CONCERT BAND SERIES
INTO THE SUN
by
Jodie Blackshaw
DURATION: 9’29”
LEVEL: 3.5
INSTRUMENTATION
1 – Score
3 – Trumpet 1
1 - Piccolo
3 – Trumpet 2
3 – Flute 1
4 – French Horn
3 – Flute 2
3 – Trombone 1
2 – Oboe
3 – Trombone 2
2 – Bassoon
2 – Euphonium BC
4 – Clarinet 1
1 – Euphonium TC
4 – Clarinet 2
3 – Tuba
2 – Bass Clarinet
1 – Double Bass
2 – Alto Saxophone 1
1 – Piano
2 – Alto Saxophone 2
2 – Mallets Wind Chimes/Xylophone/Glockenspie
2– Tenor Saxophone
2 – Percussion 1 Hihat/Medium Tom
1 – Baritone Saxophone
2 – Percussion 2 Cymbals/Small Tam Tam
2 – Alto Saxophone 2
2 – Percussion 3 Bass Drum/Tibetan Temple
2– Tenor Saxophone
Bowl/Mounted Castanets
1 – Baritone Saxophone
2 – Percussion 4 Rock Tambourine/Lagerphone
Band Music
by Australian Composers
Published and printed in Australia by the BROLGA MUSIC PUBLISHING COMPANY
Copyright Brolga Music 2017
CAT NO. BMC110
ISMN 9790 720077789
PROGRAM NOTES “Into the Sun” is a scrapbook of stories told by many of their passage to Australia; whether it be as free settlers in the 1800s, post World War II immigrants or refugees seeking asylum with a focus on those who came to the Western Sydney region. It is roughly in six sections: I – ARRIVAL The piece begins looking through the eyes of a 6 year old child in the late 1940’s. She is with her Mother and Father when after a 6 week voyage she sees the lights of Sydney for the very first time: “The first time I saw the coloured lights of Sydney I thought it was like a fairy tale. During the war in Germany, there were no lights at all, least of all coloured lights… we walked down the steps from the ship and I stepped onto the soil and I thought, “May we all be very happy and may we have lots of luck”. Helen Simanowsky, Ukraine, first arrived 1948 II – A NEW LAND, A NEW LIFE Once on Australian soil, a train or bus took people to a migrant camp. Imagine finding yourself on a train with hundreds of strangers, few possessions, little money and completely surrounded by a foreign landscape. Here you may hear the sound of the train, coloured with a feeling of trepidation. III -­‐ CAMPS & CONFUSION Western Sydney housed immigrants in St. Marys, Windsor and often the train travelled through the region to the Bathurst Migrant Camp. People lived in basic accommodation previously used for Army personnel during the War. For many, arriving to these camps brought anxiety and sorrow; married couples were separated and men were sent to work shortly after their arrival. “We arrived at Bathurst at 7am but not to the town’s railway station, we were out in the bush! It was the camp for the soldiers during the war. We saw bush, magpies whistling, crows whistling and we said, “oh my God, where have we come?” Rozalina Cetinich, Slovenia, first arrived 1949 IV -­‐ ACCULTURATION: A YEARNING FOR HOME AND ALL THAT IS FAMILIAR For anyone who migrates to a new country there is a time of acculturation; the process of adapting to a new way of life. This was documented in the poetry of Australian born Emily Matilda Manning in the 1800’s for it seems even then, new free settlers to Australia were referred to as ‘emigrants’: “Why did I leave my home, Mother? I was wilful, and thoughtless, and wild -­‐ I long'd to be free, a woman I'd be! Yet I weep as a motherless child. I’m no one’s daughter or pet, mother, But “one of the emigrants” here. I must do my duty, and work, without One friend to counsel or cheer.” R
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V -­‐ OPPORTUNITY: WITH NEW FOUND ENTHUSIASM Whilst the initial experience is one of shock and hardship, many people have created a very good life for themselves in Australia. This includes the more recent arrival of refugees from a vast range of countries. When refugee Anisa Memari arrived in Australia in 2002, she was able to reach her full potential through hard work and quality schooling. In the words of Anisa “Here in Australia, I am able to dream”. The music in this section returns to the sound of trains to symbolise positive change, another journey in a whole different direction. SC
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VI -­‐ REFLECTION: WITH A FEELING OF INNER PEACE AND CALMNESS Whilst the journey has been challenging for many, Australia has afforded a new life that is both rewarding and prosperous. Hence the opening indigenous-­‐
inspired sounds return, as does the initial melody although it is slightly altered to represent the changes endured in such a life. CONDUCTORS NOTES Arrival: with anticipation -­‐ expressively q =60 E
Bars 1-­‐26 PL
Helen Simanowsky from Ukraine Arrived in Australia in 1948 SA
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“We’d only brought what we could carry and it wasn’t very much. Mum’s things were still in the woven basket and father had two suitcases. I would have loved to have brought my teddy bear and my parents their books. My parents have always loved books; we had a very good library but we could not carry them with us. … I was six years of age then. … The first time I saw the coloured lights of Sydney I thought it was like a fairy tale. During the war in Germany, there were no lights at all, least of all coloured lights. The ship came in to Sydney at night and we slept over. The next morning we walked down the steps from the ship and I stepped onto the soil and I thought, “May we all be very happy and may we have lots of luck”.” To read her full story, go to: http://www.migrationheritage.nsw.gov.au/exhibition/belongings/simanowsky/ General Comments To enable emotional connection encourage discussions amongst your students regarding ‘first time’ experiences such as going overseas for the first time or their first day at a new school. It is anticipated that this section is played with connectedness or as Percy Grainger would say ‘clingingly’. Please conduct with elasticity to reflect the rise and fall of melodic shapes and stress points throughout the band’s texture. Bar 1-­‐9 Allow the Trombone soloist to freely move within the parameters of this solo. I highly recommend only cuing the entry and not conducting again until bar 8, preparing the clarinettist for their entry in bar 9. See my website www.jodieblackshaw.com for a short video on how to achieve the didgeridoo timbre on the Tuba. Bar 11 Invite lower reeds to listen to the Clarinet and match their entry rhythmically to the line played, rather than count in their entry. Bar 17-­‐21 Notice the canonic entry commencing with trumpets, followed by Trombones/Euphonium (that is also coloured in the upper woodwind) and finally lower reeds plus Tuba/Double Bass. Draw attention to this pattern and balance accordingly. Guide the crescendo and poco rit. into the downbeat of bar 21 without any discontinuation in the fullness of sound. The paused chords are to emulate that moment when Helen Simanowsky (opening quote) felt like she was in a fairy tale, as if she is out of time for just a moment and is filled with a rush of joy, hope and wonder. Please keep the chords connected; do not allow any space between them. Bar 23-­‐26 Hold the dynamic fullness of the last pause for the duration of bar 22 only commencing decrescendo as written in bar 23 in lower reeds and Tuba/Double Bass. These dynamic markings are deliberately written in a staggered manner to allow particular voicings and melodic material to be prominent before blending back into the texture of the band. Keep tempo steady from Bar 22 to allow Percussion 1 and Piano to make a decisive entry and therefore, set a clear tempo for Bar 27. All tenuto markings are to be played as a stress, a leaning point in the melodic material. Bars 27-­‐66 A new land, a new life: with energy and precision q =120
