Recording Credits for Abracadabra: Performance by USC Thornton Wind Ensemble, reading session conducted by the composer. (Subsequent to the recording, m. 154 was re-scored (from a tone cluster in flutes) to a whole tone cluster in flutes. Eerie, isn’t it?)
This virtual conductor score and recording are designated “private,” and any publication or distribution beyond the web sites of Manhattan Beach Music without its permission is prohibited.
A B RAC A DA B R A F O R
C O N C E RT
B A N D
FRANK TICHELI I N S T R U M E N T A T I O N 1 Full Score
1 Eb Contrabass Clarinet
3 F Horn 1
2 Piccolo
2 Bassoon 1
3 F Horn 2
4 Flute 1
2 Bassoon 2
3 Trombone 1
4 Flute 2
3 Eb Alto Saxophone 1
3 Trombone 2
2 Oboe 1
3 Eb Alto Saxophone 2
3 Euphonium B.C.
2 Oboe 2
2 Bb Tenor Saxophone
2 Euphonium T.C.
4 Bb Clarinet 1
2 Eb Baritone Saxophone
5 Tuba
4 Bb Clarinet 2
3 Bb Trumpet 1
2 Timpani
4 Bb Clarinet 3
3 Bb Trumpet 2
2 Xylophone
3 Bb Bass Clarinet
3 Bb Trumpet 3
3 Percussion 1 Tri., Temple Blocks, Lge. Slapstick, Susp. Cymb.
3 Percussion 2 Vibraslap, Small Tom, Snare Drum, Bass Drum
PRINTED
ON
A RC H I VA L
PA P E R
Gg M A N H AT TA N B E A C H M U S I C 1595 East 46th Street Brooklyn, New York 11234 www.ManhattanBeachMusic.com
Fax: 718/338-1151
E-mail: mbmband@aol.com
Voicemail: 718/338-4137
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F R A N K W O R K S
F O R
T I C H E L I C O N C E R T
B A N D
Frank Ticheli’s works for concert band are published exclusively by Manhattan Beach Music
Abracadabra (5 minutes, grade 3) Amazing Grace (5 minutes, grade 3) An American Elegy (11 minutes, grade 4) Ave Maria / Schubert (4 1/2 minutes, grade 3) Blue Shades (10 minutes, grade 5) Cajun Folk Songs (6 2/3 minutes, grade 3) Cajun Folk Songs II (10 1/2 minutes, grade 4) Fortress (5 1/2 minutes, grade 3) Gaian Visions (9 1/2 minutes, grade 6) Joy (2 1/2 minutes, grade 2) Joy Revisited (3 1/2 minutes, grade 4) Loch Lomond (6 1/2 minutes, grade 3) Pacific Fanfare (5 1/2 minutes, grade 5) Portrait of a Clown (2 3/4 minutes, grade 2) Postcard (5 1/3 minutes, grade 5) A Shaker Gift Song (2 minutes, grade 2) This work is a separate publication of the third song from Simple Gifts: Four Shaker Songs
Shenandoah (6 1/2 minutes, grade 3) Simple Gifts: Four Shaker Songs (9 minutes, grade 3) Sun Dance (5 minutes, grade 3) Symphony No. 2 (21 minutes, mvts. 1 & 2 are grade 6 , mvt. 3 is grade 5) Movement 1, “Shooting Stars,” Movement 2, “Dreams Under a New Moon,” and Movement 3, “Apollo Unleashed” may be separately performed
Vesuvius (9 minutes, grade 4)
learn more at
www.FrankTicheli.com “The official source for all things Ticheli”
.
Commissioned by the Driscoll Middle School Band, San Antonio, Texas, Richard Gonzalez, director, with funding from DC Music Festivals, Jon Locke, President.
.
P R O G R A M
N O T E
Q
A
bracadabra was composed in the summer of 2004, and was orchestrated the following November during a residency at the
MacDowell Colony. The piece is dedicated to my son, and is at once playful and serious, innocent and mischievous. A sense of mystery pervades as the dark key of G minor is balanced by sudden shifts to bright and sunny major keys. Throughout the composition I was thinking about magic, not in an evil or frightening sense, but as a source of fun and fantasy. My wonderfully playful, sometimes mischievous young son was always in the back of mind, as were images of Halloween with its costumes and jack-o’lanterns. As the piece nears its conclusion, the music rushes toward what seems to be an explosive finish. But the woodwinds interrupt, fanning out to a questioning whole-tone cluster. They are answered by a puff of sound, a final disappearing act. In strictly musical terms, the piece is as clear an example of musical economy as anything I’ve composed. Almost everything is derived from the opening bars of the main theme. Indeed, virtually every note can be traced to the main melody or its accompaniment. Because of this heightened sense of unity, I had to choose other ways to achieve musical variety. The most important solution was through the sudden and frequent shifts of mood, mode, and tonality.
