FULL SCORE

Nr. 23 of BRITISH FOLK-MUSIC SETTINGS

MOLLY ON THE SHORE

by
Percy Aldridge Grainger
Irish Reel set for Military Band
Edited by R. Mark Rogers
INSTRUMENTATION UNT Wnd Studies
1-FULL SCORE 2-1st TRUMPET
1-COMPRESSED SCORE
1-SMALL FLUTE (Piccolo)
4-1st FLUTE
2-2nd TRUMPET
2-3rd TRUMPET
2-4th TRUMPET
e 10 31
4-2nd FLUTE 1-1st HORN in F
4-3rd FLUTE 1-2nd HORN in F
(substituta for Clarinet in E-flat) 1-3rd HORN in F
1-1st OBOE 1-4th HORN in F
1-2nd OBOE 2-1 st TROMBONE
1-CLARINET in E-flat 2-2nd TROMBONE
3-1 st CLARINET 2-3rd TROMBONE
3-2nd CLARINET 2-EUPHONIUM T.C.
3-3rd CLARINET 3-EUPHONIUM B.C.
3-4th CLARINET 6-TUBAS
2-ALTO CLARINET 1-DOUBLE BASS
2-BASS CLARINET 1-KETTLEDRUMS
1-DOUBLE ALTO CLARINET 3-PERCUS$10N
1-DOUBLE BASS CLARINET (Side Drum, Crash &Suspended Cymbals, Big Drum)
(Both substituta for Double Bassoon) 2-METAL TUNEFUL PERCUSSION
1-1 st BASSOON (Bells, Steel Marimba [or Vibraphone])
1-2nd BASSOON (two or three players required)
1-DOUBLE BASSOON 3-CELESTA &WOODEN TUNEFUL PERCUSSION
1-DOUBLE BASS SARRUSOPHONE (E-flat) (at will) (Hammerwood [Xylophone] and Marimba)
1-SOPRANO SAXOPHONE (three ar four players required)
1-SPECIAL ALTO SAXOPHONE
(Substituta for Soprano Saxophone) Duration:
2-ALTO SAXOPHONE Approx. 3 and three-quarter Minutes
2-TENOR SAXOPHONE
1-BARITONE SAXOPHONE
SUPPLEMENTAL EUROPEAN PARTS
1-1 st HORN in E-flat 1-1st TROMBONE in B-flat (Treble Clef)
1-2nd HORN in E-flat 1-2nd TROMBONE in B-flat (Treble Clen
1-3rd HORN in E-flat 1-3rd TROMBONE in B-flat (Treble Clef)
1-4th HORN in E-flat 2-TUBA IN E-flat (Treble Clef)
2-TUBA IN B-flat (Treble Clef)

COMPLETE ........................................ $85.00

FULL SCORE ........................................ 12. 75
OVERSIZE FULL SCORE ....................... 20.00
COMPRESSED SCORE ........................... 8. 75
EUROPEAN PARTS, set .......................... 8.50
PARTS, ea ............................................... 2.00

S703 SOUTHERN MUSIC COMPANY

SAN ANTONIO, TEXAS 78292
 PERCY ALDRIDGE GRAINGER
1BRITISH FOLK-MUSIC SETIINGS 1
(Lovingly and reverently dedicated to the memory of Edvard Grieg)

Nr. 23 MOLL Y ON THE SHORE

Set for string four-some (4 single strings) or string band (double basses at will)
begun 2 June 1907, ended 25 June 1907 Birthday-gift for Mother, 3 July 1907
( Scored for FULL BAND (symphony orchestra) or THEATER BAND (small orchestra) 1

1 begun 2 June 1907, ended early 1914 1 also set for violin and piano 1 Piano setting, April 1918 1

1 Military band setting as Birthday-gift to Mother, 3 July 1920 1

Sketch-scored for military band (Feb?) & March 1920, in trains
Scored for military band, 1920 in Salt Lake City (April), Los Angeles, Cal. (April),
Barstow, Cal. (April 20-27), Denver, Col. (May 5, 6, 7, 1920).

Program Note
Based on two Cork Reel tunes, "Mol1y on the Shore" and "Temple Hill", respectively Nrs. 902 and 901 of ''The
Complete Petrie Collection of Ancient Irish Music" edited by Sir Charles Villiers Stanford (Boosey & Co., London), by kind
permission of Sir Charles Villiers Stanford. The two Cork Reel tunes in their original form are as follows:

Molly on the shore. A Cork Reel Tune Nf 902 (page 228 ) From P. Carew's MSS.

'j" Allegro
.01 w J J J J J a a 1 mn J J JJ1 J J JJJ J1mn J l11
3

J a
3

3 3 3

Temple Hill. A Cork Reel Tune Nf 901 (page 228) From P. Carew's MSS.

,~e j3JJr [tlF gJJJJ1@H[ffflbff;lJJ :11dr r U1(f rf([rf1

'l EÍ f r u1HrF[nf1 cJJ L BE 1HrfHrf1er(r[Hr16($ BiJ Jli

Both the above tunes are here reprinted from
The Complete Petrie Collection of Ancient Irish Music
edited from the original manuscript by Charles Villiers Stanford
published by Boosey & Co., London & New York

