Preview Only. Legal Use Requires Purchase. The Legend of El Muerto The Last Ride BEGINNING BAND. Grade 1½. By Roland Barrett (ASCAP) INSTRUMENTATION

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1 BEGINNING BAND Grade 1½ The Legend o El Muerto The Last Ride 1 Conductor 10 lute 2 Oboe 10 Bb Clarinet 2 Bb Bass Clarinet 6 Eb Alto Saxohone Bb Tenor Saxohone 2 Eb Baritone Saxohone 8 Bb Trumet Horn 6 Trombone/Baritone/Bassoon By Roland Barrett (ASCAP) INSTRUMENTATION 2 Baritone Treble Cle (World Part Trombone in Bb Treble Cle) 2 Mallet Percussion (Chimes/Xylohone) 1 Otional Timani (Tune: G, D, Eb ) 2 Percussion 1 (Snare Drum, Bass Drum) Percussion 2 (Susended Cymbal/Tambourine, Temle Block/Woodblock) PROGRAM NOTES WORLD PARTS Aailable or donload rom.alred.com/orldarts Horn in Eb Trombone/Baritone in Bb Bass Cle in Eb Bass Cle in Eb Treble Cle in Bb Bass Cle in Bb Treble Cle This iece, The Legend o El Muerto, is based on an old olk tale originating in Texas in the mid-1800s. In a largely untamed and laless area knon as No Man s Land (an area o land beteen the Rio Grande and Nueces Riers), liestock rustling had reached eidemic roortions. Among the many rustlers as a legendary horse thie knon simly as Vidal. Vidal had made quite a name or himsel, and as anted dead or alie ith a generous bounty being oered to anyone ho arehended him. In an astonishing lack o judgement, Vidal made the mistake o stealing seeral rized mustangs belonging to a Texas Ranger named Creed Taylor. Taylor and another Ranger quickly caught u ith Vidal and his men and killed them in their slee. Not being content ith the outlas deaths, hoeer, the Rangers decided to send a brutal message to all the cattle rustlers and horse thiees in the region. To that end, they beheaded Vidal and tied his torso irmly in the saddle o a ild mustang. Then, attaching Vidal s head and sombrero to the saddle ith a long stri o rahide, the Rangers set the horse ree ree to roam the Texas hills carrying its ominous burden. Preie Only Soon, stories began to emerge rom all across the region... stories o a headless rider galloing along the rairie ith a sombrero-toed head singing ildly at the horse s side, laughing ildly in the Texas moonlight. The legend lies on to this day. Please note: Our band and orchestra music is no being collated by an automatic high-seed system. The enclosed arts are no sorted by age count, rather than score order.

2 NOTES TO THE CONDUCTOR Ater a dramatic crescendo in measures 1 2, measures 3 and (and all similar sots) should be layed ith a sharly articulated and orceul marcato. The ensemble should ork to really emhasize the crescendo-decrescendo rise-and-all eect in measures 5 and 6 (and all similar assages). At the same time, the audience should be able to easily hear the temle block s eocation o a galloing horse. (Note: hile only one temle block is required, to may also be used, ith the alternation o high s. lo let to the discretion o the director. Also, i a temle block is not aailable, a oodblock may be substituted.) All layers should ocus on droing the dynamic leel to a true iano in measure 1, then executing a crescendo to a true orte on the donbeat o measure. Players should be encouraged to take a good breath, then careully sustain, suort, and crescendo hile still listening careully to their intonation. The aleatoric assage in measures 5 51 requires a bit o exlanation: Within each section o instruments, begin ith one layer, then quickly add in all the layers in that section. Each erson reeats the our-note cell as many times as ossible in the gien time rame. The our notes may be layed as quickly or as sloly as each layer ishes, in any rhythmic coniguration, and ith any articulation the layer ishes. No to layers should sound the same. As each erson reeats the cell as many times as ossible, as more and more layers are added, and as the crescendo builds, the oerall eect should be ominous, menacing, and absolutely chaotic! inally, ork to make sure that eeryone inishes u on time and arries together on the donbeat o measure 52. Lastly, the trumet solo in measure 71 is intended to be a sound eect, imitating a horse hinny. The best ay to exlain this eect is simly to reer you to the inal assage o Sleigh Ride, that amous seasonal aorite by Leroy Anderson. Preie Only

3 ULL SCORE Arox. Duration - 2:15 lute Oboe Bb Clarinet Bb Bass Clarinet Eb Alto Saxohone Bb Tenor Saxohone Eb Baritone Saxohone Bb Trumet Horn Trombone / Baritone / Bassoon Mallet Percussion (Chimes/Xylohone) Otional Timani Percussion 1 (Snare Drum, Bass Drum) Percussion 2 (Susended Cymbal/ Tambourine, Temle Block/Woodblock) b Driing = 10 Bass Drum Í Í The Legend o El Muerto The Last Ride Driing = 10 Tune: G, D, E Snare Drum 1 Susended Cymbal BELWIN-MILLS PUBLISHING CORP., a diision o ALRED MUSIC All Rights Resered including Public Perormance choke 3 By Roland Barrett (ASCAP) Preie Only

4 Tt. Tim. b n b n n Chimes. Temle Block 5 n 6 N ^ 7 Preie Only 8

5 Tt. Tim. b b n b n b b b b b b 9 A b A b b b b. Sus. Cym N N ^ N N ^ choke 11 Preie Only 12 5

6 6 Tt. Tim. b n b n n T. Block. 13 n.. 1 N N A... Preie Only. Sus. Cym. 16

7 7 Tt. Tim. b. j 17. Preie Only j. J

8 8 Tt. Tim. b Xylohone P Woodblock P 21 At extreme outer edge o head P Preie Only 2

9 9 Tt. Tim. b Preie Only

10 10 29 Tt. Tim. b 29 Preie Only

11 11 n Tt. Tim. b Gradually moe to center o head during crescendo n Preie Only

12 12 37 Tt. Tim. b 37 n n. Chimes. J n n Preie Only. J

13 13 Tt. Tim. b A Tambourine 1 Preie Only 2 3 j J

14 1 Tt. Tim. b 5 5 * Rim clicks Rim clicks * ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ * ~~~~~~~~~~~~~~~~~~~~~~~~~~~ Preie Only * 5 6 *Begin this aleatoric assage ith one lute, then quickly add in the remainder o the lute section, olloed by oboe, clarinets, alto saxes, tenor saxes, and trumets. Each layer should reeat the motie as many times as ossible in the allotted time. Additionally, each layer should lay the motie at a dierent seed, rhythm, and style no to layers should sound the same. The resulting eect should be extremely chaotic. All layers should crescendo in olume, seed, and intensity, reaching the highest eak o rantic actiity in measure 51. In measure 51, there should be no break in the action or diminishing o intensity as layers reare to resume normal actiity in measure

15 15 Tt. Tim. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ b ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ * ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ On head Sus. Cym. 9 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ *. On head 50 ~~~~~~~~~~~~~~~~~~~~~~~~~ 51 Preie Only.. J j J 52

16 16 Tt. Tim. b choke 53 5 n b n n. T. Block 55 n Preie Only 56

17 17 Tt. Tim. b N ^ b n b n b b b b b b 59 A b A b b b b Preie Only. Sus. Cym. 60

18 18 Tt. Tim. b N N ^ N N ^ choke n b n n. T. Block 63 n.. Preie Only 6

19 Tt. Tim. b N N A.... Sus. Cym. 66. j 67. Preie Only j 68 19

20 20 Tt. Tim. b choke Horse hinny eect (a la Leroy Anderson s Sleigh Ride) T. Block ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Xylohone Preie Only 72