San Antonio Dances F R A N K
C
O
N
C
E
M A N H A T T A N
T I C H E L I
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T
B
A
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B E A C H
D
M U S I C
Recording Credits for San Antonio Dances: Performance by North Texas Wind Symphony, Eugene Migliaro Corporon, conductor
SAN ANTONIO DANCES F O R
C O N C E R T
B A N D
F R A N K T IC H EL I I N S T R U M E N T A T I O N 1 Full Score
2 Eb Alto Saxophone 2
3 Euphonium B.C.
1 Piccolo
1 Bb Tenor Saxophone
2 Euphonium T.C.
4 Flute 1
1 Eb Baritone Saxophone
4 Tuba
4 Flute 2
3 Bb Trumpet 1
1 String Bass
1 Oboe 1
3 Bb Trumpet 2
1 Timpani
1 Oboe 2
3 Bb Trumpet 3
1 Marimba (4 1/2 octave highly
4 Bb Clarinet 1
1 F Horn 1
4 Bb Clarinet 2
1 F Horn 2
1 Vibraphone/Xylophone
4 Bb Clarinet 3
1 F Horn 3
2 Percussion 1
2 Bb Bass Clarinet
1 F Horn 4
1 Bassoon 1
2 Trombone 1
1 Bassoon 2
2 Trombone 2
2 Eb Alto Saxophone 1
2 Trombone 3
recommended but not required)
Suspended Cymbal (lg.), Snare Drum, Claves, Cowbell (lg.), Tambourine, 2 Timbales (optional Bongos)
2 Percussion 2 (two players) Player 1: Castanets (mounted), Maracas, Crash Cymbals (lg.) Player 2: Bass Drum (lg.)
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
P R O G R A M
S
N O T E
A N A N T O N I O D A N C E S was composed as a tribute to a special
city, whose captivating blend of Texan and Hispanic cultural influences enriched my life during my three years as a young music professor at Trinity University. It has been 20 years since I lived in San Antonio, but the city still tugs at my heartstrings and lives in this music. The first movement depicts the seductively serene Alamo Gardens and its beautiful live oak trees that provide welcome shade from the hot Texas sun. A tango mood and lazily winding lines give way to a brief but powerful climax depicting the Alamo itself. The second movement’s lighthearted and joyous music celebrates San Antonio’s famous Riverwalk. Inspired by the streets and canals of Venice, Italy, architect Robert Hugman proposed his idea of converting the San Antonio riverfront into a beautiful urban park back in the 1920s. It took decades to complete, but the Riverwalk eventually became a reality — a 2 1⁄2 mile stretch of stunningly landscaped waterfront lined with hotels, restaurants, night clubs and shops. Picture a group of friends seated at an outdoor patio of one of the Riverwalk’s many Tex-Mex restaurants, enjoying the scenery, the food, the company. In time, the evening settles in, the air cools, the mood brightens, the crowd picks up, and music is heard from every direction. Before you know it, the whole place is one giant fiesta that could go on forever. Viva San Antonio!
R E H E A R S A L
N O T E
1. Alamo Gardens This movement is cast in a simple ternary form: A (mm. 1–27) B (mm. 28–81) A' (mm. 82–101) The main melody is given almost exclusively to the first and second clarinets with brief handoffs to the first alto saxophone (mm. 18–22 and 90–94). This melody should never be overplayed, but instead approached with an ear towards subtlety and beauty of sound. Its sinuous, winding quality is crucial
to the character of the movement. The melody’s accompaniment suggests a kind of seductive, tango-like mood. The combination of three factors — a sinuous melody, an emphasis on the minor mode, and the tango-like accompaniment, gives the outer sections their smoky, mysterious, somewhat sultry character. This should be paramount in any interpretation. In contrast to the “rose-in-mouth” quality of the A sections, the B section is sweeter, more dreamlike in character — at least at first — with greater emphasis on duple meter and major modes. Lyricism and legato style are equally important here and once again, the first and second clarinets introduce the main melodic idea; however, unlike before, the music now gradually builds in intensity, culminating in a strong, passionate climax at measure 63. Take care to pace this growth gradually and naturally throughout its course. 