Simple Gifts: Four Shaker Songs for concert band by Frank Ticheli

Recording Credits for Simple Gifts: Four Shaker Songs: Performance by the University of Southern California Thornton Wind Ensemble, Frank Ticheli, guest conductor.

This virtual conductor score and recording are designated “private,� and any publication or distribution beyond the web sites of Manhattan Beach Music without its permission is prohibited.

SIMPLE GIFTS FOUR SHAKER SONGS 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

3 Trombone 1

4 Flute 1/Piccolo

2 Eb Alto Saxophone 2

3 Trombone 2

4 Flute 2

2 Bb Tenor Saxophone

3 Euphonium B.C.

2 Oboe

2 Eb Baritone Saxophone

2 Euphonium T.C.

4 Bb Clarinet 1

3 Bb Trumpet 1

4 Tuba

4 Bb Clarinet 2

3 Bb Trumpet 2

2 Timpani

4 Bb Clarinet 3

3 Bb Trumpet 3

2 Percussion 1

2 Bb Bass Clarinet

4 F Horn

2 Percussion 2 2 Percussion 3

2 Bassoon

PRINTED

ON

A RC H I VA L

PA P E R

Gg M A N H AT TA N B E A C H M U S I C 1595 East 46th Street Brooklyn, New York 11234 Fax: 718/338-1151 World Wide Web: http://www.manhattanbeachmusic.com E-mail: mbmband@aol.com Voicemail: 718/338-4137

.

F RA N K

T I C H ELI

WORKS FOR CONCERT BAND F R A N K T I C H ELI ’ S WO R K S F O R CO N C ERT BA N D A R E P U B LI S H ED EXC LU S I V ELY B Y M A N H AT TA N B E AC H M U S I C

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) Concerto for Clarinet and Wind Ensemble (21 minutes, grade 6) also available as Concerto for Clarinet (edition for Solo Bb Clarinet and Piano)

Earth Song (3 ½ minutes, grade 2) 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) 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) WWW .FRANKT ICH ELI .COM

THE OFFICIAL SOURCE FOR THE MUSIC OF FRANK TICHELI

T H E

S H A K E R S

The Shakers were a religious sect who splintered from a Quaker community in the mid-1700’s in Manchester, England. Known then derisively as “Shaking Quakers” because of the passionate shaking that would occur during their religious services, they were viewed as radicals, and their members were sometimes harassed and even imprisoned by the English. One of those imprisoned, Ann Lee, was named official leader of the church upon her release in 1772. Two years later, driven by her vision of a holy sanctuary in the New World, she led a small group of followers to the shores of America where they founded a colony in rural New York.

The Shakers were pacifists who kept a very low profile, and their membership increased only modestly during the decades following their arrival. At their peak in the 1830’s, there were some 6,000 members in nineteen communities interspersed between Maine and Kentucky. Soon after the Civil War their membership declined dramatically. Their practice of intense simplicity and celibacy accounts for much of their decline.

Today there is only one active Shaker community remaining, the Sabbathday Lake Shaker Village in New Gloucester, Maine. They maintain a Shaker Library, a Shaker Museum, and a website at www.shaker.lib.me.us.

The Shakers were known for their architecture, crafts, furniture, and perhaps most notably, their songs. Shaker songs were traditionally sung in unison without instrumental accompaniment. Singing and dancing were vital components of Shaker worship and everyday life. Over 8,000 songs in some 800 songbooks were created, most of them during the 1830’s to 1860’s in Shaker communities throughout New England.

T H E S I M P L E

C R E AT I O N

G I F T S :

F O U R

O F

S H A K E R

S O N G S

My work is built from four Shaker melodies — a sensuous nature song, a lively dance tune, a tender lullaby, and most famously, “Simple Gifts,” the hymn that celebrates the Shaker’s love of simplicity and humility. In setting these songs, I sought subtle ways to preserve their simple, straightforward beauty. Melodic freshness and

interest were achieved primarily through variations of harmony, of texture, and especially, of orchestration.

