Transposing Score - NOCTUARY FOR ADÉ - correct 2026-03-13

NOCTUARY
FOR ADÉ
Words by
ADÉ RA
Music by
WILL HEALY
2024
This score is licensed exclusively to Ohio State for performances in 2025-2026. All other use is prohibited.

NOCTUARY FOR ADÉ
for emcee, singer and wind ensemble
Music by
WILL HEALY
Words written and inspired by
ADÉ RA
Commissioned by:
Adlai E. Stevenson High School Bands
Adlai E. Stevenson High School Bands
Arizona State University Wind Symphony
Arizona State University Wind Symphony
Oakland University
Oregon High School Bands
Arkansas Tech University
Arkansas Tech University
Arrowhead Union High School Wind Ensemble
Arrowhead Union High School Wind Ensemble
Arris Golden
Arris Golden
California State University, Fullerton
California State University, Fullerton
Camp Hill High School
Camp Hill High School
Camp Hill High School Symphonic Band
Columbia University Wind Ensemble
Columbia University Wind Ensemble
Converse University
Converse University
Evanston Township High School Wind Symphony
Evanston Township High School Wind Symphony
George Mason University
George Mason University
Governor Mifflin High School
Governor Mifflin High School
Illinois State University
Illinois State University
Ithaca College
Ithaca College
John Hersey High School
John Hersey High School
Kent State University Wind Ensemble
Kent State University Wind Ensemble
LSU School of Music
LSU School of Music
Middleton High School
Middleton High School
Mission Hills High School
Mission Hills High School
Oswego High School Bands
Parkview High School
Penn Penn State State
San
San
José
José
State
State
University
University
Wind
Wind
Ensemble
Ensemble
Sun Prairie East High School
Sun Prairie East High School
The Ohio State University Symphonic Band
The Ohio State University Symphonic Band
University of Illinois
University of Illinois
University of Maryland Wind Ensemble
University of Maryland Wind Ensemble
University of Nebraska at Omaha
University of Nebraska at Omaha
University of Virginia Wind Ensemble
University of Virginia Wind Ensemble
University of Western Australia
University of Western Australia
University of Wisconsin–Madison Bands
University of Wisconsin–Madison Bands
University of Wisconsin-Milwaukee
University of Wisconsin-Milwaukee
Utah Valley University
Utah Valley University
Walton High School Band
Walton High School Band
West Aurora Bands
West
West
Chester
Aurora
University
Bands
Yorkville West Chester High University School Bands
“Noctuary for Adé”
New
was
Trier
premiered
High School
by a consortium of Mission ensembles Hills High School in 2024-2025 led by
Northern Arizona University. The first performance took place on November 22nd,
Yorkville High School Bands
2024 in Flagstaff, Arizona, conducted by Stephen Meyer.
New Trier High School
“Noctuary for Adé” was premiered by a consortium of ensembles in 2024-2025 led by Northern Arizona
University and organized by CBDNA. The first performance took place on November 22nd,
2024 in Flagstaff, Arizona, conducted by Stephen Meyer.
© Will Healy Music 2024
www.willhealymusic.com
This score is licensed exclusively to Ohio State for performances in 2025-2026. All other use is prohibited.

