The Moon Glistens

Joni Greene

The Moon Glistens A Tone Poem for Wind Ensemble

I. Moon Viewing II. Wide Blue Sky Rain III. Autumn

Commissioned by “The Greene Consortium”: University of New Mexico Symphonic Band, Chad P. Simons, conductor (lead commissioner) Belmont University Wind Ensemble, Barry Kraus, conductor Eastern Illinois University Concert Band, J. Corey Francis, conductor Eastern New Mexico University Wind Symphony, Dustin D. Seifert, conductor Indiana University Wind Ensemble, Stephen W. Pratt, conductor Iowa State University Bands, Michael Golemo and Steven Smyth, conductors Michigan State University Symphony Band, John Madden, conductor Pacific Lutheran University Wind Ensemble, Ed Powell, conductor University of California Los Angeles Bands, Travis Cross, conductor University of Kansas Wind Ensemble, Paul W. Popiel, conductor University of Mary Hardin‐Baylor Wind Ensemble, Nils Landsberg, conductor Washburn Wind Ensemble, Michael W. Mapp

THHEE M MOOONN GLLISSTTENNSS A To one P Poem for W Wind d Enseemblle

J O N I G R E E E N N E

____________________________________ I N N S T R U M M E N N T A A T I O N N

P Piccolo

Bb Trumpeet 1

Tiimpani (4 drum ms)

F Flute 1

Bb Trumpeet 2

on 1 Peercussio

F Flute 2

F H Horn 1 & & 3

Peercussio on 2

O Oboe

F H Horn 2 & & 4

on 3 Peercussio

B Bb Clariinet 1

Tro ombone 1

on 4 Peercussio

B Bb Clariinet 2

Tro ombone 2

on 5 Peercussio

B Bb Clariinet 3

bone Basss Tromb

Co ontrabaass

B Bb Bass Clarineet

C Euphonium 1 & 2 B.C

Harp

B Bb Conttrabass C Clarinet

Tub ba 1 & 22

Piiano

B Bassoon n

oice (fem male sin ngers fro om Vo

within en nsemble))

E Eb Alto Saxoph hone 1

E Eb Alto Saxoph hone 2

B Bb Teno or Saxop phone

E Eb Barittone Saaxophon ne

Percusssion Asssignmeents

Percusssion 1: Crotales (C4‐A55 + bass bow) shhared witth percusssion 4, B Bass Dru um, Xylo ophone

Percusssion 2: Vibraph hone (+ b bow), Large Tam m‐tam, T Thundeersheet Percusssion 3: Marimb ba, F3 Piitched G Gong, Laarge Tam m‐tam, X Xylopho one, Marrk Tree, Snare D Drum , V Vibrapho one

nd Larg ge Suspeended Cy ymbal (+bass bo ow), F2 & Ab4 P Pitched G Gongs, Splash C Cymbal,, Vibrap phone, 4 Toms, B Brake Percusssion 4: Small an

Drum,, Crotalees (E4 +b bow) shaared withh percusssion 1 Percusssion 5: Small, M Medium m, & Larg ge Suspeended C Cymbalss (+bass b bow), Sp plash Cy ymbal, G Glocken nspiel, Large Tam m‐tam,

Substittutions:

Crotalles may be substituted w with Vib braphon ne when n arco is required d (preferably tw wo octav ves below w; howeever, onee octavee below or as written n is acceeptable).. Crotalles may be substituted w with Glo ockensp piel when n arco iss not req quired. Gongss: Gong F2 may be subsstituted with larrge susp pended ccymbal; gong F33 may bee substittuted wiith med dium susspended d cymbal; gong Ab3 m may be su ubstituteed with small su uspendeed cymb bal.

COMPOSER‘S

THOUGHTS

Instrumentation & Notational Considerations

General 

While preference is given to performing The Moon Glistens in its original instrumentation, cues have been thoroughly provided throughout. Instruments which may be omitted if necessary include: Contrabass Clarinet, Crotales, Pitched Gongs, Contrabass, Harp, and Piano. Bass Trombone may be omitted if absolutely necessary; however, some minor excerpts are not cued and will thus not be represented.



Piano is cued heavily in mallets; however, segments are cued into piccolo, flute 1, oboe, clarinet 1, alto saxophone 1, and baritone saxophone. If the work is being performed without piano, secondary cued parts are included for Piccolo, Tuba, Contrabass, Percussion 2, and Percussion 3. Additionally, an alternate score entitled [The Moon Glistens.Piano Cues] is provided for the conductor (original score and piano cued score available at www.jonigreene.com as part of the download package).



Instrument sections may have more than one player per part; however, please follow indications in the score where “1 only” is requested. In sections which may have several players per part (i.e. Bb Clarinet), tutti is used to bring in the full section; whereas, instruments such as Euphonium which should be less section heavy have a2 indicated.



Decrescendo hairpins are employed often as an expressive device for phrase endings. In instances where a release dynamic

is not indicated, players should decrescendo delicately so that they disappear into the textural background. Niente (n) release dynamics are not necessary unless indicated.



Instruments that ring should always l.v. (let vibrate) unless the dampen sign  is indicated.



All grace notes occur before the beat.



Arco indicates to bow instrument. In order to hear bowed sound at notated time, please request player to anticipate entrances by starting slightly before the beat. Always l.v. unless dampen sign is indicated.



Mutes needed: Straight mutes: Trumpets, F Horns, Trombones, and Euphonium (mutes may be omitted for Euphonium if not available), Cup Mutes: Trumpets.



A minimum of 4 Clarinet players is required to perform the work (Bb 1, Bb 2, Bb 3, and Bass Clarinet). Contrabass Clarinet may be omitted if unavailable. Bb clarinet parts may have more than one player; however, please follow indications in the score where “1 only” is requested.



If a second Euphonium is unavailable, cues are provided in the Tuba part.



If a second Tuba is unavailable, the Tuba part may be played by one player. In instances where divisi is indicated, player

should play the bottom line. 

If Crotales are unavailable, player may perform part on either Glockenspiel and/or Vibraphone. Where arco is indicated, the excerpt(s) may be bowed on Vibraphone two octaves below (when possible), otherwise one octave below or as written. When playing arco on Vibraphone, always use pedal. In order to avoid confusion, Crotales are not cued into the Glockenspiel or Vibraphone parts when cross cues would cause collisions.



Vibraphone and Marimba parts indicate suggested mallets.



If Contrabass player does not have C attachment, notes below E2 may be played one octave higher.



Harp is cued into two cue versions. The first, and preferred replacement, is piano. If piano is unavailable, harp cues are

provided as a split part between the piccolo part and percussion 3. If the piccolo player is playing Harp cues in movement three, Piccolo player will need a Flute.

Movement I 

Flz. (Flute) indicates to flutter‐tongue.



(Broken) above tremolo markings in Piano and Harp indicates to play a broken tremolo as opposed to a blocked tremolo. The effect creates a fluttery sound often referred to as bisbigliando.



Measures 65‐98 of movement one, require female singers. There is no limit to how many women may sing. The goal is to

produce a good tone that may be heard through the instrumental music. Careful compositional consideration has been given so that ensemble members may sing in lieu of bringing in outside vocalists. A separate vocal part is provided and should be passed out to those who will perform this part, since the vocal music is not cued into instrumental parts. Additionally, the vocal part contains pitch cues to assist players in finding their pitches at each entrance.

Movement II 

Jet Whistle (ex. Flute 1, mvt. 2, measure 9) indicated by diamond note‐head. Effect creates a breathy sound which produces a

sudden shriek when player places mouth over the embouchure hold and blows airstream into flute. Player should experiment with fingering, breath pressure, and vowel shape of the mouth to obtain the most volume possible. Please refer to www.jonigreene.com for an example of this sound.

