EFFECTIVE COMPOSITION AND ORCHESTRATION TECHNIQUES

FOR HIGH SCHOOL WIND BAND

A Project Report
Presented to
the Faculty of the Department of Music
California State University, Los Angeles




In Partial Fulfillment
Of the Requirements for the Degree
Master of Music
Commercial Music Composition/Arranging




By
Jennifer M. Amaya
June 2008

























2008
Jennifer M. Amaya
ALL RIGHTS RESERVED
iii

ACKNOWLEDGMENTS

I wish to thank Richard Watson and the El Dorado High School wind
bands for bringing my thesis music to life. As a composer, there is no better
feedback about ones own compositions than hearing them rehearsed and
performed by the ensemble for which the music was intended. My experience
with El Dorado High School was both educational and inspiring, and the concert
they generously staged for me was a major contribution to what was the best
experience of my life as a composer.
Others who contributed to the final outcome of the compositions, and who
deserve many thanks for their help with this project include Rita Watson at
Bernardo Yorba Middle School, Bincins Garcia at Esperanza High School, and
the students of the California State University, Los Angeles Symphonic Band.
I am also grateful for the support and encouragement of the Music
Department faculty at California State University, Los Angeles. I especially
would like to thank Steve Wight for teaching me the orchestration tricks that have
eluded me in my education for so long, Deborah Holland for being the first of my
professors to allow me to write the music of my roots, and Abel Ramirez for
giving me the insight, skill, and confidence to take my place on the conducting
podium.
iv

My maternal grandfather, John Lane, deserves many thanks for strapping
me into an accordion when I was eight years-old, for convincing me that I could
compose music even though I told him I could not, and for all of the
embarrassing orchestration lessons he gave me, blasting John Philip Sousa out
of his blue Ford Taurus while driving me to junior high school. He is my genetic
link to music, and he will forever be with me in spirit.
I would also like to thank: Richard Briggs, my high school band director
and first composition teacher, in particular for teaching me the important art of
musical notation; Dr. Lloyd Rodgers at California State University, Fullerton, for
scaring me into becoming a tough and talented composer; Joseph Alfuso for
mentoring me well beyond the one day in 1993 that he was required to; Dr.
Charles Richard at Riverside Community College for encouraging me to pursue
the field of music technology and commercial music; and my friend Laura
Perlman, for giving me the daily strength and determination to do the impossible
during this final quarter of my degree.
Of course, I could not have survived as a student and musician without the
generous support of my mother, Barbara, who has supported my composition
career from the beginning, when she provided me with my first 386 computer
loaded with Encore 3.0 and Master Trax Pro. I thank her for giving me a
wonderful start in life, for teaching me to be a strong and assertive woman, and
for exposing me to another of my hobbies and loves, horses. Jack, Yeti, and
v

Buddee have provided me with an abundance of outside recreation, a mental
break from the pressures of music and school, and a fear for my life that far
outweighs my fear of this project.
Finally, I thank my husband, Alex, who has been everything I am not:
Patient, understanding, calm, and forgiving. He is the reason I live for the
moment, I laugh often, and I love the world around me. I hope he will forever
enjoy being my second set of ears


vi

ABSTRACT

EFFECTIVE COMPOSITION AND ORCHESTRATION TECHNIQUES
FOR HIGH SCHOOL WIND BAND
By
Jennifer M. Amaya

In this project, various techniques of composition and orchestration are
discussed for their performance effectiveness in music intended for the high
school wind band ensemble, an increasingly popular medium for new
compositions. Because of the nature of the ensemble, the exact instrumentation
and the ability level of the individual instrumentalists can vary greatly; therefore,
composers of wind band music must not only understand the traditional art of
composition and orchestration, but must cover their tracks by using various
techniques to avoid potential troubles in the future within their orchestration.
The music in this project was composed and rehearsed with the author
present, so that potential problem spots within the composition or orchestration
could be discovered, corrected, and discussed. Within this paper, each
composition is analyzed, its potential or pre-existing problems are highlighted,
and proper solutions are given. Concert recordings and musical scores are also
provided for further analysis.
vii

Modern American composers should be encouraged to write for wind
band, as there is an abundance of wind players and wind bands in the United
States. This project illustrates the few troubles composers will face and the
adjustments they should make when attempting to break into the educational
wind band market.
viii

TABLE OF CONTENTS

ACKNOWLEDGMENTS ....................................................................................... iii
ABSTRACT .......................................................................................................... vi
LIST OF FIGURES ............................................................................................... x
CHAPTERS
1. INTRODUCTION ........................................................................................... 1
2. METHODOLOGY .......................................................................................... 6
3. ANALYSIS OF MUSIC FOR THE EFFECTIVENESS OF HIGH
SCHOOL WIND BAND PERFORMANCE ......................................................... 9
General Issues Affecting All Works ................................................................ 9
Specific Issues Affecting Individual Works ................................................... 14
"American Spirit" ................................................................................ 14
"Latvian Folk Song Suite" ................................................................... 23
"Weekdays in Valencia" ..................................................................... 26
"The Great Indian Wars" .................................................................... 36
"Quit Clownin' Around!" ...................................................................... 43
4. CONCLUSION ............................................................................................ 57
ix

BIBLIOGRAPHY ................................................................................................. 58
APPENDIX Musical Scores ............................................................................. 60

This Project is accompanied by a CD and DVD which are housed
in the Music and Media Center of the Library.
x

LIST OF FIGURES

Figure 1: Horns Written in Unison, "Weekdays in Valencia" ............................... 10
Figure 2: French Horns Written in Harmony, With F Horn 2 Doubled in
Trombone 2, "Latvian Folk Song Suite" ......................................................... 10
Figure 3: Out-of-Tune Tuba Note, "The Great Indian Wars" ............................... 12
Figure 4: Original Woodwind Run, Bars 11-12 ................................................... 16
Figure 5: Original Woodwind Run, Bars 19-20 ................................................... 16
Figure 6: Original Woodwind Run, Bar 51 .......................................................... 17
Figure 7: Corrected Woodwind Run, Bars 11-12 ................................................ 17
Figure 8: Corrected Woodwind Run, Bars 19-20 ................................................ 18
Figure 9: Corrected Woodwind Run, Bar 51 ....................................................... 18
Figure 10: Original Trombone Harmony, Bars 40-44 .......................................... 19
Figure 11: Corrected Trombone Part, Bars 40-44 .............................................. 20
Figure 12: Forte-Piano Markings on Chords Sustaining Underneath
Woodwinds .................................................................................................... 22
Figure 13: Original Opening of "Latvian Folk Song Suite" .................................. 24
xi

Figure 14: Re-arranged Opening of "Latvian Folk Song Suite"........................... 25
Figure 15: Original Ending of 1
st
Movement, "Latvian Folk Song Suite" ............. 25
Figure 16: Re-arranged Ending of 1
st
Movement, "Latvian Folk Song Suite" ..... 25
Figure 17: Original Trumpet Arrangement, Bars 45-48, "Smieklis Man" ............. 26
Figure 18: Re-arranged Trumpet Arrangement, Bars 45-48, "Smieklis Man" ..... 26
Figure 19: Original Opening of "Weekdays in Valencia" ..................................... 29
Figure 20: Revised Opening of "Weekdays in Valencia" .................................... 29
Figure 21: Original Forte-Piano Figure, Bars 4-5 ................................................ 30
Figure 22: Brass Attack While Woodwinds Sustain, Bars 4-5 ............................ 32
Figure 23: Final Notation, Bars 4-5 ..................................................................... 33
Figure 24: Crescendo Built Into the Orchestration, Bars 19-22 .......................... 34
Figure 25: Decrescendo Built Into the Orchestration, Bars 31-32....................... 35
Figure 26: The Opening to "The Great Indian Wars" .......................................... 38
Figure 27: Crescendo Written Into the Orchestration ......................................... 39
Figure 28: Reduced Orchestration for Trumpet Solo, Bars 11-14....................... 40
Figure 29: Original Trumpet Solo Now Doubled in Clarinet 1 ............................. 41
Figure 30: Notes at Different Speeds in Different Textures ................................ 42
Figure 31: The Extra-Musical Opening of "Quit Clownin Around!" ..................... 46
xii

Figure 32: The "Ring Master" Introduces the "Flying Trapeze," and the
Choreography Begins in all Resting Parts (Only Brass are Shown) .............. 47
Figure 33: A "Flying Trapeze" Interruption and Continuation .............................. 48
Figure 34: The Clarinet Soli and "Squeak" Indication ......................................... 48
Figure 35: Clown Band Notation and Instruction ................................................ 49
Figure 36: The "Tight Rope" Music ..................................................................... 50
Figure 37: Suspenseful Brass chords and Frightened Gasps ............................ 51
Figure 38: The Layering of Themes and Ideas ................................................... 52
Figure 39: Chaos Erupts as Band Members Throw Balloons and Break Out
in Laughter ................................................................................................... 54
Figure 40: The Final Events in "Quit Clownin Around!" ...................................... 55
1
CHAPTER 1
Introduction

The British Army Band was the model for the American Military Band,
which was the father of todays American concert band. Distinct from the
symphony orchestra, the American military and concert bands did not completely
conform to the repertoire of the Europeans. American military band music, such
as that written and conducted by Patrick Sarsfield Gilmore (1829-1892) and John
Philip Sousa (1854-1932), had a national character and served strictly as
entertainment for the general public.
1
Paralleling the development of the
American military band was the growth of music instruction in American schools,
leading eventually to the formation of the Eastman Wind Ensemble by Frederick
Fennell in 1952, and, in turn, to a revolution for American wind bands and their
literature.
Along with the establishment of the Eastman Wind Ensemble, Frederick
Fennell wrote a letter to composers asking for new music that would fit within the
guidelines of the standardized instrumentation of his new ensemble. Composers
responded, and Fennells idea of establishing a new medium of musical
activity
2
began to surface. Prior to 1960, most works for band were orchestral

1
Frederick Fennell, Time and the Winds: A Short History of the Use of Wind Instruments in the Orchestra,
Band and the Wind Ensemble (Kenosha, WI: Leblanc Publications, Inc., 1954), 37-39.
2
Fennell, Time and the Winds, 52.
2
transcriptions or military marches. After a record number of commissioning
projects, and with the help of many dedicated wind band conductors, original
wind band literature has made more advancement in the past fifty years than in
all the years before it combined. No other ensemble in history has made as
much advancement in as short a time frame.
Perhaps the reason for this symphonic boom rests in the wind bands
place in the American education system. Fortunately, and unfortunately, there is
a huge market today for educational symphonic band literature. As W. Francis
McBeth states, The school band programsrepresent about ninety-nine percent
of all band programs in this country.
3
In addition, it is important to consider that,
an oversupply of excellent wind players is the reverse side of Americas string
problem. Wind players will outnumber those who play strings
4
The
unfortunate side of this dilemma rests on the attitudes of many of todays artists
and composers who cannot take the wind ensemble seriously, due to what they
consider a lack of artistic maturity, both as an ensemble and within its literature.
Many of the wind band critics, however, are stuck in the past with a vision of the
band as nothing more than entertainment at a local park and during high school
football games. These skeptics have, obviously, not opened their eyes to the
fortunate side of the recent wind ensemble explosion: Opportunity. For
composers, especially, the opportunity exists to have works commissioned,

