How Can You Own The Sky?

How Can You Own The Sky? FO R PE R U SA L O N LY A Symphonic Poem Honoring Native Wisdom Painting by Chava Florendo Music by Ethan Gans-Morse Poetry by Tiziana DellaRovere With the artistic collaboration of Brent Florendo Commissioned by the Rogue Valley Symphony on the occasion of its 50th anniversary

ii Commissioned by the Rogue Valley Symphony World Premiere: April 20, 2018 in Medford, Oregon Cover painting: She Who Watches by Chava Florendo. All rights reserved. Used by permission of the artist. Music 2018 by Ethan Gans-Morse (ASCAP) Poetry 2018 by Tiziana DellaRovere (ASCAP) Ethan GAns-Morse Music For more information: Ethan Gans-Morse ethan@animamundiproductions.com 541-778-1211 www.ethangm.com

Instrumentation iii 3 Flutes (2 nd dbl. Alto Fl. *, 3 rd dbl. Piccolo) 2 Oboes (2 nd dbl. English Horn) 2 Clarinets in Bb (2 nd dbl. Bb Bass Cl.) 2 Bassoons 1 Contrabassoon 4 Horns in F 2 Trumpets in C 2 Trombones 1 Bass Trombone 1 Tuba Timpani Percussion (3 players) Glockenspiel Crotales Triangle Tom-toms (2: one high, one low) Tam-tam Suspended Cymbal Clash Cymbals Vibraphone Snare Drum Sleigh Bells Hand Drum (Frame drum) Ratchet Tubular Bells Tambourine Bass Drum ABOUT THE PIECE How Can You Own e Sky? is a symphonic poem that broadly explores the Native American history of Southern Oregon, with a special focus on the Rogue River Wars of the 1850 s which led to the removal of the Takelma Tribe, now part of the Confederated Tribes of the Siletz. e piece is structured as a four-movement program symphony, with each movement beginning with a recitation of narrative poetry, which is then depicted through corresponding musical action. roughout the work, an original melody created by Brent Florendo is presented and developed, tying together the depictions of both legendary and modern times. For the world premiere performance of the Rogue Valley Symphony, the piece began and ended with singing and drumming by Mr. Florendo and the Dancing Spirit ensemble. Please contact Ethan Gans-Morse (541-778-1211) for Mr. Florendo's information or to discuss alternate performance configurations and request recordings. VAMP TRANSITIONS Between each movement, the orchestra has a notated vamp transition, in which a musical pattern is repeated sotto voce to accompany the recitation of the poetry. For the world premiere performance, the vamp transition between Movements III and IV was performed by Dancing Spirit. In all cases, the transition in and out of these vamp patterns should always be performed attacca subito, giving the piece a sense of developing from start to finish without any interruption. NOTATION How Can You Own e Sky? uses mostly conventional musical notation, with accidentals taking the full value of the measure (including accidentals introduced in grace notes). Aleatoric passages feature a rightward-facing arrow: Harp Violin I Violin II Viola Violoncello Double Bass Native American Singing/Drumming Ensemble * e alto flute part is very small and can easily be substituted by the 2 nd clarinet player. Contact the composer for alternate parts. If possible, anklet bells should be used (such as those worn by dancers at Native American Pow-Wows), but sleigh bells may alternately be used as a substitute. For the word premiere performance, the Dancing Spirit singing/drumming ensemble performed at the beginning and end of the piece as well as between movements 3 and 4, as indicated in the score. is symbol indicates that whatever pattern has been established should continue ad lib. until interrupted by the next indication. Whenever this arrow appears, the performer is instructed to play independently without synchronizing with the rest of the section. Movement III features an extended aleatoric passage beginning at measure 42. e conductor, in coordination with the tubular bells player, signals 4 cues (marked as sections 1, 2, 3, 4 in the score), each cue lasting a duration of approximately 10-20 seconds (conductor s discretion). Each performer repeats a pattern of notated material ad lib. until cued to continue to the next section. Except in specific cases where instruments are explicitly paired, each performer should follow their notated material without synchronizing with anyone else in their section. is entire passage should have a sense of very gradual crescendo across all four sections, culminating in a massive tutti crescendo leading into figure G at measure 46. ADDITIONAL RESOURCES For audio resources, copies of the poetry, and information about engaging the participation of the Dancing Spirit ensemble as heard in the world premiere performance and recording, please visit https://ethangm.com/hcyots DURATION AND PERFORMANCE CONFIGURATIONS e piece may be performed as a stand-alone program symphony with the poetry printed or projected, but it is strongly preferred that, for maximum emotional impact, the poetry be performed by an on-stage narrator between movements. In the world premiere performance, the total duration was ca. 45 minutes including the Native American singing/drumming and poetry. Performed as a program symphony alone, it has a duration of ca. 30 minutes. If the poetry is not performed, the vamp transitions should be omitted.