Movement III 

Movement three features snapping, patting and stomping to create the effect of a rain storm. Players are given indications to quickly snap fingers, pat legs, lightly stomp feet, or flick bells. Please feel free to request players to perform effect faster or slower depending on requested dynamic during those passages. Players are given the notation for these effects as “x” note‐ heads which are then followed with a wavy line through remaining measures. Players are given assistance counting, (1), (2), (3), etc., above each subsequent bar where the effect is repeated for several bars. For an example of this rain effect, please visit www.jonigreene.com for a youtube demonstration.



If Piano is not heard through rain storm effect during the start of movement three, please amplify.



The Piano solo (mm. 1‐16) is cued into the “Piccolo with Piano cues” part with an indication to play on flute. These cues are

not represented in the score.



Slash through ligature (i.e. Percussion 4, mvt. 3, measure 79) indicates to play figure as fast as possible.



If Thundersheet is unavailable, comparable metal may be used, e.g. bell plate.



Feathered beam (ex. Trumpet 1, mvt. 3, measure 13) indicates to gradually accelerate to 32nd note pace over two beats. Pitches without note‐heads indicate to repeat previous notated pitch. Player should focus on creating the effect more than how many pitches occur. Trumpets should always flutter‐tongue (flz) with feathered beam effect.



Lip gliss in F Horn (mvt. 3, measure 61 forward): Pitches without note‐heads should ascend, but are left to player’s discretion. Combined with feathered beam, this effect should start audible and rapidly burst through the texture.

Composer’s Vision The Moon Glistens originates from my choral work Autumn Reflections which was composed and expanded into its current form from 2001 through 2009. Autumn Reflections is a collection of six movements each featuring a separate haiku poem from traditional Japanese poetry (14th‐17th century) written by the poets Matsuo Bashō, Monk Gusai, Takarai Kikaku, and Venerable Senjun. Although each poem contains only three lines of text, the rich imagery conveys short narratives on the beauty of the autumn season. The story travels from night to day, changing from clear skies to lightning storms and ending in a light evening rain shower. While each movement’s haiku expresses a complex scene so does the entire work which utilizes each scene as an event in an overarching poetic story. From the start, The Moon Glistens was envisioned as a new work based on the music of Autumn Reflections. Because of the text painting in the choral work, it was important to use as much of the original thematic music as possible. Almost all of the original music from Autumn Reflections has been preserved; however, its presentation has often changed. Several aspects of the choral piece are expressed verbatim into The Moon Glistens, while much of it has been re‐orchestrated or reworked. Sometimes it was necessary to highlight different melodic strains in the counterpoint (specifically the round beginning at measure 12 of movement 1). In such instances, instrumental voices emerge from the texture, often creating new themes not as easily recognized in the choral work. Additionally, because The Moon Glistens was conceptualized as a new work (specifically one that did not require text to remain consecutive), musical events in the instrumental work are given out of order, or repeated and then developed into entirely new material. The second movement, “Wide Blue Sky,” is unique, envisioned from the start as additional material derived from the third movement of Autumn Reflections. Similarly, measures 1‐80 of movement three, “Autumn Rain,” expand greatly upon the fourth movement of Autumn Reflections. And finally, because of the extra personnel available in the wind ensemble, special shaping of the poetic story was possible through extra‐musical devices (snapping, patting, stomping).

Rehearsal and Performance Notes I greatly appreciate being notified of performance dates, as well as receiving pdf programs. Please feel free to contact me if you have any questions or find errors which need to be addressed. I am more than happy to participate in rehearsals via skype or speak by phone and email. My email address: jonigreene@gmail.com.

The Poems of The Moon Glistens Movement 1, measures 1‐65 I. Autumn. Moon‐viewing at his hut Matsuo Bashō [1644‐1694] Moon at the full— round and round the pond I walk, the whole night through. Movement 1, measures 66‐99 II. Shining Faintly Venerable Sejun [1411‐76] Shining faintly in the haze, the moon before break of day. Movement 2 III. Kyorai [Autumn] Matsuo Bashō In the wide blue sky the moon still remains shining at break of day. Movement 3, measures 1‐80; Coda, measures 113‐137 IV.

Autumn [1694] Matsuo Bashō A lightning flash— and into the gloom it goes; a heron’s cry.

M Movemen nt 3, meaasures 811‐98 V V.

A Autumn n Rain M Monk Gu usai [d. 11376] T The clou uds havee left; aand the w wind haas settled d down— ffor the aautumn rrain.

M Movemen nt 3, meaasures 999‐112 V VI.

S Summerr Takaraai Kikaku u [1661‐11707] E Evening g showerr— aand gaziing out iinto it, aa woman n alone.

IIf reprodu ucing poem ms in any y printed fform, the S Stanford U University y Press reequests thee followin ng be inclu uded in p printed maaterial: P Poetry fro om Steven n Carter, T Traditionaal Japanesee Poetry, A An Antho ology C Copyrightt © 1991 b by the Boaard of Tru ustees of th he Leland d Stanford d Jr. Univeersity W With the p permission of Stanfford Univ versity Preess, www..sup.org. N No furtheer use, rep production n, distribu ution in an ny or by aany meanss, are perm mitted witthout the p prior writtten permiission of tthe publisher.

ANALYSIS & REHEARSAL SUGGESTIONS

T The Son ng Cycle T The Mooon Glisten ns origin nates fro om my cchoral w work Auttumn Ref eflections which w was com mposed and exp panded iinto its ccurrent fform fro om 22001 thrrough 20009. Autu umn Refflections is a colleection o of six mo ovementts each ffeaturing g a sepaarate haiiku poem m from ttradition nal JJapanesee poetry y (14th‐117th centtury) wrritten by y the poeets Matssuo Bash hō, Mon nk Gusaii, Takaraai Kikak ku, and V Venerab ble Senju un. A Althoug gh each p poem co ontains o only thrree lines of text, the rich h imagerry conveeys shortt narratiives on tthe beau uty of th he autum mn seaso on. T The storry travells from n night to day, changing ffrom cleear skiess to lighttning sto orms an nd endin ng in a liight even ning rain showeer. While eeach mo ovementt’s haiku u expresses a com mplex sscene so does the entire work w which utiilizes eaach scenee as an eevent in n an overrarching g p poetic sttory. W While th here are several themes,, the mo oon (parrticularly y the ideea of a fu ull and sshimmeering mo oon) is o one of th he most p persisten nt. In m movemeents onee and tw wo the m moon serv ves as th he princciple theme whille the th hird mov vement transitio ons to sccenes baased on rrain and d tthe day. By the final sceene (poeem 6 beg ginning at m. 1000), the n narrativ ve cycle eends wiith the w words “eevening showerr.” M MOVEM MENT 1: Poems 11 & 2 M Movemen nt 1, meaasures 1‐‐64 II. Autum mn. Moo on‐viewiing at hiis hut M Matsuo Baashō [16444‐1694]] M Moon att the fulll— rround an nd roun nd the po ond I waalk, tthe who ole nightt through h. M Main Motives (eexamples are transpposed) C O M P O S I T E R O U N D M O T I V E : (ex. mm m. 13‐14) bbreaks dow wn into QZ QZZ Q h. rhythhm. IInstances oof this motiivic rhythm m occur bettween mm m. 13-47.

