when player places mouth over the embouchure hold and blows airstream into flute. Player should
experiment with fingering, breath pressure, and vowel shape of the mouth to obtain the most volume possible. Please refer
to www.jonigreene.com for an example of this sound.
Movement III
Movement three features snapping, patting and stomping to create the effect of a rain storm. Players are given indications to
quickly snap fingers, pat legs, lightly stomp feet, or flick bells. Please feel free to request players to perform effect faster or
slower depending on requested dynamic during those passages. Players are given the notation for these effects as “x” noteheads
which are then followed with a wavy line through remaining measures. Players are given assistance counting, (1), (2),
(3), etc., above each subsequent bar where the effect is repeated for several bars. For an example of this rain effect, please visit
www.jonigreene.com for a youtube demonstration.
If Piano is not heard through rain storm effect during the start of movement three, please amplify.
The Piano solo (mm. 1‐16) is cued into the “Piccolo with Piano cues” part with an indication to play on flute. These cues are
not represented in the score.
Slash through ligature (i.e. Percussion 4, mvt. 3, measure 79) indicates to play figure as fast as possible.
If Thundersheet is unavailable, comparable metal may be used, e.g. bell plate.
Feathered beam (ex. Trumpet 1, mvt. 3, measure 13) indicates to gradually accelerate to 32 nd note pace over two beats. Pitches
without note‐heads indicate to repeat previous notated pitch. Player should focus on creating the effect more than how many
pitches occur. Trumpets should always flutter‐tongue (flz) with feathered beam effect.
Lip gliss in F Horn (mvt. 3, measure 61 forward): Pitches without note‐heads should ascend, but are left to player’s discretion.
Combined with feathered beam, this effect should start audible and rapidly burst through the texture.

Composer’s Vision
The Moon Glistens originates from my choral work Autumn Reflections which was composed and expanded into its current
form from 2001 through 2009. Autumn Reflections is a collection of six movements each featuring a separate haiku poem from
traditional Japanese poetry (14 th ‐17 th century) written by the poets Matsuo Bashō, Monk Gusai, Takarai Kikaku, and Venerable
Senjun. Although each poem contains only three lines of text, the rich imagery conveys short narratives on the beauty of the autumn
season. The story travels from night to day, changing from clear skies to lightning storms and ending in a light evening rain shower.
While each movement’s haiku expresses a complex scene so does the entire work which utilizes each scene as an event in an
overarching poetic story.
From the start, The Moon Glistens was envisioned as a new work based on the music of Autumn Reflections. Because of the text
painting in the choral work, it was important to use as much of the original thematic music as possible. Almost all of the original
music from Autumn Reflections has been preserved; however, its presentation has often changed. Several aspects of the choral piece
are expressed verbatim into The Moon Glistens, while much of it has been re‐orchestrated or reworked. Sometimes it was necessary to
highlight different melodic strains in the counterpoint (specifically the round beginning at measure 13 of movement 1). In such
instances, instrumental voices emerge from the texture, often creating new themes not as easily recognized in the choral work.
Additionally, because The Moon Glistens was conceptualized as a new work (specifically one that did not require text to remain
consecutive), musical events in the instrumental work are given out of order, or repeated and then developed into entirely new
material.
The second movement, “Wide Blue Sky,” is unique, envisioned from the start as additional material derived from the third
movement of Autumn Reflections. Similarly, measures 1‐80 of movement three, “Autumn Rain,” expand greatly upon the fourth
movement of Autumn Reflections. And finally, because of the extra personnel available in the wind ensemble, special shaping of the
poetic story was possible through extra‐musical devices (snapping, patting, stomping).
Rehearsal and Performance Notes
I greatly appreciate being notified of performance dates, as well as receiving pdf programs. Please feel free to contact me if
you have any questions or find errors which need to be addressed. I am more than happy to participate in rehearsals via skype or
speak by phone and email. My email address: jonigreene@gmail.com.
The Poems of The Moon Glistens
Movement 1, measures 1‐64
I. Autumn. Moon‐viewing at his hut Matsuo Bashō [1644‐1694]
Moon at the full—
round and round the pond I walk,
the whole night through.
Movement 1, measures 65‐98
II. Shining Faintly Venerable Sejun [1411‐76]
Shining faintly in the haze,
the moon
before break of day.
Movement 2
III. Kyorai [Autumn] Matsuo Bashō
In the wide blue sky
the moon still remains shining
at break of day.
Movement 3, measures 1‐80; Coda, measures 113‐137
IV. Autumn [1694] Matsuo Bashō
A lightning flash—
and into the gloom it goes;
a heron’s cry.

Movement 3, measures 81‐98
V. Autumn
Rain Monk Gusai [d. 1376]
The clouds have
left;
and the wind has settled
down—
for the autumn rain.
Movement 3, measures 99‐112
VI.
Summer
Takarai Kikaku
[1661‐1707]
Evening
shower—
and gazing out into it,
a woman
alone.
If reproducing poems in any
printed form, the Stanford University
Press requests the
following be included in printed material:
Poetry from Steven
Carter, Traditional Japanesee Poetry, An Anthology
Copyright
© 1991 by the Board of Trustees of the Leland
Stanford
Jr. University
With the permission of Stanford University Press, www. .sup.org. No further use, reproduction, distribution in any or by any means, are permitted without the
prior written permission of the publisher.
A N A
L Y
S I S &
R E H E A R S A L S U G G E S T I O N S
The Song Cycle
The Moon Glistens originates from my choral work Autumn Reflections
which was composed
and expanded into its current form from
2001 through 2009. Autumn Reflections
is a collection of six movements each featuring
a separate haiku poem
from traditional
Japanesee poetry
(14th‐17th century) written by
the poets Matsuo Bashō, Monk Gusai, Takarai Kikaku, and Venerable Senjun.
Although each poem contains only three lines of text, the rich
imagery conveys short
narratives on the beauty of the autumn season.
The story travels from night to day, changing from clear skiess to lightning storms and ending in a light evening rain shower. While
each movement’s haiku
expresses a complex scene so does the entire work which utilizes each scenee as an event in
an overarching
poetic story.
While there are several themes,
the moon (particularly
the idea of a full and shimmering moon) is one of the most persistent. In
movements one
and two the moon serves as the principle theme while the third movement
transitions to scenes based on rain and
the day. By the final scene (poem 6 beginning
at m. 99), the narrative
cycle ends with
the words “evening shower.”
MOVEMENT 1: Poems 1 & 2
Movement 1, measures 1‐64
I. Autumn. Moon‐viewing at his hut Matsuo Bashō [1644‐1694]
Moon at
the full—
round and round the pond I walk,
the whole night
through.
Main Motives (examples
are transposed)
COMPOSITE ROUND MOTIVE: (ex. mm. 13‐14) breaks down into QZ QZ
Q h. rhythm.
Instances of this motivic rhythm
occur between mm. 13-47.

“ROUND
AND ROUND
THE POND I WALK” MOTIVE: (ex. mm. 37‐39)
Also occurs in Clars. 1 & 3 m. 24; Bsn. & B. Sax m. 25, 38,
41; A. Sax 1 m. 27 ,37, 40
38
Moon at
the Full: Measures 1‐12 are an
orchestration
of mm. 1‐8 from
Autumn Reflections. In
this section the oboe should emerge
from the
texturee in mm. 2‐9, along with
crotales in measure 2 and flute 1 in mm. 8‐9.
Measures 63‐65 serve as
a transition into the second poem of the work
(measures 65‐98). Please allow cymbal player to take some
time so that an effectivee crescendo may
be performed.
Round and round the pond I walk: Measures 13‐46 express a musical round
which creates a musical stew of sorts.
The goal of this
movement is to present
two motives while continually
evolving and morphing the instrumental color of the
ensemble. The
“composite round” motive (seee above)
is defined as four eighth notes
followed by a quarter‐note then dotted half‐note (first shown
in mm. 13‐14). This motive is used in a variety
of color groupings and
is followed by
the “round and round
the pond I walk” motive
(clars. 1 & 3, m. 24).
The Round
The round is formed by
sections (often
pairings) within the ensemblee which trade off the two motives. In order for this swirl of
color to be effective, dynamics
need to be carefully observed.
Additionally, the character of the “composite
round”
motive
is light.
The resultant sound should be a constant shifting of instrumental color within the ensemble. Perhaps the most important
color shift
is the entrance of the mallets, piano, and harp at measure 36.
Melodic
Phrasess within
the Round
It is crucial that instruments that repeat for long stretches do not overtake other lines. For instance,
saxophones from mm. 18‐33
serve as a backbone for the moving harmony and should be soft enough so that slower moving lines can be
heard. Lines that are
important to hear through the texture include:
Measuree 23: Piccolo
Measuree 24: Clarinet 1 and 3
Measuree 27: Alto Saxophone 1
Measuree 28: Bassoon
The Whole Night Through: Measures 47‐58 use slow moving
stacked
harmonies to create a contrast from the previous 8 th note
“composite round” motive. Text painting is always present in
the work, and
in this case the
large expanse
of the night is felt
through: the use
of more instruments playing at once (particularly mm. 49‐50
and 56‐58), crescendos, and overall range. Bassoon and
baritone
saxophone serve as soloists during this section, although they will be covered up briefly at measures 49 and 54‐56.
[Round and Round the
Pond I Walk] Tag: Measuress 59‐63 uses the “round and round the pond I walk” motive in
solo bassoon.
In
terms of
text painting, the bassoon illustrates one person pensively walking around a pond. The soloist should take some time as the
phrase completes in order to portray someonee in deep
thought.
Main changes from the choral setting
While all of the original
choral music from Autumn Reflections, movement one is included, the presentation of
the round has been
altered. Melodic strainss have been created from the primary round motive (as shown above
in “composite
round motive” example).
These strains are first defined in
mm. 13‐17 in the woodwinds. Similarly, the
piccoloo phrase
from mm. 23‐27 was created for the
band work is based on the pitches in the choral version.
Movement 1, measures 65‐98
II. Shining Faintly Venerable Sejun [1411‐76]
Shining faintly in the haze,
the moon
before break of day.

