Cat No. JM49959
Price £70.00
Composer: Frank Ticheli
Category: BIGGIES - Grade 3.0

Grade 3.0
Duration 3.15

PROGRAM NOTE
I composed AMEN ! as a retirement gift to my lifelong friend, Tracy McElroy, in celebration of his lifelong achievements after thirty years of teaching instrumental music in Texas public schools. Back in the 70s in Richardson, Tracy and I played trumpet together in the Berkner High School Band, forging a close friendship that lasts to this day. Tracy’s teaching to generations of young people instilled in them not only his deep love of music, but his values of personal discipline and teamwork. His life’s work epitomizes the contributions of thousands of music educators in this country whose gifts to our society are enormous, perhaps incalculable.

AMEN! takes on an upbeat, somewhat bluesy, gospel style, suggesting an impassioned preacher sharing some bit of good news. After an introductory “call to order,” our preacher (here depicted by the clarinet section) gives us the main tune over a series of simple, bopping quarter-note chords. Later, the full ensemble bursts out in a fit of joy — the choir and congregation have joined in, dancing and shouting in full agreement. The good news is driven home in the concluding coda over a series of plagal (“Amed’) chord progressions, and one final joyful shout.

REHEARSAL NOTES
Composed with young ensembles in mind, AMEN! is scored in a way that will allow effective performances by bands whose oboes, horns, low woodwinds and low brasses are limited either in number or technical ability. On the other hand, bands that have sufficient numbers of these instruments should be careful not to allow them to overstate their parts. For example, there is only one horn part, which, if played by four to six good players, will almost certainly create balance problems unless those players are encouraged to either play under the notated dynamics or to take turns playing...or both.
The tempo marking (half-note = 120) should be closely followed, for while a tempo very slightly under this would be acceptable, going any faster could derail the music, making it sound rushed rather than boppy and light-hearted.

The clarinet cues provided in the horn part in measures 9 to 25 may be played by the horns f and only gf the clarinet section is weak and requires extra support. Otherwise, let the clarinets carry the day in these early bars. Also in measures 9 to 25, the saxophone choir’s quarter-note accompaniment is doubled in the trumpet, trombone, and euphonium parts. If the accompaniment sounds too strong here, try having the saxophones handle it all alone. The brasses can wait until measure 26 to enter, where the texture is fuller. In short, experiment, and try to find the best balance solutions for your ensemble.

There are two simple pedal-changes in the timpani part (from Bb to C, and then back again from C to Bb). While I am well aware that many young timpanists have little experience or confidence when it comes to the art of pedal manipulation, I believe that the sooner they learn it, the better. Fortunately, the required pedal change occurs on one of the easiest drums to manipulate (the 28” drum, which is positioned right in front of the player’s foot), and at one of the easiest melodic intervals (a whole—step).
The tutu outburst at measure 58, marked Joyous, should be played with great passion and energy. ‘the timpani part, marked Pounding!” is not intended for shy or squeamish types, nor should anyone in the ensemble restrain the energy. To the extent that you can control the tone quality and intonation, go for it!
The splash cymbal strike in measure 83 must be performed on a true splash cymbal in order to achieve the desired humorous effect. Do not simply use a small suspended cymbal. The cymbal must not be any larger than about 7 inches in diameter.

The music in measures 132—154 represents a brief, lyrical respite from the passion and energy of the rest of the work. Players should play this section with their most legato, singing, expressive sound possible.
If desired, the tuba]bass clarinet passage at measures 148 to 151 may be played as a solo by one tuba player (and no bass clarinet).
‘The ritardandos in this work (and in most all of my works, for that matter) should not be anticipated, nor should they be initiated suddenly. I prefer that conductors begin ritardandos subtly at first, almost unnoticeably, decreasing the tempo more dramatically towards the second half of the ritardando, and then still more dramatically toward the end of the ritardando. In short, I view ritardandos and accelerandos not as strictly linear tempo changes, but as exponential ones. Based on this fact, it would not be unreasonable for a conductor to finish the mo/to ru. at measure 175 with something akin to a shortfermata.
Above all, students should be reminded that this piece is a fan celebration. A joyful energy should be audible and even visible to the audience. ‘That means that both the players and their conductor should strive to show real emotion rather than sitting frozen in their chairs — they should take chances, break out of their individual shells, and remember just why they chose in the first place to become musicians.