A GRAINGER TRIPTYCH Final Document

A GRAINGER TRIPTYCH:

THREE VOCAL FOLK SONGS BY PERCY GRAINGER

NEWLY ARRANGED FOR WIND ENSEMBLE

VANESSA HEUCK

SUMBITTED IN PARTIAL FULFILLMENT OF

REQUIREMENTS FOR THE DEGREE OF

DOCTOR OF MUSICAL ARTS

TEXAS TECH UNIVERSITY

LUBBOCK, TX

2017

AGraingerTriptych

2

TABLE OF CONTENTS

Table of Contents 2

Abstract 3

Percy Aldridge Grainger

Short Biography 4

Notes on Composition 6

Historical Information and Applied Arranging Techniques

“Dalvisa” 7

“Died for Love” 9

“Skye Boat Song” 14

Bibliography 20

A Grainger Triptych for Wind Ensemble, Conductor’s Score and Program Notes I. “Dalvisa” II. “Died for Love” III. “Skye Boat Song”

Scores of Grainger’s Original Settings

Appendix A – Spreadsheet of Possible Works for this Project

Appendix B – “Dalvisa,” Vocalise Mixed Chorus, A Cappella

Appendix C – “Died for Love,” Woman’s Voice and Woodwind Trio

Appendix D – “Skye Boat Song,” Solo or Unison Voices and Piano

AGraingerTriptych

3

ABSTRACT

The purpose of this project was to create arrangements of original folk song

settings by Percy Grainger that have not yet been available to the wind band medium.

Employing an “Alphabetical List of Original Compositions and Folk-Song Arrangements

by Percy Grainger,” compiled by the Music Archivist of the Grainger Society, Mr. Barry

Peter Ould, Grainger’s works were assessed while isolating pieces that met the criterion

for this project. An analysis of each prospective piece followed regarding its potential to

be successfully translated for wind band. Those resulting pieces were then analyzed to

determine which works could sensibly coincide as individual movements of a larger work

(See Appendix A). Three pieces were chosen based on country of origin (each from a

different region), tempo and pacing, meter, key, duration, and the flow of one piece to the

next. The final decision was made for “Dalvisa,” “Died for Love,” and “Skye Boat

Song,” in that order, creating growth throughout all three movements in terms of

instrumentation, tempo, pacing, and duration while finishing with the most consonant

sonorities of the three in “Skye Boat Song.”

Permission to arrange these pieces was requested and granted from the publisher,

pending specific agreements, which have been upheld. Finally, an in-depth analysis of

Grainger’s approach to composition and orchestration – from his own words and wind

band settings – was utilized to create a unique collection of three folk songs from Percy

Grainger’s original vocal settings, newly arranged for wind ensemble, and entitled: A

Grainger Triptych.

AGraingerTriptych

4

PERCY ALDRIDGE GRAINGER (1882-1961)

SHORT BIOGRAPHY

Percy Aldridge Grainger was an Australian native, born to John and Rose

Grainger in 1882 – his parents separated when he was just eight years old and was raised

by his mother from then on. His birth name was actually George Percy Grainger, he later

adopted the pen name Percy Aldridge Grainger after taking on his mother’s maiden

name, Aldridge.

His first recollections of music involved listening to his mother, Rose, sing him to

sleep with folk song melodies such as those by Stephen Foster.1 From the age of five, he

also took piano lessons from his mother for two hours every day – this intensive

discipline was not reserved for music alone.

1 Bird, 14. 2 Ibid, 12.

AGraingerTriptych

5

Percy’s parents prohibited him to interact with other children when he was young

and afflicted corporal punishment well into his teens, resulting in social isolation and

home-schooling as well as long-term effects regarding his social behaviors.2 Strangely,

this conditioning instilled an extreme devotion to his mother. He worshipped her, praised

her every decision, and accredited her to his success – in later years, he wrote:

“Why my mother was able to make an artist of me (& I wasn’t such good

material. I mean, I never had much “talent” is there is such a thing) was because

she didn’t allow me to waste my time with other children, or in “play”, but gave

me the habit of almost continual work. When I was not working at music I was

drawing hens or trees or portraits of still lifes & when I wasn’t doing either

drawing or music we were reading aloud to each other.”3

As an adult, Grainger surprisingly became a musically-extroverted man; he left

home and traveled the European countryside, reaching out to strangers, asking if they

would sing for him. From 1906-09, he recorded 216 authentic sounds and stories in the

form of folk song on wax cylinder phonograph.4 These musicians, the folk singers, he

lovingly referred to as the “kings and queens of song… lords in their own domain—at

once performers and creators”5 and was adamant about the authentic preservation of their

performances. These collections, their extensive studies, resulting arrangements and

transcriptions, and continued performances have contributed to the existence and

longevity of folk song and are an inspiration to musicians worldwide.

2 Ibid, 12. 3 Legend to ‘Percy Aldridge Grainger’s published Compositions, 1st editions’ Desk One in Grainger Museum (University of Melbourne), November 2, 1938. 4 Forman, Lewis, ed. The Percy Grainger Companion (London: Thames Publishing, 1981), 59. 5 Program notes written by Grainger for the score to Lincolnshire Posy (London: Schott & Co., 1940),1.

AGraingerTriptych

6

NOTES ON COMPOSITION

“Texture and balance are, musically speaking, much more important than tone-color!”6 – Percy Grainger

As a brief note, compositional aspects that Grainger made clear are of great

importance in his works were upheld within the arrangements of these pieces

and discussed in further detail within the following sections of this document. These

include Grainger’s use of instrumentation and scoring, balance and texture, voice

doublings, contrasting dynamics, and timbre combinations.

Fortunately for those studying his compositional style, Grainger was very candid

and unreserved in regards to his musical intent – the habit of expressing his opinion on

topics of general music and the human experience has been extremely valuable. For

example, in his ‘Notes to Conductors…’ from his Preface to “Spoon River,” American

Folk-Music Setting No. 2, he wrote a lengthy note regarding many aspects of instrumental

music, including the “neglect of the exquisite ‘tuneful percussion’ in symphony

orchestras” and insists that, when they are not neglected, they are misused.7 The details of

this publication and others provide incredible insight as to how Grainger himself would

have written for specific instruments.

He also had his own way of communicating to musicians reading his music – his

unique ‘Blue-eyed English’ (an unlikely yet fortunate repercussion of Grainger’s racial

discrimination and “attempt to drop from his spoken and written English words which

had been derived from Latin and Greek”8) had never been seen before. Nevertheless, his

way of communicating was and is still very effective and is retained within the markings

of this project.

6 Bird, John. Percy Grainger (New York: Oxford University Press, 1999), 334. 7Ibid, 332. 8 Ibid, 61.

AGraingerTriptych

7

“DALVISA”

This triptych begins with a song entitled “Dalvisa,” originally scored for five

voices: Soprano, Alto, Tenor 1, Tenor 2, and Bass. For rehearsal purposes, each of these

vocal lines is labeled within the score and individual parts, distinguished with a letter

(and number for Tenors) that corresponds with each voice.

This tune originates from Dalarna, Sweden entitled “Vidarna sucta uti skogarna”,

translated: “The winds sigh in the forests.”9 It was collected by Hugo Alven in the early

1900’s and portrays the solitude of a lonely sheepherder in the lush forests, flowing

rivers, and rolling valleys of central Sweden (see Conductor’s score of A Grainger

Triptych for Wind Ensemble for lyrics and program notes).

For the scoring of this movement, Grainger’s concert band arrangement of “Ye

Banks And Braes O’Bonnie Doon,” was referenced.10 Originally for five-part chorus, this

tune coincidentally also paints the portrait of a rolling landscape. Clarinet and saxophone

choirs have full-voice assignments within their instrument families, though soprano

saxophone is reserved for the Tenor 1 solo in unison with tenor trombone in a high

register – for warmth with capable projection – in order to float overtop the dense,

chromatic motion below.

Due to the extremely soft and melancholy nature of Grainger’s original setting,

reduced instrumentation was utilized – trumpets are tacet, only one oboe and one

bassoon, two horns, and one trombone. Woodwind choirs and two horns are featured in

the opening along with the sustaining power of string bass and marimba. Aside from

these two voices, there are two instruments assigned to each Alto, Tenor 1, Tenor 2, and

9 Lewis, Thomas P. A Source Guide to the Music of Percy Grainger (White Plains, NY: Pro/Am Music Resources, 1991), 143. 10 Grainger, Percy Aldridge. “Ye Banks And Breas O’ Bonnie Doon” (G. Schirmer, Inc. [ASCAP], New York, NY) 1936; renewed by Percy Aldridge Grainger 1949.

AGraingerTriptych

8

Bass voices while the sounding octave and gently increased dynamic marking in the

Soprano voice (Clarinet 1) provides balance with the rest of the ensemble.

The second Flute adds to the “whispering of the wind” motive in its lowest range,

outlined with gentle articulations from harp and vibraphone and a soft swell from

suspended cymbal for shape, while the first Flute joins the first Clarinet on the second

statement of the melody – thickening the scoring and reinforcing the melody while

staying within the sounding register of the original soprano voice.

During the orchestration of this project, it was imperative that all sounding pitches

maintain their original octave designations (with the exception of the double bass and

marimba, doubling octaves of the bass voice) within comfortable ranges for each

instrument due to the numerous non-chord tones and seventh chords – a single note

within a misplaced octave would create an intruding and jarring dissonance.

New timbres of the oboe, soprano saxophone, trombone, and euphonium are

introduced at the second verse for a thickening of sound. In turn, all clarinets and flutes

join on the “whispering of the wind” motive while the entrance of tuba adds depth to the

closing of the movement.

AGraingerTriptych

9

“DIED FOR LOVE”

On May 7, 1906, Lucy E. Broadwood and Percy Grainger collected this tune from

the singing of Mr. Joseph Taylor – later that same year, on July 28, Grainger revisited

Mr. Taylor and recorded him singing “Died for Love” on phonograph.11 Grainger’s

musical sketch of this recording, as published in the Journal of the Folk-Song Society,

No. 12, was the basis for what would later become the tenth piece in one of Grainger’s

published collections, entitled British Folk-Music Settings. The tune itself is widely

known throughout many European countries and varied in text and title. Grainger entitled

this setting “Died for Love,” yet his sketch of the tune within the Journal of the Folk-

Song Society was “I Wish My Baby It Was Born“ with the small subtitle (“Died for

Love”) in parentheses12 (see A Grainger Triptych, Conductor’s Score for further program

notes and lyrics).

The unique sound of this work was originally scored for solo ‘Woman’s Voice’

(mezzo-soprano, though Grainger gives permission that the piece “may be key-shifted”

[transposed]13) with the option of three different accompaniments, creating the following

possibilities:

The effect of the instrumental trios as accompaniment, as well as the rolling

ostinatos, is that of an homage to the hurdy-gurdy – a portable instrument synonymous

with European folk songs and traveling musicians – consisting of strings within a sound

11 Grainger, Percy Aldridge. "I Wish My Baby It Was Born." Journal of the Folk-Song Society Volume 3.3, No. 12 (May 1908), 188. 12 Grainger, Journal of the Folk-Song Society, 188. 13 Grainger, Percy Aldridge. “Died for Love,” British Folk Music Settings (Buckinghamshire, Great Britain: Bardic Edition), 1993.

Woman’s Voice Flute Clarinet in A Bassoon

Muted fiddle (violin) Muted middle-fiddle (viola) Muted bass-fiddle (cello)

Piano

AGraingerTriptych

10

box that resonate against a hand-cranked wooden wheel.14 Grainger’s muted string trio

accompaniment would certainly demonstrate a very similar timbre of this instrument and

result in a closely accurate reproduction of an authentic performance. Surprisingly, the

wind trio provides a wonderfully reedy sound with exceptional warmth and added depth;

along with a muted string bass in its upper register, there is potential for the best of both

worlds. Attempts to maintain these acoustic properties have been paramount within this

arrangement for winds while maintaining clarity of the melody throughout the densely

moving lines, accomplished by means of reserved instrumentation and attention to the

preservation of Grainger’s original octave designations.

An important characteristic of this original tune is its never-ending sustaining

quality – easily achieved with Grainger’s setting for strings or piano. For winds, it is still

achievable through the carefully placed, constantly overlapping lines. In order to

maintain this sustained flow, elided passing of lines between wind players has been

applied for a seamless effect while taking great care to mark specific dynamics so that

each sound comes and goes from another.

The continuous flow of motion in the accompaniment lends itself well to

keyboards, as the possible version for voice and piano suggests, though it has been given

to harp instead in this arrangement. This effect outlines a simplified and more subdued

version than that of the piano representing all voices. Percussion is tacet for this

movement as there is no need for rhythmic stress or additional emphasis and no manner

of striking would be appropriate for this setting. 14 Winternitz, Emanuel. "Bagpipes and Hurdy-Gurdies in Their Social Setting." The Metropolitan Museum of Art Bulletin 2, no. 1 (1943): 57.

&&&&&??

&&&&&&&&&&&&&&&&??????

&?

# ## ## ## ## ## ## ## # # ## # # ## # # ## # # ## # # ## # # # ## # # ## # # # ## # # ## # # ## # # ## # # ## # ## # ## # ## # ## ## ## ## ## ## ## ## #

4343

43

43

43

43

43

43

43

43

43434343

43

434343

43

434343434343434343

43

43

43

Piccolo

Flute 1

Flute 2

Oboe 1

Oboe 2

Bassoon 1

Bassoon 2

Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Bass Clarinet

Soprano Sax

Alto Sax

Tenor Sax

Baritone Sax

Cornet 1

Cornet 2

Cornet 3

Cornet 4

Horn in F 1

Horn in F 2

Horn in F 3

Horn in F 4

Trombone 1

Trombone 2

Bass Trombone

Euphonium

Tuba

String Bass

Harp

1 ∑œ œ œ œ œ

∑∑∑∑

˙ œ œ

∑∑

œ œ œ œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œ

œ œ œ œ œ˙ œ

q = Between 90 & 100

Whisperingly soft.

p

Tellingly, and with rhythmic stress, though not loudly. Quite simply, and with tender gaiety. Not dragged, and strictly in time throughout.

