Jenkins_Fountains [concert band]

Fountains
For Concert Band
Derek M. Jenkins
Copyright © 2014, 2017 Derek M. Jenkins (ASCAP).

“City of Fountains. Heart of the Nation.
Kansas City, Missouri.”
– The Official Seal of Kansas City, MO

Fountains
For Concert Band
Duration
about 3’o0”
Instrumentation
Below is a list of the complete number of parts in the score
It is assumed that there will be doublings, and they are permitted wherever needed
Extensive cues are provided it order to cover any missing instruments or provide reinforcement
1 Flute
1 Oboe
1 Bassoon
2 Clarinets (Bb)
1 Bass Clarinet (Bb)
1 Alto Saxophone (Eb)
1 Tenor Saxophone (Bb)
1 Baritone Saxophone (Eb)
2 Trumpets (Bb)
1 Horn (F)
1 Trombone
1 Euphonium
1 Tuba
4 Percussion*
Percussion I:
– Mallets
Percussion II:
– Mallets
Percussion III:
– Mallets
– Suspended Cymbal
Percussion IV:
– Bass Drum
There is a significant solo part that can be played by Flute, Oboe, Clarinet,
Alto Saxophone, and/or Trumpet.
Separate solo parts are included for each instrument.
* – Ideally, the mallet instruments should be Marimbas and Vibraphones. Glockenspiels and
Crotales are also permissible. However, Xylophones and Chimes would detract from the desired
character. The mallet parts can be played in any octave, thus allowing several players per part and
per instrument. The Bass Drum and Suspended Cymbal parts can be doubled (provided it does
not become too loud) by similarly sounding instruments.

Fountains
For Concert Band
Program Notes
Kansas City and Rome are considered by many to be the cities of fountains.
I have lived in Kansas City for many years, and I pass several fountains
every day. For me, they stand as reminders that I need to slow down and
relax more often. In his iconic Fontane di Roma [Fountains of Rome],
composer Ottorino Respighi depicts the majestic fountains in Rome.
Respighi’s music has had a profound effect on me as a composer, and as a
small homage, snapshots and fragments reminiscent of his Fontane di Roma
have been interspersed throughout my piece. This work takes Respighi’s
Roman fountains and integrates them with the serenity I have experienced
while viewing the Kansas City fountains. Essentially, Fountains merges two
cities half a world apart.
The original version for string orchestra was commissioned by Steven D.
Davis and the Youth Symphony of Kansas City for their performance at the
68 th Annual Conference of The Midwest Clinic.
Performance Notes
• An “X” time signature indicates “free time.” Throughout these free time
sections, triangles containing numbers are used. These indicate the number
of cues in each larger section. Dashed barlines separate cues.
• Timing indications in free time are simply guidelines.
• Double whole notes in the “free time” sections indicate the note begins at the
cue and lasts for the full duration of that cue or until the horizontal line ends.
• Single line staves denote that the player is not playing.
• The percussion motives in the boxes should be played freely and
asynchronously. An approximate tempo range is provided. Each player is free
to play these boxes at whatever tempo they like within the provided range.
Players do not have to play at the same for every repetition.
• Boxed notation continues for as long as the horizontal line indicates.
• There are two solo moments in this piece. The first at Rehearsal A and the
second at Rehearsal D. Separate soloist parts are included for Flute, Oboe,
Clarinet, Alto Saxophone, and Trumpet. The conductor decides which
performer is best suited for these solo moments. The same soloist or same
instrument does not need to be used in both occurrences.
• The soloist does not play until Rehearsal A. They join their respective
sections at m. 18 (for Alto Sax.), m. 19 (for Flute and Clarinet), m. 24 (for
Trumpet), or m. 27 (for Oboe). These moments are marked with “tutti.”
• In measures 23-26 in the Percussion III and measures 51-55 in Percussion I-
III, there is an expression stating that “players should start dropping out
slowly.” This is to be done freely and asynchronously, as long as all the
indicated players have ceased playing by the end of these sections and the
overall dynamic shape seems to diminuendo. There is a diminuendo provided
in the score only as a reminder.
• There are ample cues throughout the piece. Ideally, performers should not
play the cues, however if balance so dictates, they may be utilized as needed.
Contact
Derek M. Jenkins
(563) 590-4975
derek@derekmjenkins.com
www.derekmjenkins.com

