Copyright

by

Michael Mikulka

2015

The Dissertation Committee for Michael Mikulka Certifies that this is the approved version of the following dissertation:

Symphony #3 for Wind Ensemble

Committee:

Donald Grantham, Supervisor

Yevgeniy Sharlat

Russell Pinkston

Jerry Junkin

Robert Carnochan

Kyle Glaser

Symphony #3 for Wind Ensemble

by

Michael Mikulka, B.M.; M.M

Dissertation

Presented to the Faculty of the Graduate School of

The University of Texas at Austin

in Partial Fulfillment

of the Requirements

for the Degree of

Doctor of Musical Arts

The University of Texas at Austin

May 2015

Acknowledgements

Much thanks to Donald Grantham, Yevgeniy Sharlat, Russell Pinkston, Dan

Welcher, Bruce Pennycook, and David Gillingham, who have inspired me with their music

and taught me how to better my craft. For the same reasons, I’m thankful for all of the

composers at UT and my composer friends from elsewhere: specific thanks goes to Jeffrey

Hayman, Josh Carney, Nicole Piunno, Alex Heppelmann, Matt Jackfert, Chris Ozley, Tom

Oltarzewski, Justin Rito, Costas Dafnis, Philip Rice, Ben Stonaker, Daniel Montoya Jr, and

Justin Bulava.

I’m very grateful for the professors and students outside of the composition

department as well: Robert Hatten succinctly explained the music theory behind the

“unteachable” compositional skills I subconsciously knew but couldn’t express. Eric Drott

not only helped me better understand atonal music, but also made me enjoy discussing it.

Rob Carnochan taught me the level of preparation that goes into score study, diagnosed my

conducting flaws in the blink of an eye, and exposed me to what has become my favorite

pedagogical tool: Bruce Adolphe’s book “The Mind’s Ear”. Darryl Bott taught me much

of what I know about music education, and Bill Berz taught me much of what I know about

wind bands. Ethan Greene taught me the fundamentals of acoustics and his class gave me

the ability necessary to record and edit my music. Keith Clifton made me enjoy music

history class, a feat which has not been close to being accomplished before or since. Anne

Sousa and Linda Lagattuta built my love of music so strongly during elementary and

middle school that it became permanent.

I am equally grateful for the student performers at the University of Texas, who

have not only blown me away with their playing, but have brought a staggering amount of

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my music to life. In particular, Michael Arnold, Tim Hagen, Winnie Fan, Josh Straub,

Michele Predmore, Luke Ellard, Charlie Magnone, Aaron Ney, Corey Rom, Cameron

Warren, Patrick Stauffer, and Alex Bednarek have been willing to take the time to learn

and perform my music at a very high level on several occasions. I am very grateful for all

the performers here who volunteer their time to work with composition students.

Playing in ensembles under Jerry Junkin and Gerhardt Zimmermann has helped me

grow significantly as a performer over the last 2 years: I am very thankful for that

opportunity, and also for the reading sessions they schedule, which benefit us composers

immensely. The instrumental TAs at UT are remarkably talented: they’re professional,

fantastic musicians, and great people. As someone who has had 15 large ensemble pieces

read during the past 3-1/2 years, I am extra appreciative of the TAs’ awesomeness.

Pat Hughes has helped me grow significantly as a horn player. Doug Lundeen

ingrained his lessons well enough that I could still remember them several years later when

I was ready to properly apply them. Amy Emelianoff not only shaped my love of horn, but

also started my interest in the overtone series and gave me my first orchestral performance.

The horn studio at UT has made me feel welcome and given me so many great examples

of quality horn playing.

Finally, none of this would have been able to happen without the constant love and

support from my mom, dad, and brother.

v

Symphony #3 for Wind Ensemble

Michael Mikulka, D.M.A.

The University of Texas at Austin, 2015

Supervisor: Donald Grantham

Symphony #3 for Wind Ensemble is a four movement composition for wind

ensemble with a duration of roughly 35 minutes. This piece seeks to push back against the

trend in wind band towards writing surface-heavy “festival music”. One of the main

objectives of this symphony is that extremes (particularly of dynamics and tempo) must be

earned: that there must be strong emotional or narrative content underlying each surface

element of the piece. The opening measures of the symphony present a series of quartal

block chords based in F and a fluttering unstable texture centered on concert A. The large-

scale form of the piece is derived from these two motives, and the majority of the piece

follows the development and interaction of motivic material influenced by the two initial

motives. The individual movements of the symphony trace the emotional journey taken as

the two main motives are eventually destined to combine.

vi

Table of Contents

List of Figures ...................................................................................................... viii

Chapter 1 Background

Objectives of my Symphony ...........................................................................1 A Brief History of Large-Scale Works for Wind Ensemble ...........................2 Explanation of Movement Titles ....................................................................4 Traits and Development of the Main Motives ................................................4

Process of Composition and Emotional Progression .....................................6

Chapter 2 Full Analysis

Movement 1: Opposition and Interaction .......................................................8 Movement 2: Hope and Vulnerability ..........................................................14

Movement 3: Renewal and Strength .............................................................22

Movement 4: Meditation and Destiny ..........................................................26

Appendix: Symphony #3 for Wind Ensemble - Full Score ..................................32

Bibliography ........................................................................................................154

Vita ....................................................................................................................155

vii

List of Figures

Figure 1: Transitional theme (later occurrence) .................................................9

Figure 2: Lyrical motive, first iteration ..............................................................9

Figure 3: Martial theme, first iteration .............................................................10

Figure 4: Overlap of concert A texture with lyrical motive .............................11

Figure 5: Martial theme fragments set against the lyrical motive ....................12

Figure 6: Counterpoint in development of lyrical motive ................................13

Figure 7: Canon-like counterpoint in development of martial theme ........ 13-14

Figure 8: Oboe solo, with whole tone and harmonic series inflections ........... 15

Figure 9: Whole tone fragments between measures 211 and 217 ....................16

Figure 10: Solo trumpet melody, first phrase .....................................................16

Figure 11: Transformation of whole tone scale into upper partials of harmonic

series .................................................................................................17

Figure 12: Concert A is added to the end of (ADCBb) idea ..............................18

Figure 13: Manic repetition in the saxophones from mm. 275-280 ...................18

Figure 14: Destabilization of meter ...................................................................19

Figure 15: Synthetic resonance in the coda’s heterophonic melody ..................21

Figure 16: Independent whole-tone lines at measure 408 ..................................22

Figure 17: Independence of meter in the third movement opening trio .............23

Figure 18: The opening flute solo and subsequent motivic derivation ..............24

Figure 19: Brief combination of (FGCF) and concert A motives ......................25

Figure 20: Minor version of the flute solo in trombones....................................26

Figure 21: Decelerating rhythm in fourth movement quartets ...........................27

Figure 22: Return of transitional theme from first movement ...........................28

viii

Figure 23: Counterpoint among horn, oboe, bassoon, and flute ........................29

Figure 24: Reference to 2nd movement oboe theme at end of trombone solo ...29

Figure 25: Resolution of 2nd movement trumpet melody and release to A .......30

ix

Chapter 1: Background

1.1 Objectives of my Symphony

There were several goals I hoped to achieve by writing this symphony. The first

was to expand the relatively small repertoire of large-scale compositions for wind

ensemble. I had a few specific aims regarding the symphony: that the piece would be

structurally sound, enjoyable to play, and have a deep emotional impact. This last attribute,

emotional impact, is particularly important to me, as there is a recent trend in wind band

towards writing surface-heavy “festival music”. One of the main objectives of this

symphony is that extremes (particularly of dynamics and tempo) must be earned: that there

must be strong emotional or narrative content underlying each surface element of the piece.

One corresponding goal of the symphony is to make the performance challenges more

about musicality than about technique. This is by no means to suggest that it is not a

technically challenging piece: there are extended techniques such as key clicks, there are

spectral chords in the brass, and the second portion of the third movement has many

virtuosic moments.

However, it is the musical aspects which are the most challenging: the pacing

necessary so that the climax of the first movement doesn’t even approach the intensity of

the climaxes of the second and fourth movements, the challenge of playing sections such

as the tutti section in the second movement coda with the proper dynamic restraint, the

challenge of making the final measures of the third movement feel gentle and carefree, or

the extreme patience and blending ability needed for the quartet section in the fourth

movement. 1

1.2 A Brief History of Large Scale Works for Wind Ensemble

One of the primary reasons I composed this symphony is that the wind ensemble

currently has a relatively small repertoire of large scale compositions written specifically

for it. One explanation for this is the wind ensemble’s short history: while harmoniemusik

octets were written as early as the 18th century, the full wind band has only been composed

for since the 20th Century. One other potential reason for the relative lack of large scale

repertoire is the challenge of composing for an ensemble without strings, as instrument

workloads must be treated with care.

It is worthwhile to briefly examine the history of large-scale works for wind

ensemble. Perhaps the most important contributions to the early wind ensemble were the

pair of Suites for Military Band by Gustav Holst, with the First Suite composed in 1909.

Neither of these pieces were particularly lengthy or weighty, but they constituted a

significant step forward in the quality of composer who was writing for band. Holst’s most

substantial work for wind ensemble, “Hammersmith”, was composed in 1930. This work

is significantly more serious in style and more challenging than either of the Suites.

Percy Grainger was another key early composer for wind bands, and most notable

is his “Linconshire Posy” in 1937, which elevated the art of folk song suites. Darius

Milhaud, member of Les Six, composed “Suite Francaise” in 1944. H. Owen Reed wrote

“La Fiesta Mexicana” in 1949, which was possibly the first serious work composed for

large wind ensemble with a duration of over 20 minutes.

It was Paul Hindemith who wrote the first significant symphony for wind ensemble,

however: his Symphony in Bb was composed in 1951, and this heralded the expansion of

large-scale works composed for wind bands, including Morton Gould’s “West Point

Symphony” in 1952, and Vittorio Giannini’s “Symphony #3” in 1958. Many of the most

2

significant wind ensemble works of the next few decades came from Karel Husa, with

“Music for Prague, 1968” in 1968, and “Apotheosis of this Earth” in 1970. In 1982, Husa

also wrote a Concerto for Wind Ensemble.

Despite these groundbreaking works, there are still very few large-scale

compositions for wind ensemble. The website windrep.org lists 73 symphonies for band,

and 18 of these are transcriptions or improperly labeled, leaving only 55. While this is

undoubtedly an incomplete listing, the website is comprehensive enough that it appears

safe to list the number of actively performed large-scale works for wind ensemble as

significantly under 100.

A deeper dig reveals that the number of frequently performed large-scale works is

likely even smaller: There are 84 compositions considered “music of merit” on

windrep.org and 118 compositions listed as similarly important in the Rhodes history of

the wind band (with 34 compositions agreed upon). However, out of the nearly 200 works

listed between the two sites, only 15 of these works of merit are over 15 minutes long, and

only 3 pieces are over 20 minutes long.

