Dancing on Water C O N C E R T
B A N D
Frank Ticheli
Manhattan
Beach
Music
Recording Credits for Dancing on Water: Performance by the Austin Symphonic Band, Richard L. Floyd, conductor
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.
F RA N K T ICH ELI
DA NC I NG ON WAT ER F O R
I
N
S
T
C O N C E R T
R U
M
E
N
B A N D
T A T
I
O
N
1 Full Score
3 Eb Alto Saxophone 2
3 Euphonium B.C.
1 Piccolo
2 Bb Tenor Saxophone
2 Euphonium T.C.
4 Flute 1
1 Eb Baritone Saxophone
4 Tuba
4 Flute 2
3 Bb Trumpet 1
1 String Bass
1 Oboe 1
3 Bb Trumpet 2
2 Timpani
1 Oboe 2
3 Bb Trumpet 3
2 Percussion 1
4 Bb Clarinet 1
1 F Horn 1
4 Bb Clarinet 2
1 F Horn 2
4 Bb Clarinet 3
1 F Horn 3
3 Bb Bass Clarinet
1 F Horn 4
1 Bassoon 1
2 Trombone 1
1 Bassoon 2
2 Trombone 2
3 Eb Alto Saxophone 1
2 Trombone 3
Xylophone, Vibraphone (motor off)
3 Percussion 2 Snare Drum, Ride Cymbal, Tambourine, Marimba, Glockenspiel, Chimes
4 Percussion 3 (Two players) Cabasa, Vibraslap, Woodblocks (piccolo and med.), Suspended Cymbal (med. lg.), Crash Cymbals, Bass Drum (lg.), Tam Tam (lg.), Tom Toms (3)
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 AC H M U S IC
.
D A N C I N G
O N
WAT E R
Commissioned by the Austin Symphonic Band in honor of Richard Floyd on his 25 years of service as their Music Director
P R O G R A M D A N C I N G
O N
WAT E R
N O T E
is a joyous tribute to my longtime friend and colleague,
Richard Floyd, and is partly inspired by Dick’s love of sailing. The work begins as an exuberant dance expressing feelings of unabashed joy. Imagine images of the sea on a perfect morning. This dance gives way to a heartfelt song played broadly in the horns and euphonium, supported by a playful background of crisp 8th-notes derived from the opening dance. This “song and dance” might have been sufficient as the work’s material, but in the very center of the work appears something new — a kind of oasis, perhaps an island — a soulful interlude marked by mysterious solos and duos in the alto saxophone and clarinets. Then the work proceeds in reverse, suggesting an arch form, a return home by the same pathways, but with one final surprise: a massively full-throated coda, signaled by the horns, lifts the exuberance and majesty to new heights, driving this water journey to a powerfully exalted finish. R E H E A R S A L
N O T E S
A-Section (Bars 1-60): The accents and staccato markings are vital for enhancing this section’s bright, dance-like quality. They should be somewhat exaggerated by the players, but within the bounds of good taste. Rhythmic clarity is equally essential in this section.
The staccato marking at the end of bar 48 must be observed by all, so that no player sounds across the barline, thereby energizing the silence at the downbeat bar 49 and the subsequent entrance.
B-Section (Bars 61-109): The horns and euphoniums and later the trumpets sound the lyrical
theme that comprises most of this section, and they should play the melody with a gentle, cantabile quality. The melody is supported by crisp, playful reminders of the dance-like music from the
first section. For this reason, there must be no change in tempo throughout this section. Because of
the lyrical foreground, conductors may be tempted to slow down. They should not succumb to this temptation.
C-Section (Bars 110-138): This section requires the most sensitivity and subtlety of all. The
undulating passages in the woodwinds and mallet percussion should always sound distant, lightly floating in the background, never interfering with the soloists. The alto saxophone solo is soulful
and longing in quality, and while it may be played with a slight bit of rubato, the player should not stray too far from the notated rhythm (as it is already notated in a somewhat free fashion).
In comparison to the alto saxophone solo, the clarinet solo beginning at bar 123 and clarinet duo
beginning at bar 127 should be played somewhat more assertively, perhaps more passionately, although maintaining the soulfulness established by the alto saxophone. Because the two clarinet
soloists have an intricate rhythmic relationship with one another, they should probably adhere fairly strictly to the notated rhythm (although, again, a subtle bit of rubato playing style might also be acceptable).
As in the previous section, conductors may be tempted to move more slowly than this section’s
indicated tempo of quarter-note equals ca. 92. As before, this temptation should be resisted, mostly because of the metric modulation that occurs at bar 139 (where the triplet 8th-note equals the subsequent regular 8th-note). In order to nail the new tempo at bar 139, the previous section can not drag below its marked tempo.
