Page 1

R

E

F R A N K

S

T I C H E L I

C O N C E R T

M A N H A T T A N

T

B A N D

B E A C H

M U S I C


Recording Credits for Rest: Texas State University Wind Ensemble, Rodney C. Schueller, conductor. Recording by Christopher Reynolds

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


REST 足F O R C O N C E R T B A N D

F R A N K T IC H EL I I N S T R U M E N T A T I O N 1 Full Score

3 Bb Trumpet 1

4 Flute 1

3 Bb Trumpet 2

4 Flute 2

3 Bb Trumpet 3

1 Oboe 1

1 F Horn 1 1 F Horn 2

1 Oboe 2

1 F Horn 3

4 Bb Clarinet 1

1 F Horn 4

4 Bb Clarinet 2

2 Trombone 1

4 Bb Clarinet 3

2 Trombone 2

2 Bb Bass Clarinet

2 Trombone 3

1 Bassoon 1

3 Euphonium B.C.

1 Bassoon 2

2 Euphonium T.C.

3 Eb Alto Saxophone 1

4 Tuba

3 Eb Alto Saxophone 2

1 String Bass

2 Bb Tenor Saxophone

1 Timpani

1 Eb Baritone Saxophone

1 Suspended Cymbal

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


R E S T

wa s c om m i s s i on e d b y m e m b e r s of t h e E l l i n g M i k k e l s on fa m i ly i n h i s m e m or y

2 Nancy J. Mikkelson wife of 52 years children and their spouses Cathy and Michael Fischer Douglas and Rose Mikkelson Russel and Kathy Mikkelson Curtis and Sara Mikkelson


P R O G R A M

N O T E

Created in 2010 , R E S T is a concert band adaptation of my work for

S A T B chorus, There Will Be Rest, which was commissioned in 1999 by

the Pacific Chorale, John Alexander, conductor.

In making this version, I preserved almost everything from the origi-

nal: harmony, dynamics, even the original registration. I also endeavored to preserve carefully the fragile beauty and quiet dignity suggested by Sara Teasdale’s words.

However, with the removal of the text, I felt free to enhance certain as-

pects of the music, most strikingly with the addition of a sustained climax on the main theme. This extended climax allows the band version to tran-

scend the expressive boundaries of a straight note-for-note setting of the original. Thus, both versions are intimately tied and yet independent of one another, each possessing its own strengths and unique qualities. C O M M I S S I O N I N G

H I S T O R Y

The choral work, There Will Be Rest, published by Hinshaw Music, is dedi-

cated to the memory of Cole Carsan St. Clair, the son of my dear friends, conductor Carl St. Clair and his wife, Susan.

The concert band work, Rest, was commissioned by Russel Mikkelson and

family in memory of his father, Elling Mikkelson.

FRANK TICHELI


REHEARSAL NOTES

Given its choral origins, R E S T is above all a work of deeply felt lyricism and melodic warmth. The work, despite posing few technical problems, is expressive-

ly challenging and will be most successful when performed by those who place “ensemble sound” at the forefront. Like my earlier work, An American Elegy, this piece may be playable by many, but those who focus significant attention to tone

quality, intonation, and careful ensemble balance will find it easier to penetrate the work's surface and reveal deeper expressive layers.

R E S T is cast in rounded binary form: A A B A with coda.

A A' (varied repeat) B A'' (climax) Coda

1–21 22–48 49–74 74–93 94–103

The second A section is not only a varied repetition of the material from the

beginning, but also a mild development and extension of that material. I think it would be worthwhile to point out in rehearsals the subtle differences between these two sections.

Even though the tempo is basically unchanged in the B section, it feels more

active due to the move from quarter-notes to eighth-notes as the driving rhythmic force. Here and everywhere, slight tempo fluctuations are indicated, lending a subtle elasticity and freedom so crucial to the work's character.

Notes should be played in a very legato fashion throughout, even at the work’s

climax where some might be tempted to space notes slightly for the sake of added accentuation. Do not succumb to this temptation! Play the climax with lots of air and majestic power, but always in a connected style.

