a wind band transcription - ir.ua.edu
TRANSCRIPT
A WIND BAND TRANSCRIPTION
OF JAMES REESE EUROPE’S
“THE CLEF CLUB MARCH”
by
JEREMY STOVALL
KENNETH B. OZZELLO, COMMITTEE CHAIR RANDALL O. COLEMAN JEREMY S. CRAWFORD
LINDA P. CUMMINS MARVIN E. LATIMER JR. THOMAS S. ROBINSON
A DOCUMENT
Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts
in the Department of Music in the Graduate School of The University of Alabama
TUSCALOOSA, ALABAMA
2018
Copyright Jeremy Stovall 2018 ALL RIGHTS RESERVED
ABSTRACT
James Reese Europe was an accomplished musician, composer, conductor, and
bandleader. A key figure in the transition from ragtime to jazz, Europe was an advocate of
African American music and musicians, and he helped them gain acceptance in the United States
and abroad. After his untimely death in 1919, the result of being stabbed by one of his drummers,
Europe’s fame unfortunately turned to obscurity. He achieved much in his short life and was a
significant influence on American music at an important time in the nation’s history.
With this document and transcription, I hope to bring James Reese Europe’s music and
his influence some of the attention it deserves. The components of the document include a
biographical sketch of the composer, details of the original composition and the transcription
process, suitable applications for the piece, and a score of the wind band transcription of “The
Clef Club March.”
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DEDICATION
For my wife, Noelle, and our daughter Audrey, who are my constant source of joy. Thank
you for your patience, encouragement, and endless support during this process. I can never
express how much you both mean to me. Nothing I’ve ever done has given me more joy than
being a husband and a father. I love you both!
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ACKNOWLEDGEMENTS
I would like to express my gratitude to the outstanding faculty members at the University
of Alabama School of Music who made up my committee, including my major professor, Dr.
Kenneth Ozzello, for their guidance throughout the process of this degree. Also to the faculty of
the David L. Walters Department of Music at Jacksonville State University for their support and
encouragement.
Thank you to Mr. Patrick Roszell for his advice and expertise in the transcription and
editing process of “The Clef Club March.” Also to Mrs. Susan Dean, Jacksonville State
University Instructor of English, and Dr. Steve Whitton, Jacksonville State University Faculty
Emeritus, for their help editing this document.
Special thanks to the New York Public Library’s Schomburg Center for Research in
Black Culture for access to the manuscripts and archives of James Reese Europe. This unique
collection provided much inspiration for this project.
Three years, 150 trips to Tuscaloosa, 750 hours in a car, and 43,500 miles ago, Taylor
Cash and I began the pursuit of this degree. I am forever grateful for his friendship.
And finally, to the best support system I could ever ask for—Mom and Bud, Dad and
Vicki, and Paul and Debbie. Thank you for your constant encouragement.
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CONTENTS
ABSTRACT………………………………………………………………………………………ii
DEDICATION……………………………………………………………………………………iii
ACKNOWLEDGEMENTS………………………………………………………………………iv
LIST OF TABLES………………………………………………………………………..………vi
LIST OF ILLUSTRATIONS…………………………………………………………………….vii
CHAPTER 1. PROFILE OF JAMES REESE EUROPE…………………………………..…..…1
a. Struggling Young Instrumentalist and Songwriter………………………………………..….…2
b. Theatre Performer and Musical Director……………………………..………………….……..3
c. Dance Orchestra Leader and Organizer of the Clef Club…………………..…………………..3
d. Association with Vernon and Irene Castle………………………………..……………….……6
e. U.S. Military Bandmaster………………………………………………………………………8
f. Death……………………………………………………………………………………..…….18
CHAPTER 2. ORIGINAL COMPOSITION…………………….…………………………..…..21
CHAPTER 3. TRANSCRIPTION PROCESS………………………………….……………….27
CHAPTER 4. APPLICATION……………………………….………………….……………….34
CHAPTER 5. CONCLUSION…………………..………………………………………………37
REFERENCES…………………………………………………………………..………………39
APPENDIX………………………………………………………………………………..…..…42
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LIST OF TABLES
1. Chidester’s Comparative Instrumentation of American Bands (1891-1946)…………………29
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LIST OF ILLUSTRATIONS
1. Form of “The Clef Club March” by James Reese Europe………………………………….…24
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CHAPTER 1
PROFILE OF JAMES REESE EUROPE
James Reese Europe was an accomplished conductor, bandleader, and composer during
the early twentieth century. An influential figure in the transition of ragtime to jazz, Europe was a
champion of African American musicians and composers who helped them gain acceptance in
the United States. After the composer’s untimely death, his fame unfortunately turned to
obscurity. He achieved much in his short life, and he was a significant influence on American
music at an important time in the nation’s history. James Reese Europe’s career can be divided
into roughly five periods: 1) struggling young instrumentalist and songwriter; 2) theatre
performer and musical director; 3) dance orchestra leader and organizer of the Clef Club; 4)
nationally-known conductor and composer in association with the popular dance team of Vernon
and Irene Castle; and 5) U.S. military bandmaster. 1
James Reese Europe was born on February 22, 1880, in Mobile, Alabama. His father
Henry, who was born a slave, studied law at Howard University and worked in the Post Office.
His mother Lorraine was the freeborn daughter of one of the earliest and most prominent African
American members of the Episcopal Church of Mobile. Lorraine played the piano and read 2
music well enough to teach her children their first music lessons. Henry was a self-taught
Reid Badger and Rick Benjamin, The Music of James Reese Europe: Complete Published Works 1
(New York: Edward B. Marks Music Company, 2012), vi.
Reid Badger, A Life in Ragtime (New York: Oxford University Press, 1995), 10.2
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performer on several instruments and adopted a more improvisational approach to music than his
wife did. Before the family moved away from Mobile, James had already begun to demonstrate
his musical abilities on the piano, as well as improvising on the fiddle and banjo. This would
prove to be a perfect combination for James’ future path in music.
The Europe family moved to Washington, D.C., in 1889 to their first residence, 308 B
Street S.E., in the section of the city that traditionally had the greatest concentration of black
property owners. In 1891, John Philip Sousa, the celebrated leader of the United States Marine 3
Band, moved with his family into the house at 318 B Street S.E., a few doors away from the
Europe’s. Such an event could hardly have escaped the notice of James Reese Europe’s musical
family. The Marine Band regularly took part in important events in the the African American 4
community in Washington, D.C., and often provided music lessons to children. James and his
sister Mary received instruction on the piano and violin from Enrico Hurlei, the assistant director
of the band. It is entirely likely that this early training provided the foundation for James Reese
Europe’s later successes as a composer of marches and as a leader of a military band during
World War I. 5
Struggling Young Instrumentalist and Songwriter
After the sudden death of Henry Europe in 1899, James’ brother John moved to New
York to pursue a music career. New York City was considered the center for African American
professional musicians and performers. James joined him in late 1902 or early 1903. He spent
Ibid., 18.3
Ibid., 20.4
Ibid.5
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several weeks auditioning on violin in various cafes and saloons before realizing that the concert
style of the violin was not in fashion at that time. He then began to find regular employment as a
professional musician playing the mandolin and piano.
Theatre Performer and Musical Director
In 1904, the most exciting area of black music both artistically and in terms of popular
acceptance and acclaim, was the musical stage. In the fall of that year, James Reese Europe was 6
asked at the last minute to direct the orchestra and chorus for a musical comedy called A Trip to
Africa. This began his career as a leading figure in black musical theatre, which would occupy
him for the next six years. One of his first theatre works to achieve success was a military
comedy called The Shoo-fly Regiment, which capitalized on the popularity of the Spanish-
American War. James Reese Europe’s years in musical theatre were valuable for him musically, 7
professionally, and personally. He saw it as his duty to reveal to the world “the musical
proficiency of the African race.” During this time, he developed his conducting and composing 8
skills and became involved with a wide variety of African American talent.
Dance Orchestra Leader and Organizer of the Clef Club
James Reese Europe was deeply engaged in community affairs and the political struggle
for civil rights. Prior to 1910, African Americans were excluded from the local musician unions.
Ibid., 28.6
Richard Slotkin, Lost Battalions: The Great War and the Crisis of American Nationality (New 7
York: Henry Holt and Company, 2005), 45.
Geoffrey C. Ward and Ken Burns, Jazz: A History of America’s Music (New York: Alfred A. 8
Knopf, 2000), 57.
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They had no central place for potential employers to contact them or for them to gather while
awaiting job opportunities. Europe helped organize the Clef Club, a society for African 9
Americans in the music industry. This organization was officially incorporated on June 21, 1910,
the Preamble to the organization’s charter states:
We, the members of said organization, have established, organized, and incorporated the Clef Club of the City of New York, in order to inculcate the science of vocal and instrumental music, technique, and execution of vocal and instrumental music, and to promote good fellowship and social intercourse. 10
The Clef Club was also a popular entertainment venue and society for African American
musicians in the neighborhood of Harlem. For entertainment in the club, James Reese Europe
created the first all African American orchestra in the country called the Clef Club Orchestra.
This large orchestra consisted of around 125 musicians on a wide variety of instruments. Outside
of the standard orchestral string and wind sections, the Clef Club Orchestra also included banjos,
mandolins, guitars, and ukuleles. To publicize the Clef Club and the orchestra, James Reese
Europe organized their first major performance on May 27, 1910, at Harlem’s Manhattan Casino.
On May 2, 1912, the orchestra made history by playing a concert at Carnegie Hall to
benefit the Colored Music Settlement School in New York City. A concert at one of America’s
most prestigious concert halls announced the arrival of African American music and musicians in
the national arts scene and set a precedent for future generations. To James Reese Europe, this 11
event represented a step forward for the acceptance of African American culture through music.
He programmed a historic first “Concert of Negro Music,” by black American singers and
Badger, A Life in Ragtime, 53.9
Ibid., 53.10
David Gilbert, The Product of Our Souls: Ragtime, Race, and the Birth of the Manhattan 11
Musical Marketplace (Chapel Hill:The University of North Carolina Press, 2015), 178.
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instrumentalists. In addition to popular songs, marches, and ragtime, the program also featured
concert pieces, choral works, waltzes, and tangos.
The Carnegie Hall concert sold out, and hundreds of people stood in the aisles and in the
back of the hall. David Mannes, concertmaster of the New York Symphony Orchestra, stated,
“The hall was packed from floor to the roof, thousands being turned away for the lack of even
standing room.” The concert was a tremendous success, and it was reported that the receipts for 12
the night netted close to five thousand dollars, an impressive sum of money for that time.
Mannes described James Reese Europe as, “An amazingly inspiring conductor. Of a statuesquely
powerful build, he moved with simple and modest grace, always dominating this strange
assemblage before him with quiet control.” 13
The New York Evening-Journal said that the Clef Club Orchestra “has given us the only
music of our own that is American-national, original, and real.” James Reese Europe added, 14
“The negro’s songs are the expression of the hopes and joys and fears of his race; These songs
are the only folk music America possesses, and folk music being the basis of so much that is
most beautiful in the world, there is indeed hope for the art product of our race.” The response 15
could not have been more enthusiastic from both black and white audience members. In this
significant moment, they sat side by side, displaying music’s power to unite all people.
Stephen L. Harris, Harlem’s Hell Fighters (Washington, D.C.: Brassey’s, Inc., 2003), 6.12
Badger, A Life in Ragtime, 67.13
Ward and Burns, Jazz: A History of America’s Music, 58.14
Judith Tick and Paul Beaudoin, Music in the USA: A Documentary Companion (New York: 15
Oxford University Press, 2008), 377.
!5
The 1912 Carnegie Hall concert was the crowning achievement of James Reese Europe’s
Clef Club Orchestra years, and elevated his reputation as a conductor and composer. The Clef
Club Orchestra returned to Carnegie Hall for performances on February 12, 1913, and March 11,
1914. Following the 1914 concert, the New York Evening Post described James Reese Europe as
“one of the most remarkable of men, not only of his race, but in the music world of this
country.” He was launched into the spotlight as a leading spokesperson and promoter of black 16
music, and became more involved in community affairs and the struggle for civil rights. Slotkin 17
states that James Reese Europe used his orchestras as devices to wedge open a segregated culture
and introduce audiences to black music and musicians. The Carnegie Hall concerts were 18
significant events in demonstrating the power of music in breaking down racial barriers. They
also helped change the perception and long-standing opinions about African American musicians
and led to more employment opportunities for them in New York City.
Association with Vernon and Irene Castle
During the spring and summer of 1913, as the popularity of social dancing began to grow,
James Reese Europe and the Clef Club were asked to provide a large number of dance orchestras
for society entertainments. He could hardly fill all of the jobs himself, but did not want to turn
down the opportunities. His solution was to form different ensembles drawn from the Clef Club
Orchestra members. One of the ensembles that he led himself was called Europe’s Exclusive
Badger and Benjamin, The Music of James Reese Europe, i.16
Gilbert, The Product of Our Souls, 182.17
Richard Slotkin, Lost Battalions: The Great War and the Crisis of American Nationality (New 18
York: Henry Holt and Company, 2005), 46.
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Society Orchestra. This group became nationally famous while accompanying theatre headliner
dancers Vernon and Irene Castle.
The Castles were a husband and wife team of ballroom dancers and dance teachers who
appeared on Broadway and in silent movies. They helped popularize ragtime, early jazz, and
African American music through their choreography. The music provided by James Reese
Europe inspired the Castles to develop the foxtrot, their longest lasting legacy and the basis for
many other dances. James Reese Europe was the first to perform W.C. Handy’s “Memphis
Blues” publicly after it was written. He approached the Castles with the idea that this slower 19
tune might serve well as a contrasting style to the faster dance numbers included in their show.
He described a dance he had learned when he was a child, a dance called the “get over sal.” The
dance was a perfect match for a slower tempo, and was renamed the foxtrot. The foxtrot became
the most popular dance step in America for the next fifty years.
The musical plays and revues developed by the Castles and James Reese Europe made
them the leading figures in New York show business. Their relationship represented a 20
progressive development in race relations in America. James Reese Europe and the “Society
Orchestra” accomplished a breakthrough for black musicians as a result of their association with
the Castles. On December 29, 1913, the orchestra began a historic series of recordings of dance
music for Victor Records. They recorded four titles for the prestigious record company that day
and another four on February 10, 1914. It was one of the first contracts ever given by a major
Bill Harris, The Hellfighters of Harlem: African American Soldiers Who Fought for the Right 19
to Fight for Their Country (New York: Carroll and Graf Publishers, 2002), 64.
Slotkin, Lost Battalions, 45.20
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record company to a black musician and the first ever to a black orchestra. Their partnership 21
changed the acceptance and significance of African American music and musicians in a positive
manner during the early twentieth century.
U.S. Military Bandmaster
After the outbreak of World War I, Charles S. Whitman, the Governor of New York,
formed the 15th Infantry Regiment (Colored) of the New York National Guard. With the help of
Colonel William Hayward, the unit began its existence in 1916. James Reese Europe enlisted on
September 18 as a private and was assigned to a machine gun company. His reasons for joining
had little to do with patriotism, national preparedness, or even his fondness for march music and
military drill. He believed that a national guard unit in Harlem could be a benefit for the 22
African American community in breaking down racial barriers. James Reese Europe stated,
“There has never been such an organization of Negro men that will bring together all classes of
men for a common good. And our race will never amount to anything, politically or
economically, in New York or anywhere else unless there are strong organizations of men who
stand for something in the community.” This statement showed his belief that being active in 23
community affairs could be an important cultural touchstone for influencing social climates.
James Reese Europe, being the most famous orchestra leader in the city, was soon
approached to become the leader of the 15th Regimental Band. Hayward felt that James Reese
Badger, A Life in Ragtime, 89. 21
Ibid., 142.22
Ibid.23
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Europe might well be the most important person he would recruit. He knew he needed a man 24
like Europe, who could build a band that would help recruit men for the regiment. James Reese
Europe had a list of demands before he would consider the bandleader position. He suggested
hiring a few professional musicians to set the standard for other members of the band. These
professionals would not actually be members of the band and would need to be paid outside of
the regimental budget. Also, he wanted more than the twenty-eight players specified by Army 25
regulations. In his opinion, the band needed to include at least forty-four to sixty musicians. 26
Hayward decided to increase the numbers by making playing in the band a “special duty.” As
long as the musicians were available for their regular assignments, the army didn’t care about its
size. This allowed James Reese Europe to create his band while avoiding any possible 27
arguments against it from military leaders.
James Reese Europe did not particularly like the brassy sound of military orchestras of
the day. For a properly balanced instrumentation, he sought reed musicians. These were hard to
find in the New York area, but he convinced Hayward that these musicians could be found in
Puerto Rico. Europe arrived in San Juan on May 2, 1917, to persuade musicians to join his newly
formed band. The trip was a success. He recruited the most visible young players in San Juan,
including members of Manuel Tizol’s municipal band, former performers with the Jolly Boys
Walter Dean Myers and Bill Miles, The Harlem Hellfighters: When Pride Met Courage (New 24
York: HarperCollins Publishers, 2006), 43.
Harris, The Hellfighters of Harlem, 66.25
Jeffrey T. Sammons and John T. Morrow, Jr., Harlem’s Rattlers and the Great War: The 26
Undaunted 369th Infantry Regiment and the African American Quest for Equality (Lawrence: University Press of Kansas, 2014), 126.
