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Recording Credits for Joy: Performance by USC Thornton Wind Ensemble, reading session conducted by the composer

This virtual conductor score and recording are designated “private,� and any publication or distribution beyond the web sites of Manhattan Beach Music is prohibited


JOY 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

4 Bb Trumpet 1

8 Flute (and optional Piccolo)

4 Bb Trumpet 2

2 Oboe

3 F Horn

1 Bassoon

6 Trombone

6 Bb Clarinet 1

3 Euphonium B.C.

6 Bb Clarinet 2

2 Euphonium T.C.

2 Bb Bass Clarinet

4 Tuba

3 Eb Alto Saxophone 1

2 Timpani

3 Eb Alto Saxophone 2

2 Mallets

2 Bb Tenor Saxophone

3 Percussion 1

1 Eb Baritone Saxophone

2 Percussion 2

PRINTED

ON

Glockenspiel, Xylophone Triangle, Crash Cymbs., Susp. Cymb., Sn. Dr. Bass Drum, Wood Block

A RC H I VA L

PA P E R

 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


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”


A

bove all, Joy is an expression of its namesake: simple, unabashed joy.

A boisterous, uninhibited quality is implied in the music, not only at climactic moments, but also by the frequent presence of sudden and dramatic stylistic contrasts. The main melody and overall mood of the work (and its companion piece, Joy Revisited) were inspired by a signal event: the birth of our first child. The intense feelings that most any father would feel on such a day were, in my case, accompanied by a simple little tune which grabbed hold of me in the hours preceding her birth, and refused to let go throughout the day and many days thereafter. Indeed, until I jotted it down in my sketchbook, it did not release its grip.

Seven years and two children later, I stumbled upon that old sketch and discovered (or rediscovered) that it would serve perfectly as the foundation for a joy-filled concert band overture.


About Joy and Joy Revisited

Joy, and its companion piece, Joy Revisited, are the results of an experiment I have been wanting to try for many years: the creation of two works using the same general melodic, harmonic, and expressive content. In other words, I endeavored to compose un-identical twins, two sides of the same coin — but with one major distinction: Joy was created with young players in mind, while Joy Revisited was aimed at more advanced players.

Thus, Joy is more straightforward than its companion piece. Where Joy sounds a dominant chord (as in the upbeat to measure 10), Joy Revisited elaborates upon that chord with a flourish of 16th-notes. While Joy Revisited moves faster, develops ideas further, and makes use of a wider register, Joy is more concise.

Despite these and many more differences between the two works, both come from the same essential cut of cloth, both were composed more or less simultaneously, and both were born out of the same source of inspiration. In short, Joy and Joy Revisited serve as two expressions of the feelings experienced by one expectant father (who happens also to be a composer) on one wonderfully anxious and exciting day.


B A S I C

F O R M A L

P L A N

Main Theme

mm. 1–17

Bb Mixolydian… Bb Major

Episode

mm. 18–27

Bb Mixolydian....V7 of F

Theme 2 (lyrical theme)

mm. 28–38

F Mixolydian

Episode

mm. 39–50

Bb Major

Main theme (Recapitulation) mm. 51–67

Bb Mixolydian… Bb Major

Coda

Bb Major

mm. 68–74

S C O R E

N O T E S

Main Theme (mm. 1–17) Built on a series of rising thirds, the main melody is stated in two parallel phrases, the second one being in imitation at the octave. Strive to keep the melody bright and lively. On the second phrase (m. 6–9), it may be necessary to encourage the flutes to play out so that the imitation is heard. The melody is answered by a joyous outburst of sound (mm. 10–13), which then dies away through a series of calm, legato-style descending scales. Episode (mm. 18–27) The legato scales from measures 14 to 18 are now marked staccato, stated twice as fast, and running in both ascending and descending directions. Note the use of hemiola in much of this section — the use of two-beat patterns separated by quarter-note rests, suggesting a 3/4 meter. Sometimes all of the parts conform to this pattern (mm. 18–19 and mm. 22–23), but on one occasion (mm. 20–21) the parts are in opposition to one another, some conforming to 3/4 while others suggest 4/4. These simple rhythmic techniques — hemiola and polymeter — help to keep the music alive and unpredictable, and they might serve as fun and interesting topics of discussion with your students.


