The Requiem Mass and Sacred Jazz: A Study of Catholic ...
Transcript of The Requiem Mass and Sacred Jazz: A Study of Catholic ...
The Requiem Mass and Sacred Jazz: A Study of Catholic Liturgical Forms in
the Genre of Sacred Jazz
By John Lamar White
A thesis submitted to the Victoria University of Wellington in fulfillment of the requirements for the degree of
Master of Musical Arts in Composition
Victoria University of Wellington
2019
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Table of Contents
Abstractβ¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦..3
Introductionβ¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦...β¦.4
Chapters
1. The Requiem Massβ¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦.6
2. The Second Vatican Council and Mary Lou Williamsβ¦β¦β¦β¦β¦β¦β¦β¦β¦20
3. Duke Ellingtonβ¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦.33
4. Requiem: a Suite for Jazz Orchestraβ¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦.41
Conclusionβ¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦46
Bibliographyβ¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦.48
Appendix A: Requiem: A Suite for Jazz Orchesta, βIntroit/Kyrieββ¦β¦β¦β¦β¦β¦β¦β¦β¦.....52
Appendix B: Requiem: A Suite for Jazz Orchesta, βDies Iraeββ¦β¦β¦β¦β¦β¦β¦β¦β¦.........123
Appendix C: Requiem: A Suite for Jazz Orchesta, βSanctusββ¦β¦β¦β¦β¦β¦β¦β¦β¦β¦β¦...173
Appendix D: Requiem: A Suite for Jazz Orchesta, βAgnus Deiββ¦β¦β¦β¦β¦β¦β¦β¦..........219
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Abstract
This exegesis examines the role of religious and spiritual influence on works by jazz
composers as related to my composition, Requiem: a Suite of Jazz Orchestra, a jazz suite
based on the Requiem Mass. The exegesis details the Catholic origins of the Requiem and the
Mass as musical forms and traces their lineages into the twentieth and twenty-first centuries
as concert works and memorials not bound by liturgical function. These forms and their
lineages frame the development of both religious and religion-inspired musical works in the
cultural climate of 1960s America. In particular, I focus on two composers, Mary Lou
Williams and Duke Ellington, both of whom composed large-scale sacred works related to
the jazz idiom. This project situates religion, primarily Catholicism, and spirituality in the
context of jazz composition, and discusses music composed in this vein, including my own
work influenced by the Catholic liturgical tradition.
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Introduction
This exegesis centres on an examination of the liturgical forms of music within the Catholic
Church and their relationship with jazz music. In particular, I focus on the Requiem Mass, the
funeral rite of the Catholic Church. This body of research supplements the Requiem-inspired
work that I have composed for jazz orchestra entitled Requiem: a Suite for Jazz Orchestra. In
this exegesis I discuss works of jazz with liturgical leanings both within and outside of
liturgical worship, focusing mostly on cases related to the Catholic Church. I first address the
development of the Requiem Mass in the Catholic Church, and then present two case studies
of jazz composers who have composed sacred works: the case of Mary Lou Williams (1910β
1981) and the case of Duke Ellington (1899β1974). Finally, I discuss my composition
through the lens of my research, considering both the history of the Requiem Mass and
Williamsβ and Ellingtonβs work of sacred jazz.
I document the Churchβs development through a historical review of its musical forms
against centuries of changes in the Church, and with regard to the growth of secularism and
its permeation of the Catholic liturgy. Two periods of reformation of Church doctrines, the
Council of Trent (1545β1563) and the Second Vatican Council (1962β1965), frame the
Churchβs relationship with the world outside of the Church. These periods of reform had
significant effects on the liturgy of the Church and on musical forms related to the liturgy.
I discuss these periods of reforms over two separate chapters. Chapter 1 surveys the
Requiem Mass from before the Council of Trent to the beginning of the Second Vatican
Council. Chapter 1 also provides the first seeds of secularismβs influence both on the liturgy
and on other music inspired by the Church. The discussion around the Requiem Mass
broadens to encompass other musical forms that serve as dedications and memorials,
extending the contexts that a liturgical form can occupy.
Chapter 2 continues the survey of the Catholic landscape during and after the period
of the Second Vatican Council, exploring its effects on liturgical music and the introduction
of jazz into the Catholic liturgy. The discussion in Chapter 2 also turns to the life and sacred
jazz works of Mary Lou Williams, a composer who wrote her sacred jazz compositions
within a Catholic context. I frame her work in dialogue with the Second Vatican Councilβs
reforms, examining both her compositions that are liturgically inspired and those that are
liturgically functional.
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In Chapter 3 I continue to address the genre of sacred jazz, turning to the case of the
music of Duke Ellington. I explore how his liturgically-inspired work adapts to Christian
contexts outside of Catholicism. In general, I frame both Williamsβ and Ellingtonβs music
within the social and political climate African Americans faced in the 1960s, particularly as
related to the role African American musical traditions played in their works for sacred jazz.
The last chapter of this exegesis focuses on a brief overview of the structural
components of the Requiem suite I composed. I also provide personal background for the
work and a commentary on the Requiem suite, situating it in the context of jazz and liturgical
music discussed in the previous chapters. My underlying argument is that there were a range
of interrelated conditions in the 1960s that saw sacred jazz thrive in the works by Mary Lou
Williams and Duke Ellington. Through this research, I have recognized precedents in the
realm of jazz music that is liturgically tinged through the models of sacred jazz compositions
of Mary Lou Williams and Duke Ellington, and I place my own work in line with their
legacies.
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Chapter 1: The Requiem Mass
Introduction
For as long as there has been life on our world, death has been our companion following each
us along our journeys and meeting us at the conclusion of our time on Earth. For nearly as
long as humans have been able to observe death and its effects on the living, we have
celebrated the lives of those who have departed and honoured, or at the very least marked,
their passing. Practices such as these can offer consolation to those who have survived the
dead and provide forms of concluding actions on the behalf of those lost in the form of
solemn recognition or prayers for them as they face what lies ahead after death. In the
Catholic Church, such acts of intercession developed into the Requiem Mass.
Throughout this chapter I detail the history and structure of the Churchβs funeral rite
as a musical form from the inception of the Requiem Mass to the present. This is coupled
with an examination of the burgeoning influence of secularism throughout time on the
musical form of the Requiem Mass and on the Catholic Church. This resulted in the
commencement of two ecumenical meetings of Catholic leaders to address how the Church
would respond to secularismβs influence. In this chapter I discuss the shared parallels of
internal and external factors that brought about each Councilβs formation and compare how
the two Councilsβ reformative measures answered similar questions of secular influence. I
also address the effects of each Councilβs reformative edicts on the music of the liturgy. I
discuss how those edicts affected the ways composers throughout music history would write
and employ the musical forms of the Church and extend them beyond the contexts of the
liturgy. In the final part of this chapter, I present other musical forms that serve as types of
memorials and relate these forms to the Requiem Mass.
Requiem
Taking its name from the Introit that opens the mass, Requiem aeternam dona eis, Domine
[βGrant them eternal rest, oh Lordβ],1 the Requiem Mass is defined by the texts of prayers
(including the Introit) that composers have set to music dating back to around the tenth
1 Robert Chase, Dies Irae: A Guide to Requiem Music (Lanham, Md.: Scarecrow Press, 2003), xv.
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century.2 These canonical prayers3 were embodied in Gregorian plainchant melodies that set
the two sections of the Mass, the Mass Ordinary and Mass Proper, albeit with some
exclusions and alterations. The Requiem Mass, like the standard Catholic mass, consists of
these two sections, the Mass Ordinary and the Mass Proper. The Mass Ordinary refers to the
parts of the mass that are included at every celebration of the rite and maintain the same texts
throughout the liturgical calendar. It consists of five parts: Kyrie, Gloria, Credo, Sanctus, and
Agnus Dei.4 The Mass Proper refers to the chants that change their text throughout the
liturgical calendar.5 It consists of six chants: an Introit, a Gradual, an Alleluia or a Tract
(depending on the occasion), an Offertory, a Communion, and a Sequence.6
Requiem Masses exclude the Gloria and Credo from the Ordinary and the text of the
Agnus Dei is altered. The Requiem Agnus Dei reflects the spirit of the service by changing
the concluding words of its three repetitive stanzas. Within the first two lines of the Agnus
Dei, its text Miserere nobis [βhave mercy on usβ] is replaced by dona eis requiem [βgrant
them restβ] Agnus Dei concludes with dona eis requiem sempiternam [βgrant them eternal
restβ] replacing dona nobis pacem [βgrant us peaceβ] from the third stanza.7 The chants of the
Requiem Mass Proper also correspond to the occasion as a funeral rite on behalf of the dead.
Its parts include the Introit, Requiem aeternam; the Gradual, Requiem aeternam; the Tract,
Absolve, Domine, in place of an Alleluia; the Sequence hymn, Dies Irae; the Offertory,
Domine Jesu Christe; the Communion, Lux aeterna; and a Responsory to the Communion,
Libera Me, each one named for its incipit text. (Even though the Responsory is featured in
every mass it is not part of the Ordinary).8 The text In Paradisum is often included as a sort
of recessional that accompanies the coffin of the departed as it leaves the church and is taken
to the cemetery.9 When setting the Requiem musically, composers have typically followed
the structure as follows: Introit, Kyrie, Gradual, Tract, the Sequence hymn Dies Irae,
Offertory, Sanctus, Agnus Dei, Communion and Responsory, and In Paradisum. Composers
have often included additional, separate settings of some of these parts. A common example 2 Theore Karp, Frabice Fitch and Basil Smallman, βRequiem Mass,β Grove Music Online, accessed August 13, 2018, https://www-oxfordmusiconline- com.helicon.vuw.ac.nz/grovemusic. view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000043221?rskey=poW66F&result=1. 3 Chase, Dies Irae, xiii. 4 James W. McKinnon, Theodor GΓΆllner, Maricarmen GΓ³mez, Lewis Lockwood, Andrew Kirkman, Denis Arnold, and John Harper, "Mass," Grove Music Online, accessed May 22, 2019, https://www-oxfordmusiconline-com.helicon.vuw.ac.nz/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000045872. 5 McKinnon, βMass.β 6 Ibid. 7 Chase, Dies Irae, 2. 8 Ibid., 2-9. 9 Alec Robertson, Requiem: Music of Mourning and Consolation (Washington: Frederick A. Praeger, 1967), 24.
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of this is including an individual setting of the Benedictus taken from the Sanctus and the
final prayer the Requiem Sequence, Pie Jesu Domine.10 The Sequence Dies Irae contains a
number of verses that composers have often set as individual sections or movements in their
work, examples of which I discuss later in this chapter. How composers have chosen to set
these texts has varied throughout the history of the form and the way they do so is related to
the time and context surrounding their work.
The Medieval and Renaissance Requiem
At its roots the Requiem Masses of the Medieval Period (400β1400) did not conform to a
specific structure, dictated by the Church or otherwise. By the late centuries of the Middle
Ages (1200β1300) with the flourishing development of the votive mass βthe celebration of
the mass outside of the liturgical calendar marking special occasions or peopleβ11 the
repertoire of Gregorian plainchants used in the liturgy had swollen. The chants associated
with the Requiem alone had expanded to 105 known prayers.12 As a result, composers had
myriad plainchants available to them when selecting and setting texts to the parts of the Mass
Proper. Their decisions were often guided by regional practices of worship across Europe.13
The centuries-long proliferation of chant and unwieldy evolution of the liturgical practice
was compounded in the Renaissance with the added weight of secularismβs emergence and
the abuses of Church doctrine such as the practice of indulgences. This resulted in an
ecumenical backlash known as the Protestant Reformation in the sixteenth century, breaking
the Churchβs hold over Europe.
The commencement of the Council of Trent in 1545 was the Catholic Churchβs
answer to the Protestant Reformation and served both as a period of self-reflection with
regard to Church doctrine and as a vehicle of reform to the Churchβs practice of worship.
This reformation of the liturgy, the Counter-Reformation, codified the music of the Mass and
in turn, the Requiem Mass, into a structure that would last into the mid-twentieth century
until the Second Vatican Council (also known as Vatican II). There were other ecumenical
meetings of the Church, such as the First Vatican Council that took place during the late-
nineteenth century, but these did not play a role in reshaping the music of the liturgy.
10 Chase, Dies Irae, 263, 265. 11 Ibid., 1. 12 McKInnon, βMass.β 13 Ibid.
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The reforms published under the doctrines of the Council of Trent attempted to
restore a rite of the Church that exalted a βliving Traditionβ14 of the Mass, free of secular
influence. The Church accomplished this by publishing Decretum de observandis et etintandi
in celebratione Missae, Canon IX that βthe Council recommended that all secular influences
be eliminated from any music performed as part of the mass.β15 With this decree the Church
established a series of mandates towards the composition of music for the liturgy and its
existing repertory that, in addition to being without secularity, also β...must serve to uplift the
faithful, . . . its words must be intelligible,...β16 The Catholic Church sought to accomplish
this by emphasizing the recognition of traditions held by churches across Europe that could
demonstrate a 200-year or longer history of their individual practices.17 In doing so, this
directive afforded the Church the ability to elevate Gregorian chant over secularly entrenched
liturgical polyphony, albeit without completely expunging it from Catholic worship.
Polyphony would remain in the music of the Church, but the texts were mandated to be
decipherable to the listener in Latin, the language of the Roman Rite.18
Further implications of the Councilβs 200-year measure of antiquity resulted in the
near-elimination of the βsequenceβ from the celebration of the Eucharist. But the Dies Irae, a
primary distinguishing element of the Requiem form, was elected to remain in practice with
three other prayers as sequences in the liturgical calendar.19 Each of the other parts of the
Mass Proper (the Introit, the Gradual, the Tract, the Offertory, the Communion, the Alleluia)
had multiple chants associated it when it appeared as part of a Requiem Mass. The
reformative measures of the Council of Trent parsed down the parts of the Mass Proper so
that each part comprised a singular prayer text. Those singular prayer texts are the incipit
texts for the parts of Mass Proper listed earlier in this chapter;20 those texts remained in the
Requiem Mass into the twentieth century.21 An established or predominant Requiem form,
however, cannot be completely ascertained after the Council of Trent; a codified Requiem
14 Alcuin Reid, The Organic Development of the Liturgy (San Francisco: Ignatius Press, 2005), 41-42. 15 Chase, Dies Irae, 40. 16 K.G. Fellerer and Moses Hadas, βChurch Music and the Council of Trent,β The Music Quarterly Vol. 39, no. 4 (Oct. 1953): 576, https://www.jstor.org/stable/739857 17 Reid, Organic Development, 42. 18 Chase, Dies Irae, 39-40. 19 Reid, Organic Development, 42. 20 These prayers again are: The Introit, Requiem aeternam; the Graduale, Requiem aeternam; the Tract, Absolve, Domine, in place of an Alleluia; the Sequence hymn, Dies Irae; the Offertory, Domine Jesu Christe; the Communion, Lux aeterna; and a Responsory to the Communion, Libera Me. 21 Karp, βRequiem Mass.β
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Mass structure did not emerge until 1880.22 Even after the decrees of the Council of Trent,
regional variances of the Mass Proper persisted.
The Church encouraged composers to write music within the bounds of the post-
Tridentine polyphonic style. This led to the promulgation of new settings of the Sequence,
Dies Irae, and of the Responsory, Libra Me,23 though this is seen as a Baroque-period
development.24 The prominence and popularity of the Dies Iraeβs plainchant melody and text
βand with it, the associative characteristics of the Requiem that it carriesβ seems to be a
result of this push for newly composed music and of the Churchβs isolation of the text as the
lone Sequence for the funeral rite. Expanding this idea to encompass the entire Requiem
Mass, composers of the period of common practice and onwards inherited a mostly codified
and singular Requiem form. While religious allegiances in Europe splintered in the sixteenth
century, the sphere of influence and exposure of the Catholic Church and its practices
persisted in the lives and colonial efforts of many Europeans. In the 400-year span of time
between the Council of Trent and Vatican II, composers of both Protestant and Catholic
denominations continued to compose liturgical forms informed by the long history of Church
precedents before them. But despite the efforts of the Counter-Reformation, the Church was
unable to mend the fraying of musical styles and evolution of the increasing secular influence
over life in Europe as it approached the Age of Enlightenment.
The Requiem in the Seventeenth and Eighteenth Centuries
If the charge that the Council of Trent bestowed upon future generations was to uphold its
reforms and its restoration of the celebration of the Eucharist in the sixteenth century, the
impetus of artistic innovation in the seventeenth century proved too formidable for the
Church to maintain its attempt at impermeability. The arrival of the Baroque period carried
with its developments in vocal and instrumental styles that integrated into seventeenth-
century life for the βentertainmentβ of the emerging social classes of the time. Secularismβs
blooming in the seventeenth century was facilitated through a fledgling middle class, which
began to provide fiscal support to art and entertainment alongside the Church and royal
22 Ibid. 23 Chase, Dies Irae, 40. 24 Ibid., 97.
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courts that had long lent their patronage.25 Seventeenth-century liturgical music and practice
thus bent again to the secular environment surrounding the Church.
The functional role music had been resigned to fulfill, in part to promote the
simplification of the religious ceremony of the Mass, became gradually eclipsed by the
stylistic influences of the music that had grown in popularity outside the Church, taking its
inspiration partially in the form of decorative flourishes.26 The matter of polyphony stabilized
as composers set the texts of the Requiem within two frameworks, stile antico and stile
moderno. These frameworks embodied the style and spirit of the Renaissance and Baroque
periods, respectively, and each worked under the guidelines set in place by the Council of
Trent. Stile Moderno, though, operated as the vehicle that introduced the secular practices
found in opera into the liturgy. Its writing for the voice highlighted bel-canto singing27 and
instrumental accompaniment that achieved independence from vocal subservience,28 that it
was its own unique compositional parameter, that mirrored music in the liturgyβs own release
from strict ceremonial duty.
As advancements in the arena of style in compositions for the Requiem Mass grew,
so did composersβ treatment of its texts resulting in the earliest developments and expansion
of form of the Council of Trentβs codified funeral rite. Composersβ adherence to the
Tridentine preference of Gregorian chant waned through the course of the century; the
medieval melodies of the Requiem Mass Proper are found relegated to the subject of
paraphrase in larger polyphonic settings.29 Because of the increasing decorative nature of
both vocal and instrumental music in the liturgy, the texts of the Requiem became subject to
a similar stylistic flare witnessed in the treatment of these larger musical elements. Chase
writes, β...musical considerations were viewed as more pivotal to a requiemβs success than
the previously required mass text,β30 further indicating the gradual supplanting of musicβs
liturgical function in favour of the artistic endeavours of composers of the period.
This treatment of the text carries with it influences from the micro level of structure
(e.g., the recitation of the chant melody) to the macro level (e.g., movement structure),
influences that appeared towards the end of the Baroque era. Passages of music became
elongated by the simple repetition of the chant text in the service of musical impetus rather
25 Ibid., 89. 26 Ibid., 90. 27 Ibid. 28 Ibid., 94. 29 Ibid., 93. 30 Ibid.
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than of the liturgical action.31 The result of this shift of paradigm resonates on a near
exponential level: as the phrases grew longer so did the Requiemβs length. When the words,
through stile moderno, began to serve the spirit of the period rather than serving the forward
trajectory of the Mass, the form itself expanded beyond the capacity required of the liturgy,
laying the foundation for the music to manifest into works that can exist in contexts outside
of the Catholic Church.32
On the largest level of form, Baroque composers were the first to merge and separate
sections of the texts from the Mass Ordinary and Proper to create multi-movement structures
and set trends for future composers to follow. Prominent combinations of Mass parts
included the joining of the Introit and Kyrie together and the Agnus Dei with the Communion
while the segmentation of the Dies Iraeβs verses into individually composed sections added
another level of significance to the Sequence contributing to its diverging evolution into an
entity of its own in later eras33 as stated previously, further discourse of the Dies Irae is
included later in this chapter and acts as a link to the broader discussion of music as a
memorial. Baroque composers took the convention of interchanging settings of the Dies
Iraeβs verses between chant and polyphony and expanded their treatments to a wider palette
of vocal styles and textures. Though these settings began as small sections that showcased the
combination of voices available within a choir, ranging from soloists up to a full setting of
the choir, one can observe the trajectory of structural delineation wherein Dies Irae verses
grew into individual movements of Requiems typical of the eighteenth century onwards.34
The ability of the Council of Trent to rein in the musical aesthetics of the liturgy was
fleeting at best. Requiem Masses were commissioned to commemorate the passing of
individuals of the upper social strata.35 Though this is not without precedent across the
dominion of the Churchβs influence, the continuation of Requiems dedicated to high profile
individuals suggests a departure and a level of dismissal of the efforts of the Church to curb
areas of possible abuse, such as the misuse of votive masses playing a crucial role in
triggering the Protestant Reformation. While adhering to a majority of the principles set in
place by the Council, namely in the treatment of polyphony, composers departed from the
Councilβs decrees in areas of style and liturgical function, as detailed above. Baroque
developments in these arenas of music and its place in worship illuminate the threads that
31 Ibid. 32 Ibid. 33 Ibid., 94. 34 Ibid. 35 Karp, βRequiem Mass.β
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weave the Requiem Massβs transformation from a Church-bound ritual to a concert work, a
memorial that can exist beyond the confines of the liturgy. The basis of the Council of
Trentβs restoration of the liturgy resided under the direction of instilling its rites in the βliving
Traditionβ of the Church in hope that its doctrines would guide the liturgy and maintain its
integrity with foresight of the ever-developing ages to come. The expansion of what a
Requiem has become and what it serves βand perhaps all music encompassed for the liturgy
and the meanings associated with itβ embodies the ethos of a βliving Tradition,β even
though the Requiem as a form is no longer aligned with the ecumenical councilβs grand
intention.
The Requiem works of many later nineteenth-century composers demonstrate a
tangential trajectory away from works in service of the Catholic rite. These works represent a
broader landscape of religious orientation following the Baroque period. The first
development in this direction is the nineteenth centuryβs concert mass βalso referred to as a
Requiemβ defined by Robert Chase as, β...designed for performance in the concert hall and
on the operatic stage.β36As nineteenth-century composers built upon the styles, larger forms,
and orchestras that had grown in size since the Classical period, a truly independent mass
emerged as an entity separate from the Church.
This schism of genre is the culmination of the aforementioned encapsulation of
secular influences and societal factors seen in masses and requiems of the Baroque period
that continued through the centuries. Due to the swelling of these external effects, composers
of the nineteenth century were afforded the ability to flex their compositional prowess
unencumbered by the restraints of liturgical practice, and to place musical considerations at
the forefront concerning matters of structure and text setting. Composers continued
established trends concerning which parts of the Mass Ordinary and Proper were combined,
but as these concert works were released from any sort of liturgical confine, composers could
opt to omit sections like the Sequence entirely from their settings37 or introduce new texts
from outside of the Catholic tradition.
The Nineteenth-Century Requiem
The liberation of liturgical forms such as the Mass and Requiem Mass from liturgical practice
in the nineteenth century is perhaps the hallmark of artistic achievement in the development 36 Chase, Dies Irae, 237. 37 Ibid., 238.
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of these forms into works of their own genre. Settings of Catholic rites that served the liturgy
were still composed in the Romantic era and a counter movement that echoed the spirit and
decrees of the Council of Trent, known as the Caecilian Movement, emerged in response to
the engorged symphonic settings that had become popular during this time.38 However, the
Catholic Church no longer set the course of musical evolution within these forms, nor did the
Church make attempts to rein in such advancements until the next era of liturgical
reformation, the commencement of Vatican II . The existence of compositions of liturgical
forms for secular contexts and the Churchβs decision to not attempt to regulate these works is
paramount in understanding what now is a Requiem if not an entity defined by liturgical and
inherently Catholic identity.
The nineteenth-century concert Requiem manifests itself as type of musical memorial,
one that carries with it the weight of nearly a half-millennium worth of traditions by a
singular religion in its practices of valediction on behalf of those who have departed by those
who have survived them. The emotions that are associated with a Requiem, emotions that
stretch across the plane of loss and the Catholic tenets of life, death, and resurrection, are
purposefully connoted by composers that set Requiems for the concert hall today for these
very reasons. Composers of the Romantic period could also conjure such imagery through the
invocation of the Dies Iraeβs plainchant melody in other non-liturgical settings, establishing a
trend that persists into the present.39 The strength of the Requiem and the Sequence Dies Irae
as a vehicle of emotional impact lay not only in the subject matter, but also in the shared
exposure and experience of this form and its texts among the overall population of Europe
across time and social class. This funeral rite and its texts were the predominant ritual that
penetrated the lives of Europeans in one form or another since before the Middle Ages. It
also informed the funeral rituals of the branches of European Protestantism that branched off
from Catholicism beginning with the Protestant Reformation.
Though not all Requiems composed for the concert hall served as memorials,
Romantic composers laid the seeds of development towards the practice of memorialization
through the Requiem vis-Γ -vis other contemporary forms and genres. Two principal examples
of nineteenth-century requiem settings that embody the act of memorialization and present
the plurality of what such an act encompasses are the Verdi-led collaborative effort of
thirteen Italian composers Messa per Rossini (1869, first performed 1988) and Brahmsβ Ein
Deutsches Requiem (1868). Messa per Rossini stands out for its intentions as a work to 38 Ibid., 243. 39 Chase, Dies Irae, 239.
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β...commemorate the life and work of Gioachino Rossini.β40 Verdiβs choice to employ the
Requiem form is emblematic of the long tradition of the form conflated with all of the
symbolism it comprises: a work to mark the passing of Rossini (he himself a prominent
societal figure for whom a votive mass would be offered for), Catholicismβs prominence in
Italian society, and the segmentation of the mass parts including the verses of the Dies Irae
into individual movements so that each composer could offer their own intersession. The
interplay of these elements in Messa per Rossini demonstrates the versatility and power of
the form as a poetic device that takes all of the associative parts of what comprises a
Requiem and erects a monument and independent body of work to honour the passing of an
individual.
Ein Deutsches Requiem stands in almost complete contrast to the above elements that
define both a traditional Catholic Requiem and its nineteenth-century ancestry in works like
Messa per Rossini and other requiem compositions be they for the concert hall, the liturgy, as
memorials, or otherwise. Brahmsβ setting is a concert work that exists outside even the
Lutheran Church, a Protestant denomination to which many Germanic composers belonged.
(Brahms was not a practicing Lutheran.) 41 The texts of his requiem omit any traces of the
Latin liturgy with passages from the Lutheran Bible in their place.42 To say, βin their place,β
though, is a misnomer, as Ein Deutsches Requiem comprises seven movements whose texts
bear no semblance to the Latin Requiem text, nor to other Lutheran settings that often rhyme
with their Catholic counterpart. The nature of the text eschews both assumed contexts of
death and larger Christian overtones despite its source material.43 Brahms opts to
commemorate ββhumanityβ by comforting those who remain in the world rather than praying
ceremonially for the souls of the dead in the form of a sung liturgy.β44 Ein Deutsches
Requiem sets an important precedent for the works that carry the title Requiem in the era to
come, not only concerning the use texts outside of the Latin liturgy, but also in the arena of
what is and can be memorialized under that guise.
40 Ibid., 302. 41 Chase, Dies Irae, 539. 42 George S. Bozarth and Walter Frisch, "Brahms, Johannes," Grove Music Online, accessed May 3, 2019, https://wwwoxfordmusiconlinecom.helicon.vuw.ac.nz/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000051879. 43 Bozarth and Frisch, βBrahms, Johannes.β 44 Daniel Beller-McKenna, βHow βdeutschβ is a Requiem? Absolute Music, Universality, and the Reception of Brahms's βEin deutsches Requiemβ op. 45,β 19th-Century Music, Vol. 22, No. 1 (Summer, 1998): 3-4, https://www.jstor.org/stable/746789.
16
The Twentieth-Century Requiem
The concert requiem of the nineteenth century in all of its permutations was a harbinger of
what the Requiem became in the twentieth century. The nineteenth-century Requiem
repertoire consists of a continued tradition of both liturgical and non-liturgical works that
subdivide further into secular requiems and war requiems with areas of gray between these
requiems and broader liturgical practice and influence. Following in the footsteps of the
Romantic departure from adherence to Latin texts, twentieth-century requiems featured
increased proliferation of external source material pulling from secular and religious texts
and frequently reflecting regional identity. One example of this is Penderecki inserting a
Polish hymn into one of the movements of Dies Irae verses in his Polish Requiem.45 This
recalls the pre-Tridentine tradition of regional variances inflecting the structure of funeral
rites across Europe. The influx of textual diversity also changed the macro-structure of
requiem design as movements were added around these new texts, sometimes in combination
with the parts of the Mass Ordinary and Proper, sometimes supplanting them. Even more
frequently, many of the once integral parts of the requiem were removed entirely.
Due to the tumultuous periods of war and the horrors against human life that they
bred in the first half of the twentieth century, many works were composed as responses,
dedications, and memorials through the form of the Requiem Mass. The subgenre of the war
requiem emerged from this era of violence and, while not bound to commemorate the two
world wars alone, its impetus is partially taken from Brittenβs War Requiem (1962), a
monument of music and poetry juxtaposed against the backdrop of the Latin liturgy and anti-
war texts.46 Paul Hindemith contributed another example of a related requiem that serves
both as a memorial and war requiem in his When Lilacs Last in the Dooryard Bloomed: A
Requiem βFor those we loveβ (1946). This work demonstrates an invocation of the
associated elements of the Requiem while abandoning its constituent texts in place of poetry
by Walt Whitman in memory of Franklin Roosevelt and the soldiers lost in World War II.47
Throughout this chapter I allude to the gradual progression of the Requiem from an
exclusively liturgical musical memorial for the dead into a genre of its own that is an
embodiment of memorialization in broader context. The later development of the Requiem
45 Chase, Dies Irae, 349. 46 Chase, Dies Irae, 349. 47 Ibid., 464.
17
genre as a memorial relies upon the invocation of the entire history of the form through its
title alone as its rise to musical independence from the boundaries of the liturgy lifted its
reliance on the liturgy and its mandate to set the its Latin texts. In the remaining portions of
this chapter I detail other musical memorials as they relate the Requiem and its twentieth-
century incarnation. This leads to establishing the framework to discuss music, music as
memorials, and liturgically inspired music in contexts within and against the backdrop of the
mid-to-late twentieth century Catholic Church.
Conclusion: Music as Memorial
Alec Robertson presents the Requiem Mass manifesting in three forms: memorial music,
elegiac works, and laments.48 He defines memorial music as I do, simply as music for
dedication, often for marking the passing of someoneβs life. While elegies and laments share
similar bonds, in the Grove Encyclopedia, Malcolm Boyd defines an elegiac form as: βA
setting of a poem, or an instrumental piece, lamenting the loss of someone deceased.49 This
straightforward definition contrasts with James Porterβs definition of a lament as:
A term associated not only with mourning rites for the dead but also with ritual leave-taking, as in the case of a bride parting from her family or a motherβs farewell to a son recruited on war service... ...The ritual character of laments embodies notions of transition to another state or world and the possibility of symbolic renewal. Funeral laments, although they mark a universal fact, are not found throughout the world; nor, where they are found, are they analogous in structure or style. On the contrary, they differ just as the rites associated with them vary from one region to another.50
The lament as defined above, then, resonates within the purview of the Requiem Mass genre
that I have established in this chapter. I suggest per this definition that Requiemsβ liturgical
and non-liturgical forms exist in near complete alignment in the broader category of a lament.
Robertson provides an example of the the intersection between of the liturgical and non-
liturgical elements that can exist within laments in the motets and madrigals of the
Renaissance. His clearest example is represented in a motet by Josquin des Prez lamenting
the passing of Johannes Ockeghem. In this motet he employs a liturgical tenor based on a line
48 Robertson, Requiem, 213 49 Malcolm Boyd, "Elegy," Grove Music Online, accessed April 4, 2019. https://www-oxfordmusiconline-com.helicon.vuw.ac.nz/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000008701. 50James Porter, "Lament," Grove Music Online, accessed April 4, 2019. https://www-oxfordmusiconline-com.helicon.vuw.ac.nz/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000015902.
18
taken from the texts of the Requiem Mass beneath and against βas was the convention of the
periodβ a French, secular poem in the upper voices that served as tribute to the composer as
well.51
Taking a lament as an embodiment of musical memorial it is extended and overlaps
contexts surrounding the Requiem Mass that appear in the form of solo settings of the Dies
Irae and in the form of Requiems that abandon all forms of text completely. Pendereckiβs
oratorio setting of the Dies Irae (1967) offers an interesting case study that runs parallel to
some twentieth-century settings of a Requiem in that it relies on the connotative nature of its
title that summons death-related imagery in tandem with the new music composed. This
composition stands as a monument to commemorate the victims of Auschwitz.52 Some
twentieth-century instrumental requiems without words petition similar mandates of
memorialization in their titles only. One such example, Brittenβs Sinfonia da Requiem (1940),
dedicated to the Japanese Emperor and later Brittenβs parents after the emperorβs refusal,53
sets a precedent for my own composition, Requiem: a Suite for Jazz Orchestra.
Requiem settings of the twentieth century are unified by what is endemic to a great
deal of music, art, culture, and societal life at that time, the release from the institutional
confines of style, aesthetics, and doctrines that had dictated much about art and culture
previously. This liberation of ideologies occurs in varying degrees over ranging periods of
time and struggle. In the mid-twentieth century at the Second Vatican Council, the Catholic
Church undertook a massive upheaval of its liturgy and its musical doctrines. This was an
effort to align to the volatile secular climate that surrounded the Church, in contrast to
previous attempts by former ecumenical councils that had performed the opposite.
The Second Vatican Council convened nearly 400 years after the Council of Trent in
1962 to once again assess the Churchβs practices within the world around it. While
reformation was at the heart of both of the commencements, Vatican II approached its
reforms with conciliatory action of its communities and the Churchβs place among other
Christian denominations and faiths in contrast to Tridentine decrees based in restoration. The
immediate consequences of the Second Vatican Councilβs reforms as they relate to the
Requiem are demonstrated by the Churchβs abandoning of the Latin rite, thus altering the
Churchβs funeral practices that had existed to that point. Other ramifications of Vatican IIβs
doctrines that applied to the music of the liturgy are explored in the next chapter in a study of
51 Robertson, Requiem, 213. 52 Chase, Dies Irae, 512. 53 Ibid., 440.
19
the Catholic and religious-inspired works of jazz composer Mary Lou Williams, an example
of the role jazz can play in this redefined context of the Church. To understand jazzβs place in
a liturgical context, Chapters 2 and 3 shift focus from the European βclassicalβ tradition of
composition and composers to the Mass and Requiem Mass as musical forms adapted by
composers to American forms of music.
New Requiem Masses continued to be composed in a Latin tradition βat least to the
extent that composers wished to emulate elements of their choosingβ after the Vatican II
changes to the liturgy. Twentieth-century developments and departures from the Latin-based
Requiem only cemented the path laid by composers following the reforms of the Council of
Trent. These developments established the Requiem as a vehicle for musical monuments and
memorializations, laments and dedications, elegies and commemorations.
20
Chapter 2: The Second Vatican Council and the Music of Mary Lou Williams
Introduction
In this chapter, I discuss liturgical musical forms in the work of jazz pianist and composer
Mary Lou Williams (1910β1981), focusing on her works of sacred jazz, a body of repertoire
taking inspiration from the Catholic liturgy. She composed these works in what is defined as
her βsacred periodβ in the 1960s producing a series of pieces that are liturgically inspired,
such as her hymn Black Christ of the Andes (1962), and liturgically functional, such as her
four jazz masses The Pittsburgh Mass (1966), Mass for Lenten Season (1968), Mass for
Peace and Justice (1969), and Mary Louβs Mass (1970). I frame her sacred period
compositions against the backdrop of the Second Vatican Council to locate a secular musical
form like jazz within a liturgical context, arguing that while the Churchβs reformations
opened the liturgy to jazz, a force like Mary Lou Williams was required solidify the place of
jazz within Catholic worship.
Reforms of the Second Vatican Council and the United States in the 1960s
The Church convened the Second Vatican Council (Vatican II, 1962β1965) in order to again
address the issue of secular influences on the practice of worship. Nearly 400 years had
passed since the Council of Trent and its reformation of Catholic doctrine, and, in the mid-
twentieth century, the swelling of external cultural influences surrounding the Church
culminated in a period of reformation in the form of the Second Vatican Council. Vatican II
reexamined Church doctrine and, in turn, the music of the liturgy.
Vatican IIβs commencement coincided with a period of tumultuous political, cultural,
and social change across Europe and the United States in the 1960s, but unlike the Council of
Trent the efforts of Second Vatican Council and its doctrines would result in reforms towards
a more harmonious relationship between the Church and the rest of the world. This was, to an
extent, due to binate influences of secularism in the form of the waning role of the Church in
postwar Europe and of the growth of the Catholic Church outside Europeβs borders. By this
point the sphere of the Church now encompassed congregations of worshippers on a global
21
scale and the Church, through Vatican IIβs doctrines, opened the liturgy to those communities
by incorporating their traditions βoften secular onesβ into the practice of worship.54
The Second Vatican Council commenced to reexamine the doctrines of the Cathloic
Church enacted during the Counter Reformation and in the centuries leading up to Vatican II
to reflect the twentieth-century relationship of the Church with the world and the many
communities of worshippers it now held across it. Vatican IIβs mission was to guide the
Church into a state of renewal (rinnovamento), and modernization or βbringing up to date,β
(aggiornamento), realized through edicts passed by the Church beginning with an edict called
Sacrosanctum Concilium, passed in 1963.55 With this opening edict the Church initiated a
process of embracing its peripheral congregations around the world by dissolving centuries of
liturgical traditions predating even the Tridentine Rite.
Two tenets of Sacrosanctum Concilium that charged the momentum of ecumenical
inclusion were the introduction of the vernacular into liturgical action and an increased focus
on the participation of the laity in worship.56 Several articles within Sacrosanctum Concilium
and its chapter devoted to music, Musicum Sacrum, dictated the initial mandates concerning
language and βindigenousβ traditions of congregations beyond the scope the Churchβs
European sphere, but left the implementation of these new decrees in the hands of churches
and their bishops.57 Joseph Dyer writes of the intense degree of these conciliar reforms
stating the Latin Rite established after the Council of Trent β...was eliminated virtually
overnight and replaced by a revised eucharistic rite in the vernacular.β58 The near elimination
of an entire body of repertoire in a wave of sweeping reforms necessitated the Church
produce new music for worship liberated from previous constraints regarding style,
instrumentation, and the use of Gregorian chant.
The new music composed for worship placed a strong impetus in the creation of
works to include the laity in the celebration of the Eucharist59 and in incorporating
54 Gayle Murchison, βMary Louβs Williamsβs Hymn βBlack Christ of the Andes (St. Martin de Porres),β Vatican II, Civil Rights, and Jazz as Sacred Music,β The Music Quarterly Vol. 86, no. 4 (Winter, 2002): 600, https://www.jstor.org/stable/3600972. 55 Murchison, βBlack Christ,β 600. 56 Joseph Dyer, βRoman Catholic church music,β Grove Music Online, accessed January 15, 2019, https://www-oxfordmusiconline-com.helicon.vuw.ac.nz/grovemusic/view/10.1093/gmo/97815 61592630.001.0001/omo-9781561592630-e-0 000046758. 57 Murchison, βBlack Christ,β 600. 58 Dyer, βRoman Catholic Church Music.β 59 John Koegel, William Summers, Margaret Cayward and John Grady, βRoman Catholic Church,β Grove Music Online, accessed May 22, 2019, https://www-oxfordmusiconline-com.helicon.vuw.ac.nz/grovemusic/view/10.1093/gmo/97815 61592630.001.0001/omo-9781561592630-e-1002257978.
22
indigenous forms of music.60 To further espouse its distanced congregations, the spirit of
ecumenical unity embodied by Second Vatican Councilβs reforms stressed the βadaptation of
the liturgy to the customs and traditions of the congregations in regions outside Western
Europeβ,61 facilitating the introduction of these communitiesβ musical traditions into the
liturgy. The United States presents a unique case for the reforms of Vatican II due to the
myriad of ethnic communities participating in the cultural landscape of the countryβs Catholic
believers. Cultural representation becomes difficult to locate as multiple demographics may
make up the population of any given dioceses across the United States. While the reformative
doctrines opened the liturgy to various forms of representation, many styles of music that
bore clear markers of cultural identity through a secular musical style were met with scrutiny.