Whether it is the desire of wind conductors for new large-scale pieces or the

budding eagerness of contemporary composers to write for wind ensembles, a significant

amount of recent large-scale band pieces have become entrenched in the repertoire,

achieving some measure of lasting success: these pieces most notably include David

Maslanka’s “Symphony #4” (1994), David Del Tredici’s “In Wartime” (2003), Frank

Ticheli’s “Symphony #2” (2004), John Corigliano’s “Symphony #3 – Circus Maximus”

(2004), and Steven Bryant’s “Concerto for Wind Ensemble” (2007).

3

1.3 Explanation of Movement Titles

The first movement is titled “Opposition and Interaction”, which describes the two

motives: they are initially presented in a way which makes them seem diametrically

opposed, and the course of the movement explores the way they begin slowly interacting

with each other and finding elements of commonality.

The second movement is titled “Hope and Vulnerability”: it references the two

feelings most present in the movement. During this movement, the texture that was

previously only associated with concert A gradually expands to include other pitches, and

in doing so, begins to form a melody. While this step is not immediately rewarded, it is

permanent growth, and what was initially only a theme built on a single pitch is able to be

expressed through other forms such as heterophonic melody (as in the coda at measure

399).

The third movement is titled “Renewal and Strength”, as the heartbreak from the

second movement has lifted, and the first half of the movement is redolent with

contentment and quiet joy. The strength comes during the wild dance-like section, as the

delight is released with heart and a lusty vitality.

The fourth movement is titled “Meditation and Destiny” and follows the patience

and introspection required to capitalize on the third movement’s advances and prepare for

the inevitable combination of motivic forces.

1.4 Traits and Development of the Main Motives

There are two main motives in this piece, which are presented at the very beginning:

a “quartal” chord based on (FGCF) and a texture built on a single pitch class (concert A).

While the two main motives are identified in this analysis by their pitch material, these are 4

not the only traits present: The FGCF chords are also sturdy, empty, rhythmically simple,

and manically repetitive. The concert A texture is also constantly shifting, timbrally

complex, rhythmically ambiguous, and energetic.

Most of the melodies and themes in the remainder of the piece are influenced

heavily by the traits of one or both of the main motives. For example, in the first

movement, the lyrical theme is primarily like the concert A texture because of its lyricism

and the way the melody constantly evolves, but it is also like the F quartal chords because

the melody is filled with fourths. The martial theme is primarily like the F quartal chords

because of the harmonic content and the stiff nature of its orchestration, but like the A

texture, its melody is constantly evolving.

The concert A texture in the beginning of the second movement has changed in that

it feels more rhythmically stable. This added stability allows it to develop a melody.

However, the repeated quarter notes also lend it a sense of manic repetition like the F

quartal chords. In reference to that manic repetitive quality, the repeated patterns found in

the saxophones (and then again at the climax) are an obvious reflection of the F quartal

chords. At the end of the second movement, in the coda, there is a monophonic melody

with constantly shifting timbres, which clearly reflects the concert A texture motive.

The repeated concert A areas in the third movement are initially light but fast and

pulsating. The next instance is a long held note which gradually shifts timbre before slowly

disintegrating a tritone away to Eb. The third instance is a different style of “pulsating”,

and is the first time that the two main motives are performed at the same time (and also the

first time they are aligned in style and mood). The remaining instance of the quartal chords

occurs at the end of the dance-like section, and the chords are even more light and flippant:

they are also based in Bb (acting in effect as a IV).

5

The fourth movement begins with quartal chords based around C (acting in effect

as a V). There is an extended section based around the repeated texture of quartets with

the same unison rhythms. This clearly shares strong aspects of both motives: it has the

homogenous rhythm of the F quartal chords, but the constant timbre shifts of the concert

A texture. The repeated rhythmic pattern here also is taken directly from the initial concert

A textures, but the tight harmonic grouping of each quartet is clearly like that of the F

quartal chords. The next instance of the concert A texture combines aspects of the first,

second, and fourth movement versions. The final instance gradually grows, and as it does,

it moves continuously farther away from the pitch center of A. By the time it reaches the

aleatoric sections and final chords, the combined entity contains the sturdiness and

incessant nature of the F quartal motive, and the energy, rhythmic complexity, and

constantly shifting nature of the concert A motive.

1.5 Process of Composition and Emotional Progression

The first inspiration for this symphony actually occurred in November 2013, during

the junior flute recital of Marley Eder. He opened the concert by playing Georg

Telemann’s unaccompanied Fantasie No. 11. It was the lightest, most gentle, and most

relaxing sound I had heard in a very long time, and I instantly knew that I wanted to write

a piece in which a movement began with an unaccompanied flute playing a light scherzo-

like melody. I also knew that I didn’t want to hear the Telemann Fantasie again until I had

composed my melody, so that I could focus on the feeling it gave me rather than trying to

emulate the style it was written in.

Many months later, I had an idea for the solo, and began to compose. It formed

freely into a trio with another flute and a piccolo, and I composed all the way to what is the 6

arrival at measure 476. Once I had this section written down, I listened to it over and over:

it felt to me like waking up on a warm summer morning and finding out that everything is

okay with the world. I thought that it must have taken a painful and mentally exhausting

night to lead to such a feeling of relief and rejuvenation the next morning. This led to me

writing the beginning of the second movement, and plotting out the idea for the D minor

climax. The texture of concert A was intriguing to me, and I felt that it couldn’t occur

solely in this movement. It also, however, couldn’t stand alone as a motive: it needed a

foil. I wondered what concept could pair with a concert A, and decided that it would be

something that would greatly benefit from that note: a quartal chord, FGCF.

At this point, I began to plot out the form of the symphony, with the idea for the

second and third movements finished first along with the beginning and end of the

symphony. I knew that the first movement had to both present the idea of the two

contrasting themes and lead to the tension of movement two. These necessities seemed to

complement each other very nicely. I also knew that if the third movement was that light

and free, then summiting the fourth movement must be a challenge and would require a

large climactic moment (which also fit well with the overall structure of the piece).

The main climax of the second movement was composed next, along with the solo

trumpet melody and the first movement martial theme. At this point, I knew the details of

what I wanted for the unfinished parts of the second and third movements, and had a rough

sketch of what I wanted in the first and fourth movements. The fourth movement quartet

theme came to life, as well as the modal trumpet and oboe solos. The final crescendo and

climax was also sketched out, and the remaining thematic material for the first movement.

The second movement was completed, and this was followed by the D major arrival of the

3rd movement.

7

The problem at this point was that the first movement had too many ideas going on:

the first movement was on pace to be over 14 minutes and the symphony almost 40. The

clear solution was to eliminate a lot of my first movement material and rewrite the form.

This not only tightened the form of the movement, but also enhanced the concept behind

it. The first movement was finished, and the ending for the fourth movement went into

place, leaving nothing left to compose except the end of the third movement, for which I

had a strong idea from the very beginning of the project.

Chapter 2: Full Analysis

2.1 First Movement: Opposition and Interaction

The symphony begins with a long crescendo roll in the percussion. This occurs for

a few reasons: perhaps the most straightforward reason is to build tension for the initial

arrival of the FGCF block chords. In addition, having the roll anticipate the chords provides

a subconscious cue for the 4th movement climax, indicating that the FGCF chords will in

fact return and join the concert A texture. Finally, on a practical level, having two measures

of percussion buildup will result in a cleaner attack on the opening FGCF chord than if it

was the first sound of the piece, as the musicians will have two measures to internalize the

pulse.

The half note quartal chords of measure 3 are immediately followed in measure 4

by a light fluttering texture centered around concert A. Whereas the FGCF chords have a

full and stable harmonic sound with no timbral variance, the concert A is an unsupported

heterophonic texture, constantly fluctuating in timbre, pitch, and rhythm. These two ideas

8

are repeated and expanded, leading to measure 10, at which point the concert A texture

temporarily wins out. A series of timbres is explored, and some parts of the texture

gradually depart from concert A (before returning). The concert A texture eventually eases

into the transitional theme at measure 16, which combines the heterophonic nature of the

concert A texture with the 4ths of the FGCF chords.

Figure 1: Transitional theme (later occurrence)

The transitional theme is repeated, modulating to F minor. A subdued martial

pattern is heard in the percussion, and then a new “lyrical” motive makes its first

appearance.

Figure 2: Lyrical motive, first iteration

The lyrical motive is initially presented as a euphonium-led brass chorale: it is very

smooth and expressive, but frequently inserts perfect fourths into an otherwise very

stepwise melody. Contributing to the segmented nature of the first movement, the melody

briefly modulates to C minor, where it switches from a brass-only orchestration to

woodwinds only. The melody relaxes into the F quartal chord, and a solo clarinet enters

with the first full statement of a “martial” theme. 9

Figure 3: Martial theme, first iteration

The martial theme is heavily quartal, and though there is a lot of melodic motion,

it has a very rigid harmonic grounding in F. There is a short percussion echo, and then the

transitional theme quickly returns, leading back to the concert A texture.

The first signs of overlap between the two main motives occur at measure 52, as

the ametric concert A texture continues in the bassoons and tenor saxophone as an

accompaniment to the alto saxophone statement of the lyrical motive. The upper

woodwinds also have an accompaniment passage which maintains many qualities of the

“concert A texture” (see Figure 4).

10

Figure 4: Overlap of concert A texture with lyrical motive

The martial theme returns all too swiftly, this time even more stiffly presented in

muted trumpet, muted horns, and percussion. This theme begins to be developed for the

first time, being passed to the saxophones, then the clarinets, and eventually returning to

the trumpets. This leads to measure 95, at which the lyrical motive is supported by a rapid

quartal texture. The fragments of the martial theme in the saxophones make this about as

close as the two main motives of this movement get to collaboration (see Figure 5).

11

Figure 5: Martial theme fragments and quartal runs against the lyrical motive

This combination ends abruptly with a return of the transitional theme (fused with

more elements of the concert A texture this time). A full development of the lyrical theme

ensues: this is initially presented in a straightforward way by the horns, but drifts through

tonal centers and weaves its way through a counterpoint-laden area of woodwind solos.

12

Figure 6: Counterpoint in development of lyrical motive

This builds to a dramatic texture change at measure 142 that adds most of the wind and

brass but subtracts all the percussion. This again eases back to an F quartal chord, and the

final statement of the martial theme returns, presented in a canon-like counterpoint in

saxophone, trumpet, flute, and piccolo.

13

Figure 7: Canon-like counterpoint in development of martial theme

The quartal accompaniment texture gradually expands as the trumpets and clarinets

pass variants of the melody back and forth. This leads to a tutti arrival at measure 173

which intensifies into a restatement of the original FGCF chords, with the martial theme

continuing in the percussion in place of the concert A texture. The movement ends in

frustration: while it successfully reaches upward for the concert A with a fierce glissando,

it is unable to remove its quartal nature, and merely shifts to a D-centered chord (ADEA).

2.2 Second Movement: Hope and Vulnerability

It is this tonal area where the second movement begins. Crotales and timpani

initiate the movement with a concert A, and that concert A is gradually passed around the

14

ensemble. Against this concert A texture, an oboe enters with a solo tonally centered in D.

