Page 1

Timothy

Miles

Second Prize Winner — The Frank Ticheli Composition Contest

L

A U C O N C E R T

M a n h a t t a n

D

A

B A N D

B e a c h

M u s i c


Recording Credits for Lauda: Performance by University of New Hampshire Summer Youth Music School Wind Ensemble, Andrew Boysen, Jr., conductor

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


L AU DA

足F O R

C O N C E R T

B A N D

T I MOT H Y M ILE S I N S T R U M E N T A T I O N 1 Full Score

2 Bb Tenor Saxophone

2 Euphonium T.C.

1 Piccolo

1 Eb Baritone Saxophone

4 Tuba

4 Flute 1

3 Bb Trumpet 1

1 String Bass

4 Flute 2

3 Bb Trumpet 2

1 Timpani

1 Oboe

3 Bb Trumpet 3

4 Bb Clarinet 1

1 F Horn 1

4 Bb Clarinet 2

1 F Horn 2

4 Bb Clarinet 3

1 F Horn 3

2 Bb Bass Clarinet

1 F Horn 4

1 Eb Contrabass Clarinet

2 Trombone 1

1 Bassoon

2 Trombone 2

3 Eb Alto Saxophone 1

2 Trombone 3

3 Eb Alto Saxophone 2

3 Euphonium B.C.

2 Percussion 1 Xylophone, Wind Chimes, Tambourine, Crash Cymbals

2 Percussion 2 Hi-Hat, Large Tom-Tom, Suspended Cymbal, Triangle, Glockenspiel

2 Percussion 3 Slapstick, Vibraphone, Claves, Bass Drum

2 Percussion 4 Marimba, Bongos, Chimes

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


L A U D 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 One: Concert band music for younger players


I

P R O G R A M

N O T E

n the Renaissance, laude were vernacular sacred songs. In L A U D A for

concert band, both vernacular and sacred aspects of school and students are respresented: The vernacular is represented by the driving sixteenth note

hi-hat figure in the opening, and the chord progressions, bass line, and

melodies — all reminiscent of pop music. The sacred facet of the piece deals with

transformation. The work opens in G minor and moves through an unsettled intro-

duction, a resolute A section, and a questioning B section, and on to a giant climax

on octave Ds throughout the ensemble. The section that follows transforms the B material, and serves as a dominant pedal leading to a shortened recapitulation of

all the previous material — in a joyous and triumphant transformation in G major. The key to a successful performance of L auda is to sustain the energy of

the work for the entire performance. Tempo is key to the energy of the piece and should not dip below the indicated tempo. Faster tempos, as long as the woodwinds

can keep the sixteenth-note lines together, also work well. It is important not to lose energy at mm. 56 when the instrumentation pares down to marimba. Equally important is to enjoy the transformation when the original material returns in G major. A feeling of joy and elation should pervade the recapitulation. C O M M I S S I O N I N G L auda

I N F O R M AT I O N

was commissioned by and written for my friend and colleague William

Whitney, and the musicians of the Bishop Guertin High School Concert Band. They premiered the work in the spring of 2007. My first teaching position after

earning my undergraduate degree was as Director of Music at Bishop Guertin

High School, a private Catholic school run by the Brothers of the Sacred Heart in Nashua, New Hampshire. Two years after I left Bishop Guertin to pursue my master’s degree, my friend and Bishop Guertin’s new Director of Music, William Whitney, asked me to write a piece for the band.

The three years I spent at Bishop Guertin meant a great deal to me, so naturally

I wanted to write a piece that would represent the wonderful community and the natural exuberance of the students.

T I M O T H Y

M I L E S


F O R M INTRODUCTION

1–3 G minor 4–8 9–21

meas. 1 – 21

Full ensemble chord; arppegiated bass line; trombone glissando Woodwinds and marimba establish tonality; main motive in horns Main motive builds in the brass T H E M E 1 - T H E “ A ” S E C T I O N meas. 22 – 55

22–33 34–41 42–55

Theme 1 in trumpets Canon in woodwinds Theme 1 in woodwinds; syncopated full ensemble chords T H E M E 2 - T H E “ B ” S E C T I O N meas. 56 –89

56–66 D minor 67–74 75–81 82–89

Repose after first theme climax; new material in horns Theme 2 in the solo clarinet Theme 2 in the flutes with counterpoint in clarinets Theme 2 in woodwinds and trumpets C L I M A X A N D T R A N S I T I O N meas. 90 – 110