Conservative and liberal factions emerged in the wake of Vatican II with regard to
church music. In these early years following Sacrosanctum Concilium (from 1965 into the
early 1970s) and other edicts, the liberal faction advocated for experimentation in genre and
instrumentation62 while conservative factions clung to the chants that had been the tradition
before being usurped by ecclesiastical reform.63 The mandates of these decrees lacked
directives to guide any one direction of reform, which allowed experimentation to thrive in
this period.64 The issues that arose for either side of the church music camps rested in the
question of what kinds of music maintained the solemnity of the rite. For Black communities
in the United States, the liberal lens through which to view the reforms of music for worship
inspired the first forms of acknowledgement by the Catholic Church that the musical forms of
African American Catholics could be incorporated into church music. Mary Lynn Kernodle
explains:
The inclusion of African American musical forms in worship services during the 1960s and 1970s was a continuation of the efforts of Black Catholics throughout the late nineteenth and early twentieth centuries to create their own identifiable religious services but maintain Catholic Church order.65
Experimentation in liturgical music resulted in the development of a Black liturgy that
mirrored the representation long held by African American Protestants, one that provided
60 Murchison, βBlack Christ,β 601. 61 Ibid 62 Koegel, Summers, Cayward and Grady, βRoman Catholic Church.β Tammy L. Kernodle, βThis is My Story: The Historiography of Vatican II, Black Catholic Identity, Jazz, and the Religious Compositions of Mary Lou Williams,β U.S. Catholic Historian Vol. 19, no. 2 African American Spirituality and Liturgical Renewal (Spring, 2001): 83, https://www.jstor.org/stable/25154769. 64 Kernodle, βThis is My Story,β 94. 65 Ibid., 85.
23
links between their lives in their communities and their lives within the Church.66 Musical
forms such jazz, blues, and gospel were invited into the liturgy promoting the emergence of a
Black Catholic American identity.67
The reforms of the Second Vatican Council brought the Church into the present-day
of the 1960s by broadening the liturgy so that it reflected the traditions and heritages of all
who worship under Catholicism. The new voices and identities that surfaced through musical
worship during this period were those of communities who were long silent beneath centuries
of Catholic tradition in the years of globalized evangelism leading up to Vatican II. Mary Lou
Williams emerged as a prominent voice for jazz and Black culture within the Church with a
degree of serendipity that the period of her sacred compositions (1962β1970) coincided with
the reformation of the Catholic liturgy and its music. The Churchβs reformation afforded
Williams the opportunity to place jazz directly into a functionally liturgical setting,
challenging racial biases that jazz music was too profane for worship68 and positioning Black
culture in front of the eyes of a broader Catholic public.
Mary Lou Williams
Before becoming a leading figure in the arena of sacred jazz within Catholic liturgical music,
Mary Lou Williams had a long career as a jazz pianist and composer beginning at the age of
12.69 She developed her skills as a composer and arranger from the 1920s into the late 1930s
through an association with Andy Kirkβs Kansas City-based group, the Twelve Clouds of
Joy, due initially to her husbandβs position as the bandβs baritone saxophonist.70 At first
Williams received instruction under Kirk, developing her compositional abilities while
maintaining a separate existence as a Kansas City musician. Williams later joined the group
as their pianist, and contributed a number of arrangements that solidified her place within the
jazz community.71 By the 1940s, her prominence as an arranger, developed in Kirkβs band,
brought her and her work to the attention of other renowned jazz figures of the period such
Benny Goodman and Duke Ellington, both of whom adopted her pieces into their
66 Ibid., 84. 67 Kernodle, βThis is My Story,β 84. 68 Murchison, βBlack Christ,β 600. 69 Tammy L. Kernodle, "Williams, Mary Lou," Grove Music Online, accessed August 30, 2018, http:////www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-1002259377 70 Ibid. 71 Ibid.
24
performance repertoire.72 Later, in the 1960s, Ellington also explored sacred works for jazz,
though outside of any sort of liturgical setting. In Chapter 3, I compare both figuresβ
approach to jazz within sacred contexts.
Mary Lou Williams maintained her position as a fixture in jazz music as the swing era
ended and the bebop style emerged. During the bebop era Williams also developed into the
role of a βnurturer.β She formed mentoring relationships with emerging artists of the period
such as Dizzy Gillespie, Bud Powell, and Thelonious Monk. She is also credited with
advancing the early careers of Charlie Christian and Art Blakey.73 The bonds Williams
cemented with these jazz musicians who began their careers in the bebop era proved to be
fortuitous in what awaited her musical career in the decade to follow.
In the beginning of the 1950s Williams joined the flock of jazz musicians who left the
United States for Europe to pursue better career opportunities performing for European
audiences and to escape the prejudices African Americans faced at home.74 Williamsβ
European tenure, first in London, then Paris, was marked as a tumultuous period of personal
and professional struggle. The red tape surrounding work laws in England stifled her
performance opportunities, which relegated her talents to variety halls and a reliance on
recording to provide financial stability. Williamsβ discontent with her unsatisfying and
economically fruitless career in Englad forced her move to France to persue more profitable
work.75 But her financial and personal hardship continued. These woes compounded and
sometime around 1954 she took a three to four-year retirement (sources differ on the duration
of and other details about this time period) from her professional performance career and
returned to the United States.76 Dejected by her failures in Europe, Williams refocused her
energies upon her return into two areas, religion βin the form of spirituality and eventually
Catholicismβ and humanitarianism. This dual focus shaped her personal and, later, her
professional life in the years following her self-imposed musical retirement.
Williamsβ spiritual awakening began earlier than her arrival back to New York in
1954; Gayle Murchison notes that the gentle nudging towards Christian prayer by friends and
acquaintances during her time in Europe provided the impetus for Williams to begin to turn
to prayer during this time of instability abroad.77 She followed her friendsβ encouragement to
72 Ibid. 73 Charles W. Pickeral, βThe Masses of Mary Lou Williams: The Evolution of a Liturgical Style,β (PhD diss., Texas Tech University, 1998), 3. 74 Murchison, βBlack Christ,β 592. 75 Ibid., 593. 76 Ibid. 77 Ibid., 594.
25
βinvestigate various religionsβ when she returned to the U.S.78 Williams eventually came to
Catholicism in 1956, converting in 1957 from the Baptist faith she had been baptized into as
a child. Williams entered into a period of personal and spiritual renewal, forming
relationships with clergy members, specifically Father Anthony Woods and John Crowley,
who supported the efforts of her humanitarian ministry within her community and her
eventual return to music, which involved a reconciling of her faith with jazz and her music.79
Catholicism, humanitarianism, and music became intertwined elements of Mary Lou
Williamsβ life as each inspired and enriched the other.
In the year following her conversion to Catholicism, Williams established the Bel
Canto Foundation, a music ministry with the purpose of helping musicians struggling with
drug and alcohol addiction.80 The foundation operated out of her New York City apartment,
becoming a halfway house for the musicians she was helping81 include notable jazz pianists
such as Bud Powell and Willie βthe Lionβ Smith.82 Williams found fulfillment in this charity
within the jazz community, supporting people from the community not only with assistance,
but also with her efforts βto reform them, to teach.β83 This form of outreach to a marginalized
demographic parallels some of the missions of the Vatican II reforms that would arrive in the
following decade; this is not the first instance where the work of Mary Lou Williams β
musical or charitableβ would resemble and reflect the Church.
The mission of the Bel Canto Foundation not only facilitated her endeavours in social
activism, but also provided the catalyst to return Williams to performance. At first, Williamsβ
performances were a means to fund her ministry,84 but her increased musical activity became
amplified by the worlds she orbited, jazz and Catholicism. The priests she had become close
with continued to push her along the avenue of jazz performance and it was Dizzy Gillespie,
one of the musicians to wander under her mentorship before she departed for Europe, that
persuaded her to perform and record a concert at the 1957 Newport Jazz festival.85 Though
the Bel Canto Foundation would eventually fold under financial burdens, Mary Lou
Williamsβ return to music afforded her a new vehicle to promote her humanitarian efforts86
while providing her a medium to explore her own relationship with spirituality through jazz
78 Ibid., 594. 79 Kernodle, βThis is My Story,β 87. 80 Ibid. 81 Pickeral, βThe Masses of Mary Lou Williams,β 51. 82 Murchison, βBlack Christ,β 595. 83 Pickeral, βThe Masses of Mary Lou Williams,β 53. 84 Ibid. 85 Murchison, βBlack Christ,β 595 86 Pickeral, βThe Masses of Mary Lou Williams,β 52.
26
and the Catholic liturgy. Williams explored this relationship in the works of sacred jazz she
composed within the era of reformation of the Catholic Church in the years soon after her
Newport resurgence.
Jazz in the Liturgy and the Sacred Works of Mary Lou Williams
While the reforms of the Second Vatican Council opened the liturgy to the introduction of
secular forms of music that embodied the heritage of the massβ celebrants, many styles of
music, jazz included, were met with a degree of skepticism regarding their appropriateness in
Catholic worship. For Mary Lou Williams to integrate jazz and her compositions into the
liturgy, she would have to answer questions that surrounded jazz musicβs associations with
the secular and the profane. In the pieces that were written over the course of her sacred
period (1962β1970), Williams addressed these questions by defining her spirituality through
jazz and jazz through her spirituality.
The work she produced over this period included a number of hymn-like
compositions: Black Christ of the Andes (Hymn in Honor of St. Martin De Porres) (1962),
The Devil (1963), and Anima Christi (1963), and also included four masses: The Pittsburgh
Mass (1966), Mass for Lenten Season (1968), Mass for Peace and Justice (1969), and Mary
Louβs Mass (1970). This fourth mass was elicited by choreographer Alvin Ailey for an
American Dance Theater production of Williamsβ work, and was actually a rescoring of Mass
for Peace and Justice with the addition of additional movements.87 Ailey had
contemporaneous involvement in productions incorporating the music of Williamsβ peer
Duke Ellington and another liturgically charged work, Mass, by Leonard Bernstein. This
positioned Mary Louβs Mass in the public eye and amongst the dialogue around liturgical
musical forms in the decade that followed Vatican II. Through these compositions Williams
distanced jazz from the negative stereotypes that remained among Church clergy and
congregations that had prevented jazzβs acceptance into the liturgy.
For jazzβs inclusion into liturgical action, the new music composed for worship had to
be oriented within what the articles established in Sacrosanctum Concilium deemed
appropriate. Gayle Murchison cites two articles in her text that relate Vatican II provisions to
the sacred music Mary Lou Williams composed for the liturgy as follows:
87 Pickeral, βThe Masses of Mary Lou Williams,β 349.
27
Article 118 reminded musicians of the most important requirements for hymns: they had to be orthodox, short, simple in text and tune, and created chiefly out of biblical psalms and chants. Article 121 contained an appeal to poets and musicians to use their talents in service to the church.88
Williams was aware of the Churchβs stipulations and maintained through a deft
understanding of jazzβs heritage that βjazz had always sustained a spiritual component.β89
This laid at the heart of the compositions she crafted for use in and around the liturgy. This is
further validated as continued in the Murchison text:
Williams herself had no such conflict over the use of jazz as sacred music. For her, secular jazz, rooted as it was in the African American experience-particularly the experience of suffering-had great spiritual content and therefore was appropriate for the Mass and other religious settings.90
Sacred jazz, in Williamsβ words, was βjazz for healing.β91 This aligns Williamsβ
relationship between her music and faith with the social activism she pursued in her time
retired from professional performance. These tenets held by Williams, that jazz is a source of
healing and spirituality, fulfill Article 121βs mandate. Williamsβ sacred jazzβs acceptance into
liturgy also represented the embracing of Black worshippers by the Church through the
acknowledgement of their own music traditions, an area in which Williams contended to find
βvalidation of her African heritage within a mostly White denomination.β92
Acknowledgement and validation of all of the demographics of the Church was one of the
directives at the centre of the Second Vatican Councilβs reforms. In order to see this
implemented for Black Catholics in the United States, Williams championed a movement to
deliver this form of representation through her jazz compositions for the Catholic liturgy.
Williamsβ first effort in composing a jazz composition for a liturgical setting was
1962βs Black Christ of the Andes or Hymn in Honor of St. Martin de Porres. Williams
composed this hymn in honour of the canonization of the sixteenth and seventeenth century
Peruvian Dominican monk Martin de Porres (1579β1639).93 There are stark, poetic parallels
between Williams and De Porres, considering given their missions of healing in life and their
88 Murchison, βBlack Christ,β 605. 89 Pickeral, βThe Masses of Mary Lou Williams,β 90. 90 Murchison, βBlack Christ,β 621. 91 Kernodle, βThis is My Story,β 87. 92 Ibid., 93 93 Ibid., 88.
28
cultural identities within the church, parallels that Williams recognized.94 In his lifetime
Martin de Porre, a trained surgeon, administered his skills to the impoverished and, beyond
his earthly life, he has served as a patron saint figure to a number of global communities. 95 In
the United States, de Porres became a central Catholic model for African Americans pursuing
lives in the Church, while in Latin America, he became a representation of social justice.96
While Martin de Porresβ canonization provided the impetus for Williams to compose
this work, her inspiration was derived from what he represented within the Catholic Church.
Mary Lou Williams emulated many of the traits that de Porres embodied as prominent
Catholic figure, notably the humanitarian activism she strived to achieve when she was
running the Bel Canto Foundation.97 The forms of social activism she pursued at the time
extended past the musicians she cared for in her New York City apartment as she became
entrenched in political activism in the context of the Civil Rights Movement. At the same
time the Church was able to utilize de Porres and his canonization to make a statement on
their stance concerning race relations specifically towards its congregations in the United
States.98
The composition Black Christ of the Andes was a collaborative effort between
Williams and the clergy she had become close within the formative years of her conversion
to Catholicism. Father Anthony Woods, one of the priests who encouraged Williamsβ
ministry efforts and return to music, provided texts for the hymn in the form of a short simple
poem for Williams to set on her insistence.99 The work is a choral piece that Williams
conceived as a type of ballad with a formal structure as an ABA' form. Muchison describes
this as a setting of the ballad as the A Section contrasted by a B Section in text and texture
with return of the A Section through paraphrases.100 The form is reminiscent of her earlier
arrangements that brought her success in the 30s and 40s.101 Williams injected a jazz
vocabulary with regard to melody and harmony into the hymn through the incorporation of
chromatic alterations to the upper extensions of her harmonies that resonated in the
contemporary jazz context of the 1960s.102
94 Murchison, βBlack Christ,β 602. 95 Ibid., 603. 96 Murchison, βBlack Christ,β 603.. 97 Ibid. 98 Ibid., 604. 99 Ibid., 606. 100 Ibid. 101 Ibid. 102 Murchison, βBlack Christ,β 606.
29
While including the sounds of a jazz style the hymn lacked any real moments of
improvisation save for two conjoined instances within the work. The B Section features a
fleeting ad-libbed piano interlude that introduces a section of material meant to allude to
improvisation through a composed vocal part emulating jazz scatting.103 Williams attributes
the absence of improvisation to the music setting, acknowledging that Black Christ is a
nearly through-composed piece of music to be realized in the form of a classical composition
and performance idiom as opposed to a jazz one.104
Black Christβs jazz conception inevitably invokes the feeling of a spiritual and this
feature of music for worship is also familiar among other Chrisitian denominations within the
United States. African American music styles had long been intertwined with Protestant
worship, but this was one of the earliest instances where an African American musical style
would enter into a Catholic context. This work, while liturgically inspired, did not receive a
performance within a mass, but rather as part of a service that celebrated de Porresβ inaugural
feast day.105 Despite Black Christ not being included within a mass, many of the decisions
Williams made when conceiving the work from its texts to the implementation of a jazz
language regarding her harmonic and melodic choices were chosen to reflect the spirit of the
Vatican II reforms prescribed in the articles of Sacrosanctum Concilium. Black Christ
received a concert performance in 1962 and was recorded in 1963. As a result, Williams
realized that her music, jazz music and Black Christ, could β...be used to draw persons [sic]
closer to God and inevitably towards peaceβ,106 providing the momentum to propel her sacred
period forward.
The works of sacred jazz that Williams completed in this period built upon the
momentum and experiences she had gained from Black Christ of the Andes. Her music
eventually found itself inside of the liturgy with the masses she completed between 1967-
1969. Williams achieved the integration of her music into functional liturgical practice with
the first two of these masses, the Pittsburgh Mass and the Mass for the Lenten. This, coupled
with the success she received by including a number of her hymns on her tour programmes,
became a subject of interest by leaders in the Catholic Church as high as the Vatican. In 1969
Williams received a commission from the Vatican to compose a mass; the work became
known as 1969βs Mass for Peace.
103 Ibid., 608. 104 Murchison, βBlack Christ,β 605. 105 Ibid., 601. 106 Tammy L. Kernodle, ββAnything You Are Shows Up in Your Music:β Mary Lou Williams and the Sanctification of Jazzβ (PhD diss., The Ohio State University, 1997), 96.
30
With the first three of her masses Williams continued to grapple with what was
deemed appropriate for liturgical purposes. This was only amplified by the circumstances
that led to her third mass, the Mass for Peace. Tammy Lynn Kernodle writes:
Although the composition employs harmonics closely associated with jazz, there are very few instances where a connection to the art form is visible. This apparent change in approach may indicate that Mary Lou's main concern was creating a mass that the Vatican would find acceptable. The only safe assumption is that despite the aims of Vatican II, the Church was still not interested in incorporating music that seemed too "radical" into worship services.107
The Mass for Peace was first performed in 1969 as a memorial for an assassinated
Kenyan leader, Tom Mboya.108 Despite Williamsβ stylistic reservations for the composition
of this third mass, she incorporated forms of secularism in the guise of a rhythmic language
drawing from popular music of the late 60s and early 70s.109 Williams felt empowered to do
so after a period of self-reflection regarding what her previous offerings of sacred jazz
compositions achieved and demonstrated in liturgical context, in the form of jazz as spiritual
healing.110 The Mass for Peace, βstill a conversative outing for Williamsβ stands in her
repertoire as the precursor to the mass that she would be best known for, Mary Louβs Mass.
Mary Louβs Mass expanded upon the third mass with the addition of several
movements for the Alvin Ailey dance production for the American Dance Theater. With this
fourth mass, Williams continued to liberate herself from previous stylistic restraints dipping
back into forms of secularism in her music with the increased presence of secular styles
outside of even jazz, including elements of rock music.111 The American Dance Theaterβs
production elevated Williamsβ work, resulting in further public exposure, a recording, and
Mary Louβs Mass becoming a frequent performance piece in the final decade of her life.112
As I stated earlier in this chapter, the Vatican II doctrines Sacrosanctum Concilium
and its Musicum Sacrum laid out a general mandate for the new liturgy of the Catholic
Church without leaving specific instructions to define its implementation. Experimentation in
the musical developments of worship flourished in the nearly ten years to follow the
Sacrosanctum Concilium, affording Mary Lou Williamsβ work, specifically her series of
masses, to shape the forms of music the liturgy could encompass. Sacrosanctum Concilium
107 Kernodle, ββAnything You Are,ββ 260. 108 Kernodle, βThis is My Story,β 90-91. 109 Pickeral, βThe Masses of Mary Lou Williams,β 342. 110 Ibid., 280. 111 Kernodle, ββAnything You Are,ββ 315. 112 Pickeral, βThe Masses of Mary Lou Williams,β 371.
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placed the arbitration of what was appropriate in the hands of its Churchβs dioceses and
parishes and beginning in the 1970s the leaders of individual Catholic nations would legislate
their own interpretations of the reform. Catholic leadership in the United States produced
several documents to determine their explication of Vaticanβs II reformative doctrines on
music of the liturgy in American Catholic worship. Directives for the Use of the Vernacular
at Mass and A Memorandum on Music for the Vernacular Liturgy were issued in 1964 to
explicate the Church in Romeβs reforms of the liturgy113 and in 1972 Music in Catholic
Worship was published to solidify a set of βguidelines for the selection of music and
performance of liturgy.β114
With the first two of these documents from 1964, Mary Lou Williamsβ masses were
able to comfortably fit within the prescribed guidelines and operate within the liturgy. The
changes made in 1972 could have jeopardized the progress Williams made in securing jazzβs
place in the Church, but her works exhibited many of the traits the Bishops' Committee on
Liturgy of the United States Catholics decided on implementing themselves.115 Three years
after the publication of Music in Catholic Worship, Mary Louβs Mass, the secularly charged
expansion of the Vatican-commissioned Mass for Peace, received its own liturgical
performance in Saint Patrickβs Cathedral in New York.116 Tammy Lynn Kernodle writes of
the event:
This performance ushered in a new era of Catholic worship music. The positive reviews and the accolades given to the work suggest that the sanctification of jazz was in full swing by 1975. Through biblical scriptures and simple melodies, Mary Lou Williams managed to reinvent conceptions about both sacred music and jazz.117
The success of this 1975 concert in conjunction with the energy that had been building since
her first liturgically inspired work, Black Christ of the Andes, carved out a place for not only
jazz music in the music for Catholic worship, but for Black Catholics in the United States.
Conclusion
In the final work of her βsacred jazzβ period, Mary Lou Williams managed to cement a
legacy of social change within the Church through persistent forms of social activism that
113 Koegel, Summers, Cayward and Grady, βRoman Catholic Church.β 114 Kernodle, ββAnything You Are,ββ 318. 115 Ibid., 320. 116 Kernodle, βThis is My Story,β 95. 117 Ibid., 321.
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transcended into the heart of her music. Through her compositions she embodied the mission
of the Second Vatican Councilβs reformative doctrines of ecumencial inclusion of all its
worshippers for Black Catholics in the United States. Beyond this, she established precedents
in liturgical music by supplanting entrenched notions of what jazz music represented and
how it can serve the liturgy through on her beliefs in spirituality in jazz. These precedents
served as a model for Music in Catholic Worship, paving the way forward for other stylistic
genres to emerge in worship.118
Williamsβ music established her influence on jazz in the Catholic liturgy. In the 1960s
other forms of sacred jazz were developing, and concurrently with Vatican II and the work of
Mary Lou Williams, Duke Ellington was premiering his body of sacred repertoire in series of
Sacred Concerts. Ellingtonβs sacred jazz works run in parallel with Williamsβ in the form jazz
based in spirituality, but unlike Williams, who had to carve a place for her music within the
institution of the Catholic Church, Ellingtonβs work was unencumbered by such hurdles. I
turn now to Ellington and his sacred repertoire in Chapter 3.
118 Ibid., 94.
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Chapter 3: Duke Ellington
Introduction
Up to this point in my exegesis, I have illustrated contexts in which composers have taken
liturgical musical forms of the Catholic Church, the Mass and the Requiem Mass, and
employed them for both religious and secular purposes. I have also observed composers
blending religious and secular forms of music together, primarily in the mid-twentieth
century. In the last decade of his life, jazz composer Duke Ellington (1899β1974) produced a
series of three sacred works for his jazz orchestra that became known as his Sacred Concerts
(1965, 1968, 1973). These works embody Ellingtonβs relationship with his own spirituality
and are representative of that relationshipβs development across his oeuvre beginning two
decades earlier in Come Sunday (1942) and Black, Brown, and Beige (1943). In this chapter,
I explore the factors that led to Ellingtonβs works of sacred jazz music by examining
elements of his life and by discussing a number of his earlier compositions that I, following
David Schiff, consider his βproto-sacredβ works.119 The discussion leads to an examination of
each of the three Sacred Concerts, and I provide a contextualized historical overview of each
work and its reception.
This chapter also compares Ellingtonβs Sacred Concerts with the contemporaneous
sacred jazz compositions of Mary Lou Williams. I explore the function and operation of their
compositions in the bounds of Christian worship both inside and outside of the liturgical and
Catholic contexts discussed in earlier chapters. Throughout this chapter, I frame the impact of
the social and cultural backdrop of Black music and life in the 1960s as manifested in the
shared themes of the sacred jazz works of Ellington and Williams. By exploring these two
composersβ periods of sacred jazz and by comparing their approaches to reflecting spirituality
through liturgical forms in jazz music, I reveal how both composers shaped the way later jazz
artists have embraced and expressed their own relationships with spirituality.
The Genesis of Duke Ellingtonβs Sacred Concerts
Research into Ellingtonβs spiritual life reveals a dynamic relationship with various Christian
religions that Ellington carried throughout his life. Ellington was raised in two churches in
119 David Schiff, The Ellington Century (California: University of California Press, 2012), 250.
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Washington, D.C.: his motherβs Methodist church and his fatherβs Baptist church, and he
attended services of both each Sunday as a child.120 Though maintaining the teachings and
lessons he received as a boy, Ellington did not hold an association with a particular
denomination of Christian faith into his adult and professional life.121 Instead, his continued
relationship with religion βChristian religionβ developed through a personal faith he
sustained through his regular reading of the Bible and a subscription to a weekly
Episcopalian faith magazine. His faith was also enriched by the relationships he formed with
clergy members of different denominations he encountered and befriended around the United
States and the world in his years touring.122 Ellingtonβs spiritual life remained mostly private
until the years that his Sacred Concerts premiered. But the seeds of development of these
sacred works can be seen across his musical material beginning as early as the mid-1930s.
Though many authors cite 1942βs Come Sunday and 1943βs Black, Brown, and Beige
as Ellingtonβs first works with the initial traces of spiritual leanings, Jason C. Blivens argues
that Ellington received a renewed spiritual awakening with the death of his mother in 1935,
resulting in period of biblical study and the composition of an elegy for her.123 The next
decade followed with Ellingtonβs Come Sunday and Black, Brown, and Beige βthe former
being incorporated in the opening movement of Black, Brown, and Beigeβ as the first of his
significant proto-sacred compositions. Black, Brown, and Beige and Come Sunday remained
constant fixtures in the development of his sacred repertoire manifesting themselves in
various forms, some of which developed into portions of The First Sacred Concert.
Originally Black, Brown, and Beige was a near programmematic suite that detailed the
history of African American people through Black music; Come Sunday was included to
represent the religious experiences of African Americans in that history.124
In 1958, Ellington recorded a revised version of Black, Brown, and Beige that
included a new version of Come Sunday with lyrics penned by the composer. This new
Black, Brown and Beige also modified the musical programme of the original work in its
representation of Black culture. For the 1958 recording, Ellington employed the gospel singer
Mahalia Jackson who sang his new texts and its lyrics tinged with gospel, reframed the
120 Thomas Lloyd, βThe Revival of an Early "Crossover" Masterwork: Duke Ellington's Sacred Concerts,β Chorale Journal Vol. 49, No. 11 (May 2009): 3. 121 Lloyd, βThe Revival,β 3. 122 Ibid., 3. 123 Jason Blivens, Spirits Rejoice!: Jazz and American Religion (New York: Oxford University Press, 2015), 157. Blivens does not provide a specific title or date for this composition. 124 Wilbert Weldon Hill, βThe Sacred Concert of Edward Kennedy βDukeβ Ellingtonβ (PhD diss., The Catholic University of America, 1994), 44.
35
depiction of Black America as a βpicture of ascending faithβ and existing βin the church, not
in a Sugar Hill penthouse.β125 The sifting of the gospel elements into the narrative echoes
gospelβs larger diffusion of Black political movements in the United States across popular
music forms and the work of civil rights activists.126
Ellington continued upon the evolution of the expanded version 1958 version of
Black, Brown, and Beige with My People (1963), a musical theatre production that was
performed in Chicago for the 100th anniversary of the Emancipation Proclamation. The
production included choreographed dancing, new compositions and reworked material from
Black, Brown, and Beige including the vocal version of Come Sunday, and even a staged set.
My People developed the reshaped narrative of the suiteβs programme, continuing the
interwoven themes of spiritual faith and politics of the 1960s represented through Ellingtonβs
continued inclusion of gospel elements.127 With its ambitious artistic goals straddling the
boundaries between sacred and secular, the work was ill-suited for performances beyond the
centennial celebration, despite its engagement with contemporary social and political
struggle.128 To that end, David Schiff describes the work as, βToo religious to run on
Broadway, too full of the blues to be performed as a church service,β129 ultimately rendering
it completely non-viable to stage outside of its original setting.
For jazz music with liturgical leanings in the 1960s, it was a challenge for composers
and audiences to locate a setting for music that combined forms of worship with forms of
entertainment or concert music. With the overt gospel nods of the proto-sacred My People,
the sacred elements saturate Ellingtonβs work in this case, so that the cultural portrayal of a
Black American narrative is inseparable from music for worship. Conversely, as I illustrated
in the challenges of placing jazz in the Catholic liturgy, Mary Lou Williams had to combat
the ways jazz was seen as secular in order to distinguish it as appropriate for worship. Both
composers, in the early stages of developing their works of sacred jazz grappled not only
with the dichotomy surrounding sacred and secular forms of music that determined what was
appropriate and inappropriate for worship, but also with how to incorporate African
American music for worship into secular and liturgical contexts. My People, acting as a sort
of spiritual predecessor, foreshadows the next stages in Duke Ellington's approach to these
issues with the arrival of The First Sacred Concert in 1965.
125 Schiff, ββHeavenβ: God,β 249. 126 Ibid., 250. 127 Schiff, ββHeavenβ: God,β 250. 128 Ibid., 252. 129 Ibid.
36
The Sacred Concerts
In 1962, one year before the premiere of My People, Ellington was approached while on tour
by the clergy of the Anglican Grace Cathedral in San Francisco to compose a work for the
cathedralβs dedication.130 Though Ellington allowed the invitation to lapse, he was ultimately
persuaded to pursue the project through a clergy member of the parish that he had befriended.
This resulted in the composition of The First Sacred Concert, composed as a part of the
Cathedralβs year-long celebration, the βFestivals of Grace.β131 Ellington was given free rein
to compose in his own musical style, with the only mandate being that the music for the
concert to be sacred. At the same time, the Cathedral had reservations about whether Duke
Ellingtonβs concert in a jazz style would be appropriate.132
The Dean of Grace Cathedral, Julian Bartlett, while holding those reservations, placed
a great deal of faith in Ellington. Wilbert Hill quotes Bartlett in his programme notes for the
concert addressing many of the concerns of the Cathedralβs inclusion of secular music for
worship in liturgical settings. Bartlett describes public forms of prayer as being encompassed
within a larger sphere of worship, asserting that among those of forms of prayer, works of
artistic expression may also be included.133 His stipulation for these acts of artistic
celebration is that they would be an offering βto the service of God.β134 He continues by
elucidating reasons why secular forms of art within liturgical worship might be deemed
sacred or profane, stating that defining something as sacred or profane depends on βwhether
an act is an offering to God!β135
This statement by the Dean of Grace Cathedral offers a form of acknowledgement
that jazz music can be appropriate within liturgical settings of worship, as well as inside the
Anglican cathedral itself for a church-sanctioned concert. It is important to distinguish that
Ellingtonβs music secured a place in a liturgical setting, but not as part of the liturgy itself.
This is not without precedent as the sacred jazz hymns of Mary Lou Williams found a place
within the Catholic Church outside of the celebration of the mass only a few years before
Ellingtonβs first full sacred composition. The differences between Anglican and Catholic
approaches to incorporating secular forms of music in the liturgy in these instances are subtle
as both enter church settings through a clergy memberβs insistence that the work of these 130 Schiff, ββHeavenβ: God,β 252. 131 Hill, βThe Sacred Concerts,β 49. 132 Ibid., 49-50. 133 Ibid., 51. 134 Ibid. 135 Ibid.
37
composers be present for forms of worship, but the Catholic Church required a considerable
period of reformation to reframe its position on music in the liturgy. Duke Ellington had no
personal or religious reservations concerning the place of his First Sacred Concert within the
context of the Church.
The First Sacred Concert was not functionally liturgical, but rather a work set to
occupy the space where the liturgy was celebrated, liberating Ellington from having to utilize
traditional mass texts in favour of writing his own.136 The work itself is another expansion of
Black, Brown, and Beige and its successor, My People. It includes a number of movements
from both works, notably incorporating both the vocal form and the instrumental form of
Come Sunday137 and retaining the dance elements of My People.138 Its success in San
Francisco resulted in subsequent performances around the world in both secular and liturgical
arenas, indicating a level of acceptance of jazz music, and its proliferation, across a range of
Protestant churches.139 Despite the high regard the work garnered, it still carried its own
group of detractors who were concerned about The First Sacred Concert being performed in
liturgical settings. Their concerns centred around what was appropriate to perform in a
church; any form of secularism encroached upon the sanctity of a churchβs boundaries with
potentially lasting effects.140 Despite the criticisms surrounding The First Sacred Concert,
Duke Ellington further established jazzβs place in sacred contexts in the two additional
Sacred Concerts that followed.
By 1968, Ellington had lost his longtime compositional companion, Billy Strayhorn
(1915β1967). He was prompted to compose his Second Sacred Concert, quoted as βthe most
important thing I have ever done,β141 by another befriended clergy member, this one from the
Episcopal Cathedral of Saint John the Divine in Harlem. As part of the initial production of
the work, Ellington was given the right to select all of the final works in the concert. This
afforded him the freedom to programme his own work, and a freer context to compose than
with the San Francisco commission.142 Ellington wrote the texts for this Sacred Concert, as
he had for the first Sacred Concert; this time mostly new original works comprised the
concert. In his efforts to honour his departed friend, Ellington composed and wrote the lyrics
for the piece βFreedom,β which included a spoken word recitation of Strayhornβs tenets of
136 Lloyd, βThe Revival,β 4. 137 Schiff, ββHeavenβ: God,β 254. 138 Lloyd, βThe Revival,β 7. 139 Ibid., 5-7. 140 Blivens, Spirits Rejoice! 158. 141 Schiff, ββHeavenβ: God,β 6 142 Hill, βThe Sacred Concerts,β 58.
38
freedom that Ellington had included in his eulogy at Strayhornβs funeral.143 Strayhornβs
βfreedomsβ were modelled after President Franklin Rooseveltβs own βFour Freedomsβ and
Thomas Lloyd details them as:
According to Ellingtonβs recitation during βFreedom No. 1,β Strayhornβs βfour major moral freedomsβ were βfreedom from hate unconditionally, freedom from self pity, freedom from fear of possibly doing something that might benefit someone else more than it would him, and freedom from the kind of pride that could make a man feel that he was better than his brothers.β144
The inclusion of these texts that centre a subject like freedom in themes of The
Second Sacred Concert demonstrates how Ellington expanded the bounds of a sacred
mandate in an increased blending of secular influences that echo his proto-sacred work My
People.145 Ellington further extended his reliance on secularism in this work through
including a dance element as he had in his previous sacred works, this time expanding the
presence of dance in the composition so that it included two sets of dancers involved in the
action of the music throughout the composition. The two dance groups represented different
aspects of the music: the first group danced among the audience in a style of modern dance
reflecting the symbolism of worship, while the second group danced in a swing style near the
musicians.146 The Second Sacred Concert achieved a degree of success equal to or greater
than The First Sacred Concert. It remained a part of Ellingtonβs performance repertoire over
the course of the five years that followed into the twilight of his life.147 The work, like its
predecessor, was performed in a range of venues, both secular and sacred, in Europe and the
United States.
In 1972, Ellington received another commission to compose a third Sacred Concert
despite being in the advanced stages of cancer that he succumbed to a year after the workβs
1973 London premiere.148 The work commemorated the twenty-fifth anniversary of the
United Nations for United Nations Day, and was performed in Westminster Abbey as part of
the celebrations.149 Ellingtonβs health did not allow for the same level of preparation as for
his previous Sacred Concerts. This directly influenced the composition of the work, which is
143 Schiff, ββHeavenβ: God,β 258. 144 Lloyd, βThe Revival,β 20. 145 Ibid., 6. 146 Schiff, ββHeavenβ: God,β 261. 147 Lloyd, βThe Revival,β 8. 148 Ibid., 9. 149 Hill, βThe Sacred Concerts,β 59
39
more sombre and pensive in its musical material than his previous spiritual compositions.150
One review described a general sense of movement through the Sacred Concerts from the
first to the third as a movement, βfrom preachment and toward prayer.β151 The Third Sacred
Concert then fittingly serves as a musical epitaph for the composer himself, similar to how
the first Sacred Concerts served epitaphs for departed figures in Ellingtonβs life.152 Ellington
would live to perform The Third Sacred Concert once more at the end of 1973, before
passing in 1974.153
The Genre of Sacred Jazz and Conclusion
Duke Ellington and Mary Lou Williams composed their works for sacred jazz in overlapping
eight-year periods during the 1960s and 1970s; Ellingtonβs period of sacred jazz
compositions ranged from 1965 to 1973 and Williamsβ lasted from 1962 to 1970. During this
time, they faced converse challenges in adapting jazz for sacred contexts and sacred jazz into
secular contexts. Both composers did so, operating within a changing social and political
climate of 1960s America that placed African American musical traditions, such as jazz and
church music, to act as agents for a form of cultural acknowledgment within religious
institutions that were integral elements of American life. Ellington and Williams were able to
take jazz music and implement it within two separate religious contexts, both establishing
lasting precedents.
The starkest contrast between these composers is in the specific settings within which
they were working in terms of the types of liturgical contexts. For Mary Lou Williams, the
Catholic Church presented a rigid obstacle as Catholic doctrine imposed a pre-eminent
authority over the music to be included in functional liturgical contexts. As I have illustrated
in previous chapters, Vatican II liberated the Church to embrace forms of music that better
represented its constituent congregations. Through the reforms of Vatican II, Williams could
introduce jazz into the liturgy, which not only represented the Black community of the
Catholic Church, but also broadened liturgical contexts for future composers to compose in
this setting.
Duke Ellington faced different obstacles in his proto-sacred and sacred works that
culminated with his Sacred Concerts. In his sacred jazz compositions, all of which were 150 Lloyd, βThe Revival,β 9. 151 Schiff, ββHeavenβ: God,β 262. 152 Hill, βThe Sacred Concerts,β 415. 153 Lloyd, βThe Revival,β 9-10.
40
interrelated with Protestant denominations, Ellington operated outside of the Catholic liturgy,
free of any doctrines constraining his music. Secular forms of Black American music had
been a part of Protestant worship long before Vatican II opened the Catholic liturgy, and
Ellingtonβs early works invoke depictions of sacred representation through the genres of
African American music used in worship. The Sacred Concerts refined his use of African
American music for worship and incorporated jazz, forming a trinity of compositions that
found an equilibrium between contexts of the liturgy and the concert hall. Not having to
adapt his music to strict liturgical forms and performing within Protestant contexts, Ellington
received invitations to perform his sacred jazz more broadly, making it visible and audible, to
audiences around the world.
Both Williams and Ellington played an integral part in the development of sacred jazz
in the 1960s. While not alone in this field, they both helped established a framework for
music that leans on forms of spirituality for performance both inside and outside of the walls
of a church or other religious institution. Their explorations of their own relationships with
spirituality manifested themselves in their respective repertoires that future composers can
build on. While I established in Chapter 1 that liturgical doctrines no longer bound twentieth-
century composers to operate in accordance to liturgical functions when composing in
liturgical forms, Ellington and Williams demonstrate that secular forms and music for the
concert hall can also adapt and become an integral aspect in settings of prayer and worship.
41
Chapter 4: Requiem: a Suite for Jazz Orchestra
Introduction
The work at the cente of this Masterβs degree is my original large-scale composition
Requiem: a Suite for Jazz Orchestra. Requiem is a multi-movement suite for jazz orchestra
that draws on the form of the Requiem Mass as a structural guide to craft a narrative from the
elements of the form associated with its meanings as the Catholic funeral rite. In this chapter
I illustrate the thematic nature and structure of my work in a discussion of the musical
elements of the Requiem. I also discuss my personal background to help contextualize this
composition from its inception to its completion. This chapter concludes with a brief
commentary where I discuss my Requiem as a liturgically-inspired jazz composition in light
of the Requiem Masses and musical memorials that I discuss in Chapter 1. I also situate my
work in the context of the bodies of sacred jazz literature by Mary Lou Williams and Duke
Ellington that established precedents for sacred jazz in the 1960s, as I describe in Chapters 2
and 3.
