Julie Giroux

Under the Willow

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Concert Band

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INSTRUMENTATION

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1 - Full Score
1 - Piccolo 3 B Trumpet 1
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4 - Flute 1 3 B Trumpet 2
-
B Trumpet 3

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4 - Flute 2 3 -
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1 - Oboe 1 2 -
F Horn 1 & 2
1 - Oboe 2 2 -
F Horn 3 & 4
4 - B Clarinet 1 2 -
Trombone 1
4 - B Clarinet 2 2 -
Trombone 2
B Clarinet 3
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4 - 2 -
Trombone 3
B Bass Clarinet
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2 - 2 -
Bass Trombone
1 - Bassoon 1 2 -
Euphonium B.C.
1 - Bassoon 2 2 -
Euphonium T.C.
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1 - Contrabassoon 4 -
Tuba
2 - E Alto Saxophone 1 1 -
Double Bass
2 - E Alto Saxophone 2 1 -
Timpani
2 - B Tenor Saxophone 3 -
Orchestra Bells, Chimes,
1 - E Baritone Saxophone Bass Drum
1 - Solo B Cornet 1 - Vibraphone
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Score & Parts $120.00 Musica Propria, Inc.

Additional Full Score $16.00 P. O. Box 680006 San Antonio TX 78268
Additional Parts @ $2.50 www.musicapropria.com
All prices U.S. email: info@musicapropria.com
Edition Number: MP 99134 fax (210) 682-7863
 About the Composer

Julie Ann Giroux was born 1961 in Fairhaven, Massachusetts, and raised in Phoenix, Arizona and Monroe, Louisiana. She
received her formal education from Louisiana State University and Boston University. She studied composition with John Williams,
Bill Conti and Jerry Goldsmith, to name a few. Julie is an accomplished performer on piano and horn, but her first love is compo-
sition. She began playing the piano at the age of three and had published her first piece at the age of nine.
In 1985, she began composing, orchestrating, and conducting music for television and films. Within three hours after arriving in
Los Angeles, she was at work on the music for the Emmy Award winning mini-series North and South, followed soon by work on
the television series Dynasty and The Colbys, as well as the films Karate Kid II, White Men Can’t Jump, and Broadcast News.
She received her first Emmy nomination in 1988 for North and South Part II - Love and War, and over the next three years was
nominated each year for her arranging and original compositions for the Academy Awards show. To date, Julie has well over 100

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film and television credits and has been nominated for an Emmy several times. When she won her first Emmy Award, she was the
first woman and the youngest person ever to win the award in that category. Julie has also been privileged to arrange for Celine

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Dion, Paula Abdul, Dudley Moore, Liza Minnelli, Madonna, Reba McEntire, Little Richard, Billy Crystal, Michael Jackson and
many others.
Julie is an extremely well rounded composer, writing works for symphony orchestra (including chorus), chamber ensembles, wind ensembles, soloists, brass and

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woodwind quintets and many other serious and commercial formats. She began writing music for concert band in 1983, publishing her first band work Mystery on
Mena Mountain with Southern Music Company. Since that time, she has composed and published numerous works for professional wind ensembles, military bands,
colleges and public schools and has conducted her music in clinics worldwide. She is also a very well received speaker and clinician. Julie is a member of the American

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Bandmasters Association and the American Society of Composers, Authors, and Publishers (ASCAP).

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Visit www.musicapropria.com for more information on the works of Julie Giroux. Concert Band titles range from grade II to VI.

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Grade II - III Grade IV - VI
Ah-free-kah! All Good Things (Alleluia) Italian Rhapsody Poseidon
All Through the Night Arcus IX - for solo Tuba & Band Jingle Them Bells Primality - for 6 Percussion & Band
Amaranthine Bookmarks from Japan Journey Through Orion Riften Wed

