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Blue Shades

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Score Cover

Frank Ticheli


General Info

Year: 1997
Duration: c. 10:30
Difficulty: VI (see Ratings for explanation)
Publisher: Manhattan Beach Music
Cost: Score and Parts - $265.00   |   Score Only - $30.00


Instrumentation

Full Score
C Piccolo
Flute I-II
Oboe I-II
E-flat Soprano Clarinet
B-flat Soprano Clarinet I-II-III
B-flat Bass Clarinet
B-flat Contrabass Clarinet
Bassoon I-II
E-flat Alto Saxophone I-II
B-flat Tenor Saxophone
E-flat Baritone Saxophone
B-flat Trumpet I-II-III
F Horn I-II-III-IV
Trombone I-II-III
Euphonium
Tuba
Timpani (also plays Tambourine and Triangle)
Percussion I-II-III, including:

  • Bass Drum
  • Bongos
  • Castanets
  • Cowbell
  • Crash Cymbals
  • Marimba
  • Ride Cymbal
  • Slapstick
  • Snare Drum (brushes and sticks)
  • Splash
  • Suspended Cymbals (2)
  • Temple Blocks (3)
  • Tom-Toms (4)
  • Vibraphone
  • Vibraslap
  • Wood Block
  • Xylophone


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:

  • 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, and of beat 4: D5 should be a D-flat5
  • Flute I, m. 92: Add accents on the first two quarter notes on the measure (C#5 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
  • 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. 392, 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. 17, beat 4: D4 should be a E4
  • B-flat Soprano Clarinet II, m. 18, and of beat 1: Remove accent on G3 eighth note
  • 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 D4)
  • B-flat Soprano Clarinet II, m. 238, beat 3: Add accent on D5 eighth note


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. All of the commissioning parties are acknowledged at the end of these program notes.

- Program Note by Frank Ticheli


Commercial Discography


Media Links


State Ratings

  • Florida: VI
  • New York: VI


Performances

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Works for Winds by this Composer

Adaptable Music


All Wind Works


Resources

  • Frank Ticheli website Accessed 6 July 2020
  • Ticheli, F. (1997). Blue Shades: For Concert Band [score]. Manhattan Beach Music: Brooklyn, N.Y.