00 - Score - Waltzing Dervish

Keane Southard
Waltzing Dervish
for
Wind (powered) Ensemble
(2010)
(Duration: c. 10 mins.)

Instrumentation:
Piccolo
3 Flutes
2 Oboes
English Horn
Eb Clarinet
4 Clarinets in Bb
Bass Clarinet in Bb (with low C)
2 Bassoons
Contrabassoon (if not available, Contrabass Clarinet in Bb may be used [part included in set])
Soprano Saxophone
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
4 Trumpets in Bb (Trumpet 1 doubling Flugelhorn)
4 Horns in F
2 Trombones
Bass Trombone
Euphonium
Tuba
Piano
String Bass
Timpani
Percussion 1:
Crash Cymbals (shared with perc. 2)
Suspended Cymbal
Large Bass Drum (shared with perc. 3)
Xylophone (shared with perc. 3)
Tambourine
Crotales
Percussion 2:
Snare Drum
Cabasa
Hi-hat
Marimba
Cuica (Lion's Roar)
Sizzle Cymbal
High Triangle
Large Tam-tam
Crash Cymbals (shared with perc. 1)
Siren (with crank)
Percussion 3:
Large Bass Drum (shared with perc. 1)
Glockenspiel
Sandblocks
Xylophone (shared with perc. 1)
Transposed Score

Program notes:
Waltzing Dervish for Wind (powered) Ensemble was begun in January 2010 and finished
in March of the same year. For the past year or so, I have been struggling to find a way to marry
my passion for music with my desire to contribute as much as I can to solving the immense and
pressing crises of the world. While I have no doubt that Art plays an important role in the wellbeing
and healing of the world, I feel that the impact of great music, especially “classical” music
that has been written since the 20 th century, is less immediate. Who am I to make a living
spending most of my time in solitude writing music that few people will hear, and even fewer will
be impacted positively by, when these huge crises threaten to end human existence in the relatively
near future? How can I make a real, immediate, and positive contribution to ensuring a just,
stable, and improved future for our world through the medium I am most passionate about?
Around the same time, I started to recognize my affinity for waltzes. The image of people
dancing the Viennese Waltz with their constant spinning has always appealed to me as being so
carefree and a way to lose oneself. I find the feel and lilt of the waltz to be so wonderfully cathartic
(although I confess I'm not a very good dancer at all). I also realized that I've subconsciously
associated this dance with spirituality, just as whirling dervishes in the Mevlevi order of Sufi Islam
use spinning to lose their ego and attain a closer connection to God. After identifying this
connection, I remembered that as a young child I used to love to spin in place as fast as I could to
get as dizzy as possible in, of all places, church during the coffee hour after the service. We also
had a “Sit 'n Spin” that I remember spinning on all the time, so I had made this connection ever
since I was very young. In addition, the waltz is an extremely adaptable dance form, and I enjoy
Viennese, Chopin, Circus, Ravel, Brazilian, Russian, Schoenberg, and Strauss waltzes to name a
few manifestations. It can, and has been, adopted by many different cultures, yet still maintains
the same wonderful feel.
And so I began formulating a plan to write a set of waltzes where the individual dances would
be in contrasting styles. The idea stayed in my mind until I drove cross-country with my father in
September 2009 while moving from Massachusetts to Colorado to begin graduate school. While
driving through Iowa, we passed through two wind farms, and I was struck at how majestic and
beautiful these spinning structures were, as well as their obvious symbolism of a new clean-energy
future. On our “Great American Road-trip” across my home country that I have become
increasingly critical of and disillusioned with, I had found something that I could be proud of.
Looking across the vast expanse of the golden plains, I realized the enormous potential for clean
renewable wind energy we have in this country. There is no arguing about the clean energy
resources we have in our country (one recent study suggests that we have enough potential wind
energy in the USA satisfy our current energy needs sixteen times over) and our only obstacle is to
move away from fossil fuels and simply put up more wind farms. Yet many people still view these
turbines as eyesores and feel that their clean-energy production is not worth having such “hideous”
structures in their line of view.
The spinning of the wind turbines immediately connected with my idea to write a set of
waltzes. By writing a set of diverse waltzes, I could help to elevate and show the beauty of the wind
turbine as a symbol of the Real America. The use of the waltz in different cultural styles and my
association with its spiritual side would show that climate change transcends cultural differences
and that we all need to address this problem together as one humankind instead of wasting our
precious time arguing that one country or religion is more responsible for our problems than
others. I hope that this music depicts the majesty, power, beauty, hopefulness, playfulness,
ecstasy, and “Joie de vivre” of these spinning structures and people. And what better medium to
write this work for than an ensemble that runs on wind power itself?
Keane Southard
2010

