Laura Roth

LEARNING THROUGH
PERFORMANCE:

MUS 3470Instrumental Methods II

Spring 2015 Unit Plan

F.TICHELIS

SHENANDOAH

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Table of Contents
Basic Information3
Program Notes...4
Historical Information..5-6
Formal Analysis: ..7
Errata.8
Glossary of Terms: .9
Necessary Concepts.9-10
Objectives for Students...10
Strategies & activities 10-11
Assignments for students .11-14
Practice guide...15-16
Evaluation Guide...16
Rehearsal Plan..17-21
Works Cited...21

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Basic Information
Title: Shenandoah
Composer: Frank Ticheli
Publisher: Manhattan Beach Music
Grade: 3
Duration: 6.5 minutes
Style: Lyrical, Tonal
Key(s): Eb major. Though the key signature never changes, the keys of Gb major and Bb major are also
implied.
Meter(s): common time (4/4); never changes
Tempo/Tempi: Freely and expressive (quarter note = 50), Slightly Faster (quarter note = 58), Quarter note =
63, ritardando into quarter note = 50, Pulsating (quarter note = 58), ritardando into Ethereal, Floating
(quarter note = 50), Quarter note = 58, ritardando into the end.
Instrumentation: Piccolo/Flute 1, Flute 2, Oboes 1 & 2, Bb Clarinets 1-3, Bb Bass Clarinet, Eb Contrabass
Clarinet, Bb Contrabass Clarinet, Bassoons 1-2, Eb Alto Saxophones 1-2, Bb Tenor Saxophone, Eb Baritone
Saxophone, F Horns 1-2, Bb Trumpet 1-3, Trombone 1-3, Euphonium (bass and treble clef parts available), Tuba,
String Bass, Timpani, Percussion 1-2 (vibraphone, chimes, medium large suspended cymbal, medium triangle
Full or condensed score: Full score
Transposed or concert pitch score: Transposed score
Range concerns: Opening note is low for young F horns, and may be difficult to produce quietly.
Unusual requirements: Trumpet straight mute (for soloist only).

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Program Notes
Frank Tichelis Shenandoah is the beautiful culmination of traditional American folk music and modern
band literature.
Born from a simpler time, the tune Shenandoah is one most Americans a know:
Oh Shenandoah,
I long to see you,
Away you rolling river.
Oh Shenandoah,
I long to hear you,
Away, I'm bound away,
'cross the wide Missouri.
Ticheli honors the pastoral side of American history by beginning this melody in the horns. Every
instrument in the band slowly adopts this state of quiet reflection. Once every voice has been able to
contribute to the main tune, a different melody emergesone that sounds vaguely familiar. Indeed, the song
has changed, just as the song Shenandoah itself was changed by oral transmission through history. This soaring
melody, along with other supporting voices, builds to a sense of optimism and hope. Hope is not far enough for
the American Dream, however. The tonic harmony of the piece changes, just as lives of everyday Americans
change. However, it builds into something more beautiful: a powerful rendition of the opening tune from the
brass. This exalted rendition shows that Americans can face adversity, always finding their way back to the
ones they love.
Listen, as the piece unfolds, for a wide variety of sonic colors. Ticheli masterfully weaves instruments
in and out of the texture, effortlessly creating new sonic worlds. Listen for the familiar tune, and see how it
changes over time. Discover how many different voices can sing the same tuneand how beautiful those
sounds are. Imagine the rolling river as the band dies down, pushing and pulling the rivers water. Imagine, as
triumphant brass fills the hall, reuniting with loved ones. And finally, listen for the life-affirming energy that
Ticheli so masterfully put into Shenandoah.

