WILD NIGHTS !

F O R

C O N C E R T

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 Eb Alto Saxophone 1

2 Trombone 3

1 Piccolo

2 Eb Alto Saxophone 2

3 Euphonium B.C.

4 Flute 1

1 Bb Tenor Saxophone

2 Euphonium T.C.

4 Flute 2

1 Eb Baritone Saxophone

4 Tuba

1 Oboe 1

3 Bb Trumpet 1

1 Timpani

1 Oboe 2

3 Bb Trumpet 2

2 Percussion 1

3 Bb Clarinet 1

3 Bb Trumpet 3

3 Bb Clarinet 2

2 F Horn 1

3 Bb Clarinet 3

2 F Horn 2

3 Bb Clarinet 4

2 F Horn 3

2 Bb Bass Clarinet

2 F Horn 4

1 Bassoon 1

2 Trombone 1

1 Bassoon 2

2 Trombone 2

Xylophone, Glockenspiel,
Crash Cymbals

2 Percussion 2
Vibraphone, Marimba

2 Percussion 3
Bongos, Suspended Cymbal,
Triangle, Temple Blocks

2 Percussion 4
Bass Drum, Pedal Bass Drum,
Suspended Cymbal,
Tambourine, Tam-Tam

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

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
World Wide Web: http://www.ManhattanBeachMusic.com E-mail: [email protected] Voicemail: 718/338-4137

P R O G R A M

N O T E

W I L D N I G H T S ! is a joyous, colorful seven-minute musical journey inspired by

Emily Dickinsons poem:

Wild Nights! Wild Nights!

Were I with thee,
Wild Nights should be
Our luxury!
Futile the winds
To a heart in port,
Done with the compass,
Done with the chart.
Rowing in Eden!
Ah! the sea!
Might I but moor
To-night in Thee!
Numerous composers have set the words of W I L D N I G H T S ! to music
(Lee Hoibys song setting and John Adams Harmonium, come immediately to mind).
However, to my knowledge, no one has used this wonderfully sensuous poem as the
basis for a purely instrumental tone poem. This was my aim, and in so doing I focused
most heavily on the lines Done with the compass,/Done with the chart and Rowing
in Eden!/Ah! the sea! These words suggested the sense of freedom and ecstatic joy that
I tried to express in my work.
Throughout the piece, even during its darker middle section, the music is mercurial,
impetuous, optimistic. A jazzy syncopated rhythmic motive permeates the journey.
Unexpected events come and go, lending spontaneity and a sense of freedom. The work
is composed in ve distinct sections, but contained within each section are numerous
surprises and a devil-may-care swagger. Surprises are found at every turn, and continue
right through to the nal cadence.
was commissioned by the California Band Directors
Association in celebration of their 50th anniversary.
WILD

NIGHTS!

FRANK TICHELI

The piece falls into ve main sections; however, within each section the music ows with
considerable freedom.
Section

Measures

1 - 65

66 - 151

A'

152 - 194

195 - 239

Coda

240 - 252
A-SECTION
(MEASURES 1 to 65)

It is crucial that the Percussion 4 player(s) have both a large bass drum and a pedal bass
drum. The pedal bass drum, with its dry, compact thud, is crucial as an accompaniment to
the marcato/staccato low brass notes (e.g., mm. 6, 13, 16, etc.), whereas the large bass drum
is used where a more resonant and sustained sound is called for.
Rhythmic precision is crucial whenever the syncopated motive occurs, especially when it is
played by upper woodwinds and doubled in the mallet percussion instruments (e.g., mm.
8, 15, 26, 29, 31, etc.). Because of the physical distance between the mallets and upper
woodwinds, it may require some creative eort to get the two forces exactly together.
The timpani solo in mm. 56-59, marked f with accents [!], must compete with a loud tutti
passage, and therefore should be played as aggressively as possible.
B-SECTION
(MEASURES 66 to 152)

