SANCTUARY

C O N C E R T B A N D

FRANK TICHELI

w w w. M a n h a t t a n B e a c h M u s i c . c o m
 Recording Credits for Sanctuary:

Performance by H. Robert Reynolds conducting

the USC Thornton Wind Ensemble

•••

Also hear on the MP3 page of Manhattan Beach Music

(see the link at top of www.ManhattanBeachMusic.com for MP3 page)
the Performance by Allan McMurray conducting
the Colorado Wind Symphony in concert
in Macky Concert Hall
 S A N C T UA RY
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 Eb Alto Saxophone 1 2 Trombone 2

1 Piccolo 2 Eb Alto Saxophone 2 2 Trombone 3
4 Flute 1 1 Bb Tenor Saxophone 3 Euphonium B.C.
4 Flute 2 1 Eb Baritone Saxophone 2 Euphonium T.C.
1 Oboe 1 3 Bb Trumpet 1 4 Tuba
1 Oboe 2 3 Bb Trumpet 2 1 String Bass
4 Bb Clarinet 1 3 Bb Trumpet 3 1 Timpani
4 Bb Clarinet 2 1 F Horn 1 (also playing lge. Tri. & lge. Cymb.)

4 Bb Clarinet 3 1 F Horn 2 2 Percussion 1

Glockenspiel, Cymbal (susp.),
2 Bb Bass Clarinet 1 F Horn 3 Tam Tam

1 Eb Contrabass Clarinet 1 F Horn 4 2 Percussion 2

1 Bassoon 1 2 Trombone 1 Vibraphone, Bass Drum

1 Bassoon 2 1 Piano

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.
 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)

Acadiana (17 minutes, grade 5)
Movements 1 and/or 3 may be performed separately

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

Dancing on Water (8 minutes, grade 4)

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)
Making Music Matter: Band Method
by Frank Ticheli and Gregory B. Rudgers – Bob Margolis, Editor
Book 1: Beginning Band (Foreword by Richard L. Floyd) & Book 2: Intermediate Band (Foreword by Craig Kirchhoff )
view online: www.makingmusicmatterbook1.com & www.makingmusicmatterbook2.com

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)

W W W. F R A N K T I C H E L I . C O M – T H E O F F I C I A L S O U R C E F O R T H E M U S I C O F F R A N K T I C H E L I
.
The Michigan School Band and Orchestra Association expresses its heartfelt gratitude
to the members of the University of Michigan Band Alumni Association
for their significant contribution to the funding of this commission
S ANCTUARY was composed for conductor H. Robert Reynolds as
a symbol of our enduring friendship. The work was commissioned
in his honor, and received its premiere performance by the band he
conducted for 26 years. As a personal tribute to Mr. Reynolds, who
was a horn player in his earlier days, I chose the solo horn to be the work’s main
musical messenger. The opening prologue grows out of a set of pitches that were
derived from the letters of his first name (Harrah), an idea I first used fifteen years
ago in Postcard (commissioned by Reynolds in memory of his mother.) Vivid
college memories of Mr. Reynolds conducting Grainger’s HILL SONG NO. 2 and
COLONIAL SONG — both well known favorites of his — were also in the back of
my mind, as the sounds that I created in some ways echo the lyrical mood of these
works.

The word, sanctuary, conjures a rich array of images. It can imply a place of
solitude, comfort, rest, prayer, protection. It can suggest a place that is strong and
imposing or one that is very small and private. I believe all of these images are sug-
gested at one point or another in the music. The opening bell sounds suggest peace
and joyful reverence. The main horn melody is at once reflective and reassuring.
There is also an underlying hint of nostalgia — a wistfulness, perhaps suggested by
the simple three-chord progression which threads the entire work. But there is also
an expression of strength and power in the work’s dark and imposing climax.

After the climax recedes, the main melody disappears for a period of time,
replaced by flute and clarinet solo episodes which create repose, space, and distance.
But in the end, the three-chord harmony returns and serves as a doorway for the
final appearance of the main horn theme. The work ends with a quiet echo of the
opening bells.

Sanctuary was commissioned by the Michigan School Band and Orchestra

Association in honor of H. Robert Reynolds. The premiere performance was given
by the University of Michigan Symphony Band, Michael Haithcock, conductor, at
Hill Auditorium on October 22, 2005.

