Timothy
Miles
Second Prize Winner — The Frank Ticheli Composition Contest
L
A U C O N C E R T
M a n h a t t a n
D
A
B A N D
B e a c h
M u s i c
Recording Credits for Lauda: Performance by University of New Hampshire Summer Youth Music School Wind Ensemble, Andrew Boysen, Jr., conductor
L AU DA
F O R
C O N C E R T
B A N D
T I MOT H Y M ILE S I N S T R U M E N T A T I O N 1 Full Score
2 Bb Tenor Saxophone
2 Euphonium T.C.
1 Piccolo
1 Eb Baritone Saxophone
4 Tuba
4 Flute 1
3 Bb Trumpet 1
1 String Bass
4 Flute 2
3 Bb Trumpet 2
1 Timpani
1 Oboe
3 Bb Trumpet 3
4 Bb Clarinet 1
1 F Horn 1
4 Bb Clarinet 2
1 F Horn 2
4 Bb Clarinet 3
1 F Horn 3
2 Bb Bass Clarinet
1 F Horn 4
1 Eb Contrabass Clarinet
2 Trombone 1
1 Bassoon
2 Trombone 2
3 Eb Alto Saxophone 1
2 Trombone 3
3 Eb Alto Saxophone 2
3 Euphonium B.C.
2 Percussion 1 Xylophone, Wind Chimes, Tambourine, Crash Cymbals
2 Percussion 2 Hi-Hat, Large Tom-Tom, Suspended Cymbal, Triangle, Glockenspiel
2 Percussion 3 Slapstick, Vibraphone, Claves, Bass Drum
2 Percussion 4 Marimba, Bongos, Chimes
P R I N T E D O N A RC H I VA L PA P E R
Gg Manhattan Beach Music 1595 East 46th Street Brooklyn, New York 11234 Web: www.ManhattanBeachMusic.com E-mail: customerservice@manhattanbeachmusic.com Voicemail: 718/338-4137
M A N H AT TA N B E A C H M U S I C
L A U D A is the S E C O N D P R I Z E W I N N E R of the S E C O N D I N T E R N AT I O N A L F R A N K T I C H E L I C O M P O S I T I O N C O N T E S T Category One: Concert band music for younger players
I
P R O G R A M
N O T E
n the Renaissance, laude were vernacular sacred songs. In L A U D A for
concert band, both vernacular and sacred aspects of school and students are respresented: The vernacular is represented by the driving sixteenth note
hi-hat figure in the opening, and the chord progressions, bass line, and
melodies — all reminiscent of pop music. The sacred facet of the piece deals with
transformation. The work opens in G minor and moves through an unsettled intro-
duction, a resolute A section, and a questioning B section, and on to a giant climax
on octave Ds throughout the ensemble. The section that follows transforms the B material, and serves as a dominant pedal leading to a shortened recapitulation of
all the previous material — in a joyous and triumphant transformation in G major. The key to a successful performance of L auda is to sustain the energy of
the work for the entire performance. Tempo is key to the energy of the piece and should not dip below the indicated tempo. Faster tempos, as long as the woodwinds
can keep the sixteenth-note lines together, also work well. It is important not to lose energy at mm. 56 when the instrumentation pares down to marimba. Equally important is to enjoy the transformation when the original material returns in G major. A feeling of joy and elation should pervade the recapitulation. C O M M I S S I O N I N G
I N F O R M AT I O N
L auda was commissioned by and written for my friend and colleague William
Whitney, and the musicians of the Bishop Guertin High School Concert Band. They premiered the work in the spring of 2007. My first teaching position after
earning my undergraduate degree was as Director of Music at Bishop Guertin
High School, a private Catholic school run by the Brothers of the Sacred Heart in Nashua, New Hampshire. Two years after I left Bishop Guertin to pursue my master’s degree, my friend and Bishop Guertin’s new Director of Music, William Whitney, asked me to write a piece for the band.
The three years I spent at Bishop Guertin meant a great deal to me, so naturally
I wanted to write a piece that would represent the wonderful community and the natural exuberance of the students.