This wonderful collection (in 3 vo1umes, containing no less than 1582 tunes and tune·variants) should be consulted by everyone
interested in folk-music in general and Irish melodies in particular.
Percy Aldridge Grainger
Additional insight can be gleaned from the following- in response to a. letter from Frederick Fennell asking for program
annotations to accompany a recording of Molly on the Shore in its orchestral setting, Grainger wrote (August 6, 1959):
In setting MOLLY ONTHESHORE I strove to imbue the accompanying parts that made up the harmonic texture with a
melodie character not too unlike that of the underlying reel tune. Melody seems to me to provide music with initiative,
wheras [sic] rhythm appears to me to exert an enslaving influence. For that reason I have tried to avoid regular
rhythmic domination in my music -- always excepting irregular rhythms, such as those of Gregorian Chant, which
seem to me to make for freedom. Equally with melody, I prize discordant harmony, because of the emotional and
compassionate sway it exerts.
S703
 3
Notes on the Edition
Percy Aldridge Grainger ( 1882-1961 ), one of the first composers Soprano, Alto, Tenor, and Baritone Saxophones, lst, 2nd, 3rd, and
to discover the treasures of British folk music, sought to incorporate 4th B-flat Trumpets (or Cornets), lst, 2nd, 3rd, and 4th Horns in E-
this genre into much of his creative work. His love for the music of flat, lst, 2nd, and 3rd Trombones, Baritone (or Euphonium), Basses,
the simple rural folk of the British Isles led to a series of forty-three String Bass, Timpani, Glockenspiel, Steel Marimba, Snare and Bass
pieces that Grainger grouped into a series called "British Folk-Music Drum, and Cymbals.
Settings". Within the series, many of the items appear several times ln its first publication, Molly on the Shore was issued with
in various guises. Molly on the Shore is such a piece. Grouped Grainger' s setting of Colonial Song (both items appearing on the
together under the heading "British Folk Music Settings Nr. l ", we sarne sheet of paper, similar to the manner in which Fischer still
find versions of Molly on the Shore for string four-some [string publishes lrish Tune and Shepherd's Hey). There are differences in
quartet] or string orchestra, violin and piano, full orchestra or theater the instrumentation required for these pieces, so that although the
orchestra, and for two pianos/four hands. Molly on the Shore also pieces were published concurrently, they are not entirely compatible.
appears as Nr. 19 (for piano solo), and Nr. 23 (for full band). Other For instance, in Colonial Song, Grainger asked for multiple players
publications of Molly on the Shore include a "domestic orchestra" on the Alto and Bass Clarinet parts, with no provision in the way of
adaptation by L. Artok (for Europe, published in 1911 ); an cues to adequately cover the additional low clarinet demands; Molly
"Orchestral Miscellany'' adaptation by Otto Langey (for the United on the Shore makes no such extensive demands for personnel in this
States, published in 1911 ); an adaptation by the great violinist Fritz area. Colonial Song also makes rather unusual demands in the upper
Kreisler (published in 1924) of Grainger' s violin and piano setti ng; brasses, calling not for a traditional section of cornets or some
and an uncredited setting for voice, guitar, and strings. ln September combination of cornets and trumpets, but instead for a section
of 1949, at the request of Leopold Stokowski, Grainger prepared a consisting of two parts for flügelhorns and two parts for trumpets,
final orchestral setting (still unpublished) of Molly on the Shore for with multiple players expected on all four parts; Molly on ~he Shore
inclusion in a LP recordíng conducted by the maestro. simply calls for four trumpets with no multiple players required.
Grainger entered into a concentrated period of writing for Finally, Colonial Song calls for harp and piano (both instruments to
"military band" as a result of his tour of duty as a member of the U. S. be used and in multi pies if available), while Molly on the Shore calls
Army Band stationed at Fort Hamilton during World War I. for none of these. While it is perhaps unfortunate that these two
Children 's March: "Over the hills and far away ", Grainger' s first pieces were ever considered appropriate for combined publication,
mature work for wind band dates from this period. Lads of Molly on the Shore was subjected to much less adulteration in the
Wamphray, his earliest work for winds, dates frorn 1905, was process than was Colonial Song (for a more complete discussion of
publicly performed in 1906, but was not released for publication the changes that were made in publishing Colonial Song, please
until 1941, after substantial revisions. Other works for wind band consult the notes that accompany Southern Music Company's
dating from 1917-21 include setti ngs of Irish Tune from County edition of that piece). The only substantial changes that are evident
Derry, Shepherd's Hey, The "Gum-Suckers" March, and Colonial between Grainger's full score for Molly on the Shore and the first
Song. These are all transcriptions for wind band of works originally published edition set of parts are these: the C Piccolo part i n
set for other media. ln all of the above cases, Grainger, working Grainger' s score was replaced with a Piccolo part in D-flat, the
from previously published material, adapted his earlier settings by Clarinet and Trumpet parts numbered lst, 2nd, 3rd, and 4th in
creating a compressed [or condensed] score of the band setting, from Grainger's score were changed to be Solo, lst, 2nd, and 3rd.
which he himself extracted the band parts. Unfortunately, these According to standard editorial policy of the day, many of the
settings tend to be somewhat inaccurate, and as no full scores had parts to Molly on the Shore were printed in combination, that is,
ever existed, it was difficult for scholars and conductors to reconcile both Flute parts are on the sarne page, both Oboes, both Bassoons,
errors and inconsistencies found in the materiais. ln the case of and so on. ln two instances, parts were combined on a single page
Molly on the Shore, his final band setting from this era, Grainger, which clearly are contrary to the composer' s intention: combining
departing from his usual practice, created a full score of the band the 3rd and 4th Clarinets and the 3rd and 4th Trumpets produced a
setting, from which the parts were extracted by a professional maze of notes which is beyond the ability of ali but the finest
copyist. This set of parts, preserved in the Grainger Museum, musicians to solve. This practice has always frustrated conductors
contains a number of duplicate copies of severa! parts, supporting and players who hope to have pleasant and efficient rehearsals,
the idea that Grainger must have tried out the band setting i n because of the difficulty faced by performers trying to decipher which
rehearsal. When satisfied with the work, the composer created a notes are intended for them. ln this edition, all combination parts
compressed score and made arrangements to have the work published have been replaced with separate parts.
by the New York publishing house Carl Fischer. It is generally well-known today that during the final years of
The band setting of Molly on the Shore is based on Grainger' s his life, Grainger' s music was somewhat neglected. ln many cases,
version for symphony orchestra, but is pitched one half-step higher his compositions went out-of-print dueto lack of interest on the part
(the orchestral setting is in G, the band being in A-flat). The band of wind conductors. As interest in his music grew again, publishers
setting features a few ideas which are not found in the orchestral were forced by the demands of the market place to reissue some of
setting, and some of the percussion instruments called for in the these works. ln all too many instances, the publishers, rather than
orchestral setting do not appear in the band version (discussed more simply reprinting these works as the composer had left them,
fully below), but in most respects the two settings are identical. The entrusted these scores to nameless editors in their employ who made
instrumentation called for in the band setting of Molly on the Shore revisions in these works in an effort to make the music more
is as follows (see page 40 of Southern Music Company's full score): marketable to the music-buying public, most of whom are over-
Piccolo in C, Flutes in C (two parts), Oboes (two parts), E-flat worked public school band directors. These revisions and their
Clarinet, 1st, 2nd, 3rd, and 4th B-flat Clarinets, Alto and Bass importance have never been properly discussed, but the impact of
Clarinet, Bassoons (two parts), Contrabass Sarrusophone in E-flat, printed music on the perceptions of the musicians who must deal with