3
Frederick Fennell, The Wind Ensemble (Arkadelphia, AR: Delta Publications, 1988), 2.
4
Keith Brion, The Professional Wind Ensemble, The Instrumentalist, February 1972, 25.
3
performed, and purchased by countless numbers of school ensembles. In
addition, they have the opportunity to help young musicians explore new music
and learn. Further, should a composer prefer to only write music for the sake of
art, professional wind ensembles do exist today; and these ensembles, as well
as many of the university-level wind ensembles, are waiting for a more artistic
repertoire to surface.
Some artists have caught onto this new, profitable and satisfying
market
5
for composers. Famous composers such as Varse, Poulenc, Copland,
Barber and Harris (to name only a few) have now contributed to the wind
ensemble repertoire.
6
Most importantly, however, the field has opened to new
composers. One example is Frank Ticheli, who has synthesized educational and
artistic concert band music together into one package a package that includes
some of the most performed and highly-regarded works for wind band today.
The mystery the author wished to solve in this project is why some wind
band pieces and composers are more successful in the educational market than
others. In the educational wind band market there is a preference for music that
sounds good after a minimal amount of rehearsal and effort; thus it is important
for composers of such music to fully understand the ensemble, the instruments
within the ensemble, the various levels of musical abilities for which they are

5
Fennell, Time and the Winds, 52.
6
Frank Battisti, The Twentieth Century American Wind Band/Ensemble: History, Development and
Literature (Fort Lauderdale, FL: Meredith Music Publications, 1995), 99-101.
4
writing, and a number of other factors that can contribute to the success or failure
of this music in performance.
The authors main impetus for this project arose both out of a deep
appreciation for the wind band ensemble and its literature, and out of a desire to
repair and renew several wind band compositions that the author had previously
written and performed. The pre-existing compositions had the potential to be
marketable if given a fair amount of attention. With the main focus of the project
being on orchestration, rather than composition, the pre-written works provided
the author with an abundance of project material with which to work.
The music for this project includes three pre-existing works for band:
American Spirit, a patriotic medley of tunes in the public domain; The Great
Indian Wars, an original programmatic work; and Quit Clownin Around!," an
original and very unconventional work for band. In addition, two new
compositions have been written or arranged for band: Latvian Folk Song Suite,
7

a two-movement work based on two existing Latvian folk songs; and Weekdays
in Valencia," another original work by the author.
The repertoire of works for this project varies widely in style, length,
theme, and difficulty level. Each of these pieces was written, prepared,
rehearsed, revised, performed, recorded, and analyzed for their effectiveness in

7
Latvian Folk Song Suite is an arrangement of two copyrighted songs, arranged for band strictly as an
academic exercise, with written permission from the editor. For this reason, analysis of the work will be
limited, and the full score will not be included in the appendix at the end of this project.
5
performance. It is hoped that the discoveries in this project will be helpful to both
the author and to other composers who would like to add meaningful and well-
written works to the wind band repertoire in the future.
6
CHAPTER 2
Methodology

In order for this project to be successful, it was important for the author to
have previously established positive working relationships with a variety of wind
bands and their directors. A plan was developed months in advance of the final
concert to prepare the simplest of the tunes, American Spirit, for several
rehearsals and discussions with band directors. The author was able at that time
to observe rehearsals of other wind band pieces as well. This research phase
proved to be invaluable to the author. Surprisingly, the time spent with a strong
junior high school band and its director was the most helpful in defining potential
problem areas for all levels of wind bands and the music that they play. The
results of these findings are discussed within the musical analyses.
After its revision, American Spirit was rehearsed by several groups
again, and the result was an obvious improvement. The techniques applied to
American Spirit were then applied to the remaining pre-existing compositions
for the project, and were used when composing the new music for the project as
well. In addition to observations, readings, and discussions with band directors,
the author continuously worked with an orchestration teacher, who gave the
author additional ideas and suggestions that were also tested in rehearsal.
7
The music for this project was written and voiced at an upright acoustic
piano. The music was notated for band using Sibelius 5 music notation software,
running on a Hewlett-Packard Pavilion dv9000 laptop computer. The parts and
scores were printed on a Hewlett-Packard Officejet 7400 series printer. The
scores were bound using a proClick manual hole punch and proClick spines.
A final concert was scheduled with El Dorado High School in Placentia,
California, and deadlines for the final submission of works were established
between the author and the band director. A rehearsal schedule was also
established so that the author could be present during rehearsals, to continue to
monitor the music for potential problems. Updates of the music were given out
regularly during the weeks and days prior to the final concert. The author was
also invited to conduct the final piece, Quit Clownin Around!
Concert flyers and programs were created, a sound engineer was hired to
record the music, and the final revisions of the tunes were completed the day
before the concert. Using a high school ensemble proved to be a valuable
decision, as the author was relieved of a majority of the concert-planning duties,
including the hiring of musicians, the scheduling of rehearsals, locating and
booking a site, and insuring that the bands equipment was delivered and set up
properly. The most difficult challenge for the author after the writing phase was
complete was locating a large, steel triangle to be used in The Great Indian
8
Wars. The author was able to locate and purchase the instrument from the
blacksmith at Knotts Berry Farm in Buena Park, California!
With only a few rehearsals available due to scheduling difficulties and
conflicts, the El Dorado High School wind bands learned and performed five new
works for band at a formal forty-five-minute concert in Yorba Linda, California on
April 29, 2008. The concert was recorded and an analysis of the completed
works follows.
9

CHAPTER 3
Analysis of Music for the Effectiveness of High School Wind Band Performance

General Issues Affecting All Works

The two main issues that composers face when writing educational wind
band music are the uncertainty of the number of instruments within the
performing ensemble and the varying ability levels of the individual
instrumentalists. The size and ability level of wind band ensembles can vary
greatly from school to school, and even from one class to another at the same
school. Composers must, therefore, take much care in preparing their music for
these unknown challenges. Careful decisions must be made, in particular, when
writing French horn parts, to insure that the parts will balance effectively, as
bands can have an average of anywhere from one to four horns (or possibly
more) in the ensemble. Also, it is impossible to know whether a band will have
instruments such as an oboe, bassoon, bass clarinet, or baritone saxophone.
Some bands may have several of each of these instruments, and other bands
may not have any of them. This creates obvious challenges for the composer.
In this project, only two French horn parts were written in each
composition, and the two parts were often written in unison as shown in Figure 1.
10
Since horns balance differently than other instruments, the presence of more
than one horn on a featured musical line is very important to the orchestration. In
this project, where the second horn part differed from the first, the second part
was always carefully doubled in another instrument within the ensemble. Figure
2 shows that the second horn part is doubled in the second trombone.


Figure 1: Horns Written in Unison, Weekdays in Valencia


Figure 2: French Horns Written in Harmony, With F Horn 2 Doubled in
Trombone 2, Latvian Folk Song Suite

This careful attention gave the author the assurance that the important
horn lines would most certainly be heard, as they would hopefully be played by at
least two horns at the same time. Also, if there was only one horn present in the
11
ensemble, the second horn part would not be entirely absent from the texture
because of its doubling.
All of the oboe parts in this project contained music that was doubled in
either the flute, clarinet, or bassoon parts. The author took much care to write
the oboe in as a desired color, but to insure that if there were no oboes in the
ensemble, the musical lines would not be missing in the performance.
Composers who write oboe solos and features in band music are smart to cue
the solo in another instrument. Many composers choose to write oboe solos as
straight-muted trumpet cues, to cover the part in the event that there is no oboe
player. In this project, the author did not feature the oboe, so no cues were
necessary. The bassoon poses the same problem as the oboe, and the author
handled the bassoon similarly. Often times, the bassoon has been doubled with
the bass instruments or other woodwinds.
Most high school bands will have a bass clarinet and baritone saxophone,
however it is important for wind band composers to know that not all high schools
will have these instruments. It might not be the best idea to feature a bass
clarinet or baritone saxophone in educational wind band music, but if a composer
does, it is advised to either double or cue the part in another bass instrument. In
this project, the bass clarinet had an important role in the first movement of the
Latvian Folk Song Suite. Fortunately for the author, the high school ensemble
that performed the work had two bass clarinet players.
12
Another consideration for all educational wind band music is that of
instrument and performer limitations. Because the performers are not yet
professionals, it is advised to keep in mind the comfortable instrumental range for
each instrument (a high range can be particularly difficult for many young trumpet
players, for example), the break on the clarinet (one would probably not want a
high school clarinet section to have to trill between Bb and B on the staff), and
notoriously out-of-tune notes, such as the tubas low C in the authors Great
Indian Wars composition (Figure 3), which required careful attention in
performance.


Figure 3: Out-of-Tune Tuba Note, The Great Indian Wars

Part and score preparation is also a very important factor that affects the
success of a composers music when it gets into the hands of a high school band
director. The score needs to be as clearly-marked as possible, and printed as
large as possible. The parts must be clearly-marked as well, and printed as
compactly as possible, with clean page turns. In the scope of this project, the
author learned that the best way to achieve this arrangement is by using
13
combined parts on single staves in the score, and extracting the instruments to
their own parts for the performers. By combining parts on one staff in the score,
the composer saves a considerable amount of space on the score page and,
thus, the size of the score will be slightly larger for the director. By separating the
parts for the performers, the composer will give the instrumentalists the
opportunity to have a clear and less confusing performance. Additionally,
composers must be sure to have both a Baritone B.C. (bass clef) and a Baritone
T.C. (treble clef) part available for the performers. Directors tend to prefer
viewing the B.C. part in the score so that they do not have to figure out the
transposition.
Finally, percussion parts pose several problems. First, composers should
know that directors are appreciative when the percussionists are given an ample
amount of music to play.
8
Often times, bands will contain a large number of
percussionists who stand at the back of the ensemble with not much to do. So,
throughout this project, the author took advantage of having an abundance of
percussionists. The trouble with writing a fair amount of music for a large
number of percussion instruments is in organizing all of them into a condensed
number of parts that will make sense to the performers. The mallet instruments
(xylophone, bells, marimba, and vibraphone), as well as the timpani, often are
assigned to their own staves and parts, both in the score and extracted for the

8
Dr. Abel Ramirez, California State University, Los Angeles, personal communication, Fall 2007.
14
performers. Other instruments, including but not limited to snare, bass drum, all
types of cymbals, tom-toms, tambourine, triangle, and toys can all be combined
onto one or more staves, depending on where they are employed in the
composition, the number of parts a composer can fit onto one staff at a time
without confusion, and a number of other factors. In short, a composer must take
a huge amount of care in preparing percussion parts. It is also suggested to
provide a cover page on each percussion part that indicates all of the employable
instruments for the part, and the approximate number of players that will be
needed to play them.
All of the above issues were taken into consideration and handled
carefully within all of the projects compositions.


Specific Issues Affecting Individual Works

American Spirit
American Spirit was originally written in 1998 for the Placentia-Yorba
Linda Unified School Districts annual band pageant. The original arrangement
was for mass marching band, to be performed by all of the districts high school
and junior high school marching bands on a single football field, all together, at
one time. The piece is the least difficult of the five tunes being analyzed here,
15
because it was and still is intended to be performed by students at the junior high
school level. Since 1998 it has been re-orchestrated for the concert band
ensemble (which necessitates adding concert instruments such as oboe,
bassoon, and bass clarinet, and re-writing the percussion to accommodate for
concert, rather than field, instruments).
This work is a patriotic medley that includes portions of George M.
Cohans Youre a Grand Old Flag (1906) and Yankee Doodle Dandy (1904),
and Gen. Edmund L. Grubers The Caissons Go Rolling Along (1908), all of
which are in the public domain. The authors influence on the arrangement can
be heard in the playful and clever countermelodies, musical transitions, and bass
lines.
As the first and simplest piece included in this project, American Spirit
was used as a research model for the author, before a majority of the writing and
re-writing of music for this project occurred. The piece received several test runs
at Bernardo Yorba Middle School (in Yorba Linda, CA), under the direction of
Mrs. Rita Watson, a seasoned band director. Rita offered the author many
valuable comments and suggestions that would eventually prove highly effective
in performance, and which would dramatically improve the clarity of this work, as
well the others that followed. The most important of the comments will be
discussed here.
16
The first troubling spot in the orchestration occurred at bars 11 and 12
(Figure 4), where the piccolo, flutes, and first clarinet were to play an eighth-note
melodic run. The run was mostly scalar, but contained some chromatic tones
that proved difficult for the middle school musicians to play at the indicated
tempo. This problem also occurred in Bars 19 and 20 (Figure 5), and at Bar 51
(Figure 6).


