COLIN KIRKPATRICK'S NATIONAL ANTHEMS ONLINE



SRI LANKA: Sri Lanka Matha

Like so many other national anthems, the Sri Lankan anthem came about as a result of a competition. Independence from Great Britain was granted to Sri Lanka (then known as Ceylon) in 1948. The feeling of patriotism gained momentum and on the recommendation of the Sri Lankan authorities a competition was organised. Ananda Samarakoon's composition Namo Namo Matha (written in 1940 with Sinhalese words) was evenually chosen as the National Anthem on 22nd November 1951. A Tamil translation by another writer was later made. It is one of the few national anthems in which both words and music were written by the same person. The first broadcast performance was given on Independence Day, February 4th, 1952 by a group of 500 students from Musaeus College, Colombo. Sri Lanka Matha means Mother Lanka. The anthem is also known as Namo Namo Matha, the text of the first line.

Despite his exotic name, Ananda Samarakoon (sometimes written Samarakone, which looks even more exotic) was born George Wilfred Alwis to a Christian family in Padukka, Ceylon. He was given a Christian education but later renounced Christianity in favour of Buddhism. As well as a composer, Samarakone was also a talented painter and in the late 1940s, spent several years in India where his art exhibitions were evidently highly acclaimed. Despite his apparent successes, he took his own life at the age of fifty one.

Photo: A young dancer from the town of Kandy in Central Sri Lanka. Kandy’s biggest attraction is the Esala Peraharaa 10-day pageant which leads up to the full moon in July. Many youngsters take part in the dancing. Until recently, under the old caste system, Kandyan dancing was an art handed down from father to son. With the ending of the caste system, dancing is open to anyone who has the talent. (Photo: Tom Tidball)

   CLICK TO HEAR THIS ANTHEM (MP3: 1.19MB).

Click on the buttons below to either preview the first page of the score (in a low resolution jpg file), or to download the entire document. Use the underlined links to download the instrumental parts you want in Adobe Acrobat. If you don't have it, you can get your free copy here. I strongly recommend you have Adobe Reader on your computer before you download the music, because this will allow the printed music to open automatically as it downloads. Don't be disappointed in the Adobe screen image, for it is low resolution for checking only. You can make high-quality prints using your right mouse button or the usual "Control+P" command. The music has been digitally scanned at 1200 dpi for professional results but the actual output will depend on your own printer settings. Always consult local expertise before performing an anthem in an unfamiliar country.

You are welcome to download as much music as you want, but please first check the "Read Me" page.


SYMPHONIC BAND - Suggested Voicing

piccolo: Part 1 in C
1st flute: Part 1 in C
2nd flute: Part 2 in C
oboe: Part 2 in C

1st clarinet: Part 1 in B flat
2nd clarinet: Part 2 in B flat
3rd clarinet: Part 3a in B flat
alto clarinet: Part 3 in E flat

1st alto saxophone: Part 3 in E flat
2nd alto saxophone: Part 4 in E flat
tenor saxophone: Part 5 in B flat
baritone saxophone: Part 6 in E flat
bassoon: Part 5 in C

1st trumpet: Part 1 in B flat
2nd trumpet: Part 2 in B flat
1st horn in F: Part 3 in F
2nd horn in F: Part 4 in F
1st E flat horn: Part 3 in E flat
2nd E flat horn: Part 4 in E flat

baritone (TC): Part 5 in B flat
baritone (BC): Part 5 in C

1st trombone: Part 4 in C
2nd trombone: Part 5 in C
bass trombone: Part 6 in C

tuba: Part 6 in C
Bb bass (TC): Part 6 in B flat
Eb bass (TC): Part 6 in E flat
percussion: percussion
timpani: timpani

CLARINET CHOIR - Suggested Voicing

Eb clarinet: Part 1 in E flat
1st clarinet: Part 1 in B flat
2nd clarinet: Part 2 in B flat
3rd clarinet: Part 3a in B flat

alto clarinet: Part 4 in E flat
bass clarinet: Part 6 in B flat
contrabass clarinet: Part 6 in B flat
piano (if used): Piano reduction

STRING ENSEMBLE - Suggested Voicing

Note that the flat keys used in these arrangements would make them more suitable for experienced string players.
1st violin: Part 1 in C
2nd violin: Part 2 in C
viola: Part 3 in C alto
violoncello: Part 4 in C
double bass: Part 6 in C

BRASS BAND - Suggested Voicing

soprano cornet: Part 1a in E flat
solo cornet: Part 1 in B flat
2nd/3rd cornets: Part 2 in B flat
repiano cornet: Part 1 in B flat or as required
flugelhorn: Part 2 in B flat

1st tenor horn: Part 3 in E flat
2nd tenor horn: Part 4 in E flat
baritone: Part 5 in B flat

1st trombone: Part 4 in B flat
2nd trombone: Part 5 in B flat
bass trombone: Part 6 in C
euphonium: Part 5 in B flat
Eb bass: Part 6 in E flat
Bb bass: Part 6 in B flat
percussion: percussion
timpani: timpani



