To Right Our Wrongs FLEX - Full score

Harrison J. Collins
arr. Josh Trentadue
TO RIGHT OUR WRONGS
(2021)
for 6-part adaptable ensemble + optional choir
arranged with permission by the composer
Original Version Commissioned by The Kneel Consortium,
led by Rachel Maxwell, Josh Johnson, and the Traughter Junior High School Band
© 2021 Harrison J. Collins/J Stands for Joe Music LLC. All Rights Reserved.
“The Star Spangled Banner” - Music by John Stafford Smith

SUGGESTED INSTRUMENTATION
The following list has been provided below to serve as a guide for your part assignments; any combination of these instruments at
your discretion can be used to perform this work, as long as they each fulfill the number of parts required. As few as six players, one
per part, can perform this work.
If you're able to do this, don't be afraid to experiment with different instrumental combinations when performing this work! These
experimentations can be used a learning tool for you and your performers for how color and texture can change with even the
smallest difference in orchestration (example: have the flutes play alone at a particular passage, then clarinets and/or saxophones,
then a combination of all of these families. What are the differences in timbre? Does it affect the mood or emotion of the piece, and if
so, how?). Use this piece, in that regard, as an endless sea of experimentation and creative possibilities for you and your performers.
With all of this in mind, this arrangement of TO RIGHT OUR WRONGS should be used as opportunity to demonstrate how music
isn't just chord progressions, electronic samples, heavy-metal grooves, or even just simply dots on a page. It's how that music is
brought to life with what we have available; what we can create from it; how decisions of musical intent, listening to each other, and
hearing these new sounds/colors/textures can impact musical intent for a piece of music and/or our perceptions of it; and finally,
how we can use these skills for any performance situation, no matter what the instrumentation, style, or genre may be.
PART I
Piccolo, Flute/Oboe
Eb Clarinet
Bb Clarinet, Soprano Sax
PART II
Flute/Oboe, C Trumpet
Bb Clarinet, Soprano Sax, Bb Trumpet
Eb Alto Sax
PART III
Flute/Oboe, C Trumpet
Bb Clarinet, Bb Trumpet
Eb Alto Sax
English Horn, Horn (F)
PART IV
C Trumpet
Bassoon, Trombone, Euphonium (B.C.)
Bb Clarinet, Bb Trumpet
Bass Clarinet, Tenor Sax, Euphonium (T.C.)
Eb Alto Sax
English Horn, Horn (F)
PART V
Bassoon, Trombone, Euphonium (B.C.)
Bass Clarinet, Tenor Sax, Euphonium (T.C.)
Eb Baritone Sax
PART VI
Bassoon/Contrabassoon, Trombone, Euphonium (B.C.)
Bass Trombone, Tuba
Bass/Contrabass Clarinet, Tenor/Bass Sax, Euphonium (T.C.)
Eb Baritone Sax
All parts listed here are entirely optional, and are not necessary for the success of this work.
Piano
Keyboard Synthesizer 1+2
CHOIR (see Performance Notes for more details):
Soprano
Alto
Baritone (younger voices)
Tenor (older voices)
Bass (older voices)
ADDITIONAL PARTS
A vocal score has been provided for rehearsal purposes only.
PERCUSSION LIST
While all percussion is entirely optional for the sake of practicality, it is strongly recommended
that as many of these parts as possible be assigned in order to fulfill the original intentions of this work.
Timpani (4 drums recommended; 5 drums may be used if necessary and available)
Chimes
Suspended Cymbal (mallets and sticks required; see Performance Notes)
China Cymbal (mallets and sticks required; see Performance Notes)
Snare Drum
Bass Drum

