score & parts for the stormworks® -...

Conductors, rendering any “STORM” work have the composer/copyright holder’s permission to photocopy theScore & Parts for the sole and specific use of their students and/or musicians residing in the organization whichinvested in an original copy of the work from STORMWORKS®. Reproduction, arranging, transcribing orexcerpting for any other purpose, including transport to another location or organization is prohibited by law.Music which has been purchased in the Digital Form may be printed with all rules pertaining to printed Music stillin effect. All Rights Reserved. International Copyright Secured. Stephen Melillo is a member of ASCAP.

© Stephen Melillo/STORMWORKS® 2nd & 3rd [email protected] www.stormworld.com

STEPHEN MELILLO, COMPOSER

STORMWORLD.COM

Dear Conductor... Thank you for believing in, and investing in the body of work called STORMWORKS. Once you’ve tasted the possibilities and experienced the reactions from your students and audiences, a large body of interrelated work awaits you. If you’ve invested in the whole package or Suite... Bravo. It was the best way to go. The STORMSite at www.stormworld.com provides up-to-date info on all that is happening with STORMWORKS®. Thanks so much for championing this Music and Godspeed in the journeys ahead.

SYSTEM REQUIREMENTS

One wouldn’t think of buying software without having the appropriate hardware. With this same common-sense thinking, conductors rendering “Storm” Works should be properly equipped.

In the Band of the 3rd Millennium, the orchestration employed in the body of work called Stormworks, we fi nd the standard wind and percussion ensemble augmented by the use of 2 synthesizers. A seemingly innocent leap, it is replete with functionality. The generic sounds ascribed to the synthesizers are: PAD Bass, (sometimes Piano and/or Chorus) and Harp. Comments about the types of sounds and manner of interpreting the varied notation may be found in the Brief Intro to the Music of Stephen Melillo... with FAQs residing on the STORMSite at stormworld.com.

In 1980, the cost for such an undertaking was signifi cant. Now, for a cost-effective, multi-useful investment, your program can be readily equipped. Of course, this is only if you are completely un-equipped right now! Most music programs will have at least one student who owns a synthesizer, or at least knows someone who does. In the early 1980s, I was able to recruit a great number of students simply by suggesting that there was a place for them in the “electronics” section! I invite you, now with Music that calls for it, to be champions of a wider and fuller Music Education.

On the STORMWORKS CDs, you will hear how these sounds, placed in a stereo fi eld around the band... as in the diagram on the seating chart page... enhances the overtone hierarchy and resonance of the band while remaining somewhat “traditional” in its orchestral usage. Two speakers, lying fl at on the fl oor, should be placed so that the sound is directed back into the ensemble.

As we approach all of the new tomorrows, students need to play Music, that while serving the cause and purpose of Music Education, excites them... Music which sonically competes with the inundation of supremely produced sounds they hear in their every day lives.

A vast variety of interrelated and graduated pieces as well as accompanying Teaching Tools await you.

Now, as always, it’s up to you. Only you can be the guide your students need, and only you can deliver this Music to that limitless realm we refer to as Music. To that Quest, noble and honorable, Godspeed!

∕¤‹›

Stephen Melillo, Composer

Conductors, rendering any “STORM” work have the composer/copyright holder’s permission to photocopy the Score & Parts for the sole and specifi c use of their students and/or musicians residing in the organization which invested in an original copy of the work from STORMWORKS®. Reproduction, arranging, transcribing or excerpting for any other purpose, including transport to another location or organization is prohibited by law. Music which has been purchased in the Digital Form may be printed with all rules pertaining to printed Music still in effect. All Rights Reserved. International Copyright Secured. Stephen Melillo is a member of ASCAP.

© Stephen Melillo/STORMWORKS® 2nd & 3rd Millenniumwww.stormworld.com

A BRIEF INTRO TO MUSIC BY STEPHEN MELILLO

Dynamics are exaggerated by stressing the quieter markings. Crescendo markings which do not indicate a "starting" volume level should be considered as starting from "nothing". Follow the line shapes dynamically. As a general statement... What opens up in terms of interval should also open up in terms of faster air and bow. For bow markings, I defer to the conductor and concert master.

A crescendo has a different correlation to time as it expands to a destination or “arrival” point in STORM Music. The picture below, better illustrates the effect, which, to ensure a great rendering, must be felt and not merely executed. From Silence, stay to the lower portion of the slope longer... pushing the dynamic effect closer to the end or destination point. Percussionists should further exaggerate this effect, allowing the

winds to remain transparent, staying out of the crescendo until the very last moments. Non-pitched percussionists and people playing repeated notes under lines that rise and fall must do their best to listen and swell appropriately. The result should be a continuous succession of rising and falling, swelling and building. The dynamic architecture is the Music.

INTENDED ACCENTS are often the result of the way the rhythms are grouped. These are rendered automatically and it saves the eye the additional burden of seeing accent markings above every note. Unless marked to the contrary, usually with tenuto markings,

syncopated rhythms automatically receive a lift, a separation, an accent. A tuplet figure in music in 2’s is syncopated, therefore, stressed and separated. A duplet figure in music in 3’s is syncopated, therefore stressed and separated. This lift and separation are of paramount importance in establishing impetus, pulse and relentless drama.

This marking: , in all of the “storm” Music, means that the note should have a weighted, symphonic accent. Imagine a full downbow swiped across the string. A swipe is the best way I can explain it... full, fast and hard. It is not necessarily short and it is much more like a jazz style notation... “AAHT!”

A conductor, in viewing the score, may find an A Major chord, for example, spelled vertically as A, Db, E. Please understand that the Music is conceived in a horizontal manner and that notes and enharmonics are chosen based on, more times than not, what the instrumental Musician will read.