Performance instructions:
1. Tenuto marks (-) over notes indicate more weight/stress on the note and does not indicate
space to be placed in between that note and the next (unless the tenuto is combined with a
staccato).
2. Notes with triangle noteheads (∆) indicate that the performer should play the highest note
possible on the instrument (or the indicated string for the String Bass) at the given moment.
3. Near the end of the work, the pianist is required to wear a glove on their right hand in order
to execute the loud and fast cluster-glissandi. The glove must be of a material that will glide
smoothly and quickly across the keys while protecting the performer's hand from damage.
4. It is preferred that the work is performed with one player per part.
5. Unless otherwise indicated, the damper pedal (for the piano) should be used discreetly to
allow for maximum clarity.
6. In the section beginning at m. 379, each added line to the texture should clearly heard upon
entering.
7. In the Trumpet soli from m. 191-231, if it is necessary for ANY of the Trumpets to play the
Ossia, then ALL trumpets must play their own Ossias.
Keane Southard/Spindrift Pages
Email: keane.southard@hotmail.com
Website: keanesouthard.com

Transposed Score
Piccolo
Flutes 1-2
Flute 3
Oboes 1-2
English Horn
Clarinet in Eb
Clarinets in Bb 1-2
Clarinets in Bb 3-4
Bass Clarinet
in Bb
Bassoons 1-2
Contrabassoon
Soprano Saxophone
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
Trumpet in Bb 1-2
Trumpet in Bb 3-4
Horn in F 1-2
Horn in F 3-4
Trombone 1-2
Bass Trombone
Euphonium
Tuba
Piano
String Bass
Timpani
Percussion 1
Percussion 2
Percussion 3
h. = 84
fp
fp
h. = 84
3
ff
h. = 84
ff
p
ff
fp
p
a2
p
p
a2
p
p
a2
p
p
p
for Wind (powered) Ensemble
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
Waltzing Dervish
©2010
ff
ff
Keane Southard
a2
p
fp
ff
ff
fp
a2
ff
p
ff
fp
fp
ff
3
3
3
ff
3
Snare Drum with sticks
Large Bass Drum
Crash Cymbals
3
3
3

2
Picc.
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
15
ff
ff
21 h. = 66 molto rit.
a2
ff fff f f ff
1.
ff fff f f ff
a2
a2
ff
fff
ff fff mp f
fff
ff fff ff
ff
fff
fff
ff
ff
a2
3.
B. Cl.
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
ff
ff fff f f ff
a2
ff
ff
ff
fff
fff
fff
fff
f f ff
ff fff mp f ff
Bari. Sax.
Tpt. 1-2
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
ff
ff fff mp f ff
ff
ff
ff
ff
a2
ff
ff
21 h. = 66 molto rit.
fff
fff
fff
fff
fff
fff
fff
fff
21
fff
f
h. = 66
mp
f
ff
ff
molto rit.
ff
ff
ff
2.
p
fff
1. to Flugelhorn
fff
Susp. Cym. with mallets
Large Bass
Drum
mp
f
f f ff
Rute on Bass
Drum shell
fp fff mp f ff
Cabasa

33
3
Picc.
(q=60)
31
h. = 66
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
mf
Cl. 1-2
Cl. 3-4
B. Cl.
Bsn. 1-2
1.
p
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
Tpt. 1-2
Tpt. 3-4
1. Flugelhorn Solo
33
(q=60) h. = 66
p mp poco a poco crescendo
Hn. 1-2
p
poco a poco crescendo
Hn. 3-4
p
poco a poco crescendo
Tbn. 1-2
B. Tbn.
Euph.
p
poco a poco crescendo
Tba.
Pno.
S. Bass
Timp.
Perc. 1
33
(q=60) h. = 66
senza ped.!!
p
pizz.
mp
p poco a poco crescendo
poco a poco crescendo
Perc. 2
Perc. 3

