T H E T YG E R

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

1 Bassoon 2

1 Bass Trombone

2 Flute 1

1 Contrabassoon

3 Euphonium (Bass Clef)

2 Flute 2

3 Eb Alto Saxophone

1 Euphonium (Treble Clef)

2 Flute 3 (doubles on Piccolo)

2 Bb Tenor Saxophone

4 Tuba

2 Flute 4 (doubles on Piccolo)

2 Bb Trumpet 1

1 Piano

1 Oboe 1

2 Bb Trumpet 2

1 Timpani

1 Oboe 2

2 Bb Trumpet 3

1 Percussion 1

1 English Horn

2 Bb Trumpet 4

1 Eb Clarinet

1 F Horn 1

3 Bb Clarinet 1

1 F Horn 2

3 Bb Clarinet 2

1 F Horn 3

3 Bb Clarinet 3

1 F Horn 4

3 Bb Clarinet 4

1 Trombone 1

3 Bb Bass Clarinet

1 Trombone 2

1 Bassoon 1

1 Trombone 3

Xylophone, Claves, Castanets, Triangle, Vibraslap, Maracas, Suspended

Cymbal (med. lg.), Woodblocks

1 Percussion 2
Tambourine, Snare Drum,
Vibraphone, Suspended Cymbals
(sm. and med.), Timbale

1 Percussion 3
Bass Drum, Glockenspiel,
Temple Blocks, 4 Tom-toms,
2 Suspended Cymbals

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: mbmband@aol.com Voicemail: 718/338-4137

Program Notes
The Tyger takes its title from William Blakes well known poem of the same name, published
in 1794 as one of the Songs of Experience. The connection of my piece to Blakes poem stems
from my life-long love of Blake and his poetry. I was particularly drawn to Tyger for its dark
energy.
Power, terror, and awe are all symbolized by the tiger in the poems opening stanza:
Tyger! Tyger! burning bright
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?
Like the poem, my piece possesses an unsettling, at times terrifying quality, exploring the
darker side of existence. There is also a striking similarity between a tigers hunting and survival habits and my own works dramatic structure: long periods of quiet suspense are overcome by sudden explosions of violent energy.
The Tyger begins in the lowest register and gradually reveals a dark, driving ostinato. First
appearing in the piano, the ostinato is varied and passed around the ensemble and contributes mightily to the works incessant, predatory quality. The energy never ceases, even during
quiet periods. The tension mounts to reach its apex at the end a violent twelve-tone chord
pounding furiously in repeated-sixteenth notes, the haunting ostinato still sounding below.

For m
139
4067
6873
7494
95102
103112
113136
137146
147155
156199
200-210
211-end

Introduction
Piano ostinato
Transition, modulation: moving 8th-note line
Ostinato a perfect 5th higher
Piano pedal effect in high register
Transition back to original key; moving 8th-note line
Ostinato returns, but with new contour due to octave displacements
Episode; ostinato shortened to ve notes
First climax, ostinato derived.
Quiet section; ostinato removed, but constant 8th-note pulse still present in B.D.
Second climax: four groups set in conict
Coda; 16th-notes take over, building to nal shout of 12-tone chord

Rehearsal Notes
Introduction (mm. 139)
The bass drum and timpani should sound distinct and dry. If necessary, mufe the bass
drum with a cloth. Likewise, the muted trombone triplets should be sound as clear and
distinct as possible, and, to this end, it may be necessary to increase their dynamic to mf.
Piano ostinato (mm. 4067)
The pianist should play the ostinato as cleanly as is possible in this extreme low register.
Over this, short, eeting gestures pass through the ensemble quickly. These gestures should
be played aggressively and with almost machine-like rhythmic accuracy. For example, from
measure 47 to 51, short rhythmic gestures sound in several instruments in rapid succession
glockenspiel, snare drum, xylophone, trumpets, trombone, temple blocksand should be
played with a rhythmic precision that suggests a single person is playing the entire series. In
other words, strive to connect these many short fragments into a longer, more continuous
line of thought.
Transition (mm. 6873)
The ostinato gives way to a free 8th-note line which winds its way upward towards a new
harmonic plain. Above this line, short bursts of 16th-notes are exchanged between the trumpets and trombones.
Ostinato, perfect 5th higher (mm. 7494)
The ostinato returns, now up a perfect 5th and divided among the bassoons, bass trombone
and tuba. As before, brief gestures are passed around the ensemble in rapid-re succession,
and once again, rhythmic accuracy is crucial as a means of connecting these many parts into
a cohesive whole.
Piano pedal effect in high register (mm. 95102)
The ostinato is absent, but a constant 8th-note pulse remains. A single line is shared by high
bell-tone woodwinds, piano, and mallets. In order to enhance this monophonic effect, the
woodwind attacks should be louder than the sustained portions of notes. Castanets, maracas and harmon-muted trumpets add another layer in what is otherwise a monophonic
episode.
Transition (mm. 103112)
Corresponding directly to the earlier transition, this one modulates back to the original
tonal area of the ostinato.

