A Teacher’s Guide

to

An American Elegy

Frank Ticheli

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National Standards for Music Education

1. Singing, alone and with others, a varied repertoire of music. (NS1 Sing)

2. Performing on instruments, alone and with others, a varied repertoire of music. (NS2 Play)

3. Improvising melodies, variations, and accompaniments. (NS3 Improvise)*

4. Composing and arranging music within specified guidelines. (NS4 Compose)*

5. Reading and notating music. (NS5 Read/Notate)

6. Listening to, analyzing, and describing music. (NS6 Listen/Analyze/Describe)

7. Evaluating music and music performances. (NS7 Evaluate)

8. Understanding relationships between music, the other arts, and disciplines outside

the arts. (NS8 Relationships)

9. Understanding music in relation to history and culture. (NS9 History/Culture) *While all national music standards are equally important and vital to a successful music education, these standards are not addressed in this lesson, and may be more adequately be addressed in other teaching units

Learning Goals

1. Understanding of how music can be used to cope with, symbolize, and

memorialize an event, and how different composers write about tragic events. (NS6 Listen/Analyze/Describe, NS7 Evaluate, NS8 Relationships, NS9 History/Culture)

2. Identify important biographical information about and important compositions by

Frank Ticheli, and the origins of the piece An American Elegy

3. Perform Ticheli’s An American Elegy with accurate pitch, rhythm, style, dynamics, and intonation. (NS2 Play, NS5 Read/Notate)

4. Sing the Columbine Alma Mater. (NS1 Sing, NS5 Read/Notate)

5. Define terms and concepts that appear within Ticheli’s An American Elegy (NS6 Listen/Analyze/Describe)

6. Analyze and evaluate individual and ensemble performance with a specific focus on balance, blend, and intonation. (NS6 Listen/Analyze/Describe, NS7 Evaluate)

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Teaching Strategies Warm-ups - Phrasing 1. Bach chorales will comprise a bulk of the student warm-ups during the performance

and preparation of this piece. Chorales will be performed in various styles and with contrasting dynamic levels. In addition to playing these chorales, students will sing portions of these chorales as part of these daily warm-ups.

Related Pieces – Sight Reading

2. Students will read similar pieces to An American Elegy at numerous points

throughout the semester. Some pieces to be read include October by Eric Whitacre, Amazing Grace by Frank Ticheli, and A Hymn for the Lost and Living by Eric Ewazen. A major goal for students in this unit is to learn how music can be used to cope with, symbolize, and memorialize an event, and how different composers write about tragic events. By reading pieces from composers who have written in similar styles, students will gain an awareness of this style of music, and become more proficient in its performance.

Intonation 3. Intonation, particularly harmonic intonation, is a concept many students struggle to

grasp and master. This unit will spend a good deal of time focusing on harmonic tuning concepts, and beat elimination. Each rehearsal will spend a few minutes tuning chords harmonically. Students will be given an informational handout that details the adjustments required to perform chords in tune.

Rehearsal – Formative Assessment 4. Daily rehearsals will focus on the elements of a complete and successful band

performance. These elements include pitch material, intonation, dynamics, style, balance, blend, expression, rhythm, and articulation. Students will be aurally assessed by the teacher at each rehearsal and suggestions for improvement will be given based on the needs of the ensemble and their performance in rehearsal. Additionally, all rehearsal will be recorded for further analysis after class, and for student reference when needed.

Student Assessments Each assessment is correlated to the learning goals listed above. Assessments are

included at the end of this guide.

1. Analysis Paper 2. Quiz on Ticheli and Columbine 3. Playing Quiz 4. Small group singing assessment 5. Quiz on musical terms and concepts 6. Large Group Evaluation Form (also assesses learning goal 3)

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Historical Perspectives

The Composer: Frank Ticheli (b. 1958) Life Influences:

• Raised near New Orleans, and grew up listening to Dixieland • Louis Armstrong was his idol, and was his inspiration to play trumpet • Had a “typical” school music experience, with concert, jazz, and marching bands,

as well as orchestra (Darling, 2001) • Friendship with H. Robert Reynolds

Training:

• BM Southern Methodist University, 1980 • High School band teacher in Garland Texas • MM (1983) and DMA (1987) in Composition from the University of Michigan

o Teachers included Leslie Bassett, William Bolcom, William Albright, George B Wilson, and Donald Erb

Achievements:

• Composer in Residence, Pacific Symphony Orchestra, 1991-1998 • NBA/William D. Revelli Memorial Band Composition Contest, 2006 • Charles Ives and the Goddard Lieberson Awards, from the American Academy of