ADDITIONAL INFORMATION
The original version of To Right Our Wrongs for symphonic band + optional choir was commissioned as part of The Kneel
Consortium, led by Rachel Maxwell and Josh Johnson. The composer expresses their heartfelt gratitude to the following consortium
members for being a part of this project and supporting this work.
SCHOOL GROUPS
Adlai E. Stevenson High School, Lincolnshire, IL
Alabama State University, Montgomery, AL
Antioch Upper Grade School, Antioch, IL
Batavia High School, Batavia, IL
Bednarcik Junior High School, Oswego, IL
Bloomington Junior High School, Bloomington, IL
Bullard High School, Fresno, CA
Cardinal Heights Upper Middle School, Sun Prairie, WI
Cienega High School, Vail, AZ
Clovis West High School, Fresno, CA
Crestdale Middle School, Matthews, NC
Crystal Lake South High School, Crystal Lake, IL
Dirksen Junior High School, Joliet, IL
Downers Grove North High School, Downers Grove, IL
Downers Grove South High School, Downers Grove, IL
Dripping Springs High School, Dripping Springs, TX
Dripping Springs Middle School, Dripping Springs, TX
Elmhurst University, Elmhurst, IL
Elmwood Park High School, Elmwood Park, IL
Evanston Township High School, Evanston, IL
Freeburg Community High School, Freeburg, IL
Genoa-Kingston High School, Genoa, IL
Glenbard East High School, Lombard, IL
Glenbrook North High School, Northbrook, IL
Gompers Junior High, Joliet, IL
Herget Middle School, Aurora, IL
Heritage Grove Middle School, Plainfield, IL
Hinsdale Middle School, Hinsdale, IL
Hoffman Estates High School, Hoffman Estates, IL
Hufford Junior High School, Joliet, IL
Huntley High School, Huntley, IL
Illinois State University Symphonic Band, Normal, IL
Indiana Bandmasters Association, IN
James Campbell High School, Ewa Beach, HI
John F. Kennedy Middle School, Plainfield, IL
Joliet Central High School, Joliet, IL
Joliet West High School, Joliet, IL
Kirkwood High School, Kirkwood, MO
Lakes Community High School, Lake Villa, IL
Lakeside Pride Symphonic Band, Chicago, IL
Libertyville HS, Libertyville, IL
MacArthur Middle School, Prospect Heights, IL
McHenry High School, McHenry, IL
Metea Valley High School, Aurora, IL
Kromrey Middle School, Middleton, WI
Mound Westonka High School, Minnetrista, MN
Murphy Jr. High School, Plainfield, IL
Naperville North High School, Naperville, IL
Nazareth Academy, La Grange Park, IL
Neuqua Valley High School, Naperville, IL
New Trier High School, Winnetka, IL
Nichols Middle School, Evanston, IL
Niles West High School, Skokie, IL
North Crawford High School, Soldiers Grove, WI
Northbrook Jr High, Northbrook, IL
O'Fallon Township High School, O'Fallon, IL
Oswego East High School, Oswego, IL
Oswego High School, Oswego, IL
Parkway West High School, Chesterfield, MO
Plainfield Central High School, Plainfield, IL
Plainfield East High School, Plainfield, IL
Plainfield North High School, Plainfield, IL
Plank Jr. High School, Oswego, IL
Prairie Grove Junior High School, Crystal Lake, IL
Prospect High School, Mt. Prospect, IL
Rachel Carson Middle School, Herndon, VA
Richmond-Burton Community High School, Richmond, IL
Rotolo Middle School, Batavia, IL
Sheldon High School, Eugene, OR
South Dade Senior High School, Homestead, FL
Sycamore Springs Middle School, Dripping Springs, TX
Temple University, Philadelphia, PA
Thompson Junior High, Oswego, IL
Traughber Junior High School, Oswego, IL
Unit 5 Music Parents, Normal, IL
University of Illinois Marching Illini, Urbana-Champaign, IL
Vernon Hills High School, Vernon Hills, IL
Victor J Andrew High School, Tinley Park, IL
Washington Junior High School & Academy, Joliet, IL
Washington Middle School, Aurora, IL
Waubonsie Valley High School, Aurora, IL
West Aurora HS, Aurora, IL
Westview Hills Middle School, IL
Yorkville High School, Yorkville, IL
Zion-Benton Township High School, Zion, IL
INDIVIDUAL MEMBERS
Laurie Bonner-Baker
Dr. Andrea Brown
Jennifer Gavel
Dr. Arris Golden, in honor of my parents, Bobby and Araminia Golden
Dr. Anthony Messina, dedicated to all my past, present, and future students of color
Margene Pappas
Lori Penzien
Angela Rennick
Angela Roeser
Will Satterwhite
Erick Von Sas

PERFORMANCE NOTES
-Some of the transposed copies split into octaves in consideration of a particular instrument's idiomatic capabilities. If a particular
staff where this occurs can be doubled (ex: if you have a flute and oboe player available to play on Part I), have each of the players
divide into the indicated octaves wherever possible.
-Cue-sized notes are optional passages the players may choose to perform.
-At measures 40 and 143, Part II performs excerpts of The Star-Spangled Banner as part of the composer's conceptual ideas for the
original version of this work (these passages were originally written for solo muted trumpet). These two solos were intended to be
played off-stage if possible. For this arrangement, and if Part II can be doubled, the composer recommends that the solos still be
played off-stage if possible, regardless of the instrument these solos are assigned to for performance.
-CHOIR (if used): There is a single baritone part with a higher tessitura written for younger singers, and tenor and bass parts with
appropriate tessituras for older singers. The composer recommends that one or the other be used depending on the age of the
performers. In either case, the same soprano and alto parts can be used.
-Sus. Cym., China Cym. (if either or both are used): Mallets and sticks are required. When using sticks, the parts specify to either
strike the cymbals with the bead (the head) or the shaft (the middle) of the sticks. For the Sus. Cym. part, this instruction applies to
both the edge and the bell/dome of the cymbal.
And the rocket's red glare
the bombs bursting in air
gave proof through the night
that our flag---
Stony the road we trod,
bitter the chast'ning rod
felt in the days when hope
unborn had died;
yet with a steady beat,
have not our weary feet
come to the place for which
our fathers sighed?
We have come over a way
that with tears have been watered
we have come treading our path
through the blood of the slaughtered
gloomy past, 'til now we stand
at last where the white gleam
of our bright star is cast
Lift ev'ry voice and sing
'till earth and heaven ring
ring with the harmonies of liberty
let our rejoicing rise
high as the list'ning skies
let it resound round as the rolling sea.
TEXT
--Text by Francis Scott Key and James Weldon Johnson