Main Motives
A leap up followed by leap down illustrates the shining moon
SHINING MOON MOTIVE: (ex. mm. 69‐70)
Measures 65‐98 of movement one may
be the hardest of the entire piece. Most instrument sections request only one player
per part,
and often every
entrance is treated as a solo. This section of the work
is really considered chamber music. Extremee care with
dynamics and balance is needed. In addition to dynamics, pacing is very important.
Composite lines
are created by having instruments join and exit an overarching phrase. So instead of having one person or everyone
play all of a melodic phrase, players join at different times. The resultant effect is a composite phrase – everyone’s
part added
together
creates
a large phrase.
And each of these large phrases requires careful pacing so that the music can breath. Additionally,
there are
times when one instrument will hang
over into a new
phrase creating a sustain as the music passes. This is very delicatee
music that requires close attention to detail.
In orderr to facilitate pacing, frequent tempo changes, fermatas, and pauses are used. Because it may
be difficult to determine where
overarching phrases occur, I have listed them below. As is always true with my music, the dynamics serve as the best indicator for
which instrument is most important to
be heard in the
texture.
Composite Phrases
MM. 65‐66
MM. 67‐68
MM. 69‐72
M. 73 – beat 1 of
74
M. 74 (beat 2) – 75
M. 76
M. 77
[Phrase set] MM. 78‐81 (multiple phrases work
compositely)
M. 82
MM. 83‐84
MM. 85‐86
[Phrase set] MM. 87‐89
MM. 90‐91 (beat
2)
MM. 91 (beat 3) – 92
M. 93 (with pick‐ups)
M. 94
M. 95
M. 96
MM. 97‐98
Main changes from the choral setting
Only changes to
assist with pacing were made
to this section.
occurs, and inserting tempo fluctuations.
This includes adding beats to the end
of measures where a sustain
MOVEMENT
2: Poem
3
III. Kyorai [Autumn] Matsuo Bashō
In the wide blue
sky
the moon still remains shining
at break
of day.
Main Motives
PRIMARY MOTIVE: (ex.
mm. 13‐18)

“REMAINS SHINING”
MOTIVE: (ex. mm. 26‐27)
Also used in mm. 26-30, 57-59,
and 72
The Moon Stilll Remains Shining: Measures 1‐30 are an expansion of measures 16‐32 in Autumn Reflections. The musical goal is to
create momentum through repetition and moving harmony.
A backdrop is created throughh tremolos and pyramid
16 th note section
entrances. In front of this backdrop is an evolving melodic statementt in mallet percussion, harp, and piano
(m. 11) that culminates
into gestural outbursts
with the
upper woodwinds (beginningg in m. 12). The
clarinet solo in
mm. 13‐18 serves as the primary motive
of movement two and must be heard clearly over the ensemble. Intensity then picks
up with
the addition of the low
winds and
contrabass in m. 19. Measures
26‐27 introduce
the “remains shining”
motive
in harp
and piano (m. 37 in Autumn Reflections).
In orderr to make measures 1‐30
effective, careful consideration needs
to be given to hairpin dynamics and the tempo cannot drag.
Marimba and vibraphone should play equal dynamics
so thatt a blended sound is created. Similarly, flutes,
oboe, and clarinet 1
should also create a blended sound so that no instrument sticks out in
the texture. Please ensure that horns
2 and 4 are heard in mm.
24‐26, along with alto saxophone 1 in mm. 27‐28.
In the Wide Blue Sky: Measures 30‐46
are an expansion of measures 1‐8 in Autumn Reflections. In order to make the phrase
layering
effectivee in measures 40‐46, please pay
careful attention to dynamic decrescendos.
Measures 47‐51 serve as
a transition. Measures 47‐49 use “sting” entrances (see notation section of pre‐score material for
explanation).
Measures 52‐71 are a development of the primary motive and
the “remains shining”
motive. There is a push and pull between these
two characters throughout this section which ultimately progresses the music towards a climax at measure 71. The
climax
illustrates
the grandest presentation of the
word “shine” from the text. It is immediately followed by three more instances of the word shine
(m. 73, m. 77, and m. 78) with each presentation softer
than the previous.
Measures 72‐79 are an expansion of mm. 35‐42
in Autumn Reflections.
Measures 80‐101 are an
expansion of Autumn Reflections mm. 43‐49. The goal
of this section is to create texture variation. Please pay
close attention to dynamics and
articulation in
order to createe maximum contrast. Please ensure that repeated notes without hairpins
between
mm. 85‐95 remain soft
so thatt dynamic swells in other instruments are effective.
Please do not rush transition between mm. 102
and 104.
At Break
of Day: Measures 104‐120 are
an expansion
of Autumn Reflections mm. 55‐63. The piano and mallet percussion plus harp
parts trade off harmonic phrasing (such as in mm. 104‐107 and mm. 108‐110) ). Their phrasing and dynamics should
match. Like mm.
65‐98 of movement one, this section requires careful attentionn to phrase shaping, dynamics,
and pacing.
MOVEMENT 3: Poems 4,
5 & 6
Movement 3, measures 1‐80
IV. Autumn [1694] Matsuo Bashō
A lightning flash—
and into
the gloom it goes;
a heron’ ’s cry.
Main Motives
LIGHTNING & THUNDER MOTIVE (ex. m. 23)
Occurs primarily in
brass

SNAPPING EFFECT (ex. m. 2)
Winds, Perc. 2, Cb, Hp
Trombone 2
FEATHERED BEAM MOTIVE (ex. m. 13)
Occurs in trumpet and flute
Bb Trumpet 1
A Lightning Flash: Measures 1‐80 portray a lightningg storm and are an expansion of
the first twenty‐four measures of Autumn
Reflections. Much of the
material in this section
is newly developed material. The original choral music begins in the brasss at m. 17.
Players are given indications to
snap fingers, pat legs, or lightly stomp feet (referred
to as “snapping
effect”
above)
which serve as
a
backdrop to the
coming
storm. Please feel freee to adjust effect
assignments and dynamics as
needed. Players who produce
the
snapping effect crescendo from
mm. 1‐30, so an audible change over time needs to be heard. Pleasee take care not to
cover
instrumental parts with
the snapping effect. For a demonstration of this effect, please see a video at
www.jonigreene.com/#
#consortium.
Trumpets and flutes have feathered beams that are intended to createe and later drive
intensity towards the climax at m. 80. See
notationn section
in pre‐score material for more
information on
how to
produce this effect.
Piano acts as a soloist from mm. 5‐23 and needs to be heard clearly. Programmatically, piano and flute flutter‐tongue are serving as
the wind
beforee a large storm. The piano in particularr serves to create momentum in
the music as the storm
approaches.
Measuree 17 begins a conversation in the brass that serves as an echo effect illustrating thunder and lightning (see lightningg and
thunder
motive above).
Intensity of the storm
grows until the
lightning and thunder
occur simultaneously
at m. 80.
The textt
The textt presentation is
not consistent
with the choral
work. The first line of
text, “A
lightning flash,” is presented
from mm. 1‐80.
“And into the gloom it goes” is
omitted. “A heron’s cry” is not given
until the end of the work at m. 129.
Movement 3, measures 81‐98
V. Autumn Rain
Monk Gusai [d. 1376]
The clouds have
left;
and the wind has settled down—
for the autumn rain.
The clouds have left & and the
wind has settled down: Measures 81‐85 illustrate the calm after the
storm. Careful attention to
dynamics and ensemblee balance will help make this section effective.
Oboe portrays
the line
“and the wind” from Autumn
Reflections
and needs to be heard clearly in
mm. 84‐86.
For the autumn
rain: In
mm. 87‐97 mallet percussion
allude to
rain drops. Please take care that entrances are heard
distinctly.
Players should match attack, entrance
timing, and note length. It is acceptable to strike vibraphones
as an alternatee option; however,
composer prefers arco if
ample rehearsal time is allowed.
The textt
Measures 81‐98 are transcribed
exactly
from Autumn Reflections, movement five.
Movement 3, measures 99‐112
VI. Summer Takarai Kikaku [1661‐1707]
Evening
shower—
and gazing out into it,
a woman
alone.
Measures 99‐112: Clarinets, horns 1 & 3, and euphoniums 1 & 2 illustrate the
evening atmosphere while mallet percussion
continues
to portray rain drops. Delicate playing
in addition to steady pacing is necessary for this section. Clarinet 1 alludes
to “a woman
alone” from the
text.