The music gathers strength, bursting out at measure 24 as the tonality shifts suddenly from Bb Mixolydian to C Major. Be sure that the accents are observed in the fanfare-like calls stated by the first trumpets and flutes, and imitated by the altos, 2nd trumpets and horns. Theme 2 (mm. 28–38) Once again, a new section ushers in a dramatic change of style, the tempo being slightly held back, the texture made calmer and more lyrical. Free, cantabile lines are passed from the flutes, to the low brass, to the tubas and bass clarinets, and finally to the horns and second trumpets. As an accompaniment, simple eighth-note patterns undulate in the woodwinds. Note the manner in which these patterns are offset against one another (e.g., mm. 34–38, alto saxophone pattern is offset by flutes and oboes) as a way of hiding the seams and enhancing the sense of continuous flow. Episode (mm. 39–50) The music swells and accelerates back to the main tempo, ushering in the joyful second episode. A brief percussion section solo passage concludes the episode. (Note that all of the percussion parts are marked forte in measure 47 except for the crash cymbals, marked mezzo-piano). Recapitulation of Main Theme (mm. 51–68) The main theme is essentially the same as in the beginning, the most notable exceptions being those of simple orchestration changes and the addition of a one-bar extension. Coda (mm. 68–74) The timpanist should command the most attention at the coda, and none of the players should be timid in their interpretations of the crescendos, as well as the subito piano indication at measure 70. A final reminder of the main tune is shouted out in octaves, bringing the piece to an exuberant finish.

Frank Ticheli Genoa, Italy


Learn about Frank Ticheli’s newest works, events, CDs, DVDs, books, and hear complete recordings at

www.FrankTicheli.com “The official source of all things Ticheli”




to my daughter, Hannah

JOY FOR CONCERT BAND

FRANK TICHELI

Lively ( = 120−138) 2

3

−Picc. 5

4

Flute (and optional Piccolo) Oboe

Bassoon

1 B Clarinet 2

B Bass Clarinet

1 E Alto Saxophone 2

B Tenor Saxophone

E Baritone Saxophone

1 B Trumpet 2

F Horn

Trombone

Euphonium

Tuba Tunings Timpani

GLOCKENSPIEL Mallets

1

TRIANGLE

Percussion 2

Copyright © 2005 Manhattan Beach Music / All Rights Reserved — Printed and engraved in the United States of America ISBN 1-59913-002-5 (complete set) ISBN 1-59913-003-3 (conductor score)

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6

+Picc. 7

8

9

Fl.

Ob.

Bsn.

1 B Cl. 2

B Bass Cl.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2

F Hn.

Tbn.

Euph.

Tuba

Timp.

XYLOPHONE

to Xylo. Mallets

(Tri.)

to Crash Cym.

CRASH CYMBALS

1 Perc.

BASS DRUM

2

2

10


div. 11

(+Picc.)

unis.

12

14

13

15

16

Fl.

Ob.

Bsn.

1

legato

B Cl. 2

B Bass Cl.

1

legato

E Alto Sax. 2

B Ten. Sax.

legato E Bari. Sax.

to st. mute 1 B Tpt.

to st. mute 2

F Hn.

legato

Tbn.

Euph.

legato div. Tuba

Timp.

Mallets (Crash Cym.)

to Sus. Cym.

1 Perc. 2

(B.D.)

to Woodblock

3


18

17

(+Picc.)

19

20

21

Fl.

cresc.

Ob.

cresc.

Bsn.

cresc.

1 B Cl. 2

B Bass Cl.

cresc. 1

cresc. E Alto Sax. 2

cresc.

B Ten. Sax.

cresc.

E Bari. Sax.

cresc. straight mute 1

cresc.

B Tpt.

straight mute

2

cresc.

F Hn.

cresc.

Tbn.

cresc.

Euph.

cresc. unis. Tuba

cresc. Timp.

(Xylo.) Mallets

1 Perc. 2

WOODBLOCK

4


22

24

(+Picc.) 23

25

Fl.

(cresc.)

Ob.

(cresc.) Bsn.

(cresc.)

1 B Cl. 2

B Bass Cl.

