Sola fides sufficit: Concerto for violin and ensemble

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uioa.edu/etd/16 Recommended Citation Houglum, Daniel Patrick. "Sola ides suicit: Concerto or violin and ensemble.

1 University o Ioa Ioa Research Online Theses and Dissertations Sring 01 Sola ides suicit: Concerto or violin and ensemble Daniel Patrick Houglum University o Ioa Coyright 01 Daniel Patrick Houglum This dissertation is available at Ioa Research Online: htts://ir.uioa.edu/etd/16 Recommended Citation Houglum, Daniel Patrick. "Sola ides suicit: Concerto or violin and ensemble." PhD (Doctor o Philosohy) thesis, University o Ioa, 01. htts://ir.uioa.edu/etd/16. Follo this and additional orks at: htts://ir.uioa.edu/etd Part o the Music Commons

2 SOLA FIDES SUFFICIT: CONCERTO FOR VIOLIN AND ENSEMBLE by Daniel Patrick Houglum A thesis submitted in artial ulillment o the requirements or the Doctor o Philosohy degree in Music in the Graduate College o The University o Ioa May 01 Thesis Suervisor: Proessor David K. Gomer

4 Graduate College The University o Ioa Ioa City, Ioa CERTIFICATE OF APPROVAL This is to certiy that the Ph.D. thesis o PH.D. THESIS Daniel Patrick Houglum has been aroved by the Examining Committee or the thesis requirement or the Doctor o Philosohy degree in Music at the May 01 graduation. Thesis Committee: David K. Gomer, Thesis Suervisor Scott Conklin Larence Fritts ennier Iverson Timothy Stalter

5 To my arents, hose love sustains alays and orever.! ii

6 Faith is hat someone knos to be true, hether they believe it or not. Flannery O Connor Wise Blood!!! iii

7 ACKNOWLEDGEMENTS I ould like to exress my sincere gratitude to my comosition teacher and dissertation advisor, David Gomer, ho held my music to the highest standards and rovided countless oortunities or learning and leadershi. A number o violinists generously assisted me ith the solo violin art, including Scott Conklin, Ignace ang, and Emily Rolka. Secial thanks to Tim Cuman, ho onderully erormed the solo role at the Center or Ne Music reading session. I am very grateul to these musicians or sharing their time and talents. I ould like to thank Larry Fritts or his guidance and direction, or the use o the exerimental music studios, and or teaching me the signiicance o details in sounds. I areciate ennier Iverson or her model o roessionalism, leadershi, and scholarshi, hich shaes me as a musician and educator. The imortance o Timothy Stalter s suort o the University o Ioa comosers through the annual choral readings cannot be overstated. I thank him or laying an integral role in the advancement o ne choral music at the University o Ioa. During my studies at the University o Ioa and beyond, Tony Donorio and Clara Ososki have been amazing riends and eers. I am humbled by their riendshi and have been insired by many more o my School o Music colleagues. I am also grateul to the University o Ioa Neman Center, Ioa Writers Worksho riters Michael Schorsch and Patrick Haas, the Preucil School o Music, and the University o Haai i comosition aculty or the oortunity to collaborate and be art o a larger artistic community.! iv

8 I ould like to take this oortunity to extend my gratitude to all o my teachers and mentors rom Redoubt Elementary School, Soldotna Middle School, Soldotna High School, Gonzaga University, Northern Illinois University and the University o Ioa. Notably, I thank the olloing music teachers or their roound inluence on me as a comoser, ianist, and music educator (in reverse chronological order): Robert Fleisher, David Maki, Edard Klonoski, Willie Pickens, William Koehler, Patrick Shamblin, David Fague, Alessandra Ammara, Greg Presley, Gary Uhlenkott, Robert Sittal, Kevin Waters, Vernel Schneider, Maria Allison, Dave Schmidt, and Karen Syvrud. My amily has been oundational to my ersonal and roessional develoment. O signiicance, the commitment my arents shoed to music education, the value they laced on groth and learning, and the sacriices they made on my behal have brought me to this oint. The comletion o my degree is a testament to the sustaining aith and love o my arents Tom and Linda, my siblings Dave and Melissa, Chris and Rachel, and Rosemary. For their articularly strong suort, I ould also like to recognize my extended amily members Romeo and Fe Alcantara, Michael Alcantara, Gabe Alcantara, Fred Bauman, Sharon Herrmann, Mark and Sue Houglum, Sue and Dan Knutsen, Kristy and Garth Warren, as ell as Granda Korman Houglum, ho assed during the creation o this music. Additionally, the Bernhot amily, Terry and Mike Lindbery, and Hoard and Donna Petersen rovided excetionally meaningul assistance during the journey o my graduate education. I thank them holeheartedly. Finally, I ould like to thank my ie, Liezl, or her atience, sacriice, encouragement, aith, and love. Without her, none o this ould be ossible.! v

