Sanctuary for concert band by Frank Ticheli

Page 1

SANCTUARY C

O

N

C

E

R

T

B

A

N

D

FRANK TICHELI

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


Recording Credits for Sanctuary: Performance by H. Robert Reynolds conducting the USC Thornton Wind Ensemble ••• Also hear on the MP3 page of Manhattan Beach Music (see the link at top of www.ManhattanBeachMusic.com for MP3 page) the Performance by Allan McMurray conducting the Colorado Wind Symphony in concert in Macky Concert Hall


S A N C T UA RY F O R C O N C E RT B A N D

FRANK TICHELI I N S T R U M E N T A T I O N 1 Full Score

2 Eb Alto Saxophone 1

2 Trombone 2

1 Piccolo

2 Eb Alto Saxophone 2

2 Trombone 3

4 Flute 1

1 Bb Tenor Saxophone

3 Euphonium B.C.

4 Flute 2

1 Eb Baritone Saxophone

2 Euphonium T.C.

1 Oboe 1

3 Bb Trumpet 1

4 Tuba

1 Oboe 2

3 Bb Trumpet 2

1 String Bass

4 Bb Clarinet 1

3 Bb Trumpet 3

1 Timpani

4 Bb Clarinet 2

1 F Horn 1

4 Bb Clarinet 3

1 F Horn 2

2 Bb Bass Clarinet

1 F Horn 3

1 Eb Contrabass Clarinet

1 F Horn 4

1 Bassoon 1

2 Trombone 1

(also playing lge. Tri. & lge. Cymb.)

2 Percussion 1 Glockenspiel, Cymbal (susp.), Tam Tam

2 Percussion 2 Vibraphone, Bass Drum

1 Piano

1 Bassoon 2

PRINTED

ON

A RC H I VA L

PA P E R

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F RA N K

T I C H ELI

WO R K S F O R CO N C ERT BA N D FRANK TICHELI’S WORKS FOR CONCERT BAND ARE PUBLISHED EXCLUSIVELY BY MANHAT TAN BEACH MUSIC

Abracadabra (5 minutes, grade 3) Acadiana (17 minutes, grade 5) Movements 1 and/or 3 may be performed separately

Amazing Grace (5 minutes, grade 3) Amen! (3 ½ minutes, grade 2) An American Elegy (11 minutes, grade 4) This work is also available as An American Elegy for orchestra

Angels in the Architecture (14 ½ minutes, grade 5) Ave Maria / Schubert (4 ½ minutes, grade 3) Blue Shades (10 minutes, grade 5) This work is also available as Blue Shades for orchestra

Cajun Folk Songs (6 ¾ minutes, grade 3) Cajun Folk Songs II (10 ½ minutes, grade 4) Concerto for Clarinet and Wind Ensemble (21 minutes, grade 6) This work is also available as Concerto for Clarinet in an edition for Solo Bb Clarinet and Piano

Concerto for Alto Saxophone and Wind Ensemble (21 ½ minutes, grade 6) This work is also available as Concerto for Saxophone in an edition for Solo Alto Saxophone and Piano

Dancing on Water (8 minutes, grade 4) December Snow (2 ¼ minutes, grade 1) Earth Song (3 ½ minutes, grade 2) First Light (3 minutes, grade 1) 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) Korean Folk Songs from Jeju Island (10 ½ minutes, grade 4) Loch Lomond (6 ½ minutes, grade 3) Making Music Matter: Band Method by Frank Ticheli and Gregory B. Rudgers – Bob Margolis, Editor

Book 1: Beginning Band (Foreword by Richard L. Floyd) & Book 2: Intermediate Band (Foreword by Craig Kirchhoff ) view online: www.makingmusicmatterbook1.com & www.makingmusicmatterbook2.com

Nitro (3 minutes, grade 4) Pacific Fanfare (5 ½ minutes, grade 5) Peace (3 minutes, grade 1) Portrait of a Clown (2 ¾ minutes, grade 2) Postcard (5 ¼ minutes, grade 5) This work is also available as Postcard for orchestra

