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BOUNDLESS RIVER F R A N K

T I C H E L I

#3 IN A SERIES OF WORKS DEVELOPED FROM THE M A K I N G M U S I C M AT T E R B A N D M E T H O D S C O N C E R T

M A N H A T T A N

B A N D

B E A C H

M U S I C


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BOU N DL E S S R I V E R F O R

C O N C

E

R T

B A

N

D

F R A N K T IC H EL I I

N

S

T

R U

M

E

N

T A T

I

1 Full Score

4 Bb Trumpet 2

4 Flute 1

4 F Horn

4 Flute 2

3 Trombone 1

2 Oboe

3 Trombone 2

6 Bb Clarinet 1

O

N

3 Euphonium B.C.

6 Bb Clarinet 2

2 Euphonium T.C.

3 Bb Bass Clarinet

4 Tuba

1 Bassoon

1 Timpani

3 Eb Alto Saxophone 1

1 Glockenspiel

3 Eb Alto Saxophone 2

2 Chimes, Vibraphone

2 Bb Tenor Saxophone

2 Percussion

1 Eb Baritone Saxophone

Tam-tam (lg.), Suspended Cymbal

4 Bb Trumpet 1

(med. lg.), 2 Triangles (med. & lg.)

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 www.ManhattanBeachMusic.com customerservice@manhattanbeachmusic.com 718/338-4137

M A N H AT TA N B E AC H M U S IC


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B O U N D L E S S

R I V E R

2 Composed in loving memory of my grandfather, John Tildon Tisdale (December 29, 1898–March 28, 1990).


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P R O G R A M

N O T E

Rivers of all kinds — large or small, rapid or meandering, winding or straight—are life affirming. Their endless flow evokes a sense of infinity. I find it comforting to know they flowed long before humans inhabited the planet and will continue to do so long after we leave this earth. One in particular, the Mississippi River, occupies a special place in my heart, as, having lived a good portion of my childhood not a mile from its banks, I am always nostalgic thinking of it. I love it especially it for its unhurried, quiet dignity. BOUNDLESS RIVER for concert band is inspired both by feelings of nostalgia and the sense of infinity that rivers suggest to me. The work’s main theme, first stated by the clarinets, meanders gently — rising and falling from phrase to phrase. The music breathes, ebbs and flows, rises and falls in gentle waves of sound. Sometimes it suggests a peaceful meditation; other times it cries out. Still other times it sparkles like rivulets of water reflecting sunlight. It ends as it began, flowingly, peacefully, with life affirming dignity.

T O

T H E

C O N D U C T O R

Boundless River is my third publication for concert band in the Making Music Matter Series. Those who are familiar with my two band methods, Making Music Matter (Book 1) Beginning Band Method and Making Music Matter (Book 2) Intermediate Band Method will know that the books contain original compositions for concert band at the end of each lesson (48 compositions in total) as well as solo pieces for each instrument with piano accompaniment at the end of each book. All of these pieces are of necessity brief in nature, as their purpose is to give beginning players a chance to play music of substance, but not to give them more than they can handle so early in their musical development. The present work, Boundless River, takes one of the solo pieces from Book 2 (Long Ago and Far Away, for solo clarinet and piano) and expands it to 3-minute work for concert band. It is my plan to take many of the compositions from the method books and to expand them into larger, more substantive works for concert band.

