Peace for concert band by Frank Ticheli

P E A C E C

O

N

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E

F R A N K

M a n h a t t a n

R

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B

A

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D

T IC H E L I

B e a c h

M u s i c

Recording Credits for Peace: Performance by the American Band College of Sam Houston State University, 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.

P E AC E F O R

C O N C E R T

B A N D

FR A NK T ICHELI I N S T R U M E N T A T I O N

Full Score

6

Trombone

10 Flute /Oboe

3

Euphonium B.C.

12 Bb Clarinet

3

Euphonium T.C.

2

Bb Bass Clarinet

4

Tuba

1

Bassoon

1

Timpani (optional)

6

Eb Alto Saxophone

1

Glockenspiel

2

Bb Tenor Saxophone

1

Chimes

2

Eb Baritone Saxophone

3

Percussion Triangle, Small Tom Tom, Bass Drum

8

Bb Trumpet

1

4

F Horn

Percussion Score (Timpani, Glockenspiel, Chimes, Triangle, Small Tom Tom, Bass Drum)

1

P R I N T E D O N A RC H I VA L PA P E R

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

P R O G R A M

N O T E

P E A C E begins with the glow of a quiet, starlit evening, a pair of lightly scored lines mir-

roring each other amid the gentle tolling of bells.

The music gently unfolds, floating between the keys of Eb and Bb Major like some wandering traveller. A second idea, growing from a repeated 8th-note motive, moves forward with more assuredness, but still clings to aspirations of peace and serenity.

A D D I T I O N A L

N O T E

was composed for my long-time friend, Cindi Sobering and her Highland Park Middle School Band in Dallas, Texas. The piece is the result of her challenge to me to compose music that could be performed by her young band by the end of their first semester of study.

P E A C E

The written ranges of all the instruments are contained within a single octave—most parts range even less than an octave. Pitches comprise diatonic notes of Bb major plus one chromatic note, concert Ab. The rhythms are limited to whole-notes, half-notes, quarter-notes, and eighthnotes, the latter always repeated on a single pitch. There are no dotted notes of any kind, and articulations are not used with the exception of a few slurs.

My main hope is that P E A C E might serve as a vehicle to teach young players about legato playing style, lyricism, and beauty of sound.

P E R F O R M A N C E

S U G G E S T I O N S

Section A (bars 1-19) The bell-like percussion of chimes, glockenspiel, and triangle very much define the meaning and expressive world of the piece; they should be clearly audible. Their parts are marked one dynamic louder than the others; however, if they are still not coming through clearly, you may need to boost their dynamic to mf.

In measures 1 to 13, the sustained alto saxophone notes should be very subtle and quiet, and should not distract from the moving flute and clarinet lines. To achieve this goal, you may need to reduce the number of saxophonists playing this passage.

Section B (bars 20-45) Legato playing style is crucial in this section. The 8th-note groupings in particular should be played as smoothly as possible. A du tongue is encouraged, and an emphasis on beauty of sound.

The small tom-tom may need to be slightly muffled with a piece of cloth, especially if its sound interferes with the legato nature of this section. The player is encouraged to experiment with a variety of lighter sticks or mallets as a means of achieving the appropriate subtlety of sound.

Section A' (bars 46-55) The horns and low brass/woodwinds elide into this section by one bar. Encourage them to fade away to nothing so that their sound slowly evaporates into the new section.

Section B' The silent 2/4 bar suggests a brief moment of reflection before proceeding to the final two bars. The players should observe complete silence for those two beats, without any ringing over of timpani or glockenspiel, and without feet tapping!

Frank Ticheli Pasadena, California

F RA N K

T I C H ELI

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

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

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

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

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

December Snow (2 ¼ minutes, grade 1) Earth Song (3 ½ minutes, grade 2) First Light (3 minutes, grade 1) Fortress (5 ½ minutes, grade 3) Gaian Visions (9 ½ minutes, grade 6) Joy (2 ½ minutes, grade 2) Joy Revisited (3 ½ minutes, grade 3) Korean Folk Songs from Jeju Island (10 ½ minutes, grade 4) Loch Lomond (6 ½ minutes, grade 3) Nitro (3 minutes, grade 4) Pacific Fanfare (5 ½ minutes, grade 5) Peace (3 minutes, grade 1) Portrait of a Clown (2 ¾ minutes, grade 2) Postcard (5 ¼ minutes, grade 5) This work is also available as Postcard for orchestra