The first movement is a setting of “In Yonder Valley”, generally regarded to be the oldest surviving Shaker song with text. This simple hymn in praise of nature is attributed to Father James Whittaker (1751-87), a member of the small group of Shakers who emigrated to America in 1774. My setting enhances the image of spring by turning the first three notes of the tune into a birdcall motive.

The second movement, “Dance,” makes use of a tune from an 1830’s Shaker manuscript. Dancing was an important part of Shaker worship, and tunes such as this were often sung by a small group of singers while the rest of the congregation danced.

One interesting feature in my setting occurs near the end of the movement, when the brasses state the tune at one-quarter speed in counterpoint against the woodwinds who state it at normal speed.

The third movement is based on a Shaker lullaby, “Here Take This Lovely Flower,” found in Dorothy Berliner Commin’s extraordinary collection, Lullabies of the World. and in Daniel W. Patterson’s monumental collection, The Shaker Spiritual. This song is an example of the phenomenon of the gift song, music received from spirits by Shaker mediums while in trance (see pp. 316 ff. in Patterson, op cit., for a detailed account, and also Harold E. Cook’s Shaker Music: A Manifestation of American Folk Culture, pp. 52 ff.). Although the Shakers practiced celibacy, there were many children in their communities, including the children of recent converts as well as orphans whom they took in. Like many Shaker songs, this lullaby embodies the Shakers’ ideal of childlike simplicity.

The finale is a setting of the Shakers’ most famous song, “Simple Gifts,” sometimes attributed to Elder Joseph Bracket (1797-1882) of the Alfred, Maine community, and also said (in Lebanon, New York, manuscript) as having been received from a Negro spirit at Canterbury, New Hampshire, making “Simple Gifts” possibly a visionary gift song. It has been used in hundreds of settings, most notably by Aaron Copland in the brilliant set of variations which conclude his Appalachian Spring. Without ever quoting him, my setting begins at Copland’s doorstep, and quickly departs. Throughout its little journey, the tune is never abandoned, rarely altered, always exalted.

F O R M

I 1–31

1st statement (light texture)

32–55

2nd statement (fuller texture)

56–64

final statement (return of lighter texture) II

1–32

1st statement

33–48

2nd statement

49–64

tune stated at normal speed against itself at quarter speed

65–72

tune stated at normal speed against itself at half speed

73–84

final statement: Coda III

1–16

1st statement

17–34

2nd statement: two-part canon

35–52

final statement IV

1–4

introduction

5–23

1st statement

24–44

2nd statement followed by modulating link

45–60

3rd statement: slow chorale

61–78

4th statement: return to fast tempo

79–102

final statement: climax

103–107 Coda Composer Note: These movements, especially movement IV, may be played separately, or in a different order. For example, as a three-movement suite, play movments I, III, IV; or II, I, IV; or II, III, IV; etc. — or as a two-movement suite, play movements III, IV; or I, IV; etc.

P E R F O R M A N C E

N O T E S

I — In Yonder Valley Strive to keep the music light, but alive and flowing. Bring out the bird-call motive which occurs throughout the movement (e.g., flute 1, measure 1, the accented eighth-note to the half note). The triangle and glockenspiel parts add a light, crystalline quality to the texture. Their presence, combined with the generally light textures and avoidance of the lower register, reinforces the image of a bright spring morning.

II — Dance The notes marked staccato may be played shorter than normal, and very lightly.

This will give greater contrast to the accented notes, which are notated almost exclusively on the second half-note of the bar, giving the dance a somewhat offbeat feeling. At measure 49, the second and third trumpets, accompanied by the low brasses and woodwinds, state the dance melody at quarter speed against the first trumpets and upper woodwinds, who state the tune at normal speed. Make sure the second and third trumpets bring their part out.

III — Here Take this Lovely Flower Begin the movement with a full, connected, rich sound, giving way to a sweeter, gentler sound at measure 9. In the canon of measures 17 to 24, the flutes and oboe should be in equal balance with the imitating clarinets.