F O R M :
S O N A TA
A L L E G R O
Q EXPOSITION
Introduction & Theme 1
mm. 1–13
G minor (Aeolian)
Episode
mm. 14–16
Eb Major
Modulating link
mm. 17–20
moving…
Theme 2 (+ Episode 1)
mm. 21–40
Bb Major… (C Major)… Bb Major
DEVELOPMENT
Theme 1
mm. 41–48
G minor (Aeolian)
Minor 3rd motive
mm. 49–56
Rising 3-note patterns
mm. 57–65
Episode (Theme 1)
mm. 66–74
F Major… Db Major… Eb Major
Modulating link
mm. 75–78
moving…
Theme 2
mm. 79–97
Bb Major… (C Major)… Bb Major
Transition to Recap.
mm. 98–105
D minor… Bb Major… G Major… Eb Major
R E C A P I T U L AT I O N
Theme 1
mm. 106–113
Minor 3rd motive
mm. 114–117
Theme 2
mm. 118–135
Coda
mm. 136–156
G minor (Aeolian)
S C O R E
N O T E S
EXPOSITION
Introduction and Theme 1 (mm. 1–16) A six-bar introduction establishes a mood that is at once playful, mischievous, dark, and mysterious. The flute notes should sound like bell tones, but without being forced. Observe carefully the staccato markings, and be sure that the vibraslap is allowed to ring for three beats, as notated. The main theme enters in the clarinets at measure 7, with clarinet 1 on the actual tune, forming horned fifths with clarinet 2. The other players should remain underneath this. (One exception to this rule occurs at measure 10, where the lower saxophones, horns and euphonium answer the melody strongly.) Episode and Modulating Link (mm. 14–20) The episode is signaled by an abrupt tonal shift from G minor (Aeolian) to Eb Major. Its foreground material (contained in all parts marked mezzo piano), is derived from the main theme, but now lengthened, made more lyrical, and transformed from a minor to a major key (e.g., see horned-fifth relationship between Flute 1 and Oboe 1, mm. 14–16). The episode material, always sounding in a major key and often interrupting some other idea, provides a calmer, more lyrical contrast to the darker minor-key material. A brief modulating link occurs in measures 17–20, based on a three-note fragment derived from the main theme, but made more contrapuntal. (e.g., Note the tight imitative relationship formed between the trumpets and flutes/oboe.) The link connects the music smoothly to the relative major key, ushering in the second theme. Theme 2 (mm. 21–40) In contrast to the main theme, the second theme is bright and jovial. However, like everything else thus far, the second theme is derived directly from the main theme. Even the second theme’s accompaniment comes directly from the main theme’s accompaniment (e.g., compare the bassoons, horns, and trombone in measures 21–23, with the rhythm in clarinet 3 at measure 7, and its scalewise descent in measure 8). By this point, one can easily see that economy is a hallmark of the piece. Virtually everything comes from the main theme! At measure 25, the episode material, marked subito piano, quietly interrupts the second theme. But the theme reasserts itself, overtaking the episode and moving to a powerful climax and full final cadence.