This section is darker in quality, but with the sense of urgency still present. In measures 6976, the alto saxophone melody must sound above the rest of the ensemble. The answering
woodwind/mallet triplets and muted trumpet triplets should be equally aggressive, and, once

again, the rhythmic synchronization between the upper woodwinds and mallet instruments
may require some attention in rehearsals (eg., mm. 69-70).
At m. 77, the ute and piccolo join in at a tenth above the saxophone melody. But the
oboe 1/trumpet 2 countermelody should not be overlooked either. Make sure they too are
heard.
At mm. 85-95, the majestic trumpet solo must soar above the chattering woodwinds. If
necessary, either drop the woodwinds one dynamic level (my rst preference) or change the
trumpet passage from solo to tutti (my second preference).
At mm. 96-117, the clarinets and saxophones sound in the foreground, but it is also important
that one hear the little interjections sounding all around them (e.g., upper woodwinds in m.
97, trumpets in m. 99, 103, etc.).
In mm. 118-123, the parallel tenths sounding in the bassoon and euphonium/tuba must
sound secure and condent. Well-played accents and rhythmic accuracy will enhance
this quality. The bell-like fp tones may be exaggerated as pp and must also be dead-on
rhythmically.
A'-SECTION
(MEASURES 152 to 194)

The music bursts out joyfully as a signal for the return of the main material. All which
applied in the rst A section still holds here. This return is shorter, but is otherwise very
similar to that of the beginning. The conductor may wish to point out some of the variations
which occur here (e.g., compare mm. 18-28 with mm. 167-177).
C-SECTION
(MEASURES 195 to 239)

An unexpected oasis appears out of nowhere in mm. 195-199, but it is still beating urgently
underneath its calm exterior. The accents and sixteenth-note rocket-gestures remind the
listener that this journey oers no rest.

The little double-tongued episode at mm. 200-203, and the longer solo marimba episode at mm.
206-213 are two more examples of the kinds of unexpected surprises marking the journey. The
marimba plays in the foreground, but not so loudly that it overpowers the clarinets and muted brass
interjections. (During rehearsals for the premiere, I was amazed at how loud the marimba passage
could be if not controlled!) Similarly, be sure that the temple blocks are not overplayed, but instead
in balance with the muted brass chords.
Some tricky hocket-like passages occur in mm. 218-221 between the horns/saxes and trumpets and
timpani/pedal bass drum. Ensemble accuracy is crucial here. The quick interchanges are extremely
eective if played with rhythmic precision.

CODA
(MEASURES 240 to 252)

Before launching headlong into the coda, allow ample time for the sound to clear in the preceding
bar, almost giving the listener the impression that the piece ends at m. 239. Then go! The end of the
journey is in sight, but brings with it one nal surprise: the last two chords are transposed a halfstep higher than expected, and are suddenly held back a bit tempo-wise, as though you are suddenly
pulling hard on the reigns of a horse just before it runs over the edge of a cli. Whoa! Sustain the
nal chord at its full value (or perhaps a hair longer?) to give the full dramatic eect.

FRANK TICHELI

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 Tichelis works for concert band are published exclusively by Manhattan Beach Music

Abracadabra (5 minutes, grade 3)

Amazing Grace (5 minutes, grade 3)
An American Elegy (11 minutes, grade 4)
Ave Maria / Schubert (4 minutes, grade 3)
Blue Shades (10 minutes, grade 5)
Cajun Folk Songs (6 minutes, grade 3)
Cajun Folk Songs II (10 minutes, grade 4)
Fortress (5 minutes, grade 3)
Gaian Visions (9 minutes, grade 6)
Joy (2 minutes, grade 2)
Joy Revisited (3 minutes, grade 3)
Loch Lomond (6 minutes, grade 3)
Nitro (3 minutes, grade 4)
Pacific Fanfare (5 minutes, grade 5)
Portrait of a Clown (2 minutes, grade 2)
Postcard (5 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 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 minutes, grade 4)

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Gg

commissioned by the California Band Directors Association in celebration of their 50th anniversary

WILD
NIGHTS!
FOR CONCERT BAND

= c. 144
2
Piccolo

FRANK TICHELI
7

Flute
2

a2
Oboe

1
2

2
3

B Clarinet
3
3

4
3
3

B Bass Clarinet

Bassoon

1
2

a2

1
3

E Alto Saxophone
2
3
3

B Tenor Saxophone
3

E Baritone Saxophone
to straight mute
1
3

B Trumpet 2
3

3
3

1
2
F Horn
3
4

mute

a2
3

mute

a2

1
3

Trombone 2
3

3
3

Euphonium
3

div.

unis.

