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Reflections On Monk PDF
Reflections On Monk PDF
by
KENNETH R. METZ, B.S., M.M.
A DISSERTATION
IN
FINE ARTS
DOCTOR OF PHILOSOPHY
Approved ,
May, 1997
/ / <
f 3 TABLE OF CONTENTS
Mo. 3^ ABSTRACT iv
c.^ LIST OF EXAMPLES v
CHAPTER
I. INTRODUCTION 1
II THELONIOUS MONK; HIS MUSICAL LIFE AND TIMES 4
Biographical Information 4
The Bebop Evolution 7
The Parker Paradigm 11
Piano Style 18
Melody and Improvisation 20
Whole-tone Figures 21
Chromatic Figures 22
Arpeggiation 23
Other Figures 24
The Technique of Monk's Composition 25
Timbre 26
Reiteration and Sequencing 28
Rhythm and Meter 29
Economy: Form and Logic 33
The Composition 51
BIBLIOGRAPHY 53
DISCOGRAPHY 55
ii
APPENDIX
A. ESrSTRUMENTATION 56
B SCORE 58
lU
ABSTRACT
As the end of the twentieth century approaches, the generation of musicians who
were the pioneers of modem jazz (ca. 1945-the present) has all but died out. Fortunately,
there remains an abundance of recordings which bear witness to the wonderfiil creativity
of the men and women artists of the idiom. In some cases there exist well produced
documentary films that provide in-depth information about the important jazz artists and
the times in which they lived. In addition, there are many otherfilmswhich capture their
live performances. There is also a large body of biographical, socio-historical, and critical
literature of varying quality that provides testimony about the music and musicians of the
era. In the lastfifteenyears authors have published transcriptions of recorded solos which
provide important insight into the nature of the music. Finally, theoretical research in jazz
has become an important new area for scholarly activity. Yet, the most important
elements that remain in our culturefi"omthefirstgeneration of musicians of the modem
jazz era are their ideas, their music, which is still being performed every day by a new
generation.
One musician who has left us much interesting music is Thelonious Monk. This
dissertation consists principally of a composition written using motives and themes from
Monk's music as well as information about his life. But it also contains a description of
the musical style of the times in which he rose to prominence, some analysis of his music,
a study of his compositional techniques, and a description of how I have employed certain
figures, themes, and techniquesfromthe music composed by Monk to create Reflections
on Monk, a composition in four movements for concert band written in homage to this
important jazz musician.
iv
LIST OF EXAMPLES
VI
CHAPTER I
INTRODUCTION
Jazz historians often cite 1945 as the beginning of the modem jazz era. This year
corresponds to the period of time when the music called bebop began toflourishin New
York City. Briefly, bebop is a style of jazz which emphasizes melodic improvisation in a
small group format. Historians consider bebop the beginning of modern jazz because it
represented a new level of artistic expression and creativity in American music history.
The bebop era divides conveniently into two periods, early bebop and hard bop.
The early bebop period begins in 1945 ends in 1955. The latter year marks the death of
Charlie Parker (1920-1955), the most important musician of modem jazz according to
many historians. The hard bop era ends in 1967 vAth the death of John Coltrane (1926-
1967), another very important innovator. Beginning with the bebop era, modern jazz has
evolved through various style periods, yet styles overlap. Though the bebop era "ended "
in 1967, contemporary jazz artists still play this style along with the older styles such as,
dixieland, swing, and post-bop styles. In short, the music of bebop is still alive and
breathing.
While Parker was the most influential bebop musician, there were othersfromthis
era who are important to modern jazz. One such musician was Thelonious Monk (1917-
1982). Monk was a jazz pianist and composer who continues to have a profound
influence on the jazz tradition. Although he played an important role in the development
of early bebop and hard bop, both as a player and a composer, it is as the latter that he has
made a major contribution. Some of his compositions are among the most well known
and most often performed in the jazz repertoire. In assessing his contribution to the jazz
lexicon, jazz historian, Frank Tirro, has written that Monk was important because he was
"thefirstjazz musician to discard successfully the traditional concept of melody and the
current ideas of melodic rhythm and develop his own system of musical construction " ^
What are the special features of Monk's musical constmction and techniques of
composition that made him a giant in the jazz field?
^Frank Tirro, Jazz: A History (New York: W.W. Norton and Company), p. 283.
2
The fourth chapter is a discussion of my composition. Reflections on Monk for
Concert Band, the score of which comprises the appendix B of this document. This work
is a tribute to Monk which employs some of the wonderful figures, motives, and themes
that Monk created in his compositions. Finally, the fifth chapter offiers a summary and
conclusions.
CHAPTER II
THELONIOUS MONK:
Biographical Information
Thelonious Sphere Monk was born October 10, 1917 in Rocky Mount, North
Carolina. In 1922 his family moved to New York City where he would reside for the rest
of his life. His parents were not musically inclined, but his mother sang in the church
choir. He began playing the piano at an early age with some of his first musical
experiences coming from accompanying his mother and playing in the church. Although
he was largely self-taught, historians indicate that Monk studied at The Juilliard School of
Music during his teenage years.^ By the age of seventeen he was touring as a pianist with
a gospel group. At this time Monk was playing in the typical stride piano style of the
thirties.^ The influence of stride would remain an element of his piano style for the rest of
his career.
There is little information currently available to account for Monk's activities from
1930 until 1938, by which time he had become the house pianist at Minton's Playhouse, a
night club in New York City's Harlem district that would become famous in the bebop era.
It is here that Monk came into contact with the major figures of bebop including,
saxophonist Charlie Parker. Jazz writer Ira Gitler makes the claim that by 1941 Monk had
already written some of the pieces that would become standards of jazz.** The fact that the
first recording of a Monk composition took place in 1944 lends support to Gitler's
^Gary Giddens, Rhythm-a-ning (New York. Oxford University Press), p. 216. Giddens does not state
how long Monk attended the school.
*ln stride piano style the left hand plays a bass note on beats one and three, and block-chords on two
and four.
"^In Cider's liner notes to Thelonious Monk, The Complete Genius, Riverside, BN-LA579-H2.
position.5 In that year Cootie William's big band recorded 'Round Midnight, one of
Monk's most sophisticated and well known ballads. Other evidence further suggests that
Monk had developed his unique piano style, approach to composition, and ideas about
harmony and chromaticism by the early forties.^ Dizzy Gillespie has acknowledged that
Monk had an early influence on his harmonic experimentation.^
The bebop era of jazz evolved between 1941 and 1945 at Minton's Playhouse,
Monroe's Uptown House, and other clubs in New York City's Harlem district where a group
of musicians, Monk, Gillespie, Clarke, and Parker among them, would gather nightly to
experiment with their music until the morning hours. In the process of playing together they
created the bebop idiom. Parker would emergefromthis milieu to become one of the most
influential musicians of modem jazz.
While Parkerflourished.Monk went through a period of relative neglectfromthe
middle forties until the middle fifties. Some of the chroniclers of the period indicate that
Monk's playing was considered too eccentric even for the emerging bebop musicians and
their growing audience.^ Adding to this, because of a marijuana-related conviction in
1951, Monk was denied a cabaret card for six years. In New York City at this time
musicians were required to obtain a cabaret card in order to perform in estabhshments
where alcohol was served. Instead another pianist. Bud Powell (1924-1966), who was at
first influenced and encouraged by Monk, rose to prominence as the most important
pianist with Charlie Parker's groups. Powell's playing and improvisation were heavily
influenced by Parker's virtuosic musical style. He was among thefirstof the pianists to
transfer Parker's phrasing to piano music. In contrast. Monk had developed his own style
and had gone in a direction which differed from conventional bebop. Although he became
^There was a nationwide ban on recording from 1942-1944. See Tirro, p. 396-7.
^Al Tinney, a jazz musician who was house pianist at Monroe's in the eariy forties, gives first hand
testimony to this claim, in Annual Review of Jazz Studies 2, 1983, p. 166.
' Peter Rutkoff, "Bebop: Modem New York Jazz," Kenyon Review, 1 Apr 1996, p. 109.
^ Thomas Owens, Bebop: The Music and Its Players (Oxford: Oxford University Press, 1995), p. 140,
somewhat of an underground figure, his compositions, 'RoundMidnight, Epistrophy,
Well, You Needn't, 52nd Street Theme, Straight, No Chaser, Blue Monk, and In Walked
Budiymtten for Powell) had become standard repertoire among jazz performers.
In spite of the dearth of live performance opportunities in this period, Monk held his
first recording session as a leader in 1947 for the Blue Note label. He recorded as a sideman
with Parker in 1950. In 1952 he obtained his first extended recording contract. By 1957
Monk' s performing career was once again on the rise. In this year he began a fruitful
association wdth saxophonist John Coltrane, one of the next major jazz figures to emerge in
the hard bop era after Parker's death in 1955. Coltrane, like Gillespie, acknowledged the
profound influence that Monk had on his playing.
Monk was one of the pioneers of the bebop era. He had developed his techniques
of composition and his piano style before the period began. His ideas about music and his
compositions had a significant influence on the development of both bebop and hard bop.
^ J.C. Thomas, Chasin'the Trane (New York: Da Capo Press, Inc.), p.84.
6
Scholar Ran Blake states that bebop musicians "leamedfromMonk's advanced voicings
and adventurous progressions and thereby (Monk) enhanced the evolution of bop." ^^ In
addition, Monk had an influence on the modem jazz tradition in other ways which become
clear with an understandmg of the nature of the bebop style. In order to define the
musical style that arose in the bebop era, it is necessary to compare some of its
characteristics to the swing era style which developed in the Thirties.
AABA
4 Fine
Ah \ B^ G7 cmin7 F7 dmin7G7 cmin7 F7 B^ B^7 E^ E°7 B, F7 B>
I (JQ t> c / / / / | / / / / | yyyx\ //y/\ /// /\/ /////// ///^
B
9 , D7 G7 C7 F7 D.C. al Fine
I V y y y / I//>-y^| y / / / | / / / y | x y / z l / / //'xy^^gy^^oo^
chomses.
The most striking distinction between the two styles was in the functioning of
rhythm section, particularly with the contrasting approaches to playing the dmm set and
the piano. In comparison to the characteristically steady accompaniment of the big band
rhythm section, the rhythm section in bebop, especially the pianist and dmmmer
accompanied the melodic line with a more complex and polyrhythmic interaction. The
8
term comping was used to describe the way pianists accompanied a soloist. The pianist
would comp by playing intermittent chords, with irregular rhythms, in response to the
phrasing of the soloist. The polyrhythmic aspect of comping reflected the fact that the
rhythm of the bebop melodic line itself was usually more complex and syncopated than the
melodies and ensemble backgrounds (called riffs) of swing.
The role of the acoustic bass player also changed in bebop, as it became costumary
among bassists to play a more linear and conjunct bass part (called a walking bass line).
Though the walking bass linefirstdeveloped in the swing bands of Count Basic and Duke
Ellington by Walter Page and Jimmy Blanton, respectively, in bebop it became idiomatic,
replacing the swing style bass part which typically contained repeated roots andfifthsand
less conjunct motion.
While the bass part became more conjunct, the melodic line in bebop tended to be
more disjunct, chromatic, and dissonant than the relatively diatonic and conjunct melody
of swing. There were at least three factors that contributed to making the melodic line
more disjunct: increased syncopation in the phrasing, more rhythmic and melodic
complexity, and more sudden registral changes demanded by virtuosic playing of scalar
and arpeggiated material. Increased dissonance and linear chromaticism arose in part from
the morefrequentplaying of the harmonic series' upper partials (ninths, elevenths, and
thirteenths) above the fundamental of the chord and the addition of notes impUed by
tritone substitution.
In tritone substitution, the dominant-seventh chord whose root is a tritone away
from the fifth scale degree replaces the regular dominant-seventh chord of the key.