2. Tex-Mex on the Riverwalk Lightheartedness and carefree joy were in my mind throughout the creation of this heartfelt tribute to San Antonio. Much of the work’s playfulness comes from the many sudden interruptions and modulations. Note how the staccato accompaniment suddenly gives way to a heavy, sustained quality at measures 41, 57, and 137. In all three of these spots the timpanist can pound at will, throwing caution to the wind! Likewise, the interruptions at measures 49–50 and 129–130 should be played with great force and enthusiasm. In these two spots, the mallet glissandi must be played as loudly as possible! But not all of the interruptions are louder than the preceding music. The interludes at measures 65–72 and 89–95 serve as sudden moments of carefree humor and wit. Play them lightly, but perhaps it might be fun to lean on the “wrong notes” in the oboe (bar 93, beat 3) and bassoon (bar 94, beat 3). The movement is filled with little solos that answer the main melody (mm. 7–9 in clarinet; mm. 11–13 in bassoon; etc.). These solos suggest a relaxed “Latin Music” quality, but need not be overstated in performance. For example, one might be tempted to play the trumpet solo at measures 19–21 with lots of vibrato as a way of enhancing a kind of Latin flavor, but I do not personally think it wise to do so. I prefer understatement and subtlety rather than emphasis on stylistic cliches. The dramatic arch of the movement, despite its many twists and turns, is always pointing towards the climactic conclusion. I think it is important to let out all the stops at the coda. The 16th-notes in the upper woodwinds and mallets should sound bright and powerful. The descending brass line, beginning with the high Ab in the trumpets in bar 161, and ending with the low G in the trombones and euphoniums in bar 172, should not wither and wane during the course of its stepwise descent. Like some colossal vessel coming in for a landing, the line should, if anything, grow in intensity as it descends. The brass glissandi in bars 173–4 will be achieved easily by the trombones, but the horns and trumpets may have to experiment a bit to create the illusion of a glissando. As a trumpeter, I find it helpful to depress the valve slowly during the course of the glissando while pushing the air harder. Also, take care not to clip the second note of the glissando (beat 3). Sustain these notes all the way to the barline. FRANK TICHELI
F RA N K
T I C H ELI
WORKS FOR CONCERT BAND F rank T icheli ’ s works for concert band are p u blished exclu si v ely b y M anhattan B each M u sic
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) Rest (8 minutes, grade 4) Sanctuary (12 minutes, grade 5) San Antonio Dances (9 ½ minutes, grade 4) 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
The Tyger (6 minutes, grade 6) Vesuvius (9 minutes, grade 4) Wild Nights! (6 ½ minutes, grade 4)
www . F rank T icheli . com
T he official so u rce for the M u sic of F rank T icheli
Dedicated to my sister, Debbie
To my sister, Debbie
SAN ANTONIO DANCES FOR CONCERT BAND 1. Alamo Gardens
q = c. 66 Sempre legato
Piccolo
Flute 1
Flute 2
Oboe
1 2
Bb Clarinet 1
Bb Clarinet 2
Eb Baritone Saxophone
Bb Trumpet 1
Bb Trumpet
2 3
F Horn
1 2
F Horn
3 4
Trombone
1 2
Trombone 3
Euphonium
Tuba
String Bass
Timpani
Marimba
Vibraphone/Xylophone
Percussion 1
Percussion 2
p
p
Bb Tenor Saxophone
Eb Alto Saxophone 2
Bb Bass Clarinet
Eb Alto Saxophone 1
p
Bb Clarinet 3
1 2
Bassoon
1. p
p
pizz.
p
Bs. Cl./String Bs.
mp
mp
2. 1.
mp
mp
mp
p
1. p
p
(4 1/2 octave marimba strongly suggested)
Copyright © 2010 Manhattan Beach Music - All Rights Reserved - Printed and engraved in the United States of America ISBN 1-599-116-1 (complete set) ISBN 1-59913-117-X (conductor score) Visit www.FrankTicheli.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
p
(Tunings for mvt. 1)
p
p
Bsn. 1
FRANK TICHELI q = 66
rit.
Picc.
7
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Bs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
Bb Ten. Sax.
Bb Tpt. 1
Eb Bari. Sax.
Eb Alto Sax. 2
Solo legato
Bb Cl. 3
10
p
3
pp
p 1. 2.
pp
pp
pp
p
p
p
Bb Tpt.
2 3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
Tuba
S. Bass
Timp. Mar.
Vibes/Xylo.
Perc. 1
Perc. 2
pp
2
p
(1.)
3
p
rit.
Picc. 14
Fl. 1
Fl. 2
Ob.
1 2
A Tempo
Fl. 1
p
3
gently
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
1. pp
pp
Bb Cl. 3
Eb Alto Sax. 2
7
3
Eb Alto Sax. 1
3
1 2
Bb Cl. 2
Bsn.
pp
19 A Tempo
rit.
3
3
3
Bb Cl. 1
Bb Bs. Cl.
pp
pp
pp
p
2.
p
dolcissimo
mp
Solo
p
Play
p
Bb Tpt.