Jacqueline Giuntini from Holland Arrived in Australia 1955 “My younger brother, Henry, and I, we went to school. Some of the teachers were refugees but I had Mr Cole, the Australian teacher. We had 26 nationalities in the camp at that time and he spoke a bit of everything. He was into nature, he took us on walks so he built up a love of the bush in me, but I can’t remember any curriculum. There were lots of children to play with, you had no problem making friends. None of us could speak English so we communicated in all sorts of languages. It wasn’t until I went to mainstream high school that I realised we must have had some sort of camp lingo.” To read her full story, go to:
http://www.migrationheritage.nsw.gov.au/exhibition/belongings/giuntini/ General Comments In many of the stories I encountered it seems that the first impressions of Australia for immigrants and refugees were captured from their initial train journey. Many travelled directly from Sydney Harbour to Bathurst via train, right through the heart of Western Sydney. Hence the driving, undulating Piano figure is to perfectly match Percussion and the crotchet figure in the lower brass. Woodwind are to bring to the front any melodic material that is moving and pay particular attention to crescendo and decrescendo markings. These are deliberately written alternatively to imitate the fast changing scenery viewed from a train as well as the alternate changes in timbre heard from the train itself i.e. when travelling through open spaces, tunnels and the carved-­‐out, ever-­‐changing train journey through the Blue Mountains. Bar 27 Draw the students’ attention to the change in tempo from ♩=60 to ♩=120. Everything is simply doubled in tempo. Ensure the Pianist and Percussion 1 understands that whilst the notes change, the sound of their parts does not change between bar 26-­‐27. To maintain momentum and the mechanical feeling of train travel, lock together the crotchets in Trombone 1/2 and Left Hand Piano with the quavers in Percussion 1. Ensure all parts play written articulation with confidence, especially accents (>). Percussion 2: Crash Cymbal. A single crash cymbal on a stand is sufficient as a splash of sound is the desired timbre. Bring out the melodic line in lower reeds and Euphonium. Lock in Percussion 4 tambourine with accents in Percussion 1. Have the players stand next to each other if this will assist with precision. Bar 31 Clarinet 1 slur markings are always designed to slur down across the break, not up. The slurring pattern changes at bar 39 as the melodic material progresses into a higher octave. This is intended. Bar 35 Mallet Percussion (Xylophone) is to lock their melodic figure into their semi-­‐quaver pattern played by the pianist. SC
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Bars 28-­‐30 Trumpets should carefully consider tuning slide position when using Harmon mutes. Inform Percussion 2 that sometimes their cymbal rolls match the Trumpet entry and sometimes they do not. This is intended. Clarinet 2 to exaggerate crescendo into bar 41 alongside Suspended Cymbal roll and play the staccato markings short and pointed. Alto Sax 2 is to match Clarinet 2 when they join this melodic figure at bar 45. Bar 44 Flute entry is to be tongued but connected (clingingly). It is not intended that this entry be clearly heard, but more so an alternate colour that will rise out of the texture at different times, just as the sight of a beautiful bird or blossoming bush fleets past the view of a passenger on a train heading west. Bar 49-­‐50 With each new entry (lower reed/tenor saxophone) it is imperative that the players are mindful of the pulse. Invite your students to listen carefully to Clarinet2/Alto Sax 2 and be sure to exactly match their articulation and tempo. This entry, along with the change in the pattern in Percussion 1 (Hi-­‐hat), should be seamless. If you wish, use the analogy of a person attempting to jump onto a moving train. The train does not slow down in order to assist them getting on board, more so the person him/herself much match the pace set by the locomotive! Bars 60-­‐65 Allow the pianist to control the rallentando from bar 63. Tibetan singing bowl: the instrument can either be held with a flat hand or with fingers stretching up and separated (like a bird claw) or it can be placed on a flat cushion on a sturdy table at waist height. Hold the mallet like you would a wooden spoon when stirring a saucepan on a stove and rub the outside of the bowl, maintaining contact at all times. For more information, see this instructional video: SA
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Bar 40-­‐41 http://www.yowangdu.com/tibetan-­‐buddhism/meditation/tibetan-­‐singing-­‐bowls-­‐an-­‐introduction.html The dynamic markings for the Tibetan singing bowl are only a guide and not to be taken literally. Know that the bowl will have it’s own dynamic diversity and celebrate this rather than try to control it. Should a Tibetan singing bowl not be available, place a large suspended cymbal upside-­‐down on a floor tom and using soft yarn mallets, roll on the outer edges of the cymbal. Bars 66-­‐83 Camps & Confusion: with apprehension and a feeling of bewilderment q =66 Rozalia Cetinich from Slovenia Arrived in Australia in 1949 “They transported us from the boat to the train to Bathurst. There were 950 people on the boat and each had a number. I had dining card number 735 and was in the second lot for breakfast, lunch or tea. The same thing happened when the train came. They took the first lot to Bathurst and then came back to pick us up at 11pm. We arrived at Bathurst at 7am but not to the town’s railway station, we were out in the bush! It was the camp for the soldiers during the war. We saw bush, magpies whistling, crows whistling and we said, “oh my God, where have we come? What’s here? There’s no camps here, no houses, nothing!”. We had to wait until the army trucks came, and they took us to the camp.” To read her full story, go to: http://www.migrationheritage.nsw.gov.au/exhibition/belongings/cetinich/ General Comments Many people who immigrated to Australia after World War II speak of their feelings of disillusionment when they first disembarked from the train in Australia and were taken to camps. These migrant camps were situated throughout Australia and were often transformed army camps. They were very basic and often, married couples were separated. To successfully perform this section I believe that it is imperative for the students to understand that these people had lost their homes; many loved ones and their total way of life. They had also endured many years of hardship through and after the war, as well as a gruelling 6 week journey on a crowded boat. Many had few possessions and little or no money. Hence immigrating to Australia offered an opportunity to build a new life. See this webpage for imagery of Migrant Hostel accommodation in Australia from 1946-­‐1978: http://sharpesonline.com/migrant_hostels_in_ausralia.htm