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Asha Srinivasan
Shadja-maalika: Modal Illusions
for wind ensemble
Miniature Score (Transposed)
Commissioned by: Lawrence University, WI, Andrew Mast, conductor
(lead commissioner)
Detroit Symphony Orchestra Civic Wind Symphony, Ken Thompson,
conductor Trinity University, TX, James Worman, conductor Kansas
State University, Frank Tracz, conductor Arkansas State University,
Tim Oliver, conductor
University of Texas-San Antonio, Donald Miller, conductor
University of Missouri-Kansas City, Steve Davis, conductor
Concordia College, MN, Scott Jones, conductor University of
Wisconsin-Fox Valley, Mark Sackman, conductor
Duration: 15 minutes
2011
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Transposed Score
Instrumentation
Flute 1/Piccolo Flute 2 Flute 3/Alto Flute Oboe 1-2 English Horn
Bassoon 1-2 Clarinet in Eb Clarinet in Bb 1-2 Bass Clarinet in Bb
1-2 Soprano Saxophone Alto Saxophone Tenor Saxophone Baritone
Saxophone Trumpet in Bb 1-3 (straight and harmon mutes) Horn in F
1-4 (mutes) Trombone 1-3 (1-2 mutes) Bass Trombone Euphonium Tuba
1-2 Timpani Percussion 1: Large Cymbal, Medium Cymbal, Finger
Cymbal (suspended and free), China Cymbal, Tam-tam,
2 Temple blocks (high and medium), Snare drum (snares on and
off)
Percussion 2: Vibraphone, Glockenspiel, Crash Cymbal
Percussion 3: Marimba, Bass Drum, Glockenspiel
Percussion 4: Bass Drum, 2 Congas (high and low), 4 Toms, Hi
hat
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Notation General: mf ± The plus/minus symbol is used to show
that fluctuations of dynamics should happen within and around this
dynamic level. Grace notes are always on the beat or as close to
the beat as possible (not applicable to unpitched percussion). Tri
l l notes are marked with a small notehead in parentheses and end
points are marked with a small tick.
Tri l ls are generally downward, starting on the note above.
Slash through the stem means “as fast as possible”, or a.f.a.p.
Complex meter groupings: Mm. 173-220: groupings for the additive
meters have been shown in parantheses as well as in the beaming of
the music. Exceptions include the long notes in m. 196 (see
parenthetical rhythm below) and m. 216, where (3+3+3 sub-group)
shows a juxtaposition of 3+3+3 against the conductor’s 2+2+2+3.
Parenthetical rhythm: Mm. 196-209: Trombone 3, Bass Trombone,
Euphonium, Tuba 2, and Marimba have long notes that follow a larger
metric pattern. The actual durations of the long notes have been
shown with the parenthetical rhythmic values placed above, in order
to facilitate the reading of these parts. Feathered beams are used
to show an accelerando within the group of notes. When there are
only 2 beams, this means a slower final rhythmic value; when there
are 3 beams, this means the final rhythmic value should be as fast
as possible. Percussion: r.s. rimshot on snare drum + dead-stroke B
Conga: bass tone Vib. slur Vibraphone: for slurred passages use
pedal freely slow to fast gradually move from slower to faster
rolls swish Crash cymbals: a single stroke of the cymbals rubbed
together and let go. dampen In general, rather than marking mallets
and beaters, a description of the sound is given so that the
percussionists can choose their own mallets and beaters
accordingly.
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!Composer’s note
Pronunciation of title: ˈSh!d/j!/ - ˌmA/lɪ/kA Shadja-maalika:
Modal Il lusions is a journey through the moods and colors of
various Indian ragas, or modes. The title is a play on the word
Raga-maalika, an Indian musical form where the music traverses many
ragas within one composition while keeping the same shadja, or
tonal center (“Do” in western music). Conversely, in
Shadja-maalika, (literally, “garland of shadja”), the tonal center
itself is shifted to bring about the modulation to new modes. At
pivotal points, a new note seemingly outside the mode appears and
gradually reveals itself as the true tonal center, implying that
the previous harmonic hierarchy was an illusion. The opening motive
in the bass clarinet is the common thread, recurring frequently to
confirm and highlight the unique characteristics of each new mode.
As with much of my recent work, Shadja-maalika blends a melodic and
rhythmic structure influenced by the Indian tradition with Western
harmonic and formal concepts.
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© 2011 by Asha Srinivasan (ASCAP). All rights reserved.
