CMP Teaching Plan

Charles Kuban

Rest
Frank Ticheli
Manhattan Beach Music – Grade 4, Length 8:00

Broad Description
Adapted from his There Will Be Rest work for choir, Rest is a musical setting of Sara Teasdale’s poem, which depicts her long
struggle with depression, and the comfort she felt when gazing at the stars.

Composer Biography
Frank was born in 1958, in Louisiana, and graduated high school in Texas, he went on to earn his
Bachelor of Music Composition from Southern Methodius University. His masters and doctoral work
were completed at the university of Michigan. He became an Assistant Professor of Music at Trinity
University where he served on the board of directors for Texas Composers Forum. From 1991-1998
he was the composer in residence with the Pacific Symphony Orchestra. Ticheli is currently a
professor of composition at the University of Southern California’s Thornton School of Music.

Ticheli started as a trumpet player in 4th grade, but lost interest until he moved to Texas and heard
the band program there and wanted to be a part of it again. He didn’t start composing until he
started his undergrad degree at Southern Methodist University.

He has received multiple awards such as the Arts and Letters Award, Goddard Lieberson Fellowship, and Charles Ives
Scholarship. Ticheli has also been named a national honorary member of Phi Mu Alpha Sinfonia and Kappa Kappa Psi. He has
been commissioned by Chamber Music America, the American Music Center, Pacific Symphony, Pacific Chorale, Worldwide
Concurrent Premieres, Inc., Prince George's Philharmonic Orchestra, Adrian Symphony, City of San Antonio, Stephen F. Austin
State University, University of Michigan, Trinity University, and the Indiana Bandmasters Association, and many others.

He also has enjoyed a notable conducting career, being invited to be a guest conductor of his music at Carnegie Hall, at many
American universities and music festivals, and in cities throughout the world, including Schladming (Austria), Beijing and
Shanghai, London and Manchester, Singapore, Rome, Sydney, and numerous cities in Japan.
Background Information
The piece is based on his choral work There Will Be rest which in turn is based on the poem of the same name by Sara
Teasdale (1884-1933). The poem is considered to be a suicide note, as one month after it was written, she committed suicide.
She is renown as a great American lyric poet, with ties to Sappho, Christina Rossetti, and Housman Though she was a Pulitzer
Prize Winning Poet, she had many mental health issues including clinical depression. Many of her poems use “stars” as the
common symbol of hope. The poem tells the story of how she has a sense of peace, as she knows that her struggle is coming to
and end, and it will be over soon, where she can join the stars, that have been her beacon of hope for so long.

There will be rest, and sure stars shining

Over the roof-tops crowned with snow,
A reign of rest, serene forgetting
The music of stillness holy and low.

I will make this world of my devising

Out of a dream in my lonely mind
I shall find the crystal of peace,-- above me
Stars I shall find.

Rest was composed in 2010 with the intent in preserving everything from the preceding choral work. Ticheli did
however add expressive elements to help enhance the meaning of the story. The piece was written at the request of Dr. Russel
Mikkelson, who was looking for a piece to commemorate his father. This piece is often used in tribute or commemoration for
someone’s passing, seemingly a favorite for many directors. Ticheli feels that this piece transcends the expressive boundaries
of the note to note setting of the choral version.

Sara Teasdale was born in 1884 in St. Louis and died in 1993 in New York. As a child she had significant health problems, only
being able to start public school at 10. The homes that she lived in were both designed by her mother, the second one having a
private suite for Sara to live and work in, she typically ate along there as well. From 1904 to 1907, Teasdale was a member
of The Potters, led by Lillie Rose Ernst, a group of female artists in their late teens and early twenties who published, from
1904 to 1907, The Potter's Wheel, a monthly artistic and literary magazine in St. Louis. She was courted by several men, one of
which loved her but felt that he could not provide for her the way she deserved. She ended up marrying Ernst Filsinger, who