Substitutions may also apply to secondary dominants. This substitution can have either a
harmonic application (e.g., V7/X-X becomes •'in/X-X) or a linear application affording
chromatic possibilities to melodic lines over progressions such as ii-V7-I. Example 2A, a
motive from the swing era which became common in bebop, demonstrates a Hnear
apphcation of tritone substitution which results in the chromatic approach to the tonic of
the key. Example 2B and 2C show approach to the third and fifth of the key, respectively
c
G7(l>9) C
ok c ok
^ftJ^ f
^
G7 ok
Conunwi tritone
$
^
^3?
^
s —LO-
10
such as quartal or quintal constmctions, modality, bi-tonality, or atonality. Bebop style
evolved more from developments in rhythm, phrasing, and increasingly more frequent
Though jazz historians cite Thelonious Monk as a pioneer of bebop style, and he
was labeled by some critics as "the high priest of bop," his musical style features many
attributes that are not a part of bebop. ^^ In order to show how Monk's music represents a
separate direction from bebop, I provide a rather detailed study of Chariie Parker's style of
melodic improvisation. As mentioned above, Parker was the most important musician of
the early bebop era, therefore, an understanding of his melodic line seems unavoidable in
the discussion of bebop. More than anyone else Parker defines bebop. This discussion
leads to a comparison between aspects of Parker's improvisation and that of Monk. This
comparison will demonstrate how Monk's music is atypical of bebop and how he fits into
Charlie Parker, more than any other bebop musician invented the paradigmatic
bebop line. His astonishing ability to create a linear expression of harmonies reflected a
a performer, he attained a level of virtuosity that jazz musicians still strive to emulate
today. Almost all the important jazz players have listened to him, studied his solos, and
absorbed his language. While many of Parker's original pieces became jazz standards, it
was both his phrasing and ability to improvise in a convincingly logical way on any piece
whether an original or a standard, that have had the most profound influence on the jazz
tradition. For the most part, Parker recorded and performed standard pieces from the
l^Orrin Keepnews, The View From Within: Jazz Writings 1948-1987 (New York: Oxford Universit
Press, 1988), p. 114. Keepnews discusses the inappropriateness of this label given to Monk.
11
swing era, earlier popular show tunes, or appropriated the same basic chord changes from
pieces that came from these genres for his own compositions. Most of his original works
are either blues, rhythm changes, or other melodic contrafacts. For example, his famous
piece. Donna Lee is based upon the harmony and form of a popular swing era piece,
Indiana by DeRaye and Paul. Another, by Parker, Ornithology, which is a musical pun on
Parker's nickname "Bird," is based on Morgan Lewis' How High the Moon.
According to jazz scholar Thomas Owens and others, Parker's improvisation was
"largely formulaic."^^ In no way does this imply that his solos are predictable. Instead, the
statement suggests that they were constmcted from a repertoire of favored figures rather
than from motives derived from the melody of the piece he was performing. This last
point has become a somewhat controversial issue with at least one scholar convincingly
demonstrating that there are both melody-specific motivic references and elements of
thematic improvisation hidden at higher levels of stmcture in Parker's solos. ^'^
Nonetheless one finds that, in almost all of his solos, Parker tended to favor certain
melodic formulas comprised of combinations of his favorite figures. Some of these figures
came directly from his predecessors in the swing era. Owens has conducted the most
thorough examination of Parker's favored improvisational figures to date.^^ The following
examples come directly from his research.
Parker frequently employed idiomatic chromatic figures similar to those shovm in
Ex. 2A-C. Figures related to these can be found in almost every Parker solo. Another
important set of Parker figures, derived from swing and employing arpeggiation, appears
in Ex. 3.
^^ Ibid, p.30.
^'^Henry Martin, Charlie Parker and Thematic Improvisation (Lanham, Md.: Scarecrow Press,
1996), p. 111-112.
^^Owens, op. cit., pp. 31-35. David Baker has also compiled Parker melodic formulas.
12
Example 3: Parker arpeggio figures.
As is the case of the figures in Ex. 2A-C, many other players from the swing and
bebop eras employed this or similar figures, an arpeggio, often outline the seventh and
sometimes the ninth above the fundamental. Figures from Ex. 2A-C and Ex. 3 were also
The next most frequently employed Parker figures, shown in Ex. 4, are basically
^ r^'lUIJli^ ^ mm
Example 4: Parker diatonic scalar figures.
The simplicity of the above diatonic figures makes them easy to apply to many contexts.
s
3 J—, diatonic
i chromatic
I ^ ^
i arpeggio
^
i
^ ^
Parker often constmcted his solos using the three basic building blocks shown
above in Ex. 2A-C, Ex. 3, and Ex. 4. The way he put these figures together is what made
^^There is some controversy- conceming the termsfigureand motive. The term, motive, will refer to
figures combined in the construction of a phrase segment, also known as a phrase member.
^^A formula is a musical idea constructed from a combination offiguresand used in improvisation.
13
The rhythm of the typical bebop line, except at medium and slower tempi, consists
largely of a series of eighth notes with occasional triplet (or other)figuresadded to
provide variety. In a well-constmcted bebop line the phrasing of the eighth notes creates a
sense of forward motion by directing the line toward a stmctural downbeat. Therefore,
the phrase willfrequentlyend on strong beats and begin on weak beats or weak parts of
either strong or weak beats. The often syncopated rhythms of bebop enhance this
principle. Thefirstarpeggiofigureof Ex. 3 with its start on an upbeat is a typical metrical
starting position for a bebop phrase.
14
E7 chord. In the first measure Parker outlines the B''7 chord with an approach from the
ninth (C5) of the chord. The registral jump from the last eighth note of the first measure
to the B** 4 in m.2 creates an accented appoggiatura. Parker outhnes a diminished-seventh
chord (F* A C E^ vii70/ii) over the amin7 D7^9 (iii7-VI7^^) harmony. This particular
chord substitution is a common melodic device in Parker. The chromatic approach on the
second beat of the fourth measure implies a tritone substitution as previously shown in Ex.
2 A. The passage in Ex. 6 clearly demonstrates the linear expression of harmony and the
importance of tritone and other substitutions in Parker's melodic Une.
From the perspective of Owens' analysis the scalar descent in Ex. 6 outlines pitches
in the B^-A-G-F^-E''-D-C-B''-A. If the registral leap is taken out, the descent spans two
octaves and a half-step from B^4 to A2. Owens states that "this scalar organization is a
device that he (Parker) brought into jazz, for his predecessors' music does not contain
them. "20
At least one prominent jazz scholar, Henry Martin, has disputed this claim.^^ The
issue deserves more research, but whether Owen's claim is accurate or not, there is no
question that Parker remains one of the most imitated jazz musicians of the twentieth
century. While he played certain formulas in improvisations for different pieces, Parker
was not merely a formulaic improviser. In recent years Martin has scmtinized the body of
Parker's recorded solos using Schenkerian analytical methods. These analyses reveal that
much of the underlying organization and logic in Parker's improvisation is not simply the
result of stringing together formulas. In his book, entitled Charlie Parker and Thematic
Improvisation, Martin has demonstrated that "Parker would often absorb the underlying
(Martin's italics) foreground motives and voice-leading stmctures of the themes, then
15
fashion his solos in light of that larger-scale thematic material. "^2 In effect, Parker
combined thematic material with basic formulas from his repertoire and tailored his
improvisation to the particular needs of a given harmonic framework.^^ Whether
consciously or not, Parker demonstrates an ability to link small-scale figures to large-scale
thematic relationships and conversely to express large-scale gestures at the figural level.
This is an important artistic quality which Parker shares with Monk.
One final aspect of Parker's improvisation deserves mention. In many of his solos
he quoted fragments of themes from popular, classical music, or his own compositions
For instance, he often ended a piece with a codetta that quoted Percy Grainger's Country
Gardens. He was also fond of quoting the opening to the Habanera of Bizet's Carmen.
The quotation became a common device among jazz musicians.
Nonetheless, Monk has had considerable influence on jazz style in other ways,
especially in the later stages of the bebop era. "He (Monk) among others, was beginning to
show jazz musicians that successful musical statements are not formulated purely in terms
of rapidly moving melodic lines. "2"^ Indeed, Monk's approach to improvisation differed in
interesting ways from that of CharUe Parker. Whereas Parker's solos are filled with rapid
passages. Monk's are filled with space. There is an economy in Monk's improvisation
which employs silence as a musical resource. Parker made masterful statements and
showed jazz musicians what to play. Monk showed them what and when not to play
because he was a master of understatement.
In different ways Monk and Parker were gifted improvisers and masters of both
melodic invention and motivic development. Jazz scholar Ran Blake has stated that
Monk's "most important contribution as a pianist was his ability to improvise a coherent
musical argument with a logic and stmcture comparable to the best of his notated
17
compositions. "25 This description could just as well apply to Parker's improvisation relative
to his composition.
According to jazz scholar Martin Williams, Monk once told a soloist that "you can
make a better solo if you use the melody. "2^ Wilhams suggests that Monk, more than
Parker and other contemporaries, employed the melody of the piece as a resource for ideas
in the solo. Monk's improvisational motives came from his composition. Both of these
elements came from his unorthodox style of piano playing and the unusual note choice that
resulted from this technique.
Piano Style
Monk had little formal training and developed his piano playing style by himself
His overall sound, choice of notes, and even melodic figures arise from his unconventional
piano technique. He did not bend his fingers to strike the keys, but rather held his hands
almost horizontal to the keyboard. "Often seemingly unintentional seconds embellished his
melodic lines, giving the effect of someone playing while wearing work gloves. "2'^ Though
18
one can hear in his playing this "work glove" effect which, to some critiques, suggested
that he lacked technique, Monk should not be dismissed as a pedestrian player. In listening
to his many recordings one finds that it is likely that these "wrong notes" are not due to a
lack of dexterity. Rather their appearance is part of a so called ''Klangfarben" technique in
which timbre is an artistic resource.28 Ran Blake cites amateur recordings from Minton's in
1940 which provide the earliest examples of Monk's playing as evidence that he, at this
time in his career, was able to play in the style of virtuosic swing era pianists such as Art
Tatum and Teddy Wilson.29 Further, among Monk's recordings there are difficuh passages
which he executes with remarkable finesse. An excellent example of the poUshed technique
which Monk could display is the piece Trinkle Trinkle^^ This is as difficult a melody to
perform as any in bebop, yet Monk played it with a precision that only an accomplished
pianist could match. In addition, he commanded great control over his articulation.
Though his attack was often percussive and harsh, he could suddenly change it, Ughtening
his touch with careflil calculation and control. Some of his advocates have pointed out that
Monk demonstrated a remarkably high degree of hand and finger independence.^^ He
could easily trill with outer fingers and play a melody with the other fingers in the same
hand. It was this skill which enabled him to play very rhythmically deft and surprising
punctuations in the left-hand accompaniment of his solos.
Monk's unusual playing style directly effected the type of melodic figures that one
finds in his composition and improvisation. These figures are often unusual and disjunct,
but they are still pianistic, at least for his approach to the piano.
In some ways Monk's piano playing is a link between the stride tradition of players
hke James P. Johnson and bebop players like Bud Powell. Throughout his career.
^2Mark C. Gridley, Jazz Styles (Englewood Cliffs, N.J., Prendce-Hall, 1978), p. 131.
^^Owens, op. cit., p. 143.
^•^Whitney Balliet, Goodbyes and Other Messages: A Journal of Jazz, 1981-1990 (New York, Oxford
University Press, 1991), p. 3 7.
20
Whole-tone Figures
From Tatum it is likely that Monk got the idea, shown in Ex. 7 for one of his
favorite figures, a downward sweeping whole-tone scale which Tatum employed, but
more often with a pentatonic scale.