Harris, The Hellfighters of Harlem, 67.27
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theater group, and several “scions of illustrious musical families.” After a three day search, 28
James Reese Europe came home with thirteen of the best reed players on the island. With these 29
demands met, Lieutenant Europe accepted the position of leader of the 15th Regimental Band.
However, this was not the end of Hayward’s problems. The Army would not supply the
instruments and music for more than the twenty-eight members specified in their regulations.
Colonel Hayward approached Daniel G. Reid, his friend and board member of U.S. Steel, to ask
for contributions to his cause. Reid wrote him a check for $10,000 to cover the extra expenses,
and the 15th Regimental Band was born.
Some of Lieutenant Europe’s bandsmen were the best and best-known professional
musicians in the country. Veteran army musician and experienced bugler Ila White joined and
was named head of the band’s bugle corps. The band’s first big-name recruit was Chicago cornet
player Frank de Broit. At the time, de Broit was considered one of the nation’s premier cornet
soloists. Even more important to the band’s success was South Carolina native Francis Eugene
Mikell, who became the assistant conductor and bandmaster. Perhaps the most celebrated recruit
was singer Noble Sissle. Sissle, along with jazz pianist and composer Eubie Blake, would
become famous after the war for their musical-comedy writing. Their musical Shuffle Along
premiered in 1921 on Broadway and helped launch the career of Josephine Baker. It was
considered a milestone in African American entertainment in that it appealed to both black and
white audiences and opened many doors for black entertainers in the 1920s.
Badger, A Life in Ragtime, 147.28
Harris, The Hellfighters of Harlem, 68.29
!10
On July 15, 1917, the 15th Infantry Regiment of the New York National Guard was
mustered into active service in the U.S. Army. They were ordered to Camp Whitman near 30
Poughkeepsie, New York, for field training. Less than five weeks later, the Regimental Band was
sent to Camp Dix in Wrightstown, New Jersey, to accompany the 3rd Battalion for guard duty.
While at Camp Dix, Lieutenant Europe and his band were able to practice and perform concerts
almost daily. The band’s reputation began to spread, and they soon began receiving invitations to
perform outside the camp.
A decision was made to send the 15th New York Infantry to Camp Wadsworth in
Spartanburg, South Carolina. They arrived on October 10, 1917, to an unwelcoming local
population. Colonel Hayward assured community officials that his men would not challenge
local customs nor react violently to insults they would likely receive. Hayward encouraged the 31
troops, stating that they had a great opportunity “to win from the whole world respect for the
colored race, with an advance in the elimination of existing prejudices to follow” if they refused
to retaliate against the prejudice and brutality from the citizens of Spartanburg. However, after 32
several racially charged incidents, it was clear that New York’s African American infantry could
not be trained at home. On October 24, 1917, the 15th Infantry Regiment left Camp Wadsworth
with plans to travel to France to finish their training. On December 13, 1917, the ocean transport
Pocahontas left Hoboken, New Jersey, carrying the first African American combat troops from
America to France.
Badger, A Life in Ragtime, 153.30
Ibid., 155.31
Ibid., 156.32
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On January 1, 1918, the first African American combat unit landed in France and were
greeted by French soldiers. Upon their arrival, Colonel Hayward ordered Lieutenant Europe to
play the French national anthem, the “Marseillaise.” To the surprise of the American soldiers, the
French soldiers did not immediately recognize their own national anthem. Suddenly “as the band
had played eight or ten bars there came over their faces an astonished look, quickly alert snap-
into-it-attention and salute by every French soldier and sailor present.” The sounds of African 33
American music had not made its way to France yet, and the French were confused at first by the
rhythmic arrangement by the 15th Regimental Band. The band, later renamed the 369th
Regiment Band, would soon become one of the most famous military bands throughout the
continent of Europe.
Not long after James Reese Europe’s band landed in France, Army leaders saw that their
brand of music would be good for morale. Their ragtime style provided a “feeling of home” for
bored and battle-weary soldiers. One of Lieutenant Europe’s most popular tunes was written
during his time in France, at the request of an officer who wanted a song about missing home. In
“Everything Reminds Me Of You,” he sang:
In the blue of the skies, I see the blue of your eyes, In the thrilling song of the bird, Your voice is heard, It thrills me, it stills me, With love anguish fills me, I find the white fleur-de-lis An anthem of your purity, As the bees kiss the vine, I feel your lips touching mine, The breath of the rose
Ibid., 163.33
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Your perfumed tresses disclose… Everything reminds me of you. Everything reminds me of you. 34
James Reese Europe wrote many other war songs inspired by his experiences on the front lines
including, “I’ve an Observation Tower of My Own,” “Trench Trot,” and “I’ve Got the Map of
Your Heart.” These songs entertained troops and gave the listener a view of military life during
the war.
While in France, the 369th band also provided entertainment for the French citizens,
playing concerts for audiences that ranged from French dignitaries to village townspeople. They
were sent on a goodwill mission, a thirty-seven day tour, playing for a war-weary population. 35
The band took the country of France by storm and became almost singularly responsible for the
international spread of ragtime and jazz during the war. The music of James Reese Europe’s 36
band was orchestrated ragtime meant for marching. The players were not allowed to improvise,
but it was filled with jazz-like elements, such as syncopation. The French people were captivated
by the blending of military tunes infused with the “jazz” flair of syncopated rhythms. Noble
Sissle, who served as the band’s vocalist, described the French reaction to their music: “The
audience could stand it no longer, the ‘jazz germ’ hit them and it seemed to find the
vital spot, loosening all muscles and causing what is known in American as an ‘eagle
rocking it.’” The band was well received everywhere they went, which gave the African 37
Peter N. Nelson, A More Unbending Battle: The Harlem Hellfighters’ Struggle for Freedom in 34
WWI and Equality at Home (New York: Basic Civitas Books, 2009), 114.
Myers and Miles, The Harlem Hellfighters, 83.35
Chad L. Williams, Torchbearers of Democracy: African American Soldiers in the World War I 36
Era (Chapel Hill: The University of North Carolina Press, 2010), 165.
Ward and Burns, Jazz: A History of America’s Music, 68.37
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American soldiers a new sense of confidence and acceptance. James Reese Europe’s band
demonstrated the democratic possibilities of jazz to challenge racial, language, and national
barriers. 38
European citizens weren’t the only ones impressed by the 369th Regiment Band. A joint
concert was planned with Europe’s band along with the British Grenadier’s Band, the band of the
French Garde Républicain, and the Royal Italian Band. After the performance, the leader of the
band of the Garde Républicain asked for the score to one of the pieces Europe’s band played
because the band members wanted to perform it. The French tried in vain to imitate their sound,
but they could not duplicate it. The French bandsmen asked to examine the American’s 39
instruments because they could not believe that such sounds could be made through regular
instruments. Lieutenant Europe explained, “It’s all in the performance.” It was not the 40
instruments they played, but the way they played them that made the difference.
Soon after they were integrated into the French Army, the 369th Infantry Regiment
quickly realized that one problem they would not face with the French was bigotry. Unlike the
experience they faced with some members of the U.S. Army, the French military showed no
prejudice toward the African American regiment. James Reese Europe wrote to Fred Moore,
Editor of the New York Age, about the French:
“Their broad minds are far and free from prejudice, and you, as a great champion of our people, I am sure will be glad to know that despite their contact, despite the desperate efforts of some people, the French simply cannot be taught to comprehend that despicable
Williams, Torchbearers of Democracy, 166.38
Peter J. Burkholder, Donald Jay Grout, and Claude V. Palisca, A History of Western Music. 9th 39
ed. (New York: W.W. Norton & Company, 2014), 774.
Harris, The Hellfighters of Harlem, 74.40
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thing called prejudice…”Viva la France” should be the song of every black American over here and over there.” 41
James Reese Europe and his fellow soldiers found the connection with the French liberating
because it immersed them in a society blind to the difference of color. 42
With his assignment to the band no longer a main priority, Lieutenant Europe took
command of Company I of the 3rd Battalion, his combat unit. It soon became clear that the
French intended to send the 369th to the front-line as soon as possible. James Reese Europe
became the first African American officer to lead troops into combat in World War I. He was also
very likely the first African American to cross no-man’s land and participate in a raid on the
German lines. During his second week on the front, the Germans hit his unit’s position with a 43
poison-gas attack. Lieutenant Europe was exposed to the gas that damaged his lungs and sent
him to a hospital a short distance behind the front lines. While in the hospital, he drafted the 44
song, “On Patrol in No Man’s Land.” It contained a lively, nervous melody and lyrical treatment
juxtaposed against a dark situation of a soldier’s experience in no-man’s land:
There’s a minnenwerfer coming, Look out! Bang! Hear that roar! There’s one more. Stand fast. There’s a Very light. Don’t gasp, or they will find you all right. Don’t start to bombing with those hand grenades, There’s a machine gun! Holy spades! Alert! Gas! Put on your mask. Adjust it correctly and hurry up fast. Drop! There’s a rocket for the Boche Barrage, Down! Hug the ground as close as you can,
Badger, A Life in Ragtime, 175.41
Slotkin, Lost Battalions, 135.42
Ibid., 180.43
Slotkin, Lost Battalions, 186.44
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Don’t stand! Creep and crawl. Follow me, that’s all. What do you hear, nothing near. Don’t fear, all’s clear. That’s the life of a stroll when you take patrol Out in no man’s land. Ain’t life grand, Out in no man’s land. 45
This song, that so personally depicted a soldier’s experience, would become one of James Reese
Europe's most well known.
The nickname “Hell Fighters” was given to the 369th Infantry Regiment by the Germans
because of their toughness and tenacity in battle. The 369th served for nearly six months on the
front lines during World War I, and earned many distinguished awards, including the Croix de
Guerre, France’s highest military honor. The 369th left an impressive World War I service record
that includes:
• Being the only volunteer regiment to serve during the war in France.
• Being the first regiment in U.S. history to serve as part of a foreign army.
• Being the first Allied regiment to reach the Rhine River.
• Having the longest combat service—191 days—of any American unit in World War I.
• Having the distinction of never losing a foot of ground or losing a man by capture.
• Being the first combat regiment to arrive home after the armistice that ended the war. 46
At the end of the war, the 369th Infantry Regiment returned to New York and were
greeted with a parade in their honor on February 17, 1919. Over one million New Yorkers turned
out to witness the homecoming of American troops from the battlefields of the European front.
Nelson, A More Unbending Battle, 116.45
Harris, The Hellfighters of Harlem, 221-222.46
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The crowd cheered loudly for James Reese Europe’s band as they marched from Fifth Avenue to
Harlem. The crowd greeted the 369th Infantry Regiment with gratitude and pride for what they
had done for the country. On this day, New York knew no color line. Black and white New 47
Yorkers came together in a way that they had never before experienced. It was a day of triumph 48
and a moment of glory that the citizens of Harlem would remember for years to come. In a letter
to Eubie Blake, James Reese Europe wrote, “As sure as God made man, I will be on top and so
far on top that it will be impossible to pull me down.” For the moment, it seemed that he was 49
right.
James Reese Europe had big plans for the future, including a National Negro Symphony
Orchestra, a music school in Harlem, new musicals on Broadway with all-black casts, and new
ways in which jazz elements could be infused into popular music. He told an interviewer, “We
won France by playing music which was ours and not a pale imitation of others, and if we are to
develop in America we must develop along our own lines.” James Reese Europe also told the 50
New York Tribune that jazz was the most American form of music, and that its acceptance in the
musical world was both a national triumph for American culture and proof of the cultural
capacity of African Americans. It was important to him that jazz would be recognized as art 51
music by music critics everywhere and that African Americans could look to themselves for
value and not imitate white culture.
Arthur W. Little, From Harlem to the Rhine: The Story of New York’s Colored Volunteers (New 47
York: Covici, Friedu Publishers, 1936), 361.
Williams, Torchbearers of Democracy, 217.48
Harris, Harlem’s Hell Fighters, 261-262.49
Ward and Burns, Jazz: A History of America’s Music, 70.50
Slotkin, Lost Battalions, 404.51
!17
Death
A few days after the victory parade, James Reese Europe announced that his Hellfighter’s
Band had scheduled a ten week tour of the United States. The tour would start in New York and
end in Boston, where Europe and Governor Calvin Coolidge planned to place a wreath at the
memorial honoring the state’s black Civil War regiment, the 54th Massachusetts Infantry. At 52
the outset of the tour, the band recorded twenty-eight songs for Pathé Record Company, a
historic event in jazz history. The recordings featured landmark jazz tunes like “That Moaning
Trombone” and “St. Louis Blues,” along with songs inspired by the war, such as “On Patrol in
No Man’s Land,” “All of No Man’s Land Is Ours,” and “How ‘Ya Gonna Keep ‘Em Down on
the Farm? (After They’ve Seen Paree).” 53
James Reese Europe’s dream of ragtime and jazz creating a musical and social revolution
for African Americans came to an abrupt end, however. After the final concert of the tour at
Mechanic’s Hall in Boston on May 9, 1919, he was attacked and stabbed during an altercation by
Herbert Wright, one of his drummers. As he was being wheeled out, James Reese Europe told
Noble Sissle to have the band ready for the ceremony at the Statehouse for the 54th
Massachusetts Infantry. He said, “I am going to the hospital, and I will have my wound dressed
and I will be at the Common in the morning in time to conduct the band.” However, James 54
Reese Europe’s jugular vein had been severed, and he died that night in the hospital. He was
thirty-nine years old. W.C. Handy wrote, “The man who had just come through the baptism of
war’s fire and steel without a mark had been stabbed by one of his own musicians…The sun was
Harris, Harlem’s Hell Fighters, 264.52
Williams, Torchbearers of Democracy, 327.53
Harris, Harlem’s Hell Fighters, 267.54
!18
in the sky. The new day promised peace. But all the suns had gone down for Jim Europe, and
Harlem didn’t seem the same.” The country lost one of its great composers, and the most 55
popular African American bandleader in the United States.
James Reese Europe was granted the first ever public funeral for an African American in
New York City. On May 13, 1919, thousands of mourners, black and white, turned out to see the
procession pass from Harlem, down the West Side to St. Mark’s Episcopal Church. The band 56
marched last in the funeral procession, musicians in black armbands, their instruments at their
sides. There were dozens of eulogies that day, but the one the Tribune singled out by Lieutenant 57
Europe’s friend, Deacon Tanney Johnson, was most appropriate. He said, “I think the public
ought to know that in Jim Europe, the race has lost a leader, a benefactor, and a true friend.” 58
James Reese Europe was buried with full military honors at Arlington National Cemetery. In
addition, he was honored by having American Legion Post 5 in Washington, D.C., bear his name.
Many newspapers wrote about James Reese Europe’s life and influence after his death.
The New York Times credited him with transforming a good military band into arguably the best
in the world. They also stated that his death was a loss to American music and a blow to our 59
nation’s attempt to establish itself as the Old World’s rival in the high arts. The New York Age 60
said, “His death comes at a big loss to the musical world, but still a greater loss to the race of
Badger, A Life in Ragtime, 217.55
Ward and Burns, Jazz: A History of America’s Music, 70.56
Nelson, A More Unbending Battle, 255.57
Harris, The Hellfighters of Harlem, 77.58
Jeffrey T. Sammons and John T. Morrow, Jr., Harlem’s Rattlers and the Great War: The 59
Undaunted 369th Infantry Regiment and the African American Quest for Equality (Lawrence: University Press of Kansas, 2014), 476.
Slotkin, Lost Battalions, 411.60
!19
which he was proud to be a member.” James Reese Europe’s death was a loss to the musical 61
community, African American community, and our nation as a whole.
Nelson, A More Unbending Battle, 256.61
!20
CHAPTER 2
ORIGINAL COMPOSITION
James Reese Europe’s experiences as a club musician and musical theatre director
influenced his decision to create a professional organization for black musicians in Harlem. This
organization, formed in 1910, became known as the Clef Club. James Reese Europe was the
president of the organization for several years and oversaw its greatest successes. His
composition, “The Clef Club March,” became the group’s official anthem. It was published in
1910 by the F.B. Haviland Publishing Company of New York. This stirring and pride-filled
march opened the historic 1912 Carnegie Hall concert by the Clef Club Orchestra, the first
African American orchestra in the United States. When James Reese Europe raised his baton to
begin the concert, Carnegie Hall was “jammed to the very limit of the fire laws.” Perhaps for 62
the first time at any concert in the United States, the audience was composed equally of black
and white races. He began the performance with his march, a composition very much in the vein
of John Philip Sousa, America’s “March King.” The march climaxed as the entire ensemble,
while still playing their instruments, came in singing a refrain on the last strain. A surprised
audience sprang to their feet as the march concluded and cheered wildly. Folklorist Natalie 63
Curtis-Burlin wrote years later that “New York woke up to the fact that it had something new in
Ibid., 66.62
Ibid., 67.63
!21
music.” New York had not yet become accustomed to jazz and ragtime. So when the Clef Club 64
Orchestra opened its concert with a march, playing it with a biting attack and an infectious
rhythm, and on the finale bursting into singing, the effect can only be imagined. 65
James Reese Europe augmented the traditional symphonic orchestration of the Clef Club
Orchestra by including dozens of “folk” instruments such as banjos, mandolins, guitars, and
multi-string harp guitars. Alongside the standard orchestral instruments, he also included five
drum kits, timpani, and fourteen upright pianos. James Reese Europe desegregated the Carnegie
Hall stage with his 125 member ensemble of black musicians, performing for a racially
integrated audience. The orchestra performed a diverse program of light classical music, popular
ballads, dance music, and plantation songs. James Reese Europe juxtaposed a European-style
orchestra playing classical music with popular strains of ragtime, including folk instruments.