B1-Section (Bars 139-172): If the metric modulation is handled well, the listener will scarcely
notice that a much faster tempo has suddenly ensued. The lyrical theme returns in the low brass, once again accompanied by light, playful reminders of the A-section. But this time, the section is shortened considerably, driving to the reprise of the opening material.
A1-Section (Bars 173-190): The return of the opening material bursts out dramatically and
exuberantly; once again, rhythmic clarity, crispness, and intensified articulations are key to the desired dance-like quality.
Coda (Bars 191-234s): The horns triumphantly announce the coda with their overlapping chords.
Horns must play here with great power and confidence. This is crucial to the success of the coda. If necessary, horns may play with bells up to increase their volume and intensity.
In counterpoint to the horns, trumpet fanfares and faster-paced woodwind passages (all derived from the A-section) sound majestically and aggressively, and drive the coda to its exalted climax.
F R A N K
PA S A D E N A ,
T I C H E L I
C A L I F O R N I A
.
F RA N K
T I C H ELI
WO R K S F O R CO N C ERT BA N D FRANK TICHELI’S WORKS FOR CONCERT BAND ARE PUBLISHED EXCLUSIVELY BY MANHAT TAN BEACH MUSIC
Abracadabra (5 minutes, grade 3) 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
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) 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) 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) 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) 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)
Movement 1, “Shooting Stars,” Movement 2, “Dreams Under a New Moon,”and Movement 3, “Apollo Unleashed” may be separately performed
The Tyger (6 minutes, grade 6) Vesuvius (9 minutes, grade 4) Wild Nights! (6 ½ minutes, grade 4) WWW .FRANKT ICH ELI .COM
THE OFFICIAL SOURCE FOR THE MUSIC OF FRANK TICHELI
Commissioned by the Austin Symphonic Band in honor of Richard Floyd on his 25 years of service as their Music Director
DANCING ON WATER FOR CONCERT BAND
2 q = c. 138 Flute 1 f Flute 2 f 1 Oboe 2 Piccolo
Bb Clarinet 1
Bb Clarinet 2
Bb Clarinet 3
Bb Bass Clarinet
f Ob. 1
Ob. 2
f
f
Eb Alto Saxophone 1 Bassoon
Eb Alto Saxophone 2
Bb Tenor Saxophone
Eb Baritone Saxophone
sfz
sfz
sfz
sfz
3
1 2
sfz
F Horn
1 2
F Horn
3 4
Trombone 1
Trombone
2 3
Euphonium
Tuba
String Bass
Timpani (also playingTriangle)
Percussion 1
Percussion 2
f
6
mf
sfz
sfz f straight mute
f
f
sf
1.
TRIANGLE (choke always at staccato indication)
CABASA
Percussion 3
f
2 3
FRANK TICHELI
straight mute Bb Trumpet 1
Bb Trumpet
4
5
XYLO.
mf
f
Copyright © 2015 Manhattan Beach Music - All Rights Reserved - Printed and engraved in the United States of America ISBN 1-59913-164-1 (complete set) ISBN 1-59913-165-X (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
Picc. 7
Fl. 2
Ob.
Fl. 1
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
mf
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
9
f f
10
11
f
mf
Eb Alto Sax. 1 Eb Alto Sax. 2
8
mf
a2 mf mf mf mf mf
mf
1 2
3 F Hn. 4
Tbn. 1
2 3
Euph.
Tuba
S. Bass
Timp.
(Tri.)
f
pizz.
f
Perc. 1
Perc. 2
mf
(Cabasa)
f
2
f
arco
mf
Perc. 3
st. mute
mf
F Hn.
Tbn.
2 3
f
Bb Tpt.
(1.)
12
14 Picc. f Fl. 1
13
f f
Fl. 2
Ob.
1 2
f
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
sfz sfz
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
1 2
3 F Hn. 4
Tbn. 1
2 3
Euph.
Tuba
Tbn.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
sfz
sfz sfz
a2
a2
mf
mf
sfz
f
mf
sfz
sfz
sfz
f
f
F Hn.
sfz
2 3
19
Bb Tpt. 1 Bb Tpt.
18
f
17
sfz a2 1 Bsn. 2
Eb Alto Sax. 1
16 15
3
f
21 20 Picc. Fl. 1 Fl. 2 1 Ob. 2
22
Bb Cl. 3
Bb Bs. Cl.
Bb Cl. 2
1 Bsn. 2
Bb Cl. 1
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt.
2 3
F Hn.
1 2
3 F Hn. 4
Tbn. 1
Tbn.
2 3
Euph.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
f
mf
f
p
f
4
2.
mf
mp
mp
mp
mp
mp
mp
mute out
Solo
mf
mp
mp
p
mp SNARE DRUM (light sticks)
p
mp
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3.
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ff
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26
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Solo
25
WOODBLKS.
mf
(Tri.)