9 ABSTRACT Sola Fides Suicit is a 0-minute concerto or solo violin and ensemble. The 16- member ensemble consists o lute (doubling iccolo), oboe, clarinet in Bb (doubling bass clarinet), bassoon, horn in F, trumet in C, trombone, tuba, ercussion I (bass drum, brake drum, chimes, glockensiel, to oodblocks), ercussion II (snare drum, susended cymbal, to toms, triangle, vibrahone), iano, to violins, viola, cello, and contrabass. Sola Fides Suicit is based on my revious solo violin comosition Et si sensus deicit ritten or violinist Emily Rolka in 010. Sola Fides Suicit is an exansion, orchestration, and ultimately a recomosition o Et si sensus deicit The melodic, harmonic, and ormal material in Sola Fides Suicit is largely based on my detailed musical analysis o the Pange Lingua, an unaccomanied 1 th century lainchant ritten by St. Thomas Aquinas. The six-hrase melody is ell-knon in the Roman Catholic tradition or its erormance at the end o Holy Thursday Mass. My analysis drove my comositional choices regarding to distinct objectives: One, to relect the chant material in overt ays (e.g., use o neighbor igures) and to, to intentionally diverge rom the original chant material, at times exloiting or exaggerating elements uroseully avoided in the chant (e.g., the tritone). I utilized both ays o decision-making to create drama, contrast, tension, and resolution in the iece. My large-scale ormal goal as to create a cohesive comosition utilizing articular surace and structural asects o the Pange Lingua melody, hile ithholding resentation o the melody in its entirety until the climax (conclusion) o the ork. Fragments rom the chant ere selected and emloyed in varying contexts deending on the ormal goals o each section. Some ragments ere resented ith e changes,! vi

10 hile others ere transormed and develoed through tonality, registration, timbre, and rhythm. My structural design as shaed by our ords o character the comoser Witold Lutoslaski erceived as essential in the creation o his large-scale orks: Introduction, Narrative, Transitional and Concluding. Inluenced by Lutoslaski s sychological aroach to listener ercetion as a comositional and analytical tool, Sola Fides Suicit unolds in our unbroken arts, each ortraying rimarily one o these our ormal characters. Within each movement, these ormal characters also occur on a smaller scale and give shae to each section. Only during the Narrative ortions is the content the most imortant asect erceived. During the Introductory, Transitional, and Concluding music, hoever, the role o the given section in the orm is more imortant than the content.! vii

11 PUBLIC ABSTRACT Sola Fides Suicit is a 0-minute concerto or solo violin and large chamber ensemble that is based on my detailed musical analysis o the Pange Lingua, an unaccomanied 1 th century lainchant melody ritten by St. Thomas Aquinas. In the Roman Catholic tradition, this melody is oten sung unaccomanied at the end o the Holy Thursday Mass, celebrating the Last Suer and marking the beginning o the Easter Triduum. Sola Fides Suicit combines melodic, harmonic, and ormal material rom the Pange Lingua ith my on musical language in a ay that retains the most essential overt and imlied elements o the melody. The chant material as broken u into ragments, hich ere emloyed in varying obscured contexts until the climax o the ork, at hich time the comlete Pange Lingua melody is heard ully. The title o the ork is taken rom the ourth verse o the Pange Lingua: And i sense ercetion is lacking, to strengthen a sincere heart aith is suicient. Ultimately, the comosition may be interreted as a commentary on ho aith is embodied, challenged, and sustained.! viii

12 TABLE OF CONTENTS INSTRUMENTATION... x PERCUSSION KEY... xi Part One... 1 Part To... 8 Part Three... 6 Part Four... 87! ix

13 Flute (double Piccolo) Oboe Clarinet in B-lat (double Bass Clarinet) Bassoon Horn in F Trumet in C Trombone Tuba Percussion I Bass Drum Brake Drum Chimes Glockensiel Woodblocks () Percussion II Snare Drum Susended Cymbal Toms () Triangle Vibrahone Piano Violin solo Violin I Violin II Viola Cello Bass INSTRUMENTATION Transosed-score 0 minutes in duration! x