Background and Structure
I composed my Requiem in 2018 and 2019 as a form of commemoration to mark the tenth
anniversary of my fatherβs passing in 2008. The form of the Requiem is not a functionally
liturgical one, but rather a large-scale instrumental narrative, told over the course of four
movements that depict the memories I have of attending my fatherβs Catholic funeral. My
ability to recall what I remember of myself, of my family, and of the liturgical action
throughout the funeral rite has ebbed in the waves of life in the course of the decade that has
passed since then. What I have kept are memories of a few fleeting moments of the mass and
its music, and a palpable recollection of the overwhelming grief experienced by my 16-year
old self during the service, a feeling that I now recognize as a suspended state of shock. The
music of my Requiem captures what I can remember of that day as an adult in my late
twenties.
My father did not receive a Requiem Mass in the tradition of the Latin Church, but
rather a funeral rite that corresponds with the post-Vatican II landscape that had eliminated
Latinic elements from Catholic liturgical rites. It was important for me to compose within the
42
pre-Vatican II Requiem Mass form not only because of the long-standing compositional
tradition of Requiem settings, but also because I wanted to use the form to represent the
Catholic faith of my father and of my family when erecting this musical memorial to him. To
reflect the structure of the Requiem Mass, I set the memories I hold from the day of my
fatherβs funeral in four movements that include various parts of Catholic Mass liturgies. I
include three parts of the Mass Ordinary that occur in the Requiem Mass (the Kyrie, the
Sanctus, and the Agnus Dei) and four parts of the Mass Proper (the Introit, the Sequence, the
Dies Irae, and the Communion). I follow the precedent established by composers as early as
the seventeenth century in linking together parts of the mass form to create singular
movements, favouring musical considerations over liturgical ones.154 The resulting
movement structure of my Requiem Mass is as follows:
I. Introit/Kyrie
II. Dies Irae
III. Sanctus
IV. Agnus Dei
While the music in my Requiem comprises original material I developed over the
course of my Masterβs programme, it incorporated with elements of the Requiem texts as
source material to construct the melodies and harmonies found throughout the work. This
approach began as a mostly syllabic adaption of the Gregorian Chant texts associated with
the Requiem. Once the texts had shaped the framework of a melodic passage, I allowed for
my own compositional intuition to develop the material. The melodies throughout the
Requiem emerge from their textual origins, taking their influence from the Requiem Massβ
texts to ground the work in the source material that I am employing to compose my narrative
suite. All musical examples provided here are notated in concert pitch.
It was paramount that I develop a number of motives that I could employ to establish
the sense of recollection that persists throughout the entire work and in the compositional
process for the Requiem. For the first motive, I composed a melody based off the six syllables
at the beginning of the text taken from the Introit that opens the Requiem Mass, Requiem
aeternam eis, βGrant them eternal restβ,155 through a series of six pitches. This melody first
appears in the opening movement, the βIntroit/Kyrieβ mm.1-2 (Ex. 1). In the course of the 154 Robert Chase, Dies Irae: A Guide to Requiem Music (Lanham, Md.: Scarecrow Press, 2003), 94. 155 Ibid., 2.
43
composition, it is always performed by two trumpets, and is a compositional device that
appears frequently throughout the Requiem.
These six pitches, or a subset of the first three that denote βRe-qui-em,β appear in the
various sections of the jazz orchestra in each movement either in direct quotation or in more
subtle implementation through compositional devices such as inversion and retrograde, to
form accompaniment material. The melodic contour of the first three pitches, an ascending
perfect fifth followed by a descending major second, creates a harmonic sonority akin to a
suspended-fourth chord that is found in trombone voicings of a larger brass structure that
harmonizes a melodic line (see mm. 364β374 in the first movement for one example). A
slight variation of the three-note βRe-qui-emβ motive also appears the second section of the
opening movement, mm. 40 in the tenor sax (Ex. 2), where the opening perfect fifth is
answered by a major second above, forming a second compositional treatment of the βRe-
qui-emβ motive.
The second motivic device I employed throughout the Requiem is the quotation of
Dies Irae chant melody (Ex.3)156 in various permutations that are subjected to the same
compositional procedures that I used for the βRe-qui-emβ motive. In my quotations of this
chant melody, I often directly follow the contour of melodyβs first four notes. This Gregorian
chant melody is also the only use of a chant melody used within my Requiem Suite that also
forms the harmonic and melodic material for its respective movement. As I detailed in
Chapter 1, the Dies Irae became a focal point of many Requiem settings and developed into
separate entity altogether. The powerful association of the Catholic funeral rite connoted by
156 Chase, Dies Irae, 645.
44
its melody and texts contribute to its prolific prominence and I felt it important to include the
motive within my Requiem suite to frame the suite within the liturgical form from which I am
drawing.
I also created an original motivic device not taken from any sort of liturgical
inspiration. I composed a seven-note pitch set (Ex. 4) that I used primarily to form the bass
notes of harmonic progressions that I incorporated into aspects of each movement. This bass
line is subject to constant reharmonization and intervallic patterns within the seven-note set
are often segmented into other harmonic progressions that constantly allude to this pattern,
enforcing the theme of recollection throughout the suite. The pattern also forms the opening
melody of the third movement βSanctus,β where a version of the opening that ascends by two
consecutive minor thirds forms the bass lines at the beginning of the harmonic progression.
The continuous recycling of this material and its fragmentation reflect the churning through a
series of memories as I return to a particular moment in time in my thoughts.
The final unifying motive of my suite is less of a motive and more of a persistent
rhythmic device that I use to create βminimalistβ textures and sections within different
sections within the jazz orchestra in each movement. This aspect of the suite reflects my own
compositional tastes, but I have incorporated different types of procedure to shade each
movement in a distinct way to demonstrate how I remember that part of the mass, if in
blurred ways.
My assimilation of these compositional elements work together to depict the narrative
structure of my Requiem suite, a portrait of my emotions and memories that surround the day
of my fatherβs funeral rendered through my own musical language. I choose the form of the
45
Requiem Mass to memorialize my fatherβs passing through a liturgical tradition that my
familyβs faith is located within, but through a distinct lens. My Requiem is an instrumental
composition of a secular nature βa work for jazz orchestraβ taking inspiration from the
liturgy to produce a musical memorial rather than functioning as a piece within a liturgical
context.
Commentary and Conclusion
The funeral service for my father, while not a Requiem Mass in the Latin tradition, also did
not incorporate elements of a jazz mass or any sort of service that integrated overtly secular
forms of music into the act of worship. To commemorate the tenth anniversary of his passing
with a work inspired by the funeral rites of the Catholic liturgy, it was my goal to compose a
work founded in musical models established by Williams and Ellington, the traditions of
liturgical forms in the concert hall, and musical memorials. The content of this exegesis has
focused on these areas so that I may locate my work against a backdrop of musical
precedents.
In the 1960s Mary Lou Williams and Duke Ellington helped redefine the place of a
jazz work that draws upon liturgical influences within those liturgical intuitions. The
reformation of that Catholic Church liturgy and its practices surrounding music for worship
also played a significant part in redefining how jazz can be situated in relation to liturgical
settings. The goal of Vatican IIβs reformation of music in the liturgy was to broaden musical
boundaries of worship to encompass the musical traditions of Catholics around the world.
Williams composed sacred jazz music within a Catholic context at the time of Vatican II and
challenged the scope of just how far the Churchβs boundaries of inclusion could be extended.
Her efforts resulted in carving out a place for jazz inside of the Church with liturgically
functional masses. Duke Ellington, in contrast, wrote music inspired by his relationship with
spirituality and religion in his Sacred Concerts, finding audiences in both secular and
liturgical settings, concert halls and churches, concurrently with Williams.
My Requiem fits somewhere between the two models of sacred jazz established by
Mary Lou Williams and Duke Ellington. My composition draws upon a Catholic liturgical
form without attempting to place it within functionally liturgical setting. I find myself and
this work resonating within the framework of Ellingtonβs Sacred Concerts where I pull from
my Catholic background and my relationship with my own spirituality to depict a narrative
that is deeply entrenched in my experiences with Catholicism and its traditions. In a way, my
46
Requiem relates to a work that originates farther back into Ellingtonβs career, extrapolating
upon the narrative purpose of Come Sunday, to portray African American religious life
through the music engrained in Black forms of worship. My Requiem in no way attempts the
historical mission of such a work that brought African American life in front of audiences in
the United States and later, the world. Instead, I build on the platform provided by Come
Sunday, which allows for a personal expression of oneβs relationship with spirituality and
religion through music and musical traditions associated with those relationships.
This sentiment of spiritual and religious expression is what I attempt to achieve in my
Requiem suite. It is a memorial to my father embodied by the musical representation of my
memories and emotions. Drawing from the definitions of the musical memorials I discussed
in Chapter 1ββthe lament, the elegy, and memorial musicββthe Requiem suite parallels the
character and scope of such memorials. In an example from Chapter 1, Josquin des Prez set a
Requiem Mass text against secular texts within a lament to memorialize the composer
Ockeghem. In a similar way, my Requiem sets the form of the Requiem within and against a
secular medium, an instrumental work for jazz orchestra, outside of a liturgical setting to
memorialize my father.
It is yet to be seen if this work ever finds itself performed within the walls of a church
to test its liturgical buoyancy. Mary Lou Williams and Duke Ellington solidified that jazz
music has a place inside of a church, but the jazz works they contributed in establishing that
norm are considered βsacredβ jazz. I hesitate to identify my work under terms like βsacred
jazzβ or βliturgical jazzβ as the Requiem suite is a liturgically-inspired work and there is a
long-held place for music incorporating liturgical forms in secular settings like the concert
hall. Wherever this piece may lie, it does so somewhere between the sacred and the secular,
and it stands tall in the form of musical memorial that I erected it to be.
47
Conclusion
In the course of this exegesis I have examined the liturgical musical forms of the Catholic
Church, primarily the Requiem Mass, through a variety of contexts beginning with a survey
of Church music from Antiquity into the twentieth century. Keeping in mind that throughout
the centuries, secularismβs influence on the Catholic liturgy has varied greatly, I centred the
lens of my discussion on jazz music and its place within forms of liturgical worship. The case
studies of Mary Lou Williams and Duke Ellington model the adoption of jazz into liturgical
contexts in their sacred jazz works of the 1960s. Their sacred music, as I have argued,
situates jazz as a vehicle for the expression of oneβs faith or spirituality in liturgical or secular
settings, though there have been many other forms of spiritual expression in jazz that
developed after Williams and Ellington pursued spiritual representation in their music. For
example, jazz music in the 1970s expanded upon John Coltraneβs explorations of spirituality
in the 1960s. Artists like Alice Coltrane, Pharoah Sanders, and Don Cherry traversed a range
of spiritual expression outside Christian denominations. Jazz artists have continued to expand
upon how the Christian faith can serve as an artistic medium as many composed in a vein
similar to Williams and Ellington. Works like Wynton Marsalisβ The Abyssinian Mass (2008)
and In this House, On this Morning (1994) parallel Williamsβ and Ellingtonβs established
compositional models, and twenty-first century composers have continued composing jazz
masses and other religious works. Ike Sturm composed his Jazz Mass in 2007 and jazz flutist
James Newton has contributed his own catalogue of sacred work including a setting of the
Catholic rite, Mass (2007).
The sacred jazz models of Williams and Ellington also provide a framework for my
composition, Requiem: a Suite for Jazz Orchestra, a contemporary jazz work taking
inspiration from a liturgical form, but in the form of a musical memorial. My work as a
modern jazz composition stands upon these precedents, though not all jazz artists wishing to
express their relationships with their spirituality do so through these models.
I present these examples, and the example of my work, to illustrate the plurality of
spiritual representation in the works of jazz artists and to demonstrate the trajectory of
Williamsβ and Ellingtonβs influence over the genre of sacred jazz music. Their work formed a
foundation upon which to expand the contexts in which jazz music can reach audiences, and
it challenged the boundaries of where music associated with secularism, like jazz, can or
cannot be heard. Contemporary works of jazz that take religious and liturgical inspiration,
48
like my Requiem suite, draw upon the work of these and other composers, continuing to
broaden the scope of jazzβs ability to express oneβs relationship with spirituality even further.
49
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50
___. Soul on Soul: The Life and Music of Mary Lou Williams. Boston: Northeastern University Press, 2004.
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REQUIEM MASS: INTROIT/KYRIE 11
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REQUIEM MASS: INTROIT/KYRIE12
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REQUIEM MASS: INTROIT/KYRIE 13
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REQUIEM MASS: INTROIT/KYRIE14
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REQUIEM MASS: INTROIT/KYRIE 15
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REQUIEM MASS: INTROIT/KYRIE16
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REQUIEM MASS: INTROIT/KYRIE18
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REQUIEM MASS: INTROIT/KYRIE 19
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REQUIEM MASS: INTROIT/KYRIE20
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REQUIEM MASS: INTROIT/KYRIE 21
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REQUIEM MASS: INTROIT/KYRIE22
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Fl. 2
T. Sx.
Bb Cl. 1
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REQUIEM MASS: INTROIT/KYRIE 23
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REQUIEM MASS: INTROIT/KYRIE24
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Bb Cl. 1
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REQUIEM MASS: INTROIT/KYRIE 25
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REQUIEM MASS: INTROIT/KYRIE28
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REQUIEM MASS: INTROIT/KYRIE30
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REQUIEM MASS: INTROIT/KYRIE 31
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REQUIEM MASS: INTROIT/KYRIE32
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REQUIEM MASS: INTROIT/KYRIE 33
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REQUIEM MASS: INTROIT/KYRIE 43
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REQUIEM MASS: INTROIT/KYRIE44
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REQUIEM MASS: INTROIT/KYRIE 45
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REQUIEM MASS: INTROIT/KYRIE46
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REQUIEM MASS: INTROIT/KYRIE 47
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REQUIEM MASS: INTROIT/KYRIE48
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REQUIEM MASS: INTROIT/KYRIE 49
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REQUIEM MASS: INTROIT/KYRIE50
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REQUIEM MASS: INTROIT/KYRIE 51
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Γ Ε β° jΕΓ Ε β° jΕΓ Ε β° JΕ
β° JΓ Γ .Γ JΓβ° JΓ Γ .Γ JΓΛ .Ε JΕ
406
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B-7 C7sus
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407
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REQUIEM MASS: INTROIT/KYRIE52
&&&&&
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Γ·
Fl. 1
Fl. 2
T. Sx.
Bb Cl. 1
B. Cl.
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Tbn. 1
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Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
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414
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415
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REQUIEM MASS: INTROIT/KYRIE 53
&&&&&
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Fl. 1
Fl. 2
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Bb Cl. 1
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Vib.
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Drums
Pno.
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REQUIEM MASS: INTROIT/KYRIE54
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Γ·
Fl. 1
Fl. 2
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REQUIEM MASS: INTROIT/KYRIE 55
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Fl. 1
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Gtr.
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REQUIEM MASS: INTROIT/KYRIE56
&&&&&
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Γ·
Fl. 1
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Vib.
Gtr.
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REQUIEM MASS: INTROIT/KYRIE 57
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REQUIEM MASS: INTROIT/KYRIE58
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REQUIEM MASS: INTROIT/KYRIE 59
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REQUIEM MASS: INTROIT/KYRIE60
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Fl. 1
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REQUIEM MASS: INTROIT/KYRIE 61
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Fl. 1
Fl. 2
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Bb Cl. 1
B. Cl.
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Flghn. 1
Bb Tpt. 2
Flghn. 2
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
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βββββ
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Open Drum Solo, Gradually Accel. to Fast Swing
Open Drum Solo, Gradually Accel. to Fast Swing
βββββ
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REQUIEM MASS: INTROIT/KYRIE62
&&&&&
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Fl. 1
Fl. 2
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Bb Cl. 1
B. Cl.
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Flghn. 1
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Tbn. 3
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Vib.
Gtr.
A.B.
Drums
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βββββ
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REQUIEM MASS: INTROIT/KYRIE 63
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Fl. 1
Fl. 2
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Vib.
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A.B.
Drums
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Γ Ε Εb-
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493
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REQUIEM MASS: INTROIT/KYRIE64
&&&&&
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????
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Γ·
4545454545
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45454545
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Fl. 1
Fl. 2
T. Sx.
Bb Cl. 1
B. Cl.
Bb Tpt. 1
Flghn. 1
Bb Tpt. 2
Flghn. 2
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
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REQUIEM MASS: INTROIT/KYRIE 65
&&&&&
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Fl. 2
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Flghn. 1
Bb Tpt. 2
Flghn. 2
Tbn. 1
Tbn. 2
Tbn. 3
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Vib.
Gtr.
A.B.
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REQUIEM MASS: INTROIT/KYRIE66
&&&&&
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Γ·
Fl. 1
Fl. 2
T. Sx.
Bb Cl. 1
B. Cl.
Bb Tpt. 1
Flghn. 1
Bb Tpt. 2
Flghn. 2
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
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REQUIEM MASS: INTROIT/KYRIE 67
&&&&&
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Γ·
4545454545
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Fl. 1
Fl. 2
T. Sx.
Bb Cl. 1
B. Cl.
Bb Tpt. 1
Flghn. 1
Bb Tpt. 2
Flghn. 2
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
βββββ
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REQUIEM MASS: INTROIT/KYRIE68
&&&&&
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Fl. 2
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Bb Cl. 1
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Bb Tpt. 1
Flghn. 1
Bb Tpt. 2
Flghn. 2
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
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βββββ
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REQUIEM MASS: INTROIT/KYRIE 69
&&&&&
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4444444444
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Fl. 1
Fl. 2
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Bb Cl. 1
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Vib.
Gtr.
A.B.
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REQUIEM MASS: INTROIT/KYRIE70
&&&&&
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Γ·
Fl. 1
Fl. 2
T. Sx.
Bb Cl. 1
B. Cl.
Bb Tpt. 1
Flghn. 1
Bb Tpt. 2
Flghn. 2
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
βββββ
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REQUIEM MASS: INTROIT/KYRIE 71
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85
85
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85
Flute 1
Flute 2
Soprano Sax
Clarinet in Bb
Bass Clarinet
Trumpet in Bb 1
Trumpet in Bb 2
Trumpet in Bb 3
Trumpet in Bb 4
Trombone 1
Trombone 2
Trombone 3
Trombone 4
Vibraphone
Guitar
Acoustic Bass
Drums
Piano
ββββββββββββββ
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~~~
REQUIEM MASS: DIES IRAEJOHN WHITE
Score
Copyright Β© 2019 John White
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43
43
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Fl. 1
Fl. 2
S. Sx.
Bb Cl.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
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REQUIEM MASS: DIES IRAE 3
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Bb Tpt. 1
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Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
ββ
β° Ε Ε# .Ε rΕ JΕ
Ε Ε Ε# .Ε
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21
Γ Ε Ε Εβ β β β βNo Time, Just Cymbal Hits
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Light Cymbal Fills
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24
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Γ Ε Λbb
.Λ Λb
25
Ε Ε Ε Ε Ε β° jΕβ β β β β
f
f
f
REQUIEM MASS: DIES IRAE4
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Fl. 1
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Bb Cl.
B. Cl.
Bb Tpt. 1
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Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
ββ
Ε β° JΕ> Ε Ε> Ε
Ε β° JΕ> Λ
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26
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F
F
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27
Γ Ε β° jΕβ β β β
f
f
f
f
f
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28
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29
Ε Εβ β β
ββββ
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30β β β
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ββββ
..ΕΕ JΕ# Ε ΕΕ#
β
Γ Ε β° JΕ
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31β β β β
~~~~~~~~
REQUIEM MASS: DIES IRAE 5
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Fl. 1
Fl. 2
S. Sx.
Bb Cl.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
ββ
Ε Ε# Ε Ε Λ β° Ε Εb
Ε Ε# Ε Ε Λ β° Ε Εb
β β° jΕn>
βββ
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32β β β β β
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.Ε JΕn Ε Ε
33
Ε β° jΕ Ε Εβ β β
ββ
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34
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ββββββββ
β
β
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37β
Ο
REQUIEM MASS: DIES IRAE6
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Fl. 1
Fl. 2
S. Sx.
Bb Cl.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
βββ
β
.Λb
ββββ
.Λ
.Λ
.Λb
.Λb
β
β..Λ
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f
f
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f
f
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43β
C#Γ( !6 )
REQUIEM MASS: DIES IRAE 7
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Fl. 1
Fl. 2
S. Sx.
Bb Cl.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
βββ
β β β
β
ββββββββββ
..Λ
..Λ
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44β
EJ
βββ
β β β β
β
ββββββββββ
wwww
wb
45β
CN
βββ
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β
ββββββββββ
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E/F#
βββ
β β β
β
ββββββββββ
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βββ
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β
ββββββββββ
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...ΕΕΕ# JΕΕΕ##
.Ε JΕ
48
Ε β° jΕβ β
C#Γ±
No Time, Just Cymbal Hits
REQUIEM MASS: DIES IRAE8
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Fl. 1
Fl. 2
S. Sx.
Bb Cl.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
Ε β° Ε Ε3
Ε β° Ε Ε3
Ε β° Ε Ε3
β β° Ε Ε3
Ε β° jΕ
Ε β° Ε Ε3
Ε β° Ε Ε3
Ε β° Ε Ε3
β
ββ
ββ
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βΛ
ΛΛΛ
Ε Ε# Ε Ε
49
Ε Ε Ε Εβ β
EJ
ΓhaΓrmon
ΓhaΓrmon
p
p
p
p
p
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p
Ε Ε Ε Ε# Ε3
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β
ββ
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50β β β
w
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w
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w
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w
51
.Λ Ε Εβ β β β
p
p
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.Γ¦
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52β β β β
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E-7
.Λb Ε
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Λb Λb
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wwbb
ΛA Λb
53
Γ Ε .Ε Εβ β β β
AbΒΊ( #2)
ΓhaΓrmon
ΓhaΓrmon
ΓhaΓrmon
More Active Cymbal Fills
Ο
Ο
Ο
Ο
Ο
Ο
f
f
f
f
REQUIEM MASS: DIES IRAE 9
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Fl. 1
Fl. 2
S. Sx.
Bb Cl.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
βββ
Ε Ε# Ε Ε .Λ
β
ββββ
.Ε Ε> Ε Ε# > Λ
Ε Ε> >
Ε Ε> Ε Λ
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54
.Ε Ε Ε Ε Ε β° Ε Εβ β β β
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55
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{C}
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57
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f
f
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ββββ
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REQUIEM MASS: DIES IRAE10
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REQUIEM MASS: DIES IRAE 11
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Vib.
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ββββ
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REQUIEM MASS: DIES IRAE12
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Vib.
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Γ Ε Ε
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REQUIEM MASS: DIES IRAE 13
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Vib.
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ββββββ
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ββ
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REQUIEM MASS: DIES IRAE14
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Vib.
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ββ
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Abdorian
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ββ
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ββ
β β β β
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Cdorian
Bbdorian
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REQUIEM MASS: DIES IRAE 15
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Vib.
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ββ β β β
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β β β β
95β β β β
FJ/A
EbJ/G
EbJ/G
ββ
β β β β
ββ
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96
Γ Ε Εβ β β β
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Solo Beneath Soprano Sax
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REQUIEM MASS: DIES IRAE16
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Tbn. 1
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Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
β
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Ε Εnβ
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REQUIEM MASS: DIES IRAE 17
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Tbn. 1
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Vib.
Gtr.
Bass
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Pno.
Ε .Ε>JΕ> Ε
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β β β β
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117
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F
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REQUIEM MASS: DIES IRAE18
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Tbn. 1
Tbn. 2
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Vib.
Gtr.
Bass
Drums
Pno.
βββ
β β β β
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REQUIEM MASS: DIES IRAE 19
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S. Sx.
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Bb Tpt. 1
Bb Tpt. 2
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Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
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REQUIEM MASS: DIES IRAE20
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Bb Tpt. 1
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Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
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REQUIEM MASS: DIES IRAE 21
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Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
ββββ
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138
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REQUIEM MASS: DIES IRAE22
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Bb Tpt. 1
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Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
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REQUIEM MASS: DIES IRAE 23
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Fl. 1
Fl. 2
S. Sx.
Bb Cl.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
βββββββββ
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REQUIEM MASS: DIES IRAE24
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Fl. 1
Fl. 2
S. Sx.
Bb Cl.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
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REQUIEM MASS: DIES IRAE 25
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Fl. 1
Fl. 2
S. Sx.
Bb Cl.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
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REQUIEM MASS: DIES IRAE26
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Fl. 1
Fl. 2
S. Sx.
Bb Cl.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
ββ
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REQUIEM MASS: DIES IRAE 27
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Fl. 1
Fl. 2
S. Sx.
Bb Cl.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
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Ε Ε β° jΕ Εβ β β β
FΓ( !6 )
FΓ( !6 )
Open Hi-Hat Build "Rock"
Solo
ββ
β β β β
β β β β
Γ Ε Εb Εb>
ββββ
Εb ^ Ε> Ε Εβ° J
Εb >
Ε Ε> Ε Εβ° JΕ
>
Εb ^ Ε> Ε Ε β° JΕ>
Εb ^ Ε> Ε Ε β° jΕb>
β
βΓ Ε β° jΕΕΕbbwww
.Λ Εb Εb>
180
Ε Ε β° jΕ β° jΕβ β β β
f
f
f
f
fTo Flugel
To Flugel
To Flugel
f
ββ
β β β β
β β β β
w
βββ
β β β βΕ Εb > Ε Ε Ε
JΕ
β°Ε> Ε Ε>
Ε Ε> Ε Ε Ε JΕ β°Ε> Ε Ε>
Ε Εb > Ε Ε Ε JΕ β° Ε> Ε Ε>
Ε Εb>
Ε Ε Ε jΕ^ β° Ε
>Ε Ε
>
β
β
www
β
Ε Εb>
Ε Ε Ε jΕ^ β° Ε
>Ε Ε
>
181
Ε Ε Ε Ε Ε jΕ β° Ε Ε Εβ β β β
AbN
AbN
f
f
f
Solo
REQUIEM MASS: DIES IRAE28
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Fl. 1
Fl. 2
S. Sx.
Bb Cl.
B. Cl.
Flghn.
Flghn.
Flghn.
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
β° jΕb > Λ β° jΕ>
β° jΕb > Λ β° jΕ>
β β β β
β β β β
β° jΕb>
Ε Εb Εb Εb Ε>
βββ
β β β β
β° JΕb > Λ
β° JΕ>
β° JΕ> Λ
β° JΕ# >
β° JΕb > Λ β° JΕ>
β° jΕb>
Λ β° jΕ>
ββ
...Λ Ε
β
Ε Ε>
Ε Εb Εb Εb Ε>
182
β° jΕ Λ β° jΕβ β β β
f
f
f
f
f
f.Λ Λ#
>
.Λ Λ#>
β β β β β
β β β β β
.Λ Λ>
βββ
β β β β β
.Λ Λ# >
.Λ Λ# >
.Λ Λb >
.Λ >
βββ
β
.Λ >
183
.Λ Λβ β β β β
C#N
C#N
C#N
.Εb> jΕ
^ β° jΕb>
Λ
.Εb> jΕ
^ β° jΕb>
Λ
β β β β β
β β β β β
.Ε#> jΕ
^ β° jΕn>
.Ε jΕ>
β β° JΕb >
β β° JΕb >
β β° JΕb >
β β β β β
.Εb > JΕ β° JΕb > Λ
.Ε> JΕ β° JΕb > Λ
.Ε# >JΕ β° JΕb > Λ
.Ε# > jΕ β° jΕb > Λ
β β° JΕΕbb >
β β° JΕΕbb >
β β° jΕΕΕb>
β β° JΕΕΕbbb >
.Ε# > jΕ β° jΕb > .Ε jΕ>
184
.Ε jΕ β° jΕ .Ε jΕβ β β β β
D#7sus CΓ( !6 )
D#7sus CΓ( !6 )
D#7sus CΓ( !6 )
f
f
f
.Λ Λ
.Λ Λ
β β β β β
β β β β β
.Λ Λ
w Εb Εb >
w Εb Εb >
w Εb Εb >
β β β β β
.Λ Λ
.Λ Λ
.Λ Λ
.Λ Λ
..Λ Λ
..Λ Λ
...ΛΛΛ ΛΛΛ...ΛΛ ΛΛ
.Λ .Εb jΕ
185
.Λ Ε β° jΕβ β β β β
Γ .Λb
Γ .Λb
ββ β β β β
β
Ε Εn > Λ Λ
Ε Εn > Λ Λ
Ε Εn > Λ Λ
β β β β β
ββββ
..Λ Λ
..Λ Λ
...ΛΛΛ ΛΛΛ...ΛΛ ΛΛ
β β β β β
186β β β β β
BbPedal BbΓ( !6 )( )
P
P
Closed Hi-Hat, Active
.Λ Λ
.Λ Λ
ββ β β β β
β
βββ
β β β β β
ββββ
..Λ Γ
..Λ Γ
...ΛΛΛ Γ
...ΛΛ Γ
β β β β β
187β β β β β
REQUIEM MASS: DIES IRAE 29
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S. Sx.
Bb Cl.
B. Cl.
Flghn.
Flghn.
Flghn.
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
.Λ Γ
.Λ Γ
βββ
β
β
β
β β β β β
β
βββββ
β
ββ β β β β
188β β β β β
βββββ
Γ β° JΕn > Λ
Γ β° JΕn > Λ
Γ β° JΕb > Λ
β β β β β
Γ β° JΕb > Λ
Γ β° JΕb > Λ
Γ β° JΕb > Λ
βββ
β
ββ β β β β
189β β β β β
P
P
P
P
P
P
βββββ
Ε Εn Εb > .Ε JΕ Ε
Ε Εn Εn>
.Ε jΕ Ε
Ε Εb Εb>
.Ε jΕ Ε
βΕ Εb Ε> .Λ
Ε Εb Ε> .Λ
Ε Εb Εb > .Λ
βββ
β
ββ β β β β
190β β β β β
To Flugel
βββββ
Εb Εn Ε .Λ3
Εn Εb Εn .Λ3
Εb Ε Εn .Λ3
βΕ Εb Ε .Λ3
Ε Εb Εb .Λ3
Εb Εb Εb .Λ3
βΓ Ε Ε β° J
ΕΕ>
Γ Ε Ε β° JΕΕbb >
Γ Ε Ε β° JΕΕΕbb >
β β° JΕΕΕbbb >
β β β β β
191
Γ Ε Ε β° jΕβ β β β β
Γ Ε Λ
Γ Ε Λ
βββ
.Λ Λ
.Λ Λ
.Λ Λ
β.Λ Λ
.Λ Λ
.Λ Λ
β..Λ Λ
..Λ Λ
...ΛΛ ΛΛ
...ΛΛΛ ΛΛΛ
β β β β βv v >
192β β β β β
f F
P
P
.Λ
.Λ Λ
βββ
.Λ Ε Ε Εb Εb3
.Λ Ε Εn Εb Εb3
.Λ Ε Ε Εb Εb3
β.Λ
Γ
.Λ Γ
.Λ Γ
β..Λ Λ
..Λ Λ
...ΛΛ Ε Ε Εb Εb3
...ΛΛΛ ΛΛΛ
β β β β β> > >
193β β β β β
REQUIEM MASS: DIES IRAE30
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Fl. 1
Fl. 2
S. Sx.
Bb Cl.
B. Cl.
Flghn.
Flghn.
Flghn.
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
.Λb Λb
.Λ Λb
ββ
Ε Λn Λ
.Λ Λb
.Λ Λb
.Λ Λb
β
Ε Λb .Λ
Ε Λ .Λ
Ε Λ .Λ
Ε Λb Λ
..Λ Λ
..Λ Λ
.Λ Λb
...ΛΛΛ ΛΛΛ
β β β β β> v >
194β β β β β
wb β° JΕ>
wb β° JΕ>
ββ
w β° jΕn>
wn β° JΕ>
wn β° JΕ>
wb β° jΕn>
βwb
β° JΕ>
wb β° JΕb >
wb β° JΕb >
w β° jΕb >
β β° JΕ>
β β° JΕ>
wb β° JΕ>
ββ β β β> v
β° jΕ>
195
Γ Ε Ε β° jΕβ β β β β
.Ε JΕb > Ε .Εb > JΕb ^
.Ε JΕb > Ε .Εb > JΕb ^
ββ
w
.Ε JΕn > Ε .Εn > JΕb ^
.Ε JΕn > Ε .Εn > JΕb ^
.Ε jΕ> Ε .Εb > jΕb ^
β.Ε JΕb > Ε .Εb >
JΕb ^
.Ε JΕb > Ε .Εb > JΕ
.Ε JΕb > Ε .Εb > JΕb ^
w
.Ε JΕb > Ε .Εb > JΕb
.Ε JΕb > Ε .Εb > JΕb
.Ε JΕb > Ε .Εb > JΕb
βΕ Εb ^ .Ε jΕ β° jΕ>
196
.Ε jΕ Ε .Ε jΕβ β β β β
β° JΕb Λb > Λ
β° JΕb Λb > Λ
ββ
Ε .Εn> jΕ
>Ε Ε
^
β° JΕb Λb > Λ
β° JΕn Λ Λ
β° JΕb Λb > Λ
β
β° JΕb Λb > Λ
β° JΕb > Λ
β° JΕb > Λ
Ε Λb > Ε Ε
β° JΕb Λbb Λ
β° JΕb ΛΛb
ΛΛ
β° JΕb ΛΛbb ΛΛ
Ε ΛΛΛb ΛΛΛ
Ε .Εb jΕ> Ε Ε
197
β° jΕ Λ Λβ β β β β
ββββ
β° jΕn>
Ε .Ε> jΕ
>
w
w
w
βw
β° JΕ> Ε .Ε> JΕ>
Λ .Ε JΕ>
β° jΕb > Ε .Ε> jΕ>
ww
wwwwww
www
β° jΕb > Ε .Ε> jΕ>
198β β β β
To Alto
To Alto
To Tenor
ββββ
Ε Ε Εn>
Ε Ε^
ββββ
βΕ Ε Ε> Ε Ε> Ε Ε
Ε Ε Ε> Ε Ε> Ε Ε
Ε Ε Εb > Ε Ε> Ε Ε
wwbb
wwwwww
www
Ε Ε Εb > Ε Ε
199β β β β
{H}
REQUIEM MASS: DIES IRAE 31
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T. Sx.
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Flghn.
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Flghn.
Flghn.
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
βββ
Γ Ε Εn >
β° jΕn>
Ε Ε^
Ε
Γ Ε Εn>
Γ Ε Εn>
Γ Ε Εn>
Γ Ε Εn>
ββ° JΕ> Ε Ε> Ε β° Ε
β° JΕ> Ε Ε> Ε β° Ε
β° jΕb > Ε Ε> Ε β° Ε
ββ
Γ Ε Εb>
ββ° jΕb > Ε Ε Ε
200
Γ Ε Εβ β β β
f
f
f
f
Γ
f
βββ
.Λn > Εb >
Ε Εn^ β° jΕ
>Ε Ε
>Ε β°
wn >
.Λn > Εb >
w
.Λn > Εb >
βΕ Ε β° JΕ> Ε Ε> Ε β°
Ε Ε β° JΕ> Ε Ε> Ε β°
Ε Εb^ β° jΕ> Ε Ε> Ε β°
βΓ Ε Ε
>
.Λb > Εb >
βΕ Εb ^ β° jΕ> Ε Ε>
201
.Λ Εβ β β β
Γ
Γ
βββ
.ΕJΕb > Λ
.Ε jΕ> Ε Εb >
w
w
wn
.Ε jΕb>
Λ
β.Ε JΕ> Ε Ε>
.Ε JΕ> Ε Εb >
.Εb jΕ> Ε Ε>
β.Ε jΕ
>Ε Εb >
.Ε jΕb>
Λβ
.Εb jΕ> Ε Ε>
202
.Ε jΕ Λβ β β β
Γ
βββ
w
Ε Εb > Ε .Ε jΕ>
wn
wb
wn
wb
βΕ Ε> Ε .Ε JΕ>
Ε Εb > Ε .Ε JΕ>
Ε Εb > Ε .Ε jΕ>
βΕ Εb > Ε .Ε jΕ
>
wβ
Ε Εb > Ε .Ε jΕ>
203β β β β
βββ
.Λ Ε
Ε Ε β° jΕb > Ε
w
w
w
w
βΕ Ε β° JΕ> Ε
Ε Ε β° JΕb > Ε
Ε Εb ^ β° jΕ> Ε
βΕ Ε
^ β° jΕb > Ε
ββ
Ε Εb ^ β° jΕ> Ε
204β β β β
βββ
ΓΕn ^ Εb >
.Εb > jΕ> Ε Ε Ε>
Λ Γ
Λ Εn ^ Εb >
Λ Γ
Λ Εn ^ Εb >
β.Ε> JΕ> Ε Ε Ε>
.Εb >JΕ> Ε Ε Ε>
.Εb > jΕ> Ε Ε Ε>
β.Εb > jΕ
>Ε Ε Ε
>
ββ
.Εb > jΕ> Ε Ε Ε>
205β β β β
REQUIEM MASS: DIES IRAE32
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A. Sx.
S. Sx.
T. Sx.
B. Cl.
Flghn.
Flghn.
Flghn.
Flghn.
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
ββ
Εb Εb ^ β° JΕn ^ β° JΕ> Ε
Εb Εb ^β° JΕn ^
β° JΕ> Ε
Ε Εb ^ β° jΕ> Ε
β
Εb Εb ^ β° JΕn ^ β° JΕ> Ε
β
Εb Εb ^ β° JΕn ^ β° jΕ> Ε
βΕ Ε> Ε β° β° JΕ> Ε
Ε Ε> Ε β° β° JΕ> Ε
Ε Εb > Ε β° β° jΕ> Ε
βΕ Εb ^ β° jΕ
>Ε
ββ
Ε Εb ^ β° jΕ> Ε
206β β β β
f
Γ
Γ
ββ
Ε Λb β° JΕb >
Ε Λb β° JΕb >
Ε Ε Ε Ε β° jΕ>
Ε Εb > .Ε JΕb >
.> Ε Εb >
Ε Εb > .Εb JΕ>
.Λ Ε Εb >
βΕ Ε Ε Ε β° JΕ>
Ε Ε Ε Ε β° JΕ>
Εb ^ Ε Ε Ε β° jΕ>
βΕ^
Ε Ε Ε^ β° jΕ
>
ββ
Εb ^ Ε Ε Ε^ β° jΕ>
207
Γ Ε β° jΕβ β β β
f
Γ
Ζ
Ζ
Ζ
Ζ
Ζ
Γ Ζ
ββ
w
w
.Ε jΕ> Ε Εb >
w
w
w
w
β.Ε JΕ> Ε Ε>
.Ε JΕ> Ε Εb >
.Ε jΕb > Ε Ε>
β.Ε jΕ
>Ε Εb >
ββ
.Ε jΕb > Ε Ε>
208β β β β
Γ Λn
Γ Λn
w
w
Ε Εb > Ε .Ε jΕ>
w
w
w
w
βΕ Ε> Ε .Ε JΕ>
Ε Εb > Ε .Ε JΕ>
Ε Εb > Ε .Ε jΕ>
βΕ Εb > Ε .Ε jΕ
>
ββ
jΕ .Εb > .Ε jΕ>
209β β β β
p
pΛ Ε Εb > Ε
Λ Ε Εb > Ε
Ε Ε β° jΕb > Ε
Ε Ε β° jΕb > Ε
Ε Ε β° jΕb > Ε
Ε Ε Γ
Ε Ε Γ
Ε Ε Γ
Ε Ε Γ
βΕ Ε β° JΕ> Ε
Ε Ε β° JΕb > Ε
Ε Εb ^ β° jΕ> Ε
βΕ Ε
^ β° jΕb > Ε
ββ
Ε Εb ^ β° jΕ> Ε
210β β β β
f
f
f
f
.Λb > Ε>
.Λb > Ε>
.Λb > Ε>
.Λb > Ε>
.Εn> jΕb
>.Ε jΕ
>
ββββ
β.Ε> JΕ> Ε Ε Ε>
.Εb >JΕ> Ε Ε Ε>
.Εb > jΕb>
.Ε jΕ>
β.Εb > jΕ
>.Ε jΕ
>
ββ
.Εb > jΕb>
.Ε jΕ>
211
.Ε jΕ .Ε jΕβ β β β
LEAD
REQUIEM MASS: DIES IRAE 33
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A. Sx.