Arts and Letters • Walter Beeler Memorial Prize • First Prize awards in the Texas Sesquicentennial Orchestral Composition

Competition • Britten-on-the-Bay Choral Composition Contest • Virginia CBDNA Symposium for New Band Music

Current Positions: • Professor of Composition at the USC Thornton School of Music

Works for Band Concerto for Clarinet and Wind Band (np) Symphony No. 1 wind band version (np) Amen! (2009) Angels in the Architecture (2009) The Tyger (2008) Wild Nights! (2007) Nitro (2006) Sanctuary (2006) Abracadabra (2005) Joy Revisited (2005) Joy (2005) Symphony No. 2 (2004) Ave Maria Franz Schubert (2004) A Shaker Gift Song (2004) Pacific Fanfare (2003)

Loch Lomond (2002) Simple Gifts: Four Shaker Songs (2002) An American Elegy (2000) Vesuvius (1999) Shenandoah (1999) Blue Shades (1997) Sun Dance (1997) Cajun Folk Songs II (1997) Postcard (1994) Gaian Visions (1994) Amazing Grace (1994) Cajun Folk Songs (1990) Fortress (1989) Portrait of a Clown (1988) Music for Winds & Percussion (1988) Concertino for Trombone and Band (1987)

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The Composition:

An American Elegy (2000) Frank Ticheli (b. 1958) Concert Band Grade 4 Manhattan Beach Music (163586) Duration: 11 mins Instrumentation: 2 flutes, 2 oboes, 3 clarinets, bass clarinet, contra-alto clarinet, contrabass clarinet, 2 bassoons, 2 alto saxophones, tenor saxophone, baritone saxophone, 3 trumpets, 2 french horns, 3 trombones, euphonium B.C., euphonium T.C., tuba, string bass, timpani, 2 percussion Composer’s Program Notes:

Composed in memory of those who lost their lives at Columbine High School on April 20, 1999,

and to honor the survivors An American Elegy is, above all, an expression of hope. It was composed in memory of those who lost their lives at Columbine High School on April 20, 1999, and to honor the survivors. It is offered as a tribute to their great strength and courage in the face of a terrible tragedy. I hope the work can also serve as one reminder of how fragile and precious life is and how intimately connected we all are as human beings. I was moved and honored by this commission invitation, and deeply inspired by the circumstances surrounding it. Rarely has a work revealed itself to me with such powerful speed and clarity. The first eight bars of the main melody came to me fully formed in a dream. Virtually every element of the work was discovered within the span of about two weeks. The remainder of my time was spent refining, developing, and orchestrating. The work begins at the bottom of the ensemble's register, and ascends gradually to a heartfelt cry of hope. The main theme that follows, stated by the horns, reveals a more lyrical, serene side of the piece. A second theme, based on a simple repeated harmonic pattern, suggests yet another, more poignant mood. These three moods - hope, serenity, and sadness - become intertwined throughout the work, defining its complex expressive character. A four-part canon builds to a climactic quotation of the Columbine Alma Mater. The music recedes, and an offstage trumpeter is heard, suggesting a celestial voice - a heavenly message. The full ensemble returns with a final, exalted statement of the main theme.

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Premiere Performance: • April 23, 2000, Macky Hall, Boulder Colorado • First performed by the Columbine High School Band, guest conducted by the

composer. • Premiere was the centerpiece of a commemorative concert given by the

Columbine High School Band, and the University of Colorado Wind Symphony

Commissioning Information: • Commissioned by the Columbine Commissioning Fund, sponsored by the Alpha

Iota Chapter of Kappa Kappa Psi at the University of Colorado. • Commissioned on behalf of the Columbine High School Band

Technical and Stylistic Concerns:

• Intonation • Blend and balance • Expressive playing and phrase direction • Legato style matching • Dynamic contrast (particularly soft dynamics)

Suggested Listening:

• Shenandoah, Ticheli • Amazing Grace, Ticheli • Elegy for a Young American, LoPresti • Lonely Beach Normandy 1944, Chance • Music for Prague, 1968, Husa • Columbine Alma Mater, Ticheli

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The Columbine Story

On Tuesday, April 20th, 1999, Dylan Klebold and Eric Harris undertook a killing spree at Columbine High School, near Denver Colorado. 12 students and 1 teacher were killed. 21 more were injured by the gunfire, and 3 more injured trying to escape. The two gunman arrived at the school at 11:10am with plans to place bombs in the school and shoot and kill fleeing students. When the bombs failed to detonate, they stormed the school, and at 11:19am the two pulled their shotguns and began shooting. The students then unloaded pistols, and detonated pipe bombs. At 11:29am, the gunman entered the library and continued their carnage. At 12:08pm, the gunmen ended the massacre with the taking of their own lives. For 49 minutes, these two gunmen terrorized a school, and ultimately, changed a nation. The story of Columbine now stands as one of the pivotal and iconic tragedies of the current generation. Despite its dubious nature as a scholarly source, the Wikipedia information is comprehensive, and easy to understand, especially for an overview of information surrounding this tragedy. It can be found at http://tinyurl.com/columbine3. Multi-Media sources for Columbine background and reflection:

1. http://tinyurl.com/columbine1 2. http://tinyurl.com/columbine2

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References

An American Elegy by Frank Ticheli. (n.d.). Retrieved February 5, 2010, from

http://www.manhattanbeachmusic.com/html/an_american_elegy.html Blaufuss, D. (2008). A Conversation with Frank Ticheli. The Instrumentalist, 62(8), 18-

25.

Blocher, L., Corporon, E. M., Cramer, R., Lautzenheiser, T., Lisk, E. S., & Miles, R.

(2004). Teaching music through performance in band, (Vol. 4). Chicago: GIA

Publications.

Columbine High School massacre. (2010, January 18). In Wikipedia, The Free

Encyclopedia. Retrieved 15:53, January 25, 2010, from

http://en.wikipedia.org/w/index.php?title=Columbine_High_School_massacre&ol

did=338494272

Darling, J. (2001). A study of the wind band music of Frank Ticheli with an analysis of

Fortress, Postcard, and Vesuvius. Dissertation Abstracts International, 62(04),

1261. (UMI No. ATT 3011013) Retrieved September 28, 2009, from Dissertation

and Theses database.

Moorhouse, L. (2006). A study of the band writing of two contemporary composers:

Libby Larsen and Frank Ticheli. Dissertation Abstracts International, 67(07).

(UMI No. AAT 3224264) Retrieved September 28, 2009, from Dissertation and

Theses database.

Ticheli, F. (2000). An American Elegy. New York, NY: Manhattan Beach Music.

University of Southern California Thornton School of Music : Faculty Profiles: Frank

Ticheli. (n.d.). Retrieved January 25, 2010, from

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http://www.usc.edu/schools/music/private/faculty/ticheli.php

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Analysis Paper

Introduction In band this semester, we have been working to perform Frank Ticheli’s An American Elegy. This piece was written in response to the Columbine Massacre. Numerous other band composers have attempted to deal with, portray, or memorialize tragic historical events through their music as well. As a musician, and ultimately, an artist, it is important that you possess the skills necessary to analyze how composers address these tragedies, and for you to be able to express your own reactions to these pieces of music. Assignment Choose two band pieces dealing with national tragedies from the list below, and write a 3-5 page paper addressing the following topics: Factual Background

1. A summary of the tragedies being portrayed 2. A short biography of each composer 3. A history of the piece (Who it was written for? When it was premiered? What

ensemble performed it? Is their any other unique information about the piece?) Interpretation

1. Write about the way each composer addresses the tragedy being portrayed. Are the pieces similar or different? In what ways? (Would you classify the pieces as representations, memorials, or reflections? Why?)

2. Does the composer use any unique techniques to achieve his or her compositional objective?

3. What emotions do the pieces make you experience? Do you have a preference for one piece another?

4. Why do you feel music is important in expressing human emotion?

Cite all resources consulted using MLA format. Pieces Title Composer Event Elegy for a Young American Lonely Beach Normandy 1944 Music for Prague, 1968 A Hymn for the Lost and Living Heroes Lost and Fallen

Ronald Lo Presti James Barnes Karel Husa Eric Ewazen David Gillingham

John F. Kennedy Assassination WWII D-Day Normandy Invasion 1968 Invasion of Czechoslovakia 9-11 Terrorist Attacks Vietnam War

Mr. Huch will provide recordings and scores of the pieces you select. Begin your research using the Internet. Additional resources are available in the band library if needed. The grading form used to evaluate your paper is on the back of this page.

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Analysis Paper Grading Sheet Student Name:________________________ Length: (5 points) ______ The paper is between 3 and 5 pages. Syntax: (10 points) ______ The paper is free of grammatical and spelling errors, and should conform to the standards of writing acceptable for a typical English course. Biographies (10 points) ______ The paper clearly articulates pertinent background information on the two composers. Summary of Tragedies (15 points) ______ The paper clearly and thoroughly describes the historical event about which the pieces studied are composed. Background on Pieces (20 points) ______ The paper clearly describes the origins of the pieces being studied, including who it was written for and when, when it was premiered, what ensemble performed the premier, and any other pertinent information. Discussion of the Compositions (20 points) ______ The paper describes the two composers approaches to dealing with tragedy. Differences and similarities between the pieces are examined. Any unique quotations or compositional techniques are discussed. Personal Feelings (15 points) ______ The paper describes the feelings and emotions the pieces create in the author. The author’s opinions and preferences for the pieces are clearly stated. The paper clearly states why music is important in dealing with tragedy. Closing (5 points) ______ The paper comes to a logical conclusion.