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Away in a Manger Boston Liberties Just Flyin'! The Speed of Heat
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Before the Sun Il Burlone (The Jester) K2 - The Savage Mountain A Stocking Full of Composers
The Bonsai Tree Carnaval! Khan Strathcona Suite
Chorale for Wind Band Christmas with Mozart Legacy Swashbuckler
and Melodic Percussion Christmas and Sousa Forever Louisiana Parish Sketches A Symphony of Fables
Dream Dancer Circus Franticus Medalist Fanfare Three Fanfares
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The First Noel Córdoba - for solo Piano & Band La Mezquita de Córdoba Three Wise Guys
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The Grace in Being Culloden, movts I & II Movin’ On Down the Line Tiger Tail March
I’ll Be Home A’fore Ye Culloden, movt III The Nature of the Beast The Twelve Days of Christmas
Kalanu Dragon Sky No Finer Calling The Twelve Gallon Hat
Let Your Spirit Sing Empire “Nothing That Is...” Under the Willow
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Mambo Perro Loco Fantasy in French Of Blood and Stone Vigils Keep
March of the Sun Dried Tomatoes Fort McHenry Suite O Holy Night - for solo Soprano To Walk With Wings
Merrily on High Glenbury Grove or Tenor and Band West Wind Overture
Nearer, My God, to Thee The Greatest Generation One Life Beautiful What Child is That Playing
Shadow Falls Hands of Mercy One Torch, Two Women, Carol of the Bells?
Silent Night in Gotham HardDrive Three Ships and Men Rejoicing
A Time to Dance Hark, Those Jingle Bells are Smokin’ Outlander
Wagon Trail Husaria Cavalry Overture Overture in Five Flat
What Goes in the Night Hymn for the Innocent Paprikash
When Country Comes to Town Imbizo - for 7 Percussion & Band Peter Patapan
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Composed for The U.S. Army Field Band, Lieutenant Colonel Jim R. Keene, Commander

Under the Willow

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Program Notes
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The Civil War began when the Confederates bombarded Union soldiers at Fort Sumter, South Carolina on April 12, 1861. The war ended in Spring, 1865. Robert
E. Lee surrendered the last major Confederate army to Ulysses S. Grant at Appomattox Courthouse on April 9, 1865. It was, to date, the deadliest war Americans have
ever fought in. The war divided America and battles were fought state against state, neighbor against neighbor and brother against brother. Losses are estimated
between 650,000 and 850,000. In most cases soldiers were buried where they fell on the battlefield. Others were buried near the hospitals where they died. At most
battlefields the dead were exhumed and moved to National or Confederate cemeteries, but because there were so many bodies, and because of the time and effort it
took to disinter them, there are undoubtedly thousands if not tens of thousands of Civil War soldiers in unknown battlefield graves. There were 51,000 casualties at
Gettysburg alone. Skirmishes scattered all over the U.S. also left graves here and there, some marked, others not, Americans buried alike, blue next to gray. To this day,
graves and markers are still being discovered and the destruction the war left behind is also still evident.
When given the opportunity to compose a work commemorating the Civil War I won't lie, I was excited. I have worked on many Civil War television events
including "North & South" the mini series, its sequel "Love & War," and "The Blue and the Gray." Among the many finds during my research for those projects was the
poem "The Blue and the Gray" written by Francis Miles Finch. His inspiration for the poem came from an article he had read published in the New York Tribune during
the Civil War which spoke of women praying and placing flowers on graves with no prejudice as to which side the deceased may have fought on. That poem has stuck
with me and has come to symbolize for me the tragedy of all war. That poem is also the inspiration for the title of this work.
I wanted to harness the flavors of both the north and the south, a simpler time, with particular attention given to African-American nuances which later went on to
become the blues, and present it with a contemporary feel in my own musical language.
This work was written to commemorate all souls lost to the Civil War: Young and Old, Black and White, the Blue and the Gray. J.G.
 Under the Willow
Frances Miles Finch, “The Blue and the Gray” Source: The Atlantic Monthly, vol. 20, no. 119 (September 1867), pp. 369–370.
The Atlantic Monthly version is accompanied by the following text, attributed to the New York Tribune:

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“The women of Columbus, Mississippi, animated by nobler sentiments than are many of their sisters,
have shown themselves impartial in their offerings made to the memory of the dead.

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They strewed flowers alike on the graves of the Confederate and of the National soldiers.”

After reading this New York Tribune article, Frances Miles Finch wrote the poem “The Blue and the Gray”.

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The title of this work is a reference to this poem. Below are the first two stanzas of Finch’s poem.

