Page 1

First Light

Frank

Ticheli

concert

M a n h at ta n

band

B e a c h

M u s i c


Recording Credits for First Light: Reading by Indiana University Concert Band, Eric Smedley, 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.


FIRST LIGHT F O R

C O N C E R T

B A N D

FR ANK TICHELI I N S T R U M E N T A T I O N

1 Full Score

4 Bb Trumpet 1

8 Flute

4 Bb Trumpet 2

2 Oboe

4 F Horn

6 Bb Clarinet 1

8 Trombone/Euphonium

6 Bb Clarinet 2

2 Euphonium T.C.

3 Bb Bass Clarinet

4 Tuba

2 Bassoon

2 Timpani

3 Eb Alto Saxophone 1

3 Mallets

Bells, Xylophone

3 Eb Alto Saxophone 2

5 Percussion Score

Percussion 1: Triangle (med.), Sus. Cymbal (med.), Tambourine Percussion 2: Snare Drum, Small Tom Toms (2), Bass Drum

2 Bb Tenor Saxophone 2 Eb Baritone Saxophone

P R I N T E D O N A RC H I VA L PA P E R

Gg M A N H AT TA N B E AC H M U S I C 1595 East 46th Street Brooklyn, New York 11234 Fax: 718/338-1151 www.ManhattanBeachMusic.com E-mail: customerservice@manhattanbeachmusic.com Voicemail: 718/338-4137


P R O G R A M

N O T E

F I R S T L I G H T, my 40th work for concert band/wind ensemble, is my first at the Grade 1

level, but certainly not my last. I enjoyed the challenge of working within such limited strictures to create viable, authentic, artistic music. I found the process to be at once simple and arduous, yet always stimulating.

F irst L ight depicts an early-morning adventure on a river raft. After a brief light-

hearted opening, the music glides into a calm section suggesting a gentle river journey at dawn. A rustic, dance-like section follows: the sun rises high, the river awakens, the currents pick up—white water! After a vigorous climax, the music returns to its carefree origins. The river is once again calm as the journey draws to a close. R E H E A R S A L

S U G G E S T I O N S

The form of FIRST LIGHT is ABCA'. The outer sections are lighthearted in character. Young players should be made aware of the importance of the rests in measures 1, 3, 5, and 11, all of which open a window for the triangle player’s gentle answer. One other modest technical challenge in the A-sections occurs at measures 12-20 and 86-94, where a woodwind countermelody is sounded in counterpoint with the main theme stated by the brass. The B-section (beginning at m. 21) features a gentle flute melody, cued in the oboe part. This cue may be played if you have a secure oboist and find it necessary to boost the volume of the melody. On its repeat at m. 37, the melody is reinforced by the oboe and bells, and imitated down an octave by the clarinets and alto saxophones. Strive to balance the canonic voices equally. The B-section melody’s accompaniment is built on a simple progression of open-fifth diads (twonote chords); however, the orchestration of those fifths produces a subtle pedal-effect whereby notes are allowed to overlap, or ring into, each successive chord. The resulting sound is smoother, more fluid than a strict homorhythmic progression would have produced. The C-section is more exuberant, festive, dance-like. The delicate peal of the triangle gives way to the more rustic and rhythmic beat of the tambourine. Gentle, fluid counterpoint surrenders to joyous, homorhythmic, marcato passages than gain intensity as the tempo accelerates to a joyous climax. A note about tempo and meter: The opening tempo marking (qtr. = 116+) is provided as a challenge to players; it would not be out of the question to move up to 16 beats per minute faster. Likewise, the accelerando that begins at m. 49 could conceivably increase to qtr. = 160 or even faster if your players can manage it. As the players become more comfortable with the work, the conductor may try conducting some sections in cut-time. For example, the entire B-section (mm. 21-48) could be taken in cut-time, and might even glide more freely than if conducted in 4/4. In the C-section, the conductor may decide to shift from 4/4 to cut-time as the accelerando reaches its peak at measure 57. Indeed, it would not be out of the question to conduct the entire work in cut-time once the players become comfortable with their parts. Frank Ticheli Pasadena, California


F RA N K

T I C H ELI

WORKS FOR CONCERT BAND F R A N K T I C H ELI ’ S WO R K S F O R CO N C ERT BA N D A R E P U B LI S H ED EXC LU S I V ELY B Y M A N H AT TA N B E AC H M U S I C

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

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)

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


FIRST LIGHT FOR CONCERT BAND

       2    Flute  

q = c. 116+ Lighthearted

Oboe

Bb Clarinet 1

  

p

mf

         p

Bb Clarinet 2

Bb Bass Clarinet

Bassoon 1 Eb Alto Saxophone 2 Bb Tenor Saxophone

         p mf        

1 2

F Horn

Trombone/Euphonium

Tuba

Timpani

Mallets

Percussion 1

Percussion 2

           

   

       

p

mf

mf

             

                        mf

mf



TRIANGLE

  

        

p

    

p

mf

mf

        

p

   5    6 

    

p

  

  

p

mf

   

   

    4

p

         

 Eb Baritone Saxophone    Bb Trumpet

mf

3

FRANK TICHELI

mp

l.v.