DEVELOPME NT
Theme 1 and Development of Minor 3rd Motive (mm. 41–56) The cadence to Bb Major is followed by an immediate return to G minor and an exact repeat of the main theme. In fact, one could easily argue that the development section does not really begin until measure 49, where a two-note motive, first appearing on the downbeat of measure 10, is now developed. The first trumpets lead the way in a kind of call-andresponse game with the low brass. Soon the game involves three groups: woodwinds brass, and solo timpanist. The timpanist must be aggressive here, taking seriously the fff indication with accents. Rising Three-note Patterns (mm. 57-65) With the forte-piano attack at measure 57, the music suddenly turns quiet and more sustained in quality. Groups of rising quarter-notes are answered by little reminders of previous music. A mysterious, somewhat bluesy moment occurs in the flutes and clarinets at measures 59 and 60, where horned-fifths, now separated by an octave, move into parallel tenths, and then finally in contrary motion. The phrase repeats at measure 63, and modulates to a new key (m. 66, F Major), marking the return of the episode material. Episode, Development of Theme 1, and Modulating Link (mm. 66–74) Material from the episode and main theme are combined, developed, and put through a series of modulations, from F Major to Db Major, and finally to Eb Major. This leads to a varied repeat of the modulating link. When comparing this to its first appearance, one can see that the roles between the trumpets and flutes/oboes have been switched, with the trumpets leading the way. Theme 2 (mm. 79–97) The second theme returns, at first as an exact repeat of the exposition’s second theme. But then the switching game continues: the first ending here contains the music that had originally occurred in the second ending of the exposition, and vice versa; i.e., compare the first and second endings here with those of mm. 24–25. The theme moves to a climax as before, but this time it is followed by a descent and a slackening of tempo. At measure 95, the main theme is foreshadowed in the clarinets as the energy continues to recede. Transition to Recapitulation (mm. 98–105) The tonality shifts from key to key, searching for resolution. Hints of the main theme are passed from the flutes and oboes, to the horns, to the clarinets and alto saxophones. The breath marks in measures 97 and 103 indicate a slight lifting from the note, and a slight phrase separation. They should not be interpreted as a dramatic halt in tempo.
R E C A P I T U L AT I O N
Main Theme and Return of Minor 3rd Motive (mm. 106–113) The recapitulation serves both as a return of the exposition and a continuation of the development section. Sections are shortened or deleted entirely, and in some cases new material is still being introduced. For example, the main theme’s return is now accompanied by a sultry chromatic line introduced by the flutes. Minor 3rd Motive (mm. 114–117) The episode and modulating link that followed the main theme in the exposition are deleted now, replaced by a brief reminder of the development section’s minor third motive. Theme 2 (mm. 118–135) Theme 2 returns, but now darkened by the home key of G minor. As before, it moves to a climax, but it too is darkened in its new tonal context. Coda (mm. 136–156) The coda, beginning with a forte-piano cadence in G minor, begins quietly and builds slowly. Ideas from throughout the piece are recalled as layer upon layer is added. The tonality remains firmly grounded, the tempo gradually increases, the energy intensifies and rushes towards what seems to be an explosive finish. But the tempo suddenly slackens and the woodwinds interrupt, fanning out to a questioning whole-tone cluster. The fast tempo suddenly returns, and the question is answered by a puff of sound. The music vanishes without a trace.
FRANK TICHELI G E N O A , I TA LY
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Gg
to my son, Joshua
ABRACADABRA FOR CONCERT BAND
= c. 138
2
3
FRANK TICHELI 4
5
Piccolo
1 Flute 2
Oboe
1 2
1
B Clarinet 2
3
B Bass Clarinet
E Contrabass Clarinet
Bassoon
1 2
1 E Alto Saxophone 2
B Tenor Saxophone Bsn.2
E Baritone Saxophone
1 2 B Trumpet 3
1 F Horn 2
1 Trombone 2
Euphonium
Tuba Tunings
Timpani
Xylophone TRIANGLE
1 Percussion
VIBRASLAP
to Small Tom
2
Copyright © 2005 Manhattan Beach Music / All Rights Reserved — Printed and engraved in the United States of America ISBN 1-59913-000-9 (complete set) ISBN 1-59913-001-7 (conductor score)
Go to www.FrankTicheli.com for the latest information on The Music of Frank Ticheli Go to www.ManhattanBeachMusic.com & www.BestMusicSeries.com to hear composers, see videos, download soundfiles and purchase music
7
6
8
9
10
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2 Play
Cl.1
1 E Alto Sax. Cl.2
2
B Ten. Sax. Play
(Bsn.2)
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo. to Temple Blocks
TEMPLE BLOCKS
1 Perc.
SMALL TOM (muffled w/cloth)
2
2
11
12
14
13
15
Picc.
1 Fl. 2
Ob.
1.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. 1. 1 Bsn. 2 Cl.1
Play
(Cl.2)
Play
1 E Alto Sax. 2
B Ten. Sax. Play
Bsn.2
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo. TRIANGLE
to Tri.
1 Perc.
to Snare Drum (brushes)
2
3
16
17
18
19
Picc.
1 Fl. 2 (1.) Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (1.) Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo.