4
Picc.
Fl 1-2
Fl. 3
45
1.
mf
mf
f
f
Ob. 1-2
Eng. Hn.
Eb Cl.
poco a poco crescendo
Cl. 1-2
Cl. 3-4
B. Cl.
Bsn. 1-2
Cbsn.
2.
a2
f
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
mf poco a poco crescendo f
Tpt. 1-2
Tpt. 3-4
Hn. 1-2
f
Hn. 3-4
f
Tbn. 1-2
B. Tbn.
Euph.
f
Tba.
Pno.
mf
f
f
S. Bass
Timp.
f
Perc. 1
Perc. 2
Perc. 3
Glock.
mf
f

Picc.
Fl 1-2
56
mp
mp
59
h. = 88
5
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
f
mp
Cl. 3-4
B. Cl.
Bsn. 1-2
p
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
Tpt. 1-2
Tpt. 3-4
p
59
h. = 88
1. to
f
mp
Trumpet
Hn. 1-2
Hn. 3-4
Tbn. 1-2
a2
a2
p ff mf
p
ff
a2
mf
B. Tbn.
Euph.
Tba.
Pno.
S. Bass
Timp.
ff
p ff mf
p ff mf
p
p
59
h. = 88
mf
Perc. 1
Perc. 2
Perc. 3
(Glock.)
mp

6
Picc.
Fl 1-2
Fl. 3
79 87
74
mf
a2
mf
f
f
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
B. Cl.
ff mp f mp
ff mp f mp
Bsn. 1-2
a2
1.
ff mp f p mf mp
a2
2.
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
f ff pp
Solo
f
Cut loose!
mp f pp p mf
3
3
Solo
f Cut loose!
Bari. Sax.
Tpt. 1-2
79 87
Tpt. 3-4
Hn. 1-2
a2
ff
Hn. 3-4
Tbn. 1-2
ff
B. Tbn.
Euph.
ff
ff
Tba.
ff
Pno.
79 87
S. Bass
Timp.
Perc. 1
Rute on Bass Drum shell
f mp f mp
Perc. 2
Perc. 3
Snare Drum
with brushes
mf
Glock. with
brass mallets
mf
f
f

Picc.
Fl 1-2
89
95
3
mf f mf
a2
a2
3
mf f mf
7
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
f mp f
Cl. 3-4
B. Cl.
f mp f
Bsn. 1-2
Cbsn.
1.
f p mf mp f p
pp f pp p mf pp p f pp p
Sop. Sax.
Alto Sax.
3 3 3
Ten. Sax.
Solo
f
Cut loose!
3
Bari. Sax.
Tpt. 1-2
95
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
95
S. Bass
Timp.
Perc. 1
(Rute on Bass Drum shell)
f mp f
Perc. 2
Perc. 3
(Snare Drum
with brushes)
mf f mf
(Glock.)
3
mf f mf

8
Picc.
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
103 111
103
f
a2
f mf 3
f
a2
mf
mf
3
3
f
3
f
f
Eb Cl.
Cl. 1-2
Cl. 3-4
B. Cl.
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
mf
mp
mp
mp
mf pp p f pp
f
f
f
2. a2
f
Ten. Sax.
Bari. Sax.
3
3
Solo
3
3 3
f Cut loose!
OSSIA
Tpt. 1-2
103 111
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
103 111
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
(Rute on Bass Drum shell)
mp
(Snare Drum
with brushes)
f
f mf f pp
(Glock.)
f
mf
3
f
Snare Drum
with sticks

Picc.
Fl 1-2
Fl. 3
Ob. 1-2
116
119
ff
ff
ff
ff
9
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
B. Cl.
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
Tpt. 1-2
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
mf
ff
ff
ff
ff
ff
ff
ff
ff
3 3 3
ff
pp
ff
119
ff
ff
ff
ff
ff
ff
ff
3
3
3
f ff f ff
ff
ff f ff f ff
ff
3 3 3
3 3 3
3 3 3
3 3 3
a2
a2
a2
ff
3
3
3
3
119
3
3
3
(Rute on Bass Drum shell)
(Snare Drum
with sticks)
3
Sul D
arco
gliss.
ff
3
Sul A
gliss.
Hi-hat-closed (tight) with sticks
with tips of sticks
(Glock.)