 



 



Copyright © 2013 Manhattan Beach Music - All Rights Reserved - Printed and engraved in the United States of America ISBN 1-59913-150-1 (complete set) ISBN 1-59913-151-X (conductor score) Visit www.Frank Ticheli.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

 


7      Fl. 

Ob.

Bb Cl. 1

Bb Cl. 2

Bb Bass Cl.

Bsn.

1 Eb Alto Sax. 2

Bb Tenor Sax.

Eb Baritone Sax.

Bb Tpt.

1 2

F Hn.

Tbn./Euph.

Tuba

Timp.

Mallets

Perc. 1 Perc. 2

 

mp

   

mp

  

mp

 

8

   

 

 

 

p

 

  



 

a2

   

p Play

mf

p

mf

p

mf

             

2

mf

      

  mf

 

 

   

p

 

mp

      

       

 

           

 

       



  



  

12

 

11

  

mp

10

      

     

  

       

  

     mp

9

S.D. B.D.

 

Bells

mp



mp

    

p

 

 


   Fl.   13

Ob.

Bb Cl. 1

Bb Cl. 2

Bb Bass Cl.

Bsn.

 

   

   

    

p

         

Bb Tenor Sax.

1 2

F Hn.

       

1 Eb Alto Sax. 2

Bb Tpt.

   

 

 

Tuba

Timp.

Mallets

Perc. 1 Perc. 2



17

 

  

      

 

 

 

 

 

mf

 f

   f

   f

  f



 

     

 



 

  

 

f

     

  

  

  

f

  

      

 

      

 

    

 

         

f

 

  

18

f

      

 

 

  

    

f

p

16

mf

mf

      

   

    

  

     

  

mf

   

p

p

Tbn./Euph.

15

mf

p

Eb Baritone Sax.

14

   

 

SUS. CYM. (yarn)  

     3

  

p

   

  

f

f

   f

   f

  

 

 

   

f f

 

            

mf


19        Fl. 

Ob.

Bb Cl. 1

Bb Cl. 2

Bb Bass Cl.

Bsn.

1 Eb Alto Sax. 2

Bb Tenor Sax.

Eb Baritone Sax.

Bb Tpt.

1 2

F Hn.

Tbn./Euph.

Tuba

Timp.

       



   

   





                

   

    

       

               

      

Perc. 1



   

21 Calm 



p

p

p

p

 

 

pp

p

p

22

a2

p



Mallets

Perc. 2

20

p

p

p

 

pp

 

 4

 



 

1.







 

 

24

p

 

23

  

 



  


  cantabile      Fl.  25

Ob.

26

 

mf

Fl. 1 cantabile

   

Bb Cl. 2

Bb Bass Cl.

Bb Tenor Sax.

Eb Baritone Sax.



Bb Tpt.

1 2

  

1 2

Eb Alto Sax.

 

  





 

 

28

mf

Bb Cl. 1

Bsn.

27

 

 

F Hn.

 

Tbn./Euph.

  

Tuba

   

 

 

 

 

 

   

 

 

 

 

 

30

    

 

29

 

 

 

31

 

 

 

 

 

 

  

Mallets

 

Perc. 1

Timp.

Perc. 2



 5


  Fl.   32

Ob.

Bb Cl. 1

  

Bb Cl. 2

Bb Bass Cl.

Bsn.

33

 

Bb Tenor Sax.

Eb Baritone Sax.



f

 

  

  

 

 

Tbn./Euph.

  

Tuba

   

Perc. 2

 

35

36

 

 

 

 

 





    

   

 

 

 

1.

 

p

 

 6

 

 

a2 cantabile

   

mp





p

 

pp

 

    

mf

 

   

mp

cantabile

    

 

38

mf

  



37

 

 

Perc. 1

  

 

Mallets

mf

F Hn.

Timp.

34

f

  

1 Eb Alto Sax. 2

1 Bb Tpt. 2

  

  


      Fl.     39

40

41

42

     

        

     

Bb Cl. 1

 

Bb Cl. 2

Bb Bass Cl.

Ob.

Bsn.

Bb Tenor Sax.

Eb Baritone Sax.



Bb Tpt.

1 2

F Hn.

Tbn./Euph.

Tuba

Timp.

Mallets

Perc. 1 Perc. 2

 



     

 



 







     

     

 



   

 

 

     

 

 

 

 

 

 

 

44



 

    

 

1 2

Eb Alto Sax.