PROGRAM NOTE:
“Noctuary for for Adé” is is a meditation on the writings of of my close friend and and collaborator, Adé Ra.
“Noctuary for Adé” is meditation on the writings of my close friend and collaborator,
Adé A “noctuary” Ra. The title, is a lyrics, night journal, structure, a record and sections of happenings are drawn that from occur her in the words, dark. which The piece I
Adé Ra. The title, lyrics, structure, and sections are drawn from her words, which I
compiled unfolds as from a sort troves of dream of her sequence, poetry and lyrics. along Adé the way was we the are flrst visited emcee by in multiple ShoutHouse, narrators:
compiled from troves of her poetry and lyrics. Adé was the first emcee in ShoutHouse,
and a singer, someone who whose is singing work words encouraged written me by Adé, to begin the featured experimenting emcee, who with has cross-genre written original
collaborations
and lyrics someone responding whose concert to those work
music. texts, encouraged
When and the we
me instrumental were
to begin school
experimenting ensemble. together The at instrumental with
Vassar
cross-genre
College, music, we
were
collaborations singer an lyrics, Afrobeat and in concert featured band together
music. emcee’s When words called
we act Yes
were as Noyes. three in school
She interconnected would
together
to freestyle noctuaries, at Vassar
over which College,
my lead we
piano were us through in improvisations an Afrobeat the piece, band there through together and shadowy then called later textures, when Yes Noyes. shifting we moved She brass would to harmonies, Brooklyn to freestyle back and sudden in over 2013-14. my bursts
piano of energy. improvisations The focal point there of the and texts then is later the image when of we a moonflower, moved to Brooklyn a species back of night-blooming
in 2013-14.
After morning her death glory, which in April Adé 2022, had I written thought about about poetically. the best way to pay tribute to her — to
keep After her creative death in spirit April alive 2022, and I thought to live with about her the work. best She way left to words pay tribute in handwritten to her — to
documents, keep Adé her was creative the social first media emcee spirit posts alive in ShoutHouse, and old to live songs and with someone stored her work. on whose hard She work drives. left encouraged words Our mutual in handwritten
me to friend begin
Chris documents, experimenting Connors social shared with media cross-genre with posts me a and collaborations full old album songs of stored in unreleased concert music. hard hip drives. hop I played tracks Our trumpet that mutual she in an had friend
recorded Chris afrobeat/hip-hop Connors with him shared band many called with years me Yes ago. a Noyes full One album in of college those of unreleased tracks and she was called hip one hop of “Noctuary,” the tracks emcees. that a After word she Vassar had
that recorded we I moved hadn’t with to encountered Brooklyn, him many where years until we I ago. came played One across in of small those Adé’s venues, tracks song. basements, It was means called “night and “Noctuary,” even journal”, the subways. a an word
image that After I hadn’t that rehearsals, guided encountered she me would in the until freestyle writing I came process. over across my piano Adé’s improvisations song. A noctuary in my is room. a night Over journal. time,
these collaborations grew into pieces that I wrote for her and classical instrumentalists,
While which I began developed with into the my
the intention ensemble, of ShoutHouse.
of flnding finding a a single After
single poem her sudden
poem or or text death
text of of Adé’s in
Adé’s to April set 2022,
to set to I
to
music, thought I loved about the the
the idea best
idea of way
of creating to pay a tribute
a musical to
musical noctuary her — to keep
noctuary guided her
guided by creative
by multiple spirit
multiple excerpts alive and
excerpts fromto
from
her live
her
words. with her
words.
Over work.
Over
the She
the
course left
course
of words
of
“Noctuary in handwritten
“Noctuary
for
for
Adé”, documents,
Adé”,
we
we
hear
hear