This created a unique musical experience that was designed to place African Americans at the
center of debates about American national culture. The Carnegie Hall concert of 1912 was
memorable because is disrupted basic assumptions that Americans had about issues of race and
culture in the early twentieth century.
The form of “The Clef Club March” follows the typical quickstep march form. This form
was most popular during the late nineteenth and early twentieth centuries. Quickstep march form
normally contains six main sections: the Introduction, First Strain, Second Strain, Trio, Dogfight
Gilbert, The Product of Our Souls, 2.64
Badger, A Life in Ragtime, 67.65
!22
or Break Strain, and the Final Strain. This form is also known as the “Sousa model” because
many of John Philip Sousa’s marches follow this layout.66
Carl Chevallard. Teaching Music Through Performing Marches, ed. by Richard Miles 66
(Chicago: GIA Publications, 2003), 3.
!23
Illustration 1
Form of “The Clef Club March” by James Reese Europe
!24
“THE CLEF CLUB MARCH”James Reese Europe
Introduction (m.1-4)
1st Strain (m.5-25)
2nd Strain (m.26-42)
Trio (m.43-76)
Dogfight/Break Strain (m.77-92)
Final Strain (m.93-124)
A B C D C’
“The Clef Club March” begins with a 6/8 time signature and a key signature of D major.
The Introduction is a fanfare designed to set up the rest of the piece. It is four measures long and
played at a loud dynamic. From the first downbeat, D major is established as the tonic key. Like
most 6/8 marches, “The Clef Club March” contains the rhythmic figure of a quarter note
followed by an eighth note. To achieve the correct style, performers should rhythmically delay
the eighth note slightly to deemphasize the eighth note and to accentuate the longer quarter note.
This will create a forward momentum over the barline to the next downbeat. Also, the
Introduction contains a fragment of the smooth, lyrical melody of the first theme.
The First Strain contains a dynamic shift that is softer than the Introduction. This section
is marked at a mezzo-forte dynamic and should be played in a lighter style with very staccato and
separated articulations. Although most marches typically emphasize the first beat of each
measure, James Reese Europe emphasizes the second beat dynamically and rhythmically in
several measures. This emphasis on the second beat is created by longer, accented notes, creating
an agogic accent. Shifting the beat emphasis makes this march more interesting to the listener
because such emphasis is not expected. The First Strain consists of a sixteen measure phrase that
is repeated.
The Second Strain is the exact same length, and also contains a repeat, creating a thirty-
two measure phrase. Dynamically, the Second Strain is marked at a forte dynamic. This section
should be played in a more marcato, heavier style than the First Strain. Longer note values
should be played louder than shorter note values. Also, a loud attack with an immediate decay in
volume on longer notes will help create a bouncy, heavy downbeat style typical of quickstep
marches. The shifting beat emphasis from the previous section is developed further during the
!25
Second Strain. Tonally, this section deviates from the tonic key slightly. A brief section hinting at
B flat major leads back to the tonic key of D major. The tonic key is reinforced by the ending of
this section, which contains a strong cadence on beat two. The ending of the phrase almost
sounds like the end of the march. However, this finality is a false impression.
After a brief two measure introduction, the march arrives at the Trio or Aria Strain. It is
the most melodious and song-like section of the march. As in most quickstep marches, “The Clef
Club March” changes the key signature at the trio. The common practice of “adding a flat” at the
Trio occurs in James Reese Europe’s march. In this case, it moves from D major to G major. The
trio contains a thirty-two measure phrase and is marked at a piano dynamic.
The Dogfight or Break Strain occurs after the trio. This is the loudest, most raucous
section of the march. Marked at fortissimo, this section should be played in a very heavy,
marcato style with short, crisp articulations. It is also characterized by a sudden dynamic contrast
from fortissimo to piano, creating much intrigue for the listener. The Dogfight, or Break Strain,
in “The Clef Club March” contains a shorter phrase of only sixteen measures. Tonally, this
section “breaks up” the trio’s key. It flirts with the keys of E minor and G minor before returning
to the dominant of the Trio’s key.
This dominant prolongation prepares us for the return of the Trio key and theme in the
Final Strain. Finality is achieved with a reprise of the Trio melody in a grandiose style. It is
thirty-two measures long and marked at a fortissimo dynamic. Stylistically, this section should be
played more like the Second Strain with heavy, marcato stye. The final cadence on the last beat
of the last measure features a tutti reinforcement of the tonic key of G major. “The Clef Club
March” almost stereotypically fits the quicktime march form model.
!26
CHAPTER 3
TRANSCRIPTION PROCESS
Two main sources were used in the transcription process of “The Clef Club March.” The
first was a piano reduction from a collection of James Reese Europe’s complete published
works. It is not known whether the piano score is Europe’s original piano piece from which he 67
later developed his orchestration or if his work was reduced to a piano version from his full
score. It is also not known if his sketches of the work exist. The other source utilized was a
recording by the Paragon Ragtime Orchestra, conducted by Rick Benjamin. This album was 68
recorded in 2003 and features the music of James Reese Europe, Will Marion Cook, and
members of the Clef Club. The Paragon Ragtime Orchestra specializes in recreating early
musical theatre, silent film, and vintage dance music.
The first major decision concerning a wind band transcription of “The Clef Club March”
involved what instrumentation to utilize. Although standards for instrumentation have been
suggested numerous times by many different authorities, no common standard has ever been
achieved for the wind band. One reason behind the lack of a standard instrumentation is that
band music is very different from one country to another. Therefore, instrumentation differs
Badger and Benjamin, The Music of James Reese Europe, 2.67
Paragon Ragtime Orchestra, “The Clef Club March,” Recorded May 2003, track 16 on Black 68
Manhattan: Theatre and Dance Music of James Reese Europe, Will Marion Cook, and Members of the Legendary Clef Club, New World Records 80611-2. Compact disc.
!27
greatly in different parts of the world based on customs, styles, and balance preferences between
various sections of the band.
This lack of standardization can be an annoyance to composers. Many publishers of wind
band music provide extra parts that fit the demands of differing instrumentations in different
countries. In the United States, Patrick S. Gilmore was the first to set a high standard of
instrumentation for wind bands. His ensemble consisted of a well-balanced number of 69
woodwind, brass, and percussion instruments. John Philip Sousa’s bands typically consisted of
two-thirds woodwinds and one-third brass and percussion. 70
World War I had an impact on band instrumentation. General Pershing attempted to
improve the overall quality of army bands and to set a standard instrumentation for each unit.
Another influence on wind band instrumentation was the American school band movement of the
1920s. The National School Band Association specified the instrumentation of various sized
school bands in the country in the 1920s. Other groups that affected the wind band’s
instrumentation were the Goldman Band, led by Edwin Franko Goldman, and the University of
Illinois Band, directed by A.A. Harding. The following table shows the comparative
instrumentation of some of the most famous American wind bands from 1891-1946.
Lawrence Chidester, International Wind-Band Instrumentation (San Antonio: Southern Music 69
Company, 1946), 14.
Ibid.70
!28
Table 1
Chidester’s Comparative Instrumentation of American Bands (1891-1946) 71
Ibid.71
!29
The instrumentation for this transcription was created from the comparison of the
instrument listings of historic American bands and the instrument listings from several John
Philip Sousa marches. Sousa marches examined include: “El Capitan,” “King Cotton,” “Semper
Fidelis,” “The Liberty Bell,” and “The Washington Post.” After consideration of these sources 72
and considering modern trends in wind band orchestration, the following instrumentation was
selected for this transcription:
Piccolo Flute 1 Flute 2 Oboe Bassoon Clarinet in E flat Clarinet in B flat 1 Clarinet in B flat 2 Clarinet in B flat 3 Alto Clarinet Bass Clarinet Alto Saxophone 1 Alto Saxophone 2 Tenor Saxophone Baritone Saxophone Trumpet in B flat 1 Trumpet in B flat 2 Trumpet in B flat 3 French Horn in F 1 & 2 French Horn in F 3 & 4 Trombone 1 Trombone 2 Trombone 3 Euphonium Tuba Mallet Percussion (Bells) Snare Drum Bass Drum
“The Complete Marches of John Philip Sousa,” The President’s Own United States Marine 72
Band, 2016, http://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of-John-Philip-Sousa/.
!30
Crash Cymbals Another major concern when initially considering this orchestral march for wind band
transcription was the key of the composition. Keys for orchestral pieces are usually selected for
the convenience of its most important family of instruments, the string section. Clarinets are 73
usually the recipients of string passages in wind band transcriptions of orchestral works. Since
violins are constructed to be played at ease in sharp keys and clarinets are constructed in flat
keys, a change of key is sometimes necessary. For ease of playing by wind instruments, flat keys
are more common. The original key of concert D major, with the Trio in G major, makes certain
passages very taxing on the clarinet and alto saxophone. Moving the key of the wind band
transcription to concert B-flat major, with the Trio in E-flat major, benefits not only the clarinet
and alto saxophone, but other instruments in the band. This nearby transposition positions the
band in better keys without affecting the register or compass of any instrument.
Common scoring traits can also be found in many American marches. The melody often
appears in the clarinet and trumpet sections, after beats in the french horn parts, and
countermelodies in the trombone and euphonium parts. These scoring traits were utilized in my
transcription of “The Clef Club March.”
After the Introduction, The First Strain melody is scored in the piccolo, flute, oboe, Bb
clarinet, alto clarinet, alto saxophone, and the euphonium. The accompaniment part containing
downbeats in the trumpets and trombones is meant to mimic the sound of the banjos, mandolins,
and guitars that were included in the instrumentation of the Clef Club Orchestra. The typical
Philip J. Lang, Scoring for Band (New York: Mills Music, Inc, 1950), 135.73
!31
afterbeat figures are assigned to the french horns and the bass line is carried by the bassoon, bass
clarinet, baritone saxophone, and tuba.
The Second Strain melody remains in the same woodwind instruments as the First Strain.
The trumpet 1, trombone 1, and euphonium add in on the melody after the repeat. The bass line
also remains in the same voices as the First Strain. The trumpet 2-3 and french horn parts play an
accented accompaniment part that complements the accents in the melodic line.
After a brief introduction, the Trio begins with the clarinets, alto clarinet, euphonium, and
bells playing the melodic line. The afterbeat figure returns in the french horn part and is joined
by the alto saxophones. The bass part is thinned out to only include the bass clarinet, baritone
saxophone, and tuba. However, instrumentation can be thinned out even more at the discretion of
the conductor. Altering instrumentation, dynamics, and percussion parts are common practice in
the performance of American marches, and should be utilized in this transcription.
The Dogfight or Break Strain is scored for full ensemble and features the upper
woodwinds and high brass scored together as well as the low reeds and low brass scored together
for the first eight measures. The second half of the Dogfight is scored for woodwinds only,
creating a dramatic dynamic contrast. The conductor could certainly ask for one performer per
part to play in the woodwind section during the second half of the Dogfight to create even more
dynamic contrast if desired.
A rhythmic fanfare at the end of this section signals the Final Strain, and a return of the
Trio melody. The melody is played by the trumpets, trombone 1-2, and euphonium with an upper
woodwind obbligato. The afterbeat parts are once again in the alto saxophone and french horns,
!32
with a the bass line covered by the bassoon, bass clarinet, baritone saxophone, trombone 3, and
tuba.
!33
CHAPTER 4
APPLICATION
There are many avenues by which a teaching unit surrounding Europe’s story can be
presented. First, James Reese Europe’s story could be presented in a music history lesson
regarding African American music, ragtime and early jazz, military music, or the music of World
War I. This story might also be presented as part of Black History Month and in regards to the
historical significance of efforts made by James Reese Europe to further the African American
community. A historical presentation of the African American soldiers in World War I, including
the Harlem Hellfighters, would be an ideal addition to an American history curriculum. Finally,
performing “The Clef Club March” with a wind band as a presentation on the typical playing
style, performance practices, and form of quickstep marches, would be a tangible highlight of the
contributions of James Reese Europe.
James Reese Europe and his compositions could be incorporated into many different
elements of music history. African American involvement in music has influenced every genre of
music in the United States. Reflecting both triumph and hardship, African American music has
served in shaping the nation’s identity, and influencing the lives of all Americans. Ragtime is a
musical style that peaked in the late 19th and early 20th centuries. Its primary trait is a
syncopated, or “ragged,” rhythm. Ragtime fell out of favor as jazz became more popular.
!34
James Reese Europe was an important figure in this transition. The music of James Reese
Europe can also be included in a unit on the music of World War I. From its first appearance in
ancient times, military music has performed many important services during warfare. These
services can be divided loosely into four interrelated activities: development of esprit de corps
and morale; camp duties; ceremonial functions; and social and recreational activities. The 74
music provided by James Reese Europe and his band was used to encourage troops and raise
morale before, during, and after battle. It was also used to encourage valor, instill patriotism, and
to create a devotion to duty.
The Black History Month theme for 2018 is “African Americans in Times of War.” This
year also marks the 100th anniversary of the end of World War I. Honoring James Reese Europe
and the Harlem Hellfighters fits perfectly with these themes. Their contributions during wartime,
given the social and racial climate in America during World War I, deserve praise and
commendation. Their story reminds us of the extraordinary and often underrepresented
contributions made by African Americans to our country.
The story of the Harlem Hellfighters is an important piece of history for both the United
States and the world. Their story is about a struggle on two fronts, one in France and one at
home. It is important to remember the cultural atmosphere and the struggle for racial equality in
the United States during the early part of the twentieth century. Many things have improved, and
these brave soldiers had much to do with that. They showed extraordinary valor on the battlefield
and represented a social triumph for African Americans. Beyond that, they displayed courage,
bravery, and patriotism for a country which often did not embrace them in return. Even after their
Raoul F. Camus. Military Music of the American Revolution (Chapel Hill: The University of 74
North Carolina Press, 1976), 3.
!35
performance on the front lines, the Harlem Hellfighters returned to a country that quickly
reminded them of the battle still to be fought at home. Even so, their actions earned them respect
and acknowledgement and helped lay the groundwork for civil rights in America.
Beyond the historical magnitude of James Reese Europe’s story, his composition “The
Clef Club March” is a lesson in its own right. Marches are a quintessential part of American
music history. They gained popularity in the late 19th and early 20th century due to prolific
composers such as John Philip Sousa, Henry Fillmore, and Karl King. Marches became a staple
in the wind band repertoire and their popularity spread throughout the world. “The Clef Club
March” is an almost textbook example of the quickstep march form. This composition could be
used as a teaching tool to identify the different sections of a quicktime march. A better
understanding of the form can benefit the performer and audience alike. As Elton Obrecht stated,
“Knowing the form enables everyone to enjoy the music all the more.” 75
It is for these reasons that “The Clef Club March” and other compositions by James
Reese Europe are worthy of inclusion in the wind band repertoire. His compositions represent an
important era in the development of American music. James Reese Europe used his music as a
way to break down the racial and social barriers that plagued the United States during his life. He
also played a major role in the acceptance of ragtime and jazz as a truly American musical genre.
Carl Chevallard, Teaching Music Through Performing Marches, 13.75
!36
CHAPTER 5
CONCLUSION
The story of James Reese Europe is one of courage, persistence, talent, and tragedy. Upon
first hearing of this compelling figure, I was shocked to realize that many Americans, even
musicians and music educators, have little-to-no knowledge of the composer beyond a line or
two in the jazz section of some music history textbooks. The impact that James Reese Europe
had not only on the African American music community, but American music and musicians as a
whole, is grossly under-represented in our music history education.
It is easy to speculate on the potential contributions James Reese Europe might have
made if he had lived longer. His whole life was before him, and the future couldn’t have possibly
looked brighter. At the time of his death, he was one of the best known band leaders in the 76
United States. As a transitional figure, he was the most popular and important African American
musical leader in the period between ragtime and jazz. He had already accomplished a great deal
in popularizing ragtime and the beginnings of jazz music in American society. James Reese
Europe and his band transformed American music, and in the process, demonstrated the potential
of white Americans to embrace African Americans as indispensable members of the nation’s
democracy. More acceptance for black entertainers continued after his influence. The 77
Harris, The Hellfighters of Harlem, 78.76
Williams, Torchbearers of Democracy, 329.77
!37
popularity of jazz that followed his death might have never happened if it were not for James
Reese Europe laying the foundation. Throughout the 1920s, development among European
classical composers was built upon the legacy of black American musicians, prompting Darius
Milhaud to cite James Reese Europe as a major influence on French composers during that
time. It is easy to think that he could have become one of the most influential figures in 78
American music ever. Some believe that his fame would have risen to the same level as that of
Scott Joplin, Louis Armstrong, or Duke Ellington. His musical ability, drive, and ambition 79
could have carried him further into film, recordings, radio, and television. His musical success
and military service made it a possibility for a minority in American culture to be heard. James
Reese Europe was a hero and inspiration to the modern African American. He helped give
America another voice and another aesthetic it badly needed, and one that has been heard around
the world. 80
The story of James Reese Europe is one “for the history books,” and yet that story is hard
to find in one. My hope is that all who encounter his story will realize his significance and be
compelled, as I am, to tell it.