iv Part 1: e Sacred Hoop is Created Between the stars and the earth, Grandmother built a bridge on Dragonfly's wings. I asked her, How Can You Own The Sky? Original Poetry by Tiziana DellaRovere "Grandmother, where did it all begin?" And she answered, "Before the stars, the earth, and the sky, Before Salmon swam in the river, And Bear roamed the mountain slope, And Squirrel hid acorns under the ground, Before Eagle flew above the cedar trees, ere was the Great Mystery, who lived in Eternal Stillness. Out of the slumber and contentment of Eternal Stillness, A gentle stirring awakened Love. Love began to search for the Beloved, Singing a song of longing and desire. And when Love found the Beloved, e One was made into Two. e great Hoop of Creation came to be. Stars, planets, and suns circled around each other, Dancing to the beat of the heart of the Creator. In those ancient times, before our ancestors were born, e Giver came to earth from the sky. Deep water covered the earth. e Giver threw five mud cakes into the water, And the bottom of the ocean rose up For all the creatures to leave footprints on the soil of Mother Earth. en the Giver went to the sweathouse, Lit the tobacco of his sacred pipe, And dreamed the mountains, valleys, and rivers. His smoke traveled far And filled our land with the blue flowers of the Camas Root, And from then on, this valley was known as the Blue River. e Giver smoked his dreams for days and nights, And the four-legged walked the land, e winged ones swept the sky, And Salmon swam upstream, Filling the river with abundance and life. But the two-legged were trouble. e Giver tried three times to make a human. ree times he failed. Until, finally, the first woman came to be, And the first child was born. More children followed, Only when our ancestors began to walk the earth Was the Sacred Hoop complete. e Giver returned to the sky, And all life lived in harmony with Mother Earth." Part 2: e Sacred Hoop is Preserved rough the soil of the earth, And the water of the river, In the fluttering of Dragonfly's wings, Grandmother heard the voices of the Ancestors. I asked her, "Grandmother, what words did the Old Ones speak to you?" And she answered, "Walk the gentle path of love on this earth. e land was made sacred by the prayers and ceremonies Of the ones who came before us. Our ancestors live in us. We are part of them and they are part of us. is is as it was meant to be. Orphan child, you know so little of your past. Sit by the Great River, Listen to the heartbeat of the water, Like you felt the heartbeat of your mother When you were within her womb. e river will tell you the story Of how our ancestors learned to live in harmony With Mother Earth and all her creatures. But these teachings came at a great price. In the beginning, there was much chaos. People fought one another. e dead were cast into the river And carried to the sea without prayers. It was then that the red-headed giant Dragonfly came to us, And divided into two, And became the two Daldal brothers. ey brought us culture and the power of prayers and sacred ceremonies. When all had come to pass, And our people were living in peace, e Daldals transformed into Big Table Rock and Little Table Rock, e two brothers stood, tall sentinels of our valley, Reminders of the sacredness of life. For a long time, people prospered with the bounty of the river. But then they turned away from the sacred way of life. A long drought made the land hard like rock, and thirsty, like desert. e plants dried up, e animals were dying, e baskets were empty, And the river flowed no longer. e two-legged, desperate, having forgotten how to pray, Paid a trickster magician, the Old Goyl, To dance the Rain Dance for them. e rain came. It rained and rained and rained. e land flooded, e animals swam, And people drowned. Only then did they learn the lesson and return to the sacred way of life. ey entered the smokehouse and prayed to the Creator. e sacred smoke carried their prayers to the Great Mystery. Chicken Hawk, the Father of all chicken hawks, Flew from the dreamtime of our ancestors, Cleared the sky with a sweep of his wings And with his talons, Turned that trickster, the Old Goyl, into a cedar tree, Which, to this day, Rests alone atop Table Rock, Giving the people the gift of its fragrant medicine. Harmony was restored. e Sacred Hoop was preserved. My child, keep your prayers honest to your pure heart. e Creator is not above your head. e Creator is beneath your feet. e Creator is all around you and inside of you. All life is sacred.

Part 3: e Sacred Hoop is Broken Dragonfly's wings fell off that great bridge to the stars. ey fell to earth And as they touched the ground, ey became tears scattered throughout the land. Grandmother walked the Four Directions, searching for the lost tears, And when she found them, one by one, she gathered them in her basket, For the children, and the children of children, to remember for generations to come. "Grandmother," I asked, "What do you want us to remember?" And she answered: "I want you to remember the land that was lost. e land that the Creator had given to our people from time immemorial, For as long as the acorns have grown abundant on the oak trees, And the river has run through the valley floor. In those times, the animals spoke to us, And we spoke back to them, In those times, the men never killed the biggest buck with the greatest antlers, But the one who offered himself to them as a sacrifice to feed our people, In those times, the earth was willing to support us all, with love. And we found contentment in the land. But those times ended when the white men came. ey came with thunder and lightning, With insatiable hunger in their bellies, And contempt in their hearts. ey took our land, Piece by piece, And put signs everywhere in their towns that said, No Dogs or Indians Allowed. at's when our tears fell on the ground, And we mourned. ey dug the river beds, searching for gold, But even when they had their gold, ey found no satisfaction, And wanted more and more. ey raped our women, Hanged our boys, And called to exterminate us. Our tears fell on the ground, And we mourned. It was a day without sun, full of sorrow. By night, a night without stars or moon, e massacred bodies of women, children, and men, Lay on the mesa of Table Rock. On that day without sun, And that night without stars or moon, Even the Mariposa Lilies, the Buttercups, and Chaparral Brush shed tears. And their tears fell on the ground, And we mourned. Some of us went to war, Enough in number to win battles, Too few to win the war. ey forced our people away from the last of our land Where we had lived for thousands of years. So it began, the long march north. With not enough food, not enough blankets, We walked and walked, Over rough terrain, Whipped by the cold winds of winter, Until the soles of our moccasins wore out, And our elders fell behind. Footprints of blood marked the long trail to the coast. e tears of our ancestors fell and soaked the ground with sorrow, And we mourned. Many tribes arrived in this foreign land by the coast Where Salmon did not swim upstream. e white men took our sacred feathers away, And forbid us to speak our own language. Our tears fell on the ground. And we mourned Until we had no more tears to cry, And no more words to mourn. e unity was shattered. e Sacred Hoop was broken, And the pieces were scattered to the winds. I speak to you my child. is basket of tears is for you to remember the land you came from. Remember that Spirit is eternal, And the seed of the sacred ceremonies remains forever intact, In the heart of our people." Part 4: e Sacred Hoop is Restored Grandmother s sacred smoke encircled the big drum of our people. With each beat of the drum, A thousand dragonflies flew into the freedom of the sky. ey rose between the earth and the stars And made Grandmother's bridge strong with their wings. "Grandmother," I asked. "How can we restore the Sacred Hoop of our people?" And she answered, "Listen to the voice of the Big Drum. It sings the heartbeat of Mother Earth. Patience, my child. I am She Who Watches, And I have been watching for a very long time. After our freedom had been taken, And our voices had been silenced, Our ancestors came back from the Star Nation, To give us the vision of the Big Drum. e men sat in a circle, surrounded by the women. ey struck the big drum, Over and over, And the drum sang a song of longing and desire, And they remembered. ey remembered the Blue Valley of the Camas Flowers, e fragrant medicine of the Cedar Tree on the mesa of Table Rock, And the sound of the river. ey remembered their voices could speak the ancient language, And their feet could dance the sacred ceremonies. But most of all, they remembered at each one of them had come from the womb of a woman. I watched As their hearts began to mend And beat with the rhythm of the Heart of Mother Earth. eir feminine nature was awakened, And they became tender with love. I watched When men and women stood together in a circle around the Big Drum, And the beat of their drumming traveled far beyond the earth, Carrying their songs into the stars, the planets, and the sun As a prayer to the Great Mystery. I watched the Sacred Hoop being restored. Stand, my child, And give voice to the voiceless. Speak for the innocent ones, For the waters of the river, For the soil of the earth, For the four-legged that roam the mountain slopes, For the winged ones that sweep the valley floor. Your voice, which was once silenced, is powerful and needed. Because How can you own the sky? How can you live without water? How can you trap the wild without killing the forest? I am the One Who Watches over the yet unborn. I am the Bridge of Dragonfly s Wings, I am the voice of the ancestors. I came to tell you e world needs peace. e world needs harmony. e world needs love. e Sacred Hoop finds completion in your heart. You are the protector of Mother Earth. You are the love of the Creator. v

