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Recording Credits for Angels in the Architecture: Performance by USC Thornton Wind Ensemble H. Robert Reynolds, principal conductor Sharon Lavery, resident conductor Frank Ticheli, guest conductor
ANGELS IN THE
A RC H I T E C T U R E F O R
C O N C E R T
B A N D
FR ANK TICHELI I N S T R U M E N T A T I O N 1 Full Score
(oversize, 11x14˝, included with set)
1 Piccolo 4 Flute 1
1 Oboe 1 1 Oboe 2 (doubling English Horn)
3 Bb Clarinet 2 3 Bb Clarinet 3 3 Bb Clarinet 4 2 Bb Bass Clarinet 1 Bb Contrabass Clarinet 1 Bassoon 1 1 Bassoon 2 2 Eb Alto Saxophone 1 2 Eb Alto Saxophone 2
1 String Bass
1 Eb Baritone Saxophone
1 Soprano (or Boy Soprano)
2 Bb Trumpet 1
1 Celesta
2 Bb Trumpet 2
4 Flute 2
3 Bb Clarinet 1
1 Bb Tenor Saxophone
(if Celesta is unavailable, play on piano an octave higher than notated)
2 Bb Trumpet 3
1 Organ (optional)
2 Bb Trumpet 4
1 Timpani (also plays Bell Tree)
1 F Horn 1
2 Percussion 1
tuned Whirly (Eb), Marimba, Three Tom Toms, Chimes
1 F Horn 2 1 F Horn 3
2 Percussion 2
Two tuned Whirlies (Bb and C), Snare Drum, Vibraphone (motor off), Suspended Cymbal (lg.), Triangle (lg.)
1 F Horn 4 2 Trombone 1
2 Percussion 3
2 Trombone 2 2 Trombone 3 3 Euphonium B.C. 2 Euphonium T.C. 4 Tuba
Two tuned Crystal Wineglasses (C and F), Xylophone, Glockenspiel, Triangle (med. lg.), Bass Drum (shared with Perc. 4), Suspended Cymbal (med.), Two Chinese Cymbals
3 Percussion 4 (2 players)
Two tuned Crystal Wineglasses (Eb and G), Suspended Cymbal (med. lg.), Four Temple Blocks, Tam Tam, Slapstick (lg.), Pedal Bass Drum, Snare Drum, Crash Cymbals, Ratchet, Vibraslap, Bass Drum (shared with Perc. 3)
P R I N T E D O N A RC H I VA L PA P E R
Manhattan Beach Music 1595 East 46th Street Brooklyn, New York 11234 Web: www.ManhattanBeachMusic.com E-mail: customerservice@manhattanbeachmusic.com Voicemail: 718/338-4137
M A N H ATTA N BEACH M USIC
1 A N G E L S I N T H E A RC H I T E C T U R E
was commissioned by Kingsway International and received its premiere performance at the Sydney Opera House on July 6, 2008 by a massed band of young musicians from Australia and the United States, conducted by Matthew George.
P RO GRAM
A
NGELS
IN
THE
NOT E
A R C H I T E C T U R E was commissioned by
Kingsway International, and received its premiere performance at the Sydney Opera House on July 6, 2008 by a massed band of young musicians from Australia and the United States, conducted by Matthew George. The work unfolds as a dramatic conflict between the two extremes of human existence — one divine, the other evil.
The work’s title is inspired by the Sydney Opera House itself, with its halo-shaped acoustical ornaments hanging directly above the performance stage. Angels in the Architecture begins with a single voice singing a 19th-century Shaker song: I am an angel of Light I have soared from above I am cloth’d with Mother’s love. I have come, I have come, To protect my chosen band And lead them to the promised land.
This “angel” — represented by the singer — frames the work, surrounding it with a protective wall of light and establishing the divine. Other representations of light — played by instruments rather than sung — include a traditional Hebrew song of peace (“Hevenu Shalom Aleichem”) and the well-known 16th-century Genevan Psalter, “Old Hundredth.” These three borrowed songs, despite their varied religious origins, are meant to transcend any one religion, representing the more universal human ideals of peace, hope, and love. An original chorale, appearing twice in the work, represents my own personal expression of these aspirations. In opposition, turbulent, fast-paced music appears as a symbol of darkness, death, and spiritual doubt. Twice during the musical drama, these shadows sneak in almost unnoticeably, slowly obscuring, and eventually obliterating the light altogether. The darkness prevails for long stretches of time, but the light always returns, inextinguishable, more powerful than before. The alternation of these opposing forces creates, in effect, a kind of five-part rondo form (light — darkness — light — darkness — light). Just as Charles Ives did more than a century ago, Angels in the Architecture poses the unanswered question of existence. It ends as it began: the angel reappears singing the same comforting words. But deep below, a final shadow reappears — distantly, ominously.
FRA N K
T I C H ELI
F
O
R
M
LI G H T
m. 1
Offstage soprano: Shaker song, “Angel of Light”
E-flat major
DA R K N ES S
m. 2 m. 23 m. 84 m. 107
Transition...dark forces begin to overtake… “Darkness music” (main motive) Darkness theme Return of darkness section
A pedal C minor E minor G minor
LI G H T
m. 149 m. 175 m. 183
“Chorale of light” “Hevenu Shalom Aleichem” (Traditional Hebrew) Darker forces begin to overtake…
E-flat major C minor Tonalities clash
DA R K N ES S
m. 208 m. 272 m. 281
“Darkness music” returns Slow section, uncertain, questioning… Long transition, growing from darkness…
E-flat minor C minor C pedal, chromatic harmony
LI G H T
m. 314 m. 328 m. 332 m. 341
Return of “Chorale of Light” (tutti) D-flat major...B-flat major Church bell effect… transition… B-flat major (G-flat pedal) Quote: “Old Hundredth” (16th-century Genevan Psalter) Polytonal (D-flat/B-flat) Offstage soprano returns. “Angel of Light” E-flat major, A in bass at end
REH E A RS A L
N OT ES
Soprano Solo Angels in the Architecture begins and ends with a simple 19th-century Shaker melody, “Angel of Light,” to be sung by a soprano soloist, or, alternatively, by a boy soprano. At the premiere performance in Sydney, we used a boy soprano; at the American premiere at Interlochen, we used a young female soprano. Both options were equally successful, and I have no strong personal preference one way or the other. What matters most is that the song be sung clearly, beautifully and expressively with little or no vibrato. The expressive quality should be pure and celestial, not operatic or dramatic. In other words, a very good choral singer would probably be a better choice than a trained opera singer or vocal soloist. The singer represents an angel, and should therefore not be placed on the stage, but at some higher point in the performance hall. At the premiere performance, we placed the singer in the choir loft directly behind and above the onstage performers. At the American premiere, we placed the singer in a side balcony towards the front of the hall. This was particularly effective, as the audience remained unaware of the singer’s presence until she stood at the work’s beginning.
Celesta If celesta is unavailable, the part may be played by piano an octave higher than written. The most crucial celesta passages have also been cued into vibraphone and glockenspiel, in the unlikely case that neither celesta nor piano is available. Tuned Wineglasses and Whirlies The tuned wineglasses and whirlies are played by the percussionists (and/or auxiliary performers) at the beginning and end of the piece as an accompaniment to the singer. These exotic, magical sounds immediately transform the mood of the performance space, and enhance the character of the singer as an angelic, other-worldly being. If there aren’t enough percussionists available to handle all of the whirly and wineglass pitches, recruit non-percussionists if possible. Otherwise, use whatever pitches are obtainable to achieve the desired magical effect. In the end, the objective is to sustain all, or at least some of the pitches of the E-flat pentatonic scale, in any octave available. Experiment! Crystal Wineglasses Crystal wineglasses are readily available, and no single brand is necessarily better than another. I have found glasses with thin rims to be more responsive than those with thick rims. Water is added to the glass to achieve the desired pitch. (Add water to lower the pitch, remove water to raise the pitch.) Once the exact desired pitch is found, mark the water level and pitch name on the glass with a felt-tip pen. Wineglasses are played by rubbing a finger around the rim of the glass. Both the finger and the rim should be wetted. The hands should be washed and free of oils and lotions of any kind. If there are enough percussionists (or auxiliary performers) to assign one wine glass per player, the player may hold the glass bottom in one hand and play with the other hand. If there are fewer players than wineglasses, two wine glasses may be mounted or taped onto a chair, stand, or other stable surface, enabling pairs to be played by one player. Whirlies Tuned whirlies are simply flexible, corrugated rubber or plastic tubes or hoses with an average diameter of approximately one to two inches, and — once cut — a length of approximately three to four feet. (Anything shorter lacks pitch focus, and anything longer becomes clumsy and unwieldy.) Corrugated tubing may be found at a number of retail stores, including toy stores, garden supply stores, and/or pool supply stores. Pool drain hoses or pool vacuum hoses usually work. Whirles from toy stores are often suitable, for the E-flat pitch. The tubing must be cut to the desired length with household scissors. Tune them carefully using a piano or other reliable pitch source, and be careful not to cut too much at a time. (You can always cut more length off to raise the pitch, but if you over-cut, you can’t add back tubing to lower the pitch!) Note that the tubing must be corrugated, i.e. ribbed (with a series of rings or ridges), in order for sound to be produced. Whirlies are held by the hand at one end and twirled above the head to achieve the desired pitch. (To prevent collisions, be sure to allow sufficient distance between the players.) Whirlies are capable of sounding several pitches of their overtone series, depending on how quickly and forcefully they are twirled. The 2nd and 3rd partials are the easiest to sound and control. (The fundamental pitch, or 1st partial, is not playable, and the 4th partial tends to be too loud.) I strongly prefer that the whirlies be twirled above the head (like a helicopter blade). When played in this manner, each whirly will look like a halo floating above the player’s head, thus enhancing the angelic appearance.