Though initially D Dorian, it hints at both a whole tone and harmonic series inflection at

measure 205.

Figure 8: Oboe solo, with whole tone and harmonic series inflections

During the oboe solo, the concert A texture gradually expands to other notes: first AD, and

then ADC. Between measures 211-217, the whole-tone feeling is reinforced in solo flute,

alto saxophone, glockenspiel, muted trumpets, and solo clarinet.

15

Figure 9: Whole tone fragments between measures 211 and 217

The concert A texture returns at measure 217, and this time is given the context of

being the fifth in a D major chord. The concert A texture again expands to AD, and then

to ADC, as it arrives in F, the relative major. The chief melodic material of the movement

is played by a solo trumpet, expanding upon the melodic line that had been emerging from

the concert A texture.

Figure 10: Solo trumpet melody, first phrase

The trumpet melody receives small interjections: first a fluttering wisp of the whole

tone scale in flutes and oboes, and then a more declamatory ascending line approximating

the D overtone series. At the end of the first statement of the trumpet melody at measure

239, the whole tone texture emerges to the forefront. The whole tone notes are gradually

shaped into a pattern which also represents the upper partials of the D overtone series, and 16

at measure 243, a sustained spectral chord occurs in the brass, accentuating the relationship

between the whole tone scale and upper partials of the harmonic series.

Figure 11: Transformation of whole tone scale into upper partials of harmonic series

The melody emerging from the concert A texture returns, expanding to ADCBb

(the first phrase of the trumpet solo). Another concert A is added to the end (ADCBbA),

functioning as a dominant leading to a furious D minor section at measure 250. At this

point, it is unknown if the A should be considered part of the melody: the trumpet melody

leaped down to F next, after all, and the additional A at the end of the concert A texture

expansion comes across more as an interjection, as it is played by an entirely different set

of instruments than the group playing the (ADCBb) portion. 17

Figure 12: Concert A is added to the end of (ADCBb) idea

The saxophones enter at measure 250 with an aggressive and furious theme which

takes its motivic basis from the opening oboe solo. Each instance of this motive eventually

leads to the manic repetition of a 1 measure pattern.

Figure 13: Manic repetition in the saxophones from mm. 275-280

18

The intensity builds through addition of layers, a progressively dense

accompaniment, and eventually a destabilization of key and meter.

Figure 14: Destabilization of meter

This leads to measure 324, a restatement of the concert A texture melody. It slowly peels

back: first from ADCBb to ADC, then to AD, and finally leaving concert A alone at

measure 335. The D spectral chord returns in the brass, and is followed by a restatement

of the solo trumpet melody. The melody swells dramatically, but is again unable to resolve.

19

The concert A expansion notes are repeated twice, forlorn, in G minor, but then a 3rd time,

with a Bb major chord underneath. A hopeful energy returns, though it is worth noting that

the Bb major chord does not appear in root position: it initially occurs in first inversion,

with the D in the bass. The rhythmic motion increases, eventually leading to a more

optimistic version of the fast saxophone motive being passed around the woodwinds.

Throughout this time, the harmonic structure is primarily a Bb major pedal: first, D is in

the root, then F.

The music continues to intensify, and finally the bass resolves strongly to Bb in

measure 378. Unfortunately, this stability is fleeting, and it leads to a crushing D minor

arrival at measure 382, which combines elements of both of this movement’s main motives.

A layer of the fury and pain relents with each restatement, and eventually it withers away

into a series of progressively dissonant (but widely spaced) brass chords and a beat of

silence.

This is followed by a “coda” of sorts (though not a coda in the traditional sense).

The beginning of the “coda” is a heterophonic melody which serves to reconcile the various

harmonic centers of the movement: chiefly D minor, D major, and Bb major. The melody

is passed around from instrument to instrument, giving subtle timbre changes, and a

synthetic resonance effect is built in.

20

Figure 15: Timbre changes and synthetic resonance in the coda’s heterophonic melody

At measure 408, there is a last gasp of anguish, with the whole tone (notably in bassoon 1,

alto saxophone 1, and trumpet 2) and D overtone series implications again accentuated.

The movement grudgingly accepts defeat, and ends with a whimper.

21

Figure 16: Independent whole-tone lines at measure 408

One interesting rhythmic aspect to the second movement is the shifting of the

rhythmic pulse via the interspersed 2/4 bars. Each instance triggers the mood of the next

section, and each instance alternates between negative (and destabilizing) and positive (and

stabilizing) results. The initial 2/4 bar in the 3rd measure of the movement serves to initially

destabilize the rhythmic pulse, ensuring the oboe solo has a more “drifting” quality than it

would have if it was immediately recognizable as being in 4/4. The next instance occurs

in measure 222, and functions as a way to provide more stability to the F major arrival.

The next occurrence occurs at measure 249, and serves to destabilize it, leading to the angry

D minor section. Measure 334 returns us to a sense of stability. That sense of hope builds

until the 2/4 bar in measure 381, which banishes it back into D minor. The final 2/4 bar

occurs in measure 398, allowing the movement to finish with a moderate level of stability

and acceptance.

2.3 Third Movement: Renewal and Strength

The third movement begins “lightly, warm, patient, with quiet joy”, with a solo

flute line which is soon joined by piccolo and flute 2. While the solo in the flute 1 part

lines up with the notated meter, the other parts stray from this, with the piccolo frequently

22

in 4/4, and the flute 2 part moving in groupings of five 8th notes. Much of the material in

the opening section is intended to be reminiscent of a combination of inconsequential

musical activities (such as warming up and practicing) and nature-related sounds (such as

bird calls). The piccolo’s primary motivic material is drawn from the previous two

movements, the flute 2 part’s primary motivic material continues all the way until the D

major resolution before measure 495, and the flute 1 part’s motivic material provides the

basis for all of the motives in the ensuing fast section (starting at measure 513).

Figure 17: Independence of meter in the third movement opening trio

The texture gradually thickens, and the buildup leads to an arrival at measure 476,

which is in Bb major (one of the two keys that the second movement tried and failed to

resolve in). The flute 2 motive does not stop at this arrival, though, and continues to

gradually descend until it helps lead to another resolution in D major (the other key center

that the second movement was unable to reach).

A quiet flurry of percussion enters, and after several measures, upper woodwinds

sneak in on a concert A (A5). The woodwinds gradually sink downward over the course

of 6 measures, built around a Bb7 arpeggio and several independently descending

chromatic scales.

23

The joy which had been contained through this point in the movement is now ready

to be released, leading to a triumphant burst of energy which continues through the rest of

the movement. Each of the motives in the dance-like section beginning at measure 513 is

derived from a portion of the initial flute 1 solo, starting at the beginning of the solo, and

gradually progressing to the end. In addition, the dance grows wilder and more virtuosic

as it advances toward the end of the movement.

Figure 18: The opening flute solo and subsequent motivic derivation

An important moment occurs at measure 547, as the FGCF chord adamantly returns

despite being outside the key center at that moment. It returns a second time, and then

finally on the third recurrence after measure 557, the oboe 1 and clarinet 1 parts join them

with a concert A. The first measure of this combination blends into the rest of the texture,

but then the other instruments cut off, and the FGCF/A combination is briefly exposed

before a hurried return to the woodwind descent idea and the subsequent Eb major chords.

24

Figure 19: Brief combination of (FGCF) and concert A motives

Unlike the beginning of the Eb section, however, this time there is a metric

modulation and a key change to Ab major at measure 572. From this point, there is a

25

frequent shift between triple and duple meter. There is a final key change at measure 622

to the movement’s initial key, Bb major. By measure 628, larger portions of the flute solo

melody are stitched together, and at measures 644 and 650 the symphony’s opening quartal

block chords are hinted at (in Bb).

Figure 20: Minor version of the flute solo in trombones

There is one final ascending flurry of 16th notes leading to measure 658 and the

unexpected sudden return of the very “gentle, light, and free” mood that was present at the

beginning of the movement.

2.4 Fourth Movement: Meditation and Destiny

The fourth movement begins with the familiar quartal block chords: this time they

are presented as quarter notes rather than half notes and with C rather than F on the top and

bottom. As in the end of the first movement, the quartal block chords alternate with

percussion solos rather than the concert A texture. The chords resolve to a series of brassy

C major chords, which gradually dissolve into a chorale-like low brass quartet. The horns

join in, playing the lyrical melody from the first movement. The woodwinds provide an

extension, leading to the key of A minor at measure 682. This section is built around a

series of overlapping quartets. Each of these quartets decelerate linearly (each duration

lasting one 8th note, then two, then three…), one of the concepts that was present in the

first movement’s concert A textures. 26

Figure 21: Decelerating rhythm in fourth movement quartets

These overlapping quartets continue, and a quartet of saxophones begin the

rhythmic pattern on an offbeat for the first time. There is a slight buildup, and the quartets

cut out at measure 709 to reveal a flowing trumpet solo. The trumpet solo subsides, and

the quartets return, stacking more rapidly than before. This time the soloist is an oboe, and

a low woodwind quartet carries over as accompaniment. The oboe solo is extended by the

trombone, which ends with a quiet moan of a glissando. Quiet quartet chords are passed

around the ensemble, and a solo piccolo enters. Along with the flutes and bassoon 1, it

gradually inches its way upward, arriving on a restatement of the transitional theme from

the first movement.

27

Figure 22: Return of transitional theme from first movement

A brief bassoon solo brings a return to the quartets: this time the melody is also

present in quartet form, in a counterpoint-laden passage for horn, oboe, bassoon, and flute.

The trombone returns, again drifting into a lazy glissando which juxtaposes melodies from

the 4th and 2nd movements.

28

Figure 23: Counterpoint between horn, oboe, bassoon, and flute

Figure 24: Reference to second movement oboe theme at end of trombone solo

This leads to a return of the concert A texture in the style of the 2nd movement,

though it is joined two measures later by quartets of muted horns and saxophones. The

unresolved trumpet solo from movement two returns. It seems to stagnate within the

texture of the quartet, but pushes through with one more surge of energy in the measure

before measure 782. The melody and harmonic language expand rapidly, leading to an

intense unison woodwind passage which relaxes into a trumpet-led brass chorale. There is

finally an arrival of the trumpet melody in F major, and then a second confirmation. There

29

is a third, more intimately-orchestrated repetition, but rather than complete this as expected,

the trumpet instead has enough trust to abandon the security of F major, returning the

symphony to a concert A (referencing the 2nd movement oboe theme in the process).

Figure 25: Resolution of second movement trumpet melody and release to A

The concert A texture, (in a combination of the 1st and 2nd movement styles) slowly

builds, and as it remains uninterrupted, the non-A notes become more prominent and drift

30

farther from A. There are small hints of F major, and as the texture continues to build,

success seems more and more likely. The addition of the percussion roll adds momentum

and subtly triggers memories of the opening measures of the piece. The brass finally enter

at measure 808 with the FGCF block chords, which now sound complete with the addition

of the major 3rd (concert A).