Rest (8 minutes, grade 4)

This work is also available as Rest for string orchestra

Sanctuary (12 minutes, grade 5) San Antonio Dances (9 ½ minutes, grade 4) Songs of Love and Life (23 minutes, grade 6) for Soprano and Small Wind Ensemble (18 players) 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. 1 (31 minutes, grade 6)

Movement 1, “Of Youth,” Movement 2, “Of Wisdom,” Movement 3, “Profanation,” Movement 4, “Prayer”

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)

W W W. F R A N K T I C H E L I . C O M – T H E O F F I C I A L S O U R C E F O R T H E M U S I C O F F R A N K T I C H E L I


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The Michigan School Band and Orchestra Association expresses its heartfelt gratitude to the members of the University of Michigan Band Alumni Association for their significant contribution to the funding of this commission


S

ANCTUARY was composed for conductor H. Robert Reynolds as

a symbol of our enduring friendship. The work was commissioned in his honor, and received its premiere performance by the band he conducted for 26 years. As a personal tribute to Mr. Reynolds, who

was a horn player in his earlier days, I chose the solo horn to be the work’s main musical messenger. The opening prologue grows out of a set of pitches that were derived from the letters of his first name (Harrah), an idea I first used fifteen years ago in Postcard (commissioned by Reynolds in memory of his mother.) Vivid college memories of Mr. Reynolds conducting Grainger’s HILL SONG NO. 2 and COLONIAL SONG — both well known favorites of his — were also in the back of

my mind, as the sounds that I created in some ways echo the lyrical mood of these works. The word, sanctuary, conjures a rich array of images. It can imply a place of solitude, comfort, rest, prayer, protection. It can suggest a place that is strong and imposing or one that is very small and private. I believe all of these images are suggested at one point or another in the music. The opening bell sounds suggest peace and joyful reverence. The main horn melody is at once reflective and reassuring. There is also an underlying hint of nostalgia — a wistfulness, perhaps suggested by the simple three-chord progression which threads the entire work. But there is also an expression of strength and power in the work’s dark and imposing climax. After the climax recedes, the main melody disappears for a period of time, replaced by flute and clarinet solo episodes which create repose, space, and distance. But in the end, the three-chord harmony returns and serves as a doorway for the final appearance of the main horn theme. The work ends with a quiet echo of the opening bells. Sanctuary was commissioned by the Michigan School Band and Orchestra Association in honor of H. Robert Reynolds. The premiere performance was given by the University of Michigan Symphony Band, Michael Haithcock, conductor, at Hill Auditorium on October 22, 2005.

F R A N K

T I C H E L I

O C T. 3 1 , 2 0 0 5


F O R M

I N T R O D U C T O RY M AT E R I A L ( m m . 1 - 2 5 )

1-9

G Major

Bell sounds; Solo Horn Prologue: “HARRAH” motive

10-25

Ab Major

Transition: Establishment of main harmony

M A I N T H EM E ( A A B C f o r m ) ( m m . 2 6 - 6 0 )

26-33

Eb Major

Main theme introduced by solo horn

34-42

Variant of main theme in woodwinds

43-50

Contrasting phrase (tender, fragile)

51-60

Poco più mosso: Closing phrase of main theme (returning to horns)

M A I N T H EM E a n d C LI M AX ( m m . 6 1 - 9 7 )

61-68

Bb Major

Main theme in all four horns (doubled at octave in oboe and clarinet) Main theme in woodwinds; then fragment of theme used to build intensity

69-78 79-82

G Minor

Full-throated, passionate statement of main theme

83-97

G Major

Climax: Dark and forceful; falling 4ths and horn prologue recalled

EP I S O D E a n d T R A N S I T I O N ( m m . 9 8 - 1 1 4 )

98-106

D Major

Episode: Repose after climax. Flute solo and clarinet solo

107-114

Ab Major

Transition: Recapitulation of main theme’s harmony

F I NA L S TAT EM EN T a n d C O DA ( m m . 1 1 5 - 1 4 8 )

