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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
