Bh SHENANDOAP | If A, FRANK TICHEFRANK ~ TICHELI SHENANDOAH FOR CONCERT BAND INSTRUMENTATION 1 Fall Score 2 Bassoon I 3 BbTrumper 3 S Flute 1/ Piccolo 2 Bassoon 2 2 Trombone I 4 Pluce 2 3 Eb Alto Saxophone I 2 Trombone 2 2 Oboe I 3 Eb Alto Saxophone 2 2 Trombone 3 2 Oboe 2 2 Bb’Tenot Saxophone 3. Euphonium B.C. 4 Bb Clarinet 1 Eb Baritone Saxophone 2. Euphonium TC 4 Bb Clarinet 2 3 F Horn | 4 Taba 4 Bb Clarinet 3 3 F Horn 2 2 Seeing Bass 3 Bb Bass Clavinec 3. Bb Trumpet I 2 Timpani 1 Eb Contrabass Clarinet 3 BbTrumpee 2 4 Percussion I 1 Bb Contrabass Clarinet 3 Percussion 2 PRINTED ON ARCHIVAL PAPER aE MANHATTAN BEACH MUSIC Brooklyn, New York 11234 Fax: 718/338-1151 mail: 718/338-4137 1595 East 46ch Stre World Wide Web: manhattanbeachmusic.com E-mail: mbmband@sol.com —VDEDICATION SHENANDOAH was commissioned by the Hill Country Midélle School Symphonic Band Cheryl Floyd and Brad Smith, Directors. Ic is dedicated in memory of their beloved friend Jonathan Paul Cosentino (March 3, 1984 — December 5, 1997) a horn player in the Hill Country band program, play y band pPROGRAM NOTES In my setting of Shenandoah I was inspired by the freedom and beauty of the folk melody and by the natural images evoked by the words, especially the image of a river. I was less ‘concerned with the sound of a rolling river than with its life-affirming, energy — its time- lessness, Sometimes the accompaniment flows quietly under the melody; other times it breathes alongside it.The work's mood ranges from quiet reflection, through growing opti= nism, to profound exaltation. Historical Background “The Shenandoah Valley and the Shenandoah River are located in Virginia. There is dis- agreement among historians concerning the origins of their names. Some claim that the river and valley were named in the 1750's by the Cherokee as a fiiendly tribute to a visiting Iroquois Chief named Skenandoah. Others suggest that che region was named not by the Cherokee, but by the Senedo Indians of Virginia Valley. In the Senedo tradition, Shenandoad seans “Daughter of the Moon," and bears no relation tothe Troquois Chief Skenandoah. ‘The origins of the folksong are equally obscure, but all date to the 19th century. It has been attributed variously to a coal miner in Pennsylvania, to a young protégé of Stephen Foster, and to 2 housewife in Lexington, Kentucky: Many variants on the melody and text have been handed down through the years, the most popular telling the story of an early set~ tlers love for a Native American woman, Form Section Measure Key Event Exposition 1-11. First Statement (low register) 1222 Eb Second Statement (full texture) 23-30 Eb New theme (Theme B), derived from main melody 31-34 — Gb-Bb Transition to development section Development 35-40 Bb “Palsating” chords, and variant of Theme B 41-51 Bb Main melody in 3-part canon (flutes) 52-55 Gb Reteansition to final statement Recapitulation 56-68 Eb Final Statement (climax) 69end Eb Coda (brass chorale) REHEARSAL NOTES General Remarks Let the melody sing through at all times, and always in a legato, expressive fashion. Tempo indications may be interpreted with some degece of freedom, The tempo changes indicated at structural points throughout the work are subtle, and the conductor should not attempt to coverdramatize them. The pitches marked “ten.” (tenua) at the beginning, and in measures 8 and 76 should be held slightly longer than the indicated rhythmic values ‘This marking should not be con- fused with the éenuto-iegato markings (such as on the downbeat of measures 6 and 28), which are indications of added weight oF stress The dynamic marking “n’ is the indication for niente (meaning nothing in Italian). This marking is used atthe end of passages which diminuendo to silence,Detailed Remarks Fist statement of the melody (measures 1-11): The inital statement, sounded by the hors and solo euphonium, isin a dark register, but should sound quietly reflective, not forebod- ing. The euphonium soloist should lend support to the horns without overpowering them, ‘The fest note of the piece is low in the horns register for young, players, and they must strive to play it with a clear, focused tone. If necessary, some of the horn players may facet until the second note. Second statement of the melody (measures 12-22}: The melody is stated in a brighter register, and freely imitated atthe octave by the flutes and oboes. Because of the rich texture, the players may be tempted to play the passage louder than indicated. Discourege this tetap- tation. With the exception of the phrase’ dramatic high point (measure 19), the entire pas- sage should only be moderately loud. ‘Theme B (measures 