S703
4
Notes on ·the Edition, cont.
it de$erves more examination. numerous errors in the parts, and that additional errors carne into the
ln 1962 (shortly after Grainger' s death) Molly 011 the Shore was parts at this time. Nor did the publishers think it worthwhile to issue
republished and subjected to a process of editorial revision. At this a full score.
time, it was separated from Colonial Song and issued alone. As part While there are numerous inconsistencies in the first band
of the process of separating these two items, the pagination and edition of Molly on the Shore, only part of the biame should be laid
distribution of the music on the page of many parts was altered, and at the feet of the publishers; much of the blame lies with the
in this process, two lines of music in the 3rd/4th Clarinet part were composer himself. Grainger had strongly held ideas concerning the
interchanged. Although this error was corrected, many defective use of the English Ianguage in performance directions, but he
parts are still lurking in band libraries. Further revisions dating from undermined his own position by using these expressions in the
1962 inc1ude the following: 1. the D~flat Piccolo part was transposed compressed score intended for publication, but not in the full score
for piccolo in C (and a number of minor misprints were introduced). from which the parts were extracted. ln the parts ali of the beautifully
2. The Clarinet and Trumpet parts which had been designated expressive and wonderfully communicative "blue-eyed English" to be
Solo/l st/2nd/3rd in the first edition were renumbered found in the compressed score is replaced with terms of vaguely
lst/2nd/3rd/4th. 3. ln the first edition, Grainger had called for a equivalent meaning in standard musical Italian. Such inconsistency
contrabass sarrusophone, a double-reed instrument constructed of inevitably causes confusion in rehearsal.
metal, which was sometimes used in France as a substitute for The Grainger Museum at the University of Melbourne kindly
contrabassoon (for a more complete discussion of the use of the furnished (by way of microfilm) the autograph fu11 and compressed
sarrusophone in Grainger's ear1y band works, please consult the liner scores to Molly on the Shore, and photocopies of the setting for
notes to Southern Music Company's edition of Children's March). vio1in and piano. Copies of the fu11 and string orchestral score and
ln the 1962 edition of Molly on the Shore, the Contrabass parts and the setting for piano solo (still available for purchase) were
Sarrusophone part was renamed "Contrabass Clarinet", thereby then obtain~d, allowing comparison of all versions, and the process
putting the part in the wrong octave. ln any event, the contra-alto of engraving new parts and reconciling inconsistencies was begun.
clarinet is a inadequate substitute since it preserves neither the The decision was made early on to restore Molly on the Sh.ore to
double-reed timbre of the sarrusophone nor the range of the part. A its original state in every way practical, while introducing certain
more suitable substitution would have been contrabassoon or B-flat features found in the orchestral setting of the work and incorporating
contra-bass clarinet. 4. ln 1962, it appeared that the Soprano innovations that appeared in Grainger's later scores for wind band.
Saxophone was likely to disappear éntire1y from concert bands, Since the band setting of Molly on the Shore places such heavy
prompting the editors to delete the part and replace it with a new part demands upon the members of the clarinet sectíon, it was thought
called lst Alto Saxophone. However, Grainger is eternal1y identified wise to construct an alternate 3rd Flute part to allow the E-flat
with the saxophones in general and with the Soprano member of the Clarinet to be omitted, a procedure that the composer employed i n
family in particular, so this seems to have been an inappropriate his band setting of "The Gum-Suckers" March. The part for
decision. 5. The Horn parts were transposed to F (while preserving Contrabass Sarrusophone is preserved, with optíons to use
all of the misprints found in the earlier parts ). While several of contrabassoon or either form of contrabass clarinet in its place.
these revisions were welcome, these revisions did nothing to relieve Grainger' s part for Soprano Saxophone is restored in this edi tion,
the difficulty brought about by the combined parts (i.e., both flute but a Special Alto Saxophone part is included for the use of those
parts on the sarne page) from the first edition. conductors who do not have access to or do not wish to use a Soprano
As mentioned earlier, Grainger' s usual practice in creating band Sax. An examination of the orchestral setting of Molly on the Shore
settings, as is the case with many other pianist/composers, was to revealed more sophisticated use of percussion than appears in the
write in "short score,, or "piano score" format. He made careful band setting, a situation made necessary by the usually inadequate
indications on these "condensedn or "compressed" scores as to which percussion equipment available to bands in his day. For example,
instrument or group of instruments were to be used at any particular Grainger called for four kettledrums in the orchestral score but for
time, and then he extracted the individual parts himself. This only two drums in the band setting. Consequently, in a number of
practice allows the composer/arranger to control all aspects of the passages in the band setting, the kettle drummer is limited to playing
creative process, allowing for last minute corrections as well as tones which only partially work in the harmonies present; the
second thoughts. Molly on the Shore is the exception to this rule i n kettledrum writing in the orchestral score is more in agreement with
that Grainger created a full score to the band setting and then hired a the harmonic structure, and that writing has been introduced to the
professional copyist to extract the parts. Sadly, when the task of band setting. Grainger also called for hammerwood [xylophone],
creating parts is "farmed out" in this way, the parts almost always marimba, and celesta in the orchestral score while not in the band
contain more errors than they might otherwise, and further errors score, which is not surprising considering his well-known love of
i~evitably occur during the engraving process. It is the composer' s "tuneful percussion" and his insistence that ensembles should
job to proof-read his music as thoroughly as poss.ible, but human employ as many of these instruments as possible. Should sufficient
frailties are such that the more errors that find their way into the numbers of players be available to cover these additional parts, it is
manuscript parts, the more that escape the composer' s watchful eye. recommended they be used. Finally, Grainger's "blue-eyed English"
Since Molly on the Shore and Colonial Song were published has been employed throughout. It is hoped that the composer would
simultaneously, though created by different processes, it is approve of these efforts made on his behalf.
informative to compare errata lists between the two pieces. The first For a comprehensive discussion of the conducting challenges
published parts to Colonial Song contain very few errors, while the offered by this remarkable work, the readeris advised to consult
parts to Molly on the Shore are significantly more error-prone. lt is Frederick Fennell's wonderful study on this composition, published
unfortunate that in 1962, while preparing Molly on the Shore for in the October 1983 issue of the Instrumentalist magazine.
reissue, the editors did not consult Grainger' s ful1 score to correct the
R. Mark Rogers
8703
 INr. 23 of BRITISH FOLK-MUSIC SETTINGSj
(Lovingly and reverently dedicated to the memory of Edvard Grieg)
5703 MOLLY ON THE SHORE Percy Aldridge Grainger
Edited by R. Mark Rogers
1 FAST M. M. d =between 112and1261 Irish Reel set for Military Band
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© Copyright 1998 by Southern Music Company, San Antonio, Texas 78292

International copyright secured. Printed ín U.S.A. All Rights Reserved.
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S703
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8

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1 1

A 1 &2
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R 3rd & 4th, together together
3&4 -
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1
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3rd Clar. cue
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Horns \ 1

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3 Trombs. ,
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Bass Clar. or Bssn. cue

·~k·~'.~:..-+,....,,,_1---------._----------1-------------~----------l--------------~-------------1--------~-~-------+---------------~--~·----~-~
Euphs.

Double Bass cue

Tubas

D. Bs.
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3
K. Dr.

n
Perc. u
n
u
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Bells &
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41
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1 1
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tJ
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tog. very feelingly
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l 1 -..1

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1
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>
1
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A I 1 ·, 1 1 1 1 ,._, 1 -1 '7-1
-
1
1

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3Trombs.
>
p.
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1st Bassoon cue
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1

Double Bass or D. Bssn. cue

Tubas ....
V
1 y
IJ
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1

>
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D.Bs.
l
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tJ ~- ---;;;- - - 1 >
louden - · ~- ;:;; i
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Flutes

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1
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e -_ • •
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4
N

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>
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1

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louden
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>
=
>
p.
rsti::y:li;E:"~E
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Bssns. r

= 1
1 1
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::>
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1 1 !

li
1

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1-=
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2.'
1 1

-
f

....
1
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A
tJ
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1

>
Alto
1 1 1 1
X li
touden
l"i 1li '
Tenor
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E tJ > 1 1
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louden -=- -====-- > ======-- 't!
S Bari
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li

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louden
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>1 >1 '1
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1&2
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tJ

" 1
,
~-=:
louden
r 1
-- 1 r 1
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>
>
>
1
.....,

.-
1 1 1 1 1 _1
1..............

