A MOVEMENT FOR ROSA

For Symphonic Band

Commissioned by the Florida Bandmasters Association
Honoring Civil Rights Heroine
Rosa Parks
by
Mark Camphouse
In memory of my mother, Esther Camphouse (1919-1989)

Complete Band Instrumentation

1 - Full Score 2 - Bb Bass Clarinet 2 - 1st & 2nd Horns in F
1 - Piccolo 1 - Bb Contrabass Clarinet 2 - 3rd & 4th Horns in F
3 - 1st Flute 2 - 1st & 2nd Bassoons 4 - 1st & 2nd Trombones
3 - 2nd Flute 4 - 1st & 2nd Eb Alto Saxophones 2 - 3rd Trombone
2 - 1st & 2nd Oboes 2 - Bb Tenor Saxohpne 2 - Euphonium T.C.
3 - 1st Bb Clarinet 1 - Eb Baritone Saxophone 2 - Euphonium B.C.
4 - 2nd Bb Clarinet 3 - 1st Bb Trumpet 4 - Tuba
4 - 3rd Bb Clarinet 6 - 2nd & 3rd Bb Trumpets 1 - Piano (acoustical; grand)
1 - Timpani
3 - Percussion I 3 - Percussion III
Vibraphone, Snare Drum, Tenor Suspended Cymbal, Tubular Bells,
Drum (low pitch), Tom-Toms Wind Chimes (shared with Perc. 4),
(shared with Perc. 4) Xylophone, Bongos, Small Triangle
2 - Percussion II 2 - Percussion IV
Tam-Tam, Glockenspiel, Wood, Marimba (shared with Perc. 2), Bass
Block, Marimba (shared with Perc. Drum, Anvil, Tom-Toms (shared with
4), Crash Cymbals, Crotales Perc. 1), Wind Chimes (shared with Perc. 3)

TRN Music Publisher, Inc.

P.O. Box 197 • Alto, NM 88312 • USA
www.trnmusic.com
About the Composer . . .

Composer-conductor Mark Camphouse is currently

Associate Professor of Music and Director of Bands at Radford
University in Virginia. He also serves as conductor of two
Virginia based professional groups: The New River Chamber
Winds and The Skyline Brass Ensemble. Engagements as a guest
conductor, clinician and lecturer have taken him to 27 states,
Canada and Europe. Principle commissions include those by The
John P. Paynter Foundation, The Revelli Foundation, Florida
Bandmasters Association, and The United States Army and Marine Bands. A native
Chicagoan born in 1954, Camphouse received his formal musical training at
Northwestern University.

About the Music . . .

On December 1, 1955, Rosa Parks was arrested for refusing to give up her seat
to a white man on a segregated city bus in Montgomery, Alabama. Mrs. Parks
earned the title “Mother to a Movement” for her act of personal courage, sparking
the Civil Rights movement of the 1950’s. So significant and inspiring was her
peaceful act of defiance that the Rev. Dr. Martin Luther King, Jr. inscribed the
following words on the frontispiece of his book, Stride Toward Freedom, a copy of
which he gave to Mrs. Parks: “To Rosa Parks, whose creative witness was the great
force that led to the modern stride toward freedom.”
Throughout the history of our great nation, we have glorified (and rightly so)
various heroes, most frequently presidents, military figures and athletes. But we
must not forget heroes who are perhaps less conspicuous but every bit as
significant. Rosa Parks, who worked as a tailor’s assistant in a men’s clothing
store, became secretary of the Montgomery NAACP and the impetus to a major
social movement.
America’s proud heritage and the accomplishments of its people have been, and
continue to be, darkened by racial discrimination. This blight on our country takes
many forms, whether subtle or more overt, as with cowardly acts of intimidation
and violence by various extremist hate groups. Mrs. Parks addresses this
continuing problem in her 1992 book entitled Rosa Parks: My Story.
The final three paragraphs of that book:
I look back now and realize that since that evening on the bus in
Montgomery, Alabama, we have made a lot of progress in some ways.
All those laws against segregation have been passed, and all that
progress has been made. But a whole lot of white people’s hearts have not
been changed. Dr. King used to talk about the fact that if a law was changed,
it might not change hearts but it would offer some protection. He was
right. We now have some protection, but there is still much racism and
racial violence.
In recent years there has been a resurgence of reactionary attitudes. I
am troubled by the recent decisions of the Supreme Court that make it
harder to prove a pattern of racial discrimination in employment and by
the fact that the national government does not seem very interested in
pursuing violations of civil rights. What troubles me is that so many young
people, including college students, have come out for white supremacy
and that there have been more and more incidents of racism and racial
violence on college campuses. It has not been widespread, but still it is
troublesome. It seems like we still have a long way to go.
A Movement for Rosa, commissioned by the Florida Bandmasters Association was
composed and orchestrated over a three-month period: August - November, 1992.
With a duration of approximately 11 1/2 minutes, this ‘movement’-- a quasi-tone poem
-- contains three contrasting sections. Section I evokes Rosa’s early years, from her
birth February 4, 1913 in Tuskegee, Alabama, through her marriage in 1932 to Raymond
Parks in Pine Level, Alabama. Section II portrays years of racial strife in
Montgomery and the quest for social equality. The third section is one of quiet strength
and serenity. The hymn, We Shall Overcome (foreshadowed in sections I and II by
motivic fragmentation), is heard in its entirety near the end. The work’s final
measures serve as an ominous reminder of racism’s lingering presence in modern
American society. In his book Stride Toward Freedom, Dr. King states: “When the
history books are written in future generations, the historians will have pause and say,
‘There lived a great people - a black people - who injected new meaning and dignity
into the veins of civilization.’ This is our challenge and responsibility.”
Clearly, Rosa Parks met those challenges and responsibilities with great dignity
and courage. As Congressman John Conyers aptly said: “Rosa Parks moved civil
rights issues from the back of the bus to the front of America’s conscience.”

