J oy (mostly!) Third Prize Winner — The Frank Ticheli Composition Contest
�ica� Lev� C o n c
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Manhattan Beach M�sic
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Recording Credits for Tidal Forces: Performance by Northern Arizona University Wind Symphony, Daniel Schmidt, conductor.
JOY
( MOS T LY! ) F O R
C O N C E R T
B A N D
MICAH LEV Y I N S T R U M E N T A T I O N 1 Full Score
1 Bassoon 1
2 Trombone 1
1 Piccolo
1 Bassoon 2
2 Trombone 2
4 Flute 1
2 Eb Alto Saxophone 1
2 Bass Trombone
4 Flute 2
2 Eb Alto Saxophone 2
3 Euphonium B.C.
1 Oboe 1
1 Bb Tenor Saxophone
2 Euphonium T.C.
1 Oboe 2
1 Eb Baritone Saxophone
1 Eb Clarinet
4 Bb Trumpet 1
4 Bb Clarinet 1
4 Bb Trumpet 2
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 Contra Alto Clarinet
1 F Horn 4
4 Tuba 1 Timpani 1 Glockenspiel 1 Xylophone 2 Cymbals Sizzle Cymbals, Crash Cymbals
1 Bass Drum
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
.
J O Y ( M O S T L Y ! ) is the T H I R D P R I Z E W I N N E R ( T I E ) 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
F R O M
O
T H E
C O M P O S E R
ne of the great joys in life is a good friend. I could not ask for a more supportive, steady friend, colleague and mentor than Gary Scudder. We met during high school when we played with the CSUF wind ensemble. We became the best of friends, and remained friends throughout college. After graduating, we went in different directions and rarely saw each other. Eventually, we lost touch altogether. Luckily
for me, one day I tracked him down. He had made his life in Bakersfield, California, where he was doing what he loves best — teaching music, in this case to the members of a middle school band. The last he knew, I had been conducting a professional orchestra. But by the time I renewed my friendship with Gary, I had discovered the pleasures of writing music and was pursuing composition with vigor. Yet, despite having played band music for many years, I had never written any. Gary encouraged me to try my hand at it, and the result was Joy (Mostly!). Composers often create musical fragments — little musical ideas — that they save. Some are later selected to be developed into complete compositions. I have a large collection of musical fragments that I have written and filed away. For a long time I had thought that one particular fragment might be a good seed for a wind piece. I took that fragment and created this work around it, developing the theme and adding others to it. The outer sections are exuberant while the inner section is a bit wistful (deliberately so). I named the piece Joy (Mostly!) to accurately reflect its affects. Though on a casual examination it might appear that the main ingredients of the piece are chord progressions and displaced accents, there is in fact a melody. Since the melody is not obvious I attempted to bring it into relief by marking different dynamics for whichever instrument or instruments play it at any particular time. As an example, in the first complete bar, the melody is played by trumpet 1. They are marked forte whereas all other instruments are marked mezzoforte. Please keep in mind that (as we all know) dynamics are not exact. The melody in the outer sections should not tower above the rest of the instruments, but merely be a little more audible. In the more lyrical middle section of the work, naturally, those instruments with the melody should be more present — singing. Make sure that the mezzo-forte is good and strong. It's up to you, the conductor, to find the right volume for the work in your particular performance space. You will see many meter changes. In those areas where the players have 5/8 or 7/8, etc., some players have what appear to be straight eighth notes. On the first note of each group there should be a slight, and I mean VERY slight emphasis. I deliberately did not notate accents in these places (with a few exceptions) because I did not want heavy accents. Seven eighth notes grouped as 2 + 2 + 3 is exciting to the ear. Seven eighth notes played all the same is not. Again, be careful that metric accents do not become huge. They should be subtle. Please note that the tempi I have indicated are precise. For example, the beginning is 144, then 112 and so on. I have not indiciated any wiggle room. These tempi should be followed exactly. Preceding the middle section of the work I have written a sort of terraced decelerando: bar 74 is marked quarter = 108; bar 78, quarter = 104; bar 82, quarter = 100; bar 87, quarter = 96. The piece ritards in bars 96 and 97 all the way down to 50. Then, it accelerates in one bar up to quarter = 104. Subsequently, the rest of the acceleration back to the original tempo is done in a terraced manner: bar 99, quarter = 104; bar 105, quarter = 112; bar 110, quarter = 120; bar 115, quarter = 132; bar 119, quarter = 140; bar 123, quarter = 144. I find that it is more dramatic to have sudden increases in tempo in these sections with terraced decelerando and accelerando. Take care to observe the terraced manner of decreasing or increasing tempo here. Please do not revert to the more usual graduated decelerando or accelerando. Have fun (mostly!) MICAH LEVY
JOY (MOSTLY!) FOR CONCERT BAND
= 144 1
2
3
4
MICAH LEVY 5
6
7
Piccolo
Flutes
1 2
Oboes
1 2
E Clarinet
1
B Clarinets
2
3
*B Bass Clarinet a2 Bassoons
1 2
E Alto Saxophones
1 2
B Tenor Saxophone E Baritone Saxophone
1 B Trumpets 2 Hn. 3.4. 1 2 F Horns 3 4
a2 Trombones
1 2 unis. (Note: Euph. always higher notes or stems-up notes, Bs. Trb. lower or stems down.)