(Xylo.)
f f f 2. mf f
Tuba
mf
mf
24
mf
Eb Alto Sax. 1 Eb Alto Sax. 2
23
mf
Picc. 27
28
29
Fl. 1
Fl. 2
1 2
Ob.
Bb Cl. 1
mf
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
1 Bsn. 2
mf
Eb Alto Sax. 1
Bb Tpt. 1
1. mf
mp
1 2
3 F Hn. 4
Tbn. 1
Euph.
Tuba
F Hn.
Tbn.
2 3
S. Bass
Timp.
Perc. 3
mp mf
mf
Solo
mf
2. mf
Perc. 2
mf
Perc. 1
33 Solo
1.
32
mf
mf
sf
mf
mf
31
1.
mf
2 Bb Tpt. 3
Eb Alto Sax. 2 sf mp Bb Ten. Sax. sf mp Eb Bari. Sax.
30
mf
a2
mf
5
mf
34 Picc.
35
36
Fl. 1
Fl. 2
1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax. Bb Tpt. 1
2 Bb Tpt. 3
F Hn.
1 2
F Hn.
3 4
Tbn. 1
Tuba
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
(Woodblks.)
(Xylo.)
f
1.
f f
cresc.
cresc.
mf
mute out
f
cresc.
to Timpani
6
mp
tutti
f
pizz.
f
f
RIDE CYM. (keep light sticks)
40
39
38
mp
f
(S.D.)
(3.)
(Tri.)
mp
Euph.
f
mp
f f f a2
mute out
mp
2 3
Tbn.
mf
mf
37
mf
41 42 Picc. Fl. 1 Fl. 2
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Ob.
Bb Bs. Cl.
43
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt.
2 3
1 F Hn. 2
F Hn.
3 4
Tbn. 1
Tbn.
2 3
Euph.
f
2. open
f
Perc. 1
Perc. 2
p cresc.
2. ff
to Tambourine
p
ff
TAMBOURINE
f
Perc. 3 7
f
f
ff
a2 ff f f a2 f
open
f
ff
ff
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ff
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p cresc. open mf a2 mf
ff ff ff a2 ff ff ff ff f
49
mp mp
48
Tuba S. Bass Timp.
2.
1.
Eb Alto Sax. 1
2.
1 2
Eb Alto Sax. 2
a2
Bsn.
45 46 47
44
ff
mf
50 Picc. Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
sfz
sfz
sfz
Eb Alto Sax. 1 Eb Alto Sax. 2
51
1 Bsn. 2
Bb Bs. Cl.
sfz
sfz
sfz
52
53
sfz
55
54
cresc.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt.
2 3
F Hn.
1 2
F Hn.
3 4
Tbn. 1
Tbn.
2 3
Euph.
ff
Timp.
Perc. 1
sfz
f
sfz
f
sfz
f
f
arco
(Xylo.)
mp
ff
mf
ff
cresc.
cresc.
cresc.
f
ff
Perc. 3
ff
(Tamb.)
Perc. 2
Tuba S. Bass
cresc.
ff
Bb Ten. Sax.
ff
mf
cresc. TIMPANI
mp cresc.
mf
ff
to Marimba ff
8
56
Picc.
Fl. 1
Fl. 2
Ob.
57
Bb Cl. 2
Bb Cl. 3
Bb Tpt. 1
Bb Tpt.
2 3
3 4
Tbn.
Euph.
Tuba
S. Bass
Timp.
Perc. 1
Perc. 2
a2
f
cresc.
SUS. CYM. (yarn)
BASS DRUM
9
ff
ff ff
p p
ff ff
ff ff
ff
ff
div.
ff
ff
ff
ff
l.v.
to Triangle
ff MARIMBA
l.v. l.v. ff
f
f
ff
f
ff
f
f
f
f
f
60 61 ff ff 59
Perc. 3
58
2 3
Tbn. 1
1 F Hn. 2
F Hn.
Bb Ten. Sax.
Eb Alto Sax. 2
Eb Bari. Sax.
Bb Bs. Cl.
Eb Alto Sax. 1
1 2
1 2
Bb Cl. 1
Bsn.
ff
62
Picc.
Fl. 1
Fl. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
1 Bsn. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt.
F Hn.
F Hn.
2 3
1 2
3 4
p
mf
p
mp
to st. mute
1.
to st. mute
p
mp
mf mf
a2 cantabile
poco cresc.
mf a2 cantabile
mf
poco cresc.
cantabile
Tuba p S. Bass
poco cresc.
mf
Timp.
p
p
68
Euph.
2 Tbn. 3
Tbn. 1
67
2.
mp
mf
66
mp mp mf mf
p
65
Eb Alto Sax. 1 Eb Alto Sax. 2
mp
64
mp
1 Ob. 2
63
p
p
mf
mp
mp
mf
p
mf
p
poco cresc.
poco cresc.
mp
poco cresc.
mp
(Xylo.)