FRANK TICHELI PA S A D ENA , CA LI F O R N I A JULY 24, 2019


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M A K I N G

M U S I C

M A T T E R

S E R I E S

r

Making Music Matter (Book 1) Beginning Band Method

by Frank Ticheli and Gregory B. Rudgers, Foreword by Richard L. Floyd, Bob Margolis, Editor

Making Music Matter (Book 2) Intermediate Band Method

by Frank Ticheli and Gregory B. Rudgers Foreword by Craig Kirchhoff, Bob Margolis, Editor Instrumentation for Book 1 & Book 2: Teacher’s Edition, Flute, Oboe, Bb Clarinet, Bb Bass Clarinet, Bassoon, Eb Alto Saxophone, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet, F Horn, Trombone, Euphonium (Bass Clef ), Euphonium (Treble Clef ), Tuba, Percussion, Piano Accompaniment for Solo Pieces Learn more: at www.MakingMusicMatterBook1.com and www.MakingMusicMatterBook2.com

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Six New Books of Original Solo Compositions by Frank Ticheli developed from the Making Music Matter Band Methods Solo Works All six books contain easy to intermediate works 14 Original Compositions for Flute and Piano 15 Original Compositions for Bb Clarinet and Piano 13 Original Compositions for Eb Alto Saxophone and Piano 13 Original Compositions for Bb Trumpet and Piano 13 Original Compositions for F Horn and Piano 13 Original Compositions for Trombone and Piano Learn more: at www.FrankTicheli.com

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Four New Works for Concert Band by Frank Ticheli

developed from the Making Music Matter Band Methods Ensemble & Solo Works

Midnight for concert band

#1 in the series, developed from Night In Nairobi, Composition No. 23 from Book 2 — 5 min. 15 sec. — Grade 3

Under the Big Top for concert band

#2 in the series, developed from Circus March, Composition No. 17 from Book 1 — Grade 1 — 2 min. 30 sec.

Boundless River for concert band

#3 in the series, developed from the Bb Clarinet Solo, “Long Ago and Far Away,” from Bb Clarinet Book 2 — Grade 2 — 3 min.

Ghost Tale for concert band

#4 in the series, developed from the Bb Bass Clarinet Solo, “Ghost Story,” from Bb Bass Clarinet Book 2 — Grade 3 — 5 min. 30 sec.

Learn more:

www.FrankTicheli.com — www.MakingMusicMatterBook1.com — www.MakingMusicMatterBook2.com


F RA N K

T I C H ELI

FRANK TICHELI’S WORKS FOR CONCERT BAND ARE PUBLISHED EXCLUSIVELY BY MANHAT TAN BEACH MUSIC

Abracadabra (5 minutes, grade 3) Acadiana (17 minutes, grade 5) Movements 1 and/or 3 may be performed separately

Amazing Grace (5 minutes, grade 3) Amen! (3 ½ minutes, grade 2) An American Elegy (11 minutes, grade 4) This work is also available as An American Elegy for orchestra

Angels in the Architecture (14  ½ minutes, grade 5) Ave Maria / Schubert (4 ½ minutes, grade 3) Blue Shades (10 minutes, grade 5) This work is also available as Blue Shades for orchestra

Boundless River (3 minutes, grade 2) Cajun Folk Songs (6 ¾ minutes, grade 3) Cajun Folk Songs II (10 ½ minutes, grade 4) Concerto for Clarinet and Wind Ensemble (21 minutes, grade 6) This work is also available as Concerto for Clarinet in an edition for Solo Bb Clarinet and Piano

Concerto for Alto Saxophone and Wind Ensemble (21 ½ minutes, grade 6) This work is also available as Concerto for Saxophone in an edition for Solo Alto Saxophone and Piano

Dancing on Water (8 minutes, grade 4) December Snow (2 ¼ minutes, grade 1) Earth Song (3 ½ minutes, grade 2) First Light (3 minutes, grade 1) Fortress (5 ½ minutes, grade 3) Gaian Visions (9 ½ minutes, grade 6) Ghost Tale (5 ½ minutes, grade 3) Joy (2 ½ minutes, grade 2) Joy Revisited (3 ½ minutes, grade 3) Korean Folk Songs from Jeju Island (10 ½ minutes, grade 4) Loch Lomond (6 ½ minutes, grade 3) Making Music Matter: Band Method, by Frank Ticheli and Gregory B. Rudgers, Bob Margolis, Editor

