Frank Ticheli
Concert Band
www.Manhattan
Beach Music.com
Recording Credits for Joy Revisited: Performance by USC Thornton Wind Ensemble, reading session conducted by the composer.
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.
JOY REVISITED 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 Bassoon 1
3 F Horn 2
2 Piccolo
2 Bassoon 2
2 Trombone 1
4 Flute 1
3 Eb Alto Saxophone 1
3 Trombone 2
4 Flute 2
3 Eb Alto Saxophone 2
3 Trombone 3
2 Oboe 1
2 Bb Tenor Saxophone
3 Euphonium B.C.
2 Oboe 2
2 Eb Baritone Saxophone
2 Euphonium T.C.
4 Bb Clarinet 1
3 Bb Trumpet 1
5 Tuba
4 Bb Clarinet 2
3 Bb Trumpet 2
2 Timpani
4 Bb Clarinet 3
3 Bb Trumpet 3
3 Percussion 1 Xylophone, Glockenspiel
3 Bb Bass Clarinet
3 F Horn 1
3 Percussion 2 Triangle, Crash Cymbs., Snare Dr., Susp. Cymb.
1 Eb Contrabass Clarinet
PRINTED
3 Percussion 3
Bass Drum, Wood Block, Suspended Cymbal
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 www.ManhattanBeachMusic.com
Fax: 718/338-1151
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
.
Joy Revisited was commissioned by the Longmont High School Band, David Merrill and Darryl Abrahamson, directors. This commission was made possible by the diligent fundraising efforts of our students, parents and music boosters, as well as contributions from Longmont High School, the Rocky Mountain Concert Band, and the Rocky Mountain Center for Musical Arts. The piece was premiered on May 11th, 2005.
A
bove all, Joy Revisited is an expression of its namesake: simple, unabashed joy.
The main melody and overall mood of the work (and its companion piece, Joy) were inspired by a signal event: the birth
of our first child. The intense feelings that any father would likely feel on such a day were, in my case, accompanied by a simple little tune which grabbed hold of me in the hours preceding her birth, and refused to let go throughout the day and many days thereafter. Indeed, until I jotted it down in my sketchbook, it did not release its grip.
Seven years and two children later, I stumbled upon that old sketch and discovered (or rediscovered) that it would serve perfectly as the foundation for a joy-filled concert band overture.
About Joy and Joy Revisited
Joy Revisited, and its companion piece, Joy, are the results of an experiment I have been wanting to try for many years: the creation of two works using the same general melodic,
harmonic, and expressive content. In other words, I endeavored to compose un-identical twins, two sides of the same coin — but with one major distinction: Joy was created with young players in mind, while Joy Revisited was aimed at more advanced players.
Thus, Joy Revisited is somewhat longer, more technically demanding, and develops ideas further than its companion. Where Joy sounds a dominant chord, Joy Revisited elaborates upon that chord with a flourish of 16th-notes. While Joy moves at a bright tempo and is centered around Bb, Joy Revisited moves even faster, and is centered around Eb, extending the register of the instruments upwards by a perfect fourth.
Despite these and many more differences between the two works, both come from the same essential cut of cloth, both were composed more or less simultaneously, and both were born out of the same source of inspiration. In short, Joy and Joy Revisited serve as two expressions of the feelings experienced by one expectant father (who happens also to be a composer) on one wonderfully anxious and exciting day.
BA S I C F O R M A L P L A N
Main Theme
mm. 1–13
Eb Mixolydian… Eb Major
Episode 1
mm. 14–21
Eb Major
Development of Main theme mm. 22–37
Db Mixolydian… Bb Major… G Major… G minor
Episode 2
mm. 38–47
Eb Mixolydian… V7 of Bb
Theme 2 (lyrical theme)
mm. 48–58
Bb Mixolydian
Episode 3
mm. 59–70
Eb Major
Main theme, pointillistic
mm. 71–75
Eb Major
Episode 2 (extended)
mm. 76–89
Eb Mixolydian… V7 of Bb… V7 of Eb
Main theme (Recapitulation) mm. 90–105
Eb Mixolydian… Eb Major
Coda
Eb Major
mm. 106–113
S
S C O R E
N O T E S
Main Theme (mm. 1–13)
Theme 2 (mm. 48–58)
Built on a series of rising thirds, the main melody is stated in two parallel phrases, the second one being in imitation at the octave. Strive to keep the melody bright and lively.
