P rogram r ogram N otes takes its title from William Blake’s well known poem of the same name, published T he he T yger takes in 1794 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 particular ly drawn to “T “ Tyger” for its dark energy. Power, Po wer, terror, terror, and awe are all symbolized sym bolized by the tiger in the poem’s poem’s opening stanza: Tyger! Tyger! Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye ey e Could frame thy fearful symmetry? Like the poem, poem, my piece possesses an unsettling, at times terrifying terrifying quality, exploring the darker side of existence. There is also a striking similarity between a tiger’s hunting and sur vival habits and my own work’s dramatic structure: long periods of quiet suspense are overcome by sudden explosions of violent energy energ y. begins in the lowest register and gradually reveals a dark, driving ostinato. First The Tyger begins appearing in the piano, the ostinato is varied and passed around the ensemble and contributes mightily to the work’s incessant, predatory predatory quality q uality.. The energy never ceases, even during durin g quiet periods. The tension mounts to reach its apex at the end — a violent twelve-tone twel ve-tone chord pounding furiously in repeated-sixteenth notes, the haunting ostinato still sounding below.
F o r m 1–39 40–67 68–73 74–94 95–102 103–112 113–136 137–146 147–155 156–199 200-210 211-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 five 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 conflict Coda; 16th-notes take over, building to final shout of 12-tone chord
P rogram r ogram N otes takes its title from William Blake’s well known poem of the same name, published T he he T yger takes in 1794 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 particular ly drawn to “T “ Tyger” for its dark energy. Power, Po wer, terror, terror, and awe are all symbolized sym bolized by the tiger in the poem’s poem’s opening stanza: Tyger! Tyger! Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye ey e Could frame thy fearful symmetry? Like the poem, poem, my piece possesses an unsettling, at times terrifying terrifying quality, exploring the darker side of existence. There is also a striking similarity between a tiger’s hunting and sur vival habits and my own work’s dramatic structure: long periods of quiet suspense are overcome by sudden explosions of violent energy energ y. begins in the lowest register and gradually reveals a dark, driving ostinato. First The Tyger begins appearing in the piano, the ostinato is varied and passed around the ensemble and contributes mightily to the work’s incessant, predatory predatory quality q uality.. The energy never ceases, even during durin g quiet periods. The tension mounts to reach its apex at the end — a violent twelve-tone twel ve-tone chord pounding furiously in repeated-sixteenth notes, the haunting ostinato still sounding below.
F o r m 1–39 40–67 68–73 74–94 95–102 103–112 113–136 137–146 147–155 156–199 200-210 211-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 five 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 conflict Coda; 16th-notes take over, building to final shout of 12-tone chord
R ehearsal N otes
Introduction (mm. 1–39)
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 dy namic to mf. Piano ostinato (mm. 40–67)
The pianist should play the ostinato as cleanly c leanly as is possible in this extreme low register. Over this, short, fleeting gestures pass through the ensemble quickly quickl y. These gestures should be played aggressively and with almost machine-like rhythmic rhythmi c accuracy. For For example, from measure 47 to to 51, short rhythmic gestures sound in several instruments in rapid succession— succ ession— glockenspiel, snare drum, xylophone, trumpets, trombone, temple blocks—and should be played with a rhythmic precision that suggests a single person is playing play ing the entire series. In other words, strive to connect these many short fragments into a longer, more continuous line of thought. Transi Tran siti ti on (m (mm. m. 68 68–7 –7 3)
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 5t h higher (mm. 74–94)
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-fire succession, and once again, rhythmic accuracy is crucial cr ucial as a means of connecting these many parts into in to a cohesive whole. Piano pedal effect in high register (mm. 95–102)
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. Transi Tran si ti tion on (m (mm. m. 10 3– 3–11 11 2)
Corresponding directly to the earlier transition, this one modulates back to the original tonal area of the ostinato.