Historical Information
I. The Work
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The Hill County Middle School Symphonic Band commissioned this piece in memory of a young member
of their band who passed away in December 1997. The recurring melody of the piece is based on an old
American folk tune called Shenandoah, but Ticheli brought more to the table.
When writing this work, Ticheli says that he was inspired by the freedom and beauty of the folk
melody and by the natural image evoked by the words. Though there are many versions of the song today,
Ticheli referenced the following lyrics:
Oh Shenandoah,
I long to see you,
Away you rolling river.
Oh Shenandoah,
I long to hear you,
Away, I'm bound away,
'cross the wide Missouri.
Ticheli strove to, and succeeded in, giving the piece life-affirming energy. As the 1990s came to a
turbulent close, this life-affirming energy may have been necessary for both Ticheli and many other Americans.
Shenandoah is one of Tichelis most popular and frequently performed works. Amateur, collegiate, and
professional musicians alike have performed it. The work was published in 1999 and may be purchased from
Manhattan Beach Music.
II. The Composer
Born in 1958, Frank Ticheli is arguably one of the most famous band composers alive today, and one of
the best composers for young learners.
As a young learner, Ticheli grew up in Louisiana, but become entranced with writing music after moving
to Texas in high school. He graduated with bachelors degrees in Music Theory/Composition and Music
Education from Southern Methodist University, and then earned his masters and PhD in Music Composition at
the University of Michigan.
After a brief period of freelance composing, Ticheli became a professor at Trinity University. Within
three years of obtaining this position, he accepted both a professorship at the University of Southern California
and a composer-in-residence position with Pacific Symphony. Once his time as composer-in-residence ran out,
Ticheli was able to devote time into a pursuit he had loved at the beginning of his career: guest-conducting
public school bands. The connection with studentswith everyone who makes his music come to lifeinspires
and teaches Ticheli how to write the phenomenal work that he does. In fact, this connection has become so
monumental that Ticheli (unofficially) announced his newest project at Midwest Clinic 2014: to write a band
methods book.
Throughout his career, Ticheli has collected accolades that reinforce his excellence as a composer and
educator. His work is praised from New York to Los Angeles, praised for its optimistic [and] thoughtful, and
powerful, [with] striking colors. While containing this power and beauty, his musics inclusion in MSBOAs
Required Festival Repertoire list demonstrates its accessibility to both listeners and performers of any age. In
addition, Ticheli won the Virginia Ramo Award for excellence in teaching at USC, showing dedication to the
students he sees regularly as well as those he will never meet. From receiving the 2012 Arts and Letters Award
from the American Academy of Arts and Letters to the Walter Beeler Memorial Prize and First Prize awards in
the Texas Sesquicentennial Orchestral Composition Competition, Britten-on-the-Bay Choral Composition
Contest, and Virginia CBDNA Symposium for New Band Music, Ticheli is an accomplished composer whose
dedication to teaching young musicians can inspire any band director.
Ticheli continues to teach budding composers at University of Southwest California, and frequently
guest-conducts/runs clinics everywhere from Chicago, Illinois to Beijing, China.

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III. Related History

The history of the folk tune Shenandoah is not well documented. The earliest versions of the tune
appear in the early 1800s. Historians believe that the tune originated either from the Shenandoah Valley and
River in Virginia, an Iriquois chief, or the Senedo word for moon. Since then, the tune has been passed down
aurally. This has resulted in many different melodies that Ticheli could choose from, as well as many different
sets of lyrics. The author of the most well-known lyrics and tune have been attributed to seemingly every
profession, from musical protg to housewife. Despite all of the discrepancy, the theme of the well-known
lyrics is universally understood: an early American settlers love for a Native American woman.
Frank Tichelis has his U of M teachers to thank for his compositional style. As he said in a 2008
interview, William Bolcom taught Ticheli not only to compose efficiently, but also made him pay attention to
the big picture. This is why the entire shape of the piece is, roughly, a hairpina very long crescendo and a
shorter decrescendo. Conversely, Leslie Bassett taught Ticheli to pay attention to the little details: registers of
instruments, correct notation, applying the larger form of a work on mirco levels (for example, measures 1-7
essentially form a hairpin, just like the entire piece). William Albright taught Ticheli the beauty of sound and
the value of taking risks. This beauty of sound and richness of color is evident throughout the work. Finally,
George Wilson taught Ticheli to respect both color and melody. This final lesson allowed Ticheli to create the
beautiful, accessible masterpiece Shenandoah.
The life-affirming energy the piece provides may have been a necessity for many people. 1998
marked the beginning of US hostilities against Afghanistan, President Clinton was caught in a sex scandal and
eventually impeached, and a severe economic crash plagued Dow Jones. In addition, natural disasters ravaged
American coastlines, leaving hundreds of thousands of people homeless. Finally, a school shooting committed
by two boys (11 and 13) left much of the United States losing their faith in humanity. A piece like this, that
references the good old days while remaining fresh and beautiful, was just the remedy that many Americans
needed.