The quartal block chords are repeated, and then return a third time for a significantly

longer duration, and as they crescendo, they also begin to harmonically deteriorate. This

builds to a release at measure 816, where the fluttering texture of the concert A becomes

expanded to the entire ensemble. This continues through a pair of aleatoric sections where

the texture is comprised of a combination of (FGACF) figures and various motives from

the symphony. The first aleatoric section still maintains a rhythmic pulse, and the beats

may even be conducted. The second aleatoric section abandons all metric pulse and is

noticeably louder, not only because of the increase in dynamics, but also the movement of

instruments into their most audible registers. After several seconds of this cacophonous

texture, the percussion enters in tempo (while the rest of the instruments continue to play

out of time) with a rhythm similar to the percussion solo section of the 3rd movement. This

builds to a massive chord in the loudest register of each instrument, and a resounding final

percussion strike.

31

Appendix

Symphony #3 for Wind Ensemble – Full Score

I. Opposition and Interaction

II. Hope and Vulnerability

III. Renewal and Strength

IV. Meditation and Destiny

Total Duration: ca. 35 minutes

Completed: February 2015

32

33

Symphony #3 for Wind Ensemble

Michael Mikulka

34

Instrumentation:

Piccolo

Flute 1

Flute 2

Oboe 1

Oboe 2

Bassoon 1

Bassoon 2

Bb Clarinet 1

Bb Clarinet 2

Bb Clarinet 3

Bb Bass Clarinet

Eb Alto Saxophone 1

Eb Alto Saxophone 2

Bb Tenor Saxophone

Eb Baritone Saxiphone

Bb Trumpet 1

Bb Trumpet 2

Bb Trumpet 3

Horn in F 1

Horn in F 2

Horn in F 3

Horn in F 4

Trombone 1

Trombone 2

Bass Trombone

Euphonium (Bass Clef)

Tuba

Timpani

Percussion (5)

Perc. 1: Suspended Cymbal, Glockenspiel, Large Tenor Drum

Perc. 2: Bass Drum (shared w/ Perc. 4), Crotales, Conga

Perc. 3: Tam Tam, Vibraphone, Wind Chimes, Wooden Plank

Perc. 4: Tom Toms, Two Triangles, Tambourine, Bass Drum (shared w/ Perc. 2)

Perc. 5: Marimba, Snare Drum

Symphony #3 was composed between September 2014 and February 2015 in Austin, Texas

as my doctoral dissertation composition. The piece seeks to push back against the trend in

wind band towards writing surface-heavy “festival music”. One of the main intentions of

this symphony is that extremes (particularly of dynamics and tempo) must be earned: that

there must be strong emotional or narrative content underlying each surface element of

the piece.

The overarching idea of the symphony explores the relationship between the two opening

motives: the FGCF quartal block chords and the fluttering concert A texture. They are

initially presented in a way which makes them seem like opposites, but as the symphony

progresses, it becomes clear that they are destined to combine.

Suggestions

-Even in a "wind ensemble" setting, it is suggested to double flutes, clarinets, euphonium,

and tuba, and to have an assistant 1st horn player (and possibly an assistant 1st trumpet).

-Instances of the concert A texture do not need to be tuned. Small variations in pitch are

expected and desired.

-The D harmonic series chords in the brass during movement 2 may need minor rehearsing

to bring out the “spectral” quality. However, production of the notes themselves should

be relatively simple.

-The opening trio in movement 3 *must* be performed in rhythm as notated and *must*

sound effortless. It is suggested that the players rehearse this section together on their

own time. As the piccolo has the most challenging rhythms, it may be preferable to conduct

their 4/4 bars, abandoning the 6/8 and 9/8 when necessary.

-The plank of wood in percussion 3 should not be particularly resonant during movement 3,

but should be mounted for a more resonant and “hollow” sound in movement 4.

-Make sure the snare drum stays underneath the woodwinds from reh.#55-57: the harmony

of the woodwind chords must be clearly audible.

-Rehearsal marking #66 must represent a complete style change back to the gentleness and

lightness of the beginning.

-All the quartets in the 4th movement with the linear decay rhythmic pattern should be

literal quartets: 1 on a part.

-The pickup to reh. 78 in clarinet 2+3 may be left out if desired.

-The first aleatoric section at m.818 should maintain a pulse: it is suggested that either a

4 pattern or 1 pattern is conducted through this section.

-3 measures from the end, a few instruments enter in time: everybody else should continue

to play their aleatoric passage until the end of the measure.

-The final chord may be played entirely fluttertongued/growled, entirely clean, or a

combination.

-A full analysis of this piece may be found in dissertation form.

35

Piccolo

Flute 1

Flute 2

Oboe 1

Oboe 2

Bassoon 1

Bassoon 2

Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Bass Clarinet

Alto Saxophone 1

Alto Saxophone 2

Tenor Saxophone

Baritone Saxophone

Trumpet 1

Trumpet 2

Trumpet 3

Horn in F 1 + 2

Horn in F 3 + 4

Trombone 1

Trombone 2

Bass Trombone

Euphonium

Tuba

Timpani

Percussion 1

Percussion 2

Percussion 3

Percussion 4

Percussion 5

f ff f ff f

Alternating Between Sturdy and Fluttering

q = 66

f ff f ff f

f ff p mf p f ff pp mf mf f

f ff mp f mp f ff p f

f ff p mf p f ff mp f

f ff f ff f

f ff f ff f

f ff mp mf mp f ff pp f

f ff f ff f

f ff f ff f

f ff f ff f

f ff mf f ff f mf f

f ff mf f ff f mf f

f p f ff f mf f

f mp f ff f mf f

f ff f ff f

f ff f ff p f

f ff f ff p f

f ff f ff f mf mp f

f ff mp mf f ff f mp f

f mf f f f

f ff mf mp f f mf mp p f

f ff f ff f

f ff f ff f

f ff f ff f

pp ff pp f pp ff

pp ff pp f pp ff

p ff f p ff

p ff pp f mp f

pp ff p f p ff

p f p f p

Symphony #3

for Wind Ensemble

I. Opposition and InteractionMichael Mikulka

5

3

3

click keys in random rhythm

click keys in random rhythm

play at any point,

about evenly spaced

click keys in random rhythm

click keys in random rhythm

click keys in random rhythm

slaptongue (open)

slaptongue at any point

3

slaptongue (open)

slaptongue at any point

slaptongue at any point (open)

3

slaptongue at any point (open)

5

play notated pitchesat any point

play notated pitchesat any point

play notated pitchesat any point

play notated pitchesat any point

(1 player) (a2)

3 5

(approx.) gliss.

play notated pitchesat any point 5

32" - F, 29" - A, 26" - C, 23" - Ebdampen

Suspended Cymbal (roll w/ mallets)

dampen dampen

dampen

Bass Drum

dampen

dampen

dampen

Tam Tam

dampen dampen

to vibraphone

dampen

Tom Toms (4) To Triangles (2)

Marimba

36

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

ff mp

10

10

ff f mp mf p

ff fp mf

mp ppp

ff mp p mf p mf

ff mp p

ff p

ff mf mp p

ff fsub.mp mf mf mf mf mp p

ff f sub.mp p

ff fsub.

mp p

ffmf mf mf mf mp p

ff mp p

ff mp p

ff p

ff p

ff pp mf pp mf

ff pp mf pp

ff pp mf pp

ff f mp

ff mp

fff

p

ff f pp mp pp

fff

pp mp

ff mf mp p mf

ff

mf

mp mp p mp

p

1 player

a2

7

5

3

play immediately after bs. cl. note

3

gliss.

3 3

gliss.

play notated pitches at any point (immediately followed by cl. 1)

harmon mute

cup mute

straight mute

stay under trombone

1/2 (finger 1/2 step up,

bend pitch down 1/2 step w/ hand) 3

gliss. gliss. gliss. gliss.

gliss. gliss. gliss. gliss. gliss.

gliss. gliss. gliss. gliss. gliss.

5

37

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

Mysteriouslyaccel. rit.

16

16

pp pp

pp p

p

pp p

p

pp p pp

pp

pp mp p

pp p

pp

pp

pp

p

p

pp pp mp p

mp p

p

mp mf mp p mp p

3

to snare drum

Snare Drum

38

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

p

q = 66

Cantabile, with rubato

26

26

p

p

p

p

p

p

p

p

p

p

p mp

p mp

p mp

mf f mf

mpmf mp

pp

pp

non-dim.

non-dim.

non-dim.

non-dim.

non-dim.

(dampen)

39

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf

poco rit.

3333

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

pp p

pp p

pp p

pp mf

pp mp

mf

mf

3 3 3 3

3

3

40

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

q = 108 rit.

Warmly, with life3939

mf

n

n

n

mf p mfp mp

mp p mfp mp

mp p mfp mp

p mfp mp

mf p mfp mp

p mp

mp p

pp p mp mf mp

mp p

mp

Solo

Triangles (high pitched/low pitched)

To Tom-toms

41

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

q = 66

As before

45

45

p mf mp p mf pp

mf pp

p pp

p

p mf p mp

p

pp p p mp

p

p

mp

p

mp pp

mp pp

p

p

p mp

p mp p

p

mp p

mp

p p

p p

p

p

p

p

p

p

ppp

pizz.

(normal)

growslightly flatter

growslightly sharper

(out of time, gradually sharper)

5 3

a2

3

keyclick

keyclick

(gradual) o to straight mute

(out of time, alternating fingerings for the B)

2 13 2 13

2 13 2

o

muted

gliss. gliss. gliss. gliss.

To Marimba

Marimba

42

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

5252

p

p

p

p mf p mf

p mf p mf

p mmf p

mf

mf

p mf p mf

p

pp

mp

3 3 5 3 3 3

3 3 3

3 3 3

3 3 3 3

play out of time (in tune) (# of notes can be more

or less than what is notated)

play out of time (after Bsn. 1+T. Sax)

(# of notes can be more or less than what is notated)

play out of time (answering Bsn. 1)

play out of time (after Bsn. 1, T. Sax, Bsn. 2) (# of notes can be more

or less than what is notated)

play out of time (answering Bsn. 1) (# of notes can be more

or less than what is notated)

(slight accent at beginning of each half note)

43

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

q = 108

Tight, stiff, constricted

56

p mf mfp

p mpmfp

p

p

p

mf mfp

p

mfp

p mp mfp

mfp

mf mp

mf mp

mp p

mp p

mp p

mp

mp p

mp pp

mf mp

3

3 3

3 3 3

3

to Snare Drum

44

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf mp mf

6363

mf mp mf

mf mp mf

mf mp mf

mf mp mf

mp f

mpf

mf mp mf

mf mp mf

mf mp mf

mp f

mf

mf

mf

p

p

p

mp

mp

straight muteSolo

mute out

muted

muted

Snare Drum

45

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf

7373

mp mf

mp mf

mf

mf

p f

p f

mf

mf

mf

f

mf

mf

mf

mf

mf

mp

airy

airy

Solo

46

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

8282

mf mp

mf mp

f

mf

mf

mf mp mf

mf

mf mpmf

mf mp

mf mp

mp p pp

mp pp

47

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f

Opening up

9090

mf

mf

mf f f

mf ff

f

f

mf

mf

mf

mf f f

mf f f

f

f

f

f

f

mf

mf

f

f

f

f

f

mf ff

p f

mf

f

open

open

open

open

open

gliss.

gliss.

gliss.

gliss.

gliss.

gliss.

dampeninstantly

to Marimba

48

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

9595

mf

mf

mf

f

mf

mf

mf

mf

mf

mf

mf

mf

mf

f

f

f

f

f

f

p f

f f

f

sim.

sim.

sim.

sim.

sim.

sim.

sim.