STAGE BAND or BIG BAND - Suggested Voicing

1st alto sax: Part 1 in E flat
2nd alto sax: Part 2 in E flat
3rd tenor sax: Part 3 in B flat
4th tenor sax: Part 4 in B flat
5th baritone sax: Part 6 in E flat

1st trumpet: Part 1 in B flat
2nd trumpet: Part 1 in B flat
3rd trumpet: Part 2 in B flat
4th trumpet: Part 2 in B flat

1st trombone: Part 3 in C
2nd trombone: Part 4 in C
3rd trombone: Part 5 in C
tuba* or string bass: Part 6 in C
piano: Piano reduction
percussion: Percussion

(*If no tuba, 3rd trombone could support Part 6 in C)


BRASS ENSEMBLE - Suggested Voicing

1st trumpet: Part 1 in B flat
2nd trumpet: Part 2 in B flat
horn in F: Part 3 in F
trombone: Part 4 in C
tuba: Part 6 in C

Instrumental Options for Non-standard Ensembles

These arrangements have been written so that they can be played by virtually any combination of wind instruments. They will also work with saxophone ensemble, massed brasses or even a Dixieland Band (in the unlikely event that it is expected to play a national anthem). In theory, the arrangements could be also played by strings (which is why one part is available in the alto clef) but because the arrangements tend to use flat keys they will be limited to more experienced string players. The table below shows the instrumental options for each part. You may find this helpful if you prefer to "do your own thing" with the instrumental voicing to get an individual sound. You can just pick and mix from the selection below. If all this appears a bit daunting, you can always go back to the lists above and try adapting the instrumentations I have suggested. Click on the underlined links to see or download the parts.

PART 1: MELODY LINE


Part 1 in C:
In the treble clef but written in octaves, to extend the possible uses. Suitable for: flutes, piccolos, oboes, glockenspiels or other C-melody instruments such as violins

Part 1 in B flat:
One tone higher than concert pitch. Suitable for: clarinets, trumpets, cornets, flugelhorns.

Part 1 in E flat:
Major sixth above concert pitch. Suitable for: alto saxophone, Eb clarinet

Part 1a in E flat:
Minor third lower than concert pitch. Suitable for: solo Eb cornet.

PART 2: ALTO LINE


Part 2 in C:
Same as Part 2 in C but written in octaves. Suitable for: flutes, oboes, or other C-melody instruments such as violins.

Part 2 in B flat:
This part is written one tone higher than concert pitch. Suitable for: trumpets, cornets, clarinets or Bb soprano saxophones.

Part 2 in E flat:
Major sixth above concert pitch. Suitable for: Eb alto saxophone, Eb clarinet

PART 3: TENOR LINE (a)

Part 3 in C:
At concert pitch in the bass clef. It is intended for trombone in stage band use, normally a little high for concert band or symphonic band. Suitable for: trombones.

Part 3 in F:
One fifth higher that concert. Suitable for: French horns.

Part 3 in E flat:
One sixth higher than concert. Suitable for: Eb tenor horns or alto saxophones.

Part 3 in B flat:
One ninth above concert. Suitable for: Bb tenor saxophones, Bb baritones.

Part 3a in B flat:
One tone above concert. Intended for 3rd Bb clarinets in symphonic or marching bands but could be used by other Bb instruments.

Part 3 in C (alto):
At concert pitch in the alto clef. May be useful when arrangements played by strings.

PART 4: TENOR LINE (b)


Part 4 in C:
At concert pitch in the bass clef. Suitable for: trombones, bassoons.

Part 4 in F:
One fifth higher that concert. Suitable for: French horns

Part 4 in E flat:
One sixth higher than concert. Suitable for: Eb tenor horns or alto saxophones.

Part 4 in B flat:
One ninth above concert. Suitable for: Bb tenor saxophones, Bb baritones, euphoniums.

PART 5: BARITONE LINE

Part 5 in C:
At concert pitch in the bass clef. Suitable for: trombones, bassoons.

Part 5 in B flat:
One ninth above concert. Suitable for: Bb tenor saxophones, Bb baritones, euphoniums.

PART 6: BASS LINE

Part 6 in C:
At concert pitch in the bass clef in octaves. Suitable for: bass trombones, contrabassoon, tubas

Part 6 in E flat:
Octave and sixth higher than concert in treble clef. Suitable for: Eb basses, Eb baritone saxophone.

Part 6 in B flat:
One ninth higher than concert in treble clef. Suitable for: Bb basses, Bb contrabass clarinet.

PERCUSSION AND TIMPANI

Each anthem is supplied with a percussion part that requires three players: snare drum, bass drum and cymbals. In all the arrangements, the timpani part is limited to three drums and generally percussion has been scored somewhat lightly. Of course, if you are playing as a string ensemble or brass ensemble, the percussion would be omitted altogether.

PIANO REDUCTION


This is a piano reduction of the full score and is intended to be used when the ensemble contains a piano, or when there are gaps in the ensemble. With the piano reduction, you can play this anthem as an instrumental solo, duet or trio. Anything!




Finally, the list above is intended to show the wide range of possibilities. If you have a non-standard ensemble, you may need to experiment a little with the voicings to get the sound you want. Remember that Part 5 is not essential so if you miss it out entirely, there will be no problem.

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