13 Original Compositions for Eb Alto Saxophone and Piano by Frank Ticheli (excerpt) by Manhattan Beach Music

M A K I N G

M U S I C

M AT T E R

S E R I E S

FRANK TICHELI 13 ORIGINAL COMPOSITIONS FOR E b A LT O S A X O P H O N E A N D P I A N O E A S Y TO

I N T E R M E D I AT E

Here is a collection of 13 original compositions for Eb Alto Saxophone and piano, presented in approximate order of difficulty. All first appeared as solo pieces for different instruments in my concert band methods, Making Music Mater Book 1 (Beginner), and Book 2 (Intermediate). While I was composing the pieces, I realized that most would also work beautifully for different instruments. And that is the genesis of the present volume. The notes, rhythms, and terminology used in these pieces appear at various points in the two Making Music Matter books, and thus this collection is an ideal complement to both methods. However, there is every reason that beginners and intermediate players of all ages will find them ideal for both practice and performance. Furthermore, the piano parts are not so difficult — playable by a gifted young pianist, a talented parent, or an undergraduate piano major. Few things are more exciting and gratifying to a musician than playing solos, whether for friends, classmates, or in concert. I hope my collection will be a source of great happiness, pride, and accomplishment for all musicians. Frank Ticheli Recordings of all of the original versions of these solo and piano works are available at www.MakingMusicMatterBook1.com and www.MakingMusicMatterBook2.com

TA B L E O F C O N T E N T S The King’s Homecoming................2

Blue Hugh........................................ 16

Hip Hippo.........................................4

Mystery Tale.................................... 18

Ancient Voices....................................6

The Serene Serpent........................ 20

Going to Lafayette............................8

Turkish Dance................................ 22

Hudson River Waltz...................... 10 Fire Dance....................................... 12

Lucky Day....................................... 24

Marching Home............................. 14

Sitting on a Rainbow.................... 26

M A N H A T T A N

B E A C H

M U S I C

FIRE DANCE FOR Eb ALTO SAXOPHONE AND PIANO

>œ & 44 J ‰ Œ

Allegro q = ca. 144

{

Eb Alto Sax.

FRANK TICHELI

œ œ œ

œ œ œ œ œ

œ œ œ

œœ œœ > œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ ff mp œ œj ‰ Œ œ ? bb 44 œj ‰ Œ Ó Ó Œ ‰ Œ J b œœ œ œ> b & b b 44

Piano

{

œ œ œ

b & b b œœ œœ œœ œœ œœ œœ œœ œœ ? bb œj ‰ Œ Œ b œ œ

{

œ œ œ œ œ

b & b b œœ œœ œœ œœ œœ œœ œœ œœ œ ? bb œj ‰ Œ Œ b œ

{

œ œ œ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ j œj ‰ Ó ‰ Œ ‰ J œ œ œ

œ œ œ œ œ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ j œ Œ ‰ j œj ‰ œ ‰ Œ œ œ œ œ œ œ œ œ œ

b & b b œœ œœ œœ œœ œœ œœ œœ œœ mf œ œ ? bb œœ ‰ Œ Œ bJ

œ œ œ œ œ

œ œ œ

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ

‰ œj œJ ‰ Œ

œ œ

Eb Alto Saxophone & Piano 13

{

œ œ œ œ œ

{

œ œ œ

œ œ œ œ œ

œ œ œ œ œ œ

œ œ

œ œ œ œ œ œ œ œ œ œ

b & b b œœ œœ œœ œœ œœ œœ œœ œœ ? bb œ œ ‰ ‰ j œ b J œ

œ œ œ œ œ

œ œ œ œ œœ œ œ œ œ

bb œ b & œ

œ œ f

{

™™ #œ œ œ œ œ Slightly Slower

mp 1st time pp 2nd time

(Play octave higher 2nd time) b & b b ™™ n œ œ œœ œœ œ œœ ™™ œ œ œ mp 1st time pp 2nd time

? b ™™ w bb w

{

#œ #œ œ œ œ

b & b b n œœ œœ œœ œœ nœœ ? bb w b w

w w

œ œ œ œ œ

œ œ œ œ Ó Ó

œ™

œ œ

œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ

? bb œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ˙ b ˙ 19

œ̇ œ œ œ œ œ œ œ œœ œ œ œ œ œœ ff

˙ ˙

‰ œj >œ

œ #œ œ œ #œ œ œ œ œ J

j nœ œ nœ œ œœ œœ n œœ œœ œœ œœ œœ

nw w

w w

#œ ™ #œJ œ œ œ œ œ #œ œ œ j nœœ ™™ nœœ œœ œœ œœ nœœ œœ œ ˙ œ n˙ w w w w

˙˙™™

>œ Fine J U ‰ >œ œœ U œ ‰ J jU œ ‰ >œ ˙

œ j œ ‰ ™™

2nd time - D.C. al Fine

˙™

‰ ™™ j ˙˙ ™™ œœ nœœ œœ œœ œœ ‰ ™™ J 13

ANCIENT VOICES FOR Eb ALTO SAXOPHONE AND PIANO

& 43

{

Eb Alto Sax.