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“The Blue and the Gray”

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by Frances Miles Finch (1827-1907)

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By the flow of the inland river,
Whence the fleets of iron have fled,
Where the blades of the grave-grass quiver,

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Asleep on the ranks of the dead; —
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Under the sod and the dew,
Waiting the judgment day; —
Under the one, the Blue;
Under the other, the Gray.
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These in the robings of glory,

Those in the gloom of defeat,
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All with the battle-blood gory,

In the dusk of eternity meet; —
Under the sod and the dew,
Waiting the judgment day; —
Under the laurel, the Blue;
Under the willow, the Gray.
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 Composed for The U.S. Army Field Band, Lieutenant Colonel Jim R. Keene, Commander

With reverence
Duration: 5:30

q = 64 5
hÇwxÜ à{x j|ÄÄÉã 9
Julie Giroux
(ASCAP)
  
Piccolo                 


   
Flute 1              

 
Flute 2
                

   
Oboe 1               

               
Oboe 2
  

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  

          
Bb Clarinet 1        

as
mp

             

Bb Clarinet 2
 
mp
   

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Bb Clarinet 3           
 
mp
   
          
Bb Bass
Clarinet   

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mp p

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          
Bassoon 1        
p mp
           

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    
     

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Bassoon 2 
p mp

    
Contrabassoon
  
         
mp

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Eb Alto
 
               
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Saxophone 1
p

Eb Alto 
                   
Saxophone 2
p

Bb Tenor 
               
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Saxophone

   
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Eb Baritone
            
Saxophone

With reverence q = 64 5 9
    
Solo
    


 
           
    
      

   

Pr

Bb Cornet
p mp

        
solo
               
      
Bb Trumpet 1
mp
p
  
 
solo
Bb Trumpet 2         
    

   
    
 
p mp

   
solo
Bb Trumpet 3
       
 

 
 
p mp
          
*ALL Horns unless there are MAJOR Issues
               
     

F Horn
               
      
1&2   mf
ted

mf play comfortably & as one mp mf

mp

                           
*ALL Horns unless there are MAJOR Issues

F Horn
3&4              
 
 
  
      
mf play comfortably & as one mp mf mf

     
mp
       
solo
       
in

   
Trombone 1            
 
mp p mp
   
    
        
Pr

Trombone 2
p mp

          
Trombone 3          
p mp

               
Bass
Trombone  
 
p
      
mp
 
           
Euphonium         
mp mf mp
             
Tuba
   
mp p

      
Double Bass           
mp p

Timpani
               
 
Orchestra
Bells                
 
Chimes                
 
Vibraphone                

Bass Drum  
 
     
      
1 2 3 4 5 6 7 8 9 10 11
Copyright ©2015 by Musica Propria, Inc., P.O. Box 680006, San Antonio TX 78268 MP 99134 Under the Willow
Edition Number: MP 99134
2 hÇwxÜ à{x j|ÄÄÉã
13 18 *The dynamic for this section is medium. Not holding back, not pushing.
Just comfortable balance.* 22 rit.
 
Picc.                

                     

                
Fl. 1
 
mp

                  
 
                   
Fl. 2
 
mp

                
                     
Ob. 1

mp

               
Ob. 2
                 
mp

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  
      
 
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         
                
     

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Cl. 1
    
mp

       
       
 
     

      
     
           
Cl. 2
  

ch
mp

       
   
             
     
        
Cl. 3
          mp

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              

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  
Bs.
Cl.            
mp   

           
                

sP
            

eq On
Bsn. 1 
mp

         
Bsn. 2                        
mp

re
   
          
              

 
e R ew
Cbsn.
p mp


     
         
          
     
A. 
Sax. 1 
mp
mp

       
i

   
              
A.
 
Sax. 2  
Us ev

mp
mp

Ten.
                    
     
Sax.
mp mp


           
Pr

Bari.
         
Sax.  
p mp

13 18 *The dynamic for this section is medium. Not holding back, not pushing.
22 rit.
      
