Page 1

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 pi첫 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.

pi첫 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 pi첫 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 Âź 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 Âź 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

Legacies for concert band by Clint Needham  

The complete conductor score of Legacies for concert band by Clint Needham, Winner, First Prize, The 2nd International Frank Ticheli Composi...