Flute 1/Piccolo & Flute 2
Flute 3/Alto Flute
Oboe 1 & 2
English Horn
Bassoon 1 & 2
Clarinet in Eb
Clarinet in Bb 1 & 2
Bass Clarinetin Bb 1 & 2
Soprano Saxophone
Alto Saxophone
Tenor Saxophone
Baritone Saxophone
Trumpet in Bb 1 & 2
Trumpet in Bb 3
Horn in F 1 & 2
Horn in F 3 & 4
Trombone 1 & 2
Trombone 3
Bass Trombone
Euphonium
Tuba 1 & 2
Timpani
Percussion 1
Percussion 2
Percussion 3
Percussion 4
Molto Lento, Essentially free h=46 Più mosso h=52 8
p
molto espr. (revel in your sound!)
pocon p mf pp n p p mf
pp n
Molto Lento, Essentially free h=46 Più mosso h=52
ppp ppp
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Asha SrinivasanShadja-maalika: Modal Illusions
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B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Vib.
Mar.
Perc. 4
Più mosso h=60Delicately, but with passionFull of color12
p
molto espr. (revel in your sound!)
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delicately
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Tbn. 1 & 2
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Euph.
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Perc. 1
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Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Vib.
Mar.
Perc. 4
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B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Vib.
Mar.
Perc. 4
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Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Vib.
Mar.
Perc. 4
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Picc.
A. Fl.
Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Vib.
Mar.
Perc. 4
62
ff
p mf p p pp mf pp mf p f mf mf
mf f f
pp mf pp p mf
pp mf pp p f mf p mf
p mf ppp mf pp mf p sub. mf
p mf p p ppmf
pp
mf
p f mf mf
p mf p pp mf pp mf p f mf mf p sub. mf
p mf
mfp sub. mf
pp mf ppp f mf mf
p mf ppp mf pp p f mf mf p sub. mf
pp ppp p ppp
pp mf p mf mf p sub. mf
p p p ppsub.
mf pp mf p f mf mf p sub. mf
p pp pp p mf mf p sub. mf
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Picc.
Fl. 2
A. Fl.
Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Glock.
Mar.
Perc. 4
p pp
Gently70
f
pp mf mf
pp (pp) p
pp pp
pp
pp (pp)
p
pp (pp)
p mf
pp pp
pp
pp (pp)
pp
pp
pp (pp)
Gently
ppp p
p mfp
# (% %
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# (% %
solo molto cantabile
3 3 5 6 3
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Picc.
Fl. 2
A. Fl.
Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Vib.
Mar.
Perc. 4
mf f
Driving79
76
f
f f
p mf p mf f f
pmf
p mf f f
p
mfp mf f
mf f
mf p mff
mf f
mf f f
f f f
p mf p mf f
pp mf p mf f
f
mf p sub. mff
pmf f
mf p sub. mf f
p mf
p mf p sub. mf
p mf
p mf p sub. mff
Driving
mf p sub. mf mf
mf p mf
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Picc.
Fl. 2
Fl. 3
Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Glock.
Mar.
Perc. 4
f ff f
poco accel. 83
ff
ff
ff
ff
ff
ominously
f
f ff
f
f
ff
ff
ff
ff
ff
ff
ff f
ff
mf f
mf f
ff
ff
ff
f ff f
ominously
ominously
fominously
f
f
ominously
f
ominously
p mf f ppp
poco accel.
f mf
f
ominously
f mf f
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Picc.
Fl. 2
Fl. 3
Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Glock.
Mar.
Perc. 4
mf
88
f p sub.
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Picc.
Fl. 2
Fl. 3
Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Glock.
Mar.
Perc. 4
(ff) mf ff
senza vib.Emphatically q=90 Suddenly pure92
(ff) mf ff
senza vib.
(ff) mf ff
senza vib.
(ff)
(ff) mf ff
senza vib.
(ff) mf ff
fff
(ff) mf ff
senza vib.
(ff) mf ff
mf ff
(ff) mf ff
(ff) mf ff
mf ff
fff
(ff) mf ff
mf ff
(ff) mf ff
mf ff
mf ff
fff
fff
fff
fff
fff
fff p fff p fff p fff p fff p fff fff p fffp
fff
fff p fff
Emphatically q=90 Suddenly pure
f
fff
fff
p f fff
!!
"!
/!
!!
!!
"!
/!
!!
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non dim.
#
non dim.
#
non dim.
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(l.v. ok) Lg. Cym.0 !
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12
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!
"
!
"
!
"!
"!
"
!"
Picc.
Fl. 2
Fl. 3
Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Glock.
Mar.