“ R O U N D A N D R O U N D T H E P O N D I W A L K ” M O T I V E : (ex. m mm. 37‐39) A Also occurs in Clars. 1 & 3 m m. 24; Bsn. & B. Sax m. 25, 38,, 41; A. Saax 1 m. 27 ,37, 40

388

M Moon att the Fu ull: Meassures 1‐112 are an n orchesstration of mm. 1‐8 from m Autum mn Reflecctions. In n this seection th he oboe sshould eemerge ffrom thee texturee in mm m. 2‐9, alo ong with h crotalees in meeasure 2 and flutte 1 in m mm. 8‐9. R Round aand round the p pond I w walk: M Measures 13‐46 ex xpress aa musicaal round d which creates a musical stew of sorts.. The go oal of th his m movemeent is to presentt two mo otives w while con ntinually y evolving and morphin ng the in nstrumeental collor of thee ensem mble. Th he ““composite roun nd” mottive (seee above)) is defin ned as fo our eigh hth notess followeed by a quarter‐‐note then dotteed half‐n note (firsst shown n iin mm. 113‐14). T This mo otive is u used in aa variety y of colo or group pings and d is follo owed by y the “ro ound an nd round d the pond I walk” motive ((clars. 1 & 3, m. 24). T The Rou und T The roun nd is forrmed by y section ns (often n pairing gs) withiin the en nsemblee which trade offf the tw wo motiv ves. In o order fo or this sw wirl of ccolor to be effecctive, dy ynamics need to be careffully observed. Additio onally, tthe character of the “com mpositee round”” motivee is lightt. T The resu ultant so ound sho ould be a constaant shiftting of in nstrumeental color withiin the en nsemblee. Perhaaps the m most imp portant color sh hift iis the en ntrance o of the m mallets, p piano, an nd harp at meassure 36. M Melodicc Phrasess within n the Rou und IIt is cruccial that instrum ments thaat repeaat for lon ng stretcches do n not overrtake oth her liness. For in nstance, saxophones fro om mm. 19‐34 sserve as a backb bone for the mov ving harrmony aand shou uld be soft enou ugh so th hat slow wer mov ving lines can bee heard. Lines th hat are iimportant to hear throu ugh the ttexture iinclude:: M Measuree 23: Picccolo M Measuree 24: Claarinet 1 aand 3 M Measuree 27: Altto Saxop phone 1 M Measuree 28: Basssoon T The Wh hole Nig ght Thro ough: M Measures 47‐58 u use slow moving g stacked d harmo onies to create aa contrasst from tthe prev vious 8th note ““composite roun nd” mottive. Teext paintting is allways present in n the wo ork, and d in this case thee large expanse of the niight is feelt tthrough h: the usee of morre instru uments p playing at once (particu ularly mm m. 49‐500 and 566‐58), creescendos, and o overall raange. Bassoon aand b baritonee saxoph hone serve as so oloists du uring th his sectio on, altho ough theey will b be covereed up brriefly at measurres 49 an nd 54‐566. [[Round and Round thee Pond II Walk] Tag: M Measuress 59‐63 u uses the “round and rou und the p pond I w walk” m motive in n solo baassoon. In tterms off text painting, tthe basso oon illustrates o one persson penssively w walking aaround aa pond. The solloist sho ould tak ke some time as the p phrase ccompletees in ord der to po ortray so omeonee in deep p though ht. M Measurees 63‐65 serve ass a transsition in nto the seecond poem of tthe work k (meassures 65‐‐98). Pleease allo ow cymb bal playeer to tak ke some ttime so tthat an eeffectivee crescen ndo may y be performed.. M Main ch hanges frrom the choral ssetting W While alll of the originall choral music frrom Auttumn Ref eflectionss, movem ment one iis includ ded, the presenttation off the rou und has been aaltered. Melodiic strainss have b been creaated from the p primary rround m motive (aas show wn abovee in “com mposite round m motive” examplle). T These sttrains arre first defined in n mm. 113‐17 in the woo odwindss. Similaarly, thee piccolo o phrasee from m mm. 23‐227 was created ffor the b band wo ork and is also b based on n pitchess occurrring in th he choraal versio on. M Movemen nt 1, meaasures 655‐98 III. Shinin ng Fainttly Venerrable Sejun [14111‐76] S Shining faintly iin the haaze, tthe moo on b before b break of day.

M Main Motives A A leap u up follow wed by lleap dow wn illustrates th he shinin ng moon n S H I N I N G M O O N M O T I V E : (ex. mm. 69‐770)

M Measurees 65‐98 of moveement o one may y be the h hardest of the en ntire pieece. Mo ost instru ument seections rrequest only on ne playerr per parrt, aand ofteen every y entrancce is treaated as aa solo. T This secttion of th he work k is reallly consid dered ch hamber m music. Extremee care w with d dynamiccs and b balance iis needeed. In ad ddition tto dynam mics, paacing is v very imp portant.. C Compossite liness are creeated by having instrum ments joiin and exit an ov verarchiing phraase. So iinstead of havin ng one p person o or everyo one p play all of a mellodic ph hrase, players join at diffferent tiimes. Th he resulltant effeect is a ccomposiite phrasse – everryone’s part add ded ttogetherr createss a large phrase.. And eaach of th hese larg ge phrases requiires careeful paciing so th hat the m music caan breath h. Addiitionally y, tthere aree times w when on ne instru ument w will hang g over in nto a new w phrasse creatin ng a susstain as tthe mussic passees. This is very delicatee m music th hat requires closse attenttion to d detail. IIn orderr to faciliitate paccing, freequent teempo ch hanges, ffermatas, and p pauses arre used. Becausse it may y be diffficult to determiine wheere o overarch hing phrrases occur, I haave listed them b below. As is alw ways tru ue with my mussic, the d dynamiccs serve as the b best indiicator fo or w which in nstrumeent is mo ost impo ortant to o be hearrd in thee texturee. C Compossite Phraases M MM. 65‐‐66 M MM. 67‐‐68 M MM. 69‐‐72 M M. 73 – b beat 1 off 74 M M. 74 (b beat 2) – 75 M M. 76 M M. 77 [[Phrase set] MM M. 78‐81 (multip ple phrasses work k compo ositely) M M. 82 M MM. 83‐‐84 M MM. 85‐‐86 [[Phrase set] MM M. 87‐89 M MM. 90‐‐91 (beatt 2) M MM. 91 (beat 3) – 92 M M. 93 (w with pick k‐ups) M M. 94 M M. 95 M M. 96 M MM. 97‐‐98 M Main ch hanges frrom the choral ssetting O Only chaanges to o assist w with paccing werre madee to this section. This in ncludes aadding b beats to the end d of meaasures w where a ssustain o occurs, aand inseerting tempo flu uctuation ns. MOVE EMENT 2: Poem m 3 IIII. Kyorrai [Autu umn] M Matsuo Baashō IIn the w wide bluee sky tthe moo on still reemains sshining aat break k of day. M Main Motives P R I M A R Y M O T I V E : (ex.. mm. 13‐118)

“ R E M A I N S S H I N I N G ” M O T I V E : (ex. mm m. 26‐27) A Also used iin mm. 26--30, 57-59,, and 72

