Hadra (Bitensky, Laurence Scott)

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Sheet Music


 Complete Score
#117473 - 52.05MB, 122 pp. -  0.0/10 2 4 6 8 10 (0- !N/!N/!N - 331x

PDF typeset by Unknown
Bitensky (2011/9/2)

PMLP238308-Hadra score.pdf
Publisher Info.:

Silly Black Dog Music


Creative Commons Attribution 3.0 [tag/del]


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General Information

Work Title Hadra
Alternative Title
Composer Bitensky, Laurence Scott
Movements/Sections 1
Year/Date of Composition 2004
First Performance 2005-04-27 – Murray State University Wind Ensemble, Dennis Johnson (conductor)
First Publication 2004 – Silly Black Dog Music
Average Duration 20 minutes
Composer Time Period Modern
Piece Style Modern
Instrumentation Orchestra: piccolo, 2 flutes/alto flute, 2 oboes, English horn, 3 clarinets, bass clarinet/clarinet E, 2 bassoons, 2 alto saxophone/soprano saxophone, tenor saxophone, baritone saxophone + 4 horns, 3 trumpets, 2 trombones, bass trombone, euphonium, tuba + 6 percussion + electric bass guitar + celesta

Misc. Comments

Commissioned by Dennis Johnson and Tim Reynish, Past Presidents of the World Association for Symphonic Bands and Ensembles (WASBE)

Hadra is inspired by my 2004 stay in Fez, Morocco where I had the privilege of participating in several trance-dancing rituals unique to Sufi brotherhoods in Morocco. These rituals, which extend to the early hours of the morning, involve chanting, dancing, and highly percussive instrumental performances. Each session usually involves a slowly increasing tempo leading to an enormous climax of dense percussion and repeated syllables. The goal is to reach to an ecstatic state in which the individual members of the group are subsumed into the collective energy known as hadra or “presence.” My wind ensemble piece is in one sense part of a tradition of musical travelogues (Debussy, Ravel, Stravinsky, Ellington, etc.) in which a composer paints a musical portrait of foreign culture by lovingly and respectfully appropriating musical elements from that culture and blending it into his or her own style in a unique way. In another and perhaps deeper sense, my piece is an attempt to capture and in some ways reenact the ritual power of this transforming ceremony.

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