PROGRAM NOTES
To Right Our Wrongs aims to reflect on the complex, multi-faceted impact that privilege has on the American
experience, and on the way that disparities of privilege play a role in both the fight for and prevention of social
and systemic equality and equity. There is an extensive history of vast systemic violence and injustice towards
women, people of color, members of the LGBTQ+ community, and other minority groups in the United States.
Those who are not a part of these communities and, thus, have not experienced these communities' discrimination
are privileged; if they know about the injustices of our country, it is most likely because they have learned from
others. But members of these communities must both learn from others and live these injustices. Additionally, this
societal privilege is not binary. It is intersectional, meaning that different people experience different amounts of
privilege based on the communities they are a part of. A white, cisgender woman is privileged in the sense that
she is both white and cisgender; however, she does not have the privilege that men have. A transgender, disabled
man does have that privilege; but he, in turn, does not have the privilege held by those who are cisgender or ablebodied.
This complex role that privilege plays in the systemic discrimination of our country led me to the guiding
questions of this work: What does it mean to work against the wrongdoings of our country's past and present?
How can privilege be utilized for good? As those who hold privilege, what does it mean to right our wrongs?
A crucial part of the fight for true equality in our country is the utilization of privilege to make an impact on the
system, which requires privileged people to be aware of and understand privilege and its meaning. As a
privileged person myself in most primary ways privilege presents itself in America (I am white, male, cisgender,
and able-bodied), there's probably little that I can say to those who do not experience these privileges that they
have not already learned through their own experiences. I feel that the best thing I can do is to speak to those who
are privileged like me, but who lack awareness or understanding of what this means. This work serves as an
honest, encouraging, and emotionally vulnerable message to the privileged, without accusation or condescension.
With it comes this message: If you are privileged, it is not an insult. It is not an accusation. It does not mean that
you are bad, or that your life accomplishments are not valid. It does not mean that you haven't struggled or fought
to get to where you are now. Having privilege simply means that you are part of a system that treats some people
better than it treats others in many different ways, and you are one of the people who are treated better in one or
more of those ways. This issue of privilege affects all of us, and we should all care. You can use the privilege you
have, in any form, to support those who do not have it.
In addition to an original melody, To Right Our Wrongs respectfully utilizes The Star-Spangled Banner, the US
national anthem, and Lift Every Voice and Sing, known to many as the African American national anthem, to reflect
the varied and complicated nature of the American experience.
--program notes by Harrison J. Collins
ABOUT THIS VERSION
Like Harrison, I am white, able-bodied, and privileged. The privilege that I possess protects me from a system
that, in reality, is entirely unjust, unfair, discriminatory, and biased. Like Harrison, I will never truly understand
what it is like to experience the horrifiying systemic racism, violence, and injustices that women, people of color,
members of the LGBTQ+ community, and other minority groups in the United States have experienced. And, like
Harrison, I've only begun to learn that, as a white American, I must acknowledge that there is a difference - that
there are two different Americas, one which favors the privileged and one that has enacted centuries of
systemically violent, racist, sexist, and misogynistic injustices.
To not acknowledge any of these things is grossly harmful, ignorant, and racist. To be silent is to be complicit.
One of Harrison's goals when composing To Right Our Wrongs was to use his platform and privilege to directly
speak to other white Americans - to those with similar or equal privilege who are unaware of, or who have also
not experienced, such disparities and injustices, as well as to those who have not even begun to acknowledge the
differences in privilege and experience prevalent in this country. I approached this adaptable ensemble
arrangement of To Right Our Wrongs with exactly the same goals in mind.
This version, arranged for 6 parts, is carefully curated from all of the musical resources Harrison originally created
in collaboration with the project coordinators, advisors, and members of The Kneel Consortium. The intentions of
the original version of the piece for symphonic band (including its optional choral music) have been preserved as
much as possible. Additional (and optional) parts for keyboard synthesizers have also been created exclusively for
this arrangement.
As an ally, I have so much to learn and a long way to go. I am still learning and always will be learning. It is
therefore my goal, and hope, with this arrangement that more white Americans will begin to recognize the
importance of not only speaking out against the inequalities and injustices prevalent in our society, but also
recognize the importance and necessity of fighting for equitable, systemic change in our greater society.
My sincerest gratitude goes to Harrison, Rachel Maxwell, and Josh Johnson for the opportunity to create this
adaptable ensemble version of To Right Our Wrongs for The Kneel Consortium.
--arrangement notes by Josh Trentadue