Measure 2 The conductor begins conducting at measure 2 while the singer is still singing the song in measure 1. The ensemble slowly overtakes the singer, drowning her out completely near the end of the Shaker melody. After the singer is finished, the ensemble continues to grow in volume, culminating in the massive unison/octave shout of the “dark motive” at measure 23. Trombone Plunger Mute Effects (measure 57-59 and elsewhere) Trombones 1 and 2 must have plunger mutes. The plunger is to be moved in and out from the bell as indicated, and combined with a flutter tongue to produce a raw, raucous, jazzy sound. The resulting sound may resemble a multiphonic (two or more tones sounding at once) rather than a pure single tone. If this happens, it is okay, and even desired. Jet-Whistle Effect in the flutes (m. 65 and m. 253) The jet-whistle effect is achieved by covering the blow-hole of the flute entirely with the lips and blowing as hard and violently as possible into the instrument, as though you are trying to blow out a hundred candles with one short and powerful burst of air. The resulting sound should resemble something like the sudden release of steam from a powerful engine. If players find themselves taking a full second or several seconds to release all the air from their lungs, they are not blowing with the proper force. The effect will only last a fraction of a second if done properly. There should be no attempt to sound any specific pitch. Measure 341 to the end At measure 341, the tuned wineglasses and whirlies return along with the soprano soloist. Added to this, however, is a perfect-fifth diad, hummed by members of the ensemble. It is crucial that these two pitches (E-flat and B-flat) be sung only in the octave notated. Most men will probably sing the E-flat, and likely in falsetto. (No lower octaves!) Most of the women will likely sing the B-flat, but some may be assigned the E-flat to achieve proper balance. As in the work’s beginning, the desired effect at the end is one of celestial, other-worldly beauty. The final bar should fade slowly to silence. The listener should not be able to tell where the sound stops and the silence begins. However, it is important to remember that a gradual slowing down of the whirlies will not create a desired diminuendo, but rather an undesired change in pitch! In my own performances, I have experimented with the final bar in a number of ways, such as having the whirlies release first — either together or in a staggered way — and then fading the others a few seconds later. In some halls this works well, whereas in others, it has proven more effective to have all players fade together to silence. In short, experiment!
F RANK
T ICH ELI
To Shari
ANGELS IN THE ARCHITECTURE FOR CONCERT BAND Piccolo
Flute 1
Flute 2
Oboe
1 2
Bb Clarinet
1 2
Bb Clarinet
3 4
Bb Bass Clarinet
Bb Contrabass Clarinet
Eb Alto Saxophone 1
Eb Alto Saxophone 2
Bb Tenor Saxophone
Bassoon
1 2
Eb Baritone Saxophone
Bb Trumpet
1 2
Bb Trumpet
3 4
F Horn
1 2
F Horn
3 4
Trombone 1
2 3
Euphonium
Trombone
Tuba String Bass
Soprano (or Boy Soprano)
Timpani
10" The singer stands either in a balcony or at some other high point in the hall.
Celesta
Percussion 2
Percussion 3
poco vibrato ten.
I
am
an
an
-
gel
of
light
(If celesta is not available, play part on piano an octave higher.) Ad. lib. With metal beater, strike individual bells of bell tree in random order and rhythm (complete within 5 seconds)
I
have
Tuned Whirlies (It is recommended that each whirly be played by separate players, if available.) p
Tuned Crystal Wineglasses (may be played by one or two players)
Percussion 4 (Two players)
soared
Tuned Whirly (whirled above head) mp
Percussion 1
FRANK TICHELI
Freely, not conducted (q = c. 92)
p
Tuned Crystal Wineglasses (may be played by one or two players) p
p
Copyright © 2009 Manhattan Beach Music - All Rights Reserved - Printed and engraved in the United States of America ISBN 1-59913-100-5 (complete set) ISBN 1-59913-101-3 (conductor score)
Visit www.Frank Ticheli.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
from
a - bove
Sopr.
I
Perc. 1
am
cloth'd
with
Mo - ther's
love.
I
have
,
come,
I
have
,
come,
To
pro - tect
my
cho - sen
Perc. 2
Perc. 3
Perc. 4
CONDUCTOR: Begin conducting ensemble at m. 2 very shortly after singer begins this phrase.
Sopr.
,
band
Perc. 1
And
lead
them
to
the
pro - mised
land.
Singer: continue singing at original tempo, not coordinated with conducted ensemble.
I
am
an
an
-
gel
of
light
Perc. 2
Perc. 3
Perc. 4
Sopr.
I
have
soared
from
a
-
bove
(rit.)
I
am
cloth'd
with
Mo
- ther's
love.
Perc. 2
Perc. 3
Perc. 4
Perc. 1
2
2 q = 160 Picc.
Fl. 1
Fl. 2
1 2
Ob.
a2 Ad lib. Play indicated notes in any order, rapidly and nervously.
1 Bb Cl. 2
mp
a2 Ad lib. Play indicated notes in any order, rapidly and nervously.
Bb Cl.
3 4
mp
Ad lib. Play indicated notes in any order, rapidly and nervously.
Bb Bass Cl.
Bb Cbs. Cl.
1 2
Eb Alto Sax. 1
mp
pp
1.
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt.
1 2
Bb Tpt.
3 4
F Hn.
1 2
F Hn.
3 4
Tbn. 1
2 3
Euph.
Tba.
Bsn.
Tbn.
S. Bass
Timp.
pp
Perc. 1
Perc. 2
Perc. 3
pp
pizz.
3
p
p
p
Perc. 4
p
p
pp
p
p
10 accel.
Picc.
8
Fl. 1
Fl. 2
Ob.
1 2
3 Bb Cl. 4
Bb Bass Cl.
Bb Cbs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
1. 2.
p
Eb Alto Sax. 2
3
a2
Pc. 3)
1 2
2 (Cut off Cl. 1,2,
Bs. cl, Pc. 4)
Bb Cl.
1 (Cut off Cl. 3,4,
f
f
f
f
mp
a2
f
mp
mp
mf
mf
mf
(Cut off Pc.1, 2)
mp
mf
mf
Eb Bari. Sax.
mp
Bb Tpt.
1 2
Bb Tpt.
3 4
F Hn.
1 2
3 4
Tbn. 1
2 3
Euph.
Bb Ten. Sax.
F Hn.
Tbn.
Tba.
S. Bass
Timp.
mp
1.
mp
mp
mp
mp
mf
mf
mf
mf
arco
mf
mf
Perc. 1
Perc. 2
Perc. 3
Perc. 4
4
Picc.
16
Fl. 1
Fl. 2
Ob.
1 Bb Cl. 2 3 Bb Cl. 4
Bb Bass Cl.
Bb Cbs. Cl.
Bsn.
1 2
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
1 Bb Tpt. 2
a2
f
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
f
Tbn. 1
2 3
Euph.
Tba.
f
f
f
f
f
a2
f
3. f
f
f
f
f
f
cresc.
cresc.
cresc.
cresc.
cresc.
Perc. 2
Perc. 4
SNARE DRUM
mf
cresc.
3. 4.
5
cresc.
cresc.
SUS. CYMBAL (yarn)
cresc.
cresc.
cresc.
cresc.
p
Perc. 1
Perc. 3
cresc.
cresc.
f
cresc.
cresc.
div.
3.
3 F Hn. 4
cresc.
cresc.
f
1 F Hn. 2
Timp.
3 Bb Tpt. 4
S. Bass
f
Eb Alto Sax. 1
Tbn.
1 2
Picc. 22
Fl. 1
Fl. 2
1 Ob. 2
no breath
no breath
no breath no breath
1 2
3 Bb Cl. 4
Bb Bass Cl.
Bb Cl.
Bb Cbs. Cl.