The climax gives way to the quiet coda at measure 94, and an abrupt modula-

tion from Eb Major to G Major. There is a fragility, a vulnerability behind the notes here. I imagine a bowing of the head, a moment of reflection, a turning

inward into prayer or meditation. As the work ends, let the final bar diminish all the way to silence, and if possible, hold that silence for a moment. o


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”

Gg


Concert band version commissioned by Russel Mikkelson and family in memory of his father, Elling Mikkelson

REST

FOR CONCERT BAND      1   Oboe 2 

Tempo Rubato (q = ca. 50)

1 Flute 2

Bb Clarinet 1

Bb Clarinet 2

Bb Clarinet 3

Bb Bass Clarinet

   

       

pp

pp

 

         

  Eb Alto Saxophone 1   Eb Alto Saxophone 2

Bb Tenor Saxophone

     

 Eb Baritone Saxophone    Bb Trumpet 1

Bb Trumpet

2 3

F Horn

1 2

F Horn

3 4

Trombone 1

Trombone

2 3

Euphonium

       

     

  

pp

pp

1 Bassoon 2

     

  

     

     

           p

          p

          p

        p

   p

   

   

8 Più mosso  

 

cresc.

         

p cresc.

pp

3. 4.

        

pp

       pp

   

p

          p       a2

p

 

         p

mp cresc.

p

      

       

     

            

a2

mp cresc.

     

   

cresc.

   

  

          

cresc.

   2.

p

 

cresc.

   

cresc.

       

       

cresc.

  

cresc.

 

              

 

   

           

cresc. 1. 2.

p

 a2          

cresc.

       

(q = ca. 66)

   cresc. mp cresc.         

      

 Tuba       String Bass     Timpani    Suspended Cymbal   

pp

pp 3.

   

1.

        

   

    

poco più mosso

FRANK TICHELI

Published under exclusive license by Manhattan Beach Music - Printed and Engraved in the United States of America Copyright © 2000 Hindon Publications, Inc. - first publication of the version for concert band by Manhattan Beach Music in 2010 ISBN 0-59913-114-5 (complete set) ISBN 0-59913-115-3 (conductor score)

Visit www.FrankTicheli.com for the latest information on the music of Frank Ticheli Purchase music, download free MP3's, view scores and more at www.ManhattanBeachMusic.com


  1  Fl. 2  11

Ob.

1 2

Bb Cl. 1

  

 

1.

       

Bb Bass Cl.

        

      1       Bsn.   2  Eb Alto Sax. 1

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt. 1

Bb Tpt.

2 3

1 F Hn. 2

F Hn.

3 4

Tbn. 1

Tbn.

2 3

Euph.

Tba.

Str. Bs.

  

mf

p

mf



 

 

 

  

                p

    



               



pp

 

(if one only, always play bottom notes)

p

 

3



pp

               



3

pp

  

  

      



pp

                pp

     



         

   

          

mf

       p

 

p

1.

              pp

     

3.

pp

       





3                     



   

p

 



       

         

  



p

mf

mp

17

mf (a2)

  

mp

  

1.

(a2)

 

 

p

        

  Timp. 

Sus. Cymb.

p

       



      

mf

mp

p

 

p

mf

13 poco meno mosso

         

p

mf

Bb Cl. 3

 

         mf

Bb Cl. 2

1.

 3.

p

 

      

one only

p

p

13

 

p

  



  

       

one only

  

  

         

      

 

pp

 

      

pp

pp

   

(one only)

 

pp

   

     

     

2


  1  Fl. 2  21

1 Ob. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

Bsn.

1 2

Eb Alto Sax. 1

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt. 1

Bb Tpt.

2 3

F Hn.

1 2

F Hn.

3 4

Tbn. 1 2 Tbn. 3

Euph.

rit.

  

 

  

 

      cresc.

p

   

  

       p cresc.

    

 



  

       

 

p cresc.

p

 

cresc.

        a2         

          

  

p

cresc.

mf

p cresc.

      p a2

   

cresc.

   

      tutti p

  

  

  

             mf             

a2

p cresc.

cresc.

 

p

p

 Solo Cup mute

   

 



mp

               

mp

     

 

        3.

p

 



  

      

one only

(one only)

p

 

p

  

3

1.

