L E G A C I E S FIRST PRIZE WINNER — THE FRANK TICHELI COMPOSITION CONTEST
Clint Needham
CONCERT BAND
M a n h a t t a n
B e a c h
M u s i c
Recording Credits for Legacies: Performance by the Baldwin-Wallace College Conservatory Symphonic Wind Ensemble, Dwight Oltman, ensemble conductor, Clint Needham, guest 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 E G AC I E S F O R
C O N C E R T
B A N D
CLINT NEEDHA M I N S T R U M E N T A T I O N 1 Full Score
1 Bb Tenor Saxophone
2 Euphonium 2 (Bass Clef)
1 Piccolo
1 Eb Baritone Saxophone
1 Euphonium 2 (Treble Clef)
4 Flute 1
2 Bb Cornet 1
4 Tuba
4 Flute 2
2 Bb Cornet 2
1 String Bass (optional)
1 Oboe 1
2 Bb Cornet 3
1 Piano (or digitally sampled piano
1 Oboe 2
2 Bb Trumpet 1
1 English Horn (optional)
2 Bb Trumpet 2
4 Bb Clarinet 1
1 F Horn 1
1 Timpani
4 Bb Clarinet 2
1 F Horn 2
1 Percussion 1
4 Bb Clarinet 3
1 F Horn 3
1 Eb Alto Clarinet (optional)
1 F Horn 4
2 Bb Bass Clarinet
2 Trombone 1
1 Bassoon 1
2 Trombone 2
1 Bassoon 2
2 Trombone 3
2 Eb Alto Saxophone 1
2 Euphonium 1 (Bass Clef)
2 Eb Alto Saxophone 2
1 Euphonium 1 (Treble Clef)
or synthesizer)
1 Celesta (or digitally sampled celesta or synthesizer)
Triangle, Bass Drum, Glockenspiel, Mark Chimes
2 Percussion 2
Snare Drum, Bass Drum, Suspended Cymbal, Tom-toms, Tambourine, Mark Chimes
2 Percussion 3
Marimba, Vibraphone, Glockenspiel, Mark Chimes, Whip, Suspended Cymbals, Crash Cymbals
2 Percussion 4
Xylophone, Suspended Cymbals
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 ATTA N BEACH M USIC
P R O G R A M
N O T E
A
t the start of life, all doors are flung open wide. Every future is possible, every choice presents itself. So begins L E G A C I E S , naive, jittery, excited — imbued with a sense of wonder and expectation. Life’s journey has begun.
Later in life there is more time to reflect inwardly upon the choices made, and things happen more deliberately; this introspection marks the middle, slower section of my work. This is the core of the composition, its emotional center, representing the desire to remain where one is in life, versus the flux of life that pulls one forward into new experience. But the elemental spheres spin out energy in all directions, illuminating new pathways, propelling and pulling us ahead in time and in continual choice.
These possibilities — these sound-pictures of what is yet to come — make up the last section. Here the opening music returns, but more complex, more layered, more harmonically gritty. Then, in a final burst of energy, the primary and secondary themes elide to create a joyous climax of forward momentum. I dedicate this work to Dwight Oltman and my graduating class at Baldwin-Wallace College; their Conservatory Wind Ensemble gave the first performance of L E G A C I E S . In a way, this work, at once spirited and nostalgic, is something I am pleased to hand down — in part it is my recollections of the great times I had there, and my musical legacy.