1 Perc. 2
4
20
21
22
1 24
23
2 25
Picc.
1 sub.
Fl. 2
Ob.
1 2
1 sub. B Cl. 2 sub. 3 sub. B Bass Cl.
E Cb. Cl. a2 1 Bsn. 2 sub. 1 sub.
E Alto Sax. 2
sub. B Ten. Sax. sub. E Bari. Sax. sub. 1 2 sub.
B Tpt. 3
1 sub.
F Hn. 2
sub. 1 sub.
Tbn. 2
sub. Euph. sub. Tuba
Timp.
Xylo. l.v.
to Sus. Cym.
1 Perc.
SNARE DRUM (brushes)
(swirl)
2 sub.
5
28 26
27
29
30
31
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo. SUS. CYM.
l.v.
to Temple Blocks
1 Perc.
to Bass Drum
BASS DRUM
2 l.v.
6
to S.D. (sticks)
34 32
35
33
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo.
1 Perc.
SNARE DRUM (sticks)
2
7
36
37
38
39
40
41
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn.
1 2
1 E Alto Sax. 2 Alto Sax.2
B Ten. Sax. Bsn.1
E Bari. Sax.
1 2 B Tpt. 3 to mute!
mute
mute out
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo. TEMPLE BLOCKS
1 Perc.
(S.D.)
to Small Tom
2
8
42
43
44
45
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (a2) Bsn.
1 2
1 E Alto Sax. 2
(Alto Sax.2)
B Ten. Sax. (Bsn.1)
E Bari. Sax.
1 2 B Tpt. 3 open 1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo. (Temple Blocks)
to Large Slapstick
1 Perc.
SMALL TOM (muffled w/cloth)
2
9
to S.D. (sticks)
46
47
48
49
50
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2 Play B Ten. Sax. (Bsn.1)
E Bari. Sax.
1 2 B Tpt.
1. Soli
marcato
3
1 marcato
F Hn. 2
marcato 1 marcato
Tbn. 2
marcato Euph. marcato Tuba marcato Timp.
Xylo.
1 Perc.
SNARE DRUM (sticks)
2
10
51
53
52
54
55
56
Picc. marcato
1 marcato Fl. 2 marcato a2 Ob.
1 2 marcato
1 marcato B Cl. 2 marcato 3 marcato B Bass Cl. marcato E Cb. Cl. a2 1 Bsn. 2 marcato 1 E Alto Sax.
marcato
2 marcato B Ten. Sax. Play
marcato
E Bari. Sax. (1.)
marcato a2
1 2 B Tpt.
(2:
marcato)
3 marcato 1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Solo Timp.
Xylo. LARGE SLAPSTICK
to Temple Blocks
1 Perc. 2
11
57
58
59
60
61
Picc.
1 Fl. 2 a2 Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. (a2) 1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo. TEMPLE BLOCKS
1 Perc.
(S.D.)
2
12
62
63
64
65
66
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo. TRI.
to Tri.
1 Perc.
to brushes
2
13
l.v.
67
68
69
70
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2 Hn.1
1 E Alto Sax. 2 Hn.2
B Ten. Sax.
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo. l.v. 1 Perc. 2
14
71
72
73
75
74
76
Picc.
1 Fl. 2 1. Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2 Play
Ob.1
1 E Alto Sax. 2 Play B Ten. Sax.
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. Bsn.1
Play
Bsn.2
Play
2
Euph.
Tuba
Timp.
Xylo. (TRI.)
1 Perc. 2
15
77
79 78
80
81
Picc.
1 Fl. 2 a2 Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 1 Bsn. 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo. l.v. 1 Perc.
SNARE DRUM (brushes)
2
16
82
1
85
2 84
83
86
Picc.
1 sub.
Fl. 2
a2 Ob.
1 2
1 sub. B Cl. 2 sub. 3 sub. B Bass Cl.
E Cb. Cl.
Bsn.
1 2
sub.
1 E Alto Sax.
sub.
2 sub. B Ten. Sax. sub. E Bari. Sax. sub. 1 2 B Tpt.
sub.
3
1 F Hn.
sub.
2 sub. 1 Tbn.
sub.
2 sub. Euph. sub. Tuba
Timp.
Xylo. SUS. CYM.
to Sus. Cym.
1 Perc.
(swirl)
to B.D.
2 sub.