10
Picc.
130
135 143
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
B. Cl.
a2
mf
f
Bsn. 1-2
Cbsn.
Sop. Sax.
mf
ff
n
Alto Sax.
Ten. Sax.
mf
f
Bari. Sax.
mp f p mf
Tpt. 1-2
mf
135 143
ff
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
ff
mf
mf
mf
mf
ff
ff
ff
ff
ff
fff
mp f mp
f Cut loose!
mp f mp
3
(Hi-hat closed
with sticks)
gliss.
3 3 3
gliss.
3
Xylophone with hard mallets
Solo
mf
ff
mp f pp
p
mf
3
3
135
143
3
3
3
3
3
3
ff mp ff fff
3
ff p p ff f
Marimba with
hard mallets
Solo

11
Picc.
144
151
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
a2
a2
mf f mf
mf
Cl. 1-2
Cl. 3-4
a2
mf f mf
a2
B. Cl.
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
mf f mf
Ten. Sax.
Bari. Sax.
Tpt. 1-2
mp f p mf mp f
151
3 3
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
f mp f
f mp f
B. Tbn.
Euph.
Tba.
Pno.
pp
f pp p mf pp f pp
151
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
(Xylophone with hard mallets)
(Marimba with
hard mallets)
Cut loose!
Glock. with
brass mallets
Solo
f Cut loose!

12
Picc.
158
159 167
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
f mf f
a2
f mf f
Eb Cl.
mf
f
Cl. 1-2
Cl. 3-4
B. Cl.
a2
f mf f
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
f mf f
Ten. Sax.
Bari. Sax.
Tpt. 1-2
3
3
3 3
3 3
p mf mp f
3
3 3 3 3
3 3
3 3
159 167
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
mp
mp
f
f
B. Tbn.
Euph.
Tba.
mf pp p f pp
f
Pno.
159 167
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
(Xylophone with hard mallets)
(Marimba with
hard mallets)
(Glock. with
brass mallets)

Picc.
Fl 1-2
171
175
a2
ff
ff
13
Fl. 3
Ob. 1-2
Eng. Hn.
ff
ff
Eb Cl.
ff
ff
Cl. 1-2
Cl. 3-4
B. Cl.
ff
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
ff
ff
Bari. Sax.
Tpt. 1-2
3 3
ff
175
Tpt. 3-4
Hn. 1-2
a2
ff
a2
Hn. 3-4
Tbn. 1-2
ff
B. Tbn.
Euph.
ff
ff
Tba.
Pno.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
175
ff
ff
ff
ff
(white-note gliss.) l.h.
ff r.h.
l.h.
f
gliss.
ff
ff
f ff f ff
f
gliss.
(Xylophone with hard mallets)
(Marimba with
hard mallets)
(Glock. with
brass mallets)
gliss.
gliss.
gliss.
Tambourine
ff

14
Picc.
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
186
191 199
f
f
f
f
ff
ff
ff
ff
a2
mf
mf
f
f
Cl. 3-4
B. Cl.
mp f p mf
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
mp f mp
mp f mp
mp f mp
mp f mp
Tpt. 1-2
Solo
191 199
3
3
f Cut loose!
3
*OSSIA
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
mf
mf
a2
ff
ff
Solo
f Cut loose!
B. Tbn.
Euph.
Tba.
Pno.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
ff
mf
mf
mf
ff
ff
ff
191 199
mp ff fff mp f p
mf
gliss.
f mp ff
(Tambourine)
f p ff
gliss.
Snare Drum
with brushes
mp f mp
Sandblocks
*If it is necessary for ANY of the Trumpets to play the Ossia, then ALL trumpets must play their own Ossias.
mf
f

Picc.
200
207
15
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
a2
mf f mf
mf f mf
mf
f
a2
a2
a2
mf
mf
B. Cl.
mp f p mf mp
f
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
f mp f
f
f mp f
f
f
mp
mp
f
207
Tpt. 1-2
(Ossia for 1.)
Tpt. 3-4
Hn. 1-2
OSSIA
OSSIA
3. Solo
f
f
Cut loose!
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
207
f
p
mf
f
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
(Snare Drum
with brushes)
f mp f
(Sandblocks)
mf f mf

16
Picc.
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
215 223
213
f mf f
f mf f
f mf f
a2
f mf f
a2
a2
mf
mf
f
f
B. Cl.
Bsn. 1-2
p mf mp
f
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
Tpt. 1-2
Tpt. 3-4
Hn. 1-2
mp
f
f
f
mp
(Ossia for 1.)
(Ossia for 2.)
(Ossia for 3.)
mp
mp
3
3
f
f
3
3
f
f
OSSIA
3
3
Solo
f
f
3
Cut loose!
3
f
f
f
215 223
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
215 223
mf
(Snare Drum
with brushes)
(Sandblocks)
mp
f
f mf f
f
f

