00 - Full Score (Condensed) - Street Lamps and Silhouettes-1

For Wind Band
by Alec Schantz
Street Lamps & Silhouettes
Pppppppppppppppppppppppppp A L E C S C H A N T Z
M U S I C ppppppppppppppppppppppppp
Alec Schantz (b. 1999)
Biography
Alec Schantz is a composer and clarinetist
from Northern California. Alec graduated
from San Jose State University (B.M Music
Education) where they studied clarinet under
Dr. Janet Averett and Jonathan Szin, and they
are currently completing a masters in
composition at University of Nevada, Las
Vegas, where they study under Dr. Viet Cuong.
Alec’s works have been performed by groups
such as the Azure Saxophone Quartet, Nevada
Ballet Theatre, San Jose State University Wind
Ensemble, CMEA NS Jr High Honor Band,
and the United State Air Force Band among
others.
Instrumentation
Flute 1, 2
Flute 3, 4 / Piccolo 1, 2
Oboe
English Horn
Bassoon 1, 2
Clarinet 1, 2, 3, 4
Bass Clarinet
Soprano Saxophone
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
Trumpet 1, 2, 3, 4
French Horn 1, 2, 3, 4
Trombone 1, 2, 3
Euphonium
Tuba
Double Bass
Piano
Percussion 1 (Marimba 1)
Percussion 2 (Marimba 2, Vibraphone
[shared])
Percussion 3 (Vibraphone [shared])
Percussion 4 (Glockenspiel, Chimes, Tam-
Tam)
Program Notes
Street Lamps & Silhouettes is a
nocturne set for wind ensemble.
Although, instead of the typical
nocturne that invokes the feeling of
night, this piece focuses on something
a bit more niche. That niche being
the film noir.
In my music of late, I have been
engrossed by writing from a place of
emotion or mood. Writing from this
perspective has allowed me to fully
immerse myself in the compositional
process.
This process is what led me to focus
on the film noir. The melodramatic
story-telling and striking imagery
presents a captivating world to try to
portray through music.
Performance
Notes
Trumpet 1-4: If harmon mutes are
not available, players should all use
straight mutes, with no additional
effects.
French Horn 1-4: All glissandi start
with open horn and move to stopped
horn. The pitches should move down
an entire half step with no
discrepancy in pitch.
Trombone 1-3: All glissandi should
be gradual and change pitch
throughout the entirety of the note.
Percussion 1/2: Percussion 1 and 2
should have their own Marimba. If
this is not possible (and only if it is
not possible), Percussion 1 should
substitute Marimba for Xylophone,
omitting all notes that are out of the
xylophones range.
Percussion 2/3: Percussion 2 and 3
are written to share a Vibraphone. 2
Vibraphones can be used if desired,
but are not necessary.
Program Notes
The imagery of sparsely lit streets,
shadowy figures, and smoky
atmosphere are represented with
flashes of brilliant textures, echoing
ostinatos, and a constant shift in
timbre; while the melodramatic
storytelling is embodied through
clashing sections of music and a tense
forward sense of momentum.
Street Lamps & Silhouettes was written
for my alma mater SJSU, and my
former director Dr. David Vickerman.
For those reasons this piece is extra
special to me and I want to thank Dr.
Vickerman being such a big supporter
of me and my career.
-Alec Schantz
Performance Notes
Percussion 6: The drum set should
have a minimum of a hi-hat, crash
cymbal, kick drum, snare drum, and 2
toms. Additional drums may be used
as the performer wishes.
General Performance: Dynamics, with
specific regards to crescendi /
decrescendi should be exaggerated as
much as possible.
Tempi should remain steady
throughout (no rubato). All
accelerandos / ritardandos should be
gradual and consistent.
86-100 should mimic a big band
sound. Players should shift their tone
to fit into that sound. Glissandi, bends,
and falls can all be overly exaggerated.
The transition at 100 should be a
gigantic shock! All musicians with a
quarter note on the downbeat should
send their sound to the back of the
hall.
Percussion 5 (Triangle, Bass Drum, Cabasa,
Timpani)
Transposed Score / Performance Time - 8:00
Percussion 6 (Drum Set)