Richard K. Hansen, The American Wind Band: A Cultural History (Chicago: GIA 78
Publications, 2005), 60.
Nelson, A More Unbending Battle, 261.79
Badger, A Life in Ragtime, 230.80
!38
REFERENCES
Badger, Reid. A Life in Ragtime: A Biography of James Reese Europe. New York: Oxford University Press, 1995.
Badger, Reid and Rick Benjamin. The Music of James Reese Europe: Complete Published Works. New York: Edward B. Marks Music Company, 2012.
Burkholder, J.Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music. 9th ed. New York: W.W. Norton & Company, 2014.
Camus, Raoul F. Military Music of the American Revolution. Chapel Hill: The University of North Carolina Press, 1976.
Chevallard, Carl. Teaching Music Through Performing Marches, Edited by Richard Miles. Chicago: GIA Publications, 2003.
Chidester, Lawrence W. International Wind-Band Instrumentation. San Antonio: Southern Music Company, 1946.
Cipolla, Frank J. and Donald Hunsberger. The Wind Band in and Around New York ca. 1830-1950. Essays presented at the 26th Biennial Conference of the College Band Directors National Association, New York, NY, February 2005.
“The Complete Marches of John Philip Sousa.” The President’s Own United States Marine Band. 2016.
http://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of-John- Philip-Sousa/
Europe, James Reese. James Reese Europe with his 369th U.S. Infantry “Hellfighters” Band: The Complete Recordings. 1996. Memphis Archives MA7020, Compact disc.
Hansen, Richard K. The American Wind Band: A Cultural History. Chicago: GIA Publications, 2005.
Harris, Bill. The Hellfighters of Harlem: African American Soldiers Who Fought for the Right to Fight for Their Country. New York: Carroll and Graf Publishers, 2002.
!39
Harris, Stephen L. Harlem’s Hell Fighters. Washington, D.C.: Brassey’s, Inc., 2003. Lang, Philip J. Scoring for the Band. New York: Mills Music, Inc., 1950.
Little, Arthur W. From Harlem to the Rhine: The Story of New York’s Colored Volunteers. New York: Covici, Friede Publishers, 1936.
Myers, Walter Dean and Bill Miles. The Harlem Hellfighters: When Pride Met Courage. New York: HarperCollins Publishers, 2006.
Nelson, Peter N. A More Unbending Battle: The Harlem Hellfighters’ Struggle for Freedom in WWI and Equality at Home. New York: Basic Civitas Books, 2009.
Paragon Ragtime Orchestra. “The Clef Club March.” Recorded May 2003, Track 16 on Black Manhattan: Theatre and Dance Music of James Reese Europe, Will Marion Cook, and Members of the Legendary Clef Club. New World Records 80611-2. Compact disc.
Sammons, Jeffrey T. and John H. Morrow, Jr. Harlem’s Rattlers and the Great War: The Undaunted 369th Regiment and the African American Quest for Equality. Lawrence: University Press of Kansas, 2014.
Slotkin, Richard. Lost Battalions: The Great War and the Crisis of American Nationality. New York: Henry Holt and Company, 2005.
Sousa, John Philip. El Capitan. Public Domain: As played by “The President’s Own” United States Marine Band, 2016. http://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of- John-Philip-Sousa/El-Capitan-March/
——. King Cotton. Public Domain: As played by “The President’s Own” United States Marine Band, 2016. http://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of- John-Philip-Sousa/King-Cotton-March/
——. Semper Fidelis. Public Domain: As played by “The President’s Own” United States Marine Band, 2016. http://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of- John-Philip-Sousa/Semper-Fidelis-March/
——. The Liberty Bell. Public Domain: As played by “The President’s Own” United States Marine Band, 2016 http://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of- John-Philip-Sousa/The-Liberty-Bell-March/
!40
——. The Washington Post. Public Domain: As played by “The President’s Own” United States Marine Band, 2016. http://www.marineband.marines.mil/Audio-Resources/The-Complete-Marches-of- John-Philip-Sousa/The-Washington-Post-March/
Tick, Judith and Paul Beaudoin. Music in the USA: A Documentary Companion. New York: Oxford University Press, 2008.
Ward, Geoffrey C. and Ken Burns. Jazz: A History of America’s Music. New York: Alfred A. Knopf, 2000.
Williams, Chad L. Torchbearers of Democracy: African American Soldiers in the World War I Era. Chapel Hill: The University of North Carolina Press, 2010.
!41
APPENDIX
FULL SCORE
“THE CLEF CLUB MARCH”
JAMES REESE EUROPE
WIND BAND TRANSCRIPTION
by
JEREMY STOVALL
!42
!43
&
&&&?
&&&&&&
&&&&
&&&&&?????
&ãã
bb
bb
bb
bb
bb#
#
##
#
bb
bb
bb
bb
bb
bb
bb
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
86
..
..
..
..
..
..
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..
..
..
..
..
..
..
..
..
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..
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..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
Piccolo
Flute 1
Flute 2
Oboe
Bassoon
Clarinet in Eb
Clarinet in Bb 1
Clarinet in Bb 2
Clarinet in Bb 3
Alto Clarinet
Bass Clarinet
Alto Sax 1
Alto Sax 2
Tenor Sax
Baritone Sax
Trumpet in Bb 1
Trumpet in Bb 2
Trumpet in Bb 3
Horn in F 1, 2
Horn in F 3, 4
Trombone 1
Trombone 2
Trombone 3
Euphonium
Tuba
Mallet Percussion(Bells)
Percussion 1(Snare Drum,Bass Drum)
Percussion 2(Crash Cymbals)
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
.œ .œœ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ jœ œ jœ
.œ .œœ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
.œ .œ
.œ .œ
œ œ œ œ Jœ œ Jœ
.œ .œ
.œ .œ
..œœ ..œœ
..œœ ..œœ
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œ∑
.æ̇.œ .œ
1
∑
March tempo {q. = 112}
March tempo {q. = 112}
F
F
FF
F
FFF
FFF
FF
F
F
F
F
F
F
FF
F
FSnare Drum
Bass Drum
F
F
F
œ Jœ œ Jœ
œ Jœ œ Jœ
œ Jœ œ Jœ
œ jœ œ jœ
.œ œ jœœ Jœ œ Jœ
œ jœ œ Jœ
œ jœ œ jœœ jœ œ jœœ jœ œ jœ
.œ œ jœœ Jœ œ Jœ
œ Jœ œ Jœ
.œ œ jœ
.œ œ Jœ
œ jœ œ Jœ
.œ œ jœ
.œ œ jœ
..œœ œœ jœœ
..œœ œœ jœœ
.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
.œ œ jœ∑
.æ̇.œ .œ
2
∑
œ Jœ œ Jœb
œ Jœ œ Jœb
œ Jœ œ Jœb
œ jœ œ jœb
.œ .œbœ Jœ œ Jœn
œ jœ œ Jœb
œ jœ .œ#
.œ .œœ jœ œ jœn
.œ .œbœ Jœ œ Jœn
œ Jœ .œ#
.œ .œb
.œ .œb
œ jœ œ Jœb
.œ .œ#
.œ .œ
..œœ ..œœn
..œœ ..œœb
.œ .œb
.œ .œb
.œ .œb
.œ .œb
.œ .œb∑
.æ̇.œ .œ
3
∑
œN ‰ œ> ‰œN ‰ œ> ‰œN ‰ œ> ‰
œN ‰ œ> ‰
œ ‰ œ> ‰œa ‰ œ> ‰œN ‰ œ> ‰
œ ‰ œ> ‰
œ ‰ œ> ‰
œa ‰ œ> ‰
œ ‰ œ>‰
œa ‰ œ> ‰œ ‰ œ> ‰
œ ‰ œ> ‰
œ ‰ œ> ‰
œN ‰ œ> ‰
œ ‰ œ> ‰
œ ‰ œ> ‰
œœ ‰ œœ> ‰
œœ ‰ œœ>‰
œ ‰ œ> ‰
œ ‰ œ> ‰
œ ‰ œ> ‰
œ ‰ œ> ‰
œ ‰ œ> ‰∑
œ ‰ jœ œ> ‰œ œ
4
Œ . y> ‰
ƒ
ƒ
ƒƒƒƒƒ
ƒ
ƒƒƒƒ
ƒ
ƒ
ƒƒ
ƒ
ƒ
ƒ
ƒƒ
ƒ
ƒ
ƒƒ
Crash Cymbals
ƒ
ƒ
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ ‰ œ ‰œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ jœ œ jœ
œ ‰ œ ‰
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœœ ‰ œ ‰œ ‰ œ ‰œ ‰ œ ‰
œ œ œ œ Jœ œ Jœ
œ ‰ œ ‰∑
œ œ œ œ ‰ œ œ ‰ œœ ‰ œ ‰
5
y ‰ y ‰
F
F
FF
F
F
FFF
FF
FF
FF
FF
F
F
F
FF
F
F
F
F
F
5
5
œ Jœ œ Jœ
œ Jœ œ Jœ
œ Jœ œ Jœ
œ jœ œ jœ
œ ‰ œ ‰œ Jœ œ Jœ
œ jœ œ Jœ
œ jœ œ Jœ
œ jœ œ Jœ
œ jœ œ jœ
œ ‰ œ ‰
œ Jœ œ Jœ
œ Jœ œ Jœ
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœœ ‰ œ ‰œ ‰ œ ‰œ ‰ œ ‰œ Jœ œ Jœ
œ ‰ œ ‰∑
œ ‰ œ œ ‰ œœ ‰ œ ‰
6
y ‰ y ‰
James Reese EuropeArranged by Jeremy Stovall
Full ScoreClef Club March
!44
&
&&&?
&&&&&&
&&&&&&&&&?????
&ãã
bb
bb
bb
bb
bb#
#
##
#
bb
bb
bb
bb
bb
bb
bb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
œ Jœ œ Jœ
œ Jœ œ Jœ
œ Jœ œ Jœ
œ jœ œ jœœ ‰ œ ‰œ Jœ œ Jœ
œ jœ œ jœ
œ jœ œ jœ
œ jœ œ jœ
œ jœ œ jœ
œ ‰ œ ‰
œ Jœ œ Jœ
œ Jœ œ Jœ
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœœ ‰ œ ‰œ ‰ œ ‰œ ‰ œ ‰œ Jœ œ Jœ
œ ‰ œ ‰∑
œ ‰ œ œ ‰ œœ ‰ œ ‰
7
y ‰ y ‰
œ Jœ œ œ# œ
œ Jœ œ œ# œœ Jœ œ œ# œ
œ jœ œ œ# œ
œ ‰ .œbœ Jœ œ œb œn
œ jœ œ œb œnœ ‰ .œbœ ‰ .œb
œ jœ œ œb œnœ ‰ .œbœ Jœ œ œb œnœ ‰ .œnœ ‰ .œb
œ ‰ .œb
œ jœ œ œb œnœ ‰ .œbœ ‰ .œbœœ ‰ ..œœbœœ ‰ ..œœbœ ‰ .œb
œ ‰ .œ
œ ‰ .œbœ Jœ œ œ# œ
œ ‰ .œb∑
œ ‰ .œæ>œ .œ>
8
y ‰ .y>
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œ>
jœ ‰ ‰ .œ>jœ ‰ ‰ .œ>jœN ‰ ‰ .œ>
Jœ ‰ ‰ .œ>jœ ‰ ‰ .œ>jœN ‰ ‰ .œ>
JœN ‰ ‰ .œ>
jœ ‰ ‰ .œ>jœN ‰ ‰ .œ>
Jœ ‰ ‰ .œ>jœa ‰ ‰ .œ>
JœN ‰ ‰ .œ>
jœN ‰ ‰ .œ>jœ ‰ ‰ .œ>jœN ‰ ‰ .œ>jœN ‰ ‰ .œ>jœœN ‰ ‰ ..œœ>jœœN ‰ ‰ ..œœ>
JœN ‰ ‰ .œ>
Jœ ‰ ‰ .œ>
jœN ‰ ‰ .œ>
Jœ ‰ ‰ .œ>jœN ‰ ‰ .œ>
∑jœ ‰ ‰ .œæ>
Jœ .œ>
9
jy ‰ ‰ .y>
Jœ ‰ ‰ .œb >
Jœ ‰ ‰ .œb >
Jœ ‰ ‰ .œb >jœ ‰ ‰ .œb >jœ ‰ ‰ .œb >
Jœ ‰ ‰ .œb >
jœ ‰ ‰ .œb >jœ ‰ ‰ .œb >
Jœ ‰ ‰ .œb >
jœ ‰ ‰ .œb >jœ ‰ ‰ .œb >
Jœ ‰ ‰ .œb >
jœ ‰ ‰ .œn >Jœ ‰ ‰ .œb >
jœ ‰ ‰ .œb >jœ ‰ ‰ .œb >jœ ‰ ‰ .œb >jœ ‰ ‰ .œb >jœœ ‰ ‰ ..œœb >jœœ ‰ ‰ ..œœb >
Jœ ‰ ‰ .œb >
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œb >
Jœ ‰ ‰ .œb >
jœ ‰ ‰ .œb >∑
jœ ‰ ‰ .œæ>Jœ .œ>
10
jy ‰ ‰ .y>
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œ>
jœN ‰ ‰ .œ>
jœ ‰ ‰ .œ>jœ ‰ ‰ œ> œ œ
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œ>jœN ‰ ‰ .œ>
JœN ‰ ‰ .œ>
jœ ‰ ‰ .œ>jœ ‰ ‰ œ> œ œ
Jœ ‰ ‰ .œ>
jœa ‰ ‰ .œ>JœN ‰ ‰ .œ>
jœ ‰ ‰ œ> œ œ
Jœ ‰ ‰ .œ>jœN ‰ ‰ .œ>jœN ‰ ‰ .œ>jœœN ‰ ‰ ..œœ>jœœ ‰ ‰ ..œœ>
JœN ‰ ‰ .œ>
Jœ ‰ ‰ .œ>Jœ ‰ ‰ œ> œ œJœ ‰ ‰ .œ>
jœ ‰ ‰ œ> œ œ∑
jœ ‰ ‰ .œæ>Jœ .œ>
11
jy ‰ ‰ .y>
.˙
.˙
.˙
.˙
.˙
.˙
.˙
œ jœ œ œ œœ Jœ œ œ œ
.˙
.˙
.˙
œ jœ œ œ œœ Jœ œ œ œ
.˙
.˙
œ jœ œ œ œœ jœ œ œ œœœ jœ œ œ œœœ jœ œ œ œœ Jœ œ œ œ
œ Jœ œ œ œ
.˙
.˙
.˙∑
.æ̇.˙
12
.T>
a2
a2
2 Clef Club March
!45
&
&&&?
&&&&&&
&&&&&&&&&?????