Picc.
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
B. Cl.
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
Tpt. 1-2
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
Xylophone with hard mallets
(Sandblocks)
3 3 3
17
231
225
ff
ff 3 3 3
a2
ff 3 3 3
3
3 3
ff
a2 3
ff
ff
3
3
3
ff
ff
3
3
3
ff
ff
3 3
a2 3 3
ff
3
ff
a2 3 3 3
ff
ff
ff
a2
ff
f
ff
ff
ff
ff
ff
231
3 3 3
ff
3 3 3
ff
3 3 3
ff
3 3
3
ff
a2
ff
a2
ff
ff
ff
ff
ff
231
ff
ff
ff
Large Bass Drum
p
f
(Snare Drum
Cuica (Lion's Roar)
with brushes)
ff
ff
mf fff ff
3 3 3

18
Picc.
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
B. Cl.
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
Tpt. 1-2
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
S. Bass
Timp.
Perc. 1
Perc. 2
238
3 3 3
3 3 3
3 3
ff 3 3
ff 3 3
3
ff
3
3 3
3
3
3 3
3
3
3 3
3 3
3 3
3
3
3 3
3 3 3 3
fff
p ff fff
p ff fff
ff ff fff
ff ff fff
3
3
3 3
3 3
3 3
3
3
3
3
3 3
3 3
fff
fff
3 3 3 3
3
3 3
3
3 3
3 3
ff
fff
fff
fff
fff
fff
fff
fff
fff
fff
(Cuica)
(Large Bass Drum)
Snare Drum
with sticks
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
ff
247
q = 76
mp molto espress.
247
q = 76
247
q = 76
1. Solo
3
3
1. Solo
mp molto espress.
to straight
mutes
to straight
mutes
Perc. 3
(Xylophone with hard mallets)
3 3 3
3
3 3
fff

Picc.
253
Solo
19
265
rit. A tempo
mf f molto espress. p mp molto espress.
Fl 1-2
1. Solo
p mf molto espress. f
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
mf
Solo
mf
mp molto espress.
f
2. Solo
3 3
mf molto espress. f p
1. Solo
mp molto espress.
B. Cl.
Solo
mf molto espress. f p
Bsn. 1-2
1. Solo
mf molto espress. f mp
2.
Cbsn.
mf f p
Sop. Sax.
Solo
mf f molto espress. p
Alto Sax.
Ten. Sax.
Solo
mp molto espress.
f
Solo
mp
mf molto espress.
p
Bari. Sax.
Tpt. 1-2
265
rit. A tempo
1. con sord.
mp
Tpt. 3-4
Hn. 1-2
p
Hn. 3-4
p
Tbn. 1-2
B. Tbn.
Euph.
mp
Tba.
Pno.
S. Bass
Timp.
rit. A tempo
265
mp
pizz.
mf
molto espress.
Perc. 1
Perc. 2
Sizzle Cymbal
with brush
p
Perc. 3
Glock. with
brass mallet
mp

20
Picc.
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
268
1. Solo
2.
p
molto espress.
mf 3 3 3
p mp
molto espress.
mp
3
mp
molto espress.
3 3 3
mp molto espress.
pp mf mp molto espress.
1.
3
3
Cl. 1-2
Cl. 3-4
B. Cl.
Bsn. 1-2
mf
mp
mp
mp
1. Solo
p
1. Solo
mp molto espress.
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
mf molto espress.
mf
Bari. Sax.
Tpt. 1-2
mf
con sord.
p
Tpt. 3-4
con sord.
p
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
3 3
mp
p
p
p
1.
Tba.
Pno.
p
p
mp
S. Bass
Timp.
Perc. 1
Perc. 2
(Sizzle Cymbal
with brush)
High Triangle
Sizzle Cymbal
with brush
p
p
Perc. 3
(Glock.)
mp

21
Picc.
282
286
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
1. Solo
3
3
3
mf f ff
mf
3
f f
mf
a2
mf
f
f
3
f
mf
3
3
3
3
1. Solo
3
3
3
3 3
2.
3
f 3 3
B. Cl.
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
Tpt. 1-2
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
S. Bass
Timp.
Perc. 1
Perc. 2
f
a2
f 3 3 3
mf f mf
3
mf
mf
mp mf mf
mf
mf
mf
mf
286
f
mf
mf
mf
mf
mf
286
f
mp f pp
pp mf pp
mp
remove straight
mutes
mf
f
mf
3 3
senza sord. 3.
remove straight
3
mutes
2.
1. 2.
Sus. Cymbal with yarn mallets
(Sizzle Cymbal
with brush)
arco
3
f
mf
Susp. Cymbal with yarn mallets
pp
3
Large Tam-Tam
3
Perc. 3
Large Bass Drum
pp