Figure 4: Original Woodwind Run, Bars 11-12



Figure 5: Original Woodwind Run, Bars 19-20
17

Figure 6: Original Woodwind Run, Bar 51

The author found that these melodic figures were also difficult for high
school players to perform at the fast, desired tempo. To fix this problem so that
the runs would be easier to play and, thus, clearer in performance, the notes
needed to be broken up amongst the players, and the rhythms simplified.
9
The
solution was as follows, in Figures 7-9.


Figure 7: Corrected Woodwind Run, Bars 11-12

9
Professor Steve Wight, California State University, Los Angeles, personal communication, Winter 2008.
18

Figure 8: Corrected Woodwind Run, Bars 19-20


Figure 9: Corrected Woodwind Run, Bar 51

These adjustments proved valuable to the composition and its
performance. All of the notes in the runs were covered by the three instruments,
so that nothing was missing from the musical lines. In all three examples, the
beginning of the runs were emphasized by the Clarinet 1 and Flute 2 parts, which
contained only the first two eighth notes leading to the downbeat on beat 3. The
Piccolo and Flute 1 emphasized the second half of the figure by entering directly
19
on beat 3. Written this way, the notes and rhythms were easier for the musicians
to play, which gave them more confidence. The result was that the figures came
through the texture more clearly. This orchestration trick was employed in other
pieces in this project, where it again proved valuable.
Another issue within the orchestration of American Spirit occurred in the
trombone harmonies. Where melodic figures need to break through the texture
in the trombones and low brass, it is not always necessary to harmonize them, as
in Figure 10. Especially with young trombone players, this sort of close harmonic
doubling can create a very muddy sound.


Figure 10: Original Trombone Harmony, Bars 40-44

The way the author decided to clear up the muddy trombone sound was to
do away with most of the close harmonies almost altogether, except at important
places where harmony would be effective and easier for the young musicians to
play. In this particular example, the author kept the harmony on beat 1 of bar 40,
and allowed the trombones to play the melodic figure in unison through the end
20
of the phrase. The result, shown in Figure 11, was pleasant, and exactly what
the author was hoping for. Again, this technique was employed many times in
the music that is contained within this project, and always proved to be effective.


Figure 11: Corrected Trombone Part, Bars 40-44

Two other notes about trombone writing are important to mention. The
author originally presented this work with a Trombone 3 part. In general, most
band music, even at the high school level, is limited to only two trombone parts.
A third trombone part is normally only added for effect, or to double the bass, if
necessary. Also, it is common, especially in young band music, for the
trombones, when given an important melodic or harmonic line, to be doubled in
the tenor saxophone part.
10
This gives the trombones a musical reference to
listen and tune to. In general, this sort of doubling adds much clarity to the
melodic or harmonic line in music at both the junior high and high school levels.
Other doublings of importance include doubling the French horns with the alto
saxophones, and duplicating bass line features, not only in the baritone

10
Rita Watson, Bernardo Yorba Middle School, personal communication, Spring 2008.
21
saxophone (which may not even be present at the junior high level), but in the
tenor saxophone as well.
11

Later rehearsals of American Spirit with the high school ensemble
brought out one more minor issue in regard to the woodwind runs mentioned
earlier. Where those melodic eighth-note runs occurred in the upper woodwinds
(referring to Figures 7-9), many of the other, more powerful instruments in the
texture were sustaining chords below them. The author found that adding forte-
piano dynamics, followed by crescendos on the sustained tones, was quite
effective in allowing the woodwind runs to pierce through the texture to be heard.
The final notation is shown in Figure 12.











11
Ibid.
22

Figure 12: Forte-Piano Markings on Chords Sustaining Underneath Woodwinds

23
Latvian Folk Song Suite
The author was first exposed to Latvian folk music while singing in a
womens choir under the direction of Dr. Vance Wolverton, at California State
University, Fullerton. It was immediately obvious to the author that the folk songs
would transfer positively to the wind band ensemble. The suite was written
exclusively for this Masters project, as an academic exercise, with permission
from Dr. Vance Wolverton, who is also the official editor of the womens choir
arrangements of the folk songs, on which the authors arrangement was based.
Melodijas, the first movement of the suite, is an original folk song written
by composer Pteris Barisons (1904-1947). The authors arrangement is a direct
setting of Barisons womens choir arrangement for wind band, with a slight
adjustment in orchestration and composition to accommodate for the presence of
bass instruments. Smieklis Man, the second movement of the suite, is a
traditional Latvian folk song. This arrangement was based on the womens choir
arrangement of the tune by arranger Aldonis Kalni.
Latvian Folk Song Suite was rehearsed and performed by a high
schools intermediate-level wind band. It was immediately obvious that the
authors decision to begin the work with an important soli in the Clarinet 3 part,
followed by an entrance of Clarinet 2, and then Clarinet 1 (Figure 13), was a
mistake. For an important soli such as this, the author learned that the strongest
24
players should always be employed. The fact that this particular ensemble had a
weak clarinet section only compounded the problem.


Figure 13: Original Opening of Latvian Folk Song Suite

When writing band music, one never knows the strengths and
weaknesses of the ensemble that will perform the works. The author was under
the impression, based on years of observation, that most high schools have very
strong clarinet sections that could handle the soli as written in Figure 13. The
authors assumption was incorrect, however, and a valuable arranging lesson
was learned in the process. Whenever possible, the strongest players should be
trusted and featured on important musical lines, such as in this introduction. The
music was easily re-arranged as shown in Figure 14, and the positive effects
were immediate. The same issue was addressed at the end of the first
movement as well, as shown in Figures 15 and 16.


25

Figure 14: Re-arranged Opening of Latvian Folk Song Suite


Figure 15: Original Ending of 1
st
Movement, Latvian Folk Song Suite


Figure 16: Re-arranged Ending of 1
st
Movement, Latvian Folk Song Suite

The second movement, Smieklis Man needed very little correction.
There were two places in the arrangement where the author made a personal
decision to change a doubling in the trumpet section so that the melody (the top
notes) would speak more clearly. This occurred at bars 27 and 28 (not pictured
here), and again at bars 45-48 (shown in Figures 17 and 18). The result was
exactly as the author hoped the melody and harmony were balanced better,
26
with the melody speaking slightly stronger than the harmony, rather than the
undesired reverse effect.


Figure 17: Original Trumpet Arrangement, Bars 45-48, Smieklis Man


Figure 18: Re-arranged Trumpet Arrangement, Bars 45-48, Smieklis Man

Weekdays in Valencia
Weekdays in Valencia is one of the authors original works for band. The
piece began as a brass quintet project several years ago while the author was
attending the California Institute of the Arts in Valencia, CA. While it is generally
appropriate for a composer to share a story about the deep and meaningful
inspiration surrounding a work, the true inspiration for this piece of music actually
came out of the war that the author and her dorm roommate had declared on
27
their suitemates for locking them out of their adjoining bathroom every morning.
Regardless, the author took great care to maintain a marketable seriousness in
this composition. The result is that Weekdays in Valencia is a loud, exciting,
fast-paced piece of music with slightly quirky, dissonant melodies and harmonies.
This was the last of the authors completed works for this project. Since
many lessons had been learned prior to its composition, the author found that
there was little adjustment needed during the rehearsal phase of this work to
insure its successful performance.
It may appear that Weekdays in Valencia is a difficult piece of music for
a high school band. Factors contributing to its difficulty include its chromatic and
multi-tonal nature, the stretching of ranges in nearly every instrument, an
abundance of sixteenth-note rhythmic figures, and a fast tempo. However, the
work is highly motivic (there is much repetition), it is mostly written in 4/4 time,
and it is a fairly short composition; so, the piece is challenging, but not too
overwhelming for an advanced high school ensemble.
One obvious mistake that the author made in composition occurred on
beat 3 of the first bar, where a large, low, sustained forte entrance was desired.
The author simply did not provide enough strength in the orchestration for such
an effect. Figure 19 shows the original orchestration, which leaves the very
important beat 3 entrance in the winds to only the bass clarinet and tuba. Even
with five tubas and two bass clarinets in the ensemble, the low Bb did not pierce
28
through the texture with enough power to be heard. The fix for this orchestration
weakness was simple the author doubled the figure in the Trombone 2 and
Baritone Saxophone parts. The trombones and saxophone gave the note more
weight and a better attack, which is exactly what the author desired. The result is
shown in Figure 20.
















29


Figure 19: Original Opening
Weekdays in Valencia


Figure 20: Revised Opening
Weekdays in Valencia

30
Another interesting orchestration issue occurred a few bars later, in bars 4
and 5. On beat 4 of bar 4, the author wished to have a forte-piano quarter-note,
tied over to a half note with a crescendo in bar 5. Originally, the author wrote this
figure in to all of the wind parts, as shown in Figure 21.


Figure 21: Original Forte-Piano Figure, Bars 4-5
31
Prior to the completion of the composition, however, it was suggested to
the author
12
to allow the woodwinds to maintain the written figure, but to have the
brass only attack the front end of the note on beat 4 of bar 4 (to create a better
attack), and to bring the brass back in to complete the crescendo on beat 2 of bar
5 (enhancing the crescendo effect). Figure 22 shows the result of those
instructions.
The result of Figure 22 was not adequate, however, as the woodwinds
were not strong enough, even with the removal of the forte-piano marking, to
sustain the sound without support from the brass. The third and final option was
to combine the two ideas, giving the woodwinds some brass support on the
sustained tones while leaving some of the brass instruments on the beat 4
attack, and bringing them in at the end of the crescendo for more emphasis.
Figure 23 shows the final notation.








12
Professor Steve Wight, California State University, Los Angeles, personal communication, Spring 2008.
32

Figure 22: Brass Attack While Woodwinds Sustain, Bars 4-5
33

Figure 23: Final Notation, Bars 4-5
34
Finally, Weekdays in Valencia provides several examples of how to build
crescendos and decrescendos by adding to and removing from the orchestration,
similar to how the crescendo was built in the example above. Crescendo
examples occur in bars 19-22 (pictured in Figure 24), and extended examples
occur in bars 48-65 and 76-93. Decrescendo examples occur in bars 31-32
(Figure 25) and 68-74. The larger examples can be viewed in the Appendix.


Figure 24: Crescendo Built Into the Orchestration, Bars 19-22
35

Figure 25: Decrescendo Built Into the Orchestration, Bars 31-32
36
The Great Indian Wars
The Great Indian Wars is a programmatic work that musically attempts to
recreate the major events in the lives of the American Indians between 1840 and
1890, the time of the great Indian wars. The piece begins with a brief, calm
introduction that represents the Indians territory, followed by the introduction of
the western settlers and their quest for gold. The music takes the listener
through the ups and downs of several battles fought by the Indians in the late
1800s, and exposes the listener to the great art of Indian ghost dancing. The
piece ends with a representation of the historic Battle of Wounded Knee, followed
by the bright and modern sound of hope for the future of the great American
Indian race. The piece was originally written by the author while just a junior in
high school, and was premiered by the El Dorado High School band in 1995. It
was re-orchestrated for its 2008 debut.
The 1995 orchestration had an abundance of issues that needed to be
corrected, some of which were quite obvious. First, in the original version there
were pan flute melodies written throughout the piece that were assigned to be
played by a synthesizer. The synthesized and amplified pan flute proved to be
an unnecessary distraction. The part was, thus, re-written for a solo flute and
solo piccolo to play together. The result of this doubling was a slightly breathy
and slightly out-of-tune flute-like sound that acoustically represented the pan flute
well. In fact, this doubling was the perfect solution in the absence of a real pan
37
flute. In general, a single synthesized instrument does not blend well into the
texture of a band, with the exception of a synthesized bass, which many directors
will use if their ensembles are lacking bass instruments.
Next, the opening of the work, which was airy and ethereal, needed more
help to be convincing. Originally, the brass instruments were blowing air through
their horns over a timpani and suspended cymbal roll. The timpani roll was much
too bright and percussive for the desired air-like effect, so bass drum proved to
be a much better choice. A tam-tam roll was added into the texture, as well, with
wind chimes
13
and the suspended cymbal roll entering later. The saxophones
were added to help the brass by passing air through their horns as well. The
French horns were eventually asked to rest and not blow air, because it proved
difficult for them to blow air through their horns without creating sound. All of
these changes to the texture were beneficial and helped to create the desired
soundscape shown in Figure 26.