C L I N T
N E E D H A M
N O T E
O N
T H E
I N S T R U M E N T A T I O N
Optional parts include: English horn, Alto Clarinet, String Bass, Piano, and Celesta. If acoustic instruments are unavailable to play the Piano and Celesta parts, they may be played on digital instruments, but the desired sound is one that most closely resembles the acoustic instrument. In the case where only one keyboard player is available, play the Piano part; every effort to cover the Piano part should be made. In the case where only one Euphonium player is available, play the Euphonium 1 part. If any optional parts are missing, please play the cues found throughout the score. G E N E R A L
C O M M E N T S
All 7/8 bars are grouped 2 + 2 + 3 and all 5/8 bars are grouped 2 + 3. The A section (see F O R M , following) establishes the overall jubilant mood and presents the musical themes found in the work. The bright introduction sets up the eighth-note motor upon which the lyric Theme 1 rests. Theme 2 continues this motor, but exploits the range of the ensemble with a somewhat chunky orchestration of the motor in a low vs. high textural layout. A brief, themeless excursion occurs after a return of the Theme 1, which introduces a new sixteenth-note texture that expands the pulse to the dotted quarter-note. Theme 1 returns twice more — first bold in the brass, then lighter in the woodwinds. The A section concludes with a flute and piccolo duet that leads to transition material into the next section. The B section begins with the smallest texture in the work, using only clarinets and vibraphone. The main goal of this section is to slowly bring back into focus the opening material. This goal is achieved by the gradual way in which instruments are added to the choral texture over time. In addition, this section’s beginning is void of any strong pulse. A pulse is gradually established as each instrument is layered into the texture. The main climax point of the work is reached at measure 177 when all instruments have been added to the texture and the pulse has returned to the opening tempo (half-note =76 or quarter-note =152). It is crucial that the tempo relations in the B section be maintained in order to achieve the desired pacing. The return of the A section re-establishes the jubilant mood and eighth-note motor. This section has two secondary climax points. The first occurs at measure 263 and the other occurs at the conclusion of the piece. It is important to lead the energy and the volume to these points, but do not allow things to get too loud or fast too soon.
F I ntroduction
&
O
M ain
R
M T hemes
( A
section )
The A Section is in the form A-B-A-C-A-A (Theme 1–Theme 2–Theme 1– themeless excursion C–Theme 1–Theme 1) meas. 1-8 C Major
Bright texture, establish metric layout & jubilant character
9-24
Saxes, bold/lyric main Theme 1
25-35
D Minor
Theme 2, Low Brass jerky rhythm vs. upper winds (texture contrasts)
36-46
Eb Major
Horns, more bravura return of Theme 1
47-64
Exploits dotted quarter-note pulse & Eb Mixolydian,Themeless excursion C
65-82
C Major
Brass Theme 1 variant (bold)
83-120
D Major
Woodwind Theme 1 variant (lighter)
121-126
Transition, dotted quarter-note pulse to establish new tempo
C horale
&
C lima x
( B
section )
127-147
Clarinets & Vibes, somber & nostalgic mood, pulse stops
148-152
Choral variant, re-establish a pulse, modulation to Eb Major
153-170
Eb Major
Mood lightens, gradual acceleration to Tempo I, modulation to A Major
171-183
A Major
Brass main theme variant (bold), Woodwind flourishes, climax area
184-190
F-Lydian
Transition to return of A theme, modulation to C Major
R eturn
191-198
C Major
199-215
of
M ain
T heme
( A'
section )
Re-establishes opening jubilant character Return of Theme 1 in Brass
216-233
Eb-Mixolydian Dotted quarter-note pulse, Theme-2-like figure in Brass/Timp. (228-33)
234-245
C Major
Horns, more bravura return of Theme 1
246-256
F# Minor
Theme 2, low Brass jerky rhythm vs. upper winds (texture contrasts)
257-262 Textural episode, covers several instrumental textures & range of ensemble, modulation to C Major 263-272
C Major
273-278
Themes 1 & 2 are layered atop one another, final statement of themes Coda, Woodwind flourishes, hint of Theme 2 in Trombones & Horn
L E G A C I E S is the F I R S T 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
LEGACIES FOR CONCERT BAND
CLINT NEEDHAM
Spirited ( = 152) 2
3
4
5
6
7
8
9
Piccolo
Flutes
1 2
Oboes
1 2
English Horn (opt.) 1 B Clarinets
a2 2 3
E Alto Clarinet (opt.) B Bass Clarinet
a2 Bassoons
1 2
E Alto Saxophones
1 2
a2
B Tenor Saxophone E Baritone Saxophone
str. mute B Cornets
1 2 3
1.
2. 3.
1.
2. 3. Alto Sax.—if needed use str. mute
B Trumpets
1 2
a2 1 2 F Horns
a2 3 4
a2 1 2 Trombones 3
a2 Euphoniums
1 2
Tuba String Bass (opt.)
Piano (or Synth.)
Celesta (or Synth.)
