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FRANK TICHELI AMAZING GRACE FOR CONCERT BAND INSTRUMENTATION 1 FullScore 2 2 FHom | 4 Flare 1 2 2 FHom2 4 Ftc 2 3 EAlw Sawophone 1 2 Trombone f 2 Oboe! 3 EbAlo Suophone? 2 Trombone 2 2 Oboe? 2. Bh Tenor Sa 2 Trombone 3 4 Bb Chainer] 2. EbBaritone Smophone 3 Euphonium BC 4 Bo Chariner2 3. BoTrampec 2 Exphonian EC 4 BbChainee 3 3. BbTeumpec2 S Tubs 3. Blo Bass Clan 3. BbTrumper 3 2 Timpani 1 Blo Conte 5. Persson PRINTED ON ARCHIVAL PAPER aE MANHATTAN BEACH MUSIC 1595 EAST 46TH STREFT BROOKLYN. NEW YORK [1281 PHONE 718/338-4137 FAN T18/338:1151 PERFORMANCE NOTES ‘The form isa follows: MEASURES. SECTION, key 18 introduetion Eb v4 firs statement (chamber) Eb 25-38 second statement (uti) Eb 39-46 episode modulating to Bb 47-69 development Bb..Db..F 70-82 transition Bb (pedal) $3-98 final statement (climax) Eb 99-105 coda Bb All parts ate indicated as “one only" in measures 9 through 24 fora more cham- berlike effect. The melody, played by solo alto saxophone, should always be heard in the Foreground ‘The “breath mark" indicted jus before measure 43 should not be inteepeted a 4 musical pause, but rather as 2 light phrase separation, In the development section, each independent entrance must be heard, and the any lines comprising the texture should be careflly balanced. ‘The inal statement ofthe melody is accompanied by a countermelady given to ‘he flutes, bos fst alvo saxophone, and frst trumpet, This countermelody ‘shouldbe heard inthe foreground, but i should not overpower the melody, The ‘recede and ritardande mets indicaions in measuses 89-90 may be interpreted very dramaticaly and the climax begining in measure 91 should be played with fal fore. Make sure that the quarter-note triplets come through at measure 92, and thatthe hoens come through in measure 93, hate ecru 7200) AMAZING GRACE [9s serrata (d= 684) [pre inerban de6) an Waa a vo se 2 = fog oo