Rose Bentley

Conducting 518 – Dr. Tracz

Unit Study – Shenandoah

Unit 1: 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
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 Pasadina, 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).
Unit 2: 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 Look away, you rollin' river
Oh, Shenandoah, I long to hear you It was for her I'd cross the water
Look away, we're bound away Look away, we're bound away
Across the wide Missouri. 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.
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, 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.
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.

Unit 3: 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).

Unit 4: Technical Considerations

Shenandoah (1999) is approximately 6 minutes and 45 seconds in duration. The
instrumentation calls for a normal concert ensemble along with E-flat Contrabass Clarinet, B-flat
Contrabass Clarinet as well as an optional part for String Bass. The range for Flute is their
written F4-F6 and should be noted that there will be 3 Flute solos going on at the same time
starting at measure 40. This means that most of your Flute section will have to be strong and
confident players. The range for Clarinet is their G3-D6, for Oboe is F4-D6, for Bass Clarinet is
written A3-C5, for Alto Saxophones is D4-C6. For the brass the ranges for Trumpet are their
written C4-F5, for Horn is F3-F5, for Trombones is E4-A3, for Euphonium is B3-F4, and for
Tuba is B2-D3. All the ranges are accessible at the High School level. While range may not be a
challenging component in this piece the challenge to this piece is exposure. Flute, Saxophone,
and Trumpet all have solos but there are also many other exposed parts in this piece so the
ensemble should have some strong players in each section.
Percussion includes Timpani, Vibes, Chimes, Suspended Cymbal, and Triangle. The
tuning notes for Timpani are G, B-flat, E-flat, and G and octave higher. The vibes should also
always have the motor off when playing. Ticheli provides which mallets are preferred for the
piece such yarn mallets for the Suspended Cymbal and skin covered rawhide for the Chimes. All
four parts have to be played by different people considering that there are times when all parts
are playing at the same time.

Unit 5: Stylistic Considerations

Shenandoah (1999) is a lyrical piece that should be played with a legato style all through
out. “Let the melody sing through at all times, and always in a legato, expressive fashion”
(Ticheli). All of the different sections of the piece have words written above to help define the
style that the ensemble should be playing in such as freely and very expressive, pulsating,
ethereal, floating, and exalted. All of the different expressions used to describe each section
helps create the legato style that Ticheli is seeking. Ticheli notes in his program notes that
pitches that are marked ten. at the beginning and later on in the piece should be held slightly
longer than the indicated rhythmic value. If the note is marked with tenuto-legato markings then
the rhythm should stay true while still playing in style. The marked notes indicate added weight
or stress.
The dynamics that Ticheli utilize in this piece are very contrasting which helps make this
piece with expression. The piece starts at a piano with lots of hairpin dynamics that follow. There
is lots of flow and ebb that goes into the contour of the piece. It isn’t until measure 56 to that the
piece reaches its climax which eventually dies down into its ending.

Unit 6: 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 that help support the
melodic line. There will also be 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 all of the
Clarinets as well as 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 begins playing again 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.

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
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.

Unit 7: 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
Gb-Bb from m. 31-34 Development (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):
Gb from m. 52-55 Pulsating quarter-notes are
continuing to drive the music
but the most important idea is
fragments of the melody being
passed around in the ensemble.
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.
Unit 8: Suggested Listening

Works by Frank Ticheli: Works by other composers:

The Seal Lullaby (2010) – Eric Whitacre
Loch Lomond (2002)
Simple Gifts: Four Shaker Song (2002) Horkstow Grange (1937) – Percy Grainger

An American Elegy (2000) O Magnum Mysterium (1987) – Morten Lauridsen

Sanctuary (2006) Chorale and Shaker Dance (1971) – John Zdechlik
Rest (2011)
Air for Band (1956) – Frank Erickson

Unit 9: Additional Sources

Manhattan Beach Music. https://www.manhattanbeachmusic.com/

Moorhouse, Linda R. "Frank Ticheli." In A Composer's Insight, by Timothy Salzman, 303.
Galesville, Maryland: Meredith Music Publications, 2006.
Ticheli, Frank. Shenandoah. Manhattan Beach Music. 1999.
Ticheli, Frank, interview by Band Director Media Group. An Interview with Frank Ticheli
www.banddirector.com.
USC Thorton School of Music. USC Web Services.