Measures 113‐137 serve as an epilogue with the flute solo beginning in m. 113 serving as a transition. Please take care to not let the
tempo drag during this section. Stylistically, reflections of the work are presented in this final section as shown by use of “sting”
entrances in stacking harmonies (ex. m. 123), melodic line overlapping, and continued use of delicate dynamics.
The last part of the poetic journey is presented in the euphonium as the image of a heron crying through the musical texture (m. 129).
A sense of calm and finality create the closing tone of the work
‐Joni Greene

Transposed Score
Piccolo
1
Flutes
2
Oboe
1
Bb Clarinets 2
3
Bb Bass Clarinet
Contrabass
Clarinet in Bb
Bassoon
1
Eb Alto Saxophones
2
Joni Greene
2 3 4 5 6 7 8
Moon at the full q = 48
rit. q = 56
air attack
pp
air attack
pp
air attack
f ( mf )
f mf p p mp mf
rit.
mp p pp p mp p
mp p pp pp mp p
p
pp
to Chad Simons
THE MOON GLISTENS
A Tone Poem for Wind Ensemble
I. Moon Viewing
solo
pp
mp p pp pp mp
p
p pp pp mp p
pp
mp
espr.
p
Bb Tenor Saxophone
Eb Baritone Saxophone
1
p
pp
Bb Trumpets
2
1
3
F Horns
2
4
1
Trombones
2
Bass Trombone
pp mp pp mp p
pp mp pp pp mp p
pp
mp pp p
pp
mp pp p
Euphonium
1
2
1
Tuba
2
Timpani
pp mp p pp pp mp p
p
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Percussion 5
Contrabass
Crotales
Vibraphone
Marimba
pp
mp
*arco
f
siempre l.v.
p mp p
pp mp p mp p n
Moon at the full q = 48 rit. q = 56
n
Pno. cue
mf
(
)
mf
Harp
Piano
Blocked
l.v.
pp mp p mp p pp
pp mp p mp p
Moon at the fullround
and round the pond I walk,
the whole night through.
l.v.
Revised ©2018 ColorWorks Press (ASCAP)
All Rights Reserved.
www.jonigreene.com
*Begin to bow just before the beat so that sound begins on downbeat. If crotales are not available, part may be played on glockenspiel. If possible, bowed part may be played on vibraphone one octave lower,
otherwise softly strike glockenspiel when arco is indicated.
dolce
mf

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
13
9 10 11 12 q = 120 14 15 16 17
round and round the pond I walk,
*
mf ff p
ff p mp
pp mp sub. f
mp ff p mf
1 only
ff p pp
mp ff p pp
1 only
1 only
p pp p sub. p mf
1 only
p pp p p sub. mf
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
mp ff p
1 only
mp ff p pp
p
mf sub.
pp p p mp
Bsn.
mp ff p
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
mp ff p
mp ff p pp
1 only
mp ff p pp
p pp p sub.
mp ff p pp p pp p sub.
mp ff p
mp ff p
p ff p
mp ff p
1 only
p
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
mp
mp ff p
mp ff p
mp
ff
p
p
ff
Tuba 1/2
Timp.
mp ff p
mp ff p
Perc. 2
Perc. 3
Perc. 4
Cb.
(vibes)
Hp.
Pno.
(mba.)
p
mf
ff
Large Sus. Cym.
p
mf ff p mf
mp ff p
Broken (not blocked)
ff
mf ff p mf
q = 120
mf ff p mp mf
sim.
*Each performer's part indicates to not breath between quarter notes.
13
mp
2

Picc.
18 19 20 21 22 24
23
ff
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
tutti
mf sub.
p mf f p f sub. p
tutti
f p f sub. p
mf mf sub. f p
mf sub.
mf sub. f f
mf f mf
tutti
tutti
tutti
f
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
tutti
p
mf p mf mp f p mf sub.
tutti
p
mf p mf mp f p mf sub.
p sub. mf p mf mp f
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 2
Perc. 3
(mba)
Perc. 4
Cb.
Hp.
Pno.
23
3

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
25 26 27 28 29 30 31
mf
mf sub. p mf sub. p mp sub. p mp sub. p pp
mf sub. p p pp
mf sub. p mf sub. p mp sub. p mp sub. p mp
mp
Bb Cl. 2
Bb Cl. 3
mp
p
Bb Bass Cl.
Bsn.
Eb Alto Sax 1
f mp mf p
p mf mp
Eb Alto Sax 2
p mf sub. p mp sub. p mp sub. p pp
Bb Ten. Sax.
mf sub. p mp sub. p mp sub. p pp
Eb Bari. Sax.
f mp mf p
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 2
Perc. 3
(mba)
Perc. 4
Cb.
Hp.
Pno.
f
4
mf

Picc.
37
32 33 34 35 36 38 39
Flute 1
Flute 2
Ob.
p
p
Bb Cl. 1
p
Bb Cl. 2
p
Bb Cl. 3
Bb Bass Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
mp
mp
mp
mp
p sub.
p sub.
mp
p
p
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 2
Perc. 3
(vibes)
(mba.)
f
f
Perc. 4
Cb.
37
Hp.
f
Pno.
mp
5
mf

Picc.
40 41 42 43 44 45 46
47
the whole night through.
Flute 1
Flute 2
Ob.
Bb Cl. 1
p pp p
Bb Cl. 2
p
pp
p
Bb Cl. 3
p
p
Bb Bass Cl.
p
pp
p sub.
Bsn.
p
p
mp
Eb Alto Sax 1
p
p
Eb Alto Sax 2
p
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
p pp p sub.
p p mp
p
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
p
p
p
p
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
p
Perc. 2
Perc. 3
Perc. 4
Cb.
(vibes)
(mba.)
p
p
47
Hp.
Pno.
p
p
6

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
48 49 50 51 52 53 54 55 56
mf f slight decresc. pp mf
pp
pp
mf
mf
mf
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
f slight decresc.
f slight decresc.
pp
f slight decresc. pp mf
mf
mf
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
mf
pp
f slight decresc. pp mf
f slight decresc. pp mf
f slight decresc. pp mf
mf
f slight decresc. pp mf
mf f slight decresc. mf
f
slight decresc.
pp
f slight decresc. pp mf
f slight decresc. pp mf
f slight decresc. pp mf
mf
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
f slight decresc. pp mf
pp
mf
p
mf
l.v.
Perc. 2
Perc. 3
Perc. 4
(vibes)
(vibes)
(mba.)
Lg. Sus. Cym.
pp
mf
p
mp
p
mp
Cb.
pp
Hp.
Pno.
7
p
mp
p
mp
always l.v.