2 3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
Tuba
S. Bass
Timp.
arco
p
Mar.
Vibes/Xylo.
Perc. 1
Perc. 2
3
Picc.
21
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
(Solo)
p
p
3
p
3
3
a2
p
3
(a2)
molto rit.
legato
p
p
7
Bs. Cl./St. Bass
Bsn. 1
p
p
3
3
p
Bb Tpt. 1
Bb Ten. Sax.
A Tempo
p
Eb Bari. Sax.
Eb Alto Sax. 2
rit.
Bb Tpt.
2 3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
Tuba
S. Bass
pizz.
Timp.
Mar.
Vibes/Xylo.
Perc. 1
Perc. 2
p
4
Picc.
28 Slower (q = c. 54)
Fl. 1
Fl. 2
Ob.
1 2
poco vibrato
Solo
p
3 3 3
molto legato
Bb Cl. 1
3
3 3 3 3
molto legato
Bb Cl. 2
molto legato
Bb Cl. 3
Bb Bs. Cl.
molto legato
3
pp
3
pp molto legato
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
3
pp
Bsn. 2
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt.
2 3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
Tuba
S. Bass
Timp.
3
pp
Vibes/Xylo.
Perc. 1
Perc. 2
3
3
3
pp
3
3
3
3
pp
3
3 3
3
3
1.
2.
1.
pp
pp
pp
(If 4 1/2 octave marimba not available, play only upper two notes in mm. 28-39. Do not play passage an octave higher!) 3
Mar.
3
3
3
3
pp
Fl. 1
3
VIBAPHONE
5
3
p (motor off always)
Picc. 38
40
Fl. 1
Fl. 2
1 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
3
mp
mp
1 2
F Hn.
3 4
Tuba
S. Bass
Timp.
Mar.
Vibes/Xylo.
mp
mp
pp
mp
mp
p
p
3
mp
3
molto legato
3
molto legato
3
3
3
3
3
3
3
3
3
3
mp
p
Solo (w/ Alto 1)
3
Play
Solo (w/ Alto 2)
mp
F Hn.
Euph.
mp
3
Tbn. 3
3
3
2 3
1 2
mp
Bb Tpt.
Tbn.
mp
mp
Perc. 1
Perc. 2
3
3
mp
3
mp
3
3
3
3
mp
p
mp
3
(pizz.)
p
p
3
3
6
mp
p
3
Picc. 47
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
mf
3
mf 3
mf
3
3
3
mf
Eb Alto Sax. 1 Eb Alto Sax. 2
3
mf
3
mf
3
Bb Ten. Sax.
Eb Bari. Sax.
3
F Hn.
1 2
3 F Hn. 4
3
mf
3
mf
Tbn. 3
Tuba
S. Bass
Timp.
Mar.
3
mf
3
mf
3
3
a2
mf
3
3
f
f
f
Perc. 2
7
3
3
3
3
3
3
3
mf
mf mf
3
3
3
3
3
3
f
mf
mf
mf
3
3
f
3
f
f
(Vibes)
3
3
3
3
3
Perc. 1
3
f
3
3
f
3
3 3
3
3
f
f
f
3
3
Vibes/Xylo.
3
mf
mf
3
f
3
3
mf
3
mf
f
mf
f
3
3
f
3 3
3
mf molto legato 3
mf 2. molto legato
mf
1 Tbn. 2
Euph.
3
2 3
mf
3
Bb Tpt. 1 Bb Tpt.
3
3
mf
1 Bsn. 2
3 3 3 3
3
3
3
3
3
mf
3
mf 3
49
mf
3
3
3
BASS DRUM mf
Picc.
55
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Bs. Cl.
1 Bsn. 2
3
3
Eb Alto Sax. 1
3
3
9
3
3
Bb Tpt.
2 3
F Hn.
1 2
3 4
F Hn.
Tbn.
1 2
f
9
f
f
3
3
3
3
3 f 3 Timp. f Mar.
arco
f
3
3
3
3
3
3
f SUS. CYM. mp
3
3
3
3 3 3 3
3
3
3
3
3
3
3
3
3
3
3 3 3
3
3
3
3
3
3
3
3
3
f 3 3 3 a2
3
3
3
3
f
l.v.
3
White-note gliss.
3
3 3 3
3
3
f
3 3
S. Bass
Perc. 2
9
3 f 3 Euph. f 3 Tuba f
Perc. 1
3
Tbn. 3
Vibes/Xylo.