IV — Simple Gifts From measures 5 to 40, and again from measures 61 to 102, strive to maintain an optimistic, percussive, dance-like quality, and keep the notes light, but always energized. The tempo should not lag. Notes marked with accents and fp markings should ring like bright bells. In the chorale statement (measures 45-60) strive for richness and warmth. Beginning in measure 61, the energy builds, culminating in the climax at measure 99. The energy recedes in a final, nostalgic glimmer. The closing ritardando could be interpreted as a “molto ritardando,” and if so, the conductor may choose to shift to a four-beat pattern somewhere during the final five bars.

FRANK TICHELI

.

S

I N

O

N

G

Y O N D E R

T

E

X

T

S

V A L L E Y

In yonder valley there flows sweet union; Let us arise and drink our fill.

The winter’s past and the spring appears; The turtle dove is in our land.

In yonder valley there flows sweet union; Let us arise, and drink our fill.

D A N C E

Virgins cloth’d in a clean white garment, How they move in a band of love, Comforts flow in a mighty current, We shall drink at the fountains above.

Yea, we will rejoice with freedom, In this straight little narrow way, Here is the fold and the lambs all feeding, On this green we’ll skip and play.

H E R E

TA K E

T H I S

L O V E LY

F L O W E R

Here take this lovely flower Thy mother sent to thee, Cull’d from her lovely bower Of sweet simplicity.

O place it near thy bosom And keep it pure and bright, For in such lovely flowers The angels take delight.

S I M P L E

G I F T S

‘Tis the gift to be simple, ‘tis the gift to be free; ‘Tis the gift to come down where we ought to be; And when we find ourselves in the place just right, ‘Twill be in the valley of love and delight.

When true simplicity is gained, To bow and to bend we shan’t be ashamed To turn, turn will be our delight, ‘Til by turning, turning we come round right.

.

Commissioned by the Tapp Middle School Band, Powder Springs, Georgia, Erin Cole, conductor

SIMPLE GIFTS FOUR SHAKER SONGS FOR CONCERT BAND = c. 76 Solo

FRANK TICHELI

I. In Yonder Valley 2

3

4

5

1 Flute

(One player doubles on Piccolo in Movements II. and IV.) 2

Oboe

Solo 1

B Clarinet 2

3

B Bass Clarinet

Bassoon

1 E Alto Saxophone 2

B Tenor Saxophone

E Baritone Saxophone

1

B Trumpet 2

3

F Horn

1 Trombone 2

Euphonium

Tuba Tunings Timpani

1 TRIANGLE Percussion 2

3 Copyright ©2002 Manhattan Beach Music 1595 East 46th Street — Brooklyn, NY 11234 All Rights Reserved. Printed and Engraved in the U.S.A. ISBN 0-931329-71-X (complete set) ISBN 0-931329-72-8 (conductor score)

To hear a complete recording of this composition online, or to purchase a copy of the score, visit www.ManhattanBeachMusic.com

8 6

7

Tutti

9

1 Fl. 2

Ob.

Tutti 1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

GLOCKENSPIEL 1

Perc. 2

3

2

10

11

12

13

15

14

(Ob., Bsn., Ten. Sx., Hn. play 2nd time only) 16

17

1 3

Fl. 2

3

(2nd time only) Ob. 3

1

B Cl. 2

3

B Bass Cl. (2nd time only) Bsn.

1 E Alto Sax. 2 (2nd time only) B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3 (2nd time only) F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1

Perc. 2

3

3

18

22 19

20

21

(no breath)

23

1 Fl.

(no breath)

2 (no breath) Ob. (no breath) 1 (no breath) B Cl. 2 (no breath) 3

B Bass Cl. (no breath) Bsn. (no breath) 1 E Alto Sax. 2 (no breath) B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3 (no breath) F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

(GLOCK.) 1 (TRI.) Perc. 2 SUSPENDED CYMBAL (yarn) 3

4

l.v.

24

25

26

27

1 28

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax. 1 1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba 1 Timp.

1

Perc. 2

3

5

29

30

2

31

32

33

34

35

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax. 2 1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba 2 Timp.