Total Points: _____/100 Comments:

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Page 1

Page 1

Ticheli and Columbine

Instructor: Mr. Huch Name:

Results: Class: Wind Ensemble

Period: 1

Date:

Please answer each question. For Multiple choice questions, there is only one correct answer. For extended response questions, please write in complete sentences.

1. What is Frank Ticheli’s primary composition medium?

a. Band

b. Choir

c. Orchestra

2. Where does Ticheli currently teach?

a. University of Michigan

b. University of Colorado

c. University of Southern California

3. Which of the following was one of Ticheli’s composition teachers?

a. Donald Erb

b. H. Owen Reed

c. James Barnes Chance

4. In what year was Ticheli born?

a. 1923

b. 1976

c. 1958

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Page 2

Page 2

5. Which other brief Ticheli work is prominently quoted in “An American Elegy”

a. Amazing Grace

b. Columbine Alma Mater

c. Blue Shades

6. Which ensemble gave the first performance of “An American Elegy”

a. Columbine High School Band

b. University of Colorado Wind Symphony

c. North Texas Wind Ensemble

7. When was the first performance of “An American Elegy”

a. April, 2000

b. January, 2006

c. May, 2009

8. Who conducted the first performance of “An American Elegy”

a. H. Robert Reynolds

b. Frank Ticheli

c. Frederick Fennell

9. How many gunmen were present at the Columbine massacre?

a. 1

b. 2

c. 3

10. How many people were killed in the Columbine massacre?

a. 10

b. 21

c. 13

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Page 3

Page 3

11. When was the Columbine Massacre?

a. 1999

b. 1997

c. 2001

12. Ticheli was a High School Band Director?

a. True

b. False

13. Which of the following musicians did Ticheli idolize?

a. Miles Davis

b. Benny Goodman

c. Louis Armstrong

Extended Response: If more space is needed, please continue answers on the back of this page.

14. How do you feel Columbine has changed America’s perspective on school violence? Do

you feel your school is different because of the Columbine massacre?

15. Do you feel Ticheli is effective in writing “An American Elegy”? In your opinion, does he

capture appropriate emotions memorializing the event? Why or why not?

16. What is you most or least favorite part of “An American Elegy”? Feel free to refer to your

music for specific measure numbers if needed.

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Fictitious Heights High School Bands Performance Evaluation

1. Record your performance and submit to your teacher through Moodle as an MP3 file. You may record at home, or in a practice room at the High School before of after school.

2. Listen to your performance and complete the following evaluation of your performance. Turn this sheet into the Performance Evaluation folder on Mr. Huch’s door.

3. Count out all multiple measures of rest for only one measure.

Student Name_______________________ Selection_____________ Date_____________ Period_______ TONE 4. Exceptional tone at all times

2. Exceptional tone some of the time

3. Exceptional tone most of the time

1. Tone quality is mostly poor

PHRASING 4. Phrase direction is well thought out and convincingly performed at all times.

2. Phrase direction is occasionally heard and is sometimes convincing.

3. Phrase directions is well thought out, and usually performed convincingly.

1. Phrase direction is not discernable and/or has not been thought out.

NOTES 4. All notes are played correctly 2. 3 or 4 incorrect pitches

3. 1 or 2 incorrect pitches 1. 5 or more incorrect pitches

RHYTHM 4. All rhythms are played correctly 2. 3 or 4 rhythms played incorrectly

3. 1 or two rhythms played incorrectly 1. 5 or more rhythms played incorrectly

INTONATION 4. Intonation is consistently correct, and student adjusts when needed.

2. Intonation is problematic, but student attempts to adjust.

3. Intonation is mostly correct, and student adjusts occasionally.

1. Frequent intonation errors and no attempt to adjust pitch.

DYNAMICS 4. All dynamics are played correctly 2. Some dynamics are played correctly

3. Most dynamics are played correctly 1. The student makes no attempt to play with dynamic

contrast. STYLE 4. Style is always appropriate for the selection 2. Style is rarely appropriate for the selection

3. Style is sometimes appropriate for the selection 1. Style is never appropriate for the selection

Total Score__________ Comments on back of page

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Band Singing(?!) Assessment (Yes, you too can be a singer)

Your goal is to sing, with proper pitch and rhythm, the Columbine Alma Mater. While you are not directly being graded on your ability to sing, you should strive to sing with the best, and most supported vocal tone you can produce. The Grading criteria for this evaluation are included below.