3&4
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1 1
>
====- li

1&2
--~ 1
louden

-
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fW
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Soprano &Alto Sax cues

Horns --=====- -====-

Jouden =-======-- 'u 1
1

A 1 l"'"""'I 1 ~ 1 1 -1 ~-' tog.

3&4
'
> > 1.._,1
>
1
>
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3rd & 4th Horn cues & Tenor Sax cue
3 Trombs.
1 1

>
~
>
1st Bassoon cue p.
Euphs.

Double Bass or D. Bssn. cue Oouble Bass cue

Tubas

jj '! '!
bowed plucked
,; ,:
D. Bs.

sf louden sf
1
•--========
1

-====-
1 1

ff
> 1 1

> >
K. Dr. 11 ~1~~~~v·----·~~~~f"-·~·'---!-~-h"•..__,•1"'--1-~--+!~~-+-~-H-..__~~"'-f'-~!"-·~~-..__~t--t~~-r-~r--•~~!t---t-1""-•~~-~~-r-~!i:---;~~---------------------;
V
_ - 1 r 1 1 1 1 1
>
=----------- - 111/
1
ff
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Perc.
ff
n Crash Cyrn j
u ff
5703
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E~ Clar. cues

Flutes

Oboes
t

k
1 1

V l
-r ;,,. .
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1
.
....
1
.... .
....
1 1 1
.
....
1 l

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mp
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1

> 1st Oboe cue

e -
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k !.
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L
t)
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r mp
i 1
r- •
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.
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.1

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A

E
-. -. ... ..
T
Alto
t
--
~
1
mp
-. 1 • 1 1
"'

S Bass
1 1

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r- ... f '"
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r
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l
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> mp
>
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1 1 1 1 1 1 1 1
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Bssns. I 1 1

"i
>
> ••>
-.
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D. Bssn. ,
••
l..
r1 k.
...
.-
r-

... 1
1
- 1

> '111J' 1 1 1 1
1
>
Starred (solo)'----------------.._::-----
i 1 r"""T =--1 1 1 1 1 1 r1 1 1 > ~ r--1 1 1 ..-.
s
-
1
1
- -
~

Sop.
-
..... .....
tl > > > 1
r -
A >
.....
1
. 1 1 1
' > 1 1 1

Alto ....
"'V ,..
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...
,
... ,,.
I

t.l > mp 1 1 1
'
1 1

X 1 1 > >
.'
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1 1

E
Tenor
tl 1 >
mp
-... -. 1
-.
Bari
i >
.... .., .... .!.
... .... -. -1-
s •
1 1

••>
1
1 > mp 1 1 1 1

Starred (soli) 1::5::9~'_ - - - - - - - - - - - - - - - - -

~~ : ;~ - - =- ; - .~ ==~;; ~ =~ ~ J- - =0 ~
1
>1 > > __ r1 1 1
......
j

1&2 ,.. - - ... • .- -

Trpts
tl
~· u b! v
1

1st only (2nd has 3rd Clar. cues)

i...i....i
3
i....r i....t....l
3
"'-' ' r -
>
' 1
> - - '1. 1
3&4
tJ .
_,...

>
-
•> 1
>
Alto & Bass Clar. cues
• 1 1 1 1 1 1

1&2 ... y Í} 1

Horns
t) > > >
j 1 1

3&4 1/

;. ••
>
>
!!-
>
~
...
>
Alto Sax cue
3 Trombs
1
1

Tenor Sax cue

• .
Euphs r I

Oouble Bass or O. Bssn. cue

L '"

...
•• 1• -
Tubas
li
> >
plucked
D.Bs -
1
••
1....
IJ L..
~
>
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,...
1.
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1
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>
1
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K. Dr. , ~ T

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u
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#j!:,-.~J!:~~~ ~t.J!:;
Flutes
'J
~

ti
> -
1 1 : . .; . • - 1 111- • # - ! 1 1 l # -
Oboes
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> 3

e
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1 r-
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...-
3rd only

tl J 3
L I
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r"'
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i'
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1
r
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1
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1

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,- ,., ,., - ....J. - ,_- r- - .... __.. .. ..1

L._.,_ _ _
...., 1
R U-1 ·~ 1
3 ~·
:;t..,_,;
>
P-======
very feelingly
3

... . - ---=--.... -
1
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4
-.14:-U-· V J
~
I
·'
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.. V -

N 1

!
t "-~
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·-,;
>
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11tp <:::: :;:::... ::::::::==-- -=::::::::
E very feelingly ,

-
L 1

Alto
..."'V .. -
,_
1

T
tJ •
" 1 •
louden
~ 1

S Bass
1
•

.- •

louden
1

•
1

.1

-
•

-,J'

~ tog.~ ...~
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Bssns.
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> ',/ =-==+ ~· ~ -fJ # #
• .,, IÍ- 1
louden
I 1 • V• 1 '1 'ili
> mp-=::::::: > -=::::::::: ::::::-
111- ,.. very feelingly
-
r-
1 1

D. Bssn. 1
•
V IJ

• 1 > louden
1
1 1

>

S Sop.
.'
111
1

il-v'-IJ-+c--W:=i- - - ; •
> ,..,- !'-111-!'- ...- •
- ... - -- - Á
1 l
,.-

--
IH-fl - ...J .....

A
-
3 -

-
1

.,, . -
3
3 1 1 1
= -i
very feellngfy ,
-
Alto ~

......;1---"-..__-_.::__:_-_~ - -
-------...J..- ~
=-·-
V
- - : - •- --
1 ! ! 1 l.....J,...J > r 1 1 1 1 -
X
- " 1
1 l - ,.. -- . ,.... ,_- -
'lfi.p-C::::::::: >-=:::::::::::::::::-
- ..-
~

--
"' '· ,.,

-
Tenor V

E 3 1 r r
3 --~--= 'lftp-=::::::: > -=::::::::::::-
very feelingly
1
.......- 1 >
., u ,., .

,.,-
s Bari
.,__,..~,..__I-·-·.,,..··-
>
1 I T 1

1
1 r .,,.,
> louden

1 1 )
...
JJJ.J IJl 1 1 1 1 1 1 1

1&2
....1 - ....!

.
-.. J -

- r r í r\..-1-___1 - - - -
WL.r
tJ - - .,,.,..
J
~ loud~n µ >~l........ . l r í í
,,, 1
I 1 i 1
1
Trpts.