Transposed Score
Flute 1.2.3.4
Written for the SJSU Wind Ensemble, under the direction of Dr. David Vickerman
Street Lamps and Silhouettes
Oscillating ( = c. 120) Alec Schantz (b. 1999)
Oboe
English Horn
Bassoon 1.2
cello-like
1.
Clarinet 1.2
1.
Clarinet 3.4
Bass Clarinet
Soprano Saxophone
vib.
cello-like
Alto Saxophone
vib.
Tenor Saxophone
Baritone Saxophone
Trumpet 1.2.3.4
Oscillating ( = c. 120)
cello-like
cello-like
French Horn 1.2.3.4
Trombone 1.2.3
cello-like
Euphonium
cello-like
Tuba
cello-like
Double Bass
Piano
Marimba 1
sustain until there is no sound
Oscillating ( = c. 120)
Marimba 2
Vibraphone
Glockenspiel
Triangle
fast motor on
at all times (if possible)
B. Dr.
Drum Set (Brushes)
2 3 4 5 6 7
Copyright @ Alec Schantz Music (ASCAP)
www.alecschantz.com

Fl. 1.2.3.4
1.
vib.
11
- 2 -
Ob.
Eng. Hn
vib.
vib.
Bsn
1.2
Cl.
1.2
1.
Cl.
3.4
B Cl.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt
1.2
11
vib.
harmon mute stem in
1.
Tpt
3.4
4.
F. Hn 1.2.3.4
Tbn. 1.2.3
Euph.
Tba
D. B.
Pno
Mar. 1
Mar. 2
Vib.
11
Glock.
B. Dr.
Dr.
8 9 10 11 12 13 14

1.
1
Fl.
2
3.
2.
3
Fl.
4
Ob.
4.
Eng. Hn
Bsn
1.2
1.
1
Cl.
2
2.
3.
3
Cl.
4
4.
B Cl.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt 1
Tpt 2
3
Tpt
4
F. Hn
F. Hn
1.3
2.4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
non vib.
vib.
harmon mute stem in
start by closing stem with hand, then move to open (& vice versa);
3.
harmon mute stem in
a 2
4.
a 2
2.
vib.
vib.
Tba
D. B.
Pno
Vib.
Mar. 1
Mar. 2
Glock.
B. Dr.
Dr.
- 3 -
start by closing stem with hand, then move to open (& vice versa)
non vib.
4
straight mute
Chim.
4
straight mute
vib.
4
straight mute
vib.
with brushes
15 16 17 18 19
20
20
20
start by closing stem with hand, then move to open (& vice versa)
20 21
3
3
3

1
Fl.
2
3
Fl.
4
Ob.
- 4 -
1.
3. 2.
4.
Eng. Hn
Bsn 1
Bsn 2
1
Cl.
2
3
Cl.
4
B Cl.
vib.
vib.
vib.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt 1
Tpt 2
vib.
non vib.
vib.
3
Tpt
4
F. Hn
F. Hn
1.3
2.4
Tbn. 1
Tbn. 2
1.
2.
6
1
6
1
6
Tbn. 3
Euph.
Tba
D. B.
Pno
Vib.
Mar. 1
Mar. 2
Chim.
B. Dr.
Dr.
22 23 24 25 26 27 28

1
Fl.
2
3
Fl.
4
Ob.
Eng. Hn
Bsn 1
Bsn 2
1
Cl.
2
3
Cl.
4
B Cl.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt 1
Tpt 2
Tpt
3.4
1
F. Hn
3
2
F. Hn
4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tba
D. B.
Pno
open
4. 3. 4. 3. 4. 3.
3.
4.
3 6 4 3
1.
2.
3.
4.
non vib.
1.
2.
open
non vib.
non vib.
non vib.
non vib.
30
30
3 6 4 3
1 3 6 4 3
30
- 5 -
Mar. 1
Mar. 2
Vib.
Chim.
B. Dr.
Dr.
29 30
31 32 33 34 35