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
57 58 59
60 61 62 64
solo
f mp mf
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
pp
rit.
63
q = 52
mp
pp
longer than previous
Euph. 1/2
Tuba 1/2
Timp.
pp
pp
Perc. 2
(vibes)
Perc. 3
Perc. 4
Cb.
(lg. sus. cym.)
rit.
63
scrape
l.v.
mf
q = 52
scrape
mp
l.v.
Hp.
Pno.
8

Flute 1
65 As from afar q = 48 ‐ 52
66
67 68 69 70 71 73
accel. rit.
Shining faintly...
1 only until mvt. 2
p mp mf p
72
a tempo
n p
Flute 2
Oboe
Bb Cl. 1
(Cl. enters during scrape)
1 only
p mp mp mf p
p mp p mp n mf pp n p
subtone
p
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
mp
n
mf p pp
Bsn.
mf p pp
Eb Alto Sax 1
1 only
pp
mf
p
Eb A. Sax 2
Bb T. Sax.
Voice
*f
ff
ahh
mmm
ahh
f
Bb Tpt. 1
Horn 1/3
Tbn. 1
1 only
mf
pp
Tbn. 2
Euph. 1/2
1 only
mf
pp
Tuba 1/2
Timp.
1 only
mf
p
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Vibraphone
Crots. cue
Crotales
arco
arco
mp
mp
arco always with pedal
arco
arco
mp
mp
arco
(top line, crots. cue)
mp
arco
mp
mp
Gong
Large Sus. Cym.
long scrape
***(on the button)
always l.v.
always l.v.
f
mp
Perc. 5
Cb.
Harp
65 As from afar q = 48 ‐ 52 accel. rit. 72 a tempo
Shining faintly in the haze,
the moon,
before break of day.
mf p pp
***(cued in piano)
gliss. mf
MMLOLMMM
mf mp mf mp
mp
* Separate vocal part provided for singers. Vocal music not cued in any instrumental parts. See instrumentation notes at front of score for more information.
** Composer prefers piano play harp cues, marimba cued in case piano is unavailable.
*** If gong F2 is not available, please substitute large suspended cymbal.
****Marimba has harp cues until Mvt. 2
9

Flute 1
74 75 76 77 78 79 80 81 82
rit.
mf p mf p mf sub.
Flute 2
1 only
b
bend
mf
f sub.
mp p mf
Ob.
Bb Cl. 1
Bb Cl. 2
ppp p pp p mf
ord.
p
solo
mp pp p
pp mp n
p
mp
mp
1 only
pp mp
n
mp
pp
Bb Cl. 3
1 only
mp
pp
Bb Bass Cl.
Bsn.
pp mp
p
mf
pp mp
p
mp
Eb A. Sax 1
p mp p mp
Eb A. Sax 2
Bb T. Sax.
Voice
Bb Tpt. 1
Horn 1/3
Tbn. 1
straight mute
p
mp
1 only
cup mute
mf
mf
Tbn. 2
Euph. 1/2
Cb. cue
p
mp
Tuba 1/2
Timp.
Perc. 1.
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
(crots.)
ord.
Hp.
(vibes)
mp
p
p
(lg. sus. cym.)
scrape
p f
Med. Sus. Cymbal
(emerge after scrape in perc. 4)
arco
(long pull)
mp
Hp. cues
mf
ppp mp ppp mp
l.v.
mp
mp sub.
mf
mf
Marimba
f
mf
l.v.
arco
(sim.)
arco
crots. cue
f
f
b
solo ‐ molto espr.
rit.
10

Flute 1
Flute 2
83
84 a tempo 1 only
in the haze,
accel. (q = 48‐52)
5
3
mp f mp
5 5
p f mp
85 86 87 88 89 90
p
(briefly)
Ob.
Bb Cl. 1
mp
tutti
f
p f mp pp mf
mp
1 only
solo
espr.
mf
p
Bb Cl. 2
tutti
f mp pp mf
Bb Cl. 3
Bb Bass Cl.
tutti
f
mp
f pp mf
pp
mf
Bsn.
Eb A. Sax 1
Eb A. Sax 2
Bb T. Sax.
f
5 5
p f p n pp mf mf p mp
1 only
5
5
p f n pp mf mf p mp
p n pp mf mf p mp
espr.
Voice
Bb Tpt. 1
tutti
1 only
f
p
f
Horn 1/3
Tbn. 1
f
tutti
1 only
p
1 only
straight mute
f
div. (1/part)
mf
p
p f mf p
Tbn. 2
1 only
straight mute
p f mf p
Euph. 1/2
mute
f
p f mp p
Tuba 1/2
Timp.
mute
mp
f
f
Perc. 1.
(crots.)
arco
ff
Perc. 2
Perc. 3
Perc. 4
(vibes)
p
(mba/gong)
mp
(lg. sus. cym.)
5
3
f
f
p
mf
Gong
(off the button)
p pp
Perc. 5
Cb.
accel.
84 a tempo
(q = 48‐52)
Hp.
p
f
gliss.
f
*If gong F3 is not available, please substitute medium suspended cymbal.
11

Flute 1
91
92 93 94 95 96 97 98
the moon, before... poco rit *a tempo day.
(brief)
break of...
air attack
mp
p
p n p pp p n
Flute 2
mp p p n
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bsn.
p
p
air attack
p pp p ppp p n
p ppp p n
pp
p
air attack
air attack
ppp p n
Eb A. Sax 1
Eb A. Sax 2
p
p
Bb T. Sax.
p pp p
Voice
f
f
ahh
ahh
n
Bb Tpt. 1
Horn 1/3
Tbn. 1
Tbn. 2
1 only div. (1/part)
p
p
p
n
n
Euph. 1/2
Tuba 1/2
Timp.
p p n
p
n
Perc. 1.
(crots.)
ord.
p
p
Perc. 2
(vibes)
mp
sim.
pp p
Perc. 3
Perc. 4
Perc. 5
(mba)
(Hp. cue) mp mp mf
mf
p
p
Gong
*(off the button)
Tam‐tam
Cb.
*a tempo
pizz.
mp
Hp.
mf
gliss.
f
mf
mp
mp
* Do not rush. Tempo may be relaxed and with slight rubato.
**If gong Ab3 is not available, please substitute small suspended cymbal.
12

Piccolo
II. Wide Blue Sky
2 3 4 5 6 7
The moon still remains shining q = 92
1
Flutes
2
Oboe
1
Bb Clarinets 2
3
Bb Bass Clarinet
Bb Contrabass
Clarinet
Bassoon
1
Eb Alto Saxophones
2
molto legato
tutti
pp
pp
tutti pp
molto legato
mp
tutti
molto legato
tutti
molto legato
pp
flz.
f
flz.
f
n
n
n
n
n
pp n
molto legato
Bb Tenor Saxophone
Eb Baritone Saxophone
1
Bb Trumpets
2
1
3
F Horn
2
4
1
Trombones
2
Bass Trombone
Euphonium
1
2
1
Tuba
2
Timpani
pp
tutti
molto legato
straight mute
div.
pp
mp
n
tutti
molto legato
straight mute
sim.
a2
molto legato
* straight mute
mp n pp
pp mp n pp
pp
sim.
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Percussion 5
Contrabass
Vibraphone
Crotales
arco
mf
p
mp
Marimba
p mf n
The moon still remains shining q = 92
n
Harp
Piano
MMMOMMMM
In the wide blue sky
the moon still remains shining
at break of day.
Bisbigliando (broken)
p
ff
* Repeating 16th notes should sound like pulsing moonbeams. Play with very light tongue. All players with 16th note figure have this indication.
always l.v.
p
13
n

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bb Cb. Cl.
13
8 9 10 11 12
*Jet Whistle
flz.
sim.
pp
ff
sim.
pp
mp
ord.
ff
pp
mp
ord.
f pp pp mp
pp
sim.
pp
mp
pp
mp
solo
mp pp
mp f
mp pp mp
mp
sim.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
sim.
pp
mp
tutti
molto legato
pp mp pp
mp
sim.
molto legato
pp
mp
molto legato
mp
pp
mp
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
div.
pp
pp
pp
p mp pp
pp mp pp mp
sim.
unis.
molto legato
straight mute
unis.
molto legato
straight mute
mp pp mp pp mp
pp
mp
mp
Euph. 1/2
Tuba 1/2
Timp.
mp pp mp pp mp
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
Hp.
Pno.
(crots.)
arco
ord.
(vibes)
mp
(mba.)
mf
mf
mf
p
mf
Glockenspiel
mp
mf
mp
mf
*Jet Whistle: A breathy sound producing a sudden shriek when player places mouth over the embouchure hole and blows airstream into flute. Player should experiment with fingering, breath pressure, and vowel shape
of the mouth to obtain the most volume possible.
14
p
13

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bb Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
14 15 16 17 18
pp
5
mp mf p
5
mp mf p p mf
mf
mp mp mf
p
mp f ff
pp mp pp mp
pp mp pp
mp
pp mp pp
pp mp mp
pp
sim.
pp
3
mp
mp
sim.
mp
mf
pp
(Play)
molto legato
Hp. cue
mf
mf
sim.
molto legato
straight mute
mp
mp
sim.
mp
molto legato
straight mute
mp
div.
mp
end solo
mp
mp
Horn 2/4
Tbn. 1
Tbn. 2
div.
pp mp pp
pp mp pp mp
pp
mp
B. Tbn.
mp pp pp mp
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
(crots.)
arco
Hp.
Pno.
(vibes)
(mba.)
mp pp pp mp
ff
mp
mf
mf
mf ff p mf mp
p
p
f
f
mf
arco
p
Glockenspiel
Lg. Sus. Cymbal
l.v.
mf ff p mf
15
mp
mf
mp