" 1
1
\..1..1 ---==----
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t) v 1 r i ,-1 • -1 ·1 f í r í ~ U-J
-m/Jouden
1 1 1 1 1 1 1 1 1 1
" 1
1&2
il-~"'lf'~-ff~_--l~~~-i="'l-
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.... ·-_•3:t:==-==-==~..·,.,=·--==--=~+--~f~===~"'==E~~=~--'===~~~==~~~~====·~.J==·=--=-~=1-=-=-=-~...:t===~~::t===::;m;;-1i-=-=-::::-~!===~-....-li==:t~-:t==~·~=:11_;:+c'-::1;i:-=-=-=!-Et~.~~t:~===P'P::i;t:-=-=-:!
. ...~~-=-=-=-=.Í==::j
Horns 11if louden
~ t=J==~--t----t-----t-~~---·-l·~~lf---1-~--tlr---..IJf----!f----+-+-~~-+-~--.---4--+-~--l~·-+l~~~---+-,~3~~;;__~~----l
3&4
....·.
~l ~s=='.thc~ ·---~-+... _-=-·=-"j_-:::..i·t.-=-=---=-~·_·-_....hv-'=--~-;..;...-_-_-_-.~t_-=--=-""::i.1-~"':..-=--=--=--=-·='...:.."-_-__::-_-_-._~'=--=--=--=--=..:1--=--=--=--:.'=-~-i-=--=--=-- ....=.t---'l-=>-:..-=--=--:..=t.-=--:..~-:.i"=-"=-""-=--=--=-""'"1-,---_-_-'l_·=-_-_-_-....-=-.-=--=--:J
.........-_-_-1..J.... . .;-::.-=--=--=--:..-::::...
.....--"1L-::::...-=--=..-=·..,,...-_-_-_-_ ..
> ntf louden 1"1'

1&2
~-;:r;·+-.~=::::::.::::::::::==~·.::-.-::...~::::-==-=-=:.==+~,==--.,_-+-fc-e~==...~-..,...'~---+-·-_j~,.._-_b-+-1~...---.-1-:--..-._,~---w-'!----.---~--.-!---~!1--f,._>- ! -..- - - - - - - -
11 ,__~v_,,_,, _______ . .,. . .*~·--~·--~-------;-----r,_________-+--------~--- +----·--··----+----'-----'-----<-'-----------<
Trombs.
·11if louden
# !'- • . >
/H-~~-.-+·-,--~----------------------~-+----+..---+----+'---~h~•·-·-·---_--+-~----+-.,._---tu-.---~----·--+------=----..~----1--~--------1 1 ...
- •

"'r- • !oi,.,. .- .- ._.. - - \ a..

= -
-

-----~~---'--'----_.:!:-=-=-=-=+±~-=-=-=-=-t-=-=-=~-t-=-=-=-=·-3~===E±=:=::l=::::::!:::.•=::!:=::ll~==~t't:f~==~-~'=t=================l 1
111 fJ. - I ._, V
3
,,_,,'-Q'"-'--'v_________
I' TI
1 r 1 1 1
mf louden
> as if staffed (quasi Solo)
Barí Sax cue ~~~~~e~ f- 111- -
,,,,,. ,..- - -
,..
# /t~~
1 1 1
Euphs. , .. y
1
V li

f --=======-= 1mp <:: > -=:::::::::::::-

very feelingly
H--c,~.-1-~--º-ºu_b_le_B_a__ss_c_'u_e·~-------~~----~·~----11 --+-,-
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TL1bas
1
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mf /ouden
1 .... >
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O. Bs. ~~+~ - - 1 - ==1
" 1 > 1 1 1 r 1

K. Dr.
..
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1
1

S703 J
18
76 1 1

Sm.FI.
o
' 1 1

Flutes

1 1

Oboes
l J
3rd Clar. cue
e
L
i 1 >
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>
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.
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n
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1

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mp louden
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1 1 1 J

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Double Bass cue
::::::==- -=-~--=============t=======t
Oouble Bass cue
Tubas

plucked ~f: bowed ~~ f!:.

D.Bs.
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r-

p 1np louden
n
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n
u
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1 1

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f 'Ili/ louden
Double Bass cua
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•
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n
LI
S703
20

Sm.FI.
. * - - .-
Flutea
ti
> li
Oboas
li 1 1 ----
·-----. r
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li f!.' ~-------

li
1s1 &2nd Oboa cues

E
Alto :
tJ >
-> >
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Á 1 1

S Bass
> 1

1 i.. 1 1 1

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>

D. Basn. ·t - -
-
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1 . /ee/íngly

___ ___
li l

s Sop.
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X feefingly

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E Tenor :.
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ff feelingty
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li

S Barl
1
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J .J J. J 1
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1 1 1 1 í !----~~~~~-·---=~ 1
Trpta.

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1

3&4
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as if sfarred (quasi Solo)

1&2
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1
r 1 1 - l
as if starred (quasí Solo)

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- ~ -~·~~::.":~"".~,.:;.... li -·"'=-:.:c:c:.:.::::··~=~-~~·::·· ·•. -
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1 Double Bass cue (in 2 octaves)
Tubas -
--
1

l 1 plucked 1
D.Ba.
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.
n > hJ )

Pene.
u " 1
> S.Cym.
n .tf w/soft drum slick ,J
u
/ (lei il vibrate)
A 1 t Balis J 1 J 1 J 1
Bells&
St. Mar.
tJ 1 1

í
1
•steel Marimba li 1 1
í 1

" 1
Hammerwood IXylophone] ê
H-wood.
ti
li 1
Wood mallels R.H = LH

Cel. & )
Mar.
~ "' : Please consult the Celesta/Wooden Tunelul Percussion
part far a complete discussion of the performance li
> >
A 1 1 techniques intended during the following passage. Hard yam mallels ~ 1
:;

S703 Soft yam mallets

'Play Sleel Marimba in oclaves il possible and use fairly sofl mallels.
 21
Sm.FI.
soften

A 1 • :7'_.ft_.~. - ft ~~~,..~~~~ .,,.-.. . .*'. •

Flutes

Oboes . •-
·-V
t)
A 1 ,-.J
1
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1
soften

1---· 1 1
--- .
PP
p

-=---~ ff
e .....
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A .
>

L
soften
=====--1 PP
Starred (Sol/)
A 1 1s1 & 2nd Oboe cues
A 1 ·-V
A

A 1 l
E :
Alto
1 1
p
T
A 1
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S Basa :.
'!" 7J U'
-------- p _,---_~~-- --~~~~~--
"V ===--PP vtry dellcately

Bssns. I
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!. ...............