GRADE 3
Full Score (transposed)
Original Version Commissioned by The Kneel Consortium, led by Rachel Maxwell, Josh Johnson, and the Traughter Junior High School Band
TO RIGHT OUR WRONGS
Text by Francis Scott Key and James Weldon Johnson
(2021)
for 6-part adaptable ensemble + optional choir
Harrison J. Collins
arr. Josh Trentadue
PART I
Piccolo
Flute/Oboe
Eb Clarinet
Bb Clarinet
Soprano Sax
PART II
Flute/Oboe
C Trumpet
Bb Clarinet
Soprano Sax
Bb Trumpet
Eb Alto Sax
PART III
Flute/Oboe
C Trumpet
Bb Clarinet
Bb Trumpet
Eb Alto Sax
English Horn
Horn (F)
PART IV
C Trumpet
Bassoon
Trombone
Euphonium
Bb Clarinet
Bb Trumpet
Bass Clarinet
Tenor Sax
Euphonium (T.C.)
Eb Alto Sax
English Horn
Horn (F)
PART V
Bassoon
Trombone
Euphonium
Bass Clarinet
Tenor Sax
Euphonium (T.C.)
Eb Baritone Sax
PART VI
Bassoon/Contrabassoon
Trombone
Euphonium
Bass Trombone
Tuba
Bass/Contrabass Clarinet
Tenor/Bass Sax
Euphonium (T.C.)
Eb Baritone Sax
CHOIR
Soprano
Alto
Baritone
for younger voices
Tenor
for older voices
Bass
for older voices
Piano
Keyboard Synthesizer 1
Keyboard Synthesizer 2
Timpani
Chimes
Suspended Cymbal
China Cymbal
Snare Drum
Bass Drum
Pensive, reverent = 80
4
4
4
4
4
4
4
3
4
4
4
4
offstage solo player: omit until m. 40
non vib.
Pensive, reverent = 80
4
4
4
4
Fl/Tpt: non vib.
offstage solo player: omit until m. 40
Sop. Sax./Tpt: non vib.
offstage solo player: omit until m. 40
4 4 4
4
3
3
3
4
3
3
4 4
4
3
4
3
4
3
4
3
4
"CATHEDRAL" CHURCH BELLS/TUBULAR BELLS
3
4
3
4
3
4
w/ mallets
2 3 4 5 6
4
4
4
4
4
4
4
4
4
4
3
4
3
3
3
4
3
4
3
4
3
4
3
4
4
3
4
Picc/Fl: non vib.
Sop. Sax: non vib.
4
4
4
4
4
4
4
4
4
4
4
© 2021 Harrison J. Collins/J Stands for Joe Music LLC. All Rights Reserved.
“The Star Spangled Banner” - Music by John Stafford Smith

TO RIGHT OUR WRONGS
9
PART I
Picc.
Fl./Ob.
Eb Cl.
Bb Cl.
S. Sax.
PART II
Fl./Ob.
C Tpt.
Bb Cl.
S. Sax.
Bb Tpt.
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
Bs. Trb.
Tba.
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
A.
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
4
4
4
4
4
4
4
4
4
4
13
4 3
4
( )
3
3 3
4
4 4
4
( )
4
( )
3
3
( )
3
4 4 4 4
4
( )
( )
( )
3
4
3
4
4
4
4
3
4
( )
3
3
3
4 4 4
4
4
( )
( )
3 4 3 4
3
4
4
4
mm
3
4
4
3
4
mm
13
3
4
4
3
4
3
4
4
3
4
3
4 3
4
3
4
4
4
4
4
4
4
4
4
4
solo (one player if doubled; horn solo preferred if available)
solo (one player if doubled; horn solo preferred if available)
solo (one player if doubled; horn solo preferred if available)
solo (one player if doubled; horn solo preferred if available)
solo (one player if doubled; horn solo preferred if available)
solo (one player if doubled; horn solo preferred if available)
mm
mm
mm
3
4
3
4
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
4
3
4
4
3
4
4
w/ mallets
3
4
4
B. Dr.
7 8 9 10 11 12 13 14