14 PERCUSSION KEY! xi

15 Transosed score Flute Oboe Bass Clarinet in Bb Bassoon Horn in F Trumet in C Trombone Tuba Percussion I Percussion II Piano Violin Violin I Violin II Viola Violoncello Contrabass Part One Daniel Houglum non. vib. Allegro q = 10. l. non. vib.. # # æ n # n # #.. # æ j n... l.. æ... j. b l... # æ #. l. non. vib.. non. vib. # # æ Bass Clarinet l. m con sord. l... # æ. l.. æ / m / æ 6 6 # 6 # # # # j n # n # n n # n #. j j Part One # #... Allegro q = 10 non vib. non. vib. # # # # # # # # 6 6 sul E # Snare drum SOLA FIDES SUFFICIT: CONCERTO FOR VIOLIN AND ENSEMBLE j j j... Glockensiel l.v. # # Bass Drum Brake Drum izz. m sul A n B m arco izz. arco j j j... b j. Triangle Coyright 01 by Daniel Houglum j j # m m n j m m j j.. 1 m m /

16 6 m # m #. - #. #- B. C Tt. I 6 6 b b b j n b j n n n / / <# <# sub.. sub. sub. j # j -. - # # # # # b j n b #. # # n # b sul E sul A j # j. # # n n j # n # # n b n n B j # # # # b b n n # b j. sub. n j. sub.

17 B. C Tt l. æ æ l. l. l. l. l. æ æ l. l. Glockensiel 10 l.v. / j Toms Sus. Cymbal m to Bb clarinet / / # n # # n# n # æ æ æ æ # æ j æ # æ æ # æ æ æ j # æ j #. # æ # æ æ æ æ # # # æ j æ æ j j I B sul E sul A j b b # j

18 1 bbb b b b # m b bb b b n m # b # n b b n b b 1 C Tt. # # m 1 / / 1 I B sul A <b b b b n n sul E b b b b b b

19 C Tt b 18 / / m m Bb Clarinet m m m m m m m m # # j b j. con sord. b b n # # nj j j b b b b bnn # n nbbbbb # j j j j n b b b b n # n # bnbbb.. j j j j b b b b bnn # n nbbbbb 18 I B izz n n.. #. #. # # # j n b b j j n b b n # n # bnbbb izz b. n #... # j j.. n. j. b.. b b b # m # m

20 6 C Tt. <# b b <# m m molto rit. # # # # b n.. n b. n. n.. n. b.. b. bb # #.. # # # b b # # m m m m m m m b b # # # # b m b / / Bass Drum m Snare Drum æ m æ æ æ æ b n# n n n n. b.. b. n b b nnnn n. b. j. b. bb.. b. m # # b b I m m m arco.... b n n b # # # # # b m molto rit. m m <# b b n m <# b b b B arco b n# n n n bb. n b.. # # # b b

21 A b - Intensely q = 7 j # to Bass Clarinet 7 C Tt. I 0 b - b- 0 / / - b b < - A 0 j b - # b - # - b - - j - B - Intensely q = 7 b b b # b n j cadenza-like n # b b b bb n n n b n næ b n b n # b b j # m m m m m izz. m m

22 8 <# j Bass Clarinet # m C Tt. j # # m <# j / / Snare Drum æ æ Glockensiel luck strings ith ingernail # # m æ on keys / I <# B <b # m m # <# m arco # # # m m

23 9 B Allegro q = 11 9 B. <# r C Tt. 9 <# R con sord. / I 9 Bass Drum. / <# R # # # r B Allegro q = # # # # # # 6 R Ȯ R # # B<# # Ȯ R # ~ Oj r

24 10 B. # # # # R # 6 # # R # # 6 7 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ C Tt. / /. I # # m # <# <#~ Ȯ r # # # B izz. r # # b b

25 11 B. C Tt. 7 < Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j 7 6 j r 6 j # # # n b b j # # # # # # 7 / / # n# # # # 7 RÔ # i n n b # # # # # # I ~ O # O O # O j O O B # ~ # #

26 B. C Tt m # n# b b 6 sub. # j b C Broadly q = 10 m <# j # # b n b con sord. j m To Bb 1 0 / j æ æ / Triangle I 0 <# O B # # # m C Broadly q = 10 m m izz. arco j # # # # 6 m n b b 6 i n # # n i b n j b i j n m # m # m n n j n # R n j m arco m j b b j n b b #