13
The author originally asked for a bell tree instead of wind chimes terms which are sometimes used
interchangeably in composition. Professional players are often good at making educated decisions on
which instrument to use (in this case, it was actual wind chimes that were desired). High school
percussion players, on the other hand, tend to make very literal choices. The author learned during the first
rehearsal that the proper term to use if wind chimes are desired is wind chimes, not bell tree.
38


Figure 26: The Opening to The Great Indian Wars
39
As discussed earlier, the technique of writing crescendos and
decrescendos into the orchestration was employed in this composition as well.
An example occurs early, in bars 9-10, as shown here:


Figure 27: Crescendo Written Into the Orchestration
40
Solos were also a problem in the original orchestration of this work
because often times they were difficult to hear. Where this problem occurred,
instruments were either taken out of the texture, or instruments were added to
the solo part in order for it to be heard. The first example shows up in bars 11-
14. This particular trumpet solo needed to be handled with extra care because it
was written in the low range of the trumpet. Figure 28 shows the final
orchestration. Originally, the Tuba part was doubled in the Trombone 3 part. (It
has already been established that a Trombone 3 part was probably not
necessary to begin with, so it was removed from the orchestration entirely.)


Figure 28: Reduced Orchestration for Trumpet Solo, Bars 11-14
41
In Figure 29 (below), what was originally a trumpet solo has now been
doubled in the Clarinet 1 part. The result was a beautiful musical line that was no
longer hidden within the texture. The author first asked for a solo trumpet and
solo clarinet to solve this problem, but found that opening up the part to all
Trumpet 1 and Clarinet 1 players was the best solution.


Figure 29: Original Trumpet Solo Now Doubled in Clarinet 1
42
Finally, to create a sense of atmosphere in the composition, the author
learned to mix a number of timbres with a number of rhythmic speeds on the
same notes in the texture.
14
This technique became useful many times
throughout this project, but particularly in bars 47-55 in The Great Indian Wars.
In the example pictured in Figure 30, the addition of only two clarinets, one
sustaining the written note A, and the other playing the notes of the vibraphone
triplets as sextuplets, twice as fast, creates a sense of atmosphere that otherwise
would have been lacking. In this example, the clarinets are not heard as
clarinets; rather, they lie in the texture as an underlying, interesting, yet
unidentifiable noise. This is probably the most useful of the orchestration
techniques the author learned in the scope of this project.


Figure 30: Notes at Different Speeds in Different Textures

14
Professor Steve Wight, California State University, Los Angeles, personal communication, Spring 2008.
43
Quit Clownin Around!
The final piece in the project, Quit Clownin Around!, was written one
year after The Great Indian Wars, while the author was a senior in high school.
The piece had its premier performance by the El Dorado High School Symphonic
Band in 1996. It has since been re-orchestrated and slightly re-composed for its
2008 debut.
Quit Clownin Around! is a musical composition intended for a high
school ensemble and director with a good sense of humor. From the bold,
majestic appearance of the ring master (represented by three trumpets), to the
hilarious and outrageous antics of the circus clowns (the band members
themselves), this piece attempts to musically and dramatically recreate the
highlights of the old-fashioned three-ringed circus. The students who perform
this piece must not only be good musicians, but adequate actors as well.
After the audience quiets down (the audience is represented by the
instrumentalists playing at will on their instruments), the circus begins with a
gallant parade. The march that begins in bar 15 of Quit Clownin Around! is a
standard march that follows the formal structure and all of the traditional rules of
a march. Next, the three trumpets begin to introduce all of the circus acts, which
become wildly interrupted as the circus goes on. The most famous acts, those of
the flying trapeze (bars 107-180) and tightrope (bars 246-266), are, of course,
included within this composition.
44
The clown band that appears in the middle of the work (bar 181)
contains the same instrumentation as that of the old Ringling-Barnum clown
band. A famous 18
th
-century clown, Grimaldi, inspired the clown bands trumpet
solo. Grimaldi was well-known for the very dramatic presentation of his songs.
In this piece, the trumpet player is asked to interrupt a peaceful song by crying,
coughing, drinking water, and sneezing, amongst other annoying things. The
spoken phrase within the composition, Here we are, was a common clown
phrase that was used by the Ringling-Barnum clown band (and is used in this
work as well) to interrupt the circus acts, drawing attention to the clowns.
After all of the acts have been introduced and the circus is coming to an
end, this piece transforms back into reality: The performers become band
members again, and as their inappropriate concert behaviors continue, their
conductor brings out the overlooked double meaning of the title of the work as
he/she shouts, Quit Clownin Around! In its entirety, Quit Clownin Around! is
an epic adventure for high school band. It is a guaranteed crowd-pleaser and a
fun, challenging addition to any high school bands repertoire.
All of the techniques and issues previously discussed in this chapter were
at some point employed in this composition. The challenge that this particular
work brings to the composer is that of clearly notating the musical transitions
(which can be quite dramatic in this piece), as well as notating the extra-musical
ideas so that they are clear to the band members and conductor. For a truly
45
effective performance, this piece needs to flow like a well-rehearsed stage
production.
First, the author prepared very clear and detailed notes for the conductor.
These notes have been included with the score. It is clear that a majority of the
responsibility for the effectiveness of this works performance belongs to the
conductor, who must prepare everything well in advance of rehearsal. An
abundance of time signature and tempo changes within one piece, alone, can
confuse a seasoned conductor; yet, in this piece, the time signatures and tempos
take a back seat to the ever-changing musical textures, choreography, and other
extra-musical events, which the conductor must be well aware of and prepared
for.
First, at the start of the piece, the instruments enter, uncued, at random,
and gradually exit as the trumpet fanfare begins. Figure 31 shows this
preparation for the woodwinds. Similar indications were given to the other
instruments in the ensemble as well.






46

Figure 31: The Extra-Musical Opening of Quit Clownin Around!

The next example shows the trumpet ring master fanfare that introduces
the flying trapeze section of the work, which is represented as a silly, repetitive
waltz. There is a choreography indication in all of the resting parts (Figure 32).
The choreography, which is explained in the conductor notes, asks for the band
members to sway back and forth to the music, and to look up as if they are
watching the flying trapeze. The flying trapeze section of the work is constantly
interrupted by chromatic falls, wah-wah effects, and out-of-place beats. The
choreography stops and starts as well. Figure 33 gives one example of this
47
interruption. Also, the clarinet soli (shown in Figure 34) asks for some players to
overblow and squeak, which increases the comedic effect.


Figure 32: The Ring Master Introduces the Flying Trapeze, and the
Choreography Begins in all Resting Parts (Only Brass are Shown)







48

Figure 33: A Flying Trapeze Interruption and Continuation


Figure 34: The Clarinet Soli and Squeak Indication

For the clown band section of the work, the main band parts have been
hidden from the score, and the new clown band parts appear, labeled as solo
parts. Again, the clown band section is explained thoroughly in the conductor
49
notes. Figure 35 shows an example of the clown band notation. Notice the text
indications for the comedy acting written into the Solo Trumpet B part. This is a
good example of a place in the music where the conductor must know exactly
how to instruct the performer. Notes are given, but there is much open to
interpretation. For reasons like this, Quit Clownin Around! requires adequate
conductor preparation and group rehearsal time.


Figure 35: Clown Band Notation and Instruction

The tight rope section of the work is represented by a combined timpani,
snare drum, and bass drum roll (for suspense), together with an ornamented
ascending staccato note pattern in the woodwinds. The staccato notes give the
impression of someone stepping carefully across the high wire.

50

Figure 36: The Tight Rope Music

Similar to the flying trapeze section, the tight rope section is also
interrupted by various events. In Figure 37, suspenseful brass chords give the
impression that the tight rope walker has nearly fallen off of the high wire. In
reaction, the band members are asked to point up in the air while shouting
frightened gasps.


51

Figure 37: Suspenseful Brass Chords and Frightened Gasps

52
All of the themes and ideas introduced in the composition are eventually
weaved together later in the work. In Figure 38, bars 270-276, the layering of
various themes and ideas is quite apparent:


Figure 38: The Layering of Themes and Ideas
53
Another extra-musical idea happens in bars 280-293. In bar 280 the
woodwinds are instructed to blow up balloons. In bar 288, they are told to let
balloons fly toward conductor. Everyone in the ensemble is then instructed to
point at the conductor (who is dodging the balloons), and to eventually break out
into uncontrollable laughter. Notice that the music has been written to
specifically sound as if the instrumentalists are stopping their performance
randomly because they cannot hold back the laughter. The addition of the police
whistle in the percussion section adds a unique effect as well that of someone
trying to control and stop the chaos.











54

Figure 39: Chaos Erupts As Band Members Throw Balloons and Break Out in
Laughter
55
Eventually, the piece comes to a close when the instrumentalists stop
following the conductor and start playing random musical events. The conductor
cuts them off (with a large, rehearsed gesture), and screams, Quit Clownin
Around! The remainder of the piece is conducted, but many of the musicians
have been instructed to stand and sing their parts (instead of playing), and to
strike a pose at the end. Figure 40 gives an example of the various events that
occur in the last few bars of the piece.


Figure 40: The Final Events in Quit Clownin Around!

Quit Clownin Around! is a great example of how composers can create
an element of controlled chaos in composition. Clearly-marked scores and
parts, as well as carefully-prepared conductor notes are essential for a
successful performance of a work that involves extra-musical material.
56
The results of all of the techniques discussed in this chapter can be heard
on the accompanying CD, and can be seen and heard on the accompanying
DVD to this project.
57
CHAPTER 4
Conclusion

The music contained in this report and the accompanying recordings
reflect years of work and research into the art of composing music for high school
wind band. The ability to rehearse the music with the ensemble, to make
changes to the music, and to receive immediate feedback gave the author a
considerable advantage when preparing to analyze the orchestration and
composition techniques that were effective, and those that were not.
The techniques learned by the author that proved to be most effective
throughout this project include proper doublings of instruments (doublings that
are specific to band, as discussed in the analysis chapter), the careful handling of
instruments that may not be present in some bands, using the orchestration to
create crescendos and decrescendos, the careful handling of attacks and
sustains, mixing the speeds and timbres of notes and patterns, and the clear and
meticulous preparation of the score and parts. All of these components are
essential in creating music that can be placed in front of a band and performed
successfully with a minimal amount of rehearsal.
With the honest and unbridled feedback gathered from this project, the
author certainly plans on continuing to write new music for band.
58
BIBLIOGRAPHY

Barisons, Pteris. Melodijas. Santa Barbara, CA: Santa Barbara Music
Publishing, 1997.

Battisti, Frank. The Twentieth Century American Wind Band/Ensemble: History,
Development and Literature. Fort Lauderdale, FL: Meredith Music
Publications, 1995.

