Student

Guide:
Shenandoah
by Frank Ticheli

Rose Bentley

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Table of Contents

Learning Goals ……………………………………………………… 3

Instructional Guidance ……………………………………………………… 3

Practice Guide ……………………………………………………… 6

Assessment ……………………………………………………… 7

Relevant Artwork ……………………………………………………… 11

Glossary ……………………………………………………… 12

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LEARNING GOALS

By the end of this unit you will be able to accomplish the following:

1. Identify the melody and which instruments are playing it in all sections of Shenandoah.
2. Use your understanding of musical phrasing to express different musical qualities such as
dynamics and style during performance.
3. Apply levels of listening to your performance and execute good balance and blend among
the ensemble.
4. Discover how texture and timbre are used to enhance the overall musical effect in this
piece, as well as other pieces of music.
5. Create your own Folk Song that is 8-measures long.
6. Utilize the understanding of the form of this piece to impact musical elements and
attributes in performance.
7. Research information regarding the original Folk Song as well as the composer to gain a
better grasp on the composer’s intent.

INSTRUCTIONAL GUIDANCE
Composer
In 1958, Frank Ticheli was born in Monroe, Louisiana. His musical journey began when
he started playing trumpet in 4th grade. His family moved around frequently which overtime
caused him to lose his passion for music and quit playing trumpet. It wasn’t until his family
moved to Richardson, Texas where his musical spark was rekindled. It was his high school band
director, Robert Floyd, who inspired Ticheli to continue making music. Ticheli wrote his first
piece while in high school for a jazz ensemble. Ticheli went on to earn his bachelor’s degree in
composition and music education from Southern Methodist University in Dallas. He studied
music education with William Lively and Howard Dunn and composition with Bruce Faulconer,
Jack Waldenmaier, and Donald Erb (Moorhouse). After he earned his bachelor’s degree in 1981,
he went on to earn both his masters and doctorates degree in composition from Michigan State
University. While studying at Michigan State University, Ticheli studied under William Bolcom,
Leslie Bassett, William Albright, and George Wilson. It was these wonderful but contrasting
professors that helped shape Ticheli and his works (Ticheli).
After getting his doctorates in 1987, Ticheli didn’t get offered a position as a professor
until 10 years later. During the 10 years that he wasn’t a professor at a university, he took a job
writing music for an Ann Arbor theater production of Moliere’s Don Juan. Once the production
was over, he worked on composing what is now Portrait of a Clown and Fortress. These two
pieces and Concertino for Trombone and Band (a piece that he composed while getting his
doctorates) were what Ticheli considered to be his first pieces. After the 10 years of not having
an official job, Trinity University in San Antonio offered Ticheli the position of Assistant
Professor of Music (Ticheli).
Ticheli took on the position at Trinity University in San Antonio for 3 years. During his
second year at Trinity University he was offered a position to teach at the University of Southern
California. Initially, Ticheli had turned down the University of Southern California’s offer. It
wasn’t until he got a call from Carl St. Clair, the director of the Pacific Symphony Orchestra,
which made Ticheli reconsider USC’s offer. St. Clair was wanting a composer for his orchestra

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which also happened to be in California. Ticheli ended up accepting both positions with
University of Southern California and the Pacific Symphony Orchestra. Although he is no longer
composing for the Pacific Symphony Orchestra, it made a huge impact on his development as a
composer. Ticheli still holds the title as Professor of Composition at University of Southern
California and currently lives in Pasadena, California with his wife, Shari, and their two kids
(Moorhouse).
Since moving to California, Ticheli has been recognized all over the world and has
received many awards. In 2012, Ticheli received the Arts and Letters Award from the American
Academy of Arts and Letters and the Revelli Memorial Prize from the National Band
Association (USC Thorton School of Music). He also received first place in both the Britten-on-
the-Bay Choral Composition Contest (1999) and the Delius Choral Composition Contest (2000)
for his composition of There Will Be Rest (2000).

Composition
Shenandoah (1999) was commissioned by the Hill Country Middle School Symphonic
Band which was directed by Cheryl Floyd and Brad Smith at the time. Ticheli dedicated the
piece in memory of their beloved friend, Jonathan Paul Cosentino (1984-1997) who was a horn
player in the Hill Country band program. This rendition on Shenandoah was inspired by “the
freedom and beauty of the folk melody and by the images evoked by the words, especially the
image of the river.” The mood in the piece ranges from quiet reflection, through growing
optimism, to profound exaltation. The original text was written by Bob Dylan and are as follows:

