LOCH LOMOND FOR CONCERT BAND PRANK TICHELI INSTRUMENTATION | Full Score 1 Bassoon | 2 FHom2 4 Flute 1/ Piccolo 1 Bassoon 2 2 Trombone | 4 blue 2 2 Bb Alta Saxophone 1 2. Trombon 1 Oboe L 2 Eb Alto Suophane 2 2. Trombone 3 E Oboe 2 2. Bb Tenor Saxophone 3 Euphonionn BC 4 Bb Clarinet 1 2. Eb Baritone Saxophone 2. Euphonium 7 4 Bb Clarinet 2 3 Bb Trumpet 1 4 Tuba 4 Bb Clarinet 3 3 Bb Trumper 2 2 Timpant 3. Bb Bass Clarinet 3 Bb Trumpers 3 Percussion 1 Eb Contrabass Clarinet 2 FHoen 1 2. Percussion 2 PRINTED ON ARCHIVAL PAPER 3 MANHATTAN BEACH MUSIC 1595 East 46th Street Brooklyn, New York 11234 Fax: 718/338-1151 Woald Wide Web: herp://wwwmanhattanbeachmusic.com E-mail: mbmband@aolcor Voicemail: 718/388-4137sONG TEXT LOCH LOMOND By yon bonnie banks, ‘And by yon bonnie bras, ‘Where the sup shines bright, on Loch Lomond ‘Where me and my tre love ‘Were ever wont 10 gue On the bonnie, bonnie banks of Loch Lomond. horns: Ob yell tk’ the high road ane Pilea An’ Tllbe in Scotland afore ye’, But me and my true love will never mect again ‘On the bonnie, bonnie banks of Lock Lomond. low toad, “Twas then that we parted, In yon shady glen, On the steep, steep side of Ben Lomond ‘Where in purple hue ‘The Highland hills we view, ‘And the mooa coming out in the gloaming. (Chorus) ‘The wee birdies sing ‘And the wild flowers spring, And in sunshine the waters are sleeping. But che broken heart it kens Nae second Spring again, "Tho! the wactul may cease frae theie greeting, (Chorus) Some words in the Scots language: yon . yonder ‘wee... tiny donnie... beautiful es sn knOWS braes.. slopes (hillsides) nae... 80 gle 80 cogefil.. woekal glen. valley foe. row Ben... mount (mous in) goaming .. twilight (dusk) Also: wont... accustomedHISTORICAL BACKGROUND At the time in Scottish history when “Loch Lomond” was a new song, the United Kingdom (which united Scotland, England, and Wales) had already been formed. But the Highland Scots wanted a Scottish, not an English King to rule, Led by their Bonnie Prince Charlie (Prince Charles Edward Stuart) they attempted unsuccessfully to depose Britain’s King George I. An army of 7,000 Highlanders were defeated on April 16, 1746 at the famous Battle of Culloden Moor. It is this same battle that indizectly gives rise to this beautiful song, After the battle, many Scottisl soldiers were imprisoned within England’s Carlisle Castle, near the border of Scotland, “Loch Lomond! tells the story of two Scottish soldiers who ‘were so imprisoned, One of them was to be executed, while the other was to be set free. According to Celtic legend if someone dies in a foreign tand, his spirit wil eravel to his homeland by “the low road” — the route for the souls af the dead. In the song, the spitit ofthe dead soldier shall arrive frst, while the living soldier will take the “high road” over the mountains, to active afterwards ‘The song is ftom the point of view of the soldier who will be executed: When he sings, “yell tak’ the high road and [tale the low road! in effect he is saying that you will return alive, nd T will return in sprit. He remembers his happy past, "By yon bonnie banks .. where me and my true love were ever wont to gue [accustomed to _go]" and sadly accepts his death “the broken heart it ken nae (knows na] second Spring again.” ‘The original follsong uses a six note scale; the seventh scale degree is absent from the melody. The lyric interewines the sadness of the soldier's plight with images of Loch Lomond’s stunning nanural beauty. ABOUT MY SETTING Jn my setting, I have tried to preserve the folksong’s simple charm, while also suggesting a sense of hope, and the resilience of the human spirit, The final statement combines the Scottish tune with the well-known lish folksong, “Danny Boy.” Ie was by happy accident that I discovered how well these two beloved songs shaze each others company, and I hope their intermingling suggests a spivit of human harmony. Loch Lomond was commissioned by Nigel Durno, for che Stewarton Academy Senior Wind Ensemble of East Ayrshire, Scotland, with funds provided by the Scottish Arts Council. The premicre pesformance was given on june 18, 2002 by the Stewarton Academy Senior Wind Ensemble at