,,,
1
ff p
1llp =-==::=:-- pp very dsllcately
D. Bssn. :
V n
----:---....._~---'---- -·
JJ' ·nif p
very leellngly ,,-::-====:::::-.---Jl-_--1.-_-.---__,_- 1st Oboe cue
S Sop. - : -
-- 1 1 1 1 1
,,,
A
Alto
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I - .11
:

X
e;_
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AI~
ll--1.,.,1--.4..,~--+
Ili

l~;:.::::l.·~-=t==--+-
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E Tenor
r

S Barl l~~~v-~!---~g•.--fê,~~·~~~-~~~·§-§'
t) ;.,1-' ' '
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_ _ _ _ _ _'._ r ,
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feelingly -==-====
ff :.====:=:--=.·.===-- P
feelingly111/ =~===.J.l!t-==:=~=-pp
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"
muted/
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1
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1
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1&2
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r
Trpts.
A 1
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3&4

í r -r .. r.
p

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1&2

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tJ

A 1
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1
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1 .
ppp
1 l 1

3&4
q''~
sf

3 Trombs. l~f!t:IZ:,_~;====--

.. Alto Clar, or 1st Bssn. cue

Euphs. '.-.L:-1•,_"i...:v_ _ _ _ _ _ _ _ _ _ _
--=-- :
---- i
maybe :
left OUI i
lt ............ ~.
ppp
r

Double Bass cue 1 ••• ·'

• Baas Clar. or 2nd essn. cue
" •• !#. k
Tubas

D. Bs.
. 1

,,,
lf ·nif' p

n
u
Pere. n S. Cym.__ J .
•~i-i--u~-~---~·---~··~---- -----r-~-----~~L-----+---------s-o~tta-n----+-..__,
J ..J _
_ _ __....J_ _ _ _-+_______
_ ~ _ ,J
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J J Steel Mari~ba only

A I , J 1 1 1 1
Bens &
St. Mar
i
f
1 r 1
r 1
1
í
1
1
r 1 1 .. 1
soften bit by bit
A 1

H-wood

li::~:, ~======~=-===~===-~
j
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Hard yam mallets =
cer. & )·~·'-"--.~·- - - > ..
> > > > I sotten bit by bit
Mar. ~ !._ ~- J , >
1 1 1 '

t)
.. "

S703 f 1
>
22
100
Sm.FI.
'
., .... " ......
..
1

li
r
- - - - - -
t.1

1 1 ihn
... n
- •
>
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,)

>
=-- - soften -·
ppp
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·- ~

- ~
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-
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Oboes
-
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- - - -
1~

-
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C E~
,,
j -
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- -

L
l'
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1 1
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1 1

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N 3&4 1
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tJ
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T ' 1 -._.;
e ~e ~e e
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.....
fl

S Bass
u u u _u u u
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,.... .... ....

.. - .... - -.. ... ..
-..
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.I' ...
r
"
h.
r

'-"'
.. -
.. - -
ll I

D. Bssn.
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r
u .....
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- - - - - -

1 1st Oboe cue

s Sop. ..
r
li

- - - - - -

A . .. - - - - - -
~
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.

411
X
Tenor
. ....
V
1

- - - - .

- -
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'
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s Barl
t)
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1
1&2
... "
V
- - - - - -
ul
Trpts. l.,
3&4 -' ~

... - - - - - -
tJ
1
1&2 -' ~
·r
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Horns tJ ,.
1

3&4 • . .
'-
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- - - - - -
1J

..
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- - - - - -
3 Tromba.
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-.... ... '· ......

Alto Clar. or 1st Bssn. cue
Euphs. _,
.. - - - - - -
Bass Clar. or 2nd Bssn. cue
-.. " '· ....
l

Tubas
L-...
~
- - - - - -
D.Bs. ~· - - - - - 1
-
1

n
Perc.
u - - - - - -
n - ~ - ,j - ~ - ~ - ~ - ~
u

St. Mar.

- t)

....' ..... " .. .

1 1
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1

1
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r-

1 1
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Mar.
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r
1
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 23
106
Sm.FI.
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li
1

li
1
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V
- - - - - -
tJ
li 1 1
,-..
n -n- -n - n.
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Flutes
61
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h I V
IJ
-
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tJ -

Oboes
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V
1

li
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ti
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D. Bssn. ,, - -
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1

1
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V
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- - - - - -
'
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X 1

Tenor
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y
f}
- - - - -
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s '
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1&2
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h
1
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li 1
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3&4 y

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tJ

1&2
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y
1

li
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Horns tl

3&4
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1
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t)

3 Trombs.
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.. ,, ....
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y
- - - - - -
Alto Clar. or 1st Bssn. cue
Euphs.
"''
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V
...
y
- - E - - - -
Bass Clar. or 2nd Bssn. cue
Tubas
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/
..
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h
1

IV
1
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- - - - - -
V
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D. Bs.
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--- - - - - -
V li
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ri
LJ - - - - - -
Per e.
ri
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- ~ - Â - ~ - ~ - ~ - ~
IJ sotten bit by bit
i 1
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r-
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 25
118 Fluta cua
li 1 '
Sm. FI.

li
1 1 l ~ gÊ
Flutes
-- - -·-·-"••- "',.": ···; -
··-··'*"" _____.... --.~- ~- ----===~--~-'~---'--1~~--- li >
A 1 # ... ;_ • L.
Oboes

Flute cue J1 >

::;; - 1
e
L > together tog. li >
;.. 1 bJ 1 1 1 R, 1 l ? >
- 1 1 1 1 > (1. (t t
1&2 - - .,: ~
-~

- - ,_ :,;
A tJ ....... 1

l
E
Alto
?) >
T >
····-.. ·----· -·-··· __ :·.':,~
li
A 1 1

5 B11u
~ ;.

Alto & Bass Clar. cuss

>---- -
·~-----:..:.:.:..~

,......., 1 1 1 1.. 1 1
- ====--
>
J1
1 ~ 1 1
Bssns.
V$. -: -;.
~

11if louden lots

-====_:-_-_
1
=====-- >
J1
D.Bssn .. 1 1
> > 1
• ''
y "
V
~

Y-

>
....
.--
>
- -
.J

1 r 1 1
-=::::::=:..---
1
=====-- '.rt
(."
.;, Sop
A 1 . 1
·11if /ouden lots

___ >_~
1 1 ·--::::::::::::-----.-~~~~~----~~.----------~

:
......... >
-
-~ -~-~--=.:=--=-:::::··=-==='=====-------'r- __
1 1
11if -----~ --~ >··------·-· -- li
/ouden lots
A
..
- ..
~>- ... 1 ----
. 1

Alto .... y

X ~-· __:::::~····-~
louden li
A 1 >- >-- ·- > > 1

Tenor
E tJ
-=====-= >=--
f 1 1
- - 1
11ip li
louden lots 1 1 > 1
"
$ Barl
:>
J J

.:>-
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1 r 1 1 1 1

·mp louden ====- li

[ill]
{;
,.
1
1st: 3rd Clar. cue
2nd only (3rd Clar. cuas continue ín 1st)
l ' 1 -----"."'L-_-------.--------,
V-
+1st b! >
# 1

1&2
1 1 1
1
p -=..__:___::.::_
;;;>-_
=:::::::::=..-c::-- ::> ---- 1
'
Trpts.
VElty fealing/y -~===-=-;;=:==-==========-=1 J1
A 1 ' 1 1

3&4
il >
A 1 .- > ------------:hL_:-~~.~--~-----,------------~ J11 l 1 • 1

1&2
-------- -· --~-----~
1
··-
1
>
Horns -----·· li
A 1
/og~
> --------1-----rh,_~~------~~_+-.--------------- ·> > > 1
-t L -·

3&4

Allo Clar. or 1st Bssn. cue

Euphs.