F R A N K T I C H E L I
O C T. 3 1 , 2 0 0 5
 F O R M

I N T R O D U C T O RY M AT E R I A L ( m m . 1 - 2 5 )

1-9 G Major Bell sounds; Solo Horn Prologue: “HARRAH” motive

10-25 Ab Major Transition: Establishment of main harmony

M A I N T H EM E ( A A B C f o r m ) ( m m . 2 6 - 6 0 )

26-33 Eb Major Main theme introduced by solo horn

34-42 Variant of main theme in woodwinds

43-50 Contrasting phrase (tender, fragile)

51-60 Poco più mosso: Closing phrase of main theme

(returning to horns)

M A I N T H EM E a n d C LI M AX ( m m . 6 1 - 9 7 )

61-68 Bb Major Main theme in all four horns

(doubled at octave in oboe and clarinet)

69-78 Main theme in woodwinds; then fragment of theme

used to build intensity

79-82 G Minor Full-throated, passionate statement of main theme

83-97 G Major Climax: Dark and forceful; falling 4ths and horn
prologue recalled

EP I S O D E a n d T R A N S I T I O N ( m m . 9 8 - 1 1 4 )

98-106 D Major Episode: Repose after climax. Flute solo

and clarinet solo

107-114 Ab Major Transition: Recapitulation of main theme’s harmony

F I NA L S TAT EM EN T a n d C O DA ( m m . 1 1 5 - 1 4 8 )

115-122 Eb Major Recapitulation of main theme by solo horn

123-131 Woodwinds: obscured variant of main theme

132-143 Closing phrase of main theme, passed around ensemble

144-148 Gb Major Final modulation: final recollection of falling-4th idea

 R E H E A R S A L N O T E S

General…

Although there is an underlying nostalgic quality about the work, the interpreter will not need to bring
this out — it is simply there. Instead, the most important goals to maintain are good intonation, quality of
sound, dynamic balance and flexibility. The work, for the most part, is not so technically demanding, but it
does require sensitive and controlled playing from all of the players and especially the soloists. The solo horn
passages are especially important, and require a player with a confident, musically mature sound. All tempo
markings are approximate, and while some degree of tempral elasticity is encouraged, it should be subtle,
without destroying the lyrical flow.

I have provided cross-cues for all of the solo horn passages, allowing a variety of alternatives for those
ensembles who have inexperienced horn players. These alternatives are listed in order of preference:

1. Any or all of the solo horn passages may be played by two horn players if necessary to achieve a fuller,
more confident horn sound (all solo horn passages are cued in the second horn part);

2. If the horn soloist lacks a confident, unstrained high B-flat, the player may play the ossia in measures
30-31, and 119-120, while a solo trumpeter plays the ossia cues in measures 29-32 and 118-121;

3. If and only if one of the above alternatives does not yield a satisfactory solution, any or all of the solo
horn cues may be played by the first alto saxophonist.

Section-by-section notes…

INT RODU C TORY MATERI AL ( m m . 1 -2 5 )

The opening “Prologue” provides contrast to the work’s lyrical main body. Bell sounds enter in a brief dia-
logue with the solo horn. A snap-rhythm becomes the focus of attention as more instruments enter into the
exchange. But then the dialogue is suddenly halted, surrendering without warning to a more reflective and
lyrical world. A three-chord progression appears out of nowhere in measures 10-11, blurred at first between
the clarinets and saxophones. It is important that all three chords be heard equally. Observe also the echo
effect between measures 10 and 12, measures 14 and 16, etc.

M AIN THEME — AAB C for m ( m m . 2 6 -6 0 )

As in the Prologue, the solo horn takes the main line, but now the feeling is more lush and lyrical. The
soloist’s sound should be confident and full. The ascent to the high Bb should be strong but never strained.
The accompaniment should be shaped according to the dymanics indicated, but always under the horn solo.

The woodwinds play a varied repeat of the melody beginning at measure 34, enhanced by wide expressive
leaps in the first clarinet and flute (marked espr.). Be sure to bring out these leaps, perhaps even lingering on
them a bit.

A contrasting phrase, much more delicate and fragile, begins at measure 43. But the lush harmony and
expressive horn melody return at measure 51, now slightly intensified (stated by two horns rather than just
one). The tempo pushes subtly forward, but not to the point of destroying the lyrical flow.