Metal straight mute

Metal straight mute

Metal straight mute

Metal straight mute

Metal straight mute

Metal straight mute

Metal straight mute

p

p

pMuted

p

Very soft, as if muted


2 ∑œ œ œ œ œ

∑∑∑∑

˙ œ œ

∑∑

œ œ œ œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œ

œ œ œ œ œ˙ œ

3 ∑œ œ œ œ œ

∑Œ Œ œ

∑∑

˙ œ œ

∑∑

œ œ œ œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œŒ Œ œœ œ œ œ œ˙ œ

π

PSolo

π

π

π

π

4 ∑jœ ‰ Œ Œ

œ œ œ œ œ-̇ œ

∑∑

˙ œ œ

∑∑

œ œ œ œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œ

˙ œœ œ œ œ œ˙ œ

π

Verse 15 ∑

∑œ œ œ œ œ-̇ œ

∑Œ Œ œ œ

˙ Œ∑∑

œ œ œ œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œ


πto nothing

6 ∑∑

œ œ œ œ œ œœ œ œ

∑.œ œ Jœn

∑∑

Œ .œ jœ

œ Œ Œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.œ œ Jœn

œ œ œœ œ œ œ œ˙̇ œœ

to nothing

ππ

7 ∑œ œa œ

Jœ ‰ Œ Œ.˙

∑˙ œb

∑œ œa œ

œ œ œ œ œ œ œ∑∑∑∑∑∑∑∑

‰ œ œ œ œ œ œ

œ œa œ∑∑∑∑∑∑∑∑∑

˙ œb

.œ̇ œ œ œ œ

..˙̇

p

p

p

pπpπ

p

p

8 ∑œ œ œ œ œ œ œ

3

∑

œ Œ œ œ

∑œ œ œn œb

∑œ œ œ œ œ œ œ

3

œ œ œ œ œ œ∑∑∑∑∑∑∑∑

.˙

.˙∑∑∑∑∑∑∑∑∑

œ œ œn œb

œŒ œœ œ œ œ œ

œœ Œ œ œ

linger slightly

to nothing

to nothing

II. "Died for Love"Lovingly and reverently dedicated to the memory of Edvard Grieg

© Copyright 1912 by Schoot & Co., London. All rights reserved for all countries.© Copyright 1993 by Bardic Edition for all countries. All rights reserved by the publisher.

Arrangement for wind ensemble prepared with permission by publisher, 2017, with no intent to publish. Reproduction in any form and duplication by whatever means, printed, written, oral, recording for sound or visual

reproduction, or for any information storage or retrieval system or device, are strictly denied unlesspermission in writing is obtained from the publisher.

From the singing of Mr. Joseph TaylorCollected by Lucy E. Broadwood and Percy Aldridge Grainger

8

AGraingerTriptych

11

The original flute, clarinet, and bassoon assignments are of course directly

transcribed for the same instruments, though clarinet in A has been transposed for clarinet

in B-flat. To compliment the reedy quality of ensemble, the oboe is first given the

melody as the vocal line falls beautifully within the instrument’s warmest register while

providing melodic clarity with its prominent timbre.

Muted brass (specified metal straight mutes and stopped horn throughout) are also

utilized as they are an exceptional compliment to double-reeds and enhance the

wonderfully nasal quality of the sound, as in the opening movement of Lincolnshire

Posy, “Lisbon” (Sailor’s Song).15 Additionally, it possesses the capability of providing

timbre effects without overpowering an ensemble – here, this is used in conjunction with

Grainger’s contrapuntal dynamics for a waxing and waning effect. Due to logistics,

however, access to mutes for euphonium and tuba are scarce and expensive; therefore,

these instruments are instructed to play “Very soft, as if muted” while always doubling

the same octave with muted trombone for a blend of the desired effect (euphonium with

muted tenor trombone, tuba with muted bass trombone).

An additional movement of Lincolnshire Posy, “Rufford Park Poachers”

(Poaching Song), also provided inspiration for this arrangement of “Died for Love” as

they share similar qualities: a mournful story and tone, both are in Dorian modes (C

Dorian and E Dorian, respectively), haunting melodies that live and breathe on open-

fifths, flowing lines with brief step-wise ornamentations, reedy timbres, and a general

sense of ebb and flow.

With these characteristics in mind, Grainger’s notions of unison-octave pairings

of woodwinds are borrowed for the second verse of “Died for Love,” imitating the

15 Grainger, Percy Aldridge. ed. Frederick Fennell Lincolnshire Posy (Cleveland, OH: Ludwig Music Publishing Co., Inc.), 1987.

AGraingerTriptych

12

piccolo/alto clarinet in the opening of “Rufford Park Poachers,” Version 3B. The alto

clarinet, however, is substituted with soprano saxophone, which plays the melody for the

second verse within the same version of “Rufford Park Poachers.” 16 The piccolo

(clearly marked in the score and part that it is “Accompanying Sop. Sax Solo,” m. 23)

provides reinforcement of the melody while scoring is slightly more dense than the

previous verse.

The brass is utilized for dramatic effect, occasional scoring reinforcement, and

portrayal of text. Muted brass and stopped horn embellishments, as in both Versions 3A

and 3B of “Rufford Park Poachers,” are incorporated to provide interjections of

interesting timbres and forward motion at the ends of phrases (trumpet, mm. 7-8 and

trumpetàhorn mm. 12-14, for example). Trumpets also provide text painting in measures

18-19, thickening the scoring while doubling the ascending lines during the text “green

grass growing.”

The first entrances of bass trombone, euphonium, and tuba are terraced on a

descending line, mm. 14-17, adding an additional low octave of melodic content and text

painting where the lyrics would read, “… (and I was dead) and in my grave…”

Similarly, in the next verse, low brass again emphasizes text: “… (Dig me my grave

long,) wide and deep…” (mm. 25-27).

16 Ibid, 25.

&&&&&??

&&&&&&&&&&&&&&&&??????

&?

# ## ## ## ## ## ## ## # # ## # # ## # # ## # # ## # # ## # # # ## # # ## # # # ## # # ## # # ## # # ## # # ## # ## # ## # ## # #

# ## ## ## ## ## ## ## #

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Hp.

9 ∑

œ œ œ œ œ œ∑

˙ œ∑

.œ Jœ œ œ

∑œ œ œ œ œ œ

.œa jœ œ œ

.œ jœ œ œ∑∑∑∑∑∑∑∑∑∑∑∑∑

.œ Jœ œ œ

∑∑∑∑

.œ Jœ œ œ˙gggggg œ.˙˙̇gggg œ

P

p

P

10 ∑

Jœ ‰ Œ Œœ œ œ œ œ œ œ œ

3

œ œ œ œ œ3


∑œ œ œ œ œ œ œ œ

3

.œ jœ œ œœ œ œ œ œ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œ œ œ œ œ œ

∑∑∑∑

œ œ œ œ œ œ œœ œ œ œ œ3

œ œ œπ

11 ∑∑

œ œ œ œ œ œ˙ œ

∑˙ œ


jœ œ œ œ œ∑

˙ œ∑∑∑∑∑∑∑∑∑∑∑∑

˙ Œ˙ œ

∑∑∑

˙ œ˙̇gggggg

œ..˙̇ggggg

p

P

12 ∑∑

.œ œ œ œ œ#

.˙∑

˙ œ œ#

∑œ œ œ œ œn œ œn3

Œ Œ œ œ∑

˙ œ œ#∑∑∑∑

.œ œ œ œ œn˙ œ œ#˙ œ œa

.˙∑∑∑∑∑

˙ œ œ#

∑∑∑

˙ œ œ#..˙̇gggg..˙̇gggggg

πππ

π

13 ∑.œ œ œ œ œ œ œ

jœ ‰ Œ œ œœ Œ œ œ

∑.œ Jœ œ œ

Œ Œ œ œ.œ œ œ œ œ œ œ

jœ œ œ œ œ œŒ ‰ œ œ œ œ

.˙∑∑∑∑

.˙

.˙

.˙

.˙∑∑∑∑∑

.œ Jœ œ œ∑∑∑

.œ Jœ œ œœœ Œ œ œœœ Œ œ

to nothing

to nothing

to nothing

p

to nothing

to nothing

linger

p

14 ∑œ œ œ œ œ œ œ>̇ œ>̇ œ

∑

˙ œn>̇ œœ œ œ œ œ œ œ

œ œ œ œ œ œ œ3


∑∑∑∑∑∑∑∑∑

.+̇>

.+̇>

+̇>.+̇>̇ œn

œ ‰ Œ Œ

˙ œn∑∑

˙ œn>̇ œ

˙ œ

p

p

π

P

P

pp

p

pP

FFF

F

Stopped

Stopped

Stopped

Stopped

pp

P

P

15 ∑œ œœœ œa .œ jœœ- œ œœ- œ œ

∑

œ œ œ

œ- œ œœ œœœ œa .œ jœ

.œ œ œ œ

.œ œ œ œŒ Œ œ

∑∑

Œ Œ œ

∑∑∑∑∑∑∑∑∑

œ œ œ

∑

œ œ œŒ œ œ

Œ œ œœ œ œ

œ- œ œ

œ œ œ

π

π

π

π

to nothing

to nothing

to nothing

to nothing

π

π

π

p

16 ∑

.œ œ jœ

˙ œ˙ œ

∑œ œ œ œ œ œn

˙ œœ ‰ ‰ Œ

œ Œ Œ

œ œ œ œ œ

œ œ œ œ œ∑∑

œ œ œ œ œ

∑∑∑∑∑∑∑∑∑

œ œ œ œ œ œn

∑

˙ œœ œ œ œ œ œn


˙ œ˙ œ

π

to nothing

to nothing

π

17 ∑œ œ œ œ œ3

œ œ œ ˙3

œ œ œ œ œ3

∑˙ œ œ

œ œ œ œ œ3

∑

œ œ œ œœ œ œ œœ œ œ œŒ Œ œŒ Œ œœ œ œ œŒ Œ œ œ

Œ Œ œŒ Œ œŒ Œ œŒ Œ œ

∑∑∑∑

˙ œ œ

∑

.œ jœ œ œ˙ œ œ

˙ œ œ˙ œ œ

œ œ œ œ œ3

˙ œ

π

PPPP

π

18 ∑

.œ jœ œ œ∑

.œ Jœ œ∑

.˙

.œ jœ œ∑

œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ

.œ Jœ œ œ

.œ Jœ œ

œ œ œ œ œ œ

.˙

.œ Jœ œ

.œ Jœ œ

.œ Jœ œ œ

.œ Jœ œ œ∑∑∑∑

.˙

∑

.˙œ œ œ œ œ œ

.˙

.˙

..œœggggg Jœ œ

..˙̇ggggg

to nothing

(slight)

19 ∑œ œ œ œ œ œ œa œ

∑œ œ œ

∑˙ œœ œ œŒ œ œ œ œ œ œa œ œœ œ œ œ œ œ œ œ3

œ œ œ œ œ œ œ œ3


œ œ œ œ œ œ œa œœ œ œ


˙ œœ œ œœ œ œœ Œ Œœ Œ Œ

∑∑∑∑

˙ œ∑

˙ œœ œ œ œ œ œ œ œ3

˙ œ˙ œœœggggg œ œ

..˙̇gggg

to nothing

to nothing

P

II. "Died for Love" 9

AGraingerTriptych

13

Stopped horns build blocked chords in measures 29-31, preparing, then emphasizing the

arrival of Grainger’s unique, single presentation of E major within the movement, at

measures 32-33.

Finally, stopped horns are used once again to accentuate the climax in measure 39 before

the scoring dies away, leaving the initial voices of the movement with the addition of a

lower flute octave on tonic.

&&&&&??

&&&&&&&&&&&&&&&&??????

&?

# ## ## ## ## ## ## ## # # ## # # ## # # ## # # ## # # ## # # # ## # # ## # # # ## # # ## # # ## # # ## # # ## # ## # ## # ## # #

# ## ## ## ## ## ## ## #

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Hp.

20 ∑

œ œ œ œ œ œ

œ œ œ œ œ œœ œ œ œ œ

3

∑

œ œ œœ œ œ œ œ

3

œ œ œ œ œ œ œ œ œ



œ œ œ œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ3


œ œ œœ œ œ œ œ3

œ œ œ œ œ3

∑∑∑∑∑∑

œ œ œ

∑

œ œ œœ œ œ œ œ œ œ œ œ

œ œ œœ œ œœœggg œ œ œ œ

3

..˙̇ggggg

(slight)

(slight)

(slight)

(slight)

(slight)

(slight)

to nothing

(slight)

(slight)

(slight)

(slight)

(slight)

(slight)

(slight)

21 ∑∑

œ œ œ œ œ.˙

∑

.˙˙ œ œ

œ œ œ œœ Œ Œ

œ œ œ œ˙ œ œ

∑œ œ œ œ œœ œ œ œ˙ œ œ

.˙

.˙∑∑

.+̇>

.+̇>

.+̇>

.+̇>̇ Œ∑

˙ Œœ Œ Œ

˙ Œ˙ œ œ

.˙œ œ œ œ œ˙ œ

to nothing

FFF

F

Stopped

Stopped

Stopped

Stopped

p

p

p

to nothing

to nothing

p

to nothing

to nothing

22 ∑∑

œ œ œ œ œ.˙

∑

.˙˙ œ œ

œ œ œ œ∑

œ œ œ œ˙ œ œ


∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œ

œ œ œ œ œ˙ œ

to nothing

to nothing

to nothing

to nothing

23 Œ Œ œ∑

œ œ œ œ œ∑∑∑

˙ œ œ

œ œ œ œ∑

œ œ œ œ˙ œ œŒ Œ œœ œ œ œ œœ œ œ œ˙ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑


p

p

π

Solo

to nothing

p

p

P(AccompanyingSop. Sax Solo)

pto nothing

p

f

24˙ œœ œ œ œ œœ ‰ Œ Œ

∑œ œ œ œ œ

∑˙ œ œ

œ œ œ œ∑

œ œ œ œ˙ œ œ˙ œ œ œœ ‰ Œ Œœ œ œ œ˙ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œ


Verse 2

πto nothingπ

to nothing

p

π

25˙ œœ œ œ œ œ

∑∑

œ œ œ œ œ∑

˙ œ œ

œ œ œ œ∑

œ œ œ œ˙ Œ˙ œ

∑∑

˙ Œ∑∑∑∑∑∑∑∑∑

Œ Œ œ

Œ Œ œŒ Œ œ

∑˙ œ œ


to nothing

to nothing

PPP

26˙ œœ œ œ œ œ œ

∑∑

œ œ œ œ œ œ.œ œ Jœn

.œ ‰ Œ

œ .œ jœŒ .œ jœœ Œ Œ

∑˙ œ

∑∑∑∑∑

Œ .œ jœŒ .œ jœ

∑∑∑∑∑

˙ Œ

˙ œ˙ Œ

˙ œ.œ œ Jœn


pto nothing

pp

P

to nothing

to nothing

27 .˙œ ‰ Œ Œœ œa œ

∑œ œa œ˙ œb

∑œ œ œ œ œ œ œœ œ œ œ œ œ œ

∑˙ œn

.˙∑∑∑

œ œa œœ œa œ

œ œ œ œ œ œ œœ œ œ œ œ œ œ

∑∑∑∑∑∑

.˙∑

.˙̇œb

.œ̇ œ œ œ œ

..˙̇

p

p

p

28

œ Œ œ- œ∑

œN œ œ œ œ œ œ3

∑œN œ œ œ œ œ œ

3˙ œ œ

∑œ œ œ œ œ œœ œ œ œ œ œ

∑˙ œ œ

œ Œ œ- œ

∑∑∑

œa œ œ œ œ œ œ3


œ œ œ œ œ œœ œ œ œ œ œ

∑∑∑∑∑∑∑∑∑

˙ œ œ


œœ Œ œ œ

linger slightly

f

F

to nothing

to nothing

II. "Died for Love"10

&&&&&??