S. Sx.
T. Sx.
B. Cl.
Flghn.
Flghn.
Flghn.
Flghn.
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
Ε Εn > .Λ
Ε Εn > .Λ
Ε Εn > .Λ
Ε Εn > .Λ
Ε Εb>
Ε Εb> β° jΕ
>
Γ Λn
Γ Λb
Γ Λ
Γ Λn
βΕ Ε β° JΕ> Ε
Ε Εb ^ β° JΕ> Ε
Ε Εb>
Ε Εb> β° jΕ
>
βΕ Εb ^ β° jΕ
>Ε
ββ
Ε Εb>
Ε Εb> β° jΕ
>
212
Ε Ε β° jΕ β° jΕβ β β β
ΟΟΟΟ
Ε Ε β° JΕn > Ε
Ε Ε β° JΕn > Ε
Ε Ε β° jΕn>
Ε
Ε Ε β° JΕn > Ε
Ε>
Εb>
Ε Εb^ β° jΕ>
Λ Ε Ε
Λ β° jΕn>
Ε
Λ Ε Ε
Λ β° JΕb > Ε
βΕ Ε Ε Ε β° JΕ>
Ε Ε Ε Ε β° JΕ>
Ε>
Εb>
Ε Εb^ β° jΕb >
βΕ^
Ε Ε Ε^ β° jΕ
>
βΓ Ε β° jΕb >
Ε>
Εb>
Ε Εb^ β° jΕb >
213
Ε Ε β° jΕ β° jΕβ β β β
F
F
Γ
Γ
F
f
f
f
Ε Εn > Ε Λn >
Ε Εn > Ε Λn >
Ε Εn > Ε Λb >
Ε Εn > Ε Λb >
.Ε jΕ> Ε Εb >
β° JΕn > .Λ
Ε Ε Λb >
β° jΕn>
.Λ
Ε Ε Λb>
β.Ε JΕ> Ε Ε>
.Ε JΕ> Ε Εb >
.Ε jΕb > Ε Ε>
β.Ε jΕ
>Ε Εb >
β.Ε jΕb > Ε Ε>
.Ε jΕb > Ε Ε>
214β β β β
Γ
Γ
Γ
Γ
w
w
w
w
jΕ .Εb > .Ε jΕ>
w
w
w
w
βJΕ .Ε> .Ε JΕ>
JΕ .Εb > .Ε JΕ>
jΕ .Εb > .Ε jΕ>
βjΕ .Εb >
.Ε jΕ>
βjΕ .Εb > .Ε jΕ>
jΕ .Εb > .Ε jΕ>
215β β β β
w
w
w
w
Ε Ε β° jΕb > Ε
Λ Ε Ε Εb Ε>3
Λ Ε Εn Εb Ε>3
Λ Ε Ε Εb Εn >3
Λ Ε Ε Εb Ε>3
βΕ Ε β° JΕ> Ε
Ε Ε β° JΕb > Ε
Ε Εb ^ β° jΕ> Ε
βΕ Ε
^ β° jΕb > Ε
βΕ Εb ^ β° jΕ> Ε
Ε Εb ^ β° jΕ> Ε
216β β β β
f
f
f
f
βββ
β
.Εn> jΕb
>.Ε jΕ
>
.Λ Εn >
.Λ Εb >
.Λ Εb >
.Λ Εn>
.Ε> JΕb > .Ε JΕ>
.Εb > JΕ> .Ε JΕ>
.Εb > JΕb > .Ε JΕ>
.Εb > jΕb>
.Ε jΕ>
β.Εb > jΕb > .Ε jΕ>
β
.Εb> j
Εb>
.ΕjΕ
>
.Εb > jΕb>
.Ε jΕ>
217
.Ε jΕ .Ε jΕβ β β β
F
REQUIEM MASS: DIES IRAE34
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Γ·
A. Sx.
A. Sx.
S. Sx.
T. Sx.
B. Cl.
Flghn.
Flghn.
Flghn.
Flghn.
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
ββββ
Ε Εb^
Ε Εb> β° jΕ
>
.Ε JΕb > Ε Εn > Εb >3
.ΕJΕb > Ε Εn > Εb >3
.Ε jΕb > Ε Εb > Ε>3
.Ε jΕb>
Ε Εn> Εb >3
Ε Εb ^ Ε Εb >β° JΕb >
Ε Ε Ε Εb >β° JΕ>
Ε Εb ^ Ε Ε> β° JΕn >
Ε Εb^
Ε Εb> β° jΕ
>
β
Ε Εb ^ Ε Ε> β° jΕn >
β
Ε Εb^
Ε Εb> β° j
Ε>
Ε Εb^
Ε Εb> β° jΕ
>
218
Ε Ε β° jΕ β° jΕβ β β β
ββββ
Ε>
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Ε Εb^ β° jΕn
^
w
w
w
w
Ε> Ε> Ε Εb ^β° JΕb ^
Ε> Ε> Ε Εb ^β° JΕ
Ε> Εb > Ε Εb ^ β° JΕ
Ε>
Εb>
Ε Εb^ β° jΕb ^
β
Ε> Εb > Ε Εb^ β° jΕ
^
β
Ε>
Εb>
Ε Εb^ β° jΕb
Ε>
Εb>
Ε Εb^ β° jΕb
219
Ε Ε β° jΕ β° jΕβ β β β
p
p
p
p
p
p
f
f
f
f
f
f
f
f
ββββ
Εn>
Ε β° Ε>
Ε Ε> β° jΕ
>
ββ
β
βΕb > Ε β° Ε> Ε Ε> β° JΕ>
Ε> Ε β° Ε> Ε Ε> β° JΕ>
Ε> Ε β° Ε> Ε Ε> β° JΕb >
Εb > Ε β° Ε> Ε Ε> β° jΕ>
β
Ε>
Ε β° Ε>
Ε Ε> β° jΕb >
β
jΕb> β°
Ε>
Ε Ε>
Ε Ε>
jΕb > β° Ε> Ε Ε> Ε Ε>
220
Ε Ε β° Ε β° jΕ β° jΕβ β β β
ββββ
Ε Εb > Ε Ε Ε Εb > Ε Ε β° Ε> Ε
Ε Εb > Ε Ε Ε Ε> Ε Ε β° Ε> Ε
Ε Εn > Ε Ε Ε Ε> Ε Ε β° Ε> Ε
Ε Εb > Ε Ε Ε Ε> Ε Ε β° Ε> Ε
Ε Εb > Ε Ε Ε Ε> Ε Ε β° Ε> Ε
Ε Εb > Ε Ε Ε Ε> Ε Ε β° Ε> Ε
Ε Ε> Ε Ε Ε Ε> Ε Ε β° Ε> Ε
Ε Εb > Ε Ε Ε Εb > Ε Ε β° Ε> Ε
Ε Εb > Ε Ε Ε Ε> Ε Ε β° Ε> Ε
Ε Εb > Ε Ε Ε Ε> Ε Ε β° Ε> Ε
Ε Εb > Ε Ε Ε Εb > Ε Ε β° Ε> Ε
Ε Εb > Εb Ε Ε Ε> Ε Ε β° Ε> Ε
Ε Εb^
.Ε jΕ^
Ε Εb ^ .Ε jΕ
221
Ε Ε Ε Ε Ε Ε Ε Ε β° Ε Εβ β β β
f
f
f
f
f
f
f
f
f
f
f
f
ββββ
Εb Ε Εb ^ β° Ε> Ε Ε> Ε Ε Ε Ε> Ε Ε
Εb Ε Ε β° Ε> Ε Ε> Ε Ε Ε Ε> Ε Ε
Εn Ε Ε β° Ε> Ε Ε> Ε Ε Ε Ε> Ε Ε
Εb Ε Ε β° Ε> Ε Ε> Ε Ε Ε Ε> Ε Ε
Εb Ε Ε β° Ε> Ε Ε> Ε Ε Ε Ε> Ε Ε
Εb Ε Ε β° Ε> Ε Ε> Ε Ε Ε Ε> Ε Ε
Ε Ε Ε β° Ε> Ε Ε> Ε Ε Ε Ε> Ε Ε
Εb Ε Εb ^ β° Ε> Ε Ε> Ε Ε Ε Ε> Ε Ε
Εb Ε Ε β° Ε> Ε Ε> Ε Ε Ε Ε> Ε Ε
Εb Ε Ε β° Ε> Ε Ε> Ε Ε Ε Ε> Ε Ε
Εb Ε Εb ^ β° Ε>
Ε Ε> Ε Ε Ε Ε> Ε Ε
Εb Εb Ε^
β° Ε> Ε Ε> Ε Ε Ε Ε> Ε Ε
β° jΕb>
Ε Ε^
ΕΕ^
β° jΕb > Ε Ε Ε
222
Ε Ε Ε β° Ε Ε Ε Ε Ε Ε Ε Ε Εβ β β β
REQUIEM MASS: DIES IRAE 35
&
&
&
&
&
&
&
&
&
?
?
?
?
&
&
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?
Γ·
A. Sx.
A. Sx.
S. Sx.
T. Sx.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
ββββββ
β
β
β
β
β
ββ
β° Εb > Εb β° Ε> Ε Ε Ε β° Ε> Ε Ε Ε
β° Εb Εb β° Ε Ε Ε Ε β° Ε Ε Ε Ε
β° Εb > Εb β° Ε> Ε Ε Ε β° Ε> Ε Ε Ε
β° jΕbβ° jΕ
ΕΕ Ε
β° jΕb β° jΕ Ε Ε Ε
223
β° Ε Ε β° Ε Ε Ε Ε β° Ε Ε Ε Εβ β β β
{I}
Crisp Attacks, No Sustains Where Possible Throughout
ΓTo Trumpet
ΓTo Trumpet
ΓTo Trumpet
ΓTo Trumpet
Snare No Time Just Hits
ββββββ
β
β
β
β
β
ββ
Εb > Εb β° β° Ε> Ε β° Ε> Ε Ε
Εb Εb β° β° Ε Ε β° Ε Ε Ε
Εb > Εb β° β° Ε> Ε β° Ε> Ε Ε
Εb^ β° jΕ
> β° jΕΕ
Εb ^ β° jΕ> β° jΕ Ε
224
Ε Ε β° β° Ε Ε β° Ε Ε Εβ β β β
ββββ
Γ Ε β° Εb > Ε
Γ Ε β° Εb > Ε
Γ Ε β° Εn > Ε
Γ Ε β° Εb > Ε
Γ Ε β° Εb > Ε
Γ Ε β° Εb > Ε
Γ Ε β° Ε> Ε
Γ Ε β° Εb > Ε
Γ Ε β° Εb > Ε
Γ Ε β° Εb > Εb
Γ Ε β° Εb Εb
Γ Ε β° Εb > Εb
Γ Ε β° jΕb>
Γ Ε β° jΕb >
225
Γ Ε β° Ε Εβ β β β
ΓΓOpen
ΓΓOpen
ΓΓOpen
ΓΓOpen
ββββ
Ε Εb > Ε β° Ε> Ε β° β° Ε> Ε
Ε Εb > Ε β° Ε> Ε β° β° Ε> Ε
Ε Εn > Ε β° Ε> Ε β° β° Ε> Ε
Ε Εb > Ε β° Ε> Ε β° β° Ε> Ε
Ε Εb > Ε β° Ε> Ε β° β° Ε> Ε
Ε Εb > Ε β° Ε> Ε β° β° Ε> Ε
Ε Ε> Ε β° Ε> Ε β° β° Ε> Ε
Ε Εb > Ε β° Ε> Ε β° β° Ε> Ε
Ε Εb > Ε β° Ε> Ε β° β° Ε> Ε
Ε Εb > Εb β° Ε> Ε β° β° Ε> Ε
Ε Εb Εb β° Ε Ε β° β° Ε Ε
Ε Εb > Εb β° Ε> Ε β° β° Ε> Ε
ΕΕb^
Ε^ β° jΕ
>
Ε Εb ^ Ε β° jΕ>
226
Ε Ε Ε β° Ε Ε β° β° Ε Εβ β β β
f
f
f
f
f
f
f
f
f
REQUIEM MASS: DIES IRAE36
&
&
&
&
&
&
&
&
&
?
?
?
?
&
&
&
?
?
Γ·
A. Sx.
A. Sx.
S. Sx.
T. Sx.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
βββββ
ββββββββ
β° Εb > Εb Ε Ε β° Γ
β° Εb Εb Ε Ε β° Γ
β° Εb > Εb Ε Ε β° Γ
β° jΕb Ε^ Γ
β° jΕb Ε Γ
227
β° Ε Ε Ε Ε β° Γβ β β β
βββββ
ββββββββ
β
β
β
β
β
228β
Ε Εb > Εb β° Ε> Ε Ε Ε Ε
Ε Εn > Εb β° Ε> Ε Ε Ε Ε
Ε Εb > Εb β° Ε> Ε Ε Ε Ε
Ε Εb > Εb β° Ε> Ε Ε Ε Ε
β
ββββββββ
β° Εb > Εb β° Ε> Ε Ε Ε> Ε β°
β° Εb Εb β° Ε Ε Ε Ε Ε β°
β° Εb > Εb β° Ε> Ε Ε Ε> Ε β°
β° jΕb> β° jΕ
Ε jΕ> β°
β° jΕb > β° jΕ Ε jΕ> β°
229
β° Ε Ε β° Ε Ε Ε Ε Ε β°β β β β
f
f
f
f
βββββ
ββββββββ
β
β
β
β
β
230β
βββββ
ββββββββ
β
β
β
β
β
231β
βββββ
ββββββββ
β° Εb > Εb Ε Ε Ε> Ε Ε Ε β° Ε
β° Εb Εb Ε Ε Ε> Ε Ε Ε β° Ε
β° Εb > Εb Ε Ε Ε> Ε Ε Ε β° Ε
β° jΕΕb> β° jΕΕ
> Γ
β° jΕb > β° jΕ> Γ
232
β° Ε Ε Ε Ε Ε Ε Ε Ε β° Εβ β β β
REQUIEM MASS: DIES IRAE 37
&
&
&
&
&
&
&
&
&
?
?
?
?
&
&
&
?
?
Γ·
A. Sx.
A. Sx.
S. Sx.
T. Sx.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
Ε Εb > Εb β° Ε> Ε β° Ε> Ε Εn Εn
Ε Εn > Εb β° Ε> Ε β° Ε> Ε Ε> Ε
Ε Εb > Εb β° Ε> Ε β° Ε> Ε Εn Εb
Ε Εb > Εb β° Ε> Ε β° Ε> Ε Ε> Ε
βββββββββ
Εb > Εb Ε Ε β° Ε> Ε Γ
Εb Εb Ε Ε β° Ε Ε Γ
Εb > Εb Ε Ε β° Ε> Ε Γ
ΕΕb ΕΕβ° jΕΕ
Γ
Εb Ε β° jΕ Γ
233
Ε Ε Ε Ε β° Ε Ε Γβ β β β
ΕΕn > Εn β° Ε Ε> Ε
β°
Ε Εb > Εn β° Ε Ε> Ε β°
Ε Εb > Εn β° Ε Ε> Ε β°
Ε Εb > Εb β° Ε Ε> Ε β°
βββββββββ
Εb > Εb Ε> Ε Ε β° Ε> Ε β° Ε> Ε
Εb Εb Ε> Ε Ε β° Ε Ε β° Ε Ε
Εb > Εb Ε> Ε Ε β° Ε> Ε β° Ε> Ε
ΕΕb>
ΕΕ> Ε β° jΕΕ
> β° jΕΕ
Εb > Ε> Ε β° jΕ> β° jΕ
234
Ε Ε Ε Ε Ε β° Ε Ε β° Ε Εβ β β β
Εn > Εn β° Ε Γ
Εb > Εn β° Ε Γ
Εb > Εn β° Ε Γ
Εb > Εb β° Ε Γ
βββββββββ
β° Εb > Εb Ε> Ε β° Γ
β° Εb Εb Ε Ε β° Γ
β° Εb > Εb Ε> Ε β° Γ
β° jΕΕb>
..Λbb>
β° jΕb >.Λb
>
235
β° Ε Ε Ε Ε β° Γβ β β β
βββββββββββββββ
β
ww
w
236β
Ε β°Εn > Εn Ε Ε β°
Ε> Ε Εn Ε
Ε β° Εb > Εn Ε Ε β° Ε> Ε Ε Ε
Ε β° Εb > Εn Ε Ε β° Ε> Ε Ε Εn
Ε β° Εb > Εb Ε Ε β° Ε> Ε Ε Ε
βββββββββ
β° Εb > Εb Ε Ε β° β° Ε> Ε Ε
β° Εb Εb Ε Ε β° β° Ε> Ε Ε
β° Εb > Εb Ε Ε β° β° Ε> Ε Ε
ww
w
237
β° Ε Ε Ε Ε β° β° Ε Ε Εβ β β β
βββββββββββββββ
β
ww
w
238β
REQUIEM MASS: DIES IRAE38
&
&
&
&
&
&
&
&
&
?
?
?
?
&
&
&
?
?
Γ·
A. Sx.
A. Sx.
S. Sx.
T. Sx.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
β
ββ
ββββββββββ
Ε Εb > Ε Ε Ε Ε Ε Ε> Ε Ε
Ε Εb > Εb Εb Εb Ε Ε Ε> Ε Ε
Ε Εb > Εb Ε Ε Εb Ε Ε# > Εn Ε
ww
w
239
Ε Ε> Ε Ε Ε Ε Ε Ε> Ε Εβ β β β
β
ββ
βΓ Λ
βββββββ
Γ Λ
Ε β° Εb Εb Εb > Ε Ε Ε Ε# Εn Ε> Ε
Ε β° Εb Εb > Ε Ε Εb Εb Ε Ε Ε> Ε
Ε β° Εb Εb Ε> Ε Ε Ε Εb Ε Ε# > Εn
Λ Λnn
Λ Λn
240
Γ Ε> Ε Ε Ε Ε Ε Ε> Εβ β β β
Ε# > Ε Ε Ε Ε> Ε Ε Ε Ε> Ε Ε Ε Ε> Ε Ε Ε
ΓΕ> Ε Ε Ε Ε> Ε Ε Ε
Ε> Ε# Ε Ε Ε> Ε Ε Ε Ε> Ε Ε Ε Ε> Ε Ε Ε
Γ Ε> Ε Ε Ε Ε> Ε Ε Ε
w
βββββββ
w
Ε Ε# Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε Ε> Ε Ε Ε
Εb Εb Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε Ε> Ε Ε Ε
Ε# Ε Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε Ε> Ε Ε Ε
β
w
241
Ε Ε Ε> Ε Ε β° Ε Ε Ε> Ε Ε Εβ β β β
p
p
p
p
Ε# Ε Ε> Ε Ε Ε Ε> Ε Γ
Ε Ε Ε> Ε Ε Ε Ε> Ε Γ
Ε Ε# Ε> Ε Ε Ε Ε> Ε Γ
Ε Ε Ε> Ε Ε Ε Ε> ΕΓ
Λ Γ
βββββββ
Λ Γ
Ε Ε# Ε> Ε Ε Ε Ε> Ε Γ
Εb Εb Ε> Ε Ε Ε Ε> Ε Γ
Ε# Ε Ε> Ε Ε Ε Ε> Ε Γ
β
w
242
Ε Ε Ε> Ε Ε Ε Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Εβ β β β
f
f
f
fβ
ββ
ββββββββββββββ
w
243
Ε> Ε Ε Ε Ε Ε β° Γβ β
β
ββ
ββββββββββββββ
β
244β
REQUIEM MASS: DIES IRAE 39
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&
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&
&
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?
?
?
&
&
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?
?
Γ·
A. Sx.
A. Sx.
S. Sx.
T. Sx.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
Γ β° Ε> Ε#β° Ε> Ε
Γ β°Ε> Ε β°
Ε> Ε
Γ β° Ε> Ε# β° Ε> Ε
Γ β° Ε> Εβ° Ε> Ε
βββββ
ββββ
β° Ε> Ε# β° Ε> Ε Ε Ε β° Ε> Ε β°
β° Ε> Ε β° Ε> Ε Ε Ε β° Ε> Ε β°
β° Ε# > Ε β° Ε> Ε Ε Ε β° Ε> Ε β°
Ε^
Ε^ β° jΕΕ
β° jΕΕ
Ε^
Ε^ β° jΕ β° jΕ
245
Ε Ε β° Ε Ε β° β° Ε Ε β° Ε Εβ β β β
f
f
f
ΕΕ# > Ε Ε Ε Ε Ε Ε> Ε Ε Ε Ε> Ε
ΕΕ> Ε Ε Ε Ε Ε Ε> Ε Ε Ε Ε> Ε
Ε Ε> Ε# Ε Ε Ε Ε Ε> Ε Ε Ε Ε> Ε
Ε Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε Ε> Ε
Ε jΕ β° β° jΕ β° jΕ
ββββ
ββββ
Ε> Ε# Ε Ε Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε Ε> Ε
Ε> Ε Ε Ε Εb > Εb Ε Ε Ε Ε Ε> Ε Ε Ε Ε> Ε
Ε# > Ε Ε Ε Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε Ε> Ε
ΕΕ^ Ε Γ
Ε^
Ε^ β° jΕ β° jΕ
246
Ε Ε β° Ε Ε β° β° Ε Ε β° Ε Εβ β β β
p
p
p
p
Ε# Ε Ε Ε Ε Ε Ε> Ε Γ
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Ε Ε# Ε Ε Ε> Ε Ε Ε Γ
Ε Ε Ε Ε Ε> Ε Ε ΕΓ
Ε Ε>
Ε Ε Ε Ε>
Ε Ε Ε Ε Ε β°
Ε Ε> Ε Ε Ε Ε> Ε Ε Ε Ε Ε β°
Ε Ε> Ε Ε Ε Ε> Ε Ε Ε Ε Ε β°
Ε Ε# > Ε Ε Ε Ε> Ε Ε Ε Ε Ε β°
Ε Ε>
Ε Ε Ε Ε>
Ε Ε Ε Ε Ε β°
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Ε Ε> Ε Ε Ε Ε> Ε Ε Ε Ε Ε β°
Ε Ε>
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Ε# Ε Ε Ε Ε> Ε Ε Ε Γ
Εb Εb Ε Ε Ε> Ε Ε Ε Γ
Ε Ε# Ε Ε Ε> Ε Ε Ε Γ
Γ Ε β° jΕΕ
Ε Ε^
Ε^ β° jΕ
247
Ε Ε Ε β° Ε Ε β° β° Ε Εβ β β β
p
p
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βββββββ
βββββ
ββ
β° jΕΕΕ ΕΕ
^ΕΕ^
β° jΕ Ε Ε^
Ε^
248
β° Ε Ε Ε Ε Ε β° Ε Ε β°β β β β
β
β
βββββββ
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Fill
Ε# > Ε β° β° Ε> ΕΕ
Ε> Ε Ε> Ε
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Ε> Ε# β° β° Ε> Ε Ε Ε> Ε Ε> Ε
Ε> Εβ° β° Ε> Ε
Ε Ε> Ε Ε> Ε
βββββ
ββββ
β° Ε# > Ε Ε Ε β° Ε> Ε Ε> Ε Ε
β° Εb > Εb Ε Ε β° Ε> Ε Ε> Ε Ε
β° Ε> Ε# Ε Ε β° Ε> Ε Ε> Ε Ε
Ε^ β° j
Ε^ β° j
Ε^ Ε
Ε^ β° jΕ
^ β° jΕ^ Ε
250
Ε Ε β° β° Ε Ε β° Ε Ε Εβ β β β
REQUIEM MASS: DIES IRAE40
&
&
&
&
&
&
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&
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?
?
?
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&
&
&
?
?
Γ·
A. Sx.
A. Sx.
S. Sx.
T. Sx.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
β° Ε> Ε#β° Ε> Ε> Ε Ε
β° β°Ε> Ε
β°Ε> Ε β° Ε> Ε> Ε Ε
β° β°Ε> Ε
β° Ε> Ε# β° Ε> Ε> Ε Ε β° β° Ε> Ε
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Ε> Ε> Ε Ε β° β° Ε> Ε
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Ε Ε Ε Ε Ε Ε Ε β° Ε>
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Ε
Ε> Ε# β° Ε> Ε β° Ε β° Ε> Ε
Εb > Εb β° Ε> Ε β° Ε β° Ε> Ε
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Ε^
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Ε^
Ε^
Ε^ β° jΕ
^ β° jΕ^
251
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p
p
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p
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p
p
Ε# Ε Ε Ε Ε> Ε Ε Ε β°Ε Ε Ε Ε β°
Ε Ε Ε Ε Ε> Ε Ε Ε β°Ε Ε Ε Ε β°
Ε Ε# Ε Ε Ε> Ε Ε Ε β° Ε Ε Ε Ε β°
Ε Ε Ε Ε Ε> Ε Ε Εβ° Ε Ε Ε Ε
β°
Ε Ε Ε Ε Ε>
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Ε Ε# Ε Ε Ε> Ε Ε Ε β° Ε Ε Ε Ε β°
ΕΕ^
Ε^ β° jΕΕ
Ε Ε^
Ε^ β° jΕ
252
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f
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f
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β° jΕΕΕ ΕΕ
^ΕΕ^
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Ε^
253
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Ε β° Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε
Ε β° Ε# > Ε Ε Ε Ε Ε Ε> Ε Ε Ε
Ε β° Ε# > Ε Ε Ε Ε Ε Ε> Ε Ε Ε
Ε β° Ε# > Ε Ε Ε Ε Ε Ε> Ε Ε Ε
Ε β° Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε
Ε β° Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε
Ε β° Ε>
Ε Ε Ε Ε Ε Ε>
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β
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β° jΕ
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Ε ΕΕ^
β° jΕ β° jΕ Ε Ε^
254
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Ε>
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Ε# > Ε β° Ε> Ε Ε> Ε Ε Ε> Ε Ε
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Ε# > Ε β° Ε> Ε Ε> Ε Ε Ε> Ε Ε
Ε# > Ε β° Ε> Ε Ε> Ε Ε Ε> Ε Ε
Ε> Ε β° Ε> Ε Ε> Ε Ε Ε> Ε Ε
Ε> Ε β° Ε> Ε Ε> Ε Ε Ε> Ε Ε
Ε>
Ε β° Ε>
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Ε> Ε# β° Ε Ε Ε> Ε Ε Ε Ε> Ε Ε Ε Ε Ε
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Ε# > Ε β° Ε Ε Ε> Ε Ε Ε Ε> Ε Ε Ε Ε Ε
ΕΕ^ Ε Γ
Ε^ β° jΕ
^ β° jΕ^ Ε
255
Ε Ε β° β° Ε Ε β° Ε Ε Εβ β β β
p p
p p
p p
p p
p p
p p
p p
REQUIEM MASS: DIES IRAE 41
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&
&
&
&
&
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B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
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Ε> Ε# Ε Ε Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Εβ°
Ε> Ε Ε Ε Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε β°Ε# > Ε Ε Ε Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε β°
Ε> Ε Ε Ε Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Εβ°
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Ε Ε Ε Ε Ε Ε>
Ε Ε Ε Ε^
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Ε> Ε Ε Ε Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε β°
Ε# > Ε Ε Ε Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε β°
β
Ε^
Ε^ β° jΕ β° jΕ
256
Ε Ε β° Ε Ε β° β° Ε Ε β° Ε Εβ β β β
ββββ
β° Ε Ε Ε>
Ε Ε^ Ε# > Ε β° Ε Ε Ε
β° Ε Ε Ε> Ε Ε Ε# > Ε β° Ε Ε Ε
β° Ε Ε Ε> Ε Ε Ε> Ε β° Ε Ε Ε
β° Ε# Ε Ε> Ε Ε Ε> Ε β° Ε Ε Ε
β° Ε Ε Ε>
Ε Ε^ Ε# > Ε β° Ε Ε Ε
β° Ε Ε Ε> Ε Ε Ε# > Εβ°
Ε Ε Ε
β° Ε Ε Ε> Ε Ε Ε# > Ε β° Ε Ε Ε
β° Ε Ε Ε> Ε Ε Ε# > Ε β° Ε Ε Ε
β° Ε Ε Ε>
Ε Ε^
Ε>
Ε β° Ε Ε Ε^
β
β
βΕ ΕΕ
^ΕΕ^ β° jΕΕ
Ε Ε^
Ε^ β° jΕ
257
Ε Ε Ε β° Ε Ε β° β° Ε Εβ β β β
f
f
f
f
f
f
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f
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Ε> Ε# Ε Εβ°
Ε Ε β°Ε> Ε Ε Ε β°
Ε> Ε Ε Ε β° Ε Εβ°
Ε> Ε Ε Ε β°Ε# > Ε Ε Ε β° Ε Ε β° Ε> Ε Ε Ε β°
Ε> Ε Ε Εβ°
Ε Ε β° Ε> Ε Ε Εβ°
Ε# Ε Ε Ε β° Ε Ε β° Ε Ε Ε Ε Εb ^
Ε# Ε Ε Ε β° Ε Ε β° Ε Ε Ε Ε Εb ^
Ε Ε Ε Ε β° Ε Ε β° Ε Ε Ε Ε Εn ^
Ε Ε Ε Ε β° Ε Ε β° Ε Ε Ε Ε Εb ^
Ε# Ε Ε Ε β° Ε Ε β° Ε Ε Ε Ε Εb ^
Ε# Ε Ε Εβ°
Ε Εβ°
Ε Ε Ε Ε Εb ^
Ε# Ε Ε Ε β° Ε Ε β° Ε Ε Ε Ε Εn ^
Ε# Ε Ε Ε β° Ε Ε β° Ε Ε Ε Ε Εb ^
Ε Ε Ε Ε β° Ε Ε β° Ε Ε Ε Ε Εb^
Ε> Ε# Ε Ε β° Ε Ε β° Ε> Ε Ε Ε β°
Ε> Ε Ε Ε β° Ε Ε β° Ε> Ε Ε Ε β°
Ε# > Ε Ε Ε β° Ε Ε β° Ε> Ε Ε Ε β°
ΕΕ ΕΕ ΕΕ^ β° jΕΕ
β° jΕΕ ΕΕ ΕΕb
Ε Ε Ε^ β° jΕ β° jΕ Ε Εb
258
Ε Ε Ε β° Ε Ε Ε Ε Ε Ε Ε Ε β°β β β β
p
p
p
p
p
p
p
p
p
p
p
p
p
p
p
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p
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β° Εb > Εb β° Ε> Ε β° Ε> Ε Ε Ε β°
β° Εn > Εb β° Ε> Ε β° Ε> Ε Ε Ε β°
β° Εb > Εb β° Ε> Ε β° Ε> Ε Ε Ε β°
β° Εb > Εb β° Ε> Ε β° Ε> Ε Ε Ε β°
β° Εb > Ε β° Ε> Ε β° Ε> Ε Ε Ε β°
β° Εb > Ε β° Ε> Ε β° Ε> Ε Ε Ε β°
β° Εn > Ε β° Ε> Ε β° Ε> Ε Ε Ε β°
β° Εb > Ε β° Ε> Ε β° Ε> Ε Ε Ε β°
β° Εb > Ε β° Ε> Ε β° Ε> Ε Ε Ε β°
β°Εb > Ε
β°Ε> Ε
β°Ε> Ε Ε Ε
β°
β° Εb > Ε β° Ε> Ε β° Ε> Ε Ε Ε β°
β° Εb > Ε β° Ε> Ε β° Ε> Ε Ε Ε β°
β° Εb > Ε β° Ε> Ε β° Ε> Ε Ε Ε β°
β° Εb > Εb β° Ε Ε β° Ε Ε Ε Ε β°
β°Ε> Ε β° Ε> Ε
β° Ε> Ε Ε Εβ°
β° Εb > Εb β° Ε> Ε β° Ε> Ε Ε Ε β°
β° jΕΕβ° jΕΕb
>ΕΕ ΕΕ
^
β° jΕ β° jΕb > Ε Ε^
259
β° Ε Ε β° Ε Ε β° Ε Ε Ε Ε β°β β β β
f
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f
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f
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f
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f
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f
REQUIEM MASS: DIES IRAE42
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B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
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Drums
Pno.
Εb > Εb β° Ε Γ
Εn > Εb β° Ε Γ
Εb > Εb β° Ε Γ
Εb > Εb β° Ε Γ
Εn>
Ε β° Ε Γ
Εb > Ε β° Ε Γ
Εn > Ε β° Ε Γ
Εb > Ε β° Ε Γ
Εb > Ε β° Ε Γ
Εb > Εβ° Ε Γ
Εb > Ε β° Ε Γ
Εb > Ε β° Ε Γ
Εb > Ε β° Ε Γ
Εb Εb β° Ε Γ
Ε> Εβ° Ε Γ
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ΕΕb^ Ε Γ
Εb^ Ε Γ
260
Ε Ε β° Ε Γβ β β β
Εb > Εb Ε Ε Ε> Ε β° β° Ε> Ε β° Ε> Ε
Εn > Εb Ε Ε Ε> Ε β° β° Ε> Ε β° Ε> Ε
Εb > Εb Ε Ε Ε> Ε β° β° Ε> Ε β° Ε> Ε
Εb > Εb Ε Ε Ε> Ε β° β° Ε> Ε β° Ε> Ε
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Ε Ε Ε Ε Ε β° β° Ε Ε β° Ε>
Ε
Εb > Ε Ε Ε Ε# Ε β° β° Ε Ε β° Ε> Ε
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Εb > Ε Ε Ε Ε# Ε β° β° Ε Ε β° Ε> Ε
Εb > Ε Ε Ε Ε# Ε β° β° Ε Ε β° Ε> Ε
Εb > Ε Ε Ε Ε# Εβ° β°
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Εb > Ε Ε Ε Ε# Ε β° β° Ε Ε β° Ε> Ε
Εb > Ε Ε Ε Ε# Ε β° β° Ε Ε β° Ε> Ε
Εb > Ε Ε Ε Ε Ε β° β° Ε Ε β° Ε> Ε
Εb > Εb Ε Ε Ε> Ε β° β° Ε> Ε β° Ε> Ε
Ε> Ε Ε Ε Ε# > Ε# β° β° Ε> Ε β° Ε> Ε
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ΕΕb>
ΕΕ ΕΕ^ β° jΕΕ
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Εb > Ε Ε β° JΕ β° JΕ
261
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Εb > Εb Ε Ε β° Ε> Ε Γ
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Ε Ε Ε Ε β° jΕ^ Γ
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Ε# Ε Ε Ε β° JΕ Γ
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Ε# Ε Ε Ε β° jΕ Γ
Ε# Ε Ε Εβ° JΕ Γ
Ε# Ε Ε Ε β° JΕ Γ
Ε# Ε Ε Ε β° JΕ Γ
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Ε> Ε Ε Εβ° Ε# > Ε# Γ
Εb > Εb Ε Ε β° Ε> Ε Γ
Ε β° jΕΕ^ Γ
Ε β° JΕ Γ
262
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Fill
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jΕΕbb> β° β° jΕΕ
> jΕΕ ΕΕ> β°
jΕb> β° β° jΕ
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264
Ε Ε Ε Ε β° Ε Ε β° Ε Ε Εβ β β β
β° Εn ΕΕ Γ
β° Ε# Ε# Ε Γ
β° Ε Εn Ε Γ
β°Ε# Ε#
β° Ε Ε Ε Γ
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β° Ε Ε Ε Γ
β° Ε# Ε Ε Γ
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β° Εb Εb Ε Γ
β° Ε Εb Ε Γ
β° jΕΕ#^ Ε Γ
β° jΕ^ Ε Γ
265
β° Γ> Γ Γ> Γ Γ Γ Γ Γ Γ Γβ Γ Γ> Γ
REQUIEM MASS: DIES IRAE 43
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Bb Tpt. 1
Bb Tpt. 2
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Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
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Γ Ε> Ε#β° Ε
Γ Ε> Ε β° Ε
Γ Ε# > Ε β° Ε
ΓΕ> Ε β° Ε
Γ Ε>
Ε β° Ε
Γ Ε# > Ε β° Ε
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Γ ΕΕΕ##
Γ ΛΒ°&
Γ ΕΕ Ε
266
Γ Γ Γ Γ Γ> Γ Γ Γ Γ> Γ Γ Γ Γ Γ Γ> Γ
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ββββββββββββββ
βΕΕ Λ# ΕΕ##Λ Λ
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267
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Ε
ΕΕ Λ# ΕΕ
Λ Λ##
Ε β° JΕΕ Γ
268
Γ Γ Γ> Γ Γ Γ Γ> Γ Γ Γ Γ Γ Γ> Γ Γ Γ
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Γ β° Ε> Ε# Ε Ε Ε Ε
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ΕΕ Λ ΕΕ##Λ## Λ#
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269
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ΕΕ Λ ΕΕΛ Λ##
ΕΕ Ε Γ
270
Γ> Γ Γ Γ Γ> Γ Γ Γ Γ Γ Γ> Γ Γ Γ Γ> Γ
REQUIEM MASS: DIES IRAE44
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Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
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Pno.
ββ
β
ββ
ββββ
βββββ
βΕΕ Λ##
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271
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Γ Εb > Εb β° β° Ε> Ε
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Γ Εn > Ε β° β° Ε> Ε
Γ Εb > Ε β° β° Ε> Ε
Γ Εb > Ε β° β° Ε> Ε
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Γ Εb > Εbβ° β°
Ε> Ε
ΕΕ Λ## ΕΕ#
Λ Λ
Γ Εb ^ β° jΕ
272
Γ Γ Γ> Γ Γ Γ Γ Γ Γ> Γ Γ Γ Γ> Γ Γ Γ
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F
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Εb Εb β° Ε Ε> Ε β° Ε
Εn Εb β° Ε Ε> Ε β° Ε
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273
Γ Γ Γ> Γ Γ Γ Γ> Γ Γ Γ Γ Γ Γ> Γ Γ Γ
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274
Γ> Γ Γ Γ Γ Γ Γ> Γ Γ Γ Γ> Γ Γ Γ Γ Γ
REQUIEM MASS: DIES IRAE 45
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A. Sx.
S. Sx.
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B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
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Drums
Pno.
Εb > Εb Ε Ε Ε Ε Εn > Εn Ε Ε Ε> Ε Ε Ε Ε Ε
Εn > Εb Ε Ε Ε Ε Ε> Ε# Ε Ε Ε> Ε Ε Ε Ε Ε
Εb > Εb Ε Ε Ε Ε Εb > Εn Ε Ε Ε> Ε Ε Ε Ε Ε
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Εb > Ε Ε Ε Ε Ε Ε# > Ε Ε Ε Ε> Ε Ε Ε Ε Ε
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Εb > Ε Ε Ε Ε Ε Ε# > Ε Ε Ε Ε> Ε Ε Ε Ε Ε
Εb > Ε Ε Ε Ε Ε Ε> Ε Ε Ε Ε> Ε Ε Ε Ε Ε
Εb > Εb Ε Ε Ε Ε Ε# > Ε Ε Ε Ε> Ε Ε Ε Ε Ε
Εb > Εb Ε Ε Ε Ε Ε# > Ε Ε Ε Ε> Ε Ε Ε Ε Ε
ΕΕ Λ ΕΕ#
Λ##Λ#
Εb ^ β° JΕ Γ
275
Γ> Γ Γ Γ Γ Γ Γ> Γ Γ Γ Γ> Γ Γ Γ Γ Γ
p
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Εn > Εn β° Ε Ε β° Ε> Ε
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Ε>
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276
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277
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β° Εb > Ε β° Ε> Ε Ε β° Ε Ε
278
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p
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Ε# > Ε β° β°Ε> Ε β° Ε> Ε
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Εb > Ε β° β° Ε> Ε β° Ε> Ε Ε
Εb>
Ε β° β° Ε>
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Εb > Ε β° β° Ε> Ε β° Ε> Ε Ε
279
Γ> Γ ΓΓΓΓΓ> Γ ΓΓΓ> Γ ΓΓΓΓ
REQUIEM MASS: DIES IRAE46
&
&
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A. Sx.