9
3
3
3 9 3 3 3 3
f
3 3 3 3 3 3 3 3
3
9
3 3 9 Eb Alto Sax. 2 3 3 Bb Ten. Sax. 3 3 3 3 f 9 Eb Bari. Sax. 3 3 3 3
f
Bb Tpt. 1
3
3 3 3 9 3 3 9
f
9
Bb Cl. 3
3 3 3
9 a2 3 3 3 3 3 3 9 3
f
8
a2
3
3
3
3
3
3 3
3
3
3
3
mp
f
3
63 Pesante e legato
Picc.
ff
ff
Fl. 1
Fl. 2
3
1 2
Bb Cl. 2
Bb Cl. 3
ff
Bb Bs. Cl.
3
3
ff 3
ff
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
3
3
ff
ff
ff
3
3
3
3
1 2
a2
3 F Hn. 4
a2
3
F Hn.
Tbn.
1 2
Tbn. 3
Euph.
ff
ff
3
3 ff
3 3
3
3
ff
Vibes/Xylo.
ff
Perc. 1
Perc. 2
l.v.
ff
ff 3
3
3
3
3
3
3
3
3
3
3
3
3
9
3
3
3
3
unis. 3
3
3
3
3
3
3
3
3
f
3 3
SNARE DRUM
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
3
ff
S. Bass
3
3
ff 3 3 3 Timp. ff Mar. 3
3
3
3
ff
3 3
ff 3 div.
Tuba
3
3
3
ff
3
3
3
3
3
3
2 3
Bb Tpt.
3
3
3
3
3
3
3
3
3
3
3
3
3 3 3 3 3 3 3
3
3
3
3
3
ff
3
ff
Eb Alto Sax. 2
3
3
3
3
3
3 3
1 Bsn. 2
Eb Alto Sax. 1
3
3
3
3
3
3
3
ff
3
3
3
3
3
3
3
ff
3
ff
Bb Cl. 1
3
3
ff
Ob.
3
3 3 3 3
3
3
71
Picc.
rit.
mf
Fl. 1
f
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
3
3
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
3
f
f
mf
3
mp
3
mp
3
p
dim.
p
p
p
3
p distant
Euph.
mp
p
1.
Tuba
S. Bass
3
3
mf
3
1.
3
dim.
one only
p
3
f
mf 3
p
p
mf
mp 3
mp
3
3 3
10
p
dim.
3.
p
1. one only
p
3
p
3
p 3
mf
mp 3
2.
one only
3
1.
Tbn. 3
Perc. 2
p
3
mp
p
3
p distant
p
3
mf
p
mf
mf
f
distant
1.
Perc. 1
3
mp
p
Vibes/Xylo.
3
3
Mar.
Ob. 1.
3
p distant
1 2
Timp.
one only
F Hn.
mf
1 2
q = c. 40
3
Tbn.
3
2 3
3 4
p
p
3
p
Bb Tpt.
F Hn.
mf
3
mf Eb Alto Sax. 1
3
3
1 2
Eb Alto Sax. 2
mf 3
mf
Bsn.
mf Bb Bs. Cl.
3
mf
f
dim.
dim.
Picc. 80
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
rit.
ten.
p
Bb Ten. Sax.
ten. p
Ob. 1
1. Solo
p
mp
p
A Tempo
Eb Alto Sax. 2
Bb Tpt. 1
Eb Alto Sax. 1
Eb Bari. Sax.
82 q = c. 60
p
1.
p
p
mp
p
1. 2.
1.
mp
p
Bsn. 1
Bs. Cl.
p
mp
mp
p
p
Bb Tpt.
2 3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
Tuba
S. Bass
Timp.
pizz. p
Mar.
Vibes/Xylo.
Perc. 1 Perc. 2
p
11
Picc.
88
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
3
3
3
3
mp
7
Bb Ten. Sax.
(1.)
p
p
p
Bb Tpt. 1
3
rit.
Eb Alto Sax. 2
Eb Bari. Sax.
3
91 A Tempo
rit.
dolcissimo
p
Solo
Play
p
Bb Tpt.
2 3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
Tuba
S. Bass
Timp. Mar.
Vibes/Xylo.
Perc. 1
Perc. 2
p
arco
p
p
12
Picc. 95
A Tempo
Fl. 2
1 2
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Eb Bari. Sax.
1 Bsn. 2
Bb Ten. Sax.
p
Bb Tpt. 1
3
p
3
3
7
dim.
dim.
dim.
dim.
dim.
p Bs. Cl.
pp
3
99 molto rit.
(Bsn. 1)
3
p
(1.)