Transposed Score
FLUTE
OBOE
&
&
3
X
softly; like rain falling
4-6 sec.
Fountains
Derek
for Concert Band
4-6 sec.
4-6 sec.
in time (q = 60-66)
b˙.
p
∑
˙.
∑
M. Jenkins (b. 1986)
Kansas City, MO - Fall 2014
Jonesboro, AR - Fall 2017
b˙.
∑
˙.
∑
BASSOON
?
bœ
p
bœ
p
Œ
Œ
∑
bœ
Œ
Œ
∑
I
CLARINET (Bb )
II
BASS CLARINET
S
A
X
O
P
H
O
N
E
ALTO
TENOR
BARITONE
&
&
&
&
&
&
œ
p
œ
p
˙.
p
˙.
p
Œ
œ
p
∑
∑
œ Œ
p
Œ
Œ
˙.
˙.
∑
∑
∑
∑
˙.
˙.
Œ
œ
∑
∑
œ Œ
Œ
Œ
˙.
˙.
∑
∑
∑
∑
I
TRUMPET (Bb )
II
&
&
3
X
softly; like rain falling
4-6 sec.
4-6 sec.
4-6 sec.
in time (q = 60-66)
∑ ∑ ∑
∑ ∑ ∑
∑
∑
HORN (F)
TROMBONE
&
?
woodwind cue
b˙ .
p
woodwind cue
b˙ .
p
˙ .
˙ .
b˙ .
b˙ .
˙ .
˙ .
EUPHONIUM
?
woodwind cue
b˙ .
p
˙ .
b˙ .
˙ .
TUBA
?
bœ
p
bœ
p
Œ
Œ
∑
bœ
Œ
Œ
∑
I
II
PERCUSSION
III
&
&
&
3
Mallets
X
softly; like rain falling
Bass Drum
(ca. q = 66-76)
4-6 sec.
bœ
œ œ œ
π
repeat pitches freely in order
do not try to line up with other players
Mallets
4-6 sec.
(ca. q = 66-76)
bœ
œ œ œ
π
repeat pitches freely in order
do not try to line up with other players
Mallets
(ca. q = 66-76)
4-6 sec.
bœ
œ œ œ
π
4 3 4 3 4 3
in time (q = 60-66)
repeat pitches freely in order
do not try to line up with other players
IV
÷
big, fluffy mallets
œ
p
1
2
3
œ Œ
p
4
Œ
∑
5
œ Œ
6
Œ
∑
7
Copyright © 2014, 2017 Derek M. Jenkins (ASCAP).
All Rights Reserved. Printed in USA.

S
O
L
O
FL. / OB.
Bb CL. /
TPT.
A. SAX.
FL.
OB.
BSN.
2 Fountains
& b˙
P
& ˙
P
˙
&
P
&
&
A
A
b˙.
?
bœ
NOTE TO CONDUCTOR: The solo melody appearing at Rehearsal A is to be played by a single person.
The conductor should decide who is best suited to play this solo (there are separate solo parts for the five potential instruments).
Œ
∑
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œ
# œ
Œ
. œ
œ.
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j
bœ
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j
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∑
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b˙.
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∑
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j
œ ‰ Œ
p
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end solo
Œ
end solo
Œ
end solo
Œ
b˙.
∑
bœ
Œ Œ
I
Bb CL.
II
&
&
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B. CL.
&
œ
Œ
Œ
∑
œ
Œ
Œ
∑
œ
Œ
Œ
∑
œ
Œ
Œ
∑
œ
Œ
Œ
A
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
SAX. T
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
B
&
œ Œ Œ
∑
œ Œ Œ
∑
œ Œ Œ
∑
œ Œ Œ
∑
œ Œ Œ
A
I
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
Bb TPT.
II
&
∑
∑
∑
∑
∑
∑
∑
∑
∑
HN.
TBN.
&
?
b˙ .
b˙ .
˙ .
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˙ .
˙ .
b˙ .
˙ .
˙ .
b˙ .
b˙ .
˙ .
˙ .
b˙ .
b˙ .
EUPH.
?
b˙ .
˙ .
˙ .
˙ .
b˙ .
˙ .
b˙ .
˙ .
b˙ .
TUBA
?
bœ
A
Œ
Œ
∑
œ
Œ
Œ
∑
bœ
Œ
Œ
∑
bœ
Œ
Œ
∑
bœ
Œ
Œ
I
II
PERC.
III
&
&
&
Mallets
Mallets
Mallets
IV
÷
Bass Drum
œ Œ Œ
∑
œ Œ Œ
∑
œ Œ Œ
∑
œ Œ Œ
∑
œ Œ Œ
8
9
10
11
12
13
14
15
16