Timpani
Triangle 1
Mark Chimes (upper ¼ of chimes) 2
Marimba—hard mallets
Percussion 3
Xylophone—hard mallets 4
Copyright © 2010 Manhattan Beach Music — All Rights Reserved — Printed and Engraved in the U.S.A. ISBN 1-59913-126-9 (complete set) ISBN 1-59913-127-7 (conductor’s score) Purchase music, download free MP3s, view scores, and more at www.ManhattanBeachMusic.com
10
11
12
14
13
Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls.
a2 2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2
1 2 F Hns. 3 4 1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
Piano
Celesta
Timp. (Tri.) 1
2 (Mar.)
Perc. 3
(Xylo.) 4
2
15
16
23
17
18
19
20
21
22
Picc.
Fls.
1 2
Obs.
1 2
a2
Eng. Hn.
1 sub.
B Cls.
div.
a2
2 3 sub. E Alto Cl. sub. B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2
1 2 sub.
F Hns. 3 4
sub. 1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
Piano
sub.
Celesta
Timp. (Tri.) 1 sub. 2 (Mar.)
Perc. 3
(Xylo.)
sub.
4 sub.
3
24
29
25
30
27 26
28
31
Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls. 2 3 E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax. E Bar. Sax.
B Cnts.
1 2 3
1. str. mute
2. 3. str. mute
B Tpts.
1 2 1 2
F Hns. 3 4 a2 1 2 Tbns. 3
a2 Euphs.
1 2
Tuba
Str. Bass
Piano
Celesta
Timp. Tri.
(Tri.) 1
Bass Drum Snare Drum 2 Whip
Perc. 3
Susp. Cym.—thin wood mallet 4
4
32
34
35
33
36
37
38
39
40
Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls.
div. 2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2
Horn open
mutes off
1. 2.
non cresc.
div.
a 2 open 1 2 F Hns.
a 2 open 3 4
1 2 Tbns. 3
Euphs.
div.
1 2
Tuba
Str. Bass
Piano
Celesta
Timp.
(Tri.) 1
2
Marimba
Perc. 3
(Susp. Cym.) 4
5
41
42
43
44
45
← → 47
46
49 48
Picc. a2
Fls.
1 2
Obs.
1 2
sub.
Eng. Hn.
1 sub.
B Cls.
2. 2 3 sub.
E Alto Cl.
B Bass Cl. 1. Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax. E Bar. Sax.
B Cnts.
3. str. mute
1 2 3
str. mute B Tpts.
1 2 a2 1 2
F Hns.
a2 3 4 a2 str. mute 1 2
Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
Piano
Celesta
Timp.
(Tri.) 1
2 (Mar.)
Perc. 3
(Susp. Cym.) 4
6
51
50
52
53
54 55
Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls.
(2.)
(2.)
a2
2 3
E Alto Cl.
B Bass Cl.
(1.) a2 Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2
2. str. mute
+ 1. (str. mute)
sub. 1 2
sub.
F Hns.
div. 3 4
sub. mutes off 1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
Piano
Celesta
Timp.
1
2
(Mar.)
Perc. 3
4
7
56
57
60
59
58
61
Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls. 2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax. + 1.
+ 2.
3. str. mute B Cnts.
1 2 3
B Tpts.
1 2 1 2
F Hns. 3 4
1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
Piano
Celesta
Timp.
1
2 (Mar.)
Perc. 3
Xylo. 4 4
4
4
8
4
4
63
62
65
64
66
67
68
Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls.
a2 2 3
E Alto Cl.
B Bass Cl.
(a 2) Bsns.
1 2
E Alto Saxs.
1 2
a2
sub. B Tenor Sax.
sub.
E Bar. Sax.
sub.
B Cnts.
1 2 3
B Tpts.
1 2
2.
sub. 1 2 F Hns. 3 4
1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
sub.
Piano
sub.
Celesta
Timp.
(Tri.) 1
Susp. Cym. 2
(Mar.)
Perc. 3
(Xylo.) 4 4
4
4
sub.
9
69
70
71
72
73
74
75
76
Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls. 2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax. str. mutes B Cnts.
1 2 3
B Tpts.