49

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mp

101

mp

mp

mf

mf

mp

mp

mp

mf mp

f mp

f mp

mp

mp

f

f

f

mf mp

mf mp

mf mp

mf mp

mp

mf mp

mf mp

p f p mf

mf mp

mf mp

50

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f

Abruptly Slower

q = 78poco rit.

107

107

f

f

mp

mp

f p

f p

f ppp p

f ppp p

fppp p

fsfz p mp

fmp

f

fp

f sfz p

mp mp

mp

mp

f mf pp

f

f p pp

f ppp

f sfzp pp

f p mf p mp

f sfzp pp

mf pp

mf mp p

f

f

harmon mute

Solo

3 3

cup mute

straight mute

Solo

in centerof drum

on bell

(normal)

To Glock.

51

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

q = 66

As before120120

p mp

p mp

mp

mp

mp

pmp

mp mf

mp mf

mp

mp

mp

mp

a2

26" = Ab

Glockenspiel

Marimba

52

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

128124

mf

mf

p mp

mp

p

p

p mf

p mf

p mf

p mf

mf

mf

mf

mf

p

mf

mf f

mf f

delicate

Solo

delicate

opena2

open

open

29" - G

53

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

129

mf

mp mf

mf

mp p

mf

Solo

Solo

Solo

54

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

135135

mf

mf

mf

mf

mf

mf

mp f

mp mf

mp mf

mp mf

mp mf

mp mf

mp mf

mp mf

mp mf

mf f

mf f

a2

a2

55

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf f

142141

mf f mf

mf f mf

f mf f mf

f mf f mf

mp mf mp

mp mf mp

mp mf f mf mp

mp mf mp

mf mp

mf mp

f fp

ffp

ffp

f fp

mf f

mf f

mf f

f mf f mp

fmf f mp

mf

mf

mf

mf

f

p f mf p

p f

a2

a2

23" - F 29" - A

to Snare Drum

56

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

With direction

q = 108

149

149

f mf

f

f

f

mf

mf mp

mf mp

mp p

mp p

mf mp

mf

mf

57

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf mp

159155

mf mp

mp

p mf mp

mp

mp

mp

mp

mp

mp

mp

mp

mf

match Alto Sax

Susp. Cymbal

(dampen immediately)

Snare Drum

(on rim)

58

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

161

mf

mf

mf

mf

mf

mf

mf

mf

59

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f

167165

f

f

f f

f f

mf

mf

f

f

f

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

3

3

60

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

169

ff

ff

mf

mf

mf

mf

mf

mf

mf

mf

mf

mp ff

p f

mp ff

mp f

3

dampen!

61

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f

173

173

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

3

3

3

3

sim.

sim.

sim.

sim.

sim.

sim.

plank of wood with snare drum sticks

(rimshot) (rimshot)

62

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

ff

178

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

dampen immediately!!!

dampen

immediately!!!

dampen

immediately!!!

dampen immediately!!!

dampen

immediately!!!

dampen

immediately!!!

63

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f ff

183183

f ff

f ff

f ff

f ff

f ff

f ff

fff f ff

fff f ff

fff f ff

f ff

fff f ff

fff f ff

ffff ff

fff f ff

f ff

f ff

f ff

f ff

f ff

fff ff f ff

fff ff f ff

fff ff f ff

fff f ff

f ff

ff

ff

ff

ff

6

6

3

6

3

(rimshot)

64

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f ff f ff

189

f ff f ff

f ff f ff

f ff f ff

f ff f ff

f ff f ff

f fff ff

f ff f ff

f ff f ff

f ff f ff

f ff f ff

f ff f ff

f ff f ff

f ff f ff

f ff f ff

f ff f ff

f ff f ff

f ff f ff

f ff f ff

f fff ff

f ff f ff

f ff f ff

f ff f ff

f ff f ff

f ff f ff

mp ff

fff

fff

fff

fff

29" - D(dampen immediately)

(dampen immediately) To Glock.

(dampen immediately) To Crotales

To Vibraphone

(dampen immediately) To Bass Drum

to Marimba3 6

65

Piccolo

Flute 1

Flute 2

Oboe 1

Oboe 2

Bassoon 1

Bassoon 2

Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Bass Clarinet

Alto Saxophone 1

Alto Saxophone 2

Tenor Saxophone

Baritone Saxophone

Trumpet 1

Trumpet 2

Trumpet 3

Horn in F 1 + 2

Horn in F 3 + 4

Trombone 1

Trombone 2

Bass Trombone

Euphonium

Tuba

Timpani

Percussion 1

Percussion 2

Percussion 3

Percussion 4

Percussion 5

mp

Constrained

q = 64

p mp

p pp mp

mp mf f

mp mp pp

ppp pppp

ppp p ppp

pp ppp pp p

ppppp

ppp pp

ppp pppp

mp p p

mp p

p

mp

mp

mp

p

p

p

p

p

p

p

ppp pp p pp ppp p

mp p mpp mp

p mp p mp p mp p

mp p

ppp p ppp npp

II. Hope and Vulnerability

Solo

3

(after A. Sax 1)

harmon mute (stem in)

harmon mute (stem in)

harmon mute (stem in)

(32" - F, 29" - A, 26" - D, 23" - F)

Glockenspiel

dampen

Crotales

dampen3

3

Vibraphone

Bass Drum

66

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

p mp

205205

p p

p mp

mp mf mp mf

mp

ppp mp p

p pp mp p

ppp mp

p

p mp

ppp

p mpppp

p pp mp mp p

p mp mf p

p

pp

p mp

mp

p

p

mp p mp mf

p p

p

p

p

pp mp mf

p

p

p

pp

(completing Ob. 2)

(completing Fl. 1)

Solo

1st

Solo

dampen

3 dampen 3

3

67

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

poco rit.

211211

mf pp p

mf p

mf p

mf p p

p mp p mf

p mpp mf

p pp p

pp

p pp

p mf

mp p

p

p p

p p

p p

p mf f

p

p p

p p

p p

p mp p mf

p

ppp

mp p

p

p

p pp ppp

Solo

a2

Solo

a2 Solo

dampen

dampen

dampen

68

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

p

As before

q = 64

217

217

p

p

p

p

pp p

pp p

p

ppp p

ppp p

pp pp p

p mp

p mp

p mp

p mp

pp p mp

pp p mp

mp

mp

p mp mp

pp ppp p

mpp

mp

mp p mp

mp mp

pp ppp

warmly

warmly

warmly

warmly

mute out

mute out

mute out

dampen dampen

3 dampen dampen3

3

69

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

With hope

q = 72

223

223

p mp

p mp

p mp

p mp

p mp

p mp

p mp

p mp

mf

mf

mf

mf

mf

mf

mf

mf

mp p pp

mp p

( mp ) mf mp

p

mp mf mp

3

33

3

openSolo

to Susp. Cym.

3 3 3

Marimba

3

70

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf f mf

229

mf f mf

f

mf f

mf f mf

mf

mf

mf mf

mf mf f mf

mff

mf mf

mf mfp

mf mfp

mf mfp

mf mfp

f f mf

mf fmp

mf fmp

mf fmp mf mp mf

mf fmp mp mf

p mf fmp mp

p mf fmp mp

p mf fmp

mf f fmp mp

p mf fmp mp

mf ppp mf mf

ppp mf mf pp mp

mf

mf

pp mf pp mp

mf

3

3

open

open

a2

passionately

Suspended Cymbal To Glock.

Glockenspiel

to Susp. Cym.

Suspended Cymbal

To Snare Drum

71

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf mf mf

239

239

mf mf mf

mf mf

mf f mf f mf mf

mf f mf f mf

mf f mf f mf

mf mf mf

mf f mf f mf

mf mf mf

mf f mf f mf

mf f mf f p

f mf mf

mf

mfsub.

p

mf f mf f

mf f

mf f

f mf f mf f

f

mf

mf

mf

mf mf f

f

f

mf mp

mf mp

3 3

3 3

3

3

3 3

3

3

3

3

3

3

3

3

(play T4 to set up next note)

to Glock.

72

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

rit.243

243

mp

mp

mp p

mfp

f mf mfp p

mfp p

mf mp

mp

mp

f mf mfpmp p

f mf f mf mp

mp mfp p

f mf mp p

mf mfp p p

p mp

p mp

ppmp

psub.

p mf

p p

p p

p p

p p

p p mf

pp mf

p pp

pp

*1st: play T0, 7th partial

(flat 7th of D overtone series)

(play T4)

Snare Drum

73

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

Aggressive

q = 132

250

250

mf

mf

mf

mf

fmf

mp

f mf mp

f

f

f

ff f mf mp

f

f

f

ff f mf mp

mf

ff mf

ff mf

ff mf

ff mf

mf

mf

f mf

f mf p

f mf p

74

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f mp

259

f mp

f

f mp

f mp

f mf

f mf

mf f

mf f mp

mf f

f mf

f mf

mf p mf

mf p mf

mf p mf

mf

mf

mf

mf

mp f

mp

f mf

f mf p

6

6

gliss.

75

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f

267

267

fsub.

f mf

sub.

fmf

f

f

mf

sub.

fmf

mf

f

ff f

ff f

ff f

f

f

f

f

f

f

f

f

f

f

f

f

mf

f mf

f mf

Glockenspiel

76

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mp f

281275

mp f

mp f

mf mp f

mp f

mf mp f

mf mp f

mf mp f

mf

mf

mf

mf

mf

mf

mf f mf

mf f mf

mf f mf

mf f mf

p f mf

p f fp

dampen

dampen

dampen

77

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

285

f

f

f

f

f

f

f

f

f

mf

f mf

f

gliss.

dampen

dampen

dampen

78

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf f

292

292

mf f mf

mf f mf

mf f mf f

mf f

ffmf f

mf f

mf

mf mf

ffmf

f

f mf f

f f

ff f

ff f

mf f mp

f mp

f mp

mf f

mf f

f mf

f mf

f mf

ffmf

f

gliss.

dampen

dampen

79

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f mf f

299299

f f

f f

f ff mf ff

ff ff mf ff

ff f

ff f

f ff mf ff

f ff f

ff f

ff

f

ff mp f mf

ff mp f mf

ff mp f mf

ff mp f f

f mp f mf

f mp f mf

f mp f f

fff

ff f

f f mf f

f f mf f

ff mf f

f f mf f

f f mf f

f

p f p

mp f p

80

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

ff

310310

ff

ff

f ff

f ff

ff

ff

f ff

ff

ff

ff f ff

fff

fff

fff

ff f ff

f ff

f ff

ff

ff

ff

ff

ff

ff

ff f ff

ff f ff

f

f mf mp f

f mf ff mf ff mf ff mf ff

dampen!

