q=120

q=120

J. O'ConnorGoing Bolshevik

Composed unmeterred piano intro piano improv [approx 20s]

Flute

Soprano Saxophone

Alto Saxophone

Tenor Saxophone

Bass Clarinetin Bb

Trumpet 1

Trumpet 2

Trumpet 3

Trumpet 4

Trombone 1

Trombone 2

Trombone

Bass Trombone

Jazz Guitar

Piano

Upright Bass

Drums

ff

Solo, rubato, dramatic contrasts

p

f

mp

pp

f sub.p

ff

Improvise pointilistic melodieswith interspersed clusters focused on the inticated registers (approx 20secs)

8

A

A

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

create a percussive stream of staggered quavers asa wind section using key noise or tounging with unpitchedair.

p

cup mute

mf

cup mute

p

mf

mp

gliss.

f

mf

mp

f

mf

mp

f

gliss.

mf

p

f

2

14

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

mf

f

open

mp

f

ff

mp

gliss.

f

open

mp

f

ff

mp

f

mf

3

3

mp

f

ff

mp

gliss.

f

mp

f

ff

sf

mp

3

mp

f

ff

mp

mf

ff

mp

f

ff

mallets, roll moving between toms

p

p

ff

sticks very light, pontilisticpuntuations on cymbalsand/ or rims/traps, not dense

pp

3

20B

B

Trombone melodycommences

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

mf

3

p

3 3

pp

pp

mp

p

mp

p

3 3

pp

pp

mp

p

mp

p

3 3

pp

p

3 3

pp

3

solo melody

mf

3 3

pp

3

3

mp

pp

p

mf

mp

3

3 3

brush swirl on snarein L.H, accenting minims,play notation as written inr.h until C

mp

3 3

4

26

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

mf

mf

mp

mp

harmon mute

p

fp

p

harmon mute

fp

mp

3

3

3

f

3

mf

mp

3

3

3

f

3

mf

mp

3 3

f

3

mf

Tbn. 1

mp

3

3 f

3

mf

3

mp

3

3

f

3

mf

3

3

drums merge into moreconventional straight 8s time

3

5

32 C

C

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

33 3 3

Favour sparse combinationsof intervals

B²/F# G7#11 F-6(add¨13) E7âÅ A-

p

A- p

6

37

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

f

p

mf

3

33

mf

p

mf

3 3 3

3

p

p

3

mf

mf

mf

mf

p

mf

3

7

41

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

f

mf

3

3

3

3 3

f

mf

mf

f

mf

open

open

mf

make sure your part is clearly emerging out of the texture as the primary melody, sweet, and full

f

mf

p

p

mf

p

p

8

45

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

mf-f

3 3 3

f

mf

3

3

3

3

3

mf

3

bring this note out withoutmaking it seem overtly loud

mf

3

3

mf

mf

9

D

D

TROMBONE SOLO

3x, backgrounds last timeunless otherwise indicated

50

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

p

fp

mf

3 3 3

p

3

pp

3

3

pp

3

B±

don't feel too compelled to play the changes strictly.- with rhythm 1st time-some backgrounds 2nd- all backgrounds 3rd

F-9(¨13) Bº^7/F# G/E¨ F-13 C7sus¨9

B±

-rhythm ist time-some backgrounds 2nd time-All backgrounds 3rd time F-9(¨13) Bº^7/F# G/E¨ F-13 C7sus¨9

B± F-9(¨13) Bº^7/F# G/E¨ F-13 C7sus¨9

10

56

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

3 mp

pp

mp

pp

3

3 3

pp

mp

pp

mf

3 mf

3

straight mute

pp

3

open

p

straight mute

pp

3

C7alt A7alt E-6 B¨-11(¨13) G7#11 F-6(¨13) E7âÅ

p

p

C7alt A7alt E-6 B¨-11(¨13) G7#11 F-6(¨13) E7âÅ

C7alt A7alt E-6 B¨-11(¨13) G7#11 F-6(¨13) E7âÅ

11

62 E

E

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

mf

mf

mf

p

mf

mf

p

E¨-/A B¨7àÆ F²7#5 A-7 A-/G D¨7alt C-7/F G¨²#11 G¨²7#5

mf

p

mf

p

3

E¨-/A B¨7àÆ F²7#5 A-7 A-/G D¨7alt C-7/F G¨²#11 G¨²7#5

E¨-/A B¨7àÆ F²7#5 A-7 A-/G D¨7alt C-7/F G¨²#11 G¨²7#5

12

F

F

70

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

mf

3

3

3

3 3

mf

mf

mp

play on 2nd last and last repeat

mf

open

open

mp

mf

E¨ G¨ F B11(omit3) E¨11(omit3) A¨- G-

F#-

D¨+

E- E¨ no chord

mp

play on 2nd last and last repeat mf

mp

play on 2nd last and last repeat

mf

mp

E¨ G¨ F B11(omit3) E¨11(omit3) A¨- G-

F#-

D¨+

E- E¨

mf

mp

E¨ G¨ F B11(omit3) E¨11(omit3) A¨- G-

F#-

D¨+

E- E¨

mf

mp

mf

13

76

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

mf-f

3 3 3

f

mf

3

3

3

3

play last time only

f

mf

p

3

f

E¨

D²#11

D¨sus

mf

A¨

G²#11

G¨sus

E¨

D²#11

D¨sus

mf

A¨

G²#11

G¨sus

f

f

mf

f

mf

3 3

14

G

G

Pianist conductsminims

80

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

very delicate, introduce a senseof dynamic fluctuation by swelling slighlty to accentuate parts of thematerial of your choice