Perc. 1
mp
Perc. 2
Perc. 3
mf
(Mar.) mf mp
10
Picc. 69
Fl. 1
Fl. 2
1 Ob. 2
mf
70
mf mf
1.
Eb Bari. Sax.
Bb Tpt. 1
2 Bb Tpt. 3 1 F Hn. 2
F Hn.
3 4
2 3
Perc. 3
st. mute
mf
p
p
mf
mf
mf
poco cresc.
mf
VIBRASLAP 11
f
pizz.
mf
mf
mf
arco
mp
mf
f
mf
mf
mp
mf
mf
poco cresc.
mf
mp
f
mp
p
mp
TRIANGLE
st. mute
p
p
Timp.
Perc. 2
Tuba
Perc. 1
S. Bass
Euph.
Tbn. 1
Tbn.
mf
f
a2
f
Bb Bs. Cl.
Bb Ten. Sax.
p
Eb Alto Sax. 2
Bb Cl. 3
mf
p
Bb Cl. 2
Eb Alto Sax. 1
1 2
73 74
Bb Cl. 1
Bsn.
72
mf
mf
71
ff
mf
75 76 Picc. Fl. 1
Fl. 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
mf
Bb Bs. Cl.
mf
Eb Alto Sax. 2
Bb Ten. Sax.
F Hn.
3 4
Perc. 1
Perc. 2
Perc. 3
mf
mf
mf
mf
dim.
(Xylo.)
(Tri.)
poco cresc.
mf
poco cresc.
12
p
p
p
mp
mf
poco cresc.
mf
mf
p
mf
mp
mute out
dim.
dim.
mf
mf
mp
mf
mp 1.
dim.
(Mar.) mp mp
dim.
81
1.
80
79
mf
mf
Euph.
2 Tbn. 3
Timp.
Tbn. 1
S. Bass
mf
mf
1 2
Tuba
2 Bb Tpt. 3
F Hn.
fp
Bb Tpt. 1
Eb Alto Sax. 1
Eb Bari. Sax.
78
1. 2.
1 2
1 Bsn. 2
fp
77
mf
(Vibraslap)
ff
82
Picc.
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
84
85
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
83
86 mf mf
mf
mf
Eb Alto Sax. 2
mf
p
Eb Bari. Sax.
Bb Ten. Sax.
Bb Tpt. 1
2 Bb Tpt. 3
1 F Hn. 2 3 F Hn. 4
Tbn. 1
2 Tbn. 3
Euph.
Tuba
S. Bass
Timp.
mf
poco cresc.
mf
open
mf
mp
mp
Perc. 2
mp
mp
SUS. CYM. (yarn)
13
mf
p
p
p
mf
f
mf
p
mp
mf
mf
cantabile, bring out
mf mute out
mf
Perc. 1
Perc. 3
mf
mf
mf
mf
poco cresc.
p
1 Bsn. 2 Eb Alto Sax. 1
88
87
Picc.
89
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
mf
mf
a2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
2 Bb Tpt. 3
mf
mf
mf
mf
mf
mf
92 93
mf
mf
mp
mp
94
91
mf
Eb Alto Sax. 1 Eb Alto Sax. 2
90
mp
F Hn.
1 2
F Hn.
3 4
Tbn. 1
2 Tbn. 3
mp
mp
Euph.
Tuba
S. Bass
Timp.
mp
Perc. 1
Perc. 2
Perc. 3
mp
mp
14
(Xylo.)
to Timpani
mf
mp
mp (Mar.)
100 101 mp
Picc. 95
Fl. 1
97 98 99
96
Fl. 2
1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
mp
mp
mp
mf
mf
2 3
F Hn.
1 2
3 F Hn. 4
Tbn. 1
2 Tbn. 3
Tuba
mf
mf
mf
Bb Tpt.
Perc. 3
Perc. 2
Eb Bari. Sax.
Perc. 1
Timp.
Bb Ten. Sax.
S. Bass
Euph.
Eb Alto Sax. 2
Bb Tpt. 1
mp
SUS. CYM. (yarn)
pp
gently
p
p
p
p
mf
mf
mp
mp
mf
mp
mp
p
p
p
mp
pp
15
rit. 103 104 105 Picc. p Fl. 1 102
Fl. 2
2.
Bb Cl. 2
Bb Cl. 3
Ob.
1 2
Bb Cl. 1
Bb Bs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
mp
p
1 2
mp
mp
mp
mp
mp
mp
Tuba
mf
mp
1. Solo
Hn. cue mf
F Hn.
Perc. 3
Perc. 2
2 3
Perc. 1
Bb Tpt.
Timp.
109
1. mp
S. Bass
108
Eb Bari. Sax.
Euph.
2 Tbn. 3
107
Bb Ten. Sax.