Ostinato returns (mm. 113–136)
The ostinato returns return s in its original key 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 struc tural glue. At measure 125 a new game emerges. Short, marcato chords are exchanged rapidly among three groups (trumpets; horns and trombones; flutes and xylophone). The conductor should encourage ver y aggressive playing here while striving to achieve achi eve equal balance among these three groups. Episode (mm. 137–146)
This brief passage bridges the previous ostinato section to the first climax. First climax (mm. 147–155)
The ostinato is now shouted by the entire ensemble and a battle ensues between frenzied woodwind 16th-note passages and hammering brass chords. Quiet s ection (mm. 156–199)
Suddenly, all sound disappears, save a single bass b ass drummer who reminds the listener of the th incessant 8 -note pulse. As before, fleeting 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 Passages such as this one are not easy to pull off, and will require careful attention in rehearsals. Second climax (mm. 200–210)
The ensemble members now divide into four opposing groups (woodwinds, high brass, low brass, timpani) and engage in a heated if short-lived short-li ved 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. 211–end)
A sustained pedal tone underlies machine-gun like 16th-note passages which grow in intensity.. The energy and tension mount sity moun t 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 final bar—one last tightening of the screw! Frank Ticheli
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“The Official Source for the Music of Frank Ticheli”
THE TYGER B Trumpet 1
FOR CONCERT BAND
= 160 throughout 8
15
1–7
8–14
FRANK TICHELI
22
15–21
30
22–29
Cbsn./Pno. 8ba
harmon mute (stem in)
40
31
31–39
41–42
44–48
Piano 8ba
to straight mute
49
52
61
52–60
straight mute
61–63
68
65
65–66
68–69
74
72
75–81
83
88
(straight mute)
to harmon mute
83–87
94
92–93
harmon mute
95
open
95–96
103
100
100–102
open
103–104
108
112
113
117
117–119 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
B Trumpet 1
2 120
poco
129
125
131
143
137
137–141
147
sempre
156
152
156–157
158
159
harmon mute
165
to straight mute
162–164
169
solo straight mute
165–167
176
172–175
176–180
181 straight mute
184–185
Tuba
straight mute 187
188
3
195
open
188–189
199
B Trumpet 1
192–194
195–197
200
206
203
fluttertongue
207
211
215
216
poco 219
222
227
230 Marcato
3
232
THE TYGER FOR CONCERT BAND
= 160 throughout
2
3
4
FRANK TICHELI 5
6
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
1
Percussion
2
B.D. (horiz.) 3
3
3
3
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)
7
8
46
47
48
49
50
Cbsn.
to straight mutes 1 2
keep harmon mutes
B T pt s. 3 4
solo straight mute Tbn.
1
8
Piano
8
Xylo. 1
Snare Drum (brushes) Perc.
2
Glock. plastic mallet (soft) 3
cresc.
52
51
53
54
55
1
2 Fls. 3
4
1 Obs. 2
E.H.
Bsn.
1
Cbsn.
52 Tbn.
1
8
Piano
8
Claves 1
Temple blocks (medium rubber mallets)
Perc. 3
Tom-toms (near rim)
56
57
58
59
60
1 2
Obs.
1 2
B Cls.
3
4
B Bass Cl.
1 Bsns. 2
Cbsn.
Tuba
8
Piano 8
Castanets 1
Tambourine Perc.
2
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 T pt s.
harmon mute 3 4
1 F Hns. 2
8
Piano
8
Vibraslap Perc.
1
67 65
68
66
69
1
Fls.
2
to Picc. 1&2 3 4
1 2
Obs.
1
2 B Cls. 3
4
B Bass Cl.
1 Bsns. 2
Cbsn.
68 1 2 B T pt s.
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
8
Piano
cresc. 8
Timp.
Xylo. 1 Perc.
Tamb. 2
cresc.
70
71
1
B Cls.
2
3
B Bass Cl.
1 Bsns. 2
Cbsn.
1
2 B T pt s.
straight mute 3
straight mute 4
1
Tbns.
2
straight mute 3
8
Piano
8
72
73
78
74
75
76
77
1
2 Fls.
(Picc.) 3
(Picc.) 4
Obs.
1 2
E.H.
E Cl.
1
2 B Cls. 3
4
1 Bsns. 2
Cbsn.
74 1 2 B T pt s. 3 4 1 2 F Hns. 3 4
mute out 1 2 Tbns.
mute out 3
straight mute Bass Tbn.
solo Euph.
8
Piano 8
Xylo. 1
Cymbal (sticks, on dome) l.v.
Perc. 3
(distinct)
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 Tp t.
1
solo 1 Tbns. 2
Bass Tbn.
solo Euph.
Tuba
8 8
5
Piano
snare (brushes) 2 Perc.
Temple Blks. (hard rubber mallets) 3
l.v.
84
85
86
1
2
(Picc.)
Fls. 3
(Picc.) 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.
Tbns.
1 2
Tuba
8
Piano
2 Perc.
Tom-tom (on rim) 3
87
88
89
90
91
1
Fls.
2
3 4
1 Obs. 2
E.H.
E Cl.
1
2 B Cls . 3
4
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 T pt s.
(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.
2
Temple Blocks 3
93 92
94
95
1
2 Fls.
(Picc.) 3
(Picc.) 4
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.
95 1 3 F Hns. 2 4
Tbns.