Oh, Shenandoah, I long to hear you Shenandoah, I love your daughter

Look away, you rollin' river
Oh, Shenandoah, I long to hear you
Look away, we're bound away
Across the wide Missouri.
Now the Missouri is a mighty river
Look away, you rollin' river
Indians camp along her border
Look away, we're bound away
Across the wide Missouri.
Well, a white man loved an Indian maiden
Look away, you rollin' river
With notions his canoe was laden
Look away, we're bound away
Across the wide Missouri.
Look away, you rollin' river
It was for her I'd cross the water
Look away, we're bound away
Across the wide Missouri.
For seven years I courted Sally
Look away, you rollin' river
Seven more years I longed to have her
Look away, we're bound away
Across the wide Missouri.
Well, it's fare-thee-well, my dear,
I'm bound to leave you
Look away, you rollin' river
Shenandoah, I will not deceive you
Look away, we're bound away
Across the wide Missouri

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Historical Perspective
The Shenandoah Valley and Shenandoah River are located in Virginia. There is some
disagreement over historians concerning how the names of these landmarks came about. Some
claim that they were named after the Cherokee in the 1750’s while others suggest that the region
was named by the Senedo Indians of Virginia Valley. The idea behind it being created by the
Cherokee was that Shenandoah was a tribute to the Iroquois Chief named Skenandoah. The idea
behind it being created by the Senedo Indians is that Shenandoah means, “Daughter of the
Moon.” The folksong that derived from this region dates back to the 19th Century. “Many
variants on the melody and text have been handed down through the years, the most popular
telling the story of an early settler’s love for a Native American woman” (Ticheli).

Musical Elements

Melody: The Horns as well as a solo Euphonium provide the first statement of the melody in
measures 1-11. The melody is in a “darker” register for these instruments and the Euphonium
acts as a support to the Horns. The second statement of the melody is in measures 12-22 in a
brighter register and is imitated by Flute and Oboe. This melody is later made into a 3-part canon
at measures 41-51 with the 3 Flute solos. The final statement of the melody is in measures 56-68
and is played by more instruments such as Clarinets, Alto Saxophones, and Horns.

Harmony: Below the melody are often chords that align with the melody and provide a solid
foundation for the melodic line. There are also moving lines that help shape the melody but don’t
dominate at the same time. For example, the first time that the melody is stated in the beginning,
the Clarinets and the Tenor Saxophone play moving quarter notes under the Horns and
Euphonium. There are also times in which voices come in that imitate a portion of the melody a
couple measures after the melody such as measure 13 with Flutes and Oboes.

Rhythm: Rhythms to look out for are the sixteenth notes that are attached to dotted eighth notes
especially in the melodic line. There are also many releases that don’t occur on the beat so
making sure that students are subdividing and staying true to their rhythm will be important in
playing this piece. Since this piece is slower and has longer note values throughout the piece,
students will be challenged to maintain and internal pulse.

Timbre: This piece is very lyrical and is very exposed for many instruments. There is lots of
contrast starting with less players and then growing to the full ensemble by the end of the piece.
The piece starts with a dark and rich texture with the Horn and the Euphonium. Around the

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middle of the piece the music becomes a little more woodwind heavy which creates a soft yet
playful texture. And by the end we have the full ensemble with brass bold and triumphantly
creating a thicker texture to the music. Overall, this piece is delicate but powerful at the same
time.

Form and Structure

Section Measures Key Musical Considerations

Exposition 1-34 Eb from m. 1-30 First Statement (m. 1-11):
First note may be difficult for
Horns, use Euphonium for
support on first note.
Second Statement (m. 12-22):
The melody is in a brighter
register which may cause
players to want to play louder
but keep the dynamic level soft.
B Theme (m. 23-30): Derives
from the main melody but is
different. Clarinet
accompaniment will need
attention.
Transition into the
Development (m. 31-34):
Gb-Bb from m. 31-34 Modulates in ascending thirds.
Development 35-55 Bb from m. 35-51 Pulsating Chords (m.35-40):
Quarter-note chords that should
give the effect of an Organ.
“These chords represent life –
They breathe, they have a
heartbeat” (Ticheli).
Three-Part Cannon (m. 41-
51): The three Flute solos
should play with only slight
vibrato to preserve the intended
mood. In addition to the three
solos the melody is whispered
throughout other instruments at
the same time.
Retransition (m. 52-55):
Pulsating quarter-notes are
continuing to drive the music,
but the most important idea is
Gb from m. 52-55 fragments of the melody being
passed around in the ensemble.

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 Recapitulation 56-78 Eb from 56-78 Final Statement (m. 56-68):
The original key of Eb returns
along with the main melody
that was stated in the beginning.
The music swells to its climax
and then recedes. It is important
that students perform this
musically for this statement to
be effective.
Coda (m. 69-78): The piece
ends with a brass chorale which
represents deep reflection.