Mark Camphouse - December 1, 1992

4
In memory of my mother, Esther Camphouse (1919-1989)
Duration: approx. 11:30
A MOVEMENT FOR ROSA
Commissioned by the Florida Bandmasters Association
Slowly, q = 50 MARK CAMPHOUSE
U
Piccolo & 44 ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44
solo 1 pl. , U ,
1 & 44 œ œ ˙. ˙ œ œ 45 œ œ œ. œ . œ 44 œ œ . œ. ˙. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44
Flutes (p – P) π
semplice e sost. U
2 & 44 ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44
U
Oboes 1
2 & 44 ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44
U
1 & 44 ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44
U
Bb Clarinets 2 & 44 ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44

U
3 & 44 ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44
U
B b Bass Clarinet & 44 ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44

4 5 4 U
B b C. Bass Clarinet &4 ∑ ∑ 4 ∑ 4 ∑ Ó. Œ 24 ∑ 4
4 ∑ 2
4 ∑ 4
4 ∑ 3
4 ∑ 4
4
œ œ ˙. œ œ œ b œ œ. œ . ,
1 ? 44 ∑ ∑ 45 ∑ 44 ∑
U
Ó.
1º solo1 pl.
Œ 24 Œ 44 24 44 34 œ n œ. œ 44
Bassoons
2 J
p espr.
P
1º solo
œ . œ. 3 œ #, œ œ
dolente ma cantabile e sost.
U 1 pl.
#˙ 2 œ #œ œ 4 #œ
E b Alto 1 4
&4 ∑ ∑ 5
4 ∑ 4
4 ∑ Ó. Œ 24 Œ # œ œ 44 ˙
4 4 4
4
4
Saxophones 2
p espr.
P
4 5 4 U dolente ma cantabile e sost.
B b Tenor
Saxophone &4 ∑ ∑ 4 ∑ 4 ∑ Ó. Œ 24 ∑ 4
4 ∑ 2
4 ∑ 4
4 ∑ 4
3 ∑ 4
4
E b Baritone
U
Saxophone & 44 ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44
U
1 & 44 ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44
B b Trumpets
U
& 44 ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44
2
3