Once again, a new section ushers in a dramatic change of style, the tempo being slightly held back, the texture made calmer and more lyrical. Free, cantabile lines are passed from the flutes, to the horns, to the euphoniums, tubas, and bass clarinets, and finally to the trumpets. As an accompaniment, simple eighth-note patterns undulate in the woodwinds. Note the manner in which these patterns are offset against one another (e.g., mm. 51–53, clarinet pattern is offset by 2nd flute and first oboe) as a way of hiding the seams and enhancing the sense of continuous flow.
A joyous outburst of sound follows (mm. 10–13), and is interrupted just before its cadence by a brief, unexpected silence. (It might be beneficial to discuss with students the use of silence as a dramatic compositional tool.) Episode 1 (mm. 14–21) Parallel rising tenths form this simple, tongue-incheek episode, which serves as a brief oasis between statements of the main theme. The accents are important here.The descending scale in measure 17 could be stated in an especially strong manner as a way of enhancing the humorous nature of the episode. Development of Main Theme (mm. 22–37) The main melody is developed, and put through a series of abrupt modulations. Beginning at measure 28, the melody’s first two notes alone are used as a motive for imitation, first in G Major, then in G minor. Take care to balance equally all of the statements of this motive, and point out the importance of bringing out each entrance while backing away from the sustained portion of the note. Episode 2 (mm. 38–47) The music suddenly shifts to a staccato style as four-note scale patterns run in both ascending and descending directions. Note the use of hemiola in much of this section — the use of two-beat patterns separated by quarter-note rests, suggesting a 3/4 meter. Sometimes all of the parts conform to this pattern (mm. 38–39, 42–43), but on one occasion (mm. 40–41) the parts are in opposition to one another, some conforming to 3/4 while others suggest 4/4. These simple rhythmic techniques — hemiola and polymeter — help to keep the music alive and unpredictable, and they might serve as fun and interesting topics of discussion with students. The music gathers strength, bursting out at measure 44 as the tonality shifts suddenly from Eb Mixolydian to F Major. Be sure that the accents are observed in the fanfare-like calls stated by the upper woodwinds, and answered by the alto saxophones and trumpets.
Episode 3 (mm. 59–70) The music swells and accelerates back to the main tempo, ushering in the joyful third episode. Main Theme, treated pointillistically (mm. 71–75) The main theme is recalled here, but now it is broken up into two-beat units and passed around the ensemble. The sound literally moves around the room, and each group of players should be balanced equally. The objectives here are to achieve sudden color contrasts, and to have fun doing it. Episode 2, extended (mm. 76–89) Episode 2 returns, at first as an exact repetition of itself; however, its tail is extended by four bars (mm. 86–89), allowing for a longer ritardando and diminuendo, as well as giving extra time for the music to make its way back to the home key. Recapitulation of Main Theme (mm. 90–105) The main theme is the same as in the beginning. Coda (mm. 106–113) The timpanist should command the most attention at the coda, and none of the players should be timid in their interpretations of the crescendos, as well as the subito piano indication at measure 108. A final reminder of the main tune is shouted out in octaves, bringing the piece to an exultant conclusion.
Frank Ticheli Genoa, Italy
Learn about Frank Ticheli’s newest works, events, CDs, DVDs, books, and hear complete recordings at
www.FrankTicheli.com “The official source of all things Ticheli”
Gg
commissioned by the Longmont High School Band, David Merrill and Darryl Abrahamson, Directors
JOY REVISITED FOR CONCERT BAND Lively ( = c. 152)
2
3
FRANK TICHELI 4
Piccolo
1 Flute 2
Oboe
1 2 (Alto Sax.1)
1 (Alto Sax.2)
B Clarinet 2 (Hn.2)
3
B Bass Clarinet
E Contrabass Clarinet
1 2
Bassoon
1 E Alto Saxophone 2
B Tenor Saxophone
E Baritone Saxophone
1 B Trumpet 2 3
1 F Horn 2
1 Trombone 2 3 Euphonium
Tuba Tunings Timpani
1
Percussion 2
3
Copyright © 2005 Manhattan Beach Music / All Rights Reserved — Printed and engraved in the United States of America ISBN 1-59913-004-1 (complete set) ISBN 1-59913-005-X (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
6
5
7
Picc.
1 Fl. 2
Ob.
1 2 Play
1 Play B Cl. 2 Play 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
1 F Hn. 2
1 Tbn. 2 3
Euph.
Tuba
Timp.