vi Table of Contents Part One: e Sacred Hoop Is Created 1 Part Two: e Sacred Hoop Is Preserved 41 Part ree: e Sacred Hoop Is Broken 79 Part Four: e Sacred Hoop Is Restored 92 Acknowledgments Jane Kenworthy Martin Majkut Brent Florendo Chava Florendo Agnes Baker Pilgrim Richard Gordon Robert Kyr Lloyd Matthew Haines Jeremy Howard Beck e composer and poet wish to acknowledge the following for helping to make this project possible: Joelle Graves and the staff and members of the Rogue Valley Symphony

Flute 1 Flute 2 Piccolo Oboe 1 English Horn Clarinet in B 1 Clarinet in B 2 Bassoon 1 Bassoon 2 Contrabassoon Horns 1, 2 in F Horns 3, 4 in F 2 Trumpets in C 2 Trombones Bass Trombone Tuba Timpani Suspended Cymbal Tam-tam Bass Drum How Can You Own The Sky? A Symphonic Poem Honoring Native Wisdom Commissioned by the Rogue Valley Symphony on the occasion of its 50th anniversary season Part One: The Sacred Hoop Is Created Transposing score...only when our ancestors began to walk the earth/was the Sacred Hoop complete. The Giver returned to the sky/and all life lived in harmony with Mother Earth. Maestoso = 60 G, B, D, E slowly w/ bass bow rub outside rim slowly To Glock. rubber mallets w/ triangle beater To Crot. rubber mallets Glock. Crot. Ethan Gans-Morse Harp Violin I III IV bisbigliando D C B E F G A Maestoso = 60 div. harmonic trill Violin II Viola Violoncello Double Bass II sul pont. sul pont. sul pont. sul pont. Copyright 2018 Ethan Gans-Morse (ASCAP). All Rights Reserved. International Copyright Secured.

2 Part One: The Sacred Hoop Is Created Glock. Crot. I 7 Piccolo sul pont. 1. harmonic trill

Part One: The Sacred Hoop Is Created 3 Glock. Crot. I 12 sul pont.

4 Part One: The Sacred Hoop Is Created 16 A delicatiss. To Fl. soli delicatiss. dolciss. with intense longing Fl. Glock. Crot. Solo Vln I A solo 3 ord. sul tasto ord. dolciss. with intense longing gli altri pizz. port. To Vib. pizz. warmly ord. pizz. sul tasto arco ord. ord. warmly sul tasto arco ord. sul tasto warmly port. sul tasto

Part One: The Sacred Hoop Is Created 5 Fl. 3 26 poco accel. B molto espress. Glock. Vib. Solo Vln I poco accel. B molto espress. espress. ord. ord. espress. ord. arco ord.

6 Part One: The Sacred Hoop Is Created Glock. Vib. Solo Vln I 34 To = 70 allargando = 50 C To Ob. Ob. sub. 1. 2. 3. 4. 2. To Tam. Tam. Vib. motor on (fast) cresc. bisbigliando = 70 allargando C = 50 sub. sul pont. div. tutti (sul pont) ord. sub. III sul pont. ord. sub. II sub.

Ob. 2 Tam. Vib. I 41 D D Con moto = 80 To 1. To Sus. Cym. To Crot. Con moto = 80 alla chitarra pizz. non arp. alla chitarra pizz. non arp. espress. espress. espress. Part One: The Sacred Hoop Is Created 7

8 Part One: The Sacred Hoop Is Created Sus. Cym. Crot. I 49 solo 2. Sus. Cym. Glock. To Glock. mallets unis. div. arco unis. espress. div. espress. arco pizz. arco arco pizz. soft Crot.

Part One: The Sacred Hoop Is Created 9 Glock. Crot. I 58 E poss. 1. con sord. 1. con sord. poco a poco poco a poco poco a poco To Vib. Vib. soft beater E sul tasto sub. sul pont. sub. sul pont. sub.

10 Part One: The Sacred Hoop Is Created 67 F Tom. I To Tom. F ord. sub. sub. ord. pizz. pizz. ord.

Part One: The Sacred Hoop Is Created 11 75 G soli soli soli soli soli Tom. Tam. I soli sim. sim. senza sord. sim. senza sord. soft beater G soli soli Tom. Tam. pizz. arco pizz. arco pizz. arco cresc.

12 Part One: The Sacred Hoop Is Created Tom. Tam. I 84 H To Fl. 4. 1. To Vib. H arco arco To Crot.

Part One: The Sacred Hoop Is Created 13 Fl. 3 Crot. Vib. 93 Fl. solo solo solo I Crot. soft mallets Vib. soft mallets cresc. poco a poco cresc. I I sul tasto (poss.) pizz. div. pizz. arco pizz. div. pizz. arco pizz. (unis.) sul tasto

14 Part One: The Sacred Hoop Is Created Fl. 3 J 101 Crot. Vib. con sord. dolciss. poco a poco cresc. I J arco (ord.) arco (ord.) arco (ord.) div.