Book 1: Beginning Band (Foreword by Richard L. Floyd) & Book 2: Intermediate Band (Foreword by Craig Kirchhoff ) - View online: www.makingmusicmatterbook1.com & www.makingmusicmatterbook2.com

Midnight (5 ¼ minutes, Grade 3) Nitro (3 minutes, grade 4) Pacific Fanfare (5 ½ minutes, grade 5) Peace (3 minutes, grade 1) Portrait of a Clown (2 ¾ minutes, grade 2) Postcard (5 ¼ minutes, grade 5) This work is also available as Postcard for orchestra

Rest (8 minutes, grade 4)

This work is also available as Rest for string orchestra

Sanctuary (12 minutes, grade 5) San Antonio Dances (9 ½ minutes, grade 4) Serenade for Kristin: for Solo Oboe and Chamber Ensemble (9 minutes, Grade 4 ensemble, Grade 5, oboe) This work is also available as Serenade for Kristin in an edition for Solo Oboe and Piano

Songs of Love and Life (23 minutes, grade 6) for Soprano and Small Wind Ensemble (18 players) 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 ½ minutes, grade 3) Silver Lining: Concerto for Flute and Wind Ensemble (22 minutes, Grade 6) Simple Gifts: Four Shaker Songs (9 minutes, grade 3) Sun Dance (5 minutes, grade 3) Symphony No. 1 (31 minutes, grade 6) Movement 1, “Of Youth,” Movement 2, “Of Wisdom,” Movement 3, “Profanation,” Movement 4, “Prayer”

Symphony No. 2 (21 minutes; mvts. 1 & 2 are grade 6, mvt. 3 is grade 5) The Tyger (6 minutes, grade 6) Under the Big Top (2 ½ minutes, grade 1) Vesuvius (9 minutes, grade 4) Wild Nights! (6 ½ minutes, grade 4) W W W. F R A N K T I C H E L I . C O M – T H E O F F I C I A L S O U R C E F O R T H E M U S I C O F F R A N K T I C H E L I


In loving memory of my grandfather, John Tildon Tisdale

BOUNDLESS RIVER

Duration: 3 min.

FOR CONCERT BAND

Flowing ( q = c. 88)

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FRANK TICHELI

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Copyright © 2020 Manhattan Beach Music - All Rights Reserved - Printed and engraved in the United States of America ISBN 1-59913-242-7 (complete set) ISBN 1-59913-243-5 (conductor score) Visit www.FrankTicheli.com for the latest information on the music of Frank Ticheli Purchase music, download free MP3s, view virtual scores and more at www.ManhattanBeachMusic.com


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œ J ‰ œ J ‰ œ ‰ J

˙™

œ ‰ J

#˙ ™ œ

n˙ ™

œ

˙™

œ J ‰ œ ‰ J j œ ‰

˙™

˙

j œ ‰

n˙˙ ™™

˙

˙˙

˙

˙

˙

˙™

˙

˙

˙

˙™

j œ ‰

œœ J ‰ œ ‰ J

œ

œ

œ

˙™

j œ ‰

œ

˙

œ

œ œ œ

˙™

œ ‰ J

œ

w

ff

˙

œ l.v. J ‰ Ó

f

w ∑

∑


° bb & b

∑

b &b b

∑

Œ

b &b b

∑

Œ

24

Fl. 1

Fl. 2

Oboe

Bb Cl. 1

25

Œ

&b w

>˙ mf

mf

mf

mp

Bb Cl. 2

Bass Cl.

Bsn.

&b Œ

&b ˙

œ

mf

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt. 1

Bb Tpt. 2

F Horn

Tbn.

1 2

Euph.

Tuba

Timp.

Œ

&b

w

¢&

° &b

œ

˙

?b bb

œ

p

mp

mf

œ

mf

∑

∑

∑

œœ˙

œ

œ

˙

œ

œ

œ

˙

œ

œœ˙

œ

Œ ˙

˙ œ œœ˙

∑

œ

mf

˙

rit.