Ostinato returns (mm. 113136)

The ostinato returns in its original key, but given a new contour due to octave displacements. It is broken up among the brasses followed by the woodwinds, but the piano, playing
the entire ostinato, provides a kind of structural glue. At measure 125 a new game emerges.
Short, marcato chords are exchanged rapidly among three groups (trumpets; horns and
trombones; utes and xylophone). The conductor should encourage very aggressive playing
here while striving to achieve equal balance among these three groups.
Episode (mm. 137146)
This brief passage bridges the previous ostinato section to the rst climax.
First climax (mm. 147155)
The ostinato is now shouted by the entire ensemble and a battle ensues between frenzied
woodwind 16th-note passages and hammering brass chords.
Quiet section (mm. 156199)
Suddenly, all sound disappears, save a single bass drummer who reminds the listener of the
incessant 8th-note pulse. As before, eeting gestures come and go in rapid succession. This
game is taken to an extreme level in measures 188 and 189, as hyperactive two-note gestures
are passed pointillistically among the woodwinds. Passages such as this one are not easy to
pull off, and will require careful attention in rehearsals.
Second climax (mm. 200210)
The ensemble members now divide into four opposing groups (woodwinds, high brass, low
brass, timpani) and engage in a heated if short-lived battle. The conductor should encourage ercely aggressive playing here, while striving to maintain fairly equal balance within
and among the opposing groups. No single force should win!
Coda (m. 211end)
A sustained pedal tone underlies machine-gun like 16th-note passages which grow in intensity. The energy and tension mount until measure 230, at which point the entire ensemble
plunges downward (pouncing on its prey?), ushering in a violently pounding twelve-tone
chord, the ostinato sounding below. This is a violent ending, and it should be played with
great power; however, save something for the accented notes of the nal barone last
tightening of the screw!
Frank Tic h e l i

Learn about Frank Tichelis newest works,

events, CDs, DVDs, books,
and hear complete recordings at

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

Gg

THE TYGER
B Trumpet 1

FOR CONCERT BAND

= 160 throughout 8

15

17

814

FRANK TICHELI

22

1521

30

2229

Cbsn./Pno. 8ba

harmon mute (stem in)

40

31

3139

4142

4448

Piano 8ba

to straight
mute

49

52

61

5260

straight mute

6163

68

65

6566

6869

74

72

7581

83

88

(straight mute)

to harmon mute

8387
94

9293

harmon mute

95

open

9596

103

100

100102

open
103104

108

112

113

117

117119
Copyright 2008 by Manhattan Beach Music/All Rights Reserved. Printed and engraved in the United States of America.

Go to www.Frank Ticheli.com for the latest information on the music of Frank Ticheli
Go to www.ManhattanBeachMusic.com & www.BestMusicSeries.com
to hear composers, see videos, download soundfiles and purchase music

B Trumpet 1

2
120

poco

129

125

131

143

137

137141

147

sempre

156

152

156157

158

159

harmon mute

165

to straight mute
162164

169

solo
straight mute

165167

176

172175

176180

181 straight mute

184185

Tuba

straight mute
187

188

195

open
188189

199

B Trumpet 1

192194

195197

200

206

203

fluttertongue

207

211

215

216

poco
219

222

227

230 Marcato

232

THE TYGER
FOR CONCERT BAND

= 160 throughout

FRANK TICHELI
5

1
2
Flutes

(doubling on Piccolo)
3
4

Oboes

1
2

English Horn

E Clarinet

1
2
B Clarinets
3
4

B Bass Clarinet

Bassoons

1
2

Contrabassoon

E Alto Saxophone

B Tenor Saxophone

= 160 throughout
1
2
B Trumpets
3
4
1
2
F Horns
3
4

1
Trombones
2
3

Bass Trombone

Euphonium

Tuba

Piano

(distinct)
Timpani

Percussion

B.D. (horiz.)
3

(distinct)
Copyright 2008 by Manhattan Beach Music/All Rights Reserved. Printed and engraved in the United States of America.
ISBN 1-59913-096-3 (complete set) ISBN 1-59913-097-1 (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

10

11

12

13

14

B Bass Cl.