FL.
OB.
BSN.
I
Bb CL.
& œ
&
?
&
bœ
œ œ
∑
∑
œ œ œ œ
˙.
π
œ
π
˙.
π
∑
Œ
Œ
B
j
œ ‰ Œ œ bœ
π
Œ Œ œ bœ
j
œ ‰ Œ
flute cue
∑
Fountains
tutti*
π
tutti*
œ
π
œ
∑
∑
∑
∑
œ
œ
bœ
œ œ Œ
bœ
œ œ Œ
∑
œ œ œ œ
Œ
Œ œ bœ
œ œ
Œ œ bœ
œ œ
Œ
∑
œ œ œ œ
3
II
B. CL.
A
SAX. T
&
&
&
&
œ œ œ œ
∑
∑
∑
˙.
π
Œ
œ
π
tutti*
˙.
π
alto sax. cue
˙ .
π
Œ
˙.
˙.
˙ .
∑
˙.
p
˙.
p
˙ .
p
∑
˙.
˙.
˙ .
∑
˙.
˙.
˙ .
∑
B
I
Bb TPT.
II
&
&
&
∑
∑
∑
œ Œ Œ
π
∑
∑
B
Œ
Œ
Œ
Œ
∑
woodwind cue
œ
π
woodwind cue
œ
π
œ
œ
∑
∑
∑
∑
œ œ œ œ
œ œ œ œ
Œ
Œ
Œ
Œ
∑
œ œ œ œ
œ œ œ œ
HN.
TBN.
&
?
œ
œ
bœ
œ œ
bœ
œ œ
˙ .
π
˙ .
π
˙ .
play
˙.
π
˙ .
p
˙.
p
˙ .
˙.
˙ .
˙.
EUPH.
?
œ
bœ
œ œ
˙ .
π
˙ .
trombone cue
π
˙ .
p
˙ .
˙ .
TUBA
I
?
&
∑
∑
œ
π
Œ
∑
Œ
B
˙æ.
π
∑
˙æ.
p
∑
˙æ.
∑
˙æ.
∑
II
&
∑
∑
∑
∑
∑
PERC.
III
&
IV
÷
∑
17
œ Œ Œ
π
18
∑
19
∑
20
∑
21
∑
22
* - Soloist should rejoin their sections at this moment.

4 Fountains
FL.
OB.
BSN.
I
Bb CL.
II
B. CL.
A
SAX. T
B
&
&
&
&
&
&
&
&
œ bœ
œ bœ
? ˙.
p
œ œ œ œ
œ œ œ œ
œ œ œ œ œ œ
˙.
˙.
p
˙.
˙ .
˙.
p
œ bœ
P
œ bœ
P
b˙.
P
œ œ œ œ
œ œ œ œ
œ œ œ œ œ œ
P
˙.
P
˙.
P
˙.
P
˙ .
P
˙.
P
œ œ œ œ œ œ
p
œ œ œ œ œ œ
p
j
œ ‰ Œ Œ
p
œ œ œ œ œ œ
p
˙.
p
j
œ ‰ Œ Œ
p
˙.
p
˙ .
p
j
œ ‰ Œ Œ
p
œ œ œ œ œ œ
œ œ œ œ œ œ
˙ œ
p
œ œ œ œ œ œ
˙.
˙
p
˙.
play
˙.
p
˙
p
œ
œ
œ bœ
P
play
tutti*
œ œ œ œ
œ bœ
œ œ œ œ
p
b˙.
P
œ œ œ œ œ œ
P
˙.
P
˙.
P
˙.
P
˙.
P
˙.
P
œ œ œ œ bœ
p
œ œ œ œ bœ
b˙
p
œ
œ
œ
œ œ œ œ œ œ
p
˙.
p
˙
p
˙.
p
˙.
p
˙
p
œ
œ
œ bœ
œ œ
F
œ bœ
œ œ
F
˙.
F
œ œ œ
F
˙.
F
˙.
F
˙.
F
˙.
F
˙.
F
œ
I
Bb TPT.
II
HN.
TBN.
EUPH.
TUBA
& œ œ œ œ œ œ
& œ œ œ œ œ œ
&
˙ .
? ˙.
play
? ˙.
p
?
˙.
p
tutti*
play
œ œ œ œ œ œ
p
+ trumpet I
œ œ œ œ œ œ
p
˙ .
P
˙.
P
b˙.
P
b˙.
P
œ œ œ œ œ œ
œ œ œ œ œ œ
˙ .
p
˙.
p
j
œ ‰ Œ Œ
p
j ‰ Œ Œ
œ
p
œ œ œ œ œ œ
œ œ œ œ œ œ
play
˙.
p
˙.
˙ œ
p
˙ œ
p
œ œ œ œ œ œ
P
œ œ œ œ œ œ
P
˙.
P
˙.
P
b˙.
P
b˙.
P
œ œ œ œ œ œ
p
play
˙.
p
˙.
p
b˙
p
b˙
p
b˙
p
œ
œ
œ
œ œ œ
F
˙.
F
b˙.
F
˙.
F
˙.
F
˙.
F
œ
I
II
PERC.
III
&
&
&
Mallets
˙æ.
˙æ.
P
∑
∑
Mallets
players should start dropping out slowly**
(
˙æ.
p
∑
˙æ.
∑
)
˙æ.
P
∑
∑
Mallets
b˙.
æ
p
˙æ.
p
∑
˙æ.
F
b˙.
æ
F
∑
IV
÷
Bass Drum
˙.
æ
p
23
˙.
æ
P
24
œ ‰ Œ
J
p
25
Œ
˙.
æ
p
26
˙.
æ
P
27
˙.
æ
p
28
˙.
æ
F
29
* - Soloist should rejoin their sections at this moment.
** - Starting in measure 23, players reading the Percussion II part should begin to drop out freely.
All players should stop playing by the end of measure 26.
The overall effect is represented by the diminuendo, which does not appear in the parts.