1 Bsn. 2
no breath
no breath
no breath
no breath
no breath
Tbn. 1
2 Tbn. 3
no breath
S. Bass
Timp.
no breath
no breath
Perc. 1
Perc. 2
Perc. 4
Perc. 3
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
a2
fff
3.
p
p
fff
3. 4. fff fff
fff
fff
a2
fff
no breath
Tba.
fff
no breath
3 F Hn. 4
Euph.
3 Bb Tpt. 4
1 2
no breath
1 2
F Hn.
no breath
Eb Bari. Sax. Bb Tpt.
no breath
Bb Ten. Sax.
Eb Alto Sax. 2
no breath
no breath
Eb Alto Sax. 1
no breath
23 q = 160
fff
fff fff
dampen
fff
MARIMBA
fff
ff
XYLOPHONE fff
Strike!
fff
choke
6
a2
to mute
to mute
to st. mute
to st. mute
A ——Bb
Picc.
29
Fl. 1
30
Fl. 2
Ob.
1 2
Bb Cl.
1 2
Bb Cl.
3 4
Bb Bass Cl.
Bb Cbs. Cl.
f
p
a2
p
a2
mf
f
f
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
1 Bsn. 2
f
p
f
mf
1 Bb Tpt. 2
3 Bb Tpt. 4
1 2
3 4
Tbn. 1
2 3
Euph.
Tba.
F Hn.
F Hn.
Tbn.
S. Bass
Timp.
Perc. 1
mf
a2 straight mute
mf
one only
mf pizz. mf
f
p
f
straight mute
straight mute
(a2) mute
f
f
f straight mute f
f
Perc. 2
Perc. 3
7
(a2) mute f
Perc. 4
f
fp
Picc.
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl.
1 2
36
38
mp
Bb Cl.
3 4
mp
Bb Bass Cl.
Bb Cbs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
mp
mf
Bb Tpt.
3 4
1.
mp
mp
mp
Tbn. 1
mp
f
f
mp
mf
f
f
mp
mp
f
mp
1 2
3 4
Bb Tpt.
F Hn.
Eb Bari. Sax.
1 F Hn. 2
Bb Ten. Sax.
a2
f
a2
mute out
2 Tbn. 3
Euph.
Tba.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
mp
Perc. 4
f
VIBRAPHONE
mp
8
Picc.
42
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl.
1 2
Bb Cl.
a2
3 4
mp
Bb Bass Cl.
Bb Cbs. Cl.
1 Bsn. 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
1 2
3 Bb Tpt. 4
f f f
mf
1.
3 F Hn. 4
f
Euph.
Tba.
Timp.
Perc. 1
Perc. 4
f
f
f a2
a2
f
a2
mute out
mf
mf
mf
PEDAL B.D.
mf
open
open
a2
sfz
mp
sfz
mp
sfz
mf
sfz
mp
2.
f
mf
(Xylo.)
f
mf
mf
f
(Ped. B.D.)
T. BLKS.
mp
f
9
f
f
f
f
mf
a2
mf
a2
(a2)
Perc. 3
Perc. 2
p
p
mf
2 Tbn. 3
S. Bass
f
f
Tbn. 1
(a2)
1 F Hn. 2
f
a2
f
f
mf
1.
Bb Tpt.
f
mf
f
Picc.
Fl. 1
Fl. 2
1 2
47
Ob.
49
1 Bb Cl. 2
3 4
Bb Bass Cl.
Bb Cbs. Cl.
f
Bb Cl.
f f
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
f
f
f
Bb Tpt.
1 2
Bb Tpt.
3 4
F Hn.
1 2
f
3 F Hn. 4
Euph. Tba.
S. Bass
Sopr.
Timp.
Perc. 1
Perc. 2
mp
p
f
p
f
mf
a2 p f mp
p
p
p f p
mp
mp
mp
f
f
pp
to plunger mute f
p
3. p f
p
f p
a2 a2
f
f
f
f
p
f
Perc. 4
f
mp
Perc. 3
f
2 3
f
Tbn.
mp
Tbn. 1
10
f
Picc.
f
f
53
Fl. 1
Fl. 2
Ob.
Bb Cl.
1 2
1 2
3 Bb Cl. 4
Bb Bass Cl.
ff
f
a2 f
f
f
Bb Cbs. Cl.
Bsn.
1 2
f f
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
f
1 2
ff
a2
ff
f
f
(Xylo.) f
sfz
p
sfz
Perc. 4
a2
p
sfz
sfz
sfz
11
a2
sfz
sfz
p
p
plunger mute
p
p
p
p
p
p
sfz
sfz
sfz
p
p
sfz
sfz
ff
f
f
sfz
Perc. 3
Perc. 2
Tba.
Perc. 1
Timp.
f
S. Bass
3 F Hn. 4
Euph.
2 3
1 2
Tbn.
Tbn. 1
F Hn.
3 4
Bb Tpt.
f
Bb Tpt.
Eb Bari. Sax.
T. BLKS. f
p
Picc.
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl.
1 2
58
Bb Cl.
(a2) mp
a2
3 4
60
mp
Bb Bass Cl.
Bb Cbs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
mf
Eb Alto Sax. 2
Bb Ten. Sax.
a2
Eb Bari. Sax.
pp
1 Bb Tpt. 2
Bb Tpt.
3 4
F Hn.
1 2
3 F Hn. 4
Fltg.
Tbn. 1
Tbn.
2 3
Euph. Tba.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
a2
f
f
O
p
f
mp
Perc. 4
mp
12
accented notes with alto sax.
Picc. 64
Fl. 1
Fl. 2
Jet Whistle*
(see note below)
Jet Whistle*
ffff
Bb Cl.
1 2
Bb Cl.
3 4
Bb Bass Cl.
Bb Cbs. Cl.
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
3 Bb Tpt. 1 2
4
F Hn.
F Hn.
1 2
3 4
(plunger)
Fltg.
Euph.
Tba.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
f
f a2
mf
mf mf
mf
mp
a2
p
p
mute out
f
mf
f
2. to plunger mute
f
(Xylo.)
f
mute out
f
p
f
mf
mf
mf
mf
f
Perc. 4
f
f
f
mf
2 Tbn. 3
mf
mf
O
p
Tbn. 1
Bb Tpt.
Eb Alto Sax. 1
1 2
1 Bsn. 2
ffff
Ob.
67
* The jet-whistle effect is achieved by covering the blow hole of the flute entirely with the lips and blowing as hard and violently as possible into the instrument, as though you are trying to blow out a hundred candles with one short and powerful burst of air. The resulting sound should resemble something like the sudden release of steam from a powerful engine. If players find themselves taking a full second or several seconds to release all the air from their lungs, they are not blowing with the proper force. The effect will only last a split second if done properly. There should be no attempt to sound any specific pitch.
13
Picc. 70
Fl. 1
Fl. 2
Ob.
1 2
1 Bb Cl. 2 3 Bb Cl. 4
f
a2
f
Bb Bass Cl.
Bb Cbs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
3 Bb Tpt. 4
sffz
Eb Bari. Sax. 1 Bb Tpt. 2
f
f
a2
sfz
sfz
sfz
sfz
sfz
sfz
sfz
sfz
sfz
sfz
sfz
sfz
f
Tba.
f
f
ff
f
mf
ff
mf
mf
mf
ff
ff
RATCHET
ff
mf
mf
14
mf
f
T. BLKS.
PED. B.D.
mf
ff
(Xylo.)
f
a2
open
sfz
Perc. 4
sfz
sfz
Perc. 3
sfz
2 3
a2
sfz
Perc. 2
sfz
a2
sfz a2
sfz
Tbn. 1
sfz
sfz
3 4
Perc. 1
sfz
open
sfz
Timp.
sfz
S. Bass
sfz
sffz
Euph.
Tbn.
1 F Hn. 2
F Hn.
ff
Fl. 1
Fl. 2
1 2
75
Picc.
Ob.
1 Bb Cl. 2
3 Bb Cl. 4
Bb Bass Cl.
Bb Cbs. Cl.
Bsn.
Eb Alto Sax. 1
Eb Alto Sax. 2
3 Bb Tpt. 4
3 F Hn. 4
Timp.
Perc. 1
Perc. 2
Perc. 3
O O
mute out
mute out
open
open
f f
f
a2
TEMPLE BLOCKS
15
ff
mf
mute out
mute out
ff
O
O
Perc. 4
ff
mp
Tba.
mp
ff
Euph.
O ff Fltg. O O 2. plunger
2 Tbn. 3
S. Bass
Fltg. (plunger) O
Tbn. 1
ff
1 2
ff
1 2
F Hn.
ff ff
ff
Eb Bari. Sax. Bb Tpt.
Bb Ten. Sax.
ff
1 2
77
Picc. 80
Fl. 1
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
F Hn.
3 4
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
a2 a2
a2
f
f
f
f
f
f
a2
f
f
RATCHET
ff
pp
16
3
div.