10 TO RIGHT OUR WRONGS
PART I
Picc.
Fl./Ob.
Eb Cl.
Bb Cl.
S. Sax.
PART II
Fl./Ob.
C Tpt.
Bb Cl.
S. Sax.
Bb Tpt.
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
Bs. Trb.
Tba.
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
A.
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
4
4
4
4
4
4
4
4
4
4
( )
3 3 3
4 ( )
4
4
4 4
4
( )
3
4
4
3
4
3
3 3
4
4 4
4 4 4
3
3
3
4 4 4 4 4 4
3
3
3
4
4
4
4 4
4
3
3
3
4 4 4 4 4
4
mm
mm
mm
3
4
4
3
4
mm mm mm
3
4
3
4 3
4
4
4
mm mm mm
mm mm mm
mm mm mm
3
4
3
4
4
4
4
4
3
4
3
4
4
4
4
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
Fl/Tpt: ord.
ord.
Sop. Sax/Tpt: ord.
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
4
3
4
3
4
4 4 4 4
4
4
3
4
B. Dr.
15 16 17 18 19 20 21 22 23

TO RIGHT OUR WRONGS
11
24
Mournfully Singing
Picc/Fl: ord.
PART I
Picc.
Fl./Ob.
Eb Cl.
Sop. Sax: ord.
Bb Cl.
S. Sax.
PART II
Fl./Ob.
C Tpt.
Bb Cl.
S. Sax.
Bb Tpt.
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
Bs. Trb.
Tba.
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
A.
tutti (if doubled)
tutti (if doubled)
tutti (if doubled)
tutti (if doubled)
tutti (if doubled)
tutti (if doubled)
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
24
Mournfully Singing
WARM STRINGS/PAD
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
B. Dr.
24 25 26 27 28 29 30 31 32 33 34

12 TO RIGHT OUR WRONGS
rit.
= 92
41 Disquieted
PART I
Picc.
Fl./Ob.
Eb Cl.
3
4
Bb Cl.
S. Sax.
solo, offstage
Tpt: straight mute
PART II
Fl./Ob.
C Tpt.
strident
Bb Cl.
S. Sax.
4
Bb Tpt.
strident
solo, offstage
Eb A. Sax.
strident
PART III
Fl./Ob.
C Tpt.
3
Bb Cl.
Bb Tpt.
4
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
3
Euph. (T.C.)
4
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
3
Bs. Trb.
Tba.
4
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
A.
Bt.
T.
solo, offstage
Tpt: straight mute
3
3
4
3
4
Bs.
Pno
Synth. 1
Synth. 2
Timp.
rit. = 92
41 Disquieted
3
4
TUBULAR BELLS
3
3
4
4
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
3
4
B. Dr.
35 36 37 38 39 40 41 42 43 44 45 46

TO RIGHT OUR WRONGS
13
PART I
Picc.
Fl./Ob.
Eb Cl.
Bb Cl.
S. Sax.
51
4
3
4
2 4
3 4
4 4
3 4
2 4
PART II
Fl./Ob.
C Tpt.
Bb Cl.
S. Sax.
Bb Tpt.
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
3
4
2 3 4 3 2 4
4
4
4
Bsn.
Trb.
Euph.
no cresc.
3 2 3 4 3 2
Bb Cl.
Bb Tpt.
no cresc.
4 4 4
4 4
4
Bs. Cl.
T. Sax.
Euph. (T.C.)
no cresc.
Eb A. Sax.
no cresc.
Eng. Hn.
Hn. (F)
no cresc.
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
3
2 3
4 3 2
Euph. (T.C.)
4
4
4 4
4
4
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
3 2 3 4 3 2
Bs. Trb.
Tba.
4 4
Bs./Cbs. Cl.
4
4 4
4
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
A.
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
B. Dr.
51
3
2 3 4 3 2
4
4 4 4
4 4
SOFT+WARM BELLS/SOFT+WARM KEYS
3
2 3 4 3 2
4
4
4
4
4
4
+"CATHEDRAL" CHURCH BELLS
GRAND PIANO/STRINGS
3
2 3 4 3 2
4
4 4 4
4 4
4
4
4
4
3
4
3
4
3
4
no cresc.
no cresc.
no cresc.
no cresc.
no cresc.
2 4
3 4
4 4
3 4
2 4
ro - cket’s red glare
And the ro - cket’s red glare
And the ro - cket’s red glare
ro - cket’s red glare
ro - cket’s red glare
2 4
And the
3
4
4
3
4
2 4
2 4
3 4
4 4
3 4
2 4
47 48 49 50 51 52 53 54 55