115-122

Eb Major

Recapitulation of main theme by solo horn

123-131

Woodwinds: obscured variant of main theme

132-143

Closing phrase of main theme, passed around ensemble

144-148

Gb Major

Final modulation: final recollection of falling-4th idea


R E H

E

A

R S

A

L

N

O

T

E S

General… Although there is an underlying nostalgic quality about the work, the interpreter will not need to bring this out — it is simply there. Instead, the most important goals to maintain are good intonation, quality of sound, dynamic balance and flexibility. The work, for the most part, is not so technically demanding, but it does require sensitive and controlled playing from all of the players and especially the soloists. The solo horn passages are especially important, and require a player with a confident, musically mature sound. All tempo markings are approximate, and while some degree of tempral elasticity is encouraged, it should be subtle, without destroying the lyrical flow. I have provided cross-cues for all of the solo horn passages, allowing a variety of alternatives for those ensembles who have inexperienced horn players. These alternatives are listed in order of preference: 1. Any or all of the solo horn passages may be played by two horn players if necessary to achieve a fuller, more confident horn sound (all solo horn passages are cued in the second horn part); 2. If the horn soloist lacks a confident, unstrained high B-flat, the player may play the ossia in measures 30-31, and 119-120, while a solo trumpeter plays the ossia cues in measures 29-32 and 118-121; 3. If and only if one of the above alternatives does not yield a satisfactory solution, any or all of the solo horn cues may be played by the first alto saxophonist.

Section-by-section notes… INT RODU C TORY MATERI AL ( m m . 1 -2 5 )

The opening “Prologue” provides contrast to the work’s lyrical main body. Bell sounds enter in a brief dialogue with the solo horn. A snap-rhythm becomes the focus of attention as more instruments enter into the exchange. But then the dialogue is suddenly halted, surrendering without warning to a more reflective and lyrical world. A three-chord progression appears out of nowhere in measures 10-11, blurred at first between the clarinets and saxophones. It is important that all three chords be heard equally. Observe also the echo effect between measures 10 and 12, measures 14 and 16, etc.

M AIN THEME — AAB C for m ( m m . 2 6 -6 0 )

As in the Prologue, the solo horn takes the main line, but now the feeling is more lush and lyrical. The


soloist’s sound should be confident and full. The ascent to the high Bb should be strong but never strained. The accompaniment should be shaped according to the dymanics indicated, but always under the horn solo. The woodwinds play a varied repeat of the melody beginning at measure 34, enhanced by wide expressive leaps in the first clarinet and flute (marked espr.). Be sure to bring out these leaps, perhaps even lingering on them a bit. A contrasting phrase, much more delicate and fragile, begins at measure 43. But the lush harmony and expressive horn melody return at measure 51, now slightly intensified (stated by two horns rather than just one). The tempo pushes subtly forward, but not to the point of destroying the lyrical flow.

M AIN THEME and C LI MAX (m m . 6 1 -9 7 )

The key center moves down a perfect fourth and the melody is strengthened further, now stated by all the horns and doubled at the octave in the oboes and clarinet. The music intensifies and ascends, and then cries out in a passionate outburst (measure 79). The music then descends into a powerful climax. The register opens up to its widest range from top to bottom. Massive, dark chords are answered by a flourish of 32nd-notes in the piccolo and flutes. (The clarinets may play the cues if more sound is needed in the flourishes.) One final push finishes the climax at measure 95, and from there the music recedes.

EP ISODE and TRANSI T I ON (9 8 -1 1 4 )

The episode serves as a kind of oasis, providing relief not only from the climax, but also from the main theme. Peaceful sustained chords accompany fluttery birdsongs played in succession by solo flute and clarinet. The soloists may take some rhythmic liberty here, but not to the point of hindering the forward flow. The three-chord progressions return, once again without warning, bringing the listener back to the world of the main theme and its harmony.