1.

p

p

p

mf

mf

               

p

mf

               

a2

          

p

p



  

        

 

p

                

     



p

mf                 



p

p

mf

mf

 a2    



p

mf

28 poco meno mosso

 mp

p

mf

mp cresc.





p

mf

               p cresc.      mf            mp cresc.

cresc.

mf

1.

                 

                

    

mf

mp cresc.

    

p

          mp cresc. mf                    mf mp cresc.                     mp cresc.

    

   

   

1.

a2

   



unis.

    

p

         

2.

    cresc.

 

  Timp. 

Sus. Cymb.

q = ca. 66

 

 Tba.    Str. Bs.

23

  


     1  Fl. 2  30

Ob.

1 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

Bsn.

1 2

Eb Alto Sax. 1

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt. 1

Bb Tpt.

2 3

1 F Hn. 2

   

Tbn. 1

 

          

 







Sus. Cymb.

    

pp

cresc.

      pp



cresc.

   3

     

 



pp cresc.

    

  

pp cresc.

 

pp cresc.

  

pp cresc.

 

        

 

(1.)

  

     p  

 

 

  

 



  

 

p

3



cresc.

 

  



3 pp                                     

pp

36

             3

3

  

pp cresc.



      3













  

1. p

   p

Bsn. 1

 

p

 

 

   

     

 

Euph.

Timp.

     

   

Str. Bs.

    

   

Tba.



        

2 3

Tbn.

        

(3.)

3 F Hn. 4



32

      

   



  

       

  

4


   1  Fl. 2  39

1 Ob. 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

1 Bsn. 2

Eb Alto Sax. 1

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

  

   

40

rit.



 

2 Bb Tpt. 3

1.



p

 









  

   

  p

p

     

 

1.

p



mf

 

   

  

Mute out

   

Tbn. 1

 

  

 Tba.   Str. Bs.

 

  Timp. 

Sus. Cymb.



p



p



  

p

 

(one only)

p



 

mf

  

Euph.

  

mf

  

  

    

  

  

 

  

 

2.

 

mf

mf

  

mf

  

     

        

       

  

   

   

             1.  2.              a2         

   

  

 

  

5

   

      

mf

  

      

      

mf tutti

 

          

 

           

 

3.

 

  

 

 

           

mf

   

                   

  

  

 

 

mf

3 F Hn. 4

2 Tbn. 3

 

mf

 

1 F Hn. 2

mf

    

mf

   ten.

mf

       

    

  



44

       

    



  

  

           



ten.





   

           

(Solo)

Bb Tpt. 1

p

        

A Tempo (q = c. 66)

ten.

  

1.


  1  Fl. 2  48

Ob.

1 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

rit.

     

49

 

   p 

1 2

Eb Alto Sax. 1

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt.

F Hn.

   

 

      

 

 

p

2 3



1 2

 

pp

       

Tbn. 1

(3.)

Tbn.

2 3

Euph.

    Timp. 

Str. Bs.

Sus. Cymb.

      p       

 Tba.  



p

 

 

    

    

   

    

     

p

mf

mp

p

    

mf

mp

p

          mf legato

p

mf 2. legato

p

mf

p

                     

 

 6

cresc.

     

 

mf

    2.

mf

    

cresc.

    mf

cresc.

     

a2

mf cresc.

     

   mf cresc.

     

     

      

a2 legato

      

pp

     cresc.

      mf mp       

mp

    

     

mf cresc.

mf cresc.

mf cresc.

mf cresc.

            

mf

        

a2 legato

p

p

mf

p

    

          

mf

mp

  

       

mp

               

p 3.

legato p

accel.

54

mp

A Tempo

legato Tutti (open)

  

         

rit.

legato

3 F Hn. 4

  

Bb Tpt. 1

p

Bsn.

   p  p

Bb Bass Cl.

q = ca. 60


  1  Fl. 2  56

Ob.

1 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

Bsn.

1 2

Eb Alto Sax. 1

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt. 1

Bb Tpt.

F Hn.

F Hn.

2 3

1 2 3 4

Tbn. 1

Tbn.

2 3

Euph.