p

p

3 3

3

3 3 3

3

3

33

3

3

3

3

3

3

3

3

3 3 3

CONDUCT MINIMS

15

84

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

U. Bass

Dr.

3

3 3

3

3 3 3

3 3

3

3

3

3

3

3

3

3

3

3

3

3 3

a very orchestral sound, teutonic,balanced and warm, focusedbut not brittle. These chords shouldsound far away somehow, fading in andout of focus

ppp

mf

ppp

ppp

mf

ppp

ppp

arco

mf

ppp

16

88

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

U. Bass

Dr.

improvise in a similar mannerin terms of gesture and subdivisionto the previous bars. Aim for a similarly fluctuating harminic cluster

Brass chord

3

3

3

3

Brass chord 3 3

3

3

3

Brass chord

3

3

pp

mp

pp

mp

a very orchestral sound, teutonic,balanced and warm, focusedbut not brittle.

p

mf

3

pp

mp

pp

mp

arco

pp

mp

until the end, the slashes representa very quiet, low rumbling, like distant thunder. Achieve this however you wish. There should be a sense of subtle undulation.

17

94 H

H

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

U. Bass

Dr.

Brass chords

Brass chords

Brass chords

pp

pp

f

p

mp

3

3

mf

3

f

pp

pp

f

f

pp

18

101 I

I

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

U. Bass

Dr.

ascending brass chords

ascending brass chordsin minims (as indicated)

ppp

ascending brass chordsin minims (as indicated)

p

mp

p

mp

Improvise phrases ina similar vein, leavingsome space between each

G¨Maj (approx)

p

mp

p

mp

p

mp

19

109

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

U. Bass

Dr.

Brass chord

Brass chord

mp

ppp

Brass chord

ppp

p

ppp

p

ppp

p

ppp

p

ppp

p

20

J

J

117

Brass chordduration cued by trombone 2

Brass chordduration cured by trombone 2

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

OPEN

Continue in the same veinhowever meter ceases to be used to coordinate rhythmicbehaviour. (no groove)

OPEN

long, held chords observing specifieddynamics. Durations should be lead by 2nd trombone.

ppp

mp ppp

ppp

ppp

mp ppp

ppp

you may or may not wishto reference specified harmoniesin the melodies you play. D² n.c G¨²

long, held chord observing specifieddynamics. Visually and aurally lead theentry, dynamics and cut off of the brass section

ppp

mp ppp

ppp

ppp

mp ppp

ppp

In the highest two octaves,harmonise descending sequences like the one indicated using chordsfrom the diatonic harmony indicated

D²

ppp

mp ppp

ppp

OPEN

21

121

Brass chordduration cured by trombone 2

Brass chordduration cured by trombone 2

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

OPEN OPEN OPEN

mp

ppp

ppp

mp ppp

ppp

mp ppp

mp

ppp

ppp

mp ppp

ppp

mp ppp

D²

n.c D² n.c G¨² n.c

mp

ppp

ppp

mp ppp

ppp

mp ppp

mp

ppp

ppp

mp ppp

ppp

mp ppp

D²

D²

G¨²

mp

ppp

ppp

mp ppp

ppp

mp ppp

22

Brass chordduration cured by trombone 2127

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

Pno.

U. Bass

Dr.

bass clari and trombonebegin to taper out

OPEN

bass clari and trombone

begin to taper out

gradually taper out, make this happen fairly swiftly but avoidabruptness (clarinet and flute continue to play after you finish)OPEN

ppp

mp ppp

ppp

mp ppp

D²

gradually taper out, make this happen fairly swiftly but avoidabruptness (clarinet and flute continue to play after you finish)

OPEN

ppp

mp ppp

ppp

mp ppp

D²

ppp

mp ppp

23

129

Fl.

Sop. Sax.

Alto Sax.

Ten. Sax.

B. Cl.

Tpt. 1

Tpt. 2

Tpt.

Tpt.

Tbn. 1

Tbn. 2

Tbn.

B. Tbn.

J. Gtr.

U. Bass

Dr.

OPENBass clari and trom drop out

begin tapering out once thesoprano has dropped out, make this happen fairly swiftly but avoidabruptness

OPEN

Bass clari and trom drop outOPEN

begin tapering out once thebass clarinet has dropped out, make this happen fairly swiftly but avoidabruptness

24