Eb Alto Sax. 1
Eb Alto Sax. 2
3
p
legato
p
Bb Bs. Cl.
(Solo)
Fl. 1
dim.
dim.
Bb Tpt.
2 3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
Tuba
pizz.
S. Bass
Timp. Mar.
Vibes/Xylo.
Perc. 1
Perc. 2
p
dim.
13
2. Tex-Mex on the Riverwalk
Fl. 1
Fl. 2
1 2
Bb Cl. 1
Bb Cl. 2
q = c. 120
Picc.
Ob.
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
p
p
1.
Solo
mf
p
Solo w/ Alto 2
Solo w/ Alto 1
Eb Bari. Sax. Bb Tpt. 1
mp
mp
Bb Ten. Sax.
p
Ob. 1 Solo (St. Mute)
mf
2 Bb Tpt. 3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
St. Mute
Tbn. 3
Euph.
Tuba
mf
Pizz.
S. Bass
2) (Initial tuningsfor mvt. Timp.
p
Vibes/Xylo.
p
Perc. 2
CLAVES
Perc. 1
mp
(If 4 1/2 octave marimba not available, play low F's an octave higher. Do not transpose the entire passage up an octave!)
Mar.
VIBRAPHONE
p
14
Picc.
Fl. 1
Fl. 2
9
Ob.
1 2
f
Bb Cl. 2
Bb Cl. 3
Bb Cl. 1
13
Solo
mp
mp
3
mf
mp 1. Solo 1 Bsn. 2 3
Bb Bs. Cl.
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
f
mf
f
mp
2 Bb Tpt. 3
F Hn.
1 2
F Hn.
3 4
1 2
Tbn.
Tbn. 3
Euph.
Tuba
S. Bass
Timp. Mar.
Vibes/Xylo.
Perc. 1
Perc. 2
f
mp
p
3
mf
1. Bsn. 1 Solo (St. Mute)
mp
15
mp
Picc.
Fl. 1
Fl. 2
1 2
17
Ob.
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
21
dim.
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
St. Mute Solo
mf
3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
S. Bass
Tuba
Vibes/Xylo.
mf
1.
mf
(to Xylo.)
mf MARACAS
f
mf
mf
16
mf
mf
1. Open
Mar.
Perc. 2
mf
mf
2 3
Perc. 1
Bb Tpt.
Timp.
mf
mf
mf a2 1 Bsn. 2 mf mf 3 3 Eb Alto Sax. 1 mf dim. 3 3 Eb Alto Sax. 2 Bb Bs. Cl.
mf
mf
mf Tutti
Picc.
Fl. 1
Fl. 2
25
1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax. Bb Tpt. 1
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
S. Bass Tuba
Timp.
Mar.
Vibes/Xylo.
Perc. 1
Perc. 2
mf
Mute out
mf
a2 mf
a2
mf
mf
mf
mf
mf
mf
mf
mf
mf
Tutti (St. Mute)
mf
mf
mf
29
Euph.
2 3
Tbn. 3
Bb Tpt.
XYLOPHONE (hard mallets)
mf
17
32 Picc.
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Eb Alto Sax. 1
Eb Bari. Sax.
Bb Tpt. 1
1 2
f
f
f
f
3
Tbn.
1 2
Tbn. 3
Euph.
3
Perc. 2
3
3
f
cresc.
f
f
cresc.
f
cresc.
f
cresc.
f
cresc.
f
cresc.
f
f
f
cresc.
f
18
a2 f
cresc.
cresc.
f
f
f
Mute out
3
f
3
cresc.
Open 3
f
3
3
3
3
3
3
3
3
f f
Perc. 1
3
3
3
3 4
3
f
F Hn.
Vibes/Xylo.
f
Mar.
2 3
Timp.
S. Bass
Tuba
Bb Ten. Sax.
F Hn.
Bb Tpt.
35
Eb Alto Sax. 2
1 Bsn. 2
Bb Bs. Cl.
Picc.
39
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
ff
ff
ff
ff
ff
ff
ff Eb Alto Sax. 1 Bsn.
1 2
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt.
2 3
1 F Hn. 2
ff
ff
Tbn. 3
Euph.
ff Open
ff
ff
ff S. Bass
Tuba
Mar.
Vibes/Xylo.
Perc. 1
Perc. 2
ff
f
f
f
2.
f f f
f
f
ff CASTANETS (fingers)
ff
COWBELL
f f mf
f
f
Timp.
f
1 2
f
f
a2
f
f
f
ff
Tbn.
ff
ff
3 4
F Hn.
f
ff
f
ff
ff
43
19
f
f
Picc. 47
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
3
2 Bb Tpt. 3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
Tuba
S. Bass
Timp.
