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Shenandoah

Unit Plan Part II
by

Kellen King

on 4 December 2012

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Transcript of Shenandoah

Shenandoah Frank Ticheli Manhattan Beech Music Publisher Grade 3 Chorale Style Standard Instrumentation Low Register for French Horns in first phrase. Range No unusual requirements. Background Information The Shenandoah Valley and the Shenandoah River are located in Virginia. The Work Some claim that the river and valley were named by the Cherokee as a friendly tribute to a visiting Iroquois Chief named Skenandoah. Others suggest that the region was named by the Senedo Indians of Virginia Valley. One of the most widely used American folk songs in band literature Became a popular American sea chant. Born in 1958 The Composer Received masters and doctoral degree from The University of Michigan. Joined the faculty of The University of Southern California’s Thornton School of Music in 1991 Professor of Composition His concert band works have become standards in wind band repertoire. Origins of Folksong date to the 19th century. Related History Many variations of the song. The most popular is telling the story of an early settler's love for a Native American woman Teaching the Work!! First Statement of Melody- The euphonium soloist should lend support to the horns without overpowering them. Formal Analysis Second Statement (m. 12-22)- Orchestration in brighter register may tempt players to play passage louder than indicated. Transition (M. 31-34)- The two ritardandos in this section are subtle, and should begin precisely where indicated. Pulsating chords (measures 35-40)- The pulsations will be more vibrant and lifelike if the first note of each slurred pair is stressed. Three-part canon (measures 41-51) Formal Analysis (Continued) Retransition from Bb via Gb back to Eb (measures 52-55)- fragments of the main melody, stated boldly by the brasses, flutes, and oboes. Final statement of the melody (measures 56-68)- The return to the home key. accompanied by a countermelody in the clarinets, alto saxophone 2, and horns. Coda (measures 69-end)- The piece ends with a brass chorale Performance Notes Let the melody sing through at all times. Always legato. Tempo idications allow some freedom. The pitches marked "ten." (tenuto) should be held slightly longer than the indicated rhythmic values. Not to be confused with the tenuto-legato markings which are indications of added weight or stress. Play long tones at soft dynamics.
-crecendos/decrescendos from pianissimo to forte.
-use long tones to increase breath support. Strategies Use Scale Exercies to help with clean articulations. Duple Rhythm exercises to help dotted sixteenth understanding. Bach Chorales. Ticheli has multiple works for
Orchestra
Solo and Orchestra
Chorus
Concert Band/Wind Ensemble
Chamber Ensemble Other Works By Composer http://www.manhattanbeachmusiconline.com/frank_ticheli/index.html Google Frank Ticheli for website Similar Works Amazing Grace- Frank Ticheli (Grade 3-Same Difficulty) An American Elegy- Frank Ticheli (Grade 4-More Difficult) Daughter of the Stars- Warren Benson (Grade 5-More Difficult) American Riversongs- Pierre La Plante (Grade 4- More Difficult)
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