M AIN THEME and C LI MAX (m m . 6 1 -9 7 )

The key center moves down a perfect fourth and the melody is strengthened further, now stated by all the
horns and doubled at the octave in the oboes and clarinet. The music intensifies and ascends, and then cries
out in a passionate outburst (measure 79). The music then descends into a powerful climax. The register opens
up to its widest range from top to bottom. Massive, dark chords are answered by a flourish of 32nd-notes in
the piccolo and flutes. (The clarinets may play the cues if more sound is needed in the flourishes.) One final
push finishes the climax at measure 95, and from there the music recedes.

EP ISODE and TRANSI T I ON (9 8 -1 1 4 )

The episode serves as a kind of oasis, providing relief not only from the climax, but also from the main
theme. Peaceful sustained chords accompany fluttery birdsongs played in succession by solo flute and clarinet.
The soloists may take some rhythmic liberty here, but not to the point of hindering the forward flow.

The three-chord progressions return, once again without warning, bringing the listener back to the world
of the main theme and its harmony.

FINAL STATEMENT and CODA ( 1 1 5 -1 4 8 )

The horn solo returns exactly as before, but the section is shortened. The three-chord harmony is passed
around the ensemble as the music draws closer to its conclusion. A final modulation marks the coda, along
with a final reminder of the opening bells.

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

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“The official source for the Music of Frank Ticheli”

Gg
 commissioned by the Michigan School Band and Orchestra Association in honor of H. Robert Reynolds
for his contributions to music in the State of Michigan

SANCTUARY
FOR CONCERT BAND
Prologue ( = c. 66) FRANK TICHELI
2 3 4
Piccolo

1
Flute
2
1. 1.
1
Oboe
2

B Clarinet 2

B Bass Clarinet

E Contrabass Clarinet
1. 1.
1
Bassoon
2
3
Solo Hn.

1
3
E Alto Saxophone

B Tenor Saxophone

E Baritone Saxophone

1
B Trumpet
2
3
3
1. Solo
1
2
F Horn 3
3
4
Harmon mute (stem in) + 0 +

1
Trombone
2
3

Euphonium

Tuba

String Bass
LARGE TRIANGLE
Timpani l.v. l.v.
(also
plays
Large
Triangle) GLOCKENSPIEL
1

Percussion VIBRAPHONE

8va 8va

Piano

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ISBN 1-599139-006-8 (complete set) ISBN 1-59913-007-6 (conductor score)
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 5 6 7 8
Picc.

Fl.

1.
1
Ob.
2

B Cl. 2

B Bass Cl.

E Cb. Cl.

1.
1
Bsn.
2

3 3 3

1
3
E Alto Sax.

B Ten. Sax.

E Bari. Sax.

1
B Tpt.
2
3

(1.) 3 3 3
1
2
F Hn. 3

3
4
+ 0
+ + + 0
mute out
1
Tbn.
2
3

Solo Hn.

Euph.
3
3 3

Tuba

Str. Bass

let ring only for notated duration

l.v.
Timp.

3
1
Perc. 3

8va 8va
3 8va

Piano 3

2
 10
9 rit. = c. 66 11 12 13
Picc.

Fl.

1
Ob.
2

3
Solo
1

B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2

3
1

E Alto Sax.

B Ten. Sax.

E Bari. Sax.

B Tpt.
2
3

(1.) 3
1
2
F Hn.
3
4

1
Tbn.
2
3

Euph.
3

Tuba

Str. Bass

Timp.

1
Perc.

8va

Piano

3
 14 18
15 16 17
Picc.

Solo
1
n
Fl.

1.
1
Ob.
2

Solo
1

B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2
Play
1
E Alto Sax.

B Ten. Sax.

E Bari. Sax.

1
B Tpt.
2
3

1
2
F Hn.
3
4

1
Tbn.
2
3

Euph.

Tuba

Str. Bass

(Tri.) l.v.
Timp.

(Glock.)
1

Perc.
(Vibes)
2

8va 8va

Piano

4
 19 20 21 22 23
Picc.
n

Fl. n

1.
1
Ob.
2

3 3
(Solo)
3
1

B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2

Ob.1 Play
1

E Alto Sax.

Bsn.1 Play
B Ten. Sax.

Bsn.2 Play
E Bari. Sax.

1
B Tpt.
2
3

1
2
F Hn.
3
4

1
Tbn.
2
3

Euph.

Tuba

Str. Bass

l.v.
Timp.

Perc.

8va

Piano

5
 26
24 rit. 25
= c. 69 27 28 29
Picc.

Fl.

1
Ob.
2

Tutti
1

B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2

nobly and expressively

Solo Hn. ten.