three social
three
noctuaries: media posts
noctuaries:
my and
my
music, old
music,
Adé’s songs
Adé’s
poetry stored
poetry
and on hard
and
the
the
featured drives. Our
featured
emcee’s mutual
emcee’s
lyrics. friend
lyrics.
We Chris
We
visit Connors
visit
multiple shared
multiple
narrators with
narrators
and me a
and
scenes full album of
scenes
drawn unreleased together hip by hop the tracks thread that of she her had phrases. recorded Unlike with the him classical many years tradition ago. One of having of those
drawn together by the thread of her phrases. Unlike the classical tradition of having
set tracks lyrics, was the called featured “Noctuary”; emcee on I thought this piece that writes was a their beautiful own word lyrics and for image, the performance.
one that would
set lyrics, the featured emcee on this piece writes their own lyrics for the performance.
This be mutually is an aspect inspiring of my for collaborations the featured that emcees, Adé players, inspired and many me. years ago . She taught
This is an aspect of my collaborations that Adé inspired many years ago . She taught
me the value of letting go of creative control, discovering a shared narrative with other
artists
me While the
and
value I began watching
of with letting the how
go intention a
of
project
creative of can finding control,
grow a beyond single discovering poem your or original
a text shared of Adé’s vision.
narrative to set to with music, other I
artists loved the and idea watching of creating how a musical project noctuary can grow guided beyond by your multiple original excerpts vision. from her words. For
For this this piece, piece, I decided I decided to treat to treat the the composition composition process process as a living as a living collaboration, collaboration, working as I
working For often this did as piece, with I often I Adé decided did over with the to treat Adé years, over the adding the composition years, to, excerpting adding process and to, excerpting as adjusting a living phrases and collaboration, adjusting so that they
phrases working felt cohesive so as that I often with they the did felt music with cohesive Adé and narrative over with the years, structure music adding and of narrative the to, piece. excerpting structure and of adjusting the piece.
I phrases want to so thank that Steve they felt Meyer cohesive for organizing with the this music consortium and narrative and for structure his enthusiasm of the piece. and
encouragement Unlike the classical for this tradition project. of I having am also set grateful lyrics, the to featured all of the emcee conductors this and piece schools writes in
the I want their consortium own to thank lyrics who Steve for brought the Meyer performance. the piece organizing This to life. is an To this aspect the consortium late of my Rob collaborations Carnochan, and for his thank that enthusiasm Adé you inspired for and
encouraging encouragement many years ago. to for She write this taught project. Passages. me the I am Rob’s value also vision of grateful letting for my go to of all flrst creative of multi-genre the control, conductors discovering wind and ensemble schools a in
commission the
shared
consortium
narrative was who an with essential brought
other artists flrst the piece step and into watching
life. the To wind how
the ensemble a
late
project
Rob
can medium. Carnochan,
grow beyond
thank
your
you for
original vision.
encouraging me to write Passages. Rob’s vision for my first multi-genre wind ensemble
commission was an essential first step into the wind ensemble medium.
I want to thank Steve Meyer for organizing this consortium and for his enthusiasm and
encouragement for this project. I am also grateful to all of the conductors and schools in the
consortium who brought the piece to life. To the late Rob Carnochan, thank you for
encouraging me to write Passages. Rob’s vision for my first multi-genre wind ensemble
commission was an essential first step into the wind ensemble medium.
— Will Healy
Brooklyn, NY
October 2024
This score is licensed exclusively to Ohio State for performances in 2025-2026. All other use is prohibited.