14 TO RIGHT OUR WRONGS
PART I
Picc.
Fl./Ob.
Eb Cl.
Bb Cl.
S. Sax.
PART II
Fl./Ob.
C Tpt.
Bb Cl.
S. Sax.
Bb Tpt.
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
Bs. Trb.
Tba.
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
A.
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
B. Dr.
2 4
2 4
2 4
2 4
2 4
2 4
2 4
2 4
2 4
2 4
2 4
4
4
4
3
3
4 4 4 4
3
3
4
4
4
4
3 3
4 4 4 4
the bombs
3
4
3
4
3
4
3
4
bur - sting in air
the bombs bur - sting in air gave proof through the night our flag
the bombs bur - sting in air gave proof through the night our flag
bur - sting in air gave proof through the night that our flag
bur - sting in air night our flag
62
3
3
4
4
4
4
3
4
4
4
4
4
4
3
3
4
3
4
3
4
3
4
3 3
4 4
4 4
3
3
4
4
4
4
4
4
4
gave proof through the night
4
4
that our
flag
tutti [onstage]
offstage solo player: omit until m. 143
tutti [onstage]
offstage solo player: omit until m. 143
tutti [onstage]
offstage solo player: omit until m. 143
56 57 58 59 60 61 62 63 64
62

TO RIGHT OUR WRONGS
15
66
PART I
Picc.
Fl./Ob.
Eb Cl.
Bb Cl.
S. Sax.
Tpt: senza sord.
PART II
Fl./Ob.
C Tpt.
Tpt: senza sord.
Bb Cl.
S. Sax.
Bb Tpt.
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
Bs. Trb.
Tba.
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
oh
A.
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
66
WARM STRINGS/PAD
oh
oh
oh
oh
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
B. Dr.
choke
choke
65 66 67 68 69 70 71 72 73

16 TO RIGHT OUR WRONGS
74
Nervously Hopeful
PART I
Picc.
Fl./Ob.
Eb Cl.
Bb Cl.
S. Sax.
PART II
Fl./Ob.
C Tpt.
PART IV
3
3
4 4 4 4
Bb Cl.
3
3
3
S. Sax.
Bb Tpt.
4
4
4
4
4
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
3
3
3
Bb Cl.
Bb Tpt.
4
4
4 4
4
Eb A. Sax.
Eng. Hn.
Hn. (F)
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
3
3
3
4 4 4 4
4
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
3
3
3
Euph. (T.C.)
4
4
4
4
4
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
3
3
3
Euph.
Bs. Trb.
Tba.
4 4 4 4 4
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
A.
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
B. Dr.
Sto - ny the road we trod, bit - ter the chast - ‘ning rod felt in the days when
74
Nervously Hopeful
3
3
3
4
4
4
4
4
GRAND PIANO/WARM BRASS+STRINGS
4
4
4
4
w/ sticks
strike edge w/ bead
(let ring)
dome (strike w/ bead)
3
4
3
4
4
3
4
Sto - ny the road we trod, bit - ter the chast - - ‘ning rod felt in the days when
Sto - ny the road we trod, bit - ter the chast - - ‘ning rod felt in the days when
Sto - ny the road we trod, bit - ter the chast - ‘ning rod felt in the days when
3
4
3
strike edge w/ bead
74 75 76 77 78 79 80
4
4
felt in the days
( ) 3 4
4 4
3 4
4 4
3 4
4 4
3
4
w/ sticks
(let ring)
4
3
4
4
3
4
3
4
3
4
when
4
4
4
4
4
4
4
4
4
4

TO RIGHT OUR WRONGS
17
PART I
Picc.
Fl./Ob.
Eb Cl.
Bb Cl.
S. Sax.
PART II
Fl./Ob.
C Tpt.
Bb Cl.
S. Sax.
Bb Tpt.
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
Bs. Trb.
Tba.
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
A.
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
B. Dr.
4
4
4
4
4
4
4
4
4
4
4
84
3
3
4 4 4 4
3
4
4
3
3
4 4
4 4
3
3
4 4
4 4
3
3
4
4
4
4
hope un - - - - born
had died;
yet with a stea - - dy
beat, have not our wea - - ry
hope un - - - - born had died; yet with a stea - - dy beat, have not our wea - - ry
hope un - - - - born had died; yet with a stea - - dy beat, have not our wea - - ry
hope un - - - - born had died; yet with a stea - - dy beat, have not our wea - - ry
hope un - - - - born had died born had died yet with a stea - - dy beat, have not our wea - - ry
+BRASS
-BRASS
3
3
4
4
4
4
3
4
3
4
3
4
3
4
3
4
4
4
4
84
4
4
3
3
4
4
4
4
81 82 83 84 85 86 87
3
4
3
4
3
4
3
4
4
4
4
4

18 TO RIGHT OUR WRONGS
rit.
90
PART I
Picc.
Fl./Ob.
Eb Cl.
3
4
4
Bb Cl.
S. Sax.
PART II
Fl./Ob.
C Tpt.
Bb Cl.
3
S. Sax.
Bb Tpt.
4
4
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
3
Bb Cl.
Bb Tpt.
4 4
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
3
Bb Cl.
Bb Tpt.
4 4
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
3
Euph. (T.C.)
4
4
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
3
Euph.
Bs. Trb.
Tba.
4
4
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
feet come to the place
for
which
- - -
A.
Bt.
T.
Bs.
Pno
90
rit.
3
4
4
Synth. 1
Synth. 2
Timp.
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
B. Dr.
3
4
4
BRIGHT BRASS/STRINGS/PIANO/PAD
TUBULAR BELLS
3
4
4
w/ mallets
3
4
4
our fa thers
feet come to the place for which our fa - - - thers
feet come to the place for which ‘thers
feet come to the place for which ‘thers
feet come to the place for which ‘thers
w/ mallets
3
4
4
88 89 90 91 92 93

