CMP

Teaching Plan
Allie Cotton

Earth Song for Concert Band

Frank Ticheli
Manhattan Beach Music – Grade 2/Performance Length 3:40

Broad Description
• Originally a choir SATB piece
• Earth Song for Concert Band is a lyrical piece that encourages the use of strong air support and thoughtful dynamic
contrasts.
• Every instrument plays an important role and voice creating rich moments of tension and release as the melody passes
between the different instruments.
• Although it looks simple on paper with relatively easy rhythms and ranges, this piece requires a great deal of musicality
from its players.

Composer Biography
Frank Ticheli is an American composer from California. Ticheli has composed many piece for
choral ensembles, orchestra, and concert bands. He currently teaches composition as a
professor at the University of Southern California’s Thornton School of Music. He is well known,
throughout America and Europe, and has won many prestigious awards. Many of his concert
band pieces are considered modern standards in the Western concert band repertoire. Ticheli
completed his undergraduate degree in composition at Southern Methodist University in 1981,
his master’s in composition at the University of Michigan in 1983, and his doctoral degree in
composition from the University of Michigan in 1987.

Background Information
Earth Song was originally composed as an unaccompanied SATB choral ensemble. The idea behind this piece steamed from
another work of Ticheli’s entitled Sanctuary for concert band. Ticheli enjoyed the piece so much that he wanted to make a
choral composition from it but he couldn’t seem to find text that fit the mood and style he envisioned – so he wrote the
inspiration poem and set the text himself. The poem written by Ticheli for choral piece discusses the pain Earth has been seen
though conflict, unjust times, and war. It speaks lengths to finding refuge in music and making music together can be a
powerful healing tool. Eventually, the piece was transcribed for concert band and is frequently referred to Sanctuary’s
grandchild.
 Elements of Music

Measure Meter Form Melody Rhythm Harmony Timbre Texture Expression
and
Tempo
No clear Within the 2 bar Dark, Most “Serene and
melody, sounds phrases, beat 3 of resonant, instruments Reflective”
resonant and the first measure full are playing
dissonant. Most is quite (lots of Lots of ‘hairpin’ action
ensemble dissonant. The layers). Half of (crescendo from p up
4/4,
Introduction voices are dissonance is the voices to mf and diminuendo
Adagio,
1-8 (2 bar playing (except sustained into move on beat back down to p) in the
Rit. Into
phrases) for flute, oboe,
[Quarter, dotted half tied to the second bar. 2 of the first first bar of the phrase,
m.9
tuba, dotted half, quarter rest], This dissonance bar landing in the second bar the
vibraphone, [Quarter, half, quarter tied is prepared by into a sustained dissonate
glockenspiel, &
to dotted half, quarter rest], moving voices on dissonant pitches remain at a p
triangle) [Dotted half, quarter tied to beats 2 and 4 of chord. dynamic
dotted half, quarter rest] the first bar.
Gentle melody The melody line Dark, Most “Nobly and
introduced in soars above re- resonant, instruments Expressively”
the woodwinds fa-mi movement round are playing
& trumpet 1, Melody rhythm [two in the low brass sound (lots of Lots of ‘hairpin’ swells
played with a quarter notes, half note, two parts. layers). Upper (crescendo from mp
great deal of eighth notes, quarter note, woodwinds up to mf by beat 3 and
4/4, Qtr
A (4 bar expression half note] and brass are diminuendo back
9-12 = 69
phrase) playing the down to mp by the
bpm
melody with beat 1 of the next bar)
the low brass or (crescendo from
providing mp to mf for a
support from measure and
underneath. diminuendo back
down for a measure).

