Sun Dance

Frank Ticheli

Grade 3+

Manhattan Beach Music

Teacher Handbook

Form Analysis

The form of this piece is an altered Sonata-Allegro form. Ticheli included a form chart in the program notes to make it quick and easy to discover the form of this work.

It has an Exposition, Development I, New material, Development II, and a Recapitulation. The exposition can be broken down easily into an introduction, theme a, theme b, and theme c. In the first development section, the first theme is stated three times in a row, each with embellishments and changes, then the second and third theme follow. Immediately following a transition, a new theme is stated- theme d. Afterwards, in the second development, theme b is stated three consecutive times. After a brief codetta, the recapitulation begins. What is unique is the fact that the first and third theme (with an extension) are stated, then there is a coda. The second theme does not reappear in the coda, as it was the only focus of the second developmental section.

What is of particular interest is Ticheli’s use of motives throughout. He essentially uses only two motives for the entire work, but creates many themes out of them by augmenting them and altering them in other ways.

For example, in measures 6 and 7, he uses motive x, and in measures 10 and 11, he uses motive y. Motive x reappears later in theme b. Theme c, as seen below is more of a rhythmic theme than a melodic theme. While it is multi-meter (as seen below in an excerpt from measures 26-30), it has a more hemiola-type feel with the “implied” ¾ time in the bassoon part.

Later, Ticheli adds a polymodal feel to the theme.

Theme d, however blends both motive x and motive y by quite literally running them into each other.

These two motives are really the only two ideas that occur throughout this piece, however each time they recur, something about them has changed, be it the rhythm, the tonality, or even the texture.

Harmonic Content

The tonal centers in which Ticheli moves this piece is quite interesting. The entire piece literally mirrors itself. However, Ticheli keeps the tonality major, but in the mixolydian mode throughout. Evidence of this is seen at the beginning when he has the full band play sixteenth note runs that end on a concert C- the pitch for the exposition. However, upon examination of the key signature, you see that it is in concert F, giving the concert B^b, or the flat 7^th scale degree, necessary for the mixolydian mode.

The exposition begins in C, as does the first development section. A particularly interesting fact is that Ticheli does not actually confirm the key until approximately the third bar.

He achieves this by having a slightly chromatic and very rhythmic passage in the low brass, confusing the listener as to what the key center actually is. It isn’t until the fourth measure of the piece that a sustaining note is found, thus giving us a firm grasp of the tonality of the beginning.

As the a theme is repeated in the first development section, it modulates from C to A^b then to F. However, before it modulates to A^b, Ticheli hints around at the G minor. This is seen in the trumpet & horn parts in measures 37-40.

Another modulation occurs at measure 45.

As you can see, the clarinets set up the transitionary cadence to the new key, concert A^b major.

An interesting point to clear up is the transition into measure 56.

As you can see, the downbeat of measure 56 is the new key, A^b. However, the in the third trumpet part, (the key signature is not shown in this example) the F sharp that is circled should be an F natural.

The above excerpt is of the tonicization of A^b in the second development section. This moves from a B^b major chord to an A^b major chord, with the B^b major chord functioning as a V/V in A^b, moving to the tonic chord of A^b.

This is soon followed by a return to the tonic of C mixolydian at measure 129, which carries us all the way to the conclusion of the piece.

Ticheli said that when he was writing the piece, he had no intention of creating this form- it just happened. It wasn’t until he was actually analyzing his very own piece that he realized what he had created.

Melodic Content

Each theme has its own unique style and interpretation. Careful attention should be used when there are soloists to ensure that they are exposed and can be heard by everybody.

The accompanying clarinets, bass clarinet, and alto saxophones will need to use caution not to overplay their parts and down out the oboe soloist.

The b theme is simply the same idea stated three consecutive times, but it is altered and extended in each repetition.

This reemphasizes theme a, while in itself creating a new theme.

However, the prevailing idea throughout this piece is that the melody is in the mixolydian mode. This is altered in theme c when the piece is cast into a particularly interesting polymodal structure, contrasting F major and F minor simultaneously.

Ticheli literally alters the tonality every 1 to 2 beats. This creates more of a chromaticism feel rather than a tonality shift, which leads well into a transition to theme d.

Them d is unique because it occurs well after the exposition, a long-standing tradition dating back as far as Beethoven’s Eroica Symphony No. 3 in E^b, where he created a new theme well after the exposition in a very distant key- E minor.

This theme actually is a culmination of the two motives, creating a very melodic and lyrical theme from the two. This is the only place where this melody appears throughout the entire work.

