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0883078 Full Score $6.50 Full Score By Douglas Akey INSTRUMENTATION 1- Full Score 4- 1st & 2nd F Horns 1- Piccolo 2- 1st Trombone 8 - Flute 2- 2nd Trombone 2- Oboe 2- 3rd Trombone 4- 1st Bb Clarinet 2 - Baritone B.C. 4- 2nd Bb Clarinet 2 - Baritone T.C. 4 - 3rd Bb Clarinet 4- Tuba 1 - Eb Alto Clarinet 1- String Bass 2 - Bb Bass Clarinet 3 - Mallet Percussion 1- Bassoon (Bells, Opt. Vibe, Chimes, Xylo.) 2- 1stEb Alto Saxophone 1 - Timpani 2- 2nd Es Alto Saxophone 2 - Percussion 1 2- B} Tenor Saxophone (S.D.,B.D.) 1- Eb Baritone Saxophone 2 - Percussion 2 3- 1st Bb Comet/Trumpet (Susp. Cym., Cr. Cyms., 3 2nd B} CometTrumpet Wd. Block, Sm. & Lg. Triangle) 3 - 3rd Bb Comet/Trumpet About The Music: PEREGRIN (A Traveler’s Tale) is a programmatic work describing the feelings of travelers searching for a new land and new lives. There are moments of discovery, trepidation and joy through- out the piece. ‘The rhythmic bass line at the beginning should be played very legato in order to achieve a subtle, pulsing effect. The instruments entering for the first time in measure 10 should try to blend their tones with those that are already playing. It is important that the snare drum accents (with brushes), the bass drum and the wood block all sound equally loud measure 29. It might be effective to slightly accent each articulated note in measures 39-43 so that the composite rhythm is ‘more obvious to the listener. Special attention may be needed to tune the octave E flats in the low brass parts in measures 57- ‘58, All instruments should cut off on count four of measure 62, leaving only the suspended cymbal to ring through the rest. The staccato articulations in measures 71 and 75 of the flute and piccolo parts should be played very secco, meaning dry. The new tempo in measure 79 should be exactly twice as fast as the preceding passage. ‘Beginning at measure 87, each new motif should be heard clearly by the listener. Do not hesitate to adjust the written dynamics if necessary to make this happen. Likewise, the alto saxophones, oboes, flutes and piccolo should be careful that their longer notes do not obliterate the sixteenth notes in each others’ parts beginning in measure 133. The clarinets should attempt to play as sus- tained as possible in measure 128 in order to preserve the melodic line despite the intervals. A slight Jp effect in the brass, saxophones and low reeds might help the listener hear the high woodwind parts in measures 134 and 136. Note: There are places where the 3rd clarinet part is written over the break. While this is not in keeping with the guidelines of the Queenwood Young Band Series, it has been done here where the entire section plays in unison to give the 3rds an opportunity to work on extending their range. In all such places, the 3rd clarinet partis marked as optional. Note: The Percussion 2 part beginning at measure 87 is written to be played by a single player. ‘The top notes are for small triangle, the middle notes for large triangle and the bottom notes for the dome of a suspended cymbal - all to be struck with a triangle beater. A more interesting and exotic effect can be created by substituting a suspended finger cymbal for the large triangle and a large tam-tam (or gong) for the suspended cymbal - all three still being struck with a triangle beater. The composer suggests this substitution where the instruments are available. DOUGLAS AKEY is Music Department Chairman at Hendrix Junior High School in Chandler, Arizona. He was the 1985 recipient of