FL.
OB.
BSN.
I
Bb CL.
II
B. CL.
A
SAX. T
B
I
Bb TPT.
II
HN.
TBN.
EUPH.
TUBA
&
&
?
&
&
&
&
&
&
&
&
&
?
?
?
˙.
˙.
˙.
˙.
œ
˙.
œ
œ
˙.
˙.
œ
œ
˙.
˙.
˙.
˙
# ˙
˙
˙
˙
C
bœ
p
˙
bœ
˙
p
j
œ ‰ Œ
p
œ
p
˙
œ ‰ Œ
J
p
j
œ ‰ Œ
p
œ
J ‰ Œ
p
œ
J ‰ Œ
p
j
œ ‰ Œ
p
C
œ
p
˙
œ ‰ Œ
J
p
œ ‰ Œ
J
p
j
œ ‰ Œ
p
j
œ ‰ Œ
p
expanding; soaring
Œ
œ
p
Œ
œ
p
œ
p
Œ
expanding; soaring
œ
p
œ
p
bœ
p
Œ
j ‰ Œ Œ
œ
p
˙
˙
˙.
p
˙
œ
˙.
p
œ
œ
˙.
p
˙
œ
œ
œ
˙.
p
˙.
p
˙
˙
˙
˙
˙
˙
œ
œ
œ
œ
˙.
P
˙.
P
b˙.
P
˙.
P
œ œ œ œ œ œ
P
˙.
P
œ œ œ œ œ œ
P
œ œ œ
P
˙.
P
˙.
P
œ œ œ œ œ œ
P
œ
P
œ œ
œ œ œ
P
b˙.
P
b˙.
P
Fountains
˙
˙
˙.
˙
œ
˙.
œ
œ
˙.
˙
œ
bœ
bœ
˙.
˙.
˙
˙
˙
˙
˙
b˙
bœ
bœ
œ
œ
˙.
˙.
˙.
˙.
œ œ œ œ œ œ
˙.
œ œ œ œ œ œ
œ œ œ
˙.
˙.
œ œ œ œ œ œ
œ œ œ
œ œ œ
˙.
˙.
˙
˙
b˙
˙
œ
œ
bœ
œ
œ œ œ
˙
œ
œ œ œ
œ
˙
˙
˙
œ
œ
œ œ œ
œ
bœ
b˙
b˙
˙
˙
bœ
bœ
bœ
bœ
œ
œ
˙
˙
bœ
˙
œ
œ œ œ œ œ
œ œ œ
œ œ œ œ œ
˙
œ
œ œ œ
œ
b˙
b˙
˙
œ œ œ œ œ
œ
œ
bœ
bœ
œ
œ
œ
œ
5
I
II
PERC.
III
IV
&
&
&
÷
Ͼ
Ͼ
˙.
æ
˙æ
˙æ
∑
30
C
bœ
œ
p
j
œ ‰ Œ
p
∑
œ ‰ Œ
J
p
expanding; soaring
31
œ
bœ
p
Œ
œ
bœ
˙
˙
∑
œ Œ Œ
p
32
œ bœ
P
˙.
P
œ œ œ œ
∑
∑
33
œ
bœ
˙
b˙
∑
∑
34
œ œ œ œ œ œ
˙.
Sus. Cymbal
∑ ÷
∑
35
œ
bœ
˙.
æ
p
˙.
æ
p
bœ
˙
36
œ
b˙
œ œ œ œ bœ
˙.
æ
˙.
æ
37
œ