Euphonium Bass Trombone
Tuba
hard mallets Timpani hard mallets Glockenspiel
Xylophone
Cymbals Bass Drum should be played dry, with soft beater—dampen—no ring. Bass Drum
* An E Contra Alto Clarinet part is provided that exactly doubles the B Bass Clarinet and always plays the lower note of the Bass Clarinet’s divisi. This part is especially useful if the Bass Clarinet lacks the low E and low D. Copyright © 2011 Manhattan Beach Music — All Rights Reserved — Printed and Engraved in the U.S.A. ISBN 1-59913-122-6 (complete set) ISBN 1-59913-123-4 (conductor’s score) Purchase music, download free MP3s, view scores, and more at www.ManhattanBeachMusic.com
9
13
8
10
11
12
14
Picc.
Fls.
1 2 (Fl. 2
Obs.
1 2 (Ob. 2
E Cl.
1
B Cls.
2
3
B Bass Cl.
Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 Hns. 3.4. 1 2 F Hns.
Hns. 1.2. 3 4 (Hn. 4
a2 Tbns.
)
1 2
Euph. & Bass Tbn.
Tuba
Timp.
Glock. hard rubber mallets Xylo.
Cyms. B.D.
2
)
a2
)
← 15
16
→ sempre
17
18
19
20
21
22
23
Picc.
Fls.
1 2
Obs.
1 2
E Cl.
1
B Cls.
2
3
B Bass Cl. a2
Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
mute
1 B Tpts. 2
1 2 (Hn. 2 ) Hn. 1 & 2
F Hns. 3 4
Tbns.
1 2 unis.
Euph. & Bass Tbn. Bs. Trb.
Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
3
24
25
26
27
28
29
Picc.
Fls.
1 2
Obs.
1 2
E Cl.
1
B Cls.
2
3
B Bass Cl.
Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
unis.
mute out 1 B Tpts.
(no mute)
mute
2
1 2 F Hns. 3 4 a2 Tbns.
1 2
Euph. & Bass Tbn. Bs. Trb. Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
4
30
31
32
33
34
35
Picc.
Fls.
1 2
Obs.
1 2
a2
E Cl. unis. 1 unis. B Cls.
2
3
B Bass Cl.
a2 Bsns.
1 2
E Alto Sax.
1 2
a2
B Tenor Sax.
E Bar. Sax.
1 B Tpts.
unis.
mute out 2
a2 1 2 F Hns. 3 4 a2 Tbns.
a2
1 2 unis.
unis.
Euph. & Bass Tbn. Bs. Trb. Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
5
36
37
38
39
40
41
42
43
44
Picc. a2 Fls.
1 2
Obs.
1 2
E Cl.
1
B Cls.
2
3
B Bass Cl.
a2 Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts.
unis. 2
a2
Hns. 3.4.
1 2 F Hns. Hns. 1.2.
3 4
Tbns.
1 2
Euph. & Bass Tbn.
Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
6
45
46
47
48
49
50
51
52
53
54
Picc.
Fls.
1 2
Obs.
1 2
E Cl.
1
B Cls.
2
3
B Bass Cl.
a2 Bsns.
1 2
E Alto Sax.
1 2
a2
B Tenor Sax.
E Bar. Sax.
1 B Tpts.
unis. 2 Hns. 3.4. 1 2
F Hns.
Hns. 1.2. 3 4 a2
Tbns.
1 2 Euph. upper notes, Bs. Trb. lower notes
unis.
Euph. & Bass Tbn.
Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
7
unis.
unis.
unis.
55
59 56
57
60
58
61
62
Picc.
Fls.
1 2
Obs.
1 2
E Cl.
1
B Cls.
2
3
B Bass Cl. a2 Bsns.
1 2
E Alto Sax.
1 2
a2
B Tenor Sax.
