P R I N T E D O N A R C H I V A L P A P E R

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1 T H E T Y G E R F O R C O N C E R T B A N D F R A N K T I C H E L I I N S T R U M E N T A T I O N Full Score Flute Flute Flute (doubles on Piccolo) Flute (doubles on Piccolo) Oboe Oboe English Horn Eb Clarinet Bb Clarinet Bb Clarinet Bb Clarinet Bb Clarinet Bb Bass Clarinet Bassoon Bassoon Contrabassoon Eb Alto Saxophone Bb Tenor Saxophone Bb Trumpet Bb Trumpet Bb Trumpet Bb Trumpet F Horn F Horn F Horn F Horn Trombone Trombone Trombone Bass Trombone Euphonium (Bass Clef) Euphonium (Treble Clef) Timpani Percussion Xylophone, Claves, Castanets, Triangle, Vibraslap, Maracas, Suspended Cymbal (med. lg.), Woodblocks Percussion Tambourine, Snare Drum, Vibraphone, Suspended Cymbals (sm. and med.), Timbale Percussion Bass Drum, Glockenspiel, Temple Blocks, Tom-toms, Suspended Cymbals P R I N T E D O N A R C H I V A L P A P E R M A N H A T T A N B E A C H M U S I C 595 East 6th Street Brooklyn, New York Fax: 7/-5 World Wide Web: mbmband@aol.com Voic 7/-7

2 Program Notes The Tyger takes its title from William Blake s well known poem of the same name, published in 79 as one of the Songs of Experience. The connection of my piece to Blake s 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 poem s 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 tiger s hunting and survival habits and my own work s 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 work s 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. Form 9 Introduction 0 67 ostinato 6 7 Transition, modulation: moving th -note line 7 9 Ostinato a perfect 5 th higher 95 0 pedal effect in high register 0 Transition back to original key; moving th -note line 6 Ostinato returns, but with new contour due to octave displacements 7 6 Episode; ostinato shortened to five notes 7 55 First climax, ostinato derived Quiet section; ostinato removed, but constant th-note pulse still present in B.D Second climax: four groups set in conflict -end Coda; 6 th -notes take over, building to final shout of -tone chord

3 Rehearsal Notes Introduction (mm. 9) The bass drum and timpani should sound distinct and dry. If necessary, muffle 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. ostinato (mm. 0 67) The pianist should play the ostinato as cleanly as is possible in this extreme low register. Over this, short, fleeting gestures pass through the ensemble quickly. These gestures should be played aggressively and with almost machine-like rhythmic accuracy. For example, from measure 7 to 5, short rhythmic gestures sound in several instruments in rapid succession glockenspiel, snare drum, xylophone, trumpets, trombone, temple blocks and 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. 6 7) The ostinato gives way to a free th -note line which winds its way upward towards a new harmonic plain. Above this line, short bursts of 6 th -notes are exchanged between the trumpets and trombones. Ostinato, perfect 5th higher (mm. 7 9) The ostinato returns, now up a perfect 5 th and divided among the bassoons, bass trombone and tuba. As before, brief gestures are passed around the ensemble in rapid-fire succession, and once again, rhythmic accuracy is crucial as a means of connecting these many parts into a cohesive whole. pedal effect in high register (mm. 95 0) The ostinato is absent, but a constant th -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. 0 ) Corresponding directly to the earlier transition, this one modulates back to the original tonal area of the ostinato.

4 Ostinato returns (mm. 6) 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 5 a new game emerges. Short, marcato chords are exchanged rapidly among three groups (trumpets; horns and trombones; flutes and xylophone). The conductor should encourage very aggressive playing here while striving to achieve equal balance among these three groups. Episode (mm. 7 6) This brief passage bridges the previous ostinato section to the first climax. First climax (mm. 7 55) The ostinato is now shouted by the entire ensemble and a battle ensues between frenzied woodwind 6 th -note passages and hammering brass chords. Quiet section (mm ) Suddenly, all sound disappears, save a single bass drummer who reminds the listener of the incessant th -note pulse. As before, fleeting gestures come and go in rapid succession. This game is taken to an extreme level in measures and 9, 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. 00 0) 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 fiercely aggressive playing here, while striving to maintain fairly equal balance within and among the opposing groups. No single force should win! Coda (m. end) A sustained pedal tone underlies machine-gun like 6 th -note passages which grow in intensity. The energy and tension mount until measure 0, 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 final bar one last tightening of the screw! Frank Ticheli

5 Learn about Frank Ticheli s newest works, events, CDs, DVDs, books, and hear complete recordings at The Official Source for the Music of Frank Ticheli

6 B Trumpet THE TYGER FOR CONCERT BAND FRANK TICHELI = 60 throughout /Pno. ba 0 harmon mute (stem in) 9 ba 9 to straight mute 5 6 straight mute (straight mute) to harmon mute harmon mute open open Copyright 00 by Manhattan Beach Music/All Rights Reserved. Printed and engraved in the United States of America. Go to Ticheli.com for the latest information on the music of Frank Ticheli Go to & to hear composers, see videos, download soundfiles and purchase music 7 9