&&&&&&&&&&&&&&&&??????

&?

# ## ## ## ## ## ## ## # # ## # # ## # # ## # # ## # # ## # # # ## # # ## # # # ## # # ## # # ## # # ## # # ## # ## # ## # ## # #

# ## ## ## ## ## ## ## #

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Hp.

29 >̇ œ∑

œ œ œ œ œ œ œ∑

œ œ œ œ œ œ œ.œ Jœ œ œ

∑

œ œ œ œœ œ œ œ

∑

.œ jœ œ œ>̇ œ

∑∑∑

œ œ œ œ Œœ œ œ œ Œ

œ Œ Œ

œ Œ Œ.+̇>

.+̇>

.+̇>

.+̇>∑∑∑∑∑

.œ Jœ œ œ˙gggggg> œ.˙g˙̇ggggg œ

p

p

p

pp

PP

PP

Stopped

Stopped

Stopped

Stopped

p

p

p

30 .œ> Jœ œ-Œ œ œ œ œ œœ œ œ œ œ ‰ Œ3

Œ œ œ œ œ œœ œ œ œ œ ‰ Œ3.œ œ œ œ œ œ œ œ œ

∑

œ ‰ œ œ œ œœ Œ Œ

∑.œ œ œ œ œ œ œ œ œ.œ> Jœ œ-

∑∑∑∑∑∑∑

.+̇

.+̇

.+̇

.+̇∑∑∑∑∑

.œ œ œ œ œ œ œ œ œ

.œ> Jœ œœ œ œ

p

31 ˙ œ



˙ œŒ Œ œ

jœ œ œ œ œ∑∑

˙ œ˙ œ

∑∑∑∑∑∑∑

.+̇

.+̇

.+̇

.+̇∑∑∑∑∑

˙ œ˙̇ggggggg

œ..˙̇ggggg

π

32 .˙.œ# œ œ œ œ#

∑.œ# œ œ œ œ#

∑.œ Jœ œ œ#.œ Jœ œ œ#

jœ œ œ jœ∑∑

.œ Jœ œ œ#

.˙∑∑∑∑∑∑∑

.+̇

.+̇

.˙# +

.+̇∑∑∑∑∑

.œ Jœ œ œ#

..˙̇gggg

..˙̇gggggg

(slight)

(slight)

to nothing

to nothing

to nothing

to nothing

ffff

33 œ Œ œ œ

œ# ‰ Œ Œ.œ# œ œ œ œ œ œ.œ# œ œ œ œ œ œ

Œ Œ œ œ.œ Jœ œ œ.œ Jœ œ œ

jœ œ œ œ œ œŒ ‰ œ œ œ œŒ ‰ œ œ œ œ

.œ jœ œ œœ Œ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


linger

pp

34 œ> œ œ-

∑œ œ œ œ œ œ œNœ œ œ œ œ œ œNœ> œ œ-

˙ œn

œ Œ Œ

œ œ œ œ jœ œ œ3



˙ œnœ> œ œ-

∑∑

Œ ‰ jœ œn∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œn>̇ œ

˙ œ

P

P

P

f

PP

F

FP

P

P

PP


AGraingerTriptych

14

“SKYE BOAT SONG”

Skye Boat Song was chosen for the final movement of this triptych for its contrast

to the previous movements. Originally scored for voice or unison voices (men and

women in octaves) and piano, the piece includes five presentations of the chorus and four

verses, each set to the same melody. Without lengthy themes and developing motives,

folk songs rely on memorable, gratifying melodies and story lines in order to be passed

on through oral tradition – those qualities are still attainable without text. Due to the

repetition in the tune, this movement was a great challenge to arrange without falling into

monotony; however, there is much repetition in the nature of folk song and, rather than

shy away from the challenge, we should embrace the qualities that this simple yet

delightful tune exhibits.

With that in mind, and without the use of text, there was a great need for

variations within the repetitions of two main ideas: a chorus in G major and verses in the

relative key of E minor. Fortunately, Grainger displayed a variety of possibilities within

one of his very popular works for piano and military band: Children’s March: “Over the

hills and far away”.17 Originally composed between 1916-1918 for two pianos and later

scored for band in 1919, this piece is an excellent representation of how Grainger

translated four hands into a full score for wind band while stretching two eight-measure

themes into an interesting and engaging seven-minute work. This was accomplished

through the use of varied orchestration techniques. Rather than the text itself, the story is

to be told through the instrumentation, timbre, and expressive markings of this project.

For the performers’ reference, the text is provided within the score and parts as well as

corresponding rehearsal markings within the music for each chorus and verse.

17 Grainger, Percy Aldridge. Children’s March: “Over the hills and far away” (Southern Music Company, San Anotnio, TX) 1995.

AGraingerTriptych

15

The story of Skye Boat Song tells of Bonnie Prince Charlie’s safe escape to the

Isle of Skye after defeat in the Battle of Culloden in 1746. The 'lad... born to be king' fled

his pursuers in a small boat, disguised as the serving-maid of a woman called Flora

MacDonald18 (see the Conductor’s Score of A Grainger Triptych for lyrics).

The harmonic language of this piece is greatly based upon stacked fifths and

pedal drones to imitate the sound of Scottish bagpipes and the country from which this

tune originates. The stacking fifths produces an open, consonant sound as it avoids any

clusters of notes, however, this chord structure does not lend itself well for standard

roman numeral analysis. In turn, as you will can in Appendix C, the analysis provided is

based on the content of the original tune.

Throughout this movement, Grainger’s scoring techniques from the fifth

movement of Lincolnshire Posy, “Lord Melbourne” (War Song) are employed with

regard to the number of voices on each part as well as octave designations. Although

“Lord Melbourne” has a harsh sound due to the dissonant harmonic language, the

orchestration is an ideal representation of Grainger’s strong, full brass choir with a

reinforced foundation in the double bass (especially very appropriate for the contrasting

minor verses of “Skye Boat Song”). The well-balanced resonance that Grainger describes

as being of utmost importance in his music can be heard within the cadential material of

the first unmetered bar in “Lord Melbourne” (see example on next page).

18 Goodwin, Jason. "Over the Sea to Skye." New York Times (1923-Current File), April 11, 1993: 14.

AGraingerTriptych

16

Lincolnshire Posy, Mvt. V. “Lord Melbourne: (War Song), page 48, measure 1.19

This material features a three-octave range within in the context of 20 ‘voices’ and with

outer voices on unison tonic. Here, a ratio relationship appears based on the number of

notes within a given chord; for example, the first C major triad (10th unmetered note)

displays a ratio of 4:1:2 in regards to the root, third, and fifth, respectively (8 on C; 2 on

E; 4 on G). When there are four notes within a chord, as in the second cadence on a Dm7

chord, the ratio is 6:3:3:2 (root, third, fifth, seventh.20 As mentioned, these numerical

representations of the number of voices Grainger assigns to each note show his attention

to balance; just as importantly, however, are the assignments of which notes to which

instruments and, in turn, the corresponding octaves. These voicing ratios and octave

designations were essential in the arrangement of this tune. In addition and on a side note,

Grainger frequently crosses voices between the bottom two horns and the first trombone 19Grainger, Percy Aldridge. ed. Frederick Fennell. Lincolnshire Posy (Cleveland, OH: Ludwig Music Publishing Co., Inc.) 1987, 48. 20 Ibid.

AGraingerTriptych

17

cross, blending the two sections together, and also utilized as often as possible within A

Grainger Triptych.

The movement begins with a direct statement of the piano introduction from

Grainger’s original setting – in fact, the piano part for the entire movement is reproduced

verbatim from his score, aside from the second verse which lends itself to the harp

(reasoning explained later). For the initial chorus, beginning in measure three, there is an

immediate presentation of 20 unison voices sounding in the same two octaves as

Grainger’s original setting for unison voices (11 ‘men’ and 9 ‘women’) – a brilliantly

stark contrast to the previous movements. In the second phrase, lower winds spilt from

the group and motion toward pedal drones of the piano, adding an additional octave on

bottom, while inner and lower woodwinds move to the corresponding voices within the

piano.

The first verse is then strongly sung by the ‘men’ of the brass and string bass,

together sounding in two octaves. For clarity, intonation, and interest, rhythmic variations

are given to lower horns and trombones while the text speaks of the treacherous waters

and stormy skies as Bonnie Prince Charlie escapes in his boat, his enemies watching from

the shore, not daring to follow. The timbre of the tuba is reserved for the second phrase

while expanding an additional octave lower in the string bass as they sing, “…Follow

they will not dare.”

The second chorus begins with the original two-octave range while bassoons,

baritone saxophone, horns, lower trombones, tuba, and string bass perform blocked

chords on open fifths and octaves with few voices on the third. Brass scoring resembles

that of Grainger’s Children’s March, measure 189:21

21 Grainger, Children’s March: “Over the hills and far away,” 24.

AGraingerTriptych

18

Cornets/Horns = Piano right hand

Trombones/Euphonium/Tuba = Piano left hand

Low Horn/High Trombone = Unison blend between instruments

The second verse speaks of the woman who helped Prince Charlie escape, Flora

MacDonald, who disguised him as her maid. Flora was later arrested and brought to

London, but within this context she is a comforting figure, watching over him on his

journey.22 The beginning measure from the first verse is reiterated with strong brass and

piano as the text restates that “Though the waves leap…” then continues with a subito

piano dynamic change and the piano moves to harp for the text “…soft shall ye sleep…”

Here, the ‘women’ sing the tune, represented by reduced instrumentation, upper

woodwinds only, as in measure 13 of “Children’s March,” for a lighter style in the

appropriate octave designation23 and with softer dynamics while the harp signifies his

guardian angel. All seventh and ninth scale degrees are removed for pure consonance

while the harp outlines rolling G major arpeggios at phrase endings as a respite from the

‘minor’ turmoil.

The third chorus, as well as each additional chorus thereafter, adds

instrumentation, expanding the overall range with additional octaves, and incorporates

new keyboard percussion – Grainger was such and advocate for ‘tuneful percussion’ that

he printed the following in his ‘Notes to Conductors…’ in his Preface to “Spoon River”:

“To use, orchestrally, a glockenspiel without metal marimba [vibraphone], a xylophone without a wooden marimba, is just as absurd and incomplete as it would be to use piccolo without flute, violins without lower strings, the two top octaves of the piano without the lower octaves. Let us get rid of this barbarism as soon as we can!”24

22 Goodwin, 14. 23 Grainger, Children’s March: “Over the hills and far away,” 14. 24 Bird, 333.

AGraingerTriptych

19

He continues to describe an ideal scenario of every orchestra employing 20 mallet

percussionists and identifying the appropriate assignments to each instrument. Rather

than going to this extreme, mallet percussion was simply utilized as often as possible,

beginning with marimba and adding upward, without overpowering the rest of the

ensemble.

Further variations include a canon in the third verse to represent the ‘many men’

who ‘fought on that day’ and a rather aggressive final verse, as the aftermath of war is

described, before a hopeful closing of Bonnie Prince Charlie returning home. Chimes are

incorporated in the finale chorus as in the ringing of a ship’s bell, announcing, “Land

ho!” – a sound that could not be more pleasing than to a sailor who has traveled from sea

to Skye.

AGraingerTriptych

20

BIBLIOGRAPHY Bird, John. Percy Grainger (New York: Oxford University Press, 1999), 334. Forman, Lewis, ed. The Percy Grainger Companion (London: Thames Publishing, 1981), 59. Goodwin, Jason. "Over the Sea to Skye." New York Times (1923-Current File), April 11, 1993: 14. Grainger, Percy Aldridge. Children’s March: “Over the hills and far away” (Southern Music Company, San Anotnio, TX) 1995. Grainger, Percy Aldridge. “Dalvisa” (Buckinghamshire, Great Britain: Bardic Edition), 1993. Grainger, Percy Aldridge. “Died for Love,” British Folk Music Settings (Buckinghamshire, Great Britain: Bardic Edition), 1993. Grainger, Percy Aldridge. "I Wish My Baby It Was Born." Journal of the Folk-Song Society Volume 3.3, No. 12 (May 1908), 188. Grainger, Percy Aldridge. “Ye Banks And Breas O’ Bonnie Doon” (G. Schirmer, Inc. [ASCAP], New York, NY) 1936; renewed by Percy Aldridge Grainger 1949. Grainger, Percy Aldridge. ed. Frederick Fennell, Lincolnshire Posy (Cleveland, OH: Ludwig Music Publishing Co., Inc.), 1987. Legend to ‘Percy Aldridge Grainger’s published Compositions, 1st editions’ Desk One in Grainger Museum (University of Melbourne), November 2, 1938. Lewis, Thomas P. A Source Guide to the Music of Percy Grainger (White Plains, NY: Pro/Am Music Resources, 1991), 143. Ould, Barry Peter. “Alphabetical List of Original Compositions and Folk-Song Arrangements by Percy Grainger (including arrangements and realisations by others).” http://www.bardic-music.com/pgcat.htm. Winternitz, Emanuel. "Bagpipes and Hurdy-Gurdies in Their Social Setting." The Metropolitan Museum of Art Bulletin 2, no. 1 (1943): 57.

&&&?

&&&&&&

&&&

&

????ã

&&?&?

bbbbbbbb

bbbb

bbbbbb

bb

bb

bb

bb

b

bb

bbbb

bbb

bbbb

bbbbbbbbbbbb

bbbb

bbbb

bbbbbbbb

bbbb

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

43

434343

43

43

4343

43

Flute 1

Flute 2

Oboe

Bassoon

Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Bass Clarinet

Soprano Sax

Alto Sax

Tenor Sax

Baritone Sax

Horn in F 1

Horn in F 2

Trombone

Euphonium

Tuba

String Bass

Percussion

Vibraphone

Marimba

Harp

1 ∑∑∑∑

œ œ œ

.˙

˙ .œ œ.˙

∑.˙

.˙

.˙

˙ .œ œ

.˙

∑∑∑

.˙∑

∑

.æ̇

.æ̇∑∑

Unhurried and waywardly q = 50

P

pA

S

pA

pT1

pB

pB Very soft mallets

(Motor off)

pB

pT2

pB

pT2

pT1

2 ∑∑∑∑

.œ œ .œ œ œ œ œ#3

œ œ œ œ#

˙ œœ œ œ œ

∑œ œ œ œ#

˙ œœ œ œ œ˙ œ

˙ œ

∑∑∑

œ œ œ œ∑

∑

œæ œæ œæ œæœæ œæ œæ œæ

∑∑

3 ∑∑∑∑

œ œ œ

.˙

˙ .œ œ.˙

∑.˙

.˙

.˙

˙ .œ œ

.˙

∑∑∑

.˙∑

∑

.æ̇

.æ̇∑∑

roll throughout...