Mar.
Vibes/Xylo.
Perc. 1
Perc. 2
3
6
6
6
6
ff
ff
6
6
6
51
3
a2
ff
6
6
(hard mallets)
ff (hard mallets)
ff
ff
a2 VII
20
ffff White-note gliss.
ff
ffff White-note gliss.
gliss.
ff
ff gliss.
ff rip ff
rip 3.
ff
ff
ff
ff
6
ff
ff
6
3
6
6
ff
6
ff
a2
3
ff
ff
ff
3
ff
3
3
3
3
3
Eb Bari. Sax. Bb Tpt. 1
3
3
Eb Alto Sax. 1
Bb Ten. Sax.
3
3
1 Bsn. 2
Eb Alto Sax. 2
3
ff
ff
BASS DRUM
ff
Picc. 53
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
1 Bsn. 2
Eb Bari. Sax.
2 3
F Hn.
1 2
F Hn.
3 4
Tbn. 3
Timp.
Mar.
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
S. Bass
Tuba
1 Tbn. 2
Euph.
Bb Tpt. 1 Bb Tpt.
Bb Ten. Sax.
Eb Alto Sax. 1 Eb Alto Sax. 2
fff
ff
a2
ff
fff
fff
fff
fff
fff
fff
Vibes/Xylo.
Perc. 1
Perc. 2
mf
mf
21
fff
(Cowbell)
fff
ff
59
Picc.
ff
Fl. 1
ff
Fl. 2
ff
1 Ob. 2
ff
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
ff
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
f
3
3
3
3 3
3
3
f
f
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
f
f
S. Bass
f
f
f
Tuba
f
3
p
3
1.
3
p 3
(Bb to G)
22
Dampen
to St. mute
f
p
Vibes/Xylo.
Perc. 2
p Oboes
f
Mar.
Perc. 1
3
3 3
mf
3
3
Solo
3
p
3
65 3
Timp.
ff
Euph.
2 Bb Tpt. 3
Tbn. 3
ff
ff
Eb Alto Sax. 1 Eb Alto Sax. 2
Picc. 67
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 2
Bb Bs. Cl.
Bsn.
1 2
Eb Alto Sax. 1 Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Cl. 1
Bb Cl. 3
mf
mf
Mute out
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
Tuba
S. Bass
Mar.
Vibes/Xylo.
Perc. 1
Perc. 2
23
mf
2 Bb Tpt. 3
Timp.
St. Mute
Picc.
73
Tutti
Fl. 1
Fl. 2
1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
f
f
f
f
Bb Bs. Cl. mf 1 Bsn. 2 mf Eb Alto Sax. 1 Eb Alto Sax. 2
Bb Tpt.
2 3
f
mf
F Hn.
1 2
3 4
1 Tbn. 2
F Hn.
3.
Tbn. 3
Euph.
Tuba S. Bass
Timp.
Mar.
Vibes/Xylo.
mf
mf
mf
arco
mf
mf
Perc. 1
Perc. 2
(B.D.)
mf
a2 mf 1.
mf
f
mf
mf
a2
Bb Ten. Sax. mf Eb Bari. Sax. Bb Tpt. 1
24
Picc. 79
Fl. 1
Fl. 2
1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
2 3
F Hn.
1 2
F Hn.
3 4
1 2
Tbn.
Tbn. 3
Euph.
S. Bass
Mar.
Vibes/Xylo.
ff
ff
f
f
f
f
f f
a2
f
f
f
f
Open
f
f
f f
Timp.
f
Tuba
f ff f
Bb Tpt.
ff
ff
ff
ff
1 Bsn. 2 Eb Alto Sax. 1
81
TAMBOURINE
2.
f
f
f
f
f
f
Perc. 1
CRASH CYM.
Perc. 2
mf
ff
f
25
mf
ff
simile
f
f
Picc. 85
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
1 Bsn. 2
Eb Alto Sax. 1
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
2 Bb Tpt. 3
fp
fp
fp
fp
fp
fp
fp
f
fp
f
f
f
fp
89
Ob. 1
1 2
Tbn. 3
Euph.
S. Bass Tuba
fp
p
fp
p
fp
Bsn. 1
fp
ff
1.
to St. Mute
ff
26
fp
p
f
f
fp
1.
mp
div.
f
f
f
f
fp
f
f
fp
f
Tbn.
Perc. 2
3 4
Perc. 1
fp
f
F Hn.
Vibes/Xylo.