The HARP, electronic or not, the PIANO, electronic or not and the PAD BASS must be mixed into the ensemble as any acoustic

instrument would be. Just think of these sounds as REAL and beautiful and capable of orchestral dimension. A new world of colour and student involvement awaits those who will patiently explore the wind and percussion ensemble of the 3rd Millennium. Please see my Seating Chart for placement and visit STORMWORLD for more.

HARP notation is written for a one-staved harp... (considering, of course, that the part is most likely to be played on a keyboard.) Therefore, the Musician should be aware of how to respond to harp notation. A 7-note figure with a harp-like graphic notation represents a gliss across the whole keyboard. Do not exceed C5 as this will sound uncharacteristic. Glissandi only occur across the white keys, a strategy which allows for all ages to create sounds more often associated with the Orchestra. Fast rhythmic figures are designed to work as tremolos between the two hands. The faster written rhythms, sextuplets or 32nd notes are not to be read precisely, but as splashes of colour and rendered in a harp-like manner.

Percussion of Choice: One 18” Medium-Thin and one 16” Paper-Thin Zildjian Suspended Cymbals, one 22” Medium-Heavy German Symphonic Zildjian Crash, one Tambourine with German Silver Jingles, one Piccolo Snare, tightly tuned with coated batter head, Deagan Silver Chimes, Large Orchestral Bass Drum, and of course, the highest possible quality of Timpani. The designation “Glockenspiel” always means “Orchestra Bells”.

As always, there is a tremendous dichotomy in the Music I write, a duality that at one moment demands exact, relentless, unyielding pulse... and then suddenly calls upon the sensitive breath-like phrasing of an insightful Conductor. To your sensitive vision, I leave these languid moments... those whispers which, indeed,

are the essence... and the very reason for everything else. Godspeed. ∕¤‹›

leftspeaker

rightspeaker

Mallets

Trumpets 3-2-1 Trombones 1-2-3 (bass)

Tubas

Horns 2314

3-2-1 Clarinets

B.Clar

Pic Flutes

2 Bassn, E

.H, O

boeB

-T-A Saxes

Contra Basses

Vocal

Solo

iTunesleft

iTunesright

Bass Drum 2

Bass Drum 1Also Set &

Bass Drum 3 on Kick Large

Tam

Amp

PAD Bass

Voice

s

Harp

Conductor

Eupho

Laptop 1:

iTUNES

Tracks

Laptop 2:

opt.

Virtual

Choir

Laptop 3:iMOVIE

Vs.

ffffff

mfmppppppp

Time

ffffff

mfmpp

ppppp

Time

CONNECTIONS

...from

the Ti

mestor

m of past,

from 1975 and I-v-I on a basement piano during "Only for Now", through hundreds of pieces... to works yet to be... These are some of the...

ONLY for NOW

All the Teaching Tools and all that is soon to be

written...

After the STORM

SON of the STORM16 Chapters

ofSTORMQuest

Jazz & Orchestral

Music

13 Chaptersof

STORMJourneys

15 Chaptersof

WISH tothe WORLD

S-MatrixSymphony IIConcerto for

Violin

STORMWORKS

11 Original Shows for the

FieldWPIM

Without WarningHonor,

CourageCommitment

The First&

The Last

O Come Holy Night!

Festival of Light!Giving!

The FOUNTAINHEAD

ERICH!

America the Brave!STAR!

GOD BlessAmerica

Art of the State&

By Love Inviolate

“I” of the STORM

ESCAPEfrom

PLATO’sCAVE

AHAB!TEDDYERICHDAVID

MUSASHIHIM

IN THE BEGINNING!

GODSPEED!

IN a CAUSECALLED

“GLORIOUS”

TIME to TAKE BACK the

KNIGHTS! & American Knights

Suite

TheSpeech

ofAngels

WAITof the

WORLD

IN a SERVICEBEYOND

SELF

Voice forBassoon

& Percussion

KOLDOON

FINESTHOUR

&RENDEZVOUS

WithDESTINY

ONCEMOREUNTO

theBREACH!

The UNIVERSE

BELOWA

WALKon the

WATER

MUSASHI

CUBA

J I D A I

BEYONDCOURAGE

A Documentaryin Music

��

Angle the asymmetrically positioned speakers, back through the ensemble and toward the keyboardists to allow for warmth of sound and proper mixing. Dependent upon numbers, the Flutes and Clarinets become interchangeable. I have found that for “younger” groups, the flutist’s posture is better when staged in reverse of the diagram. The diagram represents the optimum ensemble as composed for. Since I myself have hardly ever had such an ensemble, rest assured that the Music will work in a variety of "in-the-trenches" realities. One thing not revealed in the diagram, but which is of paramount importance, is space. By example, I usually allow for 12 feet of space between the Horns and the Trumpets. With the diagram serving only as a guide, I often stage the Horns in the center, and with great space in back of them. So too do the Trombones have much more space afforded them. As another example, in a group of 36 Musicians recording the Chapter 2 CD, there was 65 feet of space of between the Conductor and the Timpanist. Of course such spacing is not always possible, BUT, I maintain that you have yet to fully explore the sonic-scape of this idiom until you experiment with space, and sometimes, dependent upon the Music, the use of risers. Godspeed!

© STORMWORKS COPYRIGHT NOTICE FOR SCORE & PARTS

Conductors, rendering any “STORM” work have the composer/copyright holder’s permission to photocopy the Score & Parts for the sole and specific use of their students and/or musicians residing in the organization which invested in an original copy of the work from STORMWORKS®. Reproduction, arranging, transcribing or excerpting for any other purpose, including transport to another location or organization is prohibited by law. Music which has been purchased in the Digital Form may be printed with all rules pertaining to printed Music still in effect. All Rights Reserved. International Copyright Secured. Stephen Melillo is a member of ASCAP.

