Euphoria for concert band by John Frantzen

E

U

P

H

O

R

I

A

Second Prize Winner — The Frank Ticheli Composition Contest

J o h n

C

o

n

F r a n t z e n

c

M a n h a t t a n

e

r

t

B

a

n

B e a c h

d

M u s i c

Recording Credits for Euphoria: Performance by The University of Maryland Concert Band, Dr. L. Richmond Sparks, conductor

EUPHORIA ­F O R

C O N C E R T

B A N D

JOH N F R A N T Z EN I N S T R U M E N T A T I O N 1 Full Score

2 Eb Alto Saxophone 1

2 Euphonium T.C.

1 Piccolo

2 Eb Alto Saxophone 2

4 Tuba

4 Flute 1

1 Bb Tenor Saxophone

1 Piano

4 Flute 2

1 Eb Baritone Saxophone

1 Timpani

1 Oboe 1

3 Bb Trumpet 1

2 Percussion 1

1 Oboe 2

3 Bb Trumpet 2

1 Eb Clarinet

3 Bb Trumpet 3

4 Bb Clarinet 1

2 F Horn 1

4 Bb Clarinet 2

2 F Horn 2

4 Bb Clarinet 3

2 Trombone 1

2 Bb Bass Clarinet

2 Trombone 2

1 Bassoon 1

2 Trombone 3 (Bass)

1 Bassoon 2

3 Euphonium B.C.

Xylophone

2 Percussion 2 Vibraphone, Tambourine

2 Percussion 3 Crash Cymbals, Suspended Cymbals, Temple Blocks

2 Percussion 4 Marimba, Suspended Cymbal, Snare Drum

2 Percussion 5 Bass Drum, Tom-toms, Tam-tam, Glockenspiel

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

.

E U P H O R I 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 Two: Concert band music for more experienced players

E

.

E

P r o g r a m

N o t e

uphoria in its development reflects those rare moments where one is totally immersed in the unabashed vibrancy of life. The swirling textures and rhythmic interplay of the score reveal a state of being unencumbered by lingering everyday concerns, a state of embracing the carefree wonder of living, so common in our youth, where all things are possible.

Euphoria was commissioned by the Liverpool High School Bands under the direction of Michael J. Coldren, Joseph L. Filio, Jr., and James R. Spadafore. The premiere performance was given by the Liverpool High School Concert Ensemble, Joseph L. Filio Jr., conductor, at the Liverpool High School Auditorium in Liverpool, New York, on May 31, 2001.

R e h e a r s a l

N o t e s

1. The pulse once established in the opening does not change for the entire work. At mm.

24 the tempo and meter of the 6/8 section is arrived at by creating a polyrhythm of three pulses over two pulses from the original tempo. This leads to a metric modulation where the duration of the half note in 4/4 time equals the duration of the dotted quarter note in 6/8 time.

2. To clarify the polyrhythmic nature of the work I chose to notate all grouped dotted eighth notes in 6/8 time as eighth note duplets. This helps musicians perceive the duple/triple divisions of the pulse as a feeling rather than a mental reading exercise.

3. The 6/8 meter at mm. 24 is to be conducted in two.

4. Notes without articulations, especially eighth notes, are to be played with full value.

5. Cross cues have been provided for important horn, oboe, bassoon, and piano passages.

6. Call and Response technique both in orchestration and thematic development occurs throughout the entire score. It is helpful to perceive the back and forth thematic interplay between Trumpet 1 and Alto Sax 1 at mm. 31 as a playful conversation.

7. Do not over-think the accompanying triple/duple polyrhythm first begun at mm. 26. Best results are achieved by feeling the groove of the polyrhythm rather than thinking. On one pitch, over a steady pulse, and without notation, have all students practice the duple and triple divisions of the pulse separately, then in alternation. Once they are comfortable playing in this way, split the students into two groups and then perform both duple and triple divisions of the pulse at the same time.

J O H N F RA N T Z E N

.

commissioned by the Liverpool High School Bands Michael J. Coldren, Joseph L. Filio Jr., and James R. Spadafore, directors

EUPHORIA FOR CONCERT BAND Radiant

= ca. 132

JOHN FRANTZEN

3 2

4

5

Piccolo

Flutes

1 2

Oboes

1 2

a2

E Clarinet

1 B Clarinets 2 3 B Bass Clarinet a2 Bassoons

1 2

E Alto Saxophones

1 2

B Tenor Saxophone E Baritone Saxophone

cup mute 1 B Trumpets

cup mute 2 3 cup mute a2 1 2

F Horns

a2 1 2 Trombones 3 (Bass)

Euphonium

Tuba

Piano

two hard felt malllets

l.v.