Just comfortable balance.*

       

                       
     
Cor.       
Solo

mp

   tutti
Tpt. 1    

 
           
  

 
                      
 
mp (mp)

          
tutti
Tpt. 2    
   
  
       
   
 

 (mp) 
          
    
ted

mp

 
tutti
        
Tpt. 3
                   
mp (mp) 

     
    
   
                   
            
in

Hn.
1/2
 
mf mf
mp

           
 
                    
      
Pr

    
Hn.
3/4
  
mf mf
mp

                      
Tbn. 1
 
               
mf mp

    
     

    
                   
Tbn. 2 
mp

             
Tbn. 3                   
mp
 
Bs.  
   
                 
    
Tbn.

mp
  
                           
Euph.
  

  
     
         

   

mp   
 

                   
     
 
Tba.

mp

   
          
              

Db. 
mp
12 13 14 15 16 17 18 19 20 21 22
MP 99134 Under the Willow
 hÇwxÜ à{x j|ÄÄÉã 3
q = 64 26 30       
  
Picc.             

        
mp
  
            
  
Fl. 1      
pp mp mf mp

 
Fl. 2                          

pp mp

                     
 
      
         
Ob. 1

p mp mf mp mf mp mf

    
Ob. 2
                       
pp mp

e
 
             

    

Cl. 1                

as
p mp mf  mp
mf


       
  
    
 
        
      
Cl. 2
p mp

ch
pp

                             
      
Cl. 3
p mp 
pp
Bs.

  

              
 

ur
Cl.
      

ui ly
pp p No vibrato (Cornet only)

                         


       
Bsn. 1      

sP
eq On
pp p mp
     
    
Bsn. 2   

       
   
pp p p mp

        
Cbsn.
   

           

re
pp p
e R ew
                 
 
No vibrato (cornet only)

Sax. 1 
A.
         
   
p mp mf mp mf
  
                   
  
A.
Sax. 2
pp p mp
  
i


Ten.
         
      

    

Us ev

Sax.
pp p mp

   
Bari.
Sax.      

        

    
pp p mp
Pr

q = 64 26 + vibrato 30
         
         

          
Solo
Cor.   
pp mp

                            
Tpt. 1
 
pp mp

      

    
          

Tpt. 2
pp



             
       
Tpt. 3
ted

pp

  
div. a2

    

div.
Hn.      
 

     
1/2    p
pp


div.
Hn.
              
3/4         
in

pp p

         
     
    
solo


              
Tbn. 1    
pp p p
Pr

          
Tbn. 2              
pp

             
        
Tbn. 3  
pp

Bs.
Tbn.
 
     

  
   
        

   
p
 
pp
    
                 
Euph.  
pp p

Tba.

        

          
   p


pp
         

Db.              
pp p

  
  
Timp.             
mp pp

           
     

 




Vib.


 


mp   
B.D.             
23 24 25 26 27 28 29 30 31 32 33
MP 99134 Under the Willow
4 hÇwxÜ à{x j|ÄÄÉã 39
         
                             
Picc.         

                           
3

pp mp mp
       
                  
Fl. 1    
mf mp
 
Fl. 2   
                       
     
mf mp

          
                      
                 
Ob. 1      
3
mp mf mp

            
Ob. 2
           


mf mp

     
                
              
             

e
Cl. 1
mp mf mp
    
          
        

as
         
Cl. 2

mf mp

mf mp

   
                 
     
Cl. 3
      

ch
mf mp
      Trudge
 
       
       
Bs.
Cl.
     

mf mp   mp
mf molto leg.
           
        
          

ur

Trudge



ui ly
Bsn. 1
mf mp mf molto leg. mp

   
      
Trudge
        
    


sP
   

eq On
Bsn. 2

mf molto leg. mp

    
  
Trudge
Cbsn.
           
mf molto leg. p mp
   
  

re

                     
A.
 
e R ew
Sax. 1

 
mf
 
mp mp molto leg.
    
A.
                
Sax. 2
mf

mp
    
mp molto leg.

 
           

  
Ten.
Sax.
i

        mp molto leg.
 
             
 
Us ev


Bari.
Sax.
mf mp mp molto leg.
39
solo
   
                
            
Solo
Cor.
 
Pr

mp

mf mf

Tpt. 1            
mp

Tpt. 2          
  
mp
          
Tpt. 3


 
       
a2 div. a2
Hn.
             