Tba.

q = ca. 60

 







  



  



fp (gently)

   

(no breath)

   

(no breath)

       

fp (gently)

   

fp (gently)

 fp (gently)

 1.       

   

fp (gently)

 

    

(no breath)

fp (gently)



  

fp (gently)

(no breath)

59

         

pp

          

pp

          

pp

         

 

pp 1.

         

pp

            pp

            pp

             pp

            pp

 

 

 

(no breath)

    

             p

cresc.

p

cresc.

p

cresc.

p

cresc.

p

cresc.

                                                                  p

cresc.

p

cresc.

p

cresc.

p

cresc.

                                      

         

p

cresc.

         p cresc.             

p

cresc.

            mf      mf

      mf

     mf

            mf

mf

      mf

      mf

    mf

     mf

    mf

mf

 

 

  

     Timp.  

                



fp (gently)

    

    

  

    

  a2    mf  a2      

 

mf

       

      

(no breath)

    

   

    

  

Str. Bs.

Sus. Cymb.

rit.

     

mf

  

mf

     

     

mf

 7


     64

1 Fl. 2

Ob.

1 2

1.

  

mp

         f

Bb Cl. 1

 

     

mp

f

Bb Bass Cl.

  

f

  1     Bsn.    2 Eb Alto Sax. 1

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

Bb Tpt. 1

   

 

   

f

f



f

   

       f

f

Bb Tpt.

2 3

  

     

mp

 

F Hn.

1 2

     

3 4

      

Tbn. 1

f

f

       f

Tbn.

2 3

Euph.

       f

      

 Tba.  

f

      

mf cresc.

     

mf

   

cresc.

  

f

cresc.

 

  

f

   

 

  

   f

f

 

 

  

  

    

mp

    Timp. 



      

   

mf

  

mp

 

 

 

  

mp

cresc.

     mf

   

  

cresc.

     mf

f

f

     

cresc.

  2.



f

   f

  

    a2 f

    

              f  f

8

 

  

(a2)

f

      

mf cresc.

    

f

    

    

 

a2

    

     mf

   

   

      

    

  

Sus. Cymb.

mf cresc.

a2     f

Str. Bs.

   1.

    

          

      

cresc.

f

F Hn.

mf

   

mp

     

     

   mp

 

f

 

cresc.

mf

          

mp

     

     

  

     

mp

  

      f

Bb Cl. 3

  



f

Bb Cl. 2

65 Più mosso (q = ca. 80)


rit. 72           1  Fl. 2  Ob.

1 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

    

 



 

    







 

 

      

Eb Alto Sax. 1

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

 

        

f

       

  Bb Tpt. 1   2 Bb Tpt. 3

F Hn.

F Hn.

1 2 3 4

Tbn. 1

2 Tbn. 3 Euph. Tba.

  

3.

             

    

   

     Timp.  

 

 

f

 

  

 

  



f

SUS.CYM. (yarn)

ff

  

      

p

 

 

 

   

 

 

 

 

ff

 

ff

 

 

div.*

ff

   

 



ff

   

 

ff

 

 

ff

ff

    

  

ff

 

 

     

     

    

        

 

   

 

       

 

       

 

      

 

       

 

                 

 

          

   

 l.v.    

ff

9

 

ff

 

  

ff

ff

 

  

           



*If only one player, play top note.

      ff       

   

 

 

ff

   

p

 

      

 

 

ff

   

ff

 



ff

f tutti

   

ff       

    



f

      

    

 f

 

      a2      

      

   

 

  

Str. Bs.

Sus. Cymb.

f

  

ff

 





ff a2

ff

    

 

   

    

       ff       

        a2    

A Tempo (q = c. 80) Molto legato

 

 a2  

  

f

1 Bsn. 2

 

75

   

 

   

 

 

   

  

 

 


    79

Fl.

Ob.

1 2 1 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

1 Bsn. 2

Eb Alto Sax. 1

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

 

      



   fff

     

fff



 





fff

 



    

      

F Hn.

F Hn.

1 2 3 4

Tbn. 1

Tbn.