Below are the lyrics that I use in the piece, most of which are excerpts from various
poems, posts, and song lyrics by Adé. I am italicizing lines that are written by me,
though all of these phrases are derived from words by Adé.
SINGER LYRICS:
Dreamscapes I’m traveling through
worlds and rooms old and new
do you see me too?
My mind in every color
A path through the sand
Mind maps bridging the gaps
Moonfiower, with roots in the stars
Unpotted and free, blooming in the night glow
Moonfiower, if words were birds
Gilded wings on open sky, a symphony of light
Sparks in the distance, a sacred hymn.
With the rhythms bred in ancient tongues, beckoning all who pause to listen,
time stands still.
Breathing
Sparks in the distance, a sacred hymn.
I am king, flrst and last in kind
Grand halls, fiowing through streams and dreams and pools
Moonflower, let these words fly
Gilded wings on open sky
In my dreams, I come fully alive

Below are the lyrics that I use in the piece, most of which are excerpts from various
poems, posts, and song lyrics by Adé. I am italicizing lines that are written by me,
though Notes all on of soloist these phrases selection: are derived from words by Adé.
Soloists can be provided by ShoutHouse. SINGER LYRICS: For more information, write to them at
shouthousenyc@gmail.com or visit www.shouthousemusic.com. They are also able to offer
consultation regarding emcee selection and mentorship during the rehearsal process to
Dreamscapes ensure a cohesive I’m traveling performance. through
worlds and rooms old and new
do you The see singer me too? should have extensive experience in non-classical genres, including R&B, pop,
folk, jazz, and musical theater. While it would be preferable for the singer to have the
My mind ability in to every read standard color musical notation, it is not completely necessary, and can be
A path performed through by the any sand singer with a strong sense of pitch and rhythm. It is preferred that the
Mind sung maps texts bridging are not the performed gaps in an operatic style, and the sung texts must be performed
through ampli♭cation for both sound quality and ability to be heard over the ensemble. It
is important to have a singer who has experience performing while mic’d, as this affects
Moonflower, with roots in the stars
the sound and the balance between the soloist and the ensemble.
Unposted and free, blooming in the night glow
Moonflower, if words were birds
Gilded The wings two emcees on open (rappers) sky, a symphony for “Noctuary of for light Adé” should have some experience in
performing alternative or experimental hip-hop, ideally including some music that is not
in 4/4. Lyrically, they must write new lyrics, speci♭c to “Noctuary”, following the emcee
Sparks in the distance, a sacred hymn.
instructions printed on their chart. At least one month before the ♭rst rehearsal, the
With the rhythms bred in ancient tongues, beckoning all who pause to listen,
emcee should create a demo of the planned performance, aligned using a DAW with the
time backing stands tracks still. provided in the digital MC chart, and send the demo to both the band
Breathing director and Will Healy (via the shouthousenyc@gmail.com email) to ensure a cohesive
Sparks performance. in the distance, a sacred hymn.
I am king, first and last in kind
Grand halls, flowing through streams and dreams and pools
Moonflower, let these words fly
Gilded wings on open sky
In my dreams, I come fully alive
This score is licensed exclusively to Ohio State for performances in 2025-2026. All other use is prohibited.

INSTRUMENTATION
1 Female Singer (mic'd)
1 Emcee (mic’d)
Piccolo
Flute 1-2
Oboe 1-2
Bassoon 1-2
Contrabassoon
B♭ Clarinet 1-2
Bass Clarinet in B♭
Contrabass Clarinet (optional)
Alto Saxophone 1-2
Tenor Saxophone
Baritone Saxophone
B♭ Trumpet 1-2-3
F Horn 1-2-3-4
Trombone 1-2
Bass Trombone
Euphonium
Tuba
Piano
Percussion (6 players including timpani):
Timpani
Player 1: Marimba (4.3 octaves)
Player 2: Vibraphone
Player 3: Whip, glockenspiel, tam-tam, low tom, hi-hat
Player 4: Whip, crotales, drumset
Player 5: Tubular bells, bass drum, hi-hat
Transposed Score
Duration: ca. 8.5 minutes
© Will Healy Music 2024
This score is licensed exclusively to Ohio State for performances in 2025-2026. All other use is prohibited.

Words by ADÉ RA and WILL HEALY
for Concert Band
Music by WILL HEALY
Hazy,
dreamlike, and owing = 108
Piccolo
a 2
1
Flute
2
1
Oboe
2
1
Bassoon
2
Contrabassoon
1
B♭ Clarinet 2
3
B♭ Bass Clarinet
Contrabass Clarinet
1
Alto Saxophone
2
Tenor Saxophone
Baritone Saxophone
1
B♭ Trumpet 2
3
1
2
F Horn
3
4
1
Trombone
2
Bass Trombone
Euphonium
Tuba
Double Bass
MC
Singer
Piano
Snare Drum 1
Snare Drum 2
Vibraphone
Whip
Crotales
Tubular Bells
a 2
harmon mute stem in
a 2
a 2
non vib.
a 3
a 2
blow air through instrument
with reversed mouthpiece
blow air through instrument
with reversed mouthpiece
blow air through instrument
with reversed mouthpiece
blow air through instrument
with reversed mouthpiece
scrape drumhead
with hard wire brush
scrape drumhead
with hard wire brush
Commissioned by a consortium led by Northern Arizona University, conducted by Stephen Meyer
hard mallets, motor on (medium speed)
soloistic
Swirl with soft brushes on snare (slow circular, non-rhythmic)
Mar.
soft mallets
NOCTUARY FOR ADÉ
1.2.
hard
mallets
Glock.
(small whip)
with bow
hard mallet
1 2 3 4 5 6 7 8
non vib.
Copyright © 2025 by Will Healy. All rights reserved. Printed in U.S.A.