Crotales

dampen!

to Tam-tam

81

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f f

(In 2)

324

319

f f

f f

f ff f

f ff f

f

f

f mf f

f mf f

f mf f

f

f

f

f

f

f ff f

ff f

ff f

mf f

mff

f f

f f

f f

f

f f

f mf

mp ff

mp f

f mf

pp ff

29" - Bb

to Susp. Cym.

Suspended Cymbal

to Glock.

Tam-tam

82

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf

Gradually slow down

327

mf mp mp p

mf mp

mf mp mf p

mf p

mf p

mf p

mf p

mf mp p

mf mf mf p

mf

mf p

mf mp p

mf mp p

mf

mf

mf

mf

mf mp

mf mp

mf mp

mf mp

mf mp

mf mp

mf mp

f mfmp

mp f

f mf mp

3

29" - A

29" - Bb

29" - A

to Vibraphone

83

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

p mf

"With Hope" tempo

q = 72

335

335

pp p mf p p

pp p mp p p

p mp p p

mf p

pp

p

pp

mf p p

pp pp

mf p p

pp pp p

pp

pp

pp

pp

p mf f mf

p

p

p mp p

p mp p

pmp p

pmp p

p mp p

pmp mf

pmp p

pp ppp p mf p

mpp p

mp pp

mp

pp p

sotto voce

6

sotto voce

6

sotto voce

6

sotto voce

6

sotto voce

6

sotto voce

6

sotto voce

6

Solo impassioned

*1st: play T0, 7th partial

(flat 7th of D overtone series)

(play T4)

29" - Bb

Glockenspiel

dampen if necessary

dampen!!

3 3

3 dampen if necessary

dampen!!

3

3

Vibraphone

84

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf f

345

f mp

mf f

f mp

mf f

mf f p

mf f p

mf f p

p

mf fsub.p

f sub.p

mf fsub.

p

mf fsub.p

f ff fmp

mf f mf ff

mf f mf ff

mf f f ff pp

mf f ff pp

mf f mfff pp

mf f mf ffpp

mf f ff mp

pmf f mf ff mp

mf f ff

mf f pp

mp

mp

p f pp

Solo

Solo

(still Solo)

dramatic, soaring over everybody

a2

Solo

stay slightly under Tpt 1

5

stay slightly under Tpt 1

5

5

5

3 5

23" - D 26" - C

dampen!!

3

dampen

85

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf mf

With Newfound Momentum rit.

356

356

mf f mf

mp mp mf mf

mp mp mf mf

mp mf

mf mf

mf f

mp mf mf

mp mf mf

mp mfmf

mf

mp mf f

mf

mp mf

mf

mf mp mf f

mp mf f

mp mf

mp

mp

mp

mp

f

mp

mp mf

mp

mp mf

a2

a2

l.v.

l.v.

l.v.

86

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f mf f

Hopeful, with anticipation

h = 66 / q = 132361

f mf f f

f f

f mf f

f f

f f mf

f f mf

f f

f f

f f

f f mf

f

f mf f

f f

f f mf

f

f

f

f mf f

f mf

f mf

f mf

f mf

f mf

f mf

f

f

f

f mf f mf f

(l.v.)

(l.v.)

(l.v.)

87

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

372367

f f f

f f f

f

f

f

f

f

f

f

mf

mf

mf

mf

mf

To Susp. Cym.

88

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f

rit. (In 4)

375

f

ff

fff

f

ff

ff

fff

f

f

ff

fff

f ff f

f ff

ff

ff

ff

f ff

pp mf

f p

pp mf

3 3

3

3 3

3 3 6

3 3 6 3

3 3 6

3 3

3

3 3

7

6

7

7

6

6

7

Suspended Cymbal

89

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf ff mf ff mf ff

Mournful

q = 84

382

382

mf f mf f mf f

mf ff mf ff mf ff

mf ff mf ff mf ff

mf f mf f mf f

fff

mf ff mf ff mf ff

mf ff

mf ff

ff ff ff

ff ff ff

ff

ff

fff

fff

fff

fff

fff

fff

fff

fff

ff p ff p ff p

fff

ff sfzp f sfzp f sfzp f

55 5

55

5

5 5 5

55 5

55

5

55 5

55

5

5 5 5

3

3

3

5

5

5

5

5

5

3

3

3

3

3

33 3 3

3 3 3 3 3 3

3 3 3 3

3

90

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf fff f

386385

mf f ff f

mf fff

mf fff

ff f

mf ff

ff

f

f

mf fff

mf ff f

mf ff f

f

ff ff

ff ff

ff

f

f mf f

f mf f

f mf f

f

f

f

f

f

f

f

mp ff mp ff mp ff mp f

ff

mp ff mp ff mp ff mp f

sfzp f mp ff mp ff mp ff p f

55 7

5

55

55 6 7

5

6

5

5

3 3 3 7

3 3 3 7

3 3 3 7

7

7

7

6

6

29" - G

(dampen if necessary)

to glockenspiel

91

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

rit.390

390

mf

mf

mf pp

f mf mp

f mf mf

f mf mf

mf

mf

mf

f mf mf

fmf mf pp

fmf mf

fmf mf

mf mp p pp n

mf mp p

mp p pp ppp n

mp p pp ppp n

mp p pp ppp n

mf mp p pp ppp n

mf mp p pp ppp n

mf mp p pp n

mf mp p pp ppp n

mf mp p pp n

mf mp

mf mp mp p pp ppp

mf p

cantabile

1 player

1st

4th

(accentuate each beat) to Marimba

92

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

Smooth, connected, eerily dreamlike

q = 56

399

399

pp

pp

pp

pp

pp

pp

pp

p

p

p

p

p

p

(noncresc.)

muted

(enter after Hn 3+4)

muted (noncresc.)

29" - Ab

26" - Bb

Glockenspiel

soft mallets

soft mallets

Marimba (noncresc.)

93

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

p mf mf

Intensely, alive, with constrained passion

408

408

p mf f p

p

p mf f p

p

p mf mp mf mp

p

p

p

mp p mf p

p

mpmf mp

p

p

p

mp mf mp

mp

mf

mp mf mf

mfmf

mp

mp mfp mp

mp

mp

mp

p

mf

mp

mp

p

mp

make one line as much as possible

3

open

harmon mute, stem out

(open)

make one line as much as possible

94

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mp p

414

mp

p

95

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

Exhausted, resigned

419

419

pppn

ppp n

pppn

pppn

pppn

ppp n

ppp n

pp

pp

p

p

(mute out: wait until break in between movements)

(mute out: wait until break in between movements)

to Bass Drum

To Triangles

96

Piccolo

Flute 1

Flute 2

Oboe 1

Oboe 2

Bassoon 1

Bassoon 2

Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Bass Clarinet

Alto Saxophone 1

Alto Saxophone 2

Tenor Saxophone

Baritone Saxophone

Trumpet 1

Trumpet 2

Trumpet 3

Horn in F 1 + 2

Horn in F 3 + 4

Trombone 1

Trombone 2

Bass Trombone

Euphonium

Tuba

Timpani

Percussion 1

Percussion 2

Percussion 3

Percussion 4

Percussion 5

p mf mp p p

Lightly, warm, patient, with quiet joy

q. = 64

pp p

p

(ad lib./out of time)

(in time, but as if in 4)

III. Renewal and Strength

Solo

Solo

(32" - F, 29" - Ab, 26" - Bb, 23" - D)

97

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

p mf p mf mp mf p mf mp mp

436

mp

mp mp

(out of time)

(in time, as if in 4)

98

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

p mf

447

444

mp mf

p mf mp

p

pp

mp

(out of time) (in time, as if in 4) (out of time)

(breaking out of texture)

Bass Drum

99

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mp mf

449

mp

ppp

ppp

ppp

(in time, as if in 4)

2

stagger breathe

stagger breathe

stagger breathe

100

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

p mf f mp mf

455

f mp

mf f

pp

pp

pp

p mp

p mp

(out of time)

(in time, as if in 4)

(breaking out of texture)

Solo

Solo

(echoing A. Sax)

101

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mp mf mf

460460

mf

mf mf

mf mp f mf f mp f

mf mp

p

p

p n mf ppp

p n ppp

p n ppp

p

p

p

p

mp

p

(as if in 4)

a2

Solo

(ad lib. /out of time) (in time) 4

(with Ob. 1)

Solo

a2

cup mute re-enter imperceptably

cup mute

re-enter imperceptably

cup mute

re-enter imperceptably

(open)

Triangles

2

102

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f

469469

f

ff

f f

mf

mf

p

p

p

p

mp f f mp f mp f f

mp fmp f mf

mf p

p

mp

mp

mf

ppp

p

mp mf

(after Hn/Fl 2.)

Solo

(ad lib. /out of time)

(play)

(in time)

(ad lib. /out of time)

play (in time) (play)

(after Hn/Fl 2.)

re-enter imperceptably

re-enter imperceptably

re-enter imperceptably

(open)

Suspended Cymbal

Wind Chimes

(slowly descending)

2

To Tambourine

2

103

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mp f mp f mp f mp mf

476476

ff fmf

ff mp f mp f mp f

ff f mf

f

f f f mf

f f f

mf f mf

mf

mf

f mp mp mp

mf

mf

mf mp mp mp

mf mp mp mp

mp mp mp

mp mp mp

mp mp mp

mf

mf

mf

mf

mf

mf

mf

mp

mf

mf

mf

a2

warmly

warmly

warmly

warmly

warmly

2

To Tenor Drum

Bass Drum

To Snare Drum

104

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mp

rit. poco a poco483

mpp mf p mf

mf pmf p mf p mf

mp

pp mp p

mfpp mp p

mp p ppp

pp mp pp mp

pp mp pp mp

mpppp mf pp

p p

p p

mp

mp

mp p

mp p

mp p

mp pmf pp

mp p

mp p mp pp

mp p pp

mp p pp

mp p mf pp

mp p pp

p pp

mp

pp

2 2

mute out

mute out

mute out

gliss.

To Conga

105

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

Extremely light, content, with intense energy

q. = 92

495

503495

ppp

ppp

ppp

pp p

pp p

pp p

p

pp

pp p ( p )

with fingertips

Large Tenor Drum, with fingertips

Conga

to wooden plank

Wooden plank, with snare sticks

Tambourine, with fingertips: "tight" sound

Snare Drum, with fingertips to snare sticks with snare sticks

106

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

505

pp mp mf

pp mp mf

pp mp

pp mp mf

mp f

f

mp

mpff

mpff

mp ff

mp ff

mf

mp f

f

mp mf mf

mp

mf

f

f

mp f

mp

mp mf

mp mf

mp mf

mp mf

extremely lightly

extremely lightly

extremely lightly

extremely lightly

extremely lightly

3 3 3

extremely lightly

extremely lightly

(gliss evenly over full measure)

gliss.

gliss.