A. Sx.
S. Sx.
T. Sx.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
Ε Εn > Ε> Ε Εβ° Ε Ε
β° Ε Ε
Ε Ε# > Ε# > Ε Ε β° Ε Ε β° Ε Ε
Ε Ε>> Εn > Ε Ε β° Ε Ε β° Ε Ε
ΕΕ# > Ε# > Ε Ε β°
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Ε Ε# > Ε Ε Ε β° Ε Ε β° Ε Ε
Ε Ε> Ε Ε Ε β° Ε Ε β° Ε Ε
Ε Ε# > Ε Ε Ε β° Ε Ε β° Ε Ε
Ε Ε# > Ε Ε Ε β° Ε Ε β° Ε Ε
Ε Ε# > Ε Ε Ε β° Ε Ε β° Ε Ε
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280
Γ> ΓΓ Γ Γ> Γ Γ Γ Γ Γ Γ> Γ ΓΓ Γ> Γ
f
f
f
f
f
f
f
f
f
f
f
f
f
Ε Εn > Εβ° Ε> Ε Ε Ε
β° Ε# > Ε#
Ε Ε# > Ε# β° Ε> Ε Ε Ε β° Ε> Ε
Ε Ε>> Εn β° Ε>> Ε Ε Ε β° Ε# > Ε#
ΕΕ# > Ε# β°
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Ε Ε>
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Ε Ε> Ε β° Ε> Ε Ε Ε β° Ε# > Ε
Ε Ε# > Ε β° Ε> Ε Ε Ε β° Ε# > Ε
Ε Ε# > Ε β° Ε> Ε Ε Ε β° Ε# > Ε
Ε Ε> Ε β° Ε> Ε Ε Ε β° Ε> Ε
Ε Ε# > Ε β° Ε> Ε Ε Ε β°Ε> Ε
Ε Ε# > Ε β° Ε> Ε Ε Ε β° Ε> Ε
Ε Ε# > Ε β° Ε> Ε Ε Ε β° Ε> Ε
Ε Ε> Ε β° Ε> Ε Ε Ε β° Ε> Ε
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ΕΕ Λ## ΕΕ#
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Ε Ε Ε β° JΕ>
281
Γ ΓΓ Γ Γ> Γ Γ Γ Γ> Γ Γ Γ Γ Γ Γ> Γ
f
f
f
f
f
f
f
f
f
f
f
f
f
Ε Ε#β° Ε Γ
Ε Ε β° Ε ΓΕ# Ε β° Ε Γ
Ε Ε β° Ε Γ
Ε Ε β° Ε Γ
Ε# Ε β° Ε Γ
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Ε# Ε β° Ε Γ
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282
Γ Γ Γ> Γ Γ ΓΓ Γ Γ> ΓΓ Γ Γ> ΓΓ Γ
Γ Ε> Ε# Ε Ε Ε Ε Ε> Ε
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283
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p
p
p
p
p
p
p
p
p
p
p
p
p
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Ε Ε β° Ε β° Ε# > Ε# Ε Ε Ε Ε
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Ε# Ε β° Ε β° Ε# > Ε Ε Ε Ε Ε
Ε Ε β° Ε β° Ε> Ε Ε Ε Ε Ε
Ε Εβ° Ε β° Ε# > Ε Ε Ε Ε Ε
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284
Γ Γ Γ Γ ΓΓ Γ Γ ΓΓ Γ> Γ Γ Γ Γ Γ
f
f
f
f
f
f
f
f
f
f
f
f
f
REQUIEM MASS: DIES IRAE 47
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Γ·
A. Sx.
A. Sx.
S. Sx.
T. Sx.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
Ε> Ε# Ε Ε Ε Ε Ε> Ε Ε Εβ° β° Εn > Εn
Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε β° β° Ε# > Ε#
Ε# > Ε Ε Ε Ε Ε Ε> Ε Ε Ε β° β° Εn >> Εn
Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε β° β°Ε# > Ε#
Ε>
Ε Ε Ε Ε Ε Ε>
Ε Ε Ε β° β° Ε>
ΕΕ# > Ε Ε Ε Ε Ε Ε> Ε Ε Ε β° β° Εn > Ε
Ε# > Ε Ε Ε Ε Ε Ε> Ε Ε Ε β° β° Ε# > Ε
Ε# > Ε Ε Ε Ε Ε Ε> Ε Ε Ε β° β° Ε# > Ε
Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε β° β° Ε> Ε
Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Εβ° β° Ε# > Ε
Ε# > Ε Ε Ε Ε Ε Ε> Ε Ε Ε β° β° Ε> Ε
Ε# > Ε Ε Ε Ε Ε Ε> Ε Ε Ε β° β° Ε> Ε
Ε> Ε Ε Ε Ε Ε Ε> Ε Ε Ε β° β° Ε> Ε
wwww
ΕΕΛ# ΕΕ##
ΕΕ ..Λ
Ε β° JΕ> Ε β° jΕ>
285
Γ> Γ Γ Γ Γ Γ Γ> Γ Γ Γ Γ Γ Γ Γ Γ> Γ
f
f
f
f
f
f
f
f
f
f
f
f
f
Z
Z
Z
Z
Z
Z
Z
Z
Z
Z
Z
Z
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Ε Ε# Ε Ε Ε> Εβ° β° Ε> Ε
β° Ε> Ε
Ε Ε Ε Ε Ε> Ε β° β° Ε> Ε β° Ε> Ε
Ε# Ε Ε Ε Ε> Ε β° β° Ε> Ε β° Ε> Ε
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Ε Ε Ε Ε Ε> Εβ° β°
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286
Γ Γ Γ Γ Γ> Γ Γ Γ Γ Γ Γ> Γ Γ Γ Γ> Γp
p
p
p
p
p
p
p
p
p
p
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p
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β° Ε> Ε#Ε JΕ β° JΕ β°
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β°Ε> Ε Ε JΕ β° JΕ β°
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β° Ε# > Ε Ε JΕ β° JΕ β°
β° Ε# > Ε Ε JΕ β° JΕ β°
β° Ε> Ε Ε JΕ β° JΕ β°
β°Ε> Ε
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287
Γ Γ Γ> Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ
REQUIEM MASS: DIES IRAE48
&
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Γ·
A. Sx.
A. Sx.
S. Sx.
T. Sx.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
JΕ β° JΕ β° JΕ β° JΕ β°
JΕ β° JΕ β° JΕ β° JΕ β°
JΕ# ^ β° JΕ β° JΕ β° JΕ β°
JΕ β° JΕ β° JΕ β° JΕ β°
jΕ^ β° jΕ
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^ β°
JΕ# ^ β° JΕ β° JΕ β° JΕ β°
JΕ# ^ β° JΕ β° JΕ β° JΕ β°
JΕ# ^ β° JΕ β° JΕ β° JΕ β°
JΕ β° JΕ β° JΕ β° JΕ β°
JΕ β° JΕ β° JΕ β° JΕ β°
JΕ# ^ β° JΕ β° JΕ β° JΕ β°
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288
Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ
f
f
f
f
f
f
f
f
f
f
f
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JΕ β° JΕ β° JΕ β° JΕ β°
JΕ β° JΕ β° JΕ β° JΕ β°
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289
Γ Γ Γ Γ Γ Γ Γ Γ Γ
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290
Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ Γ ΓΓ
Z
Z
Z
Z
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Z
Z
Z
Z
Z
REQUIEM MASS: DIES IRAE 49
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43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
43
44
44
44
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45
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45
45
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45
A. Sx.
A. Sx.
S. Sx.
T. Sx.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
βββββ
ββββ
ββββ
ww
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291β
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297β
REQUIEM MASS: DIES IRAE50
&
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&
&
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Γ·
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
45
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45
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
44
43
43
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43
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43
43
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44
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44
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44
44
44
44
44
44
44
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44
44
44
44
A. Sx.
A. Sx.
S. Sx.
T. Sx.
B. Cl.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
Bass
Drums
Pno.
ββ
Γ Ε Ε Ε
ββ
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REQUIEM MASS: DIES IRAE 51
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Alto Sax 1
Alto Sax 2
Tenor Sax 1
Tenor Sax 2
Baritone Sax
Trumpet in Bb 1
Trumpet in Bb 2
Trumpet in Bb 3
Trumpet in Bb 4
Trombone 1
Trombone 2
Trombone 3
Bass Trombone
Vibraphone
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Acoustic Bass
Drums
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REQUIEM MASS: SANCTUSJOHN WHITE
Score
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A. Sx. 1
A. Sx. 2
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Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
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wββββ
wwwwwwwww
β
19β β β β
.Λ Ε
β β β Ε.Λ Ε.Λ Εβ
.Λ Ε
.Λ Ε
.Λ Ε
.Λ Εββββ
..Λ Ε
...Λ Ε
..Λ ΕΕΕΕbbnM *
..Λ ΕΕΕβ
20β β β β
Ζ
Ζ
Ζ
Ζ
Ζ
ΖΖΖ
3REQUIEM MASS: SANCTUS
&&&&&&&&&????
&
&
&
??Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
ββββββββββββββ
β
wwwwΒ°wwwβ
21β β β β
ββββββββββββββ
β
wwwwwww
β
22β β β β
ββββββββββββββ
wwwb>
wwwwwwwβ
23β β β β
p
βββββββββββββ
β° jΕΕ> ..Λwww
wwwwwww
β
24β ββ β
F
βββββββββββββ
wwwww
wwwwwwwβ
25β β β β
βββββββββββββ
wwwww
ΛΛΛΛ Λb>*www
β
26β β β β
ββΓ Ε
βββββββββββ
wwΕΕΕ ..ΛbbwwΒ°www
β
27β β β β
CNβ
β β β ββββββββββββ
wwwwwwwww
β
28β β β β
Solo
ββ β β β
βββββββββββ
wwwwwwwww
β
29β β β β
ββ β β β
βββββββββββ
..Λ ΕΕ>
wwwwwww
β
30β β β β
4 REQUIEM MASS: SANCTUS
&&&&&&&&&????
&&&??Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
ββ β β β
βββββββββββ
wwww
..ΕΕjΕΕbb Λ
wwwβ
31β β β β
ββ β β β
βββββββββββ
wwwwwwwww
β
32β β β β
ββ β β β
βββββββββββ
wwwwwwwww
β
33β β β β
ββ β β β
βββββββββββ
wwβ° jΕΕ> ..Λwwwww
β
34β β β β
ββ β β β
βββββββββββ
wwwwwwwww
β
35β β β β
ββ ββ β
βββββββββββ
wwwwwwwww
β
36β ββ β
ββ β β β
βββββββββββ
wwwwwwwww
β
37β β β β
ββ β β β
βββββββββββ
wwwwwwwww
β
38β β β β
ββ β β ββββββββββββ
..Λ ΕΕΕwwbwwbbwwβ
39β β β β
Build
Build
ββ β β ββββββββββββ
wwwwwΛ ΛΛΛΛwwβ
40β β β β
5REQUIEM MASS: SANCTUS
&&&&&
&
&
&
&
?
???
&&&??
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
ββ β β β
βββ
β
β
β
β
β
βββ
wwwww
wwwwww
β
41β β β β
ββ β β β
βββ
β
β
β
β
β
βββ
wwwww
wwwwww
β
42β β β β
ββ β β β
βββ
β
β
β
β
β
βββ
wwwww
wwwwww
β
43β β β β
β° JΕ> Ε Λ
β° JΕ> Ε Λ
β° JΕ> Ε Λ
β° JΕ> Ε Λ
β° jΕn > .Λβ
β
β
β
β
ββ
β° jΕb > .Λwwwww
ΕΕΕΕ ΕΕ*
..ΛΒ°ΕΕ ΕΕbb ..Λ
β° JΕb .Λ
44
β° jΕ Ε Γβ β β β
Γ
No Time, Just Hits
ΓΓ
Γ
wwww
.Λ ΕΓ >
w>
Γ >
w>
Γ >
βwb >
.Λ ΕΛ Λwwwwww
.Λ Ε
45
Λ Ε Εβ β β β
Γ
Γ
Γ
Γ
Γ
Γ
wwww
ww
Λ Λ
w
Λ Λnw
Γ Λb >
w
wwwwwΛ Λbwww
46
Ε Ε Λβ β β β
Γ
Γ
Γ
Λ β° JΕn > Ε
Λ β° JΕn > ΕΛ β° JΕ> ΕΛ β° JΕ> Ε
wΛ β° JΕn > Ε
w
Λ β° JΕn > Ε
wΛ β° JΕ> Ε
ww
wΛ ΕΕ ΕΕbb > ΕΕwwwwwww
47
Γ β° jΕ Εβ β β β
Γ
Γ
Γ
wwww
wnw
.Λ Ε.
w
ww
ww
wbwwwwbbwwwwwb
48
Ε Ε Γβ β β β
.Ε JΕb > Λ
.Ε JΕn > Λ
.Ε JΕb > Λ
.Ε JΕb > Λ
wΕ Εn . β° JΕ Ε
β° JΕ Ε Ε. Ε.
Εn β°. JΕ Ε Ε
Λ Εn . β°. JΕw
w
β
wΕΕ Εb . β° JΕ ΕΕb .
β° JΕ Ε Ε.
Λ Ε. Ε.
Λ Εb . β° JΕ&
w
49
Ε Ε Ε Λβ β β β
wwww
Λ Ε ΕbΕn . Ε. Ε. β° JΕ
Ε. β° JΕ Ε Ε.
β°. JΕn β°. JΕ β°. JΕ Ε
β° JΕn β° JΕ Ε Ε.
Γ Ε Εb >
Γ Ε Εb >
Γ Ε Εb >
Λ Ε Ε>Εb . Ε. Ε. β° JΕ
β° JΕb β° JΕ β° JΕ ΕΕ. β° JΕ Ε Ε.
β° JΕb β° JΕ Ε Ε.
Λ Ε Εb
50
Γ Ε Εβ β β β
f
f
f
ff
f
f
f
fff
f
f
6 REQUIEM MASS: SANCTUS
&
&&&&&&&&????
&
&
&&?Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
Ε β° jΕ Εb Εb ^ β° JΕn >
Ε β° jΕ Εb Εb ^ β° JΕn >
Ε β° JΕ Εb Εb ^ β° JΕn >
Ε β° JΕ Εb Εb ^ β° JΕn >
wΕ Εn . β° JΕ Εβ° JΕ Ε Ε. Ε.Εn . β° JΕ Ε Ε.
β° JΕn Ε Ε. β° JΕwwww
Ε Εb . β° JΕ ΕΕb .
β° JΕ Ε Ε.
β° JΕ Ε Ε. Ε.
β° JΕb Ε Ε. β° JΕw
51β β β β
f
fff
Time
Ε ΕN Εb Ε Εn ^ β° JΕn ^ β° JΕ3
Ε ΕN Εb Ε Εn ^ β° JΕn ^ β° JΕ3
Ε ΕN Εb Ε Εn ^ β° JΕn ^ β° JΕn ^3
Ε ΕN Εb Ε Εn ^ β° JΕn ^ β° JΕn ^3
wΕn . Ε. Ε. β° JΕΕ. β° JΕ Ε Ε.
β° JΕn β° JΕ β° JΕ Εβ° JΕn β° JΕ Ε Ε.wwwwΕb . Ε. Ε. β° JΕ
β° JΕb β° JΕ β° JΕ Ε
Ε. β° JΕ Ε Ε.
β° JΕb β° JΕ Ε Ε.w
52β β β β
β° JΕ Ε Εn ^ β° JΕ Εb Εb Εn3
β° JΕ Ε Εn ^ β° JΕ Εb Εb Εn3
β° JΕ Ε Εn ^ β° jΕ Εb Εb Εb3
β° JΕ Ε Εn ^ β° jΕ Εb Εb Εb3
wΕ Εn . β° JΕ Εβ° JΕ Ε Ε. Ε.Εn . β° JΕ Ε Ε.
β° JΕn Ε Ε. β° JΕwwww
Ε Εb . β° JΕ ΕΕb .
β° JΕ Ε Ε.
β° JΕ Ε Ε. Ε.
β° JΕb Ε Ε. β° JΕw
53β β β β
Ε> Ε Ε Ε β° JΕΕ> Ε Ε Ε β° JΕΕ> Ε Ε Ε β° JΕΕ> Ε Ε Ε β° JΕ
βββββββββ
Ε. β° JΕ Ε Ε.
β° JΕ Εβ Ε. β° JΕ
Ε.* Ε. Ε. β° jΕwββ
54
Ε Ε Ε Ε Ε Εβ β β β
P
P
{A}
P
(Throughout Section ΓΏ)
Γ β° jΕ Ε
Γ β° jΕ ΕΓ β° JΕ ΕΓ β° JΕ Ε
βββββββββ
Ε. β° JΕ Ε Ε.
β° JΕ Ε Ε. β° JΕ
Ε Ε. β° jΕ Εwββ
55Γ β° jΕ Εβ β
β
ββββββββββββ
β° JΕ β° JΕ β° JΕ Ε
β° JΕ β° JΕ Ε Ε.
Ε. Ε. Ε. β° jΕwβ ?
β
56β β β β
No Time, Imitate Heartbeat
β
ββββββββββββ
Ε. β° jΕ Ε Ε.w
β° JΕ Ε Ε. β° JΕ
Ε Ε. β° jΕ Εwββ
57β β β β
β
ββββββββββββ
β° jΕ β° jΕ β° jΕ Εw
β° JΕ β° JΕ Ε Ε.
Ε. Ε. Ε. β° jΕwββ
58β β β β
β
ββββββββββββ
Ε. β° jΕ Ε Ε.w
β° JΕ Ε Ε. β° JΕ
Ε Ε. β° JΕ Εββ
59β β β β
7REQUIEM MASS: SANCTUS
&&&&&&&&&????
&
&
&??Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
ββ β β β
βββββββββββ
β° jΕ β° jΕ β° jΕ Εwβ° jΕ β° jΕ Ε Ε.wΕ. Ε. Ε. β° JΕ
ββ
60β β β β
AN Solo
ββ β β β
βββββββββββ
Ε. β° JΕ Ε Ε.
β° jΕ Ε Ε. β° jΕw
Ε Ε. β° JΕ Εββ
61β β β β
ββ β β β
βββββββββββ
β° JΕ β° JΕ β° JΕ Εβ° jΕ β° jΕ Ε Ε.wΕ. Ε. Ε. β° jΕw
ββ
62
Ε Ε Ε Γβ β β β
ββ β β β
βββββββββββ
Ε. β° jΕ Ε Ε.w
β° JΕ Ε Ε. β° JΕ
Ε Ε. β° jΕ Εwββ
63β β β β
ββ β β β
βββββββββββ
β° jΕ β° jΕ β° jΕ Εw
β° JΕ β° JΕ Ε Ε.
Ε. Ε. Ε. β° JΕ
ββ
64β β β β
ββ β β β
βββββββββββ
Ε. β° jΕ Ε Ε.w
β° JΕ Ε Ε. β° JΕ
Ε Ε. β° JΕ Εββ
65β β β β
ββ β β β
βββββββββββ
β° jΕ β° jΕ β° jΕ Εw
β° JΕ β° JΕ Ε Ε.
Ε. Ε. Ε. β° JΕ
ββ
66
Γ Ε Εβ β β β
ββ β β β
βββββββββββ
Ε. β° jΕ Ε Ε.wβ° jΕ Ε Ε. β° jΕw
Ε Ε. β° JΕ Ε
wbwb
67
Ε Ε Γβ β β β
GNβ
β β β ββββββββββββ
Ε. β° JΕ Ε Ε.
β° jΕ β° jΕ Ε Ε.w
Ε Ε. β° JΕ Ε
ww
68β β β β
8 REQUIEM MASS: SANCTUS
&&&&&&&&&????
&
&
&??Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ββ β β β
βββββββββββ
Ε β° JΕ β° JΕ Εβ° jΕ Ε Ε. β° jΕwΕ. Ε. Ε. β° JΕ
ww
69β β β β
ββ β β β
βββββββββββ
Ε. β° JΕ Ε Ε.
β° jΕ β° jΕ Ε Ε.wΕ Ε. β° jΕ Εw
ww
70β β β β
ββ β β β
βββββββββββ
β° JΕ β° JΕ β° JΕ Ε
β° JΕ Ε Ε. β° JΕ
Ε. Ε. Ε. β° jΕw
ww
71β β β β
ββ β β β
ββββ
w>
βw>
ββββ
Ε. β° jΕ Ε Ε.w
β° JΕ β° JΕ Ε Ε.
Ε Ε. β° jΕ Εw
ww
72β β β β
Γ
Γ
ββ β β β
βββ
w>
ww>
wββββ
β° jΕ β° jΕ β° jΕ Εwβ° jΕ Ε Ε. β° jΕwΕ. Ε. Ε. β° JΕ
ww
73
Ε Ε Ε Γβ β β β
AN
Γ
Γ
ββ β β β
βββ
w w#ww
wββββ
Ε. β° JΕ Ε Ε.
β° jΕ β° jΕ Ε Ε.w
Ε Ε. β° JΕ Ε
ww
74β β β β
ββ β β ββ° JΕ .Λβ° JΕ .Λ
βw w#w ww
wβ
β° JΕ> .Λ
ββ° JΕ> .Λ
β° JΕ β° JΕ β° JΕ Εβ° jΕ Ε Ε. β° jΕwΕ. Ε. Ε. β° JΕ
ww
75β β β β
Ο
Ο
ΟΟ
ββ β β β
.Λ# > Ε>
.Λ# > Ε>
βw w#w ww
ww# >
Λ Ε Ε>w>
Λ Ε Ε>
Ε. β° JΕ Ε Ε.jΕ β° jΕ Ε Ε.w
Ε Ε. β° JΕ Ε
ww
76β β β β
Ο
Ο
ββ β β βww
βββββ
wwww
β° JΕ β° JΕ β° JΕ Εβ° jΕ Ε Ε. β° jΕwΕ. Ε. Ε. β° jΕw
ww
77β β β β
9REQUIEM MASS: SANCTUS
&&&&&&&&&
????
&&&??
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
Ε Ε> Ε Ε> Ε
β β β βΕ .>
Λ β° JΕ> Εβ
Ε .>
Γ β° JΕ> ΕΕ .>
Γ β° jΕ> Εw
www
Ε. β° JΕ Ε Ε.
β° JΕ β° JΕ Ε Ε.Ε Ε. β° jΕ Εw
ww
78
Ε Ε Ε Ε Ε Ε Εβ β β β
p
Γ
Γ
Γ
Cymbals
Γ
w>
β β β βw
wβ
w
ww
ww
www
β° JΕ β° JΕ β° JΕ Εβ° JΕ Ε Ε. β° JΕΕ. Ε. Ε. β° jΕw
ww
79
wβ β β β
Γ
Γ
β βΛ
β β β βw
wβ
w
ww
ww
www
Ε. β° jΕ Ε Ε.w
β° JΕ β° JΕ Ε Ε.Ε Ε. β° jΕ Εw
Β°wwbwb
80
Ε Ε Γβ β β β
GN
GNf
Heartbeat
β β β ββ β β βΛ ΓΛ Γ
βΛ ΓΛ ΓΛ Γ
Λ ΓΛ ΓΛ ΓΛ ΓΛ Γ
β° jΕ β° jΕ β° jΕ Εw
β° JΕ Ε Ε. β° JΕΕ. Ε. Ε. β° JΕ
www
81β β β β
Solo
β β β ββ β β β
βββββββ
ββββ
Ε. β° jΕ Ε Ε.wβ° jΕ β° jΕ Ε Ε.w
Ε Ε. β° JΕ Ε
www
82β β β β
β β β ββ β β β
βββββββ
ββββ
β° JΕ β° JΕ β° JΕ Εβ° jΕ Ε Ε. β° jΕwΕ. Ε. Ε. β° JΕ
www
83β β β β
β β β ββ β β β
βββββββ
ββββ
Ε. β° JΕ Ε Ε.
β° jΕ β° jΕ Ε Ε.wΕ Ε. β° jΕ Εww
www
84β β β β
β β β ββ β β β
βββββββ
ββββ
Ε β° jΕ β° jΕ Εw
β° JΕ Ε Ε. β° JΕΕ. Ε. Ε. β° jΕww
www
85β β β β
β β β ββ β β β
ββ
Γ Ε Εββββ
βββ
Γ Ε ΕΕ. β° jΕ Ε Ε.w
β° JΕ β° JΕ Ε Ε.
Ε Ε. β° JΕ Ε
..Λ ΕΕΕ*
.Λ Ε
86
Γ Ε Εβ β β β
p
p
10 REQUIEM MASS: SANCTUS
&&&&&&&&&????
&&&??
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
β β β ββ β β β
ββ
wββββ
βββ
wβ° jΕ β° jΕ β° jΕ Εw
β° JΕ Ε Ε. β° JΕΕ. Ε. Ε. β° JΕ
wwwΒ°
w
87
Ε Ε Γβ β β β
β β β ββ β β β
ββ
wββββ
Γ Ε Ε
Γ Ε Ε
Γ Ε Ε
wΕ. β° jΕ Ε Ε.w
β° JΕ β° JΕ Ε Ε.
Ε Ε. β° JΕ Εwwww
88
Γ Ε Εβ β β β
AN
AN
ppp
Cymbals
β β β ββ β β β
ββ
wβ
w>
βwn >
wΛ .Ε JΕΛ Λ
wβ° jΕ β° jΕ β° jΕ Εw
β° JΕ Ε Ε. β° JΕΕ. Ε. Ε. β° JΕ
wwww
89
Λ Ε Ε Ε Εβ β β β
Γ
Γ
β β β ββ β β β
ββ
Λ Γβ
w
βww
ww
Λ Γ
Ε. β° JΕ Ε Ε.
β° JΕ β° JΕ Ε Ε.
Ε Ε. β° JΕ Εwww
*
w
90β β β β
A7sus
A7sus
β β β ββ β β β
ββ
wβ
w
βww>
ww
w
β° JΕ β° JΕ β° JΕ Εβ° JΕ Ε Ε. β° JΕΕ. Ε. Ε. β° JΕ
wwwgggggΒ°
w
91
Ε Ε Ε Γβ β β β
BΓ(!6)
BΓ(!6)
p
fffp
β β β ββ β β β
ββ
wβ° JΕ> .Λ
ββ° JΕ> .Λ
β
β° .Ε> Λ
β° .Ε> Λ
β° .Ε> Λ
wΕ. β° JΕ Ε Ε.
β° JΕ β° JΕ Ε Ε.
Ε Ε. β° JΕ Εwwww
92
β° jΕ Ε Λβ β β β
B7sus
B7sus
p
Γ
Γ
Cymbals
pp
β β β ββ β β β
ββ
Λ Γw
βw
β.Ε JΕ Λ
w
w
Λ Γ
β° JΕ β° JΕ β° JΕ Εβ° JΕ Ε Ε. β° JΕΕ. Ε. Ε. β° JΕ
www*
w
93
Ε β° jΕ Γβ β β β
11REQUIEM MASS: SANCTUS
&&&&&
&&&&
?
???
&
&
&?
?
Γ·
4343434343
43
434343
43
434343
43
43
4343
43
43
4444444444
44
444444
44
444444
44
44
4444
44
44
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
β β° JΕ> Ε Εn Ε Ε Ε# >3
β β° JΕ> Ε Εn Ε Ε Ε# >3
Ε β° JΕ> Ε Εn Ε Ε Ε# >3
Ε β° JΕ> Ε Εn Ε Ε Ε# >3
wΛ Ε. β° JΕ
w#Λ Ε Ε.
ww
ww
wΕ. β° JΕ Ε Ε.
β° JΕ β° JΕ Ε Ε.
Ε Ε. β° JΕ Εwwww
94
.Ε jΕ Γβ β β β
AN
AN
Γ
f
f
f
f
fff
Γ
f
β° JΕ Ε Ε Ε Ε Ε Ε# >
β° JΕ Ε Ε Ε Ε Ε Ε# >
β° JΕ Ε Ε Ε Ε Ε Ε# >
β° JΕ Ε Ε Ε Ε Ε Ε# >
β° JΕ Ε Ε Ε Ε Ε Ε# >
β° JΕ β° JΕ Ε Ε.
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B. Tbn.
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Vib.
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Vib.
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Pno.
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15REQUIEM MASS: SANCTUS
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16 REQUIEM MASS: SANCTUS
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18 REQUIEM MASS: SANCTUS
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19REQUIEM MASS: SANCTUS
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Db7sus
Very Active, Closed Hi-Hat
βββββββββ
Ε β° JΕb > Λ
βΕ β° JΕb > Λ
βwwww
β β β β
.Εb jΕ Ε Ε
.Εb JΕ Ε Ε
160β β β β
f
f
20 REQUIEM MASS: SANCTUS
&&&&&&&&&????
&&
&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
βββββββββ
Λ β° JΕb > Ε
wbΛ β° JΕb > Ε
wbwwww
β β β β
Ε Εb Ε Ε ΕΕ Εb Ε Ε Ε
161β β β β
f
p
βββββββββ
w
ww
w..ΕΕ JΕΕbb Λ
ww
β β β β
.Εb jΕ Ε Ε
.Εb JΕ Ε Ε
162β β β β
βββββββββ
w
ww
wwwβ° JΕΕbb ..Λ
β β β β
Ε Εb Ε Ε ΕΕ Εb Ε Ε Ε
163β β β β
Ε .ΛbΕ .ΛbΕ .ΛΕ .ΛbΕ .Λnββββ
w
ww
wwwww
β β β β
β β β β
β β β β
164β β β β
Db7sus
p
ad lib sim. D b Pedal
pppp
.Ε jΕ> Λ
.Ε jΕn > Λ
.Ε jΕb > Λ
.Ε jΕn > Λ
.Ε JΕb > Λββββ
ββββ
wwww
β β β β
β β β β
β β β β
165β β β β
.Ε JΕ> Λ
.Ε JΕ> Λ
.Ε JΕb > Λ
.Ε JΕ> Λ
.Ε JΕb > Λββββ
ββββ
wwww
β β ββ
β β ββ
β β ββ
166β β ββ
wwwww
ββββ
ββββ
wwww
β β β β
β β β β
β β β β
167β β β β
DbΓ(!6)
Db-7( !6)
wwwwwβ° JΕb > .ΛΓ β° .Εb >
β° jΕb > .ΛΓ β° .Εb >
ββββ
wwww
β β β β
β β β β
β β β β
168β β β β
ΓΓ
ΓΓ
Λ ΓΛ ΓΛ ΓΛ ΓΛ Γwn >wwb >
wββββββ
β β β β
β β β β
β β β β
169β β β β
Γ
Γ
βββββ
.Λ Ε
.Λ Ε
.Λ Ε
.Λ Ε
Γ Ε Ε
Γ Ε Ε
Γ Ε Ε
Γ Ε Εbββ
β ββ β
β ββ β
β ββ β
170
Γ Ε Εβ ββ β
ΓOpen
ΓOpen
ΓOpen
ΓOpen
21REQUIEM MASS: SANCTUS
&
&&&&
&&
&
&
?
?
??
&&&??Γ·
43
43
434343
43
43
43
43
43
43
43
43434343434343
44
44
444444
44
44
44
44
44
44
44
44444444444444
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
β
ββββ
Γ β° JΕ> Ε
Ε .>
Γ β° JΕ> Ε
Ε .>
w
w
w
wββ
β β β ββ β β β
.Εb JΕ Ε Ε
171β β β β
ΓΓ
ΓΓ
Γ Λn >
Γ Λn >
Γ >
Γ >
Γ >
Ε Εn ^ Λb >
Ε Ε Λb >
Ε Εb ^ >
Ε Εn ^ Λb >
Λ >
Λ >
Λ Λb >
Λ Λb >
ββ
β β β ββ β β βΕ Εb Ε Λ
172
Ε Ε Λβ β β β
f
ffff
f
f
f
f
ff
f
f
Ε Εn ^ ΓΕ Εn ^ ΓΕ Ε ΓΕ Ε ΓΕ Ε ΓΕ Εb ^ ΓΕ Εb ^ ΓΕ Ε Γ
Ε Εb ^ ΓΕ Ε ΓΕ Ε ΓΕ Εb ^ ΓΕ Εb ^ Γ
ββ
β β β ββ β β βΕ Εb Γ
173
Ε Ε Γβ β β β
.Λn > Ε
.Λn > Ε
.> Ε
.> Ε
.> Ε
.Λb > Ε
.Λb > Ε
.> Ε
.Λb > Ε
.> Ε
.> Ε
.Λb > Ε
.Λb > Εββ
β β β β
.Λb Ε
.Λb Ε
174
.Λ Εβ β β β
Γ Ζ
Γ Ζ
Γ ΖΓ ΖΓ ΖΓ Ζ
Γ ΖΓ Ζ
Γ Ζ
Γ Ζ
Γ Ζ
Γ Ζ
Γ Ζ
Ε Εn ^ Ε Ε
Ε Εn ^ Ε Ε
Ε Ε Ε Ε
Ε Ε Ε ΕΕ Ε Ε Ε
Ε Εb ^ Ε Ε
Ε Εb ^ Ε Ε
Ε Ε Ε Ε
Ε Εb ^ Ε Ε
Ε Ε Ε Ε
Ε Ε Ε Ε
Ε Εb ^ Ε Ε
Ε Εb ^ Ε Εββ
β β β βΕ Εb Ε ΕΕ Εb Ε Ε
175
Ε Ε Ε Εβ β β β
f
ffff
ff
f
f
f
f
f
f
F
FFFF
FF
F
F
F
F
F
F
Ε .Λa >
Ε .>
Ε .>
Ε .Λn >
Ε .Λn >
Ε .>
Ε .>
Ε .Λ# >
Ε .>
Ε .Λb >
Ε .>
Ε .>
Ε .Λb >
ββ
β β β βΕ .ΛbΕ .Λb
176
Ε .Λβ β β β
ΓΓ
Γ
Γ
Γ
Γ
Γ
Γ
Γ
ΓΓΓΓ
wb ^
wb ^w
wn ^
wn ^
wb ^
wn ^
wb ^
wb ^
w
wb ^
wb ^
wb ^
βββ
.Λb Ε
.Λb Ε
177
.Λ Εβ β β β
Ζ
Ζ
Ζ
ΖΖ
Ζ
Ζ
Ζ
ΖΖΖ
Ζ
Ζ
w
ww
ww
w
w
w
ww
w
w
wβββ
Ε Εb Ε .Ε jΕΕ Εb Ε .Ε JΕ
178
Ε Ε Ε .Ε jΕβ β β β
Rit. .Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λββ
Ε Εb Εb Εb
.Ε jΕb Ε ΕΕ
.Ε JΕb Ε Εb
179
.Ε jΕ Ε Εβ β β
22 REQUIEM MASS: SANCTUS
&&&&&
&&&&????
&&
&?
?
Γ·
4444444444
44444444444444444444
44
44
44
44
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
βββββ
ββββββββββ
Λ Ε Εb Εb3
β β β β
β β β β
180β β β β
Gb7sus
Gb7sus
Slower q=130
Rock Feel, Loose Quarters on Ride
{E}
Long Notes, Groove
βββββ
ββββββββββ
.Εb JΕ Ε Ε Εb
β β β β
β β β β
181β β β β
Ab-7( !6)
Ab-7( !6)
βββββ
ββββββββββ
.Εb jΕb Λ
β β β β
β β β β
182β β β β
Gb7sus
Gb7sus
βββββ
ββββββββββ
Λ Εb Εb Εb
β β β β
β β β β
183β β β β
Ab-7( !6)
Ab-7( !6)
βββββ
ββββββββββ
Ε Εb Λ Εb Εb
β β β β
β β β β
184β β β β
Gb7sus
Gb7sus
βββββ
ββββββββββ
Ε# Ε# Ε# Ε Εb Εn3
β β β β
β β β β
185β β β β
EN
EN
23REQUIEM MASS: SANCTUS
&
&&&&
&&&&????
&&&??Γ·
43
43434343
43434343
43434343434343
434343
44
44444444
44444444
44444444444444
444444
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
Γ Ε β° JΕ
Γ Ε Ε.
Γ Ε ΕΓ Ε Ε.
Γ Ε ΕbΓ Ε Εb ΕbΓ Ε Ε ΕbΓ Ε Εb ΕΓ Ε Ε ΕnΓ Ε Εb
Γ Ε ΕΓ Ε ΕbΓ Ε Εb
ββ
.Εb jΕb Ε Εb Ε
β β β ββ β β β
186
Γ Ε Εβ β β β
CT Gb7sus
CT Gb7sus
pppp
pppp
p
p
pp
Ε Ε. β° JΕ Ε
β° JΕ Ε Ε. Ε. Ε β°Ε. β° JΕ Ε Ε.
β° JΕ Ε Ε. β° Ε Ε
Λ ΛnΛ ΛnwbΛb ΛbΛ# ΛnΛ Λ
Λ ΛbΛ Λ
Λ Λbββ
Λ Λb
β β β ββ β β β
187
Λ Λβ β β β
AbΓ(!6)AbΓ(!6)
p
Ε. Ε. Ε. β° JΕn
Ε. β° JΕ Ε Ε.
β° JΕ β° Ε Ε β° JΕ Εβ° JΕ β° JΕ Ε Ε.
Λ .Ε JΕn
Λ .Ε# JΕΛ .Ε# jΕΛ .Ε# jΕnΛ# .Ε jΕnΛ .Εb JΕ
Λ .Ε# JΕ
Λ .Ε# JΕ
Λ .Ε JΕbββ
Λ .Ε# jΕ
β β β ββ β β β
188
Λ .Ε jΕβ β β β
ENE7sus
ENE7sus
Ε Εn Ε β° β° JΕ Ε
β° JΕn Ε Εn Ε β° Ε.Ε. β° Ε Ε Ε Ε.
β° JΕ Ε Ε. β° Ε Ε
w
wwwwwwww
ββ
w
β β β ββ β β β
189β β β β
β
ββββ
ββββ
ββββββ
.ΛΛ ΕΕΕ###
Λ Ε
190
Λ Εβ β β
DΛ BH
β
ββββ
ββββ
ββββββ
Ε Ε ΕΕΕΕ ...ΕΕΕnbb JΕΕΕbbb
Ε .Εb jΕb
191
Ε .Ε jΕβ β β
Bb7sus Ab7sus
Active, Closed Hi-Hat
24 REQUIEM MASS: SANCTUS
&&&&&
&&
&&????
&&&?
?
Γ·
44444444
44
4444
4444
4444444444
44
44
44
44
44
43434343
43
4343
4343
4343434343
43
43
43
43
43
44444444
44
4444
4444
4444444444
44
44
44
44
44
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
Γ Ε Εn
Γ Ε Εn
Γ Ε ΕnΓ Ε Εn
Γ Ε Εn
ββ
ββ
ββββββ
Γ Ε Εbwww
.Ε jΕb .Ε JΕb
192
Ε Ε Ε Εβ β β β
PPPPP
Ε Εb Εn β° JΕn
Ε Εb Εn β° JΕn
Ε Εb Εb β° JΕn
Ε Εb Εb β° JΕnΕ Εb Εn β° JΕn
ββ
ββ
ββββββ
Ε Εb Εb β° JΕb
β
.Ε JΕb β° jΕb
193
Ε Ε Ε β° jΕβ β β
Λ Ε Εn Εb3
Λ Ε Εn Εb3
Λ Ε Εn Εb3
Λ Ε Εn Εb3
Λ Ε Εn Εb3
ββ
ββ
Ε Ε Ε Ε#
Ε Ε Ε Ε#
Ε Ε Ε Ε#
Ε Ε Λ
βΕ Ε Ε Ε#
Λ Ε Εb Εb3
β β β β
β β β β
194β β β β
Gb7sus
Gb7sus
pppp
p
.Εn JΕ Ε Ε Εn
.Εn JΕ Ε Ε Εn
.Εn JΕ Ε Ε Εn
.Εn JΕ Ε Ε Εn
.Εn JΕ Ε Ε Εn
Γ Εb . β° JΕΓ Ε Εb .