(cresc.) 1 E Alto Sax.

(cresc.)

2

(cresc.) B Ten. Sax.

(cresc.) E Bari. Sax.

(cresc.) 1 B Tpt.

(cresc.)

2

(cresc.) F Hn.

(cresc.) Tbn.

(cresc.)

Euph.

(cresc.)

Tuba

(cresc.) Timp.

(Xylo.)

to Glock.

Mallets

cresc. 1 Perc. 2

l.v.

SUSPENDED CYMBAL

(Woodblock)

rit. 26

to B.D.

5

to Tri.


27

28 Slightly slower 竏単icc.

29

30

31

Fl.

cantabile Ob.

Bsn.

1 B Cl. 2

div. B Bass Cl.

1 E Alto Sax. 2

(Euph./Tbn.)

B Ten. Sax. cantabile

E Bari. Sax.

(Oboe, st. mute)

1 B Tpt.

mute out 2

F Hn.

Tbn.

cantabile Euph.

cantabile one player only Tuba

Timp.

Mallets

1 Perc. 2

6


32

33

34

35

36

Fl.

Ob.

Bsn.

1 B Cl. 2

unis. B Bass Cl.

1 E Alto Sax. 2

(Alto Sax.2)

(Euph./Tbn.)

B Ten. Sax.

E Bari. Sax.

(Oboe, st. mute)

mute out

1 B Tpt.

open

2

F Hn.

Tbn.

Euph.

Tutti Tuba

Timp.

GLOCKENSPIEL Mallets

1 Perc. 2

7


39 Tempo I ( = 120−138)

accel. 37

+Picc.

38

40

Fl.

Ob.

Bsn.

1 B Cl.

opt. 8va through m.46

2

B Bass Cl.

1 E Alto Sax. 2 (Alto Sax.2)

Play

B Ten. Sax.

E Bari. Sax.

open 1 B Tpt. 2

F Hn.

Tbn.

Euph.

Tuba

Timp.

Mallets

1

TRIANGLE

Perc. 2

BASS DRUM

8

41

42


43

(+Picc.)

44

45

rit.

47 a tempo

46

Fl.

Ob.

Bsn.

1 B Cl.

(opt. 8va) 2

B Bass Cl.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2

F Hn.

Tbn.

Euph.

Tuba

Timp.

Mallets

(Tri.)

l.v.

1

CRASH CYMBALS SNARE DRUM (snares off)

Perc. (B.D.)

(B.D.)

2

9

48


49

竏単icc.

50

51

Fl.

Ob.

Bsn.

1 B Cl. 2

B Bass Cl.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2

F Hn.

Tbn.

Euph.

Tuba

Timp.

Mallets

1

to Tri.

Perc. 2

10

52

53


55

54

+Picc. 56

57

Fl.

Ob.

Bsn.

1 B Cl. 2

B Bass Cl.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2

F Hn.

Tbn.

Euph.

one player only Tuba

Timp.

to Xylo. Mallets

TRIANGLE

to Crash Cym.

1 Perc. 2

11

58


59

div.

(+Picc.) 60

unis.

61

62

Fl.

Ob.

Bsn.

1 B Cl. 2

B Bass Cl.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2

F Hn.

Tbn.

Euph.

Tutti Tuba

Timp. XYLOPHONE Mallets CRASH CYMBALS

to Sus. Cym.

1 Perc. 2

(B.D.)

12

63


64

(+Picc.)

65

66

67

Fl.

Ob.

Bsn.

1 B Cl. 2

B Bass Cl.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2

F Hn.

Tbn.

Euph.

Tuba

Timp.

Mallets

1 Perc. 2

13

68

69


72

70

71

73

(+Picc.)

74

Fl.

Ob.

Bsn.

sub. 1 B Cl. 2

sub. B Bass Cl.

sub. 1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2

F Hn.

Tbn.

sub.

Euph.

sub. Tuba

sub.

Solo

dampen

Timp.

sub. gliss.

(Xylo.) Mallets

SUSPENDED CYMBAL

choke

1 Perc. 2

dampen (B.D.)

l.v.

14


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Joy for concert band by Frank Ticheli  

The complete conductor score of Joy for concert band by Frank Ticheli