Tuba
Initial Tunings
Timpani
XYLOPHONE

1
3

VIBRAPHONE

l.v.

2
3

Percussion

BONGOS (sticks)

SUS. CYM.
(stick)
l.v.

TRIANGLE

3
3

BASS DRUM

PEDAL BASS DRUM

Copyright 2007 by Manhattan Beach Music/All Rights Reserved. Printed and engraved in the United States of America.
ISBN 1-59913-034-3 (complete set) ISBN 1-59913-035-1 (conductor score)

Go to www.FrankTicheli.com for the latest information on the music of Frank Ticheli

Purchase music, download free MP3s, view scores and more at www.ManhattanBeachMusic.com

11

10

12

13

Picc.

1
Fl.
2

Ob.

a2

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

1
to straight mute
B Tpt. 2
to straight mute
3
(a2)
1
2
F Hn.
3
4

mute out

(a2)

Tbn. 2

Euph.

Tuba

Timp.
(Xylo.)

1
(Vibes)

2
Perc.

(Tri.)

to Temple Blocks

3
(Pedal B.D.)

14

15

16

17

18

Picc.

1
Fl.
2

Ob.

a2

1
2
1

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.
st. mute

mute out

1
st. mute

mute out

st. mute

mute out

B Tpt. 2

3
a2 open
1
2
F Hn.

(a2)

open

3
4

Tbn. 2

Euph.

Tuba

Timp.
(Xylo.)

1
(Vibes)

to Marimba

2
Perc.

TEMPLE BLOCKS

to Triangle

19

20

21

22

23

24

Picc.

1
Fl.
2

Ob.

a2

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

B Tpt. 2

3
(a2)

a2

1
2
F Hn.

a2

3
4

Tbn. 2

Euph.

Tuba

Timp.
(Xylo.)
1
MARIMBA

2
Perc.

TRIANGLE

3
(Pedal B.D.)

25

26

27

28

Picc.

1
Fl.
2

Ob.

a2

1
2

2
B Cl.
3

B Bass Cl.

(1.)
Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.
open
1
open
B Tpt. 2
open
3
a2
1
2
F Hn.

a2

3
4

Tbn. 2

Euph.

Tuba

Timp.
(Xylo.)

1
(Mar.)

2
Perc.

(Tri.)

3
to Sus. Cym.

29

30

32

31

33

Picc.

1
Fl.
2

Ob.

a2

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

B Tpt. 2

3
a2
1
2
F Hn.

a2

3
4

Tbn. 2

Euph.

Tuba

Timp.
(Xylo.)

1
(Marimba)

2
Perc.

(Tri.)

34

35

36

37

38

Picc.

1
3

Fl.
3

2
3

a2

(a2)
Ob.

1
2
3

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
3

E Alto Sax.
2
3

B Ten. Sax.
3

E Bari. Sax.
3

1
3

B Tpt. 2

3
(a2)
1
2
F Hn.

(a2)

3
4

1
3

Tbn. 2

Euph.

Tuba

Timp.
(Xylo.)

(Mar.)

2
Perc.
3
SUS. CYM. (yarn)

40

39

41

42

43

Picc.

1
Fl.
2
(a2)
Ob.

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

B Tpt. 2

3
1
2

a2

1.

(a2)

3.

F Hn.
3
4

(a2)

Tbn. 2

Euph.

Tuba

Timp.
(Xylo.)

1
(Mar.)

2
Perc.

l.v.

(Tri.)

3
l.v.

PEDAL B.D.

to B.D.

44

45

46

47

48

49

Picc.

1
Fl.
2
a2
Ob.

a2

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

1
3

B Tpt. 2

a2
1
2
F Hn.

a2

3
4

Tbn. 2

Euph.