Besides the figure in Ex. 7, Monk often employed other whole-tone derived figures
both in his improvisation and composition. One such figure occurs in the bridge of his
52nd Street Theme, as shown below in Ex. 8.
v^
^^^TJ^jnjj
Example 8: Whole-tone figure from 52ndStreet Theme.
In addition to the whole-tone material which appears in the above example as
successive augmented triads a whole step apart, the example also demonstrates one of
Monk's favorite polyrhythms, the three against four pattern articulated by the three-pitch
sequence in eighth notes. Further, the example demonstrates sequencing. One can find
many other examples of sequencing in Monk's improvisation, many more than in Parker
21
There are numerous instances in which Monk's figures included the interval of the
tritone. One characteristic figure, shown in Ex. 9A, is from a transcription of one of
Monk's solos on I Mean You^^ Here again, in the next measure of this solo he sequences
the figure down a half step. This figure was also the main motive for a later Monk piece.
Raise Four. Tritone figures arise in relation to the whole-tone scale, but in some of
Monk's music the tritone appears harmonically in the context of the Lydian scale. This is
particularly the case with the piece, Jackie-ing (Ex. 9B).^^
B l» Maj7 #11
B
f S f XE
Chromatic Figures
Monk employed chromatic scale fragments in a large variety of ways, including the
figures from Ex. 2 which arise from tritone substitution. One chromatic scale fragment in
a Monk composition is part of the melody of Blue Monk, a blues in which the main motive
is a four-note half-step ascent in eighth notes (D4 rise to F4). The first two measures
appear below in Ex. 10.
•^^Stuart Isacoff, Thelonious Monk, p.21, mm. 5-8. Transcription by Jerry Kovarsky.
•^^Lawrence O. Koch, "Thelonious Monk: Compositional Techniques, Annual Review ofJazz Studies
2, (1983). p. 68.
22
Another chromatic scale fragment is part of the motive of the famous Monk tune.
Straight, No Chaser, shown in Ex. 11. The chromaticism of this figure arises from the
combination of the blue note which is the flatted third (enharmonically spelled, circled in
the example) and the major third of the key.
^ ^ i M
%
Arpeggiation
arpeggiated figures link his music to bebop and, at the same time show how closely his
arpeggiated figures.
%jJ?ljAjj|^''i>^ . y l ^ r f e
Rhythm-a-ning AskKie Now
^^m^i^^uw -Round Midnight
23
Other Figures
Monk employed consecutive sixths to compose the blues-based M/.y/mo50.
Similarfiguresappear in his improvisations and as parts of other tunes. Example 13 is the
beginning of the theme to Misterioso.
i V^=^
^mm w
Example 15: Let's Cool One, mm. 1-4.
24
Onefrequentlyfindsthat many of the above Monkfiguresappear both in
improvised passages and as melodic material in his compositions. Monk employed
bebop vocabulary in common with Parker such as the idiomatic chromatic,
arpeggiated, and diatonic figures. However the whole-tonefigures,consecutive
sixths, otherfigureswhich feature unusual contour and rhythm, are melodic elements
which clearly separate Monk from orthodox bebop as defined by Parker.
25
Almost all his pieces are in 4/4. Only one. Ugly Beauty, is a waltz. There are a variety of
features in his compositions that give them their distinctive character. These include
unusual and interesting use of rhythm and meter, melodic gestures which are often disjunct
but always logical, interesting harmony, colorful dissonances, unusual phrase or formal
stmcture, or various combinations of these elements.
Monk wrote approximately seventy pieces in his career. Undertaking an
exhaustive analysis of every composition is beyond the scope of the current document.
Rather, I have confined my study to a few representative compositions. Furthermore,
there are certain compositional techniques that onefindsin many of his pieces as described
below.
Timbre
One striking feature of Monk's style that he integrated into both his improvisation
and composition is the playing of simuhaneous mmor or major seconds as mentioned
above. Sometimes these seconds arisefromhis compact chord voicings. For example, in
a CMaj7 chord the seventh (b*^) and root (c'') are voiced as minor seconds. Example 16
shows this and similar voicings. ^^
CMaj7 Dniin7orG7 C7 ^9
'j» 't^ m
Example 16: Monk secondal voicings.
In other passages onefindsseconds which seem to be employed for coloristic
effects. These are the "wrong notes" which Monk seemed to rehsh. For instance, he
might add a major or minor second below a note in the melodic line creating a pungent
^^Mark Levine, The Jazz Piano Book (pQtulama, CA.: Sher Music, 1989), p. 147.
26
dissonance. Jazz writer Gary Giddens credits Monk with being the one who "more than
anyone else transformed the minor second from mistake to resource. "-^^ This characteristic
suggests that Monk was paying attention to timbre in a way not unlike Schoenberg's
Klangfarben Melodie?^
k
r=^
^
y~E
^
^^Gary Giddins, Rhythm-n-ning (New York, Oxford University Press, 1985), p. 215.
^^Laila Rose Kteilly-O'Sullivan, op. cit., p. 6
"^^Lawrence O. Koch, op. cit. p. 69.
27
Reiteration and Sequencing
The primary developmental techniques in Monk's composition are reiteration and
sequencing. It is the interaction of these techniques with rhythm and meter that creates
Monk's unique musical character. Because his chords move so often in parallel motion by
half step it should not be surprismg tofindthat in his pieces he would also sequence a
figure by a half step. In Ex. 19, Monk sequences the opening motive of his 52wJ 5/ree/
Theme by half step.
i £
'^r-0
r^U-MJ'ljLJl^^ ^ ^ ^
28
to the subdominant chord in the ninth measure, contains such a sequence as demonstrated
in Ex. 21.
I B
f^^ 7 r i?i» VM n=FF^
-0—0-
m
'F=F^ f ^S
Monk would often state a motive using a certain rhythm, then when repeating it,
change the statement by the simple operation of using a different metrical position for the
begimiing of the same pitch and rhythm set. An excellent example of this rhythmic
29
displacement technique occurs m m. 7 of Well, You Needn't. Example 22 shows the
melody of the opening eight measures of this work. In this example the brackets delineate
the phrase segments of the passage.
Each segment begins on upbeat of four
fcwi
^W 3tl ^Myijjj vjjij ^^m
Entrance tnincated to upbeat of three
^ ^ ^ ^ ^
works.
"^^Mark S. Havivood, "Rhythmic Readings in Thelonious Monk," Annual Review of Jazz Studies 7
(1994-1995), p.27.
30
Frequently the metrical displacement is employed along whh simple figural
tmncation or elongation. The break between chomses in I Mean You is another
interesting example of this effect. As shown below (Ex. 24), the figure is offset in the
repeat in the same way the previous example was, that is, displacement has moved the
figure's beginning from the upbeat of four to the upbeat of three in the second measure.
I ^
5
Q
fe
[I[fii [/'a
S
^:t¥=5
W W
^
w
^
I I
w^ S w
^9^5
grf.
31
In another work, Rhythm-a-ning, an accentuation of beat four again creates a
superimposed 3/4 measure. However, in this instance, rhythmic diminution of the
arpeggio figure creates this displacement as shown in Ex. 26.
m ^
1
3
4
S
gi
w wis w WT S w 7
4 4
i tes
Example 26: Rhythm-a-ning mm 1-4.
Both augmentation and diminution of afigure,such as the one above is a common
device in Monk's music. In Ex. 27,fromIntrospection, Monkfirstplays the three-note
figure as a dotted quarter note, a quarter note, and a dotted quarter note. In the next
measure, the melodicfigureappears twice in a hemiola pattern of quarter-note triplets
'^iMU 'ii^J^
Example 27: From Introspection, showing diminution of the figure.
The second measure is a superimposed 6/4 measure. Note that thefigureis sequenced
down a half step on beats three through four. Later in this composition there is another
excellent example of rhythmic displacement arisingfromelongation.
k •?•-. r--?
^
^1^^^ JlSZ i/^'^ 111^ -^ ' ^1^ ^ j j u J w
^
The above examples demonstrate the mastery of the elements of rhythm and meter
that is characteristic of Monk's composition. The sophistication of the rhythm and meter
along with special timbral devices clearly set Monk apartfromhis contemporaries,
providing uniquely recognizable trademarks. Monk manipulates and combines his basic
32
motives to build phrases in interesting and imaginative ways. The element of humor in
Monk's music seems to arise in the metrical surprises combined with irregular melodic
contours that are typical of his phrases. Indeed, it is on the phrase level that onefindsa
remarkably intricate organization in his music.
'^jJr^Ji'U^^^i^ ^ ]M
^ u ? i 1
^
Phrase segment
Phrase 2
Q F9 Qh9~~ F9 T- ^
i i f
^ ^ ^ « ^
B mm. 17-24
ok j ^
D9
E9 Ek D9
r l i I M J n^ J J » J ^i
N i J^J.J.J^i
D.S.alCoda ^
C9 F9 >^
I>''J^J V J ^ i j ^ ^ ^
Example 29: Well, You Needn't.
33
This work, probably written before 1944, is a thirty-two measure AABA form. In
the first six measures the harmony is a repeating two measure half-step ostmato (F major
chord for one measure up to a 0^*9 chord for one measure), here referred to as the rocking
gesture. In this case, it is a large-scale gesture at the phrase level. Measures 1-8 form a
parallel period vsdth an antecedent and consequent phrase. As shovm in Ex. 29, the first
eight measures of the piece divides into two phrases, each of which contains two phrase
segments.
34
hidden in the arpeggiofigure(A3-C4-F4-C5, which some may suggest is the motivic
origin of the perfect fourth motive.
As shown eariier, (Ex. 20) it is thefigureat m. 7 that Monk sequences by a series
of half steps in the B section, often termed the bridge in jazz. This bridge begins with
what would be the next pickup gesture in an F7 chord. In this case D4-E^4 is the
semitone pickup gesture for the seventh of the F7 chord. In stmctural sense then, each
chord tone of the opening arpeggiofigure(mm. 1-2) has, on a larger scale, received its
semitone pickup gesture in movingfromthe A section to the bridge. Thus, in a subtle
way. Monk has embedded the arpeggiofigureinto the larger stmcture.
The harmony of the bridge (mm. 17-25), shown above in Ex. 29, moves by half
steps in chord planing. From m. 17 a 0^*9 chord ascends chromatically to an E9 in the
third beat of m. 21. Then this chordal line descendsfromthe E9 by half step to a B9 in
m. 25. Meanwhile, the harmonic rhythm of thefirstphrase of the bridge (mm. 17-20),
which had begun half as fast as in the A section, becomes four times faster in the second
phrase at measure 21. This rate increase and the rapid descent of the sequenced figure
drives the phrase back to the A section. This bridge has an interesting formal stmcture.
The first four measures contain two phrase segments which are temporal elongations of
thefigurein thefinalphrase segment of the A section (m. 7). It is interesting to notice
that Monk has restored the temporal space that he had tmncated in mm. 7-8. The first
phrase segment (mm. 17-18) is sequenced up a half step in the second phrase segment
(19-20). Then, at m. 21, the sequencing of thefigure,again in temporal tmncation,
continues up two half steps in the compressed time scale.
In this regard the overall period (mm. 17-24) has a modified parallel aspect to its
stmcture. Yet the increased harmonic rhythmic, the new descending harmonic motion,
and the motivic transformation that has taken place gives the second phrase strong
contrasting aspects. The beginning of the second phrase (m. 21) of the bridge is an
35
important stmctural event. The stmctural zenith of the bridge arrives on beat three of this
measure. The measure begins with the ascending motion but once the E9 chord is reached
the hne begins its descent. The root of the E9 chord which was the goal of the chromatic
ascent of the bridge is the semitone pickup (E) for the E-O'' ostinato of the A section. The
E9 chord appears in the context of a small scale rocking gesture (E''-E-E''). It is also
noteworthy that the semitone pickup gesture for the pitches harmonized by E9 is F-F^, the
enharmonic equivalents of F-G'', the roots of the opening ostinato. The bridge section
ends with both semitone pickup gestures (B-C, G^-A) successively reintroduced, mirroring
the order of presentation in the A section. It is especially revealing that there is yet
another small scale mirror of the rocking gesture using the C9 B9-C9 chords in the last
two measures of the bridge.