&ãã
bb
bb
bb
bb
bb#
#
##
#
bb
bb
bb
bb
bb
bb
bb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ ‰ œ ‰œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ œ œ œ jœ œ jœ
œ ‰ œ ‰
œ œ œ œ Jœ œ Jœ
œ œ œ œ Jœ œ Jœ
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœœ ‰ œ ‰œ ‰ œ ‰œ ‰ œ ‰
œ œ œ œ Jœ œ Jœ
œ ‰ œ ‰∑
œ œ œ œ ‰ œ œ ‰ œœ ‰ œ ‰
13
y ‰ y ‰
œ Jœ œ Jœ
œ Jœ œ Jœ
œ Jœ œ Jœ
œ jœ œ jœ
œ ‰ œ ‰œ Jœ œ Jœ
œ jœ œ Jœ
œ jœ œ Jœ
œ jœ œ Jœ
œ jœ œ jœ
œ ‰ œ ‰
œ Jœ œ Jœ
œ Jœ œ Jœ
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœœ ‰ œ ‰œ ‰ œ ‰œ ‰ œ ‰œ Jœ œ Jœ
œ ‰ œ ‰∑
œ ‰ œ œ ‰ œœ ‰ œ ‰
14
y ‰ y ‰
œ Jœ œ Jœ
œ Jœ œ Jœ
œ Jœ œ Jœ
œ jœ œ jœœ ‰ œ ‰œ Jœ œ Jœ
œ jœ œ jœ
œ jœ œ jœ
œ jœ œ jœ
œ jœ œ jœ
œ ‰ œ ‰
œ Jœ œ Jœ
œ Jœ œ Jœ
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œ ‰ œ ‰
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœœ ‰ œ ‰œ ‰ œ ‰œ ‰ œ ‰œ Jœ œ Jœ
œ ‰ œ ‰∑
œ ‰ œ œ ‰ œœ ‰ œ ‰
15
y ‰ y ‰
1.œ Jœ œ œ œb
œ Jœ œ œ œb
œ Jœ œ œ œb
œ jœ œ œ œb
œ ‰ œ jœbœ Jœ œ œ œn
œ jœ œ œ œb
œ ‰ œ jœ
œ ‰ œ Jœb
œ jœ œ œ œn
œ ‰ œ jœbœ Jœ œ œ œn
œ ‰ œ Jœ
œ ‰ œ jœbœ ‰ œ Jœb
œ ‰ œ œ œ œb
œ ‰ œ jœ
œ ‰ œ jœbœœ ‰ œœ œ jœb
œœ ‰ œœ œ jœbœ ‰ œ Jœbœ ‰ œ Jœbœ ‰ œ Jœbœ Jœ œ œ œb
œ ‰ œ jœb∑
œ ‰ .œæ>Jœ ‰ .œ>
16
jy ‰ ‰ .y>
a2
a2
JœN ‰ ‰ .œ>
JœN ‰ ‰ .œ>
Jœ ‰ ‰ .œ>
jœN ‰ ‰ .œ>jœ ‰ ‰ .œb >
Jœa ‰ ‰ .œ>
JœN ‰ ‰ .œ>jœ ‰ ‰ .œ>
JœN ‰ ‰ .œ>
jœa ‰ ‰ .œ>jœ ‰ ‰ .œb >
Jœa ‰ ‰ .œ>
Jœ ‰ ‰ .œ>
jœ ‰ ‰ .œb >
jœ ‰ ‰ .œn >JœN ‰ ‰ .œ>
jœ ‰ ‰ .œ>jœ ‰ ‰ .œ>jœ ‰ ‰ ..œœb >jœ ‰ ‰ ..œœb >jœ ‰ ‰ .œb >
jœ ‰ ‰ .œb >
jœ ‰ ‰ .œb >
JœN ‰ ‰ .œ>
jœ ‰ ‰ .œb >∑
jœ ‰ ‰ .œæ>Jœ .œ>
17
jy ‰ ‰ .y>
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œn >
Jœ ‰ ‰ .œ>jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œ>jœ ‰ ‰ .œ# >
Jœ ‰ ‰ .œ# >
jœ ‰ ‰ .œ>jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œ# >
jœ ‰ ‰ .œ>
jœ ‰ ‰ .œ>Jœ ‰ ‰ .œ>
jœ ‰ ‰ .œ# >jœ ‰ ‰ .œ# >jœœ ‰ ‰ ..œœn >jœœ ‰ ‰ ..œœn >
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œ>
jœ ‰ ‰ .œ>∑
jœ ‰ ‰ .œæ>Jœ .œ>
18
jy ‰ ‰ .y>
3Clef Club March
!46
&
&&&?
&&&&&&&&&&&&&&&?????
&ã
ã
bb
bb
bb
bb
bb#
#
##
#
bb
bb
bb
bb
bb
bb
bb
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œb >
Jœ ‰ ‰ .œ>jœ ‰ ‰ .œb >
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œ>jœ ‰ ‰ .œb >
Jœ ‰ ‰ .œb >
jœ ‰ ‰ .œ>jœ ‰ ‰ .œb >
Jœ ‰ ‰ .œ>
Jœ ‰ ‰ .œb >Jœ ‰ ‰ .œb >
jœa ‰ ‰ .œb >
Jœ ‰ ‰ .œ>jœ ‰ ‰ .œb >jœ ‰ ‰ .œb >jœœ ‰ ‰ ..œœbb >jœœ ‰ ‰ ..œœb >
Jœ ‰ ‰ .œb >
Jœ ‰ ‰ .œb >
Jœ ‰ ‰ .œb >
Jœ ‰ ‰ .œ>
jœ ‰ ‰ .œb >∑
jœ ‰ ‰ .œæ>Jœ œ> ‰
19
jy ‰ ‰ .y>
Jœ ‰ Jœ œ> œ œ
Jœ ‰ Jœ œ> œ œ
JœN ‰ Jœ œ> œ œ
jœ ‰ jœ œ> œ œ
jœ ‰ ‰ .œ>Jœ ‰ Jœ œ> œ œ
jœ ‰ jœ œ> œ œjœN ‰ ‰ .œ>
JœN ‰ ‰ .œ>
jœ ‰ jœ œ> œ œjœ ‰ ‰ .œ>
Jœ ‰ Jœ œ> œ œjœN ‰ ‰ .œ>
jœ ‰ ‰ .œ>jœ ‰ ‰ .œ>jœ ‰ ‰ .œ>jœN ‰ ‰ .œ>jœN ‰ ‰ .œ>jœœN ‰ ‰ ..œœ>jœœN ‰ ‰ ..œœ>jœ ‰ ‰ .œ>
jœ ‰ ‰ .œ>
jœ ‰ ‰ .œ>Jœ ‰ Jœ œ> œ œ
jœ ‰ ‰ .œ>∑
jœ ‰ ‰ .œæ>Jœ .œ>
20
jy ‰ ‰ .y>
2.œ Jœ œ œn œ
œ Jœ œ œn œ
œ Jœ œ œn œ
œ jœ œ œn œ
œ ‰ œb ‰œ Jœ œ œ# œ
œ jœ œ œ# œ
œ ‰ œ ‰
œ ‰ œ ‰
œ jœ œ œ# œ
œ ‰ œb ‰œ Jœ œ œ# œ
œ ‰ œ ‰œ ‰ œb ‰
œ ‰ œb ‰
œ ‰ œ œ œ# œ
œ ‰ œ ‰
œ ‰ œ ‰
œœ ‰ œœ œœ# ‰ œœœœ ‰ œœ œœbb ‰ œœœ ‰ œb ‰œ ‰ œ ‰œ ‰ œ ‰œ Jœ œ œn œ
œ ‰ œb ‰∑
œ ‰ œ œ œ œœ ‰ œ ‰
21
y ‰ y ‰
.œ .œ
.œ .œ
.œA .œ
.œ .œ
œ ‰ œ ‰.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œœN ‰ œ ‰
.œ .œ
.œ .œœ ‰ œ ‰
œN ‰ œ ‰
.œ .œ
.œ .œ
.œ .œœœ ‰ œœ œœ ‰ œœœœN ‰ œœ œœ ‰ œœœ ‰ œ ‰œ ‰ œ ‰
œ ‰ œ ‰.œ .œ
œ ‰ œ ‰∑
œ ‰ œ œ ‰ œ.œ .œ
22
.y .y
.œ .œ
.œ .œ
.œ .œ
.œ .œ
œb ‰ œ ‰.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œ
œb ‰ œ ‰.œ .œ
.œ .œ
œ ‰ œ ‰
œb ‰ œ ‰.œ .œ
.œ .œ
.œ .œœœ ‰ œœ œœ ‰ œœ
œœ ‰ œœ œœ ‰ œœœ ‰ œ ‰
œ ‰ œ ‰
œb ‰ œ ‰.œ .œ
œb ‰ œ ‰∑
œ ‰ œ œ ‰ œ.œ .œ
23
.y .y
œ Jœn > œ> Jœ>
œ Jœn > œ> Jœ>
œ Jœn > œ> Jœ>
œ Jœn > œ> Jœ>
œ jœn > œ> jœ>œ Jœ# > œ> Jœ>
œ jœ# > œ> jœ>œ jœ# > œ> jœ>œ jœ# > œ> jœ>œ Jœ# > œ> Jœ>
œ jœ# > œ> jœ>œ Jœ# > œ> Jœ>
œ Jœ# > œ> Jœ>
œ jœ# > œ> jœ>œ Jœ# > œ> Jœ>
œ Jœ# > œ> Jœ>
œ jœ# > œ> jœ>œ jœ# > œ> jœ>œ Jœn > œ> jœ>œ Jœn > œ> jœ>œ Jœn > œ> Jœ>
œ Jœn > œ> Jœ>
œ Jœn > œ> Jœ>œ Jœn > œ> Jœ>
œ jœn > œ> jœ>∑
œ> ‰ Œ .œ>
24
y> ‰ Œ .
f
f
f
ff
ff
f
f
f
f
ff
f
fff
ff
f
f
ff
f
f
f
a2
a2
f
4 Clef Club March
!47
&
&&&?
&&&&&&&&&&
&&&&&???
??
&ã
ã
bb
bb
bb
bb
bb#
#
##
#
bb
bb
bb
bb
bb
bb
bb
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
Jœ> ‰ ‰ œ Jœb >
Jœ> ‰ ‰ œ Jœb >
Jœ> ‰ ‰ œ Jœn >
Jœ> ‰ ‰ œ jœb >jœ>
‰ ‰ œ jœb >jœ> ‰ ‰ œ Jœb >
jœ>‰ ‰ œ jœb >
jœ>‰ ‰ œ jœ# >
jœ>‰ ‰ œ jœ# >
jœ> ‰ ‰ œ Jœb >
jœ>‰ ‰ œ jœb >
jœ> ‰ ‰ œ Jœb >
jœ> ‰ ‰ Œ .
jœ>‰ ‰ Œ .
jœ> ‰ ‰ œ Jœb
Jœ> ‰ ‰ Œ .
jœ>‰ ‰ Œ jœ# >
jœ>‰ ‰ Œ jœ# >
jœ> ‰ ‰ Œ jœœb >jœ> ‰ ‰ Œ jœœn >jœ> ‰ ‰ Œ .jœ> ‰ ‰ œ Jœb >
jœ> ‰ ‰ œ Jœb >
jœ> ‰ ‰ Œ .
jœ>‰ ‰ œ jœb >
∑Œ . ‰ ‰ jœ
>Jœ
25
Œ . ‰ ‰ jy>
p
p
p
pppp
pp
pp
p
p
p
p
pp
p
p
p
p
p
œN > ‰ .œ
œN > ‰ .œ
œA > ‰ .œ
œN > ‰ .œ
œ>‰ .œ
œN > ‰ .œ
œN > ‰ .œ
œN > ‰ .œ
œ>‰ .œ
œN > ‰ .œ
œ> ‰ .œœN > ‰ .œ
œ> ‰ .œ
œ> ‰ .œœ ‰ .œ
œN > ‰ .œ
œN > ‰ Œ .
œN > ‰ Œ .jœœN > ‰ ‰ Œ .jœœA >
‰ ‰ Œ .
œN ‰ .œ
œ> ‰ .œ
œ> ‰ .œ
œ> ‰ .œ
œ>‰ .œ
∑œ> ‰ .œæ>œ .œ
26
y> ‰ Œ .
(p)-f
(p)-f
(p)-f(p)-f(p)-f
(p)-f
(p)-f
(p)-f(p)-f(p)-f
(p)-f
(p)-f
(p)-f
(p)-f
(p)-f
(p)-f(p)-f(p)-f
(p)-f
(p)-f(p)-f
(p)-f
(p)-f
(p)-f
(p)-f
(p)-f
26
26 Play 2x only
Play 2x only
Play 2x only
œ Jœ œ œ œ
œ Jœ œ œ œ
œ Jœ œ œ œ
œ jœ œ œ œ
œ ‰ œ ‰œ Jœ œ œ œ
œ Jœ œ œ œ
œ Jœ œ œ œ
œ Jœ œ œ œœ Jœ œ œ œ
œ ‰ œ ‰œ Jœ œ œ œ
œ Jœ œ œ œ
œ ‰ œ ‰
œ ‰ œ ‰
œ Jœ œ œ œ
∑∑∑∑
œ Jœ œ œ œ
œ ‰ œ ‰œ ‰ œ ‰œ Jœ œ œ œ
œ ‰ œ ‰∑
œ ‰ œ œ ‰ œœ ‰ œ ‰
27
∑
œ Jœ œ œ œ
œ Jœ œ œ œœ Jœ œ œ œ
œ jœ œ œ œ
œ ‰ œ ‰œ Jœ œ œ œ
œ jœ œ œ œœ jœ œ œ œœ jœ œ œ œœ Jœ œ œ œ
œ ‰ œ ‰œ Jœ œ œ œœ Jœ œ œ œ
œ ‰ œ ‰
œ ‰ œ ‰
œ jœ œ œ œ∑∑∑∑
œ Jœ œ œ œ
œ ‰ œ ‰œ ‰ œ ‰œ Jœ œ œ œ
œ ‰ œ ‰∑
œ ‰ œ œ ‰ œœ ‰ œ ‰
28
∑
œ Jœ œ Jœb >
œ Jœ œ Jœb >œ Jœ œ Jœb >
œ jœ œ jœb >œ ‰ œ œ jœb >œ Jœ œ Jœb >
œ jœ œ jœb >œ jœ œ jœb >œ jœ œ jœb >œ Jœ œ Jœb >
œ ‰ œ œ jœb >œ Jœ œ Jœb >
œ Jœ œ jœb >œ ‰ œ œ jœb >œ ‰ œ œ jœn >œ jœ œ jœb >Œ . Œ jœb >Œ . Œ jœb >Œ . Œ jœœbb >Œ . Œ jœœb >œ Jœ œ Jœb >
œ ‰ œ œ Jœb >
œ ‰ œ œ jœb >œ Jœ œ Jœb >
œ ‰ œ œ jœb >∑
œ ‰ œ œ ‰ œ>
œ ‰ œ Jœ
29
Œ . ‰ ‰ jy>
œb > ‰ .œb
œb > ‰ .œb
œb > ‰ .œ
œb > ‰ .œb
œb > ‰ .œbœb > ‰ .œn
œb > ‰ .œb
œb > ‰ .œ
œ>‰ .œb
œb > ‰ .œn
œb >‰ .œb
œb > ‰ .œn
œb > ‰ .œ
œb > ‰ .œœb > ‰ .œbœb > ‰ .œb
œb > ‰ Œ .
œ>‰ Œ .
œœb >‰ Œ .
œœbb >‰ Œ .
œb > ‰ .œb
œb > ‰ .œ
œb > ‰ .œb
œb > ‰ .œb
œb >‰ .œb
∑œ> ‰ .œæ>œ .œ
30
y> ‰ Œ .
5Clef Club March
!48
&
&&&?
&&&&&&&&&&&&&&&?????
&ãã
bb
bb
bb
bb
bb#
#
##
#
bb
bb
bb
bb
bb
bb
bb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
œ Jœb œb œ œn
œ Jœb œb œ œn
œb Jœb œb œ œn
œ jœb œb œ œn
œb ‰ œ ‰œ Jœn œb œ œ#
œ Jœb œb œ œn
œb Jœb œb œ œn
œb Jœb œb œ œnœ Jœn œb œ œ#
œb ‰ œ ‰œ Jœn œb œ œ#
œb Jœn œb œ œ#
œb ‰ œ ‰
œb ‰ œ ‰œ Jœb œb œ œn
∑∑∑∑
œ Jœb œb œ œn
œb ‰ œ ‰œb ‰ œ ‰œ Jœb œb œ œn
œb ‰ œ ‰∑
œ ‰ œ œ ‰ œœ ‰ œ ‰
31
∑
œ ‰ œ Jœœ ‰ œ Jœœ ‰ œ Jœ
œ ‰ œ jœ
œ ‰ .œnœ ‰ œ Jœ
œ ‰ œ jœœ ‰ œ jœœ ‰ œ jœœ ‰ œ Jœ
œ ‰ .œ#œ ‰ œ Jœœ ‰ œ Jœ
œ ‰ .œ#
œ ‰ .œ#œ ‰ œ jœ
∑∑∑∑
œ ‰ œ Jœ
œ ‰ .œn
œ ‰ .œnœ ‰ œ Jœ
œ ‰ .œn∑
œ ‰ .œæ>œ .œ>
32
∑
.œ œ ‰ œb >
.œ œ ‰ œb >
.œ œ ‰ œn >
.œ œ ‰ œb >
.œ œ ‰ œb >.œ œ ‰ œb >
.œ œ ‰ œb >
.œ œ ‰ œ# >
.œ œ ‰ œ>.œ œ ‰ œb >
.œ œ ‰ œb >
.œ œ ‰ œb >
.œ œ ‰ œ# >
.œ œ ‰ œb >
.œ œ ‰ œb >
.œ œ ‰ œb >Œ . Œ jœ# >Œ . Œ jœ# >Œ . Œ jœœb >Œ . Œ jœœn >.œ œ ‰ œb >
.œ œ ‰ œb >
.œ œ ‰ œb >
.œ œ ‰ œb >
.œ œ ‰ œb >∑
.œæ œ ‰ œ>
œ ‰ œ Jœ>
33
Œ . ‰ ‰ jy>
œN > ‰ .œ
œN > ‰ .œ
œ> ‰ .œ
œ> ‰ .œ
œ>‰ .œ
œN > ‰ .œ
œN > ‰ .œ
œN > ‰ .œ
œ>‰ .œ
œN > ‰ .œ
œ> ‰ .œœN > ‰ .œ
œN > ‰ .œ
œ> ‰ .œœ> ‰ .œœN > ‰ .œ
œN > ‰ Œ .
œN > ‰ Œ .jœœN > ‰ ‰ Œ .
œœA >‰ Œ .
œN > ‰ .œ
œ> ‰ .œ
œ> ‰ .œœN > ‰ .œ
œ>‰ .œ
∑œ> ‰ .œæ>œ> .œ>
34
y> ‰ Œ .