FINAL STATEMENT and CODA ( 1 1 5 -1 4 8 )

The horn solo returns exactly as before, but the section is shortened. The three-chord harmony is passed around the ensemble as the music draws closer to its conclusion. A final modulation marks the coda, along with a final reminder of the opening bells.

FRANK TICHELI


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

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Gg


commissioned by the Michigan School Band and Orchestra Association in honor of H. Robert Reynolds for his contributions to music in the State of Michigan

Prologue ( = c. 66)

SANCTUARY FOR CONCERT BAND 2

FRANK TICHELI

3

4

Piccolo

1 Flute 2

Oboe

1.

1.

1.

1.

1 2 1

B Clarinet 2

3

B Bass Clarinet

E Contrabass Clarinet

Bassoon

1 2 Solo Hn.

3

1 3

E Alto Saxophone 2

B Tenor Saxophone

E Baritone Saxophone

1 B Trumpet 2 3 1. Solo

3

1 2 F Horn

3

3 4 Harmon mute (stem in)

+

0

+

1 Trombone 2 3 Euphonium

Tuba

String Bass Timpani (also plays Large Triangle)

LARGE TRIANGLE

l.v.

l.v.

GLOCKENSPIEL

1 Percussion

VIBRAPHONE

2 8va

8va

Piano

Copyright © 2006 Manhattan Beach Music / All Rights Reserved — Printed and engraved in the United States of America ISBN 1-599139-006-8 (complete set) ISBN 1-59913-007-6 (conductor score)

Go to www.FrankTicheli.com for the latest information on The Music of Frank Ticheli Go to www.ManhattanBeachMusic.com & www.BestMusicSeries.com to hear composers, see videos, download soundfiles and purchase music


5

6

7

8

Picc.

1 Fl. 2 1. 1 Ob. 2

1

B Cl. 2

3

B Bass Cl.

E Cb. Cl. 1. Bsn.

1 2 3

3

3

3

3

3

1 3

E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2 3 (1.) 1 2 3

F Hn. 3 4

+

+

0

+

+

0

mute out

1 Tbn. 2 3 Solo Hn.

Euph. 3

3

3

Tuba

Str. Bass let ring only for notated duration

l.v. Timp. 3

1 Perc.

3

2 8va

Piano

8va

3

3

2

8va


9

10

rit.

= c. 66

11

12

13

Picc.

1 Fl. 2

Ob.

1 2 3

Solo 1

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2 3

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2 3 (1.)

3

1 2 F Hn. 3 4

1 Tbn. 2 3

Euph. 3

Tuba

Str. Bass

Timp.

1 Perc. 2 8va

Piano

3


14

15

16

18

17

Picc.

Solo 1 n

Fl. 2

Ob.

1.

1 2

Solo 1

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2 Play

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2 3 1 2 F Hn. 3 4

1 Tbn. 2 3

Euph.

Tuba

Str. Bass (Tri.)

l.v.

Timp. (Glock.)

1 Perc. (Vibes)

2 8va

8va

Piano

4


19

20

22

21

23

Picc. n 1 n

Fl. 2

Ob.

1.

1 2 3

1

(Solo)

3

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2 Play

Ob.1

1 E Alto Sax. 2 Bsn.1

Play

Bsn.2

Play

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2 3 1 2 F Hn. 3 4

1 Tbn. 2 3

Euph.

Tuba

Str. Bass l.v. Timp.

1 Perc. 2 8va

Piano

5

3


24

rit.

26

= c. 69

25

27

28

29

Picc.

1 Fl. 2

Ob.

1 2

Tutti 1

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2 Solo Hn.

nobly and expressively ten.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax. Solo Trumpet: Play only if Hn.1 plays ossia

1 B Tpt. 2 3 1. Solo nobly and expressively ten. 1 2 F Hn. 3 4

3. ten.

1 Tbn. 2 3

Solo

Bsn.1

Play

Euph. Bsn.2

Tuba pizz.

arco

Str. Bass

Timp.