1
E Alto Sax.

B Ten. Sax.

E Bari. Sax.

Solo Trumpet: Play only if Hn.1 plays ossia

1
B Tpt.
2
3
1. Solo nobly and expressively
ten.
1
2
F Hn.
3. ten.
3
4

1
Tbn.
2
3
Bsn.1 Solo
Play
Euph.

Bsn.2
Tuba

pizz. arco
Str. Bass

Timp.

1
Perc.

Piano

6
 30 31 32 33
34 35 36
Picc.

Fl. espr.

a2
1
Ob.
2

espr.

B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2

Play
1

E Alto Sax.

B Ten. Sax.

E Bari. Sax.

1
B Tpt.
2
3
(1.)

1
2
ossia
F Hn.
(3.)
3
4

1
Tbn.
2
3

(end solo)

Euph.

Play (one player only)

Tuba

Str. Bass

Timp.

Perc.

Piano

7
 37 38 39 40 41 42
Picc.

1
n
Fl.

2
(a2) n

1
Ob.
2

1
n

B Cl. 2

n
3

B Bass Cl.

E Cb. Cl.
n

1
Bsn.
2
n

1
E Alto Sax.

2
n

B Ten. Sax.
n

E Bari. Sax.
n
cup mute
1
B Tpt.
2
3

1
2
F Hn.
3
4

1
Tbn.
2
3

Euph.

Tuba

Str. Bass
n

Timp.

Perc.

Piano

8
 43
44 45 46 47 48
Picc.
delicate

Fl. delicate

2
delicate
1.
1
Ob.
2
delicate

1
delicate

B Cl. 2
delicate

delicate
B Bass Cl.

delicate

E Cb. Cl.

1
Bsn.
2
delicate

E Alto Sax.

B Ten. Sax.
delicate

E Bari. Sax.
delicate

1
B Tpt. sim.
2
3

1
2
F Hn.
3
4

1
Tbn.
2
3

Euph.

Tuba

Str. Bass

(Tri.) dampen
Timp.
delicate
(Glock.) let ring
dampen
1

Perc. delicate
(Vibes)
2
8va delicate
Glockenspiel, let ring
Play loco

Piano delicate delicate

9
 49 50
51 poco più mosso 52 53 54
Picc.

Fl.

(1.)
1
Ob.
2

B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2

E Alto Sax. nobly

B Ten. Sax.

E Bari. Sax.

mute out
1
B Tpt.
2
3

a2
1
2
nobly
F Hn.
3
4

1
Tbn.
2
3

Euph.

one player only

Tuba

Str. Bass

dampen
Timp.

dampen to Suspended Cymbal

Perc.
to Bass Drum
2

Piano

10
 55 57 rit.
56 58 59 60
Picc.

Fl.

a2
1
Ob.
2

3
1

3
B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2

E Alto Sax.

B Ten. Sax.

E Bari. Sax.

1
B Tpt.
2
3

(a2) a2
1
2
F Hn.
3. a2
3
4

1
Tbn.
2
3

Euph.

Tuba
pizz. arco

Str. Bass

Timp.
SUSPENDED CYMBAL (yarn mallets)

1
Perc.

Piano

11
 61
= c. 69
62 63 64 65 66
Picc.

Fl.

(a2) 1.
1
Ob.
2

B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2

E Alto Sax.

B Ten. Sax.

E Bari. Sax.

open
1

B Tpt.
2. 2.
2
3

(a2)
1
2
F Hn.
(a2)
3
4

open
1
Tbn.
2
3

Euph.

Tutti
Tuba

Str. Bass

Timp.

l.v.
1
(gentle)
Perc.

Piano

12
 67
69 70 71 72
68
Picc.

Fl.

(1.) 1.
1
Ob.
2

B Cl. 2

B Bass Cl.

E Cb. Cl.

1.
1
Bsn.
2

E Alto Sax.

B Ten. Sax.

E Bari. Sax.

1
B Tpt.
2
3

(a2)
1
2
F Hn.
(a2)
3
4

1
Tbn.
a2
2
3

Euph.

Tuba

Str. Bass

(Tri.)
Timp.

Perc.

Piano

13
 79 a tempo
73 poco stringendo rit.
74 75 76 Fl.1 77 Play 78
Picc.

1
cresc.
Fl.

2
cresc.