Formal Analysis
There are three main sections of the work: the exposition, the development, and the recapitulation. Each of
these units may be further subdivided.
The work begins with the exposition. Here, the audience is introduced to the main melodic material and all of
the colors of the ensemble.
Section
Exposition

Measures
1-11

Key(s)
Eb major

Musical Event
First statement of main melody, introducing horns, clarinets,
and euphonium (among others)
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12-22

Eb major

23-30
31-34

Eb major
Implied Gb
majorBb major

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Second statement of melody, introducing flutes, trumpets,

and oboes.
First statement of theme B, derived from the melody
Transition, sparse texture

After the exposition comes the development. Unlike developments of sonatas, the tonal center does not
frequently change. The work instead develops by using fragments of the melody, dynamic contrast, dramatic
shifts in color, changing tempi, and harmony to push the piece forward.
Section
Development

Measures
35-40

Key(s)
Bb major (implied)

41-51

Bb major (implied)

52-55

Gb major (implied)

Musical Event
Pulsing chords and further development of theme B
keeps any audience intrigued.
The main melody returns, but in a 3 person flute
canon.
Retransition; prepeare for the final statement.

Finally, the recapitulation occurs. The piece climaxes with a powerful rendition of the main melody. For the
first time, every single part plays at the same time. After the climax, an orchestrated decrescendo reminds
the listener of the serenity and peace with which the work started.
Section
Recapitulation

Measures
56-68

Musical Event
Final statement of the melody in
the climax. This is the biggest,
boldest moment of the work.
Coda; first just brass, then just
woodwinds, then they come
together.

69-end

Errata
No errors were found in the score or within parts

Performance Notes
Ticheli states that:
The melody should always be prominent and always legato.
Subtle tempo changes (at structural points throughout the work) allow some freedom, but should
not be overdramatized.
Notes with a tenuto markings are to be held slightly longer than the indicated rhythm; notes with a
tenuto-legato marking should be played with added weight/stress.
In the first 11 measures, the euphonium should balance with the horns, not overpower them.
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Keep a careful eye on dynamics from m. 11-22; students will want to play louder than what is
appropriate. Let the peak at m. 19 may be played loudly, but wait until then.
At m. 23-30, the clarinet accompaniment to the new melodic idea must be consistent and seamless.
The ritardando at m. 31-34 should be subtle.
At m. 35-40, stress the first note of each slurred pair should be stressed.
Limit flute vibrato at m. 41-51 to preserve the ethereal feeling of that section.
At m. 52-55, let the intensity slowly increase. The fragments of the main melody (found in the brass,
oboes, and flutes) are the most important ideas in this section.
Additionally,
This piece is one that relies not on flashy technical work, but patience and emotion. Be patient; take
time to enjoy every moment.

When the piece calls for it, make sure students play quietly, but not so quiet that notes do not
respond, cannot be reliably held, or create under-supported tone.
Similarly, in the loud brassy sections, the brass must not blatt or get aggressive; rather, they should be
expansive and powerful.