4 5 4 U
1
2 &4 ∑ ∑ 4 ∑ 4 ∑ Ó. Œ 24 ∑ 4
4 ∑ 2
4 ∑ 4
4 ∑ 3
4 ∑ 4
4
Horns in F
U
& 44 ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44
3
4
?4 5 4 U
1
2 4 ∑ ∑ 4 ∑ 4 ∑ Ó. Œ 24 ∑ 4
4 ∑ 2
4 ∑ 4
4 ∑ 4
3 ∑ 4
4
Trombones U
?4 ∑ ∑ 5 ∑ 4 ∑ Ó. Œ 24 ∑ 4 ∑ 2 ∑ 4 ∑ 3 ∑ 4
3 4 4 4 4 4 4 4 4
? 44 U
Euphonium ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44
?4 5 4 U
Tuba 4 ∑ ∑ 4 ∑ 4 ∑ Ó. Œ 24 ∑ 4
4 ∑ 2
4 ∑ 4
4 ∑ 4
3 ∑ 4
4
4 5 4 U
&4 ∑ ∑ 4 ∑ 4 ∑ Ó. Œ 24 ∑ 4
4 ∑ 2
4 ∑ 4
4 ∑ 3
4 ∑ 4
4
Piano
?4 5 4 U
4 ∑ ∑ 4 ∑ 4 ∑ Ó. Œ 24 ∑ 4
4 ∑ 2
4 ∑ 4
4 ∑ 3
4 ∑ 4
4
? 44 U
Timpani ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44
U
1 & 44 ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44
U
2 ÷ 44 ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44
Percussion U
3 ÷ 44 ∑ ∑ 4
5 ∑ 4
4 ∑ Ó. Œ 24 ∑ 4
4 ∑ 2
4 ∑ 4
4 ∑ 4
3 ∑ 4
4
? 44 U
4 ∑ ∑ 45 ∑ 44 ∑ Ó. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 44

Copyright © MCMXCIV by TRN MUSIC PUBLISHER.

TRN9419 All Rights Reserved. Printed in U. S. A. International Copyright Secured.
 5
16
4 2 5 4 5 U 2 4 2 4 3 5
Picc. &4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 Œ Ó. Œ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4
U
1 & 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
Fls. U
2 & 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
U
Obs. 1
2 & 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
U
1 & 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
4 2 5 4 5 U 2 4 2 4 3 5
B b Cls. 2 &4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 Œ Ó. Œ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4
4 2 5 4 5 U 2 4 2 4 3 5
3 &4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 Œ Ó. Œ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4
U
B b Bs. Cl. & 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
U
B b C. Bs. Cl. & 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
œœ˙ œ
? 44 œ 24 œ œ ˙. œ œ œ 45 œ ˙ .
U
Bssns. 1
2
Œ 45 44 Ó Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
F 3 π
p (echo)
œ# œ # œ ˙ ,
24 œ # œ œ 45 ˙ U
E b Alto Sxs. & 44 # ˙. 44 Œ # œ œ ˙ 45 œ # ˙. Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
1
2
F p (echo) π
U