7 B Trumpet 0 poco sempre harmon mute to straight mute solo straight mute straight mute 5

8 7 straight mute B Trumpet open fluttertongue 5 6 poco Marcato

9 THE TYGER Flutes FOR CONCERT BAND = 60 throughout (doubling on Piccolo) FRANK TICHELI Oboes English Horn E Clarinet B Clarinets B Bass Clarinet Bassoons Contrabassoon E Alto Saxophone B Tenor Saxophone B Trumpets = 60 throughout F Horns Trombones Bass Trombone Euphonium Timpani (distinct) Percussion B.D. (horiz.) (distinct) Copyright 00 by Manhattan Beach Music/All Rights Reserved. Printed and engraved in the United States of America. ISBN (complete set) ISBN (conductor score) Go to for the latest information on the music of Frank Ticheli Purchase music, download free MPs, view scores and more at

10 9 0 Bsn. straight mute crisp straight mute crisp Perc ba Perc.

11 5 6 7 Perc. 9 0 sub. cresc. poco a poco Euph. 0 cresc. poco a poco cresc. poco a poco Note: The clef remains in effect through m.7 non cresc. Perc. sub. non cresc.

12 (cresc.) poco Bass Tbn. Euph. (cresc.) poco (cresc.) poco Perc. 0 5 harmon mutes (stem in) harmon mutes (stem in) a 0 legato, but without pedal a mute Xylo. Tamb. (shake) Perc. B.D.

13 Tbn. to straight mutes keep harmon mutes solo straight mute Xylo. Snare Drum (brushes) Perc. Glock. plastic mallet (soft) cresc Fls. Bsn. 5 Tbn. Claves Perc. Temple blocks (medium rubber mallets) Tom-toms (near rim) 5

14 Castanets Tambourine Perc. Tom-tom (on rim) Fls straight mute harmon mute Vibraslap Perc. 6

15 Fls. to Picc. & 6 to straight mute mute mute out straight mute mute mute out straight mute Euph. cresc. cresc. Xylo. Perc. Tamb. 7

16 straight mute straight mute straight mute

17 Fls. (Picc.) (Picc.) E Cl. 7 mute out mute out Bass Tbn. straight mute Euph. solo Xylo. Perc. Cymbal (sticks, on dome) l.v. (distinct) 9

18 79 0 Fls. (Picc.) E Alto Sax. B Ten Sax. B Tpt. solo Bass Tbn. Euph. solo l.v. 5 snare (brushes) Perc. Temple Blks. (hard rubber mallets) 0

19 5 6 7 Fls. (Picc.) (Picc.) E Alto Sax. B Ten Sax. Perc. Tom-tom (on rim)

20 Fls. E Cl. poco poco poco poco E Alto Sax. B Ten Sax. (straight mute) to harmon mute (straight mute) to harmon mute (straight mute) Bass Tbn. Euph. Xylo. Tamb. Perc. Temple Blocks

21 Fls. (Picc.) (Picc.) E Cl. E Alto Sax. B Ten Sax. 95 Bass Tbn. mute out Euph. Vibraslap Vibes medium rubber mallet Perc. Glock. soft plastic mallet

22 Fls. (Picc.) (Picc.) Ob. harmon mute open harmon mute open Castanets Maracas Perc.

23 Fls. (Picc.) (Picc.) E Alto Sax. B Ten Sax. 0 open open Bass Tbn. open Euph. Perc. 5

24 Fls. 06 (Picc.) (To Fl.) E Cl. E Alto Sax. B Ten Sax. Euph. Xylo. Perc. 6

25 0 Bass Tbn. Euph. Small Cymbal (yarn mallet) l.v. Perc. B.D. 7

26 poco poco Bass Tbn. Euph. sub.

27 5 6 Fls. (Flutes) a 5 poco poco poco Xylo. Perc. 9

28 7 9 0 Fls. 9 a Perc. 0

29 5 6 7 Fls. to Piccs. E Cl. E Alto Sax. B Ten Sax. 7 Perc. Vibes hard rubber mallets

30 9 0 Fls. a (Picc.) E Cl. cresc. cresc. cresc. cresc. E Alto Sax. cresc. B Ten Sax. cresc. poco cresc. Bass Tbn. cresc. cresc. Euph. cresc. cresc. cresc. cresc.

31 Fls. (Picc.) E Cl. E Alto Sax. B Ten Sax. 7 Bass Tbn. Euph. very hard rubber mallets Woodblocks Perc. very hard rubber mallets Temple Blocks

32 Fls. (Picc.) E Cl. E Alto Sax. sempre sempre sempre sempre sempre sempre sempre sempre Bass Tbn. sempre Euph. sempre sempre sempre

33 Fls. (Picc.) E Cl. a E Alto Sax. B Ten Sax Bass Tbn. Euph. Susp. Cym. Perc. Snare Drum rim shot Bass Drum (muffled with cloth) (very distinct) 5