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 Gentle melody The supportive Dark, Many layers “The scorched Earth
continued in voices have an resonant, (everyone cries out in vain”
woodwinds & ascending line round playing except (Text from Choral
trumpet 1, with Melody rhythm [two (mostly quarter sound flute & version, written by
addition of quarter notes, half note, two notes) into percussion). Ticheli).
oboe, horn, eighth notes, quarter note, measure 15 Lots of
euphonium, half note] where they homorhythms Lots of ‘hairpin’ swells
4/4, Qtr
A (4 bar remaining continue with re- in melodic (crescendo from mp
13-16 = 69
phrase) trumpets and fa-mi movement. voices. up to mf by beat 3 and
bpm
clarinets, every Syncopation in diminuendo back
time it appears beats 3 & 4 of down to p by the beat
it becomes measure 14. 1 of the next bar) or
more confident. (crescendo from mp
to mf for a measure
and diminuendo back
down for a measure).
Light and Supporting Dark, One melodic The melody line
4/4, Qtr delicate voices trade off rich, flute and vibes continues to ‘hairpin’
= 69 melodic solo in measures of re- resonant line being swell. As notes ascend
17-25 bpm B flutes and vibes The flute solo rhythm fa-mi movement supported by the line crescendos,
(w/ [eighth notes, quarter note, (woodwinds first, many inner when they descend,
rubato) half note, more eighth followed by voices. notes diminuendo.
notes] brass).
New soaring Minimalistic. Dark, Minimal “Delicate”
and confident Melody is rich, instruments
melody supported by a resonate, are playing. This section is gentle
introduced in few playing gentle Only the and sounds hopeful
4/4, Qtr clarinet 1 in the harmonies trumpets, and more uplifting
= 69 first phrase New melody rhythm only underneath. upper than the beginning of
B (4 bar
26-33 bpm (m.26-29). moves in quarter notes Trumpet 1 is woodwinds, the piece.
phrases)
(w/ Melody shifts followed by a half note. muted playing a and some
rubato) to the flutes sustained f that is percussion are “But music and
and vibes in the rearticulated on in.. singing have been my
second phrase beat 4 of each refuge.” (Text from
(m.30-33). measure. Choral version,
written by Ticheli).

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 There is not a The harmony of Resonate, This section There is a sense of joy
melody in bars re-fa-mi rich, full has a richer and togetherness as
34 and 35, the movement texture than most of the ensemble
pick-up to returns in the the previous B plays the notes that
measure 36 low brass and section. Most correspond to the
introduces a middle-low of the work “hallelujah” in
whole band The rhythms in this section woodwinds. ensemble is the choral version of
movement that consist of eighth notes, playing the re- the song.
4/4, Qtr
corresponds quarter notes, half notes, fa-mi
= 69
with the and dotted half notes. movement It reminds me of
bpm
34-37 A’ “hallelujah” harmony, and finding a moment of
(Poco
part in the then plays peace or tranquility in
piu
choral version. together on a hard time.
mosso)
This sounds the
joyful and “hallelujah”.
peaceful as it is
the moment of
togetherness
that we had
been waiting
for.
The first gentle The harmony Dark, Very rich “Through darkness
melody takes place in the resonate, texture – and pain and stride”
reprises in the inner voices. The full- almost Text from Choral
alto saxophone, re-fa-mi rounded everyone is version, written by
4/4, Qtr trumpet 2, and movement takes sound playing. Ticheli).
= 69 trombone 1 place in Texture thins The piece climaxes at
38-44 bpm, A’ sounding more measures 40-43. out in final measure 39 which is
Rit. @ reflective and The rhythm consists of three bars. follow by a ritardando
m.43 confident. eighth notes and quarter really emphasizing
notes. The harmony has emotions of tension
some syncopation with a and pain.
dotted quarter note
followed by an eighth note.

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Element Summaries:

Form: The form of this piece has three contrasting sections, an introduction, an A section, a B
section, and then a return to an A’ Section. The introduction material sets the dark mood and
transitions into the A section where we are introduced to the first melody. The piece then
transitions towards a contrasting hopeful and gentle melody, which is followed by a reprise of
the A material in an A’ section to end the piece. The binary structure of this piece allows for the
story and emotions of light vs darkness and power and refuge to come across to the listeners.

Rhythm: Most of the rhythms in the piece are quite simple, mostly consisting of eighth notes,
quarter notes, and half notes. There are a few moments of syncopation and homorhythm
between the voices.

Melody: The melodies are simple in technical demand, as the rhythms are simple and ranges
are comfortable for the instruments, but they require ensemble members to play with a great
deal of musicality.

Harmony: The harmonies in this piece are created by re-fa-mi movements within the inner
voices. Although the harmonies are not complex in nature, Ticheli creates a great deal of
tension, release, and dissonance between the melody and the voices supporting it to create a

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dark and conflicting mood to the piece. The harmonies within the piece create and express a
great deal of tension and release which allows for musicians and listeners to connect with the
message of the piece as they can hear and feel the tension that is then released.