90–97 Octave Ds Climax of the first half of the piece 98–110 D7 Theme 2 in the solo flute, dominant pedal REPRISE OF INTRODUCTION AND THEME 2

meas. 111 – 125

111–113 G major Full ensemble chord; arppegiated bass line; trombone glissando 114–118 Establishment of G major tonality 119–125 Theme 2 in the horns REPRISE OF THEME 1

126–144

Theme 1 in woodwinds and trumpets Syncopated full ensemble chords

meas. 126 – 144


for William Whitney and the musicians of the Bishop Guertin High School Concert Band

LAUDA FOR CONCERT BAND Allegro

TIMOTHY MILES

= 144 2

4

3

5

Piccolo

a2 1 2

Flutes

Oboe

a2 1 2 B Clarinets 3

B Bass Clarinet

E Contra Alto Clarinet

Bassoon

E Alto Saxophones

1 2

B Tenor Saxophone E Baritone Saxophone

1 B Trumpets 2 3

a2 1 2 F Horns

a2 3 4

gliss.

a2 1 2 Trombones 3

Euphonium

arco Tuba

pizz.

arco

String Bass

(C, D, G, A) Timpani

Xylophone — hard mallets 1

Maracas

Closed Hi-Hat — sticks 2

dim.

Percussion

Slapstick

Claves

3

Marimba — yarn mallets 4

Copyright © 2011 Manhattan Beach Music — All Rights Reserved — Printed and Engraved in the U.S.A. ISBN 1-59913-124-2 (complete set) ISBN 1-59913-125-0 (conductor’s score) Purchase music, download free MP3s, view scores, and more at www.ManhattanBeachMusic.com


6

7

9

8

10

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3 1 2 F Hns. 3 4 1 2 Tbns. 3

Euph.

Tuba

pizz. Str. Bass

Timp. (Xylo.) 1 Large Tom-Tom — stick

(Maracas) 2 Perc.

(Claves) 3 (Mar.) 4

2

Suspended Cymbal — stick choke


11

12

13

14

15

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

1 2 F Hns. 3 4

1 2 Tbns. 3

Euph.

Tuba

Str. Bass

Timp. 3

(Xylo.) 1 (Susp. Cym.)

choke

choke

choke

2 Perc.

Vibraphone — yarn mallets

(Claves) 3

pedal down

(Mar.) 4

3


18

16

17

19

Picc. cresc. 1 cresc.

Fls. 2

cresc. Ob. cresc. 1 cresc. B Cls.

2 cresc. 3 cresc.

B Bass Cl. cresc. E Contra Alto Cl.

cresc.

Bsn. cresc.

1 E Alto Sax.

cresc. 2 cresc.

B Tenor Sax. cresc. E Bar. Sax. cresc.

1 B Tpts. 2 3 1 2 F Hns. 3 4 1 2 Tbns. 3 cresc. Euph.

Tuba cresc.

Str. Bass cresc. 3

3

Timp. (Xylo.) 1 cresc. (Susp. Cym.)

choke

choke

2 (Vib.)

Perc. 3

(Mar.) 4

4


22

21 20

23

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

1 2 F Hns. 3 4 1 2 Tbns. 3

Euph.

Tuba

Str. Bass 3

Timp. (Xylo.) 1 (Susp. Cym.) yarn mallets

Closed Hi-Hat — sticks

2 Perc.

(Vib.)

Claves

3

Bongos — yarn mallets

(Mar.) 4

5


24

25

26

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

1 2 F Hns. 3 4

1 2 Tbns. 3

Euph.

Tuba

Str. Bass

Timp.

1 (Hi-Hat) 2 Perc.

(Claves) 3 (Bongos) 4

6

27


31 28

29

30

32

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

1 2 F Hns. 3 4

1 2 Tbns. 3

Euph.

Tuba

Str. Bass

Timp. Mark Chimes 1 (Hi-Hat) 2 Perc.

(Claves) 3 (Bongos) 4

7


33

34

35

36

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3 a2 1 2 F Hns.

a2 3 4 1 2

Tbns. 3

Euph.

Tuba

Str. Bass on the bowl of the smallest Timpani Timp. Xylophone — hard mallets 1 (Hi-Hat) 2 Perc.