Royal Concert Hall in Glasgow, Scotland, FORM Measures Tonal Center Section ny Bb Introduction a7 Bb First starement 28-38 Bb, modulating Canonic interlude 39-57 Eb Second statement, with countermelody 58-66 Eb over Db Solo clarinet and piccolo in parallel 12ths 66-81 Eb..Ab..R..Db.. Development (onain melody plus \ countermelody} Send Bb Final statement with its eountermelody, and entrance of "Danny Boy” as a second countermelody REHEARSAL NOTE Play throughout in a connected, legato style, and try not to fall into the temptation of dragging below the tempo markings. The musie should flow, not fl. In measures 39 to 46, strive to maintain equal balance between the melody (trumpets 1 and 2) and the countermelody (clarinets 1 and 2, alto saxophone 1, joined by the 3rd clarinets in measure 43). Tn measures 57 t0 65, the sustained notes should remain well in the background, like a very quiet string orchestra. The piceolo and clarinet solos should sound easily in the foreground without being forced. Ta measures 81 to 89, there are three main ideas sounding in counterpoint with one another: 1. the “Loch Lomond” melody (clarinet 1, trumpet 1, euphonitm, supported by the 2nd and rd clarinets and trumpets); 2, the countermelody (piccolo, utes, oboes); and 3. the “Danny Boy” melody (alto saxophones and horns). The ba melodies should sound in the foreground, and in roughly equal balance, whereas the countermelody may sound in the middleground. Although all other players are supportive in nature, they should nonetheless play with a full, rich sound. Beginning in measure 89, the countermelody drops out, leaving only the two main melodies. Again, strive to maintain roughly equal balance between them, allowing neither melody to overpower the other. In measuces 98 and 99, bring out those notes with tenuto markings (clarinet 2 and horn 1 in measure 98; horn 2 and euphonium in measure 99), and allow them to linger abit. FRANK TICHELIFORM Measuses Tonal Cenre Section al Rb Sntroduetion 12-27 Bb First statement 28-38, Bb, modulating Canon interlude 3457 Eb Second statement, with countermelody 58-66 Eb over Db Solw clarinet and piccolo in parallel 12ths 66-81 Eb.Ab.-F..Db... Development (main melody plas countermeiody) -end Bb Final statement with its countermelody, and entrance of "Danny Boy" as a second countermelody REHEARSAL NOTE Play throughout ia a connected, éegato style, and ty ner to fall into the temptation of dragging below the tempo marlangs. The music should flow, aot float. In measates 39 t0 46, strive to maintain equal balance between the wselody (irumpets 1 and 2) and the countermelody (clarinets 1 and 2, alto saxophone 1. joined by the 3rd clarinets in measure 43), In measures 57 to 65, the sustained notes should remain well in the background, like a very quiet string orchestra. The piccolo and clarinet solos should sound easily in Us foreground withoue being forced, In measares 81 t0 89, there ate three main ideas sounding in counterpoint with one ‘nother: 1. the “Loch Lomond” melody (clarinet 1, rumpet 1, euphonium, supported bby the 2nd and 3td clarinets and trumpets); 2, the countermciody (piccolo, Bures, ‘oboes); and 3, the "Danny Boy" melody (alto saxophones and horns). The two melodies should sound in the foreground, and in roughly equal balance, whereas the countermelody may sound in the middieground, Although all other players are supportive in nature, they should nonetheless play with a full, rich sound, Beginning in 9 melodies. Again, strive to maintain roughly equal balanes between ther, allowing neither melody to overpower the other -asure 89, the countermelody drops out, leaving only the two main In measures 98 and 99, bring out those notes with tenuto markings (clarinet 2 and horn 1 in measure 98; horn 2 and euphonium in measure 99), and allow them to linger » bit, FRANK TICHELIComms in get Das ee ee as ee "Be Ns, Sata ped ees LOCH LOMOND : FOR CONCERT BAND. FRANK TICHELI Cant lat Teese a Sgn ban] serra ateseae£% Slightly faster © =e,84) Se (geet SS ee = == — | i sba.2| = = aad FS Sa Bs o ==> hon, = 7 == set = =aoc, eal inesbus Smshinee. fasbac <=. CoE ee q AL * | q i aia S| 7 i | ee eR «BRL efBove hats ob Sa,ebawise,