4 ∑∑∑∑


œ œ œ œ#

œn .œb jœœ œ œ œ

∑œ œ œ œ#

.˙œ œ œ œœn .œb jœ

.˙

∑∑∑

œ œ œ œ∑

∑


∑∑

Sus. cym.

SSoft malletsPedal with slurs

5 ∑

œ œn œn œ œ œ œ3

∑∑

œ œn œ# œ œ œ œ3

‰ jœ œ œ>˙ œ# >˙ œ>

∑‰ jœ œ œ>

œ œ œ˙ œ>

˙ œ# >œ œ œ

∑∑∑

˙ œ>.˙

œ°

œn œn*

œ œ* œ œ*

3

˙ œ>˙ œ>


∑

P

P

P

P

PS

Pπ

p

P

P

PS

6 ∑


∑∑


˙ œ>˙ œ# >˙ œ>

∑˙ œ>

œ œ œ˙ œ>

˙ œ# >œ œ œ

∑∑∑

˙ œ>.˙


˙ œ>˙ œ>


∑

sim.

sim.

Pπ

sub. P

sub. P

sim.

7 ∑


∑Œ Œ œ


œ œ œn

.˙˙ œ

∑œ œ œn

œ ˙˙ œ

.˙

œ ˙

∑∑∑

˙ œ∑


˙ œ˙ œœ œn œn œ œ œ œ3

∑

πB

let ring

8 Œ ˙œn œ œ ˙3

Œ ˙œ ˙

œ# œ œ ˙3

.˙

œ jœ ‰ Œ

œ ˙Œ Œ œ

.˙

œ ˙

œ ˙

œ jœ ‰ Œ

œ ˙

Œ Œ œ

Œ ˙

∑œ ˙

∑

œn œ œ ˙3

œ ˙œ ˙

œn œ œ ˙3

∑

PSoloT1

P

S

∏

P

S

∏

P

let ring

P

P

T2

πP

SoloT1

A Grainger Triptychfor Wind Ensemble

Percy Aldridge Grainger (1882-1961)

© Copyright by Bardic Edition for all countries. All rights reserved by the publisher.Arrangement for wind ensemble prepared with permission by publisher, 2017, with no intent to publish.

Reproduction in any form and duplication by whatever means, printed, written, oral, recording for sound or visual reproduction, or for any information storage or retrieval system or device, are strictly denied unless

permission in writing is obtained from the publisher.

Score arr. Vanessa Heuck (b. 1983)

I. "Dalvisa"

6

&

&&?

&

&

&&

&

&&&&

&

????

ã&&?&?

bbbb

bbbb

bbbb

bbbbbb

bb

bb

bb

bb

bbb

bbbb

bbb

bbbb

bbbb

bbbb

bbbb

bbbb

bbbb

bbbbbbbb

bbbb

Fl. 1

Fl. 2

Ob.

Bsn.

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Hn. 1

Hn. 2

Tbn.

Euph.

Tuba

S.B.

Perc.

Vib.

Mrb.

Hp.

9 œ œ œ

∑œ œ œ

.˙œ œ œ

œ Œ Œ

∑

.˙

.˙

œ Œ Œœ œ œn

.˙

Œ œ œn

œ œ œn.˙

˙ œ

∑.˙

∑∑

.˙

.˙∑∑

F

F

P

P

P

PT2

P

10 .œ œ .œ œ œ œ œn3

∑.œ œ .œ œ œ œ œn

3

.˙


∑

∑

.˙

˙ œ#∑

œb ˙.˙

œb ˙

œb ˙˙ œn

œn œb œ

∑.˙

∑∑

.˙

.˙∑∑

11 œ œ œ

∑œ œ œ

.˙œ œ œ

∑

∑

.˙

.˙n∑

˙ œ.˙

˙ œ

˙ œ.˙b

œ ˙

∑.˙

∑∑

.˙

.˙∑∑

sub. P

sub. P

sub. P

12 .œ œ .œ œ œ œ œn3

∑.œ œ .œ œ œ œ œn

3

œ œ œ œ.œ œ .œ œ œ œ œ#

3

∑

∑

œ œ œ œ

œn .œb jœ∑

.˙œ œ œ œ

.˙

.˙œn .œb Jœœ ˙

∑œ œ œ œ

∑∑


∑∑

S

S

sub. P

P

P

P

F

F13



∑.˙




.˙

˙ œ∑

œ œ œ#.˙

œ œ œ#

œ œ œ#˙ œ

œ œ œ

.˙

.˙

.˙

œ°

œn œn*

œ œ* œ œ*

3

.˙

.˙


∑

Pπ

p

πB

P

14



∑.˙




.˙

˙ œ∑

˙ œ#.˙

˙ œ#

˙ œ#˙ œ

œn ˙

.˙

.˙

.˙


.˙

.˙


∑

sim.

sim.

sim.

sim.

sim.

Pπlet ring

sim.

15



∑œ œ œ



Œ œ œnœ œ œ

œ œ# œŒ œ œnœ œN ˙œ œ œ

œ œN ˙

œ œN ˙œ œn œ

œn œ œA œ

œ œ œœ œ œ

∑


œ œ œœ œ œœ œn œn œ œ œ œ3

∑

P

PA

16

œn œ œ ˙U3

œn œ œ ˙U3

∑

œ ˙U

œ# œ œ ˙U3

œ# œ œ ˙U3

œ œb ˙U

œ ˙U

œn ˙U

œ œb ˙U

.U̇

œ ˙U

.˙U

.˙U

œb U̇

œ U̇

œ ˙U

œ ˙U

∑

œn œ œ ˙U3

œ ˙U

œ U̇

œn œ œ ˙3

∑

πππ

π

π

π

π

π

π

π

π

π

ππ

7I. "Dalvisa"

&&&&&??

&&&&&&&&&&&&&&&&??????

&?

# ## ## ## ## ## ## ## # # ## # # ## # # ## # # ## # # ## # # # ## # # ## # # # ## # # ## # # ## # # ## # # ## # ## # ## # ## # ## ## ## ## ## ## ## ## #

4343

43

43

43

43

43

43

43

43

43434343

43

434343

43

434343434343434343

43

43

43

Piccolo

Flute 1

Flute 2

Oboe 1

Oboe 2

Bassoon 1

Bassoon 2

Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Bass Clarinet

Soprano Sax

Alto Sax

Tenor Sax

Baritone Sax

Cornet 1

Cornet 2

Cornet 3

Cornet 4

Horn in F 1

Horn in F 2

Horn in F 3

Horn in F 4

Trombone 1

Trombone 2

Bass Trombone

Euphonium

Tuba

String Bass

Harp

1 ∑œ œ œ œ œ

∑∑∑∑

˙ œ œ

∑∑

œ œ œ œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œ

œ œ œ œ œ˙ œ

q = Between 90 & 100

Whisperingly soft.

p

Tellingly, and with rhythmic stress, though not loudly. Quite simply, and with tender gaiety. Not dragged, and strictly in time throughout.

Metal straight mute

Metal straight mute

Metal straight mute

Metal straight mute

Metal straight mute

Metal straight mute

Metal straight mute

p

p

pMuted

p



2 ∑œ œ œ œ œ

∑∑∑∑

˙ œ œ

∑∑

œ œ œ œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œ

œ œ œ œ œ˙ œ

3 ∑œ œ œ œ œ

∑Œ Œ œ

∑∑

˙ œ œ

∑∑

œ œ œ œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


π

PSolo

π

π

π

π

4 ∑jœ ‰ Œ Œ

œ œ œ œ œ-̇ œ

∑∑

˙ œ œ

∑∑

œ œ œ œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œ


π

Verse 15 ∑

∑œ œ œ œ œ-̇ œ

∑Œ Œ œ œ

˙ Œ∑∑

œ œ œ œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œ


πto nothing

6 ∑∑

œ œ œ œ œ œœ œ œ

∑.œ œ Jœn

∑∑

Œ .œ jœ

œ Œ Œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.œ œ Jœn


to nothing

ππ

7 ∑œ œa œ

Jœ ‰ Œ Œ.˙

∑˙ œb

∑œ œa œ

œ œ œ œ œ œ œ∑∑∑∑∑∑∑∑

‰ œ œ œ œ œ œ

œ œa œ∑∑∑∑∑∑∑∑∑

˙ œb

.œ̇ œ œ œ œ

..˙̇

p

p

p

pπpπ

p

p

8 ∑œ œ œ œ œ œ œ

3

∑

œ Œ œ œ

∑œ œ œn œb


3

œ œ œ œ œ œ∑∑∑∑∑∑∑∑

.˙

.˙∑∑∑∑∑∑∑∑∑

œ œ œn œb


œœ Œ œ œ

linger slightly

to nothing

to nothing

II. "Died for Love"Lovingly and reverently dedicated to the memory of Edvard Grieg

© Copyright 1912 by Schoot & Co., London. All rights reserved for all countries.© Copyright 1993 by Bardic Edition for all countries. All rights reserved by the publisher.

Arrangement for wind ensemble prepared with permission by publisher, 2017, with no intent to publish. Reproduction in any form and duplication by whatever means, printed, written, oral, recording for sound or visual

reproduction, or for any information storage or retrieval system or device, are strictly denied unlesspermission in writing is obtained from the publisher.

From the singing of Mr. Joseph TaylorCollected by Lucy E. Broadwood and Percy Aldridge Grainger

8

&&&&&??

&&&&&&&&&&&&&&&&??????

&?

# ## ## ## ## ## ## ## # # ## # # ## # # ## # # ## # # ## # # # ## # # ## # # # ## # # ## # # ## # # ## # # ## # ## # ## # ## # #

# ## ## ## ## ## ## ## #

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Hp.

9 ∑


˙ œ∑

.œ Jœ œ œ


.œa jœ œ œ

.œ jœ œ œ∑∑∑∑∑∑∑∑∑∑∑∑∑

.œ Jœ œ œ

∑∑∑∑

.œ Jœ œ œ˙gggggg œ.˙˙̇gggg œ

P

p

P

10 ∑

Jœ ‰ Œ Œœ œ œ œ œ œ œ œ

3

œ œ œ œ œ3


∑œ œ œ œ œ œ œ œ

3

.œ jœ œ œœ œ œ œ œ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œ œ œ œ œ œ

∑∑∑∑

œ œ œ œ œ œ œœ œ œ œ œ3

œ œ œπ

11 ∑∑

œ œ œ œ œ œ˙ œ

∑˙ œ


jœ œ œ œ œ∑

˙ œ∑∑∑∑∑∑∑∑∑∑∑∑

˙ Œ˙ œ

∑∑∑

˙ œ˙̇gggggg

œ..˙̇ggggg

p

P

12 ∑∑

.œ œ œ œ œ#

.˙∑

˙ œ œ#

∑œ œ œ œ œn œ œn3

Œ Œ œ œ∑

˙ œ œ#∑∑∑∑

.œ œ œ œ œn˙ œ œ#˙ œ œa

.˙∑∑∑∑∑

˙ œ œ#

∑∑∑

˙ œ œ#..˙̇gggg..˙̇gggggg

πππ

π

13 ∑.œ œ œ œ œ œ œ

jœ ‰ Œ œ œœ Œ œ œ

∑.œ Jœ œ œ

Œ Œ œ œ.œ œ œ œ œ œ œ

jœ œ œ œ œ œŒ ‰ œ œ œ œ

.˙∑∑∑∑

.˙

.˙

.˙

.˙∑∑∑∑∑

.œ Jœ œ œ∑∑∑


to nothing

to nothing

to nothing

p

to nothing

to nothing

linger

p

14 ∑œ œ œ œ œ œ œ>̇ œ>̇ œ

∑

˙ œn>̇ œœ œ œ œ œ œ œ



∑∑∑∑∑∑∑∑∑

.+̇>

.+̇>

+̇>.+̇>̇ œn

œ ‰ Œ Œ

˙ œn∑∑

˙ œn>̇ œ

˙ œ

p

p

π

P

P

pp

p

pP

FFF

F

Stopped

Stopped

Stopped

Stopped

pp

P

P

15 ∑œ œœœ œa .œ jœœ- œ œœ- œ œ

∑

œ œ œ

œ- œ œœ œœœ œa .œ jœ

.œ œ œ œ

.œ œ œ œŒ Œ œ

∑∑

Œ Œ œ

∑∑∑∑∑∑∑∑∑

œ œ œ

∑

œ œ œŒ œ œ

Œ œ œœ œ œ

œ- œ œ

œ œ œ

π

π

π

π

to nothing

to nothing

to nothing

to nothing

π

π

π

p

16 ∑

.œ œ jœ

˙ œ˙ œ

∑œ œ œ œ œ œn

˙ œœ ‰ ‰ Œ

œ Œ Œ

œ œ œ œ œ

œ œ œ œ œ∑∑

œ œ œ œ œ

∑∑∑∑∑∑∑∑∑

œ œ œ œ œ œn

∑



˙ œ˙ œ

π

to nothing

to nothing

π

17 ∑œ œ œ œ œ3

œ œ œ ˙3

œ œ œ œ œ3

∑˙ œ œ

œ œ œ œ œ3

∑

œ œ œ œœ œ œ œœ œ œ œŒ Œ œŒ Œ œœ œ œ œŒ Œ œ œ

Œ Œ œŒ Œ œŒ Œ œŒ Œ œ

∑∑∑∑

˙ œ œ

∑

.œ jœ œ œ˙ œ œ

˙ œ œ˙ œ œ

œ œ œ œ œ3

˙ œ

π

PPPP

π

18 ∑

.œ jœ œ œ∑

.œ Jœ œ∑

.˙

.œ jœ œ∑

œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ

.œ Jœ œ œ

.œ Jœ œ

œ œ œ œ œ œ

.˙

.œ Jœ œ

.œ Jœ œ

.œ Jœ œ œ

.œ Jœ œ œ∑∑∑∑

.˙

∑

.˙œ œ œ œ œ œ

.˙

.˙

..œœggggg Jœ œ

..˙̇ggggg

to nothing

(slight)

19 ∑œ œ œ œ œ œ œa œ

∑œ œ œ

∑˙ œœ œ œŒ œ œ œ œ œ œa œ œœ œ œ œ œ œ œ œ3



œ œ œ œ œ œ œa œœ œ œ


˙ œœ œ œœ œ œœ Œ Œœ Œ Œ

∑∑∑∑

˙ œ∑

˙ œœ œ œ œ œ œ œ œ3

˙ œ˙ œœœggggg œ œ

..˙̇gggg

to nothing

to nothing

P


&&&&&??