2
Picc.
1
Fl.
2
1
Ob.
2
1.
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
non vib.
1.2.
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
Pno.
Sn. Dr. 1
Mar.
Vib.
Glock.
Crot.
Tub. Bells.
9 10 11 12 13 14 15 16

Picc.
A
With steady, forward momentum
3
1
Fl.
2
1
Ob.
2
1.
sim.
sim.
solo
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
sim.
sim.
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
ord.
ord.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
Pno.
4.
a 2 a 2
sim.
a 2
pizz.
Timp.
Mar.
Vib.
Timp.
Glock.
Crot.
Tub. Bells.
soft mallet
B. Dr.
soft mallets
17 18 19 20 21 22
Tam.
Glock.

4
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
a 2
1.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
a 2
a 2
Pno.
Timp.
Mar.
Vib.
Tam.
Tam.
Glock.
Tam.
B. Dr.
23 24 25
26
27
28

Picc.
B
5
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
S.
Pno.
Timp.
a 2
arco
whispery, close to the mic
Dream - scapes I’m trav - eling through worlds and rooms old and new do you see me too?
Mar.
Vib.
Tom.
Dr.
B. Dr.
Tom.
Dr.
29 30 31 32 33 34 35 36

6
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
C
1.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
S.
Pno.
Timp.
Mar.
Vib.
Tom.
Dr.
B. Dr.
a 2
(more distance from the mic)
hard mallets
hard mallets
my
mind in ev - ‘ry col - or a path through the sand mind maps brid - ging
37 38 39 40 41 42 43
open

Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
S.
Pno.
Timp.
Mar.
Vib.
Sus. Cym.
Dr.
Tub. Bells.
D
a 2
ord.
1.2.
harmon mute stem in
a 2
1.
spacy, rhythmically free
gaps
Sus. Cym.
soft mallets
Tub. Bells. hard mallet
B. Dr.
44 45 46 47
48 49
2.
dream - scapes I’m trav - ‘ling through
Tom.
7

8
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn. 3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
S.
Pno.
Timp.
Mar.
Vib.
Tom.
Dr.
B. Dr.
harmon mute stem in
a 2
worlds and rooms do you
50 51 52 53 54
55
a 2

Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
1.
9
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
2
B♭ Tpt.
3
a 2
1
2
F Hn. 3
4
1
Tbn.
2
a 2
1.
B. Tbn.
Euph.
Tba.
D. B.
S.
Pno.
Timp.
Mar.
Vib.
Tom.
Dr.
B. Dr.
see me too?
2.
56
57 58
59 60

10
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
E
MC Verse 1
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
2
B♭ Tpt.
3
1
2
F Hn. 3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
M.C.
Pno.
Timp.
Mar.
Vib.
Tom.
Dr.
B. Dr.
x x x
61 62 63 64 65 66

Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
2
B♭ Tpt.
3
1.
2.
a 2
11
1
2
F Hn. 3
4
a 2
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
M.C.
Pno.
Timp.
Mar.
Vib.
H-hat. 1
Dr.
B. Dr.
H-hat.
67 68 69 70 71 72

12
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
a 2
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
2
B♭ Tpt.
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
(harmon mute)
(harmon mute)
a 2
a 2
M.C.
Pno.
Timp.
Mar.
Vib.
H-hat. 1
Dr.
B. Dr.
73 74 75 76 77 78

Picc.
F
Misty hues
13
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
2.
2.
poco cresc.
poco cresc.
poco cresc.
poco cresc.
poco cresc.
poco cresc.
poco cresc.
poco cresc.
poco cresc.
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
S.
Pno.
poco cresc.
poco cresc.
poco cresc.
poco cresc.
poco cresc.
poco cresc.
poco cresc.
Moon - ow - er moon - ow - er with roots in the stars un - pot - ted and free bloo - ming in the night glow
Timp.
Mar.
Vib.
Glock.
Glock.
79 80 81 82 83 84 85 86

