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01 - Soul Suite No

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Commissioned by T he University of Georgia Wind Ensemble and premiered by T he United States Navy Band

Soul Suite No. 1

f o r W i n d E n s e m b l e

Instrumentation

Piccolo

1st & 2nd Flutes

Oboe

1st, 2nd, & 3rd Bb Clarinets

Bass Clarinet

Contrabass Clarinet (Optional)

1st & 2nd Bassoons

Contrabassoon

Soprano Saxophone

Alto Saxophone

Tenor Saxophone

Baritone Saxophone

1st, 2nd, 3rd, & 4th Bb Trumpets

1st, 2nd, 3rd, & 4th F French Horns

1st & 2nd Trombones

Bass Trombone

Euphonium

Tuba

Double Bass

Timpani

Drum Set (Optional, see m. 33 in Full Score)

5 Percussion:

Percussion 1 - Crash Cymbal, Glockenspiel, Marimba, & Wood Blocks

Percussion 2 - Crash Cymbal, Egg Shaker, Vibraphone, & Xylophone

Percussion 3 - Deep Field Drum, Snare Drum & Wood Blocks

Percussion 4 - Bass Drum & Rain Stick

Percussion 5 - Jazz Hi-hat, Maracas, Suspended Cymbal, & Triangle

SCORE IN TRANSPOSED PITCH

Duration: ca. 11 minutes


Commissioned by a consortium led by the University of Georgia - Nicholas Enrico Williams, Director of Bands

and premiered by the United States Navy Band.

The members of the consortium are as follows:

Clemson University - Mark Spede, Director of Bands

Florida A&M University - Shelby R. Chipman, Director of Bands

George Mason University - William Lake, Director of Concert Bands

Georgia State University - Nu Alpha Chapter of Kappa Kappa Psi

Michigan State University - Kevin Sedatole, Director of Bands

Penn State University - Tonya Mitchell-Spradlin, Director of Wind Band Studies

Stephenson High School, Atlanta, GA - Quentin Goins, Director of Bands

Texas Tech University - Sarah McKoin, Director of Bands

University of Central Florida - Scott Lubaroff, Director of Bands

University of Louisiana-Monroe - Nicholas Bratcher, Director of Bands

University of Memphis - Albert Nguyen, Director of Bands

University of North Carolina-Wilmington - Dominic Talanca, Director of Bands

University of North Florida - Erin Bodnar, Director of Bands

University of Texas-Austin, Jerry Junkin, Director of Bands

University of West Georgia - Josh Byrd, Director of Bands

PROGRAM NOTES

The words Soul Suite are an expression that I have used to describe the hip -hop production technique called the “beat switch” where

the producer or DJ switches the beat from the current feel to another, within the same track or song. The new feel can be unrelated or

related. The transition can be subtle and smoothly executed or jolting and unexpected. Justification for how the switch may occur, and

what it contains can range from a stylistic preference to something as fickle as how the composer feels that day. The Soul Suite is also

what I have come to call my own compositional technique.

Throughout Soul Suite No. 1, you will encounter figures that are idiomatic of many musical settings, from the western classical music

realm, the southern hip-hop production scene, spirituals, as well as elements of gospel and r&b. Specifically from the production side,

you will hear moments of distortion, reverb, timpani as 808 drums, trap hi hats, and even a trombone soli in the style of a rap verse.

This piece serves as the first installment in a series of compositions which I will create and dedicate to regions of the world honoring

cultural staples and historical phenomena within the African diaspora.

The first movement of Soul Suite No. 1 is a tapestry of rhythmic and harmonic intricacies. Comprising three distinct sections—

Chopped & Screwed, Maestoso Con Forza, and It’s Lit! —this initial movement transports us through a mosaic of intriguing auditory

landscapes. Imagine composers like Ligeti, Philip Glass, and Stravinsky stepping into the electrifying ambiance of a Travis Scott or

Playboi Carti studio session, and you’ll understand the first movement.

Within the Chopped & Screwed segment, mysterious soundscapes and resonant polyrhythms collide with both subtlety and

abruptness, imitative of the aforementioned production technique, the "beat switch." The beat switches on display within this

composition draw inspiration from the innovative stylings of rapper and producer Travis Scott, particularly as showcased in his latest

album, UTOPIA.