Glossary of Terms
A Tempo: return to the tempo established before fluctuation took place
Crescendo: gradually and smoothly get louder
Decrescendo: gradually and smoothly get softer
Diminuendo: same as decrescendo, just without the visual
Divisi: one part is briefly responsible for two or more notes
Intonation: being perfectly in tune as a result of correct tone production
Mezzo-forte: medium loud; slightly louder than mezzo-forte, but quieter than forte
Mezzo-piano: medium soft; slightly louder than piano, but quieter than mezzo-forte
Niente (n)-nothing; silence
Pianissimo: as quiet as possible while maintaining musical essentials (tone, rhythm, etc.)
Piano: quietly; slightly louder than pianissimo
Poco: little
Ritardando: gradually slow down
Sforzato (sfz): loud and accented while keeping the notes legato style
Tenuto: hold out the note slightly longer than its given length
Tutti: everyone (on one part) plays together
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Necessary Concepts
I. Intonation
Like many of his recent young-band works, Ticheli utilizes harmony (rather than complex rhythms) to
drive the music forward, to create a sense of tension/release, and to elicit a variety of beautiful colors from
the band. However, none of these elements will come through if the band cannot play chords in tune.
II. Dynamic contrast
In addition to the harmony, much of the works emotional content and drama comes from its dynamic
shape. Dynamics contribute to a sense of push and pull, and is part of what makes the piece beautiful.
III. Comfort and independence
In line with Tichelis usual compositional style, Shenandoah is rife with changes in texture, exposed
soloists/sections, and changing roles of each voice throughout the work. For this reason, each musician must
be comfortable playing his/her own part, regardless of what others around are playing.
IV. Legato Style
Maintaining a consistent style is critical to a piece like this; if not, it may seem like a theme and
variations, and lose its powerful impact. Similarly, the grandeur and slight separation at the climax will be less
effective if consistent legato style cannot be achieved.

Objectives for Students

While preparing and performing Shenandoah, students will:
Perform with accurate intonation
Identify personal intonation tendencies and fix any problems
Perform effectively both as part of a large texture and within exposed sections.
Effectively convey dynamic contrast
Play an effective piano while maintaining good breath support, tone, intonation, and response
Maintain consistent legato style, despite changes in dynamic
Follow tempo changes together.

Strategies and Activities

I.

II.
III.

Intonation
a. Scales in rounds; split the band into three groups, and stagger entrances so each new part
enters a third above the others.
b. Singing to internalize pitches
c. Hold out problem chord and tune it, then release and re-articulate, arriving at the new and
improved intonation. Then, put the chord into context.
Identifying Personal Intonation
a. Students will mark music when their intonation is corrected in class.
b. Students will have at least one sectional, and will listen for individual intonation then.
Perform Effectively in both full and sparse textures
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IV.

V.

VI.

VII.

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a. Students will practice parts; see assignments

b. Students will be very familiar with the music through repetition in class
c. Discuss how the role of different parts changes throughoutthis way, students can play knowing
whether or not they are supposed to be in the foreground.
Effectively convey dynamic contrast
a. Practice warm ups and scales with different dynamic patterns (i.e. start forte, diminuendo to
p; play whole warm-up mp).
Play p while maintaining good fundamentals
a. Consistent practice during and outside of class
b. If students are too loud, ask them to hold out the note at p. Then, ask them to play it quieter.
Then do it again. Have them hold that new, quiet note, and tell students to play at that level.
c. It may take time to build enough strength and familiarity to successfully perform the notes at
that dynamic. Tell students to play as quietly as possible while still having a good sound; the
more they get used to playing quietly, the more those muscles build, and the quieter they will
be able to become.
Maintain constant legato style, even at loud dynamics
a. Play through parts of the piece without using tongue. Then, add slight tongue.
b. Start playing a passage at a comfortable dynamic. Repeat the passage one dynamic level
louder, with focus on maintaining legato style. Continue this until the passage is at the proper
dynamic level and style.
Play tempo changes together
a. Rehearse transitions often. Keep them consistent, especially when Festival is near.
b. Repeat the transitions many times, changing the tempo every time. This may train students to
watch at these sections. This is not to be used after week 3.

Assignments for Students

I.

Practice sheets
a. Students will be required to practice an average of three hours a week. In other words,
students will practice outside of class for 18 hours. They will record the date, how long they
practiced, what they practiced, and obtain a parent signature for each practice session.
b. Grades (based on hours from all 6 weeks): 18+hr=A, 15-17hr=B, 12-14hr=C, 10-12hr=D, 9hr or
less = E
c. Sample Practice Sheet:
Date

Length

What I worked on

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Parent Signature

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II.

Composition
a. Students will be required to write eight bars of music in 7/8. This will reinforce the concept
covered in the Mackey.
b. Students will then perform these compositions for each other, and have a chance to edit their
compositions before the final test.