27 1 B. C Tt. b m m n # j b # m / / b ni j n b bb # b n i j n # # # n # # # # n b n b b b bb I # j m m b n j m m B j # m m # j m b m

28 1 8 B. C Tt. 8 <b b b # # n b b n 8 / / 8 n b nbb b nn bbn 6 bbn 7 b# n nn j # R # j j j # # # 7 m I B b b b <b

29 1 6 Bb Clarinet Meno mosso q = 96 b b n æ m 6 b b n m m j j b # C Tt. 6 j j b # m m m 6 / / Triangle l.v. 6 <# # : Meno mosso q = 96 I B b b m m m izz. m b

30 16 68 # # 6 6 <# C Tt. 68 # n b b j j 7 m 68 / Vibes / b # # n # # # # 68 b æ j b ææ æ æ b æ æ m m # # n # : # # # : I B b b m m arco # m b bn m

31 17 7 sub # C Tt. 7 7 / <# / I <# # 7 # # # # R B æ m sub æ æ æ æ # æ æ æ : æ æ æ æ sub sub izz. izz. sub æ æ # j j æ R

32 18 C Tt. 78 <# / / # # 78 # # # # # : # I B # j # # arco arco # # #

33 19 81 to Piccolo D # to Bass Clarinet 81 C Tt. <# n n n m m <# # m m 81 / Bass Drum j m / I 81 #. b B n b # # m # # m n # <# # # # # m m b b <# # # n n # n D # # m

34 0 B. 88 accel. Piccolo m m Bass Clarinet # m 88 j m C Tt. I j m 88 / æ 88 # / m m m m sub. Vibes m m # j j i 6 6 <# n <# n B accel. i b n b b # n n æ # # # æ b n b b j # # n

35 1 Picc. E 9 q = 10 B. <# # j m 9 j j m C Tt. j j j <# j j # # I 9 / Glockensiel m j j E q = 10 9 # # # nn n n n n B n <# m # # n b nn n 6 O ~ ~ Ȯ O ~ ~ Ȯ O ~ ~ Ȯ O Ȯ ~ <# b bn # n j # # # # # # O Ȯ ~ O Ȯ ~

36 Picc. 98 B. <# # j 98 # j m C Tt. j j <# 98 j m # I j 98 B nn n n n 6 n# # # b b Ȯ O O ~ Ȯ. j Ȯ ~ O bȯ Ȯ O O ~ Ȯ Ȯ ~ O bȯ Ȯ O O ~ Ȯ Ȯ ~ O bȯ <# <# # j # n n# nbn n n n bn

37 Picc. 10. to Flute B. <# # j m C Tt. 10 <# 10 # j m j j j j j / j # < j j. I 10 j # # # n # ## j 6 6 j # # # # # # # n. <b ~ Ȯ Oj O ~ O. <b ~ Ȯ Oj O ~ O. <b B ~ Ȯ O O ~ O <# <#

38 B. C Tt. I 107 F Begin sloly q = accel. q = 11 Flute. n j. 107 j n. 107 to Bb Clarinet / j. Begin sloly q = accel. q = 11 F 107 ith intention n- n nn b bb bb b # # # # # nn n nn n.. j j Bb Clarinet. Bass Drum. B n. j # # n # n.. j oen. oen. j j.. Vibes b j. izz. # # n

39 C Tt / I Bass Drum q = 8.. n # #. # n j q = 8. begin sloer and even more 110 all ast accel. deliberately b 6 m 6 b bb bbb bbnn n n n # 6 6 # B # # j.. j j.. Vibes. j. accel. /

40 6 G 11 Aggressively q = 11 B 11 C Tt. 11 / / Snare Drum m Toms æ æ I 11 B # # n n 6 n n n n n 6 6 G, # n Aggressively q = 11 bb b b b b

41 7 11 # # b m 6 # B # 11 C Tt. 11 / Woodblock R / j æ j æ æ j æ 11 #. <b j bb j # # n b j j b b j b j I <b j B <b b b <b b b izz. b. b. b j j b j

42 8 C Tt. # 118 B <# m m j j m # nbb b # # # 118 / R I / j j b. b... b # 118 <b j n j # b b # bn n b b j n. j <b j b j j b. B <b. b n <b. b b # j