1/2  
mp 3

        
ted

a2 div. a2
        
   
Hn.
3/4      
mp  3

     
solo
   
Trudge
 
     tutti   
Tbn. 1 
mf molto legato p
in

       

Trudge

Tbn. 2         
mf molto leg. p
Pr

 
Trudge
          
Tbn. 3
   
p
mf molto leg.

  
Trudge
         
    
Bs.
Tbn.
mf molto leg. p

  
Trudge
              
Euph.    
mf molto leg. p


Trudge
       
   
   
Tba.

p
mf molto leg.

   
Trudge
      
Db.       
mf molto leg. p
     
Orch.
Bls.       
mf mp p
     
Chim.       
 
p
    
mf mp

           
     
       
      
   




Vib.
 
  mf mp
p
34 35 36 37 38 39 40 41 42 43
MP 99134 Under the Willow
 hÇwxÜ à{x j|ÄÄÉã 5
 48
     
                    
   
 
Picc.             

    
3
mf f
                                              


Fl. 1

 
  
     

                          
3
mf f
           
Fl. 2   

             

 
3
mf f

                            
                       
3

Ob. 1         
mf
        
f

                              
3
    
Ob. 2
    
mf f
              
                         

e

     

Cl. 1                 

as
mf 3 f 3

                          
Cl. 2
                  
  
mf 3 f 3

                   
    
           

ch
Cl. 3
           
mf 3 f 3  
    
sim.

  
Bs.
Cl.
             
      

ur
mf f

   

ui ly
                     
   

sim.
Bsn. 1  
mf f

sP


eq On
      
   
  
sim.

     
Bsn. 2 
       
f

mf
 
            

 
  

sim.

  
Cbsn.
   

re
mf f

                        
          
 Trudge
  
e R ew
A.
Sax. 1   
3
mf f

         
Trudge

3

               
A.
Sax. 2   
mf f

          
i
Trudge
Ten.
              
Sax.
    
Us ev

mf f

       
Trudge

             
Bari.
Sax.     
mf f

48
Pr

                            
Solo
Cor.                      
f

                           
Tpt. 1            
      
  
mf f

               
Tpt. 2
                   
mf f

             
Tpt. 3
                
mf 3 f  

div.
             
ted

           
a2
Hn.
1/2                    
3
mf f

      
           
div.
    
a2
           
3/4     
Hn.
    
  
3
f
  
mf

        
    
in

     
  
sim.
Tbn. 1 
   
f
mf
      
                  
    
sim.

Pr

Tbn. 2

mf f

     
    
       
sim.

   
Tbn. 3 
    
mf f

      
  
  
sim.

             
Bs.
Tbn.
  
 
 
f
  
mf
   
              
        
sim.

               
Euph.
   
mf f

  
  
  
sim.

      
          
Tba.
  f 
mf
  
            
       
sim.
Db.     
mf f
        
Orch.
Bls.  
      
mf f
        
Chim.   



 

 
   
    
mf f

 
 
  
             
Vib.
   
mf f
44 45 46 47 48 49 50 51
MP 99134 Under the Willow
6 hÇwxÜ à{x j|ÄÄÉã
rit.
                             56          
     
Picc.  
      
3
mf mp ff mf p
                       
     
           
  
Fl. 1
      
3
mf mp ff mf p
              
                           
Fl. 2         

3
mf mp ff mf p

                        
Ob. 1              
            
 
3 mf mp ff mf p
   
Ob. 2
                        
 

e
mf mp ff mf p
          
   
Cl. 1                              

   


as
3 mf mp ff mf pp p

 
  
           

Cl. 2
        

ch
mf mp ff mf p


  
      
              
Cl. 3

mf mp ff mf p

   
   

ur
Bs.
           
    
    

ui ly
 
Cl.
  mf mp mf p

ff
      
      
      
  
   

sP
Bsn. 1

eq On
mf mp ff mf p

   
          
 
     
     
Bsn. 2
mf mp    

mf p
 
ff
       
      
   

re
     
Cbsn.

 
e R ew
ff mf p

              

Sax. 1  
A.
            

mf mp ff mf p

     
            
 
  
A.

     
i


Sax. 2
mf mp mf p

 
Us ev

ff
          
Ten.
           
  
   
Sax.
mf mp ff mf p

        
  
    

  
Bari.
    