Perc. 4
ff n
poco rit. q=80102107
101
ff n
ff n
ff ff n
ff
fff
ff (ff) (mf) p n
ff (ff) (mf) p n
ff
ff
ff
fff
ff
ff
ff
ff
ff
fff
fff
fff
fff
fff
fff pp
p f mf p p
poco rit. q=80
fff mf mf
fff
p f p p pp
# (
1
(
To Fl.
( (
# (
1
( ( (
# (
1
( ( (
# (
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1
( ( (( ( (
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$ (
=0
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# (
0
( ( (
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2&
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0
2& 2&
( ( (
3
# ( ( ( ( ( ( ( ( (
# (
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( ( ( ( ( ( ( (
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# (=0 =0
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# (&2
0
0
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0
( ( ( ( ( ( ( (
# ( &
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=0 =0
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(Lg. Cym.)!
(
Tam-tam
( ( (
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=0 =0To Vib.
( (
Vibraphone(senza pedal)
(grace notes on the beat and also at mf)
!(
!(
3
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(Tom-toms)
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-- - - - -
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) 7 - - - - - - 7 - - - - - - 7 - - - 6 - - - - - * )
13
-
!
"
!
"
!
"!
"!
"
!"
Fl. 1 & Fl. 2
Fl. 3
Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Vib.
Mar.
Perc. 4
117111
pp
distant
poco
delicately
n p poco
mechanically - keep steady and dry
"!
/!
"!
/!
# ( ( ( ( ( ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( 2
2
( 2
2
3
# ( ( ( ( ( ( ( ( ( ( ( ( ( (
$ ( ( ( ( ( ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( ( ( ( ( ( (
$ ( ( ( ( ( ( ( ( ( ( ( ( ( (
$ ( ( ( ( ( ( ( ( ( ( ( ( ( (
$ ( ( ( ( ( ( ( ( ( ( ( ( ( (
$ ( ( ( ( ( ( ( ( ( ( ( ( ( (
$ ( ( ( ( ( ( ( ( ( ( ( ( ( (
$ ( ( ( ( ( ( ( ( ( ( ( ( ( (
' ( ( ( ( ( ( ( ( ( ( ( ( ( (
#) *(3+2+2)
AB
! !simile
==
$ ( ( ( ( ( ( ( ( ( ( ( ( ( (
' ( ( ( ( ( ( ( ( ( ( ( ( ( (
--** -
- *-- - -2 * $* $ --
6 6 6 6 --** %-8 - $ - * $- $ - - -2. *
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--2. 7 6
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14
-
!
"
!
"
!
"!
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"
!"
Fl. 1 & Fl. 2
Fl. 3
Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Vib.
Mar.
Perc. 4
n mf mf
125
n
mf p sub. f p f
p
playfully
mf p sub.mf
p sub. mf
p mf mf f mp
p
playfully
mf p sub. mf p mf
f mp
mf p sub. mf p sub. mf mp sub. f p sub. f
/B
CB
/B
CB
# ( (
Flute 1. Fl. 1 to Picc.
( (
3
e=e
# ( ( ( ( ( ( ( ( (
#
)2*)2*( ( ( ( ( ( (
# ( ( ( ( ( ( = =
$ ( ( (
=
=
=
=
=
=
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=
=(
2
2= =
= ==
1.
=
# ( ( ( ( ( ( ( ( (
#
1. a2 1.
(
(2.1.soli (with A. Sax.)
3 3
3
#
1.
==
==
==
==
= =
a2
==
= =
1.
=
# ( ( ( ( ( ( ( ( (
# ( ( ( ( ( (
soli (with Bb Cl.)
3
# ( ( ( ( = == =
# ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( (
# ( ( ( ( ( ( ( ( (
$ ( ( ( ( ( ( ( ( (
$ ( ( ( ( ( ( ( ( (
$ ( ( ( ( ( ( ( ( (
$ ( ( ( ( ( ( ( ( (
$ ( ( ( ( ( ( ( ( (
$ ( ( ( ( ( ( ( ( (
' ( ( ( ( ( ( ( ( (
e=e
#
= = =
(end 7/8)
$ ( ( ( ( ( ( ( ( (
' ( ( ( ( ( ( ( ( (
6
-2 -2 * $ *6 7
-.
- - -2-2 -
6 6
* $* $ --6 6
- $ - -2 6 -2 - - - -2 6 -2 - -2 - $ -7
-.-8 > -
.-8> -.-87
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--
--
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7 7-8 6 6 -2
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7 7
6 6
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7
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7
6
-8
6
- $ -& %-8-& - -& -& -& $ - $ -&.