Fl. 1.2.3.4
38
- 6 -
Ob.
vib.
Eng. Hn
vib.
Bsn
1.2
Cl. 1
Cl. 2
Cl. 3
Cl. 4
B Cl.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt 1
38
Tpt 2
Tpt
3.4
1
F. Hn
3
2
F. Hn
4
Tbn. 1.2.3
Euph.
2.
non vib.
open
non vib.
4.
Tba
D. B.
Pno
Mar. 1
38
Mar. 2
Vib.
Glock.
B. Dr.
Dr.
36 37
38 39 40 41 42

Fl. 1
vib.
- 7 -
50
Fl. 2
vib.
Fl.
3.4
Ob.
Eng. Hn
Bsn
1.2
Cl. 1
Cl. 2
Cl. 3
Cl. 4
B Cl.
2.
1.
S. Sax.
A. Sax.
vib.
vib.
T. Sax.
Bar. Sax.
Tpt 1.2.3.4
50
F. Hn 1.2.3.4
Tbn. 1.2.3
Euph.
Tba
D. B.
Pno
Mar. 1
50
Mar. 2
Bow. Vib.
Glock.
Glock.
B. Dr.
Dr.
43 44 45 46 47 48 49 50

Fl. 1
- 8 -
molto ritardando
Fl. 2
Fl.
3.4
Ob.
Eng. Hn
Bsn 1
Bsn 2
Cl. 1
Cl. 2
Cl. 3
Cl. 4
B Cl.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt 1.2.3.4
molto ritardando
start by closing stem with hand, then move to open (& vice versa);
start slowly and build to fastest possible articulation
(switch to double or utter tongue if desired)
harmon mute stem in
F. Hn 1.2.3.4
Tbn. 1.2.3
Euph.
2
vib.
straight mute
vib.
1
Tba
vib.
D. B.
Pno
Mar. 1
molto ritardando
Mar. 2
Bow. Vib.
Glock.
Bow. Vib.
B. Dr.
Dr.
51 52 53 54 55 56 57 58 59
60

1
Fl.
2
3
Fl.
4
61 Peculiar ( = c. 90)
non vib.
1.
non vib.
2.
4.
non vib.
non vib.
3.
- 9 -
Ob.
Eng. Hn
Bsn
1.2
1
Cl.
2
3
Cl.
4
B Cl.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt 1.2.3.4
61 Peculiar ( = c. 90)
F. Hn 1.2.3.4
Tbn. 1.2.3
Euph.
Tba
D. B.
pizz.
Pno
Mar. 1
(roll in own time)
61 Peculiar ( = c. 90)
Mar. 2
Bow. Vib.
Glock.
B. Dr.
Dr.
61
62 63
64 65
66 67

- 10 -
1
Fl.
2
3
Fl.
4
Ob.
69
Eng. Hn
Bsn
1.2
1
Cl.
2
3
Cl.
4
B Cl.
1.
2.
3.
4.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt 1.2.3.4
69
F. Hn 1.2.3.4
a 4
vib.
Tbn. 1.2.3
Euph.
Tba
D. B.
Pno
Mar. 1
69
Mar. 2
Bow. Vib.
Glock.
B. Dr.
Dr.
68 69
70 71
72 73
74

1
Fl.
2
3
Fl.
4
Ob.
Eng. Hn
Bsn
1.2
1
Cl.
2
3
Cl.
4
B Cl.
vib.
vib.
vib.
76
- 11 -
S. Sax.
A. Sax.
T. Sax.
vib.
vib.
vib.
Bar. Sax.
Tpt 1
76
vib.
vib.
Tpt 2
3
Tpt
4
F. Hn 1.2.3.4
Tbn. 1.2.3
Euph.
3.
a 4
1
vib.
3
vib.
4.
vib.
Tba
D. B.
Pno
Mar. 1
76
Mar. 2
Bow. Vib.
Glock.
Cab.
swung
(as written)
Dr.
Cab.
(ll & improvise with restraint)
swung
75 76 77 78