the American School Band Directors Association’s Stanbury Award as the outstanding young clementary/junior high school band director in the United States. He is a contributing editor to Bandworld Magazine and is active as a clinician and guest conductor at the junior and senior high level. In addition, he maintains an active career as a performer and is currently principal horn with the Tempe Symphony Orchestra. His fresh compositional style for band reflects this broad musical background. QUEENWOOD/KJOS YOUNG BAND SERIES Commisioned by and diated tthe 1933 Parade of ands Festal Peoria, Ariona Full Score ‘A ‘sTale Duration = ‘Traveler’: mone By DOUGLAS AKEY Allegro vivo (J = 160) g Picealo Flute Oboe BbComets/ Trumpets F Home 1 2 ‘Trombones Baritone ‘Tuba ‘String Bass ell, Vibe (opt), ‘Timpani Snare Drum, Buss Drum ‘Susp. Cymbsl, Crash Gyms, Wood Block, Smal Triangle, Large Triangle 1 2 3 4 5 6 Copyright © 1994 by Edmondson & McGinty no Interaonal Copyrght Secured Al Fights Resared Printed in US.A ‘Al i jeenwoodiKjos, lights Assigned to GueenwoodiKjos, 2002 anor A. ob. Bb Eb Alto ese poo apoee BbBass res. pen pe Ban ‘rte poco poo Z ‘rae poroa pore | eb pas. = erie paso ape 2 3 el eae 1 Tes. 2 3 Bat, Tubs Str, Bae Mallets Timp. eric Poa pO sv. go 7 SR Shy Aux. _— Pere. t 8 5 10 Peregrin —Sxophones—, Pree FL ob. Eb Bar. Gore ‘Tp The Tube Ste, Base Peregrin ob, Core ‘pte. Uns The, Str. Bass Bas (lane malt Mallets PP Fr Peregrin = a 2 22 AL ob, [ rb ato Cow ee petra) phon Ba. 1 [Bbatto} ob ten [ ebpue Aver nots prefered) Cor pte. Teh, Str, Base ‘Susp, ya. ek) BY 84 Pry 4 a 25 Peregrin FL ob. ab EbAlto Bb Bass ———Garinets 1 Eb att! abe, bbe. Saxophones —, Core Tp ns, Ths, Tuba Str Base Vibe opt) (ones) Wood Bik (hard aber mats) 8 2 Peregrin 32 33 Pice o Bb Bb Alto -———Garinets. Bb Bas [Eb att 5 Bb Ten, kb Bar. (—Serophone Cores Tee, Bur. ‘Tuba Str Bass Mallets ‘Timp. Ee Peregrin Eb Alto Str. Base Peregrin ———Asrinete — Pice. Cons ‘pts Hine ‘Tuba Str. Bass Peregrin un 2 Andante ¢ =72) Pie, ob, © eb atte Bbpas Ban, Cors/ ‘pte Hin, 2 Tr, Tubs Vibe (nt) ™ mp Peregrin ors Tuba Str, Bas Mallets Peregrin “4 ‘Clarinets o1 ab Bb Alto BD Bass Ths Tuba Str. Bae Mallets Aux. Peregrin me; Praomy 2 Clarinets ob, Bb ED Alto Bb Bass ns. Tro, Bar. Str. Bas Mallets Timp. SD. BD. Aux. Pere Peregrin 45 16 Mice, AL on. y pb y a Gore ‘Tp Ste. Bass Vibe (opt) Aux. Pere. ? Peregrin ad Twice as fast (J =144) Ged ope to 106) 9 Bree. FL 0, bb Bb Alto Bb Bas (————Gainets ——, [ Bb Alto 1 2 Bb Ten, eb tar Saxophones. Cored ‘Tp. His Ts, Tuba Str Bass Mallets Peregrin 7 18 FL. Mins. 3 Tbe, bar, Tube Peregrin eae seat inett ear 86 a 87 89 3 Pie, A on. ins, F souenato Tes, Tuba Str. Bass Mallets Timp, Aug Peregrin FL ob. Hin, 1 The, Tube ‘Str, Base Mallets Timp. Aux. Pere, 2 Peregrin 96 98 9 100 a0 2 Pic. FL ob, Bb Bb Alto Bb Base (———Garinets —— ba, [eb alto) 4 oben [eb bor Gorss/ Tp Fins ‘Teh Bar. ‘Tuba St, Baw Mallets Aux Susp. Cy. (jam mas) | ? ‘02 a 103, 104 105, 106 107 Peregrin a Allegro vivo (J = 160) Pree. Lr on. Bb Eb Alto Bb Bass ——Gsrinets Ben. [ ebate BbTen, tt | BeBe. Ths, Be BE aE uz ree terre Saxophones — ice AL ob. Bb Bb Ato abe Be, 1 Eb ato} abten Eb Bar. Cors/ Hns, Tbs, Str. Base Mallets Timp. ee Aux Peregrin 23 Peregrin AL on, ab {eed opt) ——Gisrinets — Has. Tobe ar, Tuba Ste. Base Mallets ws Peregrin 125 at 18 26 Pice. FL Cors/ Tp. ns Tbe, LP seo ad edema) or Pe TF a 10 Po 1a Peregrin te 134 0883078. ob. (— Saxophones — Gg E Cores Ts. | 3 Hn, 1 2 Teh 2 3 Ba, Tube Ste, Bass Mallets Timp. .. Bp. * Aux Pew. 2 Peregrin a . | Fagen 2 | KJOS