22
Picc.
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
294
292
f 3
f 3
3 3
3 3
ff
1.
f
f 3 3 3 3 3 3 3 3 3
f molto espress.
3 3 3 3 3 3 3
3
3 3 f 3 3 3 3 3 3 3
f
3 3 3 3 3 3 3 3 3 3 3
1. 2.
3
3 3 3 3 3 3 3 3 3 3 3
3
3 3
3 3 3 3 3 3 3 3 3 3 3
Cl. 1-2
Cl. 3-4
a2
3.
3
3 3 3 3 3 3 3 3 3 3 3 3 3
f ff f
B. Cl.
f
Bsn. 1-2
Cbsn.
Sop. Sax.
2. a2
mf
f
f
Alto Sax.
Ten. Sax.
Bari. Sax.
Tpt. 1-2
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
f
294
senza sord. a2
f
f
molto espress.
f molto espress.
f
f
molto espress.
f f molto espress.
f
f
f
f
f
f
f
294
f
ff
f
f
f
f
a2
a2
(Susp. Cymbal with yarn mallets)
(Large Tam-Tam)
(Large Bass Drum)

Picc.
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
301
f
f molto espress. cresc. ff
f
3 3 3 3 3 3
ff
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
ff
f molto espress. cresc. ff
3 3 3 f 3 3 3 3 3 3 3 3 3 3 3 3
f ff
molto espress.
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
a2
3 3 3
1.
3 3 3
2.
cresc.
4. a2
3 3 3 f 3 3 3 3 3 3 3 3 3 3 3 3 ff 3 3 3
a2
ff
a2
ff
3
23
B. Cl.
Bsn. 1-2
a2
a2
f molto espress. 3 3 3
ff
f
ff
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
f
molto espress.
f molto espress.
cresc.
f
cresc.
ff
ff
ff
ff
ff
Tpt. 1-2
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
a2
f
molto espress.
senza sord. 3.
f
(senza sord.)
mf
mf
f molto espress.
f
a2
f molto espress.
a2
a2
f
f
3
3
Tba.
f
Pno.
S. Bass
Timp.
Perc. 1
ff
Perc. 2
Perc. 3

24
Picc.
309
molto rit.
3
3 3 3 3 3
’
3 3 3
fff
A tempo
(this bar only)
mp
314
317
Freely
q = 132 con rubato
Fl 1-2
fff
mp
Fl. 3
3 3 3 3 3 3 3 3 3
fff
mp
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
B. Cl.
Bsn. 1-2
3 3 3 3 3 3 3 3 3
fff
fff
fff
mp
3
3 3 3 3 3 3
3 3
3
mp
fff mp mp
3 3 3 3 3 3 3 3 3
fff mp mp
1.
fff
3.
3
3
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
Tpt. 1-2
Tpt. 3-4
Hn. 1-2
3 3 3 3 3 3 3 3 3
fff
p
3 3
3 3 3 3 3 3
fff
3
fff
3 3 3
3 3 3
fff
mp
mp
fff
mp
fff
mp
molto rit.
A tempo 314 Freely
317
(this bar only)
q = 132 con rubato
3 a2
3
ff
ff
ff
’
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
S. Bass
Timp.
Perc. 1
ff
ff
ff
ff
ff
314 317
molto rit.
A tempo
Freely
(this bar only)
q = 132 con rubato
’
fff p p mf p
with pedal
Sus. Cymbal with yarn mallets
mf
ff
fff
ff
Perc. 2
Crash Cymbals
ff
Perc. 3
Large Bass Drum
ff

Cl. 1-2
Cl. 3-4
323
325 333
3
2.
molto rit.
3
f
4.
3
3 3
3
f
25
Pno.
325 333
f
molto rit.
3 3 3
Cl. 1-2
Cl. 3-4
Pno.
336
3
(q=40)
A tempo molto rit. q = 112 accel. q = 184
p p mp mf
3
3 3
3
3
3 3 3
p
p
a2
341
341
(q=40) A tempo molto rit. q = 112 accel. q = 184
3 3
mf
mf
Fl 1-2
Fl. 3
Cl. 1-2
Cl. 3-4
Pno.
350
rit.
p
355
mp
rit.
p
1.
mp
q=132 con rubato
355
q=132 con rubato
p
S. Bass
mp
Fl 1-2
Fl. 3
363
363
371
3 3
3 3
f
f
molto rit.
Pno.
S. Bass
363
371
molto rit.
3 3 3
f
ff