Tbn. 1
3 F Hn. 4
106
Eb Alto Sax. 2
Bb Tpt. 1
mp
mf
p
mp
mp
p
p
mp
mp
p div.
p div.
mp
p
pp
to Vibes
(Mar.)
mp
16
pp
to Glock.
110 q = ca. 92
Picc.
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
111
pp
Perc. 2
Perc. 3
3
Solo misterioso
sf
mp
mf
3
sul G
VIBES
Perc. 1
Timp.
S. Bass
Tuba
Eb Bari. Sax.
Euph.
2 3
Tbn.
p
Tbn. 1
mf
p
Bb Ten. Sax.
3 4
p
F Hn.
mf
p
1 F Hn. 2
Air only
116
2 3
115
Bb Tpt.
Air only
114
Bb Tpt. 1
113
Eb Alto Sax. 1 Eb Alto Sax. 2
112
p
a2 Air only
p
mf
p
mf
mp
sul G
gently
Air only
(sempre sul G)
l.v.
mf
17
mp
TAM TAM (wire brushes) rustling
mp
mf
117
Picc.
118
119
Two players only thru m. 141
120
3
3
3
pp
3
3
3
3
3
3
3
3
3
3
3
3
Fl. 2
1 Ob. 2
Bb Cl. 1
Bb Cl. 3
Bb Bs. Cl.
Eb Alto Sax. 1
3 3 3 3 3 3 3 3
pp
3
3
Eb Bari. Sax.
3
pp
3
3
Solo
p
mfz
2 3
F Hn.
1 2
F Hn.
3 4
Tbn. 1
2 3
Euph.
Tuba
S. Bass
Timp.
Perc. 1
Perc. 2
(Vibes)
Perc. 3
pp
ped. as slurred
mp
shimmering, distant
18
mp
Bb Tpt.
Tbn.
f
3
mp
Solo 3
pp
Two players only
Bb Ten. Sax.
Two players only thru m. 137
3
3
Eb Alto Sax. 2
Bb Tpt. 1
Two players only thru m. 137
Bb Cl. 2
122
Fl. 1
1 Bsn. 2
121
3.
p
p div.
p pizz.
p
TIMPANI
p
TAM TAM (normal beater)
pp
dampen
Picc.
123
Fl. 1
Fl. 2
Ob.
1 2
pp
3
3
3
3
Bb Bs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
Eb Bari. Sax.
mp 3
3
pp
3
mp
3
3
3
3
3
3
3 3
sf
6
3
sf
3
mf 3
pp
Bb Tpt.
2 3
F Hn.
1 2
F Hn.
3 4
Tbn. 1
2 3
Euph.
Tuba
Tbn.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
p GLOCK.
3
p
3
3
SUS. CYM. (yarn)
19
p
mp
One player only
3
pp
3
6
mf
3
Solo (duo with first player) 3
Two players only
p3
3 3
pp
sf
128
1. 3
p
f
3
127
Bb Ten. Sax.
3
Bb Tpt. 1
126
3
Eb Alto Sax. 2
3
Tutti Bb Cl. 3
3
Bb Cl. 2
125
passionately
Bb Cl. 1 (divisi)
124
3
Picc. 129
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
3
3
pp
132
3
133
134
135
dolce
3
dolce 3
mp
pp
Bb Ten. Sax.
Eb Bari. Sax.
3 3
3
3
mf
pp
2 3
F Hn.
1 2
F Hn.
3 4
Tbn. 1
2 3
Euph.
Tuba
S. Bass
Timp.
p
Perc. 3
3
3
pp
(Glock.)
Perc. 2
arco
(Vibes)
Perc. 1
Bb Tpt.
Tbn.
3
(Two only)
3
mp
Eb Alto Sax. 2
Bb Tpt. 1
131
3 3 3 3 pp
Bb Cl. 1 (divisi)
130
3
3
3
3
3
3
3
3
3
3
pp
20
pp
Picc. 136
1 Ob. 2
3
pp
3
p
3
3
3
3
p
Bb Ten. Sax.
Eb Bari. Sax.
3
p
One only
3
Eb Alto Sax. 2
141
Eb Alto Sax. 1
140
Bb Bs. Cl.
= ca. 138
mp
3
3
3
3
3
3
3
Bb Cl. 3
mp 3
Bb Cl. 2
3
3
mfz
Bb Cl. 1 (divisi)
Bb Tpt. 1
3
139
Fl. 2
138
3
Fl. 1
1 Bsn. 2
137
3 e=e q
3
3
3
3
Tutti
mp
Tutti
mp
pp
3
1.
3
142
3
mp
Bb Tpt.
2 3
F Hn.
1 2
F Hn.
3 4
Tbn. 1
2 Tbn. 3
Euph.
Tuba
Perc. 1
Perc. 2
Timp.