œ Jœ œ œ œ
œ Jœ œ œ œ
œ Jœ œ œ œ
œ jœ œ œ œ
œ ‰ œ ‰œ Jœ œ œ œ
œ Jœ œ œ œ
œ Jœ œ œ œ
œ Jœ œ œ œœ Jœ œ œ œ
œ ‰ œ ‰œ Jœ œ œ œ
œ Jœ œ œ œ
œ ‰ œ ‰
œ ‰ œ ‰œ Jœ œ œ œ
∑∑∑∑
œ Jœ œ œ œ
œ ‰ œ ‰œ ‰ œ ‰œ Jœ œ œ œ
œ ‰ œ ‰∑
œ ‰ œ œ ‰ œœ ‰ œ ‰
35
∑
œ Jœ œ œ œ
œ Jœ œ œ œœ Jœ œ œ œ
œ jœ œ œ œ
œ ‰ œ ‰œ Jœ œ œ œ
œ jœ œ œ œœ jœ œ œ œœ jœ œ œ œœ Jœ œ œ œ
œ ‰ œ ‰œ Jœ œ œ œœ Jœ œ œ œ
œ ‰ œ ‰
œ ‰ œ ‰œ jœ œ œ œ
∑∑∑∑
œ Jœ œ œ œ
œ ‰ œ ‰œ ‰ œ ‰œ Jœ œ œ œ
œ ‰ œ ‰∑
œ ‰ œ œ ‰ œœ ‰ œ ‰
36
∑
6 Clef Club March
!49
&
&
&
&?
&&&&&&
&&&&&&&&&?????
&ã
ã
bb
bb
bb
bb
bb
#
#
##
#
bb
bb
bb
bb
bb
bb
bb
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
..
bbb
bbb
bbb
bbb
bbbn
bbbn
b
nn
bn
bbbbb
bb
bbbbbbbbbbbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
œ Jœ œ Jœb >
œ Jœ œ Jœb >
œ Jœ œ Jœb >
œ jœ œ jœb >œ ‰ œ œ jœb >œ Jœ œ Jœb >
œ jœ œ jœb >œ jœ œ jœb >œ jœ œ jœb >œ Jœ œ Jœb >
œ ‰ œ œ jœb >œ Jœ œ Jœb >
œ Jœ œ jœb >œ ‰ œ Jœb >
œ ‰ œ œ jœn >œ jœ œ jœb >Œ . Œ jœb >Œ . Œ jœb >Œ . Œ jœœbb >Œ . Œ jœœb >œ Jœ œ Jœb >
œ ‰ œ jœb >œ ‰ œ jœb >œ Jœ œ Jœb >
œ ‰ œ œ jœb >∑
œ ‰ œ œ ‰ œ>
œ ‰ œ Jœ>
37
Œ . ‰ ‰ jy>
œb > ‰ œ> œ> œ>
œb > ‰ œ> œ> œ>
œb > ‰ œ> œb > œ>
œb > ‰ œ> œ> œ>œb > ‰ Œ .
œb > ‰ œ> œ> œ>
œb > ‰ œ> œ> œ>
œb > ‰ œ> œb > œ>
œ>‰ œ> œb > œ>
œb > ‰ œ> œb > œ>
œb >‰ Œ .
œb > ‰ œ> œ> œ>
œb > ‰ œ> œb > œ>
œb > ‰ Œ .
œb > ‰ Œ .
œb > ‰ œ> œ> œ>
œb > ‰ œ> œb > œ>
œ>‰ œ> œb > œ>
œœb >‰ œ> œb > œ>
œœbb >‰ œ> œ> œ>
œb > ‰ Œ .
œb > ‰ Œ .
œb > ‰ Œ .œb > ‰ Œ .
œb >‰ Œ .
∑œ> ‰ œ
>œ>
œ>
œ> Œ .
38
y> ‰ Œ .
a2
a2
.>̇
.>̇
.>̇
.>̇
‰ œ> œ> œn > œ> œ>.>̇
.>̇
.>̇
.>̇
.>̇
‰ œ> œ> œ# > œ> œ>.>̇
.>̇
‰ œ> œ> œ# > œ> œ>‰ œ> œ> œ# > œ> œ>
.>̇
.>̇
.>̇
..˙̇>
..˙̇>‰ œ> œ> œn > œ> œ>
‰ œ> œ> œn > œ> œ>
‰ œ> œ> œn > œ> œ>‰ œ> œ> œn > œ> œ>
‰ œ> œ> œn > œ> œ>∑
.æ̇>
.˙>
39
.T>
œ ‰ œ> Jœ
œ ‰ œ> Jœ
œ ‰ œ> Jœ
œ ‰ œ> Jœ
œ> ‰ .œ>œ ‰ œ> Jœ
œ ‰ œ> Jœ
œ ‰ œ> jœœ ‰ œ> jœœ ‰ œ> jœ
œ> ‰ .œ>œ ‰ œ> Jœ
œ ‰ œ> Jœ
œ> ‰ .œ>œ> ‰ .œ>œ ‰ œ> Jœ
œ ‰ œ> jœœ ‰ œ> jœœœ ‰ œœ>
jœœœœ ‰ œœ>
jœœœ> ‰ .œ>
œ> ‰ .œ>
œ> ‰ .œ>œ> ‰ .œ>
œ> ‰ .œ>∑
œ ‰ .œæ>Œ . .œ>
40
Œ . .y>f
1.Jœ ‰ ‰ œ> Jœb >
Jœ ‰ ‰ œ> Jœb >
Jœ ‰ ‰ œ> Jœn >
Jœ ‰ ‰ œ>jœb >
jœ ‰ ‰ œ> jœb >Jœ ‰ ‰ œ> Jœb >
Jœ ‰ ‰ œ>jœb >
jœ ‰ ‰ œ> jœ# >jœ ‰ ‰ œ> jœ# >jœ ‰ ‰ œ> Jœb >
jœ ‰ ‰ œ> jœb >Jœ ‰ ‰ œ> Jœb >
Jœ ‰ ‰ œ> Jœ# >
jœ ‰ ‰ œ> jœb >jœ ‰ ‰ œ> Jœb >
Œ . œ>jœb >
jœ ‰ ‰ œ> jœ# >jœ ‰ ‰ œ> jœ# >jœœ ‰ ‰ Œ jœœb >jœœ ‰ ‰ Œ jœœn >
Œ . œ> Jœb >
Jœ ‰ ‰ œ> Jœb >
jœ ‰ ‰ œ> Jœb >
Œ . œ> Jœb >
jœ ‰ ‰ œ> jœb >∑
jœ ‰ ‰ Œ jœ>
Jœ Jœ>
41
jy ‰ ‰ Œ jy>
f
f
f
f
ff
ff
f
f
f
fff
f
f
f
ff
f
f
f
f
f
Play
Play
Play
2.Jœ ‰ ‰ Jœ> ‰ ‰Jœ ‰ ‰ Jœ> ‰ ‰
Jœ ‰ ‰ Jœ> ‰ ‰
Jœ ‰ ‰ Jœ> ‰ ‰
jœ ‰ ‰ jœ>‰ ‰
Jœ ‰ ‰ Jœ> ‰ ‰
Jœ ‰ ‰ Jœ> ‰ ‰jœ ‰ ‰ jœ> ‰ ‰jœ ‰ ‰ jœ> ‰ ‰jœ ‰ ‰ jœ> ‰ ‰
jœ ‰ ‰ jœ>‰ ‰
Jœ ‰ ‰ Jœ> ‰ ‰
Jœ ‰ ‰ Jœ> ‰ ‰jœ ‰ ‰ jœ> ‰ ‰jœ ‰ ‰ jœ> ‰ ‰
Jœ ‰ ‰ Jœ> ‰ ‰jœ ‰ ‰ jœ> ‰ ‰jœ ‰ ‰ jœ> ‰ ‰jœœ ‰ ‰ jœœ>
‰ ‰jœœ ‰ ‰ jœœ>
‰ ‰Jœ ‰ ‰ Jœ> ‰ ‰
Jœ ‰ ‰ Jœ> ‰ ‰jœ ‰ ‰ jœ> ‰ ‰
Jœ ‰ ‰ Jœ> ‰ ‰
jœ ‰ ‰ jœ>‰ ‰
∑jœ ‰ ‰ jœ
> ‰ ‰Jœ Jœ>
42
jy ‰ ‰ jy> ‰ ‰
f
f
f
7Clef Club March
!50
&
&
&&?
&&&&&&&&&&
&&&&&???
??
&ã
ã
bbb
bbb
bbbbbb
bbb
bbb
b
b
bbbbb
bb
bbbbbbbbb
bbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
œ œ œ Jœ>
‰ ‰ Œ .œ œ œ Jœ
>‰ ‰ Œ .
œ œ œ Jœ>
‰ ‰ Œ .
œ œ œ Jœ> ‰ ‰ Œ ..œ> .œ
œ œ œ Jœ> ‰ ‰ Œ .œ œ œ Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .jœ> ‰ ‰ Œ .
œ œ œ Jœ> ‰ ‰ Œ .
.œ> .œœ> ‰ œ œ ‰ œ
œ> ‰ œ œ ‰ œœ> ‰ œ œ ‰ œ
.œ> .œ
œ œ œ Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .jœ> ‰ ‰ Œ .
œœ>‰ œœ œœ ‰ œœ
œœ> ‰ œœ œœ ‰ œœJœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .
Jœ> ‰ ‰ Œ .œ œ œ Jœ> ‰ ‰ Œ .
.œ> .œ∑
œ œ œjœ
> ‰ ‰ Œ .Jœ>
43
jy> ‰ ‰ Œ .
ƒ
ƒƒ
ƒ
ƒƒƒ
ƒ
ƒ
ƒƒ
ƒƒ
ƒ
ƒ
ƒ
ƒƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
43
43
Trio
Trio
ƒ
ƒ
∑
∑
∑∑
.œ .œ∑∑∑∑∑
.œ .œœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œœ ‰ œ œ ‰ œ
.œ .œ
∑∑∑
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœ
∑∑∑
∑
.œ .œ∑∑
44
∑
∑
∑
∑∑
œ ‰ Œ .
∑
.˙
.˙
.˙
.˙
œ‰ œ ‰
œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œjœ ‰ ‰ Œ .
œ ‰ œ ‰
∑∑∑
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœ
∑∑∑
.˙
œ ‰ œ ‰
.˙∑
45
∑
PP
P
P
pp
pp
p
p
P
pP
p
p
∑
∑
∑∑∑∑
.œ .œ
.œ .œ
.œ .œ
.œ .œœn ‰ œb ‰œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ# ‰ œn ‰
∑∑∑
œœ ‰ œœ œœ ‰ œœœœn ‰ œœ œœ ‰ œœ
∑∑∑
.œ .œ
œn ‰ œb ‰
.œ .œ∑
46
∑
∑
∑
∑∑∑∑
.œ .œ
.œ .œ
.œ .œ
.œ .œ
œ ‰ œb ‰œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ ‰ œb ‰
∑∑∑
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœ
∑∑∑
.œ .œ
œ ‰ œb ‰
.œ .œ
∑
47
∑
∑
∑
∑∑∑∑
.œ .œ
.œ .œ
.œ .œ
.œ .œ
œN ‰ œb ‰œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œN ‰ œb ‰
∑∑∑
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ# ‰ œœ
∑∑∑
.œ .œ
œN ‰ œb ‰.œ .œ
∑
48
∑
8 Clef Club March
!51
&
&&&?
&&&&&&&&&&&&&&&?????
&ãã
bbb
bbbbbbbbb
bbb
bbb
b
b
bbbbb
bb
bbbbbbbbbbbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
∑
∑∑∑∑∑
.œ .œ
.œ .œ
.œ .œ
.œ .œ
œN ‰œ
‰
œ ‰ œ œ ‰ œ
œ ‰ œ œb ‰ œ∑
œ ‰ œ ‰
.œ .œ
.œ .œb
.œ .œbœœ ‰ œœ œœb ‰ œœœœ ‰ œœ œœb ‰ œœ
∑∑∑
.œ .œ
œ ‰ œ ‰
.œ .œ∑
49
∑
PPP
∑
∑∑∑∑∑
.œ œ jœ
.œ œ jœ
.œ œ jœ
.œ œ jœ
œ jœ œ jœœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ jœ œ Jœ
œ jœ œ jœ
œ jœ œN jœœ jœ œN jœœœ ‰ œœ œœ ‰ œœ
œœ ‰ œœ œœ ‰ œœ∑∑∑
.œ œ Jœ
œ jœ œ jœ.œ œ jœ
∑
50
∑
∑
∑∑∑∑∑
.˙
.˙
.˙
.˙jœ ‰ ‰ .œ>jœ ‰ ‰ .œjœ ‰ ‰ .œ
∑
Jœ ‰ ‰ .œ>jœ ‰ ‰ Œ .
jœ ‰ ‰ Œ .
jœ ‰ ‰ Œ .jœœ ‰ ‰ ..œœjœœ ‰ ‰ ..œœ
∑∑∑
.˙
jœ ‰ ‰ .œ>.˙
∑
51
∑
∑
∑∑∑∑∑
.˙
.˙
.˙
.˙
.˙
.œ .œb
.œ .œ∑
.˙∑∑∑
..œœ ..œœb
..œœ ..œœ∑∑∑
.˙
.˙
.˙∑
52
∑
∑
∑∑∑∑∑
.˙
.˙
.˙
.˙
œ‰ œ ‰
œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ ‰ œ ‰∑∑∑
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœ
∑∑∑
.˙
œ ‰ œ ‰
.˙∑
53
∑
∑
∑∑∑∑∑
.œ .œ
.œ .œ
.œ .œ
.œ .œœn ‰ œb ‰œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ# ‰ œn ‰∑∑∑
œœ ‰ œœ œœ ‰ œœœœn ‰ œœ œœ ‰ œœ
∑∑∑
.œ .œ
œn ‰ œb ‰
.œ .œ∑
54
∑
9Clef Club March
!52
&
&&&?
&&&&&&&&&&&&&&&?????
&ãã
bbb
bbbbbbbbb
bbb
bbb
b
b
bbbbb
bb
bbbbbbbbbbbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
∑
∑∑∑∑∑
.œ .œ
.œ .œ
.œ .œ
.œ .œ
œ ‰ œb ‰œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ ‰ œb ‰∑∑∑
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœ
∑∑∑
.œ .œ
œ ‰ œb ‰
.œ .œ
∑
55
∑
∑
∑∑∑∑∑
.œ .œ
.œ .œ
.œ .œ
.œ .œ
œN ‰ œb ‰œ ‰ œ œb ‰ œ
œ ‰ œ œ ‰ œ∑
œN ‰ œb ‰∑∑∑
œœ ‰ œœ œœb ‰ œœœœ ‰ œœ œœb ‰ œœ
∑∑∑
.œ .œ
œ ‰ œb ‰.œ .œ
∑
56
∑
∑
∑∑∑∑∑
.œ .œ
.œ .œ
.œ .œ
.œ .œ
œ ‰ œ jœbœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ ‰ œ Jœb
.œ .œ
.œ .œ
.œ .œœœ ‰ œœ œœ ‰ œœb
œœN ‰ œœ œœ ‰ œœ∑∑∑
.œ .œ
œN ‰ œ jœb.œ .œ
∑
57
∑
P
PP
∑
∑∑∑∑∑
.œ œ Jœ
.œb .œ
.œb .œ
.œ œ jœ
œ ‰ œ ‰
œ ‰ œ œ ‰
œ ‰ œ œ# ‰∑
œ ‰ œ ‰
.œb .œ
.œ .œn
.œ .œnœœ ‰ œœ œœ ‰
œœb ‰ œœ œœnn ‰∑∑∑
.œ œ Jœ
œ ‰ œ ‰.œ œ Jœ
∑
58
∑
∑
∑∑∑∑∑
.˙
œ jœ œ œ œœ jœ œ œ œ
.˙
œ jœ œ œ œœ Jœ œ œ œœ Jœ œ œ œ
∑
œ Jœ œ œ œ
œ ‰ Œ .
œ ‰ Œ .
œ ‰ Œ .
œ Jœ œ œ œœ Jœ œ œ œ
∑∑∑
.˙
œ jœ œ œ œ.˙
∑
59
∑
a2
a2
∑
∑∑∑∑∑
œ jœ œ Jœ
œ jœ œ Jœ
œ jœ œ Jœ
œ jœ œ jœ
œ jœ œ jœœ ‰ Œ .
œ ‰ Œ .
∑
œ jœ œ jœŒ jœ œ Jœ
∑∑
œ ‰ Œ .
œ ‰ Œ .
∑∑∑
œJœ œ Jœ
œ jœ œ jœœ jœ œ jœ
∑
60
∑
10 Clef Club March
!53
&
&&&?
&&&&&&&&&&&&&&&?????