1 2
mutes off
str. mutes
a 2 open 1 2 F Hns.
a 2 open 3 4
Horn 1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
Piano
Celesta
Timp. Glockenspiel—let ring 1 3
4 Tomtoms 2 Perc.
Susp. Cym. 3 (Xylo.) 4
10
78
77
82 79
80
83
81
84
85
86
87
88
89
Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1 sub.
B Cls. 2 3
sub.
E Alto Cl.
B Bass Cl. a2
Bsns.
1 2
E Alto Saxs.
1 2
a2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2
a3 open
3. str. mute
str. mute
1 2 F Hns. 3 4
1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass 8
Piano
8
Una Corda
Celesta
Timp. (Glock.)
Mark Chimes (upper ¼ of chimes)
let ring
1 Tambourine
2 sub.
Perc.
Marimba
3 Susp. Cym.—thin wood mallet
4
11
+ 2.
94
90
91
92
93
95
96
97
98
99
100
101
102
Picc. 7
1 2
Fls.
7
1. 1 2
Obs.
Eng. Hn.
1 B Cls. 2 3
sub. E Alto Cl.
B Bass Cl.
a2 Bsns.
1 2
E Alto Saxs.
1 2
a2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2
(2)
3.
mutes off
1.
(3)
sub. 1 2 F Hns. 3 4 1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
sub.
Piano
8
Celesta
Timp.
Tri.
Glock.—let ring
1
(Tamb.) 2 Perc.
(Mar.)
sub.
3
(Susp. Cym.)
sub.
4
12
+ 2.
+ 3.
solo 103
104
105
106
107
108
109
110
111
112
113
115
114
116
Picc. solo 1. Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls. 2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
1. B Cnts.
1 2 3
B Tpts.
1 2
+ 2.
+ 3.
mutes off
1. 1 2 F Hns.
3. 3 4
1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
Piano
8
Celesta
Timp. (Glock.)
Tri.
1 (Tamb.) 2 (Mar.)
Perc. 3
(Susp. Cym.) 4
13
← (solo) 117
118
119
120
→
121 ( = 101)
122
123
Picc. (solo) Fls.
1 2
Obs.
1 2
Eng. Hn.
1
B Cls.
2
div. 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2 open 1 2
F Hns. 3 4
1 2 Tbns. 3
Euphs.
1 2
Tuba
pizz. Str. Bass
Piano
8
(Una Corda)
Celesta
Timp. (Tri.) 1 (Tamb.) 2 Perc.
Piano
(Mar.) 3 (Susp. Cym.)
thin wooden mallet
4
14
125
poco rit.
Oboe
124
127 Poco meno mosso ( = 48) 126
128
129
Picc.
solo
Oboe 1. Fls.
1 2
Obs.
1 2
Piano 1.
solo
Eng. Hn.
solo
tutti
1
B Cls.
2
(F = lower div.) 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2 1 2
F Hns. 3 4 1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
8
Piano
Celesta
Timp.
(Tri.) 1
2
Vibraphone—medium motor speed soft mallets
Perc. 3
(Susp. Cym.) 4
15
130
131
132
133
134
135
136
137
138
139
Picc. 1 Player Fls.
1 2
Obs.
1 2
1.
2. Eng. Horn Eng. Hn.
1
B Cls.
2 unis. 3
E Alto Cl.
B Bass Cl. a2 Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2 1 2
F Hns. 3 4 1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
Piano
Celesta
Timp.
1
2 (Vib.)
Perc. 3
4
16
140
141
142
143
144
145
146
147
148 più mosso ( = 56)
Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1
B Cls.
2
3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2 1 2
F Hns. 3 4 1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
Piano
Tre Corde
Celesta
Timp. (Tri.) 1
2 (Vib.)
Perc. 3
4
17
149
solo
150
151
152
153
154
155
156
Picc. tutti Fls.
1 2
Obs.
1 2
1. Eng. Horn solo
solo Eng. Hn.
1 B Cls. 2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2 1. Eng. Horn solo
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2 2.
+ 1.
4.
+ 3.
1 2 F Hns. 3 4 1. 1 2 Tbns. 3 1. Euphs.
solo
1 2 Piano
Tuba
Str. Bass
Piano
Tre Corde
Celesta
Timp.