The second movement, by contrast, reveals a more introspective facet of the piece. Here, I explore two spirituals, "Wade in the

Water" and "Deep River," drawing inspiration from esteemed artists such as Future, Erykah Badu, and Jill Scott. The initial portion

of this movement invokes compositional methods reminiscent of Erykah Badu's avant-garde fusion of neo-soul and jazz, intensely

interwoven with elements of hip-hop and r&b. Within this sonic journey, the conductor and ensemble encounter aleatoric

instructions, guiding them through a realm of musical spontaneity.

As the second movement unfolds further, it embraces the spirit of call-and-response, reminiscent of a 19th-century southern black

church setting, preparing the listener for the ensuing hymns. The soprano saxophone solo echoes the stylings of soul singer Jill Scott

as it establishes the “Wade in the Water” tune, decorated with melismatic, gospel - like embellishments. Underneath the melody are

overlapping sustains, suspended with deconstructed trap percussion. This accompaniment is meant to resemble the production that

rapper and singer Future might perform over.

From a programmatic perspective, the music embarks on a narrative voyage, weaving a tale from the annals of African Mythology,

specifically drawing from the lore of the Dogon tribe in Mali. This narrative revolves around the Sirius star system and the Nommos

people—a cornerstone of the Dogon people’s origin story. Within the composition, I endeavor to depict a hypothetical evening based

on the aforementioned mythology, where the Dogon tribe was visited and enlightened by the Nommos people. In Dogon mythology,

the Nommos are described as having an "aquatic" essence, thus prompting the inclusion of "Wade in the Water" and "Deep River"

spirituals in the composition—a symbolic connection to their otherworldly origins.

SONIC TIMELINE

AIGHT, SO BOOM!…..this is what one could imagine is happening at each section in the music:


Maestoso con Forza: The Nommos ship crashes near the Dogon kingdom requiring repairs, while the leaders are chillin’ and doing

their usual nightly ritual of playing dominoes, spades etc. and keeping watch of the kingdom. The tribal leaders hear some pretty

cacophonous sounds and are filled with dread. They decide they’ll be brave and go check it out.

Back to Chopped and Screwed vibes: The Dogon leaders are searching for the source of the loud noises they heard. It takes a little

while.

It’s Lit!: The Dogon leaders get a peak of what they are looking for. They are terrified and basically take off running back towards

their kingdom! Eventually they slow down to catch their breath, say around measure 93-110.

Adagio: The Nommos people, who were described to have an aquatic appearance, with webbed feet and tails, approach the Dogon

leaders peacefully. So, the Dogon welcome them in and help their visitors to repair their ship. While their ship is repairing all enjoy

snacks and games.

Cantabile con Moto: The Dogon and Nommos experience a kind of cultural exchange during this moment in the music. Most

notably, the Nommos teach the Dogon about their culture and lifestyle in the Sirius Star system and remind the Dogon of their

shared origins with the Nommos. The unconducted call and response section is depicting this exchange. In reality, this exchange

between the Dogon and the Nommos people has become an extremely impactful and magical occurrence. It has gone on to inspire the

Dogon’s mythology and spirituality for millennia.

The remainder of the Wade in the Water/Deep River reharmonization is further depicting how the Nommos helped the Dogon

come to their mythological revelations. Once the ship is repaired, the Nommos go back home to Sirius, and everyone lives happily ever

after.

REHEARSAL NOTES

This piece is mysterious then exciting, then mysterious again. Then exciting again, then solemn and reflective, then finally emotional

and inspired. Since it was written by me, the sentiments are extreme, because that is how I emote artistically. All of that to say, the

ensemble should strive for the most expressive version that they can create when it comes to this piece. Enjoy the moments of

nonsensical textures with child-like intrigue and oblivion. Lean into the areas of confusion, cluster, and dissonance with an unhinged

curiosity. Induce a mosh-pit where applicable (see the It’s Lit! section). At the start of the second movement, create an Afro-aquatic

landscape. Take us to church for the remainder of the work. Converse convincingly via the call and response. Give spiritual energy to

the hearty melodic lines and long tones while creating motion towards the passing tones. Throughout, execute dynamic contrasts with

as much drama as humanly possible.

Most importantly, HAVE FUN!

Please enjoy, Soul Suite No. 1.