&ãã
bbb
bbbbbbbbb
bbb
bbb
b
b
bbbbb
bb
bbbbbbbbbbbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
∑
∑∑∑∑∑
.˙
.˙
.˙
.˙
.˙œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
.˙
.˙
∑∑
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœ
∑∑∑
.˙
.˙
.˙
∑
61
∑
61
61
∑
∑∑∑∑∑
.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
.œ œ jœ
.œ œ jœœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
.œ œ jœ
.œ œ Jœ∑∑
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœ
∑∑∑
.œ œ Jœ
.œ œ jœ
.œ œ jœ∑
62
∑
∑
∑∑∑∑∑
.˙
.˙
.˙
.˙
œ‰ œb ‰
œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ ‰ œb ‰.˙
∑∑
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœ
∑∑∑
.˙
œ ‰ œb ‰.˙
∑
63
∑
∑
∑∑∑∑∑
.œ œ jœ
.œ œ jœ
.œ œ jœ
.œ œ jœ
œ jœ œ jœœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ jœ œ jœ.œ œ jœ
Œ . œ jœŒ . œ jœœœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœ
∑∑∑
.œ œ Jœ
œ jœ œ jœ.œ œ jœ
∑
64
∑
PP
∑
∑∑∑∑∑
.œ .œ
.œ .œ
.œ .œ
.œ .œ
œ ‰ œb ‰
œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ ‰ œb ‰.œ .œ
.œ .œ
.œ .œœœ ‰ œœ œœn ‰ œœ
œœ ‰ œœ œœ ‰ œœ∑∑∑
.œ .œ
œ ‰ œb ‰
.œ .œ∑
65
∑
∑
∑∑∑∑∑
.œ .œ
.œ .œ
.œ .œ
.œ .œ
œN ‰ œ ‰
œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œN ‰ œ ‰
.œ .œ
.œ .œ
.œ .œœœ ‰ œœ œœA ‰ œœ
œœ ‰ œœ œœ ‰ œœ∑∑∑
.œ .œ
œN ‰ œ ‰
.œ .œ∑
66
∑
11Clef Club March
!54
&
&&&?
&&&&&&&&&&&&&&&?????
&ãã
bbb
bbbbbbbbb
bbb
bbb
b
b
bbbbb
bb
bbbbbbbbbbbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
∑
∑∑∑∑∑
.˙
.˙
.˙
.˙œ ‰ œ ‰œ ‰ œ œb ‰ œ
œ ‰ œ œ ‰ œ∑
œ ‰ œ ‰
.˙
.˙
.˙œœ ‰ œœ œœb ‰ œœœœ ‰ œœ œœ ‰ œœ
∑∑∑
.˙
œ ‰ œ ‰
.˙∑
67
∑
∑
∑∑∑∑∑
.˙
œ jœ œ jœ
œ jœ œ jœ.˙
œ ‰ œ ‰œN ‰ œ œ ‰ œœ ‰ œ œ ‰ œ
∑
œ ‰ œ ‰
.˙
œ jœ œ jœ
œ jœ œ jœœœN ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœ
∑∑∑
.˙
œ ‰ œ ‰
.˙∑
68
∑
∑
∑∑∑∑∑
.˙
.˙
.˙
.˙
œ‰ œ ‰
œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ ‰ œ ‰∑
œ ‰ Œ .
œ ‰ Œ .
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœ
∑∑∑
.˙
œ ‰ œ ‰
.˙∑
69
∑
∑
∑∑∑∑∑
.œ .œ
.œ .œ
.œ .œ
.œ .œœn ‰ œb ‰œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ# ‰ œn ‰∑∑∑
œœ ‰ œœ œœ ‰ œœœœn ‰ œœ œœ ‰ œœ
∑∑∑
.œ .œ
œn ‰ œb ‰
.œ .œ∑
70
∑
∑
∑∑∑∑∑
.œ .œ
.œ .œ
.œ .œ
.œ .œ
œ ‰ œb ‰œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ ‰ œb ‰∑∑∑
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœ
∑∑∑
.œ .œ
œ ‰ œb ‰
.œ .œ
∑
71
∑
∑
∑∑∑∑∑
.œ œ jœ
.œ œ jœ
.œ œ jœ
.œ œ jœ
œN ‰ œb ‰œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œN ‰ œb ‰∑∑∑
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ# ‰ œœ
∑∑∑
.œ œ Jœ
œN ‰ œb ‰.œ œ jœ
∑
72
∑
12 Clef Club March
!55
&
&&&?
&&&&&&
&&&&
&&&
&
&?????
&ãã
bbb
bbbbbbbbb
bbb
bbb
b
b
bbb
bb
bb
bbbbbbbbbbbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
∑
∑∑∑∑∑
.œ .œ
.œ .œ
.œ .œ
.œ .œ
œ ‰ œ ‰
œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ ‰ œ ‰
∑∑∑
œœ ‰ œœ œœ ‰ œœ
œœ ‰ œœ œœ ‰ œœ∑∑∑
.œ .œ
œ ‰ œ ‰
.œ .œ∑
73
∑
∑
∑∑∑∑∑
.œ œ jœ
œ jœ .œœ jœ .œ
.œ œ jœœ jœ œ jœœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ jœ œ jœ
∑∑∑
œœ ‰ œœ œœ ‰ œœœœ ‰ œœ œœ ‰ œœ
∑∑∑
.œ œ Jœ
œ jœ œ jœ.œ œ jœ
∑
74
∑
∑
∑∑∑∑∑
.˙
.˙
.˙
.˙œ œn œ œ jœœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ∑
œ œ# œ œ jœ
∑∑∑
œœ ‰ œœ œœ ‰ œœ
œœ ‰ œœ œœ ‰ œœ∑∑∑
.˙
œ œn œ œ jœ.˙
∑
75
∑
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. œ.jœ ‰ ‰ œ. œ. œ.jœ ‰ ‰ œ. œ. œ.
jœ‰ ‰ Œ .
Jœ ‰ ‰ œ. œ. œ.
jœ ‰ ‰ œ. œ. œ.∑
jœ ‰ ‰ Œ .
Œ . œ. œ. œ.Œ . œ. œ. œ.Œ . œ. œ. œ.
jœœ ‰ ‰ œ. œ. œ.jœœ ‰ ‰ œ. œ. œ.
∑∑∑
Jœ ‰ ‰ Œ .
jœ ‰ ‰ Œ .
jœ ‰ ‰ Œ .
Œ . œ>
œ>
œ>
76
∑
ƒ
ƒ
ƒƒƒ
ƒƒ
ƒ
ƒ
ƒƒ
ƒƒ
ƒ
ƒ
ƒ
ƒ
a2
a2
.œ> .œ>
.œ> .œ>
.œ> .œ>
.œ> .œ>œ. œn . œn . œ. œ. œ.
.œ> .œ>
.œ> .œ>
.œ> .œ>
.œ# > .œ>
.œ> .œ>
œ. œn . œ# . œ. œ. œ..œ> .œ>
.œb > .œn >œœ.
œœnn .œœ## . œ. œ. œ.
œ. œ# . œ# . œ. œ. œ.
.œ .œ>
.œ .œ>
.œ# .œ>
.œ# .œ>
.œ .œ>œ. œn . œn . œ. œ. œ.
œ. œn . œn . œ. œ. œ.
œ. œn . œn . œ. œ. œ.
œ. œn . œn . œ. œ. œ.
œ. œn . œn . œ. œ. œ.∑
.æ̇>
.˙>
77
.T>
ƒƒ
ƒ
ƒ
ƒƒƒƒ
ƒ
ƒ
77
77
.>̇Ÿ
.>̇Ÿ
.>̇Ÿ
.>̇Ÿ
œ. Jœ. œ. œ. œ..>̇Ÿ
.>̇Ÿ
.œ> .œ>
.œ# > .œ>
.œ> .œ>
œ. jœ. œ. œ. œ..œ> .œ>
.œb > .œn >œ. jœ. œ. œ. œ.œ. Jœ. œ. œ. œ.
.œ> œ jœ.
.œ> .œ>
.œ# > .œ>
.œ# > .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.∑
.æ̇.˙>
78
.T>
13Clef Club March
!56
&
&&&?
&&&&&&&&&&&&&&&?????
&ãã
bbb
bbbbbbbbb
bbb
bbb
b
b
bbbbb
bb
bbbbbbbbbbbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
œ. Jœ. œn . Jœn .
œ. Jœ. œn . Jœn .
œ. Jœ. œn . Jœn .
œ. jœ. œn . Jœn .
œ. Jœ. œ. Jœ.œ. Jœ. œ# . Jœ# .
œ. Jœ. œn . Jœ# .
œ. jœ. œ. jœ.
œ# . jœ. œ.jœ.
œ. Jœ. œ. Jœ.
œ. jœ. œ. jœ.œ. Jœ. œ. Jœ.
œb . jœ. œ. Jœ.
œ. jœ. œ. jœ.œ. Jœ. œ. Jœ.
œ. Jœ. œn . Jœ# .
œ. jœ. œ. jœ.
œb . jœ. œ.jœ.
œ. jœ. œn . jœ# .œ. jœ. œ. jœ.œ. Jœ. œ. Jœ.
œ. Jœ. œ. Jœ.
œ. Jœ. œ. Jœ.
œ. Jœ. œ. Jœ.
œ. jœ. œ. jœ.∑
œ jœ>
œ> jœ>
.œ .œ>
79
.y>
.y>
Jœ. ‰ ‰ œ. œ. œ.
Jœ. ‰ ‰ œ. œ. œ.
Jœ. ‰ ‰ œ. œ. œ.
Jœ. ‰ ‰ œ. œ. œ.jœ. ‰ ‰ Œ .
JœN . ‰ ‰ œ. œ. œ.
Jœ. ‰ ‰ œ. œ. œ.jœ. ‰ ‰ œ. œ. œ.
jœ. ‰ ‰ œ. œ. œ.Jœ. ‰ ‰ œ. œ. œ.
jœ. ‰ ‰ Œ .
Jœ. ‰ ‰ œ. œ. œ.
Jœ. ‰ ‰ œ. œ. œ.jœ. ‰ ‰ Œ .jœ ‰ ‰ Œ .
Jœ. ‰ ‰ œN . œ. œ.jœ. ‰ ‰ œ. œ. œ.
jœ. ‰ ‰ œ. œ. œ.jœ. ‰ ‰ œ. œ. œ.jœ. ‰ ‰ œ. œ. œ.jœ. ‰ ‰ Œ .jœ. ‰ ‰ Œ .jœ. ‰ ‰ Œ .jœ. ‰ ‰ Œ .
jœ.‰ ‰ Œ .
∑jœ
> ‰ ‰ œ>
œ>
œ>
Jœ Œ .
80
jy> ‰ ‰ Œ .
.œ> .œ>
.œ> .œ>
.œ> .œ>
.œ> .œ>
œ. œ. œ. œ. œ. œb ..œ> .œ>
.œ> .œ>
.œ> .œb >
.œ> .œ>
.œ> .œb >
œ. œ. œ. œ. œ. œb ..œ> .œb >
.œ> .œ>
œ. œ. œ. œ. œ. œb .œ. œ. œ. œ. œ. œb .
.œ> .œ>
.œ> .œb >
.œ> .œ>
.œ> .œ>
.œ> .œb >œ. œ. œ. œ. œ. œb .
œ. œ. œ. œ. œ. œb .
œ. œ. œ. œ. œ. œb .
œ. œ. œ. œ. œ. œb .
œ. œ. œ. œ. œ. œb .∑
.æ̇>
.˙>
81
.T>
.>̇Ÿ
.>̇Ÿ
.>̇Ÿ
.>̇Ÿ
œ. Jœ. œb . œ. œ..>̇Ÿ
.>̇Ÿ
.œ> .œb >
.œ> .œ>
.œ> .œb >
œ. jœ. œb . œ. œ..œ> .œb >
.œ> .œ>
œ. jœ. œb . œ. œ.œ. Jœ. œb . œ. œ.
.œ> œ Jœ.
.œ> .œb >
.œ> .œ>
.œ> .œ>
.œ> .œb >œ. Jœ. œb . œ. œ.œ. Jœ. œb . œ. œ.œ. Jœ. œb . œ. œ.œ. Jœ. œb . œ. œ.
œ. jœ. œb . œ. œ.∑
.æ̇.˙>
82
.T>
œ. Jœn . œ. Jœ.
œ. Jœn . œ. Jœ.
œ. Jœn . œ. Jœ.
œ. Jœn . œ. Jœ.
œ. Jœ. œb . Jœ.œ. Jœ# . œ. Jœ.
œ. Jœ# . œ. Jœ.
œ. jœ. œ. Jœ.
œ. jœ. œ. Jœ.œ. Jœ. œ. Jœ.
œ. Jœ. œb . jœ.œ. Jœ. œ. Jœ.
œ. Jœ. œ. Jœ.
œ. Jœ. œb . jœ.œ. Jœ. œb . Jœ.
œ. Jœ# . œ. Jœ.
œ. jœ. œ. Jœ.
œ. jœ. œ. Jœ.
œ. jœ# . œ. jœ.
œ. jœ. œ. jœ.œ. Jœ. œb . Jœ.
œ. Jœ. œb . Jœ.
œ. Jœ. œb . Jœ.
œ. Jœ. œb . Jœ.
œ.jœ. œb . jœ.
∑œ jœ
>œ> jœ
>.œ .œ>
83
.y>
.y>
Jœ.
‰ ‰ Œ .
Jœ.
‰ ‰ œA . œ. œ.
Jœ.
‰ ‰ œA . œ. œ.
Jœ. ‰ ‰ œA . œ. œ.
Jœ. ‰ ‰ Œ .Jœ. ‰ ‰ Œ .
Jœ. ‰ ‰ œN . œ. œ.
Jœ. ‰ ‰ œ. œ. œ.jœb . ‰ ‰ œ. œ. œ.
Jœ. ‰ ‰ œ. œ. œ.
jœ. ‰ ‰ Œ .
Jœ. ‰ ‰ œ. œ. œ.
Jœb . ‰ ‰ œ. œ. œ.
jœ. ‰ ‰ Œ .
Jœ. ‰ ‰ Œ .
Jœ. ‰ ‰ Œ .
Jœ. ‰ ‰ Œ .jœb . ‰ ‰ Œ .
Jœ. ‰ ‰ Œ .jœ. ‰ ‰ Œ .
Jœ. ‰ ‰ Œ .
Jœ. ‰ ‰ Œ .
Jœ. ‰ ‰ Œ .
Jœ. ‰ ‰ Œ .
jœ. ‰ ‰ Œ .
∑jœ
> ‰ ‰ Œ .Jœ>
84
jy> ‰ ‰ Œ .
p
pppp
pp
p
p
14 Clef Club March
!57
&
&&&?
&&&&&&&&&&&&&&&?????
&ãã
bbb
bbbbbbbbb
bbb
bbb
b
b
bbbbb
bb
bbbbbbbbbbbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
∑Jœn . ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœn . ‰ ‰ jœ. ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰∑
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœb . ‰ ‰ Jœ. ‰ ‰
Jœb . ‰ ‰ Jœ. ‰ ‰Jœb . ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ jœ. ‰ ‰Jœb . ‰ ‰ Jœ. ‰ ‰Jœb . ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰∑∑∑∑∑∑∑∑∑∑∑∑
85
∑
pp
p
p
∑Jœ. ‰ ‰ Jœb . ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ jœb . ‰ ‰
Jœb . ‰ ‰ Jœ. ‰ ‰∑
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ jœb . ‰ ‰Jœ. ‰ ‰ Jœ. ‰ ‰
jœb . ‰ ‰ jœ. ‰ ‰Jœ. ‰ ‰ Jœ. ‰ ‰Jœ. ‰ ‰ Jœb . ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœb . ‰ ‰ Jœ. ‰ ‰∑∑∑∑∑∑∑∑∑∑∑∑
86
∑
∑
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰jœ. ‰ ‰ jœ. ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰∑
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ jœ. ‰ ‰Jœ. ‰ ‰ Jœ. ‰ ‰
jœ. ‰ ‰ jœ. ‰ ‰Jœ. ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰∑∑∑∑∑∑∑∑∑∑∑∑
87
∑
∑
Jœb . ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ jœn . ‰ ‰jœb . ‰ ‰ jœ. ‰ ‰
Jœ. ‰ ‰ jœ. ‰ ‰∑
Jœ. ‰ ‰ Jœn . ‰ ‰jœb . ‰ ‰ jœ. ‰ ‰jœb . ‰ ‰ jœ. ‰ ‰
Jœb . ‰ ‰ Jœ. ‰ ‰jœ. ‰ ‰ jœ. ‰ ‰
Jœb . ‰ ‰ Jœ. ‰ ‰
Jœb . ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ Jœn . ‰ ‰
Jœ. ‰ ‰ jœ. ‰ ‰∑∑∑∑∑∑∑∑∑∑∑∑
88
∑
∑
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœb . ‰ ‰ jœ. ‰ ‰jœ. ‰ ‰ jœ. ‰ ‰
Jœ. ‰ ‰ jœb . ‰ ‰∑
Jœb . ‰ ‰ JœA . ‰ ‰
Jœ. ‰ ‰ jœ. ‰ ‰jœ. ‰ ‰ jœ. ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰jœ. ‰ ‰ jœb . ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœb . ‰ ‰ JœA . ‰ ‰
Jœ. ‰ ‰ jœb . ‰ ‰∑∑∑∑∑∑∑∑∑∑∑∑
89
∑
∑
Jœ. ‰ ‰ Jœ. ‰ ‰jœn . ‰ ‰ jœ. ‰ ‰jœ. ‰ ‰ Jœ. ‰ ‰jœ. ‰ ‰ jœn . ‰ ‰
∑
Jœn . ‰ ‰ jœ. ‰ ‰jœ. ‰ ‰ jœ. ‰ ‰jœ. ‰ ‰ jœ. ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰jœN . ‰ ‰ jœn . ‰ ‰
Jœ. ‰ ‰ Jœ. ‰ ‰
Jœ. ‰ ‰ jœ. ‰ ‰
Jœn . ‰ ‰ jœ. ‰ ‰jœN . ‰ ‰ jœ# . ‰ ‰
∑∑∑∑∑∑∑∑∑∑∑∑
90
∑
15Clef Club March
!58
&
&
&&?