T I M O T H Y
M I L E S
F O R M INTRODUCTION
1–3 G minor 4–8 9–21
meas. 1 – 21
Full ensemble chord; arppegiated bass line; trombone glissando Woodwinds and marimba establish tonality; main motive in horns Main motive builds in the brass T H E M E 1 - T H E “ A ” S E C T I O N meas. 22 – 55
22–33 34–41 42–55
Theme 1 in trumpets Canon in woodwinds Theme 1 in woodwinds; syncopated full ensemble chords T H E M E 2 - T H E “ B ” S E C T I O N meas. 56 –89
56–66 D minor 67–74 75–81 82–89
Repose after first theme climax; new material in horns Theme 2 in the solo clarinet Theme 2 in the flutes with counterpoint in clarinets Theme 2 in woodwinds and trumpets C L I M A X A N D T R A N S I T I O N meas. 90 – 110
90–97 98–110
Octave Ds D7
Climax of the first half of the piece Theme 2 in the solo flute, dominant pedal
REPRISE OF INTRODUCTION AND THEME 2
meas. 111 – 125
111–113 G major Full ensemble chord; arppegiated bass line; trombone glissando 114–118 Establishment of G major tonality 119–125 Theme 2 in the horns REPRISE OF THEME 1
126–144
Theme 1 in woodwinds and trumpets Syncopated full ensemble chords
meas. 126 – 144
for William Whitney and the musicians of the Bishop Guertin High School Concert Band
LAUDA FOR CONCERT BAND Allegro
TIMOTHY MILES
= 144 2
4
3
5
Piccolo
a2 1 2
Flutes
Oboe
a2 1 2 B Clarinets 3
B Bass Clarinet
E Contra Alto Clarinet
Bassoon
E Alto Saxophones
1 2
B Tenor Saxophone E Baritone Saxophone
1 B Trumpets 2 3
a2 1 2 F Horns
a2 3 4
gliss.
a2 1 2 Trombones 3
Euphonium
arco Tuba
pizz.
arco
String Bass
(C, D, G, A) Timpani
Xylophone — hard mallets 1
Maracas
Closed Hi-Hat — sticks 2
dim.
Percussion
Slapstick
Claves
3
Marimba — yarn mallets 4
Copyright © 2011 Manhattan Beach Music — All Rights Reserved — Printed and Engraved in the U.S.A. ISBN 1-59913-124-2 (complete set) ISBN 1-59913-125-0 (conductor’s score) Purchase music, download free MP3s, view scores, and more at www.ManhattanBeachMusic.com
6
7
9
8
10
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3 1 2 F Hns. 3 4 1 2 Tbns. 3
Euph.
Tuba
pizz. Str. Bass
Timp. (Xylo.) 1 Large Tom-Tom — stick
(Maracas) 2 Perc.
(Claves) 3 (Mar.) 4
2
Suspended Cymbal — stick choke
11
12
13
14
15
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3
1 2 F Hns. 3 4
1 2 Tbns. 3
Euph.
Tuba
Str. Bass
Timp. 3
(Xylo.) 1 (Susp. Cym.)
choke
choke
choke
2 Perc.
Vibraphone — yarn mallets
(Claves) 3
pedal down
(Mar.) 4
3
18
16
17
19
Picc. cresc. 1 cresc.
Fls. 2
cresc. Ob. cresc. 1 cresc. B Cls.
2 cresc. 3 cresc.
B Bass Cl. cresc. E Contra Alto Cl.
cresc.
Bsn. cresc.
1 E Alto Sax.
cresc. 2 cresc.
B Tenor Sax. cresc. E Bar. Sax. cresc.
1 B Tpts. 2 3 1 2 F Hns. 3 4 1 2 Tbns. 3 cresc. Euph.
Tuba cresc.
Str. Bass cresc. 3
3
Timp. (Xylo.) 1 cresc. (Susp. Cym.)
choke
choke
2 (Vib.)
Perc. 3
(Mar.) 4
4
22
21 20
23
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3
1 2 F Hns. 3 4 1 2 Tbns. 3
Euph.
Tuba
Str. Bass 3
Timp. (Xylo.) 1 (Susp. Cym.) yarn mallets
Closed Hi-Hat — sticks
2 Perc.
(Vib.)
Claves
3
Bongos — yarn mallets
(Mar.) 4
5
24
25
26
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3
1 2 F Hns. 3 4
1 2 Tbns. 3
Euph.
Tuba
Str. Bass
Timp.
1 (Hi-Hat) 2 Perc.
(Claves) 3 (Bongos) 4
6
27
31 28
29
30
32
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3
1 2 F Hns. 3 4
1 2 Tbns. 3
Euph.
