Tico Tico: Interchangeable Woodwind Ensemble Score & Parts

David Marlatt's arrangement gives ensemble directors genuine flexibility without sacrificing the irresistible groove that makes Tico Tico work. The interchangeable parts mean you can build an engaging performance from whatever woodwind combination your ensemble has available, and the optional high licks provide natural moments for your strongest players to shine while keeping the foundation solid for everyone else.

Tico Tico radiates warmth and infectious energy from its opening measures. The rhythmic vitality keeps everyone engaged and propels the piece forward with a natural bounce that audiences recognize immediately, while the melodic content remains elegant enough that the ensemble sounds genuinely musical, not just spirited.

Woodwind ensembles working at the medium-difficult level who need a festival or concert piece that feels sophisticated but plays with joy. This arrangement works particularly well for groups with flexible instrumentation or those building toward a Latin-focused concert, and it's equally at home as a contest selection or an audience favorite on a mixed program.

• Lock the rhythm section (xylophone, percussion) into a tight groove first. The Latin feel depends on precision from the drums, bells, and claves, so rehearse them as a unit before adding the melody and harmony.
• Shape the main melody with gentle dynamics and articulation clarity. The tune is catchy enough to carry itself, so let the rhythm instruments do the heavy lifting while the woodwinds sit in naturally with the pocket.
• Take the optional high licks seriously in rehearsal. Mark them clearly in parts so players know when they're active, and decide early whether the full ensemble will use them or if you'll rotate which sections take them for added interest.

Program this as a bridge piece between classical and contemporary repertoire on a concert, or use it to anchor a Latin music or world music segment. The 3:35 length makes it ideal mid-program material that resets audience energy without dominating a set, and the upbeat character pairs well with both lighter concert openers and more substantial works that follow.

• Latin rhythmic vocabulary and groove orientation
• Flexible intonation and blend across multiple instrument combinations
• Managing optional passages and ensemble cues in a contemporary arrangement
• Collaborative playing across different woodwind doublings and voice leading