1 2
Mar.
mp
F Hn.
Timp.
92 Picc. f
Solo
Fl. 1
f
Fl. 2
1 Ob. 2
Bb Cl. 1
Bb Bs. Cl.
1 Bsn. 2
f
Bb Cl. 3
unis.
Bb Cl. 2
Eb Bari. Sax.
Bb Tpt. 1
unis.
Bb Ten. Sax.
fp p
Ob. 1
mf
div.
mf
Eb Alto Sax. 1 Eb Alto Sax. 2
Tutti
f
a2
f
f
f
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
f
Tuba
f
Perc. 1
Perc. 2
27
f
p
f
Vibes/Xylo.
p
f p a2 f a2
a2
Mar.
f
f
p
f
Timp.
p
p
f
2 3
S. Bass
Bb Tpt.
Euph.
mf
p
p
f
Bsn. 1
mf
f
f
mp
f (to Vibes) f
f
p
p
f
p
Picc.
Fl. 1
Fl. 2
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
99
Ob.
p
p
p 1.
3 1. Solo
mf
f
p Eb Alto Sax. 1 Bsn.
1 2
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
mp
mp
p
St. Mute Solo
mf
f
Ob. 1
mf
f
2 Bb Tpt. 3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
Tuba
pizz.
S. Bass
Timp.
p
Mar.
Vibes/Xylo.
Perc. 1
Perc. 2
28
3
Picc.
Fl. 1
Fl. 2
107
Ob.
1 2
Bb Cl. 1
Bb Cl. 3
Bb Bs. Cl.
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
3
Solo
mf
3
3
3
3
mp
mp Eb Alto Sax. 1
mp
mp
1 2
Bb Tpt. 1
mp
Bsn.
Bb Cl. 2
Solo
mf
3
2 Bb Tpt. 3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
Tuba
S. Bass
Timp. Mar.
Vibes/Xylo.
Perc. 1
Perc. 2
mp
VIBES
mp
CLAVES mp
29
Picc.
Fl. 1
Fl. 2
1 Ob. 2
115
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
mf Tutti
mf
mf
mf a2 1 Bsn. 2 mf Eb Alto Sax. 1 Bb Bs. Cl.
Eb Alto Sax. 2
mf
mf
mf
Bb Tpt. 1
2 Bb Tpt. 3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
1.
mf
mf
mf
Timp.
Perc. 1
Perc. 2
mf
mf MARACAS
mf
30
mf
mf
Tutti (St. Mute)
mf
f
mf S. Bass
Vibes/Xylo.
Tuba
Mar.
1.
mf Eb Bari. Sax. mf Bb Ten. Sax.
123
Picc. Fl. 1
Fl. 2
1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
mf
Bb Bs. Cl. 1 Bsn. 2 Eb Alto Sax. 1 Eb Alto Sax. 2
f
f
3
3
3
f
f
f
3
ff
ff
3
f
3
3
3
3
3
mf Eb Bari. Sax. Bb Ten. Sax.
Bb Tpt. 1
2 Bb Tpt. 3
F Hn.
1 2
Mute out
1 2
Tbn. 3
Euph.
3 F Hn. 4
Tbn.
a2
mf
a2
mf
a2
mf
Open ff
ff
ff
mf
ff
S. Bass Tuba
a2
ff
3
3
(hard mallets)
Perc. 1
Perc. 2
Timp.
Mar.
Vibes/Xylo.
ff XYLO. (hard mallets)
ff
31
Picc. 130
6
Fl. 2
1 2
Bb Cl. 1
ff
Bb Cl. 2
Bb Cl. 3
1 2
Eb Alto Sax. 1
ff
6
6
ff
ff
ff gliss.
1 Tbn. 2
Tbn. 3
Euph.
Tuba
S. Bass
Timp.
Mar.
ffff
Vibes/Xylo.
Perc. 1
Perc. 2
p
fff
ff
ff
ff
a2 VII
ff
ff
ffff TIMBALES (Opt: Bongos)
ff
ff
gliss.
ff
3 4
F Hn.
3.
ff
6
1 2
ff
6
Eb Bari. Sax.
F Hn.
2 3
6
Bb Ten. Sax.
Bb Tpt.
6
Eb Alto Sax. 2
Bb Tpt. 1
6
Bb Bs. Cl.
Bsn.
131
6 6 6 6 6 6
Fl. 1
Ob.
ff
ff BASS DRUM
ff
32
135
Fl. 1
Fl. 2
1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
Eb Alto Sax. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
2 Bb Tpt. 3 F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
Timp.
iss. gl
fff
fff
fff fff
ff
Mar.