Brion, Keith. The Professional Wind Ensemble. The Instrumentalist, February
1972, 25.

Cohan, George M. The Yankee Doddle Boy. New York: F. A. Mills, 1904.

Cohan, George M. Youre a Grand Old Flag. New York: F. A. Mills, 1906.

Fennell, Frederick. Time and the Winds: A Short History of the Use of Wind
Instruments in the Orchestra, Band and the Wind Ensemble. Kenosha,
WI: Leblanc Publications, Inc., 1954.


59
Fennell, Frederick. The Wind Ensemble. Arkadelphia, AR: Delta Publications,
1988.

Gruber, Edmund L. The Caissons Go Rolling Along. New York: Philip Egner
and Frederick C. Mayer, 1921.

Kalni, Aldonis, arr. Smieklis Man. Santa Barbara, CA: Santa Barbara Music
Publishing, 1997.
60
APPENDIX - Musical Scores

American Spirit

Weekdays in Valencia

The Great Indian Wars

Quit Clownin Around!
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
Copyright 2007 J. M. Amaya, ASCAP
J. M. Amaya
Moderately q = 80
Moderately q = 80
Moderately q = 80
Moderately q = 80
The Indian Territory
The Great Indian Wars
Full Score
For Concert Band
1 2 3 4 5 6 7 8 9
q = 138
q = 138
q = 138
q = 138
accel.
accel.
accel.
accel.
10
Piccolo
(One Only)
1
Flute
2
Oboe
1
Bb Clarinet
2-3

Bb Bass Clarinet
Bassoon
1
Eb Alto Sax
2
Bb Tenor Sax
Eb Bari Sax
1
Bb Trumpet
2-3
F Horn 1-2
1
Trombone
2
Euphonium
Tuba
Timpani
in C, G, & F
Mallets
(Vib. / Bells)
Percussion
I, II, III
.
_
.
_
.
_
.
_
.
_
.
_
_
,
,
- - - - .
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,
mp
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,
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,
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,
,
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,
,

fff
,
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,
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Solo w/ Picc.
,
mp
,
,

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,
,
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,
,
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,
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,
,

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,
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div.
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,
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,
,
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,
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,
,
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,
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,
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mp

,
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f
,

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(Air Only)
p

mp
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fp
,
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mp
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fp
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mp

(Play)
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mp
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,

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mp
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p

mp
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,
mf fp
,

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pp

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mp
.
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,
mf fp
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(Air Only)

p

mp
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_
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mp
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(Play)
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f
,
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fp
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.
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choke
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,

, .

_
,
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- - - - - - - -
Vibraphone

f
.
..
,
choke
fff
,

, .

Wind Chimes Triangles

2 Snares Shaker
- -
Wind Chimes
mp
..
.

..
.

..
.

..
.

..
.

- -
Large Steel Triangle (Solo):

fff
..
.
_

Tam Tam Sus. Cym.

Tambourine Sleigh Bells
Closed Hi-Hat
ppp
T.T.
.
..

-
.
..

-
.
..

-
mf
.
..

-
Sus. Cym. --pp
..
.

.
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.

.
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.

.
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.

.
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,
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.
choke
,

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Bass Drum Crash Cym

Wood Blocks (2) Toms (4)
B.D.
ppp
.
.
.

-
.
.
.

-
.
.
.

-
.
.
.

-
.
.
.

-
mf
.
.
.

-
.
.
.

-
.
.
.

-
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.
.
.

-
Crash Cym.
choke
fff
,
,
,

, .
The Quest For Gold
Brightly
Brightly
Brightly
Brightly
11 12 13 14 15 16 17 18 19
Picc.
1
Fl.
2
Ob.
1
Bb Cl.
2-3
Bb Bs. Cl.
Bsn.
1
Eb A. Sax
2
Bb Ten. Sax.
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2
20 21 22 23 24 25 26 27 28
Picc.
1
Fl.
2
Ob.
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Bb Cl.
2-3
Bb Bs. Cl.
Bsn.
1
Eb A. Sax
2
Bb Ten. Sax.
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1
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2-3
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The Great Indian Wars
3
29 30 31 32 33 34 35 36 37
Picc.
1
Fl.
2
Ob.
1
Bb Cl.
2-3
Bb Bs. Cl.
Bsn.
1
Eb A. Sax
2
Bb Ten. Sax.
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2-3
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4
38 39 40 41 42 43
rit.
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Picc.
1
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2
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2
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F. Horn 1-2

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. - - - - -
The Great Indian Wars
5
The Fall of the Indians
47 48 49 50 51
Picc.
1
Fl.
2
Ob.
1
Bb Cl.
2-3
Bb Bs. Cl.
Bsn.
1
Eb A. Sax
2
Bb Ten. Sax.
Eb Bari. Sax.
1
Bb Tpt.
2-3
F. Horn 1-2

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Tbn.
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Two Only - div.
pp

*rhythms &breaths do not have to be accurate through bar 55

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- - - - -

- - - - -
The Great Indian Wars
6
52 53 54
rit.
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slower
slower
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slower
55
q = 70
q = 70
q = 70
q = 70
56 57 58 59
accel.
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Picc.
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Fl.
2
Ob.
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Bb Ten. Sax.
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The Great Indian Wars

7
,

The Great Indian Wars Begin

(q = q.) (In 4)
(q = q.) (In 4)
(q = q.) (In 4)
(q = q.) (In 4)
60
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accel.
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61
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q. = 100
q. = 100
62 63 64 65 66
Picc.
1
Fl.
2
Ob.
1
Bb Cl.
2-3
Bb Bs. Cl.
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Bb Ten. Sax.
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The Great Indian Wars
8
67 68 69 70 71 72
Picc.
1
Fl.
2
Ob.
1
Bb Cl.
2-3
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1
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The Great Indian Wars
9
molto rall.
molto rall.
molto rall.
molto rall.
73
q. = 80
q. = 80
q. = 80
q. = 80
74
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a tempo
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76 77 78
Picc.
1
Fl.
2
Ob.
1
Bb Cl.
2-3
Bb Bs. Cl.
Bsn.
1
Eb A. Sax
2
Bb Ten. Sax.
Eb Bari. Sax.
1
Bb Tpt.
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The Great Indian Wars
10
79 80 81
poco accel.
poco accel.
poco accel.
poco accel.
82

q. = 120 (In 2)
q. = 120 (In 2)
q. = 120 (In 2)
q. = 120 (In 2)
83 84 85 86
Picc.
1
Fl.
2
Ob.
1
Bb Cl.
2-3
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Bsn.
1
Eb A. Sax
2
Bb Ten. Sax.
Eb Bari. Sax.
1
Bb Tpt.
2-3
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The Great Indian Wars
11

87 88 89 90 91 92 93 94 95 96
Picc.
1
Fl.
2
Ob.
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The Great Indian Wars
12
97 98 99 100 101 102 103

104
Picc.
1
Fl.
2
Ob.
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Bb Cl.
2-3
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2
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The Great Indian Wars
13
105 106 107 108 109 110
q. = q
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112 113 114
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Picc.
1
Fl.
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Bb Cl.
2-3
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1
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Bb Ten. Sax.
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The Great Indian Wars
14
Indian Ghost Dancing
q = 140
q = 140
q = 140
q = 140
116 117 118 119 120 121 122 123 124 125 126 127
Picc.
1
Fl.
2
Ob.
1
Bb Cl.
2-3
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Bsn.
1
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2
Bb Ten. Sax.
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1
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The Great Indian Wars
15
128 129 130 131 132 133 134
poco accel.
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135

_
Picc.
1
Fl.
2
Ob.
1
Bb Cl.
2-3
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The Great Indian Wars
16

_
Battle of Wounded Knee
q = 150
q = 150
q = 150
q = 150
136 137 138 139 140 141
_
_
_
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_
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142

_
143 144 145 146 147 148
_
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149
Picc.
1
Fl.
2
Ob.
1
Bb Cl.
2-3
Bb Bs. Cl.
Bsn.
1
Eb A. Sax
2
Bb Ten. Sax.
Eb Bari. Sax.
1
Bb Tpt.
2-3
F. Horn 1-2

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Tbn.
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Euph.
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Timp.
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The Great Indian Wars

17
150 151 152 153 154 155 156 157
Picc.
1
Fl.
2
Ob.
1
Bb Cl.
2-3
Bb Bs. Cl.
Bsn.
1
Eb A. Sax
2
Bb Ten. Sax.
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The Great Indian Wars
18
158 159 160 161 162 163 164
Picc.
1
Fl.
2
Ob.
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Bb Cl.
2-3
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Bsn.
1
Eb A. Sax
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Bb Ten. Sax.
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The Great Indian Wars
19
165 166 167 168 169

_
Picc.
1
Fl.
2
Ob.
1
Bb Cl.
2-3
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Bsn.
1
Eb A. Sax
2
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21
Slightly Faster q = 70
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Hope for the Future
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22
189 190 191
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q = 60
q = 60
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The Great Indian Wars

23
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Copyright 2008 J. M. Amaya, ASCAP
J. M. Amaya
q = 140
q = 140
q = 140
q = 140
Weekdays in Valencia
Full Score
For Wind Band
1 2 3 4

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6 7 8
Piccolo
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Flute
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Oboe
Bb Clarinet 1
Bb Clarinet 2
Bb Clarinet 3
Bb Bass Clarinet
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Eb Alto Sax
2
Bb Tenor Sax
Eb Bari Sax
1
F Horn
2
Bb Trumpet 1
Bb Trumpet 2
Bb Trumpet 3
1
Trombone
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Baritone B.C.
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Weekdays in Valencia
5
A Tempo
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1
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Weekdays in Valencia
7
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Weekdays in Valencia
8
63 64 65 66 67

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Weekdays in Valencia
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Weekdays in Valencia
10
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Weekdays in Valencia
11
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12
96 97 98 99 100
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Weekdays in Valencia
13
101 102 103 104
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Weekdays in Valencia
14

h = 130
March
American Spirit
Arr. J.M. Amaya
For Middle School Concert Band
Full Score
1 2 3 4
A
You're A Grand Old Flag (1906)
(George M. Cohan, 1878-1942)
5 6 7 8 9
Piccolo
Flutes 1-2
Oboe
1
Bb Clarinets