1 Bass Drum 2 Perc. 3
4
18
str. mute
accel.
157
159 più mosso ( = 60)
158
160
161
Oboe
162
Picc.
1. Fls.
1 2
Obs.
1 2
1.
Eng. Hn.
1 player 1 B Cls.
a2 2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
(1.)
1.
2. B Tenor Sax.
E Bar. Sax.
str. mute B Cnts.
1 2 3
B Tpts.
1 2
str. mute a2 1 2 F Hns.
3. 3 4 mutes off 1 2 Tbns. 3
Euphs.
1 2
Tuba
arco Str. Bass
Piano
Celesta
Timp.
Mark Chimes (upper ¼ of chimes) 1
2 Perc.
Glockenspiel 3
Xylo. 4
19
str. mute
167
168
166
163
164
165
Picc.
Fls.
1 2
Obs.
1 2
tutti
Eng. Hn.
tutti 1 B Cls.
a2 2 3
E Alto Cl.
B Bass Cl.
a2
a2 Bsns.
1 2
(1.) E Alto Saxs.
1 2
2. B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2
1.
2. mutes off
1.
1 2
2.
F Hns.
mutes off
3.
3 4
4. 1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
Piano
Celesta
Timp.
Tri. 1
Bass Drum 2
Susp. Cym. scrape
Perc. 3
(Xylo.) 4
20
170
accel.
più mosso ( = 66) 172
171
169
173
Picc. 3
a2
Fls.
1 2
Obs.
1 2
3
3
3
Eng. Hn.
1 B Cls. 2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
B Tpts.
mutes off
1 2 3
1. 2.
3.
1 2 a2
1 2 F Hns.
a2
3 4
1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
3
Piano
3
Celesta
Timp.
(Tri.)
let ring
1
2 Glock.
Perc. 3 (Xylo.)
4
21
3
3
3
3
a2
a2
accel. 175
174
Picc.
176
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
a2 1 2
Fls.
3
1 2
Obs.
Eng. Hn.
1 B Cls. 2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2 1 2
F Hns. 3 4 a2 1 2 3
3
Tbns.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
a2 Euphs.
1 2 3
3
3
3
3 3
Tuba
3
3
3
3
3
3
3
3
3
3
3
3
Str. Bass 3
Piano
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Celesta
3
3
Timp.
1 Susp. Cym. 2 Perc. 3 (Xylo.)
3
4
22
3
3
3
3
3
3
3
177 più mosso ( = 76)
178
179
180
Picc.
Fls.
1 2
Obs.
1 2
3
3
3
3
Eng. Hn.
1 B Cls.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
a2 2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2 3
3
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2
3.
a2 1 2 3
F Hns.
3
a2
3 3
3 4
1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Piano
Celesta
3
Timp.
(Tri.) 1
(Susp. Cym.) 2 Perc.
Mark Chimes 3
(Xylo.) 4 3
3
3
3
23
181
182
Picc.
3
1 2
Fls.
3
sub.
3
3
3 3
3
sub.
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
1 2
Obs.
183 3
3
3
3
3
3 3
3
sub.
Eng. Hn. sub.
1
3 3
sub.
3
sub.
B Cls. 2 3
3
E Alto Cl. sub.
B Bass Cl. 3
sub.
Bsns.
1 2 3
sub.
E Alto Saxs.
1 2
sub.
B Tenor Sax.
sub.
E Bar. Sax. sub. 3
1.
B Cnts.
1 2 3 2. 3.
3
3
3
3
3
3
3
B Tpts.
1 2 sub.
a2
1 2 3
F Hns.
a2
3
3
3 4
3
3
a2
1 2
3
3
Tbns.
3
3
3
3
a2
Euphs.
1 2 3
sub.
Tuba
Str. Bass sub.
3
3
3
3
Piano
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
sub.
3
3
3
3
Celesta
3
3
sub.
3
3
3
3
3
3
3
Timp. (Tri.)
1 (Susp. Cym.)
2 Perc.
(M.C.)
3 (Xylo.)
4 3
sub.
24
185 184
186
Picc.
Fls.
1 2
Obs.
1 2
3
3
3
3
3
3
3
3
3
3
3
3
Eng. Hn.
