Tanze aus Terpsichore (score)

Music for Winds
Nikk Pilato
Tänze aus Terpsichore
from Michael Praetorius' Collection
of Dance Music, circa 1612
Dedicated to the 2002-2003
J.P. Taravella High School Wind Orchestra; Coral Springs, Florida.
All Rights Reserved © 2012/2024 : Nikk Pilato www.nikkpilato.net

Music for Winds
INSTRUMENTATION
Piccolo
Flute I-II
Oboe I-II
English Horn*
Bassoon I-II
E-flat Soprano Clarinet (ad lib)
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III
Horn in F I-II-III
Tenor Trombone I-II
Bass Trombone
Euphonium
Tuba
String Bass
Harp (or Piano) †
Timpani
Percussion I
Crash Cymbals, Tenor or Field Drum, Glockenspiel, Tambourine, Triangle
Percussion II
Bass Drum, Castanets, Cymbals (crash & suspended), Tam Tam, Triangle, Woodblock
Percussion III
Bass Drum, Snare Drum, Tenor or Field Drum, Triangle, Tubular Bells, Vibraphone
Percussion IV
Glockenspiel, Marimba, Tubular Bells, Vibraphone, Xylophone
* The English Horn is used in the 4 th movement only. If no English Horn is available, the
part may be played by the second oboe.
† While the Harp/Piano part is optional, it greatly enhances the suite (particularly the harp).
It should be used if at all possible.
For any questions, or if any errata are found, please contact me – I will gladly answer or fix
any potential errata and send you a new part: nikk@nikkpilato.net
All Rights Reserved © 2012/2024 : Nikk Pilato www.nikkpilato.net

Music for Winds
PROGRAM NOTE
I came to appreciate Renaissance music much later in life than some of my colleagues. I paid
the requisite attention in Music History class as an undergraduate, but my head was
swimming in music by Barber, Copland, Prokofiev, and Shostakovich…to be completely
honest, the trials and tribulations of troubadours and trouvères and the intrigues of courtly
dances did not interest me much.
That all changed when I ran across a wind band setting of Renaissance dance music by Bob
Margolis, aptly titled Terpsichore (in Greek mythology, Terpsichore was the Muse of Dance).
Terpsichore is also the name of a collection of dance music assembled by German composer
Michael Praetorius, published in Wolfenbüttel, Germany, in 1612. Margolis’ suite drew from
several dances found in the Terpsichore, and is highly recommended for advanced
ensembles looking for a challenge. Around this time, I also discovered a wonderful work for
strings entitled Capriol Suite by Peter Warlock (a pen name for Philip Heseltine). This work
drew inspiration from another collection of Renaissance dance music, Thoinot Arbeau’s
Orchesography. Not long after discovering the Arbeau tome, Patrick Dunnigan, Director of
Bands at Florida State University, published his own Selections from the Danserye, based
on yet another collection of Renaissance-era music, Tielman Susato’s Het derde musyck
boexken, better known as The Danserye.
My introduction to these three works (and by extension, the three collections of dance music
upon which they are based) all took place within a year of each other, and the music – simple,
charming, elegant – continues to fascinate and delight me. In putting together Tänze aus
Terpsichore (literally, “dances out of the Terpsichore”), I had a clear goal in mind: To write
something that would not be terribly difficult in the hopes of making the suite accessible to
most university and high school wind bands (and perhaps even some daring middle school
bands). To that end, many of the original meters have been transformed into time signatures
that will give fewer problems (e.g., 6/4 becomes 6/8, etc.), and important parts are cued
liberally throughout.
Not wanting to copy what Mr. Margolis had already accomplished in his excellent work, I
took pains not to use the specific dances he orchestrated in his setting. Although this is a
suite of music derived from the Terpsichore, I also couldn’t help including nods to Warlock’s
and Dunnigan’s settings, as both influenced me greatly. It is my hope that this suite will help
introduce the wonderful music of the Renaissance to a wider audience. The order of the
movements is completely at the discretion of the conductor; the sequence in which they
appear here is merely a suggestion that seems to flow well.
Sincerely,
Nikk Pilato
All Rights Reserved © 2012 : Nikk Pilato www.nikkpilato.net

