LOCH LOMOND for concert band Loch Lomond by Frank Ticheli. Suitable for middle school through college bands, and community bands, 6 1/2 minutes duration, Grade 3.     To Place an Order Click Here   Hear a complete performance in stereo streaming audio using (& requiring) QuickTime 4 or newer: Hear a complete performance of Loch Lomond Download the MP3 Recording Read our primer on QuickTime, streaming audio, & MP3

CD: Simple Gifts: The Music of Frank Ticheli (Volume 2) Contains a recording of LOCH LOMOND and other works by Frank Ticheli Click the CD for a complete list of works

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HISTORICAL BACKGROUND

 

At the time in Scottish history when "Loch Lomond" was a new song, the United Kingdom (which united Scotland, England, and Wales) had already been formed. But the Highland Scots wanted a Scottish, not an English King to rule. Led by their Bonnie Prince Charlie (Prince Charles Edward Stuart) they attempted unsuccessfully to depose Britain's King George II. An army of 7,000 Highlanders were defeated on April 16, 1746 at the famous Battle of Culloden Moor.

 

It is this same battle that indirectly gives rise to this beautiful song. After the battle, many Scottish soldiers were imprisoned within England's Carlisle Castle, near the border of Scotland. "Loch Lomond" tells the story of two Scottish soldiers who were so imprisoned. One of them was to be executed, while the other was to be set free. According to Celtic legend if someone dies in a foreign land, his spirit will travel to his homeland by "the low road" - the route for the souls of the dead. In the song, the spirit of the dead soldier shall arrive first, while the living soldier will take the "high road" over the mountains, to arrive afterwards.

 

The song is from the point of view of the soldier who will be executed: When he sings, "ye'll tak' the high road and I'll tak' the low road" in effect he is saying that you will return alive, and I will return in spirit. He remembers his happy past, "By yon bonnie banks ... where me and my true love were ever wont to gae [accustomed to go]" and sadly accepts his death "the broken heart it ken nae [knows no] second Spring again."

 

The original folksong uses a six note scale; the seventh scale degree is absent from the melody. The lyric intertwines the sadness of the soldier's plight with images of Loch Lomond's stunning natural beauty.

 

 

ABOUT MY SETTING

 

In my setting, I have tried to preserve the folksong's simple charm, while also suggesting a sense of hope, and the resilience of the human spirit. The final statement combines the Scottish tune with the well-known Irish folksong, "Danny Boy." It was by happy accident that I discovered how well these two beloved songs share each other's company, and I hope their intermingling suggests a spirit of human harmony.

 

Loch Lomond was commissioned by Nigel Durno, for the Stewarton Academy Senior Wind Ensemble of East Ayrshire, Scotland, with funds provided by the Scottish Arts Council. The premiere performance was given on June 18, 2002 by the Stewarton Academy Senior Wind Ensemble at Royal Concert Hall in Glasgow, Scotland.


 

FORM

 

MEASURES	TONAL CENTER	SECTION
1 - 11	Bb	Introduction
12 - 27	Bb	First statement
28 - 38	Bb, modulating	Canonic interlude
39 - 57	Eb	Second statement, with countermelody
58 - 66	Eb over Db	Solo clarinet and piccolo in parallel 12ths
66 - 81	Eb...Ab...F...Db...	Development (main melody plus countermelody)
82 - end	Bb	Final statement with its countermelody, and entrance of "Danny Boy" as a second countermelody

 

REHEARSAL NOTE

 

Play throughout in a connected, legato style, and try not to fall into the temptation of dragging below the tempo markings. The music should flow, not float. In measures 39 to 46, strive to maintain equal balance between the melody (trumpets 1 and 2) and the countermelody (clarinets 1 and 2, alto saxophone 1, joined by the 3rd clarinets in measure 43).

 

In measures 57 to 65, the sustained notes should remain well in the background, like a very quiet string orchestra. The piccolo and clarinet solos should sound easily in the foreground without being forced.

 

In measures 81 to 89, there are three main ideas sounding in counterpoint with one another: 1. the "Loch Lomond" melody (clarinet 1, trumpet 1, euphonium, supported by the 2nd and 3rd clarinets and trumpets); 2. the countermelody (piccolo, flutes, oboes); and 3. the "Danny Boy" melody (alto saxophones and horns). The two melodies should sound in the foreground, and in roughly equal balance, whereas the countermelody may sound in the middleground. Although all other players are supportive in nature, they should nonetheless play with a full, rich sound.

 

Beginning in measure 89, the countermelody drops out, leaving only the two main melodies. Again, strive to maintain roughly equal balance between them, allowing neither melody to overpower the other.

 

In measures 98 and 99, bring out those notes with tenuto markings (clarinet 2 and horn 1 in measure 98; horn 2 and euphonium in measure 99), and allow them to linger a bit.

 

Frank Ticheli

 

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Instrumentation

 

1 Full Score

4 Flute 1/Piccolo

4 Flute 2

1 Oboe 1

1 Oboe 2

4 Bb Clarinet 1

4 Bb Clarinet 2

4 Bb Clarinet 3

3 Bb Bass Clarinet

1 Eb Contrabass Clarinet

1 Bassoon 1

1 Bassoon 2

2 Eb Alto Saxophone 1

2 Eb Alto Saxophone 2

2 Bb Tenor Saxophone

2 Eb Baritone Saxophone

3 Bb Trumpet 1

3 Bb Trumpet 2

3 Bb Trumpet 3

2 F Horn 1

2 F Horn 2

2 Trombone 1

2 Trombone 2

2 Trombone 3

3 Euphonium B.C.

2 Euphonium T.C.

4 Tuba

2 Timpani

3 Percussion 1

2 Percussion 2

 

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LOCH LOMOND

 

By yon bonnie banks,

And by yon bonnie braes,

Where the sun shines bright, on Loch Lomond

Where me and my true love

Were ever wont to gae

On the bonnie, bonnie banks of Loch Lomond.

 

Chorus: Oh! ye'll tak' the high road and

I'll tak' the low road,

An' I'll be in Scotland afore ye',

But me and my true love will never meet again

On the bonnie, bonnie banks of Loch Lomond.

 

'Twas then that we parted,

In yon shady glen,

On the steep, steep side of Ben Lomond

Where in purple hue

The Highland hills we view,

And the moon coming out in the gloaming.

 

(Chorus)

 

The wee birdies sing

And the wild flowers spring,

And in sunshine the waters are sleeping.

But the broken heart it kens

Nae second Spring again,

Tho' the waeful may cease frae their greeting.

 

(Chorus)

 

 

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Some words in the Scots language:

 

yon ... yonder

bonnie ... beautiful

braes ... slopes (hillsides)

gae ... go

glen ... valley

ben ... mount (mountain)

gloaming ... twilight (dusk)

wee ... tiny

kens ... knows

nae ... no

waeful ... woeful

frae ... from

Also: wont ... accustomed

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Performance by the University of Southern California Thornton Wind Ensemble, Frank Ticheli, guest conductor.

Copyright © 2002 Manhattan Beach Music. All Rights Reserved.

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