The formal stmcture is related to the successive appearances of the four semitone
pickup notes for each chord tone of the F7 chord which, of course, make up the E7 chord.
This relationship is embedded most elegantly at stmcturally important locations in the
form. The economy with which Monk manipulates motivic material to generate the
phrases, either by elongation or tmncation, creates an elegant balance m the formal
stmcture. This piece also demonstrates Monk's remarkable control over the forces of
harmonic rhythm.
There are other features of Well, You Needn't that deserve mention because
they are typically found in other compositions. One example of this is the use of the
last phrase segment of the A section as the material for development in the bridge.
This occurs in other quite a few of Monk's other pieces including I Mean You,
Rhythm-a-ning, and 'RoundMidnight. As shovm above. Well You Needn't contains
only two figures, one of which is derived from the other. This "economy of means" is
typical of many Monk compositions.^^
36
In some cases Monk based a composition on only one motive. A prime
example of this is Straight, No Chaser. The organization of this work demonstrates a
very elegant, but subtle superposition. Straight, No Chaser is one of Monk's blues
based compositions. The melody and harmony are shown below (Ex. 30).
I
j^.
^ ^
cmin?
^•*l L
F7
•=e ^^m
tl)fr}Tr'
gj^y
^
p
37
•evel,44 At m. 5 the continuation of the phrase across the formal structure's downbeat
dehneated by the harmonic gesture to the subdominant, creates an exciting sense of
forward motion. The beginning of the second phrase occurs in the middle, therefore
the relatively weaker part (S a ) of the second four-,
•measure phrase. The following
diagram illustrates this hemiola.
Phrase 1 Phrase 2
measures
2 + 4
L£_
s s W
W W
1
measures;
1 2 3 4 5 6 2__L .9 10 11 12
1
,s W s w S w
mm. 6-9^
ih^p^iJAH^m
TT
k ^ ^
44,
.oupe.Mo^r K T C s T t ^ f o t ^ n . ^ ; - ^ ' Z ^ T ^ : , Z ^ - ^ ^ ' ' - . . h a v e
h^nneasure I.e.. There is a h-erarchica, re>a.„.Mp ^f acL STrn^rXZ a^h^^ase
38
liwrr- III
Most of the scholars seem to agree that Monk had little contact with European
composers. However, Owens has noted that, according to Monk's son. Monk
possessed a record collection that included Chopin and Liszt and "other European
composers.'"*^ There is eye-witness evidence that early Twentieth-century European
composers, notably Stravinsky, did have a palpable influence on bebop. Some of this
evidence comes from Al Tmney, a pianist who was among the bebop pioneers. Tinney
was the house pianist at Monroe's at the same time Monk was at Minton's. In a 1983
interview he states:
"Stravinsky...borrowed a few things from jazz, but there were also things
borrowed from Stravinsky... at the end of Firebird Suite... (he) uses a
pedal bass and he has about five or six chords in a chromatic
sequence...And I guess that's where these guys (bebop musicians) finally
found out what you could do to a major chord. "^^
Whether influenced by late Romantic and early Twentieth Century art music or
not, there are certain elements in Monk's music that parallel the post-tonal chromatic
style and are not typical of the early bebop. His interesting melody and the way he
treats it through the innovative manipulation of rhythm and meter, the experimentation
vdth timbre, the chromaticism, the frequent whole-tone figures, "adventurous
harmony," the economy, and formal ingenuity are features of his composition which
brought a new level of sophistication to jazz and clearly established his importance as a
composer.
39
CHAPTER IV
REFLECTIONS ON MONK
First Movement:
Well..
The first movement of this work, in F, employs various elements from Monk's
composition. Well, You Needn't. Well., has a temary form: introduction(mm. 1-7)
.4(mm.7-88)5(mm. S9-113)A'imm.ll4-I5l)extension(mm.l52-l51).
The mtroduction(mm. 1-7) begins with an ostinato whose harmony recalls the
rocking gesture of the A section from mm. 1-6 of Well, You Needn't (Ex. 29). The
appearance of the simuhaneous major seconds in the second clarinets at m. 1 reflects
the influence of Monk's "work glove" style. Voicings hke these appear in every
movement and are a unifying element of the work.
The melodic material in the A section comes from the figure in the melody at
40
lf'^)lj^J
Example 33 A: ThefigurefromWell, You Needn't, m. 6.
Example 33B is the derivedfigure,as itfirstappears in the beginning of the^i section
at m. 7, stated by the bass clarinet and baritone saxophone.
^ ^
41
m
^ ^ -
ig.
^ ^ -^9-
f
m.l57
i
^
V
1
Second Movement
Blu
The second movement refers to materialfromMonk's famous blues. Blue
Monk. The form of this movement is as follows: ^(mm. l-U)A\mm. 14-25) B{mm.
26-52) ^-^(mm. 53-74) Coda(mm. 75-93). This movement employs the four-note
rising half-step figure shown in Ex. 34A, which is the openingfigureof Blue Monk, for
its constmction. Example 34B shows thefigureas h appears in m. 1 of the second
movement of Blu.
42
^ ^ ^
4
mm. 3-4 m. 6 mm. 1-2
^c :^
3
mm. 4-3
43
adjacent notes. A new pitch (B) enters in clarinet 1 on the last sixteenth note of m. 4.
In effect, the four-note figure on G-B'' undergoes expansion adding thefifthchromatic
note. In m. 5 the English hom adds G'' to the collection corresponding to the
expansion of the (D-F) figure. The English horn then completes the chromatic scale in
m. 6 with the C expanding the subdominant upward toward tonic and C^ expanding
the (D-F)figuredovmward.
Scale 1 |?o (k o x
o o ig:
zm
>o v<i.
Scale 2 t=s
Example 36: The two whole-tone scales.
44
Other than the two whole-tone scales, there is no specific reference to Monk's music in
this contrapuntal section. The bassoons, baritones, and tubas enter in m. 34. with a
sixteenth-note figure employing the altemate whole-tone scale, shown as Scale 2 in
Ex. 36, which begins to mix whh the phches of thefirstwhole-tone scale.
b Jzk
^ ^
EC
^ = > ^ ^
^m
T y
^ Wf.
r lEE
J
Example 37: Reduction offinalcadence in Blu.
Third Movement
'Round Mid
The third movement reflects both Monk's stride influence and ballad style.
This movement, a ballad, is in 4/4 meter and temary form: ^(mm. 1-14) 5 (mm. 15-
25) A (mm. 26-42). The opening accompaniment suggests the "oompah" of the
stride piano format with simuhaneous major seconds in the clarinets on the weak
beats. The vibraphone sounds a whole-tonefigurefromthe bridge of 52nd Theme
(Ex. 8), shown in Ex. 38, as another accompanimental figure.
45
MffmiH^Ps.
Vibraphone m.2
tsizza: ^ ^ = ^
slow
if^y^r-fcj^ • "#
ha ^f r r^r T *
3^#^
The orchestral bells in this section symbohcally ring twelve times as the flute plays the
'RoundMidnight quotation.
Fourth Movement
Myst...
The Monk figure of the fourth movement comes f[om Misterioso, a blues
which employs a series of ascending sixths (see Ex. 40). This movement, composed
in C, is in 5/4 meter and features a five-part rondo form, introduction (mm. 1-25) ^4^
46
(mm. 26-49) B^ (mm. 50-96) ^^(mm. 96-119;5^(mm. 120-137; ^^(mm. 138-161^
extensionimm. 162-170). The introduction contains simuhaneous seconds in the
accompanimental figures. As in the second movement, this mtroduction unfolds with
gradual chromatic scale presentation. The piccolo states thefirstfragmentof the
ascending major sixthfigureat m. 8. Thefragmentsgrow in length in a gradual
constmction of the successive sixths m mm. 24-25, which derivefromX^Q Misterioso
figure, shown in Ex. 40A.
47
•MP^v^^m^B^i..
rocking gesture in which the half-step motion now moves down then up to the final
mm. 169-170 r\
kU
«?
%
^
48
CHAPTER V
49
than a Cage.'"*'^ The artistry of Monk and Parker establishes their hnportance to the
jazz worid in different ways. In a sense. Monk points more toward the "Cage" in
Martin's analogy. After Parker's death Monk emerged as an importantfigurein jazz
because he reintroduced the unique Monk style to a jazz world in need of a new
direction. Monk was a minimalist like Cage. But unlike Cage, who challenged the
very tenets of Westem music. Monk worked within the confines of jazz tonahty. Still,
Monk's music suggested revolutionary directions in hs own individualistic way. His
interest in timbre, his mastery of the forces of rhythm and meter, his economy, and
humor all offer a radically different approach to jazzfromthe outstanding virtuosity of
Parker.
Both Parker and Monk emerged as significant artists of this period because they
displayed certain artistic quahties which set them apartfromtheir contemporaries. The
abihty to understand and express the hierarchical and organic nature of musical constmction
is an important element of the artistry of both men. Parker displays a remarkable ability to
express the large-scale voice leading of the work upon which he would base his
improvisation. Monk, in a similar way, demonstrates the understanding of how a figure
undergoes logical developmental procedures in his music such as displacement and
sequencing.
The music of Thelonious Monk shows remarkable organization, economy, and
variety. There is a very weh-developed sense of the hierarchical relationship of the
figure, the motive and the phrase as demonstrated in both Straight No Chaser and
Well You Needn't. This is an important trah which Monk shared whh Parker and great
musicians from other periods of music.
50
A musical painter of miniatures. Monk attended to the fine details of timbre,
rhythm, melody, harmony, and form. Coltrane's description of Monk as a "musical
architect of the highest order" is apropos. He employed a rich palette of figures
arising from his idiosyncratic playing style as motivic material. Whh this material and
his masterful control of rhythm, phrasing, motivic development, and form, he created
elegant musical stmctures that are masterpieces of the jazz idiom.
The Composition
The concert band serves as the medium for this composhion because it seemed
that Monk's music whh itsrichmelodic, harmonic, rhythmic, and timbral features
would translate well to the variety of textures and timbres afforded by this medium.
The strong timbral contrasts of the band especially help to enhance the contrapuntal
aspect of the work.
This is a jazz-derived composition, but h is not jazz. I have avoided many jazz
elements. For instance, there is no swingridepattem for the cymbal, no hi-hat on
beats two and four, nor much in the way of a walking bass line. Significantly, there is
no improvisation, which is a major component of jazz. The swing feel is not indicated,
though the music, because of syncopation and other Monk-influenced polymetrical
rhythm, should swing whhout h.
On the other hand, there is much jazz harmony, particularly Monk-hke
secondal voicings of seventh chords in every movement. In addition, much of the
harmony features the extended triads that are idiomatic chord constmctions in jazz.
There are also passages that employ chord planing, suggestive of Monk, jazz harmony,
and post-tonal chromaticism. Monk's economy is a strong influence m the way each
movement employs a few motives which undergo development. Hopefully, the work
51
reflects the type of awareness of hierarchical relationship that is characteristic of great
artists such as Monk, Parker, and the great composers of the past.
Monk has begun to receive wider recognition in the jazz world. There is now
a Thelonious Monk Institute of Jazz at the New England Conservatory of Music in
Boston, Massachusetts. This institute sponsors yearly competitions for jazz
instmmentahsts and provides scholarships to deservmg young jazz musicians. The
director of the institute is Monk's son, Thelonious Monk Jr., a jazz dmmmer currently
active in New York City. A biography of Monk by Peter Keepnews is nearly
completed with an expected publication date in the fall of 1997.