&&&&&&&&&&&&&&&&??????

&?

# ## ## ## ## ## ## ## # # ## # # ## # # ## # # ## # # ## # # # ## # # ## # # # ## # # ## # # ## # # ## # # ## # ## # ## # ## # #

# ## ## ## ## ## ## ## #

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Hp.

20 ∑

œ œ œ œ œ œ


3

∑

œ œ œœ œ œ œ œ

3




œ œ œ œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ3



œ œ œ œ œ3

∑∑∑∑∑∑

œ œ œ

∑

œ œ œœ œ œ œ œ œ œ œ œ

œ œ œœ œ œœœggg œ œ œ œ

3

..˙̇ggggg

(slight)

(slight)

(slight)

(slight)

(slight)

(slight)

to nothing

(slight)

(slight)

(slight)

(slight)

(slight)

(slight)

(slight)

21 ∑∑

œ œ œ œ œ.˙

∑

.˙˙ œ œ

œ œ œ œœ Œ Œ

œ œ œ œ˙ œ œ


.˙

.˙∑∑

.+̇>

.+̇>

.+̇>

.+̇>̇ Œ∑

˙ Œœ Œ Œ

˙ Œ˙ œ œ


to nothing

FFF

F

Stopped

Stopped

Stopped

Stopped

p

p

p

to nothing

to nothing

p

to nothing

to nothing

22 ∑∑

œ œ œ œ œ.˙

∑

.˙˙ œ œ

œ œ œ œ∑

œ œ œ œ˙ œ œ


∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œ

œ œ œ œ œ˙ œ

to nothing

to nothing

to nothing

to nothing

23 Œ Œ œ∑

œ œ œ œ œ∑∑∑

˙ œ œ

œ œ œ œ∑

œ œ œ œ˙ œ œŒ Œ œœ œ œ œ œœ œ œ œ˙ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑


p

p

π

Solo

to nothing

p

p

P(AccompanyingSop. Sax Solo)

pto nothing

p

f

24˙ œœ œ œ œ œœ ‰ Œ Œ

∑œ œ œ œ œ

∑˙ œ œ

œ œ œ œ∑

œ œ œ œ˙ œ œ˙ œ œ œœ ‰ Œ Œœ œ œ œ˙ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œ


Verse 2

πto nothingπ

to nothing

p

π

25˙ œœ œ œ œ œ

∑∑

œ œ œ œ œ∑

˙ œ œ

œ œ œ œ∑

œ œ œ œ˙ Œ˙ œ

∑∑

˙ Œ∑∑∑∑∑∑∑∑∑

Œ Œ œ

Œ Œ œŒ Œ œ

∑˙ œ œ


to nothing

to nothing

PPP

26˙ œœ œ œ œ œ œ

∑∑

œ œ œ œ œ œ.œ œ Jœn

.œ ‰ Œ

œ .œ jœŒ .œ jœœ Œ Œ

∑˙ œ

∑∑∑∑∑

Œ .œ jœŒ .œ jœ

∑∑∑∑∑

˙ Œ

˙ œ˙ Œ

˙ œ.œ œ Jœn


pto nothing

pp

P

to nothing

to nothing

27 .˙œ ‰ Œ Œœ œa œ

∑œ œa œ˙ œb

∑œ œ œ œ œ œ œœ œ œ œ œ œ œ

∑˙ œn

.˙∑∑∑

œ œa œœ œa œ


∑∑∑∑∑∑

.˙∑

.˙̇œb

.œ̇ œ œ œ œ

..˙̇

p

p

p

28

œ Œ œ- œ∑

œN œ œ œ œ œ œ3

∑œN œ œ œ œ œ œ

3˙ œ œ

∑œ œ œ œ œ œœ œ œ œ œ œ

∑˙ œ œ

œ Œ œ- œ

∑∑∑



œ œ œ œ œ œœ œ œ œ œ œ

∑∑∑∑∑∑∑∑∑

˙ œ œ


œœ Œ œ œ

linger slightly

f

F

to nothing

to nothing


&&&&&??

&&&&&&&&&&&&&&&&??????

&?

# ## ## ## ## ## ## ## # # ## # # ## # # ## # # ## # # ## # # # ## # # ## # # # ## # # ## # # ## # # ## # # ## # ## # ## # ## # #

# ## ## ## ## ## ## ## #

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Hp.

29 >̇ œ∑

œ œ œ œ œ œ œ∑

œ œ œ œ œ œ œ.œ Jœ œ œ

∑


∑

.œ jœ œ œ>̇ œ

∑∑∑

œ œ œ œ Œœ œ œ œ Œ

œ Œ Œ

œ Œ Œ.+̇>

.+̇>

.+̇>

.+̇>∑∑∑∑∑

.œ Jœ œ œ˙gggggg> œ.˙g˙̇ggggg œ

p

p

p

pp

PP

PP

Stopped

Stopped

Stopped

Stopped

p

p

p

30 .œ> Jœ œ-Œ œ œ œ œ œœ œ œ œ œ ‰ Œ3

Œ œ œ œ œ œœ œ œ œ œ ‰ Œ3.œ œ œ œ œ œ œ œ œ

∑

œ ‰ œ œ œ œœ Œ Œ

∑.œ œ œ œ œ œ œ œ œ.œ> Jœ œ-

∑∑∑∑∑∑∑

.+̇

.+̇

.+̇

.+̇∑∑∑∑∑

.œ œ œ œ œ œ œ œ œ

.œ> Jœ œœ œ œ

p

31 ˙ œ



˙ œŒ Œ œ

jœ œ œ œ œ∑∑

˙ œ˙ œ

∑∑∑∑∑∑∑

.+̇

.+̇

.+̇

.+̇∑∑∑∑∑

˙ œ˙̇ggggggg

œ..˙̇ggggg

π

32 .˙.œ# œ œ œ œ#

∑.œ# œ œ œ œ#

∑.œ Jœ œ œ#.œ Jœ œ œ#

jœ œ œ jœ∑∑

.œ Jœ œ œ#

.˙∑∑∑∑∑∑∑

.+̇

.+̇

.˙# +

.+̇∑∑∑∑∑

.œ Jœ œ œ#

..˙̇gggg

..˙̇gggggg

(slight)

(slight)

to nothing

to nothing

to nothing

to nothing

ffff

33 œ Œ œ œ

œ# ‰ Œ Œ.œ# œ œ œ œ œ œ.œ# œ œ œ œ œ œ

Œ Œ œ œ.œ Jœ œ œ.œ Jœ œ œ

jœ œ œ œ œ œŒ ‰ œ œ œ œŒ ‰ œ œ œ œ

.œ jœ œ œœ Œ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


linger

pp

34 œ> œ œ-

∑œ œ œ œ œ œ œNœ œ œ œ œ œ œNœ> œ œ-

˙ œn

œ Œ Œ




˙ œnœ> œ œ-

∑∑

Œ ‰ jœ œn∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œn>̇ œ

˙ œ

P

P

P

f

PP

F

FP

P

P

PP


&&&&&??

&&&

&&&&&&&&&&&&&??????

&?

# ## ## ## ## ## ## ## # # ## # # ## # # ## # # ## # # ## # # # ## # # ## # # # ## # # ## # # ## # # ## # # ## # ## # ## # ## # #

# ## ## ## ## ## ## ## #

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Hp.

35 œ œ œ œ œ3

∑œ .œ œœœ œœ .œ œœœ œœ œ œ œ œ3

œ œ œ

∑

œ œ œ œ œœ œ œ œ œœ œ œ œ œ


∑∑

œ œ œ

∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œ œ

œ- œ œ

œ œ œ

36

œ œ œŒ ‰ œ jœ

.œ ‰ Œ

œ œ œœ œ œœ œ œ œ œ œn

∑Œ ‰ œ Jœ

.œ œ œ œ

.œ œ œ œœ œ œ œ œ œn

œ œ œŒ ‰ œ Jœ

.œ œ œ œœ œ œ œ œ œn

∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œ œ œ œ œn

˙ œ˙ œ

p

p

p

p

pp

p

ppp

37 .œ ‰ œ œœ œœœ œ œ œ œa œ

∑.œ ‰ œ œ.œ ‰ œ œ

œ œn œ œ œ#œ œn œ œ œ#

œ œœœ œ œ œ œa œ

œ œn œ œ œœ œn œ œ œœ œn œ œ œ#

.œ ‰ œ œœ œœœ œ œ œ œa œ

œ œn œ œ œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œn œ œ œ#

˙ œ œ˙ œ

38 œ œ œ-œN œ œ œ œ œ œ œ

3

∑œ œ œ-

œ œ œ-.œ Jœ œ œ.œ Jœ œ œ

œa œ œ œ œ œ œ œ3


.œ Jœ œ œœ œ œ-œa œ œ œ œ œ œ œ

3

œ œ œ œ œ œ œ∑∑∑∑∑

œ+ œ+ œ+

.+̇

.+̇

.+̇∑∑∑∑

˙ œ.œ Jœ œ œ

œœggg œœgggg œœ-gggœœœggggg

œœœgggggœœœggggg

slow off slightly

PPPP

39 .œ> ‰ Œœ œ œ œ œ œ œa œ

3

∑.œ> Jœ œ.œ> ‰ Œ

˙ œ.œ ‰ Œ

œ œ œ œ œ œ œa œ3



.œ ‰ Œ

.œ> Jœ œœ œ œ œ œ œ œa œ

3

œ œ œ œ œ Œ3

∑∑∑∑∑

.+̇

.+̇>

.+̇>

.+̇> ∑∑∑∑

.˙˙ œ

..œœ>gggg Jœ œ

...˙̇̇>ggggg

F π

F π

f subito p

f subito p

in time

F πf subito p

f to nothing

to nothingF

f

ff

f

f to nothing

F

F to nothing

to nothing

F πF π

F π

F πF to nothing

40 ∑

œ ‰ Œ Œ


3

∑

œ œ œ œ œ∑

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ∑

œ œ œ œ œ3

œ ‰ Œ Œ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œ œ œ œœœggg œ œ œ œ

3

..˙̇gggg

π

to nothing

to nothing

to nothing

to nothing

to nothing

41 ∑∑

œ œ œ œ œ œa

.˙∑

˙ œ œ#

∑

˙ œ˙ Œ

˙ Œ

∑

.˙∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œ#


gradually die off

gradually die off

gradually die off

gradually die off

gradually die off

gradually die off

gradually die off

gradually die off

gradually die off

42 ∑∑

œ œN œ œ œ œa

.˙∑

˙ œ œ#

∑

˙ œ œ#∑∑

∑

.˙∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œ#

œ œ œ œ œ˙ œπ

43 ∑œN œN œ œ œ œU

œN œN œ œ œ œU

.˙U

∑˙ œ œbU

∑

˙ œU

∑∑

∑

.U̇

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

˙ œ œbU

Œ Œ œUœ œ œ œ œ˙ œ

u

(slight)

∏

∏(slight)

∏(slight)

(slight)

(slight)

∏π

(slight)

∏(slight)

∏


&&&&&??

&&&&&&&&&&&&&&&&???????&&?&&?

&?

#####

### # ## # ## # ## # ## # ## # # ## # ## # # ## # ## # ## # ## # ## ## ## ## #############

##

#

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

86

8686868686868686

86

86

86

Piccolo

Flute 1

Flute 2

Oboe 1

Oboe 2

Bassoon 1

Bassoon 2

Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Bass Clarinet

Soprano Sax

Alto Sax

Tenor Sax

Baritone Sax

Cornet 1

Cornet 2

Cornet 3

Cornet 4

Horn in F 1

Horn in F 2

Horn in F 3

Horn in F 4

Trombone 1

Trombone 2

Bass Trombone

Euphonium

Tuba

String Bass

Timpani

Vibraphone

Percussion

Marimba

Piano

Harp

1 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œœœä Jœœœ œœœä J

œœœœœœä

Jœœœ œœœ

äJœœœ

∑∑

With animation and well accented qd = 50

f

Open, not muted

Open, not muted

Open, not muted

Open, not muted

Open, not muted

Open, not muted

Open, not muted

Open, not muted

Open, not muted

Open, not muted

Open, not muted

G, D, E, A

(Motor off)

In Order: Wind Chimes, Triangle, Sus. Cym, Tam-tam, Chimes

2 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œœœä Jœœœ œœœä J

œœœœœœä

Jœœœ œœœ

äJœœœ

∑∑

3 ∑

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œä œ œ œä Jœ


.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ


.œâ œ œ œâjœ


.œâ œ œ œâjœ

.œâ œ œ œâjœ

∑∑∑∑∑∑




.œä œ œ œä Jœ∑∑∑∑∑∑∑

œœœ Jœœœ œœœ J

œœœœœœ J

œœœ œœœ Jœœœœ

∑∑

Fsim.

Chorus

F

F

F

FF

F

F

FF

FF

FF

FF

FF

F

F

F

4 ∑.œâ œ œ .œä

.œâ œ œ .œä

.œâ œ œ .œä

.œâ œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œâ œ œ .œâ

.œâ œ œ .œâ

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

∑∑∑∑∑∑

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

∑∑∑∑∑∑∑

œœœ Jœœœ

œœœ Jœœœ


œœœ∑∑

5 ∑.œâ œ œ œâ jœ.œâ œ œ œâ jœ.œâ œ œ œâ jœ.œâ œ œ œâ jœ.œä œ œ œä Jœ.œä œ œ œä Jœ.œä œ œ œâ jœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œä œ œ œâ jœ






.œä œ œ œâ jœ∑∑∑∑∑∑





œœœ Jœœœ œœœ

jœœœœœœ J

œœœœœœ J

œœœ∑∑

6 ∑

.â̇

.â̇

.â̇

.â̇œ ,ä Jœ œä Jœ

.œ ,ä œâ jœ

.â̇

œ,

âjœ œâ jœ

.â̇

.œ ,â œâ jœ

.â̇œ ,ä jœ œâ jœœ ,â jœ œâ

jœ.œ ,ä œâ jœ.â̇.â̇

∑∑∑∑∑∑

.ä̇

.ä̇

.ä̇

.ä̇

∑∑∑∑∑∑∑

œœœjœœœ œœœ

jœœœœœœ J

œœœœœœ J

œœœ∑∑

7 ∑

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

œä Jœ œä Jœ

œâ jœ œâ jœ.œâ œ œ œâ

jœ

œâ jœ œâ jœ

.œâ œ œ œâjœ

œâjœ œâ

jœ.œâ œ œ œâ

jœ

œâ jœ œä Jœ

œâ jœ œâ jœœâ jœ œâ jœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

∑∑∑∑∑∑





œœœjœœœ

œœœ Jœœœ


œœœ∑∑

8 ∑.œâ œ œ .œä

.œâ œ œ .œä

.œâ œ œ .œä

.œâ œ œ .œä

œä Jœ œä Jœ

œâ jœ œâ jœ.œä œ œ .œä

œâ jœ œâjœ

.œâ œ œ .œâœâ

jœ œâjœ

.œä œ œ .œä

œâjœ œä Jœ

œâ jœ œâ jœ.œâ œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

∑∑∑∑∑∑

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

∑∑∑∑∑∑∑

œœœœ Jœœœœ

œœœœ Jœœœœ


œœœ∑∑

9 ∑.œâ œ œ œâ jœ.œâ œ œ œâ jœ.œâ œ œ œâ jœ.œâ œ œ œâ jœ

œä Jœ œä Jœ

œâ jœ œâjœ

.œä œ œ œâ jœœâ jœ œâ jœ

.œâ œ œ œâjœ

œâjœ œâ jœ

.œä œ œ œâ jœœä Jœ œâ jœœâ jœ œâ

jœ.œâ œ œ œâ

jœ.œä œ œ œâ jœ.œä œ œ œâ jœ

∑∑∑∑∑∑






jœœœœœœ J

œœœœœœ J

œœœ∑∑

10 ∑

.â̇

.â̇

.â̇

.â̇œä Jœ œä Jœ

œâ jœ œâjœ

.â̇œâ jœ œâ jœ

.â̇œâ

jœ œâ jœ.â̇

œâ jœ œâ jœœâ jœ œâ

jœ

œâ jœ œâjœ

.â̇

.â̇∑∑∑∑∑∑

.ä̇

.ä̇

.ä̇

.ä̇

∑∑∑∑∑∑∑


jœœœœœœ J

œœœœœœ J

œœœ∑∑

III. "Skye Boat Song"Old Highland Rowing Measure

© Copyright 2013 by Bardic Edition for all countries. All rights reserved by the publisher.Arrangement for wind ensemble prepared with permission by publisher, 2017, with no intent to publish.