Perc. 3
pp
S. Bass
pizz.
pp
p
to Triangle
pp
to Mar.
21
pp
mp
cantabile
mp
poco cresc.
poco cresc.
to Sus. Cym.
TAM TAM
cantabile
Picc.
143
Fl. 1
144
145
Tutti
mp
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
mp
Tutti mp
mf
mp
mp 2. mp
1 F Hn. 2
3 4
Bb Tpt. 1
Bb Tpt.
F Hn.
2 3
Tbn. 1
2 Tbn. 3
Euph.
Tuba
S. Bass
p
arco
Timp.
p
p
Perc. 2
(Vibes)
Perc. 3
mp
mp
mp
unis.
Perc. 1
mp
poco cresc.
poco cresc.
mp
mp
mp
Eb Bari. Sax.
mp
mf
shimmering
mf
p
p
22
p
TRIANGLE
p
mp
st. mute
Bb Ten. Sax.
Eb Alto Sax. 2
148
mf
mp
147
mp
Tutti
Tutti
1 Bsn. 2
Eb Alto Sax. 1
146
Picc. 149
Fl. 1
Fl. 2
1 Ob. 2
151
mp
Bb Cl. 2
3 F Hn. 4
Tbn. 1
2 Tbn. 3
Euph.
mf
a2
a2
mp
mp
mp
Perc. 1
Perc. 2
Perc. 3
p
fp
fp
f
f
f
f
fp
open
mute out
open
mf
mf
mp
mf
f
mf
mf
mp
mp
f
f
mf
mp
f
mp
mp
to Xylo.
p
MAR.
23
SUS. CYM.
f
f
f
f
mf
mf
f
mf
mf
fp
mute out
f
p
f
mp
a2
mp
Timp.
154
Tuba S. Bass
153
mp
st. mute
152
Eb Alto Sax. 2 Bb Ten. Sax. Eb Bari. Sax. Bb Tpt. 1
p
Eb Alto Sax. 1
1 F Hn. 2
Bb Bs. Cl. 1 Bsn. 2
2 Bb Tpt. 3
p
Bb Cl. 1
Bb Cl. 3
150
155 Picc. mf Fl. 1
mf
Fl. 2
1. mf
1 Ob. 2
mf mf
Bb Cl. 1
Bb Cl. 2
mf
156
157
158
159
160
mp
mp mp
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
mf Eb Alto Sax. 2 Eb Alto Sax. 1
mf
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
f
Tbn.
2 3
Euph.
mf
Timp.
Perc. 1
p
mf
p
Perc. 3
mf
mf
mp
mf
mp
mp
mf
mf
(Mar.)
Perc. 2
p
mf
Tuba S. Bass
mp
1 F Hn. 2
Tbn. 1
mp
3 F Hn. 4
2 Bb Tpt. 3
f
24
XYLO.
mp to Tamb.
Picc.
161
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
162
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt.
F Hn.
2 3 1 2
3 F Hn. 4
Tbn. 1
Tbn.
2 3
Euph.
Timp.
Perc. 1
Perc. 2
Perc. 3
f
f
mp
mp
mf
mf
mp
a2
Sus. Cym. (yarn)
p
mf
f
mf
f
mf
f
mf
f
f
a2
f
p
mf
mp
mf
mf
mf
mf
f
f
mf to Timpani
25
l.v.
mf
f
f
f
f
mf
mf f
f
f
f
mf f
f
fp
166
fp
165
fp
f
f
f
164
f
Tuba S. Bass
f
Eb Alto Sax. 1 Eb Alto Sax. 2
163
Picc.
167
Fl. 1
Fl. 2
mp cresc.
Bb Cl. 2
Bb Cl. 3
Bb Tpt.
2 3
p
p
Tbn. 1
2 Tbn. 3
Euph.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
mf
cresc.
mf
cresc.
mp
cresc.
mp
cresc.
mp
cresc.
mp
cresc.
cresc.
mp
mf
f
f
cresc.
mp
pp
ff
B.D.
TOM TOMS
ff
a2
ff
ff
cresc.
mp
mf
p cresc.
cresc.
mp
p cresc.
p cresc.
cresc.
p cresc.
mf
mf
Tuba
cresc.
p
3 F Hn. 4
1 2
mf
mp cresc.
cresc.
mf
F Hn.
Bb Ten. Sax.
Bb Tpt. 1
Eb Alto Sax. 2
mf cresc.
mf
mp cresc.
172
mf cresc.
171
Eb Alto Sax. 1
mp cresc.
a2
mp cresc.
mf cresc.
170
mp cresc.
Bb Bs. Cl.
Eb Bari. Sax.
169
Bb Cl. 1
1 2
mp cresc.
1 Ob. 2
Bsn.
168
26
f
f
173 Picc. ff Fl. 1 ff ff
Fl. 2
Ob.