Tuba

Timp.
(Xylo.)

1
(Mar.)

2
Perc.

(Tri.)

to Sus. Cym.

54
50

51

52

53

Picc.
5

1
5

Fl.
2
5

a2
Ob.

1
2

1
5

2
5

B Cl.
3
5

4
5

B Bass Cl.
cresc.
1
Bsn.
2

cresc.

1
cresc.

E Alto Sax.
2

cresc.
B Ten. Sax.

E Bari. Sax.
cresc.

1
3

B Tpt. 2
5

3
5

a2
1
2
F Hn.
3
4

cresc.
a2
cresc.

Tbn. 2

Euph.

Tuba
cresc.
Timp.
8va

(Xylo.)

gliss.

1
cresc.

8va

(Mar.)

gliss.

2
cresc.
Perc.

SUS. CYM. (yarn)

10

l.v.

to Bongos

55

56

57

58

59

Picc.

1
Fl.
2

Ob.

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.

B Ten. Sax.

E Bari. Sax.
to st. mute
1
to st. mute
B Tpt. 2
to st. mute
3
(a2)

a2

1
2
F Hn.
to mute

(a2)
3
4

Tbn. 2

Euph.

Tuba

Solo
Timp.
(C to D , A to B )
(Xylo.)

(Mar.)

2
Perc.

BONGOS (sticks)

BASS DRUM

to Pedal B.D.

11

60

61

62

63

64

Picc.

1
Fl.
2
a2
Ob.

1
2

2
B Cl.
3

B Bass Cl.
a2
Bsn.

1
2

1
E Alto Sax.
2

Hn.3&4

B Ten. Sax.

Bsn. 1

E Bari. Sax.

1
st. mute (one only)
B Tpt. 2

3
(a2)

to mute

1
2
mute

F Hn.

a2

3
4

Tbn. 2

Euph.

Tuba

Timp.

2
Perc.
3
PEDAL B.D.

12

65

66

67

68

69

70

Picc.

Fl.
2
3
3

a2
Ob.

1
2
3

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

a2

1
E Alto Sax.
2

B Ten. Sax.
Play
E Bari. Sax.

B Tpt. 2

3
mute
1
2
F Hn.

(mute)

3
4

Tbn. 2

Euph.

Tuba

Timp.
3

(Xylo.)

1
3

(Mar.)

2
Perc.

to Triangle

13

71

72

74

73

Picc.
3
3

3
3

Fl.
2
3

a2
Ob.

1
2

3
3

2
B Cl.
3

B Bass Cl.
(a2)
Bsn.

1
2

1
E Alto Sax.

bring out

B Ten. Sax.

E Bari. Sax.

B Tpt. 2

1
2
F Hn.
3
4

Tbn. 2

Euph.

Tuba

Timp.
3

(Xylo.)

1
(Mar.)

2
Perc.

14

75

77

76

78

79

Picc.
3

1
3

Fl.
2

Ob.

1
2

2
B Cl.
3

B Bass Cl.
(a2)
Bsn.

1
2

1
3
3

E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.
st. mute
1
3

st. mute 3

st. mute 3

3
3

B Tpt. 2
3
3

3
3

3
3

1
2
F Hn.
3
4

Tbn. 2

Euph.

Tuba

Timp.

2
Perc.
3

15

80

83

82

81

Picc.
3

Fl.
2
1. Solo
Ob.

1
2

2
B Cl.
3

B Bass Cl.
(a2)
Bsn.

1
2

E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

1
3

Solo

B Tpt. 2
3
3

1
2
F Hn.
3
4

Tbn. 2

Euph.

Tuba

Timp.

2
Perc.
3

16

84

85

86

87

88

Picc.

Fl.
2

3
3

Ob.

3
3

3
3

3
3

3
3

3
3

3
3

3
3

1
2
3

1
3

3
3

3
3

2
3

3
3

B Cl.

3
3

3
3

3
3

3
3

3
3

4
3

3
3

3
3

3
3

B Bass Cl.

Bsn.

1
2
1

E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.
open Solo
1
majestic
B Tpt. 2

3
a2 open

rip

a2 open

rip

1
2
F Hn.
3
4
1

Tbn. 2

Euph.