1. Form a group of 8 musicians, with two musicians singing each part (soprano, alto, tenor and bass). Please see Mr. Huch if you need help deciding who should sing which part.

2. Work with your group to prepare a performance of the Columbine Alma Mater. Feel free to play the parts on your instruments to aid you in learning to sing your individual line. Please see Mr. Huch if you need help with transposition or clef reading.

3. Record your group singing the Alma Mater and submit the recording (mp3), via email, to Mr. Huch.

Group Members: Preparation 4. Group shows thoughtful and careful

preparation for their performance.

2. Group shows little preparation for their performance

3. Group shows some preparation for their performance

1. Group shows no preparation for their performance

Rhythmic Accuracy 4. All rhythms are performed correctly

2. 3 or 4 rhythms performed incorrectly

3. 1 or two rhythms performed incorrectly

1. 5 or more rhythms performed incorrectly

Phrasing 4. Phrase direction is well thought out and

convincingly performed at all times. 2. Phrase direction is occasionally heard and

is sometimes convincing.

3. Phrase directions is well thought out, and usually performed convincingly.

1. Phrase direction is not discernable and/or has not been thought out.

Total Score:_____ Comments:

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An American Elegy Terms Quiz Name:____________________ Define the following terms:

1. Elegy

2. Tenuto

3. Poco rit.

4. Cantible

5. Rubato

6. Senza

7. A tempo

8. Dolce

9. Canon

10. Episode

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NFHS MUSIC ADJUDICATION FORMLARGE GROUP

Order of Appearance: Date: (Program/Event No.):Event: (concert band, mixed chorus, etc.)

Class:

School Name: Location-Contest/Festival:Director: or No. in Ensemble:

Selections Composer Publisher1.2.3.

Place one of these numbers in each box below, then total carefully. 5 — A superior performance — outstanding in nearly every detail. 4 — An excellent performance — minor defects. 3 — A good performance — lacking finesse and/or interpretation.

2 — A fair performance — basic weaknesses.1 — A poor performance — unsatisfactory.NOTE: A score of .5 (3.5, 4.5, etc.) may be used in any category.

AREAS OF CONCERN COMMENTSTone QualityConsider: resonance, control, clarity, focus, consistency, warmth

IntonationConsider: within ensemble, accuracy to printed pitches

RhythmConsider: accuracy of note and rest values, duration, pulse,steadiness, correctness of meters

Balance, BlendConsider: likeness of qualities, awareness of ensemble,accompaniment

Technique (facility/accuracy)Consider: artistry, attacks, releases, control of ranges, musicaland/or mechanical skill

Interpretation, MusicianshipConsider: style, phrasing, tempo, dynamics, emotional involvement

Diction - VocalBowing - StringsArticulation - WindsOther Performance FactorsConsider: choice of literature, appropriate appearance, poise,posture, general conduct, mannerisms, facial expression (vocal)

TOTAL POINTS __________________________________________ (signature of adjudicator)

Divisional Rating ________

RATING COMPUTATION TABLE 40-36 points = Division I (Superior) 35-28 points = Division II (Excellent) 27-20 points = Division III (Good) 19-12 points = Division IV (Fair) 11-8 points = Division V (Poor)NOTE: Round scores (31.5 = 32 etc.)

NATIONAL FEDERATIONof State High School Associations

PO Box 20626 (64195-0626)11724 NW Plaza Circle, Kansas City, MO 64153-1158

Phone: 816-464-5400; Fax: 816.464.5571www.nfhs.org

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Hear our compositions online at www.ManhattanBeachMusic.com

1595 East 46th Street — Brooklyn, NY 11234All Rights Reserved. Engraved in the U.S.A.

Copyright ©2002 Manhattan Beach Music

Let the world be told, Blue and sil ver we up hold for

molto rit.

ev er.

We

Majestic ( = c. 69)

are Co lum bine! We all are Co lum bine!

cresc. poco a poco

Heads

cresc. poco a poco

held high we stand as one, And proud ly we pro claim:

rit.

TenorBass

SopranoAlto

Solemn ( = c. 60)

Columbine High School Alma Mater

Moun tains ris

FOR S.A.T.B. CHORUS, A CAPPELLA

ing to

C MAJOR VERSION

the sun, Tow’r ing o’or the

Words and music by

plains.

FRANK TICHELI

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