Tuba
Str. Bass
Timp. Mark Chimes 1 (Hi-Hat) 2 Perc.
(Claves) 3 (Bongos) 4
7
33
34
35
36
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3 a2 1 2 F Hns.
a2 3 4 1 2
Tbns. 3
Euph.
Tuba
Str. Bass on the bowl of the smallest Timpani Timp. Xylophone — hard mallets 1 (Hi-Hat) 2 Perc.
(Claves) 3 (Bongos)
Marimba — yarn mallets
4
8
37
38
42 39
40
41
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3 1 2 F Hns. 3 4 1 2 Tbns. 3
Euph.
Tuba
Str. Bass
Timp. (Xylo.) 1 (Hi-Hat) 2 Perc.
(Claves) 3 Bongos — yarn mallets
(Mar.) 4
9
43
44
45
46
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3
1 2 F Hns. 3 4
1 2 Tbns. 3
Euph.
Tuba
Str. Bass
Timp. (Xylo.) 1 (Hi-Hat) 2 Perc.
(Claves) 3 (Bongos) 4
10
47
51
48
49
52
50
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3 a2 1 2 F Hns.
a2 3 4 1 2
Tbns. 3
Euph.
Tuba
Str. Bass
Timp. Xylophone — hard mallets
Mark Chimes 1 (Hi-Hat) 2 Perc.
(Claves) 3 (Bongos) 4
11
53
54
56
55
57
58
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts.
a2 2 3 a2 1 2
F Hns. 3 4
1 2 Tbns. 3
Euph.
Tuba
Str. Bass
Timp. (Xylo.) 1 (Hi-Hat) 2 Perc.
(Claves)
Vibraphone — bowed
3 (Bongos)
Marimba — yarn mallets
4
12
59
60
61
62
63
64
65
Picc. solo 1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
solo 1 E Alto Sax. 2 solo B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3
1 2 F Hns. 3 4
1 2 Tbns. 3
Euph.
Tuba
arco Str. Bass
Timp. Tambourine — thumb roll 1 Triangle 2 Perc.
Claves 3 (Mar.) 4
13
67
66
68
69
70
Picc.
1 Fls. 2
Ob. solo 1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3
1 2 F Hns. 3 4 1. solo 1 2 Tbns. 3
Euph.
Tuba
Str. Bass
Timp. (Tamb.) 1 (Tri.) 2 Perc.
(Claves) 3 (Mar.) 4
14
71
72
73
75
74
76
77
78
Picc. tutti 1 Fls. 2
Ob. tutti 1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
tutti 1 E Alto Sax. 2 tutti B Tenor Sax.
E Bar. Sax.
Harmon Mute stem in 1 Harmon Mute stem in
B Tpts. 2 3
1 2 F Hns. 3 4
1 2 Tbns. 3
Euph.
Tuba
Str. Bass
Timp. (Tamb.) 1 (Tri.) 2 Perc.
(Claves) 3 (Mar.) 4
15
79
80
81
83
82
85
84
86
Picc. cresc.
1 cresc. Fls. 2 cresc. Ob. cresc. 1 cresc. B Cls.
2 cresc. 3 cresc.
B Bass Cl. cresc. E Contra Alto Cl. cresc. Bsn. cresc.
1 E Alto Sax.
cresc. 2 cresc.
B Tenor Sax. cresc. E Bar. Sax. cresc. open 1 cresc.
B Tpts.
open 2 3 cresc. 1 2 cresc.
F Hns. 3 4
cresc. tutti 1 2 cresc.
Tbns. 3
cresc. Euph. cresc. Tuba cresc. pizz. Str. Bass cresc. Timp. cresc.
(Tamb.) 1
cresc.
(Tri.) 2
cresc.
Perc.
(Claves)
Bass Drum
3 cresc.
(Mar.) 4
16
87
90
89
91
88
92 93
94
Picc. dim. 1 dim.
Fls. 2
dim. Ob. dim. 1 dim. B Cls.
2 dim. 3 dim.
B Bass Cl. dim. E Contra Alto Cl. dim. Bsn. dim.
1 dim.
E Alto Sax. 2
dim. B Tenor Sax.
dim.
E Bar. Sax. dim.
1 dim.
B Tpts.
a2 2 3 dim. 1 2 dim.
F Hns. 3 4
dim. 1 2
dim.
Tbns. 3
dim. Euph. dim. Tuba dim. arco Str. Bass dim. Timp. dim. (Tamb.)
