ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ Γεράσιμος Κανιώρος

Μεταγραφή: Σπύρος Περατινός

Πένθιμο Εμβατήριο
        
Αθήνα, 2018

  Adagio  = 60     
Flute     
              
   



Oboe

                 


                

B♭ Clarinet 1

                 
 

       


        
B♭ Clarinet 2

                 
 

       


        
B♭ Clarinet 3

      
           



 
Alto Saxophone

    
                              
Tenor Saxophone 
    
             
B♭ Trumpet 1    
  

 
        


B♭ Trumpet 2
          
     
        


Horn F 1

     
  


Horn F 2      

        


Horn F 3
      
             
 


Trombone 1

             


Trombone 2
 
             


 
  
Trombone 3

 
                                   

Baritone T.C.

                                          


 
 


Euphonium

   
     
            


                    






Tuba


           


 
 

   
S.P. S.P.


Drumset
S.C.

 7                               
2

Fl.            

      
             
 

                    

Ob.

                     
             
 

B♭ Cl. 1    

                 
    

        
 

B♭ Cl. 2       
                 

    
 
 

            

B♭ Cl. 3

                               
 

A. Sax.        

                     
         
 

T. Sax.
    
                        
       


 
    

B♭ Tpt. 1

                

        
 

B♭ Tpt. 2        

   
       


F Hn. 1                    

         
 

  
F Hn. 2
                 

      


 


F Hn. 3              

   
    
      
            


          


Tbn. 1

                            
 

Tbn. 2        

               
 

                 
Tbn. 3
   
                 
               
 

Bar. T.C.    
  
                            
 
   
 

Euph.
     

          
 

 
                  

 



Tba.

   


         
 
                   


      
    
  
D. Set
S.C.
 
                          1.       
12  
3

Fl.          


                                      
Ob.
 
        
                               
B♭ Cl. 1  

        
                        
B♭ Cl. 2        

                          
            
          
B♭ Cl. 3

  
                   
A. Sax.    

  
                            
T. Sax.
       
         
                                
B♭ Tpt. 1 

  
                              

B♭ Tpt. 2

    
F Hn. 1                          

     
F Hn. 2                         

           
F Hn. 3
              
              
Tbn. 1
                        

                                   
Tbn. 2
    

                                  
    
Tbn. 3

                
  

Bar. T.C.                      

                                    
 
Euph.
  

               
            

 

      

Tba.

    
                       
  
       
                
  
  
D. Set
         
17  2.                 
4

Fl.  

      

    


                    
             
       
Ob.

             
      


B♭ Cl. 1       

  
            


                   
B♭ Cl. 2
 
  
            


                  
   
B♭ Cl. 3

                               
A. Sax.     
 
  
                              


  
 
T. Sax.

    
                   
             

B♭ Tpt. 1

  
                    


            

B♭ Tpt. 2

 
 


F Hn. 1                       

 


         
F Hn. 2
              

          


F Hn. 3
              
         
                


Tbn. 1

                         


Tbn. 2
 

                     


    
 
Tbn. 3

 
            


Bar. T.C.                  

                               


Euph.
 

     
       


                   

Tba.


                       


   
D. Set
   
C.P.

 21                         
5

Fl.         

   
    
 
                      
        
Ob.

            
B♭ Cl. 1         

 
                             
 
B♭ Cl. 2

  
                             

B♭ Cl. 3

                       
        
A. Sax.

 
                          
T. Sax.
    
  
                                    

B♭ Tpt. 1

    
      
3

               
3

     
B♭ Tpt. 2


3

                    
3
3 3

F Hn. 1


                          
3 3

F Hn. 2

F Hn. 3       
              
                
Tbn. 1
     

           
         
3 3

Tbn. 2   

        
3

    
3

      

Tbn. 3

           
        
3

Bar. T.C.
      
         
          
3

Euph.        

   
3
3

         


Tba.
               

          


                  
    
3 3

D. Set
                 
25 
6

Fl.      

                  


 
 

Ob.

                 


B♭ Cl. 1    

               


    

B♭ Cl. 2

                


B♭ Cl. 3     

        


      
A. Sax.

  


          
T. Sax.
 




                     
B♭ Tpt. 1 

         
3 3  

    
B♭ Tpt. 2
 
  
3  

               
3

      
3 3

 
F Hn. 1

 
      
 

               
3 3

F Hn. 2

        
 

F Hn. 3        
    

    
               
 


Tbn. 1           

         
          
3 3  

Tbn. 2      

            
3 3  

         
Tbn. 3
  
     


         
3

Bar. T.C.

          
  
3  

Euph.    


      
3  

        
3

   
  
Tba.

       
           


D. Set 
   
              
3 3

 S.C.
   
      
28            
7

Fl.     

       
Ob.              