Timbre: The timbre of this piece is dark, rich, resonant, and full. It requires musicians to play
with an open and full tone.

Texture: This piece begins with a full texture and may layers of sound and tension as almost
everyone in the ensemble is playing, as it transitions to the B section it thins out significantly.
As it transitions back to the beginning material in the A’ the texture becomes very full and rich
again with almost everyone back in. The piece ends with a very thin texture as only one person
plays each part, which is a huge contrast to the beginning signaling peace and closure. The
texture of this piece relates back to the heart because it takes us through a journey of being
weighed down by pressures of life and eventually leads us to one player per part representing
lightness, reliance, and self-control.

Expression: This piece of music is meant to capture a gamut of emotions of pain and suffering
through the eyes of our Earth and society, and about finding refuge in music. The mood is
rooted in a dark subject of unjust and war which should be reflected in the playing. This piece
requires a level of musicality as it features legato playing, swelling dynamics, and rubato.

Text:
Sing, be, live, see
This dark stormy hour

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The wind, it stirs
The scorched Earth cries out in vain

Oh war and power, you blind and blur
The torn heart cries out in pain
But music and singing have been my refuge
And music and singing shall be my light

A light of song, shining strong
Hallelujah, hallelujah

Through darkness and pain and strife
I'll sing, I'll be, live, see

Peace


The Heart Statement
Students will learn to communicate their personal emotions and feelings of hope, peace, and
power through sound as they focus on playing expressively within the ensemble as they play
Earth Song.


Music Selection

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I chose to complete a CMP with Frank Ticheli’s piece Earth Song because I believe that it challenges students
with its complex themes of power, refuge, and light vs. dark all while letting them embody moments of hope
and peace that creating music provides us in life. Through its beautiful swelling statements and rich
harmonies, Ticheli allows for students to create and understand dichotomy within a context they know
leading to an important personal realization that we all struggle at times to find peace within our lives and
the world. I would use this piece with a junior high school or early high school band. During this time in
students’ lives they are faced with a great deal of change as they transition into high school, newfound
freedoms such as driving, choices in what classes they take, and extracurriculars they join and begin to think
about what their futures may have instore. For many students, during this time in their lives, it is not
uncommon to feel disillusioned or uneasy about managing and navigating schoolwork, a social life,
potentially a job, and the world around them. This piece allows for students to navigate through internal and
natural struggles and hurdles of darkness that eventually work out and turn to peace, tranquility, and
lightness. There is no doubt in my mind that our students are distraught, frustrated, and aware of the uneasy
discord within our current society and the social injustice happening all around us, in a similar fashion to
Ticheli when he composed this piece, we need all need an outlet to express our emotions and feelings which
this piece does through music. I believe that students will be able to connect to the idea that we must be
mindful within our lives and seek ways to heal together. I hope to instill in my students that music can be a
very powerful tool for healing and finding peace.

Introducing the Piece (strategies)


Affective Outcome:
Students will relate their own personal experiences with/during uncertain times with the poem that Earth Song is based on.

Strategies
• Kinesthetic Strategy: Students will be asked to sketch their way through the text of the poem that Earth Song is based
on. As students read the poem, they will illustrate a story on a separate piece of paper (they may have to lay/sit on

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 ground depending on classroom set up). After they have completed their drawings, they will discuss their drawing with
their peers and the class.
• Aural Strategy: Students will listen to a recording of the choral version of Earth Song and a recording of the band
version. After listening to both versions of the piece students will do a think, pair, share activity. First, they will be
asked to reflect individually about how the recordings made them feel and what they reminded them. Then they will
pair up with a stand partner or peer and share what they connected with or felt during the listening activity.
• Visual Strategy: Students will complete a Double-Entry Diary where they will discuss what they read (the music of
Earth Song) and what it means to them as way to guide musical decisions and interpretations for the passage of music
based on their understanding of it. In the left column, students will document what they read musically (style,
accidentals, articulations, etc.), and in the right column students will share how the music makes them feel, or the
emotions they felt when playing or listening to the piece. This can also be completed with the left column containing the
words from the poem that the piece is based on.