Tuba

Timp.

(Xylo.)

1
3

(Mar.)

2
Perc.

3
(Pedal B.D.)

17

89

90

91

92

Picc.

1
3

3
3

Fl.
2

3
3

Ob.

3
3

3
3

3
3

3
3

3
3

3
3

3
3

1
2
3

3
3

3
3

1
3

3
3

2
3

B Cl.

3
3

3
3

3
3

3
3

4
3

3
3

3
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

B Tpt. 2

3
(a2)
1
2
F Hn.

(a2)

3
4

Tbn. 2

Euph.

Tuba

Timp.
(Xylo.)

1
3

(Mar.)

2
Perc.

18

93

94

96

95

Picc.

1
3

Fl.
2

3
3

3
3

3
3

3
3

3
3

3
3

3
3

1
Ob.
2
3

3
3

3
3

1
3

3
3

3
3

2
3

B Cl.

3
3

3
3

3
3

3
3

4
3

B Bass Cl.

Bsn.

a2

1
2

1
E Alto Sax.
2

Play
B Ten. Sax.

E Bari. Sax.
to st. mute
1

B Tpt. 2

3
a2
1
2
F Hn.

a2

3
4

Tbn. 2

Euph.
one only
Tuba

Timp.
(D C )

(Xylo.)

1
3

(Mar.)

2
Perc.

3
to Tambourine

19

97

98

99

100

101

102

103

Picc.

1
Fl.
2
a2
Ob.

1
2

2
B Cl.
3

B Bass Cl.
(a2)
Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.
st. mute
1
(st. mute)
B Tpt. 2
(st. mute)
3
a2

(a2)
1
2
F Hn.

(a2)

3
4

Tbn. 2

Euph.

Tuba

Timp.
(Xylo.)

to Glockenspiel

1
(Mar.)

2
Perc.

TRIANGLE

l.v.

20

104

105

106

108

107

109

110

Picc.

1
Fl.
2
a2
Ob.

1
2

2
B Cl.
3

B Bass Cl.
(a2)
Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

B Tpt. 2

3
a2

a2

1
2
F Hn.

a2

3
4

Tbn. 2

Euph.

Tuba

Timp.
GLOCKENSPIEL

1
(Mar.)

2
Perc.

(Tri.)

21

111

112

113

114

115

116

117

Picc.

1
Fl.
2
a2
Ob.

1
2

2
B Cl.
3

B Bass Cl.
(a2)
Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

B Tpt. 2
3
3

3
3

a2

a2

a2

1
2
F Hn.
3
4

a2

a2

Tbn. 2

Euph.

Tuba

Timp.
(Glock.)

1
(Mar.)

2
Perc.

(Tri.)

22

118

119

120

121

122

123

Picc.

1
Fl.
2
(a2)
Ob.

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

B Tpt. 2

3
a2
1
2
F Hn.
3
4

Tbn. 2

Euph.

Tutti
Tuba

Timp.
(E to E )
(Glock.)

1
(Mar.)

2
Perc.

to Bongos

23

124

125

126

127

Picc.

1
Fl.
2
(a2)
Ob.

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.
mute out
1
mute out
B Tpt. 2
mute out
3

1
2

(a2)

F Hn.
3
4

Tbn. 2

Euph.

Tuba

Timp.
(Glock.)

to Xylophone

2
Perc.

BONGOS (hands)

TAMBOURINE

24

128

130

131

132
133

129
Picc.

1
Fl.
2
(a2)
Ob.

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
marcato

E Alto Sax.
2

marcato
B Ten. Sax.
marcato
E Bari. Sax.
open
1
open
B Tpt. 2
open
3
a2
1
2
F Hn.

marcato

a2

3
4
marcato
1
marcato
Tbn. 2

Euph.
marcato
Tuba

Timp.

XYLOPHONE

1
(Mar.)

2
Perc.

BONGOS (sticks)

3
BASS DRUM

25

134

135

136

137

138

139

140

141

142

Picc.

1
Fl.
2

Ob.