&&
&&&&
&&&&
&&&&&???
??
&ãã
bbb
bbb
bbbbbb
bbb
b
bb
b
b
bbbbb
bb
bbbbbbbbb
bbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
‰. ‰ 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. 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 œ. œ.
œ. ‰ œ œ œ. œ. œ.
jœ. ‰ ‰ œ. jœ.jœ. ‰ ‰ œ. jœ.
‰ ‰ 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 . œ. Jœ.
Œ . œ. Jœ.
Œ . œ. Jœ.
Œ . œ. jœ.∑
‰ ‰ œ œ œ œ œ
91
∑
F
F
FF
FF
F
F
FFF
FF
FFF
F
F
F
F
FFF
F
F
F
Jœ- ‰ ‰ œ> Jœb
Jœ- ‰ ‰ œ> Jœb
Jœ- ‰ ‰ œ> Jœb
Jœ- ‰ ‰ œ> Jœb
jœ- ‰ ‰ .œ>Jœ- ‰ ‰ œ> Jœb
Jœ- ‰ ‰ œ> Jœb
Jœ- ‰ ‰ .œ>
Jœ- ‰ ‰ .œ>
Jœ- ‰ ‰ œ>jœb
jœ-‰ ‰ .œ>
Jœ- ‰ ‰ .œ>
Jœ- ‰ ‰ .œ>
jœ- ‰ ‰ .œ>
jœ- ‰ ‰ .œ>
Jœ- ‰ ‰ œ> jœbJœ- ‰ ‰ œ> jœb
jœ- ‰ ‰ œ> jœbjœ- ‰ ‰ .œ>jœ- ‰ ‰ .œ>
Jœ- ‰ ‰ œ>jœb
Jœ- ‰ ‰ œ>jœb
Jœ- ‰ ‰ .œ>Jœ- ‰ ‰ .œ>
jœ- ‰ ‰ .œ>∑
jœ ‰ ‰ .œæ>Œ . .œ>
92
Œ . .y>
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒƒƒ
ƒƒ
ƒƒƒ
ƒƒ
ƒƒ
ƒƒƒ
ƒ
ƒ
ƒ
ƒ
ƒ
ƒ
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 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 .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
93
.y .y
93
93
Maestoso {q. = 106}
Maestoso {q. = 106}
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œn .œb
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œn .œbœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ
.œ .œ
.œ# .œn
.œ .œ
.œ .œ
.œ .œœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ .œ
.œ .œ
.œn .œb
.œ .œ
.œn .œb
.œ .œœ ‰ œ@ œ ‰ œ@.œ .œ
94
.y .y
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œb
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œbœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ
.œ .œ
.œ .œb
.œ .œ
.œ .œ
.œ .œ
œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ .œ
.œ .œ
.œ .œb
.œ .œ
.œ .œb
.œ .œœ ‰ œ@ œ ‰ œ@.œ .œ
95
.y .y
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œN .œb
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œN .œbœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ .œ
.œ .œb
.œ .œ
.œ .œ
.œ .œœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ .œ.œ .œ
.œ .œb
.œ .œ
.œN .œb
.œ .œœ ‰ œ@ œ ‰ œ@.œ .œ
96
.y .y
16 Clef Club March
!59
&
&&&?
&&&&&&&&&&&&&&&?????
&ã
ã
bbb
bbbbbbbbb
bbb
bbb
b
b
bbbbb
bb
bbbbbbbbbbbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
.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 ‰ œ œb ‰ œ
.œ .œ
.œN .œ
.œ .œ
.œ .œ
.œ .œ
œ ‰ œ œ ‰ œ
œ ‰ œ œb ‰ œ.œ .œ
.œ .œ
.œN .œ
.œ .œ
.œ .œ
.œ .œœ ‰ œ@ œ ‰ œ@.œ .œ
97
.y .y
.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
.œ œ jœ
œ jœ œ jœ.œ œ Jœ
.œ œ jœ
.œ œ jœ
.œ œ jœ
.œ œ Jœ
œ jœ œ jœœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ œ jœ
œ jœ œ Jœ
.œ œ jœ
.œ œ jœ
.œ œ jœœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ œ Jœ.œ œ Jœ
œ jœ œ Jœ.œ œ Jœ
œ jœ œ jœ.œ œ jœ
œ ‰ œ@ œ ‰ œ@.œ .œ
98
.y .y
Jœ ‰ ‰ œ œ œ
Jœ ‰ ‰ œ œ œ
Jœ ‰ ‰ œ œ œ
jœ ‰ ‰ œ œ œ
jœ ‰ ‰ .œ>Jœ ‰ ‰ œ œ œ
jœ ‰ ‰ œ œ œjœ ‰ ‰ œ œ œjœ ‰ ‰ œ œ œ
Jœ ‰ ‰ œ œ œjœ ‰ ‰ .œ>jœ ‰ ‰ .œjœ ‰ ‰ .œ.˙
Jœ ‰ ‰ .œ>.˙.˙.˙
jœ ‰ ‰ .œjœ ‰ ‰ .œ.˙.˙
Jœ ‰ ‰ .œ>.˙
jœ ‰ ‰ .œ>.˙
jœ ‰ ‰ .œæ>Jœ .œ>
99
jy ‰ ‰ .y>ß
ß
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 œœ œ œ œ œ œœ œ œ œ œ œ
œ œ œ œ œ œ
.˙
.œ .œ
.œ .œ
.˙
.˙
.˙
.˙
.˙
.œ .œ
.œ .œ
.˙
.˙
.˙
.˙
.˙
.˙
.æ̇
100
∑
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 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 ‰ œ œ ‰ œ
.˙
.œ .œ
.˙
.˙
.˙œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.˙.˙
.œ .œ
.˙
.œ .œ
.˙œ ‰ œ@ œ ‰ œ@.œ .œ
101
.y .y
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œn .œb
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œn .œbœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ
.œ .œ
.œ# .œn
.œ .œ
.œ .œ
.œ .œœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ .œ
.œ .œ
.œn .œb
.œ .œ
.œn .œb
.œ .œœ ‰ œ@ œ ‰ œ@.œ .œ
102
.y .y
17Clef Club March
!60
&
&&&?
&&&&&&&&&&&&&&&?????
&ã
ã
bbb
bbbbbbbbb
bbb
bbb
b
b
bbbbb
bb
bbbbbbbbbbbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œb
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œbœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ
.œ .œ
.œ .œb
.œ .œ
.œ .œ
.œ .œ
œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ .œ
.œ .œ
.œ .œb
.œ .œ
.œ .œb
.œ .œœ ‰ œ@ œ ‰ œ@.œ .œ
103
.y .y
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œN .œb
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œN .œbœ ‰ œ œb ‰ œ
œ ‰ œ œ ‰ œ.œ .œ
.œ .œb
.œ .œ
.œ .œ
.œ .œœ ‰ œ œb ‰ œ
œ ‰ œ œ ‰ œ.œ .œ.œ .œ
.œN .œb
.œ .œ
.œN .œb
.œ .œœ ‰ œ@ œ ‰ œ@.œ .œ
104
.y .y
.œ .œ
.œ .œ
.œ .œ
.œ .œ
œ ‰ œ jœb.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œ
œ ‰ œ jœbœN ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ .œ
œN ‰ œ Jœb
.œ .œ
.œ .œ
.œ .œ
œN ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ .œ
.œ .œ
œ ‰ œ Jœb.œ .œ
œ ‰ œ jœb.œ .œ
œ ‰ œ@ œ ‰ œ@.œ .œ
105
.y .y
.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
.œ .œ
.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
.œ .œœ ‰ œ œ ‰
œ ‰ œ œ# ‰.œ œ Jœ
.œ .œ
.œ œ Jœ
.œ œn Jœ
.œ œn Jœ
œ ‰ œ œ ‰
œ ‰ œ œn ‰.œ œ Jœ.œ œ Jœ
.œ .œ
.œ œ Jœ
.œ .œ
.œ œ Jœœ ‰ œ .œæ>
.œ .œ>
106
jy ‰ ‰ .y>
ßß
.˙
.˙
.˙
.˙
œ jœ œ œ œ.˙
.˙
.˙
.˙
.˙
œ jœ œ œ œœ Jœ œ œ œœ Jœ œ œ œ
.˙
œ Jœ œ œ œ.˙.˙.˙
œ Jœ œ œ œœ Jœ œ œ œ
.˙
.˙
œ Jœ œ œ œ.˙
œ jœ œ œ œ.˙
œ ‰ œ .œæ>Jœ ‰ .œ>
107
jy ‰ ‰ .y>
ßß
œ ‰ œ œ Jœ
œ ‰ œ œ Jœœ ‰ œ œ Jœ
œ ‰ œ œ jœ
œ jœ œ jœœ ‰ œ œ Jœ
œ ‰ œ œ Jœœ ‰ œ œ Jœœ ‰ œ œ Jœœ ‰ œ œ Jœ
œ jœ œ jœœ ‰ Œ .
œ ‰ Œ .œ jœ œ Jœ
œ jœ œ jœœ jœ œ Jœœ jœ œ Jœœ jœ œ Jœ
œ ‰ Œ .
œ ‰ Œ .œ
Jœ œ Jœœ
Jœ œ Jœ
œ jœ œ Jœœ
Jœ œ Jœ
œ jœ œ jœœ jœ œ jœ
jœ ‰ ‰ Œ .Jœ
108
jy ‰ ‰ Œ .
18 Clef Club March
!61
&
&&&?
&&&&&&&&&&
&&&&&?????
&ã
ã
bbb
bbbbbbbbb
bbb
bbb
b
b
bbbbb
bb
bbbbbbbbbbbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
œ œ œ œ œ œœ 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 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
109
.y .y
109
109
.œŸ œ Jœ
.œŸ œ Jœ
.œŸ œ Jœ
.œŸ œ jœ
.œ œ jœ
.œŸ œ jœ
.œŸ œ Jœ
.œŸ œ Jœ
.œŸ œ Jœ
.œŸ œ jœ
.œ œ jœœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ œ Jœ
.œ œ jœ
.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ œ Jœ
.œ œ Jœ
.œ œ jœ
.œ œ Jœ
.œ œ jœ
.œ œ jœœ ‰ œ@ œ ‰ œ@.œ .œ
110
.y .y
œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ
œ œ œ œ œ œ
.œ .œbœ 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 .œbœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.˙
.œ .œb
.˙
.˙
.˙
œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.˙.˙
.œ .œb
.˙
.œ .œb
.˙œ ‰ œ@ œ ‰ œ@.œ .œ
111
.y .y
.œŸ œ Jœ
.œŸ œ Jœ
.œŸ œ Jœ
.œŸ œ jœœ jœ œ jœ
.œŸ œ Jœ
.œŸ œ jœ
.œŸ œ jœ
.œŸ œ jœ
.œŸ œ Jœ
œ jœ œ jœœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ
.œ œ jœœ jœ œ jœ
.œ œ jœ
.œ œ jœ
.œ œ jœ
œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ œ Jœ
.œ œ Jœ
œ jœ œ jœ.œ œ Jœ
œ jœ œ jœ.œ œ jœ
œ ‰ œ@ œ ‰ œ.œ .œ
112
.y .y
œ œ œ œ œ œ
œ œ œ œ œ œœ œ œ œ œ œ
œ œ œ œ œ œ
.œ .œbœ œ œ œ œ œ
œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ
.œ .œbœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ .œ
.œ .œb
.œ .œ
.œ .œ
.œ .œ
œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ .œ.œ .œ
.œ .œb
.œ .œ
.œ .œb
.œ .œ
.æ̇>
.˙>
113
.T>ß
œ 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 œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ
.œ .œœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ .œ
.œN .œ
.œ .œ
.œ .œ
.œ .œœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ .œ.œ .œ
.œN .œ
.œ .œ
.œN .œ
.œ .œ
.æ̇.˙>
114
.T>
19Clef Club March
!62
&
&&&?
&&&&&&&&&&&&&&&?????
&ãã
bbb
bbbbbbbbb
bbb
bbb
b
b
bbbbb
bb
bbbbbbbbbbbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
.˙
.˙
.˙
.˙
.œ .œ
.˙
.˙
.˙
.˙
.˙
.œ .œœ ‰ œ œb ‰ œ
œ ‰ œ œ ‰ œ
.˙
.œ .œ
.˙
.˙
.˙œ ‰ œ œb ‰ œ
œ ‰ œ œ ‰ œ.˙.˙
.œ .œ
.˙
.œ .œ
.˙œ ‰ œ@ œ ‰ œ@.œ .œ
115
.y .y
.˙
.˙
.˙
.˙
.œ .œ
.˙
.˙
.˙
.˙
.˙
.œ .œœN ‰ œ œ ‰ œœ ‰ œ œ ‰ œ
.˙
.œ .œ
.˙
.˙
.˙œN ‰ œ œ ‰ œœ ‰ œ œ ‰ œ
.˙
.˙
.œ .œ
.˙
.œ .œ
.˙œ ‰ œ@ œ
> ‰ œ@.œ .œ>
116
.y .y>>
ß
œ 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 œ œ œ œ œœ œ œ œ œ œœ 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
117
.y>>
.y
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œn .œb
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œn .œbœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ
.œ .œ
.œ# .œn
.œ .œ
.œ .œ
.œ .œœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ .œ
.œ .œ
.œn .œb
.œ .œ
.œn .œb
.œ .œœ ‰ œ@ œ ‰ œ@.œ .œ
118
.y .y
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œb
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œ
.œ .œbœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ
.œ .œ
.œ .œb
.œ .œ
.œ .œ
.œ .œ
œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ .œ
.œ .œ
.œ .œb
.œ .œ
.œ .œb
.œ .œœ ‰ œ@ œ ‰ œ@.œ .œ
119
.y .y
.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
.œ œ jœ
.œN .œb
.œ œ Jœ
.œ œ jœ
.œ œ jœ
.œ œ jœ
.œ œ Jœ
.œN .œbœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ œ jœ
.œN .œb
.œ œ jœ
.œ œ jœ
.œ œ jœœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ œ Jœ.œ œ Jœ
.œN .œb
.œ œ Jœ
.œN .œb
.œ œ jœœ ‰ œ@ œ ‰ œ@.œ .œ
120
.y .y
20 Clef Club March
!63
&
&&&?
&&&&&&&&&&&&&&&?????
&ãã
bbb
bbbbbbbbb
bbb
bbb
b
b
bbbbb
bb
bbbbbbbbbbbbbbbbbb
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Eb Cl.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
A.Cl.
B. Cl.
A. Sx. 1
A. Sx. 2
T. Sx.
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Hn. 1, 2
Hn. 3, 4
Tbn. 1
Tbn. 2
Tbn. 3
Euph.
Tuba
Mlt. Perc.
Perc. 1
Perc. 2
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
.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 ‰ 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 .œœ ‰ œ .œæ>
.˙>
121
Œ . .y>ß
ß
.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
.œ œ jœ
œ jœ œ jœ.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
.œ œ Jœ
œ jœ œ jœœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.œ œ jœ
œ jœ œ jœ.œ œ jœ
œ jœ .œœ jœ .œœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œœ Jœ .œ
.œ œ Jœ
œ jœ œ jœ.œ œ Jœ
œ jœ œ jœ.œ œ jœ
œ ‰ œ .œæ>.˙>
122
Œ . .y>ß
ß
.˙
.˙
.˙
.˙
œ œn œ œ jœ.˙.˙.˙.˙
.˙
œ œn œ œ jœœ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.˙
œ œ# œ œ jœ
.˙
.˙
.˙œ ‰ œ œ ‰ œ
œ ‰ œ œ ‰ œ.˙
.˙
œ œn œ œ jœ.˙
œ œn œ œ jœ.˙
œ œ œ œ ‰ œ.œ .œ
123
.y .y
Jœ ‰ ‰œä
‰
Jœ ‰ ‰œä
‰
Jœ ‰ ‰œä
‰jœ ‰ ‰ œä ‰
jœ ‰ ‰ œâ‰
Jœ ‰ ‰ œä ‰
Jœ ‰ ‰ œä ‰
Jœ ‰ ‰ œä ‰
Jœ ‰ ‰ œâ ‰
Jœ ‰ ‰ œä ‰
jœ‰ ‰
œâ‰
Jœ ‰ ‰ œä ‰jœ ‰ ‰ œâ ‰jœ ‰ ‰ œä ‰
jœ ‰ ‰ œâ‰
jœ ‰ ‰ œä ‰
jœ ‰ ‰ œâ ‰
jœ ‰ ‰ œâ ‰
Jœ ‰ ‰ œä ‰jœ ‰ ‰ œâ ‰
Jœ ‰ ‰ œä ‰
Jœ ‰ ‰ œä ‰
Jœ ‰ ‰ œâ‰
Jœ ‰ ‰ œä ‰
jœ ‰ ‰ œâ‰
jœ ‰ ‰ œ ‰jœ ‰ ‰ jœ œ> ‰Jœ œ>
124
jy ‰ ‰ jy> ‰ ‰
21Clef Club March