© Stephen Melillo/STORMWORKS® 2nd & 3rd [email protected] www.stormworld.com

°¢

°

¢

°¢

°

¢°

¢

°

¢°

¢°

¢

°

¢

°

¢

°

¢

Soprano 1

Soprano 2

Alto

Tenor

Bass

Flute 1

Flute 2

Oboe

Bassoon

Clarinet 1

Clarinet 2

Clarinet 3

Bass Clarinet

Alto Sax 1

Alto Sax 2

Tenor Sax

Bari Sax

Horn 1

Horn 2

Horn 3

Horn 4

Trumpet 1

Trumpet 2

Trumpet 3

Euphonium

Trombone 1

Trombone 2

Bass Trombone

Tuba

PAD Bass

Harp

Timpani

Chimes

Glockenspiel

Finger CymbalsSuspended Cymbal

Tam TamWind Chimes

Crash CymbalsBass Drum

Violin 1

Violin 2

Viola

Violoncello

Double Bass

see?

p

whose

mf

broad stripes and bright stars, through the per i- lous- fight, O'er the ram parts- we

q = 68, with Reverence12

see?

p

whose

mf


see?

p

whose

mf


O

mp

say can you see by the dawn's ear ly- light what so proud ly- we hailed at the twi light's- last gleam ing?- whose

mf


see

mp

by the dawn's ear ly- light what so proud ly- we hailed at the twi light's- last gleam ing?- stars,

mf

per i- lous- fight, ram parts- we

mp mf

mf

mf

mp mf

p mf

p mf

p mf

mpmf

mf

p

p

p

p

mp mf

mp

mf

mp mp

mp

mp

p mf

p mf

p mf

mp

p mp

34

34

34

34

34

3434343434

3434343434343434343434343434343434343434

343434343434

34

34

343434

&bbb ∑ ∑ ∑ ∑-

∑ ∑ ∑

by John Stafford Smith, Lyrics by Francis Scott Keyarranged by

© Stephen Melillo IGNA 19982-3 Millennium ASCAPThe National Anthem of the United States of America

STAR1 2 3 4 5 6 7 8 9 10 11 13 14 15 16

&bbb ∑ ∑ ∑ ∑ - ∑ ∑ ∑

&bbb ∑ ∑ ∑ ∑ - ∑ ∑ ∑

&‹ bbb ∑ ∑

Solo - - All

?bbb ∑ ∑ ∑ ∑Solo - - - All

3

&bbb ∑ ∑Solo

- -All

- -

&bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ --

&bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ --

?bbb ∑ - - - ∑ -3

&b ∑ ∑ ∑ ∑ - ∑ ∑ ∑ - -

&b ∑ ∑ ∑ ∑-

∑ ∑ ∑-

&b ∑ ∑ ∑ ∑-

∑ ∑ ∑- -

&b ∑-

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

& ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑-

&bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&bb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?bbb ∑-

?bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

/ ∑ ∑Sus. Cym.

∑ ∑ ∑ ∑ ∑F.C.

∑ ∑ ∑ ∑

/ ∑ ∑ ∑On random single wind chimes.

∑ ∑ ∑ ∑ ∑

Optional w/Flute 1. only

- -

&bbb ∑≤ ≤

- -- -

&bbb ∑ ≤ ≤- -

- -

Bbbb ∑≤ ≤

- -- -

?bbb ∑ ∑ ∑ ∑≥ - - - ≥

∑ ∑ ∑ ∑3

?bbb ∑ div. ≤ ≥

-≥

div.≥

˙b ™ ˙ œn ˙ ™ Ó œ ™ œ œ œ œ ˙ œ ™ œ œ œ œn ˙ œ œ œ ™ œJ œ

˙# ™ ˙ œ ˙ ™ Ó œ ™ œ œ œ œ œ œ œ ™ œ œ œ œ ˙ œ œœ ™ œj œ

˙ ™ ˙ œ ˙ ™ Óœ ™ œ œ œ œ ˙ œ ™ œ œ œ œn ˙ œ œ œ ™ œj œ

Œ Œ œ ™ œ œ œ œ ˙ œ ™ œ œ œ œn ˙ œ œ œ ™ œJ œ ˙ œ ™ œ œ œ œ œ œ œ ™ œ œ œ œ ˙ œ ™ œ œ œ œ œ œ œ œ œ ™ œj œ

œb ™ œb j œ œ œ œ œ œn œ œ œ œ œ œ œ ™ œJœ œ ˙ œ ™ œ œ œ œ œ ˙ ˙ ™ ˙ ™ œ œ œn ˙ ™ œ ™ œj œ œ

Œ Œ œ ™ œ œ œ œ ˙ œ ™ œ œ œ œn ˙ œ œ œ ™ œJ œ ˙ œ ™ œ œ œ œ œ ˙ ˙ ™œ ˙ ˙ œn ˙ œ œ ™ œJ œ