T The Mo oon Stilll Remain ns Shining: Meeasures 11‐30 are an expaansion o of measu ures 16‐332 in Autumn Ref eflectionss. The m musical g goal is to o ccreate m momentu um throu ugh repetition aand mov ving harrmony. A backd drop is ccreated tthrough h tremolo os and p pyramid d 16th no ote sectio on eentrancees. In fro ont of th his backdrop is an evolv ving meelodic staatementt in malllet percu ussion, h harp, an nd piano o (m. 11) that cullminatess iinto gesttural ou utbursts with thee upper woodw winds (beeginning g in m. 112). Thee clarineet solo in n mm. 133‐18 serv ves as th he primaary motiive o of moveement tw wo and m must be heard cclearly over the ensemble. Inten nsity theen pickss up with h the ad ddition o of the low w winds and ccontrabaass in m m. 19. Meeasures 26‐27 in ntroducee the “reemains sshining”” motivee in harp p and piaano (m. 37 in Au utumn R Reflection ns). IIn orderr to mak ke measu ures 1‐300 effectiv ve, carefful consiideratio on needss to be giiven to h hairpin dynamiics and tthe temp po canno ot drag. M Marimba and viibrapho one shou uld play equal d dynamicss so thatt a blend ded soun nd is creeated. S Similarly y, flutes,, oboe, aand clariinet 1 sshould aalso creaate a blended so ound so that no instrum ment stick ks out in n the tex xture. P Please en nsure thaat hornss 2 and 44 are heaard in m mm. 224‐26, allong witth alto saaxophon ne 1 in m mm. 27‐228. IIn the W Wide Blu ue Sky: Measures 30‐466 are an expansion of m measures 1‐8 in A Autumn R Reflectioons. In orrder to m make the phrasee layerin ng eeffectivee in meaasures 400‐46, pleease pay y careful attentio on to dy ynamic d decrescendos. M Measurees 47‐51 serve ass a transsition. M Measurees 47‐49 use “stin ng” entrrances (ssee notaation secction of p pre‐scorre materrial for eexplanattion). M Measurees 52‐71 are a deevelopm ment of tthe prim mary mottive and d the “reemains sshining”” motivee. There is a pussh and p pull betw ween theese ttwo charracters tthrough hout this section which u ultimateely prog gresses th he musiic towards a clim max at m measure 71. Thee climax x illustraates tthe gran ndest preesentatio on of thee word “shine” from th he text. IIt is imm mediatelly follow wed by tthree mo ore instaances of the worrd shinee ((m. 73, m m. 77, an nd m. 788) with eeach preesentatio on softerr than th he previo ous. M Measurees 72‐79 are an eexpansio on of mm m. 35‐422 in Autu umn Refl flections. M Measurees 80‐101 are an n expansion of A Autumn R Reflection ns mm. 43‐49. T The goall of this section is to creeate textture variiation. P Please pay cclose atttention tto dynam mics and d articullation in n order tto createe maxim mum contrast. Pllease en nsure thaat repeatted notees witho out hairp pins b between n mm. 855‐95 rem main softt so thatt dynam mic swellls in otheer instru uments aare effecctive. P Please d do not ru ush transsition beetween m mm. 1022 and 1004. A At Break k of Day y: Measu ures 1044‐120 aree an exp pansion of Autum mn Refleections m mm. 55‐663. The piano an nd malleet percu ussion pllus harp p p parts traade off h harmoniic phrasiing (such as in m mm. 1044‐107 and mm. 1108‐110)). Their phrasin ng and d dynamics should d match. Like m mm. 665‐98 of movem ment onee, this section req quires careful attention n to phraase shap ping, dyn namics, and paccing. MO OVEME ENT 3: P Poems 4,, 5 & 6 M Movemen nt 3, meaasures 1‐‐80 IIV. Autu umn [1694] Matssuo Bashhō A A lightn ning flash h— aand into o the glo oom it go oes; aa heron’’s cry. M Main Motives L I G H T N I N G & T H U N D E R M O T I VE (ex x. m. 23) O Occurs prrimarily in n brass

S N A P P I N G E F F E C T (ex. m. 2) W Winds, Peerc. 2, Cb, Hp Trom mbone 2

F E A T H E R E D B E A M M O T I V E (eex. m. 13) O Occurs in trumpet aand flute

Bb Tru umpet 1

A A Lightn ning Flaash: Meaasures 11‐80 porttray a lig ghtning g storm aand are aan expansion off the firsst twenty y‐four m measures of Auttumn R Reflection ns. Mucch of thee material in this section n is new wly deveeloped m material. The original ch horal mu usic beg gins in th he brasss at m. 177. P Players are giveen indicaations to o snap fiingers, p pat legs, or lighttly stom mp feet (rreferred to as “ssnapping g effect”” above)) which sserve ass a b backdro op to thee coming g storm. Please feel freee to adju ust effectt assignm ments aand dynaamics ass needed d. Playeers who producee the ssnappin ng effect crescen ndo from m mm. 1‐‐30, so aan audib ble chang ge over time neeeds to b be heard. Pleasee take caare not to o cover iinstrumeental paarts with h the snaapping eeffect. F For a dem monstraation of tthis effect, pleasse see a v video att w www.jonigreene.com/##consortiium. T Trumpeets and fllutes haave feath hered beeams thaat are inttended tto createe and latter drivee intensiity towaards the climax aat m. 800. See n notation n section n in pre‐score m material ffor moree inform mation on n how to o produce this eeffect. P Piano accts as a ssoloist frrom mm m. 5‐23 and need ds to be h heard cllearly. P Program mmaticallly, pian no and fllute fluttter‐tong gue are sserving aas tthe wind d beforee a large storm. The piaano in paarticularr serves to creatte momeentum in n the mu usic as th he storm m approaches. M Measuree 17 beg gins a con nversatiion in th he brass that serrves as aan echo eeffect illu ustratin ng thund der and llightnin ng (see liightning g and tthunderr motive above).. Intensity of th he storm m grows u until thee lightniing and thunderr occur ssimultan neously at m. 800. T The textt The textt presen ntation iss not con nsistent with th he chorall work. The firsst line off text, “A A lightniing flash h,” is prresented d from m mm. 1‐800. ““And in nto the g gloom it goes” iss omitted d. “A heron’s ccry” is no ot given n until th he end o of the wo ork at m m. 129. M Movemen nt 3, meaasures 811‐98 V V. Autumn Rain n Monk G Gusai [d d. 1376] T The clou uds havee left; aand the wind haas settled down n— ffor the aautumn rain. T The clou uds hav ve left & & and thee wind h has settlled dow wn: Measures 811‐85 illusstrate th he calm aafter thee storm. Carefu ul attentiion to d dynamiccs and eensemblee balancce will h help mak ke this seection efffective.. Oboe p portrayss the linee “and tthe wind d” from Autumn n Reflectiions aand need ds to be heard cclearly in n mm. 884‐86. F For the aautumn n rain: In n mm. 877‐97 mallet perccussion allude to o rain drops. Please tak ke care tthat entrrances aare heard d distincctly. P Players should m match aattack, en ntrance timing, and notte length h. It is aacceptab ble to striike vibraphoness as an aalternatee option n; howev ver, ccomposeer preferrs arco iff ample rehearsal time iis allowed. T The textt M Measurees 81‐98 are tran nscribed d exactly y from A Autumn R Reflection ns, moveement fiive. M Movemen nt 3, meaasures 999‐112 V VI. Sum mmer Takkarai Kikkaku [16661‐1707] E Evening g showerr— aand gaziing out into it, aa woman n alone.. M Measurees 99‐1112: Clariinets, ho orns 1 & & 3, and eeuphoniiums 1 & & 2 illusstrate thee evenin ng atmossphere w while m mallet perrcussion n continu ues tto portraay rain d drops. D Delicate playing g in addition to steady p pacing is necesssary for this secttion. Clarinet 1 alludess to “a w woman aalone” frrom thee text.