(gliss evenly over full measure)

gliss.

gliss.

to mallets23" - Eb

(with mallets)

107

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f

Joyful, with unbridled energy!

513

513

f

f

f

f

ff f

ff f

fff mp f

mp f

mp f

f

p mf p mf

ffp mf p mf

ffp mf p mf

ffp mf p mf

f

f

f

f

f

ff f

ff f

ff f

ff f

fff

ff f

f

ff

ff

ff mf

f

open

open

open

To Bass Drum

To Vib.

To Triangles

Triangles

108

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf

523519

mf

mf

mf

mf

mf f

mf

mf

mf

mf f

p mp f mp f

p mp f mp f

p mp f mp mf

p mp f mp mf f mf

mf f mf

mf f

mf f

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf p f

1 only

long continuous gliss, stay in triad w/ other tbns

long continuous gliss, stay in triad w/ other tbns

long continuous gliss, stay in triad w/ other tbns

Bass Drum

109

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

Lightly

531

527

mf

mp

mp

mf

mp

mp

f

mf

mf

f

mf f

f

mp

mf

To Susp. Cym.

110

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f

533

f

f

mf f

mf f

mf

mf

mf

mf

mf

p mf

111

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

539539

f

f

f

f mp f

f mp f

f

f mf f

f mf f

f mf f

f f

f

f

f

f

f

f mf f

f mf f

f mf f

f mf f

fmf f

f

mff

mf f

(gliss over full beat)

gliss.

(gliss over full beat)

gliss.

(gliss over full beat)

gliss.

112

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

sfzp sfzp sfzp sfzp

547547

sfzp sfzp sfzp sfzp

sfzp sfzp sfzp sfzp

sfzp sfzp sfzp sfzp

mf

mf

mpsub.

mf

mpsub. mf

mpsub. mf

mf

mp mf

mp mf

mp mf

mf

mp mfp mf

mp mfp mf

mp mfp mf

mp

mp

mf

mf

mp

mp

mp

mf

mf

sfzp sfzp sfzp sfzp mf

113

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

sfzp sfzp mp f mp f mp f

551

sfzp sfzp mp f mp f mp f

sfzp sfzp mp f mp f mp f

f

sfzp sfzp mp f mp f mp f

f

f

f

f

f

f

mpmf f mf

mp mf f mf

mp mf f mf

f

mfp mfp mfp f

mfp mf mfp f

mfp mfp f

mf

mf

p f

p f

mf

mf

mf

f

f

sfzp sfzp mp f mp f mp f

rimshot

114

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

sfzp sfzp sfzp mp f mp f mp f mp f mp

557557

sfzp sfzp sfzp mp f mp f mp f mp f mp

sfzp sfzp sfzp mp f mp f mp f mp f mp

mp f mp f mp f mp f mp

sfzp sfzp sfzp mp f mp f mp f mp f mp

mf f

mf f

mf f pmp f mp f mp

mp mf f

mp mf f

mff

f

f

f

mf f

mf f mf f

mf f

mf f

mf f

fp fp fp f

mp f

mp f

mp f

mf f

f

f

sfzp sfzp sfzp p mf p mf p mf p mf p

puslating

puslating

puslating

puslating

puslating

Solo

a2 puslating

Solo a2

stay more under woodwinds this time puslating

115

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f mf f mf

poco rit.564564

f mf mp f f

f f f

f mf f

f mf f

mf

mf ff f

fp mfff mf f

mfmf

f

mfmf

f

f

mp mf

mf mf

mp mf ff mf

mf f ff mf

f

f

f

mf ff f

mf ff f

mf ff f

f ff f

f ff f

f ff f

mf ff

ff f

mfff

gliss. 3

gliss.

3

gliss.

3

Susp. Cymbal

(hit on bell)

116

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f

q. = 132

q = q.

Playful( e = e )572

572

mf f mf f mf f mf f

mf f mf f mf f mf f

mf f mf f mf f mf f

mf f mf f mf f mf f

f

f

f

f

f

f

f mf f mf

f mf f mf

f mf f mf

f mf f mf

mp f mp

mp f mp

mf

mf

mf

mf f mf f

mf

mf

mf f mf

117

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f

578

mp

mp

mp

mp

mp

mf f mf f mf f

mf f mf f mf f

mf f mf f mf f

mf f mf f mf f

mf

mf

mf

fmf

fmf

fmf

fmf

fmf

mf mp

mf mp

mf f

p

p

fp

2 2

growl

(T1-----------------------)

(T12)

(T23)

(T1-----------------------)

(T12)

(T23)

stay in triad with other tbns

stay in triad with other tbns

stay in triad with other tbns

118

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f f

586

mf f mf f mf f mf f f

mf f mf f mf f mf f

mf f mf f mf f mf f f

mf f mf f mf f mf f

f

f

f f

f f

f f

f

mf f mf

mf f mf

mf f mf

mf f mf

f

f f

f f

mf f

mf f

f

f

f

f f

f f

mf f mf f

f

f f

mf f mf

glis

s.

glis

s.

rimshot

119

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

( e = e )

In 1

592

592

f

f

f

f

f

f f

f f

f

f

mf f

mf f

mf f

f

f

mp f

mp f

mp f

mp f

mp f

f

mf

mf

mf p

p mf

rimshot

120

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

601

mf

mf

mp mf

mp mf

mp mf

mp mf

mp mf

mf

mp mf

mp mf

mf

mf

mf

mf

mf

f

f

mp mf

p

mf

121

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f

( e = e )

( e = e )607

607

mf f mf f mf f mf f

mf f mf f mf f mf f

mf f mf f mf f mf f

mf f mf f mf f mf f

f mf

f mf

f

f

f

f mf f mf f

mf f mf f

mf f mf f

mf f mff

f mf f mf f

mf

mf

mf

mp f mf

mp f mf

mf mf mf

mf mf mf

mf mf mf

mf mf

mf mf

f mf f mf p

mf

mfp

mf

mf f mf fp

122

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f mf

614

f

mp

mp mf

mf

mp

mp

mp mf

mp

mp

mp

mf f mf f mf fmp

mf f mf f mf fmp

mf f mf f mf f mp

mf f mf f mf fmp

mf

mf

mf

f mf

f mf

f mf

f mf

f mf

mf mp

mf mp

mf p

mp p

mf

mf mf fp

2 2

growl

(T1--------------------------)

(T12)

(T23)

(T1--------------------------)

(T12)

(T23)

gliss.

gliss.

gliss.

123

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f f

Slightly Slower

q. = 124622

622

fff f

f mf f

f f mf f

f

f

f

mf

f mf

f mf

f f

f f

f f

f

f

f

f

f

f

f

f

ff

ff

f

f

f

f p

f

f p

2 2 2 2

2 2 2

2

2 2 2

2

2

2 2

2

gliss. gliss.

gliss. gliss.

gliss. gliss.

gliss. gliss.

(rimshots)

124

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

ff

628

628

ff

ff

ff mf

ff mf

ff mf

ff mf

ff mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

f

f

f

mp f

f

f mp f

f mf f mf

To Glock.

125

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

636636

f mf

f mf

f mf

f fp

f fp

mp f mf

mf f mf

f mf f mf

126

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

ff mf ff

644

644

ff mf ff

f mf ff

ff mf ff

ff mf ff

f ff

fff

f

f

f

f

f

f

f

f

f

f

f

f mp ff

f mp ff

ff f

ff f

ff f

f

f

mp f

f

f p f

dampen!!!

To Conga

(single stroke) (normal roll)

127

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf

poco rit.650650

mf

mf

mp mf

mp

psub. mp

psub.

mp

mp mf

mp

mp

psub.

mp

mp mf

mp mf

mp

mp

mp

psub. mp

psub. mp

psub. mp

psub. mp

psub.

mp

mp mf

Glockenspiel

(single stroke) turn Snares off

128

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f

q. = 112

As gentle, light, and free

as the beginning of the movement658

658

p

p

mp

mp

mf

mf

f

p

p

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

mf

mp

f p

pp

mp

p

pp

29" - C

26" - A§ 23" - F

(l.v.)

To Susp. Cym.

Conga

To Bass Drum

Vibraphone

to Tam-Tam

dampenTo Tom-Toms

(with snares off)

Turn snares on (in break between movements)

129

Piccolo

Flute 1

Flute 2

Oboe 1

Oboe 2

Bassoon 1

Bassoon 2

Clarinet in Bb 1

Clarinet in Bb 2

Clarinet in Bb 3

Bass Clarinet

Alto Saxophone 1

Alto Saxophone 2

Tenor Saxophone

Baritone Saxophone

Trumpet 1

Trumpet 2

Trumpet 3

Horn in F 1 + 2

Horn in F 3 + 4

Trombone 1

Trombone 2

Bass Trombone

Euphonium

Tuba

Timpani

Percussion 1

Percussion 2

Percussion 3

Percussion 4

Percussion 5

f

Bright

q = 66poco rit.

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f

f ff f

fff f

f ff f mf

f ff f mf

f ff f mf

f ff f mf

f ff f mf

f ff f ff f mf mp p

mp f mp f

f mf ff mf ff f mf mp p

mp f mp f

f ff f ff

fp f fp f ff mf mp p pp

IV. Meditation and Destiny

(32" - F, 29" - A, 26" - C, 23" - F)

5

Suspended Cymbals

to Glock.

Bass Drum to Crotales

3 5

Tam-Tam

to Vibraphone

Tom-Toms

(wildly play fast notesadding accents ad lib.) to Triangles

(Snares on)

(wildly play fast notesadding accents ad lib.) To Marimba

130

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

Spacious Cantabile, molto rubato

q = 54 poco accel. q = 66 molto rit.

670

670

mp

p

p

p

p

p

mp

p

p

mp

mp mf f

mp mf f

mp mf f

mp mf f

mp mf f

mf f

mp mf f

to mute

to mute

1 player a2

131

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

p mp

Spacious, drifting, drawing strength

q = 60

682

682

n p mp

n p mp

n

n p mp mp

n mp

mp

mp

mf mp

mf mp

mf mp

mf mp

mp mf mp

mp mf mp

mf

mf

mf

mf

p

mp p

mp p

mp p

mp p

1 player

1 player

1 player

1 player

1 player

1 player

muted mute out

muted mute out

1 player

1 player

Glockenspiel

To Susp. Cym.

Crotales To B. D.

Vibraphone

Triangles

Marimba

132

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

694694

mf p mp f

mf p mp f

mf p p mp mf mf f

mf p p mp mf mf f

mp f

mf mf f

mf mf f

mf

mf

mf mp p p mf f

mf mp p p mf f

mf mp pp mf f

mf mp p p mf f

p mp mf

p mp mf

mp f

mp mf p

mp mf p

mf

mf

mf

mf

n mf

1 player

1 player

1 player 1 player

1 player

1 player

straight mute1 player

mute out

straight mute

1 player

cup mute1 player

open

open

1 player

1 player

Suspended Cymbals

(dampenquietly)

133

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

Molto Rubatorit.

