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DAVID AVSHALOMOV Cornucopia o Rounds or Concert Band SCORE 1980 Raven Music

INTRUMENTATION Piccolo Flutes 1-2 Oboes 1-2 English Horn in F Eb Clarinet Bb Clarinets 1, 2, (doubled) Eb Alto Clarinet Bb Bass Clarinet Eb Contra-Alto Clarinet Bb Contrabass Clarinet (cued) Bassoons 1-2 Contrabassoon (cued) Eb Alto Saxophones 1-2 Bb Tenor Saxophone Eb Baritone Saxophone F Horns 1, 2,, 4 Bb Cornets 1, 2, Bb Trumpets 1-2 Trombones 1, 2, (bass) Euphoniums (C, bass cle) Tuba Harp (opt.) Cellos (opt.) String Bass (low C extension) Timpani (5 pedal) Percussion (5 to 7 players) Xylophone (sounds 8va) Glockenspiel (sounds 15ma) Vibraphone Marimba Tubular Chimes Snare Drum Field Drum (w/snares) Tenor Drum 4 Tom-Toms 4 Roto-Toms Timbales Bongos Bass Drum Suspended Cymbal Crash Cymbals Sock Cymbal Small Gong (= small Tam Tam, lat, no bump) Tam Tam (huge) Tambourine Wood block Claves Temple Blocks (5) Finger Cymbals Triangle(s) Cowbell (large) Sleighbells Maracas Guiro Sandpaper Ratchet Slapstick Cork-pop High Police Whistle (or reeree s/marching) Vibra-Slap Wood slit drums, 4 (opt.) Anvil (or brake drum) (opt.)

PERFORMANCE NOTES Transposing score. The Harp and Violoncello parts are optional and not critical. They are included because the work was originally conceived or the USAF Band, DC, in 1972, which then had a harpist (my dear riend and master band transcriber Lawrence Odom) and 4 (!) cellos. The BBb Contra-Bass Clarinet and Contrabassoon parts are cross-cued, but are worth procuring i you can do it. The Coda, bars 9 to the end, has been revised and engraved. The original parts have a separate book or every instrument (except the percussion score), but the newly substituted pages or the Coda (only) show both parts 1 and 2 (or and 4) in certain instruments, in both books. Stick with your part (1 or 2, or 4) to the end. The Bass Trombone part requires Eb extension. The Euphonium part has some 8vas and tacets marked in certain spots, or instruments lacking notes below low E. Do not play anything 8va unless the option is so marked. The Tuba part requires at least one player with a pedal C. The String Bass requires the low C extension or best eect. In a pinch, you may play low notes below E 8va. Optional Fun Intro You can ask a quartet o volunteers rom the band to stand up and sing the seven rounds listed at the end. Some only need singers; work out who sings what in advance and how to get the starting pitches. Sing them in the keys and order listed (same as in the exposition ). They all sing each tune once together in unison, then start the round one-on-a-part, each sing it through twice and stop. Then on to the next round. The singers should stay at their chairs. Ater the last one, give them a second to grab their instruments and then start the piece. Alternate Trick Ending Ater you have perormed the Cornucopia a ew times, i you want to try an alternative ending, here is a prankster option: Instead o the very last chord, jump back to the beginning and play the irst 4 bars again and stop. This will bring gasps and laughter rom the audience, then perhaps joyous applause. (Wow... Lie is just a dream... ). I you are eeling really playul, you can then cue the piccolo to play just the irst note o bar 5, but staccato, ater the ermata. You can even keep the band guessing and arrange a last-ew-seconds hand signal i you decide to go Prankster on the spur o the moment. (Alternatively you can jump back starting 5 bars beore the original end trickier to play, though.) Your librarian will need to provide duplicate irst pages or all parts to tape ater the last page. In memoriam: Walt Kelly ( Lie Fudge Esther Theme ), Walter Welke o UW, Ben Britten, and, o course, Spike Jones. With gratitude also to my mother, Doris, my musical Amalthea, who taught me all the rounds I know and to sing my part with gusto. Hence this Cornucopia... (The seven rounds are listed at the end o the score. Essentially all the music in this piece is derived rom them in whole or part or some variation or distortion.) DURATION: 12 minutes