III.

Listening & Exploration

a. After covering concepts of ragtime, students will be required to find a piece of ragtime music
on their own.
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b. The student will list the name of the piece, its composer, and give three reasons why s/he
considers the piece to be an example of ragtime.

IV.

Singing alone & in Groups

a. Students will receive music for the folk tune Shenandoah in class.
b. Students will work on playing and singing the folk tune Shenandoah in class
c. In the last two weeks before Festival, random sections will be called to sing together for the
class.
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V.

Category
Intonation/
Pitch
Accuracy

1
Many pitch
mistakes;
inaccurate
intervals

2
Several pitch
mistakes; some
inaccurate
intervals

Clear tonal
center

No clear tonal
center

Sometimes, a
tonal center is
present. Ends in
different key
than beginning.

Accurate
Rhythm
and steady
beat

Many rhythms
performed
incorrectly; no
steady beat

Posture

Poor posture and

breathing

Some rhythms
performed
correctly,
sometimes sense
of steady beat
Average posture,
mediocre
breathing

3
More than 5
missed notes,
but majority are
correct; more
accurate
intervals than
not
Usually a strong
tonal center,
but may end in
different key
than the
beginning.
Most rhythms
are performed
correctly.
Usually a steady
beat is present.
Good posture,
breathing most
of the time.

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4
Score
Less than 5 missed
notes; accurate
intervals

Strong tonal
center is always
present. Ends in
beginning key.

Less than 3 missed

rhythms, great
steady beat
always present
Excellent posture
(as if playing
instrument), great
breathing shown.

Weekly Assessment
a. Every Wednesday, students will be given an assessment sheet.
b. Students will assess a recording or their own playing on each piece, listing one thing they did
well and the biggest struggle of the weeks rehearsals. It must be completely filled out by the
end of class Friday.
c. Students will provide idea(s) of how to improve in their area of difficulty.
d. Students will leave this in their folder and refer to it again on Monday. This will remind
students of what they learned in the previous week.
Shenandoah

Georgia Girl

What I did well

What I struggled with

How I can improve

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Undertow

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Practice Guide
When preparing to perform Shenandoah, individual work is necessary. Though everyone should run through
their part at home once a week, here is a list of potential problem areas that can be worked out individually.
Measure numbers
1-11

12-18

18-22
23-34

35-40

41-47

47-51

52-55

56-68

What to Practice
Everyone: p long tones, to increase reliability and dynamic range.
Everyone: tenuto rhythms, smooth crescendos and decrescendos
Horns: low register scales
Horn & Euphonium: play 16th note in m.4 consistent with long, soft style. Same
goes for alto sax and clarinets at m. 7
Vibe: note accuracy. Two notes at once is hard!
Flutes, oboes, horn: consistency and accuracy with leap in measure 14
Alto saxes, 1st trumpets, euphonium: play 16th note consistent with accent, but
avoid aggression
Alto sax, trumpet, oboe, flute: accuracy on dotted eighth-sixteenth on m. 18
Percussion: gradual dynamic change & control during cymbal roll
Alto sax: accurate rhythm at m.27; do not compress sixteenths or attack them
aggressively
Bass clar, tenor sax, bassoon, horns, and euph: intonation is huge through this
whole section!
3rd trombone, euph, tuba, bass clar, bassoon: intonation and tone at m. 33 & 34
Woodwinds except flute 1, euph, tuba: practice getting consistent response to
slurred quarter notes at p.
Percussion: practice covering the chimes with rawhide so the sound is consistent
Alto sax 1 & horn 1: the tone, rhythm, dynamic of melody at m. 37. Its just you.
Flute soloist 1: work on tone, rhythm, dynamic of solo
Flutes: soloists, work on the tone, rhythm, dynamic of your solos
All others who play: intonation and solid air support on quiet notes, especially as
you decrescendo
Flutes: accuracy of tied dotted eighth-sixteenth rhythms at m.47-48
Trumpets and trombones: you have an important line at m. 48. Work on
intonation and playing it loud without sacrificing tone quality or becoming
aggressive.
Everyone: dynamics and balance. Different parts have different dynamic
markings, meaning that the balance here is very specific and very important.
Everyone: application of accents without losing legato style
Piccolo soloist: get comfortable on the piccolo, and work on the pitches, rhythm,
and accented style at m. 52
Low trombones and trumpets: bring out m. 53-55. Be solid on that rhythm and
be able to play out without sacrificing intonation or tone.
Everyone: pay attention to when you release notes. Everyone is playing
together, and most have the same rhythm.
Flutes, oboes, trumpets, 1st trombone: rhythmic and stylistic accuracy at m. 59
Flutes, oboes, tenor sax, trumpets, 1st trombone, euph: phrasingno breathing at
m. 59
Bass clarinet, clarinets, alto saxes, horns: make the sforzato dramatic, but not
aggressive. As you decrescendo, keep tone and response consistent.
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Everyone: gradual crescendo at m. 62