17
91 87
88
89
90
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo. l.v.
to Temple Blocks
1 Perc.
BASS DRUM
SNARE DRUM (sticks)
to S.D. (sticks)
2 l.v.
18
to Small Tom
92
rit. 93
( = c. 116) 94
95
96
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1.
1 2
1 E Alto Sax. 2
B Ten. Sax. Bsn.1
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2 one only 1 Tbn. 2
Euph. one only Tuba
Timp.
Xylo.
1 Perc. 2
19
97
(rit.)
98
= c. 84 99
100
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (1.) Bsn.
1 2 Ob.2
1 E Alto Sax. 2
B Ten. Sax. (Bsn.1)
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2
1 Tbn.
one only
2
Euph.
Tuba
Timp.
Xylo.
1 Perc. 2
20
101
106 rit.
102
103
104
Tempo I ( = c. 138) 105
Picc.
1 Fl.
Fl.1
2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2 Play
Cl.1
1 E Alto Sax. Cl.2
2
B Ten. Sax. Play
Bsn.2
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo.
1 Perc. 2
21
107
108
109
110
Picc.
1 Fl.
(Fl.1)
2
Ob.
1.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2 (Cl.1)
Play
(Cl.2)
Play
1 E Alto Sax. 2
B Ten. Sax. (Bsn.2)
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2
Tutti 1 Tbn. 2
Euph.
Tutti Tuba
Timp.
Xylo. TEMPLE BLOCKS
1 Perc.
SMALL TOM (muffled)
2
22
to S.D. (sticks)
111
114
112
113
115
Picc. marcato 1 marcato
(Fl.1)
Fl.
Play
2 marcato Ob.
1 2 marcato
1 marcato B Cl. 2 marcato 3 marcato B Bass Cl. marcato E Cb. Cl. a2 Bsn.
1 2 marcato
1 marcato
E Alto Sax. 2
marcato B Ten. Sax. marcato Play E Bari. Sax. marcato 1 2 B Tpt.
marcato
3 marcato 1 marcato
F Hn. 2
marcato 1 Tbn.
marcato
Tutti
2 marcato Euph. marcato Tuba marcato Timp.
Xylo. (Temple Blocks)
1 Perc.
SNARE DRUM (sticks)
2
23
116
118
117
119
120
121
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (a2) Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. a2 1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo. to Sus. Cym.
1 Perc.
SMALL TOM (muffled)
to Small Tom
2
24
122
123
124
125
126
Picc.
1 sub. Fl. 2 sub.
Ob.
1 2 sub.
1 sub. B Cl. 2 sub. 3 sub. B Bass Cl. sub. E Cb. Cl. sub.
a2 Bsn.
1 2 sub.
1 sub.
E Alto Sax. 2
B Ten. Sax. sub. E Bari. Sax. sub. (a2) 1 2 sub.
B Tpt. 3
sub. 1 F Hn. 2
1 sub.
Tbn. 2
sub. Euph. sub. Tuba sub. Timp.
Xylo.
1 Perc.
to B.D.
2
25
127
128
129
130
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. a2 1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo. SUS. CYM.
l.v. 1 Perc.
BASS DRUM
2 l.v.
26
131
136 accel. poco a poco
133
132
134
(to m. 150)
135
Picc.
1 Fl. 2 a2 Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. a2
1.
1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo.
1 Perc.
to S.D. (sticks)
2 l.v.
27
(accel.→) 137
138
139
140
141
Picc.
1 Fl. 2 a2 Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. (1.) 1 2 2.
B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo. (SUS. CYM.)
1 Perc. 2
28
(accel.→) 142
144
143
145
146
Picc.
1 Fl. 2 (a2) Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
a2 Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph. div. Tuba
Timp.
Xylo. choke 1 Perc.
SNARE DRUM (sticks)
2
29
to Tri.
150
(accel.→) 147
148
= c. 168
149
151
Picc.
1 Fl. 2 a2 Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2
a2
1 Bsn. 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. a2 1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo.
1 Perc.
to B.D.
2
30
Slower ( = c. 112)
152
153
Tempo I ( = c. 138) 154
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. (a2) 1 2 B Tpt. 3
1 F Hn. 2
1 Tbn. 2
Euph.
Tuba
Timp.
Xylo. TRI.
1 Perc.
BASS DRUM
2
31
155
156
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)
BOB MARGOLIS — PUBLISHER N E I L R U D D Y — C R E AT I V E D I R E C T O R COFOUNDERS 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 .
.