TO RIGHT OUR WRONGS
19
PART I
Picc.
Fl./Ob.
Eb Cl.
Bb Cl.
S. Sax.
94 Righteously passionate = 92
PART II
Fl./Ob.
C Tpt.
Bb Cl.
S. Sax.
Bb Tpt.
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
Bs. Trb.
Tba.
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
A.
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
B. Dr.
3
3
3
4
4
4
4
4
3
3
4
4
4
3 4
4
3 4 3 4 3
3
3
4
4
4
94 Righteously passionate = 92
3
3
4 4
4
4
3
3
3
4
4
4
4
4
3
4
3
4
3
3
3
3
4
4
4
4
4
sighed?
sighed?
sighed?
sighed?
sighed?
4
3
4
3
4
3
4
4
4
4
4
4
4
4
3
4
3
4
3
4
4
94 95 96 97 98 99 100
4
4
4
4
4
4
4
3
4
3
4
3
4
3
4
3
4
4
4
4
4
4
4
4
4
4
4
4
4

20 TO RIGHT OUR WRONGS
PART I
Picc.
Fl./Ob.
Eb Cl.
Bb Cl.
S. Sax.
PART II
Fl./Ob.
C Tpt.
Bb Cl.
S. Sax.
Bb Tpt.
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
Bs. Trb.
Tba.
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
A.
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
B. Dr.
4
4
4
4
4
4
4
4
4
4
4
103
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
sub.
We have come o - ver a way that with tears has been wa - - tered we have come trea - ding our path
We have come o - ver a way that with tears has been wa - - tered we have come trea - ding our path
We have come o - ver a way that with tears has been wa - - tered we have come trea - ding our path
We have come o - ver a way that with tears has been wa - - tered we have come trea - ding our path
We have come o - ver a way that with tears has been wa - - tered we have come trea - ding our path
103
sub.
101 102 103 104 105 106 107 108

TO RIGHT OUR WRONGS
21
PART I
Picc.
Fl./Ob.
Eb Cl.
Bb Cl.
S. Sax.
PART II
Fl./Ob.
C Tpt.
Bb Cl.
S. Sax.
Bb Tpt.
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
Bs. Trb.
Tba.
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
A.
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
B. Dr.
molto rit.
through the blood of the slaugh - - tered gloo - my past, ‘til now we stand at last where the white gleam of our bright star is
through the blood of the slaugh - - tered gloo - my past, ‘til now we stand at last where the white gleam of our bright star is
through the blood of the slaugh - - tered gloo - my past, ‘til now we stand at last where the white gleam of our bright star is
through the blood of the slaugh - - tered gloo - my past, ‘til now we stand at last where the white gleam of our bright star is
through the blood of the slaugh - - tered gloo - my past, ‘til now we stand at last where the white gleam of our bright star is
molto rit.
w/ sticks
strike w/ shaft
w/ sticks
strike w/ shaft
109 110 111 112 113 114 115 116

22 TO RIGHT OUR WRONGS
= 80
119
Wired, but with resolve
PART I
Picc.
Fl./Ob.
Eb Cl.
Bb Cl.
S. Sax.
PART II
Fl./Ob.
C Tpt.
Bb Cl.
S. Sax.
Bb Tpt.
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
Bb Cl.
Bb Tpt.
Eb A. Sax.
solo (one player if doubled; horn solo preferred if available)
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
Bs. Trb.
Tba.
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
A.
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
B. Dr.
cast.
cast. Lift ev’ - ry voice and sing ‘till earth and hea - ven ring
cast.
cast. Lift ev’ - ry voice and sing ‘till earth and hea - ven ring
= 80
119 Wired, but with resolve
WARM, EERIE STRINGS/PAD
SOFT BELLS/CELESTA
2 3 4 2
3 4 2 3
4 4
4 4
4
4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
3 4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
3 4
solo (one player if doubled; horn solo preferred if available)
2 3 4 2 3 4 2 3 4 4
solo (one player if doubled; horn solo preferred if available)
4 4 4 4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
3 4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
3 4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
3 4
2 4
3
4
solo (one player if doubled; horn solo preferred if available)
Lift
ev’ - ry voice and
sing
‘till earth and hea -
cast. Lift ev’ - ry voice and sing ‘till earth and hea - ven ring
117 118 119 120 121 122 123 124 125
4
2 4
3
4
4
ven
ring
2 4
3 4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
3 4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
3 4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
3 4