Everyone: gradual diminuendo at m. 64
1st clarinet and 1st alto sax: bring out the melody at 65. Make the melody
smooth.
Everyone: intonation at m. 67-69
Low brass: intonation! You are the only people holding notes!
1st horn & 1st trumpet: clear tone and rhythmic accuracy at m. 69s soli
Low brass: practice attacking notes (esp. in the higher register) at p, followed by
a crescendo at m. 73
Everyone except flutes, oboes, 2nd trumpet, tenor & bari sax, & percussion: clear
tone and intonation, even as you diminuendo to niente.
Everyone: Intonation, especially on held notes
Everyone: Lyrical, legato style throughout
Everyone (except percussion): Smoothness of slurs and partial changes
Percussion: Control of mallets and soft articulations
Everyone: Accurate and audible dynamics

Evaluation Guide
Much of the evaluation will take place via assignments, participation in class, and the Theory Thursday test.
Weight:
Participation: 35%
Composition Assignment: 10%
Listening/Research Assignment: 10%
Singing: 10%
Weekly Assessments: 10%
Practice Sheet: 25%

Six-Week Rehearsal
Schedule
WEEK ONE: PRECISE
RHYTHMS &
PITCHES
Monday

Warm-up: Bach chorale, with students listening for moving lines.

Introduce students to Shenandoah and Georgia Girls basics: pitch,
rhythm, dynamics, and form.
Road map the pieces and read them under tempo.
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Tuesday

Wednesday

Thursday

Friday

WEEK TWO:
PRECISE
ARTICULATION/S
TYLE
Monday

Get to know where the students struggle, and give students a

sense of where the pieces go musically.
Warm-up: Bb, Ab scales, playing four staccato eighth notes on
each pitch.
Introduce students to letters P-R of Undertow. Emphasize the
contrasting style, as well as correct pitch and rhythm. Make
students aware that the longer lines get the melody.
Review notes and rhythms of Georgia Girl; practice any road map
issues, ensure correct pitch and rhythm.
Warm-up: Play a Bach chorale, watching the conductor for tempo
changes
Practice tempo changes/transitions in Ticheli to ensure correct
rhythm.
Review road map, pitches, and rhythm of Georgia Girl.
If time, review pitch and rhythm of Undertow, letters P-R.
Theory Thursday: 7/8 Meter
Students will listen to a recording of Mackeys Undertow while tapping
(with pencils on stands) the each eighth note. This will transition into
students just tapping the beats. Then, students will sight-read the
beginning under tempo, careful to place emphasis on correct beats.
Students, in groups of 4-6 people, will compose eight measures in 7/8
time for their instrument and perform it for each other.
Warm-up: students will play concert Eb scale, playing a measure
of 7/8 (2+2+3) on each note.
Review Undertow, esp. rhythm.
Review transitions in Shenandoah.