52
BIBLIOGRAPHY
Lawn, Richard J. and Jeffrey L. Hellmer. Jazz: Theory and Practice. Los Angeles,
' Ca.,1996.
Levine, Mark. The Jazz Piano Book. Petulama, Ca.: Sher Music, 1989.
Owens, Thomas. Bebop: The Music and Its Players. New York: Oxford University
Press, 1995.
53
Patrick, James. "Al Tinney, Monroe's Uptown House, and the Emergence of
Jazz in Uptown Hariem." Annual Review of Jazz Studies 2 (1983)
150-179.
Rutkoff, Peter. "Bebop: Modern^Qy^ York Jazz." Kenyon Review I (April, 1996):
24-48.
Schuller, Gunther. The Swing Era. New York: Oxford University Press,
1989.
Tanner, Paul O., Maurice Gerow, and David W. MegiU, Jazz: A History. Dubuque,
Iowa: Wm. C. Brown Pubhshers, 1988.
Thomas, J.C. Chasin' the Trane: The Music and Mystique of John Coltrane.
Garden City, New York: Doubleday, 1975.
Wdhams, Martin. The Jazz Tradition. New York: Oxford University Press,
1983.
54
SELECTED DISCOGRAPHY
55
3
APPENDIX A
ESrSTRUMENTATION
s
a
56
List of Instmments
Piccolo
[3] 1st Flute
[3] 2nd Flute
[2] Oboe
English Hom
[3] Bassoon
[6] 1 st B ^ Clarinet (div. a3)
[6] 2nd B^ Clarinet (div. a3)
[2] B^ Bass Clarinet
[2] E'' Alto Saxophone
[2] B'' Tenor Saxophone
E'' Baritone Saxophone
[3] IstB^ Tmmpet
[3] 2nd B^ Tmmpet
[4] F Hom
[4] Trombone
Bass Trombone
[4] Baritone
[6] Tubas
[5] Percussion
Vibraphone, Marimba
Tympani
Percussion I:
Movement I: Crash Cymbal, Triangle, Cowbell, Small Cymbal,
Vibraslap
Movement II: Snare Dmm
Movement III: tacet
Movement IV: Woodblocks (11 different sizes)
Percussion II
Movement I: Tambourine, Shaker (egg), Chinese Gong (medium)
Movement II: Small Cymbal, Bass Dmm
Movement. Ill: Orchestral Bells
Movement IV: Shaker, Vibraslap, CowbeU
Percussion III
Movement I: Temple Blocks, Tam Tarn (medium)
Movement.II: Tambourine
Movement III: tacet
Movement IV: Crash Cymbal, Claves, Suspended Cymbal,
CowbeU
57
APPENDIX B
REFLECTIONS ON MONK
SCORE
58
PnfocmaiKx Time - 20:00
Moderato
Reflections on Monk
1. J. = 76 for Concert Band
Ken Metz
Piccolo I. WeU.-
Rulet 1-2
Ot>aetl-2
EogUthHoni
Banoonc 1-3
Bb aainet I
Bb Quinetc 2-3
AloSaxopiwoet 1-2
Baritone Saxophone
'nunipetil-2
'nunipetc3-4
TromlxMiet 1-2
Baa 'nombone
Baritone
TWnt
Vibtifihone
Tunpnni
Pcrcuction 1
Percuaion 2
Pctcimion3
Fit. 1-2
Ob(. 1-2
EHn.
Bnc. 1-3
a.i
Cl«.2-3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
TYXi. 1-2
Tt)«».3-4
F. Hot. 1-3
F.Hni.2-4
Tbnt. 1-2
B.Tbn,
Bar.
Tuba
Vib.
Tunp.
Perc. 1
Perc.2
Fefc.3
60
Pice.
Fit. 1-2
Ob«. 1 2
E.Hn.
Bnt. 1-3
a. 1
Cit. 2-3
B.CI. 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
•nxt. 1-2
TtXt.3-4
F. Hnt. 1-3
RHnt.2-«
'n>nt. 1-2
B.Tbn.
Bai.
TUb«
Vib.
Timp.
Pete. 1
PefC.2
Pnc.3
61
Pice.
Fit. 1-2
Ot». 1-2
EHn.
Bnc. 1-3
a. 1
Clt.2-3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
T^ti. 1-2
•nut. 3-4
F. Hnt. 1-3
F. Hnt. 2-4
'n>nc. 1-2
B.Tbn.
Bat.
"Ma
Vib.
Tmip.
Perc. 1
Perc. 3
62
Pice.
Fit. 1-2
OU. 1-2
E.Hn.
Bnc. 1-3
a. 1
Clt.2-3
B.a. 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
•IY)»t. 1-2
T>«t.3-4
F. Hnt. 1-3
F.Hnt.2^
Tbas. 1-2
B.Tbn.
Bar.
TUba
Vib.
Timp.
F«TC. 1
IVrc.2
FUC.3
63
«i«JiL.>v
Pice.
PU. 1-2
Obe. 1-2
E.Hn.
Bnt. 1-3
a. 1
a t . 2-3
B.a. 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
1^.1-2
Tptt.i-4
F. Hnt. 1-3
F.HiK.24
Hnt. 1-2
B.Tbn.
Bar.
1\<M
Vib.
Timp.
Pete.
Tambourine
Perc.2 fl—^
mp
Pete.3 .-1
64
Pice.
Pll. 1-2
Ob«. 1-2
B.Hn.
Bnt. 1-3
a. 1
a t . 2-3
B. a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
1^.1-2
1>«.3-4
P. Hnt. 1 3
F. Hnt. 2-4
Tbn.. 1-2
B.Tbn.
Bat.
TUba
Vib.
Tunp.
Pete. I
Ptfc. 2
Pad
65
Pice.
FU. 1-2
Obt. 1-2
E.Hn.
Bnt. 1-3
a. 1
a t . 2-3
B . a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
1 1 if,—>—''""r^ \7^
1^.1-2
4 . ^ 1 f. 7 bft Y I •/ d ;7 1 t 1
•n)tt.3-4
F. Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bai.
T\t)t
Vib.
Timp.
Petcl
Perc.2
Perc.3
66
Piec.
Fit. 1-2
Obt. 1-2
E.Hn.
Bnt. 1-3
a.i
a t . 2-3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
Tpte. 1-2
TJ)tt.3-»
F Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bat.
•MM
Vib.
Tunp.
Perc.
Perc.2
3
Perc.3
67
Pice.
FU.1-2
Obc. 1-2
EHn.
Bnt. 1-3
a.
a t . 2-3
B.a. 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
T>tt. 1-2
T^.3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Tuba
Vib.
Tunp.
Perc.1
Perc.2
Perc.3
PKX.
Fit. 1-2
Obt. 1-2
E.Hn.
Bnt. 1-3
a.i
Clt.2-3
B.a. 1-2
A. Sax.1-2
T. Sax 1-2
Tp^.l-l
1^.3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bar.
Tubt
Vib.
Tunp.
Petcl
Perc.2
Perc.3
Pice.
FU.1-2
Ote. 1-2
E.Hn.
Bnc. 1-3
Cit. 2-3
B . a . 1-2
A.Sax.1-2
T. Sax 1-2
B.Sax.
Tptt. 1-2
Tpte. 3-4
F Hnt. 1-3
R HiK. 2-4
Tbac. 1-2
B.Tbn.
Bar.
lUm
Timp.
Perc.I
Perc.2
Perc.3
Pice.
FU.1-2
Obt. 1-2
EHn.
Bnt. 1-3
a.i
a t . 2-3
B.a. 1-2
A. Sax. 1-2
T. Sax 1-2
m -^
B.Sax.
s
1^.1-2
Tptt. 3-4
R Hnt. 1-3
F Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bat.
•MM
Vib.
Tunp.
Perc.1
Perc.2
Pete.3
= /
71
IUJ-.I1V
PKC.
Re. 1-2
Obe. 1-2
EHn.
Bnc. 1-3
a.i
a c . 2-3
B . a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Tl)«c. 1-2
T^.3-4
F. Hnc. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.T»)n.
Bac.
1\*»
Vib.
Timp.
Perc. 1
Fere.2
FCrc.3
"il'MlWl.'V
Pice.
FU.1-2
Obt. 1-2
E.Hn.
Bnt. 1-3
a.
CU.2-3
B . a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Hxt. 1-2
Tptt. 3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bat.
lUba
Vib.
Timp.
Perc. 1
Perc.2
Perc.3
T-i-fflBBB^
Pice.
FU.1-2
Obe. 1-2
EHn.
Bnt. 1-3
a.i
a t . 2-3
B . a . 1-2
A. Sax. 1-2
T Sax 1-2
B.Sax.
61
-T^ ^
TtXc. 1-2
i 1 i \^ ^ ^ ^^
W ' 'f- - f-
mp mf ^
TtXc.3-4
mfV
•mf\
R Hnt. 1-3 i t i m
•mp
uM ? -< \I i y i
R Hnt. 2-4
$
Tbnt. 1-2
B.Tbn.
Bat.
•MM
Vib.
Tunp.
Pad
Perc.2
Perc.3
74
Pice.
Fit. 1-2
Obt. 1-2
1 fl'i 1
EHn.
J' i iJ'' i'^
nff
Bnt. 1-3 m
a. 1
a t . 2-3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
GS
T^Xt. 1-2
Tptt. 3-4
Tbnt. 1-2
B.Tbn.
Bar.
Tup.
Perc. 1
Pete. 2
Perc.3
Pice.
Fit. 1-2
Obe. 1-2
EHn.
Bnt. 1-3
a.i
at.2-3
B. a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Tpte. 1-2
Tpte. 3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1 2
B.Tbn.
Bar.
TUba
Vib.
Timp.
Pad
Perc. 2
r—r-j r (• i
Perc.3
Pioc.
He. 1-2
Obt. 1-2
EHn.
Bnc. 1-3
a c . 2-3
B.a. 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Tl)te. 1 2
Tpte. 3-4
R Hnc. 1-3
R Hnc. 2-4
Tbnc. 1-2
B.Tbn.
Bat
lUba
Vib.
Tunp.
Perc. 1
Perc.2
Perc.3
Pice.
FU.1-2
Obt. 1-2
EHn.
Bnc. 1-3
a.
ac.2-3
B . a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
1^.1-2
Tptt. 3-4
R H K . 1-3
R HiK. 2-4
'n>nt. 1-2
B.Tbn.
Bat.
lU>a
Vib.
Tunp.
Fete. 1
Pete.2
Pete. 3
78
Pice.
Fit. 1-2
Obt. 1-2
EHn.
Bnt. 1-3
a. I
a t . 2-3
B.a. 12
A. Sax.1-2
T. Sax 1-2
B.Sax.
Tptt. 1-2
Tk>te.3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbo.
Bar.
TUba
Vib.
Timp.
Petcl
Perc 2
Perc.3
Pice.
Rt. 1 2
O U . 1-2
E. Hn.
Bnt. 1-3
a. 1
CU.2-3
B. a. 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Tpte. 1-2
Tpte. 3-4
R Hu. 1-3
R Hnt. 2-4
m li ;.]p^p -'p-'i^^p'' r r '•'^P ^ p ^ p -^ I'i
11>K. 1-2
B.Tbo.
Bat.
TUba
Vib.
Tunp.
Petcl
Perc 2
Pttc3
80
Pice.
FU.1-2
Obe. 1-2
EHn.
Bnc. 1-3
a.i
a c . 2-3
B . a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
T^te. 1-2
Tpte. 3-4
R Hnt. 1-3
RHiK.2-4
Tbnc. 1-2
B.Tbn.