1 2
ff
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
ff
ff
ff
Eb Alto Sax. 1 Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt.
2 3
1 F Hn. 2
F Hn.
3 4
175
sfz
sfz
sfz
sfz
p
ff
p
ff
p
ff
p
ff
sfz
2 3
Euph.
3.
p
p f mf f f
mf
Tuba f pizz. S. Bass f Timp. XYLO. Perc. 1 ff TAMBOURINE
Perc. 2
mf SUS. CYM.
ff
mf
ff
Perc. 3 (B.D.)
mp
mf
ff
mf
ff
p
ff
f
a2 f
p
ff
p
ff
p
ff
p
3. p p
ff
p ff
4.
ff
ff
178
2.
ff
sfz
177
a2
sfz
2. ff
sfz
176
sfz
Tbn. 1
Tbn.
f
f
174
choke
27
f
mf
ff
mf
to Mar.
ff
TIMPANI
ppp
choke
p
f
181
Picc. 179
Fl. 1
Fl. 2
Ob.
180
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
1 Bsn. 2 ff
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
2 3
F Hn.
1 2
F Hn.
3 4
Tuba
S. Bass
ff
Perc. 3
ff
ff
ff
f
28
cresc.
f
f
f
mf
cresc.
f
cresc.
ff
f
cresc.
184
cresc.
f f
cresc.
f
183
f
ff arco
(Xylo.)
ff
ff
f
Perc. 2
ff
2.
Timp.
Perc. 1
ff
f
Euph.
cresc.
2 3
f
Bb Tpt.
Tbn.
cresc.
ff
Tbn. 1
f
ff
182
cresc.
Picc. 185
Fl. 1
Fl. 2
1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
1 Bsn. 2
Bb Ten. Sax.
Eb Bari. Sax.
2 3
F Hn.
1 2
F Hn.
3 4
Tbn. 1
f
Euph. Tuba
Tbn.
2 3
S. Bass
Timp. Perc. 1
Perc. 2
SUS. CYM. p
Perc. 3
fff
fff
a2
p
div.
fff fff
mf
ppp
fff
fff
mf
p
p
ppp
fff
ppp
ppp
ppp
ppp
ppp
ppp
fff
MAR.
B.D. fff
fff
fff
div.
mf
mf
fff
p
fff
fff
fff
p
fff
p
190
fff
fff
fff
Bb Tpt. 1 Bb Tpt.
fff
a2
fff
189
188
fff
Eb Alto Sax. 1 Eb Alto Sax. 2
186 187
fff
29
191
Picc.
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
192
194
195
mf
2. mf
Bb Cl. 3
Bb Bs. Cl.
mf
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
if necessary tointensify horns Play
F Hn.
1 2
3 F Hn. 4 Tbn. 1
a2
ff
Euph.
ff marc.
ff marc. slightly separated
st. mute
Tuba
Timp. Perc. 1
slightly separated
S. Bass
2 3
Tbn.
sffz
sffz
mp
ff
mp
ff
2.
mp
Play!
2.
mp
ff
ppp
ff majestic ff majestic
ppp
f (but still big and majestic)
ppp
ff
ff opt.
mf
ff
ppp
ppp
ff
TAM TAM
ppp
to Chimes (Mar.) Perc. 2 mf B.D. Perc. 3
30
f (but still big and majestic)
ff
ff
mf
ff
mp
(Xylo.) ff
mp
ff
ff
Play if necessary to intensify horns
Bb Tpt. 1 2 Bb Tpt. 3
mf 1. mf
ff Eb Alto Sax. 1 1 2
Bsn.
196
mf
Bb Cl. 2
193
ppp
f
dampen
Picc. 197
Fl. 1
Fl. 2
Bb Cl. 1
1 Ob. 2
198
199
200
Bb Bs. Cl.
Bb Ten. Sax.
ff
2 3
mf
2.
ff
2 3
Euph.
Tuba
S. Bass
Timp. Perc. 1
Perc. 2
Perc. 3
ff
mp
ff
mp
ff
ff
ff
ff
Tbn.
ff
mf
ff
ff
3 4
mp
Tbn. 1
F Hn.
ff
1 2
mp
F Hn.
ff
Bb Tpt.
Eb Alto Sax. 2
Bb Tpt. 1
ff
Eb Bari. Sax.
mp 1. 2. fp
Bb Cl. 3
Eb Alto Sax. 1
fp
1 2
202
fp
Bb Cl. 2
Bsn.
201
opt.
31
ff
ff
B.D.
TAM TAM ff
ff
Picc. 203
Fl. 1
Fl. 2
1 2
Bb Cl. 1
Bb Cl. 2
Ob.
Bb Bs. Cl.
ff
ff
Bb Tpt. 1
Bb Tpt.
2 3
F Hn.
1 2
F Hn.