                
   

B♭ Cl. 1

                
   

B♭ Cl. 2

                
   

B♭ Cl. 3

               
A. Sax.       
   
                
T. Sax.
 
                 
   

B♭ Tpt. 1

    
             
B♭ Tpt. 2
   
      
                                
 
F Hn. 1

 
F Hn. 2
 
                                

                       
F Hn. 3
              
                   
Tbn. 1
                      

               
Tbn. 2                         

                                  
Tbn. 3
   

                     

Bar. T.C.

      
         
 
  

Euph. 
 
            
            
 

      
 
Tba.

                    
            
                       
       
D. Set
 32          1.     
     
 
8

Fl.      
  
Trio

  
2.
Fine

                          
 

Ob.    
 

                           





  
     
B♭ Cl. 1

                 
        
 

    
B♭ Cl. 2
      
                 
        
 

 
   
B♭ Cl. 3
      
                             





A. Sax.          
            
          


            


T. Sax.
 

                 


              
B♭ Tpt. 1
 
   
                            





B♭ Tpt. 2   
     


   


F Hn. 1                     

        
F Hn. 2                      

                     
F Hn. 3
     
          
Tbn. 1
                    

              
Tbn. 2                

                          
Tbn. 3
     
       
Bar. T.C.                        

                   
Euph.                  

               
                          
  
Tba.

         
  

  

   

        
               
     
D. Set
                 
37            
9

Fl.       

               
Ob.                  
  

                         
       

B♭ Cl. 1

            
                 
B♭ Cl. 2
   

    
B♭ Cl. 3                    
                        
       
A. Sax.
  
                                        
T. Sax.

           
    


B♭ Tpt. 1                    

    
B♭ Tpt. 2                    

F Hn. 1                                           


F Hn. 2                                           


F Hn. 3                    
  

  
 
     
 
     
                            
       


Tbn. 1       

                               
        


Tbn. 2   

                    
                      


Tbn. 3

                                        


Bar. T.C. 
     
                      
                    


Euph.

                  


                 
        
Tba.

                                        


D. Set                     
C.P.

 42                        D.C. al Fine
  
10

Fl.           
1. 2.

  
                    
        
   
Ob.

                     
B♭ Cl. 1          

 
                            
B♭ Cl. 2
    

              
B♭ Cl. 3                   
       
                         
A. Sax.        

                               
T. Sax.
    
  
                            
B♭ Tpt. 1
    
              
B♭ Tpt. 2                   
       
   
F Hn. 1                                 

     
F Hn. 2                              

                
                
F Hn. 3

                   
Tbn. 1
                

Tbn. 2
      
  
       

 
  
           

                                 
Tbn. 3
   

                    
  
     
  
 
Bar. T.C.

   
Euph.
                
  
              

      
         
     
    

 
     
    
Tba.

                
                     
     
      
   
D. Set
Flute ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός

                                                
Αθήνα, 2018

 
 = 60

    
       
Adagio

  

      
               1.       2.                                
          
   
13

                           

               
      
21

              1.     

                
        
Trio

 
29 2.
Fine

 

         
                                        D.C.
   al Fine
   
              
1. 2.

  
37
Oboe ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός
Αθήνα, 2018

 
                                                      
 = 60

 
Adagio

  

  


             1.     2.   
                              
                   
        
13

          
           
                      
         
      
       
21

                     

  
               

Trio

     
      
        
30 1. 2. Fine

 

          
                             
1. 2.
D.C. al Fine

 
40

   
B♭ Clarinet 1 ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός
Αθήνα, 2018

 
                                    
 = 60

 
Adagio

                  

 
 

                             
1.   2.    

          
          
       
    

 
9

 

                                           
                 
         

18

                                            1.          2.    
           
 
27

 


                     1.     2. D.C.

 al Fine
                                 
Trio

  
35

       
Fine
B♭ Clarinet 2 ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός
Αθήνα, 2018


                                  
 = 60

   
Adagio

                  

              1.  2. 


           



                   


                


         
9

 

   

       
                            
           
      
18

  

                            

  
25

  

   2. 
        
                           
Trio

      
     
33 1.

 
Fine

    

         
                             
1. 2.

    
40 D.C. al Fine

 
B♭ Clarinet 3 ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός
Αθήνα, 2018


                               
 = 60

 
Adagio

           
  
      
 
 

     
1.  2. 

        
                                        
       
    
9

     

         

    
        
                                           
    
18

  

                                            1.      2.  
             

    
27

 

          
                               
  
Trio

   
                     
35 1. 2.
D.C. al Fine

       
Fine
Alto Saxophone ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός

                                    
Αθήνα, 2018

    
 = 60

                  
Adagio

     
  

      
             1.           2.                                           
       
13

                                               
    
    
         
22

         2.      Fine                              
 
             
      
Trio

       
33 1.

  

       

  
  
  
  
 
   
1. 2.