6 Fountains
FL.
OB.
BSN.
I
Bb CL.
II
B. CL.
A
SAX. T
&
&
?
&
&
&
&
&
˙.
f
˙.
f
˙.
f
˙.
f
œ œ œ
f
˙.
f
# œ œ œ
f
œ œ œ
f
˙.
˙.
˙.
˙.
œ œ œ œ œ œ
˙.
œ œ œ œ œ œ
œ
œ œ
b˙.
b˙.
b˙.
˙.
œ œ œ
b˙.
œ œ œ
œ œ bœ
œ œ œ
F
œ œ œ
F
b˙.
F
œ œ œ
F
œ œ œ
F
˙.
F
œ œ œ
F
œ ˙
F
˙
˙
b˙.
˙
œ
œ
œ
œ œ œ œ œ œ
˙.
œ œ œ œ œ œ
œ œ œ
b˙
b˙
˙.
˙
œ œ
œ œ
œ œ
œ œ œ œ œ œ
˙.
œ œ œ œ œ œ
j
œ ‰ Œ
Œ
b˙.
b˙.
˙.
˙.
œ œ œ œ œ œ
˙.
œ œ œ œ œ œ
∑
˙.
˙.
b˙.
œ œ œ œ
œ œ œ œ
˙.
j
œ ‰ Œ Œ
π
∑
œ
J ‰ Œ Œ
π
j
œ ‰ Œ Œ
π
˙.
π
j
œ ‰ Œ Œ
π
j
œ ‰ Œ Œ
π
˙.
π
∑
∑
∑
∑
b˙.
∑
∑
˙.
∑
∑
X
B
&
˙.
f
˙.
˙.
˙.
F
˙.
˙.
˙.
˙.
˙.
π
˙.
I
Bb TPT.
II
HN.
TBN.
EUPH.
TUBA
&
&
&
?
?
?
˙.
f
œ œ œ
f
œ œ bœ
f
œ œ bœ
f
˙.
f
˙.
f
˙.
œ œ œ œ œ œ
œ
œ
˙.
˙.
œ œ
œ œ
˙.
œ œ œ
œ œ bœ
œ bœ
b˙.
b˙.
bœ
œ œ œ
F
œ œ œ
F
œ ˙
F
bœ
˙
F
b˙.
F
b˙.
F
˙
œ
œ œ œ œ œ œ
œ œ œ
œ œ œ
b˙.
b˙.
˙
j
œ ‰
p
œ œ œ œ œ œ
j
bœ
b˙.
˙.
˙.
‰ Œ Œ
∑
j
œ ‰ Œ
p
∑
Œ
œ œ œ
˙.
˙.
˙.
∑
∑
∑
j
b œ ‰ Œ Œ
π
b˙.
∑
∑
∑
œ
J ‰ Œ Œ
π
˙.
π
∑
∑
∑
∑
euphonium
cue
b˙ .
π
b˙.
π
b˙.
X
I
II
PERC.
III
IV
&
&
÷
÷
Mallets
œ bœ
œ
f
Mallets
œ œ bœ
f
Sus. Cymbal
œ ‰ Œ Œ
J
f
Bass Drum
˙.
æ
f
38
œbœ
œ œ œ œ
˙.
˙.
æ
∑
39
œ bœ
œ bœ
˙.
æ
∑
40
œ
bœ
œ bœ
œ
F
bœ
˙
F
∑
˙.
æ
F
41
œ bœ
œ œ œ œ
˙.
˙.
æ
∑
42
œ bœ
œ œ œ œ
b˙.
˙.
æ
∑
43
œ bœ
œ œ œ œ
˙.
∑
œ ‰ Œ
J
p
44
Œ
œ bœ
œ œ
˙.
∑
∑
45
j
œ ‰ Œ Œ
π
j ‰ Œ Œ
œ
π
∑
∑
46
∑
∑
∑
∑
47
X