See this webpage for imagery of the Bathurst Migrant Camp used from 1948-­‐1952: http://www.migrationheritage.nsw.gov.au/exhibition/aplaceforeveryone/bathurst-­‐migrant-­‐camp-­‐photos/ FLEXIBLE SCORING TRIO SECTION This section is written for three soloists accompanied by a singular Tibetan singing bowl pitched at ‘D’. The three solo lines weave in and out of each other, each representing a different emotion; Solo A (main theme) ~ vulnerability, Solo B (retrograde and variation of main theme) ~ quiet determination and Solo C (variation of main theme reflecting “Solo A” at 2 bar intervals) ~ hidden grief caused by the loss of loved ones and everything that once meant ‘home’. To select the players for your trio, conductors are encouraged to arrange band members into groups of 3 or 6 (2 on a part) based on the instrumentation below and have students rehearse independently in chamber groups. GROUP 1 A – 2nd Clarinet/1st Trumpet/2nd Trumpet/Horn (up 8ve)/2nd Alto Sax B – Piccolo/1st Flute/2nd Flute/Glockenspiel or Vibraphone (Vib. preferred) C –Bass Clarinet/ Bassoon/Tenor Saxophone/Baritone Sax/Euphonium GROUP 2 (sounding one octave lower than Group 1) A – Horn (down 8ve)/1st Trombone/2nd Trombone B – Oboe/1st Clarinet/1st Alto Saxophone C – Piano/Tuba/String Bass It is recommended that after sufficient rehearsal time, these groups perform for each other. It is also recommended that the students are involved in the decision making process with regard to whom is selected. More than one group may be selected and used for alternate forthcoming performances. Conductors may also double each solo with players from each group, thus having each solo line played in octaves. R
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During the rehearsal process, students are encouraged to read the notes and view online imagery of the Australian migrant camps as this heavily inspired the music composed here. Please also note that the main theme placed in “Solo A” is to be played into the open bow of a Grand Piano (with the pianist depressing the sustain pedal). O
Acculturation: a yearning for home and all that is familiar q =72 SC
Bars 83-­‐114 Poet: Emily Matilda Manning Born in Sydney 1845 This quote is from the poem “The Emigrant’s Plaint” from her 1877 publication “The Balance of pain and other poems”. PL
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“Why did I leave my home, Mother? I was wilful, and thoughtless, and wild I long'd to be free, a woman I'd be! Yet I weep as a motherless child.
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I’m no one’s daughter or pet, mother, But “one of the emigrants” here.
I must do my duty, and work, without One friend to counsel or cheer.”
General Comments SA
To read the whole poem and other works by Emily Matilda Manning, go to: http://www.poetrylibrary.edu.au/poets/manning-­‐emily-­‐matilda/the-­‐emigrant-­‐s-­‐plaint-­‐0035010 http://www.poetrylibrary.edu.au/poets/manning-­‐emily-­‐matilda/ When I first read this poem I was struck by the notion that just 89 years after the First Fleet had arrived in Australia, free European settlers were referred to as ‘emigrants’. As the basic definition of ‘emigrant’ is simply “a person who leaves one country to settle permanently in another”, I wondered what the people who came on the First Fleet thought of themselves as, if not ‘emigrants’ themselves? The key word for this section is ‘blend’. All entries are to be soft and almost unnoticeable. Players are asked to be aware of the instruments playing around them in order to merge their tone into the current texture (unless it is marked with an accent (>)). After the meandering nature of the three soloists at H, this section pieces together new solo lines to capture a passage of time where those who immigrated to Australia experienced the acculturation process, progressively if not painfully becoming used to their new surroundings. Bar 83 Ensure all players are very still and there is no fidgeting or page turning here. It is most important that stillness is captured through the singular lines of the Clarinet 1 & 2 as well as those in the ensemble. The soloist who has just performed Solo A should remain at the piano until rehearsal letter L. If they are selected to perform one of the solo parts in this section, have them play their part from the Piano and move at M. Bar 88 Horn: stress entry each time then slightly decrescendo until the next entry. Bar 92 Clarinet 1 and Alto Sax 1 – be sure to measure their dynamic and keep it consistent with the ensemble dynamic at this time. Bar 100-­‐2 Bass Drum to be subtle but firm. Play toward centre of drum with a firm mallet. Bar 108 Gratitude: With a stillness that is both humble and weary. Whilst these otherwise homeless people thankfully came to Australia, they yearned for the security brought about by cultural familiarity. Hence with quiet determination these courageous people gratefully merged their new Australian existence with the cultural heritage they had brought with them through the sharing of folk tales, childhood memories and song. Ensure Alto Sax 2 and Trumpet 2 breathes prior to the pause on the third beat of 107 to ensure continuity in sound into 108. Alto Sax 1 and Trombones to take a short breath after the pause. Balance Trumpet Tutti entry with ensemble. Maintain consistent tempo from K to provide an even pulse for Percussion 1 entry at bar 111. Bars 115-­‐129 General comments Opportunity: with new found enthusiasm q =120 In many of the stories quoted people start to find their feet and eventually obtain stable employment, married couples and extended families are reunited and eventually, they are able to move out of the migrant camps and afford a place of their own to call home.. The ‘trains’ theme returns from Bar 27 to signify positive change which meant for many, a major move inland or to coastal regions. This time the theme appears in a major key. All recommendations for interpretation with regard to Bar 27-­‐66 should also be applied here. Bars 130-­‐165 Joyously! e =e (q.=80) 'Here in Australia I am able to dream.' Anisa Memari from Iran Arrived in Australia as a refugee in 2002 While her family was now safe from persecution, Anisa still had many challenges ahead of her. The task of learning a new language was particularly difficult for Anisa. She decided to undertake a short course at an Intensive English Centre and repeat her final two years of high school. “High school in Australia felt more natural because people were more accepting of me and I wasn’t left out because of my religion…I finished high school in Australia first in my grade again and was able to receive my dux award.” To read her full story, go to: http://www.refugeecouncil.org.au/r/pro-­‐ind/amemari.php Tania Kersak from Russia Arrived in Australia in 1952 After Tania became Miss Australia, the then Minister for Immigration, Alexander R. Downer, said that "the selection of Miss Verstak, a naturalised Australian, is the ultimate demonstration – if any demonstration were needed – of the way in which our new settlers have entered the hearts and lives of the Australian people". To read her full story, go to:
http://au.tv.yahoo.com/timeofmylife/bios/article/-­‐/16315764/time-­‐of-­‐my-­‐life-­‐tania-­‐verstak/ O