B b Ten. Sx. & 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
U
E b Bar. Sx. & 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
U
1 & 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
B b Tpts.
U
& 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
2
3
U 1º 2 pls. ,
˙ 24 œ œ œ 44 ˙
& 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 Œ œ œ 44 ˙ ˙ 43 œ œ œ 45
1
2
Hns. (F) p sost. religioso N. B.
> espr.
4 2 5 4 5 U 2 4 2 4 3 5
∑ ∑ ∑ ∑ 4 Œ Ó. Œ 4 ∑ ∑ ∑ ∑ ∑
3
4 &4 4 4 4 4 4 4 4 4
œ œ ,
œ
5 U 2 œœ 4 œ˙ ˙˙ 2 œœ œœ œ 4 ˙ ˙˙ 3 œ œœ œœ 5
2 pls.
?4 2 5 4
1
2 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 Œ Ó. Œ 4 Œ 4 4 4 4 œ 4
Trbs. p sost. religioso N. B. > espr.
U 1 pl. ,˙
?4 2 5 4 5 2 4 ˙ 2 œ œ 4 ˙ 3 5
3 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 Œ Ó. Œ 4 Œ œ 4 ˙ 4 4 ˙ 4 œ 4
p sost. religioso N. B.
espr.
U 1 pl. > ,
Euph. ? 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 Œ œ 44 ˙ 24 44 ˙ 43 œ ˙ 45
˙ œ œ ˙
p sost. religioso
N. B.
espr.
U 1 pl. > ,
Tuba ? 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 Œ 44 24 44 43 45
œ ˙ ˙ œ œ ˙ ˙ ˙
œ espr.
U p sost. religioso N. B. >
& 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
Piano
U
? 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
U
Timp. ? 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
4 2 5 4 5 U 2 4 2 4 3 5
1 &4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 Œ Ó. Œ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4
÷ 44 2 5 4 5 U 2 4 2 4 3 5
2 ∑ 4 ∑ 4 ∑ 4 ∑ 4 Œ Ó. Œ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4 ∑ 4
Perc.
U
3 ÷ 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
U
4 ? 44 ∑ 24 ∑ 45 ∑ 44 ∑ 45 Œ Ó . Œ 24 ∑ 44 ∑ 24 ∑ 44 ∑ 43 ∑ 45
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25 poco pìu mosso, ¤ = 54
5 ∑ 2 ∑ 34 ∑ 4 ∑ ∑ 2 ∑ 3 ∑ 5 ∑ 4 ∑
Picc. &4 4 4 4 4 4 4
5 ∑ 2 ∑ 34 ∑ 4 ∑ ∑ 2 ∑ 3 ∑ 5 ∑ 4 ∑
1 &4 4 4 4 4 4 4
Fls.
5 ∑ 2 ∑ 34 ∑ 4 ∑ ∑ 2 ∑ 3 ∑ 5 ∑ 4 ∑
2 &4 4 4 4 4 4 4
1º 1 pl. 3
1 5 ∑ 2 ∑ 34 ∑ 4 ∑ ∑ 2 ∑ 3 ∑ 5 Ó 4 œ œ œ œœ œœ
Obs.
2 &4 4 4 4 4 4 œ. œ. 4 J œ
P F espr. 3
N. B.> sost.
5 ∑ 2 ∑ 3 ∑ 4 Ó Œ #œ œ ˙ ˙ 2 œ œ 3 ˙ œ 5 ˙ œ. 4 œ œ# œ œ œ œ œ œ
1 &4 4 4 4 4 #œ 4 4 # œ. 4 J
, p sost. religioso N. B.
P F espr.
3 3