43 1 9 # # n # C Tt. 1 b j con sord. # b 1 / / j æ I 1 # n # R # # n n bb n R R B j b b b j j j b b b j j b b b b b b b b b b

44 0 19 H Abrutly sloer q = 60 # C Tt. 19 b j j b b 19 / / 19 H Abrutly sloer q = 60 accel. R 6 R b b b bbbb bb b æ æ nb æ n æ æ æ æ æ b æ b ææ æ m I B

45 1 1 1 C Tt. 1 / / b b n nn n bb 6 n # bb b b æ æ æ æ æ n æ æ æ 6 # n æ I B

46 q = # # n # bbb # n # # m # C Tt. b j j b con sord. b b con sord. b j j b / / 16 Bass Drum æ m m m Glockensiel q = n # # # n. n b b b b b j b j ##O Ȯ ~ Ȯ O Brake Drum / Sus. Cymbal l.v. Vibes æ æ # n # I B b j b j b b b b izz. b b n O Ȯ ~ Ȯ O

47 C Tt. 1 # 1 <# m # # # # m 6 # # / 1 m Vibes m 1 l.v. < / Sus. Cymbal Glockensiel l.v. æ # # Brake Drum # Ȯ Ȯ O # Ȯ / # 6 6 I B Ȯ Ȯ Oj # # # # Ȯ

48 1 # # # # n n # n # 6 C Tt. <# # j - <# / I 1 <# 1 1 <# # n - < <# Glockensiel m l.v. / Sus. Cymbal n- 6 6 <# ~ Ȯ O O B R ~ Ȯ O O # j # # R j j

49 18 18 C Tt. b j b b j 18 / m m / I 18 # # 6 6 n 6 # # # n n n # # # n n n B b b

50 C Tt. 11 / / m m 11 b b b # b n b b b # b n 6 n n # # # n n n n I B

51 7 I 1 j C Tt. b # j j 1 / m m oen m m m m m m m m m m oen 1 m m m Bass Drum # # oen b b # # # # b n j # b j b æ æ æ æ j / I I 1 i j n n b j # # # B b j # # # arco

52 8 16 Part To q = 7 16 C Tt. 16 / / Vibes j b I 16 m Part To q = 7 <# B sul tasto n b sul tasto b b <# n b b b b j

53 C Tt. I 167 / / b 167 b m m B rubato e esressivo b 6 6 sul tasto Glockensiel / sub. m sul E m sub. sul tasto sul A m sub b # æ æ æ æ b æ æ æ æ 6 6 æ æ æ j æ b b b b b sub.

54 0 171 m # b m 171 C Tt. I 171 / / 171 b # n b B Ÿ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b m m m m Vibes m # # Ȯ ~ Ȯ bȯ Ȯ ~ Ȯ Ȯ b b b

55 1 177 æ æ æ m j m 177 C Tt. 177 / b / 177 # b m take your time # n n <b Ȯ Ȯ Ȯ O # # I Ȯ Ȯ Ȯ O B b b j m

56 180 # # m n j # # # n m # # # # n n 180 j C Tt. 180 / / I 180 n # sul A + D m sul D + A m B j

57 18 m # m b b b b m b bb b b b b b b 18 b b C Tt. con sord. b con sord. b 18 / / Triangle 18 b m b b b b n æ b b æ b I m m m normal j b b b normal b b b æ æ æ æ æ b æ b b bbn nbb b b æ b b b æ æ b b

58 C Tt. 188 <b j # <b m <b j 188 <b j <b b 188 <b j # b # n # # # b b / con sord. n / Vibes j # # j n n / <b 188 b <b b n b b m take extra time in this bar # n # n # # # # n j n n sub. m n # # I æ æ b b m m b æ j j # j n æ <b b B b b # n b b sub. b sub.