Measures 113‐137 serve as an epilogue with the flute solo beginning in m. 113 serving as a transition. Please take care to not let the tempo drag during this section. Stylistically, reflections of the work are presented in this final section as shown by use of “sting” entrances in stacking harmonies (ex. m. 123), melodic line overlapping, and continued use of delicate dynamics. The last part of the poetic journey is presented in the euphonium as the image of a heron crying through the musical texture (m. 129). A sense of calm and finality create the closing tone of the work

‐Joni Greene

to Chad Simons

Transposed Score

THE MOON GLISTENS A Tone Poem for Wind Ensemble

I. Moon Viewing  Moon at the full q = 48   2

Piccolo

3





1

Bb Clarinets 2

3



















 

 air attack



pp





air attack







air attack



pp



pp





Contrabass Clarinet in Bb





Bassoon





Bb Bass Clarinet







1







Oboe

6



Flutes 2

5

4





f

mf

solo





p

















mp

mp



p

p



pp

pp

pp





 pp

p

 



 





















7









       



mf





     

mp



 

( ) mf



p



Joni Greene

8





p

pp

p

 

p



mp

 





q = 56

mp



 

      

mf



p

pp

mp





p

pp

mp





p

 

 





pp

 





 

 



 

mp

p













2



















Bb Tenor Saxophone





















 

1 Eb Alto Saxophones

Eb Baritone Saxophone

1

  

Bb Trumpets



2

2 4

1 Trombones

Bass Trombone 1 Euphonium 2



Tuba 1 2

Percussion 1

Percussion 2

Percussion 3

Percussion 4

Percussion 5

Contrabass

Harp

Piano













































pp

  

   

pp

 



Crotales

Vibraphone



Marimba





mp



pp

mp

pp



mp

p



 



























pp















*arco 

  pp 

  

  



mp

  

mp

 

siempre l.v. mf

    p mp 



    

 

p

mp



Moon at the full q = 48 



 



Blocked

    pp 



                 mp p mp 

 

  

 

 

pp

mp

p

mp

 

Moon at the full‐ round and round the pond I walk, the whole night through.





p



 



p

p

 





   





n



n



l.v.      pp

 

  





p

l.v.









Pno. cue









 

 

©2014 ColorWorks Press (ASCAP) All Rights Reserved. www.jonigreene.com

 

p

 

       





mf



)



































dolce









 

q = 56

 

 

mf

 

p





  



p















p



p







mp

(



   



 

mf



   

 



pp



    

















p









mp

 



 

mp









pp

 





 











pp

 

pp

mp







 



pp

pp

mp



 



 



 







 







pp



pp



2







pp

 p



mp







1 3 F Horns

Timpani

 





pp

 

p

 



 



 

*Begin to bow just before the beat so that sound begins on downbeat. If crotales are not available, part may be played on glockenspiel. If possible, bowed part may be played on vibraphone one octave lower, otherwise softly strike glockenspiel when arco is indicated.

 Picc.  9

10





Ob.



Bb Cl. 1

 





 





Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt. 1











  

 









Euph. 1/2

Tuba 1/2



Timp.

Perc. 2

Perc. 3

Perc. 4

Cb.



mp





mp

 

 

 



mp





 









   

(mba.)













 













 

 





mf



 



mf



 



 



ff





1 only

      p

pp







p













mp sub.







1 only





p

p



mp

 



  

pp

1 only

















    





























































































































pp

pp

pp

p

   p

p sub.

      



pp

p sub.



p

ff

 







   

   

  

 





 

p

  



   



























13 q = 120 

 



p

p



mp



p

 









   



p



 





mf



p

ff

ff



p sub.







  

p

p

ff

 

pp

    



p

ff

Broken (not blocked)







mf



p



   

mp

p



p

ff

 

p sub.



p



  ff    

 

     



p



mf

p











mf







  

p



 

 







 





p



ff

ff



  mf 





 



ff









pp







p

ff

Large Sus. Cym.



Pno.



(vibes)



Hp.

mp









p

ff



  

p



mp

mp



ff

  



  mf

   

 





 

p





p

pp



ff



    



p sub.

pp





p

1 only



ff



       pp





1 only

p



 



p







17



pp





16



p

p

ff





1 only





ff





 

p











ff

 

mp

B. Tbn.



ff

mp













mp

Tbn. 2

p

ff







mp



Tbn. 1



ff

mp



Horn 2/4



ff





p



15

14

round and round the pond I walk,



ff



p

Horn 1/3









mp





Bb Tpt. 2



ff

 



Eb Alto Sax 2

 



 

mp

Eb Alto Sax 1

 





p



mp



Bsn.











ff



mp

Bb Bass Cl.

p

ff

mp

Bb Cl. 3

13 q = 120



12



mp



Bb Cl. 2

mp

 ff



 *  



Flute 2

11

mf





Flute 1





mf

 mf

























*Each performerʹs part indicates to not breath between quarter notes.

2





















 







 

mp







 





 mf

sim.

 



 Picc.  18



Flute 1



Flute 2

Ob.

Bb Cl. 1

19

 

p

Bsn.

 

 tutti  mf sub.

mf sub.

 

 



f







mf sub.







 

f

    



    

f

 

 

    



p

f sub.



mf









p



 

f







 

 

tutti

f





























      



      



mf

mf

   

mf

    



     



p

mf

p

mp

mf

     



 

p

mf



  

 

 

   

 

mp



 

  

mp

  

 

f

 

   

f

   

  

  p mf sub.

   



p mf sub.





f





 































































































































































 

















 















  



  







 





 































23  













 

 











 

 



 

 





 

 

3







 

 





 







 





p

    



(mba)

Pno.





f



Euph. 1/2

Hp.



      



B. Tbn.

Cb.

    



Tbn. 2

Perc. 4

     



p

f sub.



Tbn. 1

Perc. 3

p



Horn 2/4

Perc. 2

f

       



Horn 1/3

Timp.





  

Bb Tpt. 2

Tuba 1/2



      





mf

p sub.

Bb Tpt. 1

mf



p

Eb Bari. Sax.

 

 

tutti

Bb Ten. Sax.





p

Eb Alto Sax 2



24

 



tutti

tutti

Eb Alto Sax 1



mf

 tutti     

mf sub.

Bb Bass Cl.

23 

22



 tutti      



 

Bb Cl. 3



21

ff



Bb Cl. 2

20





 

   25

Picc.



Flute 1

mf sub.

mf sub.

     

Ob.

mf sub.

  

Bb Cl. 1

 

Bb Cl. 2

Bb Cl. 3



Bb Bass Cl.



Bb Tpt. 1





  

mf sub.

f





























p

mp sub.



 



p

mp

  



 



mp

 

mf

  p

  p





   



  

mp



mf

  



 

    mp sub.

p

  

  p

mp sub.

  



mp



     

mf

  







p





   



mp









p

   

mp sub.







    mp sub.

p



mp

 

   

 

 

  

 

 







     

pp

  

 

  



pp

p



















































































































































 





























(mba)





















































































 

Pno.

   

p





Euph. 1/2

Hp.

 



pp



B. Tbn.

Cb.

   

p



Tbn. 2

Perc. 4



mf sub.







    







    

pp

    













mp sub.







Tbn. 1

Perc. 3

p

p

p

    

    

    



    



 

   

mp sub.

31





Horn 2/4

Perc. 2

mf sub.

 

p

30





Horn 1/3

Timp.

    



    

     mp sub.

29



 

Bb Tpt. 2

Tuba 1/2

p

28





f

 

p







p

mf

p







mf sub.







Bb Ten. Sax.

p

 



27

    



  

    

Eb Alto Sax 2



   

   

Eb Alto Sax 1

Eb Bari. Sax.



 

Bsn.



    

     

Flute 2

26









 

 





  f











   

    





  

4

mf





   

   





  



 



Flute 1





Flute 2





32

Picc.



Ob.

Bb Cl. 1

Bb Cl. 2





33

34





     



 



    

p



38

39















































p

    

37

36





p

 

35

    



    









    



   









p



Bb Cl. 3



















Bb Bass Cl.



















 

  















Bsn.



Eb Alto Sax 1

Eb Alto Sax 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt. 1

Pno.

  







mp



  



mp



   

  

   

     

p sub.

mp

p sub.











 







 

         

p





  





































































































































































































































Euph. 1/2

Hp.





    

mp

  



B. Tbn.

Cb.