1 B Cls. 2 3
E Alto Cl.
B Bass Cl.
a2 Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
B Tpts.
1 2 3
3
3 3
1 2 3 3
1 2 F Hns. 3 4
1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Piano
Celesta
Timp.
(Tri.) 1
(Susp. Cym.)
Bass Drum
2
Perc.
(M.C. upper ¼ of chimes) 3
(Xylo.) 4 3
3
3
3
3
3
3
25
3
3
3
187
Picc.
188 3
3
3
3
189 3
190
3 3
Fls.
1 2
Obs.
1 2
3
3
3
3
a2
Eng. Hn. 3
3
3
3
3
3
3
3
3
3
1 B Cls.
a2
2.
2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2
1.
str. mute
3.
1 2 F Hns. 3 4 1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
Piano
Celesta
Timp.
1 Susp. Cym. 2 Perc. 3 (Xylo.) 4 3
3
3
3
3
3
26
3
3
191 Spiritoso ( = 152) 192
193
194
195
196
197
198
199
Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls.
a2 2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
B Tpts.
1 2 3
(1.)
+ 2.
(3.)
1.
3.
+ 2.
Horn, open
1 2 a2 1 2
F Hns.
a2 3 4
1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
Piano
Celesta
Timp. (Tri.)
sim.
1 (Susp. Cym.) 2 (upper ¼ of chimes) (M.C.)
Perc. 3
(Xylo.) 4
27
200
201
202
203
204
205
206
207
208
Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls. 2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2
Horn, open
1. 2. open
3. open
str. mute
a2 1 2 F Hns. 3 4
1 2 Tbns. 3 1. Euphs.
1 2
Tuba
Str. Bass
Piano
Celesta
Timp. (Tri.) 1 (Susp. Cym.) 2 Perc.
Marimba 3 (Xylo.) 4
28
a2
213 209
210
211
214
215
← → 216
212
217
Picc.
Fls.
1 2
Obs.
1 2
sub.
Eng. Hn.
1 sub.
B Cls.
2. 2 3 sub.
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax. a3 B Cnts.
1 2 3
1.
2. 3. str. mute
B Tpts.
1 2 2. 1 2
F Hns. 4. 3 4 sub.
+ 1.
2. 1 2 sub.
Tbns. 3
sub.
Euphs.
1 2 sub.
Tuba
Str. Bass
Piano
sub.
(con
Celesta
Timp. (Tri.) 1 (Susp. Cym.) 2 (Mar.)
Perc. 3
(Xylo.) 4
29
)
219
220
221
222
223
218 Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls.
2. 2 3
E Alto Cl.
B Bass Cl.
1. Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2
1. str. mute
2. str. mute
a2 1 2 F Hns.
a2 3 4
1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
Piano
Celesta
Timp.
1
2 Perc. 3
(Xylo.) 4
30
228
224
225
226
229
227
Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls.
a2 2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
+ 1. (str. mute)
+ 2. (str. mute)
3. str. mute B Cnts.
1 2 3
B Tpts.
1 2
1 2 F Hns. 3 4
1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
Piano
8
Celesta
3
3
Timp.
1
2
Vibraphone—hard mallets
Perc. 3
(Xylo.) 4 4
4
31
4
4
232
234
233
231
230
235
Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls.
a2 2 3
E Alto Cl.
B Bass Cl.
a2 Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax. 3
3
E Bar. Sax.
Horn B Cnts.
1 2 3
B Tpts.
1 2
open
rip
open
rip
1 2 F Hns. 3 4
a2 1 2 Tbns.
3
3
3
3
3
Euphs.
1 2 3
3
3
3
3
3
Tuba
Str. Bass
Piano
Celesta
3
3
Timp.
(Tri.) 1
(Susp. Cym.) 2 Perc.
(Vib.) 3
(Xylo.) 4 4
4
4
4
32
sub.
238 236 Picc.
1 2
240
244
237 3
Fls.
239
241 3
3
3
3
3
3
3
3 3
a2 1 2
Obs.
5
Eng. Hn.
1 5
B Cls.
a2 2 3 5
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2
open
(str. mute)
3
3
3
3
3
1 2 F Hns. 3 4
1 2 Tbns. 3
Euphs.