1 TRIANGLE
to Crash Cymbals
Perc. 2
3
2
8
10 9
11
12
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 1 Bsn. 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
2.
2. 3.
1 F Hn. 2
1 Tbn. 2 3
Euph.
Tuba
Timp. gliss.
XYLOPHONE
1 CRASH CYMBALS
Perc. 2 BASS DRUM
3
3
14
13
15
16
Picc.
1 Fl. 2 a2 Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (a2)
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
1 F Hn. 2
1 Tbn. 2 3
Euph.
Tuba
Timp. to Glockenspiel
1 to Snare Drum
Perc. 2
3
4
17
18 19
20
21
22
Picc.
1 Fl. 2 a2 Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. (a2) Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
1 F Hn. 2
1 Tbn.
a2
2 3
Euph.
Tuba
Timp.
1 SNARE DRUM
Perc. 2
3
5
23
24
25
26
Picc.
1 Fl. 2 (a2) Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
a2 Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
1 F Hn. 2
1 Tbn.
(a2)
2 3
Euph.
Tuba
Timp.
1 to Crash Cym.
Perc. 2 (B.D.)
3
6
28 27
30
29
Picc.
1 Fl. 2 (a2) Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
(a2) Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax. (Bsn.2)
E Bari. Sax. to st. mute 1 B Tpt.
to st. mute
2 3
1 F Hn. 2
1 Tbn.
(a2)
2 3
Euph.
Tuba
Timp. GLOCKENSPIEL
to Xylo.
1 CRASH CYM.
to Tri.
Perc. 2 (B.D.)
to Woodblock
3
7
32
31
33
34
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2 (Ob.1)
1 E Alto Sax.
(Ob.2)
2
B Ten. Sax. (Bsn.2)
E Bari. Sax.
1 B Tpt. 2 3
1 F Hn. 2
1 Tbn. 2 3
Euph.
Tuba
Timp.
1 TRI.
l.v.
Perc. 2
3
8
to Suspended Cymbal
35
36
38
37
39
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2 (Ob.1)
1 E Alto Sax.
(Ob.2)
2
B Ten. Sax. Play E Bari. Sax. straight mute
1 B Tpt.
straight mute
2.
2 3
1 F Hn. 2
1 Tbn. 2 3
Euph.
Tuba
Timp. XYLO.
1
Perc. 2 WOODBLOCK
3
9
40
41
42
43
Picc. cresc.
1 cresc.
Fl. 2
cresc. a2 1 Ob. 2
cresc.
1
B Cl. 2
3 cresc. B Bass Cl. cresc. E Cb. Cl. cresc. 1 Bsn. 2 cresc. Play 1 E Alto Sax.
Play
2
B Ten. Sax. cresc. E Bari. Sax. cresc. 1 B Tpt.
cresc.
2 3 3: straight mute
cresc.
1 cresc.
F Hn. 2 cresc. 1 Tbn.
cresc.
2 3 cresc. Euph. cresc. Tuba cresc. Timp. (Xylo.)
1 SUSPENDED CYMBAL
Perc. 2 (Woodblock)
3
10
44
rit.
45
46
47
Picc.
1 Fl. 2 (a2) 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: mute out
2 3
1 F Hn. 2
1 Tbn. 2 3
Euph.
Tuba
Timp. to Glock.
1 l.v.
to Tri.
Perc. 2 to B.D.
3
11
48
= c. 116
49
50
51
52
Picc.
1 cantabile
Fl. 2
1. 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. mute out 1 B Tpt. 2 3
3: mute out
1 F Hn.
cantabile
2 cantabile 1 Tbn. 2 3
Euph. one player only
Tutti
Tuba
Timp.
1
Perc. 2
3
12
54
53
55
accel.
56
57
Picc.
1 Fl. 2 (1.) Ob.
a2
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
1 E Alto Sax. 2 Play
(Alto Sax.2)
B Ten. Sax.
E Bari. Sax. open 1 B Tpt.
2: open
2 3 3.: open 1 F Hn. 2
1 Tbn. 2 3
Euph.
Tuba
Timp. GLOCK.
1
Perc. 2
3
13
59 Tempo I (
58
= c. 152) 60
61
62
Picc.
1 Fl. 2 (a2) 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
1 F Hn. 2
1 Tbn.
a2
a2
2 3
Euph.
Tuba
Timp.
1 TRI.
Perc. 2 to Suspended Cymbal
B.D.
3
14
67 63
64
rit.
65
66
a tempo
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
1 F Hn. 2
1 Tbn.
(a2)
2 3
Euph.