1
2

1
sub.
2
B Cl.

sub.

3
sub.
4
sub.
div.
B Bass Cl.
sub.
Bsn.

1
2
sub.
1

E Alto Sax.
2
Play

Bsn. 1

B Ten. Sax.
sub.

Play

Bsn. 2

E Bari. Sax.
sub.

B Tpt. 2

3
(a2)
1
2
F Hn.
3
4

(a2)

a2

Tbn. 2
3

Euph.
Tuba

Timp.
(C to C )
(Xylo.)

to Glockenspiel

1
(Mar.)

2
Perc.
to Sus. Cym.

3
4

26

143

144

145

146

147

148

149

Picc.

1
Fl.
2

Ob.

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

B Tpt. 2

3
a2

1
2
F Hn.
3
4

(a2)

Tbn. 2

Euph.

Tuba

Timp.
GLOCKENSPIEL

1
(Mar.)

2
Perc.
SUS. CYM. (yarn)

3
(B.D.)

27

152
150

153

151

154

155

Picc.

1
3

Fl.
2
3

Ob.

1
2
3

1
3

2
3

B Cl.

3
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.
to st. mute
1
div.
B Tpt. 2
div.
3
(a2)
1
2
F Hn.
3
4

(a2)

Tbn. 2

Euph.

Tuba

Timp.
(C to C )
(Glock.)

to Xylophone

1
(Mar.)

2
Perc.
TRIANGLE

l.v.
3
to Pedal B.D.

28

156

157

158

159

160

161

Picc.

1
Fl.
2
a2
Ob.

1
2

2
B Cl.
3

4
unis.
B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.
st. mute
1
to st. mute
B Tpt. 2
to st. mute
3
a2
1
2
F Hn.
3
4

Tbn. 2

Euph.

Tuba

Timp.
XYLOPHONE

1
VIBRAPHONE

to Vibes

2
Perc.
3
PEDAL B.D.

29

163

162

164

165

166

Picc.

1
Fl.
2

Ob.

1.

1
2

a2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

1
st. mute
B Tpt. 2
st. mute
3
open
(a2)

stopped

(a2)
1
2
F Hn.
a2

a2

3
4

Tbn. 2

Euph.

Tuba

Timp.
(Xylo.)

1
(Vibes)

2
Perc.

(Tri.)

3
TAMBOURINE

(Pedal B.D.)

30

167

168

169

170

171

172

Picc.

1
Fl.
2
a2
Ob.

1
2

2
B Cl.
3

B Bass Cl.

1.
Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

1
mute out
B Tpt. 2
mute out
3
(a2)
1
2
F Hn.
3
4

Tbn. 2

Euph.

Tuba

Timp.

1
(Vibes)

to Marimba

2
Perc.

(Tri.)

3
(Pedal B.D.)

31

173

174

175

176

177

Picc.

1
Fl.
2
a2
Ob.

1
2

2
B Cl.
3

B Bass Cl.

(1.)
Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

mute out
1
open
B Tpt. 2
open
3
(a2)

a2

1
2
F Hn.
a2
3
4

Tbn. 2

Euph.

Tuba

Timp.
(Xylo.)

1
MARIMBA

2
Perc.

(Tri.)

3
to Sus. Cym.

32

179

178

180

Picc.

1
Fl.
2

Ob.

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.
open
1

B Tpt. 2

3
a2

1
2
F Hn.
3
4

a2

Tbn. 2

Euph.

Tuba

Timp.
(Xylo.)

1
(Mar.)

2
Perc.

l.v.

33

181

182

183

184

185

Picc.
3

cresc.
1
3

3
3

cresc.

Fl.
2

cresc.

a2
Ob.

1
2
3

cresc.

1
cresc.
2
cresc.

B Cl.
3

cresc.
4
cresc.
B Bass Cl.
cresc.

Bsn.

1
2
cresc.

1
3

cresc.

E Alto Sax.
2

cresc.
B Ten. Sax.
cresc.
E Bari. Sax.
cresc.
1
3

cresc.
B Tpt. 2

3
(a2)
1
2
F Hn.
3
4

(a2)

1
cresc.
Tbn. 2

3
cresc.
Euph.