Rest (8 minutes, grade 4)

This work is also available as Rest for string orchestra

Sanctuary (12 minutes, grade 5) San Antonio Dances (9 ½ minutes, grade 4) Songs of Love and Life (23 minutes, grade 6) for Soprano and Small Wind Ensemble (18 players) A Shaker Gift Song (2 minutes, grade 2) This work is a separate publication of the third song from Simple Gifts: Four Shaker Songs

Shenandoah (6 ½ minutes, grade 3) Simple Gifts: Four Shaker Songs (9 minutes, grade 3) Sun Dance (5 minutes, grade 3) Symphony No. 1 (31 minutes, grade 6)

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

Symphony No. 2 (21 minutes; mvts. 1 & 2 are grade 6, mvt. 3 is grade 5)

Movement 1, “Shooting Stars,” Movement 2, “Dreams Under a New Moon,”and Movement 3, “Apollo Unleashed” may be separately performed

The Tyger (6 minutes, grade 6) Vesuvius (9 minutes, grade 4) Wild Nights! (6 ½ minutes, grade 4) WWW .FRANKT ICH ELI .COM

THE OFFICIAL SOURCE FOR THE MUSIC OF FRANK TICHELI

Dedicated to Cindi Sobering and the Highland Park Middle School Band, Dallas, Texas

PEACE

Full Score

FOR CONCERT BAND       2     

FRANK TICHELI

q = c. 104 Sempre Legato

Flute Oboe

3

   4

p

Bb Clarinet

        

     

  



p

Eb Alto Saxophone



p

Bb Tenor Saxophone

Bb Trumpet

F Horn

Low Brass & Woodwinds

Tuba

  

Small Tom Tom Bass Drum

6





7























   









  









  









   



























   let ring        let ring   

let ring   

  

p

      

   





p



p

mp

Triangle





mp

Chimes



5



  Tunings Timpani      (optional) Glockenspiel



mp



   

 

 













   

p



 

      













Copyright © 2015 Manhattan Beach Music - All Rights Reserved - Printed and engraved in the United States of America ISBN 1-59913-168-4 (complete set) ISBN 1-59913-169-2 (conductor score) Visit www.Frank Ticheli.com for the latest information on the music of Frank Ticheli Purchase music, download free MP3s, view virtual scores and more at www.ManhattanBeachMusic.com

 

10 A Tempo 11 12        









   



  

rit.

8

Fl. Ob.

Bb Cl.

Eb Alto Sax.

Bb Ten. Sax.





Low Br. & Low Ww's.

Tba.

9

p

 



 



     

 Bb Tpt.  F Hn.



  



p





























p

    

p





 





Tri.







Sm. Tom Bs. Dr.







    15    



      

 



mp





mp



mp



































p



14

p





 



 









Chimes







Glock.

p





Timp.

      

13

     

p

 























2

 









A Tempo

rit.

       Fl.  Ob.  17

16

Bb Cl.

Eb Alto Sax.

Bb Ten. Sax.

     



Low Br. & Low Ww's.

Tba.

Timp.

Glock.

Chimes

19



20

21

22

         mf





     mf

 



 

 









 



        

     





     





 Bb Tpt.  F Hn.

18









mf







        mf

      

           

  

          mf  









p



   

   

mf





































Tri.

















Sm. Tom Bs. Dr.

















3

  Fl.   Ob.  23

Bb Cl.

Eb Alto Sax.

Bb Ten. Sax.

 

  29 





 



   

 



          











          













mp

  



 Bb Tpt.  F Hn.

28 24 26 27 (- oboe)  25                    



      

 









      

mf

Low Br. & Low Ww's.

 

        

Tba.

   

        

Timp.









mp

mp









    



















  

mf

Glock.

 

Chimes

 











 























Tri.

Sm. Tom Bs. Dr.



         

mf

4

(let ring)

mp

mp

 







   Fl.  Ob.  30

31

33 32     (+oboe) 

 34   35    36 

  37

f

 





     

 

  

  

     









 Bb Tpt. 

  

         

 











     

 









  

     



 











         

 

  











         

 





mf

  





     

Bb Cl.

Eb Alto Sax.

Bb Ten. Sax.

F Hn.

Low Br. & Low Ww's.

Tba.

Timp.

Glock.

Chimes

Tri.

Sm. Tom Bs. Dr.

 

 

 





 





f

f

f



f

f







    

 



 









  





f

f









f

  

f

f

 

  

    

  

 

 

  

                    

mf

5





  



38 39 40 41        Fl.        