Music for Winds
PERFORMANCE NOTES
Each movement of the suite focuses on one form of Renaissance dance, incorporating the music of
several of these types:
Movement I is based on the circle dances known as Bransles (pronounced “brawn-slah”). The Bransle
was a 16 th Century dance of French origin, in which the dancers move mainly from side to side, and is
performed by couples in a line or a circle. The style eventually migrated to Italy, Scotland, and Spain, but
curiously never became popular in England. In his writings, Arbeau strongly implies that the Bransle was
a dance mainly performed by commoners. The first movement includes the following dances (in order of
introduction):
o Bransle double 1 (XII)
o Bransle double 3 (XII)
o Bransle simple 1: La, la, la, je ne l’ose dire (I)
Movement II is based on the athletic, improvised dances known as Gaillardes (galliard in England,
gagliarda in Italy). The Gaillarde was characterised by leaps, jumps, hops, and other similar figures. In
writings of the period, it is suggested that the most important and defining aspect of this dance was its
last two beats, consisting of a large jump, with one leg landing ahead of the other in a posture. In this
suite, however, the first of the Gaillardes has been transformed into a regal, stately intrada, giving way to
a more “athletic” dance to close out the movement. I couldn’t resist paying homage to Bob Margolis in
this movement, particularly in the percussive writing and the manner in which the movement ends. The
second movement includes the following dances (in order of introduction):
o Gaillarde (CCCVI)
o Gaillarde (CCC)
Movement III is based on the Ballet, a dance that originated in the late fifteenth century in Italy. Originally
a dance interpretation of fencing, the ballet was developed further in the French court during the
seventeenth century, eventually falling into decline in the early nineteenth century. It was reintroduced
to Europe by the Ballets Russes dance company, headed by Sergei Diaghilev, who also introduced many
choreographic and style innovations that popularised Ballet throughout the world. The third movement
includes the following dances (in order of introduction):
o Ballet (CCLXXIII)
o Ballet de Monsieur de Nemours (CCLIII)
o Ballet des Baccanales (CCLXXVIII)
Movement IV is based on La Canarie (XXXI), a curious entry in the Terpsichore, as it appears to stand
alone without much relation to any of the broader forms of dance encountered. The dance was named
for the Canary Islands, where it originated. It has been set here as a call-and-response.
Movement V is based on the Courante, a type of triple meter dance that was popular from the late
Renaissance period into the Baroque era. As with many of these dances, there were two types: The French
Courante, a moderately fast dance with many cross-accents typically notated in 3/2 or 6/4, and the Italian
Courante, which was significantly faster and more free-flowing (“…absolutely the most serious [dance]
one can find” wrote Johann Walther about the rhythm of the Italian Courante). For this suite, the dance
has been converted into more conventional meter signatures. The fifth movement includes the following
dances (in order of introduction), with the Courante CXXV being used twice in altered forms.
o Courante (CXXV)
o Courante: La Rosette (CIX)
All Rights Reserved © 2012 : Nikk Pilato www.nikkpilato.net

Score
T änze aus Terpsichore
from Michael Praetorius' Collection of Dance Music, circa 1612
Piccolo
Flute I-II
Oboe I-II
Stately, unhurried ( q = c. 112 )
4
4
I. Bransles
a2
NIKK PILATO
Bassoon I-II
Clarinet in E
B Clarinet I
B Clarinet II-III
Bass Clarinet
Alto Sax I-II
Tenor Sax
4
4
a2
Baritone Sax
Bassoon
B Trumpet I-II-III
Horn I-II-III
Trombone I-II-III
Euphonium
Tuba
String Bass
Harp or Piano
pizz.
Str. Bass
arco
Timpani
4
4
Percussion I
Tambourine
[thumb roll]
Percussion II
Tam Tam
sempre l.v.
Percussion III
Tenor or Field Drum
Percussion IV
Tubular Bells
All Rights Reserved
1
2
3
© 2012/2024 : Nikk Pilato
4
5
6
www.nikkpilato.net

T änze aus Terpsichore, page 2
Picc.
Fl. 1-2
Ob. 1-2
a2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
[hand shake]
Perc. 2
Sus Cymbal
Perc. 3
Perc. 4
7
8
9
10
11
12

T änze aus Terpsichore, page 3
13
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
Horn
Horn
a2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
l.v.
Timp.
l.v.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
13
l.v.
14
15
16
17
Glockenspiel
18

T änze aus Terpsichore, page 4
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
21
Oboe II
Bassoon
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
Triangle
Perc. 2
l.v.
Perc. 3
Perc. 4
19
20
21
22
23
24