Γ β° JΕb ΕΓ Ε Εb .w#w
.Ε# JΕ# Λw
Γ Εb Εb Εb Ε.Ε# JΕ# Λ.Εb JΕ Ε Ε Εb
β β β β
β β β β
195β β β β
Ab-7( !6)
Ab-7( !6)
ΓhaΓrmon
ΓhaΓrmon
ΓhaΓrmon
ΓhaΓrmon
pp
pp
Ζ
.Εb JΕn Λ
.Εb JΕn Λ
.Εb JΕb Λ
.Εb JΕb Λ
.Εb JΕn Λ
Ε Εb . β° JΕ Εβ° JΕb Ε Ε. Ε.
Εb . β° JΕ Ε Ε.
β° JΕb Ε Ε. β° JΕwwww
Εb Εb Εb Ε Ε Ε Ε Ε
w
.Εb jΕb Λ
β β β β
β β β β
196β β β β
Gb7sus
Gb7sus
Λ Εn Εb Εn
Λ Εn Εb Εn
Λ Εb Εb Εn
Λ Εb Εb ΕnΛ Εn Εb Εn
Εb . Ε. Ε. β° JΕΕb . β° JΕ Ε Ε.
β° JΕb β° JΕ β° JΕ Εβ° JΕb β° JΕ Ε Ε.
.Λ Εb
.Λ Εb
.Λ Εb
.Λ ΕbΕb Εb Εb Ε Ε Ε Ε Ε
.Λ ΕbΛ Εb Εb Εb
β β β β
β β β β
197β β β β
Ab-7( !6)
Ab-7( !6)
25REQUIEM MASS: SANCTUS
&&&
&&
&&&&
????
&&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
Ε Εn Λ Εn ΕbΕ Εn Λ Εn Εb
Ε Εn Λ Εb ΕbΕ Εn Λ Εb ΕbΕ Εn Λ Εn Εb
ββββ
Λb Ε β° JΕ#Εb Εb Ε β° JΕ#
.Λ β° JΕ#Εb Εb Ε β° jΕ
βΕb Εb Ε β° JΕ#Ε Εb Λ Εb Εb
β β β β
.Λb β° jΕ
198β β β β
Gb7sus
Gb7sus
Ε# Ε# Ε# Ε Εn Ε#3
Ε# Ε# Ε# Ε Εn Ε#3
Ε# Ε# Ε# Ε Εn Ε#3
Ε# Ε# Ε# Ε Εn Ε#3
Ε# Ε# Ε# Ε Εn Ε#3
ββββ
www
wβ
wΕ# Ε# Ε# Ε Εb Εn3
β β β β
w
199β β β β
EN
EN
.Εn JΕb Ε Εb Ε
.Εn JΕb Ε Εb Ε
.Εb jΕb Ε Εb Ε
.Εb jΕb Ε Εb Ε
.Εn JΕb Ε Εb Ε
β° JΕ# β° JΕ β° JΕ Εβ° JΕ β° JΕ Ε Ε.Ε# . β° JΕ Ε Ε.
Ε. Ε. Ε. β° JΕ.Λ Ε
Ε Λ ΕΕ Ε Ε# ΕΓ Ε ΕΕ# Ε Ε Ε Ε Ε Ε ΕΕ Ε Ε# Ε
.Εb jΕb Ε Εb Ε
β β β β
β β β β
200
.Ε jΕ Ε Ε Εβ β β β
CT Gb7sus
CT Gb7sus
Λ ΛnΛ Λn
Λ Λn
Λ ΛnΛ Λn
β° JΕ# β° JΕ Ε Ε.
Ε JΕ. β° Ε. β° JΕΕ JΕ# . β° Ε. Ε.
Ε. β° JΕ β° JΕ Ε
Εb Λb ΕΕb .Λb
Εb Λb Εwb
Ε Ε# Ε Ε Ε Ε Ε Ε
Εb Λb ΕΛ Λb
β β β β
β β β β
201
Λ Λβ β β β
AbΓ(!6)
AbΓ(!6)
Λ .Ε# JΕ>Λ .Ε# JΕ>
Λ .Ε# JΕ>
Λ .Ε# JΕ>Λ .Ε# JΕ>
β° JΕ# β° JΕ β° JΕ β° JΕn >
β° JΕ β° JΕ Ε Ε Ε>Ε# . β° JΕ Ε Ε Ε>
Ε. Ε. Ε. β° jΕ>
.Ε JΕ# .Ε JΕ>
.Ε JΕ# .Ε JΕn >
.Ε JΕ# .Ε JΕ>
.Ε JΕ .Ε JΕb >
Ε Ε Ε# Ε Ε Ε Ε Ε>
.Ε JΕ# .Ε JΕ>
Λ .Ε# jΕ>
β β β β
β β β β
202
Λ .Ε jΕβ β β β
EN EbNE7sus
EN EbNE7sus
Λ ΓΛ ΓΛ Γ
Λ Γw
.Ε JΕn ^ β° jΕ Ε Ε Ε3
.Ε JΕ β° jΕ Ε Ε Ε3
.Ε jΕ β° jΕ Ε Ε Ε3
.Ε jΕn ^ β° jΕ Ε Ε Ε3
wwww
ww
w
β β β β
β β β β
203
Ε Ε Γβ β β β
26 REQUIEM MASS: SANCTUS
&&&&&
&&&&????
&
&
&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
βββββ
Ε> Ε Ε ΓΕ> Ε Ε ΓΕ> Ε Ε ΓΕ> Ε Ε Γ
ββββ
Ε. β° JΕ Ε Ε.
β° JΕβ Ε Ε. β° JΕ
Ε.* Ε. Ε. β° jΕw
β
β
204
Ε Ε Ε Γβ β β β
{F}
(Throughout Section βΊ)
β° JΕ Ε Ε β° jΕβ° JΕ Ε Ε β° jΕβ° JΕ Ε Ε β° JΕβ° JΕ Ε Ε β° JΕβ° JΕ Ε Ε β° jΕ
β° jΕ Ε Ε β° jΕβ° jΕ Ε Ε β° jΕβ° jΕ Ε Ε β° jΕβ° jΕ Ε Ε β° jΕ
ββββ
Ε. β° JΕ Ε Ε.
β° JΕ Ε Ε. β° JΕ
Ε Ε. β° jΕ Εw
β
β
205
β° jΕ Ε Ε β° jΕβ β β β
Γ Ε JΕ β°Γ Ε JΕ β°Γ Ε JΕ β°Γ Ε JΕ β°Γ Ε JΕ β°
Γ Ε jΕ β°Γ Ε jΕ β°Γ Ε jΕ β°Γ Ε jΕ β°
ββββ
β° JΕ β° JΕ β° JΕ Ε
β° JΕ β° JΕ Ε Ε.
Ε. Ε. Ε. β° jΕw
β
β
206
Γ Ε Εβ β β β
ββ β β β
βββ
ββββββββ
Ε. β° jΕ Ε Ε.w
β° JΕ Ε Ε. β° JΕ
Ε Ε. β° jΕ Εw
β
β
207β β β β
AN Solo
ββ β β β
βββ
ββββββββ
β° jΕ β° jΕ β° jΕ Εw
β° JΕ β° JΕ Ε Ε.
Ε. Ε. Ε. β° jΕw
β
β
208β β β β
ββ β β β
βββ
ββββββββ
Ε. β° jΕ Ε Ε.w
β° JΕ Ε Ε. β° JΕ
Ε Ε. β° JΕ Ε
β
β
209β β β β
ββ β β β
βββ
ββββββββ
β° jΕ β° jΕ β° jΕ Εwβ° jΕ β° jΕ Ε Ε.w
Ε. Ε. Ε. β° JΕ
β
β
210β β β β
27REQUIEM MASS: SANCTUS
&&&&&&&&&????
&
&
&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
ββ β β β
βββββββββββ
Ε. β° JΕ Ε Ε.
β° jΕ Ε Ε. β° jΕw
Ε Ε. β° JΕ Ε
β
β
211β β β β
ββ β β β
βββββββββββ
β° JΕ β° JΕ β° JΕ Εβ° jΕ β° jΕ Ε Ε.w
Ε. Ε. Ε. β° jΕw
β
β
212β β β β
ββ β β β
βββββββββββ
Ε. β° jΕ Ε Ε.w
β° JΕ Ε Ε. β° JΕ
Ε Ε. β° jΕ Εw
β
β
213β β β β
ββ β β β
βββββββββββ
β° jΕ β° jΕ β° jΕ Εw
β° JΕ β° JΕ Ε Ε.
Ε. Ε. Ε. β° JΕ
β
β
214β β β β
ββ β β β
βββββββββββ
Ε. β° jΕ Ε Ε.w
β° JΕ Ε Ε. β° JΕ
Ε Ε. β° JΕ Ε
β
β
215β β β β
ββ β β β
βββββββββββ
β° jΕ β° jΕ β° jΕ Εw
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28 REQUIEM MASS: SANCTUS
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A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
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Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
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29REQUIEM MASS: SANCTUS
&
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&
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Γ·
A. Sx. 1
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Tbn. 1
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B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
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30 REQUIEM MASS: SANCTUS
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A. Sx. 1
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Tbn. 1
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Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
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31REQUIEM MASS: SANCTUS
&
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A. Sx. 1
A. Sx. 2
T. Sx. 1
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B. Sx.
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Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
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32 REQUIEM MASS: SANCTUS
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A. Sx. 1
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Tbn. 1
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Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
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33REQUIEM MASS: SANCTUS
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A. Sx. 1
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Tbn. 1
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B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
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34 REQUIEM MASS: SANCTUS
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A. Sx. 1
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B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
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35REQUIEM MASS: SANCTUS
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B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
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36 REQUIEM MASS: SANCTUS
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290
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37REQUIEM MASS: SANCTUS
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Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
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Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
Ε β° jΕ Ε Εβ β β βΕ β° jΕ Ε ΕΕ β° jΕ Ε Ε
wβ° JΕ β° JΕ Ε Ε.Ε. β° JΕ Ε Ε.β° jΕ β° jΕ β° jΕ Ε.Ε. Ε. Ε β° jΕ.
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291β β β β
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292β β β β
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293
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294
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296β β β β
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297β β β β
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298
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299
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38 REQUIEM MASS: SANCTUS
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Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
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Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
.Λ Ε-
.Λ Ε-
.Λ Εb -
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β
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300β β β β
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302β β β β
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39REQUIEM MASS: SANCTUS
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Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
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Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
.Ε JΕ> Ε Εn > Ε
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310β β β β
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311
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313
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40 REQUIEM MASS: SANCTUS
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Bb Tpt. 1
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Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
.Λ Εn
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314
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320
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41REQUIEM MASS: SANCTUS
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44
A. Sx. 1
A. Sx. 2
T. Sx. 1
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B. Sx.
Bb Tpt. 1
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Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
βββββ
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321β β β β
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322
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324
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42 REQUIEM MASS: SANCTUS
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A. Sx. 2
T. Sx. 1
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B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
B. Tbn.
Vib.
Gtr.
A.B.
Drums
Pno.
Ε Ε Ε Ε .Ε# JΕ# >Ε Ε Ε Ε .Ε# JΕ>Ε Ε Ε Ε .Ε JΕ# >Ε Ε Ε Ε .Ε JΕ>
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332
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334
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335
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43REQUIEM MASS: SANCTUS
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A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
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44 REQUIEM MASS: SANCTUS
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Bb Tpt. 3
Bb Tpt. 4
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Tbn. 2
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Vib.
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45REQUIEM MASS: SANCTUS
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Score REQUIEM MASS: AGNUS DEI
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A. Sx. 2
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Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
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Ε Ε> Ε Ε ΕΕ> Ε Ε Ε β° jΕ>
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26
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REQUIEM MASS: AGNUS DEI4
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A. Sx. 2
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Bb Tpt. 1
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Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
Ε β° jΕ> Ε ΕΕ Ε> Ε Ε ΕΕb > Ε Ε Ε β° JΕβ° jΕ> Ε Ε jΕ β°
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27
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28
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29
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30
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31
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33
Ε Ε Ε Ε Εβ β β
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Ε> Ε Ε Ε β° jΕ>
β° jΕ Ε Ε jΕ β°Ε β° JΕb > Ε ΕΕ Εb > Ε Ε Ε
Λ Εββββ
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Λ Εββ
.Λ
.Λ
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34
Ε Ε Ε Ε Ε Εβ β β
REQUIEM MASS: AGNUS DEI 5
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A. Sx. 2
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Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
Ε Ε Ε Ε β° jΕΕ Ε Ε Ε jΕ β°
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f
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Ε Ε ΕjΕ β° β° jΕ Ε
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β° jΕ> Ε Ε Ε ΕΕ Ε Ε Ε β° jΕΕb > Ε Ε Ε JΕ β°
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β° jΕ β° jΕ β° jΕβ° jΕ β° jΕ ΕΕb ^ Ε ΕΕ Ε Ε
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Ε .Εb > jΕ>
42
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REQUIEM MASS: AGNUS DEI6
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Bb Tpt. 1
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Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
β° jΕ Ε jΕ β°Ε Ε Ε
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Bb Tpt. 4
Tbn. 1
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Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
Ε Ε Ε
Ε Ε Εβ° JΕb > β° JΕ> β° JΕ>
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Εb Εb Ε Ε β° JΕb
β° jΕb Εb Ε Ε.
Εb Εb Ε Ε β° JΕb
.Λ
.Λ
53β
f
f
ffff
Ε> Ε Ε Ε β° jΕ>
β° jΕ> Ε Ε jΕ β°
Ε β° JΕb > Ε ΕΕ Ε> Ε Ε ΕΕ Ε Ε>
Ε Ε Εb Ε Εb Ε Ε3
Ε Ε Εb Ε Εb Ε Ε3
Ε Ε Εb Ε Εb Ε Ε3
Ε Ε Εb Ε Εb Ε Ε3
.Λb >
.ΛΕb Εb > Λ
Ε Ε Εb >
Εb Εb Ε Εb Ε Εb Ε Εb33
Εb Εb > Λ
Εb Εb Ε Εb Ε Εb Ε Εb33
Λ ΕΕbb>
Λ Εb >
54
Ε Ε Ε Ε Εβ β β
f
f
f
ff
f
Ε Ε Ε Ε β° jΕ
Ε> Ε Ε Ε jΕ β°
JΕb β° Ε> Ε Ε Εβ° jΕ> Ε Ε Ε Ε
Ε Ε> ΛΕ Ε> Λ
Ε Εb > Λ
Ε Ε> ΛΕ Ε> Λ
β° JΕb > Λ
β° JΕb > Λ
β° JΕ> Λ
Ε Εb > ΛΕb ΕΕ> Λ
β° JΕΕ> Λ
Εb ΕΕb > Λ
ΕΕ ΕΕbb> Λ
Ε Εb > Λ
55
Ε Ε Λβ β β
ΓΓ
ΓΓ
ΓΓ
ΓΓ
β° jΕ β° jΕ Ε
Ε Ε ΕΕb ^ Ε Εβ° jΕ β° jΕ β° jΕ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
..Λ
..Λ
..Λ
..Λ
.Λ
56β β β
Light Time Quarter Pulse
Ε> Ε Ε Ε β° jΕ>
β° jΕ> Ε Ε jΕ β°
Εb ^ β° JΕ> Ε ΕΕ Ε> Ε Ε Ε
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
..Λ
..Λ
..Λ
..Λ
.Λ
57β β β
p
p
pp
Ε Ε ΕjΕ β° β° jΕ Ε
Εb ^ Ε β° JΕβ° jΕ Ε Ε
Ε Ε Ε> ΕΕ Ε ΕΕ Ε ΕΕ Ε Ε
Ε Ε ΕΕ β° JΕ Ε
Ε β° JΕb Ε Ε
Ε β° JΕb Ε Ε
Ε β° JΕ β° JΕΕΕ Ε ΕΕΕ Ε ΕΕΕ Ε Ε
ΕΕ Ε Εb>
ΕΕ Ε Εb > Ε
58β β β
pppp
ff
ff
f
REQUIEM MASS: AGNUS DEI8
&&&&&
&&&&?
?
?
?
&&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
Ε Ε> Ε Ε ΕΕ> Ε Ε Ε β° jΕ>
β° JΕb > Ε Ε JΕ β°Ε β° jΕ> Ε Ε
.Λββββ
Ε Ε Ε
Εb ^ Ε Ε
β° JΕb ^ β° JΕ β° JΕ
β° JΕ β° JΕ Ε
βββ ?
.Λ
.Λ
59β β β
β° jΕ> Ε Ε Ε ΕΕ Ε Ε Ε β° jΕΕb > Ε Ε Ε JΕ β°
jΕ β° Ε> Ε Ε Ε
Λ β° Ε Ε Ε Εββββ
β° JΕ> Ε Ε Ε
Εb ^ β° JΕ> Ε Ε
Ε Εb > Ε Ε Ε
Ε> Ε Ε Ε β° JΕ
ββ
Ε Ε β° Ε Ε Εb Εb
.Λ
.Λ
60β β β
p
Light Fills Building
β° jΕ β° jΕ β° jΕβ° jΕ β° jΕ ΕΕb ^ Ε ΕΕ Ε ΕΛ Ε Εb
ββββ
Ε β° JΕ ΕΕb ^ Ε β° JΕ
β° JΕb ^ Ε Ε
Ε Ε Ε
ββ
Λ Ε Εb
.Λ
.Λ
61β β β
Ε Ε> Ε Ε ΕΕ> Ε Ε Ε β° jΕβ° JΕb > Ε Ε JΕ β°Ε β° jΕ> Ε Ε
.Λββββ
Ε> Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε Ε
Ε β° JΕb > Ε Ε
Ε Ε> Ε Ε Ε
ββ
.Λ
.Λ
.Λ
62β β β
β° jΕ Ε jΕ β°Ε Ε Ε
JΕb ^ β° β° JΕ ΕΕ Ε β° jΕ
.Λββββ
Ε Ε Ε Ε β° JΕ
Εb > Ε Ε Ε JΕ β°
JΕb ^ β° Ε> Ε Ε Ε
β° JΕ> Ε Ε Ε Ε
ββ
.Λ &
.Λ
.Λ
63β β β
Ε β° jΕ> Ε ΕΕ Ε> Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
β° jΕ> Ε Ε jΕ β°β
ββββ
β° JΕ β° JΕ ΕΕb ^ Ε Ε
Εb ^ Ε Ε
β° JΕ β° JΕ β° JΕ
βββ
Λb> Εb >
Λb > Εb >
64
Λ Εβ β β
jΕ β° Ε> Ε Ε Εβ° jΕ> Ε Ε Ε ΕΕb Ε Ε Ε β° JΕΕ> Ε Ε Ε jΕ β°
β
ββββ
Ε> Ε Ε Ε β° JΕ
β° JΕb > Ε Ε Ε
Εb ^ β° JΕ> Ε Ε
Ε Ε> Ε Ε Εb ^
βββ
Ε Εb>
ΛΕ Εb > Λ
65
Ε Ε Λβ β β
ff
f
f
f
f
REQUIEM MASS: AGNUS DEI 9
&&&&&&
&&&????
&&&??
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
Ε Ε Εβ° jΕ β° jΕ β° jΕβ° JΕb ^ β° JΕ ΕΕb ^ Ε Ε
ββ° JΕ> Ε Ε JΕ β°
Ε β° JΕb > Ε ΕΕ Εb > Ε Ε ΕΕ> Ε Ε Ε β° jΕ>
Ε Ε ΕΕb ^ β° JΕ ΕΕb ^ Ε β° JΕ
β° JΕb ^ Ε JΕ β°βββ
Ε Εb>
ΛΕ Εb > Λ
66
Ε Ε Λβ β β
p
pp
Γcup
Γcup
Γcup
Γcup
{B}
p
p
pp
p
Ε β° jΕ> Ε ΕΕ Ε Ε Ε ΕΕb ^ Ε Ε Ε β° JΕβ° jΕb ^ Ε Ε Ε
βΕ> Ε Ε Ε JΕ β°
JΕb ^ β° Ε> Ε Ε Εβ° jΕb > Ε Ε Ε ΕΕ Ε Ε Ε β° jΕΕ Ε> Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε Ε
Ε β° JΕb > Ε Εβββ
.Λ
.Λ
67β
Ε Ε β° jΕβ° jΕ Ε ΕΕ .Λb >
Εb ^ β° jΕ> Εβ
Ε Ε Ε
Εb ^ Ε Εβ° jΕb ^ β° jΕ β° jΕβ° jΕ β° jΕ Εβ° JΕ> Ε Ε Ε ΕΕb Ε Ε Ε β° JΕΕb > Ε Ε Ε ΕΕb ^ Ε> Ε Ε Ε
βββ
.Λ
.Λ
68β
ff
ff .Λ
.Λ
.Λ
.Λβ
β° JΕ> Ε Ε Ε
Εb ^ β° JΕ> Ε ΕΕ Εb > Ε Ε ΕΕ> Ε Ε Ε β° jΕβ° JΕ β° JΕ β° JΕ
β° JΕb ^ β° JΕ ΕΕb ^ Ε ΕΕb ^ Ε Ε
βββ
.Λ
.Λ
69β
.Λ
.Λ
.Λ
.Λβ
Ε β° JΕ Ε
Εb ^ Ε β° JΕβ° jΕb ^ Ε ΕΕ Ε ΕΕ Ε> Ε Ε ΕΕb > Ε Ε Ε β° JΕ
β° JΕb > Ε Ε ΕΕb ^ β° JΕ> Ε Ε
βββ
Ε Ε ΕΕ Ε Ε
70β
.Λ
.Λ
.Λ
.Λβ
Ε> Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε JΕ β°Ε β° jΕb > Ε ΕΕ Ε> Ε Ε Εβ° JΕ Ε JΕ β°Ε Εb ^ ΕΕb ^ β° JΕ ΕΕb ^ Ε β° JΕ
βββββ
71β
p
.Λ
.Λ
.Λ
.Λβ
Ε Ε Ε Ε β° JΕ
Εb > Ε Ε Ε JΕ β°
Εb ^ Ε> Ε Ε Εβ° jΕ> Ε Ε Ε ΕΕ β° JΕ> Ε Ε
Ε Εb > Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε JΕ β°βββββ
72β
βββββ
β° JΕ β° JΕ Ε
Εb ^ Ε Ε
Εb ^ Ε Εβ° jΕ β° jΕ β° jΕΕ Ε> Ε Ε Ε
β° JΕb > Ε Ε Ε ΕΕb Ε Ε Ε β° JΕΕb > Ε Ε Ε JΕ β°
βββββ
73β
REQUIEM MASS: AGNUS DEI10
&&&&&&&&&
????
&&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ΕΈ~~~~~~~~~~~~~
βββββ
Ε> Ε Ε Ε β° JΕβ° JΕb > Ε Ε Ε
Εb ^ β° jΕ> Ε ΕΕ Ε> Ε Ε ΕΕ Ε β° JΕ
β° JΕb ^ Ε JΕ β°Ε Εb ^ ΕΕb ^ β° JΕ Ε
ββββ
β
74β
βββββ
Ε Ε ΕΕb ^ β° JΕ Ε
Εb ^ Ε β° jΕβ° jΕ Ε Ε
β° JΕ> Ε Ε Ε
Ε β° JΕb > Ε Ε
Ε Εb > Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
ββββ
β
75β
βββββ
Ε Ε> Ε Ε Ε
Εb > Ε Ε Ε β° JΕ>
β° jΕb > Ε Ε jΕ β°Ε β° jΕ> Ε ΕΕ Ε β° JΕ
β° JΕb ^ Ε JΕ β°Ε Εb ^ ΕΕb ^ β° JΕ Ε
ββββ
β
76β
βββββ
β° JΕ> Ε Ε Ε Ε
Εb Ε Ε Ε β° JΕ
Εb > Ε Ε Ε jΕ β°jΕ β° Ε> Ε Ε Ε
β° JΕ> Ε Ε Ε
Ε β° JΕb > Ε Ε
Ε Εb > Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
ββββ
β
77β
f
ff
f
f
ff
f
.Λb
.Λn
.Λn ,
.Λβ
β° JΕ β° JΕ β° JΕ
β° JΕb ^ β° JΕ Ε
Εb ^ Ε ΕΕ Ε ΕΕ> Ε Ε Ε Ε
JΕb ^ β° Ε> Ε Ε Ε
β° JΕb > Ε Ε Ε ΕΕb Ε Ε Ε β° JΕ
βββ
..ΕΕ> jΕΕ
^ Ε
.Ε> jΕ Ε
78
.Ε jΕ Εβ β β
ΖΖ
pppp
ΓΓΓΓ
ΓΓ
ΓΓ
Straight 8th Build to Β€ w/ Hits
.Λ ,
.Λ
.Λ
.Λβ
Ε Ε> Ε Ε Ε
Εb > Ε Ε Ε β° JΕβ° jΕb > Ε Ε jΕ β°
Ε β° jΕ> Ε ΕΕb ^ Ε Ε
Εb ^ Ε Ε
β° JΕb ^ β° JΕ β° JΕ
β° JΕb ^ β° JΕ Ε
ββββ
β
79β β β
REQUIEM MASS: AGNUS DEI 11
&
&
&
&&&
&&
&???
?
&&&??
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ΕΈ~~~~~~~~~~~~~~~
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
.Λb
.Λn
.Λn
.Λ ,
ββ° JΕ Ε Ε
Ε Εb ^ Ε
Εb ^ β° jΕ Ε
Ε Ε β° jΕβ° JΕb > Ε Ε Ε
Εb ^ β° JΕ> Ε Ε
Ε Εb > Ε Ε Ε
Εb > Ε Ε Ε β° JΕβββββ
80β β β
.Λ
.Λ ,
.Λ
.Λb
βΕ β° JΕ> Ε Ε
Ε Εb > Ε Ε Ε
Εb > Ε Ε Ε β° jΕ>
β° jΕ> Ε Ε jΕ β°Εb ^ β° JΕ ΕΕb ^ Ε β° JΕ
β° JΕb ^ Ε Ε
Ε Εb ^ Εβββββ
81β β β
.Λ
.Λ
.Λ
.Λβ° jΕ Ε Ε>
Ε Ε> Ε Ε Ε
β° JΕb > Ε Ε Ε Ε
Εb Ε Ε Ε β° jΕ
Ε> Ε Ε Ε jΕ β°Εb > Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε JΕ β°Ε β° JΕb > Ε Ε
Ε Εb > Ε Ε Εβββ
β° jΕΕ^ Ε ΕΕ>
β° JΕΕ Ε ΕΕ>
82
β° jΕ Ε Εβ β β
f
Ε Ε ΕΕ Ε Ε
Ε Ε Ε
Ε Ε Ε
Ε Ε Ε ΕΕ Ε Ε
β° JΕb ^ β° JΕ β° JΕβ° jΕb ^ β° jΕ Ε
Ε Ε ΕΕb Ε Ε Ε β° JΕ
Εb > Ε Ε Ε JΕ β°JΕb ^ β° Ε> Ε Ε Ε
β° JΕb > Ε Ε Ε Εβββ
ΕΕ ΕΕ Ε ΕΕΕ ΕΕ Ε Ε
83
Ε Ε Ε Εβ β β
Γ
Γ
Γ
Γ
Γ
Γ
ΓΓ
β
β
β
ββ
Ε β° JΕ> Ε Ε
Ε Εb > Ε Ε Ε
Εb > Ε Ε Ε β° jΕβ° jΕ> Ε Ε jΕ β°
β° JΕb ^ β° JΕ ΕΕb ^ Ε ΕΕb ^ Ε Ε
β° JΕb ^ β° JΕ β° JΕβββββ
84β β β
β
β
β
ββ
Ε Ε β° JΕ
β° JΕb ^ Ε ΕΕ Εb ^ Ε
Ε β° jΕ ΕΕb > Ε Ε Ε β° JΕ
β° JΕb > Ε Ε JΕ β°Εb ^ β° JΕ> Ε Ε
Ε Εb > Ε Ε Εβββββ
85β β β
REQUIEM MASS: AGNUS DEI12
&&&&&
&
&&
&
?
?
?
?
&&
&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ββββ
Ε β° jΕ Ε
β° JΕ> Ε Ε JΕ β°
Ε β° JΕb > Ε ΕΕ Εb > Ε Ε Ε
Ε> Ε Ε Ε β° jΕ>
Ε Εb ^ ΕΕb ^ β° JΕ Ε
Εb ^ Ε β° JΕ
β° JΕb ^ Ε Ε
ββ
β
Ε β° jΕΕ^ Ε
Ε β° JΕΕ Ε
86
Ε β° jΕ Εβ β β
ββββ
jΕ β° Ε Ε> ΕΕ> Ε Ε Ε JΕ β°
Εb ^ Ε> Ε Ε Εβ° jΕb > Ε Ε Ε Ε
Ε Ε Ε Ε β° jΕ
Ε Εb > Ε Ε Ε
Εb > Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε JΕ β°
Ε β° JΕb > Ε Ε
ββ
β
ΕΕ^ ΕΕ ΕΕbb
> ΕΕΕΕ ΕΕ ΕΕbb > ΕΕ
87
Ε Ε Ε Εβ β β
Ε β° JΕn > Ε
Ε β° JΕn > Ε
Ε β° JΕn > Ε
Ε β° JΕn > Ε
.Ε jΕ ΕΕ Ε Ε
Εb ^ Ε Εβ° jΕb ^ β° jΕ β° jΕ
β° jΕ β° jΕ Ε
β° JΕb > Ε Ε Ε Ε
Εb Ε Ε Ε β° JΕ
Εb > Ε Ε Ε JΕ β°
JΕb ^ β° Ε> Ε Ε Ε
Ε β° JΕΕn > ΕΕ
Ε β° JΕΕbb > ΕΕΕ β° JΕΕb > ΕΕ
..ΕΕ> jΕΕbb
^ Ε
..ΕΕ> JΕΕbb ^ Ε
88
.Ε jΕ Εβ β β
ffff
Γ
ΓΓ
Γ
Γ
Γ
Γ
Γ
.Λ
.Λ
.Λ
.Λ
β
β° JΕ> Ε Ε JΕ β°
Εb ^ β° JΕ> Ε ΕΕ Εb > Ε Ε Ε
Ε> Ε Ε Ε β° jΕ
β° JΕb ^ β° JΕ β° JΕ
β° JΕb ^ β° JΕ Ε
Εb ^ Ε Ε
Εb ^ Ε Ε..Λ
..Λ
..Λ
β
β
89β β β
.Λ
.Λ
.Λ
.Λ
βΕ β° JΕ Ε
Εb ^ Ε β° JΕβ° jΕb ^ Ε Ε
Ε Ε Ε
Ε Εb > Ε Ε Ε
Εb > Ε Ε Ε β° JΕ
β° JΕb > Ε Ε Ε
Εb ^ β° JΕ> Ε Ε..Λ
..Λ
..Λ
β
β
90β β β
REQUIEM MASS: AGNUS DEI 13
&
&
&
&
&
&
&&
&
????
&
&
&?
?
Γ·
44
44
44
44
44
44
44
44
44
444444
44
44
44
4444
44
44
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
.Λ
.Λ
.Λ
.Λ
Ε Ε β° jΕ>
Ε> Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε ΕΕ β° jΕb > Ε ΕΕ Ε> Ε Ε Ε
β° JΕb ^ Ε Ε
Ε Εb ^ ΕΕb ^ β° JΕ ΕΕb ^ Ε β° JΕ
..Λ
..Λ
..Λ
Ε Ε β° jΕΕbb >
Ε Ε β° JΕΕbb >
91
Ε Ε β° jΕβ β β
Ε Λ Λn
Ε Λ
Ε Λb Λb
Ε Λ
Ε> jΕ β° Ε
Ε Ε Ε Ε β° JΕ
Εb > Ε Ε Ε ΕjΕb ^ β° Ε> Ε Ε Ε
β° jΕ> Ε Ε Ε Ε
Ε β° JΕb > Ε Ε
Ε Εb > Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε JΕ β°
Ε β° JΕb > Ε Ε
Ε Εb > Ε Ε Ε
βΕΕ> ΕΕ
^ ΕΕΕ> ΕΕ Ε
92
Ε Ε Εβ β β
f
f
f
f.Λ .Λn
.Λ
.Λb .Λb
.Λβ
Ε> Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε ΕΕ β° jΕb > Ε ΕΕ Ε> Ε Ε ΕΕb ^ Ε> Ε Ε Ε
β° JΕb > Ε Ε Ε ΕΕb Ε Ε Ε β° JΕ
Εb > Ε Ε Ε JΕ β°
JΕb ^ β° Ε> Ε Ε Ε
Ε β° JΕb > Ε Ε
ββ
β
93β β β
.Λ .Λn
.Λ
.Λb .Λb
.Λβ
Ε Ε Ε Ε β° JΕ
Εb > Ε Ε Ε Ε
Εb ^ Ε> Ε Ε Εβ° jΕ> Ε Ε Ε ΕΕb ^ Ε β° JΕ
β° JΕb ^ Ε JΕ β°Ε Εb ^ ΕΕb ^ β° JΕ Ε
JΕb ^ β° JΕ β° β° JΕ
JΕb ^ β° Ε> Ε Ε Ε
ββ
β
94β β β
.Λ .Λn
.Λ
.Λb .Λb
.Λβ
Ε Ε Ε Ε β° JΕ
Εb > Ε Ε Ε Ε
Εb ^ Ε> Ε Ε Εβ° jΕ> Ε Ε Ε Ε
β° JΕb > Ε Ε Ε
Ε β° JΕb > Ε Ε
Ε Εb > Ε Ε Ε
Εb > Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε JΕ β°
JΕb ^ β° Ε> Ε Ε Ε
βΕ Ε Ε# Ε
>
Ε Ε Ε# Ε>
95
Ε Ε Ε Εβ β β
REQUIEM MASS: AGNUS DEI14
&&&&&&&&&????
&
&
&?
?
Γ·
44
444444444444
444444444444
44
44
4444
44
44
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ww
βββββββββββ
Ε# > Ε Ε> Ε Ε> Ε Ε Ε>
Ε# Ε> Ε Ε> Ε Ε> Ε Ε
β
ww
96β β β β
{C}
Half-time Rock Feel, Open Hi-Hat
βββββββββββ
Ε# Ε Ε Ε Ε> Ε Ε Ε>
Ε# > Ε Ε Ε Ε Ε> Ε Ε
β
.Ε jΕ>
Ε Ε Ε>
.Ε jΕ> Ε Ε Ε>
97β β β β
w#w#
βββββββββββ
Ε# Ε Ε> Ε Ε Ε Ε Ε>
Ε# > Ε Ε Ε Ε Ε> Ε Ε
β
.Λ Ε.
.Λ Ε.
98β β β β
ww
βββββββββββ
Ε# Ε Ε Ε Ε Ε Ε Ε>
Ε# Ε Ε> Ε Ε Ε> Ε Ε
β
.Ε jΕ# .Ε jΕ
.Ε jΕ# .Ε JΕ
99β β β β
βββββββββββββ
Ε# Ε> Ε Ε Ε> Ε Ε ΕΕ# > Ε Ε> Ε Ε> Ε Ε Ε
β.Ε jΕ Ε Ε.Ε JΕ Ε Ε
100
Γ Ε Εβ β β β
βββββββββββββ
Ε# Ε Ε Ε Ε> Ε Ε ΕΕ# Ε Ε Ε Ε> Ε Ε Ε
β
.Λ Ε# Ε>
.Λ Ε# Ε>
101
Γ Ε Ε Εβ β β β
REQUIEM MASS: AGNUS DEI 15
&&&&&&&&&????
&&
&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
βββββββββββββ
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103β β β β
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104β β β β
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β
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105β β β β
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106
.Ε jΕ Ε Εβ β β β
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107
.Ε jΕ Ε Εβ β β β
βββββββββββββ
Ε# Ε Ε Ε. Ε Ε Ε> ΕΕ# > Ε Ε Ε Ε Ε> Ε Ε
β
ww
108
wβ β β β
REQUIEM MASS: AGNUS DEI16
&&&&&&&&&????
&&
&??
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
βββββββββββββ
Ε# > Ε Ε Ε> Ε Ε> Ε ΕΕ# > Ε Ε Ε Ε Ε Ε> Ε
β
.Λ Ε Ε
.Λ Ε Ε
109
.Λ Ε Εβ β β β
Ε β° JΕ Λ
Ε β° JΕ# Λ
Ε β° JΕ Λ
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ββββββββ
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β
ww
110
wβ β β β
ppppp
w
ww
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111
.Ε jΕ .Ε jΕβ β β β
βββββ
Γ Ε Ε Ε
ββ
Ε# Ε Ε Ε Ε> Ε Ε Ε>Ε# > Ε Ε Ε Ε Ε> Ε Ε
β
ww
112β β β β
f
βββββ
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ββ
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.Ε jΕ>
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113β β β β
wb
wwn
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114β β β β
w
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β
.Ε jΕ# .Ε jΕ
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115β β β β
REQUIEM MASS: AGNUS DEI 17
&&&&&&&&&
?
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&&
&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
βββββββββ
β
β° JΕ# > Ε Ε β° JΕ# Ε# >
ββ
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β
.Ε jΕ Ε Ε.Ε JΕ Ε Ε
116
Γ Ε Εβ β β β
βββββββββ
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ββ
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117
Γ Ε Ε Εβ β β β
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118β β β β
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119β β β β
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120β β β β
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121β β β β
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122
.Ε jΕ Ε Εβ β β β
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REQUIEM MASS: AGNUS DEI18
&&&&&
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?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
.Ε JΕ Ε Ε
.Ε JΕ Ε Εww
β.Ε JΕ Ε Ε.Ε JΕ Ε Ε.Ε jΕ Ε Ε.Ε jΕ# ^ Ε Ε
w
w
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βΕ# Ε Ε> Ε Ε Ε Ε Ε>Ε# Ε> Ε Ε Ε Ε Ε Ε
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.Ε jΕ Ε Ε
.Ε JΕ Ε Ε
123
.Ε jΕ Ε Εβ β β β
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124
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125
wβ β β β
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.Ε jΕ Ε Ε# Ε
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126
.Ε jΕ Ε Ε Εβ β β β
f
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Ε# > Ε# > .ΛΕ# > Ε# > .ΛΕ# > Ε# > .ΛΕ# > Ε# > .Λ
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w
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wΕ# Ε. Ε Ε Ε> Ε Ε> ΕΕ# Ε Ε Ε> Ε Ε Ε> Ε
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127
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ββββ
β
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β
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128
Λ Ε Ε Εβ β β β
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130β β β β
5
5
REQUIEM MASS: AGNUS DEI 19
&&&&&
&
&&
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Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ββ
Γ Ε Ε# >
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Ε Ε# > Ε Ε Ε β° jΕ>
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131β β β β
ff
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Ε Ε# Ε β° jΕ# β° JΕ#Ε Ε# Ε β° jΕ# β° JΕ#
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JΕ# β° Ε> Ε Ε Ε Ε
β° JΕ# > Ε Ε Ε Ε β° JΕ
Ε# Ε Ε Ε β° jΕ β° jΕ>
β° jΕ# > Ε Ε Ε Ε β° jΕΕ Ε Ε β° JΕ# ^ β° JΕ# >
Ε Ε Ε β° JΕ# ^ β° JΕ# >
ββ
Ε# > Ε Ε Ε Ε Ε> Ε ΕΕ# Ε Ε Ε> Ε Ε Ε Ε
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132β β β β
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.Ε JΕ Λ
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ββ
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β.Ε jΕ Ε Ε.Ε JΕ Ε Ε
133
Γ Ε Εβ β β β
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Ε Ε# Ε# > Ε Ε# ^ β° JΕ# >
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Ε# Ε Ε Ε β° JΕ
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β° jΕ# Ε Ε Ε
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134
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wβ° JΕ# > Ε Ε JΕ β° Ε> Ε
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135β β β β
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ββ
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w
βββ
β β β ββ
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136β β β β
REQUIEM MASS: AGNUS DEI20
&&&&&
&&&&
?
???
&&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ββ
Γ Ε Ε# Ε#
Γ Ε Ε# Ε#.Λ Ε.
Ε# ^ β° JΕ> Ε Ε JΕ β°Ε# ^ Ε β° JΕ> Ε Ε
β° jΕ# > Ε Ε> Ε Ε ΕΕ# ^ Ε β° jΕ> Ε Ε
Γ Ε Ε Ε
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βββ
β β β ββ
.Λ Ε.