- $
%-
8 -8 7 7
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8 6 6 %-
8 -8 7 7
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8 6 6 %-, -2 -
8 7 >
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8 7 7 %-&
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8 6 6 %-, -2 -
8 7 7
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15
-
!
"
!
"
!
"!
"!
"
!"
Picc.
Fl. 2
Fl. 3
Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Vib.
Mar.
Perc. 4
mf mf
e=e139134
f (f)
f
p sub. f
ppp f
p mf f f
n f p sub. mf p
p p f
p mf f p sub. mf p mf p
p mf f
p sub. pp f
pp f
p f
p mf
mf
mf
p mf
p mf
p mf
pp f mf
p mf f
p
p ppp p ppp p ppp pp p mp pp p
p
e=e
f p sub. mf p
f p sub. mf p mf p
p pp mf
CB
!!
CB
!!
# ( ( ( (
Piccolo
# ( ( (
(2.) 0
(
# ( ( ( ( ( ( (
# ( ( ( ( 2
2 2
3
3
#
=
swell
=
swell
=
swell
=
swell
= = = = =
(
$
= =
= = = = =poco a poco legato
(
#
soli (with A. Sax.)
3
# ( ( ( (
1. soli (duo with S.Sax.; unis. with Vib.)
=
exaggerate dynamic changes
= =
#
=
a2
= (=
1.=
= = =
poco a poco legato
(
# ( ( (= =
soli (duo with Cl.; unis. with Mar.)= = =
exaggerate dynamic changes
= =
#
soli (with Eb Cl.)
(
#
== = =
=
= =poco a poco legato
(
# = = = = = =
poco a poco legato
(
#
1. harmon mute, with stem=
swell
=
swell
=
swell
=
swell
= = = = =(
# ( ( ( (
# ( ( ( (
1.
# ( ( ( (
3.
$
1.= = =
( ( (3 =
$
= = =
( ( (
3 =
$
= = =
( ( (
3 =
$= = = = = =
poco a poco legato
$
1.
= =
=
(
3
=
(
$ ( ( ( ( ( (
'
S.D. (& Cyms.)snares off= = =
Med. Cym.(stick)
Lg. Cym.(stick)
Temple Blocks & S.D.snares off
#
soli (duo with Mar.; unis. with Cl.)
exaggerate dynamic changes
D D D
$ ( ( ( ( (#
soli (duo with Vib.; unis. with S.Sax.)
exaggerate dynamic changes
D D
D
' ( ( ( ( (
Bass Drum
)$ -2 - *2 $ +
6 $ 6 -. * $ -2 +
) 6 ----
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6 $ 7 E - -2 -2 -2 6 $ 7 --
-
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2
2
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2
2
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2
6 $ > --22 --22 --22 -- -- -- -- > -- 7 --. > -- --
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7 7 -.
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8 7 7 6
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6 $ 7-
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7 7 - $ %-2 -2 -.
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7 7%-8 - $ %-2 -2 -2 -2
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Fl. 2
Fl. 3
Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
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A. Sax.
T. Sax.
Bari. Sax.
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Tpt. 3
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B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Vib.
Mar.
Perc. 4
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Fl. 2
Fl. 3
Ob. 1 & 2
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Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
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A. Sax.
T. Sax.
Bari. Sax.
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Hn. 3 & 4
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Euph.
Tba. 1 & 2
Timp.
Perc. 1
Vib.
Mar.
Perc. 4
f
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147
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mf ppp mp n
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Picc.
Fl. 2
Fl. 3
Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Vib.
Mar.
Perc. 4
mf f
q=90
159
153
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with urgency
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with urgency
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mf mp mf (constant)
mf f(bring out)
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mf mf (constant)
mp (constant) mf mp (constant)
mp (constant)
mf mf
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mp (constant)
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mp mp
p mp
mf mp
mf mf
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Picc.
Fl. 2
Fl. 3
Ob. 1 & 2
Eng. Hn.
Bsn. 1 & 2
Eb Cl.
Cl. 1 & 2
B. Cl. 1 & 2
Sop. Sax.
A. Sax.
T. Sax.
Bari. Sax.
Tpt. 1 & 2
Tpt. 3
Hn. 1 & 2
Hn. 3 & 4
Tbn. 1 & 2
Tbn. 3
B. Tbn.
Euph.
Tba. 1 & 2
Timp.
Perc. 1
Vib.
Mar.
Perc. 4
fff
165161
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