Part One: The Sacred Hoop Is Created 15 Fl. 3 Crot. Vib. I K 107 div. a3 sul tasto K espress. unis. espress. ord. unis. div. unis. ord. molto espress. espress. poco rit poco rit

16 Part One: The Sacred Hoop Is Created 115 L A tempo ( = 80) Fl. 3 solo Crot. Vib. Solo Vln I Glock. bowed div. div. molto espress. molto espress. (harm. sounding 8va) (damp low register) L To Tom. A tempo ( = 80) solo gli altri soli unis. espress. div.

Part One: The Sacred Hoop Is Created 17 Fl. 3 Tom. Vib. 121 express. express. Solo Vln I tutti pizz. div. unis. pizz. pizz. unis. pizz. pizz.

18 Part One: The Sacred Hoop Is Created Fl. 3 Tom. I 129 M a2 senza sord. solo Tom. hard stick arco M arco arco arco arco

Part One: The Sacred Hoop Is Created 19 138 Fl. 3 soli dolciss. solo solo plaintive Solo Vln solo dolciss. gli altri I very warmly very warmly div. very warmly very warmly

20 Part One: The Sacred Hoop Is Created Fl. 3 Vib. Solo Vln I 146 cresc. poco a poco cresc. poco a poco cresc. poco a poco solo sempre dolciss. ord (struck) cresc. 1. N espress. sempre dolciss. div. a 3 unis. div. a 3 unis. unis. N

Part One: The Sacred Hoop Is Created 21 Fl. 3 Tom. Solo Vln I 155 molto espress. molto espress. 2. x tutti molto espress. molto espress. molto espress. To

22 Part One: The Sacred Hoop Is Created O 162 Tom. O I

Part One: The Sacred Hoop Is Created 23 171 3. 4. 1. Tom. I pizz. arco

24 Part One: The Sacred Hoop Is Created 180 Tom. I

Part One: The Sacred Hoop Is Created 25 186 P Q 1. 2. 3. 1. 1. 2. Tom. I P pizz. arco pizz. pizz. arco pizz. arco Q

26 Part One: The Sacred Hoop Is Created Tom. Vib. I 195 R 3. 4. a2 a2 motor off dry (no ped.) R arco

Part One: The Sacred Hoop Is Created 27 Tom. Vib. I 201 riten. cresc (1.) sim. riten. espress. espress. div. To Tam.

28 Part One: The Sacred Hoop Is Created Solo Vln I Con misura ( 60) accel 209 Freely (quasi cadenza) soli S To Fl. S Con misura ( 60) Freely (quasi cadenza) accel solo dolce gli altri pizz. pizz. pizz. pizz. pizz.

Part One: The Sacred Hoop Is Created 29 216 Fl. 3 Fl. solo To Ob. slow arpeggio 2. To Solo Vln I arco arco arco arco arco

30 Part One: The Sacred Hoop Is Created Ob. 2 Tam. Vib. I 224 = 80 Ob. motor on (fast) cresc. Tam. ritenuto = 80 tutti ritenuto

Ob. 2 Tam. Vib. I 228 T A tempo ( = 80) To Sus. Cym. To Crot. T A tempo ( = 80) alla chitarra pizz. alla chitarra pizz. espress. espress. Part One: The Sacred Hoop Is Created 31

32 Part One: The Sacred Hoop Is Created 235 U Ob. 2 Sus. Cym. Crot. 3. Sus. Cym. To Glock. Glock. Crot. To I U arco arco espress. dolce espress. sub. dolce espress. dolce espress. espress. dolce espress. dolce espress.

Glock. Crot. I 242 cresc. cresc. cresc. To Tom. Tom. Tam. To Tam. Part One: The Sacred Hoop Is Created pizz. arco arco div. pizz. 33

34 Part One: The Sacred Hoop Is Created Tom. Tam. V 248 To Fl. 3. 2. To Glock. To Vib. I V div. unis.

Part One: The Sacred Hoop Is Created 35 Fl. 3 Glock. Vib. I 256 W soli soli soli soli To Ob. soli ( ) a2 Vib. cresc. Fl. soli Glock. To Sus. Cym. pizz. W div. a3

36 Part One: The Sacred Hoop Is Created Fl. 3 Ob. 2 Sus. Cym. Vib. I dolce 264 X Ob. cresc. cresc. molto espress sul tasto ord. unis. div. sul tasto (poss.) ord. unis. div. arco X

Part One: The Sacred Hoop Is Created 37 273 Fl. 3 Ob. 2 To Sus. Cym. Vib. I 1. 3. 1. Sus. Cym. felt beaters To Cl. Cym. appassionato appassionato div. a 3 unis. 1.

38 Part One: The Sacred Hoop Is Created Fl. 3 280 Eng. Hn cresc. poco a poco cresc. cresc. poco a poco cresc. cresc. cresc. cresc. cresc. To Vib. I unis. div. unis. cresc. cresc. cresc.

Part One: The Sacred Hoop Is Created 39 Vib. I 289 rit. Y Maestoso = 100 To Ob. a2 motor off To Cl. Cym. no pedal rit. Y Maestoso = 100 rit. rit.

40 Part One: The Sacred Hoop Is Created Ob. 2 Cl. Cym. Glock. I Z ( 54) 299 cresc. poco a poco cresc. poco a poco To Flute cresc. poco a poco Ob. a2 a2 Glock. Cl. Cym. To Tam. Tam. cresc. Z ( 54) cresc. poco a poco cresc. poco a poco Vamp transition Vamp transition

41 Part Two: The Sacred Hoop Is Preserved...The Creator is not above your head./the Creator is beneath your feet. The Creator is all around you and inside of you./all life is sacred. Flute 1 Flute 2 Flute 3 Oboe 1 English Horn Clarinet in B 1 Bass Clarinet Bassoon 1 Bassoon 2 Contrabassoon Horns 1, 2 in F Horns 3, 4 in F 2 Trumpets in C 2 Trombones Bass Trombone Tuba Timpani Clash Cymbals Snare Drum Bass Drum Harp Solo Violin Violin I Violin II Viola Violoncello Double Bass Gentle = 54 solo To Ob. Gentle = 54 solo dolce gli altri legato legato x x X legato legato legato

42 Part Two: The Sacred Hoop Is Preserved Fl. 3 Ob. 2 B. Cl. 5 A Menacing = 120 staccatiss. Ob. staccatiss. staccatiss. staccatiss. staccatiss. ( ) staccatiss. ( ) con sord. con sord. (throughout) con sord. (throughout) Cl. Cym. I A staccato mallets Menacing = 120 tutti pizz. arco pizz. arco pizz. arco ( ) ( ) hard stick (ord.)