Bat.
TUM
Vib.
Tunp.
Perc.
Perc 2
Perc.3
81
PlCC
R t . 1-2
Obt. 1-2
E»i.
Bnt. 1-3
a.i
at.2-3
B.a. 1-2
A. Sax. 1-2
n
T. Sax 1-2
B.Sax.
Itite. 1-2
•It>te.3-4
R Hnt. 1-3
RHiH.2-4
Tbnt. 1-2
B.Tbn.
Bat.
1\*a
Vib.
Tunp.
iVrcl
Ftrc3
82
Picc.
FU.1-2
Obt. 1-2
EHn.
Bnt. 1-3
a.i
a t . 2-3
B.a. 1-2
A . Sax.1-2
T. Sax 1-2
B.Sax.
1^.1-2
Tpte. 3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bac
TUba
Vib.
Tunp.
Perc. 1
Perc 2
Perc.3
83
Picc
FU.1-2
Obt. 1-2
EHn.
Bnt. 1-3
a.i
at.2-3
B . a . 1-2
A. Sax.1-2
T. Sax 12
B.Sax.
1^.1-2
1^.3-4
R HiK. 1-3
R Hnt. 2-4
Tb». 1-2
B.Tbn.
Bac
Itta
Vib.
Tap.
Perc 1
Perc.2
Perc.3
84
•«•
10S
Picc.
FU.1-2
Obt. 1-2
EHn.
Bnt. 1-3
a.i
at.2-3
B.a. 1-2
A. Sax. 1-2
T Sax 1-2
B.Sax.
1^.1-2
Tt)te.3-4
R H K . 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bat.
TUM
Vib.
Tmp.
Fletc.l
Pete 2
Perc 3
85
Picc.
FU.1-2
Obe. 1-2
EHn.
Bnt. 1-3
a.i
at. 2 3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
T^)te. 1-2
Tpte. 3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bar.
TUba
Vib.
Tunp.
Petcl
Perc 2
Perc.3
• * ^
,^j A Tempo
Picc
Rt. 1-2
Obt. 1-2
EHn.
Bnt. 1-3
a.i
at.2-3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
Tptt. 1-2
Tptt.3-»
R Hnc. 1-3
F Hnc. 2-4
Tbnc. 1-2
B.Tbn.
Bat.
T\<>a
Vib.
Tunp.
Pwcl
Perc 2
Perc 3
87
117
Picc.
R t . 1-2
Obe. 1-2
E.Hn.
Bnc. 1-3
a.
at. 2-3
B.a. 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Tt)te. 1-2
Tptt. 3-4
R Hnc. 1-3
R Hnt. 2-4
Tbnc. 1-2
B.Tbn.
Bar.
"njba
Vib.
Timp.
Perc. 1
Perc. 2
Perc.3
88
•WHi^^.
Picc.
Re. 1-2
Obe. 1-2
EHn.
Bnc. 1-3
at.2-3
B. a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
T>tt. 3-4
$
R Hnt. 1-3
j 1 ^I'j ^
R Hnt. 2-4 1 J N ij' ^
$
Tbnt. 1-2
B.Tbn.
BaL
Tuba
Vib,
Tunp.
Petcl
Pete 2
Perc 3
89
125
Picc
R t . 1-2
Obt. 1-2
E.Hn.
Bnt. 1-3
a. 1
B . a . 1-2
A. Sax.1-2
T. Sax I 2
B.Sax.
Tptt. 1-2
Tptt. 3-4
R Hnt. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bar.
T\Oa
Tunp.
Petcl
Perc 2
FCrc3
90
12S
Picc.
Rt. 12
Obt. 1-2
EHn.
Bnc. 1-3
a.i
ac. 2-3
B.a. 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
T ^ . 1-2
Tptt. 3-4
R Hnc. 1-3
R Hnc. 2-4
Tbnc. 1-2
B.Tbo.
Bac
lUa
Vib.
Timp.
Perc. I
Perc 2
Perc 3
91
133
Picc.
Re. 1-2
Obt. 1-2
EHn.
Bnc. 1-3
a.i
Oc. 2-3
B . a . 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Tptt. 1-2
T^te. 3-4
R Hnt. 1-3
R Hnc. 2-4
Tbnt. 1-2
B.Tbn.
Bar.
TUba
Vib.
Tunp.
Perc.1
^H ' i,' -7 r-
^' a ' b H T ' ()'
1 ^V
^
r^-f
Perc 2
i
1
« •
Perc.3
92
137
Picc.
R t . 1-2
Obe. 1-2
EHn.
Bnc. 1-3
a.i
Oc. 2-3
B. a. 1-2
A. Sax.1-2
T.Sax 1-2
B.Sax.
137
Tpte. 1-2
Tpts.3-*
m
R Hnc. 1-3
m •* > "* a -^ h' i^' ^
mp
•* a -* > -*
r
PP
a -*•
r
mp
mi
ii^'—If—#
pp
R Hnc. 2-4 ± ^
^ ^ ^ ^
^ " pp mp pp
Tbnc. 1-2
m
B.Tbo.
m
Bac
m
IUM
Tunp.
Petcl
Perc 2
Perc 3
93
Picc.
FU. 1 2
Obt. 1-2
EHn.
Bnc. 1-3
a.i
at. 2-3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
T ^ . 1-2
Tpte. 3-4
Tbnt. 1-2
B.Tbo.
Bac
•MM
vtp
Vib.
Timp.
Petcl
Pete 2
D [)' ^
' [)' ^ ^ f^ p\>7*—f
V
7- r—7- f
P P
7- •"''—f—f—f—f—7
«pp P p ;
f—7-
Perc.3
94
Picc.
Re. 1-2
Obt. 1-2
Etta.
Bnt. 1-3
a.i
at.2-3
B . a . 1-2
A. Sax.1-2
T. Sax 1-2
B.Sax.
T^)ti. 1-2
•nJte.3-4
R H K . 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbo.
1\<>a
Vib.
T-p.
Petcl
Pete 2
Perc.3
95
Pioc.
FU. 1 2
Ott. 1-2
EHn.
Bu.1-3
a.i
at.2-3
B. a. 1-2
A. Sax. 1-2
T. Sax 1-2
B.Sax.
Tpte. 1-2
Tpte. 3-4
R Hat. 1-3
R Hnc. 2-4
Tbnt. 1-2
B.Tba.
B«.
T\Oa
V*.
Tmip.
Ftac.l
tac.2
Perc.3
96
Picc.
FU.1-2
Obe. 1-2
EHn.
Bnt. 1-3
a. I
CU.2-3
B . a . 1-2
A. Sax. 1-2
T Sax 1-2
B.Sax.
T ^ . 1-2
Tpte. 3-4
RHw. 1-3
R Hu. 2-4
IbK. 1-2
B.Tbo.
Bac
T\lba
V*.
Tunp.
Pete. « -
E/tofttL
Pete. 2
Pete 3
97
n. Biu~.
kfuttrimo
Piccolo
Flutetl-2
Oboetl-2
EagliifaHom
Baccoone 1-2
aarinetl
a a i n e u 2-3
Bate aarinet
Baritone Saxophone
Misterioso
Ihimpete 1-2
m
Ttampelt3-4
HotK 1-3
m
Her nt 2-4
m
Ttonbonet 1-2
S
Batt lYombooe
S
Baritone ^
l\<)a ^
mvimba
Marimba/Vibfi|iiooe
Tunpani
Petcuttioo 3
H-
e 1997 by Ken Metz
98
Picc.
Re. 1-2
Obt. 1-2
EHn.
Bnc. 1-2
a. 1
ac. 2-3
B.a.
A. Sax.1-2
T.Sax 1-2
B.Sax.
1^.1-2
T|)te.3-4
Hnc. 1-3
Hnc. 2-4
Tbnc. 1-2
B.Tbn.
Bar.
Tb.
MatWib.
Timp.
Petcl
Perc 2
Pete.3
99
Picc.
Re. 1-2
Obe. 1-2
EHn.
Bnc. 1-2
a.i
ac. 2-3
B.a.
A. Sax. 1-2
T. Sax 1-2
B.Sax.
T ^ . 1-2
Tk)tt.3-4
Hnc. 1-3
Hnc. 2-4
Tbnc. 1-2
B.Tbn.
Bar.
Tb.
Mtt/Vib.
Tunp.
Perc. 1
Perc.2
Perc.3
X
100
Picc.
FU.1-2
Obt. 1-2
EHn.
Bat. 1-2
a.i
at. 2 3
B.a.
A. Sax. 1-2
T.Sax 1-2
B.Sax.
TY)te. 1-2
Tptt. 3-4
Hot. 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbo.
Bar.
Tb.
MmJVib.
Timp.
Petcl
Perc.2
Perc.3
101
Ill I » limLLJX^^ I I • • I • II • I
Picc
R t . 1-2
Obt. 1-2
EHo.
Bnt. 1-2
a.i
a t . 2-3
B.a.
A. Sax. 1-2
T. Sax 1-2
B.Sax.
1^.1-2
Ti)te.3-4
Hnt. 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bac
Tb.
M«yVib.
Tunp.
Petcl
Pete 2
Ptic.3
Picc.
R l . 1-2
Obt. 1-2
E.Hn.
Bnt. 1-2
a.i
a t . 2-3
B.a.
A. Sax.1-2
T.Sax 1-2
B. Sax.
T>te. 1-2
Tpte. 3-4
Hnt. 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bac
Tb.
MmJVib.
Tunp.
Perc. I
Pete 2
Pete 3
If
103
Picc.
R t . 1-2
Obe. 1-2
EHn.
Bnc. 1-2
a.i
Oc. 2-3
B.a.
A. Sax.1-2
T.Sax 1-2
B.Sax.
TtKc. 1-2
T^.3-4
Hnt. 1-3
Hnc. 2-4
Tbnc. 1-2
B.Tbn.
Bac
Tb.
Mar A l b .
Timp.
Ptrc.l
Perc.2
Perc.3
104
PKC.
FU.1-2
Obt. 1-2
E»i.
Bnt. 1-2
a.i
CU.2-3
B.a.
A. Sax. 1-2
T. Sax 1-2
B.Sax.
T ^ . 1-2
T^Jte. 3-4
Hue. 1-3
HiK.2-4
TbK. 1-2
B.Tbn.
Bac
Tb.
Mjt/Vib.
•n-p
Petcl
Perc.2
Perc 3
105
Picc.
R t , 1-2
Obt. 1-2
EHn.
Bnc. 1-2
a.i
a t . 2-3
B.a.
A. Sax.1-2
T.Sax 1-2
B.Sax.
Tpte. 1-2
Tl)te.3-4
Hnt. 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bar.
Tb.
Mtt/Vib.
Tunp.
Pete
Perc.2
Perc. 3
106
Pice.
R t . 1-2
Obt. 1-2
EHn.
^
^=r
Bnt. 1-2
"-'"i.j. d^.^M L—u^ ^;' i
vtp
a.
a t . 2-3 3t
-' mpL I IM L^ T P I ^ ^
B.a.
A. Sax.1-2
T.Sax 1-2
B.Sax.
Tkite. 1-2
TY)te.3-4
Hnt. 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bat.
Tb.
MarTVib.
Tunp.
SnveDr.
Perc.l -7 7- -y- i> /«
^ V
mp
Perc.2
Perc.3
107
Picc.
Re. 1-2
Obt. 1-2
EHn.
Bnc. 1-2
a.i
ac. 2-3
B.a.
A, Sax.1-2
T. Sax 1-2
B.Sax.
Tt>te. 1-2
TVte.3-4
Hnc. 1-3
Hnc. 2-4
Tbnc. 1-2
B.Tbn.
Bac
Tb.
Mtt/Vib.
Tunp.