T änze aus Terpsichore, page 5
Picc.
30
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Crash Cymbal
Perc. 3
Perc. 4
25
26
27
28
Tubular Bells
29
30

T änze aus Terpsichore, page 6
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
molto ritardando - - -
a2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
pizz.
Timp.
Perc. 1
Perc. 2
Glockenspiel
Perc. 3
Perc. 4
31
32
33
34
35
36

T änze aus Terpsichore, page 7
Picc.
Fl. 1-2
Ob. 1-2
accelerando - - -
40
Somewhat Faster
2
2
a2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
2
2
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
2
2
arco
Perc. 2
l.v.
Perc. 3
Perc. 4
37
38
39
40
41
Xylophone
42

T änze aus Terpsichore, page 8
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
a2
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
II.
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Triangle
Perc. 3
Perc. 4
43
44
45
46
47
48
49

T änze aus Terpsichore, page 9
Picc.
Fl. 1-2
a2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
a2
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
I.
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
50
51
Tubular Bells
52
53
54
55

T änze aus Terpsichore, page 10
Fl. 1-2
Ob. 1-2
Bsn. 1-2
B Cl. 1
B Cl. 2-3
56 Somewhat Slower
Oboe
4
4
II.
Oboe II
B. Cl.
Bs.
Hp. / Pno.
Perc. 1
Perc. 2
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
4
4
pizz.
56
57
III.
arco
Str. Bass
58
59
60
Perc. 2
61
62
63
64
65
66

T änze aus Terpsichore, page 11
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
a2
a2
72
Oboe
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
a2
Oboe II
III.
Bassoon
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Str. Bass
pizz.
Hp. / Pno.
Timp.
Str. Bass
Perc. 1
Perc. 2
Perc. 3
Crash Cymbal
Perc. 4
67
68
69
70
71
72

T änze aus Terpsichore, page 12
Picc.
molto ritardando - - - - - - - - - - - - -
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
73
74
75
76
77

T änze aus Terpsichore, page 13
II. Gaillardes
Picc.
Fl. 1-2
Ob. 1-2
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
3
2
3
2
3
2
Noble, serene ( h = c. 100 )
a2
a2
a2
arco
Crash Cymbal
Bass Drum
Tubular Bells
l.v.
l.v.
Sus Cymbal
4
l.v.
1
2
3
5
6
7
8

Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
B Cl. 1
B Cl. 2-3
B. Cl.
T. Sx.
B. Sx.
Hp. / Pno.
Perc. 2
Fl. 1-2
Ob. 1-2
A. Sx. 1-2
T. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Timp.
Perc. 1
Perc. 3
Perc. 4
9
a2
Bassoon
17
9
17
a2
10
18
11
En
T änze aus Terpsichore, page 14
19
Bass Clarinet
12 13
20
a2
14
II.
21
15
22
16
23

T änze aus Terpsichore, page 15
28
Lilting ( q. = c. 76 )
Picc.
Fl. 1-2
Ob. 1-2
1.
6
8
2.
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
Eb Clar.
Oboe
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
1.
6
8
2.
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
24
25
26
1.
27
6
8
2.
Bass Drum
Tenor or Field Drum
Marimba
28
Tambourine
29
30
31

T änze aus Terpsichore, page 16
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Play 2nd x only
Play 2nd x only
Play 2nd x only
pizz.
Play 2nd x only
Play 1st x only
32
Af
33
34
Xylophone Play 2nd x only
35
36
Play 2nd x only
a2
I. Play 2nd x only
Play 2nd x only
a2 Play 2nd x only
Play 2nd x only
37

T änze aus Terpsichore, page 17
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
1.
1.
2.
2.
42
a2
a2
Play 1st x only
Play 1st x only
Play 1st x only
Play 1st x only
1x. straight mute
2x. mute out
Play 1st x only
Play 1st x only
Play 1st x only
Play both times
1x. straight mute
2x. mute out
[not muted!]
Play both times
Play both times
Play 1st x only
Hp. / Pno.
Timp.
1.
2.
An
Perc. 1
Perc. 2
use wooden part of beater...
Tenor or Field Drum
Perc. 3
Perc. 4
38
39
40
41
Play 1st x only
1st x : Xylophone
2nd x : Vibraphone
42
43
44
45

T änze aus Terpsichore, page 18
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
Play both times
Play both times
Play both times
a2
a2
B Tpt. 1
[sans mute both times]
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Play both times
arco
[sans mute both times]
Play both times
Perc. 1
47
Perc. 2
Crash Cymbal
Perc. 3
Snare Drum Play both times
Perc. 4
46
Vibraphone Play both times
48
49
50
51

T änze aus Terpsichore, page 19
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
1.
2.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
1.
2.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
52
53
54
55
56
1.
57
2.
58
[choke!]