1
Ob.
2

cresc. poco a poco

1
cresc. poco a poco

B Cl. 2
cresc. poco a poco

3
cresc. poco a poco

B Bass Cl.

cresc. poco a poco

E Cb. Cl.

a2
1
Bsn.
2
cresc. poco a poco

E Alto Sax. cresc. poco a poco

2
cresc. poco a poco

B Ten. Sax.
cresc. poco a poco

E Bari. Sax.
cresc. poco a poco

B Tpt. cresc. poco a poco

2. cresc. poco a poco
2
3
3. cresc.
a2
1
2
F Hn. cresc. poco a poco
a2 a2
3
4
cresc. poco a poco

1
Tbn.
a2 a2
2
3

Euph.

Tuba

Str. Bass

to Timpani TIMPANI
Timp.

(Sus. Cym.) l.v. to Tam-Tam

1
Perc. cresc. poco a poco
BASS DRUM
2

Piano

14
 83
80 allargando a tempo
81 82 84 85
Picc.

Fl.

a2
1
Ob.
2

B Cl. 2

B Bass Cl.

ossia: D 8va
E Cb. Cl.

1
Bsn.
2

1
E Alto Sax.

B Ten. Sax.

E Bari. Sax.

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

1
Tbn. (a2)
2
3

Euph.

div. (if only one player available, play bottom notes)

Tuba

Str. Bass

Timp.

TAM-TAM to Sus. Cym.

1
l.v.
Perc.
(B.D.)
2

l.v.

Piano
l.v.

15
 86 87 88
Picc.

Fl. 5

5
1
Ob.
2
Fls. 5

Fls. 5

B Cl. 2

B Bass Cl.

ossia: D 8va
E Cb. Cl.

1
Bsn.
2

1
E Alto Sax.

B Ten. Sax.

E Bari. Sax.

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

1
Tbn.
2
3

Euph.

Tuba

Str. Bass

Timp.

1
Perc. (B.D.)
2
8va l.v.

l.v.

Piano
l.v.

16
 89
91
90 92
Picc.

Fl. 5

5
1
Ob.
2
5
(Fls.)
1

5
(Fls.)
B Cl. 2

B Bass Cl.

unis.
E Cb. Cl.

1
Bsn.
2

1
E Alto Sax.

B Ten. Sax.

E Bari. Sax.

1
B Tpt. 3
(a2)
2
3

(a2)
1
2
3
F Hn.
3
a2
3
4

1
Tbn.
2
3

Euph.

unis.
Tuba

Str. Bass

Timp.

SUS. CYM. (yarn) l.v. to Tam-Tam

1
Perc. molto
2
8va

Piano

17
 93 rit. a tempo rit.
94 95 96 97
Picc.

Fl.

1
Ob.
2

B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2

E Alto Sax.

B Ten. Sax.

E Bari. Sax.

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

1
Tbn.
2
3

Euph.

Tuba

Str. Bass

to Wind-machine effect*
Timp.

TAM-TAM to Sus. Cym.

1
l.v.
Perc.
(B.D.) to Vibes
2
l.v.

Piano

18
 98
= c. 56 99 100 101
Picc.
ten.
Solo
3
1 3
Fl. 3

1
Ob.
2

B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2

E Alto Sax.

B Ten. Sax.

E Bari. Sax.

1
B Tpt.
2
3

(a2)
1
2
F Hn.
(a2)
3
4

1
Tbn.
2
3

Euph.

Tuba

Str. Bass

Wind-machine effect*
l.v. to Tri.
Timp.

*Timpanist places a large Cymbal on Timpani head and rolls Cymbal while raising and lowering pitch with foot pedal as notated to imitate a Wind-machine’s sound.

Perc.
2

Piano

19
 102 103
104
Picc.

1
3
Fl.

1
Ob.
2
Solo
1
3

B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2
Solo Cl.

1
3

E Alto Sax.

Bsn.1
B Ten. Sax.

Bsn.2
E Bari. Sax.

B Tpt.
2
3

1
2
F Hn.
3
4

1
Tbn.
2
3

Euph.

Cb.Cl.
Tuba

Str. Bass

Timp.
scrape briskly
SUS. CYM. (metal beater) l.v. to Glock. and Sus. Cym. (metal beaters)
1

Perc.

Piano

20
 105
107 = c. 66
Pno. 106 108 109
Picc.

Pno.
1

Fl.
Pno.
2

Pno.
1
Ob.
2

3
1
3

B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2
3
1
3
E Alto Sax.

Play
B Ten. Sax.

Play
E Bari. Sax.