œ ˙ ˙ œn ˙ œ œ ™ œJ œ

œ ˙ ˙ œn ˙œ œ ™ œJ œ

˙ ™ ˙ ™ ˙ ™ œb ™ œbJœ œ œ œ œ œn œ œ œ œ œ œ œ ™ œJ

œ œ ˙ œ ™ œ œ œ œ œ ˙ ˙ ™ ˙ œ ˙ ™ œ ™ œJœ œ

˙b ™ ˙ œn ˙ ™ Ó œ ™ œ œ œ œ ˙ œ ™ œ œ œ œn ˙ œ œ œ ™ œJ œ

˙# ™ ˙ œ ˙ ™ Ó œ ™ œ œ œ œ œ œ œ ™ œ œ œ œ ˙ œœ ™ œJ œ

˙ ™ ˙ œ ˙ ™ Ó œ ™ œ œ œ œ ˙ œ ™ œ œ œ œ œ œ œ œ ™ œj œ

˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ œŒ Œ Œ

˙ ˙ ™ ˙ ™ ˙ œn ˙ ™ œ ™ œjœ œ#

Œ˙ ˙ ™ ˙ ™ ˙ œ# ˙ ™ œ ™ œj œ œ

˙ ™˙# ™˙b ™˙ ™

˙˙ ™™ ˙

˙ ™™ ˙˙ ™™ ˙

˙ ™™ ˙˙ ™™ ˙

˙ ™™ ˙˙ ™™ ˙

˙ ™™ ˙˙ ™™ œ

œ ˙˙

˙˙ ™™ ˙ ™ ˙ œn ˙ ™ ˙ ™

œœn œ œ œ

œ œœœ œ œ œ

œœœœ œ œ œ

œ

Ó ‰ œœ ˙ ™ ‰ œœ˙ ‰ œœœ œ œœœ ‰ œœœ œ œœœ

æææO ™ ¿ Œ Œ æææO ™ ¿ Œ Œ O ™¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿

Œ Œ œ ™ œ œ œ œ ˙ œ ™ œ œ œ œn ˙ œ œ œ ™ œJ œ ˙ œ ™ œ œ œ œ œ œ Œ

æææ ™ æææ ™ æææ ™ æææ ™ æææ ™ æææ ™ æææ ™ æææ ™ æææ ™ æææœ Œ œ ™ œ œ œ œ ˙ œ ™ œ œ œ œn ˙ œ œ ™ œJ œ

æææ ™ æææ ™ æææ ™ æææ ™ æææ ™ æææ ™ æææ ™ æææ ™ æææ ™ æææœ Œ œ ™ œ œ œ œ œ œ œ ™ œ œ œ œ ˙ œœ ™ œJ œ

æææ™ æææ™ æææ™ æææ™ æææ™ æææ™ æææ™ æææ™ æææ™ æææœ Œ œ ™ œ œ œ œ ˙ œ ™ œ œ œ œn ˙ œ œ ™ œJ œ

œb ™ œbJœ œ œ œ œ œn œ œ œ œ œ œ œ ™ œJ

œ œ ˙ œ ™ œ œ œ œ œ ˙ ˙ ™˙˙ ™™ ˙

˙ ™™ ˙˙ ™™ ˙

˙ ™™ ˙˙ ™™ ˙

˙ ™™ ˙˙ ™™ ˙

˙ ™™ ˙˙ ™™ œ

œ ˙˙

˙˙ ™™ ˙ ™ ˙ œn ˙ ™ ˙

˙ ™™

STAR! arranged for Band, Orchestra, Chorus by © Stephen Melillo IGNA 1998

°¢

°

¢

°¢

°

¢°

¢

°

¢°

¢°

¢

°

¢

°

¢

°

¢

Soprano 1

Soprano 2

Alto

Tenor

Bass

Flute 1

Flute 2

Oboe

Bassoon

Clarinet 1

Clarinet 2

Clarinet 3

Bass Clarinet

Alto Sax 1

Alto Sax 2

Tenor Sax

Bari Sax

Horn 1

Horn 2

Horn 3

Horn 4

Trumpet 1

Trumpet 2

Trumpet 3

Euphonium

Trombone 1

Trombone 2

Bass Trombone

Tuba

PAD Bass

Harp

Timpani

Chimes

Glockenspiel


Tam Tam

Wind ChimesCrash Cymbals

Bass Drum

Violin 1

Violin 2

Viola

Violoncello

Double Bass

watched, were so gal lant- ly- stream ing?- And therock ets'- red glare, thebombs burst ing- in air, Gave proof through the night, that our flag was still there O say,

mf

does that star span gled-

20 28

watched, were so gal lant- ly- stream ing?- And therock ets'- red glare, thebombs burst ing- in air, Gave proof throughthe night, that our flag was still there O say,

mf



mf



mf


watched, were so gal lant- ly- stream ing?- Ohmm burst ing- in air, Gave proof through the night, that our flag was still there O say,

mf


mp

mp

mf mp

mp

mp

mp

mp

mf mp

mf mp

mf mp

mp

mp mf

mp mf

mp mf

mp mf

mp mp

mf mf

mf mp mf

mp mf

mf

mp mf

mp mf

mp mf

mp

&bbb-

17 18 19 21 22 23 24 25 26 27 29

&bbb-

&bbb -

&‹ bbb -

?bbb-

&bbb ∑-

&bbb ∑ - -

&bbb --

∑-

∑ ∑ ∑

?bbb-

∑ ∑ ∑ ∑ ∑ ∑ ∑

&b - - - -

&b - - -

&b- - - -

&b ∑ ∑ ∑ ∑ ∑ ∑-

& ∑ ∑- - - -

& ∑ ∑ - - - -

&b ∑ ∑- - - -

& ∑ ∑ ∑ ∑ ∑ ∑-

&bb ∑ ∑ ∑ - - 3 3 3

&bb ∑ ∑ ∑ - - - - - 3 3 3

&bb ∑ ∑ ∑ -- - -

3 3 3

&bb ∑ ∑ ∑- - -

3 3 3

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&b ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

?bbb-

-

?bbb ∑ ∑ ∑ ∑ ∑ ∑ &gliss.

∑

?bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑3 3

&bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑

&bbb ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑- - - - - - - - - - - - - - - - - - - -

- - - -

/ ∑ ∑ ∑ ∑ ∑

/ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑Cr. Cym.

B.D.

∑

&bbb≥

∑ ∑ ∑ ∑ ∑ ≥ ≤ ≥≤

&bbb≥ ∑ ∑ ∑ ∑ ∑ ≥ ≤ ≥ ≤

Bbbb≥ ∑ ∑ ∑ ∑ ∑ ≥ ≤ ≥ ≤

?bbb ∑ ∑ ∑≤ ≤ ≥ ≤ ≥ ≤

?bbbdiv.

- ≥ ≤ div.

- -

≥ ≤ div.

˙ œ ™ œ œ œ œ œ œ œ ™ œ œ œ œ ˙ œ ™ œ œ œ œ ˙ œ œ ™ œj œ ˙œ ™ œ œ œ œn ˙ œ œ œ œ œ œ œ œ

˙ œ ™ œ œn œ œ œ œ œ ™ œ œ œ œ ˙ œ ™ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ™ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ

˙ œ ™ œ œ œ œ œ œ œ ™ œ œ œ œ ˙ œ ™ œ œ œ œ ˙ œ œ ™ œj

œ ˙ œ ™ œ œ œ œn ˙ œ œ œ œ œ œ œ œ

˙ œ ™ œ œ œ œ œ œ œ ™ œ œ œ œ ˙ œ ™ œ œ œ œ ˙ œ œ ™ œj œ ˙ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œn

˙ œ ™ œ œœœœ

œœ

œœ

œœ Œ

˙˙ ™™ ˙

˙ Œ œ œ œ œ œ œ œ œ œ ™ œJœ œ ˙ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œn

˙ Œ Œ Œ œ ™ œ œ œ œ ˙ œ ™ œ œ œ œ ˙ œ œ ™ œJ œ ˙ œ ™ œ œ œ œn ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

˙ Œ Œ Œ œ ™ œ œ œ œ ˙ œ ™ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ™ œ œ œ œ ˙ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ ™ œ œ œ œ œ œn ˙ ˙ ™Œ Œ œ ™ œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

˙ œ ™ œ œ œ œ œ œn ˙ ˙ ™˙ ™ œ œ œn œ

˙ œ ™ œ œ œ œ œ œœ ™ œ œ œ œ ˙ œ ™ œ œ œ œ ˙ œ œ ™ œJ œ ˙ œ ™ œ œ œ œn ˙ œ œ œ œ œ œ œ œ

˙ œ ™ œ œn œ œ œ œœ ™ œ œ œ œ ˙ œ ™ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ™ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ

˙ œ ™ œ œ œ œ œ œœ ™ œ œ œ œ ˙ œ ™ œ œ œ œ ˙ œ œ ™ œj œ ˙ œ ™ œ œ œ œ ˙ œ œ œ œ œ œ œ œ#

˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ œ#

Ó œ ™ œ œ œ œ ˙ œ ™ œ œ œ œ ˙ œ œ ™ œJ œ ˙ œ ™ œ œ œ œ# ˙ œ œ œ œ œ œ œ œ

Ó œ ™ œ œ œ œ ˙ œ ™ œ œ œ œ œ œ œ œ œ œ œ ˙ œ ™ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ

Ó œ ™ œ œ œ œ ˙ œ ™ œ œ œ œ ˙ œ œ ™ œj œ ˙ œ ™ œ œ œ œ ˙ œ œ œ œ œ œ œ œ#

˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ ™ ˙ œ#

Ó œ ™ œ œ œn œ œ ˙ ™ ˙ ™ ˙ ™ ˙ ™ œ œ œn œ œœœœœœœœ œ œ œ ‰ œj œ œ œ œ œ œ œ

Ó œ ™ œ œ œ œ œ ™ œ ˙ ™ œ œ œ œ œ ™ œJ œ ˙ œ ™ œ œ œ œ œ œœœœœœœœ œ œ œ ‰ œj œ œ œ œ œ œ œ

Ó œ ™ œ ˙ œ ™ œ ˙ ™ œ œ œ œ œ œ œ ˙ œ ™ œ ˙ œ œ œœœœœœœœ œ œ œ ‰ œj œ œ œ œ œ œ œ

Ó œ ™ œ ˙ œ ˙ ™ œ œ œ ˙ ™ ˙ œ ™ œ ˙ œn œ œœœœœœœœ œ œ œ ‰ œj œ œ œ œ œ œ œ

˙ ™ ˙˙ ™™ ˙

˙ ™™ ˙˙ ™™ ˙

˙ ™™ ˙ ™ ˙ œ ˙ ™ ˙ ™ œ ˙ ˙˙ ™™ ˙ ™ ˙ œn

œ œ œœ œ œn œ œ œ

œ œ œ œ œ œœ œ œ Ó œœœœœœ

œœ ˙ ™Œ Œ æææœ ˙ ™ œ œœœœœœœ

æææœ ˙ ™

œœœœ œn

œœœ œ

œœœ œ

œœœœœœœ

œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Ó æææ¿ ¿ Œ Œ Ó æææ¿ ¿ Œ Œ Ó æææ¿ ¿ Œ Œ Ó æææ¿ ¿ Œ Œ

O ™˙ ™

˙ œ ™ œ œ ˙ ˙ Œ Ó œ ™ œ œ œ œn ˙œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

˙ œ ™ œ œn ˙ ˙ Œ Ó œ ™ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

˙ œ ™ œ œ ˙ ˙ Œ Ó œ ™ œ œ œ œn ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Ó œ ™ œ œ œn œ œ ˙ ™ ˙ ™ ˙ ™ ˙ œ ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œn