ABOUT THE COMPOSER

Marie A. Douglas, a composer hailing from Atlanta, has garnered widespread acclaim for her exceptional talent in seamlessly blending

genres and textures within her captivating concert stage pieces. Her music serves as a profound reflection of her inner-city upbringing

and her diverse musical experiences, infusing a genuine and authentic essence into each

composition. Douglas draws significant inspiration from the African Diaspora, effectively

integrating elements of hip-hop and western art music idioms to create compositions that

resonate with a wide range of audiences. With her works captivating concert-goers across

the United States and Canada, Marie's artistry extends beyond the stage as she collaborates

with various ensembles and lends her creative prowess to the world of film music, as well as

hip hop and r&b. As she embarks on a remarkable academic journey, pursuing a Doctor of

Musical Arts from the University of Memphis under the guidance of distinguished mentors

Kamran Ince and Albert Nguyen, her unwavering dedication to sonic innovation continues

to shape the evolving tapestry of her artistic expression.

For more information about this piece or any others written by Marie A. Douglas, please visit: http://marieadouglas.com/ or contact

the composer at: mussempre@gmail.com

Score and parts engraved by Evan Erickson Music, https://www.evanericksonmusic.com/engraving


Commissioned by The University of Georgia Wind Ensemble and premiered by The United States Navy Band

Full Score (Transposed)

Piccolo

Flute 1

Flute 2

Oboe

B♭ Clarinet 1

B♭ Clarinet 2

B♭ Clarinet 3

Bass Clarinet

Contrabass Clarinet

Bassoon 1

Bassoon 2

Contrabassoon

Soprano Saxophone

Alto Saxophone

Tenor Saxophone

Baritone Saxophone

B♭ Trumpet 1

B♭ Trumpet 2

B♭ Trumpet 3

B♭ Trumpet 4

F French Horn 1

F French Horn 2

F French Horn 3

F French Horn 4

Trombone 1

Trombone 2

Bass Trombone

Euphonium

Tuba

Double Bass

Timpani

Percussion 1

Percussion 2

Percussion 3

Percussion 4

Percussion 5

= 77 Chopped & Screwed

sub.

sub.

mute

mute

mute

mute

mute

mute

mute

mute

mute

mute

mute

mute

(bend pitch over 4 beats)

Wood Blocks

Bass Drum

Triangle

Soul Suite No. 1

f o r W i n d E n s e m b l e

1 2 3 4 5 6 7

© 2024 MAD Music - Music Sempre, LLC

marieadouglas.com

Marie A. Douglas, BMI

(2023)

gliss.


Full Score (Transposed) - 2 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

Timp.

P. 1

P. 2

P. 3

Marimba

(Wood Blocks)

Xylophone

P. 4

(Bass Drum)

P. 5

8 9 10 11 12 13 14 15


Full Score (Transposed) - 3 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

Timp.

P. 1

P. 2

P. 3

P. 4

P. 5

sub. sub.

sub. sub. sub.

sub. sub.

sub. sub.

sub. sub. sub.

sub.

sub.

sub.

sub.

sub. sub.

sub.

sub.

sub.

sub. sub.

sub.

sub.

sub.

sub.

open

harmon mute

sub.

harmon mute

open

sub.

harmon mute

open

sub.

harmon mute

open

open

stopped

sub.

sub.

stopped

open

sub.

open

stopped

stopped

open

sub.

sub. sub.

sub.

sub.

sub.

open

sub. sub.

sub.

open

sub. sub.

sub.

open

sub.

open

sub.

sub.

sub.

sub.

Crash Cymbal

Vibraphone

18 Maestoso con forza

25 Chopped & Screwed

open

16 17 18 19 20 21 22 23 24 25 26


Full Score (Transposed) - 4 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

Timp.

P. 1

P. 2

P. 3

P. 4

P. 5

*See (Drum Set Part)

flz.

flz.

open

open

open

open

trombone

soli through m. 48

trombone soli through m. 48

trombone soli through m. 48

(Vibraphone)

pizz.

arco

Marimba

Snare Drum

(Bass Drum)

Jazz Hi-hat

27 28 29 30 31 32 33 34

• (Drum Set Part) - in measures 33 through 57, there is an optional drum set part reinforcing the same rhythms as Percussion 2 and 3. This part is not shown in the score, but can be used to

reinforce the percussion section during these measures.