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General comments This section is inspired by folk dance from a variety of cultures and is to be played with energy, joy, frivolity and teenage assertiveness! There are various melodic lines occurring at the one time to symbolise the multicultural framework that is Western Sydney. LAGERPHONE SC
The Lagerphone, also referred to at the Murrumbidgee River Rattler, is an Australian bush-­‐band instrument invented in the early 1950’s by a rabbit catcher working in the Riverina, New South Wales. There are multiple variations on the design of a Lagerphone; here is a basic version. PL
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What you need: • 192 x Metal, beer bottle tops (found at a home brew shop); • 1 x long, wooden broom stick (approx. 5 foot long and 3⁄4 -­‐ 1 inch thick); • 64 x 3 inch long nails (approx. 1⁄8 inch thick) and a hammer; • 1 x Rubber foot to fit one end of the wooden broom stick. • 1 x short, thick piece of dowel (approx. 3⁄4 inch thick and 12 inches long). (This piece plays the instrument, it is not involved in the construction). SA
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Step 1 Using a single nail and hammer, pierce a hole through the middle of each metal bottle top. Step 2 Thread 3 metal bottle tops onto a single nail. You should end up with 64 nails each threaded with 3 metal beer bottle tops. Step 3 Clamp one end of the broom stick firmly into a vice. Hammer the nails with bottle tops threaded onto them into the wooden broom stick, starting about 6 inches from the other end (the one NOT clamped). Space each nail approx. 2 inches apart. Clamp 2 inches apart Rubber foot Nails with metal beer bottle tops threaded onto it, hammered into the wooden broom stick. Step 4 Rotate the wooden broom stick 90° and repeat Step 3. Do this 2 more times until all the nails are attached to the broom stick. Step 5 Firmly place the rubber foot onto the end of the Lagerphone, closest to the nails. Congratulations! You have just made your very first Lagerphone! To play Hold the instrument vertical in one hand, at the end without any nails. With the other hand, grab your short, thick piece of dowel (fondly known as the ‘Whacker’). Now ‘Bang’ the end with the rubber foot onto the ground and hit the section between your hand and the nails with the stick. That’s it!! For Further information There are many excellent websites about the Lagerphone, containing variations in design and playing methods, but this is my favourite. It will provide further information on the history of the instrument, how to play it, and has a good collection of photographs. Have fun! http://www.apex.net.au/~keiths/Lagerphones/lagerphones.htm NOTE: Percussion 4 can be played by two players. If you only have one available, attached jingle bells and/or a tambourine to the top of the lagerphone! Bars 170-­‐end Reflection: with a feeling of inner peace and calmness q =48 Michael Gawenda from Poland Arrived in Australia in 1950 While best known for his achievements as a journalist [Michael became editor at The Age in 1997], it has been the events in his personal life – his journey to Australia, his marriage and the birth of his two children – which Michael considers to be the most important in his life. “The biggest moment of my life was when my first daughter was born. That was a profoundly big moment. I reflected that night on the journey that my family had taken and life’s amazing journeys.” To read his full story, go to: http://www.refugeecouncil.org.au/r/pro-­‐ind/mgawenda.php General comments In many of the stories you and your students will read throughout this learning pathway, you too will discover, as I have, not only how incredibly fortunate we are to be Australian, but how rich and beautiful our country has and will continue to become thanks to our multicultural framework. It is also evident that those who have made the often-­‐treacherous trek to reach our shores are also grateful for all they have been able to achieve in this free society. Hence, as in bars 83-­‐114, the key word here is blend. Entries and releases are deliberately staggered and the listener should not be able to detect either. The opening melodic line stated in the solo Trombone returns in Trombone 1 and Euphonium; though slightly altered. It is handed onto to other instruments and the sound of the Australian landscape, simply represented by the Tuba’s indigenous tone, Double Bass and Bass Drum also returns to represent the cycle of life. “We are one, but we are many, And from all the lands of Earth we come We share a dream and sing with one voice: I am, you are, we are Australian.” ‘I am Australian’ lyrics by Bruce Woodley and Dobe Newton E
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This piece was commissioned by the Western Sydney Public School Concert Band for PULSE 2013: Showcase of Excellence in the Arts, Sydney Opera House -­‐ NSW Department of Education and Communities. SC
ACKNOWLEDGEMENT Many thanks to Annie Armour of Annie Rose Armour Photography, https://www.facebook.com/AnnieRoseArmourPhotography, for the use of her photograph on the front cover. E
USING THESE NOTES AND STUDENT SUPPLEMENTARY MATERIAL SA
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It is the composer’s wish that the Conductor share these notes with the students and encourage discussion, visualisation and emotional connection. They are designed to not only provide guidance for interpretation but to also raise social awareness and enable the students to understand what the composer was thinking when creating the music. It is imperative that the students are provided with a copy of the Student Supplementary material either in hard copy (provided with parts) or from www.jodieblackshaw.com.au. This will further enhance their understanding of the piece and fulfil the ultimate goal of this work; to encourage tolerance of cultural diversity through understanding. DEDICATION “Into the Sun” is dedicated to my inspirational Grandmother, Edna Muriel Blackshaw (1904-­‐2006). She dedicated her life to education and the pursuit of equality amongst all of Australia’s citizens. Commissioned by the Western Sydney Public School Concert Band for PULSE 2013: Showcase of Excellence in the Arts, Sydney Opera House - NSW Department of Education and Communities
Into The Sun
Jodie Blackshaw
“The first time I saw the coloured lights of Sydney I thought it was like a fairy tale. During the war in Germany, there were no lights at all,
least of all coloured lights. The ship came in to Sydney at night and we slept over. The next morning we walked down the steps from the ship
and I stepped onto the soil and I thought, “May we all be very happy and may we have lots of luck”.
Arrival:
With anticipation, expressively q = 60
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© Copyright Brolga Music 2017
International Copyright Secured. All Rights Reserved.
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NOTICE TO CONDUCTORS AND PERFORMERS
The writers of this music depend on its sale to obtain some reward
for hours of hard work. Copying by any means is against the law and
inhibits the creation of material for your use - DO NOT PHOTOCOPY
2
Into The Sun
poco rit.
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10 A tempo
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Fl. 1
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