PRACTICE GUIDE:

Breathing
With a calming backing track, students will breathe:
• In for 4 and out for 4
• In for 4 and out for 8
• In for 4 and out for 12
• In for 4 and out for 16

Long Tones
Tone is essential when playing wind instruments. Playing long tones are a great way to warm-up
your chops, the instrument, and all of the mechanics involved in producing the best sound
possible. Try using the breathing exercises, but instead of simply exhaling concert B-flat for the
same duration. The focus for this exercise is a full and open tone with each long tone.

Articulation Exercises
Shenandoah is a legato piece that utilizes phrases that are very smooth and connected. To
practice playing legato you can do the following:
• Focus on keeping your air-stream steady and consistent as you tongue in between the
notes.
• Use a “dah” syllable instead of “tah.” This uses a different part of the tongue which will
help keep a clean separation in the sound.
• Apply this articulation to different rhythms.
• Apply this articulation to your scales and include it as one of your scale patterns.

Lip Slurs
Navigating the harmonic series on a brass instrument requires lip flexibility and strength.
Practice using a constant and supported air stream through the harmonic series, starting on
different pitches and go through your range.

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Metronome Work
Find out where you tend to speed up or slow down during certain passages and make adjustments
by following a metronome. Metronomes are always right!

ASSESSMENTS

Rubrics
Rubrics are useful in assessing students and their performances whether it be a live performance,
paper, presentation, etc. Rubrics allow teachers to analyze the student’s ability in various areas of
a performance and provide students with detailed reasoning when it comes to their performance.
This ensures that students are being assessed fairly and accurately considering there are many
elements that go into a performance. For example, during a live performance, elements such as
pitch, tone, and rhythm all make up a performance. Students will have a clear understanding of
what the objective is and what is being required of them based on the rubric and what elements
they are being scored on.

Implementation: Rubrics will be used for individual performances whether it be a video

submission or a playing test. This will provide students with individual feedback on how to
prepare for upcoming concerts. This will also help guide students with their practicing and help
them understand what it is they need to work on. Rubrics will also be used for projects that they
will be doing such as a presentation on the history of a certain piece of music.

40 points
5 points
Participation Student did not equally
participate in the making of the
group composition.
Composition - Melody Student submitted a composition
that was not complete and did
not meet the 8-measure
requirement.
Composition - Lyrics Student submitted a composition
with lyrics that did not meet
requirements.
Reflection Student submitted a reflection
that was incomplete.
10 points
Student contributed equally and
fairly in the making of the group
composition.
Student submitted a composition
that was met the 8-measure
requirement.
Students submitted a
composition with lyrics that met
the requirements that were asked
of them.
Students submitted a detailed
reflection that was complete and
followed instructions.

Journals/Reflections
Journals allow students to self-reflect on their performance and think critically about the process
of performing. Reflections help teachers assess students and their ability to think through the
performing process and determine if students understand how they should go about making
adjustments for future performances. Journals are useful in the music classroom because we
often perform without considering the how or why when we choose to perform the musical
elements the way that we do. By having students express and describe their musical experiences
they are now thinking at a deeper level about the music making process.

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Implementation: Students will write a paragraph at the end of each rehearsal about what they
heard and/or different musical concepts that they learned about during rehearsal in their journals.
Each journal should include something about their individual performance and something about
the ensemble’s performance as a whole. The student will end each journal with a musical
element they want to work on before the next rehearsal whether it be creating good tone, playing
correct rhythms, keeping a steady tempo, etc. The journal will be considered a part of the
student’s participation grade.

Example:
There will be journal prompt questions on the board such as:
What is one of the biggest take-aways that you have gotten from this class so far?

Journal Entry 2
September18, 2018

After observing others conduct for the past couple weeks I have noticed something that
everyone has encountered as they got up on the podium and that is nerves. The music world is
competitive as it is and for some reason we think we need to bring that competitiveness into classrooms
such as this one and try to impress our peers. But that isn’t what this class is about. Just like any other
class it is about learning and growing. Because we are all going into the same field we feel like we
need to be better than everyone else. We don’t need to be better than anyone else though. The only
person we need to be better than is ourselves. That being said I know that nerves will always be a factor
in performing but we don’t need to worry about being the best or better than anyone else in the room.
Being comfortable with yourself and knowing that there is always room for improvement it the attitude
that I want to have when I go up there.

Other than nerves, something else that I have noticed is that we all have different ways in
which we conduct. While we all may be communicating where every beat is we are all communicating
in different ways. Conducting varies in size and expressions. Just as we have discussed before,
conducting is how one interprets music and leads an ensemble through their interpretation. We all
perceive and interpret things differently which is why everyone is going to have different ways of
conducting the same piece. Not only do we all think differently but we are all different physically
which adds another characteristic that is included in conducting. Some people are tall and have long
arms, while some are short and don’t have as long of arms. That being said someone who is taller
might struggle with something that someone who is shorter might struggle with. This could include
size of conducting or where to conduct so that the ensemble can better understand their conducting.
Overall, there are many factors that go into conducting but we should always be welcome to different
forms and ways of conducting because not a single way is the perfect way to conduct a piece.