  





Tbn. 2

Perc. 4

     



p

  



Tbn. 1

Perc. 3





  



Horn 2/4

Perc. 2





 

Horn 1/3

Timp.





mp

      



Bb Tpt. 2

Tuba 1/2







 (vibes)  

(mba.)



  

 

  

f

 f





   

  



  

 

  

 

  















   

37  

 



f





















 

   



 

mp















 



  

 

  

 

  

 

  

 

  

 

  

 

 



5



 mf

  

      

 

    





  



    

47

 



Flute 1



















Flute 2



















Ob.



















Bb Cl. 1









40

Picc.

Bb Cl. 2

Bsn.

Eb Alto Sax 1

Eb Alto Sax 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt. 1





 



  

 



 





  



  













 

p













 

    



 

















 





    



  

    



pp





   



  

  

    







  







  

pp



p

 



p

   









   





  

pp



p





p

 



 



p



p

    p sub. 



 





  













mp



p



 

p

 













p sub.





mp

























































































































































 (vibes)    



    











   

  

 

  



 

  

 

  

p

p





 



 





    



 



  





 



 



p

p



p

 



p

 

 p



     

 



    



p

 





  









47

      

 



 



 







(mba.)

Pno.

  

  





Euph. 1/2

Hp.

 

pp

the whole night through.





B. Tbn.

Cb.

 





Tbn. 2

Perc. 4





46



Tbn. 1

Perc. 3

 

45



Horn 2/4

Perc. 2

  



  



 

  





44

 

Horn 1/3

Timp.

p

43

p



 

Bb Tpt. 2

Tuba 1/2









Bb Bass Cl.

42

p

 

Bb Cl. 3

41





 

  

 

 

  

 

       



p

  





 



 

  

    



   

 



 

  

    





    



  

p







  



  



  



  



 

  





    



    



    



 







6



 

 







48

Picc.

Flute 1



Flute 2



Ob.



Bb Cl. 1

Bb Bass Cl.

Bsn.

Eb Alto Sax 2

Bb Ten. Sax.

Bb Tpt. 1









  









 

Horn 2/4

Tbn. 1











 



 

slight decresc.



f



slight decresc.



f



slight decresc.





 



 

























     pp

   





























  





f











slight decresc.











f



slight decresc.







f

slight decresc.





f

slight decresc.





f

slight decresc.



 









mf





















slight decresc.





f



slight decresc.





f

slight decresc.

 





 

 













   





   











   







 





56



















 







pp

mf

 



mf

mf







  









 

 



mf





mf





  



 mf









pp

mf

 















pp

 mf



pp

mf

 



  

   

pp







 

 

 

 



mf





  pp



 









pp







mf

  



  

mf





mf





pp

mf





pp

 

 

 



 

 

 



mf





pp





 

  



mf





mf

 l.v.  

 

mf

p

Perc. 2

Perc. 3

 

(vibes)

(mba.)











 

 

Lg. Sus. Cym.

Perc. 4

Cb.

Hp.

 

pp





 



mf

 









































































 

 

 

 

 

7

p

  p















mp

mp

 













Pno.







mf

  

 









pp

pp

pp









slight decresc.

f

 

  





pp

pp

mf

f









 









 



  





 









slight decresc.

f





55

 







54









Euph. 1/2

 





B. Tbn.

  



53

 





f







Tbn. 2

  

  

 







 



52

 



f





 

Horn 1/3

Timp.





Bb Tpt. 2

Tuba 1/2





Eb Alto Sax 1

 





 

51











Bb Cl. 3

Eb Bari. Sax.

 

50







Bb Cl. 2

49



(vibes)









 



pp



p







mp

 

 

 p





 

 mp









always l.v.

 

 



 

 

60

 Picc.  57



Flute 1



Flute 2



Ob.



Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

 







 

 



 



f

Eb Alto Sax 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt. 1

 

  



  





 



  

 

 



Horn 1/3

Horn 2/4

 

Tbn. 1





pp

  pp



B. Tbn.

Euph. 1/2

Tuba 1/2

Timp.

Perc. 2

Perc. 3

Perc. 4

Cb.

Hp.

Pno.









 

 (vibes)   

pp



 









 







 





 







 











 











 





 

 







































mf

 

 

 

 





  

mp



  







pp

























 















 













 











 













 















 















 















 















 















 















 













 











 

 

 

 

pp

pp

 

 

 

 

 

 

 























 



















 



















 

(lg. sus. cym.)



longer than previous



 





























 

rit.



mp

mf



 









 









 







 





 





























8







 



scrape l.v.

scrape l.v.

63 



 











pp

 





pp



 





pp

pp

Tbn. 2





mp



  



 

pp

pp



q = 52

64

pp

 

rit.

63

62

pp

pp



Bb Tpt. 2

 

pp

  

 



pp



 





pp

 

Eb Alto Sax 1

59

pp

solo

Bsn.

58

61

 

q = 52

 

 

 



65 As from afar q = 48 ‐ 52

Flute 1

 

Flute 2



Oboe

 

Bb Cl. 1

66



 



 



 



Shining faintly...

 

 

68

67

   p

1 only



 

  

1 only until mvt. 2



p

mp

mp

71 rit.

70 accel.



 







  p

 

69



p



  



mp

a tempo 

p



mp



 mf

  

mp



 







72

n

 

 mf







   

p







n





p





mf

73

pp

 

 

 



  



subtone p

n

Bb Cl. 2





 





















Bb Cl. 3





 

























 





Bb Bass Cl.

 

 



Eb Alto Sax 1



mp



Bsn.





 

1 only

pp



n

mf



















mf



















  



















p

 p

mf

pp

pp

p

Eb A. Sax 2





 





















Bb T. Sax.





 

































Voice

Bb Tpt. 1

 

 

Tbn. 1

Tbn. 2

Euph. 1/2

Tuba 1/2

Timp.

Perc. 1

ahh

 

Horn 1/3





 

 

 

 









 









 









 













 











 









 















 

 

 



  

 

Crotales





arco



mp mp

arco



Crots. cue



 

 









 always l.v.  



Cb.

 



 







 

***(cued in piano)



MMLOLMMM



 



1 only



mf



 pp









1 only





mf

 





p

mf





1 only



pp









 

 

























































 



arco

mp mp

mp



(top line, crots. cue)























        mp     arco

mp



 

 

 



 

   







***(on the button) always l.v.   































mf    

















mp



65 As from afar q = 48 ‐ 52    



Harp



f







Gong

Large Sus. Cym.

Perc. 4



arco

 





arco

f

ahh



long scrape

Perc. 5

  mmm

arco always with pedal

Perc. 3



ff



Vibraphone

Perc. 2

 

*f 



 



p



  

gliss.



mf



 









 

mp





accel.





mf

mp







rit.





mf

 

p

72 a tempo  

 

Shining faintly in the haze, the moon, before break of day.

* Separate vocal part provided for singers. Vocal music not cued in any instrumental parts. See instrumentation notes at front of score for more information. ** Composer prefers piano play harp cues, marimba cued in case piano is unavailable. *** If gong F2 is not available, please substitute large suspended cymbal. ****Marimba has harp cues until Mvt. 2

9

pp

 

 

  mp

 

 Flute 1  74









Ob.



Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

 



ppp



ord.















p

 

 



p

 

 bend

 

pp





79





 

 





















  



p





pp

mp



 





mp

 



pp









mp

  

p



mp

80

81



  

mp

p

pp





mp

1 only









mp





p









































  







mf

  



p

mp

  p

 

  



 

   





pp



 

1 only

p

mf sub.

mf





mp





p

  

mp





n





mp

   

rit.

p

mf

 



    n



p



mf

82



f



solo



78

pp



Eb A. Sax 1



mf

   

77



 

pp

Bsn.