Bsn.

Cbsn.

straight mute
3

crisp
straight mute

Tbns.

crisp
Tuba

Timp.

Perc.

15

16

17

18

19

20

B Bass Cl.

1
Bsns.
2

Cbsn.

1
Tbns.
2

Tuba

Piano

8ba
Timp.

Perc.

21

22

23

24

25

26

27

28

B Bass Cl.

1
Bsns.
2

Cbsn.

1
3

Tbns.

2
3

Tuba

22
8

Piano
8

Timp.

Perc.

30

29

31

32

33

34

B Bass Cl.

1
Bsns.
2

Cbsn.

cresc. poco a poco

sub.
1
3

Tbns.
2
3

Euph.

Tuba

30

cresc. poco a poco

cresc. poco a poco

Piano
8

Note: The

clef remains in effect through m.74

8

Timp.

non cresc.
Perc.

non cresc.

sub.
3

35

36

37

38

39

1
2
B Cls.
3
4

B Bass Cl.

Bsns.

1
2

Cbsn.

(cresc.)

poco

1
3

Tbns.

2
3

Bass Tbn.

Euph.

Tuba

(cresc.)

poco

(cresc.)

poco

Piano
8

Timp.

Perc.

40

41

42

43

44

45

1
2
B Cls.
3
4
Cbsn.

harmon mutes (stem in)

1
2
B Tpts.

harmon mutes (stem in)

a2
3
4

1
2
F Hns.

a2

mute

3
4

40

legato, but without pedal

Piano
8

Xylo.
1

Tamb.
Perc.

B.D.
3

(shake)

46

47

48

49

50

Cbsn.

to straight
mutes
1
2

keep harmon
mutes

B Tpts.
3
4

solo
straight mute
Tbn.

Piano
8

Xylo.
1

Snare Drum
(brushes)
Perc.

Glock.
plastic mallet (soft)
3

cresc.

52

51

54

53

55

2
Fls.
3

1
Obs.
2

E.H.

Bsn.

Cbsn.

52
Tbn.

Piano
8

Claves
1

Temple blocks
(medium rubber mallets)

Perc.

Tom-toms
(near rim)

56
Obs.

57

58

59

60

1
2
1
2

B Cls.

B Bass Cl.

1
Bsns.
2

Cbsn.

Tuba

Piano
8

Castanets
1

Tambourine
Perc.

Tom-tom (on rim)

3

61

62

63

64

1
2
Fls.
3
4

Obs.

1
2

B Cls.

1
2
3
1

Bsns.
2

Cbsn.

61

straight mute

1
2
B Tpts.

harmon mute
3
4

1
F Hns.
2

Piano

Vibraslap
Perc.

67
65

68

66

69

Fls.

to Picc. 1&2
3
4

Obs.

1
2

2
B Cls.
3

B Bass Cl.

1
Bsns.
2

Cbsn.

68
1
2
B Tpts.

to straight mute
3
4

mute

mute out

1
2
F Hns.

mute

mute out

3
4

straight mute
1
Tbns.

straight mute
2

Euph.

Tuba

Piano

cresc.
8

Timp.

Xylo.
1
Perc.

Tamb.
2

cresc.

70

71

72

B Cls.

B Bass Cl.

1
Bsns.
2

Cbsn.

2
B Tpts.

straight mute
3

straight mute
4

Tbns.

straight mute
3

Piano

73

78

74

75

76

77

2
Fls.

(Picc.)
3

(Picc.)
4

Obs.

1
2

E.H.

E Cl.

2
B Cls.
3

1
Bsns.
2

Cbsn.

74
1
2
B Tpts.
3
4
1
2
F Hns.
3
4

mute out
1
2
Tbns.

mute out
3

straight mute
Bass Tbn.

solo
Euph.

Piano
8

Xylo.
1

Cymbal (sticks, on dome)

l.v.

Perc.
3

(distinct)
9

79

80

81

82

83

1
2
Fls.

(Picc.)
3

1
Obs.
2

E.H.

1
2
B Cls.
3
4

B Bass Cl.

1
Bsns.
2

Cbsn.

E Alto Sax.

B Ten Sax.

83
B Tpt.

solo
1
Tbns.
2

Bass Tbn.

solo
Euph.

Tuba

8
8

Piano

snare (brushes)
2
Perc.