Video Submissions
This assessment is a way for teachers to assess students as individual performers and provide
students with feedback that will benefit each individual student. Not only will this help students
individually, but it will also help the teacher figure out where students are struggling the most in
the classroom whether it be tone, rhythm, articulation, etc. It is hard to hold students accountable
when it comes to practicing. That being said, having students submit a video is a great way to get
students to play their instruments outside of the music classroom. By having students submit a
video of them performing the teacher will be able to individually assess how each student is
performing and figure out what students are struggling with. Video submissions are a great

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alternative for playing exams, because the student then doesn’t have to deal with performance
factors such as anxiety. Instead, students will be able to showcase their musical abilities without
any factors interfering with their performance.

Implementation: Students will submit videos of music excerpts and scales. They will record
themselves playing an excerpt or scale that was assigned to them and then submit the video to
the teacher. The students will be assessed with a rubric based on their performance in the video
as well as their self-reflection that they submit along with their video. The teacher will be able to
provide each individual with feedback which will help them prepare for future performances and
submissions. Overtime, students should make adjustments based on the teacher’s feedback and
show improvements in future videos.

Example:

Scale Test
• Video record your C Major Scale
o 2 Octaves
o Slurred Up and Tongued Down
• You may use a camcorder, smartphone, webcam or any other means to create your
videos.
• Upload your videos to a file sharing program (Dropbox, Google Drive, etc.) or to a video
hosting website (YouTube, Vimeo, etc.). It is your responsibility to ensure that your
videos can be viewed by anyone with the link. Please check before submitting!
• Submit your video online under the assignment: C Major Scale Test

In-Class Discussion
Discussions are an informal assessment which will get students to think critically as they are
responding to guided questions that are provided by the teacher. The students are actively
participating in a group discussion that provides students with a variety of perspective and
ensures that students are engaging in the content. Discussion is most effective when the students
are interested in the topic of the discussion and feel confident in their skills and knowledge
related to that topic. Through discussion, the teacher will be able to identify if students are
having a difficult time understanding the content or not.

Implementation: Feedback will be encouraged during every rehearsal and will provide the
teacher with information regarding topics or objectives that the students may need to review.
This can be done after the students have practiced through a section of a piece of music or after a
performance. This will ensure that students are thinking about the musical processes and the
steps they are taking to create music whether they are aware of it or not. The teacher can
document students’ feedback by simply recording that the students participated in the discussion
and include it in their weekly participation grade.

Example:

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Teacher: “Did we play this section with the correct style? What style would you say is
represented in this section? Which notes are we having difficulties playing stylistically and
why?”

This will get students to think about they style that they played in and limit the amount of
possible answers that students can provide. The following questions will encourage deeper
thinking and build upon the original question.

The teacher will document each student that participated in the discussion with thoughtfulness
and stays on topic.
Student Name: Participated
in Discussion
John
Sally X
Sarah X
Jacob X
Maddy X
Tucker X

Check Lists
A way to assess that students have completed what was asked of them. Checklists include lists of
items required, things to be done, or points to be considered, used as a reminder. Requirements in
the music classroom include participation, professional concert blacks for performance, required
materials, etc. This is a great way to make sure that students are doing what is asked of them in
the Handbook and hold them accountable.

Implementation: The teacher will have a checklist for participation every day in the classroom.
This means that if a student isn’t participating, the teacher will be able to quickly document that
student and continue on with the lesson. There will also be a checklist for every performance to
ensure that students are following the expectations of attire, preparedness, and timeliness.

Example:

Worth 5 points:
Student Name Didn’t Participate

Rene X

Josh

Amanda

Catherine

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RELEVANT ARTWORK

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GLOSSARY

Articulation- How a note is played, based on the beginning, middle, and end of the note.

Balance- The relative level of two or more instruments, voices, sounds, etc. in either a live or
recorded mix, as through a mixing board, or achieved by placement of musicians in a hall, and
by musicians listening to one another.

Blend- The combination of sounds from many instruments into a single, homogenous sound so
that no one player or section dominates.

Folk Song- A song that originates in traditional popular culture or that is written in such a style.

Form- Overall structure or plan of the piece.

Harmony- The combination of simultaneously sounded musical notes to produce chords and
chord progressions having a pleasing effect.

Legato- Played smoothly, with no breaks in between.

Melody- A sequence of single notes; the principle part in harmonized music.

Texture- How the melodic, harmonic, and rhythmic elements are combined, determining the
quality of sound in a piece.

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