59 191 K <# m <# # R # # <# 191 # n m C Tt. j m m 191 / / I 191 # # # # 6 B K # # # # # sul tasto 6 6 sul tasto 6 6 sul tasto 6 6 sul tasto # # # # # # # # # # # # # # # # # # æ

60 6 19 b <# n 6 b m b R b m b 19 C Tt. 19 / / I 19 B m m cresc m m cresc. m b n b cresc. cresc. b b b b n b b bn b b bb bb bb bb b b b b b b

61 198 b m b b 6 m b b Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b R m C Tt. 198 / / I 198 b B <b b b n b b n b b n normal b n n normal Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b b normal bb b bb b normal n n # # b nb nbb b

62 8 01 < Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b b Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 01 C Tt. 01 / / 01 n # n n# n bnbbn 7 b n n b n bbbbbb n# nnnbbn b < Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ n I b b b B b æ æ b æ æ b b

63 9 0 <b m b b b b C Tt. 0 b b m oen b b n m b 0 / / <b b 0 b b bbn bbb b b b n b b bbbb b b b b bb bn bb b b n bb I b b <b n b B <b b b <b b <b b b j

64 0 08 molto rit. b b m L Delicately q = 7 b j m <b n b j b m solo b b b b m m b b b b b b C Tt. 08 b b oen b m m <b b b 08 oen b j m / m / I 08 L molto rit. b bb bbb b b b bb bb b b bb bbb bbb bb b Delicately q = 7 sul tasto b b b b bo ~ ~ Ȯ O b bo ~ ~ Ȯ O B b bo ~ ~ Ȯ O b j b

65 1 1 b b b b b solo n b b m b b b n bb b b b b b b b b b b b b b b b b b bbbb bb 1 b C Tt. / / I 1 1 b b Vibes Glockensiel b b b b b bo b b b b O O O b b O b b b b b b b b b bbo b bo b b b b b b b b bbo b b O O O b b O B bȯ Ȯ bbȯ Ȯ

66 C Tt b j # b b b b b b b b b n b bb b m b b b b n bn b b b b bb bb con sord. b 16 b b b b b b b b b b b b / / 16 b b j bo b bbo bbo O normal n m I b b O O O b b O b b O O O O B bȯ Ȯ bbȯ Ȯ

67 0 M b b b b b 0 C Tt. 0 / / I M 0 b b b b b b b bb B m sul ont. b æ sul ont. b æ sul ont. n æ sul ont. n æ n b b æ æ n æ n æ b b b b æ æ n æ n æ nbb b b b b bb

68 n j C Tt. / / I b normal decresc. b bb b b b n-- b- b n b j b - n --- j j b b j normal b b j normal B n b normal b b b b b b b b b

69 C Tt. 1 N Rubato e esressivo q = # # n # oen # n / / m m m m m m m Ÿ~~~~~~~~~~~~~~ # # # # b b # # n # # # # # b # n # # # I N Rubato e esressivo q = 60 1 rit. n # # n <b - b- b n j # # # # # # # # m <b # j # # B <b n j b <b # # # m Ÿ~~~~~~~~~~~~~~~ b # n m m m m # n # #

70 6 6 # # n # R 6 m m # # # # # n m m m # # n# C Tt. m n # 6 / / 6 # # - n # n R # # n # n n # # # # # # m m j j # # # j m I # n j m m b # # B n m m # m m # # # n # # # n# # # # m

71 7 # <# # m C Tt. / / # n # n # n # # # # #Ȯ rit. n # # j m Ȯ O I B n n m m <# n m j Oj O Oj ~ O <#

72 8 very sloly # C Tt. / / I # # # very sloly # # n cadenza, reely # #Ȯ # O n n O Ȯ # Ȯ O # O Ȯ B #

73 9 9 9 C Tt. 9 / / 9 < n # # # # m b n # n b n # b bb b n b I B

74 60 C Tt. / / b b b n b- b b b b b b b n b b b b I B

75 C Tt. 8 / / 8 n n b b b # # n b b b n n b b I B

76 6 Part Three Furiously q = C Tt. 6 / / 6 Snare Drum ith solo æ <b b Part Three Furiously q = 9 on the strings rit. U n# # n n # # n b n nn n æ I B

77 6 6 6 C Tt. 6 / / 6.. I B

78 6 O q = C Tt. con sord. # 69 / Bass Drum i j i j m / # # # # m O 69 q = 1 I B #

79 6 7 # # # # # # n # # # # m 7 # C Tt. <# 7 / j i j i / # # # 7 # I B

80 b m # # # # m b C Tt. 77 / / 77 # b n # # I B

81 67 P C Tt. con sord. m m 81 / m / # j P 81 b n b n b I B

82 C Tt. 8 / / 8 # b b n b I B m

83 69 Q C Tt. I 88 Glockensiel Vibes Q 88 b sub. sul tasto sul tasto m b b b b b b bȯ Ȯ Ȯ Ȯ b b O Ȯ Ȯ Ȯ Ȯ O bbȯ b b b b