1 2
mute out Bass Tbn.
Euph.
Tuba
Piano
Vibraslap 1
Vibes
Perc.
medium rubber mallet
2
Glock. soft plastic mallet 3
96
97
98
99
1
2
(Picc.)
Fls. 3
(Picc.) 4
Ob.
1
1 B Cls. 2
harmon mute
open
1 2 B T pt s.
harmon mute
open
3 4
Piano
Castanets 1
Perc.
2
3
Maracas
100
102
101
103
104
105
1
2
(Picc.)
Fls. 3
(Picc.) 4
1 Obs. 2
E.H.
1
B Cls .
2
3 4
B Bass Cl.
1 Bsns. 2
Cbsn.
E Alto Sax.
B Ten Sax.
103
open
1 2 B T pt s.
open 3 4 1 2
F Hns. 3 4
1
Tbns.
2
3
open Bass Tbn.
Euph.
Tuba
Piano
2 Perc. 3
(Picc.)
106 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.
1
2 B T pt s. 3
4
1 2 F Hns. 3 4
1 Tbns. 2
Euph.
Tuba
Xylo. Perc.
1
(To Fl.) 107
108
109
110
111
112
113
114
1
2 B T pt s. 3
4
1
2 F Hns. 3
4
1
Tbns.
2
3
Bass Tbn.
Euph.
Tuba
Piano
Timp.
Small Cymbal (yarn mallet)
l.v.
2 Perc.
B.D. 3
115
116
117
118
119
120
1 Obs. 2
E.H.
B Bass Cl.
1 Bsns. 2
Cbsn.
117 1
B T pt s.
2
3 4
1
2
poco
F Hns. 3
4
poco
1
Tbns.
2
3
Bass Tbn.
Euph.
Tuba
Piano
Timp.
sub.
121
122
123
124
125
126
1
Fls.
2
(Flutes) a 2 3 4
1 Obs. 2
E.H.
B Bass Cl.
1 Bsns. 2
Cbsn.
125 1 2
poco B T pt s. 3 4
poco
1 3
poco F Hns. 2 4
1 Tbns. 2
Piano
Timp.
Xylo. Perc.
1
127
128
129
130
1
Fls.
2
3 4
1 Obs. 2
E.H.
B Bass Cl.
1 Bsns. 2
Cbsn.
129 1 2 B T pt s. 3 4
1 3 F Hns.
a2 2 4
1
Tbns.
2
3
Piano
Timp.
Perc.
1
131
132
137 133
134
135
136
138
1
Fls.
2
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 T pt s. 3 4
1 3 F Hns. 2 4
1 Tbns. 2 3
Tuba
Piano
1
Vibes hard rubber mallets
Perc. 2
145
146
147
1
Fls.
2
(Picc.) 3 4
1 Obs. 2
E.H.
E Cl.
1
2 B C ls . 3
4
B B a ss C l.
1 Bsns. 2
Cbsn.
E Alto Sax.
B T en S ax .
147 1 2 B T pt s. 3 4
1 3 F Hns. 2 4
1
Tbns.
2
3
Bass Tbn.
Euph.
Tuba
Piano
Timp.
very hard rubber mallets
Woodblocks
very hard rubber mallets
Temple Blocks
1 Perc. 3
148
149
150
152
151 1 2
(Picc.) 3 4
5
1 2
5
E.H.
E Cl.
1
2 B Cls. 3
4
8 E Alto Sax.
1
sempre 2
sempre
B T pt s. 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
Timp.
154
5
Fls.
Obs.
153
sempre
156 155
157
158
159
1 2
(Picc.)
Fls. 3 4
Obs.
1 2
E.H.
E Cl.
1
2 B C ls . 3
4
B Bass Cl.
a2 Bsns.
1 2
Cbsn.
E Alto Sax.
B Ten Sax.
156
159
1
2 B T pt s. 3
4
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)
161
harmon mute
160
to straight mute
162
163
164
1
harmon mute to straight mute 2
harmon mute
B T pt s.
to straight mute
3
harmon mute
to straight mute
4
harmon mute to straight mute 1
harmon mute to straight mute Tbns.
2
mute out to straight mute
harmon mute 3
Susp. Cym. sticks
(on dome)
1
Susp. Cym. yarn Perc.
crisp
(on dome)
2
crisp 3
165
166
167
168
1
Fls.
2
(Picc.) 3
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.
Claves 1 Perc. 3
169
170
171
172
1 Fls.
2
Ob.
1
B Cl.
1
solo straight mute
169 B Tpt.
1
mute 1 F Hns.
2
straight mute Tbn.