∑

mf

j j j œ œ œ œ ˙™

j œ‰ Œ Ó

jœ œ

œ œœ˙

œ ∑

∑ Œ

mf

œ

˙ Œ

∑

œ‰ Œ Ó J

Œ

29

mf

˙

˙

˙

Ó

˙

˙ jœ œ œ œ œ w œ J J J

p

Œ

˙

œ

mf

∑

Œ

˙ mp

œœ˙

∑

œ œ œ œ ˙™ J J J

Œ

mf

œ œ ∑

jœ œ œ œ œ w œ J J J mf

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

> ˙

œ

mf

∑

?b ˙ bb

jœ œ

28

œ‰ Œ Ó J

j œ‰ Œ Ó

j‰ œ >˙

∑

mp to straight mute

27

∑

p

j œ œ œ œ œ ˙™ œ J J J

b &b Œ

°? b bb

œ

mf

w

∑

mp

&b

?b ¢ bb

> ˙

œ

Œ

∑

&

œ œ œ ˙™

œ

mf

&

œ

˙

˙ mp ? b œj œ œ œ œ œ ˙™ bb J J J

œ œ œ ˙™

∑

˙

˙

mp

Eb Alto Sax. 1

œ

œ

26

˙

œ

˙

œ

p

j œ‰ Œ Ó

œ œ œJ œJ œ œJ ˙™ J

a2

mp

˙

Œ

mf

˙

∑

˙

˙

œœ J

Œ

œ œ œ œ ˙™ J J J

˙

˙

˙

œœ˙

Œ

œ œ œJ œJ œ œJ J

mf

mf

˙

œ

˙

˙

œ

˙

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Glock.

b &b b

∑

∑

∑

∑

∑

∑

Chimes Vibes

b &b b

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

Perc.

¢/

5


30 A Tempo

Fl. 1

Fl. 2

Oboe

Bb Cl. 1

Bb Cl. 2

Bass Cl.

Bsn.

° bb & b

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt. 1

Bb Tpt. 2

F Horn

∑

Œ ˙

œ

b &b b

∑

Œ ˙

œ

mf

& b #w

Ϫ

&b

w

Ϫ

w

Ϫ

&b

mp

mp

mp

?b w bb &

Œ

&

#w

¢&

° &b

˙

1 2

mf

Glock.

Chimes Vibes

Perc.

∑

∑

Œ ˙

œ w

∑

∑

∑

w

Ϫ

Œ œ

‰Ó

j œ œ ‰ #˙

Œ ˙ mf

‰Ó

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

˙

œ w

mf

Œ

Œ ˙

w

˙

œ w

mf

j œ œ‰ ˙

Œ b˙

j œ œ‰ ˙

mf

œ œ ‰ #˙ J

mf

j œ œ ‰ b˙

∑

∑

∑

∑

œ œ‰Œ Ó J

∑

∑

w

w

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

œ™ œœ™™ œ™ ˙

˙

˙

Ó

mp

mp

∑

‰ ‰ ‰

mf

mf

mf

˙

mf

˙

p

∑

œœ™™

mp

nw w

mp

w

Ϫ

mp

˙

˙

˙

Ó

˙

Ó

mp

mp

‰ ‰ ‰

˙

-̇ -̇˙

mf

mf

mf

mf

˙

mf

∑ ˙

˙

Ϫ

w

∑

(Chimes)

∑

-̇ mf -̇˙

w

w

w

w

nw w

w w

nw w

w w

w

w

w

mp

mp

w

mp

˙

˙

˙

Ó

˙

Ó

mp

∑ ˙

∑ ˙

˙

∑

∑ 6

mp

˙

˙ ∑

˙

˙

˙

˙

˙

˙

˙

˙

∑

∑ ˙

˙ ∑

œ

∑

w

mp

œ

∑

‰Ó

Ϫ

?b w bb

¢/

∑

Ϫ

‰Ó

∑

∑

? b nw bb w

b &b b Ó

‰Ó

∑

rit.