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Picc. Fl. Ob. Eb Cl. C. A. Cl. C-B Cl. Cbsn. A. Sax. Bar. Sax. Crnt. Crnt. Tpt. 1 Hn. Hn. Tbn. Tbn. Tbn. Euph. Tuba. Str. Bass. Hp. Timp. 9 Allegro non troppo, giusto q = 10 40 marcato, staccato 1. 2. 1 + 2 marcato, staccato 1. 1. 2. marcato, staccato marcato, staccato 1. + 2.. + 4. s nobilmente, sost. nobilmente, sost. 41 42 loco wood mallets s 1. + 2. s s s s s tutti arco s s s ossia 50 Glock. Xyl. GLOCK. XYLO. CHIMES stacc. stacc. CYM. sn. stick, shoulder L.V. SM. TAMTAM at center LARGE TAMTAM at center L.V. L.V. BASS DRUM lge. mall. L.V. Cornucopia David Avshalomov

51 Picc. Fl. Ob. Eng. Hn. Eb Cl. Alto Cl. B. Cl. C. A. Cl. C-B Cl. Bsn. Cbsn. A. Sax. T. Sax. Bar. Sax. Crnt. Crnt. Tpt. 1 Tpt. 2 Hn. Hn. Tbn. Tbn. Tbn. Euph. Tuba. Str. Bass. Hp. Timp. Glock. Xyl. Vib. 45 4 44 (opt.) 46 loco 2. 1 + 2 sost. sost. sost. hard elt opt. VIBRAPHONE a2 motor on, ast speed hard rubber mall. stacc. (pedal up) David Avshalomov Cornucopia

Picc. Fl. Ob. Eng. Hn. Eb Cl. Cl. 1 Cl. Alto Cl. B. Cl. C. A. Cl. C-B Cl. Bsn. Cbsn. A. Sax. T. Sax. Bar. Sax. Crnt. Crnt. Tpt. 1 Tpt. 2 Hn. Hn. Tbn. Tbn. Tbn. Euph. Tuba. Str. Bass. Hp. Timp. Glock. Xyl. Vib. Sn. Dr. 47 48 49 50 marc. sost. (q = q) à2 marc. sost. marc. sost. à2 marc. sost. marc. sost. loco div. marc. sost. marc. sost. marc. sost. marc. sost. sempre sempre sempre sempre sempre BASS DRUM p à2 52 Cornucopia David Avshalomov

5 Picc. Fl. Ob. Eng. Hn. Eb Cl. Cl. 1 Cl. 2 Cl. Alto Cl. B. Cl. C. A. Cl. C-B Cl. Bsn. Cbsn. A. Sax. T. Sax. Bar. Sax. Crnt. Crnt. Tpt. 1 Hn. Hn. Tbn. Tbn. Tbn. Euph. Tuba. Str. Bass. Hp. Timp. Glock. Xyl. Vib. Chimes David Avshalomov 51 52 55 Molto Sostenuto Poco Più Mosso 58 59 60 (q = q) (h = h) h = 65-76 5 57 54 56 61 sz sp sp sp sp sz sz sz 62 6 64 à2 1. 2. à2 à2 2. sp sp sp 1. sp à2 sempre sempre BELLS UP sz sp sp sp sp 1 + 2 sz sz sz sz sz sz sz sz sempre sz sempre sz sempre sz sempre div. sempre sz sempre sempre sempre sempre sempre 1 + 2 sz sz sempre 2. 1. mute on 1+2 1. sz 2. mute on sp sz (mute on) (mute on) p sz 1. mute on 2. 2. mute on RAISE BELLS sp sz sp sz sempre sempre sz sp sz mute on sz sz sz sz sz sp sp sz p sp sz sp sz sz sp sp sz sz sp sz sp sz p sz sempre s (loco) sz sz sz sz sz sz loco sz sz sz s s hd. cord mall. sp sp p s sz sp s (tutti) (i 2 players, alt. notes) (tutti) (tutti loco) sp sp sp sp p s sz sz sz sz (one only cue C. Bsn.) ossia Full Voice sz L. V. s/ sz brass mall. sz (motor on, ast speed) (opt.) (ossia) sz (or Susp. Cym, wood butt) crash S. CYM. (opt. S. Cym, yarn) TRI. SM. TAMTAM sz Tri. btr. on dome TAM-TAM L.V. L.V. BASS DRUM L.V. 1. poco Cornucopia