1
distinct Timp.
Triangle 1 Perc.
B.D. 3
173
174
175
176
177
178
1 Fls.
2
1
B Cls.
2
3 4
B Bass Cl.
Bsn.
1
Castanets 1
Susp. Cym. triangle beaters on dome Perc.
2
3
Susp. Cym. yarn beater
189
190
191
192
193
194
1 Fls.
(Picc.) 3
Ob.
1
E.H.
flutter
3
1
flutter
3
2
B Cls.
flutter 3
3
flutter 3
4
flutter
3
B Bass Cl.
Bsn.
1
E Alto Sax.
straight mute
open
straight mute
open
mute
open
mute
open
mute
open
straight mute
open
1
B Tpts.
2
3
1 F Hns. 2
Tuba
8 l.v.
Piano
Small Woodblock hard rubber mallet 1 Susp. Cym. yarn mallet Perc.
2
3
199
195
196
197
198
1
2
Fls.
(Picc.) 3
(Picc.) 4
Obs.
1 2
E.H.
E Cl.
1 2 B C ls . 3 4
B B a ss C l.
1 Bsns. 2
Cbsn.
E Alto Sax.
B T en S ax .
195 1
2 B T pt s. 3
4
1 2 F Hns. 3 4
open 1 Tbns.
open 2 3
open Bass Tbn.
Euph.
Tuba
solo Timp.
both Woodblocks 1
Perc.
2
non cresc. 3
non cresc.
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 T pt s. 3
4
1
2 F Hns. 3
4
Timp.
203
204
205
206
207
1
Fls.
2
(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 T pt s. 3
4
1
2 F Hns. 3
4
a2 1 2 Tbns. 3
Bass Tbn.
Euph.
Tuba
Piano
Timp.
212
216 213
214
215
1 2 Fls.
(Picc.) 3
1 2
Obs.
B Bass Cl.
cresc.
poco
a
poco
cresc.
poco
a
poco
cresc.
poco
a
poco
cresc.
poco
a
poco
1
Bsns.
2
Cbsn.
216 1
B T pt s.
2
4
1
Tbns.
2
3
Bass Tbn.
cresc.
poco
a
poco
cresc.
poco
a
poco
cresc.
poco
a
poco
Euph.
Tuba
Piano
Timp.
219
217
218
220
1 2 Fls.
(Picc.) 3 4
1 2
Obs.
E Cl.
B Cls.
1 2
B Bass Cl.
1 Bsns. 2
Cbsn.
1
poco
2
poco
B T pt s. 3
poco 4
poco 1 2 F Hns. 3 4
1
poco Tbns.
2
3
poco Bass Tbn.
Euph.
poco Tuba
poco
cresc. poco a poco Timp.
Perc.
1
221
222
a2
1 2 Fls.
a2
(Picc.)
3 4
Obs.
1 2
E Cl.
B C ls .
1 2
B Bass Cl.
1 Bsns. 2
Cbsn.
222 1
2 B T pt s. 3
4
1
2 F Hns. 3
4
1
Tbns.
2
3
Bass Tbn.
Euph.
Tuba
Piano
Timp.
1
Timb. Perc.
2
Susp. Cym. 3
223
224
225
226
227
228
229
1
Fls.
2
(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.
1
2 B T pt s. 3
4
1 F Hns. 2
1 Tbns. 2
Bass Tbn.
Euph.
Tuba
Piano
Timp. Susp. Cym. (yarn) Perc.
2
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 Ticheli’s 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 ½ minutes, grade 3) Blue Shades (10 minutes, grade 5) Cajun Folk Songs (6 ¾ minutes, grade 3) Cajun Folk Songs II (10 ½ minutes, grade 4) Fortress (5 ½ minutes, grade 3) Gaian Visions (9 ½ minutes, grade 6) Joy (2 ½ minutes, grade 2) Joy Revisited (3 ½ minutes, grade 3) Loch Lomond (6 ½ minutes, grade 3) Nitro (3 minutes, grade 4) Pacific Fanfare (5 ½ minutes, grade 5) Portrait of a Clown (2 ¾ minutes, grade 2) Postcard (5 ¼ minutes, grade 5) Sanctuary (12 minutes, grade 5) A Shaker Gift Song (2 minutes, grade 2) is work is a separate publication of the third song from Simple Gifts: Four Shaker Songs
Shenandoah (6 ½ 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
e Tyger (5 ½ minutes, grade 6) Vesuvius (9 minutes, grade 4) Wild Nights! (6 ½ minutes, grade 4)
learn more at
www.FrankTicheli.com e official source for the Music of Frank Ticheli