14
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
F Hn. 2
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
S.
Pno.
Timp.
Mar.
Vib.
Glock.
Dr.
B. Dr.
G
1.
1.
open
open
open
a 2
4.
a 2
Moon - ow - er moon - ow - er if words were birds gil - ded wings on o - pen sky a sym- pho - ny of light
87 88 89 90 91 92 93

Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
S.
15
H
a 2
a 2
a 2
Pno.
Timp.
Mar.
Vib.
Tom.
Dr.
B. Dr.
Tom.
sub.
sub.
sub.
94 95 96 97 98 99 100 101

16
I Epic, driving = 108
a 2
a 2
a 2
a 2
a 2
1
2
3
1
2
1
2
3
a 2
1
2
a 2
3
4
a 2
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
B♭ Cl.
B♭ B Cl.
Cb. Cl.
A. Sax.
T. Sax.
Bar. Sax.
B♭ Tpt.
F Hn.
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
Pno.
Timp.
Mar.
Vib.
Tom.
Dr.
B. Dr.
102 103 104 105 106 107 108
gliss.
gliss.
gliss.
gliss.
gliss.

Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
a
2
a 2
J
a 2 a 2
a
2
17
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
Pno.
Timp.
Mar.
Vib.
Glock.
Dr.
B. Dr.
a 2
a
2
a 2
a 2
Glock.
109 110 111 112 113 114
gliss.
gliss.
gliss.

18
Picc.
1
Fl.
2
a 2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
a 2
a 2
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
a 2
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
a 3
a 2
a 2
a 2
a
2
a 2
gliss.
Pno.
Timp.
Mar.
Vib.
Glock.
Dr.
B. Dr.
115 116 117 118 119 120

Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
K
a 2
a 2
rit.
19
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
1.2. a 2
1.2. a 2
3.
3.
a 2
B. Tbn.
Euph.
Tba.
D. B.
Pno.
Timp.
Mar.
Vib.
Tam.
Tam.
Dr.
B. Dr.
121 122 123 124 125 126

20
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
2
B♭ Tpt.
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
Pno.
Timp.
Mar.
Vib.
Tam.
Dr.
B. Dr.
L Sparks in the distance, a sacred hymn = 84
to harmon
2.
4.
1.
hard mallets
hard mallets
Glock. soft mallets
Crot.
hard plastic mallets
127 128 129 130 131 132 133 134

21
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
2
B♭ Tpt.
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
Pno.
Timp.
Mar.
Vib.
Glock.
Crot.
135 136 137 138 139 140 141

22
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
2
B♭ Tpt.
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
S.
Pno.
Timp.
Mar.
Vib.
sparks in the dis - tance a sac - red hymn
Glock.
Crot.
Tub. Bells.
Tub. Bells.
142 143 144 145 146

Picc.
M
MC Verse 2
23
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
2
B♭ Tpt.
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
M.C.
Pno.
Timp.
Mar.
Vib.
Dr.
B. Dr.
Dr.
B. Dr.
147 148 149 150 151 152

24
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
a 2
1
2
B♭ Tpt.
3
harmon mute stem in
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
M.C.
Pno.
Timp.
Mar.
Vib.
Glock.
Dr.
B. Dr.
H-hat.
with sticks
153 154 155
156 157 158

Picc.
N Breathing
25
1
Fl.
2
a 2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
2
B♭ Tpt.
3
harmon mute stem in
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
pizz.
M.C.
S.
with the rhy - thms bred in an - cient tongues
Pno.
Timp.
Mar.
Vib.
Glock.
Dr.
H-hat. 3
to mallets
159 160
161 162 163 164

26
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1.
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
S.
Pno.
Timp.
arco
beck - on - ing all who pause to lis - ten time stands still breath - - ing
a 2
Mar.
Vib.
Sus. Cym.
Dr.
B. Dr.
soft mallets
Sus. Cym.
soft mallets
with soft mallets
B. Dr.
165 166 167 168
169 170

Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
S.
Pno.
Timp.
Mar.
Vib.
Sus. Cym.
Dr.
B. Dr.
1.
a 2
a 2 a 2
breath - - ing sparks in the dis - tance a sac - red hymn
to sticks
171 172 173 174 175 176
stopped
3.
stopped
27