2-3
Bb Bass Clarinet
Bassoon
Eb Alto Sax 1-2
Bb Tenor Sax
Eb Baritone Sax
1
Bb Trumpets
2-3
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Trombones 1-2
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10
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12
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13
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American Spirit
14
Quit Clownin' Around!
For Concert Band
For Richard Watson & the El Dorado High School Band - Placentia, CA
Completed April, 1996 for Richard Watson and the El Dorado High School Symphonic Band
Premier Performance, Spring 1996 - El Dorado High School - Placentia, CA
Revised and Edited by Composer, Spring 2008
a
Performance/Audience Notes
Quit Clownin Around! is a musical composition intended for a high school ensemble. From
the bold, majestic appearance of the ring master (represented by three trumpets), to the
hilarious and outrageous antics of the circus clowns (represented by the band members
themselves), this piece attempts to musically and dramatically recreate the highlights of the
old-fashioned three-ringed circus.
After the audience enters the tent, the circus begins with a gallant parade. The ring master
introduces all of the acts, placing the attention of the spectators on certain events, which
become wildly interrupted as the circus goes on. The most famous acts, those of the flying
trapeze and tightrope, are, of course, represented.
The clown band that appears in the middle of the work contains the same instrumentation
as that of the old Ringling-Barnum clown band. A famous 18th-century clown, Grimaldi,
inspired the clown bands trumpet solo. (Grimaldi was most well-known for the very dramatic
presentation of his songs.) The spoken phrase, Here we are, was a common clown phrase at
the time, and was used repetitively to interrupt and annoy the circus acts.
Finally, as the circus comes to an end, the audience must try to catch a glimpse of all of the
acts. It is at this time that the piece transforms us back into reality: The performers become
band members again, and as their inappropriate concert behaviors continue, their conductor
brings out the overlooked double meaning of the title of the work as he shouts, Quit Clownin
Around!
But the circus must live on, and kids will be kids
-- Jenny Amaya
b
Notes For The Conductor
Bar 1 (The Audience): The entrance of the instruments should be gradual, like an audience showing
up for the circus. Even where each family of instruments enters, individuals should enter at random.
This should never appear to be scripted. It should be well-rehearsed and verycasual in its
presentation. It is at the performer's discretion to enter at the appropriate time. Performers may
choose their dynamic levels at will - Advise them to be tasteful. Be as creative as you'd like with this
entrance. If the piece is scheduled at the beginning of the concert, you could have the students walk
in at random, take their seat, and start playing on their own, as if they are warming up, until they are
all present, playing, and ready for the piece to begin. If this work is scheduled in the middle of a
concert, the students could begin Bar 1 on their own, possibly while you are speaking to the audience,
so that they can annoy you. Depending on the ability level of your ensemble, the conductor may
not even be necessary until the entrance of the March at Bar 8. It might be more entertaining for
the audience if the conductor is late to the podium. Use your imagination and discretion.
Bar 5 (The Ring Master): Instruments should gradually exit prior to and during the entrance of the
"ring master" (three trumpets) in Bar 5. Note that the exits themselves do not have to be strict and
in time - allow them to be natural, like the previous entrances. The conductor may choose to direct the
strict entrance at Bar 5 or may allow the three trumpets to enter by themselves, without direction.
At any rate, the entrance at Bar 5 should be strict and in time. The double bar, the 6/8 time signature,
and the "In Time/Metered" indication is present in every instrumental part; however, it would be best
to take the time to verbally explain to your ensemble exactly how you would like them to execute this
section of the piece, as well as giving them important cues that they may wish to write in their music,
for personal clarity. There are no written cues within the parts, other than the tempo indications
mentioned earlier. While the accelerando appears during the trumpet fanfare, it is the percussion
entrance at Bar 11 that must set up the new tempo for the band.
Bar 15 (The March): You can choose to perform whatever repeats you'd like in the march section,
Bars 15-102. The repeats in this section are at the conductor's discretion.
Bar 107/Rehearsal H (The Flying Trapeze):
Choreography: Band members with this indication in their parts should look up and sway back and
forth with the music, as if they are watching someone swinging back and forth on the flying trapeze.
They only have "choreography" indicated in their parts, so the conductor will need to give this direction.
Bar 129: Some Clarinet 1 players should overblow and/or squeak the note out in Bar 129. Players should
try to return to normal playing as indicated in Bar 131, however be flexible and relaxed, and allow the
return to normalcy to be staggered. Do not let it seem forced - the squeaking is supposed to be an
"accident." They may even feel obligated to laugh at themselves or others at this time. That would be
entirely appropriate, as long as some of them continue playing the melody.
Bar 180: There is a slight pause at the end of Bar 180, before Rehearsal Letter Q. This is to ensure that the
trumpets have time to remove their mouthpieces, and that their entrance will be heard. All trumpets
participate in the fanfare/ring master section at Rehearsal Letter Q, Bar 181.
Bar 185/Rehearsal Letter R (The Clown Band): It is desirable that you set up the Clown Band ensemble to the side of the
larger ensemble, or that you allow the Clown Band to stroll around. Since you probably are using the Clown Band musicians
within your larger ensemble, you will have to direct them as to when they should leave their original seats and set up for
Bar 185. It is least desirable, although still effective, to simply have the Clown Band members stand in place, within the
large ensemble, rather than gathering separately. All musicians should be confident and mature players. "Trumpet B"
must have a very good sense of humor and the ability to act like a fool. There is some auxilliary percussion that can be
performed by percussionists in the main ensemble. You must be strict with the tempo at Rehearsal Letter R, to ensure that
the music at Rehearsal Letter S enters confidently and in time.
c
Bars 216, 219, & 222: Be as creative as you'd like with the Trumpet B choreography and acting in these bars. You may wish
to involve other members of the band and various props, all of which are acceptable.
Bar 224: Be sure that the drummer sets up the tempo correctly in Bar 224, for a clean entrance in Bar 225.
Bar 241/Rehearsal Letter V: This entrance should happen immediately after the Clown Band cut-off in Bar 240. There should
be no pause. Make sure that the 3 trumpets are ready for this entrance. Note that you may have to designate new players
for this particular fanfare if your regular fanfare trumpets are part of the Clown Band.
Bars 254-255: Performers have indicated choreography and non-musical information in these bars. They are supposed
to act as if they are watching the flying trapeze act, and someone is in danger. They should look up, point up into the
air, and gasp and talk wildly. This should gradually fade out, just as an audience would. Cue the drums at Bar 255
before all of the noise and pointing ends.
Bar 280/Rehearsal Letter Z: Woodwind players should be provided with rainbow-colored balloons, preferrably those
that can be blown up easily. Between Bar 280 and 287 they will blow the balloons up. At Bar 288, they will let go of
the balloons, aiming at you, the conductor. You then have 5 bars in which you must conduct at a more rapid tempo
while dodging the flying balloons. The ensemble will then start pointing and laughing at you, until all of the music
stops, and the performers are in a glorious uproar of laughter at Bar 292. You should appear mad at them, but should
not vocalize it. Save the effect of your voice for the end of the piece.
Bar 293: You should cue the Solo Tuba (Clown Band member) at Bar 293, and give a very clear preparatory beat. This
will be the indication for the rest of the band to stop laughing, as well as a tempo indication for the Clown Band entrance.
The ensemble laughter should gradually fade out and should not sound forced; however, it should not get in the way of
the Clown Band declaration, "Here We Are!" The tempo should be shown very clearly, and every entrance should be
clear and precise between Bar 293 and 295.
Bar 200/Rehearsal Letter CC: The ensemble should be prepared for the faster tempo at Bar 300.
Bar 321/Rehearsal Letter FF: The desired effect here is twofold: First, it is the effect of an unruly band that is not
paying attention to direction; Second, it is the effect of a noisy crowd, similar to the effect created at the beginning of
the work. The conductor should help the ensemble in rehearsal to stagger entrances. You may wish to plan the order
and number of the instruments as they enter; however, this section should never seem as if it is being directed, nor appear
to be over-rehearsed. The musical phrases do not have to performed in their entirety, in tempo, or to any given beat.
This section should appear to be random, but should have some sense of unity. Start with only a few "unruly" band
members, and crescendo into an entire band of misfits. You may repeat Bars 321 and 322 as many times as you wish,
to achieve the desired effect.
Bar 323: The conductor should deside upon a cut-off cue for Bar 323 ahead of time, and the ensemble should be
very aware of this cue. The cut-off, however, should not be precise and forced. The desired effect is similar to that
which you would get if your band was warming up prior to a rehearsal and you waved your arms to quiet them down --
they would quiet down at different times, not on a clearly-defined beat. When it is just quiet enough for you to be heard
(by the audience), you should yell, "Quit Clownin' Around!" Any band members still playing their instruments should
stop immediately. You should then cue the pick up to Bar 324.
Bar 324: Some performers have an indication to stand and scream "Tuh-Duh!" They may wish to sing, rather than
scream. That is fine. They may also wish to put their hands in the air and/or act goofy, and that is entirely appropriate
as well.
Bar 325: Some band members have an indication to "strike a pose." The desired effect is to make the end of the piece
a bit flashy and fun. You may wish to have those who are playing a final note to participate as well, to the best of
their ability while playing their instruments.
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"The Audience"
Enter At Will: Instruments Gradually Enter, Playing Various Notes Within A Practical Range...
Enter At Will: Instruments Gradually Enter, Playing Various Notes Within A Practical Range...
Enter At Will: Instruments Gradually Enter, Playing Various Notes Within A Practical Range...
Enter At Will: Instruments Gradually Enter, Playing Various Notes Within A Practical Range...
J.M. Amaya
Quit Clownin' Around!
For Concert Band
Copyright 2008 J. M. Amaya, ASCAP
1 2
All In: Gradually Play Fewer Notes & Exit...
All In: Gradually Play Fewer Notes & Exit...
All In: Gradually Play Fewer Notes & Exit...
All In: Gradually Play Fewer Notes & Exit...
3 4

Piccolo
1
Flutes
2
Oboe
Bb Clarinet 1
Bb Clarinet 2
Bb Clarinet 3
Bb Bass Clarinet
Bassoon
1
Eb Alto Sax
2
Bb Tenor Sax
Eb Bari Sax
1
F. Horn
2
Bb Trumpet 1
Bb Trumpet 2
Bb Trumpet 3
EuphoniumB.C.
1
Trombone
2
Tuba
Timpani
(Eb, F, Bb)
Mallets
Snare 1
Tambourine/
Sleigh Bells
Crash Cymbal
Bass Drum
Aux.
Percussion
.
_
.
_
.
_
.
_
.
_
_
,
,
low brass

-
saxes

-
low ww

- Play:
flutes/picc.

-
tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-

-
Out (after tpts)
.
-
_
,
,
low brass

-
saxes

-
low ww

- Play:
flutes/picc.

-
tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-
Z
-
_
,
,
low brass

-
saxes

-
low ww

- Play:
flutes/picc.

-
tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-

-
Out (after tpts)
.
-
_
,
,
low brass

-
saxes

-
low ww

-
flutes/picc.

-
tpts

- Play:
clar/oboe
Z
-

mallets/timp. horns perc.
Z
-
Z
-
Out (after picc./fl.2)
.
-
_
low brass

-
saxes

-
low ww

-
flutes/picc.

-
tpts

- Play:
clar/oboe
Z
-

mallets/timp. horns perc.
Z
-
Z
-
_
low brass

-
saxes

-
low ww

-
flutes/picc.

-
tpts

- Play:
clar/oboe
Z
-

mallets/timp. horns perc.
Z
-
Z
-
_
low brass

-
saxes

-
low ww

-
flutes/picc.

-
tpts

- Play:
clar/oboe
Z
-

mallets/timp. horns perc.
Z
-
Z
-
_
low brass

-
saxes

- Play:
low ww
Z
-
flutes/picc. tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-
Z
-

Out (after tbn/oboe)

-
_
,
,
low brass

-
saxes

- Play:
low ww
Z
-
flutes/picc. tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-
Z
-

Out (after tbn/oboe)

-
_

low brass

- Play:
saxes
Z
-

low ww flutes/picc. tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-
Z
-
_

low brass

- Play:
saxes
Z
-

low ww flutes/picc. tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-
Z
-
_
low brass

- Play:
saxes
Z
-

low ww flutes/picc. tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-
Z
-
_

low brass

-
saxes

- Play:
low ww
Z
-
flutes/picc. tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-
Z
-

Out (after tbn/oboe)

-
_
,
low brass

-
saxes

-
low ww

-
flutes/picc.

-
tpts

-
clar/oboe

-
mallets/timp.

- Play:
horns

-
perc.
Z
-
Z
-
_
,
low brass

-
saxes

-
low ww

-
flutes/picc.

-
tpts

-
clar/oboe

-
mallets/timp.

- Play:
horns

-
perc.
Z
-
Z
-
_
low brass

-
saxes

-
low ww

-
flutes/picc.

- Play:
tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-
Out (first exit)
-
-
_
low brass

-
saxes

-
low ww

-
flutes/picc.

- Play:
tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-
Out (first exit)
-
-
_
low brass

-
saxes

-
low ww

-
flutes/picc.