˙ ™ ˙˙ ™™ ˙

˙ ™™ ˙˙ ™™ ˙

˙ ™™ ˙ ™ ˙ œ ˙ ™ ˙ œ ™ œ œ œ œœœœ

œœ œ

œ œ œ œœ

œ œ œ œ œn


2

°¢

°

¢

°¢

°

¢°

¢

°

¢°

¢°

¢

°

¢

°

¢

°

¢

Soprano 1

Soprano 2

Alto

Tenor

Bass

Flute 1

Flute 2

Oboe

Bassoon

Clarinet 1

Clarinet 2

Clarinet 3

Bass Clarinet

Alto Sax 1

Alto Sax 2

Tenor Sax

Bari Sax

Horn 1

Horn 2

Horn 3

Horn 4

Trumpet 1

Trumpet 2

Trumpet 3

Euphonium

Trombone 1

Trombone 2

Bass Trombone

Tuba

PAD Bass

Harp

Timpani

Chimes

Glockenspiel


Tam Tam


Bass Drum

Violin 1

Violin 2

Viola

Violoncello

Double Bass

ban ner- yet wave O'er the land of the Free and the home of the

Massive, Dramatic Rit...34

ban ner- yet wave O'er the land

ff

of the Free and the home of the


ff



ff


ban ner- yet The

ff

Free! home of the

ff fp

ff fp

ff fp

ff sfz sfz sfz

ff fp

ff fp

ff fp

sfz sfz sfz

ff fp

ff fp

ff fp

ff sfz sfz

p ff

p ff

p ff

p ff

p ff

p ff

p ff

p ff sfz sfz

p ff sfz sfz

p ff sfz sfz

p ff sfz sfz

ff sfz sfz

ff sfz

sfz ff sfz

ff sfz

ff sfz sfz

ff sfz f

ff

ff

ff

ff

ff sfz sfz

44 14 34 44

44 14 34 44

44 14 34 44

44 14 34 44

44 14 34 44

44 14 34 44

44 14 34 4444 14 34 4444 14 34 44

44 14 34 4444 14 34 4444 14 34 4444 14 34 44

44 14 34 4444 14 34 4444 14 34 4444 14 34 4444 14 34 4444 14 34 4444 14 34 4444 14 34 44

44 14 34 4444 14 34 4444 14 34 44

44 14 34 4444 14 34 4444 14 34 4444 14 34 4444 14 34 44

44 14 34 4444 14 34 44

44 14 34 4444 14 34 4444 14 34 4444 14 34 4444 14 34 44

44 14 34 4444 14 34 4444 14 34 4444 14 34 4444 14 34 44

&bbb> > > > U U ff> > > > > > > > > >

30 31 32 33 35 36 37

&bbb> > > > U U > > > > > > > > > >

&bbb> > > > U U > > > > > > > > > >

&‹ bbb

> > > > U U > > > > > > > > > >

?bbb> > ∑> > U U ∑ ∑

> > >

&bbb> > > > U U ∑

> > > > > > > >

&bbb> > > > U U ∑

> > > > > > > >

&bbb> > > > U U ∑

> > > > > > > >

?bbb ∑ U U ∑ > >

&b> > > > U U ∑

> > > > > > > >

&b> > > > U U ∑

> > > > > > > >

&b > > > > U U ∑ > > > > > > > >

&b ∑ U U ∑ff > >

&> > > > U U ∑ > > > > > > > >

&> >

> >U U ∑ > > > > > > > >

&b > > > > U U ∑ > > > > > > > >

& ∑- v

U U

-∑ ∑

> >

&bb > > > > - ^ U U -∑ ∑ ∑

3 3 3

&bb > > > > - ^ U U - ∑ ∑ ∑3 3 3

&bb > > > > - ^ U U - ∑ ∑ ∑3 3 3

&bb > > > > - ^ U U-

∑ ∑ ∑3 3 3

&b ∑- ^ U

U -∑ ∑ ∑

3 3 3

&b ∑- ^ U U -

∑ ∑ ∑3 3 3

&b ∑ - ^ U U -∑ ∑ ∑

3 3 3

?bbb ∑- ^

UU -

∑ ∑> >3 3 3

?bbb ∑ - ^ U U -∑ ∑ > >3 3 3

?bbb ∑ - ^ U U - ∑ ∑ > >3 3 3

?bbb ∑- v

U U-

∑ ∑> >

3 3 3

?bbb ∑ ∑- v

U U

-

∑ ∑> >

?bbb ∑ U U ∑ ∑

&bbb ∑ ∑ U U ∑ ∑ ∑

?bbb ∑ ∑U U > >

&bbb ∑ ∑ U U ∑ > >>

∑ ∑

&bbb - - - - ∑ U U ∑ ∑ ∑ ∑ ∑

/ ∑ ∑ U U

T.T.