Fl. 1
Fl. 2
Fl. 3
Fl. 4
Ob.
Eng. Hn
- 12 -
accelerando
Bsn 1
Bsn 2
1
Cl.
2
Cl. 3
Cl. 4
B Cl.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt 1
Tpt 2
3
Tpt
4
F. Hn 1.2.3.4
Tbn. 1.2.3
4.
3.
a
4
3
4
accelerando
Euph.
Tba
D. B.
Pno
Mar. 1
accelerando
Mar. 2
Vib.
Glock.
Cab.
Dr.
(4)
79 80 81 82

86 Medium swing ( = c. 120)
Fl. 1.2.3
Picc.
Picc.
2
Ob.
Eng. Hn
Bsn
1.2
Cl.
1
Cl.
2
Cl.
3
Cl.
4
B Cl.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt 1
Tpt 2
3
Tpt
4
F. Hn 1
F. Hn 2
F. Hn 3
F. Hn 4
Tbn. 1.2.3
Euph.
86 Medium swing ( = c. 120)
3.
open
4.
non vib.
non vib.
non vib.
non vib.
open
1
non vib.
Tba
D. B.
Pno
Mar. 1
non vib.
open
- 13 -
non vib.
open
3
non vib.
86 Medium swing ( = c. 120)
Mar. 2
Vib.
Chim.
Cab.
Dr.
83 84
(4)
85
Chim.
(improvise and use lls more frequently)
86

- 14 -
Fl. 1.2.3
Picc. 2
Ob.
Eng. Hn
Bsn
Cl.
Cl.
1.2
1.2
3.4
B Cl.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt 1
Tpt 2
Tpt 3
Tpt 4
F. Hn 1
F. Hn 2
F. Hn 3
F. Hn 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tba
D. B.
Pno
Mar. 1
Mar. 2
Vib.
Chim.
Cab.
Dr.
87 88 89
(4)

Fl. 1.2.3
accelerando
- 15 -
non vib.
Picc. 2
non vib.
Ob.
Eng. Hn
non vib.
non vib.
non vib.
Bsn 1.2
Cl.
1.2
Cl.
3.4
B Cl.
non vib.
S. Sax.
A. Sax.
T. Sax.
non vib.
non vib.
Bar. Sax.
non vib.
Tpt 1
accelerando
Tpt 2
open
Tpt 3
open
Tpt 4
open
F. Hn 1
F. Hn 2
F. Hn 3
F. Hn 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tba
D. B.
Pno
Mar. 1
accelerando
Mar. 2
Vib.
Chim.
Cab.
Dr.
90 91
(7)
(as written or improvised)
92 93

- 16 -
Fl. 1.2.3
94 ( = c. 150)
Picc. 2
Ob.
Eng. Hn
Bsn
1.2
a 2
Cl.
1.2
a 2 2.
Cl.
3.4
a 2 4.
B Cl.
S. Sax.
A. Sax.
!
T. Sax.
Bar. Sax.
Tpt 1
94 ( = c. 150)
Tpt 2
(if Tpt. 1 plays bottom line, also play bottom line)
Tpt 3
(if Tpt. 1 plays bottom line, also play bottom line)
Tpt 4
(if Tpt. 1 plays bottom line, also play bottom line)
F. Hn 1.2.3.4
Tbn. 1.2.3
a 4
1.2.
2. a 3
Euph.
Tba
D. B.
!
Pno
Mar. 1
Mar. 2
!
94 ( = c. 150)
Vib.
Chim.
Cab.
Dr.
97
94 95 96
98
(as written)
99

Fl. 1
100 ritardando
106 Atmospheric ( = c. 60)
!
- 17 -
Fl. 2
Fl. 3
Picc. 2
Ob.
Eng. Hn
Bsn
1.2
1
Cl.
2
3
Cl.
4
B Cl.
S. Sax.
A. Sax.
!
!
!
!
!
!
1.
2.
3.
4.
!
!
T. Sax.
!
Bar. Sax.
!
Tpt 1
Tpt 2
Tpt 3
100 ritardando
!
!
106 Atmospheric ( = c. 60)
!
Tpt 4
F. Hn 1.2.3.4
Tbn. 1.2.3
Euph.
!
!
!
!
Tba
!
D. B.
arco
Pno
Mar. 1
100 ritardando 106 Atmospheric ( = c. 60)
Mar. 2
Vib.
Chim.
Cab.
Dr.
Vib.
!
!
100 101 102 103 104 105 106 107