Picc. Fl. Ob. Eng. Hn. Eb Cl. Hp. 65 66 67 68 69 70 71 72 7 Riten. 74 75 Cl. 1 Cl. 2 s p p poco molto Cl. Alto Cl. B. Cl. C. A. Cl. C-B Cl. Bsn. Cbsn. A. Sax. T. Sax. Bar. Sax. Crnt. Crnt. Tpt. 1 Hn. Hn. Tbn. Tbn. Euph. Tuba. Str. Bass. Timp. Glock. Xyl. Vib. Chimes Perc. Perc. 4 s/ s/ poco mp p poco molto mp p poco molto p poco molto mp BELLS p poco molto NORM. s p p poco molto p poco molto s sp p poco molto molto molto molto molto molto molto molto poco molto p poco molto sp p poco molto poco molto molto molto szp poco molto molto molto poco molto L. V. sp non- cresc. sp molto L.V. loco molto p poco molto p poco molto L.V. WOOD BLOCK Xylo mall. Perc. Cornucopia COWBELL SLEIGH BELLS L. TAMTAM SM. TAMTAM L.V. L.V. S. CYM cord TRI. L.V. p poco molto L.V. TAMB. (opt.) shake p SN. DRUM 1. + 2. mp div. s p p p poco p s sp sp 2. 1. sp BELLS NORM. p sp p 1. 2. mp p p poco. 4. s sp p p poco cantabile p cantabile szp szp szp ossia s loco sn. o p TEN. DRUM. p poco molto poco molto p BASS DRUM (opt. continue roll) molto 54 molto David Avshalomov

55 (q = q) Giusto q = 144-156 max 76 IN FOUR Picc. Fl. Ob. Eng. Hn. Eb Cl. Cl. 1 Cl. 2 Cl. Alto Cl. B. Cl. C. A. Cl. C-B Cl. Bsn. Cbsn. A. Sax. T. Sax. Bar. Sax. Crnt. Crnt. Tpt. 1 Hn. Hn. Tbn. Tbn. Euph. Tuba. Str. Bass. Hp. Timp. Glock. Xyl. Tamb. Sn. Dr. Ten. Dr. Perc. 4 B. Dr. 77 78 sz 1+2 1. + 2. marc. cresc. marc. cresc. 79 80 81 marc. cresc. marc. cresc. marc.cresc. marc.cresc. marc. cresc. marc. cresc. marcato, cresc. sz marcato, cresc. sz marcato, cresc. sz marcato, cresc. sz marcato, cresc. sz marcato, cresc. sz mutes o marcato cresc. marcato cresc. marcato cresc. marcato cresc. marcato cresc. mutes o 1. 2. sz marcato cresc. sz marc. cresc. sz marc. cresc. sz marc. cresc. Tutti, loco sz sz marc. cresc. sz sz cresc. hard mall. (not brass) L. TAM TAM David Avshalomov center (solo) L.V. snares on SM. TAM TAM. cresc. cresc. center TRI. S. CYM. cresc. wood/butt cresc. cresc. marc. marc. cresc. marc. cresc. Cornucopia