Fl. 2




Ob.




Bsn.




Bb Cl. 1


 Solo

Bb Cl. 2




Bb B. Cl.




Eb A. Sax. 1




Eb A. Sax. 2




Bb T. Sax.




Eb B. Sax.








Bb Tpt. 2




























Mall.




Perc. 1




Perc. 2




Perc. 3




Perc. 4




PL
E
Bb Tpt. 1
Tbn. 2
Euph.
Tba.
Db.
Pno.
Brolga Music Publishing
SA
f
M
Tbn. 1
mp
mf
O
R
E
mp
SC
poco rit.
F Hn.
mp




mp
10 A tempo
mf
Normal tone
mf
Normal tone
mf
3
Into The Sun
12










Fl. 1










Fl. 2










Ob.










Bsn.










Bb Cl. 1










Bb Cl. 2










Bb B. Cl.










Eb A. Sax. 1










Eb A. Sax. 2










Bb T. Sax.










Eb B. Sax.










Bb Tpt. 1










Bb Tpt. 2








F Hn.







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Tbn. 1










































Mall.










Perc. 1










Perc. 2










Perc. 3










Perc. 4










Tbn. 2
Euph.
Tba.
Db.
Pno.






R
O
SC
E
PL
M


mf
SA
mf
mp
mp
mp


E
Picc.




mf
mf
mf
mf








Brolga Music Publishing
A tempo
4
17




Bb Cl. 2


Eb A. Sax. 1
Eb A. Sax. 2


Bb T. Sax.


Eb B. Sax.




mf
mf
Tutti
cresc.
mf
mf
cresc.
mf
mf
cresc.
mf
mf
cresc.
Tbn. 2




Euph.
Tba.


Db.


Pno.
Mall.
Perc. 1
mf
mf
+ Euph.
cresc.
cresc.
















cresc.


cresc.
f


f


f


f


f


f


f


f


f


f


f


f
A tempo


cresc.




f


f


f


f


f


f


f
















Perc. 3


Brolga Music Publishing
mf
Tutti


Into The Sun


Perc. 2
Perc. 4
cresc.


M
Tbn. 1
cresc.
SA
F Hn.
poco rit.
E
Bb Tpt. 2




PL






17
Bb Tpt. 1


(mf )






mf


Bb Cl. 1
Bb B. Cl.
mf
E
Ob.


R


Bsn.
mf


Fl. 2


O
Fl. 1


SC
Picc.
poco rit.




Suspended Cymbal
Soft yarn mallets
p cresc.
cresc.












To Crash Cymbal
ff
f dim.






5
Into The Sun








Fl. 2




Ob.




Bsn.




Bb Cl. 1




Bb Cl. 2




Bb B. Cl.




Eb A. Sax. 1




Eb A. Sax. 2




Bb T. Sax.




Eb B. Sax.




Bb Tpt. 1




Bb Tpt. 2




F Hn.




Tbn. 1




Tbn. 2




Euph.
Tba.


Db.








Bow fully open




mp cresc.
Mall.




Perc. 1




Perc. 2




Perc. 3




Perc. 4




Pno.
mf
mf
mf
mf
mf
p
E
mf
R
mp
mf
SC
p
PL
mp
E
p
mf
p
M
Fl. 1
mf
p
SA
Picc.
O
23
p