(Claves) 3 (Bongos)

Marimba — yarn mallets

4

8

37


38

42 39

40

41

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3 1 2 F Hns. 3 4 1 2 Tbns. 3

Euph.

Tuba

Str. Bass

Timp. (Xylo.) 1 (Hi-Hat) 2 Perc.

(Claves) 3 Bongos — yarn mallets

(Mar.) 4

9


43

44

45

46

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

1 2 F Hns. 3 4

1 2 Tbns. 3

Euph.

Tuba

Str. Bass

Timp. (Xylo.) 1 (Hi-Hat) 2 Perc.

(Claves) 3 (Bongos) 4

10

47


51

48

49

52

50

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3 a2 1 2 F Hns.

a2 3 4 1 2

Tbns. 3

Euph.

Tuba

Str. Bass

Timp. Xylophone — hard mallets

Mark Chimes 1 (Hi-Hat) 2 Perc.

(Claves) 3 (Bongos) 4

11


53

54

56

55

57

58

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts.

a2 2 3 a2 1 2

F Hns. 3 4

1 2 Tbns. 3

Euph.

Tuba

Str. Bass

Timp. (Xylo.) 1 (Hi-Hat) 2 Perc.

(Claves)

Vibraphone — bowed

3 (Bongos)

Marimba — yarn mallets

4

12


59

60

61

62

63

64

65

Picc. solo 1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

solo 1 E Alto Sax. 2 solo B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

1 2 F Hns. 3 4

1 2 Tbns. 3

Euph.

Tuba

arco Str. Bass

Timp. Tambourine — thumb roll 1 Triangle 2 Perc.

Claves 3 (Mar.) 4

13


67

66

68

69

70

Picc.

1 Fls. 2

Ob. solo 1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

1 2 F Hns. 3 4 1. solo 1 2 Tbns. 3

Euph.

Tuba

Str. Bass

Timp. (Tamb.) 1 (Tri.) 2 Perc.

(Claves) 3 (Mar.) 4

14

71

72


73

75

74

76

77

78

Picc. tutti 1 Fls. 2

Ob. tutti 1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

tutti 1 E Alto Sax. 2 tutti B Tenor Sax.

E Bar. Sax.

Harmon Mute stem in 1 Harmon Mute stem in

B Tpts. 2 3

1 2 F Hns. 3 4

1 2 Tbns. 3

Euph.

Tuba

Str. Bass

Timp. (Tamb.) 1 (Tri.) 2 Perc.

(Claves) 3 (Mar.) 4

15

79


80

81

83

82

85

84

86

Picc. cresc.

1 cresc. Fls. 2 cresc. Ob. cresc. 1 cresc. B Cls.

2 cresc. 3 cresc.

B Bass Cl. cresc. E Contra Alto Cl. cresc. Bsn. cresc.

1 E Alto Sax.

cresc. 2 cresc.

B Tenor Sax. cresc. E Bar. Sax. cresc. open 1 cresc.

B Tpts.

open 2 3 cresc. 1 2 cresc.

F Hns. 3 4

cresc. tutti 1 2 cresc.

Tbns. 3

cresc. Euph. cresc. Tuba cresc. pizz. Str. Bass cresc. Timp. cresc.

(Tamb.) 1

cresc.

(Tri.) 2

cresc.

Perc.

(Claves)

Bass Drum

3 cresc.

(Mar.) 4

16


87

90

89

91

88

92 93

94

Picc. dim. 1 dim.

Fls. 2

dim. Ob. dim. 1 dim. B Cls.

2 dim. 3 dim.

B Bass Cl. dim. E Contra Alto Cl. dim. Bsn. dim.

1 dim.

E Alto Sax. 2

dim. B Tenor Sax.

dim.

E Bar. Sax. dim.

1 dim.

B Tpts.

a2 2 3 dim. 1 2 dim.

F Hns. 3 4

dim. 1 2

dim.

Tbns. 3

dim. Euph. dim. Tuba dim. arco Str. Bass dim. Timp. dim. (Tamb.)

Crash Cymbals—l.v.

1 dim. Glockenspiel — brass mallets—l.v.

(Tri.) 2 Perc.

dim.

(B.D.) 3

dim. Chimes—l.v. 4 dim.

17


95

96

97

98

99

100

Picc. solo 1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3 1 2 F Hns. 3 4 1 2 Tbns. 3

Euph.