3
f
TAM TAM
3
f arco f Eb——E§ f
f
f
f
f
open
3
f
open
3
f
3
f
f
ff
a2
1 2
F Hn.
Tba.
ff
3 4
Euph.
84
ff
Bb Tpt.
2 3
1 2
Tbn.
Bb Tpt.
Tbn. 1
1 2
Bb Cbs. Cl.
3 4
Bb Bass Cl.
Bsn.
1 2
1 Bb Cl. 2
Bb Cl.
Fl. 2
Ob.
mf
l.v.
mf
Picc. 85
Fl. 1
Fl. 2
1 Ob. 2
Bb Cbs. Cl.
1 Bsn. 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Eb Bari. Sax.
mf
mf
1.
mf
mf
3 4
1 2
3 4
Tbn. 1
2 Tbn. 3
p
p
Tba.
Timp.
Perc. 1
Perc. 4
3
3
3
3
3
3
3
(a2)
f
p
pizz.
mf
f
f
PEDAL B.D.
f
17
2.
Fltg.
Fltg.
SUS. CYM. (stick) l.v.
(Xylo.)
(a2)
f
f
f
f
(a2)
(a2) f
3
3
f
f
f
Euph.
3
3
mf
3
3
3
3
Bb Tpt.
Perc. 3
3
mf
1 2
Perc. 2
3
Bb Tpt.
S. Bass
3
Bb Ten. Sax.
F Hn.
3 4
Bb Bass Cl.
F Hn.
1 Bb Cl. 2 Bb Cl.
Picc. 90
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl.
1 2
Bb Cl.
3 4
F Hn.
a2
3 4
2 3
Euph.
Tbn.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
3
3
3
3
ff
(mf)
ff
a2
f
f
f
f
PEDAL B.D.
18
f
f
f
ff
3
3
ff
ff
3
3
f
3
f f f
ff
3
3
3
3
3
3
mp
mp
3
mp
Tba.
3
3
3
mp
Tbn. 1
mp
1 2
3 4
3
3
3
3
3
3
Eb Bari. Sax.
Bb Ten. Sax.
F Hn.
3
3
3
Eb Alto Sax. 2
Bb Tpt.
3
3
Eb Alto Sax. 1
1 2
1 2
Bb Cbs. Cl.
Bb Tpt.
Bb Bass Cl.
Bsn.
90
f
SUS. CYM. (stick) l.v.
95
Picc.
Fl. 1
Fl. 2
1 2
Ob.
3 4
Bb Cbs. Cl.
1 2
Eb Alto Sax. 1
f
f
Bb Ten. Sax. Eb Bari. Sax.
1 Bb Tpt. 2
Bb Tpt.
f
3 4
Tbn. 1
2 3
Euph.
Tba.
S. Bass
Perc. 1
Perc. 3
Perc. 4
f
a2
(f )
(f )
(f )
f
f
f
SNARE DRUM
PED. B.D. f
mf
T. BLOCKS
19
arco
f
a2
f
div.
f
f
f
Timp.
Perc. 2
f
ff
f
f
f
Tbn.
f
3 4
F Hn.
1 F Hn. 2
Eb Alto Sax. 2
f
97
f
Bb Bass Cl.
Bsn.
1 Bb Cl. 2
Bb Cl.
Picc. 101
Fl. 1
Fl. 2
1 Ob. 2
a2
3 4
Bb Bass Cl.
Bb Cbs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax. Eb Bari. Sax. 1 Bb Tpt. 2
f
f
Perc. 4
Perc. 3
Euph.
3
Perc. 2
2 3
Tbn. 1
Perc. 1
3
Timp.
f
E——G
20
3 4
F Hn.
S. Bass
1 2
Tba.
f
F Hn.
Tbn.
f
3 4
f
Bb Tpt.
f
1 Bb Cl. 2
Bb Cl.
107
106
Picc.
Fl. 1
Fl. 2
1 Ob. 2
3 Bb Cl. 4
Eb Bari. Sax.
ff
ff
ff 3 ff a2 3 ff
F Hn.
1 2
3 4
Tbn. 1
2 3
F Hn.
Tbn.
Tba.
S. Bass
Timp.
Perc. 3
a2
Perc. 4
mp
p
SUS. CYMBAL (yarn)
p
TAM TAM p
3
ff
p
a2
f
2. to plunger
p
ff
f
ff
p
l.v.
p
ff
21
ff
pizz. f
mf
RATCHET
ff
p p
mf
One only if no string bass f
f
ff
p
p
ff
l.v.
f
f
ff
f
f
3.
p
ff
3
to plunger
ff
a2
ff
Perc. 2
Euph.
Perc. 1
3 4
1 Bb Tpt. 2
Bb Tpt.
ff
ff
Bb Ten. Sax.
Eb Alto Sax. 2
Eb Alto Sax. 1
ff
1 Bsn. 2
Bb Cbs. Cl.
ff
1 Bb Cl. 2
Bb Bass Cl.
Picc.
a2
111
sfz
Fl. 1
sfz
sfz
sfz
Fl. 2
sfz
Bb Cl.
sfz
Bb Cbs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
sfz
Eb Bari. Sax.
Bb Tpt.
1 2
sfz
sfz
sfz
sfz
sfz
ff
f
a2
a2
2 Tbn. 3
Euph.
Tba.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
O
mute out
f
f
O
f
mute out
XYLO.
f
T. BLKS. PED. B.D.
Perc. 4
f ff
TEMPLE BLOCKS
22
f
VIBRAPHONE
mf
f
Tutti play
ff
a2
ff
O
Plunger (nasty) 2. O O
ff
ff
Tbn. 1
O O
O
plunger (nasty)
3 4
F Hn.
1 2
f
f
a2
F Hn.
f
3 Bb Tpt. 4
ff
(a2)
ff
f
ff
ff
ff
ff
(a2)
sfz
sfz
sfz
Bb Ten. Sax.
Eb Alto Sax. 2
sfz
sfz sfz sfz sfz
sfz
Bb Bass Cl.
sfz
sfz
a2
3 4
sfz
a2
1 Bb Cl. 2
sfz
sfz
1 Ob. 2
sfz
ff
117
Picc.
Fl. 1
3 4
Bb Bass Cl.
Bb Cbs. Cl.
Bsn.
1 2
1 Bb Cl. 2
Bb Cl.
Fl. 2
Ob.
Eb Alto Sax. 2
2 3
Euph.
Tba.
Perc. 4
ff
ff
ff
ff
SUS. CYM. (yarn)
p
marcato
f
marcato
f
Perc. 3
Tbn. 1
Perc. 2
Perc. 1
Timp.
f
ff
l.v.
ff
marcato f
ff
marcato
f
ff
ff
ord. a2
f
f ord. a2
ff
ff
f
f
ff
a2 marcato
f
S. Bass
Tbn.
3 4
F Hn.
f
1 F Hn. 2
3 4
f
Bb Tpt.
(a2) marcato
Bells up!
ff
Bells up!
1 2
Bb Tpt.
ff
Eb Bari. Sax.
Bb Ten. Sax.
Eb Alto Sax. 1
ff
1 2
118
23
Picc.
a2
a2
122
Fl. 1
Fl. 2
1 2
Ob.
1 Bb Cl. 2
3 4
Bb Bass Cl.
Bb Cl.
Eb Alto Sax. 1
Eb Alto Sax. 2
Eb Bari. Sax.
ff
Bells up
Bells up
F Hn.
3 4
Tbn. 1
2 3
ff
ff
ff
ff
ff
ff
ff
ff
1 2
Tba.
f
Euph.
F Hn.
Tbn.
3 Bb Tpt. 4
Bb Ten. Sax.
1 2
1 Bsn. 2
Bb Tpt.
Bb Cbs. Cl.
a2
ff
ff
ff
ff
Perc. 1
Perc. 2
Perc. 3
S. Bass
Timp.
Perc. 4
TOM TOMS
f
BASS DRUM
mf
24
Picc. Fl. 1 127
1 2
Bb Cl.
1 2
Bb Cl.
3 4
Bb Bass Cl.
Bb Cbs. Cl.
Bsn.
Fl. 2
Ob.
1 Bb Tpt. 2
Bb Tpt.
3 4
F Hn.
1 2
F Hn.
3 4
Tbn.
Euph. Tba.
1.
Sopr.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
f
ff
VIBRAPHONE
SUS. CYM.
ff
25
ff
l.v.
ff (forceful)
S. Bass
Timp.
2 3
Eb Bari. Sax.
Tbn. 1
Bb Ten. Sax.
Eb Alto Sax. 2
Eb Alto Sax. 1
1 2
132 Picc.
Fl. 1
Fl. 2
Ob.
1 2
1 Bb Cl. 2
Bb Cl.
3 4
f
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
mp
a2
mp f
Bb Cbs. Cl.
Bsn.