Reproduction in any form and duplication by whatever means, printed, written, oral, recording for sound or visual reproduction, or for any information storage or retrieval system or device, are strictly denied unless

permission in writing is obtained from the publisher.

Words by Harold Boulton

13

&&&&&??

&&&&&&&&&&&&&&&&???????

&&?

&&?

&?

#####

### # ## # ## # ## # ## # ## # # ## # ## # # ## # ## # ## # ## # ## ## ## ## ##########

###

##

#

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Timp.

Vib.

Perc.

Mrb.

Pno.

Hp.

11 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œä œ œ .œä

œä œ œ .œäœä œ œ .œäœä œ œ .œä

œâ ‰ œ .œä

œâ ‰ œ .œâœä œ œ .œä

œä Jœ .œä

œä Jœ .œäœä œ œ .œä

∑œä œ œ .œä

∑∑∑∑∑

œœœä œ œœœ ...œœœä

œœâJœœœœ

....œœœœä

∑∑

fmarked

fmarked

fmarked

Verse 1

fmarked

fmarkedfmarkedfmarked

fmarked

fmarked

fmarked

fmarked

fmarked

12 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œâ œ œ .œä

œâ œ œ .œäœä œ œ .œäœä œ œ .œä

œâ œ œ .œâœâ ‰ œ .œâœä œ œ .œä

œä Jœ .œä

œä jœ .œâœä œ œ .œä

∑œä œ œ .œä

∑∑∑∑∑


œœâJœœ ..œœä

∑∑

13 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œâ œ œ œâjœ

œâ œ œ œâjœ

œä œ œ œä Jœœä œ œ œä Jœ

œâ œ œ œâjœ

œâ ‰ œ œâ jœœä œ œ œä Jœœä Jœ œä Jœ

œâjœ œâ

jœœä œ œ œä Jœ

∑œä œ œ œä Jœ

∑∑∑∑∑

œœœä œ œœœ œœœœäJœœœœ

œœâJœœ œœœä jœœ

∑∑

14 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.â̇

.â̇

.ä̇

.ä̇

.â̇

.â̇

.ä̇

.ä̇

.â̇

.ä̇

∑.ä̇

∑∑∑∑∑

œœœœâ jœ .œ

œœâJœœœ ...œœœ

∑∑

15 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œä œ œ .œä


œâ ‰ œ .œâœâ ‰ œ .œâœä œ œ .œä

œä Jœ .œä


œâ jœ .œâœâ jœ .œä

∑∑∑∑∑

œœœâ œ œœœ ...œœœâœœâ

jœœ ..œœä

∑∑

f

16 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œâ œ œ .œä

œâ œ œ .œäœä œ œ .œäœä œ œ .œä

œâ œ œ .œâœâ ‰ œ .œâœä œ œ .œä

œä Jœ .œäœä Jœ .œâœä œ œ .œä

œâ jœ .œâœâ jœ .œä

∑∑∑∑∑

œœœâ œ œœœ ..œœâœœâ

jœœ ..œœä

∑∑

17 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.œâ œ œ œâjœ

.œâ œ œ œâjœ



.œâ œ œ œâjœ

œâ ‰ œ œâ jœ.œä œ œ œä Jœ

œä Jœ œä Jœ

œâjœ œâ jœ


œâ jœ œâ jœœâ

jœ œâjœ

∑∑∑∑∑

...œœœâ œ œœœ œœœâjœœœ

œœâjœœ œœœâ

jœœœ∑∑

18 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.â̇

.â̇

.ä̇

.ä̇


.ä̇

.ä̇

.â̇

.ä̇

.â̇

.â̇∑∑∑∑∑

œœœâjœœœ œœœâ

jœœœœœâ

jœœ œœâjœœ

∑∑

III. "Skye Boat Song"14

&&&&&??

&&&&&&&&&&&&&&&&???????

&&?

&&?

&?

#####

### # ## # ## # ## # ## # ## # # ## # ## # # ## # ## # ## # ## # ## ## ## ## ##########

###

##

#

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Timp.

Vib.

Perc.

Mrb.

Pno.

Hp.

19 ∑.œä œ œ œä Jœ


.œâ œ œ œâjœ

.œâ œ œ œâjœ

œä Jœ œä Jœ


jœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

œâjœ œâ

jœ.œâ œ œ œâ

jœ.œä œ œ œä Jœ

œä Jœ œä Jœ


jœ

.œâ œ œ œâjœ

∑∑

œâjœ œä Jœ

œâ jœ œâjœ



œä Jœ œä Jœ

œâ jœ œâ jœ.œä œ œ œä Jœ


∑∑∑∑∑


jœœœœœâ

jœœ œœâjœœ

∑∑

P

Chorus

PPPPPPP

PPP

PPPPPPP

PPPP

PPPPP

20 ∑.œä œ œ .œä

.œä œ œ .œä

.œâ œ œ .œä

.œâ œ œ .œä

œä Jœ œä Jœ


.œâ œ œ .œâ

.œâ œ œ .œâ

œâjœ œâ

jœ.œä œ œ .œä.œä œ œ .œä

œä Jœ œä Jœ


.œä œ œ .œä

∑∑

œä Jœ œä Jœœä Jœ œä Jœœâ

jœ œâjœ


œä Jœ œä Jœ



∑∑∑∑∑

œœœœâjœœœœ œœœœâ

jœœœœœœœä

Jœœœ œœœ

äJœœœ

∑∑

21 ∑.œä œ œ œä Jœ.œä œ œ œä Jœ

.œâ œ œ œâ jœ

.œâ œ œ œâ jœœä Jœ œä Jœ

œâ jœ œâjœ


.œâ œ œ œâjœ

.œâ œ œ œâjœ

œâjœ œâ

jœ.œä œ œ œâ jœ.œä œ œ œä Jœ

œä Jœ œä Jœ

œâ jœ œâjœ


.œä œ œ œâ jœ∑∑

œä Jœ œä Jœ

œâjœ œä Jœ

œâjœ œä Jœ

œâ jœ œâjœ

.œä œ œ œä Jœœä Jœ œä Jœ

œâ jœ œâjœ


œâ jœ œâjœ

œâ jœ œâjœ

∑∑∑∑∑


jœœœœœœ J

œœœœœœ J

œœœ∑∑

sim.

22 ∑.ä̇

.ä̇

.â̇


œâ jœ œâjœ

.â̇

.â̇

.â̇œâ

jœ œâjœ

.â̇

.ä̇œä Jœ œä Jœ

œâ jœ œâjœ

.â̇

.â̇Œ jœ œä JœŒ jœ œä Jœœä Jœ œä Jœ

œâjœ œâ

jœœâ

jœ œä Jœ

œâ jœ œâjœ

.ä̇

œä Jœ œä Jœ

œâ jœ œâjœ

.ä̇

œâ jœ œâjœ

œâ jœ œâjœ

∑∑∑∑∑


jœœœœœœ J

œœœœœœ J

œœœ∑∑

FF

23 ∑.œä œ œ œä Jœ


.œâ œ œ œâjœ

.œâ œ œ œâjœ

œä Jœ œä Jœ


jœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

œâjœ œâ

jœ.œâ œ œ œâ


œä Jœ œä Jœ


jœ

.œâ œ œ œâjœ

.œâ .œâ

.œâ .œâœä Jœ œä Jœœä Jœ œä Jœ



œä Jœ œä Jœ



∑∑∑∑∑

œœœjœœœ

œœœ Jœœœ


œœœ∑∑

24 ∑.œä œ œ .œä

.œä œ œ .œä

.œâ œ œ .œä

.œâ œ œ .œä

œä Jœ œä Jœ


.œâ œ œ .œâ

.œâ œ œ .œâ

œâjœ œâ

jœ.œä œ œ .œä.œä œ œ .œä

œä Jœ œä Jœ


.œä œ œ .œä

.œâ .œâ

.œâ .œâœä Jœ œä Jœœä Jœ œä Jœ


.œä œ œ .œä

œä Jœ œä Jœ



∑∑∑∑∑

œœœœ Jœœœœ

œœœœ Jœœœœ


œœœ∑∑

25 ∑.œä œ œ œä Jœ.œä œ œ œä Jœ



œâ jœ œâjœ


.œâ œ œ œâjœ

.œâ œ œ œâjœ

œâjœ œâ

jœ.œä œ œ œâ jœ.œä œ œ œä Jœ

œä Jœ œâ jœœâ jœ œâ

jœ.œä œ œ œâ jœ.œä œ œ œâ jœ.œâ œä Jœ.œä œâ Jœ

œä jœ œä Jœœä Jœ œä Jœœâ jœ œâ

jœœâ jœ œâ


œä Jœ œä Jœ

œâ jœ œâjœ


œâ jœ œâjœ

œâ jœ œâjœ

∑∑∑∑∑


jœœœœœœ J

œœœœœœ J

œœœ∑∑

26 ∑.ä̇

.ä̇

.â̇


œâ jœ œâjœ

.â̇

.â̇

.â̇ ∑

.â̇

.ä̇


jœ

.â̇

.â̇œä jœ œä Jœ

œâjœ œä Jœ

œä Jœ œä Jœ

œâjœ œä Jœ

œâ jœ œâjœ

œâ jœ œâjœ

.ä̇

œä Jœ œä Jœ

œâ jœ œâjœ

.ä̇

œâ jœ œâjœ

œâ jœ œâjœ

∑∑∑∑∑


jœœœœœœ J

œœœœœœ J

œœœ∑∑

III. "Skye Boat Song" 15

&&&&&??

&&&&&&&&&&&&&&&&???????

&&?

&&?

&?

#####

### # ## # ## # ## # ## # ## # # ## # ## # # ## # ## # ## # ## # ## ## ## ## ##########

###

##

#

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Timp.

Vib.

Perc.

Mrb.

Pno.

Hp.

27 ∑œâ œ œ .œä

œâ œ œ .œä

œâ œ œ .œä

œâ œ œ .œä

∑∑

œä œ œ .œä

œä œ œ .œä

œä œ œ .œä

œä œ œ .œä

œä œ œ .œäœä œ œ .œä

∑∑∑∑

œä œ œ .œä


œâ ‰ œ .œä

œâ ‰ œ .œâœä œ œ .œä

œä Jœ .œä


œâ œ œ .œâœä œ œ .œä

∑∑∑∑∑

œœœ> œ œœœ ...œœœ>

œœ>Jœœœœ

....œœœœ>

œœœ> œ œœœ ...œœœ>

œœ>Jœœœœ

....œœœœ>

f

marked

Verse 2

fmarked

fmarkedfmarked

fmarked

fmarked

fmarked

fmarked

fmarked

fmarkedfmarked

fmarked

fmarked

fmarked

fmarkedfmarkedfmarked

fmarked

fmarked

fmarked

fmarked

fmarked

fmarked

f

marked

28 ∑œ- œ œ .œ-œ- œ œ .œ-œ- œ œ .œ-œ- œ œ .œ-

∑∑

œ- œ œ .œ-

œ- œ œ .œ-

œ- œ œ .œ-

œ- œ œ .œ-

œ- œ œ .œ-œ- œ œ .œ-

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œœœ- œ œœœ ...œœœ-

œœ- Jœœ ..œœ-

sub. psub. psub. psub. p

sub. psub. psub. psub. psub. psub. p

sub. p

29 ∑

œ- œ œ œ- jœœ- œ œ œ- jœœ- œ œ œ- jœœ- œ œ œ- jœ

∑∑

œ- œ œ œ- jœœ- œ œ œ- jœœ- œ œ œ- jœœ- œ œ œ- jœœ- œ œ œ- jœœ- œ œ œ- Jœ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

...œœœ- ...œœœ-

..œœ-...œœœ-

30 ∑

.-̇

.-̇

.-̇

.-̇∑∑

.-̇

.-̇

.-̇

.-̇

.-̇

.-̇

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.œ Œ .∑∑

Œ œ œ œ œ œ ≈ ‰

œ œ œ œ ‰ ‰ . œ œ œ

(let ring)Wind chimes

31 œ- œ œ .œ-

œ- œ œ .œ-

œ- œ œ .œ-

œ- œ œ .œ-

œ- œ œ .œ-

∑∑

œ- œ œ .œ-

œ- œ œ .œ-

œ- œ œ .œ-

œ- œ œ .œ-


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

— ¿ — — .—æ∑∑

Œ . ...œœœ-..œœ-

..œœ-

p

Triangle

32 œ- œ œ .œ-œ- œ œ .œ-

œ- œ œ .œ-


∑∑

œ- œ œ .œ-

œ- œ œ .œ-

œ- œ œ .œ-

œ- œ œ .œ-


∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

— ¿ — — .—æ∑∑

...œœœ- ..œœ-

..œœ-..œœ-

33 .œ- œ œ œ- jœ.œ- œ œ œ- Jœ.œ- œ œ œ- Jœ

.œ- œ œ œ- jœ

.œ- œ œ œ- jœ∑∑

.œ- œ œ œ- jœ

.œ- œ œ œ- jœ

.œ- œ œ œ- jœ

.œ- œ œ œ- jœ

.œ- œ œ œ- jœ

.œ- œ œ œ- Jœ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

...œœœ-...œœœ-

..œœ-...œœœ-

(to Sus. Cym.)

