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<strong>II</strong><br />
ANALYSIS<br />
Section Measures Key Melody<br />
A 1–20 Fm Low Brass → Low Woodwinds → Fl/Ob<br />
B 21–37 Fm Shared<br />
C 38–46 Ab Flute/Oboes<br />
A 47–54 Fm Oboe → Flute<br />
D 55–70 Fm Trombones→Non-Melodic → Tpts<br />
A 71–82 Gm Low Brass/Horns → Woodwinds<br />
D 83–90 Gm Tenor Sax → Flutes/Clarinets<br />
A 91–102 Fm Trumpets → Trumpets/Horns<br />
/ = concurrent<br />
→ = successive<br />
PERCUSSION<br />
NOTES<br />
• This piece calls for a timpanist plus 7 percussionists. If 8 players are<br />
not available, parts may be omitted in this order:<br />
Percussion 1<br />
Percussion 7<br />
Percussion 5<br />
Percussion 2<br />
• Jam blocks are called for in two of the percussion parts. Woodblocks<br />
or temple blocks are suitable substitutes if jam blocks are not<br />
available.<br />
• The vibraphone should be played with vibrato (motor on) during all<br />
passages.<br />
• Measures 55-63 contain an involved series of rhythms for the crash<br />
cymbals. The speed of the passage would make the use of repeated<br />
standard concert-style attacks impractical. Thus, the player should<br />
experiment with creative ways to deliver a tight groove effect using a<br />
combination of different types of strokes similar to those that might<br />
be used in a marching or brass band context.<br />
• The Percussion 5 part calls for tom-toms (high and low). The 2 lowest<br />
available tom-toms should be used.<br />
• The percussion grid in the instrumentation section indicates<br />
instruments that appear in multiple parts. It is possible to share<br />
instruments in most of these instances, although it may be preferable<br />
to provide each part with its own set of auxiliary instruments due to<br />
the minimal transition time between some passages.
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