Bb Bass Cl.
a2
mf
mf
f
mp
f
3
3
(a2)
f
mp
mp
f
mp
Eb Bari. Sax.
f
Bb Ten. Sax.
1 Bb Tpt. 2
1 F Hn. 2
3 F Hn. 4
Tbn. 1
Tbn.
2 3
Tba.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
(a2)
2. fp
f
mf
mf
mp
2.
fp
3
fp
1. fp
f
fp
fp
Euph.
3 4
Bb Tpt.
ord.
mp
3
1. fp
Perc. 4
MARIMBA
f
mp
f
mp
26
Picc. 138
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl.
1 2
Bb Cl.
3 4
Bb Bass Cl.
Bb Cbs. Cl.
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt.
Bb Tpt.
F Hn.
1 2
fff
ord.
Timp.
Perc. 1
p
Perc. 3
f
fff
f
f
f
f
f
ff
ff
ff fff fff
fff
ff fff
ff
ff
div.
fff
Perc. 4
ff
div.
ff
fff
Perc. 2
fff
S. Bass
fff
Tba.
fff
1 2
Euph.
f
fff
fff
2 3
fff
3 4
Tbn. 1
fff
f
f
fff
3 F Hn. 4
Tbn.
(echo effect)
fff
1 Bsn. 2
140
T. BLKS. p
fff
27
TOM TOMS
f
Picc. 144
3 Bb Cl. 4
Bb Bass Cl.
Fl. 1
Fl. 2
Ob.
1 2
1 Bb Cl. 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
6 sec.
fff
6 sec.
3 4
1 F Hn. 2
3 F Hn. 4
Tbn. 1
2 3
Euph.
Timp.
Perc. 2
fff
S.D.
fff
Perc. 3
B.D. fff
Perc. 4
n
n
n
n
6 sec.
6 sec.
6 sec.
6 sec.
28
mf
n
n
1.with reverence
reverence with
mf
mf
mf
mf
p
l.v.
6 sec.
n
mf
6 sec.
2.with reverence
6 sec.
6 sec.
n
with reverence
6 sec.
mf
6 sec.
mf
3. with reverence
n
6 sec.
n
1. Horn cues
6 sec.
p
p
6 sec.
6 sec.
fff
6 sec.
6 sec.
f
6 sec.
6 sec.
TAM TAM
6 sec.
6 sec.
6 sec.
Perc. 1
6 sec.
6 sec.
fff
n
6 sec. 6 sec.
Tba. S. Bass
senza dim.
6 sec.
6 sec.
senza dim.
fff
6 sec.
fff
6 sec.
fff
n
6 sec.
Tbn.
6 sec.
6 sec.
1 2
fff
6 sec.
p
6 sec.
6 sec.
senza dim.
senza dim.
6 sec.
6 sec.
6 sec.
6 sec.
6 sec.
149
h = c. 69
6 sec.
senza dim.
6 sec.
6 sec.
fff
Eb Bari. Sax.
Bb Tpt.
6 sec.
fff
Bb Tpt.
6 sec.
6 sec.
fff
1 Bsn. 2
6 sec.
6 sec.
6 sec.
6 sec.
6 sec.
div. fff
Bb Cbs. Cl.
6 sec.
dim.
pppp
(barely audible)
(Dampen tam-tam)
rit.
A Tempo h = c. 69
Fl. 2
with reverence
1 2
1 2
with reverence
3. with reverence
151
Picc.
Fl. 1
Ob.
Bb Cl.
Bb Cl.
3 4
with reverence
mf
with reverence
mf
mf
mf
mf
div.
Bb Bass Cl.
Bb Cbs. Cl.
p
p
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
1 Bsn. 2
Bb Tpt.
1 2
1 2
3 4
2 3
Euph.
F Hn.
F Hn.
Tbn. 1
Tbn.
Tba.
S. Bass
Timp.
f
3 Bb Tpt. 4
p
f
p
p
p
f
p
f
p
f
f
p
div. p
Perc. 2
Perc. 3
23 inch: G——Eb 30 inch: G——D
(Tam Tam) p
TRIANGLE mf
arco
p
Perc. 1
29
p
Perc. 4
p
Picc. 158
Fl. 2
Ob.
Bb Cl.
Bb Cl.
Fl. 1
1 2
3 4
Bb Bass Cl.
Bb Cbs. Cl.
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
1 2
Bsn.
1 2
f
f
f
f
a2
mf
mf
f
f
a2
f
f
unis.
mf
div.
poco f
poco f
poco f
a2
poco f
a2
mf
1. Horn cues
mf
3 4
poco f
mf
mf
Perc. 1
Perc. 2
Perc. 3
S. Bass
f
1 2
F Hn.
Tba.
3 4
Euph.
Bb Tpt.
2 3
mf
Tbn.
mf
Tbn. 1
F Hn.
mf
1 2
Bb Tpt.
f
162
Timp.
Perc. 4
p
mf
30
Picc. 165
Fl. 1
Fl. 2
Ob.
1 2
1 Bb Cl. 2
3 4
Bb Bass Cl.
Bb Cbs. Cl.
Bsn.
1 2
Bb Cl.
piu f
piu f
piu f
piu f
a2
a2
piu f
f
f
3
3
1.
rit.
3
3
p
p
p
p
mp
one only
mp
p
f
mp
one only
p
170 q = c. 69
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax. Bb Tpt.
1 2
F Hn.
1 2
3 4
3 Bb Tpt. 4
F Hn.
Tbn. 1
2 3
Euph.
Tbn.
Tba.
S. Bass
Cel.
f
f
f
f
p
p
p
p
p
f
p
p
p
Perc. 1
Perc. 2
l.v.
Perc. 3
Perc. 4
SUS. CYM. (yarn) p
mf
Timp.
f
f
31
(with flutes) mp
MARIMBA
mf
mp
(Triangle)
mp
Picc. 172
Fl. 1
Ob.
3 Bb Cl. 4
Bb Cbs. Cl.
p
p
2. ENGLISH HORN
1.
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Alto Sax. 1
Eb Bari. Sax.
mf
mf
mp 1. mp
mp mp
1 2
mf
Bsn.
175 q = c. 60 accel.
"Hevenu Shalom Aleichem" ("We Brought You Peace") (Traditional Hebrew)
1 Bb Cl. 2
Bb Bass Cl.
rit.
1 2
Fl. 2
mp
div.
mp
mp
Bb Tpt.
1 2
Bb Tpt.
3 4
F Hn.
1 2
F Hn.
3 4
Tbn. 1
2 3
Euph.
Tba.
Contrabs. Cl.
Tbn.
S. Bass
pizz.
mp
Cel. Timp.
Perc. 1
Perc. 2
Perc. 3
p
Perc. 4
PED. B.D. & S.D. (brushes)
mp
32
Picc.
Fl. 1
Fl. 2
179
1 Ob. 2
Bb Cl.
Bb Cl.
cresc.
1 2
cresc.
183 q = 160
(E.H.) ff
2.ff
cresc.
Bb Bass Cl.
Bsn.
cresc.
cresc.
Bb Cbs. Cl.
1 2
cresc.
Eb Alto Sax. 1
Bb Ten. Sax.
cresc.
f
f
f a2 f
ff
Eb Alto Sax. 2
1.
3 4
1.
Eb Bari. Sax.
Bb Tpt.
1 2
Bb Tpt.
3 4
F Hn.
F Hn.
cresc.
cresc.
cresc.
f
f
f
1 2
3 4
Tbn. 1
2 3
Euph.
Tba.
Tbn.
S. Bass
Timp.
cresc.
4.
mp
mp
Perc. 1
Perc. 2
Perc. 3
Perc. 4
cresc.
33
mf
Picc.
Fl. 1
Fl. 2
187
Ob.
Bb Cl.
Bb Cl.
1 2
1 2
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax. 1 2
Bb Cbs. Cl.
Bb Tpt.
3 4
Bb Bass Cl.
Bsn.
3.
1 F Hn. 2
3 4
F Hn.
Tbn. 1
2 Tbn. 3
Euph. Tba.
S. Bass
Timp.
p
p
f
p
p
p
34
f
f
pizz.
(not rolled)
f
3. f
f
mf
f
p
p
f
p
p
p
Eng. Hn. return to oboe
Perc. 2
Perc. 4
Perc. 3
Perc. 1
mf
mf
2.
mf
mf
arco
mf
mf
4.
3 Bb Tpt. 4
191
SUS CYM. (sticks)
f
p
BASS DRUM l.v. sempre
f
Picc. 194
Fl. 1
Fl. 2
Ob.
Bb Cl.
Bb Cl.
1 2
1 2
3 4
f
f
a2
f
f
a2 f
a2
f
Bb Bass Cl.
Bb Cbs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
f
f
unis.
Eb Bari. Sax.
Eb Alto Sax. 2
Bb Ten. Sax.