Fl. 3 Ob. 2 B. Cl. 11 B Very rhythmic staccatiss. To Part Two: The Sacred Hoop Is Preserved staccatiss. 43 Cl. Cym. I B Very rhythmic sub. sub.

44 Part Two: The Sacred Hoop Is Preserved 16 staccatiss. staccatiss. Ob. 2 staccatiss. staccatiss. B. Cl. Cl. Cym. Sn. Dr. I a2 mufed

Part Two: The Sacred Hoop Is Preserved 45 Ob. 2 B. Cl. C 22 Cl. Cym. Sn. Dr. I C To Tom.

46 Part Two: The Sacred Hoop Is Preserved Ob. 2 B. Cl. Tom. Sn. Dr. I D 28 soli cresc. soli con sord. cresc. con sord. cresc. soli soli 1. cresc. cresc. cresc. solo cresc. D Tom. cresc.

Part Two: The Sacred Hoop Is Preserved 47 34 E Ob. 2 B. Cl. Tom. Sn. Dr. I 3. solo 1. solo To Cl. Cym. E

48 Part Two: The Sacred Hoop Is Preserved Ob. 2 B. Cl. Tom. Cl. Cym. I 40 F 1. a2 a2 cresc. 1. a2 F Cl. Cym.

Part Two: The Sacred Hoop Is Preserved 49 Ob. 2 B. Cl. Tom. Cl. Cym. I 44 3. sub. To Tri.

50 Part Two: The Sacred Hoop Is Preserved Pesante 49 lunga To B. Cl. Pesante III lunga I II IV

Part Two: The Sacred Hoop Is Preserved 51 G 57 Tempo I = 54 solo delicate delicate solo To Ob. B. Cl. Tri. Solo Vln I G D C B E F G A senza sord. soli noble senza sord. Tri. Tempo I = 54 solo dolce e legato gli altri harmonic trill III IV harmonic trill a2 senza sord. pizz. pizz.

52 Part Two: The Sacred Hoop Is Preserved 62 Ob. 2 B. Cl. Ob. Tom. Tri. Solo Vln I a2 senza sord. cresc. To Tam. regular sticks IV div. a3 div. legato unis. II arco arco

Part Two: The Sacred Hoop Is Preserved 53 Ob. 2 B. Cl. Tom. Tam. I 67 H harm. gliss up/down div., each in own time tutti (not synchronized) H poco accel. = 60 sub. sub. sub. solo sub. solo sub. sub. solo solo sub. 1. sub. con sord. sub. con sord. sub. sub. To Sus. Cym. triangle beater scrape center rim Tam. To Rat. sub. poco accel. = 60 I II II sub. sub. harm. gliss up/down div., each in own time (not synchronized) slow over nat. harmonics sub. up and down ad lib. continue harm. gliss ad lib. ad lib. sub. solo Sus. Cym. solo To Tom. continue harm. gliss up and down ad lib. harm. gliss up/down div., each in own time (not synchronized) harm. gliss up/down div., each in own time (not synchronized) continue harm. gliss continue harm. gliss

54 Part Two: The Sacred Hoop Is Preserved Ob. 2 B. Cl. Tom. Rat. 73 Freely (con sord.) a2 solo ad lib. gliss to highest note poss. sul pont. Freely cresc. I gliss to highest note possible sul pont. cresc. gliss to highest note possible sul pont. cresc. gliss to highest note possible sul pont. cresc.

Part Two: The Sacred Hoop Is Preserved 55 76 I = 54 Ob. 2 B. Cl. solo a2 a2 cackling cackling cackling (sempre con sord.) Tom. Rat. Rat. To Sn. Dr. Tom. I = 54 I

56 Part Two: The Sacred Hoop Is Preserved Ob. 2 B. Cl. Tom. Sn. Dr. I 79 solo sub. marcatiss. solo solo solo marcatiss. accel. poco a poco solo marcatiss. marcatiss. snares off Vib. To Vib. Sn. Dr. motor off cresc. secco D C B E F G A cresc. D E F G accel. poco a poco div. pizz. unis. (sempre pizz.) ord. 0 pizz. ord. pizz. ord. ord. pizz. marcatiss. pizz. marcatiss.

Part Two: The Sacred Hoop Is Preserved 57 82 sempre Ob. 2 B. Cl. Tom. Vib. prominent prominent cresc. prominent cresc. cresc. ( ) I col legno battuto col legno battuto col legno battuto col legno battuto col legno battuto

58 Part Two: The Sacred Hoop Is Preserved Ob. 2 B. Cl. Tom. Vib. I 85 D (C ) B E F G A ord. ord. ord. ord. ord.

Ob. 2 B. Cl. 87 J Tempo II, scherzando = 120 solo solo Part Two: The Sacred Hoop Is Preserved solo 59 Tom. Rat. To Rat. To Glock. J Tempo II, scherzando = 120 I

60 Part Two: The Sacred Hoop Is Preserved Ob. 2 B. Cl. Glock. I 92 cresc. cresc. Glock. div. pizz. pizz. cresc. pizz. cresc. unis. arco ma leggiero

Part Two: The Sacred Hoop Is Preserved 61 96 Ob. 2 B. Cl. Glock. To Sus. Cym. I pizz. ma leggiero pizz. ma leggiero arco arco pizz.

62 Part Two: The Sacred Hoop Is Preserved Ob. 2 B. Cl. Sus. Cym. Rat. I 101 soli soli soli soli soli con sord. con sord. (sempre con sord.) con sord. arco arco arco Rat.

Part Two: The Sacred Hoop Is Preserved 63 Ob. 2 B. Cl. Sus. Cym. Rat. I 106 2. 4. Sus. Cym.

64 Part Two: The Sacred Hoop Is Preserved Ob. 2 B. Cl. Sus. Cym. Cl. Cym. 109 1. a2 cresc. cresc. a2 cresc. cresc. To Cl. Cym. a2 I cresc. cresc.