E Bar. Sax.
1 B Tpts.
unis. 2 a2 1 2
F Hns.
a2 3 4 a2
Tbns.
a2
1 2 unis.
Euph. & Bass Tbn. Bs. Trb. Tuba
Timp.
Glock.
Xylo. Crash Cym. Cyms.
B.D.
8
unis.
63
68 Slower
67 64
65
66
= 112 69
70
71
Picc.
Fls.
1 2
Obs.
1 2
E Cl.
1
B Cls.
2
3
B Bass Cl.
Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2
1 2 F Hns. 3 4 a2 Tbns.
1 2
Euph. & Bass Tbn.
Tuba
Timp.
Glock.
Xylo. Sizzle Cym. soft mallets Cyms. B.D.
9
72
73 Slower
77 Slower
76
= 108
75
74
= 104 78
79
80
Picc. a2 Fls.
1 2
Obs.
1 2
a2
E Cl.
1
B Cls.
2
3
B Bass Cl. a2 Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts.
unis. 2
Hns. 3.4.
(cued in 2.)
1 2 F Hns.
Hns. 1.2.
Hn. 1
3 4
Tbns.
1 2
Euph. & Bass Tbn.
Tuba
soft mallets Timp.
Glock.
Xylo. Crash Cym.
Sizzle Cym.
Crash Cym.
Cyms.
B.D.
10
Sizzle Cym.
81 Slower
= 100
82
83
84
85
86 Slower
= 96 87
88
Picc.
Fls.
1 2
Obs.
1 2
E Cl.
1
B Cls.
2
3
B Bass Cl.
Bsns.
1 2
E Alto Sax.
1 2
a2
B Tenor Sax.
E Bar. Sax.
solo 1 B Tpts. 2
a2 1 2 F Hns.
a2 3 4
a2 Tbns.
1 2
Euph. & Bass Tbn.
Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
11
a2
rit.
90 89
91
92
93
94
95
96
Picc.
Fls.
1 2
Obs.
1 2
a2
E Cl.
1
B Cls.
2
3
B Bass Cl. a2 Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
tutti 1 B Tpts. 2 a2 1 2 F Hns. a2 3 4 a2 Tbns.
a2
1 2
Euph. & Bass Tbn.
Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
12
97
= 50 accel.
104 Faster
= 104 98
99
100
101
102
103
= 112 105
106
107
108
Picc.
Fls.
1 2
Obs.
1 2
3
3
E Cl.
unis.
3
unis.
3
1
B Cls.
2
3
3
3
B Bass Cl.
3
Bsns.
a2
1 2 3
E Alto Sax.
1 2 3 3
B Tenor Sax. 3
E Bar. Sax.
3
1 B Tpts.
unis.
3
2 a2
1 2 3
F Hns. 3
3 4
a2 Tbns.
a2
3
a2
1 2 3
Euph. & Bass Tbn. 3
Tuba
Timp.
Glock.
Xylo.
Cyms. 3
B.D.
13
a2
a2
109 Faster
= 120
114 Faster 110
111
112
= 132 115
113
116
117
Picc.
Fls.
1 2
Obs.
1 2
E Cl.
1
B Cls.
2
3
B Bass Cl.
Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2
1 2 F Hns. 3 4 a2 Tbns.
a2
a2
1 2 Euph. (higher notes)
Euph. & Bass Tbn. Bass Tbn. (lower notes) Tuba
hard mallets Timp.
Glock.
Xylo.
Cyms. B.D.
14
122 Faster 118 Faster
= 140
119
120
= 144
121 123
Picc.
Fls.
Obs.
1 2
3
3
3
3
3
3
1 2
E Cl. 3
3
1 3
B Cls.
3
2 3
3
3 3
3
3
3
B Bass Cl.
3
Bsns.
1 2
E Alto Sax.
1 2
3
3
3
B Tenor Sax.
3
E Bar. Sax. 3
3
3
3
1 B Tpts. 2 3
3
(loco)
1 2 opt. 8ba
3
3
F Hns. 3
3 4 3
a2
Tbns.
1 2
3
3
unis.
Euph. & Bass Tbn. 3
3 3
Tuba
3
Timp.
Glock.
Xylo. Cyms. 3
B.D.
15
124
125
130
126 127
128
129
131
Picc.
Fls.
1 2 (Flute 2
Obs.
)
1 2 (Oboe 2
E Cl.
1
B Cls.
2
3
B Bass Cl.
Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2
Hns. 3&4 1 2 F Hns.
Hns. 1&2 3 4
Tbns.