1 Bb Tpt. 2
Bb Tpt.
3 4
F Hn.
1 2
f
2 3
Euph. Tba.
Timp.
f
Perc. 2
f
(loud and trashy)
l.v. sempre
f
35
a2
f
f
f
a2
(f )
f
f
f
l.v. sempre
f
mp
CHINESE CYMBALS
Perc. 4
f
2.
Perc. 1
Perc. 3
a2 Bells up
Bells up a2
Tbn. 1
S. Bass
3 F Hn. 4
Tbn.
f
mp
f
mp
201
Picc.
Fl. 1
Fl. 2
Ob.
Bb Cl.
Bb Cl.
1 2
1 2
3 4
Bb Bass Cl.
Bb Cbs. Cl.
F Hn.
1 2
3 F Hn. 4
Tbn. 1
Tbn.
2 3
Euph.
Perc. 2
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
Perc. 4
ff
ff
(B.D.)
p
f
36
XYLOPHONE
cresc.
ff
arco
cresc.
cresc.
ff
Perc. 3
Timp.
Perc. 1
cresc.
Tba. S. Bass
3 Bb Tpt. 4
cresc.
1 2
Bb Tpt.
cresc.
cresc.
Eb Alto Sax. 1
Eb Bari. Sax.
cresc.
Bb Ten. Sax.
cresc.
cresc.
Eb Alto Sax. 2
cresc.
cresc.
1 2
Bsn.
cresc.
208 Picc. 208
fff
Fl. 1
Fl. 2
fff
fff
1 2
1 2
3 Bb Cl. 4
Ob.
Bb Cl.
fff
fff
Bb Bass Cl.
fff
fff
Bb Cbs. Cl.
fff
fff
1 Bsn. 2
Eb Alto Sax. 1
F Hn.
1 2
F Hn.
S. Bass
Timp.
3.
p
p
ord.
fff
fff
fff
fff
fff
SNARE DRUM
ff
Perc. 3
fff
Perc. 2
Perc. 4
fff
fff
Perc. 1
Tba.
fff
Euph.
a2 fff ord.
2 3
fff
Tbn.
fff
Tbn. 1
3 4
fff
3 4
a2
Bb Tpt.
fff
1 2
Eb Bari. Sax. Bb Tpt.
fff
Bb Ten. Sax.
fff
Eb Alto Sax. 2
fff
37
215
215 Picc.
ff
Fl. 1
Fl. 2
1 Ob. 2
Bb Cl.
1 2
3 4
Bb Bass Cl.
Bb Cbs. Cl.
Bb Cl.
1 Bsn. 2
Bb Ten. Sax.
Eb Bari. Sax. 1 2
3 Bb Tpt. 4
f
1. f
f
1. f
mf
f
mf
f
f
Perc. 1
Perc. 2
Perc. 3
Perc. 4
f
a2
ff
ff
a2
f
mf
mf
f
a2 straight mute
f
a2 mute
mute out
f
f
f
f
30 inch: D——A
mf
VIBRAPHONE
to straight mute
f
ff
Timp.
S. Bass
to straight mute
f
Tba.
Euph.
mf
Tbn. 1
2 3
a2
mf
Tbn.
mf
3 4
F Hn.
a2
to mute f f
1 F Hn. 2
f
f
Eb Alto Sax. 2
Bb Tpt.
Eb Alto Sax. 1
mf
SLAPSTICK ff
f
38
ff
Picc.
221
Fl. 1
Fl. 2
1 Ob. 2
Bb Cl.
1 2
3 Bb Cl. 4
Bb Bass Cl.
Bb Cbs. Cl.
1 Bsn. 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Eb Bari. Sax.
f
a2
a2
f
a2
ff
ff
ff
3
3
mf
Bb Tpt.
3 4
F Hn.
1 2
F Hn.
3 4
Tbn. 1
2 3
Euph.
Tba.
S. Bass
Timp. Perc. 1
Perc. 2
Perc. 3
Perc. 4
pizz.
mp ff
mf
ff
ff
VIBRASLAP
ff
l.v.
mf
Pedal gliss. on 30 inch drum
TAM TAM
mp
39
ff
3
3
p
1 2
3
Bb Tpt.
Tbn.
3
p
mf
3
3
3
3
3
3
3
3
3
mf
ff
ff
mf
3
ff
a2
f
ff
f
ff
Bb Ten. Sax.
223
mf
Picc.
Fl. 1
Fl. 2
226
1 Ob. 2 1 2
3 Bb Cl. 4
Bb Bass Cl.
Bb Cl.
Bb Cbs. Cl.
f
a2
f
Bsn.
1 2
f
mf
mf
mf
229
1.
1. f
f
f
f
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax. Bb Tpt.
Bb Tpt.
1 2
1 F Hn. 2
F Hn.
( a2 )
Tba.
f f
Timp.
Perc. 3
f
mf
mf
mf
f
to mute!
to mute
mf
mf
f
mf
mute
mf
f
f
f
f
(Vibes)
f
SUS. CYM. (stick) PED. B.D. l.v.
Perc. 4
f
f
Euph.
Perc. 2
f
a2
2 3
Perc. 1
f
( a2 )
f
( a2 ) straight mute
open
( a2 ) (st. mute)
3 4
S. Bass
f
mf
f
Tbn. 1
Tbn.
3 4
mf
f
40
Picc. 232
Fl. 1
Fl. 2
f
Eb Alto Sax. 2
Eb Bari. Sax.
1 Bb Tpt. 2
Bb Tpt.
f
Tbn. 1
Euph. Tba.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
f
sfz
sfz
f
mf
f
f
SLAPSTICK
PEDAL B.D.
41
mp
f
a2
a2
mp
mf
f
f
f
f
f
mute
sfz mf
f
f
a2
mf
Perc. 4
a2
3 4
2 3
Tbn.
F Hn.
f
a2
f
1 2
F Hn.
f
3 4
Bb Ten. Sax.
mf
Eb Alto Sax. 1
3 4
Bb Cl.
1 2
Bsn.
1 2
Bb Cl.
Bb Cbs. Cl.
1 2
Ob.
Bb Bass Cl.
237 Picc.
Fl. 1
Fl. 2
a2
1 Ob. 2
f
f
f
f
ff
ff
ff
ff
Bb Cbs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Tbn.
ff
ff
mf
3 4
Euph. Tba.
S. Bass
mute out
Perc. 1
Perc. 2
Perc. 4
f
f
f
f
mf
mf
SUS. CYM. (yarn)
42
p
cresc.
(Xylo.)
cresc.
f
f
f
f
open
to plunger mute
f
open
Timp.
Perc. 3
mute out
2 3
1 2
Tbn. 1
f
f
F Hn.
f
F Hn.
3.
3 Bb Tpt. 4
f
Eb Bari. Sax. 1 2
mf
Bb Tpt.
3 Bb Cl. 4
Bb Bass Cl.
a2
1 Bb Cl. 2
f
f
Picc.
243
Fl. 1
Fl. 2
1 Ob. 2
Bb Cl.
Bb Cl.
1 2
3 4
Bb Cbs. Cl.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Euph.
Perc. 2
Perc. 3
f
a2
mp
1.
mp
mp
mp
248
f
f
1. f
mute out
mute out
mp
mp
mp
ff
plunger
a2 mp
f
to mute
mp
Fltg.
O
mp
mp
f
ff
l.v.
pp
43
mp
f
ff
mute
f
p
mp
ff
mute
mp
to mute
ff
Perc. 4
ff
ff
2 Tbn. 3
Perc. 1
ff
Timp.
S. Bass
Tba.
Tbn. 1
3 4
3 F Hn. 4
p
1 2
F Hn.
ff
p
1 Bb Tpt. 2
Bb Tpt.
p
Bb Bass Cl.
Bsn.
p
mp
f
f
Picc. 249
Fl. 1
Fl. 2 1 Ob. 2
a2
1 Bb Cl. 2
Bb Cl.
mf
3 4
Bb Bass Cl.
Bb Cbs. Cl.
1 Bsn. 2
mf
Jet Whistle
ffff
Jet Whistle
ffff
5
mf
Eb Bari. Sax.
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
p
p
p
Bb Tpt.
1 2
Bb Tpt.
3 4
1 F Hn. 2
F Hn.
3 4
p
mf
mute out
mute out
O
2 3
Euph.
Tba.
Tbn.
S. Bass
Timp.
Perc. 1
(accented notes w/ clarinets)
Perc. 2
Perc. 3
mf
Perc. 4
p
(a2)
Tbn. 1
(a2)
p
(a2)
f
44
255
255
Picc.
Fl. 2
Bb Bass Cl.
Bb Cbs. Cl.
1 Bb Tpt. 2
ff
ff
Euph.
Tba.