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bb Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
21
19 20 22 23 24
Hp.
Pno.
mp
mf
mp mf p mp
mp
mf
mp mf mp
sim.
(mba.)
mf
p
mp mf mf
straight mute
mp
p
mf
mf
mf p mp
mf p mp
mf
tutti
mf
p
mp
p
mp
mf
mf p mp
unis.
mf pp p mp
mf pp p mp
mf pp sub. p mp
mp
p
unis.
p
mp
mp
pp p mp f
mf pp sub. p mp
mf pp sub. p mp
sim.
mp
Cb. cue
p
mp
mp
mf
Bass Drum
p
Splash Cymbal
mp mf
21
mp
mp
mp
Cb. cue
f
ff
mf
16

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
25
26 mp 27 28
mp 29 30
sim.
f
mf mp mp p p
sim.
f
(top line Hp/Pno cue)
mf
mf mp mf
mp p p
(top line Hp/Pno cue)
mf
f
sim.
mf
mp
mp
p
f mf mp p
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
mf
mf
Bb Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
mf
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
mp
mp
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
(vibes)
f
Crotales
arco
arco
arco
arco
arco
f
f
f
f
(mba.)
f
f
f
Perc. 5
Cb.
Hp.
Pno.
ff
ff
17

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
31 32 33 35 36 37 38 39
In the wide blue sky
pp pp mf 3
mp
pp
pp pp mf pp
34 q = 72
pp pp mf pp
pp pp mf pp
pp pp mf pp
pp pp mf pp
1 only
1 only
pp mf pp
1 only
(Pno. cue; 1 only)
1 only
1 only
Bb Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
pp mf n
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
open
pp
mf
n
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
open
open
pp
mf
n
p pp mf n
open
open
pp mf n
pp
mf
n
Euph. 1/2
Tuba 1/2
Timp.
open
p pp
mf n
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
(crts.)
(vibes)
(mba.)
pp
mp
p mf f mp
pp p mp
34 q = 72
mf
arco
f
f
Glockenspiel
mp
(mba.)
Hp.
Pno.
mp f p
p f p mf
(broken)
3
mp
f
f sub.
3
mf
(broken)
mp
18

Picc.
Rubato
47
40 41 42 43 44 45 46
accel.
Flute 1
1 only
mf
p
Flute 2
Ob.
Bb Cl. 1
1 only
mf
p
1 only
mf p mf p
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bb Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
1 only
mp
1 only
mf
p
1 only
mf
mp mf p mf p
mf
p
p
1 only
p
mp
1 only
mp p
mf p
1 only
mp
p
(1 only)
p
(1 only)
mf
p mf p p
p
p mp
open
1 only
a2 p mp
p
p
mp
p
mp
mp
1 only
a2
Perc. 1
Perc. 2
p
f
(keep pedal depressed during rest)
Perc. 3
Perc. 4
f
Perc. 5
Cb.
47
accel.
Hp.
Pno.
6
f sub.
p
f
19
f
6

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bb Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
49
48 50 51 52 53 54
p
p
mp
mp
mf
mf
q = 92
mf pp p sub.
mp 3
tutti
tutti
1 only
mp
mp
mp mf pp p sub.
tutti
tutti
mp mf mp 3 3
1 only
mp
tutti
tutti
p
3
mp mf mp 3
mp
tutti
3 3
tutti
mp mf
p
mf
tutti
mp
tutti
mp
tutti
3 3
mp
mp
mp
mp
p
mp
mp
mp
p
3
mp
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
tutti
p
p
p
mp
mp
mp
Euph. 1/2
Tuba 1/2
Timp.
p
p
mp
mp
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
Hp.
Pno.
(vibes)
(mba.)
(glk.)
f
f
mp
mp
q = 92
p
mf
ff
ff
6 6
f f
ff mp mf
6 6
f f
ff mp
p
6
mp
mp
6
Hp./Pno. cue
(blocked)
mp
p
mf
mp
mf
20

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bb Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
57
55
56 58 59 60 61
Hp.
Pno.
p mp f
p p
p
f
pp sub. mp mf
p p f
p f p mp mf
mp p mf p
mp
mp
pp
p
(crots.)
(vibes)
p
(mba.)
p
3
mp mf
f
(glk.)
p mp mf
p f p
p
mf
mf
p
pp sub.
pp
p
mp
p mp p sub.
p p mp p
pp
p
p mp p
p
mf
p mp p
p mf sub. p
p
p
f
mf
mf
p f
pp
mf
p mp p
a2
open
mp
p
p
mf
div
mf
p
p
Euph.
p
p
p
p f mp
57
pp
p
mp
mf
21

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bb Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
62
3
3
mf
3
p
mf
p
3 3
mf
3
3
3
mf
p
3
mf
p
mf p
Hp.
Pno.
63
rit.
3
p mf mp p mp mf
(crots.)
mf
mf
mf
3 3 3
mp p p mf
mp
mf 3
p p
mf
3
p mf p
p
p mf 3
p mf
p mf 3
p
mf
3
p
3 3
p mf mf
p
3
mf
unis.
mf
mf
3 3 3
p p mf
(lg. sus. cym.)
l.v.
mp f
(glk.)
mp
rit.
a tempo
3
*
( )
( ) ( )
mf
p
3
mf
p
p
p
p
p
p
mp
mf p sub. 3
mp
3
mf
p
l.v.
(vibes)
(mba.)
3
3
p
*C in parenthesis may be played if C attachment is unavailable.
64
mf
mf
3
f
65 66 67 68
a tempo
3
3
3
3
3
mf
3
3
mf
p
3
mf
3
3
3
p
p
3 3
3 3
3
3
3
p
mf
p
p
3
mf
3
3
3
3
3
arco
3 3
3
3
mf
mf
p 3 3
3
arco
22

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bb Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
71
69 70 72 73 74 75 76
p
p
p
Euph.
l.v.
mf
mf f mp mf
1 only
mf
f
f
p mf f mp p
mp
mp
pp mp
71
mf
1 only
mf
f mp p
p mf f mp mp p
mf
f
mf f mp mp p
p mf f mp mp p
p
mf f mp
mf f mp mp p
mp mf f mp
mp mf f mp mp
mp mp p
p mf f mp mp
p mf f mp
p mf f mp
mf
mf f
unis.
mf
f
f mp mp p
mp f p mp
ff
fff f fff sub.
(mba.)
(lg. sus. cym)
3
3
mp
fff f fff sub. mf p
f
mf
f mp mp mf p
3
mf f mp p
3
3
3
p mf f mp mp p
3
mf
mp
tutti
p
tutti
p
p
p
mf
mf
1 only
1 only
p mf f mp mp
p
div.
p
mf
arco
mp
arco
Med. Sus. Cymbal
p
*
Vibraphone
p
Hp.
Pno.
*May share instrument with percussion 2.
fff mf fff sub. f sub. mf
ff f mf p pp
23

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bb Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
78 q = 104
77 79 80 81 82 83 84
pp
pp
pp
pp
pp 3
lightly
pp 3
lightly
pp
p mp mf ff
mp
tutti
straight mute
pp p mp mf
straight mute
pp p mp mf
mp
mf
mf
mf
mf
mf
tutti
straight mute
mf
mf
ff
ff
mp
mf
ff
lightly
3
ff
ff
ff
ff
ff
lightly
p mp mf
pp 3
ff
lightly
3
mp
mf
ff
mp
mf
straight mute
ff
ff
ff
ff
ff
ff
ff
ff
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
(vibes)
(Do not rush)
arco arco l.v.
p
f p f
sub.
(crts. cue) arco arco
l.v.
mp
p
Xylophone
f
ff
Perc. 4
Perc. 5
Cb.
78
Glockenspiel
f
q = 104
(l.v.)
Hp.
mp
p
fff
Pno.
ff
24

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bb Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
85 86 87 88 89 90
pp
3 pp sub.
pp sub. mf pp mf pp
ff
pp sub.
pp
pp
ff
pp
ff
pp
ff
pp
ff
pp
ff
91
ff
3
3
ff
ff
3
pp sub. mf pp ff
ff
ff
3
3
3
pp
ff
3
pp
ff 3
ff
ff
pp
ff
pp
mf pp
ff
pp mf pp
ff
n
n
n
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
Hp.
Pno.
(vibes)
(xyl.)
(glk.)
pp
ff
f
f
fff
ff
3
3
3
91
25