T änze aus Terpsichore, page 20
III. Ballets
Fl. 1-2
Ob. 1-2
Bsn. 1-2
B Cl. 1
B Cl. 2-3
B. Cl.
Hp. / Pno.
Perc. 1
Perc. 2
Perc. 4
4
4
4
4
Leisurely ( q = c. 116 )
II. Solo
Triangle
Glockenspiel
Triangle
1
2
3
4
5
6
7
8
Picc.
Fl. 1-2
Ob. 1-2
11
a2
Bsn. 1-2
B Cl. 1
B Cl. 2-3
B. Cl.
Bs.
Hp. / Pno.
II. only
pizz.
Bassoon
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Vibraphone
9
10
11
12
13
14
15

T änze aus Terpsichore, page 21
Picc.
Fl. 1-2
7
Bsn. 1-2
B Cl. 1
B Cl. 2-3
B. Cl.
Bs.
Hp. / Pno.
Perc. 1
Perc. 3
Perc. 4
B Tpt. 1
B Tpt. 2
Solo
16
Brass Quintet *
22 Somewhat Slower
II. Solo
17
18
19
20
Sus Cymbal
21
Hn. 1-2
Tbn. 1
Tuba
Timp.
Solo
Solo
I. Solo
30
22
23
Woodwind Quintet *
24
25
26
27
28
29
Fl. 1-2
Ob. 1-2
Bsn. 1-2
B Cl. 1
Hn. 1-2
Hp. / Pno.
Perc. 1
Perc. 3
Solo
Solo
Solo
II. Solo
I. Solo
30
31
32
33
34
35
36
*Note: If possible, measures 22 through 37 in this movement should be played by a brass quintet and a woodwind quintet situated
on opposite sides of the ensemble at the front of the stage (or perhaps even out in the audience, or on a balcony wing). If these
options are not available, these measures may be played within the ensemble, but the instrumentation should remain that of a brass
or woodwind quintet, i.e., one to a part. Cues are available in Clarinet and Bass Clarinet parts, if oboe or bassoon is not be available.
37

T änze aus Terpsichore, page 22
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
tutti
tutti
tutti
tutti
a2
a2
42
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
tutti
tutti
B Tpt. 3
Hn. 1-2
Hn. 3
tutti, a2
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
pizz.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Tubular Bells
38
39
40
41
42
43
44

T änze aus Terpsichore, page 23
Picc.
Fl. 1-2
50
Ob. 1-2
I. Solo
Bsn. 1-2
E Cl.
Solo
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
Solo
Bassoon
Oboe
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
II. Solo
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
tutti
arco
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
45
46
47
48
49
50
Measures 50 through 53 are played by the Woodwind quintet. The Brass quintet joins
them in measures 54 through 57. The full group begins to enter in measures 57and 58

T änze aus Terpsichore, page 24
Picc.
Fl. 1-2
I. Solo
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
I. Solo
B Tpt. 2
II. Solo
B Tpt. 3
Hn. 1-2
Solo I. & II.
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Solo
tutti
Tuba
Solo
tutti
Bs.
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
l.v.
Perc. 3
Perc. 4
51
52
53
54
55
56
57

T änze aus Terpsichore, page 25
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
tutti
tutti
tutti
tutti
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
tutti
tutti
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
tutti
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
Crash Cymbal
l.v.
Perc. 2
Perc. 3
Bass Drum
l.v.
Perc. 4
58
59
60
61
62
63

T änze aus Terpsichore, page 26
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
64
molto ritardando - - -
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
l.v.
Perc. 3
Perc. 4
64
65
66
67
68
69

T änze aus Terpsichore, page 27
IV. La Canarie
Jaunty ( q. = c. 72 - 76 )
Picc.
Fl. 1-2
Ob. 1-2
12
8
E. Hn.
Bsn. 1-2
E Cl.
B Cl. 1
molto
B Cl. 2-3
molto
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
12
8
Bs.
pizz.
Hp. / Pno.
Timp.
Perc. 1
12
8
Tenor or Field Drum
Perc. 2
Castanets
Perc. 3
Tambourine
Perc. 4
1
2
Vibraphone
3
4

