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Blue Shades

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Blue Shades (2020 edition)

Frank Ticheli


Subtitle: For Symphonic Winds and Percussion


General Info

Year: 1997 / 2020
Duration: c. 10:30
Difficulty: VI (see Ratings for explanation)
Publisher: Manhattan Beach Music
Cost: Score and Parts (print: 2020 edition) - $395.00   |   Parts Only (1997 edition) - Out of print.   |   Score Only (print: 2020 edition) - $125.00; (print: 1997 edition) - $95.00


Instrumentation

Full Score
C Piccolo
Flute I-II (both div. a2)
Oboe I-II
Bassoon I-II
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III (II & III div. a2)
B-flat Bass Clarinet
E-flat Contra-Alto Clarinet (substitute for B-flat Contrabass Clarinet; 2020 edition only)
B-flat Contrabass Clarinet
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III
Horn in F I-II-III-IV
Trombone I-II-III
Euphonium (div. a2)
Tuba
String Bass (2020 edition only)
Timpani
Percussion I-II-III*, including:

  • Bass Drum (large)
  • Bongos
  • Castanets (Epstein)
  • Cowbell (large)
  • Crash Cymbals
  • Marimba (4.5 octaves (optional 4.3 octaves))
  • Slapstick (large)
  • Snare Drum
  • Splash Cymbal (8 inch)
  • Suspended Cymbal (medium small)
  • Tam-tam (large)
  • Temple Blocks (3)
  • Tom-toms (4)
  • Vibra-slap
  • Vibraphone
  • Wood Block (medium large)
  • Xylophone

*Percussion detail for 2020 edition only


Errata

Errata for all Ticheli works
This list includes errata posted on Manhattan Beach Music's website and other errors not listed on website.


In Parts (1997 edition):

  • C Piccolo, m. 66: Hairpin crescendo should start on beat 1 instead of the and of beat 1
  • C Piccolo, m. 141, beat 1: Add a "f" dynamic marking
  • C Piccolo, m. 161, beat 2: Add staccato and "f" dynamic marking on the B-flat5 eighth note
  • C Piccolo, m. 410, beat 2: Add a convenience natural on the G which is the 2nd note of the triplet
  • Flute I, m. 40, beat 4: D5 should be a D-flat5
  • Flute I, m. 92: Add accents on the first two quarter notes on the measure (C-sharp5 and D5)
  • Flute I, m. 167, and of beat 1: Add a marcato on the G6 (along with staccato)
  • Flute I, m. 180: Hairpin crescendo should start on beat 2 instead of the and of beat 1
  • Flute I, m. 191, beat 2: Add a "mf" dynamic marking
  • Flute I, m. 201, and of beat 2: Remove staccato on the second sixteenth note
  • Flute I, m. 378-380: There should be two separate slurs instead of one continuous slur. The first one should go from the 3rd beat of measure 378 and end on the 3rd note of the triplet on beat 1 of measure 379. The next slur should start on the 2nd beat of measure 379 and last until the downbeat of measure 380
  • Flute II, m. 5, and of beat 4: Remove accent
  • Flute II, m. 237: Hairpin crescendo should start on the and of beat 1 instead of beat 3
  • Flute II, m. 378-380: There should be two separate slurs instead of one continuous slur. The first one should go from the 3rd beat of measure 378 and end on the 3rd note of the triplet on beat 1 of measure 379. The next slur should start on the 2nd beat of measure 379 and last until the downbeat of measure 380
  • Oboe I, m. 129, beat 1: Add a dot on quarter rest to make it a dotted quarter rest
  • Oboe I, m. 410, beat 2: Add a convenience natural on the G which is the 2nd note of the triplet
  • Bassoon I, m. 94, beat 1: Add a staccato on the G2 eighth note
  • Bassoon I, m. 172, beat 2: The eighth note should be a F4
  • Bassoon I, m. 191: The D2 that is printed on the and of 3 should be printed on beat 3 (in other words switch the eighth note note and the eighth rest)
  • Bassoon I, m. 378, beat 2: D3 should be a D-flat3
  • Bassoon I, m. 380, beat 1: Remove staccato on B2 eighth note; Score also.
  • Bassoon I, m. 387, and of beat 2: D-flat3 should be a C3
  • Bassoon I, m. 394, and of beat 1: C3 should be a B-flat2
  • Bassoon II, m. 49, and of beat 1: Add accent on Bb1
  • Bassoon II, m. 49: Hairpin decrescendo should start on beat 2 instead of the and of beat 2
  • Bassoon II, m. 152, and of beat 1: Add accent on C3
  • Bassoon II, m. 388, beat 3: D3 should be a D-flat3
  • E-flat Soprano Clarinet, m. 95, and of beat 2: The second sixteenth note A3 should be a A-sharp3
  • E-flat Soprano Clarinet, m. 120, beat 1: Add a "mf" dynamic marking on beat 1
  • E-flat Soprano Clarinet, m. 362, beat 2: F-sharp4 should be a F4
  • E-flat Soprano Clarinet, m. 393, and of beat 3: G5 should be a A5
  • B-flat Soprano Clarinet I, m. 16, and of beat 1: The eighth note should be a B3
  • B-flat Soprano Clarinet I, m. 300: Hairpin decrescendo on beat 3 of triplet should start on beat 4 of the measure
  • B-flat Soprano Clarinet II, m. 133, beat 2: Add a "f" dynamic marking
  • B-flat Soprano Clarinet II, m. 162-163: From beat 1 of measure 162 to the and of beat 1 on measure 163, every note should be transposed up a whole step. (F4 D4 F4 D4 G4 D4 F4 D4 --> G4 E4 G4 E4 A4 E4 G4 E4)
  • B-flat Soprano Clarinet II, m. 238, beat 3: Add accent on D5 eighth note
  • B-flat Soprano Clarinet III, m. 300-301: Add a slur starting from the C#4 on beat 3 of measure 300 and ending on the B4 on beat 1 of measure 301


In Score (1997 edition):

  • B-flat Soprano Clarinet I, II, & III, m. 17, beat 4: E4 should read D4
  • B-flat Soprano Clarinet I, II, & III, m. 18, beat 1&: Add accent on G3 eighth note
  • B-flat Soprano Clarinet III, m. 300, beat 3: Add a slur from beat 3 of measure 300 to beat 1 of measure 301


- Potential errata noted by Matthew LeFebvre


Program Notes

Four years, and several compositions later, I finally took the opportunity to realize that need by composing Blue Shades. As its title suggests, the work alludes to the blues, and a jazz feeling is prevalent -- however, it is not literally a blues piece. There is not a single 12-bar blues progression to be found, and except for a few isolated sections, the eighth-note is not swung.

The work, however, is heavily influenced by the blues: "Blue notes" (flatted 3rds, 5ths, and 7ths) are used constantly; blues harmonies, rhythms, and melodic idioms pervade the work; and many "shades of blue" are depicted, from bright blue, to dark, to dirty, to hot blue.

At times, Blue Shades burlesques some of the clichés from the Big Band era, not as a mockery of those conventions, but as a tribute. A slow and quiet middle section recalls the atmosphere of a dark, smoky blues haunt. An extended clarinet solo played near the end recalls Benny Goodman's hot playing style, and ushers in a series of "wailing" brass chords recalling the train whistle effects commonly used during that era.

Blue Shades was commissioned by a consortium of thirty university, community, and high school concert bands under the auspices of the Worldwide Concurrent Premieres and Commissioning Fund.

- Program Note by composer


Media


State Ratings

  • Florida: VI
  • New York: VI
  • North Carolina: VI


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