34


Full Score (Transposed) - 5 - Soul Suite No. 1

Picc.

41

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

Timp.

divisi on m. 39

P. 1

P. 2

P. 3

P. 4

P. 5

35 36 37 38 39 40 41 42 43


Full Score (Transposed) - 6 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

Timp.

P. 1

P. 2

P. 3

P. 4

divisi on m. 39

(Marimba)

(Xylophone)

(Snare Drum)

(Bass Drum)

49

P. 5

(Jazz Hi-hat)

44 45 46 47 48 49 50 51


Full Score (Transposed) - 7 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

Timp.

57

P. 1

P. 2

P. 3

P. 4

P. 5

52 53 54 55 56 57 58 59 60


Full Score (Transposed) - 8 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

sub.

sub.

sub.

sub.

sub.

flz.

open

flz.

open

flz.

flz.

sub.

sub.

sub.

sub.

65

= 156 It's Lit!

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

Timp.

P. 1

P. 2

P. 3

P. 4

P. 5

(Snare Drum)

(Bass Drum)

(Jazz Hi-hat)

Xylophone

61 62 63 64 65 66 67 68 69


Full Score (Transposed) - 9 - Soul Suite No. 1

Picc.

gliss.

Fl. 1

Fl. 2

gliss.

gliss.

Ob.

gliss.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

gliss.

gliss.

gliss.

gliss.

gliss.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

F F. Hn 2

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

F F. Hn 3

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

F F. Hn 4

Tbn. 1

Tbn. 2

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

B. Tbn.

Euph.

Tba

D. B.

Timp.

P. 1

P. 2

gliss.

P. 3

P. 4

P. 5

70 71 72 73 74 75 76 77 78 79


Full Score (Transposed) - 10 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

Timp.

P. 1

P. 2

P. 3

P. 4

P. 5

mute

mute

mute

mute

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

(Xylophone)

Wood Blocks

gliss.

gliss.

gliss.

gliss.

gliss.

(Jazz Hi-hat)

(Snare Drum)

(Bass Drum)

80 81 82 83 84 85 86 87 88

86


Full Score (Transposed) - 11 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

93

sub.

sub.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

Timp.

P. 1

P. 2

P. 3

P. 4

P. 5

Glockenspiel

sub.

89 90 91 92 93 94 95 96


Full Score (Transposed) - 12 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

open

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

mute

mute

mute

mute

mute

Tba

D. B.

Timp.

P. 1

P. 2

P. 3

P. 4

(Xylophone)

(Glockenspiel)

Wood Blocks

P. 5

97 98 99 100 101 102 103 104


Full Score (Transposed) - 13 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

Timp.

P. 1

P. 2

P. 3

P. 4

P. 5

105 106 107 108 109 110


Full Score (Transposed) - 14 - Soul Suite No. 1

Picc.

111 = 56 Adagio

120

blow air through instrument, finger keys at random, breathe as needed (m. 111-m. 126)

Fl. 1

blow air through instrument, finger keys at random, breathe as needed (m. 111-m. 126)

Fl. 2

blow air through instrument, finger keys at random, breathe as needed (m. 111-m. 126)

Ob.

B♭ Cl. 1

blow air through instrument, finger keys at random, breathe as needed (m. 111-m. 126)

blow air through instrument, finger keys at random, breathe as needed (m. 111-m. 126)

solo through m. 125

B♭ Cl. 2

blow air through instrument, finger keys at random, breathe as needed (m. 111-m. 126)

B♭ Cl. 3

blow air through instrument, finger keys at random, breathe as needed (m. 111-m. 126)

B. Cl.

blow air through instrument, finger keys at random, breathe as needed (m. 111-m. 126)

Cb. Cl.

Bsn 1

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

Bsn 2

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

Cbsn

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

S. Sax.

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

A. Sax.

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

T. Sax.

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

Bar. Sax.