76

 1 only b





Bb Bass Cl.

75

mf



Flute 2



mp

pp





















mp

Eb A. Sax 2



























Bb T. Sax.



























 

























 Tpt. 1 



















 



Voice

Bb



Horn 1/3

Tbn. 1



Tbn. 2



 



  

straight mute

p

mp



 



 

 



























 





Euph. 1/2

Tuba 1/2

Timp.

Perc. 1.

Perc. 2















































   

 

 

  

(crots.)





ord. p

(vibes)





 



   mp









arco



mp





(lg. sus. cym.) scrape



Perc. 4

p

 



























  







f

Med. Sus. Cymbal

Perc. 5

Cb.

 





Hp.

(emerge after scrape in perc. 4)

ppp





mp



 



mp







 

  

 

 























mp

































 

 arco



f









arco



 

(sim.)

crots. cue



  f

















Marimba





mf

 



Hp. cues

Perc. 3

   

 p   



mf





(long pull)

  





 





1 only cup mute



p

Cb. cue



 

b  

 





l.v.













mp sub.









mf

 



 

 

 





 

  















 

 

solo ‐ molto espr.



mf

     mf

mf





10

f

  

 mf



 

ppp



mp









 



l.v.







 

 





 rit.

 

  



84

accel.

     Flute 1   83

3

mp

Flute 2









 

p

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

Bsn.

Eb A. Sax 1

Eb A. Sax 2

  









tutti





Voice

Bb Tpt. 1

Tbn. 1

Tbn. 2

5





 



Timp.

Perc. 1.

 





 

  

 

 







mp

5

         





  



Hp.



  

 

s.

 



  

 

pp

  

  

 

 

  



  



pp

  

mf

mf

 

  

 

  



  







 

  

 

  



  





 

  



  



 

  

    

pp

  

    

  

 

 

  

 



 



mf

mf



  n

  











n

pp

  n

 

pp

mf

mf

mf

  



p

  



  



  



   

 

  

     

      

f



  

 





 

p 1 only straight mute

     p

  

mf

p



 

 

  



  



 

  



  

 





 



 







 

  



f

   

p

      

 





mf

  



 

f

div. (1/part)





 

      

 

p

     

1 only straight mute

  

f

f

f



mf



 

p

  

p

mp

p





1 only

   

  

     





mf

   mp

   

       p 1 only



espr.

mf



 



  pp

 



mf





 

p

    

f

f

 

mf

mp

   

mp

 

 

 



p



p

 

 

   







 

  



  





  







 

  



  





  





  

  



  



 f



  







 



(off the button)

pp

p

  







 

  



  



  







 

  



  









 

  



  







 

  



  





 

  



  

a tempo 84 (q = 48‐52)



glis

  



  



solo espr.





accel.





  

mf



 

  



p



p



 

Gong

p

 

  



 

f

 

(lg. sus. cym.)









f

3

 

  

  

1 only

mp

ff

(mba/gong)

Cb.



 



arco



  



f

mp

 (crots.)  





 

pp

f

p

Perc. 5

mp

f

 

 



 



  

 

(briefly)





mp





 

Perc. 4

 

f













Perc. 3

  







(vibes)

Perc. 2











p

 tutti  



f

5

mute

Tuba 1/2

  



        



1 only

mute

Euph. 1/2



5

5

p

tutti

Horn 1/3

   



      



p

Bb T. Sax.

mp

f



p





f

f

  

  

f



 



  

in the haze,

90

89

mp

f

tutti

    

1 only



f

              



88

87

86

mp

   

5

mp

Bb Cl. 1

85

f

     

5

tutti



5

  

  p

Ob.

    

a tempo

(q = 48‐52)

 

f



  



  

 

 

 

*If gong F3 is not available, please substitute medium suspended cymbal.

11

 

 

 

 

92

  91

Flute 1



Flute 2



Ob.



Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

Bsn.



  

 

Perc. 2

   p



  



 

  

 











  



 









   



 



p



   



  

p

 

    

   

  



 

p

  



  



  



  



 



  



    

 

 







 



(mba)



 











 





  sim. 

  









 















      

div. (1/part)

p



    

n

p

n



 



 

 

 

p







   p





















pp





  

pp





 











p

   

  

    

 

  



  







   f











 



 

f

    

mf

 





 





 



 











p



 



 



 





 





 



   





 

 



 

  

 

 



   





  



  

12



 

 

   mp

 

 

















 













 

 

    air attack

ppp

 

p

  

p

 

n

  

 

air attack

ppp

 

n

air attack

ppp

 

p

n



 

 



 

 



 

 



 

 



 

 



  

 

f



 





 

 



 



 



 

 



 

 



 

 



 



 

 



 

 



 

 

 



 

 



 

 



 

 

  mf 

   

 

 

   

 

p



 



 *a tempo     

 





 











* Do not rush. Tempo may be relaxed and with slight rubato. **If gong Ab3 is not available, please substitute small suspended cymbal.







p



mp



n

ahh





 







p







 

  









pp



 

 





 

n

p





n

 

air attack

p







Perc. 5



 

    

 



 

 



(Hp. cue)









mf





p





  p

 

mp



 



Tam‐tam





  



  



 ord.



(vibes)

 



 

 (crots.)

1 only

p





 













  









 





    pp





p



pp

















ahh















Hp.





p

Perc. 4

Cb.

 

break of...

day.

n

 



Perc. 3

p





p

   

 p

  



n

p





Perc. 1.

 





  

    

  

 Tpt. 1 

Timp.

  

  









p

  



 Voice  

Tuba 1/2





p



98

97

96

*a tempo (brief)





Euph. 1/2

 



poco rit



  

Tbn. 2



    

95

94





Tbn. 1

 



  

Horn 1/3



mp





    

before...



mp

glis s.

Bb

   



Eb A. Sax 2

Bb T. Sax.





Eb A. Sax 1

93

the moon,



mp

  Gong





*(off the button)  p

 



     

pizz.



  

mp



 

  mp

  



mf



 

   

n

II. Wide Blue Sky  The moon still remains shining q = 92   Piccolo  2

1 Flutes 2













 





 





Bb Clarinets 2





6

5







1

4





Oboe

3



flz.















f flz.

f

 tutti molto legato

                

pp tutti molto legato

n









n

7

n

 













 

 

 









                                 pp n













tutti molto legato

                         pp n

3







Bb Bass Clarinet

















































Bb Contrabass Clarinet

Bassoon





1 Eb Alto Saxophones



                                        

molto legato pp

n

molto legato tutti

                pp

mp

2

















Bb Tenor Saxophone

















Eb Baritone Saxophone























1

 

Bb Trumpets

 

 

 

 

 

2

















1 3























































F Horn

2 4



1



Trombones



2

Tuba



1 2 1 2

Timpani

                       

pp tutti molto legato straight mute



 

mp

pp

a2 molto legato straight mute

mp



 

pp



























Vibraphone

p  

Crotales arco





 

 

  

 







 



 

  

 







Percussion 5









Piano





mf



The moon still remains shining q = 92 





p

MMMOMMMM

 

In the wide blue sky the moon still remains shining at break of day.







Bisbigliando (broken)





p













ff









sim. pp

 

sim.

 

pp

  









n

n



























  

  

* Repeating 16th notes should sound like pulsing moonbeams. Play with very light tongue. All players with 16th note figure have this indication.

13





   

 p 

pp



 





  



 

Percussion 4





 

Marimba

div.









mf

 

 mp 



Harp

n









mp



Contrabass

n

*                                          



Percussion 3





 Percussion 1  Percussion 2

n

                                



Bass Trombone

Euphonium



tutti molto legato straight mute



   

   

 

 always l.v.    