mf
p
Hi-Hat
p
mf
mp
Brolga Music Publishing
6
Into The Sun
27 A new land, a new life:
With energy and precision q = 120
Picc.
p
Fl. 1
p
Fl. 2
p
Ob.
p
Bsn.
f
Bb Cl. 1
p
mp
Bb Cl. 2
p
mp
mf
Bb B. Cl.
f
p
mp
p
mp
E
Eb A. Sax. 1
R
Eb A. Sax. 2
Eb B. Sax.
SC
A new land, a new life:
f
27 With energy and precision q = 120
Bb Tpt. 1
Bb Tpt. 2
PL
p
F Hn.
Tbn. 2
Connected
mp
Euph.
Euph.
Tba.
p
SA
mp
mf
M
p
p
E
mf
Tbn. 1
p
O
Bb T. Sax.
mp
p
f
Db.
Pno.
mf
f
sim.
Windchimes
gliss.
To Xyl.
Xylophone
Hard yarn mallets
Mall.
f
4
Perc. 1
Crash Cymbal
Perc. 2
ff
Perc. 3
pp
Rock Tambourine
Perc. 4
f
Brolga Music Publishing
7
Into The Sun
31
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
p
Bb Cl. 1
mp
mf
Bb Cl. 2
p
mf
Bb B. Cl.
p
Eb A. Sax. 1
R
Eb A. Sax. 2
mp
SC
Eb B. Sax.
p
F Hn.
Euph.
Tba.
fp
p
fp
M
mf
fp
SA
p
PL
Bb Tpt. 2
Harmon mute - stem in
Harmon mute - stem in
E
Bb Tpt. 1
Tbn. 2
p
O
Bb T. Sax.
Tbn. 1
mp
E
p
p
p
mf
Db.
Pno.
mp
f
Mall.
8
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Brolga Music Publishing
8
Into The Sun
35
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
Bb Cl. 1
mp
mf
Bb Cl. 2
p
mf
Bb B. Cl.
Eb A. Sax. 1
E
p
Eb A. Sax. 2
R
mp
p
O
Bb T. Sax.
mf
SC
Eb B. Sax.
35
Bb Tpt. 1
f
E
Bb Tpt. 2
PL
f
F Hn.
f
Connected
M
Tbn. 1
Tbn. 2
Euph.
Tba.
p
SA
mp
p
p
mf
Db.
mp
Pno.
Xylophone
Hard yarn mallets
Mall.
mp
mf
mp
Perc. 1
Suspended Cymbal
Soft yarn mallets
Perc. 2
p
mf
Mounted Castanets
Perc. 3
f
Perc. 4
Brolga Music Publishing
mf
12
9
Into The Sun
39
Picc.
Fl. 1
Fl. 2
Ob.
mf
Bsn.
Bb Cl. 1
f
mp
Bb Cl. 2
p
mf
Bb B. Cl.
E
Eb A. Sax. 1
R
Eb A. Sax. 2
mp
O
Bb T. Sax.
SC
Eb B. Sax.
fp
E
Bb Tpt. 1
PL
Bb Tpt. 2
F Hn.
mf
fp
p
fp
M
p
Tbn. 2
p
SA
Tbn. 1
Euph.
Tba.
p
p
mf
Db.
f
Pno.
mp
Mall.
mp
mf
mp
mf
16
Perc. 1
Perc. 2
p
mf
Perc. 3
Perc. 4
Brolga Music Publishing
10
Into The Sun
43
Connected
Picc.
mf
Connected
mf
mf
mf
Fl. 1
Fl. 2
mf
Ob.
Bsn.
Bb Cl. 1
mf
f
Bb Cl. 2
Bb B. Cl.
E
Eb A. Sax. 1
Eb A. Sax. 2
O
mf
R
f
SC
Bb T. Sax.
Eb B. Sax.
43
E
Bb Tpt. 1
PL
Bb Tpt. 2
SA
Tbn. 1
Tbn. 2
Euph.
Tba.
fp
f
fp
f
fp
M
F Hn.
f
mp
p
p
mf
mp
mf
Db.
f
Pno.
Mall.
mp
mf
Perc. 1
Perc. 2
p
Perc. 3
Perc. 4
Brolga Music Publishing
mf
20
11
Into The Sun
47
Picc.
mp
Fl. 1
mp
Fl. 2
Ob.
Bsn.
mf
mp
Bb Cl. 1
mf
f
mf
f
mp
Bb Cl. 2
Bb B. Cl.
mf
mp
f
mf
f
mp
Eb A. Sax. 2
O
Bb T. Sax.
R
mf
E
Eb A. Sax. 1
SC
Eb B. Sax.
mf
mf
Bb Tpt. 1
mp
E
f
PL
Bb Tpt. 2
mp
SA
Tbn. 1
Tbn. 2
Euph.
Tba.
f
M
F Hn.
f
p
p
mf
Db.
Pno.
mp
f
Mall.
mp
mf
mp
mf
Perc. 1
Perc. 2
p
mf
Perc. 3
Perc. 4
Brolga Music Publishing
12
Into The Sun
51
Picc.
mf
mp
mf
mp
Fl. 1
Fl. 2
f
Ob.
f
Bsn.
mf
mp
mf
mp
Bb Cl. 1
f
mf
f
Bb Cl. 2
f
mf
Bb B. Cl.
mf
mp
mf
mp
f
f
f
mf
f
mf
O
Eb A. Sax. 2
SC
Bb T. Sax.
Eb B. Sax.
mf
mp
mf
E
Bb Tpt. 1
PL
Bb Tpt. 2
F Hn.
mp
fp
fp
mf
p
M
p
SA
Tbn. 1
Tbn. 2
Euph.
Tba.
R
E
Eb A. Sax. 1
mp
p
fp
Db.
mp
Pno.
f
Mall.
mp
Perc. 1
Perc. 2
p
Perc. 3
Perc. 4
Brolga Music Publishing

mf
mp

mf
13
Into The Sun
55
Picc.
f
Fl. 1
f
Fl. 2
f
Ob.
f
Bsn.
mf
mp
mf
f
mp
mf
f
mp
mf
Bb Cl. 1
Bb Cl. 2
f
Bb B. Cl.
mf
E
Eb A. Sax. 1
Eb A. Sax. 2
R
f
Bb T. Sax.
O
f
mf
f
SC
Eb B. Sax.
55
Bb Tpt. 1
f
f
E
Bb Tpt. 2
f
PL
F Hn.
p
mf
Tbn. 1
p
f
M
f
f
f
+ Tba.
Euph.
Tba.
SA
Tbn. 2
mf
f
f
pizz.
Db.
f
Pno.
Mall.

mp
mf
Perc. 1
mp

Perc. 2
mf
mp
To Tibetan Bowl
Perc. 3
Perc. 4
Brolga Music Publishing
14
Into The Sun
rall.


Fl. 2


Ob.


Bsn.


Bb Cl. 1


Bb Cl. 2


Bb B. Cl.


Eb A. Sax. 1


Eb A. Sax. 2


Bb T. Sax.


R
Fl. 1
O




Eb B. Sax.
SC
Picc.
E
60
59
rall.
60


E
Bb Tpt. 1


PL
Bb Tpt. 2


Tbn. 2
Euph.
Tba.
Db.
Pno.
SA
Tbn. 1
M
F Hn.






 arco





Mall.