1 (to Small Tom-Tom) Perc. 2 (SUS. CYM.) 3

6

36

37

38

39

40

41

1 3

Fl. 2

3

Ob. 3

1 3

B Cl. 2 3 3

3

B Bass Cl.

Bsn.

1 3

E Alto Sax. 2 3

B Ten. Sax. 3

E Bari. Sax.

1

B Tpt. 2

3 3

F Hrn.

1 3

Tbn. 2

Euph. div.

Tuba

Timp.

(GLOCK.) 1 SMALL TOM-TOM Perc. 2 (SUS. CYM.)

l.v.

3

7

l.v.

42

poco rit.

43

44

45

46

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph. unis.

Tuba

Timp.

1

Perc. 2 (SUS. CYM.)

l.v.

3

8

47

48

a tempo 49

51

50

52

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

l.v.

Timp.

1 (TRI.) Perc. 2 l.v.

(SUS. CYM.)

3

9

l.v.

56 53

54

55

57

1 Fl. 2

Ob. (Alto Sx.) 1

B Cl. 2

3

B Bass Cl.

Bsn. dim.

Solo 1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph. dim.

Tuba

l.v.

Timp.

1

Perc. 2

3

10

58

59

60

61 rit. al fine

62

1 Fl. 2

Ob. Play 1

B Cl. 2

3

B Bass Cl.

Bsn.

Tutti 1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1 (TRI.) Perc. 2 (SUS. CYM.) 3

11

63

64

II. Dance = c. 108

2

3

4

1 Fl.

Note: One player doubles on Piccolo from measure 65 to the end of the movement.

2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax.

(Alto Sx. 1)

2

B Ten. Sax.

E Bari. Sax.

(Alto Sx. 1) 1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba Tunings Timp.

1

Perc. 2

3

12

5

6

7

9

8

10

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax.

Play

2

B Ten. Sax.

E Bari. Sax.

Play 1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

XYLOPHONE 1 SNARE DRUM Perc. 2 lightly 3

13

11

12

13

14

15

16

17

18

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp. (to Glockenspiel) 1 (to Small Tom-Tom) Perc. 2

3

14

19

20

21

22

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1

Perc. 2

3

15

23

24

25 26

27

28

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph. div.

unis.

Tuba

Timp.

GLOCKENSPIEL 1 SMALL TOM-TOM (muffled) Perc. 2

3

16

29

30

31

33

32

34

1 Fl. 2 div.

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1 (to Triangle)

TRIANGLE

Perc. 2

3

17

35

36

37

38

39

41

40

42

1 Fl. 2 unis.

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp. (to Xylo.)

XYLO.

1 (to S.D.)

S.D.

Perc. 2 SUS. CYM. 3

18

43

44

45

46

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1

Perc. 2

3

19

47

48

49

50

51

52

53

div.

unis.

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1

Perc. 2 l.v.

3

20

54

55

56

57

58

59

60

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax. div.

unis.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph. div.

Tuba

Timp.

1

Perc. 2

3

21

65 + Picc.

61

62

63

64

66

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

div.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph. unis.

div.

Tuba

Timp.

1

Perc. 2 l.v.

(SUS. CYM.) 3

22

67

68

69

70

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

unis.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1

Perc. 2

3

23

71

72

73

74

75

76

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph. unis.

Tuba

Timp.

1

Perc. 2 (SUS. CYM.) 3

24

77

78

79

80

81

82

83

84

− Picc.

1 cresc.

Fl. 2

cresc.

Ob. cresc.

1 cresc.

B Cl. 2 cresc.

3 cresc.

B Bass Cl. cresc.

Bsn. cresc.

1 cresc.

E Alto Sax. 2

cresc.

B Ten. Sax. cresc.

E Bari. Sax. cresc.

1 cresc.

B Tpt. 2 cresc.

3 cresc.

F Hrn. cresc.

1 cresc.

Tbn. 2

cresc.

Euph. cresc. unis.

div.

Tuba cresc.