œ w

#w

mp

∑

37

∑

b &b w

b &b b

36

Œ ˙

mf

w

∑

35

∑

p

°? b Timp. bb Ó

34

∑

w

?b Ó ¢ bb

mf

mp

mf

mf

mp

Tuba

mf

Œ n˙

mp

Euph.

œ w

∑

&b

w

œ 33 w

mf

Ϫ

mp

&b

Œ

˙

mf

mp

Tbn.

w

32

b &b b

p

Eb Alto Sax. 1

31

˙ ˙ ∑ ∑

w ∑

∑


° b Fl. 1 & b b

∑

b &b b

∑

b &b b

∑

38

Fl. 2

Oboe

Bb Cl. 1

Bb Cl. 2

Bass Cl.

Bsn.

Eb Alto Sax. 1

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

&b &b &b ?b bb

w

F Horn

Glock.

Chimes Vibes

Perc.

mp

mp

mf

mf

Œ

˙™

p

Œ

Œ

œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ

p

mf

p

mf

œ œ œ œ œ

w

˙™

w

w

w

˙™

Œ

∑

∑

w

˙™

Œ

∑

∑

p

∑

∑

&

∑

&

∑

∑

& b #w

nw

p

∑

&b

∑

∑

∑

∑

∑

p

∑

œ œ œ œ œ

Œ

p

∑

∑

Œ

p

w

p

œ œ œ œ >œ œ œ œ ˙™

˙

mp

p

∑

∑

w

˙™

Œ

∑

∑

w

˙™

Œ

∑

∑

˙™

œ

p

straight mute

Ó

œ

mf

œ

j œ ‰ œ œ w

˙

∑

∑

∑

Ó

nw

∑

∑

∑

Ó

w w

∑

∑

∑

∑

?b w bb

w

∑

∑

∑

∑

?b ¢ bb w

w

∑

∑

∑

∑

∑

∑

∑

∑

b & b #w ?b w bb w

°? b bb w p

Timp.

Œ

43

œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙™ > mf

w

∑

¢&

Ó

42

Œ

p

Tuba

∑

mp

41

nw

p

Euph.

∑

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 > mp mf p 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 ˙™ J >

#w

p

1 Tbn. 2

∑

w

p

° Bb Tpt. 1 & b Bb Tpt. 2

40 A Tempo

39

b &b b b &b b

¢/

p

∑ ∑ ∑

∑ ∑

˙ Œ ˙

mp VIBRAPHONE

˙

mp

∑

∑

Œ

˙

˙

TRIANGLES

œ œ

˙ ˙

œ œ ˙

œ

œ œ ˙

˙

œ

mp

7

œ œ ˙

œ

œ

˙ ˙

˙

œ œ ˙ œ

œ œ ˙ œ

œ

mp

œ

˙

˙ ˙

mp

œ œ ˙

˙

œ


° b œœœœœœœœ w Fl. 1 & b b 44

45

mf

Fl. 2

Oboe

b &b b Œ

b &b b ˙

Bb Cl. 2

Bass Cl.

Bsn.

Eb Alto Sax. 1

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt. 1

Bb Tpt. 2

F Horn

Tbn.

1 2

Euph.

Tuba

Timp.

Glock.

Chimes Vibes

Perc.

Œ

œœ œœœ

œ œœœœœœœ œ œ œ œ œ œœ œ˙ œ œ > p mf p p

œœœ

œ w p

mf

Bb Cl. 1

46

& b œ œ ˙™

Œ

p

œ47 œ œ œ œ œ œ œ 48 œ ˙ mf

p

œœœœ œœ œ œœœ ˙ mf

p

p

mf

∑

Œ

œ œœœœœœœ

&b

∑

∑

∑

∑

?b bb

∑

∑

∑

∑

&

∑

∑

œœœœœ

p

&

∑

∑

&b

∑

∑

° &b

mute out

Ó

Œ

mf

˙

˙

mp

∑

∑

∑

∑

∑

∑

∑

∑

∑

&b ˙

˙

˙

b &b ˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

˙

∑

?b bb

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

¢/

œ ˙

(Tgls.)