Crash Cymbals

l.v.

Timpani Xylophone—medium rubber mallets 1 Vibraphone (motor off)—soft yarn mallets 2

Percussion

3 Marimba—soft yarn mallets 4 Bass Drum 5

Copyright © 2010 Manhattan Beach Music — All Rights Reserved — Printed and Engraved in the U.S.A. ISBN 1-59913-118-8 (complete set) ISBN 1-59913-119-6 (conductor’s score) Purchase music, download free MP3s, view scores, and more at www.ManhattanBeachMusic.com

6

7

9

8

10

Picc.

Fls.

1 2

Obs.

1 2

E Cl.

1 B Cls. 2 3

B Bass Cl.

Bsns.

1 2

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts.

2 3

F Hns.

1 2

1 2 Tbns.

3 (Bass)

Euph.

Tuba

Piano

l.v.

Timp.

(Xylo.)

1 (Vib.) 2 to T. Blks.

(Cr. Cym.) Perc.

3 (Mar.) 4 (B.D.)

to Tom-toms

5

2

l.v.

12

13

11

14

15

Picc. div.

a2

Fls.

1 2

Obs.

1 2

E Cl.

1 a2

B Cls. 2 3

B Bass Cl.

Bsns.

1 2

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts.

Horns 2 3

F Hns.

1 2

1 2 Tbns.

3 (Bass)

Euph.

Tuba

Piano

Timp.

Piano Solo

(Xylo.)

1 (Vib.)

to Tamb.

2

Perc.

3 (Mar.)

to Susp. Cym.

4

5

3

16

17

18

19

20

21

22

23

Picc.

Fls.

1 2

Obs.

1 2

E Cl.

1 B Cls. 2 3

B Bass Cl.

Bsns.

1 2

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

mutes off 1 B Tpts.

Play

Horns

mutes off

Play

2 3

F Hns.

1 2

1 2 Tbns.

3 (Bass)

Euph.

Tuba

Piano

dampen Timp.

(Xylo.)

1 Tambourine

to Vib.

2 Temple Blocks medium rubber mallets Perc.

3

4 Tom-toms hard rubber mallets

to Tam-tam

5

4

← = → 24 With spirit

= ca. 66* 25

26

27

28

29

31

30

Picc. a2 Fls.

1 2

Obs.

1 2

1. solo

E Cl.

1 B Cls. 2 3 2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

B Bass Cl.

a2

Bsns.

1 2

2

2

2

2

2

2

2

2

2

2

2 2

2

2

2

2

2

2

2

2

2

2

2

1 E Alto Sax. 2 2

B Tenor Sax. 2 2

2

E Bar. Sax.

solo 1 B Tpts.

2 3

F Hns.

2

1 2 2

2

2

2

2

2

2

2

2

2

2

2

Horns 2

1 2

2

2 2

2

2

2

2

2

2

2

2

2

Tbns.

3 (Bass) 2

2

2

2

2

2

2

2

2

2

2

Euph.

Tuba

solo

Piano

l.v.

l.v.

Timp.

1 Vib. (Piano solo) to Tamb.

2

Perc.

3 Suspended Cymbal drumsticks l.v.

l.v.

l.v.

l.v.

l.v.

4 Tam-tam

5

* The quarter-note in m.23 becomes the dotted eighth-note in m.24. Dotted eighth-notes grouped in two are notated as duple eighth-notes.

5

to Tom-toms

32

33

34

35

37

36

38

Picc.

Ob. solo Play Fls.

1 2

Obs.

1 2

E Cl.

1

B Cls.

2

3

2

2

2

2

2

2

2

2

B Bass Cl.

Bsns.

1 2

2

2

2

2

2

2

2

2

2

2

2

2

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax. 2

2

2

2

2

2

2

2

2

2

Play

Ob. Solo 1 B Tpts.

2 3

F Hns.

1 2 Play 1 2

Tbns.

3 (Bass) 2

2

2

2

2

2

2

2

2

2

Euph.

2

Tuba

2 2

2 2

2

Piano

2

2

Timp.

1

2 (T. Blks.)