26
Picc.
Fl 1-2
Fl. 3
379
(q=40) A tempo molto rit. q = 112 accel.
h.=60
374
3
mp p mp
mp
a2
(each added line
should be clearly
heard when it enters)
3
385
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
B. Cl.
Bsn. 1-2
Cbsn.
1. 2.
p
poco a poco crescendo
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
Tpt. 1-2
379 385
(q=40) A tempo molto rit. q = 112 accel.
h.=60
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
p
poco a poco crescendo
B. Tbn.
p
Euph.
Tba.
Pno.
S. Bass
Timp.
Perc. 1
379 385
(q=40) A tempo molto rit. q = 112 accel.
h.=60
3
3 3 3 3
3 3 3 3
p
mp
pizz.
poco a poco crescendo
mp
Perc. 2
Perc. 3

27
Picc.
387
391 397
Fl 1-2
1.
mf
Fl. 3
Ob. 1-2
1.
mp
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
3.
mp
B. Cl.
Bsn. 1-2
1. 2.
Cbsn.
mf
Sop. Sax.
Alto Sax.
Ten. Sax.
mp
poco a poco crescendo
Bari. Sax.
Tpt. 1-2
391 397
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
3. 4.
mp
poco a poco crescendo
B. Tbn.
Euph.
Tba.
Pno.
391 397
poco a poco crescendo
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
Glock. with brass mallets
mf

28
Picc.
Fl 1-2
398
403
mf
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
mf
mf
poco a poco crescendo
2. 1.
mf
mf
poco a poco crescendo
Cl. 1-2
Cl. 3-4
4.
mf
B. Cl.
Bsn. 1-2
1.
Cbsn.
poco a poco crescendo
Sop. Sax.
Alto Sax.
Ten. Sax.
mf
Bari. Sax.
Tpt. 1-2
403
Tpt. 3-4
Hn. 1-2
Hn. 3-4
3. 4.
1.
mf
poco a poco crescendo
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
403
S. Bass
Timp.
Perc. 1
Perc. 2
Siren (with crank)
Crotales
mf
Perc. 3
(Glock.)

Picc.
409 415
accel.
409
29
Fl 1-2
1.
mf
f
2.
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
1.
f
3. 4.
f
3 3 3 3 3 3
poco a poco crescendo
B. Cl.
mf
poco a poco crescendo
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
2. 1.
mf
poco a poco crescendo
f
3 3 3 3 3 3
poco a poco crescendo
Bari. Sax.
Tpt. 1-2
409 415
accel.
f
Tpt. 3-4
Hn. 1-2
2.
Hn. 3-4
3. 4.
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
mf
poco a poco crescendo
409 415
accel.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
(Crotales)
(Siren)
(Glock.)
(higher than
previous peak)

30
Picc.
Fl 1-2
Fl. 3
421 427
420
1.
f
cresc.
a2
3 3 3 3 3 3
cresc.
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
a2
3. a2
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
a2
f
f
f
3 3 3 3 3 3
cresc.
3 3 3 3 3 3
cresc.
cresc.
B. Cl.
Bsn. 1-2
2.
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
3 3 3 3 3 3 3 3 3 3 3 3 3 3 3
f
poco a poco crescendo
Bari. Sax.
poco a poco crescendo
Tpt. 1-2
Tpt. 3-4
Hn. 1-2
Hn. 3-4
421 427
1.
f
poco a poco crescendo
a2
a2
2.
a2
f
cresc.
Tbn. 1-2
B. Tbn.
Euph.
Tba.
f
421 427
cresc.
Pno.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
(Crotales)
(Siren)
(Glock.)
f
poco a poco crescendo
(higher!)
f
cresc.