Tuba
Timp.
1 l.v. Perc. 2 SUSPENDED CYMBAL
3
15
l.v. to Woodblock
68
69
70
71
72
1 74
73
Picc.
1 Fl. 2
Ob.
1 2 (Ob.1)
(Ob.2)
Play
1 (Ob.2)
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
a2
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt. 2 3
1 F Hn. 2
1 Tbn.
a2
2 3
Euph.
Tuba
Timp. to Xylo.
1 (Tri.)
Perc. 2
3
16
(dampen)
Play
75
76
2
77
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl. a2 Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt.
2.
2 3
1 F Hn. 2
1 Tbn. 2 3
Euph.
Tuba
Timp. XYLO.
1 to Sus. Cym.
Perc. 2 WOODBLOCK
3
17
78
82 79
80
81
Picc. cresc. 1 cresc. Fl. 2 cresc. a2 Ob.
1 2
cresc.
1
B Cl. 2
3 cresc. B Bass Cl. cresc. E Cb. Cl. cresc. 1 Bsn. 2 cresc. 1 E Alto Sax. 2
B Ten. Sax. cresc. E Bari. Sax. cresc. 1 B Tpt.
cresc.
2 3 cresc. 1 cresc.
F Hn. 2 cresc. 1 Tbn.
cresc.
2 3 cresc. Euph. cresc. Tuba cresc. Timp. (Xylo.)
1 SUS. CYM.
l.v.
to Tri.
Perc. 2 (Woodblock)
to B.D.
3
18
86 83
84
rit.
85
= c. 116 rit.
87
Picc.
Solo 1 Fl. 2 (a2) Ob.
1 2
Solo 1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
Solo 1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax. (Hn.1)
1 B Tpt. 2 3
Solo 1 F Hn. 2
1 Tbn. 2 3
Euph. one player only Tuba
Timp.
1
Perc. 2
3
19
= 92 88
89
(brief)
90
= c. 160 91
Picc.
1 Fl. 2
Ob.
1 2 (Alto Sax.1)
1 (Alto Sax.2)
B Cl. 2 (Hn.1)
3
B Bass Cl.
E Cb. Cl.
Bsn.
1 2
(brief) 1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
(brief) 1 B Tpt. 2 3
Tutti 1 F Hn. 2 (Euph.)
1 Tbn. 2 3
Solo Euph.
Tuba
(brief) Timp.
1
Perc. 2
3
20
92
94
93
Picc.
1 Fl. 2
Ob.
1 2 Play
1 Play B Cl. 2 Play 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
1 F Hn. 2
1 Tbn. 2 3
Tutti Euph.
Tuba
Timp.
1 TRI.
to Crash Cym.
Perc. 2
3
21
95
98 96
97
99
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. 2 3
2.
2. 3.
1 F Hn. 2
1 Tbn. 2 3
Euph.
Tutti Tuba
Timp. (Xylo.)
1 CRASH CYM.
Perc. 2 B.D.
3
22
gliss.
100
102
101
Picc.
1 Fl. 2 a2 Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
a2 Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt.
2.
2 3
1 F Hn. 2
1 Tbn.
a2
2 3
Euph.
Tuba
Timp.
1 to Sus. Cym.
Perc. 2
3
23
103
104
105
106
107
108
109
Picc.
1 Fl. 2
Ob.
1 2
1 sub.
B Cl. 2 sub.
3 sub.
B Bass Cl. sub.
E Cb. Cl. sub.
1 Bsn. 2 sub.
1 sub.
E Alto Sax. 2
sub.
B Ten. Sax. sub.
E Bari. Sax. sub.
1 sub.
B Tpt. 2 3
sub.
1 sub.
F Hn. 2
sub.
1 sub.
Tbn. a2
2 3 sub.
Euph. sub.
Tuba sub.
Timp. sub.
1
Perc. 2 (B.D.)
3
24
110
112
111
113
Picc.
1 Fl. 2
Ob.
1 2
1
B Cl. 2
3
B Bass Cl.
E Cb. Cl.
a2
Bsn.
1 2
1 E Alto Sax. 2
B Ten. Sax.
E Bari. Sax.
1 B Tpt.
a2
2 3
1 F Hn. 2
1 Tbn.
(a2)
2 3
Euph.
Tuba
Solo
dampen
Timp. gliss.
gliss.
(Xylo.)
1 l.v.
SUS. CYM.
(choke)
Perc. 2 dampen
l.v. 3
25
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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)
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