FRANK TICHELI CAJUN FOLK SONGS I BOR CONCER. BAN by TNS ip RU M EON 1A et ON 1 Full Score 1 Bb Contrabass Clarinet 2 Trombone 1 1 Piccolo 1 Bassoon I 2 Trombone 2 4 Flote I I Bassoon 2 2 Trombone 3 4 Flute 2 3 Eb Alto Saxophone I 3 Euphonium B.C. I Oboe I 3 Eb Alto Saxophone 2 2 Euphonium TC. 1 Oboe 2 2 Bb Tenor Saxophone 4 Taba 1 English Horn I. Eb Baritone Saxophone 2 Timpani 4 Bb Clarinet I 3 Bb Trumpet I 2 Percussion I 4 Bb Clarinet 2 3: Bb Trumpet 2 2 Percussion 2 4 Bb Clarinet 3 3 Bb Trumpec 3 3 Percussion 3 3. Bb Bass Clarinet 2 FHom 1-3 1 Eb Contra Alto Clarinet 2 FHom24 PRINTED ON ARCHIVAL PAPER SE io BUNS ees BEACH MUSIC % 1595 East 46th Street Brooklyn, New York 11234 Fax: 718/338-1151 ql 8 aide web hetp://members.aol.com/mbmband/ E-mail: mbmband @: a wolcom Voicemail: 718/338-4137PROGRAM NOTES Both Cajun Folk Songs 1 and my earlier composition for concert band, Cajun Folk Songs (Manhattan Beach Music, 1991), are inspired by by folk melodies whose precise origins are ‘unknown. In Cajun Folk Songs If the folk melodies are more freely combined with original music. In form, each movement of Cajun Folk Songs I consists of an introduction followed by a ternary form (ABA) MOVEMENT 1: BALLAD The introductory seetion of Ballad isa deeply personal moment of reflection —a brass chorale based on original material. We next hear two different melodie settings of the same folksong, “Aux Natchitoches." (Natchitoches — pronounced Nah-kee-TOSH in French, but NA-keh-tush by most present day Louisianans — isa town in northern Louisiana, named after a tribe of Native Americans who once lived in that region.) The first setting, which is initially stated by the english horn and appears in the movement's A sections (measures 16-33 and 61-73), isa profoundly ‘beautiful aeolian melody dating back to the 18th century. Treatment of I8thcentury version of “Aux Natchitoches” Pinte andverexrenive _ aEaEre ee ‘The english hom is utilized because of its dark, haunting tone, and its power to evoke the ‘melancholy nature of the original tune. (Some bands will substitute the alto saxophone as the solo instrument.) The melody is richly varied and decorated to reflect the natural inflections of the Cajun text. The second folksong, stated by the brasses (measures 3441), probably dates back to the 19th century. This beautifully arching line, centered in C Major with a modulation to F Major, provides an effective contrast to the first melody. ‘Treatment of ca. 1Sth-century setting of “Aux Natchitoches” Oe Mote aaa pe ee és amet pen = eso a ee.Both folksongs also occur in the following sources: folksong #1, as sung by Bee Deshotels (Arhoolie CD 359); folksong #2, as sung by “Blind Uncle Gaspard” (Ann Savoy: Cajun Music, A Reflection of a People, 1984, Volume I, p. 24). MOVEMENT 2: COUNTRY DANCE ‘The outer sections of the second movement, “Country Dance,” are built mainly on original music that evokes the energetic feeling and style of a Cajun two-step, a form commonly used in the dance halls of southern Louisiana. Often, one can hear stylistic similarities to Scottish folk dances, ind even the American Hoedown, (Original theme in style of Cajun two-step Spirited ite eaibere A contrasting middle section (measures 83-129) is based on two very old pentatonic Cajun folksongs, “Et ou c'est que tu es parti (measures 83-120) and “Joe Ferail est un petit négre” (measures 121-124), Although neither folksong was traditionally sung as a canon, their pentatonic construction makes them both remarkably well-suited for the canonic writing that dominates this section. “Et ow c'est que tues parti” in three-pan canon spec ww's [TT] 5 Bierce set and per ras tf ert er pe jp Seg epee OE i Neither folksong is available on sound recordings, but they are notated with their Cajun texts in Irene Whitfield’s invaluable anthology, Louisiana French Folksongs, 1939 Cajun Folk Songs II was commissioned by the Indiana All-State Band, and premiered by them in March 1997, conducted by Allan McMurray. The first movement is dedicated to the memory of my father, Frank P. Ticheli, IMI (March 6, 1934—June 20, 1996). The second movement was composed in celebration of the birth of my nephew, Ryan Paul Ticheli (b. August 18, 1996).REHEARSAL NOTES MOVEMENT 1: BALLAD Section: Introduction Asection —-Bsection —_—_A' section. Measures’ 1s 16-33 34-60 61-73, Event Brass chorale Melody 1 Melody2 Melody 1 Tonality: Eb Major aeolian © CMajor —-Cacolian Introduction (measures 1-15): The opening brass chorale is personal tribute to my father, and sets the movernent’s elegiacal tone. Although the first