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FULL SCORE

C A R L F I S C H E R

Beginning String Orchestra

Grade 1
S E R I E S

The Lost Tomb


Sean O’Loughlin

BAS48
INSTRUMENTATION
Full Score . . . . . . . . . . . . . . . . 1
Violin I . . . . . . . . . . . . . . . . . . . 8
Violin II . . . . . . . . . . . . . . . . . . 8
Violin III (Viola T.C.) . . . . . . . . 2
Viola . . . . . . . . . . . . . . . . . . . . 5
Cello . . . . . . . . . . . . . . . . . . . . 5
Bass . . . . . . . . . . . . . . . . . . . . . 5
Piano . . . . . . . . . . . . . . . . . . . 1
2

Program Notes
The music for The Lost Tomb has its origin in the pages of the historical based novels that I enjoy reading so much.
The music has both an intrigue and a heart-pounding pulse that keeps the player and the listener on the edge
of their seat. This original composition also presents some outstanding teaching tools for the developing string
student.

The piece starts with a slow, ominous melody in the first violin that builds suspense. Be mindful of the tutti rest on
beat one of m. 9 that launches a crescendo into the fast section. The main melody here relies on this same rest on
beat one. It keeps the intensity at a level high and provides an effective rhythmic teaching-tool for your students.
This melody is then developed with harmony underneath and varying rhythmic accompaniments. The celli and
basses get their opportunity on the melody at m. 45. The opening melody returns at m. 55 to bring the piece full
circle. This builds up to one final presentation of the melody at m. 64 which drives to a climactic D major chord
at the end.

About the Composer


Sean O’Loughlin (b.1972) is a fresh voice and a rising name in the music world. His music is characterized by
vibrant rhythms, passionate melodies, and colorful scoring. Commissions from the Boston Pops Orchestra, the Los
Angeles Philharmonic and the Hollywood Bowl Orchestra highlight and showcase his diverse musical abilities. As
a conductor, he has led performances with the Boston Pops Orchestra, the Vancouver Symphony, the Atlanta
Symphony, the Baltimore Symphony, the Grant Park Orchestra, and the Philadelphia Chamber Orchestra. He was
the conductor and arranger for a recent orchestral tour with the band The Decemberists.

As an arranger and orchestrator, he has worked with such artists as Natalie Merchant, Chris Isaak, Feist, Blue Man
Group, Pink Martini, Christian McBride, Belle and Sebastian, Josh Ritter, and others. The Los Angeles Times calls
his orchestrations “...colorful” while adding “...even more dimension...” to the compositions. Daily Variety heralds
Sean’s writing as “most impressive...” with a “wide range of coloring in the orchestra...” that “...adds heft and rolling
energy.”

Growing up in Syracuse, NY, Sean displayed a passion for music and showed musical talent at an early age. Sean
benefitted from loving parents who supported his musical aspirations and challenged him to explore music as a
career. During his undergraduate years at Syracuse University, Sean’s musical career began to take shape with
the guidance of Larry Clark. As Vice-President at Carl Fischer Music, Larry continues to be a major influence in
Sean’s professional career as mentor and friend.

An avid supporter of music education, Sean frequently writes for the Los Angeles Philharmonic’s youth concert
series. Through his growing number of commissions and published works, Sean is excited to continue contribut-
ing to the rich history of orchestral and wind band literature. An annual ASCAP Special Awards winner, Sean
was a composition fellow at the Henry Mancini Institute in Los Angeles, and holds degrees from New England
Conservatory and Syracuse University. His music is published exclusively by Carl Fischer. Sean and his wife Dena
reside in Los Angeles. For more information, please visit Sean’s website at www.grayslacks.com.

BAS48F
Full Score 3

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Copyright © 2010 by Carl Fischer, LLC
International Copyright Secured.
All rights reserved including performing rights.
WARNING! This composition is protected by Copyright law. To photocopy or reproduce
by any method is an infringement of the Copyright law. Anyone who reproduces copyrighted
BAS48F matter is subject to substantial penalties and assessments for each infringement.
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ISBN 0-8258-7313-4
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