1
B Tpt.
2
3

1
2
F Hn.
3
4

1
Tbn.
2
3

Euph.

Tuba

Str. Bass

TRI. to Timp.
Timp.

1
Perc.

Piano

21
 115
110 rit. = c. 69
111 112 113 114
Picc.

Fl.

1
Ob.
2
3
Tutti
1

B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2

Solo Hn. ten. nobly and expressively

E Alto Sax.

B Ten. Sax.

E Bari. Sax.

1
B Tpt.
2
3
Solo
1. ten. nobly and expressively
1
2
F Hn.
3. ten.
3
4

1
Tbn.
2
3
Bsn.1

Euph.

Bsn.2
Tuba

pizz. arco

Str. Bass

TIMP. to Tri.
Timp.

Perc.
VIBES
2
8va

Piano

22
 116 117 118 119 120 121
Picc.

Fl.

1
Ob.
2

B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2

1
E Alto Sax.

B Ten. Sax.

E Bari. Sax.

Solo Trumpet: Play only if Hn.1 plays ossia

1
B Tpt.
2
3
(1.)
1
2
ossia
F Hn. (3.)
3
4

1
Tbn.
2
3

Solo (end solo)

Play
Euph.

Play (one player only)

Tuba

Str. Bass

Timp.

1
Perc.

Piano

23
 122 123 124 125 126 127
Picc.

1
espr.
Fl. Ob.2

2.
1
Ob.
2

espr.
B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2

Play
1
E Alto Sax.

B Ten. Sax.

E Bari. Sax.

1
B Tpt.
2
3
(1.)
1
2
F Hn.
(3.)
3
4

1
Tbn.
2
3

Euph.

Tuba

Str. Bass

Timp.

Perc.

Piano

24
 128 129 130 131
132
Picc.

Fl.
Play
2

1.
1
Ob.
2

B Cl. 2

B Bass Cl.

E Cb. Cl.

1.
1
Bsn.
2

E Alto Sax.

B Ten. Sax.

E Bari. Sax.

1
B Tpt.
2.
2
3

a2 a2
1
2
F Hn.
a2
3
4

1
Tbn.
2.
2
3

Tutti
Euph.

Tuba

Str. Bass

Timp.

Perc.

Piano

25
 133 134 135 136 137
138
Picc.

Fl.

1. 1.
1
Ob.
2

B Cl. 2

B Bass Cl.

E Cb. Cl.

1.
1
Bsn.
2

Hn.1,2
1
E Alto Sax.

B Ten. Sax.

E Bari. Sax.

one player to st. mute

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

1
Tbn.
a2
2
3

Euph.

Tutti
Tuba
pizz.

Str. Bass

Timp.

Perc.

Piano

26
 139 molto rit.
140 141 142 143
Picc.

Fl.

1. 1.
1
Ob.
2

B Cl. 2

B Bass Cl.

E Cb. Cl.

1
Bsn.
2

E Alto Sax.

B Ten. Sax.

E Bari. Sax.

1
B Tpt.
2
3

(a2)
1
2
F Hn.
a2 a2
3
4

1
Tbn.
2
3

Euph.

Tuba

Str. Bass

Timp.

Perc.

Piano

27
 144 rit. al fine
= c. 60 145
146 147 148
Picc.

Fl.
2

1
Ob.
2

n
B Cl. 2

n
3

n
div. (if only one player available, play bottom notes)
B Bass Cl.

E Cb. Cl.

n
1
Bsn.
2

1
E Alto Sax.

B Ten. Sax.

E Bari. Sax.
st. mute, one player only

1
B Tpt.
2
3

1
2
F Hn.
3
4

1
Tbn.
2
3

Euph.

div. (if only one player available, play bottom notes)

Tuba

pizz. arco
Str. Bass

n
TRI. l.v. l.v.
Timp.

scrape Cym. GLOCK.

GLOCK. l.v.
1

Perc.
(Vibes)
2

8va

Piano

28
.
 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)

BM OA B NMHAA RT G
T AONL I BS E—
A CP H
U BML U I SSHI CE R
N EBI LO BR UMDADRYG— O LCI RS E— A TN
I VEEI L DRI URDEC DTYO R
P U B L I S H ECR O
S FAONUDN D
CEORFSO U N D E R S

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 .
.
 www.FRANK TICHELI.com
THE OFFI C I AL S OURC E F O R T H E M U S IC O F F RA N K T ICH E LI

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