∑

/ ∑ ∑ U U ∑

> >∑

&bbb≤ ≤ ^ ^ U U ∑

> > > .>≤ .> > > >≥

&bbb≤

v≤v v v

U U ∑ > > > .>≤ .> > > >≥

Bbbb≤ ≤ ^ ^ U U ∑ > > > .>≤ .> > > >≥

?bbb

≤ ≤ ^ ^ U U ∑> > > > > >≥

?bbb≤ ≤

∑^ ^ U U ∑ ∑ .≤ ≥ ≥ ≥

œ œ œ œ œ ˙ œ ˙ Œ Œ œ œ œ ™ œJœ œ ˙ ™ ˙ œ œ œ ™ œJ œ

œ œ œ œ œ ˙ œ ˙ Œ Œ œ œ œ ™ œJ œ œ ˙ ™ ˙ œ œ œ ™ œJ œ

œ œ œ œ œ ˙ œ ˙ Œ Œœ œ œ ™ œj œ œ ˙ ™ ˙ œ œ œ ™ œj œ

œ œ œ œ œ ˙ œ ˙ Œ Œ œ œ œ ™ œj œ œ ˙ ™ ˙ œ œ œ ™ œj œ

œ œ œ œ œ Ó Œ Œ ‰™œœbbr

˙˙

˙˙ ™™ Œ œb œ œ

œ œ œ œ œ œ œ œ˙ œ ˙

Œ Œœ ™ œ

Jœ œ ˙ ™ ˙ œ œ œ ™ œ

Jœ

œ œ œ œ œ œ œ œ ˙ œ ˙Œ Œ

œ ™ œJ

œ œ ˙ ™ ˙ œ œ œ ™ œJ

œ

œ œ œ œœ œ œ œ ˙ œ ˙ Œ Œ œ ™ œJ œ œ ˙ ™ ˙ œ œ œ ™ œJ œ

˙ ™ Ó Œ Œ ˙ ™ Œ ˙b œ Œ Œ Œ œb œ

œ œ œ œ œ ˙ œ ˙ Œ Œ œ ™ œJœ œ ˙ ™ ˙ œ œ œ ™ œJ œ

œ œ œ œ œ ˙ œ ˙ Œ Œ œ ™ œJ œ œ ˙ ™ ˙ œ œ œ ™ œJ œ


˙ ™ Ó Œ Œ ˙ ™ Œ ˙b œ Œ Œ Œ œb œ

œ œ œ œ œ ˙ œ ˙ Œ Œ œ ™ œJœ œ ˙ ™ ˙ œ œ œ ™ œJ œ



˙ ™ œ œ Œ œ œ œ ™ ‰ Œ Œ œb œ

œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ ™ ‰ Œ




‰ œ œ œ œ œ œ œ œ œ œ œ œ œŒ

œ œ œ ™‰ Œ

‰ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ ™‰ Œ

‰ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ ™ ‰ Œ

‰œ œ œ œ œ œ œ œ œ œ œ œ œ

Œœ œ œ ™

‰ Œ Œœb œ

‰ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ ™ ‰ Œ Œ œb œ

‰ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ ™ ‰ Œ Œ œ œ

‰ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ ™ ‰ Œ Œ œb œ

œ œ Œœ œ œ ™

‰ Œ Œœb œ

˙ ™ Ó Œ Œ˙˙ ™™ Œ

˙˙bb œ

œ Œ Œ

Ó Œ Œ Ó Œ Œœb œ œb œb

œ œ œ œœ œ œ œ œ œ œ œ

Ó œæææœ æææœ ˙ ™ ‰™ œb œ œ œ æææb ™ Œ œb æææœ

Ó Œ Œ œ œ ˙ Œ ˙n

œ œ œ œ Œ Œ Ó Œ Œ

Ó Œ æææ¿ æææ¿ O ™ Œ Ó Œ ˙Œ æææ¿

Ó Œ Œ O ™œ œ ˙ ™ Œ Ó O ™˙ ™œ œ œ œ œ œ œ œ ˙ æææœ œ Œ Œ Œ œ ™ œJ

œ œ ˙ ™ ˙ œ œ œ ™ œJœ

œ œ œ œ œ œ œ œ ˙ æææœ œ Œ Œ Œ œ ™ œJ œ œ ˙ ™ ˙ œ œ œ ™ œJ œ

œ œ œ œœ œ œ œ ˙ æææœ œ Œ Œ Œ œ ™ œJ

œ œ ˙ ™ ˙ œ œ œ ™ œJ œ

œ œ œ œ œ ˙ æææœ œ Œ Œ Œ œ ™ œJ œ œ ˙ ™ ˙Œ œ ™ œJ œ

œ œ œ œ œ Ó Œ Œ ‰ ≈ œbR ˙ ˙ ™ Œ œb œ


3

°¢

°

¢

°¢

°

¢°

¢

°

¢°

¢°

¢

°

¢

°

¢

°

¢

Soprano 1

Soprano 2

Alto

Tenor

Bass

Flute 1

Flute 2

Oboe

Bassoon

Clarinet 1

Clarinet 2

Clarinet 3

Bass Clarinet

Alto Sax 1

Alto Sax 2

Tenor Sax

Bari Sax

Horn 1

Horn 2

Horn 3

Horn 4

Trumpet 1

Trumpet 2

Trumpet 3

Euphonium

Trombone 1

Trombone 2

Bass Trombone

Tuba

PAD Bass

Harp

Timpani

Chimes

Glockenspiel


Tam Tam


Bass Drum

Violin 1

Violin 2

Viola

Violoncello

Double Bass

Brave?

f

the Brave!

ff

Brave?

f

the Brave!

ff

Brave?

f

the Brave!

ff

Brave?

f

the Brave!

ff

Brave?

f

the Brave!

ff

f ff

f ff

f ff

sfz sfz ff

f ff

f ff

f ff

sfz sfzff

f ff

f ff

f ff

sfz sfz sfz ff

ff ff

ff ff

ff ff

ff ff

f ff

f ff

f ff

f ff

f ff

f ff

sfz sfz sfz ff

sfz sfz sfz ff

sfz sfz ff

f

f ff sfz

f ff

ff

ff

f f sfz ff

f ff

f ff

f ff

f ff

f ff

44 34 24 44

44 34 24 44

44 34 24 44

44 34 24 44

44 34 24 44

44 34 24 44

44 34 24 4444 34 24 4444 34 24 4444 34 24 4444 34 24 4444 34 24 4444 34 24 4444 34 24 4444 34 24 4444 34 24 4444 34 24 44