Assessment – Journal Entry/Reflection
Students will complete a short reflection (1-2 paragraphs) that discusses their own personal experiences
with/during uncertain times and what they heard and felt as they listened, learned, and played Earth Song.
This assessment will not have a correct answerer, learning and understanding will be observed by student
completing the reflection and providing connections between the music and their personal experiences.

Prompt: After exploring the poem that Earth Song is based on, what do you think the piece is about?
What emotions are expressed in the piece? When have you felt those same emotions or feelings? Be
sure to explain your answers in detail.


Skill Outcome:
Students will recognize moments of dissonance and resolution in Earth Song.

Strategies
• Kinesthetic Strategy: Students will experiment with different ways they can feel and show tension and release in their
bodies such as: flexing, scrunching, twisting, relaxing, loose, etc. Students will then discuss the relationship between

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 tension and release physically and begin to think about how we can feel the same ways as we listen and play Earth
Song.
• Aural Strategy: Students will listen to a recording of Earth Song and be instructed to stand up when they hear
dissonance and sit down when it has been resolved. Students will then think, pair, and share with their peers about
how they knew when to stand up and sit down. This will then lead to a full class discussion about dissonance and
resolution within Earth Song.
• Visual Strategy: Students will learn the vocabulary terms of dissonance and resolution by completing a Word Meaning
Graphic Organizer for each term. For students to be able to recognize moments of these musical elements within Earth
Song they must first have a concrete understanding of them which they will gain through this activity. In addition, these
words could be added to the word wall in the classroom for students to go back and visit throughout the year.

Assessment – Verbal Explanation & Observation
Students will create a Flipgrid video of themselves. In their video they will play a section of a recording of Earth Song where
there is dissonance and resolution, and they will identify the dissonance and when it resolves. Additionally, they will define
both vocabulary terms and describe how they know they are hearing them through a verbal explanation. Students’ responses
will be graded on a rubric.

Rubric:

Criteria Rating Pts.
Student defined dissonance. 2 pts
Student defined resolution. 2 pts
Student explained how they can hear 5 pts
dissonance and resolution in music.
Student played musical example of 2 pts
concepts.
Student identified concept in the 4 pts
musical example.


Knowledge Outcome:
Students will distinguish if they are playing the melody or the harmony voice in Earth Song.

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Strategies
• Kinesthetic Strategy: Students will listen to a recording of Earth Song, as they are listening if they hear their instrument
playing the melody they will stand on the right side of the classroom, if they hear their part playing the harmony they
will go to the left side of the classroom. They should be moving to their designated side as the piece goes on.
• Aural Strategy: Students will play Earth Song together as an ensemble. They will be instructed to do the following:
when a student believes that they have the melody they will stand up and play their melody at a forte volume for the
purpose of this exercise only, when they have a harmony part, they will remain sitting and will play a nice piano volume
being sure to listen around them and keep the melody in their ear.
• Visual Strategy: Students will be given a copy of the directors score. They will be asked to look through and study the
score, and to highlight the melody anytime they see it in the score. Students will be asked to explain why they think
their highlighted parts are the melody lines in a quick write note slip that they will submit with their highlighted score
at the end of the activity.

Assessment – Paper/Pencil Quiz
Students will complete a test with multiple choice and fill in the blank questions about different sections of
the piece. With the score broken down into smaller chunks of 4-8 bars, students will select which section is
playing the melody in the shown excerpt. Students will be asked to identify a section (identified by measure
numbers) that they play the melody in, and a section where they play harmony.

Example Questions:

Which instrument(s) have the melody in measures 9-12?
A. Horns/Trombones
B. Flutes
C. Trumpets/Clarinets
D. All of the above

Choose a time in the piece where your part has the melody.
I play the melody in measures ________-________.

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Choose a time in the piece where your part plays harmony.
I play harmony in measures ________-________.


Recommended Recordings



References


Works for Winds



Glossary of Terms



Sang through, studied, and marked parts (check off as completed)

X Piccolo X Cornets/Trumpets 1st Violins
X Flutes X Horns 2nd Violins
X Oboes X Trombones Violas
English Horn X Euphoniums Celli
X Bassoons X Tubas String Bass

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 Eb Clarinet Harp
X Clarinets Timpani
Alto Clarinets Snare Drum Sopranos
Bass Clarinets X Mallet Percussion Altos
Contra Bass/Alto Clarinet Remaining Percussion Tenors
X Saxophones Piano Basses

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