23-30}: This theme is derived from the main melody, but is differ- ent enough in character to be recognized as an independent theme. The clarinet accompani~ ment (patalle thirds) must sound seamless throughout this passage. Ifthe clarinet players ‘must sneak a breath they should do so as inconspicuously as possible ‘Transition (measures 31-34): This passage modulates by ascending thirds from Eb, through Gb, to the dominant key (Bb Major). The two riardandes in this section are subtle, and should begin precisely where indicated Pulsating chords (measures 35-40): The development section begins with a series of “pulsating” quarter-note chords whose wide-tegistered scoring gives the effect of a solemn church organ. These chords represent life — they breathe, they have a heartbeat. The pulsa- tions will be more vibrant and lifelike ifthe frst note of each slurred par is stressed. ‘Three-part canon (aveasures 41-51): This is the most ethereal section of the piece. The music now lingers at its slowest tempo, as though floating timelessly. The three flute 1 soloists play the main melody in canonic imitation, They should play with only slight ‘vibrato in order to preserve the intended ethereal mood. (All three lute 1 solos appear in flute 2 as cues, but should be played only if necessary) In addition to the three-part canon, several other ideas appear in this section, The frst clarinets whisper the main melody in augmentation. A quiet echo ofthe “pulsating” quarter-note chords returns at measure 47. At measure 48, trumpet 1 and trombone 1 enter with a variant of Theme B, sharing the fore~ ground with the Butes (now reinforced by the oboes and clarinets.) The meditative mood slowly dissipates, and yields toa rising level of energy. Retransition from Bb via Gb back to Eb (measures 52-55): The mood becomes more optimistic as the intensity slowly increases. The “pulsating” quarter-note chords become somewhat more prominent, but the most important idea in this section is built from frag- ‘ments of the main melody, stated boldly by the brasses, flutes, and oboes. Final statement of the melody (measures 56-68): The return to the home key is artieu- Jated by a glorious retutn of the main melody, now doubled at the octave, and accompanied by an exuberant councermelody in the clarinets, alto saxophone 2, and horns, Underneath this, ehe quarter-note chords ae still pulsating, still growing, still representing the life force. “The music swells to an exalted climax, then quictly recedes. Coda (measures 69-end): The piece ends with « brass chorale — a kind of prayer — a final moment of deep reflection, PRANK TICHELIFor more information about our publications, and to hear this composition, please visit us online at www.ManhattanBeachMusic.com Hear the composers talk about their compositions at www.BestMusicSeries.comComission by he Hi Contry Tes Mite Schoo! Bou maar ftir belved rien Soathan Cosenting SHENANDOAH Frcly and very expressive for Concert Band FRANK TICHELI $0, t - Bynes Carnet PrComtabase Clie Atl Sixopores Tend Snophone Barts Saxophone Tumpets 2 cote > Median Tange Copyright £1999 Manhatan Beach Mus 1398 Eaadieh Snec, Brooklyn, NV L124 ‘mbmiandeeaalcom ‘AU Nigts Reserved, Ths music ad ently in he Unie States of Ameri, ISBN 09515290541 (complete sto overs) ISBN 0.3T329.06-N (score ony) uBron? meps.ci hom. aw, RAL Sues rtp 2 3 ‘Tbe? Bop Poehes. hem, BAL Se, 1 Bb Ten Sox Bar Sox ph ita Sie Be, inp. ec Pereshew. EAL Sees, eT, Sx har Se, na in 2 Both. 2 ph yet et en te 9. SSmene 4 wesc Bet BAL Sue 2 ise Sa, 1 Hoswreud sias.c. fg BOK, sen, Sa, a su, rie? apPulsating (J = ¢. 58) 2 ie feo Brena a psc Brow | ima ph d Be “Ting.any B.C Bcc a ' BAL Ses. BP Ten Son ‘The tee Flue | solo oppearinFlte 2 ase, end should be played only i necessary. 8Bhcne Brac BORG. ph “ran2 * 58 SBlexatted s pias. bre. ben Su, Se, os nF 2 bap. | Ta,Lf proce, Bow.c. BAL Soc, BoTen Sax Ba. Si, Tae? Tob SieBhns.c, Bem.ct Ti. apt” 2 n wo wo ” 1% rit, atempo rit. EAL Sores, ten Sex hr Si, Both. 2PRESERVING OUR MUSIC IT 15 IMPORTANT TO PRESERVE OUR MUSICAL HERITAGE FOR FUTURE GENERATIONS, Acidic paper has been in widespread use since the turn of the century, and hes become the bane of archivists, librarians, and others who seek to preserve know. edge 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 hun: dred 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 ofits 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 (ANS! 239.48-1984) ‘The standard was revised on October 26, 1992 to include coated papers; al of our new editions and reprints of older editions meet this revised standard. 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