1 Perc. 2

Piano

6


30

31

32

34

33

35

36

Picc.

1 espr.

Fl. 2 a2 Ob.

1 2

1 espr. B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2 Play

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2 3 (1.) 1 2

ossia

F Hn. (3.) 3 4

1 Tbn. 2 3 (end solo) Euph. Play (one player only) Tuba

Str. Bass

Timp.

1 Perc. 2

Piano

7


37

38

39

40

41

42

Picc.

1 n

Fl. 2

n

(a2) 1 Ob. 2

1 n B Cl. 2 n 3 n B Bass Cl. n E Cb. Cl. n 1 Bsn. 2 n 1 E Alto Sax. 2 n B Ten. Sax. n E Bari. Sax. n cup mute 1 B Tpt. 2 3 1 2 F Hn. 3 4

1 Tbn. 2 3

Euph.

Tuba

Str. Bass n Timp.

1 Perc. 2

Piano

8


43 44

45

46

47

48

Picc. delicate 1 delicate

Fl. 2

delicate 1. Ob.

1 2

delicate

1 delicate B Cl. 2 delicate 3 delicate B Bass Cl. delicate E Cb. Cl.

Bsn.

1 2 delicate

1 E Alto Sax. 2

B Ten. Sax. delicate E Bari. Sax. delicate 1 B Tpt.

sim.

2 3 1 2 F Hn. 3 4

1 Tbn. 2 3

Euph.

Tuba

Str. Bass (Tri.)

dampen

Timp. delicate (Glock.) let ring

dampen

1 Perc.

delicate (Vibes)

2 delicate

8va Glockenspiel, let ring

Piano

Play

loco delicate

delicate

9


49

51 poco più mosso

50

52

53

Picc.

1 Fl. 2 (1.) 1 Ob. 2

1

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2

1 E Alto Sax.

nobly

2

B Ten. Sax.

E Bari. Sax. mute out 1 B Tpt. 2 3 a2 1 2 F Hn.

nobly

3 4

1 Tbn. 2 3

Euph. one player only Tuba

Str. Bass dampen Timp. dampen

to Suspended Cymbal

1 Perc.

to Bass Drum

2

Piano

10

54


55

56

57

58

59

60

rit.

Picc.

1 Fl. 2 a2 Ob.

1 2 3

1 3

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2 3 (a2)

a2

3.

a2

1 2 F Hn. 3 4

1 Tbn. 2 3

Euph.

Tuba pizz.

arco

Str. Bass

Timp. SUSPENDED CYMBAL (yarn mallets)

1 Perc. 2

Piano

11


61

= c. 69

62

63

64

65

66

Picc.

1 Fl. 2 (a2)

1.

1 Ob. 2

1

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax. open 1 B Tpt. 2 3

2.

2.

(a2) 1 2 F Hn.

(a2)

3 4 open 1 Tbn. 2 3

Euph.

Tutti Tuba

Str. Bass

Timp. l.v. 1 Perc.

(gentle)

2

Piano

12


69

67

70

68

Picc.

1 Fl. 2 (1.) Ob.

1.

1 2

1

B Cl. 2

3

B Bass Cl.

E Cb. Cl. 1. Bsn.

1 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2 3 (a2) 1 2 F Hn.

(a2)

3 4

1 Tbn.

a2

2 3

Euph.

Tuba

Str. Bass (Tri.)

Timp.

1 Perc. 2

Piano

13

71

72


poco stringendo

73 74

75

rit.

76

Play

77

Fl.1

79 a tempo

78

Picc.

1 cresc. Fl. 2 cresc.

Ob.

1 2 cresc. poco a poco

1 cresc. poco a poco B Cl. 2 cresc. poco a poco 3 cresc. poco a poco B Bass Cl. cresc. poco a poco E Cb. Cl. a2 Bsn.