43 D.C. al Fine
Tenor Saxophone ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός
Αθήνα, 2018

                                      
 = 60

     
          
            
 
Adagio

  
 
  

 1.  2.   
     
                                                      
         
10

   

      
                  
        
                                   

20

  


                         
2.       Fine
                                      
Trio

  
   
30 1.

 

    
                                                 
40 1. 2. D.C. al Fine

   
B♭ Trumpet 1 ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός
Αθήνα, 2018

 
                                                  
 = 60

            

Adagio

     
  

                1.   
  
2.  
 

 
     
            
                               
14


 3
3

                                       
    
        
            
22

 3 3   

               

2. 
                          
     
Trio

              
30 1. Fine

 

        
                              
1. 2.

  
40 D.C. al Fine

   
B♭ Trumpet 2 ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός
Αθήνα, 2018

 
          
 = 60

           
                      
Adagio

                



  2. 
  
     
          
    

      
                          
           
14


1.


 3
3

               
    
         
                           
 
22

 3
3  
  

           
2.  
          
             
Trio

                     
31


1. Fine

 

         
                    
       
1. 2.

    
40 D.C. al Fine


Horn in F 1 ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός
Αθήνα, 2018

          
 = 60

          
             
                            
Adagio

  

  2.   
 
        
      
                                       
15 1. 3 3

         

                         
                          
25 3 3

  

 

  1.   2.  
                                      
Trio

           
32
Fine

   D.C. al Fine
   
       
       
       
                     
40 1. 2.
Horn in F 2 ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός
Αθήνα, 2018

        
 = 60

    
                             
Adagio

                  
  

    
    
          
                                         
15 1. 2. 3 3

             
                                                         
25 3 3

 

     
                        
                                          
Trio
32 1. 2. Fine

         D.C. al Fine
                   
1. 2.

     
42
Horn in F 3 ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός
Αθήνα, 2018

 
 = 60

                

Adagio

                               
 


             
                                    
14 1. 2.

                       
                                  
24

            
              
Trio

          
32

       

1. 2. Fine

                       
1. 2. D.C. al Fine

     
41

             
Trombone 1 ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός
Αθήνα, 2018

                              
 = 60

       
             
Adagio

   
  

                         
                                    
     
14 1. 2.

 3 3

                                    

      
23

3 3  

          1.           

Trio

                             
2. Fine
31

                               D.C.
 al Fine
                     
40
1. 2.
Trombone 2 ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός
Αθήνα, 2018

          
 = 60

                                   
                    
Adagio

   
  

 
                                          
            
   
15 1. 2.

 3 3

                      

           
   
25

3 3  

              
             
Trio

                 
33 1. 2. Fine

                 
         
43 1. 2. D.C. al Fine
Trombone 3 ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός
Αθήνα, 2018

 
 = 60

                                                              
Adagio

        
  

                                                                     

15 1. 2.

    


                                                           
           
26

 

 

                   Fine  
                               
Trio

   
33 1. 2.

                                         
1. 2. D.C. al Fine

   
41
Baritone T.C. ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός
Αθήνα, 2018

                              

 = 60

     
               
          
   
Adagio

 
   

         1.   2.  
                                
            
              
     
10

 

                            

               
3 3

         
19

3 3  

1.   2.         Fine
                                 
Trio

                          
28




      
                                                                 
38 1. 2. D.C. al Fine
Euphonium ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός


Αθήνα, 2018

         
                                                         
  
 = 60

 
   
Adagio


 
 


              
  
 
               
                   
            
   
10 1. 2.

 

              

                       
     
19

3 3  
3  3

 
                                                        
 
Trio

      
27 1. 2. Fine

       
                                                                           

37 1. 2. D.C. al Fine


Tuba ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός


Αθήνα, 2018

       
 = 60

 
          
                 
  
         
Adagio

    
  


 

                 1.     2.  
                 
    
          
 
9

          
  

   
          
       
18

                
 

                       
             
             
25 1.

         


                 
 

  
    
     
Trio

       
       
34
2.

   
Fine

     


                  
   
               
1. 2. D.C. al Fine

      
41

        
Drumset ΤΑ ΜΑΡΑΜΕΝΑ ΦΥΛΛΑ
Πένθιμο Εμβατήριο Γεράσιμος Κανιώρος
Μεταγραφή: Σπύρος Περατινός

               
Αθήνα, 2018

            
 
             
 
 = 60

                          
Adagio S.P. S.P.

 
S.C.

 S.C.

   


        2.   
                     

  
         
     
               
                        
13 3 3
1.

  C.P.


                           
 
 
 
 
 


   
                       
22 3 3

  
S.C.      

                        1.       2.      
Trio

                               
                    
Fine

            
30

          C.P.


   D.C.
                                    
            
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1. 2.

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40 al Fine

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