- 18 -
Fl. 1
Fl. 2
Picc. 1
Picc.
Picc. 2
Ob.
Eng. Hn
Bsn
1.2
1
Cl.
2
3
Cl.
4
B Cl.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt 1.2.3.4
F. Hn 1.2.3.4
Tbn. 1.2.3
2
straight mute
Euph.
Tba
D. B.
Pno
Mar. 1
Vib.
Bow. Vib.
Glock.
Tri.
Dr.
Vib.
Bow. Vib.
Glock.
Tri.
108 109 110 111 112 113 114 115

- 19 -
Fl. 1
116
Fl. 2
Picc. 1
Picc. 2
Ob.
Eng. Hn
Bsn 1
Bsn 2
Cl. 1
Cl. 2
Cl. 3
Cl. 4
B Cl.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt 1.2.3.4
116
harmon mute stem in
F. Hn 1.2.3.4
Tbn. 1.2.3
1 2
Euph.
Tba
D. B.
Pno
Mar. 1
116
Vib.
Bow. Vib.
Glock.
Tri.
Dr.
116 117 118
119 120

Fl. 1
Fl. 2
Picc. 1
Picc. 2
Ob.
- 20 -
124
Eng. Hn
Bsn
1.2
Cl. 1
Cl. 2
Cl. 3
Cl. 4
B Cl.
2.
a 2
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
open
Tpt
1.2.3.4
F. Hn 1.2.3.4
a 4
vib.
2
open
1
1 3
Tbn. 1.2.3
124
Euph.
Tba
D. B.
Pno
Mar. 1
Mar.
Mar. 2
Bow. Vib.
Glock.
Tri.
Dr.
121 122
B. Dr.
124
123
124
125
126

Fl. 1
- 21 -
accelerando
132
Fl. 2
Picc. 1
Picc. 2
Ob.
Eng. Hn
Bsn
1.2
1
Cl.
2
3
Cl.
4
B Cl.
S. Sax.
1.
2. 3.
4.
A. Sax.
T. Sax.
Bar. Sax.
Tpt 1.2.3.4
1.
132 accelerando
non vib.
open
F. Hn 1.2.3.4
Tbn. 1.2.3
a 4
non vib.
3 2
3 1 1 2
3
1.
Euph.
Tba
D. B.
Pno
Mar. 1
132 accelerando
Mar. 2
Bow. Vib.
Glock.
B. Dr.
Dr.
127
128
129
130
131
132 133

Fl. 1
- 22 -
140
Fl. 2
Picc. 1
Picc. 2
Ob.
Eng. Hn
Bsn
1.2
1
Cl.
2
3
Cl.
4
B Cl.
S. Sax.
A. Sax.
T. Sax.
1.
2.
Bar. Sax.
Tpt 1
Tpt 2
open
non vib.
open
140
Tpt
3.4
F. Hn 1.2.3.4
Tbn. 1
Tbn. 2
3 4 4
5
3 4
non
vib.
6
3
Tbn. 3
Euph.
Tba
D. B.
Pno
Mar. 1
140
Mar. 2
Vib.
Glock.
Timp.
Dr.
134 135 136 137 138 139 140 141

- 23 -
Fl. 1
Fl. 2
Picc. 1
Picc. 2
Ob.
Eng. Hn
Bsn
1.2
1
Cl.
2
3
Cl.
4
B Cl.
S. Sax.
A. Sax.
1. 2. 1. 2. 1. 2.
1.
2.
T. Sax.
Bar. Sax.
Tpt
1.2
a 2
Tpt
3.4
a 2
F. Hn 1.2.3.4
Tbn. 1
a 4
non vib.
Tbn.
2.3
a 2
3.
a 2
2. 2. 3.
Euph.
Tba
D. B.
Pno
Mar. 1
Mar. 2
Vib.
Glock.
Timp.
Dr.
Timp.
142 143 144 145 146 147
148 149