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
92 93 94 95 96 97
pp
pp
pp f pp
f pp f pp
pp f pp
pp
f
pp
Bb Cb. Cl.
Bsn.
pp
Eb Alto Sax 1
pp f pp
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
pp f pp
pp
pp
Bb Tpt. 1
Bb Tpt. 2
pp
pp
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
pp f pp
pp
pp f pp
pp f pp
B. Tbn.
Euph. 1/2
pp f pp
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
(vibes)
pp
f
Perc. 4
Perc. 5
Cb.
Hp.
Pno.
26

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Bb Cb. Cl.
98 99 100 101 102 103
f
f
f
f
f
f
f
pp
pp
f
pp
pp
pp
pp
pp
pp
take your time
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
f
pp
f
pp
f
pp
f
p
f
p
f
p
f
pp
f
mp
f
mp
f
pp
f
pp
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
f
(vibes)
mp
mp (Hp. cue )
Hp. cue
(xyl.)
mf
p
Perc. 5
(glk.)
mf
Cb.
Hp.
ff
p
p
p
gently
solo
unrushed
Pno.
ff
(Hp. cue)
p
unrushed
P
(Hp. cue)
27

Picc.
Flute 1
104 q = 60
at break of day.
105 106 107 108 109 110 111
1 only
mf p p
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
1 only
solo
mp
pp
n
mp
mf
n
1 only
p
mp
Bb Bass Cl.
Bb Cb. Cl.
mp
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
solo
p pp p p
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Cb cue
mp p mp p
Perc. 1
Perc. 2
Perc. 3
Perc. 4
(vibes)
mp p mp mp p
Marimba
mp p mp p
Perc. 5
Cb.
104 q = 60
Hp.
mp p mp p
mf
p mf sub. mf p
Pno.
mp
28
pp

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
118 119 120
112 113 114 115 116 117
rit. q = 52 molto rit.
mp
mp p n
mp p mp mp pp p pp p pp n
p
p
Bb Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
mp
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
(vibes)
mp
p
(long)
arco.
mp
p
mp
pp
pp
pp
Crotales
mp p
mp
p
mp
mp
(mba.)
(long)
arco
Perc. 4
Perc. 5
mp p mp p mp
Cb.
Hp.
Pno.
rit. q = 52 molto rit.
mp p mp p mp pp
mf
p
p
mp
29
mf
p
p
mp
separate, take time
p
Hp. cue
p

Piccolo
Flutes
1
2
Oboe
1
Bb Clarinets 2
3
Bb Bass Clarinet
Bb Clarinet Contrabass
Bassoon
Eb Alto Saxophones
1
2
Bb Tenor Saxophone
Eb Baritone Saxophone
Bb Trumpets
1
2
1
3
F Horns
2
4
1
Trombones
2
Bass Trombone
Euphonium
1
Tuba
2
Timpani
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Percussion 5
Contrabass
2 3 4 5 6 7
A Storm Approaches q = 60
pat
1
2
Harp
Piano
cont. at p until m. 13
pick‐up ocean drum before mvt. starts
n p *** Ocean Drum
n
snap
pat
cont. at p until m.13
n
n
snap
snap
n
snap
n
n
snap
n
snap
p
p
n
snap
n
p
Ab C#
snap F F
Place sus. cym. on drum I
cont. at p until m. 14
p
n
p
n
snap
n
flick bell
n
snap
n
p
p
n
p
n
p
n
p
p
p
p
p
n
p
p
Large Sus. Cymbal
f
l.v.
l.v.
n
p
pp
p
A Storm Approaches q = 60
snap
8
cont. at p until m. 12
A lightning flashand
into the gloom it goes;
a heronʹs cry.
n
p
III. Autumn Rain
Vibraphone
*snap
snap
snap
snap
flick bell
mf
snap
n
n
snap
n
p
p
n
p
p
p
p
flz.
mf
flz.
pp l.v. p
(m. tree)
(Play)
mf p mf
* x note‐head indicates to snap fingers as fast as possible, pat legs or lightly stomp feet. Wavy line shows continuation of effect. Tenor and bari sax flick bells with fingers. Snap above music stand.
** Grace notes occur before the beat.
*** Ocean drum should be filled with bbs. Slowly and steadily roll drum continuously without a break in sound .
snap
cont. at p until m. 13
pat
pat
8
cont. at p until m. 13
mf
cont. at p until m. 13
cont. at p until m. 13
cont. at p until m. 13
cont. at p until m. 14
cont. at p until m. 13
cont. at p until m. 13
cont. at p until m. 10
cont. at p until m. 10
cont. at p until m. 13
cont. at p until m. 13
cont. at p until m. 13
cont. at p until m. 13
cont. at p until m. 17
cont. at p until m. 11
cont. at p until m. 14
cont. at p until m. 9
Hp. cue; play on mba
p
mp
Mark Tree
Crotales
pat
p
mp
(q)
31
**
(q)
l.v.
p
p
Tam‐tam
scrape l.v.

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
13 q = 132
9 10 11 12 14 15
cont. until m. 30
flz.
mp p mp pp
flz.
flz.
(flz.)
mp
p p pp
Prepare to play
ord.
Prepare to play
flz.
ord.
p
p p n
n
1 only
straight mute
flz.
pp
pp
(h)
(h)
mf
mf
mf
mf
mf
mf
mf
mf
mf
mf
p
flz.
p
cont. until m. 30
cont. until m. 30
cont. until m. 30
cont. until m. 30
p
cont. at p until m. 13
cont. until m. 30
cont. until m. 30
stomp
n
cont. until m. 30
cont. until m. 30
cont. until m. 30
p
cont. at p until m. 30
(cont.)
stomp
cont. at p until m. 30
ord.
1 only
straight mute
flz.
flz.
n
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
stomp
mf
mf
cont. until m. 21
cont. until m. 21
cont. at p until m. 25
n
p
cont. until m. 20
mf
cont. until m. 17
Euph. 1/2
Tuba 1/2
Timp.
stomp
n
p
mf
cont. at p until m. 20
Prepare to play
Prepare to play
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
Hp.
Pno.
(crots.)
Prepare to play
(Mba Pno. cue;
m. tree)
mf
Vibraphone
arco
mp mf f
mf
f
cont. until m. 24
(l.v.)
(lg. sus. cym.)
mf
snap
f
pp
mp
(m. tree)
mp
p
l.v.
mp
mf
cont. until m. 28
Prepare to play
snap
arco
mf
13 q = 132
(q)
arco
mf
f sub.
mp
(q)
32
(q)
mp
(q)

Picc.
Flute 1
Flute 2
17
16 18 19 20 21 22 23
flz.
pp
n
pp
p
flz.
flz.
ord. flz.
pp n pp
p
n
flz.
ord. flz.
n
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
sim. (flz)
Bb Tpt. 2
pp
(h)
sim. (flz)
pp
(h)
(h)
(h)
Horn 1/3
Prepare to play
Horn 2/4
Prepare to play
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Prepare to play
Prepare to play
pp
Prepare to play
pp
pp
pp
Tuba 1/2
div.
pp
pp
Timp.
Perc. 1
sus. cymbal
f
gliss.
remove cymbal
mp
pp
pp
Bass Drum
p pp mp
Perc. 2
Perc. 3
(Mba Pno. cue)
mp
f
f
Perc. 4
Perc. 5
Cb.
Hp.
Pno.
(lg. sus. cym.)
n
p
17
col legno
col legno (q)
arco
(q)
arco
pp
mf
ff
pp ff pp
snap
cont. until m. 30
gliss.
mf
(q)
mp
mf
3
33

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
27
24 25 26 28 29 30 31 32
Stop patting (REST)
n
flz.
flz.
mp
(h)
mp pp pp mp
ord.
pp
n
n
n
n
n
n
n
n
n
n
n
Stop patting (REST)
Stop snapping (REST)
Stop patting (REST)
Stop snapping (REST)
Stop drum (REST)
Stop patting (REST)
Stop stomping (REST)
Stop snapping (REST)
Stop stomping (REST)
Stop bell flicks (REST)
Stop bell flicks (REST)
ord.
pp
(h)
mp
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
tutti
pp pp mp
(h)
(h)
(h)
(h)
tutti
pp pp mp
Hrn. 1
( )
mf brassy
div. Hrn. 4
p p
p
pp p
p
pp
p
( )
mf brassy
mp
p
Prepare to play
pp p p
p pp mp p
p
Euph. 1/2
Tuba 1/2
p pp p
mp
unis.
pp
mp
p
Timp.
Perc. 1
Perc. 2
pp mp p
(b. drum)
p mp pp mp
Thundersheet
Prepare to play
p mp pp mf
l.v.
Perc. 3
Snare Drum
3 3
mp
mp
Perc. 4
Perc. 5
Cb.
Hp.
Prepare to play
ff
pp
Toms
p
Tam‐tam
arco
mp
arco
27
col legno
arco
(q)
col legno (q)
mp
l.v.
ff
arco
mp
n
arco
mp
gliss.
Stop snapping (REST)
Pno.
34