34 6 60 harmon mute to straight mute harmon mute to straight mute harmon mute to straight mute harmon mute to straight mute harmon mute to straight mute harmon mute to straight mute harmon mute mute out to straight mute Susp. Cym. sticks (on dome) Susp. Cym. yarn (on dome) crisp Perc. crisp Fls. (Picc.) E Cl. E Alto Sax. B Ten Sax. Claves Perc. 6

35 Fls. Ob. B Cl. B Tpt. 69 solo straight mute mute straight mute Tbn. distinct Triangle Perc. B.D Fls. Bsn. Castanets Susp. Cym. triangle beaters on dome Susp. Cym. yarn beater Perc. 7

36 79 0 straight mute straight mute straight mute straight mute mute mute straight mute mute out straight mute mute out Euph. mute mute out mute Perc Fl. Ob. B Cl. Bsn. E Alto Sax. Bass Tbn. straight mute mute out mute out Susp. Cym. sticks edge dome Susp. Cym. triangle beater Triangle Perc. Snare Drum on rim

37 Fls. (Picc.) Ob. flutter flutter flutter flutter flutter Bsn. E Alto Sax. straight mute open straight mute open mute open mute open mute open straight mute open l.v. Small Woodblock hard rubber mallet Susp. Cym. yarn mallet Perc. 9

38 Fls. (Picc.) (Picc.) E Cl. E Alto Sax. B Ten Sax. 95 open Bass Tbn. open open Euph. solo both Woodblocks Perc. non cresc. non cresc. 0

39 Fls. (Piccs.) E Alto Sax. B Ten Sax. 00

40 Fls. (Picc.) E Cl. E Alto Sax. B Ten Sax. 06 a Bass Tbn. Euph.

41 0 Fls (Picc.) E Cl. E Alto Sax. B Ten Sax. fluttertongue fluttertongue fluttertongue fluttertongue fluttertongue fluttertongue Bass Tbn. Euph. Perc. B.D. (distinct)

42 5 6 Fls. (Picc.) cresc. poco a poco cresc. poco a poco cresc. poco a poco cresc. poco a poco 6 Bass Tbn. cresc. poco a poco Euph. cresc. poco a poco cresc. poco a poco

43 7 9 0 Fls. (Picc.) E Cl. poco poco poco poco poco poco Bass Tbn. Euph. poco poco cresc. poco a poco Perc. 5

44 Fls. a a (Picc.) 5 E Cl. Bass Tbn. Euph. Timb. Perc. Susp. Cym. 6

45 6 7 9 Fls. (Piccs.) E Cl. E Alto Sax. B Ten Sax. Bass Tbn. Euph. Susp. Cym. (yarn) Perc. 7

46 0 Marcato Fls. (Picc.) E Cl. E Alto Sax. B Ten Sax. 0 Marcato Bass Tbn. Euph. ba Xylo. Perc. l.v. Snare. Dr. Tom-tom

47 F R A N K T I C H E L I W O R K S F O R C O N C E R T B A N D Frank Ticheli s works for concert band are published exclusively by Manhattan Beach Music Abracadabra (5 minutes, grade ) Amazing Grace (5 minutes, grade ) An American Elegy ( minutes, grade ) Ave Maria / Schubert ( ½ minutes, grade ) Blue Shades (0 minutes, grade 5) Cajun Folk Songs (6 ¾ minutes, grade ) Cajun Folk Songs II (0 ½ minutes, grade ) Fortress (5 ½ minutes, grade ) Gaian Visions (9 ½ minutes, grade 6) Joy ( ½ minutes, grade ) Joy Revisited ( ½ minutes, grade ) Loch Lomond (6 ½ minutes, grade ) Nitro ( minutes, grade ) Pacific Fanfare (5 ½ minutes, grade 5) Portrait of a Clown ( ¾ minutes, grade ) Postcard (5 ¼ minutes, grade 5) Sanctuary ( minutes, grade 5) A Shaker Gift Song ( minutes, grade ) This work is a separate publication of the third song from Simple Gifts: Four Shaker Songs Shenandoah (6 ½ minutes, grade ) Simple Gifts: Four Shaker Songs (9 minutes, grade ) Sun Dance (5 minutes, grade ) Symphony No. ( minutes; mvts. & are grade 6, mvt. is grade 5) Movement, Shooting Stars, Movement, Dreams Under a New Moon, and Movement, Apollo Unleashed may be separately performed The Tyger (5 ½ minutes, grade 6) Vesuvius (9 minutes, grade ) Wild Nights! (6 ½ minutes, grade ) learn more at The official source for the Music of Frank Ticheli

48 P R E S E R V I N G O U R M U S I C 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 9 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 Z9.-9). The standard was revised on October 6, 99 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 0, is tear resistant, has an alkaline reserve equivalent to % 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 % lignin by weight). The specific standards summarized here are set forth in detail by the National Information Standards Organization in American National Standard Z For more information, contact: NISO, 7 Bethesda Avenue, Suite 00, Bethesda, MD 0, This paper meets the requirements of ANSI/NISO Z9.-99 (Permanence of Paper) B O B M A R G O L I S P U B L I S H E R N E I L R U D D Y C R E A T I V E D I R E C T O R C O F O 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.