œ

˙ œ ˙ œ œ œ œ œ œ œ œ ˙

œ

œ œ œ œ

˙

˙

˙

Ó

˙

p

˙

p

Ϫ

p

˙ ˙ œ

œ

˙

œ œ œ œ

8

˙ œ ˙ œ œ œ œ œ œ œ w

˙ > ‰ œœœ mf

> œ œ œ œ œ™ Ó ˙

mf

˙

˙

mf

> ‰ œ œ œ œ œ œœœ

>œ œ œ œ œ™

mf

˙

p

˙

œœ

mf

˙

p

∑

Ó

∑

˙ b œ ˙ b œ b & œ œ (Vibes) œ œ b b œ b œ &

˙

˙

∑

°? b bb

mf

Ó

∑

?b ¢ bb

p

œ œ œ œ >œ œ œ œ

˙

?b bb

mf

œ œ œ œ œ >˙

p

∑

> ˙

Ó

mf

œœ œœœœœœœœ

˙

˙

mf

∑

œ œ œ œ œ >œ œ œ

p

∑

∑

Ó

œœœœ œœ œ œ œ œ œ ™ ‰ >˙ œœœœ˙ > mf p mf œ œ™ œ œ œ œ œœœ J œœœ w œ œ œ œ >˙

&b

¢&

Ó

49

˙˙

p

˙

∑ Ó

mf

œ œ œ œ œ™ >

>˙ > ‰œ

mf

mf

p

mf

˙

˙

˙

˙

˙

˙˙

˙˙

˙˙

p

˙

p

∑ ˙ ˙ ˙

˙ ∑

Ó

∑

Ó

∑

∑

∑

œœ


° b Fl. 1 & b b

∑

b &b b

∑

b &b b

∑

50

Fl. 2

Oboe

Bb Cl. 1

Bb Cl. 2

&b &b

51

œ

mp

œ52 œ œ œ œ œ œ œ œ œ œœ œœ mf

mp

mf

œœœ

˙

Bsn.

? bb ˙ b

˙

˙

˙

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt. 1

Bb Tpt. 2

∑ œœœœœ

p

&b œ ˙ ¢&

° &b

p

˙

˙

˙

p

F Horn

Tbn.

1 2

Euph.

b &b œ ˙ ? b ˙˙ bb ?b ˙ bb

Glock.

b &b b

Chimes Vibes

b &b b

Perc.

¢/

˙

œ

œ

˙

œ

˙

∑

mp

p

œ œ

SUS. CYM. (yarn)