Temple Blks. (hard rubber mallets)

3

10

l.v.

84

85

86

(Picc.)

Fls.
3

(Picc.)
4

1
Obs.
2

E.H.

1
2

B Cls.

B Bass Cl.

1
Bsns.
2

Cbsn.

E Alto Sax.

B Ten Sax.

Tbns.

1
2

Tuba

Piano

2
Perc.

Tom-tom (on rim)

3

11

87

88

89

90

91

Fls.

3
4

1
Obs.
2

E.H.

E Cl.

2
B Cls.
3

B Bass Cl.

poco
1

poco

Bsns.
2

poco
Cbsn.

poco
E Alto Sax.

B Ten Sax.

88

(straight mute)

to harmon mute

1
B Tpts.

(straight
mute)

to harmon mute

3
4
1
2
F Hns.
3
4
1
2
Tbns.
3

(straight mute)
Bass Tbn.

Euph.

Tuba

Timp.

Xylo.
1

Tamb.
Perc.

Temple Blocks
3

12

93
92

94

95

2
Fls.

(Picc.)
3

(Picc.)
4

1
Obs.
2

E.H.

E Cl.

2
B Cls.
3

B Bass Cl.

1
Bsns.
2

Cbsn.

E Alto Sax.

B Ten Sax.

95
1
3
F Hns.
2
4

Tbns.

1
2

mute out
Bass Tbn.

Euph.

Tuba

Piano

Vibraslap
1

Vibes medium rubber mallet

Perc.

Glock. soft plastic mallet

3

13

96

97

98

99

(Picc.)

Fls.
3

(Picc.)
4

Ob.

1
B Cls.
2

harmon mute

open

1
2
B Tpts.

harmon mute

open

3
4

Piano

Castanets

Maracas

Perc.

14

100

102

101

103

104

105

(Picc.)

Fls.
3

(Picc.)
4

1
Obs.
2

E.H.

B Cls.

3
4

B Bass Cl.

1
Bsns.
2

Cbsn.

E Alto Sax.

B Ten Sax.

103

open

1
2
B Tpts.

open
3
4
1
2

F Hns.
3
4

Tbns.

open
Bass Tbn.

Euph.

Tuba

Piano

2
Perc.
3

15

(Picc.)

106

(To Fl.)
107

108

3
4

Fls.

1
Obs.
2

E.H.

E Cl.

1
2
B Cls.
3
4

B Bass Cl.

1
Bsns.
2

Cbsn.

E Alto Sax.

B Ten Sax.

2
B Tpts.
3

1
2
F Hns.
3
4

1
Tbns.
2

Euph.

Tuba

Xylo.
Perc.

16

109

110

111

113

112

114

2
B Tpts.
3

2
F Hns.
3

Tbns.

Bass Tbn.

Euph.

Tuba

Piano

Timp.

Small Cymbal (yarn mallet)

l.v.

2
Perc.

B.D.
3

17

115

116

117

118

119

120

1
Obs.
2

E.H.

B Bass Cl.

1
Bsns.
2

Cbsn.

117
1

B Tpts.

3
4

poco

F Hns.
3

poco

Tbns.

Bass Tbn.

Euph.

Tuba

Piano

sub.

Timp.

18

121

122

123

124

125

126

Fls.

(Flutes) a 2
3
4

1
Obs.
2

E.H.

B Bass Cl.

1
Bsns.
2

Cbsn.

125
1
2

poco
B Tpts.
3
4

poco
1
3

poco
F Hns.
2
4

1
Tbns.
2

Piano

Timp.

Xylo.
Perc.

19

127

128

129

130

Fls.

3
4

1
Obs.
2

E.H.

B Bass Cl.

1
Bsns.
2

Cbsn.

129
1
2
B Tpts.
3
4

1
3
F Hns.

a2
2
4

Tbns.

Piano

Timp.

Perc.

20

131

132

137
133

134

135

136

138

Fls.

to Piccs.
3
4

1
Obs.
2

E.H.

E Cl.

B Bass Cl.

1
Bsns.
2

Cbsn.

E Alto Sax.

B Ten Sax.

137
1
2
B Tpts.
3
4

1
3
F Hns.
2
4

1
Tbns.
2
3

Tuba

Piano

Vibes
hard rubber mallets

Perc.
2

21

143
139

140

141

144

142

Fls.

a2 (Picc.)
3
4

1
Obs.
2

E.H.

E Cl.

2
B Cls.
3

B Bass Cl.

cresc.
1

cresc.

