COLIN KIRKPATRICK'S NATIONAL ANTHEMS ONLINE

UKRAINE: Shche ne vmerla Ukrainy

The music for the Ukrainian national anthem was written in 1863 by Mykhailo Verbytsky, a Ukranian composer and Greek-Catholic priest. He set a patriotic poem by Pavlo Chubynsky, written a year earlier, which expressed the wish for Ukrainians to rule their own land. Verbytsky originally wrote the score as a solo song and later arranged it for orchestra and chorus. The first choral performance was given in 1864 at the Ukraine Theatre in Lviv. Widely sung around the country as the Hymn to Ukraine, both the melody and lyrics were similar to those of the Polish and Serbian anthems of the time. Over the course of the years, various changes were made to Chubynsky's original words. Following the country's independence in 1991, after the break up of the Soviet Union, many Ukrainians felt that the lyrics were unduly pessimistic and while the Ukrainian government officially approved the Verbytsky melody, it did not approve the original lyrics. This attitude may have been influenced by political correctness but despite contests for replacement lyrics, none of the entries was accepted. Eventually on March 6, 2003, the Verkhovna Rada of Ukraine decided to use the original Chubynsky lyrics with slight changes to the text. The title means, Ukraine's glory has not perished.

Mykhailo Verbytsky was born in Jawornik Ruski (now Mlyny, Poland) and christened in Ulucz, the site of the oldest wooden church in Poland, where his father was the local priest. In adult life, Verbytsky was a prolific composer who wrote music and orchestrations to hundreds of plays and musicals. In 2005, on the 190th anniversary of Verbytsky's birth, celebrations were held in the composer's native town. Several slightly different versions of the anthem are in existence, each with variations in melody and harmony. This arrangement is based loosely on the manuscript of a band arragement from the Kiev Conservatoire, edited by M. Skorik and E. Stankevich and orchestrated by O. Morozov.

Photo: Kiev is an important industrial, educational and cultural centre of Eastern Europe. It is home to many high-tech industries, higher education institutions and world-famous historical landmarks. Kiev is also one of the oldest cities in Eastern Europe. The 11th century Cathedral of Dormition in Kiev, with its characteristic golden domes, was destroyed during World War II but has been fully reconstructed in recent years. (Photo: Andrzej Hladi)

   CLICK TO HEAR THIS ANTHEM (MP3: 1.38MB).

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

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Instrumental Possiblities 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 possibilites 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 woud 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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