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
38
33 34 35 36 37
39
ff
cresc. quickly
ord.
sim.
(h)
(h)
(h)
pp
mp
ff
pp
mp
ff
pp mp ff
cresc. quickly
ord.
sim.
(h)
mp
pp
(h)
mp
ff
mp
pp
(h)
mp
ff pp mp
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
Hp.
Pno.
mp
mp
mp
(h)
mf p mf pp mp
mf
mp
(b. drum)
Glockenspiel
pp
mp
unis.
p mp mf
(th. sheet)
p mp p mf f
p mp p mp p mf mp mf
p mp p f p mf
(toms)
div.
p mp
mf
gliss.
p mp p mp p mp mp mp mf 3
p mf
mp
(h)
f
mf
p mp p mf mp
mf
mf
l.v.
(R.S.)
(snare)
mf
mf
mf
f
38
col legno (q)
arco
3
fff
mf
mp f f
mf
3
35
3
3
3
f
mf
ord.
f
gliss.
f
ord.
mf
mf

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
40 41 42 43 44 45
ff
f
ff f
f ff f
f
f
f
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
f
mf
f
f
mf
3
3
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
Hp.
Pno.
(tam + b. dr.)
(th. sheet)
p
unis.
mf
p
mf
mf
mp f sfz
mp f sfz
mp f mp f
p mf p mf
mp f mp f
p p sub. mf
3
mf
mf mp sub. f mp f
3
p mf
p sub. mf mf mp sub. f
Tam‐tam
arco
p
mf
mf
mf
f
f
p
mf
p
mf
mf
3
mf mp sub. f
mf
(b.dr)
mf
mf
sfz
f
f
mp
(snare)
f f mf f
(toms + brake)
(brake)
mf
mp
f
(glk.)
f
36

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
46 47 48
49 50 51
ff
f
(h)
(h)
ff p mf f p mf f
(h)
(h)
mp mf p mf p
f
mf f
mp mf mf
mp mf p mf sfz
p mf sfz
mp
mf
p mf sfz
mp
mf
p
mp
mf
mf
p mp f
mf
p
p mf sfz
p mf sfz
p
mf
p
mf
mp
mp
mf mp f
mf
sfz p mf
sfz
mf
mp
p mf p mf
p mf f
gliss.
mf
mf
sfz mf
mf
mf
f
f
mf
mf
3
3
3
3
3
3
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
(b. drum)
(snare)
mp p f mp
p mf
(glk.)
mf
f
(toms)
3
Cb.
Hp.
Pno.
f
f
mf
37

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
52 53
54 55 56
sfz f sfz sfz
f
sfz f sfz sfz
sfz sfz sfz
f mp f
mp
f
f
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
f f mp sub. f
f f mp sub. f
sfz
sfz
sfz
sfz
(E)
p
lip gliss.
mf
mp f sfz sfz sfz sfz
mp f sfz sfz sfz sfz
f mp f
mp f mp f
mp f p mp mp f
mp
f
p
mp
mp
f
(b. drum)
(th. sheet)
(snare)
(toms + brake)
mf
mf
p
pp
mp
mp
(glk.)
mf
mf
mp
mp
f
mp
mp
f
f
mp
mp
f
f
gliss.
gliss.
53
gliss.
5
gliss.
f
f
f
Hp.
Pno.
sfz mp ff
sfz
mp ff sfz
38

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
57 58
59
60
f
f
f mp f
sub.
f
mp
f
mp
f
(h)
(h)
mp f
p f p f sfz
(h)
(h)
mp f (h)
p
mf p sub. f
p f sfz
mf
3
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
mf
3
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
sfz
sfz
Bb Tpt. 2
Horn 1/3
sfz
sfz
sfz
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
Hp.
Pno.
(b. drum)
(th. sheet)
(snare)
(toms + brake)
mf
mf
mf
mf
mf
mf
f mp f
f mf ff f
(glk.)
mf
3 3
3 3
mf
mp
f
sfz
sfz
f
l.v.
sfz
sfz
mf
mf
3
3
3
mf
3
3
col legno
arco
(q)
3
mf
ff
(C)
mf
ff
ff
(C)
mf
ff
ff
39
3

Picc.
Flute 1
Flute 2
Ob.
61 62 63 64
(h)
(h)
(h)
p
(h)
p f p f sfz p f
mf p sub.
(h)
f
(h)
p f sfz p
(h)
f
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
(h) (h) (h)
p f p f p f
p
lip gliss.
(E)
mp
f
f p sub.
sfz
f sfz sfz sfz
f sfz sfz sfz
sfz
p
sfz p f
unis.
(h)
lip gliss.
mf 3 3
3
ff mf
(b. drum)
f ff mf
f mf ff
Percussion
(toms + brake)
mf
arco
3 3
ff
(h)
(h)
f
div.
p
sfz
ff
ff
(h)
sfz
sfz
(h)
f
(h)
lip gliss.
(E)
sfz
sfz
mp
f
p
p
gliss.
gliss.
sfz
mf f sfz
sfz
mf
f
f sfz sfz sfz
f
mf
f
sfz sfz sfz
mf
f
mf brassy
lip gliss.
mf brassy
mf brassy
mp
f
f
mf brassy
sub.
mf brassy
sub.
3
(th.
l.v.
sheet)
mp
ff
(snare)
3
Tam‐tam
3
3
3
(arco)
(q)
f
ff
gliss.
mf brassy
gliss.
(q)
(h)
mf
f
arco
mf
3
3
3
(h)
(h)
ff
ff
gliss.
gliss.
f
ff
ff
ff
Hp.
Pno.
40

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
65 66
67
68
(h)
p
f
Hp.
Pno.
lip gliss.
lip gliss.
mf brassy
sub.
mf brassy
sub.
(b. drum)
(h)
p (h)
f p f
(h)
(h)
p f
p f
3
3
f
(tam + sus. cym)
sfz
sfz
sfz ff ff
sfz sfz ff ff
sfz ff ff
sfz sfz ff ff
ff
p sub.
p sub.
sfz
sfz
sfz
sfz p ff p ff
p ff p ff
sfz p ff p ff
ff sfz p ff p ff
sfz sfz sfz f
mf
ff
ff
sfz sfz f
sfz sfz sfz f
sfz
sfz
f
sfz sfz f
sfz
sfz
f
mf brassy
mf brassy
gliss.
gliss.
(h)
(h)
ff
p
(h)
f
3
3
ff
(sus) ord.
l.v.
ff fff f
(h)
(h)
f
f
ff
ff
sfz
f
sfz
sfz
sfz
sfz sfz sfz
f
3
3
(snare)
f
(toms + brake)
3
3
3
col legno
(q)
3
p sub.
67
arco
41
f

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
69 70 71
72
f
f
sfz
(h)
(h)
p f p f sfz
(h)
p f
(h) (h)
p f p f
sfz
(h)
p f
sfz
sfz
sfz
sfz sfz sfz
f
lip gliss.
(b. drum)
mp
(snare)
p
p
mf
mf
ff
lip gliss.
3
3
mf f ff
(tam‐tam+cym.)
ff
f mf f
arco
mf
f
ff
ff
ff
ff
sfz
sfz
sfz
sfz
sfz
fp
f
fp f
sfz
mf brassy
gliss.
(h)
(h)
(h)
ff
f
f
mf brassy
gliss. gliss.
(h)
p
p
ff
(h)
(h)
f
f
sfz
sfz
p
p
sfz sfz p f sfz sfz
sfz sfz sfz sfz
mf
ff
(h)
(h)
(h)
f
f
sfz
f
sfz
lip gliss. (h)
lip gliss. (h)
sfz sfz sfz sfz sfz
mf brassy
ff
mf brassy
ff
gliss.
gliss.gliss.
mf f mf sub. f sfz sfz sfz sfz
sfz sfz sfz
mf f mf sub. f
sfz sfz sfz
sfz
sfz
sfz sfz sfz sfz sfz
sfz sfz sfz
fp
f
3
3
3
3 3 3
(th. sheet)
l.v.
3
mp
f
(toms + brake)
col legno (q)
3
col legno
(q)
3
3
Hp.
Pno.
42