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was an admirer of her work, his constant business travels caused her great loneliness. She committed suicide, overdosing on
sleeping pills.
Elements of Music
Bar Meter Form Melody Rhythm Harmony Timbre Texture Expression
and
Tempo
Cl, B.Cl, Horn EbM Dissonant Open, Beginning to
4/4 A swimming/floa relax, but very
1-6
♩=50 Intro ting unsure/ungroun
ded
Cl, B.Cl, low brass Warmer, but Fuller, some Accepting, but
dark. Low support, still distantly
Them
7-16 ♩=80 brass adding mid-range
e1
a support to
the clarinets
Clarinet Warmer still, More More direction,
dusk. Adding supportive can see where
Them chord tones texture, more you’re going, but
17-22
e2 to out motion across still foggy
balance the beats with
color tones quarter triplets
Fl, Cl, A.Sax, Horn Warmer, and Full, unified, Wistful
A’
brighter open envelopment in
23-31 ♩=66 Them
memory of
e1
contentment
Clarinet, Bsn, GbM Fragile, Thin, Lonely, desolate
Them
32-48 T.Sax EbM, mm delicate unsupported
e2
40
49-58 ♩=60 B Saxes, brass Bb Lydian Brassy but Active, shift to Building to
Them not edgy the 8th note as something, feels
e3 pulse like a more

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 resolute
direction has
taken over
Woodwinds, fl/ob EbM Trumpet led, Unison WW, Organized, as if
Them later with warm joined by brass one’s mind has
58-64
e4 ww choir been made up
support
Fl, Cl, Alto, Tbn, Full, Polyphonic, Memories
Euph supported, dense, forging flooding in, each
♩=80
Them growing ahead, glowing for a
65-74 Piu
e5 disunified moment before a
mosso
new one comes
forth.
♩=80 A’’ Full Ensemble, Cl, Full, Full, Resolute, first
75-83 Molto Them Alto, Tpt resonant, supported, time that it feels
Legato e1 complete unified grounded
1st WW parts, Tpt Overflowing,
Them
84-93 3, Horn 3-4, Tbn 1 accepting/under
e2
standing
WW, no ob, Horn GM Cool, but Thinner, but Peaceful for the
94-
♩=60 Coda grounded in not first time
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warmth unsupported

Element Summaries:
Form
Overall AA’BA’’ coda, this form was likely chosen as it reflects the emotional journey that the subject is going on, reflecting how
their emotions kept returning, but slightly different each time.
Rhythm
Fairly simple overall, the piece is about a complex topic, yet the poem it’s based on is setting a rather serene picture, therefore
it makes sense that the rhythms reflect it.
Melody

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The melody reflects the text well, especially in the beginning; however, it takes some liberties in the middle sections. The
melody is passed around to the whole ensemble at some point, typically softer sections are the winds, and the powerful
sections are brass.
Harmony
The key centers are very reflective of the character of the piece, it stays mostly in major, except for some dissonant color tones,
and a brief Lydian stint in the middle. While it’s major overall, despite being sad in nature, it underscores that this person
finally feels at rest, despite their struggles.
Timbre
The timbre juxtaposes the key centers, by “text setting”, and representing what the words are saying, as opposed to the overall
message. The use of winds and brass to elicit warm, vs bright sounds, as well as the mixture of them to create full dark and rich
sonic profiles matches the impact of the poem.
Texture
As with the timbre the texture helps to create the atmosphere of the poem and capture its essence. Sparce or thin
orchestration evokes uncertainty, whereas full dense scoring comforts the listener, representing the poem.
Expression
Expression is the most important aspect of this piece and synthesizes the other elements. Throughout the piece, the elements
portray a scene of uncertainty, intense emotion, acceptance, and melancholy peace.
Text
The text is the heart of the piece, telling the story that the music supports, it is essential that the poem is read and explained
before an ensemble plays, or audience hears this piece.

The Heart Statement

The heart of Rest is the journey from silence, dissonance and uncertainty intensify, culminating in an eruption of overflowing
of emotion, and a sense of relief and acceptance, that finally gives way to peace.