Tuba
cresc.
Timp.

2
Perc.
3
SUS. CYM. (yarn)

34

a2

187

186
Picc.

188

189

Fl.
2

3
3

(a2)
Ob.

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
3

E Alto Sax.
2
3

B Ten. Sax.

E Bari. Sax.

1
3

B Tpt. 2

3
a2
1
2
F Hn.
3
4

a2

(a2)

1
3

Tbn. 2

Euph.

Tuba

Timp.

(Xylo.)

(Mar.)

2
Perc.

(Tri.)

3
(Pedal B.D.)

35

190

195
191

192

193

194

196

Picc.

flutter

ord.

flutter

ord.

1
Fl.
2
a2
Ob.

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

B Tpt. 2

3
a2
1
2
F Hn.

a2

3
4

1
cresc.
Tbn. 2
cresc.
3
cresc.
Euph.
cresc.
Tuba

Timp.
to Glockenspiel

GLOCKENSPIEL

1
to Vibraphone

VIBRAPHONE

2
Perc.

(Tri.)

3
to B.D.

4
cresc.

36

200
197

198

199

201

Picc.

flutter

ord.

flutter

ord.

1
Fl.

flutter

ord.

Ob.

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2
1

E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

B Tpt. 2

3
1
2
F Hn.
3
4

Tbn. 2

Euph.

Tuba

Timp.
l.v.

(Glock.)

to Xylophone

1
(Vibes)

to Marimba

2
Perc.

to Temple Blocks

37

202

203

204

205

206

Picc.

1
Fl.
2

Ob.

a2

1. Solo

1
2

(2.

2
B Cl.
3

B Bass Cl.
1.

Solo

a2

1
Bsn.
2

(2.

Ob. 1

1
E Alto Sax.
2

Bsn. 1.

B Ten. Sax.

E Bari. Sax.

to st. mute

st. mute

to st. mute

st. mute

to st. mute

st. mute

to mute

mute

a2

to mute

mute

(a2)

B Tpt. 2

1
2
F Hn.

a2

3
4
to st. mute
1
to st. mute
Tbn. 2
to st. mute
3

Euph.

Tuba
(dampen)
Timp.
to Crash Cymbals

XYLOPHONE

Solo
MARIMBA (White notes)

2
Perc.

(Black notes)
TEMPLE BLOCKS

3
BASS DRUM

4
(dampen)

38

207

208

209

Picc.

1
Fl.
2
(a2)
Ob.

1
2

2
B Cl.
3

B Bass Cl.
(a2)
1
Bsn.
2
Play
1
E Alto Sax.
2
Play
B Ten. Sax.

E Bari. Sax.

B Tpt. 2

3
(a2)
1
2
F Hn.

(a2)

3
4

Tbn. 2

Euph.

Tuba

Timp.

1
(Mar.)

2
Perc.
3

39

210

211

212

Picc.

1
Fl.
2

Ob.

1
2

2
B Cl.
3

B Bass Cl.
(a2)
Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

B Tpt. 2

3
(a2)
1
2
F Hn.

(a2)

3
4
st. mute
1
st. mute
Tbn. 2
st. mute
3

Euph.

Tuba

Timp.

1
(Mar.)

2
Perc.

(Temple Blks.)

40

214

213

215

Picc.

1
Fl.
2

Ob.

1
2

2
B Cl.
3

B Bass Cl.

(a2)
1
Bsn.
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.
mute out
1
mute out
B Tpt. 2
mute out
3
(a2)

mute out

(a2)

mute out

1
2
F Hn.
3
4

Tbn. 2

Euph.

Tuba

Timp.

1
to Vibraphone

(Mar.)

2
Perc.
to Sus. Cym.

3
PEDAL B.D.

41

216

218

217

219

Picc.

1
Fl.
2

Ob.

1
2
1

2
B Cl.
3

B Bass Cl.
a2
1
Bsn.
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.
open
1
open
B Tpt. 2

3
open

a2

1
2
F Hn.
open a2
3
4

Tbn. 2

Euph.