1 2 cresc. poco a poco

1 cresc. poco a poco

E Alto Sax. 2

cresc. poco a poco B Ten. Sax. cresc. poco a poco E Bari. Sax. cresc. poco a poco 1 cresc. poco a poco cresc. poco a poco 2.

B Tpt. 2 3

3.

a2

cresc.

1 2 cresc. poco a poco

F Hn. a2

a2

3 4 cresc. poco a poco 1 Tbn.

a2

a2

2 3

Euph.

Tuba

Str. Bass to Timpani

TIMPANI

Timp. (Sus. Cym.)

l.v.

to Tam-Tam

1 Perc.

cresc. poco a poco BASS DRUM

2

Piano

14


80

81

83

allargando

82

a tempo

84

85

Picc.

1 Fl. 2 a2 Ob.

1 2

1

B Cl. 2

3

B Bass Cl.

ossia: D 8va

E Cb. Cl.

Bsn.

1 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. a2 2 3 a2

cresc.

1 2 F Hn. 3 4

(a2)

1 Tbn. 2 3

(a2)

Euph. div. (if only one player available, play bottom notes) Tuba

Str. Bass

Timp. to Sus. Cym.

TAM-TAM

1 l.v.

Perc.

(B.D.)

2 l.v.

Piano l.v.

15


86

87

88

Picc. 5

1 Fl.

5

2 5

Ob.

1 2 Fls.

5

Fls.

5

1

B Cl. 2

3

B Bass Cl. ossia: D 8va

E Cb. Cl.

Bsn.

1 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. (a2) 2 3 (a2) 1 2 F Hn. 3 4

1 Tbn. 2 3

Euph.

Tuba

Str. Bass

Timp.

1 Perc.

(B.D.)

2 l.v.

8va

l.v. Piano

l.v.

16


91

89

90

92

Picc. 5

1 5

Fl. 2

5

Ob.

1 2 5

(Fls.)

1 5

(Fls.)

B Cl. 2

3

B Bass Cl.

unis. E Cb. Cl.

Bsn.

1 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt.

3

(a2)

2 3 (a2) 1 2 3

F Hn.

3

a2 3 4

1 Tbn. 2 3

Euph. unis. Tuba

Str. Bass

Timp. SUS. CYM. (yarn)

l.v.

to Tam-Tam

1 Perc.

molto

2 8va

Piano

17


rit.

93

a tempo

94

95

96

rit.

Picc.

1 Fl. 2

Ob.

1 2

1

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt.

(a2)

2 3 (a2) 1 2 F Hn.

(a2)

3 4

1 Tbn. 2 3

Euph.

Tuba

Str. Bass to Wind-machine effect*

Timp. to Sus. Cym.

TAM-TAM

1 l.v. Perc. (B.D.)

to Vibes

2 l.v.

Piano

18

97


98 = c. 56

99

100

101

Picc. ten.

Solo

3

1

3

Fl.

3

2

Ob.

1 2

1

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2 3 (a2) 1 2 F Hn.

(a2)

3 4

1 Tbn. 2 3

Euph.

Tuba

Str. Bass Wind-machine effect*

l.v.

to Tri.

Timp. *Timpanist places a large Cymbal on Timpani head and rolls Cymbal while raising and lowering pitch with foot pedal as notated to imitate a Wind-machine’s sound.

1 Perc. 2

Piano

19


102

104

103

Picc.

1 3

Fl. 2

Ob.

1 2

Solo 1 3

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2 Solo Cl.

1

3

E Alto Sax. 2 Bsn.1

B Ten. Sax. Bsn.2

E Bari. Sax.

1 B Tpt. 2 3 1 2 F Hn. 3 4

1 Tbn. 2 3

Euph. Cb.Cl.

Tuba

Str. Bass

Timp. SUS. CYM. (metal beater)

1 Perc. 2

Piano

20

scrape briskly l.v.

to Glock. and Sus. Cym. (metal beaters)


105

107

106

Pno.

= c. 66

Picc.

Pno.

1 Fl. Pno.

2 Pno.

Ob.