Crash Cymbals—l.v.
1 dim. Glockenspiel — brass mallets—l.v.
(Tri.) 2 Perc.
dim.
(B.D.) 3
dim. Chimes—l.v. 4 dim.
17
95
96
97
98
99
100
Picc. solo 1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3 1 2 F Hns. 3 4 1 2 Tbns. 3
Euph.
Tuba
Str. Bass
Timp. (Cr. Cym.) 1 (Glock.) 2 Perc.
(B.D.)
Vibraphone — yarn mallets
3 (Chimes)
Marimba — yarn mallets
4
18
101
102
103
104
105
106
107
108
109
110
Picc. cresc. tutti 1 cresc.
Fls. 2
cresc. Ob. cresc. 1 cresc. B Cls.
2 cresc. 3 cresc.
B Bass Cl. cresc. E Contra Alto Cl. cresc. Bsn. cresc.
1 E Alto Sax.
cresc. 2 cresc.
B Tenor Sax. cresc. E Bar. Sax. cresc.
1 B Tpts. 2 3 cresc. 1 2
cresc.
F Hns. 3 4
cresc.
1 2
cresc.
Tbns. 3
cresc. Euph. cresc. Tuba cresc.
Str. Bass cresc. Timp. 3
3
3
cresc. Xylophone — hard mallets
1 cresc. 2 (Vib.)
Perc. 3
(Mar.) 4 cresc.
19
111 112
114
113
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3
1 2 F Hns. 3 4 a2
gliss.
1 2 Tbns. 3
Euph.
Tuba
pizz.
arco
Str. Bass
Timp. (Xylo.) 1
Closed Hi-Hat — sticks 2 dim. Slapstick
Perc.
Claves
3 (Mar.) 4
20
119
116 115
117
118
Picc. cresc. 1 cresc.
Fls. 2
cresc. Ob. cresc. 1 cresc. B Cls.
2 cresc. 3 cresc.
B Bass Cl. cresc. E Contra Alto Cl. cresc. Bsn. cresc.
1 E Alto Sax.
cresc. 2 cresc.
B Tenor Sax. cresc. E Bar. Sax. cresc.
1 B Tpts. 2 3 1 2 F Hns. 3 4 1 2 cresc.
Tbns. 3
cresc. Euph. cresc. Tuba cresc. pizz.
arco
Str. Bass cresc. 3
3
Timp. (Xylo.)
3
cresc.
1 Large Tom-Tom — stick
Suspended Cymbal — stick choke
cresc. choke
2 Perc.
(Claves) 3 cresc.
(Mar.) 4
cresc.
21
120
121
122
123
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3
1 2 F Hns. 3 4
1 2 Tbns. 3
Euph.
Tuba
Str. Bass
Timp.
1 (Susp. Cym.) 2 Perc.
(Claves) 3 (Mar.) 4
22
124
126 125
127
128
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3
1 2 F Hns. 3 4 1 2 Tbns. 3
Euph.
Tuba
pizz. Str. Bass
Timp. (Xylo.) 1 (Susp. Cym.)
Closed Hi-Hat — sticks
2 Perc.
(Claves) 3 (Mar.)
Bongos — yarn mallets
4
23
129
130
131
132
133
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3
1 2 F Hns. 3 4
1 2 Tbns. 3
Euph.
Tuba
Str. Bass
Timp. (Xylo.)
Mark Chimes
1 (Hi-Hat) 2 Perc.
(Claves) 3 (Bongos) 4
24
134
135
138 136
137
139
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 3 a2 1 2 F Hns.
a2 3 4 1 2
Tbns. 3
Euph.
Tuba
Str. Bass
Timp. Xylophone — hard mallets 1 (Hi-Hat) 2 Perc.
(Claves) 3
Marimba — yarn mallets 4
25
141
143
Picc.
1 Fls. 2
Ob.
1
B Cls.
2
3
B Bass Cl.
E Contra Alto Cl.
Bsn.
1 E Alto Sax. 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts.
a2 2 3
1 2 F Hns. 3 4 a2 1 2 Tbns. 3
Euph.
Tuba
Str. Bass
Timp. (Xylo.) 1 (Hi-Hat) 2 Perc.
144
142
140
(Claves)
Bass Drum
3 (Mar.) 4
26
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
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w w w. M a n h at ta n Be a c h Mu sic . c o m