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137β β β β
ββ
.Ε JΕ# β° JΕ Ε#
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Ε# . Ε# Ε .Ε JΕ#
Ε# ^ β° JΕ Ε Ε> ΕΕ# ^ Ε β° JΕ β° JΕ>
β° jΕ# ^ Ε jΕ β° Ε
Ε# ^ Ε β° jΕ β° jΕ>
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.Ε JΕ# β° JΕ Ε#
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β
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138β β β β
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139
.Ε jΕ Ε Εβ β β β
Dionian
ββ
Λ ΓΛ Γ
.Ε# JΕ# Ε Ε#ββββ
Λ
Λ
β.Ε JΕ Ε Ε
β
β β β ββ
.Ε jΕ> Ε Ε
.Ε JΕ> Ε Ε
140
.Ε jΕ Ε Εβ β β β
A7sus
ββ
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wβ
β β β βΓ Ε Ε#ww
141
wβ β β β
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FF
ββ
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w
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β β β β
.Ε jΕ# Λ.Λ Ε Ε
>
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142
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wβ° JΕ# β° JΕ> Ε Ε Ε Ε
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.Λ Ε# >
w
w
wβ
β β β β.Λ Ε#
ww
143
wβ β β β
EN
Γ
pp
pp
REQUIEM MASS: AGNUS DEI 21
&&&&&
&&&&????
&
&
&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
Γ Ε ΕΓ Ε Ε
.Λ Εn
.Λ Εn
.Ε jΕ# Ε Ε#
β° JΕ# ^ β° JΕ Ε Ε# >
JΕ# ^ β° JΕ β° JΕ β° Ε# >
jΕ# ^ β° jΕ β° jΕ β° Ε>
β° jΕ# β° jΕ β° jΕ Ε>
.Λ Ε>
.Λ Ε>
.Λ Ε>
.Ε jΕ Ε Ε
Γ Ε Εβ β β β
.Λ Ε
.Ε jΕ Ε Ε
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144
.Ε jΕ Ε Εβ β β β
f
ff
f
f
f
ff
f
ff
ff
Ε# .Λ#Ε# .Λ#Ε .Λ#Ε .Λ#
wΛ >
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Λ Λ# >
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w
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β β β β
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ww
145β β β β
BΓ( ! 6)
Ε# Ε# Ε# Ε ΕΕ# Ε# Ε# Ε ΕΕ# Ε# Ε Ε ΕΕ# Ε# Ε Ε Ε
.Ε jΕ# > Ε Ε# Ε>
Ε Ε# > .Ε JΕ# >
Ε Ε# > .Ε JΕ# >>
Ε Ε> .Ε JΕ# >>
Ε Ε# > .Ε jΕ# >>
Ε Ε> .Ε JΕ# >>
Ε Ε> .Ε JΕ>>
Ε Ε> .Ε JΕ>>
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Ε Ε Ε Ε
β β β β
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146β β β β
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147β β β β
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w
w
w
www
w
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β
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148β β β β
Dionian
Ε Ε# ^ β° JΕ β° JΕ# Ε# >
Ε Ε# ^ β° JΕ β° jΕ# Ε# >Ε Ε# ^ β° JΕ# ^ β° JΕ# Ε# >
Ε Ε β° JΕ# ^ β° jΕ# Ε>
Ε Ε# ^ β° JΕ# ^ β° JΕ Ε# >
ββββ
ββββ
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.Ε jΕ Ε Ε
.Ε JΕ Ε Ε
149
Γ Ε Εβ β β β
A7sus
Ε Ε# > .Ε JΕ# >
Ε Ε# > .Ε JΕ>
Ε Ε# > .Ε JΕ# >
Ε Ε# > .Ε JΕ>
Ε Ε# > .Ε JΕ>
ββββ
ββββ
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150
Γ Ε Ε Εβ β β β
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.Λ Ε# >
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151β β β β
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REQUIEM MASS: AGNUS DEI22
&&&&&
&&&&????
&&
&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
w
ww
ww
Γ Ε Ε#
Γ Ε Ε#
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152β β β β
w
ww
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.Ε JΕ β° JΕ# > Ε
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153β β β β
w
ww
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.Ε JΕ .Ε JΕ# ^
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Γ Ε β° JΕ
ββ β β β
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Ε. Ε Ε> .Ε jΕ#Ε. Ε Ε> .Ε JΕ#
154β β β β
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155
.Ε jΕ Ε Εβ β β β
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w#
w#ww#w
ββββββββ
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156
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A7sus
REQUIEM MASS: AGNUS DEI 23
&&&&&
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????
&&
&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
βββββ
ββββ
Ε β° JΕ Λ
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157β
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161β
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REQUIEM MASS: AGNUS DEI24
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Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
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163β
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164β
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Ε Ε> .ΛΕ Ε> .Λ
165β
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w
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166β
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167β
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168β
REQUIEM MASS: AGNUS DEI 25
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A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
Ε Ε Ε Ε ΕΕ> Ε Ε Ε Ε Ε
Ε# Ε Ε> Ε β° JΕ β° JΕΕ# Ε β° JΕ β° JΕ β° JΕ
wβ° JΕ# .Λ
β° JΕ# .Λ
β° JΕ# .Λβ° jΕ# .Λw
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169β
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170
Γ Ε Εβ β β βNo Time, Cymbals
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172
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173β
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REQUIEM MASS: AGNUS DEI26
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A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
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Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
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175β
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Λ Ε Ε ΕΛ Ε Ε Ε
176
Γ Ε β° jΕβ β β β
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177β
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178β
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REQUIEM MASS: AGNUS DEI 27
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A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
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β° JΕ# ^ β° JΕ Ε Ε> Εβ° JΕ> Ε Ε> Ε Ε Ε
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181
Γ Ε β° jΕβ β β βNo Time, Cymbals and Drums
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182
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183
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185β β β β
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186β β β β
REQUIEM MASS: AGNUS DEI28
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A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
Ε Ε β° JΕ> Ε Ε Ε Ε
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187β β β β
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188β β β β
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189β β β β
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190β β β β
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191
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REQUIEM MASS: AGNUS DEI 29
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T. Sx. 1
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Bb Tpt. 1
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Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
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REQUIEM MASS: AGNUS DEI30
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A. Sx. 1
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T. Sx. 1
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B. Sx.
Bb Tpt. 1
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Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
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201β β β β
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REQUIEM MASS: AGNUS DEI 31
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T. Sx. 1
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Bb Tpt. 1
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Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
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209β β β β
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212
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REQUIEM MASS: AGNUS DEI32
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A. Sx. 1
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Bb Tpt. 1
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Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
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217
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REQUIEM MASS: AGNUS DEI 33
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Bb Tpt. 1
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Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
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wβ
β
β
β
β
β β β βββ
Εb Ε> Ε Ε> Ε Ε> Ε ΕΕb > Ε Ε> Ε Ε> Ε Ε Ε>
ββ
w
225β β β β
p
ββββ
.Ε jΕ> Ε Εb Ε>
β
β
β
β
β
β β β βββ
Εb > Ε Ε Ε Ε Ε> Ε ΕΕb Ε Ε Ε Ε> Ε Ε Ε>
ββ
.Ε JΕb > Ε Εb Ε>
226
Ε β° jΕ Ε Ε Εβ β β β
ββββ
Λ .Ε jΕ>
β
β
β
β
β
β β β βββ
Εb > Ε Ε Ε Ε Ε> Ε ΕΕb Ε Ε> Ε Ε Ε Ε Ε>
ββ
Λ .Ε jΕb >
227
Γ Ε β° jΕβ β β β
ββββ
Ε Ε Ε Εb Ε Ε β° JΕ
β
β
β
β
β
β β β βββ
Εb Ε Ε> Ε Ε Ε> Ε ΕΕb Ε Ε Ε Ε Ε Ε Ε>
ββ
Ε Ε Εb Εb Εb Ε β° JΕb
228
Γ Ε β° jΕβ β β β
ββββ
wb
β
β
β
β
β
β β β βββ
Εb > Ε Ε> Ε Ε> Ε Ε ΕΕb Ε> Ε Ε Ε> Ε Ε Ε
β β β ββ β β β
wb
229
wβ β β β
Gb7sus
Gb7sus Comp
ββββ
.Ε jΕb > Ε Εb Ε>
β
β
β
β
β
β β β βββ
Εb Ε Ε Ε Ε> Ε Ε ΕΕb Ε Ε Ε Ε> Ε Ε Ε
β β β ββ β β β
.Ε jΕb > Ε Εb Ε>
230
.Ε jΕ Ε Ε Εβ β β β
ββββ
Λ .Ε JΕb >
β
β
β
β
β
β β β βββ
Εb Ε> Ε Ε Ε Ε Ε> ΕΕb Ε Ε> Ε Ε Ε Ε Ε>
β β β ββ β β β
Λ .Ε JΕb >
231
Λ .Ε jΕβ β β β
REQUIEM MASS: AGNUS DEI34
&&&&&
&&&&????
&
&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ββββ
Ε Ε Εb Εb Ε# Ε β° JΕb
ββββ
β
β β β βββ
Εb Ε Ε Ε Ε> Ε Ε> ΕΕb Ε Ε Ε Ε Ε> Ε Ε>
β β β ββ β β β
Ε Εb Εb Εb Ε Ε β° jΕb
232
Γ β° jΕ β° jΕβ β β β
ββββ
.Ε jΕ> ΛΕ β° JΕb > Ε Ε JΕ β°Ε Εb > Ε Ε Ε β° JΕ>
Εb > Ε Ε Ε β° jΕ> Ε Εβ° jΕb > Ε Ε jΕ β° Ε> Ε
β
β β β βββ
Εb > Ε Ε Ε> Ε Ε Ε ΕΕb Ε> Ε Ε Ε> Ε Ε Ε
.Γ JΓ |
.Γ JΓ |
.Εb JΕ> Λ
233
.Ε jΕ Λβ β β β
Eb7sus
Eb7sus
Γcup
Γcup
Γcup
Γcup
pp
pp
ββββ
.Ε jΕ> Ε Εb Ε>
Εb > Ε Ε Ε Ε ΕΕb Ε Ε Ε β° JΕ β° JΕ
Εb Ε β° jΕ β° jΕ> β° jΕ>
Εb Ε jΕ β° jΕ> β° jΕ> β°
β
β β β βββ
Εb > Ε Ε Ε> Ε Ε Ε> ΕΕb Ε> Ε Ε Ε> Ε Ε Ε
.Γ JΓ Γ Γ Γ
.Γ JΓ Γ Γ Γ
.Ε JΕb > Ε Εb Ε>
234
.Ε jΕ Ε Ε Εβ β β β
ββββ
.Λ Ε
Εb ^ Ε β° JΕ Ε Εβ° JΕb Ε Ε> Ε Ε ΕΕ Εb > Ε Ε Ε β° jΕΕb ^ β° jΕ> Ε Ε jΕ β°
β
β β β βββ
Εb Ε Ε Ε> Ε Ε Ε ΕΕb Ε> Ε Ε Ε Ε Ε> Ε
.| Ε
.| Εb ^
.Λ Εb ^
235
.Λ Εβ β β β
ββββ
Ε Εb β° JΕ β° jΕ β° jΕ>
JΕb β° Ε β° JΕ β° JΕ>
β° JΕb ^ Ε JΕ β° ΕΕ Εb ^ Ε Ε
Εb ^ β° jΕ Ε Ε> Εβ
β β β βββ
Εb Ε> Ε Ε> Ε Ε> Ε ΕΕb Ε Ε> Ε Ε> Ε Ε> Ε
βΕ Εb β° JΕ β° jΕb ^ β° jΕb >
Ε Εb β° JΕ β° jΕb ^ β° JΕb >
236
Ε Ε β° jΕ β° jΕ β° jΕβ β β β
ββββ
w
Εb Ε JΕ β° Ε> Ε Ε Εβ° JΕb > Ε Ε JΕ β° Ε> Ε
Εb > Ε Ε Ε β° jΕ> Ε ΕΕb Ε β° jΕ> Ε Ε Ε Ε
β
β β β ββββ
β β β ββ
wbwb
237
wβ β β β
Bbdorian
Bbdorian
{G}
pp
pp
Comp
ββββ
w
JΕb β° Ε Ε ΕΕb Ε Ε Ε Ε
Εb Ε β° jΕ> β° jΕ> β° jΕ>
β° jΕb β° jΕ β° jΕ Ε
β
β β β ββββ
β β β ββ
.Ε jΕb>
Ε Εb Ε>
.Ε jΕb > Ε Εb Ε>
238β β β β
βββββ
β° JΕb > Ε Ε JΕ β° ΕΕb ^ β° JΕ> Ε Ε ΕΕ Εb > Ε Ε Ε β° jΕΕb > Ε Ε Ε β° jΕ Ε
β
β β β ββββ
β β β ββ
.Λ Ε.
.Λ Ε.
239β β β β
REQUIEM MASS: AGNUS DEI 35
&&&&&
&&&&????
&&&??
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
w
ww
wbw
β° JΕb ^ Ε Ε> Ε Ε Ε
JΕb ^ β° β° JΕ β° JΕ> Ε ΕΕ jΕb ^ β° Ε β° jΕ>
Εb ^ Ε Ε Ε> Εβ
β β β ββββ
β β β ββ
.Εb jΕ .Ε jΕ
.Εb jΕ .Ε JΕ
240β β β β
DbN
DbN
ppppp
.Λ Ε#
.Λ Εb
.Λb Ε
.Λ Ε#
.Λb Ε
β° JΕb > Ε Ε Ε Ε β° JΕ
JΕb β° Ε> Ε Ε Ε JΕ β°
Εb Ε jΕ β° Ε> Ε Ε ΕΕb Ε β° jΕ> Ε Ε Ε Ε
β
β β β ββββ
β β β ββ
.Εb jΕb Ε Εb
.Εb JΕb Ε Εb
241β β β β
Abdorian
Abdorian
.Λ β° JΕb >
.Λ β° JΕ>
.Λ β° JΕ>
.Λ β° JΕ>
.Λ β° JΕ>
β° JΕb ^ β° JΕ Ε Ε> ΕΕb ^ Ε Ε β° JΕ>
Εb ^ Ε Ε Εβ° jΕb β° jΕ β° jΕ Ε
β
β β β ββββ
β β β ββ
Λ Εb Ε Εb>
Λ Εb Ε Εb >
242
Γ Ε β° jΕβ β β β
EbΓ( ! 6)
EbΓ( ! 6)
w
ww
ww
Εb Ε β° JΕ> Ε JΕ> β°Εb Ε JΕ β° JΕ> β° β° JΕ>
β° jΕb ^ Ε Ε Ε ΕΕb > Ε Ε Ε β° jΕ Ε
β
β β β ββββ
β β β ββ
ww
243β β β β
Bbdorian
Bbdorian
.Ε JΕn Ε Ε
.Ε JΕn Ε Εb
.Ε JΕ Ε Εb
.Ε JΕb Ε Ε
.Ε JΕn Ε Ε
Ε Ε Εb > Ε Ε ΕΕ Εb > Ε Ε Ε β° JΕ>
β° jΕb > β° jΕ> Ε Ε jΕ β°
Εb ^ Ε β° jΕ> Ε Εβ
β β β ββββ
β β β ββ
.Ε jΕb>
Ε Εb.Ε jΕb > Ε Εb
244
Ε β° jΕ Ε Εβ β β β
w
ww
ww
β° JΕb > Ε Ε Ε Ε β° JΕΕb Ε Ε Ε β° JΕ β° JΕ
Εb > Ε Ε Ε jΕ β° jΕ β°jΕb β° Ε> Ε Ε Ε jΕ β°
β
β β β ββββ
β β β ββ
.Λ Ε
.Λ Ε
245β β β β
.Λ β° JΕ
.Λ β° JΕ
.Λ β° JΕ
.Λ β° JΕb
.Λ β° JΕb
β° JΕb ^ β° JΕ Ε Ε> Εβ° JΕb ^ Ε Ε> Ε Ε Ε
jΕb ^ β° jΕ β° β° jΕ> Ε ΕjΕb ^ β° jΕ β° jΕ β° β° jΕ>
β
β β β ββββ
β β β ββ
Εb Εb Ε .Ε jΕΕb Εb Ε .Ε JΕ
246
Γ Ε β° jΕβ β β β
.Λ Ε
.Λ Εb
.Λb Εb
.Λ Ε
.Λ Ε
β° JΕb ^ β° JΕ β° JΕ Εβ° JΕb ^ β° JΕ Ε Ε> Ε
Εb ^ Ε Ε β° jΕ>
Εb ^ Ε Ε Εβ
β β β ββββ
β β β ββ
.Εb jΕ Ε Ε
.Εb jΕ Ε Ε
247
.Ε jΕ Ε Εβ β β β
DbN
DbN
f
ff
f
REQUIEM MASS: AGNUS DEI36
&&&&&&&&&????
&
&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
.Λ Ε
.Λ Ε
.Λ Ε
.Λ Εb
.Λ ΕbΕb > Ε Ε Ε Ε ΕΕb Ε Ε Ε β° JΕ β° JΕ
Εb Ε β° jΕ β° jΕ> β° jΕ>
Εb Ε jΕ β° Ε Εβ
β β β ββββ
β β β ββ
.Εb jΕb Ε Εb
.Εb JΕb Ε Εb
248
.Ε jΕ Ε Εβ β β β
Ab7sus
Ab7sus
w
ww
wwΕb ^ Ε β° JΕ Ε Εβ° JΕb Ε Ε> Ε Ε ΕΕ Εb > Ε Ε Ε β° jΕΕb ^ β° jΕ> Ε Ε jΕ β°
β
β β β ββββ
β β β ββ
ww
249
wβ β β β
w
ww
ww
JΕb β° Ε β° JΕ β° JΕ>
β° JΕb ^ Ε JΕ β° ΕΕ Εb ^ Ε Ε
jΕb ^ β° β° jΕ Ε Ε> Εβ
β β β ββββ
β β β ββ
.Λ Εb
.Λ Εb
250
Γ Ε Εβ β β β
βββββ
Εb Ε JΕ β° Ε> Ε Ε Εβ° JΕb > Ε Ε JΕ β° Ε> Ε
Εb > Ε Ε Ε β° jΕ> Ε ΕΕb Ε β° jΕ> Ε Ε Ε Ε
β
β β β ββββ
β β β ββ
ww
251β
EbΓ( ! 6)
EbΓ( ! 6)
βββββ
JΕb β° Ε Ε ΕΕb Ε Ε Ε Ε
Εb Ε β° jΕ> β° jΕ> β° jΕ>
β° jΕb β° jΕ β° jΕ Εβ
β β β ββββ
β β β ββ
ww
252β β β β
End Solo
Lead In, Closed Hi-Hat
REQUIEM MASS: AGNUS DEI 37
&&&&&&&&&????
&&
&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ββββββββββββββ
β β β β
ββ
β β βΕ Ε
253β β β β
FΓ( ! 6)
Fpedal Very rhythmic, Syncopated Groove
Solo Sparce Chordal Shading at First
{H}
St. 8th on Closed Hi-Hat only
ββββββββββββββ
β β β β
ββ
β β β β
254β β β β
ββββββββββββββ
β β β β
ββ
β β β β
255β β β β
Hits on Drums, Not Cymbals
ββββββββββββββ
β β β β
ββ
β β Ε Ε Εb >
256
Γ Ε Ε Εβ β β β
ββββββββββββββ
β β β β
ββ
.Ε JΕb > .Ε jΕ>
257
.Ε jΕ .Ε jΕβ β β β
ββββββββββββββ
β β β β
βΓ Ε Ε ΕΕ
>
.Λ Ε Ε>
258
.Λ Ε Εβ β β β
ββββββββββββββ
β β β β
β
wwβ β β β
259β β β β
Begin "Rock" feel, Closed Hi-Hat
ββββββββββββββ
β β β β
β
wwβ β β β
260β β β β
ββββββββββββββ
β β β β
β
wwβ β β β
261β β β β
REQUIEM MASS: AGNUS DEI38
&&&&&&&&&????
&&
&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ββββββββββββββ
β β β ββ
wwβ β β β
262β β β β
ββββββββββββββ
β β β ββ
ww.Ε jΕ Ε Εb Εb
263
.Ε jΕ Ε Ε Εβ β β β
ββββββββββββββ
β β β βββ
β β βΕ
264β β β β
Eb7sus
Ebpedal
ββββββββββββββ
β β β βββ
β β β β
265β β β β
ββββββββββββββ
β β β βββ
β β Ε Εb Ε
266
Γ Ε Ε Εβ β β β
ββββββββββββββ
β β β ββ
ΕΕbb> ΕΕ ΕΕbb
> Λ
β βΕb Ε Εb >
267
Ε Ε Ε Γβ β β β
Ebpedal
ββββββββββββββ
β β β ββ
ww
β β β β
268β β β β
ββββββββββββββ
β β β ββ
Λ ΕΕ Ε ΕΕb>
β β β Ε Εb >
269
Γ Ε Ε Εβ β β β
ββββββββββββββ
β β β ββ
wwβ β βΕ
270β β β β
BbΓ( ! 6)
Bbpedal
REQUIEM MASS: AGNUS DEI 39
&&&&&
&&&&????
&&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
βββββ
ββββ
βββββ
β β β ββ
wwβ β β β
271β β β β
βββββ
ββββ
βββββ
β β β ββ
wwβ β β β
272β β β β
βββββ
ββββ
βββββ
β β β ββ
..Λ β° jΕb>
β β β β° jΕb >
273
Γ Ε β° jΕβ β β β
βββββ
ββββ
βββββ
β β β ββ
Λb> .Εb > jΕb
>
Λb > .Εb > jΕb >
274
Λ .Ε jΕβ β β β
βββββ
ββββ
βββββ
β β β ββ
Λ Ε Εb>
ΕΛ Ε Εb > Ε
275
Λ Ε Ε Εβ β β β
Db7sus
βββββ
ββββ
βββββ
β β β ββ
ww
276β β β β
βββββ
ββββ
βββββ
β β β ββ
ww
277
Ε> Ε Ε Ε Ε Ε Ε> Εβ β β β
Taper
Closed Hi-Hat Only
βββββ
ββββ
βββββ
β ββ
ww
278
Ε Ε Ε Ε Ε> Ε Ε Εβ β β β
βββββ
ββββ
βββββββ
ww
279
Ε Ε Ε> Ε Ε Ε Ε Εβ β β β
REQUIEM MASS: AGNUS DEI40
&&&&&
&&&&????
&&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
βββββ
ββββββββ
βββ
Λ β° jΕb^ β° jΕb ^
Λ β° JΕb ^ β° JΕb ^
280
Ε> Ε Ε Ε Ε Ε> Ε Ε>β β β β
ββββ
Ε> Ε .ΛΓ Ε β° JΕ>
Γ Ε β° jΕ>
Γ Ε β° jΕ>
Γ Ε β° jΕ>
Γ Ε β° JΕb >
Γ Ε β° JΕb >
Γ Ε β° JΕb >
Γ Ε β° JΕ>
β
β β β βββ
β β βΕ Ε>
281
Ε Ε .Λβ β β β
FΓ( ! 6)
Fpedal Very rhythmic, Syncopated Groove
{I}
f
Time, Heavy! Quarter Note Ride
ββββ
ww
w
wwww
w
w
β
β β β βββ
β β β β
282β β β β
βββββ
w
w
wwww
w
w
β
β β β βββ
β β β β
283β β β β
ββββ
Γ Ε Ε Εb
.Λ β° JΕb >
.Λ β° jΕ>
.Λ β° jΕ>
.Λ β° jΕb >
.Λ β° JΕb
.Λ β° JΕb
.Λ β° JΕb
Λ Ε Ε Εb
β
β β β βββ
β β Ε Ε Εb >
284
Γ Ε Ε Εβ β β β
ββββ
.Ε JΕ> .Ε jΕ>
.Ε JΕ> .Ε JΕ>
.Ε jΕ> .Ε JΕb >
.Ε jΕ> .Ε> jΕ>
.Ε jΕ> .Ε jΕb >
.Ε JΕb > .Ε JΕb >
.Ε JΕb > .Ε JΕb >
.Ε JΕ> .Ε JΕb >
.Ε JΕb > .Ε jΕ>
β
β β β βββ
.Ε JΕb > .Ε jΕ>
285
.Ε jΕ .Ε jΕβ β β β
ββββ
.Λ Ε Ε>
.Λ β° JΕ>
.Λ β° JΕ
.Λ β° jΕ>
.Λ β° jΕ>
.Λ β° JΕb >
.Λ β° JΕb >
.Λ β° jΕ>
.Λ Ε Εβ
β β β ββ
Γ Ε Ε ΕΕ>
.Λ Ε Ε
286
.Λ Ε Εβ β β β
ββββ
ww
w
w
www
w
wβ
β β β ββ
wwβ β β β
287β β β β
ββββ
ww
w
w
www
w
wβ
β β β ββ
wwβ β β β
288β β β β
REQUIEM MASS: AGNUS DEI 41
&&&&&&&&&????
&
&
&?
?Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ββββ
ww
w
w
www
w
wβ
β β β ββ
wwβ β β β
289β β β β
ββββ
wΕ β° JΕ> Ε Ε Εb ^
Ε β° JΕ> Ε Ε Εb ^
Ε β° JΕ> Ε Εb Ε
Ε β° jΕ> Ε Ε ΕΕ β° JΕ> Ε Εb Εb ^
Ε β° JΕb > Ε Εb Ε
Ε β° JΕb > Ε Εb Ε
Ε Ε Γβ
β β β ββ
wwβ β β β
290β β β β
ββββ
.Ε> jΕ> Ε Εb ΕΕ β° JΕ Ε β° JΕb ^
Ε β° JΕb ^ Ε β° jΕΕ β° jΕ Ε β° jΕn ^
Ε β° jΕb ^ Ε β° jΕA ^
Ε β° JΕb ^ Ε β° JΕ
Ε β° JΕb ^ Ε β° JΕb ^
Ε β° JΕb ^ Ε β° JΕA ^
Ε β° jΕ Ε β° JΕb ^
β
β β β ββ
ww.Ε jΕ> Ε Εb Εb >
291
.Ε jΕ Ε Ε Εβ β β β
ββββββββββββββ
β β β β
β β β ββ
β β βΕ
292β β β β
Eb7sus
Eb7sus
Ebpedal
Comp
ββββββββββββββ
β β β β
β β β ββ
β β β β
293β β β β
ββββββββββββββ
β β β β
β β β ββ
β β Ε Εb Ε
294
Γ Ε Ε Εβ β β β
ββββββββββββββ
β β β β
β β β βΕΕbb> ΕΕ ΕΕbb > Λ
β βΕb Ε Εb
295
Ε Ε Ε Γβ β β β
Ebpedal
ββββββββββββββ
β β β β
β β β β..Λ ΕΕ
β β β β
296β β β β
ββββββββββββββ
β β β β
β β β βΛ ΕΕ Ε ΕΕb
>
β β β Ε Εb >
297
Γ Ε Ε Εβ β β β
REQUIEM MASS: AGNUS DEI42
&&&&&&&&&????
&
&
&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ββββββββββββββ
β β β β
β β β βww
β β.Ε
298β β β β
BbΓ( ! 6)
BbΓ( ! 6)
Bbpedal
ββββββββββββββ
β β β β
β β β βwwβ β β β
299β β β β
ββββββββββββββ
β β β β
β β β βwwβ β β β
300β β β β
ββββββββββββββ
β β β β
β β β β
..Λ β° jΕb>
β β β β° jΕb >
301
Γ Ε β° jΕβ β β β
ββββββββββββββ
β β β β
β β β β
Λb> .Εb > jΕb
>
Λb > .Εb > jΕb >
302
Λ .Ε jΕβ β β β
ββββββββββββββ
β β β β
β β β β
Λ Ε Εb>
ΕΛ Ε Εb > Ε
303
Λ Ε Ε Εβ β β β
Db7sus
Db7sus
ββββββββββββββ
β β β β
β β β β
wβ β β β
304β β β β
ββββββββββββββ
β β β β
β β β β
wβ β β β
305β β β β
ββββββββββββββ
β β β β
β β β β
wβ β β β
306β β β β
REQUIEM MASS: AGNUS DEI 43
&
&&&&&&&&????
&&&??Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
β
βββββββββββββ
β β β ββ β β β
wβ β β β
307β β β β
β
βββββββββββββ
β β β ββ β β β
Λ Γ
β β β β
308β β β β
β
βββββββββββββ
β β β ββ β β ββ β β ββ β β β
309β β β β
FΓ( ! 6)
FΓ( ! 6)
β
βββββββββββββ
β β β ββ β β ββ β β ββ β β β
310β β β β
β
βββββββββββββ
β β β ββ β β ββ β β ββ β β β
311β β β β
β
βββββββββββββ
β β β ββ β β ββ β β ββ β Ε Ε Εb >
312
Γ Ε Ε Εβ β β β
β
βββββββββββββ
β β β ββ β β ββ β β β
.Ε JΕb > .Ε jΕ>
313
.Ε jΕ .Ε jΕβ β β β
β
βββββββββββββ
β β β ββ β β ββ β β β
.Λ Ε Ε>
314
.Λ Ε Εβ β β β
β
βββββββββββββ
β β β ββ β β ββ β β ββ β β β
315β β β β
REQUIEM MASS: AGNUS DEI44
&&&&&
&&&&????
&&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
βββββ
ββββ
βββββ
β β β ββ β β ββ β β β
β β β β
316β β β β
βββββ
ββββ
βββββ
β β β ββ β β ββ β β β
β β β β
317β β β β
ββββ
Γ Ε Ε>
ββββ
βββββ
β β β ββ β β ββ β β β
β β β Ε>
318β β β β
f
Γ Ε β° JΕ
Γ Ε β° JΕbΓ Ε β° JΕ
Γ Ε β° JΕb
.Ε jΕ> Ε Εb Ε>
ββββ
βββββ
β β β ββ β β ββ β β β
.Ε jΕ> Ε Εb Εb >
319
.Ε jΕ Ε Ε Εβ β β β
p
p
Γpp
w
ww
ww
ββββ
βββββ
β β β ββ β β ββ β β β
β β βΕ
320β β β β
Eb7sus
Eb7sus
Ebpedal
w
ww
ww
ββββ
βββββ
β β β ββ β β ββ β β β
β β β β
321β β β β
w
ww
wΛ Ε Ε Ε
ββββ
βββββ
β β β ββ β β ββ β β β
β β Ε Εb Ε
322
Γ Ε Ε Εβ β β β
f
Ε β° JΕ Λ
Ε β° JΕb ΛΕ β° JΕ Λ
Ε β° JΕb ΛΕb Ε Ε Λ
βΕ β° JΕb Λ
βΕ β° jΕb Λ
βββββ
β β β ββ β β ββ β β β
β βΕb Ε Εb >
323
Ε Ε Ε Γβ β β β
Ebpedal
p
ppp
p
p
w
ww
ww
βw
β
wβββββ
β β β ββ β β ββ β β β
β β β β
324β β β β
REQUIEM MASS: AGNUS DEI 45
&&&&&
&&&&
????
&&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
w
ww
w.Λ Ε Εn
βw
β
w
βββββ
β β β ββ β β ββ β β β >β β β Ε Εb >
325
Γ Ε Ε Εβ β β β
Ε .Λ
Ε .Λ
Ε .Λ
Ε .Λb
w
Ε .Λ
βΕ .Λb
β
βββββ
β β β ββ β β ββ β β β
Ε Λb Ε
326β β β β
BbΓ( ! 6)BbΓ( ! 6)
Bbpedal
Γ
Γ
ΓΓΓΓ
w
ww
w
ww
βw
β
βββββ
β β β ββ β β ββ β β β
β β β β
327β β β β
.Λ Ε>
.Λ Εb >
.Λ Ε>
.Λ Εb >
.Λ Ε>
.Λ Εb >
Γ Ε Ε>
.Λ Εb >
Γ Ε Εb >
Γ Ε Εb >
Γ Ε Ε>
Γ Ε Ε>
Γ Ε Εb >
ββ β β ββ β β ββ β β β
β β β Ε
328β β β β
Γ
Γ
Γ
Γ
ΓΓ
ΓΓ
Γ
Γ
ΓΓΓ
wwww
.Λ β° jΕb >
w
w
wwww
w
wβ
β β β ββ β β ββ β β β° jΕb
>
β β β β° jΕb >
329
Γ Ε β° jΕβ β β β
ββββ
Λb > .Ε> jΕ>
ββββ
βββββ
β β β ββ β β β
Λb> .Εb > jΕb
>
Λb > .Εb > jΕb >
330
Λ .Ε jΕβ β β β
ββββ
Λ Ε Εb > Ε
ββββ
βββββ
β β β ββ β β β
Λ Ε Εb>
ΕΛ Ε Εb > Ε
331
Λ Ε Ε Εβ β β β
Db7sus
Db7sus
Ε β° JΕ Λ
Ε β° JΕb Λ
Ε β° JΕ# ΛΕ β° JΕb Λw
ββββ
βββββ
β β β ββ β β β
.Ε jΕb Λ
.Ε JΕb Λ
332
.Ε jΕ Λβ β β β
P
PP
P
w
w
www
Γ Ε ΕΓ Ε ΕbΓ Ε ΕΓ Ε Ε
Γ Ε Εb
Γ Ε Εb
Γ Ε Ε
Γ Ε Εbβ
β β β ββ β β β
.Ε jΕb Ε Ε
.Ε JΕb Ε Ε
333
.Ε jΕ Ε Εβ β β β
pppp
pppp
REQUIEM MASS: AGNUS DEI46
&&&&&
&&&&????
&&&?
?
Γ·
43
43434343
4343
4343
43434343434343
43
43
43
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
w
w
www
w
w
www
w
w
wβ
β β β ββ β β β
.Ε jΕb Ε Ε
.Ε JΕb Ε Ε
334
.Ε jΕ Ε Εβ β β β
w
w
www
w
w
www
w
w
wβ
β β β ββ β β β
.Εb jΕ Ε Ε
.Εb JΕ Ε Ε
335
.Ε jΕ Ε Εβ β β β
βββββ
w
w
www
w
w
wβ
β β β ββ β β β
.Ε jΕb Ε Ε
.Ε JΕb Ε Ε
336
.Ε jΕ Ε Εβ β β β
β° jΕ β° jΕ β° jΕβ° jΕ β° jΕ ΕΕb ^ Ε ΕΕ Ε Ε
β
ββββ
βββββββ
Ε Ε>
ΛΕ Ε
>Λ
337
Ε Ε Λβ β β
f
fContinue Quarter Note Ride, Puls in 3
{J}
f
ff
f
Ε Ε> Ε Ε ΕΕ> Ε Ε Ε β° jΕβ° JΕb > Ε Ε JΕ β°Ε β° jΕ> Ε Ε
β
ββββ
βββββββ
.Λ
.Λ
338β β β
β° jΕ Ε jΕ β°Ε Ε Ε
JΕb ^ β° β° JΕ ΕΕ Ε β° jΕ
β
ββββ
βββββββ
.Λ
.Λ
339β β β
Ε β° jΕ> Ε ΕΕ Ε> Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
β° jΕ> Ε Ε jΕ β°β
ββββ
βββββββ
.Λ
.Λ
340β β β
jΕ β° Ε> Ε Ε Εβ° jΕ> Ε Ε Ε ΕΕb Ε Ε Ε β° JΕΕ> Ε Ε Ε jΕ β°
β
ββββ
βββββββ
.Λ
.Λ
341β β β
Ε Ε Εβ° jΕ β° jΕ β° jΕβ° JΕb > β° JΕ> ΕΕ Ε Ε
β
ββββ
βββββββ
Λ Εb>
Λ Εb >
342
Ε Ε Εβ β β
REQUIEM MASS: AGNUS DEI 47
&&&&&
&&&&????
&&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
Ε β° jΕ Ε ΕΕ Ε> Ε Ε ΕΕb > Ε Ε Ε β° JΕβ° jΕ> Ε Ε Ε
β
ββββ
βββββββ
Ε .Εb > jΕ>
Ε .Εb > jΕ>
343
Ε .Ε jΕβ β β
ff
jΕ β° Ε β° jΕβ° jΕ Ε ΕΕ Εb ^ ΕΕ β° jΕ Ε
β
ββββ
Ε Ε β° JΕb
Ε Ε β° JΕb
Ε Ε β° JΕb
Ε Ε β° JΕb
βββ
Λ Ε ΕΕ>
Λ Ε Ε>
344
Λ Ε Εβ β β
ΓΓΓΓ
ff
β° jΕ> Ε Ε jΕ β°Ε β° jΕ> Ε ΕΕ Εb > Ε Ε ΕΕ> Ε Ε Ε β° jΕ>
β
ββββ
.Λ
.Λ
.Λ
.Λ
βββ
..Λ
.Λ
345β β β
Ε> Ε Ε Ε jΕ β°jΕ β° Ε> Ε Ε Ε
β° JΕb > Ε Ε Ε ΕΕ Ε Ε Ε β° jΕ
β
ββββ
.Λ
.Λ
.Λ
.Λ
βββ
..Λ
.Λ
346β β β
Ε Ε ΕΕ Ε Εβ° JΕb > β° JΕ> β° JΕ>
β° jΕ β° jΕ Εβ
ββββ
Ε Ε Εb >
Ε Ε Εb >
Ε Ε Εb >
Ε Ε Εb >
βββ
..Λ
.Λ
347β β β
ffff
β° jΕ> Ε Ε jΕ β°
Ε β° jΕ> Ε ΕΕ Εb > Ε Ε ΕΕ> Ε Ε Ε β° jΕ
β
ββββ
.Εb > JΕ Ε
.Εb > JΕb ^ Ε
.Εb > JΕ Ε
.Ε> JΕb ^ Εβββ
..Λ
.Λ
348β β β
Ε β° jΕ Ε
Ε Ε β° jΕβ° JΕb ^ Ε ΕΕ Ε Ε
β
ββββ
βββββββ
..Λ
.Λ
349β β β
Ε> Ε Ε Ε β° jΕ>
β° jΕ> Ε Ε jΕ β°Ε β° JΕb > Ε ΕΕ Ε> Ε Ε Ε
β
ββββ
βββββββ
..Λ
.Λ
350β β β
Ε Ε Ε Ε β° jΕΕ> Ε Ε Ε jΕ β°
JΕb β° Ε> Ε Ε Εβ° jΕ> Ε Ε Ε Ε
β
ββββ
Ε Ε β° JΕb >
Ε Ε β° JΕb >
Ε Ε β° JΕb >
Ε Ε β° JΕbβββ
Ε Ε β° jΕbΕ Ε β° JΕb
351
Ε Ε β° jΕβ β β
fff
pp
pp
REQUIEM MASS: AGNUS DEI48
&&&&&
&&&&????
&&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
β° jΕ β° jΕ Ε
Ε Ε ΕΕb ^ Ε Εβ° jΕ β° jΕ β° jΕ
β
ββββ
.Λ
.Λ
.Λ
.Λb >
βββ
.Λb >
.Λb >
352
.β β β
f
f
ff
Ε> Ε Ε Ε β° jΕ>
β° jΕ> Ε Ε jΕ β°Εb ^ β° JΕ> Ε ΕΕ Ε> Ε Ε Ε
β
ββββ
.Λ
.Λ
.Λ
.Λβββ
.Λ
.Λ
353β β β
Ε Ε ΕjΕ β° β° jΕ Ε
Εb ^ Ε β° JΕβ° jΕ Ε Ε
β
ββββ
.Εb .Ε
.Εb .Ε
.Εb .Ε
.Λβββ
.Λ
.Λ
354β β β
Ε Ε> Ε Ε ΕΕ> Ε Ε Ε β° jΕ>
β° JΕb > Ε Ε JΕ β°Ε β° jΕ> Ε ΕΕ Ε Ε>
ββββ
.Λb
Λb Εb
Λb Εb
Λ Εb >
βββ
Λ ΕΕbb>
Λ Εb >
355
Ε Ε Εβ β β
f
β° jΕ> Ε Ε Ε ΕΕ Ε Ε Ε β° jΕΕb > Ε Ε Ε JΕ β°
jΕ β° Ε> Ε Ε ΕΕ Ε> Λ
ββββ
.Λ
.ΛΕ Εb Λ
Ε Εb > Λβββ
ΕΕ ΕΕbb > Λ
Ε Εb > Λ
356
Ε Ε Λβ β β
β° jΕ β° jΕ β° jΕβ° jΕ β° jΕ ΕΕb ^ Ε ΕΕ Ε Ε
.Λββββ
.Λ
.Λ
.Λ
.Λβββ
..Λ
.Λ
357β β β
Ε Ε> Ε Ε ΕΕ> Ε Ε Ε β° jΕβ° JΕb > Ε Ε JΕ β°Ε β° jΕ> Ε Ε
.Λββββ
.Λ
.Λ
.Λ
.Λβββ
..Λ
.Λ
358β β β
pp
pp
β° jΕ Ε jΕ β°Ε Ε ΕΕb ^ β° JΕ ΕΕ Ε β° jΕΕ Ε Ε> Ε
βββββββββββ
ΕΕ Ε Εb>
ΕΕ Ε Εb > Ε
359
Ε Ε Ε Εβ β β
p f
ff
ff
Ε β° jΕ> Ε ΕΕ Ε> Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
β° jΕ> Ε Ε jΕ β°
.Λβββββββββββ
.Λ
.Λ
360β β β
REQUIEM MASS: AGNUS DEI 49
&&&&&
&&&&????