1
Fl.
2
3
Fl.
4
Ob.
1.
150
Final Push ( = c. 120)
3.
2.
4.
- 24 -
Eng. Hn
Bsn
1.2
1
Cl.
2
3
Cl.
4
B Cl.
1.
2.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt
1.2
150 Final Push ( = c. 120)
Tpt
3.4
F. Hn 1.2.3.4
Tbn. 1.2.3
a 4
Euph.
Tba
D. B.
Pno
Mar. 1
Mar. 2
Vib.
150 Final Push ( = c. 120)
Vib.
Glock.
Timp.
Dr.
150
151
152
153 154
155 156

- 25 -
159
Fl. 1
Fl. 2
Fl. 3
Fl. 4
Ob.
Eng. Hn
Bsn
1.2
1
Cl.
2
3
Cl.
4
B Cl.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt
1.2
159
Tpt
3.4
F. Hn 1.2.3.4
Tbn. 1.2.3
a 4
a 4
Euph.
Tba
D. B.
Pno
Vib.
Mar. 1
Mar. 2
159
Glock.
Timp.
Dr.
157 158
159 160 161 162

Fl. 1
Fl. 2
Picc. 1
Picc. 2
- 26 -
Picc.
Picc.
167 Brooding
Ob.
Eng. Hn
Bsn
Cl.
Cl.
1.2
1.2
3.4
!
a 2
a 2
B Cl.
S. Sax.
!
A. Sax.
T. Sax.
!
Bar. Sax.
Tpt
1.2
!
167 Brooding
with metal
a 2
Tpt
3.4
F. Hn 1.2.3.4
Tbn. 1.2.3
Euph.
Tba
D. B.
Pno
Mar. 1
Mar. 2
Vib.
with metal
4
with metal
a
!
!
with metal
with metal
167 Brooding
Glock.
Timp.
Dr.
!
163 164
165 166
167
168
169
170

Fl. 1
Fl. 2
- 27 -
175 ritardando
Picc. 1
Picc. 2
Ob.
Eng. Hn
Bsn
Cl.
Cl.
1.2
1.2
3.4
B Cl.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt
1.2
a 2
175 ritardando
a 2
Tpt
3.4
F. Hn 1.2.3.4
Tbn. 1.2.3
Euph.
a 4
Tba
D. B.
Pno
Mar. 1
175 ritardando
Mar. 2
Vib.
Glock.
Timp.
Dr.
171
172
173
174
175 176 177 178

- 28 -
Fl. 1
Fl. 2
183
Picc. 1
Picc. 2
Ob.
Eng. Hn
Bsn
1.2
1
Cl.
2
3
Cl.
4
1.
2.
B Cl.
S. Sax.
A. Sax.
T. Sax.
vib.
vib.
vib.
Bar. Sax.
Tpt
1.2
a 2
vib.
183
Tpt
3.4
F. Hn 1.2.3.4
a 4
a 2
Tbn. 1.2.3
Euph.
Tba
D. B.
Pno
Mar. 1
183
Mar. 2
Vib.
Glock.
Tri.
Dr.
179 180 181 182 183 184 185

- 29 -
Fl. 1
Fl. 2
( = c. 60)
Picc. 1
Picc. 2
Ob.
Eng. Hn
Bsn
1.2
Cl. 1
Cl. 2
Cl. 3
Cl. 4
B Cl.
S. Sax.
A. Sax.
T. Sax.
Bar. Sax.
Tpt 1.2.3.4
F. Hn 1.2.3.4
a 4
( = c. 60)
Tbn. 1.2.3
Euph.
Tba
D. B.
Pno
( = c. 60)
Vib.
Mar. 1
Mar. 2
Glock.
Tri.
Tri.
Dr.
186 187 188 189 190 191