Perc.

3 (Susp. Cym.)

l.v.

4

5

6

2

39

41

40

42

43

44

45

Picc.

Fls.

1 2

Obs.

1 2

a2

E Cl.

1 a2

B Cls. 2 3

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

B Bass Cl.

Bsns.

1 2

1 E Alto Sax. 2

B Tenor Sax. 2

2

E Bar. Sax. 2

2

tutti 1 B Tpts.

a2 2 3

F Hns.

1 2

1 2 Tbns.

3 (Bass) 2

2

2

2 2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

Euph.

2

Tuba

2 2

2

2

2

2

2

Piano

Timp.

1 Play

Tamb.

2 molto (T. Blks.)

Perc.

3

(Susp. Cym.) l.v.

l.v.

to Mar.

4 Tom-toms 5

7

46

47

48

49

50

51

52

Picc. div.

unis.

1 div.

Fls.

unis.

2

1 2

Obs.

E Cl.

1 B Cls. 2 3 2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

B Bass Cl.

Bsns.

2

2

2

2

2

2

2

2

2

2

2

2

2

2

1 2

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts.

2 3

F Hns.

1 2

1 2 Tbns.

3 (Bass)

2

2

2

2

Euph.

Tuba

Piano

Timp.

(Xylo.)

Play

1 (Tamb.)

2 (T. Blks.)

Perc.

3

4 (Toms)

to Glock.

5

8

hard mallets

54

53

55

56

57

58

Picc.

1. solo a2 Fls.

1 2

Obs.

1 2

E Cl.

1 B Cls. 2 3 solo 2

B Bass Cl.

2

2

1. solo Bsns.

1 2

1 E Alto Sax. 2

B Tenor Sax. 2

2

E Bar. Sax.

2

1 B Tpts.

2 3

F Hns.

1 2

1 2 Tbns.

3 (Bass) solo Euph.

2

Tuba

Bsn. solo 2

2

Piano

Timp.

(Xylo.)

1 (Tamb.)

to Vib.

(T. Blks.)

to Susp. Cym.

2

Perc.

3 Mar. (hard yarn mallets) Piano Solo

Play (Mar.) hard yarn mallets

4 Glockenspiel brass mallets

5 let vibrate throughout

9

59

60

61

62

64

63

65

66

67

Picc. tutti

(solo) 1 Fls. 2

1 2

Obs.

E Cl.

1 B Cls. 2 3

B Bass Cl.

(solo) 1 2

Bsns.

1 E Alto Sax. 2

B Tenor Sax. Bsn. solo E Bar. Sax.

1 B Tpts.

2 3

F Hns.

1 2

1 2 Tbns.

3 (Bass)

Euph.

Play solo

(Bsn. solo) Tuba

Piano

Timp.

1

2

Perc.

3 (Mar.) 4 (Glock.)

5

10

68

69

70

71

72

73

74

75

Picc. solo 1 Fls. 2

1 2

Obs.

E Cl.

1 B Cls. 2 3

B Bass Cl.

1 2

Bsns.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts.

2 3

F Hns.

1 2 a2 1 2

Tbns.

3 (Bass)

tutti Euph.

tutti Tuba

Piano

Timp.

(Xylo.)

1

2

Perc.

3 (Mar.)

to S.D.

4

5

11

76

77

78

79

80

Picc. a 2, tutti Fls.

1 2

Obs.

1 2

E Cl.

1 B Cls. 2 3

B Bass Cl.

1 2

Bsns.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

metal straight mute 1 B Tpts.

metal straight mute 2 3

F Hns.

1 2

1 2 Tbns.

3 (Bass)

Euph.

Tuba

Piano

Timp.

(Xylo.)

1 Vib. medium cord mallets 2

Perc.

3

4 (Glock.)

5

12

81

82

83

84

85

88

86 87

89

Picc.

1 Fls. 2 1.

1 2

Obs.

2.

E Cl. Ob. solo

1 B Cls.

2.

2 3 tutti

B Bass Cl.

Bsns.

1 2

1 E Alto Sax. 2 Bsn. 1 B Tenor Sax. Bsn. 2 E Bar. Sax.

1 B Tpts.

2 3

F Hns.

1 2 1 2

Tbns.

3 (Bass)

Euph. solo Tuba

Piano

Timp.

(Xylo.)

1 (Vib.)

to Tamb.

2

Perc.

3

4 (Glock.)