3 4
Perc. 3
mf
mf
a2
dampen
sffz
ff
mp
mute out
(Tam Tam)
p
32
CHIMES
fff l.v.
ff
pp
p
pp
ff
ff
ff
ff
pp
ff
ppp
ff
a2
ppp
ppp
ff
ppp
mp
ff
sffz
ppp
ff
mf
ff
mf
1.
Timp.
Perc. 2
ff
ff
mf
208
Perc. 1
2 Tbn. 3
S. Bass
Tbn. 1
Tuba
207
206
Euph.
205
ff
Eb Bari. Sax.
1 Bsn. 2
Bb Ten. Sax.
ff
Eb Alto Sax. 2
ff
Bb Cl. 3
Eb Alto Sax. 1
204
pp
pp
pp
209
Picc.
Fl. 1
Fl. 2
1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
210
211
a2 ff
ff
marc.
f
Bsn.
1 2
Eb Alto Sax. 1 Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1 Bb Tpt.
2 3
F Hn.
1 2
F Hn.
3 4
Tbn. 1 2 Tbn. 3
Euph. Tuba
S. Bass
ff
a2
ff
f
fff
fff
fff
fff
ff
ff
f
f
sfz
marc.
f
f
open
marc.
f
marc.
f
TOMS Perc. 3 B.D. f Perc. 2
fff
f sfz marc.
a2 ff
marc.
Timp. Perc. 1
ff
a2
ff
fff
ff
ff
fff
213 214
212
ff
ff
ff
33
sfz
ff
a2 ff
ff
Picc. f Fl. 1 215
f
Ob.
Bb Cl. 1
f
f
Bb Bs. Cl.
1 Bsn. 2
f
Bb Cl. 3
Bb Cl. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Perc. 1
cresc.
(Xylo.) f
Perc. 2 (Toms) Perc. 3 (B.D.)
ff
cresc. cresc.
Tuba
Timp.
S. Bass
cresc.
3 F Hn. 4
Euph.
cresc.
2 Tbn. 3
cresc.
1 F Hn. 2
Tbn. 1
2 3
Bb Tpt.
220
219
cresc.
cresc.
cresc.
Eb Alto Sax. 1 Eb Alto Sax. 2
(a2) f
1 2
216
f
Fl. 2
218 cresc. cresc.
217
f
f
f
(Chimes)
f 2.
+3.
cresc.
cresc.
cresc.
cresc.
ff
cresc.
cresc.
cresc. cresc.
cresc.
cresc.
f
Toms to Cr. Cym. 34
Picc.
ff ff ff ff 222
221
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
1 Bsn. 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt.
2 3
ff
ff
ff
3 4
a2
F Hn.
Tbn. 1
2 Tbn. 3
Euph.
Timp.
Perc. 2
Perc. 3
fff
ff
CRASH CYM.
ff
fff
fff
35
ff
ff
ff
ff
ff
ff
ff
(B.D.)
ff
ff
ff
Perc. 1
ff
ff
226
ff
fff
a2
225
ff
224
1 2
S. Bass
fff
F Hn.
Tuba
ff
223
dampen!
227
Picc.
Fl. 1
Fl. 2 1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
mp
mp
mp
1 2
Bb Ten. Sax.
Eb Bari. Sax.
2 3
mp
mp
mp
p
p
p
p
ffp
p
p
S. Bass
Timp.
p
(Chimes)
Perc. 2
Perc. 3
p
ff
ff
a2
ffp
ff
ff
ff
dampen!
f
(B.D.)
ff
dampen!
f
36
ff to S.D.
ff
ff
a2
a2
ffp
ffp
a2
mp
ff
2.
ff
ff
ff
(Xylo.)
Perc. 1
p
ff ff ff
a2
ff
ff ff ff
p
p
Tuba
ff
mp
p
Euph.
ff
2 3
3 F Hn. 4
Tbn.
ff
Tbn. 1
230
1 2
F Hn.
Bb Tpt. 1 Bb Tpt.
Eb Alto Sax. 1 Eb Alto Sax. 2
229
p
Bsn.
228
ff
Picc. 231
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 3
Bb Bs. Cl.
Bb Cl. 2
Bsn.
1 2
Eb Alto Sax. 1 Eb Alto Sax. 2 Bb Ten. Sax. Eb Bari. Sax. Bb Tpt. 1
Bb Tpt.
F Hn.
1 2
ff
a2
3 4
Tbn. 1
Tbn.
2 3
Euph.
Tuba
S. Bass
ff
fff
ff
fff
Perc. 2
Perc. 3
ff
S.D.
mp
ff
(B.D.)
37
ff (Cr. Cym.)
ff
ff
div.
div.
div.
ff ff
secco
f
ff
a2
ff
234
233
Timp. Perc. 1
ff
ff VI
232
ff
F Hn.
2 3
August 6, 2014 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)
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 .
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