Ob. 2 B. Cl. Sus. Cym. Cl. Cym. I 113 Part Two: The Sacred Hoop Is Preserved Cl. Cym. To Tri. D C B E F G A div. div. div. 65

66 Part Two: The Sacred Hoop Is Preserved 118 Tempo I, maestoso ( = 54) K Ob. 2 To Cl. in B Sus. Cym. Tri. senza sord. senza sord. senza sord. senza sord. solo solo D C B E F G A heroic 1. soft mallets Tri. I K Tempo I, maestoso ( = 54) unis. unis. unis. pizz.

Part Two: The Sacred Hoop Is Preserved 67 120 Deliberate ( = ) accel. Ob. 2 Cl. in B Sus. Cym. Rat. I 1. senza sord. (D C B E F G A ) secco To Rat. div. Deliberate div. ( = ) accel. grotesque grotesque Tom. unis. sul pont. arco sul pont. sul pont. sul pont.

68 Part Two: The Sacred Hoop Is Preserved 124 z. cresc. molto z. cresc. molto Ob. 2 Tom. I sim. cuivré a2 cuivré a2 sim. sim. marcato unis. sul pont. cresc. molto cresc. molto marcato sim.

Part Two: The Sacred Hoop Is Preserved 69 Ob. 2 Tom. Rat. I 128 L Alla breve = 80 cuivré cuivré soli nasty! To Sus. Cym. Rat. (D ) C B (E ) F G A L Alla breve = 80 ord. div. ord. div. (sul pont.) (sul pont.) (sul pont.)

70 Part Two: The Sacred Hoop Is Preserved Ob. 2 Sus. Cym. Rat. 132 M nasty! nasty! sim. Sus. Cym. soft mallets I D (C ) B E (F ) G A M div. unis. div. ord. div. ord. ord.

Part Two: The Sacred Hoop Is Preserved 71 Ob. 2 Sus. Cym. Rat. 137 N sempre sim. sim. nasty! nasty! sempre sim. I sim. sim. sempre N sempre unis.

72 Part Two: The Sacred Hoop Is Preserved 141 O Ob. 2 Sus. Cym. Rat. I sim. sim. sempre cresc. poco a poco To Tam. D (C ) B E (F ) G A O div. unis. unis. div. sempre sim.

Part Two: The Sacred Hoop Is Preserved 73 allarg Ob. 2 Cl. Cym. Tam. I 146 a2 a2 very heroic very slow gliss B B () () (slow ) To Cl. Cym. Cl. Cym. Tam. cresc. E A allarg I unis. div. unis. slow gliss B B () () slow gliss B B () () slow gliss B B () ()

74 Part Two: The Sacred Hoop Is Preserved P 151 Tempo I, Heroic = 54 Ob. 2 Sus. Cym. Tam. I To 1. ord. mallets To Sus. Cym. Sus. Cym. P Tempo I, Heroic = 54 div.

Part Two: The Sacred Hoop Is Preserved 75 158 Q soli soli Sus. Cym. Tam. I To B. Cl. To Sl. Bells To H. Dr. Q sul tasto unis. sul tasto espress. div. sul tasto unis. sul tasto unis. div. a3 pizz.

76 Part Two: The Sacred Hoop Is Preserved 164 R B. Cl. solo solo Sl. Bells H. Dr. Sl. Bells * H. Dr. pizz. R I pizz. pizz. pizz. * If possible, anklet bells such as those worn in traditional Pow-Wow dance regalia should be used.

Part Two: The Sacred Hoop Is Preserved 77 173 senza rit. B. Cl. B. Cl. Sl. Bells H. Dr. senza rit. I

B. Cl. I Vamp transition = 48 Vamp transition = 48 180 pizz. con sord. pizz. con sord. attacca solo (repeat until cued) attacca 78 Part Two: The Sacred Hoop Is Preserved

79 Part Three: The Sacred Hoop Is Broken Flute 1 Alto Flute Flute 3 Oboe 1 English Horn Clarinet in B 1 Clarinet in B 2 Bassoon 1 Bassoon 2 Contrabassoon Horns 1, 2 in F Horns 3, 4 in F 2 Trumpets in C 2 Trombones Bass Trombone Tuba Timpani Tam-tam Tubular Bells Bass Drum...This basket of tears is for you to remember the land you came from. Remember that Spirit is eternal, And the seed of the sacred ceremonies remains forever intact, In the heart of our people. Grave, with unbearable sorrow = 48 x x x espress. solo Harp Violin I Violin II Viola Violoncello Double Bass ( ) Grave, with unbearable sorrow = 48 sim. (con sord.) arco (con sord.) div. arco div. con sord. sul pont. sim. port.

80 Part Three: The Sacred Hoop Is Broken A. Fl. Fl. 3 6 espress. espress. espress. espress. espress. A I div. sul pont. con sord. ord. espress. legatiss. div. con sord. sul pont. div. a3 div. a2 ord. A unis. port. espress.

Part Three: The Sacred Hoop Is Broken 81 A. Fl. Fl. 3 10 doloroso doloroso sempre ( ) sempre doloroso molto espress. I norm. molto espress. cresc. unis. molto espress. cresc. sul C ord. norm. cresc. molto espress. port. Sul A port. unis.

82 Part Three: The Sacred Hoop Is Broken A. Fl. 14 To Fl. B Fl. Tub. Bells espress. 1. 1. espress. espress. espress. soft mallet always pedal (l.v.), allowing blur except where notated otherwise I B brutal!

Part Three: The Sacred Hoop Is Broken 83 Tub. Bells I 19 sim. espress. sim. espress espress. espress espress espress. C C espress. div. espress. div. To Ob. espress. pizz. arco

84 Part Three: The Sacred Hoop Is Broken Ob. 2 24 D sub. sub. sub. Tub. Bells div. sub. sub. 1. sub. sub. a2 hard mallets D sub. sub. sub. sub. sub. one desk only (div.) legato sub. sempre legatiss. (gli altri: via sord.) I cresc. unis. sub. one desk only (div., con sord.) unis. solo 1. cresc. sub. espress. cresc. sub. cresc. sub. one desk only (div., con sord.) one desk only (div., con sord.)