Bb 5 ∑ 2 ∑ 3 Ó 4 2 > 3 5 4
Cls. 2 &4 4 4 4 œ œ œ ˙ 4 œ œ# œ 4 # œ œ n œ 4 ˙ œ. 4 aœ ˙ œ
#œ œ #œ œ #˙ P œ. F
p sost. religioso
P espr.
F N. B. >
div. unis.
5 ∑ 2 ∑ 3 ∑ 4 Ó Œ 2 3 5 4
3 &4 4 4 4 4 4 4 4 œ a˙ œ
# œœ ˙ # ˙˙ œœ # œœ ˙˙ œœ ˙˙ ˙ œ
p sost. religioso P F
B b Bs. Cl. 5 ∑ 2 ∑ 3 ∑ 4 Ó Œ 2 3 5 ˙ 4 œ ˙
&4 4 4 4 œ ˙ ˙ 4 4 œ 4 ˙ œ 4 aœ
p sost. religioso ˙ ˙ F
P
B b C. Bs. Cl. 5 ∑ 2 ∑ 3 ∑ 4 ∑ ∑ 2 3 5 ˙ 4 œ ˙
&4 4 4 4 4 œ 4 ˙ œ 4 ˙ œ 4 aœ
œ P F
sost.
p
all N. B.
>
1 ?5 ∑ 2 ∑ 3 ∑ 4 Ó Œ œœ ˙˙ ˙˙ 2 œ œ 3 5 ˙˙ œœ 44 œ ˙˙ N œ
Bssns. 4 4 4 4 4 œ œ 4 ˙˙ b œ 4 ˙ œ
2 b œ ˙ N œ
p sost. religioso P F all
5 2 3 4 2 3 5 4 #œ
E b Alto Sxs. 1
&4 ∑ 4 ∑ 4 ∑ 4 ∑ ∑ 4 ∑ 4 ∑ 4 ∑ 4 Ó Œ# œ
2
F sost.
B b Ten. Sx. & 45 ∑ 24 ∑ 34 ∑ 44 ∑ ∑ 24 ∑ 43 ∑ 45 ∑ 44 Ó Œ
#œ
F sost.
E b Bar. Sx. 5 ∑ 2 ∑ 3 ∑ 4 ∑ ∑ 2 ∑ 3 ∑ 5 ∑ 4 Ó Œ
&4 4 4 4 4 4 4 4 #œ
N. B. > F sost.
5 ∑ 2 ∑ 3 ∑ 4 Ó
2 pls.
Œ #œ œ ˙ 2 œ œ 3 ˙ 5 4 œ œ# œ œ œ œ œ
1 &4 4 4 4 ˙ 4 #œ 4 œ 4 ˙ # œ. œ. 4 J œ
B b Tpts. p sost. religioso P F espr. 3 3
2 5 ∑ 2 ∑ 3 ∑ 4 ∑ ∑ 2 ∑ 3 ∑ 5 ∑ 4 ∑
3 &4 4 4 4 4 4 4 4
,
5 œ# œ œ ˙
1º 1 pl.
1 œ œ 24 ˙ 3 ˙. 4 ˙. Œ ∑ 2 ∑ 3 ∑ 5 Ó œœ .. œ .. 4 œœ # ˙˙ œœ
2 &4 4 4 4 4 4 œ 4
Hns. (F) P p 2º 1 pl. sost. F
P
3 5 ∑ 2 ∑ 3 ∑ 4 ∑ ∑ 2 ∑ 3 ∑ 5 ∑ 4 ∑
4 &4 4 4 4 4 4 4 4
all N. B. >
œœ œœ ˙ œ ˙ œ , œ œ œœ ˙˙ œœ
œ 3 ˙˙ .. ˙.
44 ˙ .
œœ ˙œ œ ˙˙ œ œ
24 œ œ œ 43 ˙ b œœ ˙˙ œ˙. œ.
1 ? 45 J ‰ 24 œ˙ 4 45 œ 44
2
Trbs. P p P F
œ , all
?5 œ œ
N. B.
˙. 2 ˙ 3 4 ˙ 2 œ >œ 3 ˙ 5 ˙
3 4 4 4 ˙. 4 ˙. œ ˙ 4 4 bœ 4 ˙ ˙ œ 44 Nœ
P p P F
, all N. B. bœ œ œ œ œ œ
Euph. ? 45 œ œ ˙. 24 34 ˙ œ œ 44 œ œ # ˙ œ ˙ ˙ 24 œ > 43 ˙ b œ œ 45 œœ œ 44 œ ˙ Nœ
œ ˙ œ
P p P F p P espr. 3 F
espr. , all N. B. >
? 45 24 34 44 24 43 ˙ 45 b œ œ œ œ œ œ
3
4
œ 4
Tuba
˙. ˙ bœ bœ Nœ œ œ ˙ Nœ
œ œœ ˙ ˙.
p
˙. œ ˙ œ œ P espr. F
P
& 45 ∑ 24 ∑ 34 ∑ 44 ∑ ∑ 24 ∑ 43 ∑ 45 ∑ 44 ∑
Piano
?5 ∑ 2 ∑ 3 ∑ 4 ∑ ∑ 2 ∑ 3 ∑ 5 ∑ 4 ∑
4 4 4 4 4 4 4 4
?5 ∑ 2 ∑ 3 ∑ 4 ∑ ∑ 2 ∑ 3 ∑ 5 ∑ 4 ∑
Timp. 4 4 4 4 4 4 4 4
1 & 45 ∑ 24 ∑ 34 ∑ 44 ∑ ∑ 24 ∑ 43 ∑ 45 ∑ 44 ∑
tam-tam Ÿ ~~~ l.v.
2 ÷ 45 ∑ 2
4 ∑ 3
4 ∑ 4
4 ∑ Ó Œ œ 24 -œ Œ 43 ∑ 5
4 ∑ 4
4 ∑
Perc. susp. cym.
π Ÿ ~~~~~~~~~~~~~~~~~~~~~~ -œ ‰ Ó
l.v.
3 ÷ 45 ∑ 2
4 ∑ 3
4 ∑ 4
4 ∑ ∑ 2
4 ∑ 3
4 ∑ 5
4 ˙ ˙. 4
4 Œ
J
marimba æ æ ˙æ.. ˙æ.. p P
?5 ∑ 2 ˙œ˙ œ 3 ˙˙ . 4 ˙˙ . Œ ÷ ∑ 2 Ÿ˙ ~~~~ 3 ∑ 5 ∑ 4 ∑
4 4 4 æ 4 ˙. 4 ˙. 4 4 4 4
æ æ B. D.π
p π
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