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

B♭ Tpt 1

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

B♭ Tpt 2

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

B♭ Tpt 3

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

B♭ Tpt 4

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

F F. Hn 1

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

F F. Hn 2

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

F F. Hn 3

F F. Hn 4

Tbn. 1

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

gently "shhhh" on repeat, breathe as needed (m. 114-m. 126)

gently "shhhh" on repeat, breathe as needed (m. 114-m. 126)

Tbn. 2

gently "shhhh" on repeat, breathe as needed (m. 114-m. 126)

B. Tbn.

gently "shhhh" on repeat, breathe as needed (m. 114-m. 126)

Euph.

gently "shhhh" on repeat, breathe as needed (m. 114-m. 126)

Tba

gently "shhhh" on repeat, breathe as needed (m. 114-m. 126)

D. B.

gently but audibly tap stand, chair, or music with pencil. semi ad. lib, not neccessarily in time or with anyone else (m. 111-m. 126)

Timp.

P. 1

P. 2

P. 3

P. 4

P. 5

Rain Stick

Egg Shaker

(Wood Blocks)

Maracas

Marimba

solo through m. 129

111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126


Full Score (Transposed) - 15 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

131

= 77 Cantabile con moto

*See (Free Time)

open

open

open

open soli through m. 141

open

soli through m. 141

open

open

open

open

open

solo through

m. 133

solo

through m. 137

solo through m. 141

Timp.

P. 1

P. 2

P. 3

P. 4

P. 5

127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142

• (Free Time) - measures 131 through 144 will be unconducted, with the tutti ensemble acting as a call and response to the Euphonium solo (or the Horn soli in mms. 140-141).

Euphonium solo should only begin after sound of Rain Stick completely dies away. Conductor should begin marking time again at m. 144.


Full Score (Transposed) - 16 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

146

(In Time)

solo through m. 155

(prepare plunger mute)

(prepare plunger mute)

(prepare plunger mute)

pizz.

Timp.

P. 1

P. 2

P. 3

P. 4

(Marimba)

(Wood Blocks)

P. 5

143 144 145 146 147 148 149 150 151 152 153 154 155 156


Full Score (Transposed) - 17 - Soul Suite No. 1

Picc.

157

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

a la "Wade in the Water"

a la "Wade in the Water"

a la "Wade in the Water"

a la "Wade in the Water"

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

Timp.

P. 1

P. 2

P. 3

P. 4

P. 5

a la "Wade in the Water"

flz.

flz.

open

a la "Wade in the Water"

mute

a la "Wade in the Water"

mute

open

plunger mute

flz.

open

wa

wa

plunger mute

flz.

gliss.

wa

wa

open

plunger mute

flz.

gliss.

wa

wa

open

arco

gliss.

Crash Cymbal

Deep Field Drum

(cross stick)

Bass Drum

Suspended Cymbal

(medium-soft mallet)

157 158 159 160 161 162 163 164 165 166 167 168


Full Score (Transposed) - 18 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

rall.

170 a tempo

174

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

solo through m. 180

a la "Deep River"

Timp.

P. 1

P. 2

P. 3

P. 4

P. 5

Glockenspiel

(Crash Cymbal)

(Deep Field Drum)

(Bass Drum)

(Suspended Cymbal)

169 170 171 172 173 174 175 176 177 178 179 180


Full Score (Transposed) - 19 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

Timp.

P. 1

P. 2

P. 3

P. 4

P. 5

182

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

open

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

sostenuto

181 182 183 184 185 186 187 188 189 190 191 192


Full Score (Transposed) - 20 - Soul Suite No. 1

Picc.

Fl. 1

193 200

sub.

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

solo through m. 199

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

Timp.

P. 1

P. 2

P. 3

Marimba

Glockenspiel

Xylophone

Vibraphone

P. 4

P. 5

193 194 195 196 197 198 199 200


Full Score (Transposed) - 21 - Soul Suite No. 1

Picc.

Fl. 1

Fl. 2

Ob.

B♭ Cl. 1

B♭ Cl. 2

B♭ Cl. 3

B. Cl.

Cb. Cl.

Bsn 1

Bsn 2

Cbsn

S. Sax.

A. Sax.

T. Sax.

Bar. Sax.

B♭ Tpt 1

B♭ Tpt 2

B♭ Tpt 3

B♭ Tpt 4

F F. Hn 1

F F. Hn 2

F F. Hn 3

F F. Hn 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba

D. B.

Timp.

P. 1

P. 2

P. 3

P. 4

P. 5

(Deep Field Drum)

(Bass Drum)

Crash Cymbal

201 202 203 204 205 206

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