 



n

     

 

   

 Picc. 







8

Flute 1



Flute 2



Ob.



Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

Bb Cb. Cl.

Bsn.





ff

flz.





mf



pp





sim.

           

pp

mp































 

Timp.

pp

mp



pp



Perc. 1

Perc. 2

pp





  





 



mp





pp

mp

                  





molto legato pp

mp

             mp







sim.

pp

mp

  

pp



mp





pp

pp

mp

mp



  pp

mp



             

          



pp

     



unis. molto legato straight mute

  

mp

pp

mp

































arco



 

mf















 

p





 



mf





Glockenspiel



mp

 





 

mf



  

              

unis. molto legato straight mute







molto legato







  



mp

p











mf



pp









sim.







                       











 



mp



mp

(mba.)









Perc. 5















Perc. 4





mp

mp



mp





(crots.)

            



mp





Pno.

pp

     



mp

sim.







Perc. 3

Hp.

            

mp



Cb.





tutti molto legato

 

(vibes)





 

 











mp



sim.

pp

 



f

                    





solo



pp

Tuba 1/2

    







 







mp





Euph. 1/2

pp





B. Tbn.

mp



 





pp





Tbn. 2

   







Tbn. 1



   

ord.

mp





Horn 2/4



pp



Eb Bari. Sax.









mp



Horn 1/3



   

ord.

pp

                   

pp



 



    

mp



div.



sim.



Bb Tpt. 2



13 



sim.



mp

pp



pp

 

pp





Bb Ten. Sax.

 

ff

 

  

 



Bb Tpt. 1



12







Eb Alto Sax 2

11











10



*Jet Whistle



 



Eb Alto Sax 1

9



ord.





mp

 

 

mf

 

 mf





























 

13  

 

 

 



 





 







 

















 













 

 

*Jet Whistle: A breathy sound producing a sudden shriek when player places mouth over the embouchure hole and blows airstream into flute. Player should experiment with fingering, breath pressure, and vowel shape of the mouth to obtain the most volume possible.

14

 







14

Picc.

Flute 1





 16    





     

15

mp

mp

5

5

mf

p

p

mf

17

   





p

mf





18









mf

Flute 2

Ob.









 

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3











Eb Alto Sax 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt. 1

    



 

                 

    



pp

mp

pp

mp

pp



pp

mp



pp

mp

pp

mp

Tuba 1/2

Timp.

Perc. 1

Perc. 2

Perc. 3

Cb.

Hp.

Pno.



























 mp

pp







  





mf

 

 



mf

          mp

mp



  

pp

    

(vibes)

(mba.)

  

  mp

pp







ff





mf

div.

               

div.

mp

 

pp

mp

                                            mp

pp





    mp



 

 p 





 



 



mp

p

mf



arco





            

 







 



   

Glockenspiel

























mp





  

 mf

mf

 



 

    

mf











     



 



 

 ff



p



15

p









       p

ff







 



  





mp

                              





               



pp





mp molto legato straight mute

mp

pp

arco

sim.

                    

     

               





mf

        

mf



f





mf

  l.v.   

     

  

       

mp

 



f

Lg. Sus. Cymbal





pp

mp

 

    



mp

mp

 





         

 (crots.)







molto legato straight mute











    

pp

mp





    

pp

 

mp







sim.



mp







     





sim.



mp



 



pp

end solo

mp



Perc. 4

Perc. 5





mp



mf

 

pp sim.











  

mf





Euph. 1/2





pp

B. Tbn.

p



                

 

Tbn. 2



ff



 

Tbn. 1



f





Horn 2/4

mp





                

 

Horn 1/3



mp

             



Bb Tpt. 2

 



pp

(Play)

 

mp

                

Eb Alto Sax 1

   



molto legato

Bsn.





 

3



Bb Cb. Cl.



   

 

 

Bb Bass Cl.

Hp. cue

 mp





 







 Picc. 





Flute 2

Ob.

19

Flute 1































  



 

mp

                 mp





Bb Bass Cl.

 

Bsn.





Bb Ten. Sax.

 

Eb Bari. Sax.

                

Bb Tpt. 1

 sim.  

Horn 1/3









 

B. Tbn.

Tuba 1/2

Timp.



 

        









                    



mp

p

       

mp

p

mp

       

 



       mf

        



       mf





    pp sub.

mp

mf





 

 



             p

  

p

mp

       



mp

f



mp

  







p

mp

p

        p

 

 



Cb. cue

mp



   



mp













 

 



Perc. 2













Perc. 3













Perc. 4























   

       

       







Perc. 1

(mba.)



Bass Drum

p

mf





mp

mf

Splash Cymbal

Perc. 5

Cb.





                



Pno.





       mf





Hp.

















 







        f

21 pp sub.

 mf



 

p













mp

p

pp sub.

 





16



mf



mp

        p mp   

 

    

unis.

p



pp



                        









p

pp



mp

unis. pp

mf

mp

  



       



p





mf





 



mp

mp

p

 



straight mute



  

p





mf



 

mp

                    

       





p



mf

     

                               

  

       

 

Euph. 1/2

                       

mp

p

mf

 



mp





 mp  Cb. cue 

 



mf





  mf 





 

mp

               

 ff



















          mf mp

                



Tbn. 2





mf

 

Tbn. 1

24





 







  



Horn 2/4





mf

sim.

Bb Tpt. 2





       mf        







         mf 

mp

Eb Alto Sax 2





       mf

                

Eb Alto Sax 1

 



       mf mp

                

Bb Cb. Cl.



mf





Bb Cl. 3

23



tutti

Bb Cl. 2

22



 

Bb Cl. 1

21

20



  



mp





























26

 Picc.  25



Flute 1

 



 

Flute 2

 

Ob.

 

Bb Cl. 1

Bb Cl. 2



(top line Hp/Pno cue)



           f

f

         f



mp    



   

27

   





sim.



   

 

sim.



 

mf

       sim.

(top line Hp/Pno cue)



                





 



f

 





   



28





   

      mf



       mf

        mf



   



mf

 

   

 



mp   29  





    mp

 







mp

mp

    mf



    

 





      





mp



 

 

30 

   

    mp

     mp



    mf

p

p









      

 









    p

     p

 





 

 





p

  

 



mp

p

     













     













mf

Bb Cl. 3

mf

Bb Bass Cl.















Bb Cb. Cl.























































Bsn.



Eb Alto Sax 1

                                mf

Bb Ten. Sax.







Eb Bari. Sax.







                                 

Bb Tpt. 2

Horn 1/3

Tbn. 1

Tbn. 2

B. Tbn.

Euph. 1/2

Timp.





 



  





   

mp

 

  

 

  



    

   

    





























      



      

mp













































































 

(vibes)

arco 

Crotales







         f

 

arco 



        f

f





                                              

 





arco 



       f

f

 

   

arco 





        f



 





arco

          f

      

             

           

         

Perc. 4















Perc. 5









































Cb.

Hp.

Pno.

 









 

  



ff

 

  

   ff









 

 

               f

(mba.)

Perc. 3

 





 Perc. 1   Perc. 2

 

  



 

Horn 2/4

Tuba 1/2

   

                                 

Eb Alto Sax 2

Bb Tpt. 1



    

  

   







 



 

 







17



   

   



 

     

 

 

 

       

 









 

 Picc. 

 



 

31

Flute 1



Flute 2



Ob.



Bb Cl. 1



pp



pp

     



 



pp

 

pp

  

pp

  

 

  pp

 







   



  

pp

 





   

pp

    pp

  

pp

 

  

mf

  

mf

  

  

 

 



pp

38











 



1 only

pp



 

1 only

pp

 pp



  

pp

































1 only

mf

 