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
73 74 75 76 77 78
sfz sfz
sfz
sfz
f
sfz
sfz
f
f
sfz sfz f f
sfz
sfz
sfz sfz f
sfz
sfz
f
sfz
sfz
sfz
sfz
sfz
sfz
sfz
sfz
sfz
sfz
sfz
sfz
sfz
sfz
f
Lightning flash‐
f
f
f
f
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
sfz
sfz
f
f
mp f sfz sfz sfz sfz sfz sfz
f
f
f
f
mp f mp f
Bb Tpt. 2
Horn 1/3
sfz
sfz
sfz
mp
f
sfz
sfz sfz
mp f sfz mp f
sfz
sfz
sfz
sfz
mp
f mp f
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
mp
sfz f sfz sfz mp f
sfz sfz mp f
sfz sfz mp f
sfz
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
secco
Xylphone
sfz sfz
p mf
mf
f
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
(snare)
(toms + brake)
mf mp mf
p ff mf f mp sub. f
sub.
Splash Cym.
f
mf
Hp.
Pno.
43

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
81 Calm q = 56
short!
82 83 84
79 80
Take your time
The clouds have left;
sfz sfz sfz fff
1 only
sfz sfz sfz fff
mp
ppp
sfz sfz
sfz fff
1 only
sfz sfz fff mf
sfz sfz fff pp
sfz sfz fff pp
sfz sfz fff
mp ppp pp mp
mp ppp pp mp
1 only
pp
mp ppp pp mp
1 only
sfz sfz fff pp
sfz sfz fff
mp
1 only
sfz sfz fff
pp
mp
sfz sfz fff
sfz sfz fff
1 only
pp
1 only
1 only
sfz sfz fff
pp
mp
mp
mp
1 only
1 only
gliss.
mp ppp pp mp
1 only
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
gliss.
sfz sfz fff
gliss.
sfz sfz fff pp
gliss.
1 only
1 only
mp
ppp
sfz sfz fff pp
mp
ppp
mp
ppp
1 only
mp
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
Hp.
Pno.
(xyl.)
mf
(th. sheet)
(snare)
(toms + brake)
mf
1 only
ff
f
ff
ff
pp
pp
mp ppp pp mp
mp
ppp
f fff f
1 only
f fff pp mp
The clouds have left;
and the wind has settled downfor
the autumn rain.
Vibraphone
81
Calm q = 56
44
mp
f

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
85 86 87 = 100 88 89 90 91 92 93 94
and the wind has settled down‐
for the autumn rain.
snap
(cont.)
ppp mf ppp
ppp mp sub.
ppp
ppp
p
ppp mp sub. p ppp
mp
p
ppp
pp
(tutti)
snap
pp
(tutti)
flick bell
pp
tutti
snap
p ppp pp p
snap
pp
pp
p
p
p
pp
tutti
snap
pp
tutti
snap
pp
pat
pp
p
p
p
p
p
p
p
(cont.)
(cont.)
pp
ppp mf ppp
tutti
pat
ppp
tutti
snap
(cont.)
(cont.)
(cont.)
(cont.)
ppp
1 only
tutti
snap
(cont.)
(cont.)
(cont.)
(cont.)
Horn 1/3
Horn 2/4
Tbn. 1
ppp mp sub. p ppp pp p
pppmp sub. p ppp
tutti
snap
(cont.)
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
Hp.
Pno.
ppp mp sub. p ppp
pp
pp n Crotales
pp p
*
Player 1 (always dampen)
**arco
sim.
p mf sim.
pp
snap
pp
pp
snap
* If crotales are unavailable, play 8va (with bow) on vibes. Always use pedal with arco. May share vibraphone with multiple players if necessary ‐ one player will need to coordinate pedal for all arco notes.
** Begin bow slightly before the beat in order to produce sound in time. Players may share one instrument if a second is unavailable. If two vibes are used, Perc.2 (player 1) should also use pedal.
***Match length of crotale bowing. If necessary vibes may strike as an alternate option; however, composer prefers arco.
tutti
snap
pp
p
p
(cont.)
p
(cont.)
87 = 100
snap
(cont.)
p
mf
sim.
*** Vibraphone
(player 1) ** arco
sim.
*** Vibraphone mf
sim.
(player 2) arco ** sim.
* Crotales
Player 2 (always dampen)
mf
sim.
**arco
sim.
Glockenspiel
snap
(cont.)
(cont.)
pp
p
snap
(cont.)
mf pp p
45

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
95 96 97 98 99
100 101 102 103
n
n
n
n
q = 52
Evening shower‐
tutti
solo
mp
mf
p
1 only
p
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
Bsn.
n
n pp mp pp mp pp
n pp mp pp mp pp
Eb Alto Sax 1
1 only
mp solo
n
Eb Alto Sax 2
n
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
n
n
n
Horn 1/3
Horn 2/4
n
pp mp pp mp pp
Tbn. 1
Tbn. 2
n
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
Cb.
Hp.
Pno.
n
pp mp pp mp pp
n
(crots. 1)
decresc.
(vibes, 1)
(vibes, 2)
(crots. 2)
n
n
n
decresc.
decresc.
decresc.
ord.
mp
sim.
arco
sim.
p
sim.
(glk.)
decresc.
99 q = 52
Evening showerand
gazing out into it,
a woman alone.
46

Picc.
104 105 106 107 108 109 110 111 112
and gazing out into it,
molto rit.
a woman alone.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
mf
p mp p n
solo
mf
p
f
p mf p p n
mp p mp p n
mp p p n
mp
n
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
bring to the front
p mp mf
p
n
mp mp p n
p
n
mp p sub. mf p
n
1 only
mf
mp
Horn 1/3
Horn 2/4
Tbn. 1
mp
mp p sub. p n
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
mp p n
Perc. 1
Perc. 2
Perc. 3
Perc. 4
(vibes, 1)
mp
(vibes, 2)
arco arco
Perc. 5
Cb.
molto rit.
Hp.
Pno.
47

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
113 Floating q = 52
119 120
121
(Rubato ‐ without rushing)
114 115 116 117 118
poco rit.
q = 60
solo
stretch
end solo
3 3
p n p mf p mp n mf n
tutti
p
p
p
n
p
1 only
p solo
n
n
p
mf
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
p
n
mp
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
p
n p mp
mp
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
p
mp
p
mp
Perc. 1
Perc. 2
Perc. 3
Perc. 4
(crots.)
(vibes) arco
mp
ord.
mp
ord.
mp
pp
Marimba
pp
mp mf mp n
Perc. 5
Cb.
Hp.
Pno.
113 Floating q = 52
(Rubato ‐ without rushing)
poco rit. 120 q = 60
Hp. cue
solo
mf
mf
l.v.
3
3
mp
p
n
mp
48

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
122 123 124 125 126 127 128 129 130 131
a heronʹs cry.
§
mf
§
mf
mf
mf
mf
mf
pp pp n
1 only
pp
mf pp p
p
pp
pp
pp
1 only
mf mf pp p
mf mf pp
1 only
mf pp p
n
mf pp pp
tutti
mf
mf
mf mf pp p
1 only
mf
mf
mf
mf pp p
div.
mf
mf
mf
mf
pp
pp
p
pp
pp
pp
n
(1 only)
1 only
p
p
1 only
1 only
p
1 only
mp
pp
pp
pp
pp
pp
pp
pp
(1 only)
mf
pp
solo
1 only
dolce
mf
pp
pp
pp
n
n
n
n
n
n
Perc. 1
Perc. 2
Perc. 3
(crots.)
(vibes)
mp
f
mp
Perc. 4
Perc. 5
(lg. sus. cym)
l.v.
l.v.
p
mf
n
p
Cb.
mf
pp
Hp.
Pno.
mp
mf
49
p

Picc.
Flute 1
Flute 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bass Cl.
Cb. Cl.
Bsn.
Eb Alto Sax 1
Eb Alto Sax 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt. 2
Horn 1/3
Horn 2/4
Tbn. 1
Tbn. 2
B. Tbn.
Euph. 1/2
Tuba 1/2
Timp.
132
133
134 135 136 137
approximately 30 seconds
snap
n p n
snap
n p n
snap
n p
tutti
n
snap
n p
tutti
n
snap
n p n
tutti
snap
n p
tutti
n
snap
n p
tutti
n
snap
n p n
snap
n p n
tutti
snap
n p n
tutti
snap
n p n
snap
n p n
snap
n p n
snap
n p n
snap
n p n
snap
n p n
tutti
snap
n p n
tutti
snap
n p n
snap
n p n
snap
n p n
snap
n p n
tutti
snap
n p n
unis.
snap
fade‐out slowly by row
n p n
snap
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Perc. 5
n p n
(crots.)
arco
l.v.
(vibes)
p
p
snap
n p n
snap
snap
n p n
n p n
n
Cb.
Hp.
Pno.
133
snap
n p n
snap
n p n
snap
n p n
50