34 .-̇.-̇

œ- Jœ œ- jœ.-̇.-̇

∑∑

.-̇

.-̇

.-̇

.-̇

.-̇

.-̇

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œ œ œ œ œ œ Œ .Œ . œ œ œ œ œ œ

~~~~~~~


&&&&&??

&&&&&&&&&&&&&&&&???????

&&?

&&?

&?

#####

### # ## # ## # ## # ## # ## # # ## # ## # # ## # ## # ## # ## # ## ## ## ## ##########

###

##

#

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Timp.

Vib.

Perc.

Mrb.

Pno.

Hp.

35 .œä œ œ œä Jœ



.œâ œ œ œâjœ

.œâ œ œ œâjœ



.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ


.œâ œ œ œâjœ


.œâ œ œ œâjœ

.œâ œ œ œâjœ

∑∑

.œâ œ œ œä Jœ

.œâ œ œ œä Jœ∑∑







∑∑

œä jœ œä jœœ>â Jœ œ>â Jœœä Jœ œä Jœ

∑


jœœœœœâ

jœœ œœâjœœ

∑

.œ- Œ .

Chorus

p

p

p

pppppp

pp

pp

pppp

pp

ppp

ppppp

p36 .œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œâ œ œ .œä

.œâ œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œâ œ œ .œâ

.œâ œ œ .œâ

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

∑∑

.œâ œ œ .œâ

.œâ œ œ .œâ∑∑

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œâ œ œ .œä

.œä œ œ .œä

∑∑


∑œœœœâ

jœœœœ œœœœâjœœœœ

œœœä

Jœœœ œœœ

äJœœœ

∑∑

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

louden bit by bit

37 .œä œ œ œä Jœ.œä œ œ œä Jœ.œä œ œ œä Jœ






.œâ œ œ œâjœ

.œâ œ œ œâjœ







.œä œ œ œâ jœ∑∑


.œâ œ œ œä Jœ∑∑





.œâ œ œ œâjœ

.œä œ œ œä Jœ∑∑

œä jœ œä jœœ>â Jœ œ>â Jœ

œä Jœ œä Jœ

∑œœœ

jœœœ œœœjœœœ

œœœ Jœœœ

œœœ Jœœœ

∑∑

sim.

38 .ä̇

.ä̇

.ä̇

.â̇


.œä œâ jœ

.â̇

œâjœ œâ jœ

.â̇

.œâ œâ jœ

.â̇œä jœ œâ jœœâ jœ œâ

jœ.œä œâ jœ.â̇.â̇

∑∑

.œâ œâ jœ

.œâ œâ jœ∑∑

.ä̇

.œä œâ jœ

.ä̇

.ä̇

.œâ œâ jœ

.ä̇

∑∑


œä Jœ œä Jœ

∑œœœ


œœœ Jœœœ

œœœ Jœœœ

∑∑

FFFFFF

F

F

FF

FFFF

FF

FFF

FFFFFFFF

39 .œä œ œ œä Jœ.œä œ œ œä

Jœ

.œä œ œ œäJœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

œä Jœ œä Jœ


jœ

œâ jœ œâ jœ

.œâ œ œ œâjœ

œâjœ œâ

jœ.œâ œ œ œâ

jœ

œâ jœ œä Jœœâ

jœ œâjœ


jœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

œâ jœ œä jœ

œâ jœ œâ jœ.œâ œ œ œä Jœ.œâ œ œ œä Jœ.œä œ œ œä Jœ

œä Jœ œä Jœ




∑∑


∑œœœ

jœœœœœœ J

œœœœœœ J

œœœ œœœ Jœœœ

∑∑

FF

FF

40 .œä œ œ .œä.œä œ œ .œä.œä œ œ .œä

.œâ œ œ .œä

.œâ œ œ .œä

œä Jœ œä Jœ


œâ jœ œâjœ

.œâ œ œ .œâœâ jœ œâ

jœ.œä œ œ .œä

œâjœ œä Jœ

œä Jœ œä Jœ

.œâ œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

œâjœ œä Jœ

œâ jœ œâ jœ.œâ œ œ .œâ.œâ œ œ .œâ.œä œ œ .œä

œä Jœ œä Jœ.œä œ œ .œä

.œä œ œ .œä


∑∑


œä Jœ œä Jœ

∑œœœœ J

œœœœœœœœ J

œœœœœœœ J

œœœ œœœ Jœœœ

∑∑




œâ jœ œâjœ

.œä œ œ œâ jœœâ jœ œâ jœ

.œâ œ œ œâjœ

œâjœ œâ jœ

.œä œ œ œâ jœœä Jœ œâ jœœâ

jœ œä Jœ

.œâ œ œ œâjœ




.œä œ œ œâ jœœä jœ œâ jœœâ jœ œâ

jœ.œâ œ œ œâ jœ.œâ œ œ œâ jœ.œä œ œ œä Jœ

œä Jœ œâjœ



œâ jœ œâjœ

.œä œ œ œä Jœ∑∑


∑œœœ J

œœœ œœœjœœœ

œœœ Jœœœ

œœœ Jœœœ

∑∑

42 .ä̇.ä̇

.ä̇

.â̇


œâ jœ œâjœ

.â̇œâ jœ œâ

jœ

.â̇œâ

jœ œâ jœ.â̇

œâ jœ œâ jœœâ

jœ œä Jœ

œâ jœ œâjœ

.â̇

.â̇

.â̇

.â̇œâ jœ œâ jœœâ jœ œâ

jœ.â̇.â̇.ä̇

œä Jœ œâjœ

.ä̇

.ä̇

œâ jœ œâjœ

.ä̇

∑∑


∑œœœ


œœœ Jœœœ

œœœ Jœœœ

∑∑


&&&&&??

&&&&&&&&&&&&&&&&???????

&&?

&&?

&?

#####

### # ## # ## # ## # ## # ## # # ## # ## # # ## # ## # ## # ## # ## ## ## ## ##########

###

##

#

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Timp.

Vib.

Perc.

Mrb.

Pno.

Hp.

43 œâ œ œ .œäœä œ œ .œä

Œ . œä œ œ

œâ œ œ .œä

Œ . œâ œ œœä œ œ .œä

Œ . œä œ œ

œä œ œ .œä

Œ . œâ ‰ œŒ . œâ ‰ œœä œ œ .œä

Œ . œä ‰ œ

Œ . œä œ œ

Œ . œä ‰ œœä Jœ .œä

œä œ œ .œä

Œ . œä œ œœä œ œ .œä


Œ . œä œ œ


Œ . œä œ œ


œâ jœ .œâœä œ œ .œä

∑∑

Œ . œâ œ œœä œ œ Œ .

∑œœœä œ œœœ ...œœœä

œœâJœœœœ

....œœœœä

∑∑

fmarked

Verse 3

F

F

F

F

FFFF

F

F

FF

FF

F

FF

F

F

FF

F

F

F

FFFF

F44 œâ œ œ .œâœä œ œ .œä

.œä œä œä œ

œâ œ œ .œâ.œâ œâ œâ œ

œä œ œ .œä

.œä œä œä œœâ œ œ .œä

.œâ œâ ‰ œ

.œâ œâ ‰ œœâ œ œ .œä

.œä œä ‰ œ

.œä œä œä œ

.œä œä ‰ œ

œä jœ .œâœâ œ œ .œä

.œâ œâ œâ œœâ œ œ .œä

.œâ œâ œâ œœä œ œ .œä

.œä œä œä œ

.œâ œä ‰ œ

.œâ œâ ‰ œœä œ œ .œä

.œä œä œä œœä jœ .œâœä œ œ .œä


∑∑

Œ . œâ œâ œ

œä œ œ Œ .∑



∑∑

45 œâ œ œ œâjœ

œä œ œ œä Jœ

.œä œä œ œ

œâ œ œ œâjœ

.œâ œâ œ œœä œ œ œä Jœ

.œä œä œ œ

œâ œ œ œâjœ

.œâ œâ jœ

.œâ œâjœ

œâ œ œ œâjœ

.œä œä Jœ

.œä œä œ œ

.œä œä Jœ

œâjœ œâ

jœœâ œ œ œâ

jœ

.œâ œâ œ œœâ œ œ œâ

jœ.œâ œâ œ œ

œä œ œ œä Jœ.œâ œä œ œ

.œâ œâjœ

.œâ œâ jœœä œ œ œä Jœ

.œä œä œ œ

œâjœ œâ

jœœä œ œ œä Jœ

œâ jœ œâ jœœä œ œ œä Jœ

∑∑


∑œœœä œ œœœ œœœœä

Jœœœœ


∑∑

46 .â̇.ä̇

œä Jœ .œä

.â̇œä Jœ .œä

.ä̇œä Jœ .œä

.â̇

.â̇

.â̇

.â̇

.ä̇

.œä .œä

.ä̇

.â̇

.â̇œä Jœ .œä

.â̇

.œâ .œâ

.ä̇

.œä .œä

.â̇

.â̇

.ä̇

.œä .œä

.â̇

.ä̇

.â̇

.ä̇

∑∑∑

œä œ œ œä œ œ∑

œœœœâ jœ .œâœœâ

Jœœœ ...œœœä

∑∑

47 œâ œ œ .œäœä œ œ .œä

Œ . œä œ œ

œâ œ œ .œä

Œ . œâ œ œœä œ œ .œä

Œ . œä œ œ

œä œ œ .œä


Œ . œä ‰ œ

Œ . œä œ œ

Œ . œä ‰ œœä Jœ .œä

œä œ œ .œä



Œ . œä œ œ


Œ . œä œ œ



∑∑


∑œœœâ œ œœœ ...œœœâœœâ

jœœ ..œœä

∑∑

48 œâ œ œ .œ "âœä œ œ .œ "ä

.œä œä œ œ "œâ œ œ .œ "

â.œâ œâ œ œ "

œä œ œ .œ "ä

.œä œä œ œ "œâ œ œ .œ "ä

.œâ œâ œ œ "

.œâ œâ œ œ "œâ œ œ .œ "ä

.œä œâ œ œ "

.œä œä œ œ "

.œä œä œ œ "œä Jœ .œ "

âœâ œ œ .œ "ä

.œâ œâ œ œ "œâ œ œ .œ "ä

.œâ œâ œ œ "œä œ œ .œ "ä

.œä œä œ œ "

.œâ œä œ œ "

.œâ œâ œ œ "œä œ œ .œ "ä

.œä œä œ œ "œä Jœ .œ "

âœä œ œ .œ "ä

œâ jœ .œ "â

œä œ œ .œ "ä

∑∑

Œ . œâ œ œ "œä œ œ Œ . "

∑œœœâ œ œœœ ..œœ

"â

œœâjœœ ..œœ "ä

∑∑

49 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.œ œ œ œ jœ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

Slowly, in free time, and distantSolo

50 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.˙∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑


&&&&&??

&&&&&&&&&&&&&&&&???????

&&?

&&?

&?

#####

### # ## # ## # ## # ## # ## # # ## # ## # # ## # ## # ## # ## # ## ## ## ## ##########

###

##

#

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Timp.

Vib.

Perc.

Mrb.

Pno.

Hp.

51

.œ œ œ œ jœ∑∑∑∑

.œ œ œ œ Jœ

∑

.œ œ œ œ jœ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.˙∑

.œ°

œ œ œ jœ*

∑∑∑∑∑

..œœggg ...œœœgggg

..œœggg ..œœggg

Chorus

P

p

p

Solo

Solo

pSolo

pSolo

p

52 .œ œ œ .œ

∑∑∑∑

.œ œ œ .œ

∑.œ œ œ .œ

∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.˙∑

.œ° œ œ .œ *

∑∑∑∑∑

..œœggg ..œœggggg

...œœœggggg...œœœggggg

louden bit by bit

53 .œ œ œ œ jœ∑∑∑∑

.œ œ œ œ Jœ∑

.œ œ œ œ jœ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.œ≥ .œ≥

∑.œ° œ œ* œ

° jœ*

∑∑∑∑∑

..œœgggg ...œœœgggg

..œœgggg ..œœggg

54

.˙∑∑∑∑

.˙∑

.˙∑∑

œ œ œ œâ jœ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.˙∑

.˙° *

∑∑∑∑∑

..œœggg ..œœgggg

..œœ>gggg ..œœggg

p

55

.œâ œ œ œâjœ

∑∑∑

Œ . œâjœ


∑

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œâjœ

.œâ œ œ œâjœ

Œ . œä Jœ

Œ . œä Jœ

∑∑∑

Œ . .œâ.œâ .œâ

∑∑

Œ . œâ jœœâ jœ œâ jœ

∑∑∑

Œ . œä Jœ

∑.ä̇

∑

.œâ œ œ œâjœ

∑∑∑

œœœâjœœœ

œœœä Jœœœ

œœœä

Jœœœ œœœ

äJœœœ

..œœ>gggg...œœœ>

gggg..œœ>ggg ..œœ>ggg

p

Continue pedaling in same manner

Sus. Cym.

56 .œâ œ œ .œä

∑∑

.œâ œ œ .œä

.œâ œ œ .œä

.œä œ œ .œä

∑.œä œ œ .œä

.œâ œ œ .œâ

.œâ œ œ .œâ

.œâ œ œ .œâ

.œä œ œ .œä

.œä œ œ .œä

œä Jœ œä Jœ

œâ jœ œâ jœ∑

.œä œ œ .œä

.œâ .œâ

.œâ .œâŒ . œä Jœœâ

jœ œâjœ


∑Œ . œä Jœ


∑.œä .œä

∑.œâ œ œ .œä

∑∑

.˙œœœœä J

œœœœœœœœä J

œœœœœœœä

Jœœœ œœœ

äJœœœ

..œœ>ggg ..œœ>ggggg

...œœœ>ggggg...œœœ>ggggg

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

louden lots!

π

57 .œâ œ œ œâ jœ∑









.œâ œ œ œâjœ


.œä œ œ œä Jœœä Jœ œâ jœœâ jœ œâ



.œâ œä Jœ

.œä œâ Jœœä jœ œä Jœœä Jœ œä Jœœâ jœ œâ

jœœâ jœ œâ


œä Jœ œä Jœ

œâ jœ œâjœ


œâ jœ œâjœ

œä Jœ œä Jœ

.˙

.œâ œ œ œâ jœ∑∑

.â̇œœœä Jœœœ œœœâ

jœœœœœœä

Jœœœ

œœœä Jœœœ

..œœ>gggg ...œœœ>

gggg..œœ>gggg ..œœ>ggg

sim.

π

58 .ä̇.ä̇

.ä̇

.â̇

.â̇

.ä̇

.ä̇

.ä̇

.â̇

.â̇

.â̇

.â̇

.ä̇


jœ.ä̇

.â̇œä jœ œä Jœ

œâjœ œä Jœ

œä Jœ œä Jœ

œâjœ œä Jœ

œâ jœ œâjœ

œâ jœ œâjœ

.ä̇

œä Jœ œä Jœ

œâ jœ œâjœ

.ä̇

œâ jœ œâjœ

œä Jœ œâ jœ.â̇.â̇

∑∑

.˙œœœâ

jœœœ œœœâjœœœ

œœœä

Jœœœ

œœœä Jœœœ

..œœ>ggg ..œœ>gggg

..œœ>gggg ..œœ>ggg

let ring


&&&&&??

&&&&&&&&&&&&&&&&???????

&&?

&&?

&?

#####

### # ## # ## # ## # ## # ## # # ## # ## # # ## # ## # ## # ## # ## ## ## ## ##########

###

##

#

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Timp.

Vib.

Perc.

Mrb.

Pno.

Hp.

59 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

..œœä œœ œœ ..œœä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œâ œ œ .œâ

.œä œ œ .œä

.œâ œ œ .œä

.œâ œ œ .œä

∑œä Jœ ..œœä

jœ Œ Œ .œœœä œ œœœ ...œœœä