Pr

 
Sax.
mf mp ff mf p

56 rit.
             
Cor.                           
Solo

mf ff mf pp
mp

           

       
Tpt. 1     
 
            
       
mf mf p
mp ff
 
  
               
                  
Tpt. 2
ff 
mf mp mf p
        

ted

Tpt. 3   
                             
mf mp ff

p
 
mf
     
              
1/2  
Hn.                
mf mp ff mf
  
       
p

       
in

  
3/4  
Hn.                       
mf mp

ff mf p

               
         
      
  
Pr

Tbn. 1  
     
  
mf mp ff mf p

             

    
Tbn. 2     

 
mf

mp
 ff mf p

             
      
  
Tbn. 3
mf mp ff mf p

             
  
Bs.
    
Tbn.     


mf mp
      
ff
   
mf p
              

Euph.
      
mf mp ff mf p
          
      
          
Tba.

   

mf mp

   p

ff mf

          
         
  
Db.
mf mp ff  p
mf
              
Timp.

mp f

B.D.

    
         
pp f
52 53 54 55 56 57 58 59 60 61
MP 99134 Under the Willow
 hÇwxÜ à{x j|ÄÄÉã 7
62 q = 64 67 molto rit.
             
Picc. 
4 Flutes total, one on each part Flt. 1 & 2

        
       
   
 
 
 
 

Fl. 1
 
p

       
         
Fl. 2
             
p

 
Ob. 1             

            
Ob. 2


e
       

as
Cl. 1             
p

     

ch
         

Cl. 2
 

      
Cl. 3
          

ur
ui ly
          
Bs.
Cl.
      

sP
eq On
         
Bsn. 1          
p

                  
Bsn. 2

re

e R ew
           
Cbsn.
  
p

             
A.
Sax. 1 
i


Us ev

A.
            
Sax. 2

Ten.
            
Sax.
Pr

            

Bari.
Sax.

62 q = 64 67 molto rit.
            
Cor. 
Solo

Tpt. 1             

            
ted

Tpt. 2

Tpt. 3
            

div.
 
           
in

Hn.
1/2      
pp

div.

          
Pr

Hn.
    
3/4
pp  
,     
 
solo
      
          
 

 ,  
Tbn. 1      
mf
 
1.
Tbn. 2            
pp

  
1.
Tbn. 3            
pp

 
1.
Bs.           
Tbn. 
pp

Euph.
             

 
1.
          
Tba.


pp

 
1.
Db.            
pp

            
Timp. 
pp
62 63 64 65 66 67 68 69 70 71 72 73
MP 99134 Under the Willow
8 hÇwxÜ à{x j|ÄÄÉã
q = 48 76 q = 60
*Low Brass Choir OR everybody - choose combinations.
80 84

I wouldn't ask the trombones for their opinion...*
   
Picc.               

 

    

tutti

    
           

Fl. 1  
 mp

                 
Fl. 2
  

    
Ob. 1                
mp

   
Ob. 2
              



e

Play on request
  
Play on request Play
                            
           
Cl. 1
 

as
mp mp mp


Play on request
 
Play on request Play
                 
            
Cl. 2
          mp

ch
mp mp

  Play on request


Play on request Play
                 


  
Cl. 3
   mp           mp
mp

ur
 Play on request
    

ui ly

Play on request
   
Play
      
     
          
 
Bs.
   
  
Cl.
mp mp mp

   

sP
Play on request
    
Play
    

eq On

Play on request
          

    
Bsn. 1    
        
   
mp mp mp

     
Play on request
 
Play on request Play
  
Bsn. 2
                     
 
 
   

re
mp mp mp

   
Play on request Play
  
   
Play on request
   
e R ew
                  
Cbsn.
    
mp mp mp

    
A.
Sax. 1                  
i

mp

   
            
Us ev

A.
Sax. 2  
mp

  
Ten.
Sax.               
Pr

mp

   
Bari.
Sax. 
             
mp
*Low Brass Choir OR everybody - choose combinations.
q = 48 76 q = 60 80 84

I wouldn't ask the trombones for their opinion...*

Tpt. 1                

  
Tpt. 2              

  

            
ted

Tpt. 3


solo
f 
   

  
1/2 
Hn.
              

in

  
Hn.
3/4 
 
               

     
 tutti  
       
                         
Pr

Tbn. 1        
mf

       
         
tutti
                   
Tbn. 2  
mp
              
 
tutti
  
                    
Tbn. 3

mp

  tutti    
Bs.                        