Tuesday

Wednesday

Warm-up: students will play concert Ab scale completely slurred,

then play concert Bb scale as short as possible
Shenandoah: address tenuto markings, work on consistent legato
style
Undertow: address pitch and rhythm as well as short and
accented note lengths whose style has more kinetic energy than
the Ticheli
Warm-up: students will play a Bach chorale, paying attention to
their pitch, articulation, and legato tongues.
Review pitches and rhythms of Georgia Girl. If those are there,
start addressing accents, staccato and tenuto markings, etc.
Review legato style of Shenandoah.
If time, review the metric pulse of Undertow.
Warm up: students will play a concert Eb scale. Each note will be
given individually. Students will mirror the style, articulation, and
dynamic the conductor provides.
Review rhythmic pulse of undertow, then play the music. If
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Thursday

Friday

WEEK THREE:
PRECISE
INTONATION
Monday
Tuesday

Wednesday

Thursday

Friday

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rhythm is still an issue, just focus on pitch and rhythm. If not,

throw in note lengths.
Review legato style and tenuto articulation markings in
Shenandoah
Theory Thursday: Jazzy Georgia Girl
Students will be introduced to the origin and elements of ragtime music,
especially its dance origins, African elements, and its use in marches.
Students will then listen to The Entertainer, among other examples, to
pick out elements of ragtime in a classroom discussion. Students hear a
professional recording of Georgia Girl, then play it while incorporating
this style. During class, and as homework if necessary, students will find
one piece on his or her own, and explain why that piece is a good
example of ragtime. This will require active listening and critical
examination.
Warm-up: students will play Bb concert scale with the rhythm
eighth-quarter-eighth on each note. This is meant to evoke last
class ragtime style
Play Georgia Girl, focusing on ragtime style as well as pitch and
rhythm.
Review Undertow, ensuring that pitch, rhythm, and note lengths
are correct. Add accents and style if able.

Warm up: Students will play Bb, then Eb concert scales in rounds.
Tackle intonation in Georgia Girl, especially in trio.
Warm up: students will play a Bach chorale.
Students will tackle intonation in Shenandoahs exposition.
Students will review intonation in Georgia Girl
Warm up: students will play Db concert scale in rounds.
Students will tackle intonation in Shenandoahs development and
recapitulation.
Students will address intonation in Undertow.
Theory Thursday: Singing American History
Students will be introduced to life of the American countryside (c. 1800)
and its music. They will sing/play a few American folk songs, such as
America the Beautiful. This will lead to the history of the tune
Shenandoah, as well as Tichelis band version. Students will sing the
tune, identify where they have it in the music, and play it in the style in
which it was sung. Emphasis will be placed on intonation. Points about
vocal technique will be addressed as necessary (i.e. how to find pitches,
how to make voice louder without physical pain or changes in intonation,
etc.).
Sing through a Bach chorale, and then play it.
Whole band will sing Shenandoah together.
Read all the way through all pieces. Record these performances.
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TICHELIS

S15 Unit Plan

WEEK FOUR:
PRECISE
INTONATION &
DYNAMICS
Monday

Tuesday

Wednesday

Thursday

Friday

WEEK FIVE:
PRECISE
EXPRESSION
AND BALANCE
Monday

Students will listen to the recordings of Fridays performances, fill

out an evaluation sheet, then participate in classroom discussion
regarding the bands progress thus far.
Review intonation and work on dynamics in Undertow.
Review intonation and work on dynamics in Shenandoah's
exposition.
Warm-up: students will play a Bach chorale.
Students will review intonation and work on dynamics of
Shenandoahs development.
Students will review intonation and work on dynamics of Georgia
Girl.
Warm up: students will play a concert C scale, watching the
director for dynamic changes.
Students will review intonation and add dynamics to Undertow.
Students will review dynamics and intonation of Shenandoahs
exposition and development.
Theory Thursday: Sight-Music-Making
Students will learn the sight-reading processes of road mapping, looking
for challenging passages, and singering along with music. Students
will put this into practice by sight-reading 2-3 pieces, depending on time
constraints.
Remind students ofand review what will be covered onthe Theory
Thursday test.
Flutes will sing the folk tune Shenandoah for the class; other
students will evaluate rhythm and intonation
Review intonation for and work on dynamic contrast in
Shenandoahs recapitulation.
Review dynamics and intonation of Georgia Girl.
Review dynamics and intonation of Undertow

Tuesday

SHENANDOA
H

Trumpets will sing the folk tune Shenandoah for the class;
others will evaluate
Sight-read one piece
Road map Shenandoahs form, its climax, and all impactful
moments
Address balance, especially in tutti sections of Shenandoah
Run through Shenandoah, really selling the expressive moments
Clarinets (including bass) will sing the folk tune Shenandoah for
the class; classmates will evaluate rhythm and intonation
Review Undertows rhythm, pulse, intonation. Then, work on note
18

TICHELIS

S15 Unit Plan

Wednesday

Thursday

Friday

WEEK SIX
Monday

Tuesday

Wednesday

Thursday

SHENANDOA
H

length, dynamic contrast, and balance.

