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Commissioned by The United States Army Band (Col.

Thomas Rotondi, Conductor)


Cornet 1 in Bb to Commemorate the 150th Anniversary of the American Civil War

Symphonic Requiem
(Seventh Symphony)
James Barnes, opus 135

Adagio
10 15 20
   
q = 66-69

 
25
           
   
23

      
     
sfz
f

                      


32 poco accelerando
        
31 
        
ff

38       39              
accelerando 
       
      
mf

mp
44 50 (Subito Allegro
44

    
q = 132-138 )

        
ff mp ff

54
54   63  73 leggiero
    
               
 
mf


77 
              
76

           
mp mf

               
83

     
f
2 Cornet 1 in Bb

87
                      
   
87
     
  
   
f

93
   
                   
93

    
ff sfz ff

101
101  106 sinistro , ,
   
                                    
 
   
f
115  122           
    

112

         
,

 ff
f

126
  
  
              
126

    

mf ff
135

                
 
    
  
135 3 3

3
   
3

      
f


 
         
141
 
            
 
 

ff
147 Più mosso ( q = 138 )

               
147

                      
mf f

151
  
         
         
               

Cornet 1 in Bb 3

155 Meno mosso( q = 92-96 )



155    
161  3      3   
       

sfz ff ff

      
166 accelerando-affrettando
 
3 3
 ,         
  
165

           
,

 
f ff

      
( q = 76-80 )
173 Adagio 3
171 molto allargando
,  
  add cup mute 178
        
   fff f


a tempo
     
179 ritard.
    
cup mt.
        
 mp
mf
Cornet 1 in Bb

II. Marye's Heights


(Fredericksburg, December 1862)
Drammatico
( h. = 56 )

 
Tpt. 1 cue:
        
5  15

   
ff

16
con licenza
 molto rubato a tempo
 26 (q=q)
 32 
 
 

36
   
  
36 44 49 
Cnt. 1
    
   
ff

       
    
    
                 
52

    

57
               
57 Tpt. 1 cue:
   
               
    
ff

               
61
   
               
    

65
                       
65 Cnt. 1

   
ff mp ff

70
                 
70
        
    
f
2 Cornet 1 in Bb

                 
73

         
  
Più mosso

               
molto ritenuto

  
76 ( h. = 66-69 )
      
   

79 ( q = q )
                ,    
79

      

ff 3

84 a tempo
        
molto rallentando
     
83
       
, ,

mp ff
f

88
 90   98 
       
   
mf

103 trattenuto
103  
 
in 6

attacca
Cornet 1 in Bb

III. Longstreet's Assault


( The Third Day at Gettysburg- July, 1863 )
Part I: A

 
Adagio Free Time (Senza Mizura)

   
(Harp) (Clars. chord, offstage Tpt. 3)


10 4 I: B

 
(Offstage Tpt. 2)


12 5 I: C

 
(Offstage Tpt. 1 )
I: D

 
6 Cnt. 3- Right rear (or cued on-stage)

             
Allegro

   
continues

           
f "Columns Forward" (CSA)

Part II: A

7

 
(Hns., Tubas, offstage Field Drum)


16 8 Part II: B

 
( Another offstage F. Dr.)

       
Part III: A
Allegro

  
16 onstage 9
       
   
 
ff "To Arms" (USA) 3 3 3 3

                      continue
 
12 unis.

    
3 3 3 3

  
10 Part III:B (Harp re-enters)
2 Cornet 1 in Bb

11 Adagio- ma non troppo


14
   
( q = 60 )
11 18

    
ff add straight mute

                                      
str. mute
21
          

f
3 3 3 3 3 3 3 3

          42        
open
27 34   
          
26

   
remove mute f
3 3 3 3

                            
Più mosso
( q = 76 )
    
43 ,

            
3 3 3 3 3 3

                      


46

 

50
 
                                 
50 ,

    

54
                 3        
54 3
         
, ,

  
3 3

59 62
                
    
3
59 ,

           
sfz mf fff
Cornet 1 in Bb 3

64 rallent. accel.
 molto rallentando
 
             
             

ff

Meno mosso
69 ( q = 60 )  rallent. a tempo
 75 
    
 add st. mute

79
77
      
st. mute
     
    
mp mf remove mute
p
Cornet 1 in Bb
IV. Apotheosis
( Appomattix-1865)

Moderato
( q = 88 )
   26 
Più mosso ( q = 92 )
13 19   
   
 
(Ob., E.H., Bsn.) (+Saxs.) (Clars., Hns.)
mp mf

34

34  40 Cnt. 1
    
Cnts. 2-3 cue:
     
  
   
mp mp mf espressivo

44 stringendo
49 Andante ( q = 96-100 )
44    
            
ben legato
  
f

       
  
  
54 55       
     

61
     
   
60
      
           

ff f ff f ff

72 accelerando
   
     
tenuto
69
      
     
 mf

Più mosso
76
 84   98 
( q = 100-104 )
76
   
92
          
   
f mp mf p
Placido
102 108
  
( q = 84 ) Ancora placido
101 accelerando
ritenuto rallentando
  
2 Cornet 1 in Bb

                         
114 117 più mosso ( q = 108 )
  
stringendo molto rallentando
110 agitato
    , 
  
    
f

121 Meno Mosso ( q = 92 )


121 
          132  
molto ritenuto

           
ff  ff
f

 138 Maestoso
  
( q = 92-96 )
     
    
134
 accelerando
  
     
sub. p f

  
148
    
       
144

    
mf mp add cup mute

154 162 a tempo 166 Con moto 169


   
accel.

154 cup mute rallent. ( q = 88 )

rallent.
      
p mp p remove mute

171
  open
              
, 
  

       
,
 
     
f

Adagio maestoso
176 ( q = 84 ) a tempo ( q = 84 )
   
molto ritard.
         
         
176 ,

fff

      ,      ,    ,  
186 molto trattenuto 
183

ritenuto
  
     
,
 

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