43

      

 

 

f

  

 

 





 

f

  

 

 7

 

45   

  

 

  

f

 

 


   Fl.  46

   

Ob.

   

 

Bb Cl. 1

 

Bb Bass Cl.

Bsn.

Bb Tpt.

1 2

F Hn.

Tbn./Euph.

Tuba

Timp.

Mallets

Perc. 1

Perc. 2

 

Bb Tenor Sax.



Eb Baritone Sax.

  

1 2

Eb Alto Sax.

mf



  



 



     

   

 

49 Joyful

 

 

 

 

50



 

marcato

   

p cresc. poco a poco marcato

   

p cresc. poco a poco marcato

p cresc. poco a poco marcato

 

 

 

   

 

p cresc. poco a poco marcato

       

p cresc. poco a poco marcato

   

 

   

 

p cresc. poco a poco marcato p cresc. poco a poco

   

p cresc. poco a poco

  

TAMBOURINE

   

 

p

TOM TOMS

8

   

p cresc. poco a poco marcato

 

       

(accel. poco a poco)

 

 



  

48

mf

Bb Cl. 2

47

       

R

B.D. p

L

R

R

    

 

            R

L

L

R

R

L

L


  Fl.  

 

Bb Cl. 1

Bb Cl. 2

Bb Bass Cl.

51

Ob.

Bsn.

Eb Alto Sax.

1 2

Bb Tenor Sax.

Eb Baritone Sax.

Bb Tpt.

1 2

F Hn.

Tbn./Euph.

Tuba

Timp.

   



   

 

   

           

Perc. 1



 

  

 

   

 

   

 

       

 

 

   

   

 

   

 

R

R

L

L

R

   

L

   

 

L

   

 

  

 

R

L

R

9

   L L

R

   

 

R L

  

                       R

 

  

        L

   

R

 

          



        

 

55

          



     

  

   

    

54

   

        

53

   

     

Mallets

Perc. 2

52

        

                  

L

L

R

L

R

R

L

R

L

L

R

L

R

L L


  Fl.   56

Ob.

Bb Cl. 1

Bb Cl. 2

Bb Bass Cl.

Bsn.

 

     

Bb Tenor Sax.

Eb Baritone Sax.

Bb Tpt.

1 2

F Hn.

Tbn./Euph.

Tuba

Timp.

Mallets

Perc. 1

Perc. 2

   

   

     

     

     

     

f

     

 

 

f

       

f

     

f

     

 

   

 

   

   

 

     

       R

L

L

f

     

     

     

f

f

     

f XYLO.

R

       

f

   



f

   

 

 



 

f

f

 

     

marcato

      

  

      

f marcato

 

59

marcato      

60      

f

a2

1 Eb Alto Sax. 2

58 marcato       

 

57 q = 138+

R

     



   

 

   

   

   

       

     

      

      



f

mf simile

                                       

mf

10


    Fl.   61

Ob.

  

  

  

  

  

   

 

  

  

   

 

 

Bb Tpt.

1 2

 

F Hn.

 

 

Bb Bass Cl.



 

  

Eb Baritone Sax.

64

 

 

   

Bb Tenor Sax.

 

  

Bb Cl. 2

63

  

1 Eb Alto Sax. 2

    

  

Bb Cl. 1

Bsn.

62

       



 

 

 

 

   

 

 

 

 

 

 

 

 

 

    

 

 

 

     

    

 

  



 



   

 

 

 

 

Tbn./Euph.

  

 

 

Tuba

   

 

 

Timp.

   

Mallets

    

  

    

Perc. 1

  

  

    

Perc. 2



 

    

   

 

 

            

                    11

 

            

 


  Fl.  

65

Ob.

Bb Cl. 1

Bb Cl. 2

Bb Bass Cl.

legato  molto      

Bb Tenor Sax.

Eb Baritone Sax.

Bb Tpt.

1 2

69

    

   

   

   

   

   

   

   

   

   

   

   





   

   

   





moltolegato  

   

   

   

    

   

   



   

   

molto legato

molto legato

molto legato

                

molto legato

 

    

   

   

   

   

   

 Tuba      

   

   

molto legato

molto legato

Timp.

 

     

Tbn./Euph.

68

molto legato

F Hn.

    

molto legato

1 Eb Alto Sax. 2

67

    

molto legato

Bsn.

66

   

       

   





   

   

Mallets

 

Perc. 1

Perc. 2



 12


  Fl.   70

71

72

73 marcato

   

mf marcato

   

    

Bb Cl. 1

  

       

Bb Cl. 2

  

  

   

Ob.

Bb Bass Cl.

Bsn.

  

1 2

Bb Tenor Sax.

Eb Alto Sax.

Eb Baritone Sax.