 
Tbn.        

mp

        
   a2          
                      
          

  
  
 
Euph.
mp

  tutti


            
  
           
 
Tba.
     
mp

   

 
Tba.
  
 
 
           
 



    
 
 
       
Db.
mp

  
 

Timp.             

74 75 76 77 78 79 80 81 82 83 84
MP 99134 Under the Willow
 hÇwxÜ à{x j|ÄÄÉã The dynamic level for the last 2 measures
is to let all the horns play warmly and relaxed,
9
molto rit. q = 54 90 94 q = 50

balancing the rest of the players to them.
   
Picc.                

               
Off on the + of beat 3

Fl. 1                   
p mf p

   
tutti
   
           
Off on the + of beat 3

Fl. 2             
 
p mf p

    
                      
Off on the + of beat 3

     
Ob. 1
 
p mf pp


                    
Ob. 2


e
mp mf

                

Off on the + of beat 3

       

as
Cl. 1            
p mf p

  
   
Off on the + of beat 3

              
Cl. 2
       

ch
p mf p

 
      
Off on the + of beat 3

        
    
   
Cl. 3
p   
   
mf p

ur
       
       

ui ly
Off on the + of beat 3 Off on the + of beat 3
Bs.
              
Cl.
 
p mf mp p  
                     Off
      
          
Off on the + of beat 3 on the + of beat 3


sP
      

eq On
Bsn. 1

p mf mp p

   
           
Off on the + of beat 3 Off on the + of beat 3
               
   
Bsn. 2
  
p mp p
mf

re
           
           
Off on the + of beat 3 Off on the + of beat 3
          
    
e R ew
Cbsn.
p mf mp p

 
               
Off on the + of beat 3

A.
Sax. 1                
p mf p


i

    

  
Off on the + of beat 3
A.
          

        
Us ev

Sax. 2
p mf p

   
  
    
Off on the + of beat 3
Ten.
             
Sax.
p mf p
Pr

         
      
Off on the + of beat 3
Bari.
              
Sax. 
p mf p The dynamic level for the last 2 measures
is to let all the horns play warmly and relaxed,
molto rit. q = 54 90 94 q = 50 balancing the rest of the players to them.
   
             
solo Off on the + of beat 3 solo
          
Cor.          
Solo
 
p mf
mp
  p
mp
 
1. tutti stagger entrances (sneak in)
        
1. Off on the + of beat 3

              
Tpt. 1
 
pp mf p

  
 
1. tutti stagger entrances (sneak in)
Tpt. 2                 
ted

pp mf

 
   
1. tutti stagger entrances (sneak in)

 
       
Tpt. 3
   
pp mf

           
     
tutti

  
 
*ALL Horns unless there are MAJOR Issues*

             
in

Hn.
1/2     
p mf mp p

          
        
a2 *ALL Horns unless there are MAJOR Issues*
Hn.

                  
Pr

3/4
p mf mp p
1.

tutti stagger entrances (sneak in)
   
    

  
         
Off on the + of beat 3

Tbn. 1        
pp mf mp p

  
1. tutti stagger entrances (sneak in)
       
Off on the + of beat 3
   

               
Tbn. 2

pp mf p p
1. tutti stagger entrances (sneak in)
    
        
Off on the + of beat 3
             
Tbn. 3
   
pp p p
mf

 

  
1. tutti stagger entrances (sneak in) Off on the + of beat 3

              
  

Bs.
Tbn.       
pp p p
mf
  
            
Off on the + of beat 3

  
1. tutti stagger entrances (sneak in)
          
     
  

Euph.      
pp mf p

p

 
       
1. tutti stagger entrances (sneak in) Off on the + of beat 3
          
Tba.
          
   
pp p p 
mf

   
1. tutti stagger entrances (sneak in)
    
        
Off on the + of beat 3
            
Db.
 
pp mf p p
85 86 87 88 89 90 91 92 93 94 95 96
MP 99134 Under the Willow