∑

˙˙ ˙ ˙ ∑

œ œ

w æ

p

˙

˙

œ œ œ œ œ œ

˙

œ

œœ

mf

˙

mf

˙

mf

mp

mf

œœ œ J

mf

œ œ

œ Ó 9

˙

œ

œ

∑

˙˙

˙˙

˙ ˙ mp

˙

Œ

˙

˙ ∑

∑

∑

œœœ œ

œ

˙ ˙

mp

œœœ œ mp

∑

œ

˙

Œ

˙™

w

mf

œ J‰Œ

j œœ œ

œœœ

∑

mp

˙

∑

˙

Œ

˙

œ

∑

˙™

˙

w mf

˙

∑ ˙

œœœ

w

∑

˙

w

mf

˙

w

˙

˙

mf

w

œ œ œ™

˙˙

˙˙

j‰ œ œ œ œœœ ˙ œ

mp

w

˙

mf

mf

w

˙

mf open

œ

˙

mf

Œ

mp

∑

j‰ œ œ œ œœœ ˙ œ

w

œ œ œ™

w

˙

˙

˙˙

œœ

mf

œ

∑

œ œ

w

œ

˙

°? b Timp. bb

w

∑

˙

?b ˙ Tuba ¢ bb

mf

mf

mp

w

œ œœœ ˙

˙

˙˙

mf

mp

œ

∑

œœœœ

œœœ

w

œ

∑

mf

mf

∑

&b Œ

mp

œ œœœ œœœœ

œœœœ˙ œœœ ˙ œ

œœœ

w

˙

&

˙

œœœ w

˙

Eb Alto Sax. 2

mf

mp

&b ˙

&

55

mp

œ œ œ ˙™ œœœœ

Bass Cl.

Eb Alto Sax. 1

54

œœœ œœœœ œœœ j œ j œ œœœœœ œ œ œ‰ œœœ œœœ œ‰ œ œœœœ˙

œ˙ œœœ œœœ œ œ œ œ œ œœœœœ

rit.

j œ j œ œ œ œ‰ œœœ œœœ œ‰ œ œœœœ˙ 53

dim.

Œ

Ó ˙

œ œœ˙ ∑

∑

∑

∑

∑

∑

∑

œ œ

œ œ p

∑

∑

w ∑

∑


° b Fl. 1 & b b

∑

b &b b b &b b

56

Fl. 2

Oboe

Bb Cl. 1

œ œ œ œ Œ œ œ œ œ œ œ œ œ œ œ w

∑

∑

Ó

∑

∑

&b w

˙

w

˙

˙

w

Bass Cl.

&b w

w

?b w bb

w

p

Bsn.

p

60

Œ

œ œ œ œ œ œ œ œ œ

mp

mf

U ∑

w

∑

∑

U œ œ œ œ œ œ œ w œ œ œ œ œ œ œ p mf U ‰ Œ Œ j œ œ œ œ œ œ œ œ œ œ w

w w

j‰ Œ œ

Ó

œ ‰ Œ J

Ó

mp

U

mf

w

w

∑

U ∑ U ∑

&

∑

∑

∑

∑

∑

Eb Alto Sax. 2

&

∑

∑

∑

∑

∑

Eb Bari. Sax.

&b ¢&

w p

w

° Œ Bb Tpt. 1 & b Bb Tpt. 2

F Horn

p

&b

Solo

œ œ œ œ

mf

Tbn.

1 2

˙

w

œ J ‰ Œ

Ó

∑

U ∑

˙

˙

w

œ ‰ Œ J

Ó

∑

U ∑

w

j œ ‰ Œ

Ó

∑

U ∑

Œ œ œ œ œ ∑ ˙

p

? bb w w b

∑ ˙

w w

∑ j‰ Œ œ

w

Tuba

? bb œ ‰ Œ bJ

?b ¢ bb

°? b Timp. bb Glock. Chimes Vibes

Perc.

b &b b b &b b

¢/

Ó

w w ∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

∑

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July 25, 2019 Pasadena, CA


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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 .


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B O U N D L E S S

R I V E R

FRANK TICHELI

T O

V I E W

S C O R E S

C O M P L E T E

A N D

T O

H E A R

R E C O R D I N G S

P L E A S E V I S I T w w w . M a n h a t t a n B e a c h M u s i c . c o m & w w w . F r a n k T i c h e l i . c o m

M A N H A T T A N R A I S I N G O F

T H E

A N D

B E A C H

T H E

A M E R I C A N

B A N D S

A L L

M A N H A T T A N

M U S I C

S T A N D A R D S C O N C E R T

O V E R

T H E

B A N D

W O R L D

B E A C H

M U S I C

Profile for Manhattan Beach Music

Boundless River for concert band by Frank Ticheli  

The complete conductor score of Boundless River for concert band by Frank Ticheli

Boundless River for concert band by Frank Ticheli  

The complete conductor score of Boundless River for concert band by Frank Ticheli