Bass Clar. or 2nd Bssn. cue

J1
1 1..
Tubas

bowed
.. -
1 1 > > 1

D. Bs. .;
L
y.
'

> - 1 r 1 1 1 r
11 'P fouden lots
··~ 1 1

St. Mar.
:: .;

1 1 l l 1

.. 1

> {let it vlbrate)

, r

1 l 1 1 1 1
> > > > >
32 1~6 Flute cue
1 ,

Sm.FI.

Flutas
I
rJ.-;:::::::;;-.-----
1= ~·
--É
t)_
I
-
/jj as briDi11nt as poulb/11

OboH
.. ,-;::.... . 1
~·

1 ----==-:;,;-------=--=-=---_-__
1_.._.-_-_:__..: 1 ----~-=------='!=====-=--==~--- 1

>
fll. . :-;....------ >
fl. fll. (4 ;
-->------>----+-
.. "'
E~
1 ---+----'-- - - -
C
t)

L 1

A I
---
-
--- ..
----====---=-==-:::_:::::-__-___-_-::::..-_-_ __-__-_:=:

N .. 1 > > > >

IJj
> >
--
--+
l 1 1
i......1--' -
3
E
... . J: .. b.. -L ' -
T
Alto
C)

.. 1
1
ftf as bri/Hant as possibl: -
s 81111

J
----------------:=:::~==-::--::·--:.::=.:::=-=--==o.=-=---=---=-=~---

B11n1.

O.Baen.
1

" 1
s Sop.

A
Alio

-----
---- 1
---
X
" 1
>, 1

Tenor
E ' li - - - - - -------------··
- - - - - - - - · -.. ----·-·--·~---==::-=.-=:....-::..-:::=.-:.:::::==:::::::::.::...-:::-=:-::::=·
>
.. ..
s 8111'1
f

T
", -. . n. n ..
R
.. 1
--
---->
-------·,-;::~

> > > > >

p 2&3

T
s 4
-- 3
1 1 1 1 r

-- ---~
'

- - - -----=----
loud11n solian
>1 > >
' ' ~ i
'
1Br 2
i3!J:' ""'-1

1
' _I 1 V
Horn•
A 1 >
3U
._,.._______~---~----....~----~----r r . ·r---r
louden
>

>
>
(
-----
tst & 2nd Hom cues
mp J lo1Jden

11IJI loud1m

Eupha.
- ·-·-
_____:__----=-==-:::::::_;::;_:::.=====----
Tub111

1 bowsd
D. Ba.
. ----1

f ·---~=========:-e--------·--·----·--------------

n S.Cym. '1 A! •
P11rc. 1rur------------------_:__-t~··l:::===================f::l;r~=========~..:r-=========d::o;..L ________________ ---·------------------

P - - · - - - - - - - - - I ==:::.:===::::=::.:.==="- "--· p

B11Hal
" 1
1 J 1 1 1 1

St. Mar.
tJ 1 1 1 1 1

ti·

ºt:.)I~. ,~.~~~~~~~~~~~~~~~~
1

S703 > > > > > > > >

 ·-----· ·-----
·------------·--------· ------.~-----·--·~-
..
33
Sin. FI.
1

" 1
,...
Flules

---
tJ
p ftltJiingly

Oboea
/\ 1 # 1 1
' 1
.
1

·~;;,,,.:::-~~~~~~-~--~--
1 1
sott11r1

f\
,,.
> ,,. ,,.> # }--..... flllte cue
e
tJ
Starred (Sol/)
A 1 - 1 >
L
11• .
p llghlly
A
f\ 1
-,.. f.'
"
R "------r
PP
/\ 1

1
-; ;J b~ =d. _ _ _ _ _ _ _ _ _ _ _-i-_:u
N A 1 > -- > > > > ===============-~-
>
m

E
Alto
- 1
1

1
1 1 1
-- 3

T JJ

S Bau
. ' 1
m

1
ff! as brillian/ as possible

Bona.
--
------- ~· ~-e:================-~
D. Baen.

==----
::-_-:_-:__-:-_·--·---=========--=-..:-:·::-·:.::-·::::--::::-·,;::·

A
Alto
_____ ,,,. ____ ______,,_ ............. -- ..·-·-···.
._,,
- ...
·-=-=!-==~~------
X
A 1 __..