Perc. 1


Perc. 2


Perc. 3


Perc. 4
Brolga Music Publishing


To Glock.
f
mp
f
f
'D' Tibetan singing bowl
p
15
Into The Sun
62
Picc.
p
Fl. 1
p
Fl. 2
p
Ob.
p
Bsn.
pp
Bb Cl. 1
p
Bb Cl. 2
p
Bb B. Cl.
pp
E
Eb A. Sax. 1
p
R
Eb A. Sax. 2
O
p
Bb T. Sax.
SC
p
Eb B. Sax.
pp
To open
Bb Tpt. 1
To open
E
p
Bb Tpt. 2
PL
p
F Hn.
p
Tbn. 2
p
p
Euph.
Tba.
SA
Tbn. 1
M
p
pp
Db.
pp
Pno.
pppp
3
3
pp
3
Mall.
Perc. 1
Perc. 2
Perc. 3
mf
Perc. 4
Brolga Music Publishing
66 Camps & Confusion:
16
Into The Sun
With apprehension and a feeling of bewilderment q = 66
Group 1 Solo B - with vibrato
Picc.
mp
mf
mp
mf
mp
mf
mp
mf
Group 1 Solo B - with vibrato
Fl. 1
Group 2 Solo B - with vibrato
Fl. 2
Group 2 Solo B - with vibrato
Ob.
Group 1 Solo C
3
Bsn.
3
mp
mf
3
mp
Group 2 Solo B
Bb Cl. 1
Group 1 Solo A - play into grand piano
mp
mf
Bb Cl. 2
mp
mf
mp
3
Group 1 Solo C
3
3
Bb B. Cl.
mp
mp
mf
Group 2 Solo B
mp
mf
Eb A. Sax. 2
mf
3
3
Bb T. Sax.
mp
mf
SC
Group 1 Solo C
Eb B. Sax.
3
mp
mf
66 Camps & Confusion:
With apprehension and a feeling of bewilderment q = 66
mf
Group 1 Solo A - play into grand piano
Bb Tpt. 2
mf
mp
Group 1/2 Solo A (1 up 8ve; 2 down 8ve) - play into grand piano
SA
F Hn.
mp
mf
Group 2 Solo A - play into grand piano
Tbn. 1
mp
mp
mp
M
mp
mp
3
3
PL
Bb Tpt. 1
mp
3
E
Group 1 Solo A - play into grand piano
mp
O
mp
Group 1 Solo C
R
Group 1 Solo A - play into grand piano
E
Eb A. Sax. 1
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Group 2 Solo A - play into grand piano
Tbn. 2
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Euph.
Tba.
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Group 2 Solo C
Group 2 Solo C
3
3
Group 1 Solo C
mp
mp
3
mf
mp
3
Db.
3
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Pno.
Group 2 Solo C
3
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Group 1 Solo B
mf
Glockenspiel (hard mallet NOT brass)
or Vibraphone (hard yarn mallet)
3
mp
3
3
mp
mf
Mall.
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mf
Perc. 3
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Brolga Music Publishing
mf
Into The Sun
78
poco rit.
75
f
3
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3
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3
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3
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Fl. 1
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Fl. 2
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Ob.
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3
Bsn.
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3
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Bb Cl. 1
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f
mf
3
3
Bb B. Cl.
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Eb A. Sax. 1
3
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Eb A. Sax. 2
f
SC
Bb T. Sax.
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mf
O
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mf
3
3
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Eb B. Sax.
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3
3
f
poco rit.
E
78
Bb Tpt. 1
f
mf
f
mf
PL
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Bb Tpt. 2
mf
Tbn. 1
mf
SA
F Hn.
f
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f
mf
f
mf
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3
Euph.
Tba.
mf
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Tbn. 2
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M
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17
3
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3
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Db.
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3
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Pno.
3
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Perc. 2
pp
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Mall.
Perc. 3
3
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Brolga Music Publishing
18
Into The Sun
Acculturation:
Picc.
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Fl. 1
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Fl. 2
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Ob.
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Bb T. Sax.
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Eb B. Sax.
pp
pp
pp
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83 Acculturation:
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F Hn.
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Tbn. 1
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Tbn. 2
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Euph.
Tba.
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Db.
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Pno.
pp
pp
pp
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A yearning for home and all that is familiar q = 72
pp
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SA
Bb Tpt. 1
pp
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R
Eb A. Sax. 2
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O
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SC
Eb A. Sax. 1
p
p
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E
Bb B. Cl.
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PL
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Solo
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M
Bb Cl. 2
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Solo
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E
83 A yearning for home and all that is familiar q = 72
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Solo
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Mall.
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Perc. 1
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Perc. 2
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Perc. 3
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Perc. 4
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Brolga Music Publishing
mp
To B.D.
p
19
Into The Sun
Tutti
mp
Fl. 2
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Ob.

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Bsn.


Bb Cl. 1

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Tutti

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mp
Bb B. Cl.
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Eb A. Sax. 1
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Eb A. Sax. 2
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Bb Tpt. 2
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F Hn.
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Tbn. 1
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Tbn. 2
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Db.
mp
mf
Tutti
mp
mp
p
mf
mp
Tutti
mp
f
mf
p
mf
Solo
mf
Bsn. / Euph.
pp
Euph.
Tutti

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pp
p
mf
p
f
+Tba. Tutti
f
mp
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Tutti
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Euph.
Tba.
mf
Tutti
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Bb Tpt. 1
f
SC
Eb B. Sax.
mp
E
Bb T. Sax.
Tutti
PL
Bb Cl. 2
f
E
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R
Fl. 1
O
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M
Picc.
SA
92
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Mall.
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Perc. 1
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Perc. 2
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Pno.
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Perc. 3
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Perc. 4
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p
mp
p
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Brolga Music Publishing
20
Into The Sun
100
Fl. 2

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Ob.

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Bsn.
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Bb Cl. 1

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Bb B. Cl.

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Eb A. Sax. 1

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Eb A. Sax. 2


Bb T. Sax.
Eb B. Sax.
mp
f
mp
f
mp
f
p
mp
f
mp
f
p
mp
mp

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p

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p
100
Bb Tpt. 1

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Bb Tpt. 2
 Solo

Tbn. 2

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Euph.
Tba.


Db.


Pno.
Mall.
Perc. 1
Perc. 2
E
mf
p
Tutti
p
p
Play
p
p
p

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
mf

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Bass Drum
Perc. 3
Perc. 4

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Brolga Music Publishing
mp
p
p
p
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p
mf
p
mf
p
PL
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p
M
Tbn. 1

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poco rit.
SA
F Hn.
p
E

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R
Fl. 1
O


SC
Picc.
poco rit.
Into The Sun
21
108 Gratitude:
poco rit.
With a stillness that is both humble and weary q = 60

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Picc.
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Fl. 1
p
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Fl. 2
p
Ob.
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Bsn.
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mp
mf
Bb Cl. 1
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Bb Cl. 2
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Bb B. Cl.