44 34 24 4444 34 24 4444 34 24 4444 34 24 44

44 34 24 4444 34 24 4444 34 24 4444 34 24 4444 34 24 4444 34 24 4444 34 24 4444 34 24 44

44 34 24 44

44 34 24 4444 34 24 4444 34 24 44

44 34 24 44

44 34 24 4444 34 24 44

44 34 24 44

44 34 24 44

44 34 24 44

44 34 24 44

44 34 24 44

&bbb> ∑

38 39 40 41 42

&bbb>

∑

&bbb> ∑

&‹ bbb

>∑

?bbb>

∑

&bbb

^

6 6 6 6 6 6

&bbb^

6 6 6 6 6 6

&bbb^

?bbb^

&b^

&b^

&b^

&bv

&^

&^

&b^

&v

&bb > ^

3 3

&bb > > ^

3 3 3

&bb >>

^

3 3

3

&bb> > v

3 3 3

&b> > > > ^

3 3 3

&b> > > > ^

3 3 3

&b > > > > ^

3 3 3

?bbb

> > > > ^

3 3 3

?bbb

> > > > ^

3 3 3

?bbb> > > > ^

3 3 3

?bbb v?bbb

v?bbb

v

&bbb ∑ ∑ ? ~~&

^

~~~~~~~~~~~~~~

~

?bbb>

>>

> >>

>> > ^

3 3 3

&bbb> > > > > > > >

> >> >

> > > ∑ ∑

&bbb ∑ ∑

/ ∑ ∑ ∑

/>

>

>

>

>

>∑

^

v

&bbb

≥ . . . . . . . . . . . .≥

≤ >

6 6 6 6 6 6

&bbb≥ . . . . . . . . . . . . ≥ ≤ >

6 6 6 6 6 6

Bbbb≥ ≥ ≤ >

?bbb≥ >≥

≤ >

?bbbdiv.≥ >≥ ≤

>

w ˙ œ ˙ w

w ˙ œ ˙ w

w ˙ œ ˙ w

w ˙ œ ˙ w

ww

˙˙ œ

œ ˙˙

ww

œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œœb œ œ œ œ œ œ œ ˙ w œ

Œ Ó

œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œœ œ œ œb œ œ œ œ ˙ w œ

Œ Ó

w ˙œ œ œ œ œ œb œ œ ˙ w œ Œ Ó

˙ ˙ ˙ ™ ˙ w œ Œ Ó

w ˙ œ œ œ œb œ œ œ œ ˙ w œŒ Ó

w ˙ œ œ œ œ œ œb œ œ ˙ w œŒ Ó

w ˙ œb œ œ œ œ œ œ œb ˙ w œ Œ Ó

˙ ˙ ˙ ™ ˙ wœ Œ Ó

w ˙ œb œ œ œ œ œ œ œb ˙ w œŒ Ó

w ˙ œ œb œ œ œ œ œ œ ˙ w œ Œ Ó

w ˙ œ œ œ œ œ œb œ œ ˙ w œŒ Ó

˙ ˙ ˙Œ œb œ ™ œ w œ

Œ Ó

Œ ‰œb œ œ œ ™ œ œ œ ˙ œ œb œ ™ œ w œ Œ Ó

Œ ‰ œ œ œ œ ™ œ œ œ œ œ œ œ œ œ œ# œ ™ œ w œ Œ Ó

Œ ‰ œ œ œb œ ™ œ œ œ œ œb œ œ œ œ œb œ ™ œ w œ Œ Ó

Œ ‰ œb œ œ œ ™ œ œ œ œ œ œ œ œ œ œb œ ™ œ w œ Œ Ó

‰ œ œ œ œ œ ™ ‰ œ œ œ œ œ ™ ‰ œ œ œ œ œ œ œ ™ œ w œŒ Ó

‰ œb œ œ œ œ ™ ‰ œ œ œ œ œ ™ ‰ œb œ œ œ œ œ# œ ™ œ w œŒ Ó

‰ œ œ œ œ œ ™ ‰ œ œ œ œ œ ™ ‰ œ œ œ œ œ œb œ ™ œ w œ Œ Ó

‰œ œ œ œ œ ™


‰œ œ œ œ œ œb œ ™ œ w œ Œ Ó

‰œb œ œ œ œ ™


‰œb œ œ œ œ œ œ ™ œ w œ Œ Ó

‰ œ œ œ œ œ ™ ‰ œ œ œ œ œ ™ ‰ œ œ œ œ œ œb œ ™ œ w œ Œ Ó

˙ ˙ ˙Œ œb œ ™ œ w œ Œ Ó

˙˙

˙˙

˙˙

Œœœbb œ

œ ™™ œœ

ww

œœ

Œ Ó

˙˙

˙˙

˙˙ ™™ ˙

˙ww

œœ Œ Ó

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œÓ

œ œ œn œ œ œn œn

œŒ Ó

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ æææ œ Œ Ó

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙

œœ œ œ œn

œ œ œ œœ œ œ œ

œ œ œ œnœ œ œ œ

œ œ œ œœ œ œ œn

œ œ œ œ

¿ Œ Ó Ó æææO ¿ Œ Ó

O O O ™˙ ™ ≈ ¿ ™™œR œ ™™ ¿œ Œ Ó

œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œœb œ œ œ œ œ œ œ ˙ w œ

Œ Ó

œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ œ œ œ œ œ œ œ œ œ œb œ œ œ œ ˙ w œŒ Ó

w ˙œ œ œ œ œ œb œ œ ˙ w œ Œ Ó

w ˙ œ ˙ w œŒ Ó

ww

˙˙ œ

œ ˙˙

ww

œœ Œ Ó


4

score & parts for the stormworks® -...

Documents