1 Bb Tpt. 2

F Hn.

Tbn./Euph.

Tuba

Timp.

Mallets

Perc. 1

Perc. 2



  

        

 

   

                

mf

marcato

   

    a2

   

74

mf marcato

   

mf marcato

   

   

mf marcato

   

 

     

 marcato   

 

mf

   

   

   

p

   

   

 

   

 

mf marcato

mf

marcato

 

   

 13

   

mf marcato

  

marcato

mf

  

 

   

mf

   

mf

(XYLO.)

 

   

   

   

   

mf mf

       

mf

 

           


75 76          Fl. 

Ob.

Bb Cl. 1

Bb Cl. 2

Bb Bass Cl.

Bsn.

1 Eb Alto Sax. 2

Bb Tenor Sax.

Eb Baritone Sax.

Bb Tpt.

1 2

F Hn.

       

 78       79     



          



            

   

     

       

                 

   

    

     

Tuba

             

        

        

77

marcato

mf marcato



            

 

mf

 

 

 

   

             

 

  

 

   

             

 

 

 

 

   

                                   

 

 

   

 



  

            

Mallets

        

Perc. 1





     

     

Perc. 2



Tbn./Euph.

Timp.

       

 

                       14

  

 

 

   

        

                  


   

 







80

Fl.

Ob.

Bb Cl. 1

Bb Cl. 2

Bb Bass Cl.

Bsn.

1 Eb Alto Sax. 2

Bb Tenor Sax.

Eb Baritone Sax.

Bb Tpt.

1 2

F Hn.

Tbn./Euph.

Tuba

  

  

Perc. 1 Perc. 2

 

dim.

    

    

dim.

dim.

 

dim.

 

   

 

  

 

   



   

 1.



 

   

 

   

 

p

 

p

15



   

p

     

p

  

85 q = c. 116

mp

dim.

84

 

p

 

dim.



rit.

p

 

 

83

p

   Timp.  Mallets

82

dim.

    

81

p

    

p

    p     p

 

S.D.  

TRI.



mp

    

p


  Fl.    86

Ob.

Bb Cl. 1

 

mp

 

 

87

88

  

mp

 

 

89

90

  

  

91

 

   

 

 

Bb Cl. 2

Bb Bass Cl.

 

Bsn.

1 Eb Alto Sax. 2

Bb Tenor Sax.

Eb Baritone Sax.

Bb Tpt.

1 2

F Hn.

Tbn./Euph.

Tuba

Timp.

Mallets

Perc. 1 Perc. 2

    

 

mp

  

mf

    

mf

     mf               



mf

   

p

 

mp

 

mf

   

      mf

       mf        

   

  

   

      

    p     p

 

p

Bells

  

    

a2

mf

 

   

    

 16

  



    

  

mp

 

    

mp

   mp    mp

 

  

 

   


   Fl.  92

Ob.

 

 

 

Bb Cl. 2

 

Bsn.

1 Eb Alto Sax. 2

Bb Tenor Sax.

Eb Baritone Sax.



Bb Tpt.

1 2

F Hn.

Tbn./Euph.

Tuba

Timp.

 

 

 

  

94

rit.

95

mp

 

 

        

      

 

   

 

   

mp

mp

mp

96

         

 

   

     

        

       

        



     

Mallets

  

Perc. 1

Perc. 2

Bb Cl. 1

Bb Bass Cl.

93



     

 

 

 

17

Trb.

 

 

Euph. mp

mp


   Fl.  97

Ob.

Bb Cl. 1

Bb Cl. 2

Bb Bass Cl.

Bsn.

1 Eb Alto Sax. 2

Bb Tenor Sax.

Eb Baritone Sax.

1 Bb Tpt. 2

F Hn.

Tbn./Euph.

Perc. 2

99

 

  

 

 

  



 

mp

 

SUS. CYM. (yarn)

mp



mf

mf

mp

 mp

 

 

 

mp

mp



 



mf

mp

mf

mp

mp

 

   

mf

mp

18

   

    

 

pp

pp

  pp   pp

mf

 

mp

 

mf

 



mp

 

a2

mf

mf

 

 

 

mp

   

101



 

100

mp

  Timp.  

Perc. 1

molto rit.

 

 Tuba   

Mallets

98

    

pp

 

   pp   pp    pp

p

 

pp

  

       

January 12, 2013 Pasadena, CA


.


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 .


.


First Light

Frank

Ticheli

concert

band

M anhat tanBeachMusic.com FrankTicheli.com Raising the Standards of the A merican Concert Band and Bands all Over the World

First Light for concert band by Frank Ticheli  

First Light for concert band by Frank Ticheli complete conductor score

First Light for concert band by Frank Ticheli  

First Light for concert band by Frank Ticheli complete conductor score