One particular thing to notice is Ticheli’s use of the opening idea- 4 sixteenth notes as an anacrusis to the next measure. It re-occurs numerous times throughout the piece.

At the beginning In the middle

In the piccolo, flute, and oboe parts near the end………and finally at the end of the piece.

Since this is a re-occurring theme, the conductor should take great care in ensuring that each time this is used, it is played in the same style and manner in which the initial statement of this thematic idea is played in.

Rhythmic Content

The rhythmic content of the piece varies a lot. The work has a very energetic beginning because it immediately puts the emphasis of the beat to the off-beat instead of defining where the beat is.

The players could very well have difficulty playing this because, as stated above, the beat goes immediately to the off-beat, instead of reinforcing the downbeats.

Some of the instruments are required to play very intense and difficult rhythms routinely.

Theme c, as stated below in measure 26, uses both 4/4 and 3/4 time, but the 3/4 bar feels as though it is a 6/8 bar because of the 3 eighth notes at the beginning.

The syncopation continues in measure 36 with the repeat of theme a.

Here, the clarinets have multiple parts: the firsts are playing an ostinato that begins on the and of beat one. The second clarinets are playing a more steady beat-like pattern with emphasis on beats one and three. The thirds and bass clarinet are solidifying the beat by providing a firm base. Additionally, the theme is changed so that it begins with sixteenth notes, an idea stated previously.

Not soon thereafter, the upper woodwinds have even more syncopation in their parts.

The clarinets are all playing the off-beats, and the flutes/oboes add-in by coming in on the off-beats with sixteenth notes.

All of these syncopated parts (as well as the parts not mentioned) must be played using a similar style. This can be achieved by having the band listening to each section and critiquing how each section plays.

Frank Ticheli was born in 1958 in Monroe, Louisiana.

Since 1991, he is Professor of Composition at the University

of Southern California. He received his master's and doctoral

degrees in composition from the University of Michigan. He

has written pieces for band, orchestra, chamber ensembles,

About the Composer

and theatre. A full listing of his works is attached at the end of this analysis. As evident in Sun Dance, the New York Times describes his music as “lean and muscular and above all, active, in motion.” The list of his awards goes on and on and include the Charles Ives Scholarship, and the Goddard Lieberson Fellowship from the American Academy and Institute of Arts and Letters. He is a well-established and very fine composer. He has been quoted as saying, “I believe that music has the power to take us to a place that words alone cannot.” This shows the depth and thought of his character. One of his other works, Blue Shades, reflects the influence of jazz on him as he was growing up in Louisiana.

Information about the work

In the notes about the piece, Ticheli uses a phrase he thought of while composing this work: “bright joy.” According to the Oxford English Dictionary, the word bright means “of illuminated surfaces, of the day in sunshine” and joy means “a vivid emotion of pleasure arising from a sense of well-being or satisfaction; the feeling or state of being highly pleased or delighted; exultation of spirit; gladness, delight.” After he wrote the piece, he realized that the actuality of the piece was “a town festival on a warm, sunwashed day.” He went so far as to recall the townspeople gathering around a gazebo listening to the town band play, much as they did during Sousa’s time. Since there is no actual history behind this piece, it is important that the students actually understand that many towns had bands that would (as pictured on the next page) play concerts outside as a part of a festival, or just as something to enjoy on a Sunday afternoon. This would help the students gain a better understanding of the piece and the idea behind it.

Sources

http://www.eamdc.com/composers/ticheli.asp

www.frankticheli.com
www.oed.com

http://www.usc.edu/music/faculty/faccomp.html

There are 6 activities.

Warm-up

Resources: Finale

Make copies of the scale and rhythm examples available for all the parts.

National Standards: 1, 2, 5

Improvisation

Resources: Finale, Staff paper

Make copies of the scales, and give the students staff paper to write their scales on

National Standards: 2, 3, 5

Rhythm

National Standards: 4, 5

Composition

National Standards: 3, 4, 5

Creative Writing

National Standards: 6, 7, 8, 9

WebQuest

National Standards: 8, 9

Warm-up

A good warm-up for this piece is to play through the C Mixolydian and F Mixolydian scales, since a majority of the piece is in these two keys.

As the students become more comfortable with the sound of the lowered seventh, begin adding in rhythmic variations.

Rhythmic variations include playing the notes as eighth notes, playing triplets, others, as well as those placed below the scales (played on the same note).

Also, have the students sing the scale with the lowered 7^th.

Improvisation

Have the students make their own combinations of rhythms using sixteenth notes (on the same pitch), eighth notes, quarter notes, half notes, and even triplets. Also, have them write down what they want to play and then have them perform their scales for the class.