709

709

mf

mp

mp pp

mp

mp

mp

mp

mp

(open)

Solodark and rich

a2

a2

134

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mp

As before

q = 60

722

722

mp

mp

mp p

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

mp

mf

mf

mf p

mf p

mf p

mp

mf p

mp f

1 player

1 player

Solo

1 player

1 player

1 player

1 player

straight mute1 player

1 player

1st

3rd

1 player

1 player

1 player

1 player

1 player

6

gliss.

135

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

728728

p

p

mf f

mp p mp p

mp p mp p

p

p

mp p mp p

mp p mp p

p mf

p mf

p mf

3 3

1 player

open

open

1 player

136

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

poco rit.738

738

mp

p

mf ppp

p

p

p

p

Solo

gliss. gliss. gliss.

137

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mp mf mp

q = 60

As before

746

746

pp mp mf

pp mp mf mf mp

mp mf p

pp p mf pp mf

pp

n mp mf p

n mp mf p

n mp mf p

n mp mf p

mp p

pp

pp

pp

pp

mp

pp mp

mp

Solo

1 player

a2

1 player a2

Solo

Solo

1 player

1 player

to Glock.

Bass Drum

138

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

poco rit.758

758

mf

mf

p mf

p mp p

p mp p

p mp p

p mp p

p

p

p

p

p mf p

mf

pp mp

p n p

p n p

pn p

p n p

mp p

Solo

Solo

Solo

Solo

Solo fluidly and smoothly

to Snare Drum

139

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

With Tension

A tempo

q = 66

770

770

p pp

p pp

p pp

p pp

p pp mp pp

p pp mp pp

p pp

ppp mp pp

p pp mp pp

pp

p pp

p pp

p pp

p pp

mf

p pp

p pp

p

pp

mp

p

p

p

Solo

muted

mute out

muted

mute out

to susp. cymbal

to Tom-Toms

140

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mf

777

p pp mf f

p pp mf

p pp mf

p pp mf

mp p mf

mp p mf

mp pp mf

mp pmf

mp p mf f

mp pp mf

p p pp mf

p p pp mf

p p pp mf

p p pp mf

f mff mf

mf

mf

mf

mf

p f

mf p p f

mf p p f

mf p p f

mf p p f

p f

mp

mp mf

p mf

3

6

3

6

3

6

a2

(open)

(open)

dampen immediately!

29" - Ab

Bass Drum

(dampen immediately!)

Snare Drum

141

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f ff

molto rit.

782

782

ff

fff

f ff

f ff

fff mf

fff mf

f ff

f ff

ff

f ff mf

f ff

f ff

fff

f ff mf

f ff fff

f ff fff

f ff fff

f ff fff

f ff fff

ff fff

ff fff

ff fff

ff fff

ff

fff

mp ff

f mp ff

ff

mp ff

5

5

5

3

3

3

3

gliss.

opt. 8va

gliss.

29" - A§

to Glock.

to Crot.

142

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

mp p

Introspective, at peace A tempo

q = 52 poco rit. q = 66793789

mp mf

mp mf mf mf

mp pp

mp p

mp p

mp p mf

mp p

mp n pp mp

mp n pp

mp mp

mp mf

mp pp

mp

mp

p pp ppp

p

p

p pp

p pp

p pp

mp

p pp

p pp

p pp

p pp

p

p

pp

pizz.

3

pizz.

1st

Glockenspiel To Susp. Cym.

Crotales To B. D.

143

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

796

mf mfp mf p

mf p mf

mf p

pp mp mf pp

mf p

mf p

pp mp mf p

p

mf

p

mp mp mf mp

mp mf mp

mp pp mp pp mp

mp pp mp pp mp

p mp

p mp

3

3

with exaggerated wide vibrato (normal)

with exaggerated wide vibrato

(normal)

gradually flatter gradually sharper3

with exaggerated wide vibrato

(normal)

3

(continuous gliss)gliss. gliss. gliss. gliss. gliss. gliss. gliss. gliss.

(continuous gliss)

gliss. gliss. gliss. gliss. gliss. gliss.

144

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

f

800800

f f

mp mf f f

mp mf f mp f

f p f

mp f p f mp f

f mp

f p mf f

f mf mf mf

mf f mf

mf f

f

f mp f mp

pp p mp

pp p mp

mp mf

p mp mf

p mp mf

p

3

3

3 3

5

5

gradually sharper gradually flatter

5

5

3

3 3 3 3 3

gliss. gliss. gliss. gliss.

gliss. gliss. gliss. gliss. gliss.

(twice as slow as Tbn 1+2)

gliss. gliss. gliss. gliss. gliss. gliss.

to Tam-Tam

145

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

804

f ff

f ff

f

ff f

f

f mf f

f f

f mf ff mf f

f

fff

f

f

f

pp

pp

p

p

pp

3 3

bring out

3

3

3gliss.

3

3

3 3 3 3 3 3 3

3 3 3 3

5 5

3

Suspended Cymbal

Bass Drum

Tam-Tam

Tom- Toms

146

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

ff

808

808

fff ff

ff mf mf

ff

ff

ff

ff mf mf

ff f f

ff mf mf

fff ff

ff

ff mf mf

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff p ff p

ff p ff p

ffp ff p

ff p ff p

ff p ff p

ff p ff p

3 3

6 6 6 6

3 3

3 3

6 6

3

3 3 33 3

3 6 3 6

3 3 3 3 3 3

5 6 6 5 6 6

147

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

812

mf mf

mf mf

f f

mf mf

mf mf

f

f

f

f

f

f

f

f

f

f

f

ff

ff

ff

ff

ff

ff

3 3

6 6 6 6

3 3

3 3

6 6

3

3 3 33 3

3 6 3 6

3 3 3 3 3 3

5 6 6 5 6 6

To Wooden Plank

148

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

ff

816

816

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

ffff

ff mf ff ff

ff

ff

ff

ff

ff

ff

ff

ff

ff

(play out of time)

(play out of time)

(out of time)

6 6 6 6 6 6

6

5

(play out of time)

(play out of time)

(play out of time) 6 6

(play out of time)

6

(play out of time)

(out of time)

(out of time)

3

6 3

3

(out of time)

6

(play out of time: the E and G don't have to be together)

gliss. gliss. gliss. gliss.

gliss.

(play out of time)

gliss. gliss. gliss. gliss.

149

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

Play from the following patterns ad lib, reacting to what other performers do

Any series of notes utilizing concert F, G, A, or C may be played as a bridge between patterns.

A feeling of 4/4 time should remain, though individual parts may occasionally deviate from it.

This section should last 15-30 seconds

818

etc.6

etc.

(at 3rd movement tempo)

etc.

3

6 6

(at 3rd movement tempo)

etc.6 3

3

etc.

etc.

(at 3rd movement tempo) 6 6 3

(at 3rd movement tempo)

3

3

etc.

6 6 6

etc.

(at 3rd movement tempo)

3

3

(at 3rd movement tempo)

(at 3rd movement tempo)

6 3

3 6 63

(at 3rd movement tempo)

etc.3 3 6 6

etc.

(at 3rd movement tempo)

3

3

(at 3rd movement tempo)

etc.6

3

6

6 6

6

etc.

gliss.

(at 3rd movement tempo)

3 3

gliss.

gliss. etc.6

gliss. gliss.

etc.gliss. gliss.

(at 3rd movement tempo) 6

3

etc.

150

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

fff

Play from the following patterns ad lib, reacting to what other performers do

This section should be completely out of time, and the tempo of each pattern should vary

These repeated bars should last 10-20 seconds,

Continue playing these patterns after the percussion enters at rehearsal mark 82

822

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

fff

6

3

6

3 3

3 3

3

6

3

3

6 3

3

3

33

3 3

3

6

6

6

gliss

. gliss. gliss.gliss.

gliss. gliss. gliss. gliss.

gliss. 3

3

gliss. gliss.

gliss. gliss.

6

3

151

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

q. = 108

Wildly826

826

fff

ff

fff

fff

fff

fff

Wooden Plank (mounted), with snare sticks

152

Picc.

Fl. 1

Fl. 2

Ob. 1

Ob. 2

Bsn. 1

Bsn. 2

Cl. 1

Cl. 2

Cl. 3

B. Cl.

A. Sax. 1

A. Sax. 2

T. Sax.

B. Sax.

Tpt. 1

Tpt. 2

Tpt. 3

Hn. 1+2

Hn. 3+4

Tbn. 1

Tbn. 2

B. Tbn.

Euph.

Tba.

Timp.

Perc. 1

Perc. 2

Perc. 3

Perc. 4

Perc. 5

ffff

830

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

ffff

mf ff ff

ffff

ffff

ffff

ffff

opt. growl/flutter

opt. growl/flutter

opt. growl/flutter

opt. growl/flutter

opt. growl/flutter

opt. growl/flutter

opt. growl/flutter

gliss.

opt. growl/flutter

opt. growl/flutter

opt. growl/flutter

opt. growl/flutter

opt. growl/flutter

opt. growl/flutter

opt. growl/flutter

opt. growl/flutter

gliss.

opt. growl/flutter

gliss.

opt. growl/flutter

opt. growl/flutter

gliss.

gliss.

opt. growl/flutter

gliss.

gliss.

opt. growl/flutter

gliss.

opt. growl/flutter

gliss.

opt. growl/flutter

opt. growl/flutter

opt. growl/flutter

3

opt. growl/flutter

(hit with both mallets)

dampen!!!!

rimshot

153

References

Pilato, Nikk. “Category: Symphonies.” The Wind Repertory Project. Accessed February 23, 2015.http://www.windrep.org/Category:Symphonies.

Rhodes, Stephen L. “Harmoniemusik and the Classical Wind Band.” A History of the Wind Band. Accessed February 23, 2015. http://www.lipscomb.edu/windbandhistory/ rhodeswindband_04_classical.htm.

Rhodes, Stephen L. “Twentieth Century Repertoire.” A History of the Wind Band. Accessed February 23, 2015. http://www.lipscomb.edu/windbandhistory/rhodeswi ndband_12_20thcenturyrepertoire.htm.

154

Vita

Michael Mikulka was born in New Jersey in 1985. He received his Bachelors of

Music from Rutgers University, majoring in Music Education, and received his Masters of

Music from Central Michigan University, majoring in Music Composition, and studying

with David Gillingham. He is currently seeking his Doctorate in Musical Arts in Music

Composition from the University of Texas at Austin, where he has studied with Donald

Grantham, Yevgeniy Sharlat, Russell Pinkston, and Dan Welcher.

Michael is a horn player, and has recently performed with the University of Texas

Wind Ensemble, Symphony Orchestra, and Horn Choir, and has helped to premiere several

solo and chamber compositions. Over 25 of Michael’s compositions have been honored

as a winner or finalist in contests or calls for scores. Michael is the founder of

newbandmusic.com, a free service which promotes the best self-published works by

emerging composers. He was also the founder and conductor of the Vine Orchestra, which

premiered 52 six second or less compositions.

Permanent email: michaelmikulka@utexas.edu

This dissertation was typed by the author.

155