S
O
L
O
FL. / OB.
Bb CL. /
TPT.
A. SAX.
FL.
OB.
&
&
&
&
&
D
D
X
X
3
3
bW
F
softly; like the beginning
4-6 sec.
softly; like the beginning
4-6 sec.
stagger breathe
p
4-6 sec.
4-6 sec.
4-6 sec.
4-6 sec.
Fountains
NOTE TO CONDUCTOR: The solo melody appearing at Rehearsal D is to be played by a single person.
It can be played by either the same from Rehearsal A or a different one.
The conductor should decide who is best suited to play this solo (there are separate solo parts for the five potential instruments).
in time (q = 54-58)
b˙
p
˙
p
˙
p
b˙.
∑
œ
œ
# œ
. œ
œ.
œ.
in time (q = 54-58)
˙.
j
bœ
œ œ
j
œ œ œ
œ
J
œ œ
∑
˙.
˙.
˙.
b˙.
∑
b˙.
˙.
˙.
˙.
∑
U
˙.
U
˙.
˙U .
U
˙.
U
∑
œ ‰ Œ Œ
J
∏
œ ‰ Œ Œ
J
∏
œ
J ‰ Œ Œ
∏
œ ‰ Œ Œ
J
∏
∑
7
4 3 4 3 4 3 4 3
BSN.
I
Bb CL.
II
B. CL.
A
SAX. T
B
I
Bb TPT.
II
?
&
&
&
&
&
&
&
&
clarinet cue
clarinet cue
D
X
bœ
F
W
F
W
F
œ
F
W
F
W
F
œ
F
3
stagger breathe
stagger breathe
stagger breathe
stagger breathe
softly; like the beginning
4-6 sec.
p
p
p
p
4-6 sec.
4-6 sec.
bœ
p
˙.
˙.
Œ Œ
œ Œ Œ
p
˙.
˙.
œ Œ Œ
p
in time (q = 54-58)
∑
∑
˙.
˙.
˙.
˙.
∑
∑
∑
∑
∑
bœ
p
˙.
˙.
Œ Œ
œ Œ Œ
p
˙.
˙.
œ Œ Œ
p
∑
∑
∑
˙.
˙.
∑
˙ .
˙ .
∑
∑
∑
U
˙.
U
˙.
U
˙.
U
˙.
U
∑
U
∑
U
∑
U
∑
U
∑
∑
j
œ ‰ Œ Œ
∏
j
œ ‰ Œ Œ
∏
∑
j
œ ‰ Œ Œ
∏
œ
J
‰ Œ Œ
∏
∑
∑
∑
HN.
&
∑
∑
∑
∑
U
∑
∑
TBN.
EUPH.
TUBA
PERC.
I
II
III
IV
?
?
?
&
&
÷
÷
D
X
bœ
F
bœ
F
bœ
F
3
(ca. q = 66-76)
bœ
œ œ œ
π
œ
F
softly; like the beginning
4-6 sec.
48
4-6 sec.
repeat pitches freely in order
do not try to line up with other players
(ca. q = 66-76)
bœ
œ œ œ
π
49
repeat pitches freely in order
do not try to line up with other players
Mallets
&
4-6 sec.
(ca. q = 66-76)
bœ
œ œ œ
π
* - Starting in measure 51, all mallet percussion players should begin to drop out freely.
All players should stop playing by the end of measure 55.
The overall effect is represented by the diminuendo, which does not appear in the parts.
50
(
bœ
p
repeat pitches freely in order
do not try to line up with other players
∑
∑
Œ Œ
in time (q = 54-58)
(
(
players should start dropping out slowly**
players should start dropping out slowly**
players should start dropping out slowly**
œ Œ Œ
p
51
∑
∑
∑
∑
52
bœ
p
∑
∑
Œ Œ
œ Œ Œ
p
53
∑
∑
∑
∑
54
U
∑
U
∑
U
∑
U
U
U
U
∑
55
)
)
)
∑
∑
∑
∑
∑
∑
∑
56