1 2 3

1 3

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2 3

1 3

E Alto Sax. 2 Play B Ten. Sax. Play E Bari. Sax.

1 B Tpt. 2 3 1 2 F Hn. 3 4

1 Tbn. 2 3

Euph.

Tuba

Str. Bass TRI.

to Timp.

Timp.

1 Perc. 2

Piano

21

108

109


115 110

111

112

113

rit.

= c. 69

114

Picc.

1 Fl. 2

Ob.

1 2 3

Tutti

1

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2 Solo Hn. ten. nobly and expressively

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2 3

Solo

1. ten. nobly and expressively 1 2 F Hn.

3. ten.

3 4

1 Tbn. 2 3 Bsn.1

Euph. Bsn.2

Tuba pizz.

arco

Str. Bass TIMP.

Timp.

1 Perc.

VIBES

2 8va

Piano

22

to Tri.


116

117

118

119

120

121

Picc.

1 Fl. 2

Ob.

1 2

1

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax. Solo Trumpet: Play only if Hn.1 plays ossia

1 B Tpt. 2 3 (1.) 1 2 F Hn.

ossia (3.)

3 4

1 Tbn. 2 3

Solo

(end solo)

Play Euph.

Play (one player only) Tuba

Str. Bass

Timp.

1 Perc. 2

Piano

23


123

122

124

125

Picc.

1 espr.

Fl.

Ob.2

2

Ob.

2.

1 2

1 espr. B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2 Play

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2 3 (1.) 1 2 F Hn. (3.) 3 4

1 Tbn. 2 3

Euph.

Tuba

Str. Bass

Timp.

1 Perc. 2

Piano

24

126

127


128

129

130

132

131

Picc.

1 Fl.

Play

2

Ob.

1.

1 2

1

B Cl. 2

3

B Bass Cl.

E Cb. Cl. 1. Bsn.

1 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2.

2 3

a2

a2 1 2 F Hn.

a2

3 4

1 Tbn. 2.

2 3

Tutti Euph.

Tuba

Str. Bass

Timp.

1 Perc. 2

Piano

25


133

134

135

136

137

138

Picc.

1 Fl. 2 1. Ob.

1.

1 2

1

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

1. Bsn.

1 2 Hn.1,2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax. one player to st. mute 1 B Tpt. (2.) 2 3 (a2) 1 2 F Hn.

a2

(a2)

a2

3 4

1 Tbn. a2 2 3

Euph.

Tutti Tuba pizz. Str. Bass

Timp.

1 Perc. 2

Piano

26


139

140

141

142

Picc.

1 Fl. 2

Ob.

1.

1 2

1.

1

B Cl. 2

3

B Bass Cl.

E Cb. Cl.

Bsn.

1 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1 B Tpt. 2 3 (a2) 1 2 F Hn. a2

a2

3 4

1 Tbn. 2 3

Euph.

Tuba

Str. Bass

Timp.

1 Perc. 2

Piano

27

143

molto rit.


144

rit. al fine

145

= c. 60

146

147

148

Picc.

1 Fl. 2

Ob.

1 2

1 n B Cl. 2 n 3 n div. (if only one player available, play bottom notes) B Bass Cl. n E Cb. Cl. n Bsn.

1 2

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax. st. mute, one player only 1 B Tpt. 2 3 1 2 F Hn. 3 4

1 Tbn. 2 3

Euph. div. (if only one player available, play bottom notes) Tuba

pizz.

arco

Str. Bass n TRI.

l.v.

l.v.

Timp. GLOCK.

l.v.

scrape Cym.

GLOCK.

1 Perc. (Vibes)

2 8va

Piano

28


.


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)

T AONL I BS E— A CP H BM OA B NMHAA RT G U BML U I SSHI CE R N EBI LO BR UMDADRYG— A TN I VEEI L DRI U RD EC O LCI RS E— DT YO R P U B L I S H ECR O S FAONUDN D CE ORFSO U N D E R S 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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