1 2
Euph. & Bass Tbn.
Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
16
)
134 132
133
135
136
137
Picc.
Fls.
Obs.
1 2
1
2
3
B Bass Cl.
Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 Hn. 3.4.
1 2 F Hns.
(Hn. 2
)
(Hn. 4
)
3 4 a2
a2 Tbns.
)
(Ob. 2
)
1 2
E Cl.
B Cls.
(Fl. 2
1 2
Euph. & Bass Tbn.
Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
17
138
139
140
141
142
143
144
145
Picc.
Fls.
1 2
Obs.
1 2
E Cl.
1
B Cls.
2
3
B Bass Cl. a2 Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
mute 1 B Tpts.
mute 2
1 2 (Hn. 2 ) Hn. 1 & 2
F Hns.
3 4 (Hn. 2
Tbns.
)
1 2 unis.
Euph. & Bass Tbn.
Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
18
146
147
151 148
149
150
152
Picc.
Fls.
1 2
Obs.
1 2
E Cl. unis. 1 unis. B Cls.
2
3
B Bass Cl.
Bsns.
1 2
E Alto Sax.
1 2
a2
B Tenor Sax.
E Bar. Sax.
mute out 1 B Tpts.
mute out 2
1 2 F Hns. 3 4 a2 Tbns.
1 2 unis.
Euph. & Bass Tbn.
Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
19
153
154
156
155
157
158
Picc. a2 Fls.
1 2
Obs.
1 2
a2
E Cl.
1
B Cls.
2
3
B Bass Cl. a2 Bsns.
1 2
E Alto Sax.
1 2
a2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2
1 2 F Hns. 3 4 a2
a2 Tbns.
1 2 unis.
Euph. & Bass Tbn.
Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
20
159
164 160
161
162
163
165
166
167
Picc. a2
Fls.
1 2
Obs.
1 2
a2
E Cl.
1
B Cls.
2
3
B Bass Cl.
Bsns.
1 2
E Alto Sax.
1 2
a2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 a2 1 2 F Hns. 3 4
Tbns.
1 2 unis.
unis. Euph. & Bass Tbn.
Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
21
168
173
172 169
170
171
174
175
Picc.
Fls.
1 2
Obs.
1 2
E Cl.
1
B Cls.
2
3
B Bass Cl.
Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts.
unis. 2
a2 1 2 F Hns. 3 4
Tbns.
1 2
Euph. & Bass Tbn.
Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
22
180 176
177
178
184 181
179
182
183
185
186
Picc. a2 Fls.
1 2
Obs.
1 2
E Cl.
1
B Cls.
2
3
B Bass Cl.
Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 a2 1 2 F Hns. 3 4 a2 Tbns.
1 2
Euph. & Bass Tbn.
Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
23
a2
a2
187
188
189
190
191
192
193
194
195
196
197
198
Picc.
Fls.
1 2
Obs.
1 2
a2
E Cl.
1
B Cls.
2
3
B Bass Cl. a2 Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts.
unis. 2 a2
a2
1 2 F Hns. 3 4 a2 Tbns.
1 2
Euph. & Bass Tbn.
Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
24
199
200
204
201
202
203
205
206
207
Picc.
Fls.
1 2
Obs.
1 2
E Cl.
1
B Cls.
2
3
B Bass Cl.
Bsns.
1 2
E Alto Sax.
1 2
B Tenor Sax.
E Bar. Sax.
1 B Tpts. 2 a2 1 2 F Hns. 3 4 a2 Tbns.
a2
a2
1 2 Euph. (upper)
Euph. & Bass Tbn. Bass Tbn. (lower) Tuba
Timp.
Glock.
Xylo.
Cyms. B.D.
25
208
209
210
212 short
211
213
214
Picc. short
Fls.
1 2
Obs.
1 2
short
short
E Cl. short
1 short
B Cls.
2 short
3 short
B Bass Cl. short
Bsns.
1 2
E Alto Sax.
1 2
a2
short
short
B Tenor Sax. short
E Bar. Sax. short
1 B Tpts.
unis.
short
2 ossia: 8ba
short
a2 1 2 F Hns.
short
3 4 short
a2 Tbns.
1 2
unis.
Euph. (upper) Bass Tbn. (lower)
short
unis.
Euph. & Bass Tbn. short
Tuba
short
Timp. short
Glock.
short
Xylo.
short
Cyms. short
B.D.
26
Crash Cym.
choke
.
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.
J o� ( Mostly! ) Third Prize Winner — The Frank Ticheli Composition Contest
� ica� Le��
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
www.ManhattanBeachMusic.