Bsns.
2

cresc.
Cbsn.

cresc.
E Alto Sax.

cresc.
B Ten Sax.

cresc.

143
1

2
B Tpts.
3

1
3
F Hns.
2
4

poco

Tbns.
2

cresc.
Bass Tbn.

cresc.
Euph.

cresc.
Tuba

cresc.

Piano

cresc.

Timp.

cresc.
22

cresc.

145

146

147

148

Fls.

(Picc.)
3
4

1
Obs.
2

E.H.

E Cl.

2
B Cls.
3

B Bass Cl.

1
Bsns.
2

Cbsn.

E Alto Sax.

B Ten Sax.

147
1
2
B Tpts.
3
4

1
3
F Hns.
2
4

Tbns.

Bass Tbn.

Euph.

Tuba

Piano

Timp.

very hard rubber mallets

Woodblocks

very hard rubber mallets

Temple Blocks

1
Perc.
3

23

149

150

152

151

153

1
2
Fls.

Obs.

(Picc.)
3
4

1
2

E.H.

E Cl.

2
B Cls.
3

8
E Alto Sax.

sempre
2

sempre

B Tpts.
3

sempre
4

sempre
1
3

sempre

F Hns.
2
4

sempre
1

sempre

Tbns.
2
3

sempre
Bass Tbn.

sempre
Euph.

sempre
Tuba

sempre

Piano

154

sempre

Timp.

24

156
155

157

158

159

1
2

(Picc.)

Fls.
3
4

Obs.

1
2

E.H.

E Cl.

2
B Cls.
3

B Bass Cl.

a2
Bsns.

1
2

Cbsn.

E Alto Sax.

B Ten Sax.

156

159

2
B Tpts.
3

1
3
F Hns.
2
4

1
Tbns.
2
3

Bass Tbn.

Euph.

Tuba

Piano

Timp.
Susp. Cym.
1
Snare Drum
Perc.

rim shot

2
Bass Drum (muffled with cloth)
3

(very distinct)
25

161

harmon mute

160

to straight mute

162

163

164

harmon mute
to straight mute
2

harmon mute

B Tpts.

to straight mute

harmon mute

to straight mute

harmon mute
to straight mute
1

harmon mute
to straight mute
Tbns.

mute out
to straight mute

harmon mute
3

Susp. Cym.
sticks

(on dome)

Susp. Cym. yarn

Perc.

crisp

(on dome)

crisp
3

165

166

167

168

Fls.

(Picc.)
3

1
Obs.
2

E.H.

E Cl.

2
B Cls.
3

B Bass Cl.

1
Bsns.
2

Cbsn.

E Alto Sax.

B Ten Sax.

Claves
1
Perc.
3

26

169

170

171

172

1
Fls.

Ob.

B Cl.

solo
straight mute

169
B Tpt.

mute
1
F Hns.

straight mute
Tbn.

distinct
Timp.

Triangle
1
Perc.

B.D.
3

173

174

175

176

177

178

1
Fls.

B Cls.

3
4

B Bass Cl.

Bsn.

Castanets
1

Susp. Cym.
triangle beaters on dome
Perc.

Susp. Cym.
yarn beater

27

181

179

182

straight mute

180

183

straight mute
2
B Tpts.

straight mute
3

straight mute
4

mute
1
F Hns.

mute
2

straight mute

mute out

straight mute

mute out

1
Tbns.
2

mute

mute out

Euph.

mute
Tuba

Timp.

Perc.

188

184
Fl.

Ob.

185

186

187

E.H.

B Cl.

B Bass Cl.

Bsn.

E Alto Sax.

straight mute

mute out

Bass Tbn.

mute out
Tuba
Susp. Cym.
sticks
edge

Susp. Cym.
triangle beater

dome

1
Snare Drum
on rim
Perc.

28

Triangle

189

190

191

192

193

194

1
Fls.

(Picc.)
3

Ob.

E.H.

flutter

flutter

2
B Cls.

flutter
3

flutter
3

flutter

B Bass Cl.

Bsn.

E Alto Sax.

straight mute

open

straight mute

open

mute

open

mute

open

mute

open

straight mute

open

B Tpts.

1
F Hns.
2

Tuba

8
l.v.

Piano

Small Woodblock
hard rubber mallet
1
Susp. Cym.
yarn mallet
Perc.

29

199

195

196

197

198

Fls.

(Picc.)
3

(Picc.)
4

Obs.

1
2

E.H.

E Cl.

1
2
B Cls.
3
4

B Bass Cl.