1 2
Tuba
Str. Bass
Piano
Celesta
Timp.
(Tri.) 1
(Susp. Cym.) 2
Glock.—let ring
Perc. 3
(Xylo.) 4
33
242
243
245
246 247
248
249
250
251
252
253
254
Picc.
a2 Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls. 2 3
E Alto Cl.
B Bass Cl.
Bsns.
1 2
E Alto Saxs.
1 2
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2
str. mute
1 2 F Hns. 3 4 a2 1 2 Tbns. 3
a2 Euphs.
1 2
Tuba
Str. Bass
Piano
8ba
Celesta
3
Timp.
1 Bass Drum 2 Perc.
Susp. Cym.—hard mallets 3
4
34
accel. poco a poco 257
263 ( = 160)
258
261
262
256
255
259
260
264
Picc. sub.
1 2
Fls.
sub.
1 2
Obs.
sub.
Eng. Hn. sub.
1 sub.
B Cls. 2 3
sub.
E Alto Cl. sub.
B Bass Cl. a2
Bsns.
1 2
E Alto Saxs.
1 2 sub.
B Tenor Sax.
E Bar. Sax.
B Cnts.
1 2 3
B Tpts.
1 2
3.
mutes off 1&3
2. (str. mute)
a 3—open
open
a2
a2
1 2 F Hns. 3 4
1 2 Tbns. 3 a2
Euphs.
1 2
Tuba
Str. Bass
Piano
sub.
Celesta
Timp. sim.
(Tri.)
1 Snare Drum
2 Perc.
Susp. Cym.
Whip
3 (Xylo.)
4
35
266
265
267
268
269
270
271
272
Picc.
Fls.
1 2
Obs.
1 2
Eng. Hn.
1 B Cls. 2 3
E Alto Cl.
B Bass Cl. a2
Bsns.
1 2
E Alto Saxs.
1 2
3
3
3
3
3
3
sub.
3
3
3
3
sub.
B Tenor Sax.
E Bar. Sax.
B Cnts.
1. 2.
a3
1 2 3
a3
3.
2. 3.
a2
B Tpts.
a2
1 2 a2
3
3
3
1 2 3
F Hns.
3
3 4
3
3
3
3
3
3
3
3
sub.
3
3
3 3
3 3
3
3
3
3
3
3
3
sub.
1 2
3
Tbns. 3
3
3
3
3
3
3
3
3 3
3
3 sub.
Euphs.
1 2
Tuba
Str. Bass
Piano
Celesta
Timp. (Tri.)
1 (S.D.)
2 (Susp. Cym.)
Perc.
1.
3 (Xylo.)
4
36
3 3
278 276 277 275
273
274
Picc.
a2 a2 Fls.
1 2
Obs.
1 2
Eng. Hn.
sub.
1
B Cls.
a2 2 3
E Alto Cl.
sub. B Bass Cl.
sub.
Bsns.
1 2
sub.
E Alto Saxs.
1 2
sub. B Tenor Sax.
sub.
E Bar. Sax.
sub. 1. B Cnts.
1 2 3
2. 3. B Tpts.
1 2
a2 1 2 F Hns.
a2 3 4
bells up 1 2 Tbns.
bells up 3
Euphs.
1 2
Tuba
Str. Bass
Piano
sub.
8
Celesta
3
3
3
3
Timp.
(Tri.) 1
4 Tomtoms 2 Perc.
Crash Cym. 3
(Xylo.) 4
37
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 M A N H AT TA N B E A C H M U S I C N E I L R U D D Y — C R E AT I V E D I R E C T O R CO FG OO U LNI D BOB M AR S :E PRUS B L I S H E R N E I L R U D DY: C R E AT I V E D I R E C T O R F EO U N R, ISN C . PRINTIC N GO : CH R N AY P R ID N T IEN G P R I N T I N G :
C H E R N A Y
P R I N T I N G ,
I N C .
LEGACIES FIRST PRIZE WINNER THE FRANK TICHELI COMPOSITION CONTEST
TO H E A R A COMPLETE RECORDING PLEASE VISIT M A N H AT TA N B E A C H M U S I C . C O M
w w w . M a n h at t a n B e a c h M u s i c . c o m