Timp.

dampen 1 cresc.

Perc. 2 cresc.

B.D. Solo

(to Bass Drum) 3

dampen

25

III. Here Take This Lovely Flower Molto legato e cantabile ( 1

= c. 56) 2

3

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

div.

(if only one Bsn. is available, play bottom line)

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph. div.

unis.

Tuba

Timp.

1

Perc. 2

3

26

4

5

6

7

9

8

1 Fl. 2

Ob. dolce 1 poco dolce B Cl. 2 poco

dolce

3 poco B Bass Cl.

poco Bsn. poco (Cl. 1) 1 E Alto Sax.

dolce

poco

2

B Ten. Sax. poco E Bari. Sax. poco 1

B Tpt. 2

3

F Hrn. poco 1 Tbn. 2 one player only Euph. poco div.

dolce unis.

div.

Tuba poco Timp.

1

Perc. 2

3

27

10

11

17 12

13

14

15

16

(Canon)

1 Fl.

(Fl. 1)

2 one player only Ob.

1

B Cl. 2

3

B Bass Cl.

(div.)

Bsn. Play 1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Tutti Euph. unis.

div.

unis.

Tuba

Timp.

VIBRAPHONE (soft yarn) 1 (in the background) Perc. 2

3

28

18

19

20

21

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2 (Hn.) B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1

Perc. 2

3

29

22

23

25

24

27

26

28

29

1 Fl. 2 one player only Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

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

E Bari. Sax.

Straight mute

mute out

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1 TRIANGLE

(to Suspended Cymbal)

Perc. 2

3

30

30

31

32

33

35

34

1 Fl.

Play

2

Tutti Ob.

1

B Cl. 2

3

B Bass Cl.

unis.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax. open 1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1 SUS. CYM. (yarn)

l.v.

Perc. 2

3

31

36

37

38

39

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph. div.

Tuba

Timp.

1

Perc. 2

3

32

40

41

43

44

42

45

46

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph. div.

unis.

Tuba

Timp.

1 (SUS. CYM.)

l.v.

Perc. 2

3

33

rit. al fine 48

47

49 50

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph. unis.

Tuba

Timp.

1

Perc. 2

3

34

51

52

IV. Simple Gifts = 76-80 1

2

3

4

5

1 Fl.

One player switches to Piccolo for this movement.

2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

(Solo or tutti, at conductor’s discretion) Straight mute 1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba Tunings Timp.

1

Perc. 2

3

35

6

7

rit.

8

9

10

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1

Perc. 2

3

36

a tempo 11

12

13

Flutes only 14

15

16

17

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

(Solo or tutti, at conductor’s discretion) 1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

GLOCKENSPIEL

(to Chimes)

1 TRIANGLE l.v.

Perc. 2

3

37

18

19

20

21

22

23

(Flutes only)

24

1 Fl. 2 one player only

Tutti

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

mute out 1

B Tpt. 2

3 one player only F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1

Perc. 2

3

38

Tutti

25

26

27

28

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1

Perc. 2

3

39

rit.

29

a tempo

32 + Picc.

30

33

31

34

35

1 Fl. 2 div.

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

Tutti

open 1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

CHIMES 1 l.v.

(TRI.)

l.v.

Perc. 2

3

40

sim.

sim.

36

37

38

39

40 − Picc.

rit.

41

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp. (to Xylo.)

1

Perc. 2

3

41

42

43

45

44

Chorale ( = 76-80)

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

div.

Bsn.

Soli (opt. solo) 1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax. (Alto Sx.) 1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1

Perc. 2

3

42

46

47

48

53 49

50

51

52

1 Fl. 2

Ob.

1

B Cl. 2 dim.

3 dim.

B Bass Cl. dim.

Bsn. dim.

1 dim.

E Alto Sax. 2

B Ten. Sax. dim.

E Bari. Sax.

1 dim.

B Tpt. 2

3

F Hrn. dim.

1 dim.

Tbn. 2

dim.

Euph. dim.

Tuba dim.

Timp.