28
Picc.
O
MC Verse 3
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
M.C.
3.
a 2
2.
Pno.
Timp.
Mar.
Vib.
H-hat. 1
Dr.
B. Dr.
sticks
(rim click)
H-hat.
sub.
177 178 179 180 181 182 183

Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
M.C.
P Electric
and
vibrant =
88
a 2
a 2
a
2
open
3.
open
a 2
opt. 8vb
29
Pno.
Timp.
Mar.
Vib.
H-hat. 1
Dr.
B. Dr.
x
184 185 186 187 188 189

30
Picc.
1
Fl.
2
a 2
1
Ob.
2
1
Bsn.
2
a 2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
a 2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
a 3
open
B. Tbn.
Euph.
Tba.
D. B.
opt. 8vb
M.C.
Pno.
Timp.
Mar.
x
x
Vib.
H-hat. 1
Dr.
B. Dr.
190 191 192 193 194 195

31
Picc.
1
Fl.
2
a 2
1
Ob.
2
1
Bsn.
2
a 2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
a 2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
a 3
B. Tbn.
Euph.
Tba.
D. B.
opt. 8vb
opt. 8vb
M.C.
Pno.
Timp.
Mar.
x
Vib.
H-hat. 1
Dr.
B. Dr.
196 197 198 199 200 201

32
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Q
a 2
a 2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
a 2
a 2
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
a
3
a 2
colla voce
B. Tbn.
Euph.
Tba.
D. B.
M.C.
S.
Pno.
Timp.
Mar.
Vib.
H-hat. 1
Dr.
B. Dr.
I am king rst and last in kind grand halls
202 203 204 205 206 207

Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
a 2
a 2
33
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
a 2
2.
1.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
a 3
a 2
a 2
1
Tbn.
2
a 2
B. Tbn.
Euph.
Tba.
D. B.
M.C.
S.
Pno.
Timp.
Mar.
Vib.
ow - ing through dreams and pools and streams I am king rst and last in
H-hat. 1
Dr.
B. Dr.
208 209 210 211 212 213

34
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
a 2
a 2
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
a 2
a 2
a 2
a
2
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
a 3
a 2
a 2
a 2
B. Tbn.
Euph.
Tba.
D. B.
M.C.
S.
Pno.
Timp.
kind grand halls ow - ing through dreams and pools and streams
Mar.
Vib.
H-hat. 1
Dr.
B. Dr.
214 215 216 217 218

Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
M.C.
S.
Pno.
Timp.
Mar.
Vib.
Tam.
Dr.
35
R Expansive = 84
a
2
1.
2.
a 2
moon - ow - er let these words y like gil - ded wings on o - pen sky
Tam.
B. Dr.
219 220
221 222 223 224

36
Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
M.C.
S.
Pno.
Timp.
Mar.
Vib.
Glock.
Dr.
B. Dr.
S
a 3
a
2
Glock.
In my dreams I come ful - ly a -
hard mallets
225 226 227 228 229

Picc.
1
Fl.
2
1
Ob.
2
1
Bsn.
2
Cbsn.
1
B♭ Cl. 2
3
B♭ B Cl.
Cb. Cl.
1
A. Sax.
2
T. Sax.
Bar. Sax.
1
B♭ Tpt. 2
3
1
2
F Hn.
3
4
1
Tbn.
2
B. Tbn.
Euph.
Tba.
D. B.
M.C.
S.
Pno.
Timp.
Mar.
Vib.
Glock.
Dr.
B. Dr.
a 2
blow air through instrument
with reversed mouthpiece
a 2
blow air through instrument
with reversed mouthpiece
blow air through instrument
with reversed mouthpiece
STOP
- live
Sn. Dr.
scrape on snare (hard brushes)
poss.
Sn. Dr.
scrape on snare (hard brushes)
poss.
a 2
blow air through instrument
with reversed mouthpiece
a 2
blow air through instrument
with reversed mouthpiece
blow air through instrument
with reversed mouthpiece
blow air through instrument
with reversed mouthpiece
Wh.
230 231 232 233 234
a 3
37