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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