Tenor
1
E 1
I =========---P
~==========""'""'-~~.~·-----·
tJ 1
~~~===================!

A 1 fl
T
tJ r
R -----------===============1======------- m
~._;;:==:,::::._J~
p /\ 1 > - > > > )

T
2 &3
tJ

A 1 1
1 1
,:
1
softan .......... - ·-r
s

> 3rd Clar. cue

f\ 1 --~!-~-----.
1 i!. 2
.
----===== ===================t: I m
Horn e
==-=========~=:::.==·- . ·=--=-=--- ·-======:t- I
3&4

p -=====ti
>

:P P-=====t:I

• ..
::--~-----------t"~;--------------~--.. AlloClar.cr 11IBlan.cut
Euphe.

=--·-_·,::-..::-_------~-----------·========··======:;::::;··==:====::=:======l=====-~~~~~~·-·
Bu1 Clar. or 2nd Bun. cue

Tub48

==::.-:_-_:_-:::---:·.::.•-=·-=.::--::.::.. =-:;::__,=-====~---
1 ~~·================--
O. Ba. '.." '· .::

!~ bt~s================---
ppp
==========--=··====~~--
?. (ler li vitmlta) !.
Perc. l~~nu------~-~-----~-~-----~~--t-"--~~~~-------~--~~--:---::=t-'_~,~----~~~~~--~-t~~~~~--.......~~~~--1

1
p ---===-===============
J J
"'V
J 1
Sllel Ma!lmba only
li 1
8&118 &
St.M11r.
1 1 1 1 1
1
1
aolf111111tbyblt

" 1
H-wood.
Hard yam maH•ll
1 1 1
,:

I
>

> > > > r

>
34
164 1 1

Sm.FI. -.. .... "· ...

y
- - - - -
1J

Flutes ~
'
.... .....
t)
., V
1
V
'
-

1
- ,.,
1
... u

1
----
r;
.. .. =--
-=:::::: p

.. j\

.....
1
11, h
1
1 1 1
,,. - -
Oboes
tJ
,
.._,,e_
-- --
-&_
-
~

_-&_
_,1
_,
...
...

Flute cue
..' . V
- - - - -
' "
t)

L 1 :?"
-
--- - ...-
1

- ~

- - - -. - - >
-
:::-
...- .. -
A IJ
..... " .....

i.....J
....
- -- • -
_,! ....
-
1

-
1
....- !I
F""

f
.....

f 1 f
1
1

-
1
1
~

-
~
1
1

•
1
1
1
1

- -
.-J ~
1
1

-
1
1 .,.. •
'--J
- ,,.,
1

'--J
1 1
_,1
- --
1
1

R 2< -' -
V
li

t) .._,,u u V V u

1 3rd only soften Jots

ll

3&4 "" ."

·-
- V

N t) - -&_
-
-& _-&_
-
_e
'-"
soften lots
E '
Alto "" ......

T
t)
e e e e -e
1 '-"

S Bass ...' -"

r

tJ - -
u_
-
u_
-
'U' ~'U- ~u-
'-"

Bssns.
. -· I
.. .. L. V ...
-
... .. .. - ...-
".._,,u _ u u u_ u

D. Bssn.
-· -..
,.. ... "
V
" u u u _u u
'-' -
soften lots
1 --:::::-
.,..-
s Sop. -' -... IJ
-
,...
-- ,....
~

....-
.....' - - -
'
t.
A
-=:::::::: soften P'PP
Alto -' -.. - - - - -
X ti

E Tenor . ......" 1
- - - - -
'
ti
j

s Barl -- r - - - - -
ti

j 1
1&2
,, ....
r
li
- - - - -
t'
Trpts.
1

3&4
..... - - - - -
)

3rd Clar. cue

... ..... "
j 1
1&2
li
- - - - -
t
Horn• 1
-
j\

3&4
... ...... "
"
- - - -
tJ

- - - -
at
-
L

3Trombs. ,, ••
....
y
IJI

"
..
k

Alto Clar. or 1st Bssn. cue

Euphs.
~
, ....
-·.. ...
y
- - - - -
y

Tubas ,,
..
...
L..
r
...
1 ....
Bass Clar. or 2nd Bssn. cue
- - - - -
L.ll.. 1 1
O.Bs. ••
,, ... r
li
..
i...
1
1
"
~u- u u u
-º-
sotten Jots
...- - -
-
1
. •
... ....
1

- ,...
- -. ,...-
-
. . . .
F"" 1
St. Mar.
t'
V IJ

1
-
~

1
-.... 1

1
... 1
_,
- ~ - .
*
1
1

1- J J 1 1-
- •
.
-- -J ,. - J- ,. J-
-
j\ 1
" ...
1

..- '
.. ,... • .... {'-
....-
-
l
~ y ' '
1
,.. IJ .... 1

Cel.& t) 1
Mar. 1 1 :>;' >1 soften ~ :>;' :>;'
.... "
... ,..,
y ,.1 r~ ., n

r>-
- - - ,.,

S703
)
r> r> r> r>
 ~ot._t...:v ON THe SHof\e- 'f
·~1 (1)
lit1'1l "MA.' "'*~ ,,,.,~ ~,. . 41 Percy Grainger's autograph full score
'Pa R~\' G-A. 1\ NfrG". 1
to Molly on the Shore consists of two
books, one containing the top half of the
score, the other containing the lower half
of the score. There are 26 pages of score
in each book. Accompanying the score
was one page of instructions to the
copyist who was to extract the parts,
covering such items as the placement of
rehearsal nu mbers, key signatures, and
the transposition of the D-flat piccolo
part and the treble clef versions of the
trombone parts. This example of the full
score showing the first six bars of the
piece demonstrates a number of features
about this setting: note the
instrumentation, including Qmtrabass
Sarrusophone, four different saxophones
[continued below, left column]

- (-R.tnA>hr ~~-f SceM....t)

3.
?31
(J
..
1
~ .""yo- '... 1
...
-pu.l--
, 1 - lil. .. ' 1 """);
:
, ...
11' A.

1
- - - -
A"> ''~
.,.T oru- - , 1
- ..... -
A
(/,IV.. ..,.. A.

-
I ._,
,
r.--:;-:::1-.
...... . •
- - 1
1 r.
,-
I ~ 1
1

1,, ··- _, _,_ t"':" ,_.,. ,,. ' .......

....... 1
t..-"'"C7--r'A
r~ 1-- ~-
Jf

.... ' 7
-
1
1 "
...,....
'
- .. - - -
\: l '
_,.,.,...
..... ..........
. ,) L.f'
.....:_
.
l

~
·~
\.
_ ;," - .. r
- - - - - -
~

~" J·,. ' ..

..
1

-
- .&.

, lT
IY •
- - - -
'
4:.lt:/3o"í· .L,J-
- A• .
:--i-._ .---;..
IY' r·~

IJ'
F
..... ,.
,•
..... -
li - •

- - - -
\, 1

~~ll[#f(.tl .. < 11
...
1

t - - -.. -.
~-. ,,
,.

-·
.V
li .....
.....1 T

- ... ... .
- - -
\.. /
e;

z*l-1t:#-~ H':*u .,--·

[continued from above, right column]
(including soprano), use of "Presto" in
(111•?-:.~. .: .- ....
... l'r
...1
..... - - ... .. -
place of "Fast" shown in the compressed f!::~· ~ r~ow- V
-
,.,. 1
__ .,...,, ln
f

-
-L

- -
,

_:!'f .. - -
score. This also demonstrates that while =--.J_ [!·&·~-
Orainger intended for flutes, oboes, 1~
3~~ . - __. .. '
bassoons, boms, and trombones to be ...
··-· ... -
~
~

~,,.
-~
,,,' -
....,,,
~ ~

1
- - -
combined into multiple parts, he did not " ~ $c.
intend for the 3rd and 4th clarinets and the ~;~y.
/54U .Íl'«"'O""'
...
. .... .
('

- .
..
1 ,
·--
. I F
t
/
f ;
,

3rd and 4th trumpets to be combined on ,.

~
r;;;-
...... • ...
. ··,7 T

rr
1 1

-
1
/

- - - -
,!

-
one part. Finally, the division of the full _,,,.
.
Ã")
·- .. - ~,

,_ ....•
score into two books makes it clear that
Grainger did not consider this score to be
u-,. ~
I •

_.
li

--- .... -...,.

-- - - - - - -
practical for use in rehearsal or live /"J-- ..
..
J_ -- ..........•
....-
'1.,...
~-
~

.,
l.Y.I

- - .. - - -
performance. 1

The markings "3/7" and "3/37" refor '{J;._/.... '-~~)

. -.
__ .. ,_'
-- - .-- .....
- - -
1

to :the cataloging system used by the ~-

r •
li'
;_- .-
r. - - - -

-
-..11~

curators of the Grainger Museum, anel ..

were added by members of their staff.
S'tt,.,_. -~""'--' ...
~~~'"""
~

J
-
-
--
-
-
- -- -
- •
Courtesy of the Grainger Museum,
y-.l..l6 -
""' - ..·- - •
•

University of Melbourne.