T änze aus Terpsichore, page 28
Picc.
Fl. 1-2
Ob. 1-2
E. Hn.
Bsn. 1-2
E Cl.
B Cl. 1
English Horn cue - Oboe II
a2
I.
9
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
a2
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
5
6
7
8
9

T änze aus Terpsichore, page 29
Picc.
Fl. 1-2
Ob. 1-2
E. Hn.
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
I. (Play top if no string bass)
arco
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
10
11
12
13
14

T änze aus Terpsichore, page 30
Picc.
Fl. 1-2
Ob. 1-2
E. Hn.
Bsn. 1-2
E Cl.
B Cl. 1
17
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
a2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Perc. 3
Vib.
15
16
17
18
19

T änze aus Terpsichore, page 31
Picc.
Fl. 1-2
Ob. 1-2
E. Hn.
6
8
12
8
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
6
8
12
8
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
pizz.
Hp. / Pno.
Timp.
Perc. 1
6
8
12
8
Triangle
l.v.
Perc. 2
Perc. 3
Perc. 4
20
[hand shake]
21
22
23
24
25
26
l.v.

T änze aus Terpsichore, page 32
V. Courantes
Sentimental ( q = c. 76 )
Fl. 1-2
Ob. 1-2
Bsn. 1-2
B Cl. 1
B Cl. 2-3
B. Cl.
B Tpt. 1
Hp. / Pno.
3
4
3
4
Oboe
Bassoon
Oboe [straight mute]
Solo
Solo
tutti, a2
tutti, a2
Perc. 4
1
Tubular Bells
2
3
4
5
6
Fl. 1-2
Ob. 1-2
Bsn. 1-2
B Cl. 1
B Cl. 2-3
B. Cl.
Hp. / Pno.
Df
Timp.
Perc. 2
Sus Cymbal
l.v.
Perc. 3
Bass Drum
l.v.
Perc. 4
12
7
8
9
10
11

T änze aus Terpsichore, page 33
B Tpt. 1
B Tpt. 2
B Tpt. 3
13
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Timp.
arco
a2
Perc. 1
Crash Cymbal
Perc. 2
Perc. 3
13
14
15
16
17
18
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Timp.
Perc. 2
19
20
21
22
l.v.
23
24

T änze aus Terpsichore, page 34
25 Spirited ( q = c. 84 )
Picc.
Fl. 1-2
Ob. 1-2
12
8
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
12
8
pizz.
Hp. / Pno.
Timp.
Perc. 1
12
8
Tenor or Field Drum
Perc. 2
Perc. 3
Triangle
Perc. 4
25
Vibraphone
26
27
28

T änze aus Terpsichore, page 35
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
[straight mute]
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Perc. 3
Wood Block (med. or high)
Perc. 4
29
30
31
32

T änze aus Terpsichore, page 36
Picc.
Fl. 1-2
Ob. 1-2
33
6
8
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
Bass Clarinet
6
8
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Tambourine
[thumb roll]
Castanets
6
8
Perc. 3
Perc. 4
33
34
35
36

T änze aus Terpsichore, page 37
Picc.
Fl. 1-2
Ob. 1-2
12
8
39
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
a2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
12
8
[mute out]
I.
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
12
8
use wooden part of beater...
l.v.
37
38
39
40

T änze aus Terpsichore, page 38
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
a2
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Str. Bass
arco
Hp. / Pno.
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
41
42
Tubular Bells
43
44

T änze aus Terpsichore, page 39
Picc.
Fl. 1-2
Ob. 1-2
6
8
47
12
8
I. only
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
6
8
12
8
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
Timp.
Perc. 1
6
8
12
8
Perc. 2
Perc. 3
Perc. 4
45
46
47
48

T änze aus Terpsichore, page 40
Picc.
Fl. 1-2
Ob. 1-2
Bsn. 1-2
E Cl.
B Cl. 1
B Cl. 2-3
B. Cl.
A. Sx. 1-2
T. Sx.
B. Sx.
B Tpt. 1
B Tpt. 2
B Tpt. 3
Hn. 1-2
Hn. 3
Tbn. 1
Tbn. 2
B. Tbn.
Euph.
Tuba
Bs.
Hp. / Pno.
molto ritardando - - -
a tempo
tutti
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
49
50
51
l.v.