&
&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
jΕ β° Ε> Ε Ε Εβ° jΕ> Ε Ε Ε ΕΕb Ε Ε Ε β° JΕΕ> Ε Ε Ε jΕ β°
Λ β° Ε Ε Ε Ε
βββββββββ
ββ
.Λ
.Λ
361β β β
p
Ε Ε Εβ° jΕ β° jΕ β° jΕβ° JΕb ^ β° JΕ ΕΕ Ε ΕΛ Ε Εb
βββββββββ
ββ
.Λ
.Λ
362β β β
Ε β° jΕ> Ε ΕΕ Ε> Ε Ε ΕΕb > Ε Ε Ε β° JΕβ° jΕ> Ε Ε jΕ β°
.Λ
βββββββββ
ββ
.Λ
.Λ
363β β β
Ε Ε β° jΕ>
β° jΕ Ε Ε>
Ε Λb >jΕ β° β° jΕb > Ε
Λ β° JΕ
βββββββββ
ββ
Λ β° jΕb>
Λ β° jΕb >
364
Ε Ε β° jΕβ β β
.Λ
.Λ
.Λ
.Λ> Ε>
βββββββββ
ββ
Λb> Εb >
Λb > Εb >
365
Λ Εβ β β
.Λ
.Λ
.Λ
.ΛΕ Ε> Λ
βββββββββ
ββ
Ε Εb>
ΛΕ Εb > Λ
366
Ε Ε Λβ β β
ff
f
jΕ β° Ε ΕjΕ β° Ε Ε
JΕ β° Ε ΕjΕ β° Ε Ε
Ε Ε> Λ
βββββββββ
ββ
Ε Εb>
ΛΕ Εb > Λ
367
Ε Ε Ε Εβ β β
ββββ
.Λ
βββββββββ
ββ
.Λ
.Λ
368β β β
Ε β° jΕ Ε
Ε Ε β° jΕβ° JΕb Ε ΕΕ Εb ^ Ε
.Λ
ββββ
.Λb
.Λ
.Λb
.Λbβ
ββ
.Λ
.Λ
369β β β
Ο
ΟΟ
Ο
pp
pp
REQUIEM MASS: AGNUS DEI50
&&&&&
&&&&????
&
&&?
?Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
Ε> Ε Ε Ε β° jΕ>
β° jΕ Ε Ε jΕ β°Ε β° JΕb > Ε ΕΕ Εb > Ε Ε Ε
Λ Ε
ββββ
.Λ
.Λ
.Λ
.Λ
β
ββ
.Λ
.Λ
370β β β
Ε Ε Ε Ε β° jΕΕ Ε Ε Ε jΕ β°
JΕb β° Ε> Ε Ε Εβ° jΕb > Ε Ε Ε ΕnΕ β° jΕ β° jΕ
ββββ
.Λ
.Λ
.Λ
.Λ
β
ββ
Ε β° jΕb^ β° jΕb ^
Ε β° JΕb ^ β° JΕb ^
371
Ε Ε β° jΕβ β β
ff
ff
β° jΕ β° jΕ Ε
Ε Ε ΕΕb ^ Ε Εβ° jΕ β° jΕ β° jΕ
β
ββββββββ
β
ββ
Ε Ε>
ΛΕ Ε
>Λ
372
Λ Ε Εβ β β
{K}
ppp
p
Ε> Ε Ε Ε β° jΕ>
β° jΕ> Ε Ε jΕ β°Εb ^ β° JΕ> Ε ΕΕ Ε> Ε Ε Ε
Ε Ε> Λββββββββ
β
ββ
Ε Ε>
ΛΕ Ε
>Λ
373
Ε .Ε jΕβ β β
Ε Ε ΕjΕ β° β° jΕ Ε
Εb ^ Ε β° JΕβ° jΕ Ε Ε
.Λββββββββ
β° JΕΕb > Λ
β° JΕΕbb > Λ
β° JΕΕbb > Λ
.Λ
.Λ
374
.β β β
f
ff
Ε Ε> Ε Ε ΕΕ> Ε Ε Ε β° jΕ>
β° JΕb > Ε Ε JΕ β°Ε β° jΕ> Ε Ε
Ε Ε Ε
ββββββββ
..Λ
..Λ
..Λ
.Λ
.Λ
375β β βSolo Fill Beneath
β° jΕ> Ε Ε Ε ΕΕ Ε Ε Ε β° jΕΕb > Ε Ε Ε JΕ β°
jΕ β° Ε> Ε Ε Εβ
ββββββββ
..Λ
..Λ
..Λ
.Λ
.Λ
376β β β
β° jΕ β° jΕ β° jΕβ° jΕ β° jΕ ΕΕb ^ Ε ΕΕ Ε Ε
β
ββββββββ
..Λ
..Λ
..Λ
.Λ
.Λ
377β β β
Ε Ε> Ε Ε ΕΕ> Ε Ε Ε β° jΕβ° JΕb > Ε Ε JΕ β°Ε β° jΕ> Ε Ε
β
ββββββββ
..Λ
..Λ
..Λ
Λ Εb>
Λ Εb >
378β β β
REQUIEM MASS: AGNUS DEI 51
&&&&&
&&&&????
&&&??
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
β° jΕ Ε jΕ β°Ε Ε Ε
JΕb ^ β° β° JΕ ΕΕ Ε β° jΕ
β
ββββ
ββββ
βββ
Ε .Εb > jΕ>
Ε .Εb > jΕ>
379β β β
ff
ff
ff
Ε β° jΕ> Ε ΕΕ Ε> Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
β° jΕ> Ε Ε jΕ β°β
ββββ
ββββ
βββ
Λ Ε ΕΕ>
Λ Ε ΕΕ>
380β β β
pp
pff
pjΕ β° Ε> Ε Ε Ε
β° jΕ> Ε Ε Ε ΕΕb Ε Ε Ε β° JΕΕ> Ε Ε Ε jΕ β°
β
ββββ
ββββ
Ε Ε β° JΕΕbb >
Ε Ε β° JΕΕ>
Ε Ε β° JΕΕ>
Λ ΕΕ ΕΕbb>
Λ ΕΕ Εb >
381β
f
f
Ε Ε Εβ° jΕ β° jΕ β° jΕβ° JΕb > β° JΕ> ΕΕ Ε Ε
β
ββββ
ββββ
..Λ
..Λ
..Λ
..Λ
.Λ
382β
Ε β° jΕ Ε ΕΕ Ε> Ε Ε ΕΕb > Ε Ε Ε β° JΕβ° jΕ> Ε Ε Ε
β
ββββ
ββββ
..Λ
..Λ
..Λ
..Λ
.Λ
383
Ε Ε Ε Ε Εβ β β
jΕ β° Ε β° jΕβ° jΕ Ε ΕΕ Εb ^ ΕΕ β° jΕ Ε
β
ββββ
ββββ
..Λ
..Λ
..Λ
..Λ
.Λ
384
Ε Ε Λβ β β
β° jΕ> Ε Ε jΕ β°Ε β° jΕ> Ε ΕΕ Εb > Ε Ε ΕΕ> Ε Ε Ε β° jΕ>
β
ββββ
ββββ
..Λ
..Λ
..Λ
..Λ
.Λ
385β β β
Light Time Quarter Pulse
Ε> Ε Ε Ε jΕ β°jΕ β° Ε> Ε Ε Ε
β° JΕb > Ε Ε Ε ΕΕ Ε Ε Ε β° jΕ
β
ββββ
ββββ
..Λ
..Λ
..Λ
ββ
386β β β
Ε Ε ΕΕ Ε Εβ° JΕb > β° JΕ> β° JΕ>
β° jΕ β° jΕ Εβ
ββββ
ββββ
..Λ
..Λ
..Λ
Ε Ε β° jΕbΕ Ε β° JΕb
387
Ε Ε β° jΕβ β β
ff
f
f
REQUIEM MASS: AGNUS DEI52
&&&&&&&&&????
&&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
β° jΕ> Ε Ε jΕ β°
Ε β° jΕ> Ε ΕΕ Εb > Ε Ε ΕΕ> Ε Ε Ε β° jΕ
βββββ
β° JΕb > Εb Εb JΕ β°β° JΕb > Εb Εb JΕ β°β° JΕb > Εb Εb JΕ β°
β
ββ° JΕb > Εb Εb jΕ β°
β
.Λb >
.Λb >
388
.β β β
f
fff
Ε β° jΕ Ε
Ε Ε β° jΕβ° JΕb ^ Ε ΕΕ Ε Ε
βββββ
jΕ> β° Ε Εb Εb Εb >jΕ> β° Ε Εb Εb Εb >jΕ> β° Ε Εb Εb Εb >
β
βjΕ> β° Ε Εb Εb Εb >
β
.Λ
.Λ
389β β β
Light Fills Building
Ε> Ε Ε Ε β° jΕ>
β° jΕ> Ε Ε jΕ β°Ε β° JΕb > Ε ΕΕ Ε> Ε Ε Ε
βΕ Ε Ε Ε β° JΕbΕ Ε Ε Ε β° JΕbΕ Ε Ε Ε β° JΕbΕ Ε Ε Ε β° JΕbβ° JΕb Εb Ε Ε.
β° JΕb Εb Ε Ε>
β° JΕb Εb Ε Ε.
β
Εb Εb Ε Ε β° JΕbβ° jΕb Εb Ε Ε.
Εb Εb Ε Ε β° JΕb
.Λ
.Λ
390β β β
f
f
ff
ff
ffff
Ε Ε Ε Ε β° jΕΕ> Ε Ε Ε jΕ β°
JΕb β° Ε> Ε Ε Εβ° jΕ> Ε Ε Ε ΕΕ Ε Ε>Ε Ε Εb Ε Εb Ε Ε3
Ε Ε Εb Ε Εb Ε Ε3
Ε Ε Εb Ε Εb Ε Ε3
Ε Ε Εb Ε Εb Ε Ε3
.Λb >
.ΛΕb Εb > Λ
Ε Ε Εb >
Εb Εb Ε Εb Ε Εb Ε Εb33
Εb Εb > ΛΕb Εb Ε Εb Ε Εb Ε Εb3
3
Λ ΕΕbb>
Λ Εb >
391
Ε Ε Ε Ε Εβ β β
f
f
β° jΕ β° jΕ Ε
Ε Ε ΕΕb ^ Ε Εβ° jΕ β° jΕ β° jΕ
Ε Ε> ΛΕ Ε> Λ
Ε Εb > Λ
Ε Ε> ΛΕ Ε> Λβ° JΕb > Λ
β° JΕb > Λ
β° JΕ> Λ
Ε Εb > ΛΕb ΕΕ> Λ
β° JΕΕ> ΛΕb ΕΕb > Λ
ΕΕ ΕΕbb > ΛΕ Εb > Λ
392
Ε Ε Λβ β β
ΓΓ
ΓΓ
ΓΓ
ΓΓ
Ε> Ε Ε Ε β° jΕ>
β° jΕ> Ε Ε jΕ β°Εb ^ β° JΕ> Ε ΕΕ Ε> Ε Ε Ε
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
..Λ
..Λ
..Λ
..Λ
.Λ
393β β β
p
pp
p
Ε Ε ΕjΕ β° β° jΕ Ε
Εb ^ Ε β° JΕβ° jΕ Ε Ε
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
.Λ
..Λ
..Λ
..Λ
..Λ
.Λ
394β β β
ff
ff
Ε Ε> Ε Ε ΕΕ> Ε Ε Ε β° jΕ>
β° JΕb > Ε Ε JΕ β°Ε β° jΕ> Ε Ε
Ε Ε Ε> ΕΕ Ε ΕΕ Ε ΕΕ Ε Ε
Ε Ε ΕΕ β° JΕ Ε
Ε β° JΕb Ε Ε
Ε β° JΕb Ε Ε
Ε β° JΕ β° JΕΕΕ Ε ΕΕΕ Ε ΕΕΕ Ε Ε
ΕΕ Ε Εb>
ΕΕ Ε Εb > Ε
395
Ε Ε Ε Εβ β β
f
pppp
β° jΕ> Ε Ε Ε ΕΕ Ε Ε Ε β° jΕΕb > Ε Ε Ε JΕ β°
jΕ β° Ε> Ε Ε Ε
.Λββββ
Ε Ε ΕΕb ^ Ε Ε
β° JΕb ^ β° JΕ β° JΕ
β° JΕ β° JΕ Ε
βββ ?
.Λ
.Λ
396β β β
REQUIEM MASS: AGNUS DEI 53
&&&&&
&&&&????
&&???Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
β° jΕ β° jΕ β° jΕβ° jΕ β° jΕ ΕΕb ^ Ε ΕΕ Ε Ε
Λ β° Ε Ε Ε Εββββ
β° JΕ> Ε Ε ΕΕb ^ β° JΕ> Ε Ε
Ε Εb > Ε Ε ΕΕ> Ε Ε Ε β° JΕ
ββ
Ε Ε β° Ε Ε Εb Εb
.Λ
.Λ
397β β β
p
Light Fills Building
Ε Ε> Ε Ε ΕΕ> Ε Ε Ε β° jΕβ° JΕb > Ε Ε JΕ β°Ε β° jΕ> Ε ΕΛ Ε Εb
ββββ
Ε β° JΕ ΕΕb ^ Ε β° JΕ
β° JΕb ^ Ε Ε
Ε Ε Εββ
Λ Ε Εb
.Λ
.Λ
398β β β
β° jΕ Ε jΕ β°Ε Ε Ε
JΕb ^ β° β° JΕ ΕΕ Ε β° jΕ
.Λββββ
Ε> Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε Ε
Ε β° JΕb > Ε Ε
Ε Ε> Ε Ε Εββ
.Λ
.Λ
.Λ
399β β β
Ε β° jΕ> Ε ΕΕ Ε> Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
β° jΕ> Ε Ε jΕ β°.Λββββ
Ε Ε Ε Ε β° JΕΕb > Ε Ε Ε JΕ β°JΕb ^ β° Ε> Ε Ε Ε
β° JΕ> Ε Ε Ε Εββ
.Λ
.Λ
.Λ
400β β β
jΕ β° Ε> Ε Ε Εβ° jΕ> Ε Ε Ε ΕΕb Ε Ε Ε β° JΕΕ> Ε Ε Ε jΕ β°
β
ββββ
β° JΕ β° JΕ ΕΕb ^ Ε ΕΕb ^ Ε Ε
β° JΕ β° JΕ β° JΕβββ
Λb> Εb >
Λb > Εb >
401
Λ Εβ β β
Ε Ε Εβ° jΕ β° jΕ β° jΕβ° JΕb ^ β° JΕ ΕΕb ^ Ε Ε
β
ββββ
Ε> Ε Ε Ε β° JΕ
β° JΕb > Ε Ε ΕΕb ^ β° JΕ> Ε Ε
Ε Ε> Ε Ε Εb ^
βββ
Ε Εb>
ΛΕ Εb > Λ
402
Ε Ε Λβ β β
ff
f
fff
Ε β° jΕ> Ε ΕΕ Ε Ε Ε ΕΕb ^ Ε Ε Ε β° JΕβ° jΕb ^ Ε Ε Ε
β
β° JΕ> Ε Ε JΕ β°Ε β° JΕb > Ε ΕΕ Εb > Ε Ε ΕΕ> Ε Ε Ε β° jΕ>
Ε Ε ΕΕb ^ β° JΕ ΕΕb ^ Ε β° JΕ
β° JΕb ^ Ε JΕ β°βββ
Ε Εb>
ΛΕ Εb > Λ
403
Ε Ε Λβ β β
{L}
p
pp
Γcup
Γcup
Γcup
Γcup
p
p
pp
p
Ε Ε β° jΕβ° jΕ Ε ΕΕ Λb >
Εb ^ β° jΕ> Εβ
Ε> Ε Ε Ε JΕ β°
JΕb ^ β° Ε> Ε Ε Εβ° jΕb > Ε Ε Ε ΕΕ Ε Ε Ε β° jΕΕ Ε> Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε Ε
Ε β° JΕb > Ε Εβββ
.Λ
.Λ
404β
ff
ff .Λ
.Λ
.Λ
.Λβ
Ε Ε ΕΕb ^ Ε Εβ° jΕb ^ β° jΕ β° jΕβ° jΕ β° jΕ Ε
β° JΕ> Ε Ε Ε ΕΕb Ε Ε Ε β° JΕΕb > Ε Ε Ε ΕΕb ^ Ε> Ε Ε Ε
βββ
.Λ
.Λ
405β
REQUIEM MASS: AGNUS DEI54
&
&
&&
&&&&&????
&&??
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
.Λ
.Λ
.Λ
.Λ
ββ° JΕ> Ε Ε ΕΕb ^ β° JΕ> Ε ΕΕ Εb > Ε Ε ΕΕ> Ε Ε Ε β° jΕβ° JΕ β° JΕ β° JΕ
β° JΕb ^ β° JΕ ΕΕb ^ Ε ΕΕb ^ Ε Ε
βββ
.Λ
.Λ
406β
.Λ
.Λ
.Λ
.Λ
βΕ β° JΕ ΕΕb ^ Ε β° JΕβ° jΕb ^ Ε ΕΕ Ε ΕΕ Ε> Ε Ε ΕΕb > Ε Ε Ε β° JΕ
β° JΕb > Ε Ε ΕΕb ^ β° JΕ> Ε Ε
βββ
Ε Ε Ε
Ε Ε Ε
407β
.Λ
.Λ
.Λ
.Λ
βΕ> Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε JΕ β°Ε β° jΕb > Ε ΕΕ Ε> Ε Ε Εβ° JΕ Ε JΕ β°Ε Εb ^ ΕΕb ^ β° JΕ ΕΕb ^ Ε β° JΕ
ββββ
β
408β
p
β
β
ββ
βΕ Ε Ε Ε β° JΕΕb > Ε Ε Ε JΕ β°
Εb ^ Ε> Ε Ε Εβ° jΕ> Ε Ε Ε ΕΕ β° JΕ> Ε Ε
Ε Εb > Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε JΕ β°ββββ
β
409β
β
β
ββ
ββ° JΕ β° JΕ ΕΕb ^ Ε Ε
Εb ^ Ε Εβ° jΕ β° jΕ β° jΕΕ Ε> Ε Ε Ε
β° JΕb > Ε Ε Ε ΕΕb Ε Ε Ε β° JΕΕb > Ε Ε Ε JΕ β°
ββββ
β
410β
β
β
ββ
βΕ> Ε Ε Ε β° JΕβ° JΕb > Ε Ε Ε
Εb ^ β° jΕ> Ε ΕΕ Ε> Ε Ε ΕΕ Ε β° JΕ
β° JΕb ^ Ε JΕ β°Ε Εb ^ ΕΕb ^ β° JΕ Ε
ββββ
β
411β
β
β
ββ
βΕ Ε ΕΕb ^ β° JΕ Ε
Εb ^ Ε β° jΕβ° jΕ Ε Εβ° JΕ> Ε Ε Ε
Ε β° JΕb > Ε Ε
Ε Εb > Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
ββββ
β
412β
β
β
ββ
βΕ Ε> Ε Ε Ε
Εb > Ε Ε Ε β° JΕ>
β° jΕb > Ε Ε jΕ β°Ε β° jΕ> Ε ΕΕ Ε β° JΕ
β° JΕb ^ Ε JΕ β°Ε Εb ^ ΕΕb ^ β° JΕ Ε
ββββ
β
413β
β
β
ββ
ββ° JΕ> Ε Ε Ε Ε
Εb Ε Ε Ε β° JΕ
Εb > Ε Ε Ε jΕ β°jΕ β° Ε> Ε Ε Ε
β° JΕ> Ε Ε Ε
Ε β° JΕb > Ε Ε
Ε Εb > Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
ββββ
β
414β
f
ff
ff
ff
f
β
β
ββ
ββ° JΕ β° JΕ β° JΕ
β° JΕb ^ β° JΕ Ε
Εb ^ Ε ΕΕ Ε ΕΕ> Ε Ε Ε Ε
JΕb ^ β° Ε> Ε Ε Ε
β° JΕb > Ε Ε Ε ΕΕb Ε Ε Ε β° JΕ
ββββ
β
415β
ΓΓΓΓ
ΓΓ
ΓΓ
REQUIEM MASS: AGNUS DEI 55
&
&&&&
&&&&????
&&??
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ΕΈ~~~~~~~~~~~~~~~~~~~
ΕΈ~~~~~~~~~.Λb
.Λn
.Λn ,
.Λβ
Ε Ε> Ε Ε Ε
Εb > Ε Ε Ε β° JΕβ° jΕb > Ε Ε jΕ β°
Ε β° jΕ> Ε ΕΕb ^ Ε Ε
Εb ^ Ε Ε
β° JΕb ^ β° JΕ β° JΕ
β° JΕb ^ β° JΕ Ε
βββ
..ΕΕ> jΕΕ
^ Ε
.Ε> jΕ Ε
416
.Ε jΕ Εβ β βΖΖ
Straight 8th Build to β° w/ Hits
pp
p
p.Λ ,
.Λ
.Λ
.Λβ
β° JΕ Ε Ε
Ε Εb ^ Ε
Εb ^ β° jΕ Ε
Ε Ε β° jΕβ° JΕb > Ε Ε Ε
Εb ^ β° JΕ> Ε Ε
Ε Εb > Ε Ε ΕΕb > Ε Ε Ε β° JΕ
ββββ
β
417β β β
.Λb
.Λn
.Λn
.Λ ,
β
Ε β° JΕ> Ε Ε
Ε Εb > Ε Ε Ε
Εb > Ε Ε Ε β° jΕ>
β° jΕ> Ε Ε jΕ β°Εb ^ β° JΕ ΕΕb ^ Ε β° JΕ
β° JΕb ^ Ε Ε
Ε Εb ^ Ε
ββββ
β
418β β β
.Λb
.Λ ,
.Λ
.Λb
βΕ Ε> Ε Ε Ε
β° JΕb > Ε Ε Ε Ε
Εb Ε Ε Ε β° jΕΕ> Ε Ε Ε jΕ β°Εb > Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε JΕ β°Ε β° JΕb > Ε Ε
Ε Εb > Ε Ε Ε
ββββ
β
419β β β
.Λb
.Λ
.Λ
.Λβ° jΕ Ε Ε>
Ε Ε Ε
β° JΕb ^ β° JΕ β° JΕβ° jΕb ^ β° jΕ Ε
Ε Ε ΕΕb Ε Ε Ε β° JΕ
Εb > Ε Ε Ε JΕ β°JΕb ^ β° Ε> Ε Ε Ε
β° JΕb > Ε Ε Ε Ε
βββ
β° jΕΕ^ Ε ΕΕ>
β° JΕΕ Ε ΕΕ>
420
β° jΕ Ε Εβ β β
Γ
Γ
Γ
Γ
Γ
Γ
ΓΓ
f
Ε Ε ΕΕ Ε ΕΕ Ε Ε
Ε Ε Ε
Ε Ε Ε ΕΕ β° JΕ> Ε Ε
Ε Εb > Ε Ε Ε
Εb > Ε Ε Ε β° jΕβ° jΕ> Ε Ε jΕ β°β° JΕb ^ β° JΕ ΕΕb ^ Ε ΕΕb ^ Ε Ε
β° JΕb ^ β° JΕ β° JΕ
βββ
ΕΕ ΕΕ Ε ΕΕΕ ΕΕ Ε Ε
421
Ε Ε Ε Εβ β β
β
ββββ
Ε Ε β° JΕ
β° JΕb ^ Ε ΕΕ Εb ^ Ε
Ε β° jΕ ΕΕb > Ε Ε Ε β° JΕ
β° JΕb > Ε Ε JΕ β°Εb ^ β° JΕ> Ε Ε
Ε Εb > Ε Ε Ε
ββββ
β
422β β β
β
ββββ
β° JΕ> Ε Ε JΕ β°Ε β° JΕb > Ε ΕΕ Εb > Ε Ε ΕΕ> Ε Ε Ε β° jΕ>
Ε Εb ^ ΕΕb ^ β° JΕ ΕΕb ^ Ε β° JΕ
β° JΕb ^ Ε Ε
ββββ
β
423β β β
β
βββ
Ε β° jΕ ΕΕ> Ε Ε Ε JΕ β°Εb ^ Ε> Ε Ε Εβ° jΕb > Ε Ε Ε ΕΕ Ε Ε Ε β° jΕΕ Εb > Ε Ε Ε
Εb > Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε JΕ β°Ε β° JΕb > Ε Ε
βββ
Ε β° jΕΕ^ Ε
Ε β° JΕΕ Ε
424
Ε β° jΕ Εβ β β
REQUIEM MASS: AGNUS DEI56
&&&&&
&&&&????
&
&??
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
ΕΈ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ββββ
jΕ β° Ε Ε> ΕΕ Ε Ε
Εb ^ Ε Εβ° jΕb ^ β° jΕ β° jΕβ° jΕ β° jΕ Εβ° JΕb > Ε Ε Ε Ε
Εb Ε Ε Ε β° JΕΕb > Ε Ε Ε JΕ β°
JΕb ^ β° Ε> Ε Ε Ε
β
ββ &
jΕΕ^ β° ΕΕ ΕΕbb
> ΕΕ
JΕΕ β° ΕΕ ΕΕbb > ΕΕ
425
Ε Ε Ε Εβ β β
ΓΓ
ΓΓΓΓΓΓ
Ε β° JΕn > Ε
Ε β° JΕn > Ε
Ε β° JΕn > Ε
Ε β° JΕn > Ε
.Ε jΕ Ε
β° JΕ> Ε Ε JΕ β°Εb ^ β° JΕ> Ε ΕΕ Εb > Ε Ε ΕΕ> Ε Ε Ε β° jΕβ° JΕb ^ β° JΕ β° JΕ
β° JΕb ^ β° JΕ ΕΕb ^ Ε ΕΕb ^ Ε Ε
Ε β° JΕΕn > ΕΕ
Ε β° JΕΕbb > ΕΕΕ β° JΕΕb > ΕΕ
..ΕΕ> jΕΕbb
^ Ε..ΕΕ> JΕΕbb ^ Ε
426
.Ε jΕ Εβ β β
ffff
.Λ
.Λ
.Λ
.Λ
β
Ε β° JΕ ΕΕb ^ Ε β° JΕβ° jΕb ^ Ε ΕΕ Ε ΕΕ Εb > Ε Ε Ε
Εb > Ε Ε Ε β° JΕ
β° JΕb > Ε Ε ΕΕb ^ β° JΕ> Ε Ε
..Λ
..Λ
..Λ
β
β
427β β β
.Λ
.Λ
.Λ
.Λ
β
Ε> Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε ΕΕ β° jΕb > Ε ΕΕ Ε> Ε Ε Εβ° JΕb ^ Ε Ε
Ε Εb ^ ΕΕb ^ β° JΕ ΕΕb ^ Ε β° JΕ
..Λ
..Λ
..Λ
β
β
428β β β
.Λ
.Λ
.Λ
.Λ
Ε Ε β° jΕ>
Ε Ε Ε Ε β° JΕ
Εb > Ε Ε Ε ΕjΕb ^ β° Ε> Ε Ε Ε
β° jΕ> Ε Ε Ε ΕΕ β° JΕb > Ε Ε
Ε Εb > Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε JΕ β°..Λ
..Λ
..Λ
Ε Ε β° jΕΕbb>
Ε Ε β° JΕΕbb >
429
Ε Ε β° jΕβ β β
Ε Λ Λn
Ε Λ
Ε Λb Λb
Ε Λ
Ε> jΕ β° Ε
Ε> Ε Ε Ε β° JΕ>
β° JΕb > Ε Ε ΕΕ β° jΕb > Ε ΕΕ Ε> Ε Ε ΕΕb ^ Ε> Ε Ε Ε
β° JΕb > Ε Ε Ε ΕΕb Ε Ε Ε β° JΕΕb > Ε Ε Ε JΕ β°
β
Ε Ε> Εβ
ΕΕ> jΕΕbb
^ β° ΕΕΕ> JΕΕbb ^ β° Ε
430
Ε Ε Εβ β β
ffff
.Λ .Λn
.Λ
.Λb .Λb
.Λβ
Ε Ε Ε Ε β° JΕ
Εb > Ε Ε Ε Ε
Εb ^ Ε> Ε Ε Εβ° jΕ> Ε Ε Ε ΕΕb ^ Ε β° JΕ
β° JΕb ^ Ε JΕ β°Ε Εb ^ ΕΕb ^ β° JΕ ΕΕ# > Ε Ε Ε> Ε ΕΕ# Ε> Ε Ε Ε> Ε
ββ
β
431β β β
.Λ .Λn
.Λ
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Ε Ε Ε Ε β° JΕ
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Ε β° JΕb > Ε Ε
Ε Εb > Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
Ε# > Ε Ε Ε Ε Ε>
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ββ
β
432β β β
.Λ .Λn
.Λ
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Εb > Ε Ε Ε JΕ β°jΕb ^ β° Ε> Ε Ε Ε
β° jΕ> Ε Ε Ε Εβ° JΕb > Ε Ε JΕ β°Ε β° JΕb > Ε Ε
Ε Εb > Ε Ε ΕΕb > Ε Ε Ε β° JΕ>
Ε# Ε Ε Ε Ε ΕΕ# Ε Ε> Ε Ε Ε>
βΕ Ε β° jΕΕbb >
Ε Ε β° JΕΕbb >
433
Ε Ε Ε Εβ β β
REQUIEM MASS: AGNUS DEI 57
&&&&&
&&&&????
&
&&?
?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
βββββ
ββββββββ
Ε# Ε> Ε Ε> Ε ΕΕ# Ε Ε> Ε Ε> Ε
βΕΕ> jΕΕbb ^ β° β° jΕΕΕΕ> JΕΕbb ^ β° β° JΕΕ
434
.Ε jΕ β° jΕβ β β
{M}
Continue Straight 8th Build to ΛΓ w/ Hits and Lead Fills
βββββ
ββββββββ
Ε# > Ε Ε Ε Ε ΕΕ# > Ε Ε Ε Ε Ε
β..Λ..Λ
435β β β
βββββ
ββββββββ
Ε# Ε Ε> Ε Ε ΕΕ# Ε Ε> Ε Ε Ε
β..Λ..Λ
436β β β
βββββ
ββββββββ
Ε# Ε Ε> Ε Ε ΕΕ# Ε> Ε Ε Ε Ε
β..Λ..Λ
437β β β
βββββ
ββββββββ
Ε# Ε> Ε Ε Ε ΕΕ# > Ε Ε Ε Ε Ε
ββ° jΕΕ
^ Ε ΕΕ>
β° JΕΕ Ε ΕΕ>
438
β° jΕ Ε Εβ β β
βββββ
ββββββββ
Ε# Ε> Ε Ε> Ε Ε>
Ε# > Ε Ε> Ε Ε> Ε
βΕΕ ΕΕ Ε ΕΕΕ ΕΕ Ε Ε
439
Ε Ε Ε Εβ β β
βββββ
ββββββββ
Ε# Ε Ε> Ε Ε ΕΕ# Ε> Ε Ε Ε Ε
ββ
β
440β β β
βββββ
ββββββββ
Ε# Ε> Ε Ε Ε> ΕΕ# > Ε Ε Ε> Ε Ε
ββ
β
441β β β
βββββ
ββββββββ
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βΕ β° jΕΕ
^ Ε
Ε β° JΕΕ Ε
442
Ε β° jΕ Εβ β β
REQUIEM MASS: AGNUS DEI58
&&&&&
&&&&????
&
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?
Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
βββββ
ββββββββ
Ε# Ε Ε> Ε Ε ΕΕ# Ε Ε Ε Ε Ε
βjΕΕ β° ΕΕ ΕΕbb > ΕΕ
JΕΕ β° ΕΕ ΕΕbb > ΕΕ
443
Ε Ε Ε Εβ β β
βββββ
ββββββββ
Ε# > Ε> Ε Ε Ε> Ε>
Ε# Ε Ε Ε Ε Ε
β..ΕΕ> jΕΕbb > ΕΕ..ΕΕ> JΕΕbb > ΕΕ
444
.Ε jΕ Εβ β β
βββββ
ββββββββ
Ε# Ε Ε Ε. Ε ΕΕ# > Ε Ε Ε Ε Ε>
β..Λ..Λ
445β β β
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Ε# > Ε Ε> Ε Ε Ε>
Ε# Ε Ε> Ε Ε Ε
β..Λ..Λ
446β β β
βββββ
ββββββββ
Ε# Ε> Ε Ε Ε ΕΕ# Ε Ε> Ε Ε Ε
βΛ β° jΕΕbb >
Λ β° JΕΕbb >
447
Ε Ε β° jΕβ β β
βββββ
ββββββββ
Ε# > Ε Ε Ε Ε ΕΕ# Ε> Ε Ε Ε Ε
βΕΕ> ΕΕbb
^ β° jΕΕ>
ΕΕ> ΕΕbb ^ β° JΕΕ>
448
Ε Ε β° jΕβ β β
βββββ
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^ β° jΕΕ^
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449
Ε Ε β° jΕβ β β
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ββ
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450β β β
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Ε# > Ε Ε Ε> Ε ΕΕ# Ε> Ε Ε Ε> Ε
βΕ Ε β° jΕΕbb
^
Ε Ε β° JΕΕbb ^
451
Ε Ε β° jΕβ β β
REQUIEM MASS: AGNUS DEI 59
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&
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Γ·
44
44444444
4444
4444
4444444444
4444
44
44
44
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
βββββ
ββββββββ
Ε# > Ε Ε Ε Ε Ε>
Ε# Ε Ε Ε> Ε Ε
β
β° jΕΕbb^ Ε ΕΕ
^
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452
β° jΕ Ε Εβ β β
βββββ
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Ε# Ε Ε Ε Ε ΕΕ# Ε Ε> Ε Ε Ε
β
β° jΕΕbb^ β° jΕΕ
^ β° jΕΕ^
β° JΕΕbb ^ β° JΕΕ β° JΕΕ
453
β° jΕ β° jΕ β° jΕβ β β
βββββ
ββββββββ
Ε# > Ε Ε> Ε Ε> Ε Ε Ε>
Ε# Ε> Ε Ε> Ε Ε> Ε Ε
β
ww
454β β β β
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Half-time Rock Feel, Open Hi-Hat
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457β β β β
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.Ε jΕ Ε Ε.Ε JΕ Ε Ε
458
Γ Ε Εβ β β β
βββββ
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Ε# Ε Ε Ε Ε> Ε Ε ΕΕ# Ε Ε Ε Ε> Ε Ε Ε
β
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459
Γ Ε Ε Εβ β β β
REQUIEM MASS: AGNUS DEI60
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&?
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Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
βββββ
ββββββββ
Ε# Ε Ε> Ε Ε Ε Ε Ε>Ε# Ε> Ε Ε Ε Ε Ε> Ε
β
ww
460β β β β
βββββ
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461β β β β
βββββ
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β.Λ Ε.Λ Ε
462β β β β
βββββ
ββββββββ
Ε# Ε> Ε Ε Ε> Ε Ε ΕΕ# > Ε Ε Ε> Ε Ε Ε> Ε
β
Ε^ Ε Ε .Ε jΕ#Ε Ε Ε .Ε JΕ#
463β β β β
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Ε# Ε> Ε Ε Ε Ε Ε> ΕΕ# Ε Ε Ε> Ε Ε Ε Ε
β
.Ε jΕ# Ε Ε
.Ε jΕ# Ε Ε
464
.Ε jΕ Ε Εβ β β β
βββββ
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Ε# Ε Ε> Ε> Ε Ε Ε> Ε>Ε# Ε> Ε Ε> Ε Ε> Ε Ε
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465
.Ε jΕ Ε Εβ β β β
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Ε# Ε Ε Ε. Ε Ε Ε> ΕΕ# > Ε Ε Ε Ε Ε> Ε Ε
β
ww
466
wβ β β β
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Ε# > Ε Ε Ε> Ε Ε> Ε ΕΕ# > Ε Ε Ε Ε Ε Ε> Ε
β
.Λ Ε Ε
.Λ Ε Ε
467
.Λ Ε Εβ β β β
REQUIEM MASS: AGNUS DEI 61
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Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
Ε β° JΕ Λ
Ε β° JΕ# Λ
Ε β° JΕ Λ
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ββββββββ
Ε# Ε Ε> Ε Ε Ε Ε ΕΕ# Ε Ε Ε> Ε Ε Ε Ε
β
ww
468
wβ β β β
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Ε# > Ε Ε> Ε Ε> Ε Ε Ε>Ε# Ε> Ε Ε> Ε Ε> Ε Ε
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.Ε jΕ .Ε jΕ
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469
.Ε jΕ .Ε jΕβ β β β
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474
Γ Ε Εβ β β β
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Ε# > Ε Ε Ε Ε Ε> Ε ΕΕ# Ε Ε Ε> Ε Ε Ε Ε
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475
Γ Ε Ε Εβ β β β
REQUIEM MASS: AGNUS DEI62
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Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
βββββ
βββββ
Ε Ε# > Ε Ε β° JΕ>
ββ
Ε# Ε Ε Ε Ε Ε> Ε Ε>Ε# > Ε Ε Ε> Ε Ε Ε> Ε
β
ww
476β β β β
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477β β β β
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478β β β β
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479β β β β
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480
.Ε jΕ Ε Εβ β β β
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481
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482
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483
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REQUIEM MASS: AGNUS DEI 63
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Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
T. Sx. 2
B. Sx.
Bb Tpt. 1
Bb Tpt. 2
Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
Γ Ε Ε# Ε#Γ Ε Ε# Ε#Γ Ε Ε# Ε#Γ Ε Ε# Ε#Γ Ε Ε# Ε#
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Ε# > Ε> Ε Ε Ε> Ε> Ε ΕΕ# Ε> Ε Ε> Ε Ε Ε> Ε
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484
.Ε jΕ Ε Ε Εβ β β β
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ww
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Ε# Ε. Ε Ε Ε> Ε Ε> ΕΕ# Ε Ε Ε> Ε Ε Ε> Ε
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485
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486
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491
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REQUIEM MASS: AGNUS DEI64
&&&&&
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Γ·
A. Sx. 1
A. Sx. 2
T. Sx. 1
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B. Sx.
Bb Tpt. 1
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Bb Tpt. 3
Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
ββ
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498
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REQUIEM MASS: AGNUS DEI 65
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Tbn. 3
Tbn. 4
Vib.
Gtr.
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Drums
Pno.
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REQUIEM MASS: AGNUS DEI66
&&&&&
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Γ·
A. Sx. 1
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Bb Tpt. 4
Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
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REQUIEM MASS: AGNUS DEI 67
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Tbn. 1
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Tbn. 3
Tbn. 4
Vib.
Gtr.
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Pno.
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REQUIEM MASS: AGNUS DEI68
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A. Sx. 1
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Tbn. 1
Tbn. 2
Tbn. 3
Tbn. 4
Vib.
Gtr.
A.B.
Drums
Pno.
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REQUIEM MASS: AGNUS DEI 69