Music Selection
I choose this piece as it is about loss, and the process of accepting it. It seems like these days everyone has experienced one
form or another, and I would like to program something that might have a chance at helping students work through that. From
a personal standpoint, I am drawn to this type of music, and feel that it there is an opportunity to grow as musicians without
needing to worry about technique. I believe that this would be a good piece for any level of high school ensemble, but the

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better they are, the more in depth we can go. I would ideally like to play this with a upperclassmen level ensemble. As I
mentioned before, students these days seems to have to deal with a lot more than ever before, and I’m assuming that students
will be busy with sports, clubs, AP classes, homework, chores, social lives, and everything else. I’m not sure how exactly, but I
think that playing this piece, and having the discussions associated with it, will help put some of the day-to-day struggles into
perspective. Which is another reason why I want to program it. Through studying this piece, students will have different
interpretations, and different experiences to bring to the ensemble, as such the piece will be better for it. The parade in
Waukesha hit close to home for me, as it is my hometown, and I have students who were in that parade, and friends who were
attending it. I can’t think of a more relevant type of piece, in a time where seeing that on the news isn’t a surprise, but just
another story on the list.

Affective Outcome:
Students will, describe a time and situation where they needed help, and develop strategies to provide support to others in
similar situations.
1B, Stage E: #1. Describe a time and situation you needed help.
2A, Stage I: #5. Develop strategies to provide support to others who are experiencing problems.
Sub outcomes
 Students will identify an obstacle in their life related to the concept of loss.
 Students will summarize their obstacle, and distinguish the factors involved with overcoming it.
 Students will predict how a classmate’s demeanor could indicate a need for support.
 Students will synthesize their experiences, and inferences to plan a response strategy for peers.

Strategies
 Students will create a journal with which they will write about each reflect on each sub outcome per entry.
 In small groups students will discuss and articulate their experiences and ideas for each sub outcome.
 Students will be given a fictional scenario where someone must overcome an obstacle, they must solve, and then act out a
brief 1-2min story sequence, depicting that scenario for the class.
 Students will have a class discussion with a school counselor, on how to help support and watch out for peers.

Assessment
 Students will turn in their journal to be checked, this is informal and just completion based.
 Students will be observed as they discuss in small groups, and present their vignettes, this is informal, and completion
based.

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Skill Outcome:
Students will be able to monitor and execute appropriate breath support to accurately perform their parts.
MU:Pr6.1.E.IIa Demonstrate mastery of the technical demands and an understanding of expressive qualities of the
music in prepared and improvised performances of a varied repertoire representing diverse cultures, styles, genres,
and historical periods.
Sub outcomes
 Students will define the elements of effective breath support on their instrument.
 Students will explain how breath support aids in performance of musical elements.
 Students will select sections of the piece where breath support will be most needed.
 Students will implement the elements of effective breath support at the appropriate sections of the music.

Strategies
 Students will take part in daily breathing gym exercises.
 Students will design their own sequence for a breathing gym warm up, and teach it in small groups.
 Students will do research and journal about the different breathing gym elements and benefits. They will share out in
small groups.
 Students will take part in a breathing gym “Olympics” where they have to:
o Hold a piece of paper against the wall as long as possible.
o Blow a candle out from the farthest distance.
o Play a Concert Bb for as long as possible.
 Students will participate in a choral reading like description of the steps they’re taking while doing the breathing gym.
Assessment
Students will take a bass line “Breathing Gym Olympics” test at the beginning of the unit, and compare their results at the end
of the unit “games”.

Improvement Activity Design Research and Presentation

0 No evidence of improvement, No activity was designed, or it was No research or presentation completed.
or score is worse than base unusable.
line.
1 There is a 25% improvement Activity was designed, but many Research is missing multiple elements for the

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 over baseline test. elements are improperly breathing gym. Presentation unorganized.
implemented or organized.
2 There is a 50% improvement Activity was designed and with 2- Research includes few elements for the
over baseline test. 3 elements, but little breathing gym. Presentation is organized.
organizational strategy is evident.
3 There is a 75% improvement Activity was designed with 3-4 Research is thorough, including multiple
over baseline test. elements, which were organized in elements and corresponding benefits for the
a logical progression. breathing gym. Presentation is clear and concise.
4 There is a 100% Activity was designed with 4-5 Research is thorough, including multiple
improvement over baseline elements, and the progression and elements and corresponding benefits and
test. selection of element is efficient, applications for the breathing gym. Presentation
effective. is clear and concise, with
examples/demonstrations.