- Play:
tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-
Out (first exit)
-
-
_
,
,
Play:
low brass
Z
-
saxes low ww flutes/picc. tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-
Z
-
Out (after picc./fl.2)
.
-
_
,
,
Play:
low brass
Z
-
saxes low ww flutes/picc. tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-
Z
-
Out (after picc./fl.2)
.
-
_
,
,
Play:
low brass
Z
-
saxes low ww flutes/picc. tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-
Z
-
Out (after picc./fl.2)
.
-
_
,
,
Play:
low brass
Z
-
saxes low ww flutes/picc. tpts
Z
-
clar/oboe mallets/timp. horns perc.
Z
-
Gradually Play Fewer Notes Until Out
Z
-
_
,
,
low brass

-
saxes

-
low ww

-
flutes/picc.

-
tpts

-
clar/oboe

- Play:
mallets/timp.
Z
-
horns
Z
-
Z
-
_
,
,
low brass

-
saxes

-
low ww

-
flutes/picc.

-
tpts

-
clar/oboe

- Play:
mallets/timp.
Z
-
horns
Z
-
Gradually Play Fewer Notes Until Out
Z
-

low brass

-
saxes

-
low ww

-
flutes/picc.

-
tpts

-
clar/oboe

-
mallets/timp.

-
horns

- Play:
perc.
Z
-
Z
-

low brass

-
saxes

-
low ww

-
flutes/picc.

-
tpts

-
clar/oboe

-
mallets/timp.

-
horns

- Play:
perc.
Z
-
Gradually Play Fewer Notes Until Out
Z
-

low brass

-
saxes

-
low ww

-
flutes/picc.

-
tpts

-
clar/oboe

-
mallets/timp.

-
horns

- Play:
perc.
Z
-
Z
-

low brass

-
saxes

-
low ww

-
flutes/picc.

-
tpts

-
clar/oboe

-
mallets/timp.

-
horns

- Play:
perc.
Z
-
Z
-

low brass

-
saxes

-
low ww

-
flutes/picc.

-
tpts

-
clar/oboe

-
mallets/timp.

-
horns

- Play:
perc.
Z
-
Gradually Play Fewer Notes Until Out
Z
-
1

A
In Time/Metered - Fanfare
q. = 100
In Time/Metered - Fanfare
q. = 100
In Time/Metered - Fanfare
q. = 100
In Time/Metered - Fanfare
q. = 100
The Ring Master
5 6 7 8 9
accel.
accel.
accel.
accel.
10

_
Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
1
A. Sax
2
Ten. Sax.
Bari. Sax.
1
F. Horn
2
Tpt. 1
Tpt. 2
Tpt. 3
1
Tbn.
2
Tuba
Timp.
Mall.
S. D. 1
Tamb./
J. Bells
Crash
B.D.
Aux.
Perc.
.
_
.
_
.
_
.
_
.
_
_
,
,
- - - - - -
_
,
,
Z

Out
- - - - -
_
,
,
- - - - - -
_
,
,
- - - - - -
_ Z

Z

Out
- - - -
_ Z

Out
- - - - -
_
Out (on fanfare entrance)
- - - - - -
_
- - - - - -
_
,
, - - - - - -
_

Gradually Play Fewer Notes Until Out

Z

Z

Z

Z

Out
- -
_

Gradually Play Fewer Notes Until Out

Z

Z

Z

Z

Out
- -
_
Out (on fanfare entrance)
- - - - - -
_

- - - - - -
_
,
Gradually Play Fewer Notes Until Out
Z

Z

Z

Out
- - -
_
,
Gradually Play Fewer Notes Until Out
Z

Z

Z

Out
- - -
_
One Only
ff
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Out (on fanfare entrance)

- - - - - -

Out (on fanfare entrance)

- - - - - -
Z

Out
- - - - -
Quit Clownin' Around!
2

_
B
The Parade
q = 130
q = 130
q = 130
q = 130
11 12 13 14
C
15 16 17 18
Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
1
A. Sax
2
Ten. Sax.
Bari. Sax.
1
F. Horn
2
Tpt. 1
Tpt. 2
Tpt. 3
Euph.
1
Tbn.
2
Tuba
Timp.
Mall.
S. D. 1
Tamb./
J. Bells
Crash
B.D.
Aux.
Perc.
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Quit Clownin' Around!
3

D
19 20 21 22 23 24 25 26 27 28 29 30 31 32 33
1.
1.
1.
1.

34
2.
2.
2.
2.
35
Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
1
A. Sax
2
Ten. Sax.
Bari. Sax.
1
F. Horn
2
Tpt. 1
Tpt. 2
Tpt. 3
Euph.
1
Tbn.
2
Tuba
Timp.
Mall.
S. D. 1
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B.D.
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4

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5

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53 54 55 56 57 58 59 60 61 62 63 64 65 66 67
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6

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Quit Clownin' Around!
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3
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- - -
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- -
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3
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- -
Xylo:

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Quit Clownin' Around!
11
L
134 135 136 137 138
M
139 140 141 142

_
143

_
Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
1
A. Sax
2
Ten. Sax.
Bari. Sax.
1
F. Horn
2
Tpt. 1
Tpt. 2
Tpt. 3
Euph.
1
Tbn.
2
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.
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Quit Clownin' Around!

12

_
144 145 146 147
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
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_
_
_
148 149 150
molto rit.
molto rit.
molto rit.
molto rit.
151

_
N
A Tempo
q = 130
A Tempo
q = 130
A Tempo
q = 130
A Tempo
q = 130
152 153 154 155 156 157 158 159
Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
1
A. Sax
2
Ten. Sax.
Bari. Sax.
1
F. Horn
2
Tpt. 1
Tpt. 2
Tpt. 3
Euph.
1
Tbn.
2
Tuba
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Mall.
S. D. 1
S. D. 2
Tamb./
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Quit Clownin' Around!
13
O
160 161 162 163 164 165 166 167
P
168 169 170
Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
1
A. Sax
2
Ten. Sax.
Bari. Sax.
1
F. Horn
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1
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J. Bells
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S. B.
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choke
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f
,

,

,

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Triangle
sfz
_
- - -
Quit Clownin' Around!
14
171 172 173 174 175 176 177 178 179
Pause
Pause
Pause
Pause
180

Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
1
A. Sax
2
Ten. Sax.
Bari. Sax.
1
F. Horn
2
Tpt. 1
Tpt. 2
Tpt. 3
Euph.
1
Tbn.
2
Tuba
Timp.
Mall.
S. D. 1
S. D. 2
Tamb./
J. Bells
Crash
B.D.
.
_
.
_
.
_
.
_
.
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_
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Open

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Quit Clownin' Around!
15

Q
The Ring Master
q. = 100
q. = 100
q. = 100
q. = 100
181 182 183 184

Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
1
A. Sax
2
Ten. Sax.
Bari. Sax.
1
F. Horn
2
Tpt. 1
Tpt. 2
Tpt. 3
1
Tbn.
2
Tuba
Timp.
Mall.
S. D. 1
S. D. 2
Tamb./
J. Bells
Crash
B.D.
.
_
.
_
.
_
.
_
.
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,
,
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Play through mouthpiece only:
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Play through mouthpiece only:
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Play through mouthpiece only:
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- - -

-
Quit Clownin' Around!
16

R
Small Ensemble, Standing or Strolling
One Only Per Part
Everyone Else "Tacet" until Rehearsal V
Here Come The Clowns!
h = 120
185 186

S
187 188 189 190 191 192 193 194
Solo
Piccolo
Solo
Alto Sax
Solo
Trumpet A
Solo
Trumpet B
Solo
EuphoniumB.C.
Solo
Trombone A
Solo
Trombone B
Solo
Tuba
Aux.
Percussion
DrumSet
.
_
.
_
.
_
.
_
_
,
,
,
Here
Spoken, With Enthusiasm:
,
We Are!
,
,
, - - - - - - - - -
_
Here
Spoken, With Enthusiasm:
,
We Are!
,
,
, -
mf
C
Play, Solo, 1st X Only:

_
,
Here
Spoken, With Enthusiasm:
,
We Are!
,
,
, -
mf
F
Play, Solo, 2nd X Only:

_
,
Here
Spoken, With Enthusiasm:
,
We Are!
,
,
, -
Play:
mf
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,
flutter tongue

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,
We Are!
,
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Play:
mf
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,

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,
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mf
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gliss.
,
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gliss.

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Play:
mf
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gliss.
,
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mf
Play:
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Clown Horn
mf
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- - - - - - - -

Here
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,
We Are!
,
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Play:
mf
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,
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,
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,
sim., with fills...

,

195 196 197 198 199 200 201 202 203 204 205 206 207 208 209
1.

210
Solo
Piccolo
Solo
Alto Sax
Solo
Trumpet A
Solo
Trumpet B
Solo
EuphoniumB.C.
Solo
Trombone A
Solo
Trombone B
Solo
Tuba
Aux.
Perc.
Drum
Set
.
_
.
_
.
_
.
_
_
,
,
, - - - - - - - - - - - -
Play (Solo):
f
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F

C

G

F

C

. - - -
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B

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,

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flutter tongue

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flutter tongue

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Whip Crack:
.
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choke
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fill...

211
2.
212
_
_
_
_
_
_
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_
_
_
_
_
_
_
_
_
_
_
_
_
213
q = 70
214
rit.
215 216
A Tempo
q = 70
217 218 219
Solo
Piccolo
Solo
Alto Sax
Solo
Trumpet A
Solo
Trumpet B
Solo
EuphoniumB.C.
Solo
Trombone A
Solo
Trombone B
Solo
Tuba
Aux.
Perc.
Drum
Set
.
_
.
_
.
_
.
_
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,
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mp
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With Lots of Emotion...
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Cry As If You Are Really Sad

Z
-
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Coughing
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Drink Water &
Throw Cup
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.
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.
Toy Whistle:
mp
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sus. cym.
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.
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.
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sus. cym.
mp
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...

p
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...

...

p
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-

Quit Clownin' Around!

17
T
A Tempo
q = 70
220
rit.
221 222
A Tempo
q = 70 rit.
Faster
q = 100
223
accel.
224

U h = 120
225 226 227 228
Solo
Piccolo
Solo
Alto Sax
Solo
Trumpet A
Solo
Trumpet B
Solo
EuphoniumB.C.
Solo
Trombone A
Solo
Trombone B
Solo
Tuba
Aux.
Perc.
Drum
Set
.
_
.
_
.
_
.
_
_
,
,
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mp
,
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mf
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mf
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Splat
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,

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Hiccup

(Recover)

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f
,

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mp
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p

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mp
...

mp
,
,

fill/set up time...

mf
,
,

,
,

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sim.

229 230 231 232 233
rit.
234

Solo
Piccolo
Solo
Alto Sax
Solo
Trumpet A
Solo
Trumpet B
Solo
EuphoniumB.C.
Solo
Trombone A
Solo
Trombone B
Solo
Tuba
Drum
Set
.
_
.
_
.
_
_
,
,
,
-...............................................................................................................................................
,

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q. = 120
A Tempo
235 236
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
q. = q
237 238 239 240
Solo
Piccolo
Solo
Alto Sax
Solo
Trumpet A
Solo
Trumpet B
Solo
EuphoniumB.C.
Solo
Trombone A
Solo
Trombone B
Solo
Tuba
Drum
Set
.
_
.
_
.
_
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3 3

Quit Clownin' Around!