Picc.
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
B. Cl.
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
430
ff
ff
ff
434
h. = 88
3 3 3 3
ff
3 3 3 3 3 3 ff
3 3
ff
ff
ff
ff
3 3 3 3 3 3 3 3 3 3 3 3
ff
ff
ff
ff
ff
3 3 3 3 3 3 ff
3 3 3 3 3 3
ff
ff
ff
3 3 3 3 3 3
3 3 3 3 3 3
a2
ff
a2
ff
a2
3
3
ff
31
Bari. Sax.
Tpt. 1-2
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
ff
434
ff
h. = 88
a2
ff
ff
ff
ff
ff
ff
ff
434
ff
ff
ff
ff
ff
ff
ff
put glove on r.h.
h. = 88
ff
S. Bass
Timp.
arco
ff
ff
Perc. 1
Perc. 2
Perc. 3
(Crotales)
(Siren)
(Glock.)
ff
(highest!)
ff
Crash Cymbals
ff
l.v.
Large Bass
Drum
ff

32
Picc.
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
B. Cl.
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
Tpt. 1-2
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
443
ff 3 3 3 3
ff 3 3
ff 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3
3 3
3 3 3 3 3 3 3 3
ff 3 3 3 3 3 3 3 3
ff
a2
3 3
3 3 3 3
ff
ff 3 3 3 3
452
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
rit. h. = 88
rit. h. = 88
q = 118
452
fff
fff
fff
fff
fff
3 3
3 3 3 3 3 3 3 3 3 3
3 3 3 3 3 3 3 3 3 3
a2
q = 118
3 3
ff
ff
Euph.
Tba.
fff
fff
Pno.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
q = 118
rit. h. = 88
452
fff
fff
fff
fff
fff
(Crash Cymbals)
(Large Bass Drum)
4
3
Large Tam-Tam
3

Picc.
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
B. Cl.
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
456
ff
ff
ff
ff
ff
ff
ff
ff
ff
ff
3 3 3
p
3 3 3 3 3 3
p f p
ff ff 3 3 3 3 3
p f p
ff
ff
3
3
3 3 3 3 3 3
p f p f p
ff 3 3 3 3 3
p f p
a2
1.
3 3 3 3 3
ff
f p f 3 3
3 3
3
p f p f p
fp
fp
fp
1. a2
3
fp
3
p f p f p
fp
a2
3
3
a2
a2
3
ff fp p
ff
3
3 3 3 3
3
3
a2
p
p
p
p
3 3
3 3
3
3 3
3
33
3
3
3
Tpt. 1-2
3 3 3
p
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
ff
ff
ff
ff
ff
ff
p
p
Pno.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
black-note-cluster
ff
gliss. sempre (with glove)
ff
(Crash Cymbals)
ff
ff
fp
gliss.
(Large Bass Drum)
gliss.
Large Bass Drum
p
gliss.

34
Picc.
Fl 1-2
Fl. 3
Ob. 1-2
Eng. Hn.
Eb Cl.
Cl. 1-2
Cl. 3-4
B. Cl.
Bsn. 1-2
Cbsn.
Sop. Sax.
Alto Sax.
Ten. Sax.
Bari. Sax.
Tpt. 1-2
Tpt. 3-4
Hn. 1-2
Hn. 3-4
Tbn. 1-2
B. Tbn.
Euph.
Tba.
Pno.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
463
463
463
Sul E
fff
ff mp fff
ff mp fff
ff mp fff
(chromatic scale as bells up!
fast and high as possible)
ff mp fff
ff mp fff
(chromatic scale as
fast and high as possible) bells up!
ff mp fff
(chromatic scale as
bells up!
fast and high as possible)
ff mp fff
ff mp fff
ff mp fff
ff mp fff
(chromatic scale as
fast and high as possible) bells up!
ff mp fff
ff mp fff
ff mp fff
ff mp fff
ff mp 3 3
fff
ff mp 3
3
fff
ff
ff mp fff
ff
ff mp fff
ff mp fff
ff
463
fff
ff ffp ff p ff p fff
ff
ff 3 ffp ff p ff p fff
(Large Bass Drum)
ff
(chromatic scale as
fast and high as possible)
(chromatic scale as
fast and high as possible)
(chromatic scale as
fast and high as possible)
ff mp fff
(chromatic scale as
fast and high as possible) bells up!
(chromatic scale as
fast and high as possible)
bells up!
(chromatic scale as
fast and high as possible)
a2
ffp ff p ff p fff
mp
mp
p
gliss.
gliss.
gliss.
gliss.
fff
fff
gliss.
Crash Cymbals
gliss.
gliss.
Snare Drum with sticks 3
3
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
gliss.
fff
Suspended Cymbal with mallets
fff