Picc. Fl. Ob. Eng. Hn. Eb Cl. Cl. 1 Cl. Alto Cl. B. Cl. C. A. Cl. C-B Cl. Bsn. Cbsn. A. Sax. T. Sax. Bar. Sax. Crnt. Crnt. Tpt. 1 Hn. Hn. Tbn. Tbn. Euph. Tuba. Str. Bass. Timp. Glock. Xyl. Tri. Sn. Perc. Dr. 4 rit. 82 8 84 85 86 87 88 sz/ sz sz/ sz (1.) sz/ sz/ sz sz/ sz sz/ sz sz/ sz sz/ sz sz/ sz/ sz/ sz/ sz/ sz/ sz/ sz sz/ sz/ sz sz/ sz sz/ sz sz sz/ sz/ sz/ sz/ sz (damp) COWBELL Opt. (stacc.) (wood/butt) S. CYM. yarn SM. TAMTAM (opt.) sz/p sz/p sz/p BASS DRUM (damp) sz p (damp) sz pp p molto molto L. TAMTAM p molto sz p molto sz sz sz sz sz sz sz sz sz sz sz sz sz sz/ sz sz sz/ sz sz ANVIL sz (damp TamTam) 56 Cornucopia David Avshalomov

DAVID AVSHALOMOV Music or Band Siege [7] powerul slow tragic tone poem, huge middle climax (also or orchestra) Spring Rondo [8] exuberant tonal dancy un in changing polymeters, hot ending Lieboat Variations [16-24] Everyone s Guide to the Band (opt. narrator) Cornucopia o Rounds [12], a wild variation-mashup o 7 rounds, huge cosmic ending Prime Time, Toccata Brillante [11] ast 11/8 showpiece, big band middle, hot ending Nigun Prophecy [9] rhapsodic variations on common Jewish nigun melodies, with optional singing. Commissioned by the Kaplan Foundation or St. Mary s Catholic University o Winona, MN, Janet Heukeshoven, Band Director. Hill Dance [5] in 5/8, un Bulgarian/Klezmer style, hot ending, eatures clarinet choir with Eb, Bb, BCl. soli. American Prize 2016, Band Composition (2 nd place) The Last Stand [7 45] slow tragic tone poem, dramatic, rich sonorities Commissioned 2012 by the Western Plains Wind Consortium (15 bands) American Prize 2014, Band Composition ( rd place) Vignettes, suite o 10 short widely-varied miniatures or community bands [14 total] First Place, American Prize 2015, Band Composition Commissioned 2012 by a consortium o 26 bands in the US and Europe Winner, 201 Wind Ensemble Composition Contests, Sul Ross State University (Texas) and Hillcrest Wind Ensemble (San Diego) Rain Dance [5] evocative tone painting, dissonant, powerul, haunting StarGazers, tonal color/character miniatures evoking stars and space travel Starry Night [1:0] slow long arch with cosmic climax Galaxy [2:45], slow start, adventure march with wild warp jump ending Glockenspiel March [2:0] old-ashioned novelty eaturing the orchestra bells section TRANSCRIPTIONS Bach, Sinonia to Cantata No. 29 [ 0] exuberant Baroque encore, transcribed or: Symphonic Wind Ensemble; Clarinets 1. 2. and Flutes/Piccs on the solo part (Eb) Solo Marimba (or Xylophone, or duet) with Wind Ensemble (D) WITH CHORUS Principles, secular cantata (Thos. Jeerson) [2] on religious reedom and liberty Original version TTBB (divisi), solo baritone, concert band Revised version SSAATTBB, solo baritone, concert band Sergeant Pepper Medley Lennon/McCartney [16 ] TTBB chorus with tenor and baritone soli, (or solo quintet), concert band (or combo) Perusal scores, reerence recordings,.pd perormance materials and complete list o the composer s works in all genres available through Raven Music www.davidavshalomov.com (10) 480-9525