84 70 9 # # # # # # b # # # # # # # n n # n # 9 # C Tt. 9 < Glockensiel # # # / # # # # # # # # # 9 # # # I n# Ȯ Ȯ ## Ȯ Ȯ O Ȯ # # Ȯ # # # # # # # # # # # #

85 71 98 <# # # # n # n # n # n # # # # n m 98 <# # # C Tt. / I 98 / < <# # # <# # # 98 <# <#Ȯ <# # # # <# # # Ȯ # #Ȯ # Ȯ ~ <# # # # # # # # # # # B

86 7 R 0 <# m 0 <# j C Tt. 0 / / R 0 b b b b b b b # # n n# b n m cresc. I B m normal m normal n m b b cresc. b b b cresc. n b cresc. b b b #. n. n... n. n. b. #. n.. n.. n. n. b. #. n.. n. b b b b b b b b b. n. n. b. izz. j m

87 7 07 S j.... #... # # j.... #... # #.. 07 C Tt. 07 / Bass Drum / j 07 b b b n b n S # n n b. b I b.. B b

88 # n # # # n n 11 C Tt. 11 / / Toms m j 11 # n... j j # I B izz. izz. j j # j j j # j j n

89 7 C Tt. 1 # # / 1 1 / # # # # n j j Woodblocks m j con sord... #. m # j j n.. j. # con sord..... j j.. m Bass Drum j. # æ æ con sord. m m I # # #. n. izz. izz. n..... #. #.. n... n. #... # j j n.. j. izz. #... # j j n.. j. B..... j j.. j b arco b # # # n # # n # #

90 76 C Tt. # / m <# <# m m / j. j. b j... b.. j b j. <# # æ.... b j b. j b b.. j b b. æ æ b j j m b m m I 18 B # # # # nn b n n b. b b b b.. n.. n. b. b.. b... b.. j j b. b. j.. b.. j b j. b. j j b.... b j j. b. b b b j b j.. b bbb n# n n n n n n n

91 77 1 To Piccolo T Piccolo j # j #.. m C Tt. 1 j.. / 1 m æ / j. 1 # # # n # # n. n n m T j i j i #. j I j B <b j izz.

92 78 Picc # n b b b b b b b b b b b n # #. n. n. n. # n n # n n n. #. j. j... j C Tt. / / I # n b b b b b b b b b b b n # #. n. n. n. # n n # n n n.. # j. j b... j j b.. # j. j b... j j b B... #.. b. b

93 79 Picc. 7 #.. #. # # # # # # # n i j i j i j i j. 7 C Tt. 7 / / 7 #... #... # # # #. # # i # n j i i j j i j b. # I. # # B.

94 80 Picc. 1 i j 1... #..... #. #. #.... #. m C Tt. 1 / / I B arco arco arco... #.... #.. #. j m arco... # #. #.... #.

95 81 Picc. C Tt. I U # oen arco # # # bnn # n # # # j bb # / # j # j æ j j æ æ æ # # b # # U #. #. #. # b.. #. # n b n... #.. b. # n # # # # b j B Glockensiel bbbb oen Toms nbbn n b # # # # bbbb

96 8 Picc. 8 # n <# # n # n n # # # To Flute # b b b 8 # C Tt. oen i j i j i j i j <# / I 8 <# n # n # n... i j <# # n B # Bass Drum m Snare Drum j æ j æ j æ j æ j i j i j i j i j n# n i i j j i j i j i j m i # j i j i # j i j # n i j # n i j # # n i j n i j i j i j i j i j

97 8 C Tt. / I b b.. b.. b.. bb.. n# # n nnb bb b bnnn b nbbn n b # # # # n n. b b # # n B. b b n.. b # b b b

98 8 C Tt. 6 V b b 6 Flute b b b b b m b m n m I 6 Triangle V n i j i j n sub. <b b b B <b b b n m <b b m Vibes l.v. b j b / Bass Drum b b b b b b b m b i.... b b m Vibes n j m

99 8 0 m m cresc. # # j m m cresc. # # # m m cresc. n cresc. C Tt. 0 <b # j # m j cresc. <b j m j cresc. 0 cresc. l.v. Triangle / b Vibes j # m # l.v. Triangle / n <b 0 i j i j m i i <b b b m i j i j cresc. I <b b b b j # # j n m cresc. B # j # n m m <b # j # j <b m cresc. cresc. cresc.