Part Three: The Sacred Hoop Is Broken 85 29 E Ob. 2 espress. Ob. Tub. Bells I 1. espress. cresc. dolce dolce dolce solo 2. sempre legatiss. E 1st Desk: via sord. gli altri, senza sord. tutti (except 1st Desk) div, senza sord. (1st Desk: via sord.)

86 Part Three: The Sacred Hoop Is Broken Ob. 2 Tam. Tub. Bells I 33 pesante a2 a2 a2 pesante pesante cresc. dim. poco a poco gli altri (unis.) pesante tutti, unis., senza sord. pesante tutti, senza sord. pesante tutti, senza sord. pesante pesante

Part Three: The Sacred Hoop Is Broken 87 Ob. 2 Tam. 37 F sempre Tub. Bells I solo F espress. solo solo espress. ma delicatissimo gli altri div. a3 sul tasto solo possibile ord. ord. sul tasto div. sul tasto possibile espress. ma delicatissimo solo gli altri div. a3 espress. ma delicatissimo

88 Part Three: The Sacred Hoop Is Broken Ob. 2 1 Senza misura (conductor cues) 2 42 each player enters asynchronously at own time each player enters asynchronously at own time each player enters asynchronously at own time each player enters asynchronously at own time each player enters asynchronously at own time each player enters asynchronously at own time each player enters asynchronously at own time cresc. poco a poco cresc. poco a poco cresc. poco a poco cresc. poco a poco cresc. poco a poco cresc. poco a poco cresc. poco a poco Tub. Bells I 1 solo cresc. poco a poco very slow gliss repeat ad lib. (let blur) Senza misura (conductor cues) tutti stagger entrances beginning w/ section leader and continuing Desk 2, 3, etc. (asynchronous) cresc. pochiss. tutti stagger entrances beginning w/ section leader and continuing Desk 2, 3, etc. (asynchronous) cresc. pochiss. solo (inside player rst desk) tutti solo (inside player rst desk) cresc. ( ) ( ) tutti Each desk is asynchronous with other desks. Stand partners div. and synchronized. Each desk is asynchronous with other desks. wailing Stand partners div. and synchronized. I Beginning at measure 42, the conductor cues tubular bells while signaling "1" to the orchestra. The tubular bells player plays the passage as written, tempo ad. lib., then waits for conductor to signal "2" before proceeding. Meanwhile, the harp and violins enter asynchronously (each player at own time and approximate tempo), individually repeating each gure ad lib. until the conductor's next cue. 2 port. port. wailing port. port. port. port.

Part Three: The Sacred Hoop Is Broken 89 Ob. 2 Tub. Bells I 44 Hns 1, 2 together, asynchronous w/ Hns 3, 4 Hns 3, 4 together, asynchronous w/ Hns 1, 2 wailing 1, 2 together, asynchronous w/ Hns wailing cresc. molto! 8va ad lib. cresc. molto! cresc. molto! cresc. molto! cresc. molto! tremolo poco a poco più sul pont. + ( ) ( cresc. molto) tremolo poco a poco più sul pont. + cresc. molto! wailing cresc. molto! bsns. stagger breathing, always sneaking back in cresc. bsns. stagger breathing, always sneaking back in ad lib. but tpts in sync with each other cresc. bsns. stagger breathing, always sneaking back in cresc. cresc. cresc. start p and cresc. throughout cresc. cresc. stagger breathing, always sneaking back in cresc. cresc. ( ) ( cresc. molto) stagger entrances (asynchronous) poco a poco più sul pont. ( ) cresc. molto stagger entrances (asynchronous) poco a poco più sul pont. ( ) cresc. molto stagger entrances (asynchronous) poco a poco più sul pont. tutti div. ad lib. asynchronous (each player at own time) cresc. molto stagger breathing, always sneaking back in 3 4 3 4 port. port. port. molto molto molto molto molto molto molto molto molto molto The same procedure repeats for cues "2," "3," and "4." Arrow symbol indicates to repeat previous module until the next cue. A duration of approx. 10-20 seconds per cue is suggested. Note: "wailing" gure in, Vc, Hn, and should be synchronized with stand partner, but asynchronous between desks.

90 Part Three: The Sacred Hoop Is Broken Ob. 2 46 G Tempo I, with unbearable pain ( = 48) riten. Tam. Tub. Bells I cresc. cresc. cresc. a2 cresc. cresc. cresc. G Tempo I, with unbearable pain ( = 48) ord. ord. ord. ord. ord. riten.

Part Three: The Sacred Hoop Is Broken 91 Ob. 2 Tub. Bells I Native Amer. Ens. Vamp 50 più grave lunga Transition To A. Fl. solo To C Fl. morendo To Flute subito To. subito approx. pitches più grave very slowly trill 1/4 step up or down cluster: each player choose diff. pitch (div. inside/outside) Vamp between G and C (including 1/4 tones) lunga Transition senza vib. cluster: each vln. choose diff. pitch between C and F (including 1/4 tones) very slowly trill 1/4 step up or down (div. inside/outside) senza vib. cluster: each vla. choose diff. pitch between F and B (including 1/4 tones) very slowly trill 1/4 step up or down (div. inside/outside) senza vib. cluster: each vlc. choose diff. pitch between C and E (including 1/4 tones) very slowly trill 1/4 step up or down (div. inside/outside) senza vib. very gradually Note: Glissandos to headless stems indicate the destination pitch is approximate and there should not be any attempt to match pitch.