1 (TRI.) Perc. 2

3

43

54

55

56

57

1 Fl. 2

Solo Ob.

1

B Cl. 2

3

B Bass Cl.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax. Play 1 (Ob.) (straight mute)

(mute out)

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1

Perc. 2

3

44

58

59

61 60

rit.

Tempo I ( = 76-80)62

63

1 legato

Fl. 2

legato

Tutti Ob. legato 1 legato B Cl. 2 legato 3 legato B Bass Cl. legato unis.

Bsn. legato

1 legato

E Alto Sax. 2

legato B Ten. Sax. legato E Bari. Sax. legato 1

B Tpt. 2

3 div.

unis.

F Hrn. legato 1 Tbn. 2

Euph. legato Tuba

Timp.

1 (TRI.) Perc. 2

3

45

64

65

71

66

67

68

69

70

Fl. 1: one player may play an octave higher through m.74 + Picc.

1 marcato

Fl. 2

marcato Ob. marcato 1 marcato B Cl. 2 marcato 3 marcato B Bass Cl.

Bsn.

1 marcato

E Alto Sax. 2

marcato B Ten. Sax.

E Bari. Sax.

1 marcato B Tpt. 2 marcato 3 marcato F Hrn. marcato 1 marcato

Tbn. 2

marcato Euph.

Tuba

Timp.

XYLOPHONE (hard) 1 marcato Perc. 2 SUSPENDED CYMBAL (stick) 3

46

72

73

74

− Picc.

76

75

1 legato

Fl. 2

legato Ob. legato 1 legato B Cl. 2 legato 3 legato B Bass Cl. legato Bsn. legato

1 legato

E Alto Sax. 2

legato B Ten. Sax. legato E Bari. Sax. legato 1 legato B Tpt. 2 legato 3 legato F Hrn. legato 1 Tbn. 2

Euph. legato Tuba

Timp.

1

Perc. 2 (to B.D.) 3

47

77

79

78

80

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

div.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1 (to Crash Cym.) Perc. 2

3

48

81

82

83

84

85

86

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

div.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

1

B Tpt. 2

3 div.

unis.

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1

Perc. 2

3

49

87

88

90 + Picc. to end

89

91

92

93

94

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl. unis.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax. div.

1

B Tpt. 2

3

F Hrn.

1 Tbn. 2

Euph. div.

Tuba

Timp. molto (XYLO.) 1 CRASH CYMBALS Perc. 2 BASS DRUM

(to Sus. Cym.)

(SUS. CYM.)

3 molto

50

99

molto rit.

95

96

97

a tempo

98

100

1 Fl. 2

Ob.

1

B Cl. 2

3

B Bass Cl.

div.

Bsn.

1 E Alto Sax. 2

B Ten. Sax.

E Bari. Sax.

unis.

1

B Tpt. 2

3 div.

unis.

F Hrn.

1 Tbn. 2

Euph.

Tuba

Timp.

1 (CR. CYM.) Perc. 2 l.v.

(to B.D.)

B.D.

3

51

101

rit. al fine 102

103

104

105

1 Fl. 2

Ob.

1

B Cl. 2

3

div.

B Bass Cl.

unis.

Bsn.

1 E Alto Sax. 2 (Hn.) B Ten. Sax. (Euph.)

E Bari. Sax.

1

B Tpt. 2

3 one player only F Hrn.

1 Tbn. 2 one player only Euph. one player only

unis.

Tuba

Timp.

1

Perc. 2

3

52

106

107

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PRESERVING OUR MUSIC IT IS IMPORTANT TO PRESERVE OUR MUSICAL HERITAGE FOR FUTURE GENERATIONS

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, P.O. Box 1056, Bethesda, MD 20827.

This paper meets the requirements of ANSI/NISO Z39.48-1992 (Permanence of Paper)

∞

PUBLISHER: BOB MARGOLIS C R E AT I V E D I R E C T O R : N E I L R U D D Y C O V E R I L L U S T R AT O R : R O B E R T B E N N E T T PRINTING: CHERNAY PRINTING, INC.

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