2 3

      

fff

  

      

fff

fff

fff

    

   

     

fff

      

fff

    

fff

 Str. Bs.       fff       Timp.    Bb to Ab fff l.v.        Sus. Cymb.   p

fff

         

       fff           

 Tba.  

 

   





 



 



    

 

 



    

    

 

   

 

   

      

    

     



  



  



 





3

3

 

 

  



   

 

  

   

       

      

      



       

3

       

3

   

 

 

    

 

   

 

 

   

p

10

 

3



       p   

div.

  

 

 

3



 





              3       

 



 

            

    

    

 

 

   

    

  

 



  

     

     

fff

      

 



 

 





     

      

fff

Euph.

        

fff

  

 

84

 

  

      

fff

fff

                      

fff

    

      Bb Tpt. 1   2 Bb Tpt. 3



fff

fff

 



    

              

 

   

   

   

3

 

 l.v.    

ff

ff



 


         1  Fl. 2  87

Ob.

1 2

Bb Cl. 1

Bb Cl. 2

Bb Cl. 3

Bb Bass Cl.

Bsn.

1 2

Eb Alto Sax. 1

Eb Alto Sax. 2

Bb Ten. Sax.

Eb Bari. Sax.

          

 

 

  

 

 

   

 

   

  

 

  

3 F Hn. 4

       

 Tba.      Str. Bs.     Timp.  

  

 

 a2



f

 

 

 

  



 

rit. a2

p

 

  

p



    

 

  

  

 

 

f

  

   



       mf     

   p

mf

  

p

p



  



p

 

f

 

 

 

 

 

unis.

unis.



p

            

  

   

   1.          

            p         p

    

brief

    

    

p

p

p

11



p

p

p

   

p

 

             p      

 

  

brief

      

p



 

 

    

    

f

  

 

 

      

     

Sus. Cymb.



1 F Hn. 2

Euph.

  

  

     

2 3

  

2 Bb Tpt. 3

Tbn.

  

     

  Bb Tpt. 1  

Tbn. 1

 

p

                 

brief

 














  1 Fl. 2  Ob.

1 2

Bb Cl. 1

94



pp

   

    



  

pp

pp

   

Bb Cl. 3

   

Bb Bass Cl.

Eb Alto Sax. 1



1.

  



   Eb Bari. Sax.   Bb Ten. Sax.

Bb Tpt. 1

Bb Tpt.

    

2 3

 

1 F Hn. 2

F Hn.

 

3 4

 

  

   

  

 

 

 

 

 

 

2.

    

   



pp

 

Euph.

Tba.

  

   



 

 



 

 

pp

 





 

 

 

Euphonium

pp

12

           

1.





Sus. Cymb.

   

 



  Timp.

2 3

Str. Bs.

  



 

           

   



pp



   

   



Bs. Clar.

Tbn.

  

 

 rit.



Tbn. 1

 

  

pp

 

Eb Alto Sax. 2

  

  

pp

1 Bsn. 2

   

99

   

     

   

pp



   

     

Bb Cl. 2

q = ca. 60

1.



one only

 

 pp

pp

 



 

 

   

 

       


F RA N K

T I C H ELI

WORKS FOR CONCERT BAND F rank T icheli ’ s works for concert band are p u blished exclu si v ely b y M anhattan B each M u sic

Abracadabra (5 minutes, grade 3) Amazing Grace (5 minutes, grade 3) Amen! (3 ½ minutes, grade 2) An American Elegy (11 minutes, grade 4) Angels in the Architecture (14 ½ minutes, grade 5) Ave Maria / Schubert (4 ½ minutes, grade 3) Blue Shades (10 minutes, grade 5) Cajun Folk Songs (6 ¾ minutes, grade 3) Cajun Folk Songs II (10 ½ minutes, grade 4) 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) 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) Rest (8 minutes, grade 4) Sanctuary (12 minutes, grade 5) San Antonio Dances (9 ½ minutes, grade 4) 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. 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 . F rank T icheli . com

T he official so u rce for the M u sic of F rank T icheli


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 .


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R

E

S

T

w w w . F r a n k T i c h e l i . c o m

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 a t t a n B e a c h M u s i c . c o m

Rest for concert band by Frank Ticheli  

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