Tuba

Timp.

2
Perc.
3
(Pedal B.D.)

42

220

221

222

224

223

Picc.

1
Fl.
2
a2
Ob.

1
2

2
B Cl.
3

B Bass Cl.

(a2)
Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

B Tpt. 2

3
a2

1
2
F Hn.

a2

3
4

mute out
1
mute out
Tbn. 2
mute out
3

Euph.

Tuba

Timp.

1
VIBRAPHONE

2
Perc.

SUS. CYM. (yarn)

3
to Tam-Tam

43

rit.
225

227

226

228

Picc.

1
Fl.
2

Ob.

1
2

2
B Cl.
3

B Bass Cl.

a2
Bsn.

a2

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

B Tpt. 2
open
3
(a2)
1
2

a2

F Hn.
(a2)

a2

3
4

Tbn. 2

Euph.
div.
Tuba

Timp.

1
(Vibes)

2
Perc.
3

44

229

Majestic ( = c. 108)
230

231

232

233

Picc.

1
Fl.
2

Ob.

1
2

1
3

3
3

2
3

B Cl.
3

B Bass Cl.

Bsn.

1
2

1
3

E Alto Sax.

3
3

2
3

B Ten. Sax.
3

E Bari. Sax.
3

1
3
3

B Tpt. 2

3
(a2)
1
2
F Hn.
3
4

(a2)

open
1
open
Tbn. 2
open
3

Euph.

Tuba

Timp.
CRASH CYMBALS

to Xylophone

l.v.
1

to Marimba

2
Perc.

TRIANGLE

l.v.

3
TAM-TAM

4
l.v.

45

l.v.

235

236

molto rit.

237

234
Picc.

1
Fl.
2
a2
1
Ob.
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.

B Tpt. 2

3
(a2)
1
2
F Hn.
3
4

(a2)

Tbn. 2

Euph.

Tuba

Timp.

2
(Tri.)

Perc.
3
(Tam-Tam)

to Tambourine

46

238

239

= c. 144
240

241

242

Picc.
3

1
Fl.

3
3

3
3

2
3

(a2)
Ob.

1
2
3

3
3

B Cl.
3

3
3

3
3

3
3

3
3

3
3

3
3

B Bass Cl.
3

a2

1
Bsn.
2
3

1
3
3

E Alto Sax.
3

B Ten. Sax.
3

E Bari. Sax.
3

B Tpt. 2

3
(a2)
1
2
F Hn.
3
4

(a2)

Tbn. 2

Euph.
unis.
Tuba

Timp.

2
Perc.
3

47

243

cresc.

1
3
3

Fl.

3
3

246

245

244

Picc.

cresc.

2
3

Ob.

1
2

cresc.

cresc.

1
3

cresc.

2
3

B Cl.

cresc.

3
3

cresc.

4
3

cresc.

B Bass Cl.
3

(a2)
Bsn.

1
2

1
E Alto Sax.

cresc.

2
3

cresc.

B Ten. Sax.
3

E Bari. Sax.

1
cresc.
B Tpt. 2
cresc.
3
cresc.

a2

1
2
F Hn.
3
4

cresc.
a2

cresc.
1

Tbn. 2
cresc.
3
cresc.
Euph.
cresc.
Tuba
cresc.
Timp.
XYLOPHONE

1
3

cresc.
MARIMBA

2
3

Perc.

cresc.

48

Slower

248
247

249

250

251

252

Picc.

1
Fl.
2

Ob.

1
2

2
B Cl.
3

B Bass Cl.

Bsn.

1
2

1
E Alto Sax.
2

B Ten. Sax.

E Bari. Sax.
3

1
3

3
3

B Tpt. 2

3
(a2)
1
2
F Hn.

(a2)

3
4

Tbn. 2

Euph.
div.

unis.

Tuba

Timp.
(B to G )

2
Perc.

BONGOS

(choke)

(Tri.)

3
BASS DRUM

TAMBOURINE

49

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 todays 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 rst addressed the
needs of the archivist by printing all of its concert band music on acid-free paper
that met the standards specied 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 specic 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 .