Vibes/Xylo.
a2
f
f
f
f
f
f
f
ff
ff
fff
fff
fff
ff
f
fff
ff
ff
fff
ff
ff
fff
ff
fff
ff
fff
fff
139
fff
iss. gl
fff
Tuba S. Bass
fff
Eb Alto Sax. 1
Picc.
mf
fff
Perc. 1
Perc. 2
fff
3
CRASH CYM. & B.D.
f
fff
fff
33
Picc. Fl. 1
141
Fl. 2
Ob.
1 2
Bb Cl. 1
Bb Bs. Cl.
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
1 2
Tbn. 3
Euph.
Timp.
3
ff ff
a2
a2
ff
3.
ff
ff
arco
ff
ff
ff ff
3
3
3
145
3
3
3
3
3
3
3
3 F Hn. 4
S. Bass
3
Tuba
3
1 F Hn. 2
3
3
Tbn.
3
2 3
Bb Tpt.
Eb Alto Sax. 1 Eb Alto Sax. 2
Bb Cl. 3
1 2
Bsn.
Bb Cl. 2
f
(Bb to G)
Mar.
Vibes/Xylo.
Perc. 1
Perc. 2
34
3
f
Picc. 147
Fl. 1
Fl. 2
Ob.
1 2
Bb Cl. 2
Bb Cl. 3
1 Bsn. 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
F Hn.
1 2
F Hn.
3 4
1 Tbn. 2
a2
ff
Euph.
Mar.
Vibes/Xylo.
Perc. 1
Perc. 2
mf
35
Timp.
ff
ff
S. Bass
Tbn. 3
Tuba
2 3
Bb Tpt.
Bb Bs. Cl.
Eb Alto Sax. 2
Bb Cl. 1
Eb Alto Sax. 1
153 Picc. ff Fl. 1 Fl. 2 1 Ob. 2
ff
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Eb Alto Sax. 1 Eb Alto Sax. 2
Bsn.
1 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bells up!
Bells up!
2 Bb Tpt. 3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
2.
Tuba ff S. Bass
Perc. 2
ff
ff
1.
36
(Xylo.)
ff
ff
ff
Perc. 1
ff
Vibes/Xylo.
ff
Mar.
ff
Timp.
ff
ff
ff
Euph.
158 Picc. Fl. 1 Fl. 2 1 Ob. Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
3 4
Tbn.
1 2
Tbn. 3
a2
a2
ff
ff
S. Bass
Tuba
F Hn.
Perc. 2
1 2
Perc. 1
F Hn.
Vibes/Xylo.
Mar.
2 3
Timp.
Bb Tpt.
Euph.
Eb Alto Sax. 1 Eb Alto Sax. 2
161
2
37
ff
163 Picc. Fl. 1 Fl. 2 1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
1 2
Tbn. 3
Tuba
S. Bass
Timp.
Mar.
Vibes/Xylo.
3 4
Bb Tpt. 1
Eb Bari. Sax.
Euph.
Tbn.
F Hn.
Bb Ten. Sax.
1 2
F Hn.
Eb Alto Sax. 2
1 2
2 3
Bb Tpt.
Eb Alto Sax. 1 Bsn.
ff
a2
a2
ff
Perc. 1
Perc. 2
38
Picc. Fl. 1 Fl. 2 168
Ob.
1 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
Bb Bs. Cl.
Bsn.
1 2
Eb Alto Sax. 1
Bb Ten. Sax.
Eb Bari. Sax.
Bb Tpt. 1
Bb Tpt.
2 3
F Hn.
1 2
F Hn.
3 4
Tbn.
1 2
Tbn. 3
Euph.
Tuba
S. Bass
169
e= e
Eb Alto Sax. 2
div.
Vibes/Xylo.
Perc. 2
39
a2
Perc. 1
Mar.
Timp.
172 Picc. Fl. 1
Fl. 2
1 Ob. 2
Bb Cl. 1
Bb Cl. 2
Bb Cl. 3
2 3
1 F Hn. 2
F Hn.
Tbn.
3 4
1 2
Tbn. 3
Euph.
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
Timp. Mar. Vibes/Xylo.
fff
fff fff
fff
fff
fff
fff
fff
40
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
fff
S. Bass
Perc. 2
Tuba
Perc. 1
Eb Bari. Sax. Bb Tpt. 1 Bb Tpt.
Eb Alto Sax. 1 Eb Alto Sax. 2 Bb Ten. Sax.
1 Bsn. 2
Bb Bs. Cl.
Dampen
fff Dampen
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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