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mp
mf

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Eb A. Sax. 1
mf
R
mf
mf
SC
Eb B. Sax.
Gratitude:
108 With a stillness that is both humble and weary q = 60
Tutti
Bb Tpt. 1
E
mp
Tutti
PL
Bb Tpt. 2
mp
mp
Tbn. 2
mp
Euph.
Tba.
Euph.
mp
SA
Tbn. 1


mf
poco rit.

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mf
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mf
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M
F Hn.
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pp
O
Bb T. Sax.
mp
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E
Eb A. Sax. 2
mf
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mf
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
+ Tba.
mf
mp
Db.
mp
Pno.
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
Mall.


Perc. 1
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Perc. 2
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Perc. 3
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Perc. 4
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Brolga Music Publishing
22
Into The Sun
115 Opportunity:
Picc.


Fl. 1


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
mf
Fl. 2

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mf
Ob.
Bsn.


Bb Cl. 1
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Bb Cl. 2
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Bb B. Cl.
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Eb A. Sax. 1
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mf
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mp
mf
mp
mf
mp
f
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Euph.
Tba.

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Db.

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Pno.


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Mall.

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Perc. 1
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Perc. 2
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Perc. 3

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Perc. 4
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Brolga Music Publishing
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f
p
f
f
f
E
p
PL
F Hn.
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M
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SA
Bb Tpt. 2
mf
p
Opportunity:

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mf
pp
115 With new found enthusiasm q = 120
Bb Tpt. 1
mf
E
Eb B. Sax.
mp
R
Bb T. Sax.

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mf
O


Fl. 2
SC
Eb A. Sax. 2
With new found enthusiasm q = 120
p
p
Tutti
mp
p
mf
p
mf
f
sim.
4
mf
Sizzle Cymbal
f
Mounted castanets
f
Tambourine
Lagerphone
f
23
Into The Sun
120
Picc.
Play
Fl. 1
f
mf
f
mf
Fl. 2
Ob.
mp
mp
mf
Bsn.
Bb Cl. 1
f
mf
Bb Cl. 2
mp
mf
mp
Bb B. Cl.
mp
E
Eb A. Sax. 1
R
mf
Eb A. Sax. 2
mp
O
mf
Bb T. Sax.
mp
mf
mp
mf
mf
SC
mf
mp
Eb B. Sax.
fp
E
Bb Tpt. 1
F Hn.
p
fp
fp
M
mf
PL
Bb Tpt. 2
Tutti
mp
SA
Tbn. 1
Tbn. 2
Euph.
Euph.
Tba.
p
mf
p
Db.
Pno.
mp
f
Mall.
mf
f
8
Perc. 1
Perc. 2
p
Perc. 3
Perc. 4
Brolga Music Publishing
24
Into The Sun
125

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Picc.
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f
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Fl. 2
f
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Ob.
mf
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Bsn.
fp
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Bb Cl. 1
f
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Bb Cl. 2


mf
Bb B. Cl.
fp
E
Eb A. Sax. 1
R
Eb A. Sax. 2
mp
mp
mf
O
Bb T. Sax.
mp
SC
Eb B. Sax.
fp
Bb Tpt. 1
E
Bb Tpt. 2
F Hn.
SA
Tbn. 1
Tbn. 2
p
Euph.
Tba.




fp
mf
p
+ Tba.
fp
fp
mp


f


Mall.
mf
Perc. 1

f

mf
Perc. 2
f
Perc. 3
Perc. 4
Brolga Music Publishing




Db.
Pno.


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
M
f


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
fp
PL
f

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fp
f
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mp
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130
Picc.
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Fl. 1

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Fl. 2
Ob.
Bsn.
Bb Cl. 1

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f


f
Bb B. Cl.
mf
Eb A. Sax. 1
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
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f
Eb A. Sax. 2
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Bb T. Sax.
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R
E
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O
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cresc.
mf
Bb Cl. 2
Eb B. Sax.
25
Joyously! q. = 80 ( e = e )
“Here in Australia I am able to dream”
SC
Into The Sun
mf
130 Joyously! q. = 80 ( e = e )


Tbn. 1


Tbn. 2


Euph.
Tba.


Db.


Pno.




Mall.


Perc. 1
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
Perc. 2
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
Perc. 3

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Perc. 4


E
F Hn.
f
f
f
Opt. lower 8ve
f
Tbn. 1
Opt. lower 8ve
f
+ Euph.
f
PL


“Here in Australia I am able to dream”
M
Bb Tpt. 2


SA
Bb Tpt. 1
cresc.
Opt. upper 8ve
cresc.
Opt. 8vb
f
cresc.
mp
f
4
f
f
mf
mf
Brolga Music Publishing
26
Into The Sun
136
Picc.
Fl. 1
Fl. 2
Ob.
Bsn.
f
Bb Cl. 1
Bb Cl. 2
Bb B. Cl.
f
fp
f
fp
f
fp
f
E
Eb A. Sax. 1
R
Eb A. Sax. 2
O
Bb T. Sax.
SC
Eb B. Sax.
f
Bb Tpt. 1
E
Bb Tpt. 2
F Hn.
fp
f
M
Tbn. 1
f
PL
fp
f
SA
fp
Tbn. 2
Euph.
Tba.
fp
f
fp
f
f
Db.
f
Pno.
Mall.
8
12
Perc. 1
Perc. 2
mp
f
Perc. 3
f
Perc. 4
Brolga Music Publishing
f
27
Into The Sun
142
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28
Into The Sun
148
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29
Into The Sun
153
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158
Into The Sun
(e=e)
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Into The Sun
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Brolga Music Publishing
32
Into The Sun
170 Reflection:
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Reflection:
With a feeling of inner peace and calmness q = 48
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170
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With a feeling of inner peace and calmness q = 48
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Move jaw and alter breath speed to create sound of didgeridoo
arco
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33
Into The Sun
176
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Large Tam Tam
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Brolga Music Publishing