Petcl
Perc.2
fl-^ -7 7 f
mp m
battIk.
• ^ — ^
-tp\
Perc.3 fr
108
Picc.
R t . 1-2
Obt. 1-2
EHn,
Bnt. 1-2
a.i
a t . 2-3
B.a.
A, Sax. 1-2
T.Sax 1-2
B.Sax.
Tpte. I 2
Tpte. 3 ^
Hnt. 1-3
Hne. 2-4
Tbnt. 1-2
B.Tbo.
Tb.
MMjVib.
Timp.
Perc.l
Perc.2
Perc. 3
109
PICC
R t . 1-2
Obt. 1-2
EHn.
Bnt. 1-2
a. 1
at. 2-3
$
B.a.
A, Sax,1-2
T, Sax 1-2
B, Sax,
T ^ , 1-2
Tt>te,3-4
Hnt. 1-3
Hnt, 2-4
Tbnt, 1-2
B,Tbn.
Bac
Tb.
MarTVib.
Tunp.
w
Sn>:Dr.
Perc.l
Perc 2 ^ ^
-1 ^ -i ^
vr
/ ^ ^
Perc,3
no
Picc,
R t , 1-2
Obt, 1-2
EHn,
Bnt. 1-2
a.i
a t . 2-3
B. a.
A. Sax.1-2
T.Sax 1-2
B.Sax.
Ti>te. 1-2
T^.3-»
Hnc. 1-3
Hot. 2-4
Tbnt. 1-2
B.Tbn.
Bac
Tb,
MtfTVib,
Tunp,
Perc.l
/ 'W
-^ 7 h
m -^—^
w • ^ r
^
Fere 2
Perc 3
111
Picc,
FU.1-2
Obt, 1-2
EHn,
Bnt, 1-2
a, 1
a t , 2-3
B.a.
A. Sax,1-2
T.Sax 1-2
B.Sax.
TtKc, 1-2
Tpte, 3-4
Hnc, 1-3
Hnc, 2-4
Tbnt, 1-2
B,Tbo.
Bac
Tb,
MarTVib.
Timp.
Pete
OT/
Pete 2
fl-^ TT f
• ^ ^
Perc 3
112
Picc,
Re. 1-2
Obt. 1-2
EHn.
Bnt. 1-2
a.i
a t , 2-3
B.a,
A, Sax.1-2
T. Sax 1-2
B.Sax. •I'-i
T))tt. 1-2
Tt)te. 3-4
Hnc. 1-3
Hne. 2-4
Tbnc. 1-2
B.Tbn,
Bac
Tb,
MarJVib,
Tunp.
Petcl
Perc,2
tee 3
113
^
Picc
Re. 1-2
Obe, 1-2
EHn.
Bnt, 1-2
a.i
a t , 2-3
B,a.
A, Sax,1-2
T, Sax 1-2
B, Sax.
T ^ . 1-2
Tptt, 3-4
Hnt, 1-3
Hnt, 2-4
Tbnt, 1-2
BTbn.
Bar,
Tb.
Mit/Vib,
Tunp,
Perc.l
T f mp
j^ ^ 7
Perc.2
Perc.3
mp
r- mf
114
Picc
R t . 1-2
Obt. 1-2
EHn.
Bnt, 1-2
a, I
CU,2-3
B,a,
A, Sax, 1-2
T, Sax 1-2
B,Sax.
TJ)tt. 1-2
Tptt, 3-4
Hnt, 1-3
Hne, 2-4
B,Tbu.
Bar.
Tb.
MatTVib.
Tunp.
Pete I
Perc,2
Perc. 3
115
^>v
Picc,
R t , 1-2
Obt, 1-2
EHn.
Bnt, 1-2
a.i
a t . 2-3
B.a.
A. Sax. 1-2
T, Sax 1-2
B, Sax.
Tpte. 1-2
Tptt. 3-4
Hnc, 1-3
Hnc, 2-4
Tbnc, 1-2
B,Tbn.
Bar,
Tb.
MatWib.
Tunp,
Perel
Perc, 2
Perc, 3
'^"^rm^
116
Picc,
Re. 1-2
Obt, 1-2
EHn.
Bnc. 1-2
a.i
a c , 2-3
B, a.
A, Sax,1-2
T, Sax 1-2
B, Sax.
Tpte, 1-2
TJ)te, 3-4
Hnt, 1-3
Hnc. 2-4
Tbnc, 1-2
B,Tbn.
Bar,
Tb,
MarATib,
Timp.
mi^ r r ^
Snare Dr.
mf
Perc.l f ^^ I' I' T^ ? f' ^
OT/
Perc.2 -7 7^
1M^ •^' M n'
«/[>
tan<Mwine
Perc 3
/' /' c/•
«{f racr-r4> racr
117
Picc,
R t , 1-2
Obe. 1-2
EHn.
Bnt. 1-2
a.i
a t . 2-3
B.a,
A, Sax.1-2
T. Sax 1-2
B.Sax.
T^ite. 1-2
Tt)te. 3-4
Hnt. 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbn,
Bar,
Tb,
Mar A T * .
Tunp.
Perc.l
Perc.2
Perc. 3
^"TTmr
118
Picc.
PU. 1-2
O U . 1-2
EHn.
Bnt, 1-2
a, 1
CU,2-3
B,a,
A, Sax,1-2
T, Sax 1-2
B.Sax,
Tptt, 1-2
Tptt.i-4
H K , 1-3
Hnt, 2-4
Tbnt, 1-2
B,Tbn.
Bac
Tb.
Mat/Vib.
Timp.
Perc.
Perc. 2
Perc 3
'• ^ UH
119
!wr\
Pice
R t . 1-2
Obt. 1-2
EHn.
Bu, 1-2
a, I
CU.2-3
B.a,
A, Sax, 1-2
T, Sax 1-2
BSax,
T>te, 1-2
Tptt, 3-4
Hnt. 13
Hnt, 2-4
Tbnt, 1-2
BTbn.
Bar.
Tb.
MM/Vib.
Tunp.
Petcl
Pete 2
Pete 3
•^f«S!*^*\
Picc.
FU, 1-2
Obt. 1-2
EHn.
Bnc, 1-2
a, 1
at,2-3
B,a,
A, Sax,1-2
T, Sax 1-2
B.Sax,
Tptt, 1-2
T^,3-4
Hnt, 1-3
Hnt, 2-4
Tbu, 1-2
B.Tbn,
Bar,
Mat/Vib,
Tunp, ^ cQirrrr h 7 i
jy
D f^^f^ -^—^ -^-^
Bt"^
Petcl -f-t^
/YY*
Perc, 2 -I ( 1 1 f -^—^
^ ^
Perc 3 fl-^ ^
121
Picc,
R l , 1-2
Obt, 1-2
EHn,
Bnt, 1-2
a.i
a t . 2-3
B, a.
A, Sax,1-2
T, Sax 1-2
B,Sax,
Tpte, 1-2
Tptt. 3-4
Hnt, 1-3
Hnt, 2-4
Tbnc, 1-2
B,Tbn,
Bac
Tb,
MatAab.
Tunp.
Petcl
Pete 2
Perc 3
122
"HM^N^
Pice
FU.1-2
Obt, 1 2
EHn.
Bat, 1-2
Oi. 2-3
A, Sax, 1-2
T, Sax 1-2
B, Sax.
• n * . 1-2
Tt>te,3-4
Hnt, 1-3
Tbnt. 1-2
B.Tba.
Bac
Tb,
MatATib.
Timp.
Perel
Perc, 2
Pete 3
123
-iBHBHrs^
Picc.
FU, 1-2
Obt. 1-2
EHn,
Bnc. 1-2
ac. 2-3
B.a.
A, Sax,1-2
T,Sax 1-2
B.Sax.
Tptt, 1-2
Tpte, 3-4
Hnc. 1-3
Hnc, 2-4
Tbnc, 1-2
B,Tbn.
Bar,
Tb,
MarAib.
Tunp. ^
Perc.l
H-
Fere 2
fl-i-
Perc 3
B-f
124
Picc.
Re. 1-2
Obt. 1-2
EHn.
Bnc, 1-2
a.
at. 2-3
B.a.
A, Sax,1-2
T, Sax 1-2
B,Sax,
$
T>tt, 1-2
$
Tptt, 3-4
Hnc, 1-3
^s \U
Hnc, 2-4
Tbnc, 1-2
B,Tbn,
Bar,
Tb,
MatA/ib,
Timp,
Perc.l
Perc 2
Pete 3
.if
125
Pice
FU, 1-2
Obt, 1-2
EHn,
Bnt, 1-2
a. 1
a t . 2-3
B.a.
A, Sax.1-2
T.Sax 1-2
BSax.
Tpte. 1-2
Ti)tt.3-4
Hnt. 1-3
Hnt, 2-4
Tbnt, 1-2
BTbn,
lb.
MaiAib,
Timp.
Petcl
Pete 2
i
Pete 3
i
126
^n••^^
Picc
Rt, 1-2
Obe, 1-2
E Hn,
Bnt, 1-2
a.i
a t . 2-3
B.a.
A. Sax.1-2
T.Sax 1-2
T>)te, 1-2
TJ)te, 3-4
Hnt, 1-3
Hnt, 2-4
Tbnc. 1-2
B.Tbo,
Bat,
Tb.
MatAib.
Timp.
Petcl
Pete 2
Pete 3
127
Picc,
R t , 1-2
Obt, 1-2
EHn,
Bnc, 1-2
a, I
Oc, 2-3
B,a,
A, Sax. 1-2
T. Sax 1-2
B.Sax.
T ^ . 1-2
Tpte, 3-4
Hnc. 1-3
Hnc, 2-4
B,Tbn.
Bat,
Tb,
MatAib,
Timp.
Perc,
Pete 2
Perc 3
128
m. 'Round Mid
Adagio J= 52
Piccolo
Rdetl-2
Obaett-2
EoglithHom
Battoom I -2
Bb aatinet 1
BbaitiKte2-3
B a a aarinet
Ako Saxcphonee 1 -2
Baritone Saxophone
Thimpete 1-2
ThimpeU3-4
Ttombonet 1-2
Bate Ttomtwne
Baritone
lUw
Vibtiphone
Timpani
Petcuttion 1
Percuttion 2
Percuttion 3
129
Picc.
R l . 1-2
Obt. 1-2
EHn.
Bnt. 1-2
a.i
a t , 2-3
B,a,
A, Sax, 1-2
TSax
B.Sax,
mp
T ^ , 1-2
f
Tpte, 3-4
RHnt, I 3
$
R Hnt, 2-4
$ Dolce
l,tolo
mp nfr
B,Tbn, m
Bac
J ,J J iJ
Tb,
LY.
I J I
Vib,
Pete I
Pete 2
Pete 3
130
Picc,
FU.1-2
Ota. 1-2
EHn.
Bnt, 1-2
a.i
a t . 2-3
B,a,
A, Sax, 1-2
TSax
BSax.
T>tt. 1-2
T>te.3-4
RHnt. 1-3
R Hnt. 2-4
Tbnt, 1-2
B,Tbo,
Bar,
Tb,
Vib.
Tunp,
Petcl
Fete 2
Pete 3
131
Picc,
Rl. 1-2
Ota, 1-2
EHn,
Bni. 1-2
a.i
a t . 2-3
B.a.
A. Sax. 1-2
TSax
B.Sax.
T>te. 1-2
Tptt. 3-4
R Hnc. 1-3
R Hnt. 2-4
Tbnt. 1-2
B.Tbn.
Bar.
Tb,
Timp.
Petcl
Pete 2
Fletc3
132
Picc.
R t . 1-2
Ota, 1-2
EHo,
Bnt, 1-2
a.
a c , 2-3
B.a,
A,Sax,1-2
TSax
B,Sax.