      42

Ob.

mf

Bb Cl.

Eb Alto Sax.

    

   

          

   



  

mf

mf

Bb Ten. Sax.

43



 Bb Tpt. 

      

     

mf

  

mf

    

   

F Hn.

                    mf

     

Low Br. & Low Ww's.

         

     

    

     

mf

Tba.

Timp.



 

  



    



mf

mf







    

Glock.

 













Chimes

 













Tri.















Sm. Tom Bs. Dr.











    

    

6

mf

46 A Tempo  45       47    48     49   50   Fl.     rit.

44



Ob.

Bb Cl.

Eb Alto Sax.

Bb Ten. Sax.



 



  



 Bb Tpt.  F Hn.

Low Br. & Low Ww's.

Tba.















































p

   

p

     



p



  

































    

 

 





 





Tri.







Sm. Tom Bs. Dr.











p

p



Chimes



p

p



Glock.

     





Timp.

   



p

    

p

51

      

p



   

   



























p



mp



mp



 7





      53  

rit.

52

Fl. Ob.



54

55





mf

Bb Cl.

Eb Alto Sax.

Bb Ten. Sax.

    

 

mf

 





 

mf

Glock.



    

mp



    

    









     



  































mf







    







mf

Timp.



mp





mf

Tba.



57

mp

mf

Low Br. & Low Ww's.



     



 Bb Tpt.  F Hn.



56 Slightly Slower



     

mp











  



mp



     

mp

Sm. Tom Bs. Dr.

   

   





























    

    

mp

mf

Tri.



     

mf

Chimes







mf



8

mp

59            58

Fl. Ob.

Bb Cl.

Eb Alto Sax.

Bb Ten. Sax.

Low Br. & Low Ww's.

Tba.

Chimes

Tri.

Sm. Tom Bs. Dr.

63



  

 

64

 

p

 









 



         



     

          



   

         



  

  

           



   

     

              



 

  



     



 

 







 Timp.

Glock.



     

 Bb Tpt.  F Hn.

60 rit.

62 61           

 

   

    





mp

mp



mp

    

p

p

p

 

p

p

 

 

p

 

p



dampen!          

 

 

p









 



 



 











 



 



 



    







 



 



 

9

 

.

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

www.FrankTicheli.com “The Official Source for the Music of Frank Ticheli”

Gg

PRESERVING OUR MUSIC I T I S I M P O R TA N T T O P R E S E R V E O U R M U S I C A L H E R I TA G E F O R F U T U R E G E N E R AT I O N S

Acidic paper has been in widespread use since the turn of the century, and has become the bane of archivists, librarians, and others who seek to preserve knowledge intact, because it literally will self-destruct as it ages. Some paper, only three or four decades old, already has become impossible to handle — so brittle it crumbles to the touch. Surely we do not want today’s music to be unavailable to those who will inhabit the future. If the music of the Renaissance had not been written on vellum it could never have been preserved and we would not have it today, some four hundred years later. Let us give the same consideration to the musicians in our future.

It was with this thinking that Manhattan Beach Music in 1988 first addressed the needs of the archivist by printing all of its concert band music on acid-free paper that met the standards specified in the American National Standard for Information Sciences — Permanence of Paper for Printed Library Materials (ANSI Z39.48-1984).

The standard was revised on October 26, 1992 to include coated papers; all of our new editions and reprints of older editions meet this revised standard. With proper care and under proper environmental conditions, this paper should last for at least several hundred years.

Technical notes: Paper permanence is related to several factors: The acidity or alkalinity (pH) of the paper is perhaps the most critical criterion. Archival paper (also known as acid-free paper, alkaline paper, and permanent paper) is acid-free, has a pH between 7.5 and 10, is tear resistant, has an alkaline reserve equivalent to 2% calcium carbonate (to neutralize any acid that might arise from natural aging of the paper or from environmental pollution), and contains no unbleached pulp or groundwood (no more than 1% lignin by weight). The specific standards summarized here are set forth in detail by the National Information Standards Organization in American National Standard Z39.48-1992. For more information, contact: NISO, 4733 Bethesda Avenue, Suite 300, Bethesda, MD 20814, http://www.niso.org/

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

BOB MARGOLIS — PUBLISHER N E I L R U D D Y — C R E AT I V E D I R E C T O R COFOUNDERS P R I N T I N G : C H E R N AY P R I N T I N G , I N C .

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