œœâJœœœœ

....œœœœä

∑∑

f

Verse 4

f

f

marked and to the foreopt. √

fmarked and to the fore


marked and to the fore

f









fmarked and to the forefmarked and to the forefmarked and to the forefmarked and to the forefmarked and to the fore

flet ring (to Tam-tam)

60 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œœä œœœœ ..œœä

œâ œ œ .œä

œâ œ œ .œä

œâ œ œ .œäœä œ œ .œäœä œ œ .œäœä œ œ .œäœä œ œ .œäœä œ œ .œä

œä œ œ .œä

œä œ œ .œä

œä œ œ .œä


œä œ œ .œä

œâ œ œ .œâ∑

œœä jœœ ..œœä

∑œœœä œ œœœ ...œœœä


∑∑

61 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œœä ..œœä œœ œœä Jœœ

œâ .œâ œ œâjœ



œä .œä œ œä Jœœä .œä œ œä Jœœä .œä œ œä Jœœä .œä œ œä Jœœä .œä œ œä Jœœä .œä œ œä Jœœä .œä œ œä Jœœä .œä œ œä Jœ

œâ .œâ œ œâ jœœä .œä œ œä Jœ

œä .œä œ œä Jœ


∑œœä J

œœ œœä Jœœ

∑œœœä œ œœœ œœœœä

Jœœœœ


∑∑

Tam-tam

62 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

..˙̇ä

.â̇

.â̇

.â̇

.ä̇

.ä̇

.ä̇

.ä̇

.ä̇

.ä̇

.ä̇

.ä̇

.â̇

.ä̇

.œâ œ œ .œâ

.â̇∑

œä Jœœ ..œœä

.â̇œœœœâ jœ .œâœœâ

Jœœœ ...œœœä

∑∑

ßP

f

63 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œœä œœ œœ ..œœä

œä œ œ .œä

œä œ œ .œä

œä œ œ .œäœä œ œ .œäœä œ œ .œäœä œ œ .œäœä œ œ .œäœä œ œ .œä

œä œ œ .œä

œä œ œ .œä

œä œ œ .œä


œâ œ œ .œâ œ œ œœâ œ œ .œä

∑œä Jœ ..œœä

∑œœœâ œ œœœ ...œœœâœœâ

jœœ ..œœä

∑∑

fsub. f

64 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

œœä œœœœ ..œœä

œâ œ œ .œä

œâ œ œ .œä

œâ œ œ .œäœä œ œ .œäœä œ œ .œäœä œ œ .œäœä œ œ .œäœä œ œ .œä

œä œ œ .œä

œä œ œ .œä

œä œ œ .œä


.œä œ œ œä œ œ œ œœâ œ œ .œâ

∑œœä jœœ ..œœä

∑œœœâ œ œœœ ..œœâœœâ

jœœ ..œœä

∑∑

65 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

..œœä œœ œœ œœä Jœœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ












jœ∑

œœä Jœœ œœä J

œœ∑

...œœœâ œ œœœ œœœâjœœœ

œœâ Jœœ œœœ

äJœœœ

∑∑

66 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.ä̇

.>̇â

.â̇

.â̇

.â̇

.ä̇

.ä̇

.ä̇

.ä̇

.ä̇

.ä̇

.ä̇

.ä̇

.â̇

.ä̇

.ä̇

œœä Jœœ œœä J

œœ∑

œœä Jœœ œœä Jœœ∑


jœœœœœœä Jœœœ œœœä J

œœœ∑∑

PPP

67 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙œœä J

œœ œœä Jœœ

∑œœä Jœœ œœä Jœœ

∑



œœœ∑∑

die awaydie awaydie awaydie away

68 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙œœä J

œœ œœä Jœœ

∑œœä Jœœ œœä Jœœ

∑



œœœ∑∑

Slow offIII. "Skye Boat Song"20

&&&&&??

&&&&&&&&&&&&&&&&???????

&&?

&&?

&?

#####

### # ## # ## # ## # ## # ## # # ## # ## # # ## # ## # ## # ## # ## ## ## ## ##########

###

##

#

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

B. Cl.

S. Sx.

A. Sx.

T. Sx.

B. Sx.

Cnt. 1

Cnt. 2

Cnt. 3

Cnt. 4

Hn. 1

Hn. 2

Hn. 3

Hn. 4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tuba

S.B.

Timp.

Vib.

Perc.

Mrb.

Pno.

Hp.


Jœ

.œä œ œ œäJœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ




.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ


.œâ œ œ œâjœ


.œâ œ œ œâjœ

.œä .œä

.œä .œâ

.œâ .œâ


.œâ .œâ

.œâ .œâ

.œâ .œâ







.œâ .œä

.œâ œ œ œâjœ

.œâ œ œ œâjœ

∑

.œâ .œâœœœâ

jœœœ œœœâjœœœ

.â̇

..œœâ...œœœâ

..œœâ ..œœâ

Chorus

f

f

Slightly slower than first tempo and to the fore

f

ff

fffffff

fff

ff

f

f

f

ff

ff

ffffffff

ff


.œâ œ œ .œä

.œâ œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œâ œ œ .œâ

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä .œä

.œä .œä

.œä .œä

.œâ œ œ .œâ

.œä .œä

.œâ .œä

.œâ .œâ

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œâ œ œ .œä

.œä œ œ .œä

.œä .œä

.œâ œ œ .œä

.œâ œ œ .œä

∑.œâ

.œä

œœœœâjœœœœ

œœœœâjœœœœ

œœâjœœ

œœä jœœ..œœâ

..œœâ...œœœä ...œœœ

ä








.œâ œ œ œâjœ







.œä .œä

.œä .œä

.œâ .œâ


.œâ .œä

.œâ .œâ

.œâ .œâ.œä œ œ œä Jœ






.â̇


.œâ œ œ œâ jœ∑

.œä .œâœœœâ

jœœœœœœâ

jœœœœœâ

jœœœœœä J

œœœ..œœâ ...œœœâ..œœä ..œœäsim.

72 .ä̇.ä̇

.ä̇

.â̇

.â̇

.ä̇

.ä̇

.ä̇

.â̇

.â̇

.â̇

.â̇

.ä̇

.â̇

.ä̇

.â̇

.œä .œä

.œä .œä

.œâ .œâ

.â̇

.œâ .œä

.œâ .œâ

.œâ .œâ

.ä̇

.ä̇

.ä̇

.ä̇

.â̇

.ä̇

.â̇

.â̇

.â̇∑

.œâ .œâœœœâ

jœœœ œœœäjœœœ

œœâ Jœœ œœä jœœ

..œœâ..œœâ..œœä ..œœä


Jœ

.œä œ œ œäJœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ




.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ

.œâ œ œ œâjœ


.œâ œ œ œâjœ


.œâ œ œ œâjœ

.œä .œä

.œä .œâ

.œâ .œâ


.œâ .œâ

.œâ .œâ

.œâ .œâ







.œâ .œä

.œâ œ œ œâjœ

.œâ œ œ œâjœ

∑

.œâ .œâœœœœâ

jœœœœœœœä J

œœœ

œœâjœœ œœä jœœ

..œœâ...œœœâ

..œœâ ..œœâF

f

Continue pedaling in same manner


.œâ œ œ .œä

.œâ œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œâ œ œ .œâ

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä .œä

.œä .œä

.œä .œä

.œâ œ œ .œâ

.œä .œä

.œâ .œä

.œâ .œâ

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œä œ œ .œä

.œâ œ œ .œä

.œä œ œ .œä

.œä .œä

.œâ œ œ .œä

.œâ œ œ .œä

∑.œâ

.œäœœœœä

Jœœœœ

œœœœä

Jœœœœ

œœâJœœ

œœä Jœœ..œœâ

..œœâ...œœœä ...œœœ

ä








.œâ œ œ œâjœ







.œä .œâ

.œä .œâ

.œâ .œâ


.œâ .œâ

.œâ .œâ

.œâ .œâ.œä œ œ œä Jœ








.œâ œ œ œâ jœ∑

.œä .œâœœœä Jœœœ œœœâ

jœœœœœœä

Jœœœ

œœœä Jœœœ

..œœâ ...œœœâ..œœä ..œœä

76 .ä̇

.ä̇

.ä̇

.â̇

.â̇œä Jœ œ- Jœ

.ä̇

.ä̇

.â̇

.â̇

.â̇

.â̇

.ä̇

.â̇

.ä̇

.â̇

.â̇

.â̇

.â̇

.â̇

.â̇

.â̇

.â̇

.ä̇

.ä̇

.ä̇

.ä̇

.â̇

.ä̇

œâ jœ œ- jœ.â̇.â̇

∑œœâ

jœœ œœ-jœœ

œœœâjœœœ œœœ-

jœœœœœâ J

œœ œœœ- Jœœœ

..œœâ..œœ-..œœä ..œœ-

die away

77 .˙.˙.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙œ- Jœ œ- Jœ

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

.˙

œ- jœ œ- jœ.˙.˙

∑œœ-

jœœ œœ-jœœ

œœœ-jœœœ œœœ-

jœœœœœ- J

œœ œœœ- Jœœœ


..œœ-..œœ-

78 .œ Œ ..œ Œ ..œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œŒ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

.œ Œ .

œ- jœ œ- Jœ

.œ Œ .

.œ Œ .∑

œœ-jœœ œœ-

jœœœœœ-

jœœœ œœœ-jœœœ

œœœ-

Jœœœ

œœœ- Jœœœ


...œœœ- ...œœœ-

let ring

79 ∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑∑

.-̇∑∑∑

.œ- .œ.>̇- ...˙̇̇- .œ- .œU

jœœ

......˙̇̇̇˙̇- ..˙̇- .œg - .œU

..˙̇-

p

p

p

p


POSSIBLEW

ORK

SFO

RNEW

WINDBANDARR

ANGEM

ENTSOFGRA

INGER

andOriginalInstrum

entatio

n

Vane

ssaHeu

ck2016

Inform

ationgathered

from

BarryPe

terO

uld

MusicArchivistofthe

GraingerS

ociety

http://w

ww.bardic-music.com

/pgcat.htm

-Upd

ated

10/10/2011

http://hom

e.kpn.nl/percygrainger/rep

ertoirelijst-gb.htm

Mixed

Cho

rus

MaleCh

orus

FemaleCh

orus

Voice

Agincou

rtSon

gn

n

Ancho

rSon

gn

n

AtT

wilight

nw/Ten

orSolo

w/Solo

BridalSon

g(ToANordic

Princess)

nn

BridalSon

g(ToANordic

Princess)

nNordic/Scandanavian.Con

sensed

Orche

stral/4-hand

piano

scoreispub

licdom

ain,IMSLP.

TheCrew

ofthe

Lon

gSerpen

tn

TheCrew

ofthe

Lon

gSerpen

t(forfo

urhands)

2

*Da

lvisa

nSw

edish-V

inda

rnaSuckaUtiSkoga

rna(TheW

indsSighin

theForests).Po

ssiblesecon

dmovem

enttoasuite

.1:10

*Dreamery

n

*Dreamery(twoversionsfo

rstring

orch)

n

*Died

forLove

MezzoSop

.

Flute

ClarinetinA

Bassoo

n

British-En

dsonanunresolvedEm

7-p

ossiblemovem

ent

ofasuiteifnextm

ovem

entb

eginson

are

solved

cho

rd.

(SkyeBo

atSon

gpo

ssiblenextm

ovmen

t).

1:40

Died

forLove

M.Sop

.Muted

Trio

Died

forLove

M.Sop

.n

JungleBoo

kCycle,Kypling

TheFallofth

eSton

e[KS16]

nn

Morning

Son

ginth

eJung

le{K

S3}

n

Nigh

t-Singinth

eJung

le[K

S17]

n

Nigh

t-Singinth

eJung

le[K

S17]

4-partm

en's

TheInuit[KS5]

n

TheBe

acheso

fLukan

non[KS20]

nn

n

TheBe

acheso

fLukan

non[KS20]

nn

TheRe

dDo

g[KS19]

4-partm

en's

ThePeoraHu

nt[K

S14]

nVa

riou

sadlibaccompanimen

tsThePeoraHu

nt[K

S14]

6-partm

en's

HuntingSong

oftheSeeon

eePack[KS8]

4-partm

en's

n

HuntingSong

oftheSeeon

eePack[KS8]

4-partm

en's

Tiger,Tiger[KS4]

4-partm

en's

Sevenarrangmen

ts.Firstsettin

gfor4

-partm

en'scho

rus.

TheOnlySon[KS21]

(Opt.)

Sop/Teno

rTheOnlySon[KS21]

Quartet

n

Mow

gli'sSon

gag

ainstthePeople[KS15]

nSoloists

n

Mow

gli'sSon

gag

ainstthePeople[KS15]

(fourhan

ds)

2TheMaide

nandtheFrog

Vln/Vla/Ce

llon

*SkyeBoa

tSon

gn

nScottish.Possibleinne

rmovem

ento

fasuite(following

Diedfo

rLove).

4:10

ThreeBu

rnsSongs

AftonWater

nn

Evan

Ban

ksn

n

YonWildM

ossyM

ountains

nn

*Fisher'sBo

ardingHou

sen

1899

6:42

Ensemble

(Shade

d=ACappe

lla)

Title

Movem

ents

FullOrche

stra

Strings

Nationality/Notes

Piano(s)

Organ

Harmon

ium

Duration

A GRAINGER TRIPTYCH Final Document

Documents

Transcript of A GRAINGER TRIPTYCH Final Document