100 6 i j i j i j i j i j i j i j i j i j i j i j i j i j i j # # i j # # i j j i # i j j i j i j i b b b 86 C Tt. <# 6 6 / 6 j j b b b j j # j # j i.... i Snare Drum m i j i j i j i j i j j m b b b i j i j i j i j i j i j i j ÿ i j i j i j i j i j i j i j b b b b b b b b i j j i j i i j i j i j i j I B b b b <# # j # j b b b b b b

101 C Tt. I 61 W Broadly h = 7 i j m m n b b b i j b ij n n b b i j æ m < i j B Part Four æ / b b æ æ Glockensiel Vibes # i j # i j n n W Part Four Broadly h = 7 61 i j æ æ b æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ i j æ æ b æ æ æ æ æ æ æ i j æ æ b æ æ æ æ æ æ æ æ 87

102 88 67 i j # # i j i j # # i j b C Tt. 67 j i j i b b b b b 67 / I / < 67 æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ B b b b b

103 7 m # n # i j # # i j i j i j i j i j i j # # # i j # # # i j 89 # C Tt. 7 sub. i j i j i j i j i j m sub. b sub. 7 / # Glockensiel # # / I / 7 normal! æ æ # sub. sub. sub. sub. sub. - æ æ # # - æ æ # B b b sub. Vibes # - # æ # æ æ æ æ æ # # æ æ # æ æ æ # æ # # æ # æ # æ æ æ æ /

104 90 X 77 R R # # R # R # j j j 77 j j j C Tt. 77 / / Woodblocks m Toms j m R j I X 77 n n m m m m

105 91 8 # # # j j j r j R j j - r to Bass Clarinet 8 b b j j - r m C Tt. # m b m 8 / R / j j I 8 m # m m m

106 C Tt. n m n b b <b # # 91 / / 91 b b I b b m

107 Y L'istesso temo q = 7 9 C Tt. 98 m semre like a simle organ relude m semre j b b 98 m semre 98 like a simle organ relude b b like a simle organ relude Bass Clarinet j / / # j b b b b j I Y L'istesso temo q = 7 98 m m O bo O Ȯ O b b O like a simle organ relude B b b O O O bbo O Ȯ O b O b j b j b b b j b

108 9 0 B. b b 0 b b b # b C Tt. 0 / / 0 I <b <b O O bb <b <bo bbo O Ȯ O O O n O O # O O O Ȯ n O bbȯ O O O bo O n O O O Ȯ B m <b b b b <b b b

109 9 11 b b B. b b # b b 11 C Tt. 11 / / 11 O Ȯ O Ȯ b Ȯ ~ I O Ȯ O Ȯ Ȯ ~ B b m b b

110 96 1 Z B. j # 1 C Tt. / I 1 / Chimes Triangle luck ith ingernail ÿ mute bass string in ront o hammers / Brake Drum Sus. Cymbal 1 Z b m <b Ȯ Ȯ Ȯ O Ȯ ~ Ȯ n Ȯ Ȯ O Ȯ + ~ B <b # j

111 97 0 B. 0 C Tt. / / I 0 < 0 Brake Drum Sus. Cymbal b # n # + + ~ Ȯ Ȯ ~ Ȯ bbȯ Ȯ b bȯ ~ ~ bbȯ ~ Ȯ Ȯ ~ Ȯ Ȯ Ȯ Ȯ ~ ~ Ȯ b m solo (not conducted) Ȯ n Ȯ O Ȯ Ȯ Oj B # n j

112 98 9 B. 9 C Tt. 9 / / 9 b b b b b b molto molto rit. sul tasto I B Aril 01 Honolulu, HI

ANDREW DAVID PERKINS (ASCAP) GRADIENTS. For Concert Band. FULL SCORE / (+Bass) Alto, Tenor, Bari / / Timp Perc (6)

ANDREW DAVID PERKINS (ASCAP) GRADIENTS. For Concert Band. FULL SCORE / (+Bass) Alto, Tenor, Bari / / Timp Perc (6) ANDREW DAVID PERKINS (ASCAP) For Concert Band FULL SCORE 2 1 1 3 (+Bass) Alto, Tenor, Bari 2 1 2 1 1 Tim Perc (6) DURATION: Aroximately 3:10 GRADE: 25 Coyright 2017 APOLLO STUDIOS All Rights Reserved andredaviderkinscom