1
Bsns.
2

Cbsn.

E Alto Sax.

B Ten Sax.

195
1

2
B Tpts.
3

1
2
F Hns.
3
4

open
1
Tbns.

open
2
3

open
Bass Tbn.

Euph.

Tuba

solo
Timp.

both Woodblocks
1

Perc.

non cresc.
3

non cresc.
30

200

201

202

1
2
Fls.

(Piccs.)
3
4

1
Obs.
2

E.H.

1
2
B Cls.
3
4

B Bass Cl.

1
Bsns.
2

Cbsn.

E Alto Sax.

B Ten Sax.

200
1

2
B Tpts.
3

2
F Hns.
3

Timp.

31

203

204

206

205

207

Fls.

(Picc.)
3
4

Obs.

1
2

E.H.

E Cl.

1
2
B Cls.
3
4
B Bass Cl.

1
Bsns.
2

Cbsn.

E Alto Sax.

B Ten Sax.

206
1

2
B Tpts.
3

2
F Hns.
3

a2
1
2
Tbns.
3

Bass Tbn.

Euph.

Tuba

Piano

Timp.

32

210
208

211

209

1
2
3

Fls.

(Picc.)
3
4

Obs.

1
2

E.H.

E Cl.
3

1
2
3

B Cls.
3
4
3

B Bass Cl.

Bsns.

1
2

Cbsn.

E Alto Sax.

B Ten Sax.

fluttertongue

211

fluttertongue
2
B Tpts.

fluttertongue
3

fluttertongue
4

fluttertongue
1
2
F Hns.

fluttertongue
3
4

Tbns.

Bass Tbn.

Euph.

Tuba

Piano

Timp.

(distinct)

B.D.
Perc.

33

212

216
213

214

215

1
2
Fls.

(Picc.)
3

Obs.

1
2

B Bass Cl.

cresc.

poco

poco

cresc.

poco

poco

cresc.

poco

poco

cresc.

poco

poco

1
Bsns.
2

Cbsn.

216
1

B Tpts.

Tbns.

Bass Tbn.

cresc.

poco

poco

cresc.

poco

poco

cresc.

poco

poco

Euph.

Tuba

Piano

Timp.

34

219

217

218

220

1
2
Fls.

(Picc.)
3
4

Obs.

1
2

E Cl.

B Cls.

1
2

B Bass Cl.

1
Bsns.
2

Cbsn.

poco
2

poco

B Tpts.
3

poco
4

poco
1
2
F Hns.
3
4

poco
Tbns.

poco
Bass Tbn.

Euph.

poco
Tuba

poco

cresc. poco a poco

Timp.

Perc.

35

221

222

a2

223

224

1
2
Fls.

a2

(Picc.)

3
4

Obs.

1
2

E Cl.

B Cls.

1
2

B Bass Cl.

1
Bsns.
2

Cbsn.

222
1

2
B Tpts.
3

2
F Hns.
3

Tbns.

Bass Tbn.

Euph.

Tuba

Piano

Timp.

Timb.
Perc.

Susp. Cym.
3

36

225

226

227

228

229

Fls.

(Piccs.)
3
4

Obs.

1
2

E.H.

E Cl.

1
2
B Cls.
3
4
B Bass Cl.

1
Bsns.
2

Cbsn.

E Alto Sax.

B Ten Sax.

2
B Tpts.
3

1
F Hns.
2

1
Tbns.
2

Bass Tbn.

Euph.

Tuba

Piano

Timp.
Susp. Cym.
(yarn)
Perc.

37

230 Marcato
233
231

232

1
3

Fls.

(Picc.)

3
4
3

Obs.

1
2
3
3

E.H.
3
3

E Cl.
3

3
3

1
2
3

3
3

B Cls.

3
4
3
3

B Bass Cl.
3

1
3

Bsns.

2
3

Cbsn.

E Alto Sax.
3

B Ten Sax.
3

230 Marcato
1
3

2
B Tpts.

3
3

4
3

3
3

1
2
3

F Hns.
3
4

1
2
Tbns.
3
3

Bass Tbn.

Euph.
3

Tuba

Piano

8ba
Timp.

Xylo.
1

l.v.
Perc.

Snare. Dr.

Tom-tom
3

38

234

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

The Tyger (5 minutes, grade 6)

Vesuvius (9 minutes, grade 4)

Wild Nights! (6 minutes, grade 4)

learn more at

www.FrankTicheli.com

The ocial source for the Music of Frank Ticheli

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