Perc. 2
Perc. 3
f
a2
mute out
p
f
a2
f
f
f
3
f
ff
ff
arco
ff
ff
3
3
3
3
SLAPSTICK ff
B.D.
f
(a2) open
f
ff
ff
Perc. 4
ff
f
ff
2 3
open
Tbn. 1
f
ff
3 F Hn. 4
Perc. 1
Timp.
ff
1 2
S. Bass
a2
open
Tbn.
f
ff
open
F Hn.
a2
ff
3 4
f
f
Bb Tpt.
f
f
ff
Eb Bari. Sax.
Bb Ten. Sax.
f
1.
3 4
Bb Cl.
Eb Alto Sax. 2
ff
Eb Alto Sax. 1
1 2
1 2
Bb Cl.
Bsn.
ff
ff
1 Ob. 2
ff
Fl. 1
open
ff
ff
ff
3
3
3
3
3
f
3
a2
3
3
3
3
3
SNARE DRUM
45
p
261 Picc.
rit. poco a poco
261
fff
Fl. 1
fff
Fl. 2
fff
ffp
f
1 2
1.
3 4
Bb Bass Cl.
Bb Cl.
Bb Cl.
1 2
fff
fff
Bsn.
1 2
Eb Alto Sax. 1
1 2
3 4
mf
f
3. mf
Solo
mf
mp
fff
fff
fff
fff
fff
fff
Bs. Clar.
mp
1. Solo
mf
1.
3
f
fp
mp
fff
Tbn. 1
fff
Tbn.
2 3
fff
Euph.
fff
fff S. Bass fff Timp. Tba.
Perc. 1 Perc. 2
Perc. 3
fff
23 inch: Eb ——F 30 inch: Eb ——Ab
ff GLOCK.
Perc. 4
fff
ff
(B.D.) pp
fff
46
CHINESE CYMBALS
like distant thunder mp
f
mp
3
fff
mp
mf
fff
F Hn.
mf
fff
1 F Hn. 2
3 Bb Tpt. 4
Eb Bari. Sax. Bb Tpt.
Bb Ten. Sax.
f
ffp
fff
Eb Alto Sax. 2
Bb Cbs. Cl.
f
Ob.
mp
SUS. CYM. mp
pp
Picc. 268
Fl. 1
3
3
3
3
Fl. 2
Ob.
1 2
Bb Cl.
1 2
3 4
Bb Cl.
Bb Bass Cl.
Bb Cbs. Cl.
p
p
p
p
3
272 q = c. 69
pp
pp
pp
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Bsn.
1 2
Eb Bari. Sax.
1 Bb Tpt. 2 3 4
F Hn.
1 2
3 F Hn. 4
Tbn. 1
pp
2 3
Euph.
Tba.
S. Bass
Perc. 1
Perc. 3
p
p
p
2. 3.
pp
pp
pp
pp
pp
pp
Bsn. 1
pp
Solo
VIBRAPHONE
Celesta cues: Play if no celesta or pno. available
(Glock.)
Celesta cues: Play if no celesta or pno. available
on dome
Perc. 2
a2
p
Timp.
Cel.
Bsn. 1
(arco)
Tbn.
1. Solo
p
Bb Tpt.
Perc. 4
pp
mp
pp
47
mf
mf
mf
Picc.
Fl. 1
Fl. 2
1 2
(Bell up)
274
Ob.
3 4
Bb Bass Cl.
Bb Cbs. Cl.
Bb Cl.
Bb Cl.
1 2
1 Bsn. 2
mf
Eb Alto Sax. 2
Bb Ten. Sax.
mf
Eb Bari. Sax.
3 3
Eb Alto Sax. 1
3.
f 3
3
P
Bb Tpt.
1 2
Bb Tpt.
3 4
F Hn.
1 2
F Hn.
3 4
Tbn. 1
Tbn.
2 3
only one
Tba.
Perc. 1
Perc. 2
Perc. 3
mf
3
3
f
P
one only
Cel. Timp.
Euph.
S. Bass
Perc. 4
p
f
f
ord.
3
3
3
f
1. Solo
48
281 h = c. 80 Picc.
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl.
1 2
3 Bb Cl. 4
mp
Bb Bass Cl.
Bb Cbs. Cl.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
p
Bsn.
Eb Bari. Sax.
mp
Bsn. 1
mp
Bsn. 2
mp
Bb Tpt.
1 2
Bb Tpt.
3 4
F Hn.
1 2
3 4
Tbn. 1
F Hn.
a2
mp
Hn. 1&2
mp
2 3
Euph.
Tbn.
pp
( pp )
Tba.
( pp )
pizz.
S. Bass
Timp.
p
p
Perc. 1
Perc. 2
Perc. 3
Perc. 4
49
Picc.
1 2
Bb Cl.
Bb Cl.
291
1.
1 2
3 4
Bb Bass Cl.
Bb Cbs. Cl.
289
Fl. 1
Fl. 2
Ob.
Bsn.
1 2
mp
mf
mp
mp
mp
Tutti
mp
Eb Alto Sax. 1
Eb Alto Sax. 2
Play
Bb Ten. Sax.
Eb Bari. Sax.
Play
Bb Tpt.
1 2
3 Bb Tpt. 4
1 2
3 4
Tbn. 1
F Hn.
F Hn.
mf
mp
mp
mf
mf
mf
mf
mp
2 3
Euph.
Tba.
Tbn.
S. Bass
Timp.
mp
Perc. 1
Perc. 2
Perc. 3
Perc. 4
mp
50
Picc. 297
Fl. 2
Ob.
Fl. 1
1 2
3 Bb Cl. 4
Bb Bass Cl.
Eb Alto Sax. 1
Eb Alto Sax. 2
a2
Tutti
a2
mf
mf
mp
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
mp
mf
Eb Bari. Sax.
1 2
Bb Ten. Sax.
1 Bsn. 2
Bb Cbs. Cl.
Bb Tpt.
1 Bb Cl. 2
298
mf
mf
mf
1.
mp
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
cresc.
Bb Tpt.
3 4
F Hn.
1 2
F Hn.
3 4
Tbn. 1
2 3
Euph.
Tba.
Tbn.
S. Bass
Timp.
cresc.
cresc.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
51
Picc. 305
Fl. 1
Bb Cl.
1 2
Bb Bass Cl.
Bb Cbs. Cl.
1 2
Bb Ten. Sax.
cresc.
cresc.
mf
cresc.
f
mf
cresc.
f
mf
cresc.
cresc.
cresc.
a2
cresc.
mf
f cresc.
f
cresc.
mf
f
f
cresc.
Bb Tpt.
3 4
1 2
3 F Hn. 4
Tbn. 1
2 3
Euph.
Tba.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
a2
f
f
mf
mf
C——Db
cresc.
cresc.
f
52
cresc.
cresc.
cresc.
a2
Timp.
1 2
S. Bass
Bb Tpt.
Tbn.
Eb Bari. Sax.
F Hn.
cresc.
a2
Eb Alto Sax. 2
mf
Eb Alto Sax. 1
mf
3 Bb Cl. 4
Bsn.
306
1 2
mf
Fl. 2
Ob.
rit. Picc. 312
Fl. 1
Fl. 2
1 Ob. 2
1 Bb Cl. 2 3 Bb Cl. 4
Bb Bass Cl.
Bb Cbs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Bb Tpt.
fff
314 Majestic h = c. 76
fff
fff
fff
a2 fff
fff
fff
fff
fff
fff
fff
fff
fff
3 4
fff
fff
Euph.
Tba.
fff
fff
fff
arco
fff
fff
TRIANGLE
GLOCK.
BASS DRUM
fff
fff
ff
CHIMES (opt.: If available, use two sets of chimes, positioned on opposite ends of stage.) Strike any notes in wild and random fashion, evoking the sound of celebratory church bells.
fff The notated pitches are only a suggestion. Play at liberty, wildly and very loudly!
fff
fff
fff
Perc. 4
2 3
Perc. 3
Perc. 2
Perc. 1
Tbn. 1
Timp.
S. Bass
3 4
Tbn.
F Hn.
a2
Optional organ part enters here, doubling brasses.
1 2
1 F Hn. 2
Eb Bari. Sax.
Bb Tpt.
CRASH CYMBALS
53
(B.D.) ff
l.v.
Picc. 317
Fl. 2
3 4
Bb Bass Cl.
Bb Cbs. Cl.
Bb Ten. Sax.
Eb Alto Sax. 2
Eb Alto Sax. 1
1 Bb Cl. 2
1 2
1 Ob. 2
Bsn.
Fl. 1
Bb Cl.
Eb Bari. Sax.
fff
(a2) fff
fff
fff
fff
fff
Bb Tpt.
3 4
F Hn.
1 2
F Hn.
3 4
Tba.
S. Bass
Timp.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
Ab——G
54
(a2)
a2
fff
fff
Euph.