Run all the way through Undertow. Stop if problems need to ne
addressed.
Low brass will sing the folk tune Shenandoah for the class;
classmates will evaluate rhythm and intonation
Review Georgia Girl, then work on balance (especially in the trip
and on the opening).
Run through Georgia Girl, stopping if problems with balance need
to be addressed.
Sight-read one piece
Horns and Euphoniums will sing the folk tune Shenandoah for
the class; classmates will evaluate rhythm and intonation
Review balance in Shenandoah. Then, review the powerful
moments, and play the piece expressively.
Review Undertows balance issues and selling points. Then, play
the piece expressively.
day of Theory Thursday: review what will be covered on
Tuesdays test
Saxophones & bassoon will sing the folk song Shenandoah for
the class; classmates will evaluate rhythm and intonation
Sight-read one piece
Run through all three pieces. Stop and fix issues as necessary.

Percussion will sing Shenandoah for the class; classmates will

evaluate rhythm and intonation
Play Shenandoah
Sight-read one piece
If time, review style in Georgia Girl
If time, review Undertow
Testing Tuesday! Individually, students will play their 7/8 compositions,
sight-read 8 bars, sing Shenandoah, and explain how their chosen
excerpt reflects ragtime style (either bring in a recording or email a .mp3
of the excerpt to the teacher ahead of time).
While this happens, other students may practice for their tests, listen to
recordings (and fill out critique sheets), and have sectionals (i.e.,
sections tuning in Shenandoah), according to the needs of the class.
Address appropriate Festival behaviors, uniforms, logistics,
potential ratings, etc.
Sight-read one piece
Review Ticheli transitions
Play all pieces all the way through; feel free to stop for any issues
that come up along the way.
NO THEORY THURSDAY
Sight-read one piece
Isolate any trouble areas in Georgia Girl
Isolate any problem areas in Undertow
Isolate transitions and intonation issues in Shenandoah
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TICHELIS

S15 Unit Plan

Friday

SHENANDOA
H

Play as many as possible all the way through

Read all music in festival order, as if it were a concert. Immediately
follow this by sight-reading one piece. Ask students how they felt in each
setting/moment, and come up with strategies to deal with nerves,
tiredness, etc. Put the students at ease so they feel confident and
comfortable at Festival.

Works Cited
"Characteristics of Ragtime." Jazz in America. The Thelonious Monk Institute of Jazz, 2000. Web. 14 Mar. 2015.
Cole, Richard, and Ed Schwartz. "Tenuto - OnMusic Dictionary." OnMusic Dictionary. Connect for
Education Inc., 2015. Web. 15 Mar. 2015.
"An Interview with Frank Ticheli." Banddirector.com. College Band Directors National Association, 2008.
Web. 19 Mar. 2015.
Mackey, John. "Undertow." Undertow (n.d.): n. pag. Osti Music. Osti Music. Web.
Pearson, Stephen. "The Year 1998 From The People History." What Happened in 1998 Inc. Pop Culture, Prices
and Events. The People's History: Where People's Memories and History Join, 2014. Web. 19
Mar. 2015.
Ticheli, Frank. Shenandoah. Brooklyn, NY: Manhattan Beach Music, 1999. Print.
Ticheli, Frank. "University of Southern California." Frank Ticheli. UDC Thornton School of Music, 2014.
Web. 19 Mar. 2015.
Wagner, Rob. "SHENANDOAH (FrankTicheli) by Rob Wagner." Shenandoah by Frank Ticheli. Australian Band and
Orchestra Directors Association, 2013. Web. 15 Mar. 2015.

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