trumpeter plays the top line, the player must not sound like a soloist, but must blend with the horns and trombones, Outer seetions (measures 16-33, and 61-73): The melody, fist stated by the english hom, should ‘always be in the foreground: however, whenever other instruments play quarter-note triplets in parallel motion with the soloist (e.g., clarinet 2, measure 18; clarinet 1, measure 21, etc), they should also rise to the foreground. As a practical consideration, the english horn is used in movement 1 only. Since both oboes 1 and 2 are tacet in movement 1, either player may switch to english horn if a separate player is not available. The alto saxophone part contains the english horn ‘cues in case that instrument is not available Middle section (measures 34-41): This section should be played as lushly as possible. Allow a natural crescendo and diminuendo as the lines ascend and descend, but do not overstate the indicated dynamics. MOVEMENT 2: COUNTRY DANCE Section: Introduction section section section Measures: 1-12 13-82 83-129 130-220 Meter: 24 24 aia 24 Tonality: Bb Major Bb REF Bb Except for a brief pastoral section (measures 121-129), the entire movement should be played with a lively, energetic feeling. To this end, [list merely a few of the many suggestions that could enhance this feeling 1. Exaggerate the accents and staceato markings to enhance the dance-like qualities. 2. Exaggerate especially the notes marked sf (measures 69, 70, 104, etc.) to achieve the intended. “harmonica effect.” 3. The percussionists play an important role in enhancing the festive nature (for example, in ‘measures 53-60), as do the many soloists who sound throughout the movement. 4, Make sure thatthe triplet-16th accompaniment figures in the Ist and 2nd clarinets and 2nd flutes are brought out (measures 91-98). If played effectively, they will bring an ecstatic quality to the moment. Note: Either of the work's two movements may be performed independently. When doing So, please lis nthe concent program as “Balla from Cajun Folk Songs IV or "Country Dance” from Cajun Folk Songs 1 PRANK TICHELICommissioned by the Indiana Bandmasters Association CAJUN FOLK SONGS II for Concert Band FRANK TICHELI I. BALLAD 2 4 Elegiacal J = ¢. 54 agih Heme By Caen? Brae Cae covcamien Se) BrAtosmapbone Teer Soptone atone Sxgtone one oy 0b gh Nes 1) Toe PTB oun it th ons) Epona Noe: Piseoo, Oboe 1 and 2, Trumpet 3, Timpani, nd Percussion 2 and are act ring he Ist movemest Copyright© 1997 Manhattan Beach Music 1505 Eat 4h Stet, rocky, Now Yor 11254-5122 BHvsiesein Aa Fights Reserve. Pied and Engraved nth Unted Sats of Aerica, mal momband@as.com "Word Wise Web hp/membesaotcomimemesn!1 8 poco rit) tempo 0 h n ag war Ten a, ba Sa arte3 4 1s 16] + =¢.50 7 18 Ba He war! Bete c, Bee = Tr we” lead ver eee Balsa. hen See, etm hi, To oneal) (oneenb) we Peswaa] BaLsa, Ten Son, PaaS, mete 19 0 2 2B 24] J =a. 56ag ALS, Btn Se, Base, tmwal bu Sa, at. Pi ap Pee 1Slightly faster wes 37 38 30 40 41 42) gt praia] wee ALS, Bote at Pewal bac. Boe sa etenet pecu pie. sree ee 1 pad Balsa Bh Se ta= ee(61) J =¢.50 a 6 ot 65, 66 gH, pas Ben BALSe, ete. Fie| og rt — ([G9]stower ay) meh n 5 ne Bees ‘Bebe bern S| Fits, ap tw Pee In memory of my fer, Frank . Fiche (Moreh 1934sJne 20, 1986) 21 Spied = tett6 Il. COUNTRY DANCE, oe FEE no GSS Se ee = a => geiee oe oo wee a i sini wor | sie mel a 7 =e =e zwar bs chy maven} mete brie Se, eepa wma od wasn re Base, 16waa] paisa} br So, Poeva such] te. Se. to. 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Fi Toman136 137 138 139 140 a ma? ance. asad ten Si, ase, oto. 37142) 143, 14d 145, 146 17 wal mac, matsie} Bete Su, ‘inpa os 2 ‘Cyn usp) Ba anor) ™~ =wa Fi. ‘Top 150]mmr wad parsed wrens, mere tse iy Tomsk on) ee? vwaa] sec. Bond Bal sand some 41waa beac. tae Se “np 2pal pac, : ed pase bere Se v | Diesel ni shay weds) ie 4B18 179 181 182] 183,190 191 192] 193 194 195 praia] mace. sche et parsed arte se a | oot 46pea a7wma bo arsued wr gn Bar Sa Bee ys. pee ovpasa ew a, a24 2s (216) 27 218 219 220 were mb | =| ve |e TH tncelebration of he ith of my nape, 50 ‘cn Pad he gu 18 8)PRESERVING OUR MUSIC Its 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 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. f 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 1988 frst 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 Z39.48-1984) The standard was revised on October 26, 1992 to include coated papers, and all of our new editions and reprints of older editions meet this revised standard. 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