5

13

90

91

92

93

94

95

96

Picc. a2

Fls.

1 2

Obs.

1 2

E Cl.

1 B Cls. 2 3

B Bass Cl.

Bsns.

1 2

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts.

2 3

F Hns.

1 2 a2 1 2

Tbns.

3 (Bass)

Euph. tutti Tuba

Piano

Timp.

(Xylo.)

1

2

Perc.

3

4 (Glock.)

to B.D.

5

14

97

98

100

99

101

102

Picc.

Fls.

1 2

Obs.

1 2

a2

E Cl. tutti

Play

1 B Cls.

2.

2 3 3.

B Bass Cl. a2 Bsns.

1 2

1 E Alto Sax. 2

B Tenor Sax. Play E Bar. Sax.

1 B Tpts.

2 3

F Hns.

1 2 a2 1 2

Tbns.

3 (Bass)

Euph.

Tuba

Piano

Timp.

1

2

Perc.

3

4

5

15

107 103

104

105

106

108

Picc.

Fls.

1 2

Obs.

1 2

E Cl.

1 B Cls.

a2 2 3 2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

B Bass Cl.

Bsns.

1 2

1 E Alto Sax. 2

Play B Tenor Sax.

E Bar. Sax.

mutes off

open

1 B Tpts.

mutes off

open

a2

2 3

a2 F Hns.

1 2

1 2 Tbns.

3 (Bass)

Euph.

Tuba

8

8

Piano

Timp.

(Xylo.)

1 Tamb.

2 Suspended Cymbal—drumstick Perc.

3 Snare Drum 4 B.D. 5

16

choke

choke

110

111

112

113

114

109

Picc.

a2 Fls.

1 2

Obs.

1 2

E Cl.

1 B Cls.

a2 2 3 2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

B Bass Cl.

Bsns.

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

1 2

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts.

2 3

F Hns.

1 2

1 2 Tbns.

3 (Bass)

Euph.

Tuba

8

Piano

Timp.

(Xylo.)

1 (Tamb.)

2

(Susp. Cym.) Perc.

yarn mallets

choke

choke

3 molto

(S.D.) 4 (B.D.) 5

17

to Crash Cym.

2

117

116

118

119

115

120

121

122

Picc. div. in 3 1 Fls. 2

1 2

Obs.

E Cl.

1 B Cls. a2 2 3 2

2

B Bass Cl.

2

2

2

2

2

2

2

2

1.

Bsns.

a22

1 2

2

2

2

1 E Alto Sax. 2

B Tenor Sax. 2

2

E Bar. Sax. 2

2

1 B Tpts.

2 3

F Hns.

1 2 1.

1 2

Tbns.

3 (Bass)

2

2

2

2

2

2

2

2

Euph.

2 2

Tuba

Piano 2

2 2

2

2

2

2

2

Timp.

1 (Tamb.)

2 Crash Cymbals

Perc.

l.v.

l.v.

choke

3 (S.D.) 4 (B.D.) 5

18

126

125 123

124

127

128

Picc. unis.

1 Fls. 2 a2 1 2

Obs.

E Cl.

1 B Cls. 2 3 2

2

B Bass Cl.

Bsns.

2

2

2

2

1 2 2.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts.

a2 2 3

F Hns.

1 2 1 2 2.

Tbns.

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

3 (Bass)

Euph.

Tuba

8

8

Piano

2

2

2

2

2

Timp.

(Xylo.)

1 (Tamb.)

2

(Cr. Cym.) Perc.

l.v.

l.v.

l.v.

3 (S.D.) 4 (B.D.) 5

19

choke

choke

132 129

130

131

133

134

Picc. a2 Fls.

1 2

Obs.

1 2

E Cl.

1 B Cls. 2 3

2

B Bass Cl.

2

2

2

2

2

a2 Bsns.

1 2

E Alto Sax.

1 2

B Tenor Sax. 2

2

2

2

2

2

E Bar. Sax.

1 B Tpts.

2 3 a2 F Hns.

1 2

1 2 Tbns.

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

2

3 (Bass)

Euph.

Tuba

8

Piano

2

2

2

Timp.

(Xylo.)

1 (Tamb.)

2 sustain dynamic choke

(Cr. Cym.) Perc.

3 (S.D.) 4 (B.D.) 5

20

.

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 .

.

To He ar A Complete Recording Plea se Visit

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