bell-like

b œ & b b 43

Piano

{

bb œ b & b & b b œœ °

{

œ™

b œ &b b

b & b b œœ °

∑ ˙

œœ

œ œ #œ J

œœ

œ œ

˙™

‰ œJ

˙˙

‰ œj œ œ

mp plaintive

˙˙ ™™

œ™

œ œ œ J

œ™ Œ ˙ ˙

j œ œ œ

œ™ œ œ œœ œ

˙˙

œ #œ œ

œœ

œ̇ ™

œ̇

n˙ ™

˙˙ ™™ ˙˙™™ ææ

always blurring harmony

∑ ˙

˙ ™™ ˙

œ œ #œ J

˙™

always blurring harmony

∑ ˙™

b & b b 43 œ œ °

œ™

FRANK TICHELI

Adagio q = ca. 60

˙™

œ œ œ J

Œ ˙™ Œ ˙˙

œ *

j œ œ ‰ œ ˙ ˙

œ œ

Eb Alto Saxophone & Piano dolce

{

b &b b

Œ̇

b & b b œœ

{

œ™

b & b b œœ °

{

œ œ

œœ

œ™

˙˙ ™™ ˙˙™™ ææ

˙˙ ˙˙ ææ

˙˙ ™™

‰ œj œ œ 44 œ ™

? bb ˙ ™ b ˙™ <“>

44 Œ

44 *

œ™

˙™ ˙™

˙ ∑

œ œ œ J

∑

U nœœœ ˙˙˙

U Œ ˙ ˙ ‘ ° “

œ˙˙™™ ˙

˙ ˙˙

U œ ˙

ppp

* w ˙

j œ œ œ

œ™

rit.

œ œ ˙˙

œœ œœ

˙˙ œ œ J

‰ œ œ œ™

‰ œ œ

˙˙ ™™ œ ˙

rit.

œ™ Œ

œ œ œ J

œ œ #œ œ œ ˙ J

j œ œ œ

Œ ˙ ˙˙˙ *°

˙˙

œ œ

Very Slowly

b & b b ˙˙˙ ™™™

œ œ

˙™

œ™

œ œ

œœ œ œ œ œ œœ

œ œ

˙™

b œ &b b

œ œ #œ J

œ œ œ

˙™

b & b b œœ °

{

b œ &b b

œ œ œ J

œ™

˙™ ?

˙˙ ™™ ˙˙™™

˙™ ˙™ “‘

ppp

Œ Œ Œ 7

PRESERVING OUR MUSIC I T I S I M P O R TA N T T O P R E S E R V E O U R M U S I C A L H E R I TA G E F O R F U T U R E G E N E R AT I O N S

Acidic paper has been in widespread use since the turn of the century, and has become the bane of archivists, librarians, and others who seek to preserve knowledge intact, because it literally will self-destruct as it ages. Some paper, only three or four decades old, already has become impossible to handle — so brittle it crumbles to the touch. Surely we do not want today’s music to be unavailable to those who will inhabit the future. If the music of the Renaissance had not been written on vellum it could never have been preserved and we would not have it today, some four hundred years later. Let us give the same consideration to the musicians in our future. It was with this thinking that Manhattan Beach Music in 1988 ﬁrst addressed the needs of the archivist by printing all of its concert band music on acid-free paper that met the standards speciﬁed in the American National Standard for Information Sciences — Permanence of Paper for Printed Library Materials (ANSI Z39.48-1984). The standard was revised on October 26, 1992 to include coated papers; all of our new editions and reprints of older editions meet this revised standard. With proper care and under proper environmental conditions, this paper should last for at least several hundred years.

Technical notes: Paper permanence is related to several factors: The acidity or alkalinity (pH) of the paper is perhaps the most critical criterion. Archival paper (also known as acid-free paper, alkaline paper, and permanent paper) is acid-free, has a pH between 7.5 and 10, is tear resistant, has an alkaline reserve equivalent to 2% calcium carbonate (to neutralize any acid that might arise from natural aging of the paper or from environmental pollution), and contains no unbleached pulp or groundwood (no more than 1% lignin by weight). The speciﬁc standards summarized here are set forth in detail by the National Information Standards Organization in American National Standard Z39.48-1992. For more information, contact: NISO, 4733 Bethesda Avenue, Suite 300, Bethesda, MD 20814, http://www.niso.org/

This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper)

T AONL I BS E— A CP H BM OA B NMHAA RT G U BML U I SSHI CE R N EBI LO BR UMDADRYG— A TN I VEEI L DRI U RD EC O LCI RS E— DT YO R P U B L I S H ECR O S FAONUDN D CE ORFSO U N D E R S P R I N T I N G : C H E R N AY P R I N T I N G , I N C .