92 Part Four: The Sacred Hoop Is Restored Flute 1...The world needs peace./the world needs harmony./the world needs love. The Sacred Hoop nds completion in your heart. You are the protector of Mother Earth. You are the love of the Creator. Senza misura ( 42) Tempo rubato (follow solo vln.) Flute 2 Flute 3 Oboe 1 English Horn Clarinet in B 1 Clarinet in B 2 Bassoon 1 Bassoon 2 Contrabassoon Horns 1, 2 in F Horns 3, 4 in F 2 Trumpets in C 2 Trombones Bass Trombone Tuba Timpani Glockenspiel Vibraphone Harp Solo Violin Violin I Senza misura ( 42) freely expressive with tremendous yearning motor on ped. throughout (let blur) solo più molto molto molto very dark gli altri port. Glock. stringendo poco a poco sempre sul G soft mallets Tempo rubato (follow solo vln.) more urgent norm. Violin II Viola Violoncello Double Bass

Part Four: The Sacred Hoop Is Restored 93 Fl. 3 Glock. Vib. Solo Vln 4 A battuta ma sempre con rubato ( 69) solo dolciss. A A A battuta ma sempre con rubato ( 69) deliberate I solo gli altri

94 Part Four: The Sacred Hoop Is Restored Fl. 3 Glock. Vib. Solo Vln riten. B ( solo ) molto riten. A tempo 10 = (rubato) A tempo = B (rubato) deliberate (gli altri) I tutti

Part Four: The Sacred Hoop Is Restored 95 Fl. 3 Glock. Vib. Solo Vln I 16 ( solo ) molto solo solo dolciss. dolciss. rall. div. rall. cresc. molto div. div.

96 Part Four: The Sacred Hoop Is Restored Fl. 3 C 21 Ritmico ed energico = 72 Tri. H. Dr. Solo Vln I C To Tri. To H. Dr. Ritmico ed energico = 72 senza vib. div. pizz. pizz. pizz. pizz. pizz. Tri. H. Dr.

Part Four: The Sacred Hoop Is Restored 97 29 Fl. 3 solo Tri. H. Dr. To Vib. Solo Vln I (div.) div. div. div. unis. unis.

98 Part Four: The Sacred Hoop Is Restored 37 D Fl. 3 solo Tri. Vib. H. Dr. Solo Vln D I (sempre pizz.) (sempre pizz.) (sempre pizz.) (sempre pizz.) (sempre pizz.)

Part Four: The Sacred Hoop Is Restored 99 44 E Fl. 3 Tri. Vib. H. Dr. Solo Vln I solo motor off no ped. espr. (con vib. norm.) To Tom. Vib. E To

100 Part Four: The Sacred Hoop Is Restored 51 solo Fl. 3 solo soli Tom. Solo Vln I arco arco

Part Four: The Sacred Hoop Is Restored 101 58 F poco riten. Fl. 3 solo 1. Tom. Tom. Solo Vln F poco riten. I arco arco

102 Part Four: The Sacred Hoop Is Restored 64 A tempo Fl. 3 Sus. Cym. Solo Vln A tempo dolce e legato delicato I dolce dolce

Part Four: The Sacred Hoop Is Restored 103 72 G Fl. 3 Sus. Cym. soli staccatissimo Sus. Cym. To Tom. soft mallets D C B E F G A Solo Vln I détaché cresc. G détaché pizz.

104 Part Four: The Sacred Hoop Is Restored 78 H Fl. 3 staccatiss. I tutti arco H détaché pizz.

Part Four: The Sacred Hoop Is Restored 105 84 I Fl. 3 To To Ob. 1. sim. I I détaché unis. div. stacatiss. arco arco sim.

106 Part Four: The Sacred Hoop Is Restored 89 J Ob. 2 Ob. 1. Tom. Solo Vln I solo J sub. gli altri (div.) unis. sub.

Part Four: The Sacred Hoop Is Restored 107 Ob. 2 Tom. (outside) (inside) I 94 K section (tutti) div. a2 Tom. cresc. poco a poco K section (tutti) div. espress. espress. div.

108 Part Four: The Sacred Hoop Is Restored 100 Ob. 2 Tom. I espress. espress. a2 espress. unis. espress. espress. espress.

Part Four: The Sacred Hoop Is Restored 109 105 Ob. 2 Tom. To Glock. D C B E F G A I

110 Part Four: The Sacred Hoop Is Restored Ob. 2 Glock. Vib. I 111 motor on unis. a2 L L Glock. D C B E F G A

Part Four: The Sacred Hoop Is Restored 111 Ob. 2 Tom. M ( = ) poco rit. 117 cresc. poco a poco cresc. poco a poco 1. 1. To Tom. Vib. secco D C B E F G A M ( = ) poco rit. I cresc. poco a poco cresc. poco a poco cresc. poco a poco cresc. poco a poco cresc. poco a poco div.

112 Part Four: The Sacred Hoop Is Restored Ob. 2 Vib. I 123 = 66 N molto molto molto molto molto molto molto a2 soli molto a2 soli solo molto solo a2 To Sus. Cym. = 66 N molto Sus. Cym. D C B E F G A

Part Four: The Sacred Hoop Is Restored 113 Ob. 2 Tom. Sus. Cym. I 129 O 1. a2 Tom. To Tam. O molto espress. molto espress. molto espress.

114 Part Four: The Sacred Hoop Is Restored Ob. 2 135 P Tom. Tam. I a2 Tam. a2 To Tub. Bells P a2

Part Four: The Sacred Hoop Is Restored 115 Ob. 2 I Q 140 cresc. molto! cresc. molto! molto! cresc. molto! cresc. molto! cresc. molto! molto! sim. molto! sim. molto! molto! 1. sim. molto! 3. sim. molto! a2 cresc. molto! sim. a2 sim. molto! molto! molto! rit. Q cresc. molto! cresc. molto! molto! sim. molto! rit. molto!

116 Part Four: The Sacred Hoop Is Restored Ob. 2 Cl. Cym. Tub. Bells I R = 60 S 145 To a2 a2 1. div. = 60 S unis. espress. R Tub. Bells Cl. Cym. espress.

Part Four: The Sacred Hoop Is Restored 117 150 espress. Cl. Cym. a2 To Glock. Tub. Bells To H. Dr. H. Dr. Solo Vln I div.

118 Part Four: The Sacred Hoop Is Restored T 157 soli (w/ solo vln.) tenero dolciss. Glock. H. Dr. Glock. dolciss. dolciss. dolciss. To Tom. Solo Vln I Native Amer. Ens. T (with Eng. Horn) tenero dolciss. gli altri div. dolciss. div. dolciss. unis. dolciss. dolciss.

Part Four: The Sacred Hoop Is Restored 119 U 165 poco riten. A tempo Tom. H. Dr. Solo Vln I U poco riten. unis. dolce Tom. A tempo dolce dolce Native Amer. Ens.