Knowledge Outcome:
Students will interpretate the elements of music and integrate them into their individual performance.
MU:Re8.1.E.IIa Support interpretations of the expressive intent and meaning of musical works citing as evidence the
treatment of the elements of music, contexts, (when appropriate) the setting of the text, and varied researched sources.
Sub outcomes
 Students will identify and organize the elements of music present in the piece
 Students will evaluate the musical elements and deconstruct how they are effective in creating the desired atmosphere
 Students will judge how technical elements can impact the achievement of affective elements
 Students will use their knowledge of technical and expressive elements to synthesize an appropriate musical
performance

Strategies
 Students will list-group-label the different musical elements throughout the piece in their journal
 Students will listen and differentiate between major, minor, and diminished chord qualities, recording their answers on
a page in their journal
 In teams of 3, students will physically move to create different chord qualities with their bodies:

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 o Middle person moves closer to the “root” person for minor, “5 th” person moves closer to “3rd” person for dim,
equal spacing for major.
 Students will annotate a copy of the score, highlighting important melodic and harmonic ideas, main formal sections,
and assigning text to the notes
Assessment
 Students will turn in their journal to be checked and scored on the listening quiz
o This will count as a quiz in the gradebook
 Students will submit their annotation of the score for grading
Annotation
0 No annotation submitted, or little evidence of analysis
1 Annotation missing prominent melody and counter melodies, most general harmonic qualities and form labels are
missing. Text is assigned to notes, but with errors, or missing sections.
2 Annotation highlights most prominent melody and counter melody, as well as denotes some general harmonic
qualities and form. Text is assigned to notes.
3 Annotation highlights all prominent melody and counter melody, as well as denotes general harmonic qualities and
form. Text is assigned to notes.
4 Annotation highlights prominent melody and counter melody, as well as supporting voices and transition moments.
General harmonic qualities and form are labeled and their connection to the text is made. Text is assigned to notes.

Recommended Recordings
Title: Rest
Ensemble: Dallas Wind Symphony
Conductor: Jerry Junkin
Why: This is a fantastic recording that the conductor and students can listen to for reference. The technique and expression
are wonderful. A professional group.
Link: https://www.youtube.com/watch?v=IYt_SWNHZJY

Title: There Will Be Rest

Ensemble: Pacific Chorale
Conductor: John Alexander
Why: This is a fantastic recording of the choral work, which preceded and inspired the piece. This would be a good recording
for conductor and student alike as reference for phrasing and interpretation.

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Link: https://www.youtube.com/watch?v=OkltTFiDxdg

Title: Frank Ticheli, Rest

Ensemble: University of Chichester Chamber Orchestra
Conductor: Victor Yampolsky
Why: Hearing the string version can offer a different prospective which is valuable in regards to interpretation and phrasing.
The instrumental aspect, without air concerns is unique to this piece.
Link: https://www.youtube.com/watch?v=QeRU81paBLI

Other Works by the Composer

 An American Elegy 
 Angels in the Architecture 
 Cajun Folk Songs 
 Concerto for Clarinet 
 Earth Song 
 Joy 
 There Will Be Rest
 Vesuvius
 Here we Stand
 Symphony No. 1

References
https://www.windrep.org/Rest_(Ticheli)
https://www.manhattanbeachmusiconline.com/frank_ticheli/rest-virtual-score.html
http://drgarrettbcmusic.weebly.com/uploads/2/0/8/4/20848642/there_will_be_rest_pdf_website.pdf
https://sites.psu.edu/isaacmanfull/2020/01/30/interpretations/
https://en.wikipedia.org/wiki/Sara_Teasdale

Glossary of Terms
 Tempo Rubato
 Poco piu mosso

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 Piu mosso
 Poco meno mosso
 A tempo
 Rit
 Accel
 Crec
 Dim
 Legato
 Tutti
 Molto legato
 Sus.cym. (yarn)
 Div
 Brief

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