Tpte. 1-2
Tpte, 3-4
R Hnc, 1-3
R Hne, 2-4
I 3—nI
Tbnc, 1-2
'>'-^y^ 'r ^ r r T ^^ ^
B.Tbn.
3 ^ ^
Bat.
^ ^ r r TIT ^
Tb.
Vib.
Timp,
Petcl
Pete 2
Perc, 3
133
Picc.
R t , 1-2
Ota. 1-2
EHn.
Bnt. 1-2
a.i
Oc, 2-3
B,a,
A, Sax, 1-2
TSax
B,Sax.
1|)te, 1-2
T>te.3-4
RHnt, 1-3
RHnt, 2-4
Tbnc. 1-2
Bat,
Tb,
Vib.
Timp.
Pac.\
Pete 2
Pete 3
134
Picc.
H I , 1-2
Ota. 1-2
EHn,
Bnt. 1-2
a.i
a t . 2-3
B.a.
A. Sax.1-2
T.Sax
BSax,
Tptt. 1-2
Tpte, 3-4
R Hnt, 1-3
RHnt. 2-4
Tbnt, 1-2 ^
B.Tbn.
( 3 1
Bat. ^
|J Ii ^ -t^
Tb,
Vib.
Tunp.
Petcl
Pete 2
Pete 3
135
Picc.
R t , 1-2
Ota, 1-2
EHn,
Bnt, 1-2
a, 1
a t , 2-3
B.a.
A, Sax, 1-2
T.Sax
BSax.
Tpte, I 2
Tt)te,3-4
R Hne, 1-3
^ ITJ \fJ ~*_
R Hnt, 2-»
f
Tbnt, 1-2 ^
B,Tbn,
Bat. ^
Tb.
Vib.
Tunp,
Petcl
Pete 2
Perc, 3
136
'. .kiwi.. ^
Picc,
PU. 1-2
Ota. 1-2
EHn.
Bnt. 1-2
a, 1
^ 4 • ' j' ^W.
at,2-3
B,a,
A. Sax,1-2
TSax
BSax,
T ^ , 1-2
Ttte,3^
RHnt. 1-3
Tbnc. 1-2
B.Tbn.
Bar.
Tb.
Vib.
Timp.
Perc.l
Perc.2
Fere 3
137
IV. Myst.
Piccolo
Rulecl.2
Oboecl-2
EnglichHom
Baicoottc 1-2
aatinet I
aatinete 2-3
Bate aarinet
Baritone Saxophone
TlumpeU 1-2
Tkumpelt3-4
Horm 1-3
Hot nt 2-4
Ttombooet 1-2
m
Bate Ttombooe
Baritone
m
TUM
m
Vibraphone
Tunpani
Petcuttion I
Petcuttion 2
Petcuttion 3
138
( W
Picc.
Rl. 1-2
Ota. 1-2
EHn.
Bnt. 1-2
a.
O i . 2-3
B.a,
A. Sax. 1-2
T.Sax 1-2
B.Sax.
TtKc. 1-2
T^.3-4
Hnc, 1-3
Hnc, 2-4
Tbnc, 1-2
^
B,Tba
^
Bac ^
Tb,
Vib,
Tunp.
Petcl
Fete 2
Pete 3
139
Picc,
FU, 1-2
Ota, 1-2
EHn,
Bnt. 1-2
a.i
a t . 2-3
B, a.
A, Sax,1-2
T, Sax 1-2
BSax.
T^te. 1-2
T^.3-4
Hnt. 1-3
Hnt. 2-4
Tboi. 1-2
B.Tbo,
Bac
lb.
Vib,
Tunp,
Petcl
Perc 2
fl— -f-^ ru -^ T
K ^rrcr •JH' ja
-h^
Fere 3
&-M^
rr ^-^
ftr ^ ^
FT f-^
mp 7n
140
"T»-W«W
Picc.
R t . 1-2
Ota, 1-2
EHn,
Bnt, 1-2
a.i
a t . 2-3
B.a.
A. Sax.1-2
T.Sax 1-2
B, Sax,
Tpte, 1-2
Tptt, 3-4
Hnt, 1-3
^ ^ ^ ^
mp ruf «/
Hnt, 2-4 ^
mf \>y
^ 7 ^
Tbnc, 1-2 ^ ^ ^
«lf ^
B,Tbn,
Bar,
Tb,
Tunp,
Perel
Pete 2
Pete 3
141
Picc,
Rt, 1-2
Ota, 1-2
EHn,
Bnt, 1-2
a, I
a t , 2-3
B.a,
A, Sax,1-2
T. Sax 1-2
B,Sax.
l^te. 1-2
T>tt.3-4
Hnt, 13
$
Hnt, 2-4
Tbnt, 1-2
B,Tbn,
Bac
Tb.
Vib.
TSmp.
Petcl
Perc 2
Pete 3
142
^*
Picc.
R t . 1-2
Ota. 1-2
EHn.
Bni, 1-2
a. 1
a t . 2-3
B.a,
A, Sax.1-2
T.Sax 1-2
T))te. 1-2
Tpte, 3-4
Hnt. 1-3
Hnt. 2-4
Tbnc. 1-2
B.Tbo,
Bat,
Tb,
Vib,
Tunp,
Petcl
Fete 2
Pete 3
143
Picc
Rt. 1-2
Ota, 1-2
EHn,
Bni, 1-2
a.i
a t , 2-3
B,a,
A. Sax.1-2
T.Sax 1-2
B.Sax,
•'^l
-^»i
T>te. 1-2
TJitt, 3-4
Hnt, 13
Hnt, 2-4
Tbnc, 1-2
B,Tbn.
Bat,
Tb,
Vib.
Tunp,
Petcl
Fttc2
Pete 3
144
Picc.
Fb.1-2
Oil*. 1-2
EHi.
Bu. 1-2
a.i
at.2-3
B.a.
A. Sax. 1-2
T.Sax 1-2
B.Sax.
Ttite.I-2
1^.3-4
Hnc. 1-3
Hm.lA
•am. 1-2 £ =1
^ T
B.Tta.
Bac
^
^
w m *____i» ^m
Tb.
Tunp.
Pete. 2
Perc. 3
145
Picc.
R t . 1-2
Ota. 1-2
EHn.
Bm. 1-2
a.
CU.2-3
B.a.
A. Sax.1-2
T.Sax 1-2
B.Sax.
T^te. 1-2
Tpte, 3-4
Hne, 1-3
iiU::=iii'^
mp-
Hnt, 2-4
Tbnt, 1-2
B,Tbn.
Bat,
Tb,
Vib.
Timp,
Petcl
Pete 2
°^^' u'' ur rm
i •'K'' C'' Kf
rW QT'
1+-
Pete 3
T ii -
"7 ^ T•^+- mf
146
Picc
R t . 1-2
Ota. 1-2
EHn.
Bnt. 1-2
a.i
a t . 2-3
B.a.
A, Sax,1-2
TSax 1-2
B,Sax,
1^,1-2
T))te, 3-4
Hu. 1-3
Hoc.2-«
Tbnc, 1-2
^ ^
«/
BTbn,
Ugctto
Bat,
tLm. ' "/
Ugalo
Tb,
Vib,
Timp,
Petcl
Pete 2
Cresc.
^
f
-'([lew.''
DirxiT -7
jf^ ctath cymbal Lv,
Pete 3
r
6-^Tr^ T
Crtc.
0'* • ;!»• M^—T r^ 'A
147
Picc,
R l . 1-2
Ota, 1-2
EHn,
Bnt, 1-2
a, 1
a t , 2-3
B,a,
A, Sax. 1-2
T, Sax 1-2
B, Sax.
T>tt, 1-2
Tptt, 3-4
Hm, 1-3
Hnt. 2-4
Tbnt. 1-2
B.Tbo.
Bat,
:.4.4 I'liK
lb.
Vib,
Timp,
Pete, t
;.-af.-
Pete.2
Peic.3
148
in
Picc
Rt. 1-2
Ota. 1-2
EHn.
Bni, 1-2
a.i
a t . 2-3
B.a,
A, Sax,1-2
T Sax 1-2
B,Sax.
T^)te.l-2
T>tt.3-4
Hot. 1-3
HiK.2-4
Tbnt. 1-2
B.Tbn.
Bat,
Tb,
V*.
Timp.
Petcl
Pete.2
Pete 3
i°' \>( M' b ^-yrmwrm Hprp
149
Picc
FU.1-2
Ota. 1-2
EHn.
Bnt. 1-2
a.i
at.2-3
B.a.
A. Sax. 1-2
T.Sax 1-2
B.Sax,
1^,1-2
Tptt, 3-4
Hnt, 1-3
Hi»,2-4
TbK, 1-2
B,Tbn.
Bac
2.4,1 i oQjy
Tb.
Vib.
Tunp.
Petcl
Pete 2
Pete. 3
Hr^rrv rrrvd Trrrr—r FTTTrwrrrr
mp
150
Picc
FU, 1-2
Ota, 1-2
Elk.
Bnt. 1-2
a.i
a t . 2-3
B.a.
A. Sax. 1-2
T. Sax 1-2
B.Sax.
T ^ . 1-2
TtKi.3-4
Hnt. 1-3
Hu. 2-4
Tbnc. 1-2
B.Tba.
Bac
Tb.
Vib.
Tunp.
Petcl
Perc.2
Perc 3
Croc. ^
mrr
151
Picc.
Rt. 1-2
Ota. 1-2
EHn.
Bat. 1-2
a.i
at.2-3
B.a.
A, Sax,1-2
TSax 1-2
BSax,
T ^ . 1-2
Tptt. 3-4
Hnt. 1-3
Hnt. 2 4
Tbnt. 1-2
B.Tbn,
Bat,
only
Tb.
Vib.
Timp,
Petcl
Pete 2
Pete 3
frTrrrrrH
•sip
M I ^'^T I' 11 ^
Croc.
r r r r rrrrr
mf
152
t^
Pkc.
R t . 1-2
Ota. 1-2
EHo,
Bot. 1-2
a, 1
Cit,2-3
l^/'J ?*flf \.\\.u^\'[.\:>'.
«/
B,a,
A, Sax, 1-2
T, Sax 1-2
BSax.
T>te, 1-2
T^>te,3-4
Hat, 1-3
:1s:t:
HK,2-4 J- ^ J- .T'i. j^J J iU J. J'
«/
Tbw, 1-2
BTbo.
Bac
Tb.
Timp,
tec, 1
tec 2
Pete 3
TTTTrT rrmTTrrm rrTTTT b I' /
I' r ( V
153
1^
Picc,
Rt, 1-2
Ota, 1-2
EHn.
Bnt, 1-2
a, 1
a t , 2-3
B,a,
A, Sax,1-2
T.Sax 1-2
B.Sax.
HHc. 1-2
1^.3-4
Hnc, 1-3
Hnc, 2-4
Tbnc, 1-2
B,Tbn,
Bar.
Tb.
Vib.
Timp.
tec. 1
tec. 2
tec 3
M r r "Tf ->f ( I I ^''H' I r f ^''^'1 r I r i'
154
Picc,
Re, 1-2
Ota, 1-2
EHn,
Bnc, 1-2
a, 1
at.2-3
B.a,
A, Sax, 1-2
TSax 1-2
B, Sax,
TWc. 1-2
Ti)te.3-4
Hnt. 1-3
HiK.2-4
Tbnc. 1-2
B.Tbn,
Tb.
Vib.
Timp.
tec.l
rrTTTT mm r-rrrry
tec, 2
tec 3
1° M r r r f wrm FTTtn UTTrj i»T I' f r i
mf
155
"sa
Picc.
Re. 1-2
Ota. 1-2
EHn.
Bnc, 1-2
a.i
CU.2-3
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158
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161
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166
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167
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168
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170
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171
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172