Rhythm

This theme is particularly interesting because it involves a meter change. If you notice the way Ticheli barred the notes, the eighth notes are in groups of three, and there are accents on beat one and the and of beat two.

This creates a polymetric, or hemiola-type feel. A hemiola is a metrical pattern in which two bars in triple time (3/4, for example) are articulated as if they were three bars in duple time (2/4, for example). In this instance, Ticheli has used a bar of 3/4 and made it feel as if it two bars of 6/8.

Your challenge is to create a similar pattern, using eighth, quarter, and half notes.

Bonus: Use articulations and/or slurs!

Grading rubric:

Did the student use all four measures?	5	4	3	2	1
Did the student use only the rhythms specified?	5	4	3	2	1
Did the student include enough beats in each measure?	5	4	3	2	1
Does the composition have a hemiola-type feel in it?	5	4	3	2	1
Does it appear that the student took their time with this assignment?	5	4	3	2	1
Bonus: Did the student include interpretation markings?	-	-	-	2	1

Grade: _____ / 25

Composition

By this time, you are familiar with the oboe’s theme at the beginning of the piece:

This is called theme a. If you notice, Ticheli only uses four notes from the C mixolydian scale, starting with the fifth- G and goes up to the root- C.

Later, he presents a variation of this theme in the horns. For the purpose of this exercise, the part has been transcribed into C and transposed so it uses the same four pitches.

Ticheli took the same theme and simply stretched it out and altered the rhythm. If you notice, the contour from the original theme is almost the same as the contour in the variations.

Your challenge now is to create a similar 4 measure melody using only these four notes- G, A, B^b, and C. After that, create a four measure variation of the theme you just created.

You are to use eighth, quarter, and half notes and rests. Be sure to use all four measures! Be creative and have fun!

Extra credit: include articulations, slurs, and dynamics!

Your theme

Your variation

Grading rubric:

Did the student use all four measures?	5	4	3	2	1
Did the student use the four notes specified?	5	4	3	2	1
Did the student use only the rhythms specified?	5	4	3	2	1
Did the student include enough beats in each measure?	5	4	3	2	1
Is the variation actually a variation of the student’s original theme?	5	4	3	2	1
Does it appear that the student took their time with this assignment?	5	4	3	2	1
Bonus: Did the student include interpretation markings?	-	-	3	2	1

Grade: _____ / 30

Creative Writing

Sculptural glass matches music more so than painting because paintings are physically flat and usually only occupy a square or rectangular area of two-dimensional space. Sculpture has the added volume (in space, not sound) that is associated with music. “Music fills the air...” is a common quote, and sculptures literally do so.

Sculptural glass is often clear; you can see through the layers of it, you can see light through it. Similarly, with music you can tune out certain sounds or instruments and focus on others.

Alison Ruzsa

I Beg Your Pardon; I Never Promised You a Rose Garden

2004 Paint, Glass

The goal of this woman’s work is to be able to look at it from more than one point of view. The viewer has the opportunity to see the piece from more than one perspective and yet it is still a painting. It is a sculptural painting, acting like a lens to magnify certain areas, depending on the thickness of glass, the amount of light passing through it and the angle from which the viewer approaches. This piece fits well with Sundance because it is a painting of a garden, with a couple strolling through, reveling in the beauty of the scene. The garden itself seems to be moving with a breeze or to music. The colors are also fairly light and sunny.

As with this painting, there is more than one way to look at and interpret music. Your listening assignment now is to listen to an arrangement of Wagner’s Elsa’s Procession to the Cathedral and write a story about what you think is happening. The paper should be at least two paragraphs and should go very in depth and be very descriptive. Please do not research what the piece is about or from. Accuracy of the story will not affect your grade in any way: I am looking for creativeness and descriptiveness. Please remember to use proper grammar and spelling, and to have fun!

A copy of the piece is available at: www.bsu.edu/web/dmbroadbent/portfolio/395/elsa.mp3

Rubric

Does the student have the required length?	5	4	3	2	1
Was the student descriptive with their writing?	5	4	3	2	1
Was the student creative with their storyline?	5	4	3	2	1
Was the paper complete and thought-through?	5	4	3	2	1
Is the paper free from grammatical and spelling errors?	5	4	3	2	1

Grade: _____ / 30

A webquest can be found at:

www.bsu.edu/web/dmbroadbent/portfolio/395/webquest.html

The overall assessment tool for this unit is the webquest. If the students have gained the intended knowledge from the unit, then they will show this in their rationale on the webquest.