TO RIGHT OUR WRONGS
23
PART I
Picc.
Fl./Ob.
Eb Cl.
Bb Cl.
S. Sax.
PART II
Fl./Ob.
C Tpt.
Bb Cl.
S. Sax.
Bb Tpt.
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
Bs. Trb.
Tba.
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
A.
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
3
4
132
4
4
2 3
4 2 3
4 2
4
4 4
4
4
4
4
4
ring with the har - - mo - nies of li - - ber - - ty
let our re - - joi - cing
rise
high as the list -
ring with the har - - mo - nies of li - - ber - - ty let our re - - joi - cing rise high as the list - ‘ning
132
4
4
4
4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
2 4
3
4
let our re - - joi - cing rise high as the list - ‘ning
ring with the har - - mo - nies of li - - ber - - ty let our re - - joi - cing rise high as the list - ‘ning
ring with the har - - mo - nies of li - - ber - - ty let our re - - joi - cing rise high as the list - ‘ning
4
4
WARM STRINGS/PAD
+GRAND PIANO
w/ mallets
2 3 4 2 3 4 2
4
4
4
4
4
4
4
2 4
3
4
4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
2 4
3 4
4 4
2 4
3 4
4 4
2 4
2 4
3 4
4 4
2 4
3 4
4 4
( ) 2 4
‘ning
2 4
B. Dr.
126 127 128 129 130 131 132 133 134 135

24 TO RIGHT OUR WRONGS
PART I
Picc.
Fl./Ob.
Eb Cl.
Bb Cl.
S. Sax.
PART II
Fl./Ob.
C Tpt.
Bb Cl.
S. Sax.
Bb Tpt.
Eb A. Sax.
PART III
Fl./Ob.
C Tpt.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
Bs. Trb.
Tba.
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
CHOIR
S.
A.
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
B. Dr.
2 4
2 4
2 4
2 4
2 4
2 4
2 4
2 4
2 4
2 4
2 4
rit.
4
4
3
4
3
4
3 2 3 4
2
4
4
4
4
4
3
4
3
4
skies
skies let it re - - - sound loud as the roll - - - - ing
3 2 3
2
4
skies let it re - - - - - - -
4
4
sound loud as the roll ing
4 4
4
it re - - - sound
loud as the roll - - - - ing
skies let it re - - - sound loud as the roll - - - - ing
skies let it re - - - sound loud as the roll - - - - ing
3
3
4
3
4
3
4
let
2 4
3 4
rit.
2 4
3 4
4 4
2 4
4 4
2 4
3 4
4 4
2 4
4 4
2 4
3 4
4 4
2 4
4 4
2 4
3 4
4 4
2 4
4 4
rit.
2
4
4
2 4
3 4
rit.
2 3 4 2 4 4 4
4
2 4
3 4
4 4
2 4
4 4
3
4
2 4
3 4
4 4
2 4
4 4
136
137
138 139 140 141 142
4
2 4
4
4

TO RIGHT OUR WRONGS
25
143
PART I
Picc.
Fl./Ob.
Eb Cl.
Bb Cl.
S. Sax.
PART II
Fl./Ob.
C Tpt.
Bb Cl.
S. Sax.
Bb Tpt.
Eb A. Sax.
4
4
= 80
rit.
3
4
solo, offstage
Tpt: straight mute
solo, offstage
solo, offstage
3
4
4
4
PART III
Fl./Ob.
C Tpt.
Bb Cl.
Bb Tpt.
Eb A. Sax.
Eng. Hn.
Hn. (F)
PART IV
C Tpt.
Bsn.
Trb.
Euph.
Bb Cl.
Bb Tpt.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb A. Sax.
Eng. Hn.
Hn. (F)
4
4
3
4
4
3
4
4
PART V
Bsn.
Trb.
Euph.
Bs. Cl.
T. Sax.
Euph. (T.C.)
Eb Bar. Sax.
PART VI
Bsn./Cbsn.
Trb.
Euph.
Bs. Trb.
Tba.
Bs./Cbs. Cl.
T./Bs. Sax.
Euph. (T.C.)
Eb Bar. Sax.
4
4
3
4
3
4
4
4
CHOIR
S.
A.
Bt.
T.
Bs.
Pno
Synth. 1
Synth. 2
Timp.
143
4
4
4
4
sea.
sea.
sea.
sea.
= 80
3
4
rit.
3
4
3
4
4
+"CATHEDRAL"
TUBULAR BELLS
CHURCH BELLS
3
4
4
4
4
4
4
Chim.
Sus. Cym.
Ch. Cym.
Sn. Dr.
B. Dr.
4
3
4
143 144 145 146 147
4
w/ mallets choke
choke