18

_
V
q = 120
q = 120
q = 120
q = 120
The Ring Master, Again.
241 242 243 244 245
W
The Tight Rope
246 247 248 249 250 251 252 253
Drums (Cue)
254

_
255
Piccolo
1
Flutes
2
Oboe
Bb Clarinet 1
Bb Clarinet 2
Bb Clarinet 3
Bb Bass Clarinet
Bassoon
1
Eb Alto Sax
2
Bb Tenor Sax
Eb Bari Sax
1
F. Horn
2
Bb Trumpet 1
Bb Trumpet 2
Bb Trumpet 3
EuphoniumB.C.
1
Trombone
2
Tuba
Timpani
(Eb, F, Bb)
Mallets
Snare 1
Snare 2
Tambourine/
Sleigh Bells
Crash Cymbal
Bass Drum
Aux.
Percussion
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Quit Clownin' Around!
19
X
256 257 258 259 260 261 262 263 264 265 266
Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
1
A. Sax
2
Ten. Sax.
Bari. Sax.
1
F. Horn
2
Tpt. 1
Tpt. 2
Tpt. 3
Euph.
1
Tbn.
2
Tuba
Timp.
Mall.
S. D. 1
Tamb./
J. Bells
Crash
B.D.
Aux.
Perc.
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Quit Clownin' Around!
20
Y Three-Ring Circus
267 268 269

_
270 271 272 273

q = h
q = h
q = h
q = h
274
h = q
h = q
h = q
h = q
275

_
276 277 278 279

_
Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
1
A. Sax
2
Ten. Sax.
Bari. Sax.
1
F. Horn
2
Tpt. 1
Tpt. 2
Tpt. 3
Euph.
1
Tbn.
2
Tuba
Timp.
Mall.
S. D. 1
Crash
B.D.
Aux.
Perc.
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, , , , , , , , , , , , , , ,
mp
, , , , ,
- - -
3

mp
...
,
...
,
...
,

, ,
f
...
,
p
,

, , ,

,
...
,
mf
, ,

,
...

- - -

mf
...
,
- - - - - - -
mp
,

- - - - -

mp
...
,
...
,
...
, ,

f
...
,
p
,

,
mp
,

mf
,

,

,

,

mp
,

,

,

,

- - - - - - - - -
Sleigh Bells

mp
, ,

, ,

, ,

,
f
,
Quit Clownin' Around!
21

_
Z
280 281 282 283 284 285 286 287

AA
Slightly Faster
h = 140
Slightly Faster
h = 140
Slightly Faster
h = 140
Slightly Faster
h = 140
288 289 290 291
Slightly Slower
h = 100
Slightly Slower
h = 100
Slightly Slower
h = 100
Slightly Slower
h = 100
292 293

_
Solo
Piccolo
Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
Solo
Alto Sax
1
A. Sax
2
Ten. Sax.
Bari. Sax.
1
F. Horn
2
Solo
Trumpet A
Solo
Trumpet B
Tpt. 1
Tpt. 2
Tpt. 3
Solo
EuphoniumB.C.
Euph.
Solo
Trombone A
Solo
Trombone B
1
Tbn.
2
Solo
Tuba
Tuba
Timp.
S. D. 1
Crash
B.D.
Aux.
Perc.
.
_
.
_
.
_
.
_
.
_
_
,
,
, .
Here
Stand & Shout:
,
We
,
,
_
,
,
,
f
,

,
,
Blow up balloons at random...
,
Let balloons fly toward conductor. Point and laugh.

-
gradually fade out

_
,
,
,
f
,

,
,
Blow up balloons at random...
,
Let balloons fly toward conductor. Point and laugh.

-
gradually fade out

_
,
,
,
f
,

, ,
Blow up balloons at random...
,
Let balloons fly toward conductor. Point and laugh.

-
gradually fade out

_
,
,
,
f
,

,
,
Blow up balloons at random...
,
Let balloons fly toward conductor. Point and laugh.

-
gradually fade out

_
,
f
,
,
,
Blow up balloons at random...
,
Let balloons fly toward conductor. Point and laugh.

-
gradually fade out

_
,
f
,
,
,
Blow up balloons at random...
,
Let balloons fly toward conductor. Point and laugh.

-
gradually fade out

_
,
f
,

,
Blow up balloons at random...
,
Let balloons fly toward conductor. Point and laugh.

-
gradually fade out

_
, ,
f
,

, ,

- - ,
,

, ,

- -
f
,
,
,
,
,
,
,
,
,

LAUGHTER...

-
gradually fade out

_
,
,
,
,
f
,

, ,

- - ,
,

, ,

- -
f
,

,

,

,

,

,

,

,

,

LAUGHTER...

-
gradually fade out

_
f
G

Solo -- Improv

LAUGHTER...

-
.
Here
Stand & Shout:
,
We
,
,
_
f
,

, - - - - - - - - -
mp
,
f

LAUGHTER...
gradually fade out

_
f
,

, - - - - - - - - -
mp
,
f

LAUGHTER...
gradually fade out

_
,
f
,

, - - - - - - - - -
mp
,
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LAUGHTER...
gradually fade out

_
,
f
,

, ,

- - ,
,

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f
,

,

,

,

,

,

,

,

,

LAUGHTER...
gradually fade out

_
,
,
f
,

, - - - - - - -
f
, , , , , , , ,
LAUGHTER...

-
gradually fade out

_
,
,
f
,

, - - - - - - -
f
,

,

,

,

,

,

,

,
LAUGHTER...

-
gradually fade out

_
, .
Here
Stand & Shout:
,
We
,
,
_
, .
Here
Stand & Shout:
,
We
,
,
_
,
f
,

,
, - - - - -
f
,

, , , ,

,
.
All
mp

f

-
LAUGHTER...
gradually fade out

3
_
,
f
,

, - - - - -
f
,

, , , ,

, .
All
mp

f

-
LAUGHTER...
gradually fade out

3
_
,
f
,

, - - - - -
f
,

, , , ,

,
.
mp
All

f

-
LAUGHTER...
gradually fade out

3
_
,
,
,
.
Here
Stand & Shout:
,
We
,
,
_
,
,
,
f
,

, , - - - - - - -
f
,

, ,

, , , LAUGHTER...
,
-
gradually fade out

_
,
,
,
.
Here
Stand & Shout:
,
We
,
,
_
,
,
,
.
Here
Stand & Shout:
,
We
,
,
_
,
,
,
,
f
,

, ,

- - ,
,

, ,

- -
f
,

,

,

, ,

, , ,
LAUGHTER...
,
-
gradually fade out

_
,
,
,
,
f
,

, ,

- - ,
,

, ,

- -
f
,

,

,

, ,

, , ,
LAUGHTER...
,
-
gradually fade out

_
,
,
,
f

_
,
,
,
,
f
,

, ,

- - ,
,

, ,

- -
f
,

,

,

,

,

,

,

LAUGHTER...

-
gradually fade out

_
,
,
,
-
f
,

- - -
,

- -
f
,

,

,

,

,

,

,

LAUGHTER...

-
gradually fade out

f
,

, , ,

- - -
, , ,

- -

f
,

,

,

,

,

...
, ,

LAUGHTER
(All Percussionists)...

-
gradually fade out

choke
f
,

- - - -
,

- - - -
f
,

.


LAUGHTER
(All Percussionists)...

-
gradually fade out

f
,

- - -
,

- -
f
,

,

,

,

,

,

,

LAUGHTER
(All Percussionists)...

-
gradually fade out

-

Quack:
,

Clown Horn: Cowbell
,
,
,
,
,
,
,
,
,
Whip Crack:
,
Vibra Slap:
,

Quack:
,

Triangle
...
_
...
_
...
_
Police Whistle
f
, ,
LAUGHTER
(All Percussionists)...

-
gradually fade out

Quit Clownin' Around!

22

_
BB
Small Ensemble Returns, Standing Within the Large Ensemble
With Large Ensemble Percussion
h = q
q = 100
h = q
q = 100
294 295 296 297 298
molto rit.
molto rit.
molto rit.
299
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
Solo
Piccolo
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
Solo
Alto Sax
Ten. Sax.
Bari. Sax.
1
F. Horn
2
Solo
Trumpet A
Solo
Trumpet B
Solo
EuphoniumB.C.
Solo
Trombone A
Solo
Trombone B
Solo
Tuba
Timp.
Mall.
S. D. 1
S. D. 2
Tamb./
J. Bells
Crash
B.D.
Aux.
Perc.
.
_
.
_
.
_
.
_
.
_
_
,
,
,
Are!
,
mp
,
,

,
,

,
,

,
,

,
,

f
, ,
-....................................................................................................................................
_
,
,
, - - - - - -
_
,
,
, - - - - - -
_
,
,
, - - - - - -
_
, - - - - - -
_
, - - - - - -
_
, - - - - - -
_
, - - - - - -
_
,
,
,
- - - - - -
_
Are!
,
mp
,
,

,
,

,
,

,
,

,
,

f
, ,
-.....................................................................................................................................
_
, - - - - - -
_
- - - - - -
_
,
,
- - - - - -
_
,
,
- - - - - -
_
,
Are!
,
mp
, , , , ,

, , , ,

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f
,

,
_
,
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,
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f
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f
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,
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,
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,

mf
,

f
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mf
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f
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,
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f
...
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mf
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-
choke
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f
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-

mf
...
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...
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f
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,

Toy Whistle:

- - - -
sus. cym.
mf
...
,
f
Quit Clownin' Around!
23
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
_
CC q = 120
q = 120
q = 120
q = 120
300 301 302

_
303
molto rit.
molto rit.
molto rit.
molto rit.
304

_
Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
1
A. Sax
2
Ten. Sax.
Bari. Sax.
1
F. Horn
2
Solo
Trumpet A
Tpt. 1
Tpt. 2
Tpt. 3
Euph.
1
Tbn.
2
Tuba
Timp.
Mall.
S. D. 1
Crash
B.D.
.
_
.
_
.
_
.
_
.
_
_
,
,
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f
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,

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p
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3 3 3 3 3 3
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f
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,

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p
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3 3 3 3 3 3
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,

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p
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3 3 3 3 3 3
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,

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3
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Quit Clownin' Around!
24

_
DD
A tempo
q = 120
A tempo
q = 120
A tempo
q = 120
A tempo
q = 120
305 306 307 308 309 310

_
311

_
312 313
molto rit.
molto rit.
molto rit.
molto rit.
314

_
Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
1
A. Sax
2
Ten. Sax.
Bari. Sax.
1
F. Horn
2
Tpt. 1
Tpt. 2
Tpt. 3
Euph.
1
Tbn.
2
Tuba
Timp.
Mall.
S. D. 1
Tamb./
J. Bells
Crash
B.D.
Aux.
Perc.
.
_
.
_
.
_
.
_
.
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f
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To Plunger... ,
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Plunger "wah":
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To Plunger...
,
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Plunger "wah":
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To Plunger...
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Plunger "wah":
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Quit Clownin' Around!
25

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315 316 317
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318 319 320
Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
1
A. Sax
2
Ten. Sax.
Bari. Sax.
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2
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Euph.
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Tuba
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26

FF
Repeat 2 Bars (Rehearsal Letter FF) Until Cut Off
Stagger Entrances - Start With Only a Few Players, End With All
Clownin' Around...
321
Conductor Cuts Off Band
Band Stops Playing Quickly, But At Random
Conductor Cuts Off Band
Band Stops Playing Quickly, But At Random
Conductor Cuts Off Band
Band Stops Playing Quickly, But At Random
Conductor Cuts Off Band
Band Stops Playing Quickly, But At Random

322
v
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Conductor Yells:
"Quit Clownin' Around!"
Conductor Yells:
"Quit Clownin' Around!"
Conductor Yells:
"Quit Clownin' Around!"
Conductor Yells:
"Quit Clownin' Around!"
v
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323 324 325
Picc.
1
Fl.
2
Ob.
Cl. 1
Cl. 2
Cl. 3
Bs. Cl.
Bsn.
1
A. Sax
2
Ten. Sax.
Bari. Sax.
1
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2
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Tpt. 2
Tpt. 3
Euph.
1
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Mall.
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Tamb./
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Whip Crack:
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Quit Clownin' Around!
27