2 Tbn. 3
1 2
Tbn. 1
Bb Tpt.
fff
fff
320
Fl. 1 Fl. 2
1 Ob. 2
Bb Bass Cl.
Bb Cbs. Cl.
Eb Alto Sax. 1
Eb Alto Sax. 2
1 Bb Tpt. 2
3 Bb Tpt. 4
Bb Ten. Sax.
Eb Bari. Sax.
F Hn.
1 2
3 F Hn. 4
Tbn. 1
2 Tbn. 3
Euph.
Perc. 2
Perc. 3
Perc. 4
(a2)
fff
2.
fff
div.
Db——D§
Timp. Perc. 1
Tba. S. Bass
3 4
molto rit.
1 Bsn. 2
1 Bb Cl. 2
Bb Cl.
323
Picc.
rit.
(B.D.)
SUS. CYM.
55
fffp
f
f
bell tones f
bell tones
bell tones
bell tones
bell tones
bell tones
bell tones
bell tones
bell tones
bell tones
bell tones
f
pizz.
f
fff
fffp
mf
bell tones
bell tones
bell tones
328 q = c. 76 bell tones bell tones bell tones
l.v.
l.v.
fff
fff
f
Picc.
Old Hundredth (16th-century Genevan Psalter)
329
Fl. 1
Bb Cl.
Bb Cl.
1 2 1 2
f
f
Eb Bari. Sax.
f
3 4
mf
mf
mf
f
Bb Ten. Sax.
f
Eb Alto Sax. 2
f
(2.)
f
Tbn. 1
f
f
Tbn.
2 3
f
Euph. Tba.
S. Bass
f
Cel.
Timp. Perc. 1
Perc. 2
Perc. 3
mf
f
Perc. 4
mf
mf
mf
mp
mf
mf
mf
mf
mf
mf
mp
mp
p
p
mp
mp
mp
p
p
p
3
mp
mp mp
mp
mp
p
p p
3
pp
p
mf
(with flutes)
3
(Play upper octave only if contrabs. clar. is available)
30 inch: G——Gb
mp
mp
mf
Old Hundredth (16th-century Genevan Psalter)
mp
p
mf
mf
mf
mf
3
f
One only
1. Solo baleful
(Optional organ tacets here to end...)
mp
One only
3. mf
f
3 F Hn. 4
1 F Hn. 2
mf
Eb Alto Sax. 1
Bb Tpt.
f
1 2
1 2
Bb Cbs. Cl.
Bb Tpt.
f
3 4
f
Bb Bass Cl.
Bsn.
Fl. 2
Ob.
p
p
56
Picc.
335
Fl. 1
Fl. 2
Ob.
1 2
1 Bb Cl. 2
3 4
Bb Bass Cl.
Bb Cl.
Bb Cbs. Cl.
1 Bsn. 2
a2
1.
mp
molto rit.
pp
pp
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt.
1 2
Bb Tpt.
3 4
F Hn.
1 2
F Hn.
3 4
Tbn. 1
2 3
Euph.
Tbn.
Tba.
S. Bass
Mute
Cel. Timp.
pp
mf
pp
3.
Slow gliss.
mp
arco
mp
p
Slow gliss.
Slow gliss.
Perc. 1
Perc. 2
Perc. 3
Perc. 4
VIBRAPHONE
mp
57
Conductor: Men will likely need to sing falsetto on the Eb with the women singing the Bb. Experiment as needed to obtain proper balance between the two pitches.
341 h = c. 50 Picc. pp Fl. 1 pp
Fl. 2
1 Bb Cl. 2
3 4
Hmm...
Bb Cl.
Bb Bass Cl. Bb Cbs. Cl.
a2
pp
Eb Alto Sax. 1
Eb Bari. Sax.
F Hn.
F Hn.
Hmm... Hum softly, concert pitch, no octaves! (Men use falsetto) Stagger breaths
3 4
1 2
Hum softly, concert pitch, no octaves! (Men use falsetto) Stagger breaths
3 4
Hum softly, concert pitch, no octaves! (Men use falsetto) Stagger breaths
Hmm...
Hmm...
Hmm...
2 Tbn. 3
pp
Euph.
pp
Tba. S. Bass Sopr.
Cel. Timp.
pp
pp
pp
ppp
WHIRLY
Hmm...
I
Perc. 4
p
CRYSTAL WINEGLASSES
Perc. 2
Perc. 3
CRYSTAL WINEGLASSES
p
Hmm... Hum softly, no octaves! (Men use falsetto) Stagger breaths
WHIRLIES
Perc. 1
p
Hum softly, no octaves! (Men use falsetto) Stagger breaths
Hmm...
Tbn. 1
Hum softly, no octaves! (Men use falsetto) Stagger breaths
have
come,
p
58
,
I
have
come,
Hum softly, concert pitch, no octaves! (Men use falsetto) Stagger breaths 1 Bb Tpt. 2
Bb Tpt.
Hmm... Hum softly, concert pitch, no octaves! (Men use falsetto) Stagger breaths Hmm...
Hmm...
Hum softly, concert pitch, no octaves! (Men use falsetto) Stagger breaths
Bb Ten. Sax.
Hmm... Hum softly, concert pitch, no octaves! (Men use falsetto) Stagger breaths
Hmm...
Hum softly, no octaves! (Men use falsetto) Stagger breaths
Hmm... Hum softly, concert pitch, no octaves! (Men use falsetto) Stagger breaths
Eb Alto Sax. 2
Hmm... Hum softly, concert pitch, no octaves! (Men use falsetto) Stagger breaths
1 2
Bsn.
Hmm... Hum softly, concert pitch, no octaves! (Men use falsetto) Stagger breaths
Hmm... Hum softly, no octaves! (Men use falsetto) Stagger breaths
1 2
pp
Hmm... Hum softly, no octaves! (Men use falsetto) Stagger breaths
Ob.
pp
Hmm... Hum softly, no octaves! (Men use falsetto) Stagger breaths
Hum softly, no octaves! (Men use falsetto) Stagger breaths
,
To
pro
-
tect
my
cho - sen
Picc. 348
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl.
1 2
Bb Cl.
3 4
Bb Bass Cl.
Bb Cbs. Cl.
Eb Bari. Sax. Bb Tpt.
1 2
Bb Tpt.
3 4
F Hn.
1 2
F Hn.
3 4
Tbn.
2 3
Euph. Tba. S. Bass
Sopr.
Tbn. 1
,
Perc. 2
Perc. 3
pp
pp
And
lead
Cbs. Clar.
pizz.
them
to
the
pp
land.
pp
pro - mised
I
mp
pp
am
an
an
-
gel
of
light
59
Perc. 4
Cel.
Perc. 1
band
Timp.
Bb Ten. Sax.
Eb Alto Sax. 2
Eb Alto Sax. 1
1 Bsn. 2
352
rit.
Picc.
dim.
355
Fl. 1
Fl. 2 Ob.
1 2
3 4
Bb Bass Cl.
Bb Cbs. Cl.
1 Bb Cl. 2
Bb Cl.
1 Bsn. 2
Eb Bari. Sax.
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Bb Tpt.
1 2
1 2
3 4
Tbn. 1
2 Tbn. 3
Euph.
F Hn.
F Hn.
Tba. S. Bass
Sopr.
Perc. 1
Perc. 2
Perc. 3
Cel. Timp.
I
have
soared
from
a
-
bove
I
am
cloth'd with
Mo - ther's
dim.
dim.
dim.
dim. dim.
dim.
dim.
dim.
dim.
dim.
dim.
arco
ppp
ppp
dim.
dim. dim.
dim.
dim.
dim.
60
Perc. 4
dim.
dim.
dim.
love.
dim.
ppp
dim.
dim.
dim.
3 4
Bb Tpt.
pp
F R A N K W O R K S
T I C H E L I
F O R
C O N C E R T
B A N D
FRANK TICHELI’S WORKS FOR CONCERT BAND
A R E P U B L I S H E D E X C L U S I V E LY B Y M A N H AT TA N B E A C 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) 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) Sanctuary (12 minutes, grade 5) 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
Vesuvius (9 minutes, grade 4) Wild Nights! (6 ½ minutes, grade 4)
learn more at WWW.FRANKTICHELI.COM
THE OFFICIAL SOURCE FOR THE MUSIC OF FRANK TICHELI
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AN B E �� AC S I�C� � � �M� � � H� A�T�T A � �N� �� �H � �M� �U � � � � � � � � � � � �� �� � � � � � � � � � � � � � � � � BOB MARGOLIS: PUBLISHER ���������� N E I L R U D DY: C R E AT I V E D I R E C T O R C O F O U N D E R S � � � � � � � � � � � � � � � �� � � � � � � � � � � � � � � �
PRINTING :
CHERN AY
PRINTING,
INC .
ANGEL S IN THE ARCHITEC TURE COVER PHOTOGR APHY: ROBERT BENNE T T
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