Tuba

Str. Bass

Timp. (Cr. Cym.) 1 (Glock.) 2 Perc.

(B.D.)

Vibraphone — yarn mallets

3 (Chimes)

Marimba — yarn mallets

4

18

101

102

103


104

105

106

107

108

109

110

Picc. cresc. tutti 1 cresc.

Fls. 2

cresc. Ob. cresc. 1 cresc. B Cls.

2 cresc. 3 cresc.

B Bass Cl. cresc. E Contra Alto Cl. cresc. Bsn. cresc.

1 E Alto Sax.

cresc. 2 cresc.

B Tenor Sax. cresc. E Bar. Sax. cresc.

1 B Tpts. 2 3 cresc. 1 2

cresc.

F Hns. 3 4

cresc.

1 2

cresc.

Tbns. 3

cresc. Euph. cresc. Tuba cresc.

Str. Bass cresc. Timp. 3

3

3

cresc. Xylophone — hard mallets

1 cresc. 2 (Vib.)

Perc. 3

(Mar.) 4 cresc.

19


111 112

114

113

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

1 2 F Hns. 3 4 a2

gliss.

1 2 Tbns. 3

Euph.

Tuba

pizz.

arco

Str. Bass

Timp. (Xylo.) 1

Closed Hi-Hat — sticks 2 dim. Slapstick

Perc.

Claves

3 (Mar.) 4

20


119

116 115

117

118

Picc. cresc. 1 cresc.

Fls. 2

cresc. Ob. cresc. 1 cresc. B Cls.

2 cresc. 3 cresc.

B Bass Cl. cresc. E Contra Alto Cl. cresc. Bsn. cresc.

1 E Alto Sax.

cresc. 2 cresc.

B Tenor Sax. cresc. E Bar. Sax. cresc.

1 B Tpts. 2 3 1 2 F Hns. 3 4 1 2 cresc.

Tbns. 3

cresc. Euph. cresc. Tuba cresc. pizz.

arco

Str. Bass cresc. 3

3

Timp. (Xylo.)

3

cresc.

1 Large Tom-Tom — stick

Suspended Cymbal — stick choke

cresc. choke

2 Perc.

(Claves) 3 cresc.

(Mar.) 4

cresc.

21


120

121

122

123

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

1 2 F Hns. 3 4

1 2 Tbns. 3

Euph.

Tuba

Str. Bass

Timp.

1 (Susp. Cym.) 2 Perc.

(Claves) 3 (Mar.) 4

22

124


126 125

127

128

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

1 2 F Hns. 3 4 1 2 Tbns. 3

Euph.

Tuba

pizz. Str. Bass

Timp. (Xylo.) 1 (Susp. Cym.)

Closed Hi-Hat — sticks

2 Perc.

(Claves) 3 (Mar.)

Bongos — yarn mallets

4

23

129


130

131

132

133

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3

1 2 F Hns. 3 4

1 2 Tbns. 3

Euph.

Tuba

Str. Bass

Timp. (Xylo.)

Mark Chimes

1 (Hi-Hat) 2 Perc.

(Claves) 3 (Bongos) 4

24

134


135

138 136

137

139

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts. 2 3 a2 1 2 F Hns.

a2 3 4 1 2

Tbns. 3

Euph.

Tuba

Str. Bass

Timp. Xylophone — hard mallets 1 (Hi-Hat) 2 Perc.

(Claves) 3

Marimba — yarn mallets 4

25


141

143

Picc.

1 Fls. 2

Ob.

1

B Cls.

2

3

B Bass Cl.

E Contra Alto Cl.

Bsn.

1 E Alto Sax. 2

B Tenor Sax.

E Bar. Sax.

1 B Tpts.

a2 2 3

1 2 F Hns. 3 4 a2 1 2 Tbns. 3

Euph.

Tuba

Str. Bass

Timp. (Xylo.) 1 (Hi-Hat) 2 Perc.

144

142

140

(Claves)

Bass Drum

3 (Mar.) 4

26


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)

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.


T o

h e a r

a

c o m p l e t e P l e a s e

r e c o r d i n g

v i s i t

w w w. M a n h at ta n Be a c h Mu sic . c o m

Lauda for concert band by Timothy Miles  

The complete conductor score of Lauda for concert band by Timothy Miles, Winner, Second Prize, The 2nd International Frank Ticheli Compositi...